- The People from the Sea: How “The Odyssey” is About America (August 4, 2026)
There’s no easier way to get people angry these days than to make a movie out of a story they already love in some other medium: A comic book. A fantasy saga. Or, as we’re seeing with Christopher Nolan’s latest cinematic tour de force, an ancient Greek epic poem. Long before the movie hit theaters, online commenters (and a few notable academics) were already calling Nolan’s take on “The Odyssey” a travesty, venting on social and conventional media about the “historical inaccuracies” and compromises to “wokeist” demands they detected in its teaser trailers, production photos and casting announcements.
It’s never smart to leap to conclusions based on stray glimpses of a three-plus hour film as seen in scattershot leaks and early promo pieces, but especially so when the filmmaker in question is a director who makes choices, not mistakes. You may disagree with his choices. But they’re painstakingly planned, not frivolous or erratic, and certainly not the result of knee-jerk reactions to outside pressures.
And even if his choices step on people’s expectations of classic literature, part of what makes the classics so durable is exactly because they’re universal enough to be endlessly reinterpretable. Shakespeare’s plays have been turned into teen rom-coms (“10 Things I Hate About You”), gonzo horror flicks (“Tromeo and Juliet”), queer road dramas (“My Own Private Idaho”), space opera (“Forbidden Planet”) and samurai movies (Kurosawa’s “Throne of Blood” and “Ran”)—dramatically different, sometimes bizarrely altered versions.
Which is … totally fine.
Matt Damon (center) is Odysseus in THE ODYSSEY, written, produced, and directed by Christopher Nolan.
Because, like “The Odyssey,” Shakespeare’s plays are fiction. Great fiction—timeless fiction—but nevertheless entirely made up, and in their original context enjoyed more as mass entertainment than as revered, sacred texts. Shakespeare’s plays were performed in front of hooting audiences eating oranges and loudly commenting on the action. Homer’s poems were originally delivered by lyre-strumming singers at weddings and rowdy banquets, who often riffed satirical asides to needle their hosts and other notables, and casually inserted improvised references to current events into their renditions.
All of which is why it doesn’t make sense to talk about the “historical accuracy” of Nolan’s “Odyssey”: The original poem wasn’t based on factual events in the first place and was regularly used as a vehicle for the opinions and inventions of its performers.
So why shouldn’t Nolan have license to do the same?
“The Odyssey” was ultimately not a surprising choice for a Nolan project: It’s a war chronicle, a superhero story, a revenge movie, a tale centering on an unreliable narrator (an amnesiac who’s unsure if he’s awake, dreaming, deluded or unhooked from the flow of time). It’s like it contains the seeds of every Nolan movie, everywhere, all at once. And as with his prior works, he’s created a film that’s both a crowd-pleasing entertainment and a complex commentary on a deeper theme.
He’s used the conventions of film noir to explore the power of weaponized ignorance (“Memento”); unpacked the nature of grief and survivor guilt through a sci-fi heist caper (“Inception”); and highlighted the moral and personal compromises that the forces of order must make to restrain chaos via superhero stories (The Dark Knight Trilogy).
Director Christopher Nolan on the set of his film THE ODYSSEY, written, produced, and directed by Christopher Nolan.
The underlying message of “The Odyssey” is obvious, and it has been pointed out by others. It’s an allegorical musing on America, a nation whose leaders have shattered cherished norms and precedents and turned its back on the principles of its own framing—leaving chaos, mayhem and destruction in their wake. “Oppenheimer” asked whether men should play at being gods. “The Odyssey” explores what happens to an empire when its leaders forsake them—out of greed, selfishness, spite and vanity.
In service of King Agamemnon, shown as a dark figurehead in gold-accented armor, Odysseus (Matt Damon) defeats the Trojans with his genocide-packed wooden horse, an act that’s celebrated as a stroke of cunning to the Greeks, and reviled as an astonishing war crime by the gods. For this act of treachery on foreign soil, Odysseus is cursed to wander lost for decades, in a journey that we see could have been cut short any number of times, if it weren’t for the protagonist’s own narcissism, bloody-mindedness and incompetence.
