REVIEW: “War Machine” (2026)

Maybe it’s just me, but movies like “War Machine” don’t seem to come around very often these days. There has never been a notable shortage of genre films in movie theaters, direct to video store shelves, and now via streaming. But rarely are we treated to movies from the cool military sci-fi sub-genre. I’m talking about movies in the vein of “Predator”, “Starship Troopers”, or even the lesser yet underappreciated “Battle: Los Angeles”.

Enter “War Machine”, an unashamed and unapologetic slice of military sci-fi that openly wears its influences like badges of honor. The film routinely calls back to great movies that inspired it including the aforementioned “Predator”, James Cameron’s “Aliens”, and even “Top Gun”. Director Patrick Hughes keenly and confidently corrals all of these inspirations, fusing them together with visceral action sequences and jaw-dropping set pieces.

Image Courtesy of Netflix

Alan Ritchson plays a soldier who has entered the Army’s Ranger Assessment Selection Program. It’s eight weeks of arduous testing, ending with a handpicked chosen few joining the ranks of the elite Army Rangers. Designated with the number 81, becoming a Ranger has a deeply personal meaning for him. While serving in Kandahar, Afghanistan, 81 witnessed his kid brother die during a Taliban attack. Guiltridden over his inability to save his brother, 81 sets out to keep their pledge to become Rangers.

Despite the concerns of his superior officers Sheridan (Dennis Quaid) and Torres (Esai Morales), 81 makes it to the final challenge, which is a recon and rescue simulation. He and his team are dropped high in the Rocky Mountains by two Blackhawks and given 24 hours to complete their mission. If they cross the finish line in time, they will be given their Ranger scroll. 81 reluctantly takes the role of team leader and leads the soldiers towards their objective.

Their military exercise turns into a fight for survival after the squad stumbles upon a strange metal wreckage. Believing it to be part of their mission, the team investigates. But in the process they awaken a massive mechanized monstrosity that is the size of a building and is armed to the teeth with out-of-this-world weaponry. Suddenly the soldiers find themselves under attack and hunted by the killer mech with ineffective weapons, jammed comms, and compasses going haywire.

Hughes (who co-wrote the script with James Beaufort) keeps the story simple, focusing most on the team’s fight for survival. You can’t miss the steady flow of familiar tropes. But Hughes cleverly integrates them rather than rely on them. And he smartly avoids bogging his movie down in some otherworldly backstory. Instead he leaves much of the mech, its origins, and its motivations a mystery. Also, it maintains a needed human element, mostly through 81’s emotional struggles with lingering trauma.

Image Courtesy of Netflix

Ultimately it’s the spectacular action that drives “War Machine”. It’s intense, visually astounding, and at times shockingly gory. The effects are an impressive mix of digital and practical, while New Zealand and Australia (filling in for the Colorado Rockies) provide a perfectly rugged setting that’s both breathtaking and treacherous. As for Ritchson, he more than holds his own. He obviously has the imposing build and raw physicality. But he commits to every scene, whether he’s squaring off against a galactic threat or quietly wrestling with painful memories.

Those hoping for a more fleshed-out science-fiction deep dive might leave “War Machine” disappointed. It’s only at the very end that we get any significant world-building. But thats not this movie’s focus. Hughes wants to put us in the soldiers’ shoes as they navigate fear, isolation, and the unknown while facing overwhelming odds. Admittedly it does leave us with several questions along the way. And we get more cornball one-liners than answers. But I never felt shortchanged, narratively or cinematically. I was having too much fun, glued to my seat and anxious to see what Hughes was going to hit us with next.

VERDICT – 4 STARS

REVIEW: “The Bluff” (2026)

It was only a few weeks ago that Prime Video released “The Wrecking Crew”, a straight-to-streaming action comedy that seemed custom made for theaters. Now a month later they’ve released another streaming feature that I imagine would have played extremely well on the big screen. While it’s a bummer for those of us who love that experience, the movies look to be big successes on their platforms meaning this trend is likely to continue.

“The Bluff” is a pulpy action-packed swashbuckler that takes the fun of other high seas pirate adventures and laces it with the brutal and bloody action of an old-time B-movie. It turns out to be an interesting combination as director Frank E. Flowers removes the playful, romanticized buccaneer veneer to make a high-energy, no-nonsense foray into a genre we rarely see these days.

