Saturday, May 23, 2026

Release: Heartbeat

 

Heartbeat
Genre: Drama
Director: Ralph Fiennes
Writer: Sammy-Jo Ellis
Cast: Paul Mescal, Carey Mulligan, James Norton, Ralph Fiennes, Erin Doherty


Budget: $23,000,000
Domestic Box Office: $13,404,395
Foreign Box Office: $12,000,012
Total Profit: -$14,777,490

Reaction: Things have been slim pickings since Boba Fett kicked the season and the round off with a massive success. 




"Heartbeat is an engaging if somewhat formulaic legal-medical thriller elevated by strong performances from Paul Mescal and Carey Mulligan. Ralph Fiennes brings a quiet authority to both his direction and supporting role, and the film effectively taps into anxieties surrounding profit-driven healthcare. However, the plotting occasionally feels overly convenient, with conspiracy reveals arriving too neatly and courtroom turns lacking the complexity they need. Still, Mulligan and Mescal make the material compelling enough to carry through its familiar beats." - Kirk Langerhorn, The Sun UK


“It’s a bit by the numbers, and don’t be surprised if you can predict everything that happens, but Carey Mulligan gives an earnest and charming performance as the surgeon trying to save her career and livelihood from a healthcare system so horribly broken.” - Mitchell Parker, New York Times




"Despite an intriguing setup, Heartbeat quickly collapses into melodrama and increasingly implausible plotting. The film juggles hospital corruption, legal drama, romance, sabotage, and systemic healthcare criticism without giving enough depth to any one idea. Paul Mescal is charismatic but feels oddly miscast as a polished courtroom attorney, while the central conspiracy grows so broad and convenient it begins to resemble a prestige-TV medical soap. Carey Mulligan does strong work with Clara’s emotional conflict, but even she struggles against dialogue and twists that too often feel engineered rather than earned." - Wayne Heathcliff, Kansas City Star








PG-13 for language and thematic material






Friday, May 22, 2026

PRESS X: SPLINTER CELL

 

I'm Alex Kirby and welcome to another outing of Press X. This time around we are moving on to the deep-cut PlayStation adaptation - Dino Crisis, which took the concept of Jurassic Park but turned it into survival horror. Here, we don’t just ask if the latest video game adaptation is faithful — we ask if it levels up, glitches out, or just needs a hard reset.




I can just hear the pitch meeting from Capcom developers in the late ’90s, throwing darts at walls and saying, “How about this? Resident Evil, but Jurassic Park.” Shinji Mikami stood up, looked out the window of the 23rd floor of the Capcom building and said, “You son of a bitch, I’m in.” And thus, we got 1999’s Dino Crisis. A third-person action horror originally released on the PlayStation. Developed by Capcom, the same team behind Resident Evil, Dino Crisis swapped zombies for dinosaurs. While that might sound like the most shameless cash-in imaginable, the gamble worked. The game was both a commercial and critical hit, spawning a short-lived franchise. (Meanwhile, Resident Evil got annualized like an EA sports title. Seriously, Capcom, you’ve got other franchises starving. Devil May Cry? Mega Man?)
Anyway, I digress.

In Dino Crisis, you control Regina, a red-haired special intelligence operative working with the raid team S.O.R.T. Their mission: infiltrate a research facility on Ibis Island and recover Edward Kirk, an energy researcher presumed dead but secretly developing a project called Third Energy. Naturally, the island is crawling with dinosaurs. The gameplay is a mix of puzzles, resource management, and surviving raptor ambushes. Regina was one of the earlier examples of a female action hero who didn’t need to “dress down” to be both badass and interesting, a breath of fresh air in 1999.

The game’s story was simple enough that you could easily adapt it for the big screen. And that’s exactly what happened here in Season 2. Writer Billy Cruder made his debut with this script, showing early glimpses of the style that would define his later work. Directing was Matt Reeves, fresh off the success of Creature from the Black Lagoon. But the question looms: did the film adaptation live up to a T. rex–sized appetite?

Well, the movie does stay remarkably close to the original game’s plot. It just feels more fleshed out with modern action-thriller pacing and a few cinematic character beats. While the concept still screams Resident Evil meets Jurassic Park, Cruder and Reeves’ take plays more like Aliens with Dinosaurs: a tight squad, an isolated setting, conspiracy layers, and big, toothy creature action. Reeves in particular deserves credit for how he frames the monsters: raptors stalk like slasher villains, while the T. rex looms like a kaiju.

