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 . 

A Reel Review: THE MANDALORIAN AND GROGU

Nearly 50 years ago, STAR WARS exploded onto the big screen and changed the world forever. Since then, there have been ten live-action feature films (and one animated), building a galactic franchise despite many gaps in-between Sagas and stand-alone films. Here in 2026, for the first time in seven years, STAR WARS is back to the big screen, using perhaps its greatest asset: THE MANDALORIAN AND GROGU. 

 

Set some years after the fall of the evil Galactic Empire, the Mandalorian (Pedro Pascal), and his Force-wielding, judge-me-not-by-my-size foundling Grogu (played by himself), are working for the New Republic in bringing former Imperials to justice. Mando and Grogu are tasked with hunting down an important target, which leads them to a messy confrontation with the crime-lord Hutts. 

 

Directed by Jon Favreau, MANDO is a fetch-quest film. Capturing the Imperial asset (warm or cold), leads Mando and Grogu to the rescue of Rotta the Hutt (son of Jabba), in order to secure the information from Jabba’s other mafia-like leading siblings. One scrape leads to another, and the limits of Mando and Grogu’s abilities and powers are put to the test. 

 

MANDO is a high-energy film, racing from one location to the next, staging one battle after another, at light-speed pacing. Staying full-throttle is the beating heart of the film, and it is very much reminiscent of the early days of STAR WARS, when providing thrills took precedence over building a franchise. There’s little time for character development, nor does the film care. 

 

Jon Favreau, who learned how to direct effects-driven action sequences from his time in the Marvel universe, delivers some stunning set-pieces that bring the tension and the fun. And when the film does slow down for necessary pauses, the quiet moments are very well done. The entire cast is excellent, the references to the bigger STAR WARS universe are well-placed, and Ludwig Goransson’s score is outstanding. 

 

When STAR WARS first arrived, it was very much a stand-alone story with only hints of a larger world and what could come next. THE MANDALORIAN AND GROGU is done very much in that style: it does not spend time building what comes next, nor does it rely on what came before it. It is self-contained, breezy, and fun…and is everything STAR WARS promised in 1977. 

 

BOTTOM LINE: See it 

A Reel 40: TOP GUN

“I feel the need, the need…for speed!”

This month marks the 40^th anniversary of TOP GUN. 

 

Directed by Tony Scott (brother of Ridley), TOP GUN followed hot shot Navy fighter pilot Lt. Mitchell, codenamed Maverick, who is given the chance to train at the Navy’s Fighter Weapons School. 

 

The film was inspired by an article in California magazine. Famed action-film producer Jerry Bruckheimer became interested and hired screenwriters Jim Cash and Jack Epps, Jr. to write the script. Tony Scott was hired to direct on the strength of his work on a commercial, which featured a Saab 900 turbo racing a fighter jet. 

 

Tom Cruise was offered the role but was reluctant. Cruise, who was filming LEGEND at the time for Tony’s brother Ridley, was convinced by Ridley to take the role. The rest of the cast was filled out by Val Kilmer, Kelly McGillis, Anthony Edwards, Tom Skerritt, Michael Ironside, James Tolkan, Meg Ryan, and Tim Robbins. 

 

With script approval from the U.S. Navy, filming began in California in 1985, and later to Miramar. The Navy made aircraft and crew available for filming. Kenny Loggins performed two songs for the soundtrack, including Danger Zone. Berlin added Take My Breath Away. 

 

On release, TOP GUN earned mixed reviews but was a box office smash, finishing as the top earning film of the year worldwide. It would be nominated for four Oscars, with Take My Breath Away winning for Best Original Song. In 2015, TOP GUN would be selected for preservation in the National Film Registry. In 2022, the sequel, sub-titled MAVERICK, opened to widespread critical acclaim. 

