REVIEW: “Michael” (2026)

April 24, 2026 by Keith Garlington

The latest music biopic to come down the pipeline is none other than “Michael”, a film highlighting the King of Pop himself, Michael Jackson. But surprisingly much of the early conversation has revolved around the scathing reception from a cynical segment of fellow critics, who desperately wanted a darker, more incisive character study rather than a celebration of music and artistry that defined an era. That’s certainly their prerogative. But there’s a fine line between critiquing a movie for what it is and for what you want it to be.

That’s not to say “Michael” should be free from criticism or that it isn’t due some. It’s true that the film’s starstruck perspective doesn’t allow much room for a deeper understanding of Michael Jackson the man. And it doesn’t draw clear lines from some of the issues it itself introduces to the root causes of them. But “Michael” is far from the disaster it’s portrayed to be. It’s an engaging and often electrifying tribute that centers on the one thing about Jackson that is undeniable – his music took the world by storm and is still beloved today.

Director Antoine Fuqua doesn’t stray too far from the standard biopic formula. But he energizes it with a strong focus on the timeless music and unforgettable performances that made Michael Jackson a legend. But there is more to “Michael” than just great tunes. Screenwriter John Logan (“Gladiator”, “Skyfall”) hones in on a specific sliver of Michael’s family life. His story tells of a domineering father, a nurturing mother, and a talented son eager to take charge of his own career.

The story begins in 1966 with the blue-collar Jackson family living in Gary, Indiana. That’s where Joseph Jackson (portrayed with uncomfortable intensity by Colman Domingo) brings his five sons together to form a music group he calls the Jackson 5. The youngest is 10-year-old Michael (played by an extraordinary Juliano Krue Valdi), the group’s sweet yet eccentric lead singer who loves Peter Pan and watching movies with his mother, Katherine (Nia Long).

The cold-hearted and abusive Joseph sees the Jackson 5 as his ticket out of the steel mill. So he pushes his sons through a punishing schedule of rehearsals and area gigs until they’re finally noticed and signed by Motown Records. It doesn’t take long for their album to reach the top of the charts and the Jackson 5 quickly becomes a household name. Joseph wastes no time moving his family out of Gary and into a mansion in Encino, California.

As years go by, the Jackson 5 remain a successful act while growing up on stage for the entire world to see. But by 1978, Michael (now played by MJ’s real-life nephew Jaafar Jackson) had grown tired of Joseph’s suffocating control. So he teamed up with producer Quincy Jones (Kendrick Sampson) to make a solo album. “Off the Wall” was Michael’s chance to reintroduce himself to the world. The album was a smash hit, much to the chagrin of Joseph who only saw himself as the reason for Michael’s success. This sets up the father-son conflict that propels much of the story.

I won’t spoil every stop on the movie’s timeline, but Fuqua hits several key points in Michael’s career, my favorite being the development of the all-time best-selling album, 1982’s “Thriller”. We see the origins of “Beat It”, his close partnership with attorney John Branca (played by Miles Teller), his push to get his videos on MTV, the Pepsi incident, the Don King promoted Victory Tour, and so on. More personally, we’re shown Michael’s insecurities in his “friendship” with animals, in his childlike private life, and in his first cosmetic surgery (“I have to be perfect.”).

But undoubtedly many will be quick to point out what the movie doesn’t include. It’s true that the film avoids the more complicated parts of Jackson’s legacy. We never see the growing tension between Michael and his brothers; nothing about the construction of Neverland; no mention of his whirlwind marriages or his growing health issues; and it never addresses the sexual abuse allegations which he vehemently fought against. But in fairness, “Michael” ends in 1984 before the bulk of the controversies played out. And Fuqua teases there may be more to come by ending his film with an exhilarating recreation of Jackson’s 1988 performance of “Bad” at Wembley Stadium followed by the words “His story continues”.

“Michael” is worth seeing for the enduring music alone. But you’ll be just as blown away by the performances that bring the King of Pop to life. Valdi is astonishingly good, fully capturing a younger Michael’s tenderness at home and his magnetic charisma on stage. But most people will be talking about the amazing debut performance from Jaafar Jackson whose uncanny resemblance to his superstar uncle can’t be overstated. From his vocals and mannerisms to his incredible dancing, Jaafar poured years into studying and mastering Michael’s moves. But it’s the added touches of vulnerability that make this more than a mere impression.

You wouldn’t be wrong to say “Michael” was made by Michael Jackson fans for Michael Jackson fans. In that regard, the movie knows what it is and who it’s for. That won’t sit well with those hungry to have certain personal feelings about the singer fed. But it’s a cinematic experience that is sure ramp up the pulses of fans all across the globe. It’s slick and polished entertainment. It’s also nothing short of dazzling. And if you go in with the right expectations, you’ll be tapping your foot, bobbing your head, and fighting the urge to sing for most of the film’s music-filled two hours. I know I was.

