Tuesday, November 3, 2026

Release: Space Sheriff Helios

 

Space Sheriff Helios
Genre: Sci-Fi/Action
Director: Takashi Miike
Writer: Meirad Tako
Based on the Space Sheriff franchise
Cast: Kazuya Kamenashi, Eita Nagayama, Tadanobu Asano, Yuki Amami

Budget: $70,000,000
Domestic Box Office: $18,595,034
Foreign Box Office: $50,992,346
Total Profit: -$65,290,017

Reaction: This one was probably too niche from the very start. While the film did okay in Asian markets, it failed to find an audience just about everywhere else. 




"Star Wars meets Toku cinema with a massive budget and a stellar Japanese cast. It’s essentially a compilation album of your favorite sci-fi clichés: rogue cops, planet-killing lasers, and "we used to be brothers!" tragic villain duels. But damn, if it isn't beautiful to look at. The Helios Blade vs. Void Scythe sequence alone justifies the runtime. A bit heavy-handed on the tropes, but Tadanobu Asano showing up as a scruffy, cynical pilot is always an automatic half-star upgrade. I commend Meirad Tako for going outside his element but also his authentic Japanese casting instead of Hollywood-washing another Japanese franchise. I still get nightmares from Dragonball Evolution." - Dexter Quinn, Cinematic Observer Newsletter


"Despite some striking visuals, Space Sheriff Helios struggles under heavy exposition and underdeveloped ideas. The screenplay spends so much time explaining councils, protocols, and lore that character work gets lost, leaving Orin and Krynn’s central conflict feeling emotionally thin. Even Miike’s eccentric style feels muted, resulting in a film that’s more generic than its premise promises." - Katie Barnes, Washington Herald


"Space Sheriff Helios has flashes of stylish sci-fi spectacle, but never fully develops the emotional or narrative depth needed to make its world feel immersive. Takashi Miike delivers strong action and visual flair, yet the weak world-building and thin character development hold it back. Orin and Krynn’s fractured friendship has potential, but the film never digs deep enough to give it real emotional weight. Entertaining in spots, but ultimately a bit hollow." - Clark Davis, JoBlo.com





Rated PG-13 for sequences of sci-fi violence and action, and brief language





Monday, November 2, 2026

Top 10 Meirad Tako Adaptations

 

Sherman J. Pearson here for another Top 10. Only about one-third of films from Meirad Tako are adaptations, but he has a new one in theaters right now with Space Sheriff Helios. That considered, it seemed like a good time to look at his adaptations.

Top 10 Meirad Tako Adaptations
10. Stan
9. Police Story: Retribution
8. The Midnight Library
7. Police Story: Retribution
6. Police Story: Case Closed
5. The Rise and Fall of Ziggy Stardust and the Spiders from Mars
4. Nineteen Eighty-Four - Part One
3. Animal Farm
2. Nineteen Eight Four - Part Two
1. Hotel California

Now Showing: Space Sheriff Helios

 

Space Sheriff Helios
Genre: Sci-Fi/Action
Director: Takashi Miike
Writer: Meirad Tako
Based on the Space Sheriff franchise
Cast: Kazuya Kamenashi, Eita Nagayama, Tadanobu Asano, Yuki Amami

Plot: The observation deck of Galactic Union Police (GUP) Command Station Halcyon stretched wide and silent, a vast chamber of glass and steel suspended in the abyss of space. Beyond the reinforced transparisteel windows, the void stretched infinitely, the stars distant and cold. Their light twinkled feebly, as if struggling against the darkness that lurked in the unseen corners of the galaxy.

Orin Helios (Kazuya Kamenashi) stood at the edge of it all, his golden-trimmed coat draping over his armored form, the fabric worn from years of battle. The silver badge of a Space Sheriff—once a symbol of unwavering justice—gleamed faintly against the deep navy of his uniform. His face was lined with exhaustion, not from the weight of combat, but from something heavier—the slow realization that the ideals he had sworn to defend might no longer exist.

The hum of the station’s artificial gravity generators reverberated through the floor, a rhythmic pulse in the stillness. His reflection stared back at him from the glass, eyes shadowed, lips pressed into a grim line.

Behind him, the room shifted. The lights flickered to life, bathing the chamber in a cold white glow.

Orin turned.

At the center of the room, a holo-table projected a shimmering blue display, its interface pulsing like a heartbeat. Over it, bent forward in silent scrutiny, stood Captain Veyla Tormund (Yuki Amami) —a woman as severe as the hard angles of her uniform. Her sharp features were made more gaunt by the ghostly light of the display, her short-cropped steel-gray hair barely moving as she studied the information before her.

Her cybernetic eye whirred faintly as she blinked, then looked up at Orin.

“Nythra-5 has gone dark,” she said.

Orin frowned, stepping forward, his boots heavy against the polished black floor.

“What do you mean, ‘gone dark’?” His voice was measured, but there was an edge to it, a subconscious tension.

The holo-display shimmered, shifting to show satellite footage—an image of Nythra-5, a world he had visited before. Lush emerald forests blanketed the continents, glimmering seas stretched across the curvature of the planet, and towering cities shone beneath the glow of its twin moons.

Then, in the blink of an eye—everything was gone.

Not destroyed. Not burning.

Just… gone.

The holo-footage played frame by frame. One moment, Nythra-5 existed, its vast ecosystem and billions of lives bustling in perfect synchronization. The next—blackness, as though the planet had never been there at all. No explosion, no debris, no electromagnetic pulse.

Just a perfect void where a world had been.

Orin’s heartbeat thundered in his ears.

His throat was dry when he spoke. “That’s not a natural event.”

“No,” Veyla said, her voice tight with something he rarely heard from her—fear.

She tapped the console. Data logs scrolled past, encrypted files flashing red.

“This was Obsidian Protocol.”

The words landed like a physical blow.

