MAYDAY (2026)

 

Written & Directed By: John Francis Daley & Jonathan Goldstein 

Cinematography: Barry Peterson 

Editor: Jamie Gross and John Lee 

Cast: Ryan Reynolds, Kenneth Branagh, Marcin Dorocinski, Maria Bakalova, David Morse, Clark Johnson, Wendy Crewson, Josh Hamilton

Lieutenant Troy Brennan takes part in a top secret surveillance mission over Soviet airspace. Things take a sharp turn, however, when he is forced to eject from his plane over the Russian wilderness. He is rescued by a paradoxical Russian native and the two begin to appreciate both their differences and commonalities.

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There are some movies you finish and immediately think, “Well… that was fine.” And honestly, that’s probably the best way to describe this one.

I went into it expecting something disposable, and while it certainly isn’t reinventing the action-comedy wheel, I have to admit that I had a decent time with it. 

because this is very much a paint-by-numbers kind of movie. You’ve seen this story before. You’ve seen these characters before. You can practically see some of the plot turns coming from the next room.

But every once in a while, it has just enough personality to keep itself from becoming completely forgettable.

Ryan Reynolds is interesting here because, thankfully, this isn’t quite the Ryan Reynolds we’ve seen a million times before. He still has that familiar rhythm and personality, but instead of firing off a wisecrack every thirty seconds, a lot of his humor comes through his reactions to the increasingly ridiculous situations around him. He almost becomes the audience surrogate. The guy looking at everything happening around him and thinking, “Are we seriously doing this?” surprisingly, that works.

Kenneth Branagh, meanwhile, is doing a lot of the heavy lifting literally. He’s getting into the action himself, which is something I’m not particularly accustomed to seeing from him. At this point in his career, watching Branagh throw himself around in an action movie is kind of charming. I don’t know if he’s channeling Sean Connery, taking notes from Liam Neeson, or simply having a really good time, but the man deserves some credit. He’s surprisingly convincing.

Branagh has directed action before, of course, with films like THOR and JACK RYAN: SHADOW RECRUIT. So this isn’t exactly unfamiliar territory for him. But seeing him actually inhabit this kind of older action-hero role is one of the more entertaining aspects of the movie.

The problem is that the rest of the film doesn’t exactly rise to their level.

It feels like the kind of movie that probably explains why it ended up on streaming rather than in theaters. There’s supposedly an epic quality to the story, much of it set against Cold War-era Russia, the KGB, and all the usual ingredients for a big, muscular action thriller. Yet somehow, everything feels surprisingly muted.

The movie is set in the 1980s, which at least gives it an excuse to use Russia and the KGB as its primary villains without having to invent some overly complicated modern conspiracy. But even with that built-in atmosphere, the film rarely feels as big as it seems to think it is.

And then there’s the strange feeling that Ryan Reynolds could almost be replaced by just about anybody. He’s not bad. He’s just… there.

Considering how naturally Reynolds fits into buddy comedies, you would think this would be tailor-made for him. But the movie never quite gives him enough material to bring his usual gravitas or comedic energy. Instead, he’s mostly along for the ride.

Oddly enough, the whole thing reminded me of BEHIND ENEMY LINES, except somebody decided to make this movie more of a buddy comedy and turn down the action just a little. maybe that’s why I didn’t hate it.

It’s familiar, but it’s not completely lifeless. It’s basic, but it occasionally has some spirit. It doesn’t offer much you haven’t seen before, but it at least tries to put a slightly different spin on a very familiar formula.

It’s perfectly watchable, occasionally fun, and elevated by a couple of performances that are more entertaining than the material itself. But once the credits roll, I’m not sure there’s much left to say other than, “Yep. That was a movie.”

Not bad. Not great. Just ok 

Grade: C

MOTHER MARY (2026)

 

Written, Edited & Directed By: David Lowery 

Cinematography: Andrew Droz Palermo and Rina Yang

Cast: Anne Hathaway, Michaela Coel, Fka Twigs, Hunter Shaffer, Sian Clifford, Jessica Brown Findlay, Kaia Gerber, Alba Baptists 

Long-buried wounds rise to the surface when iconic pop star Mother Mary reunites with her estranged best friend and former costume designer, Sam Anselm, on the eve of her comeback performance.

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This is a movie that one didn’t dislike and found fascination at times within it, though at some parts of the film, found myself struggling to meet the film, even halfway

There’s clearly a lot happening here, and I admire what writer-director David Lowery is trying to do. The acting is strong, the visuals are inventive, and even the situations themselves feel inspired. There’s a real dramatic idea underneath all of it. The problem is that, somewhere along the way, you start wondering why are you still sitting here waiting for it to fully arrive.

The first half really catches you attention. There’s an energy and mystery to it that makes one curious about where it was going. But by the middle, that curiosity began turning into patience. The second half starts to feel a little empty and monotonous, and while the film continues to look beautiful, the visuals sometimes feel like they’re doing more of the heavy lifting than the story.

And yet, I can’t say I didn’t appreciate it.

