Synopsis: In MASTERS OF THE UNIVERSE, Director Travis Knight brings the legendary franchise back to the big screen in this epic live-action adventure. After being separated for 15 years, the Sword of Power leads Prince Adam (Nicholas Galitzine) back to Eternia where he discovers his home shattered under the fiendish rule of Skeletor (Jared Leto). To save his family and his world, Adam must join forces with his closest allies, Teela (Camila Mendes) and Duncan/Man-At-Arms (Idris Elba), and embrace his true destiny as He-Man — the most powerful man in the universe.

Starring Nicholas Galitzine, Camila Mendes, Alison Brie, James Purefoy, Morena Baccarin, Jóhannes Haukur Jóhannesson, Charlotte Riley, Featuring Kristen Wiig as the voice of “Roboto” with Jared Leto and Idris Elba

Directed by Travis Knight

Where to begin?

Let’s sum this up quickly before getting into the details: Masters of the Universe would have been a fantastic movie in 1984. My 14-year-old self probably would have held this thing right up there with E.T., maybe even higher in certain moments because, let’s be honest, this movie has a lot more punching, lasers, swords, and fantasy action flying around.
The obvious glaring issue is that it is 2026, and I am not 14 anymore.
This comedic fantasy action adventure falls flat. Very flat.

The first glaring takeaway is the music score. Brian May is highly regarded as a fantastic guitarist among musicians, best known as the lead guitarist of the legendary band Queen. He plays the theme for our hero, He-Man, throughout the film, and wow, does it get tired fast. I am not entirely sure if Brian May handled the electric guitar soundtrack throughout the entire movie, but it certainly felt like it. The result was dated, loud, irritating, and completely out of sync with the moving pictures on the screen. Every fight scene seemed to call for another electric guitar squeal that came blasting in as if volume alone could create excitement. It did not. The anticipation of that music kicking in every other scene was honestly starting to give me anxiety.
The movie itself is an absolute mess. From the amateur dialogue to the fight scenes, nothing was engaging enough to make me care about character development. Which brings up another major issue: the character development was so weak that I found myself wondering whether I was being punked.
This became especially obvious whenever the movie attempted to shift into serious emotional territory. Every dialogue-heavy scene seemed to turn into someone needing to talk about feelings, open up, or explain the obvious. The scene between He-Man and his father, more than midway through the film, was especially guilty of this. It dragged into an overbearing emotional exchange that felt less like character depth and more like the movie begging us to care.
Meanwhile, the only question running through my mind was: where is Skeletor? I am guessing I was not the only person in the packed theater asking that during this touching father-and-son moment.
Later, during the next-to-last act in the jail, He-Man rallies the masses as some sort of general and starts regurgitating the names of characters we already know because he already named them earlier. Yet we still have to sit through the scene as though this is new information. It was cringe. As bad as the score, and that is saying something.

Idris Elba plays Duncan, father of Teela, who is played by Camila Mendes. Let me say this clearly: I absolutely adore Idris Elba as an actor. Now comes the bitter pill. He is atrocious in this film. Not because he suddenly forgot how to act, but because the character and script are so off-kilter that he never had a chance. This was not a role Idris Elba should have been associated with. He is much better than this material. His character is just as annoying as everyone else, which is almost impressive considering how much talent Elba usually brings to the screen. Before the big battle, Duncan and Teela have to stop and have their big emotional talk. You could feel the collective sigh coming because the movie telegraphed it from miles away. The predictability here was off the charts.
In fact, the person I brought with me to the screener (Hi Cosmo!), he and I both literally predicted the two post-credit scenes before the movie even began. We were just looking at the still image of the movie poster on the screen and called both of them. After the first extra scene played, which was my prediction, we looked at each other in disbelief, but also in that sad, expectant way because we knew what was coming next. Once the credits finished, his prediction hit right on cue. It is kind of sad when you are sitting there waiting for a movie to begin and you have already figured out the two extra scenes at the end.

The two main characters do not fare much better. Adam, also known as He-Man, is played by Nicholas Galitzine, while Skeletor is played by Jared Leto. Both are very forgettable.
Galitzine clearly tries to make this work. You can feel the effort. Unfortunately, that effort falls short every time. This is not the same feeling I had watching Dolph Lundgren in the 1987 Masters of the Universe film. Back then, even if the movie had its own problems, I could still see Lundgren’s potential as an action star. I wanted to see him in something else. That eventually came to fruition with The Punisher two years later and later with Universal Soldier. None of it was Academy Award-winning material, but it was memorable enough to make him more than just the guy who played Drago. I am not saying Nicholas Galitzine will not have a successful Hollywood career. He might. But based on this film, I would not exactly miss him if he never played this type of role again.
Jared Leto, meanwhile, gives an effort that is mediocre at best. Once again, there is almost no meaningful character development. We are given very little understanding of where Skeletor really comes from or why he is so angry all the time. Yes, he is the villain, but villains still need something. Andrew Scott, the Dolph Lundgren character in Universal Soldier, was a villain too, but we knew exactly why he was such an angry guy. Here, Skeletor is mostly just angry because the script says he is angry.
Leto also appears to recycle a bit of his Joker laugh for Skeletor, which is wild once you hear it. To be fair, he was not given much to work with. But let’s also be honest: Jared Leto is not exactly running an acting clinic at this stage either. Maybe someday. Not right now. A little word of advice for Leto: step into some serious civilian roles. Play the jaded lover, the try-hard dad, the husband barely holding it together. Something grounded. Something human. That might be the path that pushes him to the next level. Just a thought.

The supporting cast is as mediocre as the rest of the film. A bad script really shines here, and not in a good way. Nothing works. The jokes fall flat. The fight sequences fall flat. The drama falls flat. The character development falls flat. The pacing is off from beginning to end.

