Jim Batts

SPIDER-MAN: BRAND NEW DAY – Review

As we trudge past the miserable heat of July, many movie fans might think that the Summer season of blockbusters is over with the arrival of August. And they would be wrong. Just as it appeared that TOY STORY 5 would be crowned box office king of 2026, film franchise royalty returns after a five-year hiatus. Ah, but with his comic book roots, will the media pundits crying “superhero fatigue” be proven right, especially after SUPERGIRL failed to take flight? Well, from the internet buzz and the spectacular ticket presales, it looks like this scrappy wallcrawler has many more “webs to spin”. But with a new director guiding that trilogy’s trio, his many fans are bracing for a different era in SPIDER-MAN: BRAND NEW DAY.

Here’s the cover to a paperback prose story with the then CBS TV stars back in the late 70’s!

Yes, a new, more subdued tone is established in the opening moments of this installment. The spell cast by Dr. Strange in the previous film hasn’t weakened. The world has forgotten Peter Parker (Tom Holland), who is now living on his own. When he’s not working as Spider-Man with his NYPD connection (unofficially), Det. Jean DeWolff (Liza Colon-Zayas), Pete is following the constant online video updates (all through MIT) of former BFF Ned Leeds (Jacob Batalon), with cameos from his roommate pal, MJ (Zendaya). And yes, Pete’s still carrying a “torch” for his lost love. Which is why he’s spending so much of his time as the Big Apple’s protector. Naturally, things get very weird when a super-villain he helped put away, Mac Gargan AKA the Scorpion (Michael Mando), is sprung from the fortress run by the feds at the Dept. of Damage Control by a mysterious mind-controlling force that jumps from one person to another, after a janitor commandeers a tank. Complicating things is the unwanted “help” from NYC’s other, less-adored vigilante, Frank Castle AKA the Punisher (Jon Bernthal). After a briefing by DODC chief Bill Metzger (Tramell Tillman), Pete runs into Ned as he grabs some supplies for his big housewarming party. Following him, Pete crashes the party and sees MJ there with her new beau. Later that night at his home, he seems ill and faints. The next morning, Pete wakes up in a web cocoon, outside his window. Something’s happening with his body and mind. Could his spider-enhanced DNA be mutating? A visit with celebrated ESU prof Bruce Banner (Mark Ruffalo) just raises more questions. Can Peter survive this “metamorphosis “, while stopping this new menace that appears to emanate from a shadowy young woman (Sadie Sink)? And will he find a way to reunite with his old friends turned puzzled strangers?

Despite the large, impressive supporting cast, this story belongs to Holland’s maturing Peter Parker and his arachnid alter-ego. Here he expands on his dramatic talents, going even further into pathos from the last entry. Though a lot less awkward (somehow more confident in uniform), Holland leans into the tragic consequences of his fateful, mind- and world-altering, though selfless, decisions. And that’s coupled with his panic over the strange alterations in his mind and body. Certainly, Holland is more than up to the challenge, despite having played the role for ten years over six movies. His “heavy-lifting” emoting is done with his leading lady, now real-life wife Zendaya, whose MJ still has a snarky, dark attitude, but has learned how to let people “in”. Her big “revelation” scene with Holland is a heart-tugging highlight. Their rapport is balanced by the sweet-natured charm of Batalon, who somehow becomes more enduring, even as his Ned becomes “Spidey-obsessed” (love his “tracker”). If there’s a “scene-stealer” in this flick, the title would belong to Bernthal, who brings a lot of heart to the world-weary, cynical Castle, a role he’s honed over several streaming TV shows. This “flip-side” spin on crime-fighters is a welcome addition to the story. And it’s great to see Holland finally sharing some scenes with Ruffalo, whose Banner is an easy-going, affable academic and another mentor ala Tony Stark. Sink is somehow sinister and sympathetic as the villain that’s more than her sometimes “evil deeds”. Speaking of mentors, Colon-Zayas is another nurturing maternal influence on Pete, and a great partner, much like Inspector Henderson on the 50’s Superman TV show. And I don’t want to spoil it, but the film also has great sequences with two wonderful actresses, one that figures in the MCU future, while the other is a sweet return from a past fave.

