Tuesday, April 21, 2026

The Numbers: Highest Paid of Season 35

 

As another season of Last Resort Films gets ready to come to a close, we are going to look at the highest paid talents of Season 35 in this latest edition of The Numbers. 



T-10. DAVE BAUTISTA

- Blood and Glory - $10 million



T-10. MILES TELLER

- The Writer and the Film Star - $10 million



T-10. JACK REYNOR

- ThunderCats - $10 million



9. MEL GIBSON

- The Punisher: Purgatory - $12 million



8. SCARLETT JOHANSSON

- The Letter Never Sent - $13 million



7. JOSH BROLIN

- Man of God - $13 million



6. WILL SMITH

- Spelljammer - $15 million



5. ELLE FANNING

- The Writer and the Film Star - $15 million



4. DAN STEVENS

- Eidolon - $25 million



3. CHRIS PRATT

- The Friend Zone - $25 million



2. JAKE GYLLENHAAL

- Batman: Duality - $30 million



1. LEONARDO DICAPRIO

- Rubicon Lies - $30 million

Now Showing: Eidolon

 
Eidolon
Genre: Action/Adventure/Spy
Director: Danny Boyle
Writer: John Malone
Based on James Bond created by Ian Fleming
Cast: Dan Stevens, Lupita Nyong'o, Sharlto Copley, Adele Exarchopoulos, Guy Pearce, Christian Berkel, Richard E. Grant, Kelly Macdonald, Himesh Patel, Nora Arnezeder, Shea Whigham, Roland, Moller, Stacy Martin

Plot: In a sun-washed village nestled along the Corsican cliffs, James Bond (Dan Stevens) and Tessa (Adele Exarchopoulos) move casually through the market square, hand in hand, looking like any other couple enjoying their honeymoon. They duck down a side street to an overlook. Bond opens a bottle of local white win and pours them each a glass as the Mediterranean Sea shines in the distance. Tessa teases Bond for looking so serious as he stares into her eyes. He says he's trying to memorize her face. She smirks, then leans in and kisses him. They fall into each other’s arms. 

Later, they walk back toward their parked car near the edge of the square. As Bond unlocks the vehicle, a car across the street explodes in a violent blast - sending debris and glass flying. People scream and scatter. Bond immediately spins around to shield Tessa and draws his gun. Before he can react further, a silenced gunshot hits Tessa in the chest. She gasps, looks at Bond in shock, and crumples in his arms. Bond lowers her to the cobblestones, frantic, trying to stop the bleeding. Blood is already spreading across her white dress. Her hand reaches for him, but her strength is gone. Bond realizes she’s gone. Then he hears the faint sound of a motorbike above. He looks up the hillside - just in time to spot Irma Blunt (Nora Arnezeder) fleeing, winding up the mountain road. Bond takes off running. Bond leaps onto a motorbike left toppled near the explosion. He speeds off, tearing through the winding cliffside roads, dodging startled pedestrians and weaving around ruined vehicles. The narrow, crumbling mountain roads provide little margin for error as he gives chase. Up ahead, Irma rides with clinical precision. She darts through vineyards and accelerates past ancient ruins, forcing Bond to push the bike beyond safe limits. A few near-collisions and cliffside skids later, he closes the gap. Irma veers off-road through an abandoned farmhouse path. Bond follows, trading asphalt for dirt. He nearly wipes out as she knocks over a stack of fruit crates to block him. Bond dodges, gains on her, and fires a few shots - missing. At a fork near an old viaduct, Irma tosses a grenade behind her. Bond swerves, the blast knocking him off the path and down a short embankment. By the time he recovers, her silhouette disappears into the tree-lined horizon.

Bond arrives at the hospital where a local doctor informs him there was nothing they could do to save Tessa - the bullet pierced her lung. She was gone before the medics arrived. The doctor leads Bond to a room where Tessa's body lies under a white sheet. Bond sits beside her. With tears in his eyes, Bond thinks back to their recent wedding - Tessa smiling at him as she walks down the aisle, the two exchanging rings, a kiss beneath the gentle chime of bells. Bond lowers his head, resting it against Tessa's cold hand. Bond slips Tessa's wedding ring into his pocket. Then he stands, and leaves the room without a word.