Overall, Masters of the Universe is a disappointing live-action fantasy adventure that does no justice to the original 1983 animated series. I thoroughly enjoyed that show as a 13-year-old boy, and I know for sure that version of me probably would have loved this movie too. The 17-year-old version of me even enjoyed the original 1987 Masters of the Universe film more than this new remake.

That really says it all.

This film feels like something built for a younger version of the audience while forgetting that much of the audience grew up. Nostalgia can get people into the theater, but it cannot carry a weak script, dated execution, poor pacing, forgettable performances, and a score that feels like it is attacking the movie instead of supporting it.

Masters of the Universe had the tools, the characters, and the built-in recognition to deliver something bigger, sharper, and more memorable. Instead, it gives us a film that feels stuck between eras, trying to pull in old fans while never truly understanding what those fans might expect from a modern version of Eternia.

The 13-year-old in me wanted to love it. The adult watching it in 2026 knew better.

-Jay Katz

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Power Ballad – Movie Review

Starring: Paul Rudd as Rick, Nick Jonas as Danny, Havana Rose Liu as Marcia, Jack Reynor as Mac, Peter McDonald as Sandy McDonald as Sandy, Marcella Plunkett as Rachel, Rory Keenan as Binzer, Keith McErlean as Kyle, Paul Reid as Bernard, and Beth Fallon as Amanda.

SYNOPSIS:
When Rick (Paul Rudd), a past-his-prime wedding singer, meets fading boy-band star Danny (Nick Jonas) during a gig, the two bond over music and a late-night jam session. But when Danny turns one of Rick’s songs into the hit that reignites his career, Rick sets out to reclaim the recognition he believes he deserves – even if it means risking everything he cares about. From writer-director John Carney (Sing Street, Once), POWER BALLAD is a feel-good story about music, self-respect, friendship, and the price of ambition.

Lionsgate presents, in association with 30WEST + Fís Éireann / Screen Ireland, a Likely Story / Distressed Films production, in association with Treasure Entertainment.

When I arrived at the AMC Theatre in Aventura for the Power Ballad screening, I immediately knew this wasn’t going to be a typical early showing. A live musician—Josh Gluck—was performing at the foot of the massive screen, filling the room with an acoustic set that set the tone long before the film even started. I walked in twenty minutes early, expecting the usual trickle of attendees, but the place was already packed. The energy was warm, lively, and surprisingly communal. It felt less like a screener and more like a pre‑show experience designed to ease you into the world of the film. And honestly, it worked.

As always, I go into these screenings blind. I accept them based on the synopsis and sometimes the cast, but I never watch trailers beforehand. I love experiencing a movie with zero preconceived images—no trailer moments, no expectations, no hints. If you’ve never done this as a moviegoer, try it at least once. It’s exhilarating to let a film reveal itself to you in real time.

Once the live music ended, the movie began, and Power Ballad wasted no time establishing its tone. The soundtrack is strong throughout, with a mix of catchy melodies and emotional undercurrents that fit the story well. That said, the film’s central song, “How to Write a Song Without You,” gets played a few more times than necessary. It’s a good track—written and performed by Nick Jonas himself, with a memorable hook—but by the final repetition, I found myself wishing the film trusted the audience to remember it without reinforcement.

The story unfolds largely as I expected, but that doesn’t mean it lacked charm. Paul Rudd’s performance as Rick is instantly likable. He plays a man who’s been knocked around by life but still carries a spark of sincerity and hope. Opposite him is Nick Jonas as Danny Wilson, a character who slowly reveals layers of dishonesty and self‑interest. Jonas develops Danny just enough to make you genuinely frustrated with him, which is exactly what the story requires. Together, the two create a dynamic that pulls you into the film’s central conflict—one rooted in trust, integrity, and the painful gray area between ambition and betrayal.

The film’s message is clear without being heavy‑handed: choose the high road, even when it’s the harder one. Stand up for yourself. Protect your passion. Don’t let others rewrite your truth. And just as importantly, listen to the people who care about you—especially when you don’t want to hear what they’re saying.

Supporting performances add real value. Peter McDonald as Sandy, Rick’s guitarist and best friend, brings a grounded, loyal presence that balances the emotional swings of the story. Beth Fallon, playing Rick’s daughter Amanda, adds heart and authenticity. Neither character feels forced or inserted for convenience; they fit naturally into the film’s rhythm and help flesh out Rick’s world.

The movie begins with a light comedic tone, but as Rick’s quest to prove Danny stole his song intensifies, the story shifts into more serious territory. A pivotal confrontation between the two artists—occurring well past the halfway mark—serves as the emotional turning point. It’s a strong scene, one that reframes the stakes and propels the film toward its final act. Even though I had a sense of where the story would ultimately land while Amanda was skimming around, the journey there remained engaging and satisfying. As felt by the audience reaction as well.

Power Ballad is, without question, a great date‑night movie. It’s a feel‑good film with enough emotional weight to spark conversation afterward—especially around themes of trust, creative ownership, and how one might react if placed in Rick’s situation.

At a brisk 1 hour and 38 minutes, the film moves quickly and never overstays its welcome. Not once did I feel my time was being wasted, which is more than I can say for many films in this genre. It’s not a great film, but it is a good one—earnest, entertaining, and easy to enjoy.

Go see Power Ballad. It’s worth your time.

— Jay Katz

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Hot New Funko POPS! This Week

Hot New Funko POPS! This Week

New release day for May 13, 2026 brings a surprisingly strong batch of Funko Pops for collectors, and this week is not just about grabbing another vinyl figure because the shelf looked lonely. This lineup has franchise depth, character demand, display appeal, and a few early sell-out warning signs that make the collector radar start blinking. 

