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Review by Steve Barton II  The weird and uncanny magic between twins is a truly remarkable phenomenon. Twins have been portrayed in popular media starting as far back as freak show carnival attractions due to people and technology not understanding how twins are created. Since then, twins are often used to show how easy it is to mistake one person for another when they’re identical or even using the classic “good versus evil” approach with the evil twin often framing the good one. The classic example that Is God Is leans into is how twins have a telepathic bond and can communicate without expelling a single breath from their mouth. Is God Is is the debut of writer/director Aleshea Harris and it’s also based on a stage play that she created back in 2018. The story follows twin sisters, Racine (Kara Young) and Anaia (Mallori Johnson) as they reunite with their estranged mother (Vivica A. Fox) and she tasks them with getting revenge for herself and them by killing their father (Sterling K. Brown), who abandoned them after setting their mother and them on fire as children. Over the last 15-20 years, the “good for her” subgenre in film has become increasingly popular. It’s more prolific in horror adjacent films like Revenge from Coralie Fargeat, but western crime dramas fit the bill too. The twins have carried their trauma openly for several years, especially due to the fact they have scars from the horrible burns all over their bodies, with Anaia’s even being on her face. With the added experience of them bouncing around foster families and learning to defend themselves, these twins have been transformed into time bombs fueled by the hate they receive. When you see the way people treat them verbally and physically, you understand and almost cheer for them to take their power back. The twins also play into the yin and yang philosophy, being opposites of one another with their aggression and personalities. While Racine is the aggressive twin, who will do or say anything to protect herself and her sister, Anaia is timid, quiet and can’t partake in the brutal violence with Racine. They balance out one another perfectly and make for a fierce duo that you’d hate to find yourself on the wrong side of.  With the added knowledge that Aleshea Harris created this first as a stage play, you can see how that plays into a few of the scenes in Is God Is. It becomes evident when you watch the actors play in the scene and how they blocked it out feels contained for good reason. With the production budget being under $20 million, showing a road trip revenge story is a tall task, especially if you want several locations. Harris makes the most of each location and helps you forget about that with the incredible special effects team. Due to Is God Is being a smaller budget film, the money has to be spent wisely and Harris made the right choice in spending it on the burn effects on the mother and twins. While pop culture has been almost cartoonish and disrespectful in their portrayal of burn victims in the past, these effects look medically accurate and they are shy about showing them in close-ups either. The fire effects that happened were incredibly effective when it was lighting on their burned skin, but the digital fire was damaging to my retinas.
The last 15-20 minutes of Is God Is is a bit too cliche and predictable, but it doesn’t ruin the whole experience. The gritty western feel of this movie feels like it could be inside of a Tarantino universe with the added brutal violence to place the cherry on top. The most compelling aspect of this film that made it stand out was the use of captions to show how the twins can communicate non-verbally. The term “twin telepathy” has been bastardized by shows like The Suite Life of Zack & Cody, but here it’s done with a comedic, but also heartfelt tone that helps show the deep connection between the twin sisters. While Kara and Mallori may be the stars of this wild ride, the magic wouldn’t have happened without the supporting cast of Sterling, Vivica, Janelle and the others who fill out this crazy world. If a modern western centered around twins on a brutal revenge mission sounds appealing, take a seat in the theater pew and check out Is God Is. Is God Is graces the big screen starting May 15th! Rating: 3/5
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Review by Steve Barton II  Film culture is a beautiful thing when it breeds respectful debate around art and how it’s interpreted. While it has several positive aspects, the opposite always rears its ugly head and being a contrarian has become “cool”. One of the most influential voices in film is Quentin Tarantino and for many film obsessed people, Tarantino is their god and everything he says or does is gospel. In a recent interview, Quentin stated that he thought actors like Matthew Lillard and Paul Dano are weak compared to talent like Daniel Day Lewis and Austin Butler. Many people across the film world came to Dano’s defense, citing several projects like Little Miss Sunshine and Prisoners, but The Wizard of the Kremlin could not have been released at a more inconvenient time. The Wizard of the Kremlin follows Vadim Baranov (Dano) a Russian filmmaker who unexpectedly