Even if you already deplore the bilious and overly-permed Mark Zuckerberg, writer/director Aaron Sorkin’s “The Social Reckoning” (Sony/Columbia), a sort of sequel to David Fincher’s “The Social Network” (for which Sorkin wrote the screenplay), will likely provide you with additional reasons to loathe the ironically socially obdurate multi-billionaire.
Anne Hathaway is one busy actor. In 2026 alone, Hathaway has been a presence at your local multiplex five times. Since April, she has appeared in the movies “Mother Mary,” “The Devil Wears Prada 2,” “The Odyssey,” “The End of Oak Street,” and now, “Verity” (Amazon/MGM). Based on the novel by inexplicably popular writer Colleen Hoover, “Verity” doesn’t do straight people any favors.
It shouldn’t come as a surprise that documentary filmmaker Lance Oppenheim’s feature film directorial debut “Primetime” (A24) is as grainy and dimly lit as it is. The visual effects are befitting the gritty and gloomy subject matter: a dramatized look at the Dateline NBC reality show To Catch a Predator, a hidden camera program in which adult men were confronted and then arrested for arranging sexual encounters with underage people.
Young British filmmaker George Jaques has assembled one of the best queer casts for his second full-length feature “Sunny Dancer” (Quiver). It’s a movie that, despite also prominently featuring the music of Scissor Sisters, is not in the least bit queer.
Did you think the 20 years that flew by between the release of “The Devil Wears Prada” and “The Devil Wears Prada 2” were significant? That pales in comparison to the 28 (!) years that have passed since “Practical Magic” hit theaters in 1998 and the cleverly titled sequel, “Practical Magic 2” (WB), opened in 2026.
Patrick Bresnan’s New College of Florida documentary “First They Came For My College” (Harry Hanbury Productions/Otis Lucas Productions) opens with a SCOTUS Justice William O. Douglas quote about the negative impact of the restriction of free thought and free speech and closes with a reminder of the attacks on institutions of higher learning since Trump’s reelection.
The next time a straight person says something to you about same-sex marriage or relationships, just steer them towards Joe Swanberg’s “The Sun Never Sets” (IFC/Sapan). The terrible way that these straight characters act toward each other basically gives every queer bond a free pass.
If you didn’t get enough of Jacob Elordi’s beautiful brooding act in Emerald Fennell’s “Wuthering Heights” trainwreck, there’s more where that came from in Ridley Scott’s “The Dog Stars” (20th Century Studios). In fairness, Elordi is better in “The Dog Stars,” and even cracks some smiles. Plus, he has a sweet dog companion in the first 30 minutes of the movie.
In the 33 years since Steven Spielberg first unleashed the lab-grown dinos of Michael Crichton’s “Jurassic Park” on movie audiences, the franchise has lost some of its luster. Not even gay dreamboat Jonathan Bailey could keep the latest installment, 2025’s “Jurassic World Rebirth,” afloat.
“Teenage Sex and Death at Camp Miasma” (Mubi), the new full-length feature written and directed by filmmaker Jane Schoenbrun, is a vast improvement over their unwatchable debut movie “We’re All Going To The World’s Fair,” while continuing the trajectory of the slightly better “I Saw The TV Glow.” An homage to genre filmmaking, with a twisted sense of humor, it features a polyamorous Gen Z filmmaker unable to achieve orgasm and a ruthless killer known as Little Death (la petite mort, get it?).
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