THE MANDALORIAN and GROGU

The Mandalorian and Grogu (2026) directed by Jon Favreau. I'm glad I missed this on the big screen. (I saw Backrooms instead.) This is essentially a condensed season of a Star Wars streaming series, forced into the mold of a movie, and it shows. It's just one Star Wars trope after another, and it wears thin. It also borrows from other franchises—Bladerunner, The Hunger Games, Harry Potter—and not in a good way. There isn't really anything interesting or new here. It's just rehashed scenes you've seen before. They feel familiar because they are. Meh.

Streaming on Disney+.

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Kathleen Kennedy is finally away from the helm of the Star Wars franchise. I think it is also time to ask Jon Favreau and Dave Filoni to step back. Let some new blood try their hand at Star Wars films.

JUST OUR HEART

Just Our Heart (2026) directed by Maartje Nevejan. "Grief is love that has nowhere to go." It is the rare film that draws forth tears from me. This is one of those rare films. It's a poetic, cinematographic, meditative film that explores death, grief, loss, and transformation. It does so both gentle and firm. It does so obliquely, in "slant rhyme" as Emily Dickinson would say. It's about being open to being broken, to being cracked open, to engaging the tears that flow, and waving back at those who wave at us, with us. This is a truly beautiful work of documentary art.

It is also about the importance and need for rites of passage and rituals in our lives.

This is the August 2026 selection of the Tricycle Film Club.

MY GRANDFATHER CHARLES MANSON

My Grandfather Charles Manson (2026) directed by Sophia Maddox and Alexandra Orton. This documentary tries to answer the age old question of whether or not we are products of our genes (nature) or our upbringing (nurture). It's a film about identity, self-discovery, intergenerational trauma, and truth (or the various strands of truth).

I found it interesting because it overlaps with two strands of thought happening in my life right now—(1) my reading of The Shards, in which the Manson cult appears in a peripheral way; and (2) my current study of the three pure bodhisattva precepts (do no harm, do good, do good to/with/for others).

Is it sometimes necessary to divorce ourselves from our families, from those we love? I believe so, and this story is one such example.

Streaming on Hulu.

NOMADLAND

Nomadland (2020) directed by Chloé Zhao. A melancholy film that feels like a modern/updated version of The Grapes of Wrath. It's about loss, loneliness, community, freedom, humanity, and the beauty of being alive, the beauty of other people, the beauty of this nation. Frances McDormand lives in her role.

I'll be thinking about this film for quite some time. This is a "must see."

Streaming on Netflix.

GRAVE of the FIREFLIES

Grave of the Fireflies (1988) directed by Isao Takahata. This is one of the most melancholy Studio Ghibli films I've ever seen. For that matter, it's simply one of the most melancholy films I've ever seen. It is the story of two Japanese orphans trying to survive the last few months of the war amidst firebombings, deaths, starvation, and neglect from other family members and adults of the area. They eventually carve out a small paradise for themselves, but it comes at a cost.

(The person who picked the film to watch didn't realize it was the anniversary of the bombing of Nagasaki, which added to the solemnity of the viewing.)

Highly recommended.

Streaming on Netflix.

REMARKABLY BRIGHT CREATURES

Remarkably Bright Creatures (2026) directed by Olivia Newman. Remember the outrage when Deckard's voiceover was added for the original theatrical release of Bladerunner? Now imagine Deckard is a CGI octopus, and you have this film. The story of the broken people in this film is predictable and meant to tug at heartstrings. (It's related to The Odyssey because the main storyline is about what constitutes home, and returning to it.) Plus it ends with a big old Hollywood happy ending plus the cherry on top of the sundae plus the chef's kiss. Like the gum stuck on the floor of the aquarium lobby that is one of the movie's main sets, "it's gross."

And don't even get me started on the arrogance of the octopus character or it's strange behaviors and movements!

Streaming on Netflix.

THE RETURN

The Return (2024) directed by Uberto Pasolini. There are no gods and no monsters in this version of The Odyssey. The narrative starts with Odysseus washing up on the shores of Ithaca. This is a family drama, a homecoming, that meditates upon how war and distance and absence and loss transform someone in ways, perhaps unimaginable and unreturnable. And there are others (the suitors) to get out of the way before intimacy can be revisited.

Ralph Fiennes as Odysseus and Juliette Binoche as Penelope carry the film. The rest of the cast doesn't really have much to do other than orbit around the couple at the center of the story., or doesn't know how to live into their roles, or both; they are caricatures and shadow puppets.

The colors of this film are rich, and the cinematography is scrumptious. The film is a slow burn with a satisfying scene of Odysseus slaying the suitors, although I actually wish it had been a bit more intense.

It's good and I would see it again, but this won't be everyone's goblet of wine.

Streamed on Kanopy, via the Pierce County Library System.

