Author: Jim Batts

Jim Batts was a contestant on the movie edition of TV's "Who Wants to be a Millionaire" in 2009 and has been a member of the St. Louis Film Critics organization since 2013.

POWER BALLAD – Review

Since the musical biopic MICHAEL is still in the box office top ten, how about another tune-filled flick? The big difference here is that this new release is a fiction film, though many music historians muse about the MJ movie. So that’s where any comparisons end, despite the resemblance to several “real-life rockers” in this endearing “dramedy”. With music. It’s firmly the focus of the story. Luckily, this flick’s filmmaker has racked up a long list of such cinematic “melody movies”. But will he break his winning streak (with “niche” audiences and lots of critics) with a story concerning a “creator-questionable” POWER BALLAD?


And, appropriately, we meet a man by the name of Power in the film’s opening scene. That’s Rick Power (Paul Rudd), a pop star with a few modest singles decades ago. But those were the “Glory Days”. Now he’s the frontman and lead singer for a quartet of middle-aged musicians who travel through Ireland, entertaining at wedding receptions as “Bride & Groove”. They mainly do “covers” of classics by Tom Petty, the Rolling Stones, and other icons. Still, Rick likes to sneak in his lone hit song from so many years ago, much to the chagrin of his bandmates and the disinterest of the audience. At night’s end, they load up the B&G van and motor home. For Rick, that’s a modest abode he shares with his working wife Rachel (Marcella Plunkett), and high-school-aged daughter Aja (Beth Fallon). Yes, Rick gave up a rocker’s life in the States to move to the “Emerald Isle” for love. B&G’s next gig is quite a step “up” for a couple of reasons. First, they have overnight accommodations in a fancy, revamped castle. And second, they’re told that a friend of the couple, a very recent “boy-band” heartthrob named Danny Wilson, may pop up on stage. And he indeed does, as Danny (Nick Jonas) joins B&G for a Stevie Wonder classic. Long after the reception, Rick takes a stroll on the grounds and is approached by Danny. They enter his plush suite, where they indulge in fine booze, some buds, and a few new tunes for Danny’s first solo album. Into the early morning, the duo jams, with Rick playing some of his own unreleased works. Come the dawn, B&G is back on the road. The two go on with their lives, until…Rick hears Danny’s new smash single while at a shopping mall. Why, “How to Write a Song (Without You)” sounds exactly like the song Rick played for Danny. Ah, but Rick has no proof, as he has no sheet music and can’t locate the sound file on his computer. He becomes obsessed and nearly destroys his ties to his band and family, while getting the “run-around” from Danny’s stateside management, headed by the protective Mac (Jack Reynor). Hearing of a Wilson stateside concert tour, Rick plans a trip there with off-kilter band buddy Sandy (Peter McDonald). Can they confront Danny after his big show? More importantly, can Rick make Danny admit that his “comeback” song sprang from that long-ago, hazy night of music (and “enhancers”)?


It’s another big audience-pleasing performance by the “ageless” Mr. Rudd. Once again, he’s the affable everyman hero, a good, honest “Joe” we’re immediately rooting for, even when he’s at his lowest ebb (and things get dark for a bit). It helps that Rudd embraces a “team player’ spirit, whether he’s with his family or fellow bandmates. Sure, we heard him sing a bit of “Afternoon Delight” in a classic comedy, but we haven’t had a real taste of his musical “chops” till now. And in previous flicks like ROLE MODELS, I LOVE YOU MAN, and even DINNER FOR SCHMUCKS, Rudd is part of a great “bromance”, tis time with “for real” pop star Jonas as Danny Wilson (nice inside “naming job” as this was the title character in a late 40s Sinatra film). He’s got a nice. low-key, unaffected vibe, especially as he finds a kindred spirit/mentor in Rick. DW’s in need of a guide during this crucial career crossroads. Jonas also has great chemistry with Havana Rose Liu (so good in a larger role in last week’s TUNER) as Danny’s adoring girlfriend in a couple of brief but pivotal scenes, as she is the inspiration for that big, perhaps borrowed, hit single. Another essential part of the Wilson “machine” is Reynor as Mac, a great pal and cheerleader who’s also his “defense” against those who would con or exploit him. On the Power home front, Plunkett is a strong, steady co-parenting partner who’s also supportive but knows when to step in or step back. Fallon also hits all the right notes as daughter Aja, who delivers some memorable quips, particularly when she tells her Dad what young women really want in life. Quirky comedy relief is provided by co-screenwriter McDonald as the loyal, often dense Sandy, whose “filter” always is on the “fritz”.

As you may have guessed, the filmmaker in question is the multi-talented John Carney, who co-wrote the script along with composing several songs. And yes, this is a great companion to his impressive roster of musical movies, ONCE, BEGIN AGAIN, SING STREET, and FLORA AND SON. Here, Carney really does a deep dive into the creative process with the compelling Rick and Danny “all-nighter”, and as DW prepares for his big concerts. We’re also given a small peek inside the ever-changing music industry, as Danny strives to avoid Rick’s career pitfalls while starting a solo legacy. And like his previous works, Carney gives us a great batch of warm, endearing characters who mount a formidable “charm offense” led by Rudd. Plus, we get lots of “throwaway” bits, from the exchanging glances at the big castle event (somehow both disgust and lust), and the Power home dynamic (Aja trying to quietly move past Papa’s studio room). And, as with his previous films, Carney projects such a wonderful humanity, with no real “villains’, yet still not allowing the story to seep into sugary sweet sentimentality. Everyone’s trying their best to get through life while dealing with past missteps. And the tunes are pretty great, too. So, if you need a breather from the big Summer blockbuster onslaught, take a melodic trek into the “old sod” for a toe-tapping lyrical fable that is also a POWER BALLAD. And maybe Rudd will join those Jonas Bros for a “set” very soon.

3 Out of 4

POWER BALLAD is now playing in theatres

PRESSURE (2026) – Review

How about that, here’s another movie for grown-ups in theatres near the very start of the big Summer season of blockbusters. Yes, they’re usually saved for the end of the year for the big awards. Speaking of those accolades, this new film stars an Oscar-winning actor (he grabbed the gold only a few years ago). Did I mention that it’s based on a true story? Near the end of WWII, so this celebrates that “greatest generation”. This film is all about the planning and prep for one of the greatest battles, which has been memorably recreated on screen several times. But this is from a vastly different perspective, as we don’t witness montages of the “GI Joes’ rigorously training (drills, target practice, marching, etc.). It turns out that this mission’s success or failure hinged on predicting the weather, hence the multiple meanings of the title PRESSURE.