Funko POP! Heroes DC Pride Jonathan Kent Vinyl Figure belongs in this week’s collector conversation, especially with Midtown Comics showing the item as sold out for the 5/13/2026 release window. Jonathan Kent has become one of DC’s more important modern Superman-family characters, and this Pride release gives the figure an added collector hook beyond the standard hero pose. Funko’s listing describes the figure as Jonathan Kent in his iconic super suit with a Pride flag twist, standing approximately 4.7 inches tall, while Entertainment Earth lists it as DC Heroes Pride Jonathan Kent Funko Pop! Vinyl Figure #620. For collectors, this one checks a few boxes at once: modern DC relevance, Pride collection appeal, Superman-family visibility, and early sold-out movement where collectors were already watching.
Funko POP! Star Wars: Legends Mara Jade is the kind of release that makes longtime Star Wars collectors stop scrolling. Mara Jade still carries that Expanded Universe / Legends gravity, which means she is not just another background character in a sea of galactic plastic. BigBadToyStore lists the Mara Jade Specialty Series Pop as a May 2026 pre-order, with some condition tiers already showing sold out, while another retailer result shows Mara Jade sold out entirely. That does not automatically mean every retailer is tapped out, but it does tell collectors the demand is already there.
Funko POP! NBA Chicago Bulls Michael Jordan 1998 All-Star Game MVP feels like the safest collector logic in the group because Jordan collectibles rarely need a long sales pitch. This one ties directly to the 1998 All-Star Game MVP moment, which gives it a cleaner hook than a random pose or generic uniform release. NBA Store labels the item “Most Popular,” and multiple retailer pages show sell-out signals on versions or listings connected to this Pop. That is exactly the kind of early movement collectors tend to notice after the easy copies disappear.
Funko POP! & Buddy Supergirl with Puppy Krypto has the built-in advantage of timing. Supergirl and Krypto together make this more than a single-character release, and collectors tend to pay attention when a movie-tied Pop includes a companion figure with shelf appeal. BigBadToyStore shows the Supergirl with Puppy Krypto listing as a May 2026 pre-order with at least one condition option sold out. 
Funko POP! Premium Yu-Gi-Oh Red-Eyes Black Dragon Card Vinyl Figure is one of the sharper collector pieces this week because it is not just a character standing in a box. The premium card-style presentation gives it more display value, and Red-Eyes Black Dragon has that old-school Yu-Gi-Oh collector recognition that still pulls weight. A much stronger shelf concept than the standard “here is another dragon, please make room” routine.
Funko POP! Nooks Lord of the Rings Bilbo Baggins is another one that feels built for display collectors. The Pop Nooks format gives Bilbo a Bag-End themed setup, which immediately separates it from a basic Lord of the Rings release. Current product listings show it across major collectible retailers including Funko, Entertainment Earth, BigBadToyStore, BoxLunch, and Hot Topic. That wider availability may help collectors early, but Lord of the Rings display pieces have a funny way of looking “easy” until everyone suddenly decides they want one.
Funko POP! Marvel X-Men ’97 Apocalypse brings Marvel animation heat into the week, and Apocalypse remains one of those villains who always feels bigger than the box he comes in. Midtown lists Apocalypse, Cable, En Sabah Nur, and Storm Wasteland X-Men ’97 Pops for 5/13/2026, giving collectors a mini-wave to track. Apocalypse gets the edge here because major villain Pops tied to an active animated brand usually carry better long-term collector logic than another background roster filler.

-Jay Katz

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This screening was, without exaggeration, the wildest I’ve ever attended. The place was buzzing. Right at the foot of the IMAX screen, a DJ was blasting Michael Jackson classics while three major local radio stations had their own DJs hyping up the crowd. Before anyone even sat down, it felt like a full‑blown event. There was a three‑person MJ dance‑off judged by the audience, a Michael trivia battle, and a final open‑invite dance showcase where at least twenty people jumped up to show their best MJ moves. Prizes were flying out left and right. For a stretch of time—longer than a stretch—it genuinely felt like 1983 again. The energy was real, sincere, and contagious. The turnout was massive. And once the movie finally started, that momentum carried straight into the film.

First things first: this movie needs to be seen in IMAX. Not “should,” not “would be nice”—needs. The scale, the sound, the cinematography… they’re built for that giant canvas. Watching it anywhere else strips away a chunk of its impact. The film breathes differently in IMAX. Do yourself a favor and experience it that way.

“Michael” opens in the final, brutal days before the Jackson 5 landed their first real gig. Rhyan Hill (Tito), Jayden Harville (Jermaine), Jaylen Lyndon Hunter (Marlon), Nathaniel Logan McIntyre (Jackie), and Juliano Krue Valdi as young Michael all deliver, but it’s the dynamic with Joe Jackson—played with chilling precision by Colman Domingo—that hits hardest. It’s infuriating, heartbreaking, and gripping from the jump. You want to leap through the screen and stop him yourself.

From there, we ride the wave of the Jackson 5’s rise and eventually land in 1978, where Michael starts pushing toward a solo career—much to Joe’s disapproval. Joe’s worldview is summed up in one line: “You’re either a winner or you’re a loser.” Simple words, but when they’re beaten into you, they take on a whole different meaning. Joe Jackson was an abusive force, and the film doesn’t soften that truth. Even Michael’s mother, played beautifully by Nia Long, is powerless against him. Her attempts to protect her son never land. Michael never gets the rescue he deserved.

We all know the broad strokes of Michael’s story, but this film fills in the emotional architecture. It’s like watching the Titanic—you know the ending, but you still want the full picture. Here, you get it brick by brick.

The performances across the board are phenomenal. Not a single weak link. Young Michael commands the screen every time he appears—anger, joy, trauma, all of it. It’s rare to see a child actor deliver with that level of depth. KeiLyn Durrel Jones as Michael’s bodyguard is another standout. And Colman Domingo? He gives you the blueprint for Michael’s lifelong wounds. His portrayal makes the psychology click in a way that’s both devastating and illuminating.

