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.
The breadcrumbs leading to a close encounter are more contemplative than candy-coated in Steven Spielberg’s latest: if we were luring E.T. himself into the action, it would be done here with a bag of Reese’s Thesis. Spielberg has a lot on his mind, and his Disclosure Day (B) exports many of his deep thoughts to celluloid with a smash-up of paranoid thriller and existential essay. Without spoiling the plot, suffice it to say the director is interested in knowing if today’s global population of human beings could contemplate, agree on or even properly behold a miracle coming true in the modern world. All aren’t created equal in the film’s ensemble, with Emily Blunt standing head and shoulders over her cast mates as a news personality recently obsessed with perpetual movement toward a singular life event. As a tech expert outrunning the secrets of his sinister former employer, Josh O’Connor is on a similar trajectory toward something leviathan; his part is just less showy and interesting. Much of the movie’s first act is preoccupied with tracking down characters’ locations and leaving the viewer pondering myriad questions; but by the final act, the hot take gets cooking. There’s a propulsive, talky way of getting at some major interconnected issues, with a few magnificently staged chases including one with a crashed car attached to a moving train providing a rousing respite from all the speculating. There is an underdeveloped character (Colman Domingo) assembling others to some sort of makeshift sound stage and a stock villain (Colin Firth) who ultimately doesn’t have much to do aside from, again, finding peoples’ locations. Much of the plot could be curtailed with a good GPS! But by the time the director goes for the big swings about one of his lifelong cosmic preoccupations, he largely sticks the landing. Some action sequences feel long jn the tooth, and the intellectual passages don’t all necessarily pay off. Blunt makes the most of it all as a woman possessed; all the best sequences in the film involve her surreal journey. Wyatt Russell as her love interest is delightful and underused in a flash of comic relief and relatability. John Williams provides workmanlike music for this outing, and the effects are good but not great, with a throwaway line nearly apologizing for the rendering of some of the animal effects. Janusz Kamiński’s cinematography is stunning; there are lots of sequences with characters reflected together through glass which deepen connections and help themes to gel. Despite many great elements, the film is ultimately a prelude to a great conversation rather than a masterpiece in and of itself.
The Robin Hood legend reimagined as grim cinematic endurance test wasn’t on my bingo card. Michael Sarnoski’s moribund and self-satisfied The Death of Robin Hood (D) inexplicably deconstructs and reimagines the titular outlaw as a violent, aging man grappling with his past who finds a chance at redemption through a woman and child. As the lead character, and an antihero to be sure, Hugh Jackman plays against type in nearly every way, including gruesomely killing animals and children in a first act feast of carnage then spending most of the film’s remainder bedridden. He’s committed, I suppose, to the role. Jodie Comer and Bill Skarsgård play underdeveloped supporting characters who make little impression. The prolonged tone poem comprising most of the film’s duration may confound all but the most ardent fans of this myth. This revisionist twist on a classic tale was so far removed from its usual tropes that it might have been just as effective as “the slow death of any old violent mean man.” There are flickers of interesting film composition in this Middle Ages melodrama , and the vocal song over the closing credits made for a nice ditty as our group continued to discuss, slackjawed, what exactly we just watched. If viewers are like me, they will feel equally robbed of rich summer fun time given to the poor souls inhabiting this dim dirge.
Director John Carney’s continuing exploration of the magnetic attraction of music to bring together unlikely cinematic pairs has now canonically conjoined Paul Rudd and Nick Jonas. The dramedy Power Ballad (B) follows Rudd’s character, a wannabe arena rocker who has settled into fronting a wedding band in Ireland, home to his wife and daughter. One night he drunkenly bonds and musically riffs with the Jonas character, a boy-band member in search of solo stardom. Soon an unexpected global hit song is born, and it’s not totally clear the tune’s baby daddy. It’s nice to see Rudd sink his teeth into an authentic and scrappy character. Jonas is a good fit as well in his role, with confidence cloaking just a dash of desperation. Carney’s film takes a hot minute to gain steam but is worth the patient watch for the payoffs. Jack Reynor is particularly effective as a very direct American music mogul and manager critical to the copyright custody battle of a plot. The movie also hinges on the ear-worm original song titled “How to Write a Song Without You,” and fortunately it’s a banger. With lively performances, at least one hummable new tune joining a bunch of covers sung by the starring duo and a bit of sentiment and Irish charm, it’s an enjoyable entry into Carney’s cinematic songbook.
