IT General

Though many have tried, no one delivers a line like Christopher Walken. In Back in Black, Walken's distinctive diction turns "Shut up" into a moving "I love you." And that's just a taste of what makes this off-kilter comedy such a treat.

Written by Ron Murphy and Nick Torokvei, and helmed by the former, Back in Black stars Walken as Clyde Mortimer, an undertaker in a long line of undertakers. He runs Mortimer's Family Funeral Home with his chipper wife Autumn (a pleasant Jane Curtin), and their orphaned granddaughter Sam (Ella Ballentine of 2016's Anne of Green Gables and The Vampire Lestat). But things are rough in the death business, as no one in their charming small town is dying lately.

Clyde, who always has plenty to say, is funny in his fury, insisting that no one dying is no way to live! He's especially aggrieved about how the COVID-19 pandemic should have been a boom time for morticians, but the sharp decline in in-person gatherings prevented that. But fret not, Clyde, because Sam has a plan. And it involves her handy screwdriver.

The opening shot of this dark comedy is Sam using a screwdriver to build a coffin. This becomes a very telling image. With her family facing financial ruin, Sam uses her screwdriver and her engineering know-how to strategically loosen screws about town, leading to one death after another. To the average police officer, this might seem like a string of bad luck, these accidents at grocery stores, construction sites, and motel swimming pools. But a local cop is on to her.

Deputy Donna (a snarling Louise Lambert) is on the case, even if her sheriff (a blustering Tony Nappo) thinks she's way off base. However, the cat-and-mouse element of Back in Black is more a subplot. The main story focuses on Sam's relationship with her grandparents and the budding romances that emerge from the funeral of the first murder victim. When she's not listening lovingly to Clyde's rants or having a glass of wine with her grandma ahead of some embalming, Sam meets Kevin (a quirky Giamo Alfredi) a needy nephew of the deceased, and Charlotte (a whiskey-smooth Watson Rose), a raven-haired beauty who offers to help the Mortimers in their work — meaning putting makeup on the dead.

Through murder, Sam quietly expresses her love and devotion for her family, securing their future by ending that of others. And I do mean quietly. Sam doesn't speak. She is the Teller to her garrulous grandfather's Penn. And Ballentine proves a masterful scene partner, using a coyly comic series of countenances to express Sam's excitement, doubt, consternation, and pleasure. It's to her that Walken will repeatedly say, "Shut up." And far from coming off as a denouncement or diminishment of his onscreen daughter, it comes across as a playful "I see you." Sam doesn't need to speak for her grandfather to know her heart, even if he doesn't know her secrets.

Yet Ballentine is equally enchanting opposite the whole ensemble, whether taking in the awkward requests of Kevin, the surly accusations of Donna, or the silky seduction of Charlotte. The young actress smoothly pulls from a long line of silent but brilliant performances that date back to Charlie Chaplin and Buster Keaton. That reflects the playfulness within Back in Black's sense of humor. However, don't get too cozy, because Murphy won't make a joke of murder.

In Dexter, the eponymous serial killer focuses his homicidal tendencies toward other killers, creating an anti-hero the audience is invited to theoretically root for. Back in Black offers no such comforting compromise. Sam, while she is seemingly sweet, is killing who is convenient. And that means good people will die. In the first instant, all we know about Dale (Stuart Hughes) is that he's a grocery store manager who is kind to his employees and customers alike. So, when he's locked in the walk-in freezer by a sabotaged lock, the audience has no reason to think that he had it coming.

And Murphy doesn't offer a silly depiction of death like one might see in Bryan Fuller's Pushing Daisies, where colorful hues and playful production design softened the blow of mysterious murders. Here, we are witness to Dale not only realizing he's trapped but crashing out as he realizes he is going to die. Other deaths will follow, with loved ones lamenting their losses in front of Sam, with no idea of her role in those demises. Each time, Murphy challenges the audience by bringing laughter and pain simultaneously.

Through a silly story about a failing family business, he creates a dark comedy centered on a morally complicated anti-hero who we might root for even as we are shocked and appalled by her actions. Watching Sam, I thought of Mia Wasikowska in Park Chan-wook's Southern gothic thriller Stoker. There, Wasikowska played a similarly doll-faced killer with familial motivations. But Back in Black is not remotely dark or dry like Stoker or Dexter. Despite its deadly content, Murphy keeps the tone that of a small-town feel-good movie. That makes every kill freshly shocking. And in the end, this collision of wicked and nice makes for a movie that is delightfully odd, unapologetically macabre, and a hell of a good time.