becomes an advisor for Vladimir Putin (Jude Law) and aids in Putin’s rise to power in post-Soviet Russia. The Wizard of the Kremlin may not be the biopic that’s remembered from 2026, it has some redeeming qualities that shouldn’t be overlooked. Although it would be easy to pile on Paul Dano right now, his performance is actually decent. Along with himself and Jude Law, they both act well and nail the dialogue, but they bounce in and out of accents (some that don’t even remotely sound Russian) and they never do a single scene speaking Russian. These issues are more on director Olivier Assayas than the actors themselves. He either asked the actors for these performances or didn’t care enough to see the glaring issues. The only spoken words in Russia were in the b-roll footage that was awkwardly cut in. The segments of real footage mixed into a narrative film can work for some films, but it felt unnecessary and strange in The Wizard of the Kremlin. It also bloats an already dragging runtime and ruins the pace too.  The overall look of The Wizard of the Kremlin was fairly gray and bland, but that also seems to be the accurate representation of post-Soviet Russian and their vibe. The camera mostly stays sedimentary with nothing visually appealing or memorable, but it gets the job done. The other editing in the film is hit or miss with the scene headings sectioning out the different parts of Baranov’s life and what led him to Putin’s doorstep. The structure of the film is also odd, but it works only because Jeffrey Wright guides us through. Like many biopics before it, The Wizard of the Kremlin is told through the main character reflecting on his past and telling the audience (and Jeffrey for plot purposes) how his life panned out in this way. It’s not the strongest portrayal of its kind, but you can’t deny the magic that’s struck when two heavy hitters like Wright and Dano meet in the matte box.
In the end, The Wizard of the Kremlin has some interesting moments, but the overall story drags too much and feels like it should’ve been a documentary. Even great performances from Wright, Vikander, Law and Dano couldn’t distract from the slow pace that makes the 2+ hours feel like an eternity. The movie has moments where it tries to crack jokes like the Daft Punk reference and it feels like you’re watching an SNL sketch, rather than a serious biographical drama. While only history buffs can truly speak to the accuracy of the impressions or set designs in The Wizard of the Kremlin, casual fans of films will be entertained, but they might need a nap during one of the scene breaks. The Wizard of the Kremlin is out in limited theaters starting May 15th! Rating: 2.5/5 Review by Chadd Clubine  Six and a half years after the last Star Wars film, the franchise finally returns to theaters with The Mandalorian & Grogu, a continuation of the Disney+ series that still manages to feel surprisingly standalone. Even viewers unfamiliar with the show should have little trouble following along, as the film provides plenty of exposition to bring audiences up to speed. It’s easy to see why this became the next theatrical Star Wars project. Not only is The Mandalorian immensely popular, but its cinematic scope — from the story and tone to the sweeping score — naturally lends itself to the big-screen experience. While the film delivers on that theatrical scale, there’s also a lingering sense that it may have arrived a little too late. It’s clear Disney’s decision to turn this into a film was driven largely by the franchise’s popularity. In many ways, a theatrical release would have made far more sense immediately after the second season, when the series was at its cultural peak. Reuniting Din Djarin and Grogu in The Book of Boba Fett as they originally did, then transitioning directly into a feature film, could have felt like a natural progression. Instead, the current direction of these characters feels uncertain and unfocused. Even the title, The Mandalorian & Grogu, raises questions about the franchise’s future. Does this lead into The Mandalorian Season 4, or set up a sequel like The Mandalorian & Grogu 2? Right now, it feels as though audiences are simply expected to watch these characters bounce from one adventure to the next without any real sense of destination. Because of that, it becomes increasingly difficult to stay emotionally invested when the characters seem protected by endless plot armor. Beyond Din Djarin and Grogu, the only major new addition that truly feels worth investing in is Jeremy Allen White’s Rotta the Hutt, a character who at least hints at having a distinct and potentially meaningful future within the franchise. What ultimately unfolds is a story that feels fairly safe and formulaic. Even the marketing keeps the plot intentionally vague, and once the true antagonists and larger narrative are revealed, it becomes hard not to question why this needed to be a theatrical event in the first place. Still, the film’s sweeping action and visual spectacle ultimately provide the answer for why it belongs on the big screen. From its breathtaking opening sequence, The Mandalorian & Grogu immediately pulls audiences in and rarely loosens its grip. In many ways, that alone captures the essence of what a summer blockbuster should be. While some of the action-heavy plot beats can become overwhelming at times, director Jon Favreau clearly understands how to keep viewers engaged and consistently deliver crowd-pleasing spectacle.  