This is a list and review of the movies I’ve seen that were released in 2026. Keep in mind, there are plenty of movies I haven’t seen this year, especially in the horror category. I should have watched the new Star Wars movie, The Mandalorian and Grogu, mainly because I am a long-time fan of the franchise and I practically grew up with it. However, the reviews of how inoffensive it is made me uninterested in seeing it. This list is currently up to August 9th, 2026, and I will update it with every movie I see past this. If I enjoy writing this, I will try to watch more movies next year while I’m in college. Enjoy, and don’t get too angry at my opinions.
12. Michael
I don’t like this movie. This will be the only film that I don’t review fairly, and I will be very biased against it. The amount of pure infuriation I got from this film’s response is beyond my writing ability. First of all, this is not a real biopic. The plot revolves around Michael Jackson being an amazing specimen, and everyone around him antagonizing him, like his father, who was apparently the villain of his whole life. According to this film, Michael was a saint and did no wrong. Unless he actually was Gandhi when he was alive, is this an accurate depiction of a real human being?
This movie is virtually a music video. Most of the audience praises this movie because “The music is great!” Yeah, it’s no secret that Michael Jackson has a good discography. Why spend twenty dollars at a movie theater to watch what could’ve been three YouTube searches? The only thing worth complimenting in this bastardization of art is the actor’s portrayal of his uncle. It’s an accurate imitation, but the script forces him to play Michael as a perpetually innocent child, which feels a little much. Overall, the performance isn’t the main complaint.
This movie is a product of the Jackson Estate, meant to milk as much of his fandom’s money as possible into their already endless wallets. They saw the success of Bohemian Rhapsody and other musical biopics and saw an opportunity to praise their golden child while boosting his public image by selling to naive consumers. Somehow, they gained the support of a new Gen Z group that accepts this blind ignorance being enforced and boycotts any documentary impartially made to illustrate Michael’s infamy. The movie itself has very mediocre enjoyment, and the plot is decent enough, but what it stands for easily puts it at the bottom of my list. Of course, they are making a sequel, clearly because they saw this as an Avengers-level sell, and I’m willing to bet they won’t mention most of his controversies from later in his life. This film worries me for the state of cinema.
Final Count: 3/10
11. The Super Mario Galaxy Movie
It is insane that the kids’ movie, said to be “Worse than AI” or “The YouTube shorts of cinema,” is somehow more enjoyable than the Michael Jackson biopic. I will start by saying that, although I have not played the Mario Galaxy game, I am a casual Mario and Nintendo fan. I can imagine any regular movie critic would’ve struggled through this experience of a movie. This movie is bad, but there are some redeeming factors. For one, the animation is beautiful and captivating for regular viewers and Nintendo fans. In my opinion, it beats out the first movie in visual appeal. The colors are bright and bold, with backgrounds that resemble the Mario franchise’s vibrant sets.
With that out of the way, this movie can get infuriating. The plot moves as if you are scrolling through clips of an action-packed movie before realizing you are actually watching the full movie. It trades big themes and character dynamics for incredibly fast-paced scenes stitched together with the thinnest idea of a plot. First, you’re in a desert adventure and meet Yoshi, and then, with very little explanation, you’re put on another adventure that involves going from world to world with no time to rest or even think about what’s going on. The villain, Bowser, tricks you into thinking he’s going through an arc before he and his son ultimately team up and just become generic villains with very little substance. By the end of this movie, I felt like I had just rushed through a ton of side-quests and gotten lost on the actual main story.
If you were to ignore all of this, the movie does have some enjoyment value, especially in my theater experience. Every couple of minutes, there was a cameo or an easter egg for Nintendo fans to enjoy. My friends and I had fun pointing aggressively at every little appearance of a familiar character, and I can imagine it was enjoyable for other Nintendo fans. However, these cameos had very little meaning to the actual story, which is a tragedy because they took up most of the runtime. They introduced Fox McCloud from Star Fox, as if they were setting him up as an important character for the franchise, potentially teasing a spin-off. But this studio obviously isn’t going to risk making a Star Fox movie; mainstream audiences don’t even know who this character is. Therefore, it was just another one of their countless meaningless cameo moments meant to create enjoyment for their mess of a film artificially. I would say Illumination needs to change its methods, but they clearly are blinded by the hundreds of millions of dollars they keep receiving from their mediocre work.
