National Geographic’s SHARKFEST 2025 Begins On July 6

National Geographic’s gill-ty pleasure of the summer, SHARKFEST, returns for its wildest season yet! With over 25 hours of jaw-dropping programming, this year’s lineup dives deeper than ever into the science, power and beauty of the ocean’s most misunderstood predator. Making a splash at the top of this year’s lineup is the brand-new special SHARKS UP CLOSE WITH BERTIE GREGORY, which follows the Emmy- and BAFTA-winning cinematographer and National Geographic Explorer Bertie Gregory (@BertieGregory) on a high-stakes, cage-free mission to film great white sharks off the coast of South Africa.

SHARKS UP CLOSE kicks off SHARKFEST beginning July 5 at 8/7c on National Geographic. Select series and specials will stream the next day on Disney+ and Hulu. Additionally, shark-infested content will air on Nat Geo WILD, Nat Geo Mundo, Disney Jr., and DisneyXD throughout the month. A 24/7 live stream of 2024 content will also air on YouTube.

The SHARKFEST slate continues with the thrilling original JAWS @ 50: THE DEFINITIVE INSIDE STORY—the only authorized documentary celebrating the blockbuster that redefined Hollywood and launched a cultural fascination with sharks. Featuring exclusive interviews with Steven Spielberg, rare archival footage, and reflections from Hollywood’s top filmmakers, Peter Benchley’s family, shark scientists, and conservationists, the documentary revisits the film’s legacy and explores how it shifted public perception from fear to awe.

This year’s SHARKFEST features leading marine scientists and experts, offering critical insights into shark behavior and how we can coexist with these extraordinary creatures. From myth-busting science to cinematic underwater adventure, SHARKFEST is a global deep dive into the awe-inspiring world of sharks.

From California shores to the seas down under in Australia, SHARKFEST will take viewers on an epic ocean adventure across the globe with the following:

  • SHARKS UP CLOSE WITH BERTIE GREGORY
    Premieres July 5 at 8/7c on National Geographic
    Streams July 6 on Disney+ and Hulu

Bertie heads to South Africa for his most audacious mission yet. The wild waters here are a hotspot for one of the ocean’s most famous and feared predators, the great white shark. Diving in the shallows without a cage, Bertie will attempt to film these huge sharks. By entering their domain, he discovers the challenges they face on our rapidly changing planet.

  • INVESTIGATION SHARK ATTACK
    Premieres nightly beginning July 5 at 9/8c on National Geographic
    Streams July 6 on Disney+ and Hulu

Delivering an in-depth look inside the mind of these apex predators, the six-part series explores shark behavior from their unique perspective. An intense forensic investigation at the innovative Shark Headquarters by a panel of scientists analyzes key theories and ultimately dissects each encounter to determine what leads sharks to strike.

  • SUPER SHARK HIGHWAY
    Premieres nightly beginning July 5 at 10/9c on National Geographic
    Streams July 6 on Disney+ and Hulu

Sharks have ruled our oceans for over 400 million years. In comparison, humans are relatively new visitors. So, how do we keep both parties safe when our worlds collide? In the six-part series, two elite shark research teams infiltrate two of Australia’s busiest shark migration routes to unlock the mysteries of these apex predators. One will follow white sharks along Australia’s southern shark highway, while the other team tracks the big and elusive sharks along the tropical north. Dive in with elite scientific teams as they study their mysterious movements, witness new behaviors, and determine how humans can coexist with these incredible creatures.

  • JAWS @ 50: THE DEFINITIVE INSIDE STORY
    Premieres July 10 at 9/8c on National Geographic
    Streams July 11 on Disney+ and Hulu

JAWS @ 50: THE DEFINITIVE INSIDE STORY is the authorized documentary celebrating the film that redefined Hollywood, 50 years after its premiere. Alongside Steven Spielberg, JAWS @ 50 charts the extraordinary journey from Peter Benchley’s bestselling novel to one of the most iconic films ever made. Featuring rare archival footage and interviews with acclaimed Hollywood directors, top shark scientists, and conservationists, the documentary uncovers the behind-the-scenes chaos and how the film launched the summer blockbuster, inspired a new wave of filmmakers, and paved the way for shark conservation that continues today.

  • SHARKS OF THE NORTH
    Premieres July 12 at 10/9c on National Geographic
    Streams July 6 on Disney+ and Hulu

Sightings of great white sharks have been on the rise on Canada’s Atlantic coast. Alanna Canaran, a passionate science educator and dive instructor, embarks on a mission to unravel the enigmas surrounding these magnificent creatures and is determined to dispel fear of sharks in Nova Scotians. As the journey unfolds, Canaran and her team dive into the history of human-shark relationships along the coast. Facing numerous challenges, including elusive sharks and treacherous weather conditions, the team perseveres. With sheer determination and a stroke of luck, they gather invaluable knowledge of these magnificent creatures, contributing to a better understanding of white sharks in Canada.