Orin’s fingers curled into fists. He had heard the whispers, the rumors among the lower ranks of the Galactic Union Patrol—secret missions, black-budget operations, entire systems that vanished from star maps without explanation. Obsidian Protocol had always been myth and hearsay, a ghost story told among disillusioned officers.

But now it was real.

His voice dropped to a low, dangerous whisper. “Who authorized this?”

Veyla hesitated. Then, her cybernetic eye flickered, and she said:

“The High Council.”

The words left her lips without emotion, but Orin saw the slight shift in her posture, the flicker of regret in her organic eye.

Orin took a step back, a slow breath pushing through his clenched teeth.

The High Council.

The very institution he had sworn to serve.

His mind raced, trying to rationalize, to make sense of the impossible. The Union had been flawed, yes, riddled with bureaucracy and corruption—but outright genocide? This was something else. Something monstrous.

His fingers brushed against the hilt of his Helios Blade, the energy weapon humming faintly at his hip.

“This is mass murder,” he said, his voice cold. “And we’re just… accepting it?”

A new voice answered from the doorway.

“The galaxy needs order, Orin. Not sentiment.”

Orin turned sharply, his muscles tensing on instinct.

The man who entered was a shadow against the sterile white lights of the briefing chamber. His black-armored boots clicked against the floor, slow and deliberate. His coat—midnight void, absorbing the light—bore the insignia of the Eclipse Guard, the Union’s clandestine enforcers.

Krynn Vox (Eita Nagayama).

The man Orin had once called friend.

Orin’s breath stilled, his pulse thrumming in his ears. He hadn’t seen Krynn in over a year—not since his old partner had been transferred to the Eclipse Guard and cut off all communication. And yet here he was, standing before him as an executioner of the Council’s will.

Krynn stopped a few paces away, his dark eyes meeting Orin’s without hesitation.

“You of all people should understand,” Krynn said, his voice as smooth as polished steel. “Some sacrifices are necessary.”

Orin stared at him, trying to find the man he once knew beneath the cold, calculating exterior.

“You call wiping out an entire planet necessary?”

Krynn’s expression didn’t shift. If anything, it softened—as if he pitied him.

“You don’t have to like it,” Krynn said. “You just have to accept it.”

Orin’s jaw tightened. His hand twitched toward his blade, but he held back. Not yet.

His eyes darted toward Veyla, searching for support, for anything that would confirm she too saw the madness in this. But she remained silent, staring at the holo-display, her face unreadable.

Orin felt the walls closing in, the weight of the station pressing down on him.

Everything he had fought for, everything he believed in—it was all a lie.

His hands curled into fists. “No.”

Krynn raised an eyebrow. “No?”

Orin took a slow step back.

“I won’t be a part of this,” he said. “I won’t be a part of you.”

Krynn sighed, a long and weary exhale, as if he had expected this.

“You always were the difficult one.”

He took a step forward.

Orin turned sharply and strode toward the exit, his pace quickening. His mind was already racing—he needed proof. Evidence. A way to expose this atrocity before they silenced him.

He reached the doorway when Krynn’s voice came again.

"Orin.”

Orin hesitated.

“Don’t make me hunt you.”

A cold silence followed.

Orin didn’t look back.

He stepped through the doorway.

And he ran.

The skies above Nythra-5 were dead.

Not in the way a storm-struck world might darken beneath churning clouds, nor in the way an abandoned colony might sit in eerie silence. No, the void above was absolute—a hollow blackness without stars, without reflection, without life.

Orin Helios stood at the edge of the desolation, his boots crunching against a wasteland of charred stone and twisted metal. The wind howled through the skeletal remains of buildings, carrying the scent of scorched ozone and something else—something metallic, something rotten.

A city had once stood here. A world had once breathed here. Now, the streets were lined with blackened husks of vehicles, their glass windows melted into jagged stalactites. Storefronts were nothing but crumbling facades, flickering neon signs half-buried under the rubble.

No bodies.

That was what set his nerves on edge. There were no bodies. No bones. Not even shadows of the fallen—no ash, no scorched remains. Just the empty husk of civilization, as if something had stripped the people from this place without a trace.

Orin adjusted his grip on his Helios Blade, the weapon’s golden energy flickering weakly against the darkness. The blade was more than just a weapon—it had once been a symbol. A tool of justice in the hands of a Union Sheriff. But the Union had long since lost its meaning.

Orin had abandoned his badge. But he hadn’t abandoned his cause.

His gaze hardened as he stepped forward. He needed answers.

And he wasn’t leaving without them.

Then—a sound.

Faint. Fragile. Human.

Orin’s heart tightened. He turned sharply, scanning the ruins. Nothing moved. Only the wind. Only the flickering remnants of shattered signs.

Then he heard it again.

A whimper.

His muscles coiled, instincts sharpening. A survivor.

He moved carefully, following the sound to the collapsed remains of what had once been a marketplace. Broken vendor stalls lay scattered, their wares—charred fragments of fruit, shattered trinkets—still clinging to the ground as if the moment of destruction had frozen in time.

Then he saw her.

A child.

She was curled beneath the twisted wreckage of a fallen support beam, her small frame trembling, her face streaked with soot and tears.

Her eyes, wide with terror, locked onto his.

For a long moment, neither of them moved.

Orin lowered his blade, making sure its glow didn’t startle her. Slowly, carefully, he crouched.

“Hey,” he murmured. “You’re safe now.”

The girl flinched, shrinking further into the shadows. Her breath hitched, shallow and erratic.

Orin softened his voice. “I won’t hurt you. I promise.”

She didn’t speak. But her fingers clenched around something—a small, burnt scrap of fabric. The remains of a stuffed toy.

Then, barely above a whisper—

“They… they killed everyone…”

A cold chill ran through Orin’s spine.

“Who?” he asked gently.

Her lips quivered. She swallowed hard.

“Men in black armor.”

Orin’s blood turned to ice.

The Eclipse Guard.