 

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With thrilling aerial stunts, a memorable soundtrack, and charismatic performances from the cast creating fun, and memorable characters…TOP GUN captured our hearts and our adrenaline from day one. The film inspired a generation of new fighter pilots, influenced even more filmmakers, and made Tom Cruise the world’s biggest star; a title that he would never have to give up. 

 

Today, TOP GUN can be looked at as a big chunk of 1980’s cheese, especially when compared to its towering (and superior), 2022 sequel. But decades after its release, its themes of ambition, friendship, and balls-out heroism really hits hard. TOP GUN flies as a cultural landmark. 

 

“Let’s turn and burn!”

 

 

 

 

 

A Reel Opinion: The Last Year

It will be a day long remembered. 

 

STAR WARS Month has arrived again. The month of May has long been held as the time to celebrate that far, far away galaxy that has captivated fans for decades. It is a time to revisit the films, streaming series, novels, and soundtracks that have long held inspiration, fun, and dreams of dusting across the stars. This year is a unique year, as it is the last year to celebrate STAR WARS before it turns 50 years old. That’s right, STAR WARS will be a half-century old next year. 

 

There is a certain point of view to look at before STAR WARS becomes a really old movie. When the first generation of fans saw the film in the Spring or Summer of 1977, a movie that was 50 years old was considered to be ancient. And that was no hyperbole. 

 

Fifty years before STAR WARS puts us into 1927, which was in the silent era. In this year, The Academy of Motion Picture Arts and Sciences (the Oscars), were founded, Oswald the Lucky Rabbit had his debut, and THE JAZZ SINGER, starring Al Jolsen, became the first box office hit with sound…a hit that would change things forever. And to top it off, the science fiction epic METROPOLIS premièred; a film that would hold inspiration over STAR WARS. 

 

It is ironic, or perhaps the will of the Force, that 1927 would be a milestone year in the film industry, because when STAR WARS arrived 50 years later, things would change forever again. Where 1927 introduced sound and the Oscars, the galaxy full of stories concerning Jedi, droids, smugglers, rebels, and a Galactic Empire would alter not just film but our culture. In one year, we will be celebrating just that. We will be celebrating what STAR WARS has done to the world and to our lives. It will be a day long remembered. 

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

The wretched Spring weather may still be hanging around, but May is the official start of the Summer Movie Season; a time to start having fun again. This month sees re-releases for SHREK (25 years), and TOP GUN (40 years)…with the latter being paired in a double-feature with TOP GUN: MAVERICK. This month also sees the return to the big screen for the biggest franchise in motion picture history. This is where the fun begins…

 

ANIMAL FARM – Andy Serkis (THE LORD OF THE RINGS), directs this new animated adaptation of the classic George Orwell novella. The voice cast includes Seth Rogan, Kieran Culkin, Glenn Close, Steve Buscemi, Woody Harrelson, and Kathleen Turner. 

 

DEEP WATER – In this survival film, an international flight crash-lands in shark-infested waters. Aaron Eckhart and Ben Kingsley star. It is directed by Renny Harlin (DIE HARD 2, CLIFFHANGER). 

 

THE DEVIL WEARS PRADA 2 – Meryl Streep, Anne Hathaway, Emily Blunt, and Stanley Tucci reprise their roles in this sequel to the 2006 smash-hit. David Frankel also returns to direct. 

 

HOKUM – Adam Scott stars in this horror flick about an author who travels to Ireland to spread his parents’ ashes, and finds his rented house to be haunted. 

 

MORTAL KOMBAT II – Karl Urban (STAR TREK, THE LORD OF THE RINGS), plays Johnny Cage in this sequel to the 2021 flop, based on the popular fighting video game. 

 

THE SHEEP DETECTIVES – Hugh Jackman starts in this mystery-comedy where a flock of sheep set out to discover who murdered their favorite shepherd. 

 

IN THE GREY – Stylistic action director Guy Ritchie (THE MAN FROM U.N.C.L.E.), helms this thriller where an elite team of agents are tasked with reclaiming a stolen fortune. The cast includes Henry Cavill, Jake Gyllenhaal, and Rosamund Pike. 

