Entertainment
Review: In ‘Triple Frontier,’ a special-ops heist goes awry
Published
7 years agoon
Job opportunities seldom diverge as greatly as they do for the former special forces operatives of J.C. Chandor’s “Triple Frontier.” There is selling condos or taking contract work in an African warzone. There’s stocking shelves at Walmart or taking down a South African drug lord. And you thought your LinkedIn profile had inconsistencies.
Yet those are exactly the kinds of choices facing a quartet of ex-military veterans who are rounded up, “Blues Brothers”-style, by Santiago “Pope” Garcia (Oscar Isaac), their former brother in arms who now works for a mysterious company contracted vaguely by “a foreign government.”
With the promise of that old temptation — “one last job” — and the potential for a major payday, Garcia gathers each old pal — Tom “Redfly” Davis (Ben Affleck), William “Ironhead” Miller (Charlie Hunnam), Ben Miller (Garrett Hedlund) and Francisco “Catfish” Morales (Pedro Pascal) — with little trouble. Once at the pinnacle of their profession, they’re all struggling to adapt to civilian life. Davis is a divorced, heavy-drinking real estate broker with little talent for it. Miller is getting his face kicked in as a cage fighter.
“I say we deserve better,” Garcia tells Davis. “You’ve been shot five times for your country and you can’t pay off your truck.”
“Triple Frontier,” a Netflix release playing in theaters for a week before streaming, was first scripted by Mark Boal with plans for Kathryn Bigelow to direct. Both remain executive producers and Boal is a co-writer alongside Chandor.
That “Triple Frontier” originated from the team behind “The Hurt Locker” and “Zero Dark Thirty” isn’t surprising. It’s similarly attuned to the under-rewarded sacrifice of elite American soldiers. But it’s also a larger leap into genre. Bountiful in dudes, guns and action scenes, “Triple Frontier” is the kind of proudly macho movie that’s perhaps too familiar to moviegoers — though such a starry, big-budget thriller is more novel for Netflix.
“Triple Frontier” is both more and less than what it seems. The crew heads south to an unspecified country in South America (the title refers to the junction of Brazil, Argentina and Paraguay) where they plot, with the help of an insider (Adria Arjona), to take down a long-elusive drug lord named Lorea at his jungle hideaway and make off with millions.
But “Triple Frontier” is only part heist movie. Its second half, a militaristic riff on “The Treasure of Sierra Madre,” tailspins into a existential, survivalist thriller about greed and combat addiction. For many of the guys, especially Affleck’s Redfly, being drawn back into the field is like relapsing. Trigger fingers again get itchy, to tragic ends.
Almost as soon as the mission — more ragtag than what they signed up for — gets started, regret begins to creep in. Launched with a mix of altruistic and capitalistic intentions, the expedition begins to mirror other American international overreaches, and, not unlike in Afghanistan or Iraq, the former soldiers find themselves leaving stacks of cash to compensate for the deaths of villagers. Things turn dark and in a frantic escape over the Andes, the value of money plummets.
Allegories of capitalism have proven a passion for Chandor, who has made money an ever-present subtext in crime dramas (“A Most Violent Year,” with Isaac as an ambitious heating-oil businessman) and survival tales (“All Is Lost”). His debut, “Margin Call,” was about a Wall Street investment bank in the tumult of a financial crisis.
With each film, Chandor’s scale has expanded, and part of the thrill of “Triple Frontier” is the finely staged set pieces (including Garcia’s opening siege of a discoteca) and the lush, wide-screen cinematography (via Roman Vasyanov). The balance of pulp and parable feels tenuously close to syncing, but never quite does.
Part of the problem is that the five guys (probably a few too many dudes, if we’re counting) — and every one of the Spanish-speaking locals — are too thinly sketched. Affleck draws the Bogart card from the “Sierra Madre” types, but the rest — talented as they are — don’t come through clearly. Only Isaac, with remorse creeping over his face, leaves a mark.
“Triple Frontier” has the good sense to take a macho, “Expendables”-like set-up and turn it inward. It just doesn’t go far enough.
“Triple Frontier,” a Netflix release, is rated R by the Motion Picture Association of America for “violence and language throughout.” Running time: 125 minutes. Two and a half stars out of four.
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Central Florida News
FNN Honors Teen Reporter Isabella Schmitt as She Graduates and Pursues Communications Degree
Published
7 days agoon
May 15, 2026ORLANDO, Fla. (FNN) — Florida National News proudly celebrates Isabella Schmitt as she marks an important milestone with her high school graduation and prepares to begin an exciting new chapter pursuing Communications in college.
