Movies Update: A life lived on film.
Plus, ‘Moana’ is baaaack.
Movies Update
July 10, 2026

Hi, movie fans!

The big release this week is the live-action “Moana,” and our critic Alissa Wilkinson is unequivocal about this remake: “the most pointless, and perhaps not accidentally the worst” of the Disney live-action outings. Yeesh.

She can, however, highly recommend the new Ross McElwee documentary, “Remake.” If you’re not familiar with his first-person work, just know that his “Sherman’s March” (1986), in which he winds up rethinking his dating life, has influenced everything from reality TV to Nathan Fielder. “Remake” is ostensibly about Hollywood efforts to turn “Sherman’s March” into another film or perhaps a TV series, but is really about his past and the drug-overdose death of his son.

Wilkinson writes that the new movie is “an elegy, a gift and something of an apology to his lost son. As such, it’s devastating. As a meditation on memory and the passage of time, it is stunning.”

Also a critic’s pick is “The Invite,” a biting relationship comedy that has been in theaters but expands much more widely this weekend. My colleague Clarissa Cruz spoke with the psychotherapist Esther Perel about her role as an adviser to the director and co-star, Olivia Wilde.

Perel got involved because, as she put it, “art can do things that therapy cannot.” She consulted on the script and was available for Zoom calls when the writers and the cast met for an intense two weeks of workshops. Wilde told us, “The movie has her DNA all over it.”

Whatever you decide to watch, enjoy the movies!

CRITICS’ PICKS

In a film scene, a young boy squints as he holds a fork in front of one eye as if he's doing a vision test.

Music Box Films

Documentary Lens

In ‘Remake,’ a Life Documented on Film Prompts Painful Questions

Ross McElwee (“Sherman’s March”) reconsiders footage of himself and his family, including a son who died of an overdose.

By Alissa Wilkinson

A man in a black and white photograph stands with a boombox amid buildings crumbling to rubble.

Fouad Elkoury/Icarus Films

Critic’s Pick

‘Do You Love Me’ Review: Images of a Beirut Beyond War

The director Lana Daher creates a complex emotional portrait of Lebanon with found footage assembled into a 75-minute film of memory, trauma and life.

By Nicolas Rapold

MOVIE REVIEWS

A young woman with long hair smiles as she stands on a boat, holding a rope. There’s a lush green island and a blue ocean in the background on a sunny day.

Disney Enterprises Inc.

‘Moana’ Review: It Doesn’t Go Far

This live-action remake of the 2016 animated film has nothing to add to the original, and winds up subtracting instead.

By Alissa Wilkinson

Five people stand side-by-side outdoors, smiling and looking off-camera. From left, a young man in a pink jacket, an older man with white hair and glasses in a plaid shirt, a young man in a dark graphic T-shirt, a man with a goatee in a Kangol hat and a young woman in a floral dress. Palm trees and buildings are visible in the background.

Sony Pictures Classics

‘Gail Daughtry and the Celebrity Sex Pass’ Review: Hamming It Up

A small-town naïf heads to Los Angeles to bed her celebrity crush (Jon Hamm) in this bonkers sex comedy.

By Jeannette Catsoulis

A person with a distressed expression and disheveled hair peers through a jagged hole in a wooden door, their face partially illuminated and one eye wide open, creating a tense and eerie atmosphere.

Warner Bros. Pictures

‘Evil Dead Burn’ Review: Stop, Drop and Kill

A dark spirit boils and sears its way through an unhappy family in the latest “Evil Dead” installment.

By Beatrice Loayza

An image of a black-and-white man onscreen, with the silhouette of a man in front of it.

Obscured Releasing

‘Westhampton’ Review: A Humiliating Return

They say that you can’t go home again; in this movie, a young filmmaker learns that the hard way.

By Glenn Kenny

A woman in a white uniform sits in the passenger side of an old green convertible.

Lidia Nikonova/IFC

‘Night Nurse’ Review: An After-Hours, Erotic Con

In this thriller, a phone scam is being run out of an elder care facility. Eleni, a skittish but observant nurse, quickly becomes enmeshed with two others in the grift.

By Lisa Kennedy

A man in a suede coat sits on a bench with a woman in a chador. They both look off-camera.

Marie Gioanni/Greenwich Entertainment

‘Reading Lolita in Tehran’ Review: Seeing the Words Clearly

A film adaptation of Azar Nafisi’s celebrated memoir of teaching literature in a repressive Iran suggests that the story might be more suited to the page.

By Ben Kenigsberg

A boy in a black muscle shirt looks out over Medellín.

Film Movement

‘Barrio Triste’ Review: Bad Boys With a Movie Camera

This experimental and earnest film from the Colombian American photographer Stillz follows a group of wayward boys in 1980s Medellín.

By Natalia Winkelman

ANATOMY OF A SCENE

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Anatomy of a Scene

How Olivia Wilde Builds Comic Tension in ‘The Invite’

The director and actress discusses a tense scene from her dinner-party comedy, in which she stars with Seth Rogen, Penélope Cruz and Edward Norton.

By Mekado Murphy

NEWS & FEATURES

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Illustration by Leesa Allmond; Videos, via TriStar Pictures

Perilous and Preposterous, ‘Cliffhanger’ Brought Stallone Back From the Brink

Renny Harlin’s high-altitude thriller starring Sylvester Stallone and John Lithgow was peak early 1990s action extravagance.

By Maya Salam

People sitting in hospital beds watch a movie in a darkened room.

Dominic Whisson for The New York Times

Health Screenings: Where Hospitals’ T.L.C. Includes a Movie Theater

A British nonprofit helps patients escape the stress and boredom of ward life by watching the latest blockbusters.

By Alex Marshall

A man in a leather jacket and a woman in a slinky, glittering black dress stand near each other in a tiled space.

Big World Pictures

Rewind

‘The Hole’: Urban Apocalypse as Tuneful Chamber Drama

Tsai Ming-liang’s 1990s doomsday film gets its first theatrical run with a new 35 mm print at both Film at Lincoln Center and Metrograph.

By J. Hoberman

A close-up portrait of Louise Lasser wearing braids and smiling at the camera.

John G. Zimmerman Archive, via Everett Collection

Louise Lasser, Star of TV’s ‘Mary Hartman,’ Is Dead at 87

She began her screen career in Woody Allen movies (he was also her husband), but she was best known for her portrayal of the Ohio housewife in the pigtails and puffed sleeves.

By Anita Gates