Here’s the Spidey story that introduced the Punisher!

So who has replaced Jon Watts after his time as director of the previous trilogy? None other than Destin Daniel Cretton. After helming the Shang-Chi feature (which should’ve had a sequel years ago) and the superb streaming show “Wonder Man”, Cretton injects quite a bit of real-world grit and a streetwise style (truly “friendly neighborhood”) into the Spidey saga. Although two of the main series screenwriters, Chris McKenna and Erik Sommers, penned this one, it eschews much of their bouncy, whimsical sensibilities. This helps in setting it apart from high school romps and shenanigans, with the main trio mulling over their place as adults in this grounded setting. Aiding in this is the moody camera work from Brett Pawlak, which still meshes with the soaring music score by the returning Michael Giacchino. There’s no rehashing done, although there are some nice nods to MCU history and the memories of Pete and his pals. This helps in getting past a few wonky subplots (without Stark, how is all that tech acquired?). All the effects (love the “zombie pulse waves”) work well, especially with the thrilling action scenes (this Hulk truly smashes). With so much to enjoy, the final act doesn’t wrap things up in a satisfying manner, with no real “sign-off” with a major character. But fans will enjoy seeing Spidey with two other comic stalwarts (three really), and the tykes will get to see their hero in dazzling action with some of the best “city swinging”, though there are some dark, scary moments. It doesn’t quite “stick the landing”, but there’s lots of what makes the “web-head” endure for over 60 years (lots of “mushy stuff” in the Stan Lee-penned tales) in the exciting and often amazing SPIDER-MAN: BRAND NEW DAY.

3.5 Out of 4

SPIDER-MAN: BRAND NEW DAY opens in theatres everywhere on Friday, July 31, 2026.

THE DINK – Review

As World Cup FIFA fever cools off, while Major League baseball continues to simmer in the hot July sun, some fans may want to get their sports movie fix at the multiplex. Or better yet, on their big-screen TVs on a streaming app. Looks like Apple TV has just the ticket (without having to purchase a physical one). But no, this comedy isn’t in the world of soccer (yeah, football) or America’s pastime. You see, this activity is still pretty new, but it’s catching on. And it’s as addictive as the food in its name to many. It’s pickleball, though the title comes from that “hybrid’s glossary”, a soft “tap” called THE DINK.

Now, by “hybrid”, I’m referring to PB’s roots in another sport: tennis. This story begins with a young prodigy of that game, Dustin Boyd. We see him as a toddler, guided by his tennis pro pop, Chuck. As Dustin enters his teen years, his skills and ego expand, becoming known as “The Hammer”. But an agonizing defeat from a real-life “king of the court” quickly sends him into a downward spiral. Cut to now, as the almost middle-aged Dustin (Jake Johnson) works as a “pro” at his father’s (Ed Harris) ritzy tennis club. Tightening his “old school” headband, Dusty regales bored teens with tales of his former glory, while his adoring assistant PJ (Aaron Chen) delights with every word. All would be okay if not for the elders playing pickleball on a run-down court. In Chuck’s office, the PB liaison Skip (Patton Oswald) pleads for an extension to the club in order to offer more courts. Ah ha! Citing an obscure entry in the club’s handbook, Chuck tells Skip that this can be resolved in a “duel”, his best player against the PB champ. If Skip’s player wins, the expansion happens. If not, the pickleballers will vacate. Chuck holds a tryout (much to Dusty’s chagrin), and his son is victorious…until the ending jump over the net. Dusty busts up his wrist again…and he’s out of the match. And what does his doctor (Ben Stiller) prescribe? The dreaded pickleball. When Dusty goes to a big PB park, he encounters a trio of mature ladies. For a doubles game, he’s paired with the lovely divorcee Candace (Mary Steenburgen). The two squabble at first, then gradually a friendship begins. But could they “pair up” off the court? And does Dusty’s loyalty belong to tennis, and his pop, or will he join forces with this squad of scrappy seniors?

