Jay Baruchel and Kevin Corrigan are among the new additions for ‘Reacher’ Season 4.
Alan Ritchson stars as Jack Reacher.
The new season adapts Lee Child’s 13th book, ‘Gone Tomorrow’.
‘Reacher,’ the Prime Video series adapted from Lee Child’s bestselling series of novels about the hulking former U.S. Army Military Police major –– brought to life on TV by Alan Ritchson –– has become one of the streaming service’s most successful shows.
It’ll return for a fourth season, and now we know who will be sharing the screen with Ritchson (and probably looking not to get punched), as Jay Baruchel is leading a host of new cast announcements.
Baruchel, of course, knows a thing or two about acting opposite a hulking action star –– he appears in Netflix series ‘FUBAR’ with Arnold Schwarzenegger. And it probably doesn’t hurt that that shares a showrunner with ‘Reacher,’ Nick Santora.
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Ritchson recently popped up on the series’ Instagram account to reveal that the fourth season will adapt Child’s 13th novel, ‘Gone Tomorrow’:
Jay Baruchel in Caitlin Cronenberg’s ‘Humane’. Courtesy of Steve Wilkie. An IFC Films & Shudder Release.
While the season will likely make the usual tweaks from the source material –– in this case, for example, from New York to Philadelphia. In it, when a chance encounter with a distraught stranger on a train goes horribly wrong, Jack Reacher is drawn into a complex and deadly game that pits him against ruthless foes from the highest echelons of power.
Baruchel will play Jacob Merrick, a small-town policeman.
Who else is among the cast for the new season?
Kevin Corrigan in ‘Bang Bang’.
Baruchel was far from the only person added to the show, as we know that Kevin Corrigan (‘The Departed’) is aboard to play Detective Docherty.
He’ll be partnered with Tamara Green, a detective with the Philadelphia police department, play by Sydelle Noel (‘Glow’).
Singer-actress Agnez Mo (‘Pernikahan Dini’) will be Lila Hoth, a young Indonesian woman who, along with her mother, Amisha Hoth (Indonesian-French singer Anggun, who appeared in ‘Levitating’), come to Philly to track down Lila’s American biological father.
When will ‘Reacher’ Season 4 be on screens?
Prime Video has yet to confirm an official release date for the fourth season, but given that production is gearing up now, we’d expect it to drop next year.
Released on Netflix on June 12th, ‘FUBAR’ Season 2 gets us back in action with Arnold Schwarzenegger’s Luke Brunner for another blend of spy thrills and comedy.
If you’re craving some Arnold Schwarzenegger action, but don’t want to dive into some of the dodgier straight-to-home-entertainment movies he’s made of late, the return of ‘FUBAR’ might satisfy you.
We says “might,” as this is very much a Your Mileage May Vary series –– if your tolerance for Schwarzenegger taking stabs at being funny and a narrative that puts laughs over stunts (though there are still some impressive moments) –– isn’t all that high, then this might not be the show for you.
‘FUBAR’ was created and is run by Nick Santora, who has had a hand in shows such as network procedural offering ‘Scorpion’ and Prime Video’s ‘Reacher.’ He certainly knows a thing or two about how to make funny live alongside spy material or vigilante action, but with ‘FUBAR,’ he’s created a delivery system for two things: Schwarzenegger channeling his past career and workplace comedy that just happens to feature big threats as part of its DNA.
For the most part, the scripts walk the line between the two on an effective level, helped by the cast. The show is never going to be the funniest or most action-packed out there, but if you’ve enjoyed its charms in the past, Season 2 certainly keeps up the same quality level.
Shoving the characters together in a safe house for a couple of episodes gives plenty of material for them clashing comically with each other, and several finding creative ways to get out and pursue their interests (see Monica Barbaro’s Emma dominating local paintball tournaments) is good for chuckle.
Once the major plot kicks back in again, the show returns to what worked about the first season, and for the most part it’s entertaining.
On the directorial front, the limitations of even a Netflix budget (and we’re certainly not talking money on the level of, say, ‘Stranger Things’ here), do sometimes shine through, but directors Phil Abraham and Jeff T. Thomas make the most of what they have.
Let’s be honest here: Arnie is Arnie. He’s a movie star whose best days are perhaps behind him, but he certainly throws himself into all aspects of the series. He’s not afraid to make fun of himself and his back catalogue and while he can’t quite do everything he once did on the stunt front, he’s convincing enough with the help of a team.
