movies

‘Don’t Say Good Luck’ Review: Sunny Sandler, Melanie Lynskey Drama

Published

6 minutes ago

August 12, 2026

From the opening minutes of Netflix’s Don’t Say Good Luck, it’s clear the spring of 2026 is going to be big in the life of high school sophomore Sophie Birenbaum (Sunny Sandler).

A consummate theater kid, she’s been practicing and practicing her audition number for the school’s production of Waitress. She looks forward to the long hours of rehearsal alongside her BFF and her crush, to capping off yet another school year with the rush of opening night.

Don’t Say Good Luck

The Bottom Line

A sensitive snapshot of coming-of-age amid grief.

Release date: Friday, Aug. 14
Cast: Sunny Sandler, Melanie Lynskey, Max Greenfield, Stephanie Beatriz, Scarlett Estevez, Jack Champion, Emma McNulty, Elyse Bell, Steve Buscemi, Bebe Neuwrith, Jon Lovitz
Director: Julia Hart
Screenwriter: Laura Hankin, Julia Hart, Jordan Horowitz

Rated PG-13,
1 hour 35 minutes

But the transformative experience that hits her isn’t quite what she expected. By the time Sophie lands the lead role, the very ground beneath her feet has shifted with news that her mother’s (Melanie Lynskey) cancer has returned. The drama by Julia Hart (Fast Color) traces the intertwined journeys of Sophie’s play and her mother’s illness with an observant eye and a warm touch, sensitive to the bittersweet fact that just because the world is ending on one front doesn’t mean the rest of it stops turning, too.

At school or among friends, Sophie passes all the usual adolescent milestones. She develops a flirty rapport with her leading man (Jack Champion). She has a falling-out with her childhood friend (Scarlett Estevez) as their interests begins to diverge. She gets way too drunk at a party, necessitating what a pal accurately describes as “the greatest acting challenge of your young life” when her dad (an appealingly scruffy Max Greenfield as Ted) comes to pick her up. She hones her talents under the guidance of her drama teacher (Stephanie Beatriz as Ms. Parker), and comes into her own as a performer.

At home, Sophie deals, or often tries very hard not to deal, with the reality of her mom’s illness. The script, by Hart, Laura Hankin and Jordan Horowitz, eschews the sort of grand emotional moments a more conventional cancer drama might build its narrative around — the initial diagnosis or the discussion of options or the tribulations of treatment — in favor of little details that accumulate bit by bit into a grim prognosis: how the family’s plans to spend the summer at their beach house sound a little less certain every time they’re brought up; how Liz has less and less energy for the long book she’s been reading. The realization of what it all adds up to sinks in so gradually that at some point, it feels like we’ve always known.

Sophie would be the first to acknowledge that her petty adolescent woes don’t matter anywhere near as much as her mom’s illness — and in fact does, when her grandmother (Bebe Neuwirth) accuses her of prioritizing the play over family during a Mother’s Day weekend. And her little brother might not get why she’s so fussed about starring in some dumb show in the first place. “Why do they sing? Just be talking,” he complains, with typical little-kid bluntness. But Don’t Say Good Luck recognizes that Sophie’s high school problems still matter, that the play is as much catharsis as it is distraction. Or, as Sophie puts it, “Music can make you feel things that are bigger than just talking.”

That the film is so fine-grained in its empathy and authentic in its emotions makes its occasional, minor missteps stand out all the more. Here and there, you can see the narrative gears creaking to get the story where it needs to go: One butt dial from Dad is a throwaway joke, two is a payoff to that setup, three in the first 20 minutes just starts to feel like laziness. (Blessedly, there is not a fourth.)

Supporting players are so thinly sketched that they seem more like functional objects for Sophie to act out against than people who might continue to exist when the Birenbaums aren’t interacting directly with them.

And then there are the minor, extremely nitpicky things that don’t really matter and aren’t even technically wrong, but nevertheless feel off enough to chip away at the film’s naturalistic façade — like the hellacious late-’80s-ness of the maternity dress Liz claims to have worn while pregnant with Sophie, even though that would have been circa 2010.

But even when such flaws let the story down, the lovely ensemble never does. Steve Buscemi makes the most of his brief screen time as Sophie’s grandfather, a welcome pillar of straightforward understanding and wry humor in destabilizing times. (Dale’s pragmatic reaction to Sophie asking if she can get a ride home from a boy: “If I was your father, I’d say no. But I’m your grandfather, so I say wear a seatbelt and call me if he gets handsy.”) Jon Lovitz might be playing a one-note punchline, as an employee of Ted’s who’s absolutely incensed by the deli’s new healthy options, but it’s never not funny to watch his (literally) spitting disgust at the concept of a kale wrap.

Of course, it’s the leading ladies who really make the film. Sandler, who showed real promise with her first lead role in the amiable nepo family affair that was You Are So Not Invited to My Bat Mitzvah, rises to the challenge of letting us in on how Sophie is feeling when often she’s unable or unwilling to know herself. But the real gem of this ensemble (as she is in pretty much everything she touches) is Lynskey, who’s never less than completely and utterly present even as Liz increasingly struggles to be. A little bit funny, a lot cheesy and completely, unabashedly earnest, her Liz is — like moms everywhere — at once a perfectly ordinary woman and the center of the universe.

