Author: Wanggo Gallaga

PRIME VIDEO STREAMING REVIEW: ‘Spider-Noir’ with Nicolas Cage Marries Two Polar Opposite Genres and Comes Out with Something New and Exciting

A spin-off series from the massively successful Spider-Man: Across the Spider-Verse, Spider-Noir character is actually quite an inventive and refreshing move from Sony Pictures Television and Amazon MGM Studios. By turning it into a live-action series set in an alternate universe of 1930s Depression-era New York, showrunner Oren Uziel manages to juggle the tonal issues of presenting a superhero show in the noir genre – or is it a noir show with superhuman characters? Finding the productive tension between these two storytelling modes creates an entertaining spectacle, with Nicolas Cage at the center grounding it altogether.

The show follows Ben Reilly (Nicolas Cage) several years after his exploits as the superhero The Spider. Following tragic events involving the loss of someone very close to him, Reilly has given up his superhero activities and resumed his life as a struggling private detective. Without The Spider, New York is overrun by crime, with the mob boss Silvermane (Brendan Gleeson) at the top of the underworld food chain. However, a new case involving other individuals with superpowers leads Reilly right into Silvermane’s crosshairs. Over the first three episodes, the show pushes Reilly to question his decision and wonder whether he should take on the mantle of The Spider once again.

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Consisting of eight episodes, I’ve only seen the first three, and most of these episodes are filled with intricate world-building. These early episodes allow us to get into the show’s tone and genre, smoothly easing us into its marriage of noir with that of the comic book superhero genre. Reilly is not alone in this world. He has a friend who knows about his dual life, the journalist Robbie Robertson (Lamorne Morris), and his a crafty, competent secretary Janet (Karen Rodriguez).

Prime Video’s Spider-Noir

The world, straight out of the noir genre, is a bleak, broken society hidden underneath the glitz and glamour of New York’s upper class, who make it the clientele of Reilly and the cause of all the misery. It’s underhanded and dirty, but only as much as it can be in a show that styles itself like an old Humphrey Bogart film and a family-friendly superhero adventure. The extraordinary comes in brief spurts but with huge impact across these first three episodes, showing great restraint and preventing one side from overpowering the other. Uziel is doing a great job of balancing Spider-Noir’s dual personalities without dismantling the show’s overall feel of it.

The existential dread that is evident in many noir films is front and center here. Reilly is a man who has been beaten by life, and he is deeply in opposition of going head on back into the realm of the superhero. This dilemma feels so current and relatable, posing the question of whether it matters to be good in a world that is so infested by people breaking the law; especially when those people seem to be winning at life. The exhaustion and frustration hang heavy in the first three episodes – yet the show still manages to be light and entertaining – making the entire experience feel refreshing and new.

And this is handled magnificently by Nicolas Cage, who seems to straddle the show’s multi-faceted personalities. He knows exactly how to embody this character and how to fit it into the new tonal frequency of the show. Everyone seems to take their cues from him, and the world just feels like it’s right. The other standout is Li Jun Li as Cat Hardy, a night club singer who has ties to Silvermane and becomes one of Ben Reilly’s clients when she asks him to find her missing bodyguard, a man who also has superpowers. Li and Cage’s characters are always engaged in a verbal joust, dropping sentences and phrases that mean multiple things but delivered in a way that echoes the films of the ’30s and ’40s. It’s snappy, loaded, and highly enjoyable to watch.

Spider-Noir is truly different and refreshing, and I can’t wait to see how it plays out. The show is offered in two variants – “Authentic Black & White” and “True Hue,” (a colored version that is highly oversaturated to resemble a comic book from that era) – and the viewer can watch the series in either format. Personally, I prefer the black and white version, as it feels far more true to the classic traditions of the noir genre.

My Rating: 4 Stars

Ready to step into the shadows of 1930s New York? Spider-Noir proves that there is still plenty of invention left in the superhero genre when placed in the right hands, reminding us that sometimes, with no power comes no responsibility. Catch the premiere on May 27 on Prime Video in True-Hue Full Color and Authentic Black & White. See Nicolas Cage at his absolute best!

May 25, 2026
TV REVIEW: The Pilot Episode of ‘Drug War: A Conspiracy of Silence’ Sets Itself Up as Prestige Television and It’s Looking for a Home

Director Shugo Praico’s direction for his new 6-part television series, Drug War: A Conspiracy of Silence, from the pilot episode that was shown to select audiences a few weeks ago, boasts of a cinematic framing for a very human story set on the backdrop of the country’s alleged war on drugs. Using a multitude of characters, the show deconstructs the individual lives whose worlds are turned upside down the moment the police were incentivized to bring in drug users and pushers depicted in the series. While this story has been done before in various iterations, Drug War: A Conspiracy of Silence has the benefit of time – the story is being told with a present-day lens – and all that we know now filters out the propaganda while focusing on its thematic intent to humanize its perpetrators and its victims.

The pilot episode is told in two parts: that of Kiko (Harvey Bautista), a working student who takes drugs to juggle the demands of his studies and earning a living, and that of Father Tom (Ian Veneracion), a priest who runs a rehabilitation program on an island far from the city. Both of their lives are torn asunder following a shift in the administration and the launch of a nationwide anti-drug campaign. The series depicts this transition as one that sends the cops running to apprehend drug pushers and users, with the narrative showing them oftentimes bringing in innocents just to meet their quota.

At the show’s opening, Kiko’s father is killed, prompting Kiko to go on the run and find himself at Father Tom’s rehabilitation program. On that island, the kids find redemption and peace; the storyline makes a great case that rehabilitation actually works, serving as a fantastic contrast to the show’s portrayal of unnecessary violence. Kiko, inspired by Father Tom, leaves for Manila to continue the priest’s work but goes missing. With the administrative shuffle of police chiefs, the new police chief begins to interfere with Father Tom’s program, and the priest takes it upon himself to go to Manila to find out what happened to Kiko.

