MOVIE REVIEW: NORMAL

 

The new sheriff of a small town in Minnesota uncovers a dark secret while investigating a botched bank robbery.

Director: Ben Wheatley

Cast:  Bob Odenkirk, Henry Winkler, Lena Headey, Reena Jolly, Ryan Allen, Billy MacLellan, Brendan Fletcher

Release Date: April 17, 2026

Genre: Action, Crime, Thriller

Rated R for strong bloody violence, and language.

Runtime:1h 30m

Review:

Ben Wheatley’s Normal is what happens when you throw Fargo, 30 Days of Night (sans the vampires) and Hot Fuzz into a blender, the result is a bloody but choppy, tonally inconsistent film that’s highly entertaining in spots thanks to Bob Odenkirk keeping the whole thing from flying off the rails.  Wheatley’s film has an easy air about it, especially in its opening act as we are introduced to the assorted collection of characters in the quirky small town.  He gives you just enough of a hint that something’s off about the whole thing before the full reveal of the town’s secrets.  Bob Odenkirk’s world weary interim Sheriff, Ulysses, is more than content to just go through the motions and humor of the small town and its quirky residents.  His own checkered past has him adrift, moving from one town to the next, hoping to reconnect with his estranged wife.  A pair of hapless bank robbers reveal the town’s ugly underbelly that begins with the rather graphic violence that takes up the film’s back half.  There are wild swings in tone from there which occasionally shift from serious to devilishly brutal, sometimes in the same scene.  It makes for a herky-jerky feel as the film struggles to maintain a steady rhythm even as the action gets more insanely kinetic and ultra-violent.  The biggest issue is that, besides Odenkirk’s Ulysses, everybody else onscreen is little more than thinly written caricatures who are given scant time to leave any sort of noticeable impression.  Billy MacLellan’s Deputy Mike Nelson and Henry Winkler’s Mayor Kibner both turn in fun performances but the script wastes their efforts by taking them offscreen far too early.  Those sorts of missed opportunities keep Normal from being something far more memorable than it ends up being.   

C+

MOVIE REVIEW: LEE CRONIN'S THE MUMMY

 

The young daughter of a journalist disappears into the desert without a trace. Eight years later, the broken family is shocked when she's returned to them. However, what should be a joyful reunion soon turns into a living nightmare as she starts to transform into something truly horrifying.

Director: Lee Cronin

Cast:  Jack Reynor, Laia Costa, May Calamawy, Natalie Grace, Verónica Falcón

Release Date: April 17, 2026

Genre: Horror

Rated R for strong disturbing violent content, gore, language and brief drug use

Runtime: 2h 14m

Review:

Lee Cronin’s The Mummy is an intense and gory horror film that feels more like a mash up of The Exorcist and other assorted classics more than its namesake.  Writer/Director Lee Cronin sets up an intriguing mystery initially after the family’s daughter is introduced and then quickly kidnapped before jumping eight years into the future.  He takes the time to let the characters breathe so we get a good idea of the family dynamics at play in the aftermath of the disappearance.  Once the missing daughter reappears, after a mysterious plane crash, Cronin starts to slowly unfurl a series of gory moments of body horror that are definitely not for the squeamish.  There are plenty of well set up scares throughout especially once Natalie Grace’s comatose Katie goes full spider monkey mode.  There’s a grab bag of possession tropes thrown at the screen with The Exorcist being the most obvious along with bits of The Omen and even some elements from Bring Her Back in the back half of the film.  Cronin decide to take the film in another direction entirely in its final act, changing the tone entirely which feels closer to his last film, a strange choice to say the least especially considering slow burn set up.  This is the type of horror film that suffers from a lack of individual identity as it’s clearly borrowing from other well-known horror classics, but it doesn’t bring anything new to the table.  It’s frustrating because the film isn’t terrible since it’s fairly engaging and entertaining for large swaths of time and the cast delivers solid performances across the board.  Jack Reynor and Laia Costa are strong as the parents with my sole complaint being they seem way too young considering the kids ages.  They are appropriately distressed and loving even as the situation begins to spiral out of control with small tidbits of resentment between the pair offered up but never explored.  The younger cast members each turn in believable performances with the youngest, Billie Roy, getting to unleash a particularly memorable line in the third act.  Natalie Grace is appropriately disturbing throughout boasting heavy make up throughout that does its job of looking disturbing and gross from the moment she shows up onscreen.  Verónica Falcón has fun with her limited screentime but I do wish Cronin had made better use of her talents.  Lee Cronin’s The Mummy offers up a handful of head scratching decisions which leaves the whole thing feeling a missed opportunity since there are signs of a better movie scattered throughout.    

