MOVIE REVIEW: BUDDY

 

Dressed as a unicorn, a beloved children's TV host reveals his true self as a dark and violent force of nature.

Director: Casper Kelly

Cast: Cristin Milioti, Delaney Quinn, Patton Oswalt, Michael Shannon, Topher Grace, Keegan-Michael Key

Release Date: August 28, 2026

 

Genre: Horror 

Rated R for bloody violence, some drug content and language – all involving children.

Runtime: 1h 35m

Review:

Buddy is a hilarious campy horror oddity that delivers as much gory fun as it does scares in a nightmarish multicolored kid’s show.  Casper Kelly carefully creates Buddy’s world with such attention to detail that the show itself could probably pass for the real deal.  There plenty of inspiration pulled from Barney along with bits and pieces of other children’s shows over the years.  It’s disarmingly familiar from the moment the film opens but there’s always a sense that there is something off kilter about the whole thing.  Kelly doesn’t take long to unfurl the insanity of the world these kids are trapped in with Keegan-Michael Key’s psychotic Buddy.  Keegan-Michael Key’s voices the character with impressive glee as he switches seamlessly between saccharine sweet and menacing.  He carries the lion’s share of the load as the lynch pin of the whole thing aided by some solid supporting turns from people like Patton Oswalt and Michael Shannon as other anthropomorphic characters.  Oswalt is lots of fun as Strappy, a talking backpack, who faces a full-on existential crisis as his world reveals itself to be incredibly murderous and fraught.  The child actors are just as strong, led by Delaney Quinn, who plays Cristin Milioti’s missing daughter.  Quinn plays up the children’s show actor initially before she finds out the level of danger, she finds herself in.  Milioti’s Grace does the most she can with her limited screentime, especially early on as she tries to remember a missing child nobody else seems to remember.  Once she’s sucked into Buddy’s realm she easily transitions into the adult players on show before coming to her senses and doing everything possible to save her daughter.  The story gets progressively darker as it goes along and there are a handful of juicy details tossed about that makes everything feel like some sort of twisted Monsters Inc which makes Buddy something distinctive in the horror genre.  

B+

MOVIE REVIEW: THE DOG STARS

 

Survivors of a deadly pandemic traverse a post-apocalyptic landscape to find the origin of a mysterious radio transmission.

Director: Ridley Scott

Cast: Jacob Elordi, Josh Brolin, Margaret Qualley,  Guy Pearce, Benedict Wong, Daisy Kakkar

Release Date: August 28, 2026

 

Genre: Action, Adventure, Drama, Sci-Fi, Thriller

Rated R for strong violence, and language.

Runtime:  1h 58m

Review:

The Dog Stars boast a top line director and cast but it struggles to find something new or interesting to say in a genre that’s been run ragged by this point.  Ridley Scott’s film is more of a meditation on grief and the ability to find hope after extreme loss with the occasional action set pieces replete with post-apocalyptic marauders.   Scott takes full advantage of the Italian landscape subbing in for the Rockies by delivering plenty of sweeping shots of the terrain as we follow Jacob Elordi’s Hig fly from spot to spot in his old Cessna.  The aforementioned action set pieces are all well-constructed jolts of energy when they take place however those expecting more of those moments will be left wanting for more.  The overall pacing of the film is strangely disjointed as we’re given large stretches of quiet character moments before those set pieces pop up.  There’s not much time spent on who or why these marauders have gone full Mad Max with only Allison Janney’s Grand Junction getting the slightest bit of backstory but her character comes and goes so quickly it barely leaves an impression.  There are some strange similarities with Neil Marshall’s underrated 2008 film, Doomsday, which is also populated with strange and dangerous survivors, but this film is so incredibly self-serious that it barely gives itself a moment to breathe.   The main cast keeps the whole thing from being a total disaster with Jacob Elordi delivering a solid, soulful turn as Hig who can’t let go of the memory of his wife.  He and Josh Brolin have great chemistry together onscreen, but the story separates them for large portions of time unfortunately.  It’s a shame because you can tell Brolin is having a ball playing Bangley, a gruff former Marine survivalist, who has been surviving on an abandoned airfield with Hig for an undetermined amount of time.  Margaret Qualley and Guy Pearce make up the rest of the main supporting characters with Pearce playing a different sort of gruff survivor although he’s more concerned with the safety of his daughter.  Qualley and Elordi work well together to make their relationship entertaining enough even though there’s nary a question the two will ultimately end up together by the time it’s all said and done.  It’s something that The Dog Stars suffers from in general, for all its thoughtful reflections on grief there’s very little that happens that’s surprising or revelatory which makes it all feel like a missed opportunity.   

