In the early part of June 1944, the Allied forces were in the preparation stage for what would be the largest and most consequential seaborne invasion in military history. D-Day saw nearly 160,000 soldiers cross the English Channel and land on the beaches of Nazi-occupied Normandy. The costly yet successful assault was a crucial moment in liberating Western Europe and turning the tide of the war. And much of the operation’s success hinged on the weather.

In the new film “Pressure”, director Anthony Maras concentrates on the roughly 72 hours before the D-Day assault. Based on the 2014 stage production of the same name by playwright David Haig, the film adaptation unfolds like a high-stakes thriller where the action takes place behind closed doors rather than on the battlefield. And where the tension simmers between meteorologists and military leaders rather than infantrymen and pilots.

Co-written by Haig and Maras, “Pressure” tells the true story of James Stagg (Andrew Scott), an esteemed Scottish meteorologist summoned by Allied Commander Dwight D. Eisenhower (Brendan Fraser) at the recommendation of Winston Churchill. Stagg is assigned the position of Chief Meteorological Officer whose responsibility is supplying Eisenhower and his team of Allied leaders a definitive forecast for the planned D-Day invasion.

Stagg reluctantly leaves his pregnant wife and reports for duty at the remote and heavily fortified Allied headquarters. There he learns he must present a preferably favorable forecast for the assault which is set to take place in 72 hours. But the serious-minded and businesslike Stagg quickly finds himself at odds with a number of people including Colonel Krick (Chris Messina), Eisenhower’s own longtime weather forecaster. Krick predicts a clear and sunny invasion day. But Stagg warns of severe storms, much to the chagrin of the military men.

As time becomes more of a factor, the character-centered story sees the tension move from a simmer to a boil. Key players factor in a variety of ways starting with Stagg. Scott’s captivating performance combines remarkable restraint with uncompromising conviction, portraying Stagg as a man of inspiring fortitude amid heart-wrenching personal incertitude. And while he becomes unpopular among the British and American contingents, he finds an ally in Lt. Kay Summersby (a wonderful Kerry Condon), Eisenhower’s personal secretary and advisor.

Fraser’s portrait of Eisenhower is equally compelling. He reveals Ike to be a deeply committed yet burdened commander who is still haunted by the costly failure of Operation Tiger – an attempted rehearsal for D-Day that went terribly wrong. The decision to launch rests solely with him, and the weight of that choice is taking its toll. If he delays, he runs the risk of tipping off the Germans and losing the element of surprise. If he goes ahead with the invasion and Stagg’s forecast is right, the results for the Allies could be catastrophic.

True to its name, this riveting chamber piece is built around a pressure cooker scenario, with history itself reminding us that the stakes couldn’t be higher. Maras draws us in and keeps us engaged through a host of interesting personalities and dynamics. And whether they are sparring over conflicting data or realizing the staggering consequences if they get this wrong, the story is pulsing with authenticity and urgency.

“Pressure” isn’t your prototypical World War II movie. It sits behind the grander scenes, telling the true story of an unsung hero who dared to stick by his convictions and a noted leader willing to make the tough choice with everything on the line. And while the bulk of the film’s combat doesn’t take place on the battlefield, it is every bit as gripping thanks to stellar performances, an intelligent script, and focused direction. It’s one of the nicest surprises of the 2026 movie year so far.

VERDICT – 4 STARS

“Passenger” is the latest feature from Norwegian filmmaker André Øvredal. It’s the follow-up to his criminally underrated 2023 film “The Last Voyage of the Demeter”, which was a narratively crafty and visually stunning adaptation of “The Captain’s Log”, a chapter from Bram Stoker’s 1987 classic novel “Dracula”. Without question, “Passenger” is a much different movie, yet it shows some of the same verve that made “Demeter” such a gem. If only it all came together as intended.

“Passenger” is a road-trip horror movie about a young couple who are pursued by a terrorizing supernatural entity. Written by Zachary Donohue and T.W. Burgess, the story follows the newly engaged Tyler (Jacon Scipio) and Maddie (Lou Llobell), who sell their Brooklyn apartment and leave the city for a life on the road. Six weeks into traveling the country and living out of their decked out van is everything Tyler had hoped it would be. But for Maddie, adjusting has been difficult.

While driving down a dark rural road in Colorado (I think it was Colorado), they pull over to help a stranger who has crashed his car into a tree. But little do they know, by stopping they attract a malevolent entity that latches onto them. The first sign that something is amiss are the three parallel scratches carved deep into the side of their van – the same scratches that Maddie saw on the crash victim’s car. But this is a horror movie, so scratches are minor compared to what’s to come.