Final Count: 5.5/10
10. Minions & Monsters
When I first walked into the theater for Minions & Monsters, I expected the absolute worst. I am used to being deeply critical of Illumination and their pattern of throwing mediocre, theme-park cash grabs at kids and Facebook moms just to sell plush toys. However, as I noted in my full review, I couldn’t have been more wrong. This film completely subverted my expectations by abandoning the lazy, commercialized formula of the previous sequels and delivering something with genuine artistic ambition.
Unexpectedly, the movie is a total love letter to filmmaking, storytelling, and 1920s Hollywood culture. Following a minion named James who sets out to create his own film, it is packed with sharp historical references that will make any cinephile grin. It certainly isn’t flawless; the plot suffers from a strange structure, spending a massive hour on a historical origin sequence that ultimately leaves the main monster conflict feeling incredibly rushed at the end. Yet, the animation is an amazing spectacle, and the script successfully balances genuine payoffs with laugh-out-loud, Looney Tunes-esque comedy.
Ultimately, this is by far the best Minions movie and easily takes second place in the overall franchise. It keeps a smile on your face for the entire runtime, even if the whole 1920s setting was clearly engineered to give the little guys an ironclad alibi for the 1940s. If you want my specific breakdowns of the character arcs, the Jesse Eisenberg subplot, and the pacing, you can check out my comprehensive, spoiler-free post on the site. I gave the movie this ranking because it is by far better than Illumination’s other film this year, Mario Galaxy, but it definitely doesn’t stand its ground against the really great movies of this year.
Final Count: 6.5/10
9. Toy Story 5
This is an interesting movie for me. When it was announced they were making yet another Toy Story movie, I had never rolled my eyes harder. The third movie was a masterpiece of a conclusion, and the fourth felt like a stretch, but it was tolerable. The presence of a fifth movie represented Pixar’s strange idea that only sequels will make money, and to capitalize on this, they keep extending this popular franchise as much as physically possible. When the plot was revealed, the conflict of technology and iPad kids felt brainless, relying on an obvious message. That being said, it wasn’t that bad.
The premise was actually entertaining. I expected it to be mostly about Bonnie being addicted to her tablet and the toys trying to win her attention. While it touched on that, it was mostly about technology’s ability to help kids socialize. This resulted in some very touching scenes where she was struggling to make friends with other people her age. They introduced new characters, like the Conan O’Brien toy, that were fun and brought energy. The side plot about the castaway Buzz Lightyears was cool but also felt like merchandise pandering and filler. An interesting aspect was that they brought back Woody after he left in the last movie, but sidelined him to make Jessie the main character. Her story was the best part, and it had a moment that made my sister cry.
This film proved to be entertaining, and I might even say it is worth its existence. The animation was stellar, just like you’d expect from modern Pixar. What holds it back from being higher up on this list is the greed behind its creation and the strange inclusions that felt unnecessary. Other than that, I enjoyed it, and I wouldn’t be too upset when the inevitable sixth movie gets announced, assuming that the voice actors won’t be too old to comply. At the end of the day, the strong story and character work are just good enough to help me look past Pixar’s corporate greed and the inescapable Taylor Swift track tacked onto it.
Final Count: 6.8/10
8. Coyote Vs. Acme
Coyote Vs. Acme, a film brought back from the grave, is a fun time. Wile E. Coyote’s court drama about suing the company that creates his ineffective technology is full of life and heart. After a successful screening where it became beloved with its small audience, Warner Bros. shelved this animation-live-action hybrid for unknown reasons. Maybe it was for a tax write-off, or maybe it was for the fear of this fun little film exposing the company’s corrupt nature. I personally think it was simply because they don’t believe Looney Tunes sells to modern audiences. However, this premise easily sold me. I love Looney Tunes, and the Space Jam animation style is very creative and entertaining. And by all means, this movie is extremely creative and perfectly captures the insanity of a world where cartoon characters casually live among mortal humans.
