Director: Anthony Frith Stars: Eric Roberts, Michael Parรฉ, Michelle Bauer
Synopsis:A struggling director documents his journey making a “mockbuster” in six days, descending into the chaotic world of low-budget filmmaking.ย
โA bad movie is better than no movieโ – myย favoriteย quote from this film.ย I haven’t had this much fun with a film in a long time. It’s a must-watch for B-movie fans.ย
Most people only ever see the finished product. They watch a film, praise it orย critiqueย it, and move on without thinking about the hundreds of tiny miracles, or disasters, that had to happen behind the scenes to get it made.ย That’sย especially true of low-budget cinema. Audiences often laugh at so-called “bad movies,” but rarely stopย to considerย just how difficult it is to makeย anyย feature, regardless of budget.ย Mockbusterย is a quirky, funย documentary about making a film rather than surviving one. Anthony Frith’s wonderfully self-aware behind-the-scenes adventure offers an affectionate,ย hilariousย and surprisingly insightful look inside one of cinema’s most infamous production companies: The Asylum.ย
For anyone unfamiliar with The Asylum, they’re the studio that built an empire producing films designed to sit suspiciously close to Hollywood blockbusters. Think cheap sets, crappy CGI genre flicks. They’re responsible for the Sharknado phenomenon, alongside countless wonderfully shameless titles that have become cult favourites precisely because of their unapologetic absurdity. Their films are often dismissed as cheap knock-offs, but Mockbuster asks a far more interesting question: what does it actually take to make one?
The answer, it turns out, isย organizedย chaos. After years of directing corporate videos and watching his filmmaking ambitions slowly drift away, Frith simply asked The Asylum to let him directย The Land That Time Forgot, a dinosaur adventure shot in suburban Adelaide over just six frantic days. At the same time, he decides to document the experience, creating a filmย that’sย every bit as entertaining as the production itself. What follows is part documentary, part comedy, and part endurance test.ย As Firthย wants to create something that has his stamp on it.ย
The beauty of Mockbuster lies in embracing the ridiculousness of the situation. Watching the crew scramble to solve problems with almost no money and even less time becomes addictive. Whether it’s rewriting scenes moments before filming, improvising around practical limitations or attempting to create cinematic spectacle with what appears to be pocket change, there’s an infectious creativity on display. It’s impossible not to admire the sheer determination involved. It’s filmmaking with the safety rails completely removed. And it works. Itโs popular and makes money.
Weโre given candid interviews with the studio owners and workers, who clearly love what they do – and have no shame in what they create. The Asylum isnโt portrayed as cynical filmmakers chasing quick profits, but as being populated by people who genuinely love making movies, even if those movies occasionally involve giant sharks, improbable disasters or prehistoric monsters rendered on microscopic budgets. We learn how they write and make the films, getting to see their studios and insane process.
Thereโs plenty of heartwarming footage of Anthony from his childhood, his career and his future. We hear from his friends, family and some heroes. Heโs honest about his work-life balance, becoming a father, and putting some aspirations aside as he navigates his responsibilities with his passions. Itโs lovely to see how he walks into The Asylum and instantly becomes part of the furniture – after they make him watch an abundance of their movies.
Some of the funniest moments are when nobody involved seems particularly interested in pretending everything is under control. The documentary embraces imperfections, awkward and exhausted expressions and frantic last-minute decisions. Thereโs frustrations, arguments, (creative differences) and thereโs something scary about the Aussieโs when theyโre angry. But, these scenes feels refreshingly authentic in an age where behind-the-scenes documentaries often resemble carefully managed marketing campaigns.
Perhaps the documentary’s biggest achievement will be how it will completely change your perception of low-budget filmmaking. It’s easy to mock B-movies from the comfort of a sofa. It’s much harder to dismiss them after seeing the relentless work required to bring them into existence. Frith demonstrates that while budgets may be tiny, the passion behind them certainly isn’t.
If there’s a criticism, it’s that the documentary occasionally assumes viewers already understand the strange world of mockbusters. Those completely unfamiliar with The Asylum’s business model may find themselves wishing for a little more context before the production chaos begins. Likewise, some sections linger slightly longer than necessary on logistical challenges that will primarily fascinate aspiring filmmakers.
What stayed with me most wasn’t the comedy or even the filmmaking process. It was Frith himself. His excitement, self-doubt, optimism and determination – they really become the emotional engine driving the documentary. Anyone who has ever chased a creative dream, whether in film or elsewhere, will recognise that mixture of terror and exhilaration that comes from finally getting your opportunity and wondering if you’re about to completely blow it. In many ways, Mockbuster isn’t really about making a B-movie at all. It’s about refusing to let perfection become the enemy of actually creating something.
Funny, surprisingly moving and packed with genuine affection for independent filmmaking, Mockbuster is a delightful reminder that every film, no matter how gloriously ridiculous, begins with someone brave enough to say, “Let’s give this a shot.” And after spending ninety minutes in Anthony Frith’s company, you’ll never look at a mockbuster quite the same way again.
Director: Sam Hayes Writers: Sam Hayes Stars: Odessa A’zion, Ariel Winter, Tyler Alvarez
Synopsis: In the midst of her whole life falling apart, Kennedy attempts to somehow reconnect with her dead father, searching for permission to live her own life within a wild pool-hopping escape through the elaborate estates of her college town.
Coming-of-age films are often built around the idea that one extraordinary night can change everything. Whether it’s American Graffiti, Booksmart, or Superbad, there’s something irresistible about watching young people stumble through chaos, make terrible decisions, and somehow come out the other side a little wiser. Pools, directed by Sam Hayes, takes that familiar blueprint but swaps drunken house parties for an after-hours pool-hopping adventure. The result is a dreamy indie drama taking on growing up with grief.
The story follows Kennedy (Odessa A’zion), a rebellious college student who is facing expulsion while quietly carrying the weight of unresolved grief. Rather than confronting her future head-on, she joins a ragtag group of friends for an impulsive night spent sneaking into the luxurious swimming pools scattered across the wealthy neighborhoods surrounding their college town. What initially appears to be an excuse for youthful rebellion turns out to be an exercise in healing.
Odessa A’zion continues to establish herself as one of the more interesting young performers working today. She has an effortless ability to make emotionally guarded characters feel accessible, never asking the audience to pity Kennedy, only to understand her. She plays the role with an appealing mixture of sarcasm, vulnerability and quiet frustration, allowing moments of silence to carry just as much weight as the dialogue. The supporting cast brings an easy chemistry that feels refreshingly authentic. These genuinely resemble a group of friends rather than actors assembled to fulfil familiar coming-of-age archetypes. Ariel Winter and Suzanne Cryer are great in their roles, adding a layer of depth to the film and to Kennedy – as the characters who know her and what sheโs been through with her dad’s sudden passing.
Visually, Pools is stunning. The glowing blue water, moonlit gardens, and sprawling luxury homes create an almost dreamlike atmosphere that constantly contrasts with the characters’ emotional uncertainty. Every new pool feels like entering another chapter of the evening, another opportunity for confession, escape or simply a few moments of peace. The water becomes more than just a backdrop; it feels symbolic throughout, representing escape, reflection, freedom and, at times, emotional paralysis.
The cinematography does much of the emotional heavy lifting. There’s something undeniably cinematic about watching these characters float (and party) beneath the stars while trying to keep their complicated lives from pulling them under. They donโt all get away with crashing a stranger’s pool. Some of the best parts of the film are when the characters are caught and have to fight off the owners and escape into the next garden.
The film is filled with random, quirky quick zoom-ins and crash/whip zoom shots, which really work for the indie vibe. The soundtrack is also very effective in shaping the emotions in the scenes and driving the story along. That said, Pools won’t work for everyone. Its leisurely pace demands patience, and viewers looking for a conventional comedy or high-stakes drama may find themselves waiting for something bigger to happen. The film is working with mood over momentum, but it could have done with adding a little more conflict and angst to keep viewers truly invested.
There were moments when I wished the screenplay dug a little deeper into some of its supporting characters. Several intriguing personalities drift in and out of the narrative without leaving much of an impression, and because the chemistry is strong between the actors, I wanted more of a deep-rooted richness from them. Theyโve come together as strangers, which is a spontaneous idea, but they missed a chance for real depth and growth.
