I've reviewed films for more than 35 years. Current movie reviews of new theatrical releases and streaming films are added weekly to the Silver Screen Capture movie news site. Many capsule critiques originally appeared in expanded form in my syndicated Lights Camera Reaction column.
A hopeful gem from Sundance presented at the Atlanta Film Festival en route to a fall 2026 wider release, If I Go Will They Miss Me (B), directed by Walter Thompson-Hernández, is a lyrical look at the hopes, dreams and interconnectedness of parents and their progeny. Bodhi Dell gives an authentic performance as the film’s young protagonist, a dreamer in a Los Angeles neighborhood who idolizes his recently incarcerated father, a well-meaning man now working on a horse farm, played by an effective J. Alphonse Nicholson. As a character balancing the needs of the two men in her life, Danielle Brooks is the film’s quiet and powerful center; she’s very believable in an understated role. Unlike many other post-prison dramas before it, this film explores the re-entry into domestic and emotional life rather than becoming involved in crime or tragedy. Myles Bullock delivers meaningful dialogue about parenthood to add to the “works in progress” of the film’s central trio. There’s not a lot of story here; it’s more a tone poem with occasional flashes of myth, legend and spirituality. The visual composition is consistently striking and sometimes quite remarkable; snippets of animation sketches are also a delight. The movie’s final act features the strongest sustaining passages as the viewers have lived with and gotten to know all of these noble characters and even alter egos evocative of Odysseus and Pegasus. Ultimately it’s a lovely portrait of a family trying to make its way despite hurdles and heartbreaks, punctuated with flights of fancy. One single wrong turn for any of these characters can cause irrevocable damage. And one small action can change lives. The film is a touching, sentimental winner.
Audacious or acid-tongued it ain’t this time around. Two decades after its quintet of stars mutually graced the offices of the fictional Runway Magazine, David Frankel’s sequel The Devil Wears Prada 2 (B) does its own next-level empire building in the world of corporate synergies, content optimization and conglomerates. The plot places Anne Hathaway’s character, most recently a crusading journalist far-removed from the glam gatekeeping life, and fashion impresario Meryl Streep, at momentary career low points in what ultimately emerges as a fashion team-up to save artistic integrity, along with Stanley Tucci’s intrepid designer/mentor and Emily Blunt, whose character now resides at the House of Dior, one of the publication’s key advertisers. The screenplay sprinkles in a touch of soap opera amnesia to retcon the happenings of the first film into a distant memory blip and adds in a looming element of bro culture with Justin Theroux, B.J. Novak and others pondering bottom lines over A-lines. It’s embroidery versus EBITA as characters ponder what moves the masses, and Streep opines in a pair of juicy monologues about the state of the art. It’s fun to watch these characters in and out of their element, even though the script occasionally de-fangs Streep’s Miranda in pursuit of a higher form of female empowerment storytelling. Replacing snark with heart and toning down the broader fish-out-of-water comic moments makes this installment a bit routine. The flashes of fun and starry cameos certainly work better than say, a Happy Gilmore 2, but this legacy sequel’s lack of ambition often shows between the seams. Overall this film strikes all the right poses and leaves viewers satisfied for the fate of the characters even though the goodies on the fashion plate could have been a bit more bountiful.