  • SHARK QUEST: HUNT FOR THE APEX PREDATOR
    Premieres July 13 at 9/8c on National Geographic
    Streams July 6 on Disney+ and Hulu

As shark populations are declining, finding ways to share the seas is more critical than ever. In a series of jaw-dropping stories, survivors recount their harrowing encounters with massive sharks … where some emerged miraculously unscathed and others were less fortunate. By studying the key hot spots that make up the most shark-infested waters in the world, we can learn what attracts these massive predators to frequent these areas. Video evidence can show us how these incredible hunters lean on their highly evolved skills and reveal how we can minimize our risks when entering their domain. Sharks have adapted over 400 million years to become the perfect sea predators, and our survival on land is interlinked with theirs in the sea.

Check Out The Trailer For THE PICKUP Starring Eddie Murphy, Pete Davidson, Keke Palmer And Eva Longoria – On Prime Video August 6

Prime Video has released the trailer for action-comedy THE PICKUP.

A routine cash pickup takes a wild turn when two mismatched armored truck drivers, Russell (Eddie Murphy) and Travis (Pete Davidson), are ambushed by ruthless criminals led by a savvy mastermind, Zoe (Keke Palmer), with plans that go way beyond the cash cargo. As chaos unfolds around them, the unlikely duo must navigate high-risk danger, clashing personalities, and one very bad day that keeps getting worse.

In addition to Eddie Murphy, Pete Davidson, and Keke Palmer, the film features a diverse cast including Eva Longoria, Marshawn Lynch, Joe “Roman Reigns” Anoa’i, Andrew Dice Clay, and Ismael Cruz Córdova. Directed by Tim Story, who’s known for his work on The Blackening, Barbershop and Ride Along, the film blends high-octane action with sharp humor.

Everyone’s in for a hilarious and wild ride when THE PICKUP debuts on Prime Video on August 6.

EDDINGTON Trailer Stars Joaquin Phoenix, Pedro Pascal, Austin Butler And Emma Stone

Credit: Richard Foreman/A24

Written and directed by Ari Aster and starring Joaquin Phoenix, Pedro Pascal, Luke Grimes, Deirdre O’Connell, Micheal Ward, with Austin Butler and Emma Stone, here’s a first look at the trailer for EDDINGTON.

In May of 2020, a standoff between a small-town sheriff (Joaquin Phoenix) and mayor (Pedro Pascal) sparks a powder keg as neighbor is pitted against neighbor in Eddington, New Mexico.

“A lot of these characters are dueling political ideas converging into different, isolated people,” Aster says. “I wanted to make a sort of American genre epic with updated archetypes. But it felt important that the movie be sympathetic to all of these characters and to their fears. These are normal people who are flawed, but who believe they’re standing up for what’s right, and what they’re feeling is not wrong, it’s just that it all comes out in really weird, distorted and frightening ways. There are deep structural inequalities that have always been here and they’re obviously still here. There is a terrible problem out there, and a lot of these right-wing conspiracies borrow from left-wing conspiracies of the 1960s and 70s, and the people who are gripped by them are not wrong and they’re not crazy. They’ve just been driven crazy by this system and the way that they’re haunted by it.”

See EDDINGTON in theaters on July 18.

11 REBELS – Review

A scene from 11 REBELS. Courtesy of Well Go USA Entertainment

If you’re in the mood for Japanese period action drama, 11 REBELS delivers plenty of swordplay and bloodshed in a dark, complicated story. It’s 1868. The Emperor is trying to unite the country under his rule. But a bunch of warlords in one region choose to resist and keep their autonomy. They need one of their peers, the head of the strategically-vital Shibata territory, to join them.

He thinks theirs is a losing cause and wants to side with the Throne. They threaten to invade him before the Emperor’s army arrives if he doesn’t don their team jerseys. His samurai honchos devise a plan to have criminals defend a key fort and bridge to stall the Emperor’s forces, while disguised as members of the coalition. That appeases the warlords without pissing off the Emperor, buying time until the royal forces can trounce the locals.

Ten condemned criminals are selected, including one who’d killed the samurai that raped his wife. They’re promised clemency for serving, and managed by a handful of samurai. You now have the elements in place for a combo of Sparta’s stalwart 300, and The Dirty Dozen playing defense, as they are severely outnumbered and outgunned. Soldiers and rifles and cannons, oh my!

The result is 2 ½ hours of combat and squabbles among the defenders with varying degrees of loyalty, skill and motivation. Several characters are fleshed out among the bedraggled protagonists to arouse viewer empathy. A few have story arcs in how the dire circumstances of the several-day siege affect them.

