by Josh Sewell
Hadestown: The Musical
(Not rated. Opens in theaters on July 24 for five days only.)
The premise: A filmed live performance of the Tony Award-winning musical’s West End production, which features five actors who originated their roles on Broadway. The story blends modern folk and jazz to reimagine the ancient tragedy of Orpheus and Eurydice.
The verdict: Despite visiting New York City several times over the last few years, one of my biggest regrets was not finding a chance to see Hadestown. I’m an English teacher and a theater nerd, so the subject matter of Anaïs Mitchell’s show is right up my alley. Plus, well-known songs like “Road to Hell” and “Wait for Me” are powerful even outside the context of the story.
That’s why I was so excited to finally experience this gorgeous, creatively shot recording (thanks to director Brett Sullivan) that transcends the typical flat style these filmed productions usually have. It reminded me a lot of the brilliant version of Hamilton that hit Disney+ back in 2020.
Most of the central actors are outstanding, especially Broadway legend André De Shields as narrator Hermes, Patrick Page as Hades (that voice!) and Eva Noblezada as Eurydice. Amber Gray is solid as Persephone, though she really shines in her second act scenes with Page.
If there’s a weak link, it’s Reeve Carney as Orpheus. He’s not terrible by any stretch, but his singing doesn’t match the emotional heights of his costars (or depths, in Page’s case). He also doesn’t have the commanding stage presence to carry the weight of the story’s heavy emotional beats.
Despite my minor quibbles, musical fans will find much to appreciate in Hadestown: The Musical. Unfortunately, its short theatrical run means the film may not have time to find a larger audience before it’s gone. I recommend seeing it on the big screen while you have the chance.
Grade: B
The Dink
(Rated PG-13 for strong language and sexual material. Available on Apple TV+ starting July 24.)
The premise: Former tennis prodigy Dusty Boyd (Jake Johnson) is washed up, coaching spoiled kids at the country club run by his father (Ed Harris). When an old injury flares up, Dusty’s doctor (Ben Stiller) recommends therapy via a new sport he and his dad hate: pickleball.
The verdict: This pleasant, unexpectedly sweet sports comedy is a throwback to 2000s flicks like Dodgeball (although not as raunchy or silly). That makes sense considering Stiller, that film’s star, has a small role in The Dink and serves as an executive producer.
Johnson is good as the manchild who finally learns to grow up, though anyone familiar with his classic sitcom New Girl knows the role doesn’t ask him to stretch his acting muscles. His strongest moments are when he drops the Happy Gilmore impression and demonstrates real chemistry with Mary Steenburgen (as Dusty’s nemesis-turned-teammate).
The movie hints at romcom territory for a bit, but instead of playing the idea for laughs the actors – along with screenwriter Sean Clements and director Josh Greenbaum – make the potential romance seem plausible. I wouldn’t mind seeing Johnson and Steenburgen team up again for just such a premise.
The Dink isn’t a laugh-a-minute assembly line like Dodgeball or Talladega Nights: The Ballad of Ricky Bobby, but it’s a solid hangout flick that’s perfect for rewatching on a lazy day because it’s fun spending time with the characters.
That’s especially true thanks to a killer supporting cast including Aaron Chen, Patton Oswalt, Chloe Fineman, Chris Parnell and Andy Roddick, who plays an amusing fictional version of himself. Harris doesn’t get a lot to do as the one-note deadbeat dad, but he understands the film’s tone and gets to stretch a little in the last few minutes.
Grade: B
The Invite
(Rated R for sexual material, language throughout and drug use. Now playing in theaters.)
The premise: Joe (Seth Rogen) and Angela (Olivia Wilde) are stuck in a bad marriage, hanging on for the sake of their daughter. To get out of their rut, Angela invites their enigmatic neighbors Piña (Penelope Cruz) and Hawk (Edward Norton) over for a dinner party. Within a couple of hours, the awkward get-together spirals into chaos.
The verdict: In addition to her hilarious, anxiety-riddled work as Angela, Wilde makes one heck of a directorial comeback (after the ambitious but disappointing Don’t Worry Darling), reminding viewers that her debut Booksmart should’ve been a massive hit. Her comic sensibilities are weird and ribald, but she never loses sight of a crucial fact: Joe, Angela, Piña and Hawk should feel like real people, not simply joke delivery systems.
The screenplay, credited to Will McCormack and Rashida Jones, is a remarkable blend of complex characterization and minimalism. The Invite feels like a play in the best way, with an intimate but meticulously designed set as the backdrop for the film’s most impressive special effects: the crackling dialogue delivered by tremendously talented performers.
Simply put, The Invite is one of 2026’s best movies thanks to its biting wit, as well as Wilde’s engrossing and realistic take (heightened for comedic purposes, of course) on marital strife. There are so many times when I was watching through my fingers because I wanted to camera to cut away, but with only four characters there’s nowhere else for it to go. As such, viewers are stuck with Joe, Angela, Piña and Hawk until the dinner party’s over – for better or worse.
