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

MOVIE REVIEW: THE INVITE

 

A dinner party spirals into unexpected places when a couple invite their enigmatic neighbors over. Have they reignited the spark in their troubled marriage -- or lit the match that burns it all down?

Director: Olivia Wilde

Cast: Seth Rogen, Olivia Wilde, Penélope Cruz, Edward Norton

Release Date: July 1, 2026

Genre: Comedy, Drama, Romance

Rated R for sexual material, language throughout, and drug use

Runtime: 1h 47m

Review:

Olivia Wilde’s The Invite is a real symphony of chaotic energy, powered by a razor-sharp script that offers up a steady stream of laughs along with some devastating emotionally devastating gut punches that make it feel like a modern day Who's Afraid of Virginia Woolf?  There’s a vibrant energy that comes through the screen from the opening scene that rarely lets up with Wilde making excellent use of musical cues to hammer home the rat-a-tat-tat vibe of the script and performances on display.  The self-contained setting and limited cast give the film a decidedly stage play look and feel, something that comes from the original 2020 Spanish film, The People Upstairs by Cesc Gay, which was an adaptation of the original stage play.  The self-contained nature of the setting works quite well for the emotional pressure cooker on display with each performer turning in stellar performances across the board.  Seth Rogen gets some of the script’s best lines as the depressed, failed musician stuck in an increasingly loveless marriage that’s turned more acidic than anything else.  His typical onscreen energy fits this character perfectly, especially once things start getting increasingly awkward.  He and Olivia Wilde have a lived in chemistry as they snipe at each other with a level of disdain that feels like it’s been bubbling up for years especially as more revelations come to a head.  Wilde gives her character a wonderfully neurotic sort of energy of someone in search of validation she hasn’t gotten from her husband in years.  Their interplay is a hilarious series of verbal volleys that barely mask their general dislike and embarrassment of who each of them have become as their relationship has disintegrated.  Edward Norton and Penélope Cruz serve as perfect foils to their damaged relationship as the free loving couple from upstairs.  Their relationship serving as an extreme counterpoint to Rogen and Wilde’s relationship failings.  As the night proceeds and the layers are peeled back, in a variety of ways, their confidence and self-assured persona reveal some cracks starting to fray their relationship as well.  Everything comes to ahead once they proposition the couple to partake in their open relationship only for it to fall apart in a hilariously, cringy moments before the tone shift to something with much more of an emotional punch.  The closing moments of The Invite do carry an air of melancholy over the wasted time and an inability to communicate on an honest level that can and will destroy a relationship ending on a similar note as the aforementioned Who's Afraid of Virginia Woolf?.  

A

MOVIE REVIEW: MOANA

 

Leaving her island for the first time, young Moana embarks on an epic seafaring adventure to restore prosperity to her people.

Director: Thomas Kail

Cast: Dwayne Johnson, Catherine Laga'aia, Rena Owen, John Tui, Frankie Adams, Jemaine Clement

Release Date: July 1, 2026

Genre: Action, Adventure, Comedy, Family, Fantasy, Musical

Rated PG for action/peril, some scary images, rude humor and brief thematic elements

Runtime: 1h 56m

Review:

The live action remake of Moana feels like one of the more cynical cash grabs from Disney as the film is virtually a shot for shot remake of the 2016 original animated film, wasting the big screen debut of Catherine Laga'aia displays real talent in the titular role.  Theatre and television director, Thomas Kail, guides the film with capable ease since the film is more an exercise in mimicry as there’s nothing new being offered up.  So much so, that it starts to feel like Gus Van Zant’s ill-advised Psycho remake from 1998 where they used the original film onset to shoot the remake.  There are some very minor changes that don’t amount to anything substantial which is likely to leave plenty of people scratching their head, especially when the “live action” is filled rather drab CGI especially comparted to the original animated films.  The songs do manage to perk up the energy, mainly because they’re so infectiously and catchy that you can’t help getting caught up in the moments especially since Laga'aia is more than capable of singing the signature songs, Auliʻi Cravalho made famous in the original film, and carrying a similar screen presence in the title role.  She’s impressive throughout but there just isn’t much more she can bring to the screen that wasn’t done beforehand.  Dwayne Johnson, sporting a distracting wig and body suit, delivers an oddly uneven performance as Maui with random bursts of energy interspersed with him going through the motions as he cosplays himself.  Thankfully, he and Laga'aia share some noticeable chemistry together which makes it easier to get through this rather pointless remake.  This live action redux of Moana leaves you wondering who this is for exactly, since the original film isn’t old enough to illicit any sort of nostalgic pull and everything thrown onscreen is less impressive than what offered up in the original.      

C

MOVIE REVIEW: EVIL DEAD BURN

 

After the loss of her husband, a grieving woman seeks solace with her in-laws at their secluded family home. However, it soon becomes a reunion from hell as the Book of the Dead unleashes demonic forces that transform them into Deadites one by one.

Director: Sébastien Vaniček

Cast: Souheila Yacoub, Tandi Wright, Hunter Doohan, Luciane Buchanan, Erroll Shand, Maude Davey

Release Date: July 1, 2026

Genre: Fantasy, Horror, Mystery

Rated R for strong bloody horror violence and gore, and language.

