“Drummer Boy” is the second 2026 movie from Angel Studios set during the American Revolutionary War, the first being “Young Washington”. But while the two share obvious similarities, “Drummer Boy” has some notable distinctions that set it apart. Look no further than the film’s unique fusion of genres. It’s a historical drama but also a war movie with no shortage of action. There’s even a romantic subplot that fuels several of the story’s bigger themes. But here’s the real kicker – it’s also a musical.

“Drummer Boy” has been a near decade-long effort from brothers Ben and Joel David Smallbone. The directing duo (of the music group For King + Country) work from a script by Richard L. Ramsey to tell a vibrant and moving story about forgiveness, freedom, sacrifice, and the search for significance. The story is unpacked through three distinct perspectives, each highlighting one or more of the film’s core themes. Then there are the musical numbers and their fairly seamless integration into the narrative.

Set on the cusp of the American Revolution, the central story follows Jeremiah Clem (Joel David Smallbone) and his younger brother Benjamin (Lucas Leach). When they were kids, they left England and migrated to America with their father, Nathaniel (Ioan Gruffudd) and mother, Rachel (Melora Hardin). But just as they were approaching land, their ship was attacked by the French and their father killed in front of them. Now several years later, the brothers and their mother run a mill supplying grain to a growing British settlement.

But as tensions peak between the British and the freedom-seeking colonists, the brothers find themselves as odds with the English locals. Jeremiah keeps their opinions to himself in the interest of protecting his family. But after the outspoken Benjamin angers the townsfolk, Jeremiah steps in to prove their loyalty to the crown in the only way he can – by joining the British army. Meanwhile Benjamin secretly sets out to join the early Colonials, seeing it as a chance to finally prove himself.

As the brothers go their separate ways, each must face their own personal trials. For Jeremiah, it’s finding a way to stay true to his convictions while becoming an inspiration to the soldiers on the field. For Benjamin, it’s getting the troops to look beyond his braced leg and see him as a fellow soldier rather than just a drummer boy. Their paths inevitably cross, but it’s their individual journeys that build and defines the dramatic crescendo. “Drummer Boy” is at its best when it concentrates on their stressed family dynamic and wartime drama.

Slightly less effective is the romance. Before heading off to war, Jeremiah grows smitten with Elizabeth Balfour (Beth Easdown), the spoiled daughter of his commanding officer (Charles Esten). But there’s also Emmaline (India Brown), the Balfour’s young slave who he shares a special connection with Jeremiah. The trio’s complicated relationships fuel a romance that sometimes gets stuck on the film’s back burner. Yet they also feed some of the story’s more profound themes. Such as exposing the utter hypocrisy of a war fought for freedom while the vileness of slavery exists in the very same time and space.

“Drummer Boy” looks great, from its period-perfect costumes and rich production design to the capable battle sequences and the striking landscapes where they take place. But the film’s pulse comes from its characters and the contradictory world unfolding around them. Smallbone and Leach capture the burdens and conflicts that are central to their roles. Brown grounds the movie with honesty and pathos. Iain Glenn is superb as Major Ambrose, who teaches Benjamin far more that battlefield strategy and tactics. Only Hardin feels shortchanged, but she’s still terrific in the scenes she’s given.

Then there’s the music, an interesting collection of rousing pop-infused anthems and more straightforward, narrative-centered tunes. A couple are a little jarring in the moment, but most accent the story in a number of entertaining and compelling ways. They also bring a distinct musical energy that keeps the movie from sliding into more conventional territory. Some parts of the story could use more attention, and the emotionally seismic final sequence is undeniably manipulative. But its hard not to be drawn into what is a powerful and soul-stirring musical tale of freedom, forgiveness, and reconciliation.

VERDICT – 3.5 STARS

Two-time Oscar-winning director Alejandro González Iñárritu teaming up with America’s biggest movie star Tom Cruise is the kind of collaboration that should get everyone excited. But after the trailers dropped for their new $180 million feature, it was pretty clear this movie wasn’t made for the masses. In fact, you can sense it furiously striving to be as divisive as possible and then using that division as a sales pitch. Judging by the early box office numbers, that clearly didn’t work.

Some will certainly consider “Digger” to be a bold and fearless swing by the acclaimed Mexican director. But for my money, Iñárritu’s previous film, 2022’s equally divisive “Bardo, False Chronicle of a Handful of Truths”, was a far more audacious project. It was weird, surreal, and extravagantly self-indulgent. Yet it was a deeply personal and emotionally honest self-reflection. Iñárritu’s latest is its own kind of crazy yet without even a tinge of genuine humanity.

