- MGM+’s Cult Hit “From” Wanders Through Frustrating Yet Addictive Fourth Season (April 15, 2026)
Since its launch on what-was-Epix (now MGM+) back in 2022, “From” has scratched an itch for TV viewers who miss the twisting sci-fi tales of not just “LOST” but its many imitators. Often directed by that show’s legendary director Jack Bender and starring Harold Perrineau in a role that doesn’t feel that different from Michael on the ABC hit, “From” tells another tale of people trapped in an impossible situation, one that seems to be feeding off their own back stories and primal fears. Even the score sometimes sounds the same.
Also similar to “LOST,” a creeping sense that the writers of this show are asking more questions than they’re answering has seeped into the narrative over the last couple seasons. A program that once felt like it was confidently building a world and a history now often feels like it’s making things up as it goes along. There are still bursts of engaging sci-fi television, and the ridiculous twists that often force each episode into a cliffhanger make it consistently watchable, but I get increasingly doubtful that anyone has any idea where this is going.
“Are you seriously ok with him taking magic mushrooms that he found in a haunted forest?” One almost has to admire how much “From” is the only show on TV that could predictably have a question like that one in one of its screenplays. If you’re totally unfamiliar, a quick primer of the very basics of a show that has become extremely un-basic over four seasons: Perrineau leads the ensemble as Boyd Stevens, the leader of a group of survivors in what looks like smalltown America but is secretly a sort of purgatory that people can drive into but never leave. And then the creatures come out at night.
Harold Perrineau as Boyd Stevens
The premiere back in 2022 also introduced us to the Matthews family: Mom Tabitha (Catalina Sandino Moreno), Dad Jim (Eion Bailey), Daughter Julie (Hannah Cheramy) and Son Ethan (Simon Webster). To start the show, the newcomers to the town were basically our window into this world and its rules, learning about things like the talismans that ward off evil and the back stories of the other residents like Boyd’s deputy Kenny (Ricky He), Boyd’s son Ellis (Corteon Moore) & his girlfriend Fatima (Pegah Ghafoori), a maternal leader named Donna (Elizabeth Saunders), another newcomer named Jade (David Alpay), and a couple of the town’s more disturbed residents: Victor (Scott McCord) and Sarah (Avery Konrad). Since then, more residents have become stuck in the world of “From,” a few have died, and Julie even left and came back with Victor’s father Henry (Robert Joy). Don’t ask. It’s complicated.
How complicated? In “LOST” terms, we’ve reached the time travel and island moving sections of the narrative. At the end of last season, Julie discovered that she has an ability to move through the “story,” crossing realities and timelines, but she’s not really sure how to do it. Jade and Tabitha learned they have a connection to the history of the region that has brought them back there over and over again, a discovery that was repaid with one of the most powerful villains of the piece ripping out poor Jim’s throat.
Hannah Cheramy as Julie Matthews, Simon Webster as Ethan Matthews
That action ripples through most of the new season as Julie and Ethan both set out to reverse what happened to their father: Julie through her newfound ability and Ethan through the power of a place where death has been more of a nebulous idea than in reality. Meanwhile, Jade and Boyd are both empowered and terrified by Jim’s death, knowing that it happened because they’re getting closer to the truth about this place, and possibly even a way to leave it.
Of course, “From” drops in new residents in the form of a pastor and his daughter Sofia (Julia Doyle), but they are definitely not what they first seem in a way that the show has asked us not to spoil. Suffice to say that Doyle brings new energy to a season that really needs it.
Since about the beginning of season three, when the writers worked their way out of the cliffhanger that saw Julie possibly escape, there’s been a lack of direction that has led to too much repetition. “From” often feels like it has two new questions for every answer, which can only last for so long. It doesn’t help that this season seems to lack stakes compared to the last few. One of the most daring things about “From” has been that, like “LOST,” no one is safe. Killing Shaun Majumder’s Father Khatri early in the show’s run was a stunner, and, yes, losing Jim was major but I’m not convinced that’s going to last. There needed to be more momentum in season four, and that could have come with a more defined threat.
