{"id":1811984,"date":"2026-07-03T19:26:12","date_gmt":"2026-07-03T19:26:12","guid":{"rendered":"https:\/\/celebrity.land\/pt\/?p=1811984"},"modified":"2026-07-03T19:26:12","modified_gmt":"2026-07-03T19:26:12","slug":"new-movies-to-watch-this-weekend-see-minions-monsters-in-theaters-rent-obsession-stream-enola-holmes-3-on-netflix","status":"publish","type":"post","link":"https:\/\/celebrity.land\/pt\/new-movies-to-watch-this-weekend-see-minions-monsters-in-theaters-rent-obsession-stream-enola-holmes-3-on-netflix\/","title":{"rendered":"New movies to watch this weekend: See \u2018Minions & Monsters\u2019 in theaters, rent \u2018Obsession,\u2019 stream \u2018Enola Holmes 3\u2019 on Netflix"},"content":{"rendered":"\n
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Welcome to Trust Me, I Watch Everything<\/strong><\/a>, a weekly guide to all the new movies out each Friday and where to find them. This week’s buzziest release is Minions & Monsters, <\/em>the third Minions <\/em>film and seventh entry in the Despicable Me <\/em>universe. Alternatively, you spend America’s 250th birthday with Young Washington, <\/em>a biopic about one of America’s founding fathers.<\/p>\n

If you’d rather have a movie night at home, you can rent or buy a slew of new releases, including Obsession, <\/em>the breakout box-office sensation<\/a> and super-creepy horror flick.<\/p>\n

And on streaming services you’re likely already paying for, the third entry in Millie Bobbie Brown’s Enola Holmes <\/em>franchise debuts on Netflix, while the sequel to Ready or Not <\/em>with Samara Weaving hits Hulu.<\/p>\n

Intrigued? Let’s get into it!<\/p>\n

\"\ud83c\udfa5\" What to watch in theaters<\/strong><\/h2>\n

The biggest release:<\/span> Minions & Monsters<\/em><\/h3>\n

Why you should take your kids to see it:<\/strong>\u00a0This $5 billion-dollar franchise for children didn’t\u00a0have<\/em>\u00a0to make a feature-length love letter to making movies that’s as full of references from the silent era and the Golden Age of Hollywood as it is to more modern allusions like Spielberg movies and a literal George Lucas cameo, but I’m glad they did. The nods to George M\u00e9li\u00e8s, Citizen Kane,<\/em> Metropolis<\/em> and the antics of Buster Keaton and Harold Lloyd may be lost on your toddlers, but film critics, and hopefully parents at large, should appreciate them. The Minions are now the kings of Hollywood,<\/a> and they’re paying their respects!<\/p>\n

Minions & Monsters, <\/em>the third standalone Minions <\/em>film, but seventh overall in the Despicable Me <\/em>universe, tells the story of how the Minions conquered Hollywood, became movie stars, lost everything, unleashed monsters onto the world and then banded together to try to save the planet from the mayhem they had just created. It’s Babylon <\/em>for babies; those yellow guys are\u00a0Singin’ in the Rain<\/em>!<\/p>\n

As someone mostly aware of the Minions through pop culture osmosis rather than actually watching the previous films, I still found most of the jokes that involve shoving these creatures into cinema history to be clever, funny and kind of impressive. They work as slapstick for children, but have more value to the cinephile parents whose kids dragged them to the theater.<\/p>\n

When the movie shifts gears to focus on the actual plot and the titular monsters that were promised, it’s less engaging and more slapdash, but I doubt the intended audience of children will mind. There are a couple of off-color jokes that arguably go too far, including a beheading gag that was maybe a bit much for a movie that I took my 3-year-old to, but it’s more confusing than upsetting. There are so many subplots that the throughline is hard to find, but those sequences serve a dual purpose in referencing the types of movies being paid homage to here.<\/p>\n

As a former cinema studies major,\u00a0Minions & Monsters\u00a0<\/em>played to my specific interests, and I appreciated that my kid and I could both have fun watching it. Since these movies inherently owe a debt to silent-era comedy, making that connection explicit within the film itself is meaningful and may even inspire kids to seek out the classics; nobody tell them the Minions don’t appear! Between Minions & Monsters <\/em>and Jackass: Best and Last<\/em><\/a>, <\/em>the legacy of Buster Keaton<\/a> is alive and well.<\/p>\n

