- ‘The Last Dance’ Ends a Beautiful, Impactful Run for the Long-time Roger Ebert Film Festival (April 16, 2026)
Born and raised in Urbana-Champaign, Roger Ebert left his mark everywhere—as a sportswriter for The News-Gazette when he was 15, at Urbana High School as Senior Class President and co-editor of The Echo student newspaper, and, at the time of the assassination of President John F. Kennedy, on to the University of Illinois and The Daily Illini, where Ebert later became the Editor-in-Chief. He then went to work at the Chicago Sun-Times, became the paper’s film critic and was honored with a Pulitzer Prize for Criticism—the first for film—in 1975, achieving national and international recognition.
Yet when he, along with wife Chaz Ebert and Nate Kohn, brought The Roger Ebert Overlooked Film Festival (now affectionately known as Ebertfest) to the Virginia Theatre in Champaign in 1999, little did anyone know at the time what a truly indelible impact there would be on the film world, but particularly on his hometown in the middle of the corn and bean fields of east-central Illinois. Acclaimed actors, writers, directors, producers, film critics and movie lovers would continue to gather in Champaign-Urbana for a handful of days every year, except in 2020 when it was cancelled because of coronavirus pandemic (COVID-19), for 26 years—long after even Ebert himself lasted on this earth, sadly. They would interact with local, everyday people, and spark conversations of mutual interest in art, storytelling, the human condition and life itself.
This festival that they built transformed our community for the better.
And now, the last of the festivals—“The Last Dance”—is being held April 17-18 at the time-honored Virginia Theatre and will provide a fitting end to a beautiful run.
The memories, and the lessons, will remain—just as the statue of Ebert will remain, offering his signature thumbs-up from a movie theater seat in front of the Virginia—to remind us of the life-altering power and cultivated empathy of film by immersing viewers in both familiar and unfamiliar perspectives.
As Ebert once said, “Of all the arts, movies are the most powerful aid to empathy, and good ones make us into better people.”
Would that we all continue to see many good movies.
I saw a lot of them through the years at Ebertfest—not just the overlooked—and many with Ebert’s own skilled, critical perspective in mind as the movies were screened. I’ve also appreciated the panels and audience questions, learning from each festival as they would transform into a classroom. After experiencing the movies and the panels and the audience Q-and-As as one united community, there are the breaks—the entr’actes—between screenings to meet friends, old and new, from the area and from around the country and the world. They provided an opportunity to take part in an improvisational public square, enjoying the company of different people and learning about different lives and perspectives.
Like many who have volunteered, worked or attended every Ebertfest since the beginning, I am rather nostalgic and hate to see the end of Ebertfest. It’s hard to believe that it was 27 years ago when I saw “Shiloh,” starring Scott Wilson, whom I later hosted along with his wife, Heavenly, when they came back with another film. And it was bittersweet when I saw Heavenly again a few years later, this time along with Polish actress Maja Komorowska (and her grandson, Jerzy Tyszkiewicz, as her translator) who came to Ebertfest for the Scott Wilson film she was in, “A Year of the Quiet Sun,” after he had passed away.
But I guess over the course of 27 years, we are all bound to experience pain and loss, as well as the joy. That is part of life. And this year, I will remember it all with gratitude—not only the people, like Roger Ebert, Scott Wilson, Kris Kristofferson, Kaylie Jones, Paul Cox, Dusty Kohl, Norman Lear, and many others, but also the fun, the stories and, of course, the movies.
This year’s final lineup of films and guests will no doubt be special. Chaz Ebert and Nate Kohn have continued Roger’s legacy with love and honor.
May this “Last Dance” finale for Ebertfest, that Roger Ebert graciously brought to our community, be a celebratory, full-house, lovefest thank-you from all of us.