Over the years, Isabella has represented the next generation of young voices with professionalism, creativity, determination, and passion.
Through reporting opportunities, community involvement, and media experiences, she has continued to shine both on and off camera while inspiring others through her dedication and work ethic.
Jenny Rosario, Vice President of Florida National News, praised Isabella’s accomplishments and bright future ahead.
“Watching Isabella grow both personally and professionally has been truly inspiring,” Rosario said. “She represents the future of journalism, communications, and storytelling. Her passion, confidence, and commitment to making a positive impact through media are remarkable, and we are incredibly proud of all she has accomplished.”
Rosario added that Isabella’s decision to pursue Communications in college is a natural next step for someone with such strong talent and determination.
“The world of media and communications needs more young voices like Isabella’s,” Rosario said. “We know this is only the beginning of many great accomplishments to come.”
Florida National News congratulates Isabella Schmitt and the entire Class of 2026 on this exciting achievement.
“Keep dreaming big and telling stories that matter,” Rosario added.
Entertainment
How Orlando International Fashion Week Builds Confidence: A Belonging-Driven Casting Experience
Published
2 weeks agoon
May 9, 2026By Dr. Jessica Henlon | Education Contributor for Florida National News
At Orlando International Fashion Week (OIFW), the runway does not begin on show day. It begins at casting.
Over two weekends this April, OIFW welcomed hundreds of aspiring and experienced models to CityArts Gallery in Downtown Orlando for official casting calls ahead of the June 6 runway shows. What unfolded was more than an audition process. It was a carefully designed experience rooted in a powerful truth: when people feel seen, supported, and welcomed, they are more likely to show up with confidence.
From first-time participants to returning talent, families, creatives, and industry professionals, the casting experience reflected what makes OIFW different. It was not just about selecting models. It was about creating a space where people felt confident enough to try.
Belonging First, Performance Second
In educational psychology, belonging is not a soft concept. It is a driver of motivation, persistence, and self-efficacy. Research in postsecondary education has consistently linked students’ sense of belonging to academic outcomes, engagement, and persistence (Fong et al., 2024; Gopalan & Brady, 2020). While OIFW is not a classroom, the same human principles apply. People perform differently when they feel safe, valued, and connected.
This also aligns with my doctoral research on online first-generation college students. In that study, participants described virtual extracurricular activities as affirming spaces that supported leadership development, motivation, self-efficacy, and belonging (Henlon, 2025). The findings affirmed that engagement spaces are not “extra.” They can be essential to how people build identity, confidence, and persistence.
OIFW reflects this same principle in a creative industry setting. People come back because of how they are treated.
Designing a Confidence-Building Experience
The atmosphere inside CityArts Gallery was intentional.
Models of all ages and backgrounds moved through the casting process in a space that felt structured, supportive, and human. Team members gave clear direction, answered questions, and offered encouragement in real time. Families felt comfortable. First-time participants felt included. Returning models felt valued.
Those details matter.
Social Cognitive Theory suggests that individuals build confidence through observation, encouragement, and successful participation in meaningful environments (Bandura, 1986). When a model sees others walk, receive feedback, and try again, the room becomes a learning space. Confidence is not simply demanded. It is modeled, practiced, and reinforced.
That approach also connects to the modeling and fashion curriculum I developed for youth and emerging talent, where self-esteem, work ethic, body language, preparation, and reflection were built directly into the learning experience. The curriculum framed self-esteem as confidence in one’s own worth and abilities, while encouraging participants to celebrate success, develop talents, practice positive self-talk, and treat themselves well. That same foundation was visible at casting: confidence grows when people are given structure, encouragement, and room to develop.
A Creative Ecosystem in Motion
Casting weekends brought together more than models.
Photographers, videographers, designers, media professionals, artists, families, and community members shared the same creative space. More than 20 photographers and videographers were present capturing content, building portfolios, and documenting the energy of the experience. Florida National News was also on-site, conducting interviews and helping tell the story of the event.
This kind of creative ecosystem matters because learning and confidence often grow through participation, not observation alone. Research on connected arts learning emphasizes the importance of linking creative practice to supportive relationships, cultural relevance, and opportunity pathways (Peppler et al., 2022). In other words, creative spaces become more powerful when they connect people to each other and to what comes next.
At OIFW, casting is not hidden behind closed doors. It is visible, collaborative, and alive. This is where relationships are built.
Inclusion as Strategy, Not Statement
OIFW continues to prioritize an inclusive casting approach that welcomes models across ages, sizes, backgrounds, and experience levels. This is more than a value statement. It is part of the structure.
