The Odyssey (2026) - Review: Sound and Fury

 

How do you make a movie of "The Odyssey?" Despite being one of the oldest recorded pieces of literature in human history, this isn't as grand of a task as it might first seem. Storytelling, and filmmaking specifically, have been using pieces of Odysseus's grand journey in direct adaptations or allusions for decades now. Hell, even "The SpongeBob SquarePants Movie" contains plenty of allusions and direct references to Homer's epic poem. But for a direct adaptation, on the scale of this $250 million latest attempt, you need a director with experience telling tales of men and their misdeeds on a scale as grand as this. You need someone like Christopher Nolan ("The Dark Knight," "Oppenheimer").

The film follows Odysseus, played by Matt Damon ("Good Will Hunting," "The Martian"), as he attempts to make it home after the decades long Trojan war. Along the way, he, his second-in-command Eurylochus, played by Himesh Patel ("Yesterday," "Tenet"), and their men encounter various trials, such as a giant cyclops, an island of brutal giant soldiers, the with Circe, played by Samantha Morton ("In America," "The Walking Dead"), and a group of sirens. Meanwhile, Odysseus's son Telemachus, wife Penelope, and swineherd servant Eumaeus, played by Tom Holland ("Spider-Man: No Way Home," "Spies in Disguise"), Anne Hathaway ("Interstellar," "The Devil Wears Prada"), and John Leguizamo ("Ice Age," " To Wong Foo, Thanks for Everything! Julie Newmar"), await his return while reluctantly hosting a large group of suitors for Penelope, including the sleazy Antinous, played by Robert Pattinson ("Twilight," "The Batman").

That doesn't even begin to cover the scope of this tale, nor does it cover the extensive cast who make up the ensemble. What Nolan and his team have delivered here is essentially the closest thing Hollywood has gotten to a bon-a-fide classical epic film in years. Its structure and construction make it closer to Ben Hur than any of Nolan's other films, and his strengths are on full display. This is the sort of film you can only make as a confident, established filmmaker, and anyone who's followed his career is likely watching with bated breath. While Nolan takes advantage of the length and uses every moment of the film's 173-minute runtime, it never falters or drags. You feel the journey, getting swept along in the gravitas of the adventure with Odysseus, but never weighed down by it.

Damon's performance is a truly fascinating one. On paper it contains all the archetypes of a weathered action lead, but in practice this is a display of quiet hubris. His arc is one that is a work of profound self-destruction, consistently finding himself as the cause of his men's misfortunes. Damon plays things quietly and with complete seriousness, but also without any sort of bravado. If this man was, at one point, a heroic solider of legend to his men, he certainly is not now. His eroding relationship with Eurylochus showcases this best, and Patel's chemistry with Damon establishes an uneven friendship between the two men that beautifully fluctuates between respect and pity on a whim.

Hathaway is a quiet force, keeping a composed form until the film requires her to fully embrace the despair of her circumstances in the most fantastic ways. Holland is equally as great, working his admiration of a father figure into a performance that showcases the still young actor's hidden talents. Leguizamo plays things boiling under the surface as he watches the world his master built slow come crumbling down, and it's a fantastic example of the power he can hold when given the proper roles in which to showcase it. Pattinson is just as slimy as he's ever been, turning Antinous from a potential suitor for Penelope into a weirdo bully that practically slips around the room with how slimy he is. He's delightfully mean and hateable and Pattinson himself seems to take delight in being so. 

Given the size of the cast, this doesn't even begin to cover the rest of the performances, which include the likes of Lupita Nyong'o ("Us," "The Wild Robot") as sisters Helen of Troy and Clytemnestra, Zendaya ("euphoria," "Spider-Man: No Way Home") as the goddess Athena, Charlize Theron ("Mad Max: Fury Road," "Monster") as the nymph Calypso, Jon Bernthal ("The Punisher (2017)," "The Walking Dead") as Menelaus, the King of Sparta, and Benny Safdie ("Are You There God? It's Me, Margaret," "Oppenheimer") as Agamemnon, the king of Mycenae and Odysseus's commander during the Trojan war. All are fantastic as well, each getting their handful of moments to shine and make a sharp impact on Odysseus's journey. However, one particular role stands out amongst the rest of the supporters: Elliot Page ("Juno," "Inception") as Sinon. He is one of the first faces we see in this tale, and he haunts the rest of the narrative physically and emotionally. Nolan uses the character as a catharsis for Odysseus's faults and evolution, and Page delivers a performance that's arguably the best of his career. It's a lingering role that loops back around on itself in the narrative and your mind.

If you simply packed this film with a cast like that, all working to such phenomenal quality, you'd already have a great film. But Nolan continues to push forward technically as well, letting the film trot the globe in a scope that boggles the mind. Frequent Nolan Cinematographer Hoyte van Hoytema ("Oppenheimer," "Nope") keeps a clear eye on the events, utilizing plenty of forced perspective tricks and low angles to keep the tension high throughout this massive quest. The resoundingly blue image is full of strong visuals that keep in line with Nolan's practical sensibilities that, alongside Hoytema's eye, create some truly striking scenarios. For every visually arresting sequence, there are also numerous moments of calm and pause that help juxtapose the grand adventure with the internal struggle Odysseus is experiencing. Ludwig Göransson's ("Black Panther," "Sinners") fantastic musical score further compliments this, with earth shattering bass notes thundering against quiet strings of calm.

Much like the cast, if this was a film simply full of incredible visual feats and performances, it would already be among the best of the year. But the way Nolan is able to weave his own personal thoughts into Odysseus's tale makes it emotionally arresting as well. It isn't emotional in the way a personal drama or romantic film is. Rather, he frames this tale as a tragedy of men and the folly of leadership. From the beginning we hear plenty of talk about Zeus's rule, explained as "treat others as if anyone could be a god in disguise." With this and Sinon, the film's central ideas become about humanity's kindness in the face of brutality, putting it in a starkly similar place as Nolan's last film "Oppenheimer." It allows for a modern reinterpretation of the tale that manages to recontextualize Odysseus and the Trojan war in fascinating ways. It's a film of deeply held convictions that are constantly being uprooted and turned around to show their true colors to the ones executing them. However, in one of his smartest moves, Nolan never sacrifices the entertainment value of the tale for the philosophical. You can engage with the film on either level and walk away with a complete experience no matter what.

