Ryan Reynolds and Kenneth Branagh team up for “Mayday”, an action comedy for Apple TV that ends up being the buddy movie I didn’t know I needed. The pair turn out to be a good match, with Reynolds turned down a few notches to a more bearable comic setting, and Branagh showing off his wide acting range that too often goes underappreciated. It’s their chemistry that ultimately drives this breezy and unexpectedly charming crowd-pleaser.

“Mayday” is co-written and co-directed by Jonathan Goldstein and John Francis Daley, the filmmaking duo behind 2023’s underrated “Dungeons & Dragons: Honor Among Thieves”. Together they tell a story that is laced with cool action, full of witty humor, and packed with a surprising amount of heart. While their film has its dramatic moments, Goldstein and Daley never take things too seriously. And they smartly lean on Reynolds and Branagh who are more than capable of carrying the load.

The story is set in 1987, some forty years into the Cold War. Reynolds plays Troy “Assassin” Kelly, a United States Air Force Pilot who is assigned a top secret black ops reconnaissance mission for the CIA. But while piloting his SR-71 Blackbird over Soviet Russia, Troy is forced to eject just before a mid-air collision with a MiG-29. A hard landing leaves him injured, unconscious, and alone in a dense forest behind enemy lines.

Troy wakes up to find himself in a cabin and nursed back to health by Nikolai Ustinov (Branagh), an ex-KGB agent who is obsessed with American culture, especially “Top Gun” and the music of Bruce Springsteen. With the nearest border over 1,200 miles away, Troy must rely on Nikolai to help navigate the rugged Russian wilderness, evade the relentless Soviet forces, and make it to an extraction point. In exchange, Troy agrees to fulfill Nikolai’s dream by taking him to America.

But escaping proves much harder than planned. With both Troy and Nikolai wanted by the Soviets, their capture becomes a top priority for the KGB. Meanwhile the Americans can’t send out a rescue team because doing so would be acknowledging espionage. So the duo are left to their own devices and must find their own way out of Russia. And along the way, they both learn there is more to their two countries than they’ve been led to believe.

As the movie zips forward we’re introduced to a handful of side characters who barely leave a mark on the story. Maria Bakalova pops in as Nikolai’s estranged daughter Anna, but her entire angle seems plucked out of the blue. It’s somewhat similar with David Morse as Troy’s ailing father. He simply isn’t given enough time to register the way the movie wants him to. Then you have Marcin Dorociński as the dogged yet generic KGB agent leading the Soviet pursuit. The performance is fine. It’s the character who needs more work.

But at the end of the day, “Mayday” is all about Troy, Nikolai, and the unlikely friendship that grows throughout their crazy adventure. For some of us, Reynolds’ brand of sarcastic comedy can be smothering. But here he is noticeably dialed back and the results are often laugh-out-loud funny. Branagh’s dry, straight-faced delivery matches Reynolds laugh for laugh. He lands plenty of good gags on his own while also teeing up some of his co-star’s best lines.

Goldstein and Daley liven things up with several entertaining action set pieces that aren’t exactly groundbreaking but that add some fun energy to the proceedings. Combine it with the steady diet of good humor and a feel-good finish, and you have a surprisingly enjoyable buddy movie with a good grasp of what its audience wants. And as more serious awards season contenders prepare to soak up most the attention in the coming months, it’s nice to kick back with an easygoing throwback movie like this.

VERDICT – 3.5 STARS

It may be set within the very real and present Russian and Ukrainian conflict. But the new feature “Man of War” still embraces many of the familiar movie tropes that have fueled military action films for decades. If that’s your cup of tea, director William Kaufman doesn’t disappoint. His latest puts a magnifying glass on both the horror of the war and the resolve of the Ukrainian people. At the same time, this is every bit a full-throttled, bullet-riddled action movie. And once it finds its rhythm, it rarely ever slows down.

In February, 2022, former Special Forces soldier Michael Connor (LaMonica Garrett) sits in his Barcelona apartment attempting to drown his personal demons with booze. But he’s interrupted by a video call from his terrified adopted niece Riley (Rosmary Yaneva), who is doing humanitarian work in war-torn Ukraine. He proceeds to watch as she is abducted by a group of Russian mercenaries led by the almost cartoonishly sadistic Koniev (Daniel Bernhardt) who promptly ends the video call.

