David Leitch has built a reputation for action filmmaking that prioritizes craft. The first trailer for “How to Rob a Bank”, set for a September 4 theatrical release. The film centers on a crew of bank rob bers whose animal-masked heists turn them into social media celebrities.

The social media angle gives the film an extra layer beyond the robbery itself. By turning its criminals into online celebrities, it taps into modern obsessions with attention, fame, and visibility.

The trailer handles this with enough wit to suggest the film is aware of what it’s doing without letting the concept overwhelm the story.

That visibility ultimately becomes a liability when a veteran FBI agent teams up with a software engineer to track them down. It’s a classic pursuit structure dressed in a contemporary setting, and the combination works.

A Cast That Delivers

Photo: Instagram

Nicholas Hoult leads the crew with an, unpredictable charisma that keeps him constantly engaging. Zoë Kravitz matches him with a composed, assured presence that commands attention without effort. Together, they anchor the trailer convincingly.

The supporting cast adds depth. Anna Sawai, Rhenzy Feliz, Pete Davidson, and John C. Reilly round out an ensemble that feels carefully assembled rather than arbitrarily star-packed. Reilly brings a textural quality to the movie that should prevent the film from tipping too far into self-parody.

Even in trailer form, the action feels meticulously crafted, with chases and confrontations that remain easy to follow without sacrificing intensity. The Pittsburgh street chase is coherent, you know where everyone is, what’s at stake, and what the geography costs. That discipline remains rare in modern blockbusters.

Rather than chasing bigger spectacle, “How to Rob a Bank” appears focused on delivering a sleek, tightly constructed genre thriller. The film positions itself as a tightly constructed thriller with a timely premise , and the trailer indicates it could be one of the more solid theatrical releases this fall.

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Summer 2026 is shaping up to be one of the most closely watched film seasons in recent years, with a mix of major studio releases and high-profile projects spanning multiple genres. It’s defined by scale, visibility, and audience expectation heading into the peak moviegoing period.

Here are the most anticipated summer movies.

 Supergirl — June 26

Director: Craig Gillespie. Writer:Ana Nogueira.

Cast: Milly Alcock as Supergirl/Kara Zor -El, with Jason Momoa, Matthias Schoenaerts, Eve Ridley, David Krumholtz and Emily Beecham.

The story follows Kara on an interstellar journey built around revenge and moral conflict, moving away from the traditional Earth-arrival origin structure in favor of a more character-driven narrative. It gives the film a more controlled dramatic shape than a standard superhero introduction and makes it feel like a real test of DC’s rebuilding effort rather than just another franchise placeholder.

The supporting cast suggests a production built with real dramatic weight, not just action spectacle. If the film lands, it could set the tone for the new DC era; if it doesn’t, it will be remembered as a missed chance to make something more cinematic than infrastructural.

The Odyssey — July 17

Director: Christopher Nolan.

Cast: Matt Damon, Tom Holland, Anne Hathaway, Zendaya, Robert Pattinson, Charlize Theron, Lupita Nyong’o, Jon Bernthal, and a large ensemble spread across the production.

After the Trojan War, Odysseus is forced into a long and dangerous journey home to Ithaca, where his wife Penelope and son Telemachus wait for him. Along the way, he faces mythic threats such as the Cyclops Polyphemus, the Sirens, Circe, Scylla and Charybdis, and the wrath of the gods, turning his return into a battle of survival, intelligence, and endurance. The story is less about simple travel and more about how far a man can be pushed before he makes it back to the life he left behind.

Christopher Nolan’s adaptation of Homer’s Odyssey extends naturally from his long-standing interest in fractured time, memory, and the cost of long journeys, What makes the project significant is not just the premise, but the scale at which it is being executed, a mythic action epic positioned as one of the summer’s defining theatrical events.

 Insidious: Out of the Further

Director and writer: Jacob Chase.

Cast: Amelia Eve as Gemma, with Lin Shaye returning as Elise Rainier, alongside Brandon Perea, Maisie Richardson-Sellers, Sam Spruell, Island Austin, and Laura Gordon.

Five films in, the “Insidious” franchise still holds a clear internal mythology, maintaining continuity in a genre where long-running horror series often fall into repetition. “Out of the Further” introduces Gemma, a young mother who discovers she can travel into the Further and, even more dangerously, bring what lives there back into the real world.

