Or those videos on Instagram where a man would do sketches from the mosquito’s point of view, or as if he were Sunday Morning and just found out Maroon 5 wrote a song about them?

Or perhaps you stumbled upon Jordan Firstman’s Instagram Stories where people would submit secrets, and he would drink 1 to 9 glasses of wine throughout the night reading the most diabolical secrets?

Why are we asking these questions? Because Jordan Firstman did all the things above, and he wrote and directed his first feature film, which hits theaters later this year. Today’s Watchlist Worthy.

But first, here’s what we have for you this week:

Concession Stand Scorecard: Tony
Watchlist Worthy: Jordan Firstman’s Directorial Debut
New Pod Drop: “What is the cost of lies?” —Valery Legasov, Chernobyl EP1

This week’s movie - Tony

Letterboxd Description:

“I was — to be frank — a spoiled, miserable, narcissistic, self-destructive and thoughtless young lout, and badly in need of a good ass-kicking.”

A 19-year-old Anthony Bourdain travels to Provincetown and stumbles into the chaotic world of a restaurant kitchen, setting off a summer that will shape the course of his life.

Best Watched With

Someone who’s worked in the industry.

End Credit Thoughts

We are not sure how Anthony Bourdain would have felt about this movie being made. Maybe he would have hated it. Probably would have hated it. What we do know is this might be the best biopic we get this year.

Tony is based on a chapter in Bourdain’s bestselling memoir Kitchen Confidential: Adventures in the Culinary Underbelly. We haven't read this book in its entirety, but we can say to the book readers, with confidence, to expect major changes. Seemingly, the filmmakers had to make adjustments to add some drama, some tension, and composite some characters into one. This might piss off some people. And Bourdain.

Josh read the chapter after the movie, so he didn't have the book's influence in mind when he saw it. He went in ignorant of the source material, as we could assume many will. Anyway, enough of that; let’s get into the movie.

Let’s begin with the strongest part of the movie: the performances. Dominic Sessa (Tony aka Anthony Bourdain) is dynamite. In general, he’s been bringing a much-needed energy to coming-of-age stories that include some dark humor since his debut (see The Holdovers (2023), when we discovered what this young man is capable of), and he is nothing short of something special in this one. Allegedly, he is the nicest human in real life. No one can help but respect him instantly. Somehow, he is able to throw all that to the wayside and transform into an arrogant and egotistical young writer who seems to think the world owes him itself. How can god do anything but notice him and give him what he feels entitled to?

Sessa is not the only star shining, though; he just has the most screen time. Matt Johnson, the director, intentionally cast the kitchen staff to curate an atmosphere of riff-raff to showcase a glimpse of the culinary underbelly. Health code violations, safety hazards, and Schedule II drugs. None of these have any business taking up residence in any food establishment, and the movie needed a team of thespians who would be insanely chaotic and believable. So what do you do? Hire Leo Woodall as Sal, Stavros Halkias as, well, kind of himself, Stavros (he’s actually a comedian turned actor, and Antonio Banderas as Chef.

We usually see Woodall in likable roles or gray characters: detestable first impressions but, by the end, discovering there’s some complexity. Often leading us to feel for him. His magic is at work in this one, too. A smooth-talking, oyster-shucking bad boy of Provincetown. Stavros might be the least experienced actor. But the director through in the mix of actors to cause comedic chaos, all often improvising. Just saying wild shit. Definitely brought us into a misfit atmosphere: line cooks and dishwashers work long hours, get off, stay out too late, and run it back the next day to serve seafood to the East Coast summer folks.

Chaos with no anchor can end horribly and be too heavy-handed. Banderas, his experience and top-tier talent, as Chef grounds the squad and brings out the best of everyone. Banderas is passionate, caring, and a serious chef. But he does so with a tender heart that allows his ragamuffin crew to be themselves, as long as tickets are served. It’s not always in lines, Banderas says. His silence can be just as powerful.

Multiple paths are laid before young Tony. Which one will be walked? The odds were good on all of them. Obviously, anyone who is familiar with Bourdain in real life knows how this story goes. But seeing this adaptation of Bourdain’s journey before he was world-renowned was a fun and emotional watch. The movie excels at building a world made to mold and shape untapped talent. The mentor has a wealth of knowledge and cares about the craft; the cool kid who creates forks in the road; the chosen family who feel like home; and, of course, the girl (Emilia Jones) who sets it all off.

Tony is well shot, well edited, with a great score. For those who are tired of three-hour-long movies, this one comes in at a well-paced 106 minutes. Watch this one on the big screen.

Want to know more about our individual ratings of movies?

Follow us on Letterboxd:
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Club Kid (2026) Directed by Jordan Firstman

Letterboxd Description:

A hard-partying New York City club promoter sees his whirlwind lifestyle upended by the arrival of the 10-year-old son he never knew he had.

The Club Kid trailer caught us by surprise this week, as we aren’t fully familiar with Jordan Firstman’s game. A Cannes Festival wonder, Club Kid looks like an emotional rollercoaster. Might be one of the fuller watches of the year, since the trailer already made us laugh, think, and feel some emotion. Reggie Absolom, playing the young Arlo, seems like he’s out for blood with his performance. Can’t wait for this one!

Chernobyl (2019): Spoilers #77

🎧 Listen to this episode on Apple Podcasts or Spotify
🎥 Watch this episode on YouTube

Josh and Eric return to the studio after their on-location screening of The Odyssey for a focused, 30-minute deep dive into Craig Mazin’s acclaimed 2019 HBO miniseries, Chernobyl.

From parsing the terrifying opening monologue on “the cost of lies” to examining the hubris of Soviet bureaucracy, the hosts discuss whether the series has aged like fine wine or if we simply mature in how we digest tragedy.

They break down the standout performances of Jared Harris, Stellan Skarsgård, Emily Watson, and Jessie Buckley, analyze the tragic reality behind the “Bridge of Death,” and explore how the working class bore the brunt of institutional arrogance.

Tune in next week for | Coyote vs. Acme

Follow us on:
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Youtube: @SweetAndCondensed

Chernobyl (2019): Spoilers #77

🎧 Listen to this episode on Apple Podcasts or Spotify
🎥 Watch this episode on YouTube

Josh and Eric return to the studio after their on-location screening of The Odyssey for a focused, 30-minute deep dive into Craig Mazin’s acclaimed 2019 HBO miniseries, Chernobyl.

From parsing the terrifying opening monologue on “the cost of lies” to examining the hubris of Soviet bureaucracy, the hosts discuss whether the series has aged like fine wine or if we simply mature in how we digest tragedy. They break down the standout performances of Jared Harris, Stellan Skarsgård, Emily Watson, and Jessie Buckley, analyze the tragic reality behind the “Bridge of Death,” and explore how the working class bore the brunt of institutional arrogance.

Timestamps

• 03:19 – Did the show age well, or did we?

• 06:18 – Letterboxd overview

• 08:23 – “What is the cost of lies?”

• 09:57 – Composite characters

• 13:06 – Institutional denial

• 17:30 – The human toll

• 21:19 – Bureaucracy in crisis

• 24:00 – KGB threats vs. historical legacy

• 26:28 – Sacrificing the working class

• 29:20 – Boris Shcherbina

• 32:33 – Outro & final thoughts.

Movies & Series Mentioned

• Chernobyl (2019)

• Chernobyl Diaries (2012)

• The Odyssey (2026)

• Disclosure Day

• La La Land (2016)

• The Boy in the Striped Pajamas (2008)

• Dunkirk (2017)

• The Killing of a Sacred Deer (2017)

• Titanic (1997)

• Jurassic Park (1993)

• The Big Short (2015)

Subscribe to Sweet & Condensed! A weekly newsletter that lets you know at a glance if the latest box office releases are worth your time and money and what to expect if you decide to go.

Why you'll love it - Think all the movie love and fun, none of the snobbery. We're doing this because we love people, movies, and the magic that lives where they meet.

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The Sweet and Condensed podcast is a Three Milks Media production. ⁠⁠⁠⁠

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That being said, Ted Lasso is three weeks into the final season! How are you feeling?? Anyone else a student of Ted Lasso?

Here’s what we have for you this week:

Concession Stand Scorecard: The End of Oak Street
Watchlist Worthy: “Miles Teller has never been better” —The Street
ICYMI POD: The Odyssey, Christopher Nolan, & 2026 movies: Talking w/ People at the Theaters

This week’s movie - The End of Oak Street

Letterboxd Description:

Where goes the neighborhood.

After a mysterious cosmic event rips Oak Street from suburbia and transports their neighborhood to someplace unknown, the Platt family soon discovers that their very survival depends on them sticking together as they navigate their now unrecognizable surroundings.

Best Watched With

People who believe they could survive any post-apocalyptic event, and one friend who is humble and aware that they would die first.

End Credit Thoughts

Once again, to be honest, we did not watch the trailer for this movie beforehand (Josh is the worst). We knew Anne Hathaway and Ewan McGregor were in it, and that dinosaurs were involved. That’s about it. Going in blind was a decision. We soon learned a part of suburbia is transported, not just elsewhere, but elsewhen (is that a word? No. Run with us) with prehistoric monsters, a whole lot of WTF is happening, and way more dino excrement than anticipated—which was none.

What is worse than being mysteriously transported millions and millions of years back in time when apex predators hunt anything and everything that moves? Living in 1982 in the middle of a potential life- and marriage-altering family drama while being mysteriously transported millions and millions of years back in time when apex predators hunt anything and everything that moves. Sure, it was a hell of a time to live in American Surburbia—cruising bikes without cell phones with your friends, fire fits (shout-out wardrobe), dog houses were real, and dogs actually lived in them, and Gigli (2003) was not a movie (sorry for the strays, Martin Brest). But 1982 did not help survival in this case.