Towards the end, we finally get the outburst weโve been waiting for, where the honesty about what Kennedy is feeling comes out. The ending doesnโt offer any resolutions, but lets audiences know that however you grieve is okay. Itโs a slow and somber ending, but youโll feel slightly more whole after watching.
Pools is a deep and reflective take on the coming-of-age genre. It’s thoughtful, beautifully shot, emotionally honest, and anchored by another impressive performance from Odessa A’zion. Like the best late-night conversations, it will leave you reflecting on your own memories of youth, friendship and the strange comfort of feeling completely lost. Sometimes, one unforgettable night really can change everything.
Director: Philip Barantini Writers: Jack Thorne, Nancy Springer Stars:ย Millie Bobby Brown, Henry Cavill, Helena Bonham Carter
Synopsis: Detective Enola Holmes heads to Malta, where her aspirations merge in her most complex and dangerous case yet.
When Netflix dropped the first Enola Holmes back in 2020, it was one of the better surprises of that year. A very funny and charming Holmes mystery where the iconic Sherlock is playfully in the background as we follow his sister for the first time. The sequel two years later was equally diverting, even with slightly diminishing returns. So now, here we are some years later with Enola Holmes 3, which quietly dropped on Netflix without any fanfare.
Jack Thorne once again pens the script, but this time Philip Barantini sits in the director’s chair as the film adopts a subtle change in tone. While it carries many of the same traits as its predecessors in terms of editing, energy and breaking the fourth wall, Enola Holmes 3 is more mature and wants to tackle heavier themes. On paper, the film had the potential to be the best of the three. However, as tends to be the case, it has a Netflix problem.
Enola Holmes 3 begins with a wedding. Enola (Millie Bobby Brown) is set to marry Tewkesbury (Louis Partridge), but given her desire for independence and after making a name for herself away from her brother’s shadow, she starts to have second thoughts. Meanwhile, Sherlock (Henry Cavill) is kidnapped and thus we have the foundation of our mystery for Enola to solve. As she discovers new clues, while running into familiar faces in the process, Enola uncovers a scheme that goes far beyond her brother’s disappearance.
There is a welcomed griminess and prickly underbelly to Enola Holmes 3. At times, it feels as if Barantini wants to push the franchise further with Enola and her relationship with Tewkesbury. To denote her evolving humanity as a young woman whose in love, but also deeply tethered to her identity as an investigator. And, more broadly, tackle themes of colonialism and doing egregious things in the name of The Crown. The problem is that either Thorne, Barantini, or Netflix doesn’t trust the audience to keep up.
Every time the film builds up momentum, there is some sort of flashback to Enola Holmes or Enola Holmes2 as a wink or reminder as to what happened in those movies. The film simply doesn’t trust you to have seen or remember them at all. The constant pandering and hand-holding here is reminiscent of Netflix’s “repeat the dialogue several times over because audiences are probably doing laundry” reputation. Not only is it tedious and unnecessary, but it takes precious time away from characterization and theme building. This leaves us with half-baked arcs and thinly veiled ideas that don’t carry much of an impact.
Additionally, Thorne’s screenplay tries to Avengers the film by contriving an ending that brings together Enola, Tewkesbury, Dr. Watson, and Eudoria Holmes. There’s a version of Enola Holmes 3 where that does work if the film sharply focused on Enola’s conflicting desires and how that becomes more complicated once she discovers a truth around Malta’s history with the British government. A truth that heavily impacts Tewkesbury, both internally as his status in the system.
In the end, Enola Holmes 3 is a bit of a misfire. The film still has the same endearing qualities as the first two, and at time’s it does push the series to new territory, but the “Netflix-ing” going on here makes for a frustrating experience. Millie Bobby Brown gives a fine performance. Henry Cavill is always wonderful as Sherlock, although his role here is even more muted. Helena Bonham Carter gives the film a fun spark. Louis Partridge is the unsung hero.
This week on Episode 695 of the InSession Film Podcast, we discussed our Top 5 movies of the year so far! Almost hard to believe, but it’s time of the year already. Weโre halfway through and weโve seen some pretty good films to this point. Itโs been a little slow-going at times, but 2026 has given us some great gems in the first half of the year. As always, weโre excited to dive into our favorites to this point and discuss why these films will linger on as we near the fall season. That said, here are our lists:
NOTE: In this segment we only discussed our Top 5 movies of the year so far, however, as youโll see below, we have listed our full Top 10 as it stands right now.
JD
1) Blue Heron
2) Nirvanna the Band the Show the Movie
3) Disclosure Day
4) Mother Mary
5) 28 Years Later: The Bone Temple
โ
6) Tuner
7) Silent Friend
8) The Death of Robin Hood
9) Send Help
10) Faces of Death
Megan
1) Alpha
2) Blue Heron
3) Mฤrama
4) Project Hail Mary
5) Hokum
โ
6) 28 Years Later: The Bone Temple
7) Is God Is
8) Obsession
9) Mother Mary
10) Backrooms
Honorable Mentions (Combined) Josephine, If I Go Will They Miss Me, Dracula, Crime 101, Miroirs No. 3, I Love Boosters, Good Luck, Have Fun, Don’t Die
Hopefully you guys enjoyed our lists, and if you agree or disagree with us, let us know in the comment section below. There are obviously many more movies that we didn’t have time to mention. That is to say, your list could look very different than ours given the great films and memorable sequences we saw over the last year. That being said, what would be your Top 5? Leave a comment in the comment section or email us at [email protected].
For more lists done by the InSession Film crew and other guests, be sure see our Movie Lists page.
On this episode, JD and Megan discuss the latest film from Netflix in Enola Holmes 3! It’s weird how the film came and went without any fanfare and barely any discourse. The tepid response to this film is interesting given how well received the first two were, but perhaps that’s why Netflix kept it so quiet.
Review:Enola Holmes 3
Director: Philip Barantini Writers: Jack Thorne Stars: Millie Bobby Brown, Louis Partridge, Henry Cavill
Fantasia International Film Festival is right around the corner, and Insession Film has two writers covering the fest, Megan Loucks and Maxance Vincent. Together, they bring you a stunning preview of some of the more exciting films to be featured at Fantasia!
Megan:
Fantasia International Film Festival enters its 30th year, and the lineup this year is packed. From the film opening the festival, Nicolas Winding Refn’s Her Private Hell to Atsushi Nishigori’s animated anthology GROTESQQQUE, there’s a delicious slate of films to dive headfirst into. With this being my first time covering this festival remotely, I put together a small sampling of films that caught my eye. As someone who loves horror, fantasy, and the occasional sci-fi film, Fantasia highlights talented voices around the globe, and here’s hoping it continues for another 30 years.
All synopses for the films below are taken from Fantasia’s program listings.
Sour Minnows Dir. Harrison Atkins
Synopsis: “After unknowingly peeking through the veil, Ricky (David Brown, THE RAINBOW BRIDGE, JURY DUTY) and his roommate Tepper (Chase Williamson, THE GUEST, JOHN DIES AT THE END) witness six men sensually licking the pavement on an empty L.A. street. As time stretches and bends in the aftermath of this encounter, Rickyโs relations, including his situationship with fellow cinephile Aura (Suzanna Son, RED ROCKET, FEAR STREET: PROM QUEEN), begin to take on surprising new dimensions. Memories morph into lies, reality becomes malleable, and Ricky finds himself at the mercy of โThe Yellow Thing,โ an entity that wears people like costumes.”
This entry from the USA piqued my interest from the description in the synopsis “six men sensually licking the pavement.” This marks director Harrison Atkin’s sophomore feature, and touches on how a post-pandemic world treats its inhabitants. With AI creeping, or rather barging, into every aspect of our lives, a film that reflects the growing concern with the implications of artificial intelligence, is right up my alley.
Motherwitch Dir. Minos Papas
Synopsis: “Eleni (Margarita Zachariou), a painter, is isolated from her wider community, consumed by unbearable grief after losing all three of her children in a senseless accident. In desperation, she enters into a Faustian pact with feminine chthonic forces to bring them back. To do so, she must gain the trust of a lonely and abused local boy, Michalakis (Sifis Katsoulakis), a fellow painter seeking refuge from his violent father. Yet once the ritual is enacted, the real nightmare begins, as Eleniโs psychic wound spills outward into the surrounding community through the manifestations she has unwittingly invited in.”
