Going back and re-reading my opening paragraphs for my list of most anticipated new releases of the in-coming year, a ritual I've been doing for fifteen years now, something has occurred to me: The beginning of a new year makes me sad. I've gotten into the habit of starting these blog posts, which are basically me starting my year, by admitting that the previous year was an unending gauntlet of hellish atrocity and that there's little reason to expect the next year to be different. This is, I suppose, true on a technical level and reflective of the enormity of human experience. It also, I guess, shows that I'm a pessimistic grump.
The truth is, I think, this time of year always makes me grouchy because I'm still trying to figure out what the fuck I'm going to do for the next twelve months. January opening and a year starting anew reveals to me a horrible truth: That I have to make my own fun, that things aren't going to merely happen, that I must organize my desires into some sort of logical system in order to properly engage with and enjoy them. That I can't merely lay in bed in with my wife all day, which is probably the only thing I actually want to do anymore. Are other people like this or only human beings with brain chemistry as fucked-up as mine?
The next paragraph in these Film Previews usually goes with me saying movies are one of the good things to look forward to, to get me over the hideous hump of presumably living for another 365 days. (Something that is never truly a certainty, we mustn't forget.) Despite the fact that I'm late into my thirties now and that effervescent joy for New Stuff Coming Out has faded a lot, I somehow still manage to assemble a list of stuff I'm curious to see in the next year. Curiosity, in fact, seems to have replaced excitement more as my primary motivating emotion these days, which I suppose is evidence of getting old. Anyway, all of this is to say that here's my Top Ten Most Anticipated Films of 2026 and then a whole bunch more movies supposedly coming out in 2026 that I felt the need to write about:
The next paragraph in these Film Previews usually goes with me saying movies are one of the good things to look forward to, to get me over the hideous hump of presumably living for another 365 days. (Something that is never truly a certainty, we mustn't forget.) Despite the fact that I'm late into my thirties now and that effervescent joy for New Stuff Coming Out has faded a lot, I somehow still manage to assemble a list of stuff I'm curious to see in the next year. Curiosity, in fact, seems to have replaced excitement more as my primary motivating emotion these days, which I suppose is evidence of getting old. Anyway, all of this is to say that here's my Top Ten Most Anticipated Films of 2026 and then a whole bunch more movies supposedly coming out in 2026 that I felt the need to write about:
My Top Ten Most Anticipated Films of 2026:
1. Teenage Sex and Death at Camp Miasma
Jane Schoenbrun's previous two features, “We Are All Going to the World's Fair” and “I Saw the TV Glow,” were beguiling and engrossing films about spending too much time on the internet and spending too much time watching television. (Among, ya know, other things.) Both struck me as two of the more observant and sympathetic films about the personal anxieties of our time. From the sounds of it, their next movie is going to be a capper of sorts on this quasi-trilogy by being about spending too much time thinking about movies. “I Saw the TV Glow” proved that Schoenbrun isn't only good at doing a pastiche of the genre's past but able to put their own mark on it at the same time. "Teenage Sex and Death at Camp Miasma" – hell of a title too – will see the filmmaker trying their hand at the eighties slasher movie. Now, the slasher subgenre is no stranger to meta reflection. You could say it has way too much of that these days, actually. However, I'm confident that Schoenbrun will bring something new to it. The plot synopsis, about a queer director trying to remake her favorite slasher movie and lure the original's reclusive star out of retirement, already suggest a concept deeper than “Hell of a Summer” or what have you. Also, it sounds like Gillian Anderson is playing that former final girl, proving once again that Schoenbrun is especially good at plucking familiar faces from our collective pop culture past and putting them in a new context. MUBI is producing this one, once again showing the streaming company's desire to make themselves into a proper indie powerhouse, assuming they don't go out of business before actually releasing this.
