Entertainment

Jesse Garcia and his epic, winding hero's journey to Hollywood

Published

11 months ago

April 3, 2025

Jesse Garcia and his epic, winding hero's journey to Hollywood

Beneath the fluorescent lighting of his hotel room in Pylos, Greece, Jesse Garcia combs through his greasy strands of hair after a daylong shoot for “The Odyssey” — Christopher Nolan’s upcoming movie adaptation of the Greek epic.

“I got set hair,” says Garcia on our video call, somewhat apologetically. Despite a demanding schedule, he has relished his time shooting in Morocco and Greece, along with Hollywood A-listers like Matt Damon and Zendaya. As he looks back on his trajectory, Garcia’s own hero’s journey through Hollywood seems to mirror that of the Greek character Odysseus: a man faced with great challenges that at times feel insurmountable yet formative.

“It’s like nothing else I’ve done before,” says Garcia of the big-budget film, which is set for release in 2026.

The actor, 42, has just wrapped up a different kind of odyssey — he also stars in a new Latino road trip comedy on Disney+, “Alexander and the Terrible, Horrible, No Good, Very Bad Road Trip.” Released on March 28, the family film sees Garcia as the loving patriarch of the fictional Garcia family, played by an all-star cast made up of Eva Longoria, Paulina Chávez, Thom Nemer, Rose Portillo and Cheech Marin.

“Road Trip” follows the 2014 film “Alexander and the Terrible, Horrible, No Good, Very Bad Day,” which was based on Judith Viorst’s 1972 children’s book. Garcia appeared in the first movie as an animal wrangler; in the new film, he plays a chef. “Maybe I was an animal wrangler so I could put myself through chef school,” he says.

Directed by Marvin Lemus, the new flick depicts a topsy-turvy experience that Garcia is familiar with. “My parents used to take us to [Durango] to see my dad’s family every year,” says Garcia. “So we [did] that road trip a lot when we were little kids.”

Unlike many of his colleagues in Hollywood, who came from affluent families and studied in prestigious schools, Garcia was born into a Mexican American family in Rawlins, Wyo., a small mining town with few resources for aspiring actors. “I auditioned for a play in high school,” says Garcia. “Of course I didn’t get it, because I didn’t know what I was doing!”

Garcia, an athlete, would devote himself to cheer routines and stunts in high school — he was later awarded a cheerleading scholarship to the University of Nebraska, where he studied exercise science. This skill set later helped him choreograph a scene in the 2007 sports parody “The Comebacks,” which featured former NFL tight-end Tony Gonzalez.

“If I’d known better back in the day, I would’ve done cool classes [in college],” Garcia says with a chuckle.

At the behest of a friend, he moved to Atlanta to find his direction. This led him to take acting classes at WHAT Films, an innovative theater class where he learned to write, direct, act and produce original materials under actor-director Judson Vaughn. “It was a very unique format — that was the foundation of how I work,” says Garcia.

In 2003, with only $2,000 in his pocket and a roommate he found on Craigslist, Garcia made L.A. his home. The city’s strong Chicano presence overwhelmed him at first, but he eased into the community. “I didn’t grow up with a strong Latino community in Wyoming,” he explains. “When I got to L.A., I worked in this movie called ‘Walkout’ with Edward James Olmos [and] started learning about the history of Latinos in L.A.”

Garcia landed his breakout role in the 2006 film “Quinceañera,” a coming-of-age film directed by Richard Glatzer and Wash Westmoreland. In it, Garcia played Carlos, a gay teen estranged from his Mexican family, along with his pregnant cousin and protagonist Magdalena (played by Emily Rios). The film gained traction at the Sundance Film Festival, where it won both the Grand Jury Prize and the Audience Award. The film was later acquired and distributed by Sony Pictures.

“I [think] I got like a thousand dollars to do that movie,” says Garcia of his indie flick, which was a nonunion production. “[But] it started my career.”

Jesse Garcia sits on a blue couch, looking slightly to his left

Garcia followed this momentum with small roles in procedurals like “CSI: Miami,” “Law & Order: Criminal Intent” and “ER.” Although he asked his agents to opt out of stereotypical Latino roles, usually limited to gardeners and gangsters, he relented for a role in the movie “Days of Wrath,” an “action gangster flick,” as he puts it. Directed by Celia Fox, it featured a stellar roster of Black and Latino actors: Laurence Fishburne, Lupe Ontiveros, Taye Diggs and Wilmer Valderrama.