C

MOVIE REVIEW: FACES OF DEATH

 

A content moderator stumbles upon a series of violent videos that appear to re-enact death scenes from the infamous 1978 film "Faces of Death." In an online world where nothing can be trusted, she must determine whether the violence is fake or unfolding in real time.

Director: Daniel Goldhaber

Cast: Barbie Ferreira, Dacre Montgomery, Josie Totah, Aaron Holliday, Jermaine Fowler, Charli XCX

Release Date: April 10, 2026

Genre: Horror

Rated R for strong bloody violence and gore, sexual content, nudity, language and drug use.

Runtime: 1h 46m

Review:

Reviving the infamous pseudo-documentary, Faces of Death, into a feature is a tall order but this meta-approach about the current algorithm driven culture creating a serial killer is more insightful than expected.  Writer/Director Daniel Goldhaber shows a healthy amount of confidence behind the camera as he sets up the general premise and concepts which offer up plenty of intriguing about the original documentary and how the world has changed since it caused such a stir.  There are plenty of tantalizing ideas thrown about in the first half of the film especially reflecting on how horrors in our “post truth” world is little more than content with the film reflecting its gaze back at the audience for watching it all.  It’s a fascinating approach which sadly starts to lose a bit of its shine in the second half of the film as Goldhaber continually beats you over the head with the message.  That latter half does start to feel more like a traditional serial killer film which is topped off with an appropriately gory finale.  There’s plenty of inspiration pulled from films like Silence of the Lambs and Michael Mann’s Manhunter for Dacre Montgomery’s serial killer who is using the original film as inspiration for his kills.  Montgomery goes full bore into the role with impressive gusto as he proves to be the most interesting performer on screen throughout.  Barbie Ferreira is solid as the content moderator that falls down a dangerous rabbit hole as she searches for the deranged killer.  Unfortunately, both characters are thinly written, which is a missed opportunity since both performers are begging for something meatier to bite into for their characters.  It’s not a fatal flaw but you are left feeling there was something more substantial that could have been explored.  Issues aside, Faces of Death proves to a pleasant surprise considering the random source material.  

B-

MOVIE REVIEW: THE DRAMA

 

A happily engaged couple get put to the test when an unexpected revelation sends their wedding week off the rails.

Director: Kristoffer Borgli

Cast: Zendaya, Robert Pattinson. Mamoudou Athie, Alana Haim

Release Date: April 3, 2026

Genre: Comedy, Drama, Romance

R by the MPA for sexual content, language, and some violence, featuring disturbing thematic material, intense bullying flashbacks, suicide threats, and implicit sexual scenes.

Runtime: 1h 46m

Review:

Kristoffer Borgli’s The Drama is a messy, slow motion car crash of a relationship dramady that’s just as funny as it is cringe inducing thanks to fully committed performances from its cast, led by stellar turns from Robert Pattinson and Zendaya.   Borgli’s film has a similar vibe to his last film, Dream Scenario, where it feels grounded for large portion of the proceedings feels grounded and relatable before taking more and more flights of fancy that give us insights into the character’s rather complicated mental gymnastics once the central premise is revealed.  There’s plenty of thematic meat on the bone to dissect as a series of ideas are thrown at the wall that range from political level to more personal relationship level.  It’s definitely the type of film that’s going to illicit different reactions from different people for a multitude of reasons by design.  There’s a fascinating balancing act on display as we follow the central couple’s journey to the altar as the audience follows along on their journey of discovery.  Giving away too much about the story’s plot and its effect on the characters feels like a disservice since I’d say it’s better to go in fresh and take the journey along with the characters.  Robert Pattinson and Zendaya deliver excellent turns as the central couple with the pair going through an endless series of emotions as they grapple with the fact that the people they thought they were was more of a façade than unfiltered truth.  Pattinson’s character is a goofy and nebbish, but you get the sense that he and Zendaya’s character have a real connection together.  They both have natural chemistry together with both losing themselves fully into the roles especially as things spiral increasingly out of control.  They’re both in fine form throughout with no easy answers provided by the time it’s all said and done which might be frustrating, but it does feel truer to life.  Pattinson and Zendaya carry the lion’s share of the load here but Mamoudou Athie and Alana Haim, who’s bitchiness level is set to 11 throughout, make the most of their screen time.  The Drama is the kind of film that will definitely spark conversations once the final credits roll and although all the concepts don’t gel as well as they should it’s still one of the more fascinating films of the year.

A-

MOVIE REVIEW: THE SUPER MARIO GALAXY MOVIE

 

The Super Mario Galaxy Movie is a 2026 animated adventure comedy film based on the 2007 video game Super Mario Galaxy and its 2010 sequel, as well as Nintendo's broader Mario franchise. 