Back in London, James Bond steps through security of the MI6 tower. As the lift doors open to the main operations floor, Jane Moneypenny (Kelly Macdonald) is already waiting. She gently asks how he's doing. Bond doesn't answer. Moneypenny apologizes that her flowers didn’t make it to Corsica in time. Bond gives a faint smile, telling her it was kind of her to send them at all. Moneypenny then clears her throat and tells him that M is expecting him. Inside the office, M (Richard E. Grant) stands at the window, overlooking the dreary London skyline. He doesn’t turn as Bond enters. He simply says he wasn’t sure Bond would return so soon. M gets to business - Hugo Drax, South African tech mogul, has suddenly expedited the launch of his private aerospace initiative. The British government - specifically the Prime Minister and King Albert - want MI6 to assess the situation as there is a lot of money involved and too little transparency. M calls it a routine inspection, not a gunslinging mission. Bond refuses the assignment - he wants to hunt down the remaining Spectre leadership and make them pay for killing Tessa, not investigate if some billionaire is paying taxes on his rockets. M doesn't argue, letting Bond walk out of his office.

In his spartan London flat, Bond sits in the dark. The room is silent until his secure phone buzzes across the table. He answers without checking the ID. Felix Leiter (Shea Whigham) is on the other end. Leiter offers his condolences first, saying he liked Tessa and that she was for Bond. Bond says nothing at first, then mutters that she deserved better than this life. Leiter doesn’t argue. After a beat, Leiter shifts gears to inform Bond that CIA has recently captured Auric Goldfinger, snatching him out of a Spectre smuggling route in Moldova. He suggests Bond take a trip over to one of the CIA's black sites in Romania and help him interrogate Goldfinger.

Bond arrives at a crumbling Soviet-era bunker buried deep in forested foothills of Romania, now repurposed by American intelligence. Leiter lets him inside and leads him to the interrogation room where Auric Goldfinger (Christian Berkel) sits cuffed to a chair.  Bond steps in and locks the door behind him. For a moment, there’s silence. Goldfinger offers a smirk, calling Bond the grieving widower. Bond swings at Goldfinger. Bond’s punch lands hard. Another follows, then another. Bond speaks between the blows - names, locations, Spectre safehouses - demanding them with every strike. Goldfinger spits blood. Leiter watches through a two-way mirror. Goldfinger wheezes something about Tessa's wedding dress—how beautiful she looked. Bond grabs him by the throat, daring him to say her name again. Leiter enters the room, telling Bond that if he kills Goldfinger, we'll never know what information he's sitting on. Bond reluctantly steps back, knuckles coated in blood. Goldfinger laughs, coughing up blood as he does. Bond glares down at him. Goldfinger, trying to reassert control, lets something slip. He says he was barely even informed about when the launch was happening. The rocket, he adds with a hint of disdain, isn’t his responsibility. Bond freezes at the word launch. He glances at Felix, who stiffens slightly. Bond presses Goldfinger for clarification, but Goldfinger says nothing more, realizing he has already said too much. Bond thanks Leiter, telling him he has to get back to London. Leiter half-jokes that once the CIA is done with Goldfinger, he'll let Bond know so he can finish him off.

Back at MI6, Bond returns to M's office. He informs M that he's had a change of heart after a conversation with a friend and thinks it would be good for him to take such a routine assignment. M recaps the assignment: Hugo Drax’s aerospace company has developed a launch program with highly classified capabilities. The King and the PM want assurances the operation is clean, especially given Drax’s sudden rise and international backing. Bond is to assess the project’s legitimacy under the guise of a diplomatic liaison. No alarms, no disruptions - just clean observation. Bond gives a curt nod before leaving the office. Bond reports to Q branch, entering as Q (Himesh Patel) examines a tiny drone no bigger than a matchbox. Bond gets his attention, mentioning that he's there for his assigned equipment for his assignment. Q retrieves a slim, sterile case from a secure drawer and opens it on the counter. Inside are just two items. The first is a contact lens, slightly tinted, with a micro-optic layer capable of capturing high-resolution images. It’s wirelessly linked to MI6 servers via secure uplink - no blinking required. Just look, and it logs everything. The second is a small injector prepped with a subdermal tracker, about the size of a grain of rice. Q explains it’s untraceable, doesn’t interfere with any biometric scans, and can only be deactivated with a deep-tissue pulse scanner back at MI6. Bond flexes his arm as Q disinfects a patch near the shoulder and gives the injection. Q offers no apology for the sting. No flashy toys this time, Q reminds him — this is observation only. Bond nods, already slipping the lens in place. 

Bond steps off the small chartered jet onto a private airstrip tucked along the rugged coastline southeast of Cape Town, South Africa. He gets behind the wheel of a luxury rental car and takes the short drive down the coast to Drax Orbital - a sleek compound perched on a coastal plateau overlooking False Bay. Inside, the facility buzzes with activity - engineers in blue lab coats, digital displays streaming telemetry, and robotic arms constructing rocket components. Waiting to greet him is Anika Brandt (Stacy Martin), the company’s public relations liaison. Bond introduces himself as a government analyst overseeing foreign investment partnerships. Anika offers to give him a full guided tour of the facility. Anika begins the tour, highlighting Drax’s commitment to innovation and aim to make the African continent a hub for satellite launches. Bond listens, but his attention lingers on the massive launch structure framed against the sea.