 

 

STAR WARS: THE MANDALORIAN AND GROGU – The famed far, far away galaxy returns to the big screen for the first time since 2019. Jon Favreau (IRON MAN) directs, and the cast includes Pedro Pascal, Jeremy Allen White, and Sigourney Weaver. 

 

 

PRESSURE – Brendan Fraser (THE MUMMY, THE WHALE), plays General Eisenhower in this drama leading up to the D-Day invasion. He is joined by Kerry Condon, Damian Lewis, and Andrew Scott. 

 

 

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Next month, Reel Speak previews the month of June. 

A Reel Legend: John Cazale

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 John Cazale. 

 

Born in Massachusetts in 1935, John Holland Cazale started as a theater actor in Boston, ranging from local, to off-Broadway, to Broadway…acting alongside Al Pacino, Meryl Streep, and Sam Waterston. In 1968, he had his only television role, appearing in an episode of N.Y.P.D. 

 

In 1972 he would land the role of a lifetime, when Francis Ford Coppola cast him as the gentle, yet weak Fredo Corleone in THE GODFATHER. His role was expanded in THE GODFATHER PART II in 1974. Both films would win Best Picture and are regarded as two of the greatest ever made. Also in 1974, Coppola would cast him in his acclaimed mystery thriller THE CONVERSATION, alongside the late Gene Hackman. And in 1975, he would appear in the heralded crime drama DOG DAY AFTERNOON with Al Pacino. 

 

He returned to the theatre in 1975, and in 1977 was diagnosed with terminal lung cancer. Despite the diagnosis, he continued to work and would appear in the towering Vietnam drama, THE DEER HUNTER; joining a stacked cast that included Robert DeNiro, Christopher Walken, Meryl Streep, and John Savage. THE DEER HUNTER would win Best Picture in 1978. 

 

Cazale would pass away in March of 1978. His filmography would finish with five feature films, three of which were Best Picture winners. 

 

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The greatness of John Cazale came from his bravery. This was an era that produced tough-guy characters such as Dirty Harry, Rocky Balboa, and Han Solo. Cazale went the opposite way and played guys who were weak, fragile, and confused. His role as Fredo broke hearts in the 70’s and still does today. He opened the door for actors to play men who were vulnerable. 

 

He did five films. Five perfect films. That is the outstanding legacy of John Cazale. Today, there is a lot of talk and debate over actors and directors who have a perfect track record. There are not many who can make that claim; even Spielberg and Daniel Day-Lewis have made a few clunkers. Cazale, even though he has a small sample size, had the talent to land in five films that defined an era…and all five are regarded as some of the best ever. It is a tragedy that he didn’t have the chance to do more, but his small filmography is one of the biggest. 

 

A Reel 50: ALL THE PRESIDENT'S MEN

“Follow the money…”

 

This month marks the 50^th anniversary of ALL THE PRESIDENT’S MEN. 

 

Directed by Alan J. Pakula, and based on the book of the same name by Bob Woodward and Carl Bernstein, ALL THE PRESIDENT’S MEN was a biographical political thriller about the famed Watergate scandal that ended the presidency of Richard Nixon. 

 

The scandal was brought to light by the reporting of Woodward and Bernstein during their tenure at The Washington Post, and in 1974, the same year their book was published, producer and actor Robert Redford would purchase the rights. Redford would bring on screenwriter William Goldman, who had just won an Oscar with Redford on BUTCH CASSIDY AND THE SUNDANCE KID. Redford would settle into the role of Bob Woodward, while Dustin Hoffman would play Carl Bernstein. The rest of the cast would include Jason Robards, Hal Holbrook, Ned Beatty, Stephen Collins, Martin Balsam, Meredith Baxter, Jack Warden, Polly Holiday, and F. Murray Abraham. Redford and Hoffman visited The Washington Post to research their roles, but the paper refused filming to take place inside of their newsroom. The production team built an exact replica of the newsroom. The set was built in Hollywood, while Redford and Hoffman filmed exterior scenes around Washington, D.C. 