Where the film stumbles is in the very thing fans may love it for: its camp. The game’s late-’90s Capcom dialogue: melodramatic, exposition-heavy, and gloriously pulpy, doesn’t always translate to the big screen. Stephen Lang chews the scenery as Dr. Kirk, monologuing about Third Energy with the subtlety of a ’60s Bond villain. Regina having to fetch parts called the stabilizer and the initializer is a faithful nod to the game, but one that’s hard for actors to sell without the audience smirking. The film’s greatest strength, its loyalty to the game, is also its biggest weakness. What feels charmingly cheesy in a cutscene can come off as Syfy-channel schlock in live action.

Critics seized on this. Some dismissed it as a mash-up of better films (Jurassic Park, Aliens, Resident Evil) without offering anything new. Others praised the effects and Reeves’ ability to wring tension out of a concept as inherently silly as “Resident Dino Evil Crisis.”

The irony? Audiences ate it up. On a $99M budget, the movie grossed over $314M worldwide, with overseas sales carrying most of the weight. Critics may have rolled their eyes, but clearly, people wanted to watch dinosaurs rip through black ops agents. Capcom’s gamble paid off.

Overall, Dino Crisis falls into that rare category of video game adaptations you either embrace for its faithful camp or reject for its pulp excess. What everyone can agree on, though? Karen Gillan kicking a raptor in the face is cinema.




Now Showing: Heartbeat

 

Heartbeat
Genre: Drama
Director: Ralph Fiennes
Writer: Sammy-Jo Ellis
Cast: Paul Mescal, Carey Mulligan, James Norton, Ralph Fiennes, Erin Doherty

Plot: Inside the Westinghouse Medical Centre in London, Dr. Clara Mitchell (Carey Mulligan), a world-renowned cardiac surgeon, is performing a delicate heart transplant on a high-profile patient. The atmosphere in the operating room is tense but controlled, with the surgical team working like clockwork. Clara is focused, her hands steady, moving with precision. But then, in the blink of an eye, everything changes. A small mistake—barely noticeable—throws the room into chaos. Sweat beads on Clara’s forehead as she desperately tries to stop the bleeding. Despite her best efforts, the patient tragically dies on the table. Silence falls, broken only by the urgent beeping of alarms and frantic murmurs from the team. Clara’s face betrays a mix of confusion and disbelief—she's not sure what went wrong. Was it the weight of the groundbreaking procedure? Or was it something more?

The following morning, the hospital is surrounded by a swarm of reporters, cameras flashing, and voices shouting for a statement. Inside, the air is thick with tension. Clara is escorted from her office by security. The hospital’s administration, led by the formidable Dr. Harrison Kline (Ralph Fiennes), has already made a public statement distancing himself from her. The narrative is clear: despite her reputation, Dr. Clara Mitchell made a fatal mistake and is now suspended.

Meanwhile, rising defense attorney James Caldwell (Paul Mescal) sits in his office, surrounded by case files, the hum of the city outside his window. He gets a call from Elliot Barrington (James Norton), a prosecutor known for winning high-profile cases. Barrington gives Caldwell a brief rundown of Clara’s case, hinting there’s more to the story than a simple error. Intrigued, Caldwell agrees to meet with Clara.

When they meet, Clara is devastated. She insists she made no mistake—what should have been a routine surgery went horribly wrong for reasons she can’t explain. She’s adamant her hands were steady, her judgment sound. But as she recounts the events, a trace of doubt in her eyes betrays a growing inner turmoil. What if the pressure, the stakes of the new technique, led her to overlook something small but vital? Could she have missed a critical step in her pursuit of medical advancement? Clara hints that the pressure at the hospital, combined with the revelation of a groundbreaking new surgical technique, may have made her a target.

Caldwell, initially skeptical, starts to believe there’s more to this than meets the eye. But is it a conspiracy, or just a tragic mistake?

Clara's internal conflict intensifies as the investigation unfolds. She knows that every operation is a gamble, but she can’t shake the feeling that the stakes were higher than ever this time. She feels betrayed not just by the system, but by her own ambition. Had she been reckless? Or was this sabotage, an unfortunate consequence of trying to innovate in a system that feared change?

Caldwell begins investigating. He looks into the hospital’s board, especially Dr. Kline, who has long disagreed with Clara’s unconventional methods. Caldwell uncovers a possible connection to Dr. Thomas Lee, Clara’s former mentor, who recently distanced himself from her and might have his own reasons for turning against her.

As Caldwell digs deeper, he uncovers disturbing truths. He meets with Dr. Emily Winters (Erin Doherty), a medical ethics expert, who reveals the systemic issues within the medical industry: pressure to stick with outdated practices, prioritizing profits over patients, and fierce competition among hospitals to secure lucrative contracts with investors. Winters suggests Clara’s new technique posed a serious threat to the financial interests of key figures, especially those heavily invested in the hospital’s current business model.