Rarely has a movie been more in love with itself than “Digger”. When not drowning us in pomp and bombast, the movie spends its time sanctimoniously screaming at the top of its lungs about capitalism and climate change while vainly hiding its finger-wagging behind a see-through veil of absurdity and nonsense. It never hides its intent to be a full-blown satire. But the surface-level preachiness and glaring lack of laughs weigh it all down. It ends up being too shallow to be challenging and too obnoxious to be funny.

To Cruise’s credit, he fully commits to playing Digger Rockwell, an outlandish oil tycoon who some consider to be the most powerful man in the world. With his wild gray hair, pasty white skin, and go-for-broke nuttiness, Cruise’s performance is unlike anything he has done before. His Digger is Iñárritu’s central character, main villain, and biggest punchline, who sets out to save the world from an environmental catastrophe that his company created.

Iñárritu navigates his over-the-top yet toothless satire with the subtly of an out of control freight train. Working from an exasperating script he co-wrote with Sabina Berman, Alexander Dinelaris, and Nicolás Giacobone, Iñárritu often finds himself trapped in between talking down to his audience through self-righteous sermonizing and completely losing them amid the numbingly non-stop antics that mutes any sense of urgency in his message.

It’s hard to fault Cruise who seems to be doing all that’s asked of him. As Digger he channels everything from his very own Les Grossman to Texas businessman and presidential candidate Ross Perot. It’s Digger’s negligence that triggers a destructive chain of events at his oil operation in Greenland, which sends an ice shelf 5x the size of Washington DC barreling towards Europe. With impact predicted within three days and casualties expected to be in the hundreds of thousands, Digger joins the government’s top cronies in shaping the narrative to their benefit.

Digger’s chief ally is US President Compson (John Goodman) who colluded with Rockwell United to extract oil from Greenland and Alaska. Compson is every bit as preposterous as Digger, with Goodman relentlessly shouting into oblivion while repeatedly using his character’s rectal cancer as a gag. Surrounding Compson is his moronic cabinet who are nothing more than a collection of conservative caricatures. And the jokes we get from them are some of the laziest the film offers.

“Digger” features many more talented performers who find themselves hemmed in by the movie’s overpowering self-indulgence. Sandra Hüller, Riz Ahmed, Michael Stuhlbarg, Jesse Plemons, Robert John Burke, Burn Gorman, Emma D’Arcy – some have good moments, but they all find themselves wasted to different degrees. But ultimately the movie revolves around Cruise who certainly grabs the most attention. The problem is Digger never comes across as a real character. Instead it’s as if Cruise is trapped in a never-ending series of unfunny Saturday Night Live skits.

The one place “Digger” does excel is with its visuals. Iñárritu is too good of a craftsman for this not to be a thoroughly impressive spectacle from its cinematography to the production design. But a great cast and eye-popping craftsmanship can’t save “Digger” from being a grueling endurance test, all the way through to its unearned self-congratulatory ending. It’s brazenly ridiculous, often confounding, and at times downright annoying. “Digger” will certainly get people talking. And I’m betting much of the chatter will be asking how talents like Iñárritu and Cruise could miss so badly.

VERDICT – 1.5 STARS

In the new film “The Deputy”, Toby Sawyer doesn’t leave the most flattering first impression. He comes off as a hapless irresponsible deadbeat, plagued by selfish ambition and poor judgement. Toby has big dreams of becoming a full-time sheriff’s deputy. So much so that he accepts a low-paying part-time job at the Norman County Sheriff’s Department rather than better paying work at a nearby fertilizer plant, much to the chagrin of his frustrated girlfriend. But Toby gets the chance to prove himself to everyone over the course of one wild, violent, and unpredictable night.

That’s the basic premise for director Matt Sukkar’s feature directorial debut, “The Deputy”. Written by Carlo Bernard, this black comedy crime thriller is based on the 2009 novel of the same name by Victor Gischler. It’s a movie that leans into its rundown small-town setting. It relies heavily on the quirky and colorful community. And it tells a story that is equal parts gritty, grounded, and goofy. It doesn’t always find the right balance between them. But it keeps our attention, and it routinely surprises us in some entertaining ways.

Early one evening, Toby (played with quiet sincerity by Duke Nicholson) is called in to work by Sheriff Frank Krueger (William H. Macy). He’s told the matter is urgent, so he clips his holster onto his flannel sleep pants, pins his badge on his ripped up t-shirt, heads out of his beat-up mobile home and heads into town. There he learns that a man named Luke Jordan has been shot and killed, his body left lying on the pavement next to his pickup truck.

