DIGGER (2026)

Written by Alejandro G. Iñárritu, Alexander Dinelaris, Nicolás Giacobone and Sabina Berman



Directed by Alejandro G. Iñárritu



Where & When: Fox Studios, West Los Angeles, CA. September 27, 2026 1:00 PM



Like most actors, Tom Cruise worked his way up the career ladder, appearing in brief supporting roles in low budget films before breaking out with a starring role in the teen sex comedy, "Risky Business" back in 1983. Determined to prove he had more to offer than just a handsome face, Cruise was very selective in the following films he would make: compelling dramas (often pairing up with established actors with prestige and history like Paul Newman, Dustin Hoffman and Jack Nicholson), thrilling action movies and connecting with intriguing indie-minded filmmakers. And this calculation worked out very well for Cruise and helped make him a true movie star.

After spending over the last ten years sticking largely with making action-adventure movies (which included a "Top Gun" sequel and five "Mission: Impossible" films), it seems like Cruise must be ready to push himself further once again as an actor. He has teamed-up with Alejandro González Iñárritu, the two-time Oscar-winning director who has a history of making intense and complex dramas on the human condition, and has brought us "Digger", a pitch black satire on climate change and the wealthy and powerful who have more control over this situation than we realize.

Buried under elaborate make-up to make himself appear older and out-of-shape, Cruise delivers an energized performance that blazes with brilliance as "Digger" Rockwell, an oil scion filled with Texan bluster and capitalist arrogance. And there is absolutely no denying that Iñárritu has made a film that is beautifully rendered, expertly performed and intellectually stimulating. Yet narratively the impressive results of "Digger" still end up being clunky and a bit confounding with the crucial messages being muddled through a story made far more convoluted than is probably necessary.

Our story begins with Digger (Cruise) waking up one morning in his palatial estate sleeping next to his beloved cat, Maggie. That this cat is seriously ill and looks near death is besides the point as Digger, with his vast resources, is doing all he can to keep her breathing. His day is interrupted with a video call from an operator (Danny Kirrane) from one of his oil fields in Greenland, explaining to him that there are dangerous levels of methane leaking through the ice. Just demanding that he take care of it, Digger is later surrounded by a group of scientists including his environmental safety chief, Dr. Nirav Ganesh (Riz Ahmed) informing him that there was a major explosion at his Greenland oil refinery. This has caused a massive ice glacier to break off and slowly drifting towards Norway where in three days there will be a collision that will cause incredible destruction and many will be killed due to this horrific impact.

In a panic, Digger has a meeting with the US president (John Goodman), vice-president (Michael Stuhlbarg) and members of his cabinet to discuss how to possibly stop this disaster and to delay Europe from finding out about this approaching catastrophe.

But everything we have seen so far is not what it appears to be, leading to a considerable plot twist that I will not spoil here. Let's me just say that everything we are seeing in this story has actually happened but not actually as we are seeing it. Does that sound a bit confusing? Well, that isn't exactly Iñárritu intention but he also had no real interest in constructing this narrative in a conventional manner. The director came up with a clearly defined idea of this character, Digger Rockwell about ten years ago yet struggled with a compelling way how to tell his offbeat story. He worked with several screenwriters, Sabina Berman and his "Birdman" co-writers, Nicolas Giacobone and Alexander Dinelaris Jr, for a number of years before settling on this unusual story structure.

The focus of "Digger", in a far from subtle way, is on the impending crisis that the planet is experiencing with a rapidly and undeniably changing of the climate. And it is a politically charged film yet it's not a judgement call on any one particular legislative party. The blame has been placed squarely at the feet of a largely indifferent global society. We have a very small number of wealthy people in power who have far too much say in universal decisions, always seeming to put profits over the continued health of the planet. And then we have the average citizen who is either gravely concerned or living in complete denial about what is happening with our climate yet very few really want to be inconvenienced in any significant way by having to alter their lives from the comforts of modern living.

Taking this opportunity to remind audiences that he's capable of doing more than just running fast and throwing himself into dangerous, high-flying stunts (and now that he's sixty-four, it might be time for him to do less physically challenging activities on screen), Cruise largely succeeds in transforming himself into Digger. Losing his glossy, Hollywood sheen and taking on a lumbering, paunchy, middle-aged Texan oil man, the actor easily captures our stereotypical ideas of a business man with his repellent nature driving him to win (or at the very least "look" like a winner) at all costs. Never for a moment does he make Digger remotely likable or appealing. Despite being directly responsible for many of his employees being killed during the oil site explosion and the impending doom to thousands of Europeans, the most Digger can muster over all of this tragedy is perfunctory concern, saving most of his actual distress and sympathies for his dying cat. And due to the plot twist, Cruise even gets to play another character, one that probably more closely resembles the actor.

No expense seemed to be spared on this film (at a reported of at least one and fifty million dollar budget) and it really shows up on screen with exquisite production design from Dennis Gassner and Richard L. Johnson and the masterful work of cinematographer, Emmanuel Lubezki, with the three time Oscar-winner shooting on 35mm film using the widescreen technique, VistaVision, creating beautifully expressive imagery in a muted color palate. But after seeing the film, I'm not sure how they thought this would appeal to the casual movie-going audience. Much like Maggie Gyllenhaal's "The Bride!", the big-budget, Warner Bros. release from earlier in the year, "Digger" is an artful, experimental movie, visually and philosophically expansive, that is just too out there to have broad appeal to anyone but discerning cinephiles to justify such an elaborate investment.

I think the issue with "Digger" is less that it is poorly conceived and more that it's themes are not communicated in a way that is easily digestible, challenging some viewers far more than they would like. While watching the film, I was feeling more intrigued than fully engaged in this story. I understand completely how some can view "Digger" as gimmicky, overblown and extremely strained. And yet days after seeing "Digger", I am still thinking about what I witnessed, a daring film that provokes and engages, not entirely successfully yet still in a bold way that will stimulate passionate debates and contrasting reactions. In this age of sequels and remakes, "Digger" is a much needed jolt to the system that will help keep cinema alive and vital.

COMING SOON

"Remain" is a feature film from M. Night Shyamalan that is based on the 2025 supernatural novel he co-created with best-selling author, Nicholas Sparks. Jake Gyllenhaal stars as a grieving and depressed architect who retreats to Cape Cod to finish his latest project. He seems to find comfort when he encounters a mysterious young woman, played by Phoebe Dynevor. They begin a love affair that starts to pulls him out of his shell but it also leads him into the heart of a deadly mystery at the property he's working on. 

"Remain" is due in US theaters on February 5, 2027    

THE WEIGHT (2026)

Written by Matthew Booi and Shelby Gaines



Directed by Padraic McKinley



Where & When: AMC The Americana at Brand 18, Glendale, CA. September 19, 2026 4:40 PM




"The Weight" is a depression-era thriller about a man who ends up in an Oregon prison camp and made an offer to become involved in a dangerous heist through rough and dangerous terrain for a chance of early freedom. This feature film directorial debut from Padraic McKinley, who has spent a large part of his career as an editor, is a solidly polished yet surprisingly understated drama, with this perilous adventure never able to overcome a narrative that ends up being predictable and overly familiar.

Much like many people during this harrowing time in America, Samuel Murphy (Ethan Hawke) was struggling to survive and find some kind of steady employment. Raising his young daughter, Penny (Avy Berry) alone, just makes his life even more of a challenge. After being evicted the easy, old-fashioned way, with the locks changed and all of their belongings put out on the street, Murphy's situation grows grim. But his problems have only just begun for while searching for a new place to live, some men come up to him aggressively questioning their presence at a building and a physical altercation ensues. These men did not identify themselves as police and Murphy ends up forced to serve time in a prison work camp.

While in the camp, Murphy tries to keep a low profile but does reveal that he's skilled and resourceful with experience as a mechanic, bringing him to the attention of Warden Clancy (Russell Crowe). The Warden invites Murphy to his home, asking questions about his life and getting a feel for his character, and later makes him a proposal that will be hard to refuse. With a small crew of fellow prisoners of his own choosing, Murphy will have to smuggle gold bars out from a soon-to-be abandoned mine across a treacherous wilderness over several days and in exchange, he will receive an early release before his daughter becomes a ward to the state.