 

Upon release, ALL THE PRESIDENT’S MEN received universal acclaim. It would finish as the fifth-highest grossing film of the year. At the 48^th Academy Awards, it would be nominated for eight Oscars, including Best Picture. It would win four; Best Supporting Actor for Robards, along with Best Screenplay (adapted), Art Direction, and Sound. In 2010, it was selected for preservation in the National Film Registry.

 

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Every now and then, there comes a film that inspires a generation or two to aspire to do more. JAWS and STAR WARS inspired more than one generation of filmmakers. TOP GUN inspired legions of fighter jet pilots. And ALL THE PRESIDENT’S MEN is credited with causing a surge in journalism schools. It’s subtle, slow-burning style showed how facts are put together piece-by-piece, and shaped public perception of journalists as not only watchdogs but truth-tellers. 

 

ALL THE PRESIDENT’S MEN was a story about good journalism, and its influence would be seen in the Oscar-winning SPOTLIGHT in 2015. The film highlights persistence of reporters, source protection, and the importance of free press in a democracy. Fifty years on, it is a strong reminder that truth can challenge power…and change it. 

 

“If you’re gonna do it, do it right. If you’re gonna hype it, hype it with the facts.”

 

 

A Reel 75: THE THING FROM ANOTHER WORLD

“No pleasure, no pain, no emotion, no heart. Our superior in every way.”

This month marks the 75^th anniversary of THE THING FROM ANOTHER WORLD. 

 

Directed by Christian Nyby, produced by Howard Hawks, and based on the 1938 novella Who Goes There? by John W. Campbell, THING told the tale of a U.S. Air Force crew who discovers a flying saucer in the Arctic ice and a lone, frozen occupant…which eventually thaws and terrorizes the residents of a scientific research station. 

 

Considered to be one of the best sci-fi films of the 1950’s, THING was adapted from the novella by Charles Lederer, with rewrites from Howard Hawks. The film was partly shot in Glacier National Park in Montana, with interior sets built in a Los Angeles ice storage plant. Leading the Air Force crew was veteran actor Kenneth Tobey, and he was joined by Margaret Sheridan, Robert Cornthwaite, Douglas Spencer, James Young, Dewey Martin, and Robert Nichols. Appearing in a small role as a scientist was George Fenneman, who was Groucho Marx’s announcer on the popular quiz show You Bet Your Life. James Arness would play THE THING.

 

On release, THING was a solid earner, out-gaining fellow sci-fi classic THE DAY EARTH STOOD STILL. In 2001, the film was selected for preservation in the United States Film Registry.  In 1982, James Carpenter would direct a remake which became another classic. 

 

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This Blogger’s introduction to THE THING came by way of the old WPIX Sunday Afternoon Matinee movie, where it was run with other classics such as KING KONG and THE ADVENTURES OF ROBIN HOOD. It was a clever, scary, and exciting creature-feature that went up against the good ol’ boys of the American military. It clicked well back then, and it does now. 

 

Beyond the creature-feature, THE THING was very much a product of its time. As with most good sci-fi, the film was a reflection of the times. This was a post-WWII world where everyone had seen the horrors of an atomic bomb, and scientists were held responsible for creating such an abomination. This is a heavy theme in THE THING, as the Air Force crew are often at odds with the scientists. Still, the film shows a connection between the two; the lead scientist and the Air Force General both quip lines such as “close the door”, showing their secretive ways which have deadly consequences. 

