Tuner, now playing in theaters throughout Israel, is an offbeat, interesting drama and crime caper, with some funny moments.
Entertainment
All the major ‘Deadpool & Wolverine’ cameos, explained
This story contains spoilers for “Deadpool & Wolverine” and is meant to be read after the film has been seen.
Marvel’s Merc with a Mouth is back — and he brought more than a few friends with him.
It’s been six long years since audiences last saw Ryan Reynolds as Deadpool on the big screen, but Marvel’s beloved antihero returns, as mouthy as ever, in “Deadpool & Wolverine,” out Friday. As the title suggests, the film also marks the return of Hugh Jackman as “X-Men’s” gruff Wolverine. It’s a reunion of sorts for the two characters: Reynolds first appeared as Wade Wilson opposite Jackman in 2009’s “X-Men Origins: Wolverine” (minus the red suit).
As Deadpool repeatedly reminds audiences, much has changed for him since “Deadpool 2” was released in 2018. Namely, Disney acquired Fox in 2019, along with the film rights to popular Marvel characters like Deadpool and the X-Men. “Deadpool 3” takes advantage of the Marvel Cinematic Universe‘s multiverse era and is packed with cameos of characters audiences might remember from Fox’s catalog of Marvel films.
Among those spotted in “Deadpool & Wolverine” include the aptly named Pyro (Aaron Stanford) from “X-Men” (2000) and “X2” (2003) as well as Wolverine nemeses Sabretooth (Tyler Mane) from “X-Men” and Lady Deathstrike (Kelly Hu) from “X2.” Other familiar villainous mutants that appear include Toad, Azazel and Juggernaut.
There are also plenty of other cameos, including a number of familiar faces from the MCU as well as other surprise appearances.
Here’s a breakdown of “Deadpool & Wolverine’s” biggest cameos from Marvel movies past. (One last time: Turn back now if you haven’t seen the film.)
Johnny Storm
Johnny Storm (Chris Evans) is fascinated by his fiery powers in 2005’s “Fantastic Four.”
(Kerry Hayes / 20th Century Fox)
Chris Evans at the “Ghosted” premiere in 2023.
(Evan Agostini / Invision / AP)
Years before Chris Evans suited up as Captain America to help lead the Avengers, he made his superhero movie debut as a member of Marvel’s First Family, the Fantastic Four. Evans played Johnny Storm, a.k.a. the Human Torch, in 2005’s “Fantastic Four” and its 2007 follow-up, “Fantastic Four: Rise of the Silver Surfer.” This incarnation of the superhero team also included Ioan Gruffudd as Reed Richards (Mister Fantastic), Jessica Alba as Sue Storm (Invisible Woman) and Michael Chiklis as Ben Grimm (the Thing). Johnny and the other members of the Fantastic Four develop superpowers after being exposed to cosmic energy in space.
Johnny appears in the new film as Deadpool and Wolverine’s potential ally against the telepathic villain Cassandra Nova (Emma Corrin).
The MCU’s incarnation of the Fantastic Four will include Pedro Pascal as Reed, Vanessa Kirby as Sue, Joseph Quinn as Johnny and Ebon Moss-Bachrach as Ben.
Laura / X-23
Dafne Keen as Laura, Hugh Jackman as Logan/Wolverine and Patrick Stewart as Charles Xavier in the 2017 film “Logan.”
(Ben Rothstein / 20th Century Fox / Marvel)
Dafne Keen at the Beverly Hilton in 2019.
(Robert Gauthier / Los Angeles Times)
As teased in the film’s trailer, “Deadpool & Wolverine” sees the return of Dafne Keen as Laura from 2017’s “Logan.” Laura, also known as X-23, was created in an experiment using Logan’s DNA so her powers (and aspects of her personality) are very similar to her surrogate father’s. Keene, who was just 11 when “Logan” was filmed, was praised for her performance — then-Times film critic Kenneth Turan described her as an “effective newcomer” in his review — and was a fan favorite in Fox’s R-rated “X-Men” spinoff.