Any film that has been compared to 2019’s Hereditary and 1989’s Pet Sematary instantly goes on my watchlist. Films about grief, specifically centered on motherhood, are important to experience, especially during times when senseless violence rises around the world. Papa’s newest film has been shown at a handful of other festivals, with stellar word-of-mouth.
Godhead Dir. Mark H. Rapaport
Synopsis: “With his sophomore effort, GODHEAD, Rapaport plunges us back into his wickedly strange imagination in an equally baffling and engrossing film that examines the intertwining blood structures where fanaticism and obligation meet. The film follows eccentric twins who proclaim themselves prophets, blurring reality and delusion as they draw a priest into their supposedly divine mission. Shot by William Babcock (HIPPO, PLEDGE) in crisp black and white, the filmmaking embraces canted and exaggerated angles that draw on and subvert structures of power. A darkly comic work examining the limits of dogmatic belief, the filmโs formal identity reflects themes of fanaticism within a world of increasingly fragmented and unreal truths. The film feels claustrophobic and uncertain, pulling us into the mindspace of religious indoctrination.”
Sarah Coffey and Kimball Farley both starred in Queens of the Dead, which makes Godhead that much more intriguing to me since they play the film’s main characters. Also, the use of prophets, religion, and the fantastical side of indoctrinations made this a no-brainer to add to this list. If the poster is any indication of the quality of this black-and-white feature, surely Godhead will be a religious experience.
The Journey to Gyeong-Ju Dir. Kim Mi-jo
Synopsis: “A mourning mother named Ok-sil (Lee Jung-eun) and her three daughters wear matching T-shirts and go on a road trip to get revenge against the person responsible for the death of her youngest child, after they find out heโs been released from jail. During the first trial, he has received an initial sentence of 15 years in prison, but it has been shortened to eight afterwards. The horror of seeing the dead body of her daughter at the hospital has left Ok-sil traumatized ever since. Their journey takes an unexpected turn that challenges them to face their deep feelings of frustration, sorrow, and grief. What starts out as a mission of vengeance becomes an unpredictable and personal voyage of love, loss, and redemption.”
Kim Mi-jo had me at a road trip revenge thriller, and it doubled down on me when it revolved around the story of a mourning mother and her daughters. As mentioned before, films that show the unique perspectives mothers bring with the impacts of senseless violence make for interesting films. It also helps that this has been compared to Little Miss Sunshine, a personal favorite, if it were about seeking redemption.
Colony Dir. Yeon Sang-ho
Synopsis: “โI am the only vaccine that can stop this outbreak.โ Professor Se-jeong (Gianna Jun) attends a biotech conference to hopefully start looking for a new career in the field. What is supposed to be a simple day of finding a new job turns into blood-soaked terror as she and other survivors are trapped in the building with nowhere to run as a dangerous virus mutates people into infected beings undergoing horrifying transformations. Itโs a fight for survival against these mindless, cannibalistic freaks, while struggling to figure out how to end this deadly threatโฆ”
Yeon Sang-ho’s newest film goes back to the zombie genre and from the blood soaked image used for the film’s promo, it looks like to be another Sang-ho horror delight. Some say that the zombie genre has more than run its course, and I wouldn’t completely disagree, but I also wouldn’t turn down a revolutionary filmmaker working in the genre that he found immense success in.
Maxance:
The programming of the 30th edition of the Fantasia International Film Festival reflects the eclectic and unconventional spirit that this grandiose celebration of all things genre cinema has always given us. Among one of the most intriguing titles, at first glance, is Alan Resnick and Robby Rackleffโs Dance Freak, where a viral outbreak turns humans into pulsating creatures who only want to dance. Starring comedy legends Stavros Halkias, Sarah Sherman, and Conner OโMalley (also known as the greatest actor of all time), this underground selection looks to check all the boxes of a legendary time in the Concordia walls viewing something weโre likely never to see on the big screen againโฆunless it develops the cult followings films like Hundreds of Beavers and Rats! received in the wake of their respective Fantasia premieres.
The festival also likes to reward its regular filmmakers, chief among them Kiyoshi Kurosawa, one of the most versatile and prolific Japanese directors, with over 70 films to his credit. His latest work, The Samurai and the Prisoner, was one of the buzziest titles to come out of a rather middling edition of the Cannes Film Festival. Janus quickly picked it up, and it is now being shown in the Horizon 2026 section at this yearโs Fantasia before its July 31 release. The film marks Kurosawaโs first foray into the jidaigeki, set within a mystery story in which a lord uncovers a grand conspiracy unfolding before his eyes.
Kurosawa has been mostly known for the J-horror masterpieces Cure and Pulse, but his filmography is far more diverse than that, and he once again shows the breadth of his work by delivering a film that seems steeped in the grand tradition of some of the greatest Japanese formalists, such as Akira Kurosawa, Masaki Kobayashi, Kenji Mizoguchi, and Kaneto Shindo. To say Iโm not brimming with anticipation to see Kiyoshiโs latest motion picture on the big screen would be the understatement of the year!
Fantasia is also synonymous with some truly incredible action films that will surely overstimulate our senses. Anyone who hasnโt seen Yuen Woo-pingโs jaw-dropping Blades of the Guardians (which was released in North American cinemas in February) should definitely put it on their radar, but my eyes are absolutely focused on two potential bangers: Giddens Koโs Kung Fu and Eiji Uchidaโs TOKYO BURST: Crime City. It wouldnโt be Fantasia if I didnโt see at least one contemporary Hong Kong actioner, and Kung Fu looks to be the exact tonic we need before the mania of the retro programming (more on that later), while also helping us see where the action landscape is in Hong Kong today, especially after Soi Cheang revolutionized the form with Twilight of the Warriors: Walled In.
Uchidaโs TOKYO BURST: Crime City, which will compete for the coveted Cheval Noir award, will undoubtedly satiate our thirst for pulse-pounding, death-defying martial arts, as it is a direct spinoff of the popular (and bone-crunching) The Roundup franchise, which has made Ma Deong-seok (also known as Don Lee) an even bigger star in Korea than he already was. The Roundup universe is expanding โ and fast โ as the franchise moves to Japan and tracks a brand-new group of colorful characters. It will be one of two Uchida movies to play at this yearโs edition of Fantasia, with the second being The Specials, which will follow a group of Yakuza assassins who will go undercover as a pop dance group to kill a rival gang. This seems to follow a similar beat to Yu Nakamotoโs Break Free, which will also play at Fantasia and tracks the story of a Yakuza enforcer becoming a breakdancing sensation. The common threads are there, and itโs beautiful to see how closely connected most of the lineup is at this festival.
Finally, Iโd be remiss not to talk about at least one splashy premiere, and itโs not Her Private Hell or Teenage Sex and Death at Camp Miasma. While those are indeed big titles, they have already played at other (and more significant) festivals than Fantasia, despite top talent walking in the same auditorium as Hudson Williams and Connor Storrie did when Heated Rivalry changed their lives late last year (sorry, I had to link it somehow to this show).
I instead want to highlight Agnieszka Smoczyลskaโs Hot Spot, which will have its World Premiere (!!!) in the Cheval Noir section this year. The Polish genre auteur is no stranger to Fantasia, having also played her best-ever work, The Lure, at this festival. And while her last film, The Silent Twins, was a major disappointment, the premise of this latest endeavor is more than tantalizing. A dystopian thriller that tackles the ever-worrying subject of sentient A.I. ruling the world, starring Noomi Rapace? Say no more โ sign me up!
If any of you reading this curtain raiser are still in Montreal after Fantasia is over, the Cinรฉmathรจque Quรฉbรฉcoise is planning a retrospective series that celebrates the 30th anniversary of the festival, where Smoczyลskaโs The Lure will be screened. More information can be found here.
Every year, programmer King-Wei Chu organizes a few restoration screenings of Hong Kong classics โ a staple of any in-person visit to Fantasia. Last year saw the J.A. de Sรจve auditorium erupt in total euphoria with Pao Hsueh-Liโs mind-melting The Battle Wizard, and the 30th edition will screen two underseen Shaw Brothers classics, in two different formats.
