For his bracing first feature, The Blow (La Frappe), writer-director Julien Gaspar-Oliveri chose a subject so bleak, many filmmakers wouldn’t touch it with a ten-foot pole. And yet this raw and grippingly honest incest drama manages to find a bit of light in the darkness, showing how it’s possible to live with the traumas of sexual abuse. Feverishly performed by newcomer Diego Murgia, who stars alongside César award winner Bastien Bouillon, Gaspar-Oliveri’s moving debut reveals that he’s not only a talented director to watch, but one who’s unafraid to tackle tough scenarios.

The Blow focuses on a disarmingly troubled young man, Enzo (Murgia), who tries so hard to find affection in the eyes of his dad, Anthony (Bouillon), he’s willing to ignore the worst thing a father could ever do to his own son. Enzo spends much of the film in a crushing state of denial, hoping against hope that love will somehow emerge from this mess. He’s so vulnerable that you can’t help feeling his pain — even when he winds up inflicting that pain on others.

Per the press notes, Gaspar-Oliveri (who co-created the successful high school series, Those Who Blush) partially based the story (co-written with Claudia Bottino) on his own life, which seems evident given the emotional authenticity of his characters. Murgia’s portrayal of Enzo is the movie’s breakthrough performance, although Romane Fringeli, who plays the 19-year-old’s abrasive older sister, Carla, is also a standout. Bouillon, meanwhile, continues a string of strong turns (including in The Birthday Party, which screened in Cannes’ main competition this year) that began back in 2022 with Dominik Moll’s thriller The Night of the 12th.

The opening scene, lensed by Martin Rit in grainy close-ups, shows Enzo and Carla carelessly sleeping in bed together, their bodies subtly rising and falling with each breath. It seems like a blissful moment between the two siblings, who share a tight if volatile bond. But as the film progresses and we learn more about their childhood, that scene takes on a very different meaning: one in which proximity can breed both affection and contempt.

With no parents in the picture and Carla moving out to a college dorm, Enzo’s whole life seems to be in front of him. It helps that he has a burgeoning and very loving relationship with new girlfriend Laura (Héloïse Volle), whose parents run a go-kart track that seems to be the main source of entertainment in their working-class suburb of Marseille.

But the state of independence Enzo has achieved at such a young age is broken when his dad returns home after a five-year stint in prison. A scene in which the two discuss Anthony’s future with a parole officer underlines to what extent Enzo has become the man of the household, hiring his own father to help sell kitchen appliances at local flea markets.

Bouillon creates a charming if menacing presence from the get-go, portraying Anthony as a father who’s been out of the loop for too long with regards to both family and civilian life, yet still wants to be in charge. In one sequence foreshadowing what’s to come, Enzo hides in a closet while his dad brings a woman home from the bar, witnessing some awkward and then off-putting sexual behavior. A latter scene in which the boy climbs in bed with Anthony reveals much worse, although it takes Gaspar-Oliveri a while to explain what exactly went down in the past.

What’s most moving about The Blow — whose French title can mean both a physical hit and a young hoodlum — is the way it charts Enzo’s gradual awakening from a kid who’s still too attached to his father, mostly for terrible reasons, to an adult who finally steps back and sees the truth, at which point the trauma is so overwhelming that it takes over. This happens during several explosive scenes in which Enzo lashes out at those who truly love him (his girlfriend; his sister, who wants nothing to do with their dad), searching in vain for someone to quell the suffering.

Murgia is a revelation here, playing a loose cannon who’s also deeply wounded, like a battered dog occasionally showing his teeth and sometimes biting those who feed him. The early moments in the drama, when Enzo is trying his best to please Anthony after he gets out of jail, offering to cook dinner or lending him a few bucks, will just about break your heart. Because deep down, Enzo knows that by getting closer to his dad, he’s also getting further away from his own recovery. It’s the constant push and pull between trauma and salvation that makes The Blow such a powerful experience.

LOS ANGELES, May 28 (UPI) — Power Ballad, in select theaters Friday, introduces several provocative themes about creativity and the music industry. Unfortunately, it only pays them lip service and leaves many important ones on the table.

Rick Power (Paul Rudd) is the lead singer of an Irish wedding band who loses the party crowd when he plays his own originals from his U.S. touring days. At one wedding, the bride invites her childhood friend, former boy band singer Danny Wilson (Nick Jonas).

After singing a duet at the wedding, Danny and Rick spend the night together jamming in Danny’s room. Danny even leaves Rick a generous parting gift, though his promise that Rick can get in touch with him through his managers seems empty.

When Danny’s manager, Mac (Jack Reynor) rejects his new solo submissions, Danny records “How to Write a Song (Without You)” which Rick played for him during their night in Ireland. Rick finds out when he hears it in the mall six months later.

This raises poignant questions about authorship. Rick wrote the song but never recorded it. Danny recorded it and made it a hit, but claimed authorship.

The script by John Carney and Peter McDonald goes into thorough detail about how Rick cannot establish a record of writing the song prior to meeting Danny. He has no demos, never shared it with his wedding band, and even his wife (Marcella Plunkett) and daughter (Beth Fallon) can’t remember it out of all the music he’s played in the house.

It’s less surprising that Mac shuts down Rick’s claim and threatens legal retaliation, which a humble Irish wedding singer could never afford to battle. What’s more surprising is which obvious questions Carney and McDonald never think to ask.

Danny got a hit out of “How to Write a Song (Without You).” He can ride that for a bit but what is he going to do when he has to write another and all he’s got are the same trite songs the label rejected before?

Mac and Danny allude to an EP he released that included “How to Write a Song” but we don’t hear any of the other tracks. What B-sides did Mac accept to justify a tour off one hit single?