Deadpool and Wolverine meet X-23 as part of a team that has been fighting against Cassandra.
Elektra
Wielding her signature weapons, sais, Elektra (Jennifer Garner) springs into action in the 2003 film “Daredevil.”
(Zade Rosenthal / 20th Century Fox)
Jennifer Garner at the SAG Awards in 2020.
(Al Seib / Los Angeles Times)
Between launching its “X-Men” and “Fantastic Four” franchises, Fox released a couple of films revolving around the Devil of Hell’s Kitchen. Jennifer Garner first appeared as Elektra in 2003’s “Daredevil,” which starred Ben Affleck as Matt Murdock, a blind attorney who moonlights as a vigilante. Elektra is a skilled, sai-wielding assassin who serves as both Daredevil’s love interest and adversary. Garner last portrayed the character in 2005’s “Elektra,” a spinoff that follows the title character as a contract killer. (Garner and Affleck were also a couple offscreen and were married from 2005 to 2018 — their divorce is coyly addressed in the film.)
Elektra is part of the team that agrees to help Deadpool and Wolverine along with X-23.
Blade
Wesley Snipes in 2004’s “Blade: Trinity.”
(Diyah Pera / New Line Cinema)
Wesley Snipes at the Toronto International Film Festival in 2019.
(Jay L. Clendenin / Los Angeles Times)
Wesley Snipes portrayed the vampire hunter Blade in a trilogy of films: “Blade” (1998), “Blade II” (2002) and “Blade: Trinity,” which also starred Reynolds (2004). Blade is a human-vampire hybrid whose mother was attacked and killed by vampires while she was pregnant with him. He relies on a special serum to keep his own bloodlust at bay. The “Blade” films were released by New Line Cinema, which is now a part of Warner Bros. Discovery.
The one and (so far) only Blade, as he calls himself in the film, is also part of the ragtag team that includes X-23 and Elektra.
In 2019, it was announced that Mahershala Ali had been cast to play Blade in the MCU reboot of the character. After a number of creative shuffles, “Blade” is expected to reach theaters in 2025.
Gambit
Channing Tatum at the premiere of “Fly Me to the Moon” in New York in July.
(Evan Agostini / Invision / AP)
At long last, Channing Tatum makes his debut as Gambit in “Deadpool & Wolverine.” Tatum had long been attached to an “X-Men” spinoff for the Ragin’ Cajun Remy LeBeau, which ended up becoming a casualty of Disney’s acquisition of Fox. After Tatum had expressed interest in playing the character, it was announced in 2014 that he would appear in a future “X-Men”-related project as Gambit. A “Gambit” film was slated for 2016 but faced a number of delays until it was officially canceled in 2019.
Gambit (and his energy-charged playing cards) is also part of the team Deadpool and Wolverine meet while trying to figure out how to defeat Cassandra.
BONUS: Henry Cavill and Blake Lively also appear in “Deadpool & Wolverine” as alternate versions of the title characters. Cavill, who appears as a Wolverine variant, previously portrayed DC icon Superman in that other superhero franchise. Lively, whose face is not actually seen on screen, is married to Reynolds and is credited as Lady Deadpool.
By ABBIE BERNSTEIN / Staff Writer
Posted: June 26th, 2026 / 08:03 PM
SUPERGIRL movie poster | ©2026 Warner Bros./DC Studios
Rating: PG-13
Stars: Milly Adcock, David Corenswet, Eve Ridley, Matthias Schoenaerts, Diarmaid Murtagh, Jason Momoa, David Krumholtz, Emily Beecham
Writer: Ana Nogueira, based on characters created by Jerry Siegel & Joe Shuster
Director: Craig Gillespie
Distributor: Warner Bros./DC Studios
Release Date: June 26, 2026
The new SUPERGIRL doesn’t have that “Eureka! This is how you do this now” spark that galvanized its immediate franchise predecessor, last year’s SUPERMAN. Director Craig Gillespie and screenwriter Ana Nogueira, basing the film on characters created by DC Comics’ Jerry Siegel & Joe Shuster, probably wisely, aren’t going for that.