Fresh off of his Oscar-nominated performance for playing lyricist, Lorenz Hart in the biopic, "Blue Moon", this film offers Hawke another opportunity to showcase his range and versatility. As a father simply just trying to raise his child yet keeps finding himself relentlessly being put through treacherous situations and moral conflicts that test his resolve, the actor commands the screen, expertly capturing his unwavering determination. Having to largely lead this mission and rely on a trio of dubious convicts (Austin Amelio, Avi Nash and Lucas Lynggaard Tønnesen), a couple of Clancy's men (Sam Hazeldine, George Burgess) and an Indigenous woman (Julia Jones) who coerces them to allow her to tag along, in order to complete this task, Murphy has to deal with the unexpected dilemmas and manage the personal conflicts. Yet he remains focused and centered through it all so he can finally be reunited with his daughter.

As I was watching "The Weight", I kept waiting for something (anything) in this story that would offer an unexpected moment or some kind of shocking incident. Yet it never materialized as the rote screenplay from Matthew Booi and Shelby Gaines stuck closely to routine plot developments and expected outcomes. McKinley (who also edited the film along with Matthew Woolley) does manage to display substantial skills as a filmmaker, keeping the pace energized, the action riveting and getting strong performances from his actors. But "The Weight" is never able to really rise above your standard thriller, keeping the film entertaining yet mundane.

With the cinematographer, Matteo Cocco exquisitely capturing the scenic, tranquil wilderness that is offset by abrupt violent disruptions, "The Weight" takes you on a good old-fashioned, adrenaline rush, driven by male camaraderie and emotional drama. The outcome might remain standard issued but the film still delivers strong moments that excites and captivates.

TONY (2026)

Written by Matt Johnson, Matthew Miller and Todd Bartels & Lou Howe



Directed by Matt Johnson



Where & When: AMC The Americana at Brand 18, Glendale, CA. August 22, 2026 7:00 PM



After graduating from the Culinary Institute of America in 1978, Anthony Bourdain went on to work in several kitchens throughout New York City before landing the prestigious role of executive chef at Brasserie Les Halles twenty years later. With dreams of being a writer still in his head, Bourdain didn't generate much interest with his attempts at writing a novel and decided to write a memoir, "Kitchen Confidential: Adventures in the Culinary Underbelly", an unvarnished account that detailed his experiences working in the food industry. This became a best seller and helped Bourdain transition into a popular host on several culinary adventure programs. Unlike the standard grinning and well-mannered hosts of food shows, Bourdain had a chafing persona: a smartass with an intrepid spirit, a lewd sense of humor and engaging wit, that made his world travels to explore exotic, specialty dishes from across the globe scintillating television.

"Tony", from director, Matt Johnson, looks back at Bourdain, long before cooking school, the wild lifestyle and overwhelming fame, when he was a rebellious, nineteen year old kid from New Jersey planning on becoming the next big novelist. With this thrillingly raucous, sink-to-kitchen tale, we learn how his dreams were forced to be modified and how the hot-tempered, immature Bourdain would improbably go on to become a respected, world class talent in the culinary world.

Tony Bourdain (Dominic Sessa) has applied for a writing fellowship that would send him to New York City. Feeling overly confident he'll get in, Tony tells his parents (Dagmara Domińczyk, Rich Sommer) he received the fellowship. But after finding out that he didn't, a frustrated Tony impulsively heads to Provincetown, partly because Nancy (Emilia Jones), a girl he really likes, has moved there for the summer before going to college. Discovering that she's dating a guy she works with at a pizza joint, he drowns his sorrows at The Flagship, a local seafood restaurant run by José "Chef" Vatel (Antonio Banderas). A highly inebriated Bourdain manages to get punched out for insulting a waitress and robbed while passed out on the street, leaving him stranded the next day.

He runs into Nancy, telling her that he's in town for research for his fellowship, and she invites him to a house party. Desperate to go to this party, Tony begs for a job at the Flagship, assuring "Chef" that he has restaurant experience. He doesn't but hired to wash dishes where he works with some equally volatile and oddball characters in the kitchen: Stavros (Stavros Halkias) and Sal (Leo Woodall), who had punched and robbed Tony the previous day. And "Chef" allows Tony to live on the porch of his beach house, sleeping on a hammock and awakened every morning with a bucket of seawater splashed in his face.

This biopic began with a script by Todd Bartels and Lou Howe that was featured on the 2024 Black List, an annual selection of the most liked unproduced screenplays. A Canadian indie filmmaker best known for the web series, "Nirvana the Band the Show" and his 2023 feature film breakthrough, the wacky, origin story of a brand of mobile phones, "Blackberry", Johnson took the script, adding a bit of his offbeat style yet smoothing over much of the rough edges of Bourdain's early life, to make this movie engaging, amusing and relatable. Even if this wasn't based on Bourdain's story, "Tony" could easily stand on its own as a darkly shrewd romantic-comedy.

One key reason which helps make "Tony" so appealing are the actors, in particular Sessa as Bourdain. He was the true highlight in Alexander Payne's award-winning, retro comedy, "The Holdovers" (which was his film acting debut) and Sessa's precocious performance here (bringing to mind Tom Hanks in his early days) confirms that he is a character actor with the great potential to be a movie star. He perfectly captures Bourdain at this point of his life, using his disarming nature and compelling allure to his advantage which helped him talk his way in or out of pretty much any type of situation. But it was Sal (who represents a composite of several people Bourdain would encounter) that actually gives the inexperienced Bourdain life lessons by teaching him how to smoke, shuck oysters, womanize and how to consume various forms of drugs.

Even without having read "Kitchen Confidential", it feels clear that "Tony" is soft serving Bourdain's early life and chaotic behavior. There's no doubt that the real-life Bourdain (who sadly died by suicide in 2018 at sixty-one) was probably far worse than portrayed in this film. No matter. "Tony" captures a credible essence of Bourdain, well enough that he's still recognizable, that points us convincingly and entertainingly towards the man he would become with an appealing profile that honors his exorbitant spirit and enduring legacy.

COMING SOON

Ken Russell was a rising British filmmaker with a flair for the provocative and enjoying international acclaim for his breakthrough, the 1969 romantic drama, "Women in Love" when he decided to make the psychological horror film, "The Devils". Based on the non-fiction book, "The Devils of Loudun" by Aldous Huxley and a 1960 play by John Whiting, Russell wrote the politically charged screenplay which is set in 17th-century France where a powerful Catholic priest, Urbain Grandier (Oliver Reed) is rendered defenseless against a nun's (Vanessa Redgrave) passionate accusations of witchcraft that are eagerly exploited by the church and state powers. With innovative camerawork by David Watkin (who later filmed "Chariots of Fire" and won an Oscar for "Out of Africa") and Derek Jarman (who would go on to have his own career as a controversial filmmaker) creating the striking production design, "The Devils" was recognized as an intense and provocative work that featured a bold critique on the hypocrisy that could be found in religion.

But with graphic violence and sexual content featured within a religious context, "The Devils" received a harsh critical reaction once it was released, being given an X rating from both the United Kingdom and the United States advisory boards, banned in several countries or heavily edited in theaters that dared screen the film. However, Russell would receive the Best Director prize at the Venice International Film Festival and from the National Board of Review.  And despite the uproar, "The Devils" would achieve some box-office success, earning over eleven million dollars globally.

Over time, "The Devils" would not be readily available on home video with limited releases on DVD were only edited versions, and the film has rarely been seen on streaming services. But there was a growing demand for the film to be seen again. Warner Bros. (which distributed the film back in 1971) has decided to restore "The Devils" and release this version in theaters through its newly launched Warner Bros. Clockwork label. Assembled from the original camera negative, this new 4K restoration presents the definitive vision of Russell's film which references the edit he privately constructed in 2004. Now "The Devils" is the uncut theatrical experience that Russell (who died in 2011) had always envisioned.

