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THE BRIDE! – A Review by Cynthia Flores

Cynthia Flores
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THE BRIDE! – A Review by Cynthia Flores

THE BRIDE! – A Review by Cynthia Flores

This new film by writer/director Maggie Gyllenhaal is her second feature film. Her first film, 2021’s The Lost Daughter, got three Oscar nominations. I am pointing this out because she is smart enough to stack the deck in her favor with this wild departure from her straight drama debut.

​Maggie has packed this film with Oscar-nominated and winning actors and actresses. She chose to work with Academy Award-winning cinematographer Lawrence Sher for the first time and to film entirely with IMAX-certified digital cameras. They wanted to create a large canvas of visuals that range from black-and-white close-ups to the blood-red carnage the monsters wreak on others. Add to the mix the rich, thick score from female Academy Award-winning composer Jildur Guǒnadóttir (who, by the way, worked with the cinematographer on 2020’s Joker, where they both won Oscars). Jildur is quoted as saying about the challenges of scoring this film set in 1930s America, “It was both very punk and very romantic, which made it kind of crazy. There’s screaming electric guitar AND an orchestra.” 

​I say all this to set you up to understand that all the hype around the film being good is warranted. The Bride! tells the story of a lonely Frankenstein (Christian Bale) who, after living a very long time, travels to 1930s Chicago to ask the brilliant, unconventional scientist Dr. Euphoria (Annette Bening) to create a companion for him. A bride. The two dig up a murdered young woman, and The Bride! (Jessie Buckley) is born. What happens next as they get to know each other and try to live (as well as the dead can) amongst the living that always love to hate “monsters” is quite a quest. The rest of the story takes them from Chicago to New York City and to Niagara Falls. Leaving a trail of murder, a wild feminist cultural movement, all mixed in with a possession fighting to take control of the bride. The outlaw lovers (think Bonnie and Clyde) are on a wild ride, being followed closely by the coppers and Detective Jake Wiles (Peter Sarsgaard) and his sidekick Myrna Mallow (Penélope Cruz). All the while, Frankenstein and his bride enjoy a romance for the ages.

​The Bride! is not for everyone. The director’s smart choice to use the contrivance of Mary Shelley’s soul to set up the story and be part of it is unconventional and perverse in all the right ways. Some of the younger members of the audience didn’t quite appreciate the magnificent homage the director paid to classic films from the 1930s. When Fred Astaire ruled the movie theaters. Much like the character in this film, Ronnie Reed (Jake Gyllenhaal), who stars, sings, and dances in the black and white musicals that Frankenstein loves so much. But anyone who’s been brought up on a good diet of Turner Movie Classics will love the references in this film. And understand why Peter Sarsgaard and Penélope Cruz play and speak the gumshoe characters the way they do in this movie. As a final note, without giving anything away, because I really like this film and want you to see it, and it’s just too much fun when it happens in the movie. There are nods to just about every Frankenstein movie, serious or humorous, ever made. Even 1974’s Young Frankenstein. 

​I give The Bride! 4 stars. It’s a sexy, high-concept, over-the-top movie that is best enjoyed on the big screen.

 

Directed by: Maggie Gyllenhaal

Written by: Maggie Gyllenhaal

Rated: R

Running Time: 2 h 6 min

Dark RomCom, Period Drama, Horror

Wide Release: In Theaters March 6th

Starring: Jessie Buckley, Christian Bale, Jake Gyllenhaal, Peter Sarsgaard, Annette Bening, Penélope Cruz

 

The Selig Rating Scale:

5 Stars – Excellent movie/show, well worth the time and price.

4 Stars – Good movie/show

3 Stars – OK movie/show

2 Stars – Well, there was nothing else…

1 Star – Total waste of time.

MADDY MANIA PODCAST – Interview with Maddy Myer

Gadi Elkon
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MADDY MANIA PODCAST – Interview with Maddy Myer

Maddy chatted with our Gadi Elkon about everything that is the Maddy Mania Podcast.