Ricky He as Kenny Liu, Harold Perrineau as Boyd Stevens
The truth is that “From” isn’t about definition, something that alternates between being a weakness and a strength. For the latter, Perrineau is particularly good at playing an ordinary guy stuck in an extraordinary situation. He’s smartly not always a hero, understanding that the show works best if we believe Boyd’s confusing journey, and we always do. It’s not really the fault of the ensemble as much as it is the writing, but too many of the supporting characters have become pawns on this board. Moreno is always solid, but He, Moore, Ghafoori, and Saunders (at least until episode six) are underwritten this year.
Despite feeling like the writers room has as much idea where all of this is going as the fictional Boyd, “From” often remains remarkably watchable through the lack of direction. A friend once told me that the main reason he binged “LOST” was because every episode ended with someone saying, “Look at that over there!” and he had to know how that cliffhanger resolved. “From” has a very similar energy: Every time the writing gets frustrating on a critical level, the sheer momentum of the piece keeps you engaged.
I also have a feeling that the last four episodes of the season that weren’t sent to press will finally give us some answers and raise those slight stakes. There will probably be a body count and a deepening of the show’s mythology. And probably a cliffhanger or two, too.
Six episodes screened for review. Premieres on MGM+ on Sunday, April 19th.
- “Jury Duty: Company Retreat”‘s Unsuspecting Hero On Life After Rockin’ Grandmas (April 14, 2026)
When he accepted a temp job for a modest California hot sauce company called Rockin’ Grandmas a year ago, 25-year-old Anthony Norman had no idea he’d suddenly become a TV star. And yet, after experiencing a weeklong company retreat in which the staff of Rockin’ Grandmas awkwardly proposed to each other, hooked up, drank out of Fleshlights, and ultimately staved off an acquisition by a cold megacorporation, Norman discovered the truth about his temp gig: Everything he’d just experienced, right down to the people, was a fabrication.
For fans of Prime Video’s hidden-camera sitcom experiment “Jury Duty,” these developments are old hat: the show just aired the final two episodes of its excellent sophomore season, “Company Retreat,” which saw Norman gamely navigate the over-the-top characters and situations at an expansive resort in upstate California with the (fake) employees of Rockin’ Grandma’s Hot Sauce. There, we got to marvel as Norman not only ran with every quirk and idiosyncrasy he came across—from failson Dougie’s (Alex Bonifer) furtive attempts to prove himself as the company’s new CEO to receptionist PJ’s (Marc-Sully Saint-Fleur) snackfluencing hobby—but engaged with his castmates and the situation in ways that, looking back, are heartwarming, and frankly inspiring.
It’s been a similarly uplifting journey for Norman, who in the months since has still been temping while doing press tours for “Company Retreat” in the leadup to its reunion episode (in which Norman gets to meet Season 1 hero Ronald Gladden and reunite with his cast in an episode co-hosted by Season 1’s James Marsden). “Even the hotel they got me in now is freaking amazing,” Norman tells RogerEbert.com.
In the months since, he’s had time to process both his experience and the overwhelmingly positive reception to the show, and to him specifically. “I feel amazing, man,” says Norman. “There were a few nerves at the beginning of it, but seeing everybody’s reaction to it, it’s just been so much love. I’ve been able to experience things that I never even dreamed of.”
RogerEbert.com sat down with Norman (from said hotel room) over Zoom last week to talk about the ins and outs of his surreal experience, whether he ever suspected anything was up, and how he responds to people calling his everyman integrity heroic.
This interview has been edited for length and clarity.
Let’s go back to the very first interaction you had with this: How were you “hired,” so to speak?
ANTHONY NORMAN: So I applied to a temp company and had to go through their application process. After a month, I almost forgot about it, but they contacted me and said they wanted to move on with me. And that’s when we get on Zoom with Kevin (or Ryan).
So it was pretty quick for you, gotcha. Now you’ve said in interviews, and even in the reunion episodes, that there were a lot of moments during that whole two-week period where you thought something might be up. And you would talk to your mom on the phone every day, and she was telling you things were hinky. What were some of the biggest red flag moments you look back on and think, “Oh, maybe that was too crazy to be true”?
