07/13/2026 ReelTalk reviewing MINIONS & MONSTERS with Brad Biewer

07/13/2026 ReelTalk reviewing MINIONS & MONSTERS with Brad Biewer

When we talk about movies that celebrate cinema itself, our minds usually drift toward films like Singin' in the Rain, Hugo, a personal favorite of my mom’s, or perhaps The Artist. They're movies about moviemaking, about Hollywood, and about why the medium has endured for more than a century. Rarely would anyone expect to add a Minions movie to that list. And yet, Minions & Monsters surprised me—and many other critics. Rather than simply repeating the familiar formula of the Minions searching for their next great villain to serve, the filmmakers take these delightfully chaotic little yellow creatures and place them at the birth of Hollywood itself. The result is a film that functions simultaneously as a love letter to cinema, a playful history lesson, and a heartfelt story about discovering the thing that gives your life purpose. What impressed me most wasn't simply the humor or the endless visual references to film history. It was the sincerity. Beneath the slapstick lies a genuine affection for movies—not as content, but as an art form capable of inspiring dreams, preserving history, and connecting generations. The film channels the optimism and craftsmanship of classical Hollywood storytelling while reminding audiences that cinema isn't merely something we watch. It's something we feel. Joining me once again is returning guest and friend of the show, film critic Brad Biewer, host of the CinemaSpeak Podcast

ReelTalk 06/29/2026 reviewing SUPERGIRL with Sean Boelman

For nearly a decade, superhero movies have found themselves in something of an identity crisis. Some have become increasingly dark and self-serious. Others have tried to deconstruct the genre or expand sprawling cinematic universes until individual stories became secondary to future installments. Somewhere along the way, many forgot one simple truth: These movies are supposed to be fun. Supergirl remembers. No, it isn't reinventing the superhero genre. It isn't trying to dismantle every convention that came before it, nor is it interested in convincing audiences they're watching something more profound than a comic-book adventure. Instead, it embraces the fundamentals of storytelling: engaging characters, clear emotional stakes, imaginative world-building, and a narrative that moves confidently from beginning to end. And honestly, that's refreshing. This has quietly become one of the more enjoyable summers for blockbuster filmmaking. Between Mortal Kombat II, Masters of the Universe, and now Supergirl, audiences have been reminded that spectacle and sincerity can coexist. These films understand that entertainment isn't a compromise—it's the assignment. Supergirl certainly isn't perfect. A few action scenes suffer from muddy lighting, and the editing occasionally lacks polish. But those shortcomings are outweighed by memorable characters, imaginative alien worlds, genuine humor, and perhaps most importantly, a screenplay that understands classical dramatic structure. Sometimes following the rules exceptionally well is more satisfying than trying to rewrite them. Today we're discussing Supergirl, why it works why it may be one of the most entertaining superhero films we've had in quite some time.

ReelTalk 06/15/2026 reviewing DISCLOSURE DAY with Gino Sassani

Full disclosure, this movie is in need of higher intelligence. For nearly fifty years, few filmmakers have shaped our collective vision of extraterrestrial life more than Steven Spielberg. From Close Encounters of the Third Kind to E.T. the Extra-Terrestrial, Spielberg helped define what alien stories could be. Sometimes they were wondrous. Sometimes they were frightening. But they almost always possessed a sense of curiosity about humanity itself. His latest film, Disclosure Day, returns to familiar territory. Working once again with screenwriter David Koepp, Spielberg tackles a premise that immediately captures the imagination: what happens when humanity receives undeniable proof that we are not alone? It's the kind of idea that has fueled science fiction for generations. Films, novels, television programs, and even episodes of The Twilight Zone have explored the possibilities, the fears, and the profound implications of first contact. Yet an intriguing premise and a compelling story are not always the same thing. While Disclosure Day contains interesting ideas, strong technical craftsmanship, and occasional flashes of the emotional warmth that has defined Spielberg's best work, it also raises an important question about modern filmmaking: Is a collection of fascinating moments enough to sustain a feature-length story? Today, we're discussing Disclosure Day, its strengths, its frustrations, and why a film built around one of the most intriguing concepts imaginable ultimately left me wanting to revisit Spielberg's earlier explorations of the unknown.

06/08/2026 reviewing PRESSURE with Brad Biewer

When we think of D-Day, we tend to think of the beaches. We think of Omaha. Utah. The landing craft. The paratroopers. The extraordinary courage displayed by thousands of Allied troops on June 6, 1944. What we rarely think about is the weather. Yet one of the most consequential decisions of World War II had nothing to do with troop movements or battlefield tactics. It involved a forecast. Before the first soldier landed in Normandy, military planners needed to know whether conditions would allow the invasion to proceed. Too much wind, poor visibility, rough seas, or low cloud cover could jeopardize the operation before it ever began. And at the center of that decision was a Scottish meteorologist named Dr. James Stagg. That unlikely story forms the basis of Pressure, a film adapted from David Haig's stage play about the days leading up to D-Day and the enormous responsibility resting on the shoulders of one man tasked with predicting the unpredictable. What makes Pressure so effective is that it transforms what should be a dry procedural into a compelling thriller. The audience knows D-Day happens. History has already revealed the outcome. Yet the film still manages to create suspense because the question is not whether the invasion occurs—but whether the forecast is right. Joining me once again is returning guest and friend of the show, film critic Brad Biewer, host of the CinemaSpeak Podcast.

06/01/2026 reviewing OBSESSION with Sean Boelman

One of the most fascinating developments in modern filmmaking is the rise of directors whose careers began not in film school or the studio system, but on YouTube. Armed with digital cameras, editing software, and a direct connection to audiences, a new generation of filmmakers has emerged—many of whom possess remarkable technical skill. They understand pacing, editing, visual composition, and how to command attention. What remains less certain is whether those same skills translate into compelling cinematic storytelling. That brings us to Obsession. Written and directed by Alabama native Curry Barker, Obsession has become one of the surprise success stories of the year. Produced on a modest budget and propelled by enthusiastic word-of-mouth, the film has resonated with audiences looking for something original in a marketplace increasingly dominated by sequels and established franchises. And there is much to admire here. Barker demonstrates a keen eye for composition, editing, and atmosphere. He understands how to create tension. He understands how to stage a moment. And perhaps most importantly, he understands how to keep an audience engaged. But filmmaking and screenwriting are not the same discipline. For all of its visual confidence, Obsession often feels like a collection of strong ideas searching for a stronger story. The film offers memorable moments, unsettling imagery, and a clever variation on the classic Monkey's Paw concept, yet those moments frequently feel as though they were designed to punctuate a more fully developed screenplay rather than serve as the foundation for one. Today, we'll discuss where the film succeeds, where it falls short, and whether Obsession represents the arrival of a major new filmmaker—or simply a talented visual storyteller still learning the fundamentals of dramatic construction. Joining me once again is returning guest and friend of the show, film critic Sean Boelman, editor at FandomWire and member of the Critics Choice Association.