Danny tells his girlfriend (Havana Rose Liu) that he wrote the song for her. Not only does she never find out, question or appear again in the film, she also doesn’t find out when he later takes two groupies to the hot tub.

Instead, Power Ballad seems more invested in mocking Rick for claiming he had a hand in a hit. It must be hard to live with the song ubiquitous everywhere he goes, and especially when a married couple requests he perform it for them. It seems particularly heartless when Rick’s wife and daughter mock him for it. That they don’t believe he wrote it suggests far deeper conflict in that family, but the film never gets into that either.

Rick also lashes out too hard when he’s defensive. It becomes uncharacteristically bitter for a John Carney movie.

The ultimate confrontation between Rick and Danny is unsatisfying. Their jam session was genuine, two musicians bonding over the art when Rick does not care about Danny’s celebrity.

By the time they meet again, Danny’s arc is reductively “hurt people hurt people.” He’s insecure, and boy, would it have been interesting to see him put to the test to follow up “How to Write a Song” by… writing another song.

It also strains credulity that “How to Write a Song (Without You)” is the comeback hit for Danny. It’s fine but not notably better than his other demos.

Begin Again and Sing Street had original music that sounded like it could sell albums on its own. Once literally became a Broadway musical. By Power Ballad, we’ve got a song less catchy than fictional movie songs like “That Thing You Do” or “Way Back Into Love” from Music & Lyrics.

The film does contrast Rick’s heartfelt performance with Danny’s poser version. A sold out Madison Square Garden doesn’t know the difference, but the viewer of Power Ballad does.

Other bright spots are sporadic and disjointed. Jonas takes some gentle jabs at boy band music. They’d land harder if his character ultimately did man up.

They do portray diverse weddings. Fortunately, LGBTQ unions get screen time along with more heteronormative ones.

A nightmare visualizes Rick’s real insecurities comically. Rick and bandmate Sandy (McDonald) perpetuate a cute scheme to get past security, and their actual “in” with Danny was legitimately established previously. Sandy choosing music over a party girl hitting on him is endearing.

Carney’s earlier movies were genuinely uplifting and inspiring even with their share of heartbreaks. His film about struggling to regain earlier inspiration ultimately faces the same very dilemma and blows it like the movie’s antagonist does.

Lionsgate will release Power Ballad nationwide June 5.

Fred Topel, who attended film school at Ithaca College, is a UPI entertainment writer based in Los Angeles. He has been a professional film critic since 1999, a Rotten Tomatoes critic since 2001, and a member of the Television Critics Association since 2012 and the Critics Choice Association since 2023. Read more of his work in Entertainment.

Grizz Chapman, an actor best known for his role as Grizz on NBC’s Emmy-winning comedy “30 Rock,” has died. He was 52.

Chapman’s cousin, Donte Harrison, confirmed the actor’s death on social media.

“Life gave my cousin Grizz Chapman some heavy battles, but he fought them with strength and dignity until the very end,” Harrison wrote. “A lot of people knew him as the sitcom star from 30 Rock, but we knew the man behind the screen. A good heart, good energy, and somebody who made an impact in this life.

“After years of fighting illness and dialysis, he passed peacefully in his sleep on May 22nd, 2026. I’m thankful we got time to reconnect 2 months before his passing.”

Born Mack D. Chapman on April 16, 1974, in Brooklyn, N.Y., Chapman got the name Grizz while working as a security guard at nightclubs around New York. The claim to fame of the 7-foot-tall security guard turned actor would be portraying a character that resembled himself: a towering bodyguard named Grizz.

Chapman played the mild-mannered bodyguard across 80 episodes of the wildly popular sitcom “30 Rock,” which starred Tina Fey, Tracy Morgan and Alec Baldwin. Chapman’s character was part of the entourage of Tracy Jordan (played by Morgan).

Chapman told Cracked in 2024 that landing “30 Rock” was the “hardest/easiest audition I ever had in my life.”

But it wasn’t until the second season of the show that Chapman felt he really broke through as a performer. On Episode 210, he performs a rendition of “Midnight Train to Georgia” alongside the veteran ensemble. “That showed so many levels of our talents — we got a chance to dance, we got a chance to sing, we got a chance to take direction and to be funny.”

In addition to acting in various projects, including the 2014 film “The Cobbler,” which starred Adam Sandler, and the 2016 thriller “Money Monster,” starring George Clooney and Julia Roberts, Chapman was an advocate for the National Kidney Foundation.

The actor battled high blood pressure and kidney disease and struggled with his weight for years, and in 2009, he announced he was seeking a donor for a kidney transplant. During an appearance on “The Dr. Oz Show,” the actor said, “I don’t want to go through this forever.”

Chapman told Dr. Oz that he’d coped with the news by acknowledging it was “a scary situation” but deciding to “face it one way or another.”

When Dr. Oz asked him what he wished for, the actor said, “I want to stay alive.”

Chapman spent nearly two years undergoing dialysis treatments three days a week for 4½ hours a day while filming “30 Rock” and hoping for a donor. In the process, he lost more than 150 pounds, hoping to be fit enough for the procedure. After the episode of “Dr. Oz” aired, a fan of Chapman’s, Ryan Perkins, flew from Arizona to New York to meet the actor. Perkins, then in his early 20s, knew he wanted to do something that could change someone’s life.

“I was emotional. I was excited. I wanted to scream. It was exciting to meet someone with that kind of willingness to help,” Chapman told the East Valley Tribune.

“How do you ever repay someone for something like that? You can’t. It’s not like borrowing $20 from someone and telling them you’re going to give it back. It’s something that you can never repay someone for.”