- 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
- Netflix’s “Big Mistakes” Starts Off Feeling Small but Settles into Its Best Self (April 9, 2026)
The first two episodes of Netflix’s “Big Mistakes,” which basically play as one hour-long episode, actively annoyed me. A premise that feels overly familiar in the era of ordinary people getting caught up in violent situations a la “Ozark” with frustratingly dim lighting that matches that increasingly influential award winner centered by two obnoxious characters who I expected would just bicker their way through the next eight chapters: I started to regret my career choices.
Some of the issues in the first hour of “Big Mistakes” linger, but to say that the show finds its footing in unexpected ways would be an understatement. Behind-the-scenes drama could be to blame for the rough start tonally, but Dan Levy and his team relatively quickly figure out how to amplify the best aspects of their show, pivoting into a radically different one than it first seems.
“Big Mistakes” was created by and intended to be a vehicle for Levy and Rachel Sennott. When “I Love L.A.” went to series, Sennott couldn’t juggle both shows, so her part was recast with Taylor Ortega, and it feels like that shift impacted the show’s launch. The first impression I had was that Levy and Ortega not only don’t feel like siblings, but I’m not convinced they’ve ever even met. That lack of sibling chemistry early in the season really impacts the tone—it’s different watching a brother and sister bicker than it is two obnoxious strangers. There were also reports that Levy was struggling with the balance between crime and comedy in the writers room, and one can totally feel that early in the season, too.
BIG MISTAKES. (L to R) Dan Levy as Nicky and Boran Kuzum as Yusuf in Episode 103 of BIG MISTAKES. Cr. Spencer Pazer/Netflix © 2025
And then it’s gone. Before the halfway mark, “Big Mistakes” has become a more confident, balanced, entertaining show, a program that still struggles with some unbelievable choices by its many characters, but one that moves with such momentum that it’s an easy binge. It’s one of those shows where you want to see what’s going to happen next, how these two are going to fall into another trap or work their way out of one. And it contains several engaging performances, especially from Levy and Laurie Metcalf. It’s not perfect, but if this is Netflix’s newest “Ozark Lite,” it’s a better one than most of that imitative field.
Levy plays Nicky, a pastor in a town so small that his mother Linda (Metcalf) can both own the hardware store and be running for mayor. When his grandmother is dying, Linda tasks Nicky and his sister, Morgan (Ortega), with buying a nice necklace for her burial. They go to a pawn shop, and Morgan decides to shoplift what seems like an ordinary piece of jewelry, only to discover it is a bauble that is very important to a local crime syndicate. The store clerk/tough Yusuf (Boran Kuzum) brings Nick and Morgan to his boss, Ivan (Mark Ivanir), who basically forces them to join the payroll, giving them flip phones they have to answer whenever he needs them. What better unexpected pawns could a crime lord have than a pastor and a schoolteacher?
BIG MISTAKES. (L to R) Laurie Metcalf as Linda and Darren Goldstein as Tom Donaldson in Episode 104 of Big Mistakes. Cr. Courtesy of Netflix © 2026
Meanwhile, Linda launches a heated political campaign with her third child, Natalie (Abby Quinn), taking on a truly toxic power player in the community, Tom Donaldson (Darren Goldstein), whose strings are pulled by his wife, Annette (a perfectly cast Elizabeth Perkins). There are times when the Metcalf/Quinn/Perkins half of “Big Mistakes” feels like a different show from the Levy/Ortega one, but that becomes something more of a feature than a bug. The always-great Metcalf chews on the clever dialogue regarding small-town politics in a way that makes you wish she had guest-starred on “Veep,” and it allows a bit of a release from the criminal half of “Big Mistakes” while also reminding one that the worlds of international crime and local politics aren’t that different when it comes to idiotic behavior.
Levy settles into his role, too, getting just enough character work outside of the action of the piece to make him feel increasingly genuine. Mostly, he just doesn’t seem as adrift as in the early episodes, even developing some stronger chemistry with Ortega, although the extended scenes where they just yell at each other are the most consistently grating.