Image Courtesy of Amazon MGM Studios

Co-written by Flowers and Joe Ballarini, “The Bluff” is set 1846 as the era of the pirates sailing the Caribbean Sea is coming to its end. Only the most brutal marauders remain, such as the notorious Captain Francisco Connor (played by a devilishly fun Karl Urban). In the film’s brief prologue we see Connor’s massive galleon overtake a smaller brigantine. His pirates ransack the ship and kill the crew, sparing only one man, T.H. Bodden (Ismael Cruz Córdova), who possesses a gold bar bearing Connor’s mark.

After studying the ship’s logs, the determined Connor orders his dutiful quartermaster (Temuera Morrison) to set sail for the tiny island of Cayman Brac where he believes T.H. has hidden the rest of his gold. Cayman Brac is an emancipated British colony with a small, tight-knit community living a quiet and peaceful life. Among them is T.H.’s wife, Ercell (Chopra Jonas) who eagerly awaits the return of her husband along with their son Isaac (Vedanten Naidoo) and her sister-in-law Elizabeth (Safia Oakley-Green).

But when Connor and his raiders arrive instead, the island is plunged into violent chaos. “No one leaves this island until I collect my property,” he bellows. Yet when Connor’s siege brings his pirates to Ercell’s front door, it unleashes a dark past that she has worked hard to bury. What follows is a blood-soaked battle across the island as Ercell tries to protect those dearest to her while settling some old scores with a ruthless enemy.

Image Courtesy of Amazon MGM Studios

Zoe Saldaña was originally cast to play Ercell, but Chopra Jones more than fills those shoes. She makes Ercell her own, with a convincing physicality and stunning ferocity. The action scenes are impeccably choreographed and shot, often fueled by a brutality that adds to the intensity. Chopra Jones excels throughout, whether she’s throwing fists or wielding a cutlass. Meanwhile Urban savors every surly second, giving the film a straightforward but wickedly entertaining antagonist.

While “The Bluff” brims with thrilling action and electric set pieces, the story remains pretty bare-bones. Yet it’s littered with great faces, rich period detail, and scenic vistas (with the Gold Coast in Queensland filling in for the Cayman Islands). And despite not having a lot of meat on its bones, the script is constantly propelling itself forward without ever bogging down or feeling repetitive. Altogether it makes for an surprisingly visceral experience that is enjoyable from start to finish.

VERDICT – 3.5 STARS

New on Home Video: “The Patriot” Limited Edition 4K Ultra HD Steelbook

Sony Pictures Home Entertainment is bringing “The Patriot” to home video in an exciting new limited edition steelbook. Originally released in 2000, “The Patriot” remains an absorbing and entertaining Revolutionary War epic directed by Roland Emmerich and starring Mel Gibson as conflicted veteran Benjamin Martin. It also features a great turn by a young Heath Ledger, the always dependable Tom Wilkinson, and a deliciously vile villain role for Jason Isaacs. “The Patriot” would go on to be a box office success and eventually earn three Academy Award nominations.

“The Patriot” will be available in this special 4K Ultra HD steelbook edition on June 9th. See below for a full synopsis of the film as well as release information including a list of special features.

About the Film:

Year: 2000

Runtime: 165 Minutes & 175 Minutes

Director: Roland Emmerich

Screenwriters: Robert Rodat

Cast: Mel Gibson, Heath Ledger, Jason Isaacs, Tom Wilkinson, Chris Cooper, Joely Richardson, Rene Auberjonois, Gregory Smith, Trevor Morgan, Bryan Chafin, Mika Boorem, Logan Lerman, Skye McCole Bartusiak, Tcheky Karyo, Lisa Brenner

Rating: R for Strong War Violence

In 1776 South Carolina, widower and legendary war hero Benjamin Martin (Mel Gibson) finds himself thrust into the midst of the American Revolutionary War as he helplessly watches his family torn apart by the savage forces of the British Redcoats. Unable to remain silent, he recruits a band of reluctant volunteers, including his idealistic patriot son, Gabriel (Heath Ledger), to take up arms against the British. Fighting to protect his family’s freedom and his country’s independence, Martin discovers the pain of betrayal, the redemption of revenge and the passion of love.