Director Kazuya Shiraishi, cinematographer Naoya Ikeda, and whoever choreographed the fights are the real stars. The rundown fort sits atop a stark mountain with a narrow rope-and-plank bridge spanning the deep gorge separating it from the larger part of mainland. One would think that simply destroying the bridge, as per THE GOOD THE BAD AND THE UGLY, THE BRIDGE ON THE RIVER KWAI and a slew of WW II movies would have been a quick and easy delaying tactic. But their orders included preserving the thing for its vital economic value after the war. The priority was yen over men.

Fight scenes play out with savage intensity, including generous servings of splatter, spray and severed limbs or heads… in graphic detail. There’s little special-effects enhancement of the mayhem, giving the clashes a gritty, relatively realistic feel. Similarities of costumes and dim lighting for nighttime battles make it hard to tell who’s on which side in some parts. But those sequences are hard-core enough to satisfy most genre fans. Even if the plot holds few surprises, viewers won’t be bored with how events play out. That’s about as good as it gets among such fare.

11 REBELS, in Japanese with English subtitles, is available on digital format, 4K and Blu-ray from WellGo USA starting Tuesday, June 10, 2025.

RATING: 3 out of 4 stars

“Fatal Crossing” – TV Series Review

A scene from the Danish crime drama miniseries “Fatal Crossing.” Courtesy of MHz Choice

If you’re in the mood for a dark, slow-moving Danish crime drama miniseries, “Fatal Crossing” (originally “Pigerne fra Englandsbåden”) might fill the bill. Nora (Marie Sando Jondal) is a Danish journalist working for a major London paper. The story opens with her being suspended for boinking the tycoon she was profiling, who wound up being arrested for fraud. Tail between her legs (figuratively, not literally) she shuffles back to her hometown in North Zealand and moves in with her dad to escape the flak in England. That attempted withdrawal is dinged when someone anonymously stuffs her mailbox with photos from the unsolved disappearance of two teen girls in 1984 from a ferry to England. It was a big deal at the time, and still casts a pall over the community. As she starts probing that case, another young girl goes missing. For eight hour-long episodes we follow her investigation as it takes many turns. Could there be a link between the old and the new? Have there been others in between perpetrated by the same undetected serial killer(s)?

Nora’s abilities are validated somewhat by her uncle, who owns the local paper that launched her award-winning career abroad. He gives her a desk and a short leash. She turns to an old friend, Andreas (Jesper Hagelskaer Paasch), who is now on the police force. She thinks there may have been a cover-up of the earlier events. Andreas is conflicted, because he sees some questionable aspects of that file, but his late, revered father was the lead cop on the case. Law enforcement vs. legacy?

I won’t elaborate on specific plot details. Nora’s efforts take her to England and back, unearth possible connections to a number of similar disappearances, and lead to multiple suspects. A couple of supporting characters chip in excellently creepy performances – notably Susan A. Olsen’s Jytte, Ian Burns’ Hix, and Karin Bang Heinemeier’s turn as the mother of the latest victim. The series is long on mood and dialog and short on action, as all sorts of psychological issues from previous traumas of multiple figures are hashed out. Dead, departed and distant parents seem unfortunately common for such a small town.

The slow emotional and investigative themes of the first six episodes pick up considerably in the last two, with more physical action and danger. Nora is not the most bond-able of protagonists. She makes some costly mistakes, and seems overly self-absorbed, with little regard for the effects of her moods and actions on those around her. And any mystery buff will second-guess about some questions she should have asked. Even so, Nora maintains enough appeal and reasons for the way she faces the world for us to hope she purges her devils and solves the crimes.

Side note: Kudos to the casting director who chose Bue Wandahl and Mogens Holm to play Nora’s father and uncle. Both handle their roles with suitable dignity and sensitivity, while bearing enough resemblance to actually look like brothers.

FATAL CROSSING, in Danish with English subtitles, debuts streaming on MHz Choice on Tuesday, June 10, 2025.

RATING: 3 out of 4 stars

A scene from the Danish crime drama miniseries “Fatal Crossing.” Courtesy of MHz Choice

THE PHOENCIAN SCHEME – Review

(L to R) Benicio Del Toro as Zsa-Zsa Korda, Michael Cera as Bjorn and Mia Threapleton as Liesl in director Wes Anderson’s THE PHOENICIAN SCHEME, a Focus Features release. Credit: Courtesy of TPS Productions/Focus Features © 2025 All Rights Reserved.