Deeper inside the facility, past a security checkpoint and a biometric scanner, Anika leads Bond to the engineering wing of the facility. Meanwhile, Nia Dlamini (Lupita Nyong'o) moves through the workspace, pausing at a terminal, appearing to run diagnostics, but discreetly inserts a small decryption device. Lines of code flash across her display. Into a concealed mic, she whispers that the telemetry data has been recently scrubbed along with the payload manifest - someone is hiding what will be on the rocket. Rounding a corner, she nearly collides with Bond, who’s touring with Anika. Neither says a word as Anika continues explaining the layout. Anika receives a call, informing her that Mr. Drax is now ready for them. Bond follows Anika through a private corridor. Anika quietly tells Bond that she thinks he'll find Drax to be quite a memorable character. Inside his office, Hugo Drax (Sharlto Copley) stands by a wide window that overlooks the coastal launchpads. Drax calls the inspection a formality and thanks the British government for taking an interest in progress. He proclaims that his rocket will be the first privately funded launch from African soil - a symbol of what’s possible when governments get out of the way. Bond listens politely, asking general questions about safety measures and the speed of the timeline. Drax explains that accelerating the launch was simply about opportunity and expected weather conditions - certainly nothing sinister. When the meeting wraps, Drax tells Bond he’s welcome to stay and observe anything he likes during his stay in South Africa. 

Bond exits the Drax Orbital facility, moving toward his parked care, when he notices Nia Dlamini is crossing the road ahead with purpose. She's shadowing one of the other logistics techs from the engineering wing. Bond, curious, doesn't follow the man - he follows Nia. The tech leads Nia through winding backstreets lined with seafood stalls, battered warehouses, and informal vendor stands. Nia keeps her distance, her movements deliberate. Bond lags behind, keeping both in sight. The tech finally slips into a warehouse. Nia pauses, checking over her shoulder - locking eyes with Bond. She freezes for a moment, before heading into the warehouse. Bond follows. Bond ducks behind an old metal beam, noticing Nia hiding behind a shipping crate on the far side. The tech approaches another man waiting inside. Just as they are about to exchange a briefcase, the warehouse door groans open. A black SUV screeches halfway inside before halting. Out steps Hans (Roland Moller), who opens fire with a silenced machine pistol. Both men drop instantly, their bodies riddled with bullets. Nia instinctively raises her phone to capture images, just as Hans scans the room. Bond reacts first. He throws a metal pipe toward the far wall, drawing Hans' attention before he spots Nia. The assassin fires a short burst in the wrong direction. Bond tries to get Nia out of the building, but Hans spots him. Bond ducks behind a cargo container as bullets chew through the steel walls. Nia signals Bond. Bond silently signals back, both improvising an escape as Hans reloads his weapon. They dive through opposite exits just as Hans charges forward. Outside, Bond hotwires a nearby delivery bike. Nia hops on behind him without hesitation. As they pull away, Bond slashes the tires on Hans' SUV. Hans watches them disappear into the crowded markets of Cape Town. 

Bond pulls the motorbike into a gravel overlook at Signal Hill, a spot overlooking the city. Bond kills the engine, and Nia steps off the bike. Bond demands to know who Nia really is. Nia informs him that she works for the United Nations - officially attached to the Space Applications division, but unofficially placed there by a small U.N. intelligence cell monitoring the militarization of private space assets. Drax has drawn attention due to the speed of his rocket development and the secrecy around his funding. Bond remains skeptical. Nia then reveals that her fiancé had been a systems engineer on a U.N.-approved weather satellite program that was sold to Drax. Her fiancé then disappeared without a trace two weeks later. She pulls a small flash drive from her jacket, telling Bond that she's been collecting files from inside Drax Orbital. Tonight was her first attempt to confirm if someone in the company was selling classified components off the books, wanting to figure out what those classified information was. She asks Bond who he really is. Bond hesitates, then simply replies that he’s here to look into Drax—but now he's not so sure what he's looking at. Bond offers a warning: the man from the warehouse - Hans - isn’t local muscle. He reeks of Spectre. 