What other critics are saying:<\/strong> Appealing to the film dorks paid off, as it’s the best-reviewed entry in the series! The Los Angeles Times’ Amy Nicholson<\/a> writes, “I’ll admit, I snorted the first time I saw a TikTok of teens gussied up in suits to see a Minions movie. But after watching Minions & Monsters<\/em> make nods to Metropolis<\/em> and Casablanca<\/em>, I understand.” Adds Damon Wise at Deadline<\/a>: “The whole thing is an anarchic delirium reminiscent of the kind experienced by Bart and Milhouse after drinking an all-syrup Super Squishee; thankfully, the comedown is quick and relatively painless.”<\/p>\n

How to watch: <\/strong>Minions & Monsters<\/em> is now playing in theaters nationwide<\/a>.<\/p>\n

Get tickets<\/a><\/p>\n

Another option: Young Washington<\/em><\/h3>\n

Why you should skip it:<\/strong> It’s July 4 weekend, so here comes a patriotic pic with quite the logline: “Before he led a nation, George Washington was a young soldier thrown into a global conflict. With alliances crumbling and war closing in, he must choose who to trust and confront the leader he’s becoming.”<\/p>\n

But Young Washington <\/em>is one of those biopics with a script so on-the-nose that it feels like its characters are aware that what they’re doing is Very Important and will one day be part of History. It also engages in the arguably more annoying trope of highlighting a key detail everybody already knows and hammering it into the ground (we’ve all heard the cherry tree story, so little George is always chopping down trees). It more often than not plays like a movie that 30 Rock<\/em>‘s Jenna Maroney would star in as George’s mother \u2014 Mary Louise Parker in the role is similarly jarring.<\/p>\n

That said, it’s surprisingly competent in the action department, if only briefly, with battle sequences that are well-shot and edited, and production design that’s convincing despite the presumably smaller-than-your-average-biopic budget. That is, unfortunately, undone by the clear use of generative AI during these sequences, which predictably sticks out like a sore thumb.<\/p>\n

The problem is otherwise almost entirely on a script level. The dialogue is full of clich\u00e9s that characters repeat over and over again; someone was particularly proud of a line during a chess game about pawns being able to take knights.<\/p>\n

Young Washington <\/em>is OK enough to become a staple on CRT televisions wheeled into middle-school classrooms when the history teacher has had a bit too much to drink the night before. It’s not too concerned with legit history, though, and would rather just tell an inspirational story in a way that reads like CliffsNotes.<\/p>\n

What other critics are saying: <\/strong>Reviews are split pretty evenly down the middle. Deadline’s Pete Hammond<\/a> calls it “sanitized,” but notes that “even if this movie feels like it more comfortably belongs on the History Channel instead of a wide summer break in theatres, it fills the bill for patriotism over this Fourth of July weekend.” Owen Gleiberman at Variety<\/a> writes, “Young Washington<\/em> is just competent enough to create that crisp tug of schoolkid patriotism the books we read as children provided. Nothing wrong with that, as long as you’re not an adult confusing feel-good heroism with the lessons of history.”<\/p>\n

How to watch: <\/strong>Young Washington<\/em> is now playing in theaters nationwide.<\/a><\/p>\n

Get tickets<\/a><\/p>\n

\"\ud83d\udcb8\" Movies newly available to rent or buy<\/strong><\/h2>\n

The biggest release:<\/span> Obsession<\/em><\/h3>\n

Why you should watch it: <\/strong>Ever since Jordan Peele broke the glass ceiling and then rolled around bloody in the shards, other sketch comedians have begun making their way to the horror genre, most notably the Whitest Kids U’ Know’s Zach Cregger, the man responsible for Barbarian <\/em>and the Academy Award-winning Weapons.<\/em><\/p>\n