Grade: A-
(Not rated. Opens in theaters on July 24 for five days only.)
The premise: A filmed live performance of the Tony Award-winning musical’s West End production, which features five actors who originated their roles on Broadway. The story blends modern folk and jazz to reimagine the ancient tragedy of Orpheus and Eurydice.
The verdict: Despite visiting New York City several times over the last few years, one of my biggest regrets was not finding a chance to see Hadestown. I’m an English teacher and a theater nerd, so the subject matter of Anaïs Mitchell’s show is right up my alley. Plus, well-known songs like “Road to Hell” and “Wait for Me” are powerful even outside the context of the story.
That’s why I was so excited to finally experience this gorgeous, creatively shot recording (thanks to director Brett Sullivan) that transcends the typical flat style these filmed productions usually have. It reminded me a lot of the brilliant version of Hamilton that hit Disney+ back in 2020.
Most of the central actors are outstanding, especially Broadway legend André De Shields as narrator Hermes, Patrick Page as Hades (that voice!) and Eva Noblezada as Eurydice. Amber Gray is solid as Persephone, though she really shines in her second act scenes with Page.
If there’s a weak link, it’s Reeve Carney as Orpheus. He’s not terrible by any stretch, but his singing doesn’t match the emotional heights of his costars (or depths, in Page’s case). He also doesn’t have the commanding stage presence to carry the weight of the story’s heavy emotional beats.
Despite my minor quibbles, musical fans will find much to appreciate in Hadestown: The Musical. Unfortunately, its short theatrical run means the film may not have time to find a larger audience before it’s gone. I recommend seeing it on the big screen while you have the chance.
Grade: B
(Rated PG-13 for strong language and sexual material. Available on Apple TV+ starting July 24.)
The premise: Former tennis prodigy Dusty Boyd (Jake Johnson) is washed up, coaching spoiled kids at the country club run by his father (Ed Harris). When an old injury flares up, Dusty’s doctor (Ben Stiller) recommends therapy via a new sport he and his dad hate: pickleball.
The verdict: This pleasant, unexpectedly sweet sports comedy is a throwback to 2000s flicks like Dodgeball (although not as raunchy or silly). That makes sense considering Stiller, that film’s star, has a small role in The Dink and serves as an executive producer.
Johnson is good as the manchild who finally learns to grow up, though anyone familiar with his classic sitcom New Girl knows the role doesn’t ask him to stretch his acting muscles. His strongest moments are when he drops the Happy Gilmore impression and demonstrates real chemistry with Mary Steenburgen (as Dusty’s nemesis-turned-teammate).
The movie hints at romcom territory for a bit, but instead of playing the idea for laughs the actors – along with screenwriter Sean Clements and director Josh Greenbaum – make the potential romance seem plausible. I wouldn’t mind seeing Johnson and Steenburgen team up again for just such a premise.
The Dink isn’t a laugh-a-minute assembly line like Dodgeball or Talladega Nights: The Ballad of Ricky Bobby, but it’s a solid hangout flick that’s perfect for rewatching on a lazy day because it’s fun spending time with the characters.
That’s especially true thanks to a killer supporting cast including Aaron Chen, Patton Oswalt, Chloe Fineman, Chris Parnell and Andy Roddick, who plays an amusing fictional version of himself. Harris doesn’t get a lot to do as the one-note deadbeat dad, but he understands the film’s tone and gets to stretch a little in the last few minutes.
Grade: B
(Rated R for sexual material, language throughout and drug use. Now playing in theaters.)
The premise: Joe (Seth Rogen) and Angela (Olivia Wilde) are stuck in a bad marriage, hanging on for the sake of their daughter. To get out of their rut, Angela invites their enigmatic neighbors Piña (Penelope Cruz) and Hawk (Edward Norton) over for a dinner party. Within a couple of hours, the awkward get-together spirals into chaos.
The verdict: In addition to her hilarious, anxiety-riddled work as Angela, Wilde makes one heck of a directorial comeback (after the ambitious but disappointing Don’t Worry Darling), reminding viewers that her debut Booksmart should’ve been a massive hit. Her comic sensibilities are weird and ribald, but she never loses sight of a crucial fact: Joe, Angela, Piña and Hawk should feel like real people, not simply joke delivery systems.
The screenplay, credited to Will McCormack and Rashida Jones, is a remarkable blend of complex characterization and minimalism. The Invite feels like a play in the best way, with an intimate but meticulously designed set as the backdrop for the film’s most impressive special effects: the crackling dialogue delivered by tremendously talented performers.
Simply put, The Invite is one of 2026’s best movies thanks to its biting wit, as well as Wilde’s engrossing and realistic take (heightened for comedic purposes, of course) on marital strife. There are so many times when I was watching through my fingers because I wanted to camera to cut away, but with only four characters there’s nowhere else for it to go. As such, viewers are stuck with Joe, Angela, Piña and Hawk until the dinner party’s over – for better or worse.
Grade: A-
Reach out to Josh Sewell at joshsewell81@gmail.com or on BlueSky @joshsewell.bsky.social
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