The personal and career trajectory of the late Michael Jackson was undoubtedly riddled with controversy, and you wouldn’t really know it in a first installment of an inevitably two-part motion picture event that squarely builds the entertainer’s brand and origin story. To gain access to this catalogue of legendary popular music means filmmakers make a bit of a Faustian bargain to stay in a lionizing lane. As a glossy spectacle of entertainment, Anton Fuqua’s Michael (B+) absolutely delivers on a chronological coming of age tale of the Jackson 5 child star growing up and asserting his independence from his own overbearing father/manager to claim his own destiny as a solo star with great power and responsibility. Entering the film with skepticism about how it may not adequately plumb the emotional underpinnings of the man or address those aforementioned allegations, I respectfully disagree this telling of the tale is shallow and skin deep. Viewers will better understand the man based on this movie, even if the display of his demons is a bit suppressed in this outing. Fuqua’s confident direction, Jafaar Jackson’s breakthrough performance in the lead and even John Logan’s screenplay all make cogent storytelling sense. Sequential “behind the music” type narratives have fallen out of favor with critics; it’s taken Elvis by way of his manager, The Boss as told through the contents of an arty rather than popular album or even a British superstar played by a CGI monkey to come full circle to “walk hard” into straight-up crowd-pleasing. It’s honestly better produced than Bohemian Rhapsody, which had its own detractors on the way to making nearly a billion dollars, pleasing global fans and garnering Oscars. In this Jacksonverse, Colman Domingo and Nia Long are wonderful as MJ’s parents, a yin and yang of control and encouragement. KeiLyn Durrel Jones is the supporting cast VIP as Bill Bray, the singer’s quiet and understated security guard who seems to see the star without the gaze. Dion Beebe’s propulsive cinematography and Barbara Ling’s handsome production design across several decades keeps the story moving and engaging. Regardless of what happens in the follow-up, this film is a feel-good fairy tale. The greatest hits musical sequences are a joy and left our movie auditorium blissfully rewarded. A few bloated moments and trite assertions can’t puncture this opus or stunt the rein of the King of Pop. That coming sequel may indeed introduce a “wicked” set of second-act side-stepping, but the biopic we just got here in 2026 is a thriller.
Those ubiquitous electronic devices monitoring our every move and desire, with recommendation engines provoking us to act now, be better and pounce on a trend provide an uncanny inspiration for a delightful new wish fulfillment movie that just world premiered at the Atlanta Film Festival. Writer/director Alexander Parkinson casts himself as a passive and principled sad sack in Third (B+), and his character’s loveless marriage to a much more successful wife (Coley Campany in a breakthrough performance) is transformed with the appearance of a handsome and exotic stranger (Norio Nishimura) into their sluggish, fuddy-duddy first-world lives. I was reminded more of vintage ‘80s comedies like Splash and Down and Out in Beverly Hills rather than on-the-nose recent fare such as Her or Companion as this central couple maneuvers through the modern mores of a potentially polyamorous lifestyle. It’s a fresh and sometimes dark domestic dramedy through and through. From opening shots of a bonus room between separate bedrooms to the newly constituted trio barreling through blow on the glass frame surfaces of a staid wedding portrait, the film escalates quickly into hardcore hilarity. Swirling conversations with lively neighbors asking all the prescient questions and cunning comedy of consequences ensue with abandon and truth. Vignettes of couples coping with contemporary issues interspersed throughout the film showcase the foibles of modernity like a series of Greek choruses. Nishimura brings just the right primal energy to the proceedings, and Campany is full-on hilarious in her array of reactions. Consistently funny and revealing details ranging from an AI chat to escape an awkward situation to giddy home deliveries courtesy of an instant access dark web give the events edge and urgency. The story may have one meta layer too many, but the overall effect is one of bountiful bliss. Parkinson’s feature is fun, insightful and — dare I say — just the sublime spark to stimulate the doldrums of domesticity.
The 50th Atlanta Film Festival (ATLFF) unveiled its highly anticipated opening and closing Night selections, along with a slate of legacy screenings and special presentations for its landmark anniversary edition. The 2026 festival will take place in person April 23 – May 3 at the historic Plaza and Tara Theatres, followed by virtual screenings from May 4 -11.
Kicking off the festival, Opening Night will feature Idiots, directed by Macon Blair and filmed in Georgia. The high-energy narrative comedy, formally titled The Sh**heads showcases an all-star ensemble including Dave Franco, O’Shea Jackson Jr., Mason Thams, Kiernan Shipka, Nicholas Braun, Peter Dinklage and Killer Mike, bringing together major talent and local movie-making spirit. The film follows two wildly unqualified hires tasked with escorting a wealthy teen to rehab. Their simple assignment quickly spirals into chaotic and dangerous territory. Emmy-winning Producer Alex Orr and Executive Producer Joshua Harris will attend the Opening Night red carpet screening on Thursday, April 23.
Following the screening of Idiots, the premiere of limited series documentary The Birth of Trap Music makes its debut. Stars and Executive Producers T.I. and Drumma Boy, among other cast members, will walk the red carpet ahead of the Opening Night film and participate in a post screening Q&A following the documentary screening.