 

After 75 years, THE THING still holds influence over cinema. It’s isolated setting and closed-quarters paranoia has inspired other landmark films such as ALIEN (1979), ALIENS (1986), and HALLOWEEN (1978), and James Arness’ hulking figure is impressive. The simple premise and execution really works, and Howard Hawks’ fondness for American bravery and ingenuity give the film a beating heart. And for 1951, the film is progressive; Margaret Sheridan’s character is the one who comes up with the final solution to defeat THE THING. Today, many fans flock towards the 1982 remake, but this Blogger will always fly to the original. 

 

“Watch the skies!” 

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

The first full month of wretched Spring is here, bringing a fairly packed slate of films, ranging from horror to animation to a long-awaited return of the King of Pop. Re-releases this month include JERRY MAGUIRE (30^th anniversary), and SPEED RACER…ahead of its forthcoming 4K release. Here are the notables coming to the big screen this month: 

 

 

THE SUPER MARIO GALAXY MOVIE – The sequel to the 2023 MARIO BROS. film, based on the 2007 video game which sees Mario and Luigi and their friends blast off into outer space. The returning cast includes Chris Pratt, Anya Taylor-Joy, Charlie Day, and Jack Black. 

 

 

THE DRAMA – Zendaya and Robert Pattinson star in this rom-com which sees a couple’s relationship shaken days before their wedding. 

 

 

YOU, ME & TUSCANY – Halle Berry (THE LITTLE MERMAID), stars in this rom-com, playing a young cook squatting in an abandoned Tuscan villa. Nia Vardalos co-stars. 

 

 

MOTHER MARY – In this psychological drama thriller, Anne Hathaway plays a pop singer mixed up in an affair with a fashion designer. It is directed by David Lowery (THE GREEN KNIGHT, AIN’T THEM BODIES SAINTS, GHOST STORY). 

 

 

LEE CRONIN’S THE MUMMY – Horror director Lee Cronin (EVIL DEAD RISE), helms this re-imaging of THE MUMMY franchise, where a young girl disappears in the desert and comes back wrong. 

 

 

DESERT WARRIOR – Rupert Wyatt (RISE OF THE PLANET OF THE APES), directs this historical action film where an Arabian princess joins forces with a bandit to confront a ruthless emperor. The cast includes Anthony Mackie, Aiysha Hart, Sharlto Copley, and Ben Kingsley. 

 

 

MICHAEL – The life of Michael Jackson comes to the big screen in this biopic, with Jackson’s nephew Jaafar Jackson playing the lead role. The cast includes Colman Domingo and Miles Teller. It is directed by Antoine Fuqua (THE EQUALIZER trilogy). 

 

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Next month, Reel Speak previews the month of May. 

 

 

 

 

 

 

 

A Reel Legend: Olivia de Havilland

A Reel Legend will tell 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 Olivia de Havilland. 

 

One of the most accomplished and influential actresses of the Golden Age, Oliva de Havilland was born in Tokyo to British parents, and raised in California alongside her sister, actress Joan Fontaine. She had her big-screen debut in 1935 in A MIDSUMMER NIGHT’S DREAM, where she took it upon herself to learn the art of framing and lighting to assist in improving her look on the screen. 

 

She would gain worldwide attention by working with swashbuckling actor Erroll Flynn, first in the 1935 adventure CAPTAIN BLOOD, and most famously, THE ADVENTURES OF ROBIN HOOD in 1938, where she played Marian. The success of ROBIN HOOD and the popularity of the on-screen couple would lead to seven additional films with Flynn. 

 

Her career reached even further heights when in she took on the role of Melanie Hamilton in GONE WITH THE WIND (1939), which earned her an Academy Award nomination. She sought more complex roles in the 1940’s, winning two Oscars for Best Actress for TO EACH HIS OWN (1946), and THE HEIRESS (1949). In addition to her film career, she would spend time on Broadway and on television…winning a Golden Globe and an Emmy nomination. 

 

Beyond her acting achievements, she made a lasting impact on the film industry through a landmark legal battle against Warner Bros. In 1943, she successfully challenged the studio’s contract system, leading to the “De Havilland Law,” which limited the length of studio contracts and gave actors greater professional freedom. The victory transformed Hollywood’s power structure and influenced generations of performers.

