by: Tim Fox

Posted: May 5, 2026 / 12:12 PM EDT

Updated: May 5, 2026 / 12:54 PM EDT

(WSYR-TV) — An apex is the highest level, the ultimate height and Charlize Theron says the action-thriller currently on Netflix may just be the ultimate filmmaking experience in her distinguished career. She plays a woman seeking solitude, only to end up in a cat-and-mouse game opposite a hunter played by Taron Edgerton. Our ‘Movie Guy’ Brian Miller is here with his take on “Apex.”

Contenders are lined up for the 79th Tony Awards.

Tony nominee Uzo Aduba and Tony winner Darren Criss on Tuesday morning announced nominees live on CBS and YouTube. Musicals “The Lost Boys” and “Schmigadoon!” led nominations with 12 each, and “Ragtime” was close behind with 11. “Death of a Salesman,” “Cats: The Jellicle Ball” and “The Rocky Horror Show” tied with nine. Rose Byrne (“Fallen Angels”) and John Lithgow (“Giant”), among other stars, earned acting nods.

Qween Jean, Linda Cho, Heather Gilbert, Adam Honoré and Kai Harada were among the nominees for two different productions.

Like last year, several acting categories featured Hollywood heavyweights, including Byrne, who earned an Oscar nomination for her turn in Mary Bronstein’s psychological drama “If I Had Legs I’d Kick You.” With her nod for “Fallen Angels,” Byrne became the first woman to secure Oscar and Tony nominations in the same year since Laurie Metcalf in 2018 for “Lady Bird” and “Three Tall Women.” Metcalf herself was nominated in the featured actress category for “Death of a Salesman.”

In another milestone, 96-year-old June Squibb unseated Lois Smith as the oldest Tony-nominated actor in history for “Marjorie Prime.” Serendipitously, Smith originated Squibb’s role in the play in 2014.

Other headline nominees included Lesley Manville (“Oedipus”), Nathan Lane (“Death of a Salesman”), Daniel Radcliffe (“Every Brilliant Thing”) and Stephanie Hsu (“The Rocky Horror Show”).

Another notable name surrounding Tuesday’s announcement was producer Scott Rudin, who recently returned to Broadway after stepping back following allegations of abusive behavior. This cycle, Rudin produced nominees “Little Bear Ridge Road” and “Death of a Salesman,” both of which were recognized by the New York Drama Critics’ Circle.

The 79th Tony Awards will return to New York City’s Radio City Music Hall on June 7. The ceremony, hosted by Pink, will air live on CBS and stream on Paramount+.

Here is the complete list of nominees.

Play

“The Balusters”
“Giant”
“Liberation”
“Little Bear Ridge Road”

Musical

“The Lost Boys”
“Schmigadoon!”
“Titaníque”
“Two Strangers (Carry a Cake Across New York)”

Revival of a play

Arthur Miller’s “Death of a Salesman”
Gina Gionfriddo, “Becky Shaw”
Duncan Macmillan and Jonny Donahoe, “Every Brilliant Thing”
“Fallen Angels”
Robert Icke, “Oedipus”

Revival of a musical

“Cats: The Jellicle Ball”
“Ragtime”
Richard O’Brien’s “The Rocky Horror Show”

Performance by an actress in a leading role in a musical

Sara Chase, “Schmigadoon!”
Stephanie Hsu, “The Rocky Horror Show”
Caissie Levy, “Ragtime”
Marla Mindelle, “Titaníque”
Christiani Pitts, “Two Strangers (Carry a Cake Across New York)”

Performance by an actor in a leading role in a musical

Nicholas Christopher, “Chess”
Luke Evans, “The Rocky Horror Show”
Joshua Henry, “Ragtime”
Sam Tutty, “Two Strangers (Carry a Cake Across New York)”
Brandon Uranowitz, “Ragtime”

Performance by an actress in a leading role in a play

Rose Byrne, “Fallen Angels”
Carrie Coon, “Bug”
Susannah Flood, “Liberation”
Lesley Manville, “Oedipus”
Kelli O’Hara, “Fallen Angels”

Performance by an actor in a leading role in a play

Will Harrison, “Punch”
Nathan Lane, “Death of a Salesman”
John Lithgow, “Giant”
Daniel Radcliffe, “Every Brilliant Thing”
Mark Strong, “Oedipus”

Book of a musical

David Hornsby and Chris Hoch, “The Lost Boys”
Cinco Paul, “Schmigadoon!”
Marla Mindelle, Constantine Rousouli and Tye Blue, “Titaníque”
Jim Barne and Kit Buchan, “Two Strangers (Carry a Cake Across New York)”

Original score

Music: Caroline Shaw, “Death of a Salesman”
Music: Steve Bargonetti, “Joe Turner’s Come and Gone”
Music and lyrics: The Rescues, “The Lost Boys”
Music and lyrics: Cinco Paul, “Schmigadoon!”
Music and lyrics: Jim Barne and Kit Buchan, “Two Strangers (Carry a Cake Across New York)”