Closing Night on Saturday, May 2 will feature I Love Boosters, from Award winning writer/director Boots Riley and starring Keke Palmer, with Riley and Taylour Paige scheduled to appear in person. The film follows a fearless crew of young women who shoplift designer fashion across the Bay Area and resell it at steep discounts. When a powerful fashion mogul catches on, the stakes escalate, leading to an audacious plan for one final high-risk heist. A crew of professional shoplifters take aim at a cutthroat fashion maven. It’s like community service.
Among other announced programming highlights is If I Go Will They Miss Me, followed by a post screening conversation with one of the film’s stars and Executive Producers, Oscar-nominated and Grammy-winning actress and singer Danielle Brooks. The film centers on a young boy who begins seeing ghostly figures of other boys in his neighborhood while grappling with his father’s emotional distance. These visions reveal haunting connections to their shared past. The film will screen April 29 at the Tara Theatre.
This year’s special presentations also celebrate standout works connected to Atlanta’s film legacy, including The Signal, with appearances by directors David Bruckner, Jacob Gentry and Dan Bush; That Evening Sun, with appearances by writer/director Scott Teems joined by cast members Oscar-winner Ray McKinnon and Emmy-winner Carrie Preston; and V/H/S in 35mm, with appearances by star Hannah Fearman, director David Bruckner, special guest Drew Sawyer and producer Linda Burns. McKinnon will also present The Accountant, the 2001 Oscar-winning short film starring and created by him and his co-star Walton Goggins. The festival will also present a special screening of Mark Mori’s Oscar-nominated documentary Building Bombs, a powerful look at life in Aiken, South Carolina, home to a major U.S. hydrogen bomb facility, and the human impact of living in the shadow of nuclear production.
The festival’s legacy screenings bring a special sense of occasion this year, spotlighting influential films alongside the artists who helped shape them. Audiences will have the rare opportunity to revisit The Spectacular Nowwith director James Ponsoldt in attendance, offering insight into the film’s enduring emotional resonance. The 2007 Atlanta Film Festival-winner, Great World of Sound will be re-presented with the film’s three-time Emmy-nominated writer/director Craig Zobel in attendance. Emmy-winner Paul Walter Hauser joins a screening of Richard Jewell, timed just under 30 years after the Atlanta Olympics. Meanwhile, Julie Dash will present Daughters of the Dust, a Sundance Film Festival winning landmark work whose poetic storytelling continues to inspire generations of filmmakers. Together, these appearances transform each screening into a living conversation between past and present, celebrating the lasting impact of these films and the voices behind them.
The ATLFF has also announced the honorees for its 2026 IMAGE Film Awards Gala, to be held Friday, May 1 at Assembly Atlanta, recognizing standout contributions to film, television, and Georgia’s creative community. This year’s honorees include Will Packer (Ossie Davis Award); Josh Brolin, Carrie Preston, Hilton Howell and Georgia Entertainment (IMAGE Film Awards); David Cross (Rebel Award). Alex Orr will receive the inaugural Will Packer Award. Additional festival honors will be presented to Danielle Brooks (New Maverick Award), Mckenna Grace (Phoenix Award) and RZA (Originator Award) during special screenings and events throughout the festival. Named for the organization’s original title (IMAGE: Independent Media Artists of Georgia, Etc.), the gala celebrates the legacy and continued impact of the Atlanta Film Society and serves as its primary annual fundraiser.
The full schedule of films and events is available at www.AtlantaFilmFestival.com and through the ATLFF 2026 app. Festival badges and individual tickets are now available for purchase.
The 50th Atlanta Film Festival (ATLFF) unveiled its highly anticipated opening and closing Night selections, along with a slate of legacy screenings and special presentations for its landmark anniversary edition. The 2026 festival will take place in person April 23 – May 3 at the historic Plaza and Tara Theatres, followed by virtual screenings from May 4 -11.