VERDICT – 3.5 STARS

REVIEW: “Apex” (2026)

April 24, 2026 by Keith Garlington

With his new Netflix film “Apex”, director Baltasar Kormákur continues an eclectic run of films that has featured everything including wild genre concoctions, gritty thrillers, buddy action-comedies, and awards-caliber dramas. “Apex” definitely falls in the ‘genre concoction’ category. Kormákur has made a propulsive survival action thriller that even dips its toes into horror when you’re least expecting it.

Working from a kinetic original screenplay by Jeremy Robbins, Kormákur takes an action-fueled approach to exploring grief and guilt, with lead Charlize Theron (who also produces) carrying much of the load. She plays an adrenaline junkie named Sasha whose life is turned upside down after losing her partner Tommy (briefly but wonderfully played by the ever underrated Eric Bana) in a rock-climbing tragedy.

While its script and its star are vital pieces, just as crucial are the eye-popping visuals. The film was shot on location near Australia’s Royal National Park and along the gorgeous Blue Mountains in New South Wales. Canyons, caves, tall peaks, raging rivers, and dense forests provide the film with a stunning yet unforgiving natural setting. The rest is handled by the crack visual effects teams from Kormákur’s previous outdoor thrillers, “Everest” and “Beast”. They use the beauty of nature as both the centerpiece and the backdrop for some thrilling action sequences.

Five months after Tommy’s death, Sasha is on the road in scenic southwest Australia, living alone out of her van and still mourning her loss. She swings into a rural gas station to grab some supplies where she’s harassed by a meat-headed hunter. But she’s helped by a seemingly friendly local named Ben (Taron Egerton) who even recommends some area sightseeing and a good camping spot at a nearby river.

But Sasha’s efforts to find solace in solitude are quickly thwarted when she once again encounters Ben. This time it’s deep in the wilderness, and Ben is no longer the kindly and helpful guy from before. Instead, he reveals himself to be a sadistic psychopath who has lured Sasha into an arena where he’s the hunter and she’s his prey. But Sasha is far from weak and defenseless. And despite being isolated in a treacherous environment, her grit and resourcefulness makes her more than Ben bargained for.

While the story is simple and straightforward, it does its job in defining the stakes, building tension, and propelling us from one harrowing action scene to another. But just as you think you have a good read of the movie’s pulse, Kormákur and Robbins throw us a grisly second-half curveball that manages to be both deeply unsettling and (in its own delightfully deranged way) darkly amusing. It’s a devilishly macabre twist that raises a few obvious yet overlooked questions. But odds are you’ll be having too much fun to care.

“Apex” is an impressive two-hander that gets go-for-broke commitments from its two stars. Egerton has a field day playing the maniacal Ben, squeezing out every drop of depravity he can without turning the character into a caricature. Meanwhile, I’m not sure Theron has ever been this gutsy and determined. She pours all of herself into a demanding role, finding moments of emotional truth among the intense physicality. Together with the stunning vistas, exhilarating camerawork, and white-knuckle tension, Theron and Egerton turn a simple survival story into a riveting action thriller that never lets you out of its grip.

VERDICT – 4 STARS

New Character Posters for Paramount’s Big Screen Adaptation of “Street Fighter”

April 22, 2026 by Keith Garlington

Paramount Pictures has released SEVENTEEN new character posters ahead of its upcoming live-action feature film adaptation of the classic Capcom arcade game “Street Fighter”. The posters highlight the film’s massive collection of characters which includes nearly every playable character from the franchise’s early days. We get series originals such as Ryu, Ken, Guile, Chun-Li, Zangief, E. Honda, Blanka, Dhalsim, Balrog, Vega, and of course M. Bison, as well as some later additions like Akuma, Cammy, Joe, and Dan.

Of course the film has an equally massive cast that includes Jason Momoa, David Dastmalchian, Joe “Roman Reigns” Anoa’i, Andrew Koji, Noah Centineo, Calina Liang, Curtis “50 Cent” Jackson, Cody Rhodes, Andrew Schulz and more. Kitao Sakurai directs from a screenplay he wrote with T.J. Fixman. Their story takes place in 1993 where rivals Ryu (Koji) and Ken (Centineo) are recruited by Chun-Li (Liang) to compete in the World Warrior Tournament. But they quickly learn there is more at stake than mere bragging rights.