I’ll say the stuff that [evil company] Truikus did: Them bringing in Sia, setting up this big brunch, that was so over-the-top. And some little things; there was a moment where I got Warren [who played salesman Steve] for his birthday, and I don’t know if it really was his birthday or not, but I was told that. I did the morning runs and got him a singular chocolate cupcake. That same day, I was talking to Doug/Jerry, and he was like, “Oh yeah, I got one of those chocolate cupcakes.” When there was only one. In the moment, I’m like “okay, maybe I said something wrong.” I don’t know. I dismissed it at the time. But looking back, he almost messed it up, right?
The biggest was the first day, it was almost ruined them. For the first three days, I stayed in a hotel before we reached the actual retreat site. I went to check in, and the dude behind the desk asked me, “Are you with Amazon?” I was like, “I don’t know.” I really didn’t know; I was working through a temp company, and Amazon has a lot of partners and businesses and stuff. So looking back in that moment, it was strange; they literally told me it was Amazon.
What I found most interesting about your season of “Jury Duty,” in particular, was that you’re the regular guy stuck in the middle of all of this, and so much depends on your reaction. But you have a character of your own, so to speak, that comes through, and you actually get opportunities to interact and forge the story. Even in scenes where you’re messing with the Malibu realtor and joking around about the Fleshlight, you get to improvise right back with a guy without even knowing it. Is that how you normally approach situations like that? Throwing yourself into something and figuring it out along the way?
Yes and no; at first, not really, but everyone was so welcoming, and just themselves? It allowed me to feel comfortable, let loose, and just have fun with it.
PJ (Marc-Sully Saint-Fleur), Anthony
You did seem to form a really quick bond with all of these characters. Do you find that’s a typical attitude for you when you enter a new situation? Or was there something specific about this environment?
The environment and the cast, for sure, but also just me being a big team guy. I came into a team that was already really close, and that’s something I love to be placed in. So that made me really feel at home as well.
You were also immediately given the role of “Captain Fun,” which felt like offering you a specific set of parameters for the retreat (especially after Kevin bestows it on you before leaving in the first episode). Did you feel that responsibility suddenly?
I mean, he definitely gave me a new task. But honestly, that was my job; I was expecting to show up and help in any way they needed, to make sure everybody kept their spirits high. So no, that wasn’t a big ask for me.
Did the hat give you any sense of power?
Yeah, for sure, it definitely helped. Honestly, I did it because I felt as if the Rockin’ Grandma’s crew would appreciate it, right? They all got more excited. So it was more about embracing the silliness.
In the reunion, we see a lot of unused footage. Was there a moment or an interaction you had at the retreat that you remember as significant, but which didn’t make it into the show?
I know this might be a boring answer, but whiffleball. I’m a big baseball fan, but the fact that everyone was enthusiastic about wanting to play, and not half-heartedly out there, that meant a lot ot me. Because if I called all of my homies back in Nashville, maybe two of them would show up to play. So it meant a lot. Everyone from the company came in, even Marjorie.
Speaking of her, you also had an interesting dynamic with her because she exists outside of the Rockin’ Grandma’s crew, so she becomes this confidant. There’s even a moment in the first episode, after the disastrous Kevin proposal, where she almost offers you an out. Did you think about it?
When she offered it, I considered it for, like, a second. But honestly, I ended up saying “no” because nothing had happened that made me feel uncomfortable. Nothing like, “I can’t be here.”
Dougie Jr. (Alex Bonifer), Anthony
Everyone’s talked about the “hero” aspect of your role in the season, and whether the show kind of innately brings the best out of the people it’s focused on. I think it especially brought out the best in you; I’m thinking specifically of your big speech at the end, where you’re suddenly thrust into the position of talking Doug down from selling Rockin’ Grandmas. It’s a big end-of-movie moment, and it’s astonishing to see the poise and conviction you express in that speech you give to Doug. What were the emotions you were feeling in that moment, which, for all you knew, was really happening?