It’s not an accident that Nolan cast the extremely white Matt Damon (an iconic native son of Boston, the cradle of American democracy) as his protagonist, or that he chose to have his actors, even his British performers, speak in a quintessentially middle-American accent and idiom. An aging white leader at the center, surrounded and enabled by an array of people of color, women and other marginalized people, is what the United States has been for almost all of its history, and naturally, it’s these vulnerable subordinates who pay the price for the protagonist’s hubris, time and time again—abandoned, consumed, cast away, used as disposable pawns. A score of crewmen in the gullet of a cyclops, a half-dozen more yanked away screaming by a multi-headed snake monster, whole boats full of sailors plunged into the murky depths by angry Poseidon’s raging storms? Who’s even counting?
The inclusion of trans actor Eliot Page in the film, a centerpoint of outrage from right-wing politicians, seems particularly notable given his casting as Sinon, who becomes an unwitting human sacrifice to enable Odysseus’s glory; out of all of America’s groups, none has been more overtly used as a decoy target than trans persons, who have been banned from military service (no Sinons in America!) and many organized sports, had their healthcare access and legal I.D. stripped away, and been accused of everything from pedophilia to terrorism.
Lupita N’yongo as Helen of Troy and her regicidal twin sister Clytemnestra seems like equally pointed casting: We see her as both ultimate object of male desire and as enraged madwoman, two caricatures regularly painted on Black women—but also, it’s not that long ago that a Black woman, Kamala of Frisco, was simultaneously portrayed as the most aspirational person on Earth and as the ruthless destroyer of her white male patron, and, like Helen, left humbled and scarred.
L to R: Anne Hathaway is Penelope and Tom Holland is Telemachus in THE ODYSSEY, written, produced, and directed by Christopher Nolan.
Helen and Clytemnestra aren’t the only ill-treated women in “The Odyssey”. Odysseus’s patient and long-suffering wife Penelope (Anne Hathaway) is left cloistered in his palace, fending off the predatory paws of loutish suitors and forced to take on the hard work of administering Ithaka in her husband’s absence, sans credit and without power of her own. When she finally unleashes a rant at her callow son Telemachus (Tom Holland) that rather than him, another mediocre white male, she should be the one on the throne, since it’s her competence that has kept the kingdom from collapsing, that could be Hillary Clinton, Liz Warren and dozens of other female would-be chief executives shouting from the archives: “Empty throne? I’ve been sitting on an empty throne for 20 years! My knowledge, my years of experience, that’s all nothing compared to the bristles on your chin!”
And when Odysseus finally arrives back home, after his self-caused misadventures and years spent self-medicating his PTSD and engaging in cuddle therapy on Calypso’s beach, his first act is to savagely and methodically murder and drive out the suitors who have gathered in his absence, once again breaching Zeus’s mandate that guests should be welcomed and treated like representatives of the gods themselves, a bloody mass deportation that Odysseus laments as a necessity (much as his war crime was a necessity), even if it ends the age of Ithaka’s ascendance and makes him outcast among men and subject to divine judgment. It doesn’t matter, he says; the future will forget the crimes of the “great” and remember only the epic sweep of their deeds.
“The Odyssey” is big and noisy and full of fury, because that’s how America represents itself to the world. Odysseus is neither as smart nor as complex nor as resourceful as he thinks, or as the rest of humanity believes. That’s not an error of characterization on Nolan’s part. It’s just an expression of our American reality as an aging, fraying empire hurtling from crisis to crisis, whose leaders who are too busy putting their hands in others’ pockets to keep a firm one on the rudder.
And Nolan’s film is not a misbegotten attempt to modernize a classic—it is a deft and purposeful reflection of America in this moment, seen through the glass of mythological metaphor. We are the lost warrior-navigator trying to find our way back, only to have our own recklessness, stubbornness and lack of concern for our allies send us adrift. We, America, are the people from the sea.
