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Hello! I’m Mark Olsen. Welcome to another edition of your regular field guide to a world of Only Good Movies.

One of the bummer parts of any awards season is how it leads to a narrowing down of what movies are getting talked about and subsequently remembered from any given year. There are always way more than five or 10 titles from any given year that deserve the spotlight.

Which is why it was so exciting this week when Envelope editor Matt Brennan chose Mona Fastvold’s “The Testament of Ann Lee” and Angus MacLachlan’s “A Little Prayer” as his favorite movies of the year. “A Little Prayer” first premiered at Sundance in 2023, but didn’t get a theatrical release until this past summer. The delicate jewel of a film features warm, tender performances by David Strathairn and Jane Levy as a man and his daughter-in-law both reconciling themselves to the fallout of problems in her marriage. The movie is available now on digital platforms and is well worth seeking out.

David Straithairn and Jane Levy in the movie “A Little Prayer.”

(Music Box Films)

And we talked about “Ann Lee” here last week and will likely have more to say about it as awards season moves on. Matt’s list also included films such as “Sinners,” “One Battle After Another,” “Sentimental Value” and “Sirāt” along with “Sorry, Baby,” “Nouvelle Vague,” “Hedda,” and “The Alabama Solution.”

Meanwhile, with 2026 so fresh and new, it’s almost sacrilegious to start thinking about a future best-of-year list. But we’ve got one anyway: Here are the 14 movies we’re most excited to see in 2026. Christopher Nolan, Greta Gerwig, Steven Spielberg doing aliens again — at least on paper, there’s a lot of promise here.

4K premiere of Friedkin’s ‘Sorcerer’

An image from William Friedkin’s 1977 movie “Sorcerer.”

(Criterion Collection)

On Friday night, the American Cinematheque at the Egyptian Theatre will host the West Coast premiere of a new 4K restoration of William Friedkin’s 1977 thriller “Sorcerer” scanned from the original camera negative.

The film was a notorious flop when first released, in part because it had the misfortune of opening a week after the first “Star Wars.” An adaptation of the same novel that spawned Henri-George Clouzot’s 1953 adventure “Wages of Fear,” “Sorcerer” follows four desperate men tasked with transporting a truckload of volatile nitroglycerine through a South American jungle.

Friedkin, who died in 2023, spoke to The Times’ Kenneth Turan in 2013 before receiving a lifetime achievement award from the Venice Film Festival. The only movie shown as part of the tribute was “Sorcerer.” As Friedkin said at the time, “Every one of the films that I made, even the ones that haven’t worked, are films that I had to envision, that I had to see in my mind’s eye. And ‘Sorcerer’ is the film that came closest to my vision of what I wanted to make.”

In a January 1977 interview conducted when he had just completed filming, star Roy Scheider said that working with Friedkin “was not always to my liking as an actor. He is organized and meticulous but difficult, opiniated and tough. He can even be cruel at times. When Friedkin works on a film, nothing gets in his way, including the actors.”

Roy Scheider in the movie “Sorcerer.”

(Criterion Collection)

The film’s initial reception is perhaps well summarized by Charles Champlin’s originalLos Angeles Times review, in which he writes, “William Friedkin’s ‘Sorcerer’ is one of those movies that must make executives, no less than critics, shake their heads in stunned glum wonder. What the hell went wrong?

“A first-rate and proven piece of material. Executed with loving and meticulous care on a damn-the-cost basis by a prize-winning director with two large commercial successes behind him. But it all ends up a swollen, leaden and almost totally uninvolving disappointment that seems fairly unlikely to be saved commercially by its detonations, special effects and strenuous physical sequences.”

Champlin did seem to enjoy one element: the synthesizer score by Tangerine Dream (later of “Thief” and “Risky Business”), music that he calls “a new flavor, Latin Anxious, that works well.”

‘The Godfather Part II’

Al Pacino in the 1974 sequel “The Godfather Part II.”

(Paramount Pictures)

On Friday, Saturday and Sunday, an original I.B. Technicolor 35mm print of Francis Ford Coppola’s “The Godfather Part II” will screen at the New Beverly. It’s a rare and unusual way to see a great movie that can sometimes be flattened by overfamiliarity but remains as fresh and revealing as ever. The movie would go on to win six Oscars including best picture (the first sequel to ever do so).