The pacing is spot‑on, the music pulses through the visuals, and the cinematography is razor‑sharp. Every shot feels intentional. Every close‑up has weight. And yes—this is exactly why IMAX matters.

By the time we reach 1978/1979, Jaafar Jackson steps in as Michael and absolutely nails it. You feel the internal tug‑of‑war—his ambition, his fear, his need to break free. The 1984 Pepsi accident becomes a turning point, clarifying the direction he wanted to take… while also introducing the painkillers that would eventually cost him everything.
We dive into the making of the biggest‑selling record of all time, Thriller, and the behind‑the‑scenes process is absolutely captivating. From the origins of “Beat It” and “Thriller” to the very first “Billie Jean” performance, the film lays it all out. One moment I was waiting for in particular was the iconic guitar riff in “Beat It.” Would they acknowledge the legendary guitarist behind it? The movie doesn’t miss a beat.

The film does not cover the early 90’s controversy surrounding Michael. One major reason for this is because the film does not approach this particular era of his life. Maybe in a second film?

One noticeable omission: Janet Jackson. If there’s one thing to nitpick, it’s the absence of the sibling he was closest to. Their bond mattered, and it’s strange not to see it represented—especially considering they later teamed up for “Scream,” a song built on shared frustration and injustice.

Semi-spoiler alert!?
The ending hits like the final scene of The Sopranos—abrupt, intentional, leaving the entire audience wanting more. And honestly, there is more. Director Antoine Fuqua knew exactly what he was doing. He absolutely deserves an award consideration for this film. Actually, the whole team does—cinematographer Dion Beebe, the makeup department, sound, everyone. They all crushed it.
IMAX Stat.

-Jay Katz

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NEW Sold out Funko Pops This Week 4-1-26

The new release sold out Funko Pops this week cover a wide spread of collector tastes, which is usually a sign the lineup had real strength instead of one or two obvious favorites carrying the group. Anime, wrestling, movies, television, and Disney all showed up here, and the bigger story is how quickly several of these moved once collectors saw chase versions, stylized deco treatments, and character choices that already had built-in fan bases. For anyone tracking the new release sold out Funko Pops this week, this batch feels like a reminder that collectors still react fast when Funko lines up recognizable properties with the right look and a few harder-to-land pieces.

NEW Sold out Funko Pops This Week 4-1-26

RoboCop is one of the more obvious collector plays in this week’s sold out group because the design does not need much explanation. The metallic body, the battle-damaged look on the chase presentation, and the simple blunt pose all fit the character exactly the way they should. Funko describes this RoboCop release as part of the RoboCop 2 set and notes a 1-in-6 chance for the battle-damaged chase, which is the kind of detail collectors immediately lock onto when supply starts drying up. That chase angle matters here because damage variants tend to feel more connected to the character’s screen presence than a simple repaint.

Jewelry Bonney is another strong example of why the new release sold out Funko Pops this week had range. This One Piece figure leans hard into the soft cloud base, bright pink eyes, and white hair sculpt that immediately separates it on a shelf. Funko identifies the figure as Bonney from the Egghead Arc in her Gear 5 form and notes a 1-in-6 chance at a glow-in-the-dark chase. That combination of a current One Piece look with a chase version was always going to keep this one moving.

Afro is one of the best pure character translations in the group. The sculpted hair, stern expression, headband details, and sword-ready stance all do the work without overcomplicating the figure. Funko’s official listing frames Afro around his pursuit of vengeance and the Number One headband, which is exactly the core of the character’s story. That focus helps make this release feel sharper than a generic anime drop. It looks like a figure made for people who know the property rather than just people filling shelf space.

NEW Sold out Funko Pops This Week 4-1-26

The Rex Splode chase is the kind of variant that gets attention quickly because it is not subtle. The bloodied battle-damaged look changes the tone of the figure right away, and that usually gives the chase more perceived collector weight than a minor color swap. Funko states there is a 1-in-6 chance of finding the battle-damaged chase, and that is usually enough to turn a standard release into a fast-moving one once the community decides the variant is the version to own. With Invincible continuing to hold attention, this one had very little room to sit around.

Dodger with Oliver has a very different kind of appeal, but it fits this sold out conversation just as well. The Pop & Buddy setup gives collectors a larger main character and a smaller companion figure, which already makes it feel like more than a standard single release. The chase status matters here too, because Funko specifically frames Chance of Chase items as limited-quantity variations shipped at random. For Disney collectors, that is usually enough to turn a fun release into a harder target. The sunglasses on Dodger and the smaller Oliver figure give this one a clean shelf presence without trying too hard.

Joseph Joestar with Iggy is one of the better duo releases in this lineup because it captures personality without needing a huge action pose. Joseph’s hat, gloves, and worn facial detailing do a lot of the heavy lifting, while Iggy gives the figure an instant JoJo identity boost. Funko lists this as a Pop & Buddy release in the JoJo’s Bizarre Adventure line, and that buddy format is a real advantage when collectors want something that feels a little more substantial than a standard single figure.

NEW Sold out Funko Pops This Week 4-1-26

Bray Wyatt stands apart because it is not a chase-driven sellout story. It is more about presentation and fan recognition. Funko describes this as a WWE 60th Anniversary Pop and the deco styling gives it a more stylized, almost surreal finish than a straightforward ring-gear release. The blue face design and bright eyes do most of the visual work here. This one feels aimed at fans who wanted a Bray Wyatt piece that looked more iconic than literal.