Performance by an actor in a featured role in a play

Christopher Abbott, “Death of a Salesman”
Danny Burstein, “Marjorie Prime”
Brandon J. Dirden, “Waiting for Godot”
Alden Ehrenreich, “Becky Shaw”
Ruben Santiago-Hudson, “Joe Turner’s Come and Gone”
Richard Thomas, “The Balusters”

Performance by an actress in a featured role in a play

Betsy Aidem, “Liberation”
Marylouise Burke, “The Balusters”
Aya Cash, “Giant”
Laurie Metcalf, “Death of a Salesman”
June Squibb, “Marjorie Prime”

Performance by an actor in a featured role in a musical

Ali Louis Bourzgui, “The Lost Boys”
André De Shields, “Cats: The Jellicle Ball”
Bryce Pinkham, “Chess”
Ben Levi Ross, “Ragtime”
Layton Williams, “Titaníque”

Performance by an actress in a featured role in a musical

Shoshana Bean, “The Lost Boys”
Hannah Cruz, “Chess”
Rachel Dratch, “The Rocky Horror Show”
Ana Gasteyer, “Schmigadoon!”
Nichelle Lewis, “Ragtime”

Scenic design of a play

Hildegard Bechtler, “Oedipus”
Takeshi Kata, “Bug”
David Korins, “Dog Day Afternoon”
Chloe Lamford, “Death of A Salesman”
David Rockwell, “Fallen Angels”

Scenic design of a musical

dots, “The Rocky Horror Show”
Soutra Gilmour, “Two Strangers (Carry a Cake Across New York)”
Rachel Hauck, “Cats: The Jellicle Ball”
Dane Laffrey, “The Lost Boys”
Scott Pask, “Schmigadoon!”

Costume design of a play

Brenda Abbandandolo, “Dog Day Afternoon”
Qween Jean, “Liberation”
Jeff Mahshie, “Fallen Angels”
Emilio Sosa, “The Balusters”
Paul Tazewell, “Joe Turner’s Come and Gone”

Costume design of a musical

Linda Cho, “Ragtime”
Linda Cho, “Schmigadoon!”
Qween Jean, “Cats: The Jellicle Ball”
Ryan Park, “The Lost Boys”
David I. Reynoso, “The Rocky Horror Show”

Lighting design of a play

Isabella Byrd, “Dog Day Afternoon”
Natasha Chivers, “Oedipus”
Stacey Derosier, “Joe Turner’s Come and Gone”
Heather Gilbert, “Bug”
Heather Gilbert, “The Fear of 13”
Jack Knowles, “Death of A Salesman”

Lighting design of a musical

Kevin Adams, “Chess”
Jane Cox, “The Rocky Horror Show”
Donald Holder, “Schmigadoon!”
Adam Honoré, “Cats: The Jellicle Ball”
Adam Honoré and Donald Holder with 59 Studio, “Ragtime”
Jen Schriever and Michael Arden, “The Lost Boys”

Sound design of a play

Justin Ellington, “Joe Turner’s Come and Gone”
Tom Gibbons, “Oedipus”
Lee Kinney, “The Fear of 13”
Josh Schmidt, “Bug”
Mikaal Sulaiman, “Death of a Salesman”

Sound design of a musical

Kai Harada, “Cats: The Jellicle Ball”
Kai Harada, “Ragtime”
Adam Fisher, “The Lost Boys”
Brian Ronan, “The Rocky Horror Show”
Walter Trarbach, “Schmigadoon!”

Direction of a play

Nicholas Hytner, “Giant”
Robert Icke, “Oedipus”
Kenny Leon, “The Balusters”
Joe Mantello, “Death of A Salesman”
Whitney White, “Liberation”

Direction of a musical

Michael Arden, “The Lost Boys”
Lear deBessonet, “Ragtime”
Christopher Gattelli, “Schmigadoon!”
Tim Jackson, “Two Strangers (Carry a Cake Across New York)”
Zhailon Levingston and Bill Rauch, “Cats: The Jellicle Ball”

Choreography

Christopher Gattelli, “Schmigadoon!”
Ellenore Scott, “Ragtime”
Ani Taj, “The Rocky Horror Show”
Omari Wiles and Arturo Lyons, “Cats: The Jellicle Ball”
Lauren Yalango-Grant and Christopher Cree Grant, “The Lost Boys”

Orchestrations

Doug Besterman and Mike Morris, “Schmigadoon!”
Ethan Popp, Kyler England, Adrianne “AG” Gonzalez and Gabriel Mann, “The Lost Boys”
Lux Pyramid, “Two Strangers (Carry a Cake Across New York)”
Brian Usifer, “Chess”
Andrew Lloyd Webber, David Wilson, Trevor Holder and Doug Schadt, “Cats: The Jellicle Ball”

Power Ballad, 2026.

