The Odyssey

Last night I finally had the chance to see The Odyssey, one of my most anticipated movies of 2026, and I was absolutely blown away by both the spectacle and the storytelling.  Odysseus (Matt Damon), the king of Ithaca, leaves his wife Penelope (Anne Hathaway) and son Telemachus (Tom Holland) to aid Agamemnon (Benny Safdie) on his quest to rescue Helen (Lupita Nyong'o), the wife of his brother Menelaus (Jon Bernthal), from Troy.  After successfully infiltrating the city by deception inside a large wooden horse, he sails home with his soldiers and Eurylochus (Himesh Patel), his increasingly distrustful second-in-command, by a slower route than Agamemnon because he is tormented by visions of Athena (Zendaya).  His journey is interrupted by battles with mythical creatures and angry gods until he takes solace with Calypso (Charlize Theron) who makes him forget his family and the loss of his crew for many years.  In Ithaca, Penelope is besieged by suitors wanting her to marry again, most notably Antinous (Robert Pattinson) and Polybus (Corey Hawkins), and is surrounded by duplicitous servants, including Melantho (Mia Goth) and her brother Melanthius (Logan Marshall-Green), while Telemachus is determined to find the truth about his father with the help of his loyal swineherd Eumaeus (John Leguizamo).  When Odysseus is finally able to return to Ithaca, he must confront the consequences of his actions in war.  What I loved most about this is that the immense scope and scale of Odysseus's physical journey, including some of the best action sequences I've seen, is balanced by the intimacy of his existential journey of discovery.  The set pieces are big, loud, immersive, and sometimes terrifying, especially the scenes in which Polyphemus (a cyclops) and Scylla (a multi-headed monster) attack, with incredible visuals and sound design.  The third act, in particular, grabs you and doesn't let go with escalating tension that culminated in applause from my audience.  Damon gives the best performance of his career because his impressive physicality is coupled with some highly emotional scenes that brought tears to my eyes, particularly one with Calypso when he finally realizes who he is and what he has done and one with Penelope and Athena when he asks them for forgiveness.  I could also say the same for the entire cast but the standouts for me are Holland as Telemachus (even after watching him as Spider-Man for so many years I was truly not familiar with his game), because his restrained transformation from an overwhelmed boy to a man worthy to take the throne of Ithaca is very powerful, Samantha Morton as Circe, because her delivery of a monologue about the violence of men gave me goosebumps, Pattinson as Antinous, because he is just so sleazy and I loved his final confrontation with Damon, and Leguizamo as Eumaeus, because he steals every scene he is in.  Finally, my attention never wavered during the almost three hour runtime and I almost got a ticket to see it again as soon as it ended (I will see it again very soon).  This is a masterpiece and I cannot recommend it enough but definitely see it in IMAX with Dolby Atmos sound (you'll thank me later).

Note:  The only movie that even has a chance of dethroning this as my favorite of 2026 is Dune: Part Three.  Nolan has thrown down the gauntlet, Villeneuve!

The Invite

Last night my nephew and I went to the Broadway to see The Invite.  This movie got a lot of buzz at Sundance this year so I was really excited and it definitely lived up to the hype!  Joe (Seth Rogen) is a former musician who now teaches at a third-rate music academy and Angela (Olivia Wilde) is a bored stay-at-home mom who fills her days by endlessly remodeling and decorating their apartment.  They bicker back and forth until their upstairs neighbors, Pina (Penelope Cruz) and Hawk (Edward Norton), arrive for dinner.  Angela tries way too hard to impress them and Joe resents their intrusion but, after several extremely awkward encounters, they eventually become titillated by Pina and Hawk's unconventional sex life.  When Pina and Hawk invite them to participate in one of their orgies, everything that is wrong with Joe and Angela's relationship is revealed and they must decide whether they want to separate or make the changes needed to remain married.  This is absolutely hilarious (I don't think there was an empty seat in the theater and the audience laughed out loud through the entire runtime) and I especially loved a scene that cuts back and forth between Joe asking Pina how she knew when a relationship was over and Angela asking Hawk to help her make an important decision because it subverts expectations in a highly amusing way!  This is also an insightful and thought-provoking exploration of how couples lose connection and intimacy within a marriage when they become complacent (the ambiguous ending is quietly devastating).  This reminded me of a play performed live on stage because it takes place in one location in real time with an emphasis on dialogue rather than action.  However, this structure is surprisingly compelling because the scenes are framed in an incredibly dynamic way, particularly one in which the couples are placed opposite each other against the large cased opening to the dining room to highlight the distance between them, and the dialogue is very witty with brilliant performances that feature perfect timing (Rogen is outstanding).  I really enjoyed this and I am sure that it will be among my favorites this year.