Krynn’s men.

Then—his comms crackled to life.

The connection had been dead since he landed on the planet. Now, it returned with sudden clarity.

And then, through the static, a voice.

Cold. Familiar.

“You should have listened, Orin.”

His muscles tensed.

Krynn.

Before Orin could move, the night erupted with gunfire.

His instincts screamed.

He lunged, grabbing the girl as he threw up his energy shield. The first plasma round struck, crackling against the barrier. Sparks rained down as the ground erupted in fire, shrapnel slicing through the air.

Then—the shadows came alive.

The Eclipse Guard had arrived.

They moved like wraiths, their black armor drinking in the light, making them almost invisible against the ruins. Their red visor slits glowed like the eyes of specters, tracking his every movement.

One raised a Void Rifle, its dark barrel humming with energy.

Orin moved.

He kicked off the ground, exo-boots igniting as he propelled himself into the air. The girl let out a sharp cry, clinging to him as the ruins below exploded in plasma fire.

An Eclipse Guard leaped after him, twin Void Daggers crackling with dark energy.

Orin twisted mid-air, his Helios Blade meeting the first strike. The clash of golden and black energy sent a shockwave rippling through the air.

The assassin struck again, a blur of motion—but Orin was faster.

He pivoted, slamming his elbow into the attacker’s visor. The guard stumbled, but another took his place, forcing Orin into a desperate aerial battle.

Then—a searing pain in his side.

A plasma round burned through his coat, grazing his ribs. The wound sizzled, the pain like molten steel pressing into his flesh.

Orin gritted his teeth. He was outnumbered.

His eyes flicked toward the sky—toward his ship.

The Aurora Lance hung in low orbit, a sleek silhouette against the dead void.

Orin’s hand shot up to his comms. His voice was raw, strained.

“Noah… get me out of here.”

The comms crackled, then came a voice—frustrated, urgent.

“About damn time! You got half the Union’s death squad on your ass!”

The ship’s thrusters roared to life.

A bright extraction beam locked onto Orin.

The Eclipse Guard rushed forward, weapons raised—

Too late.

In a flash of light, Orin vanished.

The transition was instant.

One moment, he was locked in a desperate fight. The next, he was inside the Aurora Lance’s hold, his body slamming against the metal floor. The girl gasped as the ship’s artificial gravity kicked in.

Orin groaned, pressing a hand to his bleeding side. His coat was slick with blood, the burn seeping heat into his skin.

Noah (Tadanobu Asano) stood over him, arms crossed. The ship’s pilot—a lean, scruffy man with cybernetic implants lacing his temples—shook his head.

“Looks like they chewed you up good, Sheriff.”

Orin let out a breath. “Not a Sheriff anymore.”

Noah smirked, turning toward the ship’s controls.

“You sure? Because Krynn still treats you like one.”

Orin clenched his jaw.

Krynn.

The Eclipse Guard had wiped out Nythra-5—and Orin had just barely escaped.

But he wasn’t running anymore.

No more badges. No more orders.

This time, he was taking the fight to Krynn himself.

The air inside Obsidian Station was cold and sterile, filled with the deep hum of machinery. The walls, a seamless black alloy, pulsed with veins of violet energy, flickering like a heartbeat. At the chamber’s center stood the Star-Crusher Cannon, its barrel aimed at Helios Prime—the last unbroken star in the system. Its colossal energy coils churned, building power to unleash destruction.

Krynn stood before the massive observation window, hands clasped behind his back, his long void-black coat flowing like a shadow. Below, planetary debris floated in the abyss, remnants of worlds erased by the Eclipse Guard. His reflection stared back at him in the glass—a face hardened by duty, by belief.

“You’re too late, Orin,” he said, his voice calm, yet carrying the weight of finality.

Behind him, golden solar sparks ignited in the darkness.

“No,” Orin’s voice echoed through the chamber. "I’m right on time."

Krynn turned just as Orin Helios struck.

Their weapons clashed in an explosion of gold and violet energy, sending arcs of light and darkness cascading across the chamber.

Helios Blade vs. Void Scythe. Light against darkness.

Krynn moved with deadly precision—each swing of his Void Scythe cutting through the air like a guillotine. Orin countered with ferocious speed, his Helios Blade flashing like a golden comet, leaving trails of energy in its wake. Each impact sent shockwaves through the station, causing nearby consoles to shatter, sparks raining down like falling stars.

Krynn spun low, sweeping Orin’s legs. Orin leaped, flipping mid-air, bringing his blade down in a two-handed strike. Krynn parried, twisting the force aside, sending Orin crashing through a command console. Glass and metal shards exploded outward.

“You still don’t understand,” Krynn said, advancing. "The galaxy doesn’t need heroes. It needs order."

Orin wiped blood from his lip, his breathing heavy. “And you think burning entire planets is order?”

Krynn didn’t hesitate. He thrust his Void Scythe forward, unleashing a pulse of black energy. Orin barely had time to raise his shield—the blast sent him flying, skidding across the floor. His back slammed against a reinforced pillar, pain exploding in his ribs.

Alarms blared. The station trembled. The Star-Crusher Cannon was reaching full charge.

Krynn walked toward him, unfazed. “This is the end, Orin.”

Orin gritted his teeth. Not yet.

With a flick of his wrist, his exo-gauntlet magnetized, pulling his Helios Blade back into his hand. He surged forward, burning with solar energy, swinging wide and fast.

Krynn blocked—but the force of Orin’s strike shattered the ground beneath them.

The platform collapsed, sending both of them plummeting into the core chamber below.

They landed hard, rolling across a suspended catwalk above the cannon’s glowing core—a swirling maelstrom of raw stellar energy, contained only by flickering power fields. The heat was suffocating, distorting the air like a mirage.

Orin lunged. Their weapons met again, blades locked, sparks showering. Both men pushed forward, their faces inches apart.

“I never wanted this,” Orin said through clenched teeth.