-Jay Katz

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a Pascal Pictures, Open Invite Films/Waypoint Entertainment, Lord Miller Production

Directed by: Phil Lord & Christopher Miller
Screenplay by: Drew Goddard
Based on the novel by: Andy Weir
Produced by: Amy Pascal, p.g.a., Ryan Gosling, p.g.a., Phil Lord, p.g.a., Christopher Miller, p.g.a., Aditya Sood, p.g.a., Rachel O’Connor, p.g.a., Andy Weir
Executive Producers: Patricia Whitcher, Lucy Winn Kitada, Nikki Baida, Ken Kao, Drew Goddard, Sarah Esberg
Cast: Ryan Gosling, Sandra Hüller, James Ortiz, Lionel Boyce, Ken Leung, Milana Vayntrub, Priya Kansara
Rating: PG-13 for some thematic material and suggestive references

Science teacher Ryland Grace (Ryan Gosling) wakes up on a spaceship light-years from home with no recollection of who he is or how he got there. As his memory returns, he begins to uncover his mission: solve the riddle of the mysterious substance causing the sun to die out. He must call on his scientific knowledge and unorthodox ideas to save everything on Earth from extinction… but an unexpected friendship means he may not have to do it alone.

Before I head out to a screener, I always check the runtime. With the long drive, the late-night note‑taking, the shower, and whatever sleep I can salvage before work, I like to know exactly what kind of night I’m signing up for. So when I peeked at the runtime for Project Hail Mary and saw 2 hours and 36 minutes, my enthusiasm took a hit. That’s a commitment. And as readers here know, I don’t watch trailers anymore—they spoil too much. I stick to the synopsis and the poster, decide if I’ll bite, and factor in how busy life already is. This time, I wish I hadn’t taken the bait.

Ryan Gosling is a hit-or-miss actor for me. Blade Runner 2049, Drive, The Notebook—those hit. Others… we’ll leave unnamed. Unfortunately, Project Hail Mary lands firmly in the miss column…..for me.

Gosling (as Ryland Grace) spends a huge chunk of this movie acting opposite himself and a prop, which I’ll give him credit for—it’s not an easy task. His emotional beats were sparingly there at times, but not enough for me to fully invest. And then there’s the alien. My goodness. The alien. A walking rock creature speaking its own language, which Ryland deciphers in about twenty minutes. From there, it’s nonstop back‑and‑forth with this thing he names Rocky. It’s a lot. And not in a good way.

The PG‑13 rating is felt throughout. At times, it felt childish, like I was watching an extended episode of Fraggle Rock—and not one of the good ones. The movie drags, and I kept mentally trimming scenes: “Cut ten minutes here… cut that whole sequence… we get it, we get it.”

Rocky never clicked for me. No face, no expression, nothing to latch onto emotionally. I felt the same way I did when C‑3PO’s memory got wiped or when R2‑D2 got blasted in the original Star Wars—zero attachment. Compare that to Old Yeller, The Iron Giant, WALL‑E—non-human characters with faces, expressions, or something to connect with. Rocky looked like a puppet leaning against glass during emotional moments…. with a face they forgot to put on it. It was hard not to chuckle.

Kids under 13 might enjoy parts of this, but even then, the length is a mountain. I can easily see younger viewers checking out halfway through.
It’s as though the film tried so hard to be “deep” with a message that never hit its mark.

As for the rest of the cast… nothing stood out. No performances worth spotlighting. Just more background noise orbiting around a story I couldn’t get invested in.

Watching this film on IMAX did not help its cause either. Space truly is a quiet, lonely place. A few wide-open shots of the empty vastness of space did not impress me the way they used to. That ship has sailed a long time ago, just like Ryland’s ship did.
For a movie set in space, with all the visual spectacle that implies, it’s shockingly forgettable. Even the big “spaceships meeting for the first time” moment takes forever to develop. The whole thing is a slog, and I can’t recommend it.

It’s a predictable sci-fi that will have you yearning for the 2-hour and 36-minute mark to hit because it’s fleecing your time that you’ll never get back. You know how things will eventually pan out, yet I was stuck there. Waiting.
A long runtime doesn’t automatically make a film “epic.” Too many reviewers walk into a theater already convinced it does. Epic is E.T.—because the audience, correction, I, genuinely cared whether E.T. made it home. I didn’t feel that for Rocky at all. This movie wants to be a modern‑day E.T., but without the heart, without the emotional pull, without an Elliot to anchor it. It’s E.T. on steroids—bigger, louder, longer—but missing the soul that made the original unforgettable.

If this lands on Amazon Prime in a month or two, block out 2 hours and 36 minutes and ask yourself afterward: Was that really worth it?

-Jay Katz

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Cover Gem of the Week Star Wars: Shadow of Maul #1 – Bjorn Barends

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Cover Gem of the Week Star Wars: Shadow of Maul #1 – Bjorn Barends
This week’s Cover Gem of the Week does not whisper subtlety. It stares directly at you with cracked teeth and dares you to blink. Star Wars Shadow of Maul #1 Bjorn Barends Variant takes one of the most visually striking villains in the Star Wars universe and somehow makes him even more unsettling. Because apparently Darth Maul was not intimidating enough already. Bjorn Barends leans into the raw menace of Maul, framing him in a tight, suffocating close-up that feels less like a comic cover and more like a threat issued personally to the collector holding it. The texture work alone deserves attention. The hood drapes over Maul’s face with a gritty realism that contrasts perfectly with the deep crimson and black facial markings. This is not a glossy, polished portrait. This is battle-worn, scarred, and very aware of its own darkness. The eyes are partially hidden, forcing your focus toward that twisted grin, revealing teeth that look like they have seen more lightsaber duels than they care to admit. It is unsettling in the best possible way. That is what makes Star Wars Shadow of Maul #1 Bjorn Barends Variant stand out on the shelves for New Comic Book Day. In a sea of wide shots, lightsabers, and galactic explosions, this cover chooses intimacy and threat. It pulls you in close. It feels cinematic without trying too hard. Barends uses lighting and shadow to create depth that gives Maul a near three-dimensional presence. The red face markings are not flat; they glow against the darkness, creating a visual tension that fits perfectly with the tone of a Maul-centered storyline. From a pop culture standpoint, Maul remains one of the most consistently relevant characters across films, animated series, and expanded universe storytelling. A character that debuted in The Phantom Menace and refused to stay dead has become a staple of Star Wars lore. That longevity matters. A character-driven series like Star Wars Shadow of Maul #1 Bjorn Barends Variant taps directly into that established fan base. And when you combine that with a striking, almost poster-worthy variant by Bjorn Barends, you get a cover that collectors and Star Wars fans are going to gravitate toward quickly. This is not about flashy gimmicks. It is about presence. It is about owning a piece of artwork that feels like it belongs framed, not bagged. Star Wars Shadow of Maul #1 Bjorn Barends Variant delivers that presence without apology. The tight composition, the heavy shadow, the sinister grin, it all works together to create a cover that does exactly what a Cover Gem of the Week should do. It commands attention, it holds it, and it leaves you slightly uncomfortable. Which is exactly how a Darth Maul cover should make you feel.

