By Chadd Clubine

There was something incredibly appealing about this movie when it first dropped its trailer back in March. From its stunning animation to the involvement of co-director Joel Crawford, who previously helmed the critically acclaimed Puss in Boots: The Last Wish, everything seemed to point toward a major hit. And yet, the film doesn’t appear to have generated nearly enough word-of-mouth heading into its release. Early screenings have shown that audiences are loving it, but it may be a stretch to call this a guaranteed box-office success. That’s a shame, because this is easily one of the best movies of the year and deserves to find a much larger audience.

To be fair, this is one of those movies that you have to be excited about simply because of who’s behind it and what they’ve proven they’re capable of. The trailers never quite seemed to know how to sell the movie, and if anything, they arguably revealed too much. Even the poster gives off a completely different vibe from what the film actually delivers. This feels like the kind of movie that audiences will discover later and appreciate long after its initial release, potentially turning it into a cult classic. Nearly everything this movie does works exceptionally well on screen, particularly its animation and the way it uses visual storytelling to reveal information in ways that feel unlike anything else in modern animation. Between this and Puss in Boots: The Last Wish, it feels like DreamWorks is embracing a bygone era of animation—one that doesn’t talk down to children and still gives adults plenty to appreciate.
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The first ten minutes are reminiscent of Pixar’s Up, establishing so much about these characters in such a short amount of time that you can’t help but become swept up in the emotional core of the story. Every scene, from start to finish, serves a meaningful purpose, either developing these characters or pushing the story forward. It’s hard to believe the film runs just 1 hour and 49 minutes, because it feels like you’ve been immersed in this world for much longer. This isn’t simply a movie designed to capitalize on an existing IP and rake in millions of dollars. It’s a genuinely universal story that just about anyone can relate to, and by the time the credits roll, you can’t help but feel a little luckier—and a whole lot lighter—for having experienced it.

At its heart, the film is about friendship and the importance of memories. Anyone who has experienced a meaningful friendship understands just how foundational those relationships can be in shaping who you become. Even when friendships eventually fade, the people we meet along the way leave an impact and help shape our character. Beyond its central friendship, every character is given a surprising amount of depth. They’re just as complex as they are funny, with each one feeling uniquely human in their own way. You can see a little bit of yourself in all of them, and watching these characters make mistakes reinforces one of the film’s most meaningful messages: our mistakes may shape us, but they don’t define who we are.

As mentioned, the animation is unlike anything else in modern animation, showcasing just how DreamWorks continues to push the medium forward. What makes that especially important is how the film allows us to experience this world through the eyes of its main character, Jo, voiced by H.E.R. As an aspiring artist, Jo sees the world with a sense of awe and wonder, and the animation beautifully reflects her perspective. Whether she’s taking in the beauty of the world around her or encountering the intimidating Manang, everything is filtered through her artistic and imaginative point of view, giving the film a visual identity that feels distinctly its own.

Overall, Forgotten Island isn’t just one of the best animated movies of the year—it’s one of the best movies of the year, period. Adults may recognize the film’s influences from movies like The Hangover and Superbad, but it never feels derivative. Instead, it delivers something that feels original, exciting, and deeply rooted in Filipino culture. From its groundbreaking animation to its thoughtful themes, every element comes together to create something truly special. You’ll walk out of this movie feeling a little different—and, perhaps, a little better—than when you walked in.

Forgotten Island releases in theaters September 25th!

Review by Chadd Clubine

If you search for Hope without including the year, you’ll likely find plenty of results on Letterboxd. In this case, we’re talking about the 2026 film that was nominated for this year’s Palme d’Or where distributor NEON picked up the rights and brought it to audiences. The film has generated plenty of buzz ahead of its release, with many claiming that its first half is among the best action filmmaking of the year, while the second half reportedly loses some of that momentum. There were also rumors that the CGI became noticeably weaker in the latter half, while others suggested that the visual effects had been improved ahead of its release. From what it seems like, it does appear that certain aspects of the visual effects were touched up, but ultimately, the sheer scale and spectacle of the action are enough to overcome some of the effects’ shortcomings.