Admittedly, the trailers make the film look overstuffed and messy. At the same time, it’s hard not to admire its open self-awareness. It looks goofy, cheesy, even a little campy. But most of all it has the potential to be fun. Yes, I know “fun” is a word some tend to frown upon these days. But for a movie likes this, it’s exactly what you want. And Sakurai is putting a lot of emphasis on accuracy, from the wild tone to the killer costume designs. So fans should find a lot to enjoy.

“Street Fighter” hits theaters on October 16th. Are you excited for the film? Check out the new character posters and share your thoughts in the comments below.

REVIEW: “Itch!” (2026)

April 21, 2026 by Keith Garlington

With a title as straightforward as they come, the horror thriller “Itch!” gives you some idea of what you’re in for. Yet to his credit, writer-director Bari Kang has more on his mind than gripping tension and queasy body horror. He throws in a number of potentially meaningful themes. And while they do provide “Itch!” with some added weight, they don’t all work as intended. That leaves the movie to rely on good old-fashioned scares and suspense.

“Itch!” isn’t much into backstory or world-building. I’m guessing it’s partly due to the film’s limited budget. But it’s also something Kang isn’t especially interested in. Instead he crafts a more character-driven survival horror experience, set (mostly) within a tense single-location setting, and with a mysterious deadly threat that grows more terrifying as more is revealed about it. That’s the backbone of “Itch!”, and the movie works when it stays focused on its genre beats.

Kang also stars as Jay, a widowed single father whose young daughter Olivia (Olivia Kang), hasn’t spoken a word since her mother died. Jay helps run his father’s retail store in downtown New York City which is where the majority of the movie takes place. While his dad (Steven Alonte) stays home caring for his ailing wife, Jay mans the place with their long-time cashier Lisa (Mia Ventura Lucas).

But the tension sets in once we learn about a highly contagious outbreak that is spreading across the city at an alarming rate. Those infected fight an unbearable itch stemming from painful rashes that make their skin feel like it’s burning. We never learn the cause – is it medical, chemical, supernatural? But the setup creates as a harrowing scenario, especially once newscasts report hospitals are overwhelmed by self-inflicted injuries, airports are grounding all flights, and the more seriously infected are turning erratic and violent.

This comes fully into focus after a lady comes to Jay’s store covered in sores and screaming about an unbearable itch. Jay seals his store as more aggressive infected gather outside. With him is Olivia, Lisa, a panicking customer, Henry (Douglas Stirling), and a disgruntled former employee named Miguel (Patrick Michael Valley), along with his pregnant niece Gabriella (Ximena Uribe). Together the six attempt to survive the threats that lie both outside and within. Clashing personalities, fear, and paranoia become as dangerous as the deadly infection that threatens them all.

Unfortunately some of the characters do veer into archetype territory which slightly derails some of the drama. But the bigger hindrances are the various attempts at social commentary that rarely land as intended. The film has a pretty cynical point of view which manifests itself in several glaringly obvious ways. Whether it’s on-the-nose statements about the homeless and refugee communities, or a strangely out-of-the-blue reflection from Henry. There’s certainly nothing wrong with having something to say. But here the ham-fisted attempts mostly ring hollow.

Those few distractions aside, Kang does a terrific job keeping his audience fully engaged. And he impressively shows that you don’t need a big studio budget to do it. The tightening psychological tension itself is enough to keep us locked in. But Kang never forsakes the horror elements, using a cool variety of practical effects in creating some effectively bloody scares. And while not all of its messaging works, the blistering itch is a compelling and unsettling metaphor which gives this solid indie chiller an added jolt. “Itch!” is now available on VOD.

VERDICT – 3 STARS

New on Home Video: “Sleepers” on 4K Ultra HD + Digital

April 20, 2026 by Keith Garlington

Warner Bros. Discovery Home Entertainment is celebrating the 30th anniversary of “Sleepers” by bringing the film to 4K Ultra HD for the very first time. This newly remastered version of the 1996 thriller brings back this fittingly dark and expertly structured story that remains disturbingly relevant today. Based on the book of the same name by Lorenzo Carcaterra, “Sleepers” is written and directed by Oscar winner Barry Levinson and features an incredible star-studded cast.

“Sleepers” will be available on 4K Ultra HD and Digital on April 21st. See below for a full synopsis of the film as well as release information including a list of special features.