The first is the world premiere of a 2K restoration of Chang Cheh and Kuei Chih-Hungโs The Delinquent, by Arrow Video. While the boutique distributor has yet to announce its plans for a Shawscope Vol. 5, one probably thinks weโll find this eclectic combo of two distinct visions in Hong Kong cinema on a future Blu-ray box set. To see any restored Shaw Brothers movie on the big screen is an event of its own, but seeing it at Fantasia with a packed crowd is even better. Anyone who attends the festival shouldnโt miss the opportunity to see that crowd in action in front of these incredible films.
The second is a 35mm screening of Johnny Wang Lung-Weiโs Hong Kong Godfather, a rare opportunity to see an unavailable, out-of-print Shaw Brothers movie that predates the Heroic Bloodshed movement during a commercially dwindling era for the studio. Studios like Golden Harvest and Cinema City were beginning to make their mark in Hong Kong cinema, while some important Shaw films fell by the wayside due to the aforementioned companiesโ growing success. Hong Kong Godfather may be one of such examples, which promises a โtotally bonkers bloodbath ending, shot in the same mall used in Jackie Chanโs Police Story climax,โ per the filmโs description on Fantasiaโs website.
Speaking of Cinema City, Fantasia will also be premiering a 4K restoration of Sun Chungโs City War, courtesy of Shout! Factory, which recently acquired the Golden Princess library and has been sporadically releasing 4K remasters of long-unseen Hong Kong classics on physical media and the big screen. Starring Chow Yun-fat and Ti Lung, in their third collaboration after John Wooโs A Better Tomorrow and its sequel, the movie is rarely seen outside Hong Kong but is remembered as one of Chungโs final films before his retirement. The Montreal crowd will finally get a chance to lay their eyes on yet another unknown Hong Kong classic sooner than later!
Finally, on the Taiwan side, Thrilling Bloody Sword is looking to slash the Hall auditorium once a newly restored 4K print premieres on July 26. I could potentially describe a movie I havenโt seen in this article, but Iโd rather use King-Weiโs words to give you a taste of what to expect instead: โThrilling Bloody Sword is like if wuxia He-Man meets The Battle Wizard.โ What more needs to be said? Iโm already seated in the theater as we speak!
More restorations will include repertory screenings of Paul Morrisseyโs Forty Deuce, Takashi Miikeโs Gozu, Takeshi Koikeโs Redline, and Bruce McDonaldโs Pontypool, the latter of which will be screened as the Kingston-born filmmaker will receive the 2026 Canadian Trailblazer Award. On the Quรฉbec side, a restoration screening of Jacques Godboutโs The Mob is planned, while other retro viewings are centered on figures who will receive the Denis Hรฉroux award for their contributions to the development, creation, or distribution of Quebec genre and independent cinema.
These figures are director/actor/playwright Robert Lepage (The Confessional, Possible Worlds, both presented in 35mm), actress Louise Portal (Sophie Deraspeโs Les loups, Rodrigue Jeanโs Full Blast, the latter of which will be screened in 4K), and VFX artists Blood Brothers (Cul-de-$ac). All will deliver a masterclass on their work during the festival, adding to other discussions, such as a masterclass with filmmaker Nicolas Winding Refn, a conversation with Grace Glowicki hosted by Matt Johnson, and a panel with Jane Schoenbrun, Hannah Einbinder, and Alice Maio Mackay, moderated by Camp director Avalon Fast.
This is just a taste of what Fantasia has to offer this year! There will be something for literally everyone. Stay connected to Insession Film for upcoming reviews from Maxance and Megan!
On this episode, JD and Megan discuss not just one of the best surprises of the year, but generally one of the year’s best films in Tuner! Leo Woodall gives one hell of a performance in a movie that shouldn’t work, and yet it all somehow comes together wonderfully. Which is to say, we had a blast dissecting this one.
Review:Tuner
Director: Daniel Roher Writers: Daniel Roher, Robert Ramsey Stars: Leo Woodall, Havana Rose Liu, Dustin Hoffman
This week on the InSession Film Podcast, we discuss our Top 5 movies of the year so far! There’s been some great movies this year and we sift through out favorites at the mid-way point. JD also gives his thoughts on Obsession, Minions & Monsters and Pressure, while Megan dives into Couture and Girls Like GIrls.
– Obsession (2:31) We open the show by diving back into the world of Obsession after JD finally caught up with the film. There are a lot of good things, in particular Inde Navarrette’s sensational performance,ย but we do bring up some question marks surrounding the Nikki character and how the film portrays her.ย
–ย Couture / Girls Like Girls (29:24) Megan then gives us her thoughts on the Alice Winocour film Couture, starring a great Angelina Jolie. She also dives into the charming coming-of-age drama Girls Like Girls from first-time director Hayley Kiyoko.ย
– Minions & Monsters / Pressure (38:01) Before we get to the Top 5, JD offers up his thoughts on the latest from Illumination in Minions & Monsters, one of the biggest surprises of the year so far. Especially as a cinephile, there is so much to love about the film. As for Pressure, well, it’s a movie about the weather.ย
– Top 5 Movies of 2026 so far (1:01:45) It’s that time of the year already. We’re halfway through and we’ve seen some pretty good films to this point. It’s been a little slow-going at times, but 2026 has given us some great gems in the first half of the year. As always, we’re excited to dive into our favorites to this point and discuss why these films will linger on as we near the fall season. With that said, what did you think of of our lists?
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Director:ย Sasha Waters Stars: Helena Bonham Carter, Steve Buscemi, Stephen Colbert
Synopsis:Pulitzer Prize-winning poet Mary Oliver, a quiet queer icon, captivated readers everywhere with her accessible celebration of nature, dogs, and life itself.
Poetry is the most impenetrable of literary genres. It’s a form that requires the reader to be open to the truth about oneself and the state of the world. It requires us to see the truth in the most complex and complicated way possible. Poetry holds many of us at arms length, but there are poets who have the ability to use the form to transcend beyond the boundaries of language to a deeper understanding of what it is to be human. It’s clear from the film Mary Oliver: Saved by the Beauty of the World that Mary Oliver was such a poet.
It’s unique to have not only her work, but Mary Oliver’s own words preserved so well. Much of the film uses archive footage of Oliver as she gives readings, lectures, and talks. Some audio files of her radio, television, and print interviews also make it into the film. We often think of poetry and poets as sort of a sepia-toned, analog idea so it is gratifying to see Oliver speak directly to her life and work. These good and interesting clips can get bogged down in some stock footage that is meant to enhance, but can take away from the person that is keeping our attention.
It’s also refreshing that the majority of talking heads within the film aren’t stuffy historians and theorists. While most of them are poets, writers, and artists, many of them knew Oliver and can speak to her state of being better than any academic could. Some that knew her best have some of the best anecdotes. Filmmaker John Waters, for example, a long time friend of Oliver’s, is a real treat. Though, a kind of irksome addition are the celebrity readers and fans. While their presence isn’t completely outlandish, it does still feel like a way to get people interested in a film about a poet.
That is mostly just at first, though. When Stephen Colbert begins to read one of his favorite poems, he gets noticeably emotional. Later in the film when he attempts another reading, he can’t finish because he is so choked up. When he talks about the poem and other Oliver poems he cherishes, it is from a genuine place. It may feel kind of intrusive to have famous faces who didn’t know the subject in a film like this, but it also feels right to have people who have an emotional connection to the work speak about it.
That is the best reason to watch Mary Oliver: Saved by the Beauty of the World is that it so heavily features Oliver’s poems. We get to hear the poems in full and sometimes with the words as written to accompany. A poem on paper doesn’t sing like a poem read. When you hear the proper cadence, the meter, and scheme of the work it enhances the emotion and depth behind the words.
The second best part of the film is that it does away with the hearsay and personal interpretations of Mary Oliver, the person. Much of what director Sasha Waters wants us to understand is that Mary Oliver was wholly herself. To many she’s a queer icon, a feminist, and a pop figure, but what we find through the narrative of the film is that she was only ever beholden to her own truth. She made no apologies and told no one what to think. As complicated as it seems, she didn’t find herself at the center of any movements and sought no recognition of status. She simply lived as she wanted with whom she wanted in order to write what she wanted. In a way that’s just as powerful.