Veneracion and Bautista are excellent foils for this story to unfold. Both are incredible actors, imbuing their roles with so much texture and nuance that they hit the characters’ realities as well as the show’s thematic messages without losing believability. But the rest of the cast is just as impressive.

Romnick Sarmenta plays Kiko’s dad, whose death serves as the inciting incident in Kiko’s story. Sarmenta is a solid, reliable actor, and is always good in everything. With his character’s early passing and the protagonist shift from Bautista to Veneracion halfway through the show’s pilot, Drug War: A Conspiracy of Silence feels unpredictable and refreshing.

The pilot ends with a teaser for the next episode featuring Jane Oineza as a policewoman who seems dedicated to the operation and may take center stage. Will each of the six episodes introduce new players into the show’s depiction of this tragic turn of our nation’s history? It’s an exciting proposal that will pay off well if the succeeding episodes keep up the energy and pace of the pilot.

Praico makes this show feel big. He uses an interplay of wide shots to highlight the milieu of this narrative’s world but also knows that in television, the close-up is key. He shifts his camera lens with precision that makes Drug War: A Conspiracy of Silence feel cinematic and grand, while still fully utilizing television’s natural intimacy with its characters. One scene features Bautista running away from the police, moving through the shanties of his turf, up onto the stainless-steel roofs of the slums, and down into another home. It is a massive sequence, impressively shot and edited that lets the audience know they are watching something on a completely different level. The writing is crisp and doesn’t feel like it is spoon-feeding its viewers, which elevates it further.

Currently, Drug War: A Conspiracy of Silence is searching for a platform to call home. I hope it ends up on a streaming site that will allow the creators to retain the violence, brutality, gore, and profanity contained in the pilot episode. It is a very real, grounded work that needs that level of violence to heighten the horrors of that period. In this show, no one is purely good or bad, which is one of the things I like about it. Even Father Tom shares his moment of frailty that led him down this path; no one here is entirely innocent, and that feels exactly right for this show.

My Rating: 4.5 Stars

Which streaming platform do you hope picks up this series? Sound off in the comments with your thoughts on Drug War: A Conspiracy of Silence as it searches to find its home.

May 25, 2026
THEATER REVIEW: Dance Theater Takes a Big Leap Forward with Mari Dance’s Restaging of ‘A Dance in a Day in a Dance’

I’m a huge fan of contemporary dance. I love how expressive and emotional the movements are; it takes a lot of skill to make these seemingly random motions of the body look beautiful, but it always requires a level of storytelling and performance. Having not seen a contemporary dance ballet in a while, I’m thrilled that Mari Dance is bringing it back in a big way by pushing the medium forward and bringing it into the realm of theater. In dance theater, the narrative structure of a play is at work, but the story is communicated entirely through movement. It replaces spoken language with kinetic energy, requiring the audience to let go of the need for words to communicate and instead trust their eyes and ears to pick up the feelings of the story through the performance.

Composed of five short, choreographed pieces by JM Cabling, A Dance in a Day in a Dance tracks the harrowing story of a rigid, abusive dance instructor and choreographer. Played by the terrific Al Bernard Garcia, as he uses capital punishment in the dance studio and terrorizes his students. This framing narrative serves as the transition points that link the five choreographed pieces together.

It begins with Nothing Special, a piece about finding one’s voice amid a culture of silence, performed by featured dancer Michael Que, which mirrors the students trying to process the dance instructor’s abusive ways.

A Dance in a Day in a Dance | Photo by Cesar Morales

At the midpoint, the company delivers a stunning performance of Ang Lihim ni Lea, an adaptation of Augie Rivera’s children’s book about a young girl who discovers she can walk through walls but the origins of this ability comes from a scary, dark place.

A Dance in a Day in a Dance | Photo by Cesar Morales

Performed by Janine Arisola-Cabrera as Lea, this powerful piece features where the dancer actually goes through the walls of her home, which is realised by a frame wrapped in fabric with holes cut through them.

A Dance in a Day in a Dance | Photo by Cesar Morales

The show then transitions to Bent, excellently executed by Arnel Sablas and Sheanne Montecarlos, about an accidental hook up between two dancers. It finishes with Nothing Special, performed by Garcia and Jenris Bernard Garcia, about a man rediscovering and reconciling with his younger self. It is the piece that leads to the transformation of Garcia’s problematic dance instructor that allows him to seek redemption withhis students.

A Dance in a Day in a Dance | Photo by Cesar Morales

Under Mikko Angeles’s astute direction and JM Cabling’s inventive choreography, the production transitions seamlessly between the world of the narrative to the world of the individual pieces, ensuring the emotional connection is carried through.

A Dance in a Day in a Dance | Photo by Cesar Morales

D Cortezano’s lighting design is exquisite, dynamically shifting colour temperatures and brightness to highlight the emotional spectrum of each scene. In one particular sequence, Cortezano manages to keep Garcia in the spotlight as he dances throughout the entire stage, while the rest of the company of dancers shifts rhythmically in darkness behind him. It had such a powerful effect.

A Dance in a Day in a Dance | Photo by Cesar Morales

Complementing this is Wika Nadera’s set design involves panels on wheels so they can be dragged around, with one side made to look like doors and the other to look like artsy walls. The dancers would move them around to change the scene, using whichever side is best for the story at that moment.

A Dance in a Day in a Dance | Photo by Cesar Morales

The emotional ride of the entire production is matched by its production savvy and elevated by a host of incredible dancers. Led by Al Bernard Garcia, the ensemble and featured dancers are so strong. Their lines were beautiful. Their technique showed but each one was able to convey the story so well.

A Dance in a Day in a Dance | Photo by Cesar Morales

For me, the night’s true standouts, aside from Garcia who really anchored the whole production, were Arisola-Cabrera, whose portrayal of Lea is intricate and nuanced, and Montecarlos, whose performance in ‘Bent’ really showcased her talent and training and she brought in a lot of charm.