Determined to rescue his niece, the workmanlike Connor contacts his old friend and handler Charlie (Jason Patric) who uses his CIA connections to trace Riley’s location via her smart watch. Charlie then gets Connor aboard a transport plane with a private mercenary team who have their own mission in the Ukraine. After landing in Kyiv, Connor is picked up by Dany (Andrew Howard), one of Charlie’s local assets who agrees to guide him to Riley in exchange for his family’s safe passage out of the city.

The story (co-written by Kaufman and Paul Reichelt) ramps up pretty quick, but it does take time to somewhat build out a dynamic between Connor and Dany. Connor’s singular mindset turns him cold towards the wartime horror they encounter. His focus is solely on finding Riley and getting her to safety. Conversely, the plight of the Ukrainian people is often told through the lens of Dany who isn’t as willing to look past the suffering of his people. While the two initially butt heads, Dany inevitably becomes the conscience Connor needs.

But it’s the action that quickly takes center stage as the duo shoot their way out of Kyiv, through enemy occupied forests, to the outskirts of Kharkiv, and eventually into the besieged city which the Russians have flooded with special forces, assassins, and saboteurs. Kaufman and tactical advisor Max Kraus unleash an almost steady wave of gritty, pulse-pounding military firefights. The final twenty minutes are especially intense as ferocious gun battles are waged through tight-quartered office spaces and into the ravaged city streets.

Despite its modest budget, “Man of War” succeeds in generating a truly visceral combat experience. Yet there are some noticeable visual inconsistencies. The film’s color palette is often at odds with itself, specifically in the movie’s first half. That’s also when the editing is its shakiest, incorporating a few too many quick cuts that can be borderline disorienting. At the same time, Kaufman and his DP Mark Rutledge show impressive skill throughout the film’s action-charged second half, using the camera in a number of clever ways to make us feel as if we are a part of the combat.

As for the performances, Garrett has all the grit and intensity needed for us to buy into his character. He doesn’t get to do much outside of killing baddies, but he does that extremely well. Howard makes a good foil. He’s tough and rugged but also brings a needed sensitivity. As for Bernhardt, he certainly looks the part. But he vanishes for too much of the movie to be a truly worthwhile lead villain. Then there is Patric who only gets a small supporting role but who is a nice addition nonetheless.

“Man of War” could have dug a little deeper into its protagonist. It certainly could have added more weight and nuance to its villain. And while it remains mindful of the real-life war being waged in the Ukraine, it’s a little on-the-nose when depicting its impact on the Ukrainian people. Still, the movie excels in what it does best – action. Whether it’s the blistering rhythm or the tactical precision, the action sequences are thrilling and often make us feel as if we’re observing the real thing. And we get plenty of them which should satisfy any action junkie looking for a fix.

VERDICT – 3 STARS

You always know what you’re going to get from a Jason Statham movie. The 59-year-old English action star is one of the steadiest and most reliable actors in the industry today. Statham’s films don’t shatter the mold or break new ground. But they are sturdily made and consistently entertaining. They routinely work because Statham knows his audience and he almost always meets their expectations. Such is the case with his latest film, “Mutiny”.

Jean-François Richet directs “Mutiny” from a script penned by Lindsay Michel and J.P. Davis. It’s the director’s followup to his surprisingly propulsive 2023 action thriller “Plane”. With “Mutiny” Richet crafts another proudly straightforward and entertaining throwback, this time catered to the gritty, hard-hitting style of Jason Statham. And for fans who know what they’re in for, his latest actioner delivers in spades.

This time around Statham plays Cole Reed, a highly decorated former Royal Marine and police officer who now works as head of security for Tibo Campallo (Ramon Tikaram), the billionaire owner of a major Bangkok shipping company. Five years ago Cole saved Tibo’s life. After that, Tibo took Cole in and became his boss, mentor, and father figure. Now Tibo is on the eve of selling his company and leaving a healthy sum of the money to his son Kameron (Chaneil Kular) who has his own big dreams.

But as Cole is driving Tibo home from a party, they are ambushed by a group of heavily armed men – some of them police officers. Cole manages to kill them all, but Tibo is gravely wounded and dies on the scene. After searching the bodies, Cole discovers a connection to a shipping vessel called the Artemis set to disembark later that night. So he makes his way to the port and sneaks his way onto the ship, intent on finding out who is behind his boss’ murder.

