Tag Archives: movies

REVIEW: “You Can See Everything” (2026)

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Full admission, I knew nothing about businesswoman and now convicted felon Elizabeth Holmes. It took the help of a critic friend and Wikipedia to give me an idea of who she was, what she had done, and why everyone is buzzing about the new documentary, “You Can See Everything”. I may not be as wildly enthusiastic about the film as most. But there’s no denying co-directors Nathan Fielder and Lance Oppenheim have made something audacious and unique.

For those who don’t know, Elizabeth Holmes was the founder and CEO of the health tech company Theranos. She created a compact medical device capable of running up to 1,000 tests from a drop of blood, quickly, cheaply, and accurately. At least that’s what was claimed. Holmes was able to raise over $700 million from private investors for her heralded invention. By 2015 she had been named America’s youngest and wealthiest self-made female billionaire by Forbes magazine.

But her “iPod of healthcare” was soon revealed to be unreliable with an inordinately high failure rate. Holmes was complicit in concealing the truth from investors and regulators, even going as far as staging phony demonstrations to counter skeptics. But as both journalists and federal investigators dug deeper, Theranos was exposed and Holmes was found guilty of fraud and conspiracy. In 2022 she was sentenced to eleven years in federal prison.

Image Courtesy of A24

“You Can See Everything” picks up 34 days before Holmes is set to report for her prison sentence. She and her partner, hotel heir Billy Evans, invited Fielder, Oppenheim, and their film crew to live with them and their two children in their rented Del Mar, California beach house. The couple’s idea was to have their lives documented by offering “radical transparency” through unprecedented intimate access. It’s a truly bizarre scenario, made so by the strange motives of the subjects and some equally peculiar choices by the filmmakers.

Fielder takes on the role as interrogator and prodder while Oppenheim stays behind the camera. Fielder’s onscreen presence both helps and hinders the film. He engages in some fascinating conversations with Elizabeth along with some illuminating exchanges with Billy. But Fielder can also come across as a leering creep, peeping around corners and gawking in uncomfortable ways (I’m still trying to understand the random inclusion of Fielder and a cameraman shooting a fully nude Billy in the shower).

It doesn’t take long to see who the film’s true villain is. They make it obvious early on. We see Billy taking more control over Elizabeth and the conversations Fielder attempts to have with her. Plus he routinely runs interference whenever he thinks too much is being revealed. He only gets slimier in the second half. As for Elizabeth, Fielder and company don’t necessarily absolve her of her sins. But they find numerous ways of pointing fingers elsewhere. It’s a far more sympathetic portrayal than the real-life facts might allow.

Throughout the first half we get treated to several memorable moments. Some are subtle yet strikingly revealing, such as a debate on semantics and bickering over Wi-Fi. Others stand out more, like Billy’s aggressive push for Theranos 2.0, a back-and-forth over the famous “Who’s On First” bit from Abbott and Costello, and a scene where Fielder shows the couple Amanda Seyfried’s miniseries about Holmes called “The Dropout”.

Image Courtesy of A24

But the movie takes an odd turn around the midway mark as Elizabeth heads to prison and Fielder’s attention turns towards Billy and himself. You could argue that Fielder makes himself the main character of the second half which leaves us questioning his overall intent. Further blurring the film’s credibility is its meta twist which comes across as more indulgent than necessary. It gets even more bizarre when Seyfried shows up, joining Fielder as detectives attempting to solve a psychological mystery.

The second half is further obfuscated by Fielder and Seyfried engaging in a series of unnecessary reenactments of conversations the directors weren’t able to get on camera. They add a degree of experimental panache. But they mostly protract the film’s already plump three-hour runtime. Not all of Seyfried’s scenes are frivolous. She poses some intriguing questions about Elizabeth’s relationship with Billy. And she inadvertently finds herself on both sides of an ongoing conversation about creative license.

