REVIEW: “Rose of Nevada” (2026)

June 15, 2026 by Keith Garlington

Mark Jenkin writes, directs, edits, shoots, and scores “Rose of Nevada”, a hypnotic fusion of rural drama and science-fiction, with ghost story elements sprinkled in to boot. The film has the feel of an old memory play although without the use of narration as a centering device. It remains mysterious, haunting, and at times utterly spellbinding. I found myself captivated, not only by its unconventional storytelling, but also by the impressive craftsmanship behind every shot.

“Rose of Nevada” grabs your attention from its first frame with its striking visual style and rich, post-production sound design. Jenkin shot his movie using a vintage clockwork Bolex camera on 16mm film stock. The 4:3 aspect ratio intensifies the focus while the grainy texture and highly saturated colors give the images both lived-in and dreamlike qualities. It quickly becomes a transporting experience that often has us questioning while admiring what we’re seeing.

The story takes place in a once bustling fishing village in Cornwall that has since become a shell of what it formerly was. It all changed three years ago, when the village’s fishing boat went out to sea and never returned. Besides the tragedy of losing two local fisherman, the village also lost its chief source of revenue. The few people who remain find themselves struggling to make ends meet. But the proverbial tide turns after the boat makes a stunning reappearance.

After three years, the village’s lost fishing boat called the “Rose of Nevada” mysteriously floats back into port. No one’s onboard but there are signs of the crew who worked it. Desperate to save what’s left of their town, a local businessman named Mike (Edward Rowe) decides to send the boat back out. He hires a salty sea captain named Murgey (Francis Magee) and two deckhands, a local husband and father named Nick (George MacKay) and a drifter named Liam (Callum Turner).

Jenkin’s attention to detail adds a visual richness to the compositions that evokes an array of feelings. In one sense, it helps things to feel true and organic. It feels as if we are embedded in the suffering community or aboard the cramped fishing boat. At the same time, Jenkin deftly skews our sense of reality with his illusory lensing. Cryptic imagery transports us back in time while creative touches, like cleverly incorporated film burns, leave the impression we’re moving in and out of a dream.

This comes more clearly into focus after Nick and Liam return home. I won’t dare spoil what they discover, but it sets two uniquely different paths in front of them that neither are quite prepared for. And it gives shape to the movie’s deeper themes of loss, sacrifice, second chances, and socio-economic decline. Meanwhile strong supporting work from Rosalind Eleazar, Yana Penrose, and Mae Voogd adds moral and emotional stakes to this enigmatic tale.

“Rose of Nevada” is one of the most visually absorbing and strikingly immersive films I’ve experienced in some time. Jenkin’s unique cinematic style mixed with perfectly tuned performances creates a deeply evocative experience that lures you in and keeps you engaged with its mesmerizing rhythm and mysterious allure. It’s a strange movie in many regards. But it’s not hard to get in sync with it. And once you do, you simply can’t break its hold on you.

VERDICT – 4.5 STARS

First Glance: “Heart of the Beast”

June 12, 2026 by Keith Garlington

Brad Pitt stars alongside a German Shepherd named Uber in the upcoming survival thriller “Heart of the Beast”. I’ve been interested in this film since word of its existence first game around. Now Paramount has released the first trailer and it shows a compelling balance between heartfelt and thrilling. David Ayer directs from a screenplay by Cameron Alexander. But Pitt and his canine companion are the real draws.

Pitt plays an Army Special Forces veteran who returns to civilian life with the combat dog he served with. But adapting proves difficult, as he’s haunted by traumatic dreams of his time at war. PTSD looks to play a significant part of the story, as does the bond between the man and his dog. And they’ll need that bond after their plane crashes deep in the Alaskan wilderness. Alone and with no way to call for help, the two must lean on their training and their love for each other to survive. Sign me up!

“The Heart of the Beast” opens in theaters September 25th. Check out the trailer below and let me know if you’ll be seeing it or taking a pass.

REVIEW: “The Furious” (2026)

June 11, 2026 by Keith Garlington

Veteran stunt coordinator turned director Kenji Tanigaki brings the energy of Hong Kong action cinema to his explosive new movie that fully and unapologetically lives up to its name. “The Furious” is a kinetic, no-holds-barred action thriller in the vein of 2011’s “The Raid”. It’s a ballet of brutality that takes the simplest of stories and turns it into something you can’t take your eyes off of. It’s hands-down the best action movie of the year so far.