1982 was an incredible choice. That world clashing with the age of dinosaurs heightened the suspense and constrained the characters’ options for outrunning, outfighting, and outliving the forces the unfortunate people of Oak Street were up against. Power is out; use a smartphone to find out what’s happening, and use its flashlight to roam the home. Call friends and family and make sure they are okay. Use DoorDash to order food when rations are depleted. Nope, none of this. No one knew what was going on outside, let alone why. Can’t call for help or even depend on the neighbors because in 1982, everyone knew everyone, not only on the street, but in the whole damn neighborhood. And people actually bickered with the people next door AND knew their names. Outdated weapons, outdated technology, and outdated beasts (ironically, that last one super sucked because the dinosaurs are outdated. Dated beasts would be preferable. Give us a pride of lions over feathered raptors and monstrous T-rexes and those giant things that had spikes and horns and boulders on them).

The cinematography was not just for making things look cool and pretty. The close-up shots did more than show panic, fear, care, love, despair, etc. The panning shots, the aerial views, and the tight angles added stress, anxiety, and extreme discomfort. Show us the damn thing making terrifying noises. Get us out of this tight space and stop making us, as viewers, feel claustrophobic. The cinematography wasn’t just for showing us the world, but for immersing us in it. Not seeing terror can be scarier than seeing it sometimes.

Acting was great all around, but kudos to Ewan McGregor and Anne Hathaway for playing the heads of household on the verge of cracking before the world's devastation. They carried the emotional turmoil into the physical one, dealing with their own shit while committed to keeping their children breathing, which didn’t feel forced. We believed this couple was going through the wringer and cared deeply in a we’ve-been-married-for-a-long-ass-time kind of way. McGregor is great as the overly optimistic husband. And Hathaway. What a year she’s having. The performances made us feel, made us laugh, made us mad (the kids were at an age where, with the best intentions and with great care, they did dumb ass kid things that risked survival), and, overall, made us have a good time watching them perform.

It’s rated PG-13, but don’t be fooled. Way more graphic than expected. It’s never a good time watching dinos feast on flesh, but for a family sci-adventure flick, we were not prepared for the violence and blood. Not a lot of jump scares, but some damn good ones (maybe just Josh).

100 minutes was a perfect runtime for this story. We didn’t get bored. We didn’t want more or less. It was plenty of time to slow down for levity when needed. Oh, we have to mention that there is sexual activity, just not in a way any of us could ever have guessed.

We watched it in a half-filled IMAX, and everyone seemed to be having just as good a time as we were. IMAX sound and screen did add to the experience; however, any theater will do. This one is worth the price of admission.

Want to know more about our individual ratings of movies?
Follow us on Letterboxd:
@justjoshperez
@ericharrison
@kellyharrison

Paper Tiger (2026) Directed by James Gray

Letterboxd Description:

Two brothers become entangled in a scheme that turns out to be too good to be true. As they try to navigate their way through the dangerous world of the Russian mafia, family bonds begin to fray with life-altering consequences.

This movies looks amazing (need a better word for next week’s WW). Adam Driver, Scarlett Johansson, and Miles Teller are big draws already but word on the street is, Miles Teller has never been better. We LOVE Miles.

James Gray at the helm, so this could go either way but the trailer looks extremely promising. We are seated.

Also Directed by James Gray:
The Immigrant (2013)
The Lost City of Z (2016)
Ad Astra (2019)

The Odyssey, Christopher Nolan, & 2026 movies: Talking w/ People at the Theaters #76

🎧 Listen to this episode on Apple Podcasts or Spotify

The Sweet & Condensed crew—Josh, Eric, and Kelly—take the podcast on the road for a special on-location episode at the AMC Theater in Denver. They hit the lobby before and after a 70mm screening of Christopher Nolan’s highly anticipated film, The Odyssey.

Listen in as they chat with fellow moviegoers and AMC employees about their favorite theater experiences of the year, their expectations for Nolan’s latest, and the age-old debate of 70mm versus IMAX. Plus, the hosts break down their own spoiler-free reactions to The Odyssey, from Travis Scott’s surprise appearance to Tom Holland’s performance.

Tune in next week for | Tony

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How’s everyone else's summers wrapping up? lol

Here’s what we have for you today:
Concession Stand Scorecard: One Night Only
New Pod Drop: Chatting it up with Employees and Strangers at The Odyssey

This week’s movie - One Night Only

Letterboxd Description:

12 hours can change everything.

Two love-starved strangers crash into each other on the one night of the year when single people are allowed to have sex.

Best Watched With

A hopeless romantic friend and someone who doesn’t take themselves (complimentary)

End Credit Thoughts

What a wild premise. The United States decided that there needs to be a Chastity Belt Mandate — no premarital sex, sorry singles, you are ruining sex for the espoused — for 364 days of the year to restore traditional values. It’s like The Purge, but instead of murdering their neighbors, people have 12 hours to slay them sexually. How would a society even enforce this?? Great question. We asked it too. Biotech. They figured out a way to alert authorities if any singles engage in any sort of intercourse. And plopped right in the middle of this sexless for the unwed life, we have a rom-com between Owen (Callum Turner) and Allie (Monica Barbaro).

Even if the story is a bit unbelievable, and this will not enter the hall of fame of New York City Romance movies, we love a love movie set in The Big Apple. NYC is always more than a setting. It is a character. The city itself lives; it breathes, it speaks, and it interacts with every aspect of the movie. The cool, hip, and too-small-to-live-in apartments, the public transportation, the pizza shop on every corner — everything speaks to the dreams chased and caught. One Night Only is no different.

The little details are a lot of fun. The graffiti, building signs, and the notorious NYC ads found everywhere are commentary on this countrywide mandate. They are as ridiculous as funny. The movie does not take itself seriously, and this attitude serves it well. We don’t think it would work if it did.

Even considering how politicians could get enough people to vote for this policy, let alone enforce it, the most unbelievable thing about this movie is the fact that Callum Turner and Monica Barbaro would be single in a world like this. Turner may not be everyone’s cup of tea, but in a country of 300+ million people, we’re sure there’s a cool 275 million who do. Men included. And we refuse to believe that not every single person is not in love with Barabaro. She starred in A Complete Unknown as a singer-songwriter Joan Baez, and they took full advantage of her vocal gifts. Well performed by the pair, and the chemistry is believable enough that we were all rooting for love — with or without sex — by the end of it.

The soundtrack is what we expected from a modern rom-com. Popular pop songs that are predictable but fun because we know the words and rhythm to them. Nothing too surprising here, but they do implement some fun parodies as part of the plot that gave us a chuckle.

It’s absurd, it’s silly, it’s messy, it’s corny at times, but isn’t love often all those things anyway? We had a good time sitting in auditorium 6, and so did the others, laughing out loud on opening day. This isn’t a movie to sprint to and dump $100 on. Maybe a matinee, but we think those who love this genre of movies will have a good time watching this one from the comfort of their home.

Wait till streaming.

Josh Jump Scare Count: 0 (he did gag though… watch and you’ll know the scene)

Want to know more about our individual ratings of movies?
Follow us on Letterboxd:
@justjoshperez
@ericharrison
@kellyharrison

The Odyssey, Christopher Nolan, & 2026 movies: Talking w/ People at the Theaters #76

🎧 Listen to this episode on Apple Podcasts or Spotify

The Sweet & Condensed crew—Josh, Eric, and Kelly—take the podcast on the road for a special on-location episode at the AMC Theater in Denver. They hit the lobby before and after a 70mm screening of Christopher Nolan’s highly anticipated film, The Odyssey.

Listen in as they chat with fellow moviegoers and AMC employees about their favorite theater experiences of the year, their expectations for Nolan’s latest, and the age-old debate of 70mm versus IMAX. Plus, the hosts break down their own spoiler-free reactions to The Odyssey, from Travis Scott’s surprise appearance to Tom Holland’s performance.

Timestamps

• 00:00 – Intro

• 01:34 – Pre-Show Interviews

• 09:34 – Format Debate

• 10:58 – More Pre-Show Interviews

• 18:45 – Post-Show Intro: A quick audio disclaimer as the crew transitions to post-movie reactions.

• 20:02 – Post-Show Interviews

• 28:24 – Outro: Podcast wrap-up and where to find the Sweet & Condensed newsletter.

Tune in next week for | End of Oak Street

Follow us on:
Instagram: @_sweetandcondensed_
TikTok: @SweetAndCondensed
Youtube: @SweetAndCondensed

The Odyssey, Christopher Nolan, & 2026 movies: Talking w/ People at the Theaters #76

🎧 Listen to this episode on Apple Podcasts or Spotify

The Sweet & Condensed crew—Josh, Eric, and Kelly—take the podcast on the road for a special on-location episode at the AMC Theater in Denver. They hit the lobby before and after a 70mm screening of Christopher Nolan’s highly anticipated film, The Odyssey.

Listen in as they chat with fellow moviegoers and AMC employees about their favorite theater experiences of the year, their expectations for Nolan’s latest, and the age-old debate of 70mm versus IMAX. Plus, the hosts break down their own spoiler-free reactions to The Odyssey, from Travis Scott’s surprise appearance to Tom Holland’s performance.

Timestamps

• 00:00 – Intro

• 01:34 – Pre-Show Interviews

• 09:34 – Format Debate

• 10:58 – More Pre-Show Interviews

• 18:45 – Post-Show Intro: A quick audio disclaimer as the crew transitions to post-movie reactions.

• 20:02 – Post-Show Interviews

• 28:24 – Outro: Podcast wrap-up and where to find the Sweet & Condensed newsletter.

Movies Mentioned

• The Odyssey

• The Prestige

• Oppenheimer

• The Dark Knight

• The Dark Knight Rises

• Crossing

• Iron Lung

• Backrooms

• The Invite

• Project Hail Mary

• Spider-Man: Brand New Day

• Evil Dead Burn

• Dunkirk

• Leviticus

• Avengers: Doomsday

• Dune: Part Three

• Obsession

• Behemoth

• Everything Everywhere All at Once

• The VVitch

• Possession

• Event Horizon

• In the Mouth of Madness

• Good Will Hunting

• School Ties

• Interstellar

• Werewolf

• Verity

• Gail Daughtry and the Celebrity Sex Pass

• The Drama

• Hoppers

• 28 Years Later: The Bone Temple

Subscribe to Sweet & Condensed! A weekly newsletter that lets you know at a glance if the latest box office releases are worth your time and money and what to expect if you decide to go.