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Experience Sholay Like Never Before: Amitabh Bachchan’s Masterpiece in 4K at Austin’s AFS Cinema – March 2026

Dev Shapiro
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Experience Sholay Like Never Before: Amitabh Bachchan’s Masterpiece in 4K at Austin’s AFS Cinema – March 2026

Indie Meme, Austin’s South Asian film festival will present a special screening of Sholay, the film many consider to be the “Greatest Indian Film” at the AFS Cinema on Sunday, March 1. A special restored 4K print of the 1975 classic has been making the rounds of art house theaters in the US for the past few months and now has made its way to Texas, thanks to Indie Meme. Lauded as a cinematic masterpiece, Ramesh Sippy’s magnum opus transcends mere entertainment to stand as a cultural touchstone in Indian filmmaking. Sholay was designated as the greatest Indian film in a 2002 British Film Institute poll and ‘Film Of The Millennium’ by BBC India in 1999. This monumental production, a true blockbuster, commenced its historic run at Mumbai’s Minerva cinema, captivating audiences for an unprecedented five consecutive years.

The special screening presentation will also include an appearance and post-screening Q&A by Shehzad Sippy, the managing director of Sippy Films, an Indian film production studio, founded by his grandfather G.P. Sippy in 1951. Having recently acquired the company from his family, Shehzad Sippy continues the legacy of Sippy Films, a banner synonymous with blockbuster storytelling and technical innovation. His commitment to the restoration and preservation of Sholay ensures that the film’s impact remains undiluted, offering fans an authentic connection to the greatest story ever told in Indian cinema.

A true epic, with a running time of 3 hours and 24 minutes, Sholay is set in the village of Ramgarh, where retired police chief Thakur Baldev Singh plots to bring down the notorious bandit Gabbar Singh, enlisting the help of two lesser criminals, Jai and Veeru. When Gabbar attacks the village, however, Jai and Veeru wonder why Thakur does nothing to help them. They soon learn that he has no arms, and that Gabbar was the one who cut them off. Enraged by this, they redouble their efforts to help bring him down.

The newly 4K restored cut of the film will allow audiences to experience the original uncensored ending and rarely seen deleted scenes that never made it into the widely distributed theatrical cut. It’s a bold, immersive, and powerful new perspective on one of Indian cinema’s greatest masterpieces. Add to that, Indie Meme is adding to the celebration of this classic by asking participating audience members to come to the AFS Cinema donning their best Desi Cowboy Chic attire.

Tickets:  https://eventvesta.com/events/134485/t/tickets

DANNY IS MY BOYFRIEND – A Review by Jenn Rohm

Jenn Rohm
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DANNY IS MY BOYFRIEND – A Review by Jenn Rohm

Directors Lucy Sandler and Mechi Lakatos asked the questions, “What would happen if we tried to make a film without a plan?  Without a script? Without worrying about what it would be “for” or what it would do for us?  If we just let the process itself be the point?”  Their film Danny is My Boyfriend, is the result.

Lucy, Lucy Sandler, has moved back into her mother’s house after her last relationship led her to treatment in a psychiatric hospital.  Her new boyfriend (a few months) has left town for his nephew’s non-denominational circumcision party, and she is taking care of his dog.  While out with the dog, her path crosses Mechi, Mechi Lakatos, who recognizes her boyfriend (of many years) dog.  The two realize they are dating the same person, and what follows is how they each react.  Some of the reactions concern how they will individually handle their relationship with him, with most showing them forging an unlikely friendship, bonding over ruining his life.

This is a relatable storyline they selected for an unscripted piece, and it provided enough information to create a full-length film.  Filming was done with two miniDV cameras, which allowed it to unfold naturally without pausing or resetting to get another shot.  Multiple public locations and a few private homes and yards are used.  This kept me grounded in reality, rather than the escape that sometimes comes from being on set.

The few things that didn’t work for me involved a moment after the dog relieved itself in the house and one character pushing another for an action to take place involving a cake.  Having owned a dog I had a visceral reaction that stayed with me long after the movie was over.  As for the second mention, an adult character pushing a teen near the end angered me.  I was happy to see the teen wasn’t falling for it and was secure enough in herself to push back.

It was refreshing to see something different, and I admire these filmmakers for having the confidence to put something new out there.  They are premiering the film at the 2026 Slamdance festival on February 21, 2026, with an additional showing on February 23, 2026.

Personal side note: There is a sequence involving an open audition, and one of the females is Hannah Levin, a wonderful actor, writer, and filmmaker in her own right.  You can watch my interview with her from her piece, Golden Child, that was part of the 2024 Bentonville Film Festival here.

