Director: Destin Daniel Cretton
Starring: Tom Holland, Zendaya & Mark Ruffalo 
Rated: PG-13 (sequences of action/violence and some language)
Runtime: 2 hours & 25 minutes 

 
From the opening Marvel Studios logo, “Spider-Man: Brand New Day” deals with the repercussions of Peter Parker’s decision to wipe himself from the memories of those who meant the most to him. As the opening montage extends, we learn Peter has, in fact, spent four years letting Spider-Man wipe Peter from existence even more, dedicating himself to the role of crime fighter to such an unhealthy extent that it isn’t much of a surprise when a biological and psychological monster begins to take over the friendly neighborhood host. Soon after these suspicious symptoms begin to appear, E.V., Peter’s self-created AI assistant, suggests he maintain a better balance in his life, which, of course, is one of the key thematic tenets of the Peter Parker story. ‘Brand New Day,’ while still not incorporating every hallmark of the Spider-Man story the Marvel Cinematic Universe (MCU) has yet to acknowledge, understands that at the core of “with great power comes great responsibility” is Peter’s inner turmoil; his internal struggle between the life he must lead and the one he’s left behind. 
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A now thirty-year-old Tom Holland, the first actor to portray the webslinger in four consecutive films, lends this arc its necessary weight as the MCU more or less hands him the keys to the universe after a trilogy of playing understudy to Tony Stark, Nick Fury and Doctor Strange. Is it a pity the push and pull of high school is no longer the driving force behind Peter’s ever-present self-conflict? Sure, but having Holland finally sit in the driver's seat in a more mature, dramatic rendering of the character not only shows necessary growth for the character but delivers a version of Spider-Man who audiences will have no trouble believing can carry the MCU comfortably on his shoulders, as that is no doubt the intent. Deadpool could have been talking about Holland as much as he was Hugh Jackman when he said, “they’re going to make him do this until he’s 90!” 

Maybe the highest praise one can heap on ‘Brand New Day’ is how it embraces that world the MCU occupies with minimal feelings of obligation in the narrative. There is certainly set-up for other events and characters that will play larger roles down the road, but none of these extraneous factors ever feel like they are impeding on the narrative surrounding the titular hero; so much of it is organic, like Peter’s new web shooters. The best example of this is how the inclusion of Jon Bernthal’s Frank Castle, Mark Ruffalo’s Bruce Banner and Sadie Sink’s character are all either serving a purpose in line with the plot, helping to further the story, or emphasizing key ideas the script is keen to discuss. Furthermore, much like our protagonist, director Destin Daniel Cretton and screenwriters Chris McKenna and Erik Sommers allow the story to take its time in building back Peter’s life, figuring out how to adjust to this new reality as well as whether there is a place for Peter in his own life and where Spider-Man fits into New York City. The film takes its time, not speeding through one box to check another but instead gradually putting these boxes together to build a whirlwind of critical events that converge on Peter, emphasizing the mounting struggle and pressure he feels in tangible ways. Underscoring the aforementioned balance and loneliness that has resulted from a lack of such.

While there may be some who quibble with the inclusion of so many other heroes, it seems evident Marvel Studios had two primary objectives when setting out to (re)set the table with ‘Brand New Day.’ The first being to position Spider-Man as the heir to the MCU mantle, and second, to introduce a well-known, very powerful Marvel character and position them as a villain; launching the origin story for one of the stars of their next big team-up in a highly anticipated sequel to Marvel's top-billed superstar ... I mean superhero. As a Spider-Man fan who was brought to the character via the ‘90s animated series, I've always wanted to see Spidey fight alongside other New York-based heroes like The Punisher and Daredevil, as it not only makes logistical sense, but in the case of ‘Brand New Day,’ Jon Bernthal's anti-hero becomes something of a symbol for Spidey's influence and moral code. The increase in arachnid hormones in Peter's DNA triggered by MJ (Zendaya) and Ned's (Jacob Batalon) return to NYC from MIT and heightened by the reality that he is no longer a part of their lives is largely included so that the plot can integrate Banner's Hulk and introduce the inhibitor technology he's developed to manage his outbursts. Undoubtedly, this piece of technology that Peter further perfects for his own needs will become a keystone in the MCU moving forward, but even beyond the plot machinations this aspect serves the "balance" theme as Peter ultimately comes to realize that he is only suppressing a natural part of his evolution; that by accepting his "mutation" he is able to dictate how these heightened senses are used rather than allowing himself to be controlled by them.

Naturally, if you have been following this film on the internet at all, what Peter is experiencing is echoed by the villain's arc. This is beautifully threaded (I know how that sounds, but I really did appreciate it) throughout with small indications before culminating in a well-written moment of understanding and clarity amongst the chaos that allows for the return of Marisa Tomei's Aunt May, making it all the more emotionally moving. Sink, who has had to remain silent about who she is portraying in the film, is given an origin story that isn't necessarily faithful to the source material yet is utilized within this story in such a complementary way to our hero's journey that it's not hard to see why the decision was made. Of course, the appearance of this character in the MCU leads to more questions than this film on its own has the space to answer, though it's not difficult to imagine Kevin Feige and co. know exactly how such answers will play out. It would seem The Department of Damage Control (DODC), which technically made its first appearance in ‘Homecoming’ but is ushered to the forefront here, as led by Tramell Tillman's Bill Metzger will factor in heavily. The DODC serves as the starting point for what will become the central dilemma and conflict when the MCU not only becomes populated by heroes who stumbled upon their powers but also by a whole group of super-powered people who are the next stage in human evolution.    

