No power of Grayskull here, just a series of other new releases. There are write-ups here for a music-themed comedy-drama, a crime romance, an action flick, an Australian comedy-drama, a Mexican stop-motion animated movie, a shark flick, and a children’s story about planes. The following features reviews for Power Ballad, Carolina Caroline, In the Grey, Kangaroo Island, I Am Frankelda, Chum, and Propeller One-Way Night Coach.
Power Ballad: 6 out of 10
The Setup: When Rick (Paul Rudd), a past-his-prime wedding singer, meets fading boy-band star Danny (Nick Jonas) during a gig, the two bond over music and a late-night jam session. But when Danny turns one of Rick’s songs into the hit that reignites his career, Rick sets out to reclaim the recognition he believes he deserves — even if it means risking everything he cares about.
Review: The power of a John Carney film is the way he’s able to take a sturdy premise and enliven it with both winning performances and original songs that help push the plot forward. Some of his efforts are home runs (Once, Sing Street), and the others are at least solid doubles. Here, there’s a real joy in seeing Rudd get humbled as Rick, a guy who chose to be a responsible father rather than pursue the possibility of becoming a major music star. The tone of this film allows us to see several different shades of a typical Rudd character, making this one of his very best performances. Meanwhile, Jonas is likely giving us his best work by default, even if the film never quite sells me on an undercurrent of meanness he supposedly possesses.
Granted, much of the plot relies on circumstance to work. It’s also heightened, given the nature of how big Danny’s stardom is and what Rick can make possible to deal with it. That said, while the film reaches some poignant moments that contend with the importance of music, it’s almost entirely undercut by an ending that doesn’t quite feel earned. While the logic of what’s presented is sound, there’s an unevenness in the characters involved that holds this movie back from achieving a far more profound resolution, which is a shame. Still, there’s mostly a good time to be had based on the general attitude that typically makes Carney’s films so watchable. I just wish this one struck a different chord in its conclusion.
Where To Watch: Now playing in theaters.
Carolina Caroline: 7 out of 10
The Setup: A young woman (Samara Weaving) joins a charming con man (Kyle Gallner) on the run, leaving a trail of crime and passion as they hustle through the Southeast in search of her estranged mother.
Review: Made in the spirit of Badlands or Bonnie & Clyde, the modern take on these films shows how there’s a generational cycle of young people who just want to change their routine. Some, a small percentage, choose a life of high-stakes romance and crime. The joy of a film like this should come from how much we know this relationship is, in some way, doomed, and yet there’s still a thrill of watching these two do what they can before true danger gets in their way. Both stars are appropriately well-settled into their roles, believable together, and able to convey a sense of edge separately.
Director Adam Carter Rehmeier, who delivered the incredibly charming Snack Shack in 2024, is working on darker material here, but the strength comes from the familiar road movie structure, the nuances and details that come with each of the stops they make, and solid writing that allows these two to never betray the strengths they have together. I guess the film is held back a bit by some inevitabilities, but this is still a ride worth taking.
Where To Watch: Opening in theaters on June 5, 2026.
In The Grey: 5 out of 10
The Setup: A covert team of elite operatives (Eiza Gonzalez, Jake Gyllenhaal, and Henry Cavill) are living in the shadows. When a ruthless despot steals a billion-dollar fortune, they’re sent to take it back-an impossible heist that erupts into a deadly game of strategy, deception, and survival.
Review: I consider myself a Guy Ritchie fan, and I have to hand it to him: since his brief Disney excursion that led to a billion-dollar-grossing Aladdin film, the guy has been pretty nonstop with his production of gangster movies, spy films, and action flicks year after year. It’s one thing if he were making simple character comedy-dramas set on a few blocks in a city, but these are big productions with complex sequences and movie stars. In The Grey is another one of these, and it similarly features characters that can rely on banter as witty as their pinpoint accuracy when it comes to their use of weaponry. Not to mention, they’re always dressed to be as stylish as they are tactical. But what’s this one missing?
It’s not so much that this movie blends in too much with other Ritchie features, but that it’s almost too stripped down of quirks. On the one hand, I can appreciate Ritchie’s choice to shoot for efficiency, which makes the action feel very procedural. While the situations are absurd to a point, there’s a grounded handle on what’s taking place that is at least somewhat unique. At the same time, it was somewhat of a chore to get to the more exciting portions, as the script wasn’t doing a lot to invest me in the proceedings. The efficiency of Michael Mann or the specificity of David Mamet has a way of pulling off the kinds of things found in this movie that Ritchie just wasn’t finding the right groove for me with in this instance.
