Tim Curry 1946-2026

Actor Tim Curry has passed away at 80. 

Born in Cheshire, England in 1946, Timothy James Curry started his career on-stage, beginning with the West End production of the musical HAIR.  During that production he met actor and writer Richard O’Brien, who went on to write Curry’s role of Dr. Frank-n-Furter in the stage production of THE ROCKY HORROR SHOW (1973). The film adaptation would follow in 1975, which made Curry a household name and gave him a cult following. 

His film career would then be packed with memorable characters. He played Rooster Hannigan in the 1982 film version of ANNIE, the evil Darkness in Ridley Scott’s fantasy LEGEND (1985), and in that same year, one of his most famous roles: the butler Wadsworth in the comedy-mystery CLUE. 

As an established actor he would have memorable roles in THE HUNT FOR RED OCTOBER (1990), OSCAR (1991), HOME ALONE 2 (1992), LOADED WEAPON 1 (1993), THE THREE MUSKETEERS (1993), THE SHADOW (1994), CONGO (1995), MUPPET TREASURE ISLAND (1996), CHARLIE’S ANGELS (2000), and KINSEY (2004). On television he would terrorize audiences as Pennywise in the adaptation of Stephen King’s IT (1990). He would provide the voice for Chancellor Palpatine in STAR WARS: THE CLONE WARS (2012-2014). 

His career would gain nominations for Tony Awards, Emmys, and the Laurence Olivier Award. 

*

What does a killer clown, a scheming butler, a transvestite alien scientist, and a Russian submarine medical officer have in common? They were all brought to life on the big screen by Tim Curry. His legacy will be defined by extraordinary versatility, charisma, and an unmistakable presence. He could command comedy, horror, and drama with ease and brilliance, and every role unforgettable. 

For this Blogger, there will always be a laugh watching him in CLUE turn the shower on himself while looking for a doorknob to open, and sympathy for his RED OCTOBER doctor who had no idea of the storm he was in. Everything he did made an impression that lasts. 

A Reel Legend: Ray Harryhausen

This month’s Reel Legend is Ray Harryhausen. 

 

Perhaps the most influential and famous animator and special effects creator, Raymond Frederick Harryhausen was born in Los Angeles in 1920. He became fascinated with animation and filmmaking at an early age, inspired by the groundbreaking visual effects in KING KONG (1933), and THE LOST WORLD (1925). After studying art, anatomy, graphic arts and sculpture, he landed his first model-animation job, on a series of animated puppet films called PUPETOONS. 

 

After serving in WWII, he was hired as an assistant animator in his first major film, MIGHTY JOE YOUNG (1949). His first film where he was in complete charge of special effects was the monster horror film THE BEAST FROM 20,000 FATHOMS (1953), which would be a box office hit. It was here where Harryhausen first used a technique he created called "Dynamation" which split the background and foreground of pre-shot live action footage into two separate images into which he would stop-motion a model or models, seemingly integrating the live-action with the models. 

 

He would establish himself further by his most famous films, JASON AND THE ARGONAUTS (1963), and THE GOLDEN VOYAGE OF SINBAD (1974), where he wowed and dazzled audiences with dinosaurs, skeletons, dragons, and creatures from mythology. His famous battle with sword-fighting skeletons remains a landmark in stop-motion, live-action filmmaking. 

 

His further films would include FIRST MEN IN THE MOON (1964), ONE MILLION YEARS B.C. (1966), SINBAD AND THE EYE OF THE TIGER (1977), and CLASH OF THE TITANS (1981). His accolades include the honorary Gordon E. Sawyer Academy Award, an honorary BAFTA, and the Lifetime Achievement Award from the Visual Effects Society. He passed away in 2013 at the age of 92. 

 

*

 

This Blogger has fond memories of watching the SINBAD films on the Sunday Afternoon Matinee on WPIX with dad; being amazed at the creatures brought to life, and not even wondering how it was done because it was accepted as real. Today, there is a lot of talk around visual effects, specifically the issue of using practical effects or digital (CGI). This talk is more up front than ever this year, with THE ODYSSEY using some impressive practical techniques to amaze audiences and bring in the bucks. Whatever side anyone falls on, the debate would not be there without the work of Ray Harryhausen. His genius went beyond technical skill. His creatures had personality, emotion, and life-like movement that made audiences believe they existed in the live-action world. His films from 60 years ago can still dazzle, and without him, modern practical or CGI would not have a hill to fight over. 

