Movie Reviews
Movie Review | Remarkably Bright Creature
Remarkably Bright Creature (Photo – Netflix)
“I’d like to be under the sea in an octopus’s garden…”
Remarkably Bright Creature
Directed by Olivia Newman – 2026
Reviewed by Garrett Rowlan
Whenever you have a lyric from a C-list Beatle song running through your head while watching a movie, it’s not a good sign.
But halfway through Remarkably Bright Creatures, a new film starring Sally Fields, those words earwormed their way into my head, replacing, I fear, the heartwarming sentiment I was expected to feel.
Based on a popular novel, Remarkably Bright Creatures—or RBC hereafter—is narrated by a captive octopus named Marcellus, who makes observations from his tank in a seaside Washington town.
The digitally animated creature, voiced by Alfred Molina in a flat tone that itself sounds half-submerged, spends his days hiding from the grasping eyes and fingerprints of schoolchildren on field trips. By night, he communicates through touch and glance with the janitor, Tova Sullivan, played by Sally Fields, a widow with a tragic past. She hobbles around on a sprained ankle and debates whether to move into a retirement facility.
As you might guess, RBC is slight on dramatic material, relying instead on the commentary of Marcellus, the aging octopus; Tova’s interactions with her octogenarian friends; and the arrival in town of a struggling musician seeking the father he never knew.
The film reminded me of those BBC-produced cozy mysteries I’ve become fond of renting from the Pasadena Public Library: small-town atmospheres filled with chumminess and colorful characters. Those mysteries, however, have an unsolved crime to propel the plot. Aside from the struggling musician’s attempt to locate his wealthy, incognito biological father, RBC leaves the viewer with little to chew on—or, I suppose, suck on. Marcellus’s eight arms and clinging suckers not only allow him to move in unique ways, but also to comment on the other characters from the vantage of his tank, a POV oddity that becomes one of the film’s more troubling anomalies.
As usual with this geezer genre, there’s the sobering apprehension of familiar faces, Kathy Baker and Joan Chen in this case, whose wrinkles and tissue breakdown reminded me of my own softening jawline. Colm Meaney, playing a former Grateful Dead fanatic turned coffee-shop owner, serves as Sally Fields’s love interest; his Irish brogue further evokes those BBC cozies.
“She lives in a larger tank than me,” observes Marcellus of the fussy attendant. His periodic comments sprinkle the plot, easing along our understanding of the characters until the metaphorical enclosure around Sally Fields dissolves as she takes the aging Marcellus to the seashore and returns him to his own octopus’s garden.
What the ultimate public reception of RBC will be, I don’t know. I wouldn’t have thought Project Hail Mary, with its spidery co-star in a beach-ball enclosure, would be popular either, so I suppose there’s hope yet for the movie and its slithering protagonist.
> Streaming on Netflix.
Movie Reviews
Movie Review: “The Odyssey”
Heat Advisory
from THU 12:00 PM EDT until THU 8:00 PM EDT, Eastern Montgomery County, Lower Bucks County, Philadelphia County, Delaware County, Eastern Chester County, Gloucester County, Northwestern Burlington County, Camden County, Mercer County, New Castle County
Movie Reviews
Adam MacDonald’s ‘THIS IS NOT A TEST’ (2026) – Movie Review – PopHorror
By and large, the zombie subgenre has bitten off more than it can chew in modern times. Between George Romero survival films and camp comedies, the well has become pretty infected. But once in a while, along comes a movie like This Is Not A Test.
Let’s sink our teeth into this new release and see how it stacks up against the classics.
The tone and tenor of this film represent the classic survival movies like Night Of The Living Dead. But the thing that grabs the audience about This Is Not A Test is the trauma of the characters. Holt shines as a withdrawn survivor of an abusive home, trying to cut through the wreckage to reunite with her sister. Each of the main characters have standout traits, and they bathe in strongly acted moments as the stress of the situation changes who they are.
The gore in This Is Not A Test is pretty strong. The attacks spring quickly and when they do, the special effects team does a good job showcasing the battle scars. The camera work is also frenetic in a good way, because the chaos of the chase scenes puts the viewers in a first-person perspective. This film lets you feel like a part of the survivors, so their journeys are interactive.

Longtime fans may say that there’s nothing new in This Is Not A Test, and maybe they’re right. There’s no fresh take on the monsters here, no crazy origin, nothing that we haven’t seen in the past fifty-eight years. But the pacing nails a great balance between getting to know the characters and getting the zombie splatter fest. The mental meltdowns of the characters feel well earned, and the arc of Sloane and her sister brings a lot of heart and investment to the story. Even the most jaded zombie horror fans will find something to appreciate here, even as a background movie.
Adam MacDonald has made another intense hit here, and This Is Not A Test is currently available to stream on Shudder.
Movie Reviews
Film Review: “The Odyssey” – MediaMikes
- THE ODYSSEY
- Starring: Matt Damon, Tom Holland and Anne Hathaway
- Directed by: Christopher Nolan
- Rated: R
- Running time: 2 hrs 45 mins
- Universal
Our score: 4.5 out of 5
EPIC. If I was asked to describe Christopher Nolan’s latest film, that is the word I would use. He has mounted a film that rivals the greatest achievements of filmmakers like Cecil B. DeMille or David Lean. And, like the films of those mentioned, it’s runs a tad too long.
I was shocked, but pleased, to see that my 12-year-old granddaughter recently did a school paper on King Agamemnon. Thank goodness they’re still teaching History in our schools. Based on Homer’s “The Odyssey,” the film tells the story of King Odysseus (Damon) and his adventures which, if you’ve read “The Odyssey,” include the Trojan Horse, the Cyclops and assorted angry Greek gods. The film covers each of these adventures in great detail, sparing nothing in the production design department. While Odysseus is away – and he’s gone for a l-o-n-g time, his wife Penelope (Hathaway) has to endure a never ending string of “suitors,” men lining up in the hopes of replacing the King should he not return. The men are nothing more then scavengers, taking advantage of the law of Zeus, which decrees no one should be turned away. This angers the Queen’s son, Telemachus (Holland), who must control his temper when the men try to bait him into a fight, the idea being if Telemachus is killed, the new husband would become the King. It’s all very interesting and complicated. And long.

Director Nolan is one of the rare filmmakers who, in my opinion, has never made a bad film. From “Memento” to the “Dark Knight” trilogy to the Oscar-winning “Oppenheimer,” he has proven himself a true master of cinema. “The Odyssey” only adds to that distinguished resume’
The cast is a tribute to Nolan himself who, like Woody Allen, can pretty much get anyone he wants for his films because, as an actor, why wouldn’t you want a credit in one of his films. Besides the three stars named above, the cast includes Robert Pattinson, John Leguizamo, Zendaya, James Remar, Jon Bernthal, Oscar nominees Samantha Morton and Elliot Page as well as Oscar winners Charlize Theron and Lupita Nyongo. As MGM used to advertise, “more stars than there are in heaven.”
The script and story are pretty faithful to the source material, though for some reason it bothered me whenever Telemacus referred to Odysseus as “dad.” Never father. The weird things you notice. Visual.y the film is stunning and the Trojan Horse and battle of Troy are worth the price of admission alone. I will add that I did see the film in 70 mm and, if that format is playing in your town, I urge you to see it in that format.
On a scale of zero to five, “The Odyssey” receives ★★★★ ½
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