"Ken Russell's The Devils" will be re-released in US theaters for one week only beginning on October 16, 2026

I WANT YOUR SEX (2026)

Written by Karley Sciortino and Gregg Araki



Directed by Gregg Araki



Where & When: AMC The Americana at Brand 18, Glendale, CA. July 31, 2026 4:30 PM



After he completed college with studies in cinematic arts, LA native, Gregg Araki was ready to tackle a career as a filmmaker. Pulling together about five thousand dollars, Araki made his feature film debut in 1987, "Three Bewildered People in the Night", a black & white drama involving a straight couple and their gay, male friend. Winning a Critics' Prize at the Locarno International Film Festival for this film, Araki collected some more money to make his next low-budget feature two years later, "The Long Weekend (O' Despair)" which featured a gay, lesbian and straight couple all spending a weekend together, winning an award from the LA Film Critics Association.

Araki's next movie would arrive in 1992 with a slightly larger budget and a premiere at the Sundance Film Festival. Lazily described by some as a "gay Thelma & Louise", "The Living End" is a road-trip adventure involving two HIV-positive male lovers on the run after stealing and leaving a trail of dead bodies. Boldly political, disturbingly violent and driven by a post-punk soundtrack, "The Living End" became a critical and box-office success while also one of the early films that helped spark the New Queer Cinema movement which had included other provocative films by Todd Haynes, Isaac Julien and Derek Jarman. Araki would go on to make more, challenging cinema like his Teenage Apocalypse trilogy: "Totally F***ed Up", "The Doom Generation" and "Nowhere", "Mysterious Skin" and the stoner comedy, "Smiley Face". But following "White Bird in a Blizzard", his little seen 2014 adaptation of Laura Kasischke's novel that featured an all-star cast, Araki has been missing from movie screens.

That has now been rectified with Araki's return to the big screen with "I Want Your Sex", a colorfully stimulating, sex comedy that sees the director back in fine form. There's some BDSM kink tossed in along with erotic thrills, queer undertones and a possible murder which together creates an intriguingly twisted, dark edged farce.

When we first meet Elliott (Cooper Hoffman), bloodied and wearing lingerie, he sees a naked female body face down in a pool. This is his boss, Erika Tracy (Olivia Wilde), a provocative visual artist and we are taken back several months ago when Elliott first went in to apply for a job as one of her studio assistants who help assemble her sexually charged art. Unfocused and a bit disheveled, he doesn't really seem like a good fit for this position yet Erika seems intrigued and hires Elliott on the spot.

But she has more nefarious plans for the young Elliott that is not exactly work related. After inquiring if he has a girlfriend (which he does, played by pop star, Charli XCX, who is far more interested in studying than having sex with him), Erika promptly initiates a purely sexual relationship with him. Hesitant at first, Elliott soon gives in to his urges but he discovers that Erika has something more extreme in mind. She enjoys being dominant during their erotic encounters and guides Elliott into a deeply submissive position, pushing him to do things he never would have imagined.

Never motivated by commercial appeal or the potential of huge box-office, Araki hasn't changed much since his early days of guerilla filmmaking, continuing to make scrappy movies on his terms that are queer in spirit and style. He was inspired to make "I Want Your Sex" (working on the script with Karley Sciortino for about a decade) after learning that Gen Z was having less sex than previous generations. Shocked by this news, Araki set about to create this film less to be critical but more to provoke conversation about this subject. As Erika says to Elliott, "Making a mistake is what being young is all about.", encouraging him to enjoy his youth by having bad love affairs, getting sloppy drunk or just being reckless. And trust me, there will be plenty of time later in life to be safe and cautious.

Much like his father, the late Philip Seymour Hoffman, the twenty-three year old Hoffman displays an easy, natural screen presence with a performance filled with charm, nuance and depth. Since his debut as the lead in family friend, Paul Thomas Anderson's "Licorice Pizza", Hoffman has been giving nepo babies a good name while revealing the potential to have an promising career ahead of him.

Wilde is having a particularly good year. After the letdown of "Don't Worry, Darling", her second feature as a director, she recently received glowing raves for her direction and performance in the comedy-drama, "The Invite" and will appear as an actor in Tony Gilroy's upcoming drama, "Behemoth!" that will reach theaters in December. As Erika, Wilde is fearless, unconcerned about being likeable or appealing while perfectly capturing the wild, narcissistic nature of this overindulgent artist.

The rest of the impressive cast includes Chase Sui Wonders as Apple, Elliott's platonic roommate, getting drawn into the kinky games when Erika demands that he quickly find a third for a three-way. Daveed Diggs appears as the harried business manager who gracelessly informs Elliott, frustrated by his interruption of the work flow, that he's hardly the first of Erika's assistants she has spent time with after hours. Mason Gooding delivers the sass as Zap, Elliott's gay co-worker and Johnny Knoxville and Margaret Cho show-up, playing against type, as the hard-nosed detectives trying to get answers from Elliott on his relationship to Erica and what could have happened to her.

Kinky and uninhibited, "I Want Your Sex" might be power driven by unconventional carnal desires yet doesn't really have much of a honest erotic charge. And while the mystery at the heart of the film winds up being a bit too tidy and improbable to be satisfying, Araki is still able to keep his depraved version of a rom-com a hilariously enjoyable watch.

MADDIE'S SECRET (2026)

Written & Directed by John Early



Where & When: Landmark Theatres Sunset, West Hollywood, CA. July 14, 2026 4:20 PM



"Maddie's Secret" tells the story of a woman living in Los Angeles who seems to have a good life: a loving husband, a close friend and contentment at her job. But Maddie secretly dreams of becoming a professional chef. An opportunity comes her way but the pressures from this success reopens the door to an even darker secret that she had been suppressing, creating chaos and despair for Maddie and her loved ones. 

Loosely inspired by a 1980's television-movie-of-the-week, writer and director, John Early has put an amusing queercentric spin on this melodramatic parody for his feature film debut. Early also plays Maddie as an actual woman in the film: not trans or non-binary. Make of this what you will but I believe he took on this role less as a political statement and more about an opportunity to play a fascinating character.

Maddie (Early) and her best friend, Deena (Kate Berlant) work as dishwashers for Gourmaybe, a video test kitchen program. And while the haughty Emily (Claudia O'Doherty) might be the star of the show, Maddie would love to have a chance to be in front of the camera as a cook. After Maddie's husband, Jake (Eric Rahill) films his wife preparing one of her best vegetarian meals, he posts the clip online despite her protests. The next day, the video blows up, going viral and her crass boss, Zack (Conner O'Malley) quickly makes her an on-camera personality on the program.

Maddie achieves much of the success and popularity that she's ever wanted yet this also creates new problems for her. Cruel comments from viewers about her weight triggers the bulimia she once had under control. Maddie starts to act manically, pushing herself hard in dance classes while purging all of the food she does consume. After her husband catches her retching into a toilet, she tells him she's pregnant and Jake is thrilled since he has been wanting to start a family for sometime. And Deena starts feeling neglected by her friend with Maddie fearful in confiding to her what's actually going on.

Early has been working as an actor, stand-up and sketch comedy performer for a number of years, participating in several sketch programs and created content with Berlant. He had his own HBO musical-comedy special, "John Early: Now More Than Ever" in 2023 and released a studio album with songs from the program. With his feature film directorial debut, Early brilliantly takes on those earnest dramas that had an important message, one that is told through wacky hysteria and overheated emotions.

As Maddie, the actor dives all the way in, expressively capturing all of the fears and trauma of this tortured woman in a wild and darkly hilarious performance. After a cardiac health crisis, Maddie's eating disorder is discovered and she's checked into an inpatient treatment program. During a session with a doctor and her overbearing mother, Beverlee (played by the comedy great, Kristen Johnston), Maddie confronts her parent about how she was treated about her weight since she was a small child, revealing how she's the root cause of her complicated relationship with food.

With an open-ended conclusion and a classic freeze-frame on the face of a triumphant Maddie, "Maddie's Secret" has taken us on an amusing, emotional adventure, handling a health disorder with outrageously dark humor yet still finding some room for thoughtful candor. Early has admitted he was greatly influenced by a variety of offbeat cinema that includes the singular works by John Waters and Paul Verhoeven to create this film. Yet he stands tall with his own sense of stylish, eccentric comedy, proving to be a modern craftsman of deranged camp. Following the hilarious, "Maddie's Secret", I'm definitely looking forward to seeing what else Early has in store for us on the big screen, hopefully in the very near future.

