Rob Reiner 1947 - 2025

Actor and filmmaker Rob Reiner has passed away at 78. 

 

The son of entertainment legends Carl and Estelle Reiner, he was born in the Bronx and received his early training at the Bucks County Playhouse in New Hope, PA. In the late 1960’s he acted in small roles in TV shows such as BATMAN, THE ANDY GRIFFITH SHOW, and THE BEVERLY HILLBILLIES. In 1971 he had his breakout role as Mike “meathead” Stivic in the sitcom ALL IN THE FAMILY. 

 

In the 1980’s he made the move to directing, and helmed some of the most iconic films of the last 40 years. His debut came in 1984 with the mockumentary THIS IS SPINAL TAP. Next came the coming-of-age drama STAND BY ME (1986), and the fantasy THE PRINCESS BRIDE (1987). 

 

He continued to direct hits through his Castle Rock Entertainment. The romantic comedy WHEN HARRY MET SALLY from 1989 has been regarded as the best of its genre. In 1990 he would direct the thriller MISERY, which earned Kathy Bates an Oscar for Best Actress. In 1992 he helmed the ensemble courtroom thriller A FEW GOOD MEN, which was nominated for Best Picture. Other films included THE AMERICAN PRESIDENT (1995), GHOSTS OF MISSISSIPPI (1996), and THE BUCKET LIST (2007). His final film would be THIS IS SPINAL TAP II from 2025. 

 

He continued to act and appeared in THROW MOMMA FROM THE TRAIN (1987), SLEEPLESS IN SEATTLE (1993), PRIMARY COLORS (1998), and THE WOLF OF WALL STREET (2013). His career would bring three Directors Guild of America awards and four Golden Globes nominations for Best Director. 

 

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Rob Reiner leaves behind a legacy of films that have stood the test of time. Everyone knows the thundering courtroom sequence of A FEW GOOD MEN, the swordfights from THE PRINCESS BRIDE, the tension of MISERY, and the romance of Harry and Sally. With his perfect yet delicate balance of drama and comedy, he made films that clicked something inside of us and stayed there. With THIS IS SPINAL TAP, he drew the curtain back on the world of rock n’ roll bands, poking fun at them in an honest way that no headbanger could argue. He was the most human director we have seen in the last 40 years, and cinema will miss him. 

A Reel 20: KING KONG

“Kong! The eighth wonder of the world!”

 

This month marks the 20th anniversary of Peter Jackson’s KING KONG. 

 

An epic monster/adventure film, KING KONG was the second remake of the 1933 film, and the first film from Peter Jackson after his historic and successful THE LORD OF THE RINGS trilogy. Like the 1933 version, it followed an ambitious filmmaker who tricks his cast and crew into voyaging to the mysterious and hidden Skull Island, where they encounter prehistoric creatures and the mythical giant gorilla known as Kong. 

 

The voyage to KONG began back in 1995, when Universal Pictures approached Jackson to direct a remake of the classic 1933 film. The project stalled after a few years in development, as several monster movies were being made at the time and Jackson was planning on forging THE LORD OF THE RINGS. Once the One Ring was done, Universal came back to Jackson in 2003, who finally accepted. 

 

Filming began in 2004 in New Zealand. Naomi Watts would step into the role of Ann Darrow, and Jack Black was cast as the ambitious film director, Carl Denham. The rest of the cast would include Adrien Brody, Colin Hanks, Jamie Bell, Kyle Chandler, Evan Parke, and Thomas Kretschmann. Andy Serkis would provide the motion-capture for Kong. Howard Shore was originally hired to compose the score but was replaced by James Newton Howard. 

 

On release, KING KONG received acclaim and was a box office hit, finishing as fifth highest grossing film of the year. It would win three Oscars: Best Sound Editing, Sound Mixing, and Visual Effects. 

