Sam Neill: 1947 - 2026

Actor Sam Neill has passed away at the age of 78. 

 

Born in Northern Ireland before moving to New Zealand with his family, Nigel John Dermot Neill’s first film was a New Zealand TV film THE CITY OF NO in 1971. He moved to Australia, appearing on more TV, and was the romantic lead in MY BRILLIANT CAREER (1979), with Judy Davis. 

 

In 1981, he had his first international role as Damien Thorn, son of the Devil rising in U.S. government in OMEN III: THE FINAL CONFLICT. In 1982 he appeared in an adaption of IVANHOE, which is now traditionally aired in Sweden every New Year’s Day. In 1990, he had one of his most memorable roles, opposite Sean Connery in THE HUNT FOR RED OCTOBER.

 

In 1993 he became a cultural and global icon when Steven Spielberg cast him in JURASSIC PARK. Neill, playing a reluctant paleontologist, would reprise the role in JURASSIC PARK III (2001), and JURASSIC WORLD DOMINION (2022). 

 

Over his five-decade career he would cross genres with ease, appearing in notable films such as the Oscar-winning THE PIANO (1993), MEMOIRS OF AN INVISIBLE MAN (1992), THE JUNGLE BOOK (1994), IN THE MOUTH OF MADNESS (1994), EVENT HORIZON (1997), THE HORSE WHISPERER (1998), BICENTENNIAL MAN (1999), WIMBELDON (2004), HUNT FOR THE WILDERPEOPLE (2016), THOR: RAGNORAK (2017), and THOR: LOVE AND THUNDER (2022). One of his final films will be GODZILLA X KONG: SUPERNOVA, set for release in 2027. 

 

During his career, he received nominations for three Golden Globes, two Primetime Emmys, and British Academy Television Award. He was knighted in 1991. 

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Long-time Reel Speak readers know that THE HUNT FOR RED OCTOBER is one of this Blogger’s favorite films, and Sam Neill’s part as the second-in-command of the famed phantom Russian submarine was a big part of that. The loyal officer who had dreams of traveling through America, state-to-state, with no papers…provided the emotional hook of the film, and his character’s tragic end is a heartbreaker; right down to his perfectly delivered final words. 

 

But it all comes back to his iconic role as Dr. Alan Grant in JURASSIC PARK. It is through his eyes that we get our first good look at the re-invented dinosaurs, and his excellent acting serves as a gateway for the audience; providing awe and wonder that takes hold and never let’s go. Kids love dinosaurs, and Neill helped us all rediscover that love which has persisted to this day. So thank you Sam, for bringing the cinematic awe and wonder. 

 

A Reel Opinion: Don't Read Ahead

Next week, in what is shaping up to be the cinematic event of 2026, Christopher Nolan’s adaptation of THE ODYSSEY arrives in theatres. The film, which is based on Homer’s ancient Greek epic, has sparked a mad rush to bookstores (physical or virtual), to brush-up on the material. This is a common, and somewhat annoying occurrence: the desire to do homework, or to know the story in advance before seeing the film. This Blogger’s advice: Don’t. 

 

For many, reading the book (or comic, or poem), first seems like an obvious choice. But watching the film first can create a more enjoyable, and most especially, surprising experience (hello, spoilers!). Movies are made to tell stories through visuals, performances, and music. Seeing those elements without already knowing the story allows us to feel excitement, suspense, and emotion with a clean slate. 

 

Reading the book first leads to inevitable comparisons. Readers become attached to specific descriptions and scenes, making it easy to focus on things the film had changed, instead of appreciating the film as its own creative work. Viewers can (and have), hijack their own cinematic experience by picking out what wasn’t in the book. 

 

Watching the movie first clears those expectations. It allows the film to stand on its own merits. And reading the book later allows us to explore the richer and more detailed world. The book then becomes an expansion of the story instead of a checklist of missing content. 

 

So don’t read ahead. Let the cinematic experience do what it does best. 

