MAYDAY (2026)

Written & Directed By: John Francis Daley & Jonathan Goldstein 

Cinematography: Barry Peterson 

Editor: Jamie Gross and John Lee 

Cast: Ryan Reynolds, Kenneth Branagh, Marcin Dorocinski, Maria Bakalova, David Morse, Clark Johnson, Wendy Crewson, Josh Hamilton

Lieutenant Troy Brennan takes part in a top secret surveillance mission over Soviet airspace. Things take a sharp turn, however, when he is forced to eject from his plane over the Russian wilderness. He is rescued by a paradoxical Russian native and the two begin to appreciate both their differences and commonalities.


There are some movies you finish and immediately think, “Well… that was fine.” And honestly, that’s probably the best way to describe this one.

I went into it expecting something disposable, and while it certainly isn’t reinventing the action-comedy wheel, I have to admit that I had a decent time with it. 

because this is very much a paint-by-numbers kind of movie. You’ve seen this story before. You’ve seen these characters before. You can practically see some of the plot turns coming from the next room.

But every once in a while, it has just enough personality to keep itself from becoming completely forgettable.

Ryan Reynolds is interesting here because, thankfully, this isn’t quite the Ryan Reynolds we’ve seen a million times before. He still has that familiar rhythm and personality, but instead of firing off a wisecrack every thirty seconds, a lot of his humor comes through his reactions to the increasingly ridiculous situations around him. He almost becomes the audience surrogate. The guy looking at everything happening around him and thinking, “Are we seriously doing this?” surprisingly, that works.

Kenneth Branagh, meanwhile, is doing a lot of the heavy lifting literally. He’s getting into the action himself, which is something I’m not particularly accustomed to seeing from him. At this point in his career, watching Branagh throw himself around in an action movie is kind of charming. I don’t know if he’s channeling Sean Connery, taking notes from Liam Neeson, or simply having a really good time, but the man deserves some credit. He’s surprisingly convincing.

Branagh has directed action before, of course, with films like THOR and JACK RYAN: SHADOW RECRUIT. So this isn’t exactly unfamiliar territory for him. But seeing him actually inhabit this kind of older action-hero role is one of the more entertaining aspects of the movie.

The problem is that the rest of the film doesn’t exactly rise to their level.

It feels like the kind of movie that probably explains why it ended up on streaming rather than in theaters. There’s supposedly an epic quality to the story, much of it set against Cold War-era Russia, the KGB, and all the usual ingredients for a big, muscular action thriller. Yet somehow, everything feels surprisingly muted.

The movie is set in the 1980s, which at least gives it an excuse to use Russia and the KGB as its primary villains without having to invent some overly complicated modern conspiracy. But even with that built-in atmosphere, the film rarely feels as big as it seems to think it is.

And then there’s the strange feeling that Ryan Reynolds could almost be replaced by just about anybody. He’s not bad. He’s just… there.

Considering how naturally Reynolds fits into buddy comedies, you would think this would be tailor-made for him. But the movie never quite gives him enough material to bring his usual gravitas or comedic energy. Instead, he’s mostly along for the ride.

Oddly enough, the whole thing reminded me of BEHIND ENEMY LINES, except somebody decided to make this movie more of a buddy comedy and turn down the action just a little.

maybe that’s why I didn’t hate it.

It’s familiar, but it’s not completely lifeless. It’s basic, but it occasionally has some spirit. It doesn’t offer much you haven’t seen before, but it at least tries to put a slightly different spin on a very familiar formula.

It’s perfectly watchable, occasionally fun, and elevated by a couple of performances that are more entertaining than the material itself. But once the credits roll, I’m not sure there’s much left to say other than, “Yep. That was a movie.”

Not bad. Not great. Just ok 

Grade: C

FALSE POSITIVE (2021)

Directed By: John Lee
Written By: John Lee & Ilana Glazer 
Story By: John Lee & Alissa Nutting 
Cinematography: Pawel Pogorzelski
Editor: Jon Philpot 

Cast: Ilana Glazer, Justin Theroux, Pierce Brosnan, Gretchen Mol, Sophia Bush, Josh Hamilton, Sabina Godecki, Zainab Juh 

As if getting pregnant weren’t complicated enough, Lucy sets out to uncover the unsettling truth about her fertility doctor.


There seemed to be a trend in cinema. Where a film labels itself a horror and tries to sell itself as one but, in reality, it is more a drama with thriller elements that might get violent. So it labels itself something else. 

Whereas once you watch it, it feels like it is selling the audience false goods hoping they will come around, but the films are never quite crafty enough to win the audience over.

Especially when a film is familiar with the story. This one Might be seen as a more modern rethinking of ROSEMARY’S BABY though with a different kind of theme and ending but similar enough. luckily this film carved out enough of its own identity to stand on its own two feet.

The film keeps the audience at arm’s length and feels more clinical throughout, but then wants us to feel and identify with a character we never really got close enough to or learned enough about other than the basics.

The film Also instead of keeping us guessing. Give up answers way too soon. As it tries to keep us guessing still but is more middle ground once it offers up reveals. That in its Own way cheats itself but is understandable that it doesn’t want to copy and paste the whole is it real? Is it all in her head? Cliche 

This is one of those films that was so close to making it through with its Premise but falls short as it nears the finish line. As it gets more interesting the more outrageous it gets. A small before feels safe though at least it feels like it has some things to say 

The film has the bones of a sturdy and good movie but the follow-through unfortunately isn’t as strong. No matter how assured it believes itself to be.

The most memorable character ends up being the nurse played by Gretchen Mol. Who is in the film just enough to intrigue and make you uncomfortable but also the more you learn and see her the more you want to know about her

Creepy but tries to set itself apart from what inspires it by trying to tie in modern issues but leaves them by the wayside when it comes to its third act and explanation though in that sale act then tries to become surreal.

One interesting aspect is brought up as well as the ever-annoying line and blame of mommy brain

This feels like a film where the filmmakers wanted to say something to go along with their thriller. Which works but also feels a bit out of place or too on the nose. It also takes itself seriously while seeming to be entranced with itself that it forgets the audience. As it comes off as smug

Grade: D

PEE-WEE’S BIG HOLIDAY (2016)

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Directed By: John Lee
Written By: Paul Reubens & Paul Rust
Cinematography By: Tim Orr
Editor: Jeff Buchanan 


Cast: Paul Reubens, Alia Shawkat, Richard Riehle, Leo Fitzpatrick, Brad William Henke, Robert R. Schafer, Stephanie Beatriz, Josh Myers, Diane Salinger, Joe Manganiello, David Arquette, Nicole Sullivan, Paul Rust, Lynne Marie Stewart

A fateful meeting with a mysterious stranger inspires Pee-wee Herman to take his first-ever holiday in this epic story of friendship and destiny.

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