With his chief deputy still not there, Sheriff Krueger tasks Toby with watching over the body until the coroner comes while he drives out to inform the Jordan family of Luke’s death. It shouldn’t be that hard of a job for Toby. But a couple of really dumb choices lead to Luke’s body disappearing and Toby wondering who took it. Chief Deputy Billy Banks (Stephen Dorff) finally arrives, and after hearing of Toby’s debacle, angrily sends him home.

But Toby’s night is far from over. Before long he finds himself trapped in a web of human trafficking, dirty money, violent Mexican coyotes, and small-town corruption. To complicate matters even more, Toby’s girlfriend Doris (Billie Lourd) takes off, leaving him with their infant son. Ultimately Toby is forced to step up, take responsibility, and fight for his life and his little town as the violence escalates to near comical extremes.

Sukkar has a blast maneuvering his unlikely protagonist from one difficult scenario to the next. He does so with an ample amount of thrills and some shocking jolts of violence, often when you’re least expecting it. Even more, he routinely injects moments of pitch-black humor to ensure things never get too heavy. But best of all, Sukkar always keeps us guessing. He throws us one curveball after another. And while they don’t all hit their mark, the story’s unpredictability is a welcomed treat.

All of that said, it does feel as if chunks of the story are missing. It’s not a significant enough issue to completely undermine the central narrative. But it left me with too many fairly obvious questions that I couldn’t answer – questions that I’m sure were answered in the book. The movie also introduces several themes that it essentially does nothing with. Still, “The Deputy” is a pulpy, character-rich genre cocktail that never ceases to entertain or surprise its audience.

VERDICT – 3.5 STARS

It seems as if each month brings along new additions to the ever-growing sharksploitation genre. These shark-infested concoctions have come in all shapes and sizes, from moderately budgeted shark thrillers to shamelessly campy B-movie romps. Of course you can always expect some stinkers when you have such a crowded pool. But most understand the kind of straightforward entertainment their audiences want, and they often deliver in ways that keep fans circling back for more.

The latest sharksploitation entry is “The Devil’s Mouth”, a Prime Video Original that sticks pretty close to the established survival thriller formula. You know the one – a group of college cohorts venture out to an exotic location for some frisky fun on the water only to become chum for the movie’s real star, a ferocious man-eating shark. That is this movie in a nutshell, although it does throw in a few ideas of its own that stand out, namely a cool location and some slightly interesting character dynamics.

Kathryn Newton plays Sara, the fifth-wheel from a group of five college “friends” on a summer trip to Thailand. She’s joined by her pampered and overly assertive best friend Max (Lana Condor), Max’s ‘whatever” boyfriend James (Nico Hiraga), their mutual friend Adrienne (Tommi Rose), and Adrienne’s douchy new beau, Greg (Gavin Casalegno). The two couples make sure to involve Sara in all of their frolicking, but she can’t help but feel like the odd person out.

But deep down there are relationship issues that Sara has yet to acknowledge. It’s mostly seen in Max’s controlling nature. Max feels compelled to control everything and she expects everyone to fall in line. It’s especially true of Sara, who Max has no problem guilting into doing whatever she wants. Even James sees it, but he’s too spineless to say anything about it. Layers peel from their complicated friendship once the film’s central conflict comes into play.

The group’s vacation turns to terror after they set out to tour a network of underwater caves. They meet up with their guide, Wat (Tayme Thapthimthong) who takes them by kayak to the entrance of “The Devil’s Mouth”. The six begin their underground adventure, making their way from chamber to chamber. But once deep inside the dark labyrinthine cave system, they discover they are not alone. Among them is an angry and ferociously territorial shark who was swept in by the tide. He’s hungry and our six explorers would make a tasty meal.

Director Jeff Wadlow ratchets down on the familiar survival elements as the characters find themselves in one harrowing situation after another. It’s hard to muster much sympathy for anyone outside of Wat, who had the ultimate misfortune of being stuck with the five obnoxious brats. But in fairness, we do see Sara evolve over time. Not a lot, but enough to say something about her character. Everyone else is stuck in one gear and we never really care if they make it out or not.

The character work may not be great, but Wadlow does make good use of his setting and environments. The sense of being trapped in small, dark, unknown spaces generates some legitimate tension, at least until it begins to feel repetitive. He also concocts some ridiculous but fun shark action. Wadlow comes up with an assortment of attacks from the man-eating menace, some that will make you jump and others that will make you laugh. Admittedly it’s pretty entertaining.