At two-and-a-half hours, Hope can feel like a significant commitment. The film doesn’t spend much time on characterization during its setup, but it quickly becomes clear who these characters are through the way they respond to the increasingly chaotic situation around them. Of course, whenever a film generates this much hype, it’s nearly impossible not to hold it to those expectations. Is it the best action movie of the decade? Definitely not. Is it one of the most unique and creative action films of the year? Absolutely. The way the first half unfolds is truly remarkable, from the inventive camerawork to the impressive production design. As an alien invasion film, Hope inevitably relies on visual effects when necessary, but the filmmakers also incorporate plenty of practical effects that give the film a tangible, immersive quality. Ultimately, it’s that combination of practical filmmaking and ambitious spectacle that makes Hope such a memorable experience.

As the first half concludes, the film enters a slower-paced middle section where we learn a little more about these characters and what drives them. Unfortunately, the pacing in this portion could have been tightened to maintain the momentum established earlier. Just as you become completely invested in the intensity of the first half, the film asks a lot of the audience by slowing things down as considerably as it does.

Thankfully, the third act manages to bring that momentum back. The visual effects become a major part of the spectacle, and despite being a non-Hollywood production, Hope does an impressive job maintaining its sense of intensity and scale. There are moments when the visual effects can pull you out of the experience, but they rarely diminish the overall impact of what the film is trying to accomplish. If anything, Hope is another example of how non-Hollywood productions can deliver ambitious genre filmmaking when given the resources to do so—and why these films deserve the opportunity to work with larger, more appropriate budgets.

As the third act concludes, it becomes increasingly unclear whether the film is desperately searching for an excuse to set up a sequel or simply doesn’t know how to end. The story seems to keep going long after it should, and the runtime ultimately works against it. Had the film been more concise, there may have been more room to develop a proper conclusion rather than extending the story beyond its natural endpoint. It’s clear that Hope has the potential to become a box-office success, but there simply isn’t enough characterization or story here to justify turning it into a franchise. The film’s greatest strength is how grounded and practical its action can feel, but expanding this world could risk shifting the focus toward increasingly heavy reliance on visual effects. What works so well about Hope is its tangible sense of spectacle, and a sequel should be careful not to lose that in favor of simply going bigger.

Overall, Hope delivers on its promise as one of the most unique and ambitious action films of the year, even if some of its creative decisions ultimately hold it back. While it does appear that the visual effects were improved in certain areas, the film’s increasing reliance on them toward the end detracts from some of what made the action so effective in the first place. The lengthy runtime also doesn’t quite justify the apparent desire to set up a sequel and could have been better utilized to give the story a more satisfying conclusion. The characterization may not be as developed as it could have been, but the intensity and physicality of the action do a remarkable job of revealing who these characters are through how they respond to the chaos around them.

Hope is now playing in theaters!

Review by Chadd Clubine

The Weight is exactly the kind of movie that doesn’t get made anymore. There’s a simplicity to its story and structure that feels almost old-fashioned, particularly in the authenticity of some of its scenes. What makes it stand out, though, is how effectively it keeps you on the edge of your seat. There are several truly standout sequences that are directed with an incredible sense of tension and feel unlike anything else in recent memory. One key sequence involving heights is especially effective—far more so than anything in Fall 2: Deadpoint. Unfortunately, that film will likely make more money than this one. It’s a shame, because The Weight is one of the most original and exciting movies of the year.

Ethan Hawke is known by many for his acclaimed performance in Training Day, and every few years, he delivers a standout film that reminds audiences just how talented he is. The truth, however, is that Hawke is consistently working, appearing in several films nearly every year. It’s clear that he embraces the physicality and realism that come with fully inhabiting a character. The character Hawke plays here is a perfect example of that dedication to the craft. From the genuine care he shows for his daughter to the physical lengths he goes to in order to get her back, Hawke completely commits himself to the role. He doesn’t need to take on a character like this, yet he continues to throw himself into these unique roles and lives and breathes every one of them.

Russell Crowe’s name is being marketed alongside Ethan Hawke, yet he has considerably less screen time than the likes of Jules Jones, Austin Amelio, and Avi Nash. That makes sense, considering Crowe is a much more recognizable household name in film, while the other three have predominantly worked in television. Still, it’s commendable that Crowe took on the role despite the limited screen time. Hopefully, his presence will encourage more people to seek out the film and, in doing so, discover just how talented Jones, Amelio, and Nash truly are.