In his first leading film role since 2023’s SELF RELIANCE, Johnson channels his inner “man child” to make the often churlish, self-aggrandizing Dusty somewhat endearing. His boiling frustration is slowly tempered as Johnson delivers a convincing “character arc” when the “vets” inspire him to finally “grow up” ( and “grow a pair”). And unlike “The Hammer”, Jake’s a generous acting partner, particularly with the ever-radiant Ms. Steenburgen. She deftly mixes a cynical toughness with an aching vulnerability, especially as she contends with a dour ex-hubby. Happily, this Oscar-winner’s exchanges with Johnson crackle. Another screen stalwart, Harris, is the ultimate, hard-nosed “bad dad” who almost delights in slamming his “failed champ’ of a son. They all carry the emotional weight of the story, while the off-kilter, hysterical Chen expertly steals almost every scene with his strange comic timing. His PJ is a clueless goof with a heart of gold, despite a truly odd “kink”, reminding us of the old adage “whatever floats your boat”. Oswald is in full “dweeb” mode as the twitchy Skip, who won’t be verbally bullied by the dismissive Chuck. A couple of SNL vets have cameos: Chris Parnell as a club rival, and Chloe Fineman (who just exited the show) as Dusty’s conniving ex-girlfriend. The real tennis world is represented by iconic “racket-men” John McEnroe and Andy Roddick. Adding some sentiment are Candace’s pickleball sisters, Cleo King as the uninhibited Gail and Judy, played by the “queen of Pee Wee’s Playhouse”, yes, Miss Yvonne herself, the late Lynne Marie Stewart, in her final film performance.

Considering how much I enjoyed the director’s BARB AND STAR GO TO VISTA DEL MAR (just the silliness I needed during the “lockdown”) and the touching doc WILL AND HARPER, I had high hopes for the latest work from Josh Greenbaum. I did chuckle frequently, but it all seemed too familiar, with a tone reminiscent of the many sports comedies of Will Ferrell, who actually has a new Netflix sports-comedy series, “The Hawk”, set in the world of pro golf. Dusty’s another “child-man” confronting his past while trying to change his attitude and his career trajectory. And learning to care about others. Now, there’s what frustrated me. At around the midway point, the story seems to shift into a most unconventional (certainly for Hollywood) romance (the ole’ “May/December”). And then… the filmmakers “chickened out” in order to return to a “tried and true” finale/showdown. Maybe it didn’t “test well” or perhaps the “suits” nixed it, but this certainly derailed the plot’s welcomed detour. But the cast certainly has honed their “comedy chops” (looking forward to more of Mr. Chen), so their fans should find fun on the courts, although a bravado “love match” would have put me over “the line” and away from the “kitchen” (PB terms) with THE DINK.

2 Out of 4

THE DINK streams exclusively on Apple TV beginning on Friday, July 24, 2026

GAIL DAUGHTRY AND THE CELEBRITY SEX PASS – Review

A week or so after all the well-deserved celebrations for the centennial of EGOT legend (my fave, BTW) Mel Brooks (one hundred years of him…hurrah, hooray), I was wondering where the comedies are in this cinema Summer season. Sure, there have been lots of funny moments, especially from the toys and the Minions, but nothing like the past warm weather visits from ZAZ (Abrahams and the Zuckers behind AIRPLANE!) or the Farrelly Brothers (THERE’S SOMETHING ABOUT MARY). Of the recent funny flick helmers, Judd Apatow’s streaming stuff, while Paul Feig serves up pulpy suburban thrillers like THE HOUSEMAID. True, we’ve gotten a JACKASS, though many consider it a doc and a reboot of SCARY MOVIE. Well, this weekend gives us two comedies that strive for two different “S words”. “Sophisticated” suits the very provocative THE INVITE, while “silly” best describes GAIL DAUGHTRY AND THE CELEBRITY SEX PASS. And with all these turbulent times, we can use a big helping of the latter…