It’s rare to get such a nuanced portrait of an artist. Often the narrative features, biopics, that depict an artist are interpreted through so many lenses that every aspect of truth is compounded into the cleanest or most palatable version of that person. Documentaries have a point-of-view that’s true, but they also focus on the objective truth, as unvarnished as it may be. Mary Oliver: Saved by the Beauty of the World is a documentary that gives us a window into an artist that became singular in her field without ever compromising who she was as a person.
Director: Olivia Wilde Writers: Cesc Gay, Will McCormack, Rashida Jones Stars: Seth Rogen, Olivia Wilde, Penรฉlope Cruz
Synopsis: Joe and Angela’s marriage is on thin ice. When they invite their enigmatic upstairs neighbors for a dinner party, the night spirals into unexpected places.
When it comes to The Invite – the latest feature from actor turned director Olivia Wilde (I Want Your Sex), one can describe it as the equivalent of the ball dropping, but in a good way. In which, you are waiting for an ultimatum to be revealed. Let me explain. Based on the film Sentimental and written by Rashida Jones and her writing partner Will McCormick, The Invite follows Joe (Seth Rogen) and Angela (Wilde), a San Francisco couple whose marriage seems to be on the brink of exploding. To make matters worse, when Joe comes home from work that evening, he discovers that Angela has invited the neighbors, Pina (Penelope Cruz) and Hawk (Edward Norton), over for dinner. Needless to say, chaos ensues as we learn more about Pina and Hawk and why they are really here.
Marking her return to directing after five years following her sophomore feature Don’t Worry Darling, Wilde directs the film akin to a chamber piece or play, featuring limited sets and characters. As a result, Wilde takes Jones and McCormick’s witty, hilarious, and dialogue-heavy script and utilizes it in a way where it is maximized to its potential. She and director of photography Adam Newport-Berra (Good Fortune) keeps the camera mostly still and mounted, while also not being afraid to move it around when the film calls for it This allows for Newport-Berra’s cinematography to match well with Jade Healy’s production design, making the sets feel claustrophobic as we become enveloped in the apartment. Additionally, costume designer Arianne Phillips manages to be in sync with Healy’s production design as the colors of everyone’s costume and wardrobe coincides with the set. This helps create a connection with the environment around them.
By having this pattern, Phillips’ costumes also allows the actors to be expressive with their movement and body language. This continues into the score by composer Devonte Hynes (Roommates), where Hynes employs a violin string to highlight tension in a scene. Hynes’ score also permeates the themes of the film, echoing the emotions of the main characters going forward. Finally, editors Anthony Boys and Yorgos Mavropsaridis (Poor Things) whittle the film down a tight 107 minutes. By bringing the film down to that length, the two manage to expose the intensity while also bringing out the humor.
As for the performances, the cast – from top to bottom deliver some incredible work. Starting off with Seth Rogenโs Joe, who is played as an everyman. Albeit a depressed everyman, who like the audience, feels that something is off. There’s a line that Rogen delivers that characterizes his whole performance – “Why do I feel like everyone knows something except for me?” This results in his chemistry with Olivia Wilde to be one of doubt, entendre, and piercing looks.
Speaking of Wilde actually, her and Rogen’s chemistry feels not only bitingly real, but also layered. Especially in contrast to two other performances: Instead of anxiousness, Norton and Cruz, who play Pina and Hawk, deliver their performances with an eerie calm. Instead of piercing looks, there is loving tenderness. We see this in full force with Cruz balancing restraint with a sense of chill. Meanwhile, Norton plays Hawk with an almost surfer-boy/golden retriever-like quality, making you wonder: “Are there any thoughts in that brain of his?”
The Invite is a hilarious chamber piece of a film. Thanks to a witty script from Jones and McCormick, Wilde and company combine comedy and tension in outstanding ways, especially by placing both elements in the forefront. This allows the score, cinematography, and editing to take part in the proceedings. Equally, the performances from Rogen, Wilde, Cruz, and Norton serve in contrast to each other allowing the audience and the characters to bask in the ridiculousness of everything. As one of the best comedies of the year, The Invite is the perfect film to laugh, all the while also feel the heat.
Director: Rachel Israel Writers:Amelia Brain, Andra Gordon, Brent Hoff Stars: Jackie Tohn, Sarah Podemski, Judah Lewis
Synopsis:The film follows struggling musician Nomi who accepts a last-resort job from her overachiever best friend Mara: mentoring misfit campers, the “Floaters,” at their childhood Jewish summer camp.
Summer camp is a rite of passage for many people. It’s a place you don’t really want to go to meet people you don’t want to meet to learn archery, crafts, and about yourself. As much as many of us grumble about it at the beginning, camp is a bubble where you can do something or be someone you never thought possible. You could meet a best friend or at least have people who will remember you for something. Even if they forget your name, you will be a part of a story they may pass on to their kids on the eve of their first camp experience. The Floaters is about the triumphs and angst of the camp experience.
This is where the script for The Floaters really sings. The writers, Amelia Brain, Andra Gordon, and Brent Hoff, have captured this memorability and legacy of camp. They have a classic ragtag story of a down on its luck camp mixed with the campers no one wants putting on a “let’s save the day” skit. It all comes together toward the end where these campers really find a way to connect with each other and Nomi (Jackie Tohn) finds her voice again by becoming a mentor. It’s really heartwarming.
The bad part is that almost everything before the last act of the film is so very bland. The laughs fall flat, the subplots are very uninteresting, and most of it feels like it was written by folks who wanted to set the action in their childhood, but kept the present day setting and then struggled to add in phrases that today’s teens might actually use. It all feels a bit off and that may be a problem of too many voices wanting to be heard. While there are three credited writers, three additional people are credited with a “story by.” Comedy is collaborative, but this feels like there were many competing visions at play. It’s why the enemies to lovers storyline feels rushed. It’s why Nomi’s backstory and our understanding of her as a character is rushed. It’s why there is a rival camp with a bully camp director and camp bullies within our protagonist’s camp, which feels like too much antagonism for very little pay off on either front.
It may also feel vague and bland because it’s a very niche camp. The Floaters is about a Jewish summer camp and while there are many universal themes, there are many things that keep a broad audience at arms length. The camp itself, Camp Daveed, is very inclusive, bringing together the Jewish diaspora within the U.S., but it still feels like many of us are left out of the joke. Context and some explanation are provided most of the time, but it can slow down the action when someone has to explain something the other person on screen already knows.
It really is that third act that saves the film. The throughline of the floater group is one of redemption for all of them. The alt-right kid finds empathy. The two Queer kids find strength. The apathetic cool girls find community. All of them realize that they are worth something. If the film was far more focused, it could have been really good. Nomi is an O.K. protagonist, but her story isn’t the most interesting. Her catharsis is earned and her arc is wrapped up nicely, but she feels like she’s in a different movie altogether. A movie worth watching, but still tonally different from the one we get.
The Floaters is a film that survives on nostalgia. Its universal aspects do outweigh its niche appeal. It may be bland and one or two subplots that achieve some sort of end catharsis are unearned, but overall it’s got a lot of heart. That’s what we need out of these summer camp films is a clear arc from zero to hero. The Floaters at least delivers that amongst everything else that’s crammed into the film.
Director: Derrick Borte Writers: Thomas Perry, Derrick Borte, Daniel Forte Stars: Russell Crowe, Luke Evans, Teresa Palmer
Synopsis: A nightclub owner is on the verge of leaving his dangerous past behind for retirement. After masked gunmen rob him and he finds himself squeezed by ruthless cartels, a mysterious newcomer arrives with an interest in buying the business.
Not every film is aiming to break new ground. Instead, they go with an elevator pitch style. โItโs like Inception meets Pulp Fiction!โ It is understandable that prospective audiences (and producers) would get excited by statements like these. After all, new ideas are risky, especially in a culture driven by nostalgia and recognition. This is not to say those movies, clearly inspired by their respective favorites, are without merit. In fact, there is a relaxing quality to these films in the age of streaming, where comfort and relatability can be paramount.
The Get Out, directed by Derrick Borte, is not breaking any new ground, and most likely will not be remembered a few hours after watching. It follows Marco Kapak (Russell Crowe), an Albanian immigrant who has been wildly successful and is the owner of a nightclub. He plans to retire, in style, with his much younger girlfriend, Sunny (Teresa Palmer), but everything is thrown into upheaval when he is robbed on the way to the bank by Jeff (Aaron Paul), for reasons unknown. Things start to unravel due to his connection with a criminal cartel, initially represented by Rodriguez (Danny Zovatto).