The story is straightforward and follows a premise we’ve seen before. It’s easy to care about these characters and their mission, but once their journey begins, nearly every sequence will have you holding your breath. Most films would likely rely more heavily on visual effects or cut away from some of the more intense moments. This film instead embraces realism, not only in what it asks of its performers, but in the camera work, which constantly follows these characters in unique and immersive ways. If you feel like you’ve seen everything movies have to offer, there are sequences here that will genuinely surprise you.

While the third act is incredibly satisfying and ultimately delivers a strong conclusion, it does feel like the film plays things a little too safe, particularly when it comes to the fate of the antagonist. The film takes an interesting approach by allowing the audience to understand what happens without directly spelling everything out, which can be effective when handled well. However, in this case, it feels like the story stops just short of giving the audience the payoff it deserves. Showing more of the consequences of what happens, rather than leaving so much implied, could have made the ending considerably more satisfying and crowd-pleasing. The film earns the emotional weight of its conclusion, but it would have been even more impactful if it had been willing to push things a little further.

Overall, The Weight not only delivers on what you’d expect from its talented cast, but raises the stakes with a series of unique and incredibly tense sequences that will keep you on the edge of your seat. While the story may play things a little safe at times, it’s the physicality of the action and the commitment to realism that make this one of the most unique and original films of the year. This is the kind of movie that deserves to be experienced on the big screen.

The Weight releases in theaters September 18th!

Review by Chadd Clubine

When news broke that Onslaught would serve as a spiritual sequel to 2014’s The Guest, anticipation immediately skyrocketed. The Guest remains one of the most transformative films of the 2010s—a rare movie that felt both deeply inspired by its influences and completely original in its execution. Since then, Wingard’s career has taken some unexpected turns, from Blair Witch and Death Note to the recent Godzilla & Kong films. With Onslaught, the premise suggested a long-awaited return to form.

Unfortunately, the film feels less like a genuine evolution of what made The Guest so special and more like a retread of Wingard’s greatest hits. There are flashes of the filmmaker’s distinct style and plenty of pulpy energy, but Onslaught ultimately doesn’t have much substance beneath the surface. That may still be enough for casual moviegoers looking for a fun, mindless genre romp, but for anyone hoping for another The Guest, the result is likely to feel underwhelming.

On its own, Onslaught certainly delivers for much of its runtime. The opening minutes are a rocking good time and establish the film’s tone almost immediately. From there, the first two acts build on that momentum, delivering an experience that feels increasingly exciting and unpredictable. At the same time, knowing the film is only 92 minutes long may have you wondering just how much more it can possibly accomplish. Unfortunately, that concern proves justified, because the third act is where Onslaught truly falls apart.

Leading up to the third act, the world Wingard establishes makes it easy to understand why he considers Onslaught a spiritual sequel to The Guest. The music, energy, and overall atmosphere feel as though they could exist within the same universe. With Dan Stevens also appearing in the film, it genuinely seems like Wingard might be building toward a major surprise that would directly connect the two films. Unfortunately, that never materializes. Stevens, along with much of the supporting cast, ultimately feels wasted, while the intriguing world Wingard establishes goes largely nowhere by the end.

Drew Starkey has a scene-stealing presence, but between his character and Rebecca Hall’s, Onslaught increasingly feels like it is laying the groundwork for a sequel rather than telling a complete story of its own. Given how little the film ultimately does with these ideas, that setup is frustrating—especially when a follow-up may never even happen.

The energy Wingard infuses into the film makes it clear that he still hasn’t lost his touch. If there’s one thing he understands, it’s how to establish the right tone for his intended audience. When the violence erupts in the second act, Wingard demonstrates that he’s still willing to take risks and push the material in unexpected directions. Anyone unfamiliar with his style may be caught off guard, but longtime fans will feel right at home with the originality and unpredictability he brings to the film.

There is a lot of buildup leading into the third act, and if you’re familiar with the synopsis or trailers, the film ultimately delivers exactly what it promises. Unfortunately, the payoff is so short-lived that it becomes difficult to fully feel the intensity of what’s unfolding. Characters make one poor decision after another when they could have easily escaped, while the film’s big fight sequence is resolved almost as quickly as it begins.