The story begins with a simulation of D-Day. a disastrous “rehearsal” which alarms the strategist, General Dwight D. Eisenhower (Brendan Fraser). Luckily, there’s an “ace” he has yet to play. Cut to the home of meteorologist Captain James Stagg (Andrew Scott) as he prepares breakfast for his very pregnant missus before leaving for his new assignment. He is ushered into the posh estate, Southwick House, which has been converted into a massive war room plotting the Allied invasion of Normandy. “Ike” wants his troops on the Omaha and Utah beaches on June 5, but he wants to be certain that the weather will be accommodating: no squalls, gale-force winds, or torrential downpours. Kay Summersby (Kerry Condon), Ike’s driver and personal assistant, escorts Stagg to the big “weather center” to meet with his fellow tacticians and his American “counterpart”, Captain Irving Krick (Chris Messina). The two men clash immediately, leading to countless scenarios and predictions for their concerned commander and his team of high-ranking officers, particularly Britain’s General Bernard “Monty” Montgomery (Damian Lewis). Maps are drawn, observation balloons are launched, and everyone gets “antsy” as Krick seemingly tells Ike what he wants to hear, while the pessimistic Stagg tries to be confident in his data while also worrying about the fate of his wife and unborn child.

Once again, Scott turns in a terrific performance as the prickly, somber Stagg, though we do see a few cracks in his armor when the war truly starts to “hit home”. But he resists the urge to compromise with Scott, showing that focused, steely dedication to Stagg’s craft. The most controversial casting may be that of the gifted Fraser as Ike. Even with his prominent shaved forehead, he seems literally larger than life, towering over nearly every scene partner. Physicality aside, Fraser is mainly there to pace, chain-smoke, and bellow at those who just won’t commit to his needs. Perhaps it’s a script deficiency, as Ike was an important part of our victory, he’s not that engaging here (and I kept thinking of the more colorful PATTON). The fiery antithesis to the dogmatic Stagg is the volatile Krink, played with great grit and energy by the dependable Messina. Ditto for Condon, though she’s given scant chance to shine as Somersby, maybe it’s due to the erasure of the scandalous whispers of her dalliance with her superior. Lewis is also watchable as the “stiff upper lip, passive-aggressive and impatient “gentleman soldier, Monty.

Eight years after the visceral tension of HOTEL MUMBAI, director Anthony Maras somehow succeeds in keeping the pace steady, even with our knowledge of the outcome (history and other flicks). Despite his efforts, the film’s “stage roots” are showing. Maras worked with actor David Haig in adapting his play for the film. Sure, they leave Southwick often, but the story seems to lurch from one dialogue-heavy confrontation to another (Ike and Stagg, Stagg and Krick). I expect school speech teams will use many of them for the duet pieces. But for movie audiences, it never really vibrates. It doesn’t help that the scenes are bathed in that brown 1940’s “glow” (I thought that Captain Steve Rogers would pop in for a “spot of tea”). And really, can arguments about weather predictions be compelling when the event is so entrenched in our brains? There are a few glimpses into the battle on the beach, but the carnage here pales when compared to the still agonizingly powerful opening of Spielberg’s SAVING PRIVATE RYAN. It may be an unfair comparison since this film’s budget forced the inclusion of several snippets of re-colored archival footage. Plus, the period details feel just “off” (sure, the soldiers sang along with “Boogie Woogie Bugle Boy,” but did they really dance to decades-old Cab Calloway tunes?). Finally, we’re left with a story focusing on an historical “side note” that’s just not that cinematic. Without an Oscar-winner “fronting” it, this would be forgotten fodder for the many basic cable channels (something Tony Soprano would watch on a weekend).I suppose exploring these heroes of WWII had the creative team feeling loads of PRESSURE.

2 Out of 4

PRESSURE is now playing in select theatres

TUNER – Review

Okay, the big Summer movie season somewhat officially kicked in last weekend with that unlikely but still dynamic duo of space adventurers from that galaxy far, far away. And though there’s a more “grounded” thriller that is defying box office trends (I suppose some are “obsessed” about its “upward mobility”), how about another “nail-biter” not involving the post-college crowd and a poorly thought-out wish? Mind you, this tale’s hero is in his late twenties, but possesses an “old soul,” and lots of baggage, including an affliction that aids with his chosen profession. And no, it’s not a spin on that Marvel streaming stalwart Daredevil. This morose man isn’t a crime-fighter, nor a career criminal, He’s merely a working stiff who’s an exceptional piano TUNER.

The audio “savant” in question is Niki White (Leo Woodall), who is the main employee (more of a co-partner and surrogate son) of his late jazz player papa’s BFF, Harry Horowitz (Dustin Hoffman). The duo dashes about the ritzy digs of the swells around the Big Apple in their ramshackle van, repairing and tuning pianos. Actually, Niki does the tuning since Harry is nearly deaf. But Niki also has an “auditory affliction” that makes him the “top of the craft”. He has hyperacusis, an intense sensitivity to sound. Niki must always wear noise-cancelling earplugs, which are augmented by big headphones while out on the street. Since Niki lives alone, Harry invites him to dinner made by his protective wife (and Niki’s surrogate mama), Marla (Tovah Feldshuh). When she scolds Harry for not wearing his hearing aids, he reluctantly confesses that he locked them in his small closet safe and can’t recall the combination. Being a “good son”, Niki takes the safe back to his apartment, where he watches a few online videos about “safe-cracking.” Thanks again to his “keen” ear, Niki can hear the tumblers click into place. The next day, at a job for a music conservatory, he tunes a piano for a stressed-out student, Ruthie (Havana Rose Liu), who is preparing a “showcase” piece to impress a renowned composer, scouting for an intern. The two engage in a bit of bickering flirtation. Later, Niki and Harry head to a fancy wedding ballroom that, unfortunately, is full of noisy construction workers. They’re on a deadline, so Niki agrees to return solo later that evening for the tune-up. All’s quiet, until Niki is stunned by drilling noises upstairs. He finds a “security” crew trying to open a safe (“for extra-security, y’know?”). In order to get back to his job, Niki uses his new “skill” to open it. The team’s boss, Uri (Lior Raz), is impressed, throwing a wad of money at him and an offer of more “work”. Niki thinks nothing of it until tragedy strikes, and he’s in need of extremely quick cash. Soon, he contacts Uri, who isn’t really a security company owner (no surprise), and agrees to be their “ear” if nobody gets hurt. How long can Uri and his “hairtrigger” gang keep that promise? And how will this impact Niki’s budding romance with Ruthie?