Written by Mak Tin-shu, Lei Zhilong, Shum Kwan-sin, and Frank Hui, the story driving “The Furious” does little besides presenting an emotional core and speeding us along from one action sequence to the next. Set “somewhere in Southeast Asia”, the film follows a humble handyman named Wang Wei (Xie Miao). Little is revealed about Wang’s past other than he is mute, his wife died tragically, and his martial arts skills are off the charts.

The one true joy in Wang’s life is his young daughter Rainy (Yang Enyou), who is reluctantly about to head back to her grandma in China after spending her summer vacation with her father. There’s clearly a heartfelt story somewhere involving their mutual grieving over the loss of his wife and her mother. But Tanigaki alludes to it more than explores it. Instead he sets his sights on the film’s bread an butter – bone-cracking and blood-spraying action.

It kicks into gear after Rainy is snatched off the street by a group of thugs. Wang gives chase but is unable to catch them. Frantic, he seeks the help of the local police, only to find them too bogged down in “procedure”. So he sets out on his own, eventually crossing paths with a man named Navin (Joe Taslim), who is searching for his wife Matia (JeeJa Yanin) after she disappeared while investigating area child abductions.

Through Navin, Wang learns that a sex trafficking outfit has been snatching children from some of the poorest communities. Together the two set out to find their lost loved ones. To no surprise, they will have to fight their way through an entire underground criminal empire to do so. And they will use anything at their disposal including blades, hammers, wood pallets, ladders, and bicycles (yes, bicycles).

Wang and Navin’s investigation takes them from one exhilarating fight scene to the next, with each as expertly choreographed as the most detailed musical number. The fight scenes rely heavily on practical martial arts combat with very little in the way of digital effects. And Tanigaki wisely stays away from disorienting shaky cams and annoying quick cuts. Instead the action plays out with such brutal clarity that you can’t help but admire the incredible skill onscreen.

“The Furious” does a good job balancing weighty subject matter with sheer genre spectacle. It doesn’t pull punches in showing the horror of child trafficking. At the same time, you’ll lose count of the times you let out an audible “OHHH” when watching Miao and Taslim in action. And it only escalates when they’re joined by baddies Joey Iwanaga, Yayan Ruhian, and Brian Le for a relentless and intense final 20 minutes that impresses on an entirely different level.

VERDICT – 4 STARS

REVIEW: “Masters of the Universe” (2026)

June 8, 2026 by Keith Garlington

One of my biggest questions for the 2026 movie year has been simply this – how much of a demand is there for a new big screen, live-action movie adaptation of “Masters of the Universe”? The franchise started with a wildly successful 1980s Mattel toy line which inspired an equally popular mid-80s cartoon series which ran for 130 episodes. Over the years there have been several animated revivals that have mostly appealed to a niche audience.

But Mattel and Amazon MGM Studios are betting big on this new iteration, to the tune of a $200 million production budget. In one sense it’s great to see them investing the resources needed for such an undertaking. They certainly bring in a capable director in Travis Knight. And they assemble together a rock-solid ensemble who all seem to know the assignment. The result is an adaptation that captures the spirit of the original material without taking itself too seriously. I just wish they had taken things a little more seriously.

“Masters of the Universe” hearkens back to the days of the sword-and-sorcery movies, and that honestly excited me more than all the IP dressing that came with it. But this is an existing franchise, so naturally it works hard to recreate what fans will undoubtedly expect. And for the most part, it succeeds in doing that. Knight infuses the film with an after-school vibe similar to the original show. It’s silly, action-packed, fantastical, and campy, often all at the same time.

**Image Courtesy of** Amazon MGM Studios

Nicholas Galitzine stars as Adam Glenn, the 25-year-old prince of a faraway world called Eternia who is living in modern-day Oklahoma City. A prologue set fifteen years earlier introduces us to young Adam living in his enchanting home-world of Eternia. There he tries his best to win the acceptance of his overly stern father, King Randor (James Purefoy) while his mother, Queen Marlena (Charlotte Riley) basically stands sighing in the background.

But after their palace is attacked and overran by the armies of the evil Skeletor (a wildly entertaining Jared Leto), young Adam is sent away through a portal to Earth, entrusted with the mythical Sword of Power which is his key to one day return home. But Adam loses his grip on the sword and spends the next fifteen years trying to find it. In the meantime he works in a go-nowhere Human Resources company, training for boring seminars while wishing he was back home.

Adam’s life forever changes when he finally finds the sword. He inadvertently reveals his location to Skeletor who sends the ravenous Beastman to Earth to retrieve the sword. But Adam is saved by his childhood friend from Eternia, Teela (Camila Mendes) who gets him and the Sword of Power back to Eternia, which now lies in ruin under Skeletor’s rule. There Adam discovers the sword’s true power when it transforms him into the mighty Champion, He-Man. But will that be enough to save his home world?