The deeper Caldwell goes, the more convinced he becomes that someone within the hospital orchestrated the “fatal error” to discredit Clara and protect their financial interests. He begins to suspect Dr. Kline isn’t just suppressing Clara’s work—he may be actively involved in a conspiracy to bring her down.

Kline’s motivations become more complicated. It’s not just money at play; Kline feels a deep responsibility to the hospital’s legacy and reputation. He truly believes that Clara’s methods are too risky for the institution and may lead to disaster. In his mind, protecting the hospital—ensuring its future—is a noble cause, even if it means sabotaging one person’s career.

The pressure mounts as Caldwell pieces together the conspiracy. He discovers that the patient who died wasn’t just any patient, but one with close ties to the hospital board. The surgery had been part of a PR campaign to promote the hospital’s “innovative” heart surgery program. The patient’s death provided the perfect scapegoat to stop Clara’s research and tarnish her image as the breakthrough surgeon.

In a tense confrontation, Caldwell faces off with Dr. Kline, who denies all accusations but cracks under pressure. Kline argues he was only protecting the hospital’s reputation, claiming Clara’s technique was too risky, too untested. But Caldwell uncovers a trail of emails, financial documents, and secret meetings, exposing Kline’s involvement in the cover-up. The truth becomes clear: Kline wasn’t just trying to prevent Clara’s work from causing harm—he was trying to stop it to protect his own interests and the hospital’s finances.

Meanwhile, Clara struggles with self-doubt. She questions her abilities as a surgeon, torn between her love for her work and the weight of the accusations against her. She has sacrificed so much for her career, her family life a casualty to the relentless pursuit of innovation. She begins to wonder if all the pressure to be the best has led her to overlook her own limitations.

Caldwell, ever the skeptic, finds himself increasingly moved by Clara’s vulnerability. He begins to understand her—not as a reckless surgeon, but as someone who has been swallowed by the system she’s tried to change. Their bond deepens as they share moments of vulnerability, where Clara opens up about the emotional toll her career has taken on her—her failed relationships, the loneliness of being at the top. For Caldwell, this is more than just a case—it’s a personal quest to take down a corrupt system.

The court case begins, and Caldwell faces off against prosecutor Elliot Barrington, a tough, no-nonsense lawyer eager to win. Barrington paints Clara as a reckless surgeon who “got careless,” trying to sway the jury with her public image. The courtroom is electric with tension, and Clara feels the weight of the world bearing down on her.

Caldwell’s defense hinges on exposing the corruption and manipulation behind the hospital’s actions. But Barrington does everything he can to discredit him, questioning his motivations and painting him as a lawyer defending an arrogant surgeon. Caldwell, in his closing argument, connects the dots—revealing the hospital’s financial interests, the patient’s ties to the board, and the deliberate sabotage of Clara’s procedure. With previously undisclosed evidence, Caldwell paints a damning picture of a system where profits trump patient care, and the truth was buried to protect powerful figures.

As the jury deliberates, Clara’s future hangs in the balance. The final moments are tense, leading to a shocking twist—a whistleblower from within the hospital steps forward at the last minute, confirming Caldwell’s suspicions about the conspiracy. The witness’s testimony turns the tide, and Clara is acquitted of all charges.

Though Clara is exonerated, her career and reputation are forever marred by the events. The hospital faces public outrage, and Dr. Kline, along with several board members, is arrested for their roles in the cover-up. Clara, though free, is left to pick up the pieces of her shattered life.

Caldwell sits in his office and looks through more files on the health system, hoping to uncover more lies underneath all the dirt, a newfound purpose to expose the darkness within the medical system.

Clara stands in a medical research lab, looking toward a brighter future. Despite everything she’s been through, she’s determined to continue her work—committed to creating a better, more ethical healthcare system.


Thursday, May 21, 2026

Release: Three Rounds

 


Three Rounds
Genre: Drama/Sports
Director: Jeff Nichols
Writer: Holden Abbott
Cast: Lucas Hedges, Nick Robinson, Boyd Holbrook, Ray McKinnon, Isabela Merced, Lily Rabe

Budget: $28,000,000
Domestic Box Office: $20,590,734
Foreign Box Office: $13,795,856
Total Profit: -$20,100,201

Reaction: The 32 season-long box office hot streak has finally ended for superstar director Jeff Nichols. Meanwhile, Holden Abbott still finds himself looking for his first box office success story.




