Forgotten Island (2026) Movie Review- The Best Animated Film of the Year

Earlier this year, it was reported that Disney scrapped a Pixar film that had been in development for three years known as Be Fri, a film about two teenage girls whose friendship was on life support and wondering if it could possibly stand the test of time. It was confirmed that the project got canned because the higher-ups of Mickey Mouse felt a female-centered animated film like that wouldn’t appeal to younger boys. Whether or not you believe that was the main reason for that film being axed (considering the amount of female-led content Disney has produced the last few years, I’m gonna go with an absolute NO!), it’s quite fascinating that DreamWorks Animation’s newest release seems to act as the perfect antidote for those that were underwhelmed of Be Fri never seeing the light of day.

Much like the non-existent Pixar film, it’s main premise too surrounds the relationship surrounding two teenage girls whose friendship is put to the test and wondering if it can stand the test of time. Only it’s main setting is on a mysterious and whimsical island! Oh, and these are Filipino girls! Oh, and it’s also directed by the same guys that gave us Puss In Boots: The Last Wish nearly four years ago! All of those ingredients make this film seem like a match made in heaven and I’m happy to reported that it’s exactly that!

Forgotten Island not only makes for another fine animated adventure from DreamWorks Animation but it’s the best animated film of the year so far! This is a beautiful, funny, and emotionally moving film about two young girls learning the importance of friendship and knowing when to let each other go. The hyper style animation that worked tremendous well with The Last Wish works just as well here, the best friend dynamic between the two leads is incredibly engaging, the male driven side characters are giving enough moments and laughs without overstaying their welcome, and the Filipino cultural representation is absolutely off the charts, being able to capture that same lightning in a bottle with representation that Disney used to be able to do in their SLEEP! It does take a minute to get fully going and the 90s references and comedic male sidekicks won’t be for everybody, but Forgotten Island is the real deal and I highly recommend it!

Premise: Best friends Jo (H.E.R.) and Raissa (Liza Soberano) stumble upon a mysterious portal that transports them to Nakali, a fantastical island that’s filled with magical creatures. When they discover that the memories of their entire friendship are the price for returning home, they try to find a way to leave the island before they forget each other forever.

Admittedly, for the first third of the film, Forgotten Island plays out exactly like the film that the trailer depicted it as, a kid friendly mix of The Hangover and After Hours, with 90s references and pretty visuals flying off the screen willy nilly and using it’s cultural representation as a shield to deflect any kind of mainstream criticism. Yes, the grade/high school friendship setup is cute enough but it can only go so far if it all it has to offer is the absolute bare minimum of decent at best chemistry between the two leads. However, once we see Jo and Raissa enter the unknown island that they’ve heard so much stories off, the picture becomes much more than meets the eye (and I am absolutely NOT making that reference based off another recent animated film that too was hurt by weak trailers and marketing!).

It’s then we see Forgotten Island using it’s own original premise based off to it’s finest advantage. Despite offering plenty of the same slapstick, laughs, and eye popping imagery that the initial reel does, there is still a solid central story here to connect with, with two girls using the memories of their distinct friendship and time together to navigating their way through a mysterious island, with the wonder of how long can their friendship last on the island and off of it once Raissa leaves for college. An island which it’s own gimmick is making you forget of all the time you have spent with the ones you love both on and off the island. While there’s a certain uncanny valley vibe here that directors Joel Crawford and Januel Mercado brought with their previous film, The Last Wish, with themes surrounding time and not throwing your lives away, Forgotten Island does exist in it’s own bubble with it’s main characters making actions not strictly through their own sense of selfishness like Puss in Boots does in The Last Wish but also through their own sense of selflessness. That throughline is what makes this newest DreamWorks animated classic the real masterstroke, making for about as good of a spiritual successor to The Last Wish as anyone could hope for.

