- Sony’s Exclusive “Saros” is One of the Year’s Must-Play Games (April 24, 2026)
In 2021, Housemarque and Sony Interactive Entertainment released one of the best games of the current generation, a punishingly addictive experience called “Returnal.” Combining the brutality of a Soulslike game with the unpredictability of the Roguelike genre, “Returnal” was unlike anything else that year, winning multiple awards for its remarkable design. Five years later, Housemarque has released a spiritual successor in the excellent “Saros,” out next week exclusively for the PS5 and ready to dominate your spare time and raise your blood pressure.
First, a bit of definition: “Saros” is a “Roguelite,” a variation on the genre “Roguelike.” In the latter, every time one presses play on a game, it’s different, and nothing is retained from one play to the next. “Roguelites” feature upgrades, shortcuts, and even new start points after certain achievements, usually like killing bosses, but also include different elements with every play. For example, each trip through the portal in “Saros” will spawn different weapons, artifacts, and even a few settings, all linked together, among those that need to appear to progress the story. Think of it like a video game meets a deck of cards: You have a different hand every time, but always the same number of cards, and the rules of what you’re playing don’t change drastically.
In “Saros,” the excellent Rahul Kohli (“Midnight Mass,” “The Haunting of Bly Manor”) plays Arjun Devraj, a Soltari enforcer who ends up stranded on a planet called Carcosa, a place that is undergoing consistent solar eclipses that explain the remapped setting every time you play. How Arjun got there and what he’s searching for on this distant hellscape are things that Sony has asked us not to spoil, but there are some clear cinematic references, mostly of the philosophical sci-fi/horror genre. Tarkovsky’s “Solaris” feels like a major influence, and some of the true horror reminds one of the increasingly cult classic “Event Horizon.” Suffice to say, you are often alone on Carcosa, sent to vanquish hundreds of things that want to kill you.
Much like “Returnal,” “Saros” works on a biome system, but there’s a much more distinct progression system to this one, wherein you can use a portal to skip to the setting that meets your mission requirement, or if you just want to explore. The strongest parallel to “Returnal” is in the look and feel of the combat.
The creatures across Carcosa that want you dead are all relatively Lovecraftian in nature, demon-alien hybrids with varying ways to turn you into space dust. They all shoot three different projectiles in blue, yellow, and red. The blues are best dashed through, the yellows can be absorbed by your shield in a way that powers your weapon, and the reds can eventually be parried back at the enemy that shot you. At its peak, “Saros” becomes a combat ballet wherein you are constantly dodging, absorbing, shooting, and parrying. It is a remarkably addictive gameplay dynamic, one of those perfectly calibrated things that’s relatively easy to learn but hard to master. By the end of my “Saros” run, I had so much control over the system that I felt nearly invincible. It’s an adrenaline rush of a game.
Of course, feeling all-powerful was rarer in “Returnal,” a game you barely survived, more than mastered. While “Saros” is notably easier, it also offers deep customization options that let one adjust the difficulty for a greater challenge. Every run produces something called Lucenite, and most include an element found in the environment called Halcyon that can be used to permanently upgrade Arjun. Not only does this element of grinding make the game easier as Arjun gets more powerful, but there’s also a clever system called Carcosan Modifiers that allows for further modification. It’s basically a metered menu wherein if you want a little more firepower, you have to give up something, like how much Lucenite you retain after you die, for example. It’s more than just a difficulty management system; I found myself using it after what I learned on runs about what I needed and what I could sacrifice for the next attempt.
In keeping with the Roguelite genre, each run produces different weapons, upgrades, and artifacts that you lose on death. It’s such a fun dynamic in that each venture through the landscape of Carcosa feels unique, even though most players will eventually find the guns they hope to locate each time they launch. (For me, it’s a shotgun through most of the level and a better long-distance weapon like a crossbow or rifle for bosses.)
As addictive as any game you’ll play this year, “Saros” is a must-play, but it’s not perfect. The environments often feel repetitious and there’s a wild difficulty spike in the second act with one boss who took me a lifetime to dispatch. There may be some user variance here, but the boss before it and all of the ones after were dispatched the first or second time I faced them, while this particular nightmare fuel took literal days. Again, my gameplay may differ from yours, but such intense difficulty variations can make for an experience that’s more frustrating than fun.