A Reel Preview: The Year in Film 2026 - Episode VII

The Summer Movie Season of 2026 heats up for real this month, with the return of beloved characters and a re-telling of one of history’s most epic stories. Re-releases include the acclaimed films THE PIANO (33^rdanniversary), and BOYHOOD (12^th anniversary). Here now are the notable films coming to the big screen in July: 

 

 

MINIONS & MONSTERS – In this third installment of the Minions prequel series (and seventh overall in the DESPICABLE ME franchise), the minions aim to make a monster movie of their own in 1920’s Hollywood. The voice-cast includes Allison Janney, Christoph Waltz, Jeff Bridges, and Jesse Eisenberg. 

 

 

YOUNG WASHINGTON – This indie film follows George Washington in his time fighting the French and Indian War. Newcomer William Franklyn-Miller plays George, and he is joined by Ben Kingsley, Andy Serkis, Kelsey Grammer, and Mary Louise-Parker. 

 

 

EVIL DEAD BURN – In this third film of the rebooted horror series, a family comes together in a secluded house after the death of a family member, only to face some horrors. 

 

 

MOANA – A live-action adaptation of one of Disney most successful films of the millennium. Dwayne Johnson reprises his role as the demi-god Maui, and Catherine Laga’aia plays Moana. 

 

 

THE ODYSSEY – Acclaimed director Christopher Nolan (OPPENHEIMER, THE DARK KNIGHT), returns with this adaptation of Homer’s epic fantasy. Matt Damon plays Odysseus, and he is joined by an impressive cast: Tom Holland, Anne Hathaway, Robert Pattinson, Lupita Nyong’o, Zendaya, Charlize Theron, Benny Safdie, Jon Bernthal, John Leguizamo, Corey Hawkins, Mia Goth, and Elliot Page. 

 

 

SPIDER-MAN: BRAND NEW DAY – The 38^th film in the Marvel Cinematic Universe, which has Peter Parker/Spider-Man dealing with a world where his friends don’t remember him while a new threat rises. Tom Holland reprises his role as Spidey, and he is joined by Zendaya, Sadie Sink, Jacob Batalon, and Jon Bernthal. 

 

 

I WANT YOUR SEX – Olivia Wilde and Cooper Hoffman (son of Phillip Seymour), star in this erotic and comedy thriller where a young man lands a job for a “provocative artist”, only to have her hire him to become her love slave. 

 

 

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Next month, Reel Speak previews the final month of the Summer Movie Season. 

 

 

 

A Reel Legend: Roy Scheider

A Reel Legend tells the stories of cinematic icons who are no longer with us. The actors, actresses, and directors who have shaped the silver screen as we know it today. 

 

This month’s Reel Legend is Roy Scheider. 

 

Born Roy Richard Scheider in 1932 in Orange, New Jersey, Scheider studied drama at Rutgers University, and after serving in the U.S. Air Force and a short career as a boxer, he had his first film role in the 1964 horror flick, THE CURSE OF THE LIVING CORPSE. In 1971, he appeared in two popular films: KLUTE alongside Jane Fonda and Donald Sutherland, and one of his most famous films, THE FRENCH CONNECTION opposite Gene Hackman. THE FRENCH CONNECTION would win Best Picture that year, and earn him an Oscar nomination for Best Supporting Actor. 

 

In 1975, he had his most famous and beloved role, that of Chief Brody in Steven Spielberg’s JAWS. Scheider’s add-libbed line of “You’re gonna need a bigger boat” would become one of the famous lines in cinema history. He would reprise the role in the 1978 sequel. In 1979 he would earn another Oscar nomination, this time for his role as an alcoholic choreographer in ALL THAT JAZZ. 

 

Other notable roles would include THE SEVEN-UPS (1973), MARATHON MAN (1976), SORCERER (1977), STILL OF THE NIGHT (1982), BLUE THUNDER (1983), 2010: THE YEAR WE MAKE CONTACT (1984), THE RAINMAKER (1997), and THE PUNISHER (2004). 

 

He would have a second career on television, including the Spielberg-produced series SEAQUEST DSV. Overall, his career would earn him two Oscar nominations, one Golden Globe, and one BAFTA Award. He passed away in 2008 at the age of 75. 