Krynn’s gaze darkened. “But you always knew it would come to this.”

He twisted, breaking the lock, driving his knee into Orin’s stomach. Orin gasped as the wind was knocked from his lungs, staggering back toward the edge of the catwalk—one misstep from falling into the raging core below.

Krynn swept his blade for a killing blow.

Orin ducked, rolling under the scythe, then vaulted over Krynn’s back, landing behind him. Before Krynn could recover, Orin drove his elbow into his spine, sending him stumbling toward the control console.

Orin saw his moment.

With the last of his strength, he tore a plasma conduit from the floor and jammed it into the console.

The station shuddered violently. Control panels exploded, showering the chamber in white-hot fire. Warning sirens wailed as the stabilizers failed.

Krynn spun around, eyes wide. “What have you done?”

Orin staggered forward, bleeding, panting. He grinned. “I just made things interesting.”

The Star-Crusher Cannon’s containment fields collapsed.

The core—a miniature star, stolen from a dead sun, began to implode.

Krynn roared, lunging at Orin. But the catwalk beneath them gave way.

Orin activated his exo-boots, propelling himself upward toward an emergency escape hatch. Krynn, his systems failing, reached out desperately—but the gravity well of the dying core dragged him downward.

For a moment, their eyes met.

The final moment between brothers-turned-enemies.

Then Krynn was gone, swallowed by the collapsing star.

Orin blasted through the hatch, launching into the void.

High above, Aurora Lance was waiting. Noah’s voice cracked through the comms.

“Orin—tell me you’re still breathing!”

Orin spiraled toward the ship, his armor scorched, his body battered, but his spirit unbroken.

“Just fly, Noah,” Orin coughed. “Let’s go home.”

With a final thunderous detonation, Obsidian Station collapsed into its own dying star, the explosion illuminating the void.

And above it all, Helios Prime burned bright once more.

The ruins of Obsidian Station drifted in silence, scattered remnants of Krynn’s failed conquest orbiting the void. Helios Prime still burned at the heart of the system, its light unbroken—a monument to Orin’s defiance. But victory carried its own weight.

Inside the Aurora Lance, Orin Helios sat in the pilot’s seat, one hand pressed to the wound at his side. His body was battered, his suit torn, but the fight was over. At least, he had thought so.

Then the proximity alarm blared.

He forced himself upright, ignoring the pain as his eyes flicked to the scanner. Multiple Union warships were emerging from hyperspace, their formations precise, movements surgical. These were no scavengers, no remnants of Krynn’s forces—this was the Galactic Union Police.

The comms crackled. A voice, cold and unwavering, filled the cockpit.

“Orin Helios, you are hereby charged with obstruction of a sanctioned operation, destruction of Union assets, and disruption of galactic stability. Power down your vessel and prepare to be taken into custody.”

Orin exhaled slowly, his fingers tightening around the controls. He had known this was coming. He had felt it the moment he struck the console, the moment he decided that Helios Prime was worth more than the orders he had once followed.

There would be no recognition, no medals for saving the last light. Only pursuit. Only judgment.

Through the viewport, the warships began their approach, their weapons primed. A lesser man might have surrendered. Might have accepted the weight of what he had done and let history decide his fate.

Orin Helios was not a lesser man.

With a flick of a switch, the Aurora Lance’s thrusters roared to life. The ship veered hard, breaking for open space as the first barrage of plasma fire cut through the void behind him.

He had won the battle.

Now, he had to survive the war.


Sunday, November 1, 2026

HISTORY LESSON (SEASON 17)

 

Welcome to History Lesson, where we take a closer look at the movies that dare to tackle real-life events with varying levels of accuracy, drama, and WTF casting choices. These films promise to educate and entertain, but more often than not, they rewrite history with the subtlety of a sledgehammer. We’ll be your guide through the land of miscast biopics, dramatic embellishments, and historical “inspired-by” liberties, breaking down whether these flicks are Golden Reel Award-worthy masterpieces or just a big-budget Wikipedia summary. Either way, it’s more fun than your high school history class—and there’s popcorn.

This time around we will take a look at Season 17's fact-based slate....



HISTORY LESSON: THE KING OF HEARTS
The King of Hearts is Bennett Miller’s latest attempt at turning a hyper-specific niche into a gripping drama, and, in true Miller fashion, it works. Chronicling the legendary rivalry between two of America’s most iconic heart surgeons, Dr. Denton Cooley (Tom Cruise, all charisma and gumption) and Dr. Michael DeBakey (Tom Hanks, doing his stern yet soulful thing), the film deftly navigates high-stakes operating rooms, lavish galas, and petty professional grudges. Cruise and Hanks spar with the intensity of two men who can’t decide if they hate each other more than they hate being overshadowed. The result is part buddy drama, part surgical thriller, and part extended PSA about the dangers of unchecked ego.

The film gets most of its historical details right, from the groundbreaking surgeries to the awkwardly public feuds. However, it occasionally slips into melodrama, like when Cooley dramatically stares at his shaky hands as if he’s auditioning for Doctor Strange. The pacing wobbles a bit as the script tries to juggle marital spats, medical breakthroughs, and boardroom backstabbings, but Miller’s direction keeps it afloat. Is it a little over the top at times? Sure. But when you have Tom Cruise and Tom Hanks trading surgical barbs like it’s The West Wing with doctors, who cares? By the time the rivals share a bittersweet reconciliation in their twilight years, you’ll almost forgive the film for treating artificial heart drama like a heavyweight boxing match.




HISTORY LESSON: THE HIT MAKER
The Hit Maker chronicles the meteoric rise and disastrous fall of Milli Vanilli with a mix of campy absurdity and unexpected pathos. Christian Bale gives a wildly entertaining performance as Frank Farian, a sleazy music producer who, realizing his two golden-voiced singers look more "dad bod" than MTV heartthrob, decides to cast two lip-syncing models (Stephan James and Kelvin Harrison Jr.) as pop sensations. Director Craig Brewer delivers the perfect mix of satire and drama, showcasing both the ridiculousness of the Milli Vanilli facade and the human cost of Farian's ambition. Alicia Keys shines as Maya, Farian’s on-again, off-again muse and occasional moral compass, who tries to navigate the chaos while maintaining her own integrity.