Nevertheless, this movie has plenty of flaws. While it is an amazing idea for a plot, the execution is slightly lackluster. There are multiple sequences in the film that seem unnecessary and out of place in the whole of the story. Also, the actual court drama aspects seemed undercooked. There are very few suspenseful or engaging moments in these courts, and their results are very underwhelming. For example, since this is a story about David versus Goliath, the obvious outcome would be for the underdog to win satisfyingly and cleverly, like most court dramas of this nature. This movie seems to take a different direction for its climax, and it leaves me wanting more, wishing the lawyers had more up their sleeve. However, the lawyers are engaging. The protagonist, played by Will Forte, acts as a very lazy and defeated small-town lawyer. His development as he works alongside Coyote is probably the best part of the film. John Cena is in this, and he is surprisingly good as an antagonist who starts passive and quickly becomes unhinged. He yells a great line in the climax that is: “I don’t pay you to laugh, Senator!”
I appreciate that this movie wasn’t the cameo fest for the Looney Tunes IP, that it easily could’ve been and instead focuses on this insane plot. Some popular characters like Bugs Bunny pop up, but their appearance are relevant and important to the narrative. However, the setting is filled with cartoon characters in a way that makes the world-building very confusing. If the cartoon characters are seen as subpar citizens in this world, why is Elmer Fudd in the senate? This movie is excellent with the source material and fleshes out Wile E. Coyote more than he ever has. It goes into his very streamlined goal of catching the roadrunner, and he slowly but believably changes his ways when realizing what he should really care about: justice. There is a scene that unravels this that is surprisingly emotional. Overall, this movie is very delightful and a fun watch, but people on social media are making it out to be this movie full of hidden meanings that exposes the evil of corporations like Warner Bros. While this movie’s plot is coated in fun conspiracies, that theming is very surface-level and not something to take as seriously as these people are making it seem. I still recommend you watch this movie just because of the fact that the people’s voice is basically the reason this movie was released and not deleted. If over-analyzing a fun Looney Tunes flick is what it takes to get studios to keep making them, keep the theories coming.
Final Count: 7/10
7. Spider-Man: Brand New Day
Spider-Man: Brand New Day is a solid Spider-Man movie. I would normally warn for spoilers, but there really isn’t much to spoil: no big twists that aren’t super easy to decipher, no cameos that weren’t already shown in the trailers, and even the Marvel-patented post-credit scene is pretty underwhelming. It’s extremely predictable and occasionally overwhelming, good enough for what it is, but not quite as spectacular as you’d hope. Still, the film has some surprisingly great elements. Jon Bernthal’s Punisher completely steals every scene he’s in, and the action sequences are breathtakingly creative throughout, especially his clash alongside the Hulk.
Nevertheless, a lot of this plot feels undercooked. Sadie Sink’s character is compelling at first, but as the entire narrative begins to revolve around her, you start to wonder why she was picked as the central antagonist to begin with. Sink plays Jean Grey, a major X-Men character and iconic mutant, and after the infamous pre-release leaks from Steve Lacy of all people, everyone knew what to expect. With her introduction, you’d assume Marvel was actively setting up the new MCU era of mutants. Instead, she’s written as a formulaic villain who gets redeemed at the finish line through basic love and compassion, without the movie ever even uttering the word “mutant.” The closest we get is a predictable twist villain who experiments on her to “recreate her abilities,” a motivation the script never bothers to flesh out, explain, or resolve after the credits roll. Add in a fake-out emotional climax, and I couldn’t help but roll my eyes.
As a continuation of Tom Holland’s franchise, however, it remains deeply charming. Holland and Zendaya capture Peter’s post-No Way Home loneliness and depression remarkably well. The main issue is that the narrative core, Peter choosing between his personal life and the exhausting burden of Spider-Man, feels heavily recycled from Tobey Maguire’s struggles in Spider-Man 2, inviting a direct comparison that leaves this film looking like a lesser version of a classic. Despite that, using his friends’ memory loss to fuel the melancholy works brilliantly, and visually, it’s a massive step up from standard Marvel cinematography with distinct lighting and creative camerawork. It’s a delightful entry with plenty of nitpicks, but still easily worth a watch if you love the character. Just don’t spoil it or you’ll end up like Steve Lacy: executed by Marvel.
Final Count: 7.2/10
6. Disclosure Day
Disclosure Day is a great conspiracy thriller that I think got overlooked. It was directed by the legend Steven Spielberg, and of course is incredibly well shot and has a great score. Emily Blunt absorbed herself in her role, and it might be her best acting feat yet. She played such a believable emotional character that I found myself forgetting everything about this popular actress. Her dynamic with Josh O’Connor was fascinating because the plot had them tied together in some sort of abduction bond that was really interesting as it was built upon. That scene where the abduction was revealed was excellent, and it wasn’t only horrifying; it had a mystical feel to it. The antagonist, played by Colin Firth, was decent and used abilities that created some intense scenes, but he wasn’t as fleshed out as you’d hope because of his final moment.