Hugo Drax stands at his desk, sifting through a holographic display of launch schematics. Behind him, the reflection of the rocket gleams in the glass. A nearby screen flashes to life. The face of Ernst Stavro Blofeld (Guy Pearce) appears. Drax calmly reports: launch prep is ahead of schedule. The targeting payload is secure. Blofeld cuts in - pointing out there was a breach in Cape Town. A technician compromised. Drax confirms it’s been handled. Hans executed both parties. Blofeld doesn't seem reassured. He warns Drax that MI6 is watching. More precisely, Bond is watching. Drax smirks, brushing off the warning. Blofeld’s voice hardens. This launch isn’t just a technological leap—it’s Spectre’s resurrection. It must be flawless. No more delays. No more slipups. Drax nods. The screen blinks out. Drax turns back toward the glass, watching the silhouette of the rocket rise above the coastline. Hans steps into the office. Drax gives him a simple order: tighten internal security - no more loose ends. Hans disappears back into the corridor. Drax lingers in the silence, eyes fixed on the distant rocket launch pad. 

Nia turns up at Bond's hotel room. Bond pours two drinks without asking. Nia pulls the flash drive from her coat. She tells Bond it’s encrypted — she managed to copy internal files from a secure server during a routine inspection of Drax Orbital’s IT systems. She's skimmed enough to know they relate to launch protocols, financing, and the rocket's payload, but most of the data is locked down. Bond plugs the drive into a secure MI6-issued laptop and initiates a secure call to Q. Bond tells Q he’s sending over a drive - highly encrypted Spectre-level materials, likely related to a launch project. Q asks Bond what happened to his routine inspection assignment. Bond jokes that he thinks it may not be so routine after all. Q agrees to run the decryption through MI6’s black channel servers. He warns it’ll take time, but he’ll prioritize it. While the upload begins, Bond eyes Nia. He tells her if they’re burning MI6 bandwidth and time on this, it had better be worth it. She responds that if what she suspects is true - and if Spectre is involved - it will be. 

Q works intently at his station in the bowels of MI6. Jane Moneypenny enters, tossing out a dry comment about how quickly Bond finds trouble, even when he’s sent somewhere quiet. Q waves her off and focuses — he’s cracked the outer layer of the drive, revealing hundreds of financial documents and redirected server logs. It’s enough to suggest Spectre involvement, but Q can’t break through to the more sensitive files without tripping a self-destruct protocol embedded in the data. He patches through to Bond via secure line, explaining that what he has is promising, but the truly useful intel is still locked. Q tells Bond that in order to access the core data without burning the drive, he’ll need Bond to attach a small, specialized device to a terminal inside Drax Orbital - ideally one with deep administrative access. 

Back at Drax Orbital, Bond returns for an after-hours “follow-up consultation” and finds Anika working late, alone in her office. He compliments her tenacity. Anika, clearly drawn to him, tries to maintain her professionalism but lets it slip as Bond closes the space between them. Bond kisses her and moves her toward her desk. Bond subtly removes the device from his pocket and presses it into a port on the her workstation. Anika doesn't notice. She’s too distracted by Bond’s touch. Later, Bond dresses and leaves with a casual goodbye. 

The next morning, Drax stands before a bank of monitors in his office. The from the facility's internal surveillance system replays the night before — specifically, the camera inside Anika’s office. Drax watches without expression as Bond seduces her. Then he freezes the footage at the moment Bond places the device. Anika enters moments later, summoned but unaware. Drax plays coy at first, asking if she’s always so trusting with government inspectors. She stumbles over a reply. Then he plays the footage for her. She insists she didn’t know, that Bond lied to her — but Drax has already tuned her out. He thanks her for her service. As Anika backs toward the door, Irma Blunt emerges behind her, and wraps a garrote wire around her neck. Anika's eyes widen in horror as the life is strangled from her. Drax orders Hans to begin purging server access points and move the launch timetable forward even more.

Bond enters his hotel suite, Nia close behind. He flips on the light to find Anika's lifeless body on the bed. A faint sound rises in the distance - police sirens, growing closer. Bond calls Q to see if he was able to access the files. Q confirms that the data was able to sync - and it's not good. Drax's company is clearly a Spectre shell and whatever he's planning is massive. Nia chimes in and asks about her fiancé. Q types away at his station, and he does confirm that Drax ordered the "removal" of her fiancé. Bond looks out the window to see multiple police units rolling up - no doubt tipped off by Drax. Bond tells Nia they have to split up if either of them is to make it out. The two burst out of a side service door just as police rush the main hotel entrance. Bond and Nia head in opposite directions. Bond climbs quickly, darting up a fire escape toward the rooftop. Nia moves down a back alley, blending into the foot traffic of a busy street market. Bond navigates from rooftop to rooftop, evading the line of sight of officers down on the streets below. Nia, weaving through crowds, is cut off by a van. Hans drags her inside. Bond eventually makes it down to the street. He stops when he sees a van screeching to a stop across the street. Inside the van, Nia sits bound and gagged. Hans smiles at Bond, giving a single nod, before driving off. Bond can only watch as the van disappears into traffic.