BIG MISTAKES. (L to R) Taylor Ortega as Morgan and Dan Levy as Nicky in Episode 107 of Big Mistakes. Cr. Courtesy of Netflix © 2026
Importantly, Levy and his fellow producers wisely surround their abrasive leads with rich supporting characters, mostly on the criminal side of the coin. Kuzum and Ivanir are particularly good, taking roles that could have been two-dimensional and making them richer through subtle choices. Ivanir conveys why Ivan would see our leads as different from his usual criminal cronies, while Kuzum finds a balance between being charming and dangerous.
“Big Mistakes” sometimes feels a bit too derivative of things that its creators know people love from the accidental criminals of “Ozark” to the dysfunctional siblings of “Schitt’s Creek,” but it’s ultimately smart enough to overcome that criticism. It’s an easy weekend binge in one of the most crowded TV months of the year. And a reminder that sometimes people, and shows, aren’t what they first appear.
Whole season screened for review. Now on Netflix.
- HBO’s “Euphoria” Feels as Lost as Its Characters in Riveting, Infuriating Third Season (April 8, 2026)
HBO’s “Euphoria” is in such a weird place in 2026. A show that once felt abrasively fresh and inventive went away for long enough that not only did its stars all become just as bright in other places, but its provocations seem increasingly hollow in a very different world. Premiering four years after we last saw these characters, the third season of Sam Levinson’s Emmy winner sometimes feels like a shadow of its former self, a program about young people trying to find who they are that is struggling through an identity crisis of its own, but there are just enough times when that shadow springs to life that it’s not so easily dismissed as a relic that took too long to return.
On the one hand, the disjointed nature of the storytelling across the three episodes sent to press makes for a TV-watching experience that lacks consistent momentum. On the other hand, it’s a season that’s often about people stuck in their routines, unable to find direction in a world of side hustles that treat their bodies like means to ends. There are individual beats, scenes, and performances in these three episodes that spark with that energy that the show found at its best, but 2026 “Euphoria” feels more uncertain of what it’s doing or saying than ever before.
If the goal is to reflect a lack of direction or focus in the quarter-life crises of its characters through a show that also can’t maintain a train of thought, then mission accomplished. But that feels like an awfully shallow sentiment for a generation that’s constantly trying to find new ways to keep its head above water.
The Rue (Zendaya) of 2026 isn’t battling addiction as much as what her addiction wrought. It turns out that the theft from unexpected crime boss Laurie (Martha Kelly) has turned her into a drug mule, literally using her body to transport product across the Mexican border. While she uses her body literally, Cassie (Sydney Sweeney) does so virtually, re-introduced dressed like a dog in lingerie to appease a very precise corner of the internet. Cassie is trying to raise extra funds for her dream wedding to now-entrepreneur Nate (Jacob Elordi)—including a $50k flower bill—by doing whatever it takes online, including opening an OnlyFans account.
Of course, other familiar faces return. Lexi (Maude Apatow) is working in Hollywood with a power player portrayed by Sharon Stone, while Maddy (Alexa Demie) circles a similar world of celebrities and influencers. At its best, Levinson and company seem to be commenting on the increasingly shallowness of, well, everything. Weddings are funded by softcore porn, celebrities care more about their online persona than their abilities, and the alleged sins of the world, like drugs and sex, are the only viable escapes from it all. Real happiness, whatever that may mean, is as brief and elusive as a drug high or a one-night stand. And if it’s true in your teens, it’s still true in your twenties.