- Short Films in Focus: Warsha (August 4, 2026)
Dania Bdeir’s “Warsha” is one of my favorite kinds of short films. In a tight fifteen minutes, it takes the viewer on a real journey of one person’s interior feelings of entrapment, confinement, freedom, and liberation, while also providing unbearable suspense and an exhilarating surprise ending that makes the white-knuckle moments worth the agony. It easily remains one of my very favorite films I ever programmed for the Chicago Critics Film Festival and demands to be seen on the biggest screen possible.
Now that I’ve hyped it, you should just go and watch it before reading any further. Bdeir’s story focuses on Mohammad (Khansa), a Syrian refugee working on a construction site in Beirut. He lives in a small shelter with many other workers who take a van every morning to a site with the creakiest elevator, which takes them to whatever floor they work on that day. None of these men ever have a moment of privacy. They are constantly around each other, getting on each other’s nerves, and look at their job as a kind of curse. At one point, Mohammad learns the site has lost their sixth crane operator, and for good reason: It is the site’s most dangerous job. Mohammad sees it as an opportunity.
Why is the crane job so dangerous? It sits atop what will eventually be a skyscraper. Many believe that to be assigned that job is to receive a death sentence; Bdeir films it as such, keeping Mohammad in the shadows as he walks the corridors to his fate, then bathing him in unforgiving sunlight as he gets to the bridge that leads to the crane. Why would anyone want this particular job?
This is where I have to warn you that this is one of those terrifying movies that deals with heights. It’s a phobia of mine, and no matter how many times I see certain films, I become unnerved at what I’m watching and feeling. No matter how dumb the movie (“Fall”), no matter how funny (“Nirvana The Band The Show The Movie,” the “Moonlighting” pilot), no matter if I know everything will turn out okay (“Die Hard,” “The Walk” in IMAX 3-D… I could go on), any movie that deals with heights and ordinary people dealing with the danger atop tall buildings and structures, I freeze up. Or anyone just casually sitting on a high ledge (Emma Stone in “Birdman”). Stop! The tension turns me into a whimpering scaredy-cat. “Warsha” belongs on that list of films that do it the best.
There is another component to the film that I will leave for you to discover. Bdeir’s skillfully made short is a fine character study that, through Mohammad’s eyes, is almost wordless. We get expository dialogue about the crane from the men around him, but Bdeir keeps the camera focused on Mohammad’s face and Khansa’s eyes tell the story with captivating subtlety. We are drawn into his inner world without being fully let in until the very end.
Normally in this feature I have a Q&A with the director, but Bdeir has an extra treat in store for this film on its Vimeo page. Go into the audio settings, and you can hear Bdeir’s commentary track where she gets into the technical aspects of the film (you will wonder “how did they do this?”), the casting of Khansa and the film’s reception (questions I would normally ask here). Give it a listen if you want to learn more about this extraordinary movie.
- “Sterling Point” Might Be Your Next Messy Teen Drama Escape (August 4, 2026)
If you spent the last few vacation seasons immersed in “The Summer I Turned Pretty,” then the new Prime Video series “Sterling Point” might be your next watch. There’s the YA novel aura, magical island escapism, and an ensemble built on messed-up family dynamics and secrets the past generations try to keep hidden (but not well enough). You know, that kind of aesthetic. A world of pretty teens and new adults navigating complicated emotional terrain in the isolation of a very specific island subculture. It’s high school, but during break, so there are no classes or teachers in the way. And like “The Goonies,” the parents are only a suggestion.
The series follows Annie (Ella Rubin), raised in New York with her adoptive father and twin brother (Keen Ruffalo). When she inherits Sterling Point, a secluded Canadian island on Lake Muskoka, from their mysterious grandfather, she heads out for a gap summer to get to know herself better. On the island, she runs into Ramona (Amélie Hoeferle), who forces Annie to deal with a past she didn’t know existed.