Why you'll love it - Think all the movie love and fun, none of the snobbery. We're doing this because we love people, movies, and the magic that lives where they meet.

Support us on Patreon!
https://www.patreon.com/SweetAndCondensed

Connect with us!

YouTube:
@SweetAndCondensed

Instagram:
⁠⁠@_SweetAndCondensed_

Twitter:
@justjoshperez ⁠⁠⁠⁠⁠
⁠⁠⁠⁠⁠@EricHarrison⁠⁠⁠⁠⁠

Letterboxd:
⁠@ericharrison⁠⁠⁠⁠⁠⁠
⁠⁠@JustJoshPerez⁠⁠⁠⁠
@kellyharrison

The Sweet and Condensed podcast is a Three Milks Media production. ⁠⁠⁠⁠

Share

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This week’s movie - Spider-Man: Brand New Day

Letterboxd Description:

A brand new day starts now.

Fighting crime full-time as Spider-Man in a world that doesn’t remember him—and the pressure of seeing his old friends move on without him—sparks a change in Peter Parker he may not have the power to control. But that transformation might also be the only thing that can stop a shocking new threat to the city and those he loves - a powerful villain no one can even see.

Best Watched With

Once again - anyone with a strong bladder (this is pushing Odyssey and Project Hail Mary runtime territory).

But seriously - virtually anyone would love this movie.

End Credit Thoughts

Directed by Destin Daniel Cretton (who is the director of a crew-favorite Short Term 12), this installment in the Tom Holland Spider-Man series was a treat. I don’t just mean the content on screen - but the overall experience.

We watched this movie at 9 PM on opening night. When we walked out of the theater, it was pushing midnight. And what did we see? Scores of people debating the post-credits scene (SPOILER - yes, there was one), wishing they saw X, Y, or Z in the movie, laughing about certain scenes, discussing the next Avengers and how this ties in, and planning trips to McDonald's. We also saw SCORES AND SCORES of people LINING up for their showtimes or waiting for concessions with their best Spidey outfits and blankets.

Let us tell you, if you have not been already - the theater IS ALIVE AND WELL. Now, this has been a great year for movies already. We’ve had some real treats, and The Odyssey is closing on a billion dollars worldwide at the box office. But that aside, the Spider-Man energy this week was insane. The parking lot was full and the night was just getting started at midnight. It made our pretentious film hearts OH so happy. Thank you, Tom Holland!

Now, for the meat of it. This movie was a more mature Spidey movie - it was a darker tone, and an exploration/continuation of the character we’ve grown to love. The Peter Parker side of things was incredible to watch in Brand New Day. Peter deals with the loneliness of MJ, Ned, and others forgetting he existed. We see him become a recluse and learn to manage (extremely poorly) life alone.

The film does a phenomenal job of setting up the future of Spider-Man - focusing on his long-term growth, legacy, and development. And while it offered very little in terms of surprises or new ideas, that is sort of the best part. We didn’t get a ton of cheap thrills but instead true character development. The action was fine, and Sadie Sink did a nice job (we won’t spoil her role too much). But the Peter side of things really shined this time around.

Not since Tobey was on screen did we feel true emotion with Spider-Man in the way we did with this film. A nice lesson is reinforced: loneliness is brutal, and life sucks without your friends, even if you’re a superhero. Find yourself a good crew, and you’ll be just fine.

From a technical standpoint, the CGI improved from the trailers - maybe they were rushed to release them when they did? Or they heard us all complaining? Either way - a step up. CGI has NOT been a strong point for Marvel recently, so we appreciate any upgrade.

Steady performances all around - the addition of Liza Colón-Zayas was fantastic.

Closing thoughts - if you’re a Spidey-head, go see this ASAP (if you can find good tickets anytime soon). If you like movies, go see this just to feel the energy in the building and parking lot.

If you’re going to get mad about green screens in a superhero movie, get over yourself and see this anyway.

Josh Jump Scare Count: (TBD - he was out of office)

Want to know more about our individual ratings of movies?
Follow us on Letterboxd:
@justjoshperez
@ericharrison
@kellyharrison

The Thomas Crown Affair by Michael B. Jordan

Letterboxd Description:

Revenge is a work of art.

A debonair, adventuresome man believes he has pulled off the perfect multi-million dollar heist, only to match wits with an insurance investigator who will do anything to get her man.

The second film by Michael B. Jordan—excuse me—by Academy Award winner Michael B. Jordan is a remake of the 1968 crime thriller by the same name. It is the second rendition, the previous one released in 1999 staring Pierce Brosnan. Not sure what is going on this trailer story wise, but the music in this teaser trailer paired with a MBJ narration has me HYPED. It looks clean. Sophisticated. Thrilling. Provocative. And we are hear for it.

Included in the casting line up is Michael B. Jordan, Adria Arjona, Kenneth Branagh, Lily Gladstone, and Aubrey Plaza. It’s hard to bet against this movie. I think it will not disappoint.

Added to my watchlist.

- jp :)

Also Directed by Michael B. Jordan:
Creed III (2023)

Best Movies of 2026 (So Far) #75

🎧 Listen to this episode on Apple Podcasts or Spotify
🎥 Watch this episode on YouTube

Josh, Eric, and Kelly reunite to recap the best (and most disappointing) movies of 2026 so far.

After some chaotic life updates—including a neighborhood pool rescue and an elaborate butter-in-the-bathtub prank—the crew dives into their recent TV binges and breaks down the films that made them laugh, cry, and jump out of their seats this year.

From the emotional highs of Project Hail Mary to the terrifying sound design of Undertow, they cover all the standout moments in cinema.

Timestamps

• 00:00 - Catching Up

• 18:00 - Best Full Movie of 2026

• 21:50 - Standout Performances

• 30:50 - Best Chemistry

• 34:10 - Best Horror of the Year

• 45:42 - Biggest Disappointments

• 48:28 - Best Theater Experience

• 53:53 - Most Anticipated for Q3/Q4

Tune in next week for | One Night Only

Follow us on:
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TikTok: @SweetAndCondensed
Youtube: @SweetAndCondensed

If big epics are not for you, we have one of our favorite movies of the year so far for you. This was a slow week with one new release: Pinocchio: Unstrung.

He has no strings to hold him back now.

Influenced by a sinister Cricket and created by Geppetto, Pinocchio launches a violent crusade to carve himself into a real boy like his brother James, one piece at a time.

-Letterboxd

Not bad reviews so far from the critics, but with travels and a birthday this week (HBD Kelly!), we don’t have time to check this one out. But luckily, we caught The Invite a couple weeks ago, and it is well worth talking about.

Here’s what we have for you this week:

Concession Stand Scorecard: The Invite
Watchlist Worthy: Writer/director of Weapons (2025) is back w/ a video game adaptation

This week’s movie - The Invite

Letterboxd Description:

It’ll be fun.

Joe and Angela’s marriage is on thin ice. When they invite their enigmatic upstairs neighbors for a dinner party, the night spirals into unexpected places.

Best Watched With

Pineapple upside-down cake lovers

End Credit Thoughts

One of the funniest and emotional movies of the year. Honestly, best watched knowing very little about it. However, if it cannot be helped, here are some thoughts.

Except for the opening sequence, this entire movie is set in one location. One beautiful, full-of-character-and-personality location. Between this and The Drama, it is quite the year for insanely curated and desirable apartments. This movie is an adapted stage play, so having one set feels most appropriate. We were worried that it would get tiresome and repetitive, but hot damn, were we wrong.

The scenes take place throughout the apartment, and each room really does feel like we’re moving through entirely different places. The use of mirrors adds a lot to the creativity and adds a visual representation of distance between characters or a sense of openness in the space. If it works for Feng Shui, it’ll work for cinematography. The movement through different rooms often matches the shift of tones and themes of the movie, making following the story seamless and avoiding being mundane.

Clearly, for this movie to work, the performances must be incredibly captivating and moving. To hold the audience’s attention for 107 minutes in one location is quite the feat, but the cast steps up to the challenge and crushes it. Olivia Wilde, Penelope Cruz, and Edward Norton have elite synergy; well-timed line delivery, communicating without speaking, and providing believable performances as they embody and transform into their characters. Yes, Rogen seemingly plays himself — of course weed is involved, and his notorious signature laugh is unmistakably him — but his dramaticism, self-deprecating humor, and ability to be emotional when needed fit this world perfectly. So far this year, we’ve never laughed so hard one moment and flabbergasted the next.

Wilde is also the director and wanted to shoot the movie on film, but the studio deemed it too expensive. Like any dedicated artist, she refused to diminish her vision and paid for the film stock herself. We are so happy she did. The film grain adds texture and richness to the visuals, and we believe it is a subtle but important part of what makes this movie work so well. Apparently, A24 thought it visually striking—and obviously well performed—enough to purchase the film after its Sundance screening, providing the producers with the means to pay Wilde back for the film stock. Good.

Once the story got going, there was no guessing what the hell was going to happen next. We eventually sat back, accepted that we were on this unknown ride, and let the absurdities unravel. It’s top-tier humor with impeccable comedic timing, while diving into the hardships and emotional turmoil some experience in relationships. Wilde and the writers did a great job balancing the ups and downs to create a well-rounded story that left us surprisingly emotionally touched.

Well worth the money and time invested. Watch this one in theaters.

Josh Jump Scare Count: 0

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Resident Evil by Zach Cregger

Letterboxd Description:

A NEW ERA OF EVIL.

Bryan, a medical courier, is in the process of making a delivery when a sudden outbreak occurs, forcing him to fight for survival.

Okay this might only excite a small percentage of the population, but we need everyone else to get on board. Zach Cregger, the mastermind behind Barbarian and Weapons, is returning to the big screens this Fall with a take on the legendary game series Resident Evil.