For any new Wes Anderson film, some things are certain: the art direction is going to be gorgeous, scenes will have central framing, and every little detail will be carefully thought out. That distinctive visual style is one of the things fans love about Wes Anderson’s work and that distinct visual aesthetic is on full display in THE PHOENCIAN SCHEME, which explores the vast moral emptiness of the lives of the ultra rich, through a tale of a sort-of Howard Hughes-ish/tech billionaire-type character in the same 1950s-ish world as ASTEROID CITY. The dark comedy, written by Anderson from a story by him and Roman Coppola, is a tale of international business and personal intrigue with commentary on the wealthy, as one of the world’s richest men tries to put together financing for one last big project before the next assassination attempt gets him, with the reluctant help of his daughter and sole heir, a nun, and a tutor-turned-assistant.

We meet wealthy businessman Anatole “Zsa Zsa” Korda (Benicio del Toro), one of the richest men in Europe, as he has just survived another assassination attempt. which forced him to crash-land his private plane in a cornfield. Korda treats the repeated attempts as routine, the cost of doing business, but this time, he thinks he might take steps in case one of them actually succeeds.

He decides to make his only daughter Liesl (Mia Threapleton), a nun, the sole heir to his estate. The two do not really know each other, as she was taken to the convent and raised by Mother Superior (Hope Davis) after her mother’s death. And she actually isn’t a nun yet, as she still has to take final vows, but as she was raised in the convent, it seems to be a sure thing. And she isn’t Zsa Zsa’s only child – he has nine younger sons too, who he leaves in charge of a tutor and never sees, although they live in his mansion. There are no mothers, and there seems to be questions about what happened to them.

The daughter resists the idea of being his sole heir and especially his plan that she needs to come along on his latest enterprise, a big infrastructure building project in a country called Greater New Phoenicia, to learn the business, which requires trips to visit various potential investors around the world, including his half-brother, Uncle Nubar (Benedict Cumberbatch). When a new Swedish tutor, Bjorn Lund (Michael Cera) who turns up to teach the sons, he gets pressed into service as ZsaZsa’s new assistant. He also becomes smitten with the nun-to-be.

Eventually, she does agree (else, there is no movie), and del Toro’s ultra rich businessman ZsaZsa, Threapleton’s nun Liesl and Cera’s tutor-turned-assistant Bjorn embark on an international adventure involving scheming business rivals, recalcitrant tycoons, potential terrorists, dangers, and ever-growing number of assassins. At the same time, a group of American business interests, led by Excalibur (Rupert Friend) secretly both engage in espionage and sabotage of Zsa Zsa Korda’s plan.

All this takes place in a beautifully theatrical-looking Wes Anderson world, those special self-contained spheres that Anderson creates so well. Nothing looks real but all looks colorful, fascinating and perfect, thanks to Director of Photography Bruno Delbonnel, productions design by Adam Stockhausen, and costume design by Milena Canonero. A bold classical music score, supplemented by original music by Alexandre Desplat, forms a perfect musical backdrop.

The cast is very good but Michael Cera is a standout. Cera is so perfect for the Wes Anderson world, it is surprising he hasn’t been in one of these films before this. Also very good is Mia Threapleton, who is saintly but stubborn, quick of wit and of action, with unexpected skills for a nun. Liesl may be a nun-in-training but, oddly, she does some very un-nun-like things, like wear bright red lipstick (real nuns don’t wear make-up). Benicio del Toro is deadpan as cigar-chomping millionaire nearly throughout, a studied unflappable demeanor but with a hint of sadness, maybe a lurking conscience.

The film features a small army of stars in minor, even cameo, roles, and some larger ones too. Among the potential investors in the Phoenician Scheme are Riz Ahmed as Prince Farouk of Greater Phoenicia, Tom Hanks and Bryan Cranston as American businessmen Leland and Reagan (respectively), Mathieu Amalric as nightclub owner Marseilles Bob, Jeffrey Wright as ocean-going ship’s captain Marty, and Scarlett Johansson as ZsaZsa’s second cousin. Richard Ayoade appears as a idealistic “radical freedom fighter” called Sergio, who turns up at a couple important moments.

The extensive cast makes it seem like everyone is in this film. And, yes, that includes Wes Anderson favorite Bill Murray, in intermittent black-and-white fantasy sequences in Heaven. Oh yeah, on top of all that is goings-on on earth, Zsa Zsa periodically ends up in the afterlife, either dreaming or in near death, where he sees his grandmother (Carmen Maja Antonie), meets God (Bill Murray) and faces some questions from various characters, such as Willem Dafoe as Knave and F. Murray Abraham as Prophet, doubtless a reference to those movies of the ’30s-’40s where characters question or defend their life choices in similiar supernatural interludes.

Unlike THE FRENCH DISPATCH, this isn’t an anthology film and it isn’t a tale with multiple layers of story-telling like ASTEROID CITY and GRAND BUDAPEST HOTEL. However, like those later two it feels like an homage to classic film genres, in this case, a globe-trotting adventure/action/intrigue one, but there clearly is something more going on here.