“Three Rounds is a bleak, rigorously controlled sports drama that finds Jeff Nichols favoring silence, repetition, and moral suffocation over conventional uplift. The performances, particularly Lucas Hedges and Boyd Holbrook, are deeply committed, but the film’s unrelenting heaviness and deliberate pacing will test even sympathetic viewers. While its portrait of inherited violence and masculine expectation is incisive, the film often lingers so long in misery that its insights begin to feel redundant rather than cumulative. Three Rounds is less a crowd-pleasing sports drama than a slow, bruising excavation of damage passed from father to son. Holden Abbott has struck again, making me think he is a writer to watch here in LRF.” - Elena Strauss, The Continental Screen Review


"Three Rounds is an affecting, if somewhat overlong, boxing drama more interested in family wounds than championship belts. Jeff Nichols brings a grounded, melancholic atmosphere to the material, letting silences and strained relationships carry much of the emotional weight. Boyd Holbrook and Ray McKinnon are especially strong, while the final act lands with genuine emotional force. Though it occasionally leans too hard on familiar boxing-family dysfunction tropes, the film’s sincerity and performances keep it compelling." - Allen Poole, AV Club



"Three Rounds struggles under the weight of cliché and some baffling casting decisions. Most notably, Lucas Hedges—talented as he undeniably is—feels deeply miscast as Tommy, never fully believable as a hardened boxer raised in a rough, blue-collar fight family. The script repeatedly leans on familiar boxing-drama shorthand—abusive father, broken sons, buried grief—without much originality, and the pacing often feels punishingly repetitive." - Katie Barnes, Washington Herald







Rated R for language, violence, and thematic material








From the Desk of Alfie Ellison, VP of International Development: Roadwork

 

Last Resort Films Studio is pleased to announce the development of a bold new adaptation of Roadwork, based on the acclaimed novel by Stephen King. The project has quickly gained momentum with the attachment of visionary filmmaker Denis Villeneuve, whose distinct cinematic language and mastery of atmosphere make him an ideal fit for this grounded yet psychologically intense story.

At the center of the film is Josh Brolin, who is set to take on the role of Barton George Dawes, a working-class man pushed to the brink as his home and livelihood are threatened by an impending highway construction project. Brolin, known for his commanding screen presence and emotionally layered performances, has expressed a strong personal connection to the material, citing the story’s exploration of identity, resistance, and quiet desperation as key reasons for his involvement.

In early discussions with Last Resort Films, Villeneuve shared his interest in approaching Roadwork as an intimate character study set against the encroaching machinery of progress, blending his signature visual scale with a restrained, human core. While widely recognized for his work on large-scale productions, Villeneuve is reportedly eager to return to a more contained narrative, focusing on psychological tension and moral ambiguity.

The studio views Roadwork as a unique opportunity to reintroduce one of Stephen King’s more understated works to a contemporary audience, positioning it as a prestige-driven drama with strong awards potential. Development is currently underway, with further casting and production details expected to follow as the project continues to take shape.

Last Resort Films looks forward to advancing this compelling adaptation and collaborating with the creative team to bring this powerful story to the screen.

For any inquiries please contact LRF Vice President of International Development Alfie Ellison.

Roadwork
Project Details
Based on the novel by Roadwork by Stephen King
Attached Talent
Director Denis Villeneuve
Star Josh Brolin

Wednesday, May 20, 2026

Now Showing: Three Rounds

 

Three Rounds
Genre: Drama/Sports
Director: Jeff Nichols
Writer: Holden Abbott
Cast: Lucas Hedges, Nick Robinson, Boyd Holbrook, Ray McKinnon, Isabela Merced, Lily Rabe

Plot: Snow clings to the gutters of Scranton as we focus on Danny (Boyd Holbrook), Mikey (Nick Robinson) and Tommy Braddock (Lucas Hedges), jogging in silence through barren streets, their breath rising in vapor clouds. Their sneakers slap the icy asphalt in perfect rhythm. Ray (Ray McKinnon) Braddock, their father, stands outside the gym, arms crossed, stopwatch in hand. He doesn’t shout encouragement - he just watches. As they pass him, he clicks the timer, one nod for Danny, a curt glance for Mikey and nothing for Tommy, he lights his cigarette with mechanical precision.

The family gym is a rusting relic - with posters peeling and punching bags frayed. Upstairs, in their living quarters, they are cramped and cold. A boom box plays muffled rock music beneath the buzz of fluorescent lights. Danny kneels on a padded bench, wrapping Mikey’s hands with care worn into his fingers. Mikey cracks jokes, bouncing on the balls of his feet, feeding off the energy. Tommy laces up gloves slowly, avoiding his own reflection. Ray barks at them to get moving, voice echoing like a hammer in an empty church. As Mikey heads back downstairs we see the ring sits at the center like an altar.

