“There’s a lot of things that he’d want to do in his career that he didn’t get a chance to, and that was the point of doing this film,” Schoenke tells Nerd Reactor. “And seeing him realize those in this process was just such a joy. As his friend, watching him getting to act with his Michael Madsen, his favorite actor, getting to see him put his own ideas, have his own input, something that he really wanted to have throughout his career, and then just getting to to fight him and have on screen time with him and stuff like that, which is very different for our relationship, was really just a joy to see all that all that happen.”

For Ramsey, he shares a story about how kind Jason was.

“To get to see the times that I got to work with Aaron on set was so dialed in and it was really important for him to express his authenticity, right?” Ramsey said. “He talked about that even when we first met about the script, and so to get to see that as an artist, as another artist, was was fulfilling. But even beyond that, when I first met first met Jason, it’s the first time I told this story.

“My son was about four years old, and he said, ‘Is your son a Power Ranger fan?'”

“‘No, like Jason, I don’t think he’s even ever heard of the Power Rangers. I mean he’s four.'”

“‘What’s your address?’ I gave I gave him my dress. He sent literally a five foot box of Power Rangers toys for my son. And that’s the kind of guy he was, right? When I first met him, it was just love and light came off of him. Because of that, I said, ‘Yes, I’ll work with you.’ I didn’t see a script, it was just like, ‘Yes, I want to work with you, Jason.’ So to get to work with him on set, get to read the script and see actually how good it is, and then get to work with him on set was just every single moment with Jason in my experience, it just got better and better and better and better. So my experience with him was was always incredible.”

Legend of the White Dragon is now in theaters.

The post Director Aaron Schoenke and David Ramsey on Jason David Frank’s Last Film, Legend of the White Dragon appeared first on Nerd Reactor.

Watching Project Hail Mary shows just how impressive big science fiction films can be. Directors Phil Lord and Christopher Miller mix science fiction, comedy, drama, action, and adventure so well that no single part takes over. The humor keeps things light when the science gets tricky, the emotional moments add weight to the mission, and the action brings real suspense.

Ryan Gosling delivers a strong performance as Ryland Grace, a scientist who wakes up on a spaceship with no memory of how he arrived. Grace isn’t your typical action hero, and Gosling brings out his awkwardness, fear, humor, and vulnerability. Whether he’s worried about a new problem or excited about a breakthrough, his reactions feel genuine, and his “every man” persona makes you root for him.

But the heart of the film is Grace’s relationship with Rocky. Their friendship turns the story from just a space survival adventure into something much deeper. A lot of the film’s humor and emotion comes from watching them learn to talk to each other, build trust, and share what they know.

Their friendship also highlights one of Andy Weir’s main ideas: progress comes from working together, sharing knowledge, and not giving up even when things seem impossible.

The film delivers everything I look for in great science fiction, especially with its amazing space visuals and sense of scale. While it has big ideas and striking images, it’s the humor, humanity, and friendship that really make it stand out.

Movie Review: 5/5 atoms

Video

Project Hail Mary is available on Ultra HD Blu-ray in native 4K, HEVC/H.265, Dolby Vision/HDR10 presentation with a mix of 2.39:1 and 1.78:1 aspect ratios. Project Hail Mary delivers a beautiful native 4K image that fits the format perfectly. First of all, the contrast really stands out, with the ship displays, stars, and spacecraft lighting shining clearly against the dark space. Highlights look bright and strong but never overexposed, and the black levels are just as impressive. Shadows are deep and realistic, and the darkness outside the ship creates a truly black background without hiding the details in the ship’s darker corridors.

The color saturation is another highlight, with deep reds and rich greens bringing the image to life, especially when Tau Ceti e—nicknamed Adrian—first appears. The background colors pop against the bold red of the spacesuits. The detail is impressive, showing things like Grace’s light stubble and the textures and flaws on Rocky’s surface. I didn’t notice any major artifacts, and the edges look clean without any fake sharpness.

The film used a ‘film out’ process, which means the digital footage was transferred onto real film stock and then scanned back in. This adds a bit of grain, which keeps the image from looking too clean and gives the sharp 4K presentation a nice cinematic feel.