There is a lot of busy-ness (and characters) in this plot. While the plot doesn’t make all that much sense, Wes Anderson does seem to be saying something about the very wealthy, those whose wealth is so great, they hardly notice the other human beings who occupy the planet as they go about their schemes and grand plans, suggested by Zsa Zsa’s slogan on the poster: “If something gets in your way, FLATTEN IT.

As one small example, in the assassination attempt in the film’s opening sequence, Zsa Zsa sits in the middle of his luxurious circa-1950s private plane, while his assistant sits at the back. When a bomb goes off at the back of the plane, killing the assistant and blowing a hole in the plane, Korda races to the cockpit and sits in the co-pilot seat, calmly rattling off orders to the pilot. The panicked pilot (Stephen Park) argues back and complains, resulting in Korda telling him he’s fired and then hitting the seat eject button. The pilot is luckier: he as a parachute, but it illustrates the point. Zsa Zsa’s rich buddies – investors, really – are similarly clueless and callous as they engage in their own wheeling and dealing. The only normal-seeming people in the whole whirl are the various minor characters who drift in and out, and the convent-raised daughter and the shy, accented tutor

The story becomes one of reconciliation between father and daughter, something that feels very Wes Anderson as well. This all takes place in a fantasy world where plenty of more-than-unlikely things take place, but Anderson has human truths underneath as well, along with commentary on extreme wealth.

THE PHOENICIAN SCHEME opens Friday, June 6, in theaters.

RATING: 4 out of 4 stars

BALLERINA (2025) – Review

With another post-Memorial Day weekend, yet another franchise arrives with a new entry at the multiplex. It feels like a week ago (and it was) that I wrote about the return of THE KARATE KID, which was a sequel/reboot that dealt with the loss of a major supporting character, Mr. Miyagi. This new film takes on the challenge of continuing a series when the major “title” character met his end (yeah, probably…) in the last installment. Well, you bring in another, similar “principal” and set the story during the “in-between” time of previous entries. This way, that beloved figure can be “ret-conned” using old footage and new scenes, as a supporting player “passing the torch”. Or in this case, “tossing a huge freakin’ gun with an endless clip”. And so, here’s the new “super action” diva known as BALLERINA, though many sites list it with the “play it safe” “intro tile” of IN THE WORLD OF JOHN WICK, since they want all to know that this “aint’ no” frilly ballet flick (but it does briefly concern that).


And it’s the first image we see, namely, an amusic-box style toy with a twirling tutu-wearing dancer in a glass bubble. It’s the prized possession of eight-year-old Eve, who is living a peaceful life with her widowed young father in a blissful beach estate. He mentions a lost older daughter before the tranquility is shattered by a force of heavily armed men. Eve hides behind a wall, but through a row of books she watches her battered papa get questioned by the group’s leader, a dark, brooding man known as the Chancellor (Gabriel Byrne). Before he expires, Daddy leads Eve away, after she spots an odd “X” marking on the wrists of the killers, to a safe spot where she is eventually taken in by Winston (Ian McShane), who puts her under the protection of the New York Continental. As the years pass, Eve (Ana de Armas) travels to the theatre location of the fearsome Ruska Roma to begin training as a classical dancer under the strict guidance of the “Director” (Angelica Huston). Actually, Eve divides her time between the ballet and bullets, as she also learns to become an elite assassin, and gets a bit of advice from a sullen visitor, John Wick (Keanu Reeves), himself. On her first big assignment, Eve encounters one of the “X-marked” men, which leads her to the Prague Continental, where another widowed father, Daniel Pine (Norman Reedus), is trying to break away from the “X cult” and the Chancellor. This sends Eve, despite stern orders from the Director to stay away, to a snowy, quiet Alpine village for a final “revenge quest” against the Chancellor, who brings in the “biggest gun” (you-know-who) to end the deadly dance of the blood-soaked ballerina.

As one of many who groused that her appearance in the last James Bond flick was far too brief (really one of that lackluster flick’s best sequences), I was pleased that we get to see the captivating Ms. de Armas in full “action queen” mode as the revenge-obsessed Eve. Her “hyper-focused” stare and superb physical combat skills really carry the simple story across the globe. We get to see a touch of Eve’s emotional anguish, often as she strives to be a “killer dancer” rather than the former, but the filmmakers want to firmly establish a new “force,” and Ms. de Armas is more than up to the often exhausting task. Plus, she has an excellent rapport with Reeves (actually their third film together), who slips right back into the stoic, sullen Wick as though he were donning one of his indestructible jackets. His time in her tale is brief, but Reeves brings the gravitas as he gently nudges Eve into the spotlight. Byrne is effective as the calm, cool mastermind, balancing a soft, gentle tone ( a mask, really) with the malignant, murdering tyrant interior. Also, as another tough crime veteran, Houston still captures us with her piercing glare as another major “player” in the global underground. Bringing a lot more warmth is the suave McShane, as the mentor/uncle to the emotionally scared little Eve. Another great father figure is Reedus as the dad “on the lam” who points Eve, like a weapon, toward her goal/target. Big kudos for the producers for giving us one last visit from the taken-too-soon Lance Reddick as Winston’s firm but friendly “right hand”, Charon.