But the film, which was slated for release in 2008, would never see the light of day — though he’s still looking to get the rights to it. “Celia, call me,” he says to the camera.

“I was just a broke actor, then 2008 happened,” says Garcia, whose happy-go-lucky demeanor instantly seems to wash away.

In the aftermath of the 2007-08 writers’ strike, roles for the blooming actor became harder to come by — a situation that was made more dire by the nation’s crushing financial crisis. Nearly 20 years later, creatives continue to fight for their artistry amid growing concerns about AI and streaming revenue, all while production has slowed down in L.A.

A mustached man in a work shirt stands by a rack of varied packages of chips in a store

His first lead role in a major studio film would not come until 2023, when he was cast as Richard Montañez in “Flamin’ Hot,” the story of a janitor turned self-proclaimed “godfather of Latino marketing,” who claimed to have invented the finger-licking snack Flamin’ Hot Cheetos.

“When I first got the audition for ‘Flamin’ Hot,’ I read it and went, ‘This is mine. … They wrote this for me,’” says Garcia. “I just have to jump through hoops and prove that it’s mine.”

First-time director and friend Eva Longoria tells De Los that Garcia, whom she considers her “cosmic soulmate,” was “meant to be Richard Montañez.”

“He didn’t have one day off, so he had this intense approach to it,” says Longoria. “He wanted to do well — not just for me but for our community. … We could not fail on ‘Flamin’ Hot.’”

The pressures of the role weighed on Garcia — not because he carried the Latino community on his shoulders, which is an obligation he vehemently shrugs off, but because he was present for all 36 days of shooting.

“Nobody knew [it], but I could have had a mental breakdown every day,” he says.

“There was one day that [co-star] Annie Gonzalez put her hand on my chest just to say hello and check in with me, and I was like, ‘Oh s—, why am I so emotional right now?’” says Garcia.

Gonzalez, who played Montañez’s wife Judy in “Flamin’ Hot,” remembers this moment during filming. “Jesse does mask a lot of things with play,” she says. “I put my hand on his chest and gave him my energy, ’cause I can only imagine carrying this film.”

Although the veracity of this marketing success story was contested in a 2021 L.A. Times investigation, which the real-life Montañez cites in his 2024 defamation suit against the popular chip company, Garcia says he resonates with his character’s go-getter spirit. (And, for the record, he also stands behind Montañez’s account of events: “I believe him, he has receipts.”)

“I [too] have felt like the underdog,” says Garcia. “I’ve felt like I’ve wanted to quit.”

He says that when thinking back on those stormy moments in 2008, he asks himself: “Would the 21-year-old version of myself be stoked to meet the current version?”

To that, he says: “Yeah, I would be proud of that guy.”

Movie Reviews

Film reviews: ‘How to Make a Killing,’ ‘Pillion,’ and ‘Midwinter Break’

Published

8 hours ago

March 2, 2026

Press Room

‘How to Make a Killing’

Directed by John Patton Ford (R)

★★

“Trying to find your niche as a movie star isn’t easy,” said Frank Scheck in The Hollywood Reporter. Take Glen Powell. A year ago, the Twisters and Anyone but You star was being talked about as possibly the next
Tom Cruise. But he “stumbled badly” when he tried to play a macho action hero in November’s remake of The Running Man, and he’s now turned in a second straight box office flop. He took a risk with How to Make a Killing, playing a guy cheated by fate who we’re supposed to root for as he begins murdering off the seven rich relatives standing between him and an enormous inheritance. But c’mon. “Powell is charming, but he’s not that charming.”

The Week

Escape your echo chamber. Get the facts behind the news, plus analysis from multiple perspectives.

SUBSCRIBE & SAVE

Sign up for The Week’s Free Newsletters

From our morning news briefing to a weekly Good News Newsletter, get the best of The Week delivered directly to your inbox.

The movie “needed to pick a side,” said Jacob Oller in AV Club. It could have been “a clownish class comedy” or “bitter sociopathic satire,” but it winds up being neither, and “at the center of it all is Powell, making the
same face for an hour and 45 minutes, too unflappable to root for, too smug to magnetize as an inhuman American Psycho.” I’m not ready to give up on him, said Nick Schager in the Daily Beast. To me, he and co-star Margaret Qualley, who plays the femme fatale who eggs on the killing spree, come across as “such alluringly nasty delights” that this reworking of the 1949 black comedy Kind Hearts and Coronets “ survives its potentially lethal missteps and works on its own limited terms.” Though its teeth aren’t as sharp as they should be, “it’s smart and spiky enough to leave a pleasurably painful mark.”