"The Odyssey" is a staggering film, almost requiring two viewings simply to fully appreciate the scope of the adventure Nolan takes audiences and Odysseus on. The cast is truly fantastic, with some career best standouts, backed by a fantastic musical score and a truly gorgeous visual identity. When approaching material like this, it is exactly the sort of film you hope someone makes: a completely committed, go for broke tale. This closest comparisons for something of this scale is the biblical epics of old Hollywood, like "Ben-Hur" or "The Ten Commandments." A piece of work with thunderous effort behind it on all fronts, full of sound and fury on a truly incredible scale. Despite being based on arguably the oldest story in recorded history, you've seen little else like it. 5/5 

Gail Daughtry and the Celebrity Sex Pass - Review: The Wizard of Odd

 

If ever there was a way to break through the noise of modern Hollywood filmmaking, it's this: embrace silliness and sincerity. That genuine sense of fun has catapulted many recent films to critical and commercial success recently. While the sincerity part may be hit or miss, anyone who’s seen any film from writer/director David Wain (“Wet Hot American Summer,” “They Came Together”) and his longtime collaborator, co-writer Ken Marino (“The State,” “Children’s Hospital), knows that they know a thing or two about embracing silliness.

“Gail Daughtry and the Celebrity Sex Pass” stars Zoey Deutch (“Zombieland: Double Tap,” “Nouvelle Vague”) as the titular Gail Daughtry who finds herself on a whirlwind adventure through Los Angeles after her high school sweetheart and fiancé Tom, played by Michael Cassidy (“Men at Work,” “People of Earth”), meets and utilizes his “celebrity free pass.” Now, with the help of her best friend Otto, played by Miles Gutierrez-Riley (“Smile 2,” “Sweethearts”), and a rag tag group of misfits including wannabe talent agent Caleb, played by Ben Wang (“Karate Kid: Legends,” “The Long Walk”), paparazzi photographer Vincent, played by Marino, and real-life actor John Slattery, played by John Slattery (“Mad Men,” “Spotlight”), she sets out on a quest to fix her relationship by having sex with her celebrity free pass, Jon Hamm, played by Jon Hamm (“Mad Men,” “Hoppers”). Meanwhile, a mix-up at the airport leads to her obliviously being chased down by crime boss Ludovica, played by Sabrina Impacciatore (“The White Lotus,” “The Paper”), and her goons Sergio and Niccolo, played by Joe Lo Truglio (“Brooklyn Nine-Nine,” “Reno 911!”) and Mather Zickel (“Delocated,” “Man Up!”) respectively.

While that might seem like an awful lot to pack into a film that runs barely over 90 minutes, Wain and Marino keep things brisk by keeping things silly. Nothing is ever taken too seriously, just enough for the characters to buy into the events as they progress. It’s also consistently very ridiculously funny, poking fun at all manner of Los Angeles and celebrity stereotypes, as well as the twee fantasy romantic film genre. While not as incisive of a satire as Wain’s previous rom-com film “They Came Together,” there’s different material more squarely in his sights this time around. About halfway through, it becomes apparent that this film is a direct parody of “The Wizard of Oz,” down to character arcs and specific plot devices.

Smartly, Wain and Marino keep this close to the chest early on, until the third act hits, and it becomes a beat-for-beat parody of the 1939 classic. There are no winking nods with yellow brick roads or people dressed as witches. Rather, even in its most directly referential moments, they make sure to keep things focused on the actual film. Therefore, it avoids the pitfalls most films like this would trip over, as well as making sure it works on its own terms as a film so anyone can watch and laugh along even if they’ve never seen or heard of the original “Oz” tale.

This is a broad ensemble comedy first and foremost, and Deutch leads her group of misfits along with a commanding presence. Equal parts delirious optimist and homegrown heroine, she is a fantastically funny central character that is a ton of fun to spend time with. This isn’t a deep character study, but there is at least some material for Gail to deal with. Not so for anyone else. The rest of the supporting cast is equally funny, although they mostly boil down to vehicles for jokes. Slattery is possibly the funniest outside of Gail, simply because he gets to play his own celebrity persona as a vehicle for the comedy, but they all have their moments. Wain’s direction has a high emphasis on visual gags and overblown dialogue, and each member of the cast is locked in on the exact wavelength needed for a project like this to shine.

Outside of the comedy and visual gags, there’s little of note on the production side. The musical score is fine enough, with Craig Wedren (“School of Rock,” “Wet Hot American Summer”) composing some works that simply get the job done. Visually, it's a film clearly made for a small budget, and it shows. Cinematographer Kevin Atkinson (“A Futile and Stupid Gesture,” “History of the World: Part 2”) works with what he’s got, but this is clearly a film made on a shoestring budget, with favors called in for celebrity cameos and visual bits. None of this harms the film per se, but it does mean that there’s nothing to get excited about if the comedy doesn’t strike your fancy.

“Gail Daughtry and the Celebrity Sex Pass” is a mouthful of a title and a rollicking good time if you enjoy the kind of silly, overblown, satirical humor it’s putting out. A completely committed cast leads a really clever script that gets a ton of material out of its central idea, as well as an unexpected amount of great material out of its “Wizard of Oz” parody. This is nothing revolutionary or monumental, but as a film so directly and embracingly silly, you’ll have a great time tripping down this yellow brick road. 4/5

Moana (2026) - Review: Lost at Sea

 

In the late 1990s, after their purchase of the ABC network, Disney began producing original films for the channel in an effort to drum up viewership. While most of these were original, some were sequels to pre-existing films or properties. This led to the creation of such all-time classics as “Mean Girls 2,” “The Dukes of Hazzard: The New Beginning,” “Home Alone: The Holiday Heist,” and “Romy and Michele: In the Beginning.” This a long way of saying Disney has plenty of experience making cheap looking cash in films that seem like they belong on a TV station rather than a multiplex. This is in no way a reference to their new live-action remake of “Moana,” coming just a little less than a decade after the original.