(l-r) Annie Jacobson (Ella Rubin), Maple (Mabel Strachan), Oona (Bo Bragason), and Ramona (Amélie Hoeferle) in STERLING POINT. Photo Credit: Sabrina Lantos/Prime Video
There’s also a love triangle. Actually, double that: there’s the straight triangle and the queer one, which must be appreciated for the equal screen time. The first in this intersecting polygon of will-they-won’t-they love belongs to Annie, Ellis (Jacob Whiteduck-Lavoie), and Rory (Daniel Quinn-Toye). These two dark-haired and earnest boys with opposing personalities create emotional tension throughout. For Ramona, there’s a crush, the wild child named Oona, and Oona’s parade of paramours. The ensemble is rounded out by Ruffalo, Jeffrey Dean Morgan, Jay Duplass, and Missi Pyle. My faves are Bo Bragason as Oona and Nikko Angelo Hinayo as Sully, who add the sparkle that pulls you into the show in their refusal to be the typical sidelined queer love interests or sidekicks.
What emerges is a story about familial ties, seeking identity, adoption, grief, and the question of nature versus nurture. That last is a theme co-showrunner, creator, and director Megan Park told Teen Vogue she’s been interested in exploring for a while. That and the authenticity of teen lives. Ultimately, “Sterling Point” questions the composition of family; are we bound by blood, love, or trust?
This marks Park’s first original series after her acclaimed films “The Fallout” and “My Old Ass,” and the bones of those predecessors are apparent here, but this series lands differently. It’s firmly a coming-of-age drama for teens, while the others, whether in comedy or tragedy, feel more aimed at adults. That might be due to an assist from “The O.C.” and “Gossip Girl” veterans Josh Schwartz and Stephanie Savage as executive producers.
There’s a frivolity to the characters without a true sense of charm that makes it hard to connect. The mysteries, while interesting and well developed, don’t have enough narrative pull. However, the drama builds nicely, the character arcs have real growth, and each episode gives you something to giggle about or gasp over. Frequently both, more than once. Oh, and there’s an atmospheric cover of “Teenage Dirtbag” that made me smile.
It’s a perfectly fine series full of moments that will likely be meme’d. If you like “The Summer I Turned Pretty” or “Outer Banks,” you might be ready to head out to “Sterling Point.”
Five episodes screened for review. Premieres August 5 on Prime Video.
- USA Network’s “Anna Pigeon” Is a Satisfying TV Throwback (August 3, 2026)
Come for the nature shots, stay for the compelling characters from Nevada Barr’s novels.
USA Network’s “Anna Pigeon” is filled with beautiful Montana vistas (even if shooting took place in neighboring Alberta, Canada) and golden-hour glows as it follows its titular park ranger. Played with charisma by Tracy Spiridakos, Anna Pigeon’s got a mystery to solve each week while delivering lines like “Littering is a gateway crime.”
Yes, this is a traditional show with pulpy intrigue, a little bit of sex, and some corny jokes thrown in for good measure. Like other TV series of yore, it centers a messy blonde with a diverse supporting cast. Of them, Paulina Jewel Alexis stands out as Ranger Zoey Bear Child, who views Anna as her mentor. Coming off the critically acclaimed “Reservation Dogs,” Alexis continues to bring warm humor and openness to her Indigenous identity. And “Anna Pigeon” does right by her, letting her wear her identity lightly but purposefully. She’s also free from the pressure of being the sole Native cast member, thanks to Crystle Lightning playing dispatcher Frieda Dierkz, who the costume department fits with spectacular spectacles.
These choices around Indigenous representation strike a strong note in a series that is primarily about white people and their preoccupations. At the center, of course, is Anna. She’s haunted by nightmares of the night her husband was murdered, even as she’s past the initial mourning period. No longer running from her New York life, she fields probing calls from her psychiatrist sister (Tricia Helfer) while finding a home and a lover (Cooper Levy) in Glacier National Park.