Jane Schoenbrun's previous two features, “We Are All Going to the World's Fair” and “I Saw the TV Glow,” were beguiling and engrossing films about spending too much time on the internet and spending too much time watching television. (Among, ya know, other things.) Both struck me as two of the more observant and sympathetic films about the personal anxieties of our time. From the sounds of it, their next movie is going to be a capper of sorts on this quasi-trilogy by being about spending too much time thinking about movies. “I Saw the TV Glow” proved that Schoenbrun isn't only good at doing a pastiche of the genre's past but able to put their own mark on it at the same time. "Teenage Sex and Death at Camp Miasma" – hell of a title too – will see the filmmaker trying their hand at the eighties slasher movie. Now, the slasher subgenre is no stranger to meta reflection. You could say it has way too much of that these days, actually. However, I'm confident that Schoenbrun will bring something new to it. The plot synopsis, about a queer director trying to remake her favorite slasher movie and lure the original's reclusive star out of retirement, already suggest a concept deeper than “Hell of a Summer” or what have you. Also, it sounds like Gillian Anderson is playing that former final girl, proving once again that Schoenbrun is especially good at plucking familiar faces from our collective pop culture past and putting them in a new context. MUBI is producing this one, once again showing the streaming company's desire to make themselves into a proper indie powerhouse, assuming they don't go out of business before actually releasing this.
2. The Odyssey
I've had my ups-and-downs with Christopher Nolan over the years. Like all film bros of my age, “Memento” blew teenage me's mind. “The Prestige” and “Inception” certainly continued to prove that Nolan is very good at the kind of meticulously constructed thrillers with twisting screenplays. The legacy of his “Batman” trilogy is harder to confirm as a net positive. (By which I mean I have been nothing but justified in my position as a day-one “Dark Knight” hater.) And “Tenet,” uh, definitely didn't work for me. “Oppenheimer” rocked though. Nolan's follow-up to that Best Picture winner is exactly the kind of mega-budgeted, highly ambitious epic filmmakers are supposed to make after taking home a bunch of Oscars.
Now, the idea of the guy who thoroughly grounded and de-mystified Batman taking on Greek mythology is not immediately appealing. The last twenty years has had its share of Greco Roman epics that approach the material in a quote-unquote “realistic” – or at least grim and gritty – fashion. And most of them were boring as fuck. The teaser trailer for “The Odyssey” doesn't exactly do much to dispel the notion it'll be along similar lines. Like, is this going to be a de-constructed and post-modern take on the myths? Were the Cyclops is a normal sized guy with one eye and Scylla is merely a rocky coastline or some shit? However, a quote from Nolan that marks Ray Harryhausen's “Jason and the Argonauts” and “Clash of the Titans” as primary inspirations for this give me hopes it'll be a proper fantasy epic with monsters and gods in it. If nothing else, the A-list cast certainly matches the lofty aspirations apparent in this director taking on this material. Charlize Theron as Circe is some good casting. What wacky vocal inflection will Robert Pattison put on as the story's primary antagonist? I am intrigued, if nothing else.
I've had my ups-and-downs with Christopher Nolan over the years. Like all film bros of my age, “Memento” blew teenage me's mind. “The Prestige” and “Inception” certainly continued to prove that Nolan is very good at the kind of meticulously constructed thrillers with twisting screenplays. The legacy of his “Batman” trilogy is harder to confirm as a net positive. (By which I mean I have been nothing but justified in my position as a day-one “Dark Knight” hater.) And “Tenet,” uh, definitely didn't work for me. “Oppenheimer” rocked though. Nolan's follow-up to that Best Picture winner is exactly the kind of mega-budgeted, highly ambitious epic filmmakers are supposed to make after taking home a bunch of Oscars.
Now, the idea of the guy who thoroughly grounded and de-mystified Batman taking on Greek mythology is not immediately appealing. The last twenty years has had its share of Greco Roman epics that approach the material in a quote-unquote “realistic” – or at least grim and gritty – fashion. And most of them were boring as fuck. The teaser trailer for “The Odyssey” doesn't exactly do much to dispel the notion it'll be along similar lines. Like, is this going to be a de-constructed and post-modern take on the myths? Were the Cyclops is a normal sized guy with one eye and Scylla is merely a rocky coastline or some shit? However, a quote from Nolan that marks Ray Harryhausen's “Jason and the Argonauts” and “Clash of the Titans” as primary inspirations for this give me hopes it'll be a proper fantasy epic with monsters and gods in it. If nothing else, the A-list cast certainly matches the lofty aspirations apparent in this director taking on this material. Charlize Theron as Circe is some good casting. What wacky vocal inflection will Robert Pattison put on as the story's primary antagonist? I am intrigued, if nothing else.