The film follows Moana, played by Catherine Laga'aia in her film debut, the future chief of the island of Motunui and daughter of the current chief Tui, played by John Tui (“Hobbs & Shaw,” “Young Rock”). After a blight infects the surrounding ocean and her island, Moana sets out on her own to find the demigod Maui, played by Dwayne Johnson (“Black Adam,” “Jumanji: Welcome to the Jungle”), and make him bring the heart of Te Fiti back to its home to restore balance to the ocean.

First things first, the elephant in the room. This is not only yet another live-action remake of one of Disney’s animated films, but their first remake of a CGI animated film and their most recent remake as well, coming out slightly less than a decade after the original. While not inherently a bad thing, it’s felt throughout the entire film. Which is a simple way of saying that this is, with very minor exceptions, a shot-for-shot remake of the original. The lines are the same, the camerawork is largely the same, the songs are the same, and one of the two screenwriters, Jared Bush (“Zootopia,” “Encanto”), is the same. Bush co-writes the new script with Dana Ledoux Miller (“Moana 2,” “Narcos”) but you’d be hard-pressed to find anything actually different. Love them or hate them, the other live-action Disney remakes at least attempted to find some new wrinkle in their stories to justify their existence. Not so here, and as a result it feels more like one of the stage musical adaptations from a Disney theme park than an actual film.

One would hope that being such an exact remake would at least make it easy to make the film look exceptionally good. Not so. While the scenes on Moana’s island looks great, that’s because they’re shot on an actual island in Hawai'i. Anytime she or Maui venture off into the ocean, the film becomes a visual mess. The water looks fine enough, but it's painfully obvious that the film was shot against digital backdrops. Laga'aia and Johnson seem to float over top of the backgrounds, never feeling in place with the environment. This is quite the issue, as about eighty percent of the film takes place on those open waters. The CGI elements don’t fare much better. The film looks best when it’s embracing a more stylized look; the digital elements of the “You’re Welcome” musical number look great, for example, as are Moana’s pet chicken Hei-Hei and the lava monster Te Kā. But anytime they’re attempting to reach some kind of photo-realism, it falls apart. An early scene with a clearly digital version of Johnson jumping off a cliff doesn’t just look weightless and lifeless; it just plain looks ugly. Most of the film lacks the colors of the original, turning a landscape of colorful islands and crystalline oceans into a desaturated mess.

Given that little has changed in the script, it means that little has changed with the songs as well. Thankfully, they remain a bright spot, with Lin-Manuel Miranda (“Hamilton,” “In the Heights”), Mark Mancina (“The Sea Beast,” “August Rush”), and Opetaia Foaʻi’s (“Moana 2”) music keeping their same playful and dramatic energy. Even they are not perfect though: it may just be years of listening to the originals, but there are some odd vocal deliveries and changes in pacing that leaves some singers sounding off tune. For the most part, you’ll hardly notice and instead be taking respite in a part of the film that has remained untouched, but still excellent.

Laga'aia does a fine job as the titular heroine, nothing that blows the original performance out of the water, but she’s plucky, cheerful, and gung-ho on her quest. A completely inoffensive performance. Johnson is a far more mixed bag. Despite reprising the character he originally voiced in Maui, he seems miscast. Most of it comes from a more downplayed portrayal of the character, taking the over the top cartoonish-ness of the demigod to a subtler level. The problem is that none of the character’s actions or lines have been changed to match this new performance. Johnson as result seems like he’s half asleep or just can’t be bothered to give more than 60% of his energy to any particular line delivery or action.

It makes sense why director Thomas Kail (“Hamilton”) would want to make his feature directorial debut with a film like “Moana.” It’s a safe remake that expands on his experience with big showy musicals and reunites him with Lin-Manuel Miranda. However, it is safe to an absolute fault, resulting in a film with no purpose to its existence other than to make money. Despite a fine lead performance and retaining the great music, virtually every other element of the film is either lesser than the original or straight up bad. And given that it is an exact remake, being of such quality gives no one any good reason to seek this new version out over just rewatching the original modern classic. 1/5

Minions & Monsters - Review: They're Gonna Put Me In The Movies

 

The Minions have taken over Hollywood! Love them or hate them, the little yellow living tic-tacs that debuted 16 years ago in “Despicable Me” are here to stay. Not only have the Minions gotten their own spin-off franchise, but this is also now their third film in said spin-off series, and they aren’t just taking over tinsel town in our world either. This latest adventure, the first with their original creator Pierre Coffin (“Despicable Me,” “Minions”) in the director's chair since 2017, seeks to channel the heart and spirit of 1920s Hollywood; quite the goal for a group of marketable mascots once posited as the death of modern Hollywood animation.

Set in 1920s Hollywood, “Minions & Monsters” follows a new tribe of Minions, voiced by Coffin, in search of an evil boss to follow. Two best friends in that tribe, James and Henry, fall in love with the movie making industry and soon their tribe becomes the stars of the silver screen thanks to the help of their newfound friend and film director Max, voiced by Christoph Waltz (“Django Unchained,” “Inglorious Bastards”). Seeking to make their own monster movie, Henry and James decide to summon a group of monsters, led by the tiny Cthulu-like Goomi, voiced by Trey Parker (“South Park,” “Despicable Me 3”), with sinister motives of their own.

Much of the Minions' typical humor is here in full force, as one might expect. This is, after all, the seventh film in the franchise; if it ain’t broke, don’t fix it. Yet, there’s a narrower scope on things this time around. The slapstick nature of their humor feels more at home in this setting, and therefore it feels more effective, more genuine. This isn’t a complete rewriting of their playbook, so if you’ve hated them from the beginning, you won’t be baptized as a new Minions devotee by the end of the film. But it, somehow, just feels a bit sweeter, a bit clearer, and just better. That’s mostly thanks to the excising of any major human characters from the plot. While there are certainly supporting players in the tribe’s journey, none of them overwhelm the plot like Sandra Bullock’s Scarlett Overkill or Steve Carrell’s young Gru did. It’s remarkably Minions focused and still manages to have a great deal of pathos and payoff. 