Blofeld appears again on Drax's video feed. He instructs Drax to proceed with the launch today - the infiltration risk has grown too large. Drax doesn't protest and informs Blofeld that the warhead has been fitted inside the satellite payload as planned, masked by layers of proprietary climate tech. Blofeld approves, reminding Drax that the target is not a single city - it's economic leverage on a planetary scale. 

Bond surveys the Drax compound from a nearby ridge. Lights pulse around the rocket pad. Security is doubled. He watches convoys roll into position and clock the schedule: the launch is clearly happening sooner than expected. Bond rappels down the cliff face into an inlet beneath the facility, emerging inside an old maintenance corridor. Moving silently, he disables a lone guard and strips him of his badge and jacket, blending in as he makes his way deeper into the structure. 

Deep within the Drax Orbital facility, Nia is bound to a chair. Outside, muffled gunfire and distant shouting echo down the corridor. Moments later, Bond bursts in. He wastes no time unlocking Nia's restraints. Irma Blunt suddenly enters, followed by Hans who then enters from the other side of the room. Hans charges at Bond, swinging a heavy utility wrench as Bond ducks and rolls. Nia and Irma circle each other, trading quick strikes and counters. Nia finally gains the upper hand with a crushing elbow strike to Irma’s throat, followed by a swift takedown. She uses Irma’s own belt to strangle her unconscious, leaving her limp on the ground. At the same time, Bond and Hans fight with escalating desperation. Bond is faster, but Hans soaks up Bond's attacks. Eventually, Bond maneuvers him into an exposed power conduit and jams a live cable into Hans' side, electrocuting him until he collapses in smoking convulsions. Bloodied but upright, Bond and Nia exchange a glance as they leave the room to confront Drax.

Outside, the rocket rumbles as final launch preparations roar to life. Drax barks last-minute instructions into a radio until he sees Bond and Nia advancing toward him. Drax, bolts for a nearby vehicle - a futuristic electric rover. He speeds off down the access road, heading for the shoreline docks. Bond kneels calmly, taking a high-powered rifle from a downed guard. He adjusts the scope, inhales once, then fires. The bullet slices through the tires of the rover. The vehicle swerves, skids, and plows directly into the fuel base of the rocket. A second later, the rocket explodes in a violent blast that sends shockwaves across the entire compound, toppling towers and flinging wreckage into the sea. 

Back at MI6, Bond is debriefed by M, who begins the conversation by dryly noting that next time he assigns Bond a simple inspection, he’ll be sure to also activate national emergency protocols. M thanks Bond for stopping Drax and averting catastrophe. Bond states that Blofeld is still out there, and Spectre isn't finished. Bond declares his intention to continue hunting them personally. M comments that perhaps the time has come for MI6 to take a more active role in Bond's vendetta. He mentions that the intelligence retrieved from Drax Orbital will finally give them enough to begin mapping the inner structure of Spectre. Bond gives a small nod and leaves the room.

Bond walks alone through a cemetery between the graves. He stops at one freshly laid site. The marker is simple - Tessa Vignaud Bond. Bond places a fistful of white roses next to the stone. 


Monday, April 20, 2026

RESUME: LUPITA NYONG'O

 

For this edition of Resume, we are looking at a star known for her ethereal quality on-screen.... Lupita Nyong'o!



SEASON 6
Mass Effect 2
Director: Rian Johnson
Writer: Seth Overton



Budget: $219,000,000
Domestic Box Office: $311,206,981
Foreign Box Office: $385,400,779
Total Profit: $244,999,502


Lupita made her LRF debut in the first sequel to one of LRF's premiere Sci-Fi franchises - Mass Effect 2. This would be her first of four appearances of the character in the film series. 



SEASON 9
Mass Effect: The Shadow Broker
Director: Patty Jenkins
Writer: Seth Overton


Budget: $200,000,000
Domestic Box Office: $287,333,021
Foreign Box Office: $350,093,506
Total Profit: $169,000,013



Ms. Nyong'o was given more screentime in this spin-off of the Mass Effect films - basically a side-quest from the main films. Critics were fairly positive toward the film - and fans of the epic franchise still showed up at the box office even without Henry Cavill in the front.



SEASON 11
Suzanne
Director: Sally Potter
Writers: Ann Morrow & Harry Wright



Budget: $28,000,000
Domestic Box Office: $18,907,113
Foreign Box Office: $15,478,189
Total Profit: -$15,671,480



For the first time in her LRF career, Lupita didn't have a major blockbuster to her name. That said, critics loved Suzanne despite the box office and the film managed a couple GRA victories in addition to a Best Picture nomination.