These unpredictable twists and turns are anchored by the steady, confident, low-key lead performance by Woodall. He’s made a name for himself with work on several streaming TV shows, though I caught his supporting work last year in NUREMBERG. This time he dominates the story, with Niki in nearly every scene until the intense final act. Woodhall gives us a new spin on the classic doomed crime noir hero, that reg’lar Joe sinking into criminal quicksand. Yes, Niki is stoic and “closed-off,” which zeroes in on his loneliness. His “gift” is more of a curse, making him feel like a true outsider, having to shield himself from the chaotic cacophony around him. Yet, he somehow makes a connection with Liu’s Ruthie, a different kind of outsider, as the pursuit of her art complicates all those personal connections. Yet, Lui conveys that same sense of yearning as she reaches out to the tight-lipped “tuner”. The big conflict comes from the ingratiating and sinister Raz, whose jocular demeanor masks a violent opportunist. While the “big draw” for many may be the casting of Jean Reno, who we don’t see until the pivotal reveal of that world-famous composer during the harrowing climactic moments. Reno has that errudite, effete attitude down until the sight of something brings him nearly crashing back to Earth. But the most notable screen vets are the caring couple supporting Woodhall’s Niki. The motherly warmth emanates from Feldshuh, whose caring concern is the tale’s moral backbone. Her “instinct” is at full alert as she sees a change in her beloved “big boy”. And, handling fatherly duties while mounting a considerable “charm offensive” is the effortlessly engaging Hoffman, who has been “sprung” from the “cancel” prison (yes, he did deserve a “time-out”) to give us another serving of his leading man (now scene-stealing comic character) charisma. I’m guessing another two-time Oscar-winning actor “serving time” is following this closely.

One of the film’s biggest surprises concerns the creative artist behind the camera, Oscar-winning documentary director (for NAVALNY) Daniel Roher, who co-wrote the script with screenplay vet (LIFE, BIG TROUBLE) Robert Ramsey. This is Roher’s first fiction feature, and he attacks this with energizing gusto. There are no big action set pieces, but he keeps the tension taut due to his steady pacing (he lets us really “get to know” the players), and the plot’s twists and turns. We know that Niki’s “side gig” will cause havoc, yet we root for him to “escape” this life and allow Ruthie in. His condition goes from being an odd “gimmick” or “hook” to morphing into another character. Big kudos to the stellar sound department, who plunge us into the intense audio world of Niki, making us feel his “pain” (an air horn is his Kyptonite). The location work is splendid, as is the score by Will Bates that weaves original classical tunes with jazz standards. Here’s a cinematic rarity, a quiet, engaging character study that keeps us on the edge of our seats. It’s a perfect way to spend a rainy afternoon, though don’t wait for it to stream on the tube. See it on the big screen, so others of its ilk can find a slot at the multiplex between the franchise blockbusters. Hate to use a pun, but TUNER just hits all the right notes.

3.5 Out of 4

TUNER is now playing in select theatres

STAR WARS: THE MANDALORIAN AND GROGU – Review

So now it’s truly beginning to feel like the Summer movie season has really started in earnest. That’s because we’re finally returning to that galaxy “far, far away”. Now, I know that the last few Disney/Lucasfilm entries have been released in the Winter (always too late to be considered for any awards from the critics’ groups). But that wasn’t the case back in the glory days of the original trilogy (or episodes four through six, for the “hardcores”), when they’d be in theatres at the start, or near the Memorial Day holiday weekend every three years (77′,80′,83′), respectively. And can you believe that it’s been seven years since the last Star Wars theatrical release? Oh, this one’s not another “episode”, nor is it a sequel or prequel in the movie series. Rather, it’s the continuation of an incredibly successful streaming series that debuted seven years ago on Disney+, which is “SW-adjacent.” So let’s put our “X-Wing” in reverse to arrive only a few years after the events of RETURN OF THE JEDI for the big screen debut adventure of STAR WARS: THE MANDALORIAN AND GROGU. Hurry along now, for “this is the way”…


Indeed, the Imperials were soundly defeated in the finale of JEDI, but a few of those “bad apples” are still slithering about, trying to “shake down” planet systems in order to rebuild the Empire. That’s what is happening in this story’s opening sequence. Lucky for the good guys of the New Republic, they have hired former bounty hunter Din Djarin (Pedro Pascal), a member of the Mandalorian order, to track down and hopefully capture (for intel) these baddies. Oh, and he’s not a “lone wolf”. Din is aided by his trusty co-pilot Garazeb “Zeb” Orrelios (voice of Steve Blum) and his ever-present “ward”, the toddler Grogu, part of the race that spawned the legendary Jedi master Yoda. At the mission’s end, the trio travels back to the new “rebel base”. There, Din meets with his “liaison”, Colonel Ward (Sigourney Weaver), who tells him that this last gig got “messy”. And yet, she has a new mission for him: find a mysterious missing Imperial “high honcho”. Unfortunately, the only “lead” rests with members of the Hutt crime syndicate. Their price for the info: the rescue of the “kidnapped” son of the late Jabba the Hutt, Rotta (voice of Jeremy Allen White). After meeting with the Hutts, Din and company travel to the planet Shakari, where Rotta is far from being a prisoner. He’s a celebrated, adored gladiator in a high-stakes fighting pit. Yes, he doesn’t want to be rescued. This lands Din in that pit, and he eventually fights for his life back on the planet Nal Hutta, due to a big double-cross by the Hutt twins. Now, he needs a rescue, and his only hope is tiny Grogu and his band of even tinier Anzellan mechanics. So, will the Force be with them?

It’s a bit challenging to talk about the cast since the lead characters in the title are a man whose face is hidden under a helmet (for most of the runtime) and a…puppet (with a few CG enhancements). Still, Pascal projects a great physicality to the story’s main hero. especially in the intense combat sequences (he can move in that armour). Plus, he has an interesting “laid-back” cadence as Din barely raises his sometimes snarky tone, making his urgent commands and threats more dramatic. But, not to fret, we do see his “mug” for a few minutes. And big kudos to the team of “trainers” that guide Grogu in his often (too many for some) adorable escapades. White is also quite compelling as the conflicted Rotta, who quickly forms a bond with Grogu while resisting the efforts to return him to his “loving family”. The role of Ward should certainly “cement” Weaver is the “queen of science fiction fantasy,” though she is again relegated to being a “boss lady” until the big finale has her back in action, satisfying her many fans. Another human-like character is given an effete, menacing snarl by Jonny Coyne as the scheming Lord Janu. As far as the other alien “beastie”, the big “scene stealer” may be filmmaking icon, Martin Scorsese, as a very nervous, streetwise food vendor named Hugo, whose four arms really help him to “multi-task” in his cramped cooking space.