The love between Sophie and Liz radiates from their every interaction, even before the bad news hits. In doting-parent fashion, Liz understands she’s not allowed to wish her actress daughter “good luck,” but can’t quite bring herself to spout the traditional theater benediction: “But I would be so sad if you broke your leg,” she pouts adorably. Really, it almost strains credulity how good their relationship is, despite Sophie being in her prime adolescent-angst years. But so what if it’s possible to quibble with some of the details? Where it counts most, in its tenderness toward young Sophie, her mother and her art, Don’t Say Good Luck rings as true and clear as any Broadway showstopper.

movies

Romy Reiner Teams With Emmy Nominees for Short ‘Getting to That Age’

Published

14 minutes ago

August 12, 2026

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After appearing as a nurse on Larry David’s HBO series Life, Larry and the Pursuit of Unhappiness last week in the final episode, Romy Reiner‘s resumé is expanding in 2026 with a starring role opposite Carter Jenkins and Emmy nominees Sharon Lawrence and Matt Walsh in Getting to That Age.

The short film comes from fledgling filmmaker Tristen Tarp, who directed from her own script. Getting to That Age casts Reiner as an anxiety-ridden only child who returns home for the holidays to announce her engagement, only to discover that her parents are set to divorce. The story is meant to explores the collision between personal milestones and family upheaval. See the short’s first teaser and a selection of first-look images below.

Tarp, who has also worked as a playwright, helmed Getting to That Age after another previous short, her debut Bark starring Monica Potter, Alfonso Caballero and Jennifer Sherer.

“Bringing together this cast and creative team was a rewarding journey that meant a great deal to me. Between Sharon’s incredible emotional gravitas, Carter’s natural instinct for toeing the line between humor and cynicism, and Romy and Matt’s dry wit, this talented ensemble perfectly captured the nuance that this family dynamic demanded,” Tarp said in a statement. “I’m deeply proud of how this story illustrates society’s perceptions of aging, relationships, and success, and I’m eager for audiences to see how it sparks reflection and introspection.”

The short was produced by Marked Atlas Pictures, Jumpsuit Pictures and Frances Komoda. Executive producer credits belong to Tarp, Geneva Willis, Beck Bennion, Sami Moughrabie, Charles Mudd, Katherine Mudd and Hailey Bailey with associate producer credits belonging to Madi Walser and Shalyn Delhaes.

Reiner has worked on other short films like The Underwater Halloween Movie, Pterry, Whole and the upcoming The Auschwitz Bagel. She’s been seen in projects like Things Like This, You People, Curb Your Enthusiasm and Voices. She was most recently seen throwing out the first pitch at a Los Angeles Dodgers game alongside brother Jake Reiner, marking the siblings’ highest-profile outing after their parents, Hollywood icon Rob Reiner and wife Michele, were tragically killed last December.

Jenkins’ credits include Famous in Love, Women of the Movement, The Shadow Diaries, Mad Men, The Following, Sweet/Vicious, After Ever Happy, After Everything and Paws in the City.

Both Walsh and Lawrence are veteran, Emmy-nominated actors. Walsh’s credits include Veep, The Hangover, Reno 911!, Players, Outsourced, Hung, The Do-Over, Ghostbusters, Brooklyn Nine-Nine, Ghosts, The Conners and many more. Lawrence has starred on NYPD Blue, Fired Up, Ladies Man, Monk, The Line, One Tree Hill, Rizzoli & Isles, The Ranch, Me, Myself & I, Shameless, Criminal Minds, Rebel, Dynasty, Joe Pickett, Walker and many more.

A scene featuring Walsh, Lawrence, Reiner and Jenkins.

Reiner and Jenkins

Courtesy of Filmmakers

Lawrence and Walsh

Courtesy of Filmmakers

movies

X-Men Reboot: Actors Campaign for Iconic Marvel Roles

Published

22 minutes ago

August 12, 2026

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Remember when actors used to pretend to be above comic book movies? These days, they campaign for them like they’re running for office.

Nowhere are the hustings more crowded than Marvel’s upcoming X-Men reboot, where — in interviews, press junkets and red carpet chats — seemingly half of Hollywood has publicly raised a hand for one mutant or another. Keke Palmer has been lobbying to play Rogue, repeatedly telling interviewers she wants the part. Cynthia Erivo has called Storm a dream role; Jodie Turner-Smith and Kirby Howell-Baptiste have publicly volunteered for weather-control duty, as well. Taron Egerton has repeatedly expressed interest in inheriting Wolverine’s claws from Hugh Jackman, while Dacre Montgomery has floated himself for Cyclops.

Some of this campaigning appears to be working — or at least getting a few meetings on the schedule. Inde Navarrette recently confirmed she’d met with X-Men director Jake Schreier after revealing Mystique is the mutant she’d most like to play, though rumor has also linked her to Rogue.

