MOVIE REVIEW: ONE NIGHT ONLY

 

Two New Yorkers search for love on the one night of the year when sex is legal.

Director: Will Gluck

Cast: Monica Barbaro, Callum Turner, Maya Hawke, Julia Fox, Molly Ringwald, LeVar Burton, Michelle Hurd

Release Date: August 7, 2026

Genre: Comedy, Drama, Romance

Rated R for sexual material, language and brief nudity.

Runtime: 1h 42m

Review:

One Night Only could have been a fun, mindless rom com propped up by its two stars screen magnetism but framing the whole story in a dystopic, prudish near future makes the whole thing more perplexing than anything.  Will Gluck is familiar with this space, scoring a hit with 2023’s Anyone but You which share quite a few similarities with this film.  His films typically have an easy to watch flow that leans heavily on its stars charisma with Monica Barbaro and Callum Turner bringing plenty of it to this film.   The script offers up plenty of jokes and moments with some landing better than others but overall, it’s a breezy film that offers up a series of misadventures for our central couple to go through before they eventually end up together.  That part is never in question as the film plays out fairly predictably as these lovelorn individuals keep running into other before getting more and more interested in other the course of the night.  Barbaro and Turner are both solid throughout with both bringing a level of weirdness to their generally hot appearances.  They share some solid chemistry together even though the film keeps them apart for large swaths of time which is an odd choice since it makes their “deep” connection feel much less organic than it should by the time it’s all said and done.  It all makes for a fairly standard bit of rom-com silliness that’s entertaining until you think about the concept too much.  The concept offers up a myriad of questions that the film never really seems all that interested in engaging with.  It even wades into some strange acceptance of the whole concept as being romantic and even dropping the line, “Maybe the fascists were right about this one.”  It’s a weird message to end the film on that, for all its sexual romp trappings, seems to land on the government forced chastity side of the argument.  Will Gluck made his name with the Emma Stone vehicle, Easy A, which also dealt with morality, but that film was far more thoughtful in its approach while still working as a comedy, something One Night Only struggles to do. 

C

MOVIE REVIEW: SUPER TROOPERS 3

 

The troopers try to bring down a new drug ring, while Farva's wildly over-the-top engagement to Thorny's sister spirals into chaos.

Director: Jay Chandrasekhar

Cast: Jay Chandrasekhar, Kevin Heffernan, Steve Lemme, Paul Soter,  Erik Stolhanske, Brian Cox, Marisa Coughlan, Chace Crawford, Andrew Dismukes, Hannah Simone, Lynda Carter

Release Date: August 7, 2026

Genre: Comedy, Crime, Mystery

Rated R for sexual content, nudity, language throughout and drug content.

Runtime: 1h 44m

Review:

Super Troopers 3 brings back Broken Lizard’s signature franchise to deliver the kind of mindless laughs fans of the series have come to expect with this entry delivering some gut busting moments of silliness.  There’s an air of familiarity to the proceedings with Jay Chandrasekhar, Kevin Heffernan, Steve Lemme, Paul Soter and Erik Stolhanske easily jumping back into their mustachioed alter egos.  Chandrasekhar handles duties behind the camera again here and you get the sense the cast feel free to just run with gags at their discretion with some bits working better than others.  They revisit classic bits which will put a grin on longtime fans faces even if they don’t elicit the full-on laughter, they did originally.  It takes a moment for the film to find its footing but once it hits the midway point it climaxes in a dinner scene that’s so silly and over the top that it’s hard to keep from laughing with everything after that point being much livelier than the opening act.  These films have never been known for their plots and that remains true here with the story threads serving as a launching pad for their hijinks, this time focusing on Ramathorn’s attempts to stop Farva from marrying his sister, played by Hannah Simone.  The secondary plot about trying to uncover another drug ring feels undercooked especially since the last two entries had nearly identical story threads but the real crime here is not giving Chance Crawford enough time to flex his comedic muscle.  Likewise, Hannah Simone and Andrew Dismukes feel underutilized as newcomers to the series with only Nat Faxon as the new captain leaving a noticeable mark on the film.  Brian Cox returns as the now retired Captain O'Hagen who is in search of a hobby as he pops in and out with the actor chewing up the screen every time he pops up.  Super Troopers 3 probably won’t make a ton of new fans, but longtime fans of comedy troupe will enjoy this entry which is an improvement over the second part although it doesn’t reach the level original.  

