- Cannes 2026: Minotaur, Red Rocks (May 20, 2026)
You’d be forgiven for thinking that Andrey Zvyagintsev’s “Minotaur” is closely related to “Leviathan” (2014), his Oscar-nominated drama about regional corruption in northern Russia. But in fact, this French-German-Latvian production, showing in competition, is a remake of Claude Chabrol’s classic “La Femme Infidèle” (1969), which was already remade as “Unfaithful” (2002) with Diane Lane. Zvyagintsev, with his chilly style (he has a habit of keeping his camera distant, so that even medium close-ups register as mild shocks), is not exactly a filmmaker who brings the heat. And in this case, that’s a compliment.
Now living in Paris and no longer working in Russia, Zvyagintsev, who because of health challenges hadn’t made a film since 2017, begins “Minotaur” with the same attention to landscape and architecture that he brought to “Leviathan.” He introduces us to a glacially modernist home near the water. Every kitchen surface seems meticulously designed; the family members seem more concerned with their cellphone conversations than with one another.
The protagonist, Gleb (Dmitriy Mazurov), is a well-heeled chief executive. The time is near the start of Russia’s invasion of Ukraine. Gleb’s employees are departing in droves or working remotely, and Moscow has given Gleb a military registration quota that he needs to meet. In other words, he must decide which staff members are literally expendable.
At the same time, he and his wife, Galina (Iris Lebedeva), lead stable bourgeois lives, filled with fine dining and, it’s implied, the means to flee should the impact of the war ever come to their doorstep. (Militaristic billboards loom in the background of several shots.) Galina tells Gleb that she has an appointment at the salon, but when he calls to check up on her, he learns that she lied. It turns out she is having an affair with Anton (Yuriy Zavalnyouk), a handsome 33-year-old photographer who has the soft touch that Gleb lacks.
Is a spoiler alert necessary for a second remake? (Consider this your warning.) As events progress, Zvyagintsev masterfully stages a murder-and-cleanup sequence that tips its hat to Hitchcock and unfolds in what feels like real time. There’s a particularly breathtaking shot outside an apartment building that emphasizes the absence of witnesses, while somehow also stressing the possibility that a potential witness could wander into the frame at any moment.
Because the film is set in Putin’s Russia (Latvia stood in for the locations), any murder investigation would have decent odds of being compromised. After all, as Gleb tells two detectives who come calling, it is common for people to go missing from Russia these days; he can’t locate half his staff. And anyone wealthy and connected is in effect untouchable.
The cinematographer, Mikhail Krichman, composes shots so that it appears events are unfolding in almost constant twilight. Zvyagintsev may not have returned to filmmaking with fully original material, but he makes us see an old scenario anew.
As grim as Zvyagintsev’s movies can be, around 20 years ago the French director Bruno Dumont was in the running to be the world’s most self-serious working filmmaker (“Humanité,” “Flanders”). In “Li’l Quinquin” (2014), he finally revealed a sense of humor (and an affinity for Peter Sellers). Since then, he has mostly stuck to his comic mode. “The Empire,” which won a prize at Berlin two years ago, was so unremittingly wacky that Dumont suddenly began to seem like the world’s least serious filmmaker.
His new movie, “Red Rocks,” in Directors’ Fortnight, is a sweet-natured charmer. It involves nothing more or less than watching half a dozen unsupervised children (played by remarkable young actors) joyfully goof around on the shoreline of France’s Var region, which is a bit west of Cannes. They climb the region’s red rocks and dive into the Mediterranean—at least when the marine police aren’t watching. They drive around in what appears to be the French equivalent of Power Wheels. They hang out under an imposingly high and beautifully arched rail bridge.
It was probably a slight faux pas of the Fortnight to include “The Florida Project” in this year’s festival trailer, because “Red Rocks” presents a similar form of free-wheeling mischief. What plot exists involves a bit of playground romance—Géo loves Eve, but she’s seeing B.—and the threat of a violent showdown resulting from it. It’s a showdown that Dumont stages with a nerve that suggests a brief reversion to his old self. (There’s a terrifying shot of the cliffs soon after in which the director, through his use of sound, makes viewers struggle to get their bearings.)
Danger is always present, even if the kids ignore it. There are also hints of class conflict: We learn that Eve lives on a gated estate, in what seem to be much better circumstances than the others’. At one point she and Géo—as usual, sans adults—board the coastal train to Ventimigila, Italy, where Eve’s eccentric grandparents live on another manicured property. Dogs have the run of the tennis court even during matches.
