April 24, 2026
With another month coming to a close next week, the 2026 movie year is off to a great start. Not only was there a terrific celebration of the best of 2025 at last month’s Oscars, the box-office this year is running 13% ahead of last year. The newest Super Mario Bros. movie is printing money (Disclosure: I will not be seeing it – some movies are not for me), Project Hail Mary is doing outstanding, and even the newest Pixar release Hoppers (a delightful film I really enjoyed) has earned over $100 million. Granted, things are not as robust as the pre-COVID times, but that’s ok – the theatrical business is still strong
The industry momentum was on full display last week in Las Vegas at CinemaCon, the annual conference where the hype train for this year’s movies was unveiled. Over the course of several days, each of the major studios present their upcoming slate of films, some of which we’ll see this year, and others that are teased for 2027 and beyond. The audience is mostly theatrical business insiders, as well as journalists and plain old movie fans.
CinemaCon is a bit of a pep rally from what we read in the press, and that’s the interesting part of this conference. There is no video footage. We can only learn what was presented based on first-hand accounts of the attendees. The two big takeaways I read are that the big films headed our way this year, particularly Dune: Part Three, The Odyssey, and Disclosure Day, are very promising, and the studios are 100% committed to theaters (as opposed to streaming). They all talked about extending the “window” between a film’s premiere date and when it is available for streaming at home. The theater owners love this, of course, but fans seem to like it too as it will give them more time to catch a film in the theater before it’s gone. With renewed enthusiasm for going to the movies, all things are pointed in the right direction. Of course, the major studio that was not there was Netflix, because theaters aren’t their thing (for now), but that’s ok. We’ve got Universal Studios, Warner Bros, Disney, Sony, Amazon/MGM, and Paramount to keep us entertained.
With that backdrop, let’s jump into this month’s report with a film that I loved, but might not be for everyone.
How Well Do You Know Your Spouse? – The Drama
A24 has made a name for themselves as the premiere independent studio, taking chances on newer filmmakers who want to tell bold stories. Some of their better-known movies include Marty Supreme, Civil War, Hereditary, Lady Bird, The Brutalist, and 2022’s Best Picture winner Everything Everywhere All at Once. This month they released The Drama, starring two of Hollywood’s biggest movie stars, Zendaya and Robert Pattinson.
In the marketing for The Drama, we see a story about a couple getting ready for their big wedding day, when something happens that threatens the relationship. The promotion indicated that it might be a romantic comedy, but if you watched the trailer carefully you would realize that this isn’t a light-hearted rom-com in the spirit of Anyone But You, the blockbuster hit with Sydney Sweeney and Glen Powell. No, this is a dark comedy that will make you uncomfortable, in a purposeful way. In fact, this story will likely offend and piss off people who are bothered by the central plot point that I won’t spoil in this review. It takes a lot for a film to offend me. Actually, to be more accurate, I’m only offended by bad moviemaking. I don’t get offended by a storytelling choice. A film might not be believable to me or the technical aspects might be sloppy, but I can’t say that a story choice has ever offended me.
Norwegian filmmaker Kristoffer Borgli wrote and directed The Drama, his follow-up to 2023’s Dream Scenario, the terrific dark comedy starring Nicolas Cage. As the film opens, Emma (Zendaya) and Charlie (Pattinson) are preparing for their upcoming nuptials. They are buttoning down the final details, including writing their custom vows, practicing their dance routine, and meeting with the photographer and DJ. One night they are out sampling food for the reception with their married friends Rachel (Alana Haim) and Mike (Mamoudou Athie) and decide to play a silly game. Before Rachel and Mike got married they told each other the worst thing they’ve ever done, and they prompt Charlie and Emma to play the same game. Charlie’s answer is quite benign, but Emma’s response stops the informal gathering in its tracks. In fact, the other three people are stunned, particularly Charlie, who begins to question his decision to spend the rest of his life with Emma.