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Disclaimer: InvestComics/Trending Pop Culture is a website created for entertainment purposes only. We are not investment advisors, and the information provided in our articles should not be considered financial or investment advice. We do not take responsibility for any investment decisions made by our readers, and we cannot be held liable for any loss in value that may result from following our content. Market values are subject to change, and we have no control over the market’s fluctuations, whether they move up or down. By reading any article on our website, you agree that InvestComics/Trending Pop Culture is not responsible for any financial outcomes or losses that may occur as a result of your actions. We do not post photos or images with the intent to defraud, deface, or monetarily profit from the property. All photos, images, comic books, toys, and other forms of pop culture are displayed purely for entertainment purposes. Our use of such materials is intended to inform, engage, and entertain our audience in good faith and without any intention to cause harm or infringe upon the rights of others. No material, including but not limited to text, images, videos, or other content, shall be used, shared, copied, or profited from TrendingPopCulture.com or InvestComics.com, or from any social media posts or affiliated outlets, without the express written consent of the owner. Cover Gem of the Week Star Wars: Shadow of Maul #1 – Bjorn Barends Variant

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Hot New Comics This Week 3-4-26

Speculation isn’t about hype. It’s about awareness.

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Hot New Comics This Week 3-4-26
We spotlighted Dorc #1 in the Hot Picks before it even hit shelves, it sold out, and now here comes the 2nd printing. That right there is the blueprint for why Hot Picks for NCBD: Key Issues, Bold Firsts, and Speculative Gems matters. Timing. Awareness. And paying attention before the herd shows up.

The second printing of Dorc #1 isn’t just a reprint. It’s confirmation. Image Comics doesn’t rush to second prints for fun. When an issue gets that treatment, especially this fast, it means retailers underestimated demand. Collectors who hesitated are now circling back. The first print already has that early “you should’ve grabbed it” vibe, and now the second print becomes its own collectible lane. Sometimes these later printings carry lower print runs than the first (We call White Sky #1 too!). Sometimes they carry subtle cover tweaks. Either way, it tells you the character and concept hit. And when a new property hits in today’s market, that’s where long-term value speculation begins.

Now look at the rest of this week and you start seeing a pattern. We’ve been at this since 2005, we got you. 

Iceman Omega #1 isn’t just another X-book. “Omega” in mutant language is never a throwaway word. When Marvel centers a character like Iceman in an Omega-labeled issue, that signals power escalation, status shifts, or long-term positioning. This isn’t filler. This is a potential pivot point. Power upgrades, new cosmic angles, or even the introduction of new threats tied to Bobby Drake’s abilities can quietly become key moments down the line. Collectors know that late-cycle character elevation issues sometimes age very well.

Then you have Moonstar #1. Dani Moonstar has always been one of those characters that hardcore X-fans respect, but she’s never been pushed fully into the mainstream spotlight. A #1 tied to her name immediately raises eyebrows. First issues centered around legacy mutants often introduce new supporting cast, new villains, or redefine abilities. Those subtle first appearances inside character-focused launches are exactly the kind that slip past casual buyers and then get rediscovered later.

On the Image side, Narco #1 brings that gritty, chaotic energy that independent books do so well. New Image #1s are always speculative territory. Fresh universes, new villains, original antiheroes — that’s the formula that built Image into what it is. When a brand-new concept lands with strong early reaction, those first printings quietly disappear. If Narco introduces even one breakout character, that #1 becomes the foundation.

Hot New Comics This Week 3-4-26

You can’t ignore Star Wars: Shadow of Maul #1 either. Darth Maul remains one of the most bankable villains in the Star Wars galaxy. A new #1 centered around him means expanded canon, potential new Sith lore, and possibly new characters tied to Maul’s criminal empire era. Every time Star Wars expands villain mythology, collectors watch closely. New Sith apprentices. New crime syndicate leaders. New adversaries. Those first appearances can become long-term sleepers.

The Amazing Spider-Man #23 carrying the Spider-Man/Venom “Death Spiral” banner is exactly the kind of storyline that can introduce new symbiote layers. Any time the symbiote mythos expands, collectors pay attention. New hosts, new offshoots, new designs — even a single panel introduction of a new symbiote concept can drive aftermarket heat. Spider-Man titles always print big, but key developments still separate themselves from the pack.

Then there’s The Avengers #36. Team books don’t always scream speculation at first glance, but they’re prime territory for surprise introductions. One new character added to the roster. One unexpected villain reveal. One status quo shift that sticks. Avengers issues ha ve historically hidden first appearances inside what looked like standard chapters. That’s why collectors never fully sleep on them.

This week isn’t about one single “guarantee.” It’s about patterns. Second printings signaling demand. #1 launches building new corners of universes. Omega-level character focus. Villain-driven expansions. Team books that quietly introduce someone new. That’s the mindset behind Hot Picks for NCBD: Key Issues, Bold Firsts, and Speculative Gems.