A Dance in a Day in a Dance | Photo by Cesar Morales

Among the ensemble, Evan Joe Asuela stood out for his grace and strength. He was just part of the ensemble, but his stage presence was so strong that I couldn’t stop watching him dance during the big numbers.

A Dance in a Day in a Dance | Photo by Cesar Morales

If you’re looking to get into watching ballet or contemporary dance, Mari Dance’s A Dance in a Day in a Dance is a wonderful starter show and its theatrical structure keeps it familiar.

My Rating: 5 Stars

Don’t miss this breathtaking leap forward in local dance theater! A Dance in a Day in a Dance runs until May 31 at the Doreen Black Box Theater, Areté, Quezon City. Experience the magic live, secure your tickets NOW at maridance.com!

May 22, 2026
DISNEY+ STREAMING REVIEW: Jon Bernthal Adds Depth and Duality to ‘The Punisher: One Last Kill’

As the second season of Daredevil: Born Again comes to a close, Disney+ has released a one-shot special, The Punisher: One Last Kill. The special is co-written by Jon Bernthal, who reprises his role as Frank Castle, alongside co-writer and director Reinaldo Marcus Green. Having last seen Frank Castle in the first season of Daredevil: Born Again and we have seen him in trailers for the upcoming Spider-Man movie, it is clear he remains essential to the Marvel Cinematic Universe. This special interweaves itself seamlessly into the chaotic, borderline-dystopian world of Daredevil: Born Again Season 2 (though, to be honest, it’s not that far off from what we see in the news sans superpowered vigilantes).

In this 51-minute special, we see Frank Castle struggling under the weight of his post-traumatic stress disorder. Having killed all the criminal families responsible for the death of his wife and children, Castle is left aimless and without purpose. He hides out in New York’s Little Sicily, which has turned into a chaotic battleground; without the mobsters running the streets, gangs roam free and attack without consequence. Castle contemplates suicide until he is confronted by Ma Gnucci (a spectacular Judith Light), the last surviving member of the Gnucci family, one of those families Frank was taking revenge on. Having tracked him down, she puts a bounty on his head and exposes his location. From there, the episode turns from a quiet, dramatic exploration of one man’s trauma and its effects into a no-holds barred, violent bloodbath with explosive action sequences and a grim renewal of Frank Castle’s sense of purpose.

Frank Castle / The Punisher (Jon Bernthal) in Marvel’s THE PUNISHER: ONE LAST KILL, exclusively on Disney+. Photo courtesy of Marvel. © 2026 Marvel. All Rights Reserved.

The first twenty minutes are all atmosphere and mood, we really get into the mind of Frank Castle. Bernthal is so good at creating vulnerability from an otherwise terrifying very powerful man. As an intensely physical actor, he expresses the full spectrum of character’s interiority through hi body language. Seeing that he co-wrote the script, he is able to show off restraint with the dialogue, clearly knowing exactly which parts he could show through body language and his eyes. It is a riveting performance that reaffirms why Bernthal is such an excellent choice for the character.

(L-R): Curtis Hoyle (Jason R. Moore), Frank Castle / The Punisher (Jon Bernthal), Nick (Nick Koumalatsos), and Colton (Colton Hill) in Marvel’s THE PUNISHER: ONE LAST KILL, exclusively on Disney+. Photo courtesy of Marvel. © 2026 Marvel. All Rights Reserved.

Taking off from Daredevil: Born Again, this special puts a spotlight on lawlessness, serving as a bleak commentary on how our civilization seems to be crumbling down. Unrestrained violence and a brazen capacity to do harm take center stage here, yet The Punisher: One Last Kill also shows us how hope still flourishes even in the most violent of storms.

Frank Castle / The Punisher (Jon Bernthal) in Marvel’s THE PUNISHER: ONE LAST KILL, exclusively on Disney+. Photo courtesy of Marvel. © 2026 Marvel. All Rights Reserved.

The special starts off slow, a good twenty minutes is there to set up the world and establishing Frank’s unwillingness to engage with it. His mission is done, his hope is depleted, and the narrative can occasionally get dragging. However, Bernthal remains such a compelling presence that he makes it bearable but you can also see that this is just a set up for an explosive final thirty minutes. What follows is a bloodbath that moves from one unit in an apartment complex down into the streets. It’s bloody, brutal, gory and relentless.

Ultimately, the special serves up the dual halves of Frank Castle’s psyche, as a character, and shows us how he continues to move on in the MCU. It will be interesting to see how this character would appear in Spider-Man: Brand New Day, a film bound to have a more family-friendly rating. What is most important, however, is that Frank Castle is officially back as The Punisher, and One Last Kill is a great special to bring him back to the Marvel Cinematic Universe.

My Rating: 4.5 Stars

An absolute must-watch for MCU fans looking for real grit. Stream The Punisher: One Last Kill is now on Disney+.

May 19, 2026
THEATER REVIEW: ‘Jesus Christ Superstar’: A Very Modern Superstar

Director Timothy Sheader’s concept for the revival of Andrew Lloyd Webber and Tim Rice’s Jesus Christ Superstar is an interesting interplay of 1970s rock opera with a lot of modern sensibilities, reimagining Jesus Christ as a sort of disinterested celebrity. The stage design is sparse and foreboding: on stage right stands a two-story structure made to look like wood, while on the left, a massive platform in the shape of a cross serves as a makeshift table or an elevated stage for other characters to come through. While lighting designer Lee Curran does wonders in shaping the atmosphere, it is Tom Scutt’s set design that truly makes you feel like something bad is about to happen.

Jesus Christ Superstar Manila Production | Ricardo Afonso and the Jesus Christ Superstar Company | Photo by Zeus Martinez Photography

The play pulls from Gospel passages to explore – entirely through rock music – Jesus’s relationships with his disciples and followers as his rising influence begins to frighten the Pharisees and priests. Told primarily from the point of view of Judas, who remains faithful yet deeply wary that Jesus is rocking the boat too much, it tracks his eventual betrayal leading up to Jesus’ crucifixion.

