{"id":285287,"date":"2026-04-25T08:45:15","date_gmt":"2026-04-25T08:45:15","guid":{"rendered":"https:\/\/www.newsbeep.com\/us-ca\/285287\/"},"modified":"2026-04-25T08:45:15","modified_gmt":"2026-04-25T08:45:15","slug":"what-to-watch-this-weekend-michael-fuze-i-swear-running-point-half-man-over-your-dead-body","status":"publish","type":"post","link":"https:\/\/www.newsbeep.com\/us-ca\/285287\/","title":{"rendered":"What To Watch This Weekend: ‘Michael,’ ‘Fuze,’ ‘I Swear,’ ‘Running Point,’ ‘Half Man,’ ‘Over Your Dead Body’"},"content":{"rendered":"

HOLLYWOOD, CA \u2014 This week\u2019s watchlist leans into chaos, confession and the strange ways people keep their sanity when life keeps changing the rules mid-stride. <\/p>\n

\u201cMichael<\/a>\u201d revisits the making of a pop icon, all spectacle and shadow, while \u201cFuze<\/a>\u201d locks London into a heart-stopping scenario where every choice feels like cutting the wrong wire. <\/p>\n

\u201cI Swear,\u201d meanwhile, softens the mood, following a Scottish teenager whose Tourette syndrome turns everyday life into an unpredictable dance of frustration, humor and hard-won grace. <\/p>\n

Find out what’s happening in Hollywoodfor free with the latest updates from Patch.<\/p>\n

Then there’s \u201cOver Your Dead Body,\u201d a dark-comedy thriller that swings things back toward the unhinged, turning a marital reset into a blood-spattered comedy of errors. <\/p>\n

On the series side, \u201cRunning Point: Season 2\u201d returns to the Waves’ front office, where ambition, ego and family ties collide with the force of a fast break. <\/p>\n

Find out what’s happening in Hollywoodfor free with the latest updates from Patch.<\/p>\n

And \u201cHalf Man\u201d stretches across decades, tracing a stepbrother bond so tangled and bruised it slowly takes over their lives in ways they never quite outrun. <\/p>\n

Together, these titles offer a lively mix \u2014 a little tension, a little tenderness, a little delightful chaos \u2014 each one opening a different door into the week ahead. <\/p>\n

Ready to dive in? Scroll down for the full lineup, with deeper explorations below that unpack performances, themes and craft in greater detail. <\/p>\n

Related: <\/p>\n

What To Watch This Weekend \u201cMichael<\/a>\u201d <\/p>\n

Jaafar Jackson, Colman Domingo; directed by Antoine Fuqua <\/p>\n

Jaafar Jackson as Michael Jackson in “Michael.” (Glen Wilson\/Lionsgate) <\/p>\n

Antoine Fuqua\u2019s \u201cMichael\u201d traces the rise of a prodigy whose brilliance reshaped global pop culture, charting Michael Jackson\u2019s evolution from a gifted child fronting the Jackson 5 to the most successful recording artist on the planet. The film moves with scale and reverence, delivering spectacle with precision \u2014 the Motown 25 moonwalk, the \u201cThriller\u201d choreography, the early Jackson 5 numbers \u2014 each staged with a kinetic charge that captures the electricity of Jackson\u2019s creative force. <\/p>\n

The film\u2019s most persuasive force is Jaafar Jackson, whose embodiment of his uncle, Michael Jackson, is so fluid and unforced that the performance often transcends the script around it. He captures the physicality, shyness, and flickers of vulnerability that defined Jackson\u2019s public and private selves. Joe Jackson (Colman Domingo) and Katherine Jackson (Nia Long) provide the film\u2019s emotional counterweights, though the script gives them limited room to deepen the family\u2019s internal dynamics. <\/p>\n

Spanning roughly 1966 to 1988, the film threads through familiar milestones \u2014 Motown, \u201cOff the Wall,\u201d \u201cThriller\u201d \u2014 while acknowledging the physical and emotional toll of Joe Jackson\u2019s punishing discipline. But it stops short of the turbulence that followed, avoiding the most contested and consequential chapter of Jackson\u2019s life. The omission leaves the portrait conspicuously incomplete, a biopic unwilling to confront the material that continues to shape his legacy. <\/p>\n

For all its limitations, \u201cMichael\u201d remains far from inert. The performances, the musical recreations, and Fuqua\u2019s assured staging give the film undeniable charge. But the reverence becomes a limitation, resulting in a portrait that dazzles on the surface without fully illuminating the man behind the myth. <\/p>\n