The ideas presented by screenwriters Derrick Borte and Daniel Forte (from a book by Thomas Perry) are nothing new, but there are moments that stick. Frankly, this movie completely falls apart with Russell Crowe. Despite making his career originally as a dramatic actor, his relatively recent forays into comedy have been pretty impressive. Obviously, nothing is touching The Nice Guys, and this never comes close, but Crowe is clearly having a blast. The Albanian accent may not be accurate, but it does allow for repeated funny moments throughout. Unfortunately, the film never focuses fully on comedy, instead attempting to balance the tones with a madcap crime caper.
However, Borte and cinematographer Brendan Galvin do have an excellent handle on the limited action setpieces in The Get Out. In particular, there are two scenes that stand out. In the first, Galvin films a high speed car chase after Marco has been robbed. For just a moment, the film feels like it has real energy and an action pedigree. Later, without spoiling anything, there is an extended shootout and attempted assassination that shows an understanding of action geography that was unexpected in a movie this small scale. But still, when it dives into the goofiness, it has the audience on its side.
This is especially true when the character of Carrie (Nina Dobrev), a bank teller who quickly figures out what Jeff is up to. She makes for a good pair with Aaron Paul who plays buttoned up and overwhelmed well. Dobrev, on the other hand, is practically giddy with sexual excitement at the chance to rob absolutely anyone and live out her Point Break fantasies. She also manages to deal with more difficult emotions when things go sideways (like they always do), even if the script demands that she and Jeff are constantly in ridiculous situations.
Unfortunately, all of this is surrounded by a necessary, but plodding plot point of an undercover federal agent tracking Marco in the hopes that they can find information about the cartel. The agent, Joe Carver (Luke Evans) is saddled with most of this work, which of course crosses over with the Jeff and Carrie storyline, even if it feels forced and awkward. Evans performs admirably, especially when singing karaoke, but there is only so much to be done with a hackneyed undercover cop routine.
The Get Out manages to be just entertaining enough to muddle through its quick runtime. Crowe and Dobrev uplift some questionable material, even when the film attempts to pluck emotional heartstrings. Those moments donโt hit very hard, but the audience at least understands the emotions that they are supposed to feel. Crowe especially, is such a seasoned performer that he can manage to pull us along the expected plot points and make us all at least chuckle along the way. The Get Out is frankly the perfect movie to catch on streaming to fill a few hours.
On this episode of Chasing the Gold, Shadan is joined by her good friend Kylie Price to talk about her cinephile journey, the movies she’s been watching and what films she would recommend!
Check out this week’s show and let us know what you think in the comment section. Thanks for listening and for supporting the InSession Film Podcast!
This week on Episode 694 of the InSession Film Podcast, inspired by Supergirl, we thought it would be fun to talk about all of the great female characters weโve seen in come book movies over the years. While there arenโt as many female-led movies in the genre (sadly), there are a plethora of great characters to choose from for this list. We had the best time diving into this one and talking about why these characters are so iconic. That said, here are our lists:
(Note: Please keep in mind that we each had different criteria for our selections)
JD
1) Motoko Kusanagi – Ghost in the Shell (1995)
2) Catwoman – Batman Returns
3) Enid Coleslaw – Ghost World
4) Rogue – X-Men / X2
5) Ramona Flowers – Scott Pilgrim vs the World
Megan
1) Harley Quinn – Birds of Prey
2) Catwoman – Batman Returns
3) Valkyrie – Thor: Ragnarok
4) Lori Petty – Tank Girl
5) Lois Lane – Superman (1978)
Honorable Mentions (Combined)
MJ (Raimi Films), Black Widow, Scarlet Witch, X-23, Gamora, Gwen Stacey (Spider-Verse), Peggy Carter, Yelena, Thena (Eternals), Sersi (Eternals), Captain Marvel, Rebecca Doppelmeyer, Nancy Callahan, Hit-Girl, Andy (The Old Guard), Rita Wirtowski, Nausicaรค, Sally (Watchman)
Hopefully you guys enjoyed our lists, and if you agree or disagree with us, let us know in the comment section below. There are obviously many more female characters that we didn’t have time to mention. That is to say, your list could look very different than ours given the great films and memorable sequences we saw over the last year. That being said, what would be your Top 5? Leave a comment in the comment section or email us at [email protected].
For more lists done by the InSession Film crew and other guests, be sure see our Movie Lists page.
This week on Episode 693 of the InSession Film Podcast, inspired by the upcoming release of the brand new Stanley Kubrick box set, we discussed our Top 5 Criterion Collection box sets that we want to see some day! Criterion has an insane collection (in turns out) that features many of the best films of all-time, but weirdly there are gaps in the box sets that could be remedied. This was a really fun conversation and hopefully Criterion gives us these as weโre more than willing to spend the money. That said, here are our lists:
(Note: Please keep in mind that we each had different criteria for our selections)
JD
1) Terrence Malick
2) Charlie Chaplin
3) Jordan Peele
4) Lynn Ramsay
5) Steven Spielberg
Ryan
1) Robert Altman
2) Mike Nichols / Elaine May
3) Spike Lee
4) Todd Haynes
5) Richard Linklater
Honorable Mentions (Combined)
Pedro Almodรณvar, Todd Field, Spike Jonze, Jeff Nichols, Kelly Reichardt, Wim Wenders, Jane Campion, Sofia Coppola, Abbas Kiarostami
Hopefully you guys enjoyed our lists, and if you agree or disagree with us, let us know in the comment section below. There are obviously more box sets that we didn’t have time to mention. That is to say, your list could look very different than ours given the great films and memorable sequences we saw over the last year. That being said, what would be your Top 5? Leave a comment in the comment section or email us at [email protected].
For more lists done by the InSession Film crew and other guests, be sure see our Movie Lists page.
Director: Kyle Valle Writer: Kyle Valle Stars: Kyle Valle, Erin รine and Domenic Jungling
Synopsis: A couple boards a Gomo – a self-driving rideshare cab – only to find themselves trapped with no way out.
The rise of micro-shorts and bite-sized storytelling has transformed the way audiences consume content. With viewers increasingly turning to short-form platforms and seeking entertainment that fits around busy schedules, creators are finding innovative ways to tell compelling stories in just a few minutes. Horror, in particular, has thrived in this format. The genre’s ability to create tension, suspense, and shocking twists in a short amount of time makes it perfectly suited to micro-series storytelling. At the same time, horror continues to dominate our screens, from blockbuster cinema releases to streaming hits and viral online content. Combining these two growing trends, Autonomous feels perfectly timed, delivering a tense and engaging horror experience that can be enjoyed in short bursts while still leaving a lasting impression.
Built around a premise that feels both futuristic and unsettlingly plausible, this micro-horror series throws its characters into a nightmare scenario that many of us have probably joked about at some point: what happens if we get into a self-driving car and canโt get out? The story follows a couple who step into a self-driving rideshare vehicle expecting a routine journey. Instead, they quickly realize they are trapped inside with no way out. From there, Autonomous transforms an everyday convenience into a claustrophobic prison, proving that some of the best horror concepts come from taking something familiar and twisting it just enough to make it terrifying.
One of the things I enjoyed most about Autonomous is how accessible it is. This isn’t a horror experience that relies on excessive gore or relentless jump scares. Instead, it leans into suspense and the growing sense of dread that comes from being trapped in a situation beyond your control. The micro aspect does make you feel as if youโre watching a live stream, a very interesting concept where the traditional filming style takes on a documentary feel.
The confined setting is particularly effective. Much of the action takes place within the vehicle itself, and that limitation actually works in the film’s favor. Horror often thrives when characters have nowhere to run, and the enclosed space creates a sense of pressure making the audience feel almost as trapped as the people on screen.
The performances from Erin รine and Domenic Jungling help sell the premise. In a story that depends heavily on character reactions and emotional responses, believable performances are essential. Both actors bring enough authenticity to their roles that I remained invested throughout. Their growing fear and frustration feel genuine, helping to maintain the suspense even when the narrative remains relatively simple.