That shift suggests a more deliberate approach to expansion, because the film is not just recycling old family trauma; it is widening the universe while preserving the rules that make it work. The Further functions as a setting with defined logic and atmosphere and the smartest horror sequels are the ones that expand that space without breaking it.

 Moana

Director: Thomas Kail.

Cast: Catherine Lagaʻaia as Moana, Dwayne Johnson reprising Maui, with John Tui as Chief Tui, Frankie Adams as Sina, and Rena Owen as Gramma Tala.

The story follows Moana as she sets out to restore balance to her world, guided by the demigod Maui across an oceanic journey rooted in Polynesian mythology and cultural specificity.

Disney’s recent live-action adaptations have varied in their ability to preserve the spirit of their animated sources while adjusting to the demands of scale. “Moana” begins with material strong enough to survive the translation, but the real question is whether the production keeps the specificity and feeling that made the original resonate.

Voicemails for Isabella

Written and directed by Leah McKendrick, the film stars Zoey Deutch as Jill, Nick Robinson as Wes, Nick Offerman as Chef Bastien, and Lukas Gage as Arthur.

“Voicemails for Isabella ” moves away from a standard romance structure. It builds its story around absence and delayed communication, using voicemails as both a plot device and a structural choice that shapes how the relationship is experienced.

Building the romance through messages heard out of order, or after they were meant to be received, forces the story to show how people rebuild each other from incomplete information, that gives the film a more grounded psychological angle than most studio romances attempt, with the distance between characters becoming the subject rather than just the obstacle.

 72 Hours

Director: Tim Story.

Cast: Kevin Hart, Marcello Hernández, Mason Gooding, Teyana Taylor, Zach Cherry, Ben Marshall, Kam Patterson, Michael Mando, Mike Epps, and Andy Garcia.

“72 Hours” works within a familiar comedic structure built on a compressed timeline, escalating complications, and an ensemble cast navigating increasingly chaotic situations. The film’s premise centers on a forty-year-old executive who gets pulled into a wild three-day bachelor party after being accidentally added to a group text, which gives the comedy a simple, modern engine.

That setup is exactly the kind of thing movie audiences latch onto because it is easy to understand and easy to market. The compressed timeframe also gives the movie a built-in sense of urgency which is often what separates an efficient studio comedy from a forgettable one. What makes it work.

The strongest movie in this slate all come with more than release dates. They arrive with a director, a cast, and a story angle that tells readers what kind of experience they are buying into.

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Vertical released the trailer for “Couture,” the Paris-set drama from writer-director Alice Winocour. The film is slated for a theatrical release on June 26. Led by Angelina Jolie, “Couture” follows Maxine, an American filmmaker who arrives in Paris during Fashion Week. A professional assignment during Fashion Week gradually becomes a personal reckoning. As Maxine crosses paths with women of different ages and backgrounds, each grappling with their own claim to autonomy, she finds herself drawn into a quiet love story with a past collaborator. The professional visit becomes a personal reckoning with the choices that have shaped her life.

Photo: Vertical

The film premiered at TIFF in the Special Presentations section before Vertical picked it up for North American distribution. Runtime is approximately 103–106 minutes.

With “Couture,” Winocour continues her focus on female-centered stories about survival. In her previous film, “Proxima,” Alice Winocour examined the personal cost of ambition through a mother preparing for a space mission away from her daughter. “Paris Memories” follows a woman rebuilding her life in the aftermath of a terrorist attack, further extending Winocour’s focus on female characters navigating trauma, resilience, and emotional recovery.

Here, the fashion world becomes her latest lens, a controlled, image-driven environment where the line between public spectacle and private fracture is increasingly thin.

Photo: Instagram

Jolie, who also produces, said the film is about life rather than loss, especially in how it approaches illness. “Too often, films about women’s struggles, especially cancer, talk about endings and sadness, rarely about life,” she noted. “Alice has made a film about life, and that’s why the sensitive subjects it addresses are handled with such delicacy.”

The supporting cast features Louis Garrel, Ella Rumpf, Garance Marillier, Anyier Anei, and Vincent Lindon. “Couture” opens in theaters via Vertical on June 26.

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