It’s also clear he’s having fun here, chomping on cigars, getting to interact with the rest of the cast and generally nodding towards past glories.
As Emma, Monica Barbaro continues to be among the highlights, balancing a light comic tone with committed action chops. She’s equally adept playing farcical moment with the likes of Jay Baruchel as she is looking like a badass when called upon.
Fortune Feimster, Milan Carter and Travis Van Winkle are still worth watching as Luke Brenner’s support team and surrogate family Roo, Barry and Aldon, and while Milan Carter is somewhat sidelined this year, he still gets some fun moments.
Jay Baruchel, even more than Carter, comes off worse this time around –– not because of his performance, which is still giddily entertaining, but because his character, Emma’s former fiancé, simply doesn’t have as much to do any more.
Still stealing scenes every time he’s in them is Scott Thompson as Dr. Pfeffer –– he’s a delight, and fans of the first season will be happy to know his puppet obsession is undimmed.
The new recruits for this season include Carrie-Anne Moss, who clearly relishes playing Luke’s former flame and a master spy in her own right, Greta Nelso. She goes full femme fatale, and plays well off of Schwarzenegger.
Finally, there’s Guy Burnet as Theodore Chips, a James Bond riff whose character pivots between hero and villain. Burnet is excellent in the role, whether he’s trying to flirt with Emma or threatening the team.
‘FUBAR’ certainly has niche appeal, but what it does, it does well, delivering Arnie puns, some level of spy craft and plenty of silly moments (Van Winkle and a pig are a particular highlight.
That’s it and that’s all. But hopefully this won’t be it and all for the show.
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What’s the plot of ‘FUBAR?
The initial season of the series follows Arnold Schwarzenegger’s Luke Brunner, a CIA operative with a knack for inventively taking down bad guys and a venerable reputation at the agency.
But Luke, long since realizing the toll his job and its need for total secrecy had on his family –– he’s been divorced from wife Tally (Fabiana Udenio) for nearly 20 years –– is ready to retire. He plans to win his wife back and properly reconnect with his grown children, especially Emma (Monica Barbaro).
Before he can really call it quits, though, he’s informed that Boro (Gabriel Luna), the son of a terrorist Luke dispatched years ago while working undercover, has resurfaced and is aiming to relaunch his father’s dangerous organization with even more vehemence.
Season 2 picks up with Brunner, Emma and their family, friends and colleagues going stir crazy in a safe house. But then Luke learns that not only has old flame Greta Nelso returned, but there’s a new threat out there –– and he’s the only one who can stop it.
(L to R) Jay Baruchel and Emily Hampshire in Caitlin Cronenberg’s ‘Humane.’ Courtesy of Steve Wilkie. An IFC Films & Shudder Release.
Moviefone recently had the pleasure of speaking with director Caitlin Cronenberg, and actors Emily Hampshire and Jay Baruchel about their work on ‘Humane,’ developing the project, the characters, their family dynamics, the movie’s tone, and working with the rest of the cast.
You can read the full interview below or click on the video above to watch our interviews.
‘Humane’ director Caitlin Cronenberg. Courtesy of Steve Wilkie. An IFC Films & Shudder Release.
Moviefone: To begin with, Caitlin, can you talk about your first reaction to the screenplay and the themes you were excited to explore as a first-time feature film director?
Caitlin Cronenberg: Well, my first reaction was, “This is a really original concept.” That was something that really excited me. I’ve read a lot of scripts and things that take place over one day in one location, and none of them really spoke to me the way that this did, especially within those parameters. I think that was the first thing that drew me in. Then I was excited to explore a family dynamic within this very particular situation of this incredibly trying moment. It was written and the first time I read it was before Covid, so we didn’t know that that was going to be something that we were all going to experience months later. But that was certainly something that really stood out to me as like, “Okay, how do families respond? What would a family do?” I think that a lot of the response that companies had, and people had to how they wanted to make products that people would use, and how people were profiting from the reactions to fear was something that we worked on a lot in terms of the world building, because that was something that you couldn’t have really imagined. You think you know the world and then you see a bus ad for masks for children, and suddenly everything that you thought you knew about the world had changed.