Coffin continues to imbue life into his little yellow creations, somehow delivering different vocal inflections, pitches, tics, and speech patterns regardless of the number of virtually identical Minions on screen. Waltz also seems to be having a blast voicing a pint-sized German film director who really believes in James’s storytelling spirit. Parker twists his voice around just as much as he does on his own show “South Park” and is also having a blast. The rest of the cast are almost cameos, but ones that clearly are having a lot of fun: Jeff Bridges (“The Big Lebowski,” “TRON”) as Frank and Elwood Bright, the twin brother heads of Bright Bros. Pictures, Allison Janney (“Juno,” “I, Tonya”) as Olivia, a Hollywood museum tour guide, and Zoey Deutch (“Zombieland: Double Tap,” “Nouvelle Vague”) as Debbie, a suffragette. Jesse Eisenberg (“Zombieland,” “The Social Network”) is a true standout, playing Dort, a robot clearly meant as a tribute to “The Day the Earth Stood Still.” He delivers the exaggerated, muffled robotic voice expected of stereotypical metal men from Mars types with note perfect effectiveness.

Eisenberg’s performance, and the presence of a character like Dort, is a perfect example of the deep reverence for Hollywood on display. Against all odds, Coffin and co-writer Brian Lynch (“Puss in Boots (2011),” “The Secret Life of Pets”) have delivered a plot that not only manages to stuff a ton of references to films and filmmakers like Charlie Chaplin, “Babylon,” “Ben-Hur,” “Singin’ in the Rain,” Buster Keaton, and “Safety Last,” but the setting provides for more than just a backdrop for those references. James and Henry have a clear and deep love of drawing and storytelling, and it shines through in a remarkably authentic way. We see the sets, the cameras, even the editing equipment of that time period. The film also uses the evolution of silent films to talkies as a major part of the plot and this tribe of Minions’ journey. It might take some time to pick up steam, with a slower than expected first 10 minutes, but once it does this film is choked full of genuine love for Old Hollywood to a truly unexpected degree.

John Powell (“How to Train Your Dragon,” “Shrek”) reteams with Illumination for the score and delivers a bold and bombastic tribute to the film’s era in every note. From xylophones to brass trumpets to choirs to simple whistles, the music seems to be right in step with the symphonic works of the 1950s and 60s. Even the animation seems cleaner, smoother, and squishier to accommodate the slapstick heavy nature of the era’s biggest stars like Chaplin and the Three Stooges. More important than any of that, there’s a deep, almost imperceivable passion for the medium running beneath the film and pumping up its energy. It’s as if Coffin has always wanted to make a tribute picture like this and snuck it into Illumination under the guise of the Minions. But, by infusing that passion with the classical early Hollywood slapstick nature of these little yellow guys, he’s crafted something unexpectedly great. Even the Minions themselves are embodiments of the best kind of silent-era humor: purely energetic comedic vessels with no goal other than to entertain.

At one point in the film, this gaggle of Minions finds themselves the stars of various silent movies. And that’s where the purest vision of these characters comes to life. These little yellow guys were always meant to be in the movies, but just not any with sound or color. By placing them in the era of Old Hollywood, Pierre Coffin has unlocked a new spirit within them that creates not only the best film in the franchise, but a full-throated celebration of creative vision and a love letter to Hollywood. Is it packed full of references? Yes, absolutely. Are there more detailed depictions of the era? You bet. But you’d be hard pressed to find any film that delivers a poop joke and a “Citizen Kane” tribute at the same time and makes them both work wonderfully. If that gets the six-year-old who’s obsessed with Minions to look up what “Citizen Kane” is or who Buster Keaton was, then so be it. 4.5/5 

jackass: best and last - Review: If You're Gonna Be Dumb, You Gotta Be Tough

 

Over 100 years since they originally started, the spirit of the Three Stooges is alive, well, and more grotesque than ever in the broken bones of the Jackass crew. For Johnny Knoxville, Steve-O, Chris Pontius, Wee Man, Preston Lacy, Dave England, and Danger Ehren, their goal for the past 25 years seems to have been to inhabit the twisted spirit of classic Hollywood stuntmen, without faking the stunts. That fearlessness is why their MTV show of pranks and stunts turned in a global franchise, with this last and fifth film acting as a retrospective, a celebration, and an excuse to beat the hell out of each other one last time.

To give a summary of a “Jackass” film is a fruitless endeavor, but for those unaware, the film consists of the original crew, as well as newer members Poopies, Zach Holmes, Jasper Dolphin, Rachel Wolfson, and Compston "Dark Shark" Wilson, performing a combination of elaborate stunts that regularly lead to injury or outlandish pranks that also typically lead to injury. However, this time around, there’s a heavier emphasis on reflection, including footage of the “best” stunts from the series according to the crew, and never before seen moments from the early days of production.

That never-before-seen material is likely the biggest draw for fans of the series, as it allows for a peek behind the scenes that’s unusually candid, even for a series based around candid material. What’s even more fascinating is seeing what MTV refused to allow the group to air back in the day juxtaposed against what they’re allowing wholeheartedly for this new film. Ironically given the frequent attacks on the franchise on behalf of “good taste”, this allows for an examination of the cultural differences of the world and what was acceptable in media just 25 years ago. It’s not a profound examination of those differences, but it's an interesting byproduct, nevertheless. 

Unfortunately, the retrospective nature of this film also hinders much of the newer material. The most entertaining parts are the previously unseen stunts and watching the cast look back at what came before. Showcasing that earlier material, and how technically elaborate most of it was, exposes the cheapness with some of the newer stunts. While there are still plenty of go for broke moments, and a few that will go down in infamy with fans (a game of Twister after chugging X-Lax is... certainly something), all but a handful pale in comparison to the previous skits.