The film sticks relatively close to the real-life saga, though it punches up the drama and humor for entertainment's sake. The infamous MTV performance where the backing track skips is as cringeworthy on screen as it was in real life, and the subsequent fallout is both hilarious and tragic. The script nails the industry’s absurd focus on image over talent, but at times it feels like it glosses over the deeper emotional fallout for Rob and Fab. Still, the movie captures the absurdity of Farian’s scheme with style, making The Hit Maker a toe-tapping reminder that sometimes truth really is stranger than fiction.



HISTORY LESSON: HIGH SCHOOL
High School tries its best to capture the melodrama of teen life but ends up feeling like the cinematic equivalent of someone strumming the same three sad chords on a guitar for two hours. Elle Fanning’s dual portrayal of Tegan and Sara Quin is solid, but even her talent can’t fully elevate a film that seems to think "angsty teens glaring at their parents or pining over crushes" constitutes riveting storytelling. Director Luca Guadagnino drenches the film in 90s nostalgia — complete with Smashing Pumpkins CDs and Nirvana debates — but watching the twins argue over car seats, weed, and open mic nights begins to feel like flipping through a photo album where every page is labeled "moody adolescence, again."

The movie’s obsession with teenage angst feels less like a deep dive into the Quin sisters’ formative years and more like a checklist of every YA drama trope ever written. Sara’s relationship with Naomi (Beanie Feldstein) has some emotional heft, but it’s buried under scenes of broken arms, broken hearts, and one too many "the world doesn’t understand me" stares. Even Chloe Sevigny as the weary single mom can’t save this from its own overwrought tendencies. Sure, there’s a charm to High School — but by the time Tegan and Sara are belting out their feelings at yet another house party, you’re left wondering if the film is trying to be poignant or just punishing.

Box Office: The Righteous Path

 

The Righteous Path
Genre: Drama/Thriller
Director: Todd Haynes
Writer: Andrew Doster
Cast: Jessie Buckley, Alicia Witt, Sadie Soverall, Cary Elwes, Nick Offerman, Amy Fortsyth, Cody Christian

Budget: $20,000,000
Domestic Box Office: $11,220,939
Foreign Box Office: $9,519,333
Total Profit: -$16,297,513

Reaction: The numbers are admittedly lower than we were hoping for Jessie Buckley's latest starring vehicle for the studio following her turns in the X-Men films and last season's The Midnight Library. 




"The Righteous Path is a mostly compelling, emotionally grounded cult-escape drama elevated by an outstanding Jessie Buckley performance. The film occasionally leans too hard on familiar trauma-recovery beats, and its final act resolves a bit too neatly, but Buckley and Alicia Witt create a deeply affecting emotional core. Nick Offerman is also quietly excellent in a role that could have easily been thankless." - Cal Crowe, Washington Globe



"Despite Jessie Buckley’s deeply committed performance, The Righteous Path often feels like prestige-season bait dressed up as psychological drama. The material checks many familiar boxes—religious trauma, female self-discovery, inspirational healing, literary rebirth—but rarely finds a fresh angle on them. By the final act, the film’s tidy catharsis feels less earned than engineered for emotional applause." - Dave Manning, Ridgefield Press


Jessie Buckley gives The Righteous Path genuine emotional force, but the cult is thinly characterised and Anna’s escape becomes an increasingly conventional thriller driven by coincidences, especially Carl repeatedly appearing whenever the plot needs rescuing. The overly tidy police raid, heroic takedown of Elijah, new family and book-signing finale drain the story of psychological complexity and feel far less challenging than a Todd Haynes film should." - Jonah Halberg, The Atlantic






Rated R for thematic material, language, and violence.




Saturday, October 31, 2026

In Development

 

Mortal Kombat III: The third Mortal Kombat film is bringing back several familiar faces from the first two films. Among the returnees will be Donnie Yen (Grand Theft Auto: San Andreas, Police Story: Retribution) as Bi-Han, Tony Jaa (Deathstroke, Mortal Kombat) as Scorpion, Julie Estelle (Mortal Kombat II, Foxtrot Six) as Kitana, and Hafþór Júlíus Björnsson (Flames, Justice League Europe) as Goro. One fresh face will be Ray Park (Accident Man, G.I. Joe: Retaliation) as Reptile. Gareth Evans is directing the project from a script by APJ and Chad Taylor. 

Friday the 13th: Inferno: Another third film in a franchise is adding to its cast with Jake McDorman ("The Right Stuff", Happiest Season) and James Frain (The Shadow, Green Lantern Corps: Sinestro War) signing on for Friday the 13th: Inferno. McDorman will play a prison guard, while Frain will play a psychiatrist who dreams of diagnosing Jason Voorhees. Patrick Lussier is back again as director, with Jack Brown back to write as well.

The Last Heist: Director Steven Soderbergh (Dandelion, Watch Hill) is back behind the camera for LRF with The Last Heist. Oscar Isaac (Monaco, One Day More) will headline the film as the leader of a crew of thieves seeking revenge against the fixer who set them up. Marlon Wayans (American Gigolo, The Spectre) and Thomasin McKenzie (Fragments of Heart, Under the Influence) have also joined the film as members of the crew. Giovanni Garcia (Stretch Armstrong, Blood Brothers) penned the film.

