​“Lee Cronin’s The Mummy” stars Jack Reynor, Laia Costa, May Calamawy, Natalie Grace, and Verónica Falcón.  Released on April 17, 2026, the film follows a family as they discover terrifying revelations behind their daughter’s reappearance.

The film was written and directed by Lee Cronin, who’s known for directing “The Hole in the Ground” and “Evil Dead Rise”.  It is a reimagining of the Mummy franchise.  It’s no mystery that Universal’s classic monsters have been terrifying audiences through multiple adaptations for generations.  Whether on the big screen or on television, these iconic creatures always find ways to give them goosebumps.  Of course, that includes the dreaded Mummy that resurrects from an Egyptian tomb to terrify those who dare to learn its secrets.  You might be asking yourself, “What’s so scary about a bandaged individual with a terrible skin condition?”  Well, it comes equipped with an ancient curse that makes its victims fear something worse than death.  We’ve had several adaptations of The Mummy that highlight the distinctive yet creepy confrontations of the formerly dead Egyptian priest, such as the Boris Karloff version, an action-adventure trilogy starring Brendan Fraser, and the one with Tom Cruise we don’t want to mention again.  Now, we have a new, darker take on the classic horror franchise, where a missing young girl’s reappearance is anything but a miracle.  With the combined forces of horror masterminds Lee Cronin, James Wan, and Jason Blum, does it succeed in satisfying genre fans until Fraser’s return to the Mummy franchise, or should this curse remain buried?  Let’s find out.

The story follows the Cannon family, consisting of journalist Charlie (Reynor), his wife Larissa (Costa), and their children.  They were recently grieving over the loss of their young daughter Katie (Grace), who disappeared into the desert and has remained missing for eight years.  One day, the broken family received relieving news that Katie had finally been found.  However, what seemed to be a miraculous reunion slowly descended into a nightmare, as Katie isn’t behaving as normally as she used to before her disappearance.  As strange events began to occur around the family, they eventually discovered that Katie had brought home an ancient Egyptian curse that was transforming her into a monstrous being.  As a result, Charlie, along with a detective named Dalia Zaki (Calamawy), must find a solution to break the curse before he loses Katie forever.

Regarding my experience with the “Mummy” franchise, I was only familiar with the Stephen Sommers series featuring Fraser and Rachel Weisz battling supernatural Egyptian beings.  I haven’t gone back to the trilogy as often as I should, especially since “The Mummy Returns” is currently celebrating its 25th anniversary.  Regardless, I appreciated them for exposing me to Fraser’s early career, which remained a pivotal part of my movie-loving childhood, as well as Dwayne Johnson’s first cinematic appearance as a CGI monstrosity.  As for the 2017 reboot that’s intended to kickstart the “Dark Universe”, the sooner we forget about that missed opportunity, the better.  These installments I mentioned sparked my curiosity about this IP rebrand, which promises to be a much darker, more violent take on the menacing, mummified creature.  The other is the filmmaker behind the latest reboot, Lee Cronin, who did a fantastic job revitalizing the “Evil Dead” franchise with “Evil Dead Rise”.  With his approach to gory violence and edge-of-your-seat suspense, that movie gave me hope that Cronin will use this grotesque nature to make this formerly kooky creature even more terrifying.

However, I do have concerns going into the movie, the biggest being its runtime.  Given its premise involving a supernatural curse, I figured it would last somewhere between an hour and a half and roughly two hours.  But to my surprise, the filmmakers went the extra mile, putting it in blockbuster territory with a two-hour-and-13-minute runtime.  Based on the word of mouth I’ve heard about its level of violence, I was slightly worried that this length would be too much for its target audience, particularly those who couldn’t stomach grisly images and hardcore violence.  After watching the film, I can conclude that my worries are on point.  This is another movie I would be okay with being shorter, given its gore's wince factor.  Was it as disgusting as several people said it was?  Yes.  But after watching several Evil Dead movies and multiple Saw installments, I’m pretty much used to seeing this kind of stuff on screen.  However, I’m not sure if I can say the same for people who couldn’t stand human flesh being ripped off by a possessed child.

While the gore is pretty nifty from a technical perspective, “The Mummy” is a pretty beefy iteration of the horror franchise that doesn’t really justify its massive runtime.  When combined with a disappointingly formulaic premise and creepy yet lackluster frights, the movie ended up being an unnecessary chore to sit through.  If the movie is at least an hour and 40 minutes, I think the entertainment value and violent frights would be a bit more tolerable.  Understandably, this runtime is needed to emphasize its characters amid its horror tropes.  However, if they end up restraining themselves from the emotional core the movie’s going for, are they even worth caring about in terms of their grief?  Clearly, “The Mummy” has that answer wrapped up in gauze, and like the mummified spirit, it’s not a pretty sight to behold.  Though that’s not to say it’s a complete waste that should’ve stayed buried inside the cinematic tomb.

As mentioned before, the visual effects are pretty good in representing not just the makeup design for Katie’s possessed state, but also the gore.  If you’ve seen Cronin’s “Evil Dead Rise”, you’ll know that the director doesn’t hold back in making audiences queasy with the gore.  I couldn’t say much without spoilers, but there is that one scene involving Katie’s toenail that really left me wincing, more so than others.  While “Evil Dead Rise” still takes the cake for how messed up the gore factor was, “The Mummy” is still a devilishly disgusting treat, even if it ran out of ideas in the second half.  Despite the gore not living up to my expectations, I still admire Cronin for unleashing his vision onto its familiar structure.  Whether it’s the kinetic presentation or the zoomed-in shots of people’s heads on the sides, Lee Cronin further showcased his ability to get a bit nuts with some of the genre’s creepiest moments amid its grim tone.  It’s a far cry from his eerily subtle directorial debut, “The Hole in the Ground”.  However, when Cronin is asked to provide a bit more oomph in its violence, he mostly delivers on that promise.

