Jack Ryan: Ghost War (Tom Clancy's Jack Ryan: Ghost War) - 5/21/26

 

Jack Ryan: Ghost War is a political action thriller that serves as a feature-length continuation of the Amazon Prime Video series, bringing John Krasinski back as the iconic CIA operative. The plot follows Ryan as he reunites with his old agency allies to untangle a treacherous web of betrayal against an enemy who seemingly anticipates their every move.

On paper, the setup was highly reminiscent of Skyfall, but the execution was far less sharp. What stood out as truly odd was that the creative team behind the successful television series returned for this film, yet the final product lacked the clever scriptwriting and high-stakes suspense that made the show so addictive.

The story moved at a fast pace, but it compromised the character development, so I was left without a strong connection to anyone on screen. Additionally, major plot points were predictable, which took away from the overall tension. While the narrative elements fell short, the action sequences clearly drew inspiration from over-the-top blockbusters like True Lies, offering some fun, explosive set pieces.

Underneath the chaos, the film attempted to touch on deeper themes around trust and confronting a forgotten past, but everything was ultimately pushed aside to keep the brisk pace moving. In the end, it made for an okay popcorn flick if you already love the characters, but it doesn't quite live up to the standard the franchise previously established.

The Devil Wears Prada 2

The Devil Wears Prada 2 is a comedy-drama sequel that reunites Andy Sachs and Miranda Priestly, twenty years later, as they navigate a modern media landscape defined by scandals and the decline of print magazines.

While it was wonderful to see the original cast back together, the film often came across as nostalgia bait. Having Anne Hathaway, Meryl Streep, Stanley Tucci, and an especially great Emily Blunt reprising their roles was a treat, and the additions of Simone Ashley, Lucy Liu, and Kenneth Branagh brought some fresh energy.

The plot was easy to follow, but ultimately landed as predictable and a bit lazy, relying on a nearly identical narrative structure and several deliberate callbacks to the original. The core conflict shifted from Andy's personal discovery to a focus on institutional survival, and some of the themes around "loving to work" bordered on toxic. The film effectively praised working late hours and neglecting self-care or family time as if those were virtues, even though that lifestyle is completely unsustainable. It also struck me as pretentious, attempting to preach about the vital importance of journalism while exclusively focusing on the elite world of haute couture. There was an attempt to push for body positivity, but it seemed like a hollow gesture since it didn't really go beyond a brief cameo from Ashley Graham.

There were some funny moments and very obvious digs at Jeff Bezos and Lauren Sanchez that landed well, but the fashion and soundtrack just weren't as iconic as the first film. Even with a few recycled lines and repurposed outfits, the movie lacked the spark that made the original a classic.

I also had mixed feelings regarding the casting. While it was great to see Tracie Thoms return as Lily and Simone Ashley join the cast as Amari, they appeared a bit underutilized. Both actresses were incredibly capable in their roles, but they served more as plot devices than fully realized people; it would have been nice to see them have lives and goals outside of just supporting the leads. My main issue, however, stemmed from the representation of the other Asian American characters, most of whom fell into one-dimensional, tired stereotypes.

In the end, this film isn’t one I’d recommend one rush to see. It was a decent watch for the fans, but it leaned too heavily on the past rather than carving out a new future.

Cherry

Cherry is a crime drama directed by the Russo brothers, based on Nico Walker’s semi-autobiographical novel. It stars Tom Holland as an army medic who returns from Iraq with PTSD and spirals into addiction and crime.

While the lead performances from Holland and Ciara Bravo, as Emily, were strong, there just wasn't enough diversity or character development to make me truly care about the outcome. While some might see the relationship between Cherry and Emily as toxic, to me, it felt more like two people with low self-esteem being easily influenced by their circumstances.

The storytelling felt a bit thin, and the plot definitely started to lose me about two-thirds of the way through. I found myself checking the time frequently. The film relied heavily on a soft-lighting look early on that felt almost fake, and the quick, Marvel-esque cuts made the war sequences feel crisp but lacked the true heaviness you would expect from a war movie. It felt like a very anti-military film, highlighting a toxic environment where rank is valued over ideas, and it critiques a failing healthcare system that treats deep trauma with temporary fixes.

Even though the movie spans twenty years, some of the aging choices, like giving Holland a mustache, felt a bit silly. It also struggled with that common Hollywood obsession with portraying prison as the only path for rehabilitation for people with PTSD.

Overall, the story wasn't particularly unique, and the directing felt like a bit of a nepotism project where the Russo brothers and Holland just wanted to work together again post-Avengers without a fully fleshed-out idea. It really lacked the grit needed for such a serious subject.