Following its incredible opening action set piece, The Mandalorian & Grogu makes a surprisingly bold creative choice that none of the previous Star Wars films have attempted. It fundamentally alters the traditional structure of a Star Wars movie, and while the decision helps establish a distinct tone — especially for viewers unfamiliar with the series — it also sacrifices some of the uniqueness that made the original show so compelling in the first place. Unlike the earlier seasons, which felt more deliberate and purpose-driven, this film often comes across as a project born primarily from the franchise’s overwhelming popularity. Still, credit is due to Jon Favreau and Dave Filoni for convincing Disney to fully embrace theatrical Star Wars storytelling again. When the action erupts and the practical effects take center stage, the film serves as a powerful reminder of why audiences fell in love with this franchise to begin with. Out of everything the film has to offer, its greatest strength may ultimately be Ludwig Göransson’s phenomenal score. Considering the consistently exceptional work he has delivered in recent years, it’s remarkable how he continues to produce music of this caliber. There’s little doubt that this will stand as one of the year’s best film scores. Göransson has developed a distinctive musical style, yet he always understands how to use specific sounds and textures to make his compositions feel deeply immersive. Even listening to the score on its own after seeing The Mandalorian & Grogu feels like reliving the film all over again. Overall, Star Wars: The Mandalorian & Grogu succeeds in delivering a strong theatrical experience, anchored by its spectacle and standout score, but it ultimately falls short in terms of story and characterization. In trying to serve both longtime fans and newcomers, the film leans heavily on exposition at times, which can feel tonally uneven and occasionally disrupt the pacing. The narrative itself doesn’t break new thematic ground, instead revisiting ideas the franchise has explored many times before. It may not be exactly what Star Wars needs at this moment in its evolution, but for anyone who grew up with the franchise and still values seeing it on the big screen, it still carries a sense of return and familiarity that’s hard to dismiss. Star Wars: The Mandalorian and Grogu premieres in theaters May 22nd! RATING: 3.5/5
Review by Steve Barton II  Without the presence of John Hughes, teen comedies haven’t hit the consistent peaks they once did. We get the occasional generational classic like Mean Girls and Superbad, but nothing has reached those heights for the new generation. While there are many talented artists who are young, fresh and hungry to prove their worth, we gave the wheel to 67 year-old Bobby Farrelly who was one half of the legendary Farrelly Brothers director duo. Bobby did co-direct comedy classics like Kingpin and There’s Something About Mary, yet Driver’s Ed is only his third solo outing in the director’s chair. Driver’s Ed follows a group of high school teens who end up on a wild road trip in the driver’s ed car to go visit Jeremy’s (Sam Nivola) girlfriend who is away at her freshman year of college. Jeremy is struggling with their long distance relationship and brings his newfound friends along on this wacky adventure. The bright spot in Driver’s Ed is the cast of young actors playing the diverse and dynamic group of teens. While the characters easily fit into the archetype of each stereotypical teenager made famous by The Breakfast Club, this cast still makes it feel fresh. Each actor bounces off their counterpart well and it helps the sometimes cringy dialogue work with their authenticity and chemistry. Each character brings their own special flare, but the major standout was Aidan Laprete as the stoner kid, Yoshi. He delivers a mostly subtle, sarcastic comedic performance, but he also reveals some emotional depth midway through the movie and he might get the audience to drain their tear ducts. Along with the young adults, they added some comedic heavyweights with Kumail Nanjiani & Molly Shannon to fill in the supporting roles and deliver tons of laughs. Molly never ends a scene without saying something ridiculously stupid or funny that you can’t help but laugh at.  The major issue that this movie has is the writing is a bit too familiar and doesn’t have anything new to say. With the characters being familiar archetypes, you can easily predict where they’ll end up by the end and the hurdles they encounter on the way. While it may be paying homage to the old 80s comedies that we rarely get in the 2020s, the writer could’ve tossed in a few more twists and turns to make the adventure feel more fulfilling and less rehashed. The chemistry between the actors saves it from being just another paint-by-numbers slog from the oversaturated genre. Driver's Ed may have even benefitted from the humor going a bit more crude and nasty, but Farrelly plays it safer here and the film suffers from being too watered down.