Young Washington

I went back and forth about seeing Young Washington (for reasons) but I ultimately decided that I wanted to and did so last night.  I actually really liked it!  Eleven-year-old George Washington (Will Joseph) is forced to withdraw from school to work on the farm after the death of his father but his older half-brother Lawrence Washington (John Foss), a commissioned officer in the British Army, encourages him to continue learning and improving himself on his own.  Washington (William Franklyn-Miller) grows up to be incredibly ambitious but becomes a surveyor after he is refused a royal commission due to his lowly colonial background.  Eager to impress Lord Fairfax (Kelsey Grammer), and the young noblewoman (Mia Rodgers) betrothed to his son, he volunteers to survey the Ohio territory adjoining his land with his friend Christopher Gist (Leo Hanna) and, during their expedition, they discover that French forces are building a fort on land claimed by the Crown.  He reports this information to Virginia Lieutenant Governor Robert Dinwiddle (Ben Kingsley) who appoints him a Major in the Virginia Militia and sends him to deliver a message to Joseph Jumonville (Clement Toyon) ordering him to leave.  Washington forms an alliance with a group of Seneca led by Tanacharison (Ryan Begay) after Jumonville refuses to leave but they have their own agenda and open fire which precipitates the French and Indian War.  Washington hastily builds the stockade known as Fort Necessity in an area open to attack and is eventually forced to surrender to the French after a bloody battle which kills Gist.  Washington is demoralized and resigns his commission but his mother Mary (Mary-Louise Parker) convinces him to stay the course and he volunteers to act as aide-de-camp to General Edward Braddock (Andy Serkis).  He attempts to convince Braddock to abandon the traditional British battle formations based on his experience at Necessity but he is rebuffed and their forces are ambushed during the Battle of Monogahela.  He ultimately forms a rear guard using his own battle tactics to save the men from Virginia and this brings him great acclaim.  The narrative leans into the idea that Washington was successful because of divine providence and, while there is a scene in which the Seneca tell him that he was protected by the Creator's Spirit in battle, it is definitely not as heavy-handed as I feared it would be.  In fact, much of the criticism that I had read beforehand about belabored metaphors is very much exaggerated.  I really enjoyed Washington's character arc as a inexperienced soldier who learns from his mistakes and an ambitious leader who develops humility.  The cast is outstanding and Franklyn-Miller, especially, gives a compelling performance, particularly during the heartbreaking surrender of Fort Necessity.  I was also very captivated by Begay because he reminded me so much of Graham Greene (one of my favorite actors).  The battle sequences are exhilarating and the locations and production design are stunning.  I found this very entertaining and I encourage you to ignore the criticism and decide for yourself!

Toy Story 5

The second movie in my animation double feature last night was Toy Story 5 and, even though we probably didn't need another installment in this franchise, I loved it!  When Bonnie (Scarlett Spears) receives a tablet named Lilypad (Greta Lee), she spends all of her time online so Jessie (Joan Cusack) and the other toys start to feel neglected.  Jessie confronts Lily by saying that Bonnie is losing opportunities to find friends so Lily connects her to some of her classmates online.  However, when Bonnie is ridiculed by these new friends, Lily feels guilty and finds a way to be donated.  Meanwhile, Jessie and Bullyeye are inadvertently sent to the home of their first owner and meet Blaze (Mykal-Michelle Harris), the little girl who lives there now.  She thinks that Blaze would be a good friend for Bonnie so she enlists the help of Buzz Lightyear (Tim Allen), Woody (Tom Hanks), and some of Blaze's toys but eventually realizes that she needs Lily to connect them.  Jessie also realizes that it is natural for children to outgrow their toys when she learns how much she meant to her first owner, Emily.  There are several fun sub-plots involving Buzz trying to work up the courage to ask Jessie to marry him and a group of Hi-Tech Edition Buzz Lightyears who crash land on a deserted island stuck in demo mode and aid Jessie when they attempt to reach Star Command (the scenes in which they engage in covert missions are incredibly amusing).  I loved this because it is funny (with lots of hilarious interactions between all of the toys, both old and new), compelling (with a powerful message about finding a healthy balance between imaginative play and technology), and quite poignant (the scene in which Bonnie is cyberbullied brought tears to my eyes and so did the scene in which Jessie finds Emily's box of memorabilia).  I loved Jessie's character arc as she comes to terms with being abandoned by Emily (Cusack is wonderful and gives a highly emotional performance) and I enjoyed the bickering between Woody and Buzz but I sometimes felt like there were too many characters who either don't add much to the story (especially Smarty Pants, voiced by Conan O'Brien) or are little more than cameos (I still liked seeing my favorite character Duke Caboom, voiced by Keanu Reeves).  Nevertheless, I think this is a worthy addition to the franchise and I highly recommend it.

Note:  I love the song "I Knew It, I Knew You" by Taylor Swift even more now that I've heard it in context!