My heart was pumping, my adrenaline was going. Mentally, I didn’t really have a plan, because when we were at the top of the hill, I was telling Alex (or Dougie), “Yo, you gotta do it!” Of course, they’re not gonna let it happen. So as I’m walking up, I’m asking myself, “What am I gonna say? I didn’t really have anything.” When I first walk in, I know I have to say something he’ll connect with and stop to hear me out.
That’s where the “father to father” line comes out, which hits you like a ton of bricks. And when you throw the Triukus exec’s line back in Doug’s face (“Do you really wanna listen to the temp?”), everyone can see that you mean it.
Somebody said the quiet part out loud! The only way anybody gets through this madness is if they’re a little crazy themselves.
When the initial reveal happened for you, what emotions ran through your head there? Was there ever a feeling of betrayal, or of trust being broken? How did you process that moment?
I never felt my trust had been broken; honestly, just them being there for me and continuing to build on the relationships we’d already had was what drove it home for me.
It really does feel like the cast was also impacted by getting to know the real you, and it came out in the way they’ve engaged with you since.
Yeah, they absolutely impacted my life, just being so supportive and loving of me, even to this day. Having that community around you just uplifts you and makes you more willing and wanting to show up for people.
James Marsden, Anthony
And of course, you’ve now met Ronald from Season 1, and are aware that this show exists in a broader context. It almost feels like you and Ronald share a unique experience that only you two have gone through, even though you didn’t experience it together.
I honestly look at Ronald now like my big brother. Anytime I call or text, or even when I’m out here. When we sat down and talked for the first time [in the ninth episode, “The Meeting”], I told him, “I know you’re trying to help me, but is there anything I can do for you?” We went through the exact same experience, and for that, he’ll be my big brother for life.
How does this whole experience sit with you as a chapter in your life? I know the future is probably still a little uncertain, because this was an arena you probably never expected to get into. But do you know what your next steps are in the wake of this?
I don’t know for sure, but I’d like to see brand deals, partnerships, and maybe commercials. If an opportunity comes to do a movie or a TV show, I’d be open to it. But that’s not the alley I’m chasing down.
Is there a character at Rockin’ Grandmas you wish actually existed, irrespective of the actor? Is there a persona you really wish you could go back and talk to again?
Honestly, I’d say Dougie; I know I keep bringing him up, and I know [Alex] is my brother, but I just want to go back to check on him and see how things are going. Just to see if he really stepped up to the plate, and if everybody was still motivating him to be the best CEO he could be.
I’m really curious; what did the Jamaican Jerk Off Sauce actually taste like?
It was solid! Like I said in the episode, 8 1/2 out of 10. I didn’t really get a jerk flavor from it, though. I’m not a big jerk guy. But it was good.
Did it taste at all of Taco Bell hot sauce?
Not at all.
- Capcom’s “Pragmata” is the Next Great Dad Game (April 13, 2026)
“The Last of Us,” “BioShock Infinite,” and “God of War Ragnarok”. What do they all have in common? Their stories center around a central father figure protecting a young companion, whether it’d be a son, daughter, or an important character they come across. It’s a popular trope that works both narratively and gameplay-wise. You play as one character while your companion tags along with you, helping out in some fashion.
Capcom’s “Pragmata” is joining that fold, but with a compelling sci-fi setting, as well as touching character moments and engaging gameplay that makes it one of the best games of 2026 so far.
“Pragmata” follows an astronaut named Hugh and an Android named Diana as they attempt to escape from a lunar station after disaster strikes. In the meantime, they have to deal with a rogue AI system called IDUS that’s hellbent on eliminating them. What makes the story work are the interactions between Hugh and Diana. Diana acts like a curious child, wondering what life is like back on Earth, while the childless Hugh plays the role of an adoptive father, looking out for her. Hugh himself is adopted too, so he’s able to share his perspective with Diana about forming bonds and families with those who aren’t blood related.