 

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The name of Roy Scheider has become intertwined with JAWS over the last 51 years, and rightfully so, but the flip side to that is his role as Chief Brody, and his electric chemistry with co-stars Richard Dreyfuss, Robert Shaw, Lorraine Gary, and Murray Hamilton…often overshadows the rest of his excellent film career. From his passionate choreographer in ALL THAT JAZZ to a troubled detective in THE FRENCH CONNECTION, he brought a quiet vulnerability and depth to even the most straightforward characters. 

 

And that vulnerability brings us back to JAWS. His part as the police chief in a summer town held hostage by a killer shark came at a time when the Hollywood tough guy was deemed invincible. It was a time when movie stars like John Wayne famously never lost a cinematic fist-fight, lest they look weak to audiences. But Scheider’s Brody turned all that around. His police chief was a flawed guy who answered the wrong phone, spilled a vase of paint brushes, and most importantly…had a child-like fear of the water. Hardly invincible, but lived-in and human. With that, he blazed a trail for future screen heroes into the modern era; from Indiana Jones’ fear of snakes to John McClaine fighting terrorists barefoot. Scheider changed the game, because that’s what Legends do. 

 

 

 

 

 

A Reel 25: A.I. ARTIFICIAL INTELLIGENCE

“Please make me a real boy…”

 

This month marks the 25^th anniversary of Steven Spielberg’s A.I. ARTIFICIAL INTELLIGENCE. 

 

Directed by Spielberg and based on the 1969 short story Supertoys Last All Summer by Brian Aldiss, A.I. told the story of David, a childlike android programmed with the ability to love. When he is abandoned by his adoptive parents, he sets out on a journey to become a real boy to earn back their love. 

 

The journey to A.I. began in the early 1970’s, when the famed late great filmmaker Stanley Kubrick acquired the rights to Aldiss’ story. Kubrick hired several writers and the film languished in development for years, partly because Kubrick did not believe computer-generated imagery was not ready yet to bring David to life on the screen, and did not think a child actor could pull off the part. In 1995, Kubrick handed the film off to Spielberg. Kubrick would pass away in 1999, and the film would finally go into production. 

 

The role of David would go to Haley Joel Osment, who had spooked audiences in 1999 in THE SIXTH SENSE. Osment was joined by Frances O’Connor, Sam Robards, Jude Law, William Hurt, and Brendan Gleeson. Voice-over cameos included Robin Williams, Meryl Streep, Chris Rock, and Ben Kingsley. John Williams would provide the score. 

 

Upon release, A.I. would be a modest box office hit, finishing as the 17^th highest earner of the year. Reviews were mixed-to-good, and it would earn two Oscar nominations: Best Visual Effects and Music Score. 

 

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A.I. is one of Steven Spielberg’s most fascinating and divisive films. Its greatest strength is its emotional ambition: a futuristic fairy tale about a robot child seeking love, it explores humanity’s fears of technology, loneliness, and the need to be accepted. The film’s visuals, performances, and haunting atmosphere remain powerful. Yet its flaws are equally clear. The pacing shifts awkwardly, the tonal changes feel uneven, and the ending remains controversial. Still, its imperfections are part of what makes it memorable: a strange, ambitious blend of wonder and melancholy that grows more interesting with time. 

 

“…and that is something no machine has ever done before you.”

A Reel Review: DISCLOSURE DAY

Over the years, famed director Steven Spielberg has spent a lot of film telling stories about aliens. From the friendly (E.T. THE EXTRA-TERRESTRIAL), to the not-so-friendly (WAR OF THE WORLDS), and to the mysterious (INDIANA JONES AND THE KINGDOM OF THE CRYSTAL SKULL). Although Spielberg has certainly earned the right keep telling the stories he wants, if he is going to keep returning to little-green-men, it’s on him to make it new. Say hello to DISCLOSURE DAY. 

 

On the eve of WWIII, cybersecurity specialist Daniel (Josh O’Connor), steals a piece of alien technology and related files with the intent of revealing the existence of alien life to the world. Meanwhile, TV meteorologist Margaret (Emily Blunt), suddenly finds herself with psychic abilities and the ability to speak several languages. 