Research on organized activities shows that participation in supportive group settings can help young people build social capital, strengthen relationships, and develop confidence through meaningful interaction (Boat et al., 2024). Similarly, studies of extracurricular activities have found that participation can strengthen self-efficacy, identity, and skill development when activities are structured with purpose and support (Griffiths et al., 2021).
That is why inclusive casting matters. When a young person, a first-time model, or a returning participant sees a range of people welcomed into the process, the message is clear: there is room for you here.
For families, this creates trust.
For designers, it creates range.
For sponsors and media, it tells a deeper story.
For participants, it builds confidence.
Safety, Structure, and Trust
With a strong presence of youth participants, OIFW maintains clear expectations around professionalism, age-appropriate presentation, and safety. Families can trust that the environment is monitored, structured, and designed with care.
That trust is part of why participants return season after season.
In youth development research, positive experiences in organized activities are strongest when young people experience supportive relationships, clear expectations, and opportunities to build skills (Boat et al., 2024; Heath et al., 2022). OIFW’s casting model reflects that kind of intentional design. The goal is not only to prepare people for the runway. It is to help them feel prepared to step into the room.
More Than a Casting Call
What happened over these two weekends was not only about who made the runway.
It was about creating a space where people felt confident enough to try, supported enough to grow, and inspired enough to return. It was about helping participants move from nervousness to possibility. It was about making sure that the first step toward the runway felt welcoming, not intimidating.
Creative participation can support well-being, identity development, and self-expression, especially when the environment is inclusive and relational (Mak & Fancourt, 2019; Peppler et al., 2022). OIFW’s casting experience shows how arts and fashion spaces can function as confidence-building environments when they are designed with care.
That is the OIFW difference.
Confidence is not built through pressure alone. It is built through belonging, visibility, preparation, and meaningful interaction.
Looking Ahead
Orlando International Fashion Week continues to build toward its summer season:
May 16, 2026: Avant Garde Showcase at Orlando Fringe Festival
June 5, 2026: VIP Mixer at Morse Code Lounge
June 6, 2026: “626 Euphoria” Runway Shows at Winter Park Events Center
Tickets are available at www.OIFW.org.
Entertainment
160+ Bands, 5 Stages: Welcome To Rockville Returns to Daytona International Speedway May 7–10 with Expanded Fan Experience
Published
1 month agoon
April 15, 2026By
Willie DavidDAYTONA BEACH, Fla. (FNN) — Music set times have been released for the 15th anniversary of Welcome To Rockville, Florida’s largest rock, metal and punk festival, set for May 7–10, 2026 at Daytona International Speedway.
Produced by Danny Wimmer Presents, the four-day event will feature more than 160 bands performing across five stages, marking the festival’s largest lineup to date.
HEADLINERS AND DAILY LINEUP
This year’s festival will be headlined by Foo Fighters, My Chemical Romance, Guns N’ Roses and Bring Me The Horizon.
- Thursday, May 7: Guns N’ Roses, Five Finger Death Punch, Godsmack, Staind
- Friday, May 8: Foo Fighters, Turnstile, The Offspring, Parkway Drive
- Saturday, May 9: Bring Me The Horizon, Breaking Benjamin, Motionless in White, Lamb of God
- Sunday, May 10: My Chemical Romance, A Day To Remember, Rise Against, Yellowcard
FESTIVAL EXPANSION AND NEW FEATURES
Organizers announced several enhancements for 2026 aimed at improving the fan experience. A new “Pit Stop” fan zone near the Apex Stage will feature artist interviews, special performances and interactive experiences.
In addition, the Garage Stage will be fully tented for the first time, offering expanded shade coverage and upgraded production for attendees.
SPECIAL EVENTS AND EXPERIENCES
Festivalgoers can kick off the week with a pre-party on May 6 featuring performances by Fuel, Local H and others.
A new crossover event, “Blood4Blood,” will also take place at the Ocean Center, combining live music with bare-knuckle fighting, including a headline bout featuring Alex Terrible of Slaughter to Prevail.
TICKETS, ACCESS AND ATTENDANCE
Festival gates will open daily at 11:30 a.m. Organizers are offering a range of ticket options, including single-day, weekend, VIP and camping packages. A new Camp to Coast shuttle will provide transportation between the speedway and nearby beaches.
With expanded attractions, including rides, themed bars and interactive zones, Welcome To Rockville 2026 is expected to draw tens of thousands of fans to Daytona Beach, reinforcing its role as a major driver of Florida’s tourism and live entertainment economy.