Mass Effect 3 - Part 1
Director: Rian Johnson
Writer: Seth Overton


Budget: $265,000,000
Domestic Box Office: $367,119,030
Foreign Box Office: $442,905,669
Total Profit: $358,994,284



Epic in every sense of the word, the Mass Effect franchise started wrapping things up with Mass Effect 3 - Part 1. The box office was bigger than ever and even critics raved over the ambitious sci-fi action spectacle.




SEASON 12
Kindred
Director: Ava Duvernay
Writer: Jimmy Ellis



Budget: $44,000,000
Domestic Box Office: $29,337,109
Foreign Box Office: $20,486,124
Total Profit: -$39,211,940


Audiences didn't turn out for the Nyong'o-led adaptation of Octavia Butler's famed novel, resulting in a major flop. Critics were slightly positive, but for the first time in several seasons, Nyong'o found herself in a film with zero GRA nominations.



SEASON 13
Mass Effect 3 - Part 2
Director: Rian Johnson
Writer: Seth Overton


Budget: $280,000,000
Domestic Box Office: $501,457,812
Foreign Box Office: $696,239,032
Total Profit: $391,230,571



Bigger than ever, Mass Effect 3 - Part 2 did not disappoint critics or audiences. While Nyong'o's role wasn't as big in this one, it still added a $1 billion plus film to her resume for the first time in LRF.



SEASON 23
RoboCop Versus The Terminator
Director: Robert Rodriguez
Writer: Joshua Collins


​Budget: $102,000,000
Domestic Box Office: $93,214,052
Foreign Box Office: $140,000,334
Total Profit: $15,576,485



After sitting on the sidelines for 10 seasons, Lupita Nyong'o returned for the leading role in a film that crossed over the Terminator and RoboCop franchises. The film was a moderate success at the box office, but critics weren't too impressed.



Up Next:
Lupita Nyong'o has not yet lined up any roles following her turn as a leading Bond Girl in Eidolon.



Review:
Highest Grossing Film: Mass Effect 3 - Part 2 ($1,197,696,844)
Most Profitable Film: Mass Effect 3 - Part 2 ($391,230,571)
Most Awarded Film: Suzanne (2 wins + 5 nominations)
Best Reviewed Film: Suzanne (Metascore: 85)

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 Tom Cruise stealth action of Splinter Cell. 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.




Back in the early 2000s, video games saw an increase in the espionage genre. A genre of games that focused on stealth, cool gadgets and weapons, and characters that ran through missions while wearing tuxedos. Konami gave us Metal Gear, Bend gave us Syphon Filter, and Ubisoft gave us Splinter Cell. Splinter Cell was originally an Xbox exclusive before it quickly spread across all the major platforms. But what was it about Splinter Cell that we couldn’t have gotten from those aforementioned games?

Sam Fisher, the series protagonist, was as gruff and gritty as they come. Everyone respects an action hero with a Navy SEAL background, and he looked instantly iconic in his glowing trifocal goggles. One look at him and you just knew he wasn’t someone you wanted to meet in a dark alley (he’d see you first long before you even saw him).

While other stealth games forgave you for sneezing behind an enemy, Splinter Cell demanded precision: expert-level hiding, perfect timing, patience, and learning how to hold that sneeze in. That level of uncompromising stealth is what set it apart from the espionage sea of the 2000s.

The Splinter Cell movie, written by D.R. Cobb, is based on the plot of the first game: Sam Fisher is called back into duty after years away from the field. What begins as a mission to track down two missing CIA operatives in Georgia spirals into a geopolitical nightmare when Fisher uncovers a coup led by Georgian strongman Kombayn Nikoladze (Timothy Dalton). Nikoladze isn’t just another dictator, he’s waging a cyberwar that could cripple the United States and trigger World War III. Fisher’s hunt for answers takes him from burning warehouses to embassies, oil rigs, and military compounds, unraveling a web of conspiracies tied to mercenaries, rogue corporations, and foreign powers.

Cobb’s script keeps the backbone of the game intact but expands the scope, giving audiences a globe-trotting spy thriller. Doug Liman directs with his usual flair for sleek action, balancing stealth sequences with large-scale set pieces that recall Tom Clancy’s Patriot Games and Clear and Present Danger. And while no movie could replicate the experience of hiding in shadows for hours, the film makes Doug Liman's vision cinematic without losing its edge. Tom Cruise slips into the role of Sam Fisher with ease, though longtime fans probably still heard Michael Ironside’s gravelly voice in their heads. The moment Cruise dons those iconic trifocal goggles for the first time? I think I got pregnant, which is impossible for me.

