- The Unloved, Part 150: Laggies (June 1, 2026)
Having just come off the set of a movie and renewed my appreciation for accidents, deadlines, compromises, and heartbreak, I thought I’d look back at the work of the much-missed Lynn Shelton, one of the finest unsung American romantic directors. Shelton decided, sadly, what turned out to be more than halfway through her life, that she was going to become a film director, and then she went out and did it.
I took my time getting around to Shelton, taking for granted that we had a dozen directors like her, making the kinds of gentle films that Sundance was then making its stock-in-trade. The festival was softening, and Shelton’s movies seemed endemic of a shift towards easy victories. It was an easy position to take. I felt inundated with that kind of work.
But then I actually sat down and watched “Your Sister’s Sister” and found something shocking in its subtlety. Shelton’s mise en scène was open, clear, and bright. Actors in rooms, digital photography, honest, unadorned. This showed you what you were looking at. And then, without warning, I felt a shift inside me. I’d seen everything plainly, but felt something greater than for which the facts seemed to allow.
It was her relationship to Marc Maron, her work directing episodes of “Glow,” his stand-up specials, and the magnificently madcap “Sword of Trust,” that turned me from a casual fan into a full-blown acolyte. Her back catalog then opened up—the Claire Denis cursive of “We Go Way Back,” the searing critique of foppish male posturing in “My Effortless Brilliance,” the whisper-quiet treatise on intimacy in “Touchy Feely,” and finally the openhearted luster of “Laggies,” this month’s Unloved.
As a huge Keira Knightley fan, the mediocre reviews hurt my heart. Seeing it, I was even more flummoxed, but maybe it’s just that this movie was made just for me: A film about retreating in plain sight, a house becoming a sight of secrets and turmoil while the rest of the world waits for resolution. It hit me right where it was meant to, and very much influenced my own movie.
We keep Shelton alive now through our connection to her movies and the tension that comes with bad intentions that crawl toward self-actualization. I’ll miss the way her little movies would grow so large. I’ll miss knowing the next Lynn Shelton movie was just a few years away.
- Cannes 2026 Video #11: The Samurai and the Prisoner, Her Private Call, Hope (June 1, 2026)
The 2026 Cannes Film Festival starts Tuesday, May 12th, running through May 24th. The Ebert team returns this year with coverage of all of the major films in review and video form. In this video dispatch, Scott Dummler interviews correspondent Isaac Feldberg about three of his favorites from the latter stretch of the film festival. Plus, a Cannes Flashback to a Billy Baxter segment on a previous Cannes featuring Roger.
- “For All Mankind” Spinoff “Star City” is One Small Soviet Step Backward (May 29, 2026)
In the wake of five seasons of “For All Mankind“‘s alt-history time-jumping—currently, we’re in an alternate 2012 where we’ve colonized Mars, and a still-alive John Lennon teamed up with Jay-Z to produced “The Grey Album”—it’s easy to forget the show started as a simple 1960s period piece, with a twist: What if the Russians got to the moon first? Now, showrunners Ben Nedivi and Matt Wolpert have decided to jump back to that (comparatively) simpler era in spinoff “Star City,” detailing how those early legs in the alternate space race looked from behind the Iron Curtain.
But where “Mankind” is airy and optimistic despite mankind’s many struggles (how American of it), “Star City” keeps its focus bleak, dour, and oppressive, and subsequently has some trouble achieving liftoff.
The title refers to the nickname given to the Yuri Gagarin Cosmonaut Training Center, and much of “Star City”‘s drama centers around the cosmonauts and their loved ones working to beat the Americans to the stars. Like its parent show, the first episodes overlap a lot of the first season’s events, including witnessing, once again, the first woman to set foot on the moon, Anastasia Belikova (Alice Englert).
We see a harsher, more militant version of the kind of gender-equity handwringing we saw among the Americans in that first season of “For All Mankind”; both nations considered the optics of putting a woman in space, but in 1960s Russia, fealty to the Party takes precedence over qualifications. (Suffice to say, Ana’s predecessor falls victim to some faulty intel about her being an American spy.)
