THE RIP (2026)

January 15, 2026

Greetings again from the darkness. A terrific opening sequence finds Captain Jackie Velez (Lina Esco, “S.W.A.T.”) being ambushed by a couple of masked men. She manages to send a text as she returns fire. It’s her final text. This film from writer-director Joe Carnahan (THE GRAY, 2011; SMOKIN’ ACES, 2006) and co-writer Michael McGrale (“CSI: Miami”) was inspired by true events within the Miami Police Department.

With their captain’s brutal murder unsolved, the job must go on for the team that mourns her death and lives with the frustration that no task force has been assigned. Newly promoted Lieutenant Dane Dumars (Oscar winner Matt Damon) takes his team on an evening job to which he’s been alerted. Money is involved, as is a chance to get a lead on the captain’s killer. His team includes (Oscar winner) Ben Affleck, Teyana Taylor (ONE BATTLE AFTER ANOTHER, 2025), Steven Yeun (“Beef”, NOPE, 2022), and Catalina Sandino Moreno (MARIA FULL OF GRACE, 2004). They are greeted at the stash house by Desi (Sasha Calle, ON SWIFT HORSES, 2024) who claims to know nothing about the money the team finds. It’s a lot of money. The kind of money that clearly has one source and that causes extreme stress within the team – and Desi.

Twists and turns and purposeful misdirection occur regularly throughout the film. We can’t always tell who is a good cop and who has ulterior motives. Did I mention that it’s a lot of money? At times it feels like Carnahan is trying to give us a story in the vein of the class THE DEPARTED (2006), what with all of the distrust, even amongst the cops. Kyle Chandler (ANNIVERSARY, 2025) plays a DEI Agent and Scott Adkins (JOHN WICK 4, 2023) plays a Federal Agent and Affleck’s brother. These characters add to the many complications and layers we wade through, including loyalties and motives.

It’s the complexity of the story and characters that work best here. Steven Yeun and Sasha Calle are especially strong in their roles, and it’s always a kick to see real life Boston buddies, Affleck and Damon, acting together. While the intrigue is a plus, the overwhelming gunfire and chase scenes towards the end actually take away from the story time fun – not enough to ruin it – just keep it from being what it could have been. The film includes my two favorite movie lines so far in 2026: “You look a little snitchy”, and “Can you sense my patience fraying?”. That’s a movie that deserves an audience.

Premieres on Netflix on January 16, 2026

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ON SWIFT HORSES (2025)

April 26, 2025

USA FILM FESTIVAL

Greetings again from the darkness. One need only watch a couple of episodes of “Leave it to Beaver” to comprehend just how ideal and perfect family life in the 1950’s was. Only that was a Hollywood façade and real life was much different, especially for anyone who wasn’t a straight white male … and even many of those served in the military during the Korean War and/or faced the pressure of being the sole breadwinner. Daniel Minahan (known mostly for his TV work) directs the screenplay from Bryan Kass (LIZZIE, 2018) who adapted the 2019 novel from Shannon Pufahl.

Daisy Edgar-Jones (TWISTERS, 2024) stars as Muriel, a young woman who reluctantly accepts the wedding proposal from Lee (Will Poulter, DEATH OF A UNICORN, 2025; MIDSOMMAR, 2019). In keeping with the times, Lee assumes his dreams of a new house in the growing suburbs of California are shared by his new partner … so he’s a bit annoyed by her reluctance to sell her childhood Kansas house she inherited from her recently deceased mother. A third wheel pops up in the form of Lee’s rudderless younger brother Julius (Jacob Elordi, PRISCILLA, 2023), who has recently been discharged from the Navy.

An intriguing connection forms between Muriel and Julius, and it continues playing out through the entirety of the story. While Lee strives for the traditional American dream, Julius and Muriel separately maneuver through their own internal emotions that don’t easily slide into the life respectable folks are expected to follow. Both have a bit of hustler in them as Muriel uses her alert ears during shifts as a diner waitress to pick up tips on the next horse race, while Julius capitalizes on his casino surveillance job – one that brings him money and love.

Two excellent supporting roles are courtesy of Diego Calva (BABYLON, 2022) and Sasha Calle (THE FLASH, 2023). To disclose specifics would be to reveal spoilers that I refuse to serve up. What I can say is the story takes us from Kansas to California to Las Vegas to Tijuana. Along the way, we witness the challenges faced by those out of step with society. We see the deceits required as these characters walk the line between what’s expected and the path to follow their own dreams. It can be heartbreaking and frustrating, and Minahan’s film expertly shoots down the façade of the perfect 50’s. The acting is superb, with Daisy Edgar-Jones seamlessly capturing the look of the era, while Jacob Elordi beautifully fulfills the more difficult role. This is a film for those who appreciate climbing inside the characters to understand their longing.

Now playing in theaters

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