Minions & Monsters

I had a lot of fun at an animation double feature last night.  I started with Minions & Monsters and this homage to Old Hollywood is so much better than I was expecting!  A tour guide (Allison Janney) leading a group through a film history museum tells the story of how a trio of minions named James, Henry, and Ed influenced Hollywood and saved the world.  A tribe, led by Dick, serve a series of evil villains throughout history, with disastrous results, until they discover a Wild West train robbery and decide to become the robber's henchmen.  They pursue the train only to discover that they have disrupted an elaborate movie shoot.  The director Max (Christoph Waltz) is furious because he believes all of his footage has been ruined but Frank and Elwood Bright (Jeff Bridges), the heads of Bright Brothers Studios, love the new scene and demand that the minions be hired.  They become big stars but, when silent movies transition to "talkies," they are unable to adapt because they are incomprehensible and are fired.  James, Henry, and Ed decide to make their own movie, called Minions and Monsters, but Dick and the rest of the minions leave the studio to find another evil villain to serve.  They become henchmen to Dort (Jesse Eisenberg), an alien robot who intends to invade Earth, but his plans are sidetracked when he meets a suffragette named Debbie (Zoey Deutch) and the minions are used to woo her, instead.  Meanwhile, James uses a spellbook, once owned by the sorcerer they served during the Middle Ages, to summon a monster but is disappointed when a Cthulhu named Goomi (Trey Parker) appears because he is not scary enough.  Goomi then helps them summon Irene, an amorphous blob of orange goo filled with eyeballs, but he has his own plans to use Irene for world domination.  James and Henry are soon overpowered until Dort and the other minions return in spaceships to help destroy Irene and they eventually cast another spell on Goomi.  It turns out that Ed was filming the whole attack and the movie Minions and Monsters becomes a huge hit!  I think the minions, who are all voiced by Pierre Coffin, are absolutely hilarious and I laughed out loud at all of their chaotic antics (I think I am even starting to understand their language).  However, as a self-described cinephile, I really enjoyed the story (which reminded me of Babylon and Singin' in the Rain) and all of the movie references, especially The Great Train Robbery, Citizen Kane, The Maltese Falcon, The Day the Earth Stood Still, and, of course, The Blob.  The visuals are a lot of fun, particularly the train derailment, and the performances are great (Eisenberg is hilarious).  I loved this and, even though I still think the funniest scene involving the minions is in Despicable Me 2 when they sing "I Swear" at Gru and Lucy's wedding, it is definitely my favorite movie in the franchise!

Gail Daughtry and the Celebrity Sex Pass

Last night I went to my first Screen Unseen at AMC (this features a movie that hasn't been released yet with the title kept secret until showtime) and I was really excited when it was revealed to be Gail Daughtry and the Celebrity Sex Pass because it was on my short list of movies to see at Sundance this year (I eventually opted for The Weight because I thought my nephew would enjoy that more).  It is a hilariously over-the-top spoof of The Wizard of Oz and I had so much fun watching it with a big crowd.  Gail Daughtry (Zoey Deutch) is a mild-mannered hairdresser living in Kansas who is engaged to her high school sweetheart Tom (Michael Cassidy).  Their relationship is put in jeopardy when Tom sleeps with Jennifer Aniston (herself), his "celebrity sex pass," because Gail thought it was a joke when she agreed to their arrangement.  She decides the only way to save their relationship is to sleep with Jom Hamm (himself), her "celebrity sex pass."  Her loyal best friend Otto (Miles Gutierrez-Riley) is going to Los Angeles for a hairdressing convention and she decides to go with him to find Hamm.  As they search the city, they are joined by Caleb (Ben Wang), a low-level employee at Hamm's talent agency, Vincent (Ken Marino), a paparazzo obsessed with getting a photo of Hamm, and John Slattery (himself), a down and out actor who once worked with Hamm on Mad Men, but they are pursued by the wicked mob boss Ludovica (Sabrina Impacciatore) and her henchmen Sergio (Joe Lo Truglio) and Niccolo (Mather Zickel) who are trying to retrieve the briefcase that was inadvertently switched with Gail's at the airport.  The group eventually defeats Ludovica but, when they finally find Hamm, Gail is disappointed to discover that he is just an ordinary man.  She convinces him to give everyone what they want but will she return to Kansas to marry Tom?  The many references to The Wizard of Oz are highly amusing (pay very close attention) and I especially loved the use of ruby slippers and a hot air balloon.  This also pokes fun at celebrity culture and there a quite a few satirical celebrity cameos (my favorites are Henry Winkler, "Weird Al" Yankovic, and Elizabeth Perkins).  Finally, the entire cast commits fully to both the zany tone as well as the physical comedy (Slattery is a hoot) and my audience laughed out loud the whole time.  I thoroughly enjoyed this madcap comedy and I highly recommend it to fans of the genre.

Supergirl

I loved James Gunn's reboot of Superman so I was really looking forward to Supergirl, the next installment in the DC Universe.  I went to see it last night with my nephew and, unfortunately, I was really disappointed.  Zor-El (David Krumholtz) and his wife Alura (Emily Beecham) manage to create a force field around Argo City which separates it from the planet Krypton before the core explodes.  Their daughter Kara is born is born eight years later but, when they realize that everyone in Argo City is dying from radiation poisoning, they decide to send her to Earth to be with their nephew Kal-El (David Corenswet).  The teenage Kara (Molly Alcock) is incredibly traumatized by the death of her parents and everyone she knew in Argo City so she frequently leaves the yellow sun of Earth, which gives her power, for planets with a red sun like Krypton so she can get drunk enough to forget her past.  On one such planet she is approached by Ruthye Marye Knoll (Eve Ridley) who wants her help to locate Krem of the Yellow Hills (Matthias Schoenaerts), the leader of the Brigands who killed her family, to exact revenge but she refuses.  However, Kara changes her mind after Krem shoots her dog Krypto with a poison dart and she agrees to help Ruthye in order to get the antidote.  They travel from planet to planet and interact with various creatures in their search until, with the help of the bounty hunter Lobo (Jason Momoa), they have an epic confrontation with Krem to free a group of women who have been trafficked by the Brigands but Kara ultimately convinces Ruthye that vengeance is not the answer.  The source material is incredibly dark and I really wish that the filmmakers had committed to the darker tone but there are lots of attempts to make the characters more humorous and quirky, especially Krem and Lobo (who does not really impact the plot much), and the humor didn't really land for me (I didn't hear anyone in my audience laughing).  The action sequences and the visual effects are surprisingly dull because all of the planets look the same with a dark and washed out color grading (I started to get really bored because the battles become so monotonous).  There are some emotional moments between Kara and Ruthye but they are not as moving as they could have been because Ridley gives such a stilted performance (I found her annoying).  However, Alcock is great in the role (her performance is the best part of the movie) because she balances her character's strength and vulnerability very effectively.  I hope that she will be able to continue playing Kara in a better movie in the DCU but I don't recommend this one.