Jesus Christ Superstar Manila Production | Luke Street, Ricardo Afonos, and the Jesus Christ Superstar Company | Photo by Zeus Martinez Photography

Completely sung-through, the musical relies on clarity of words and and the power of the emotions as told through song so the story and its emotional weight relies heavily on the performers and the way they interpret each song. Some treat the show like a concert – singing beautifully but losing out on the narrativity of the music – while others successfully carry the story through.

Jesus Christ Superstar Manila Production | Javon King and Grant Hodges | Photo by Vitt Salvador

On the gala night, Javon King’s Judas was an instant standout , singing magnificently while still breathing into the songs Judas’ anger, resentment, guilt, and pathos into the role. Meanwhile, Joshua Bess’ Jesus Christ struggled through the first act but found his voice in the second; however, he was ultimately outshined by many of his co-stars, tilting the production even more towards Judas’ story.

Jesus Christ Superstar Manila Production | Joshua Bess, Gab Pangilinan, and the Jesus Chris Superstar International Tour Company | Photo by Vitt Salvador

The imagery of Sheader’s revival places Jesus and his disciples in gray sweatpants and hoodies – making them look like Millennials or even Gen Zers – evoking the vibe of social media radicals changing the world through Jesus’ progressive teachings. Bess’ Jesus has a tendency to mope and cast his anxiety onto his disciples, frequently reproaching them and complaining that none of them truly care for him. He comes off as a popular influencer who has grown exhausted by fame and the burden of leading his flock.

Jesus Christ Superstar Manila | Jesus Christ Superstar International Tour Company | Photo by Vitt Salvador

On the other hand, Judas constantly pushes Jesus to be less radical, aware of how he is ruffling feathers, especially among the Pharisees and the priests. Dressed as they are, singing to rock music against a bleak, bare stage design, the production feels like a direct commentary on today’s society: the way that the youth are trying to bring down the old ways while the old guard does whatever it takes to stay in power.

I really appreciated this tone and imagery. Drew McOnie’s demanding choreography is very hard-hitting and intensely physical, using ripple-effect movements that begin with a single dancer and then copied by one performer to the next. This creates a visual metaphor, making the energy of Jesus’ words feel infectious, moving from one person to the next.

Jesus Christ Superstar Manila Production | Gab Pangilinan | Photo by Vitt Salvador

Other standouts included Gab Pangilinan as Mary Magdalene, who managed to find the right balance between the production’s message and the music’s over-the-topness.

Jesus Christ Superstar Manila Production | Luke Street & Gab Pangilinan | Photo by Zeus Martinez Photography

She just melded quite well into Sheader’s vision and sang my favourite songs from the musical.

Jesus Christ Superstar Manila Production | Gab Pangilinan and Joshua Bess | Photo by Vitt Salvador

The other stand out is Erick W. Schleck as King Herod. His lone number was a show-stopper with Herod in spectacular gold frock that feels very much like a drag queen, performed with such bravura that it rightfully deserved the thunderous applause that followed.

Jesus Christ Superstar Manila Production | Ricardo Afonso and the Jesus Christ Superstar Company | Photo by Zeus Martinez Photography

On a personal level, Jesus Christ Superstar is not my favourite of musicals. Having grown up on the music of Neil Young, David Bowie, The Rolling Stones, and other 1970s rock bands, Andrew Lloyd Webber’s brand of 1970s rock doesn’t quite hit the mark for me – though I have always loved all of Mary Magdalene’s numbers. Because the show is entirely sung-through, the musical is dependent on the performers really carrying the story through the singing and if someone doesn’t do their part, the show struggles.

But it is a spectacular show. With King, Pangilinan, and Schleck on stage alongside a powerhouse ensemble – there’s a lot to see and enjoy. Sheader’s direction, especially of his striking treatment of Judas’ suicide and how he blocks and envisions the ending, is quite a theatrical feat. Ultimately, listen to the music and if 1970s rock opera is your jam, then this is a show you will enjoy.

My Rating: 3.5 Stars

Catch Jesus Christ Superstar on stage until May 31! Don’t miss this sleek, hard-hitting reinvention of a theater classic. Whether you’re a lifelong fan of the rock opera or looking to experience its brilliant modern staging for the first time, this production is a must-watch spectacle. Don’t miss the phenomenon, grab your tickets now at Ticketworld.

May 17, 2026
MOVIE REVIEW: Departing From Her Usual Style, Director Irene Emma Villamor Presents ‘Midnight Girls’ as a Film About the Strength of Women in an Exploitative Industry

Of all of the films in Irene Emma Villamor’s filmography, Midnight Girls is the film that feels completely different, a heavy departure from her usual movies about the complex nature of love. This is a different kind of love story, one that explores what is at the core of friendships amongst Filipina entertainers in Nagoya, Japan. It is an ensemble film, featuring four strong performances from its lead cast: Jodi Sta. Maria, Sanya Lopez, Jane Oineza, and Loisa Andalio.

Almost plotless, Midnight Girls follows four women working in a hostess bar in Japan. Vicki (Sta. Maria) the most mature of the group, sending money to a son with whom she no longer has any real relationship after being gone for so long. She is practical and rational, but years in the working abroad have left her cold, despite her role as “older sister” to the others.

Paris (Lopez) is the explosive one, wearing her heart on her sleeve and carries the story of falling in love with a local man.

Saki (Oineza) faces an identity crisis, while the work forces her to be intimate with men, she finds herself gravitating to Paris. Finally, Wanna (Andalio) is the newcomer who left home and a boyfriend, to earn a living to send money back home.