Atlantis: The Dead King: DC Comics' underwater world is back for the third time with Harris Dickinson (Fragments of Heart, Anastasia) back as Arthur Curry, Timothee Chalamet (Gray, Punch Buggy) as Orm, and Saoirse Ronan (Resident Evil 5, The Driftwood Populace) as Mera. The story will depict Atlantis rebuilding following war, and the potential return of the kingdom's original ruler - The Dead King. David Michod (American Idiot, Atlantis: Bloodline) is back as director, once again from a script by Jimmy Ellis (Rubicon Lies, The Song of Roland).

Simple Truths: Jeff Daniels (War of the Currents, Jonestown) is set to headline Simple Truths, where he'll play an aging folk singer losing his voice. Alex Wolff (Sexual Paradise, The Culture) will join him as a shy musician in need of a mentor. Tom McCarthy (Don't Hang Up, Stillwater) is set to direct the film based on an original story by Johnny Mercer (Voice, Zorro).

Mad-Eye: The Hollow Line: LRF's Wizarding World is back for another entry, this time following Auror Alastor Moody as he investigates a series of magic-based murders. Michael Fassbender (Monaco, Recursion) is set for the title role. Malachi Kirby (Pompeii, "A Thousand Blows") is set to play his rookie partner Kingsley Shacklebolt and Jack O'Connell (Baby Teeth, H.H.) is set for the film's villain. David Mackenzie (The Brothers Kendrick, Desert Dreams) has been hired to direct the film. Sammy-Jo Ellis (Below the Surface, Heartbeat) penned the film based on characters created by JK Rowling.

Now Showing: Righteous Path

 

The Righteous Path
Genre: Drama/Thriller
Director: Todd Haynes
Writer: Andrew Doster
Cast: Jessie Buckley, Alicia Witt, Sadie Soverall, Cary Elwes, Nick Offerman, Amy Fortsyth, Cody Christian

1983. Anna (Jessie Buckley) has lived her entire life inside “The Light of Purity,” a religious cult in a rural Kansas town. Anna is in her small house and is getting ready for Sunday mass. Anna opens the closet where there are clothes all similar to each other and finally puts on a modest long dark dress that covers her entirely and then goes in front of the mirror and gathers her hair. Then she leaves the house and together with other women enters a large rustic room with walls decorated with sacred images, representations of saints and calligraphic scriptures praising purity and devotion. The pews are arranged in neat rows, filled with members of the community with men and women strictly separated. At the end of the room, a polished wooden pulpit with a man, Father Elijah (Cary Elwes), who controls everything that happens.

Shortly, following some rituals, Father Elijah begins the prayer in a solemn voice, and the members of the community respond in unison, repeating his words with devotion. Once the prayer is over, Elijah clears his throat and begins his sermon. He speaks of purity, obedience, and discipline, reminding the faithful that the outside world is corrupt and threatening. Elijah raises his arms, his voice growing louder and sharper. With fiery words, he warns of the sin that is spreading outside the confines of their community and warns them of the dangers and temptations of the outside world. The tone of his voice is almost hypnotic, but there is a ferocity in that crescendo that makes those present lower their heads. Only Anna, for a brief moment, seems to watch Elijah with a look of slight doubt, a ripple that betrays her inner struggle. She simply looks away, but only for a moment, and then returns. As Elijah continues to speak, a figure suddenly rises from the benches: she is Mary (Amy Forsyth), a young girl whose father died of an illness a few months earlier. With an uncertain but determined voice, she asks Elijah why the outside world must necessarily be a place of damnation. She says she has doubts, that she does not understand the reason for so much isolation. Anna, who is sitting behind her, whispers to her to sit down but the younger girl does not listen.

Elijah stops, for a long moment silence falls in the room, where every whisper and every breath stops. Father Elijah stares at her, with a penetrating and stern look. Mary stiffens decidedly tense but does not sit down and instead with a louder, almost impatient voice, continues to express her doubts. She asks if isolation and fear are really the only way to salvation. After a moment of hesitation, Mary meets Elijah's icy gaze. Her expression changes radically with insecurity that in an instant replaces rebellion and her face is colored with visible fear. Slowly, she lowers her head, murmuring a few words of apology and sits down without saying anything else. At that point Elijah, in a calm tone, resumes his sermon, warning the community against "the doubts and pitfalls of weakness", and the eyes of the faithful are lowered further, as if to avoid even the slightest dissenting glance.

The next morning, Anna is teaching the children, explaining a lesson on morality according to the strict rules of the cult. The children are seated in an orderly fashion, listening respectfully, and taking notes with the limited school supplies available to them. The school is a small, simple, functional classroom, furnished with old wooden desks and a chalkboard. As Anna asks one of the children a question, the classroom door slowly opens and Mary enters with a big smile, carrying new pens, notebooks, and a chocolate for all the children. Anna pauses for a moment, and the children turn to look at Mary. With a forced smile, Mary approaches the teacher’s desk, offering the materials to Anna with marked cordiality. Mary whispers something to Anna, seeking her gaze. She tells her that she had just felt “tired” the day before and that she had not meant to disrespect Elijah or the community. Anna gives her a soft, reassuring look, placing a comforting hand on her shoulder. Mary walks away and leaves the classroom, but before leaving, she gives Anna one last look, almost as if she wanted to say something. Anna watches her retrace her steps with a hint of concern and follows her for a moment, asking her kindly if she could stop by her house in the evening to talk together. Mary accepts and says she will stop by after dinner. Anna returns to the classroom, finding herself once again in front of the class of children, continuing to teach.

Anna sits at her house, sitting at the table and staring at the door, waiting for Mary to arrive. The sunset light filters through the window and envelops the room. Anna looks around, checks the time, gets up and straightens her dress, a hint of worry appears on her face. After a few moments, Anna approaches the door and opens it to look outside. The town appears silent and deserted. Anna steps out onto the threshold, huffs slightly and wraps her arms around herself, unsure of what to do.

