‘Street Fighter’ is a Fun/Exhausting Blast

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What exactly is a street fighter? (CREDIT: Paramount Pictures)

Starring: Noah Centineo, Andrew Koji, Callina Liang, Joe “Roman Reigns” Anoa’i, David Dastmalchian, Cody Rhodes, Andrew Schulz, Eric André, Vidyut Jammwal, Curtis “50 Cent” Jackson, Jason Momoa, Don Lee, Orville Peck, Olivier Richters, Hirooki Goto, Mel Jarnson, Rayna Vallandingham, Alexander Volkanovski, Kyle Mooney

Director: Kitao Sakurai

Running Time: 120 Minutes

Rating: PG-13 for Over-the-Top Candy-Coated Action Violence and Some Cheeky Hints of Nudity

Release Date: October 16, 2026 (Theaters)

What’s It About?: It’s 1993, and the best combatants on the globe are converging in Metrolao City for the second World Warrior Tournament. The top attractions are American bad boy Ken (Noah Centineo) and Japanese orphan Ryu (Andrew Koji), who were best friends until the death of their mentor drove them apart. Rounding out the bill are a colorful cast of fighters sporting unforgettable fashions and supernatural abilities. Mostly operating outside the tournament is Chun-Li (Callina Liang), who’s intent on avenging her father’s death at the hands of M. Bison (David Dastmalchian), the dictator who has nefariously organized the tournament. Also, there are animated sequences to explain some of the backstory.

What Made an Impression?: Ham It Up: For a Street Fighter movie to be taken seriously by audiences in 2026, it must take itself profoundly unseriously. So it’s no surprise then that the most memorable performances are the most over-the-top or counterintuitive ones. Ergo, Dastmalchian chews as much scenery as possible, while Eric André is his typical id-driven self as the announcer Don Sauvage. On the other end of the spectrum is Kyle Mooney as a dorky Interpol agent with a huge crush on Chun-Li. But really everyone in the cast is given free reign to be as colorful as they want. And I’ve certainly got to hand it to (a barely recognizable) Centineo for lovingly lampooning the pretty boy persona.
Can’t Stop, Won’t Stop: If you ever forget what decade this movie is set in, that amnesia won’t last but more than a second. That’s because the soundtrack is filled to the brim with the likes of Soundgarden, 4 Non Blondes, and White Zombie. I’m happy to rock out to this era, but it’s also a bit much. It felt like someone merely pushed play on a “Most Xtreme Hits of the 90s” Spotify playlist without actually curating it with an eye to how well it would match up to each scene. Some of the set pieces manage to have some resonance with these tracks, but at a certain point, you can’t help but groan, “Okay, we get it, you wish that Bill Clinton was still president.”
Having Too Much Fun: Director Kitao Sakurai and his co-screenwriter T.J. Fixman bring plenty of self-aware flourishes to ensure that the nostalgia isn’t just empty calories. That’s epitomized by an ESPN-style documentary (complete with what sounded like Chris Berman narration) telling the tale of Ken and Ryu. Everyone involved knows how silly this whole affair is, and that’s absolutely the wisest approach. But at a certain point, their enthusiasm becomes a little unbridled, as the clever playfulness gives way to overwhelming cacophony. It’s still a good time for anyone with any affection for the video games, but it also feels like a missed opportunity for an honest-to-goodness masterpiece that wasn’t that far out of reach.

Street Fighter (2026) is Recommended If You Like: Wrestlers turned actors, Rappers turned actors, Video games turned cultural objects

Grade: 3 out of 5 Hadoukens

This Is a Movie Review: ‘Den of Thieves’ is a Warmed-Over, Mush-Mouthed Michael Mann Impersonation

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CREDIT: STX

This review was originally published on News Cult in January 2018.

Starring: Gerard Butler, Pablo Schreiber, O’Shea Jackson Jr., Curtis “50 Cent” Jackson, Evan Jones, Cooper Andrews, Dawn Olivieri

Director: Christian Gudegast

Running Time: 140 Minutes

Rating: R for Cacophonous Continuous Gunfire, a Strip Club Detour, and Way Too Many F-Bombs

Release Date: January 19, 2018

According to the opening titles of Den of Thieves, Los Angeles is the “bank robbery capital of the world.” I do not know if that title is actually true, partly because this movie does not make me care enough to confirm or debunk the claim. Besides, it is essentially immaterial to the plot. This is not about an epidemic of robberies, but one specific crew, who could be pulling off their big heist anywhere so long as the cash is present and an escape route is available. As for Gerard Butler’s performance as the cop doggedly tracking them, it does not scream “L.A.” so much as “nutso actor sheds any semblance of sanity.”

Den of Thieves is the directorial debut of Christian Gudegast, who previously scripted the likes of London Has Fallen (which I have not seen, but I have heard it is just as dreadful as its predecessor Olympus Has Fallen). Michael Mann’s influence on him is obvious, but not fruitful. Gudegast clearly wants this to be a sprawling crime saga on the same level as Heat or Miami Vice, but that would require characters who deliver personality instead of an endless string of groan-inducing f-bombs.

As Merriman, the leader of the den, Pablo Schreiber mostly relies on bulging out his facial muscles. As his right-hand man, Curtis “50 Cent” Jackson basically stands off to the side and looks vaguely threatening. O’Shea Jackson Jr., as the team’s driver and newest recruit, is able to infuse the proceedings with a few amusing moments. (There is a running gag with a couple of randy female customers when he moonlights delivering Chinese food.) Meanwhile, the rest of the guys in the den are either too beefy or too masked to convey any tangible emotion.

But for better and for worse, this is the Gerard Butler show. His “Big Nick” is not so much corrupt or “flying off the handle” so much as he is filled with constant, fidgety, bizarre tics that do not resemble any sort of recognizable human behavior I am familiar with. I cannot say that any of his performance adds up to anything “good,” but I must admit that I could not look away.

Ultimately, the scheme wraps up with a series of twists that mostly serve to frustrate, not because they cheat with any internal logic, but because they require a great deal of patience to sit around before anything meaningful happens. At nearly two and a half hours, there is precious little to make that journey bearable. To be fair, the crowd I saw it was hooting and hollering throughout, so there clearly is an audience for this sort of muscled-up, unsubtle affair. But from my perspective, this is a dithering cacophony that drives me batty.

Den of Thieves is Recommended If You Like: Michael Mann’s crime sagas but without the visual and formal experimentalism, Training Day but with an unfathomable amount of scenery-chewing

Grade: 2 out of 5 Automatic Rounds