Each woman becomes representative of the specific struggles hostesses face in this industry. Villamor takes a very interesting approach, investigating each character’s emotional struggle without delving into the inherent exploitation of the work involved. This is not an exploitation film, nor does this film attempts to paint these women as victims. Instead, Villamor is more deadset on navigating their emotional space, detailing their highs and lows, and humanizing them.

The exploitation is implied – though never spoken about – and is always at the periphery but never made present. This is not that kind of movie, and while there are other films tackle that aspect of these women’s lives head on. Instead, Midnight Girls centers its characters as people with hopes, dreams, fears, and regrets. The human aspect is front and center.

Villamor intersperses the film with actual interviews of women who are later revealed to be the inspirations for these characters. By merging the real people behind the fictional characters, the film sidesteps the need for melodrama. While the narrative occasionally skirts toward that territory, Villamor is too sophisticated a director to let go of her restraint.

What I do miss is the director’s signature capacity for capturing the full complexity of her characters on screen. With four main characters – though Sta. Maria serves as the film’s foundation and really holds it all together – Villamor can only really touch the surface of each character, rushing certain narrative beats in order to give everyone their due within just under two-hour runtime. Had the film focused on a single character, Villamor’s trademark writing and directing style would have undoubtedly unearthed the best and worst of these people and would do it incredibly well but as an ensemble piece, we only get fragments of the bigger story. This is still a style and structure that Villamor has yet to continue to practice getting better at it.

Ultimately, the film as a whole is a gorgeous love letter to these women. Elevated by incredible performances all around – especially by Sta. Maria and Oineza – Midnight Girls has moments that will make you both laugh and cry. As the film just flows steadily on, allowing time to pass and letting the women grow within their profession and all its challenges.

My Rating: 4 Stars

Curious to see Irene Emma Villamor’s new direction? Experience the heart and sisterhood of Midnight Girls on the big screen. Find showtimes here.

May 14, 2026
MOVIE REVIEW: For the Fans: A Review of ‘Mortal Kombat II’

I don’t even remember the 2021 film Mortal Kombat, which Mortal Kombat II is the sequel. However, this latest release from the franchise leans so heavily into its video game lore and mode that you don’t need to have seen the first film (or even remember it) to follow the story. It’s not completely bonkers that it shifts gears into the level of camp; Mortal Kombat II is not taking itself too seriously, either. It knows its selling points: it has characters to present, action sequences to highlight, and brutal kills to show off that is reminiscent of the video game the whole IP is based on.

The story begins in the past, detailing how Sindel (Ana Thu Nguyen) and Kitara (Adeline Rudolph) joined the side of the Outworld, led by Shao Kahn (Martyn Ford). This piece of history explains how Outworld conquered the realm of Edenia. A decade later, Outworld is after Earthrealm, and Lord Raiden (Tadanobu Asano) gathers his champions to prepare for Mortal Kombat to protect the planet. His champions include returning characters Sonya (Jessica McNamee), Liu Kang (Ludi Lin), Jax (Mehcad Brooks), and Cole Young (Lewis Tan). They travel to Earth to recruit a new champion: washed-up action star Johnny Cage (Karl Urban). While the tournament will decide the fate of Earthrealm, but there are things happening underneath the surface that threaten to change the outcome of the game.

(From left) Ludi Lin as Liu Kang, Mehcad Brooks as Jax, Jessica McNamee as Sonya Blade, and Karl Urban as Johnny Cage in “Mortal Kombat II”
Photo credit: Warner Bros. Pictures

Mortal Kombat II is a fast-paced fantasy and action-adventure film that feels thin on story, largely because it works too hard to give every character a chance to have their moment. Kitara begins the story and has the character with the clearest goal, yet she lacks a true character arc. Those arcs belongs to Johnny Cage and Kitara’s bodyguard and friend, Jade (Tati Gabrielle). However, the narrative is crowded: Liu Kang gets his moment, Kano (Josh Lawson) is resurrected and he gets a lot of screen time because his character is so fun and there’s a lot of plot going on in Shao Kahn’s group involving Quan Chi (Damon Herriman) and Shang Tsung (Chi Han). Consequently, the film never really feels grounded; Johnny Cage’s character development is often glossed over with a punchline, while Jade’s story is the most developed but her character is relegated to a supporting cast.

Adeline Rudolph as Kitana in “Mortal Kombat II”
Photo credit: Warner Bros. Pictures

And because this is Mortal Kombat, we see the return of Sub Zero/Bi Han (Joe Taslim) and Scorpion/Hanzo Hasashi (Hiroyuki Sanada). Of course, they too have to have their moment.

Hiroyuki Sanada as Scorpion in “Mortal Kombat II”
Photo credit: Warner Bros. Pictures

Since the movie is really meant for entertainment and to deliver fan service, there’s quite a number of logical inconsistencies that I’m willing to forgive. However, what I’m expecting, though, is really good fight scenes which the film delivers inconsistently. I’m not that sure of Karl Urban’s ability to fight but his fight scenes are the ones that are the most heavily edited to try and hide the switching of a stunt double. Many of Rudolph’s fights (except the one with Johnny Cage) and that of Gabrielle were fun to watch but the real gem is the fight scene between Liu Kang and Kung Lao (Max Huang). It is fast, the choreography is stunning, the editing allows the viewer to still see the action, and it was dynamic without being overshadowed by the special effects. It’s this kind of fight scene that I hoped to see more of, yet there wasn’t a lot of it.

Martyn Ford as Shao Kahn in “Mortal Kombat II”
Photo credit: Warner Bros. Pictures

Because the film felt like it was intended for fun and fan service, the finale dragged on for quite a bit as two different storylines. In the form of two different fight scenes, The constant cutting back and forth between these two battles extends the action beyond what feels comfortable. But as one-character bows out, another takes their place, and the scene extends some more. It gets a little out of hand. Ultimately, Mortal Kombat II is chaotic, messy, has a lot of story inconsistencies or easy plot fixes, and the fight scenes are not at all balanced out. However, for serious fans of the lore, there is still a lot here to enjoy. The audience at my screening were obviously fans, taking the time to ask questions about where this character showed up and if what’s mentioned is part of the official story canon or not.