In his hunt for answers, Cole makes an alarming discovery. In the belly of the ship he uncovers a shipping container loaded with scared, hot, and hungry people. And as he tries to free them, he’s spotted by a couple of goons who he quickly disposed of, Statham style. But that alerts the ship’s corrupt and complicit Captain Marko Madsen (Roland Møller) who quickly makes extinguishing this stowaway a priority. But Cole finds an ally in Angie Ellis (Annabelle Wallis), the ship’s third mate and a last-minute addition to the crew list.

Richet wastes no time ratcheting up the tension, much of which comes from confining his protagonist to a freighter far out in the Andaman Sea. It’s a fascinating setting, with stacks and stacks of shipping containers. cramped corridors and gangways, and no place to escape to. Statham does the rest, simmering with his signature intensity and unleashing his special brand of justice (or it this case vengeance). And while the story is plenty serviceable, it’s Statham doling out that justice/vengeance that fans want to see.

The story does its job of setting the table, establishing the stakes, and then moving us from one action encounter to the next. Similar to romantic comedies, these movies tend to go exactly how we expect and it’s no different here. But the action is the film’s bread and butter, and it more than satisfies. The kills have an especially brutal edge to them as Statham uses everything at his disposal including his fists, guns, knives, an axe, a harpoon, and more. In a nutshell, it rips!

Again, there’s nothing all that new here. “Mutiny” sticks to brand and delivers exactly what it promises. And if you have expectations of something more, that’s kinda on you. Similar to the actor-centric action movies of the 80s and early 90s, Statham films have clearly defined themselves. And with his latest, fans of that formula will certainly get their money’s worth. “Mutiny” is 95 minutes of straightforward action escapism built around a reliable star who can still convincingly and entertainingly get the job done.

VERDICT – 3.5 STARS

File this one under “Movies That Weren’t What I Expected”. Director Potsy Ponciroli’s latest feature, “Motor City” is full of big action and has a keen sense of style. But what’s notably absent is dialogue. Yes, this action crime thriller boasts an intriguing cast that includes Alan Ritchson, Ben Foster, Shailene Woodley, Ben McKenzie, and Pablo Schreiber. Yet outside of three or four muffled shouts, the film has no dialogue. It’s a conceit that handcuffs the film a bit, but that also energizes it with an inspired creative jolt.

Ponciroli’s previous films include the underappreciated 2021 Western “Old Henry” and the daffy 2024 crime comedy “Greedy People”. His latest is dramatically different than anything he has done before. With “Motor City”, Ponciroli creates and follows his own set of rules. He and screenwriter Chad St. John borrow a handful of ideas from known crime films from the past. But the original flourishes in Ponciroli’s execution are what makes “Motor City” hum.

Set in 1977 Detroit, Ritchson plays John Miller, a factory worker just off probation and with big plans to propose to his girlfriend Sophia (Woodley). Through a flashback we learn that Sophia used to be with a sleazy and abusive local gangster named Reynolds (Foster). And the obsessively possessive Reynolds hasn’t gotten over losing her. So he secretly frames John for drug trafficking. Now rather than planning a wedding, John is sentenced to 25 years in prison for a crime he didn’t commit.

After breaking up with John, an angry and heartbroken Sophia struggles to make ends meet on her own which is all according to Reynolds’ plan. He swoops in and takes her back, showering her with a lavish lifestyle while hiding his involvement in setting up her former fiancé. But it doesn’t take long for the abusive Reynolds to once again show his true colors. And Sophia’s life of luxury quickly takes a dark turn.

Meanwhile John gets word that it was Reynolds who set him up and who has Sophia at his mercy. So with the help of two close military buddies, Youngblood (Lionel Boyce) and Singh (Amar Chadha-Patel), John carries out a daring prison break. Once free, he sets his sights on rescuing Sophia and paying back Reynolds for all the pain he has caused. But that proves to be easier said than done, as Reynolds isn’t willing to go down without a violent, blood-soaked fight.

Ritchson, Foster, and Woodley serve up a solid central trio of characters, all of whom seem doomed by destiny in their own distinct ways. At the same time, other actors help to bring a gritty and grimy texture to “Motor City”. Boyce and Chadha-Patel are silent but imposing presences as John’s fiercely loyal friends. Ben McKenzie fits nicely as a noble police detective despite being underused. And Pablo Schreiber is genuinely menacing as a dirty cop on Reynolds’ payroll.