Now, that will excite most fans of the game, but Cregger at the helm should excite others who are horror fans. And Austin Abrams should excite EVERYONE ELSE. This dude is amazing on camera, and his character in this trailer seems to be another gem.

So many easter eggs for fans of the game, which are too be expected, but what really looks fun is that Austin’s character is not acting like a movie protagonist - his actions in the trailer are that of a Resident Evil PLAYER. So exciting.

Tune in!

-Eric

Also Directed by Zach Cregger:
Barbarian (2022)
Weapons (2025)

Tune in next week for | Spider-Man: Brand New Day

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Here’s what we have for you this week:

Concession Stand Scorecard: The Odyssey
Friends We Recommend: Skygap is helping us decide which theater to book

This week’s movie - The Odyssey

Letterboxd Description:

Defy the gods.

The Odyssey is a mythic action epic that adapts Homer’s foundational saga.

Best Watched With

Anyone who has a strong bladder and enjoys an ensemble cast and mythical stories or movies in general, or someone who was once a stranger until you shared a meal.

End Credit Thoughts

There have been dozens of film and television adaptations of Homer’s poem, each with its own filmmaker’s take, artistic imagination, approach, and interpretation. Leading up to this release, we have read countless critiques and opinions on Christopher Nolan’s version of a poetic tale told since the 8th/7th century BCE. Comments about casting, historical accuracy, dialogue, and inconsistencies riddled the internet, which we found humorous, considering the mythological poetic work of fiction was likely passed down through oral tradition.

When it comes to the art of adaptation, we are more concerned with how the essence of the original work comes to life through the vision of the director, the eye of the cinematographer, the ears of the composer, and the movement of the actors. We appreciate the passion and effort, done with intentionality and care, more than we do a filmmaker making a faithful, verbatim adaptation. Translating literary work to music and moving images is difficult work, but Nolan is hard to beat when it comes to his passion and work ethic for his craft.

We had no idea that Nolan had the horror gene. I mean, The Prestige (2006) dabbled in it, but damn. There were a few scenes in this film that he really brought his A-GAME with horror. Not JUST jump scares, but true tension and terror were palpable - which is wild to think about with this story. Or is it? There was Polyphemus, the one-eyed-son of Poseidon.

The ensemble cast was incredible. However limited screen time may have been for some — Zendeya, Theron, Mia Goth, etc — it truly made the movie special. Each of them brought their A-game, which added so much juice to the movie. Matt Damon does not always draw us to a movie, but we always enjoy his work. Surrounded by a powerful supporting cast, Damon packs a punch while letting everyone take up space and do their thing.

The world-building was also phenomenal as we followed Odysseus and his men on their adventures through Poseidon’s waters and even into Hades. The IMAX cameras served justice, capturing the roaring seas and grand landscapes — from the barren beaches of Troy to Calypso’s Island to the grand hall in the House of Odysseus — the rich colors were mesmerizing. We were LOCKED in for the full three hours. A long run time, but the combination of the performances and visuals felt more like a two-hour movie.

The secret ingredient that made the magic happen, that glued all the pieces together seamlessly, was Ludwig Göransson’s film score. The dialogue, for sure, brought the poetics, communicating themes of justice, hubris, the laws of the gods, shame and honor, and loyalty, but the music made the words sing. It set the tone for the movie, and each note compounded the previous one, culminating in an emotional grand finale.

The crew highly recommends watching this in theaters. We are unsure if this movie will hit the same at home.

We were grateful to experience it in 70MM, a real treat.

Josh Jump Scare Count: 11

Want to know more about our individual ratings of movies?
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SKYLER NERI AKA @Skygap

IMAX vs 70MM vs Dolby vs Regular theater: If you are wondering which format to watch this movie, watch our sweet friend Skyler break it down in this tiktok video.

@skygapThe best way to watch The Odyssey movie #theodyssey #movie #tiktokodysseycontest

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Tune in next week for | TBD

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Best Movies of 2026 (So Far) #75

🎧 Listen to this episode on Apple Podcasts or Spotify
🎥 Watch this episode on YouTube

Josh, Eric, and Kelly reunite to recap the best (and most disappointing) movies of 2026 so far.

After some chaotic life updates—including a neighborhood pool rescue and an elaborate butter-in-the-bathtub prank—the crew dives into their recent TV binges and breaks down the films that made them laugh, cry, and jump out of their seats this year.

From the emotional highs of Project Hail Mary to the terrifying sound design of Undertow, they cover all the standout moments in cinema.

Timestamps

• 00:00 - Catching Up

• 18:00 - Best Full Movie of 2026

• 21:50 - Standout Performances

• 30:50 - Best Chemistry

• 34:10 - Best Horror of the Year

• 45:42 - Biggest Disappointments

• 48:28 - Best Theater Experience

• 53:53 - Most Anticipated for Q3/Q4

Movies Mentioned

• Project Hail Mary

• Voicemails for Isabelle

• Obsession

• The Backrooms

• Undertone

• 28 Years Later: The Bone Temple

• Send Help

• Wuthering Heights

• The Sheep Detectives

• Mercy

• Scream 7

• Lee Cronin’s The Mummy

• The Devil Wears Prada 2

• Toy Story 5

• The Drama

• Spider-Man: Brand New Day

• Regretting You

• Reminders of Him

• Peaky Blinders: Immortal Man

• Die, My Love

• The Odyssey

• Wild Horse 9

• The Invite

• Practical Magic 2

• Dune: Part Three

• Supergirl: Woman of Tomorrow

• Superman

• Sinners

• The Other Guys

• Talladega Nights: The Ballad of Ricky Bobby

• Fight Club

• The Cabin in the Woods

• Miss Congeniality

Shows & Links Mentioned

• Maximum Pleasure Guaranteed on Apple TV

• Something Very Bad Is Going to Happen on Netflix

Subscribe to Sweet & Condensed! A weekly newsletter that lets you know at a glance if the latest box office releases are worth your time and money and what to expect if you decide to go.

Why you'll love it - Think all the movie love and fun, none of the snobbery. We're doing this because we love people, movies, and the magic that lives where they meet.

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Add another view to the 15 million it already has.

Here’s what we have for you this week:

Concession Stand Scorecard: Moana & Evil Dead Burn
Watchlist Worthy: Another Robert Eggers Christmas
New Pod Drop: Best of 2026 (So Far)

This week’s movie - Moana

Letterboxd Description:

The ocean chose her for a reason.

Moana answers the Ocean’s call and, for the first time, voyages beyond the reef of her island of Motunui with the infamous demigod Maui on an unforgettable journey to restore prosperity to her people.

Best Watched With

Siblings, niblings, and non-film critics.

End Credit Thoughts

In 2024, when Moana 2 was released, we rewatched Moana in preparation and were reminded how VIBRANT and BEAUTIFUL the images were and how every song is a BOP. Will the live-action version be able to replicate the movie magic? And, with the recent release of other live-action animated movies, will it follow suit and give us another shot-for-shot remake? Let’s get into it.

Off the bat, the introduction reinforced our doubts. Everything was animated except for the humans(?). A question mark because it was off a bit where it seemed like real humans but also not real; an uncanny experience for sure. BUT PATIENCE, spectators, it was for lore and introductory purposes.

If you’ve seen Moana (2016), you know the story, and not much changes. The differences are small, some more subtle than others. Differences that didn’t work included Maui's look. Dwayne Johnson looked like he was wearing a nipple-less body suit mis-matching his slimmer face. That being said, Johnson’s performance does not lack the same effort. He nails the heart and soul of Maui’s character, which was the bar considering he voices Maui in the animated ones—and the only returning main character.

The standouts are Catherine Laga’aia as Moana, Rena Owen as Gramma Tala, and Frankie Adams as Sina. Laga’aia goes toe-to-toe with Johnson and holds her own. She has the most screen time out of the three, obviously, and if the movie drags at all, it is not because of Laga’aia. Owen and Adams are only in it for moments; however, they do justice to the characters with each minute they grace the screen. Oh, and Hei Hei. Hei Hei is still absurd, ridiculous, and hilarious. Even though it’s mostly the same gags from him, Hei Hei generated the most laughter from the audience.

With all that said, the story is the same. The beats are mostly the same. The songs are still bops. The colors pop, the visuals are gorgeous, but is this movie another cash grab? Probably. Does that mean this movie is not worth watching? No. At least for some. We expected it to be pretty much the same movie, but we did not expect to enjoy it as much as we did. We went with our nephew and niece, and they said it was worth it. There are some new jokes and more cultural implementations that we all appreciated. The kids in the theater laughed out loud, our younger nibling was moving and grooving to the music, and the crowd clapped when the end credits rolled.

This live-action would be most appreciated by young ones born after 2016 or too young to remember the original when it came out. It was a fun event to attend with our family. If not for them, it could have been a different outcome.

To save yourself an arm and a leg, catch a matinee or wait till streaming.

Want to know more about our individual ratings of movies?
Follow us on Letterboxd:
@justjoshperez
@ericharrison
@kellyharrison

This week’s movie - Evil Dead Burn

Letterboxd Description:

Every family has its demons.

After the loss of her husband, a woman seeks solace with her in-laws. As one by one they transform into deadites, she comes to discover that the vows she took in life - survive even in death.

Best Watched With

Evil dead fans who hate their ear drums and people who love their grandma.

End Credit Thoughts

Newcomer Sébastien Vaniček directed the newest rendition of the Evil Dead Franchise, Evil Dead Burn. It provided us with two core things horror fans want: a kick ass final girl and a weak ass boyfriend who gets his shit rocked. It also displayed one of the more memorable horror characters in years — a grandma with dementia who had no clue what the hell was going on half the time, and the most aggressive and disturbing on screen kiss that we’ve ever seen (and we’ve even see The Empire Strikes Back).

Before we get into this one, we want to be sure and pay our respects — Sam Raimi, the creator of the franchise, really curated something special with original trilogy alongside his friends, producer Rob Tapert and actor Bruce Campbell, who starred as the iconic character Ash Williams. Every movie is a blast — you’ll never be bored.