 

His legacy is as enormous as the creatures and monsters he gave life to. He inspired generations of filmmakers and special effects artists, including Steven Spielberg, George Lucas, James Cameron, Guillermo del Toro, and Peter Jackson. He made the impossible feel real, and his monsters continue to live on in the movies they inspired. When Pixar’s MONSTER’S INC. (2001) named a five-star restaurant after him, it was a fitting tribute to a legendary, five-star monster-maker.

 

A Reel 25: THE OTHERS

“I am your daughter…”

This month marks the 25^th anniversary of THE OTHERS. 

 

THE OTHERS was a psychological and gothic horror film set in WWII 1945, where a woman and her two photosensitive children (cannot be exposed to light of any kind), begin to experience apparent supernatural happenings in their home after the arrival of new servants. 

 

The film was directed by acclaimed Chilean-Spanish director Alejandro Amenabar, who wrote the film, and composed the score. The cast was led by Nicole Kidman, and she was joined by Christopher Eccleston, Alakina Mann, James Bentley, Eric Sykes, Elaine Cassidy, and Keith Allen. Filming locations included Madrid and the Palacio de los Hornillos mansion in Spain. 

 

On release, THE OTHERS received excellent reviews and was a box office hit. At the Goya Awards (the Spanish equivalent of the Oscars, honoring Spanish films), it would clean house; winning Best Film and Director. Elsewhere, Kidman would be nominated for a BAFTA and a Golden Globe. 

 

*

 

With a foreboding atmosphere, creepy lighting (sometimes only by candlelight), a career-best performance from Kidman, and a twist ending that makes us want to re-watch the film right away to spot the clues…THE OTHERS is one of the best horror films of this millennium. Amenabar creates a world of unsettling silence and isolation that creeps us out as much as it does fascinate. As a haunted house story, its clever ending (and premise), turns the old ghost stories on their heads, giving reasons for the haunting such as love and longing. A masterclass in horror, acting, and filmmaking. 

 

“This house is ours…”

A Reel Opinion: The Scholar vs. The Filmmaker

Christopher Nolan’s adaptation of THE ODYSSEY, the famed epic poem by Homer, has been the talk of the town. It has earned big box office, critical acclaim, and awards season favor. It has been praised, criticized, over-praised, and over-criticized by critics, scholars, keyboard warriors, and students of Homer’s works. 

 

One notable critic of Nolan’s film is Emily Wilson, whose 2017 translation was cited by Nolan as an inspiration for his film. Wilson, who is a professor of classical studies at the University of Pennsylvania in Philadelphia, recently reviewed the film and was not kind (you can read her comments HERE). While everyone has an entitled opinion, Wilson’s status as an expert in the field of Homer and her own work puts her in a unique position to fire arrows, but just like the Trojans at Troy, she overlooks her opposition. 

 

Let this Blogger preface the next paragraph by praising Wilson’s translation. It is an outstanding read, educational, easy to understand and follow, and the fact that it is done in an iambic parameter style is most-impressive. Wilson is an expert in her field, probably unmatched…but she did an adaptation of the work just like Nolan did. Wilson, as she writes in her introduction, made decisions in her translation for a better reading experience. She editorialized, edited, moved words around; just like a filmmaker does when they write their script, shoot their actors, and edit their films. Wilson and Nolan are in the same horse, both making adaptations of a work they admire. Her comments, while possibly valid, come off as a stance of “my adaptation is better than your adaptation”. Not to mention she’s biting the hand that feeds; copies of her book are reportedly flying off the shelves since the release of THE ODYSSEY. 

 

Emily Wilson knows a lot about Homer and The Odyssey. Probably more than anyone alive. But she seems to know little about filmmaking. Filmmakers make decisions for a great cinematic experience, just like a writer may do for a great book. This Blogger is in awe of Wilson’s work, and in Nolan’s. If there is ever a time where the two of them want to meet with swords drawn to settle their differences, I will gladly host in my back yard. Or maybe they are destined to sail their own ways. 