Instead, the SUPERGIRL makers are intent on providing a lively adventure, getting to the point quickly and letting the action unspool with unquestionably strong motivation, abetted by plenty of punch-ups, kicking and frequent explosions.
Supergirl, aka Kara Zor-El (Milly Adcock), is from the now-dead planet Krypton, just like her cousin Clark/Kal-El/Superman (David Corenswet). However, where Clark has chosen to remain on Earth, where the yellow sun gives him superpowers that allow to help Earth’s residents, Kara likes to party on planets that have a red sun, where she has no unusual abilities.
This is because Kara seems to have taken to heart a dictum from a different comic book universe – with great power comes great responsibility – and decided the inverse is true: with no power comes no responsibility.
We get insight into exactly why Kara is so duty-averse over the course of SUPERGIRL, and it’s probably not a spoiler to say that she re-examines some attitudes as events unfold.
Kara plans to celebrate her twenty-third birthday on a backwater red sun planet. The bar where Kara chooses to drink is entered by preteen Ruthye Knoll (Eve Ridley), whose family has been murdered by brigands, led by the horrendous Krem (Matthias Schoenaerts). Ruthye is out for revenge. Kara thinks Ruthye is a bit young and pure-hearted to be on a murderous quest.
Even on a planet with a red sun, though, Kara is still handy with fists and feet. Ruthye sees what Kara can do and concludes she is the ideal ally. Kara absolutely refuses to help. Then something occurs that credibly rouses Kara to do whatever it takes to achieve her aims, which sort of line up with Ruthye’s.
No explanation is needed for why Kara feels such urgency, which we easily share. Her concern for Ruthye is understandable and her connecting to larger purpose is shown rather than spoken.
Intriguingly, the aesthetics of SUPERGIRL are largely those of STAR WARS, with some MAD MAX and BLADE RUNNER thrown in. The filmmakers have a good time with all sorts of utterly nonhuman alien people and figuring out how to make interplanetary versions of familiar items like vending machines.
The pace is pleasingly brisk and the structure doesn’t require much exposition. When they hit a hard-to-answer question like why Kara is Supergirl while Clark is Superman, they acknowledge it and then get out from under without irritating anybody.
For anyone wondering about the veracity of the recording from Superman’s parents that appeared in SUPERMAN, a quick line of dialogue here confirms it (sorry, Jor-El supporters).
There is the expected amount of CGI involved, including a great motion-capture performance by Kara’s dog Krypto (modeled upon executive producer/SUPERMAN director James Gunn’s dog), but a lot of the stunts and makeup appear gratifyingly practical.
Adcock is fine in all of Kara’s moods, from wasted to resistant to determined, with a delightful reaction to feeling her body’s response to the yellow sun. Ridley is an appealing young hero, and Corenswet offers wholesome support. Schoenaerts lets Krem revel in his own soft-spoken vileness, and Jason Momoa enthusiastically portrays an intergalactic bounty hunter. David Krumholtz is affecting as Kara’s scientist father.
SUPERGIRL isn’t going to redefine superhero movies, but it’s a perfectly enjoyable example of the form.
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In 2015, musician Roberto Carlos launched Boleros de Noche, an annual concert series held in Los Angeles that aimed at preserving and showcasing the Latin American bolero music genre.
This year, the event is celebrating its 10th anniversary with performances at the Ford on Aug. 1 by Puerto Rican singer and former Calle 13 member iLe and L.A.-based bolero trio Voz Bohemia
On Friday, the city of L.A. honored the series’ decade-long run and legacy of uplifting bolero music by declaring Aug.1 “Día del Bolero.”
Boleros are ballads noted for their slow tempo and romantic lyrics accompanied by a crooning vocal style. Though the genre originated in Cuba, it quickly gained popularity across Latin America, with each culture putting their own spin on it. In the early 20th century, the evolving sound of boleros was shaped by the Cuban group Trio Matamoros, Mexican composer Agustín Lara, Puerto Rican artist Rafael Hernández and Ecuadorian singer Julio Jaramillo.
