Tribeca 2026: Via Negativa

| Allison Brown

While well made with top notch cinematography, Via Negativa’s slow, meditative nature makes it hard to fully engage. Acting performances in these reflective moments are definitely powerful, but the script may land better for a viewer more in touch with religion. Introspective narration conveys Dan’s (Young Mazino) disillusionment, as he analyzes life through unconventional interpretations of bible scripture. He did everything right by committing himself to the cloth, but catholicism hastily disposes of him upon a first crisis of faith. 

Notable talent Mamoudou Athie is sorely wasted with little screen time in only the final few minutes. Seems like a waste of budget to cast this caliber of actor for a background role. 

Creativity is not lost here. In the opening sequence, a group of mourners of mixed sexual orientation move in a manner evoking contemporary choreography. This sets the scene for the emotional conflict to come. Blue toned color grading enhances the emotion behind Dan’s crippling depression. 

Anna (MiMi Ryder), a sideshow owner’s delinquent daughter along for the ride, provides a sly quote, “you’re on some sort of fucked up American pilgrimage,” which best describes the wandering, road trip storyline. A revenge subplot to avenge a protagonist’s loved one is most compelling, yet the payoff of its resolution couldn’t be much weaker. 

We see Dan’s crisis of faith progress through his wardrobe. As he proudly wears the collar for all to see, he accepts confessions and requests for prayers from strangers. Once he separates himself from his faceless job, and unearths his individual identity, he wears a jacket that hides his attire to be perceived as a civilian. It works so well that at one point, a fellow diner offers to acts as Dan’s savior in a flip of perspective, as well as a peer to lean on. An injured wolf-dog picked up off the street early on acts as a metaphor for Dan in this manner of character evolution. The animal represents his untamed yet wounded persona itching to escape and run free. 

Overused shots where the camera follows Dan’s car driving down a dark road excessively pad the runtime. This makes one hour and forty minutes feel endless. Those who enjoy talky films will likely take to Via Negativa better, as not much happens aside from emotionally challenging conversations. 

Via Negativa asks its flock to patiently follow along for the ride when it premieres at the 2026 Tribeca Film Festival on Friday, June 5.

Covering festivals is not easy and small sites like Rachel’s Reviews need help to provide such extensive coverage of film and theatre. Make sure you check out the patreon for perks, exclusive reviews and to be part of our monthly events and watch-alongs. If you value honest criticism, check it out. Find out more here.

Tribeca 2026: Next Life

| Rachel's Reviews

Of all the high concept movie plots out there one that I keep being drawn to time and again is one of alternate timelines. In the world of physics it’s called The Many-Worlds Theory. The idea is that in each decision there are multiple outcomes that are possible and that the universe splits off into those different realities. At the very least it is fascinating to think about how little decisions impact our lives in some times big ways.

Naturally this concept works really well in the romance genre most famously with the 1998 film Sliding Doors. In this film Gwyneth Paltrow has 2 realities- one where she makes a subway and catches her cheating boyfriend and one where she does not. It’s a delightful film I recommend if you haven’t seen it.

Now the latest in this genre, Next Life, is premiering at the Tribeca Film Festival. This film stars Emilia Clarke as Ivy a singer who’s 2 realities revolve around her having a meet cute where she spills coffee on a jazz musician Diego (Edgar Ramirez) on the subway. The reality with no meet cute she ends up with her ex-fiance Noah played by Jack Farthing but her and Noah do connect eventually in both timelines (it’s meant to be!)

This film is written and directed by Drake Doremus and he tries to speak to weightier themes than the premise might suggest. It’s actually an exploration on life and if we are destined for certain fates or not. Clarke is very likable in the role and she manages to have decent chemistry with both Farthing and Ramirez. Doremus could have learned from Sliding Doors and given Ivy different hairstyles for each reality because it can get confusing which version of the character we are seeing from scene to scene.

It also sometimes gets heavier than it needs to be and Ivy can start to feel unlikable particularly in the Noah sections. Still, I overall enjoyed myself with the music playing throughout adding another fun component (it would be a good soundtrack to listen to.)

Next Life is the kind of movie you could go to with friends and then have a good discussion after but yet it still manages to be a pleasant time. One might say in the reality where I saw the movie I’m glad I did!

Covering festivals is not easy and small sites like Rachel’s Reviews need help to provide such extensive coverage of film and theatre. Make sure you check out the patreon for perks, exclusive reviews and to be part of our monthly events and watch-alongs. If you value honest criticism, check it out. Find out more here.