COMING SOON

"Klara and the Sun", based on the popular novel by Kazuo Ishiguro, will be coming to movie screens this fall. Jenna Ortega plays Klara, a solar-powered, artificial friend who is in search of the perfect home. When Klara is purchased for an ailing Josie (Mia Tharia), they immediately make a deep connection with each other. But Josie has a complicated relationship with her mother (Amy Adams) yet Klara’s positive energy and unwavering loyalty begins to help heal the family. Taika Waititi, the Oscar-winning actor and filmmaker behind "Jojo Rabbit", has adapted the book with Dahvi Waller and directed the film. Natasha Lyonne and Steve Buscemi also star.

"Klara and the Sun" is due in US theaters on October 23, 2026

MICHAEL (2026)

Written by John Logan



Directed by Antoine Fuqua



Where & When: TCL Chinese Theatres, Hollywood, CA. April 28, 2026 3:55 PM



Despite his tragic death at the age of fifty in 2009 from a drug overdose and some disturbing allegations that have continued to muddy his legacy, Michael Jackson has managed to maintain his position as one of the biggest global pop music stars on the planet. The biographical musical drama, "Michael", capably directed by Antoine Fuqua, focuses on the singer's life from childhood as the highlight of the popular singing group with his brothers, the Jackson 5 to him going on to become even more famous as a solo artist after anxiously breaking free from the tight grip of his manager who also happened to be his father. With Graham King, who was the producer behind the rock band, Queen's bombastic yet neutered bio-pic, "Bohemian Rhapsody", John Branca, Jackson's former attorney and co-executor of the estate and the participation by most of the Jackson family all on board, "Michael" is slickly packaged, visually stunning propaganda, presenting a Jackson that fans would want to believe existed: gifted, enigmatic, quirky, a little sad but relatively harmless.

The film wastes no time jumping us straight into Gary, Indiana in 1966 where we witness the conflict between Joseph Jackson (Colman Domingo) and his five sons, Jackie (Nathaniel Logan McIntyre), Tito (Judah Edwards), Jermaine (Jayden Harville), Marlon (Jaylen Lyndon Hunter) and the youngest, Michael (Juliano Krue Valdi). He has assembled his children as a musical act and believes that in order to achieve success, they must constantly rehearse. But since they are kids, this isn't how they really want to spend all their time doing. However, Joseph, frustrated at his job at a steel mill, wants a better life for his family and isn't asking them, expecting his boys to obey otherwise face being beaten into submission.

Their first break comes two years later while opening for Gladys Knight (Liv Symone) and the Pips when the Jackson boys catch the attention of Suzanne de Passe (Laura Harrier), an executive at Motown Records. They are signed to the label, named "The Jackson 5", record their debut album and become an instant sensation. While they are a group, it is Michael, who is the lead singer, that receives the most recognition. Shy and timid off stage, Michael's confidence as a person (and later as an artist) is helped by Motown founder, Berry Gordy (Larenz Tate) who takes the young boy under his wing, guiding him on how the recording process works.

Years later, the Jacksons have left Motown and signed with Epic Records. Now a young man, Michael (played by Jaafar Jackson) is ready to make another solo album and teams with Quincy Jones (Kendrick Sampson) to produce. "Off The Wall" becomes a best-selling smash hit but Michael isn't able to fully enjoy his success because Joseph, who still manages his son's career, expects him to hit the road with his brothers to promote their album. Michael begins to take steps to try and control his own life: first by having surgery to make his nose smaller and then hiring John Branca (Miles Teller) as his attorney and has him fire his father as his manager. Then Michael begins recording his follow-up album with Jones which will be called "Thriller".

Since the estate of the pop singer was behind the production of this film, it was clear that "Michael" was never going to be an in-depth and revealing examination into who Jackson actually was and his turbulent personal history. The film, with a serviceable screenplay by John Logan, simply rehashes the familiar details of his career that many people are probably already fully aware. The only revelation I learned from this film was how severely Michael had been injured during the filming of the Pepsi commercial when a spark from the pyrotechnics sets his hair on fire, actually leaving him with third-degree burns on his scalp and nerve damage. Fuqua, who has made his career as a proficient filmmaker who was behind "Training Day" and "The Equalizer", doesn't try to elevate this movie with any artistic flourishes instead just sticks to the basics in his storytelling, briskly taking us from point A to point B, leaving no room for introspection.

Jaafar Jackson (the nephew of Michael and son of Jermaine) does make a dynamic impression with his acting debut playing his uncle. With an obvious advantage of having a family resemblance, his performance also captures the soft spoken, sweet-natured side of Jackson while expertly recreating some of the dazzling dance moves and musical highlights of the chart-topping artist with the singing in the film is largely from Michael's recordings. Domingo, buried under heavy prosthetics, does what he can with the one-note villain role of Joseph. But since there's nothing revealed about what made this ruthless man tick, we simply witness him terrorizing and manipulating everyone in his orbit with his horrid behavior. Nia Long appears as the matriarch of the family, Katherine Jackson who isn't given much to do or say beyond looking grave and concerned as she silently watches her husband abuse their children.

It is quite jarring that several key members of the Jackson family are treated like they just don't exist (most notably the second most famous Jackson, Janet) in this movie. But the rest of the Jacksons who did agree to appear in "Michael" are largely just shadows, with nothing made known about them and are simply filling up space around the actual star of this story when needed. And an unrecognizable Mike Myers makes a very brief appearance as Walter Yetnikoff, the president of Jackson's label, CBS Records who plays a vital part in helping take the performer to the next level by getting his videos played on MTV, which had largely refused to run Black artists, by threatening to pull all of the label's acts from the music channel.

"Michael" ends after his final tour with his brothers, completely severing professional ties with his family and begins his first solo tour in 1988. This means that this film doesn't deal with any of the child sexual abuse accusations against Jackson which began about five years later. There had been plans originally to include the allegations and scenes were apparently shot. But after "Michael" had been nearly completed, the producers were informed that they could not mention the accuser due to a clause in the settlement. You would have thought that since this was such an extremely sensitive subject matter that the production's legal team would have made some effort to look into this long before the cameras rolled.

Due to the overwhelming and expected success of "Michael" (with a half billion dollars earned at the global box-office to date and still growing), there is a follow-up planned of Jackson's story which will continue with his career and apparently deal with some of the more unsavory aspects that occurred later in the pop superstar's life. But much like this well made yet toothless bio-pic, there isn't any expectation that the sequel will dig too deep nor make Jackson appear in any way that would actually make him seem deceitful or threatening. "Michael" was never intended to disrupt the connection between the eternal King of Pop and his devoted and loyal fanbase. This film was supposed to serve as a solid and entertaining reminder of the extraordinary talent and enduring influence of Michael Jackson, never to tarnish his image or question his morals. And with that, "Michael" largely succeeds.

COMING SOON

The writer, Colleen Hoover has enjoyed some great success with having her best-selling novels transformed into motion pictures. The first, "It Ends with Us", which starred Blake Lively and Justin Baldoni, became a huge commercial success in 2023, grossing over three hundred and fifty million dollars worldwide. Her other books, "Regretting You" and "Reminders of Him" were also made into films and while neither managed to reach the same massive box-office heights, both were still able to attract a sizable audience.

Now Hoover's latest book-to-screen adaptation is "Verity" with this drama driven with some major star power. Bestselling author, Verity Crawford (played by Oscar-winner, Anne Hathaway) has become incapacitated and her husband (Josh Hartnett) has hired Lowen, (Dakota Johnson), a struggling writer, to help complete his wife's popular book series. While living in the Crawford's home to work, Lowen discovers a hidden manuscript that contains some disturbing information about the author.

Based on the teaser trailer, "Verity", directed by Michael Showalter, appears to be filled with suspense and psychological tension, diving into shifting boundaries between truth and fiction. And this will be the fifth movie featuring the very busy Hathaway released this year following the indie drama, "Mother Mary", the long-awaited sequel, "The Devil Wears Prada 2", Christopher Nolan's historical epic, "The Odyssey" and the sci-fi thriller, "The End of Oak Street".

