Mutiny: Plenty of shipboard action

Mutiny (2026) • View trailer

3.5 stars (out of five); rated R, for considerable profanity and strong, bloody violence

Available via: Movie theaters

By Derrick Bang • Published in The Davis Enterprise, 8.23.26

Jason Statham’s action thrillers usually follow a predictable, cookie-cutter series of plot beats:

 

• His character is a seasoned, hardened, stoic, impressively capable and highly decorated former cop/military officer equally adept with weapons and hand-to-hand combat, with a Tragic Memory in his past;

 

Moving cautiously through the innards of the cargo ship Artemis, Cole (Jason Statham)
and Angie (Annabelle Wallis) search for a first aid kit, which will allow him to attend to
her wounded shoulder.

• He has re-entered civilian life in either an isolated, quieter or conventional manner, usually befriending somebody along the way, but said person...

 • ... gets killed, for some nefarious reason, prompting a won’t-ever-stop vow of vengeance.

 

Lather, rinse, repeat. But why change? It always works...

 

This new entry in Statham’s oeuvre comes from scripters J.P. Davis and Lindsay Michel, who creatively dump Statham’s Cole Reed into an intriguing scenario during the bulk of the action.

 

I’m less impressed by director Jean-François Richet, who opens the film with a pointless flash-forward — what, he worried about gaining our attention? — and subsequently favors too many dizzy overhead drone shots and tight-tight-tight close-ups of Statham and the other actors. All are hallmarks of lazy, uninspired directing.

 

The flash-forward aside, events begin quietly, with Reed — a former Marine commando and London SCO19 Specialist Firearm police officer — five years into a happy position as security chief for his close friend and mentor, billionaire Thai shipping tycoon Tibu Campallo (Ramon Tikaram). The feeling is mutual: Tibu regards Cole as family, and they enjoy playing chess together.

 

After a long and successful career, Tibu has decided to retire. He clearly regrets abandoning the empire that took a lifetime to build, particularly since his son, Kameron (Chaneil Kular), has no interest in the business. At the posh retirement party, Cole notices a dapper but somehow sinister figure (Arnas Fedaravicious) hovering in the background; their eyes briefly lock, and then the unnamed guest moves on.

 

Later, while driving Tibu home, their car is ambushed. Cole kills all the attackers, but not before Tibu is mortally wounded. Knowing he has very little time, Cole scoops up the killers’ IDs and flees. The sinister figure, with numerous bent Thai cops in his pocket, arranges for Cole to be tagged as Tibu’s killer; this version of events is blasted through all media outlets, and an arrest warrant is issued.

 

Cole notices that the killers crewed on the container ship Artemis; by fortunate coincidence, he resembles one of them. Using that man’s ID, he’s able to pass through Customs and board the ship, determined to figure out What The Heck Is Going On.

Don't Say Good Luck: A poignant character drama

Don't Say Good Luck (2026) • View trailer

Four stars (out of five); rated PG-13, for thematic material, fleeting profanity, teen drinking and mild sexual references

Available via: Netflix

By Derrick Bang

Sunny Sandler’s delicately nuanced starring performance fuels this charming little character drama, although — in fairness — director Julia Hart draws finely shaded work from every member of this carefully assembled cast.

 

Sophie (Sunny Sandler, left) and her mother Elizabeth (Melanie Lynskey) make the most
of a mall outing designed to help the young woman improve her stage confidence.

As I well recall from her handling of 2020’s equally captivating Stargirl, Hart excels at depicting the bond between adults and teenagers, whether parents and their children, or — also, in this case — drama coaches and their nervous young actors.

The setting is a contemporary suburban community — principle filming took place in New Jersey — with much of the action centered at Westridge High School. Sophie (Sandler) wakens on a typically bustling morning in the Birenbaum household, due to her irrepressibly mischievous younger twin brothers, Caleb and Ethan (Matan and Eitan Friedman), barely controlled by harried parents Ted (Max Greenfield) and Elizabeth (Melanie Lynskey).

 

Today is a big day for Sophie: tryouts for the annual school play. Elizabeth shares some encouraging words with her daughter, before Sophie heads for school; they’re both amused when Ted accidentally butt-dials his phone, allowing them to hear his downstairs hijinks with the boys.

 

That narrative gimmick is a clever ongoing touch in the script by Hart, Laura Hankin and Jordan Horowitz.

 

Once the school day concludes, Sophie, bestie Carolyn (Scarlett Estevez) and all the other members of the school drama club gather in the multi-purpose room. Because the selected play is the musical version of Waitress, adapted from the 2007 film of the same title, the drama club’s regular advisor, Mr. Stuart (Joel Waggoner), has surrendered the reins to musical theater coach Ms. Parker (Stephanie Beatriz).