‘Pillion’

Directed by Harry Lighton (Not rated)

★★★★

While this gay BDSM rom-com from a rookie director “might sound niche,” said Amy Nicholson in the Los Angeles Times, “free yourself to see it and you’ll discover it’s a universal romance.” Former Harry Potter side figure Harry Melling stars as a shy singleton who’s figuring out what he wants in a relationship when he happens into a submissive-dominant entanglement with a tall, handsome biker played by Alexander Skarsgard. Soon, Melling’s Colin is obeying his lover’s every order, including by shaving himself bald and sleeping like a dog on the floor. But the “kinky-funny” screenplay, which won a prize at Cannes, makes sure we see that Colin is not stuck but growing.

While the movie’s sex scenes are “refreshingly graphic,” they’re “never used or shock value,” said Odie Henderson in The Boston Globe. “The real shock comes from how emotionally involved the characters become within the construct of their kink.” And when Colin brings his new lover
home to meet the parents, Skarsgard and Lesley Sharp, as Colin’s suburban London mom, do memorable work because “neither of them
approaches the scene in a way you’d expect.” Until the ending, which “feels a little neat,” said Zachary Barnes in The Wall Street Journal, the movie “proceeds with an assurance of tone that’s especially impressive for a first-time filmmaker handling material like this.” Harry Lighton’s debut “could have been simply shocking, revving its engine in sexed-up style. Instead, Pillion purrs.”

‘Midwinter Break’

Directed by Polly Findlay (PG-13)

★★

Lesley Manville and Ciarán Hinds “would be appealing to watch just fumbling for their reading glasses,” said Natalia Winkelman in The New York Times. Unfortunately, this “staid” drama about an aging Irish couple puts that claim to the test. A “slow-moving film with a sappy score and mellow mood,” Midwinter Break opens with Manville’s Stella surprising Hinds’ Gerry by arranging a spur-of-the-moment trip to Amsterdam. Alas, “precious little conflict occurs until long afterward.”

But while Polly Findlay’s adaptation of a Bernard MacLaverty novel is a “delicate” film, said Lindsey Bahr in the Associated Press, its impact can be profound “if you can get on its level.” Stella, a devout Catholic, has an ulterior motive for dragging Gerry abroad, and when she nervously proposes how she’d like to live more purposefully in retirement, “it feels earth-shattering.” This is a couple accustomed to leaving much unsaid,
including how the violence of the Troubles led them to flee Belfast years earlier for Scotland. Manville and Hinds give the movie everything they’ve got, said Caryn James in The Hollywood Reporter. In a scene in which Stella pours out her heart to a stranger, “Manville delivers one of her most magnificent performances, which is saying a lot.” Alas, the script lets them down, “not because it needs more action but because this ordinary couple’s problems seem so unsurprising, their inner lives so veiled.”

Entertainment

After ‘Yellowstone’ and a twist of fate, Luke Grimes rides again as Kayce in ‘Marshals’

Published

9 hours ago

March 1, 2026

Press Room

After ‘Yellowstone’ and a twist of fate, Luke Grimes rides again as Kayce in ‘Marshals’

This story contains spoilers for the pilot of “Marshals.”

When the curtain came down on “Yellowstone” last year, Kayce Dutton had finally found his happily-ever-after.

The youngest son of wealthy rancher John Dutton (Kevin Costner) had secured a modest cabin in a mountainous region where he could reside in secluded peace with his beloved wife, Monica (Kelsey Asbille), and son, Tate (Brecken Merrill), far from the turbulent dysfunction of his family.

“Kayce found his little peace of heaven, getting everything he ever wanted and fought for,” said Luke Grimes, who plays the soft-spoken Dutton in “Yellowstone.”

Grimes reprises the role in CBS’ “Marshals,” which premiered Sunday. But in the new series, Kayce’s serenity has been brutally shattered, forcing him to find a new path forward after an unimaginable tragedy.

The drama is the first of several planned spinoffs of “Yellowstone,” which became TV’s hottest scripted series during its five-season run. And while some familiar faces return and events unfold against the magnificent backdrop of towering mountains and lush greenery, “Marshals” is definitely not “Yellowstone” 2.0.

Luke Grimes as Kayce Dutton in “Marshals,” which combines the gritty Western flavor of “Yellowstone” with the procedural genre.