Director Len Wiseman, perhaps best known for the first two UNDERWORLD action/horror flicks, gets the best from his impressive stunt team along with his f/x artists, to expand on the “Wick world”, as they travel the planet and leave countless corpses in their wake. Yes, action “adrelaine junkies” will get a strong “fix” here as Eve piles ups the baddies in loads of new creative waves. One sequence has her “making do” with boxes of old hand grenades, turning much of a massive basement into a “Pollack painting” of destruction. It’s all nasty R-rated splattered fun, up until a point (perhaps the 90-minute mark). Ultimately, the new “spin-off” suffers the excesses of the last Wick epics as the “first-person-shooter” video game-style mayhem becomes a tad tiresome past the two “full of fatalities” hours. Yes, some of the dance/fights are engaging and creative, but it all hinges on the flimsiest and cliched vengeance plots. The locations are pretty nice, particularly a massive indoor “meat locker” frigid dance hall. Ms. de Armas is a charismatic and stunning action heroine who deserves a bolder sequel script that will build on the stunt-heavy, “drama-lite” BALLERINA.

2.5 Out of 4

BALLERINA is now playing in theatres everywhere

PREDATOR: KILLER OF KILLERS – Review

It’s always great as a reviewer when you can alert folks to a film that’s truly worth their time, a real engaging story full of twists, turns, and often very pleasant surprises. An even greater “stunner” is the fact that it’s the sixth (though some may argue it’s the eighth) installment of a nearly forty-year-old film franchise. Normally, I’d suggest that you would be wise to order tickets early to see it at your favorite multiplex, but I can’t really do that. So, here’s the perplexing and frustrating part: it premieres on a streaming app. However, it’s more than worthy of an IMAX-sized screen. The last time I felt like this was three years ago, with the action/SF/thriller PREY. And, wouldn’t you know it, this is from the very same “shared universe”. By the way, did I mention that it’s an animated anthology? Just another element in the countless delights of PREDATOR: KILLER OF KILLERS. Let the “hunt” begin!

Yes, I did say “anthology”. At least for most of the movie. Each section has its own time period and title. First is “The Shield”, set in the early ninth century. This is a Viking revenge fable focusing on the angry warrior queen Ursa (voice of Lindsay LaVanchy), who is leading a crew of killers, including her own teenage son Anders (Damian C. Haas), on a quest to take King Zoran out, the man who murdered her father. But when they breach his sanctuary, Ursa and her compatriots are not alone. It turns out that the hunters are being hunted by an otherworldly demon, a Predator. We zip ahead about 800 years for “The Sword”, set in feudal Japan. This one’s a tale of family rivalry as a grim shogun pits his two pre-teen sons against each other over the ownership of his estate. One brother triumphs as the other is banished. The years go by, and the father passes on. Before son Kiyoshi claims his inheritance, his prodigal brother Kenji (Louis Ozawa) returns. Ah, but a different Predator silently observes, waiting for his time to strike. Finally, we’re in the 20th century, though at the start of WWII. In “The Bullet”, we meet newly drafted Latino-American (I’m guessing Cuban) John Torres (Rick Gonzales) is a gifted mechanic stationed on an aircraft carrier near Vichy France. He yearns to fly, but his supervisor, Captain Vandy (Michael Biehn), just wants him to make sure the planes are ready for combat, including John’s rickety fighter he’s dubbed “the Bullet”. Several pilots land in damaged planes, telling of a weird, almost invisible “enemy”. Vandy takes his squad into the “danger zone” as John finds something odd embedded in one of the engines. It’s a metal spearhead, unlike anything on this Earth. He then disobeys Vandy’s orders and takes Bullet into the battle. He arrives in time to see several squad members get taken down by a “bogey,” which becomes visible when struck. It’s an attack spaceship piloted by another Predator. When the fight ends, John’s saga is far from over as he finds himself in a locked cell on a vessel along with Ursa and Kenji. The trio, who are unable to communicate, have odd metal collars snapped around their necks and are eventually led off the ship and into an arena filled with the Predator beings. The warlord/MC informs them that they must fight to the death or their collars will explode. But John tries to inspire them to work together. But can this mismatched team survive a giant, savage alien beast and attempt to somehow find a way home?