Meanwhile, Mary is moving furtively through the fields. She has a small bag with her, and her face is lined with tension. She is constantly looking behind her, trying to make sure no one is following her. As she walks faster and faster towards the edge of the cult property, she catches sight of the main road with her breathing becoming more labored. Finally, Mary spots the fence at the edge of the community and approaches, ready to climb over it. As Mary climbs up, her quick, clumsy movements betray her agitation. Mary barely makes it over the fence before menacing shadows appear behind her. They are some of the cult men, approaching silently. One of them grabs her arm, and Mary lets out a muffled cry, a mixture of desperation and fear.

A short distance away, at the end of the field, Anna comes out of her house again, drawn by distant screams that she thinks she heard. She stops and sees Mary in the distance, almost an unreal figure against the dim light of the night. She can’t see the details, but she knows that Mary is in trouble. For a moment, Anna stands still, unsure whether to intervene or retreat. Mary, dragged away, struggles to free herself, begging softly, “Please help me.” Her words dissolve into darkness and the whispers of the wind. Finally, she gives in, and her figure disappears into the shadows along with the men who have captured her. Anna continues to watch the scene with a mixture of terror and helplessness. At night, Anna tosses and turns in bed without sleeping.

The next morning, the community gathers in the great hall for the morning sermon. Father Elijah, with his usual composure, stands up on the pulpit. His voice is deep and solemn as he announces that Mary has voluntarily left the community, having chosen “the path of sin” and given in to the “unclean spirits” that have contaminated her soul. The community members murmur among themselves, shocked by the news. Elijah continues to speak of how purity and discipline are essential to avoid the corruption of the outside world, using Mary’s example as a warning. Anna, sitting apart, feels a wave of cold run through her. She realizes that this version of events does not correspond to the reality she glimpsed the night before. Mary’s absence and Elijah’s words give rise to a painful certainty in her as her mind begins to work.

Rain pelts down on the silent homes of the community, shrouded in darkness as thunder rumbles overhead. Anna stands in the small entryway to her home, wearing a thick coat and clutching a small backpack in shaking hands. She looks around, making sure no one is watching. The darkness and rain provide the perfect cover, but every sound makes her jump. At one point, Anna takes a deep breath and walks toward the edge of the community. The rain completely envelops her, but she continues to run carefully. She climbs over a fence into a hidden area, different from the one Mary had tried to escape. Anna enters the woods, making her journey more difficult. The muddy ground makes her lose her balance, and at one point she trips over a root, falling heavily. She quickly gets up, her face covered in mud. She wipes herself off and continues walking until finally, beyond the edge of the woods, she spots a deserted road. Anna stops on the side of the road, in the rain, completely soaked. In the distance, she sees headlights approaching and waves timidly. The vehicle slows down, it's a truck. The driver, a man named Carl (NICK OFFERMAN), watches her with a certain curiosity and a hint of suspicion seeing her dirty and wet but lets her get in anyway.

Anna gets into the truck visibly tired and scared. Carl smiles kindly and studies her for a moment, trying to understand who she is and where she comes from while offering her a towel to dry herself and clean herself a bit. In the meantime he begins to talk about himself, telling her about his life as a truck driver and the places he has seen, then he asks her for some information, asking her who she is and what she does there. Anna answers evasively, without revealing practically anything, maintaining a reserved air. Carl notices her tension and doesn't insist. As the truck moves along the road, Anna slowly relaxes, the tension on her face melting for a moment as she looks at the dark landscapes from the window, seeing on a sign that the city of Wichita is not far away. He asks her where he should drop her off and Anna, not knowing what to answer, says to leave her in Wichita.

Carl stops the truck on a street in Wichita, indicating that it is time for her to get off. He leaves her a few words of encouragement and a reassuring smile before saying goodbye. Anna gets out of the truck looking at the city. Anna walks disoriented through the alleys of the city, observing everything with curiosity and caution while the rain has given way to a starry sky. Anna thinks about what to do, she has no plan and knows she is completely alone and so she begins to look for a place to spend the few hours that remain of the night, without knowing where to go or how to move. At a certain point Anna is approached by a young man who seems kind, who begins to speak to her in a friendly tone and introduces himself with the name of Jason (Cody Christian). He offers her a welcoming smile and behaves in an affable manner, trying to gain her trust. Noticing her lost look, he offers to show her some places in the city that are open all night. Anna is enchanted by the kind attentions she has never had before. She accepts the offer and together they go to a bar.

Sitting at a table, the young man offers Anna a drink, and encourages her to relax. She accepts one drink, then a second, and as time passes, she becomes more and more confused and vulnerable. He watches her with a satisfied smile, trying to convince her to leave the place and follow him in the car. Anna, never exposed to this kind of attention, gives him a trusting look and lets himself be convinced as she staggers toward the exit. Anna and the young man leave the bar and head for her car. The young man gently pushes her toward the car door, but just then a figure emerges from the shadows: it is Carl, who had been watching the scene from his truck. Carl approaches the young man and confronts him. With a firm punch, he knocks the boy out and grabs Anna, visibly confused, leading her away from the car. At that point Carl takes Anna to a nearby motel and pays for her room. He takes her to the bathroom, splashes cold water on her face to wake her up a bit, and explains what Jason wanted from her. Anna is shocked as she begins to feel better. Before leaving her, Carl looks at her seriously, and in a loving tone, advises her to be careful with everything and everyone. Carl takes his leave, telling her that he absolutely has to leave for work and can't wait any longer. Anna, sitting on the bed, looking dazed as the hangover begins to pass, nods and promises to be careful as she watches the truck drive away from her window. Then she lies down on the bed and quickly falls asleep.

Anna wakes up slowly, the sunlight filtering through the window hitting her face. Still groggy, she puts a hand to her forehead, feeling a slight headache from the previous night's hangover. After settling in, Anna leaves the motel and walks through the city. She observes everything with an expression of wonder. She walks disoriented, enchanted by every detail, from the lively colors of the signs to the smells coming out of the cafes. At times she finds herself in difficulty, like when she tries to understand how a vending machine works, observing it with curiosity before giving up, or when a street vendor offers her a free sample and she, embarrassed, awkwardly thanks him. Anna stops in front of a small bookstore, attracted by the poster advertising the presentation of a book. In the photo of the author she recognizes a red-haired, bohemian woman named Helen (Alicia Witt). The ad reports the title of the work, which explores the theme of individualism and rebellion against social impositions. These words strike a chord with Anna, speaking directly to her own experience.

