REVIEW: “One Spoon of Chocolate” (2026)

April 29, 2026 by Keith Garlington

“Quentin Tarantino Presents” is a tag that is certain to grab attention for a film. It’s stamped prominently in front of “One Spoon of Chocolate” – an ode to exploitation films written and directed by RZA. Tarantino serves as executive producer, and knowing the filmmaker’s deep reverence for grindhouse cinema, it’s pretty obvious why he chose to be involved. “One Spoon of Chocolate” is dripping in exploitation influence which RZA proudly uses to its fullest.

RZA’s film draws the bulk of its inspiration from 1970s blaxploitation, classic martial arts cinema, and early Tarantino films (even Red Apple cigarettes make a surprise appearance). His movie features an assortment of characters, many heightened to near comical levels, who work tensions into a lather, setting the table for the blood-splattered “revenge-a-matic” it becomes.

The film claims to be “inspired by real events”, yet it’s a fictional work that isn’t based on any specific true account. Rather it’s the filmmaker’s sociopolitically charged view of America, pieced together over the course of the script’s 13-year development. Knowing that makes it difficult to read how seriously we’re supposed to wrestle with its commentary, especially considering how over-the-top things get. It works better when its themes are considered more broadly and its genre elements are front and center.

The story follows Randy “Unique” Joneson (Shameik Moore), an Army veteran with anger management issues who we meet as he is being released from New York’s Upstate Correctional Facility. He served two years in prison for assault and battery after putting his abusive wife-beating neighbor in a coma. With the help of his sympathetic parole officer (Blair Underwood), Unique is transferred to Karensville, Ohio to be close to his lone family member, his cousin Ramsee (RJ Cyler).

But Unique learns the small town of Karensville is full of trouble after he and Ramsee have a run-in with a cartoonishly racist gang of white supremacists. Their argument turns violent, which puts Unique and Ramsee in the crosshairs of the gang’s hyper-racist and hedonistic leader, Jimmy (Harry Goodwins). And to make matters worse, Jimmy is the son of the corrupt and (you guessed it) equally racist Sheriff McLeoud (Michael Harney) whose nefarious dealings go well beyond just protecting his depraved son.

A handful of other characters play into the story, most notably Ramsee’s girlfriend Aretha (E’myri Crutchfield) and Aretha’s best fried Darla (Paris Jackson) who takes a liking to Unique. They join the others in this small town powder keg where conflicts escalate to the extent that Unique finally reaches his breaking point. This opens the door for RZA to unload in a revenge-fueled ultra-violent final act. Brutality meets silliness in a fitting climax that fully satisfies, right until its unfortunate choice for an ending. It’s frustratingly abrupt and not in a savvy way. Rather it shortchanges nearly everything that came before it.

“One Spoon of Chocolate” may generalize too much for its themes to register as profoundly as they could have. Still, it’s easy to appreciate what RZA is trying to say. But most satisfying is the go-for-broke grindhouse style which the filmmaker proves to have a firm grasp of. At least right up until his movie’s screeching stop of a finish, which ends up being much too clever for its own good. It’s borderline maddening, but thankfully it doesn’t erase everything RZA does well with the characters, the camera, and the carnage.

VERDICT – 2.5 STARS

REVIEW: “The Yeti” (2026)

April 28, 2026 by Keith Garlington

“The Yeti” is exactly what its simple and straightforward title suggests. It’s a proudly old-fashioned creature feature that calls back to the kind of late-night monster B-movies that once frequented drive-ins and syndicated horror-themed television shows. In that way, “The Yeti” has enough to satisfy those like me who grew up relishing those unabashed genre flicks of old. But even I found myself wanting the film to push its clear genre affections further.

“The Yeti” is co-written and co-directed by Gene Gallerano and William Pisciotta who put together a solid setup. Set in 1947, the United States is shocked by the mysterious disappearance of prominent oil tycoon Merriell Sunday Sr. (Corbin Bernsen), accomplished explorer Hollis Bannister (William Sadler), and their entire crew while on an expedition in the Alaskan Territory. Desperate for answers, Merriell Sunday Jr (Eric Nelsen) forms and funds a rescue team to accompany him to Alaska where he hopes to discover what happened to his father.

**Image Courtesy of Well Go USA Entertainment**

Among those approached to join Merriell Jr’s team is Ellie Bannister (Brittany Allen), a cartographer and navigator who happens to be the missing Hollis Bannister’s daughter. Merriell wants Ellie to lead their search but she turns him down, believing this to be another one of her estranged father’s irresponsible antics. But there is enough cause for suspicion that she eventually agrees.