There are also some moments in the gameplay when the facial models seem a bit outdated, although the cut-scene graphics are remarkable enough to overcome any visual concerns. Most impressively, the final act of “Saros” is its most narratively captivating. Again, my tongue is forcibly tied as to the how and why, but know that this is a more satisfying piece of storytelling than the familiar first half might imply.
Most of all, the game’s success comes down to gameplay that can be punishing but also feels so rewarding once it’s overcome. Like most Soulslike games that I love, there’s a sense of accomplishment in “Saros” that most games lack. It may lack in true authorship—there aren’t branching narratives or moral choices, for example—but you truly feel like you’re in control of this interstellar warrior, one who’s going to die if you do something. Again and again.
Sony provided a review copy of this title. It launches in early access for pre-orders on April 28th and to everyone on April 30th.
- Apple’s Twisted “Widow’s Bay” is Like Nothing Else on Television (April 24, 2026)
The wonderfully demented “Widow’s Bay” plays out almost like an anthology of Stephen King short stories, shuffling supernatural urban legends in a small New England community with equal parts humor and horror. It is truly unlike anything else on TV, a wild swing of tonal shifts that works because it commits so fully to both halves of the equation. The closest thing to it is the unforgettable “Teddy Perkins” episode of “Atlanta,” a chapter of television that was somehow both hysterical and deeply unsettling (and it’s no coincidence this show has chapters directed by that episode’s filmmaker, Hiro Murai). It’s a reminder of how easily laughs and scares can coexist in the same space, not unlike what would happen if Jordan Peele decided to reboot “Northern Exposure.” Yeah, it’s never anything less than fascinating.
Created by Katie Dippold (“Parks and Recreation”), “Widow’s Bay” gets its title from an island village off the coast of New England, one of those places that’s so dense with its own folklore that every corner of it feels a little haunted. While Martha’s Vineyard is raking in the big tourist bucks, no one wants to stay at the inn on Widow’s Bay because of the stories of things that go bump in the night there that have been handed down for generations. And that’s just the tip of the creepy iceberg. Everyone who lives there has a scary story to tell, which kind of hurts the chances of anything growing or changing in this place that often feels stuck in the 18th century.
The urban legend rut in which Widow’s Bay finds itself is slowly driving Mayor Tom Loftis (Matthew Rhys) insane. As he pushes to bring more tourists to his town, the town pushes back with more and more impossible-to-explain situations bubbling to the surface. In the second episode, Loftis agrees to stay in the haunted inn to prove it’s viable for tourists and learns the hard way that many of the urban legends are true. And that unforgettable chapter is just the beginning. Often working with his assistant Patricia (Kate O’Flynn), town oddball Wyck (Stephen Root), and local lawman Bechir (Kevin Carroll), Loftis finds himself confronting unimaginable horrors while also trying to be a decent single father to an increasingly annoyed son named Evan (Kingston Rumi Southwick).
One of the many things that works so well about “Widow’s Bay” is its commitment to being even more horror than it is comedy. The sixth chapter, which flashes back to the origin story of many of the island’s problems and brings a pair of great performers we’ve been asked not to spoil into the ensemble, is as strong an episode of TV horror as the genre has produced in years. It’s where the show really finds itself, pushing through the back half of the season with unpredictable momentum, trying to reconcile the region’s folklore with the stasis of its present day. It’s about a community with a past that’s chained like an anchor to its future, and it takes the time to fill out its setting enough to make it feel real, so the unreal that happens within it will hit harder.
It helps to have a great team all around, including episodes directed by Ti West (“Pearl”) and Andrew DeYoung (“Friendship”), two people who have proven on film how to navigate the tonal comedy/horror balance. And the writers brilliantly structure their season, weaving several standalone stories into episodes alongside the overall arc. In a time when too many shows are content to do the overrated “10-part movie” thing, it’s so great to see one that echoes a structure close to “The X-Files” or “Buffy the Vampire Slayer” with single-episode narratives that add texture to the bigger one.
The show also has a confident, lived-in visual language—you can almost smell the rain in the air, and the dust in the buildings—and the whole cast seems to understand the assignment. They all excel at setting familiar character foundations that they can then explore and expand. For example, Root leans into the eccentricity of the town lunatic only to allow us to understand how he got that way in later episodes; O’Flynn gets to play both villain early in the season and hero later in an incredible slasher-inspired chapter; Rhys has always had one of the best WTF faces on TV. And excellent character actors like Dale Dickey, Jeff Hiller, and Toby Huss add wonderful flavor.