A big part of the fun is found in the many side characters from the established universe. Among the heroes are Man-At-Arms (Idris Elba), Ram-Man (Jon Xue Zhang), Mekaneck (James Wilkinson), Fisto (Jóhannes Haukur Jóhannesson), Roboto (voiced by Kristen Wiig) and Sorceress (Morena Baccarin). Skeletor’s villains include Evil-Lyn (Alison Brie), Trap Jaw (Sam C. Wilson), Tri-Klops (Kojo Attah), Spikor (James Apps), Moss Man (Stephen Adentan), and Goat Man (Hafþór Júlíus Björnsson). Most exist in the film’s margins, but they’re fun nonetheless.

But there are some issues that creep in early and ultimately keep this very good live-action adaptation from being great. The biggest annoyance is in how far Knight and screenwriters Chris Butler, Aaron Nee, Adam Nee, and David Callaham ride Prince Adam the oaf. The movie is about the transformation into the heroic Champion of Greyskull. But it spends far too much time on his dimwitted side. There’s also the baffling inclusion of random profanity and groan-worthy sexual innuendo that makes you question what audience they’re vying for.

Those bad choices aside, it’s clear “Masters of the Universe” is built upon a genuine affection for the source material. And while it’s very loyal to the style and tone of its inspiration, it’s also a very accessible for newer audiences. Sadly, Adam’s goofiness never fully goes away, which stands out more when held up next to the exceptional (and more serious) action scenes. Ultimately, Knight and company hit their mark, and fans who hold the source material dear will have a great time. But is there enough to attract a wave of new fans? I guess time will tell.

VERDICT – 3.5 STARS

REVIEW: “Pressure” (2026)

June 5, 2026 by Keith Garlington

In the early part of June 1944, the Allied forces were in the preparation stage for what would be the largest and most consequential seaborne invasion in military history. D-Day saw nearly 160,000 soldiers cross the English Channel and land on the beaches of Nazi-occupied Normandy. The costly yet successful assault was a crucial moment in liberating Western Europe and turning the tide of the war. And much of the operation’s success hinged on the weather.

In the new film “Pressure”, director Anthony Maras concentrates on the roughly 72 hours before the D-Day assault. Based on the 2014 stage production of the same name by playwright David Haig, the film adaptation unfolds like a high-stakes thriller where the action takes place behind closed doors rather than on the battlefield. And where the tension simmers between meteorologists and military leaders rather than infantrymen and pilots.

Co-written by Haig and Maras, “Pressure” tells the true story of James Stagg (Andrew Scott), an esteemed Scottish meteorologist summoned by Allied Commander Dwight D. Eisenhower (Brendan Fraser) at the recommendation of Winston Churchill. Stagg is assigned the position of Chief Meteorological Officer whose responsibility is supplying Eisenhower and his team of Allied leaders a definitive forecast for the planned D-Day invasion.

Stagg reluctantly leaves his pregnant wife and reports for duty at the remote and heavily fortified Allied headquarters. There he learns he must present a preferably favorable forecast for the assault which is set to take place in 72 hours. But the serious-minded and businesslike Stagg quickly finds himself at odds with a number of people including Colonel Krick (Chris Messina), Eisenhower’s own longtime weather forecaster. Krick predicts a clear and sunny invasion day. But Stagg warns of severe storms, much to the chagrin of the military men.

As time becomes more of a factor, the character-centered story sees the tension move from a simmer to a boil. Key players factor in a variety of ways starting with Stagg. Scott’s captivating performance combines remarkable restraint with uncompromising conviction, portraying Stagg as a man of inspiring fortitude amid heart-wrenching personal incertitude. And while he becomes unpopular among the British and American contingents, he finds an ally in Lt. Kay Summersby (a wonderful Kerry Condon), Eisenhower’s personal secretary and advisor.

Fraser’s portrait of Eisenhower is equally compelling. He reveals Ike to be a deeply committed yet burdened commander who is still haunted by the costly failure of Operation Tiger – an attempted rehearsal for D-Day that went terribly wrong. The decision to launch rests solely with him, and the weight of that choice is taking its toll. If he delays, he runs the risk of tipping off the Germans and losing the element of surprise. If he goes ahead with the invasion and Stagg’s forecast is right, the results for the Allies could be catastrophic.

True to its name, this riveting chamber piece is built around a pressure cooker scenario, with history itself reminding us that the stakes couldn’t be higher. Maras draws us in and keeps us engaged through a host of interesting personalities and dynamics. And whether they are sparring over conflicting data or realizing the staggering consequences if they get this wrong, the story is pulsing with authenticity and urgency.