Tribeca 2026: Kingston

| Allison Brown

Attending an elite college is a privilege afforded to few, but memories of one’s collegiate experience remain deeply nostalgic for people from all walks of life. Writer/director duo Carlos Key and Kalijah Rowe’s Kingston peeks behind columned doors to transport adults back their time on campus, while offering pointed commentary on the state of modern society. Even the most intelligent and privileged of Gen Z graduates face an increasingly bleak future.

Kingston feels structured like a television show in the manner which it follows three separate storylines simultaneously. Atlas (Rose Badiru) is an extremely passionate, first-generation, low-income scholarship recipient; Amber (Leann Gardner) and Marcos (Nick Snipes) are a budding dating app couple manipulated by their friends to avoid commitment; and Professor Liu (Michael C. Liu) is a Mandarin teacher working with failing student Cyrus (played by co-writer/co-director Carlos Key) to pass the course and graduate. Fans of Netflix’s Dear White People will find a lot of commonalities, particularly in the way both astutely capture the rhythm of campus culture.

Despite the level of intelligence of its gifted student body, Kingston reminds us that these are still naive teenagers portrayed by their irrationally poor decisions in romance. A great scene alluding to “Summer Nights” in Grease bounces back and forth between casual hangouts of each gender, revealing reactions to a blossoming summer fling between Amber and Marcos. Because this is, after all, a nerdy, Ivy League setting, both groupings attempt to rationalize relationships through mathematical formulas and graphs designed to convince the two to avoid settling down. Characters cleverly analyze perceived utility value in the search for a romantic partner, weighing the possibility of finding a best possible match of the highest caliber against the risk of losing someone genuinely worthwhile already present. This results in the funniest part by far: intelligently written, sharply observant, and amongst the most culturally relevant at Tribeca yet this year.

Bureaucracy and student disinterest is the topic at hand in the Chinese language education subplot. School administrators are just as concerned as ever with ticking boxes for testing over ensuring their students actually learn something. My father was an educator for much of his life, and these problems have been omnipresent for decades. As Liu endeavors to teach differently to break through rebellious Cyrus’ walls, his methods are criticized at every turn, even though they finally seem to be successful. Cyrus’ alcoholism, entitlement, and resistance don’t help the situation either.

Atlas’ story focuses on her inability to fit in with her more financially secure classmates, despite possessing a deeper passion for Kingston than nearly anyone she encounters. Though her experience may be the least personally relatable, she eventually becomes the epicenter of particularly relevant cultural discourse. A greater question ultimately emerges to evaluate whether belonging within these spaces is rooted in genuine connection and a thirst for knowledge or merely in proximity to privilege and opportunity shaped by racial and socioeconomic inequality.

Political commentary surrounding the corporate interests tied to prestigious internships, environmental concerns, gentrification, artificial intelligence, and vastly differing viewpoints among students is explored head-on. Conversations become so heated that the dialogue occasionally fades beneath the power of the performers’ facial expressions and body language.

Editing here is aptly timed, as scenes impeccably clip on a deliciously awkward or uncomfortable segue. As a result, each scene is ever more compelling. Fast moving sequences allow the audience to spend the perfect amount of time with each protagonist before any have overstayed their welcome.  Camera angles and framing are consistently sharp, with fluid and inventive movement that incorporates techniques such as fisheye lenses and exterior window shots to observe characters from a distance. The score is equally well done, emphasizing the conflict or discomfort in each emotionally perceptive scene.

Architectural cinematography rapidly cutting between locations allows for seamless transitions between the trio of subjects. The fictional campus itself is portrayed so stunningly that it comes as little surprise that this was filmed at Columbia University, where Key was a senior at the time of production. His perspective as an active undergrad lends an unmistakable sense of authenticity that resonates throughout.

Kingston opens blue balloon decorated doors to prospective students when it premieres at the Tribeca Film Festival on Thursday, June 4th.

Covering festivals is not easy and small sites like Rachel’s Reviews need help to provide such extensive coverage of film and theatre. Make sure you check out the patreon for perks, exclusive reviews and to be part of our monthly events and watch-alongs. If you value honest criticism, check it out. Find out more here.