 

She would later receive numerous honors, including the appointment to Dame Commander of the Order of the British Empire…at the age of 101. Before her death in 2020 at the age of 104, she was the oldest living and earliest surviving Academy Award winner and was considered to be the last surviving star of the Golden Age. She and her sister Joan Fontaine remain the only siblings to have won major acting Academy Awards. 

 

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This Blogger’s introduction to Olivia de Havilland came in the late 1970’s, watching the magnificent THE ADVENTURES OF ROBIN HOOD with dad on the WPIX Sunday afternoon matinee. As a STAR WARS kid, the similarities between Olivia’s Marian and Princess Leia were clear; she was brave, bold, beautiful, and could go toe-to-toe against the swashbucklers and the bad guys. This Blogger has always said that the 1938 ROBIN HOOD is ground-zero for STAR WARS, Marvel, and modern action films…and Olivia was a big part of that. 

 

Off the screen, her bold character showed up in real-life, taking on the mighty studio system in a legal battle that would benefit actors and actresses into today. It was a brave step for a woman to take in 1943, and it was her courage that reshaped Hollywood power and paved the way for creative freedom. That is what makes a Legend. 

 

A Reel 20: V FOR VENDETTA

“Remember, remember the fifth of November…”

This month marks the 20^th anniversary of V FOR VENDETTA. 

 

Directed by James McTeigue and produced and written by the Wachowski’s, V FOR VENDETTA was an adaptation of the popular graphic novel by Alan Moore, David Lloyd, and Tony Weare. Set in a future where a fascist totalitarian regime has taken over the UK, the film follows V, a masked vigilante in a Guy Fawkes mask who attempts to ignite a revolution, and Evey, a young woman who gets tangled up in V’s plot. 

 

V FOR VENDETTA was made by many of the same filmmakers who were involved in THE MATRIX films. The rights to the graphic novel were picked up by producer Joel Silver in 1988, and the Wachowski’s worked on the script during production even before starting on the first of THE MATRIX films. James McTeigue, who had worked as an assistant director to THE MATRIX, along with STAR WARS: EPISODE II, was brought on to direct. 

 

The role of V was originally to be played by James Purefoy, but he dropped out after six weeks of filming. He was replaced by Hugo Weaving. The role of Evey was taken by Natalie Portman, and the role of the High Chancellor went to the late great John Hurt. The rest of the cast included Stephen Rae, Stephen Fry, Tim Pigott-Smith, Rupert Graves, and Roger Allam, and Eddie Marsan. 

 

The film was originally set for a November 2005 release, but was pushed to the following March to allow more time for post-production. On release, it was number one on its opening weekend. Despite good-to-great-to-mixed reviews (73% on the Tomato Meter), the film would be a hit with audiences and did well with merchandise. Natalie Portman would win Best Actress at the Hugo Awards. 

 

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There are three types of 20-year-old films. There are the ones that don’t age well, the ones that do age well, and the ones that are scary to watch because of how spot-on they are with their vision of the future. The last one, is where V FOR VENDETTA lands. Like the graphic novel, the film sits in a time where a fascist regime has taken over media, persecuted those who are different, and the State taking away basic freedoms. Fear is used to rule and earn power for the powerful, while the common people suffer and are diminished. It’s a fictional plot that now hits hard, 

 

As a film, V FOR VENDETTA also hits hard. By taking inspiration from classic stories such as 1984, The Count of Monte Cristo, and The Phantom of the Opera, the film has a familiar, yet fresh feel to it. It looks amazing, the cast is excellent, and the action scenes tremendous. Over time, the mask of V has become a symbol of revolution; not just for the sake of rebellion, but for standing up for those who are diminished. And those who are being diminished will find freedom in that. 

 

“People shouldn’t be afraid of their governments. Governments should be afraid of their people.”