“The troupe’s trademark blend of anti-comedy non sequiturs feels even more random than usual in this slapdash outing, replete with unfunny, starfucky cameos. Garishly overlit with a distracting reliance on fake bluescreen backgrounds, it’s the first theatrically released motion picture I’ve seen that could pass for a cellular telephone commercial.” – Spliced Personality Substack, 07/10/2026

“The set of self-imposed limitations creates its own aesthetic. Jenkin’s hand-cranked camera won’t run for more than 28 seconds at a time, forcing him to tell the story in a series of punchy, discrete images. Our brains assemble the scenes almost like a mental jigsaw puzzle. It’s amazing how many gaps your mind fills in for you when prompted properly.” – WBUR’s Arts & Culture, 07/09/2026

“Bernstein shoots the phone calls like fuck scenes, the first one climaxing with Eleni wrapped in the curly white cord as if it were bondage gear. It’s lurid and faintly ridiculous, yet knowingly so. She’s doing what Cronenberg did with Crash, exploring the destructive aspects of desire by fabricating a kink nobody has and examining it from the outside in.” – Spliced Personality Substack, 07/09/2026

“It’s a generational divide you don’t see addressed much in film and television, where typically older folks are presented as prigs who can’t handle the candor of rebellious youth. As an aging Gen Xer, I’m thrilled to see a movie about how these days it feels like the opposite is true, expressly calling out millennials for being annoying little prudes.” – WBUR’s Arts & Culture, 07/02/2026

“Shot by the superb cinematographer Hélène Louvart, whose handheld poetry is key to the films of Alice Rohrwacher and Eliza Hittman, Romería is a little confounding at first, but never less than visually ravishing. Llúcia Garcia, who plays Marina, has one of those captivating faces that can hold the camera all day. She even looks great with bangs.” – Spliced Personality Substack, 07/02/2026

“You don’t see a lot of children’s cartoons throwing around jokes about Eadweard Muybridge and Georges Méliès. But much to my delight, Minions & Monsters is stuffed silly with clever references to the early days of cinema. I applaud director Pierre Coffin for packing this film with jokes that even his target audience’s grandparents are too young to get.” – Spliced Personality Substack, 07/01/2026

“Given the nationalistic tenor of the proceedings, it’s amusing that they cast the most English-looking actor I’ve ever seen as George Washington. William Franklyn-Miller even has the name of a cad in a Jane Austen novel, and from certain angles he’s a ringer for Helena Bonham Carter. He’s one bad tooth away from being a human scone.” – Spliced Personality Substack, 06/29/2026

“Resting on laurels and recycling old footage, it’s the film equivalent of a classic rock band releasing a greatest hits album and tacking on a few middling new tracks so that fans have to re-buy a bunch of songs we already own. You know Knoxville and the gang are out of gas when they can’t even make cameraman Lance Bangs throw up.” – Spliced Personality Substack, 06/26/2026

“Writer-director Fast isn’t a filmmaker overly concerned with making sure the audience understands everything that’s going on. Emily keeps losing track of time, with days on end disappearing in the attic. The film itself feels like it’s disassociating alongside her, scenes bleeding into each other in a sound bath of droning, fuzzy guitar feedback.” – Spliced Personality Substack, 06/25/2026

“Predictably, Supergirl is being bashed sight-unseen by the usual online troglodytes. I’ve never been able to wrap my mind around the young male fan culture’s hostile aversion to seeing women onscreen. Part of the reason I’ve always loved going to the movies is because I enjoy looking up at giant, moving pictures of pretty girls. I thought everybody did.” – WBUR’s Arts & Culture, 06/24/2026