*

Read Reel Speak’s review of THE ODYSSEY HERE

Read Reel Speak’s take on the importance of reading the book after the movie HERE

 

 

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

July is over, and it was one of the biggest blockbuster months in history, with THE ODYSSEY and SPIDER-MAN: BRAND NEW DAY making major bank. Both films will probably continue to earn strongly through August, as this month is low on expected high-earners, but it does have a strong roster of films. Also in August we have re-releases for WET HOT AMERICAN SUMMER (25^th anniversary), TRAIN TO BUSAN (10^thanniversary), LA LA LAND (10^th anniversary), THE FAST AND THE FURIOUS (25^th anniversary), and TERMINATOR 2: JUDGMENT DAY (35^th anniversary). Here now are the notable releases on the big screen for the final month of the Summer Movie Season, 2026: 

 

 

ICE CREAM MAN – Horror director Eli Roth (HOSTEL, CABIN FEVER), directs this slasher film where a mysterious ice cream man serves cold treats that turn kids into homicidal maniacs. 

 

 

ONE NIGHT ONLY – In this romantic comedy, the government passes a mandate stating sex can only be shared between married couples with the exception of one night a year, when it becomes a free-for-all. 

 

 

SUPER TROOPERS 3 – The famed Broken Lizard comedy team re-assembles for this sequel to SUPER TROOPERS 2 from 2018. This time the Troopers work to break up a drug ring and save the wedding of one of their own. 

 

 

THE BRINK OF WAR – Jeff Daniels plays Ronald Reagan, and Jared Harris plays Mikhail Gorbachev in this drama about the infamous Reykjavik Summit of 1986. J.K. Simmons co-stars. 

 

 

THE END OF OAK STREET – Strange happenings, including dinosaurs, descend upon a quiet neighborhood. Anne Hathaway and Ewan McGregor star.  

 

 

INSIDIOUS: OUT OF THE FURTHER – In this sixth installment of the INSIDIOUS horror franchise, a young woman who can communicate with spirits is suddenly haunted by evil forces. 

 

 

MUTINY – Jason Statham stars in this shoot-em-up aboard a cargo ship. Annabelle Wallis co-stars. 

 

 

COYOTE VS. ACME – In this live-action/animated hybrid that was controversially scrapped in 2023 and now brought back to life, Wile E. Coyote takes the Acme Corporation to court for selling him faulty products. 

 

 

THE DOG STARS – Famed director Sir Ridley Scott returns with this sci-fi film, set in the days after a deadly flu pandemic has wiped out most of humanity. The cast includes Jacob Elordi, Josh Brolin, Margaret Qualley, Allison Janney, Guy Pearce, and Benedict Wong. 

 

*

 

Next month, Reel Speak previews September.

 

 

A Reel Review: SPIDER-MAN - BRAND NEW DAY

For nearly 20 years (!), the Marvel Cinematic Universe (MCU), has been an avalanche of comic-book superhero amazement. As good as it’s been, their version of Spider-Man, perhaps due to the complicated (and annoying), partnership with Sony Pictures (who holds the rights to the character), the solo outings for our favorite web-slinger have felt a little constrained. The third and most recent film NO WAY HOME (2021), finally let loose and changed things for Spidey…and that momentum continues with BRAND NEW DAY. 

 

Set some years after the events of NO WAY HOME, Peter Parker (Tom Holland), is living in a world where no one remembers who he is, including his girlfriend M.J. (Zendaya), and best friend Ned (Jacob Batalon). The stress effects Peter’s powers, just as a mysterious new threat rises. 

 

To say more of the plot would be a crime, as BRAND NEW DAY is packed with surprises, including an adversary that will be welcomed with cheers. Despite the many happenings around Spidey, BRAND NEW DAY brings things back to street-level crime. This time there are no aliens, no universe-breaking events…just Peter trying to keep it together. This is a Peter who has lost everything in his life that was vital to him; aunt, girlfriend, best friend, mentor…and he is stuck going at things alone. It’s new territory for Spidey as the film focuses on the character’s mental state. 

 

But BRAND NEW DAY does not stop there. Director Destin Daniel Cretton (who directed Marvel’s SHANG-CHI), gets the full MCU backing as Spidey deals with Bruce Banner/Hulk (Mark Ruffalo), The Punisher (Jon Bernthal), Yelena (Florence Pugh), and Scorpion (Michael Mando). When these characters come into play, Spidey has a lot to fight and align with. It’s big-time Marvel fun. The action scenes are tremendous and jaw-dropping. 

 

Tom Holland has a solid hold on his character, and sells the torment that Peter is going through. His chemistry with Zendaya is still excellent. Jon Bernthal as The Punisher is a blast. The rest of the cast is perfect. 