Special Features:

DISC DETAILS & BONUS MATERIALS4K ULTRA HD DISC 1

  • 165-minute Theatrical version of the film presented in 4K resolution with Dolby Vision
  • English Dolby Atmos + English 5.1
  • Special Features:
    • Director & Producer Commentary
    • The Art of War Featurette
    • The True Patriots Featurette
    • Theatrical Trailer

4K ULTRA HD DISC 2

  • 175-minute Unrated version of the film presented in 4K resolution with Dolby Vision
  • English Dolby Atmos + English 5.1
  • Special Features:
    • 7 Deleted Scenes with Commentary
    • Visual Effects Featurette
    • Conceptual Art to Film Comparisons

REVIEW: “Dreams” (2026)

Michel Franco has never been one to shy away from challenging his audiences with provocative subject matter. He attempts it again with his latest film, “Dreams”, a strangely confounding psychodrama that seems to have several things it wants to say but no firm grasp on how to say them. It’s cold, sometimes aimless, and borderline absurd at times in its attempts to find a steady pulse.

“Dreams” sees Franco reuniting with his star, Jessica Chastain. The two first collaborated in 2023’s superior “Memory”, a deeply affecting adult drama that saw Chastain give one of her best performances to date. She’s certainly the highlight of “Dreams”, although neither her character or her character’s journey carry the same dramatic or emotional weight.

“Dreams” opens with a young Mexican dancer named Fernando (a somewhat dry Isaac Hernández) being smuggled into the United States in the back of a sweltering semi-trailer. After finally being released by cartel traffickers, Fernando makes the long, arduous journey from San Antonio to San Francisco where he surprises his older and wealthier former lover, Jennifer (Chastain). With practically no build-up whatsoever, the two instantly pick up where they (apparently) left off.

Jennifer’s feelings for Fernando remain murky for the duration of the movie. She is the daughter of a prominent philanthropist named Michael McCarthy (Marshall Bell) and helps run her father’s thriving foundation with her brother Jake (Rupert Friend). Her privileged and pampered life is in stark contrast to Fernando’s which sometimes seeps through when they’re together. At times she treats him like her pet, scratching him behind his ear and saying things like “I want to take care of you.”

Yet Jennifer is also obsessed with him in a way that goes beyond mere entitlement. This intensifies after Fernando grows tired of keeping their affair secret and leaves her. As he finds his independence she sinks into despair, eventually shadowing him with the voracity of a stalker. It ends up steering the movie away from its themes of immigration and class disparity and towards a story about power dynamics within an unconvincing couple.

Despite being handed a character who never feels fully formed, Chastain carries the movie on her back via a committed performance that elevates the material. But she can only do so much. The film’s Achilles’ heel is the central relationship which never comes off as authentic or rooted in anything other than unabated lust. And any swing at something weightier is muddled in the film’s jarring final twenty minutes that pulls a wild twist out of the air. It’s meant to shock us. But it’s too contrived and abrupt to have the impact Franco clearly wants. Kinda like his movie as a whole.

VERDICT – 2 STARS

EDFF 2026 REVIEW: “Honeyjoon”

One of big treats of the 2026 El Dorado Film Festival was the screening of writer-director Lilian T. Mehrel’s “Honeyjoon”. This is an emotionally rich, life-affirming dramedy that had its world premiere at the 2025 Tribeca Film Festival. Now as it continues to make its way along the festival circuit, more people are getting to experience this impressive feature debut from a filmmaker with a number of compelling interests on her mind.

Set and filmed in the gorgeous Azores islands off the coast of Portugal, “Honeyjoon” tells a mother and daughter story that has its own unique flavor. It’s a story with deep-rooted humanity that is conveyed in a variety of ways. It’s mostly seen through the two fully defined lead characters. Their individual experiences, their emotional complexities, their vastly different philosophies – it all fuels the heartfelt drama while setting the table for some smart and often unexpected humor.

The sensual June (Ayden Mayeri) and her more modest mother Lela (Amira Casar) travel to the Azores islands for the one-year anniversary of their husband and father’s death. Years earlier he had visited the islands and he had hoped to one day take his family. But he was diagnosed with cancer and died before he had the opportunity. So June and Lela make the trip themselves as a way of honoring his memory.