Later the same morning, Danny swings a sledgehammer at a demolition site, each hit reverberating through his spine. A co-worker offers him water—he shakes his head. Later, Mikey struts into a greasy diner, bruised eye and bandaged hand on full display. A waitress flirts with him and he eats it up, buying shots for the line cooks before slipping out the back. Meanwhile, Tommy sits on his bedroom floor, hunched over a sketchpad. He draws Lena, his girlfriend, from memory—lips parted, one shoulder bare, light catching her collarbone. He stops suddenly, as if ashamed, and rips the page out. Downstairs, the heavy thud of punches echoes through the floor like thunder.

The three Braddock boys sit around a wobbly table, a crockpot of stew sits in the middle of the table. Danny at the head, Mikey slouches at the table and Tommy sits straight-backed and silent. Ray walks in late, dirt under his nails. He pours himself a glass of milk and says nothing. Tommy’s backpack sits near his chair, partway unzipped. Ray notices a corner of paper sticking out, pulls it free. A charcoal sketch of Lena’s face, gentle and intimate. He frowns. Flips the page. The next is her nude—artful, not obscene, but raw. Ray rips it in half without hesitation and throws it in the trash. Mikey chuckles. Tommy’s face burns. Danny freezes mid-bite. No one says a word. The silence afterward cuts deeper than anything spoken.

Night falls and the house dims. Danny sits on the couch staring at a static channel, his fingers twitching. Tommy walks into the bathroom, towel over his shoulder, and finds Rose’s old scarf hanging behind the door. He lifts it gently, breathes in the faint scent of lavender, and holds it to his face. In a flash, a memory: her hand on his cheek after a childhood fall, her whisper—“You’re softer than them. That’s not a weakness.” He shuts the closet door. Back downstairs, Danny opens an old album on his lap. A photo from a county fair—Rose (Lily Rabe) laughing, Danny and Mikey play-fighting, Tommy hanging off her arm. He runs a thumb over her face. Behind him, the gym lights buzz on by themselves—on a motion timer, but it feels like something else.

At the gym the next day, Mikey spars without headgear. His opponent tags him hard. He staggers, spits blood, then smirks and charges forward. Ray watches from the corner, pride with an underlying panic in his eyes. Danny steps in, furious, pulling Mikey off. Mikey shrugs him off. “Don’t babysit me,” his eyes say. Tommy, watching from the edge of the ring, quietly tapes his wrists, then pulls the gloves off and leaves without speaking.

Night. The house is dark except for the glow of an old television. Danny sits on the floor, a VHS tape humming in the player. Footage flickers across the screen: a teenage Danny in the ring, young and fast, Ray shouting from the sidelines—“Left! Again!”—and Rose clapping softly in the background. The tape jitters. A moment freezes on young Danny smiling through a bloody nose, raising his arms. He was proud once. Behind him now, the living room is in ruin—empty beer bottles, a broken lamp, Mikey’s gym bag left open. Danny hits pause. The silence feels heavy. He leans back against the wall, tears in his eyes, and whispers, “I could’ve made it.”

It’s snowing outside the high school gym. Inside, under yellow lights, Tommy stands in his corner, bouncing nervously. His opponent is older, heavier, with a look that says “this is just another paycheck.” Ray leans in, voice low and fast: “Braddocks don’t run.” Tommy nods, eyes wide, heart pounding. The bell rings. The first round is rough. Tommy eats punches, stumbles, but keeps moving. In the second, he catches the other guy with a blind uppercut—more instinct than skill. The crowd roars. He wins on a decision. Ray lifts his arm, triumphant, but Tommy barely reacts. In the locker room after, he stares at his reflection, hands shaking. Lena (Isabela Merced) meets him outside, kisses his bruised cheek. “You alright?” she asks. He doesn’t answer.

Back in his room, Tommy opens his sketchbook again. The page is blank. He grips the pencil like it’s a weapon. He starts to draw—not Lena this time, but his brothers. Mikey’s crooked smirk, Danny’s tired eyes, Ray’s scowl. He tears out the page and burns it in the kitchen sink. Smoke curls around him. Upstairs, Mikey stumbles in drunk, singing a half-remembered fight anthem. He sees the smoke, chuckles, slaps Tommy on the back, and heads to his room. “We’re all artists, huh?” he mutters before disappearing down the hall. Tommy watches the last of the ashes swirl down the drain.

Late. Danny smokes on the front porch in silence. Tommy joins him, hoodie pulled tight, hands in pockets. They don’t speak for a while. Across the street, a streetlight flickers, then dies. Tommy finally says, “Do you think she’d be proud?” Danny doesn’t answer. Just stubs out his cigarette and heads back inside. Tommy stays behind, staring at the dark sky. Behind him, through the window, the gym lights flicker on—the motion sensor again.