This sophomoric saga is instigated by Frank (Fred Melamed), the friendly mailman walking the pleasant, picture-perfect streets of a Kansas suburb. On his route is a perky hair stylist named Gail Daughtry (Zoey Deutch) who is weeks away from marrying her high school sweetheart, Tom (Michael Cassidy). Her best work pal, Otto (Miles Guiterrez-Riley), is also looking forward to a “beauty professionals” convention in fabulous LA. The raunchy salon gossip turns to the “celebrity sex pass”. Otto explains it to the confused Gail. Couples agree that each can have one agreed-upon celebrity “pass” for “guilt-free” intercourse. She laughs it off when Otto suggests that she join him so that she can “cash hers in” with her TV crush, Jon Hamm. Later, Gail brings it up with Tom as they take in a book signing by a big TV and film star (I won’t spoil it). On an impulse, Tom had named her, so… he does “cash in”. An angry and upset Gail then tells Otto that she’s changed her mind. She’ll join him in “La La Land” for the convention and a hot, steamy slice of Hamm. But things get complicated upon their arrival when her case of brushes gets switched with a case of top-secret papers meant for an ill-tempered, impatient mobster queen named Ludovica (Sabrina Impacciatore). As Gail enlists the aid of an unlikely, motley “posse”, Otto, a frustrated “paparazzo named Vincent (Ken Marino), Caleb (Ben Wang), an eager ex-CCA intern/agent, and “Mad Men” co-star John Slattery, two “enforcers”, Sergio (Joe LoTruglio) and Niccolo (Mather Zickel) are hot on her trail for that case. Will they “whack ” her before she gets wild with the former but forever “Don Draper”? Only in Hollywood (and the movies)…

A most impressive comedic cast truly “goes for broke’ in every role, even the smallest. Ah, but the lead is the title heroine Gail herself played with pluck and energy to spare (I was reminded of the classic Ed Asner/Lou Grant line, “I hate spunk!!”) by the adorable Ms. Duetch. Far from being the cliche small town “prude”, Duetch gives her an open spirit, eager to experience all (yup) of life’s pleasures. Her “partner-in-crime” (chaos, really) is the equally curious (about everything “bi”) Otto, who’s given a perfect “best pal/ not quite straight man” tone by Guiterrez-Riley. He’s the leader of “Team Gail’ overseeing Wang as a bold “child man” (he’s always talking about “Mommy”). Marino as the “seen it all”, jaded photog Vincent (chuckling at these “rubes”) and Slattery in an inspired bit of self-mockery, riffing on his “second-tier” star status. Oh, that big star, Mr. Hamm, again exudes pure comic charisma, parodying his leading man looks with a buffoonish, bawdy bravado. His arrival late in the last act is well worth the wait, though he’s referenced throughout (Vince can’t get the pic). As I said earlier, I don’t want to spoil the delight in the other big celeb “pass”, but she also revels in skewering her fabulous fame. Melamed sets the mood of anarchy in those first moments, while LoTruglio and Zickel are spot-on on the deadly but dumb duo after the “Gail gang”. Oh, and there are also many other star cameos along with quick bits from comedy cutups (Tobie Windham as Hamm’s “muscle”) from classic TV.

Acting as the co-ordinator of the “crazies” is comedy vet David Wain, who co-wrote the script with his old partner from the cult MTV show “The State”, Marino (there are other alumni from that cable classic along with “Party On’ and “Childrens Hospital”). But Wain has been busy in features, with ROLE MODELS and THEY CAME TOGETHER, among others. Here, he’s following in the tradition of ZAZ with a barrage of gags and bits, with many hitting their target (about 65% or so), although with LA it’s the ole’ “fish in a bucket”. I’d say most of the jokes work, though some recurring bits never “kick in”, like the mob queen’s skin obsession, or Michael Ian Black’s street vendor. And the big, ultra-violent showdown with the baddies gets a bit tiresome. But then, the Hamm arrives and all in gold (or fool’s gold). Unlike the AIRPLANE team, Wain and Marino aren’t adhering to a single source script, but this story’s “inspiration” becomes obvious by the midpoint. To quote the old auto ad line, “your mileage may vary”, depending on your tolerance for the tacky, tasteless, and gloriously goofy. Well, we can use some “silly” right now, much as how my spirits were lifted by BARB AND STAR GO TO VISTA DEL MAR during the waning days of the pandemic. It isn’t Noel Coward or THE INVITE, but it’s pretty inventive, and sometimes witty (much like “The Studio”). So, offset a laughter “workout” with that sweet AC at the multiplex with GAIL DAUGHTRY AND THE CELEBRITY SEX PASS. Now, could I “pull off” a “whip-curl”?