This emphasis on surveillance and authoritarian control seeps into a lot of “Star City”‘s drama, playing more like a “Chernobyl“-esque chamber play about how Soviet focus on image and obedience can sometimes override good judgment. This is most seen in the push and pull between Rhys Ifans‘ unnamed Chief Designer (though, as “Mankind” posits, he is likely famed Soviet engineer Sergei Korolev, who in our history died in 1966) and KGB head Lyudmilla Raskova (Anna Maxwell Martin), an imperious Rosa Klebb type who keeps a tight leash on all around her. Both performers play to their strengths—Ifans with his paternal warmth, Martin with stone-faced intensity—but feel more like abstractions of the show’s broader ideas than genuine people.
That kind of layering, such as it is, belongs to more of the street-level characters of the show, some of whom are younger versions of “For All Mankind” characters we see in subsequent seasons. While Josef Davies’ Sergei Nikulov is a handy precursor to the engineer we see on the main show, a great deal of focus belongs to Agnes O’Casey‘s Irina Morozova, an important KGB fixer on “Mankind” who we see was a simple junior agent in the 1960s.
She spends her time listening to the tapes of bugged conversations of various people of interest—like cosmonaut Valya Markelov (Adam Nagaitis), his housebound wife Tanya (Ruby Ashbourne Serkis), and Valya’s slightly rogueish mission-mate Sasha (Solly McLeod)—and, in a manner reminiscent of “The Lives of Others,” becoming invested in their seedy interpersonal dramas. Affairs, arranged marriages (the State forces Sasha to marry Ana because, well, “you cannot be an exemplar of the Soviet Union as a single woman”), and smuggled contraband all become potential fodder for ruination.
It’s an intriguing dark mirror of “Mankind”‘s optimism, even as “Star City” can’t quite wring enough complexity or characterization from its stifled atmosphere. The notion of a nation reaching for the stars even as it keeps its people under its jackboots is an intriguing one—space exploration as pure saber-rattling, rather than a grander humanist goal. Missions are jeopardized on the mere suspicion of American surveillance, which, as we see in one early mission, costs lives. Seeing the calculus of the Russian’s
But it also has the effect of flattening its characters so we don’t get a lot of dynamism from them: Our cast, largely comprised of British actors leaning into their native accents (despite “Mankind” letting them speak Russian and have Russian accents), mostly squirm under the thumb of the politburo in one way or another, leaving little room for many individuals to stand out. The muted, grainy cinematography doesn’t help, devastatingly gorgeous though it may be; the visual effects, as with its sister series, remain excellent, and the few space disasters we witness are even more riveting when we know how much the whole program is held together by duct tape and party loyalty.
Even so, the muddy mood of “Star City” makes for a rougher watch than the gee-whiz humanism of “For All Mankind,” compounded by the fact that we’ve literally lived through these events before in the shadow of another show. Granted, the five episodes provided to critics build to a satisfying escalation as the Party descends on Star City just as disillusioned characters begin planning their escape (right down to a clandestine launch to Venus under the Party’s very nose, the kind of ramshackle problem-solving under pressure that these shows excel in).
But the road there can be a bit of a slog, not helped by the hour-long runtimes and the restrictions of the Star City setting. To say nothing of the innate humourlessness of our Soviet characters; folks like Sasha and Tanya do their best to liven up their grim lives of socialist service, but most everyone else spends their time grimacing in brutalist buildings.
More than its individual characters, “Star City” is a story of a nation-state at war with itself, committed to throwing its people in the physical and emotional grinder for the sake of cynical political gamesmanship. Those happy few trying to cobble something inspirational out of the concrete are the show’s bright spots, and one hopes they’ll help it build toward something as dynamic as its predecessor by season’s close.
First five episodes screened for review. New episodes air Fridays on Apple TV.