My Rating: 2.5 Stars

The tournament has begun! Grab your popcorn and catch the chaos at a theater near you. Check out the latest Mortal Kombat II showtimes here.

May 13, 2026
MOVIE REVIEW: ‘The Sheep Detectives’ Successfully Juggles Multiple Genres as Comedy, Whodunnit, and Social Commentary at the Same Time

When I first saw the trailer for The Sheep Detectives, I must admit I wasn’t impressed. It looked like a typical family-friendly story of anthropomorphic animals doing human things, in this case, solving a murder. It felt a little far-fetched to me and because the trailer seemed a little over-the-top, the jokes felt expected.

I was pleasantly surprised when I finally saw the film, though. Directed by Kyle Balda and written by Craig Mazin (adapting Leonie Swann’s novel ‘Three Bags Full’), the movie is funny, heartfelt, and engaging. There is an earnestness and sincerity to it that perfectly matches the demeanor of its wooly protagonists.

(L to R) Regina Hall as the voice of Cloud Aroop Shergill as the voice of Daisy, Patrick Stewart as the voice of Sir Ritchfield, Ishi Agrawal as the voice of Pickles, Jasper Ambrose as the voice of Oliver, Rhys Darby as the voice of Wool-Eyes, Bella Ramsey as the voice of Zora, Chris O’Dowd as the voice of Mopple, Laraine Newman as the voice of the Fainting Sheep, Julia Louis-Dreyfus as the voice of Lily, Brett Goldstein as the voice of Reggie and Ronnie and Hugh Jackman as George Hardy in THE SHEEP DETECTIVES, from Amazon MGM Studios | Photo credit: Courtesy of Amazon MGM Studios © 2026 Amazon Content Services LLC. All Rights Reserved.

The characters, as sheep, serve as a clever metaphor for the larger societal metaphor the filmmakers intend to discuss, however they never do so in an overt way, allowing the film to maintain its light and whimsical tone.

(L to R) Tommy Birchall as the voice of The Winter Lamb and Hugh Jackman as George Hardy in THE SHEEP DETECTIVES, from Amazon MGM Studios. Photo credit: Courtesy of Amazon MGM Studios © 2026 Amazon Content Services LLC. All Rights Reserved.

In ‘The Sheep Detectives,’ we follow a herd of sheep cared for by George Hardy (Hugh Jackman), a bit of a loner who is grouchy and dismissive toward the townspeople that live near his farm but pours all his affection into his flock. He cares for them deeply, naming each one and reading them mystery novels at night. In this world, the sheep understand him, enjoy the detective stories, and love him just as equally. After a rainy night, George is found dead under circumstances that point to murder. In such a small town, the only policeman, Tim Derry (Nicholas Braun), is a bumbling fool who misses every significant clue. Now, the sheep, led by George’s favourite, Lily (voiced by Julia Louis-Dreyfuss), must solve the case on their own.

(L to R) Nicholas Braun stars as Officer Tim Derry, Molly Gordon as Rebecca Hampstead, Kobna Holbrook-Smith as Reverend Hillcoate, Hong Chau as Beth Pennock, Conleth Hill as Ham Gilyard and Tosin Cole as Caleb Merrow in THE SHEEP DETECTIVES, from Amazon MGM Studios. Photo credit: Alex Bailey © 2026 Amazon Content Services LLC. All Rights Reserved.

Balda’s direction is fast-paced and easy to follow, allowing him to juggle the film’s various modes. On one hand, it is a coming-of-age story, as the sheep learn to become more active characters in their own lives and venture beyond the comforts of their farm. It is also a mystery film, hitting all the narrative beats of the genre and effectively playing out the whodunnit form. Then, quite subtly, the film also doubles as a social commentary, with the sheep becoming a clever metaphor for today’s modern society.

(L to R) Chris O’Dowd as the voice of Mopple and Julia-Louis Dreyfus as the voice of Lily in THE SHEEP DETECTIVES, from Amazon MGM Studios.
Photo credit: Courtesy of Amazon MGM Studios
© 2026 Amazon Content Services LLC. All Rights Reserved.

In the movie, the sheep possess the power to forget. The moment they encounter something distasteful, uncomfortable, or problematic, they can simply choose to forget it. Their reality and worldview are determined by what they allow themselves to remember. While this is an important story point for The Sheep Detectives, it is also a poignant metaphor for our current society’s inability to remember our history, hence we always find ourselves repeating the same mistakes as before.

Patrick Stewart as the voice of Sir Ritchfield in THE SHEEP DETECTIVES, from Amazon MGM Studios.
Photo credit: Courtesy of Amazon MGM Studios
© 2026 Amazon Content Services LLC. All Rights Reserved.

The sheep are carefree and passive, and why shouldn’t they be? They are well-fed, cared for, groomed, and entertained, with all their needs met. What reason do they have to do anything radical or drastic? It is only when George dies that all this comfort is threatened. Before they can choose to forget to avoid the pain, the only sheep unable to do so, Mopple (Chris O’Dowd), reminds them that to truly love George, they must remember him. It’s an early part of the film that has powerful reverberations throughout the rest of the narrative.

Laraine Newman as the voice of the Fainting Sheep and Hugh Jackman as George Hardy in THE SHEEP DETECTIVES, from Amazon MGM Studios. Photo credit: Courtesy of Amazon MGM Studios © 2026 Amazon Content Services LLC. All Rights Reserved.

There’s a lot that is happening under its 109-minute runtime. Each character is well-developed and fully realised, while the film effortlessly juggles its various genres and themes. It is funny and charming, yet still packs a punch the moment you see the metaphor for what it is.

My Rating: 4.5 Stars

A rare film that manages to be both hilariously whimsical and deeply profound. Will you choose to remember? Don’t miss The Sheep Detectives at your favorite theater, check out the latest movie showtimes here.