"Verity" is due in US theaters on October 2, 2026

THEY WILL KILL YOU (2026)

Written by Kirill Sokolov and Alex Litvak



Directed by Kirill Sokolov



Where & When: TCL Chinese Theatres, Hollywood, CA.  March 29, 2026  5:10 PM



Zazie Beetz first attracted attention for her performance as Van in Donald Glover's Afro-absurdist comedy series, "Atlanta" for four seasons. Since then, the actress has made several notable appearances in films that includes "Deadpool 2", "Bullet Train", lending her voice to the animated film, "The Bad Guys" and the sequel and featured in the two "Joker" movies. These have all been largely supporting roles but with the vigorous action-comedy thriller, "They Will Kill You", Beetz is finally front and center, carrying the film with remarkable style and an imposing lethal presence. The Russian filmmaker, Kirill Sokolov makes his English-language debut with his third feature film, perfectly delivering a hilariously deranged, brutally violent, blood soaked thrill ride.

Asia (Beetz) and her younger sister, Maria (Orefile Moloi) are on the run, trying to escape from their abusive father (Darron Meyer). When he has them surrounded by his gang of thugs, Asia pulls out a gun, shoots her father and takes off running, leaving her sister behind.

Ten years later, Asia is showing up for a job as a maid for the Virgil, an exclusive high-rise building in New York City. Going by an alias, she's greeted by the building's manager, Lilith (Patricia Arquette), a stern Irish woman who explains the strict rules of this complex that caters to the very wealthy. After settling in for the evening, Asia is awakened by a horde of masked intruders that have broken into her room and try to take her. But she is no easy target, having arrived heavily armed and more than willing to fight back. Asia winds up killing all of them which included some of the guests (Heather Graham, Tom Felton) she had met earlier and informs Lilith that she's there to rescue her sister (now played by Myha'la) who works as a maid at the Virgil. Then all of the attackers heal themselves and come back to life, forcing Asia to go on the run until she can figure out what's going on.

There is the bombastic visual and non-linear narrative inspiration in "They Will Kill You" that is clearly drawn from Quentin Tarantino, particularly the writer/director's grindhouse opus, "Kill Bill". Yet Sokolov, who also cites the works of Sergio Leone, Park Chan-wook and Martin Scorsese as influences, reveals his own singular approach to this film. His first feature, "Why Don't You Just Die!" from 2018 is distinctly Russian in spirit with dry, dark humor while incorporating Western-styled action thrills that was made to appeal to a wider international audience. With "They Will Kill You", Sokolov is able to really let loose, briskly and stylishly, with some creatively gruesome, battle scenes and wildly elaborate chase sequences throughout many of the nooks and crannies of this archaic building.

Asia soon discovers that she's fighting against the supernatural through Ray (Paterson Joseph), the building's Black maintenance man (and also happens to be Lilith's husband) who explains to her that the residents of the Virgil worship Satan and are given eternal life as long as they regularly offer him human sacrifices. And that's where Asia comes in although she had traded places with the woman who was actually hired in order to locate Maria. After the sisters find each other, their reunion is less warm and forgiving but more filled with aggression and animosity.

While the film hits all of the familiar beats expected in a bloody action-thriller, what makes "They Will Kill You" really stand out is having an African-American woman as our protagonist. Much like what "Sinners" accomplished by deftly incorporating traumatic African-American historical elements into the long established vampire lore, this film offers a rarely seen focus on a fierce and determined Black female combatant (who learned to fight during her time in prison) able to stand her ground against those trying to stop her from her mission of locating her estranged sister. Race relations does not play as large of a part in this film and it is far more subtle: from the racial hierarchy between the residents and the staff to Lilith's sentimental motivation behind her continuing to work for the Virgil.

But Sokolov has no real interest in offering a film that's a game changer or tries to elevate the genre. "They Will Kill You" keeps it simple and fun, wisely maintaining an engaging, oddball atmosphere that is ferociously intense, vividly fast-paced and visually explosive.

THE BRIDE! (2026)

Written & Directed by Maggie Gyllenhaal



Where & When: TCL Chinese Theatres, Hollywood, CA. March 9, 2026 4:00 PM

For her second feature film as a writer and director, Maggie Gyllenhaal, best known for her acting performances, has taken on a classic horror character and has attempted to capture a more modern and highbrow element to this story originally written by Mary Shelley back in 1818. Yet "The Bride!", which involves Frankenstein's monster in search of a female companion, offers us a punk rock energized reimagining of the 1935 Hollywood movie, "Bride of Frankenstein" that ends up being chaotically structured and narratively disjointed.

The film begins when we meet the spirit of the long dead writer Shelley (played by Jessie Buckley) who has another story she wants to tell regarding her creation. She decides to take possession of a young woman in 1936 Chicago named Ida (also Buckley) who she has spill the secrets of a crime boss, Lupino (Zlatko Burić) in the middle of a very public nightclub. A couple of Lupino's associates (John Magaro, Matthew Maher), who know Ida personally, take her out of the ballroom to try and talk some sense into her. But Shelley has a firm grasp upon her which causes an accident where Ida falls to her death down a flight of stairs.

At the same time, Frankenstein's monster (Christian Bale), who now goes by the name "Frank", has arrived in Chicago to seek the help of Dr. Cornelia Euphronius (Annette Bening). The doctor has been experimenting with reanimating the dead and a very lonely Frank would desperately like her to create a female version of himself. Hesitant to get involved, Dr. Euphronius relents and they go out to find the perfect specimen. After digging up Ida's body, she is brought back to "life" with no memory of her past and a black stain across her face from the toxic chemicals used to reanimate her. Frank, deciding this would be easier for all involved, tells her that she's his bride.

After catching a movie starring Frank's favorite song-and-dance man, Ronnie Reed (Jake Gyllenhaal), the undead couple are harassed by a gang of hoodlums. In an act of self-defense, Frank kills some of these men and they soon become lovers on the run, heading to New York City (of all places) to hide.

Buckley, who won the Best Actress Oscar this year for her devastating turn in "Hamnet", does the best she can with her dual roles of author and monster. Without being given much of a backstory for Ida (or of Shelley for matter), we can only gather that she was an impoverished, marginalized person, just trying to get through each day, who continued to be subjugated even in her rebirth. But Ida does manage to find her own voice and with her halo of a bleach blonde bob and inventive face smudge, Buckley is certainly visually stunning. The rest of the supporting cast is distinguished which includes Peter Sarsgaard and Penélope Cruz as police detectives trying to track down the couple and Jeannie Berlin as Dr. Euphronius' maid. Yet they all struggle with their underwritten roles.

There is no question that "The Bride!" is impressive to look at with a beautiful, period perfect production designed by Karen Murphy, exquisite costumes by three time Oscar-winning veteran, Sandy Powell, eerie makeup designed by Nadia Stacey and expertly photographed by Lawrence Sher. But this is all wasted on a film that is tonally all over the place and Gyllenhaal's ponderous screenplay doesn't help matters beginning with the clunky framing device of the ghost of Shelley narrating this story and inexplicably provoking the death of an innocent young woman.

There are a few interesting ideas at play in "The Bride!" but it feels overloaded, with all of the details not really sorted out and fine-tuned before the cameras began to roll. It's unclear exactly what the outcome of this film was even supposed to be: there is some graphic violence and gore to be found but does not offer any of the ghastly frights we have come to expect from our standard horror film. We have a frenzied song-and-dance musical number involving the monster couple that unfortunately comes across more like a moment from Mel Brooks' hilarious comedy, "Young Frankenstein" which isn't helped by the use of the song "Putting on the Ritz". And there is the considered feminist outrage and organized social protest against the patriarchy in this story. Yet it seems oddly out of place considering the era this movie is set in.

"The Bride!" ends up being a misguided attempt of trying to use the horror genre to artfully express our current fears and anxieties involving several social issues. I think Gyllenhaal's provocative movie might have worked better if it was scaled back and more intimately told. Instead, we have a quirky, indie film trapped in the body of a major Hollywood production with an impractical, almost one hundred million dollar price tag.