3 out of 4 stars

GAIL DAUGHTRY AND THE CELEBRITY SEX PASS is now showing at theatres everywhere

MINIONS & MONSTERS – Review

So, after seeing the new TOY STORY installment (at least once), you say that ya’ just can’t get enough of CG animated franchises? Well, the multiplex movie gods have answered your prayers. Less than two weeks after the return of Woody, Buzz, and their plastic pals comes the newest flick in a series that’s almost half as old. Technically, this is the seventh one in the series, but it’s really the third of the spin-offs. So, has this gang of jabbering yella’ fellas “worn out their welcome”, or do families need another visit from them? Hold on, looks like they’ve brought some company, since this comic adventure is titled MINIONS & MONSTERS.

After a really nostalgic and clever opening credit sequence, we join an inquisitive tour group at a Hollywood movie history museum. When their guide, Olivia (the voice of Allison Janney), shows them the display honoring the Minions, the kiddies are perplexed. She explains as we begin a flashback to a time long ago when the Minions were in search of a “big boss” (they have to be sidekicks to somebody evil and worthy). When things don’t work out with several potential candidates, they make their way to North America. Naturally, there are rebels in the mix (a trio): the plump, silent Ed, artist James, and the dreamer, the writer of stories, Henry. In a desert out West, the team spies a desperate bandit on horseback as he tries to elude a determined posse. Ah, but it seems that the “M squad” has stumbled onto the set of a silent movie in the 1920s. When the chase ends in bustling LA, the flick’s director, Max (Christoph Waltz), believes his epic is ruined. But when he shows the footage to his bosses, Frank and Elwood, the heads of Bright Brothers Studio, it’s a sensation. The duo proclaims that the lil’ guys will be in all their features from now on. Max finds them and proceeds to make the Minions big, popular movie stars. Still, Henry and James want to tell their own stories. But fame is fickle, and the guys fall out of favor with the arrival of “talkies,” AKA sound films. Henry believes that the sure way to get back “on top’ is to make a monster movie. However, all his yellow buddies, except James and Ed, decide to resume their “big boss” quest. Luckily, Henry still has a book of spells from a wizard, so they conjure up a monster, saving on special effects and makeup. Ah, but the lil’ green guy, Goomi (Trey Parker), has an evil scheme up his sleeve. Can he deceive the trio? And what happens when the other Minions find a new “candidate”, a robot-costumed science-fiction fan named Dort (Jesse Eisenberg)? Will they reunite to stop Goomi and finally meet their dream “mastermind”, Gru?

As the old TV commercials used to say (maybe still do) “your mileage may vary”. Here, I’m referring to your own feelings and tolerance for the lil’ “banana bros”. I still find them somewhat amusing in small doses, so I had some trepidation about a third feature. However, much of this does work, at least in the first act or so. By delving into their past, we’re given new backdrops for their comic chaos with some nicely designed “masters”. The international settings are great, but the artisans really shine as they recreate La-La-Land from a hundred years ago. The colors are dazzling with the city still shiny and new. Plus, this works in lots of nifty tributes to the classic stars of the time, though the museum settings also do this with a fun filmmaker cameo. We get a nice riff on the oft-told tale of silents going from sound, perhaps best seen in SINGING IN THE RAIN and THE ARTIST (let’s try to forget the wretched BABYLON). Oh, this would be a terrific TV special, a splendid streaming thirty minutes or so. But then, it keeps going. The plot requires the M’s to split up and bounce between the “A and B’ stories. And neither are half as engaging as the opening. Per the title, we’ve got to meet those monsters, led by the Lovecraft-inspired Goomi, with Parker tweaking his Cartman tone. His larger henchmen, Howard and Phil (aha, H P), aren’t that interesting, though Irene, the “mega-monster”, is more compelling with her zillion eyeballs floating in caramel pudding look. In the “B” zone, Dort doesn’t transcend the old “nerd SF geeks” cliches even as he begins a romance with a sweet suffragette, Debbie, voiced by Zoey Deutch. As for the other vocal talents, Bridges seems to be having fun as the twins (one mellow, as the other fumes), and Waltz brings lots of Stroheim-zeal to Max. Once more, all the Minions are played by this film’s director, Pierre Coffin. It’s a shame he has to pad out the plot, since the physical acting is superb and the images compare favorably with the Pixar wizardry. But by the time the extended finale showdown finally concludes (guessing this is a kaiju/Kong satire), the kids may be exhausted beyond the somehow lengthy ninety-minute runtime. It’s an improvement over the previous two flicks, but the separate plots and urban destruction detract from the silent era celebrations at the heart (and opening) of MINIONS & MONSTERS. And, speaking of the latter, why are there none of the classic movie monsters in this release from Universal Studios (at least Lon Chaney, Sr.)?

