Movie Reviews
Review: Clooney and Pitt carry the fixer caper 'Wolfs'
The overriding tension in “Wolfs,” starring George Clooney and Brad Pitt as rival fixers brought in to clean up the same crime, isn’t so much the threat of police arrest or Albanian mob assassination — both of which are concerns. It’s that Clooney and Pitt aren’t pals.
The two start out as strangers to one another. It’s a testament to Clooney and Pitt’s jovial on-and-off screen chemistry, and their bond in shared movie-star charisma, that it’s genuinely discombobulating to hear Pitt tersely call Clooney “sir” as he does in the opening scenes of Jon Watts’ winning, clever caper.
Pitt and Clooney first acted together in 2001’s “Ocean’s Eleven.” And like that remake riff on the Rat Pack original, “Wolfs” is as much, if not more, about its movie stars as it is anything else. The movie’s appeal is mostly in their easy charm and chemistry — the little eye rolls and games of one-upmanship that accrue until, finally, they’re buddies, like we want them to be.
Clooney is 63 and Pitt is 60, and there are few bits about back pain and Advil in Watts’ film. But “Wolfs,” which opens in limited theaters Friday and streams next week on Apple TV+, is designed to show you that they can still, without ever really breaking a sweat, get the job done.
When their characters meet, they are both standing in the penthouse of a luxury New York hotel where a tough-on-crime district attorney (Amy Ryan) is in desperate need of a cover up. A young, nearly naked man is seemingly dead on the floor. She’s frantically searched her phone for a number once given for such emergencies. That brings the first never-named fixer (Clooney) to the door. Not long after, the second, also unnamed fixer (Pitt) knocks. After a moment of confusion, he points to a small camera at the ceiling. He’s been dispatched by the hotel owner (an unseen Frances McDormand) who doesn’t want any bad press.
The two fixers are spiritual descendants, you might say, from Harvey Keitel’s Winston Wolfe, the fast-driving cleaner of “Pulp Fiction.” Each is a specialist, supposedly the only man who can do what they do. “Wolfs” — with an awkwardly spelled title that represents the pained collaboration of these two solo freelancers — is a little bit like the pointing Spider-Men meme brought to life. Fitting, then, that it comes from Watts, director of the three Tom Holland Spider-Man films. He also wrote the script.
There are more movies that “Wolfs” has some kinship with, too, like Tony Gilroy’s “Michael Clayton,” a high point for Clooney in which he played the clean-up man of a malicious law firm. “Wolfs” doesn’t measure up to anything like “Michael Clayton” — what does? — and isn’t trying to, anyway. This is more of an old-school movie-star-driven entertainment featuring two actors with skills as rarified as their characters’, the kind of movie that was once regularly at home in theaters but now has instead been built for the streaming era.
Informed that they have to finish the job together, the two fixers begin to go about the business of getting rid of the body. They eye each warily, disinterested in giving away any tricks of the trade. This mostly falls to Clooney’s character, whose creative way of lifting the body onto a luggage rack begins to earn the respect of Pitt’s character.
They turn out to have much, maybe everything, in common. Slowly, reluctantly, they inch toward a partnership. It’s a credit to Watts’ keen sense of rhythm and his stars’ subtlety that it more or less takes the whole movie to get there. Once outside the hotel, “Wolfs” unspools over the course of one night, shot sleekly in the shadows of downtown Manhattan by cinematographer Larkin Seiple.
Things get a jolt when the body in question turns out to be alive, and kind of a hoot, too. The kid, credited only as “Kid,” is roused from a drug-induced stupor, and quickly, in tighty whities, goes escaping down the street, forcing the two fixers on an extensive chase leading up to the Brooklyn Bridge. The kid is played with a lot of goofy moxie by Austin Abrams (“Euphoria,” “The Walking Dead”), and his account of how he got into this mess, delivered in a cheap motel, may be the film’s best sequence. Along with Sean Baker’s upcoming “Anora,” it’s turned into a surprisingly good season for New York nocturnal odysseys propelled by mop-haired kids who end up in Brighton Beach.
But the kid’s perspective on his two captors also pushes “Wolfs” along. He’s naive enough to think they’re his friends, even though they would seem duty-bound to dispatch him. Regarding Clooney and Pitt, both in leather jackets, from the back seat of the car, he otherwise correctly assesses them, calling them “like the two coolest people I’ve ever met.”
Thankfully, someone has come to the not-hard-to-deduce realization that Clooney and Pitt are good together. A sequel has already been announced. “Wolfs” turns out to be both the beginning and the coda of a beautiful friendship.