Overall, Driver’s Ed is a fun revisit to the teenage comedy scene, but nothing that’ll be considered a classic by any stretch of the imagination. Bobby Farrelly and Thomas Moffett do their best to recapture the magic that John Hughes had bottled up in his heyday, but the well is starting to dry up for them. The kid cast has some promising talent to keep an eye on for their future prospects, but Kumail and Molly continue to prove their comedic value in their respective roles. If you're in the mood for a simple, feel-good comedy that isn’t too absurd but also tests the boundaries of wacky and crude, call the Driver’s Ed team to get you to your local theater. Driver’s Ed is in select theaters and VOD starting May 15th! Rating: 3/5 Review by Steve Barton II  Over the years, Guy Ritchie has created his own brand of filmmaking with a specific visual style and his subject matter almost always centered around a heist or criminal operation. With such a fitting name like Guy, it’s ironic that he’s become synonymous with “guy flicks” with big explosions, slow-motion stunts, witty (bordering juvenile) dialogue and incredible fight choreography. When it comes to Guy’s new release, he’s showing that this formula may need some upgrades if he wants to keep filling theater seats. In The Grey follows an elite team of operatives led by the brilliant mind of Rachel (Eiza González) as she completely dismantles the evil empire of Manny Salazar (Carlos Bardem) with her elite intelligence and her crew. With Rachel and her two strongest soldiers, Sid (Henry Cavill) and Bronco (Jake Gyllenhaal) by her side, they are faced with deadly odds while taking on a wicked, powerful billionaire. When it comes to the visual look of In the Grey, any person with knowledge of Guy Ritchie could’ve probably guessed who directed this with three tries or less. While it’s not on the same scale as Snatch or Sherlock Holmes, In The Grey still has stylized fights and the creative cinematography that’s become his calling card. The edits heavy on text are also Ritchie coded especially with the scene or location titles naturally put into the foreground or the listing of items on screen (with added silky jokes for anyone paying close attention). Ritchie also goes through phases similar to Tim Burton, where he picks a new “muse” every few years and they star in nearly every project they make. The two men he currently has on speed dial are both Gyllenhaal and Cavill, who have both appeared in several of his movies since 2015.  Jake Gyllenhaal has seen many highs throughout his illustrious career with huge hits and an Oscar nomination for Brokeback Mountain. He’s played a wide variety of roles and goes to vast lengths to become a character, but his role as Bronco was boring and plain. When you compare this performance to a role like Louis in Nightcrawler, it’s disappointing that he basically feels like the same character from The Covenant. Henry Cavill has had some peaks and valleys in his career, but he’s always the high point of the films or series that he appears in. As Sid, Henry utilizes his classic charm and humor that is easy to forget about when looking at his hulking, sculpted body. Most actors usually send in a short audition tape for roles, but Henry has a whole feature length audition for the next James Bond film with In The Grey.
The major glaring weakness that you can’t ignore during In The Grey is the lead performance from Eiza González. While the script was telling us how much of a badass Rachel was and she commands every room she walks in, her delivery was more subdued and a bit wooden. There were moments where Eiza delivers a big monologue and it feels like a silent moment left for applause, but the theater fell eerily silent. The script itself is also extremely expositional with its dialogue and practically tells you how the movie will play out. It doesn’t even try to hit the audience with any attempt at a surprise. It’s almost as if Guy wanted the audience to save their time and take off if they choose and the thought certainly wasn’t worlds away. In The Grey ultimately isn’t the worst action movie of 2026, but fans of Guy Ritchie know that he’s capable of much more than this. While several people have compared it to Guy’s last film The Ministry of Ungentlemanly Warfare, at least that film had a variety of incredible performances and a fun plot. In The Grey isn’t a bad or boring experience, but it’s missing the flare and pizazz to set it apart from the many “steal from the rich” movies that come out with regular frequency. Guy needs to return to his low budget, gritty roots and show us why he’s the man once more. In The Grey is in theaters starting May 15th! Rating: 2.5/5 |