Monthly Archives: February 2026

02.20.26
by

Crime 101

An expert theif, his rival, a police detective, and a disillusioned insurance broker all cross paths in LA leading up to a major job being planned by the former.

Crime 101 assembles a cast and plays to all their strengths while allowing its slow pace to breathe without an overabundance of massive action scenes, though when they come, they’re rather tense. Chris Hemsworth is fun in the leading role and refreshingly understated, but its the players around him who really shine here. Halle Berry is given her strongest role in years as a character attempting to take charge of her own life, while Mark Ruffalo is great as a detective on Hemsworth’s tail. Monica Barbaro also stands out as one of the film’s most interesting characters, while Barry Keoghan is always captivating and unpredictable.

The movie takes the time to flesh out its characters, even if it takes a bit of time to get invested into the conflict. Simple dialogue scenes shared between Hemsworth and Barbaro or Ruffalo and Berry are just as important to the story as the stakes and cat-and-mouse element of the lead character trying to get away with his crimes. It never quite challenges any expectations it sets, but the film’s patience rewards its audience, many of whom will enjoy the ride if they’re already fans of the action/crime thriller genres.

02.17.26
by

Good Luck, Have Fun, Don’t Die

A mysterious man (Sam Rockwell) claiming to be from the future steps into a bar looking for recruits to fight the impending apocalypse with him, but who will be the right group of heroes to survive the night? And is making it to the finish line even possible?

Gore Verbinski assembles what truly feels like a dream cast for a sci-fi action comedy that’s absolutely nuts and isn’t ashamed of it. Sam Rockwell often does a great job of playing guys who seem insane but are actually the only one in the room who’s right, and here is no exception. Haley Lu Richardson and Juno Temple are additional standouts and anchor the film emotionally as well. Though the future hints to be bleak in the story, the clever non-linear narrative pulls down the curtain on a seemingly grounded diner in the present, to reveal that this world and its past is nothing like our own, only it could be. The satire is very unsubtle but also truer than we’d like to admit; we’re often so glued to our phones and so overly reliant on social media and virtual/artificial creations for everyday tasks, and worse, gratification and comfort, that we miss the world around us and forget to use basic common sense and human decency.

At some point, the movie gives up on trying to explain itself and just starts throwing things at the wall to see what sticks, but Verbinski’s imagination make this feel like a large-scale film with scale and a ridiculous self-awareness that’s less concerned with making sense and more so with big excitement that very much succeeds at violent and endearing yet cleverly structured irreverence.

02.14.26
by

Wuthering Heights (2026)

Passion, envy, and tension flies in the air in this fresh adaptation of Emily Brontë’s classic novel proves Emerald Fennell as one of this generation’s finest filmmakers. The cinematography and score are especially what take the story to a whole other plane, with stunning backdrops and a transfixing score and soundtrack casting a spell on you. Charli XCX’s original songs enhance and transform some moments in the film, and leave you maybe even wanting more from them. Margot Robbie is splendid is Catherine Earnshaw, who finds her conflicted in her sense of self, including lust, love, and wealth, in a star-crossed romance with Heathcliffe, brought to life with a quiet yet thundering longing from Jacob Elordi. Hong Chau is also a huge standout as perhaps the most moral character in the film, as is Alison Oliver who takes her role to many surprising places.

It’s truly Fennell’s vision that elevates this story that’s been told over several installments, but the beauty in many emotional scenes comes from the push between a world that rewards status and control and characters born of virtue and good, who uncover deep dark capabilities within them. I again can’t understate the power of the music that takes a whole life of its own. Though the back half threatens to drag, it picks up for a strong ending, by which Robbie, Elordi, and Chau have stunned with their performances in this eye-popping and transporting romantic drama.

02.04.26
by

Send Help

Rachel McAdams and Dylan O’Brien are employee and conceited millionaire boss who are forced to survive together after a plane crash leaves them stranded on an island. Sam Raimi embraces his horror/thriller roots with humor more clever than his past entries, and an exciting structure that pulls out another surprise every time you think the concept is about to wear out.

McAdams is always such a delight in any role she graces, but this may be one of her best performances — a woman whose lack of validation from others in her life turns into the ability to make horrific decisions. O’Brien is delightfully awful yet there’s a pity to the way he is unable to carry himself like a mature, generous human being. The CGI has a few distractingly bad moments, but that also contributes to the film’s silliness that it finds within the dark situations it finds, and then escalates. It’s a survival thriller that’s not a full on comedy, or a full on horror film, but has a bit of it all. The more the runtime goes by, the more intrigued you are to see what bloody chaos will play out between the two, with a true sense of unpredictability to it.