The story cross-cuts between Al Pacino as Michael Corleone in the 1950s and Robert De Niro playing his father Vito Corleone in the early 1900s. The film shows the growth of the Corleone family empire and what it takes to keep it running.

In a January 1975 interview, Coppola talked about his motivations in approaching the sequel, saying, “The finished film makes what I consider a tough statement for a $13 million mass-audience picture. It says that this country is in danger of losing its soul, like Michael did. That power without humanity is destructive. … I didn’t want Michael to be destroyed by another gang or by a Senate investigation of organized crime. I wanted him to destroy himself. And to juxtapose his fall with flashbacks of his father’s rise a half-century earlier.”

Coppola, candid as ever, continued, “And, to be completely honest, there was the possibility of my making so much money I could bankroll some of my other projects.”

In his original Dec. 1974 review of the film, our Charles Champlin wrote, “In its way, ‘Godfather II’ is more daring than the original … The risks were worth taking, and the reward is that a single monumental segment of the American experience is neither glorified nor patronized, but made comprehensible and real, transmuted into drama of both scope and depth.”

Points of interest

‘The Birds’ in 35mm

Tippi Hedren and children are attacked by crows in a scene from Alfred Hitchcock’s “The Birds.”

(Screen Archives / Getty Images)

On Monday the Academy Museum will show Alfred Hitchcock’s 1963 “The Birds” in 35mm. The film is showing as part of a series about nature’s revenge on humans — a fun group of titles that also includes “Jaws” and “Orca” (both playing in 35mm), “Creature from the Black Lagoon” in 3D, “Alligator” with director Lewis Teague in person and “The Revenant” in 4K.

Transporting Daphne du Maurier’s original story to the setting of Bodega Bay in Northern California, “The Birds” presents a classic, apocalyptic what-if scenario when humans are suddenly attacked from above.

Star Tippi Hedren, who turns 96 later this month, made her movie debut in the film and over the years she has been open about how difficult the process of shooting was for her. In an April 1963 interview with Hedda Hopper, she said, “The Humane Society was there to protect the birds but there was no one to protect me.”

In a March 1963 review, The Times’ Philip K. Scheuer wrote, “Are actors people? No matter. Alfed Hitchcock, who filmed ‘The Birds’ at Universal, was once widely quoted as saying he hated actors. After his 1960 ‘Psycho’ and now ‘The Birds,’ it must be fairly obvious that he has extended his abhorrence to the whole human race.”

Oliver Lax’s ‘Fire Will Come’

Amador Arias, left, and Benedicta Sánchez in ‘Fire Will Come’

(KimStim)

Spanish filmmaker Oliver Laxe’s “Sirāt” has become one of the most celebrated films of the year, popping up on critics list and making a strong showing on the recent Oscars shortlists. On Tuesday, Acropolis Cinema will present the Los Angeles premiere of Laxe’s 2019 film “Fire Will Come” at 2220 Arts + Archives (its original release was curtailed by the pandemic). Laxe is scheduled to attend in person.

In the film, Amador (Amador Arias) has just been released from prison for arson, after having started a wildfire that ravaged the local mountains. Living with his mother, he has to overcome the suspicions and distrust of everyone in the community.

Reviewing the film in 2020 for a digital release, Carlos Aguilar called the film “quietly phenomenal,” adding, “Its discourse on forgiveness simmers in one’s mind inextinguishably.”

Joachim Trier tribute

Director Joachim Trier, photographed at the Los Angeles Times Studios at RGB House during the Toronto International Film Festival in September.

(Christina House / Los Angeles Times)

The American Cinematheque is launching a tribute to Norwegian filmmaker Joachim Trier this week. He will be appearing person with co-writer Eskil Vogt following screenings of “The Worst Person in the World” and his current movie “Sentimental Value.”

These are also rare opportunities to see two of Trier’s earlier films — his 2006 debut “Reprise” and 2011’s devastating “Oslo, August 31st” — in a theater.

“Sentimental Value” directly engages with the legacy of Scandinavian cinema, with Stellan Skarsgård playing an arthouse filmmaker trying to get a new project off the ground with his daughter (“Worst Person” star Renate Reinsve).

Going all the way back to “Reprise.” Trier has been making a case for a new kind of Scandinavian cinema: “I would hope young people would see this not as the old, dreary, dandruff-on-the-shoulders, slow European film,” he said in 2008. “I wanted to make something more sexy and relevant to people.”