 

Director: Lucy Sandler, Mechi Lakatos

Cast: Mechi Lakatos, Lucy Sandler, Sivan Ambrose

Selig Rating: 3 stars

Runtime: 1h 41m

Genre(s): Comedy

 

The Selig Rating Scale:

5 Stars – Excellent movie/show, well worth the time and price.

4 Stars – Good movie/show

3 Stars – OK movie/show

2 Stars – Well, there was nothing else…

1 Star – Total waste of time.

BUTCHER’S STAIN Interview with Filmmaker Meyer Levinson-Blount

Gadi Elkon
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BUTCHER’S STAIN Interview with Filmmaker Meyer Levinson-Blount

Filmmaker Meyer Levinson-Blount’s short film BUTCHER’S STAIN is one of the Best Live Action Short Film nominees for the upcoming 2026 Academy Awards.  Meyer spoke with our Gadi Elkon about the film, the Oscars and so much more.

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Interview with Editor Ralph Jean-Pierre

Gadi Elkon
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Interview with Editor Ralph Jean-Pierre

Editor Ralph Jean-Pierre recent work on NETFLIX’s THE BEAST IN ME garnered him a nomination at the upcoming NAACP Image Awards for Outstanding Editing in a Motion Picture or Television Movie, Series or Special.  Our Gadi Elkon chatted with Ralph about this honor, his most recent edits and so much more!

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PILLION – A Review by Cynthia Flores

Cynthia Flores
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PILLION – A Review by Cynthia Flores

This new, bold, subversive film, Pillion, is the feature directorial debut for British writer-director Harry Lighton. I know fans of HBO’s True Blood will recognize the hot motorcycle-riding leather-clad hunk at the center of desire in this story as the one and only Alexander Skarsgård. And Harry Potter fans will recognize the actor who played Dudley Dursley in most of the franchise as Harry Melling, who is all grown up now and ready for a different magical adventure.

​***NOTE to all “Vanillias” who might clutch their pearls as they storm out of the movie theater because the sex scenes in this film are raw and unflinching. Don’t go see this film because you will not like it! It will be too shocking for your delicate sensibilities. That’s ok, you can go see the new Wuthering Heights, or the animation GOAT. There are plenty of other options for you to choose from. So save yourself some money and outrage, and go enjoy something else in theaters. If you’re looking for a different kind of romantic film experience, it may be best to explore other reviews.

​Alright, if you’re still with me, I’m guessing you’re not put off by male homosexuality or zipped leather trailers. If that’s the case, this film might be your perfect date-night movie. It features a meet-cute, a mismatched couple, obstacles to overcome, growth together, and yes, intense, emotion-packed sex scenes. What more could you ask from a romantic film?

Amazingly enough, that is exactly what this BDSM story is at its core, a romance story. In case you don’t remember what the acronym stands for, it is Bondage, Discipline, Sadism, and Masochism. Basically, BDSM covers a variety of often erotic practices and or roleplaying in a subculture and community of like-minded people. For the purposes of this film, the story is set in England in the 1970s.

​We are introduced to Colin (Harry Melling) at Christmas, singing Barbershop-style songs with his dad in a group dressed as if they fell out of the 1950s. At the pub where they’re performing, he first meets Ray (Alexander Skargård), the dominant leather-clad ringleader of a queer biker group. To his surprise, Ray leaves him a note with the details of when and where to meet him the next night. Collin’s family is very supportive of his gay lifestyle. But they have no idea who he’s meeting for the first time. Or that it will lead to a dark alley where Colin is given an option to fall to his knees and do what comes naturally. Thus begins the master-submissive relationship between Ray and Collin, and so does this love story.

​The rest of the film is surprisingly nuanced, and the director chooses to orchestrate a tone that dances between the humor and the raw, unvarnished intimacy of the story of these two mismatched men and Colin’s introduction to the very different BDSM world these bikers luxuriate in.

​Pillion has the expected fun romcom awkward moments between Colin and Ray as the intensity of sexual contact increases. It is the transformation of Colin—from a totally nerdy parking meter attendant to a shaved head, leather-wearing, chain-and-lock-around-his-neck submissive man in love with his master—that undergirds the whole film. Colin seeks acceptance and belonging, which he gradually finds within the biker community. Interacting with the group’s other submissives, Colin explores his desire to fit in with those who share his new identity. Meanwhile, Ray’s motivation becomes clear as he balances his dominant persona with genuine affection and care for Colin, guiding him deeper into the group and the relationship. As the story wraps up, Ray and Colin’s love story comes to a surprising conclusion.

