REVIEW: “Solo Mio” (2026)

February 5, 2026 by Keith Garlington

The romantic comedy has had its ups and downs like any other genre. But more than most, its films often find themselves so beholden to formula that they come across as uninspired retreads. Perhaps that’s why “Solo Mio” is such a breath of fresh air. Set around Rome and Tuscany, “Solo Mio” has a big heart, likable characters, plenty of well-delivered laughs, and more maturity than the standard-issue, run-of-the-mill romcoms of today.

Now don’t get me wrong, I’m not saying it’s “Roman Holiday”. But much liked that beloved William Wyler classic, “Solo Mio” features a similar charm and effervescence while being set to the same vibrant Italian backdrop. Of course the scenery is gorgeous and transporting without becoming a crutch. More surprising is the script which is brimming with humor, warmth, and pathos. But its biggest strengths are its two top performances from Kevin James and Nicole Grimaudo.

The movie comes from the Rhode Island filmmaking collective known as the Kinnane Brothers. Charles and Daniel serve as co-directors and work from a screenplay written by their siblings, Patrick and John. Kevin James pitched in with the script in addition to playing the lead role. Here he moves away from the slapstick silliness that has defined much of his career and gives us something endearing and heartfelt. It’s some career-best work.

James plays Matt Taylor, a 4th grade art teacher engaged to the sprightly love of his life, Heather (Julie Ann Emery). The two plan a storybook wedding in Rome with a lavish Italian honeymoon to follow. But on their wedding day everything falls apart when Heather leaves Matt at the alter. Heartbroken, Matt tries to cancel their big honeymoon plans only to find their “package” is nonrefundable. So he decides to stay in Rome, taking their honeymoon alone with hopes that Heather comes back.

As Matt tries coping with his sadness, he meets two nosy and intrusive newlywed couples at his hotel who take it upon themselves to get Matt back on his feet (much to his chagrin). There’s the well-meaning but overly assertive Julian (Kim Coates) who is celebrating his third marriage to Meghan (Allyson Hannigan). And there’s the henpecked Neil (Jonathan Roumie) who just married his therapist Donna (Julee Cerda). Yep, his therapist.

The oddball couples have good intentions. But it’s a fateful visit to a local coffee shop that turns things around for Matt. It’s there that he meets an outgoing barista named Gia (a fabulous Nicole Grimaudo) who notices he is a bit out of sorts. Gia has an infectious personality and an irresistible charm which doesn’t go unnoticed by Matt. But he doesn’t give it much thought. After all, Heather may come to her senses. And how can a man in his 50s start a new relationship from scratch?

But as Matt and Gia keep bumping into each other, a romance blossoms. Sure it’s a predictable turn, but the Kinnanes manage it unexpectedly well. It’s sweet without being schmaltzy and it’s playful without being silly. It’s a grownup relationship with authentic characters we genuinely care about. The lively Gia is a wonderful balance to the listless Matt. And when together, they come to life thanks to the natural, easy-flowing chemistry between James and Grimaudo.

As with any romantic comedy, there is a tension that threatens to uproot the central romance. Here it happens to be secrets that both are holding onto. Yet to the film’s credit, it’s handled in a refreshingly unique and mature way. It’s another welcomed surprise from a movie that speaks about relationships with such honesty – about how old ones can end and new ones can begin, no matter what stage of life you’re in.

“Solo Mio” may not cause a seismic shift in the romantic comedy landscape. But it does show that the genre isn’t out of gas just yet. It doesn’t veer too far away from the popular romcom blueprint. It simply livens things up by telling its own story rather than mimicking other films that came before it. James has never been better and Grimaudo should immediately be put on everyone’s radar. In the end, nearly all the pieces fall into place, making this a delightful, refreshing, and life-affirming crowd-pleaser.

VERDICT – 4 STARS

REVIEW: “Iron Lung” (2026)

February 4, 2026 by Keith Garlington

The potential game-changing success of “Iron Lung” has become a compelling story on its own. The science-fiction horror film is written, directed, edited, and produced by Mark Fischbach, a popular YouTuber who goes by the online name Markiplier. He sits as one of the most popular streamers on the platform with over 38 million channel subscribers to date.