Tribeca 2026: American Zoo

| Allison Brown

At a time where frightening Nazi subculture is on the rise, and antisemitism is at a recent peak, Tim Travers Hawkins’ gritty exposé of an institution particularly nostalgic for the Jewish community is jarringly tragic. While styled too much like traditional History Channel content for my taste, American Zoo powerfully reveals the dark side of a beloved childhood landmark. The high profile status of Catskill Game Farm as the “largest privately owned zoo in the United States” is persuasively supported by a wealth of notable supporters, including Dr. Seuss’ frequent patronage and the loan of its animals for inclusion in film. Irony is not lost here as founder Roland Lindemann both celebrates animals and exploits them for profit, not only through capture, but also through his affinity for butchery and pride for selling the best hamburgers in town. 

A vast collection of well shot home movies, recordings of life on the property, and old photograph elicits vivid storytelling. First hand accounts from Roland’s daughter, Kathie Schulz, and Margarete Heck and spouse Bill Earnshaw, descendants of Heinz, bring a personal touch to otherwise dry subject matter. Rather than solely presenting archival material, a unique approach depicts Kathie in old age reflecting on these recordings as she watches on a vintage projector. 

Animal lovers are hooked early on with tender shots of children feeding baby bears or hugging llamas. However, the tide rapidly turns when animal abuse imagery, such as a tranquilized elephant or jarring pile of bones, is given center stage. 

High production value and skillful editing allow each clip to flow smoothly to the following. Audio-only interviews are enhanced by playing overlaid on relevant footage from the vault. Antique film spliced between modern day sequences following former zookeepers exploring the territory make the grounds more tangible for the audience. 

Travers Hawkins’ piece thrives with coverage directly discussing the zoo. As it veers into Nazi territory in Germany, the average viewer may briefly lose interest. Too much time is spent developing the Heck family backstory, in effect overshadowing the intended focus in upstate New York. That is not to say that this section is irrelevant. However, given Lutz Heck is not directly affiliated with the zoo, his experience should not have received more screen time than that of resident zoologist, Dr. Heinz Heck. 

All in all, American Zoo thrives in turning a previously picture-perfect image of nostalgia on its head, bringing real life horror to the 2026 Tribeca Film Festival on Thursday, June 4th. 

Covering festivals is not easy and small sites like Rachel’s Reviews need help to provide such extensive coverage of film and theatre. Make sure you check out the patreon for perks, exclusive reviews and to be part of our monthly events and watch-alongs. If you value honest criticism, check it out. Find out more here.

Twelve Films to Catch at 2026’s Tribeca Film Festival

| Allison Brown

As a lifelong cinephile, film critic, and entertainment journalist, it is a pleasure to be joining Rachel’s Reviews for coverage of this year’s Tribeca Festival. My name is Allison Brown, and since 2021, I have covered film through reviews, festival coverage, and interviews, while also working full-time as a senior graphic designer in the finance publishing industry. I am a member of the Women Film Critics Circle (WFCC) and CherryPicks, and previously co-founded Josh at the Movies, which has since moved in a different direction. As I begin building a new platform of my own, Rachel generously invited me to contribute coverage for this year’s festival, starting with 12 standout titles highlighted below that audiences should make a point to catch at Tribeca 2026.

Films

ACT ONE

Spotlight Narrative / Sophia Takal

(Written by Rachel Wagner) In what could be described Whiplash for acting, Sophia Takal’s Act One takes the viewer on a tense ride as young Hannah (Ella Beatty) is drawn into the world of acting coach Melanie (Ari Graynor) and her extreme teaching methods. In this thriller, we not only explore the power of a manipulative instructor, but also the fragility of a young teen girl’s self confidence and how it can be controlled. Fans of thrillers and coming of age stories will love this bold new film.

CAITY

Spotlight Narrative / Lindsay Calleran

(Written by Allison Brown) As children, many of us knew someone with the cool parent who built elaborate Halloween decorations and larger-than-life monsters. Caity (Chiara Aurelia) takes that fantasy a step further. Her young-at-heart father, Paul (Morgan Spector), has created an entire haunted attraction. Yet it is often impossible to know what is happening within a family beneath the surface. From the opening dedication, “for my dad,” and the home-video footage that precedes the credits, it is clear writer/director Lindsay Calleran is drawing from personal experience. Caity strikes a careful balance between highlighting a tender father-daughter bond and examining the devastating toll substance abuse relapse can take on loved ones. Look beyond the nostalgia and discover the painful truths that can exist beneath even the happiest childhood memories.