Outside of cinematic cutscenes, small interactions between them are brimming with humor and charm. For example, she learns about how humans consume food, but thinks that they’re inefficient considering they have to eat 2-3 times a day. Hugh explains that it’s not just the process of eating, but eating together with family or friends that also nourishes the soul. Moments like these push their father and daughter dynamic forward, making their bond feel natural. I also love their character designs. Ironically, Hugh is wearing a giant suit. With his helmet on, he’s the one who looks like a hulking robot whereas Diana simply just wears a blue jacket and you can constantly see the human-like expressions on her face. It’s a clever twist that makes them stand out as characters.
The gameplay also shines due to equal participation from both Hugh and Diana. In games like the “Last of Us,” Joel has almost all of the player control agency while Ellie is mostly relegated to NPC control. However, in “Pragmata,” Diana has the ability to hack enemies and expose their weak points for Hugh to shoot at. Hacking plays like a puzzle game where you navigate a puzzle and move the cursor to a execution spot on a grid, while picking up bonus nodes along the way. These optional nodes include effects such as confusing enemies so that they attack others, stunning them, or just doing extra damage.
What makes the gameplay captivating is that you have to do the hacking in real-time while dodging attacks. Battles become suspenseful and chaotic as Hugh waits for Diana to finish hacking in order to deal any meaningful damage. Progression is well-paced and organic. For example, Hugh can level up his suit to gain more HP and defense, while Diana can improve her hacking such as increasing the duration enemies are exposed. You can also beef up Hugh’s repertoire of guns permanently to deal more damage. It’s a really straightforward system that’s easy to understand.
The game’s dungeon design has a slight Metroidvania aspect to it, so when Diana unlocks a new story ability, she and Hugh can revisit previous areas to find new mods and nodes. Exploration is greatly encouraged as you’ll also find computer chips and holograms of items from Earth that can grant Hugh and Diana with new special skills. Furthermore, there are challenge rooms scattered throughout and time trials available in the central hub to take on and earn more rewards to help you get through the game.
“Pragmata” can be completed in about 10-15 hours, which is shorter than I expected, but works in the game’s favor as it doesn’t overstay its welcome. The gameplay evolves enough by introducing new hacking tiles for Diana to toggle through and weapons for Hugh to use. Combined with the relatively short run-time, these factors prevent combat from becoming stale by the time the credits roll.
Capcom has had a stellar 2026 so far, with the releases of the excellent “Resident Evil Requiem,” “Monster Hunter Stories 3: Twisted Reflection,” and the “Mega Man Star Force Legacy Collection.” “Pragmata” continues the streak with its emotional characters and enthralling gameplay. It’s one of the best games of 2026 so far, and it’s one that I’ll be thinking about for a long time.
The publisher provided a review copy of this title on Xbox Series X|S. It will also be available on PC, PS5, and Nintendo Switch 2 on Friday, April 17.
- Chicago Critics Film Festival Lineup Announced, including Guests Olivia Wilde, Joe Swanberg, Dawn Porter, More (April 10, 2026)
The Chicago Film Critics Association announces the line-up for the 13th Chicago Critics Film Festival, running from May 1-7, 2026 at the historic Music Box Theatre. A blend of new and familiar voices, this year’s line-up reflects the breadth of filmmaking in 2026 including new works from Olivia Wilde, Dawn Porter, and Joe Swanberg, all scheduled to attend.
Other guests include Cory Michael Smith, Edd Benda, Stephen Helstad, Zach Schnitzer, and Nate Simon. New films starring Seth Rogen, Willem Dafoe, John Early, Samara Weaving, Paul Rudd, Dustin Hoffman, and Cooper Hoffman will premiere, along with two shorts programs, five documentaries, and three timely anniversary titles: Steven Spielberg’s “A.I.: Artificial Intelligence,” David Cronenberg’s “The Fly,” and Jonathan Demme’s “Something Wild,” all presented on 35mm. Watch this space for more information but get your tickets now while you can.