Now, for those new to these movies, the entirety of the original trilogy hinges on this the contradiction: an unstoppable force vs immovable object since the rules are:

- Deadites always win

- Ashe can never lose

We see some incredibly outlandish kills and physics-defying stunts in many of the films. The campiest of camp films.

(Deadites, to be clear, are a species of undead parasitic spirits that feed on the souls of the living and possess their bodies).

Now, we won’t go into all the lore... we’ll spare you. But it’s important to understand — these movies have always been chaotic, comedic, gory-as-hell, and a lot of fun. The 2013 remake was a directorial debut for Fede Álvarez, and it was the scariest of the entire franchise. Since then, 2023’s Evil Dead Rise and this week’s Evil Dead Burn have gone back to the roots of out of this world comedy horror.

Burn was not very well put together, but that is expected with a new-ish director. A nonsensical storyline is expected with these, but this movie, at times, suffered from a choppy opening and ending.

Still, lots of fun to be had for Evil Dead fans — creative kills, lots of gore, and some hilarious commentary from the deadites.

If you love yourself some Ash or deadites, see it in theater.

If you’re a casual horror fan/movie goer, wait for streaming on this round!

Want to know more about our individual ratings of movies?
Follow us on Letterboxd:
@justjoshperez
@ericharrison
@kellyharrison

Send this scorecard to a friend!

Werwulf by Robert Eggers

Letterboxd Description:

Do not dread the darkness. Embrace it.

In 13th-century England, a town is haunted by a ravenous beast that threatens the safety of a man and his family.

Our entire crew is seated. The theater employees are scared, saying “This movie doesn’t release until Santa Clause is in town” but we’re still too seated.

-Eric

Also Directed by Robert Eggers:
VVitch (2015)
The Light House (2019)
The Northman (2022)
Nosferatu (2024)

Tune in next week for | The Odyssey

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The minions are, of course, on the hunt for their “big boss” to follow. Since we know their life mission is to find the perfect villain to follow, inquiring minds have asked the director if the Minions followed H*tler. He responded with a very clear “shame on you” and proceeded to explain that no, they were in a cave during H*tlers reign.

SHAME ON YOU, INTERVIEWER.

Which “big boss” do you think they would try to follow after the 1920s?

Here’s what we have for you this week:

Concession Stand Scorecard: Minions & Monsters
Watchlist Worthy: A religious hitman
ICYMI: Patrick is back on to spoil the latest Spielberg flick w/ Josh

This week’s movie - Minions & Monsters

Letterboxd Description:

Hollywood has a monster problem.

This is the rambunctious, ridiculous and totally true story of how the Minions conquered Hollywood, became movie stars, lost everything, unleashed monsters onto the world and then banded together to try and save the planet from the mayhem they had just created.

Best Watched With

People who love history, movies, and movie making. And people who don’t kick kids.

End Credit Thoughts

The seventh installment in the Gru & Minions universe has arrived and unexpectedly hit us directly in our movie-loving hearts. We expected Minions & Monsters to be playful, humorous, and ridiculous, but we were taken by surprise to experience a touching visual love letter to Hollywood and the craft of filmmaking.

The story crawls back through history, with most of it set in 1920s Los Angeles. The animation incorporates a few styles to give vibrancy and life to the passion for moviemaking, which extends beyond the movie itself. The opening credits pay homage to early cinematic pioneers, with cameos and fun parodies of classic films sprinkled throughout.

Writer and Director Pierre Coffin (who is pushing 60, which is incredible) is fluent in Minionese, so of course he reprised his role as the voice of every yellow henchman. He’s committed to the vision so heavily that he’s not afraid to be ridiculous with his inflections and emotive expressions. Respect.

He is accompanied by some new voices in this addition: South Park’s co-creator Trey Parker, Allison Janney, Christoph Waltz, Jeff Bridges, Jesse Eisenberg, and Zoey Deutch. Quite the ensemble, all capable of being the leading actor; however, here they excel at supporting the gibberish-speaking Minions, allowing them to shine.

Maybe with the exception of Trey Parker as Goomi, who is the standout from the bunch, as the main antagonist once the movie gets going. Parker brings sinister, clothed in a faux-friendly-ness, delivered with a lisp. His line delivery brings a playful dynamic to his villainous intentions that young audiences will love.

There are some darker scenes that feature magical summoning, spellbooks, and witchcraft-adjacent conjuring. If your littles have curious and inquisitive minds, be prepared to do some explaining. Per usual with these films, there is some humor woven throughout that will fly over kids’ heads but will be appreciated by mature audiences.

If you have the cash, take the fam for an evening showing or catch a weekend matinee if you’ll be suckered into buying a box of candy for every kid, large popcorns, and $9 sodas (Eric).

Stay for the end credits to roll out to see some extended scenes.

Want to know more about our individual ratings of movies?
Follow us on Letterboxd:
@justjoshperez
@ericharrison
@kellyharrison

Your Mother Your Mother Your Mother by Bassam Tariq

Letterboxd Description:

Latif, a devoutly religious hitman, struggles to balance work, faith and fatherhood. When his wife dies, he embarks on a desperate journey across Houston to protect his children, confronting the forces closing in around him – and the beliefs threatening to unravel within.

Mahershala Ali is the MAN. We had no idea this was even a thing (okay maybe some of us did, but some of us didn’t). This looks promising. Can’t wait!!

-Eric

Also Directed by Bassam Tariq:
Mogul Mowgli (2020)

Disclosure Day: Spoilers w/ Guest Patrick D’Silva, PhD #73

🎧 Listen to this episode on Apple Podcasts or Spotify

In this episode, Josh sits down with Patrick to spoil Steven Spielberg’s latest sci-fi blockbuster, Disclosure Day. Before breaking down the alien-human discourse, they catch up on Patrick’s latest public education ventures, explore how Gen Z is reshaping theater spaces, and critique the script’s use of classic cinematic tropes.

Spoilers throughout!

Timestamps

• 01:13 – Catching Up

• 09:25 – Disclosure Day conversation begins

• 11:18 – Our Personal Spielberg Nostalgia

• 18:29 – The Theater Experience

• 21:16 – Enchantment vs. Analysis

• 30:31 – Deconstructing the Tropes

• 42:19 – Theological Nuance

• 1:08:13 – The Progtagonists

• 1:11:12 – Final Verdicts

Patrick’s Links

• The Religion Department: religiondepartment.com — Access to accessible religious studies courses for the general public, featuring Patrick’s upcoming course on Rumi’s Masnavi.

• Substack Platform: Worlds Beyond Worlds — Patrick’s hub for his podcast episodes looking at autonomy in the college classroom and his upcoming essay series, Terraforming the Earth.

Tune in next week for | Moana Live Action

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Youtube: @SweetAndCondensed

Here’s what we covered in June in case you missed anything!

Teenage Sex and Death at Camp Miasma by Jane Schoenbrun

The Social Reckoning by Aaron Sorkin

Shrek 5 by Walt Dohrn, Conrad VernonColony by Yeon Sang-ho

Subscribe now

Halfway through 2026, we're thinking about the best movies so far. Keep an ear out for a possible new pod drop speaking on this 👂🎙️👀

Here’s what we have for you this week:

Concession Stand Scorecard: Supergirl
New Pod Drop: Patrick is back on to spoil the latest Spielberg flick w/ Josh

This week’s movie - Supergirl

Letterboxd Description:

TRUTH. JUSTICE. WHATEVER.

When an unexpected and ruthless adversary strikes too close to home, Kara Zor-El, aka Supergirl, reluctantly joins forces with an unlikely companion on an epic, interstellar journey of vengeance and justice.

Best Watched With

John Wick fans

End Credit Thoughts

Umm, so this was interesting. The majority of our crew does NOT consider us to be a pretentious group. Some (Kelly) call others (Josh, Eric) pretentious, and some (Sarah) may or may not exist anymore (inside joke, sorry. Okay, moving on). But we like to be honest. We don’t like to lie to you, our beloved readers. This superhero flick suffers from so many ailments. It’s poorly lit, has a pretty brutal script, and the pacing is reaaaallly off throughout the entire thing. Some (Kelly, and many of you) might call those pretentious critiques. But they were felt so deeply when we watched, we had to share.

Craig Gillespie really didn’t know what to do with this movie. It suffers from an identity crisis.

When Supergirl was soft-launched at the end of Superman (2025), she felt SO SO promising. Her charisma, on-screen presence - however short - was fantastic. We wanted more. And Craig delivers us a pretty bland, uninspired dive into Supergirl’s world. DISCLAIMER: Milly is innocent of these crimes. She does a really good job, and many fans will still love her as Supergirl. She does the best she can do with the script, story, direction, etc. that she is handed.

The movie fluctuates between a tone of hard party rockin Zor-el, who is always hungover (we lost track of how many times she took off/put on her sunglasses), and a Star Wars vibe with the silly alien jazz clubs. The Kremlin of the Yellow Hills was not a convincing group of villains. Kind of dull.

AND, the emotional moments didn’t work for us. Yeah, yeah, Krypto is cute. But that isn’t enough. Jason Momoa’s Lobo isn’t really all that fun. It’s forced. But he had potential! That is what we mean when we say Gillespie didn’t know how to handle the source material. It’s just BLAND. Milly was almost muted. We needed a little more. Eve Ridley, who plays Ruthye Knoll, did an ok job. She had a sort of monotone, one-trick expression of sadness throughout the entire movie.

We can’t quite put our finger on it. It was almost there.... and look, we know superhero movies are tough to make. We’re a TOUGH CROWD, annoyingly critical, and we love to complain. But this is truly... sort of a mess. We think the professional critics were definitely a little harsh, but our final call is to save this for streaming — even though we love the theater. It just might not be worth the price of admission.