This is essentially constructed like a play: a limited location, a handful of actors, and a story that depends heavily on the relationships between them. But Lowery finds clever ways to make the world feel larger than the space we’re actually in. There’s imagination here, and I have to applaud that. This is clearly one of those more personal, artistic projects where a filmmaker is allowed to follow his instincts rather than simply give us what we expect.

The film also leaves plenty of room for interpretation. You can read it as a story about collaboration, ambition, loss, regret, or the complicated ways people remain connected even after they’ve spent years apart. There’s a particularly interesting feeling of loss running underneath everything. The sense that these characters have both lost something important and are still trying to figure out whether they can somehow get a piece of it back.

And then there’s Michaela Coel, who is fantastic.

She has a presence that immediately pulls you in, and she gives the film an emotional center that it desperately needs. I honestly just want to see Michaela Coel in more things. She’s one of those performers who can make you interested simply by watching her think. She walks away with the movie. As I am a fan of her other work, obviously 

I really wanted to love this film. I admire its ambition, its originality, and the fact that it actually has something to say. I just wish there were more movie in between all those ideas.

Maybe that’s partly on me. This is the kind of film that asks you to meet it on its own terms, sit with its rhythms, and decide for yourself what it means. And perhaps I simply wasn’t in the mood for that particular challenge.

I can absolutely see myself revisiting the film years from now and appreciating it differently. It’s divisive, certainly, but it’s also the kind of film that gives people something to argue about afterward and honestly, I’ll take that over a movie I completely forget five minutes after leaving the theater.

So while I respect what Mother Mary is attempting, and I genuinely admire the vision behind it, I can’t quite give it the glowing review I wanted to.

It’s ambitious. It’s beautiful. It’s original. I just wish it had given me a little more to hold onto.

Grade: C

THE ROOM NEXT DOOR (2024)

 

Written & Directed By: Pedro Almodovar 

Based on the Novel “WHAT ARE YOU GOING THROUGH” By: Sigrid Nunez 

Cinematography: Edu Grau 

Editor: Teresa Font 

Cast: Tilda Swinton, Julianne Moore, John Turturro, Alessandro Nivola, Juan Diego Botto, Alex Hogh Andersen, Victoria Luengo, Esther McGregor

Ingrid and Martha were close friends in their youth, when they worked together at the same magazine. After years of being out of touch, they meet again in an extreme but strangely sweet situation.

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This isn’t a bad film. In fact, it’s almost frustrating that it isn’t, because there’s so much to admire here, and yet so little that I actually connected with.

Every frame is beautiful. The colors, compositions, interiors, costumes, and carefully chosen shots often look like paintings. There’s a rhythm to it, too, almost like a beautifully directed stage production. But after a while, It started feeling less like one was watching a movie and more like I was visiting a very expensive museum exhibit And while appreciated, just wasn’t necessarily having a good time.

The biggest problem for me is that the dialogue often feels written rather than spoken. The characters seem to deliver information rather than reveal emotion. It’s almost like reading a very wordy novel where the author tells you everything, leaving you to create the images and feelings yourself. Except this is a movie Qqand Pedro Almodóvar is giving us all those images already.

There are moments of genuine beauty and meaning, but emotionally, the film feels strangely cold. Almost like a modern 1950s melodrama that forgot to turn up the melodrama.

And that’s particularly disappointing because Almodóvar is one of my favorite filmmakers. He has always had this wonderful ability to make chaos feel ordinary, make the mundane feel fascinating, and turn emotional extremes into something colorful, funny, messy, and alive.

Here, everything feels much more controlled. Almost too controlled.

The film eventually becomes monotonous, like listening to someone tell you a story when you keep waiting for them to finally get to the point and then realizing you’re not particularly interested in the point.

I also couldn’t shake the feeling that this was partly an appreciation piece for its two magnificent leading actresses. If you’re already a fan of them, there’s plenty here to admire. And honestly, they deserve to be celebrated. But the movie sometimes feels more devoted to their presence than interested in giving us something emotionally involving around them.

It’s gorgeous. It’s sophisticated. It’s carefully constructed. There’s absolutely nothing technically wrong with it And maybe that’s the problem.

I kept waiting for the movie to surprise me, move me, shake me or at least make me feel something beyond “That’s a lovely shot.”

It almost feels like watching a Vogue fashion spread: beautifully designed, impeccably photographed, sophisticated enough to discuss over cocktails, but after a while you’re wondering where the actual story went.

Ultimately, The film feels like a film to study, admire, dissect, and appreciate more than one to simply enjoy And maybe that’s exactly what Almodóvar intended.

But for me, it was like going on a date with someone who has plenty of qualities you admire. They’re intelligent, beautiful, interesting, accomplished, and probably wonderful to other people. There just isn’t any chemistry. So you wish them well And if everyone else wants to rave about them, I won’t argue.

Though by the end if you can afford it. You want to know who the interior designer and costume designer were. As those are immaculate. 