About the Film:

Year: 1996

Runtime: 148 Minutes

Director: Barry Levinson

Screenwriter: Barry Levinson

Cast: Robert De Niro, Dustin Hoffman, Kevin Bacon, Brad Pitt, Jason Patric, Bruno Kirby, Ron Eldard, Billy Crudup, Minnie Driver, Vittorio Gassman, Terry Kinney, Peter McRobbie, Jeffrey Donovan, Eugene Byrd, Wendell Pierce

Rating: R for language, graphic violence and two scenes of strong sexual content

Four ordinary boys. A harmless prank gone awry. Their childhood innocence forever shattered, they vow to avenge its loss in the haunting drama Sleepers. Sentenced to spend time at a reform school for their reckless behavior, four basically good boys from a bad neighborhood suffer a horrible fate while there. Forced to perform unspeakable acts by the very adults entrusted to watch over them, the young quartet barely survives the ordeal. A decade and a half later, nothing can erase the painful memories. But neighborhood justice, with a little support from a loyal priest, helps even the score.

Special Features:

Sleepers Digital release and 4K Ultra HD Blu-ray Disc contain the following new special features:

The Making of SLEEPERS: A Conversation with Barry Levinson (NEW)Uncover the inner workings of creating the film, from the production design to adopting the novel into a screenplay, with director Barry Levinson.
SLEEPERS: The Art of Casting with Director Barry Levinson (NEW)Director Barry Levinson delves into the intricacies of crafting the roles of this star-studded cast.

REVIEW: “Lee Cronin’s The Mummy” (2026)

April 18, 2026 by Keith Garlington

Lest anyone be confused, “Lee Cronin’s The Mummy” isn’t a remake of the 1932 Universal Pictures classic. Nor is it a Brendan Fraser action-adventure. Nor is it connected to the 2017 Tom Cruise led bomb that ended Universal’s Dark Universe before it even got started good. No, the Lee Cronin tag in the title is meant to distant the film from all of those Mummy versions. And for good reason. Cronin’s spin on the decades-old concept is very much its own thing. And it certainly leaves a distinct impression.

Cronin’s unique vision is not for the squeamish or faint of heart. His film is an unabashedly grisly horror spectacle that often shoots for the kind of gross-out gore that will leave some audiences elated and others repulsed. It’s very much in the Evil Dead vein of horror yet with an eerie mystery element attached and a strong family component. But at its core is a genuinely unsettling chiller that burrows under your skin. Even crazier, it makes you squirm one minute and blurt out a laugh the next.

Cronin begins his story in Cairo, Egypt which is where we meet a television journalist named Charlie Cannon (Jack Reynor). He’s on assignment in Cairo with his pregnant wife Larissa (Laia Costa) and their two children, Sebastián and Katie. Their lives are turned upside-down after Katie is kidnapped by a creepy woman (Hayat Kamille) who vanishes into a blinding sandstorm. The terrified family immediately go to the local police but they’re unable to find any leads.

Eight years pass with the family now living in Albuquerque, New Mexico with Larissa’s mother, Carmen (Verónica Falcón). Charlie, Larissa, Sebastián (Shylo Molina) and their youngest daughter Maud (Billie Roy) struggle to remain hopeful that Katie is still alive. Meanwhile in Cairo, the guilt-driven Detective Dalia Zaki (May Calamawy) leads her own police investigation to track down the person responsible for Katie’s abduction.

But to the family’s surprise, they get a call from the United States embassy in Cairo with news that Katie has been found alive in a 3,000 year-old sarcophagus. Now played by a gutsy Natalie Grace, the 17-year-old Katie was discovered in a catatonic state, severally malnourished and with clear signs of severe trauma. After arriving in Cairo, Charlie and Larissa are both shocked and heartbroken at the sight of their daughter’s gnarled hands, jagged nails, dry cracking skin, and blank stare.

The doctor tells Katie’s parents that her vitals are good and she’s physically strong. But it may take the comforts of home to give her the kind of psychological help she needs. So Charlie and Larissa take her back to Albuquerque, hoping a sense of family normalcy may bring their daughter back. Instead it unleashes a sinister supernatural horror on their household which takes the movie down a dark, twisted, and fittingly chilling path.

Once Cronin has his table set, he ratchets down on his distinctly deranged vision. He shows no interest in playing it safe, nor does he cater to certain expectations. Instead he takes threads of inspiration and weaves together his own wicked tapestry that works as both squirm-inducing horror and rousing popcorn entertainment. You’ll wince and gasp as Cronin pushes the horror to an extreme. And at times you’ll laugh, as he has fun with those very same extremes.

Lee Cronin goes for the jugular with this wonderfully warped reimagining that is more than a simple retread of the various other Mummy films. It’s a movie that delights as it disgusts, which will be right up the alley of certain horror audiences. It’s not the most plausible story. But it’s hard to dwell on that when the movie is consciously pushing itself to such bonkers places. The fully committed cast, gnarly makeup and effects, and stellar camerawork and sound design puts an eerie exclamation point on this satisfying genre gem.