Rarely do I see a film and state “AI could have probably written a more compelling concept,” but here’s Aaron Horvath and Michael Jelenic’s The Super Mario Galaxy Movie (D) being an aimless mess and a shameless cash grab with no consequences but critical scorn. The titular Italian brothers of the video game franchise must save yet another princess, this time intergalactically and with nary a trace of plot or character development. The real quest is actually how to get a tepid screenplay voiced, animated and over the finish line to meet its inevitable moment of box office domination. The certainty of the box office gross without attention to story quality is shameful. Colorful visuals can’t sugarcoat the film’s utter lack of inventiveness. It’s game over from frame one to finish, with only the reveals of dino pal Yoshi and cult hero Star Fox breaking up the monotony of tedious environments. The creators seem to have used up all the novel or nostalgic ideas in their first film, as this sequel is barely better than a blue screen of death.
Superstars Zendaya and Robert Pattinson play characters on the verge of getting married in Kristoffer Borgli’s The Drama (C), but prospects plummet for traditional nuptials when a last-minute revelation emerges. This psychological peek behind the veil sets off a series of unfortunate events acted with undeniable conviction while steeped in a surreal lucid dream in which characters’ coherent decision-making is not an option on the table. The film’s what-if fantasy conventions quickly become the WTF of it all in the landslide of Borgli’s Bridezillaverse. The correct genre for the film is not that of the title but rather a traumedy as the train wreck of escalating events mercilously play out. It’s neither the pitch-black tone of the film’s premise nor the awkward conversations comprising most of the screen time that derail the film’s enjoyment but rather the poorly written characters not behaving rationally under the situations. The script squanders whatever goodwill the co-leads bring to the project. Only Alana Haim is effective in her supporting role as the ceremony’s maid of honor, mostly playing a relatable character and channeling the disbelief of the audience until even her line readings can’t cloak the movie’s misguided mania. A clunky framing device, surreal flashbacks and a Sliding Doors style “or it could have happened like this…” motif further distance viewers from penetrating the ham-fisted hearts of the central couple. Like the wedding I once went to with multiple food trucks catering, I applaud the creativity even if logistics proved a bit haywire. But instead of subverting romcom expectations or giving into deliciously dark territory, The Drama disappoints across multiple genres.
Two Hollywood talents helm a mystery, a sci-fi adventure and a moving human drama packaged in one extraordinarily ambitious and entertaining opus. Co-directors Phil Lord and Christopher Miller’s Project Hail Mary (A+) stars Ryan Gosling as a man who finds himself alone on a spacecraft light years from earth and must summon the bravery and resourcefulness to help avert a disaster with intergalactic stakes. With a superb shape-shifting and time-bending adapted screenplay by Drew Goddard, Lord and Miller commandeer a whimsical journey scored to Daniel Pemberton’s majestic music along with some nifty needle drops. The film is a visual feast thanks to Greig Fraser’s cinematography and Paul Lambert and Mags Sarnowska’s stunning blend of visual effects with practical photography. Gosling brings charisma and humor to a lead role summoning all his mad skills. Sandra Huller is a delight and a solid foil, and audiences will get great joy from the puppeteering and voice talents of James Ortiz. The film’s first hour is leisurely paced and sets the scope and scene; then the plot picks up rather rapidly soonafter. The movie proves again and again an impressive feat of larger-than-life showmanship and the intimacy of well-honed characterization. This is an absolute excuse for those who haven’t been to a movie theatre in a while to witness something revelatory and crowd-pleasing on the big screen.
The Avatar movies aren’t the only cautionary tales to swoop into “save the whales” territory, with a new full-length animated feature film showcasing eco-warriors eager to pounce on a beaver protection bandwagon. It’s not as full-on funny or immediately memorable as some of the top-shelf Disney-Pixar films, but Daniel Chong’s Hoppers (B) centers a creative story on a young female activist infiltrating an animal habitat to save it from developers, resulting in quite an animal kingdom rally. Suffice it to say our protagonist inhabits the body of a semiaquatic rodent and learns a good bit about the sound and, well, furry of living with the land, the pecking order keeping creatures in harmony and the bipartisanship required with humans and animal counterparts to increase the peace. Chong tells a solid story with winning animation and most of all an agenda of urgency and education eclipsing some of the sly delights, even though there are many in the midst. Voice actors Meryl Streep and Dave Franco are a hoot as mercurial monarchs of the insect world, while Piper Kurda and Bobby Moynihan keep things fetching in the freshwater. Make sure the young scientists in your family check this film out, as its insights are far deeper in the pond than the kiddie fare previews may promise.