Now, I’m not going to reveal Emma’s secret here as I feel it’s best to learn it fresh while watching the story unfold. But be forewarned that it might bother you. Not just her admission, but how Borgli chooses to incorporate this fact into the rest of the movie. Emma instantly regrets telling Charlie her secret and begs him to forgive her, trying desperately to reinforce to him that she is still the same person he fell in love with. But Charlie can’t stop thinking about what he learned, even incorporating twisted doom scenario fantasies into his everyday thoughts. And this is where Pattinson shines in a brilliant performance. We watch Charlie unravel as the big day approaches and he plays it for both comedy and tragedy, particularly during a cringe-inducing scene at the reception. Credit goes to Brogli not just for the story at the heart of this conflict, but the way the film is edited ratchets up the tension as the movie progresses.
The online discourse around The Drama was vitriolic upon its release with some people declaring it a brilliant depiction of the perils of modern day relationships and the online social media world in which we live. Others thought it was a cheap and insensitive movie about a taboo topic. As I mentioned above, I am not easily offended, so I lean into the former category. I thought this was hysterical (in a very dark, cover-your-eyes way), and was incredibly impressed with Zendaya’s and Pattinson’s acting. It says something about the quality of Borgli’s script that two of the most “in demand” actors in Hollywood would say yes to this film. They recognize quality when they see it. If you are not afraid to be challenged by an interesting story, The Drama is now playing in theaters and will be available to rent on demand in early May.
A Terrific Crime Heist Thriller – Crime 101
Last month’s movie report was so jammed, I didn’t get a chance to squeeze in my review of Crime 101, which was released way back in February. But better late than never, especially now that the film is available to stream on Prime Video. In this action-crime-thriller, our main character is Mike, played by Chris Hemsworth, a jewel thief who is careful and meticulous with the jobs he selects. He is very good at his job and knows how to assess the risk before he agrees to pull off a heist. He is also very careful to avoid leaving any evidence at a scene, a tactic that he fails at in the opening scene after he is grazed by a bullet.
As Mike prepares for his next job, he enlists the help of Sharon, an insurance executive played by Halle Berry, to get some inside information on his mark. She’s disgruntled with her job after being passed over for a promotion, so she agrees to help Mike in exchange for a cut of the profit. Our other main character is LA detective Lou, played by Mark Ruffalo (basically playing the same archetype he did in the excellent HBO show Task – that’s complementary), who is hot on the trail of Mike to solve a string of jewelry heists.
Bart Layton wrote and directed Crime 101, based on the novella by Don Winslow, and does an excellent job of depicting a crime-thriller with fun action set pieces, real characters and most importantly, on location shooting. This movie was made in Los Angeles and you can tell. You can be enthralled with what you are watching, without it feeling like a bunch of scenes filmed in front of green screens with CGI added in after the fact. When we are seeing high-speed chases across the city, it’s exciting because it just looks good. The plot also has enough twists and turns to keep you guessing as to how things are going to shake out. In addition to Hemsworth, Berry, and Ruffalo, the supporting cast features Barry Kehogan (as a rival jewel thief who has some anger issues, to say the least), Monica Barbaro (as Mike’s love interest), and brief appearances from the always welcome Nick Nolte and Jennifer Jason-Leigh.
Now, the one knock I’d have on Crime 101 is that at certain points, you can feel the 140 minute run time. It might play better at home where you can pause the movie, compared to when I saw it in the theater. I’m not sure we needed the love interest storyline with Barbaro’s character, which was underwritten. Don’t get me wrong – I think she is an outstanding actress and the scene where they danced to Bruce Springsteen’s version of Jersey Girl from the 1975-1985 live box set got me to give a silent fist bump in the theater. How do I know these things? Well, there are certain data points from the 1980s that are occupying way too many brain cells in my head – what can I tell you? Some people will tell you that Crime 101 is a lightweight Heat knock-off, and while that might be somewhat true, it’s still a fun action movie with big-name stars. There’s not much better than that. Crime 101 is now streaming on Prime Video.