Maddie is first to begin seeing visions of a creepy old man with thin stringy hair, white pasty skin, and black hollowed eyes. But before long, so does Tyler. They learn the figure is an entity known as The Passenger, and it has stalked, haunted, and murdered a number of unfortunate travelers who dared to stop on the road at night. After surviving the demonic being’s first few attacks, Tyler and Maddie will need to find a way to kill it, before it adds them to its long list of victims.

Despite its feeling of familiarity, the story sets itself up nicely. The van-life angle is interesting, as is the clever way Øvredal, Donohue, and Burgess incorporate The Hobo Code into their tale of terrified travelers. Visually, Øvredal pulls off a number of cool tricks that I’m not sure I’ve seen before. One involves a rotating camera in a genuinely chilling parking lot sequence. Another makes wicked use of light from an outdoor movie projector.

At the same time, the movie hits a wall past the midway point. It’s where the clichés begin to mount and the over-reliance on jump scares becomes too much. Melissa Leo is underused playing a kindly yet mysterious older woman who warns Tyler and Maddie to stay off “the quieter roads” after it’s too late. She vanishes as quickly as she came, only to briefly appear near the end of the movie to steer the desperate young couple towards a finish that just doesn’t generate the kind of tension or terror it needs to.

Ultimately “The Passenger” is a competently made and at times visually inspired horror film that simply runs out of original ideas before the final credits roll. Sharp direction and solid performances keeps us riding along with the film’s promising start. But over time we begin to feel the miles, as the journey we’re on runs out of interesting sites to see. There’s some good craftsmanship on display and a couple of gnarly scenes to enjoy. But in the end, “The Passenger” needs more to set itself apart.

VERDICT – 2.5 STARS

Josh Duhamel directs, produces and stars in the light, breezy and mostly family-friendly comedy, “Preschool”. It’s a silly yet oddly endearing movie that gets most of its mileage out of a game cast whose charm and conviction keep things afloat. At times it threatens to push the antics too far. But Duhamel the director keeps things wrangled together, delivering a big-hearted crowd-pleaser anchored by a fun ensemble.

Penned by screenwriter Richard D’Ovidio, “Preschool” is a pretty basic brew, flavored with some fairly familiar ingredients. Two men fly off their rockers in a childish rivalry while their level-headed and far more mature wives endure their husbands’ nonsense, becoming good friends in the process. The ‘dumb guys tolerated by smarter women‘ bit is nothing especially new. But there’s enough humor and heart here to make the blemishes easier to overlook.

The story revolves around two couples vying for one spot at a prestigious (and notably pretentious) London preschool. Brian Young (Michael Socha) grew up with nothing and had to work extra hard to build the adequate life he shares with his wife Sarah (Antonia Thomas). Since their son Dylan was born, Brian has obsessively spent four years prepping the child for a life he never had. And it begins with getting him into the distinguished preschool program at Puggsley Academy of Excellence.

Unfortunately for Brian, there is another finalist for the last vacancy at Puggsley. It is Grace, the daughter of the ridiculously rich Alan and Lauren Williams (Duhamel and Charity Wakefield). Alan is an aspiring restaurateur who proudly carries himself as a pampered elite. In reality, his wealth came on the back of wife who inherited their fortune from her family. But that doesn’t stop Alan from feeling his daughter is entitled to the last spot at Puggsley.

The two couples meet during an introductory tour at the Academy. The wives hit it off while their husbands immediately begin jockeying for the favor of the school’s Dean (Fenella Woolgar). Afterwards, as a friendly gesture, Lauren invites the Youngs to their house for dinner, much to Alan’s chagrin. Brian agrees to go, but only as a chance to scope out his son’s competition. Instead of breaking the ice, the evening only fuels the friction between the two dads.

Like their wives, we quickly begin to recognize that Brian and Alan are surprising similar despite their dramatically different backgrounds. Both are driven yet hardheaded. And both seriously lack self-confidence, to the point of trying to prove themselves through their children. And that leads to a comical mano-a-mano game of one-upmanship which gets more outrageous as their rivalry intensifies. Bribery, deception, sabotage – nearly everything is on the table.

While “Preschool” serves up several good laughs, not all of the humor works as intended. For example, there’s a woefully unfunny bit involving a children’s television group called “The Wild & Crazies”, who dress as jungle animals and sing songs about flatulence. Thankfully that’s just a small slice of an otherwise enjoyable family comedy that is sure to entertain and surprise a lot of people. “Preschool” is now available on VOD.

