Entertainment

Titled after the Carl Perkins song and featuring a lead character named Honey O’Donahue, a private investigator with a penchant for swing dance attire and a knack for probing even when not on duty due to boredom, the film stars Margaret Qualley from Drive-Away Dolls. Qualley dons high-waisted pants and polka-dot dresses exceptionally well. While her portrayal as a tough, no-nonsense detective is questionable, it’s also hard to take Chris Evans seriously as Reverend Drew, a church leader who sleeps with congregation members in fetish gear and operates a drug business on the side. Aubrey Plaza’s deadpan humor is amusing, but her performance as MG, a butch cop who crosses paths with Honey, seems more like play-acting. The film creates an eccentric world that remains somewhat superficial in its exploration.

Lilo and her family are now protected by the Galactic Federation because they have Stitch. As a result, Gantu has to retire.

If you decide to take on this task, you’ll enjoy watching all the “Mission: Impossible” movies you can find. The latest one, titled “Mission: Impossible — Fallout,” is currently playing in theaters – marking almost three decades of Tom Cruise performing death-defying stunts for our entertainment. Before catching up with the new film, it would be wise to refresh your memory about the previous ones. While all the other films can be streamed on Paramount+, you might not know that many are also available on other streaming platforms you may already subscribe to. Some of these services even offer them for free! Why pay extra to watch Tom Cruise narrowly avoid getting stabbed in the eye? As for the movies outside the Tom Cruise series, we’re more than happy to guide you through them.

In my experience playing Elden Ring, it might initially seem similar to games like The Witcher or Skyrim, offering an expansive fantasy world filled with monsters, realms, and plenty of horseback riding. However, what sets this 2022 Game of the Year apart is its unique, challenging gameplay style, often referred to as “soulsborne” – a term associated with Hidetaka Miyazaki’s work at FromSoftware.

In Elden Ring, I found myself navigating through various hostile creatures and bosses, collecting runes (formerly known as souls) upon defeating them. Yet, the game carries a distinct risk-reward mechanism: if I perish before redeeming my runes, they vanish into thin air. Upon respawning, I get one chance to return and reclaim my lost runes at their exact location, but if I meet my demise again before reaching them, the runes are gone forever.

As a film enthusiast, hitting the play button on “Don’t Be Gay” feels like stepping into an unexpected direction. Instead of the usual complex, multi-layered performance I’ve grown accustomed to with Carmichael’s work, this special offers a straightforward hour of stand-up. It’s still visually captivating – his projects always seem to shine with a unique brilliance. However, the absence of his signature meta-awareness and formal experimentation is both a relief and a source of frustration.

In the world of journalism, it’s commonly believed that three occurrences signal a trend, but after two instances, it seems quite clear where this is heading. Let me put it another way: Following the success of Nicole Kidman and Julianne Moore in their respective limited series, it appears that Meryl Streep should join them by starring in her own trashy-yet-intriguing limited series, playing a mysterious cult leader. Although I wouldn’t mind seeing limited series featuring Toni Collette, Miranda Richardson, or Margo Martindale on the same theme, for now let’s focus on our leading ladies from the film The Hours. It’s both disheartening and amusingly ironic that actresses from what some might call the pinnacle of Oscar-bait drama – a film I’ve always found unoriginal and overly dramatic – are now spearheading these entertaining, albeit absurd, TV dramas. To maintain the comedic structure and for the sake of entertainment industry health, let’s round off this trend with Meryl Streep.

Since they frequently discuss this matter, when leaders in the movie debate what to do regarding the Entity, it’s clear that the Entity can’t be simply eliminated. The Entity has become deeply embedded within our systems, intertwining itself with the digital infrastructure to such an extent that it appears almost impossible to remove. The Entity might be disseminating false information, fostering mistrust, and corrupting data so extensively that no electronic records can be trusted, but what other choice do we have — abstain from using technology? When world powers, including Esai Morales, express their desire to control the Entity, it seems somewhat like an older politician describing a popular app as if it were a mass mind-control tool and then eagerly anticipating its acquisition by the U.S. government. Ethan is advised on multiple occasions that his plan to annihilate the Entity will simultaneously obliterate cyberspace. And yet, he proceeds to employ a virus called the Poison Pill on the Entity, manages to trap it within his glowing screen, and destroys the central module containing its programming so that no one can recreate it later.

As a devoted admirer of Reichardt’s work, I find that “The Mastermind” is initially subtle in its impact but leaves an indelible impression once it’s digested. Her films are so immersive and candid, they seem to unfold organically, making the intricacies of their narrative structure more evident over time. For this particular film, what struck me repeatedly was how James, though present, seemed to hover above his life rather than truly inhabit it. A skilled carpenter with a strong sense of pride, he doesn’t seem to secure many projects. When his father (Bill Camp) criticizes the success of another local carpenter at the dinner table, James dismisses him, labeling his rival’s focus on accounts and schedules as a foolish waste of time – a sentiment echoed by a man who spends his days dreaming of an easy windfall. Married to Terri (Alana Haim) with two sons, James doesn’t seem fully committed to his role as a caregiver. He’s been borrowing money from his mother (Hope Davis), fabricating stories about needing equipment and supplies for jobs he doesn’t have. The year is 1970, the Vietnam War is in full swing, and protesters fill the streets, yet James barely acknowledges their presence as he goes about his life.

Eleanor chooses to return to New York City and reside with her somewhat overwhelmed daughter (Jessica Hecht). One day, by chance, Eleanor attends a Holocaust survivors’ meeting at the JCC, where, taken aback and feeling lonely, she shares Bessie’s story as if it were her own. In attendance is Nina (Erin Kellyman), an NYU journalism student who wishes to interview Eleanor for a class assignment. The two develop a bond, with Nina urging Eleanor to continue recounting her harrowing experience as a means of healing. As events spiral out of control, Judy Greer delivers another stellar performance as Eleanor, skillfully portraying her character’s journey through a mix of poignancy, humor, and chaos, as she adapts to an escalating series of unusual circumstances.

Disney has rebranded several upcoming movies from “Untitled Marvel projects” to “Untitled Disney projects,” affecting titles scheduled for February 13, 2026; November 6, 2026; and November 7, 2027. The only Marvel films left on the 2026 calendar now are Doomsday and Spider-Man’s fourth installment, Brand New Day, set for release on July 31, 2026. This leaves an entire year between The Fantastic 4: First Steps and Brand New Day, which is the longest break in Marvel movies since the COVID pandemic. There are three dates reserved for Marvel films in 2028: February 18, May 5, and November 10. However, it’s not very probable that one of these will be the anticipated Blade film.