But the film’s strength lies in this cast, whom Dumont has done an extraordinary job of directing. As with Lisandro Alonso’s “La Libertad Doble,” a filmmaker who two decades ago might have seemed punishingly austere has made a virtue of simplicity.
- Tatiana Maslany Goes Full Throttle In Apple TV’s Propulsive “Maximum Pleasure Guaranteed” (May 20, 2026)
When we first meet Paula (Tatiana Maslany), the protagonist of Apple TV+’s new series “Maximum Pleasure Guaranteed,” she’s attempting to arrange her new apartment, with the help of friend Trevor (Brandon Flynn), a handsome young man who currently resides on her laptop screen. She rambles about her struggles co-parenting her daughter, Hazel (Nola Wallace), with her ex-husband Karl (Jake Johnson), before Trevor drops a bomb: they only have six minutes left on their scheduled call. As the two spend the next few minutes furiously and, respectively, rubbing one out, it becomes clear that the person whom Paula has shared all her secrets with is not a longtime friend, but rather, a sex worker.
If Paula didn’t already have enough on her plate as she attempts to get a promotion at her job as a factchecker amidst a nasty custody battle, her plights get even worse when, one night over a shared meal (through a computer screen, of course), she witnesses Trevor being attacked in his apartment. While the police think Trevor has orchestrated a scam, Paula soon receives a phone call from an unknown voice telling her that “they” know everything about her, her job, and her family troubles, and they will destroy her life and kill Trevor if she doesn’t wire them $50,000. Though the whole thing seems fishy, Paula is adamant that what she witnessed was real, and she will stop at nothing to uncover what really happened to Trevor, who, in a time of need, was the only one truly there for her.
While this set-up sounds like it could be the beginning of any other thriller series, “Maximum Pleasure Guaranteed” quickly proves itself to be unlike anything else this overfilled genre has produced as of late. What begins as a potential seedy scam quickly unfolds into a complicated web of lies entwined with other sex workers, university admission committees, and a stoic man connected to Trevor’s past, played by Murray Bartlett. He, paired with Maslany, uses the series’ lunacy to their advantage, harnessing two magnetic performances that make each decision they make feel through the screen, as Paula and the series’ main antagonist play a dangerous game of cat-and-mouse.
The star power in the series is undeniable, but the true hero of the show is its craft, which allows the series to stake its claim as the most fascinating thriller of the year. The scenes in which Paula’s paranoia gets the best of her are shot with a kinetic ferocity, the camera darting back and forth between close-ups of her eyes and long shots of various pieces of evidence that she tries to make sense of.
Accompanying this dizzying camerawork is Wynne Bennett’s score, which kicks into gear with such intensity that it immediately gets your heart racing. The pulsating, club-like bass bleeds in and out of the show’s narrative just as fast as Paula’s life begins to crumble; paired with the audacious title, it’s hard to tell whether you should be thrilled or horrified.
Pumping through the veins of this series is the fearlessness that television’s most popular genre has desperately been missing. Although there are times when it feels like the plot may get ahead of itself, the various leaps creator David J. Rosen takes always manage to land rather than crumble under the weight of its own ambition. With these bold risks come an intensity that never wavers, and it becomes painfully clear that Paula is completely unprepared to exist in the new world she’s found herself consumed by. After she accidentally drops her daughter’s hockey stick at the scene of a crime, and leaves her laptop open at work after looking up various scams on Google, Paula’s naivety puts those she loves at risk, and it’s often her own careless actions that usher in new dilemmas.
With the help of her snooping coworkers Rudy (Charlie Hall) and Geri (Jessy Hodges), the three band together in an attempt to prove not only that what Paula saw on that last video call with Trevor was real, but that she herself had nothing to do with his disappearance. As the deaths begin to pile up, everyone in her life, from her ex-husband to the detectives assigned to the case, begins to question not only her moves but her potential motives. With each reveal comes a gut-punch, and each episode leaves you wanting more.
In most shows of this vein, plots meander and performances by actors who clearly aren’t passionate about the work they’re creating wane. Thankfully, instead of losing its momentum, “Maximum Pleasure Guaranteed” never takes its foot off the gas.
All episodes were screened for review.
- Cannes 2026: The Unknown, Another Day (May 20, 2026)
One of the quintessential experiences of Cannes is having the lights go down, then having a director you thought you knew what you were getting from make a complete left turn. It happened for me watching Arthur Harari’s “The Unknown.”