Unfortunately, even with the intentions seen in Cronin’s direction, they’re not enough to excuse his screenplay.  Compared to the last two films he wrote, “The Mummy” is undoubtedly his most basic and derivative.  Amid the supernatural frights, the film reflects on a familial grief stemming from Katie’s disappearance.  With her reappearing in an unusual state, the family is forced to adjust, particularly when their youngest daughter, Maud (Billie Roy), comes into play.  I thought Maud would play a bigger role in its themes, but the film seemed to forgo that in favor of shocking the audience for over two hours.  The problem is that the characters and scares were both lackluster, making the shock value less impactful as the film progressed.  It’s trope-heavy, no doubt about it, but it lacks a specific spark in its substance to make it scarier or, most importantly, fun.

As for its cast, the only standout performance for me was newcomer Natalie Grace as Katie.  I swear, this young girl must’ve gone through a lot to make this character both cute and terrifying, especially under all of that makeup and prosthetics.  Fortunately, it looks like it was all worth it.  It’s difficult to compare Grace’s take on the titular mummy with the others since I haven’t watched most of them.  However, I will say that she makes for a better mummy than the one from the Tom Cruise reboot.  Another actor worth mentioning was Jack Reynor, who you might know from his role as Shane in “Transformers: Age of Extinction”.  It’s nice that he’s getting more roles to boost his Hollywood presence.  Sadly, his performance as Charlie didn’t really sell it for me.  Reynor does have his moments when he expresses Charlie’s grief and fatherly essence, but there are also times when his acting feels forced or underwhelming.  May Calamawy was also respectable in her role as Dalia, while Billie Roy evoked the usual adorableness seen in other child actors regarding her performance as Maud.

Overall, “Lee Cronin’s The Mummy” is a lengthy series of worn-out horror tropes that’s cursed by its reliance on shock value rather than balancing it with a stronger narrative.  The attempt to distinguish it from the previous versions with its bleak tone and repulsive gore is commendable for the most part.  However, without much intrigue in its substance and characters, it comes off more as a retread of similar demonic possession films than a reinvention of the mummified antagonist.  Lee Cronin still proved to be a solid filmmaker in the horror genre, delivering energy to its presentation and violence, even if its gross factor isn’t anything special.  Unfortunately, this latest reimagining lacks the terrifying impact seen in his previous directorial outings, making it worthy of being buried alongside other subpar supernatural endeavors.  At this point, we’re pretty much ready for Brendan Fraser to come back and save the franchise from turning into dust.  

​“The Drama” stars Zendaya, Robert Pattinson, Mamoudou Athie, Alana Haim, Hailey Gates, and Zoë Winters.  Released on April 3, 2026, the film follows a couple whose unsettling secrets come to light before their wedding.

The film was written and directed by Kristoffer Borgli, who also directed “DRIB”, “Sick of Myself”, and “Dream Scenario”.  Many relationships experience challenges that test the bonds between soulmates.  Some have a love strong enough to overcome misfortunes and secrets, while others see their love destroyed due to mishandled situations.  This troubling relationship is no different, even before the most important event of their lives, though that seems to be the least of their problems.  It’s no surprise that the wedding preparations can be stressful, but when someone's shocking secret comes to light, it’s only a matter of time before one’s mentality reaches its breaking point.  This sums up the latest drama from writer/director Kristoffer Borgli, featuring the two lovebirds being at each other’s throats days before they say “I do”.  Was this ambitious love story worth falling for, or should we cancel this eventful wedding plan?  Let’s find out.

The story centers on a happy couple who are preparing for the most important chapter of their lives.  Emma Harwood (Zendaya) is a bookstore clerk from Louisiana who meets and falls in love with Charlie Thompson (Pattinson), a British museum director.  As their wedding draws near, their healthy relationship takes a sudden turn when Charlie is left shaken by the unsettling truth about Emma’s past.  As a result, they’re caught in a spiral of chaos and mistrust that could spell the end of their relationship and even their marriage. 

I was initially planning to see “The Drama” last weekend, but I had to put it on hold to spend quality time with my family on Easter weekend.  Fortunately, since there aren’t a lot of big movies coming out this weekend, I decided to use that opportunity to do so.  I knew some of you had been waiting for my thoughts on this film for a while, especially since it features two of the most talented actors ever, Zendaya and Robert Pattinson.  So, who am I to delay the inevitable?  Plus, I admired Kristoffer Borgli’s previous film, “Dream Scenario”, for his unique vision and metaphoric commentary, leading to my interest in what he had in store for “The Drama”.  So, now that I finally watched it, what do I think about this experience?  Well, I can tell you this: it certainly lived up to its title.  There’s plenty of drama involved, but it’s also about something more that led to this “quarrel”.

“The Drama” is one of the films that I would describe as “ticking time bomb” movies.  Once it’s lit up, it drags you to a spiraling state of anxiety and psychological stress until its explosive finale.  Since it’s an A24 movie, the finale restrains itself from being too overly explosive, but it is a pretty solid bang regardless.  Some events leading up to this moment may not be as effective in retaining its anxiety as others, but it’s still an engaging experience that reflects on the challenging trials that come with this commitment.  Of course, one of them is whether love can hold strong if a partner isn’t who they say they really are, even when it comes to their secrets.  It’s a movie that deconstructs the elements we usually see in rom-coms to reflect the reality of a flawed relationship and the awkwardness that stems from the characters’ actions.  Though its troubling themes may be polarizing, it presents a respectable approach to this type of story that invites reflection on both quality and commentary.