CLEAN HANDS

Spotlight Narrative / Jake Allyn

(Written by Allison Brown) Clean Hands may surprise viewers who typically struggle to connect with police and drug-themed movies. From the onset, the audience will be thrust directly into the action, following protagonist Kevin (Zach Braff) through a tense police chase. Little time is afforded for stillness, as the narrative swiftly moves through the familiar highs and devastating lows of a bleak, addiction drama. A tender father-daughter relationship at the core lends emotional weight, while a revenge-driven subplot adds further complexity to a commonly retread story. Much of its success likely stems from its origin as a true story, with the inclusion of real-life players in the cast further enhancing its sense of authenticity. Prepare for a surprisingly emotional experience.

DEATH BOOM

Escape From Tribeca / Jessica Chandler

(Written by Allison Brown) Death is a taboo subject many are too uncomfortable to discuss. As a result, a booming, multi-billion-dollar funeral industry lies unregulated, evading accountability for outdated practices that harm our environment and population. Death Boom turns this disturbing topic on its head, using jarring stats and niche solutions, to educate viewers on their options and modernize planning for the deceased. With horror-adjacent narration from notable director Eli Roth (Thanksgiving, Hostel), who also acts as executive producer, macabre career paths become more accessible. Each step of the way, from embalming, to disposition methods, to funeral homes, and mortuary services are explained in often graphic detail. Be prepared to learn more than you ever thought you wanted to about what happens when we pass. Those with an affinity with the morbid, as well as those normally too scared to face post-mortem conversations, are likely to grasp something from this breadth of intriguing information. Enter with caution, as imagery depicting decomposing bodies is not scarce and may be triggering to some.

DOC MEETS WORLD

Spotlight Documentary / Chris Levitus and Zane Rubin

(Written by Rachel Wagner) Boy Meets World was iconic for many older millennials. The new documentary Doc Meets World follows three of the show’s stars, Danielle Fishel, Will Friedle, and Rider Strong, as they go on a national tour to record their podcast live. Sadly, Ben Savage declined to take part in both this project, and the tour itself. Nevertheless, fans will enjoy getting to spend time with the notable trio they grew up with by following their journey.

KINGSTON

U.S. Narrative Competition / Carlos Key and Kalijah Rowe

(Written by Allison Brown) Attending an elite college is a privilege afforded to few, but memories of one’s collegiate experience remain deeply nostalgic for people from all walks of life. Writer/director pairing Carlos Key and Kalijah Rowe’s Kingston peeks behind columned doors to transport one back to their undergrad experience, while offering pointed commentary on the state of modern society. Filmed at Columbia University, where Key was a senior during production, the perspective of an active undergraduate lends an unmistakable sense of authenticity that resonates throughout. Those who graduated recently and those who did so decades ago alike will find much to take away from this gripping drama.

LUCY SCHULMAN

U.S. Narrative Competition / Ellie Sachs

(Written by Allison Brown) Millennial women like 29-year-old Lucy Schulman are a dime a dozen in New York City. Hopeless romantics who center their lives around relationships, drift through underemployment, and treat dating like a full-time occupation are everywhere. After being dumped by the man she thought she would marry for being overly “nice” and too invested, our daddy’s-girl heroine dives headfirst into dating apps in search of purpose. Though neither the cinematography nor story breaks significant new ground, this quarter-life-crisis comedy succeeds through its specificity and self-awareness. Many millennial Jewish women may find Lucy’s struggles uncomfortably familiar and leave questioning whether they have been making some of the very same mistakes.

I SPY WITH MY LITTLE EYE

International Narrative Competition / Alisa Kolosova

(Written by Allison Brown) A meditation on death and moving exploration of friendship, I Spy With My Little Eye is a breath of fresh air and warm hug all in one. Rarely do friendships last from early childhood to adulthood, but somehow Solveigh (Saskia Rosendahl), Lou (Svenja Jung), and Yalda’s (Soma Pysall) ties survive. Amongst hardships of health, assimilation, familial disconnect, and disparate careers, the trio act as support systems for one another, despite general cattiness between young girls. When single mother Solveigh suddenly passes, Lou and Yalda are left to pick up the pieces, and plan daughter Sina’s future. Women with lifelong friends who feel more like sisters are sure to relate to this emotive drama.

NEXT LIFE

Spotlight Narrative / Drake Doremus

(Written by Rachel Wagner) Fans of romantic comedies will be initially drawn to the premise of Next Life, but will then be surprised by a film that offers a little bit more. Emilia Clarke plays a singer named Ivy who has a meet cute with a jazz musician on the train that changes her life—or does she? In this endearing alternate reality film, we see how a chance encounter can change our lives.