Grade: B- 

THE SUPER MARIO GALAXY MOVIE (2026)

 

Directed By: Aaron Hovarth, Michael Jelenic, Pierre Leduc, Fabien Pollack 

Written By: Matthew Fogel 

Editor: Eric Osmond 

Cast: (Voices of) Anya Taylor-Joy, Chris Pratt, Charlie Day, Jack Black, Glen Powell, Donald Glover, Keegan-Michael Key, Brie Larson, Benny Safdie, Luis Guzman, Issa Rae, Kevin Michael Richardson 

Mario ventures into space, exploring cosmic worlds and tackling galactic challenges far from the familiar Mushroom Kingdom.

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Did we need a sequel to the original movie? No, but considering it’s box office,  we knew there would be one eventually. Plus it’s a franchise just as there are so many SUPER MARIO BROTHERS. You knew this would probably come along which at least expand on the super Mario world in the first place and ads familiar faces with some new from the super Mario Brothers lore.

Though again this film feels so unnecessary. Almost like filler, that I am hoping it might be recruitment for kids who it’s obviously more aimed that and giving something to die hard Mario brothers fans the world over. 

As the first film felt like the film we all wanted back when the game was popular and when they came up with that disappointing live action movie this sequel just feels while quirky on autopilot as it’s not as much fun. The story is kind of hazy and just a reason to put these characters all back together. There’s nothing wrong with that, but I can’t say it’s as fun or entertaining unfortunately, kind of takes away from the first one or reminds you how much you liked the first one and why can’t this one be just as fun. 

The film stays cute though never quite necessary. Sometimes it’s actually even fun, but it does remind me of that BABE sequel; BABE: PIG IN THE CITY where babe doesn’t even really talk or if he does, he says very few words it seemed like with the first film the voice actors managed to make their characters be felt here. It just feels like they have less to say or at least less humor and more definitely dependent on actions and silly physical scenes more. not to mention the addition of just more characters and celebrity voices.

It’s better than when there would be an unenthusiastic straight to streaming your home video animated sequel as this is definitely big and grand. It just doesn’t feel as much fun or inventive as the first film maybe as it came along too fast and didn’t have time to really consider a storyline or wanted to keep it then just so we could stay with the characters and hope that would satiate the audience and the fans.

At least the score helps lift the overall tone. Even if it is mostly memorable music from the video games.

For the fans, I believe this song will be possibly enough, but if you’re not really in the super Mario Brothers, I feel like this will kind of be even more disappointing.

Grade: C

GIRLS LIKE GIRLS (2026)

 

Directed By: Hayley Kiyoko  

Written By: Hayley Kiyoko and Stephanie Scott 

Story by: Chloe Okuno and Hayley Kiyoko 

Cinematography: Sonia Tsypin 

Editor: Christine Armstrong and Sabine Hoffman 

Cast: Maya Da Costa, Myra Molloy, Zach Braff, Levon Hawke, Alozie LaRose, Sierra Sidwell, Hunter Dillon, Sophia Carriere, Alexa Mareka 

Coley, 17, from rural Oregon, navigates intimacy after her mother’s passing. Meeting Sonya sparks new feelings, but self-doubt hinders their connection. Sonya, unfamiliar with dating girls, is uncertain. They learn to embrace emotions.

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The film is light and airy feeling like a perfect summer romance 

A nostalgic throwback that feels modern but yet would fit in the early 2000’s in which it’s set 

Wondering if it is autobiographical fantasy for the Writer- Director Hayley Kioko from her song and music video it seems a full length feature extension from. 

It works as a typical romantic film that just happens to be queer or a queer awakening film that lends itself more to a paperback romantic novel origins. As the film feels like, The type that this is adapted from by the writer director who also wrote the original novel.

The films easy to watch you can’t help but route for the main characters and their back stories are handled with care that seem to be heavy and emotion, but very light material wise all the two girls bond and are left in their own world. There is no bullying there doesn’t seem to be prejudice from any friends or family so really the only challenge throughout the film seems to be being emotionally available and open to one another and trust there’s nothing or no one in the outside world really challenging this romance.

As throughout the film, it seems like the main character played By Maya Da Costa seems to be the one who is facing the most challenge of letting go and growing up and living her life and not staying mentally in her sorrow.

It also doesn’t hurt that everything in this film is very pretty. So there’s nothing that’s ugly or mean spirited and there’s nothing bad to look at as most of the cast is beautiful as are the locations and the town that they’re staying in. The cast is lovingly diverse. It’s one of those dream towns where everyone seems cool with everything. No prejudice, no class struggles, no bigotry. So the film won’t offend anyone and one can see why some might be attracted to it. 

There is a slightly romantic rival, and once they are with them instead of the scenes, seeming as romantic beautifully shot and intense, there’s a coldness in a practicality that feels cold and a little bit of disgust. 

It’s an assured debut by Director, Hayley Kioko, who keeps it light and sweet with a little bit of death and is quite assured behind the camera as an actress and musician. She seems to have learned and picked up the necessary skill and await what her next film will be here she shows she has the goods to continue along this path.

Happy this got a limited release theatrically though really the material feels more like a streaming or the type that these days would be more streaming original only because it’s a little more lightweight, which isn’t unexpected watching the trailer

The film is more likable than one might expect

Grade: C+