It isn’t so much a lack of creativity, although most new bits are far too simple even when they are good ideas, but rather an overall sense of cheapness. When you see older stunts set up on massive lakes or desert wastelands, with large amounts of technical competence on display for simple bits of stupidity and then cut to the inside of a rented office space for something that takes place in a few minutes in one room, it's a lackluster feeling. The thought behind the stunts is still there, with the trademark bits of stupid genius, but a fifty-fifty batting average of new material for what’s billed as your big finale isn’t really going out on a high note.

No matter how fresh it feels though, there’s a simple and infectious attitude to everything. Watching old footage of Brad Pitt in the early 2000s come along for pranks alongside Paul Walter Hauser joining in for some new stuff perfect shows why people love these guys. None of this ever feels off or mean spirited. It is legitimately just a bunch of guys hanging out and doing dumb stuff together, taken to its most logical and explosive extremes. The laughs are real, the smiles are real, the hugs are real, and watching Knoxville bear hug a completely naked Pontius after a stunt further reinforces the sweet friendship at the core of these crude adventures.

“Jackass: Best and Last” is the sort of film tailor made for the idea of “if this is for you, you’ve already seen it.” The pranks are still fun, the camaraderie is still infectious, and the retrospective angle to things does legitimately lend itself to some interesting reflections on the series. However, highlighting so much of the best against the more hit-or-miss new material showcases an uneven pace that makes this final achievement more of a miss fire than one might hope for. But can it really be so bad if you’re going through it with your dumb little buddies alongside you? 3/5

Supergirl (2026) - Review: Woman of Tomorrow

 

With last year’s “Superman” film, James Gunn effectively revitalized the DC brand for the cinematic landscape and kickstarted a new “DC Universe” run by himself and Peter Safran. “Supergirl” then faces an almost impossible task: it is the second film in this new universe, it's the first DCU project to not involve Gunn in the writer or director’s chair, and it features a character who, despite the giant S on her chest, is a lesser-known hero compared to the likes of Wonder Woman, Batman, or her older cousin. All of this is to say that all eyes are on this space faring woman of tomorrow.

The film follows Kara Zor-El, aka Supergirl, played by Milly Alcock (“Upright,” “House of the Dragon”) as she parties around the universe, celebrating her birthday in a drunken stupor. During said stupor, she is approached by Ruthye Marye Knoll, played by Eve Ridley (“Emerald”), a young girl seeking a warrior to help her kill Krem of the Yellow Hills, played by Matthias Schoenaerts (“Bullhead,” “The Mustang”), a space pirate who murdered her entire family. After Krem steals her ship and poisons her dog Krypto, Kara finds herself chasing after him as well in search of an antidote, reluctantly bringing Ruthye along.

With the 2021-2022 comic mini-series “Woman of Tomorrow” as its base, screenwriter Ana Nogueira and director Craig Gillespie (“I, Tonya,” “Cruella”) certainly have some meaty material to pull from. While a good amount of that meat makes it to the big screen, what’s been changed in the process isn’t for the better. This isn’t an example of things being changed and therefore automatically being made worse just by that virtue. Rather, its clear that this is a very simple story that’s been overstuffed with small detours and complications that don’t add to the central character arcs. What should be essentially a superpowered version of “True Grit” in space is jam packed full of side characters that add little to the story and flashbacks for Kara’s own origin story.

This material isn’t necessarily bad. The origin is one of the film’s best aspects, and it allows Alcock to really showcase the nuanced differences between Kara and Clark. These differences then bowl over into the main narrative and how it represents her jaded persona. This is where Alcock truly gets to shine; if Clark is a picture-perfect portrayal of innocence and optimism, Kara is a calloused force of nature. Alcock nails the power, but she’s at her most interesting when she’s balancing her own drunken recklessness with said overpowered nature. Ridley does well in her first film role, and opposite Alcock she turns what could easily have been an annoying, childish companion into a character with her own forces and arc.

Schoenaerts does the best he can with this material, but Krem as he exists here is simply a bland villain. He attempts to be brutal and crazy, but it just comes across as one note and dull, doing weird things seemingly for no reason other than to just do them. The script simply doesn’t afford him any more depth beyond that. Jason Momoa (“Aquaman,” “Game of Thrones”) appears as bounty hunter, and frequent nemesis of Kara, Lobo, and his minor role makes much more of an impact than Krem’s. Lobo might be superfluous to the story, essentially disappearing in the third act after his use is expounded, but Momoa has the charm needed to pull it off. Much of the film itself boils down to being just fine, with Alcock, Ridley, and Momoa holding it all together. The visual identity is good, but overly brown and muddy, especially in the last act. Camerawork is slightly inventive, but cinematographer Rob Hardy (“Ex Machina,” “Mission: Impossible – Fallout”) keeps things to a mostly routine look.

If there’s one massive boon to the film overall, it’s the overall vibe of this tale. Kara is diametrically opposed to Clark’s personality, and her film is likewise opposed to last year’s “Superman.” This space faring tale is full of violence, language, drinking, bounty hunting, and trafficking. None of this ever feels added simply for flavor, as the entire film lives and breathes in this grimy atmosphere. Claudia Sarne’s (“Broken City,” “The Book of Eli”) musical score is a massive highlight, matching the atmosphere and lifting things up, when it isn’t being undercut by hit-or-miss needle drops. While this “Mad Max” meets science fiction vibe could be off-putting for some expecting a more family friendly superheroine tale, it still maintains a throughline of good-natured qualities, juxtaposed against the nastier aesthetics of this tale.

“Supergirl” the film has a lot in common with its protagonist. Both are rough around the edges, can be off-putting to some given their attitudes and aesthetics, and certainly have some character flaws. Alcock does a lot to lift the film up, and she is excellent. What’s here isn’t awful but is certainly underwhelming given the starting point of this new DC universe from last year. A stronger script and visual identity could’ve helped smooth over even more of these issues, but as it stands, it's certainly a unique, abrasive take on Clark Kent’s cousin from beyond the stars. 3.5/5 

The Invite - Review: Guess Who's Coming to Dinner?