THE ODYSSEY

The Odyssey (2026) directed by Christopher Nolan. I really wanted to like this, but I found it corny and preachy. Plus, Nolan's wish to make a "more realistic" Odyssey (whatever that means) waters down the mythological and magical elements of much of the story. We also spend too much time in texts other than The Odyssey—Homer's Iliad, Virgil's Aeneid, the plays of the Oresteia (choose your playwright).

Scenes on the various islands on Odysseus's journey back home are fragmentary and neutered of much of their power. The various monsters lack any real monstrousness, and barely appear on screen. Then we get long and boring stretches in the palace with Penelope and the suitors.

And don't get me started on the fight scenes, which feel overly chaotic and strangely shot. Plus the sound design of them was overly loud, filled with reverb and feedback. No thanks.

Polyphemus the Cyclops has some interesting facial design, but then he posed in imitation of Goya's (circa 1823) "black painting" Saturn Devouring His Children while eating one of the men traveling with Odysseus, which I found pretentious.

I also don't know what was going on with the character of Agamemnon. He doesn't really speak. He's just a giant suit of glossy black armor with gold vertebrae on the back of the helmet. Is he supposed to be another monster? A symbol of death?

All in all, this film feels unbalanced to me. It's 2½ hour running time weighed upon me, and toward the end I wished it would just conclude.

Meh.

Watched on the big screen at Regal Cinemas.

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I seriously hope that someone will make a version of The Odyssey filmed in the animated style of Spider-Man: Into the Spiderverse (2018) and live into the gods and monsters of Homer's epic poem.

HAMNET

Hamnet (2025) directed by Chloé Zhao. We move through the seasons of a family's life—from the vibrancy of spring and romantic love through the summer of a house filled with children into an autumn of plague, pestilence, and death and into the muted colors of winter of grieving. Emotions mirror the cinematic colors that adorn the screen. A punch of red drains into dull browns. The climax of the film takes place at the initial showing of Hamlet in the Globe Theatre, and is imbued with the gravity of life and death—the landscape of one family writ large and universal. Jessie Buckley and Paul Mescal carry us along through their lives with a bittersweetness that reads as true, before visiting (a new) spring again. Highly recommended.

Streamed on Netflix.

LONGLEGS

Longlegs (2024) directed by Osgood Perkins. I'm not quite sure what to think about this psychological horror film. It's a little bit Twin Peaks, a little bit Silence of the Lambs, a little bit 7even. It borrows some Annabelle and some Texas Chainsaw Massacre. In the midst of this are two stellar performances—"flat of all affect" (but we learn why) FBI agent Lee Barker, played by Maika Monroe; and the all-out "off his rocker" eponymous Longlegs, played by Nicholas Cage. The film takes place in 1990s semirural Oregon, and is beautifully captured on film in blues and ambers.

Kids, don't talk to strangers!

Streaming on Hulu.

OBSESSION

Obsession (2025) directed by Curry Barker. There are some wild Generation Z and Millennial horror films being made right now, and this is one of them. "It's not a romance, but a love story." It nods to plenty of predecessors—Single White Female, The Exorcist, Weapons—while navigating its own path. If you liked It Follows, this will provide the same intensity and unstoppable pursuit. If you liked Fatal Attraction, this will provide the same off-kilter (and stomach-churning) madness. If you liked Big, then this is the horror version. (This was The Wife's observation.) There were some classic jump scares that caught the entire audience off guard, even when they almost announced themselves. Recommended.

Watched at the Grand Cinema in Tacoma.

TRON: ARES

Tron: Ares (2025) directed by Joachim Rønning. Corny and contrived, this movie tries way too hard. It borrows concepts from Bladerunner and The Matrix that were done better there. Beautiful, but hollow. The soundtrack is initially interesting, but becomes repetitive. Jared Leto: what the hell? Can you even try to act? This isn't a modeling gig. It feels, and is filmed, like a standard MCU film. If it wasn't Tron-related, I would have thought it was an Avengers installment. Somewhere between meh and thumbs down.

Streaming on Disney+.

SEND HELP

Send Help (2026) directed by Sam Raimi. Imagine Castaway and Misery have a baby. Also, its raised in a household that encourages the watching of "forced buddies" movies and the "ugly duckling right in front of your face" films. And here we are. It's not a bad film, but it's also nothing special. It's billed as a dark comedy horror film, but the horror is just a couple of gratuitous scenes of gore. And the funny is more camp than anything. I think there may be a better film hiding somewhere in this gathering of overused film tropes. Meh.

Streamed on Hulu.

BACKROOMS

Backrooms (2026) directed by Kane Parsons. I am unfamiliar with the original creepypasta or the short videos by Parsons that it relies upon as foundations, so I can only explore other echoes I see in the film. First, the "backrooms" feel like some of the landscapes in the Portal 2 videogame. Literature-wise, I get vibes of The Yellow Wallpaper (Charlotte Perkins Gilman), Through the Looking-Glass, and What Alice Found There (Lewis Carroll), Slade House (David Mitchell), The Fall of the House of Usher (Edgar Allan Poe). Are there nods to fellow contemporary horror filmmakers? Maybe. If so, then especially Barbarians and Weapons (both by Zack Cregger). It's a psychological horror film, but I found it more weird than scary. It even has its moments of absurd humor, at which I found myself laughing out loud. A couple of segments of "found footage" remind me of The Blair Witch Project. It may sound like a bunch of parts of things smashed together, much like the backrooms themselves, but I think it works as its own thing, too. I liked it.