3 Out of 4 Stars

MINIONS & MONSTERS opens in theatres everywhere on Wednesday, July 1, 2026.

SUPERGIRL (2026) – Review

As we’ve come to expect for the last several decades (the past three or so), Summertime is a “super-time” at the multiplex (and the box office). Bonnie’s toy box burst open the season officially last weekend, so it’s time for a comic book crusader to literally swoop in and rescue us from the warm-weather duldrums. Mind you, we met lots of aliens a couple of weeks ago with Spielberg’s newest, so film fans should be primed for an even friendlier “strange visitor from another planet”. Nope, it’s not the newest version of “big blue”, but rather his cousin. This harkens back to the strategy of the producers of his “touchstone” big screen outing of 1978. The late, great Christopher Reeve donned the cape for three outings before a “spin-off”. Of course, the dynamic team of James Gunn and Peter Safran, the keepers of the DC film franchise, isn’t following that “playbook”, so now we’re meeting the “girl of steel”, SUPERGIRL.

In the story’s opening moments, the title character, AKA Kara Zor-El (Milly Alcock), has been “over-celebrating” her 23rd birthday. She’s trying to “sleep it off”, but her faithful puppy Krypto will have none of that. Neither will her cousin Clark AKA Superman (David Corenswet), who transmits a video “B-day” greeting to her spaceship/crashpad. That vessel is parked on a “red sun” planet, so Kara’s enduring a full-on hangover. Down the way, the home of a weapons crafter named Elias Knoll gets a most-unwelcome visit from the sadistic leader of the space pirates known as the Brigands, Krem (Matthias Schoenaerts). The tension escalates into a brutal attack that leaves a single survivor of the Knoll family, teenager Ruthye (Eve Ridley). Later, she shows up at a “watering hole”, seeking an “agent of revenge”. This leads to Ruthye befriending Kara, who takes her back to her ship. Unfortunately, the Brigands are there to steal it. Krypto breaks free and charges Krem, who shoots the pooch with a poison dart. After the thieves escape, Kara takes her pet to a vet who explains that unless she gets the antidote from Krem, Krypto will be heading to that “farm up north”. Kara has no choice but to accompany Ruthye on her “trackdown” of the Brigand “king”. Even if Kara can get to a “yellow sun” planet, will her superpowers be enough to save her poor canine pal in time? And what happens when their quest leads to the savage, surly space-hoppin’ bounty hunter Lobo (Jason Momoa)? The clock is ticking…