 

There’s something about a contentious environment that just makes for riveting entertainment. A group of people all placed in an uncomfortable scenario tends to breed the best kinds of resentment, comedy, monologues, and performances from any group of actors. This technique is a tried and true one, shown in works like “Who’s Afraid of Virginia Woolf,” “Bob & Carol & Ted & Alice,” and “A Woman Under the Influence,” and now director Olivia Wilde’s (“Booksmart,” “Don’t Worry Darling”) latest film is joining that canon. 

“The Invite” stars Seth Rogen (“The Studio,” “Pineapple Express”) and Wilde as married couple Joe and Angela, respectfully. One night, as Joe gets home from work, Angela tells him that their upstairs neighbors Hawk and Pína, played by Edward Norton (“Fight Club,” “Birdman”) and Penélope Cruz (“Vicky Cristina Barcelona,” “Parallel Mothers”) respectfully, will be coming by for dinner. This begins a tumultuous evening where tempers flare and pleasantries are exchanged, forcing Joe and Angela to reexamine their relationship through the guise of an invitation from their hipper, freer neighbors. 

There’s an inherent simplicity to material like this, at least at first glance, and therefore the right eye is needed to prevent things from getting visually stale. Thankfully, Wilde has that right eye with cinematographer Adam Newport-Berra (“The Studio,” “The Last Black Man in San Francisco”). He plays heavily with various voyeuristic angles and perspectives, setting plenty of shots at deliberately obscured angles and viewpoints. Sometimes it's a mirror, sometimes a window, sometimes a window looking into another window. It’s nevertheless an engrossingly simple way to frame this story, and the small scope lets us feel as though we know the apartment as if it's our very own in a very short time. 

Wilde’s direction pairs wonderfully with Newport-Berra's camerawork, and it meshes into a delicious cocktail of visual fun. But the fun doesn’t stop there. The script by Will McCormack (“Celeste and Jesse Forever,” “Toy Story 4”) and Rashida Jones (“Celeste and Jesse Forever,” “Parks and Recreation”) is packed tight with all manner of juicy barbs and double entendres that provide the film with ample amounts of verbal sparring. It’s a tricky balance, but the dramatic revelations come just as smoothly as the comedic bouts. Even if you don’t buy into the dramatic revelations, it still manages to be a hysterically funny film full of insights into modern relationships. 

Wilde is wonderful, playing Angela as a perfect portrait of the overworked, anxious stay-at-home wife without allowing her to delve into shrewd stereotypes. The same goes for Norton, playing a role likely not too far from his own persona. He deftly navigates the nuances and self-importance needed for this kind of borderline hippie character to thrive. Rogen and Cruz are the two complete standouts however. Cruz is excellent in virtually everything, and she has a fantastic wit that she brings to Pína. There’s a lot of fantastic facial acting for her role specifically, hiding clear emotional tells within her expressions. Rogen seems to almost be weaponizing his slacker guy persona to fantastic effect here. On paper the character isn’t so outside of others he’s played, but the layers within him are what allows him to truly shine as an actor. It’s as if he woke up and remembered that he can deliver some truly great dramatic roles when he puts his mind to it, and this is easily the best he’s been in any film since “50/50.” 

Wilde’s direction is one of subtly flash, keeping in line with the cinematography. It isn’t without playful moments, but it mostly sticks to a static perspective to accentuate the script and performances. It never gets in the way of the best moments, letting them breathe, while giving the cast a stage to perform on. This is a film that is inherently simple enough to be thought of as a filmed version of a play, but she handles it with grace. Devonté Hynes (“Palo Alto,” “Queen & Slim”) also keeps this lively, with a musical score that mixes classic cello strings with a tension that mirrors the characters’ own internal struggles. 

The mixes of classical elements with modern ones is a theme that runs deep through the production and script of “The Invite.” Wilde directs a film that delivers those ideas whole heartedly. Each member of its small cast is excellent, with some really fantastic work from Rogen and Cruz, a fantastic set, great camerawork, and a genuine desire at the core to have a good time. Whether or not the central dramatic core will work for you will vary wildly from person to person, but you’d be hard pressed to not accept this invite regardless. 4.5/5 

Toy Story 5 - Review: Rise of the Machines

 

What could possibly be said about “Toy Story,” the franchise that catapulted Pixar Animation Studios into the spotlight and kickstarted a computer animated revolution. Without Woody and Buzz, we don’t have “Monsters Inc.,” “Shrek,” “Kung Fu Panda,” “Into the Spider-Verse,” “Tangled,” “Happy Feet,” “Avatar,” “VeggieTales,” or “The LEGO Movie.” Suffice to say, with numerous accolades and over $3 billion combined at the box office, the original trilogy of “Story” films are some of the most beloved and important ever made. But now, we’re years past that. “Toy Story 3” is almost two decades old, and even the fourth film is 7 years old now. We might all adore these characters, but is there enough juice left in these batteries to justify a tale beyond the epilogue?

“Toy Story 5” follows Jessie, voiced by Joan Cusack (“School of Rock,” “Working Girl”), Buzz Lightyear, voiced by Tim Allen (“The Santa Clause,” “Home Improvement”), Woody, voiced by Tom Hanks (“Forrest Gump,” “Cast Away”), and the rest of the gang as they deal with Lilypad, voiced by Greta Lee (“Past Lives,” “Tron: Ares”), a new tablet device given to their kid Bonnie, voiced by Scarlet Spears. While attempting to prevent tech from invading Bonnie’s life, Jessie finds herself swept away to the home of her old owner Emily, now occupied by a new family and child named Blaze, voiced by Mykal-Michelle Harris (“Mixed-ish,” “Cheaper by the Dozen (2022)”).

There are a handful of things that are to be expected with virtually every Pixar production by now, and this latest story of toys is no exception. The film looks exceptional, and while the warm look and lighting from the fourth are gone, in its place is a clean and pleasing look that emphasizes scale. There’s a seemingly stronger emphasis on low angles this time around that zeroes in on the size and scope of these living toys. It might be the same overall look that Pixar has maintained for years, but it works and is very obviously a “if it ain’t broke” circumstance. A few small moments showcase what could be a bold new direction, with imaginary playtime scenes dressed in a watercolor, painterly aesthetic. The same goes for Randy Newman’s (“Monsters Inc.,” “The Princess and the Frog”) musical score, and while he doesn’t contribute an original song this time around, the musical identity of the series is untouched and still of the highest quality.