Once we get to the forgotten island, we are greeted to several male sidekicks and some other female additions to the cast. These are all individuals of the island that Jo and Raissa have interacted with before but can’t remember when. Without going too much into details with each character, they all serve their purpose here without having roles come across as too small or too large. I can’t guarantee you will laugh at every joke that comes from Dave Franco’s mouth as Raww or won’t see the true motives coming with Jenny Slate’s Batiba but that make enough of a unique presence that only adds to the friendship of our two main leads rather than take away from them. Don’t be surprise if you see Raww added in to the next brand new DreamWorks Animation logo.

The film is able to finish off on a strong note, with a third act that is both equally parts funny and tearjerkingly moving (Did I REALLY get misty-eyed during the climax?!). It’s able to tie up it’s messages and central arcs for it’s two main characters in a way that resolves everything in a satisfying bow that never feels manipulative, contradicts the themes of the story, or even breaks it’s own rules of the forgotten island. It even manages takes perhaps the most infamous end of second act/beginning of third act trope that has become a staple with animated films and actually manages to make it work in a way that I haven’t seen done properly since Wreck-It Ralph. Despite all the laughs, gags, and jaw dropping animation to be found here, it never loses it’s heart and soul and the third act proves it.

The animation is as ever bit of gorgeous as you would expect for a brand new 3D animation film released in 2026! The visuals are eye popping and blend perfectly with the colorful art style that the film presents itself with. And much like the other hyper stylized 3D animated films we have gotten in recent memory, it’s able to use it’s animation to create genuine unique set pieces and imagery that you could possibly never do in live-action. Even if you are someone that is getting sick and tired of the Spider-Verse-like animation style, you can’t deny that filmmakers are doing everything to do their advantages to make animation stand out among the best mediums in film.

The directing by Joel Crawford and Januel Mercado is excellent, it moves at a brisk and fast pace that makes every use it can of it’s 109 minute long runtime, it’s constantly funny throughout with plenty of amusing and creative gags throughout, the voice acting is on point, with H.E.R., Liza Soberano, Dave Franco, and Manny Jacintno standing out the best, and it’s Filipino representation is incredibly refreshing for a mainstream animated film, with plenty of love and care put into every single frame here. Also, having an end credits that shows off the photos of the cast and crew with their friends and families is genuinely heartwarming stuff.

I wouldn’t put Forgotten Island on the same level as Puss in Boots: The Last Wish as it does have some imperfections that weight it down a bit. It takes a second to kick into high gear, with the first reel containing all the tropes you expected with the trailer and a slightly rushed montage of Jo and Raissa’s friendship, the humor among the side characters won’t be to everyone’s tastes, and while it’s cool that the film is set in the 90s, I’m not entirely sure what difference it would make if you just set in modern day other than being free to include as many 90s references as possible and….the 1990s were cool I guess.

Forgotten Island makes for another home run to go with the other home runs that DreamWorks Animations has hit throughout the 2020s. Between the excellent The Bad Guys, Puss In Boots: The Last Wish, The Wild Robot, and this to the very good/great Dog Man and The Bad Guys 2, it might be time to start declaring DreamWorks as perhaps the best western animation studio at the moment. Regardless of your opinions on Megamind 2, Kung Fu Panda 4, or the other sequels from their lesser known franchises that no one remembers, there’s not enough animation studio out there that makes hits click as well as they did, making any recent shortcomings seem forgivable in the long run. Now please DreamWorks, just nail it with Shrek 5 next year and I no longer have to keep defending you!

Regardless, Forgotten Island is the best animated film of 2026 thus far and deserves your money and support in theaters!