3. Werwulf
Most of this list is going to be horror movies. I hope that's okay. Robert Eggers has attracted some haters, largely from people who seem to find the vibes of his work unattractive for whatever reason. I am not among them. Eggers' “Nosferatu” confirmed for me that this guy's take on gothic horror – full of extremely specific historical details, brooding atmosphere, academic subtext, subtle but thunderous undercurrents of dark comedy, and unafraid to be monster movies – is very much my kind of thing. After his takes on the witch and the vampire, he's continuing to run through the classic Halloween monster archetypes by doing a werewolf movie. Or, rather, a “Werwulf” movie. In a move that will surely do nothing to dissuade those who find him insufferable, “Werwulf” will supposedly be spoken in Middle English accurate to its 13th century setting. This presumably means the film will be a deep exploration of folkloric werewolf traditions, which is probably what the lycanthrope movie needs after so many attempts to modernize it. Will Willem Dafoe rant and scream about something? God, I hope so.
Most of this list is going to be horror movies. I hope that's okay. Robert Eggers has attracted some haters, largely from people who seem to find the vibes of his work unattractive for whatever reason. I am not among them. Eggers' “Nosferatu” confirmed for me that this guy's take on gothic horror – full of extremely specific historical details, brooding atmosphere, academic subtext, subtle but thunderous undercurrents of dark comedy, and unafraid to be monster movies – is very much my kind of thing. After his takes on the witch and the vampire, he's continuing to run through the classic Halloween monster archetypes by doing a werewolf movie. Or, rather, a “Werwulf” movie. In a move that will surely do nothing to dissuade those who find him insufferable, “Werwulf” will supposedly be spoken in Middle English accurate to its 13th century setting. This presumably means the film will be a deep exploration of folkloric werewolf traditions, which is probably what the lycanthrope movie needs after so many attempts to modernize it. Will Willem Dafoe rant and scream about something? God, I hope so.
4. Send Help
Sam Raimi has only directed three movies in the last fifteen years and that, to me, is a crime. Raimi's big return to the screen being a sequel to a less memorable Marvel Cinematic Universe entry inevitably left some cold. To me, “Doctor Strange in the Multiverse of Madness” showed that Sam could still transport some of that “Evil Dead” energy into a big studio product. “Send Help,” meanwhile, sees the director making a much more modestly budgeted horror-comedy. The premise of “Send Help,” of a put-upon office worker getting stranded on a dessert island with her sexist pig boss, is nothing mindbogglingly original. Like a cheap thriller version of “Triangle of Sadness?” (A movie I liked, by the way, and whose director has another arch satire of the rich and idle coming this year.) The trailer is also not incredibly impressive either. But am I going to turn my nose up at a new Sam Raimi horror movie and act like I'm not incredibly hyped for this? Of course not. You'll have to excuse me for assuming this will actually be awesome. I'll find out soon enough, as “Send Help” lands in theaters at the end of this month.
Sam Raimi has only directed three movies in the last fifteen years and that, to me, is a crime. Raimi's big return to the screen being a sequel to a less memorable Marvel Cinematic Universe entry inevitably left some cold. To me, “Doctor Strange in the Multiverse of Madness” showed that Sam could still transport some of that “Evil Dead” energy into a big studio product. “Send Help,” meanwhile, sees the director making a much more modestly budgeted horror-comedy. The premise of “Send Help,” of a put-upon office worker getting stranded on a dessert island with her sexist pig boss, is nothing mindbogglingly original. Like a cheap thriller version of “Triangle of Sadness?” (A movie I liked, by the way, and whose director has another arch satire of the rich and idle coming this year.) The trailer is also not incredibly impressive either. But am I going to turn my nose up at a new Sam Raimi horror movie and act like I'm not incredibly hyped for this? Of course not. You'll have to excuse me for assuming this will actually be awesome. I'll find out soon enough, as “Send Help” lands in theaters at the end of this month.
5. Trauma or Monsters All
While probably better known for being a reliable character actor and prolific producer, to me, Larry Fessenden will always be one of the pioneers of independent horror filmmaking in the modern age. I am especially a big fan of his moody, character-driven, environmentally focused re-inventions of the classic monsters. “Habit” was his vampire movie, “Depraved” was his Frankenstein story, and 2024's “Blackout” saw him approaching the werewolf premise. In the lead-up to that last one's release, Larry let it slip that he wanted to do an old school style “monster rally,” in the Universal tradition of “House of Frankenstein” and “House of Dracula.” I thought he was only being half-serious about that. Surely, a crossover event between three obscure movies, based on even older movies from eighty years ago, would have limited commercial appeal? “Blackout” ending with a cameo from his Frankensteinian character was simply a partially sarcastic nod towards the idea, I presumed.