Fischbach self-financed “Iron Lung” for $3 million. Even more impressive, he self-distributed his film, initially only negotiating a small release in 60 independent theaters across the United States. He then reached out to his fans who spearheaded a massive grassroots campaign which caught the attention of several major theater chains. As of now, the film is showing in over 4,100 screens worldwide and made over $21 million in its opening weekend.

“Iron Lung” is based on a 2022 indie game developed and published by David Szymanski. It was a first-person simulation horror experience set entirely within a cramped midget submarine. The movie follows suit, keeping us confined inside a small iron shell for the duration of its two hours. The confinement itself is never an issue. But the two-hour runtime is, with Fischbach too often dragging things out considerably longer than he needs to.

The story is set in a distant future where mankind has colonized space. But a catastrophic event called the Quiet Rapture caused all star systems to vanish. Planets, stars, moons – all gone. And nearly all of humanity disappeared with them. The only survivors are the small numbers of people who were onboard space stations and starships. Those remaining desperately do what they can to stave off their extinction.

Enter Simon (strongly played by Fischbach), an antsy convict about to go on a dangerous mission as penance for a crime that we learn more about as the movie progresses. His mission is to descend deep into an uncharted ocean of blood on a desolate moon believed to hold information and resources crucial to human survival. His handlers have nothing but surface scans. So Simon is tasked with exploring the deep and photographing his findings in exchange for his freedom.

Simon’s small single-chambered submarine is welded shut and the lone porthole is sealed to prevent leaks due to the ocean’s intense pressure. That leaves him completely blind when submerged. His only means of navigation are his instruments and the crude images of an x-ray camera. His chief handler on the surface is the stern and cryptic Ava (Caroline Rose Kaplan) who barks Simon’s orders through a small speaker while trying to keep him focused.

There’s not a lot in terms of plot, but the first half-hour is riveting both narratively and technically. The early storytelling is equal parts harrowing and mysterious as new revelations raise the stakes while introducing an array of physical and psychological dangers. Tensions simmer, trust erodes, and deeper questions emerge. At the same time, Fischbach impressively acquaints us with the “Iron Lung” vessel, skillfully capturing the claustrophobia and peril through his camera and rich sound design.

But things take a frustrating turn as the film goes beyond slow-burning to meandering. Fischbach stretches his already limited story beyond its bounds, overextending sequences and repeating himself in scenes to the point of tedium. The gaps between new information get wider as Simon slowly navigates an assortment of drawn-out side quests that end up opening more questions than the movie ever answers.

Things do pick up in the final half-hour as Fischbach lets the blood gush (and I say that in its most literal sense). He and his team serve up a gory, blood-drenched ending that’s realized through a series of gnarly practical effects. And though it’s sometimes hard to discern what’s happening amid the dim lighting and shaky camera, the film’s ending goes for the jugular, more so visually than narratively.

In the end there is so much to admire about “Iron Lung” – the concept, the craftsmanship, the ambition, the determination. Markiplier shows some real creative chops, both in front of and behind the camera. Unfortunately the middle-hour’s languid pacing really stymies the movie’s momentum and zaps it of its tension, making the experience more grueling than thrilling. It’s a bummer because somewhere in “Iron Lung” is a tighter and more focused 90-minute movie that I would have loved.

VERDICT – 2.5 STARS

NEON’s “Sentimental Value” Gets New Character Posters

February 3, 2026 by Keith Garlington

As frequent readers of this site may know, I’m a sucker for character posters. And it’s not often that you see them for emotionally weighty family dramas like “Sentimental Value”. But with the film now showing in select theaters and with it just receiving nine Academy Award nominations, NEON has released four posters of the film’s four Oscar-nominated stars.

“Sentimental Value” follows a struggling family attempting to reconnect despite years of buried pain and estrangement. Renate Reinsve and Inga Ibsdotter Lilleaas play very different yet very close sisters. Stellan Skarsgård plays their father who suddenly re-enters their lives. And Elle Fanning plays an outsider with a very unique perspective on their relationships. The characters are rich and compelling; the performances are phenomenal and awards-worthy. You can read my full review of the film [HERE].

Check out the new posters below and let me know what you think. And make a point to see “Sentimental Value” in select theaters now.

SUNDANCE REVIEW: “Chasing Summer” (2026)

February 3, 2026 by Keith Garlington

If you’re familiar with director Josephine Decker’s past work, you might have a hard time believing she’s at the helm of the Sundance comedy “Chasing Summer”. It’s such a dramatic turn from what she’s done previously. And while it’s always commendable to see a filmmaker extending themselves in new directions, the messy misfire that is “Chasing Summer” proves that good results are never guaranteed.