Much like the technical side of the film, the vocal performances are just as fantastic as they’ve ever been. Cusack delivers a career best performance, and both she and Jessie get a lot of room to work with the deepest emotional work Pixar has given the cowgirl since her debut. It’s a really fantastic performance. Allen and Hanks are as great as they’ve ever been, perfectly slotting back into their buddy cop duo personas, even if the material for them is weaker than for Cusack. Lee is an excellent villain, dialing into an almost nasally kind of persona that works wonders as the film evolves her character. Spears and Harris are also excellent as the film gives the kids the largest part of the story they’ve ever had. Conan O’Brien (“If I Had Legs, I’d Kick You,” “Conan”) appears as the potty-training tech toy Mr. Smartypants, injecting a healthy amount of abrasiveness and potty humor into Pixar’s usually squeaky-clean facade. He gives an energetic, scene-stealing, comedically golden performance that is a highlight of the film.

If you had a checklist of everything that a film needed to be a “Toy Story” movie, this fifth installment would easily tick every box. Yet, there’s something deep inside that’s missing. There’s a special little spark that seems to be dimming. Maybe it's the fact that this is the fifth adventure in the franchise, that this is the fifth time they’ve tackled the idea of the toys facing obsolescence, or the second time they’ve faced the encroachment of technology (looking at you, underrated and now ironically named television special “The Toy Story That Time Forgot”), but so much of the film feels like going through the motions. They are great motions to go through, as the film still elicits plenty of laughter, adventure, and some tears when required, but it never feels the same as the first three, or even the bittersweet feeling of the fourth.

Most of that comes from the script. Co-writer/director Andrew Stanton (“Finding Nemo,” “Wall-E”) is a steady hand on the ship, keeping things headed in exactly the right direction you’d expect for a “Toy Story” adventure. He and co-writer Kenna Harris (“Ciao Alberto”) wring a lot of funny stuff out of this fifth adventure, but the script is bizarrely toothless. Despite never being pointed films, the previous entries all had something to say in some way. “Toy Story 5” does, but what it says about technology feels like its side-stepping making any actual statement, and everything else feels like a grab bag of ideas. A B-plot running alongside the main story involving a group of shipwrecked Hi-Tech Buzz Lightyear toys is a stroke of genius that feels like new and unique within the “Toy Story” concept, while the rest of the film is exploring ideas the previous entries have already done. With them and characters like Smartypants, they get close to saying something about toys and tech combined but never cross the gap to make it connect. It doesn’t feel like a new grand chapter in the saga, but instead just another day in the life.

That might sound harsh, but it is worth reiterating if you’re looking for more adventures with Woody, Buzz, Jessie, and the rest of the gang, you’ll be more than satisfied here. It looks incredible, is packed with tons of great vocal performances, and keeps the same ethos of the series burning bright. Anyone expecting something that goes beyond that though will likely be a bit disappointed. Each new tale in this saga doesn’t have to do something radically new or break new ground. But the risk of not doing that on the fifth entry is that you soften the specialness of these stories. The quality is still very high, but will this latest toy tale be remembered as fondly as the rest? Well, that’s something only the kids can decide. 4/5 

Girls Like Girls - Review: Loving In The Summertime

 

After a career as a Disney Channel teen actor, singer/songwriter/actress/author Hayley Kiyoko pivoted into a pop career that has made her one of the biggest queer artists on the planet. Affectionately known to her fans as “lesbian Jesus,” her biggest hit came in 2015 from her second EP titled “Girls Like Girls.”  After the massive success of the song and then the music video, Kiyoko expanded the song into a novel that has now been adapted into a film, written by herself, Chloe Okuno (“V/H/S/94,” “Watcher”), and Stefanie Scott (“A.N.T. Farm,” “The Girl in the Woods”) and directed by Kiyoko.

Its summer 2006 and Coley, played by Maya da Costa (“Under the Bridge”) has just moved in with her estranged father Curtis, played by Zach Braff (“Scrubs,” “Garden State”) after the unexpected death of her mother. In her new town she meets Sonya, played by Myra Molloy (“The Bold Type,” “He’s All That”), and the two begin a whirlwind summer romance as Coley attempts to grapple with her first love, and Sonya struggles with her newfound attraction to girls.

From the film’s opening moments, the vibe Kiyoko wants to capture is extremely clear. This is not a squeaky-clean kind of teen romance. This is the sort of film that's bathed in a warm summery haze, with natural lighting and an emphasis on mid-2000s nostalgia. From the clothes to the hangout spots to the thick original iPods, this film is clearly aimed at anyone who grew up in the years 2000-2009. Nothing here feels flashy either. There are no quick camera cuts or fancy movements. No elaborate panning sequences from cinematographer Sonja Tsypin (“Fuzzy Head,” “The Yellow Wallpaper”), just a calm, understated window into Coley’s life.

In some way, you could see the film’s short runtime and limited scope as a slight, but rather it goes further in capturing Kiyoko’s evocative goal. This is a quiet kind of contemplative film, and while the script certainly has its fair share of romance and coming-of-age cliches, there’s a wistfulness in how it navigates it all. Every character in the film is messy, and Kiyoko, Okuno, and Scott capture the complicated nature of being a teenager quite well. There’s plenty of space to allow both Coley and Sonya grace in their missteps.

Costa plays Coley with a soft and gentle hand; there’s a kindness to her performance that allows anyone in her circumstances to see themselves and feel cared for. Molloy plays Sonya as a popular whirlwind girl, and it's easy to see why and how Coley falls so fast for her. The script spends a majority of its time on Coley though, which makes Sonya feel underdeveloped as a result. She clearly has an arc that’s happening off-screen, but it's harder to sympathize with her in the way the film wants as we simply aren’t seeing her journey. Braff turns in a surprisingly understated performance as Coley’s father Curtis, and there’s a slowly evolving warmth to his portrayal that makes each scene he and Costa share together a highlight.