If you enjoy comedian Nate Bergatze, his feature film debut in Eric Appel’s family comedy The Breadwinner (B) is certain to be a fun, old-fashioned, squeaky-clean romp. Although ostensibly a bit retrograde, borrowing from the premise of ‘80s film Mr. Mom, this movie makes the most of the genial nature and observational humor of its star, as his car salesman character takes over domestic duties on the home front while his wife (a plucky Mandy Moore) seeks her destiny as a mom organization inventor in an opportunity abroad. Battles with stove tops and laundry machines ensue, but the best moments in the movie are the protagonist’s interactions with his three daughters (all natural actors) as he maneuvers the minefields of kid emotions. Supporting cast members Colin Jost and Will Forte are fun too in small parts of this suburban safari. Sure some of the antics are silly, and a few of the choices strain credulity, but it’s generally brisk and buoyant. This largely critically-drubbed outing is fun for families and will likely be a streaming smash when it hits that format.
Until my beloved housekeeper comes to tidy my abode once a month, my inner sanctum sometimes resembles the labyrinth of secret bonus rooms filled with misplaced furniture and piles of clothes the protagonist played by Chewitel Ejiofor discovers in the back of his ottoman superstore. I suppose the devilish discount dreamscape depicted on screen is what is prompting many to call a surprise sleeper hit film assured and atmospheric. Backrooms (C-) is based on a YouTube series by Kane Parsons, who directs and helps compose for the big-screen event. It’s a mystery box set in a big box but doesn’t really know what aisle and shelf it’s working with to deploy its talented cast including Renate Reinsve and Mark Duplass. Along with Ejiofor, the ensemble feels like arbitrary fixtures. All in all, it’s more world-building than storytelling as room after surreal room reveal. The movie is most effective when mining tortured minds, and even then doesn’t fully inventory. The best parts of the movie evoke an absurdity familiar to fans of Salvador Dalí or David Lynch, but the most unsettling passages don’t add up to much. I love that this movie exists and is attracting young people to the cinemas in droves, but its occasional triumphs of visual imagination aren’t generally matched by its bargain basement shortcomings.
It’s evident from the first grift that this trio of shoplifting antiheroes is a gift to audiences: Keke Palmer, Naomi Ackie and Taylour Paige are the central fabric of fabulous talent stitching a meta-comedy about the fashion world together. Fresh from the Atlanta Film Festival, Boots Riley’s I Love Boosters (A-) examines the global ramifications of an industry that doesn’t always recognize the trickle-down effects of its policies. Demi Moore is effective as an artsy, aloof antagonist, a fashion impresario marshaling sweatshops of seamstresses to achieve her every bossy bidding. The ladies at the heart of this story know the assignment and deliver magnificently, and their droll, casual line readings are perfect foils to Riley’s bombastic approach to over-the-top storytelling. His philosophical and presciently political exploration of class, capitalism and labor rights is a creative fantasia of candy-hued human adventure, snippets of stop-motion animation and sassy surrealism. Although the final act almost threatens to collapse under the weight of all the colliding ideas, Riley lands the pret-a-por-plane. Palmer continues to prove herself a luminous star; it’s hard to take one’s eye off her work as the central lead, and it’s wonderful to see her get deeper into the global throes of an expanding plot and power. Fantastic flourishes throughout the movie, from the sloped shape of the mogul’s lair to metaphysical technologies with the ability to expand, enhance or illuminate the cosmic significance of apparel to gorgeous costumes matching department store environments, provide a veritable banquet. The music of Tune-Yards offers brilliantly bonkers accompaniment to the escapades. This is ambitious, audacious and great fun.