“Track of the Cat” — Tricia Helfer as Molly Pigeon in Anna Pigeon. Photo Credit: Michelle Faye/USA Network © VERSANT MEDIA 2025. All Rights Reserved
In the pilot, she declares herself “a cop,” explaining her particular brand of ranger and setting herself up to encounter and solve a variety of crimes. For all the show’s awareness of the need to portray Montana’s Native community, it can’t quite bring itself to imagine non-white femininity. This is a show with a fair amount of violence against women–as seen in the six episodes given to critics–but all of the murder victims are white women, despite Indigenous women experiencing much higher rates of violence.
Still, “Anna Pigeon’s” heart is in the right place. Here, the heroes are a diverse group of environmentalists, while the bad guy is greasy, greedy patriarch Jeremiah Paulson (a smarmy Kim Coates). He’s a nasty capitalist, the man who owns the most land in the state and inspires a variety of crimes Anna uncovers. If that matches your politics, then “Anna Pigeon” will be a guilt-free pleasure for you.
To the show’s credit, Jeremiah’s easy to root against, just as Anna is easy to root for. She’s a flawed woman who drinks too much and moves on instinct. But the show doesn’t judge her sleeping around or taking a circuitous path through grief. Instead, it lets her be messy in ways that only men usually get to be.
And because of that, “Anna Pigeon” doesn’t fall into the trap that so many of these shows do, of having the vanilla protagonist be the least interesting character of the ensemble. Instead, Spiridakos holds the eye whenever she’s on screen, her piercing blue eyes allowing humor and vulnerability even as she radiates strength. And the camera loves her, with the sun bouncing off her wavy locks and caressing the various scratches and bruises she gets along the way.
Some of the mysteries she uncovers are predictable, but in a comforting sort of way. This is a show that revels in traditional TV beats with their clear sense of right and wrong. The crimes are surprising enough to keep it interesting, even if the show can’t quite pull off its multi-episode arc, thanks to some nonsensical motivation and strange acting choices.
Which is to say, “Anna Pigeon” won’t leave you thinking, but it will leave you satisfied. It isn’t a challenging show–it works best if you don’t think too much about it. But it is a pleasant one.
Certainly, USA Network’s “Anna Pigeon” is an easy way to experience Montana’s natural beauty from your living room, while following a beautiful woman completing physical and mental feats to make her little corner of the world better. And that’s a satisfying way to spend an hour or so a week.
Six episodes screened for review. Premieres on USA Network on August 7, 2026.
- The Unloved, Part 152: The Milagro Beanfield War (August 3, 2026)
When Robert Redford passed, and I was asked to put together a tribute to this great man, it occurred to me that I was saying goodbye to someone, too. Someone who put his energy not into preserving the land or patronizing the arts or helping with political causes, but into his family. In his own way. Redford’s directorial career was less than respectable, on the whole, but he made a movie that spoke to a man who came from nothing and died away from the land on which he was raised, so far from whatever home might have been.
My grandfather died a few weeks ago. When I was small, I couldn’t imagine having a different relationship to him than the one I had, of course. He was our playmate, coordinator of our vacations, Santa Claus, our loudest supporter at little league sports; he believed in us. He did everything for us. That’s not the whole story, of course, and right around the time that I learned that this very generous man may have a darker side, he became my employer. I had a front row seat to the disorder I didn’t know had a name or a cause when I was younger. Just why was this man so angry?
He rarely took it out on my siblings, but certainly as we aged his disappointment at so many things became unavoidable, in his every sigh, in his response to every broken air conditioning unit or internet problem. After a while, the most jovial man I knew growing up seemed aware he’d been left behind by everything he thought he’d conquered. He wanted to be a big wheel, wherever he was, whatever he did. Unfortunately, he wasn’t born that way, and those of us who desire wealth above all will find a way to it, but once you get it, once you prove your past self wrong, what then?