Video Review: 5/5 atoms

Audio

Project Hail Mary is available on Ultra HD Blu-ray with Dolby Atmos or, if Atmos is not supported, a 7.1 Dolby TrueHD audio presentation. This review will cover the Blu-ray’s Dolby Atmos mix. The Atmos mix for Project Hail Mary focuses on precision rather than just power. The sound panning through the soundscape is dynamic and smooth, and the placement of sounds within the Hail Mary is especially impressive. For instance, alarms, notification pings, mechanical creaks, and Rocky’s movements are all accurately positioned. The ship’s computer voice and the chimes also add a playful sense of direction.

The mix uses the height channels to add nuance to the ship’s setting, where sounds from above create a realistic sense of vertical space without drawing too much attention. The quieter atmospheric effects might be even more effective. The surround channels use echoes, mechanical noises, and ambient sounds to gently wrap around the listener, making you feel like another passenger on the ship.

Daniel Pemberton’s score fills the room but never overpowers the quieter character moments. At the same time, the dialogue always sounds clear and natural, and it never gets drowned out, even during the more chaotic scenes. The bass follows the same approach: the subwoofer adds a satisfying weight to engines, ship movement, and bigger scenes when needed, but never feels overdone.

Audio Review: 5/5 atoms

Special Features

Project Hail Mary has the following bonus features that can be found on the disc:

• Audio Commentary by Directors Phil Lord and Christopher Miller
• Earth’s Favorite Eridian
• Deleted Scenes
  • Day 1 Food Paste
  • I Think I’m Handling Things Pretty Awesome
  • How To Put On A Spacesuit
  • You Sleep, I Watch
  • Maybe We’re Cousins

Features Assessment

The bonus features may not be extensive, but they give fans a nice behind-the-scenes look and add some enjoyable extra value to the 4K release.

The feature-length commentary stands out as the most in-depth extra. Lord and Miller have great chemistry, making their discussion about adapting Andy Weir’s science-heavy novel, balancing humor and tension, and handling technical and storytelling challenges fun to listen to. They share helpful information in a way that’s easy for anyone to follow, while still giving film fans plenty of behind-the-scenes insight.

The featurette on Earth’s Favorite Eridian runs just under eight minutes and focuses on making Rocky feel real. It covers the different techniques used to create the character, including puppetry, animatronics, and digital effects. It’s interesting to see how many methods went into making Rocky seem believable, especially since the final result never looks like just a visual effect. The only downside is that it’s a bit short—Rocky deserves a longer making-of, so this feels more like a fun introduction than a full behind-the-scenes look.

The disc includes five deleted scenes, totaling just under ten minutes. While these scenes aren’t crucial to the final film, they offer a little more time with Grace and Rocky and are fun to watch after seeing the movie.

Special Features Review: 3/5 atoms

Overall, Project Hail Mary is a fantastic film that, at this point, is still one of my favorites of the year. The video and audio presentations look and sound fabulous, while the special features are a bit lacking.

Overall Review: 4.5/5 atoms

Project Hail Mary is now available in stores on 4K Ultra HD Blu-ray.

This Blu-ray was provided by Alliance Entertainment for review purposes.

The post Project Hail Mary – 4K Ultra HD Blu-ray Review appeared first on Nerd Reactor.

Check out the full video interview below:

“I was inspired by the current, very highly rapid information exchange through social networking, and the highest form, the most extreme form of rapid information, the result is AI programs,” Yeon tells Nerd Reactor. “And then we think that we’re having a consensus… people think alike is beneficial to the society. However, actually, if that happens without thinking, our individuality threatened and it is rendered powerless.”

Starring in the lead role as Kwon Se-jeong is Jun Ji-hyun, aka Gianna Jun. As a biotechnology professor, she must help the survivors during a zombie infestation.

“It was my first time to work with Gianna Jun,” the director said. “And she’s, needless to say, she’s a superstar.”

About Colony

Synopsis: Horror master Yeon Sang-ho (Train to Busan) directs a new Korean zombie thriller starring Gianna Jun and Koo Kyo-hwan. Professor Se-jeong (Ji-hyun) is thrust into a bloody nightmare when a rapidly mutating virus is released during a biotech conference causing authorities to seal the facility. Trapped inside with no escape, Se-jeong along with a small group of survivors must fight to stay alive while the infected undergo horrific transformations.

The film is directed by Yeon Sang-ho and written by Yeon and Choi Gyu-seok. It stars CAST: Gianna Jun, Koo Kyo-hwan, Ji Chang-wook, Shin Hyun-been, Kim Shin-rock, and GO Soo.