In a saga that’s survived Trade Federation blockades, Empire strikes and imperial zombie villain retreads of the First Order, no menace, phantom or otherwise, has single-handedly deadened the Star Wars universe more than the new TV-to-big screen adaptation featuring a helmeted warrior and a cute green puppet. In a multimedia collection rife with spinoffs, series, sequels, prequels, fan fiction, flash forwards and even a once-aired holiday variety show, Jon Favreau’s misbegotten The Mandalorian and Grogu (F) may be the murkiest, dullest and most joyless entry yet. Everything in this film is bottom of the barrel, from plot to characterization to effects; it almost dares viewers to convince themselves they’re not watching as big a big-screen turkey as a summer movie can possibly be (Last Action Hero or Battlefield Earth, take a seat!). The story is simple enough as the titular bounty hunter (voiced by Pedro Pascal) and his diminutive companion must rescue and return Rotta the Hutt, the Jeremy Allen White-voiced prizefighter progeny of the late Jabba, to the clutches of gangster twins running his family’s lair. Foster teen Rotta, a space slug with abs as convincing as the char marks of a McRib and dialogue someone should have edited before the rendering of his considerable CGI contours, deserves his place in a disgraceful pantheon occupied by Child Anakin and Jar Jar Binks as one of the series’ most ill-conceived and nearly unwatchable occupants of celluloid space. Pound for pound, he’s the first sign this flop sweat of a film is Hutt hurt and circling the drain. Prepare for scene after torturous sequence of battles against an array of creatures with few discernible features including a showdown with what could easily pass as a Transformer (Bumblebee could sue somebody’s AI platform for unfair use of likeness) and lots of sea snakes from the trash compactor dumpster fire imagination of the film’s three screenwriters. The uninspired planetary environments in the film’s treacly travelogue will not easily sway many viewers they weren’t actually filmed in the Galactic Edge theme parks. All the jaw-dropping missteps – hell, even Martin Scorsese stinks up his scene as a four-armed food truck vendor (yes, that happens) – could be forgiven if there were heart, heroism or humor to enliven the proceedings. The film even fails at giving anyone a reason to care about its two title characters; no one will confuse these guys with Butch and Sundance or even Ecks vs. Sever. As “Baby Yoda” eats blue macarons, there’s a sinking feeling money-grubbers in search of the next butter beer style merch might have gotten their way if any of this high-flying hokum was even remotely cool. Ultimately it truly feels like a complete chore to watch this, and I come to these popcorn adventures, AMC promo Nicole Kidman style, ready to be swept off my shimmering pantsuit feet into a carefree romp headspace. Instead heartbreak really does hit different here. That aforementioned Trade Federation should plan a tax write-off on this horrible episode as both its dreary content and poor box office prospects are destined for a certain kind of notoriety.
An unexpected new film wins the prize for outstanding farm to fable fiction with a tender tale of belonging and destiny, a corker of a mystery and overall impeccable filmmaking craft, wrapped in an enchanting package. Set in a bucolic English village, Kyle Balda’s exceedingly clever The Sheep Detectives (A-) features wonderfully rendered talking animals inspired by mystery novels read to them by their shepherd (Hugh Jackman) to solve a murder in their own barnyard. During the course of this “hoof done it,” the flock learns valuable lessons about the complexity of both the human and animal worlds. Balda treats all members of his film’s family audience with dignity and respect as he tells his buoyant story, choosing observational humor and sharp writing filled with insights at every stage of the journey. The film features a wooly-loaded voice cast, with Julia Louis-Dreyfus and Bryan Cranston as standouts in their field, exploring and explaining why the world works the way it does. The humans in the movie are literally a murderers row of talent as well, with Emma Thompson, Hong Chou and Nicholas Galitzine among the fetching ensemble; if anything, it would have been great to know any of them as well as viewers get to know the sheep. The movie’s craft work across the board is impeccable, from effects to production design to music. It’s more than just Babe meets Knives Out, with nods to both landmark films; Balda’s work in this movie is a triumph of tone with something topical to say while being quite entertaining.