Directed by John Carney.
Starring Paul Rudd, Nick Jonas, Peter McDonald, Marcella Plunkett, Rory Keenan, Keith McErlean, Paul Reid, Beth Fallon, Havana Rose Liu, Jack Reynor, Naoimh Whelton, Mae Higgins, Ian Dillon, Kelly Thornton, Ebimie Anthony, Ruby Conway Dunne, Dean Panter, Juliette Crosbie, Robert Mitchell, Martha Breen, Dylan Kelly, Kellie El Mayss, and Alexa Scout Fagen.

SYNOPSIS:

Rick, a washed-up wedding singer, and Danny, a fading boy band star, bond over music and a late-night jam session. When Danny turns Rick’s song into a hit, Rick sets out to reclaim the recognition he believes he deserves.

Co-writer/director John Carney (here crafting the screenplay alongside supporting actor Peter McDonald) has an established track record of contemporary musicals with catchy original tunes that have long been flying under the radar for Academy Award consideration, but it should also be pointed out that the success of his films also comes from placing a sharp and acutely insightful emphasis on the creative process and the characters themselves. That is especially true for his latest work, Power Ballad, which features Paul Rudd as an Ireland-based wedding singer cover band frontman, Rick Power, perhaps like many of us coming into the film, still living in another time, or maligning the fact that rock and roll, for the most part, is dying off to other genres, particularly bubblegum mainstream-friendly pop.

As such, Rick’s next gig takes him and the band to Los Angeles for the wedding of a relative of once-popular musician Danny Wilson (played by Nick Jonas, which gives viewers some idea of the music the character creates), failing to keep up with his fellow boy band mates, who have all apparently gone on to bigger and brighter things in the wake of breaking up and going their separate ways. In the hours after the ceremony, they drunkenly get together to kick around ideas, experiment with collaborating on music, and mostly conclude that, while they may come from different genres with wildly different perspectives on art and on each other, there is real talent. In the moment, it appears that mutual respect has been agreed upon.

That only lasts for about 6 months, when Rick Power, amusingly, finds out while walking around a mall that Danny has taken the song he wrote, ” I Can’t Write a Song Without You”, slapped a bridge on it, and become a worldwide sensation without even asking if he would like to be cut into a fraction of the profits. More frustrating and possibly even defeating regarding the happiness of his family is that neither Rick’s wife (Marcella Plunkett) nor his teenage daughter (Beth Fallon) expresses any belief that he could be capable of writing those lyrics. On some level, it’s also likely humiliating that said daughter, who regularly playfully mocks his songwriting ideas, sings along to the hit song.

And since this is a John Carney film, the song is undoubtedly going to stick with viewers not only for its catchiness and rhythms, but also for what the lyrics mean for each character and art bearing a more personal meaning to the actual creator, who oftentimes might be the only one who knows the true emotional core and intent behind it. For Danny, it seems like a love song, but throughout, there is a sense that it might have meant something else to Rick when they were originally writing it together. Meanwhile, whenever Danny shows a trace of an awakening consciousness regarding his lack of moral ethics, his manager (played by John Carney regular Jack Reynor) is there to insist he bury those feelings, that it would be a bad look if word got out he mostly stole the song from a wedding singer of all people. 

Nevertheless, with The Wedding Singer‘s DNA in its humor, the ensuing spiral eventually leads Rick Power (with Paul Rudd channeling some of that effortless charm into righteous anger) and his loyal bandmate, Sandy (Peter McDonald), to Los Angeles to confront Danny in person. Naturally, there are plenty of laughs along the way, all while the storytelling shifts into emotional territory, where it is no longer just about being cheated out of fame and fortune but about pursuing the truth and having that ambition and talent validated. For as much as Danny’s reasonings and justifications will make one want to punch him in the face, there is also some merit to his argument that no matter how good a piece of art is, it’s also about how it is packaged and who is putting it out there in the world.

This might also sound like a film with predictable plotting, which is true, but only to an extent. Some characters are confoundingly shoved aside, others are entirely one-dimensional, and there are a number of contrivances here to set the conflict in motion, not to mention the occasional scene that is perhaps a bit too much (a car accident that is almost immediately brushed off and comes to feel unnecessary in hindsight, for example), but there are genuinely subversive qualities in how this story unfolds, where it goes, and where it ultimately ends up.

That is also what lends Power Ballad much of its power: it’s not about lingering and hammering home those emotional beats and reveals, but about tucking them away into something smaller and more minimalist that turns out to be much more moving and sincere. 

Flickering Myth Rating – Film: ★ ★ ★ / Movie: ★ ★ ★

Robert Kojder

https://www.youtube.com/watch?v=embed/playlist