While Decker’s struggles are noticeable, just as much (if not more) of the blame goes to the script, written by the film’s charismatic star, Iliza Shlesinger. Decker never seems to have a firm grasp on the material which starts off strong, but quickly begins to lose its way. It eventually craters thanks to a ludicrous late twist that leaves a plot hole the size of the Grand Canyon. It completely cuts the already wobbly legs out from under the story and its premise.

As mentioned, the film starts out strong by introducing us to Jamie (Shlesinger), a forty-something relief worker who is providing aide to tornado victims in Mississippi. While there, she’s informed by her boyfriend and co-worker that he’s breaking up with her after five years together. Forced to move out and with nowhere else to go, Jamie returns to her small hometown in Texas to stay with her parents over the summer.

**Image Courtesy of Sundance Film Festival**

The problem is Jamie doesn’t have the fondest memories of her hometown. She hasn’t been back in twenty years, which is when she left after an ugly breakup with her old boyfriend Chase (Tom Welling) led to vicious rumors that ruined her reputation all across their town. But now she’s back and forced to reconnect with her former life which includes old family, old friends, and her old fling.

The movie’s central theme of confronting your former life and re-evaluating your current one plays out in Jamie’s awkward reunions with the people from her past. The best of the lot are her parents, Layanne (Megan Mullally) and Randall (Jeff Perry) who perfectly fit the small town mold while delivering some great laughs. There’s also Jamie’s crass older sister Marissa (Cassidy Freeman) who owns a local roller skating rink. And her three gossipy classmates (Aimee Garcia, Lauren Aboulafia, Lindsey Moore), all married with children. And of course the hunky Chase who is still beloved around town.

But what begins as a screwball comedy throwback turns into something messy, generic, and in some cases utterly baffling. The kink in the storytelling comes when Jamie starts a steamy romance with a local named Colby (Garrett Wareing). He’s some twenty years younger and fresh out of high school, but that doesn’t stop them hooking up and making no real effort to hide it. Age-gap romances are nothing new. But here it’s handled like a clunky teen comedy. Even worse is the preposterous plot twist it leads to which gashes any chance of taking things seriously.

“Chasing Summer” is a head-scratching misfire that consistently seems at odds with itself. It’s a movie marked by early highs, late lows, and a flop of a finish that ends up being its death knell. Decker and Shlesinger’s collaboration begins as the kind of zany comedy anchored enough in the real world to resonate. It ends up being an indistinct and forgettable letdown that seems custom made for streaming. And it’s not the kind of reinvention you hope to see from a filmmaker like Decker.

VERDICT – 2 STARS

SUNDANCE REVIEW: “Zi” (2026)

February 2, 2026 by Keith Garlington

Writer-director Kogonada makes his third trip to the Sundance Film Festival with his latest feature, “Zi”. More of an experimental meditation than a plot-driven story, “Zi” speaks to the senses through Kogonada’s arresting visual style and three lights-out performances. For most of its running time, the film sweeps you away with its soulful spirit and thoughtful ruminations. That’s why it’s so frustrating to watch it veer off course at the final act.

Michelle Mao is terrific playing Zi, a quiet and somewhat detached young woman who we meet as she’s roaming the streets of Hong Kong. We listen in as she calls her manager to inform him she won’t be going on her orchestra tour. We watch as she pays a visit to the cemetery where her parents are buried and pours her heart out to them. But stranger than anything, we also witness her having visions of her future self which she tries keep up with. But her future self keeps slipping further and further away.

So what does it all mean? Kogonada asks us to go along with him, observing what he chooses to show and picking up morsels of information he drops along the way. Without giving away too much, Zi has received some devastating news and she has never felt more alone. But her seemingly hopeless path comes to a life-changing intersection when she meets a young American woman wearing a bad wig who introduces herself as Elle (Haley Lu Richardson).

Elle is a blustery free spirit from Arizona who is wandering around Hong Kong “collecting sounds”. Zi tries to blow her off, but the persistent Elle sticks around, finally getting Zi to open up about her problems. Elle insists they go see her friend Min (Jin Ha), a researcher who may be able to explain Zi’s visions. What unfolds is a night on the town where the trio reveal some compelling old connections and some not so compelling new ones.