Curry Barker makes a significant mark on the horror thriller scene as writer, director and editor of the surprise hit Obsession (B). His YouTube sketch partner Cooper Tomlinson is a hoot as best bud of the nervy central protagonist, well played by Michael Johnston, but this is really Inde Navarrette’s movie when a supernatural wish prompts her character to become ferociously fixated on the anxiety-ridden hero. Barker has skillful control of pace and tone as he introduces a tight ensemble of characters working together at a music store and casually raises the stakes. It gets quite intense and doesn’t necessarily have a vision for how to end as Navarrette brilliantly chews the scenery through and through. Viewers will undoubtedly relate to the film’s themes if they’ve ever been in a possessive relationship. Darky almost devilishly lit, filled with propulsive paranoia and altogether agreeably atmospheric, the movie has a lived-in feeling and moves briskly. Like last year’s Together, it’s a good horror date movie memorable for its strange central duo.
Acclaimed Canadian documentarian Daniel Roher comes out of the gate with a corker of a narrative feature, Tuner (A), an absorbing crime/drama/thriller starring Leo Woodall as a gifted piano tuner with hypersensitive hearing who discovers he can use his auditory skills to crack safes, pulling him into a criminal underworld. Dustin Hoffman (great to see him!) plays his mensch of a mentor and Havana Rose Liu a feisty fellow music prodigy and love interest. Roher deftly balances a dangerous heist plot with a character study of a man grappling with his lost musical dreams. Lior Raz plays a menacing crime ring leader, and Tovah Feldshuh provides a lovely performance as part of the protagonist’s found family. Woodall, known from his streaming performance as Essex hunk Jack on White Lotus, is absolutely electric in this star-is-born lead role. Roher brings verve to a story requiring parallel fascination with grace notes of piano pitches and petty crime. The sound work is astounding and matched with a visceral visual style. It’s fast and fascinating as the lead faces mounting moral dilemmas challenging the limits of his superpower. This is delightful counter programming from all the existing summer fare, a stunning original for grown-ups. Seek out this festival hit in limited release starting on Memorial Day weekend.
Writer/director Aleshea Harris adapts her acclaimed play of the same name into the assured feature film Is God Is (B) about twins played by Kara Young and Mallori Johnson, both in riveting performances, traveling cross-country from the Deep Dirty South to California chic upon request of their mom (Vivica A. Fox) to exact revenge on their estranged dad (Sterling K. Brown). The film contains gritty drama fused with a campy spaghetti western violent sensibility akin to Thelma & Louise by way of the Kill Bill saga. Harris marches to the beat of her own drumline with her two unlikely protagonists often speaking in knowing telepathy to one another, rendered in subtitle fragments. Encounters with larger-than-life adversaries make for some jaw-dropping episodes while the women, disfigured in infancy, alternately grapple with impulses to forgive or fight. These are characters we haven’t seen on screen before in an unexpected thinking person’s road trip revenge adventure.
Summer movie season is officially upon us, and the Silver Screen Capture team has examined and identified 33 movies to track across theaters and streaming platforms during the months ahead.
Below is a handy chronological guide with release dates and quick descriptions to help film fans plan what to watch (and what to review!) throughout the summer of 2026.
While the season still leans heavily into big-budget spectacle, superheroes, sci-fi adventures and visual-effects-driven franchises, several acclaimed festival indies have also entered the conversation.
A number of these productions were even filmed here in Georgia, continuing the state’s major role in modern moviemaking.
Whether you’re Gen Z, senior citizen Tuesday bargain hunters or all-access passholders and, like me, still love heading to the cineplex for the communal big-screen experience, or among the older crowd happily taking your movies via streaming platforms, thank you very much, there promises to be solid cinematic fare for everyone this summer.
May 15
Is God Is — This buzzy revenge thriller featuring Vivica A. Fox sends twin sisters after their abusive father at their mother’s command. Aleshea Harris directs this adaptation of her own award-winning play, blending elements of ancient tragedy, hip-hop and Spaghetti Westerns. Review Now Here: https://silverscreencapture.com/is-god-is-a-soulful-and-surprising-revenge-quest/
I Love Boosters — Keke Palmer, Naomi Ackie and LaKeith Stanfield star in Boots Riley’s surreal crime comedy about shoplifters targeting a ruthless fashion mogul. This was a recent hit at the Atlanta Film Festival.