 

All the students know that resident drama club diva Mallory Sinclair (Elyse Bell) is destined for the starring role of Jenna; Sophie hopes to get the quirky supporting role of Dawn.

 

Elsewhere, though, this also is a fateful day for Sophie’s parents, who have an appointment with Elizabeth’s oncologist. The news is bad: The cancer that she and Ted hoped had gone into remission, has returned ... with a vengeance.

 

And as this awful verdict is delivered, Ted’s phone once again butt-dials Sophie ... just as Ms. Parker calls her to the stage.

The End of Oak Street: A complete mess

The End of Oak Street (2026) • View trailer

TURKEY: No stars (out of five); rated PG-13, despite considerable violence and gore

Available via: Movie theaters

By Derrick Bang • Published in The Davis Enterprise, 8.16.26

This film fails — jaw-droppingly — on every level.

 

The premise is ridiculous, poorly rationalized, and fails to maintain internal consistency. The main characters are inadequately conceived, one-dimensional stick figures that lack even enough depth to be considered clichés. The so-called “acting” ranges from risibly burlesque to line readings so wooden they warp.

 

All hell breaks loose, once the folks on Oak Street realize that — somehow, improbably —
their entire neighborhood has been dumped back in time, to the Jurassic Period.

Rarely have talented name actors — Ewan McGregor and Anne Hathaway — been handled so poorly by a director, although the blame isn’t entirely theirs. Nobody could have done better with the eye-rollingly awful dialogue in writer/director David Robert Mitchell’s so-called script.

I don’t understand. Back in 2014, Mitchell lit up Hollywood with It Follows, a smart, scary and genuinely original little shocker that frightened the Jujubes out of viewers.

 

What happened to that guy?

 

He sure isn’t anywhere to be seen here...

 

The year is 1982. Events begin during a lively block party in a middle-class suburban neighborhood. Greg and Denise Platt (McGregor and Hathaway) and their children — teenage Audrey (Maisy Stella) and adolescent Brian (Christian Convery) — are introduced gaily participating in a sack race. Family dog Starbuck watches from one side.

 

Ah, but — behind the scenes — all is not well in the Platt household. Greg uncharacteristically works odd jobs and drinks too much; Denise is writing a novel that reflects her own unhappy marriage; Audrey and Brian worry their parents will divorce.

 

Starbuck tends to poop in the back yard of next-door neighbor Mel Jacobs (P.J. Byrne), a Mr. Crankypants who threatens to shoot the dog if it happens again. (One suspects he won’t last long, when things go south.)

 

Brian pals around with three friends. He always carries a toy bow and arrow. (This would have made sense in the mid-1950s, when boys his age were part of the pop culture Davy Crocket/coonskin cap craze, but in 1982? It’s ... weird.)

 

The next couple of days are mostly uneventful. Brian and his pals spot a new girl in town (Jordan Alexa Davis, as Jeannette). They speculate whether she attends a private school. One of Denise’s neighbors shares a strange plant that sprouted overnight in her back yard. While Denise tries to determine what it is, the local librarian examines her photograph and immediately identifies it ... as something that has been extinct for millions of years.

 

(That’s an impressive bit of trivia, to have at the tip of her tongue.)

 

Late that evening, the night sky explodes with a thundering roar and blinding flash of light, and the power goes out. Assuming a blown transformer, they bunk together in the living room. The following morning, the power still is off; so is the plumbing. The basement is flooded, and the ambient temperature is warmer than usual.

One Night Only: A delightfully sexy romp

One Night Only (2026) • View trailer

3.5 stars (out of five); rated R, for frequent profanity, sexual candor and surprisingly little nudity

Available via: Movie theaters

By Derrick Bang

Although one first must accept this film’s ridiculously unlikely premise, what follows is an unexpectedly delightful romantic comedy, highlighted by Travis Braun’s continuously cheeky script and two stars who share a Periodic Table’s worth of chemistry.

 

Allie (Monica Barbaro) and Owen (Callum Turner) bump into each other — not for the
first time — when they independently find the only bodega in all of New York City
that still has one precious condom for sale.

Think of this as a gentler, (somewhat) kinder response to the one-night-of-legal-crime franchise that began with 2013’s The Purge.

The setting is New York City, the time some point is the very near future. Thanks to the efforts of an ultra-conservative D.C. faction, three years earlier the “Mandate” became law, which outlawed premarital sex. Enforcement was established via the mandatory placement of biometric tattoos on everybody’s wrist, which signal authorities when unsanctioned canoodling takes place.

 

The ban is lifted for just 12 hours, one night each year ... and these events begin shortly before the kick-off.

 

Braun and director Will Gluck employ this gimmick as an ingenious means of overcoming the most persistent challenge in romantic comedies: how to credibly keep separating two people obviously destined for each others, without relying on clichés such as miscommunication or missed connections.