There is an air of mystery surrounding the story which Kogonada embellishes through his striking visuals and rich sound design. He and cinematographer Benjamin Loeb employ a 4:3 aspect ratio which adds intimacy while giving the film an ethereal vibe. Meanwhile pulsating in the background is a shrewdly calibrated assortment of sounds, from gentle wind gusts to melancholic piano chords to rhythmic electric buzzes. All contribute to the shifting tenors of the story.

But sadly Kogonada loses his way in the final minutes by throwing in an abrupt and rather heavy-handed spin that feels tacked-on rather than organic. It tilts the story in a direction that doesn’t feel earned, and it takes time away from other story threads that need more explaining. It’s a frustrating shift that shortchanges the soulful and captivating experience Kogonada had built to that point.

“Zi” is not a movie angled towards casual audiences. It’s aimed at those who can get onboard with its unique wavelength. But even then, in-tune viewers might find themselves discouraged at how a beautifully beguiling story can go off track so quickly. It’s unfortunate because Kogonada shows some of the same creative verve that has made him one of the most interesting filmmakers working today. But here he stubbles with a slapdash finish that undermines much of what came before it.

VERDICT – 2.5 STARS

SUNDANCE REVIEW: “Josephine” (2026)

January 31, 2026 by Keith Garlington

“Josephine” is the harrowing second feature from writer-director Beth de Araújo that deserves every bit of the buzz it has generated at this year’s Sundance Film Festival. “Josephine” features superb performances from Gemma Chan and Channing Tanning along with a remarkable debut from young Mason Reeves. But the film’s profound emotional resonance is established most in de Araújo’s potent and powerful direction.

Affected by a specific personal experience, de Araújo begin writing her script for “Josephine” in 2014. It was challenging material to begin with, but it was even more challenging getting her film made, especially after COVID stalled her progress. But things finally began falling into place, especially after finding her young star at a San Francisco farmer’s market. What de Araújo is able to accomplish through the eyes of Reeves will stay with you for days after the final credits.

The movie starts with eight-year-old Josephine (Reeves) and her father Damien (Tatum) playfully jogging through Golden Gate Park. While racing, the two get separated, with Josephine wandering into a remote section of the park. It’s there that she witnesses the brutal rape of a woman by a man hiding and waiting. De Araújo doesn’t hold back, forcing her audience to watch the assault as Josephine sees it. It’s graphic and disturbing, but captured truthfully and with purpose.

Damien arrives as the assailant is fleeing and chases him until the police arrive and make an arrest. As for the tender and impressionable Josephine, she takes in the horror and chaos as it unfolds in front of her. Once away from the scene, Damien and his wife Claire (Chan) try to normalize things for their daughter. But Josephine struggles to process what she has seen. The rush of complex emotions makes her question every part of her once innocent and safe world. It impacts how she sees everything, from strangers in public to displays of affection between her parents at home.

Josephine’s struggles are truly devastating to observe, largely because we witness everything through her eyes. De Araújo’s powerful use of perspective gives us startling insight into a child’s trauma. It’s seen in Josephine’s heartbreaking moments of withdrawal and more vividly as she begins lashing out in numerous ways at home and at school. De Araújo even adds a horror element to her depiction via the haunting, reoccurring projections of the rapist (Philip Ettinger) from Josephine’s mind. It’s a creative choice that emphasizes her inability to escape her trauma.

But the film also takes time to convey the struggles of parents navigating their child through such a scarring ordeal. Damien and Claire have clashing approaches based on their individual life experiences. Neither are portrayed as bad parents. Rather they’re both doing the best they can in a painfully hard situation. Their difficulties mount after Josephine is called upon to testify in court as the lone witness. De Araújo uses the trial scenes to make some perceptive comments on our shockingly flawed legal system.

“Josephine” is a devastating examination of trauma and its crushing effects, not just on a small child, but on a family as well. De Araújo’s fearless direction, accompanied by three equally bold performances, make this an uncomfortably authentic yet deeply sensitive treatment of some truly difficult subject matter. And while I genuinely hate throwing around words like “important”, there is an urgency to “Josephine” that goes beyond the riveting drama. The film forces us to reckon with uneasy yet consequential issues. And it does so with clear-eyed conviction, which is precisely what this kind of material needs.