Runtime: 1h 51m

Review:

Evil Dead Burn, the sixth film in the overall franchise, brings a healthy amount of nastiness and gore to the screen to placate the most blood thirsty gorehounds out there even if the story seems a bit undercooked by the time it’s all said and done.  Writer/Director Sébastien Vaniček takes the reins with a level of confidence that shines through the screen as he slowly unleashes an increasingly squirm inducing series of set pieces that are impressive on their own.  Those set pieces are wonderfully staged to deliver the maximum level of chaos as the characters are submitted to an increasingly intense levels of torture.  There are multiple times where the violence veers into overkill territory, but Vaniček is fairly relentless from start to finish which might put this film in the running one of the nastiest entries in the overall series.  This being an Evil Dead film, he does offers up a handful of moments of levity scattered throughout along with some impressive tracking shots, both being hallmarks of the series.  The biggest issue the film has is that once you get past all the gore the story almost feels like an afterthought which keeps it from being something truly memorable since there are some interesting ideas thrown around but never explored.  We get a few tidbits of lore about the people who initially found the book of the dead and their research, a fun little wink to Bruce Campbell thrown in for good measure, which I wish was explored a bit more.  There’s also an undercooked undercurrent about domestic violence which isn’t really brought to the forefront until the final act which makes it feel shoehorned more than anything.  A bit more nuance, an odd request for this series, could have made this entry stand out and probably given the cast a bit more to do outside of running around and react to the horrors thrown onscreen.  Souheila Yacoub and Tandi Wright both leave the biggest impression by the time the final credits roll but Evil Dead Burn doesn’t strike me as the kind of entry that’ll get a lot of replay in the future.   

C+

MOVIE REVIEW: MINIONS & MONSTERS

 

The Minions band together to save the day after unleashing monsters upon an unsuspecting world.

Director: Pierre Coffin

Cast: Pierre Coffin, Trey Parker, Allison Janney, Christoph Waltz, Jesse Eisenberg, Jeff Bridges, Zoey Deutch, Bobby Moynihan, Phil LaMarr

Release Date: July 1, 2026

Genre: Animation, Adventure, Comedy, Crime, Family, Sci-Fi

Rated PG for violence/action, language and rude/macabre humor.

Runtime: 1h 29m

Review:

Minion and Monsters, the seventh film in the Despicable Me franchise, is as chaotic and funny as you expect from the hapless wide eyed yellow creatures with this entry serving as loving tribute to old Hollywood and the power of friendship.  Writer/Director/Voice of the Minions, Pierre Coffin, has a firm grasp of what makes the franchise work and has continued to fine tune the world and character along the way.  This prequel offers him an ability to have his characters recreate some legendary cinematic moments from Charlin Chaplin to Citizen Kane along with many more.  Introducing James, an artistic minion, who finds a love for filmmaking offers him an opportunity to explore so many facets of the creative process, all done in the usual Minion fashion of course, that you get the feeling that the character is semi-autobiographical in a way.  The character’s journey is filled with the kind of kinetic hijinks that have made these characters so popular but this entry does keep a solid undercurrent of the meaning of friendship via Henry, James long time, supportive best friend.  It gives this entry a bit more emotional resonance than previous entries which is a welcome surprise.  The supporting characters are voiced by Hollywood stalwarts like Christoph Waltz, Jeff Bridges, Trey Parker and Jesse Eisenberg.  Eisenberg gets a fun supporting story as Dort, an homage to Gort from The Day the Earth Stood Still, that culminates in the film’s 50’s era sci-fi finale that has kaijus and flying saucers battle it out in a dizzying display of colorful mayhem that’s sure to wow the younger kids.  The film stumbles a as it works to merge the two story threads together into a cohesive whole but that doesn’t keep Minions and Monsters from being one of the more enjoyable entries in the franchise.  

B+

MOVIE REVIEW: JACKASS: BEST AND LAST

 

Johnny Knoxville, Steve-O and the rest of the gang return for more outrageous and hilarious stunts.

Director: Jeff Tremaine

Cast: Johnny Knoxville, Steve-O, Chris Pontius, Wee Man, Preston Lacy, Dave England, Danger Ehren, Poopies, Zach Holmes, Jasper Dolphin, Rachel Wolfson

Release Date: June 26, 2026

Genre: Documentary, Comedy

Rated R for extremely dangerous stunts and crude material throughout, graphic nudity, pervasive language and sexual material.

Runtime: 1h 32m

Review:

Jackass: Best and Last might not live up to it's title but for fans of the series and its over the top antics, this collection of older clips and newer bits should serve as a proper sendoff that’ll deliver all the gross-out idiocy and laughs this group of friends have spent decades delivering.  The general idea is that if you’ve bought tickets to watch a Jackass movie you have a general idea of what you are walking into, especially by this point in time.  This entry plays out like an extended clip show with plenty of classic bits incorporated into the runtime, I’d assume since most of these guys are nearing 50 now there’s only so much new torture, they can submit themselves to without seriously hurting themselves.  There are more than a few moments that still leave you shaking your head, wondering why these guys are still willing to put themselves through for a laugh.  There are plenty of moments where the sheer stupidity of what’s thrown onscreen just makes you laugh uncontrollably enough leaves you gasping for air.  There’s not much of a structure to this film, much like previous entries, but you do get the sense that this is truly their last hurrah, especially once Knoxville starts reminiscing towards the end of the film and after he’s completed another round with a bull.  You do get a sense that the core group of guys that have been around since the beginning are actual friends even through all the insanity, they’ve put themselves through.  You don’t necessarily get the sense that they’ve learned anything over the last 20 something years especially after being decried as the downfall of western society, when they first hit the scene in the early 2000’s, something that feels almost quaint by this point and time.  By the time Jackass: Best and Last ends and the credits roll over those earliest bits, you do get a sense that this motley crew of characters know it’s probably best for their own wellbeing to move on to another chapter of their lives.

B