The local paper arrives before dawn. A front-page spread shows Tommy mid-swing, glove cutting through the air, eyes sharp. The headline reads: “Youngest Braddock Storms Local Circuit.” Ray reads it with satisfaction, sipping his black coffee in the kitchen. He pins it to the gym’s corkboard under Mikey’s old photo, now faded and curling at the edges. When Mikey walks in, he pauses mid-step. His photo looks like a ghost. The new one—Tommy’s—is bright and clean. Mikey doesn’t say anything, but the smile fades from his face.

Later that night, Lena shows Tommy the paper again at her apartment, circling his name with a red pen. “You made it real,” she says. Tommy smiles, but it doesn’t reach his eyes. She asks what Ray said. Tommy shrugs. “He pinned it up. That’s enough.”

Midday at the gym. The air is thick and warm. Ray calls for sparring, and Mikey volunteers to go a round with Tommy. Danny protests—it’s too soon after Tommy’s last fight—but Ray ignores him. Gloves are laced, headgear strapped. It starts friendly. Then Mikey lands a hard hook. Tommy blinks. The second shot is worse. The rhythm breaks. Tommy stumbles back, arms loose. Danny shouts to stop it. Ray just watches. Mikey steps in with another clean shot—too much. Tommy drops his gloves and turns away, breathing hard. “You wanted to be one of us,” Mikey says, smirking. Tommy storms out of the ring. Lena’s standing just inside the gym entrance, having come to surprise him. She watches him walk past, fury and shame wrapped tight around him. She doesn’t follow—not yet.

News of the spar must have reached the streets as a local promoter stops by the gym during open hours, flashing teeth and business cards. He lays out the idea: a Braddock vs. Braddock exhibition bout—“a family grudge match with a legacy twist.” Ray listens intently. Danny is silent. Mikey says, “You serious? I’d drop him in two.” Tommy keeps his eyes on the floor.

That night, Lena and Tommy sit in her car outside the house. She hears it in his voice before he says a word. “They want us to fight. For real.” She turns sharply to him. “That’s not family,” she says. He looks straight ahead. “It’s the only way I know how to speak to them.” Lena grips the wheel, then his hand. “Then maybe it’s time to say nothing.”

The gym becomes a war zone of silence. Ray starts putting together posters—cheap, black-and-white mock-ups with “Braddock v Braddock” in bold red letters. Tommy trains early in the mornings. Mikey shows up late, running drills like punishment. Ray splits his coaching, but favors Mikey—the sharper hitter, the louder legacy.

Danny watches all of it through a fog of pain. He meets Lena outside after her shift, asks her to talk to Tommy. She nods.

The next morning, she shows up at Tommy’s run and jogs beside him, silent for a few blocks. When they stop to catch their breath, she puts her hands on his shoulders. “You’re still drawing. I saw the sketches. That’s your voice, not this.” Tommy looks away. “Not to them.”

Back in the gym, that day. Tommy and Mikey stand apart, watching Danny as he tries to repair a broken punching bag chain. No one speaks. Tension hangs like smoke. Ray walks in with papers—contracts for the exhibition match. He drops them on the workbench. “Main event. Braddock vs. Braddock. Sellout crowd.” Mikey grabs a pen and signs without hesitation. Tommy looks at Danny, then at the photo of Rose still taped to the fridge. He signs. Lena enters just as he finishes. She sees the paper, sees the ink. “You don’t have to do this,” she says. Tommy replies quietly, “I already did.”

Later, Lena finds the drawing he left behind on her nightstand—a pencil sketch of herself, sitting on the steps of the gym, looking back at him. She stares at it, then folds it in half, carefully, as if it might break.

Danny stands on a back porch, drinking coffee in the cold. As he drinks he collapses. Snowflakes fall on his face as he tries to speak but can’t. Tommy and Lena find him first—she rides with him in the ambulance while Tommy follows in silence. At the hospital, under harsh fluorescents, a doctor explains the internal bleeding is chronic, worsened by years of head trauma.

In the waiting room, Lena holds Tommy’s hand. Ray paces like a caged animal. Mikey isn’t there. Danny wakes briefly, eyes scanning until he finds Tommy. His voice is barely audible: “Don’t become him.” Tommy doesn’t answer. He just watches the monitors beep and blink.

Back at the gym, Ray tapes a full-size poster to the front window: “Braddock vs Braddock – One Night Only.” Tommy passes it without slowing down. Inside, Mikey grins at a group of kids asking for autographs. He signs quickly, relishing the attention, the momentary validation. He is then confronted by Tommy, the two push and shove, he yells at Mikey, asking why he wasn’t beside their brother while he lay in the hospital. “I was training.” “Who gives a shit about training he is our brother, our blood, does that not mean anything to you!” Mikey laughs and walks off as Ray watches.