“Wolfs,” an Apple Studios release is rated R by the Motion Picture Association for language throughout and some violent content. Running time: 108 minutes. Three stars out of four.
Lisa Dent
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A native of Rockford, Lisa Dent, heard 2 pm to 6 pm weekdays, began her radio career in Fort Atkinson, Wisconsin in 1981. She has worked at stations in Minneapolis, San Diego, Seattle, and Houston. Dent returned to Chicago in 2002. (Click for more.)
The world of cinema and TV series offers hundreds of premieres every year, but not all of them are worth the time spent. Viewers are increasingly looking not just for entertainment, but for meaning — stories that leave an aftertaste, make them think, or help them experience strong emotions. That is why reviews are becoming an important guide: they help separate truly high-quality content from loud but empty hype. UNN has reviewed the most anticipated premieres and selected films worth watching.
“Kakhovka Object” (war drama)
The film shows war not only as combat operations but also as a test of human dignity, character, and choice. Through the fate of the main character, the viewer sees how difficult it is to make decisions in extreme circumstances when every step can affect the lives of others. The director masterfully combines psychological tension with realistic details, creating an atmosphere of complete immersion. The film is not only about war but also about human responsibility, strength of spirit, and the ability to remain human in the chaos of events.
“Mavka. The True Myth” (romantic fantasy)
The premiere will take place on March 1, 2026. This is a continuation of the Ukrainian fantasy tradition, where national myths and legends come to life on screen. The film reveals Mavka’s inner world, her desire for love and freedom, as well as the conflict between the human and the magical. The animation promises to be bright and detailed, and the story is universal: it touches on the themes of choice, self-discovery, and responsibility for one’s feelings. This film will be a good example of modern Ukrainian animation, capable of captivating both children and adults.
“When Will You Divorce?” (corporate comedy)
A comedy about personal life and work relationships that raises questions about the balance between career and personal feelings. The film humorously shows how easy it is to get confused in one’s own emotions, trying to satisfy the expectations of others. The authors successfully combined light life situations and ironic dialogues, which makes the viewing entertaining but not superficial. This film is for those who appreciate modern humor and recognize themselves or colleagues in the characters.
“Odyssey” (epic adventure drama)
A large-scale adaptation of Odysseus’s travels after the Trojan War. The film shows not only the hero’s physical trials but also his inner transformation: courage, ingenuity, patience, and moral choice in critical moments. The artistic design and the use of modern technologies to create epic landscapes and battle scenes are impressive. The director managed to combine a classic story with a modern cinematic rhythm, which makes “Odyssey” not only spectacular but also emotionally deep.
“Lord of the Universe” (sci-fi, action)
The film transports the viewer into a vibrant magical world where heroes fight for justice, and the line between good and evil constantly shifts. This is a story about courage, self-sacrifice, and responsibility for one’s own destiny and the destiny of others. The combination of special effects, a fantasy world, and an adventure plot makes the film attractive to a wide audience. But the main thing is not the effects, but the internal struggle of the characters, which gives the film depth and meaning.
“Scream 7” (2026)
The return to the famous slasher franchise proved unsuccessful. Despite the direction of series veteran Kevin Williamson and the comeback of Neve Campbell and Courteney Cox, the film received mostly negative reviews from critics.
Thus, 2026 promises to be a landmark year for Ukrainian and world cinema. Even with fewer premieres, there is a tendency towards a deep elaboration of characters, psychological conflicts, and moral issues, which makes modern films and series not only entertainment but also a way of understanding human life and the modern world.
“You Are Space” breaks records: Ukrainian sci-fi attracts over 326,000 viewers10.02.26, 21:04 • 6852 views
Movie Reviews
Movie reviews reveal A Poet and All That’s Left of You dominate March with perfect 100% scores – Art Threat
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Two masterpieces just shattered critical consensus on Rotten Tomatoes. Both A Poet and All That’s Left of You have garnered rare perfect 100% scores from critics, dominating March 2026’s excellence rankings. These dual releases represent a historic moment for international cinema.
🔥 Quick Facts
- A Poet: 100% Rotten Tomatoes score from critics celebrating Simón Mesa Soto‘s Colombian drama
- All That’s Left of You: 100% Certified Fresh multi-generational Palestinian epic by Cherien Dabis
- Release Timeline: Both films expanding dramatically in theaters March 2026 after festival triumphs
- Critical Moment: Rare simultaneous perfect scores elevate international storytelling into mainstream spotlight
A Poet Achieves Unanimous Critical Acclaim
Simón Mesa Soto‘s A Poet stands as one of 2026’s finest achievements. Starring Ubeimar Rios as Oscar Restrepo, a once-promising writer turned tragic failure, the film examines fatherhood’s weight with devastating wit and elegance. The Colombian-Swedish-German co-production premiered at Cannes Film Festival’s Un Certain Regard section last year and has conquered every distribution market since.