Putting this all together is series co-creator and director Jon Favreau, who also worked on the screenplay with producer/co-creator Dave Filoni, along with Noah Kloor. They crafted a largely effective expansion of the streaming show’s themes while giving these new exploits a much larger “canvas”. It’s visually stunning, from the exotic alien worlds to the often deadly and dangerous new alien creatures. In the big action arena, multiple beasties attack Din and Rotta, but many had a familiar look as I realized that this was an “homage” to that 3D holographic chess board from the original STAR WARS (y’know, “Let the Wookie win”). There’s also a massive, scary, and somehow beautiful snake/sea serpent that is perhaps the most formidable challenge to the heroes, though it will gobble up anyone. And, oh, those action set pieces that combine “super-heroics” with lots of John Wick-style brutality (Din blasts again for “good measure”). SO, fans get lots of “zap” for their time and money, especially in the pricier IMAX format, for which it was “forged”. And yet it somehow feels too long, with a lengthy lull as Din heals, which derails the pacing’s momentum and diminishes what should be a rousing final act. I hate to be a “party-pooper”, but the cutaways to the ‘so adorable” antics of Grogu and his mechanic buddies feel lifted from a frothy kiddie flick from decades ago. Plus, we really need to see more of Pascal, which Favreau avoided in his two IRON MAN movies (Tony has much more “face time” than his armored avenger). And this could very well have been a multi-episode arc in a new season of the streaming show. Technically, it’s top-notch, but Summer movie blockbuster fans may feel adrift in the cosmos by the sci-fi fantasy frivolity of the dynamic duo in STAR WARS: THE MANDALRIAN AND GROGU. Now somebody remove that lil’ green guy from the concession counter…

3 Out of 4

STAR WARS: THE MANDALORIAN AND GROGU is now playing in theatres everywhere

OBSESSION (2026) – Review

Hey, I know we were just there last month with LEE CRONIN’S THE MUMMY, but don’t you feel like making another visit to the “guys and ghouls” that reside at that creepy ole’ “Blumhouse”? Now, I’m not referring to an actual piece of decrepit real estate, but rather a movie production company that’s known mainly for cinematic terror tales, much like Hammer and Amicus over in the UK so long ago. This time out, they’re dipping into a bag of magical “thingamabobs” for a cautionary tale with a sardonic and very black sense of humor. So forget that dusty monkey’s paw and toss out the Arabian lamp, because this “deliverer of all desires” just may become your new OBSESSION. But, as the saying goes, “be careful what you wish for”. Very, very careful…

In the opening scene, we meet the story’s main protagonist, the morose, brooding “Bear” (Michael Johnston). He’s on a most precarious mission, not a big heist or a quest for treasures. No, he’s desperate to escape the “friend zone” in order to start a serious romantic relationship with his music store co-worker Nikki (Inde Navarrette). Bear just has to find the perfect moment to make his case. Perhaps it will be tonight after some bar trivia with two other “retail slaves”, Ian (Cooper Tomlinson) and Sarah (Megan Lawless). Oh, but a “pet emergency” has him backing out when he talks to Nikki on the phone. Bear hears some racket on her end, and Nikki says that she just accidentally dropped her crystal necklace down a drain. Ah ha! This could provide an “in.” Bear runs down to the “new age” trinket store for a replacement. But something else catches his eye. It’s a weird “Tchoksy” called “One Wish Willow”. This “old timey” toy guarantees that your wish will be granted after breaking it in two (it’s a wand-like wooden stick). At the end of the trivia night, Bear gives Nikki a lift home from the pub. And he botches his “pitch”. After an awkward goodnight, she heads toward her door. His frustration pushes Bear into giving this “new-old” toy a try (a “break”, really). He wants her complete and consuming love… and Nikki stops in her tracks and returns to his car. From then on, they’re a nearly inseparable couple. But Ian and Sarah think they’re also insufferable. Nikki begins to undergo a huge personality change, lying about her family and exhibiting even more extremely disturbing behavior (some odd culinary creations, for one thing). Yes, she is obsessing over him, hence the title. A desperate Bear calls the 800 number on the OWW box. The odd fella at the call center tells him that there are no “take-backs.” The only way to break the “wish” is for the “wisher” to die! Talk about an unbearable dilemma (sorry ’bout that)!


I suppose the main focus of the story is the “audience surrogate” Bear, played with a twitchy awkwardness by the energetic Johnston. He’s something of an “everyman”, full of yearning, but little confidence. It takes Bear a while to realize the full impact and awful consequences of his actions, but when it “kicks in,” Johnston is a sweaty ball of pure panic. But the film’s real “breakout” star is the amazing Ms. Navarrette, who impressed me for the last few years as Lana Lang’s daughter Sarah on the CW’s “Superman and Lois”. Oh, she has made the leap to the big screen with a gonzo, “go for broke” tour de force performance as the bewitched Nikki, a “dreamgirl” who suddenly becomes a nightmare. The switch in vocal intensity and her incredible physical contortions (and those rubbery facial expressions) earn her a spot in the loopy ladies of terror “hall of fame”, right next to Glen Close as Alex of FATAL ATTRACTION and Jennifer Jason Leigh’s Hedy in SINGLE WHITE FEMALE. Yet, somehow, Ms. N conveys Nikki’s tragic fate behind the frozen smiles (best shown during a nocturnal plea). To think she was the “sweetheart of Smallville”. Much of the standard comic relief is provided by Tomlinson as the party “bro” who is not quite the supportive “wing man” that he projects. Lawless exudes a tenderness behind the tough-talking punk chic stylings of the concerned and sympathetic Sarah. One of the more pleasant surprises is the supporting turn by a beloved TV comedy icon as the quartet’s befuddled boss (IMDB lists him, but I just can’t bring myself to spoil it).