Joining Merriell and Ellie is a doctor named Parker (Elizabeth Cappuccino), a sensitive communications expert named Booker (Jim Cummings), a tormented and permanently scarred war veteran, Coates (Linc Hand), Margaret (Christina Bennett Lind), whose twin sister was on the lost expedition, and an overly chatty explosives expert who goes by Dynamite Dan (Gene Gallerano).

The collage of characters range from slightly interesting to barely registering to full-blown caricatures. Gallerano and Pisciotta attempt to add weight to them through campfire conversations and banter. None of it builds much of an emotional connection with the audience, but it does feed into the film’s interest in family dynamics which continually resurfaces in a number of unexpected ways.

But truthfully, the characters are mostly there to push the story forward and to keep us wondering who is going to die next once the eponymous creature is revealed. And the movie takes its time fully revealing the Yeti. Gallerano and Pisciotta begin their tease with distant roars, crunching footsteps, and ominous silhouettes, with most of the early kills taking place in the shadows. When we do finally see the beast, it is a nostalgic delight – a well-designed full body suit without a speck of digital enhancement.

The environments don’t fare quite as well. The Alaskan wilderness blanketed in snow makes for a great setting. But the noticeably tight budget constraints keeps it from being as unforgiving as it could have been. As for the storytelling, it can be a little clumsy. Some deaths are channeled way too early, and it’s not always easy keeping up with who is where. Yet at its core, “The Yeti” delivers on its promise. It’s pulpy and gory entertainment that only gets sideways when it tries to be more.

VERDICT – 3 STARS

REVIEW: “Fuze” (2026)

April 27, 2026 by Keith Garlington

With “Fuze”, director David Mackenzie (“Hell or High Water”) offers up a twisty, taut, and fast-paced heist thriller that wisely doesn’t try to reinvent the wheel yet is deftly made so as not to come off as a tired rehash. In fact, despite clearly calling back to a very specific style of movie, “Fuze” is surprisingly savvier than it first appears – a truth that really comes to light in the final act when Mackenzie and screenwriter Ben Hopkins take a refreshingly cool route in wrapping things up.

The film wastes no time kicking into gear after a 500-pound World War II bomb is unwittingly unearthed at a Westminster construction site in central London. The police, under the leadership of Chief Superintendent Zuzana Greenfield (Gugu Mbatha-Raw), immediately cordon off the area and begin evacuating the nearby neighborhoods. The British Army calls in Major Will Tranter (Aaron Taylor-Johnson), an explosives expert who begins by assessing the scene.

**Image Courtesy of Roadside Attractions**

It all makes for a straightforward yet thoroughly gripping setup with blaringly obvious stakes. But as mentioned, “Fuze” doesn’t follow a conventional path, and the filmmakers quickly reveal they have more up their sleeves. With the surrounding areas vacant and shutoff, and with the authorities frantically occupied with the bomb, four men hiding out in an apartment building slip out and begin a meticulously planned bank heist.

The crew is ran by a seasoned thief named X (Sam Worthington). But the score is the brainchild of the new guy, Karalis (Theo James). Their heist unfolds with pinpoint efficiency and a remarkable attention to detail. So much so that it eases the mind of the noticeably cautious X. At the bomb site, Tranter proves to be a composed and capable crisis manager, barking orders with convincing authority yet keeping his team calm. Meanwhile Zuzana monitors it all from her control center, eventually spotting leads that could blow the lid off everything.

These three distinct story threads play well on their own while also feeding a central narrative that will inevitably tie them all together. Yet they’re only parts of the puzzle – certainly the most prominent parts. But several other players factor in, usually with the reveal of a new twist. And there are numerous twists that keep us constantly wondering who can be trusted, where do loyalties lie, and how on earth is Mackenzie going to pull it all off in the end?

The good news is he does pull it off, and in a surprisingly unexpected way. We may not get answers to all of our questions, and we may be forced to overlook some obvious stuff in order to get to the finish. But I enjoyed getting an ending that didn’t lazily follow the usual formula. It also doesn’t hurt to have such a crack cast who are fully onboard for the ride. They help make “Fuze” work as sheer entertainment, which is exactly what Mackenzie is going for.

VERDICT – 3.5 STARS

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.