Want to know more about our individual ratings of movies?
Follow us on Letterboxd:
@justjoshperez
@ericharrison
@kellyharrison

Disclosure Day: Spoilers w/ Guest Patrick D’Silva, PhD #73

🎧 Listen to this episode on Apple Podcasts or Spotify

In this episode, Josh sits down with Patrick to spoil Steven Spielberg’s latest sci-fi blockbuster, Disclosure Day. Before breaking down the alien-human discourse, they catch up on Patrick’s latest public education ventures, explore how Gen Z is reshaping theater spaces, and critique the script’s use of classic cinematic tropes.

Spoilers throughout!

Timestamps

• 01:13 – Catching Up

• 09:25 – Disclosure Day conversation begins

• 11:18 – Our Personal Spielberg Nostalgia

• 18:29 – The Theater Experience

• 21:16 – Enchantment vs. Analysis

• 30:31 – Deconstructing the Tropes

• 42:19 – Theological Nuance

• 1:08:13 – The Progtagonists

• 1:11:12 – Final Verdicts

Patrick’s Links

• The Religion Department: religiondepartment.com — Access to accessible religious studies courses for the general public, featuring Patrick’s upcoming course on Rumi’s Masnavi.

• Substack Platform: Worlds Beyond Worlds — Patrick’s hub for his podcast episodes looking at autonomy in the college classroom and his upcoming essay series, Terraforming the Earth.

Tune in next week for | Minions & Monsters

Follow us on:
Instagram: @_sweetandcondensed_
TikTok: @SweetAndCondensed
Youtube: @SweetAndCondensed

Disclosure Day: Spoilers w/ Guest Patrick D’Silva, PhD #73

🎧 Listen to this episode on Apple Podcasts or Spotify

In this episode, Josh sits down with Patrick to spoil Steven Spielberg’s latest sci-fi blockbuster, Disclosure Day. Before breaking down the alien-human discourse, they catch up on Patrick’s latest public education ventures, explore how Gen Z is reshaping theater spaces, and critique the script’s use of classic cinematic tropes.

Spoilers throughout!

Timestamps

• 01:13 – Catching Up

• 09:25 – Disclosure Day conversation begins

• 11:18 – Our Personal Spielberg Nostalgia

• 18:29 – The Theater Experience

• 21:16 – Enchantment vs. Analysis

• 30:31 – Deconstructing the Tropes

• 42:19 – Theological Nuance

• 1:08:13 – The Progtagonists

• 1:11:12 – Final Verdicts

Patrick’s Links

• The Religion Department: religiondepartment.com — Access to accessible religious studies courses for the general public, featuring Patrick’s upcoming course on Rumi’s Masnavi.

• Substack Platform: Worlds Beyond Worlds — Patrick’s hub for his podcast episodes looking at autonomy in the college classroom and his upcoming essay series, Terraforming the Earth.

Movies Mentioned

• Disclosure Day

• Jurassic Park

• The Arrival

• Frankenstein

• The Lord of the Rings

• Jaws

• Raiders of the Lost Ark

• E.T. the Extra-Terrestrial

• Saving Private Ryan

• Hook

• Indiana Jones and the Temple of Doom

• Star Wars

• Close Encounters of the Third Kind

• Rogue One: A Star Wars Story

• The Lion King

• How to Train Your Dragon

• Jurassic World: Rebirth

• The Mandalorian & Grogu

• Sinners

• Dune: Part Two

• Dune: Part Three

• A Few Good Men

• Independence Day

• Pressure

• Catch Me If You Can

• The Terminal

• Challengers

• Mad Max: Fury Road

• The Passion of the Christ

• The Fabelmans

• Children of Men

• Toy Story 5

Subscribe to Sweet & Condensed! A weekly newsletter that lets you know at a glance if the latest box office releases are worth your time and money and what to expect if you decide to go.

Why you'll love it - Think all the movie love and fun, none of the snobbery. We're doing this because we love people, movies, and the magic that lives where they meet.

Support us on Patreon!
https://www.patreon.com/SweetAndCondensed

Connect with us!

YouTube:
@SweetAndCondensed

Instagram:
⁠⁠@_SweetAndCondensed_

Twitter:
@justjoshperez ⁠⁠⁠⁠⁠
⁠⁠⁠⁠⁠@EricHarrison⁠⁠⁠⁠⁠

Letterboxd:
⁠@ericharrison⁠⁠⁠⁠⁠⁠
⁠⁠@JustJoshPerez⁠⁠⁠⁠
@kellyharrison

The Sweet and Condensed podcast is a Three Milks Media production. ⁠⁠⁠⁠

Share

Subscribe now

Until then,

Here’s what we have for you this week:

Concession Stand Scorecard: Toy Story 5
Watchlist Worthy: The Fifth Ogre & Donkey installment?!

This week’s movie - Toy Story 5

Letterboxd Description:

It’s on.

When Bonnie receives a Lilypad tablet as a gift and becomes obsessed, Buzz, Woody, Jessie and the rest of the gang’s jobs become exponentially harder when they have to go head to head with the all-new threat to playtime.

Best Watched With

Anyone who is still a kid at heart (or anyone who wants to be)

End Credit Thoughts

Okay — the crew (Eric) may be a little biased on this one. Some of us (Eric) still have Buzz Lightyear toys from the 90s that we just couldn’t get rid of. Some of us (Eric) have taken Buzz with us (Eric) to other countries and even to Europe in high school.

SO, take that into account when reading this. LOL.

Pixar never misses when it comes to Toy Story movies. Do they miss with other movies? Yeah, they absolutely do all the time. But damn, they still got it. Jessie, Woody, Buzz & the gang take us on another adventure against everyone’s worst enemy: TECHNOLOGY. Now going into this, based on the trailer, etc, we really thought this would be a shake-your-fist-at-the-sky “curse you technology” freight train. But, as Pixar always does, they told a wonderful story about how we can navigate change and growing up through love.

The entire toy gang goes up against Lilly Pad, a device that sucks Bonnie (and every other kid on planet earth) into all-out zombie mode. When she first gets her device, she becomes lifeless. She discards her toys, ignores her parents, and wants nothing more than screen time. The gang must find a way to win Bonnie back and not lose her to tech forever, and the adventure they go on to do just that is such a fun ride!

Life is tough for a kid. At times, technology makes it much tougher. It can be brutal, and the movie shows the dark side of tech and handles a bit of cyberbullying. We come full circle in the end, and the toy gang helps Bonnie learn to navigate tech, build friendships, and navigate change and growing up. There was a line in there (that we may butcher), but it was something along the lines of TRUE friends won’t want you to change a thing. We love that. True friends will take you as you are.

So, for all the kids out there who want to fit in, don’t worry! The right people will come along eventually, and you’ll find a community that is worth waiting for. Screw any kid or “friend” who wants you to change who you are.

The Pixar way of weaving in humor for the adults is so amazing. We truly believe this is a movie for ALL ages. As is every movie in the Toy Story saga.

Please go watch this in theaters. Not only to keep the theater alive, but to keep the inner child inside you alive, too.

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Shrek 5 by Walt Dohrn, Conrad Vernon

Letterboxd Description:

The All-Star returns.

Shrek and Donkey team up for another whirlwind, big-city adventure.

The fifth?! Honestly, I forgot we’ve already gotten a third and fourth.

Will this continue the swamp ogre’s legacy? Or is this too much?

I do not know. But Shrek was paramount to my upbringing, and is a staple in popular culture. It stars the OG folks like Mike Myers, Eddie Murphy, and Cameron Diaz with the addition to new voices: Zendaya (who is on a tear of pumping out BANGERS), Marcello Hernádez (who I have yet to meet someone who is not charmed by his charisma), and Skyler Gisondo (who has been building up a name for himself, including starring in the latest Superman movie). I would watch this movie regardless, but with these new names, I am even more sat. I am looking forward to experiencing this big-city adventure of Shrek and Donkey and I am sure I am not alone.

-JP :)

Tune in next week for | Supergirl

Hopefully. This is the plan. It may come Saturday morning. There’s a lot going on next week, but we’ll see how it pans out.

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Toy Story 5
The Death of Robin Hood
Leviticus
Jackass: Best and Last
Supergirl
The Odyssey
Spider-Man: Brand New Day
One Night Only

An incredible lineup with a mix of nostalgia, mythology, idiocracy, superhero, and feel-good rom-com. We have a feeling it’s going to be a fun season of moviegoing. Let’s get into it!

Here’s what we have for you this week:

Concession Stand Scorecard: Disclosure Day
Watchlist Worthy: The Eldest Boy is back!

This week’s movie - Disclosure Day

Letterboxd Description:

We deserve to know.

A cybersecurity expert becomes a whistleblower to reveal secrets about aliens, putting him on the run from a corporation while a meteorologist experiences strange phenomena and joins forces with him to prove there’s life beyond our knowledge.

Best Watched With

Someone you would take the long way home with, to continue the conversation.

End Credit Thoughts

We went in mostly blind, having watched an early trailer, and, honestly, had an absolute blast. We felt like curious kids again, asking our parents questions only to get "trust me," aka "because I said so.” So if you are asking us, “why should I watch this in theaters?” and want to be bold and brave, trust us. Go see it. Not because it is going to be universally loved, but because it brings up themes, thoughts, and ideas we think are worth sitting with.

HOWEVER, we can not not write a little something something for the skeptics of Spielberg (are there?) and supporters of this newsletter.

What would make the world stand still?

This is what Spielberg is exploring in Disclosure Day. The latest trailer—and the letterboxd description—explicitly mention aliens. Yes, extraterrestrial life would make 8 billion people pause and consider implications. But it’s not the what that fills people’s legs with lead, but the context. The movie has something to say about the other, the unknown, and though the characters on all sides are riddled with fear, the story is not.

Themes and tones of religion and politics are heavy, something we did not expect. They are used well for character development and character arcs. Considering one of the main characters is a private corporation whistleblower (Josh O’Connor), morality and ethics are wrestled with. The story tugged us close and made us consider what we would do in the situation. It’s not quite one side vs the other, which we appreciated. We love seeing the complexity of what it means to be human, to be alive amongst non-human life, and what it would mean to decenter humanity regarding the universe.