May 29
Backrooms — A therapist enters an otherworldly nightmare dimension to find a missing patient. Chiwetel Ejiofor, Renate Reinsve and Mark Duplass in this summer horror/sci-fi film based on a popular YouTube creepypasta series.
The Breadwinner — Clean comedian Nate Bargatze makes his feature debut in a Georgia-lensed comedy about a dad who becomes a chaotic stay-at-home parent after his wife’s big break. Mandy Moore and Will Forte co-star in this modern take on Mr. Mom.
Pressure — This D-Day drama is a team-up between Brendan Fraser’s President Eisenhower and Andrew Scott as meteorologist James Stagg as they make a complex invasion decision.
June 5
Scary Movie — Original stars Anna Faris, Regina Hall, Marlon Wayans and Shawn Wayans reboot their parade of parody, sending up cultural, elevated, viral and body horror films. This “robooquel” the sixth entry of the satirical slasher series.
Masters of the Universe — Prince Adam (Nicholas Galitzine) returns to Eternia to battle Skeletor (Jared Leto) and become He-Man in this live-action epic. We’ll see how seriously to take a film with characters named Fisto and Ram-Man.
Office Romance — This raunchy rom-com pairs Jennifer Lopez as a demanding CEO with an unexpected love interest, Brett Goldstein as her corporate lawyer tasked with enforcing a workplace anti-fraternization policy. This Netflix streamer promises more frisky, risky steam than a barrel of Babygirl.
Power Ballad — Paul Rudd is a washed-up wedding singer and Nick Jones a fading pop star whose fortunes collide over a fateful song in this music-filled comedy from the maker of Once whose formula of wry music-filled melodramas continues.
June 12
Disclosure Day — Steven Spielberg’s summer UFO movie asks what happens when the human population learns it is not alone in the universe. Emily Blunt, Josh O’Connor and Colman Domingo are among the high-profile ensemble in this thriller rumored to be a continuation or riff on the director’s seminal Close Encounters.
June 19
The Death of Robin Hood — The prince of thieves, played by Hugh Jackman, faces mortality and reckons with his violent past. The legendary archer is joined by Jodie Comer and Bill Skarsgård on a search for salvation reminiscent of the Aussie actor’s previous hit Logan.
Toy Story 5 — Disney Pixar’s toys return for another emotional adventure as an iPad-style device infiltrates the pantheon of playthings. Tom Hanks, Tim Allen and familiar voices return.
June 26
Supergirl — On an alcoholic bender after the destruction of her world, Clark’s scrappy cousin Kara Zor-El (Milly Alcock) launches a cosmic revenge quest opposite Matthias Schoenaerts and Jason Momoa. Director Craig Gillespie is sure to dial up the darker instincts of James Gunn’s newly-evolving DC Universe.
The Invite — Who’s afraid of a dinner party? Marital tension spirals into neighborly chaos in this Sundance sensation starting a quirky quartet: Penélope Cruz, Ed Norton, Seth Rogen and Olivia Wilde, who also directs.
Strung — This psychological thriller will be hot off an American Black Film Festival debut as it comes to Peacock with the producing pair of Tyler Perry and Jason Blum. This horror film exploring obsession and ambition in the competitive music world features Chloe Bailey, Coco Jones and Lynn Whitfield.
Jackass: Best and Last — Johnny Knoxville and his deliriously crass crew including Steve-O and Chris Pontius return for one final round of outrageous stunts and a quarter-century retrospective. We are promised an escape room from hell and a robot physician with unconventional prostate exams.
July 1
Minions & Monsters — In this third prequel on the Minions series, the adorable Twinkie lookalikes tackle Tinseltown, chasing Golden Age Hollywood stardom and accidentally unleashing monsters in 1920s Los Angeles.