Where To Watch: Now in theaters and available on digital and VOD.
Kangaroo Island: 6 out of 10
The Setup: A struggling Hollywood actress (Rebecca Breeds) returns home to Kangaroo Island, where she must confront the messy love triangle and deep-seated secrets that originally tore her family apart.
Review: This is a pretty straightforward Australian import that gets by thanks to the performances. Were this an American production, it would likely be a streaming series stretched into too many episodes. As it stands, director Timothy David (who doesn’t have the nicest things to say about critics) does good work to get solid moments of drama from the leads, let alone building up a strong family dynamic to follow along with for just under two hours. The results add up to what they need to, as this is no epic saga but a personal story about people with conflicting views that must find common ground, even as other aspects of their lives fall down around them. Plus, having enough hints of comedy does help the film along.
Where To Watch: Now available on digital and VOD.
I Am Frankelda: 7 out of 10
The Setup: A gifted young writer in 19th-century Mexico journeys into her subconscious and comes face to face with characters from her own spooky stories.
Review: The prospect of seeing the first Mexican film made entirely in stop-motion animation intrigued me. It’s an animation format I’ve always been fascinated by, so I was glad to see another studio reach the point where they could produce a feature like this. It is based on a television series (a prequel), but that certainly didn’t stop me from appreciating what’s offered. As it stands, this is an effective blend of films like Pan’s Labyrinth, Tootsie, and The Nightmare Before Christmas. It features unique and interesting worlds, a variety of colorful characters, a handful of songs, and a story that kept me invested.
As far as the look goes, for example, the notion of seeing how non-American filmmakers approach these sorts of projects excites me because I know it won’t feel at all standard. The designs of humans and fantasy creatures allow them to come to life and feel expressive, despite how different they may seem from what many are used to. It only speaks to the added value that comes from a film like this, which is, ostensibly, the way culture affects what’s going on with these kinds of productions.
Where To Watch: Available to stream on Netflix starting June 12, 2026.
Chum: 4 out of 10
The Setup: Members of a wedding party in Malta encounter a bloodthirsty shark and a sinister fisherman who turns their celebration into a deadly trap. Forced between open water and a relentless human predator, the friends soon find themselves in a desperate fight for survival as secrets come to light and loyalties get tested.
Review: One always hopes that, among the many shark films we get every year, there will be a standout at some point. Unfortunately, Chum is not one of them. Director and co-writer Jonathan Zuck tries to insert a new angle on one of these types of stories. Still, even then, it can’t distract from how bland a good portion of the film is, with little help coming from the leads. I honestly can’t say I’ve ever enjoyed the acting abilities of Alice Eve, but she’s at least trying in a film that badly needs a better presence for the film. As for the shark of it all, the vicious scenes featuring this aquatic predator are what you’d expect from a low-budget horror flick. CG red comes into play, limbs are torn off, and there’s the occasional shock of seeing a mostly-rendered shark hop out of the water to kill a random victim. At least the excitement kicks into gear more in the final act, but this is still a film one can toss into the chum bucket.
Where To Watch: Available in select theaters and on digital and VOD starting June 5, 2026.
Propeller One-Way Night Coach: 4 out of 10
The Setup: Young aviation enthusiast Jeff (Clark Shotwell) and his mother (Kelly Eviston-Quinnett) embark on a cross-country flight to Hollywood that becomes a life-changing journey full of unexpected moments.
Review: It’s funny to think that for his directorial debut, John Travolta decided to create a new look for himself, drawing attention to whatever is going on with him, which only tangentially helped create buzz for this project of his. Based on the children’s book Travolta wrote in 1997, I can appreciate the novelty of making a family adventure about a young 8-year-old boy detailing the long trip he took by plane in the 60s, when aviation emphasized luxury. The limited space also means it’s not too ambitious for Travolta to handle. However, there is a lot of attention to detail that I’m sure some will appreciate. However, while the intent is to present a sort of lofty version of this story, given its perspective, there’s so much narration, a lot of non-action, and a tone that suggests audiences are being somewhat pandered to for the sake of the very young potential audience viewers. It’s neat to see Travolta somewhat bear an aspect of the innocence inside of him, but even as it stretches itself to get past the hour mark, there’s just not a lot here.
Where To Watch: Now available to stream on Apple TV