The conclusion also feels less like a satisfying ending and more like an attempt to set up a sequel, particularly given the big names attached to the cast. It’s clear that the cast recognizes Wingard’s potential as a storyteller, but watching Onslaught makes you wonder if they may have arrived about ten years too late.

Overall, Onslaught is a case of wasted potential, particularly in a world that could have benefited from more substantial development and a much stronger third act. Adria Arjona delivers a solid performance, but much of the supporting cast feels frustratingly underused. If you’re simply looking for a rocking good time, Onslaught delivers enough to satisfy. But if you’re hoping for something with the originality, depth, and lasting impact of The Guest, you may be better off just revisiting the film that inspired it.

Onslaught premieres in theaters September 4th!

Review by Chadd Clubine

Spanning nearly 50 years, director Ridley Scott has officially made 30 films with The Dog Stars. Unfortunately, the film falls short of the heights we’ve come to expect from a filmmaker with such an accomplished career. Then again, Scott’s filmography has had its fair share of highs and lows, yet he remains one of the most respected directors working today. With a reported $110 million budget, The Dog Stars feels frustratingly aimless, raising questions about how the film could possibly recoup its enormous investment. Considering the string of box-office disappointments throughout Scott’s later career, coupled with his advancing age, the film unfortunately feels like a sign that it may finally be time for the legendary director to hang it up while he still can.

Two things can be true at once: Jacob Elordi is a star, and this is still a bad movie. At one point, Paul Mescal was set to star in the film before dropping out, paving the way for Elordi to take on the lead role. While Elordi does the best he can with the material, it’s hard not to wonder if Mescal could have brought something more effective to the role, particularly in the scenes involving Margaret Qualley’s character. The film boasts an impressive ensemble, but Scott seems unsure of how to utilize them, resulting in a tonally misguided collection of performances. Josh Brolin’s dialogue is atrocious. Qualley’s characterization is barely developed. Allison Janney appears to be acting in an entirely different movie. Benedict Wong seems to be here for an easy payday. It looks like Guy Pearce can finally stop beating himself up over thinking he gave a bad performance in Memento. The film isn’t outright awful, but Scott makes a number of baffling choices with these characters, many of which feel like the unfortunate result of poor pacing and underdeveloped storytelling.
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Without going too in-depth with the source material, the film feels like someone giving a book presentation after reading only the SparkNotes version. It’s already concerning that the film doesn’t even hit the two-hour mark, but the real problem is how quickly it jumps from one scene to the next without ever giving the audience time to settle into the story. If you go in knowing nothing about the plot and haven’t seen any of the trailers, good luck figuring out what this movie is even about. There’s simply too much material crammed into such a short runtime, ultimately making a strong case that this story would have been far better suited as a miniseries.

The film starts off average and only gets worse as it progresses, largely due to its breakneck pacing, constant tonal shifts, and rushed storytelling. There are still a few redeeming qualities that may win some viewers over. For a film with a $110 million budget, the world Scott creates is genuinely intriguing, particularly in how it depicts the aftermath of the apocalypse. Unfortunately, we don’t get nearly enough of it. The film is at its most immersive when it allows us to see what this world has become, making it all the more frustrating that Scott doesn’t spend more time exploring it.

It’s difficult to understand where the film is going as it constantly jumps from one idea to the next. Even the Letterboxd synopsis doesn’t entirely reflect how the story unfolds. Instead, Elordi’s character is primarily on a journey of self-discovery, which ultimately becomes the film’s most compelling element. Elordi’s performance, particularly toward the end, is where the movie is at its most effective, showing how a world this bleak can slowly destroy even the best of people. Unfortunately, rather than giving us more of that character journey—something audiences could genuinely connect with—the film takes too long to get there. By the time it finally does, it’s simply too little, too late.

Overall, The Dog Stars is a misguided disappointment, especially when you consider the sheer amount of talent involved. It’s difficult to understand exactly what the film is trying to accomplish, but its biggest flaw may be that this story simply feels better suited to a miniseries, where its characters, themes, and world could have been given the time they desperately need. The themes are present, but the film never fully develops them or reaches the emotional impact it seems to be aiming for. There’s an interesting world at the center of The Dog Stars, but Scott never makes it captivating enough to leave a lasting impression.

The Dog Stars premieres in theaters August 28th!