C+

MOVIE REVIEW: COLONY

 

Trapped inside a sealed building during a deadly bioterrorist attack, a desperate group of survivors must navigate growing panic and betrayal as they fight to stay alive.

Director: Na Hong-jin

Cast:Jun Ji-hyun, Koo Kyo-hwan, Ji Chang-wook, Kim Shin-rok, Shin Hyun-been, Go Soo

Release Date: September 9, 2026

 

Genre: Action, Adventure, Crime, Fantasy, Horror, Mystery, Sci-Fi, Thriller

Rated R for bloody violent content and some language.

Runtime: 2h 3m

Review:

Yeon Sang-ho’s latest zombie horror film, Colony, is a kinetic action-packed zombie fest that packs together a handful of tropes into a bloody, mucus filled goodtime.  Sang-ho film waste little time taking off as his script is decidedly lean on characterization, focusing instead on sleek pulse pounding action set pieces.  Those action sequences are impressive across the board as infected people fling themselves at survivors in a steady succession of increasingly complicated contortions.  It all plays out like the slimiest Cirque du Soleil performance ever to occur in a mall.   The setting will illicit memories of Dawn of the Dead, the original and remake, but there are more than a few whiffs of the 28 Days Later franchise and The Last of Us series thrown in for good measure.  The central concept of an evolving zombie hivemind horde gives the action a dash of freshness as the survivors have to constantly keep on their toes with the infected learning their tactics.  None of the concepts, including the hive mind, is terribly groundbreaking but it’s a testament to Sang-ho’s talent as a director that it’s all so thoroughly entertaining especially if you’re looking for a fun zombie thrill ride.  While there’s plenty of splatter fun to enjoy during the film’s frenetic two-hour runtime, the characters are all little more than thinly scripted types with none of them getting enough time to get properly fleshed out.   Jun Ji-hyun’s biotechnology professor, Kwon Se-jeong, serves as the film’s defacto lead with her bringing strong, confident screen presence to the role.  She exudes self-determination and intelligence throughout which leaves you wishing the script had given the character a tad more depth to fully take advantage of her performance.  Koo Kyo-hwan’s bio terrorist, Seo Young-cheol, who caused the outbreak takes center stage in the second half of the film and is played with enough nefarious glee that you just can’t wait for him to get his comeuppance.  The rest of the supporting cast does its best with their limited screentime with only the brother sister duo, played by Ji Chang-wook and Kim Shin-rok, leaving a noticeable impact.  Once its all said and done, Colony, may not reach the heights of Yeon Sang-ho’s Train to Busan but its still a bloody fun zombie film.  

B

MOVIE REVIEW: HOT SPOT

 

In a near-future society ruled by sentient AI, a private eye who's investigating a murder case encounters a rebel group that's capable of undermining the digital overlord.

Director: Agnieszka Smoczynska

Cast: Andrzej Konopka, Noomi Rapace, Reika Kirishima 

Release Date: August 21, 2026

 

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

Rated R for strong violent content, gore, graphic nudity, sexual content and brief language.