The film releases in theaters on August 28, 2026.

The post Yeon Sang-ho Explains How AI and Social Media Inspired Zombie Flick, Colony appeared first on Nerd Reactor.

That combination works surprisingly well.

There is a Spielberg-like sense of emotion beneath the science-fiction spectacle and growing dread. Mitchell lets the film breathe enough for its characters to establish themselves before things start going horribly wrong. At the same time, nobody will mistake this for Mitchell suddenly becoming restrained. His camera still has that wonderfully uneasy quality, dwelling just long enough to make you wonder if something important is hiding in the frame. When the movie gets nasty, Mitchell’s fondness for gore comes through clearly. The result feels like a strange collision between classic blockbuster filmmaking and a much meaner genre movie.

What really keeps The End of Oak Street moving is how unpredictable it becomes. The basic setup might make you believe you know the kind of science-fiction thriller you are watching. Mitchell seems aware of those expectations and spends much of the movie setting them up so he can knock them down. Several moments take sharp turns into territory I wasn’t expecting. For better or worse, that willingness to get weird gives it an energy many polished studio sci-fi films lack.

David Robert Mitchell channels Spielberg in The End of Oak Street, a bloody sci-fi thriller packed with surprises and made for a rowdy theater crowd.

It is also funnier than its grim circumstances suggest. The humor doesn’t turn the movie into a comedy, thankfully, but brief moments of silliness and well-timed reactions keep the doom and gloom from becoming exhausting. More importantly, those laughs make the darker moments hit harder.

Sometimes the movie feels like it is testing how far it can push the expectations of this kind of thriller. Not all swings will land equally for everyone, though. Yet, I would rather watch Mitchell (or any other director) take those swings than not at all. And if possible, see this one with a crowd.

Overall, The End of Oak Street feels designed for that communal theater experience: the nervous laughter, the sudden gasps, the occasional horrified yell, and those wonderful moments when an entire auditorium realizes, almost exactly at the same time, that something terrible is about to happen. Mitchell has made a sci-fi thriller with plenty of tension and gore, but also heart, humor, and a cheeky desire to keep pulling the rug out from underneath you. That unpredictability is exactly what makes it such a blast.

Rating: 3.5/5 atoms

The End of Oak Street hits theaters on August 14th.

The post The End of Oak Street Review – Come for the Mystery, Stay for the Mayhem appeared first on Nerd Reactor.

Farva (Kevin Heffernan) is getting married to Sarita (Hannah Simone), the sister of Thorny (Jay Chandrasekhar). Thorny isn’t happy about this, and he’ll do whatever it takes to stop the wedding. The cast includes the return of Brian Cox and newcomer Chace Crawford, in the third film filled with irreverent humor.

One Star Wars joke had Broken Lizard thinking whether it would make the cut.

“Without giving it away, we ran that by test audiences when we did screenings, and a lot of people expressed the feeling they had when they first saw it,” Kevin Heffernan tells Nerd Reactor. “They’re like, ‘Oh, these guys maybe jump the shark here on this one,’ and then they end up loving it. It really plays in a very funny way, and I think people really bought into it. That was getting very big laughs in our test screening, so it really worked out pretty well.”

Brian Cox is a legendary actor with credits including X2: X-Men United, Troy, and Succession. In Super Troopers 3, he reprises his role as Captain O’Hagan, only this time, he’s “retired.”

“Between two and three, he did Succession,” Heffernan explained. “I think it’s one of his most iconic roles now, right? Where he’s Logan Roy. And it had a different feel for him when he came back. He was always our gravitas guy. He was always the guy that gave us a little bit of depth, and then now he’s back after playing this great role, and he leans into it, which is fun.

“He’s the guy who walks in and is like, ‘All right, **** off, everyone,’ and then you get down to business. We weren’t really sure how it was gonna work out, but when he came back, I think he just had a blast going back to this silly comedy stuff, doing something a little different than Logan Roy, which is great.”

Fans of The Boys will recognize Chace Crawford, who portrays Baker Buchanan in Super Troopers 3. And like his character, The Deep, he continues to carry the aura of a self-absorbed narcissist as Baker.