Not all of the big swings in “Widow’s Bay” turn into home runs, but it’s never anything less than ambitious. In a time when it feels like everything wants to be “Big Little Lies,” it’s so refreshing to see something that’s this hard to explain in a simple review. It’s like that sense you get in an old building that the locals tell you is haunted. You just have to feel it to know what they mean.
Whole season screened for review. Starts on Apple TV+ on April 29, 2026.
- Season 2 of Netflix’s “Running Point” Is An Easy Layup (April 23, 2026)
I’ve always been amused by sports-themed movies and TV series that exist in a parallel universe with fictional teams, e.g., the New York Knights in “The Natural,” the Miami Sharks in “Any Given Sunday,” and AFC Richmond in “Ted Lasso.” In the breezy and endearing Netflix series “Running Point,” the professional basketball league is known as the ABL, and instead of the Los Angeles Lakers, we have the Los Angeles Waves, which is actually a better name than the Lakers, a moniker the team retained when the franchise moved from Minneapolis to L.A. in 1960.
In that same vein, Kate Hudson’s general manager Isla Gordon isn’t strictly based on Lakers exec Jeanie Buss, even though the similarities between the two are clear, and Buss serves as a producer on “Running Point.” It’s all fiction—and as we’re reminded in the woefully choreographed basketball scenes in Season 2, sometimes it falls far short of verisimilitude. I mean, the hoops sequences in “The White Shadow” back in the day were more authentic.
RUNNING POINT SEASON 2. Toby Sanderman as Marcus Winfield in Episode 203 of Running Point Season 2. Cr. Katrina Marcinowski/Netflix © 2025
That’s OK, though, as “Running Point” isn’t a sports drama on the order of “Winning Time: The Rise of the Lakers Dynasty.” It’s more in the vein of a workplace comedy/drama where the actual work takes a back seat to the multitude of running story lines about a group of flawed, believable, well-drawn characters who are constantly in crisis mode because somebody screwed somebody over, or someone came up with a terrible idea, or this person betrayed THAT person, and nobody saw that coming! Add some welcome newcomers to an already stellar cast, sprinkle in a steady stream of crackling dialogue with pop culture references, rely heavily on Hudson’s considerable talents in the lead, and you’ve got a well-oiled, mainstream comedy franchise that arrives just as the real playoffs are kicking into gear.
With an abundance of drone shots consistently setting the sunny Los Angeles tone, Season 2 of “Running Point” kicks off with Isla and the Waves determined to build on the promise of the previous season, where they fell just short in Game 7 of the Conference Finals. The front office is humming, with Isla working (mostly) in tandem with her barely competent siblings Ness (Scott MacArthur), Sandy (Drew Tarver), and Jackie (Fabrizio Guido), as well as her wisecracking, bundle-of-energy best friend Ali (Brenda Song). The roster has jelled, though it’s going to take some time to get used to the new coach: the reclusive, old-school curmudgeon and basketball savant Norm Stinson, played with low-key, masterful aplomb by sitcom Hall of Famer Ray Romano.
What could possibly go…right? Things get stickier in the La Brea Tar Pits as Isla has to deal with one crisis after another. Slick and boisterous and utterly untrustworthy eldest sibling Cam Gordon bursts in fresh out of rehab and immediately starts scheming to regain control of the team. (Justin Theroux is a scene-stealing force as the series villain.) Ali feels undervalued and considers taking a position with Toronto Trappers. (Another excellent fake team name!)
Isla is finally ready to walk down the aisle with her patient, long-suffering fiancé, Lev (Max Greenfield, in an underwritten role), but does she still harbor feelings for former Waves coach Jay Brown (Jay Ellis, in leading-man form), who is now coaching in Boston? Oh, and let’s not forget the bubbling love triangle involving two Waves players and the former child star Zoé Debay (Aliyah Turner), who is on the verge of becoming an A-List movie star.