Ponciroli does a surprisingly good job developing his story with the absence of dialogue, relying heavily on visual strategy and a committed cast to move the narrative along. He also fills space with a snappy array of period tunes from artists such as David Bowie, The Moody Blues, Fleetwood Mac, Bill Withers, Foxy, and more. Overall it works, yet the lack of dialogue does inevitably add some unnecessary hurdles which can make it tough to understand certain character details and decisions.

“Motor City” is unquestionably built around one significant conceit. Yet it’s no one-trick movie. The film absolutely nails its gritty 1970s aesthetic (minus a couple of bad hair scenarios for Ritchson). And once it finally comes, the action is electric. It’s highlighted by an incredibly shot and edited elevator sequence that features one of the most savage fights ever put on screen. You literally can’t turn away from the brutality. It’s an unforgettable moment set within a pulpy throwback thriller that isn’t afraid to take a gutsy swing and that manages to speak volumes while (literally) barely uttering a word.

VERDICT – 3.5 STARS

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.

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

During the later days of the video game arcade era, two wildly popular fighting games found themselves competing against each other for the quarters of players everywhere. Those games were “Street Fighter II” and the considerably more brutal “Mortal Kombat”. Both had legions of passionate fans who would gather around the cabinets and pump in coins for hours. Both ended up leaving a surprising footprint on pop culture, even getting their own mid-1990s movie adaptations.

While a “Street Fighter” reboot hits theaters later this year, “Mortal Kombat” got its own back in 2021. Unfortunately, with the exception of its terrific opening sequence, the movie was serviceable for fans but ultimately a letdown. Director Simon McQuoid went all-in for the R-rating, gifting fans of the video games with all the blood-drenched throwdowns and gory fatalities they could want. But the film didn’t tell a compelling story. Instead, it just expected you to know enough. And if you didn’t, too bad.

McQuoid returns to direct “Mortal Kombat II”, this time working with a different screenwriter, Jeremy Slater. Their film does a lot of the same things. For starters, they once again expect you to know the basics. But if you don’t, they throw in brief yet jarringly on-point exposition drops that only serve that one purpose. They surround these scenes with some incredibly silly and stilted dialogue that aren’t always meant to earn the laughs they get. But to be honest, I’m not sure how many people go to a Mortal Kombat movie for the storytelling.

On the positive side, instead of building the story around an unknown and mostly uninteresting new character like the first film, the sequel leans on franchise favorite Johnny Cage as a co-lead. He’s played by Karl Urban, whose seismic smirk, comical snark, and overall bad attitude puts an interesting spin on the character. Gone is the Cage’s signature narcissism. Instead, here he is a washed-up action star who makes his living signing autographs and selling DVD copies of his old movies at small conventions.

A second story thread follows Princess Kitana (Adeline Rudolph). As a child, she witnessed her father’s death at the hands of the power-mad emperor Shao Kahn (a fittingly ominous Martyn Ford). The two faced off in Mortal Kombat with the fate of their realm on the line. Shao Kahn’s brutal victory gave him control of the realm, and he took Kitana to be his daughter. But as the years go by, Kitana trains and prepares for a moment where she might have her revenge on the oppressive emperor.

The two stories merge after Shao Kahn seeks to take control of Earthrealm. And he does so in the only way one settles such a conflict – through a tournament featuring one-on-one combat to the death. Kitana is chosen to be one of Shao Kahn’s five warriors. But Earthrealm has a problem – they are one fighter short. So Lord Raiden (Tadanobu Asano), the protector of Earthrealm who selects and mentors the warriors who defend it, recruits a down-on-his-luck Johnny Cage to fight for Earth’s survival.

That is the story in a nutshell. There are some vague attempts at dramatic depth in Johnny’s road to redemption and Kitana’s attempt to unseat Shao Kahn and free her people. Both are welcomed, but neither move the needle much. That’s because the movie is much more interested in speeding through to the next fight while dropping in characters from the game for fans to check off. That’s almost enough to keep the movie afloat. The problem is the fights grow more repetitious instead of more exciting.

To its credit, “Mortal Kombat II” delivers some enjoyably gruesome fatalities, especially early on. And Karl Urban does a good job generating some legitimate laughs. But nearly everyone else are trapped in character skins so scantly defined that they barely register. So we’re left with a thinly sketched and overly crass feature that puts more energy into magical portals, ancient amulets, and stolen god powers than characters we want to root for or against. And once the fights start blurring together, there’s not much left for us to cling to.

VERDICT – 2 STARS