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.
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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.
May 22
The Mandalorian and Grogu — Din Djarin (Pedro Pescal) and his perky puppet companion leap from Disney+ to theaters for a new Star Wars adventure, with Sigourney Weaver along for the galactic ride. It’s hard to tell if this will be more Lilo or Solo or something else.
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.
Tuner — A gifted piano tuner played by Leo Woodall discovers his hearing can crack safes. Dustin Hoffman plays his deaf mentor in this crime drama.
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.
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.