New York, United States – Sprawling crowds, a seven-block-long party and chants to “tax the rich” in the world’s wealthiest city marked Zohran Mamdani’s public inauguration as New York City mayor on Thursday, as the metropolis welcomed a new year with a new leadership.

Political inaugurations are usually more stolid affairs. But, as he had in his campaign for the mayoralty, Mamdani flipped the script with his swearing-in events.

In act one, just after midnight, as the ball dropped in Times Square to ring in 2026, Mamdani took the oath of office in a small ceremony on the steps of the landmark New York City Hall subway station.

New York State Attorney General Letitia James administered the oath as Mamdani stood beside his wife, Rama Duwaji, on a staircase inside the transit hub, which has not been used for passenger service since 1945. He used a historic Quran borrowed from the New York Public Library for his swearing in, and a second one that belonged to his grandfather.

The public celebration arrived later, on New Year’s Day, when Mamdani repeated the oath on the steps of City Hall before a crowd that spilled across the surrounding plaza and into the streets. Despite the blistering cold, tens of thousands of supporters streamed into Lower Manhattan to watch the new mayor – along with the city’s comptroller, Mark Levine, and Public Advocate Jumaane Williams – formally assume office.

National political heavyweights, including Representative Alexandria Ocasio-Cortez and Senator Bernie Sanders of Vermont, flanked the city’s new leadership and delivered speeches outlining the progressive movement’s governing ambitions in New York and the national reverberations the race has already sent to lawmakers across the country.

“The most important lesson that can be learned today is that when working people stand, when they don’t let them [the ultra-wealthy] divide us up, there is nothing that we cannot accomplish,” Sanders said before swearing in Mamdani.

While guests and the press gathered inside the City Hall grounds, the city staged a seven-block-long public block party – a new twist on the traditionally ticketed inauguration format. In addition to a closed event capped at a few thousand attendees, anyone willing to RSVP and endure the frigid air and blustering winds after a night of snowfall could try their luck at getting in.

And many did, bundled New Yorkers shuffled through security checkpoints, hoping to glimpse the swearing-in of a 34-year-old democratic socialist now charged with running the largest city in the United States, streaming on large monitors stationed throughout the surrounding area outside City Hall.

Some supporters told Al Jazeera they waited in line for hours, and many never made it through the checkpoints in time. While crowds cheered and horns blasted in solidarity from a distance, a handful of protesters lingered behind police barricades.

The block party in and of itself was symbolic in its effort to reach more New Yorkers who have normally been left out of the political process, Democratic strategist Nomiki Konst told Al Jazeera.

“It was a way of opening up something that hasn’t been accessible for anybody, you know, that wasn’t part of the inner circle of New York politics and media,” Konst told Al Jazeera.

“It was an opportunity to give back to the people who helped him get into office.”

A message of unity and affordability

Mamdani, Williams and Levine spoke about unity for all New Yorkers, delivering remarks in English, Spanish, Hebrew and Greek, and appearing alongside faith leaders of several different faiths, including Islam, Christianity and Judaism.

“We have three swearings-in. One by a leader using a Quran, one by a leader using a Christian Bible, and one using a Hebrew Bible. I am proud to live in a city where this is possible,” Levine said after taking the oath of office.

Mamdani echoed that sentiment.

“We will draw this city closer together. We will replace the frigidity of rugged individualism with the warmth of collectivism. If our campaign demonstrated that the people of New York yearn for solidarity, then let this government foster it,” Mamdani said in his address.

“We will deliver nothing less as we work each day to make this city belong to more of its people than it did the day before.”

But the core message, voiced repeatedly by Mamdani, Levine, Williams, Sanders and Ocasio-Cortez, was the same one that defined the campaign: that the ultra wealthy should pay higher taxes.

“Demanding that the wealthy and large corporations start paying their fair share of taxes is not radical. It is exactly the right thing to do,” Sanders said, as supporters chanted, “Tax the rich.”

One of Mamdani’s core promises was to raise the corporate tax rate in New York City from 7.25 percent to 11.5 percent, equivalent to that of neighbouring New Jersey, as well as a 2 percent increase in taxes on those who make more than $1m a year. Any tax plan would need the approval of the governor to move forward.

“This movement came out of eight-and-a-half million somewheres – taxi cab depots and Amazon warehouses, DSA [Democratic Socialists of America] meetings and curbside domino games. The powers that be had looked away from these places for quite some time – if they’d known about them at all – so they dismissed them as nowhere. But in our city, where every corner of these five boroughs holds power, there is no nowhere and there is no no one,” Mamdani said.