Speculation isn’t about hype. It’s about awareness.

And when a book like Dorc #1 sells out before many even noticed it was on shelves, that’s your reminder to stay sharp.

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Disclaimer: InvestComics/Trending Pop Culture is a website created for entertainment purposes only. We are not investment advisors, and the information provided in our articles should not be considered financial or investment advice. We do not take responsibility for any investment decisions made by our readers, and we cannot be held liable for any loss in value that may result from following our content. Market values are subject to change, and we have no control over the market’s fluctuations, whether they move up or down. By reading any article on our website, you agree that InvestComics/Trending Pop Culture is not responsible for any financial outcomes or losses that may occur as a result of your actions. We do not post photos or images with the intent to defraud, deface, or monetarily profit from the property. All photos, images, comic books, toys, and other forms of pop culture are displayed purely for entertainment purposes. Our use of such materials is intended to inform, engage, and entertain our audience in good faith and without any intention to cause harm or infringe upon the rights of others. No material, including but not limited to text, images, videos, or other content, shall be used, shared, copied, or profited from TrendingPopCulture.com or InvestComics.com, or from any social media posts or affiliated outlets, without the express written consent of the owner. Hot New Comics This Week 3-4-26 

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Best New Comic Covers 3-4-26

Check out these articles from our website:
Last Week  – Hot New Comics 2-25-26
Last Week  – Best New Comic Covers This Week 2-25-26
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Last Week – Cover Gems of the Week – Punisher and Wonder Woman

Best New Comic Covers 3-4-26
This week’s Best New Comic Covers This Wednesday list leans heavily into controlled chaos, clean hero compositions, and a little bit of menace just staring back at you. As always, these are not about story breakdowns. This is about cover art doing what it’s supposed to do — stop you mid-scroll, make you reconsider your pull list, and remind you that comic collecting is often about the art as much as the interior pages. The Best New Comic Covers This Wednesday deliver on impact, composition, and the kind of energy that makes speculation and cover collecting part of the weekly ritual.

Daredevil & Punisher: The Devil’s Trigger #5 – Mario Santoro wastes absolutely no time being subtle. Mario Santoro drops Daredevil and Frank Castle into a literal explosion of orange heat and collapsing infrastructure. The composition pushes Punisher forward in sharp perspective with his weapon extended directly at the viewer, while Daredevil dominates the upper plane with raised billy clubs, muscles tensed like a coiled spring. Santoro’s lighting work is what seals this cover. Fire reflections ripple across Daredevil’s suit while debris frames the action without cluttering it. It feels cinematic, heavy, and aggressive without tipping into parody. For collectors who appreciate kinetic superhero violence rendered with painterly polish, this is exactly what Best New Comic Covers This Wednesday should look like.

Star Wars: Shadow of Maul #1 – Dan Panosian shifts everything into restraint. Panosian gives us a cloaked figure standing against a massive moonlit skyline, double-bladed red saber ignited but not swinging. The blues of the night cityscape contrast sharply with the red glow, making the weapon feel surgical rather than chaotic. Panosian’s linework is clean but textured, with heavy shadow controlling the silhouette. There’s space on this cover. Breathing room. The figure stands centered and calm, which somehow makes it more threatening. In a week filled with explosive Marvel energy, this is a reminder that composition and atmosphere can carry equal weight on the Best New Comic Covers This Wednesday list.

Then there’s Nova Centurion #5 – Partha Pratim, which leans into bright, controlled cosmic power. Partha Pratim frames Nova in a futuristic skyline with crackling energy wrapping both fists. The gold armor glows without overpowering the city backdrop, and the lightning arcs guide your eye in a deliberate circular motion around the character. It’s clean superhero iconography done correctly. No overcrowding. No unnecessary background noise. Just a central figure radiating power in a way that feels classic but not dated. This kind of polished hero presentation continues to make cosmic titles stand out visually on racks and online thumbnails alike.

Best New Comic Covers 3-4-26

The Amazing Spider-Man #23 – Ivan Talavera brings a different tone entirely. Talavera places a red-haired figure in a sleek black suit front and center while a monstrous symbiote presence looms behind, mouth open and dripping with exaggerated teeth. The contrast between the calm, almost fashion-like pose of the central character and the wild organic chaos of the symbiote wrapping around her shoulders creates tension. Talavera’s rendering of fabric texture and skin tone detail elevates it beyond standard superhero posing. The webbed background subtly anchors it to Spider-Man mythology without overpowering the portrait. For those tracking symbiote aesthetics and high-gloss character-focused variants, this one quietly demands attention among the Best New Comic Covers This Wednesday selections.

Shifting gears, The Amazing Spider-Man #23 – Iban Coello delivers energy in motion. Coello’s Spider-Man variant bursts forward with glowing blue kinetic energy around both fists. The red background splatter design intensifies the forward motion, while the circular effect framing the character acts like a visual shockwave. Coello’s linework stays sharp even with the motion blur effect, and the perspective gives the punch real weight. It’s dynamic without feeling cluttered. That balance is harder than it looks and why it earns its place on the Best New Comic Covers This Wednesday roundup.

Finally, X-Men #26 – Luciano Vecchio gives us a bold, graphic-forward design. Vecchio places a charging figure in black and red slicing through a minimalist background split by a large red X. It’s simple, almost poster-like in its execution. Clean lines, strong negative space, and a focused color palette make this pop instantly in thumbnail form. Vecchio understands that sometimes less detail means more impact. It’s sharp, direct, and unapologetically graphic, which makes it a strong addition to this week’s Best New Comic Covers This Wednesday list.