 

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Peter Jackson’s KONG stomps in as a visually stunning and emotionally charged epic that elevates the classic tale. The film blends heartfelt character moments with spectacular action, delivering breathtaking sequences such as the and the dizzying finale at the Empire State Building, and Kong fighting three (!) T-Rex’s. The T-Rex fight is a cinematic stunner, followed a creepy and crawly Spider Pit sequence that is the stuff nightmares are made of. 

 

As a monster movie, it certainly delivers, and it also works as a drama and tragedy. Naomi Watts brings depth and sincerity to Ann, making a powerful bond with Kong in a love story that seems ridiculous on paper. And it’s a love story that clicks all the right boxes; they quarrel, separate, and find each other again. By embracing the Beauty and the Beast tale, and visual effects that dazzle 20 years later, Peter Jackson’s KONG has one paw in the past and one in the future. 

 

“It was beauty killed the beast..”

 

A Reel Preview: The Year in Film 2025 - Episode XII

The final month of 2025 is upon us and it is looking to go out strong; with theatres receiving films from the horror genre, animation, and the return of the King of the Box Office. Here are the notable big screen releases for December: 

 

FIVE NIGHTS AT FREDDY’S 2 – The sequel to the 2023 horror film, based on the popular video game. Set a year after the first film, Abby reconnects with her animatronic friends, revealing the origins of Freddy Fazbear’s Pizza. The cast includes Josh Hutcherson, Elizabeth Lail, Matthew Lillard, Wayne Knight, and McKenna Grace. 

 

 

KILL BILL: THE WHOLE BLOODY AFFAIR – Quentin Tarantino’s masterpiece of revenge returns to the big screen as a single film (originally released in two parts). 

 

 

SILENT NIGHT, DEADLY NIGHT – The second remake of the 1984 holiday slasher film and the seventh in the series. 

 

 

 

AVATAR: FIRE AND ASH – Box office King James Cameron returns with the third installment of his sci-fi series, this time with Jake Sully and his family meeting a war-like tribe who has aligned with their human enemies. The cast includes Sam Worthington, Zoe Saldana, Stephen Lang, Kate Winslet, and Sigourney Weaver. 

 

 

THE SPONGEBOB MOVIE: SEARCH FOR SQUAREPANTS  - The fourth theatrical trip for this series, this time seeing SpongeBob travelling to the depths of the ocean to face off against the Flying Dutchman. 

 

 

 

THE HOUSEMAID – Paul Feig (BRIDESMAIDS), directs this psychological thriller where a young woman with a troubled past becomes a housemaid for a wealthy family. The cast includes Sydney Sweeney and Amanda Seyfried. 

 

 

ANACONDA – This comedy/horror serves as a meta-reboot of the cult classic film of the same name from 1987, which tracks the adventures and mishaps of the film crew as they set out into the jungle to make that 1987 film. 

 

 

MARTY SUPREME – In this sports drama, Timothee Chalamet plays American table tennis player Marty Reisman. 

 

 

SUNG SUNG BLUE – Craig Brewer (HUSTLE AND FLOW), directs this drama about a real-life Neil Diamond impersonator and performer. Hugh Jackman and Kate Hudson star. 

 

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Next month, Reel Speak previews the first month of 2026.

 

A Reel 100: THE PHANTOM OF THE OPERA

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“If I am the Phantom, it is because man’s hatred has made me so.”

This month marks the 100^th anniversary of the 1925 silent film version of THE PHANTOM OF THE OPERA. 

Directed by Rupert Julian and based upon the 1910 novel of the same name by Gaston Leroux, THE PHANTOM OF THE OPERA told the tale of a deformed phantom who haunted the Paris Opera House, causing chaos to turn the woman he loved into a star. 

The phantom began its ascent in 1922, when Carl Laemmie, the president of Universal Pictures, visited Paris and met author Gaston Leroux. Taken by the story and the grandeur of the Paris Opera House, Laemmie secured the film rights as a vehicle for actor Lon Chaney. A French art director who had worked at the Opera House was brought on to design the lavish sets. Chaney was allowed to do his own makeup. 