VERDICT – 3 STARS

I admit to being surprised by the overwhelmingly positivity found in nearly every early reaction to “Project Hail Mary”. I know that the film’s star, Ryan Gosling is infinitely likable and has a strong and very vocal fanbase. But “Project Hail Mary” follows the kind of feel-good formula that often gets panned by more cynical critics and crowds. And it isn’t the most original slice of science-fiction to come down the cinematic pipeline.

But here’s the good news. “Project Hail Mary” is a winner. It’s a big-hearted and proudly human science-fiction adventure that is propelled by the effortless charisma of its beloved star. And this is the kind of role that fits perfectly with the current phase of Gosling’s career. He’s occasionally too silly and overly charming. But he remains remarkably grounded which keeps this unexpectedly gripping crowd-pleaser anchored for most of its hefty running time.

Written for the screen by Drew Goddard, “Project Hail Mary” is an adaptation of Andy Weir’s 2021 novel of the same name. The directing duo of Phil Lord and Christopher Miller once again bring their blend of jaw-dropping spectacle with childlike wonder, which energizes a story that certainly doesn’t break new ground. But the emphasis they place on smaller, humanity-infused details rivals any of the grander deep-space set pieces they deliver. And their film’s moving thematic shift in the second half is the icing on the cake.

The movie begins with what plays like a fairly conventional ‘save the planet’ story. Earth’s scientists have discovered that our sun is slowly dying. A rapidly reproducing, parasitic microorganism called Astrophage is consuming our sun’s energy, which in time will inevitably lead to a catastrophic cooling of Earth. To stop the extinction level event, scientists scramble to find a solution. They discover that the Astrophage has affected every known star but one – Tau Ceti.

Enter Dr. Ryland Grace (Gosling), an ostracized molecular biologist who has found his place as a middle school science teacher. One day he is approached by Eva Stratt (Sandra Hüller), the head of the multinational Hail Mary project. She recruits him to join their last desperate attempt to save the planet – a one-way mission to Tau Ceti to learn why the star remains unaffected by the Astrophage.

All of the above is mostly revealed through a series of well-incorporated flashbacks. The film’s nonlinear storytelling actually begins with Grace waking up from an induced coma, only to learn that he is the lone member of his three-person crew to survive the long journey to Tau Ceti. Light years away from home and all on his own, Grace must pull it together and complete their mission if Earth is to have any chance at survival.

The movie takes an interesting turn after Grace discovers he’s not to the only one there to research Tau Ceti. He makes first contact with an inquisitive stone-like alien who also happens to be the soul survivor of his crew sent to save his planet from the Astrophage. Their initial caution turns to curiosity as the two space travelers connect over a shared purpose. Soon they’re bridging their communication gap, sharing their knowledge, and working together to stop the destruction of their home worlds.

While their theorizing and experimenting is fun to watch, it’s the heartfelt development of their friendship that sends the story in a new direction. Grace gives his new pal the name Rocky and the two only get closer through the urgency of their missions. Rocky is the creation of Oscar-winning effects artist Neal Scanlan and was a brought to life through animatronics, puppeteering, and some VFX. Rocky is a magnificent creation who we immediately believe and invest in.

At 156 minutes, “Project Hail Mary” runs a little long, bogging down just a little around the halfway mark. But Lord and Miller quickly kick their story back into gear, transporting us through a thrilling cinematic journey that is equal parts spectacular and personal. The film looks amazing with its heavy reliance on impressive practical effects. Yet it’s the inescapable feel-good charm and stirring emotional core that makes the film so utterly irresistible. Again, it doesn’t break new ground. But it’s hard to knock it when it does what it does so well.

VERDICT – 4 STARS

Georgina Campbell has been earning her stripes as a bona fide scream queen, having starred in 2022’s “Barbarian”, 2023’s underrated “Bird Box Barcelona”, 2024’s “The Watchers”, 2025’s “Influencers”, and the fun genre-bender “Cold Storage” from earlier this month. Now she dives right back into the horror genre with “Psycho Killer”, a movie with all the potential to be one of the darkest and more twisted chillers this year (just check out its killer trailer for proof).

Unfortunately, “Psycho Killer” falls well short of its potential due to its scattershot storytelling, some mind-boggling choices, and an ending that feels yanked from another movie entirely. Its especially surprising considering it’s written by Andrew Kevin Walker who penned two David Fincher gems, 1995’s “Seven” and 2023’s “The Killer”. But despite beginning with so much promise, “Psycho Killer” struggles to create anything cohesive out of its big ideas and noteworthy inspirations.

Director Gavin Polone wastes no time getting things started. Campbell plays Jane Archer, a Kansas State Trooper who witnesses her husband and fellow officer Mike (Stephen Adekolu) fatally shot during a traffic stop. The killer gets away and is later identified as a wanted serial killer who has committed a string of interstate homicides spanning six states. Dubbed the “Satanic Slasher”, his M.O. includes leaving behind various satanic symbols at the crime scenes, scrawled in his victim’s blood.

