IndieWire

David Ehrlich IndieWire 1 day ago B- Leitch leans into the movie’s digital revolution as hard as circumstances allow, and what his film sometimes lacks in detail or precision it strives to compensate for with smiling verve and some bone-crunching action. Go to Full Review How to Rob a Bank (2026) - - - -

David Ehrlich IndieWire 6 days ago B At the risk of making the movie's side-eyed social commentary sound more didactic than it is in practice, "Hen" uses a chicken's lack of moral responsibility to highlight the mandate we have to heed our own. Go to Full Review Hen (2025) 100% - -

David Ehrlich IndieWire Nov 3, 2026 B “Who Killed Alex Odeh?” directly contradicts the expectations of its supposed genre. Instead of establishing a vast mystery for their movie to explore, Osder and Youmans give shape to the galling absence of one. Go to Full Review Who Killed Alex Odeh? (2026) 73% - -

Christian Zilko IndieWire Oct 30, 2026 B Calling “Ramayana” epic may be a cliche, but there’s really no other word that would suffice. Go to Full Review Ramayana (2026) 76% - -

David Ehrlich IndieWire Oct 27, 2026 C For all of its supposed verisimilitude, The Mosquito Bowl seems less indebted to the reality of war than it does to Hollywood’s idea of it, and its abject refusal to flesh out its characters makes it feel more contrived rather than less. Go to Full Review The Mosquito Bowl (2026) 45% - -

Ryan Lattanzio IndieWire Oct 21, 2026 D For a movie filled with self-driving cars and powered by artificial intelligence, this “Klara” goes nowhere but straight into the sun of disaster, and without intelligence of any kind. Go to Full Review Klara and the Sun (2026) 26% - -

Alexandra Heller-Nicholas IndieWire Oct 21, 2026 The Only One is very much a film that continues a successful tradition of Australian romance-themed horror, wearing its heart on its sleeve for the genre classics that came before it. Go to Full Review The Only One (2026) - - - -

Kate Erbland IndieWire Oct 21, 2026 C+ The uneven nature of the film, its plotting, its character motivations, and its aims only become bigger and bloodier as the film winds on. Malleable, sure, but this ambitious misfire can never conform to one shape, one final form, or one good idea. Go to Full Review Clayface (2026) 78% - -

Christian Zilko IndieWire Oct 15, 2026 B- A film that overflows with convoluted plotting and confusingly engineered jokes. But a film’s greatest sin is boring its audience, and this Street Fighter should take pride in never coming close to doing that. Go to Full Review Street Fighter (2026) 42% - -

Ryan Lattanzio IndieWire Oct 14, 2026 B+ Refreshingly, the new Sense and Sensibility isn’t a reconfiguration for the 21st century as much as an oak-solid, faithful envisioning made with sensitivity and a classical temperament. Go to Full Review Sense and Sensibility (2026) 78% - -

Alison Foreman IndieWire Oct 14, 2026 B- Even when the metaphor is painfully on the nose, the film’s most disturbing images are more than their dramatic limitations and a whale is still an astonishing place to spend a movie. Go to Full Review Whalefall (2026) 74% - -

Beandrea July IndieWire Oct 12, 2026 B DuVernay has said she did not want the movie to “feel like medicine,” and the “14th” is energetic, accessible and frequently entertaining. But in casting such a wide net, the film overloads the viewer with information to the point of suffocation. Go to Full Review 14th (2026) 83% - -

David Ehrlich IndieWire Oct 11, 2026 B- The remarkable time and care that went into Wildwood doesn’t prevent it from being the least enchanting of Laika’s films, even if its flaws help to reinforce the power of a story about how magic can persist in spite of itself. Go to Full Review Wildwood (2026) 98% - -

Kate Erbland IndieWire Oct 10, 2026 B- Sound like a lot? It is, but the vibrant world that Bird has designed for his compelling characters and overstuffed story does plenty of heavy lifting here. Go to Full Review Ray Gunn (2026) 94% - -

Ryan Lattanzio IndieWire Oct 10, 2026 A- Grand in scale but entirely intimate in scope, what she’s achieved here is a landmark work that will go down as one of the boldest documentary achievements of the 21st century. Go to Full Review My Undesirable Friends: Part II - Exile (2026) 100% - -

Ryan Lattanzio IndieWire Oct 10, 2026 C- For every piece of drone footage sweeping across LA, every shot that carves out about two feet of space between actors with no sizzle, I kept wishing for more Gillian Anderson, more Gillian Anderson, please. Go to Full Review Animals (2026) 30% - -

Alison Foreman IndieWire Oct 10, 2026 C+ Even as the “V/H/S” installments themselves remain fresh, the mat they fit feels progressively nostalgic. That’s an awkward position for a property whose modern reputation was made on cutting-edge discovery. Go to Full Review V/H/S/MIXTAPE (2026) 50% - -

Christian Zilko IndieWire Oct 10, 2026 C+ The film is admirably committed to documenting this lifestyle without much idealization or condemnation. Go to Full Review Drinking and Driving (2026) - - - -

Alison Foreman IndieWire Oct 10, 2026 C+ Savage, with an appetite for spectacle that sometimes outpaces his patience for storytelling, stays genuine enough in his emotion that it makes the creative excess worth watching. Go to Full Review Other Mommy (2026) 19% - -

Ryan Lattanzio IndieWire Oct 8, 2026 D+ The actors have an almost startling lack of connection because every line they’re tasked with reading plays as if from a mouthpiece trying to force someone else’s words out, awkwardly and clunkily. Because that’s what this is. Go to Full Review The Social Reckoning (2026) 54% - -