A Double Shot of Barbie (No, Not That One) – Faces of Death and Mile End Kicks
Actress Barbie Ferreira is far from a household name, but she is quickly becoming an actress whose movies will be on my watchlist whenever they are released. She came to prominence as one of the troubled high-school students on the batshit crazy HBO show Euphoria. She decided not to participate in the newest season as she felt her character was becoming boring. Instead she set out to pursue roles in independent films that would stretch her acting abilities. I thought she was very good in the 2024 comedy-drama Bob Trevino Likes It and this month she has two movies in theaters that showcase her impressive range.
First up is Faces of Death, a gnarly meta-horror film from Daniel Goldhaber, the director of How to Blow Up a Pipeline, one of my favorite movies of 2023. Ferreira plays Margot, a content moderator for an online platform that looks a lot like YouTube. She spends her days looking at disturbing clips that have been submitted for review. She must check a box indicating if each one should be approved, flagged with a warning, or rejected. She lives a life of quiet isolation with few friends, as she became infamous for an online prank that turned tragic several years earlier.
One day Margot sees a video that appears to depict someone being murdered. She naturally assumes it’s fake, but when she sees a similar one a few days later, she becomes suspicious. After diving into a Reddit forum, she learns that the videos are recreating scenes from the 1978 horror film Faces of Death. While I never saw that one, I do remember seeing the videocassette box in my local video store. It was the classic urban legend movie of its time, reportedly featuring footage of real murders. In reality, it was all staged. As Margot learns more about the potential murders she is witnessing, she decides to investigate and find out if there is really a serial killer at play.
I quite enjoyed Faces of Death, even if it gets a little gross at times. To be honest, it’s no worse than your typical horror movie these days. Goldhaber constructed this story in a very smart way as we don’t get too bored with our killer (played in a menacing performance by Dacre Montgomery) just killing people left and right. Margot inserts herself right into the potential danger to uncover what is really going on. While I questioned the logic of what she was doing at times (an unfortunate trope of most horror movies), I found myself rooting for Margot, who is portrayed in a sympathetic manner by Ferreira, but also a true badass when she needs to be. I also loved how Goldhaber showcased Margot’s online activity on screen in a frenetic, but totally realistic, way that demonstrates how we typically use our phones and computers. I see several horror movies each year and I have to say, this was a quality picture if you are into this sort of derangement like me. Faces of Death is now playing in theaters.
In a complete polar opposite performance, Ferreira shines as 22 year-old music critic Grace, who is looking for love and a career in the romantic comedy Mile End Kicks. As the film opens, we learn that Grace has been writing as a freelance critic for a magazine in Toronto, but is looking to do something different. She sets out for Montreal where she plans to live for several months while writing a book about Alanis Morissette’s blockbuster hit album Jagged Little Pill, and the influence it had on her life. She moves in with a local woman whose boyfriend is the drummer of an indie rock band. Grace becomes smitten with lead singer Chevy, and develops a close friendship with guitarist Archie. As the weeks roll off the calendar, Grace finds herself spending more and more time pining after the dirtbag singer and falling behind in her writing responsibilities. We quickly realize that Grace doesn’t have her shit together, and we learn it well before she does.
I was really impressed with Mile End Kicks, apparently named after the shoe store where the singer works part-time – truly a baffling movie name, but don’t let that discourage you. The film was written and directed by Chandler Levack and based in part on her time as an aspiring writer in Canada. She chose to set the film in 2011, which I think was a smart decision as we can really focus on the interactions of all of the characters without the burden of the social media infecting their lives. Cell phones (and texting) are a very small part of this movie, which I welcomed.