Interestingly, the world has seen the stars of “Euphoria” develop their skills outside the show, and many of them bring what they’ve learned back to their familiar characters. Most of all, Zendaya slides right back into what I still consider her best performance. There’s a jittery, anxious energy that the “Dune” star brings to Rue that I really wish more film writers and directors would find a way to let her explore on screen. This version of Rue has essentially embraced the chaos, bouncing from Laurie’s grip into the sphere of a dangerous crime lord named Alamo (Adewale Akinnuoye-Agbaje). Zendaya sketches her as a reactive creature, someone who has faced so many hurdles that she just jumps when there isn’t even one in front of her. It’s another truly great turn, the best thing about the season, and, again, the best of Zendaya’s career.
Of course, Sweeney, Schafer, and Elordi have also seen their stocks skyrocket. They flow right back into these roles as if they never left, but they almost seem above the material at times. Elordi has been so nuanced in work like “On Swift Horses” and “Frankenstein,” but he’s hampered here by a shallow presentation of Nate through three episodes. (One hopes that changes over the subsequent five episodes of the season.) Sweeney again nails the fragility of a woman who’s so obsessed with image and opinion but can’t understand how fleetingly those things make her happy. Schafer doesn’t really do much until the third episode, but she glows under the chance to portray a happier Jules, one who seems in control of her own happiness more than at any other point in the series.
And yet what does it all mean? There’s a conversation in the second episode in which Maddy tells Cassie that she’s being too desperate instead of being herself. “Who am I?” asks Cassie, as if desperation to please IS being herself. “Euphoria” often has a similar problem: Pushing into shock value and even scenes that feel designed for TikTok virality instead of actually saying anything. As often as a performer’s choice rises above the artifice of it all, that hollowness always returns, especially with a trio of episodes that struggle to maintain a narrative throughline.
To start the third season, “Euphoria” seems to be saying that being in your twenties in the ‘20s exists on the surface of humanity, chasing highs through meaningless elements like drugs, sex, and online virality. If these characters were shallow, broken creatures when they were teenagers at the start of the show, this season seems to be building to the idea that we can’t just mature out of those habits because our birth certificate implies we should. To that end, the hollow chaos may be the point.
Only time will tell if Levinson and company can turn what is essentially just the setup for the season into a payoff that feels deeper and more focused. Or if it will be content to reflect the uncertainty of its characters through storytelling that can feel maddeningly uncertain itself.
Three episodes screened for review. Premieres on Sunday, April 12 on HBO.
- New Trailer for 'Tom & Jerry: Forbidden Compass' Chinese Animation (April 13, 2026)
"Yikes! My grandma's done more to save the world than you two." Viva Pictures has revealed their official US trailer for the animated movie Tom & Jerry: Forbidden Compass, ready for a US release in theaters this September. This is actually a Chinese production – despite it being the classic Tom & Jerry characters – it's an animated movie made in China for Chinese audiences. The US release is the last in the whole world, as every other country has already debuted it following its initial release in China last summer. The beloved cat & mouse duo Tom & Jerry accidentally travel through time after activating a magical compass. Along the way, the duo meets curious allies and faces mysterious forces in a playful adventure packed with chaos and discovery. This US release features an English language voice cast to bring it all the way home with these characters – originally from Warner Bros Animation. This looks properly goofy and wacky and entertaining. // Continue Reading ›
- Quick Teaser for Eli Roth's 'Ice Cream Man' Horror Starring Ari Millen (April 13, 2026)