 

BRAND NEW DAY is a thrill ride from the first frame to the last, while taking time to make us truly care about these characters…even the mysterious adversary. And in true MCU fashion, the seeds planted here give us a lot to be excited for. Spidey may be warming up for the next 20 years. 

 

BOTTOM LINE: See it  

A Reel Legend: Verna Fields

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

 

This month’s Reel Legend is Verna Fields. 

 

Famously known as the editor of Steven Spielberg’s JAWS, she was born in Missouri in 1918. Her father was a journalist, and moved their family to Hollywood where he became a screenwriter. Verna graduated from the University of Southern California, studying journalism. She then held several positions at 20th Century Fox, including working as an assistant sound editor on Fritz Lang’s THE WOMAN IN THE RAINBOW (1944). 

 

After working as a sound editor in television, she moved back to film and in 1962 would win the Motion Picture Sound Editors’ Golden Reel Award for her work on EL CID. Later she would work on the Disney film THE LEGEND OF THE BOY AND THE EAGLE (1967), WHAT’S UP DOC (1972), and THE LAST PICTURE SHOW (1971). 

 

In 1973, she would be nominated for her first Academy Award for editing, along with Marcia Lucas, for her work in George Lucas’ AMERICAN GRAFFITI. She would then edit Steven Spielberg’s first major film, THE SUGARLAND EXPRESS (1974). And then a year later, would be widely celebrated for her work as editor for JAWS, for which she would win the Oscar for Best Editing. 

 

After her success with JAWS, she accepted a position as the Feature Production Vice President with Universal, one of the first women to hold a high executive position in a major studio. 

Verna Fields died of cancer in 1982 at 64 years old. In her honor, Universal named a building at its Universal City lot the Verna Fields Building. Several annual awards have been named in her honor. 

 

*

Film editing is held in high regard in the business. For 33 consecutive years (1981-2013), every Best Picture winner had also been nominated for Editing, and only 38 of the 98 Best Picture winners have also won for Best Editing. It is an art, and few editors over the years have shaped modern cinema like Verna Fields. Nicknamed the “Mother Cutter”, she brought precision, emotion, and rhythm to every project, proving that editing is far more than assembling scenes…it is the invisible art of storytelling. With JAWS, she redefined the modern blockbuster; understanding pacing, energy, and knowing that what audiences imagined was often more powerful than what they saw. Her legacy endures not only as one of the first women to make those important cuts, but one of the greatest ever to slam down a splicer. Because that’s what Legends do. 

 

A Reel Review: THE ODYSSEY

Much like THE LORD OF THE RINGS, Homer’s ancient Greek poem THE ODYSSEY has long been thought to be impossible to bring to the big screen in all of its deserving epic-ness. An attempt in 1954 with Kirk Douglas fell short, and last year there was THE RETURN, which was well-received but only covered a sliver of the original text. THE LORD OF THE RINGS overcame the unfilmable by finding the right man for the job, and such is the case for Christopher Nolan and THE ODYSSEY. 

 

Years after the end of the great Trojan War, Odysseus (Matt Damon), and his crew undergo a long and perilous journey home. Meanwhile, in his absence, his wife Penelope (Anne Hathaway), and his son Telemachus (Tom Holland), deal with dozens of potential suitors for Odysseus’ throne. 

 

Directed by Christopher Nolan, this version of THE ODYSSEY skillfully and thankfully avoids any cinematic cliches of there’s-no-place-like-home. Although the journey is long and dangerous, packed with encounters against gods, giants, undead, and monsters…the hook of the story is Odysseus, who isn’t even sure he wants to get home. This is a man with the shadow of the Trojan Horse and war looming over him, bringing guilt and trauma which weights heavy on his mind. It’s a powerful, and resonating look at one man’s actions during war. 

 

But where THE ODYSSEY really sails is in the telling. The bulk of the film unfolds in flashbacks; with Odysseus recounting his tale to the goddess Calypso, and Telemachus learning of his father’s actions during the war. It’s a story-within-a-story that Nolan has used before, but never before is such a grand, deep, and vast way. By the time all the storylines come together at the end, the true meaning of it all hits hard.

 

THE ODYSSEY delivers on the technical side in astounding fashion. Filmed in 70mm, the film looks gorgeous, and the practical effects are jaw-dropping. The tension during sequences such as the encounters with the monstrous Cyclops, the mysterious Sirens, and a grotesque transformation into pigs is shit-the-pants worthy. And be prepared to duck for cover during the fall of Troy. The score by Ludwig Goransson is excellent. 