Leviticus

The second movie in my double feature at the Broadway last night was Leviticus and I absolutely loved it!  Arlene Reid (Mia Wasikowska) moves with her son Naim (Joe Bird) to an extremely conservative Christian community in Victoria, Australia.  She finds comfort but he struggles with the repressive environment until he begins a secret relationship with Ryan Whelan (Stacy Clausen).  However, Naim sees Ryan kissing the pastor's son Hunter (Jeremy Blewitt) and, because he is jealous, he outs them to the pastor.  A deliverance healer is called in to perform a ritual on the two of them to cleanse them of their homosexual desires but this summons an invisible entity that stalks them in the form of the one they love.  A malevolent being that looks Naim attacks Ryan and another one that looks Ryan kills Hunter.  When Arlene learns about Naim's feelings for Ryan, she takes him to the deliverance healer to perform the same ritual on him and a spirit that looks like Ryan attacks him.  Naim and Ryan eventually discover that the entity appears whenever they are alone and it becomes difficult for them to distinguish between perception and reality.  In addition to the physical threat, this is a psychological nightmare for both Naim and Ryan because the one person who makes them feel less alone is now the person they fear the most when they are alone.  Bird and Clausen have tremendous chemistry and I love the way they portray the romance that develops between their characters because this makes what happens to them absolutely heartbreaking as well as terrifying.  Bird, especially, is devastating during the scenes in which he wants so desperately to believe that the person in front of him is actually Ryan.  There is a tension whenever Naim and Ryan are on screen together that is palpable as a result.  This has a lot to say about the damage caused by homophobia, religious extremism, and conversion therapy but I was really struck by the theme of fear and how it is weaponized.  The shapeshifter wants Naim and Ryan to fear each other so that they will repress who they really are but both of them eventually realize that love is more powerful than fear.  I was incredibly moved by this and highly recommend it!

The Death of Robin Hood

I spent most of last night at the Broadway for a double feature because I missed a few movies that I really wanted to see while I was out of town.  I began with The Death of Robin Hood and it is definitely my jam.  Despite all of the stories that have turned him into a folk hero, the outlaw Robin Hood (Hugh Jackman) is tormented by a lifetime filled with violence and is living in self-imposed exile to escape those seeking vengeance against him.  He agrees to help fellow outlaw Little John (Bill Skarsgard) fight a clan who has taken his wife and daughter hostage so that he can die in battle but he is severely wounded, instead.  John takes him to a Priory on a remote island to be healed by Sister Brigid (Jodie Comer) and he begins to find a measure of peace through his interactions with her, a leper (Murray Bartlett) who works as a caretaker on the island, and John's daughter Little Margaret (Faith Delaney).  However, his past eventually catches up with him in the form of Godwyn (Noah Jupe), the sole-surviving member of the clan slaughtered by Robin and John, and he is finally forced to reconcile everything he has done.  The movie begins with several bloody and brutal action sequences involving medieval warfare that establish Robin Hood as a villain but then it turns into a more contemplative character study as he deals with the consequences of his actions with a conclusion that I found very powerful.  I loved the themes of vengeance, forgiveness, redemption, and legacy, especially in the scenes when Robin convinces Godwyn to abandon his quest as well as when Robin perpetuates the myth to spare Margaret from learning the truth about her father.  The cinematography, which uses lots of desaturated blues and grays, is incredibly bleak but strangely beautiful and I was really struck by the change in aspect ratio because it becomes almost claustrophobic on the island to represent Robin's inability to hide from his actions.  All of the performances are outstanding but Jackman is particularly haunting because he conveys a lifetime of regret with just his eyes and body language.  This will not be for everyone (some may be put off by the violence in the first act and others may find the pace of the second and third acts to be too slow) but I always love flawed characters who find redemption and I really appreciated the subversive take on a well-known character.

