Any list of the tightest bands in the world would be incomplete if it didn't include The Roots.
The endlessly versatile Philadelphia-based hip hop crew are equally at home going on extended jazz runs — as was heard to notable effect during "Mellow My Man" early on in the ACL set on Saturday evening — or in the day job serving as the house band for Late Night With Jimmy Fallon, or backing seemingly everybody from Jay-Z to John Legend when they want some live-band cred for a record, or recording a nigh-endless string of essential albums of their own.
In any case, there weren't a lot of tubas on stage at ACL, but it's guaranteed that none were funkier than the one featured in The Roots' set. Which is the point: It takes a band whose tightness is unquestioned, and whose versatility can be taken for granted, to pull off what The Roots accomplished onstage on Saturday.
On record, The Roots have settled into a role as hip hop's conscience. They're elder statesmen releasing records like last year'sUndun, a concept album about a murdered teen from the Philly projects, and which was the latest in a string of socially-aware albums.
Live, though, it's a different story. This is a high-energy party band, and it makes them an explosive festival act. Drummer ?uestlove (who played Saturday with his iconic afro braided down into cornrows) barely so much as lowered his sticks; a horny song like the 2003 single "Break You Off" flows effortlessly into 1997's hymn of romantic devotion, "You Got Me," and that song's minor-key guitar line still somehow seems designed to get heads nodding and hands in the air.
It takes that sort of greatness to pull off some of the left-field moves the band went for. An extended tuba solo during a hip hop show is one thing; the band launching into a cover of Guns N' Roses' "Sweet Child O' Mine" is another, but what the hell? We're partying out here!
It's the rare hip hop show these days where the emcee doesn't need to so much as address the audience to get them to put their hands in the air and wave 'em like they don't care 45 minutes into the set.
But that's what The Roots have been able to deliver for almost two decades now, and they don't show any signs of slowing down.
Austin Abrams has been a professional actor for 15 years, but the 30-year-old seems to just now be getting his due. After years of mostly supporting roles in films like Paper Towns, Brad’s Status, and Weapons, he has been charged with leading two films in 2026 where he’s largely acting by himself: First Resident Evil and now Whalefall.
Abrams plays Jay Gardiner, who has returned home to California a year after the death of his hard-ass father, Mitt (Josh Brolin). The two had a tempestuous relationship, and while his mom (Elisabeth Shue) and sisters (Jane Levy and Emily Rudd) reminisce fondly about him, Jay finds it difficult to come up with good memories. The two did share a connection with the ocean, and Jay decides to honor him by going scuba diving.
Ignoring warnings of whale activity in the area, Jay makes his way out into a notoriously dangerous part of the ocean near their home. Soon after he starts swimming, he encounters a sperm whale chasing after a giant squid. Jay inadvertently gets sucked into the enormous creature’s mouth and, ultimately, inside its body. Faced with a seemingly inescapable situation, Jay’s only hope lies in the lessons his father taught him.
Directed by Brian Duffield and adapted by Duffield and Daniel Kraus from Kraus’ book of the same name, the film is at its best when it depicts Jay struggling to survive within the whale. The claustrophobic nature of the setting and the various obstacles (multiple contracting chambers, the squid, and more) he faces make every scene inside the whale feel as intense and cover-your-eyes scary as any great horror movie.
Naturally, the entire movie can’t be about his survival efforts, and so the filmmakers toggle back and forth between Jay’s ordeal in the whale to memories of times with his father. Not so coincidentally, these remembrances come with subtle or overt wisdom from Mitt that would serve Jay well in his current situation. More often than not, these flashback scenes are so on-the-nose that they come off as cheesy instead of inspirational.
It’s also difficult to derive any big emotions from the story other than revulsion at the way Jay’s body is brutalized while he’s inside the whale. None of the characters in the film receive a notable introduction to the audience before big events start happening. It’s next-to-impossible to be invested in their stories when their personalities are being revealed in bits and pieces throughout the movie.
Abrams does well enough in bringing out the terror Jay feels in the whale and the sullenness/anger he has toward his father in other scenes. But whether it’s because his lines in the whale are hard to understand (he’s often talking around a scuba mouthpiece) or the disconnect the character has with father, there’s just something missing in his performance. Brolin’s performance is one-note, and Shue, Levy, Rudd, and John Ortiz don’t appear enough to make a big impact.
With Kraus onboard as the co-writer of the film, it may be the case that Duffield was not given leeway to change the story of Whalefall too much. What might have worked in the book doesn’t seem to translate equally to the film, and while Jay’s nightmare in the whale is effective, the rest of his story doesn’t come across as successfully.
The RootsPhoto by Jessica Pages
Photo by Jessica Pages
Photo by Jessica Pages
Photo by Jessica Pages