MY VIEWING DIARY: PART SEVENTEEN

"Stay Hungry" (1976)

"Stay Hungry", a muddled and weirdly conceived comedic-drama from Bob Rafelson, involves a privileged young man searching for direction in his aimless life that is really only notable today due to its leading cast of Jeff Bridges, Sally Field and Arnold Schwarzenegger, who were all in the early stages of their movie careers at the time.

Bridges plays Craig Blake, the young spawn of a wealthy Southern family. After his parents died in a plane crash, he's not motivated in doing much more than lounging around the family mansion. Craig gets himself lured into a real estate scam by a slick con artist (Joe Spinell) who wants him to handle buying a small gym so it can be torn down for an office high-rise. While fronting as a businessman, Craig becomes fascinated by the eccentric owner, Thor (R. G. Armstrong) and the employees, Franklin (future "Nightmare on Elm Street" star, Robert Englund), Newton (Roger E. Mosley), the receptionist, Mary Tate (Field) and Joe (Schwarzenegger) who is training at the gym for an upcoming Mr. Universe body building contest. Far more engaging than the country club life he's used to, Craig soon finds himself becoming part of their fitness world while putting off the scam investors about the deal's progress.

Considered one of the key players in the New Hollywood movement of the 1970s, this was the fourth feature by Rafelson, who got his start co-creating "The Monkees" television series, following his acclaimed films, "Five Easy Pieces" and "The King of Marvin Gardens". "Stay Hungry" is far from one of the director's best, too unfocused and indulgent, but the film does manage to have a few moments that are somewhat entertaining and oddly amusing. Yet once we reach the conclusion at a body builder competition with skimpily clad, muscle men running wildly amok throughout the city, it's clear that Rafelson had no interest in anything close to a conventional narrative, fully content in keeping viewers baffled.

Since his first major role in Peter Bogdanovich's 1971 coming-of-age drama, "The Last Picture Show", Bridges had been working his way with more leading roles, expertly carrying this film with his trademark charm and offbeat manner. A popular actor on television who would win an Emmy Award later in the year for her astonishing performance in the tv movie, "Sybil" as a woman with multiple personalities, Field was actively trying to move into the movies but this was at time when that was not an easy transition. This role as the love interest is a complete waste of her talents yet it does give Field an opportunity to reveal her potential as a big screen presence. And Schwarzenegger was looking for a career change after his great success as a bodybuilding champ and Hollywood seemed like it could be the perfect fit. This was his first major film role, handling himself quite capably despite his heavy Austrian accent and limited acting skills, and would even win a Golden Globe as New Star of the Year for his performance here. Fannie Flagg, Joanna Cassidy, Ed Begley Jr. and Scatman Crothers also make appearances in the film.

An intriguing time capsule from the '70's filled with fractured storytelling, trippy situations and quirky characters, "Stay Hungry" still manages to achieve the impressive feat of being both a half-baked and overcooked offering.

"Who Killed Teddy Bear?" (1965)

The crime thriller, "Who Killed Teddy Bear?" pushed its provocative themes involving pornography, voyeurism and homosexuality as far as it could go at the time as the restrictions of the Motion Picture Production Code would not be fully lifted until three years after this film's release. Wildly over-the-top, the film still manages to entertain with 

its salacious vibe and swinging dance sequences.

Set in New York City, Norah (Juliet Prowse) is a beautiful aspiring actress who works nights spinning records at a nightclub run by the flinty manager, Marian (Elaine Stritch). After receiving several obscene phone calls by someone watching her and a decapitated teddy bear was left behind after her apartment was broken into, Norah is encouraged to contact the police. Police detective, Dave Madden (Jan Murray) takes on her case, having had personal history dealing with a dangerous sociopath who murdered his wife, leaving him to raise his daughter on his own.

Norah is surrounded by possible suspects who could be terrorizing her: Lawrence (Sal Mineo), a waiter at the nightclub with a sister (Margot Bennett) suffering from brain damage due to accident following witnessing her brother's sexual indiscretion as a child. Perhaps Marian who may seem like she want to help and comfort her during this troubling time yet might also have more amorous feelings towards her. Or possibly even Det. Madden, spending much of his time obsessively studying the behavior of sexual deviants and trying to get a little too close to Norah.

We discover who the culprit is midway through, not offering much suspense or surprise. Yet "Who Killed Teddy Bear?", with an underdeveloped script by Arnold Drake and Leon Tokatyan and adequate direction by Joseph Cates, is only interested in taking sheltered audiences of this time and trying to shock them with the seedier side of big city living, filled with immoral decadence, perversion and dangerous criminals. Even when the film was first released, it was viewed as frivolous and exaggerated but "Teddy Bear" has since gone on to be rediscovered and greatly appreciated by modern viewers for it's campy pleasures.

Following his breakthrough performance in "Rebel Without a Cause" and receiving two Academy Award nominations (for "Rebel" and "Exodus" in 1960), Mineo's career had begun to suffer due to typecasting and rumblings of him being gay by the time he made this film. Hopeful that "Teddy Bear" could turn his fortunes around, this film failed to really do that although Mineo would continue to work, most prominently on stage, before he was tragically murdered during a mugging in 1976.

Notable for actually filming in Times Square and 42nd Street as the area was beginning to shift into a more sleazy part of New York City, "Who Killed Teddy Bear?" is a middling yet fascinating drama set in a period when American cinema was transitioning from the sexual repression of the 1950's and moving into the relaxation of the prevailing conservative social order.



"Mata Hari" (1931)

One of the biggest box-office hits she made during her potent yet brief film career, Greta Garbo enchants and seduces in "Mata Hari" based on the real-life Dutch courtesan who would be executed following accusations of being a spy during World War I. Shot admiringly by MGM cinematographer, William Daniels (who became known as Garbo's personal lensman, filming all but three of the twenty-five movies she made for the studio), the actress is at her most beautiful, radiating effortlessly her powerful, sensual allure. 

With France in the middle of the war, the head of the French spy bureau, Dubois (C. Henry Gordon) wants to get answers out of a captured spy by offering to spare his life if he reveals any other spies hiding in plain sight. Refusing to talk and confirm his suspicions that Mata Hari (Garbo) was also a spy, Dubois is still determined to expose her. Russian Air Force Lieutenant, Alexis Rosanoff (Ramon Novarro) has arrived in Paris with correspondence from his country. Having heard of the exotic Mata Hari, he goes to see her dance and becomes smitten by the enchantress. She's also attracted to the handsome solider and they spend the evening together. The next morning, Rosanoff is making plans for them as a couple while Mata sets him straight that this was simply a one-time fling. But she is actually collecting information for a spy ring, having an affair with General Shubin (Lionel Barrymore) and assigned to get the contents of the dispatches Rosanoff brought to him. However, Mata finds that she has fallen for Rosanoff, with her mission endangering him and herself.

"Mata Hari", proficiently directed by George Fitzmaurice, is a classic Hollywood romantic melodrama, glamourizing the colorful life of this femme fatale accused of espionage with a lavish production and serviceable script. While the accusations against Mata Hari was never in question during the time this film was released, her actual guilt seems to be in doubt today due to a lack of specific evidence that was revealed in the released court transcripts one hundred years after her trial in 2017. Made during the pre-code era, "Mata Hari" would be censored following it's re-release later with scenes of her body revealing dance and romantic encounters trimmed.

A performer of understated authority, Garbo as Mata is able to keep you locked in on her with a compelling tangle of sweeping gestures, icy reserve and smoldering glances. Novarro holds his own matched against the enigmatic Garbo yet together they are unable to stimulate much credible heat between them. One of the top box-office attractions of the silent film era, the Mexican-born actor struggled during the transition to sound and was dropped by MGM a few years after this film. Novarro, closeted throughout much of his career, would sadly be remembered largely for his brutal murder at his home by a couple of hustlers in 1968.