The ensemble cast includes Rebeca Andrade, Guillermo Cardona, and Humberto Restrepo, delivering layered performances that anchor the film’s four-chapter structure. Critics hailed the film as a triumph of tone, mixing tragicomic observation with genuine emotional devastation. The New York Times called it “The Romance of Misery”, recognizing its ability to find beauty in human failure. The film’s philosophical depth and formal precision explain its unprecedented critical consensus.
| Title | A Poet (Un Poeta) |
| Director | Simón Mesa Soto |
| Lead Actor | Ubeimar Rios as Oscar Restrepo |
| Rotten Tomatoes | 100% Certified Fresh |
| Theatrical Status | Expanding in March 2026 |
All That’s Left of You Shatters Records as Palestinian Saga
Cherien Dabis wrote, directed, and starred in All That’s Left of You, a sweeping three-generational epic set in the Occupied West Bank spanning decades of family trauma and resilience. Featuring Saleh Bakri, Mohammad Bakri, Adam Bakri, and Maria Zreik, the film follows a teenage boy swept into a pivotal protest with consequences that ripple through his family’s future.
Produced by Watermelon Pictures, the film premiered at Sundance Film Festival 2025, where it immediately earned Certified Fresh status and near-universal praise. Filming relocated to Cyprus, Greece, and Jordan after production complications, yet the result feels seamlessly authentic. Critics point to Dabis’s multi-media mastery (she directs, performs, and produces) as essential to the film’s emotional authority. The film’s scope rivals the greatest epics while maintaining intimate character work that defines recent international cinema.
All That’s Left of You arrived in selected theaters on January 9, 2026 and steadily expanded throughout early March. The film’s 100% Rotten Tomatoes score reflects not just critical respect but genuine reverence for Dabis’s artistic vision. This achievement represents Palestinian cinema reaching its greatest artistic and commercial moment.
Why These Two Films Dominate March 2026’s Conversation
Rarity defines these simultaneous perfect scores. A Poet and All That’s Left of You occupy the rare 100% Tomatometer tier reserved for films of historic excellence. The 2026 FilmFare recognized both as front-runners for major awards, acknowledging how they’ve elevated the expectations for drama itself. Industry observers note that achieving perfect critical consensus in today’s fractious landscape represents not consensus but unanimous recognition of artistic achievement.
Both films reflect cinema’s global moment. Simón Mesa Soto‘s Colombian vision and Cherien Dabis‘ Palestinian perspective prove that international storytelling now commands the cultural conversation. Rotten Tomatoes‘ Official Rankings place both films in its exclusive Certified Fresh top tier. March 2026 becomes the month cinema decided: universal critical acclaim belongs to filmmakers willing to transcend borders.
“All That’s Left of You is a sweeping multigenerational epic that captures the thematic breadth of great cinema while exploring what it means to endure generational trauma.”
— Rotten Tomatoes Critics Consensus, Officials
The Future of International Cinema Starts Now
Both films expand to more theaters through March 2026 and beyond. A Poet hits streaming services and digital platforms simultaneously, making it accessible to audiences beyond Select Release cities. All That’s Left of You continues rolling out across regional markets, having already secured international distribution. Industry observers expect both to capture major festival awards at upcoming spring cinema celebrations.
These perfect scores matter beyond accolades. They signal to studios, streamers, and investors that audiences hunger for international voices and authentic storytelling. March 2026 becomes a watershed moment where Colombian drama and Palestinian cinema proved they belong in the conversation with any major market release. The critical paths of A Poet and All That’s Left of You forecast how cinema itself will evolve toward greater global representation.
Where Can Film Lovers Watch These Perfect-Score Masterpieces?
Both films remain available in theatrical releases across the United States and expanding internationally. A Poet plays select theaters with plans to widen release through spring 2026, while All That’s Left of You continues broader theatrical circulation. Check major ticketing platforms for showtimes and streaming availability. International audiences should consult local cinema schedules for release dates and language availability. These 100% Rotten Tomatoes achievements deserve the big screen experience both directors envisioned.
Sources
- Rotten Tomatoes – Official Tomatometer scores and Critics Consensus for both films
- The New York Times – Critical analysis and reviews of A Poet’s artistic achievement
- Watermelon Pictures – Official distribution and production information for All That’s Left of You
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