Runtime: 1h 41m

Review:

Agnieszka Smoczynska’s Hot Spot starts off like a solid cyberpunk amalgam of The Matrix and Mad Max paired with striking visuals but whatever energy it starts with quickly fizzles as reveals a meandering, muddled plot that borders on absurdity at various points during its runtime.  Konopka’s garish visual style gives the film a psychedelic energy that should make the entire thing much more entertaining than it is.  Plot points are dictated at various points during the film which makes for more than a few moments of clunky exposition that doesn’t come close to explaining what’s going on outside of the most basic aspect of the AI totalitarian dystopia on display.  All other bits of oddity thrown on screen like Andrzej Konopka’s detective, Jan 623, generally bizarre wardrobe and look, man eating pet worm, or his partner randomly having elf ears aren’t given even a passing line of explanation.  Konopka seems dead set to make things odd just for the sake of being odd with these choices, amounting to nothing in the grand scheme of the story.  The script has plenty of ideas bouncing around but it doesn’t have any conception of how to form these assorted themes and concepts into a cohesive whole.  While the film has a decidedly advent garde looks and feel there barely enough to make any of it engaging enough for you to care about what’s going on, making the whole thing an increasingly difficult slog as the film drags on with very little actually happening.  The primary cast of Andrzej Konopka, Noomi Rapace and Reika Kirishima have all clearly bought into the director’s vision and seem primed and ready to do anything and everything she asks of them.  It’s shame that they’re given virtually nothing to work with outside of the most abstract bits of a concept, none of which is fully realized.  The cast generally seems desperate to be given something substantial or meaningful to work with.  It all makes Hot Spot feel like a hollow, wasted attempt at a film that’s so incoherent and incomplete that it leaves you wondering how it all went so wrong during the creation of the project.  

D-

MOVIE REVIEW: TONY

 

Nineteen-year-old Anthony Bourdain stumbles into the chaotic world of a restaurant kitchen, setting off a summer that shapes the course of his life.

Director: Matthew Johnson

Cast: Dominic Sessa, Emilia Jones, Dagmara Domińczyk, Rich Sommer, Stavros Halkias, Leo Woodall, Antonio Banderas

Release Date: August 7, 2026

Genre: Biography, Comedy, Drama

Rated R for pervasive language, drug use, and sexual content/nudity.

Runtime: 1h 46m

Review:

Tony doesn’t require you to know much about the man at the center of the film which makes it an impressively accessible coming of age tale that never lionize which makes the character onscreen feel all the more real and human.  Matthew Johnson’s film lives and breathes as a portrait of a young man desperately searching for meaning and direction in his life that gives everything an air of authenticity.  He isn’t afraid to show his main character in an unflattering light for large portions of time as he’s shown to be a self-aggrandizing liar who’s most concerned with people being impressed with him.  He fails regularly and makes some horrible decisions along the way that should feel relatable to large portion of people.  Dominic Sessa captures that energy effortlessly as he gives the audience a sense of the character’s unearned superiority which masks an undercurrent of his failures.  His lanky figure and hunched over posture give the audience a sense of his awkwardness and insecurity along with a general willingness to follow anyone who’s willing to give him the time of day.   He becomes fast friends with Leo Woodall misfit restaurant worker, Sal, who possesses a chaotic charisma that Tony is initially entranced with until things go off the rails with their mentor played by Antonio Banderas.  Banderas has rarely been better as he delivers an award worthy turn as 'Chef' José Vatel who owns the small restaurant Tony ends up working and living with during that formative summer.  Banderas plays the character with impressive nuance and depth as he depicts the character as a tough taskmaster but underneath it there’s an understated soulfulness that enchanting once it reveals itself.  Their stellar work makes the emotional turns hit like a gut punch as this motley crew of a family fractures and nearly falls apart.  The restaurant relationships are so well done that it leaves Emilia Jones’ love interest story line feel more perfunctory than engaging even though his pursuit of her gets the plot rolling.  Those looking for a more expansive exploration of Bourdain will probably be better off sticking with his famous memoir, Kitchen Confidential, since Tony is concerned with a very specific point in time in his life.  That laser focus allows Tony to be a complicated but thoughtful tribute that displays the kind of honest humanism Bourdain would have likely appreciated.  