- Home Entertainment Guide May 2026: The Bride!, Wuthering Heights, Sentimental Value, More (May 29, 2026)
10 NEW TO NETFLIX
“Between the Temples““Black Phone 2““The Creator““Ferrari““The Illusionist““The Iron Claw““Killer Joe““Nope““Slow West““True Romance“
12 NEW TO BLU-RAY/DVD
“Avatar: Fire and Ash“
While the “no cultural footprint” argument that arises around “Avatar” on social media is patently ludicrous, it’s undeniable that the third film in this mega-franchise didn’t make the same waves as the first two, falling short of Oscar glory by being the first not nominated for Best Picture (although it did win Best Visual Effects because of course it did). Was it too quick on the heels of “The Way of Water”? Or just too much of the same thing? Whatever the reason, “Fire and Ash” may have been the least critically beloved in the series…and it still made $1.5 billion. With the films’ wild success in mind, it’s a bit shocking to say the Blu-ray feels relatively slight, although the excellent video and audio transfers are typical for Disney blockbusters.
Special Features
Igniting the Flame: The Making of Avatar: Fire and Ash— A series of featurettes that explores the filmmakers’ journey making Avatar: Fire and Ash with exclusive behind-the-scenes footage and insights about the process from the creative talents who shaped the film.
Jon Landau Tribute: If James Cameron is the guiding vision for the Avatar sequels, producer Jon Landau was their nurturing heart. In this warm tribute, the filmmakers celebrate a beloved friend and colleague with remembrances from cast and crew.
RDA Orientation: Do you have what it takes to survive the wild frontier of Pandora? In these tutorial videos, the RDA provides essential training in Na’vi language and an intelligence briefing on the clans of Pandora and the biomes they inhabit
Marketing Materials & Music Video– Marketing materials used to build audience awareness of the film.
“Body Heat” (Criterion)
Back when sex at the multiplex was less of an anomaly, Lawrence Kasdan made his directorial debut with this scorcher, a loose remake of arguably the most influential noir of all time, “Double Indemnity.” William Hurt plays Ned Racine, a Florida lawyer who starts up an affair with Kathleen Turner’s Matty Walker, the two actors displaying more on-screen chemistry than nearly any other in history. The movie launched Turner’s career and made Roger’s ten best of the year. It’s an unexpected choice for Criterion, which accompanies its noir with a new interview and conversation, also importing previously available material such as archival footage and deleted scenes.
Special Features
New 4K digital restoration, supervised by editor Carol Littleton and approved by director Lawrence Kasdan, with uncompressed stereo soundtrack
Alternate 5.1 surround DTS-HD Master Audio soundtrack
One 4K UHD disc of the film presented in Dolby Vision HDR and one Blu-ray with the film and special features
New interview with Kasdan
New conversation between Littleton and film historian Bobbie O’Steen
Archival programs featuring Kasdan; Littleton; actors William Hurt, Kathleen Turner, and Ted Danson; cinematographer Richard H. Kline; and composer John Barry
Deleted scenes
Trailer
English subtitles for the deaf and hard of hearing
PLUS: An essay by author Megan Abbott
“The Bride!“
Even as the negative reviews were crashing into this movie in theaters, I didn’t really believe them. How could a movie with this cast and the talented filmmaker behind “The Lost Daughter” be THAT bad? I’m sorry to report that the reviews were largely accurate, as Maggie Gyllenhaal’s retelling of “Bride of Frankenstein” is a wildly incoherent and inconsistent experience, one that always seems to be flitting off to another idea just as it starts to develop into something interesting. It’s an absolute mess, the kind that could find an audience willing to reappraise it in a few years but will likely just return to the graveyard of Hollywood misfires.
Special Features
Stitching Together The Bride! (8:15) – Uncover the artistry behind The Bride! with exclusive footage and revealing interviews. From Maggie Gyllenhaal’s daring direction to the cast’s transformative performances, witness how this modern masterpiece was brought to life.