 

It’s a cheeky step up from the suspenseful “ball drop” on New Year’s Eve: Who will you kiss?

 

Throw in The Big Apple as a bustling, effervescent backdrop, and the result —unexpectedly — is delightful.

 

Owen (Callum Turner) is a hardworking pizza shop owner and hopeless, old-school romantic who has planned — down to the tiniest detail — how to spend this night with longtime fiancée Malika (Maya Hawke). Alas, their “favorite restaurant” preamble self-destructs when she abruptly confesses that she wants to take advantage of the moment ... by sleeping with somebody else.

 

Allie (Monica Barbaro), a talented singer whose stage fright has relegated her to the anonymity of studio work, has made a career of turning familiar pop songs into jingles for glossy pharmaceutical medications with impossible-to-pronounce names (a very funny touch). She’s a hopeless romantic with a vivid fantasy life, ready to Embrace The Moment with encouragement from best friend Arya (Quintessa Swindell) and “wing woman” Jacinta (King Princess).

 

Their goal: a genuine connection with a “quality” guy, and true love.

Spider-Man: Brave New Day — Action and angst

Spider-Man: Brave New Day (2026) • View trailer

Four stars (out of five); rated PG-13, for action violence and occasional profanity

Available via: Movie theaters

By Derrick Bang • Published in The Davis Enterprise, 8.9.26

After the chaotic multiverse complexity of 2021’s Spider-Man: No Way Home — a score card was needed, to keep track of all the superheroes, super villains and spider guys from three different Earths — this one is a welcome relief.

 

Spider-Man (Tom Holland) and NYPD Detective Jean DeWolff (Liza Colón-Zayas) survey
the wreckage after a massive tank truck rams into a government building occupied by
the somewhat mysterious Department of Damage Control.

Indeed, I deem it the best entry in star Tom Holland’s run as the title character. Just one spider guy here, a couple Marvel Comics colleagues, only a few super villains — including Spidey’s primary antagonist, who remains a mystery until the film’s second half — and a sensible plot that’s easy to follow.

The Chris McKenna/Erik Sommers script is much tighter, and better focused, than the previous films.

 

Fourth time’s the charm, I guess.

 

Back to some semblance of a normal life, Spider-Man has become New York City’s very public resident hero. He enjoys a good working relationship with the local police force, and frequently liaises with NYPD Detective Jean DeWolff (Liza Colón-Zayas, appropriately take-charge).

 

But he’s achingly lonely.

 

For reasons compelled by events in the prior film, the existence of Spidey’s civilian self, Peter Parker, has been wiped from everybody’s memory. That includes best friend Ned Leeds (Jacob Batalon) and former girlfriend MJ (Zendaya). Given that Peter’s beloved Aunt May (Marisa Tomei) also died during No Way Home, that leaves the poor guy even more isolated than usual.

 

Which, honestly, always has been the character’s most compelling feature. As originally conceived by writer Stan Lee and artist Steve Ditko, back in the early 1960s, Peter was a nerdish bookworm and social outcast, which made him relatable to readers. (Back in those days, Superman and Batman never had social problems.)

 

Holland handles angst and loneliness quite well, and many of this film’s best moments occur when the guy is out of uniform. The yearning in Peter’s gaze, when he sees couples and groups enjoying each other, is palpable. And heartbreaking, because Peter still loves MJ, even though — in effect — she never has met him.

 

But somebody always needs saving, some local crisis averted, and some crooks need to be caught, so Spider-Man is kept busy. (I’m not sure how Peter puts food on the table, since there’s no indication of any sort of civilian job. Maybe Aunt May left him a lot of money?)

 

But full-time superhero work takes its toll. Enhanced abilities and high-tech Spider-Man suit notwithstanding, Peter is human. He’s battered and bruised all over, and he also isn’t as quick as he was, back in the day. 

The Dink: An uneven rally

The Dink (2026) • View trailer

Three stars (out of five); rated PG-13, for occasional profanity and plenty of sexual vulgarity

Available via: Apple TV+

By Derrick Bang • Published in The Davis Enterprise, 8.2.26

File this one under “Silly, but fun.”

 

I’ve been waiting for filmmakers to embrace the rapidly expanding explosion of pickleball, and director Josh Greenbaum and scripter Sean Clements have treated this new sport pastime with a blend of humor and good-natured ribbing.

 

Much to his surprise, washed-up tennis pro Dusty (Jake Johnson) begins to enjoy
pickleball, thanks in great part to the kindness and encouragement of Candace
(Mary Steenburgen), his regular partner.

While, sadly, making a few fouls along the way. (About which, more in a moment.)

From the moment he could hold a tennis racket — age 3 — Dusty Boyd was groomed and trained by his father, Chuck (Ed Harris), to become a skilled, forceful and unrelenting tennis pro. By age 17 (now played by Nathan Blair), laden with a roomful of trophies, he had earned the nickname for which he would henceforth be known: “The Hammer.”