Disclosure Day

Next up in my double feature last night was Disclosure Day and I was so excited because it was one of my most anticipated movies of 2026.  It did not disappoint!  With the world on the brink of another war, Daniel Kellner (Josh O'Connor), a cybersecurity specialist for the Wardex Corporation who has stolen a piece of alien technology and multiple digital files documenting secret interactions between aliens and humans, and Margaret Fairchild (Emily Blunt), a TV meteorologist who discovers latent abilities to empathize with people and communicate with them in languages she doesn't understand including an alien language, form an inexplicable bond based on their own experiences with aliens.  Wardex, a covert arm of the U.S. government, has kept all of these alien interactions a secret in order to reverse engineer their technology for monetary gain and the CEO, Noah Scanlon (Colin Firth), uses the government's vast resources to pursue them in order to recover the files.  Daniel and Margaret are eventually aided by Hugo Wakefield (Colman Domingo), another whistleblower from Wardex, and they decide to release the files to the world after they realize that humanity needs the message offered by the aliens.  I really loved the story because it is filled with so much hope and I think that is something that is desperately needed right now.  The third act, especially, is really affecting and I was absolutely riveted. I also really enjoyed all of the action sequences because Daniel and Margaret have some close calls as federal agents chase them from place to place and having Scanlon use alien technology to form a bond with Daniel's girlfriend Jane (Eve Hewson) to get her to betray their location adds a lot of tension, particularly during a car chase to get away from the farmhouse where they have been saying.  I really liked the more subdued and atmospheric score by John Williams because it creates a sense of unease but it is also incredibly emotional.  Finally, the entire cast is outstanding and Blunt gives a career-best performance but I was incredibly impressed by Hewson (Jane's character arc is my favorite because she wrestles with the theological implications of knowing that we are not alone).  This will undoubtedly be one of my favorite movies this year but people who are expecting a sci-fi thriller about aliens might be disappointed with the more philosophical tone.

The Furious

Last night I went to a double feature for two movies that I have been super hyped about (but for very different reasons).  I started with The Furious and I can't remember when an audience was as vocal (with cheers, laughter, and audible gasps) as they were for this action thriller!  When a journalist named Matia (JeeJa Yanin) is captured by the child trafficking ring she has been investigating, her husband Navin (Joe Taslim) attempts to infiltrate the group in order to find her.  However, his meeting with Mr. Song (Sahajak Boonthanakit), a low-level crime boss for the organization, is interrupted by a mute and mysterious laborer (Xie Miao) looking for his kidnapped daughter Rainy (Yang Enyou).  They eventually join forces (after fighting each other in a nightclub) in their search for Matia, Rainy, and the other missing children until they ultimately meet up with the real boss Pak Lung (Joey Iwanaga) and two of his henchmen, Ho (Brian Lee) and Tak (Yayan Ruhian), in an epic final confrontation.  The action sequences are violent and unrelenting and feature some of the most innovative fight choreography I have seen (I especially loved a scene in which the father fights while holding his daughter above his head).  Characters use a multitude of weapons, both conventional and unconventional, as well as every day objects that are found close to hand (my favorites are a ladder, a bicycle chain, and a large block of ice with a corpse frozen inside).  The cameras put the audience right in the middle of the action and it is exhilarating to see the villains (and they are truly evil) get what they deserve.  I loved the performances from both Taslin and Xie because, in the middle of all of the mayhem, they imbue their characters with a bit of vulnerability.  I also really enjoyed Yang because her character is so feisty!  This is an adrenaline rush from beginning to end and I had so much fun watching it.  Fans of the genre are sure to love it and I highly recommend seeing it with the biggest crowd possible!

Power Ballad

I am a huge fan of John Carney (I really like Flora and Son but I absolutely love Once and Sing Street) so I had a lot of fun watching his latest movie, Power Ballad, at the Broadway last night.  Rick Power (Paul Rudd) is an aging American ex-pat who gave up on his dreams of being a rock star to marry Rachel (Marcella Plunkett), an Irish woman, and raise their daughter Aja (Beth Fallon) in Ireland.  He is now the lead singer of a wedding band based in Dublin but he still has dreams of writing and performing his own songs.  While at a wedding gig at a castle, he meets Danny Wilson (Nick Jonas), a childhood friend of the groom who was once a member of a popular boy band but is now working on a solo album.  They end up jamming all night and share the songs they are working on with each other.  When Danny returns to Los Angeles, his manager Mac Darling (Jack Reynor) tells him that his record label is not confident about his new music because they don't think he has a hit single.  He struggles to write one but, when he starts playing Rick's song "How to Write a Song (Without You)" on the piano, his girlfriend Marcia (Havana Rose Liu) loves it because she thinks it is about her.  He ends up recording it and it becomes a huge hit which reignites his career.  Rick immediately recognizes the song as his but he can't prove that he wrote it and his obsession with getting credit alienates both his band and his family.  He travels to Los Angeles to confront Danny but ultimately remembers his reason for writing the song.  I really loved the message about appreciating the life you actually have rather than mourning the life you thought you would have and I was really struck by the differences in how Rick and and Danny sing "How to Write a Song (Without You)" in the final scene.  I also liked the discussion about the high price that fame exacts when trying to stay authentic and I appreciated that Danny isn't portrayed as a one-dimensional villain.  In between the poignant moments are some hilarious ones, especially a scene in which Rick performs one of his songs at a wedding while fantasizing about adoring crowds in a large arena before realizing that the dance floor is empty.  Finally, Jonas and Rudd have great chemistry and I was really impressed with Rudd's singing chops (I can't decide whose version of "How to Write a Song (Without You)" I like better).  This is not quite as good as Once and Sing Street but I really liked it and would recommend it to fans of Carney.