Production began at Universal Studios in 1924. After a troubled shoot where Chaney and the rest of the cast had strained relations with director Rupert Julian, the film was completed and then went through several re-edits and reshoots. Chaney’s look was kept a secret until after the premier. 

THE PHANTOM OF THE OPERA premiered in September of 1925 in New York ahead of its wide release in November. Critical response was mostly positive, with high praise for the production and Chaney’s makeup, which reportedly had audience members fainting. Today it is considered to be one of the greatest horror films of all time, and in 1998 was added to the United States Film Registry. 

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Years before Andrew Lloyd Webber would take the Phantom to Broadway, THE PHANTOM OF THE OPERA had a legacy of one of early cinema’s most iconic works of horror. Lon Chaney’s transformative makeup and performance set new standards for character creation and sympathetic monsters. The impressive sets and dramatic chandelier crash helped usher in grand-scale productions in Hollywood’s silent era and overall would cement the story in our culture; inspiring countless versions on film…and on stage. 100 years later it is a cornerstone of horror, and a landmark in silent filmmaking. 

“If I shall be saved, it will be because your love redeems me.”

A Reel 20: HARRY POTTER AND THE GOBLET OF FIRE

“Soon we must all face the choice between what is right and what is easy.” 

 

This month marks the 20^th anniversary of HARRY POTTER AND THE GOBLET OF FIRE. 

 

Directed by Mike Newell and based on the fourth book of the same name in the series by J.K. Rowling, GOBLET OF FIRE followed Harry in his fourth year at Hogwarts, as he is mysteriously chosen to compete in the famed and dangerous Triwizard Tournament. 

 

Arriving the year after the successful and heralded third film, THE PRISONER OF AZKABAN, GOBLET OF FIRE went through several directors before production. Chris Columbus, who had helmed the first two films, was on board before deciding to spend more time with his family. M. Night Shyamalan was approached but passed. The task eventually went to Mike Newell, who was known for his award-winning drama FOUR WEDDINGS AND A FUNERAL (1994), and the mob drama DONNIE BRASCO (1997). 

 

Filming began in May of 2004 in England, with the ensemble cast returning: Daniel Radcliffe, Emma Watson, Rupert Grint, Robbie Coltrane, Maggie Smith, Michael Gambon, Jason Isaacs, Gary Oldman, Timothy Spall, and Alan Rickman. Newcomers included Robert Pattinson, Brenden Gleeson, David Tennant, and Ralph Fiennes in his stunning debut as the evil Lord Voldemort. Music was composed by Patrick Doyle. 

 

On release, GOBLET OF FIRE was met with good reviews and was a box office hit, finishing as the highest grossing film of the year. At the 78^th Academy Awards it was nominated for Best Art Direction. It won the BAFTA Award for Best Production Design, making it the first film in the series to win a BAFTA. 

 

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Although THE PRISONER OF AZKABAN went into some dark places, GOBLET OF FIRE marked a point of no return for the series. As the characters aged, the film naturally blended adolescence with the rise of a real danger. The Triwizard Tournament showed great spectacle (the dragon fight still impresses), and Voldemort’s long-awaited chilling debut elevates the stakes. 

 

For this blogger, GOBLET OF FIRE is his personal favorite of the series. The maturity of the characters, the dazzling tournament, and character conflicts give the film a weight. But most of all, the heartbreaking scene of Cedric Diggory’s father mourning his dead child is an emotional high point that the franchise never matched again. It was the first time we had seen a significant death on-screen, and it was a hint of what was yet to come. 

 

“He’s back!”

 

 

A Reel Preview: The Year in Film 2025 - Episode XI

The colder months of November are traditionally where things heat up on the big screen, when awards hopefuls start to roll out. Here are the notable releases coming to theaters in the second-to-last month of 2025. 

 

 

CHRISTY – Sydney Sweeney (ANYONE BUT YOU), plays professional boxer Christy Martin in this biopic drama. Ben Foster co-stars, and it is directed by David Michod (ANIMAL KINGDOM). 