Back in Black was reviewed out of the Toronto International Film Festival. The movie's theatrical release date is TBD.

Thrillers are currently dominating Netflix's weekly top 10. The Whisper Man, which was one of our top movies to watch in August, remains at No. 1. The Secret Woman and Ready or Notalso landed in the top 10, so thrillers are of interest to subscribers at the moment.

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I think I have just seen my favorite animated movie of 2026. And it's Julián, based on Jessica Love's bestselling children’s book, Julián Is a Mermaid.

This year, cinemas have seen sequels for beloved IP like The Super Mario Galaxy Movie, Toy Story 5, Minions & Monsters, Avatar Aang: The Last Airbender, and PAW Patrol: The Dino Movie. There have also been original animal-centered adventures like GOAT, Hoppers, and Swapped. Plus, coming up are Shaun The Sheep: The Beast of Mossy Bottom, Forgotten Island, Wildwood, The Cat in the Hat, Steps, Ray Gunn, and Hexed.

So, what makes me so certain that Julián will be my favorite of the year? Well, for starters, it's a deeply charming story about a child fighting for his individuality, a message that speaks to me. Created by Cartoon Saloon, which produced The Secret of Kells, Wolfwalkers, and The Breadwinner, it is absolutely beautiful. But most of all, over the course of 85 minutes, this magical movie's style reminded me of some of my favorite animated movies and shows, including Steven Universe, Spirited Away, Craig of the Creek, and Luca. Yet at no point did Julián have me wishing I was watching those instead.

Julián thrives on comparison, not by being better than these rightly beloved films and series, but by being a solid stone in the path of the cathedral they collectively build to the glory of animation as an art form.

Named for its protagonist, Julián follows a little boy over a summer spent with his Dominican American abuela (Milcania Diaz-Rojas) in Brooklyn. He (Knyght Darius Jack) is a cheerful child with a vivid imagination, a love of the ocean, and little awareness of the mess he makes while playing. In the opening scene, his dad Javi (Anthony Sardinha) shows an appreciation for all of this, as Julián excitedly colors a picture, and splashes about glitter on the drive to New York. But his abuela hasn't seen the boy in a while, and her parenting style is very "my way or the highway." So, getting used to her rules will be an adjustment.

In the first act, Julián pulls a move from Paddington, trying hard to respect his host while making an absolute disaster of their bathroom. It's the kind of childish shenanigans that are both adorable and deeply annoying. Director Louise Bagnall expertly shows Julián's missteps as both, allowing the audience to understand him and his grandmother.

In the book (which is just 40 pages with illustrations), Julián's abuela is almost instantly accepting of his desire to be a mermaid and what that entails. Expanding the story, Julián takes time to develop their relationship, working in new characters and obstacles for both to explore. For his part, Julián is giddy to meet a trio of local girls, who are plotting their "mersonas" in sidewalk chalk drawings and readying for Coney Island's annual Mermaid Parade, where revelers dress in all sorts of nautical costumes for a day of festivities and community.

However, Abeula and her friends see Julián with the girls and heteronormatively assume he's a "lady killer." So, when Julián asks her to do his hair to show off to girls, he's thinking of long braids, like one of the girls has. When he sees the short-cropped cut she's done to "show off [his] handsome face," the boy is reduced to tears.

There's no point in this movie where Julián will come out as queer or discuss such labels with his loved ones. He's just a kid, loving the things he loves and being told that's wrong. After the tears over the haircut, after his insistence that the mermaid costume be colorful and covered in shimmer, Abuela understands who her grandson is. She decides she'll sew him the costume he dreams of, but she also fears how others will react. In a moment of pique, she warns him about being "too much." And so Julián is subjected to the stifling gender norms that are meant to protect him, but make him feel alone and ashamed.

However, like Julián Is a Mermaid (or Luca), this eponymous hero will find his happy ending, embraced by love, community, and family just as he is.

Bagnall creates a distinctive visual language for Julián that sets the film apart from Love's book. Thankfully, she rejects the three-dimensional CGI animation that has become almost mandatory for theatrical release across the medium.