Pressure

I always enjoy a well-made movie about a topic I find interesting featuring an actor I like and that is exactly what I got with Pressure last night.  It is June 1944 and General Dwight D. Eisenhower (Brendan Fraser) is preparing for the D-Day invasion of Normandy which could change the tide of World War II.  Field Marshall Bernard Montgomery (Damian Lewis) is pushing for a launch on June 5 so the Allies do not lose the element of surprise but Eisenhower wants a report from his meteorological team, which consists of Colonel Irving P. Krick (Chris Messina), an American who has successfully advised him during several battles in North Africa, and Group Captain James Stagg (Andrew Scott), a Scottish meteorologist recommended by Churchill, because the operation depends upon a favorable weather forecast.  Stagg is distracted because is wife Liz (Tamsin Topolski) is heavily pregnant and immediately runs afoul of Eisenhower, his personal assistant Kay Summersby (Kerry Condon), as well as the entire team with his prickly behavior.  Frick relies on historical weather patterns and predicts clear skies for June 5, which is what Eisenhower wants to hear, but Stagg uses barometric pressure data from weather stations all around Normandy in real-time and predicts a severe storm system.  Eisenhower reluctantly calls off the invasion on Stagg's recommendation, which is ultimately proven correct, but will he believe Stagg when he forecasts a window of calm on June 6?  Even though I knew the date of the invasion as well as its outcome, I was on the edge of my seat when Eisenhower makes the decision to go or not go and when the officers wait to hear the results of the battle because the editing, which features fast cuts between images of the officers at Allied HQ, the atmospheric conditions, and the soldiers preparing to deploy and then storming the beaches, is very effective at building tension.  I have always been fascinated by World War II so I really enjoyed seeing the events leading to D-Day from a new perspective (I knew about Allied efforts to deceive Germany about the location of the invasion but I never considered the importance of the weather) and, as nerdy as it sounds, I found the process of collecting weather data to be strangely compelling.  Finally, I really like Scott as an actor and his understated performance as Stagg is one of his best, especially when juxtaposed with Fraser's brashness as Eisenhower and Messina's arrogance as Frick (one of the biggest highlights is seeing Frick and Stagg go toe-to-toe).  I thoroughly enjoyed this and highly recommend it.

Backrooms

Last night I went to see Backrooms at a late night screening and I found it very interesting and quite unsettling.  Clark (Chiwetel Ejiofor) is an alcoholic who is angry about his recent divorce and his failed ambition of becoming an architect.  He frequently rants to his therapist Dr. Mary Kline (Renate Reinsve) and she tries to help him see how his patterns of behavior have created an endless cycle of unhappiness from which he cannot escape but she is also suffering from her own never ending loop of trauma stemming from a childhood spent with a mentally ill mother.  Clark, who is now living in the discount furniture warehouse where he works, notices flickering lights in the basement and goes to investigate which leads him to a portal to another reality filled with a seemingly endless space that reflects whoever enters it.  He wanders through a maze of rooms that are connected by long hallways before he is chased out by an unseen entity.  When Mary is skeptical about what he has experienced, he starts spending more and more time in this alternate reality and eventually becomes trapped.  Mary gets a disturbing message from Clark which prompts her to go to his warehouse to find him and she ends up in the space as his hostage.  Can she escape?  While the metaphor is a bit on the nose, I liked the exploration of how you can get trapped inside your head by memories that can be warped by time and a skewed perception.  Both Clark and Mary encounter malformed objects and people within the space because they can't remember them correctly and I was particularly struck by how Mary's experience becomes increasingly more distorted as she moves down through the levels because she has buried her trauma so deeply within her subconscious.  The visuals, which feature a drab monochromatic yellow color palette, uncanny architecture, and harsh fluorescent lighting, are incredibly disconcerting and the sound design evokes a sense of dread that is almost unbearable (I hate the buzzing of fluorescent lights so this just about drove me crazy).  The camerawork is very effective at building tension because it is from each character's POV, especially when grainy found footage is used, and you are never entirely sure what will be lurking around the corner.  Both Ejiofor and Reinsve give highly restrained performances that ground the dreamlike sequences in reality and this kept me engaged even with so much repetition in the space (see also Exit 8).  This might not be for everyone (some might find it too ambiguous) but I can't stop thinking about it!

Note:  I enjoyed this more than Exit 8 (movies about liminal spaces are having a moment) because my attention never wavered.

Tuner

I was so excited to see Tuner with my nephew at the Broadway last night because the trailer reminded me a lot of Baby Driver, a movie I absolutely love, and it definitely did not disappoint.  Niki White (Leo Woodall) was once a promising pianist but hyperacusis, a condition which makes him extremely sensitive to loud noise, forced him to stop playing.  He now works as an apprentice to a piano tuner named Harry Horowitz (Dustin Hoffman), a friend of his late father, and he begins a relationship with a student named Ruthie (Havana Rose Liu) after he tunes a piano at her conservatory.  When Harry has a heart attack and is faced with mounting medical bills, Niki reluctantly starts working for the group of thieves, led by Uri (Lior Raz), who manipulated him into opening a safe using his heightened sense of hearing at a wealthy client's house.  While Niki is able to pay all of Harry's bills and impress Ruthie with a meaningful gift, the heists become more and more dangerous and this threatens his relationships and, eventually, his life.  I think the screenplay is very clever (there are similarities to Baby Driver but it definitely has its own vibe), especially when Niki uses Uri's criminal philosophy against him to pull a heist of his own and when he uses the music he has denied himself for so long to form a real, if bittersweet, connection with Ruthie (the final scene is exhilarating).  I loved Niki's character arc (even though it is a suspenseful heist movie with some fun romantic elements, it is mostly a compelling character study about a young man who has lost himself) and I also loved Woodall's performance because the juxtaposition between his detachment and his joy in the final scene is incredibly powerful.  Finally, I enjoyed seeing all of the moving cogs in the safecracking scenes and hearing much of the action from Niki's POV (the sound design, in both the loud and quiet moments, is incredible because it is so immersive).  This is one of my favorite movies this year and I highly recommend it!

