This is the way to a new slate of summer releases. There are write-ups here for a Star Wars adventure, a fashion comedy, a WWII story, a body horror film, a well-meaning comedy-drama, and a gender-flipping comedy. The following features reviews for The Mandalorian and Grogu, I Love Boosters, Pressure, Saccharine, Remarkably Bright Creatures, and Ladies First.
The Mandalorian and Grogu: 6 out of 10
The Setup: The evil Empire has fallen, but Imperial warlords remain scattered throughout the galaxy. As the fledgling New Republic works to protect everything the Rebellion fought for, they enlist the help of legendary Mandalorian bounty hunter Din Djarin (Pedro Pascal) and his young apprentice Grogu (as himself).
Review: While not exactly a bad choice to bring this popular Disney+ series to the big screen, following a 7-year absence of cinematic Star Wars, the most unfortunate thing about The Mandalorian and Grogu is how safe it plays it. While not lacking in enough cinematic value for this to actually feel like a movie, as opposed to an abridged fourth season put in theaters, the stakes remain too low for a movie that offers no real development for our title characters, let alone enough reason to justify a two-hour+ runtime, when 90 minutes would have done.
Still, there is fun to be had. An opening sequence delivers on the western/samurai influences that make up this series, while still holding onto the pulpy sci-fi spirit that runs through Star Wars. Villains in this film included relatives of Jabba the Hutt. Still, it’s more of an excuse for them to bring on challengers to Mando, including a giant Dragonsnake, a gladiator battle full of familiar creatures, and a rival bounty hunter.
All of this could be more interesting in a more condensed version of this story, but as it stands, most of it merely satisfies. Some affecting moments stand out, such as an extended segment in which Grogu has to fend for himself. The movie is also shot well, complete with a new planet that delivers plenty of Blade Runner feels. And I’d be remiss not to mention Ludwig Göransson’s terrific score, which does a lot of heavy lifting. The same can be said for Brendan Wayne and Lateef Crowder, the stunt performers who do a majority of the work inside of Mando’s suit. That in mind, like Pascal, who is not just phoning it in, I do think director Jon Favreau and company are putting their best foot forward, even if it’s only supplying average results this time in the galaxy.
Where To Watch: Now playing in theaters.
I Love Boosters: 8 out of 10
The Setup: A group of shoplifters (Keke Palmer, Naomi Ackie, Taylour Paige) take aim at a cutthroat fashion maven (Demi Moore) by stealing her clothes and reselling them at a lower price, calling it “fashion-forward philanthropy.”
Review: As incredibly talented and creative as writer/director Boots Riley is, I’ve been saying that his directorial debut, 2018’s Sorry To Bother You, felt like a movie that threw everything Riley could into it, as if he wouldn’t be allowed to make another movie. So now we have I Love Boosters, which is perhaps less pointed than his first feature, but comes as a result of Riley being like, “Oh, I get to make another movie? Well, take this!” Part crime comedy, part fashion satire, this is a colorful, thought-provoking film that also serves as a great time at the movies.
Thanks to its star power, attitude, and general sense of style, there is so much to take in at a visual and auditory level that it’s only a minor shame the film doesn’t land an overarching message that will extend beyond the general bizarre feeling this story generates. That said, there’s still so much here to take in, including great work from the leading ladies and a very game Demi Moore. Naturally, having Riley means getting another fun soundtrack from him and Tune-Yards. Additionally, Riley’s analog nature means not only getting these ingeniously designed costumes, but also plenty of wacky visual effects to help sell the unique universe his film inhabits. This all allows for a film that is neither easily definable, utterly original, nor very fun.
Where To Watch: Now playing in theaters.
Pressure: 6 out of 10
The Setup: In the 72 hours leading up to D-Day, all the pieces are in place except for one key element — the British weather. Britain’s chief meteorological officer James Stagg (Andrew Scott) is called upon to deliver the most consequential forecast in history, locking him into a tense standoff with General Dwight D. Eisenhower (Brendan Fraser) and the entire Allied leadership.
Review: Here’s one of those World War II stories that is not hard to believe as true but certainly tests the limits of whether or not a feature film devoted to the quirk of “did you know how important the weather was to this key battle” is enough to inspire more than just generally favorable reactions thanks to the nationalism from interested parties. Director Anthony Maras (Hotel Mumbai) does his best to keep the tension high, with many arguments in rooms supplemented by characters excitedly pointing at maps. I only wish it didn’t feel a couple degrees away from parody.