Supergirl (2026) Movie Review- Punk Slop

Whenever you watch a movie that is based off of source material you are strongly familiar with, you tend to judge it on two different terms. 1.) Does it work as a faithful adaption of the source material? and 2.) Does it work as it’s own standalone film? Supergirl (2026), directed by Craig Gillespie, acting as the second film installment of the DC Universe, is inspired by Tom King’s comic book run of Supergirl: Woman of Tomorrow. At the time the comic released in 2021, it acted as a refreshing change of pace from your typical comic storylines centered around female superheroes. It boldly stripped down Kara Zor-El’s character as we know it, taking away her usual flawless looking girl power superheroine image in favor of turning her into a more relatable and pure messy “girlfailure” that is haunted by her tragic past. While most other Supergirl stories would have her spent her birthday saving the day and defying gender/sexist stereotypes, Woman of Tomorrow just has Kara celebrating her 23rd birthday with some good drinks. She then travels across the galaxy with her lovable dog Krypto where she would meet a young Ruthye Maryne Kroll that will lead her to a quest of revenge! (I basically just gave you the plot synopsis right there!)

While I’m not gonna say that Woman of Tomorrow is my favorite comic run of all time, it did stand strongly on it’s own as not just one of the better female-led superhero stories in recent memory but as a damn good story in it’s own right. And with James Gunn now in charge of the DC wheel, director Craig Gillespie (I, Tonya) at the helm of this project, the casting of Milly Alcock (House of Dragons) as the title character, and great source material to make a movie out of, you think this would be an absolute home run for DC Studios and female superhero movies in general. Right, right?! Well….you would unfortunately be wrong!

Supergirl (2026) is not without it’s own redeemable merits. Milly Alcock makes for a great Supergirl, feeling like the messy version of the character that was ripped straight off the pages of Woman of Tomorrow. Jason Mamoa is as reliable entertaining as Lobo as you would imagine him being. There’s some effective flashback sequences that tie back to Kara’s past that work quite well in their own rights, one of the few instances when the film allows itself to let those effective moments sink in. Also, David Corenswet is just as charming and delightful as Superman as he was last summer in the limited screentime that he has.

However, the film doesn’t so much feel like it’s trying to honor the spirit and heart of Woman of Tomorrow and feels more like it’s skimming through the pages to capture the “big” moments of the story in order to sell tickets. Or as if writer Ana Nogueira used ChatGPT to recite the plot summary of the comic in just three to four paragraphs. The punk rock style that worked very well in Superman (2025) doesn’t translate as hard here, much of the humor and action beats fall flat, the eye popping visuals from the comics are poorly realized here and not amusing to look at, and the villains (Just like in the comics!) are about as interesting as watching paint dry.

To the film’s credit, Supergirl (2026) does NOT play out as the goofy over-the-top Guardians of the Galaxy knock-off that the trailers themselves presented it as. It does takes itself quite seriously and very rarely undercuts any potential emotional beat in favorite of a funny one-liner. If anything, it feels more in line with Mad Max than Guardians of the Galaxy!

No, Supergirl is NOT Starlord! No, Lobo is NOT Drax the Destroyer! No, the main bad guy is NOT Ronan the Accuser (Although, even he was more memorable!) While there are definitely needle drops throw in (One of which is LAUGHABLY bad towards the end!), it’s no different than other needle drops in other superhero movies that doesn’t star Chris Pratt or Margot Robbie! (We can’t just claim that the Just a Girl happened in Captain Marvel all because Hooked on a Feeling happened in Guardians of the Galaxy!)

And it is that grim tone and edgy portrayal of Supergirl that is able to carry the majority of the film. Kara doesn’t strive to be this perfect girl that many Supergirls in the past are presented as. Instead, she’s strives on her imperfection and feels no need to apologize for it. Sometimes heroes can just let themselves loose and still act for the greater good. And it’s with her journey with Ruthye (despite a rather flat performance by Eve Ridley) that she holds similar confliction with her darker self about not letting vengeance consume you and sometimes it’s best to just not give yourself what you want because it will give you the exact opposite of that. This makes for a great reversal of Superman and an interesting way to examine the character without making her come across as strictly a female version of Kal-El.