Where Julián Is a Mermaid had a painterly look of watercolors, Julián reflects its hero's love of drawing by imitating the texture of markers and crayons. The colors are vibrant, showing the characters' Afro-Latino neighborhood in Brooklyn as a place of life and warmth. The soft edges of the characters and their round, bouncy designs reflect Julián's energy, which is like a Super Ball, high-soaring and playful. In sequences where the world transforms to reflect his imagination, watery fish fly, an aquatic goddess rises, and a whale shark with a belly made of stars soars with the boy mermaid. It's in these moments of embracing play that I thought of Craig and his Creek friends. In the movement of the sea creatures, I thought of Spirited Away's sprites or Ponyo's fishy wonders.

Julián's scenes of joy make moments where he is sad hit all the harder. This brilliant boy, whose nature is to sparkle, is (however briefly) urged to hide his light. The young voice actor's choked-up performance had me spilling tears of my own. The animation, shifting from fluid, spirited dances to stilted shoving, as this kid literally locks his imaginary friend up in a jewelry box, had my heart aching.

But even if you haven't read the book (I hadn't), the love that infuses every frame of Julián assured me that it would get better for him. The world around him is too bright and full of pleasure to keep him locked up in shame or confusion. So, rather than a simple but beautiful tale of a little boy and his abuela who go to the Mermaid Parade together (as Love's wonderful book is), Julián expands to be a thorough and thoughtful story of what it means to be different, misunderstood but still loved.

In the final act, rather than a gentle walk hand-in-hand to the Coney Island beach, Julián offers a rousing action sequence, as he runs away from home to join his friends at the parade. A race against time ratchets up tension, while his pursuing abuela is on a determined mission of her own, to mend what she fears she's broken.

In this race, Bagnall showcases the wonder of the Mermaid Parade, with a cast of characters that could all be Crystal Gems. They have big, colorful hair in pinks, greens, blues, and magentas. Their bodies are varied, none from the same cookie cutter. And when the boy and his friends call upon strangers at the parade for help, it's a trio of queer-coded mermaids (some with facial hair) who aid them kindly and easily. And here, I cried again — tears of joy for the recognition of what it means to find your community.

Where there are moments in Julián where the boy is faced with homophobia, the film overwhelmingly blooms with love. And I loved it right back.

Julián was reviewed out of its North American premiere at the Toronto International Film Festival.

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Electronics giant LG has been under fire over the past few days after a viral two-hour video report by Gamers Nexus warned that LG's TVs surreptitiously record users' audio, even when the screen is turned off, as well as collecting details about networked devices, location data, and wireless network information.

Since the video's release, dozens of reaction videos have followed, with titles like "How to Stop Smart TV Spying" and "LG Isn't the Only TV Company Spying on You," from reputable channels such as Linus Tech Tips and RTINGS, respectively. 

In the wake of the video, LG has formally denied the claims on various news networks and in a statement on its website. Titled "Understanding Privacy on LG Smart TVs," LG unambiguously denies the central accusations of the Gamers Nexus video. 

"LG smart TVs do not continuously record or transmit users’ conversations. Speech-to-text processing begins only if a user activates a voice interaction through a supported wake-word feature or by pressing the voice (or AI) button on the remote control. Audio used for wake-word detection is processed locally on the TV and, if no wake word is detected, audio is not converted to text, stored, or transmitted. Voice-recognition results and related technical logs may be generated as part of processing a voice command. These records are associated with specific voice interactions and do not indicate continuous recording of conversations occurring outside an active voice recognition session."

LG claims that, "Speech-recognition results may be used to support voice-related features but are not uploaded later when the TV is offline or when connectivity is restored."

The company also pointed out that some of the most invasive features, like their Automatic Content Recognition (ACR) feature designed to learn from your viewing habits to offer better content recommendations, are optional.

But questions about LG's integrity, as well as the wording of their statement, still remain. If they contend that "LG smart TVs do not continuously record or transmit users’ conversations," does that mean they do so sporadically?

Ultimately, this controversy is another in a long-running series highlighting the need for a more honest conversation about the balance between consumer convenience and consumer privacy. It's definitely a conversation worth having, but in the future, it would be nice if it didn't happen after a major violation of consumer trust.

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