“[Chace Crawford] was our first choice for that part,” Heffernan said. “We’re such fans of The Deep and The Boys. I think the guy is the funniest thing in that show. He’s so funny. And we were like, ‘Let’s see if we can get him.’ I didn’t think we could get him, and then it turned out he was a huge Super Troopers fan, and he was as excited to be there as we were to have him. So it ended up being a great experience having Chace there.”

About Super Troopers 3

Synopsis: When Farva’s wildly over-the-top Indian engagement to Thorny’s sister spirals into chaos, the Super Troopers must navigate Thorny’s schemes to break up the relationship, while trying to crack a pernicious new drug ring — all to save the day and maybe the wedding itself.

The film is directed by Jay Chandrasekhar and written by Broken Lizard.

The cast includes Jay Chandrasekhar, Kevin Heffernan, Steve Lemme, Paul Soter, Erik Stolhanske, Brian Cox, Marisa Coughlan, Nat Faxon, Chace Crawford, Andrew Dismukes, Hannah Simone, Iqbal Theba, Sakina Jaffrey, Jon Rudnitsky, and Lisa Gilroy.

Super Troopers 3 releases in theaters on August 7, 2026.

The post Broken Lizard on Super Troopers 3 Star Wars Joke, Brian Cox’s Return & Chace Crawford’s Casting appeared first on Nerd Reactor.

The cast features an eclectic mix of actors, especially if you’re a fan of J-pop boy bands or classic yakuza movies. Daisuke Sakuma, best known as a member of Snow Man, plays Daiya with an easygoing charm that makes him instantly likable. Yuta Nakamoto of NCT 127 brings a cooler, more guarded energy to Kiryu. Neither performer is just there to attract music fans. Their experience as idols helps during the dance sequences, and both understand the film’s playful rhythm and know when to let the veteran actors steal a scene.

And steal scenes they do. Kippei Shiina, Renji Ishibashi, and Hitoshi Ozawa have spent years playing tough guys, gangsters, or authority figures. So, it’s a delight to watch them parody these roles. They still carry themselves like people who command the screen, then they’re asked to dance. The contrast stays funny, especially because Uchida treats their frustration with just enough sincerity.

With clever casting, energetic choreography, and memorable brawls, The Specials transforms a ridiculous premise into crowd-pleasing entertainment.

The premise also gives the film room to explore emotionally guarded outsiders who don’t know how to work as a team. Their rehearsals become awkward, quasi-group therapy, and Urara adds warmth without making the story sentimental. Yuzuki Hirakawa brings a welcome presence to a film otherwise crowded with psychologically damaged men. By the time the team performs their routine, the retro soundtrack and choreography become more than punchlines. You want them to win the whole competition.

Despite being a playful parody of yakuza films, The Specials has a surprising number of fantastic action sequences. The film mixes clean choreography with flashes of genuine brutality, and Yohei Tateishi’s cinematography gives the daytime comedy a polished brightness before shifting into grimier textures whenever the fists come out.

Overall, The Specials is a film that seamlessly blends comedy out of dance-floor antics and underworld chaos. Better still, its warmth never dulls the danger or makes the characters untouchable. The Specials takes that basic appeal and scales it into a crowd-pleasing ensemble piece. It’s silly, stylish, heartfelt, and far more effective than a movie about dancing hitmen has any right to be.

Rating: 4/5 atoms

The post The Specials (Fantasia International Film Festival 2026 Review) appeared first on Nerd Reactor.

At the center sits Eiji Tsuburaya. The documentary repeatedly returns to the punishing labor behind the original’s production: miniature cities, creature suits, optical effects, detailed designs, and weekly television deadlines that called for movie-scale imagination at an unforgiving pace. Archival footage from the shoots and clips from iconic episodes reveal the handmade ingenuity involved. By the end, The Origin of Ultraman feels as much like a tribute to Tsuburaya—the “Father of Tokusatsu”—as it does to Ultraman himself.

Still, anyone expecting a chronological account covering every Ultra hero, production shift, or major era will leave with gaps. Directors Yu Nakamura and Kazutaka Yoshida are more interested in passion than documentation, and it’s easy to see why. Their interview lineup is remarkable: Guillermo del Toro, Hideo Kojima, Hideaki Anno, Hirokazu Koreeda, and Nicolas Winding Refn—just to name a few. Together, they approach Ultraman as a mythology, childhood memory, religious symbol, design object, and creative trigger.