It’s tough to believe that this is only the second feature from writer/director Curry Barker, as this is one terror tale brimming with confidence and a wonky style. And, perhaps due to his stand-up comedy past, a wicked sense of humor, from snarky satire to silly slapstick. Sure, we’ve gotten many variations of the “wish fulfilled” themes of regret, but Barker’s put a fresh spin in them, while harkening back to the “can men and women be friends” issues of WHEN HARRY MET SALLY (miss ya’ Rob) and even ALADDIN (Robin’s Genie can’t zap Jasmine into loving that “strett rat”). Barker also captures the intense “forced bonding” that occurs with “workmates”, especially those in their early 20’s. It’s a snarky sneer at old romcom cliches, even down to the “falling in love” montage (love the eyeroll from Sarah). Although the marketing gurus give away too much in the ads, this off-kilter, creepy romp still has lots of surprises and delivers on the scares with a sense of hopelessness and dread from one selfish little act. It’s just a shame that the film doesn’t quite “stick the landing” as the last act feels too rushed and the ending denouncement falls a bit flat (I want to stay with the duo for a few more minutes). Even with that caveat, those horror fans who have missed the mirth in the macabre may or may not be obsessed, but they should be entertained by OBSESSION. I wonder if they tried to get the rights to that old Jiminy Cricket tune?


3 Out of 4


OBSESSION opens in theatres everywhere on May 15, 2026

BILLIE EILISH: HIT ME HARD AND SOFT- THE TOUR LIVE IN 3D – Review

Hey, is this a movie website or a music website? The confusion is understandable considering the many music-based films that have already opened in 2026 (and we’re not at the halfway mark). I’ve reviewed two of them in the last couple of weeks, with the box office dynamics of the biopic MICHAEL and last week’s “shaggy dog” documentary PRETTY UGLY: THE STORY OF THE LUNACHICKS (worth a stream). And going all the way back to February, there was “the King” in EPiC (thank ya’ very much). I suppose this new film is a bit more of the latter, as it’s a “fly-on-the-wall” portrait of a music superstar and her “arena sell-out” tour. Specifically, it’s one stop on said tour. Oh, and it’s crafted (credited as co-director) by a man better known for SF/fantasy epics in glorious, eye-popping 3D. And this is shot in the same format, which closely approximates the experience of BILLIE EILISH: HIT ME HARD AND HIT ME SOFT-THE TOUR LIVE IN 3D. Sure, you’ll have to wear those glasses, but the concession prices are a lot less “pricey”!


The last big worldwide tour for this twenty-something singing sensation (she’s half an “EGOT” already) occurred over the last two years or so. The opening number puts us right into the enthusiastic audience (well over 70, 000) in Manchester, England, during two nights in July 2025 at the Co-Op Live venue. After “wowing” them with “Chihiro”, the film “backtracks” a few minutes to show how she snuck onto the giant floating LED-sparkly cube. Well, that can be “retired”. After another number, the “doc-clock” takes us to the hotel room of Ms. Eilish around breakfast time for a brief interview with her collaborator/co-director, James Cameron (yes, Mr. TITANIC and AVATAR). The film goes back and forth between the concert performances (with only a four-member band and a pair of backup singers), and the preparation details (sound and tech “checks”, backstage meetings, and some “dog time” with several local “rescues”). For those “newbies” (guess I’m one), we’re treated to some archival clips of Eilish playing at smaller venues (hard to believe she’s been at it for ten years), often next to another collaborator, her talented brother Finneas. Making this tour extra special, and perhaps a bit more daunting, is that she’ll be “out there” without the support of her “big bro”. But there’s seemingly no anxiety as the “petite powerhouse” has the ecstatic and extremely vocal fans in the palm of her gloved hand.

Now, I can’t claim that Eilish was an “unknown” to me before this new film. Of course, I heard her Oscar-winning songs from the last James Bond flick and BARBIE. However, I also streamed two previous movies (perhaps more like extended music videos) a few years ago, BILLIE EILISH: THE WORLD’S A LITTLE BLURRY and HAPPIER THAN EVER: A LOVE LETTER TO LOS ANGELES (which features several delightful animated sequences, so it was natural fit for Disney+), because I find her vocal styling relaxing and I was impressed with her comedic skills on SNL (she “held her own” with the great Kate McKinnon). It turns out that I had never seen her as a superb entertainer who also puts on a heckuva’ show ( I was reminded of Elvis in EPiC, telling reporters that his fans could just listen to his albums at home, so he owed them a spectacle for going out). As much as I enjoyed the concert sequences, I was perhaps more riveted by the interviews with Cameron (he’s pushing back against his “raging despot dictator director” rep by his easy-going eagerness to be merely a “reporter”), as she explains her desires and inspirations. Eilish is also quite an athlete, as her legs are taped up backstage (I’ll bet she really gets her steps “in”), and later shows off the scratches (some truly “deep cuts”) from reaching out to the audience. And nothing escapes her attention as we watch her make detailed notes on all the stage effects, especially the choice of color for each tune. In many ways, this film may actually be a love story at heart, between the artist and her audience, with each giving and receiving intense connection, despite the massive stadium throngs. I did find it off-putting to hear the crowds singing along with her every word in every song, muttering, “I paid to hear Billie, not the kids around me,” but Eilish revels in the waves of concentrated connectivity. And though much of her work tells of heartbreak and thwarted longing, Eilish exudes joy as she dashes about the stage and below it (there’s a real labyrinth just out of sight). Hey, I almost forgot to mention that the 3D isn’t gimmicky with only a few “in your face” shots of microphones and the huge dangling spotlights, though I often thought that folks in the rows in front of me were standing up to block my view. Needless to say, this would be best seen on the biggest screen with a top-of-the-line sound system (when it streams, I’ll certainly put it on “cc” to help grasp her lyrics). An engaging and entertaining (and informative) time can now be had at the multiplex (with better parking options than a stadium), experiencing BILLIE EILISH: HIT ME HARD AND SOFT-THE TOUR LIVE IN 3D.

3 Out of 4

BILLIE EILISH: HIT ME HARD AND SOFT-THE TOUR LIVE IN 3D is in theatres everywhere on Friday, May 8, 2026

PRETTY UGLY: THE STORY OF THE LUNACHICKS – Review

With MICHAEL dominating the box office last weekend, are you in the mood for another musical movie? Not another “biopic”, instead, how about a rollicking documentary? Here’s just the (theatre) ticket. I’ll admit that my music knowledge is lacking, as the only “girls bands” in my limited “sphere” are the Go-Go’s and the Bangles (well, I just recalled Banarama). It turns out that when the Punk Rock craze made its way “across the pond” from Britain in the early 1980’s, a quartet (often a quintet) of talented young women from the Big Apple decided to “heed the call”. They mixed driving “metal” beats with lots of high energy and showmanship (or should it be “show-woman-ship”) and lots of humor, beginning with their act’s name. It’s all explained in PRETTY UGLY: THE STORY OF THE LUNACHICKS.