"I scream, you scream, we all scream!" The Horror Section has revealed the first look teaser trailer for Eli Roth's next new horror movie called Ice Cream Man, which is actually a full-on feature and not another fake trailer. This premise sounds like it's one of his recent fake grindhouse trailers, but like Thanksgiving, Roth has turned this into an actual movie. About kids turning crazy! An idyllic suburban town descends into madness after a mysterious ice cream man serves frozen treats that turn children into homicidal maniacs. Ari Millen stars as the titular "Ice Cream Man" in this story, with Eli Roth, Benjamin Byron Davis, Karen Cliche, Dylan Hawco, Sarah Abbott, Kiori Mirza Waldman, Charlie Zeltzer, Charlie Storey, Shiloh O’Reilly. Looks like a riff on Weapons with a creepy weird ice cream guy similar to Art the Clown in the Terrifier series. Hopefully it'll be bonkers! I'm definitely curious to see more footage. Anyone? // Continue Reading ›
- Teaser for Netflix's 'Little House on the Prairie' Series About a Family (April 13, 2026)
"Once upon a time, Pa, and Ma, and Mary, and Laura..." Netflix has unveiled a first look teaser trailer for Little House on the Prairie, their brand new adaptation of this beloved classic. Adapted from the iconic semi-autobiographical book series written by Laura Ingalls Wilder. The first season is from the original The Little House on the Prairie book, which is actually the third book from the series, but it will explore more of their past and future. It's described as a reimagining of Little House on the Prairie, a sweeping, emotional early look at the Ingalls family's journey west. Streaming this summer starting in July. They left everything they knew for a new life on the prairie. Meet the Ingalls family as they discover what "home" really means. Starring Alice Halsey as Laura Ingalls, Luke Bracey as Charles Ingalls, Crosby Fitzgerald as Caroline Ingalls, Skywalker Hughes as Mary Ingalls, Jocko Sims as Dr. George Tann, Warren Christie as John Edwards, Wren Zhawenim Gotts as Good Eagle, Meegwun Fairbrother as Mitchell, as well as Alyssa Wapanatahk as White Sun. "This show is a love story about a family. They're a family you want to be with, you want to know, you want to spend time with." So far so good – a bright & beautiful teaser worth a watch. // Continue Reading ›
- James Cameron's 'Billie Eilish - The Tour' Live in 3D Concert Trailer #2 (April 13, 2026)
"It's gonna be loud!" "Duh." Time to join the Billie Eilish party! Paramount Pictures has revealed the second trailer for an exciting concert doc movie called Billie Eilish - Hit Me Hard and Soft: The Tour (Live in 3D) opening in theaters nationwide this May. Another new live concert doc that is also not just another live concert doc. Believe it or not, this music doc experience is actually co-directed by the maestro himself James Cameron - and in 3D using Cameron's innovative 3D cameras setup around the arena. This isn't the first time they've made a full 3D concert movie (One Direction had one 13 years ago) but they're upping the ante with Cameron collaborating with Billie Eilish herself to make this extra immersive. The concert doc was recorded during her 4 nights performing in Manchester during her Hit Me Hard and Soft: The Tour earlier in 2025. This new trailer not only features lots of footage of the concert itself, but also tons of footage with James Cameron hanging out with Billie, planning the shooting, explaining the cameras, and so much more. An intimate inside look at how a massive concert runs + how to make it look good on camera. Enjoy. // Continue Reading ›
- Freaky Teaser for 'The Boroughs' Series with Molina, Pullman, Woodard (April 13, 2026)
"Nothing's impossible now..." Whoa! Hello! What do we have here? Netflix has revealed the first look teaser trailer for the new mysterious sci-fi adventure fantasy series called The Boroughs, executive produced by The Duffer Brothers of Stranger Things. The Burbs meets Stranger Things meets The Twilight Zone. In a seemingly picturesque retirement community, a grieving newcomer’s monstrous encounter inspires him to join a funky crew of unlikely heroes who uncover a dark secret that proves their “golden years” are more dangerous than anyone expects. They discover something freaky is hiding under all the cul-de-sacs. Alfred Molina stars as Sam – dismissed by the powers that be as another confused old man, Sam finds unlikely allies in a band of neighborhood misfits: a sharp-witted former journalist, a spiritual seeker, a cynical music manager, and a brilliant doctor running out of options. Featuring Molina, Geena Davis, Alfre Woodard, Bill Pullman, Clarke Peters, and Denis O'Hare, along with Carlos Miranda, Jena Malone, Seth Numrich, Alice Kremelberg. This group of unlikely heroes must band together to stop an otherworldly threat from stealing the one thing they don't have – time. Shot in New Mexico. This looks rad! Check it out. // Continue Reading ›