Jay Baruchel in Caitlin Cronenberg’s ‘Humane’. Courtesy of Steve Wilkie. An IFC Films & Shudder Release.
MF: Jay, can you talk about your approach to playing Jared and if it was difficult empathizing with the character?
Jay Baruchel: Yeah. I mean, he’s a real A-Hole. He is kind of a jerk. But I think that there’s a finite number of experiences that we all go through. I just had to find my equivalent of what he was feeling, which is he thinks that he’s too smart to wait in line. He’s one of those guys basically. That everybody else would be cutting the line, and the only reason they haven’t is they haven’t figured it out yet, so they deserve to be waiting behind him. So, in his mind, he’s probably more honest and everybody else is kind of a liar. That was at least a jumping off point. He doesn’t think of himself as a politician, but he’s a political animal and he’s part of that ecosystem. I think depending on what day it is and who’s asking him, how much he believes what he’s selling will change. I think there’s times where he honestly believes it, but I also think there’s times where this is an expedient path to success for him. So, I think what you’re watching is a man who’s been able to get away with his house of cards kind of all falling in on him. Now his wife hates him, his kid hates him, his family hates him, and the world’s falling apart and everything that he built has gone. You’re watching an animal of the political ecosystem grapple with that reality.
Emily Hampshire in Caitlin Cronenberg’s ‘Humane.’ Courtesy of Steve Wilkie. An IFC Films & Shudder Release.
MF: Emily, Rachel described herself in the film as “cold and selfish.” How did that line of dialogue help you to understand the character?
Emily Hampshire: I think she does realize that her anger towards her father is that she is just like him, and I also really liked the fact that she is just obsessed with her work, obsessed with her job. That was something I really felt like I could identify with. But also in the beginning, I remember Caitlin had these black nails. That was something I was like, “I need those nails.” That was it, those nails. She had also mentioned that there was this pretty famous lawyer in Toronto that Rachel was a little based on. I don’t know if she was fully based on, but I read that person’s memoir and I was like, “Oh, this is Rachel.”
(L to R) Jay Baruchel, Emily Hampshire, and Alanna Bale in Caitlin Cronenberg’s ‘Humane.’ Courtesy of Steve Wilkie. An IFC Films & Shudder Release.
MF: Emily, how would you describe the family dynamics and the tension between Rachel, her siblings, and their father?
EH: I think it’s that classic family drama thing when there’s just resentment that has been built over years and years, and it all comes to a head in this dinner. I love that when all the siblings start fighting, everyone kind of regresses to when they were kids. I find that at least if I go home, I start suddenly talking like a teenager and just regressing. I think that’s how their dynamic really plays out. Everybody goes back to being a kid again.
(L to R) Jay Baruchel, Peter Gallagher, Alanna Bale, and Enrico Colantoni in Caitlin Cronenberg’s ‘Humane’. Courtesy of Steve Wilkie. An IFC Films & Shudder Release.
MF: Jay, do you agree with that? What was your take on the family’s dynamics?
JB: I think one of the truths of my adult life is that I learn lessons. I grow up. I learn how to deal with people, and then I’m around my sister and I’m nine years old again, and nobody can hurt me quicker, annoy me quicker, or drive me up the wall. The way that I complain to my mother, all of it. Like Emily said, you’re back in that environment, you kind of assume all those roles and versions of those roles regardless. I see it with my wife and all her siblings. They’re all in their thirties and forties, and they might as well still be in the basement in 1996 bickering with one another. So, what you get in this movie is that on crack.
(L to R) Alanna Bale, Sirena Gulamgaus, Peter Gallagher, Uni Park, Emily Hampshire, and Jay Baruchel in Caitlin Cronenberg’s ‘Humane’. Courtesy of Steve Wilkie. An IFC Films & Shudder Release.
MF: Caitlin, was it difficult building the tension between the siblings and can you talk about the betrayal that eventually happens?
CC: I think that naturally there’s a divide between the two older siblings and the two younger siblings who you expect banded together in their childhood because their two older siblings were such a unit together. So, I think that there are moments that are surprising, and there are moments that are less surprising, which I think are, when Rachel and Jared turn on the younger siblings. The moment that was truly surprising was when Ashley (Alanna Bale) turned on Noah (Sebastian Chacon), because you expect that she’s going to be his ally and that that’s never going to happen. So, when that happened, I think that we really wanted to create that quiet heartbreak of what happens when the person who you truly love and trust in your life does betray you, which hopefully is not an experience that many of us have had. But I think that the sibling relationship with Jared and Rachel, nothing is surprising because those are the characters they are. So, the tension really comes from that extra layer of betrayal. Then of course, who was having the first strike? That is a Rachel situation.