By the end of “You Can See Everything”, I found myself both compelled and confounded. In many ways it’s a tale of two halves. The first is a mostly daring and provocative probe smothered in psychological gamesmanship and overly aggressive closeups. The second is an exercise in egocentric filmmaking that both indulges and exposes itself. A case could easily be made that it didn’t need to be three hours, and by the end we haven’t learned much new. At the same time, the movie remains a fascinating and at times riveting watch. And with an enormous undertaking like this, that’s saying something.

VERDICT – 3 STARS

REVIEW: “The Dog Stars” (2026)

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The surprisingly ruminative post-apocalyptic thriller “The Dog Stars” may not find itself topping many people’s list of Ridley Scott favorites. But there’s more to this sometimes grim yet unexpectedly soulful dystopian drama than you might think. Yes it’s immaculately shot in ways that we have come to expect from a Ridley Scott movie. But it’s the deeply rooted themes and the near methodical way Scott explores them that sets “The Dog Stars” apart.

At 88 years old, the legendary Scott is showing no signs of slowing down. “The Dog Stars” sees him employing many of his signature techniques while also taking some ambitious new swings. It’s set within a richly detailed world that’s full of atmosphere. It has moments of nerve-racking thrills and bursts of intense action that are remarkably captured through Scott’s masterful presentation. But it surprises most by the questions he prompts, especially as the themes more clearly come into focus.

Written for the screen by Mark L. Smith, “The Dog Stars” is an adaptation of Peter Heller’s 2012 novel of the same name. It takes place in 2035, a few years after a devastating flu virus wiped out most of humanity. As a result, society crumbled, leaving civilization hanging in the balance. The few survivors who remain have mostly separated themselves from each other, living alone in hopes of surviving. It’s a bleak, desolate, and dangerous existence.

Image Courtesy of 20th Century Studios

Hig (Jacob Elordi) lives on an old abandoned airfield nestled in a scenic Colorado valley outside of what’s left of Erie. Before the deadly pandemic, he was a civilian pilot and mechanic. Joined by his beloved dog Jasper, Hig passes time flying his old patched together Cessna into the remains of Denver. There he relives painful memories by visiting his old home before scavenging for supplies. On his way back to the airfield, he drops a few things off at a small Mennonite camp high in the hills.

Also living on the airfield is the crusty Bangley (Josh Brolin), a hyper-cynical former Marine and expert marksman who has taught Hig how to survive in their harsh new world. But while Bangley is content to live out his life isolated and defending all they have built, Hig longs for more. He once heard rumblings of a flourishing community in Grand Junction some 250 miles away. And after a run-in with a dangerous feral “tribe” called the Reapers, Hig makes the decision to leave Bangley and the airport and head for the potential better life in Grand Junction.

But as Hig is flying high above the awe-inspiring Rocky Mountains, a sudden engine failure forces him to crash-land in a stony meadow. Not far away, he meets a young woman named Cima (Margaret Qualley) who lives in a remote cabin with her understandingly suspicious father, Pops (Guy Pearce). Hig quickly learns that their struggles aren’t all that different than his own. Nor are the threats they face, which he violently experiences firsthand.

Image Courtesy of 20th Century Studios

Again, it’s hard not to be in awe of the dystopian canvas Scott creates. It’s a vividly realized, strikingly authentic, and grimly immersive world that’s brought to life with rich detail. Yet it’s also a stunningly beautiful world, as cinematographer Erik Messerschmidt treats us to one magnificent panoramic vista after another. It’s especially effective on the big screen which greatly enhances our sense of presence. I felt a part of this world from the earliest frames.

But it’s the film’s thematic core that makes “The Dog Stars” more than just another post-apocalyptic thriller. It doesn’t take long to recognize it as more character-oriented than action-driven. And it’s through those characters that we witness the clash between the two sides of humanity. One sees value in helping others while longing for human connection. The other is like a feral beast driven by self-preservation. Meanwhile some people live in the cracks in between, isolated and paranoid. Ultimately, the movie asks how do you rebuild a society when we are constantly undermining our own efforts? At the same time, it encourages us to appreciate what we have while we still have it.