(I think it may also take a few jabs at "artificial intelligence," but that may just be my own bias coming through.)

((It is also a meditation on memory and mental illness, while remaining fairly neutral on the latter; it lets the characters be who they are, for good or ill.))

Viewed at The Grand Cinema, Tacoma.

LIVING SANCTUARIES

Living Sanctuaries: Monasteries of Zanskar (2025) by Tenzin Tsetan Choklay. Studio Nyandak, an architectural firm with offices in New York and Dharamshala, is measuring monasteries in the Zanskar Valley, a remote area in the Himalayas, in the hope of protecting them from the advancing forces of progress. These monasteries, built between the 2nd and 14th centuries, have been damaged by earthquakes, and are being threatened by climate change, declining numbers of monks, increasing exposure due to roads being built nearby, and populations moving to cities because of poverty and opportunities. Studio Nyandak's work involves young Tibetan architects and engineers making sure that monks are involved in the preservation work, the monasteries remain "living buildings" and not museums, and that local and traditional materials are used as much as possible. It's a beautiful documentary; I only wish it were longer.

Viewed as the May 2026 entry in the Tricycle Film Club.

THE CRASH

The Crash (2026) directed by Gareth Johnson. This true crime documentary couldn't have been made in an earlier era.* It uses found footage, primarily from emergency responder body cams, law enforcement recordings, and courtroom recordings; along with friend and family interviews. But also includes a ton of social media videos and posts from the youth involved in the crash that provides the title for the film. Mackenzie Shirilla survived the 100 m.p.h. impact that killed her boyfriend and a mutual friend of theirs. She conveniently cannot remember anything of the crash or what immediately precedes it. However, she has lived her entire life "performing" for social media. Is she still playing a role? Did she kill her boyfriend in cold blooded murder? The narrative of the film was well-constructed by the filmmakers but I wouldn't want to watch it again.

*Social media posts galore + a treasure trove of text messages + black box car data + footage from multiple security/surveillance cameras = information overload.

Streaming on Netflix.

BEEF

Beef season two (2026) created by Lee Sung Jin. This season is less crazy than I remember season one being, but it definitely holds its own. The cynical world of this season revolves around those who work at a posh country club. Are these people really any better than those elite rich they serve each day? No. Performances are strong, especially those of the four principals, but I'm not sure any of these characters are likable. Relatable? Perhaps. It depends on how much you embrace your own sinfulness. This is a set of tales of loneliness, betrayal, corruption, incompetence, feigned love, and faux friendship. Capitalism is held up as the natural next step in evolution, a true social Darwinism. I actually liked it, although I'm not sure I recommend it.

Streamed on Netflix.

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Ants crawl across the scenes, here and there, as though freed from the fine art title cards—reminders of our mundane and mortal lives. Buzz buzz.

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Remember the notion of always keeping custody of your drinks? Bring on the paranoia after multiple breaches of social norms regarding beverages. 

RENTAL FAMILY

Rental Family (2025) directed by Hiraki. Brendan Fraser stars as a struggling actor living in Japan who finds employment with a company that rents out actors to clients. The clients use these actors to "solve" personal problems in their lives. Fraser's Philip fills a niche as the "white guy." At times the movie is a bit too cloying, especially in the final few minutes, but ultimately it works because of Philip's tender heart. It's an exploration of the fictions that we play in our personal and professional relationships. What is real? What is truth? What would we rather lie to ourselves about? Who are we?

The film also examines loss, longing, and loneliness. As one character states, "All relationships have to end." It may be a truism, but that doesn't mean it comes without pain and mourning.

Streamed on Disney+.

THE LAMA'S SON

The Lama's Son (2025) directed by Kesang Tseten. This is a slice-of-life documentary examining life in the Mustang region of northern Nepal in the face of development and progress. Village life and the indigenous Bon religion are in jeopardy due to environmental changes, younger generations moving abroad, and the lure of money and opportunities instead of a hard life of poverty. It's a fascinating look at a culture, if not in "collapse," then definitely undergoing radical change.

Viewed as the March 2016 selection of the Tricycle Film Club.

IS THIS THING ON?

Is This Thing On? (2025) directed by Bradley Cooper. Will Arnett and Laura Dern are a couple who are both in midlife crisis and moving through separation and divorce. Alex Novak (Arnett) discovers an open mic comedian living inside him, although most of his material is melancholy at best and oftentimes downright bleak. Truth is told in the midst of various long-term relationships and reconciliation is entertained. This is a movie I went into cold and I was pleasantly surprised. Recommended.

Streaming on Hulu.