After a steady acting career, mainly in several TV shows (broadcast and streaming), Ms. Alcock puts a very different spin on this iconic hero. There’s little of the wide-eyed innocence of Helen Slater in the 1984 flick, nor the feisty “working gal” energy of the CW’s Melissa Benoist. Instead, she goes dark, conveying the character’s traumatized past and her need to self-medicate. Kara needs a reason to soar again. Luckily, we get a glimpse of her sunny side as she interacts with the ever-adorable “fuzz-faced” Krypto. Alcock is more than up to this daunting challenge. Oh, that “reason” is Ruthye played with steel-eyed focus and determination by the engaging Ms. Ridley. Her road to revenge leads her to a new family: a needed “big sister” in Kara. These actresses work well with each other, even as they share exchanges with the movie’s big scene-stealer, Momoa, as the ill-tempered, gamma-irradiated boss biker Lobo. His grungy charm and snarky asides propel the often dour space opera. Though he was a JLA member in the “Snyder-verse”, Momoa appears to be having a lot more fun as this DC comics fan favorite “anti-hero”. He fares much better than the talented Schoenaerts, who isn’t given a real chance to shine as the underwritten Krem. With his “bedazzled” face, he looks as though he took a wrong exit off “Fury Road”. Krem exists to inflict cruelty as he mugs and sneers at the heroes. Speaking of heroes, it’s great to see Corenswet return as the caring “blue boy scout” mentor to his cousin (though it feels like a “big brother/lil’ sis” dynamic).

Unlike last Summer’s “super spectacle” from James Gunn, this is helmed by an action flick “newbie” Craig Gillespie (I, TONYA, CRUELLA, and DUMB MONEY). In many ways, the film doesn’t harken back to SUPERMAN, but rather Gunn’s work at Marvel on the GUARDIANS OF THE GALAXY trilogy, with the countless slimy “beasties” and exotic alien backdrops. However, it’s a lot tougher to see these creative designs (unlike the GoG flicks) in the barely-lit scenes, giving everything a muddy look, rather than the “lived-in” STAR WARS aesthetic. This makes it doubly difficult to follow the chaotic fights and stunts. We eventually get too comfortable with the weird (did we need the “potty” gags?) and try to latch on to the familiar. A big contributor to that inertia is the cliche-ridden screenplay, based on a popular comic book miniseries. It takes its main idea from TRUE GRIT as Ruthye is a sword-wielding Mattie Ross (with nods to CAT BALLOU and even THE SEVEN SAMURAI). This leads to lots of “plot point” tropes as the hero is wounded and must heal before a final throw-down (we saw that a few weeks ago in THE MANDALORIAN AND GROGU). I did find the flashbacks to the destruction of the planet Krypton compelling, along with life on the floating rock called Argo City, even as the talented David Krumholtz, as Kara’s pop Zor-El, provides SF-science babble in Kryptonese (couldn’t they have switched to English after a few lines of it). And, as I mentioned earlier, Lobo is a welcome shot of adrenaline in his “drop-bys” (I’m sure a solo flick is in the works). I recall that several DC comics films were stopped because Gunn and Safran stated that the scripts “weren’t there”. As this film lurched to its too-protracted finale, I wondered why this one was “ready to go”. And I also counted the weeks until that webbed-wonder swings in for a welcome return visit. But we’re concerned with “the guys down the street” (as Deadpool says), and this is a pretty “meh” follow-up to last Summer’s triumphant “reboot”. That one soared while SUPERGIRL, despite a superb cast, barely gets off the ground.

2 Out of 4

SUPERGIRL opens in theatres everywhere on Friday, June 26, 2026

TOY STORY 5 – Review

Summertime is truly “funtime” once more at the multiplex because several dear old childhood pals have returned for a brand-spanking-new adventure. Now it’s not the Avengers or those “furious-fast fellas”, either. You see, this ‘team’ has been entertaining us in theatres for over thirty years now, so original fans are introducing them to their offspring. They’ve really been through a lot (the warranty has lapsed long ago), but this may be their biggest challenge yet, one that many parents are dealing with: the “screens”. And isn’t it somewhat ironic that the first big CG animated heroes of movie features are tussling with “tech” in TOY STORY 5? Double that since this comes to you from one of those dreaded “devices”.