Passenger

The second movie in my double feature yesterday was Passenger and I am definitely happy that I saw it after my most recent solo road trip!  Maddie (Lou Llobell) and Tyler (Jacob Scipio) are a couple who leave everything behind to live the so-called "van life" but it soon becomes apparent that Tyler is more enamored with the lifestyle than Maddie is.  When they are unable to stay at a planned camping spot, they end up driving on an isolated road late at night and witness a car crash.  They stop to help the driver but are unable to save him.  When Maddie looks at their dashcam footage of the crash, she sees a mysterious figure in the passenger seat of the car and then imagines that this same figure is following them.  Tyler thinks that Maddie might be making excuses to quit living on the road but, when they participate in a van life gathering, they learn about a malevolent entity known as the "Passenger" who is believed to be responsible for the disappearance of many people over the years and a woman named Diana (Melissa Leo) warns them about stopping on the road at night.  It ultimately becomes a fight for survival when the Passenger (Joseph Lopez) starts attacking them wherever they go.  There are definitely some issues, most notably the lack of a backstory to explain the origin and defining characteristics of the enigmatic Passenger and a resolution that feels rushed, but I found this to be incredibly atmospheric and scary.  The cinematography uses light and shadow to great effect to evoke a sense of dread about what might be out there in the dark.  There are also several well-composed set pieces that are almost unbearably tense, including a scene in which Maddie hears someone following her while walking through an empty parking lot to get to the van which seems to get farther and farther away, a scene in which Maddie and Tyler use the light from their movie projector to locate the Passenger stalking them at their campsite (seeing Gregory Peck and Audrey Hepburn's faces, as their characters from the movie Roman Holiday, superimposed on the Passenger's face is incredibly creepy), and a scene in which Maddie and Tyler have to stop to change a flat tire knowing that the Passenger is out there in the dark.  Both Llobell and Scipio do a great job communicating their terror and I liked the dynamic between their characters, especially that he believes her before he actually sees the Passenger.  I enjoyed this, and recommend it to fans of the genre, mostly because I was reminded of all the times I have driven on isolated roads by myself late at night!!

I Love Boosters

Yesterday I had another double feature in the middle of the day and I started with with I Love Boosters because I think Sorry to Bother You, Boots Riley's directorial debut, is absolutely brilliant.  As with his previous movie, I Love Boosters is full of scathing commentary that is as funny as it is thought-provoking.  Corvette (Keke Palmer), an aspiring fashion designer, and her friends Sade (Naomi Ackie) and Mariah (Taylour Paige) regularly steal, or "boost," designer clothes from high-end stores and sell them at a discount to low-income people in their community.  This is a way for Sade to earn a better living for her two children but it becomes personal for Corvette when she discovers that her favorite fashion mogul, Christie Smith (Demi Moore), has stolen one of her designs.  Now Corvette wants to target Metro Designers, a clothing chain owned by Smith, so they get jobs at one of the stores run by Grayson (Will Poulter) and plan to steal the entire inventory.  However, their plan is disrupted by an employee named Violetta (Eiza Gonzalez) who is trying to organize a strike for better working conditions at all of the Metro Designer stores and a factory worker named Jianhu (Poppy Liu) who is protesting against conditions in Smith's sweatshops in China.  They eventually join forces to disrupt Smith's fall fashion show but mayhem is caused by a teleportation device, a mysterious man (LaKeith Stanfield) pursuing Corvette, and a group of media personalities (Don Cheadle, Kara Young, Jason Ritter, and Jermaine Fowler) who are used by Smith to influence opinion.  Much like Sorry to Bother You, this is an indictment of late-stage capitalism, income inequality, workplace abuse, exploitation, and propaganda framed as a comedy of the absurd with a wild and chaotic third act that requires a major suspension of disbelief.  This bold swing for the fences didn't work for me as much as it did in the previous movie but I really liked the surrealistic visual style, especially Smith's tilted office building, and the hyper-stylized costumes, particularly those worn in a boosting montage.  I enjoyed all of the performances (Poulter is a hoot and Cheadle is almost unrecognizable) and, even though some of the characters are not very well developed (Stansfield's character feels superfluous), the friendship between Corvette and Sade is quite poignant.  I didn't love this as much as Sorry to Bother You but I had a lot of fun with it.

Note:  My favorite scene is a documentary about Christie Smith's rise to success as a designer because it is narrated by Viggo Mortensen (I laughed out loud when I realized who it was).

