To the Theater and Beyond: A Recap of 2026's Summer Movies (Part Four - August)

The End of Oak Street (Apple TV, Amazon Prime, Fandango at Home)

The stone age may have ended many years ago, but prehistoric mania hits suburbia in this new science-fiction outing! Directed by David Robert Mitchell of It Follows, this movie centers on the Platt family, who live on the titular street in 1982 Michigan. One night, a mysterious flash of light transports the entire neighborhood back in time, arriving directly in a breeding ground for vicious, hungry dinosaurs. With nowhere to go and the beasts on the prowl, the family must arm up and fight to survive, while desperately searching for a way back home. 

It’s surprisingly rare to encounter a dinosaur movie that isn’t related to Jurassic Park, despite the breeding ground of potential the subgenre holds. As such, this movie was not only a treat to see on the big screen, but it even climbed the ranks as one of my favorite science-fiction films of the entire year. It delivers on all of the prehistoric mayhem one would want from a dinosaur movie, being jam-packed with action and suspense which kept me on edge the entire time—even getting pretty bloody for a PG-13 film. 

Not to mention, the designs and animation on the creatures is exquisite, while the isolated suburban setting gives them a unique playground to run around in, setting itself apart from its competitors with its looks alone. 

Yet, amid all of the intense havoc, the film also has a great dramatic core as the Platts begin dealing with their own personal hardships. These include the troubled marriage of Denise and Greg—matriarch and patriarch, respectively—and their children’s search for lost dog Starbuck. Through an incredible dynamic set by the cast, especially Anne Hathaway and Ewan McGregor, the family feels authentic in the way they interact with each other—whether it’s shock, anger, grief, or joy. It even led to some highly emotional moments; I was even nearly brought to tears during the climactic stretch. 

Granted, it did take a little longer to get going than I had originally expected, as the first act of the movie is much slower than the rest of the runtime. While the payoff was undoubtedly satisfying, this part of the movie meandered a lot more by comparison, especially with its unremarkable side characters and hit-or-miss humor. But once the plot goes into full gear, it kicks off a very creative and fun thriller, all culminating in a conclusion which ties up the plot threads and characters arcs satisfyingly. While it is not quite on the same level as Jurassic Park, this is still a commendable dinosaur movie with teeth as sharp as its execution.

Tony (Apple TV, Amazon Prime, Fandango at Home)

I hope you're hungry for a tale of ambition, determination, and just a hint of spice, because one of the most celebrated culinary names has arrived on the big screen! Based on bestselling memoir Kitchen Confidential, this film centers on a young Anthony Bourdain, who dreams of being a writer. After he is rejected from a writing fellowship, Bourdain seeks refuge in Provincetown, Massachusetts, where he stumbles into a seafood restaurant called The Flagship. There, he receives a job from its head chef, leading him down a path of self discovery as he finds a new passion for cooking. 

This movie has the amazing talent of being able to tell a compelling story, and make its viewers hungry at the same time. Under the direction of Matt Johnson—who also helmed 2023’s Blackberry—it manages to tell Bourdain’s story in an effective way, especially through its terrific sense of drama, broken up by occasional sarcastic banter. It approaches Bourdain’s early life as a redemption story, as the film tracks his ambitions, adjustment to a new environment, and eventual love for something different. 

Bourdain is given a prominent arc throughout the film where he is often crass, deceptive, or just downright unlikeable. However, he becomes much more confident and sympathetic as the runtime progresses, while still maintaining just a little bit of desperation to feel accepted by those around him. Through a phenomenal—maybe even career-best—performance from Dominic Sessa, Bourdain ends up being one of the best-written characters of the summer, making the film worth a watch just for him alone.

The beautiful Provincetown setting also adds a sense of comfort to the movie, as colorful sunsets and the crashing of ocean waves give it a sense of ambiance. Added in with the natural chemistry of the supporting cast—mainly the Flagship’s passionate head chef, played by Antonio Banderas—it makes the feature satisfying to watch as a whole, as Bourdain’s personality bleeds through the screen. 

And of course, the cooking sequences stand out through sharp editing and beautiful cinematography, whether the characters be catching fish, cooking lobster, or shucking oysters. It ultimately results in one of the season’s most underappreciated films, leaving me starving for what may come next in Johnson’s directorial career.