Ray starts leaking clips of old fight tapes online—Danny in his prime, Mikey as a teenage prodigy, Tommy’s recent wins. It garners attention. Comments pile up. Locals buzz about the fight. “Real family drama.” “Braddocks built different.”

Mikey doubles down in training, doing hill sprints in the snow, punching tree trunks wrapped in duct tape. Lena watches him from her car as he finishes one session—he catches her eye but doesn’t wave. Just stares, jaw clenched.

Meanwhile, Tommy walks through the now-empty high school art room. He runs his hand across a table he once sketched at. He finds a discarded brush in a drawer, holds it like a foreign object, then slips it into his jacket pocket.

The weigh in is being held in the gym - press, camera flashes, hype. Ray stands between them like a proud general. Mikey stares Tommy down. Tommy barely looks at him. Their fists touch for a photo. Danny, out of hospital, watches from the back, eyes full of dread. He sees it in Mikey, this isn’t a match, it’s going to be brutal.

Under the moonlight, Danny meets Tommy at their mother’s grave. He begs him not to do it. “There’s nothing left to prove.” Tommy listens but doesn’t speak. He’s trembling. He looks at the scar on Danny’s face, then down at Rose’s grave. “I can’t fight him. But he needs to be stopped” Danny pulls him in, a hug, silent, meaningful.

The night before the fight. It’s snowing again. In the garage, Tommy sits at the workbench, hands trembling, staring at the contract still in his coat pocket. He pulls it out, stares at the ink like it’s cursed. Lena enters quietly. She doesn’t speak at first. She just kneels beside him and lays her head against his shoulder. “You don’t need to hurt to be loved,” she finally says. He nods. After she leaves, Tommy takes down the family photo still pinned to the back wall—Rose, smiling between the three boys. He flips it over, scribbles something on the back. Then he lays his right hand flat on the workbench. We cut outside. The garage window fogs. Then—CRACK. We hear a muffled animalistic cry. Inside we see Tommy doubled over, blood pouring from his broken hand. The sledgehammer lies beside him.

Fight night. The gym is packed. The anticipation rises as the prelims are taking place. Ray storms over to Mikey saying he hasn’t seen his brother anywhere, he best be here soon. Mikey laughs it off, calling it a stunt.

The garage door creaks open slowly, Danny steps in, he calls Tommy’s name once - quietly, no answer. Then he sees it. Tommy is slumped agains the wall, knees pulled in, cradling his right hand - mangled, purple, slick with blood, bones coming out. The sledgehammer lies beside him, handle cracked, drops of blood splattered across the cement floor like a crime scene. Tommy looks up. Eyes glazed. Shame, relief, and pain in his expression. Danny rushes over, drops to his knees. He reaches for the hand, then stops, hands trembling, not knowing whether to comfort or scold. He just holds Tommy’s good arm tightly. “Jesus Christ,” he mutters, over and over. Tommy leans his head into Danny’s chest. No words. Just breathing. For a long time, they stay like that—two broken brothers, curled in the garage where they once fixed bikes, where they learned to throw punches, where they were never allowed to be boys. Finally, Danny says: “I’ll take care of it. You don’t go to that ring.” Tommy closes his eyes.

It’s time for Braddock vs Braddock. Mikey stands in his corner, bouncing on his toes, gloves tight, head low like a predator pacing in a cage. He’s lean, cut, breathing heavy through his nose. Ray moves back and forth outside the ring, barking orders to no one in particular. “He’s coming. He’ll be here.” But his voice betrays it—he’s unsure. The murmurs start in the back. “Where’s Tommy?” “He ain’t coming.” “You hear what happened?” The room begins to shift. Danny enters quietly, no coat, Tommy’s gloves hanging from his fingers like a flag. He walks up to Mikey, eyes swollen, tears. “He broke his own hand,” Danny says softly. Mikey freezes. His mouth opens. Nothing comes out. The bell never rings. Ray storms toward them, veins flaring in his neck. “Get back in there,” he growls, pointing to the ring. “We’ve got a crowd. You fight.” But Mikey doesn’t move. He looks at Ray like a child who’s just seen through a magic trick—shame, betrayal, pity. Then he climbs out of the ring. Steps down. Walks across the gym without a word. He pushes open the side door. Cold light spills in. Outside, it’s snowing. Mikey walks out into it and disappears.