B-

MOVIE REVIEW: SPIDER-MAN: BRAND NEW DAY

 

Peter Parker devotes his life to protecting New York City as a full-time Spider-Man. But as the demands on him intensify, the pressure sparks a surprising physical evolution that threatens his existence, even as a strange new pattern of crimes gives rise to one of the most powerful threats he's ever faced.

Director: Destin Daniel Cretton

Cast: Tom Holland, Zendaya, Sadie Sink, Jacob Batalon, Jon Bernthal, Tramell Tillman, Michael Mando, Mark Ruffalo 

Release Date: July 24, 2026

Genre: Action, Adventure, Fantasy, Sci-Fi

Rated PG-13 for sequences of action/violence and some language.

Runtime: 2h 25m

Review:

Spider-Man: Brand New Day delivers an impressive refocus on the central character that delivers emotional weight and spectacle in equal parts anchored by one of Tom Holland’s best turns behind the mask.  Destin Daniel Cretton takes over the reins from Jon Watts, who directed the three previous solo entries, with impressive confidence as he thrust the audience into the ground level of super heroism that Spider-Man generally engages in.  The action set pieces are impressive across the board with Cretton utilizing inventive use of slow-motion shots and POV to make those moments pop off the screen.  The action is visually frenetic, engaging and most importantly fun as we watch the webslinger in his Manhattan home fighting off smaller scale of villainy than this version of the character has been dealing with during his Marvel cinematic run.  It delivers what you’d hope for from a summer blockbuster but underneath it all the script delivers an emotional core that captures the essence of Peter Parker’s, who’s been forgotten by everyone, as he deals with loneliness and isolation by throwing himself into his work.  Tom Holland delivers one of his best turns in the role as he manages to balance the character’s wide-eyed optimism that’s always been part of the character but peppered with regret over what he’s loss in order to do the right thing.  Holland has always been a perfect fit for Peter Parker but this might be his signature turn as he’s able to cycle through multiple emotional states as his character evolves in multiple ways.  One of the bigger surprises of the film is the mini buddy comedy with Holland’s Spider-Man and Jon Bernthal’s lethally gruff Punisher.  Their back-and-forth interactions and opposing personalities make their friendship so much fun to watch with both actors giving an impressive level of authenticity to their relationship.  In most superhero films, this would serve as a fun cameo with little effect to the story but this script actually makes his presence and their relationship make sense into the overall narrative which makes it all the more effective.  Zendaya and Jacob Batalon return as Parker’s love interest and best friend with both delivering solid work as they rediscover their relationships with the webslinger.  Sadie Sink’s sort of villainess is fine but probably the weakest part of the entire film as she serves as a constant reminder that her character is there mostly to set up for films and characters.  Mark Ruffalo, Michael Mando and Tramell Tillman have smaller supporting turns with each making the most of their time onscreen but you do get the sense the film could have made better use of them with slightly beefier roles.  Nitpicks aside, Spider-Man: Brand New Day is effective on so many levels that you can’t help but appreciate the care that went into making one of the best entries in the character’s filmography. 

A-

MOVIE REVIEW: HER PRIVATE HELL

 

A troubled young woman searches for her father as a mysterious mist engulfs a futuristic metropolis, unleashing a deadly and elusive entity. Her quest collides with an American G.I. who's on a harrowing odyssey to rescue his daughter from hell.

Director: Nicolas Winding Refn

Cast: Sophie Thatcher, Charles Melton, Havana Rose Liu, Kristine Froseth, Shioli Kutsuna, Aoi Yamada, Dougray Scott, Diego Calva, Hidetoshi Nishijima

Release Date: July 24, 2026

Genre: Crime, Drama, Horror, Sci-Fi, Thriller

Rated R for some strong/bloody violence, sexual content, and language.