To be clear, “The Dog Stars” does have several thrilling action scenes that are both visceral and intense. It also sports a stellar cast who all feel right at home in the harsh world they live in. But don’t go into Ridley Scott’s latest expecting some thrill-a-minute post-apocalyptic actioner. Instead, it’s a movie with a lot more on its mind, and Scott has no problem bucking expectations for something that refreshingly goes against the grain. Again, “The Dog Stars” may not be heralded among the filmmaker’s best works. But it shows the celebrated director still has a lot in the tank.

VERDICT – 4.5 STARS

For Star Wars Day: Five Awesome Darth Vader Moments in Star Wars…

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With Star Wars Day upon us, I couldn’t think of a better way to celebrate this beloved franchise than by focusing on one of its most beloved characters. Darth Vader is considered by many (myself enthusiastically included) to be one of the greatest big screen villains of all time. It’s a legitimate claim that can backed up by simply perusing the vast catalog of great Vader moments from movies, streaming series, comics, etc.

Anakin Skywalker (aka Darth Vader) has been the narrative centerpiece for much of the Star Wars story, beginning with the prequel trilogy, on through the original trilogy, and in much of the animated universe. Even when other characters are the main focus, the shadow of Vader looms over whatever story is being told. Also he’s just an incredibly cool villain who has given us so many great Star Wars moments over the decades.

So in light of Star Wars Day, I thought it would be fun to highlight five of the most awesome Darth Vader moments in all of Star Wars (with video of the scenes included). There are so many to choose from so it’s impossible to call this a definitive list. At the same time, it’s hard to argue that these five moments aren’t amazing. Check them out below and be sure to share your picks in the comment section below.

(Be warned, if you haven’t seen Star Wars but plan to, there will be a few spoilers ahead)

#5 Vader Appears – “Jedi: Fallen Order”

“Jedi: Fallen Order” released in late 2019 and it quickly became one of the franchise’s most acclaimed games. While playing was an incredible experience all its own, it was the canonical story and rich character building that made the game special. Set five years after the events of “Revenge of the Sith”, the story follows one of the few survivors of the Empire’s Great Jedi Purge. It all builds towards an epic appearance of Darth Vader at his most powerful. While I’m sure most non-gamers haven’t seen it, it’s a moment that shouldn’t be missed.

#4 – Vader Pulls Down a Ship – “Obi-Wan Kenobi”

While it doesn’t rank among the most significant moments in Darth Vader’s storied history, there’s something about Vader pulling down an entire ship with his force powers that is just awesome. He does that very thing in the Disney+ series “Obi-Wan Kenobi” and it is every bit as cool as it sounds. As members of the underground desperately try to escape, Vader force grabs what he believes is their ship and yanks it back to the ground. It’s an amazing show of power even if the results aren’t quite what the dark lord expected.

#3 – The Mustafar Duel – “Revenge of the Sith”

The lightsaber duel between Obi-Wan Kenobi and Anakin Skywalker remains both exhilarating and heart-wrenching. It’s true that Anakin wasn’t yet in his ominous black suit. But he had been given the name Darth Vader by his new master so this choice certainly applies. The two former best friends and brothers unleash an epic lightsaber showdown that starts in a hidden Trade Federation base before spilling outside amid the dangers of the volatile volcano planet. Everything about the duel works, from the buildup to the execution to the dramatic payoff.

#2 – Vader’s Redemption – “Return of the Jedi”

Darth Vader’s tortured and violent story culminated in a moment of redemption that not only triggered the end of the Galactic Empire, but saved his son Luke who was able to turn his father back to the light. It took place in the Emperor’s throne room on the second Death Star. The gravity of Vader’s choice to save Luke by killing Palpatine can’t be overstated. It’s one of the most significant moments in Star Wars. And it (mostly) wraps up the story of Anakin Skywalker, whose tragic life ends with what you might call peace.