All of this may be getting a little too far into the weeds. Taking 10 steps back to appreciate what sets ‘Brand New Day’ apart from its predecessors is Cretton’s vision for this phase of Holland’s Spider-Man and how clear it is from the get-go. The CG stew is still apparent in a fair amount of the action/swinging sequences - most notably when Zendaya’s MJ is involved - yet it’s clear this is intended to be much more of a grounded Spider-Man despite the amount of time he spends airborne; the dedication to how much Spidey is in his suit here is super admirable ... and used for comic effect perfectly. This is, after all, a New York City Spidey story first and foremost. One can feel Cretton's aim to make this film feel like a live-action comic book or Saturday morning cartoon at points - obviously in the opening montage that cycles through Spider-Man's rogue's gallery - but there is a sequence at the center of the film featuring Spidey, Hulk, The Punisher and Sink's character all battling it out or trying to assist one another in a fight that made me feel like I was right back in my childhood home, watching the 20" console TV, with a bowl of Cinnamon Toast Crunch in front of me. Though I don't know that ‘Brand New Day’ breaks through the "really good and a lot of fun" ceiling to achieve true greatness, I did love Ned’s Instagram handle, thought Holland’s Brooklyn accent was a lot more natural if not a little thicker this time around, and that Florence Pugh is just a treasure and Marvel really lucked out casting her when they did. Needless to say, much like Frank Castle, ‘Spider-Man’ movies just make me a more enjoyable person to be around. 

Director: Pierre Coffin
Starring: Pierre Coffin
Rated: PG (violence/action, language and rude/macabre humor)
Runtime: 1 hour & 30 minutes 

​In 2010, the world was first introduced to the lovable but despicable villain Gru, his three adopted daughters, Margo, Edith, and Agnes, and of course, the goofy and adorable Minions. These yellow Twinkie-shaped henchmen stole the show and the world’s hearts. After two blockbuster films made millions for the “Despicable Me” franchise, Illumination decided to give the Minions their own films. The first two Minion standalone films, “Minions” and “Minions: The Rise of Gru,” were massive commercial hits, so a third film was all but guaranteed. Over July 4th weekend, the Minions returned in “Minions and Monsters” After four “Despicable Me” movies and two ‘Minions’ movies, are we getting tired of the Minions?

Absolutely not! 
 
“Minions and Monsters” actually breathes new life into the franchise by not following the same Minions that eventually become Gru’s henchman. There are many Minions out there, and this film shows us that we have only been following a small amount of them. That really does make the storyline potential for the future limitless. In this film, this new group of Minions are trying to find their villain to serve but stumble upon Hollywood in the 1920s. They eventually become big movie stars but with the rise of “talkies,” their careers could be over very soon. This really mirrors how it was for many silent actors who thrived before sound hit. Since the Minions really do speak gibberish for the most part, it was a very interesting story point for this film. In order to save their spot in film history, the Minions devise a plan to unleash monsters that could star with them in a new film they feel will help them revive their careers. However, the monsters have a plan of their own, leading the Minions to once again have to save the world.

We live in a world where Hollywood puts out sequel after sequel to guarantee that they will be making money. Once something has been proven to work, they want to do as much with it as possible. Oftentimes, it leads to lovable franchises losing steam and the quality of the films diminish rapidly. That is not the case with “Minions and Monsters.” The story truly is refreshing and gives the franchise even more potential for standalone stories for other groups of Minions not involving Gru. The Minion films, even when they aren’t putting forth the best story, are such a fun trip to the movie theaters. As someone with kids, it always makes me happy to look over at my three children in the movie theater to see them laughing hysterically at the crazy and diabolical antics of the Minions.

“Minions and Monsters” is one of the best films in the “Despicable Me” universe and is worth a trip to the movie theater. The film shows us that with the Minions, the sky is the limit. We will definitely be seeing the Minions in future films. After this exciting installment, I can’t wait.

Director: Christopher Nolan
Starring: Matt Damon, Anne Hathaway & Tom Holland 
Rated: R (violence & some language)
Runtime: 2 hours & 52 minutes

 
“Memento.” “Insomnia.” “The Dark Knight.” “Inception.” “Oppenheimer.” 

