The Best Films and Performances of the First Half of 2026

Folks, I’d like to welcome you all to July and the second half of the year! Time flies, doesn’t it? Somehow, we’re halfway through 2026 already. The past few days have been pretty tough for me, as many of you know that I lost my longtime canine companion last week. Those of you who have reached out, thank you very much. I’ll be fine, I just miss him terribly, especially when writing and not having him looking over, silently editing me. Anyway, now that we’ve reached July, it’s time (at least for a certified nut like me), to continue sizing up the year. As such, today you’ll be able to take a look at what the cinematic highlights for the year have been for me. I’m at just over 140 films seen so far (give or take an embargo or two), though even with that number there are a few things I need to catch up on. Such is life, right?

Below, you can see what I feel are the best films and performances of the first half of 2026. My one rule here is yet again that it must have been released in January, February, March, April, May, or June. So, while that can include this past weekend’s releases, since they hit before July 1st, any movies from the 2026 Sundance Film Festival that have not come out yet remain ineligible, sadly. The same goes for the Tribeca Film Festival (not to mention the Cannes Film Festival), as well as things I’ve seen that haven’t been released into theaters yet, like I Want Your Sex or Teenage Sex and Death at Camp Miasma, for example. Other than that, all of the flicks are on the table. Now, read on to see who and what made the cut for me this time…

These are the ten best performances of the year so far:

10. Olivia Wilde in The Invite

9. Paul Rudd in Power Ballad

8. Penélope Cruz in The Invite

7. Ralph Fiennes in 28 Years Later: The Bone Temple

6. Edward Norton in The Invite

5. Harry Melling in Pillion

4. Inde Navarrette in Obsession

3. John Magaro in Omaha

2. Ryan Gosling in Project Hail Mary

1. Emily Blunt in Disclosure Day

(Honorable Mentions: Jessie Buckley in The Bride!, Rose Byrne in Tow, Paul Dano in The Wizard of the Kremlin, Jacob Elordi in Wuthering Heights, Sandra Hüller in Project Hail Mary, Hugh Jackman in The Sheep Detectives, Rachel McAdams in Send Help, Alison Oliver in Wuthering Heights, James Ortiz in Project Hail Mary, Amanda Peet in Fantasy Life, Seth Rogen in The Invite, and Alexander Skarsgård in Pillion)

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Here now are the top ten films of the first half of 2026, with a quote from my reviews for each:

(Honorable Mentions: 28 Years Later: The Bone Temple, Lucky Strike, Normal, Omaha, and Tuner)

*Special Citation: Mel Brooks: The 99 Year Old Man!, which is technically a television documentary two part miniseries, but I raved about earlier on in the year. So, I’m excluding it from my top ten list. Then, there’s Teenage Sex and Death at Camp Miasma, which isn’t out until later on in the summer but certainly would have cracked this list*

10. Pillion

Romantic comedies come in all shapes and sizes. That’s part of what makes the genre great. At the same time, there’s often a sense of familiarity that permeates rom-coms. So, to come across something like Pillion is a real pleasure. Not only does the film present an LGBTQ+ romance that’s never been depicted on screen, it does so in a way that’s both completely lacking in judgment and absolutely full of life. It’s one of the best movies of the year so far and really does feel one of a kind.

Pillion is not like any rom-com you’ve ever seen before, both in content and execution. Yes, it can be graphic at times, but the flick is never doing it for shock value or to be overtly horny. Instead, it feels honest and observational, giving cinematic life to a type of romance that the big screen has never really depicted before. If you’re shocked, it won’t be because of the content, but due to the feeling that something new has been entered into the conversation. When most audiences interested in dom/sub relationships have had to settle for the awful Fifty Shades of Grey franchise, this is a real breath of fresh air.

9. Wuthering Heights

Desire runs rampant throughout Emerald Fennell‘s take on Wuthering Heights, a unique mix of the classical text and the Oscar-winning filmmaker’s own sensibilities. After Promising Young Woman and Saltburn, I’d follow Fennell anywhere, but even I regarded this project as potentially not being my cup of team. Lo and behold, Fennell has crafted another beautiful, edgy, and deeply interesting film, one that often takes your breath away. You won’t see as much as you might expect to in this movie, given its erotic expectations, but gives you the feeling of desire, longing, lust, and yes, even love. For my money, it’s one of the best efforts of 2026 so far.

Wuthering Heights is not a straight remake, nor is it trying to be, and I actually find that to be a positive. For all the kerfuffle over what Fennell is doing here, had she done a 100% faithful adaptation, what would have been the point? That’s not a good use of her interests or talents, closer adaptations already exist, and so on. With any property being adapted, remade, or reinterpreted, bringing something new to the party is paramount. Here, Fennell’s vision does that in spades. If it’s not for you? Well, that’s fine. It’s just the pre-release rage-bait on the internet that I have no time for, especially when it’s about this wildly enjoyable and deeply effective crowd pleaser of a romantic tragedy.