Runtime: 1h 49m

Review:

Nicolas Winding Refn’s Her Private Hell boasts a dreamlike quality that pops off the screen; however, its muddled scripting and lackadaisical pacing saps the film of any propulsive energy that makes the film feel far longer than it actually is.  Nicolas Winding Refn has proven he’s more than capable of delivering the kind of singular visuals that will stay with you long after the film ends, something, a talent on display here.  He creates an atmosphere that’s initially enticing and engrossing as we are plunged headfirst into this world and its mythology, but the story never matches the quality of what’s thrown on screen.  The script is peppered with stiff dialogue that saps the performances of any energy for long stretches of time.  There are some fascinating themes running under it all, but it’s all executed in such a thoroughly clumsy fashion that the story doesn’t keep you at arm’s length as much as it shoves you out of the way.  The majority of the dialogue is delivered in the most monotone manner possible with only a handful of bloody action sequences perking up the energy onscreen.  The story isn’t terribly cohesive by design, which wouldn’t be much of an issue if it wasn’t so hard to trudge through some odd creative choices that feel like it handcuffs the film’s cast.  Sophie Thatcher leads the film, clearly buying into the director’s vision, with an impressive level of commitment that you’re left wishing she’d been given free rein to flesh out her character.  There’s only one moment in the film’s final act where she’s able to unleash a noticeable level of ferocity that brings her character to life, something sorely missing beforehand.  The rest of the cast suffers from a similar fate with Kristine Froseth as the new girl, Hunter, seeming to find some spark of life every time she pops up onscreen.  Charles Melton and Havana Rose Liu are mostly constrained to looking good throughout but given very little else to do.  Shioli Kutsuna’s Ms T and Aoi Yamada’s Ms S are interesting muse like characters that pop up here and there bringing a very specific energy to the screen that almost like performance art.  Dougray Scott’s Johnny Thunder is intriguing in the early sequences, but the character disappears after the first act and never returns.   Her Private Hell is the kind of film that feels designed to be divisive in its overall approach, but it can’t overcome the general fact that it’s never as engaging or smart as it thinks it is.   

C-

MOVIE REVIEW: MOTOR CITY

 

In the 1970s Detroit, John Miller falls for a local gangster's girl and lands in prison for a crime he didn't commit. With his life ruined, Miller hatches a plan for revenge.

Director: Potsy Ponciroli

Cast: Alan Ritchson, Ben Foster, Pablo Schreiber, Lionel Boyce, Shailene Woodley

Release Date: July 24, 2026

Genre: Action, Crime, Drama, Mystery, Thriller

Rated R for strong bloody violence, some grisly images, drug content, sexuality/nudity and language

Runtime: 1h 43m

Review:

Motor City is a fascinating experiment in telling a 70’s style actioner via music and visuals with nearly no dialogue that’s surprisingly effective and distinctive to make for a memorable experience if you buy into the approach.  The no dialogue approach used does take some time getting used to, but Potsy Ponciroli delivers some fairly impressive visuals paired with a stellar 70’s soundtrack that makes the adjustment easier.  It initially feels like you are watching a straightforward film with the dialogue turned off and only the soundtrack running, which is interesting to say the least but once you start following the basics of the general story it’s easy to either buy in fully or check out.  Needless to say, this isn’t the kind of film that’s going to be for everybody since this film is far more aggressive in its commitment to the no dialogue approach than other recent films that kept their protagonist mostly mute such as the Sisu films or 2023’s Silent Night.  This film may have less than ten words of dialogue spoken throughout which asks a lot of the assembled cast.  Thankfully, they are all up to the challenge as they are able to communicate the story with their ability to emote without any dialogue.  Alan Ritchson capably leads the way making solid use of his massive frame to deliver the action which he pairs with enough earnest emotion to make you feel every bit of his journey.  He gives the character a certain level of vulnerability that’s unexpected especially since it would have been easy for him to just put it on badass auto pilot.  He does get his chance to show off his action mettle especially in the final act highlighted by a particularly intense and brutal fight with Pablo Schreiber, who exudes 70s dirty cop throughout, in an elevator.  Shailene Woodley is solid as the love interest even if she’s drowned out by Ritchson and Ben Foster’s villain.  Foster, an underappreciated character actor, manages to chew up the scenery with impressive gusto as the crime lord that destroys Ritchson’s character’s life.  He utterly loses himself in the role by making the character as flamboyant as he is hateable.  It makes the final act all the more satisfying thanks to performances on display even though I could have done without the final ten minutes.  Motor City won’t be for everybody due to its very distinctive approach but whether you are onboard or not, you have to appreciate the artistry on display.