 

DISCLOSURE DAY unfolds as a chase-flick. Daniel and his girlfriend Jane (Eve Hewson), race from location to location, aided by his former co-worker Hugo (Colman Domingo), and chased down by the secret government agency led by Noah Scanlon (Colin Firth). There is a bit of redundancy to the film as it repeats itself often; our characters arrive at a location, provide exposition, get discovered by Noah, run away and be chased, and then arrive at another location. It leads to a very predictable unspooling. 

 

Other plot elements are added in to thicken what seems to be a thin plot. The ethics behind releasing the alien files to the world are often discussed; will mankind embrace them, fight them, or treat them as deities? It’s fascinating talk that does come around in an okay-way by movie’s end. Margaret’s abilities and how she acquired them range from fascinating to ridiculous, and her eventual connection to Daniel loosely works.

 

During the chase scenes, Spielberg shows that he has not lost his edge. The action is breathtaking with a scene involving two freight trains a highlight. Spielberg’s visuals and camerawork is also excellent. John Williams’ score sounds like it’s very good, but it too often gets buried in the mix; we hear it the best during the end credits. 

 

Acting is excellent. Emily Blunt shows once again why she is one of the best actors alive. Josh O’Connor makes the transition to big-time action flicks very well, and Eve Hewson is also very good. The supporting cast of Colin Firth and Colman Domingo…all excellent. 

 

The finale leaves us hanging a little, but it requires us to study what was said earlier in the film to finish connecting all of the dots. DISCLOSURE DAY manages to lightly satisfy by the time those well-scored credits roll, and those of us who have followed Spielberg religiously over the years will not miss that the film bears a too-close resemblance to one of Spielberg’s other alien films. It feels like another version of that previous work, and there just isn’t enough done here to make this arrival new. 

 

BOTTOM LINE: Rent it 

A Reel 20: CARS

“I am speed…”

 

This month marks the 20th anniversary of CARS. 

 

Directed by John Lasseter and the seventh feature film by Disney’s Pixar Animation Studios, CARS was set in a fantasy world of anthropomorphic vehicles, and followed a young hotshot racer named Lightning McQueen, who on his way to the biggest race of his career, becomes stranded in a long-forgotten town of Radiator Springs on Route 66. 

 

The road to CARS began in 1998 and was set to be the next Pixar film after A BUG’S LIFE. The original storyline would follow an electric car living in a world of gas guzzlers. The idea was shelved in favor of TOY STORY 2, and later revisited and re-inspired by Lasseter’s cross-country trip across America. The film was inspired by an America of the past, and designers visited the design studios of the Big Three Detroit Automakers.

 

The cast would be stacked. Owen Wilson would take on the voice of McQueen, and the late great Paul Newman would voice Doc Hudson, a famed racer in hiding. The rest of the impressive cast would include Bonnie Hunt, Larry the Cable Guy, Tony Shalhoub, Cheech Marin, Michael Wallis, George Carlin, Jenifer Lewis, Richard Kind, Michael Keaton, Katherine Helmond, and Pixar alums John Ratzenberger and Joe Ranft. Celebrity voice-cameos included Bob Costas, along with real-life race drivers Darrell Waltrip, Dale Earnhardt Jr., and Michael Schumacher. Randy Newman provided the score, while artists Sheryl Crow, Rascal Flatts, John Mayer, and Brad Paisley contributed to the soundtrack. 

 

On release, CARS debuted at no.1, beating out X-MEN: THE LAST STAND. For three years, it held the record for the highest opening weekend for any car-oriented film. It would finish as the sixth highest earner of the year. On the Awards circuit, it would win the Golden Globe for Best Animated Film, and an Oscar nomination for Best Animated. The film would spawn two feature-length sequels, a streaming series, merchandise, and attractions at Disney parks. 