Insidious: Out of the Further (In Theaters Now)

The demonic world is closer to reality than ever in the newest addition to this contemporary horror juggernaut! Serving as the sixth movie in the Insidious franchise, this installment introduces viewers to Gemma Hall, a dental hygienist with a traumatic past who lives with her daughter, Maya. Hall's life begins to spiral when she starts experiencing night terrors of the Further—a dimension full of horrifying demons and spirits—and discovers she has the ability to transport its inhabitants into the real world. With her dimension at stake, Hall must control her newfound powers to stop the Further from bleeding into reality. 

I consider myself somewhat of a casual Insidious fan; I think some installments are better than others, while even the strongest ones still have a fair deal of faults. Out of the Further is no different from this mantra, as it is chalked full of the predictable jumpscares and subpar character arcs which keep it from being one of my favorites of the genre. In fact, because of just how many cheap scares there are, the film’s sense of tension is soured as it follows the same formula for each one it has, feeling more monotonous than effective. 

That said, this film makes up for its faults in writing and scares by introducing creative ideas to the Insidious franchise. Rather than be yet another haunted house movie, it adds supernatural elements like couriers—people who can transport demons into reality—in a concept which reminded me a lot of A Nightmare on Elm Street, which shares a similar feature. Mixed with the convincing performances, especially from Amelia Eve and Lin Shaye, the film manages to somehow keep the series fresh, rather than feel like the same old formula played out over and over again. 

This is also evident in the main antagonists: the demons of the Further, led by the demented Cyrus. Though I wish the film delved more into the latter’s character, they serve as a great antithesis to Hall and the other protagonists through their unique designs, unpredictable patterns, and ruthless nature. 

It keeps the film entertaining rather than tired, at least providing a fun time at the movies, despite being considerably weaker than competitors like Obsession and Backrooms. Though this franchise may be further than my favorite, this installment was still enjoyable in its own regard, keeping Insidious alive in an impressive fashion.

Coyote vs. Acme (In Theaters Now)

Watch out for anvils above you and get ready to state your case, because one of the year's most anticipated features has finally arrived after a near-permanent dismissal! Set in the world of Looney Tunes, this film focuses on Wile E. Coyote, who struggles to catch his nemesis—the Roadrunner—with countless products from the Acme corporation. Their constant malfunctions lead Coyote to enlist the help of billboard attorney Kevin Avery to sue Acme, kicking off a chaotic trial as the two desperately try to take the corporation down.

The fact that this movie even made it to theaters is a miracle itself, as studio Warner Bros infamously tried to scrap it for a tax write-off in 2023. But, through fan determination and endless online campaigns, the film was saved by independent distributor Ketchup Entertainment, who also released The Day the Earth Blew Up—which nearly met a similar fate. As such, I am highly proud to report that the wait was more than worth it, as this could very well be the best movie with the Looney Tunes name on it. 

It may not be the most original courtroom story, but it has a plethora of fresh ideas and creative payoffs which help it feel unique in its execution. By balancing its wit with a surprisingly prominent heart, the film is simultaneously clever and emotional, with the latter aspect kicking in during the third act. I even almost cried during this film—yes, I nearly teared up at a Looney Tunes movie, of all things. I can’t believe it, either. 

In fact, I could argue that this has some of the best humor in any Looney Tunes property. It features the classic slapstick and physical comedy the cartoon is known for, while providing witty commentary on concepts like the power and practices of major corporations. These aspects are amplified by the film’s style, which impeccably combines fluently animated characters with realistic environments, akin to something like Who Framed Roger Rabbit and Space Jam. 

Top it all off with committed comedic performances from Will Forte, Lana Condor, and John Cena—along with astounding voice work from Eric Bauza and Candi Milo—and the result is one of the most clever, funny, and all-around respectable features of the entire summer. It may have taken a long road to finally hit theaters, but my verdict is that this movie is absolutely worth a watch. Case closed!

The Dog Stars (In Theaters Now)

One of the most celebrated filmmakers in modern times is back with a new movie, this one more dystopian than his typical work. Helmed by Ridley Scott—whose filmography ranges from Alien to Gladiator—and based on Peter Heller's novel of the same name, this movie is set in the aftermath of a mysterious pandemic which eradicated most of Earth's population. One of the survivors, civilian pilot Hig, lives with a Marine called Bangley in a desolate village. The film predominantly follows Hig's journey as he meets other survivors, travels by air across the wasteland, and fights mysterious threats in hopes of achieving a better life. 