The Mandalorian and Grogu

Last night my sister, my nephew, and I went to a Thursday preview of The Mandalorian and Grogu.  I am a huge fan of the series on Disney+ and I enjoyed this even though it is basically like watching several episodes of the show on the big screen.  Din Djarin (Pedro Pascal) and his apprentice Grogu are now bounty hunters searching for the last of the Imperial warlords on behalf of the New Republic.  Commander Ward (Sigourney Weaver) asks them to visit the Hut Twins to get information needed to capture the mysterious warlord Janu Coin (Jonny Coyne).  However, the Twins will only disclose this information if they find their kidnapped nephew Rotta (Jeremy Allen White), the son and heir of Jabba.  Djarin and Grogu travel to the planet Shakari to rescue him from the crime syndicate holding him captive but he doesn't want to go back to Nal Hutta (for reasons).  Djarin ultimately finds Coin himself to avoid having to return Rotta to the Twins but complications ensue when they seek retribution for breaking their agreement.  This does have a very episodic feel to it with lots of side quests (I even noticed when each episode could possibly begin and end) and the action sequences become a bit monotonous as Djarin fights one CGI creature after another (my favorite action set pieces are those that reference other films and shows in the Star Wars franchise, such as when Djarin and Grogu take down several AT-AT walkers, when Grogu and the Anzellans attempt to rescue Djarin, and when Ward attacks a droid army with a fleet of X-wing fighters).  I really liked Rotta's character arc as a son trying to move out of his notorious father's shadow (although I thought it was weird that Jeremy Allen White's voice is almost unrecognizable) and I absolutely loved Grogu's development as an apprentice proving himself to his master (I think the scenes in which he cares for Djarin are absolutely magical).  Another highlight is Ludwig Goransson's score, particularly during the scenes on Shakari and the scenes with Grogu on Nal Hutta (the music here is incredible because it evokes such a sense of wonder).  This is a lot of inconsequential fun and, if you are a fan of the series, you will probably enjoy it.

Note:  All I wanted from this movie was to learn how Djarin got the Razor Crest back and the explanation worked for me.

The Wizard of the Kremlin

The second movie in my double feature at the Broadway yesterday was The Wizard of the Kremlin.  I found it very intriguing because I love Russian history but also a bit of a slog to get through (can both things be true?).  An American academic named Lawrence Rowland (Jeffrey Wright) arrives in Moscow to research a Russian author when he is contacted by Vadim Baranov (Paul Dano) and invited to his isolated dacha to interview him about his former role as advisor to Vladimir Putin (Jude Law).  Barasov chronicles his rise from an avant-garde theatre director after the fall of communism to become the producer of trashy reality television during the surge in organized crime and then a media mogul as the new class of oligarchs manipulate the rule of Boris Yeltsin (George Sogis).  When the oligarchs realize that Yeltsin's health is declining, they handpick Putin, the balding and nondescript leader of the FSB, to be his successor because they think he will be easy to manage only to have him take control of the media away from them.  Baranov quickly makes himself indispensable to Putin and helps him manipulate public opinion about the Second Chechen War, the sinking of the Kursk submarine, and the invasion of the Crimea (the start of the war in Ukraine).  He also uses internet trolls to destabilize events in the West and propaganda during the Sochi Winter Olympics to change the world's perception of Russia.  However, it is his love for a woman named Ksenia (Alicia Vikander) that ultimately leads to his downfall.  Baranov is a fictionalized character (loosely based on Vladislav Surkov) who is at the fulcrum of Russian history from the dissolution of the Soviet Union to the formation of the current authoritarian regime but the narrative is simultaneously bloated with too much information and superficial without providing any insight.  My mind wandered multiple times during the endless exposition dumps.  Even though Dano, Law, and Vikander give fascinating performances (their inconsistent accents notwithstanding), their characters are very thinly drawn and I didn't really learn anything new about Putin.  I recommend giving this a miss.

Note:  I think this might have worked better as a limited series.

Omaha

Yesterday I had a double feature at the Broadway in the middle of the day (with a large group of other retired people who are now my new best friends) and I started with Omaha.  When this movie premiered at the Sundance Film Festival two years ago, the filmmakers (who are from Utah) invited so many friends and family members that even pass holders were not able to get into the screening. A lot of people were really upset but I knew that it would eventually come to the Broadway so I just got in line for something else.  Needless to say, after all of that drama I was really excited to finally be able to see it but it left me feeling very bleak.  An unnamed father (John Magaro) suddenly wakes his two children, nine-year-old Ella (Molly Belle Wright) and six-year-old Charlie (Wyatt Solis), early in the morning in order to go on a cross-country road trip along with their golden retriever Rex.  Ella is immediately suspicious because he won't tell them where they are going and she starts noticing other clues that lead her to believe that something about this trip is very wrong.  It is implied that their mother is dead and that the bank is foreclosing on their house but it is obvious that their father is on edge and that he is rapidly running out of money.  They have a series of adventures, including flying a kite on the Bonneville Salt Flats, swimming in a motel pool, and visiting a zoo together, but the real reason for their trip is finally revealed when they arrive in Nebraska.  I thought that I knew where the narrative was going because, like Ella, I also noticed the clues but the resolution is somehow even worse than I was expecting and I'm not sure how I am supposed to feel about the father's actions because there is almost no context provided.  The action is very episodic and impressionistic with no exposition and very little dialogue so I was left with many questions, chief among them being why they had to go to Nebraska (this is answered in a closing title card that left me gutted as well as frustrated).  Magaro gives an incredible performance because he becomes more and more agitated as the trip goes on while trying to create happy memories with his children (it is a tightrope of emotion and he balances it well).  I was also very impressed with Wright because you can see the worry on her face even as she tries to give her father the benefit of the doubt and shield her brother from her growing suspicions (it is one of the best performances by a child that I have seen).  This is absolutely devastating but I don't think it goes far enough in its indictment of the father's circumstances.