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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
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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 Review by Steve Barton II  Heist films have existed in the medium of film since the beginning with 1903’s The Great Train Robbery, which allegedly drove a widespread panic in theaters due to audiences experiencing this new technology. Since then, countless bank robbery and heist movies have been produced and they all follow a similar structure. A crew of unlikely characters are brought together by one leader who sees an unexpected opportunity to rob a bank and/or rich person, but their plan is thwarted by a third party or circumstance and it ends with the thief learning a lesson about life. LifeHack brings this premise into the modern age and gives audiences a fresh look at the over-saturated genre. LifeHack follows Kyle (Georgie Farmer), a teen who has completely grown up in the internet/computer age and discovers a group of friends who are all extremely intelligent when it comes to computers and hacking. When Kyle sees the opportunity to commit a multi-million dollar cryptocurrency heist from tech mogul Don Heard (who serves as an Elon Musk stand-in), he gets his talented team together to commit massive bitcoin robbery without leaving their bedrooms. While the technological advances in heist styles makes LifeHack unique among the other heist films, that’s not the only reason why it’s important and one of a kind. The story plays out completely through computer screens with video calls and first person shots through Kyle’s perspective. We’ve seen this style of film with Unfriended, Host and Searching, but LifeHack is one of the first times it’s used outside of the horror/thriller genre. From this perspective, the audience is forced to feel much more immersed into the story and the pressure and tension that Kyle and his friends feel in these intense moments. The audience is also able to learn more about Kyle and other characters without forcing a bunch of expositional dialogue with seeing Kyle emotional over his poor relationship with his father and what motivates him to commit such a dangerous crime. In our modern age, video calls and Discord chats are common ways of communication and the dialogue between the teens adds the overall authentic and realistic tone of it all.  LifeHack’s visual style is its best feature, but the cast of young adults are also incredible. Each actor brings their own style and flair to the group and no one feels like a caricature of a stereotypical “hacker” that we’ve seen in the popular media for the last 30+ years. The rest of the group consists of Yasmin Finney as Alex, Roman Hayeck-Gren as Sid and James Scholz as Petey and their chemistry as internet buddies speaks to both their performances and the writing and direction from the newcomer Ronan Corrigan. For a first time director to think of this creative framing for his project is inspiring and encouraging to see what he thinks of next. While the story may not be the most original and plays out a bit predictably, the experience of the odd perspective and fun characters are the major selling points for LifeHack.
In the end, LifeHack is a creative endeavor in an otherwise basic and bland genre. While the story isn’t breaking new ground, its main focus is showing how we can make these familiar story elements new and intriguing with a new framing. Some audience members that didn’t care for this style when Unfriended or Missing did it, may not be won over here, but it’s worth it if you hate the rich and like a modern Robin Hood story. Ronan Corrigan shows promise with his feature endeavors in the oceans of film and we should all be seated for the next one. If a modern twist on the heist movie grand design with technology mixed with internet "street smarts", LifeHack has you covered from every angle of your computer screen. LifeHack breaks its way into theaters starting May 15th! Rating: 3.5/5 Review by Steve Barton II  The Punisher (aka Frank Castle) began as a comic book character in February of 1974 appearing in The Amazing Spider-Man #129 as an adversarial assassin against Spider-Man. Punisher will be making his overdue return to the big screen in this summer’s blockbuster, Spider-Man: Brand New Day since 2008 with Punisher: War Zone. While it has been 18 years since Frank Castle blessed a theater screen, he broke his way into our homes during the second season of the Netflix Daredevil series. With Jon Bernthal under the skull insignia for this iteration of the character, Punisher has more depth to this character than ever. In The Punisher: One Last Kill, we pick up after the events of Daredevil: Born Again’s first season, where Frank was imprisoned by Wilson Fisk for being a vigilante. Afterward, he returns to Little Sicily where he sees riots and gangs have infiltrated the neighborhood without someone to help the regular citizens. Frank has put the Punisher mantle down and is trying to live a normal life, but the ghosts from his past still haunt him and it’s driving him to the brink of suicide. As he’s right on the edge of giving up, his past pulls him back in once more. As many comic connoisseurs may agree, the experience of watching The Punisher: One Last Kill felt similar to reading a graphic single issue story that we all love. It is a good feeling to have a contained plot that feels complete by the end, it does feel rushed in this time constraint. With the story being told, they could’ve made this feature length and flesh out the side characters and Frank’s battle with his PTSD. While you may not have all of the necessary context to fully enjoy this special if you haven’t fully caught up on all the shows MCTVU, fans of the Punisher with a base knowledge can pick this on Disney+ and still feel fulfilled in the end.  The major reason this television special works is the performance from Jon Bernthal as Frank Castle. Tackling Frank’s PTSD isn’t breaking new ground, but the lengths Bernthal goes to feels raw and leaves you with a visceral sadness and sympathy for this broken man. Between his deep growls of anger and whimpers of sadness and pain as he begs Karen Page (Deborah Ann Woll) to not be a ghost in his broken mind. Anyone who has dealt with mental health issues and been suicidal will see how Frank is feeling and could be therapeutic and/or emotionally draining due to how authentic it is. Even in the general public among the masses, the past and all its pain always have a way of sneaking up and ruining everything.
In the end, The Punisher: One Last Kill is a solid coda for this last season of Daredevil: Born Again and a perfect starting point to jump into Spider-Man: Brand New Day. Frank Castle is a complicated character who many people can relate to from different walks of life and that’s what makes him so compelling. While some folks may appreciate the PTSD angle of the story, the people who came for the ultra-violent Punisher won’t leave disappointed either. Disney+ has slowly become more lenient on the violence for their original content, but they push the boundaries with almost every kill in this special! If you’re a fan of The Punisher and looking for a quick watch full of brutal action sequences and great acting from Jon Bernthal, look no further than The Punisher: One Last Kill. The Punisher: One Last Kill is available on Disney+ starting May 12th. Rating: 4/5 |