All of these are brilliant and extraordinary films by Academy Award-winning director Christopher Nolan. When a director has built up a catalog of films that inspire us, challenge us, and truly take us on journeys we have not experienced before, any new film by them is going to be met with very high expectations and anticipation. When I first heard that Nolan was going to be directing his latest addition, “The Odyssey,” I eagerly awaited the release. This modern interpretation of Homer’s ancient Greek epic poem could not have been in better hands. Nolan wrote and directed this film and produced it along with his wife, Emma Thomas. The truth is, though, even highly acclaimed directors sometimes have misfires. So, was “The Odyssey” continuing Nolan’s incredible resume or was it just a total and complete disaster? There are quite a lot of disastrous things happening in "The Odyssey,” but the film is anything but a disaster. 

The film begins 20 years after the beginning of the Trojan War. Ithaca has been without its leader, King Odysseus (Matt Damon), who never returned from the war. Many believe him to be dead, but his wife, Penelope (Academy Award-winning Anne Hathaway), and son, Telemachus (Tom Holland), still hold out hope. Many suitors have lined up to marry Penelope, but she continues to wait for her husband’s return. This epic shows us what happened to Odysseus and his men right after the ending of the Trojan War and follows their journey to make it back home.  
 
This film is told in a partially non-linear narrative, and it really helps to hold your attention. When you are starting to think the film might have a lull, it picks right back up again. I believe that even during the best films, if you are sitting in the movie theater for three hours, you might be tempted to look at the time to see how much longer the film has. That simply didn’t happen here. For the entire three hours, I was completely glued to the screen with Academy Award-caliber performances, beautiful costumes, breathtaking cinematography, stellar production design and impeccable direction. This is the kind of film you want to go see at the IMAX for sure, as it was intended.

“The Odyssey” will definitely rack up some Academy Award nominations at next year’s ceremony. Best Picture and Best Director are all but assured. The category that would be appalling if it does not win is Best Cinematography for Hoyte van Hoytema. This film gives you some of the most breathtaking views of ancient Greece, cityscapes and beautiful views of the ocean. It also gives big overviews of all of the men and everything they are experiencing. Where this film really excels, though, is how it puts you right into the action with point-of-view shots. There are shots that put you right alongside the warriors in the boats during storms, right beside them through the war, and through spectacularly directed action sequences.  

This film also boasts Academy Award-caliber performances by Damon, Hathaway, Holland, and Samantha Morton (who shows us that you can make an incredible impact even with just 10 minutes of screen time). The film has so many more movie stars, though. As more characters were introduced, I was like, oh! There is Charlize Theron! Zendaya! Elliot Page! Robert Pattinson! The film really had A-list talent to deliver this story.

One criticism this film has been getting is the use of modern language to tell this ancient tale. While I understand wanting to preserve the eloquent language of the past, this film really does make this accessible to today’s audiences. It reminds me of the Bible. Even though there are people who read the King James version, many find the Bible more accessible through more modern translations.  

While I don’t think this is the best Nolan film ever - that is still “The Dark Knight,” it is one of his best films to date. “The Odyssey” is a rare three-hour film that I will be revisiting many more times. It is the best film of 2026, thus far.    

Director: Kristoffer Borgli
Starring: Zendaya, Robert Pattinson & Alana Haim
Rated: R (language, sexual content & some violent imagery) 
Runtime: 1 hour & 45 minutes

​Some movies are made for entertainment, and some are made to make you think. The best ones can do both.

Writer/director Kristoffer Borgli’s “The Drama,” now streaming on HBO Max, isn’t all that entertaining, but it will definitely make you think.

The film asks the question, “Is there something in one’s past that can derail a relationship with someone you love, and where is that line?”

The most interesting thing about “The Drama” is that the “can I go on with this person knowing about this thing in their past” question is pretty severe. Borgli has hit upon a topic that, though unfortunately all too commonplace in America, is still a bit taboo. But what the film does with the character whose past is in question – and maybe it’s because the performance by Zendaya as the adult Emma is so gentle – is that you might wind up on her side – at least that’s where I found myself. Though, I suppose, just as easily, there are viewers who would be on the side of Robert Pattinson’s Charlie or Alana Haim’s Rachel because they couldn’t get over the shock and scare of what Emma almost did.

One of the things that surprises me so much about the dialogue that “The Drama” has seen, since its release in early April, is how the character of Rachel is clearly the villain of the piece – which I won’t deny – but isn’t Charlie at least as bad, if not worse, as the future husband for struggling so much with Emma’s past. Is it misogyny and internalized misogyny (because a lot of the people I see talking about Rachel as a villain are, in fact, women) that has led to this belief? Aren’t the things Charlie does to Emma more troublesome? I think this is one of the questions Borgli’s script asks us to think about.

I didn’t come away from “The Drama” feeling entertained, but it did make me think about the questions it’s asking. I’d much rather watch an interesting film than a bad one.

The performances by Zendaya and Pattinson are solid, but the highlight of the film is definitely Borgli’s script; however, I don’t really like his ending, which I don’t want to spoil for those who haven’t yet seen it. I didn’t really come away feeling anything at the film’s end other than that the central premise is interesting and that I wonder what I would do in the same scenario. It’s an interesting enough question to make me recommend the film, despite not loving it, because I’d be interested to see how others would answer it, and which characters they would side with.