Ponderosa
Filmmaker Rob Rice‘s incredibly uncomfortable Tribeca 2026 film Ponderosa follows Zeke, a young man targeted by a wealthy patron as his mother’s restaurant chain falters. George thinks he’s mentoring Zeke, but the reality is a collection of bizarre, forced encounters.As George involves Zeke in cartoonishly masculine scenarios, the audience feels more and more unwell. Each interaction is slightly exaggerated, making you feel increasingly off-kilter. Deadpan delivery may tip you off, but good luck. Ponderosa is a film that begs patience from its audience. It is a gross societal mirror. The script is deeply and intentionally awkward, highlighting the extreme differences in communication styles between generations.
Alexis Bledel plays Sandra with a morose indifference that she pretends to curb with dark humor. Bill Camp‘s George is anxiety-inducing. His discomfort is palpable. His fear of rejection pushes his efforts to woo Zeke into overdrive. Jack Dylan Grazer gives Zeke an alarming aloofness with Camp, but a genuine care for his mother’s emotional state. Grazer’s often clipped and quirky responses to George make for a fascinating study in human connection, and the combination of vapidity and nonchalance you want to strangle. It’s a genuinely great performance.
Visually striking, it compels you to explore each new frame. Barton Cortright offers juxtaposed imagery that both baffles and hypnotizes. Creative transitions stick in your brain. I cannot stop thinking about this film. I walked away feeling simultaneously dumber and entranced. I honestly feel like I got probed, but with my permission. And that’s weird. Do not move during Ponderosa’s credits. One more f*cked up hit is coming.
Ponderosa Cast & Crew:
Director & Writer: Rob Rice
Executive Producers: Jeremy Gardner, Declan Morgan, Kristal Gruevski, Steve Holmgren, Bill CampJack Dylan Grazer, Jason Matsumoto, Eugene Sun Park
Producers: Megan Pickrell, Matthew Porterfield, Amy E. Powell, Rob Rice
Cast: Jack Dylan Grazer, Bill Camp, Alexis Bledel
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Something that really stood out to me from an acting and writing standpoint in Fantasy Life warrants a mention. Eating scenes are actually quite rare in film. I don’t mean sitting at a table doing dialogue, I mean actually consuming food as the actors speak. It’s one of the most natural actions in our everyday lives, but we don’t often get treated to genuine relationship-building when actors have their mouths full of food. That simple and very specific choice by Shear has such an impact. It solidifies an immediate intimacy between Sam and Dianne. Bravo.
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The Peril at Pincer Point
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