8. Hoppers

Pixar built its legacy on original animated fare that delighted both children and adults in equal measure. At a certain point, sequels to their most popular hits (both critically acclaimed, like the Toy Story franchise, and just profitable, like Cars) became a surprising focus. Eventually, that started to dim their creative juices a tad. They were still putting out films that worked and were enjoyable, sure, but what made Pixar special seemed to be in shorter supply. Well, Hoppers is here to suggest an earlier, simpler time. This movie is creative, fun, and rather deranged, making for an original triumph for the animation giant. They haven’t been this purely enjoyable in some time. I went in with no expectations and left having had a blast.

Hoppers is an old-school original return to form for Pixar. Mixing adventure, comedy, and earned emotions, the craziness of the story works well with the feels you end up having. There’s a soft touch to the heavier stuff that pairs with the rather zany nature of the premise, as well as the sillier details. In lesser hands, it could have felt like tonal overload, leading to a messy feeling. Instead, it harkens back to what the animation house used to do so well. The flick wins you over early and never really lets you go.

7. Toy Story 5

Pixar, I’m sorry that I ever doubted you. I’ve been on record that the original three Toy Story films are perfect and one of the great trilogies. So, especially when Toy Story 3 ended so brilliantly, why tempt fate? Then, Toy Story 4 came and defied the odds, being a more than worthy sequel (Lightyear I consider a separate thing from these, for what that’s worth). Given how unlikely that had felt, continuing on always felt like a huge risk. After all, when will their luck run out? Well, it’s not with Toy Story 5, which is not just great, but better than the prior installment, standing nearly toe to toe with the first three.

Toy Story 5 is a beautiful ode to the power of play, while also being a moving meditation on the passage of time. Throw in the franchise’s most subversive plot and there’s more going on here than meets the eye. All of the classic Toy Story elements are here, as are almost all of our favorite characters, but the focus this time is different, and even sharper.

6. Power Ballad

A John Carney movie follows a certain melody. Whether it’s his smallest film in breakthrough Once, his most star studded in follow up Begin Again, or his most recent work with Sing Street and Flora and Son, music plays an absolutely integral role. It’s not just to the plot, either. Carney does far more than fill his flicks with memorable original songs. No, he also imbues the love of music, of making music, into his characters. To them, songs are saviors (Begin Again was even originally titled Can a Song Save Your Life?). Now, he’s back with Power Ballad, which feels like a mix of everything he’s done before, albeit with a very enjoyable little twist. I was completely charmed by this one, which is as good as anything he’s done yet, as well as ranking amongst the best work of the year so far.

Power Ballad has all the charm of Carney’s work, though this time there’s more conflict in the story. That slight prickliness gives it a distinct flavor amongst his filmography. At the start, you’re pretty sure you know where the film is going to go. Then, the end of the first act has a real pivot point for Carney. From there on, the movie does kind of follow the path you’d expect, albeit a road he’s never quite gone down before. By the end, not only has he wrapped up another feel good gem, but he’s tugged at your heartstrings in just the right way.

5. The Sheep Detectives

Easily the biggest surprise for me this year was The Sheep Detectives, to the point where I didn’t even attend the press screening, hence no review here. Instead, I listened when Myles Hughes and others told me how taken they were by it, and you know what? They were right. This is an utter delight. I even said as much after I caught up to it a few weeks later:

4. The Invite

Too often, a sex comedy is treated as low art. Comedy on the whole can be a genre that suffers as such, but when things get a bit raunchy, you rarely see the work have even the slightest air of prestige. The fact that The Invite is being treated as such is just one of the many reasons that this film is set apart from the pack. From the excellent acting to the strong visuals, not to mention an impeccable screenplay, this is one of the better crafted and performed movies of the year, regardless of genre. Not only is it perfect summer counter-programming, it’s just a 2026 highlight overall.

The Invite builds up to a comedic crescendo as it enters the third act, though once that happens, the flick actually shows a whole new side of itself. What was already an awkward and absolutely hilarious comedy then reveals a deep well of emotion. Even then, when there’s a completely serious and rather affecting monologue delivered in the third act, it’s followed up by a massive laugh. Few films can pull that off.

3. Nirvanna the Band the Show the Movie

I can not believe that this movie exists. There has never been a film quite like Nirvanna the Band the Show the Movie, which is saying something considering how it’s directly riffing off of a cinematic classic. This one of a kind flick is the kind of genius lunacy that independent cinema can produce at its best. Will it be for everyone? No. Is it still the most creative thing I’ve seen in a very long time? For sure chutzpah and cinematic bravery, as well as just crafting an instant cult classic, this is the pinnacle of 2026 releases for me so far.