Just too bad nearly ALL of that character work is thrown out by the time you reached the third act. Only then, we find Kara making decisions that complete contradicts her entire arc up to that point. Not to get too wrapped into spoilers but Supergirl’s decisions in her final confrontation is a COMPLETE 180 from the decisions she makes at the end of the comic. Whether that was intended to act as full circle moment for this edgy Supergirl, a subversion from most other superhero movies or changes to the book so fans wouldn’t be able to second guess everything beforehand is anyone’s guess. However, by the end, it felt incredibly unearned and left the climax feeling very less fulfilling than it otherwise should have been. (The Snyder cult is gonna have a RIOT with the end of this movie!)

From a technical side of things, the film is quite a mixed bag. While there’s some good set designs and the creatures and make-ups that looks incredibly fitting in such a dystopian world, the visuals and green screen are distractingly flat, feeling like it’s getting the very least of it’s $170 million budget that was given into production. Craig Gillespie has made some good movies in the past but between this and Cruella, he seems unqualified in directing high budgeted big feature films and should just stick to narrative-driven dramas like I, Tonya.

The editing between the flashback sequences and present day is quite distracting, the pacing grinds to a screeching hold in the second act, and while there are a handful of good tunes here, the original score by Claudia Sarne is nothing to write home about, failing to achieve even the ounce of the punk rock energy that John Murphy and David Fleming provided with Superman (2025). Even for a film that has a shorter budget than most superhero films nowadays, I was still expecting better.

The question some of you will ask is if Supergirl (2026) will work better for you if you have NOT read the novelization it’s based on?! It’s hard to say but that doesn’t change the shaking feeling of the film rather uneven quality, it’s bizarrely pacing and structure, and like a handful of chunks was cut out to trim the runtime down to an hour and 40 minutes for more theater showings. (I’m more than willing to believe those rumors about 30 minutes being cut directly from this film!)

Sure, you could bring up similar criticism in regards to Superman (2025) but that film was at least able to get it’s consistent message across involving kindness and warmth. It still felt like a complete vision from beginning to end, had plenty of standout moments in regards to character and emotion, and despite it’s rather overstuffed plot, it still was able to find a payoff for nearly every story element it sets up. With Supergirl (2026), you don’t get that vibe whatsoever, almost as if the film was directed by Lobo himself .

Supergirl (2026) is not a movie I hate or even dislike but it is the one that is bluntly shown the cracks of the armor of this new cinematic universe from Mr. Gunn and Mr. Safran this early on. While I am excited to see Alcock’s Supergirl teaming up with Corenswet’s Superman in next year’s Man of Tomorrow, DC Studios better bring their A-game this time next year or else the DCU could be over before it even gets a chance to settle in.

(At least Clayface looks good though.)

Other comments:

  • At my screening, I ran into Dan Murrell, a movie reviewer on YouTube and also previously worked for Screen Junkies, the channel that does the Honest Trailers. I was gonna get a pic of him to prove it but I had to leave immediately after the film ended because I had to go to the bathroom so bad.

  • Fyi, I don’t know if there’s a post credit scene or not. I heard reports that there originally was but it got cut for some reason. Just see for yourselves if you want.

  • This was probably the least packed early screening for a movie that I’ve ever been to. The only other one I can think of that was worse than this was for Night Swim, where the film press didn’t even bother to show up and they just gave us all the “good” seats because of that.

  • It’s very interesting how this makes for the SECOND recent film where the main bad guys are just a bunch of child traffickers. Between this and The Furious, it’s like cinema is trying to send a message to the US government to just release the files of a certain someone.

  • Also, see The Furious if you haven’t already! It’s f**king awesome! Best action film of the decade and best action film of it’s kind since The Raid 2!