Ferreira is delightfully charming as Grace, in a performance that requires a lot from her. The character is not exactly oozing with confidence, yet is in a profession where she must offer her opinion about music to the world. She has a terrible history with men and very little confidence in pursuing romantic relationships, which plays out in a few scenes that border on hysterical and sad. She plays these scenes to perfection. I found myself laughing out loud in one instance, then immediately feeling terrible for her character. This isn’t what I would call a perfect movie. A few of the plot decisions didn’t quite work for me, but it’s a smart story from a talented writer and director, and that’s all I want from a romantic comedy. Give me something a little different than the same tired stories we see week in and week out on our streaming services. And with a strong performance from Ferreira, that puts it over the top as one for me to recommend. Mile End Kicks is now playing in limited theaters and should be available to rent on demand soon.
The Master Filmmaker Returns – The Christophers
Another year, another movie from director Steven Soderbergh that I am privileged to see and write about. After last year’s terrific Black Bag (now on Prime Video if you missed it) and the very impressive Presence, the man who never stops working is back with The Christophers. As I wrote about in 2021, Soderbergh is quite the prolific director. He is constantly challenging himself with the types of stories he wants to tell, creating innovative filmmaking techniques along the way, and even shoots and edits his own movies (under pseudonyms, of course). His newest picture is his 29th feature film this century. That is insane.
The Christophers stars Ian McKellan as Julian Sklar, a famous artist who is nearing the end of his life and contemplating his legacy. His two estranged children, played by talk-show host and comedian James Corden and Baby Reindeer breakout star Jessica Gunning, are concerned about getting left out of the estate when their father dies. They develop a scheme to sell some of his famous paintings, dubbed The Christophers, but there’s one problem. They were never finished. You see, they were a tribute to Julian’s lover and he was too heartbroken to complete them. The scheming kids decide to hire an art restoration expert (and forger) to accept a job as his assistant, steal the paintings, and complete them to be sold after Julian’s death. Lori (Michaela Cole) agrees to join the scheme, but needs to figure out how to pull it off, which becomes particularly tricky when she learns that Julian wants her to destroy the unfinished paintings.
On the surface, The Christophers might sound like a heist movie and if it’s coming from the director of the Ocean’s trilogy, it must be a wild action-caper, right? Not so fast. Yes, there are a few subtle scheming moments in this film, but this is really a two-hander between two very talented actors in McKellan and Cole, who couldn’t be more different from each other, but have terrific chemistry. As they get to know each other, their motivations and decisions become more complicated and we come to root for each of them, despite their questionable actions. The Christophers was written by Ed Solomon, who also collaborated with Soderbergh on the 2021 crime-thriller No Sudden Move. While this film is not an action-packed heist movie, I liked it as an interesting character story with two impressive performances as the reason to see it. The Christophers is now playing in theaters.
Play the Hits – Michael
Look, it’s no secret that I run hot and cold on music biopics. I devoted a post to this genre five years ago and since then, we’ve seen some that worked (A Complete Unknown) and some that underwhelmed (Respect). If it’s an artist that we know so much about, you go into the film wondering what you are really going to get out of it. Do you just want to see a portrayal of someone singing your favorite hits? Well, you could just watch YouTube clips of music videos and concert footage. Are you looking for some insights on the individual’s life and how it shaped their career? Films like Walk the Line and Love & Mercy are perfect examples of a movie that showcases both the musician and the person (Johnny Cash and Brian Wilson, in those cases).
If you are planning to see Michael, a portrait of Michael Jackson, I recommend setting your expectations accordingly. This is a jukebox musical, or as one review I read put it, “a playlist in search of a story.” And if you have trouble separating the art from the artist, don’t worry about any uncomfortable scenes making you feel bad about liking the songs. They don’t exist in this world. Might they show up in a sequel? Well, that’s complicated.