The doc begins its story just a few years ago, as several of the original members are contemplating a reunion tour (the ole’ “We’re getting the band back together” bit). We’re quickly whisked away, back in time to NYC in the mid 1980s, a grimier and more dangerous era of that burg. That starting trio met in the school of performing arts from the FAME movie and TV show. They created songs inspired by favorite Tv shows like “The Brady Bunch” and hastily learned how to play their instruments (sort of the other way around for most bands). Their first gigs were chaotic (chants of “Show us your t#%&s” from the rowdy dudes), but they got their “mojo rising” and put together a wardrobe that defined their style: frizzed hair, spiked leather, and tutus. The last reflected a sense of humor, paired with “blacked-out” teeth and bold hair colors. Soon they’re touring the country with the Beastie Boys, the Ramones, and even the Go-Go’s. New members are brought in as some mainstays depart (many different drummers) as the road takes its toll with personality clashes and dramatic “affairs of the heart”. Things fizzled out at the start of a new century, when the ladies drifted apart to pursue new interests (the lead singer, Theo Kogan, was a Calvin Klein fashion model, while Gina Volpe went back into painting and design). Somehow their rabid fan base grew, and ignited a call for a return to live performances. The film profiles each band member and documents their qualms and excitement over going back “out there”.

Director/writer Ilya Chaiken has crafted a most informative and entertaining original story of this very influential band that more pop culture mavens (yours truly included) need to know about. The doc has a breezy, informal style that deftly meshes “talking head”-type interviews; besides the ladies, there’s the Go-Go’s Gina Schock, Miss Guy, and Debbie (Blondie) Harry! To recreate the time periods, Chaiken utilizes archival news footage (you can almost smell those NYC “mean streets), film footage from TIMES SQUARE, along with grainy Super 8mm (yeah) from the band’s collection (along with camcorder shots, sigh). The talented Ms. Volpe contributes some groovy underground comics-style animation over some photos (oh, and her art is fantastic). But the movie’s strength comes from the personal reflections of the members. Theo is perhaps the most articulate, Volpe is a bit more spirited, while Silver may be the most emotional as she frets over their stage return. Equally engaging is the unfiltered Becky West, a drummer from 89-94. We see her on a Howard Stern TV dating show sketch, and more importantly, we witness her “laying down the law” to some overly-aggressive “bros” at a venue. A most endearing “call back” is watching them encounter a huge subway photo from their “heyday”, now used as an ad. It seems that the ‘stage blood” rigged to make it seem as if their “monthly time” was “in sync” was airbrushed out. You bet they were edgy, though they have a sweet nostalgia for the hour spent in a camper crisscrossing the US and Mexico (the custom agents helped them out). As with many retrospectives of the time, “substances” play a big factor in the turmoil, along with romances (in the group and outsiders), which leads to their hiatus. It all paves the way for a delightful celebratory finale, though I would have loved some subtitles for the growly guttural lyric (I’m showing my age). Still, fans and “newbies” (guilty) will find much to enjoy in the rambunctious revelry of PRETTY UGLY: THE STORY OF THE LUNACHICKS.


3 out of 4

PRETTY UGLY: THE STORY OF THE LUNATICS is in select theatres, including St. Louis’ Hi-Pointe Theater for one night only at 8:30 pm on Thursday, April 30, 2026.

MICHAEL (2026) – Review

Okay, many would say that the Summer season got off to a very early start with the still-playing PROJECT: HAIL MARY and the animation “one-two-punch” from Pixar and Illumination. That could be the case, since the big box office race had, until recent years, its “starting line” on the first of May, and the “finish line” just before Labor Day. Well, the “starting gun” has been fired with this big-budget musical “biopic”. While many of these have been relegated to the “prestige” months near the end of the year (to qualify for awards), this one is setting its sights on a big “wide” opening in many, many screens. This makes sense, since the subject held a “royal” moniker. We’re talking about the “king of pop”, the sparkly “gloved” one, MJ, though this potential blockbuster’s title simply uses his forename, MICHAEL.


This cinematic retelling doesn’t begin with his birth. Rather, it opens sixty years ago, as an eight-year-old Michael Jackson (Juliano Valdi) and his four brothers, now dubbed the “Jackson 5,” are coached and trained by their papa Joe (Colman Domingo) while mama Katherine (Nia Long) adoringly watches. But the road to fame includes long, grueling hours of rehearsal and the savage punishments from Joe. Eventually, they are discovered by Motown Records exec Suzanne de Passe (Laura Harrier), who brings them to her boss, the company founder Berry Gordy (Lorenz Tate). He’s a kind, nurturing mentor, the opposite of Joe, who patiently tells the lad not to “move around so much” in the studio. The team is a sensation, as the story springs ahead to 1978, with the family now living in an Encino, CA mansion. But now 20-year-old Michael (Jaafar Jackson) lives a sheltered life in a bedroom filled with toys, animals, and ideas for a solo album, which irritates Joe. Thinking this will “derail the gravy train,” he tells Michael’s agents that he can do a solo album in his “off time” (after the team’s 9-to-5 schedule). MJ’s a smash “single act, and soon yearns for more artistic freedom. Encouraged by his Mom, bodyguard/driver Bill Bray (Keilyn Durrel Jones), and new attorney John Branca (Miles Teller), Michael becomes a solo superstar, hitting new heights with the most successful record of all-time, “Thriller, produced by Quincy Jones (Kendrick Samson). As the years pass, MJ dominates MTV with lavish music videos, amasses a zoo on the grounds of his home, “steals the show” on the “Motown 25th” TV special, and indulges in cosmetic surgeries (he’s haunted by the childhood taunts of “big nose”). But Joe’s not finished with him, as he pressures his son to join his brothers on the “Victory” tour and be part of a “tie-in” commercial shoot for a soft drink company sponsor. This leads to a life-changing on-set accident that sets in motion a plan for Michael’s independence.