COMING SOON

I do not believe that there is one person on this planet who does not know who is Michael Jackson. Beginning his professional career as a gifted child singing with his four brothers as the Jackson 5 who together found great success and torrid popularity before Jackson decided to concentrate on being a solo performer. The upcoming film, "Michael", directed by Antoine Fuqua, focuses on the life and legacy of one of the biggest pop stars the world has ever known.

This movie will trace the journey with his musical family, lead by the strong-willed father, Joseph (played by Colman Domingo) and nurturing mother, Katherine (Nia Long), struggling to be discovered and given a shot by Motown founder, Berry Gordy (Larenz Tate) who helps to guide the act to international fame. Juliano Krue Valdi will play the young Michael and Jackson's nephew, Jaafar Jackson (the son of brother, Jermaine) will play the older Michael. With a screenplay by the Oscar-nominated writer, John Logan, "Michael" will examine the singer's engaging yet turbulent life on and off-stage and recreate some of Jackson's most iconic performances. Considering Jackson's still fervent fanbase, I think "Michael" will certainly be one of the biggest box-office successes of the year.

"Michael" is due in US theaters on April 24, 2026

SONG SUNG BLUE (2025)

Written & Directed by Craig Brewer

Where & When: Vista Theatre, Los Angeles, CA. January 6, 2026 3:50 PM

"Song Sung Blue", a good-natured biopic from writer/director, Craig Brewer, might be filled with the music of the popular, easy-listening songs by the singer and songwriter, Neil Diamond but the film is not directly about the yacht-rock superstar. This drama is actually an endearing, fact-based, midwestern love story with the essence of the iconic pop singer planted firmly at its center. We watch as this couple encounters sweet romance, hard knocks, thrilling musical escapades and tragic events with the lively soundtrack of Diamond guiding, inspiring and financing them through their life moments.

Set in 1989 Milwaukee, Mike Sardina (Hugh Jackman) is a mechanic trying to pursue his dream of being a professional musician. Struggling to get paying gigs, he's called to fill in as the Hawaiian singer, Don Ho for an impersonator show during the Wisconsin State Fair. Refusing to perform as Ho and wanting to go on as himself under his stage name, "Lightning", he's promptly told to forget about it. On his way out, Mike comes across Claire (Kate Hudson) who is getting ready to go on stage as the late country music vocalist, Patsy Cline. They strike up some small talk with Claire suggesting he would be better suited to do Neil Diamond. After watching Claire perform, Mike is impressed by her talent and dazzled by her beauty.

Seeking Claire out to help him expand upon the idea she suggested, Mike wants to offer audiences more of an experience than just being a cover artist. With Claire to be his "Thunder" by performing with him in the act, they become "Lightning and Thunder", a Neil Diamond tribute band. And it doesn't take long for the professional collaboration merges into a romantic partnership between this newly formed couple. Mike and Claire bonded tightly over their shared vision of achieving musical success on their terms. But not only do they have to try and create a show worthy of the vast songbook by Diamond, the couple are trying to raise and blend together children from their previous failed marriages; Claire’s daughter Rachel (Ella Anderson) and son, Dayna (Hudson Henley) along with Mike’s daughter, Angelina (pop singer, King Princess).

Filling out the makeshift group with guitarist, Mark (Michael Imperioli), a former "Buddy Holly" impersonator, a horn section from a soul band Mike had played with and Tom (Jim Belushi), an old friend who serves as the tour manager, Lightning and Thunder hits the road performing around Wisconsin. The act has a rough start but soon word-of-mouth spreads as their audience begins to build. This leads to an incredible moment for Lightning and Thunder when they're asked to open for a local show by the grunge rockers, Pearl Jam with vocalist, Eddie Vedder (John Beckwith) even joining them for a song.

The events that occur in "Song Sung Blue" were covered in a 2008 documentary by Greg Kohs with the same title, winning the Jury and Audience Awards at the Slamdance Film Festival. After seeing the film and shocked that it received little exposure despite the award success, Brewer was eager to tell their unimaginable story, believing that this inspirational blue-collar tale needed to be revealed to an even wider audience. Yet the director had difficulty getting this film off the ground with studios not convinced that anyone would be interested in a struggling, middle-class, middle-aged couple trying to make it in as a cover band. Thankfully, Brewer persevered, eventually finding kindred spirits to back his project to create a warm, slightly cheesy yet deeply moving melodrama.

On the surface, the feelgood "Song Sung Blue" doesn't seem like something Brewer would be behind considering his previous somber features. But "Hustle & Flow", which deals with a Memphis pimp who dreams of becoming a rapper, and the pitch-black comedy, "Black Snake Moan" that has a Mississippi bluesman trying to cure a troubled woman of her wanton ways by holding her captive in his house does share in the filmmaker's desire in chronicling the underappreciated stories involving the marginalized and striving dreamers.

Beginning his career in musical theater in his native Australia, Jackman was then called to the stages of London and New York before his spirited, razzle-dazzling eventually attracted the attention of Hollywood. As Sardina, the actor plays to his strengths, using his natural charm and easygoing manner to reveal the aspiring musician, a Vietnam War veteran which the trauma of that experience lead to years of substance abuse before managing to overcome and achieve sobriety for twenty years. With his intense determination and maintaining a positive outlook, Mike is convinced that it's simply just a matter of time before he will hit the big time.

But his faith is only shaken during a tragedy that befalls Claire, a freak accident that physically alters her body. This leaves Claire understandably morose and embittered, with Mike unsure how to help her. Hudson, who was a staple of romantic-comedies in the early aughts, is a revelation as Claire, delivering an expressive performance that reveals that she has rarely been given the opportunity to really showcase all that she's capable of doing as an actor. There's no denying that the actress occasionally brings to mind her mother, Goldie Hawn on screen with them sharing similar tics and vocal inflections. But Hudson completely embodies Claire, perfectly capturing her radiant attitude and solid midwestern accent.

In the retelling of the Sardinas' undeniably incredible story, "Song Sung Blue" doesn't completely escape all of the predictability of the standard biopic. And while much of what we see in the recounting of their lives is supposed to be true, the film isn't always successful in making everything we witness believable. Yet Brewer was able to masterfully stabilize a fine balance between broad camp and heartfelt emotions, keeping the duo's lofty aspirations entertaining and compelling. "Song Sung Blue" is uplifted by the fully committed performances (with the musical numbers expertly done by the actors) and through the inspirational power of the music by Neil Diamond.

COMING SOON

Happy 2026 and here’s to a new year filled with more exciting and intriguing movies. One of the upcoming films I’m looking forward to seeing is "Mother Mary", the latest feature from David Lowery, the director behind the innovative features, "Ain't Them Bodies Saints", "A Ghost Story" and "The Green Knight". This psychological thriller takes place in the outlandish world of modern pop music.

Anne Hathaway plays Mother Mary, a pop superstar who is in need of a show-stopping dress for an upcoming tour. Mary approaches Sam (Michaela Coel), a costume designer that she had previously worked with but they hadn't spoken to each other in many years due to a falling out. Sam, who had a very close friendship with Mary, agrees to do this project however the dress will be created under her terms.

Original songs in "Mother Mary" have been provided by pop musicians, Charli XCX, FKA Twigs (who also makes an appearance in the film) and one of current top producers working in popular music today, Jack Antonoff. Hunter Schafer and Kaia Gerber also co-star in the film.


"Mother Mary" will be in US theaters on April 17, 2026

GOODBYE JUNE (2025)

Written by Joe Anders



Directed by Kate Winslet



Where & When: Landmark Theatres Sunset, West Hollywood, CA. December 16, 2025 4:20 PM



Available to stream now on Netflix



The extraordinary British actor, Kate Winslet has delivered many outstanding screen performances in such wide-ranging films as "Heavenly Creatures", "Sense and Sensibility", "Titanic", "Eternal Sunshine of the Spotless Mind", "The Holiday" and "The Reader" which she would win the Academy Award for Best Actress. Now she has made the move to work behind the camera with her directorial debut, "Goodbye June". This comedic drama deals with a dysfunctional family who must come together to help their ailing matriarch through her difficult time. With a rich history of playing strong-willed, complicated characters and appearing in many indie and experimental cinema, it would be expected that Winslet eagerly wanted to take us on an unconventional journey into the lives of this unstable family. But "Goodbye June" is disappointingly trite and surprisingly timid, never pushing these anxious and eccentric characters far enough to the edge to make this family's story feel essential.

