In the house of God, a man who does not believe in God unravels the mystery of a priest’s death. During Good Friday services, a priest was stabbed to death in a small room where no one was supposed to be able to enter. There was only one entrance and exit. There were witnesses. And—logically speaking—the crime was impossible. Benoît Blanc, the famous detective with flowing white hair, steps into the darkness of the Gothic cathedral. His partner is a young priest struggling with a crisis of faith. Only these two “heretics” can reach the truth hidden within this locked room. The final installment of the trilogy was crafted by director Rian Johnson. This is not merely a mystery, but a profound and beautiful exploration of human confession and forgiveness.

The long-anticipated anime adaptation of Mobile Suit Gundam: Hathaway’s Flash, originally a novel by director Yoshiyuki Tomino published from 1989 to 1990, reframes the Gundam universe by prioritizing realism and human drama over superhuman elements. Directed by Osamu Murase, this new adaptation foregrounds the struggle between the corrupt Earth Federation Government in U.C. 105 and the insurgent group “Mafty,” highlighting the consequences of power and political resistance.

“War Machine: The Unknown Invader” marked Netflix's biggest debut of 2026, racking up 39.3 million views in the first few days after its release and claiming the top spot on Netflix's global rankings.

The film made over 160 million yen in its first five days and went on to draw 470,000 viewers, earning more than 700 million yen in total. For an indie animated movie to grow from limited screenings to a nationwide release and reach this level of success is extremely rare. This is easily one of the biggest commercial hits in recent years for a director coming from indie animation. While some fans of the original manga had mixed feelings about the bold changes, the film was widely praised for its impressive craftsmanship, setting the stage for its cultural impact.

Guillermo del Toro's dream project, which he has worked on for over 30 years, finally arrives as the Netflix Original Horror Gothic Drama ‘Frankenstein’. The film stands out for its stunning Baroque-inspired art direction and costumes. Jacob Elordi gives a powerful performance as the monster. The story deepens through its two-part structure. This review examines how the film explores “the emotion beyond rage.”

The live-action version of Kengo Hanazawa's manga “Under Ninja” tells the story of a secret ninja organization in modern Japan and the rebels who break away from it. Directed by Yuichi Fukuda, the film stands out for its strong action scenes and the cast's passionate performances. However, Fukuda's trademark comedy style clashes with the manga's original tone, disrupting the film's overall balance and introducing challenges that influence how the story unfolds.

Set in downtown Osaka, this film surprises viewers with its many twists as it follows a daughter searching for her missing father. While it first seems like a simple family drama, it soon reveals itself as a dark suspense thriller, similar to Bong Joon-ho's “Mother.” Satō Jirō's unsettling performance, Makita Ayaka's coming-of-age journey, and Shimizu Hiraya's strong presence come together to explore the boundary between good and evil.

Ambulance is a mid-budget action movie directed by Michael Bay, famous for his explosive visuals in the Transformers and Bad Boys series. This film is a remake of a 2005 Danish movie. Even with a $40 million budget, which is modest for Bay, the on-screen destruction feels much bigger. The movie drew attention for promising a return to Bay’s gritty action roots, similar to his 90s hits like The Rock and Armageddon. With new FPV drone shots, constant chase scenes, and tension inside the ambulance, the trailer set up expectations for a classic Bay blockbuster. But while the film delivers on action, it also brings some unexpected frustration.

Damien Chazelle, the youngest director to win an Academy Award for Best Director with La La Land, has released a new film that has shocked many viewers. Some might describe it as a “vulgar black comedy version of Singin' in the Rain,” depicting the shift from silent films to talkies in a deliberately crude, tasteless way. Still, this boldness and “filthiness” are so purposeful that they become strengths of the film.

Director Masaaki Yuasa’s latest film is a unique rock opera set in Japan’s 14th-century Muromachi period. By blending modern rock music with historical themes, the film gives a voice to those forgotten by history and sets a new standard for animated storytelling.