 

Acting is god-like from the entire cast. Matt Damon puts in a career best, as does Tom Holland, and Anne Hathaway just may take home her second Oscar. John Leguizamo nearly steals the show. The rest of the ensemble and most-impressive cast is excellent: Robert Pattinson, Lupita Nyong’o, Samantha Morton, Zendaya, Charlize Theron, Jon Bernthal, Himesh Patel, Elliot Page, Corey Hawkins, Mia Goth, and Benny Safdie. 

 

Christopher Nolan has been criticized in the past for lacking emotion or heart in his films, and it’s been a legit gripe…but with THE ODYSSEY he makes up for it, with a third act that brings the weight of Odysseus’ journey and trauma down hard. THE ODYSSEY lives up to the original text’s scale. Nolan has used techniques here that will leave audiences wondering how it was done and scouring the internet for details for years. At long last, THE ODYSSEY has come home to the big screen properly; it just had to wait for the right man. 

 

BOTTOM LINE: See it

 

A Reel 20: PIRATES OF THE CARIBBEAN - DEAD MAN'S CHEST

“Do you fear death? Do you fear that dark abyss? All your deeds laid bare, all your sins punished?” 

This month marks the 20^th anniversary of PIRATES OF THE CARIBBEAN: DEAD MAN’S CHEST. 

 

Directed by Gore Verbinski, DEAD MAN’S CHEST was the sequel to THE CURSE OF THE BLACK PEARL (2003), and based on the popular Disney attraction. Set a year after the events of the first film, DEAD MAN’S CHEST follows Captain Jack Sparrow who owes a debt to Davy Jones and is marked for death and pursued by the Kraken, while Will Turner and Elizabeth Swan are blackmailed to acquire the mysterious Dead Man’s Chest. 

 

Two sequels were envisioned after the success of BLACK PEARL, with returning screenwriters Ted Elliot and Terry Rossio developing a story arc that would span two films. Filming would take place in remote locations, including Palos Verdes, Saint Vincent and the Grenadines, Dominica, and The Bahamas. It was shot back-to-back with the third film in the series. 

 

Returning to the role of the popular and iconic Captain Jack Sparrow would be Johnny Depp. Other returning actors included Orlando Bloom, Keira Knightley, Jack Davenport, Kevin McNally, and Jonathan Pryce. Newcomers included Tom Hollander, Naomi Harris, and Stellan Skarsgard. Bill Nighy would provide motion-capture and the voice of Davy Jones. Hans Zimmer would compose the score. 

 

Upon release, DEAD MAN’S CHEST would be met with good-to-mixed reviews and be a box office smash. It would finish as the highest grossing film of 2006, and would set a record as the fastest film to cross $1 billion worldwide (63 days). It would be the highest grossing film released by Disney until it was surpassed by TOY STORY 3 in 2010. At the 79^th Academy Awards, it would be nominated for four Oscars, and win for Best Visual Effects. The next sequel, AT WORLD’S END, would arrive in 2007. 

 

*

 

One of this Blogger’s strongest memories from the theatre came in the summer of 2006, when Jack Sparrow’s return to the big screen (by breaking out of a sea-bound coffin), was met with applause in a 600-seat theatre. That spoke to the popularity and cultural impact that the character was making. 

 

And the adventure in front of Jack and his companions and enemies would be up to the task. DEAD MAN’S CHEST is an exhilarating adventure that expands everything we loved about the first film, raising the stakes with spectacular action, stunning visual effects, and one of cinema’s greatest villains: Davy Jones. The motion-capture performance by Bill Nighy and his digitally created skin remains extraordinary. 

 

Sparrow of course is at his most unpredictable, balancing humor with desperation and make-it-up-as-we-go sailing as he tries to escape his curse. The thrilling three-way sword fight, terrifying Kraken, and the EMPIRE STRIKES BACK-type cliffhanger ending keeps viewers captivated and breathless. And the film still had one whale of a surprise to end with. Bold, ambitious, and endlessly entertaining, DEAD MAN’S CHEST remains one of the best blockbuster sequels ever to set sail. 

 

“Complications arose, ensued, were overcome…”

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. 

*

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. 

 

 

*

 

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. 

 

*

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. 

 

*

 

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. 

 

*

 

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!”