May 9, 2026
MOVIE REVIEW: Stylish but Hollow: A Review of ‘The Devil Wears Prada 2’

I wasn’t sure if I ever wanted a sequel to The Devil Wears Prada. To me, the original was already so perfect, one of those evergreen films you can return to over-and-over again. Anne Hathaway’s Andy Sachs served as the perfect foil, played it so well that matched Meryl Streep’s iconic Miranda Priestly, who really could have won an Oscar for that performance.

(L-R): Miranda Priestly (Meryl Streep) and Andie Sachs (Anne Hathaway) in 20th Century Studios’ THE DEVIL WEARS PRADA 2. Photo by Macall Polay. © 2025 20th Century Studios. All Rights Reserved.

It was just as enjoyable to watch the banter and barbs flung with precision at perfect timing by Emily Blunt’s Emily and Stanley Tucci’s Nigel. It’s a film I could come back to and the story in itself was so complete that I had no real desire to see more from them because everything that I needed was there.

(L-R): Anne Hathaway as Andy Sachs and Meryl Streep as Miranda Priestly in 20th Century Studios’ THE DEVIL WEARS PRADA 2. Photo courtesy of 20th Century Studios. © 2026 20th Century Studios. All Rights Reserved.

So coming into Devil Wears Prada 2 came with a lot of resistance. The trailer didn’t tell me anything other than they were going to be delivering the same level of humor while amping up the glitz and glamour. The story finds Andy Sachs returns to Runway after losing her job due to the layoffs of media workers (and other industries) due to the current capitalist wave.

(L-R) Anne Hathaway as Andy Sachs, Meryl Streep as Miranda Priestly and Stanley Tucci as Nigel Kipling in 20th Century Studios’ THE DEVIL WEARS PRADA 2. Photo by Macall Polay. © 2026 20th Century Studios. All Rights Reserved.

Twenty years have passed, and Miranda doesn’t even remember her. Miranda herself is struggling to keep the brand afloat amidst the changes and challenges in the field of traditional publishing since the Internet and social media has changed everything.

Andy’s return to Runway isn’t Miranda’s choice and she now has to prove her worth all over again. While the story runs almost beat-for-beat with the 2006 original, the dynamic has shifted quite a bit with Andy more confident and knowledgeable about the world.

Meryl Streep as Miranda Priestly in 20th Century Studios’ THE DEVIL WEARS PRADA 2. Photo by Macall Polay. © 2026 20th Century Studios. All Rights Reserved.

The performances are still enjoyable with Meryl Streep given significantly more to do as the film has her on equal screen time and agency as a character than she was in the first film. This is as much her movie as it is Andy’s. They’ve humanized her, the eponymous “Devil” of the film’s title, now left scrambling to keep her budget and her brand alive, and hoping for a promotion for “Head of Global Content” in the publishing company, a position she has spent many years forging.

(L-R): Meryl Streep as Miranda Priestly and Stanley Tucci as Nigel Kipling in 20th Century Studios’ THE DEVIL WEARS PRADA 2. Photo courtesy of 20th Century Studios. © 2026 20th Century Studios. All Rights Reserved.

However, this added storyline and humanizing of her destroys all of the character’s mystery – which some people enjoyed, though I felt lessens her impact on the film – and without that signature coldness, the film feels like it lost some of its signature bite. By grounding Miranda, I felt more inclined to look at the things that the film wants to say.

(L-R) Meryl Streep as Miranda Priestly and Stanley Tucci as Nigel Kipling in 20th Century Studios’ THE DEVIL WEARS PRADA 2. Photo by Macall Polay. © 2026 20th Century Studios. All Rights Reserved.

And while it does mention the changes in the publishing industry – in terms of its business models and being run by billionaires who only care about making a profit and don’t care really about creating something valuable and meaningful outside of economics – it never really gets to go deep and hard into these issues. Maybe it’s not what the film is trying to do but the whole narrative is set on trying to save Runway with a Jeff Bezos-type billionaire character, Benji Barnes (played by Justin Theroux) playing a crucial role in its future, but I felt the film took for granted in showing us what was worth saving in the first place.

(L-R) Stanley Tucci as Nigel Kipling and Anne Hathaway as Andy Sachs in 20th Century Studios’ THE DEVIL WEARS PRADA 2. Photo by Macall Polay. © 2026 20th Century Studios. All Rights Reserved.

The film still regales us with gorgeous outfits and great styling. It features multiple cameos by real superstars and legends of the fashion world. But in this day and age of a possible global recession and a reevaluation of the true cost of luxury, I end up questioning what the point of all of it is.

Anne Hathaway as Andy Sachs in 20th Century Studios’ THE DEVIL WEARS PRADA 2. Photo by Macall Polay. © 2026 20th Century Studios. All Rights Reserved.

In the original film, that amazing monologue about “cerulean” was an important narrative beat to show Miranda’s knowledge in the world of fashion and a turning point in Andy’s discovery of what it is she was truly entering but it was also necessary because it made us realise how high fashion is connected to everything – especially back in 2006. As Andy began dressing the part, looking great, she started to attract good things coming to her. The Devil Wears Prada does not have that same moment – to show us how important and necessary high fashion is to the world today – and thus feels like the film sort of stumbles in what it is trying to do.

Emily Blunt as Emily Charlton in 20th Century Studios’ THE DEVIL WEARS PRADA 2. Photo by Macall Polay. © 2026 20th Century Studios. All Rights Reserved.

Yes, we want the characters to succeed because Anne Hathaway, Meryl Streep, and Stanley Tucci are amazing and their performances truly grab at you. Emily Blunt is also great, but her character now runs adjacent to Runway. But there are so many plot points and narrative twists keeping the story moving, yet it never really stops and gives us a moment to rationalize what high fashion means in 2026. It’s all gorgeous to look at, but who can afford a three thousand dollar handbag in today’s economy? The film never showed me why that matters.