A-

MOVIE REVIEW: INSIDIOUS: OUT OF THE FURTHER

 

Gemma is a young mother who discovers she can travel into the Further, a purgatorial realm of lost souls. When something evil comes after her, she realizes she can bring what lives there back to the real world. Once the demons realize her power, our world becomes their playground.

Director: Jacob Chase

Cast: Amelia Eve, Brandon Perea, Maisie Richardson-Sellers, Lin Shaye

Release Date: August 21, 2026

Genre: Horror, Mystery,Thriller

Rated PG-13 for strong violent content, bloody images, terror and some strong language.

Runtime: 1h 46m

Review:

Insidious: Out of the Further offers up an expansion of the franchise by opening up the world and bringing in more creepy monsters and delivers a consistent series of haunted house jump scares that’s predictable, occasionally goofy but still mildly entertaining.  Jacob Chase capably directs the film with an efficient hand, wasting little time getting into the film’s central plot and laying down the ground rules which should be familiar to fans of the franchise.  He set up a series of set pieces that rely heavily on old school tension and jump scares highlighted by a trek in the world’s strongest sofa pillow fort.  There are plenty of spooky and gross imagery thrown onscreen, definitely gives you a better appreciation for dental hygienist, to keep the action rolling along at a steady pace.  A large part of the plot feels fairly predictable with large swaths of the story reveals being telegraphed a mile away.  The central villain in this entry does offer up some interesting ideas by bringing in death cults and the afterlife that gives him a different angle although the script doesn’t explore it in a meaningful way.  There are plenty of unanswered questions about how him and his acolytes gained the kind of power they display throughout but it does make for a series of amusing moments such as Brandon Perea’s policeman questioning the aforementioned acolytes.  Amelia Eve, who looks like she could be Charlize Theron’s sister that nobody talks about, is perfectly capable in the central role even if her character is thinly written.  Eve and Island Austin, who plays her daughter Maya, have some solid onscreen energy with Austin bringing some real presence as a child actress which makes you wonder why the film didn’t spend a little more time with their relationship before things get supernaturally nutty.  They still manage to make their characters likable enough that you have enough vested interest in their survival to keep you engaged in the story.  Franchise stalwart, Lin Shaye, returns and is given a bit more to do here than previous entries while still serving as the connective tissue for the series.  The rest of the supporting players played by Brandon Perea and Maisie Richardson-Sellers are given the most basic character traits and a willingness to go along with whatever Amelia Eve’s Gemma layouts for them with little to no push back or questions.  Insidious: Out of the Further is a solid if forgettable entry in the series with enough slivers of Lucio Fulci's The Beyond scattered throughout to make it easier to overlook some of the more generic elements.

C+

MOVIE REVIEW: TEENAGE SEX AND DEATH AT CAMP MIASMA

 

A queer director making a slasher franchise sequel becomes obsessed with casting the original film's "final girl," leading both women into psychological and sexual chaos.

Director: Jane Schoenbrun

Cast: Hannah Einbinder, Gillian Anderson, Jack Haven, Patrick Fischler, Zach Cherry, Dylan Baker

Release Date: August 7, 2026

Genre: Drama, Horror, Romance, Thriller

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

Runtime: 1h 52m

Review:

Jane Schoenbrun’s third feature film, Teenage Sex and Death at Camp Miasma, explores how formative genre film, slashers in particular, shape people’s journey to self-discovery in a loving, occasionally hilarious tribute/dissection.  Those expecting a straightforward slasher from Schoenbrun will be disappointed here with her focus centered on the effect of the classic slasher genre, warts and all, on a generation that grew up watching them.  The story feels incredibly personal and semi-autobiographic with Hannah Einbinder’s indie director tasked with rebooting the long dead Miasma franchise.  She offers plenty to unpack thematically which be dissected in a variety of ways but if there’s something that shines through is the genuine love of the genre even with some of its more problematic elements.  It’s clearly something that was foundational to her development and while this story feels very personal to her but it’s easy to see parallels to anyone who grew up with these violent films that had more than a healthy amount of sex in them.  Her use of a film within a film device is a clever approach to flip the perspective back and forth with the in-film sections carried by a striking Amanda Fix who naturally exudes youthful sadness and confusion paired with some of more over the top first person kills around.  The dreamlike atmosphere that’s pervaded Schoenbrun’s previous films are ever present but this film is far more playful which allows for some truly funny sequences such as a zoom pitch meeting that goes off the rails in an uber meta way or the final bloodbath that’s more slapstick than horrific.  Hannah Einbinder and Gillian Anderson carry the film with their chemistry together serving as the beating heart of the film with both delivering eclectic but endearing turns.  Einbinder, fresh off of a different kind of May/December relationship in HBO’s Hacks, is appropriately awkward and unsure of herself as this meeting with Anderson’s reclusive star takes an unexpected course.  Anderson, sporting a Dolly Parton accent, is strangely soulful even as she serves up KFC like meal from a Michelin star restaurant, dressed like some long-forgotten heiress in a cabin.  They make for an oddly matched pair but can tell both actresses are fully committed to the roles and what Schoenbrun is trying to accomplish.  She aims to bring together so many concepts and themes it shouldn’t come as a surprise that there are some choppy moments especially as shift into more meta commentary heavy in the final act.  Teenage Sex and Death at Camp Miasma isn’t going to be for everyone, almost by design, but that doesn’t keep it from being a fascinating multifaceted film that’s got plenty to offer for those will to go on the journey.  

B+

MOVIE REVIEW: THE END OF OAK STREET

 

A mysterious cosmic event rips Oak Street from suburbia and transports a neighborhood to someplace unknown. The Platt family soon discovers that their very survival depends on sticking together as they navigate their now unrecognizable surroundings.

Director: David Robert Mitchell

Cast: Anne Hathaway, Ewan McGregor, Maisy Stella, Christian Convery

Release Date: August 14, 2026

Genre: Action, Adventure, Mystery, Sci-Fi, Thriller

Rated PG-13 for some strong violent content, bloody images, some strong language and suggestive material.

Runtime: 1h 40m

Review:

The End of Oak Street is a throwback on multiple levels with it taking cues from Steven Spielberg, Steven King and Ray Bradbury to deliver a family adventure that’s as fun as it is bloody.  David Robert Michell paints the prototypical 80’s suburb with its neighborhood cookouts, bullies and marital discord simmering underneath it all.  He avoids the usual pitfalls of going for the super garish 80’s styles and goes for a more typical look and feels that should feel familiar to anyone who lived through the decade, which is refreshing.  Michell spends little time before thrusting this generic suburban neighborhood into prehistory carnage which become increasingly bloody and brutal.  He slowly reveals the reality of the situation of the confused community and then stages some thrilling set pieces as the carnivorous start attacking before even larger predators show up.  It’s briskly paced for the most part, with small character moments thrown here and there for the family with Anne Hathaway and Ewan McGregor doing the majority of the heavy lifting.  Hathaway and McGregor carry the film by delivering thoroughly committed performances as they add so much nuance and texture to their relationship.  There’s nothing groundbreaking about their fractured marriage as a storyline but they both give their characters enough nuance and shades of grey which would be missing in hands of lesser performances.  They give you a solid sense of their frustrations but underlying love that keeps them together, especially as they try to deal with the insanity of the situation they are in.  It’s a testament to the talent of both performers because they pull everything they can out of the script to make you care about them, especially once the film takes a surprising turn.  Unfortunately, the rest of the supporting cast don’t fair as well with the script offering up fairly one-dimensional cookie cutter types.  Their kids, played by Maisy Stella and Christian Convery, get the most screentime and there are tidbits dropped here and there about their personalities, but they’re never really explored.  The rest of the neighbors serve as little more than cannon fodder for the marauding monsters running about.  Still, the script’s shortcoming doesn’t keep The End of Oak Street from being a fun ride that feels like a theatrical episode pulled from the 80’s series Amazing Stories created by Steven Spielberg.

B+

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

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