- Netflix’s “Beef” Returns with a Season as Twisted and Hysterical as the First (April 16, 2026)
2023’s “Beef” was so good that a limited series turned into an anthology with creator Lee Sung Jin hoping to avoid the sophomore slump with another twisted, unpredictable tale of anger and class with entirely new characters. The multiple Emmy-winning original told the tale of a pair of fractured people whose chance encounter sent ripples across both their lives. The second season of “Beef” expands its net to entangle two couples at very different stages of love and life, again thrust together by an angry outburst. Once again, the writing is as good as anything on television as Lee’s gift for dialogue and storytelling shines through all eight episodes, a series that so thoroughly avoids the common drag of Netflix bloat that its pace should be studied by anyone who gets a contract with the streaming giant. One of this era’s best ensembles digs into the witty repartee and complex characters provided by Lee’s writer’s room, leaving you wondering who is to blame and who to root for. The answers are everybody. And nobody.
Oscar Isaac plays Josh Martin, a general manager of a country club who is wealthy by anyone’s standards, but he’s found himself in a world of the uber-rich, people who bet thousands on single hands of poker with Michael Phelps. Josh doesn’t have anywhere near that kind of money, which makes it harder to swim with those sharks, and the stress caused by a bed-and-breakfast project he’s been working on with his wife Lindsay (Carey Mulligan) has been actively eating away at their relationship. Surrounded by signs of the life he never had as a musician in his man cave, Josh fights an OnlyFans addiction while Lindsay is even more active in her infidelity, texting old flames before blocking them out of regret and flirting with the handsome tennis pro at the club. She very clearly resents and probably has grown to hate Josh.
Beef. (L to R) Charles Melton as Austin Davis, Carey Mulligan as Lindsay Crane-Martin, Oscar Isaac as Josh Martin, Cailee Spaeny as Ashley Miller in episode 202 of Beef. Cr. Courtesy of Netflix © 2026
And she doesn’t hesitate to tell him all of this in the premiere’s inciting incident, a no-holds-barred fight in which Josh and Lindsay seem to be heading to divorce if they don’t kill each other first. As the two reach an angry climax in which it looks one might actually hurt the other, they look outside to see one of Josh’s employees, a drink cart girl from the club named Ashley (Cailee Spaeny). She’s been watching with her puppy dog of a fiancée Austin (Charles Melton). And they weren’t just watching. They were recording.
Ashley and Austin, an aspiring personal trainer, seem like decent, ordinary people. They regret invading the privacy of the Martins—they were there to return the wallet that Josh left at the club—but everything changes when they realize they have been presented with an opportunity. What will Josh and Lindsay do to keep that violent secret buried? Even in the middle of an active blackmail, Ashley and Austin try to hold onto their humanity. She just wants a better job at the club; he eventually wants some opportunities as a trainer. And then “Beef” takes the first of many fascinating twists as Josh and Lindsay seem less infuriated by their blackmailers and more inspired. After all, they’re owed a few things by a broken system, too.
Beef. (L to R) Charles Melton as Austin Davis, Seoyeon Jang as Eunice in episode 203 of Beef. Cr. Courtesy of Netflix © 2026
“We’re not bad people, they are.” This line is at the core of the thematic foundation of “Beef.” No one ever thinks the morally questionable behavior in which they are partaking makes them bad. They find ways out of that kind of logic, usually by pointing at someone who’s even worse. And this season has a lot of fun playing with the varied morality on the rungs of the economic ladder. Josh/Lindsay may be rich compared to Austin/Ashley, but they’re nothing when contrasted against the new owner of Josh’s country club, Chairwoman Park (Youn Yuh-jung, who won an Oscar for “Minari”), or her famous plastic surgeon husband Dr. Kim (Song Kang-ho of “Parasite”). At its core, “Beef” is about three couples who make increasingly bad decisions that are influenced by their place on the most important spectrum in this world: the wealth one.
Just the second episode alone is a masterpiece of desperation: a character study of people who think they have discovered loopholes in a broken system who will eventually learn that they are actually nooses. It’s here where Lee’s writers and ensemble really dig into these characters to reveal the nuance of their performances. Melton avoids “dumb guy” stereotypes by understanding that Austin genuinely wants to be decent, even as he starts to feel tempted by Chairwoman Park’s gorgeous assistant Eunice (Seoyeon Jang). Isaac avoids the sweaty desperation that could have turned Josh into a caricature, always playing the realism of the predicament in front of him. He understands a character who has talked his way out of many business problems and, in the process, talked his way into a life he hates. Mulligan, Youn, and Song are all predictably great.