Emily Hampshire in Caitlin Cronenberg’s ‘Humane.’ Courtesy of Robin Cymbaly. An IFC Films & Shudder Release.
MF: Emily, how would you describe Rachel and Jared’s relationship, and their relationship to their other siblings?
EH: Well, Jay and I have known each other for a long time, and we’ve also worked together many times. But one thing we hadn’t done was play siblings, which is the one thing we were made for, I think, especially siblings who fight and think they’re at the same level intellectually. So, it felt easy and exciting for me to be able to play in that world with Jay. So, there wasn’t a lot of work to be done there, which I liked. I think when I spoke to Caitlin about doing this project at first, I texted Jay and was like, “You need to be my brother.”
(L to R) Sirena Gulamgaus, Emily Hampshire, and Enrico Colantoni in Caitlin Cronenberg’s ‘Humane.’ Courtesy of Robin Cymbaly. An IFC Films & Shudder Release.
MF: Jay, what was it like for you working with Emily on this project?
JB: If I could do every job with Emily, I would be a very happy man. We’ve worked together many times. We have a wonderful shorthand, and we’re lucky to also get on super good too. So, it was just fun and comfortable. You got to find your sea legs on any set, and it is bumpy the first week. When you have somebody that you’ve known for 20 years plus and you’re comfortable with them, it helps you get there and find your comfort zone way quicker, I think. Then it’s just a question of making sure that we can carry on that authenticity with everybody else. You want it to have a sort of lived in feeling. You don’t want to feel like everybody just got taken out of their boxes. You want to feel like these people are who they are and have grown up around each other and have known each other forever. You’ve got to do that on a Canadian independent film schedule, which means we had one hour of stunt rehearsals. That was it. Then we were making a movie together, and so we had to just sort it out. I think that’s one of the gifts of casting who Caitlin did was that we had talented actors that we could jam with and who were up for it. Alana is the sister that Emily and I have always had and just didn’t realize it.
Peter Gallagher in Caitlin Cronenberg’s ‘Humane’. Courtesy of Steve Wilkie. An IFC Films & Shudder Release.
MF: Jay, can you talk about Jared’s relationship with his father and what was it like working with Peter Gallagher on those scenes?
JB: It was getting to work with a bona fide Rock and Roll Hall of Famer. He has been around forever, and I’ve grown up watching him. He’s given so many powerful performances that. Also, when I was a kid, my mother would always make a point of telling me the actors she liked when they would come up in a movie. He was one of the ones that she’d always point out to me as like, “Oh, I like him. He’s always good.” So that was a real treat. He’s just a lovely guy and a fun collaborator. In terms of the father son dynamic, I think that Jared thinks he’s smarter than his father. I think Jared thinks he’s more honest than his father. But at the end of the day, like a significant amount of people, he still needs his father to say, “Your finger paintings are good.” All our push and pull, our conflict and our tension, I think starts from that place of, “This is a kid who thinks he’s better than this man and yet this man’s opinion means everything to him still.” I was going to say that the siblings are having a pissing contest. So, if they don’t need each other’s approval, they need to impress, respect or fear, and that’s what they want from each other.
(Left) Sirena Gulamgaus and Martin Roach in Caitlin Cronenberg’s ‘Humane’. Courtesy of Steve Wilkie. An IFC Films & Shudder Release.
MF: Caitlin, can you talk about the challenges of striking the right tone for the movie and balancing humor with horror?
CC: I don’t think it was necessarily challenging. I think it felt natural just given who we had to work with and the material that we had to work with because the script is clearly very dark in certain situations. There are obviously funny moments of reprieve, and then you give a script like that to actors who have the range to do very straightforward and serious versus very funny, and everything in between. The tone kind of naturally happens. I put a lot of trust into what they felt about their own characters because of course, why wouldn’t I do that? Look at who’s taking on these characters. So, there were surprises that I was just blown away by even within their own performances of their own characters, because they embodied them so completely. It’s just words on a page until the actors take over the characters. Then the tone presents itself because of the way that the characters are interacting with each other.