RUNNING POINT SEASON 2. (L to R) Drew Tarver as Sandy Gordon, Justin Theroux as Cam Gordon, Kate Hudson as Isla Gordon, Scott MacArthur as Ness Gordon, and Ike Barinholtz as Cousin Bennie in Episode 208 of Running Point Season 2. Cr. Katrina Marcinowski/Netflix © 2025
Add to that about a half-dozen other subplots, product placement images for a food delivery app that could use some good publicity, a cameo by a famous reality star playing herself, a number of familiar faces dropping in for an episode or two, and Isla making a meta reference to a certain beloved rom-com in the Kate Hudson canon, and “Running Point” sometimes feels overstuffed. Sure, it’s fun to see the invaluable character actor Ken Marino hamming it up as Al Fleischman, “The Toilet King of Orange County,” and series co-creator Ike Barinholtz delivers laughs as a “loser cousin” of the Gordon family, and hey, there’s Scott Speedman, and how about that, Octavia Spencer just dropped by!
All that time spent on high-profile pop-ins and meandering storylines sometimes comes at the expense of further developing the core characters. I’d like to see more of Song’s loyal and funny and self-deprecating Ali, Fabrizio Guido’s sweet and increasingly confident Jackie, and Scott MacArthur’s goofy madman-with-a-heart Ness.
Still, thanks to Hudson’s performance as the likable but deeply flawed and self-centered Isla, and the crisp writing that serves up steady laughs in each episode, “Running Point” seems poised to stay in contention for multiple seasons to come.
Especially if most of the action continues to take place off the court.
Full season screened for review. Currently streaming on Netflix.
- Netflix’s Animated “Stranger Things: Tales from ’85” is an Insulting Waste of Time (April 23, 2026)
Yes, on the one hand, even doing an animated spin-off of Netflix’s pop culture juggernaut “Stranger Things” feels a bit like a cash grab, but cartoon installments in hit franchises, especially those with young audiences, are common across the TV landscape. It’s not just trying to squeeze as much as possible out of an aging fandom; it’s trying to embed a world in a new one by getting them young.
They were common in the Saturday-morning cartoon era in which the show is set (I’m old enough to remember “The Real Ghostbusters”), so the news that the Duffer brothers were producing their own spin on the form in “Stranger Things: Tales from ‘85” actually sounded pretty cool. Making an animated show that feels like something Mike, Will, Lucas, and Dustin would have watched between trips to the Upside Down? It’s certainly better than just another spin-off.
Although maybe it’s not. Every chance to do something inventive and interesting in “Tales from ‘85” is ignored for lazy fan-fic writing, slack plotting, and inconsistent characters. It never feels like canon, even though it’s supposed to be, not so much connecting the second and third seasons of “Stranger Things” as much as feeling like a half-baked Reddit post about what might have happened during the prime of the show.
In a stunningly misguided choice from inception, the team behind the show, including showrunner Eric Robles, ignores one of the key words in their title: “Tales.” Those Saturday morning cartoons? Usually told self-contained stories within their familiar universes and just consider that possibility for a moment here. The writers could have highlighted different characters in each episode, even playing with genre if they had any ambition, but instead, they just wrote a ten-episode variation on what people already know about “Stranger Things” and cut it into chapters. Half the characters are missing, and half of the ones who are here don’t feel like their live-action counterparts. Other than a few interesting choices in terms of character design, “Tales from ‘85” does nothing memorable, a shadow of things people liked years ago instead of a vision of the future of this franchise.
“Tales from ‘85” unfolds early in that year, between the prom that ended season two and the post-summer mall adventure that took place during season three. Fans should remember where these characters are in their series-long arcs: Mike (Luca Diaz) and Eleven (Brooklyn Davey Norstedt) are figuring out their newly romantic relationship; Will (Ben Plessala) is confronting the awkwardness of being the town “Zombie Boy”; Lucas (Elisha Williams) and Max (Jolie Hoang-Rappaport) have only begun to flirt; Dustin (Braxton Quinney) is exploring his role as a potential hero; Hopper (Brett Gipson) is overprotective of a surrogate daughter who can likely protect herself. Other major characters like Joyce, Billy, Murray, and Robin are missing entirely because they haven’t been introduced or are just off doing their own thing. Even Jonathan is M.I.A.
The focus on the kids makes sense given the intended audience, but most of them don’t feel of a piece with their live-action versions. Dustin actually becomes the de facto lead as the group investigates a series of Upside-Down-related incidents, and Quinney’s voice work is awkward in ways that don’t match the source. The writers can’t figure out where Eleven is on the spectrum of her powers, turning her into practically a Jedi early in the season before diving right into a climax that replicates the end of season two almost to a parodic degree. Jeremy Jordan has fun as Steve Harrington, and Alessandra Antonelli gets the best episode as Nancy Wheeler, but it’s a problem when the older kids steal an animated show from the younger ones.