(Sonja Flemming / CBS )

In “Marshals,” Kayce joins an elite squad of U.S. Marshals headed by his Navy SEAL teammate Pete Calvin (Logan Marshall-Green). The drama combines two distinct brands — the gritty Western flavor of “Yellowstone” with the procedural genre, a flagship of CBS’ prime-time slate.

During an interview at an exclusive club in downtown Los Angeles, Grimes expressed excitement about dusting off his cowboy hat and boots, though he admitted to having initial concerns about whether the project was a fit.

“I had never watched a procedural before, so I had to do some homework on what that was,” Grimes said hours before the gala premiere of “Marshals” at the Autry Museum of the American West in Griffith Park. “And I just couldn’t wrap my head around it at first. In the finale, Kayce had ridden off into the sunset. So I thought, ‘Let him be, let him go.’ ”

Those doubts eventually ebbed away.

“To be honest, there was a part of me that didn’t want to let Kayce go just yet,” Grimes said. “Saying goodbye to him was really hard, so the opportunity to keep this going was something I couldn’t pass up. We get to show his backstory and also this other side of him that we didn’t see in ‘Yellowstone.’ ”

But this Kayce is a man in crisis. “Yellowstone” devotees will likely be shocked by the “elephant in the room” — the revelation in the pilot episode that Monica has died of cancer. The couple’s sexy and loving chemistry was a key element in the series while also establishing Grimes as a heartthrob.

“I think fans will be upset — and they should be,” Grimes said as he looked downward. “Kayce is very upset. It’s the worst thing that could have happened to him. But as much as I’m really upset not to work with Kelsey, it’s a good idea for the show.”

He added, “His dream life is no longer available to him. Now the only thing he has is his son, who is not so sure he wants the same life as Kayce. A big part of the season is Kayce learning how to manage all these new things — new job, being a single father.”

A bearded man with his hands in his jeans looking downward.

Executive producer and showrunner Spencer Hudnut (CBS’ “SEAL Team”) acknowledged in a separate interview that viewers may be stunned by the tragedy. “Real life intervenes for Kayce. Unfortunately it happens to so many of us.”

But he stressed that although Monica is physically gone, her presence will be heavily felt this season.

“She is guiding Kayce, and their relationship is moving forward,” Hudnut said. “His dealing with his inability to confront his grief is a big part of the season. It became clear that something horrible had to happen to put Kayce on a different path.”

As the development evolved, Grimes embraced the procedural concept: “This is a very different show and structure. This is an action show, very fast paced. I meet a lot of fans who say they really want to see Kayce go full Navy SEAL.”

Alumni from “Yellowstone” returning in “Marshals” include Gil Birmingham as tribal Chairman Thomas Rainwater and Mo Brings Plenty as his confidante Mo.

“Yellowstone” co-creator Taylor Sheridan, who had already spearheaded the prequels “1883” and “1923,” will further expand the “Yellowstone” universe later this month with “The Madison,” starring Michelle Pfeiffer and Kurt Russell, about a New York City family living in Montana’s Madison River territory. Later this year, Kelly Reilly and Cole Hauser will star in “Dutton Ranch,” reprising their respective “Yellowstone” roles as John Dutton’s volcanic daughter Beth Dutton and her husband, boss ranch hand Rip Wheeler.

Hudnut said fans of “Yellowstone” will recognize themes that were central to that series: “The cost and consequences of violence, man versus nature, man versus man.”

“We’re trying to tap into what people loved about ‘Yellowstone’ but to tell the story in a different framework,” he said. “The procedural brand is obviously very successful for CBS. And nothing has been bigger than ‘Yellowstone.’ So the challenge is, how do you marry those things?”

Taking on the lead role prompted Grimes to reflect on how “Yellowstone” transformed his life after co-starring roles in films like “American Sniper” and “Fifty Shades of Grey” and playing a vampire in the TV series “True Blood.”

“‘Yellowstone’ changed my life in many, many ways,” he said. “The biggest change is that I now live where we shot the show in Montana. The first time I went there, I would have never thought I would ever live there.

“I would come back to the city after shooting. But a little bit more each year, I felt more out of place here, and more peace and at home there. I’m a big nature person — I never was a big city person, but I had to be here to do what I wanted. But after the third season, my wife and I decided to move there. We wanted to start a family.”

The topic of a Kayce spinoff kept coming up during the filming of the finale, but “meanwhile we were having a baby, so that was the biggest thing on my plate.”