Designing the Look (8:44) – From first sketch to final transformation, explore how The Bride!’s unforgettable creatures took shape. With exclusive make-up tests, behind-the-scenes footage, and cast insights, discover the artistry that turned vision into cinematic legend.
The Muse and the Reimagined Monster (8:02) – In The Bride!, Jessie Buckley and Christian Bale embody the intertwined forces of creation and consequence. Guided by Maggie Gyllenhaal’s vision, their performances reveal how love, pain, and artistry can reanimate even the darkest myths.
The Bride! Party (6:15) – A bride is always the center of attention—especially this one. Annette Bening, Penélope Cruz, Julianne Hough, John Magaro, and Peter Sarsgaard reveal their deepest thoughts on The Bride, Frank, and the unforgettable film they all leapt to be in.
“The Devil’s Candy“
Sean Byrne finally returned in 2025 with the blast that is “Dangerous Animals,” but his best film remains this 2017 scorcher, now given a lavish limited-edition treatment by British label Second Sight. Ethan Embry, Shiri Appleby, and Pruitt Taylor Vince star in a thriller about the thin line between insanity and creativity. It’s been given a 4K restoration for the first time and includes new interviews with key players like Byrne and Embry. This is one of the best horror films of the 2010s, a movie for which a collector’s-edition treatment like this one is well deserved.
Special Features
New 4K Producer restoration
Dual format edition including both UHD and Blu-ray with main feature and bonus features on both discs
UHD presented in HDR with Dolby Vision
Audio commentary with Director Sean Byrne
Into the Fire: a new interview with Director Sean Byrne
Those Fragile Things: a new interview with Actor Ethan Embry
Devil in the Details: a new interview with Director of Photography Simon Chapman
The Cutting Room: a new interview with Editor Andy Canny
A Big Step Forward: a new interview with Production Designer Tom Hammock
Behind the Scenes: VFX
Sean Byrne’s Short films: Advantage Satan and Work?
“GOAT“
“Stranger Things” star Caleb McLaughlin voices Will Harris, a goat who also wants to be the G.O.A.T. in a chaotic sport called Roarball in this reasonably entertaining family flick that draws visual inspiration from the “Spider-Verse” films. Its plot is your standard underdog thing (with a bit of “Space Jam”), but the film’s visuals are sharp and consistently engaging. A modest hit for Sony (it made nearly $200 million), it’s an easy watch for parents and kids, especially those who also happen to be currently engaged by the NBA Playoffs.
Special Features
Easter Egg Replay
Animal Aesthetic: The Style of GOAT
Make Your Own Pick & Roll Pizza Bites with Ayesha Curry
Deleted Scene with Filmmaker Intro
Game Recognizes Game: Making GOAT
All-Star Line Up: Meet the Cast & Characters
Courts Come Alive
“Mention Me” by CORTIS Lyric Video
“I’m Good” by Jelly Roll Lyric Video
“If I Had Legs I’d Kick You“
Rose Byrne landed a much-deserved Oscar nomination for her fearless work here as Linda, a woman stretched way past her breaking point by an escalating series of events. Comparisons to “A Woman Under the Influence” are sensible, as it’s another showcase for an incredible performer, one who holds together this anxiety-producing drama by being present in every scene. Conan O’Brien and A$AP Rocky co-star in a release that’s only available on A24’s website, as the company has steadily developed an impressive collection of exclusive physical media releases. This one has deleted scenes, a commentary, and collectible postcards. Send one to your mom.
Special Features
Commentary with Writer-Director Mary Bronstein and D.P. Christopher Messina
Making-of Featurette
“Anatomy of a Tracking Shot” Featurette
Over 30 minutes of Extended & Deleted Scenes
Set of Six Collectible Postcards
“Lenny” (Criterion)
Dustin Hoffman plays the infamous comic Lenny Bruce in this Bob Fosse drama based on Julian Barry’s play of the same name. A film arguably lost to history a bit, given the more prominent masterpieces from the era in which this 1974 film was released, this Criterion release is a bit slighter than some of their best offerings. But it does contain archival material, a 2015 audio commentary, and a brilliant new essay from the singular talent that is Mark Harris. The author expertly unpacks how “Lenny” says more about Bob Fosse than it does about Lenny Bruce, situating it within Fosse’s filmography and the era in which it was made. It’s a must-read.