Another problem comes from the familiarity of another “new kid in town” storyline, this one centering on Nikki Baxter (Odessa A’zion) and her parents. Again, we get an outsider narrative about a kid who’s not like anyone else at school, becoming a major part of the storytelling.
It’s all so aggressively uninspired, a sign that the producers were terrified to do anything different from what the live-action show had already done. Presenting kids with their own version of a hit isn’t a bad idea; giving them a watered-down, less interesting shadow of the same thing is an insulting one.
Whole series screened for review. Now on Netflix.
- DOC10 Spotlights Some of the Best Documentaries You’ll See This Year (April 23, 2026)
The consistently impressive DOC10 technically starts next weekend, but there’s a build-up to it that begins tomorrow, April 24th, with a series called “Speak Truth,” which the fest says, “Brings together powerful films, thought-provoking conversations, and dynamic civic dialogue exploring the most urgent issues of our time.”
Some of the best documentaries of the last few years are included in these combined programs like the highly acclaimed “The Librarians,” “The Last Republican,” and “The Grab,” along with fantastic new films from the fest circuit like “Closure,” “Remake,” and “Knife: The Attempted Murder of Salman Rushdie,” three films I can personally highly recommend.
To give you a sense of what’s about to unfold during DOC10, we thought we’d gather some quotes from our coverage and links to read more about the films in the program that we’ve covered. Pick your faves and get tickets here.
(Also, if you want to keep the non-fiction love going, the Chicago Critics Film Festival features “When a Witness Recants,” “Black Zombie,” and “Broken English” the week after DOC10. More on those next week.)
SPEAK TRUTH
“Sabbath Queen” (April 24, 7 pm)
Amichai and those he encounters ask how best to honor Jewish values and preserve the community despite the pressures of assimilation and personality. Amichai chooses inclusion. He says, “Not everything we’ve inherited is worthy of being passed on.” How do you add without diluting? Even he, feeling the weight of nine centuries of rabbinic ancestors, questions how that will be seen a century from now. The questions the film raises are particular to the individuals, but the issues of identity, family, and the challenges of modernity are universal. – Nell Minow
“The Librarians” (April 25, 7 pm)
This is not about politics. It is about trust. We should trust the people who trust us to tell truth from propaganda, not the people who think we must be “protected” from challenging ideas. If we limit library books to those that don’t cause anyone discomfort or distress, all that will remain are Pat the Bunny and Goodnight Moon. Dictionaries, atlases, the Civil War, any war, science, Shakespeare, and even the Bible will be locked away. – Nell Minow
“American Doctor” (April 26, 12:15 pm)
If you didn’t know the extent of the tragedy covered in “American Doctor,” the documentary will not let you forget it. It is a visceral view of the impossible task facing healthcare workers and hospitals targeted by the Israeli military in Gaza. It has a few first film issues, like music that overtakes certain scenes or a few moments that don’t add to the narrative, but it is a formidable debut, an unflinching view of a story we’ve heard about but might not fully understand unless our social media feeds show us these testimonies. – Monica Castillo
“The Grab” (April 26, 6pm)
“The Grab” makes a convincing case that the world powers that went to war over oil in the last few decades will be doing it over water and food in the ones to come, even linking the fight for resources to the conflict in Ukraine. Cowperthwaite sometimes gets a little lost in the vastness of her subject matter—there’s a tighter version of this that focuses more on one country or major player involved in the issue—but it’s hard to blame her for wanting to express the entire scope of how much trouble we are all in when it comes to the dwindling supplies provided by Mother Earth. – Brian Tallerico
“Norman Lear: Just Another Version of You” (April 27, 7 pm)
The documentary’s co-directors, Heidi Ewing and Rachel Grady, shoot Lear in the present day with the sort of tender regard you might lavish on a grandparent if you had feature film-quality cameras and lighting and your grandparent didn’t mind being followed around by a movie crew. Their camera moves in close on Lear as he talks about his successes and controversies in American television, his collaborations with writers and actors, and his battles with network executives and censors over the political content of his shows, which resembled political debates as often as they did farcical family spats. – Matt Zoller Seitz
“The Last Republican” (April 28, 7 pm)