Nirvanna the Band the Show the Movie defies easy description (you can hear me slowly hook Myles Hughes with a bit of a tease, before revealing more here on the latest episode of the Awards Radar Podcast). You literally could tell someone the entire plot of the film and it would spoil nothing, because seeing is believing here. Then again, even after seeing the movie, I can’t believe they got away with it, let alone that it turned out as phenomenal as it did. Am I being vague up front? Sure. Below, I’ll get into more. However, if just shouting from the rooftops that this is a must-see is good enough for you, stop reading now and check this one out. You can thank me later.

2. Disclosure Day

If you found out we weren’t alone, if someone showed you, proved it to you, would that frighten you? That’s not just the tagline for Disclosure Day. It’s also the film’s central thesis, alongside the notion that maybe, instead of fear, it could change things for the better? Working again in the realm of aliens and UFOs, maestro Steven Spielberg is far more focused on the human element, resulting in deep emotions and a full cinematic experience. Whatever you’re expecting this movie to be, Spielberg has some of that for you, but he’s also delivering something different as well. I was thrilled and moved by what he revealed, to the point where almost nothing else so far this year has matched it.

Disclosure Day is both playful and a slow burn, so you have to get on its wavelength a bit. Spielberg makes you earn the final half hour or so, which is among the most satisfying denouements in his career. Hell, the opening shots of the flick are of a wrestling match. That’s probably not what those expecting Spielberg to revisit an alien invasion are prepared for. However, it’s just another way he wants you to check your expectations at the door. He’s already done War of the Worlds. He’s already done Close Encounters of the Third Kind. This is something else, and in my humble opinion, superior to both of those works. High praise, indeed, but justified.

1. Project Hail Mary

Wow. Truly, it feels apt to begin a review of Project Hail Mary with just that. Wow. There is something about the works of Andy Weir that I’m now convinced make amazing films. The Martian is one of the best adaptations of a science fiction novel in some time, so expectations here were already high. Still, in taking a more ambitious Weir work and making this movie as phenomenal as it is does feel like an achievement. Those calling it E.T. the Extra-Terrestrial meets Interstellar are giving you an idea of what to expect, this has elements of Gravity and The Martian as well. Moreover, this is probably the most purely entertaining of the lot. This flick is incredible, absolutely engrossing, and the best film of the year so far.

Project Hail Mary is the highlight of 2026 cinema to date due to how immediately sucked in by the story you get. The sci-fi elements aren’t necessarily unlike anything you’ve seen before, though how it’s depicted is very unique. This is a stunning achievement, all things considered, with so much heart and imagination. I loved every single moment of this movie, from first frame to last.

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As a bonus, here are a few awards for the first half:

Best Director – Steven Spielberg for Disclosure Day (runner-up: Phil Lord and Chris Miller for Project Hail Mary and Olivia Wilde for The Invote)

Best Actor – Ryan Gosling for Project Hail Mary (runner-up: John Magaro for Omaha and Harry Melling for Pillion)

Best Actress – Emily Blunt for Disclosure Day (runner-up: Inde Navarrette for Obsession and Rachel McAdams for Send Help)

Best Supporting Actor – Edward Norton for The Invite (runner-up: Hugh Jackman for The Sheep Detectives and James Ortiz for Project Hail Mary)

Best Supporting Actress – Penélope Cruz for The Invite (runner-up: Sandra Hüller for Project Hail Mary and Alison Oliver for Wuthering Heights)

Best Adapted Screenplay – Project Hail Mary (runner-up: The Invite and Nirvanna the Band the Show the Movie)

Best Original Screenplay – Power Ballad (runner-up: Disclosure Day and Hoppers)

Best Animated Feature – Toy Story 5 (runner-up: Hoppers and N/A)

Best Documentary Feature – Mel Brooks: The 99 Year Old Man! (runner-up: Bang My Box: The Robin Byrd Story and EPiC: Elvis Presley in Concert)

Best Production Design – Disclosure Day (runner-up: Backrooms and Project Hail Mary)

Best Cinematography – Project Hail Mary (runner-up: The Invite and Wuthering Heights)

Best Costume Design – Mother Mary (runner-up: Lucky Strike and Wuthering Heights)

Best Film Editing – Project Hail Mary (runner-up: Disclosure Day and Nirvanna the Band the Show the Movie)

Best Makeup & Hairstyling – Wuthering Heights (runner-up: 28 Years Later: The Bone Temple and Supergirl)

Best Sound – Tuner (runner-up: Lucky Strike and Project Hail Mary)

Best Visual Effects – Project Hail Mary (runner-up: Nirvanna the Band the Show the Movie and The Sheep Detectives)

Best Original Score – Disclosure Day (runner-up: Project Hail Mary and Wuthering Heights)

Best Original Song – The Alphabet Rap from Nirvanna the Band the Show the Movie (runner-up: How to Write a Song Without You from Power Ballad and I Knew It, I Knew You from Toy Story 5)

Best Ensemble – The Invite (runner-up: Disclosure Day and The Sheep Detectives)

Best Casting – I Love Boosters (runner-up: Dead Man’s Wire and Good Luck, Have Fun, Don’t Die)

What are your favorite films and performances so far in 2026? Let us know!