Special Features
New 4K digital restoration, with uncompressed monaural soundtrack
One 4K UHD disc of the film presented in Dolby Vision HDR and one Blu-ray with the film and special features
Audio commentary from 2015 featuring film historians Nick Redman and Julie Kirgo
Archival interview with actors Dustin Hoffman and Valerie Perrine
Interview with editor Alan Heim
Trailer
English subtitles for the deaf and hard of hearing
PLUS: An essay by critic Mark Harris and a 1975 interview with director Bob Fosse
“Nirvanna the Band the Show the Movie“
One of the best comedies of 2026 so far, Matt Johnson and Jay McCarrol’s clever comedy feels like it’s already a beloved property, especially in Canada. A relatively quick turnaround to physical media doesn’t mean a rushed one, as Johnson pops up on two commentary tracks, and Neon includes featurettes, a deleted scene, and the alternate opening. Johnson and McCarrol use their own 2000s web series to craft an inventive, heartfelt ode to creative inspiration, friendship, and never giving up. It’s as consistently funny as anything released this year, and it seems destined to build its audience even more on physical media and streaming.
Special Features
Audio commentary with Matt Johnson and Jay McCarrol
Audio commentary with Matt Johnson and the Production Team
Alternate Opening
Animatics
Back to 2008, Running Cable
Deleted Scene
Home Movies
Figured it Out Featurette
Nirvana the band, the Show – Episode 101
The Banner
Post Credit Scene
“Peter Hujar’s Day“
Filmmaker Ira Sachs is having quite a May as his “The Man I Love” premiered in Competition at the Palme to strong reviews, and Criterion dropped two of his dramas: His first, “The Delta,” and his latest, “Peter Hujar’s Day.” In the 2025 drama, Sachs uses interviews conducted between photographer Hujar (Ben Whishaw) and Linda Rosenkrantz (Rebecca Hall, also in “The Man in Love”). It’s a movie that sneaks up on you, a series of conversations from December 1974 that capture the energy of their time in a way that a more traditional drama could never.
Special Features
Meet the Filmmakers: Ira Sachs, a Criterion Channel original interview
Images: Making “Peter Hujar’s Day,” a new documentary by Shuli Huang
Trailer
English subtitles for the deaf and hard of hearing
Notes by author and film curator Michael Koresky
“Sentimental Value” (Criterion)
The Oscar winner for Best International Film and a nominee for nine Oscars, including Best Picture and four acting performances, “Sentimental Value” joins the Criterion Collection wonderfully early as part of the business relationship between the company and Neon. The immediacy allows for copious special features about the film’s production and themes, including conversations with all four Oscar nominees, and even selected-scene commentaries by the director and some of his team. There’s a cool conversation between Joachim Trier and filmmaker Mike Mills, who is himself getting a Criterion release later this year. This is one of the best films of 2025, now given one of 2026’s best Criterion releases.
Special Features
New 4K digital master, approved by director Joachim Trier, with 5.1 surround DTS-HD Master Audio soundtrack
One 4K UHD disc of the film and one Blu-ray with the film and special features
New conversation between Trier and filmmaker Mike Mills
New selected-scene commentaries by Trier, coscreenwriter Eskil Vogt, production designer Jørgen Stangebye Larsen, and sound designer Gisle Tveito
New interviews with actors Renate Reinsve, Stellan Skarsgård, Inga Ibsdotter Lilleaas, and Elle Fanning
Deleted scenes
Trailer
New English subtitle translation and English subtitles for the deaf and hard of hearing
PLUS: An essay by author Karl Ove Knausgård
“Stray Dog” (Criterion)
There’s always another Akira Kurosawa movie for Criterion to upgrade from standard DVD to Blu-ray. The latest to get the 4K restoration treatment is this 1949 detective movie from the master, starring the timelessly perfect Toshiro Mifune. As for supplemental material, it’s just the previously available stuff, including an informative commentary and a short documentary about the making of the movie. So if you already own the standard Blu-ray release, it might not be worth the upgrade. If not, this is the one to get.