The element I remembered from Borgli’s vision, based on my experience with “Dream Scenario”, is that he provides a twisted sense of humor that’s far from insane but stems from a sense of realism and current subject matter.  “Dream Scenario” is a bizarre yet highly thought-provoking depiction of contemporary fame, with Nicolas Cage appearing in everyone’s dreams.  For “The Drama”, Borgli’s vision relies on the anxiety-inducing essence to depict its struggling, pressure-building relationship through snappy editing and discomforting topics.  There are several moments that quickly transition from one sequence to the next, with some dream-like hallucinations here and there.  But instead of being sloppy, this approach comes off as subtly uncomfortable, especially when it reflects Charlie's conflicting feelings upon learning of Emma’s past.  Combined with its impressive sound design and Borgli’s direction, the editing effectively creates a sense of uneasiness that may prompt audiences to question their own choices in their relationships.

Regarding Borgli’s screenplay, there’s no doubt that it’ll divide viewers with its handling of certain topics.  The main subject matter, in particular, is the uncomfortable “twist” behind Emma’s past.  I know the movie’s been out for a week, but I’m still going to try to explain it without giving too much away in case you haven’t seen it yet.  Emma's troubling backstory from high school plays a vital role in the story and its themes, leaving her and Charlie in disbelief and awkwardness throughout the film.  It shows that such experiences can have a negative impact on those who have gone through them, regardless of whether the actions were taken or not.  Of course, since it’s also a black comedy, it’s bound to have some laughs in its dark concept, right?  Well, not really.  While there are some moments of hilarity, Borgli couldn’t quite find the darkly humorous momentum suited for this kind of material.  The script can also be pretty limited in its exploration of the characters’ depth.  Nevertheless, its silver lining is its depiction of how flawed certain people can be, and whether empathy can still be earned from their actions.

Another highlight worth mentioning is the duo portraying the straining couple: Zendaya and Robert Pattinson.  It bears repeating that Zendaya knows how to choose her projects wisely during her post-Disney days, not just in blockbusters like Spider-Man and Dune, but also in low-budget dramas.  It also helped that she has grown into a confident, well-rounded actress during her experience.  “The Drama” further showcases Zendaya’s impeccable talent in conveying the restraint and vulnerability of her characters, particularly Emma and her conflict with her disturbing secret.  The same can be said of Robert Pattinson, who’s also incredible at portraying Charlie’s anxiety and awkwardness, further underscoring his ability to fully transform into his distinctive characters.  When you have two strong talents appearing in a movie, there’s no doubt that sparks will fly in this broken relationship, and boy, were they flying.  Mamoudou Athie was also compelling in his role of Mike, and Hailey Gates did a great job conveying Rachel’s emotional restraint, especially during her passive-aggressive wedding speech sequence.

Overall, “The Drama” stirs up plenty of it with a disturbing yet uniquely engaging series of anxious events worthy of its magnetic leads.  It’s a shocking, discomforting twist on the romance genre that underscores how a partner’s past actions can distort the other’s perspective of them.  With Kristoffer Borgli’s direction and editing, the movie delivers a cinematic roller coaster of psychological pressure and anxiety that's sure to make people question their own relationships.  However, its uncomfortable subject matter relating to Emma’s past and its scattered dark comedy mildly falter in making much of an impact as its thought-provoking themes and characters.  Nevertheless, this is another ambitious love story that may not make everyone want to attend the wedding, but will likely satisfy those in need of some juicy drama before the big event.  If you’re a fan of the two actors or in the mood for something stressful and awkward to watch, this film is worth RSVPing.

​“The Super Mario Galaxy Movie” stars Chris Pratt, Anya Taylor-Joy, Charlie Day, Jack Black, Keegan-Michael Key, Benny Safdie, Donald Glover, Issa Rae, Luis Guzmán, Kevin Michael Richardson, and Brie Larson.  Released on April 1, 2026, the film follows Mario and his allies as they travel across the galaxy.

The film was directed by Aaron Horvath and Michael Jelenic, who are best known for developing “Teen Titans Go!”.  It is a sequel to Horvath and Jelenic’s 2023 film, “The Super Mario Bros. Movie”, and it is based on the 2007 video game “Super Mario Galaxy” by Nintendo.  The Mario franchise has been Nintendo's magnum opus since its inception, with its slew of games and television shows highlighting its diverse characters and expansive, colorful world-building.  So, it was no surprise that Nintendo was initially hesitant about bringing the Mario Brothers to the big screen, especially after what happened with the 1993 live-action film.  At least, until Illumination came along and convinced franchise creator Shigeru Miyamoto to revive his iconic franchise as an animated feature.  The result is a faithful adaptation that’s filled to the brim with Easter eggs and vibrant eye candy big enough to satisfy an all-ages audience.  Initially concerning due to Illumination’s brand of humor seen in the Minions movies and Chris Pratt’s casting as Mario, it ultimately defied expectations, becoming a box-office juggernaut for both animation and video game adaptations.  Despite the mixed reception from critics, “The Super Mario Bros. Movie” gained enough 1-Ups from the game’s fans to prove that the Mario franchise is best suited for the animation format.  Now, we have the highly anticipated follow-up featuring the Mario Brothers on another dynamic, fast-paced adventure.  However, instead of adapting the obvious “Super Mario Bros. 2”, the sequel goes beyond the stars by adapting another popular installment in the video game franchise, “Super Mario Galaxy”.  Does it retain the vibrancy and entertainment value of Mario’s previous cinematic endeavor, or does it make audiences want to stay on Earth instead?  Let’s travel across the galaxy and find out.