My take? This was a video game movie without feeling like a video game movie, if that makes sense. Much like how Captain America: The Winter Soldier felt more like a spy thriller than a superhero flick, Splinter Cell took the plot of the first game and made it feel like its own cinematic beast. That’s where the film truly hits its sweet spot. D.R. Cobb seemed more comfortable here than he did with the previous season’s Halo, and it showed. He would go on to pen multiple Splinter Cell films in later seasons, while leaving the Halo franchise to other writers.

The biggest complaint from critics was that the movie leaned more on spectacle than substance, a popcorn flick that entertained more than it enlightened. But hey, when you buy a ticket for a Tom Cruise spy film, you know exactly what you’re signing up for.

Audiences showed up for it in droves, with a combined box office return of over $893M against a $170M budget, making a staggering $559M profit. It even dethroned Cobb’s own Halo from Season 1 as the writer’s biggest box office hit at the time, just shy of the $1B milestone.

While Splinter Cell devoured the box office, it couldn’t nab any GRA nominations. Voters still leaned toward prestige over explosive blockbusters, leaving little room for a Tom Cruise stealth thriller. But in the hearts of fans, it was a win, enough to fuel an entire franchise. Doug Liman wouldn’t return for future entries, but several other directors (including Cruise himself) would later take the reins.

Anyway, I’m gonna take my own trifocal goggles and sneak upstairs past my mother’s Bridge club to get an ice cream sandwich. Wish me luck!



Sunday, April 19, 2026

Release: The Dam

 
The Dam
Genre: Drama / Music
Director: Andrew Haigh
Writers: Jimmy Ellis & Georgia Watts
Based on the book by David Almond 
Cast: Jonathan Bailey, Lexi Lancaster, Dick Van Dyke, Jerome Flynn, Joss Stone






Budget: $18,000,000
Domestic Box Office: $16,509,444
Foreign Box Office: $20,189,540
Total Profit: $7,098,222

Reaction: In a shaky season at the box office, any profits are much appreciated by the studio accountants (they have pools and sports cars to pay for afterall). 




"The Dam is a quietly devastating elegy about memory, loss, and the way music can outlive the places that gave it life. Andrew Haigh directs with a delicate hand, allowing the film’s emotional power to emerge through stillness and performance rather than overt dramatics. Jonathan Bailey is exceptional, capturing both the warmth and quiet sorrow of a man trying to hold onto something already gone, while Lexi Lancaster brings a luminous presence that keeps the film from slipping into despair. The musical sequences, seamlessly blending past and present, feel almost spiritual." - Harriet Loomis, Fenland Arts Chronicle


"There’s a gentle beauty to The Dam, but its commitment to subtlety occasionally leaves it feeling dramatically underpowered. The supporting cast, while thematically important, feels unevenly utilized—Dick Van Dyke brings warmth and authenticity in his brief appearances, but characters like Archie Dagg and Gracie Gray register more as symbolic presences than fully realized figures. The blending of memory and reality works in moments, but repetition dulls its impact. Still, strong central performances and a thoughtfully curated soundtrack give the film enough texture to make it worthwhile, even if it never fully reaches the emotional heights it aims for." - Colin Ashford, The Provincial Screen Review


"With sentimental songs throughout, The Dam puts music in the spotlight as a bonding force between peoples across time and tragedy. Ultimately, the film feels a little slight in its goals and the earnestness of its drama played a little too straight for me. I came away thinking it could've benefitted from leaning heavier into the fantastical elements inherent in the story, as the potential was there to strike a chord akin to Tim Burton's Big Fish." - Cal Crowe, Washington Globe









Rated PG for thematic material






Last Resort Films Jukebox: The Dam

 



Saturday, April 18, 2026

Now Showing: The Dam

 
The Dam
Genre: Drama / Music
Director: Andrew Haigh
Writers: Jimmy Ellis & Georgia Watts
Based on the book by David Almond 
Cast: Jonathan Bailey, Lexi Lancaster, Dick Van Dyke, Jerome Flynn, Joss Stone

Plot: North Northumberland, 1980
Mike Tickell (Jonathan Bailey) awakes his daughter, Kathryn (Lexi Lancaster) from her sleep. “Is today the day daddy?” Mike nods his head, yes. He instructs Kathryn to grab her fiddle, they’ve got a journey to go on.

They embark on their journey, as the day was dawning, Mike in a baker boy hat and a run-down trench coat. Kathryn in the best dress she could find, making sure to carry her fiddle. The two of them walk with purpose, reaching a valley lined with a fence, KEEP OUT, a sign they see. “Don’t worry my dear, there is no danger near.”