A big problem with this movie was that people went in thinking this would be a big alien blockbuster. However, it more covers the themes of what would happen to the world if they all found out aliens exist. Because of this, most of it is a big chase between the protagonists who want to release this information and the government trying to stop them. It touches on religious viewpoints and whether or not religion would immediately be proven false if aliens existed. These elements were great, and I wish they were expanded upon more. Instead, this is mostly an action thriller with an egregiously incompetent government that could’ve caught the protagonist lots of times, but Emily Blunt’s superpowers make her pretty much untouchable. Also, this film has alien technology that acts as a supernatural plot device. There are some great scenes with it, like when the antagonist uses it, but for most of the runtime, these abilities felt extremely random and fantastical.
Disclosure Day has a great ending, however. After you get through all the pointless action scenes, they inevitably have the titular disclosure, and it switches to a really fascinating chain of events through news networks and the reactions of different people around the world. The actress who was the main reporter stole the show and performed a very realistic perspective on what it would actually be like in this situation. The ending just felt very realistic, and I could see it playing out very similarly if aliens got revealed. Spielberg left this film open-ended after an alien comes out and has a final thing to say to the world, but we don’t get to know what he said. In a way, it felt biblical because the film revolved around messengers trying to reveal the truth of the universe, and by the end you’re left to theorize that this alien pulled the strings for the whole plot like some sort of god. Overall, that final sequence alone justifies another good movie in Steven Spielberg’s filmography. Conspiracy theorists wish the government were as stupid as it is in this movie.
Final Count: 7.4/10
5. Hoppers
After Pixar’s mediocre record this decade, I was not expecting much from this random movie about talking animals. Hoppers actually ended up being one of my favorite Pixar movies I’ve seen recently. It was very new and inventive, and it strayed from clichés, with some great humor. This is a movie about an environmentalist girl who uses technology to transfer her consciousness into a lifelike robotic beaver. She then goes on to use this to blend in with the animals in her local ecosystem and try to save the wildlife from industrial construction. You would think this plot is predictable, with a classic lie and reveal, but it actually doesn’t go down that route. It is full of surprises and shocked me multiple times with its elements.
This movie gets oddly dark. There is a major character that you would think would be the antagonist because he heads the industrialism. However, there is a moment where the tone shifts completely. The animals start chasing down this mayor to kill him. You wouldn’t expect this from a kids’ movie, but they go there; the protagonists have to stop an assassination. The most memorable scene for me was when a literal flying shark is chasing down a car while being carried by hundreds of birds. It embraces the comedic randomness of the talking animal concept. There is some creepy imagery near the third act caused by the true antagonist, Dave Franco’s caterpillar. That is where it starts to lose some points because the grounded world is thrown out the window in exchange for complete absurdism, which feels a little much.
But overall, Hoppers is a very fun movie with a decent message. The main characters have great dynamics, and the voice actors have the energy to showcase this. Since this movie portrays none of the characters as completely wrong or right, like the mayor and the protagonist, the ending felt very justified and was a satisfying compromise for both of their ideals. The only elements that hold it back from being higher on this list are the lack of comedy in some moments where it could’ve been amplified, and that weird lizard guy that was in all the marketing. That lizard was not funny and contributed nothing to the plot. Nevertheless, this film was great, and despite the similar premise, this was better than Avatar.
Final Count: 7.5/10
4. Backrooms
Unexpectedly, Backrooms blew me away. I usually don’t consume the horror genre, but this film made me want to get into it. It immediately cemented itself as one of my favorite horror movies I have personally seen. Liminal space has always been a fascinating phobia to explore, and this portrays it perfectly. The set for the titular backrooms is probably one of my favorite movie sets I’ve seen, created with zero green screen. As Clark explored those eerie hallways and illogical architecture, there is an extreme sense of unease and curiosity about what could be found within them, especially during the found-footage segments. There are so many small details with so much meaning, like the little set pieces that all make sense once you discover the truth. I think the people who saw this movie and didn’t enjoy it either didn’t understand it or were expecting something different. Rather than making a predictable jump-scare fest, the young director and YouTube creator, Kane Parsons, created a character study and psychological science fiction hybrid that gets better the more you think about it.