 

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Ever since its first lap in theatres, CARS has been unfairly dented as a film with a recycled storyline, often compared to the Michael J. Fox vehicle DOC HOLLYWOOD from 1991. But old stories in new skins is how Hollywood, and most especially Disney, has stayed in business for 100 years…and a new skin is what CARS does so well. The design of the characters and surroundings is outstanding, the talking cars all have perfect personalities, and the voice-cast is perfect. Despite its age, the animation is still a jaw-dropper, and the opening sequence at a night-time race is still impressive. 

 

The story is familiar, but the fresh paint job makes it new. McQueen discovers the old lesson that what we want to make us happy isn’t always what we need for happiness. This is done with the vanishing America as a backdrop, giving the film an extra emotional gear. It’s a story about slowing down and finding meaning beyond winning, topped off with one of those beautiful, ironic endings where McQueen loses…but wins a lot more. After twenty laps around the sun, CARS does not lose any speed. 

 

“Ka-chow!” 

 

A Reel Review: PRESSURE

Over the years, we have seen countless films focusing on the most exciting professions: cops, doctors, lawyers, pilots…even chefs. But what about meteorologists? The seldom-appreciated, often-mocked job of predicting the weather doesn’t get much love on the big screen. But during a vital few days in 1944, one weather prediction had the pressure of the fate of the world resting on it. 

 

It is June 1944, days before the famed D-Day invasion. General Eisenhower (Brendan Fraser), assigns meteorologist  Captain James Stagg (Andrew Scott), the job of predicting the weather for the invasion…creating a decision to launch or delay. 

 

Directed by Anthony Maras and based on the 2014 stage play, PRESSURE follows the battle of weather-guys with the immense and important invasion waiting to go. Stagg relies on scientific data, while his counterpart, American forecaster Col. Krick (Chris Messina), relies on historical patterns. Stagg sees stormy weather and recommends a delay, while Krick predicts sunny weather and recommends the attack commence. The two battle while Eisenhower and his Allied leaders need to decide and decide soon. 

 

Director Anthony Maras does excellent work in ramping up the tension, and yes…the pressure hanging over the film. The stakes are enormous; the longer the invasion force waits, the higher the risk of the operation being discovered. But invade during a storm, and it could be disaster. It’s real-world high stakes with science saying how things are, versus wishful thinking, giving PRESSURE a modern-day relevancy. 

 

Acting is superb. Brendan Fraser is perfectly cast as Ike, and Andrew Scott plays the socially awkward but brilliant Stagg very well. Kerry Condon plays Ike’s assistant and lights up the screen, and Damian Lewis as Bernard Montgomery is a delight. 

 

PRESSURE is one of those war movies where most of the fighting happens between characters without a shot fired. The invasion eventually happens, and the short but effective sequence we see on the beach is powerful and will have audiences ducking for cover. Science is the real victor here, giving meteorologists the film they have been waiting for. 

 

BOTTOM LINE: See it 

 

A Reel Preview: The Year in Film 2026 - Episode VI

The 2026 Summer Movie Season comes in with a roar. This month we have the return of one of the greatest directors who ever lived, a 1980’s icon with another shot at the big screen, and another go-at-it for everyone’s favorite cowboy and astronaut best-friends. We also have re-releases for OCEAN’S 11 (25^th anniversary), and TRAINSPOTTING (30^th anniversary). Here now is a preview for everything coming to theaters in June: 

 

 

 

MASTERS OF THE UNIVERSE – 1980’s icon He-Man is given another try at the big-screen in this new, live-action adaptation directed by Travis Knight (BUMBLEBEE). The cast includes Nicholas Galitzine as He-Man, Jared Leto as Skeletor, Alison Brie as Evil-Lyn, and Idris Elba as Man-at-Arms. The rest of the cast includes Camila Mendes, James Purefoy, and Morena Baccarin. 

 

 

SCARY MOVIE – The sixth installment of the horror-parody franchise, which has a group of friends reuniting when the masked killer they fought 26 years ago returns. The cast includes Marlon and Shawn Wayans, Anna Feris, and Regina Hall. 

 

 

DISCLOSURE DAY – Famed director Steven Spielberg is back with this sci-fi film about the race to unveil a government cover-up of aliens. The cast includes Emily Blunt, Josh O’Connor, Colin Firth, and Colman Domingo. 

