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The Best of Sundance 2026: Top Films, Breakouts, and Award Winners from the Final Park City Festival

Sundance 2026 delivered one last cinematic dump (in a good way, like powder on a snow-barren mountain) before packing up and leaving Park City for good. From chilling headphone horror to sex comedies with emotional rot, audacious midnight freakouts to quietly devastating documentaries, this year’s lineup proved that the festival still has what it takes to be one of the preeminent film festivals in the world. Although I didn’t get a chance to see everything I had hoped to see (Leviticus top on the list of those I’ll be anxiously awaiting), I still managed to watch more Sundance premieres this year (35 total) than nearly any other year covering the festival. As should then be assumed, I have a pretty good handle on what was what so I full more than qualified to give a complete rundown of the best films from Sundance 2026. Read More

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Sundance ‘26: ‘THE INVITE’ A Zesty Swinger Comedy That’s Equally Hilarious and Therapeutic 

Joe and Angela’s relationship is in the dumps. The second Joe returns home from his mediocre job at a middling music conservatory, their bickering begins. Taking shoes off at the door, neglecting to pick up a bottle of wine, forgetting about plans — all seem like ripe opportunities to launch a new feud. Their married-couple’s rocky connection is further tested when Angela invites over the upstairs neighbors, Hawk (Edward Norton) and Pina (Penélope Cruz), for an impromptu dinner party. Joe doesn’t want them over in the first place, harboring resentment over their loud, late-night sex. What begins as awkward conversation and flimsy attempts at forging new friendships peels into Hawk and Pina’s real reason for coming: to invite Joe and Angela to engage in sexual extracurriculars. Read More

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Sundance ‘26: ‘UNDERTONE’ is Actually the Scariest Movie in Years

Anytime a new horror movie comes out, horror fans and critics trip over themselves to call it the scariest movie since Hereditary, which was the scariest movie since Paranormal Activity, which was the scariest since The Blair Witch Project, which was the scariest since The Exorcist, and so on in an endless horror ouroboros of escalating hype. Well, Undertone, a possession movie about paranormal podcast hosts who stumble upon a ten-part series of increasingly cursed audio clips, is actually, hyperbole aside, the scariest movie in quite some time. It earns that title not with jump scares or gore, but with an impressively economical command of its audience’s every sense. Writer-director Ian Tucson sets his hooks early, relying on restraint, minimalism, and some of the best sound design in the genre to ratchet tension from subtle unease to full-body chill. Read More

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Sundance ‘26: ‘THE MUSICAL’ Is Elite Crash Out Cringe Comedy

Doug Leibowitz (Will Brill) is an ostensibly mild-mannered but deeply disillusioned middle school theater teacher and once maybe promising playwright. When the Cedarhurst Middle School teacher is forced to confront the reality that his ex-girlfriend Abigail (Gillian Jacobs), who he thought he was still “on a break” with, has started dating the smarmy, aggressively politically correct school principal Brady (Rob Lowe), Doug suffers a near-total mental breakdown. In a bid for revenge and recognition, Doug decides to tank the school’s reputation, and alongside it Principal Brady’s, as the two are competing for a blue ribbon of academic excellence. To do so, Doug shelves his class’s production of West Side Story in favor of a secret musical he wrote about 9/11. Read More

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Sundance ’26: ‘THE WEIGHT’ Is a Perfect Dad Movie with Arthouse Details

In the midst of the Great Depression, Samuel Murphy, played by the ever-reliable Ethan Hawke, is separated from his daughter and sent to a hard labor camp. His crime? Being poor. And maybe punching the wrong guys. At the camp, Warden Clancy (Russell Crowe) notes Murphy’s quiet intelligence and problem-solving gumption; he might just be able to help the warden out of a bind in exchange for a commuted sentence. That’s the setup for Padraic McKinley’s gorgeously mounted, pulse-thrumming survival adventure The Weight, a film that drapes a muscular, objective-driven plot over lush period-piece trappings. It’s beautifully crafted, yes, but also accessible, energetic, and smarter than it initially lets on. Read More

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Sundance ‘26: ‘SEE YOU WHEN I SEE YOU’ Is a PTSD-Suicide-Cancer Comedy That’s Still Somehow Funny

Aaron (Cooper Raiff) is having a tough time of it. His little sister, Leah (Kaitlyn Dever), his best friend and, maybe, his soul mate (in the completely platonic sense), has taken her own life. Though she’d wrestled with mental health issues in the past, the reality of her actually following through, of truly leaving home behind, does not compute. His brain simply cannot file it away. He’s stuck, spinning in the grief of her loss and the PTSD of being the one who found her. Read More

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Sundance ‘26: ‘CLOSURE’ Is an Electrifying, Devastating Search for Meaning in Loss

Shot with cinematic flair, Michał Marczak’s Polish-language documentary Closure is a rattling search and rescue: both for an actual missing kid and the soul of the father searching. Following the disappearance of his teenage son Chris, Daniel diligently scours the Vistula River, hoping to either recover his son’s corpse or uncover some hint that he might still be alive. He and his friends spend their free time checking every creek and crag of the Vistula, mucking out the eddies, breaking apart wash-ups, and scouring its embankments for a decomposing body. In the opening scene, Daniel finds what he’s looking for: a corpse washed up on the riverbank. Fortunately, it’s not his son. Closure eludes him still. Read More

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Top Ten TV Series of 2025

As more people turn to streaming from the comfort of their couch-pits, the small screen landscape has ballooned and splintered in a thousand directions. The era of monocultural appointment TV—the kind that made Game of Thrones (at its peak) or Lost before it into national talking points—has faded into the ether, drowned by the ever-expanding ocean of things-to-watch. Now, there’s hyper-specific content for every kind of viewer: whether you’re into MILF-bait reality shows set on tropical islands, dark docuseries interviewing the families of serial killers, or whatever else the algorithm coughed up this week. Meanwhile, the so-called “must-watch” marquee shows have become more niche by comparison. Sure, Stranger Things came back—meh—and it broke the internet for about 72 hours. But suffice it to say, everyone’s mostly just watching their own thing now. So, as you browse my personal favorite shows of the year, know this: I only considered stuff I actually watched. Read More

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Most Anticipated Films of the Sundance Film Festival 2026

Sundance Film Festival 2026 officially announced its lineup on December 10 and the reveal already feels weighted with more significance than usual. This will be the festival’s final year in Park City before it relocates to Boulder—a move that ends decades of proximity to the epic Wasatch slopes and closes the chapter on a place that helped define Sundance’s identity as much as the films themselves. It also arrives in the shadow of Robert Redford’s passing. As the festival’s founder and longtime steward, Redford shaped the trajectory of American independent cinema. His absence gives the 2026 Sundance festival a real end-of-an-era energy. Read More

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Top Ten Films of 2025

If 2024 felt transitional, 2025 felt reactionary. The industry is still figuring out where it’s future is heading, with streaming turbulence, downsized theatrical slates, and the lingering specter of automation hanging over the heads of everyone from below-the-line workers to A-list actors. With the recent news of the landmark WB acquisition, the future is very much in a state of alarming flux. But even with cinema at a crossroads, a number of films showed up with blood dripping from their teeth in 2025. 2025 didn’t just have good movies, it had some of the very best movies of the whole decade. And I put in the work to find that out for myself. This year, I watched 109 new releases and wrote 67 reviews. The top four films from this year (all which earned a grade-A) could duke it out with any other recent release for supremacy. Even though art is, I guess, subjective and all that. Read More