Speaking of PREY, the same talented director is behind this. Dan Trachtenberg works with co-director Joshau Wassung to create this compelling, original exploration into the mythos of these iconic movie alien a*#kickers. They’ve even taken animation feature storytelling to a new level, expanding on the dramatic possibilities opened up by the “Spider-Verse” films. Yes, there have been many dramatic/ action animated features before (BATMAN: MASK OF THE PHANTASM immediately springs to mind), but this tackles the brutal intensity of any live “R-rated” horror/action epic. While most of the straight-to-home-video films feel close to the “four-color” comic books, this is more akin to the darker balck and white “graphic” magazines from the Warren company (“Creepy”, “Eerie” and “Vampirella”, the “unholy trinity”), though Marvel would “dip their toe” with “Savage Tales” and its ilk. Basically, the carnage is more straightforward, as the Predators chop and dismember with ghoulish glee. Oh, and the creature design is inspired. Yes, each has that “crab-pincer” mouth, but each segment has wild variants with weird weapons. Fighting the Vikings is a Hulk-like, near seven-foot-tall alien (one of the crew calls it “Grendel”), sporting a “repulsor/sonic blaster” for a right claw. In Japan, we get a leaner. graceful sword-wielding hunter with a spear on a whip-like chain. The “battle ace” beast has a smooth dome as it propels all manner of devices (constricting nets, grappling hooks, etc..) from its armored hull. And the animation is superb, though it appeared a bit stiff in the early scenes. Perhaps this was to make the battle energy more impactful (it does). And each “chapter” has a distict tone, with “The Shield” looking dark and chilly”, “The Sword” giving a Springtime feel with the forest landscapes, as opposed to the 1940s early “recruitment poster color” of “The Bullet”. It’s all paced perfectly with an “Easter egg” final shot that will have fans jumping from their couches. And that’s my only real complaint. In a “just world” I’d have been swept up in these sprawling stories by being engulfed in the biggest screens, with booming Dolby-type audio. Nope, this is only streaming, and its quality is on par with any of the other recent franchise entries. Bravo to Trachtenberg and company. Those “trilling/growling” hunters are in great hands. And I anxiously await your next live-action installment in November, PREDATOR: BADLANDS. But for the next few months, fans will be delighted, becoming eager “trophies” for the animated epic PREDATOR: KILLER OF KILLERS.

3.5 out of 4

PREDATOR: KILLER OF KILLERS streams exclusively on Hulu beginning on Friday, June 6, 2025

Cynthia Erivo and Ariana Grande Star In First Trailer For WICKED FOR GOOD

And now whatever way our stories end, I know you have rewritten mine by being my friend …

Last year’s global cinematic cultural sensation, which became the most successful Broadway film adaptation of all time, now reaches its epic, electrifying, emotional conclusion in Wicked: For Good. 

Watch the first trailer now.

Directed once again by award-winning director Jon M. Chu and starring the spectacular returning cast, led by Academy Award® nominated superstars Cynthia Erivo and Ariana Grande, the final chapter of the untold story of the witches of Oz begins with Elphaba and Glinda estranged and living with the consequences of their choices. 

Elphaba (Cynthia Erivo), now demonized as The Wicked Witch of the West, lives in exile, hidden within the Ozian forest while continuing her fight for the freedom of Oz’s silenced Animals and desperately trying to expose the truth she knows about The Wizard (Jeff Goldblum).  

Glinda, meanwhile, has become the glamorous symbol of Goodness for all of Oz, living at the palace in Emerald City and reveling in the perks of fame and popularity. Under the instruction of Madame Morrible (Oscar® winner Michelle Yeoh), Glinda is deployed to serve as an effervescent comfort to Oz, reassuring the masses that all is well under the rule of The Wizard.  

As Glinda’s stardom expands and she prepares to marry Prince Fiyero (Olivier award winner and Emmy and SAG nominee Jonathan Bailey) in a spectacular Ozian wedding, she is haunted by her separation from Elphaba. She attempts to broker a conciliation between Elphaba and The Wizard, but those efforts will fail, driving Elphaba and Glinda only further apart. The aftershocks will transform Boq (Tony nominee Ethan Slater) and Fiyero forever, and threaten the safety of Elphaba’s sister, Nessarose (Marissa Bode), when a girl from Kansas comes crashing into all their lives. 

As an angry mob rises against the Wicked Witch, Glinda and Elphaba will need to come together one final time. With their singular friendship now the fulcrum of their futures, they will need to truly see each other, with honesty and empathy, if they are to change themselves, and all of Oz, for good. 

Ariana Granda is Glinda in WICKED FOR GOOD, directed by Jon M. Chu.

Wicked: For Good also stars Emmy nominee Bowen Yang and Bronwyn James as Glinda’s fawning assistants, Pfannee and ShenShen and BAFTA and Grammy nominee Sharon D. Clarke (Caroline, or Change) as the voice of Elphaba’s childhood nanny, Dulcibear. 