You’ve thrown your annual Oscars party, cheering Michael B. Jordan and Jessie Buckley in clinching gold statuettes while enjoying “KPop Demon Sliders,” predicting one ballot after another and sipping Sinners Juke Joint Juice. Such fun! So how can you gather your friends again for fun times and a next iconic viewing soiree?
We’ve talked before about the intersection of celebrity and golf. And there’s no bigger event than what’s happening in Augusta, Georgia April 9-12, 2026.
For golf fans, the Masters is a showcase of the game at its finest and a tradition like no other. If Augusta National Golf Club’s fairways and greens could talk, they’d tell stories of some of the most unforgettable stories in golf history. Those moments are inseparable from the iconic sights of the course itself. From the precision required around Amen Corner, the iconic sight of Hogan Bridge and the challenge of Rae’s Creek, Augusta National is more than a course – it’s the stage for golf at its very best. Even the Par 3 Contest, where players’ family members don caddie uniforms, are part of what makes the Masters so memorable.
With Masters tickets famously the hardest in sports to get, most fans will never experience the tournament in person. That’s why Masters viewing parties have become a popular way to bring the excitement into your own home. By embracing the tradition, atmosphere, colors and flavors of the Masters, fans can celebrate the game with friends and family, enjoying every memorable shot along the way.
PGA TOUR Superstore, purveyors of the golf experience every day of the year, have organized an array of popular products in a Here Comes the Green collection so you can gear up for what many call the “First Major” of spring. Here’s how to set the mood, what to wear, what to eat and how to tune in for an elegant and elevated party to remember celebrating one of the world’s most cherished traditions in sports.
Course Setup:
When you turn on the TV to watch the Masters, the stunning flowering landscapes of Augusta National will always catch your eye. Each hole is named after a flower or tree, many of which bloom across the country in spring, including azaleas, magnolias, holly and yellow jasmine. Adding these blooms can help set the scene to complement your party atmosphere. The Masters signature palette of green, yellow and white can guide your décor, creating an unmistakably Masters vibe.
Barstool Sports Masters-themed dog golf sweater: Fans young and old will be charmed by this trendy top featuring an iconic best friend.
Le Lis golf-inspired sweaters: stylish crewneck and button-down golf-themed sweaters and sweatshirts that blend course-ready style with comfort whether viewing or playing.
White and Green Adidas Samba Shoes: Yes, Sambas for golf! A classic look, great for casual rounds and extremely popular lately with women off the greens.
Think fan favorites and easy-to-enjoy dishes that keep guests grazing from the first tee shot to the final putt. For your menu, draw inspiration from Masters Champions dinner menus – each year, the previous champion selects dishes that reflect their personal taste and regional flare. From firecracker dip to meatball and ravioli bites, recipes are all easy to find online.
Pimento cheese sandwiches are a Southern classic and a Masters essential for decades. My Aunt Pat Bell’s pimento cheese is a cherished family recipe for tournament get-togethers. Her special twist on the classic Southern dish includes Spice World jarred garlic in bottles with the iconic blue lid, an ingredient which adds flavor without the pungent bite, and Lea & Perrins Worcestershire sauce, which gives it a little extra kick. Like any true Southerner, she insists Duke’s mayonnaise is the only acceptable brand to use and the cheese must be hand grated. She serves her pimento cheese on white bread with the crusts cut off or with Ritz crackers.
Salt, freshly cracked black pepper or cayenne pepper to taste
Directions to Make Aunt Pat’s pimento cheese:
Combine all the ingredients in a bowl and stir gently, taking care to retain the texture of the shredded cheese. Refrigerate in an air-tight container at least two to three hours but overnight is even better! Stir before serving, add a bit more Duke’s if needed for the spreadability you desire, and adjust the garlic, salt, black pepper or cayenne pepper if needed.
Other suggested watch party favorites include Azalea cocktails or mocktails and “Arnold Palmers” and these other foods:
Cheeseburger sliders served Scottie-style
Barbecue pork sliders
Pigs in a blanket
Peach ice cream sandwiches
Golf moves at an ideal leisurely pace, leaving lots of time for snacking. Chips, roasted peanuts and cookies are always welcome and appropriate for your party.
Par for fun:
Not everyone can stay glued to the TV for every hole, so set up golf-inspired games and activities to keep guests of all ages entertained.