The genre saw a resurgence in popularity in the 1980s and ‘90s when famed Mexican artists Juan Gabriel and Luis Miguel embraced the bolero sound. In recent years, the bolero movement has been modernized and electrified by artists such as Mon Laferte, Romeo Santos, Adrian Quesada and Kali Uchis. In the last five years, Quesada has released two bolero albums, “Boleros Psicodélicos” and “Boleros Psicodélicos II,” that mix the genre’s classic sounds with elements of psychedelic rock.
“Over the past decade, Boleros de Noche has presented numerous concerts featuring both local and international artists, has brought together thousands of people across the city to bask in the lush orchestration of this music,” said City Councilmember Nithya Raman, who presented Carlos with the honor. “For so many in the Latino community and beyond, this isn’t just music, it’s memory, it’s home, and perhaps most importantly, it’s heritage being carried forward.”
Raised in L.A. County by parents who immigrated from the Mexican state of Oaxaca, Carlos says he first fell in love with live performance and bolero music in his midteens, when he would frequent the now-defunct Teatro los Pinos in South Gate.
He yearned for that same level of comfort and awe at music and wanted to share that with a larger audience. The first iteration of Boleros de Noche took place in 2015 at an art gallery in Echo Park.
“Over the years, I have heard countless stories from audience members who tell me how this music reminds them of their parents, grandparents, first loves and family traditions,” Carlos said Friday at City Hall. “Ten years ago, bolero was rarely part of our city’s cultural conversation, and today bolero programming can be found across Los Angeles, and I’m honored that Boleros de Noche has been a driving force behind its growth.”
Boleros de Noche has sold out shows at the Ford over the last few years and has featured artists such as Gaby Moreno, Marisoul and the legendary trio Los Panchos. In 2025, the event made its debut at Chicago’s historic Symphony Center.
The bolero genre’s popularity and cultural significance has been spotlighted outside of L.A. in recent years as well.
On Dec. 5, 2023, UNESCO, the United Nation’s agency aimed at safeguarding social and cultural foundations, recognized the musical genre as an Intangible Cultural Heritage of Humanity.
As part of Friday’s ceremony, Carlos and his bolero group Los Rebeldes Románticos performed several tunes, including the Mexican bolero classic “Sabor a Mí.”
Last year, Carlos spoke with The Times about his ambitions for Boleros de Noche and the mentality that drives the event series.
“At Boleros de Noche, [I want] for us to speak in Spanish, to feel recognized, to do this music as a celebration for all these artists that unfortunately became background music for a lot of like weddings and quinceañeras,” he said. “How about if we celebrate them and give them recognition? How about if, through my events, I can take people back to the 1940s to my experience at Teatro los Pinos?”
Given recent attacks on Latinos on the local and national levels, Carlos said he hoped his events would create a safe and welcoming gathering place.
“It’s about bolero music. It’s about community. It’s about people. It’s about the musicians,” he said. “Many of the musicians were undocumented. They brought this music to L.A. through their hometowns.”
Movie Reviews
Film review: ‘Tuner’ mixes classical music, crime, and Dustin Hoffman | The Jerusalem Post
It co-stars Dustin Hoffman in a story of a young piano tuner, Niki (Leo Woodall), a former music prodigy with perfect pitch who suffers from hyperacusis, a condition that makes him extraordinarily sensitive to loud noises.
In a series of events that are a bit improbable but that seem quite credible while you’re watching, Niki discovers his finely tuned hearing gives him a great talent for safecracking, which brings him to the attention of a crime gang.
It features a clever, often surprising screenplay, co-written by its director, Daniel Roher (who won an Oscar for the documentary, Navalny) and Robert Ramsey. There are also wonderful performances from the cast, which also includes distinguished actress Tovah Feldshuh of Nobody Wants This and Fauda star Lior Raz.
The characters have a nice, funny raport
When Tuner opens, Niki is working in a piano-tuning business in New York with a former musician, Harry Horowitz (Hoffman).