(Read our full review of \u201cMichael.\u201d)<\/a> <\/p>\n

\u201cFuze<\/a>\u201d <\/p>\n

Aaron Taylor-Johnson, Gugu Mbatha-Raw; directed by David Mackenzie <\/p>\n

Aaron Taylor-Johnson in “Fuze.” (Roadside Attractions) <\/p>\n

A bomb threat jolts Central London into paralysis in David Mackenzie\u2019s \u201cFuze,\u201d a high-concept thriller where the illusion of control clouds perception, where visibility obscures, and where the past collides with the present. Mackenzie leans into the grit of 1970s heist cinema, favoring restraint over spectacle and tension over noise, building a film that moves with clipped urgency \u2014 every glance, gesture, and breath calibrated to the ticking clock beneath the city. <\/p>\n

At the center is Major Will Tranter (Aaron Taylor-Johnson), a bomb-disposal specialist whose flinty intensity anchors the film\u2019s procedural spine. In a nearby command center, Chief Superintendent Zuzana (Gugu Mbatha-Raw) manages the widening crisis with cool, unflappable authority. Meanwhile, Karalis (Theo James) and his crew exploit the chaos, tunneling toward a bank vault through an evacuated flat \u2014 a heist unfolding beneath the bomb operation above. <\/p>\n

Mackenzie threads these parallel fronts with the same procedural rigor he brought to \u201cRelay<\/a>\u201d: terse exchanges, functional compositions, and a Soderbergh-leaning edit rhythm that keeps the film in constant motion. The performances steady the narrative whenever its pulpier impulses wobble, grounding the film in human presence rather than spectacle. <\/p>\n

But the precision only holds for so long. As the threads tighten, the film strains to knot every piece into place, leaning on familiar devices that blunt the meticulous control Mackenzie establishes early on. Ultimately, \u201cFuze\u201d settles into a gripping heist thriller built on precision and propulsion, even as the strain in its clockwork construction makes the limits of its pulpier ambitions impossible to ignore. <\/p>\n

(Read our full review of \u201cFuze.\u201d)<\/a><\/p>\n

\u201cI Swear\u201d <\/p>\n

Robert Aramayo, Maxine Peake; directed by Kirk Jones <\/p>\n

Maxine Peake and Robert Aramayo in “I Swear.” (Sony Pictures Classics) <\/p>\n

A quietly affecting portrait of a life shaped by involuntary motion, \u201cI Swear\u201d follows John Davidson (Robert Aramayo), the Scottish teenager whose severe Tourette syndrome made him an unlikely public figure in the late \u201980s. Kirk Jones approaches the story with a steady, unfussy touch, letting the rhythms of John\u2019s daily struggle \u2014 the tics, the outbursts, the exhaustion that trails behind them \u2014 speak for themselves. <\/p>\n

Aramayo anchors the film with a performance that\u2019s lived\u2011in rather than imitative, capturing the humor, frustration, and flickers of grace that define John\u2019s world. Jones surrounds him with a textured sense of place: cramped classrooms, quiet Scottish streets, and the small domestic spaces where the family absorbs each new challenge. <\/p>\n

The film doesn\u2019t chase melodrama or uplift. Instead, it settles into something gentler \u2014 a character study about endurance, misunderstanding, and the fragile moments of connection that keep John moving forward. \u201cI Swear\u201d is modest in scale but resonant in feeling, a grounded look at a young man navigating a body that won\u2019t stay still and a world that rarely knows how to meet him. <\/p>\n

\u201cOver Your Dead Body\u201d <\/p>\n

Jason Segel, Samara Weaving; directed by Jorma Taccone <\/p>\n

Jason Segel and Samara Weaving in “Over Your Dead Body.” (IFC) <\/p>\n

A toxic marriage curdles into mayhem in Jorma Taccone\u2019s \u201cOver Your Dead Body,\u201d a dark action\u2011comedy that follows Dan (Jason Segel) and Lisa (Samara Weaving) as they retreat to a remote cabin for what looks like a relationship reset. Each arrives with a secret plan to kill the other \u2014 a setup pulled directly from the Norwegian film \u201cThe Trip,\u201d for which it’s a remake. <\/p>\n

Taccone leans into the film\u2019s splatstick potential, letting the couple\u2019s dueling murder plots unravel the moment three intruders crash the weekend, forcing Dan and Lisa into an uneasy alliance. The cast around them \u2014 including Timothy Olyphant, Juliette Lewis, and Paul Guilfoyle \u2014 adds bite and chaos as the story pivots from marital farce to full\u2011tilt survival comedy. <\/p>\n