Director: Aaron Horvath and Michael Jelenic

Cast: Chris Pratt, Anya Taylor-Joy, Charlie Day, Jack Black, Keegan-Michael Key, Kevin Michael Richardson, Benny Safdie, Donald Glover, Issa Rae, Luis Guzmán, Brie Larson

Release Date: April 1, 2026

Genre: Animation, Adventure, Comedy, Family, Fantasy

Rated PG for action, mild violence and rude humor

Runtime: 1h 39m

Review:

The Super Mario Galaxy movie is a colorful collection of frenetic action set pieces thrown onscreen in rapid succession which feels like mainlining fructose until you collapse.  Aaron Horvath and Michael Jelenic return behind the camera and you can’t fault them for going full bore by making everything bigger, brighter and louder from the start and rarely pulling back on the brakes.  Their film is a visual feast of candy-colored worlds that are populated by a seemingly endless assortment of characters which should keep the younger kiddos entertained for large portions of the film’s runtime.  There is a literal cornucopia Easter Eggs scattered throughout for fans of video game franchise along with a few inspired 8-bit meta moments that really stand out.  The action is well constructed and fun, especially early on, but the seemingly endless set pieces start to wear as the threadbare story gives the characters and audience very little to work with.  The plot almost feels like an afterthought with its main purpose being to move the characters from one world to another in steady succession.  The two main plots involve a long-lost sister and father/son story which would have been more engaging if the film had given its characters a moment to breathe which waste the talent assembled.  Anya Taylor-Joy seems to be trying the most to get something out her character moments during film although you are left wishing her character had a bit more time with Brie Larson’s Princess Rosalina before everything wraps up.  Chris Pratt is fine throughout, but he still seems off as the voice of Mario for some reason as opposed to Charlie Day who fits Luigi’s neurotic energy perfectly.  Jack Black does his usual shtick as a sort of reformed Bowser with Benny Safdie taking on the role of Bowser Jr. who’s trying to rescue his dad.  When their characters are onscreen together, they do have a fun, father son banter which the film never truly takes advantage of.  Donald Glover voices franchise favorite, Yoshi, but if you didn’t know it was him it wouldn’t register at all since there’s not much to the character when it all said and done outside of some cutesy moments.   It sidelines, Keegan Michael Key’s Toad which leaves him with very little to do in his limited screentime.  Ultimately, The Super Mario Galaxy Movie will probably keep diehard fans and smaller kids entertained for everyone else it’s little more than a fizzy, sugary drink that doesn’t linger too long on the palette.  

C-

MOVIE REVIEW: THEY WILL KILL YOU

 

A woman answers a cryptic ad for a housekeeping job at a luxurious yet foreboding New York City high-rise. Upon arrival, she discovers residents have vanished without a trace for decades, fueling whispers of a satanic cult lurking in the shadows.

Director: Kirill Sokolov

Cast: Zazie Beetz, Myha'la, Paterson Joseph, Tom Felton, Heather Graham, Patricia Arquette

Release Date: March 27, 2026

Genre: Horror, Comedy

Rated R for strong bloody violence, gore, language and brief sexual content/nudity.

Runtime: 1h 35m

Review:

They Will Kill You has all the makings of a fun over the top exploitation grindhouse film, boasting a handful of visually impressive action sequences that are incredibly fun, but the undercooked story keeps it from being something really special.  Writer/Director Kirill Sokolov’s film has a fun energy that seeps through the screen especially once the first action sequence hits the screen.  The arterial blood splattered across the screen is going to give more than a few people flashbacks of Tarantino’s Kill Bill: Volume 1.  Sokolov throwing that sort of action into a devil cult seems like a slam dunk as it’s even more over the top and extreme than the recent Ready or Not films.  The action set pieces are wonderfully choregraphed with each moment delivering a very distinctive visual from the initial bedroom fight to a fun vent chase and topped with a fire axe sequence that’s the highlight of the film.  The kinetic action is sure to keep genre fans thoroughly entertained for large chunks of the film’s runtime but there’s a noticeable lull in between those moments since the story leaves more than a bit to be desired.  Zazie Beetz makes for an intriguing, blood splattered heroine as she brings an impressive intensity to the role that shows off her total commitment to the role.  She is more than willing and able to deliver so much here but the script offers her and the supporting characters the thinnest of characterizations which waste the talent assembled.  Patricia Arquette, sporting a strange Irish accent, does what she can with as the cult leader and de facto villain but there’s painfully little on the page to work with outside of the most basic defining characterization.  Heather Graham and Tom Felton are given even less than that to work with both as they serve as little more than familiar faces to be chopped through over and over again.   It doesn’t help that the dialogue is painfully clunky and strangely lacking in any tongue in cheek wink and a nod about how silly the whole thing is.  There’s a message mixed in there about the rich taking advantage of the poor, but it’s so ham fisted that it doesn’t land the way it should much like the central relationship between the sisters which leaves They Will Kill You less memorable than it should be.  

C+