The gym is empty now, lights humming in the stillness. The folding chairs have been left half-collapsed. The ring rope sags like an abandoned net. Ray stands alone under the lights, shirt damp, sweat frozen on his skin. He throws a lazy combination at the heavy bag—thud, thud, pause. “Braddock,” he whispers to himself after each punch. “Braddock. Braddock.” Like he’s trying to summon meaning from the sound. He misses the bag, stumbles, catches himself. Stands again. Hits harder. The name cracks on his tongue. Upstairs, the house smells like bleach and winter. Danny stands over the bathroom sink, holding the bloodstained towel Tommy used to bind his hand. He stares at it like it’s an artifact from a war no one admits they fought. He walks to the fireplace in the living room, feeds it in. The towel curls, smokes, disappears. The fire crackles. There are no more fighters in the house of fighters.

Mikey runs, days after the fight was supposed to happen. Mikey stops running and walks down an empty back road. From behind him—footsteps. He turns. Tommy stands there, one hand in a sling, the other holding a coat he forgot to wear. They don’t speak at first. Their breaths form plumes between them. Mikey breaks the silence. “You really broke it?” Tommy lifts the bandaged hand, flexes it slightly. Winces. Nods. Mikey looks away, jaw tight. “You could’ve just said no.” Tommy shrugs. “You wouldn’t’ve heard it.” The two pause. Mikey’s voice lowers. “I would've hit you too hard.” Tommy lets out a little laugh saying he knows. They start walking side by side. Slowly. The town around them is quiet. After a long pause, Mikey speaks again—“I ever tell you I was jealous of you?” Tommy laughs once under his breath. “You were the one winning titles.” Mikey shakes his head. “You got out.”

A VHS tape whirs to life. The screen shakes for a moment, then settles. Footage flickers: three boys in oversized gloves, sparring in a backyard ring made of garden hose and lawn chairs. Ray’s voice barks off-camera. “Keep your guard up! Don’t let him inside!” Rose steps into frame, laughing, swatting playfully at Ray’s shoulder. She walks to the boys, breaks up the scuffle, kisses each of them on the forehead. Mikey grins through a bloody nose. Danny hugs her waist. Tommy looks straight into the camera and waves. The tape stutters. Glitches. Her face freezes. Then the screen cuts to black.


Release: Boba Fett

 
Boba Fett
Genre: Action/Fantasy/Sci-Fi
Director: James Wan
Writer: Nic Suzuki
Based on the Star Wars universe created by George Lucas
Cast: Jason Momoa, Tom Hopper, Keith David (voice), Lance Henriksen, Kevin Durand, Morena Baccarin, Kiawentiio, Charlee Fraser, Fra Fee, Abbey Lee, Oded Fehr



Budget: $165,000,000
Domestic Box Office: $426,557,100
Foreign Box Office: $337,116,671
Total Profit: $220,005,056

Reaction: It's great to start out Season 36 with a blockbuster hit. It's a big rebound for writer Nic Suzuki after Robopocalypse flopped in Season 34.



"The biggest win for Nic Suzuki’s take on Boba Fett is that it unapologetically treats the character like an adult: brutal, efficient, and unconcerned with sanding down the edges. Reuniting James Wan and Jason Momoa proves to be a smart move, delivering confident worldbuilding and no-nonsense action that respects the myth without suffocating in it. The story does stumble slightly in pacing and leans a bit too hard on legacy winks, but never enough to derail the experience. For the first time in a while, Star Wars remembers how to be fun again." - Dexter Quinn, Cinematic Observer Newsletter 


"James Wan’s Boba Fett keeps things mostly grounded, treating its title character less like a legend and more like a working-class bruiser who’s been doing this job too long. Jason Momoa plays Fett as tired, stubborn, and quietly angry, which works well for a story about someone else hijacking his name and cheapening his reputation. The action is tight and physical without turning cartoonish, and the detour to Concord Dawn - where Fett confronts the family he abandoned - adds some welcome emotional stakes. Where the film stumbles is in how much Star Wars lore it tries to juggle at once - characters like Xizor and Guri feel more like setup than payoff, giving parts of the movie a “backdoor pilot” vibe. Still, Wan’s stripped-down approach makes this a more focused and adult take on the character than expected." - Caleb Morton, Electric Sheep Magazine


"As a lifelong Star Wars obsessive, Boba Fett mostly delivers the version of this movie fans have been arguing about since the VHS era - while still tripping over a few very specific nerd rakes along the way. James Wan and Nic Suzuki get the big things right: Fett is quiet, dangerous, and ruthlessly competent, and Jason Momoa sells the weight and physical toll of the armor. The action is satisfyingly brutal and the Concord Dawn family subplot works better than expected, even if purists may argue Fett edges a bit too close to introspection for a guy who once communicated exclusively through body language. Still, when the movie is locked in, it hits that sweet spot between fan service and stripped-down pulp." - Darren K. Walsh, Starburst Magazine







Rated PG-13 for intense sci-fi action and violence