\u201cOver Your Dead Body\u201d plays like a marital meltdown pushed to operatic extremes \u2014 bloody, frantic, and unexpectedly playful, a cabin\u2011in\u2011the\u2011woods brawl where survival and reconciliation become the same fight. <\/p>\n

\u201cRunning Point\u201d \u2014 Season 2 <\/p>\n

Kate Hudson, Brenda Song; created by Mindy Kaling, Elaine Ko, David Stassen, Ike Barinholtz <\/p>\n

(L to R) Fabrizio Guido as Jackie, Scott MacArthur as Ness Gordon, Kate Hudson as Isla Gordon, Justin Theroux as Cam Gordon, Drew Tarver as Sandy Gordon, and Brenda Song as Ali in “Running Point” Season 2. (Katrina Marcinowski\/Netflix \u00a9 2025) <\/p>\n

\u201cRunning Point\u201d picks up with the Los Angeles Waves still reeling from their Game 7 heartbreak and the chaos that closed out Season 1. Isla Gordon (Kate Hudson) steps back into her role as team president just as the franchise faces renewed scrutiny, a vacant head\u2011coach position, and the sudden reappearance of her eldest brother, Cam (Justin Theroux), who bribed his way out of rehab in the final seconds of last season . <\/p>\n

Season 2 continues the show\u2019s blend of workplace comedy, family dysfunction, and sports\u2011world absurdity, with Isla navigating power grabs, player drama, and the fallout of her complicated dynamic with coach Jay Brown. The Waves\u2019 roster \u2014 including Marcus Winfield and Travis Bugg \u2014 adds its own on\u2011 and off\u2011court mayhem, while new arrivals like Ken Marino, Tommy Dewey, and Richa Moorjani expand the ensemble\u2019s comedic range . <\/p>\n

With 10 episodes dropping globally on Netflix, Season 2 promises another fast, funny, and chaotic chapter inside the Waves\u2019 front office. <\/p>\n

\u201cHalf Man\u201d <\/p>\n

Jamie Bell, Richard Gadd; created by Richard Gadd <\/p>\n

Jamie Bell (l) and Richard Gadd in “Half Man.” (HBO) <\/p>\n

Set across nearly four decades, HBO’s drama series \u201cHalf Man\u201d follows Ruben Pallister (Richard Gadd) and Niall Kennedy (Jamie Bell), two boys who grow up as stepbrothers in a small Scottish town and remain bound by a volatile, often destructive connection that shapes their entire lives. The six\u2011episode limited series opens with Ruben\u2019s unexpected arrival at Niall\u2019s wedding, a moment that triggers a plunge back through their shared history \u2014 from adolescence marked by bullying, violence, and uneasy loyalty to adulthood defined by unresolved trauma and shifting power. <\/p>\n

The series traces how the boys\u2019 intertwined identities harden over time, exploring family fractures, survival instincts, and the long shadow of childhood wounds. Directed by Alexandra Brodski and Eshref Reybrouck, the drama moves between past and present as it pieces together the emotional and psychological forces that shaped the men they became.<\/p>\n

Get more local news delivered straight to your inbox. Sign up for free Patch newsletters and alerts.<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"HOLLYWOOD, CA \u2014 This week\u2019s watchlist leans into chaos, confession and the strange ways people keep their sanity…\n","protected":false},"author":2,"featured_media":285288,"comment_status":"","ping_status":"","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[27],"tags":[48,52,51,47,50,49],"class_list":{"0":"post-285287","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-los-angeles","8":"tag-la","9":"tag-la-headlines","10":"tag-la-news","11":"tag-los-angeles","12":"tag-los-angeles-headlines","13":"tag-los-angeles-news"},"_links":{"self":[{"href":"https:\/\/www.newsbeep.com\/us-ca\/wp-json\/wp\/v2\/posts\/285287","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.newsbeep.com\/us-ca\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.newsbeep.com\/us-ca\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.newsbeep.com\/us-ca\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.newsbeep.com\/us-ca\/wp-json\/wp\/v2\/comments?post=285287"}],"version-history":[{"count":0,"href":"https:\/\/www.newsbeep.com\/us-ca\/wp-json\/wp\/v2\/posts\/285287\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.newsbeep.com\/us-ca\/wp-json\/wp\/v2\/media\/285288"}],"wp:attachment":[{"href":"https:\/\/www.newsbeep.com\/us-ca\/wp-json\/wp\/v2\/media?parent=285287"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.newsbeep.com\/us-ca\/wp-json\/wp\/v2\/categories?post=285287"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.newsbeep.com\/us-ca\/wp-json\/wp\/v2\/tags?post=285287"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}