(Center – Right) Meryl Streep as Miranda Priestly and Anne Hathaway as Andy Sachs in 20th Century Studios’ THE DEVIL WEARS PRADA 2. Photo by Macall Polay. © 2026 20th Century Studios. All Rights Reserved.

Director David Frankel does a good job at keeping the pace, keeping the plot moving without ever feeling boring, and allowing his actors to shine. We got gorgeous cinematic moments and a lot of good humor reminiscent of the original but I don’t see the same heart that was there that got me to fall in love with the first movie.

My Rating: 3.5 Stars

Miranda doesn’t like to be kept waiting. Witness the long-awaited return of Meryl Streep and the original cast in the cinematic event of the season. Check The Devil Wears Prada 2 showtimes here.

May 4, 2026
Disney+ Exclusive: The Cast and Director of New Original Series ‘Gold Land’ Promise Thrills and a New Side to Park Bo-young

Unlike other virtual press conferences I’ve attended, the media launch for the new Disney+ crime drama series Gold Land carried a notably more somber tone than usual. It was more serious, this time, mirroring the show’s dark theme of desire and greed. While the cast member Lee Kwang-soo brought flashes of his signature comic timing to the proceedings, he felt more like a “troublemaker” than a comedian this time, a fitting energy as he takes another turn as a villain in this series.

Written by Hwang Jo-yoon and directed by Kim Sung-hoon, the story of Gold Land follows Hee-ju (Park Bo-young), an airport security screening agent whose life is upended when her boyfriend Lee Do-kyung (Lee Hyun-wook), gets her entangled in a smuggling operation involving a dangerous gang. While on transit, Do-kyung attempts to steal the shipment but is caught by the ruthless Park Ho-cheol (Lee Kwang-soo).

Disney+ Gold Land

When Hee-ju discovers the hidden shipment, she realizes the stakes are astronomical: 100 ten-kilogram bars of gold worth a staggering 150 billion won. To survive, Hee-ju must team up with a gangster gone rogue, Woogy (Kim Sung-cheol) and reconnect with her estranged mother, Yeo Sun-ok (Moon Jeong-hee), who she has a serious love-hate relationship, while a corrupt detective in on her tail played by Kim Hee-won.

The first four episodes are explosive, suspenseful, and thrilling. Most notably, Park Bo-young showing a different side of herself never before seen on screen; this marks her first foray into gritty genre drama.

Disney+ Gold Land

Throughout the press conference, the cast remained calm and cool, staying anchored in their characters’ serious personalities, save for Lee Kwang-soo, who couldn’t resist hamming it up for the photographers. Kim Sung-cheol, meanwhile, seemed the most prepared with many different poses. His interactions with Park Bo-young brought a smile to her face and showed off their brilliant chemistry that plays really well to the screen.

Director Kim Sung-hoon, when asked about the show, says it’s about “greed and desire” and that audiences will see Hee-ju’s morality truly tested as we watch her go from being afraid of the gold to being consumed by it. “She wants the gold for herself,” he says, which is interesting, considering that’s not in play in the first four episodes of the ten-episode thriller.

Disney+ Gold Land

On doing the show, Park Bo-young shared that she has always wanted to do a crime show. When she was talking to Kim Sung-hoon, he told her that she would be perfect for the role because her appearance and her public persona would make people believe she would do the right thing and return the gold but that’s not what’s going to happen. The unexpectedness of it is what makes it so compelling on screen. Kim Sung-hoon continues by saying, “Park Bo-young is a very courageous actor. Showing greed is not something you do externally. It’s an interior emotion but she gives such a nuanced performance that you can see her change.” He praised her for her ability to show her character’s evolution throughout the series.

She was praised for not using any make-up to help deglamorize her and to portray Hee-ju as a woman who is exhausted with life and with no hope. She even had to lose weight for the role.

Disney+ Gold Land

Echoing this, Kim Sung-cheol also shared about not needing any make up to play the gangster, Woogy. “It took me five minutes to get ready,” he says. “I would just put sunscreen on and then go straight to set.” Oozing with charm during the press conference, Kim Sung-cheol described his character as someone “without any charisma. He is unafraid of his own desires and he is blunt and frank and shallow.” But he adds that he has a quality to the character that makes him interesting to watch in a show like this.

In the show, the two actors form an unlikely partnership. They don’t trust each other and Hee-ju is really afraid of him but they have history together and as the show progresses, she starts to rely on him and it would make an interesting dynamic to see. The two admit to having a brother-sister bond on set, with Park Bo-young saying, “If I had a little brother, I wish he would be like Kim Sung Cheol.”

Disney+ Gold Land

The director is quick to point out that in this show, “no one is really good or bad.” It seems that the gold bars tempt each character forcing them away from their moral center and the series explores this aspect of humanity.

This is a pervasive theme that is discussed throughout the press conference, and it is Lee Kwang-su who brings in the levity; saying his character has no backstory at play in the show itself so he was given free reign to provide input to his character.

Disney+ Gold Land

In a hilarious exchange that became a running joke of the media launch, Lee Kwang-soo shared that he personally bought his own accessories to adorn Park Ho-cheol, to imply a dark past, and teases the director that he has yet to be reimbursed for the expenses. He even joked saying putting gold plates on his teeth was his idea and that director Kim Sung-hoon liked it so much he told everyone it was his.

Disney+ Gold Land

Jokes aside, Kim Sung-hoon is most grateful to Kim Hee Won, whose character plays a vital role in the ending. He claimed that if it wasn’t for Kim Hee-won, his show wouldn’t work because – while all the characters are important – Kim Hee-won’s detective, Jin-man, whose life collapses as he gives in to his own greed and which gives the show the proper weight near the show’s finale.

The first four episodes of ‘Gold Land’ are now streaming on Disney+, with new episodes dropping each week.

May 1, 2026