“The Devil’s Mouth” does nothing to redefine the sharksploitation model. Instead it embraces the simplest mechanics of the genre, adding a few strokes of its own along the way. It’s still plagued by annoying characters whose mind-boggling decision-making leads the story down the most predictable route imaginable. But the shark is mean, dangerous, and it eats people. So in that respect, genre fans can expect to get exactly what they’re looking for.

VERDICT – 2.5 STARS

The legend of Robin Hood has been told on screen in a wild variety of ways. Their range has included Errol Flynn’s 1938 swashbuckling classic, Disney’s 1973 animated reimagining, Kevin Costner’s 1991 popcorn blockbuster, the hysterical 1993 spoof from Mel Brooks, and the more serious-minded 2010 Ridley Scott telling. The latest is the aptly titled “The Death of Robin Hood” and it is dramatically different from any other iteration that came before it.

“The Death of Robin Hood” doesn’t fit into any of the more popular molds that we have seen before. There’s nothing light, merry, or charming about it. Instead, it’s a bleak and gritty adaptation of the 17th-century ballad “Robin Hood’s Death”. Writer-director Michael Sarnoski (“Pig”, “A Quiet Place: Day One”) offers up a fresh and compelling reimagining of Robin Hood. He builds a fascinating character arc that’s rooted in savage violence but evolves into a deeper and almost meditative study of guilt, self-forgiveness, and mortality.

Sarnoski’s vision is impressive on its own. But it would never be fully realized without the gravitas brought by the film’s star, Hugh Jackman. With his long stringy gray hair, matching beard, weathered skin, and world-weary eyes, Jackman deftly conveys the numerous layers to this Robin. He’s legitimately terrifying as a murderous outlaw whose true self defies the local legend describing him as a hero who “protects the meek”. Yet he’s grown to despise the man he has become. He is haunted by the generations of his victims and he sees no moral reckoning outside of the worthy death he longs for.

The first 30 minutes gives us a good taste of the man Robin has been. Set in 1247, these early scenes are grisly and violent, with Sarnoski destroying the Robin Hood myth that we and the locals have clinged to. It’s most viscerally realized when Robin is visited by his longest and most loyal friend, Little John (Bill Skarsgård). Now living under the name Edward, John has made a new life for himself with his beloved wife and their young daughter.

But John has come to his old friend in desperate need of help. He recruits Robin to help him rescue his family and retake his farm from the clutches of some old enemies. The gruesome chain of events that follow shock by the sheer intensity of the violence. Brutes soaked in blood and caked in mud fight with a primal ferocity, crushing bones with maces, puncturing organs with jagged blades, searing flesh with burning torches. It’s pure savagery which Sarnoski visualizes with unflinching clarity.

Robin is seriously injured and later wakes up at a remote island priory under the care of an abbess named Sister Brigid (Jodie Comer) who begins nursing him back to health. It’s here that the film takes a dramatic turn, shifting its focus from Robin as a man of violence to Robin as a shattered soul who is crumbling under the weight of his own guilt. He keeps his identity hidden and begins blending in with the others being cared for by Sister Brigid, from orphan children to a wise but nameless leper (Murray Bartlett).

But Robin’s old life threatens to resurface after the unexpected reappearance of Little John’s traumatized daughter, Margaret (movingly played by newcomer Faith Delaney). She brings with her a looming sense of danger from the mainland that lasts for the remainder of the film. Yet Sarnoski remains committed to methodically maneuvering us through Robin’s internal reckoning. It’s more than simply deromanticizing of a myth. He takes his time exploring his more personal interests, right through to the payoff which is itself counter to what we expect.

A key reason for the film’s effectiveness can be found in Jackman’s deeply committed performance. It’s stripped-down and solemn yet full of conviction as the 57-year-old star balances bearing and releasing the emotional weight of past sins. Comer too is a key strength, portraying Sister Brigid as sturdy and stoic yet tender in moments that finally allow her to let down her guard. And all are canvassed by the richly textured 35mm cinematography of DP Pat Scola. There’s never a moment where the film doesn’t impress through his lens.

“The Death of Robin Hood” is the kind of revisionist counter-programming that won’t be for everyone. Purists hoping for another playful spin on the noble bandit who steals from the rich and gives to the poor won’t find that here. Instead, this film is for those interested in looking beyond the myth. And anyone hoping for something bigger and more blockbustery will be confounded by the more intimate scale. It’s more aimed at those wanting a breather from summer popcorn productions. In those regards, Michael Sarnoski hits exactly what he aims for. And I was enthralled the entire way.

VERDICT – 4.5 STARS