The story takes place after the events of “The Super Mario Bros. Movie”, where Mario (Pratt) and his brother Luigi (Day) reside in the Mushroom Kingdom ruled by Princess Peach (Taylor-Joy).  After meeting and befriending a dinosaur-like creature named Yoshi (Glover), Mario and Luigi join Peach and the Toads for her birthday ceremony, which was then interrupted by the news surrounding the capture of Princess Rosalina (Larson).  While Peach and Toad (Key) set off on a rescue mission, Mario, Luigi, and Yoshi find themselves face-to-face with Bowser Jr. (Safdie), the prince of the Koopas and the son of Bowser (Black).  As Bowser Jr. seeks to destroy the universe with his father, Mario and the others set out on a galactic adventure to stop the fearsome father/son duo and rescue Rosalina.

As someone who has played several Mario games, I found “The Super Mario Bros. Movie” to be an enjoyable experience, both visually and humorously.  As a Mario movie, it’s a pretty decent love letter to what makes the franchise so beloved, ranging from its world-building to a slew of Nintendo-related Easter eggs.  However, as a standard animated family film, it’s understandably flawed from a storytelling perspective, with its plot and character development feeling either rushed or half-baked amid its references and licensed music.  Fortunately, the movie benefited greatly from its entertainment value, its messages of bravery, and some of the best animation I’ve seen from Illumination, particularly in its world-building, action, and character designs.  No joke, the design for Princess Peach in the movie was beautiful.  It’s no wonder Bowser wants to marry her.  In short, the film showcased that Illumination was a surprisingly strong choice in bringing the world of Mario to life on the big screen, regardless of quality.  So, of course, I was excited to see the cinematic adaptation of “Super Mario Galaxy”, especially given its galactic settings, which allowed Illumination to elevate its world-building and visuals to greater heights.

But, even with that level of excitement, I’m remaining cautious as to how they’ll approach this premise, particularly its narrative structure.  From a marketing perspective, the film retains the vibrancy, detail, and imaginative accuracy of the franchise’s worlds, particularly those from the “Galaxy” games.  However, there’s still the matter of the narrative having enough breathing room amid its numerous references and Easter eggs to expand in the characters’ arcs.  Regarding Illumination’s status as an animation company, it bears repeating that it continues to stand out for its visuals and presentation.  It may not match the stylized creativity of recent animated movies from DreamWorks or Sony Pictures Animation.  But the vibrancy and detailed aesthetics of Illumination’s visual slapstick and CGI animation remain impressive on its own terms, which occasionally compensates for its narrative shortcomings.  So, it’s no surprise to see that “Super Mario Galaxy” serves as another respectable addition to the studio’s filmmaking strategy.  More importantly, it continues to prove Illumination’s status as a fitting studio to bring the vividly dazzling world of “Super Mario Bros” to the big screen.

That said, it further highlights the recent issue Illumination has been having since “The Secret Life of Pets 2”: its storytelling.  Some of the studio’s features, mainly sequels, had plenty of interesting ideas that would attract those outside its target audience through their character arcs and themes.  Instead of utilizing them to their full extent, they put those narrative aspects on the back burner in favor of dangling their vibrant, cartoony keys in front of the children, leaving them rushed, half-baked, and even overstuffed.  It’s not entirely a bad thing, depending on the concept, but it can be a bit irritating when we’re trying to prove to people that animation is not just a kids-only genre.  “The Super Mario Bros. Movie” had a similar issue with its thin plot, but its entertainment value and appropriate messaging made it less problematic than completing Champion’s Road in “Super Mario 3D World” with three other players.

For “Super Mario Galaxy”, the narrative shortcomings still linger in Mario’s galactic adventure.  But in the franchise’s second cinematic outing, I couldn’t help but agree that these issues have become more glaring compared to its predecessor.  Matthew Fogel returns to write the screenplay after writing the first Mario movie, but instead of further developing the arcs introduced in its predecessor, he lets the Nintendo-themed Easter eggs do the talking, for better or worse.  This is another movie that will delight many gamers of all ages with its references, blink-and-you-miss-it goodies, and numerous musical pieces.  By the way, I’m really happy that Brian Tyler returned to score the movie because the way he orchestrated the Mario music was undoubtedly top-notch.  Unsurprisingly, many Nintendo fans are going to absolutely enjoy this film for its faithfulness to the Mario games, a strong aspect that shows promising signs of Illumination’s future with Nintendo.  On the other hand, it left the movie feeling very thin in its character development and world-building.

Fogel’s screenplay deserves recognition for continuing the arcs established in the first film, particularly the mysterious origin of Peach.  It also explores the father-son relationship between Bowser and Bowser Jr., as well as Mario’s growing feelings for the princess.  These elements held great potential to match the expansive scope, vibrancy, and thrilling stakes of the story.  Unfortunately, the execution of these ideas fell short for me, both in terms of pacing and storytelling.  Despite the movie being a few minutes longer than its predecessor, “Super Mario Galaxy” soars pretty quickly, akin to Mario soaring through the galaxy, leaving little to no time to slow down and focus on those connections further.  Understandably, the film needs that level of pacing to keep the kids from looking at their parents’ phones, but it’s also crucial to recognize that some viewers may want something more from it than just “Nintendo References 2: Galaxy Quest”.  If Fogel decides to return for another Mario movie, he’d need to step up his game on crafting a screenplay that warrants the characters’ growth outside of cameos and Easter eggs.  It’s not complete trash, but it does further confirm Illumination’s habit of prioritizing kid-friendly, sugar-rush antics over interesting narratives.