The interviews are terrific because every interviewee openly talks about how much they love the character. Refn discusses Ultraman with pure excitement, like a kid talking about firetrucks, while Kojima describes believing in Ultraman almost as one might believe in God. That kind of enthusiasm becomes infectious.

The Origin of Ultraman honors Eiji Tsuburaya and six decades of tokusatsu history through archival footage and deeply personal interviews.

The conversations become even richer when they move beyond nostalgia. Del Toro and Koreeda compare Catholic and East Asian religious traditions while discussing why they believe Ultraman connected so strongly with audiences in Mexico but never became equally embedded in the United States. Original Ultra Q and Ultraman star Hiroko Sakurai gives a more intimate connection to the people who built the phenomenon. Taken together, these perspectives turn the documentary into something larger than franchise promotion, and it becomes an exploration of how popular art travels, changes meaning, and settles into people’s inner lives.

Unfortunately, the filmmaking rarely equals the quality of its material. This is an official Tsuburaya production distributed by TOHO NEXT and Tsuburaya Productions, yet it often looks strangely amateurish. Onscreen text changes style and position without much logic. Names can be difficult to locate, subtitles occasionally compete with other graphics, and transitions between speakers feel clunky. Classic footage and archival material are welcome, but clips sometimes begin or end at awkward points, interrupting thoughts rather than extending them. The problem is not a lack of access. It’s a lack of polish.

That becomes frustrating because the raw material is so strong. A cleaner edit could have created a sweeping cultural history worthy of the anniversary. Instead, the production occasionally resembles an excellent collection of bonus features assembled without enough attention to rhythm. Even so, the film’s affection shines through, and the images, memories, and thoughtful comments help explain why Ultraman has lasted so long.

Overall, The Origin of Ultraman might not be the ultimate documentary as its official label suggests. Still, it does capture something special: the joy on someone’s face when an old hero makes them feel like a child again.

Rating: 3/5 atoms

The post The Origin of Ultraman (Fantasia International Film Festival 2026 Review) appeared first on Nerd Reactor.

The story centers on Madoka, a playwright who sits down to watch a movie about Kazuma, a musician. Inside that movie, Kazuma goes to see a film about Madoka. Before long, they find themselves looking at each other through the screen, sharing different stories but the same movie world. When they start talking across this divide, their films go off script, and that is when You Are the Film becomes most enjoyable.

Even though the story might seem complicated, Ueda makes the rules easy to follow. He doesn’t spend much time explaining things. Instead, he sets up the idea quickly and trusts viewers to follow along. At just 68 minutes, the film moves quickly through a theater and a nearby shopping area, making the most of its small budget.

Makoto Ueda’s You Are the Film blends science fiction, comedy, and heartfelt drama into a fast, wildly inventive celebration of cinema.

The film’s small scale actually helps it. Unlike Ueda’s earlier, more complex scripts, You Are the Film feels personal and crafted with care. The theater is filled with posters and nods to his past work, but the love for movies goes beyond these details. Madoka and Kazuma both come hoping to escape tough moments in their lives, and the movies instead push them to see their problems differently.

Ueda makes sure the science-fiction idea never overshadows the film’s emotional core. Madoka and Kazuma come first, before any clever plot devices. Each of them can see something in the other’s life that the person themselves can’t. This turns the movie’s main trick into a unique way of showing why it’s important to accept help. We aren’t just lone heroes who have to fix everything by ourselves. Sometimes, we need someone else to spot the answer for us.

However, not every idea gets enough time to grow. The short length is refreshing, but it means some parts of the story feel sketched out instead of fully explored. Sometimes, the film’s simple style makes it feel like a student project or a proof of concept to build upon later. Compared to River or Rewrite, it’s less impressive in how it’s made and doesn’t hit as hard emotionally.

Overall, You Are the Film is a smart, warm, and delightfully odd first feature that knows experiments should be enjoyable, not just impressive. It explores what movies can do and uses that sense of fun to make a clear point. Stories might keep us stuck in the same roles, but someone else can help us change what happens next.

Rating: 4/5 atoms

The post You Are the Film (Fantasia International Film Festival 2026 Review) appeared first on Nerd Reactor.