The film is produced by returning Tony and Emmy winning powerhouse Marc Platt p.g.a. and by multiple Tony winner David Stone. The executive producers are Stephen Schwartz, David Nicksay, Jared LeBoff, Winnie Holzman and Dana Fox. The first film, Wicked, released in November 2024, earned 10 Academy Award® nominations, including Best Picture, and won the Oscars® for Costume Design and Production Design. To date, the film has grossed $750 million worldwide. 

Wicked: For Good is based on the generation-defining musical stage play with music and lyrics by legendary Grammy and Oscar® winning composer and lyricist Stephen Schwartz and book by Winnie Holzman, from the bestselling novel by Gregory Maguire. The screenplay is by Winnie Holzman and Winnie Holzman & Dana Fox. The film score is by John Powell & Stephen Schwartz, with music and lyrics by Stephen Schwartz. 

Cynthia Erivo is Elphaba in WICKED FOR GOOD, directed by Jon M. Chu.

June 9th – Win A Family Four-Pack Of Passes To The St. Louis Advance Screening Of HOW TO TRAIN YOUR DRAGON (2025)

THIS SUMMER, EXPERIENCE THE BEGINNING OF AN EPIC FRIENDSHIP.  UNIVERSAL PICTURES AND DREAMWORKS ANIMATION PRESENT HOW TO TRAIN YOUR DRAGON.  RATED PG.

#HowToTrainYourDragon #FilmedForIMAX in theaters June 13.

https://www.welcometoberk.com

The special advance screening is at 7PM on Monday, June 9 at Ronnies 20 Cine (6pm Suggested Arrival)

ENTER HERE TO WIN A FAMILY FOUR PACK OF PASSES:  http://gofobo.com/wOPiX16315

Passes are FREE and you do not need to be entering any payment information.

How To Train Your Dragon | June 13, 2025 | DreamWorks

(from left) Night Fury dragon, Toothless, and Hiccup (Mason Thames) in Universal Pictures’ live-action How to Train Your Dragon, written and directed by Dean DeBlois.

© 2025 Universal Studios. All Rights Reserved.

From three-time Oscar® nominee and Golden Globe winner Dean DeBlois, the creative visionary behind DreamWorks Animation’s acclaimed How to Train Your Dragon trilogy, comes a stunning live-action reimagining of the film that launched the beloved franchise. 

On the rugged isle of Berk, where Vikings and dragons have been bitter enemies for generations, Hiccup (Mason Thames; The Black Phone, For All Mankind) stands apart. The inventive yet overlooked son of Chief Stoick the Vast (Gerard Butler, reprising his voice role from the animated franchise), Hiccup defies centuries of tradition when he befriends Toothless, a feared Night Fury dragon. Their unlikely bond reveals the true nature of dragons, challenging the very foundations of Viking society. 

With the fierce and ambitious Astrid (BAFTA nominee Nico Parker; Dumbo, The Last of Us) and the village’s quirky blacksmith Gobber (Nick Frost; Snow White and the Huntsman, Shaun of the Dead) by his side, Hiccup confronts a world torn by fear and misunderstanding. 

As an ancient threat emerges, endangering both Vikings and dragons, Hiccup’s friendship with Toothless becomes the key to forging a new future. Together, they must navigate the delicate path toward peace, soaring beyond the boundaries of their worlds and redefining what it means to be a hero and a leader. 

The film also stars Julian Dennison (Deadpool 2), Gabriel Howell (Bodies), Bronwyn James (Wicked), Harry Trevaldwyn (Smothered), Ruth Codd (The Midnight Club), BAFTA nominee Peter Serafinowicz (Guardians of the Galaxy) and Murray McArthur (Game of Thrones).

How to Train Your Dragon is written, produced and directed by DeBlois. It is also produced by three-time Oscar® nominee Marc Platt (Wicked, La La Land) and Emmy winner Adam Siegel (Drive, 2 Guns). How To Train Your Dragon is part of the Filmed For IMAX®Program, which offers filmmakers IMAX® technology to help them deliver the most immersive movie experience to audiences around the world. 

Inspired by Cressida Cowell’s New York Times bestselling book series, DreamWorks Animation’s How to Train Your Dragon franchise has captivated global audiences, earning four Academy Award® nominations and grossing more than $1.6 billion at the global box-office. Now, through cutting-edge visual effects, DeBlois transforms his beloved animated saga into a breathtaking live-action spectacle, bringing the epic adventures of Hiccup and Toothless to life with jaw-dropping realism as they discover the true meaning of friendship, courage and destiny.

Mason Thames (right) as Hiccup with his Night Fury dragon, Toothless, in Universal Pictures’ live-action How to Train Your Dragon, written and directed by Dean DeBlois.