But the mother and daughter are at two dramatically different points in their lives. They have sharply contrasting views on how to grieve, how to move forward, and how skimpy June’s wardrobe should be. That last bit feeds one the film’s best running jokes, but it also adds some clarity to their clashing perspectives. To her credit, Mehrel doesn’t judge either of them. She simply explores what has shaped their points of view.

June and Lela arrive at there hotel to find themselves surrounded by honeymooners. To get away from all the intimacy, they book a private island tour that’s guided by a hunky surfer named João (José Condessa). The aggressively flirty June tries to get João’s attention. But he seems much more interested in philosophical conversations with Lela. Ultimately their time with João opens their eyes, allowing them to see each other in a new light.

Things start to come unglued in the final act as Mehrel dilutes the film’s theme of moving forward by linking it with sexual pleasure. It leads to a strange and unwieldy turn that probably looked better on paper than it turned out on screen. But Mehrel gets things back on track with a moving final sequence that really speaks to what “Honeyjoon” is all about.

With “Honeyjoon”, Lilian Mehrel balances a wealth of themes through her intimate and grounded mother-daughter story. It’s a funny and affecting drama that would never work without the sparkling chemistry between Mayeri and Casar. Her film is also a visual feast, from the breathtaking scenery to the impressive camera choices (crisp digital, an iPhone, and best of all, vintage Super 8). It all makes for a strong first feature and it will be exciting to see what Mehrel does next.

VERDICT – 3.5 STARS

EDFF 2026 RUNDOWN: Southern Made Shorts Block

It was nice to see the El Dorado Film Festival bring back one of its best short film categories. As its name reveals, the “Southern Made” selections shine the spotlight on a wonderful variety of short films that come seasoned with a uniquely Southern flavor. This year brings another entertaining collection that once again promotes a diverse range of visions.

Here are a few impressions out of the films included in this year’s block...

Written and directed by Cathlin McCullough, “The Oldest” tells a bittersweet story of a young girl forced into adulthood well before her time. Young Kate (played with heartwarming sincerity by Meara Wallace) is the oldest of her tight-knit siblings living in a rural home with their alcoholic father (Kristian Day). As the oldest, Kate steps in to take care of the house and her sisters. But deep down she dreams of a normal kid’s life. McCullough vividly defines Kate’s reality yet for a brief period she’s allowed to escape through a beautifully captured montage that hits like a ton of bricks. Honest, evocative, and deeply impactful.

VERDICT – 4.5/5

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Rob Senska brings his skills as a cinematographer to the director’s chair with his visually driven and quietly powerful “Ashes”. Senska slyly blends genre elements with his own wildly original ideas, all in an effort to tell an affecting yet uplifting story about overcoming childhood trauma. The story is not one you summarize. Instead you experience it – allowing the images to transport you as you pick up carefully placed clues along the way. A mysterious cat, a ravenous werewolf, and one determined young boy (Maximilian Good) all play key parts in this impressive visual fantasy that’s firmly grounded in real-life experience.

VERDICT – 4/5

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“Emma’s Social Battery” is a love letter of its own wacky kind to introverts who just need some alone time to recharge from social fatigue. That’s certainly the case for Emma (Olivia Peck) who has a new job and is afraid her social exhaustion may push away her newly made friends and colleagues. Co-written and co-directed by Jannet Lopez and Carlos Jimenez, the film takes a turn after Emma invites her new friends over for a dinner party. And as Emma’s social battery drains, the interactions only get zanier. Peck clearly has a blast while Lopez and Jimenez surround a resonating message with some proudly silly humor.

VERDICT – 3.5/5

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The sister duo of Marquel Skinner and Blair Skinner team up to make “Bot”, one the funnier and most maddeningly relatable films I saw at this year’s El Dorado Film Festival. Blair directs while Marquel writes and stars in this swift yet pointed short about a woman who begins to question her humanity after getting stuck in an endless parade of CAPTCHA tests while trying to order concert tickets online. Blair’s crisp and fluid direction propels the story while Marquel’s hysterical script is only matched by her quick-witted performance. Keep your eye out for this one.

VERDICT – 4/5