 

Then, catastrophe: Following a climactic, hard-fought match against the similarly talented Andy Roddick (Cooper Woestendick), Dusty miscalculated a cocky jump over the net ... and his career was over.

 

Cut to the present day.

 

Dusty (now Jake Johnson), still driving his beloved 1999 Buick LeSabre,  has been reduced to coaching children at Chuck’s tennis club. Dusty has been recounting his flashback rise and fall to a pair of adolescents who couldn’t possibly care less (played with eye-rolling, long-suffering-sigh perfection by Indiana Elle and Cayden Romero).

 

Alas, change is in the wind. Chuck already has granted two of his courts to the demands of local pickleball enthusiasts (the two courts most in need of repair, it should be noted). He’s finding it increasingly difficult to ignore the group’s earnest spokesman, Skip (Patton Oswalt), who wants more courts ... and his well-researched arguments are starting to gain traction. 

 

In an effort to silence Skip, Chuck proposes a winner-take-all pickleball match between each group’s best player. Dusty — insisting that he’s now fully healed, and still desperate to prove himself in his father’s eyes — lobbies to be the club’s champion. Chuck reluctantly agrees, and Dusty throws himself into training ... and, naturally, reaggravates his original wound, and is forced to step down.

 

To add insult to injury — literally — Dusty’s orthopedist (Ben Stiller) prescribes pickleball as the perfect “soft contact” activity to help him heal again. 

 

And, so, Dusty reluctantly joins a gaggle of “pickle pals” on their court one day. He’s partnered with Candace (Mary Steenburgen) in a match against the feisty Gail and Judy (Cleo King and Lynne Marie, both a total hoot). They relentlessly talk smack and taunt Dusty during the calamity of his first attempt at the game, as he repeatedly tries to employ knock-it-over-the-bleachers power returns, instead of the necessary gentler touch ... and whiffs every time.

 

Pressure: Fascinating, behind-the-scenes D-Day saga

Pressure (2026) • View trailer

Four stars (out of five); rated PG-13, for war violence, bloody images and brief profanity

Available via: Peacock (free to subscribers) and other paid VOD options

By Derrick Bang

Director Anthony Maras’ fact-based drama opens on a grim scene that evokes 1998’s Saving Private Ryan.

 

It’s late April 1944. An ashen-faced Gen. Dwight D. Eisenhower (Brendan Fraser) slowly walks along Slapton Sands beach in Devon, horrified by the multitude of dead and wounded soldiers, some floating in the waves lapping at the shore. It’s the ghastly wake of Exercise Tiger, a two-day D-Day rehearsal which, because of miscommunication, resulted in the deaths of at least 750 American servicemen, hundreds due to friendly fire.

 

Meteorologist James Stagg (Andrew Scott, right) isn't surprised when his forecast for
the impending D-Day invasion — advising against mounting the offensive on the
chosen day — angers Gen. Eisenhower (Brendan Fraser), but he quietly refuses
to change his mind.

That catastrophe remained largely unknown until the 1988 publication of historian Charles B. MacDonald’s Slapton Sands: The “Cover Up” That Never Was.

The prologue amplifies Eisenhower’s determination to make no mistakes on D-Day.

 

It’s also the first of two “I never knew that” revelations within this film, adapted by Maras and playwright David Haig from the latter’s 2012 play of the same title.

 

We cut to June 2, inside the London home of eminent Scottish meteorologist James Stagg (Andrew Scott) and his very pregnant wife, Liz (Tamsin Topolski). Just as they finish breakfast, Stagg is collected by a military escort, having been appointed Chief Meteorological Officer for the Supreme Headquarters Allied Expeditionary Force, commanded by Eisenhower.

 

(In November 1943, Stagg was granted an emergency commission with the rank of group captain in the Royal Air Force Volunteer Reserve, giving him an essential level of authority in a military milieu unaccustomed to outsiders ... a detail that this film’s script should have supplied.)

 

Stagg arrives at the heavily guarded Southwick House, and is thrown amidst a group of several dozen researchers and meteorologists under the command of American Col. Irving P. Krick (Chris Messina), who accurately supplied weather conditions for Eisenhower’s earlier African and Middle-Eastern campaigns. Krick and this new team have been tasked with selecting the optimal conditions for the Normandy landing: a specific overlap of weather, the tides, the time of day, and the phase of the moon.

 

They’ve relied on information sent by amateur and professional weather watchers studying conditions, and sending up weather balloons, from hundreds of locations in surrounding countries and bodies of water. Armed with all this data — and one other factor, to be discussed in a moment — Krick confidently assures Eisenhower that conditions will be perfect at 6:30 a.m. Monday, June 5.

 

(No, that isn’t a typo. It’s the basis of this drama.)