Jimmy Review: KJ Apa Shines in Burns' 2026 Drama

The film traces Stewart from his small-town beginnings through his rise to Hollywood stardom, his wartime service, and the faith and purpose that anchored him. The script wisely avoids the cradle-to-grave trap; it narrows its focus around the man's interior life rather than a checklist of career milestones.

Jason Alexander's Louis B. Mayer is a highlight - a mogul who is equal parts charm and commercial calculation. Max Casella brings a wiry, combative energy to Frank Capra, capturing the director's complicated relationship with his reluctant star. Sarah Drew's Hedda Hopper is delightfully venomous, a reminder of the era's brutal press machine. Julian Works makes the most of his screen time as Second Lieutenant Martinez, a thread that pays off beautifully in the war section. And Christopher McDonald, as Lionel Barrymore, has a scene with Apa that quietly steals the film - two actors talking about craft and mortality with no theatrical flourish at all.

Burns has an assured hand with the material. He frames the story in long, unhurried takes during the quieter passages - Stewart at church, Stewart alone in a hotel room, Stewart staring at a script he doesn't trust - then cuts sharply when the studio machinery intrudes. That rhythm gives the film a pulse. It never feels like a Wikipedia page with lighting.

The screenplay handles faith with unusual restraint. It's present, it's central, but it's shown rather than preached. There's a lovely sequence where Stewart, exhausted and unsure of himself, sits in a pew and says nothing. The camera says it all. That kind of confidence is rare in this genre.

Apa is the revelation. Best known for teenage roles, he plays Stewart not as an imitation - the voice and mannerisms are there but never leaned on - but as a study in decency under pressure. He carries the film's moral weight without ever seeming precious about it. His scenes with Jen Lilley's Gloria are tender and grounded; you believe this marriage.

The film's one real weakness is its final act. Once the narrative turns to the war years, the pacing tightens in a way that feels slightly rushed compared to the patient first half. A few supporting threads - Hopper's arc in particular - get resolved with a quickness that undersells their setup. It's not enough to derail the picture, but a director this careful elsewhere might have given those beats more room to breathe.

Still, the film's biggest achievement is tonal. It takes a beloved icon and finds the frightened, searching man underneath - then shows you why that's the more inspiring story. By the time the credits roll you feel like you've spent time with someone worth knowing, not just an actor worth admiring.

Pros

• KJ Apa's performance is genuinely transformative and controls the film's tone
• Aaron Burns's unhurried, disciplined direction keeps the story graceful
• Excellent supporting work from Alexander, Casella, McDonald and Drew
• Faith and purpose are handled with intelligence, not sermonizing
• The emotional climax fully earns its sentiment

Cons

• The final act feels rushed compared to the patient first half
• One or two supporting arcs are wrapped up too neatly
• A few historical shorthand moments feel like a montage of greatest hits
• At 120 minutes, a handful of scenes could have breathed longer

"Jimmy" is a film about a man who never quite believed he deserved his own life, and it makes you believe in him anyway. It's not flawless - the last act rushes - but it's sincere, skillfully made, and anchored by a performance that will change how people see KJ Apa. Hollywood doesn't make movies like this often enough anymore. Go see it, and bring someone who loves classic cinema.