STEALING MAGIC

Spotlight Documentary / Matthew Testa

(Written by Allison Brown) In the curious vein of Netflix’s Don’t F**k with Cats, Stealing Magic follows a ragtag trio of eccentric magicians who go through great lengths of sleuthing to uncover the identity of a criminal pirate. An anonymous reseller using the pseudonym, Erdnase, purchases valuable illusionist literature, comprising of the life’s work of many, with nefarious intent. In this business of scanning and reselling counterfeit media for a fraction of the retail value, Erdnase effectively steals income from both retailers and authors alike. The fate of the mysticism landscape is at risk, as emerging creators cannot justify investing time developing new content with the risk they will see a mere fraction of their proceeds. Over a whopping eight years, Andi Gladwin, Joshua Jay, and George Luck of affected store Vanishing Inc travel internationally, consulting their ties throughout the magic community and beyond along the way, and immerse themselves in zany, borderline illegal situations unfit for the average civilian. Extreme commitment from these three brave men to protect the craft they love and their peers has to be seen to believed. Be prepared for a shocking conclusion.

UNIDENTIFIED

Spotlight Narrative / Haifaa Al Mansour

(Written by Allison Brown) Some films catch you off guard with unconventional twists and turns, paired with a novel take on commonly retreaded subject matter. Unidentified tackles Middle Eastern sexism in the aftermath of a mysterious teenager’s death through the lens of a woman determined to make her mark. Writer/director Haifaa al-Mansour details oppressive conditions subtly by sprinkling disturbing facts through a progressive narrative. This allows rambunctious lead Nawal (Mila Al Zahrani) to stand up for and highlight injustice. Unidentified will keep you on the edge of your seat desperate to reveal the killer and motive, while shadowing Nawal’s top tier detective work.

YOUNG WASHINGTON

U.S. Spotlight Narrative / Jon Erwin

(Written by Rachel Wagner) History buffs will have a great time with director Jon Erwin’s new film, Young Washington. William Franklyn-Miller is endearing, yet powerful, as the youthful Washington. The war scenes are intense without being too graphic for family audiences. A stacked cast of supporting performers including Ben Kingsley, Andy Serkis and Kelsey Grammar add a lot overall. It’s as inspiring as one would hope a narrative about Washington would be.

Here is a photo of me with Tribeca jury member Selma Blair at 2024’s P&I screenings. This year will mark my sixth time covering the Tribeca Festival, which continues to be one of the most rewarding and exciting experiences of my year as a critic. Be sure to follow along as the festival officially begins on Wednesday, June 3rd, with much more coverage still to come in the days ahead, including reviews and highlights from across this year’s lineup.

Covering festivals is not easy and small sites like Rachel’s Reviews need help to provide such extensive coverage of film and theatre. Make sure you check out the patreon for perks, exclusive reviews and to be part of our monthly events and watch-alongs. If you value honest criticism, check it out. Find out more here.

Blind Spot 124: Sweet Charity

| Rachel's Reviews

Hi friends! Another month has come and gone which is crazy. I’ve been as busy as ever before with my new Friday Flicks show, which is something I’m very proud of and love. Don’t fear though I actually have quite a bit of writing planned for the next few weeks. My friend Allison asked me to help her apply for the Tribeca Film Festival and she was accepted. Almost all of that coverage will be written so expect to see reviews and other posts for that coming up soon.

In the meantime I still have blind spot for May to share with you. This month it is the musical Sweet Charity which I’ve never seen on stage or screen. It was fun to finally watch this film and overall I liked it- particularly for the Bob Fosse dance numbers. My favorite being “The Rhythm of Life” with Sammy Davis Jr selling it as a preacher named Big Daddy.

The story is nothing amazing and I was a little disappointed by the singing quality throughout but it’s still an entertaining musical with again some great dancing (and costumes.) I didn’t realize until the podcast that it was all based on a Fellini film Nights of Cabiria. That makes 2 Fellini films that went on to become musicals (with Nine being the other.)

While the film version of Sweet Charity isn’t a masterpiece it is definitely worth a watch and I’m glad I got to check it off my blind spot list! Next month I have the comedy Housesitter.

My patrons keep me honest and able to see and review as much as I do. Make sure you check out the patreon for perks, exclusive reviews and to be part of our monthly events and watch alongs. If you value honest criticism check it out. Find out more here.