Of course, no campaign would be complete without a few polls. Thanks to Kalshi, fans can now track the X-Men frontrunners in real time. According to an analysis by The Action Network, Jacob Elordi’s chances have climbed from 24 percent in late July to 96 percent, while Sadie Sink — already cast as Jean Grey — rather academically tops Kalshi’s ticket at 98 percent (presumably she’ll get the other 2 percent when filming begins?). The leaderboard gets a little weirder from there, with Jackman still pulling 43 percent despite publicly retiring from the role, and Denzel Washington somehow polling at 30 percent, rumor has it to play Magneto.

***

Also in Rambling Reporter:

How The Shards original adaptation blew up at HBO — and ended up in Ryan Murphy’s hands; Rumor has it that Jeff Bezos bought a $200 million condo in Beverly Hills.

This story appeared in the Aug. 12 issue of The Hollywood Reporter magazine. Click here to subscribe.

movies

Lakers Bought By Bob Iger For $12 Billion

Published

31 minutes ago

August 12, 2026

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UPDATED with Magic Johnson comments: Fulfilling almost every American boy’s dream, Bob Iger has bought himself a big-city sports franchise.

The ex-Disney CEO and Thrive Capital boss Josh Kushner have scored the L.A. Lakers for $12.5 billion, Deadline has confirmed.

“As lifelong NBA fans, we are deeply honored for the opportunity to become stewards of the Los Angeles Lakers one of the most iconic sports franchises in the world,” courtside regular Iger and Kushner said in a statement Wednesday. “We have immense respect for the leadership and vision of Jerry and Jeanie Buss. Our long-term commitment is to build on that foundation, compete at the highest level, and serve this extraordinary team, its fans, and the city of Los Angeles.”

Even as the deal needs to get formal thumbs-up from the NBA Board of Governors, Iger and Kushner got the stamp of approval from Lakers legend Magic Johnson ASAP.

“Laker fans, you couldn’t have two better owners,” Johnson posted online this morning. “I’ve known Bob personally for over 40 years – he has always loved the Lakers and basketball and he will bring championships back to LA”

I want to congratulate my good friend Bob Iger and Josh Kushner on their purchase of the Los Angeles Lakers!

— Earvin Magic Johnson (@MagicJohnson) August 12, 2026

Laker fans, you couldn’t have two better owners. I’ve known Bob personally for over 40 years – he has always loved the Lakers and basketball and he will bring championships back to LA.

— Earvin Magic Johnson (@MagicJohnson) August 12, 2026

After two stints as Disney boss, Iger exited the CEO seat in March. He rejoined Thrive as an advisor in April, setting the court for today’s bg news. And it has been a true whirlwind for the multi-championship winning Lakers the past year — and we’re not just talking about LeBron James leaving and joining the 76ers.

Austin Reaves, LeBron James and Luka Doncic Lakers — Austin Reaves, LeBron James and Luka Doncic

Angel City FC stakeholder Iger and the once FIFA touted financial player (and Donald Trump family member by marriage) Kushner take a controlling interest in the one-time home of Magic, Shaq, and Kobe from Mark Walter just over a year after the Guggenheim Partners CEO bought the Lakers from the Buss family for $10 billion.

The subject of a federal investigation over his finances, Walter (who denies any impropriety) also owns Los Angeles Dodgers and has interest in several other sports teams around the globe. In terms of finance, Iger and Kushner’s purchase of the Lakers would be the highest valuation ever for a sports team — at least under Jerry Jones actually sells the NFL‘s Dallas Cowboys.

Not that this is Iger’s first rodeo, so to speak.

Back in 2024, Iger and superstar spouse Willow Bay snared a controlling interest in L.A.’s Angel City FC for $250 million. At the time that was the richest valuation on any women’s sports team ever. Even though Disney under Iger was the first big media outlet to bend the knee to Trump in a $16 million settlement over a widely regarded weak suit against ABC News by the then incoming president, Angel City has been a loud and strong advocate for immigrants rights amidst ICE abductions and more in LA.

(L-R) Mark Wilson Technical Director, Assistant General Manager, owners of Angel City FC Julie Uhrman, Natalie Portman, Willow Bay and Bob Iger smile after the team’s win in the NWSL match between Angel City FC & the Seattle Reign at BMO Stadium on March 30, 2025 in LA (Photo by Meg Oliphant/NWSL via Getty Images)

Disney-owned ESPN first broke the news of the Lakers’ new owners.

The upcoming NBA season, with Iger expected to be front and center in DTLA, starts on October 20 with a triple header of the Boston Celtics vs the powerful Detroit Pistons, followed by current champs the NY Knicks up against the 76ers (with LeBron’s debut for the Philly team). The night will end with the San Antonio Spurs battling the Oklahoma City Thunder. In a season that sees games on NBC/Peacock, Amazon Prime Video and ESPN, the openers will be on the still Comcast-owned outlets. ABC and ESPN still hold the exclusive rights to the NBA Finals, so there’s a good chance Iger will be back at Disney in a form of fashion after all.

Cause that’s how you do it in the NBA.