Housing policy has been central to that affordability message for Mamdani. One of his signature campaign promises was to freeze the rent on the city’s rental stabilised apartments, which represent about half of the city’s rental housing stock.

“Those in rent-stabilised homes will no longer dread the latest rent hike – because we will freeze the rent,” Mamdani said in his remarks.

Only hours later, Mamdani introduced a slate of executive orders all aimed at housing.

“On the first day of this new administration, on the day when so many rent payments are due, we will not wait to deliver action,” Mamdani said at a news conference.

He announced three executive orders inside a rent-stabilised building in Brooklyn, including the creation of two new city task forces on housing policy: one to take inventory of city-owned land that could be used for housing, and another to identify ways to spur development.

“The housing crisis is at the centre of our affordability crisis. There are a number of things we are going to be focused on: protecting tenants, going after bad landlords, and building more housing. A huge part of how we get out of our housing crisis is to build more affordable housing across the city,” Leila Bozorg, the Deputy Mayor for Housing and Planning, told Al Jazeera on the steps of City Hall hours before announcing the new policies.

“These are policy decisions we can address if we have the political will and if we put the resources behind it. And that is what he [Mamdani] is committed to doing.”

Severe weather warning is issued by the Palestinian Meteorological Department, with heavy rain and hail expected across Palestine.

Day two of the ‘Justice Mission 2025’ drills will include 10 hours of live-fire exercises and a simulated blockade of Taiwan’s major ports.

China has begun a second day of military drills around Taiwan in the latest escalation of tensions over the self-governing island.

China’s military said on Tuesday that it had deployed navy destroyers, bombers and other forces as part of the war games, which Beijing claims are aimed at “separatist” and “external” forces.

The drills were due to include live-fire exercises between 8am and 6pm local time (00:00 to 10:00 GMT) in five maritime and airspace zones around Taiwan, as well as air and sea patrols, simulated precision strikes and anti-submarine manoeuvres, according to Chinese state media.

Taiwan’s Ministry of National Defence said some of the live-fire drills would take place in what Taiwan considers its territorial waters, or within 12 nautical miles (22km) from the coastline, according to Taiwan’s Central News Agency.

More than 80 domestic flights were cancelled on Tuesday, many to Taiwan’s outlying islands, and more than 300 international flights could face delays due to rerouted air traffic during the drills, according to Taiwan’s Civil Aviation Administration.

The exercises, code-named “Justice Mission 2025”, began early Monday and came days after the United States announced its largest-ever weapons package for Taiwan, worth $11.1bn.

State news outlet The China Daily said the drills were “part of a series of Beijing’s responses to the US arms sales to Taiwan as well as a warning to the [Taiwanese president] Lai Ching-te authorities in Taiwan”, in an editorial on Monday.

China’s Ministry of Foreign Affairs spokesperson, Lin Jian, also told reporters on Monday that the exercises were “a punitive and deterrent action against separatist forces who seek Taiwan independence through military buildup, and a necessary move to safeguard China’s national sovereignty and territorial integrity”.

Justice Mission 2025 marks the sixth time China has staged large-scale military drills around Taiwan since then-US Speaker of the House of Representatives Nancy Pelosi visited Taiwan in 2022.

A key focus of the “Justice Mission 2025” exercises will be “anti-access and area denial capability” to ensure that Taiwan cannot receive supplies from allies like Japan and the US during a conflict, according to William Yang, senior analyst for Northeast Asia at the Crisis Group.

They will also include simulating a blockade of Taiwan’s major ports in the north and south, and taking control of strategically important waterways, like the Bashi Channel and Miyako Strait, through which Taiwan imports much of its energy supplies, Yang said.

China’s Eastern Theatre Command released a poster on Tuesday, titled “Hammer of Justice: Seal the Ports, Cut the Lines”, showing large metal hammers hitting the port of Keelung in the north and the port of Kaohsiung in the south.

Taiwan’s Defence Ministry said it had tracked 130 air sorties by Chinese aircraft, 14 naval ships and eight “official ships” between 6am on Monday (22:00 GMT, Sunday) and 6am on Tuesday (22:00 GMT, Monday).

The exercises were also monitored by Taiwanese coastguard ships and an undisclosed number of naval vessels, according to Taiwan’s Defence Ministry.