#1 – The Hallway Massacre – “Rogue One”

Though it doesn’t carry anywhere near the weight of my previous pick, no Dark Vader scene has shown him more menacing and merciless than in the heralded hallway scene in “Rogue One”. Vader is nothing short of terrifying in this brief but jaw-dropping sequence at the end of the film which directly connects it to “A New Hope”. Vader unleashes his full wrath on the helpless rebels. The siren, the creaking metal, the lightsaber’s ignition, the swelling music, the desperate screams – it all plays into what is one the franchise’s most iconic moments. It never fails to give me goosebumps.

REVIEW: “Michael” (2026)

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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.

Image Courtesy of Lionsgate

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.

Image Courtesy of Lionsgate

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”.

Image Courtesy of Lionsgate

“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: “Ready or Not 2: Here I Come” (2026)

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“Ready or Not” released in 2019 and quickly became one of the biggest surprise hits of the year. The horror comedy thriller was picked up and distributed by Fox Searchlight Pictures who gave it a proper theatrical release. They were rewarded when the film brought in $58 million against its modest $6 million budget. Even better, the film was well-received by critics who were quick to brand it as an instant cult classic.

The only thing more surprising than the first film’s success is that it birthed an unexpected sequel, “Ready or Not 2: Here I Come”. The key creative minds return including co-directors Matt Bettinelli-Olpin and Tyler Gillett and co-writers Guy Busick and R. Christopher Murphy. But the most crucial returning piece is Samara Weaving, reprising her role as Grace MacCaullay, the lone survivor of the Le Domas family blood bath.

Image Courtesy of Searchlight Pictures

“Ready or Not 2” plays like an extension of the first film, picking up exactly where part one left off. Following what was quite literally the wedding ceremony from Hell, Grace (Weaving) passes out on the steps of the Le Domas family mansion, soaked in the blood of her dead devil-worshipping in-laws. After being transported to the local hospital, she’s visited by her estranged younger sister Faith (Kathryn Newton). The combative siblings waste no time dragging out old baggage.

But little do the sisters know, the Le Domas clan was just one of six families in an international cult of upper-crust worshippers of Le Bail. And their death triggered a clause in the by-laws putting the leadership of the cult’s ruling council up for grabs. So the heads of the remaining families converge on the lavish Danforth estate in Newport, Rhode Island, each vying for the all-powerful high seat. To win it, all they have to do is be the one to kill Grace, and by association Faith, in another game of Hide-and-Seek.

So Grace and Faith are kidnapped and brought to the Danforth mansion where they’re introduced to a new batch of pampered and power-mad hunters. Among them is the domineering Ursula Danforth (Sarah Michelle Gellar) and her impetuous twin brother Titus (Shawn Hatosy), the pompous Ignacio El Caido (Néstor Carbonell), the conniving Wan Chen Xing (Olivia Cheng), and the playboy Viraj Rajan (Nadeem Umar-Khitab).

But there are rules that must be followed, and Le Bail takes his rules seriously. So much so that the consequences for breaking them are…messy. The rules are laid out by a mysterious lawyer for Le Bail (a really fun Elijah Wood) and there are A LOT of them. Most are dropped in overly long information drops. Others pop up out of the blue, feeling more like devices to get the plot from one point to the next. But at its core it’s the same as before- Grace and Faith must survive until dawn if they want to live.

Image Courtesy of Searchlight Pictures

From there the bulk of ”Ready or Not 2” is more of the same but at a different venue and with different villains. Bettinelli-Olpin and Gillett once again playfully lather us in blood and guts. The only thing more prevalent than the chunky red stuff are the ludicrously forced f-bombs. The pointlessly potty-mouthed script dumbs things down, sometimes to the point of being a distraction. We also get a lot more lore building, but it’s nothing that will pique your interest.