Friday, May 1st
6:30pm “The Invite” (on 35mm w/Q&A with director/star Olivia Wilde)
9:30pm “The Fly” (40th anniversary on 35mm)
11:59pm “Decorado”
Saturday, May 2nd
11:30am “Shorts Program 1” (w/directors Q&A)
2pm “Tuner”
4:30pm “Carolina Caroline”
7:15pm “Power Ballad”
9:45pm “I Want Your Sex”
11:59pm “Leviticus”
Sunday, May 3rd
11:30am “You Had to Be There”
1:45pm “Shorts Program 2” (w/directors Q&A)
4:15pm “Maddie’s Secret”
6:30pm “Late Fame”
8:45pm “A.I.: Artificial Intelligence” (25th anniversary)
Monday, May 4th
4:15pm “The Last One for the Road”
6:30pm “When a Witness Recants” (w/Q&A with director Dawn Porter)
9:30pm “Time and Water”
Tuesday, May 5th
4:30pm “If I Go Will They Miss Me”
7pm “Chili Finger” (w/Q&A with writer/directors Edd Benda & Stephen Helstad)
9:45pm “Black Zombie”
Wednesday, May 6th
4:15pm “Romeria”
7pm “Loafers” (w/Q&A with writer/director/star Zach Schnitzer and producer Nate Simon)
9:30pm “Something Wild” (40th anniversary on 35mm)
Thursday, May 7th
5pm “Broken English”
7:30pm “The Sun Never Sets” (w/Q&A with writer/director Joe Swanberg and star Cory Michael Smith)
- Cannes Announces 2026 Program with New Films by Pedro Almodovar, Hirokazu Kore-eda, Asghar Farhadi, More (April 9, 2026)
The Cannes Film Festival announced the first selections for its 2026 program this year, a diverse array of films from international masters from around the world, blended in with new, unexpected voices. After a 2025 program of high profile Hollywood premieres like the last “Mission: Impossible” movie and Spike Lee’s “Highest 2 Lowest,” this year looks a bit more subdued on the red carpet front, but undeniably includes some of the best working filmmakers from around the world, including Pedro Almodovar, Asghar Farhadi, Ryusuke Hamaguchi, Hirokazu Kore-eda, Cristian Mungiu, Pawel Pawlikowski, Ira Sachs, and Andrey Zvyagintsev, all in competition.
Interestingly, the newest films from Jane Schoenbrun and Nicolas Winding Refn will both launch in programs ineligible for the Palme d’Or, while the latest from James Gray, widely rumored for Cannes, is nowhere to be found. (It’s worth noting that films from Lee, Bi Gan, and Lynne Ramsay, among others, were all added after the initial program reveal last year.) Of course, the best thing about Cannes is the unknown. There’s almost certainly a masterpiece or two in here. Come back in May to find out which one(s).
In Competition
“All of a Sudden,” Ryusuke Hamaguchi
“Another Day,” Jeanne Herry
“The Beloved,” Rodrigo Sorogoyen
“Bitter Christmas,” Pedro Almodóvar
“The Black Ball,” Javier Ambrossi and Javier Calvo
“Coward,” Lukas Dhont
“The Dreamed Adventure,” Valeska Grisebach
“Fatherland,” Pawel Pawlikowski
“Fjord,” Cristian Mungiu
“Gentle Monster,” Marie Kreutzer
“Hope,” Na Hong-jin
“The Man I Love,” Ira Sachs
“Minotaur,” Andrey Zvyagintsev
“Moulin,” László Nemes
“Nagi Diary,” Koji Fukada
“Notre Salut,” Emmanuel Marre
“Parallel Tales,” Asghar Farhadi
“Sheep in the Box,” Hirokazu Kore-eda
“Stories of the Night,” Léa Mysius
“The Unknown,” Arthur Harrari
“A Woman’s Life,” Christine Bourgeois-Taquet
Un Certain Regard
“All the Lovers in the Night,” Yukiko Sode
“Benimana,” Marie-Clementine Dusabejambo
“Club Kid,” Jordan Firstman
“Congo Boy,” Rafiki Fariala
“Le Corset,” Louis Clichy
“Elephants in the Fog,” Abinash Bikram Shah
“Everytime,” Sandra Wollner
“I Am Always Your Maternal Animal,” Valentina Maurel
“I’ll Be Gone in June,” Katharina Rivilis
“The Meltdown,” Manuela Martelli
“Strawberries,” Laïla Marrakchi
“Teenage Death and Sex at Camp Miasma,” Jane Schoenbrun (Opening Film)
“Uļa,” Viesturs Kairišs
“Yesterday the Eye Didn’t Sleep,” Rakan Mayasi
Out of Competition
“L’Abandon,” Vincent Garenq
“De Gaulle: Tilting Iron,” Antonin Baudry
“Diamond,” Andy Garcia
“The Electric Kiss (Opening Night Film),” Pierre Salvadori