But, aside from the story being a step down from its predecessor, did I at least have fun with the movie?  As someone who has played a few Mario games, I’d say yes.  As a casual moviegoer and film critic, I'd say yes.  While it may not have as many standout moments as its predecessor, I still find it to be a visually striking and consistently enjoyable experience whose sole purpose is to entertain, and that's it.  One aspect that benefited me well was the voice cast, with Chris Pratt leading the charge once more as the titular plumber.  Like my feelings towards him in the first movie, I didn’t mind Pratt voicing Mario regarding his approach to the character’s mannerisms and charm.  He even got a bit better at replicating Mario’s “Wa-hoo” sounds.  However, there were a few occasions when his voice acting sounded a bit iffy in his line delivery.  Other than that, he remains a fine choice to bring Mario to the big screen.  Jack Black also continues to bring enough energy and charisma to Bowser’s fiery yet tenderhearted persona, further showcasing him as a perfect choice to voice a fun and terrifying villain like him.  Although his moments here didn’t match his “Peaches” song from the first movie, Jack Black’s Bowser remains as one of the franchise’s best parts, in my opinion.  

However, what really surprised me regarding the cast was the newcomers, particularly Donald Glover as Yoshi.  I was completely stunned when I found out that Donald Glover, the “Childish Gambino” himself, was the voice behind the adorable, high-pitched green dinosaur.  It boggled my mind hearing the “Yoshi” sound coming from the guy with a mature, deep voice, but I was also really impressed with how spot-on his Yoshi impersonation was.  Unsurprisingly, Yoshi is immensely lovable, and Donald Glover’s performance makes me love him even more.  I would also credit Benny Safdie for his portrayal of the mischievous and dangerous Bowser Jr., bringing the Koopa Prince’s personality to life with a blend of familiarity and freshness.  Brie Larson was also good as Princess Rosalina, despite her character serving as the film’s McGuffin, and Glen Powell is a welcome addition to the cast with his magnetic performance as Fox McCloud from “Star Fox”.  It’s unfortunate that the studio chose to spoil the surprise with its new poster.  Keeping that reveal for the film would have made it a mind-blowing crowd-pleaser. 

Finally, we have the film’s animation, and my god, does it look incredible?  I kept saying that Illumination was a strong choice for making the Mario movies, and the animation remains the main reason.  Regarding the visuals, excessive eye candy, and accurate game designs, the presentation looks absolutely gorgeous and well-detailed, with the galaxy settings taking full advantage of its immersive scope and cinematography.  The character designs still evoke a sense of similarity to the games, especially the enemies, while adding an Illumination-like flavor to the mix.  Additionally, the animators did a solid job elevating the thrills of its action sequences, even if they don’t match the stakes of its underdeveloped plot.  Visually, I would say the animation in “Super Mario Galaxy” is a tad better than the first film, though I wish I could say the same for its narrative.

Overall, “The Super Mario Galaxy Movie” doesn’t soar beyond the stars due to its underdeveloped, overstuffed narrative, but its entertainment factor and visually appealing presentation make for a watchable piece of intergalactic sugar rush.  It’s a no-brainer that gamers, young and old, will enjoy this sequel for its Easter eggs, Nintendo references, and an abundance of eye candy, and that’s okay.  The problem is that its identity is the only power-up they used to mask up its narrative shortcomings for the second time.  It was tolerable the first time around, but the second attempt left me even more concerned about Illumination’s trend toward quantity over quality, especially for a popular IP like Mario.  It remains a fun, harmless, and silly continuation of Mario’s cinematic journey, highlighted by fantastic animation and some surprisingly strong newcomers in the voice cast.  However, for those who need some extra lives from its plot, this space adventure will give them a game over faster than they can say “Mamma Mia”.  As I said before, I had fun watching the film, but I can agree that its storytelling needs a new game plan to achieve a higher score in Illumination’s collaboration with Nintendo.

​“They Will Kill You” stars Zazie Beetz, Myha’la, Paterson Joseph, Tom Felton, Heather Graham, and Patricia Arquette.  Releasing on March 27, 2026, the film follows a woman as she encounters a satanic cult in a New York City high-rise.

The film is directed by Kirill Sokolov, who also directed “Why Don’t You Just Die!” and “No Looking Back”.  If you’re looking for a job to rebuild your life, it’s crucial to read between the lines to ensure it’s a safe bet.  Otherwise, you might end up being surrounded by those who tried desperately to murder you, particularly the members of a mysterious cult.  This woman didn’t get the memo, but unfortunately for these cult members, they have absolutely no idea who they’re actually dealing with.  The second half of March appears to be concluding the month with a ton of blood and twisted mayhem worth seeing on the big screen.  We’ve already seen that in the sequel to “Ready or Not”, and now we have a film that’s somehow in the same vein as “Ready or Not”, but more violent, with the cult residing in a hotel instead of a mansion.  Is this cinematic ad worth accepting, or should audiences search for a much safer job?  Let’s find out.