The beefy, laconic, young man treats the garrulous, wisecracking Harry with respect, listening patiently to all his jokes and stories about the good old days when he worked with jazz greats.
These two have a nice rapport, as Niki drives Harry all over the New York area in an old van and eats in diners with him.
Niki does the work while Harry sits on a sofa, critiquing him.
The two stick out like sore thumbs in the many mansions where they work on spectacular pianos that haven’t been played in decades, for clients who ask them if they can also repair toilets and modems.
Harry, who never made much of a living despite his talent, has fallen on hard times, and he and his wife, Marla (Feldshuh), are barely scraping by. Niki is also broke.
Recognizing what a great musician Niki is, Harry tries to cajole him into playing again, but the younger man refuses, living an isolated life and trying not to draw attention to himself.
The three incidents that set the plot in motion
Harry has forgotten the combination to his safe and needs to open it. When Niki goes on YouTube to look at a video on how to do it, he discovers that his sensitive hearing makes him a genius at safecracking.
Harry becomes ill and, due to a mess with Medicare, suddenly falls into a huge debt; and Niki meets Ruthie (Havana Rose Liu), an extremely ambitious pianist and composing student, who is astounded by his perfect pitch.
Soon, Niki’s talent for safecracking draws the attention of Uri (Lior Raz), an Israeli who runs a bogus security company, where he uses his knowledge of his client’s homes and passwords to steal what he contends are minor trinkets, but which add up to big money for his gang, much like Jon Hamm’s character in the Apple TV series, Your Friends and Neighbors.
Raz hams it up as a character who fits the stereotype of the obnoxious Israeli in the US, and lords it over his supposedly bright accomplice, Yoni (Gil Frank), and his much dimmer nephew, Benny (Nissan Sakira).
Much of the comedy in the movie comes from Uri browbeating the two, and if you can understand the Hebrew, it’s even funnier than the subtitles.
Criticisms of Tuner
Niki’s romance with Ruthie, which develops quickly, feels a little convenient at times, though the screenplay paints a realistic picture of the competitive world of high-level music students. You know, for most of the movie, that eventually Niki will reveal to her that he was once a great pianist, and when it comes, it’s something of an anti-climax.
After Hoffman’s character gets sick, he disappears from the rest of the movie except for a couple of scenes, and that’s too bad. It’s great to see Hoffman having fun as Harry, and the scenes where he and Niki banter help humanize the younger man, making him more likable and less self-centered.
Woodall is one of the most in-demand young actors. He played a hunky love interest in both Bridget Jones: Mad About the Boy and the Netflix series Vladimir; he also appeared in the second season of The White Lotus.
He has a buff body and conventional leading-man good looks, and generally plays confident, happy-go-lucky guys, which means he is cast against type here.
Niki is the kind of role that might seem better suited for actors like Josh O’Connor, Jeremy Allen White, or Timothée Chalamet. Woodall has to work hard to convince us he is withdrawn and feels out of place in all the mansions where he tunes pianos, but his charm wins out, and soon, you come to accept him in the role.
Mixed music and mixed genres
The soundtrack features a mix of classical music and jazz, and it’s clear it was made by a director who appreciates both.
Tuner settles neatly into a mini-genre of movies that feature plot lines that combine piano-playing characters and crime, that include James Toback’s Fingers with Harvey Keitel, and Jacques Audiard’s remake of it, The Beat that My Heart Skipped with Romain Duris; Francois Truffaut’s Shoot the Piano Player with Charles Aznavour; and Eugenio Mira’s Grand Piano with Elijah Wood. It also recalls the spirit of Bob Rafelson’s Five Easy Pieces, which features Jack Nicholson in one of his best performances; here as a piano prodigy who has rejected his oppressive family and become an oil field worker.
Tuner shares some of the bleakness typical of 1970s films, like Fingers and Five Easy Pieces. At times, the movie moves jarringly between brooding, almost noir-like darkness and scenes with the chatty Harry or the bumbling gangsters.
It might have been a stronger film if Roher had gone in one direction instead of mixing genres, but it would likely have been less entertaining.
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