The film isn’t just a retelling of Kane’s YouTube series; it is its own story that I vastly prefer. It explores Clark, a depressed furniture store owner and architect who is grieving the divorce from his wife. There is a therapy scene that feels very relatable, which explores self-loathing and loneliness. And so once he enters the backrooms, he becomes infatuated with the idea of it and wants to stay in it. The Backrooms is a dimension that is very similar to dreams; it vaguely remembers the real world and tries to recreate it, which explains the weirdness of it and the random items that it holds. Once someone enters this realm, it remembers the person and the people in their consciousness, which creates the entities that horror comes from. The best part is that because of Clark’s built-up rage and his self-image, his Backrooms clone is terrifying and violent. This feels perfect and holds a deeper theme than you would expect in a movie like this.
However, this film isn’t perfect. Some scenes are very absurd in trying to try and embrace the horror aspects of it; for example, the dinner table scene. I like to imagine my mother watching this movie and her reaction, because a lot of this movie makes you feel like you are on hallucinogens. But also, I think they were going for this feeling since it takes a lot of the science of dreams and the absurdity that your mind conjures up from random memories. Another small issue is that the script is a little weak at times, but the acting, mainly from Chiwetel Ejiofor, is good enough to overshadow it. Also, its ending was sort of underwhelming because it gave in to a few overused horror tropes. For me, this movie wasn’t very scary, but it was more interesting and made you think a long time after experiencing it. Overall, Backrooms was a great movie and had a much deeper meaning than the surface-level naysayers could process.
Final Count: 7.8/10
3. Project Hail Mary
Project Hail Mary is a beautiful movie. Not just in its breathtaking space visuals, but also in its emotional, heartwarming story. And to tie all of this together, it is hilarious when you would think it would be intense. Ryan Gosling is phenomenal in this. While some may argue that his comedy makes his character’s genius unbelievable, I think that it’s what makes the movie work. Even though I think this movie is a little overhyped, it is a wonderfully made film that you could rewatch over and over. You go into it thinking you’re getting a classic space thriller about a man trying to save the planet, but instead get a movie about unlikely companionship with plot twists that add to its meaning.
When Ryan Gosling’s character, Ryland Grace, meets Rocky the alien rock-spider, the movie takes a very enjoyable turn. The alien gains a voice and is sassy in a way for comedic punches. He is mostly made through puppetry, and they make him realistic and likable through physical expression. They really force this alien as the film’s emotional core, especially in the third act. They keep trying to get the audience to become super attached to Rocky so that they can keep faking you out to think he’s gonna die. They almost kill him three separate times, which gets exhausting when you’re just waiting for the bloated third act to wrap up. While that is my major complaint, that is pretty much the only downside I can think of. When Grace wakes up on this spaceship with amnesia, the story drip-feeds you memories and information about what his goal is, how he was picked, and more through flashbacks. This leads you to the big plot twist that makes Grace question whether or not he even wants to go back home, which makes his bond with Rocky and the ending extremely effective. I found that the flashbacks were the most captivating part of the movie.
The visuals on their own justify the watch. Somehow they created everything through physical sets and camera tricks. It is so colorful and stunning, especially in the action scenes where you can’t take your eyes away from the screen. It is another fantastic project from Phil Lord and Chris Miller, who seem to only make hit films like Spider-Verse and the Jump Street movies. This was an adaptation of a popular book, and I haven’t read it, but there is no way that the book is as funny as this movie. I highly recommend it, and I tried not to spoil much in this review. It’s a great time at the theater, but for anyone calling this the movie of the decade, let’s take a breath and look at what else 2026 delivered.
Final Count: 8/10
2. Obsession
You knew this was coming. Obsession is a monumental moment in cinema history, and it’s a good enough movie to justify it. I used to watch Curry Barker’s old YouTube comedy skits on his channel, That’s a Bad Idea, and I always thought he was a genius in comedic timing and crazy premises. Fast forward to this year, I see a new horror movie getting really popular on social media. I disregarded it at first because it feels like there’s a new ‘scariest movie ever’ every single month. However, once I saw that Curry Barker wrote and directed it and that it had a very small budget, I had to go see it. What awaited me was a very stressful theater experience and a film worth thinking about for days after. Obsession is truly a genius movie with themes that are spelled out very creepily. It revolves around how a desire for love can cloak morality and cause extremely unhealthy situations.