The ensemble cast works hard to recreate these pop culture icons, especially the title role, which is shared by a pair of talented screen newcomers. Getting the “lion’s share” of screentime is Jackson (yup, he’s the nephew of the “superstar”), who is a striking physical recreation, particularly in the musical numbers. Yes, he’s got the “moves” down so well that it’s a shame that he’s given such a limited dramatic arc. In most scenes, Jaafar flashes a frozen, immovable smile as he’s showered with praise or deals with family drama. Still, there are a few flashes, as he picks his lawyer, or during a “creation” sequence. Valdi is completely captivating as a ten-year-old (claiming to be eight) Michael, effortlessly earning empathy, whether serenading an adoring throng or enduring Joe’s “guidance”. As the story’s main “villain”, the superb Domingo deftly conveys Joe’s bullying swagger, though, again, we’re not given much insight into his motivations, other than greed. Teller also has little to work with, as Michael’s champion, who is often just a supportive ear and often verges on the old “white savior” cliche. Much could be said of Jones as the “dad surrogate” Bray. Long is solid as mom Katherine, who is finely given some strong scenes against Domingo in the third act. And kudos for casting a beloved comic treasure in a cameo role that harkens back to another musical biopic (no spoilers from me).

As I said, the musical recreations are exhilarating, reminding us of the exuberant sense of nostalgia, when the world seemed to float on a cloud of pop tunes (the 5 was perhaps the most fun act since the “Fab 4”). But for those hoping to get much more depth into this “pop royalty”, well, the film’s story is too light and fluffy. It’s a surprise since that comes from the man behind the “down and dirty” TRAINING DAY (can it be 25 years now), Antoine Fuqua. This is truly sanitized and pretty “toothless”. Since it’s authorized by the Jackson estate, Michael is so angelic, he often appears otherworldly (that’s why he’s an alien in the first MEN IN BLACK). It’s almost “The Adoration of Michael” as we see countless scenes of him doing visits to kids’ hospitals and bonding with youngsters in his happy place, “Tom’s Toys” (we know its real name). And then there are scenes so sweet your molars might ache, as Michael immediately bonds with pet chimp Bubbles, who seems to have been transported from the CGI ape world from that SF franchise, along with a whole pixel menagerie. Perhaps this “scrubbing” was needed in order to showcase and promote the music catalog and appease the family. But not everyone was on board, as sister Janet is not only absent, she’s never mentioned, leaving La Toya to be his fawning lil’ sis’.Still, there are a couple of sequences that offer us a glimmer of a more interesting biopic, including the aforementioned “creation” of one of his greatest hits, “Beat It’, and the hiring of Branca (“He’s my guy.”). Also in the film’s plus side is the superb production design by Barbara Ling, the costumes by Marci Rodgers, and the entire srt department and makeup team, though Joe looks a bit rough as he’s “de-aged” in the mid-60s opening. Those wanting to bathe in the musical memories will be blissfully taken back to their youth, but those of us who recall the later controversies and tablod “fodder” will find little “substance” in this “puff pastry”. At the final fade-ot we’re teased with a possibel sequel. If so, let’s hope it has a lot more dramatic heft than the sparkly simplicity and “canonizing” of MICHAEL.


2 Out of 4

MICHAEL is now playing in theatres everywhere

YOU, ME & TUSCANY – Review

With Spring in full bloom, are you hoping that love (at least on the big screen) is also blossoming? For those fans of romantic flicks with a healthy dose of comedy (maybe more swoony passion than yuks), 2026 hasn’t been much of a harvest. REMINDERS OF HIM really leans into melodramatic tragedy. And then there’s last week’s big release, THE DRAMA, which starts with the old reliable “meet cute” with lots of chemistry between the two leads, then takes a very sharp “turn” into the dark, almost “pitch black”, squirmy, sardonic. Where are the exotic locales, and the smouldering looks of desire between two likable, extremely photogenic actors? Well, right now. You can tag along, via the multiplex, to a far-off fantasy destination as the “seat mate” to YOU, ME & TUSCANY. Just be prepared for a “pasta-palooza”.


Ah, but the opening scene locale is right here in the States, the “Big Apple”. Lovely twenty-something Anna (Hallie Bailey) seems to “have it all” as she sashays through NYC. But we soon find out that all is not what it seems. She’s adrift, making a meager living as a housesitter. Her plans to be a chef were squelched when her mother passed, and she couldn’t graduate from a swank culinary college. Luckily, her BFF Claire (Aziza Scott) can score her a room at the high-end hotel where she works. At their bar, Anna strikes up a conversation with a charming Italian visitor named Matteo (Lorenzo de Moor). Over many drinks, he tells her that he travels the globe, while leaving his family’s opulent Tuscan villa empty. Anna mentions that she and Mom had planned an Italian trip and still has the unused airline ticket. Matteo tells her that she must make the trip soon. When jet lag gets the better of him, Anna does a “phone drop’ and gets the pics of his “crib”. Of course, she heads to Tuscany without a plan. And it’s the time of the big Summer festival, so every room is booked. Aha, since Matteo’s place is empty, why not “crash’ for a couple days. Anna finds the house keys and, after a night’s slumber, does some “exploring”. She finds a gorgeous ring…and it’s stuck on her finger. As she tries to remove it, she’s “caught” by Matteo’s Mama (Isabella Ferrari) and Nonna (Stefania Casini), who have dropped by to clean the place. As Anna sputters an explanation, they spot the ring. She must be his fiancée! Anna goes along with the “fib” in the hope she can sneak out of town soon and fly back home. But things get complicated when the family warmly embraces her (this means Matteo will finally return to them). And then things get “super-complicated” when Anna meets Matteo’s dashing, gorgeous wine-making brother/cousin Michael (Rege’-Jean Page). Should she risk sticking around and hope that she’s not exposed as a fraud? Oh, but there’s a real spark with that “grape-grower.”


I think I alluded to the charm and “pleasant presence” of the two leads earlier. Getting most of the screen time (well, it’s really her story) is the bubbly Bailey, who easily gets the audience on her side despite some questionable decisions as Anna. She’s adept as the “straight” to many of the often silly supporting players, while showing her budding attraction to the splendid Page, whose engaging smile often masks the hurt of loss and loneliness. Of course, he’s initially brash and caustic to Anna when they meet, but the “icy wall” slowly melts away. Much of the cast is there to “punch up” the comedy, and though often they “land” a few. The best “boxer” might be Scott, who’s the “sounding board” for Anna’s ideas while trying to “ground her” while playfully tossing the “B word” (y’know, the lady canine). Matteo is an engaging “cad” thanks to the character choices from de Boor. The first ‘local” in Anna’s “corner” is a most helpful taxi driver played with an endearing sense of fun by Marco Calvani. And then there’s the “familia”. Ferrari warmly embraces Anna, almost from the start, while Casini elicits laughs with her suspicious glances and feisty spirit. Stella Pecollo really “goes for it” as the bubbly free-spirited Francesca, quick with a slapstick leer. Grounding them all is the stern, stoic patriarch played by the intimidating Paolo Sassanelli.