B

MOVIE REVIEW: THE ODYSSEY

 

Odysseus embarks on a dangerous voyage back to Ithaca following the Trojan War, encountering treacherous creatures like the Cyclops Polyphemus and Sirens.

Director: Christopher Nolan

Cast: Matt Damon, Anne Hathaway, Tom Holland, Robert Pattinson, Lupita Nyong'o, Samantha Morton, Zendaya, Charlize Theron

Release Date: July 17, 2026

Genre: Adventure, Drama, Fantasy, Romance

Rated R for violence and some language.

Runtime: 2h 52m

Review:

Christopher Nolan’s The Odyssey is an epic in every sense of the word as he manages to meld the grandeur of classic sword and sandal epics and elements of Ray Harryhausen into something that’s as engrossing as it is soulful.  The film is filled with massive set pieces that are meticulously set up and shot to deliver something impressive due to the sheer scale of the endeavor since any one of these moments could have served as a finale in any other blockbuster.  There are a multitude of sequences that are sure to capture the imagination of this generation much in the same way 1981’s Clash of Titans became embedded in the zeitgeist.  Much like that film, Nolan doesn’t shy away from indulging in some of the more horrific elements of the story especially during Odysseus’ encounter with the Cyclops where he gives us a living recreation of the famous painting depicting Saturn Devouring His Son.  His run in with Circe is sure to make a segment of the audience squirm as it leans heavily into David Cronenberg style body horror.  Those moments leave a lasting impact, but they’re balanced by more grounded elements like the sacking of Troy which is revealed slowly as its intertwined into the overall narrative.   Those sequences possess a certain level of tension even though the outcome is well known a testament to the staging and brevity that leaves the story thread linger in the air until Nolan comes back to it much like he did in his breakout film Memento.  Through it all there’s an undercurrent of humanism as Odysseus is rightfully portrayed as a complicated man who gives in to his hubris at various points during his journey.  Matt Damon is able to balance the character’s intellect and brashness with impressive ease as he recounts his journey to a Charlize Theron’s nymph Calypso.  He gives the older version of his character a tangible sense of mournful regret as he reflects on where his intelligence led him, his men and his family.  It’s an impressive turn across the board that’s propped up by strong turns from the film’s galaxy of A list stars.  Tom Holland and Anne Hathaway hit the right tone for both characters as they await Odysseus and deal with suitors.  Holland brings his earnest, hopeful energy to Telemachus while Hathaway adds layers of doubt and anger to Penelope that gives the character more nuance and depth especially in the film’s final act.   Robert Pattinson and Corey Hawkins get the lion’s share of the screentime, focusing on the suitors with both giving their characters an appropriate level of unearned smarmy entitlement that makes their comeuppance feel all the more cathartic during the final act.  John Leguizamo and Samantha Morton both make the most of their screentime with both delivering memorable supporting turns for different reasons.  The use of modern vernacular for the dialogue, with the cast using their natural accents, takes some getting used to and it never quite gels with the visuals thrown onscreen with it proving to be a minor distraction throughout the film.  Purists will likely be disappointed with these abridged versions of events and along with some portions of the story changed entirely.  Minor nitpicks aside, The Odyssey succeeds on so many levels to deliver the kind of cinematic epic we rarely see nowadays, cementing Nolan’s place as one of the top directors of this generation.

A