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Disclaimer: InvestComics/Trending Pop Culture is a website created for entertainment purposes only. We are not investment advisors, and the information provided in our articles should not be considered financial or investment advice. We do not take responsibility for any investment decisions made by our readers, and we cannot be held liable for any loss in value that may result from following our content. Market values are subject to change, and we have no control over the market’s fluctuations, whether they move up or down. By reading any article on our website, you agree that InvestComics/Trending Pop Culture is not responsible for any financial outcomes or losses that may occur as a result of your actions. We do not post photos or images with the intent to defraud, deface, or monetarily profit from the property. All photos, images, comic books, toys, and other forms of pop culture are displayed purely for entertainment purposes. Our use of such materials is intended to inform, engage, and entertain our audience in good faith and without any intention to cause harm or infringe upon the rights of others. No material, including but not limited to text, images, videos, or other content, shall be used, shared, copied, or profited from TrendingPopCulture.com or InvestComics.com, or from any social media posts or affiliated outlets, without the express written consent of the owner. Best New Comic Covers 3-4-26

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Cover Gems of the Week – Punisher and Wonder Woman

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Cover Gems of the Week – Punisher and Wonder Woman
Some covers whisper menace. The Marvel Knights The Punisher #4 Dan Panosian variant hangs it on a telephone wire and lets it sway in the open air. This week’s Cover Gem of the Week does not rely on subtle lighting or quiet symbolism. It plants Frank Castle front and center, arms stretched wide, guns drawn, knife clenched between his teeth, and dares the entire street to blink first. The Marvel Knights The Punisher #4 Dan Panosian variant is unapologetically loud in composition but razor sharp in execution. Panosian builds the scene with layered storytelling. The background is not filler. Telephone poles sag under the weight of hanging sneakers and tangled wires, a visual shorthand for territory, gangs, and long-standing grudges. The crowd behind Frank is not faceless. Each character has attitude, posture, and expression that adds to the tension. Frank stands in the center like a human exclamation point, his skull emblem smeared and battle-worn, the red and orange sunset washing the entire scene in a gritty glow. The Marvel Knights The Punisher #4 Dan Panosian variant leans heavily into that raw Marvel Knights aesthetic, where the world feels grounded, dangerous, and slightly off-balance. There is a cinematic sweep to this cover. The wide layout gives it a poster-like presence, almost like a grindhouse film advertisement reimagined through modern comic book artistry. Panosian’s linework is clean but aggressive, and the color palette amplifies the street-level chaos without overwhelming the eye. The guns are oversized in perspective, deliberately pushing toward the reader, making the Marvel Knights The Punisher #4 Dan Panosian variant feel confrontational rather than decorative. This is not a polished superhero pose. It is a challenge. As a Cover Gem of the Week selection, the Marvel Knights The Punisher #4 Dan Panosian variant stands out because it captures everything fans expect from a Punisher cover without repeating a tired formula. It is gritty without being cluttered, dramatic without being cartoonish, and bold without sacrificing detail. If you are scanning new comic book releases and looking for a cover that actually tells a story before you even open the first page, the Marvel Knights The Punisher #4 Dan Panosian variant makes that decision easy. It does not ask to be displayed. It insists on it.
Cover Gems of the Week – Punisher and Wonder Woman
There are covers that politely sit on the shelf and then there are covers that glare back at you like you owe them money. The Absolute Wonder Woman #17 Mattia De Iulis variant falls squarely into the second category. Mattia De Iulis delivers a hyper-detailed, emotionally raw portrait of Diana that feels more like a cinematic close-up than a traditional superhero cover. Blood runs down her face, her knuckles are taped and torn, and the intensity in her eyes suggests this is not a mythological goddess posing for a statue. This is a warrior who has already been through the battle and is ready for another round. The Absolute Wonder Woman #17 Mattia De Iulis variant thrives on its realism. The lighting is warm and harsh at the same time, casting dramatic highlights across her hair while the shadows carve out the exhaustion and fury in her expression. The background stays minimal, forcing the viewer to lock in on Diana’s face and clenched fists. It is a bold artistic choice, but subtle in execution. De Iulis leans into texture, skin tones, and fine detail, giving this Absolute Wonder Woman #17 Mattia De Iulis variant a premium art-book feel rather than a standard monthly comic aesthetic. The DC All In banner sits quietly in the corner, almost secondary to the emotional weight happening front and center. This cover understands that sometimes less spectacle equals more impact. No oversized action scene, no crowded background, just an unfiltered close-up of a hero who looks like she has had enough. As a Cover Gem of the Week selection, the Absolute Wonder Woman #17 Mattia De Iulis variant represents everything that makes modern variant covers stand out in today’s comic book market. Strong character focus, painterly detail, and a fearless depiction of vulnerability and strength all in one frame. If you are browsing new comic book releases and looking for standout comic book cover art, this Absolute Wonder Woman #17 Mattia De Iulis variant is the definition of a cover that stops scrolling and stops foot traffic at the comic shop.

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Disclaimer: InvestComics/Trending Pop Culture is a website created for entertainment purposes only. We are not investment advisors, and the information provided in our articles should not be considered financial or investment advice. We do not take responsibility for any investment decisions made by our readers, and we cannot be held liable for any loss in value that may result from following our content. Market values are subject to change, and we have no control over the market’s fluctuations, whether they move up or down. By reading any article on our website, you agree that InvestComics/Trending Pop Culture is not responsible for any financial outcomes or losses that may occur as a result of your actions. We do not post photos or images with the intent to defraud, deface, or monetarily profit from the property. All photos, images, comic books, toys, and other forms of pop culture are displayed purely for entertainment purposes. Our use of such materials is intended to inform, engage, and entertain our audience in good faith and without any intention to cause harm or infringe upon the rights of others. No material, including but not limited to text, images, videos, or other content, shall be used, shared, copied, or profited from TrendingPopCulture.com or InvestComics.com, or from any social media posts or affiliated outlets, without the express written consent of the owner. Cover Gems of the Week – Punisher and Wonder Woman

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