Ali G: Who Iz I? (2026) | REVIEW

Sacha Baron Cohen as Ali G in ALI G: WHO IZ I? -- PHOTO: Amazon MGM Studios (Still image from trailers).
Sacha Baron Cohen as Ali G in ALI G: WHO IZ I? — PHOTO: Amazon MGM Studios (Still image from trailers).

Directed by Sacha Baron Cohen — Screenplay by Sacha Baron Cohen, Anthony Hines, Peter Baynham, Dan Swimer, Dan Mazer, and Keisha Zollar.


Let’s start here: I am certainly not immune to Sacha Baron Cohen’s type of comedy. The first Borat film remains a mockumentary classic, and the sequel, amusingly subtitled Subsequent Moviefilm, was also quite good and revealing. In 2026, he is, however, enduring something of a cold streak. The Wahlberg-led comedy Balls Up, on Prime Video, was a dud, and Thea Sharrock’s Ladies First, on Netflix, is still one of the least successful narrative feature films of the year, to me. With his third 2026 feature, Ali G: Who Iz I?, Cohen tries to bring one of his famous/infamous 2000s characters back to life and interrogate his behavior in a mockumentary-style comedy that aims for Borat but doesn’t come anywhere close. Bizarrely, on October 28th, only a few days after its theatrical release on October 23rd, it was already dropped on Prime Video. Its short theatrical window isn’t the only surprising thing about it, because I also think this mockumentary shows that Cohen’s once-beloved bit is either getting stale or he just doesn’t know how to elicit the same comedic reactions anymore.

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We Need to Talk about Film Directors and Their Relationship with AI | Special Features

Graphic illustrating the relationship between major filmmakers and artificial intelligence. Two circular black-and-white portraits of Steven Soderbergh and Martin Scorsese are at either side of the letters 'AI' in a dashed-line box. On a vibrant red-orange-blue gradient background.
Graphic by author — Source portraits (Modified under CC license): Steven Soderbergh (Adam Chitayat / WikiPortraits) and Martin Scorsese (Montclair Film),

Hollywood has long waged a war with generative artificial intelligence, i.e., the “group of AI algorithms and models that are capable of producing new content, including texts, images, videos and problem-solving strategies, with human-like creativity and adaptability,” as defined in a journal article from the National Science Review in 2025. Generative artificial intelligence has often been criticized for using publicly available images, audio, and writing as training data to create its output, which many naturally consider to be stealing human work. There have naturally been notable strikes in Tinseltown over protecting human-created design, performance, or writing, as well as protecting the human jobs and roles that AI threatens to change or completely erase. But, back when the Screen Actors’ Guild and the Writers Guild of America were striking, they were noticeably without their brothers and sisters in the director’s chair from the DGA (Directors Guild of America), so to speak. That’s because DGA reached an agreement with the Alliance of Motion Picture and Television Producers (AMPTP) without ensuring the other parties had seats at the table. So, while the DGA ensured that its members would not be replaced by technological advances, other Hollywood creatives had to pound the pavement and strike. It was a huge story at the time in 2023, and the DGA came under heavy fire for the way they went about it. Now, three years later, individual directors are again making decisions on their own that may have an impact on the entire industry. Though this time around, notable directors are opening the door for generative AI in ways that feel anathema to the collaborative creative processes involved with filmmaking. As if that wasn’t bad enough, we’re not just talking about a few notable directors. Rather, we’re now starting to talk about some of the biggest names in Hollywood. It’s shocking, and we need to talk about why this is happening and what it means both for their legacy and for Hollywood as a whole.

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Making Sense of the New Oscars Rules | Special Features

Yesterday, the Academy of Motion Picture Arts and Sciences (AMPAS) announced what changes are being made for the upcoming 99th Academy Awards in a lengthy news update and press release. These are significant rule changes in certain categories that, in one case, frankly, needed an update. There are also more technical adjustments to be found in the press release, as well as an attempt to rule out the influence of artificial intelligence on what is considered award-worthy. Do note that while a Best Stunt Design category has previously been announced, this new category will not be a part of the Oscars until the 100th ceremony in 2028; these rule changes do not take into account said category. So, today, I’m going to go through the most significant changes and answer whether these award rule changes make sense, so that you can better understand their reasoning for changing things and be better prepared for the upcoming 99th Academy Awards, which will take place on March 14th, 2027.

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Mission: Impossible – Dead Reckoning, Part One (2023) | REVIEW

Hayley Atwell and Tom Cruise driving a yellow Fiat 500 through Rome in MISSION: IMPOSSIBLE – DEAD RECKONING, PART ONE — Photo: Paramount Pictures.

Directed by Christopher McQuarrie (M:I – Fallout) — Screenplay by Christopher McQuarrie and Erik Jendresen.

During, and in the immediate aftermath of, the COVID-19 pandemic, certain films tried and failed to bring loads of people back into theaters. When all else — including a pretty good and underappreciated Christopher Nolan film — failed to win back the moviegoing audience, Tom Cruise, in true Ethan Hunt fashion, accepted the mission to ‘save cinema.’ And, well, he sort of did. His and Joseph Kosinski’s Top Gun Maverick (in which Cruise’s hero, in a way, sets out to prove that human beings are more capable than unmanned fighter aircrafts) was such a hit that Steven Spielberg reportedly proclaimed that Tom Cruise, now 61 years of age, “saved Hollywood’s ass,” and that his film might have “saved the entire theatrical distribution.” “Is there anything Tom Cruise can’t do?” you might ask. He seems adamant to test that question out with the awe-inspiring stunts that he insists on doing each and every time he headlines a major motion picture nowadays. Now, with Mission: Impossible – Dead Reckoning, Part One, Tom Cruise, the savior of the theatrical industry, is back as Ethan Hunt, the IMF agent and so-called living manifestation of destiny, and this time he wants to fight back against AI and algorithms (some might even suggest he’s up against streaming algorithms, thus taking that saving cinema allegory even farther). That’s right, it’s the second Tom Cruise film in a row to be about a man fighting back against technological advancements, and, once again, it doesn’t disappoint. This movie is a lot of fun. 

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REVIEW: EX_MACHINA (2015)

The following is a review of EX_MACHINA — Directed by Alex Garland.

This is a film that I have been really excited about for a long time. The trailer just hooked me immediately. Though, for some unknown reason, I don’t believe it was ever released in theaters in Denmark. Therefore I had to wait until I got my hands on the Blu-Ray. Thankfully, the long wait was worth it. This is a cerebral science-fiction classic-in-the-making. Continue reading “REVIEW: EX_MACHINA (2015)” →