Special Features
New 4K digital restoration, with uncompressed monaural soundtrack
One 4K UHD disc of the film and one Blu-ray with the film and special features
Audio commentary by Stephen Prince, author of The Warrior’s Camera: The Cinema of Akira Kurosawa
Short documentary on Stray Dog, from the series Akira Kurosawa: It Is Wonderful to Create, featuring interviews with director Akira Kurosawa, production designer Yoshiro Muraki, actor Keiko Awaji, and others
PLUS: An essay by film critic Terrence Rafferty and an excerpt from Kurosawa’s book Something Like an Autobiography
“Wuthering Heights“
Lowered expectations can be a weird thing in that I was kinda dreading this, but found it went down relatively easily at home on 4K streaming. Part of the reason for that is Linus Sandgren’s genuinely gorgeous cinematography, even if it’s inconsistent throughout Emerald Fennell’s vision, one that never quite seems to grasp the themes of Emily Brontë’s masterpiece. Fennell has said it was designed to “recreate the feeling of a teenage girl reading this book for the first time,” which is relatively ambitious but also leads to inconsistent storytelling. This is alternately stunningly beautiful and depressingly predictable, but it’s never boring, and it looks great in 4K.
Special Features
Audio Commentary by Writer/Director/Producer Emerald Fennell
Threads of Desire (6:49) – Jacqueline Durran brings Emerald Fennell’s imagined Gothic world to life through costume. Cathy’s evolving silhouettes unfold in clear acts, while Heathcliff’s transformation and the ensemble’s distinct looks reveal emotion, status, and obsession.
The Legacy of Love and Madness (5:32) – Emerald Fennell reflects on her lifelong bond with Wuthering Heights and the hidden depravity of the Victorian era, reimagining Emily Brontë’s tale through emotion, memory, and desire to create an epic love story for a new generation.
Building a Fever Dream (12:07) – An in-depth look at how Emerald Fennell built a world that feels alive. Where design, sound, and performance fuse into one hypnotic vision of love, madness, and creation. The making of a living, breathing fever dream.
- Documentary Now! 4th Edition is an Incredible Companion to Beloved Show (May 28, 2026)
The 2015-2022 IFC series “Documentary Now!” remains one of the funniest things that’s ever been on television. One of the show’s conceits is that it’s actually been running much longer than the four seasons we got in the real world, presenting itself as a “60 Minutes”-esque news magazine show that’s been on for generations. In keeping with that premise, McSweeney’s has released a “4th edition” companion book to the series, “updating” the 1975 original companion with a new introduction (to join the original one by Burt Lancaster) by our very own Matt Zoller Seitz, which is a comedic work of art. Everything about this hefty volume plays into the premise of the show, including even pull quotes on the back from people like Questlove and Morgan Neville, who writes that “it’s the documentary Bible.”
It’s certainly a wonderful companion to people who miss this show and long for a fifth season of a show that’s more than just an easy parody of non-fiction filmmaking. It’s a program that understands the filmmaking it’s mimicking on a bone-deep level, not just mocking classics like “Grey Gardens” or “The Thin Blue Line” but recreating why those movies work in terms of both form and content. This book reminds one not just how funny “Documentary Now!” was but how incredibly intelligent it was, never punching down on non-fiction filmmaking, but reflecting its art through comedy.
It contains so much clever writing that mimics filmmakers, journalists, and celebrities. For example, the introduction by Helen Mirren was written by Seth Meyers, but the book itself remains so faithful to its vision that it includes fake essays by Peter Bogdanovich, David Foster Wallace, Tom Wolfe, Joan Didion, and many more, and they all read like the genuine thing.