The movie is incredibly empathetic, and we can’t think of a better trio than Emily Blunt, Coleman Domingo, and Josh O’Connor, to bring the story to the silver screen. Blunt embodies power and authority with gentle hands and a caring heart. O’Connor is a tender soul, on and off the screen, and Coleman is someone we would blindly follow to the promised land if he asked. The movie needed warmth, and it needed us to believe the characters believed in each other. This team delivered.

There’s a lot we love about Spielberg’s storytelling, but one of the best things he does is his use of curiosity, tension, and awe and wonder. From the lighting to the camera movement, what is left out of the frame is just as important as what’s within it, down to the subtle movements and moments between characters; he uses every aspect of filmmaking not only to move the story forward but also to draw the audience to the edge of their seats.

Disclosure Day is strange. It is mystical and beautiful. Whether this movie is loved or hated, it’s the kind of movie that reminds us why cinemas exist. A big screen for a big story with big feelings within a massive universe.

Is it a timely movie for the current world we’re living in? We don’t know, but we’d like to think so. This movie is worth the price of admission.

Josh Jump Scare Count: 1 (big one)

The Social Reckoning by Aaron Sorkin

Letterboxd Description:

Frances Haugen, a young Facebook engineer, enlists the help of Jeff Horwitz, a Wall Street Journal reporter, to go on a dangerous journey that ends up blowing the whistle on the social network’s most guarded secrets.

Okay there is so much to be excited about here. One of us — we won’t mention any names (Josh) — had a sexual reaction to this trailer.

THE CAST?? Mikey Madison? Jeremy Strong? Jeremy Allen White? Bill Burr (?)? This should be insane. Strong NAILS the Zuckerberg voice.

Now the problem is, The Social Network is a top 10 movie of all time (shoutout Fincher) so only time will tell if this lives up to the hype. Sorkin is a fantastic director so we have high hopes. Is it missing the Fincher sauce? Or maybe the only sauce we needed was the trailer ending with the OG film score because we slurped that up.

We can’t wait to find out.

Also Directed by Aaron Sorkin:
Molly’s Game (2017)
The Trial of the Chicago 7 (2020)
Being the Ricardos (2021)

Tune in next week for | Toy Story 5

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It turns out it’s not Netflix saving Hollywood; it’s Generation Z. In April, Variety published a piece about Gen Z driving the box office. In May, they showed up! The Gen Z filmmakers behind Obsession, and Backrooms, were the heavy hitters for the month, even making AMC’s highest-attended month of May since 2019!

Hell yeah.

Here’s what we have for you this week:

Concession Stand Scorecard: Scary Movie
Watchlist Worthy: WTF is this trailer, but also yup, at least two of us are sat.
Friends We Recommend: Latest Movie Mavens Podcast Episode

This week’s movie - Scary Movie

Letterboxd Description:

Every line will be crossed.

Twenty-six years after outrunning a suspiciously familiar masked killer, the Core Four are back in the killer’s crosshairs and no horror movie IP is safe.

Best Watched With

Someone whose skin is tougher than Teyana Taylor’s abs, and chronically up to date on pop culture.

End Credit Thoughts

Scary Movie claims every line will be crossed and no horror movie IP is safe. And they did not lie. They even took shots at non-horror movies like One Battle After Another. It has been 25 years since the Wayans Brothers took the reins of the Scary Movie franchise, and 13 years since Scary Movie 5. There was a lot of catching up to do, and catching up they did.

The ghostface killer from the Scream franchise leads the charge in terms of the storyline, but the movie also pulls in callbacks to other scary movie legacies, such as Terrifier, Get Out (2017), and Halloween (2018). They had nods to not-so-big productions such as Ma (2019) and Longlegs (2024), to major ones such as Netflix’s Wednesday series, and Oscar winners like Sinners (2025) and Weapons (2025).

The humor is what we expected from this family of filmmakers. They took shots at people all over the political and social spectrums. Race, politics, gender, the run-of-the-mill topics most avoid during Thanksgiving dinner, were all fair game. From pronouns to broad strokes painting a certain demographic as racist, we knew we couldn’t be sensitive or take offense. Comedy might be the last place for public discourse where anything goes, even if people disagree with this. Because for this filmmaking crew, comedy means nothing is censored.

It was fun seeing the gang get back together. The OG crew fell right into step with one another and looked like they were having fun making this movie, even if at times the fun was only for them. There were more call-backs than original and new quotable quotes.

One has to know a lot about horror movies. For the most part, they are riffing on major hitters, but some of the scenes are bar-for-bar parodies of scenes from one installment of a franchise. If you missed a movie, a joke or a few can be missed as well.

This movie is dumb in a great way. It’s not trying to be profound; it knows what it wants to be, and the crew delivers true to the Scary Movie tradition. We went to a Dolby fan event on opening night (for the free merch), but if it wasn’t for AMC A List Stubs, this would have been $20+ a ticket. Yes, we want to support theaters, but there are plenty of other bangers out right now to do so. This is a great streaming-at-home movie, especially for those who take vitamin T, H, C, C, B, D supplements.

Josh Jump Scare Count: 3

Teenage Sex and Death at Camp Miasma by Jane Schoenbrun

Letterboxd Description:

Blood. Lust.

After years of slapdash sequels and waning fandom, the Camp Miasma slasher franchise is handed over to an enthusiastic young director for resurrection. But when she visits the original’s star, a now-reclusive actress shrouded in mystery, the two women fall into a blood-soaked world of desire, fear, and delirium.

A new film by Jane Schoenbrun, who brought us I Saw The TV Glow…. WOW this trailer fucked us up. We aren’t sure what to expect at all, at all.

But we are seated.

-The Harrisons

Also Directed by Jane Schoenbrun:
We’re All Going to the World’s Fair (2021)
I Saw the TV Glow (2024)

Home of the Spicy Double Feature, Movie Mavens is a podcast about movies hosted by filmmaker Annie Jaynes and pop-culture critic Carsen Greene.

Each week, the Movie Mavens compare two or more films that are related in some way in what they call a Spicy Double Feature.

They also keep a diary of recent watches and recommendations across all entertainment: film, TV, games, books, & more!

Follow them on Instagram @MovieMavens

For business inquiries, email moviemavenspodcast@gmail.com

Their latest episode is on two movies still in theaters, one we haven’t seen yet and one we said is worth the price of admission.

Ep. 222 - Contemporary Cultural Commentary??? (Obsession + I Love Boosters)

Is OBSESSION as good as everyone says? Is I Love Boosters deserving of the walk-outs? The Mavens discuss this and so much more. 

00:00 - Intro

01:45 - Obsession

19:14 - I Love Boosters

Tune in next week for | Disclosure Day

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Till then, read about the terror of liminal space and listen to yet another freaky Robert Patterson voice (highly complimentary) in his next feature. We don’t know who’s working harder in 2026, R Patt, Anne Hathaway, or Zendaya but we’re not complaining. Keep em coming, gang.

Here’s what we have for you this week:

Concession Stand Scorecard: Backrooms
Watchlist Worthy: New R Patt Voice Unlocked!

This week’s movie - Backrooms

Letterboxd Description:

You are not supposed to be here.

A strange doorway appears in the basement of a furniture showroom.

Best Watched With

Generation Z and anyone who knows what creepypasta is

End Credit Thoughts

This was… something. . .

Kane Parsons is the youngest director A24 has worked worked with to date and he extends and pushes the Backrooms lore with this feature film. The Backrooms can be found by way of a portal of sorts, or better explained would be, for anyone who played N64 games like Goldeneye 007, by experiencing a glitch (noclip) where your character would move freely through solid objects like walls.

In the Backrooms, endless liminal space; passages, doorways, rooms, a labyrinth inhabited by the uncanny. Rumor has it, the production built such a large set that crew members actually got lost while filming.

The movie does an extremely well job building a world of familiarity that invokes curiosity but not without hesitation and eeriness. We were in it with the characters. Both wanting to lurk around, go venture to into the next space, but also disturbed by the bleak and bland yellow walls. The constant white noise hum reverberated in our chests making us uncomfortable in our AMC signature recliners making our desire to explore in contention with wanting the characters to get the fuck out ASAP.

The storyline involving a therapist and client immediately invokes a psychological aspect that lead us to asking questions. Is this a metaphor? What needs to be reveled? What doesn’t? Where are the connections to the therapy or is this a red herring? The Backrooms gives you plenty to ruminate on, and wonder whether your overthinking or need to crank the gears into overdrive.

The cast is elite and everyone came to play. Chiwetel Ejiofor gives an emotional and manic performance as Clark, the patient of Mary (Renate Reinsve). We don’t think Reinsve can give a subpar performance. She is a titan of a thespian. Her acting never feels forced but always a force to be reckoned with.

The found footage POV style the movie implements adds claustrophobia to the viewing. Wanting to turn, but you can’t. Wanting to see the context of the character but are limited to seeing what they are seeing. It was like the auditorium atmosphere was putting pressure onto our chests and bodies, weighing us down into the seats.

The movie definitely shows more than explains, which is always nice. It assumes we are smart enough to put things together, but also, the story starts to fray in the final act. We were unfamiliar with the lore and Youtube series of the Backrooms. We knew of Kane Parsons, or better his online alias Kane Pixels, but our knowledge did not go further than this. One would definitely benefit from being familiar with this concept. Because we weren’t, it still delivered a psychological thrill and horror experience, but left us asking a whole lot of questions.

The theater enhances the experience for sure. Kane Parson fans will want to watch this in theaters. Horror/thriller fans will appreciate the sitting in a third space such as a cinema, but those go in blind, even the genre lovers, might be pissed off by this one. It’s not for everybody, but what a feat by the 20 year old director. We do tip our hat and was not mad contributing money to someone taking big swings.

Josh Jump Scare Count: 16

Primetime by Lance Oppenheim

Letterboxd Description:

A journalist takes on an underworld of crime and changes television forever.