As a micro-horror production, the series keeps things moving at a brisk pace, which makes it an easy watch for fans looking for something entertaining without committing to a lengthy feature film. The shorter format also suits the story well, allowing the tension to remain focused rather than diluted. Some hooks in the beginning could have been stronger to keep audiences invested and watching, as for some audiences, this type of storytelling will feel disjointed. The hooks in the middle, where theyโre standed, stuck and thereโs a strange figure outside are very strong and this is where the pace picks up. I did make me question why not just a short film? But again, this is a new method of storytelling.
Is Autonomous going to be for everyone? Probably not. Shortform is quite bespoke and is very easy to switch off and leave. But the performances are strong and the horror is just enough to keep you guessing and intrigued.
With 16 episodes, this micro-series falls somewhat short of what is expected (50-80), but I think itโs a strong toe-dip into a growing way of telling stories.
Overall, I had a good time with Autonomous. It’s a straightforward, entertaining horror experience that delivers exactly what it promises: tension, claustrophobia and a healthy dose of technological paranoia. It’s the kind of project that demonstrates how a strong idea, solid performances and effective atmosphere can be just as important as a large budget. For horror fans looking for an easy watch with a clever modern premise, this is well worth adding to the watchlist.
On this episode, JD and Megan discuss one of the best surprises of the year in The Sheep Detectives! We might be late to the party, but we’re super thrilled to be here regardless. There is lots to love and plenty to discuss, and boy did we have fun with this one.
Review:The Sheep Detectives
Director: Kyle Balda Writers: Craig Mazin Stars: Hugh Jackman, Nicholas Braun, Nicholas Galitzine, Julia Louis-Dreyfus
The physical media market has never been better than it is now. So many ways to watch films, in the best way possible, the only thing holding you back is the financial weight of a premium Blu-Ray release. It is a tough ask to pay $39.99 plus tax for one movie that you may or may not enjoy (I get it!). Do you go to Rotten Tomatoes? Do you go to the depths of the Ebert archives – which isnโt a bad option. Well, Iโve spent my dinero on a plethora of Criterion releases so you donโt have to. Iโm going to list 10 Criterion releases that you should check out that arenโt the heavy hitters like Uncut Gems, Killers of the Flower Moon, or Pee-Weesโs Big Adventure. If you learn about a new film from this list or maybe I pushed you to finally get that film youโve been debating on buying, comment below!
Miloลก Forman is one of cinemaโs most important figures and a major player in the Czech New Wave film movement. While Criterion does offer Daisies, Diamonds of the Night, and Valerie and Her Week of Wonders, I do think Loves of a Blonde is the more underrated of the bunch. This film is incredibly funny and is oddly relevant to todayโs American culture despite it being both Czech and very much not from today. Even though you can peel away at the exterior and find a filmmaker clenching his fist at the fascist rule of his time, the film at face value is just about miscommunication between a girl and a boyโs relationship after a brief fling. The film is a crisp 82 minutes, and since it is still in an older format you can get it at a much cheaper price than most films on this list. Skip the Chipotle for lunch and just grab this for ~$15. This film is currently best available on DVD.
Although people may know its American remake more, Sorcerer (also a Criterion release), The Wages of Fear is the anti-Prozac in cinematic form. While most modern thrillers are more aggressive and fast paced in thrill propulsion, The Wages of Fear achieves a level of thrill by taking it slow. A scene with a wooden road extension along a hill left me wound up well after the scene had concluded. The crazy part, you can go in having seen Sorcerer (and the beats are basically the same between the two films) and youโll still be on the edge of your seat. The Wages of Fear is that good. This film is best available on 4K Ultra HD.
My two favorite performances by an actor belong to Lily Gladstone in Killers of the Flower Moon and Larenz Tate in Menace II Society. When this was announced as part of the opening slate of Criterionโs 4K releases I was incredibly excited. Iโm sure most people were over the moon for Citizen Kane and The Piano, but this is one of the best films ever made. This film is devastating but also weirdly inviting. You are in the Hughes Brothers’ hands for the duration of the film and when tragedy strikes you feel it in a way only true masters of the form are capable of doing. I donโt want to give anything away, but this is an incredible film that I think doesnโt get enough love. Even now, with the new box set from the brilliant John Singleton, people will probably flock to Boyz N The Hood since itโs the more commercially popular film but if you havenโt seen Menace II Society I implore you that you give it a shot. This film is best available on 4K Ultra HD.
I have a soft spot for Le Samouraรฏ. Maybe itโs the Metal Gear fan in me, or just the slick filmmaking but no one has ever been cooler than Alain Delon in this film. Melvilleโs films are all incredibly sly and stylish without being incredibly loud or excessive, but the simplicity in Le Samouraรฏ works well for me. I donโt think you could go wrong with any Melville films in the collection – hell, if you needed a reason to go pick up Le Cercle Rouge, do it. But personally, Iโll stick with Le Samouraรฏ. This film is best available on 4K Ultra HD.
Edward Yang is one of cinemaโs greatest directors yet his works are only recently becoming more and more accessible. Obviously Yi Yi is the film everyone knows from him, but A Confucian Confusion and Mahjong are both equally as incredible. Yi Yi and A Brighter Summer Day have a more somber and intimate approach to their material, but A Confucian Confusion and Mahjong tackle serious material while being lively and more urbanized. Edward Yangโs approach to blocking is one of a kind and despite utilizing distance in a variety of his scenes you feel drawn into the scene, as if youโre a fly on the wall. Iโm enamored with these films and I can talk extensively about them – these should be on your list this month. Last bit here, Mahjong has the best burp in all of cinema. This set of films is currently available on Blu-Ray.
When I first saw this film I was at an โart house theaterโ in San Antonio. In reality the โtheaterโ is just a one room art exhibit with a projector and various chairs of shapes and sizes – sort of like an overglorified living room. The charm factor was throttling off, and this film only drove it further (see what I did there?). This film stars James Taylor, the musician, and Beach Boysโ Dennis Wilson in their only acting roles, about two drag racers in a cross country race against Warren Oatesโs GTO. The winner of the race would get the loserโs car. Iโve rarely seen this movie discussed but this is without a doubt one of the best road movies Iโve ever seen. Yes, even better than the excellent Fear and Loathing in Las Vegas. You would not go wrong picking this up. This film is currently best available on Blu-Ray.
While I would go out of my way to recommend Hoop Dreams, I feel like the praise for that is head and shoulders above most documentaries in the Criterion Collection. With that said, the assortment of documentaries revolving around American politics are relatively few in the Collection and I think The War Room is a great capsule from the 1992 presidential election. Furthermore, anyone looking to dive into documentaries should AT LEAST see one from D.A. Pennebaker. Even though they only got approval after the Democratic primaries, they made the remainder of the election cycle incredibly enthralling and suspenseful. Obviously, we know that Bill Clinton wins this election, but the scene where the team is waiting for the election results is nail biting – the tension is strong enough to make you forget that he won. This film is currently best available on Blu-Ray.
I wonโt pretend Iโm the biggest Terrence Malick fan – Badlands is the only film Iโve seen from him so far. But Badlands. PHEW, Badlands. That is a movie. 1970s Martin Sheen was able to display some of the most evil individuals on film with this and Apocalypse Now. While you fall into the rabbit hole of consequences for Sheen, thereโs still a monstrously tender film underneath. The sequence using โA Blossom Fell” by Nat โKingโ Cole is incredible, somehow making me feel for Sheenโs morally depraved character Kit. While most films or TV shows about killers make you feel the sludge of depravity, this film rides along the balance beam of morality while never promoting the actions committed. This is truly one of a kind film that I can toss on anytime, any day. This film is currently best available on Blu-Ray.
Criterion has a handful of really excellent music-related films, mostly documentaries. Thelonious Monk Straight, No Chaser, Gimme Shelter, and the box set The Complete Monterey Pop Festival are all great options to scratch your itch, but A Hard Dayโs Night is incredibly charming and is a great deviation from the typical music films you see. While it isnโt entirely out of left field for musicians to star in films (look at The Rat Pack for example), I canโt recall a film starring a band where the filmโs material is just promo for an album release. The Beatles were filled with personality and even if you arenโt a fan of their music the film is still incredibly fun. You wouldnโt regret going this route if youโre itching to get your music fix. This film is best available on 4K Ultra HD.