 

 

DIE MY LOVE – In this black comedy, a young couple and new parents struggle with psychological distress and isolation. The cast includes Jennifer Lawrence, Robert Pattinson, LaKeith Stanfield, Nick Nolte, and Sissy Spacek. 

 

 

NUREMBERG – Set during the Nuremberg trials, a psychiatrist (Rami Malek), is tasked with determining if a Nazi (Russel Crowe), is fit to stand trial. John Slattery, Colin Hanks (son of Tom), Michael Shannon, and Richard E. Grant co-star.

 

 

PREDATOR: BADLANDS – In this ninth installment of the PREDATOR franchise that launched in 1987, a young Predator is sent to a remote planet in search of the ultimate adversary. Elle Fanning stars. It is directed by Dan Trachtenberg, who helmed the most-excellent PREDATOR spin-off PREY in 2022. 

 

 

NOW YOU SEE ME: NOW YOU DON’T – The third installment in the NOW YOU SEE ME heist series. This time the Four Horsemen (Jesse Eisenberg, Woody Harrelson, Dave Franco, Isla Fisher), reunite to steal a large diamond. Morgan Freeman and Rosamund Pike co-star. 

 

 

THE RUNNING MAN – Edgar Wright (BABY DRIVER), directs this new adaptation of the 1982 Stephen King novel. Set in the near future, a working-class man enters a deadly game to save his sick daughter. The cast includes Glen Powell, Josh Brolin, Colman Domingo, Lee Pace, Michael Cera, William H. Macy, and Emilia Jones (CODA). 

 

 

WICKED: FOR GOOD – The second part and conclusion to the adaptation of the Broadway musical, which began last year with the smash-hit WICKED. Set in the Land of Oz before and during the arrival of Dorothy, Elphaba and Glinda embrace their new identities as the Wicked Witch and Glinda the Good. The cast includes Cynthia Erivo, Ariana Grande, Michelle Yeoh, Jeff Goldblum, and Jonathan Baily. Jon M. Chu directs. 

 

 

ZOOTOPIA 2 – This sequel to the Disney hit has Judy Hopps and Nick Wilde going undercover to solve a case involving a mysterious pit viper. The voice-cast includes Ginnifer Goodwin, Jason Bateman, and Ke Huy Quan. 

 

 

WAKE UP DEAD MAN: A KNIVES OUT MYSTERY – Rian Johnson returns to helm this third entry in the KNIVES OUT whodunit film series, this time with Detective Blanc (Daniel Craig), taking on a new case involving a priest and his congregation. The ensemble cast includes Josh O’Connor, Josh Brolin, Mila Kunis, Jeremy Renner, Kerry Washington, Andrew Scott, Cailee Spaeney, Thomas Haden Church, and Jeffrey Wright. 

 

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Next month, Reel Speak previews the final month of 2025. 

A Reel Opinion: Unearthing the Music of DRACULA

Happy Halloween, mortals! In this time of scary stories that can only be delivered by celluloid, the question that horror fans have been debating for over 25 years has risen again: which is the best, and proper way to watch the classic horror film, DRACULA from 1931? 

 

In 1998, composer Phillip Glass was commissioned to compose a score for DRACULA, which was originally released without one. Since its release, horror fans have been debating if this was an improvement, or an abomination. 

 

Because of costs that came with producing an original score to a film’s soundtrack in 1931, DRACULA never had its own music, with only an excerpt from Tchaikovsky’s Swan Lake used in the opening credits, and short bits from Wagner and Schubert in a theater scene. In 1998 for a home video release, Glass, who would win an Oscar in the same year for THE TRUMAN SHOW, was brought in to compose an original score for the film. Glass would take a minimalist approach, using the Kronos Quartet. The release came in 1999 on VHS, and later editions on DVD and Blu-Ray would give fans the option of watching with, or without the score. 