The new film from director Antoine Fuqua, with full support from the Jackson family (except Janet who politely declined to be included), could be best described as fan service for the children of the 80s who loved the music of the King of Pop. Originally, Fuqua and producer Graham King (the man who brought us Bohemian Rhapsody) planned to include scenes where Jackson is defending himself against the accusations of child abuse. Reportedly, it portrayed Jackson in a favorable light and had to be cut when the producers discovered that they were forbidden to include any portrayal of the victims following the settlement of a lawsuit agreed to by Jackson before he died in 2009. The third act of the film had to be completely overhauled, resulting in reshoots and a delay in the release date. There were also reports that the story would be split into two movies. While there are no firm plans for a sequel, a Marvel-style chyron before the credits does tease one, which caused me to roll my eyes. Not the first time that happened during my viewing experience, I assure you. If I had to guess, there will probably be a sequel as I expect this movie to earn a shit-ton of money. But let’s not get ahead of ourselves.
Let’s start with the positive and it’s a big one. Jaafar Jackson (Michael’s nephew) is outstanding portraying his uncle in the latter two thirds of the movie, beginning with his solo career. He is uncanny in every scene, particularly the singing and dancing sequences, which feel like a replay of the actual events. The highlights were definitely the filming of the Thriller and Beat It music videos and the Motown 25th anniversary special, where the moonwalk was unveiled to America. In the non-musical sequences, he is very good portraying the tortured artist, dealing with his overbearing abusive father Joseph (Colman Domingo) and supported by his nurturing mother Katherine (Nia Long).
So, when you are watching the musical sequences, it’s quite entertaining, but as a film, there is just no compelling story. Jackson is one of the biggest stars in music history and Michael is a simple and formulaic biopic that just presents sequences in the subject’s life, as if the filmmakers were rapidly checking items off of a list. In fact, there were several times I felt like I was watching a Wikipedia page script set to music, albeit with some outstanding songs. The film is also shot in a frenetic manner, with what felt like a million editorial cuts, many of which are close-ups intensely focused on a character’s face. As I saw the credits roll, I noticed there were four (FOUR!!!) editors on this movie. Jesus Christ.
But the biggest issue I had with Michael was the storytelling decisions. Look, I get it that if this film is only going to get made with the support of the Jackson family, you’re not going to get anything controversial, especially the child abuse allegations. The movie actually ends with the Bad tour in 1988, so we don’t even cover that time in his life. What particularly frustrated me was that Jackson was portrayed as heroic and angelic throughout the entire freaking movie. Every decision he makes is for the better of everyone around him. He is never shown making a mistake. They don’t even show him struggling to write a song, which I’m sure happened to him at least once. Visiting sick kids in hospitals, signing autographs in the toy store, solving the gang wars in Los Angeles by writing Beat It (I’m not exaggerating that much), giving John Landis directing tips while making the Thriller video, convincing the head of CBS Records to threaten MTV if they don’t play his music videos. After he is burned making the Pepsi commercial, he tells the doctor he doesn’t want pain medications, but the doctor insists. The filmmakers are basically telling us that the crippling addiction Jackson later developed was all the doctor’s fault. It goes on and on. It’s like he’s a freaking superhero with no flaws.
When I go back to music biopics that work (A Complete Unknown, Walk the Line, Love & Mercy), they showcased the musical genius of each individual, but also showed that the person could be a real asshole. Not Michael – he’s just a musical genius. In a nutshell, I didn’t hate this movie. I just found it frustrating as there was an opportunity to explore the life of a very talented, but troubled, person and the filmmakers chose the easy route. As I was leaving the theater, I overheard a woman say, “I’m so glad I saw this movie, because I didn’t realize what a wonderful person he was.” I literally said out loud (to no one in particular), “Jesus Fucking Christ.” Would I recommend you see this movie? To be honest, if you want to relive some of the great music and performances of Michael Jackson in the 1980s, just do a search on YouTube from the comfort of your couch. Michael is now playing in theaters.
That’s all for this week. I hope you enjoyed my look at some new releases. Next week I will be back with part one of my look at the outstanding filmography of the Coen Brothers to celebrate the 30th anniversary of Fargo. Thanks for reading and if you would like to be notified about future posts, you can subscribe below.