“Her Private Hell,” Nicolas Winding Refn
“Karma,” Guillaume Canet
“L’Objet Du Delit,” Agnes Jaoui
Cannes Premiere
“Heimsuchung,” Volker Schlöndorff
“Kokurojo: The Samurai and the Prisoner,” Kiyoshi Kurosawa
“Propeller One-Way Night Coach,” John Travolta
“The Third Night,” Daniel Auteuil
Special Screenings
“Avedon,” Ron Howard
“Cantona,” David Treehorn
“John Lennon: The Last Interview,” Steven Soderbergh
“Les Matins Merveilleux,” Avril Besson
“Les Survivants du Che,” Christophe Réveille
“Rehearsal for a Revolution,” Biga al Ahani
“The Survivors of Che,” Christophe Réveille
Midnight Screenings
“Colony,” Yeon Sang-ho
“Full Phil,” Quentin Dupieux
“Jim Queen,” Nicolas Athane and Marco Nguyen
“Roma Elastica,” Bertrand Mandico
“Sanguine,” Marion Le Corroller
- Official US Trailer for 'The Currents' Following an Argentinian Woman (April 15, 2026)
"Can we talk about how weird you're acting? It's like you never came back." Kino Lorber has unveiled the official US trailer for a unique art film titled The Currents, made by the Argentinian filmmaker Milagros Mumenthaler as her second feature film so far. This first premiered last year at the Toronto & San Sebastian Film Festivals, before also playing at the Busan, Chicago, New York, AFI Fest, and Vienna Film Festivals and opening in Argentinian cinemas in November. Now it's arriving in limited US theaters this summer. During a business trip to Geneva, Switzerland, Lina's impulsive decision to jump into the icy river leads to perilous consequences. Back in Buenos Aires, she tries to bury her secret, but the dark past she left behind resurfaces to threaten her current life and stirs up turmoil. Directed by acclaimed filmmaker Milagros Mumenthaler, this is a quietly gripping psychological mystery with dreamlike, hallucinatory threads that weave a portrait of a woman on the verge of unraveling. Starring Isabel Aimé Gonzalez-Sola as Lina, Claudia Sánchez, Esteban Bigliardi, Ernestina Gatti, Jazmín Carballo, Patricia Mouzo, and Susana Saulquin. It certainly seems like an intriguing tale of a woman in crisis – rethinking her entire existence. Worth a watch. // Continue Reading ›
- First Look Teaser for 'Come With Me' Feat. Theo Rossi & Ron Perlman (April 15, 2026)
An early teaser trailer has debuted for an indie film titled Come With Me, a crime thriller / dark drama from filmmaker Aaron Harvey as his fourth feature so far. This is premiering at the 2026 Beverly Hills Film Festival next week looking to build some buzz. "The film is both topical and polarizing—a true independent project brought to life through diligence, collaboration, and Aaron Harvey’s distinct vision." After trouble at his job and a traumatic home invasion event that still haunts him, a working-class man named Simon finds catharsis in his right to bear arms. Influenced by a rhetoric-spewing radio host, he soon finds himself caught between following the status-quo or doing what’s right – even if the "right" thing, isn't... Filmed on location in Mississippi. Simon begins a deadly descent into his own mind, trying to rectify the perceived wrongs and cleanse the injustice he starts to see in the world around him. Theo Rossi stars as Simon, featuring Ron Perlman as the radio host, along with Kate French, Ronnie Gene Blevins, Michael Sirow, Chris Mullinax. "Come With Me is both a film for now and a cautionary tale for the future." Lots of films like this being made right now about America - the recent Our Hero, Balthazar as well. Check out the teaser below. // Continue Reading ›
- New US Trailer for New Zealand's 'The Mountain' Three Kids Comedy (April 15, 2026)