The film is about a guy named Bear who has a strong crush on his friend, Nicky. He buys an item called a one-wish willow that can grant a wish. Not thinking it would work, Bear wishes that Nicky loved him more than anyone in the world. This wish ends up working, but not in the way he hoped. It seems that in wishing for this, Nicky’s free will was stolen, and she is under the control of some sort of demon; the demon that was Bear’s wish. The consequences are terrifying and violent when she goes to any lengths for her love for Bear. She’ll have random outbursts in public settings or do straight-up demonic activities like certain things she does with a cat’s corpse. The creepiest part is that Nicky’s true consciousness breaks through, and she is always terrified because, at the end of the day, she is no longer controlling her own body. The actress, Inde Navarrette, carries this movie with chilling line delivery and an unpredictable nature, which was the source of most of my fear. You never know what this girl is going to do, and she always catches you off guard. But the true horror surrounds Bear himself. He is so blinded by his crush loving him that he willingly overlooks the absurd behaviors and signs that Nicky isn’t Nicky anymore and the love isn’t real. He escapes accountability and doesn’t decide to fix this problem until he is backed into a literal corner with his friends dead.
My only problem with this movie is the amount of grossness throughout it. Some moments of gore really add to the shock value, but other moments seem a little much and make it hard to watch. Nevertheless, this movie is amazing and deserves all the hype it gets online. It is crazy how word-of-mouth marketing is so powerful because I doubt anyone would’ve thought a small-budget horror film like this would make blockbuster money at the box office, not seen since E.T. The more you think about it, the more bizarre and refreshing this movie is for the movie industry. I recommend this movie as well as Curry Barker’s old comedy skits so you can understand its nature. I hope he is given a lot more opportunities with bigger budgets because he has proven to be very creative. Also, Inde Navarrette better get plenty of Oscar nominations and future roles. The actress admitted to being too scared to watch horror movies, yet somehow managed to terrify the whole world out of their minds.
Final Count: 8.8/10
1. The Odyssey
Just like the Minions review, you can find a more in-depth look on its standalone post. I debated even writing about this because it feels like everyone has already praised it, but Christopher Nolan’s The Odyssey is a monumental adaptation of one of history’s most influential stories. Nolan’s signature style fits Homer’s epic surprisingly well, heavily echoing Oppenheimer by focusing on the devastating mental aftermath of war. His nonlinear structure works brilliantly here: the Trojan Horse is initially presented as a stroke of tactical genius, but as the timeline unfolds, you realize it was a brutal act that weighs on Odysseus tremendously. Beyond the grand scale, Nolan leans deeply into tragedy and psychological horror, delivering eerie set-pieces and uncanny practical-effects monsters that gave me genuine scares.
The massive ensemble cast mostly delivers, anchored by a phenomenal Matt Damon alongside Anne Hathaway and Himesh Patel. While the pre-release casting controversies look embarrassing in hindsight, with Lupita Nyong’o and Elliot Page both solid in their roles, the real standouts were John Leguizamo’s emotional turn as Eumaeus and Robert Pattinson as Antinous, using subtle body language to create a villain you love to hate. The film isn’t entirely flawless; as someone who read the book in high school, I was disappointed that Polyphemus was reduced to an unintelligible monster rather than the clever, conversational Cyclops from the text, and Travis Scott’s end-credits track felt bizarre. Still, Ludwig Göransson’s score delivers chilling drum sequences and a Siren theme that brought me to tears.
Ultimately, every minute of this three-hour runtime is fully earned. The true brilliance of the film lies in Odysseus’s overwhelming dread: he is so consumed by guilt that he actively considers giving in to the Lotus flowers and Siren songs just to escape his mental shackles. Yet, his love for Penelope drives him forward, even as the men he defied gods to protect betray him out of hopelessness. That tragic human betrayal ends up being a horror far greater than any mythical monster. Nolan created a breathtaking, detailed classic that will easily stand the test of time, fully deserving its place at the top of my ranking.
Final Count: 9/10
Written by James Michael Counts
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