Then came the YouTubers, like Markiplier, whose self-distributed Iron Lung <\/em>immediately changed pretty much everything we know about how box-office hits work, and YouTube film critic Chris Stuckmann, whose crowdfunded Shelby Oaks <\/em>was bought and distributed by Neon.<\/p>\n

Enter Curry Barker, a hybrid sketch comedian and YouTuber who gained fame after self-distributing a found-footage horror film on YouTube called Milk & Serial.<\/em> His debut feature film, Obsession, <\/em>has become the <\/em>box-office story of the year, earning nearly $400 milion worldwide so far on a budget of just $750,000. It continues to inspire headlines about the longstanding box-office milestones it’s broken, including becoming the first movie released outside the Christmas window to increase its earnings for three consecutive weekends since Steven Spielberg’s E.T. the Extra-Terrestrial <\/em>way back in 1982. But back to the movie itself.<\/p>\n

Obsession <\/em>is a pitch-black horror-comedy that takes a Tales From the Crypt <\/em>or The Twilight Zone-<\/em>sized “be careful what you wish for” monkey’s paw tale and brutally stretches it to feature length. In the film, Bear (Michael Johnston) is firmly in the friend zone with a girl he’s madly in love with, Nikki (Inde Navarrette in a fantastic, star-making debut performance), and can’t bring himself to let his feelings be known, no matter how hard he tries. In desperation, he breaks a “One Wish Willow” and wishes for her to love him “more than anything in the world.” He gets exactly what he asks for and soon discovers that some desires come at a sinister price.<\/p>\n

The extremely dark comedy comes from the fact that, as it becomes clearer and clearer that something is wrong with Nikki, at every turn, “nice guy” Bear ignores obvious warning signs and is happy to have his way, no matter what the real Nikki wants, which surely is not this. He’s happy to go on having sex with and building a life with this woman who, before the wish was made, we’re told was completely uninterested in him.<\/p>\n

It’s a movie that takes aim at a certain breed of selfish man who couldn’t care less about a woman’s personhood and agency as long as he gets what he wants, pushing that idea to extremes over and over again. She duct-tapes his door shut so he can’t leave, and he just pries it open as if it’s no big deal. By the time she gets rather \u2026 let’s say jealous, when he’s in a car with another woman, he may have finally learned his macabre lesson.<\/p>\n

The film is at its best whenever Navarrette is onscreen. Her transcendent performance from the sweet and kind girl next door to the demonically obsessive, jealous, codependent-to-a-fault girlfriend is chilling, and she really nails the assignment.<\/p>\n

The most upsetting aspect of Obsession <\/em>is an element relegated mostly to the background: how Barker makes clear that something else has taken control of Nikki and implies that the real Nikki is stuck in a Get Out-<\/em>like sunken place. The bits that really get under your skin are when the real Nikki breaks through for a fleeting moment, only to go back to her wish-fulfillment mode. I wish the film dove deeper into those terrifying details rather than gory provocations and uncomfortable laughs. That said, those scenes are appropriately messed up, and the jokes are pretty funny.<\/p>\n

Obsession <\/em>may become a little repetitive by the end of its nearly two-hour runtime, but it’s still a worthy horror debut that plays like an announcement of multiple talents to watch despite some pacing issues. At 26, Barker has already lined up several high-profile projects, including a remake of The<\/em> Texas Chainsaw Massacre. <\/em>Expect to see newly anointed scream queen Navarrette dominating the genre for years to come.<\/p>\n

What other critics are saying: <\/strong>It’s easily netting the best reviews for a horror movie in quite some time. The AV Club’s Monica Castillo<\/a> writes, “With a simple premise and one unassuming wish, Barker immerses his audience in a dark scenario that only escalates in tension and carnage. It’s the kind of horror movie that makes a viewer uneasy almost from the start and doesn’t let up.” William Bibbiani at TheWrap<\/a> declares, “Barker understands, if nothing else, that everything he’s doing is wrong and people need to suffer for trying to enjoy it. And if that includes the audience, well \u2026 it’s no wonder.”<\/p>\n

How to watch: <\/strong>Obsession<\/em> is now available to rent or buy on Apple TV<\/a>, Prime Video<\/a> and other VOD platforms.<\/p>\n