However, if the season has an MVP it’s Cailee Spaeny, who gets to use some acting tools she had yet to employ. In films like “Priscilla” and “Alien Romulus,” she’s often very heavy as a performer, leaning into serious notes that fit those roles, but she’s buoyant and very funny here, getting us to immediately like Ashley, and then testing that likability with some truly horrible decisions. It is easily one of the best performances of the year, the peak of its best ensemble.
Beef. (L to R) Carey Mulligan as Lindsay Crane-Martin, Oscar Isaac as Josh Martin in episode 208 of Beef. Cr. Courtesy of Netflix © 2026
The endgame of the second season of “Beef” relies on an incredible amount of coincidences like a quickly repeated conversation from a party and an overheard one on a plane, but the writing has done so much strong work by this point that these devices can be forgiven. It’s really a show that works on so many levels, from individual jokes that reflect a sense of humor that understands the pop culture world of 2026 to the bigger issues of wealth inequity, gender disparity, and even the generation gap.
There’s a refined simplicity to the first season of “Beef” in its inciting incident of a middle finger in a parking lot that is a bit missed in a second outing that’s less immediately relatable, but that feeling fades away as one grasps the ambition of the entire piece. If people saw themselves in the protagonists of the first “Beef,” you can see the world in this one, a study of how wealth divides our society, but can also unite people like Austin, Ashley, Josh, and Lindsay through their shared truth: They’re all broken.
Whole season screened for review. Now on Netflix.
- 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 of 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 small-town 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 Tabitha 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 is more of a nebulous idea than a 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 the stakes of 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 many ideas 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 that every episode ended with someone saying, “Look at that over there!” and he had to know how that cliffhanger would be 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.
- Sacha Baron Cohen vs Rosamund Pike in 'Ladies First' Comedy Trailer (April 16, 2026)
"You stole my job!" "You need to relax." Time for men to learn their lesson! Netflix has revealed the first trailer for a comedy called Ladies First, arriving to watch streaming in May. This is an English language remake of the French comedy called Je Ne Suis Pas Un Homme Facile. An arrogant but charismatic ladies' man finds his life of money, power and casual flings upended when he wakes up in a parallel world run by women. Sacha Baron Cohen stars opposite of Rosamund Pike in this fun new take on a man's world - directed by Thea Sharrock. A "ladies man" finds himself totally lost when he wakes up in an opposite world dominated by women. With the rules of engagement changed, he goes head-to-head with a fiery colleague in a playful satire about what happens when the script is flipped. The cast includes Charles Dance, Emily Mortimer, Tom Davis, Weruche Opia, Bill Paterson, with Richard E. Grant and Fiona Shaw. This is a clever concept for a modern comedy twist, just not sure if they're going to pull it off right, or if Cohen will just be a raging asshole the entire film. Some of the jokes land, others not so much. What do you think? // Continue Reading ›
- Creepy 'Boogeyman' Teaser for 'Widow's Bay' Horror Comedy Series (April 16, 2026)
"Do you remember the Boogeyman?" Apple TV has debuted one more creepy teaser trailer for the horror comedy series Widow's Bay, out to watch later this month. This one tells the story of the Boogeyman. A skeptical mayor of a New England town refuses to bow to the superstitions of residents who say the place is cursed. Created by Katie Dippold, directed & produced by horror filmmaker Hiro Murai. "Prepare to visit the local haunts of Widow's Bay." Unfortunately, the locals were right. After decades of calm, the ol' stories that seemed too crazy to be true, start happening again. Widow's Bay mixes genuine horror with some goofy comedy. Matthew Rhys stars as new mayor Tom Loftis, with Kate O'Flynn, Stephen Root, Kingston Rumi Southwick, Kevin Carroll, and Dale Dickey. This has some talented horror directors involved - such as Ti West (The Sacrament, The Innkeepers, X, Pearl, MaXXXine), Andrew DeYoung (Friendship), Hiro Murai ("Barry", "Atlanta", "Mr & Mrs Smith", Guava Island). The first teaser debuted a few weeks ago and last week we got a Sea Hag teaser. I'm digging these horror story teasers – scary but still amusing, too. // Continue Reading ›