One morning, June (Helen Mirren) is boiling water to make tea. Having difficulty breathing, she collapses to the floor with her son, Connor (Johnny Flynn) rushing to get his mother to the hospital. With his doddering father, Bernie (Timothy Spall) in tow, Connor has the task of contacting his three older sisters; the career-oriented mother, Julia (Winslet) who is handling work and family while her husband is out of the country for his job; Molly (Andrea Riseborough), an overwhelmed, stay-at-home mother who has her kind but scattered husband (Stephen Merchant) on hand yet he isn't much help and Helen (Toni Collette), an unmarried, new-age spiritualist guiding on a retreat out of the country. 

When they all arrive to the hospital, the doctors (Jeremy Swift, Raza Jaffrey) inform the family that June's cancer has aggressively returned and inoperable. Not given much time, the distraught family decides to make sure that June has at least one more special Christmas with her entire clan. But this holiday gathering will prove to be a challenge to pull off since Julia and Molly are barely speaking due to a long simmering tension between them. Connor begins to struggle with his life choices because of this latest crisis and Bernie is in denial to his wife's critical situation while June's health starts to rapidly decline.

Winslet decided to direct "Goodbye June" after reading the screenplay by Anders, who also happens to be her son with former husband, Sam Mendes, the acclaimed director of screen and stage. Not wanting to let this story be told by someone outside of the family, this film is based loosely on Anders' experiences coping with his maternal grandmother's ordeal with ovarian cancer. The script captures the trauma, fear and stress of an impending loss with considerate precision yet the characterizations are far too broad and uncompelling. But Winslet wisely assembled a starry cast of friends and colleagues to fill these roles, masterful talents that are more than capable of making these family members appealing and poignant, allowing for her first time in the director's chair to be slightly easier and helping to elevate the film in the process.

"Goodbye June" is a film filled with anguished emotions, watching a family trying to put aside their personal grievances towards each other in order to provide an united front in the face of tragedy. Yet the catharsis we are expecting doesn't feel well earned. When we discover what the actual conflict between the two feuding sisters is really about, the reason is far more exasperating than meaningful. And we don't know for sure that Connor had been struggling with his sexuality until literally the end of the movie although it was vaguely implied earlier during a quiet moment with his mother's nurse, aptly named Angel played by Fisayo Akinade. 

Winslet is successful in creating a warm, lighthearted yet uneasy atmosphere with "Goodbye June". But there seems like there could have been a far darker and funnier movie at play, one with a few unexpected twists that might have made this family drama come across as more impactful and less formulaic.

KILL BILL: THE WHOLE BLOODY AFFAIR (2025)

Written & directed by Quentin Tarantino



Where & When: Vista Theatre, Los Angeles, CA. December 5, 2025 11:30 AM



When Quentin Tarantino completed what would be his fourth feature film, "Kill Bill" back in 2003, this homage to his love of the martial arts films he watched as a kid clocked in at four hours in completed length. Harvey Weinstein, the then-head of production at Miramax that financed the film, strongly favored to have his films released at manageable runtimes. The mercurial Weinstein suggested that Tarantino split the film into two parts which the filmmaker certainly preferred instead of being forced to make extensive cuts. "Kill Bill: Volume 1" reached theaters on October 10th with "Volume 2" coming out six months later. And this proved to be a far more practical solution. I mean, what in the world could actually be cut out of the film that wouldn't leave this breathtaking revenge thriller narratively neutered. 

Now, the two separate films have been properly joined together as one, entitled, "Kill Bill: The Whole Bloody Affair" and released for a theatrical run. I was at the first showing of the film on the first day of it's official release at the theater that Tarantino owns, the Vista in Los Angeles. The energy in that room was electrified and everyone was ready to settle in for the four and a half hours (including one intermission) of this cinematic thrill ride. And the film in many ways has actually been improved, now without any extensive interruption to distract from the wildly clever, brutally violent and absolutely bonkers experience that is tightly packed inside of Tarantino's ferocious, blood-splattered extravaganza.

Even with the film's current reconnection and enhancements, the story remains the same: Without a word, the Bride (Uma Thurman) suddenly left behind her life as a member of the Deadly Viper Assassination Squad lead by her lover, Bill (David Carradine). Tracked down during the rehearsal for her upcoming marriage at a small chapel in El Paso, Bill (codename: Snake Charmer) along with his crew, Copperhead (Vivica A. Fox), California Mountain Snake (Daryl Hannah), Sidewinder (Michael Madsen) and Cottonmouth (Lucy Liu) guns down the entire wedding party, killing everyone inside. As a pregnant Bride (codename: Black Mamba) lies wounded, she tries to inform Bill that he's the father but he shoots her in the head.

Left in a coma with a merciful Bill deciding it would be dishonorable to kill her while she's defenseless in the hospital, the Bride comes out of the mental hibernation four years later. Distraught over the loss of her child, she vows bloody revenge to kill Bill and the rest of the Deadly Vipers involved.

"Kill Bill: The Whole Bloody Affair" had originally premiered during the Cannes Film Festival back in 2006. Tarantino later screened "The Whole Bloody Affair" a few years later in the first movie theater he would own, the New Beverly Cinema, a revival house in Los Angeles. There are some subtle changes found in this version with the use of alternate takes and the animated sequence that reveals the backstory of O-Ren (Cottonmouth) has been expanded to include the entire scene which was cut for time.

By the time he made "Kill Bill", Tarantino was even more confident and comfortable in his abilities as a filmmaker having achieved great success with his previous works, "Reservoir Dogs", "Pulp Fiction" and "Jackie Brown". Bestowed with plenty of accolades and prizes, he felt he could really begin to challenge some rules of conventional narratives, tackle subjects that are a bit more controversial and create his own thematic order. With "Kill Bill", Tarantino decided to go buck wild. Starting with an enjoyably farfetched plot, he pushed a non-linear story structure further, created some remarkable, memorable characters, incorporated elegantly rendered samurai sword fighting battles and pushed the blood and gore to unbelievable heights.

What this re-release of "Kill Bill" now brings into even sharper focus is the astonishing performance by Thurman and how she elevates the film through the sheer force of her radiant charisma and formidable physicality. As the Bride (aka Beatrix Kiddo), the statuesque actress is on screen for almost the entirety of the film as we watch her shrewdly plotting each step of her plan before rapidly and seemingly effortlessly putting her merciless scheme into motion. Taking on one combatant after the other, the Bride is raw, feral and deadly when facing an enemy (or an endless army of adversaries), using her razor sharp instincts to ultimately conquer and destroy. Yet she's still capable of letting down her guard to be soft, tender and even maternal when given the opportunity. It's by no means an exaggeration to state this is Thurman's greatest screen appearance, masterfully going above and beyond in this role of a lifetime.

I will admit that I tend not to be a big fan of films with excessive time lengths. My personal ideal of a perfect running time for a movie is, give or take, about two hours. My gripe is that often times when movies run well past this point (pushing thirty minutes and beyond) they tend to feel bloated, usually doing nothing more than simply making the film unnecessarily longer instead of enhancing the narrative. Now having stated this, "The Whole Bloody Affair" is certainly a film that earns every single second of its 270 minute runtime.

There is no question in my mind that Tarantino is an amazing talent and one of the most important filmmakers of all time. But this highly praised artist also has a narcissistic personality disorder and very large ego leaving him to believe that he can freely express his opinions no matter how wrong, offensive or downright cruel they might be. His recent personal attack on the talents of actor, Paul Dano is still shocking to me for it's lack of common courtesy and basic decency, especially considering Tarantino's position in the industry.

But none of this changes my opinion of Tarantino as a writer and director. His gift for taking the silly excesses of B-movies and adding his own singular spin on plot and characters is now legendary. There have been several misguided filmmakers who have attempted to duplicate the "Tarantino Effect". Yet most fail to understand that their brains simply have to be wired a certain way in order to even remotely come close to his extraordinarily profound cinematic style.