Iโve written about this film before, specifically about buying the Criterion release of it. The In-Laws is one of my all time favorite films and I only discovered it through Criterion and comedians that recommended the film. You cannot go wrong with this film, every time I go to Barnes & Noble during their sales I always see a copy collecting dust on the shelf and if I could I would take it away from its dusty spot and place it next to the copy I already have. That sounds foolish, but this movie is that good. I wonโt dig too deep into it, some of the stuff in it hasnโt aged entirely well, but itโs still worth every second of your time. Go buy this film! This film is currently best available on Blu-Ray.
Give these a shot, if you picked any of these up and enjoyed what you saw let me know!! Otherwise, enjoy the sale this month!
Director: Pierre Coffin Writers: Pierre Coffin, Brian Lynch Stars: Pierre Coffin, Allison Janney, George Lucas
Synopsis: Follows the Minions in 1920s Hollywood as they search for frightening creatures for their monster movie, partner with a green creature, and must save the planet after unleashing monsters.
The Minions have had an impressive run, with Minions & Monsters serving as the third entry in the prequel franchise and the seventh movie in the Despicable Me universe โ the powerful and almighty DMU, for short. And that is not even counting Illumination’s brand exploitation of its intellectual property for fast food, beverages, theme parks, candy, the auto industry, and even insurance sold to families worldwide.
Yes, Illumination uses the Minions like Felonious Gru himself, sending those obsequious, mindlessly loyal followers out to do its bidding. Fortunately, somehow, each installment remains very funny, even as the franchise shows signs of becoming stale. Minions & Monsters still brings a truly unique sense of humor that owes a great deal to Looney Tunes: old-fashioned, smart, subversive, and equipped with near-perfect comic timing.
This type of world-class comedy is hidden beneath a candy-coated animated shell. The movie is filled with utter slapstick chaos, hilarious gibberish, and wild cartoon violence without consequence, displaying an impressive command of comic escalation. Sure, there isnโt much of a plot when it comes to these psychopathically magnetic but misunderstood evil little lemon goblins, but the joy is in experiencing everything and the kitchen sink approach.
The fast-moving bits, pratfalls, and Hollywood parody make Minions & Monsters as enjoyable as any entry in the DMU so far.
The story follows a new group of Minions looking to upgrade their subservient ways by finding the worldโs greatest villains. Among them is James, an artistic Minion with a passion for painting, who becomes the third wheel to Henry and Ed (all three voiced by Peter Coffin), two Minions with an infamous backstory of their own. During their search for a new master after the death of silent films exposes their gibberish, they acquire a warlockโs spellbook.
After a director (Christoph Waltz) hires the trio to star in his movies following their accidental interruption of a staged train robbery, they must contend with egotistical studio heads (Jeff Bridges). Hoping to secure their place in creature features, they summon a squid monster named Goomi (Trey Parker). Then, a robotic alien named Dort (Jesse Eisenberg), an ode to The Day the Earth Stood Still, arrives, and the yellow-bellied troublemakers immediately begin following the metal tin can as their new leader. And โEureka!โ โ down the Minion hole we go.
From Pierre Coffin, Minions & Monsters works so well because it is, well, a monster mash of genres with a comedic spin, much like those Warner Bros. cartoons we mused about above. The film embraces the 1920s silent Golden Age of Hollywood, musical numbers, and creature features, blending them into madcap bliss. In fact, the screenplay by Brian Lynch and Coffin lacks structure, which you admire, as it embraces what makes IPs so special to begin with.
Coffin, who was nominated for an Academy Award for Best Animated Feature for Despicable Me 2, finds, beneath all the infectious fun, an odd appreciation for Hollywood โ an Illumination love letter, if that is even possible. Of course, the experience is heavily dependent on your enjoyment of the Minions, which is great news for kids and adults who can never get enough of them. Not to mention the nonstop action, comedy bits, and beautiful animation.
Minions & Monsters knows its audience. How many manic animated films can pay homage to the stars of silent comedy and modern-day sci-fi mythmakers while surrounding them with manic gibberish, and even satirizing the studioโs own retail market for the titular characters? The movie is for kids, adults, and cinephiles, all within under 90 minutes, astutely understanding what the filmmakers want to accomplish and what their intended audience deserves.
You can watch Minions & Monsters exclusively in theaters starting July 1st!
Director: Paul Greengrass Writers: Paul Greengrass, Christopher Rouse, Robert Ludlum Stars: Matt Damon, Tommy Lee Jones, Alicia Vikander
Synopsis: The CIA’s most dangerous former operative is drawn out of hiding to uncover more explosive truths about his past.
Few action franchises have left a mark on cinema quite like the Bourne series. Beginning with The Bourne Identity in 2002, the franchise reinvented the modern spy thriller, trading gadgets and one-liners for realism, grit, and relentless tension. Across five films, the series has generated more than $1.6 billion at the global box office, proving that audiences couldn’t get enough of Jason Bourne’s journey from amnesiac assassin to a man desperately searching for the truth about his past. His character remains one of the most compelling action heroes ever created. We love Bourne because he feels human. He’s vulnerable, intelligent, and constantly fighting against forces much larger than himself. Ten years after its release, Jason Bourne is a reminder of why this franchise captured audiences worldwide and why few action films have managed to match its standard.
Returning to the film a decade later, I was immediately struck by its confidence. By the time Jason Bourne arrived in cinemas in 2016, there had been a nine-year gap since Matt Damon last appeared as the character in The Bourne Ultimatum. During that time, plenty of action franchises had emerged, some gathering quite the momentum (Mission Impossible – Ghost Protocol in 2011, and Casino Royale in 2006), showing that audiences craved watching a good-looking man saving the world. And weโre so glad that Jason Bourne returned to our screens without damaging its previous legacy.
The film reunites Damon with director Paul Greengrass, whose handheld camera work and documentary-style approach helped define the franchise’s identity. While some viewers criticized the shaky-cam trend that followed in Bourne’s wake, this style helps every chase, fight, and confrontation feel immediate and grounded. There is a sense of realism that many modern action films struggle to achieve.
The story sees Bourne pulled back into a world he desperately wants to leave behind after discovering new information about his father and his connection to the CIA’s covert programs. At the same time, the film explores themes of government surveillance, digital privacy, and the growing influence of technology companies. What is interesting is how relevant these ideas still feel ten years later. In some ways, they feel even more timely now than they did in 2016.
Of course, nobody comes to a Bourne film solely for political intrigue. The action remains the main attraction, and Jason Bourne delivers spectacularly. The film contains several standout sequences, but the Las Vegas finale remains genuinely impressive. The sheer scale of the chase through the Strip is breathtaking, combining practical stunts, destruction, and tension in a way that feels increasingly rare in an era dominated by CGI-heavy blockbusters.
Matt Damon slips back into the role effortlessly. One of the most fascinating aspects of Bourne as a character is how little he actually says. Damon has never relied on lengthy speeches to make the character compelling. Instead, so much is communicated through expression, body language, and presence. Heโs completely believable as a man carrying the weight of a troubled past while still possessing extraordinary skills.
The supporting cast also adds plenty of depth. Alicia Vikander brings intelligence and ambiguity to CIA cyber director Heather Lee, while Tommy Lee Jones provides a suitably hard-edged presence as CIA Director Robert Dewey. Vincent Cassel, meanwhile, makes for a formidable physical threat as the mysterious Asset pursuing Bourne across the globe.
What continues to impress me most about the Bourne franchise is its pacing. Every scene pushes the story forward, and every action sequence is justified. That is perhaps why Jason Bourne still works so well ten years later. It may not be the strongest entry in the series, but it embodies everything that made the franchise successful. It is smart, fast, tense, and consistently entertaining. Most importantly, it reminds us why Jason Bourne became such an iconic character in the first place.
For longtime fans like me, revisiting the film is an enjoyable trip back into one of cinema’s greatest action franchises. For newer viewers, it serves as a reminder of how effective action storytelling can be when character and spectacle work hand in hand. A decade on, Jason Bourne remains a thrilling ride, and despite countless imitators, there are still very few films that can keep up with what the Bourne series does best. At just over two hours, it moves with remarkable efficiency, making it an easy and thoroughly entertaining watch.