Enrico Colantoni in Caitlin Cronenberg’s ‘Humane’. Courtesy of Steve Wilkie. An IFC Films & Shudder Release.
MF: Finally, Caitlin, can you talk about the casting process and finding the right actors for this project?
CC: Ultimately, it’s a bit more complicated because you have people who are behind the scenes who have opinions, and they want to have lists and everything. But Emily was my first call and I think it was a text. I said, “I’m making a movie, can you be in my movie?” She was like, “Yes.” It was so clear that Emily needed to play Rachel. It was of course blessed by all the powers that be because everybody knew that Emily would play Rachel. Then having Emily on board first, we always wanted Jay, and it was just a natural choice. But having Emily play the sister role made me even more excited about the possibility of those two being siblings. But Jay and Emily were the first two cast, and that kind of set the tone for the rest of the family members. I was like, “Who’s going to be their annoying little sister?” So, we brought Alana in. We did a video audition. It was still during Covid, and she was just the dream of all dreams. She had brushed up her eyebrows and taken a picture and put it beside Peter Gallagher and said, “See, I’m your long-lost daughter.” So, bringing her on, she blew me away because that girl can scream. Her screaming ability, you don’t necessarily think of how key that’s going to be until you get someone to scream and see how well they do it. Then with Enrico Colantoni, Bob was written for him, and it was just really a matter of making sure that that was able to happen. But he’s again, just a mind-boggling actor who is capable of everything. Then all the supporting actors, everybody was so great. It couldn’t have been more wonderful. Peter came in halfway through and the siblings had already done all the fighting. It was kind of fun to bring him in after everyone had bonded to really create and bring home that disconnect with the father who has no idea what his kids are up to. Not that he couldn’t have done it anyway, but it made it kind of funny.
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What is the plot of ‘Humane’?
Taking place over one day and mere months after a global ecological collapse has forced world leaders to take extreme measures to reduce the earth’s population, a recently retired newsman enlists in the nation’s new euthanasia program.
And indeed, such a show exists –– it’s even called ‘True Lies’ and has the same plotline albeit with some tweaks –– but unfortunately that series, which had its first season on CBS, failed to ignite interest with audiences and has been cancelled.
Premiering its entire first season on Netflix, ‘FUBAR’ is an example of how to do that story with an even lighter touch and while it may not have the title, it does have a not-so-secret weapon: the return of Arnold Schwarzenegger to the blend of laughs and set-pieces that made ‘True Lies’ so entertaining.
The series follows Schwarzenegger’s Luke Brunner, a CIA operative with a knack for inventively taking down bad guys (essentially an Arnie character from his 1980s heyday) and a venerable reputation at the agency.
But Luke, long since realizing the toll his job and its need for total secrecy had on his family –– he’s been divorced from wife Tally (Fabiana Udenio) for nearly 20 years –– is ready to retire. He plans to win his wife back and properly reconnect with his grown children, especially Emma (Monica Barbaro).
Before he can really call it quits, though, he’s informed that Boro (Gabriel Luna), the son of a terrorist Luke dispatched years ago while working undercover, has resurfaced and is aiming to relaunch his father’s dangerous organization with even more vehemence. So, our hero must go back into the field… Whereupon he discovers that Emma is already there, and that she’s been a CIA operative herself for the last few years. The father-daughter bonding he’d hoped to achieve now takes on a much more elevated, more dangerous nature…
Created and run by Nick Santora (who previously worked on the likes of ‘Scorpion’ and ‘Reacher’), ‘FUBAR’ is a Skydance Television project.
If you’ve been missing the sort of action charisma that Schwarzenegger brings to screens, then this should help mitigate those withdrawal symptoms. The actor and former bodybuilder has had a rough go of it with recent cinematic choices (‘Terminator: Dark Fate’ seemingly putting the final nail in the coffin of his work with that franchise, and others including ‘Iron Mask’ and ‘Killing Gunther’ hardly burnishing his career or box office with glory).
With ‘FUBAR’, he’s on much more solid territory.
Schwarzenegger’s on good form as Luke, his usual bravado on display but balanced with a decent sprinkling of vulnerability. While this is a man who absolutely knows he’s one of the best in the business, he’s still prone to making mistakes when it comes to those he loves.