Still, Scott brings a quiet intensity to his role here, with lots of solid support around him. Kerry Condon and Chris Messina get plenty to do, while Fraser is decent enough as Eisenhower (though I continue to feel he’s reaching the end of his dramatic range more often than not at this point in his post-Oscar career). Do all of these angry and determined individuals manage to make a meal out of what’s given to them? I suppose so, but finding new territory to mine in regards to this war is only taking me so far these days.
Where To Watch: Opening in theaters on May 29, 2026.
Saccharine: 7 out of 10
The Setup: After succumbing to an obscure weight-loss craze involving the eating of human ashes, lovelorn medical student Hana (Midori Francis) finds herself terrorized by the ghost of the person she’s eating.
Review: This is a nifty little horror film that taps into familiar anxieties and presents its chaos in a manner fitting of many horror movies as of late. Given that the film has to reckon with a character’s body-shaming of themselves, rather than some form of past trauma, it’s refreshing to see it rely on a villainous ghost after them for completely different reasons. On top of all of this, the film is also just happy to go all out and be gross.
Director Natalie Erika James, who delivered the well-acted and similarly creepy debut with Relic, returns to a smaller-scale feature here with a committed lead in the form of Midori Francis, who really pushes to sell the idea of needing to gorge on everything to stay alive, let alone the fear of an invisible entity. Several standout sequences rely on old-school tactics to bring some ideas to life, yet they are entirely effective thanks to both Francis and the capable work of James and her team, which allow the viewer to live in these tense moments. Add to that a few characters that do fine work showing their care for Hana, and you have a film that gets a little tangled by the end, but is still a full enough meal.
Where To Watch: Now playing in theaters.
Remarkably Bright Creatures: 7 out of 10
The Setup: Through unlikely bonds formed during night shifts at a local aquarium, Tova (Sally Field), an elderly widow, learns of a life-changing discovery that may bring her joy and wonder once again.
Review: I was quite delighted by this film. With very little knowledge of what it would be, I was happy to discover that the film is a comedy-drama and a quirky mystery that plays on emotions. It also comes from director Olivia Newman, responsible for one of my favorite Netflix original releases, First Match. As it unfolds, there’s plenty to respond to, starting with the cast. Field is, of course, terrific as a sweet but demanding older lady who works as a night janitor at an aquarium. Lewis Pullman continues to prove he’s an actor with the right kind of presence to work in any number of ways when called for it. And then there’s the rest of this fun cast, which includes Joan Chen, Kathy Baker, Beth Grant, Sofia Black-D’Elia, and Colm Meaney.
Almost too clever for its own good, but evolving into something more special is having Alfred Molina serve as the film’s sorta narrator, a giant Pacific octopus. Whether or not the film intended to create this in-joke for Molina, his commentary is quite worthwhile in how it focused on the regard this sea creature has for humans (which is pretty low). Using that to guide the film towards meaning works on a fairly interesting level, rather than letting the gimmick blend with the rest of the film. Instead, I was happy to see the various tentacles find a way to move around together and deliver something charming.
Where To Watch: Now available to stream on Netflix.
Ladies First: 3 out of 10
The Setup: A male chauvinist (Sacha Baron Cohen) is transported to a matriarchal society, where he faces challenges from a formidable female version of himself (Rosamund Pike).
Review: Given the way things continue to be, as dated as the premise feels, I can see a way to make a film about the unfair disparity between men and women work. Well-written satire can allow for plenty of fun in a comedy featuring talents that all know what they’re doing. The problem with Ladies First is how out to sea it all feels in actually getting its humor across, let alone a greater message. I can admit that moments work, and the mere idea of a world that went through history as being run by women allows for some silliness to laugh at. Still, so much of this movie falls flat.
I think Cohen is a genuine talent who can create a lot of comedic gold at his best. Still, everything about this character is so obvious in the way he is first presented and where that will lead. Pike is almost too respectable to be scathed by something like this, and yet she does have to let herself down by engaging in such a dreadful film as well. Sure, being a fantasy comedy that aims to deliver a good message about gender disparity could put either of these two on an interesting path. Sadly, this film offers nothing particularly funny or exciting to look back on.
Where To Watch: Now available to stream on Netflix.