This is Harari’s first feature in competition as a director. His “Onoda,” a chronicle of a Japanese soldier who spent decades living in the Philippine jungle, refusing to recognize that World War II had ended, opened the Un Certain Regard section in 2021, and he wrote the competition entry “Sibyl” (2019) and the Palme-winning “Anatomy of Fall” (2023) with his partner, the director Justine Triet.
But none of those films resembles the moody dive into fragmented identity that he serves up in “The Unknown.” Michelangelo Antonioni’s “Blow-Up” is an obvious influence, and there may be shades of Roman Polanski’s “The Tenant,” too.
The source is actually a graphic novel, “The Case of David Zimmerman,” that Harari wrote with his brother, Lucas Harari. Niels Schneider plays David, a brooding, emaciated, slightly disheveled photographer who skulks through life with a ghostly presence and a faintly biblical hairstyle. We learn that his family worries about him. At a party, he makes eyes with Eva (Léa Seydoux); Harari zooms into her gaze—and boom, the two of them rush to a basement to have sex, as if possessed. The lovemaking seems especially passionate for Eva, who leaves in a daze and needs help to a cab. She goes back to David’s place and, after some confused self-inspection, realizes that she is David in Eva’s body.
“The Unknown” doesn’t shy from the comedy inherent in its body-swap-by-sex conceit. Seydoux’s character does frantic internet searches on “switching bodies” and “new experimental hallucinatory drug.” After some sleuthing, she locates Schneider (whose physique is by that point occupied by a third character). The best joke has them writing a message board post seeking others in their situation—“for a documentary.”
But “The Unknown” is mostly quite serious, even solemn (the piano score by Andrea Poggio has shades of both ’70s paranoid thrillers and “Eyes Wide Shut”) in its exploration of the psychological impact of disembodiment, from physical and cultural perspectives. In one scene, the people occupying Schneider and Seydoux’s bodies have sex again, although each one’s mind is used to different gender mechanics. Throughout the film, Seydoux, a standout in the festival’s otherwise muddled “Gentle Monster” last week, is especially good at suggesting a state of continual shock.
While the film offers some of the intrigue of a detective picture, Harari is not interested in explaining the body switch. The film shrugs off whatever genre trajectory it might have pursued in favor of high-minded existential questioning. The final section, certainly, straddles the line between the profound and the pretentious. But Harari has done something relatively few directors have managed to do at Cannes this year: He’s pulled off a surprise.
Jeanne Herry, a screenwriter-actress-director whose credits include the Corsica-set “The Kingdom,” which showed in Un Certain Regard two years ago, is also making her competition debut as a director this year. Her film is called “Garance” in France but “Another Day” in other territories. Why would anyone want an international title that people could remember?
Garance (Adèle Exarchopoulos) works in a theater company and is reliably a center of chaos: She makes verbal gaffes, casually drops major news (“By the way, I’m pregnant,” she tells the man she’s been seeing. “The abortion’s scheduled Thursday”), and has an apparent habit of being found in a bathtub with a massive hangover.
Alcoholism turns out to be the root of many of Garance’s problems. Her troupe recognizes that and dismisses her, urging her to get help. Garance takes work in dubbing but, because of her dependency, lacks the precision the job requires. She starts a relationship with a woman, Pauline (Sara Giraudeau), who can’t keep up with her drinking.
In perhaps the screenplay’s most shameless effort at giving Garance a motivation to sober up, Garance’s sister (Mathilde Roehrich) receives a leukemia diagnosis six months into a pregnancy. She emphasizes that Garance needs to get clean to be present for her niece.
It’s when “Another Day” shifts from a character study to a full-fledged recovery drama that it turns from merely aimless to mildly insulting. Surely getting sober from a starting point of more than a dozen drinks a day is not as breezy as it is made to look here. The curtain line, meant to be uplifting, feels premature.
- Cannes 2026 Video #6: Club Kid, Paper Tiger, Clarissa (May 19, 2026)
The 2026 Cannes Film Festival starts Tuesday, May 12th, running through May 24th. The Ebert team returns this year with coverage of all of the major films in review and video form. In this video dispatch, Scott Dummlery interviews Managing Editor Brian Tallerico about “Club Kid,” “Paper Tiger,” “Clarissa,” and more. Then Chaz takes us back to the 2014 Cannes screening of “Life Itself” at the festival.