El Camino: A Breaking Bad Movie

 

El Camino: A Breaking Bad Movie is a 2019 crime thriller that serves as a sequel and conclusion to the original series, picking up right where Jesse Pinkman left off; on the run from the law and his past.

For the most part, the film was pretty boring and relied way too much on cameos to keep people interested. While it was great to see Aaron Paul reprise his role alongside familiar faces like Jesse Plemons and Bryan Cranston, the movie honestly felt a bit like album filler. It felt more like a trap for fans to spend time and money on nostalgia bait rather than a necessary addition to the story. 

The six year gap between the show ending and this movie filming was really obvious too, as many of the actors looked significantly older or heavier than they did in 2013, which made the timeline feel a bit out of place. I’m not even sure the flashbacks were necessary to add context since these characters were already so well developed over five seasons.

That being said, I did appreciate seeing the evolution of Jesse’s character. After years of watching him struggle as the underdog, it was satisfying to see him finally take control of his own narrative. It provides a sense of closure that fans of the series might appreciate, but as a standalone movie, it still felt a little unnecessary.

Project Hail Mary

 

Project Hail Mary is a science fiction film based on the novel of the same name by Andy Weir. It follows Ryland Grace, played by Ryan Gosling, a school teacher and former biologist who wakes up on a spacecraft with amnesia.

I’ll be the first to admit that I’m not typically a fan of space movies. I usually find them boring, like Gravity, but this felt different. Andy Weir has a very specific writing style that connects you to the character immediately, similar to his other work in The Martian.

The movie was definitely long, but once the stakes were upped, I didn’t feel the runtime. Ryan Gosling produced the film and carried almost the entire thing, which can be hard to do when you have 90% of the dialogue, but he was so likable as Grace that he made the journey feel painless. I really appreciated the diverse supporting cast as well. It was great to see Lionel Boyce in something outside of his role in The Bear, and Ken Leung played a character that was such a 180 from his role in Industry. I do wish the film had dug a little deeper into those supporting characters though. While I thought the alien was a little corny at first, I ended up really liking the connection between it and Grace.

In the end, Project Hail Mary is a total win even for people who usually find space movies a bit dry. It’s a cute, funny, and heartfelt story about bravery and sacrifice that actually pulls at the heartstrings.

Half-Baked

 

Half-Baked is a ’90s stoner comedy about three slackers trying to raise bail for their arrested friend, written by and starring Dave Chappelle alongside Guillermo Diaz and Jim Breuer.

The script leans heavily on simple, slapstick humor that often felt lazy, like the writers weren’t really pushing themselves. I also wasn’t a fan of the set design. It oddly leaned into a stereotypical ’60s aesthetic. I understood the connection to the so called “golden age” of marijuana culture, but it felt out of place in a movie clearly set in the ’90s.

The acting was where the film really fell apart. There was a lot of overacting, especially from Jim Breuer and even Chappelle, which led to several cringe worthy moments and unnecessary voiceovers. Rachel True was the only one who came out of this relatively unscathed, bringing some actual poise to the on the nose role of Mary Jane.

The movie also leaned hard on nostalgia bait cameos, including Snoop Dogg, Tommy Chong, Willie Nelson, plus Bob Saget and Janeane Garofalo, but none of them do much to elevate the material.

I now understand why the film was poorly received. The title ends up being unintentionally accurate. It really does feel like a half-baked idea that never fully comes together. While it wasn’t a good movie, it was interesting to see where so many well-known quotes and GIFs originated. There are a few funny moments, but overall it feels sloppy and doesn’t quite earn its cult status. In the end, it plays less like a polished film and more like a group of Dave Chappelle’s friends rallying around his first major writing and starring project.

Sentimental Value

 

Sentimental Value is a Norwegian drama that explores the fragile dynamics of family through Nora, played by Renate Reinsve and Agnes, played Inga Ibsdotter Lilleaas, as they reunite with their estranged father, Gustav, played by Stellan Skarsgård.

I appreciated that the film was primarily in Norwegian, which added a layer of authenticity to the performances. While it took home the Oscar for Best International Feature Film, I’ll be honest, it didn’t quite give me "Oscar winner vibes." The storytelling was incredibly nuanced and unique, but the pacing was quite slow and required me to pay close attention.

Skarsgård was brilliant as Gustav, portraying a morally reckless artist who prioritizes his work over his family. The contrast between the sisters was well-defined with Nora as the resentful, guarded older child struggling with intimacy, while Agnes was the more responsible and forgiving sister with a stable home life.

Despite the complex characters and strong acting, I found it hard to connect with the story emotionally. It’s a thoughtful look at sadness and forgiveness, but it ultimately felt a bit too detached to truly pull me in.