The setup follows Suzuki, a seemingly pathetic drunken vagrant, who is brought in for questioning. After using his (supposedly) psychic abilities to predict tragedies, he becomes linked to a series of bombings across Tokyo. Most of the film unfolds inside a cramped interrogation room, where officers try to determine whether Suzuki is a legitimate psychic or the person behind these bombings.

That might sound boring on paper, but Jiro Sato is the reason it works. His performance begins so understated that Suzuki almost seems harmless. Then, little by little, the mask slips. Before long, the man who looked barely capable of standing begins studying the shadowy aspects of everyone around him. Sato moves between desperation, smug amusement, wounded pride, and genuine menace so easily that it becomes difficult to tell where the performance ends and Suzuki’s manipulation begins.

Suzuki=Bakudan transforms a largely static interrogation into a white-knuckle thriller filled with manipulation, uncertainty, and escalating chaos.

The film contrasts these mostly static interrogations with the frantic movement of Tokyo outside. Police race through crowded city areas as the bomb threat expands, while the two officers who arrested Suzuki begin their own investigation. These scenes provide a welcome release from the interrogation room, yet never reduce the pressure. Instead, every cut back to Suzuki feels like returning to the source of these problems.

What begins as a contained mystery steadily snowballs. As the stakes rise, Suzuki’s riddles become harder to solve. He may be a psychic or a terrorist, and the film understands that explaining him too neatly would make him less frightening.

There is a guilty pleasure in watching a truly magnetic villain—or possible villain—operate. Characters like Suzuki embody impulses most people would never voice, frustrations that civilized society demands we bury. He exposes those feelings in others and appears delighted by what he finds. That makes him more than a puzzle for the police to solve. He’s a mirror they would rather smash.

Overall, Suzuki=Bakudan is a white-knuckle psychological thriller that’s intimate and explosive at the same time. It’s held together by Jiro Sato’s fearless performance and the unnerving possibility that the most dangerous bomb in Tokyo may be the most confident person in an interrogation room.

Rating: 4/5 atoms

The post Suzuki=Bakudan (Fantasia International Film Festival 2026 Review) appeared first on Nerd Reactor.

At the center is Lord Murashige Araki. A real figure from 16th-century Japan, Murashige has broken with the powerful warlord Nobunaga Oda and sealed himself inside his fortress. His authority appears absolute, but that image begins to shatter when a series of strange crimes occur that suggest someone or some people inside the castle are working against him.

Murashige turns to Kanbei Kuroda, a brilliant strategist held prisoner beneath the fortress. Masaki Suda plays Kanbei with lively, mischievous energy. His conversations with Murashige contrast sharply with Murashige’s heavy stillness. Kanbei rarely offers direct answers. Instead, he gives riddles, questions, and inconvenient observations. The setup resembles The Silence of the Lambs more than a conventional war film: a powerful man repeatedly descending into confinement to get advice from someone he cannot fully trust to solve a mystery.

Kiyoshi Kurosawa’s The Samurai and the Prisoner trades swordplay for psychological warfare in a tense, intelligent tale of power and deception.

The story unfolds across four chapters, each bringing a fresh mystery for Murashige to solve. Kurosawa patiently builds paranoia, letting glances, rumors, and partial conversations carry as much danger as Nobunaga Oda’s incoming forces. This framework gives the film an engaging rhythm at first. Unfortunately, the deliberate pace and repetitive chapters become sluggish after a while.

Thankfully, the film is gorgeous. Kurosawa carefully arranges interiors and striking outdoor compositions that make the castle feel both majestic and oppressive. There are also large-scale images of armored men assembled across the landscape.

As Lord Murashige Araki, Masahiro Motoki plays him with commanding restraint. His Murashige has unquestionable authority yet an unexpected approachability, expressing the character’s pacifist instincts. When his stoicism slips under pressure, brief flashes of anxiety and irritation hit hard. Suda is more openly expressive, and his warmth makes it easy to see why even his keeper begins forming an odd connection with him.

Overall, uneven pacing aside, The Samurai and the Prisoner is an intelligent, beautiful film with spectacular performances by Motoki and Suda. Once you realize the film is not about history’s grand events so much as the people forced to interpret them from incomplete evidence, then you’ll begin to appreciate what Kiyoshi Kurosawa is building.

Rating: 4/5 atoms

The Samurai and the Prisoner hits theaters on July 31st.

The post The Samurai and the Prisoner (Fantasia International Film Festival 2026 Review) appeared first on Nerd Reactor.