It says something when a film enters into an already crowded genre, but doesn't just fit in nicely, it ends up becoming the defining film of that genre. When people think of World War II movies, chances are they'll think of this one, because of the beginning, the middle, and the end. Yep, the whole thing is perfect, it's a masterpiece, and it's a sin if you've never seen it.

Taylor Sheridan has had a big year so far with multiple new releases, including a pair of Yellowstone spin-offs in Marshals and Dutton Ranch. The former stars Luke Grimes as a U.S. Marshal after leaving ranch life behind, and the latter centers on Cole Hauser and Kelly Reilly as Rip and Beth, getting into all sorts of trouble. Both shows have shattered records on their way to becoming two of the biggest Paramount Plus premieres ever — the streamer is definitely getting the most out of Taylor Sheridan before he leaves for NBCUniversal in a few years. In addition to these projects, Sheridan is hard at work on new seasons of Tulsa King (starring Sylvester Stallone), Landman (starring Billy Bob Thornton), and Mayor of Kingstown (starring Jeremy Renner), but he’s also returning to filmmaking sooner than most fans realize.

Perhaps the last movie that needed to be Nolanized was Total Recall. The goofiness is inherent to what made that film such a hit with audiences and critics. Turning it into a self-serious meditation on the refugee crisis proved a fatal decision, and viewers noticed immediately. The Total Recall remake didn't do very well at the box office, nor did it appeal to critics and audiences. It remains one of the least remembered big-budget Hollywood movies of the post-Nolan era, where every film had to be dark and grounded. Some, like Gareth Edwards' Godzilla, worked. Others — like Total Recall and Snow White and the Huntsman— not so much.

The last few years have been a roller-coaster ride for Ridley Scott, who has had a couple of big-time box office misfires with Napoleon (starring Joaquin Phoenix) and Gladiator II (starring Paul Mescal). The former was much more divisive than the latter — after being heavily criticized for historical inaccuracies, Napoleon grossed only $222 million at the box office against a $200 million budget, leaving it more than $100 million short of its break-even point. With a $250 million budget, Gladiator II also fell short of its $500 million break-even point by turning in only $460 million globally, and the lack of Russell Crowe in the film certainly made fans more hesitant to show up to theaters. Scott has suffered a few misfires in the historical epic department, but this summer, he’ll officially return to the genre he has helped revolutionize.

There couldn't have been an actor more suited to the role of John Dutton on Yellowstone than Kevin Costner. And despite the ups and downs, the back and forth, the will-they-won't-they between him and the show's creator, Taylor Sheridan, Yellowstone turned out to be just the sort of hit that Costner needed at this stage of his career. The show's success gave him the confidence to mount his own Western epic, Horizon: An American Saga, which remains stalled after the underperformance of the first installment. He spent a considerable amount of his Yellowstone earnings on self-financing the epic Western series, not to mention the fact that he effectively gave up the chance to return for more seasons of the show by focusing on his own project. But Costner and the Western genre go hand-in-hand; some of the best and most underrated movies of his career are Westerns.

Netflix is continuously striving to enchant viewers with one great streaming film after another. Earlier this year, Matt Damon and Ben Affleck’s The Rip proved a hit for the platform, garnering the attention of millions of viewers around the world. Coming up on their slate are David Fincher's The Adventures of Cliff Booth and Greta Gerwig's Narnia adaptation.

Despite a glowing track record as Thor in the Marvel Cinematic Universe, Chris Hemsworth has had a rather difficult time trying to grab a piece of pre-existing franchises. The actor played a memorable supporting role in Paul Feig's Ghostbusters: Answer the Call, which underperformed at the box office for reasons other than its quality. He also played a supporting role in George Miller's long-awaited prequel film Furiosa: A Mad Max Saga, which underperformed commercially as well. He also voiced Optimus Prime in Transformers One, which you probably forgot came out less than two years ago. However, arguably his least successful attempt to join a new franchise remains Men in Black: International.

Denis Villeneuve has given us some amazing movies, especially in the sci-fi genre. Arrival, Blade Runner 2049, and the Dunefilms — with Part Three coming out later this year — can easily be counted among his most influential works. The director’s penchant for larger-than-life visuals and intimate storytelling elevates each movie and speaks to millions of people around the world.

In a textbook counter-programming move this weekend, a period drama aimed at older audiences delivered a top-10 debut at a domestic marketplace dominated by blockbusters for Gen Z crowds. This past weekend, the holdover horror blockbuster Obsession delivered its second successive revenue uptick and passed the coveted $100 million mark at the domestic box office. Its trajectory has been unprecedented, and it's safe to say that the microbudget sensation is one of the greatest box-office success stories of the modern era. It was joined this weekend by fellow horror title Backrooms, which shattered expectations and broke numerous records in its debut frame. Also directed by a man in his 20s who honed his skills on YouTube before leaping to feature filmmaking, Backrooms delivered a grand debut in the same league as Christopher Nolan's Oppenheimerand Denis Villeneuve's Dune: Part Two.

Disney has built empires on familiar IP, but every so often, something genuinely original emerges from the studio that takes on a life of its own. In this case, that success story began with a theme park attraction. The original ride opened at Disneyland in 1967 and holds a special place in Disney history as the last attraction personally overseen by Walt Disney before his death. Decades later, Disney took that beloved ride and made it into a movie, which turned out to be a breakout hit and spawned one of the most recognizable movie franchises of all time.

The X-Men are officially becoming one of the crowning jewels in Marvel's future again, especially now that Disney has free reign to use them where and when they see fit. That also means more mutants will get their time in the sunshine, with some returning via liva action, some via animation, and some could bounce between both. But one of the most intriguing characters is Magik, one of the fan favorites from the comics who, somehow, has only had one major live-action appearance to date, but now, Marvel has shown off its new iteration of the character.

Shattering its already outrageous pre-release box-office projections, the new horror film Backroomsis breaking records as we speak. It's also working hand-in-hand with the holdover hit Obsession to launch what seems like a new era in not just horror, but in mainstream Hollywood as a whole. No one would have expected a movie made by a 20-year-old debutant to gross more thanOppenheimer in its opening weekend, but that's exactly what's happening with Backrooms. Directed by Kane Parsons, the film was initially eyed to gross around $25 million in its domestic debut, a number that subsequently ballooned to around $45 million, and then $75 million. Don't be surprised if it hits the $90 million mark come Monday's final report.