As the two of them enter the fenced off area, they continue their walk, when suddenly Mike tells Kathryn to stop. He gets low to the ground, as does she. “Look”, he says. She looks ahead spotting a deer in the distance. Mentioning how magical this experience is. She looks around some more, noticing some dead flowers at her feet. As they walk some more, they spot so much more wildlife ahead, whether it sheep or chickens or even a fox. She comes upon a yellow flower and picks it where it sits. She places the flower in her hand, staring. She asks her father what will happen come dawn the next day. He tells her, “All of this will be gone, those flowers, this sheep, all washed away, never seen again.” He mentions they will drown, or run, and never able to live here again. She gets a sad look upon her face, “why?” she asks. Mike tells her, while placing an arm around her shoulder that it’s the way the world works now, they need to expand, and for that they displace all this land has known. They continue their walk, Kathryn now understanding a bit more.

Now atop the dam they look to the distance, down the valley, they see houses, but they stop and look around. Mike asks Kathryn whether she knows where they are. A confused look on her face, he mentions the name Archie Dagg. She now recalls, Archie Dagg, the piper. She points to a spot nearby, he played there. A smile forms upon her face, and Gracie Gray, Mike mentioning her gorgeous voice. Although Kathryn never experienced those in person, she remembers the stories her father had told her. He asks if she now remembers the stories.

A bustling centre of fun, a young Mike looks around the town, and toward the piper Archie Dagg (Jerome Flynn) playing. Gracie Gray (Joss Stone) singing a tune so well known. Mike joins in on the singing, his voice not as elegant as Gracie’s but fabulous all the same.
(Old Mike and Kathryn see these visuals happening from the distance a smile on their face. Kathryn grabs out her own fiddle and joins the playing.)

As the two continue their walk, Kathryn continues to play her fiddle, smiling as she goes. Mike sings the song, as if he were a boy. They then walk down the valley and toward a building. “Now I know you remember this building.”

The two of them walk in the building. A rocking chair in the corner. Kathryn goes and sits in front of it, a tear comes from her eye. Mike places his arm around her shoulder. She says that she still hears Bill Scott songs as if he were still here. Mike laughs, “that old man sure could sing.” He then asks if she still remembers how to play his favourite song. She begins to play on the fiddle.

Bill Scott (Dick Van Dyke) sits on the rocking chair with his violin, the home obviously his with photos of him and his wife. A 5-year-old Kathryn sits in front. He begins to play his violin and sing, with a jive that not many people can.

Bill (Past) and Mike sing the songs in unison as if they were together in time. Kathryn continues to play the song, while her father and Bill sings, the two of them look around as if seeing other people in the room listening and dancing to their music.

Once the music stops Mike hugs his daughter. She has the idea of letting all of the houses hear some music for the last time. Let the people that still reside in those houses dance.

The two of them go to various houses and play different songs on Kathryn’s fiddle and Mike’s voice. They go to Willy Taylor’s where another violin joins their playing. Billy Ballantine and his piccolo. Marjorie Dennis and her piano. Kathryn and Mike then stand in the middle of the old town centre, surrounded by Marjorie and her piano, Billy and his piccolo, Willy and his violin. They are also joined by Bill, singing, Archie Dagg and Gracie Gray’s voice. They all join in unison and play the town out one more time.

When they finish and the music stops it is just Kathryn and Mike left surrounded by empty houses and dead land. They look at each other, and smile. “Let’s go home.”

As the day was darkening the two of them walk out of the valley. They stop once more and look down at the valley. Seeing it flash from what it once was to what it is now.

The next morning Mike wakes Kathryn the same way. He tells her once more to bring her fiddle. This time they march forth. Mike drags a little boat with him.

Flowers are engulfed with water as the dam is sealed. Water rises, all of the flowers are missing, drowned, gone. Mike places the boat in some of the water and helps Kathryn in. As they move along in the boat, Mike paddling it, Kathryn plays her fiddle. They go all the way toward Old Bill’s house, all that is left the roof sticking out from the water. Mike sings as she continues to play, a look of fondness comes across their face. Kathryn stops playing her music, but the sound of her fiddle doesn’t stop, she reaches down into the water, a smile forming, then a laugh. Mike questions her on this, she says that Bill’s music stays in the water. They’ll hear it when they walk along the shore, when they sail on its surface, when they fish, when they paddle in the shallows, and as they lie beneath the stars, the music rises. Mike mentions that all they have to do is remember.

Mike and Kathryn both sing and play the fiddle as they dance with their family, Kathryn’s mother, and 2 aunts and cousins. They all dance and sing. Kathryn looks to her father and nods as we hear Bill’s song one last time.