Enola Holmes 3 — Sherlock’s sister played by Millie Bobby Brown travels to Malta where romance and danger collide in a dangerous mystery involving coded clues, hidden threats and a dangerous disappearance. This third installment in the hit Netflix movie series co-stars Henry Cavill and Helena Bonham Carter.
July 3
Young Washington — William Franklyn-Miller plays future president George in this historical biopic wisely timed for America’s 250th anniversary of the Declaration of Independence. Early military trials shape the future founding father in an inspiring Angel Studios and Wonder Films production go-starting Ben Kingsley, Kelsey Grammer and Mary-Louise Parker.
July 10
Moana — This Disney live-action reimagining of the decade-old animated hit sends the title character (Catherine Lagaʻaia) beyond the reef with her trusted bud (Dwayne Johnson) for an adventure with expected new songs by Lin-Manuel Miranda, directed by Hamilton stage helmer Thomas Kail.
Evil Dead Burn — A family reunion turns hellish as “Deadites” overrun a secluded home in this survival tale. Souheila Yacoub, Hunter Doohan and Luciane Buchanan star in this sixth installment of the horror franchise.
July 17
The Odyssey — Director Christopher Nolan, fresh from Oppenheimer Oscars domination, adapts Homer’s epic journey home to Ithaca after the Trojan War with an all-star cast including Matt Damon, Tom Holland, Zendaya, Lupita Nyong’o and Anne Hathaway. This massively anticipated adventure started selling out IMAX 70mm and large-format screens when tickets became available nearly a year ago. Expect mythological creatures, practical effects and iconic scenes.
July 24
72 Hours — Kevin Hart plays a middle-aged man accidentally added to a group chat who joins a wild Miami bachelor party group. Teyana Taylor, Marcello Hernández and Mason Gooding are among the ensemble in this feel-good Netflix comedy.
July 31
I Want Your Sex — Director Gregg Araki explores sex, power and manipulation in the art world as Cooper Hoffman’s naive character lands a job for a provocateur played by Olivia Wilde. His fantasies come true as she hires him to become her sexual muse in this comedy-thriller featuring Charli XCX.
Spider-Man: Brand New Day — Tom Holland’s Peter Parker returns for a fresh standalone Marvel Cinematic Universe chapter as his superhero powers evolve and he faces a new threat. Jon Bernthal, Zendaya, Sadie Sink and Mark Ruffalo co-star.
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August 7
Teenage Sex and Death at Camp Miasma — This queer slasher satire and meta commentary on the “final girl” blends horror, comedy and coming-of-age chaos into an anticipated late-summer film. Hannah Einbinder, Gillian Anderson and Sarah Sherman star in Jane Schoenbrun’s follow-up to I Saw the TV Glow.
The Last House — A family trapped at home faces dwindling resources and an unseen terror in this sci-fi thriller to stream on Netflix. Greta Lee and Wagner Moura lead the high-pedigree cast.
August 14
The End of Oak Street — A cosmic event rips a suburb from reality, forcing a family led by Anne Hathaway and Ewan McGregor to band together for survival in this sci-fi thriller.
August 28
Coyote vs. Acme — This long-shelved Looney Tunes hybrid action comedy finally reaches theaters with Will Forte and John Cena in key roles along with Wile E. Coyote’s character pressing legal action against the product company consistently thwarting his quests.
The Dog Stars — Director Ridley Scott’s post-apocalyptic survival tale follows Jacob Elordi as a pilot seeking hope after a devastating pandemic. After hearing a mysterious radio transmission, his protagonist embarks on a journey to find hope, joined by a military survivalist played by Josh Brolin and a medic and love interest played by Margaret Qualley.
Cliffhanger — This reboot of the modern-day Sylvester Stallone thriller strands a family against kidnappers in the Italian Alps, with Lily James as the central mountaineering heroine. Pierce Brosnan co-stars as characters face a tragic event, forcing them to confront and overcome adversity.
That’s the 33 films in less than three months of prime box office time. Look forward to reviews of these and many more right here on Silver Screen Capture.