Sidebar programming can add other fun for attendees. Party planners can showcase popular films about the game of golf in home theatre or even golf simulator spaces. Think majestic stories like The Legend of Bagger Vance, The Greatest Game Ever Played or Bobby Jones: Stroke of Genius. Or funny ones like Tin Cup, Caddyshack and Happy Gilmore(but maybe not the sequels to the latter two).
Tune in!
The Masters is covered by ESPN (early rounds), CBS (weekend/later rounds), Paramount+, Amazon Prime Video and the official Masters website/app, with Amazon joining for 2026 to stream first/second-round coverage leading into ESPN, while ESPN, CBS, and Paramount+ handle other broadcasts and streams for the U.S. audience.
Canadian comedy scales new heights of creativity in Matt Johnson’s rollicking and raucous Nirvanna The Band The Show The Movie (A-), chronicling a pair of fictionalized musicians (the manic Johnson plus straight man Jay McCarrol) endeavoring to land a gig at a nightclub in their beloved Toronto hometown, and no highjinks, homages or holler-backs are off-limits along their daft-punking journey. Neither the band’s curiously familiar name nor the Quixotic plight to promote themselves nor the blurry backstory nor the dubious prospects for future success make much sense at all for those diagramming a conventional plot, but the “let’s just go for it” mentality is the stuff of an improv fever dream and the reason a dreamy time-traveling quest format works so well. The filmmakers constantly top themselves and set crafty traps for droll detours, with funny flashbacks making their deviled Easter eggs abundantly clear. This mighty mockumentary blends scripted and candid camera footage into a “yes, and…” whirling dervish of a caper, bringing viewers along for a sweet ride of laughter and recognition. Fans of the viral online series and cult TV show will most certainly appreciate the franchise’s giddy glow-up into full buddy film comedy, as if the pratfalls of a Jackass or Borat were given the canvas of Chaplin’s Modern Times or an extended afterlife exploration into John Belushi or Andy Kaufman’s noggins. There are a variety of set pieces and stunts that prompt a “how’d they get away with that?” feeling as the comic duo enlists the CN Tower and a Back to the Future style time machine aboard a tour bus, powered with the fizz of a bygone beverage, into their lofty, overcomplicated and unquestionably maximalist plans. There’s a thematic undercurrent that a best friend who’s full of both insane and inspired ideas evokes a simultaneous desire for constant together time as well as the longing to eject from the relationship completely. This flight of fancy or “flee and don’t look back” duality is fully explored with masterful comic effect. Johnson and McCarrol make for a superb comic pair, subversive and fiercely acerbic like few funnymen since Monty Python. You don’t have to know this duo or their eclectic characters before experiencing this movie to fully relate to their daffy plight and relish it completely.
The magic of Hollywood comes alive at ENZO’s third-annual Oscars Viewing Party on Sunday, March 15, 2026 at GTC Trilith Cinemas for the first time. Benefiting Two Sparrows Village and Variety – the Children’s Charity of Georgia, this highly anticipated event will transform the Town at Trilith’s new multiplex into a scene straight out of silver screen legend. Guests will arrive in style, walking a red carpet lined with professional photographers capturing every glamorous entrance.
The festivities begin at 6:00 p.m. with the chance to grab to drink and mingle with fellow cinema and fashion aficionados and cast prediction ballots. As the clock strikes 7:00 p.m., all eyes turn to the screen for the 98th Academy Awards, hosted for the second year by late-night comedy icon Conan O’Brien.
Throughout the evening, attendees will savor a curated menu of Chef Andrea Montobbio’s signature dishes, alongside expertly crafted cocktails inspired by iconic films. Adding to the excitement, emcee and Silver Screen Capture Chief Film Critic Stephen Michael Brown will host engaging giveaways, with prizes ranging from ENZO gift cards to movie memorabilia.
Tickets are $125 per person and include two drink tickets and a selection of bites from ENZO’s award-winning kitchen. For additional details or to reserve a spot, visit enzo-itl.com or call (770) 756-9188. GTC Trilith Cinemas is located at 165 Trilith Parkway Fayetteville, GA 30214. Stay connected for updates and more on Facebook and Instagram at @enzoitl.