- Full Trailer for 'Jack Ryan: Ghost War' - John Krasinski & Sienna Miller (April 16, 2026)
"Starling has been resurrected. They're intelligent. They're dangerous." Prime Video has debuted the main official trailer for a spinoff even movie titled Tom Clancy's Jack Ryan: Ghost War, ready to watch at the end of May. This is a one-time special movie that is a continuation of the Jack Ryan series starring John Krasinski as the iconic Tom Clancy spy character. Krasinski took over the role in 2018 and that ran for 4 seasons into 2023 where it finally wrapped up with the "final season." But of course in the streaming world there's always room for one more movie. Netflix also released a Peaky Blinders: The Immortal Man movie, and Prime Video has this Ghost War movie. Ryan's next mission in here forces him to confront a rogue black-ops unit. Operating in real time with lives on the line, he reunites with battle-tested CIA operative Mike November & former CIA boss James Greer, their combined experience the only edge they have against an enemy who knows their every move. Krasinski co-stars with Sienna Miller, Wendell Pierce, Michael Kelly, Betty Gabriel, Max Beesley, and Douglas Hodge. This is actually the sixth Jack Ryan movie in the franchise's history, though it's really more of an extended TV finale than anything brand new. A much better trailer with some exciting action in it – although this will be streaming only not in theaters anywhere. // Continue Reading ›
- Awesome Full Trailer for 'Street Fighter' Action Movie Made in Japan (April 16, 2026)
"Ready. Set. Fight." Push "Start" to play. Legendary & Capcom have revealed the main official trailer for the awesome new live-action Street Fighter movie called simply Street Fighter. We already posted a first look teaser last year and a behind-the-scenes promo this year. Directed by Kitao Sakurai, this video game action movie lands in theaters October 2026 this fall. Street Fighters Ryu & Ken reunite when Chun-Li recruits them for the World Warrior Tournament. As they face a hidden conspiracy, they must confront each other and their past – or face destruction. The totally epic full-on cast features: Noah Centineo as Ken Masters, Andrew Koji as Ryu, Jason Momoa as Blanka, Roman Reigns as Akuma, Callina Liang as Chun-Li, Curtis "50 Cent" Jackson as Balrog, Andrew Schulz as Dan Hibiki, David Dastmalchian as M. Bison (ahahaha!!), Cody Rhodes as Guile, Vidyut Jammwal as Dhalsim, Eric André as Don Sauvage, Orville Peck as Vega, Olivier Richters as Zangief, Hirooki Goto as E. Honda, Mel Jarnson as Cammy, Rayna Vallandingham as Juli. They made this in Japan and it looks like they're finally staying true to the video game aesthetics and making it as bonkers as can be. I'm in! Can't wait to watch - looks like a complete blast. // Continue Reading ›
- First Trailer for Farhadi's Film 'Parallel Tales' w/ Huppert, Efira, Cassel (April 16, 2026)
"Stop mixing everything up, I'm not the girl in your story." Memento in France has unveiled the first trailer for the drama film titled Parallel Tales, also known as Histoires Parallèles in French. It's the next film from Oscar-nominated Iranian filmmaker Asghar Farhadi, made in France and filmed in Paris after his many years playing in Cannes. It's actually his second French film - in 2013 he made The Past in France as well. His new project is an official French-Italian-Belgian coproduction between Memento in France, Lucky Red in Italy, and Panache Productions & La Compagnie Cinématographique in Belgium. It's premiering at the 2026 Cannes Film Festival in the Main Competition and opens in French cinemas right away. Though not in the US yet. Starring Isabelle Huppert, Virginie Efira, Vincent Cassel, Pierre Niney, Adam Bessa, and Catherine Deneuve. In search of inspiration for her new novel, Sylvie begins spying on her neighbors across the street. When she hires the young Adam to help with everyday tasks, she doesn't realize he will upend her life and her work. It looks very French and very dramatic - as expected. Take a look below. // Continue Reading ›