​In fact, I was debating the ending with the person I saw Pillion with after the credits rolled. There were two options; both interpretations have a ring of truth. To avoid giving away the ending, I will have to be vague here. Option one is a more romantic and heartfelt reason for the ending that we got. Option two, the one I voted for, is more sadistic in nature for the same outcome. Either way, go see the movie, and you can decide which way you fall on the ending debate.

​Pillion was beautifully shot by cinematographer Nick Morris. His choice to film the movie’s graphic scenes with a measured, sometimes humorous tone was perfect for the director’s vision. There were scenes in which the two men were on their motorcycle, and it was obvious they were no longer on the road as the story intended. Instead, they are in some dreamscapes, beautifully lit, that could give the camera access to Colin’s leather-clad touches and the emotions that played across the part of his face exposed by the helmet. Add to this mix the inspired score by Glasgow-based cellist, composer, and producer Oliver Coats. The film’s score is available with the film’s release. The cinematography and score elevate a story that could, in the wrong hands, have just been a cliché for a porno flick. 

​All that being said, you know I like the film, but I do have to point out the huge misstep and failure the writer-director made. I am talking about information, safety, and consent, which are the rules that govern people in the BDSM community. At no point in the film is Colin ever educated about safe words or the submissive’s power in the situation. Or even why he is being asked to do the things he is doing. They did not have to make a big deal of it, but by glossing over some core principles of BDSM, he has done the community a disservice. Which, given the director’s decision to tell this story at all and to bring to light the real romance behind the leather, was a bit distracting to the film’s overall plot.

​I give Pillion 4 stars. I would have given it 5 stars, but, as I said in my review, they really missed an opportunity to show the full structure of that kind of lifestyle. It’s a sexy looking film with a super-hot lead that proves that even BDSM can have a heart.

 

Directed by: Harry Lighton

Written by: Harry Lighton, Adam Mars-Jones

Rated: NC-17 for festivals and now pending an R for theatrical release

Running Time: 1hr 46min

Psychological Romance Drama/ Dark Comedy

Release: wider theatrical release February 20th

Starring: Harry Melling, Alexander Skargård, Douglas Hodge, Lesley Sharp

 

The Selig Rating Scale:

5 Stars – Excellent movie/show, well worth the time and price.

4 Stars – Good movie/show

3 Stars – OK movie/show

2 Stars – Well, there was nothing else…

1 Star – Total waste of time.

CHAIFLICKS SETS MARCH 17 PREMIERE DATE FOR HIGHLY ACCLAIMED AWARD-WINNING ISRAELI SERIES “ON THE SPECTRUM”

Dev Shapiro
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CHAIFLICKS SETS MARCH 17 PREMIERE DATE FOR HIGHLY ACCLAIMED AWARD-WINNING ISRAELI SERIES “ON THE SPECTRUM”

ChaiFlicks, the world’s largest streaming platform dedicated to Jewish content from around the globe, will debut the first episode of the multi-award-winning series “On the Spectrum,” Tuesday March 17. Streaming exclusively on ChaiFlicks now, after a short stint on HBO, the series gently invites viewers into the daily lives of three 20-something roommates, each on the autism spectrum, capturing their vulnerabilities, triumphs, friendships, and quiet moments as they learn to live more independently together in an assisted-living apartment. The 10-episode series runs through May 12, aligning perfectly with National Autism Acceptance Month in April.

“On The Spectrum” won the 2018 Grand Jury Prize in the French Series Mania festival, making it the second Israeli series to claim the award. It is the first Israeli show that was accepted into the Tribeca Film Festival and the ONLY non-English show at the festival in 2018. Critics rave about the series, including “‘On The Spectrum’ has solidified itself as the most beautiful series on TV…” by Walla! News and Ha’aretz says “…a series in which a cry leads to laughter, and laughter to a cry. A rollercoaster between light and shadow, high and low.”

Meet Amit, Zohar, and Ron (“Ron-Ron”) Shulman—three individuals finding their way toward independence and connection.

Amit, a young man on the autism spectrum, is learning to navigate daily life while holding close his friendship with Erez and quietly longing for Lior, a waitress he admires. A misunderstanding born from social challenges underscores how easily intentions can be misread.

Zohar is a gentle, hopeful woman searching for love and a sense of belonging. After the loss of their parents, she is cared for by her devoted older brother, Asher, as she builds a life of her own through work and routine.

