The Drama (Kristoffer Borgli, 2026). Emma (Zendaya) and Charlie (Robert Pattinson) are on the verge of getting married. They come across as an ideal young, urbane couple. They’re sophisticated, warm, and both oh so pretty. Sure, the relationship started with a lie, but it was a cute, harmless lie, so that’s not so bad. As the loving couple are on the final approach to their nuptials, a secret-telling game played over a few too many glasses of wine brings an especially dark chunk of one person’s history to light, which sends the other member of the couple reeling. Writer-director strikes a tricky tone that sits in a hazy place between bleak comedy and dizzy tragedy. He mostly navigates it well. As long as Borgli resists the wholly understandable urge to take his narrative to escalated extremes, The Drama is successful. He’s especially deft when the narrative dwells in the space where all relationship anxieties dwell, whether the worries stem from the inevitable distance the other person’s inner life or simply wondering about what that romantic partner is saying to the their best buddy after they stormed away from a fight. Zendaya and Pattinson both give terrific performances, hitting the characters’ heightened qualities without sacrificing their humanity.

The Dink (Josh Greenbaum, 2026). There are enough amusing bits in this familiar sports comedy brought into the pickleball era that I almost believe a ruthless editor could have tightened it into a winner. Almost. The Dink follows Dustin Boyd (Jake Johnson), a former tennis prodigy who flamed out early in his pro career and now dully works a dead-end job at the tennis club owned by his father (Ed Harris). The snobs-against-the-slobs conflict that’s animated this sort of movie going at least back to Caddyshack this time manifests in a some interlopers who want more of the club’s footprint turned over to pickleball players. To preserve the club’s integrity — and maybe earn his father’s elusive affection — Dustin agrees to play in a pickleball game whose outcome will decide the use of the disputed courts. Johnson is adept at playing a lovable sad sack role like this one, and he develops real chemistry with Mary Steenburgen, an older pickleball player who he partners up with and develops an unlikely crush on. A few jokes connect. Many more don’t, and director Josh Greenbaum never generates the energy that would make the flatter moments easier to slide past.

Married to the Mob (Jonathan Demme, 1988). Quirky and vibrant, this comedy is part cartoonish and part warm. I suspect only Jonathan Demme could pull off this particular balancing act. Michelle Pfeiffer absolutely shines as Angela de Marco, the unhappy wife of a mobster (Alec Baldwin). After he’s rubbed out by the head of the mob family, Tony “The Tiger” Russo (Dean Stockwell), Angela takes it as an opportunity to restart her life away from organized the crime. The problem is that Tony has designs on her as his new mistress, much to the fury of his long-suffering wife (Mercedes Ruehl). Demme brings bright colors and a joyful spirit to the story (the screenplay is credited to Barry Strugatz and Mark R. Burns), making Married to the Mob as buoyant as a film can be. Pfeiffer plays the role with equal parts snap and sweetness, and both Stockwell and Ruehl craft wonderful comic performances. There’s only real misstep, but it’s a doozy. Matthew Modine is brutally miscast as the FBI agent who tracks and romances Pfeiffer’s mob widow. He’s so devoid of charisma that it’s hard to fathom why Angela would be immediately drawn to him.