A man in a blue shirt standing with his arms crossed as horses with saddles graze in the background.

Grimes was also dealing with the off-screen drama that impacted production due to logistical and creative differences between Costner and Sheridan. Costner, who was the show’s biggest attraction, exited after filming the first part of the final season. His character was killed off.

Asked about the backstage tension, Grimes said, “I just tried to do my job to the best of my ability, and not get caught up in all that. It was sort of frustrating, but I felt lucky to have a job.”

He recalled getting a call from Sheridan about the plans for a spinoff: “He said, ‘I think you should talk to the guy who is going to be the showrunner. I’m not telling you to do it, and I’m not telling you not to do it. But Spencer is great and he has some good ideas.’ ”

Hudnut said Kayce “was always my favorite character. Also, Luke is not Kayce. Kayce is an amazing character, but Luke is really thoughtful and smart. He is a true artist and has an artist’s soul, while Kayce is kicking down doors and terrorizing people. And Luke has such a great presence. He can do so much with just a look to the camera. He is a true leading man.”

In addition to starring in “Marshals,” Grimes is also an executive producer. He pitched the opening sequence — a flashback showing Kayce in the battlefield. He also performs the song that plays over the final scene, in which he visits his wife’s grave. The ballad is from Grimes’ self-titled country album which was released last year.

“Luke’s creative fingerprints are all over the pilot,” Hudnut said.

Grimes said he does not feel pressure about being the first follow-up from “Yellowstone” to premiere.

“We’re not trying to make the same show, so no matter what happens, its a win-win,” he said. “I had a blast doing it.”

Movie Reviews

Roll On 18 Wheeler: Errol Sack’s ‘TRUCKER’ (2026) – Movie Review – PopHorror

Published

20 hours ago

March 1, 2026

Press Room

Roll On 18 Wheeler: Errol Sack’s ‘TRUCKER’ (2026) – Movie Review – PopHorror

I am a sucker for all those straight-to-video slasher movies from the 90’s; there was just a certain point where you knew the acting was terrible, however, it made you fall in love. I can definitely remember scanning the video store sections for all the different horror movies I could. All those movies had laughable names and boom mics accidentally getting in the frame. Trucker seems like a child of all those old dreams, because it is.

Let’s get into the review.

Synopsis

When a group of reckless teens cause an accident swroe to never speak of it. The father is reescued by a strange man. from the wreckage and nursed back to health by a mysterious old man. When the group agrees to visit the accident scene, they meet their match from a strange masked trucker and all his toys with revenge on his mind.

Roll on 18 Wheleer

Trucker is what you would imagine: a movie about a psychotic trucker chasing you. We have seen it many, many times. What makes the film so different is its homage to bad movies but good ideas. I don’t mean in a negative way. When you think of a slasher movie, it’s not very complicated; as a matter of fact, it takes five minutes to piece the film together. This is so simple and childlike, and I absolutely love it. Trucker gave us something a little different, not too gory, bad CGI fire, I mean, this is all we old schlock horror fans want. Trucker is the type of film that you expect from a Tubi Original, on speed. However, I would take this over any Tubi Original.

I found some parts that were definitely a shout-out to the slasher humor from all those movies. Another good point that made the film shine was the sets. I guess what I can say is the film is everything Joy Ride should have been. While most modern slashers are trying to recreate the 1980s, the film stands out with its love for those unloved 1990’s horror films. While most see Joyride, you are extremely mistaken, my friend; you will enjoy this film much more.

In The End

In the end, I enjoyed the entire film. At first, I saw it listed as an action thriller; I was pleasantly surprised, and Trucker pulled at my heart strings, enveloping me in its comfort from a long-forgotten time in horror. It’s a nostalgic blast for me, thinking back to that time, my friends, my youth, and finding my new home. Horror fans are split down the middle: from serial-killer clowns (my side) to elevated horror, where an artist paints a forty-thousand-year-old demon that chases them around an upper-class studio apartment. I say that a lot, but it’s the best way to describe some things.

The entire movie had me cheering while all the people I hated suffered dire consequences for their actions. It’s the same old story done in a way that we rabid fans could drool over, and it worked. In all the bad in the world today, and my only hope for the future is the soon-to-end Terrifier franchise. However, the direction was a recipe to succeed with 40+ year old horror fans like me. I see the film as a hope for tomorrow, leading us into a new era.

Trucker is set to release on March 10th, 2026