Guiding this group is director Kat Corio, a TV vet who last scored in features with the J. Lo vehicle MARRY ME. This is a bit of a step up from the ludicrous premise of that one, but she often hits the comedy beats too hard with this, leaning in hard with mugging clos-ups and clumsy physical schtick. She does better in the quieter scenes of Anna falling for Michael, although Corio uses the tired cliche of the leads bonding during a long montage, their dialogue replaced by a forgettable pop tune. Ah, well, the target audience for this isn’t looking for realism, but fantasy fluff. And it’s got that to spare, along with the dazzling location and drool-inspiring cuisine (Matteo’s family runs the big restaurant). So, we’ve got both travel and food “porn” here. And lots of cute, colorful sitcom tropes. especially middle-aged lady tourists leering at a shirtless Page (as Slappy Squirrel used to say< “Now, that’s comedy”). Really, this is a pasta-fueled big -budget expansion of so many basic cable TV flicks (minus the holiday themes) that coast on the locales and the charm of the leads. Fans of this kind of “comfort food” will certainly feel full afterward, while anyone looking for anything more substantial will be famished by the “lighter than air” frivolity of YOU, ME & TUSCANY.

1.5 Out of 4

YOU, ME & TUSCANY is now playing in theatres everywhere

OUTCOME (2026) – Review

So, does Hollywood love itself or what? Sure, but to be more specific, Hollywood really loves movies about itself, be they biopics or slightly fictionalized flicks (looking back a few years to the sublime ONCE UPON A TIME IN HOLLYWOOD and the abysmal BABYLON). This even extends to streaming shows, such as the monster hits (and Emmy winners) “The Studio” and “Hack”, which is just starting its final season. And now the service behind the former series is premiering a fiction feature that puts a satiric spin on recent “career crashes’ and full media disasters. One of the reasons that this may feel a bit more “legit” is because it’s directed and co-written by an actor who has been a media fixture himself, and survived a few “hiccups” for the last couple of decades or so. Now we’ll see the “fruits of his labor” as AppleTV presents the final OUTCOME.

After a nifty prologue involving some creative audio “tinkering” of a classic TV show in a flashback, we’re back in the “now” with former child performer turned two-time Oscar-winning cinema superstar Reef Hawk (Keanu Reeves) as he embarks on a career “restart” after a five-year hiatus. The public thinks that he was taking a break to “recharge”, but his “inner circle” knows (and they’re keeping mum) that Reef was kicking a nasty heroin addiction. Luckily, he’s got a couple of very supportive high school pals, Kyle (Cameron Diaz) and Xander (Matt Bomer), in his corner. They love him, but they’re quick to call out any b.s. on his part. Then, after a tense TV interview, some really big b.s. hits the fan. Reef gets a “panic” call from his excitable lawyer/ consultant, Ira Slitz (Jonah Hill). Seems that an anonymous party is in possession of a “career-destroying” video that they’ll leak unless Reef coughs up 15 mil. But he’s certain that he’s never made a video or been part of such a thing (at least willingly). Ah, but Ira has a plan. While they await word from the blackmailer, Ira thinks that Reef should make a list of those who might have reasons for revenge, then contact them and apologize. Reef can only think of a couple of people from his past, but his trusty “girl Friday,” Sammi (Ivy Wolk), rattles off more than a dozen suspects. Thus begins Reef’s long trek down memory lane as he tries to “make amends” and squelch this scandal before it is devoured by the hungry media outlets.

As the story’s main focus, Reeves as Reef, is almost an enigma as we attempt to grasp exactly what’s going on inside him. He’s somber and stoic, almost returning to his John Wick persona (minus all the physical carnage). But, for a few moments, Reeves gives us an insight into Reef’s bubbling-over inner turmoil after finding that nostalgia’s not always a warm and fuzzy journey. He’s the opposite of Hill as the bombastic Ira, a character so abrasive that we are perplexed by his command skills over his high-end law firm. He’s often cringy, but not in an endearing way, making us wish that the director had reigned him in (more about that in a bit). Diaz and Bomer make a strong team as he’s loopy, while she dishes out the needed “tough love.” It’s nice to have Diaz back after a long hiatus from films. There’s a real “murders’ row” of superb supporting actors. I was especially impressed by two daytime TV icons. Drew Barrymore appears to be having a great time skewing her “sweet” image. Ditto for Susan Lucci as Reef’s fame-hungry mama, who will only talk to him while on camera for her reality TV show gig, as she wears a wacky “uplifting” wardrobe. Oh, and both don’t shy from dropping lotsa’ “F bombs”. The most touching work may be from Martin Scorsese as Reef’s long-ago agent, a low-rent (his office is a table at a retro bowling alley) West Coast Danny Rose-type known as “Red”. Those eyes are weary and sad, but Red knows that he’s merely a starting point for fame, to be discarded and forgotten. Oh, and we get a nice underplayed performance by SNL vet David Spade as Reef’s laid-back neighbor, Buddy.

So, the director who didn’t tone down the actor playing Ira is Jonah Hill himself. It is a step forward from his previous fiction flick, MID90S, though he still has a tough time in maintaining a brisk pace. Many scenes need a trim, even though the film clocks at 83 minutes. Perhaps we could’ve seen more of Reef during the heyday of his stardom, and with more time devoted to Ira’s staff, since the great Laverne Cox and Roy Wood Jr. don’t get time for their comedic skills. That might be due to the script by, you guessed it, Hill with Ezra Woods. They do capture the look of sun-drenched decay of “La La Land.” Still, the film feels a bit “under-cooked” with a resolution that’s too abrupt and unsatisfying, as we don’t grasp Reef’s trajectory for his life. Reeves always turns in interesting work, and those Luci and Barrymore cameos are fun, but it’s not enough for a really compelling and concise OUTCOME.

2 Out of 4

OUTCOME streams exclusively on Apple TV beginning on Friday, April 10, 2026