Chaz Ebert:
Welcome back to Cannes 2026. We’re about halfway through the festival, and so far, there hasn’t been one standout film that everyone agrees will win the Palme d’Or. However, that happens some years, but that doesn’t mean there aren’t many interesting films in the official selection. One of those films in the Un Certain Regard section is “Club Kid.”
Now, since its initial screening, it has been the subject of an intense bidding war. Our managing editor, Brian Tallerico, will tell you what he thinks of that film. Among some of the press, there is a lot of chatter about the lack of Hollywood films at Cannes this year. It’s not going to be an ongoing trend. Things change every year, but I can tell you that an American film that just played in competition is James Gray’s “Paper Tiger,” and it has star power.
Let’s hear what Brian Tallerico has to say about it.
Brian Tallerico:
The first film I want to talk about today is James Gray’s “Paper Tiger,” a late addition to the fest. This thriller sees Gray return to a festival that adores him. He’s played numerous films here over the years, so it’s nice to see him added at the last minute. Although the film itself has produced a bit of a divisive response after its premiere last night.
It stars Adam Driver and Miles Teller as brothers in New York in 1986 who decide to start a consulting company for construction workers, and kind of run afoul of the Russian mob as they do so. Scarlett Johansson co-stars as Miles Teller’s wife, who’s also dealing with her own issues that unfold over the course of the movie. This is James Gray returning to a sort of milieu that he’s used to after the arguably less-than-successful “Armageddon Time.”
It’s very similar to “We Own the Night” and “The Yards,” which are films he made about this kind of world, and to “Little Odessa,” which he made many years ago. Driver and Teller are playing characters we’d see in the 80s, played by Pacino and De Niro or Keitel, those kinds of people, these kinds of fidgety people who want a little more.
One wants a little more. One’s a family man. That would probably be on the Keitel part. Driver wants a little more and tries to bring his brother along, but they quickly get into serious trouble. It’s a lean, tight little film. There’s hardly any fat on it, and it’s got some of Gray’s most muscular filmmaking in terms of composition.
He uses close-up incredibly well. He gets a lot of mileage out of a couple of intense sequences, including one at night involving Teller and his kids, and then a late one set in some reeds. That is just a classic. It just reminds me of classics like “The Third Man” in terms of its structure, timing, location, and intensity.
It’s not a perfect film. It feels a little minor for Gray compared to some of his best movies, like “The Immigrant” or even “We Own The Night,” but it’s nice to see him back doing what he does well and directing Adam Driver to literally one of the best performances of his remarkable career. He takes a part that could have easily been fidgety over the top nonsense and plays it very straight.
It’s not a perfect film. It feels a little minor for Gray compared to some of his best movies, like “The Immigrant” or even “We Own The Night,” but it’s nice to see him back doing what he does well and directing Adam Driver to literally one of the best performances of his remarkable career. He takes a part that could have easily been fidgety over the top nonsense and plays it very straight.
He’s a no-nonsense former cop who’s going to get the job done, and he just doesn’t realize until it’s too late that he can’t fix this particular job.
Miles Teller:
There’s just something, you know, in this film, in a lot of James’ films, all my scenes are with my brother, my wife or my kids, and that’s rare. And I think that allows that allowed me to attach something so personal and deep from my own life and be able to share it.
But yeah, it felt very much like a family when we were on set. It was a small, tight-knit group, which I very much appreciated.
Adam Driver:
Miles is just an incredible actor. So he’s available, playful, and prepared. So it’s kind of easy. I just liked him immediately. So we didn’t have to work at it at all.
Scarlett, I’ve known you, you know, because we did a movie together before, so there was, you know, already a shorthand and intimacy and, you know, safety net. So it was very easy to, you know, to fall in love with Miles and James at the top…
Miles Teller:
You’re not so bad yourself.
Adam Driver:
…the one directive was, you know, so, so long as every choice for Gary is based on his love for his brother, we should be able to find the arc of the character.
James Gray:
My own view of the world today, because of where we are, is that when you cannot monetize integrity, the idea of being a good person that doesn’t actually make you money, what happens? You do get someone like the current American president, who is a symptom of what I’m talking about, totally transactional.
You know, how can I make the most money? Well, what’s wrong with that?
So, this ethos becomes everything. And what does that do to our souls? If you tell young people it doesn’t matter whether you’re a good person or not. The only thing that matters is to make a lot of money. Where does that leave them? It leaves them adrift. How come I’m not being rewarded for being good?