Bogdanovich writes about “Kunuk the Hunter,” “When you’re shooting a fictional picture, you’re telling a story. When you’re shooting a doc, you’re capturing a story. Or, at least that’s how I see it. But it always matters, doc or not, what you choose to show and how. The moment any subject steps in front of the camera, a performance begins. The minute a splice in the film strip is made, reality is being edited.” It’s a fake article using the name of a real person about a fake movie that’s making an insightful, truthful point about documentary filmmaking. It’s almost breathtaking in its ingenuity.
Of course, everyone has their favorite episodes of “Documentary Now!” and I think often of “Sandy Passage” (the “Grey Gardens” riff penned by Seth Meyers), “Batsh*t Valley, Parts 1 & 2” (inspired by “Wild Wild Country”), “Original Cast Album: Co-Op” (from D.A. Pennebaker’s seminal film about the production of Company), and the Werner Herzog-inspired “Soldier of Illusion, Parts 1 & 2,” written by John Mulaney.
Let’s take that last one as an example of what to expect from this book. You’ll learn about the cameras used on both “Soldier” and the director’s sitcom project “Bachelor Nanny,” along with articles and quotes about the 2003 documentary, like this one from Andrew Sarris: “It takes a genius like Cray to capture a genius like Rainer Wolz. It’s pure divine alchemy.”
Like most sections in the book, you’ll also get dozens of photos, but this volume is more than just coffee table stills. What’s so great about it is how consistently inventive it can be. Turn a page and find part of the original script of “Bachelor Nanny,” which, again, is a fake show in a fake documentary in a TV comedy. There’s a phrase called “Commitment to the Bit” that this book exemplifies in glorious fashion.
The Publisher provided a review copy of this title. It’s now available in stores and online.
- Meet the New Dinos Featurette - 'PAW Patrol: The Dino Movie' Sequel (June 1, 2026)
"Just dogs and dinosaurs – that's the world I would prefer to live in!" Another double dose of dinosaurs today! In celebration of National Dinosaur Day, Paramount has debuted an amusing featurette for animated sequel PAW Patrol: The Dino Movie, set for release in theaters this August. This complements the full official trailer for the other dino movie this summer also out on the exact same day - The End of Oak Street. The Paw Patrol lands on a mysterious dinosaur island after a storm, where they meet Rex, a stranded pup. When Humdinger's reckless mining triggers a big volcano, the team faces their biggest rescue mission yet to save the island. The full ensemble voice cast includes Carter Young, Mckenna Grace, Terry Crews, Meredith MacNeill, Ron Pardo, with Jennifer Hudson, Hayden Chemberlen, Fortune Feimster, Jameela Jamil, Rain Janjua, Bill Nye, Paris Hilton, Lucien Duncan-Reid, William Desrosiers, Nylan Parthipan, Snoop Dogg, and Henry Bolan. With new music by Backstreet Boys. It's the next follow-up to Paw Patrol: The Movie in 2021 and Paw Patrol: The Mighty Movie in 2023 – a kids animation series from the hit TV show about a group of talking dogs who go on crazy adventures. And in this one they end up on some dinosaur island where they meet a bunch of friendly dinos – including this lil' red one named Rhubarb. Looks like mighty fun. Enjoy. // Continue Reading ›
- Sam Worthington & Britt Lower in Thriller 'I Will Find You' Full Trailer (June 1, 2026)
"What are you willing to sacrifice?" "Anything..." "You have no idea the reach these people have." Netflix has launched their full official trailer for an intense streaming series called I Will Find You, a suspenseful family thriller arriving to watch this summer. Yet another new Harlan Coben adaptation – this one based on his 2023 novel of the same name. Another mystery to solve. What happened – where is his kid? Who is in on it? Why? Find out in I Will Find You – the compelling suspense series starring Sam Worthington (from Avatar) and Britt Lower (from "Severance"). An innocent father serving life for the murder of his own son receives evidence that his child may still be alive—and must break out of prison to find out the truth. Harlan Coben is producing but this series is showrun by writer Robert Hull, of the recent "Gotham", "God Friended Me", "Quantum Leap" series. I Will Find You stars Lower & Worthington, with Milo Ventimiglia, Logan Browning, Erin Richards, Chi McBride, and Jonathan Tucker. Have to say I'm curious, need to find out. What did they do to his boy?! Who are these other people? Go find them & take 'em down, Worthington. // Continue Reading ›