Disclosure Day (2026) Early Movie Review- Spielberg’s Glorious Sci-Fi Comeback

2026 has certainly been the year of timely featured films, hasn’t it? No matter how big or small each film has been, one thing that nearly every big film released this year has in common is what it has to say in our current place in today’s world. Backrooms explored the hidden meanings of isolation and being away from others. Obsession showcases the sexual power fantasy of incels and the complete and utter nightmare that is the dating world for Gen Z. Project Hail Mary address the needed desire for the whole world to come together in a time of uncertainty to preserve their future. And for what we’ve seen and hear about Toy Story 5 and Spider-Man: Brand New Day, the former will be about how A.I. and iPads is currently consuming Gen Alpha’s brains when that should be the job of toys and the latter will see our favorite web swinger learning to reconnect to the human experience with those he left in the past. And now here comes Steven Spielberg coming in with the clutch addressing the topics of UFOs and hidden government intel with Disclosure Day, a film about how effing crazy we are to discover the truth that those in power have been trying to hide from us for so long.

While I can’t say for certain when Trump will have the guts to pull the trigger and declare a Disclosure Day of his own, I highly doubt whatever he has to reveal will capture the gravitas and pure aura of what Mr. Spielberg is about to release into movie theaters worldwide. Disclosure Day makes for a very fine return to the sci-fi realm for Steven Spielberg, acting as both a nice modern updated expansion of his sci-fi work with E.T. & Close Encounters of a Third Kind and the most engaging UFO mystery thriller that doesn’t star Ryan Gosling since Arrival. It’s a tremendously shot (minus some eye rolling CGI), sharply paced, brilliantly acted, and a emotionally engaging thrill ride that knows which raised questions to answer and which ones are better to leave ambiguous. While I wouldn’t say it’s the best Spielberg movie in the post-Kingdom of the Crystal Skull era (largely because I love The Fabelmans and The Adventures of Tintin too much), it works perfectly as the right kind of an original “event” film that Hollywood doesn’t tend to make anymore.

Premise: A weather meteorologist (Emily Blunt) and a targeted cybersecurity whistleblower (Josh O’Connor) race against time to reveal extraterrestrial life. Their efforts spark a global crisis as they fight a shadowy government conspiracy attempting to hide the truth.

To say straight up front, yes, the film does indeed acknowledge that aliens are real! (No, this is not a spoiler! It’s literally in the title of the movie!) Spielberg is clearly not pulling any punches on his beliefs that there are indeed non-human beings that have visited our planet Earth that we don’t know about just yet. Disclosure Day isn’t interested in the tiresome “Are we alone or not alone?” debate but more of “If we discover we aren’t alone, how will everyone respond?” debate. It’s the desire of revealing the truth or covering it up that is the main narrative driving force of the film, with the characters constantly questioning among themselves if the truth is better to be revealed to the whole world or better to be locked away inside.

Perhaps the most refreshing thing about Disclosure Day is how it refuses to go completely one-sided when it comes to the discussion of revealing something as massive as UFOs existing among us all. Yes, it would be a grand discovery that would change humanity as we know it but would that actually be a good thing? Sometimes the truth itself can be too much if you chose to set it free. Would the world be able to handle the truth as big as that? Would it be able to handle the consequences of what comes next? Would people even believe the truth that stares them straight in the face? Would it lead to more conspiracy theories than ever before? There’s no easy answer to any one of those questions and the film doesn’t pretend otherwise.

Spielberg is clearly very comfortable in sticking his toes back into the sci-fi swimming pool that he helped form back in the 1970s and 80s. While plenty will be said on the film’s bold narrative swings involving questioning government intelligence (Slight spoilers but Watergate might now actually be the SECOND biggest scandal that Mr. Nixon was a part of!) and having your religious faith hanging in the balance after such a glorifying reveal, Spielberg is clearly more interested with using Disclosure Day to evoke his childlike sense of wonder in all of us, imagining a more optimistic world that exists outside our skies, our animals that live among us, and even our own humanity.

Is that line of thinking quite naive in the year of our lord and savior 2026? Absolutely but man, if only the world were THAT simple, right? Imagine all it took was one simple day of releasing footage of unidentified creatures for the planet to be unified! Oh well, but hey, we also got some cool high-stake chase scenes and a haunting score from our old pal John Williams to go along with the ride so there’s that.