"How would you like it if people were climbing all over your head?" Hope Runs High Films revealed their final official US trailer for a New Zealand coming-of-age comedy called The Mountain, which is opening in US theaters this weekend. Directed by Kiwi actress Rachel House (from Hunt for the Wilderpeople and Thor: Ragnarok and tons of other films), this film originally premiered back in 2024 and opened in New Zealand that year as well (we also posted trailers back then but that was a while ago). The film explores the journey of three young people as they seek solace under the watchful gaze of the Taranaki mountain (aka "Taranaki Maunga" - see on Google Maps) and companionship in the spirit of adventure. With Elizabeth Atkinson (Te Atiawa, Ngāti Mutunga, Ngāti Toa, Ngāti Koata, Ngāti Tama, Kāi Tahu), Reuben Francis, and Terence Daniel (Ngāti Kahungunu, Raukawa ki Wharepūhunga, Kuki Airani – Aitutaki). Also joined by Troy Kingi (Te Arawa, Ngāpuhi, Te Whānau-ā-Apanui) (Muru), Byron Coll, Fern Sutherland, and Sukena Shah. An amusing coming-of-age adventure about connecting with nature and loving our planet. Yes this sounds like it's going to be a blast! And I'm glad it's being released in US theaters soon. Take a look. // Continue Reading ›
- Fun 'First Look' Featurette for Hugh Jackman's 'The Sheep Detectives' (April 15, 2026)
"This is a well-crafted, nicely executed murder mystery." "It's also unbelievable intelligent, sophisticated, and surprising." Amazon MGM Studios has revealed a funny new "first look" featurette to watch for The Sheep Detectives, a whodunit mystery about (talking) sheep. Baaa-ing into theaters starting in May 2026 in just a few weeks from now. The title was originally Three Bags Full: A Sheep Detective Movie, but now it's called simply The Sheep Detectives. The most recent trailer arrived a few weeks ago but this celeb promo dives into the making of with the actors & producers & director talking it up. It's a herder mystery, and everyone is a suspect. Every night a shepherd reads a murder mystery or detective novel, pretending his sheep can understand anything. When he is found dead, the sheep realize at once that it was a murder and think they know everything about how to go about solving it. Proving that even sheep can be brilliant crime-solvers. Yep. Starring Hugh Jackman as the shepherd George, with a big cast featuring Nicholas Braun, Nicholas Galitzine, Molly Gordon, Hong Chau, Emma Thompson, Julia Louis-Dreyfus, Bryan Cranston, Chris O'Dowd, Regina Hall, Patrick Stewart, Bella Ramsey, and Rhys Darby. I admit – I'm so ready for this! It looks adorable and captivating and clever and amusing in so many fun ways. Enjoy. // Continue Reading ›
- Must See Teaser for Takashi Yamazaki's 'Godzilla Minus Zero' Sequel (April 14, 2026)
"If their operation fails, maybe we'll finally get to use it..." The big guy is back! Toho & Gkids have unveiled the first look teaser trailer for Godzilla Minus Zero, the highly anticipated sequel to the global smash hit Godzilla Minus One from 2023 a few years ago. Director Takashi Yamazaki has been hard at work on this sequel ever since that first one roared its way to Oscar glory. This is set two years after the vents of the first movie, at a "0" time for Japan now. It's 1949 after the war, when Americans were still all over Japan helping them rebuild. The story continues with the Shikishima family as they face an all-new calamity – with both Ryunosuke Kamiki as Koichi Shikishima and Minami Hamabe as Noriko Oishi returning in their same roles. It also stars Miou Tanaka. This epic monster movie global sci-fi sequel is set for another worldwide release in November. The footage was first presented at CinemaCon in Las Vegas this week, where director Takashi Yamazaki reminded everyone: "See you at the movie theater!" A few quick glimpses so far and I'm totally excited already! Looks even bigger and better – with Godzilla marching around outside of Japan, too. // Continue Reading ›