This movie has all the potential in the world to work. Not only does it have a talented cast—with names like Jacob Elordi, Josh Brolin, and Margaret Qualley—and Scott in the director’s chair, but it’s a dystopian film with science-fiction elements. Not to mention, it has a number of great technical aspects like Erik Messerschmidt’s gorgeous cinematography and Harry Gregson-Williams’s swoonworthy score. It even has a few fun sequences, especially an elongated invasion scene involving Brolin, which boasts great scale and choreography. 

But even with all this promise, by some miracle, this movie unfortunately ended up as one of the weakest films of the summer, as it fell victim to bad writing. Not only do the characters lack any sort of connection or chemistry—not even Elordi and Qualley, who have their own subplot—but the story fails to make the most of the promise it sets up. 

The first half of the movie feels needlessly drawn out, being paced very slowly with very little action. I understand that the intent was to provide a realistic depiction of a devastating aftermath, but the film does very little to show for it, as the primary conflict does not even begin until about halfway through, by which point, I was already clocked out by its monotony.  

Not to mention, it completely loses the rails of what it wants to do in the third act, which takes a jarring tonal shift. I will not spoil what happens, but let’s just say that new characters are introduced, leading to a new sudden conflict, before the movie ends rather unceremoniously. It wastes so much time throwing things at the wall, that it forgot to note what sticks. If the film was given an additional 20 minutes, or if it devoted more time to exploring the pandemic itself, it could have made for a much more compelling, better balanced final product. But as it stands, this movie is sadly weak, resulting in a star that easily fades when compared to its other summer competitors.

Buddy (In Theaters Now)

How would you feel if the mascot from your favorite childhood show dropped their facade and turned into something monstrous? That's what filmmaker Casper Kelly seeks to answer in his newest horror comedy, which focuses on a group of children who live in the education television show, It's Buddy! Hosted by the titular orange unicorn, the show paints a fun picture where the ensemble plays and learns together. But when one of the children refuses to play along, something unleashes from inside Buddy, turning this family program into a tense and gory race for survival. 

Much like Leviticus, this film is much more obscure than the other mainstream fare, being released in fewer theaters than typical blockbusters despite Buddy himself having a strong social media presence. I was lucky enough to track down a local theater playing it, and I am very glad I did! The best way I can describe this film is in just one word: bonkers. It is every bit as crazy, hysterical, and demented as its premise suggests, taking full advantage of its educational television setting and promising villain.

There were a few hiccups here and there, like a random subplot outside the television world and an uncomfortable moment somewhere in the second act, but everything surrounding it more than makes up for those faults. 

From the moment the film begins, it establishes an impeccable aesthetic which feels ripped right out of a 1990s kids show like Barney or Pee-wee’s Playhouse. Everything from colorful locations and fluffy mascots to nostalgic music and talking mailboxes is accounted for, making viewers feel like they are watching actual episodes of the It’s Buddy show, with a dark twist. 

As the facade begins to unravel, it uncovers a crazy conflict as the characters travel beyond their biome, while Buddy falls into the mouth of madness, turning from an innocent unicorn to a foul, frightening monster. It all culminates in what could be the most insane third act of the entire season, combining a horrifying antagonist with a number of twists as the body count begins to pile up. 

The cast sells every moment spectacularly, with Delaney Quinn having a standout live-action role and Keegan-Michael Key voicing Buddy with an outstanding combination of menace and humor. This movie may not be as mainstream as other features this summer, but it undoubtedly brought the season to a strong close, right down to its very last note. 

That’s All, Folks!

The summer movie catalog of 2026 has been one of my personal favorites in all the years I have been an avid moviegoer. Though some blunders like Young Washington and The Dog Stars left me underwhelmed, the number of creative, engaging, and enjoyable features more than outweighs that. Whether it be strong franchise installments like Toy Story 5 and Spider-Man: Brand New Day or original ideas like Obsession and Disclosure Day, this summer had something for everybody, having a strong variety on top of its quality. 

I have witnessed several commendable features over the last few months, such as an astounding adaptation of The Odyssey, underappreciated gems like Power Ballad and Leviticus, and commendable success stories like Coyote vs. Acme. Each film had its own flair, and stood out from the competition in its own way, leaving me with a number of new favorites which I look forward to revisiting. 

As the final third of 2026 kicks into gear, I look forward to whatever comes next for this year’s films, as the screen lit particularly brightly on this summer’s filmography.