Strangely, this installment actually starts on what appears to be a deserted island. A cargo ship has washed ashore, spilling its contents all over the beach. Why, it’s an army of the new “tech-enhanced” versions of Buzz Lightyear. As these confused Space Rangers attempt to return to civilization, the location switches to the bedroom of sweet, shy lil’ Bonnie (voice of Scarlett Spears) as she stages a big wedding involving nearly all the toys that were gifted by Andy (from TS 1-3). It’s fun, but the toys’ leader, Jessie (Joan Cusack), along with her smitten admirer, the original “low-tech” Buzz (Tim Allen), are concerned that she’s not making many friends, including the twins that moved in across the street. Bonnie’s parents share their worry and try to help by bringing home a new plaything, a game-filled children’s “first computer” called Lilypad (Greta Lee). It quickly becomes apparent that this “device” has become the pre-teen’s obsession, taking away all “playtime’ with the toys. After deputizing Buzz, Jessie puts in a call to the AWOL (from TS 4) Woody (Tom Hanks). But Lilly has her own agenda, and connects Bonnie with her dance classmates, who invite her to a sleepover. In an effort to tag along, Jessie and Bullseye the horse end up at a reminder of Jessie’s past heartbreak. Meanwhile, a confused Woody reunites with his pals and joins Buzz in a battle of wills with Lily. Can the gang finally get back together and triumph over the tech, or will they get “boxed up” and forgotten as Bonnie is swayed by the “screen”?

Yes, those rumblings online prove to be true: this is Jessie’s story. So, let’s let out a most appreciative yodel to the wonderful Ms. Cusack, who deftly mixes spunk, snark, boisterious energy, and sweet sentiment to everybody’s (this’ll grow the fanbase) favorite ginger cowgirl. Of course, it helps that the story builds on one of the greatest scenes of the series, the “backstory” of her first “kid,” Emily. It’s no wonder that “Andy’s gang” flourishes with her as the new “sheriff”. It’s great that Jessie has much more depth here than in the last installment, which also goes for her romantic “pardner'” Buzz. Allen brings some of that original bravado tinged with trepidation as he struggles to find the “right moment” to express his feelings. And, of course, Hanks is terrific as the more “mature” Woody, complete with poncho and “bare” pate spot. As for the new additions, Lee as Lily, has a soothing “singsong” quality which gives a great passive-aggressive tone to her “burns’ and boasts about “hooking” Bonnie. Spears melts our hearts as Bonnie, and is a sweet “play pal” to another “newbie” Blaze, given a rowdy tone by Mykal-Michelle Harris. But the most interesting and funniest new “old” toy (he’s a big “plot propeller”) is Smarty Pants, a friendly old school low-tech “potty-trainer” blessed with the sneering sarcasism and caustic comic timing of Conan O’Brien. In such an impressive ensemble of talent, he might be the supreme scene-stealer.

Though he’s been part of the screen stories for all of this series, this film marks the first to be directed by Andrew Stanton, sharing the “chair” with McKenna Harris (both wrote the script). This duo expertly balances the comic interplay with the characters with a whole lot of heart (again, Jessie’s history, along with Bonnie’s “social challenges”) along with a rollicking adventure structure (the ole’ heroes’ journey). While many fans have slammed Pixar for “falling back” on sequels (hopefully this year’s successful HOPPERS silenced some of the most vocal), here they’ve found a great way to return to the “toy box” via an important message concerning a current parenting quandary. The “screens” are dazzling the toddlers, so how does this affect personal interactions? The filmmakers have crafted a timely tale that addresses this, while never preaching, and promoting a balance. Plus, they’ve given a new “spin” on the usual “villain” tropes of the series (Sid in #1, Al and Pete in #2, Lotso in #3, and Gabby Gabby in the last one), so they avoid a “retread” and allow for an engaging redemption arc. Of course, the animation is splendid with expert physical acting, wonderful character design (even the minor humans and animals), and superb background renderings from suburbia to a lush ranch, with a tropical ‘stopover”. While many early viewers have stated that this is the best of the franchise (it doesn’t match TS2, though that’s an incredibly “high bar” to surpass), it is true “family entertainment” of the highest quality (miles from a “churned out” “cash-grab”). The artisan wizards of Emeryville have dazzled us once more, bringing wonderful wit and relevance to the beloved movie icons that “started it all” way back at the end of the last century (whew) with TOY STORY 5. Now that’s some quality “playtime”…

3.5 Out of 4

TOY STORY 5 is now playing in theatres everywhere

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

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