- Fantastic Full Trailer for 'The End of Oak Street' Dino Adventure Sci-Fi (June 1, 2026)
"What are we going to do?" "We're going to survive!" 🦖 Dinos unleashed! Warner Bros has debuted their main official trailer for a fun new survival adventure movie called The End of Oak Street, formerly known as Flowervale Street originally. Hitting theaters in August at the end of the summer. The plot is still a mystery but it's obviously about dinosaurs appearing when a street mysteriously... moves back in time millions of years ago. "A family in the 80s start to notice bizarre happenings in their neighborhood." After a mysterious cosmic event rips Oak Street from suburbia and transports their neighborhood to someplace unknown, the Platt family soon discovers their existence depends on them sticking together as they navigate their new surroundings. Starring Anne Hathaway and Ewan McGregor as the parents, The End of Oak Street cast also features Maisy Stella and Christian Convery. The film is written and directed by David Robert Mitchell and it's produced by J.J. Abrams for Bad Robot. Featuring music composed by Michael Giacchino. This trailer (view the first teaser) finally unleashes all of the dinosaurs, with glimpses at tons of them in this footage below. This looks like a blast! Curious to see where it all leads with this time travel plot. // Continue Reading ›
- First Trailer for 'Summer School 2001' Viet-Czech Coming-of-Age Film (June 1, 2026)
"How could this have happened to our family?" Get a first look at an official trailer for this acclaimed Czech indie film titled Summer School, 2001, a coming-of-age drama following a fractured Vietnamese family living in Czechia. This initially debuted at last year's Karlovy Vary Film Festival in Czechia as a major local premiere - I caught it there and wrote a strong review of it. It was heralded by the fest as "the long-awaited, first Czech Viet-feature" and the whole town was abuzz. It's the feature debut of filmmaker Duzan Duong, a talented Viet-Czech director who grew up in the country, telling a story about his own community there. After 10 years in Vietnam, red-haired Kien, now 17-years-old, returns to his family's market stall in Cheb, Czechia (see Google Maps) but instead of a warm welcome finds a distant father, tired mother, and harsh younger brother. There is plenty more revealed about everyone in the family as the story plays out during summer school, with an ensemble cast of local actors speaking both Czech & Vietnamese. Bùi Thế Dương stars as Kien, with Đoàn Hoàng Anh, Lê Quỳnh Lan, Tô Tiến Tài. The trailer features English subtitles (different color for each different language) – it's a good intro this film and the cast of characters within it. // Continue Reading ›
- Cannes 2026: 'Jim Queen' is a Super Fun Animated Parisian Adventure (June 1, 2026)
It's so much fun to see a film push back against the macho man culture taking over the world again now. The delightfully amusing film Jim Queen is one of the handful of prestigious animated premieres at the 2026 Cannes Film Festival. The fest programmed it as a Midnight screening premiere – which is the perfect place for it. It's destined to become a cult classic, though with the right push and some good buzz it might end up becoming a full-on animated hit in theaters. Jim Queen is the epitome of an "adult" animated movie – one that is designed for adults and is definitely not a cartoon meant for kids; no way, not by a long shot. But it's also about a very adult topic which should stir up discussions anyway. The story follows a closeted gay twink in Paris named Lucien, who just so happens to be the son of a major French politician. When his favorite super popular gay influencer, Jim Queen, loses his status because a mysterious illness is taking over the entire city, Lucien emerges to find him and save him and set the world straight again – er rather, gay, again. // Continue Reading ›