Spielberg has gotten quite the ensemble and they all fire on all cylinders here. Emily Blunt gives easily the best performance of her whole career, acting as the main narrative drive as a Kansas City tv meteorologist going through a wide display of emotions as she discovers the truth about who she truly is. Josh O’Connor stands strong as the co-lead of the picture and as a distinct voice that absolutely refuses to be silent for what he knows. Eve Hewson does great work as a former nun that questions if her faith in God could prepare her for what’s coming. Colin Firth fits comfortably as the film’s antagonist as he stands with the side that believes the truth will be too much for the world to handle. And also, Colman Domingo is simple Colman Domingo and I am MORE than okay with that.

From a technical and overall directing standpoint, this is about as well made as a modern day Steven Spielberg movie can possibly be. There is some painfully distracting CGI with the animals in the film (I pray to God those animals were NOT brought to life with the help of Gemini!) but everything else is quite sharp and given proper love and care. The sound design is exceptionally great, it moves at a steady yet consistent pace, John William’s score fits perfectly with the subtle tone of the film, and while the ending will surely be seen as ambiguous, the whole sequence in the third act is so perfectly executed that it makes the entire picture live up to it’s intended title. This is a film that is heavily reliant on the ending being nothing sort of stunning. Opinions will DEFINTELY vary on that but if you ask me, I say it delivers quite a bit.

Although I could’ve done with a tighter runtime and certain details that weren’t left so vague, Disclosure Day is a very entertaining and thrilling ride that is worth seeing in IMAX and makes for another fine addition to the “NOT a Marvel/Star Wars/IP movie” collection of the 2026 summer movie season (This, Obsession, and Backrooms would make quite a triple feature!). The cast is terrific, Spielberg is clearly having a blast making a movie about aliens again, and the screenplay aided by longtime veteran David Koepp (Jurassic Park, Spider-Man (2002) is able to have it’s cake-and-eat-it-too, operating as both a solid crowd pleaser and a layer filled character study that will have plenty of delightful “explain” videos made for it. Not every single question the audience have will be answered but the ones that does is given a proper answer while the ones it choses to leave in the balance might just be for the better, as one can only handle so much truth in one film.

I’m not gonna overhype it and tell you this is absolute S-Tier Steven Spielberg (To be fair, this is literally the same guy that was able to release Jurassic Park AND Schindler’s List in the EXACT SAME YEAR!) but Disclosure Day is more than enough proof that the godfather of blockbuster cinema still got plenty in the tank left in him and should still be treated with grace and dignity with each new film he releases. Even if not everybody will buy what Disclosure Day has to say about humanity and how the truth can lead to unity, it is bittersweet to see Steven actually try and perhaps that is what matters more than anything.

Just please don’t end your career making Hook 2, okay Steven!*

*(If anything, how about tell Peter to get off his butt and make The Adventures of Tintin 2 already! I need more Snowy the Dog in my life!)

Other comments:

  • Also, fyi, how the f**k do you have this take place in Kansas City, Missouri but NO reference to the Chiefs? You see the Royals logo here but NOT the Chiefs?

  • I get the Chiefs are leaving Missouri soon but come on Steven, they are still around and deserve a mention. It’s NOT the Royals that have won three championships this century!

  • And where is the shout out to Travis and Taylor, Steven? I guess Toy Story 5 will have to pick up the slack on that, I just have to imagine Jessie’s owner Emily is actually Travis.

  • It also odd that everyone seems to have the exact same stunned and shocked reaction whenever the the big reveals come in. If this was any other movie, you would expect that one comic relief guy to come out and be like: ALIENS ARE REAL?! F**K YEAH! I KNEW IT! or something like that.

  • Shout out to that one guy who asked: IS THAT AI?!

  • I’m more confident than ever that the sole reason that Spielberg chose to set this movie in my home state Missouri is because it’s considered the “SHOW-ME” state! If that’s the case, then brilliant!