While “Ready or Not 2” floods us with more gore, more lore, and more mind-numbing f-bombs than before, it also features less laughs and even fewer surprises. Still Weaving and Newton give it their all, making it easier to navigate the frustrations along the way. The inevitable kills can be fun and the overall goofiness of it all makes it easier to digest. But it’s ultimately a sequel that doesn’t offer up enough to justify its existence. And Grace probably would be better off still sitting on the Le Domas estate steps.

VERDICT – 2.5 STARS

REVIEW: “Iron Lung” (2026)

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The potential game-changing success of “Iron Lung” has become a compelling story on its own. The science-fiction horror film is written, directed, edited, and produced by Mark Fischbach, a popular YouTuber who goes by the online name Markiplier. He sits as one of the most popular streamers on the platform with over 38 million channel subscribers to date.

Fischbach self-financed “Iron Lung” for $3 million. Even more impressive, he self-distributed his film, initially only negotiating a small release in 60 independent theaters across the United States. He then reached out to his fans who spearheaded a massive grassroots campaign which caught the attention of several major theater chains. As of now, the film is showing in over 4,100 screens worldwide and made over $21 million in its opening weekend.

“Iron Lung” is based on a 2022 indie game developed and published by David Szymanski. It was a first-person simulation horror experience set entirely within a cramped midget submarine. The movie follows suit, keeping us confined inside a small iron shell for the duration of its two hours. The confinement itself is never an issue. But the two-hour runtime is, with Fischbach too often dragging things out considerably longer than he needs to.

The story is set in a distant future where mankind has colonized space. But a catastrophic event called the Quiet Rapture caused all star systems to vanish. Planets, stars, moons – all gone. And nearly all of humanity disappeared with them. The only survivors are the small numbers of people who were onboard space stations and starships. Those remaining desperately do what they can to stave off their extinction.

Enter Simon (strongly played by Fischbach), an antsy convict about to go on a dangerous mission as penance for a crime that we learn more about as the movie progresses. His mission is to descend deep into an uncharted ocean of blood on a desolate moon believed to hold information and resources crucial to human survival. His handlers have nothing but surface scans. So Simon is tasked with exploring the deep and photographing his findings in exchange for his freedom.

Simon’s small single-chambered submarine is welded shut and the lone porthole is sealed to prevent leaks due to the ocean’s intense pressure. That leaves him completely blind when submerged. His only means of navigation are his instruments and the crude images of an x-ray camera. His chief handler on the surface is the stern and cryptic Ava (Caroline Rose Kaplan) who barks Simon’s orders through a small speaker while trying to keep him focused.

There’s not a lot in terms of plot, but the first half-hour is riveting both narratively and technically. The early storytelling is equal parts harrowing and mysterious as new revelations raise the stakes while introducing an array of physical and psychological dangers. Tensions simmer, trust erodes, and deeper questions emerge. At the same time, Fischbach impressively acquaints us with the “Iron Lung” vessel, skillfully capturing the claustrophobia and peril through his camera and rich sound design.

But things take a frustrating turn as the film goes beyond slow-burning to meandering. Fischbach stretches his already limited story beyond its bounds, overextending sequences and repeating himself in scenes to the point of tedium. The gaps between new information get wider as Simon slowly navigates an assortment of drawn-out side quests that end up opening more questions than the movie ever answers.

Things do pick up in the final half-hour as Fischbach lets the blood gush (and I say that in its most literal sense). He and his team serve up a gory, blood-drenched ending that’s realized through a series of gnarly practical effects. And though it’s sometimes hard to discern what’s happening amid the dim lighting and shaky camera, the film’s ending goes for the jugular, more so visually than narratively.

In the end there is so much to admire about “Iron Lung” – the concept, the craftsmanship, the ambition, the determination. Markiplier shows some real creative chops, both in front of and behind the camera. Unfortunately the middle-hour’s languid pacing really stymies the movie’s momentum and zaps it of its tension, making the experience more grueling than thrilling. It’s a bummer because somewhere in “Iron Lung” is a tighter and more focused 90-minute movie that I would have loved.

VERDICT – 2.5 STARS