Santora and his team has smartly built the ensemble around their leading man so as to take some of the comedy load off him. Milan Carter in particular is well developed as Barry, Luke’s CIA tech guy and “man in the chair” who also happens to be the only person who also knows his family (the two run a gym supply company as their cover story).
And it’s far from a two-man operation, Luke and Barry surrounded by a team that has both spy capabilities and winning comic personas –– Feimster and Van Winkle give good banter as Roo and Aldo, the duo’s usual backup in the field. As the story develops, all of the cast are given solid running jokes or moments to show what they can do, and the characters feel the benefit of the show’s running time to become more than just throwaway sidekicks.
Even smaller roles, such as Scott Thompson as the CIA psychiatrist hired to help Luke and Emma figure out their fractured relationship, work well, Thompson at one point breaking out puppets of the pair to aid their communication.
Barbaro, meanwhile, has to carry more of the dramatic weight and does so with skill and finesse. Though you might not quite always buy her as Arnie’s daughter, she’s more than up to the task of sparring with him and can also hold her own when it comes to the action sequences. At home, meanwhile, she has some funny interactions with her nervy boyfriend, played by Baruchel.
We all know, of course, that Schwarzenegger, for all that he brings to screens, is not the world’s greatest actor. And ‘FUBAR’ certainly stretches that idea in places. He can deliver some of the comedy and a fair portion of the drama, but he’s still more comfortable when things are blowing up or he’s being imposing.
The show also takes a while to truly hit its stride –– though it kicks off with a fun action sequence, it doesn’t quite manage to hide the early exposition dump to introduce Luke’s situation and various family connections. And there are moments where you really feel like you’re watching a pilot episode for a show.
Plus, even with the sort of generous budget afforded by Netflix, the stunt sequences will never quite challenge the levels routinely on display in Schwarzenegger’s glory days. And one or two subplots, such as rival gym supply company owners complaining about Luke’s success when he rarely seems to be in the office have the whiff of something quickly whipped up to give Tally more to do when she starts working for him (still unaware of his double life).
Still, stick with it and the series soon finds the right blend of espionage set up and goofy comedy. It’s the most fun Arnie has had on screen in years and that proves to be infectious.
Hiccup and Toothless from ‘How to Train Your Dragon: The Hidden World.’
Disney had been getting a lot of mileage out of turning its animated classic canon into live-action (and usually live-action/CG mixes) with the likes of ‘Beauty and the Beast’, ‘The Lion King’ and this year’s ‘The Little Mermaid’, it was perhaps only a matter of time before other studios decided to give it a try.
The first to step up are Universal and DreamWorks Animation, who have started work on a live-action adaptation of the ‘How to Train Your Dragon’ stories.
Dean DeBlois, who wrote all three films, co-directed the first with Chris Sanders and took on the other two alone, is aboard to write, direct and produce this new film, where he’ll face the unenviable task of bringing central dragon Toothless to life in live-action, and somehow making him as charming as the beloved animated version.
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What’s the story of ‘How to Train Your Dragon?
Adapted from Cressida Cowell’s novel series, which saw its first book hit shelves in 2003, the ‘How to Train Your Dragon’ movies focused on the special friendship between a young and unheroic Viking boy named Hiccup and Toothless, an injured dragon he nurses back to health.
Set in a Viking island-based village called Berk, the story is set in a world where humans see dragons as a problem––either a sheep-stealing nuisance or deadly threat, depending on the type of beast. We followed Hiccup and Toothless’ quest to combat humanity’s prejudice against dragons, the ache of overcoming the loss of a parent, and first love. And uniquely, the films did so by consistently aging the protagonists commensurately with the story, becoming a true coming-of-age story.
The ‘Dragon’ movies have been successful enough to spawn a wealth of merchandise (including a Build-A-Bear Toothless tie-in, clothes, games, toys and more).
And it has also generated several TV spin-offs featuring other dragon riders, which have screened on Cartoon Network, Netflix and Hulu.
Universal clearly believes this is a franchise that can make the leap, and has already planted a flag in March 14th, 2025 for the movie’s theatrical release.
2014’s ‘How to Train Your Dragon 2.’
Other Movies Similar to ‘How to Train Your Dragon:’