The story centers on Asia Reaves (Beetz), an ex-convict who was recently released from prison.  She searches for a new job to rebuild her life, until she comes across a help-wanted ad for a housekeeper at the Virgil, a New York high-rise.  After applying for the job, Asia encounters strange occurrences involving the Virgil’s community, where a rumor has spread that several employees are disappearing one by one.  She eventually discovers that the high-rise’s community is actually a satanic cult that sacrifices its unsuspecting victims who apply for the housekeeping job and is now targeting Asia.  Utilizing her deadly skills she developed in prison, Asia goes through hell and back to kill the cult members and escape with her life before they kill her.

Knowing me, I’m always in the mood for a film that’s not only violent and twisted, but also entertaining, depending on the execution.  The trailers for “They Will Kill You” seemed to be the film that matches this description regarding its chaotic concept.  Yes, it’s another “cult horror” movie we’ve experienced countless times before, but there have been a few tolerable ones that I didn’t mind.  Of course, the “Ready or Not” films are examples of this case, despite the second one being a step down from its predecessor.  This left me hoping that the film, which features Zazie Beetz delivering bloody mayhem, would turn out to be another solid addition to the genre.  Fortunately, as luck would have it, I got myself a really nice surprise in seeing it early via this week’s mystery movie event.  I thought it would be “Forbidden Fruits”, but it looked like this week’s event decided to be nice to me for once and give me a major release I'd been anticipating instead.  I’m glad that it did, because I had a pretty fun time with “They Will Kill You”.

Granted, this is another movie that isn’t going to win any awards for originality or emotional depth.  Its only goal is to deliver some gory mayhem and entertainment out of its simple premise and bizarre nature, and that’s it.  You know, something that’s worthy of seeing with an audience.  “They Will Kill You” easily accomplishes that mission with a blood-soaked, bonkers, thrill-a-minute, genre-blending experience that gleefully emphasizes stylistic mayhem over storytelling.  As I said, the movie is sort of similar to “Ready or Not” regarding its satanic cult and their need to sacrifice innocent victims to the Devil himself.  However, the film actually mixes that similarity in with a presentation akin to an exploitation film, the single-location fights from “The Raid”, and the violent insanity of “Evil Dead”.  These elements together concocted a crazy, unapologetically gory ride that felt like it could’ve belonged in any Grindhouse double feature.  Obviously, it won’t be for everybody, especially those who dislike exploitation films for their low-budget gore.  Fortunately, those who do will find themselves cheering for more blood geysers to erupt from their bodies.

Kirill Sokolov is a name I was unfamiliar with until I first recognized “They Will Kill You”.  He has received some good recognition for his previous projects, particularly for his vision, which draws inspiration from filmmakers like Martin McDonagh, Martin Scorsese, and Quentin Tarantino.  After seeing his directorial style in action, I can definitely understand why.  Utilizing filmmaking techniques inspired by elements such as exploitation movies and Sam Raimi, Sokolov envisioned a straightforward world full of chaos and blood, paying homage to the low-budget horror of yesteryear.  You got the panning shots that follow the action clearly, the close-up shots, the swift zoom shots, the slow motion, and even the fish-eye shot.  It’s these types of techniques that make a specific genre unique through its presentation, whether it’s action, comedy, horror, or all of the above.  Sokolov also did a pretty good job at retaining the movie’s pace through his approach to the action scenes and dark comedy.  While the violence is fun to watch for its gore and choreography, the film's dark humor is also a delightful treat, highlighting the bizarreness of the high-rise’s demented purpose.  Sokolov’s direction may not stand out from other filmmakers who utilize this approach, but it’s decent enough for me to keep an eye out for his next project.

As for its story, this is another film that demands to be seen without knowing anything else about it.  Sure, the plot does involve an ex-convict fighting for her life in a satanic high-rise.  However, it also offers plenty more elements outside of that within the span of 94 minutes.  That includes Asia’s actual reason for applying for a housekeeper job and the Virgil’s satanic cult itself.  I really couldn’t say much else about them, but I will say this: these additional aspects help elevate the film’s entertainment value, especially the cult, whose shock value adds to the premise’s absurdity.  Its familiar tropes may not have sliced as deeply as others, particularly when it borrows elements from similar cult movies.  Fortunately, Sokolov and Alex Litvak’s screenplay provides enough amusement and weirdness in its ideas to compensate for its narrative simplicity.  Additionally, I thought the visuals were pretty solid in capturing the Grindhouse appeal of its gore effects and framework.  It does have some instances of CGI, but it’s not to the point of being an eyesore.

Zazie Beetz is no stranger to the action genre, having starred in “Deadpool 2” as Domino and voiced a thieving fox in “The Bad Guys”.  “They Will Kill You” sees the actress front and center as she partakes in some heavy lifting as an action star.  The result is another compelling performance from Beetz, further solidifying her as a promising action star.  She definitely captures Asia’s fierce determination to fight her way out of the hellhole she got herself into.  However, Beetz also managed to add a convincing human element to Asia regarding her character’s personal connection to someone.  As someone who respects Beetz as an actress, I hope she gets more roles like this.  Myha’la did pretty well with her performance as one of the hotel’s maids whom Asia encounters.  Again, I’m not giving away anything in this review, especially that character’s actual identity.  Heather Graham and Patricia Arquette also delivered some satisfyingly amusing moments as Sharon and Lilith, the cult’s leader, respectively, with the former’s moment involving her death getting the big laughs out of me.