I’m not sure my grandfather ever found out, as he never stopped trying to succeed, even though by most rubrics he had. Still, there was some awful poetic circuitousness to the miserable fact that when he passed, it was without his beloved wife by his side, without his friends, who he couldn’t see when he couldn’t walk to play golf or breathe in the heat of the summer, without the home he sold to afford palliative care, without much of anything. I thought about all of my memories with him, in the house that seemed so big to me as a child, watching the few VHS tapes he bought for us for nights we stayed with them while our parents were out or away.
He steered towards films about Spanish or Mexican people. He was born to abject poverty in the Southwest, and though he worked hard to rise above it and forget it, it always lived with him. For years he would tell me his favorite film was “The Milagro Beanfield War.” When I was a kid it sounded boring. When I was older, I couldn’t bring myself to watch something personal to him.
By then our relationship had changed. I knew too much about him. What if I saw the film and it didn’t reflect this man at all? What if it changed my estimation of him, after so many changes had already taken place over a long two decades from the time I sat in his office, doing the work of ten people as his business went under, learning to see his optimism as a hollow front for terror at his own powerlessness. This man thought he could reach the top of the world, but somewhere he still saw himself in the image of the dirt-poor farming community in Robert Redford’s charming character study, a gently socialist fable about direct political action. I saw everything good in him, and suddenly the year we spent watching him get sick and die hurt that much more.
He loved this movie because he wanted to love people, but he had a hard time extending the love he was denied to many other people. We got it, though. My siblings and I. The last thing he did for me was finance my next movie. He died before I could show it to him, but we did show him “The Milagro Beanfield War” one last time. I hope it made him feel less alone. I hope it meant something. Now I start a new chapter, with this movie and without him.
- First Look Teaser for John Wilson's Doc Film 'The History of Concrete' (August 4, 2026)
Tune in! Magnolia Pictures has unveiled a fun teaser trailer for the documentary film titled The History of Concrete, the very first feature film made by acclaimed doc filmmaker John Wilson. This premiered at the 2026 Sundance Film Festival earlier this year as one of the hottest tickets at the festival, earning rave reviews from critics and regular viewers alike (here's mine). It's funny. Following the finale of his acclaimed HBO doc series "How To with John Wilson", NYC documentarian John Wilson looks to the bedrock of his beloved New York City for inspiration and structure. He decides to make a doc about concrete – not only its history, but the way it's ever-present in all aspects of our lives (from buildings to pavement and beyond). We learn about the differences between cement and concrete, how to clean up concrete, and everything else you did not know you would learn about concrete, but now he'll tell you all about. An amusing and entertaining doc that becomes a tribute to all the various people of New York City, who are as important to holding the city together as all the concrete... Executive produced by Nathan Fielder. Stay tuned for the full trailer soon. // Continue Reading ›
- Final Trailers for Anime 'The Ribbon Hero' from Director Yuki Igarashi (August 4, 2026)
"Can you really save them?" Netflix has debuted their final official trailers for the vibrant anime film The Ribbon Hero creation from animation filmmaker Yuki Igarashi, known for creating & directing the "Lop & Ochō" episode of Star Wars: Visions a few years ago. This will be streaming on Netflix to watch later this month. Her new film is inspired by the "Princess Knight" manga by Osamu Tezuka that's originally from the 1950s in Japan. The old manga follows the adventures of Sapphire, a girl who was born accidentally with the blue heart of a boy, and also the pink heart of a girl. So she pretends to be a prince to prevent the evil Duke Duralumin from taking over the kingdom through his son, Plastic. It was adapted once before into a 52-ep TV anime series by Mushi Production that aired on Fuji TV from 1967 to 1968. Sapphire in this new anime will be voiced by Saya (Lalande). In this film, Sapphire is the princess of a kingdom that no longer exists. Having lost everything in her homeland of Silverland to the calamity known as "Nergal," she wanders in despair until she finally arrives in Goldland. The voice cast includes Yoshimasa Hosoya as Rock; Mito Tsukino as Hecate; Yusuke Tezuka as Chorogy; Lunlun as Chick; & Debidebi Debiru as Tack. Enjoy. // Continue Reading ›
