The Ringer

Adam Nayman The Ringer Oct 9, 2026 Even with all the imagery of rising coastlines and submerged streets, Iñárritu knows where he resides. He can’t help but remind us that it’s on the little patch of moral high ground reserved for those who Get It. Go to Full Review Digger (2026) 53% - -

Adam Nayman The Ringer Oct 9, 2026 Watching The Social Reckoning won’t kill you, but it won’t make you stronger, either. The best-case scenario, perhaps, is that it prompts you to pick up a newspaper or listen to a podcast. Go to Full Review The Social Reckoning (2026) 54% - -

Adam Nayman The Ringer Sep 30, 2026 These performances are all strong; Pattinson, though, is overpowering. He may well earn hardware for his work in Primetime, but not because he’s chasing it. His adventurousness hints at something else. Go to Full Review Primetime (2026) 86% - -

Adam Nayman The Ringer Sep 22, 2026 Cregger may not be married to his star like P.W.S.A. is, but he clearly loves Abrams to bits and takes palpable pleasure in putting his pal through the wringer, which is where Abrams seems to belong. Go to Full Review Resident Evil (2026) 96% - -

Adam Nayman The Ringer Aug 28, 2026 The self-reflexive satire of Coyote vs. Acme is complemented by the quality of its craftsmanship -- the live-action cinematography by Brandon Trost is wonderfully tactile -- and suffused by the abiding affection that it displays for its characters. Go to Full Review Coyote vs. Acme (2026) 96% - -

Adam Nayman The Ringer Aug 25, 2026 On one level, The End of Oak Street is nothing more -- or less -- than a swift, satisfying exercise in fight-or-flight suspense entertainment. It’s an escapist adventure with enjoyably ropy special effects and a nasty visceral kick. Go to Full Review The End of Oak Street (2026) 86% - -

Adam Nayman The Ringer Aug 10, 2026 Fusing prudishness to subversion and smugness to sincerity, One Night Only operates precisely and obliviously as the punch line to its own cautionary tale; it feints left and swipes right. Go to Full Review One Night Only (2026) 44% - -

Adam Nayman The Ringer Jul 28, 2026 If you try to take these characters and situations literally, Her Private Hell is tough sledding; if you start looking at them as free-floating genre signifiers, the film becomes considerably more absorbing. Go to Full Review Her Private Hell (2026) 40% - -

Adam Nayman The Ringer Jul 18, 2026 The Odyssey isn’t moving, exactly, but it is powerful as a by-product of a filmmaker choosing to stick to his guns. It gives us one of the greatest stories ever told reimagined as a cautionary tale, the blockbuster as a dark-hued Trojan horse. Go to Full Review The Odyssey (2026) 94% - -

Adam Nayman The Ringer Jun 30, 2026 Toy Story 5 is eager to raise the alarms and then grimly determined to mute them. Its guiding spirit isn’t Wall-E but HAL 9000 -- a congenial but underlyingly sinister simulacrum of emotion. Go to Full Review Toy Story 5 (2026) 92% - -

Adam Nayman The Ringer Jun 18, 2026 Disclosure Day moves like a shot, and it’s absorbing from scene to scene, but there’s no real threat in any of its set pieces, and no suspense either; even at its most kinetic, the movie is just marking time. Go to Full Review Disclosure Day (2026) 79% - -

Adam Nayman The Ringer Jun 16, 2026 The gentrification of genre is a real and consequential development, and yet the prevailing feeling watching the latest Scary Movie is of vague disinterest, and also narrowly missed opportunities. Go to Full Review Scary Movie (2026) 23% - -

Adam Nayman The Ringer Jun 1, 2026 Horror cannot live on vibes alone, or else said vibes have to be immaculately bad: rancid, unsettling, unfathomable... Parsons never works up the compulsive terror needed to justify all the surrounding obliqueness Go to Full Review Backrooms (2026) 85% - -

Adam Nayman The Ringer Jun 1, 2026 The vibes are bad, but the tone -- crucially -- is buoyant, with Palmer serving as a sort of human flotation device; she flails away gracefully with the aplomb of a great physical comedian. Go to Full Review I Love Boosters (2026) 92% - -

Ben Lindbergh The Ringer May 20, 2026 It’s the inverse of a made-for-TV movie: made-for-movie TV. And what it adds to the series in cinematic polish, it subtracts in story and suspense. Go to Full Review Star Wars: The Mandalorian and Grogu (2026) 60% - -

Adam Nayman The Ringer May 13, 2026 It’s hard to truly buy into the idea that The Devil Wears Prada 2 is a genuinely bleak or melancholic vision of the end of an era when it (lip)glosses over every narrative or philosophical crisis as decorously as possible. Go to Full Review The Devil Wears Prada 2 (2026) 78% - -

Adam Nayman The Ringer Apr 29, 2026 Michael’s disingenuously airbrushed style is directly related to the material its makers can’t and likely never will put on-screen; they’ve found their voice and have the resources to amplify it in Dolby Atmos. Go to Full Review Michael (2025) 38% - -

Adam Nayman The Ringer Apr 22, 2026 It doesn’t matter too much that The Mummy is derivative. The issue is that it’s also draggy and, notwithstanding a few bits of mean-spiritedly visceral slapstick, pretty dour. Go to Full Review Lee Cronin's The Mummy (2026) 45% - -

Adam Nayman The Ringer Mar 12, 2026 Gyllenhaal, at least, seems to be having a good time... It’s nice to see a filmmaker trying to surprise her audience as well as herself. Go to Full Review The Bride! (2026) 57% - -

Adam Nayman The Ringer Mar 12, 2026 Undertone plugs into our doomscrolling zeitgeist with aplomb; it’s a skillful exercise in ambient room-tone dread. But it’s not much more than that, which is to say it’ll do until the next supposedly scariest movie ever comes along. Go to Full Review The Undertone (2025) 74% - -