Overall, “They Will Kill You” makes a successful killing with a delightfully savage yet straightforward blood-soaked ride that survives most of its narrative tropes and simplicity.  It won’t win any points for originality or storytelling, but the film does accomplish its goal of being another thrilling, absurdly humorous piece of popcorn entertainment without sacrificing the silliness and shock value of its premise.  It’s basically “Ready or Not”, “The Raid”, “Grindhouse”, and “Evil Dead” all rolled up into a ball of guts that seems icky at first, but rewarding to grasp onto once the chaotic mayhem kicks off.  Accompanied by Zazie Beetz in action-heroine form and Kirill Sokolov’s genre-blending vision, this movie is another solid case of delivering undemanding cinematic fun worth sharing with an audience.  More importantly, it marks a promising future for Andy and Barbara Muschietti’s new production company, Nocturna, so it’ll be interesting to see if they can keep this streak going with some more crazy ideas under their belt as producers.  If you enjoy the movies that inspired the idea of “They Will Kill You”, it’s possible that you’ll like this one well enough to make your stay worthwhile…unless you prefer a hotel that’s less gory and satanic.

​“Project Hail Mary” stars Ryan Gosling, Sandra Hüller, Milana Vayntrub, Lionel Boyce, and Ken Leung.  Released on March 20, 2026, the film has a man waking up inside a spacecraft with no memory of how he got there.

The film was directed by Phil Lord and Christopher Miller, known for directing films such as “Cloudy with a Chance of Meatballs”, “21 Jump Street”, and “The Lego Movie”.  They’re also widely known for writing and producing the “Spider-Verse” trilogy.  It is based on Andy Weir's 2021 novel.  Usually, when the world is at risk of extinction, they turn to the best of the best with the capabilities to prevent a global catastrophe.  Some might choose a professional astronaut or maybe an intelligent scientist to devise a solution.  However, in this particular case, they decided to go with an ordinary teacher as their last hope of survival.  It might sound absurd at first glance, given his teaching skills not aligning with this challenging task, but it did make for an enticing idea for Andy Weir’s novel, which is now a film adaptation by directing duo Phil Lord and Christopher Miller.  The term "Hail Mary" is often associated with a daring, often risky, feat, particularly in sports.  However, this movie exemplifies that the term can apply to a wide range of situations, not just football.  Is it able to pull that off in terms of quality and story, or does it crash-land on Earth with a disappointing thud?  Let’s find out.

The story centers on Ryland Grace (Gosling), a man who wakes up on a spacecraft from his medically induced coma.  Awakened with amnesia, Ryland discovers that he’s the only survivor on the ship and is light-years away from Earth.  As he navigates the galactic unknown, Ryland gradually recalls his past, including his time as a middle school teacher and a former molecular biologist.  He was approached by government agent Eva Stratt (Hüller), who informed Ryland that the sun is dimming due to a microorganism known as “Astrophage”, which would cause catastrophic cooling of Earth within 30 years.  With time at the essence, Ryland endures the dangerous obstacles to save his home while also befriending an alien whom he named “Rocky” (James Ortiz).

Obviously, I haven’t read the book it’s based on, mainly because I don’t read many books outside my school days.  However, I have heard some great things about it.  Fortunately, its trailers and stellar word of mouth have convinced me to see what makes this concept connect with its audience.  Along with Ryan Gosling’s latest attempt to attract box office numbers outside of “Barbie”, “Project Hail Mary” marks the first directorial effort from Lord and Miller in twelve years since “22 Jump Street”.  “Solo: A Star Wars Story” doesn’t count since they departed from that film due to creative differences.  Their return to directing was something I’ve been anticipating for a while because I’ve been admiring their approach to comedy and unique visual flair, especially when they’re subverted to make their movies feel refreshing and fun.  Whether they’re directing, writing, and/or executive producing, Lord and Miller are certainly one of the dream teams worth recognizing in the genre.

However, “Project Hail Mary” seemed like a different ship for them to steer than the comedies they’ve directed, like “21 Jump Street” and “The Lego Movie”.  It seemed to aim for a more visually striking space odyssey rather than a fast-paced comedy that subverts its cliched tropes.  While I appreciated the duo’s change of pace from what I usually remember them for, the execution of that direction would have to blow me away to keep supporting their creativity, which it did.  Whenever a movie receives strong word of mouth ahead of its release, I tend to be cautious while watching it, out of fear of being disappointed by certain aspects.  Given its two-and-a-half-hour runtime and the story taking place mainly in space, I was pretty concerned that it might overstay its welcome or worse: be overhyped.  But after the first 20 minutes of the film, my worries were quickly sent into space, and a sense of emotional awe took over my body for the rest of the runtime.

Regarding its technical prowess and visual ambition, “Project Hail Mary” is another incredible, eye-opening film that truly deserves the theatrical treatment.  From the dazzling wonders of its galactic settings to the thrilling aura of space travel, this is another movie that highlights the specialty of a cinematic experience that can never be replicated at home.  The space sequences were marvelously shot by Greig Fraser, capturing the vast galaxy’s inner beauty and vibrancy in a way that evokes the feeling of being in space myself.  The fact that it was shot for IMAX, particularly given the aspect-ratio switches, makes it even more deserving of the big-screen treatment.  I only watched the movie on a regular premium screen rather than in an IMAX theater, but that didn’t diminish the gorgeousness and craftsmanship of the film’s modern space odyssey.

However, what really caught me off guard was the story.  “Project Hail Mary” works miraculously well not just as a visionary experience, but also as a genuinely warm, humorous, and surprisingly emotional tale of hope and loneliness in the pursuit of accomplishing the impossible.  On paper, “Project Hail Mary” has pretty much the narrative ingredients we’d normally see in other sci-fi films.  You got the “preventing a global catastrophe” premise, akin to “Armageddon,” and the “human/alien friendship” aspect of Grace’s bond with Rocky, similar to classics like “E.T.” and “The Iron Giant”.  These ideas were far from original, though they seem to have served as inspiration for Andy Weir’s novel.  But again, the execution of these elements is what truly matters, and my goodness, it did not disappoint.  Though similar in these tropes, “Project Hail Mary” carries a spaceship full of charm, wit, science, and heart to keep its plot from floating aimlessly into deep space.