 

 

THE DEATH OF ROBIN HOOD – In this adaptation of the 17^th century ballad, an aged Robin Hood grapples with his life of crime and murder. Hugh Jackman plays Robin, and he is joined by Jodie Comer and Bill Skarsgard. 

 

 

TOY STORY 5 – Woody and Buzz are back again, this time helping their gang cope with a new toy: a talking tablet. The cast includes Tom Hanks, Tim Allen, Joan Cusack, Greta Lee, Annie Potts, and John Ratzenberger. 

 

 

JACKASS: BEST AND LAST – The fifth and final (ha), installment in the long-running reality series. Johnny Knoxville returns with Steve-O. 

 

 

SUPERGIRL – Milly Alcock (TV’S HOUSE OF THE DRAGON), dons the cape of Kara/Supergirl, cousin of Superman in this continuation of the new DC Universe, which sees Kara traveling the universe with her dog Krypto before running into tragedy. Jason Momoa co-stars.

 

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Next month, Reel Speak previews the month of July. 

 

A Reel Legend: Peter Cushing

A Reel Legend tells the stories of cinematic icons who are no longer with us. The actors, actresses, and directors who have shaped the silver screen as we know it today. 

 

This month’s Reel Legend is Peter Cushing. 

 

Born in Surrey, England, in 1913, Peter Cushing initially pursued acting through theater before moving into film and television. During the early years of his career, he worked in Hollywood for a brief period, with his film debut coming in 1939 in an adaptation of THE MAN IN THE IRON MASK. His breakthrough arrived in Britain during the 1950’s, with his portrayal of Winston Smith in the BBC television adaptation of George Orwell’s famed novel 1984. 

 

Later, it was his collaboration with Hammer Film Productions that transformed him into an international star. Cushing became closely associated with their Gothic horror films, often acting alongside Christopher Lee. Their on-screen partnership became one of the most celebrated in horror history. Cushing portrayed Baron Victor Frankenstein in several FRANKENSTEIN films, presenting the character not simply as a mad scientist but as a determined and morally complex figure. He also played the famous detective Sherlock Holmes and appeared as Doctor Van Helsing in Hammer’s DRACULA series, giving the vampire hunter intelligence, courage, and humanity. 

 

Beyond horror, Cushing successfully moved into science fiction and mainstream cinema. One of his most recognizable later roles came in STAR WARS in 1977, where he played Grand Moff Tarkin. Although his screen time was relatively brief, the character would become a towering icon in a cinematic galaxy full of towering villains. 

 

His later roles included the horror-parody THE HOUSE OF THE LONG SHADOWS (1983), with Lee and Vincent Price, THE MASKS OF DEATH (1984), where he played Holmes for the final time, the comedy TOP SECRET! (1984), SWORD OF THE VALIANT (1984), and the adventure film BIGGLES: ADVENTURE IN TIME (1986). His likeness was re-created digitally for STAR WARS: ROGUE ONE (2016). 

 

In total he appeared in over 100 films. He died in 1994 at the age of 81. 

 

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When STAR WARS exploded onto the big screen in 1977, it took just minutes for Darth Vader to establish himself as the baddest villain in the galaxy. Whoever Vader had to answer to would have to carry some kind of weight, and Cushing delivered. As the only man on board the Death Star who could order Vader to release a chokehold, Cushing gave Tarkin a commanding menace that would set the tone for the evil Galactic Empire. Together with his fellow British actor Alec Guinness, he would bring a legitimacy to this brand-new galaxy of rebels and imperials. 

 

And just as he did with STAR WARS, Cushing brought a legitimacy to the horror genre. He treated the genre of fangs and blood with seriousness and professionalism, setting a standard that future horror actors would forever be hunting. Many later actors admired his disciplined approach and his ability to bring emotional authenticity to fantastical stories. Modern filmmakers, horror fans, and performers continue to recognize him as a major influence. Peter Cushing remains a symbol of classic British cinema, remembered not only for the characters he played but also for the dignity and craftsmanship he brought to the art of acting…as all Legends should .