As you all know - if you’ve ever read the newsletter even once - we are all HUGE Robert Pattinson fans. Well, this trailer is CHILLING and RP’s voice is unrecognizable. He loves a weird accent, and so do we. Beyond just that, we can’t wait to see him play Chris Hansen in the upcoming Oppenheim’s narrative feature film debut.

September GET HERE ASAP PP.

-Eric, Kelly, & Josh

Tune in next week for | Scary Movie 6

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In last week’s newsletter, we brought you the 2,789th Star Wars entry. Josh texted the group, “headed to watch that Groot movie or something.” He’s never been a big SW guy. Real shame.

Pedro Pascal and Baby Yoda have been fun on screen before, so fingers crossed we get a banger.

Here’s what we have for you this week:

Concession Stand Scorecard: Star Wars: The Mandalorian and Grogu
Watchlist Worthy: You ever send texts, DMs, or voicemails to someone who’s passed for catharsis?

This week’s movie - Star Wars: The Mandalorian and Grogu

Letterboxd Description:

If you’re searching for new adventure, “this is the way.”

The evil Empire has fallen, and Imperial warlords remain scattered throughout the galaxy. As the fledgling New Republic works to protect everything the Rebellion fought for, they have enlisted the help of legendary Mandalorian bounty hunter Din Djarin and his young apprentice Grogu.

Best Watched With

Side quest lovers and suckers for cute little green Grogus

End Credit Thoughts

Alright, first things first. Honesty. We have not watched much of the Mandalorian series, and yes, we still decided to go watch this movie and see if it is worth the price of admission. We can confirm seeing season 1, but that is all. Sue us. (Please don’t. Unless it’s Eric. You can sue him.)

Therefore, do you need to be familiar with the Mandalorian series to enjoy this movie? We are going to say no, you do not. Would it be helpful? Probably, but it is a pretty straightforward adventure sci-fi movie.

Do you need to be familiar with the Star Wars franchise in general to watch this movie? No, not necessarily. But to enjoy? Yes, we recommend that you familiarize yourself with the world of Star Wars. The editing, the Jim Henson-style practical effects, the legacy of OG Star Wars characters, there is much here to experience for Star Wars lovers and fanatics as this movie expands the lore.

The story is formulaic and does not feel like it is doing anything new. This is not to say it is not entertaining. We love a movie that starts off with a successful mission that leads to another seemingly easy-peasy follow-up mission that goes awry. James Bond fans, anyone?

The Star Wars world is present. From the power-point scene transitions to the intergalactic space travel to planets that look like downtown Chicago to planets that look like the bayou. The environments are characters in and of themselves, and we enjoyed Jon Favreau’s and the film production team’s effort in building the sets.

We read Jeremy Allen White’s name in the opening credits and waited the entire movie for him to appear. We have to admit, we did not do our due diligence and learn everything we could going into it. Honestly, it’s way more fun going into movies blind. It turns out, White voices a character, and it sounds about 0% like him. Which was awesome, as it did not pull us out of the movie.

Of course, Pedro Pascal does a job well done, suited and helmeted up. Call it gimmicky or whatever, but Martin Scorsese voicing a character was fun as hell. That is an Emmy-nominated actor now, and we are excited to see where his young career goes from here.

Even with the Mandalorian’s stoicism, there were some good laughs to be had. Grogu, as the folks who watch the television series already know, adds a touch of playfulness. He is adorable, elicits some chuckles, and heightens the stakes because who wouldn’t get stressed if this child were in danger?!

Overall, this movie feels like a large-scale side quest. A lot of what we see on screen is nothing new to those who have been engrossed in the franchise. Impossible missions, betrayal, loyalty to a fault, pits of unknown monsters, and, of course, lightspeed. It is a fun movie, and Mandalorian and Star Wars die-hards will want to watch it on the big screen, but it was not epic or moving enough for us to call it a must-watch for all movie-lovers.

Josh Jump Scare Count: 1

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Follow us on Letterboxd:
@justjoshperez
@ericharrison
@kellyharrison

Voicemails for Isabelle by Leah McKendrick

Letterboxd Description:

Sometimes the universe leaves you a message.

A young woman’s hilariously confessional voicemails to her late sister are unknowingly redirected to a stranger, who begins to fall in love from afar.

I watched this trailer at 6am on a random morning and I was crying in bed. Immediately showed Eric and watched him the entire time waiting for him to cry. Needed it in solidarity. He didn’t. I cried even more.

I personally have sent text messages to a number I very well knew wasn’t the person I wanted them to go to because that number no longer existed. It felt therapeutic. Not sure if anyone actually read them…and if they did, they had the courtesy of letting me pour my heart out. So while it might be predictable (he doesn’t tell her, she finds out, is mad then forgives him) this hit a soft spot for me and I can’t wait to watch.

I also adore Zoey Deutch. Such a babe.

-Kelly

Also Directed by Leah McKendrick:
Scrambled (2023)

Tune in next week for | Backrooms

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In last week’s newsletter, we said In the Grey, but you’re getting Obsession. Josh is chasing a Guy Ritchie high that hasn’t hit in quite some time. No hate to the guy *smirk* but his recent filmography has not made us rush down to the local AMC. So, the producers overruled Josh and made the executive decision to change to the sophomore film of one of the founders of the TikTok comedy group, That’s a Bad Idea.

History has shown us that sketch comedians like Jordan Peele can deliver high-quality, insanely fun, and sometimes unwanted, unforgettable scenes. We also wanted to see what Josh’s jump-scare count would be, since all we’ve been hearing is how horrifying Obsession is. Let’s get into it!

Here’s what we have for you this week:

Concession Stand Scorecard: Obsession
Watchlist Worthy: Actually Anthony Michael Bourdain this week
ICYMI Pod: Oldies, but Goodies! Marty Supreme and Movie Theaters

This week’s movie - Obsession

Letterboxd Description:

BE CAREFUL WHO YOU WISH FOR…

After breaking the mysterious “One Wish Willow” to win his crush’s heart, a hopeless romantic finds himself getting exactly what he asked for but soon discovers that some desires come at a dark, sinister price.

Best Watched With

Your Toxic Ex and anyone who has ever asked someone out

End Credit Thoughts

Have you ever been on either side of unrequited love? Well, if you have, we’ve got JUST the movie for you. Curry Barker is here for the horror throne with his sophomore film, Obsession. It is set in modern times with a handful of best-in-class performances and a small yet solid supporting cast. Our entire theater was cackling one moment, with our mouths agape the next. What a ride!

There was a genuine level of hype for this movie in the Twitter bubble (no, we don’t refer to it as X. What, did you X about the movie? No, you drafted a tweet about it. Get lost if you disagree).

Anyways. We went into this level-headed, a solid and creepy trailer that seemed like a cautionary “be careful what you wish for” tale. And boy did Curry and his cast deliver. Inde Navarrette was unbelievable. Her non-verbal acting was engaging from the START, even before shit got evil and weird. It is amazing what someone can communicate on-screen with just their face. She was genuinely scary.

Without spoiling the movie, there were a handful of scenes where she just flipped a f*cking switch, going from the sweet, loving girlfriend to a sinister presence. Opposite Inde was Michael Johnston, and we were not familiar with his game at all. He pissed us off plenty of times and was an incredible co-lead for this film.

A few things stood out about Obsession. First is the tension. It was unbelievable throughout! They didn’t resort to age-old horror gimmicks, leaning fully into gore without a story, so the tension isn’t tension; it ends up being just a sick stomach from blood on screen. Instead, they developed the story and our characters in such a patient way that the gory payoffs were genuinely unsettling.

Second, it pulled absolutely NO punches. Many horror films threaten to get weird, to break the rules, or get darker, but end with some gentle or therapeutic resolution. Nope, not Curry! He said “f*ck it we ball” and took us down a terrible path and then left us at a dead end with no resolution, just upset stomachs — not just from the gore but from the devastating ending.

The big screen elevated this, as did the crowd. When we realized our jaws were on the floor, we looked around and saw the same with everyone else, including some with their eyes closed. Hell yeah, Curry! Please don’t stop making horror.

See this on the big screen, please.

Josh Jump Scare Count: 20+

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Tony by Matt Johnson

Letterboxd Description:

“I was — to be frank — a spoiled, miserable, narcissistic, self-destructive and thoughtless young lout, and badly in need of a good ass-kicking.”

A 19-year-old Anthony Bourdain travels to Provincetown and stumbles into the chaotic world of a restaurant kitchen, setting off a summer that will shape the course of his life.

I know everyone is a one of kind person. We’re all different with our unique mannerisms, our idiosyncrasies (yes, I like this word and use it a lot. Shoutout Sean from Good Will Hunting) that separate us from sameness. But Anthony Bourdain truly felt like one of a kind. I have friends and family with different interests and lived experiences, and yet, similiarly impacted and influenced by Bourdain.

In profound ways, unexpected ways, I hear people from all walks of life share appreciation and love for this man we’ve never met. But they speak as if, not only that they know Bourdain, but Bourdain knows them. Like he was able to open the bottom drawers of our souls, then light a cigarette and crack open a beer to chat about what was found.

And now we are getting a biopic. And I think he’d probably hate that it’s being made. Selfishly, I am stoked. Sorry, Bourdain. I hope you understand my excitement.

Added to my watchlist.

-JP :)

Also Directed by Matt Johnson:
Blackberry (2023)
Nirvanna the Band the Show the Movie (2025)

Marty Supreme: Spoilers #67

🎧 Listen to this episode on Apple Podcasts or Spotify

🎥 Watch this episode on YouTube

Marty Supreme streaming on HBO Max!

Movie Theater Experiences | Keep Cinemas Alive! #55

🎧 Listen to this episode on Apple Podcasts or Spotify

🎥 Watch this episode on YouTube

Eric and Josh discuss various topics centered around their experiences with movies and movie theaters. They touch on the excitement and nostalgia associated with midnight premieres, particularly reflecting on films like ‘The Dark Knight’ and ‘Titanic’.

Tune in next week for | Star Wars: The Mandalorian and Grogu

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