Rent or buy<\/a><\/p>\n

Another big release: The Devil Wears Prada 2<\/em><\/h3>\n

Why you should watch it: <\/strong>Legacy sequels have become so commonplace in Hollywood that they’re no longer just for the mega-budget genre pictures: Even The Devil Wears Prada, <\/em>a beloved workplace comedy that earned Meryl Streep an Oscar nomination for her iconic turn as Miranda Priestly, a character based on real-life Vogue editor Anna Wintour, gets a chance to catch up with its characters 20 years later.<\/p>\n

The worst legacy sequels play like Super Bowl commercials, in which actors return as characters we love, but in a way that feels unsatisfying and a little desperate, like when Ellie Sattler, Ian Malcolm and Alan Grant<\/a> turned up earlier this year to sell us on Xfinity.<\/p>\n

Thankfully, The Devil Wears Prada 2 <\/em>feels like it could be the model going forward, as it updates its story for a modern era in a way that’s unexpectedly smart, clever and sadly, maybe even a little too <\/em>real, especially for audience members who happen to work in media. It ends up being a movie about the death of print journalism, the rise of algorithmically driven “content” and how every institution is being gutted to make a few more dollars for the billionaires in charge. It’s also very funny, despite opening with Anne Hathaway’s Andy Sachs getting laid off from her job as an investigative reporter at a print newspaper.<\/p>\n

Meanwhile, at Runway, the magazine where Andy was Miranda’s assistant 20 years ago, her former boss is ushering the company through a very 2026 PR crisis that requires someone like Andy to come in and fix it. This leads them to reencounter Emily (Emily Blunt), who now works at Dior, flipping the power dynamic. Priestly needs to grovel to get Dior’s approval, since the company relies on Dior’s ad money. And because it’s 2026, the magazine barely exists, and nobody clicks on its online-only content \u2014 except for other culture reporters and writers, Priestly notes at one point, which is such a specific barb at Twitter-addicted journalists that you’d think it was written by one.<\/p>\n

The Devil Wears Prada 2 <\/em>uses the blueprint of a 20-year-later sequel to provide an earnest update on the industry it famously depicted back in 2006, and that honest approach goes a long way. The movie makes a meal out of material that sounds broad and groan-worthy on its face \u2014 like Miranda Priestly being subjected to more stringent HR oversight \u2014 because the writers and the audience both know the characters well enough for it to play as genuine instead of schticky. It’s hard not to laugh at Priestly, wondering if her missing assistant was “human trafficked” and also being aware that she’s not allowed to say things like that anymore. “She used to throw her coats at people,” one of the new interns says.<\/p>\n

It also functions as a poignant love letter to the people still putting in the work that used to make up magazines, now found in bite-size pieces on your TikTok feed. Its ultimate message is that journalism still matters, which is a heartening one in an era rife with misinformation and when trust in the media hits all-time lows, and one you likely didn’t see coming from a movie about the inner workings of a fashion magazine.<\/p>\n

The Devil Wears Prada 2 <\/em>manages to do all of that while being as charming and fun as the first film, in a well-made movie that cares enough to travel to the locations depicted. What a concept! Meryl Streep, Anne Hathaway, Stanley Tucci and Emily Blunt all don’t miss a beat slipping back into the roles, and it’s nice that those characters actually had something to say rather than sell us the latest home phone and internet package. It may be even better than the original.<\/p>\n

What other critics are saying: <\/strong>Reviews are strong, but there are some detractors. The Telegraph’s Robbie Collin<\/a> writes that “Hathaway and Streep are at the respective peaks of their comedic powers.” Jake Coyle at the Associated Press,<\/a> however, writes, “I wouldn’t begrudge anyone who just wants to see \u2026 these actors together again. But the movie, well stocked in Prada, could have used a bit more of Streep’s unflappable devil.”<\/p>\n

How to watch: <\/strong>The Devil Wears Prada 2 <\/em>is now available to rent or buy on Apple TV<\/a>, Prime Video<\/a> and other VOD platforms.<\/p>\n

Rent or buy<\/a><\/p>\n

But that’s not all \u2026<\/strong><\/h3>\n
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