Determined to end the Slasher’s spree, Jane uses her two-week provisional leave to track down her husband’s killer, following his trail of bodies while attempting to head him off before he strikes again. She makes a number of alarming discoveries along the way which enables her to build a possible profile. Yet the Slasher remains one step ahead of her, continuing his random killing spree with an ultimately goal that no one sees coming.

So far so good. It’s a sturdy setup that could go in any number of interesting directions. Instead it turns into a base level cat-and-mouse story with Jane tracking the killer across the Midwest like a super sleuth while the incompetent local authorities sit around twiddling their thumbs. With the brief exception of one lone FBI agent (Grace Dove), Jane is left on her own, jumping from jurisdiction to jurisdiction and getting more done than the local cops and the feds combined.

Meanwhile the hulking Slasher (played by former wrestler James Preston Rogers) goes about his bloody business, somehow avoiding suspicion despite sticking out like a sore thumb. He’s an obvious presence who is built like a Mack truck and who talks like he’s voicing some galactic supervillain in a Marvel movie. He’s undeniably menacing especially when he slips on his creepy radiation mask. But how on earth does he stay at large?

Things really turn preposterous in the second half. And it doesn’t get any goofier than when the Slasher visits a gated mansion owned by a Satanic cult leader named Pendleton (Malcolm McDowell). Pendleton and his five young coke-snorting followers briefly (and unintentionally) yank the movie in an utterly absurd direction. Shortly after that, the movie takes another bizarre turn with a final act that feels miles removed from everything that came before it.

Somewhere inside of “Psycho Killer” lives a good idea waiting to be realized. Campbell gives another strong lead performance that’s begging for better material. And Polone doesn’t shortchange us on the blood and gore. But those things aren’t enough to overcome the confounding lack of cohesion. And the story only unravels more as it progresses. It’s a case of a movie that doesn’t lack vision. It just lacks the know-how needed to translate it onto the screen.

VERDICT – 2 STARS

Netflix had a tremendous year last, specifically when it comes to original movies. They delivered the best movie of 2025 with “Train Dreams”. But right behind it were several other outstanding features including three that also made my Top 10, “Nouvelle Vague”, “Frankenstein”, and “Jay Kelly”. Not to mention Kathryn Bigelow’s “A House of Dynamite” and “Wake Up Dead Man”, the latest and best Knives Out film so far.

Netflix kicks off 2026 with a romantic comedy that certainly doesn’t reach the heights of the above movies. But for most of its running time, “People We Meet on Vacation” is an unexpected delight. Much of its success hinges on the sparkling chemistry of its two stars, Emily Bader and Tom Blyth. It’s only later, when the script slips into that all too familiar romcom formula, that the movie starts to come unglued.

“People We Meet on Vacation” is based on Emily Henry’s 2021 novel of the same name. This light and breezy adaptation is directed by Brett Haley who’s working from a script by Yulin Kuang, Amos Vernon, and Nunzio Randazzo. The film stars Bader as Poppy, a free-spirited New York City travel writer. Nine years earlier, Poppy met the tightly wound Alex (Blyth) met while sharing a ride from their college in Boston to their home in Lynnfield, Ohio. Despite being polar opposites, Poppy and Alex become unexpected best friends.

For nearly a decade the (ahem) strictly platonic friends have taken summer vacations together. A series of flashbacks take us back to several of their trips – camping in Canada, partying in New Orleans, and an especially relationship-changing summer in Tuscany. But something happened leading Poppy and Alex to have a falling-out. They haven’t spoken in two years, but they’re given a chance to reconnect after Alex’s brother David (Miles Heizer) invites Poppy to his wedding in Barcelona.

For the majority of its 118 minutes, Haley manages to keep things surprisingly fresh. There is never a time when we don’t know where things are going or how it’s going to end. But the road to that point is littered with good laughs while maintaining a believable romantic spark. Alan Ruck and Molly Shannon get one lone yet hysterical scene as Poppy’s parents. But the heavy lifting is done by Bader and Blyth who win us over and earn our affection.

Yet along with its predictability, “People We Meet on Vacation” also leans on a few easy to recognize romcom tropes that come off as a little lazy. But its biggest issue comes in the final act where the story completely gives way to the Hallmark formula. It’s as if the filmmakers lost faith in everything that had worked so well. Still, you could do a lot worse than “People We Meet on Vacation” – a romantic comedy that depends on good characters, strong chemistry, and crisp dialogue right up until it doesn’t.

VERDICT – 3 STARS