Category Archives: Film reviews

The State of the Industry and Neon Presentation-CinemaCon 2026-Movies with Tarek


On April 14, 2026, in the Dolby Colosseum, President of G Kids, Dave Jesteadt, announced new features. The director of Godzilla Minus Zero Takasha Yamazaki came to the stage to share thoughts on the success of Godzilla Minus One. There were reminders about how technological, sound, and support brought innovation which led to the success of Godzilla Minus One. Yamazaki mentioned how he believes that cinemas are the only way to experience films. 1954 is the year that Godzilla first found popularity in Japan. Godzilla Minus One was filmed for IMAX.

Godzilla Minus Zero is a direct sequel from Godzilla Minus One. Yamazaki mentioned that he is excited for Godzilla Minus Zero to keep audiences returning to cinemas. Yamazaki showedfootage and clips of Godzilla Minus Zero. He then shared clips of production and then the Teaser World Premiere trailer. The film starts November 6, 2026.

There was also a presentation on the MPA Film rating system. The issues covered included standards, ratings, and safety in movie content. This topic is interesting to me, because I have loved movies since I was a young boy and still do today. There are various opinions on the subject. Innovation and copyrights play a role, yet it is essential that ratings be taken seriously.Charles H. Rivkin, the CEO of the Motion Picture Association, shared his opinions on the matter.

There were also discussions about the Belcourt Theatre in Nashville, Tennessee. It is a cinema that goes way back inhistory. This topic spoke to me, because reinforces how important movie theatres are to vibrant communities. Stephanie Silverman is the director of the Belcourt Theatre. She introduced Michael O’Leary, the president and CEO of Cinema United. My favorite quote in O’Leary’s presentation was, “Movies are how the world talks to each other.” He showcased examples of how cinemas often create their own themes to bring more rewarding moments for guests.

Neon wrapped up the presentation with their slate of upcoming films which include The Young People and I Love Boosters. Elissa Federoff is the Chief Distribution Officer at Neon, and she came to the stage to mention their many accomplishments.Sumyi Khong Antonson is the executive vice president of Neon, and she mentioned the box office success many Neon films. There was lots of inspiration from both speakers. Hokum opens May 1 of this year. Adam Scott came to the stage and talked about how he wanted to do movies all his life. Lots of other announcements from Neon combined with other cultural elements created a memorable start to CinemaCon 2026. For me, the feeling was surreal as I was immersed in the uniquewonders of new imaginations.

Faces of Death Review


Grisly murders have a way of catching the attention of audiences, especially those who can handle gory scenes. Violence sells, but one must take into consideration what appears real and what seems fake. Faces of Death loops in popularity and context which combine in a horrid nightmare. The graphics are mesmerizing, yet the characterizations are somewhat sloppy at times. It is technically a remake of the film Faces of Death from 1978. The twist, however, is the murderer finds inspiration from that 1978 flick. The narration in the film fuels his rage. The aggressiveness in the story is eerie, but the film relies on oozing violence to appear realistic. In the end, I found it more funny than spooky. 

The film focuses on a lady named Margot, played by Barbie Ferreira. She has a day job moderating content online. She is also getting over a horrid event involving a train accident. So, disturbing imagery comes to her attention frequently since her brain is wired to notice when something looks wrong. She begins to moderate videos by a man named Arthur, played by Dacre Montgomery. Arthur is a man who has a normal life with a day job, but outside of work, he tracks down victims to broadcast them in his murder videos. His numbers, his fanbase, and the 1978 version of Faces of Death is his inspiration. Margot begins to utilize technology to track him down.

There is a vengeance that is greedy in Faces of Death. The film’s writing provides context that shows how human errors lead to increased determination. This is achieved through the characterizations of both Margot (the hero) and Arthur (the antagonist). When Margot feels no one is helping her, she abuses technology. When Arthur feels his vengeance is not enough, he continues to find more disturbing tactics for demolishment. There is more fuel for danger and treachery than meets the eye in Faces of Death.

Unfortunately, the film is a bit sloppy. Arthur as a murderer does not fit the bill well although Margot fits the hero role very well. I felt more terror from seeing Margot tracking down Arthur, than Arthur in his killing mode. Faces of Death is like a horror of reversed psychology where the writing does not have the characterizations properly in tune. Both characters have egotistical minds that work differently. There is so much running, and so much hurting. The film’s writer didn’t seem to know when to throw in the towel. The oozing graphics grow as do the numbers of Arthur’s crazy social media followers. There is no stopping his trends.

This is a B-/C+ horror remake primarily because the seriousness lacked. The characters were intermittently off key as they came in and out of tune. While the violence was great, the characters did not roll well with it in my opinion. Perhaps audiences will appreciate the context and rank it higher than the disturbing elements. Overall, though, this is a films that I can only give two-and-a-half out of four stars.

You, Me, & Tuscany Review


A B-level rom-com that flies its way over Tuscany, Italy. It maintains a sense of a joyful adventure that finds a family vibe and keep resorting to love as the downfall. Directed by Kat Coiro, this is You, Me, & Tuscany. A setup where a woman’s life is in disarray, but she manages to find a loving family thanks to faking a situation. A joyful and silly film that somehow has proper chemistry to create a fulfilling side which feels touching.

With Coiro continuing to direct full-length films, she keeps improving her use of elements that make love feel spontaneous. That is how it is throughout all of You, Me, & Tuscany. Wonderful in moments, but also predictable. Overall, though, she is a director with a clever mind. Especially with the mix of Tuscany, Italy and bringing together a loving albeit mistaken family. 

The main character is Anna, and she is played by Halle Bailey. She finds herself on a messy adventure. She always struggles to keep her life together, yet decides to take a risk by posing as a fiancé. Later she finds herself at a Villa in Tuscany, Italy. The family loves her, and she begins to feel connected to Michael, played by Rege-Jean Page. However, Anna lies and says she is engaged to Matteo, played by Lorenzo de Moor. The family adores both, but Halle’s lies are the only things bringing her closer to this family. The truth is that she feels love for Michael, and not Matteo.

The boisterous setup allows for some positive moments to flow. There are scenes of cooking and festivities and not letting traditions down. Anna learns to confide in herself. The film’s writing is so set on Anna—she is the queen of faking things andcan sometimes find a gap in her illogical choices. The “illogical” side of You, Me, & Tuscany is average.

I found myself feeling mixed response to this film leading me to feel almost neutral throughout the experience. This is primarily because my fascination was so much in tune with the scenery around Tuscany and the culinary side. The dynamics attractedmy attention, but they were  mediocre.  The cultural side is the winning aspect of the story.

On a level of clarity, I felt the performances and appearances of Halle Bailey and Rege-Jean Page are the selling point of this film. Especially since both are A list cast members for this romantic comedy. They play the roles well, but the rest of the dynamic behind it is purely predictable, relying on vast scenery to impress its audience. I do appreciate how it portrays in its context someone coming out of their shell, but also, I feel that the backstory could have provided much more. This is a film that deserves a more dramatic, yet empathetic premise–not one based solely on a setup of deceit.  It picks itself up with everyone enjoying the company of one another. I guess no rejection is what makes this film rather attention grabbing. Overall, I remain neutral. Two out of four stars.