The rest of the film’s technical merits are all top notch, if slight. The needle drops have plenty of queer representation, such as Tegan and Sara and new songs from Kiyoko herself, and the costume designs have a natural feeling to them, as if the costume designer opened a box of all their old outfits from 2005. This is just a kind, calm film, without sacrificing Coley or Soyna’s emotional journeys. There are no grand statements on life or romance or anything of the sort; just a slice of these two girls lives figuring things out on their own personal queer journeys.

“Girls Like Girls” could be described as a sleepy little film, but it effectively evocates the early 2000s vibe for a sweet lesbian romance brought to the big screen. Kiyoko’s vision is clear and true, if simplistic, and the warmth radiating from the setting and the characters is felt sweetly. Costa and Molloy are great together, and you feel their romance throughout the uneven, cliched script. If nothing else, this is an unpretentious gateway film for young queer women everywhere and a jumping off point for Kiyoko’s potential as a filmmaker. 3.5/5 

Disclosure Day - Review: Close Encounters of the Emotional Kind

 

When you’re the person who essentially created the summer movie scene, a new film touching upon those blockbuster ideals is cause for celebration. Steven Speilberg (“Jurassic Park,” “E.T. The Extra-Terrestrial”) has returned to such material with his latest film, reteaming him with writer David Koepp (“Jurassic Park,” “Spider-Man (2002)”) and the genre he essentially helped mold into what it is nowadays: the UFO/alien film. This latest film, “Disclosure Day,” certainly seems to share a lot of ideas and themes with his previous works in the genre. Hopefully it’s more than just a close encounter with the blockbuster kind.

The film follows cybersecurity specialist Daniel Kellner, played by Josh O’Connor (“Challengers,” “Wake Up Dead Man”), on the run with his girlfriend Jane, played by Eve Hewson (“Flora and Son,” “Bad Sister”), from the shadowy tech corporation WARDEX, run by CEO Noah Scanlon, played by Colin Firth (“The King’s Speech,” “Mamma Mia!”). Meanwhile, Kansas City meteorologist Margaret Fairchild, played by Emily Blunt (“Mary Poppins Returns,” “A Quiet Place”), begins to experience strange voices and senses telling her to find Daniel and to help him with his whistleblower mission: to disclose evidence of alien life and contact to the public.

There’s a lot at play here that seems to recap a lot of what Speilberg has explored in previous films, and in a lot of ways it feels like a direct reaction to the evolution of modern-day sensibilities. There’s a subplot about a potential World War 3 going on in the background that eventually ties into the third act in smart and intriguing ways. Speilberg and Koepp know what they're doing in building intrigue, but that intrigue is one of the weaker moments of the overall film. While there is a lot of mystery surrounding characters, most of it feels as though it was added simply to exist. The film ends with plenty of loose threads dangling, or just unconnected from the conclusion, and not in a mysteriously unexplained way. There’s quite a bit of suspension of disbelief required for various moments to work as well, possibly too much depending on the viewer.

This might make it seem like the third act is the weakest in the film. Far from it, as this is when Spielberg’s combination of big heart and blockbuster tension culminates in the most satisfying chunk of the film. For a tale with this much tension and intrigue, Spielberg not only nails the final moments of it, but manages to perfectly execute the film’s central idea. Empathy and understanding are the biggest ideas here, and despite the film's blockbuster exterior, it means the film resonates far strongly alongside Speilberg’s other works like “Close Encounters,” “The Sugarland Express,” “The Color Purple,” or “The Fabelmans,” than that of his blockbuster thrillers. This is where the superficial elements fall away to reveal the gigantic mush heart at the center of this tale. It presents these core ideas as nakedly emotional as Spielberg has been in decades.

O’Connor is good, keeping attention for his portion of the film expertly so, and his chemistry with Hewson is great, setting the pair of them up through some tumultuous emotional thrills. Firth gets to do plenty of scenery chewing and evil glares as well, and he is fantastic in doing so. Colman Domingo (“Sing Sing,” “euphoria”) also appears as Hugo, a former WARDEX employer and partner in disclosure with Daniel, and he does a lot of great work with what are essentially exposition dumps at various points throughout the film. Blunt is the secret weapon though, as she manages to bring conviction and gravitas to what could have easily been the film’s silliest role. Somehow, she manages to completely captivate the entire time and steals the show from everyone else involved. She is truly fantastic.

As expected, even if the film’s story ebbs and flows, the technical merits of a Spielberg film are rock solid. Janusz Kamiński (“Schindler’s List,” “West Side Story (2021)”) returns as cinematographer and the film’s action is well shot, with the quieter interior moments and camerawork leaving a far larger impact. John Williams’ (“Star Wars,” “Raiders of the Lost Ark”) score is more understated than his most popular works, even absent from some scenes. It nevertheless thrills when it does kick in, elevating the scenes and emotional states rather than rising to their level on its own.

For some, this will be Spielberg at his most schmaltzy, unable to suspend their disbelief given the basic concept. In our age of deepfakes, AI generated materials, and fake news, would videos on the news be enough to convince us that aliens are real? Spielberg and Koepp seem to think so, and there is a wonderful core of hope at the center of the film. It wants to believe that one big event is enough to bring not only the country, but the whole world together. The film, therefore, slots nicely into the “hopecore” subgenre popularized recently by films like James Gunn’s “Superman.” Like that film, there will simply be some people far too cynical for Spielberg’s vision to render effectively. But there’s no denying the effort on display to make this vision work.

“Disclosure Day” isn’t a masterpiece like “Close Encounters of the Third Kind” or Spielberg’s other UFO movies. But it also doesn’t feel like it's trying to be like them at all. This is a simpler, sweet, more hopeful movie at its center, led by fantastic production elements, a great cast, and h a terrific Emily Blunt at its center. It is still thrilling, but the third act and emotional themes are where things really shine, despite the dangling plot threads. Your mileage may vary, but this feels like the father of the blockbuster and modern alien movie is asking you not to grip your seat with tension, but to sit down, listen, and feel. 4/5