Ron, 33, is a brilliant computer expert on the autism spectrum who finds comfort in structure and honesty. Living with agoraphobia, he prefers the safety of home, where his blunt sincerity offers a uniquely honest view of the world.

“On The Spectrum” offers glimpses into the intricate lives of young autistic adults and offers their unique view and interpretation of day-to-day life. Each of the 10 episodes runs 25 minutes.

 

Below is a brief synopsis of each episode:

 

Episode 1

She Sells Seashells

Ron reluctantly goes to an awkward job interview; Zohar, looking for love, goes against her protective brother; and Amit falls for a waitress he tries to befriend in his own unique way.

 

Episode 2 

Come Here, Roomba

Zohar’s long-awaited blind date ends in quiet heartbreak when she’s abandoned, leaving Asher to take her home. Ron pushes past his anxiety to retrieve a misdelivered Roomba, sparking an unexpected connection. At the café, Amit’s hopeful gesture toward Lior ends in disappointment when he learns she has a boyfriend.

 

Episode 3

Looking for a Welcoming Home

Ron flees a frightening maintenance visit and bonds with his housebound neighbor over product reviews. At her first bachelorette party, Zohar’s excitement turns uneasy as she feels left behind. Meanwhile, Amit shows off his new haircut to Lior, who gently sets boundaries, reminding him their relationship is limited to the café.

 

Episode 4

Yes I’m Lonely

Ron impresses his neighbor at a new job—until it forces him outside, and he refuses. Amit’s misguided attempt to woo Lior ends with a restraining order and total isolation. Zohar meets a man from work, only to realize the “date” was secretly arranged by her brother.

 

Episode 5

Make a Wish

It’s Zohar’s birthday, but when her coworkers don’t show, she celebrates with Amit and Ron. A night out boosts her confidence—and reveals Asher has a girlfriend. Ron faces pressure to work outside or be fired. Amit regains Erez’s friendship, but turns bitter after losing Lior—and his café.

 

Episode 6

Going Out

Zohar meets Asher’s girlfriend Mali, who bonds with her—but Zohar’s day collapses when she’s fired and later flees after discovering Alex with Yaeli. Amit’s disastrous speed-dating ends with misguided hope. Ron attempts a small victory outside, venturing out to buy milk with his neighbor guiding him by phone.

 

Episode 7

What Do I Feel?

Ron once again tries to go outside, with the neighbor guiding him over the phone, but as he walks, he suddenly can’t hear her anymore. He goes back to her apartment and finds her dead on the sofa. Frightened, he goes outside and continues talking to her on the phone.  He slowly begins to come out of his shell and confront her death, meeting new people and visiting new places in the process.

 

Episode 8

“I Don’t Want to Be an Egg”

After Asher rescues Zohar, he insists she move in with him, but she resents the control and her dull new job. Amit shows promise with a new girl until seeing Lior reignites his obsession. Ron confronts grief and intimacy after an unexpected encounter with his late neighbor’s daughter.

 

Episode 9

“Neurotypical”

Zohar meets a man on the spectrum who helps her embrace her identity, leading to a new relationship and a reconciliation with Yaeli. Ron struggles to navigate expectations with Paz after they sleep together. Amit’s renewed fixation on Lior spirals at a fan event, ending in serious trouble.

Episode 10

So Many Trees

Erez prepares to join the apartment and delivers a heart-wrenching speech. Zohar is expecting to sleep with her new boyfriend, but then realizes he is not interested in that. Yaeli rescues Amit from a fight, which prompts him to switch his obsession from Lior, the waitress, to her.

ABRIL – A Review by Jenn Rohm

Jenn Rohm
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ABRIL – A Review by Jenn Rohm

People who make films have experienced life in ways that can influence the stories they tell.  Director, Writer, and Cast Member Hernán Jiménez has chosen to do so with his recent project, Abril.  At a young age, his parents divorced, which made his father, who was rarely there, the hero, and his mother, who put her life on pause to raise him, the “enemy”.  In today’s world of divided families, this is not uncommon.  As children get older, they often re-evaluate and, with additional information, see things differently.  Jiménez asked himself, “. . . if we’re all so acutely aware of this narrative and its glaring injustice, why aren’t there more stories about it?”

This is the story of a mother (Maricarmen Merino) who has put her child first since she discovered she was expecting.  She works as a social worker and does what she can to provide for her daughter.  Her daughter (Lara Yuja Mora), now a teenager, tells her mother she is leaving to go live with her Dad (Hernán Jiménez).  With encouragement from others Abril is starting to realize she has needs and wants as well.  After meeting Gabriel (François Arnaud) she opens herself to the possibility of a relationship.