 

But which is better? There are good and bad points to both. In its original form without music, DRACULA can be a drag, with longer scenes without dialogue that seem to take forever to unfold…with only the crackle and hiss to keep us company. And film music, as we all know, goes a long way in helping the audience read the tone of a scene. The absence of this makes DRACULA difficult to take in. On the other hand, with no score we are seeing (and hearing), the film as audiences in 1931 did, with eerie silences and sparse sound. There is also an argument that the lack of music makes us focus more on sounds like footsteps, creaking doors, and star Bela Lugosi’s voice. 

 

The voices in support of the Glass score are strong. The added music gives the film a hypnotic vibe and adds a lot of creepy atmospheres. The score fills the silence, giving us a sense of momentum and tension. It also bridges the gap between old and new audiences, making the film more accessible to modern audiences without altering visuals (like colorization or CGI effects). 

 

For this Blogger, the scored version is the way to go. It feels less cobbled together, and the pacing is magically improved. The film is just better. The original version offers a pure sense of cinema history, but if revisiting or showing it to someone new who may struggle with the pacing, the Glass version is a tasteful, and elegant bridge into classic horror. DRACULA is creeping up on its 100th anniversary, and if it is to endure the ages, the scored version is the gateway. 

 

A Reel Review - SPRINGSTEEN: DELIVER ME FROM NOWHERE

In late 1981, born-to-be-mega-rockstar Bruce Springsteen secluded himself in Colts Neck, New Jersey…to work on his sixth studio album. The end result was the quiet acoustic record, Nebraska. The story of the making of this album has been well-documented over the years, which makes it a challenge to put to film. The idea behind SPRINGSTEEN: DELIVER ME FROM NOWHERE is to make the journey the story over the destination. 

 

After wrapping up his tour in support of his album The River, Springsteen (Jeremy Allen White), goes into seclusion and begins the writing process for his next record. With his audio engineer Mike (Paul Walter Hauser), and support from his manager Jon Landau (Jeremy Strong), Springsteen revisits his troubled past with his father (Stephen Graham), to battle his own depression and find inspiration for what would become Nebraska. 

 

Directed by Scott Cooper and based on the book of the same name by Warren Zanes and Springsteen’s biography Born to Run, DELIVER ME FROM NOWHERE is an intimate, and often stunning look at one man’s depression intertwined with his musical journey. The Springsteen we have been so used to seeing over the years, with his swagger and top-of-the-world vibe, doesn’t exist yet in 1981, and what we follow here is an artist struggling with uncertainty and anguish. 

 

Director Scott Cooper guides us through Springsteen’s musical journey with a steady hand, taking us through his romance with Faye (Odessa Young), and his deep dive into film and literature to find inspiration for the album. Cooper films his actors as if he is framing an album cover in every scene, and the results are gorgeous. The musical scenes, from Springsteen’s thunderous stage performances to his quieter strumming, are excellent. 

 

Jeremy Allen White recaptures Springsteen in breathtaking fashion, and his vocals on the tracks are good enough to fool anyone. The rest of the cast, including Odessa Young, Jeremy Strong, Paul Walter Hauser, David Krumholtz, Stephen Graham, Marc Maron, and Gaby Hoffman are all excellent. 

 

When Springsteen finished recording his acoustic demos for Nebraska, he tried to produce them traditionally with his full band, but later elected to release the stripped-down versions. It was a bold move at the time, and it’s a bold move for Springsteen to be on board with DELIVER ME FROM NOWHERE, as it strips away the larger-than-life myth of Bruce Springsteen. Much like the album it documents, it is non-traditional and quiet, and worth the journey. 

 

BOTTOM LINE: See it 

A Reel Preview: The Year in Film 2025 - Episode X

The glorious winds of Fall have arrived, bringing in a packed month of awards hopefuls, horror, and sci-fi. This month will also have re-releases back on the big screen including AVATAR: THE WAY OF WATER, GOLDENEYE, CASPER, THE LAST DRAGON, and BACK TO THE FUTURE. 