So the reason I set the movie in this time period is exactly for that. It was the beginning of the moment in which the market became God.
Brian Tallerico:
The next film I want to talk about is Jordan Firstman’s “Club Kid,” which has been the big breakout of the first few days of Cannes, premiering at the Debussy the other night and just exploding all over social media with a massive standing ovation.
Comparisons to Sean Baker in how it looks at people who might not have had the attention or the center of a film in other years or times, although it’s got a lot of its own energy and personality. Jordan Firstman, who also stars as the lead character, is a club party promoter in 2016. Originally, when we first meet him, he kind of doesn’t have his life together; he’s doing successful work building club parties and dealing drugs on the side, but he’s kind of miserable.
Ten years later, he’s even more miserable. Things are falling apart when someone shows up at his door with someone who’s actually his son, a roughly ten-year-old young man named Arlo. It’s complicated to explain how that happens, but it happens. Arlo ends up staying with our lead character for a long time, and they get to know each other.
And as cheesy as this sounds, this is kind of a film about how your kids can make you a better person. Peter discovers who he really could be, his own potential. We’ve seen a lot of movies about parents teaching kids about their own potential, but this kind of goes the other way. A great kid, and there’s no way to make it not sound cheesy, but it’s not.
It’s like really earnest. It’s really heartfelt. It’s really moving. It’s really funny. It’s really buoyant and energetic. It never feels manipulative, even though it could very easily. It avoids melodrama. It is a stunning debut, and it’s a stunning debut in terms of a triple threat. He wrote, directed, and starred. In almost every other case, when someone does those kinds of three things early off the bat, one of them falters.
Like, the acting isn’t as good because there’s no one there to direct them, or the writing isn’t as tight. In this case, all three elements are award-worthy. I think he is phenomenally good as a performer, bringing humanity to this character that we might see a little bit of ourselves in, even though they’re so different. Every performance is good.
The movie runs for two hours. It’s hard to believe it’s two hours long; it flies by, and it really gets to some deep emotional places about human potential, human connection, and the need for community, family, and hope.
The next thing I want to talk about is “Clarissa,” which is the Director’s Fortnight program, and comes from Nigeria.
A pair of brothers named Esiri produced this film and directed this film. That’s an adaptation of Virginia Woolf’s Mrs. Dalloway, starring Sophie Okonedo, David Oyelowo, and a cadre of other phenomenal, familiar faces and new faces. The new faces here are the ones I’m really going to remember, including a young woman named India Amaretifio, who’s phenomenal as the young lead, playing a younger version of Sophie Okonedo.
If you’re not familiar with “Mrs. Dalloway,” it’s a complex piece about class and privilege, and this one, being set in Nigeria, weaves in colonialism and a few other fascinating themes. It’s also a gorgeous piece of filmmaking, with lots of use of nature, water, trees, and sand. We really feel like we’re not on a set with these people in their homes and in their place, a home that has changed over the years.
We see two timelines: Clarissa and her friends as youth, and as adults. And we get to see how they’ve changed and how the world around them has changed them. It is a beautiful movie. Also, in terms of casting, I have rarely believed that a young version and an older version are the same person more than in this film.
We don’t need de-aging. No Irishman. None of that nonsense. This is a perfect casting agent dream. Everyone connects, and it’s also the writing and the direction. We see a character named Peter, played by an actor from Ted Lasso early on, then by David Oyelowo later, and we can see the sadness start to form in him as a youth, then linger, melancholy as he’s older.
It’s just a beautiful, poetic piece of filmmaking filled with performances that I adore and filmmaking that I can’t stop talking about.
Chaz Ebert:
My late husband, Roger Ebert, loved the Cannes Film Festival. It was one of his favorite festivals to attend. In our Cannes flashback, we’re going to see 2014, when a group of his friends and fans stood in line for the Cannes Classic screening of Steve James’s film “Life Itself.”
Milos Stehlik:
The screening started out perfectly, with a packed house of old friends and lots of fans we had never met. You know, Roger was a great fan of things, and he became a fan of them when something touched his heart and kind of was one of those magical things that really reached him. Roger opened the world to Cannes, and they opened up their arms to him, which is amazing.
Barry Avrich:
I mean, if there’s a Mount Rushmore of film criticism, Roger’s face is right there in the center.