“Pressure” isn’t your prototypical World War II movie. It sits behind the grander scenes, telling the true story of an unsung hero who dared to stick by his convictions and a noted leader willing to make the tough choice with everything on the line. And while the bulk of the film’s combat doesn’t take place on the battlefield, it is every bit as gripping thanks to stellar performances, an intelligent script, and focused direction. It’s one of the nicest surprises of the 2026 movie year so far.

VERDICT – 4 STARS

REVIEW: “Kraken” (2026)

June 3, 2026 by Keith Garlington

With a title like “Kraken” there’s not much left to the imagination. But hats off to director Pål Øie who fully embraces our expectations while both exceeding and subtly subverting them as well. In many ways the approach he takes is similar to his last film, the 2019 disaster thriller “The Tunnel”. Obviously with a name like “Kraken”, Øie is diving into slightly more fantastical waters. Be he retains his interests in large-scale suspense, the beauty and resilience of nature, and the melding of humanity with spectacle.

“Kraken” is very much a creature-feature about an ancient tentacled monster from the deep. But its eco-sensitive themes give the story some unexpected weight. It doesn’t make the most profound cinematic statement you’ll hear from a movie this year. But it adds a handful of creative and compelling layers to “Kraken” while making several thoughtful points, some metaphorically and others that are a bit more on-the-nose.

**Image Courtesy of Samuel Goldwyn Films**

Johanne (Sara Khorami) is a dedicated marine biologist working for the Institute of Marine Research. After suspicions arise over a salmon farm in the small village of Vangsnes, Johanne is sent to inspect the facility. Vangsnes is a scenic town built along the crystal-blue Sognefjord, the largest and deepest fjord in all of Norway. The high-tech fish farm is owned by a corporate suit named Jostein (Øyvind Brandtzæg) who is more focused on entertaining potential investors from Japan than addressing the distress his new tech may be having on the local ecosystem.

We learn Johanne once lived in Vangsnes where she worked with fellow researcher Erik (Mikkel Bratt Silset) on a prototype to keep parasites off the salmon. Johanne left before their project was finished, leaving Erik to do the rest of the work. Now she’s back to see if their invention is harming the fish and the fjord. Unlike his boss, Erik is an upright man who takes Johanne’s concerns seriously. Together they begin running a series of tests while Jostein repeatedly brushes off their discoveries, not wanting to threaten his lucrative investment deal.

Johanne and Erik learn that the tech is not only having an adverse impact on the salmon, but there’s a ripple effect across the fjord. Schools of fish are suddenly flopping to the shore. Casts of crabs are leaving the water in droves. But the biggest consequence lies deep at the bottom of the fjord, where an agitated sea creature resembling the legendary Kraken emerges, wreaking havoc on the normally quiet community.

While “Kraken” is a creature-feature at its core, it could also be categorized as a disaster movie. And like most good disaster movies, “Kraken” introduces us to a number of characters who will at some point inevitably find themself in the monster’s path. Aside from Johanne, Erik, and Jostein, there is a wise and seasoned sea captain named Olav (Hans Morten Hansen). There’s the research facility’s technician, Georg (Jon Erik Myre). There’s also Henriette (Ingvild Holthe Bygones), a police officer whoi is also Jostein’s wife. And there’s Jostein’s rebellious daughter Maria (Jenny Evensen) and her two moody friends, Cato (Steinar Klouman Hallert) and Hallvard (Filip Bargee Ramberg).

The slow-building story gives most of the characters plenty of time to establish themselves in Øie’s world although some could use more depth. Surrounding them is a truly breathtaking display of natural beauty, captured through an array of stunning drone shots and gorgeous on-location filming. As for the eponymous creature, it is kept out of sight for much of the movie. We’re only given brief glimpses until the angry cephalopod fully rises from the depths to unleash its final-act retribution. But even then, Øie doesn’t overplay the spectacle. Instead he retains the mystery behind the menace.

Following a solid slow-simmering buildup, “Kraken” finally delivers an exciting payoff that tips its hat to a number of classic films including “Alien” and “The Blob”. Honestly, the ending doesn’t completely make sense. And there is a feeling that it could have been more spectacular without going full Roland Emmerich. But that aside, Øie keenly serves up a engaging mix of mystery and mayhem, using all the classic disaster movie and creature-feature ingredients, and seasoning them with his own stylistic flavor. The results are gorgeous, terrifying, and thoroughly entertaining.