Considering Drew Goddard’s successful attempt to adapt Andy Weir’s previous novel, “The Martian”, I can definitely see why he was brought back to adapt “Project Hail Mary”.  Without reading the book myself, Drew Goddard crafted a wonderfully written script that unravels the human soul of Grace’s arc and friendship with a rock alien with no face, formed by their shared loneliness.  As mentioned before, it not only reflects on that heartwarming bond but also emphasizes hope and survival amid the impossible.  Grace only sees himself as incapable and inexperienced despite people having faith in him, but his suicidal journey helps him discover that even an ordinary teacher can accomplish something greater for humanity and even himself.  This is another example of a screenplay that transforms its familiarity into something as beautiful and tear-inducing as its galactic horizons.  Its approach to non-linear storytelling, in which the film jumps from the present to the past, also helped retain the story’s interest, especially since the flashbacks were as fun and endearing as the present scenes, thanks to the script’s scientific knowledge.  Speaking as someone who isn’t that big into science, I’m impressed by how engaged I was in seeing people talk about molecular biology.

Phil Lord and Christopher Miller are known for their approach to subversive comedy, whether it's family-friendly or raunchy.  However, they don’t shy away from the heart amid the humor, which has led to the success of their previous films both critically and financially.  “Project Hail Mary” is certainly no different from the pack, particularly for its amazing visual effects and charismatic humor.  But they managed to emphasize the drama, heart, and emotion more than a film about walking, talking LEGO people would.  This could’ve been another strong case of emotional manipulation, but I was actually pleased with how well-balanced and genuine its emotions were.  The comedy is unsurprisingly entertaining, which is driven by the visuals, Grace’s awkwardness, and Rocky himself.  But when it gets to the heartbreaking and even the hopeful moments, it hits pretty hard, so much so that it actually made me cry a few times.  I didn’t think that a movie about a rock-shaped alien would make me shed a tear more than once, but man, did this movie prove otherwise with its authentic emotional pull.  The pacing can be a bit quick at first, but I got used to it after a while, since it doesn’t lose sight of its storytelling depth, which makes its lengthy runtime a breeze to sit through.  Regarding its visionary awe and blend of emotions, I’m surprised to say that this is the duo’s best directorial work since “The Lego Movie”.          

I already mentioned that the visual and technical aspects make “Project Hail Mary” a worthy theatrical experience, but I’m just going to say it again because why not?  The effects are downright incredible, not just in the production design and lighting, but also in the space exploration aspect.  Everything in these space sequences is among the most beautiful visuals I’ve witnessed on screen, especially in one particular scene that left me in awe.  The fact that they minimize the use of green screen and CGI makes the movie even more appealing.  Additionally, the people behind the practical design and puppetry for Rocky deserve recognition for making this adorable alien look and feel more alive.  It’s enough to consider it an early contender for the Best Visual Effects and Production Design categories at next year’s Oscars.  I also loved the musical score composed by Daniel Pemberton, who also worked on the “Spider-Verse” films, for its angelic, harmonious tone that beautifully complements its emotional beats.  He certainly knows how to evoke a range of feelings through his compositions, whether they are exciting, sad, or even hopeful.

You want to know what’s also incredible?  The film’s cast, primarily Ryan Gosling.  Ryland Grace is an inexperienced, awkward school teacher who is reluctantly chosen as humanity's last hope and makes some corny jokes we might recognize.  Ryan Gosling conveyed that personality flawlessly through his compelling charisma and heartwarming presence.  I would even say this is one of his best performances I’ve seen because, amid the charm of his humor, Gosling understood the task of infusing a teacher plagued by loneliness with a sense of humanity.  Whether he has a shot at another Oscar nomination remains uncertain right now, but I wouldn’t throw that conversation out the window yet.  Sandra Hüller was also great as Eva Stratt, delivering a tender performance that made her one of the highlights of the film’s flashbacks, particularly in her karaoke scene.  With this and “The Zone of Interest”, I’m left with a strong feeling we’ll be seeing more of Hüller in the near future.  However, the real shining star of the cast is James Ortiz, who serves as both the voice and lead puppeteer for Rocky.  As mentioned earlier, the practical effects and puppetry for Rocky were exceptional, perfectly complementing Ortiz’s vocal performance that captures Rocky’s lovable and innocent character.  In short, he’s equivalent to a supporting character from Disney films: charming, hilarious, and crucial to the movie’s themes.

Overall, “Project Hail Mary” goes the distance with a breathtaking space odyssey that flawlessly combines visual beauty and heartfelt storytelling.  Despite its blockbuster-sized length, Phil Lord and Christopher Miller have crafted a sturdy cinematic endeavor that straps me in and compels me through its galactic majesty, thoughtful storytelling, and immersive filmmaking.  The result is obviously another reason why the cinema-going experience remains as impactful as ever.  As a film, it’s also a fantastic tale of survival and friendship that effectively utilizes its familiar ideas and emotion to make me a believer in the Hail Mary.  Its great cast, excellent direction, compelling screenplay, and stellar visuals are the main aspects worthy of giving the movie a thumbs up, or in this case, a thumbs down if we’re going by Rocky’s traditions.  If you’re a fan of the book or even a massive supporter of the theatrical experience, this latest intergalactic journey is definitely worth embarking on.