Fan:
So when I was a little kid, I saw Roger on television, and I loved how they were always arguing because it meant it wasn’t like in Britain and other places. They tell you this is what the film’s about.
They were always arguing about what something meant to someone. It was equally valid as what the other person got out of it, and that was very interesting.
Fan:
As a young person, I’m really excited to see this cut because I believe they’ve included some new footage about Cannes. And so, yeah, exactly.
Chaz Ebert:
And the film was introduced by none other than Festival head Mr. Thierry Fremaux.
That’s all for now, but keep checking back every day. And RogerEbert.com/festivals for reviews, reports, and reactions until then….see you next time.
- Cannes 2026: Table of Contents (May 19, 2026)
The 2026 Cannes Film Festival starts Tuesday, May 12th, running through May 24th. The Ebert team returns this year with coverage of all of the major films in review and video form.
Below is a running index of our reviews, dispatches, and video reports from the festival.
Full Reviews
Teenage Sex and Death at Camp Miasma review: Slasher fans get the homage they deserve by Brian Tallerico
Propeller One-Way Night Coach review: Travolta’s directorial debut never takes flight by Brian Tallerico
Hope review: Bonkers Korean monster movie destroys the hero narrative by Robert Daniels
Her Private Hell review: Refn is back with shallow trip to the underworld by Brian Tallerico
Video Reports
Cannes 2026 Video #1: The 79th Cannes Film Festival Begins!
Cannes 2026 Video #2: A Look Back at Day One of the Fest
Cannes 2026 Video #3: Nagi Notes, Camp Miasma, Werner Herzog
Cannes 2026 Video #4: Festival Dispatch with Zachary Lee
Cannes 2026 Video #5: Festival Dispatch with Ben Kenigsberg
Cannes 2026 Video #6: Club Kid, Paper Tiger, Clarissa
Festival Dispatches
An Essential Showcase in a Difficult Time: Cannes Film Festival 2026 Preview by Lisa Nesselson
Cannes 2026: The Electric Kiss by Ben Kenigsberg
Cannes 2026: Fatherland, Parallel Tales by Brian Tallerico
Cannes 2026: Nagi Notes, Ashes by Ben Kenigsberg
Cannes 2026: Ken Russell’s The Devils, Pan’s Labyrinth, Moonlighting by Brian Tallerico
Cannes 2026: All of a Sudden, Think Good by Ben Kenigsberg
Cannes 2026: Clarissa, Atonement, Butterfly Jam by Brian Tallerico
Cannes 2026: The Beloved, A Woman’s Life, Gentle Monster by Robert Daniels
Cannes 2026: Paper Tiger, Sheep in the Box by Brian Tallerico
Cannes 2026: John Lennon: The Last Interview, La Libertad Doble by Ben Kenigsberg
Cannes 2026: The Meltdown, La Frappe, I’ll Be Gone in June by Brian Tallerico
Cannes 2026: Avedon, Visitation by Ben Kenigsberg
Cannes 2026: Club Kid, Marie Madeleine by Robert Daniels
- Full Trailer for 'Jimmy' Movie with KJ Apa as James Stewart in WWII (May 20, 2026)
"Sir – don't I have the right to serve my country, just like anyone else does?" "America can't afford to lose Jimmy Stewart..." Burns & Co. has debuted the full official trailer for Jimmy, a peculiar new biopic look at the beloved actor James Stewart – aka Jimmy Stewart – and his early years as a pilot during WWII before going on to make It's a Wonderful Life (in 1946). Out in theaters in November this fall. The pitch: it's the untold story of America's most-beloved actor and the iconic role that saved him. KJ Apa stars as Jimmy Stewart in this Jimmy movie, with a cast including Max Casella as Frank Capra, Kara Killmer as Lady Julia, Julian Works, Sarah Drew, Jason Alexander as Louis B. Mayer of MGM, Rob Riggle, and Daniel Fee. An interesting cast for this indie production. "Jimmy Stewart was an American Hero. He was among a certain breed of men who understood the true meaning of sacrifice by fighting for our freedom," KJ Apa states. The story culminates in him taking on It's a Wonderful Life after the horrors of war. There's just something that feels really off about this despite being presented as another biopic. Get a closer look below. // Continue Reading ›
- Fun Trailer for RuPaul's 'Stop! That! Train!' Goofy Disaster Comedy (May 20, 2026)