This is a slower-paced movie; I wasn’t checking my watch as much as I felt like I was in the last few minutes of school before summer break.  With slice-of-life pieces, I don’t expect the same pacing as an action film; this was on the slower side of what I was expecting.

There were a few plot points that either should have been left out or explored further.  At one point, Gabriel asks for her credit card instead of cash to go buy snacks.  That he couldn’t fully afford was logical; the insistence on using a credit card over cash was a red flag that was left hanging.  Was he going to take money from her?  Was he taking advantage?  If there was no nefarious purpose, why not just accept the cash or have her offer the credit card in the first place?  Another is the ex-husband’s career.  He had money and was recognized when out.  Was he an athlete, a media personality, or a writer?  In a scene with a fan, this could have been elaborated on, or at his home, a poster of him on the wall for his profession would have helped.

The development of Abril and all the emotions she was going through were clear with Merino’s performance.  Her actions and tone helped me follow the story while reading the subtitles.  There are moments in life that it doesn’t matter where you live, everyone can experience them.  Being able to portray these emotions and coming across as natural takes time, dedication, and talent.  (Which Merino has.)

If you are looking for a glimpse at the life of a single mother in Costa Rico, find a showing of Abril and go see it for yourself.

 

 

Director: Hernán Jiménez

Cast: François Arnaud, Hernán Jiménez, Maricarmen Merino

Language: Spanish with English subtitles

Selig Rating: 3 stars

Runtime: 1h 45m

Release Date: February 7, 2026

Genre(s): Comedy, Drama

Trailer: Abril trailer

 

The Selig Rating Scale:

5 Stars – Excellent movie/show, well worth the time and price.

4 Stars – Good movie/show

3 Stars – OK movie/show

2 Stars – Well, there was nothing else…

1 Star – Total waste of time.

GOOD LUCK, HAVE FUN, DON’T DIE – A Review by John Strange

John Strange
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GOOD LUCK, HAVE FUN, DON’T DIE – A Review by John Strange

You would think that after seeing the poster featuring Sam Rockwell’s character, this might not be a mainstream comedy.  You would be correct.  Writer Matthew Robinson (The Invention of Lying (2009) and Love and Monsters (2020)) gave Director Gore Verbinski (the first three films in the Pirates of the Caribbean series, Rango, and A Cure for Wellness) a film that strikes directly at our instinctive fear of a sentient AI gaining control of the world.

This film, at first glance, reminded me a bit of Twelve Monkeys meets Pulp Fiction.  But it quickly showed it was a beast of its own. 

This film is a warning call that we, as humans, might want to take to heart.  If an AI gets control, will we even notice?  And how would we save ourselves, provided we figured out that we needed saving?

Sam Rockwell’s snazzy outfit (wasn’t that terribly hot to wear, Sam?) was but the first sign that all was not right in the future. 

The supporting cast includes Zazie Beetz, Michael Peña, and Juno Temple, whose characters do their best to help “The Man from the Future” save the world and move from one disaster to another.

The CGI characters were interesting and at times, frightening.  The acting is not top-notch, but it is perfect for this film genre.  

Gore Verbinski took Matthew Robinson’s script and lived up to his work on the Pirates films, making the story visually wild.  I had a good time watching Good Luck, Have Fun, Don’t Die.

 

Director: Gore Verbinski

Written by: Matthew Robinson

Cast: Sam Rockwell, Zazie Beetz, Haley Lu Richardson, Michael Peña, Stevel Marc, Juno Temple, Asim Chaudhry, Tanya van Graan, Cassiel Eatock-Winnik

MPA Rating: R (for pervasive language, violence, some grisly images, and brief sexual content)

Selig Rating: 4.0 Stars

Runtime: 134 Min.

Release Date: 02/13/2026

Language: English

Genre(s): Action, Adventure, Comedy, Sci-Fi

Movie Site: GOOD LUCK HAVE FUN DON’T DIE Official Website

Trailer: GOOD LUCK, HAVE FUN, DON’T DIE Official Trailer

 

The Selig Rating Scale:

5 Stars – Excellent movie/show, well worth the time and price.

4 Stars – Good movie/show

3 Stars – OK movie/show

2 Stars – Well, there was nothing else…

1 Star – Total waste of time.

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