MAYDAY (2026)

September 3, 2026

Greetings again from the darkness. I guess we were due for a “Cold War Buddy Comedy”. And who better to deliver than co-directors John Francis Daley and Johnathan Goldstein, the team behind GAME NIGHT (2018) and DUNGEONS & DRAGONS: HONOR AMONG THIEVES (2023). This time out, they deliver excellent visuals to go along with stellar comedic chemistry between first class wisecracker Ryan Reynolds and expert straight man (and Oscar winner) Kenneth Branagh.

Reynolds stars as hotshot Navy pilot Troy Kelly, nicknamed “Assassin” for not-so-heroic reasons held at bay until near the film’s end. The year is 1987, which is forty years into the Cold War, and Reynolds is shot down while on a Top-Secret reconnaissance mission deep into Russian territory. A terrific visual effect has us following Troy’s ejection and fiery parachute down towards a very rough landing. He’s rescued by Nikolai Ustinov (Branagh), who it’s soon learned is a former KGB agent. Now living like a hermit miles from civilization, Nikolai prefers to be called ‘Nick’ and is thoroughly obsessed with all things American, especially TOP GUN … of which his prized possession is a Kramer-style bootleg of the film shot in a theater.

We are treated to a Jackie Chan-style bar fight, where Nick surprises with advanced skills. This forces the two men on a road trip, where Troy hopes he can be returned to freedom, and Nick hopes his efforts to save Troy will result in the ultimate relo to the U.S. for him and his daughter (an underused Maria Bakalova). While on this road trip, the men are being pursued by an ambitious and relentless Soviet agent played by Marcin Dorocinski (MISSION: IMPOSSIBLE – DEAD RECKONING PART ONE, 2023). Other memorable visuals include a chase scene through a parade involving a nuclear missile launcher and fisticuffs midflight while the plane door is open.

Cinematographer Barry Peterson deserves credit for visuals that maintain the pace of the Reynolds – Branagh back-and-forth, and the accompanying Bruce Springsteen songs don’t hurt either (a result of the Boss selling off his catalog). David Morse has a small role as Troy’s dad, but the subplot feels a bit slapped on, even if it doesn’t really distract from the overall entertainment value delivered by this latest Daley-Goldstein project. A key element on display is how both sides fall prey to propaganda.

The film will be released globally on Apple TV on September 4.

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OCCUPATIONAL HAZARD: THE FIRST CORAL REEFERS (2026, doc)

September 3, 2026

Greetings again from the darkness. With the mere mention of Jimmy Buffett, we immediately envision a sea of ‘Parrot heads’ sipping margaritas and having a blast as they sing along to the feel-good coastal tunes being played at a sunny outdoor venue. The beloved singer passed away three years ago, and now documentarian John H Cunningham provides an in-depth look at the early days. This is the origin story of the cultural phenomenon that Buffett built with his band … The Coral Reefers.

Oscar winner Jeff Bridges is a fitting narrator, and throughout the film we hear from former band members, those who were influenced by Buffett, and those who collaborated. A partial list includes guitarist Roger Bartlett, singers Deborah McColl and Mac McAnally, music producer Norbert Putnam, songwriter Keith Sykes, and country music star Kenny Chesney. What is immediately obvious is the respect these folks had for Buffett and their appreciation for having been associated with him, and his role in creating his own genre of music.

The stories from the 1970’s are fascinating. Sure, partying was central to the lifestyle – especially after Buffett relocated from Nashville to Key West, but it’s the associations and exchanges between musicians of the era that really strike a chord. Connections with Glenn Frey of The Eagles and the great James Taylor were important, and in fact, legend has it that Timothy B Schmitt was the first to use the ‘Parrot heads’ moniker. Filmmaker Cunningham is correct in titling this ‘The First Coral Reefers’, because there was certainly band turnover – some of it caused by the excessive partying of the time.

What the film does best is recount the foundation of the music, the band, the early albums, the changes in attitude (get it?), and the growth of a loyal fan base. The film ends with a list of former Coral Reefers who have ‘sailed on’, and Cunningham’s film will live on as a history of how Jimmy Buffett’s music became synonymous with “fun”. That’s not such a bad legacy.

The film will begin its theatrical release in major cities in early September timed to Jimmy Buffett Day (September 4, 2026) with a TVOD/ digital release to follow in November in the US/Canada.

WATCH THE TRAILER