"You're in the eye of the storm!" "You're telling me it has a face?" Bleecker Street has debuted the wacky & wild official trailer for the new campy comedy called Stop! That! Train!, a flashy and fancy and freaky adventure about a train disaster. This entertaining new creation from director Adam Shankman and creator RuPaul is hitting theaters in June right in the middle of the summer. All aboard! Two train stewardess BFFs switch from a dull railway to the luxurious Glamazonian Express. During a massive storm, they must work with snooty first-class crew and President Gagwell to prevent a disaster in Cali. The train might derail and crash into Los Angeles, so they must join forces with snobby first class attendants to save the day and keep the train on the right track. Or something like that! Everything about this looks like bonkers express service LGBTQ fun & mayhem. Stop! That! Train! stars Ginger Minj and Jujubee, with Symone, Brooke Lynn Hytes, Marcia Marcia Marcia, RuPaul, also Joel McHale, Chris Parnell, Natasha Leggero, and Jesse Tyler Ferguson. Plus Sarah Michelle Gellar and many others. 🚂 Well, don't forget to buckle up. // Continue Reading ›
- First Look Featurette for Michael Sarnoski's 'The Death of Robin Hood' (May 20, 2026)
"Sarnoski is one of the great voices in film today. There's a confidence in his storytelling that I was just blown away by..." A24 has debuted a quick "first look" promo featurette for The Death of Robin Hood, another re-imaginging of this classic legend of the English folk hero. "The legend was a lie," apparently he was just a killer. Grappling with his past after a life of crime and murder, Robin Hood finds himself gravely injured after a battle he thought would be his last. Now in the hands of a mysterious woman on an island, he is offered a chance at salvation. Death of Robin Hood stars Hugh Jackman as old man Robin, with Jodie Comer, Bill Skarsgård, Murray Bartlett, and Noah Jupe. They've been launching numerous trailers for this film, including another promo trailer a few weeks ago. Does it actually look good enough to watch? Is the twist on this Robin Hood tale even that good? This seems like it's watch a watch just to find out - and I trust in Michael Sarnoski (who's also in this promo video below). Out in theaters next month - have a peek. // Continue Reading ›
- Watch: Boots Riley Breaks Down His Filmmaking on 'I Love Boosters' (May 20, 2026)
"We need to make a movie that doesn't play on the little screen. It plays on the big screen." Panavision + neon have revealed a wonderful behind-the-scenes look at the making of Boots Riley's colorful & extra fun new film I Love Boosters. It's hitting theaters soon and looks like a must watch event. Another featurette about the cinematography choices and filmmaking style: "Writer & director Boots Riley invites us inside his mind palace to share how he made I Love Boosters: hand-drawn storyboards, miniature sets, costumes, lighting, anamorphic cinematography, & custom prototype lenses build specifically for the film." Featuring production designer Christopher Glass, cinematographer Natasha Braier ASC, and Panavision's Dan Sasaki, Boots walks through how the team transformed his ideas, textures, color. Ever since Ryan Coogler's Sinners video last year, Hollywood is obsessed with making these featurettes for every major must-see-on-the-big screen new release (the one for Project Hail Mary is also good). I love this because it embraces the colorful, zany, funky style Boots is known for. The film follows a ragtag group of shoplifters who take aim at a cutthroat fashion maven. This stars Keke Palmer, LaKeith Stanfield, Naomi Ackie, Demi Moore, Hannah Alline, Don Cheadle, Eiza González, Will Poulter, Poppy Liu, and Taylour Paige. Enjoy. // Continue Reading ›
- John Cena & Eric Andre in Zany Comedy 'Little Brother' Funny Trailer (May 20, 2026)
"What happened to the guy I married who said the only thing matters is family...?" Netflix has revealed an official trailer for a movie called Little Brother, another ridiculously fun new comedy coming out soon to watch. From the same filmmaker behind Ingrid Goes West and the series "Angelyne" comes a story of two... brothers? A famous real estate agent's carefully curated world is upended when his eccentric "little brother" unexpectedly reappears and starts to ruin his life & everything in it. The two long-lost brothers reunite on Netflix starting June 26th. Remember to keep your family close, though maybe not too close. Little Brother stars John Cena and Eric Andre as the brothers Rudd and Marcus, along with Michelle Monaghan, Christopher Meloni, Sherry Cola, Ego Nwodim, Caleb Hearon, Ben Ahlers, Bryce Gheisar, and Pilot Bunch. This looks extra dumb but still pretty funny – especially Cena's live delivery every single time. // Continue Reading ›