- David Harbour is Back as Badass Santa in 'Violent Night 2' Full Trailer (August 4, 2026)
"It's time to save Christmas... and get off the Naughty List." 🎅 Let Santa fight! Universal Pictures unveiled an official trailer for the brutal holiday action movie Violent Night 2, the highly anticipated sequel to the smash hit Violent Night from 2022 about what if Santa was a tough guy badass action hero. The whole cast and crew is back for another round - director Tommy Workola, the 87North stunt team, same producers and writers, and of course David Harbour as Buff Santa. "Merry Christmas to all, and to all a good fight." Stranded in a crumbling New Jersey mall, cut off from the North Pole, Santa is trapped dishing out violent justice to a ruthless Crime Lord and his henchmen overrunning the town's mall. David Harbour reprises his role in a propulsive new chapter in yuletide mayhem from 87North—the powerhouse producers of Bullet Train, John Wick, The Fall Guy, Atomic Blonde and the Nobody franchises. Also starring Jared Harris, Kristen Bell as Mrs. Claus, Joe Pantoliano, Daniela Melchior, Andrew Bachelor, as well as AEW wrestler Maxwell Friedman. Well, this doesn't look as good as the first Violent Night movie overall, but it still does look like tons of ridiculous action-packed super violent entertainment to enjoy during the holidays. // Continue Reading ›
- Nathalie Emmanuel & Claire Forlani in Thriller 'Confinement' Trailer (August 4, 2026)
"Trust me. We take care of our own." She doesn't sound very trustworthy! Paramount Movies has revealed an official trailer for a crazy family thriller Confinement from the UK, ready for release next month. This being sent directly to VOD starting in the fall – not exactly the most exciting horror release. But then again this doesn't look that exciting either, another been there don't that story we've seen many times before. Get Out meets Rosemary's Baby meets Ready or Not – is the best pitch for this. A grieving widow is invited to her late husband's family estate to recover, but when she is forced to stay until she gives birth, she must confront whether her child is cursed or if she is losing her mind. This looks creepy but also this family looks totally nuts! This new horror thriller stars Nathalie Emmanuel as Stella, along with Ben Cura, Eloise Lovell Anderson, Charlie Hiscock, and Claire Forlani. Another direct-to-video movie we can all skip. // Continue Reading ›
- Final 'Get Your Tickets' Trailer for 'The Dog Stars' with Jacob Elordi (August 4, 2026)
"It's no surprise how fast civilization can disappear." Ain't that the truth. Hitting theaters later this month! 20th Century has unveiled a new "Get Your Tickets" promo trailer for Ridley Scott's new post-apocalyptic thriller movie titled The Dog Stars, adapted from the book by Peter Heller. Opening in theaters worldwide in late August and it looks like it should be an entertaining experience. This is officially the fourth trailer for this film after the first trailer, second one, and post-apocalyptic third promo last month. Sparse survivors in the aftermath of a catastrophic pandemic traverse the ravaged wasteland landscape in hopes of finding the origin of a mysterious radio transmission - wanting more from their lives. Will they find someplace that isn't overrun with these freaky cannibal humans out to get them? Is there any safe haven or is it all just ravaged now? Jacob Elordi stars in this as Hig, a pilot flying his little yellow Cessna plane around. With Brolin as a tough ex-marine. They face invaders and the endless struggle of hope for a better life outside of their current existence in a tiny enclave. Starring Jacob Elordi as Hig, Josh Brolin, Margaret Qualley, with Guy Pearce, Benedict Wong, and Allison Janney. I really hope this turned out good! I'm ready to watch it. // Continue Reading ›