Anna enters the bookshop, hesitating and looking around uncertainly. The people present seem at ease, immersed in listening, while Helen, with her eccentric style and charismatic voice, captures everyone's attention. Anna sits off to the side, visibly out of place, but unable to take her eyes off the author's confident and reassuring figure. Helen tells stories of people who have defied expectations, encouraging the audience to find their own way, even when they feel judged or misunderstood. Every word seems to resonate deeply with Anna, who loses herself in the story, feeling understood for the first time.

After the book launch, Anna shyly approaches Helen to talk. With a trembling voice, she tells her how much her words have resonated with her experience, although she chooses not to reveal specific details of her past. Helen, struck by Anna’s vulnerability, offers to have a coffee together to chat. In a small, cozy café, Anna begins to tell fragments of her life, never mentioning the cult or the exact reason for her escape, but letting the weight of a complex story shine through. Helen listens attentively and suggests that she explore what makes her happy, inviting her to a new meeting the next day.

At the end of the conversation, Anna accepts Helen’s invitation and goes home. Helen’s house is a cozy but eccentric place, with colorful walls, bookshelves full of texts and objects that tell a thousand stories. Anna, initially stiff and awkward, slowly lets herself be won over by the atmosphere of the place and begins to snoop around. During the visit, Helen introduces Anna to her daughter Samantha, a twenty-year-old girl with spots of color on her face because she is painting. Samantha is friendly and gives her a sincere smile that puts her at ease. The two exchange a few words, with Samantha telling her about some of the books she loves to read and Helen observing the scene with satisfaction. The girl begins to ask Anna simple questions about music and famous actors but Anna does not know what to say and gets into trouble. Helen notices Anna's discomfort and begins to talk about light topics and offers tea. However, it is clear that Anna still feels out of place and not ready to reveal too much about herself.

After leaving Helen's house, Anna heads to the motel where she is staying. As she walks down a dimly lit street, she has the distinct feeling of being watched. She looks around, trying to convince herself that it is just paranoia but the sound of footsteps behind her confirms her fears. Suddenly, a dark van slows down next to her. Anna speeds up, but soon notices two men who seem to appear out of nowhere, blocking her path. The two have calm but menacing expressions, and one of them speaks in a low, insinuating voice, telling her that Father Elijah is worried about her and that he just wants to take her "home."

Anna, paralyzed with fear for a moment, turns abruptly and begins to run. The men chase her, while she ducks into an alley and climbs a fire escape to escape them. One of the men almost catches up to her, grabbing her ankle, but Anna manages to free herself with a kick to the face. On the roof, she hides behind a vent, holding her breath as the two men search for her. After a few minutes, convinced that she has escaped, they walk away. At dawn the next day, Anna returns to Helen. Her face is marked with scratches and deep dark circles, evidence of a sleepless night. As she knocks on the door, she is hit on the head from behind and falls to the floor in a faint. When Helen opens the door, there is no one there.

Anna has been dragged into a van. Inside, Anna begins to wake up, blindfolded, tied up and dazed from the blows to the head, she can only perceive the whispers between her captors and the vibrations of the vehicle. Suddenly she hears Elijah's voice but she can't understand if he is inside the vehicle or if it is a game of her mind. The tension grows, but Anna is different now: the short time in the outside world has awakened a new awareness in her. It is no longer just fear that she feels, but also a lot of determination

At a certain point the van stops and she is locked in a small room in an isolated structure: an old house in the countryside converted into a "redemption center" within the sect. Elijah observes her through a grate, telling her that her escape was an act of rebellion, but that she can still be saved. He speaks of "purification" as a necessity. But Anna does not lower her gaze. She stares at him. For the first time, she replies: "You are not God. And I am no longer afraid of you."

Meanwhile, Helen, worried about Anna's sudden disappearance, sets out to look for her with her daughter Samantha. She goes to the motel, discovers that the room is in disarray. Nearby, she meets Carl. Carl reveals that Anna had vaguely mentioned Kansas and "a religious community." Helen connects the dots. Anna's words, her discomfort, her ignorance of the outside world... everything points to one conclusion: she escaped from a cult.

Using her contacts as a writer and activist, Helen involves an association that deals with escapees from coercive cults. Through an anonymous tip from Carl to the local police, they manage to locate one of the cult's properties, isolated among the fields. They prepare an intervention, but Helen insists on going too, fearing that the authorities will not act with the necessary delicacy.

Meanwhile, Anna pretends to give in to psychological torture. She feigns a return to repentance, eventually winning the curiosity of one of her younger captors by telling him about what she had seen in the city. With cunning, she manages to loosen her ropes and untie herself, strike her captors and escape in the middle of the night. But she is chased. At the same time, the police and Helen arrive at the property. Sirens light up the fields and the cult members scatter in panic. Elijah tries to escape with some followers, but is stopped by Carl, who with a furious look hits him on the head with a wooden plank. Then Elijah is taken away in handcuffs. Helen finds Anna in the woods, trembling but alive. The two embrace in tears.

A few months later, Anna lives with Helen and Samantha. She has begun a psychological process to process the trauma, and is attending a course to become a teacher, this time in a real school. She still has nightmares every now and then, but now she has someone who wakes her up and comforts her.

In the final scene we see Anna in a bookstore signing a copy of her first book, “The Righteous Path,” a collection of thoughts and stories inspired by her escape and rebirth. As she talks about the book we see, In the audience, Carl smiles proudly at her as do Helen and Samantha who sit in the front rows listening. The camera slowly pulls away.