 

Here now is a preview for new films coming to theatres in October: 

 

 

THE SMASHING MACHINE – Dwayne Johnson stars in this biopic about MMA fighter Mark Kerr. Emily Blunt co-stars, and it is directed by Benny Safdie (UNCUT GEMS). 

 

 

ANEMONE – Acting legend Daniel Day-Lewis returns for his first film since 2017, taking on the role of a recluse coming home to his family. Sean Bean co-stars, and it is directed by Ronan Day-Lewis (son of Daniel). 

 

 

KISS OF THE SPIDER-WOMAN – A musical drama based on the stage production of the same name. Jennifer Lopez and Diego Luna star. It is helmed by acclaimed director Bill Condon (GODS AND MONSTERS, CHICAGO). 

 

 

TRON: ARES – This standalone sequel to TRON: LEGACY (2010), has the advanced program coming into the real world out of the digital realm. The cast includes Jared Leto, Greta Lee, Evan Peters, Gillian Anderson, and Jeff Bridges. 

 

 

AFTER THE HUNT – Acclaimed director Luca Guadagnino (CALL ME BY YOUR NAME, QUEER), returns with this drama about a college professor caught up in a sexual abuse scandal. It stars Julia Roberts, Andrew Garfield, Michael Stuhlbarg, and Chloe Sevigny. 

 

 

BLACK PHONE 2 – Ethan Hawke reprises his role as the serial killer in this sequel to the 2021 slasher hit. 

 

 

FRANKENSTEIN – Guillermo del Toro (PAN’S LABRYNTH, THE SHAPE OF WATER), is back with this remake/retelling of the classic novel. Oscar Isaac stars as victor, and Jacob Elordi plays the creature. The rest of the cast includes Mia Goth, Lars Mikkelsen, Christoph Walz, and Charles Dance. 

 

 

SPRINGSTEEN: DELIVER ME FROM NOWHERE – Jeremy Allen White (TV’s THE BEAR), plays The Boss Bruce Springsteen in this biopic which follows the creation of the Nebraska album. The cast includes Jeremy Strong, Paul Walter-Hauser, and Stephen Graham. It is directed by Scott Cooper (CRAZY HEART). 

 

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Next month, Reel Speak previews November.

 

 

 

A Reel Look Back: TAPS

Earlier this week, the Valley Forge Military Academy in Wayne, Pennsylvania, announced that it would close after the 2025-2026 academic year, after 97 years in operation. The campus was the primary filming location for the 1981 drama, TAPS. Although this year is not a significant anniversary for the film, the closure makes this a good time to look back, for the film’s plot ironically resembles this week’s news.   

 

TAPS was directed by Harold Becker and was based on the 1979 novel Father Sky. It followed a group of military school students who decide to take over their school to prevent it from closing. Leading the way was a 21-year-old Timothy Hutton, who would earn a Golden Globe nomination for his performance. Behind Hutton would be Sean Penn in his first role, and Tom Cruise in his second film and first major role. Hutton, Penn, and Cruise would undergo military training to prepare for filming. Giancarlo Esposito and Evan Handler also starred, along with veteran actors Ronny Cox and George C. Scott. Filming would take place at the Academy along with locations at Valley Forge National Historical Park, with actual cadets serving as extras. Maurice Jane would provide the score. TAPS would be met with good reviews and turn a profit at the box office. 

 

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TAPS was a film that was revisited often at home growing up, as this Blogger’s dad loved a good military drama (and also a big George C. Scott fan). Similar to A FEW GOOD MEN (the best military drama of all time), TAPS explores military duty and loyalty; themes that work just as well today as they did in 1981. 

 

Through history, Valley Forge Military Academy was the stepping off point for many careers; J.D. Salinger, author of The Catcher in the Rye, was a graduate. TAPS also served as a stepping-off point for many film careers; launching the careers of Timothy Hutton, Sean Penn, and future film maverick and mega-star Tom Cruise. When the Academy does close its gates, it will have a lot to be proud of.