Blind Spot 123: Cleopatra

| Rachel's Reviews

Hi friends! This month’s blind spot proved to be one of those movies that’s much more fun to talk about than to watch. It’s 1963’s Cleopatra. The film that almost bankrupted 20th Century Fox. Honestly I thought it would be better. I knew it was super long. That’s why I hadn’t watched it but I thought it would be more campy fun but it’s really not. I was shocked how many long processionals there are where nothing is happening. You could almost have it as a screensaver and get as much entertainment out of it.

That said, my friend Molly and I had a great time talking about it on the podcast. Just the story of the producer Walter Wanger is worth its own podcast episode. It’s available on all the podcast platforms so give it a listen.

Next month is the musical Sweet Charity so that should be really fun to check off of my blind spot list!

My patrons keep me honest and able to see and review as much as I do. Make sure you check out the patreon for perks, exclusive reviews and to be part of our monthly events and watch alongs. If you value honest criticism check it out. Find out more here.

Can a movie win me over on cuteness vibes? Yes ‘The Super Mario Galaxy Movie’ (Review)

| Rachel's Reviews

So back in 2023 I didn’t like the first The Super Mario Bros Movie. In my review I said “If you want to see a basic animated film for kids The Super Mario Bros Movie I suppose will suffice but if you are hoping for something fresh, exciting, creative or funny I’m afraid you’ll have to look elsewhere.”

Well, the last 3 years have worn down this critic because the new movie The Super Mario Galaxy Movie is all of those things I accused the original of being and it is not fresh or exciting and yet I liked it! (I do think it is creative and funny so maybe that’s where it won me over)

The truth is I don’t really remember the original film well nor did I have time to rewatch it. I recall it being more boring than the new film which honestly can be a little crowded in the story department (crowded and yet also quite basic in its storytelling.)

The thing is it’s also really cute… For whatever reason I found almost every scene to be charming with adorable characters I enjoyed spending time with. I liked that Mario and Luigi were together for most this movie where they weren’t in the original. I liked Yoshi and his cuteness. I thought Peach was a fun character and her sister Rosalina were delightful characters. The toadstools are adorable. Sometimes even us critics have basic responses to film, and that was the case here. I found it to be a charming adventure.

Of course there are problems. As I said, the story is crowded and yet also quite basic. There is no attempt to dazzle me with the animation like we have seen in so many recent animated films. Illumination is still as generic as you can get in that department but the way they interwove the animation from the video game was quite clever and surprising. I am sure there are loads of Easter eggs fans will get but even my non-gamer heart caught a lot of them.

I’m seeing a lot of critics going very hard on this film but I also wonder what kind of movie can you do for 2 male plumbers in a fantasy world. It’s not a concept that strikes me as ripe for storytelling. What they came up with is a generic adventure to save a princess but they filled it with lost of cuteness and enough laughs to entertain me.

The Super Mario Galaxy Movie gets a recommendation from this princess peach.

My patrons keep me honest and able to see and review as much as I do. Make sure you check out the patreon for perks, exclusive reviews and to be part of our monthly events and watch alongs. If you value honest criticism check it out. Find out more here.

Blind Spot 122: First Blood (Rambo’s first movie)

| Rachel's Reviews

I just wanted to share a quick post with this month’s Blind Spot pick. It was 1982’s First Blood which is our introduction to the character of John Rambo. This was honestly much better than I was anticipating and I had a great time talking about it with my friend Ryan who filled in for Manda in March.

I didn’t expect to be moved by Rambo’s story but I was. It’s also not as violent as the sequels became known for. It’s a survival story of veteran Rambo being hunted by Brian Dennehy’s Teasle.

I was quite touched when Rambo says “I can’t get it out of my head. A dream of seven years. Everyday I have this. And sometimes I wake up and I don’t know where I am. I don’t talk to anybody. Sometimes a day – a week. I can’t put it out of my mind.”

If you haven’t seen this first Rambo movie, First Blood, I highly recommend it. It’s one of the bigger surprises I’ve had with Blind Spot for some time. A really good movie and I think our discussion was insightful. Would love your thoughts.

April we have the very long Cleopatra which should be an adventure to watch. I’m excited.

My patrons keep me honest and able to see and review as much as I do. Make sure you check out the patreon for perks, exclusive reviews and to be part of our monthly events and watch alongs. If you value honest criticism check it out. Find out more here.