The movie also gives a strong sense of Kinzinger as a person walking against the winds of change and dealing with tendencies in the American character that elude party definitions. “Everybody’s self-centered,” he tells Pink. “That’s the fight now of my next part of life, fighting against that cynicism.” – Matt Zoller Seitz
“Steal This Story Please!” (April 29, 7 pm)
“ICE Under Watch” (May 3, 12:30 pm)
DOC10
“Give Me the Ball!” (April 30, 7 pm)
Conversely, Liz Garbus and Elizabeth Wolff’s wonderful documentary, “Give Me the Ball!” is a splendid history of the life and legacy of tennis great Billie Jean King. Taking us from her early childhood years, romping around playing any sport involving a ball (giving the film its name) to the present day, where King is set to finish her history degree in May (at the age of 82), it’s hard to imagine that the documentary left any stone unturned. – Peyton Robinson
“Soul Patrol” (May 1, 6 pm)
At times, “Soul Patrol” can be a harrowing viewing. Emanuel, Lawton Mackey, Thad Givens, Emerson Branch, Jesse Lewis, Willie T. Brown, Willie Merkerson, and Norman Reid each share why they joined the army. Some did so because their friends and family went—arguing that for Black families, it was often considered a badge of honor to have a son serving in the military—while others did so to escape jail time. These men also share how they were programmed to kill, and, in the case of one soldier, had to learn how to strike the complicated balance of de-programming oneself during leave and later re-compartmentalizing in the field. – Robert Daniels
“A Child of My Own” (May 1, 8pm)
“Remake” (May 2, 1pm)
Most of the time, he sounds wistful, uncertain, and almost fumbling through what he wants to express. That aspect actually gives “Remake” so much of its power because it makes it feel more personal. In a sense, it’s like a eulogy, something that gains more power through its emotional pauses even if its grammar isn’t perfect. At times, he speaks not about Adrian but to him, using “you” as if his son can hear him. I hope he can. – Brian Tallerico
“Everybody to Kenmure Street” (May 2, 3:45 pm)
Felipe Bustos Sierra’s “Everybody to Kenmure Street” is a spirited and imperative portrait of collective action whose urgency painfully speaks to now. In his approachable documentary, Sierra first roots the 2021 rebellion in the mixed legacy of Glasgow. While a montage shows the many political stands the city has taken: from the anti-apartheid movement that treated Mandela as hero to Black Lives Matter—it doesn’t shy away from the fact that Glasgow, like many other European and American cities, was built on the backs of the enslaved. That heritage is threaded through the visual language, which leans on the aforementioned montages, as well as by way of talking heads who are well aware of the city’s checkered, though often politically fervent, history. – Robert Daniels
“Cookie Queens” (May 2, 5:30 pm)
“Paralyzed by Hope: The Maria Bamford Story” (May 2, 8:15 pm)
It’s kinda hard to explain the Bamford appeal. Just know that she is fearless on stage, someone who uses her mental illness and upbringing to remarkable comedic effect. There are a few jokes in “Paralyzed by Hope” about the death of her mother that so brilliantly verge on offensive, but instead just come off wonderfully personal and relatable. She’s one of those performers who doesn’t really have boundaries, especially when it comes to sharing personal demons of her own and her family, but she never feels like she’s being cruel to those she loves. She’s undeniably brilliant, and yet that genius is shaded by crippling depression that led her to believe for years that she might hurt herself or others at any minute. – Brian Tallerico
“The Baddest Speechwriter of All” (May 3, 2 pm)
“Closure” (May 3, 4:15 pm)
One of the best documentaries of Sundance 2026, “Closure” is a moving story of how grief and love can harden into determination. Daniel will never stop looking for his son, even if the day he finds him will be the worst of his life. What does it do to a man to devote so much time to seeking a conclusion that can only cause pain? And what can we learn from the digital ballast that Chris likely took into that water with him? “Closure” plays like a warning: Pay attention to what your kids are watching and saying online, or you might be stuck in the purgatory of the unknown pull of the Vistula River, too. – Brian Tallerico
“Knife: The Attempted Murder of Salman Rushdie” (May 3, 7 pm)
There’s also a prescience to “Knife” that neither Rushdie nor Gibney could have predicted. Violent acts like the 2022 attack feel even more likely today than they did then, as political violence and ideological battles often rage unchecked. It’s clichéd to say that a movie can stem something as insidious as what’s happening around the world when people choose violence over words, but there’s something undeniably inspiring about seeing Salman Rushdie fight back against those waves. May we all be so strong. – Brian Tallerico