Nope, turns out, he was one hundred percent serious. Yes, “Trauma” – the one thing every horror movie is about these days – is the least interesting title Fessenden could've picked for this. It does fit the two-syllable, one word naming convention of this now-unified set of movies. “Monsters All,” the superior alternate title, will see the director reprising his vampire role from “Habit” despite having noticeably aged thirty years. This already marks what will surely be a idiosyncratic take on familiar characters from a talent known for doing just that. That's what I like about Fessenden's monster movies: They aren't simply remixing of what has come before but beloved concepts being filtered through a very distinctive, personal sensibility because these characters mean something to the storyteller. While the director has claimed this will likely be his last riff on the old monsters, maybe it'll become an unexpected hit and he'll throw Pegg and Frost or Garfunkel and Oates into the next one.
While probably better known for being a reliable character actor and prolific producer, to me, Larry Fessenden will always be one of the pioneers of independent horror filmmaking in the modern age. I am especially a big fan of his moody, character-driven, environmentally focused re-inventions of the classic monsters. “Habit” was his vampire movie, “Depraved” was his Frankenstein story, and 2024's “Blackout” saw him approaching the werewolf premise. In the lead-up to that last one's release, Larry let it slip that he wanted to do an old school style “monster rally,” in the Universal tradition of “House of Frankenstein” and “House of Dracula.” I thought he was only being half-serious about that. Surely, a crossover event between three obscure movies, based on even older movies from eighty years ago, would have limited commercial appeal? “Blackout” ending with a cameo from his Frankensteinian character was simply a partially sarcastic nod towards the idea, I presumed.
Nope, turns out, he was one hundred percent serious. Yes, “Trauma” – the one thing every horror movie is about these days – is the least interesting title Fessenden could've picked for this. It does fit the two-syllable, one word naming convention of this now-unified set of movies. “Monsters All,” the superior alternate title, will see the director reprising his vampire role from “Habit” despite having noticeably aged thirty years. This already marks what will surely be a idiosyncratic take on familiar characters from a talent known for doing just that. That's what I like about Fessenden's monster movies: They aren't simply remixing of what has come before but beloved concepts being filtered through a very distinctive, personal sensibility because these characters mean something to the storyteller. While the director has claimed this will likely be his last riff on the old monsters, maybe it'll become an unexpected hit and he'll throw Pegg and Frost or Garfunkel and Oates into the next one.
6. Victorian Psycho
Zachary Wigon's “Sanctuary” was one of my favorite films of 2023, a bold new entry onto the short list of movies that actually engage with what kink means, the interacting layers of fantasy, control, power, and consent. Wigon's follow-up nearly starred the same actress but Margaret Qualley is a very in-demand name these days. Luckily, Maika Monroe was willing to step into the starring role of “Victorian Psycho.” Based on the Virginia Feito novel of the same name, it follows the classical gothic set-up of a new governess arriving on the stately grounds of a noble family, uncovering the hypocrisy and class struggles behind such a glamorous looking home... Except, as the title promises, this new nanny is a raging psychopath with daydreams of murder. Did I mention it all climaxes on Christmas? Sounds bitchin'! It feels like Monroe has rarely gotten a chance to shine as a leading lady but this sounds like exactly the kind of meaty – literally! – role that will really showed off her skills.
Zachary Wigon's “Sanctuary” was one of my favorite films of 2023, a bold new entry onto the short list of movies that actually engage with what kink means, the interacting layers of fantasy, control, power, and consent. Wigon's follow-up nearly starred the same actress but Margaret Qualley is a very in-demand name these days. Luckily, Maika Monroe was willing to step into the starring role of “Victorian Psycho.” Based on the Virginia Feito novel of the same name, it follows the classical gothic set-up of a new governess arriving on the stately grounds of a noble family, uncovering the hypocrisy and class struggles behind such a glamorous looking home... Except, as the title promises, this new nanny is a raging psychopath with daydreams of murder. Did I mention it all climaxes on Christmas? Sounds bitchin'! It feels like Monroe has rarely gotten a chance to shine as a leading lady but this sounds like exactly the kind of meaty – literally! – role that will really showed off her skills.
7. October
Jeremy Saulnier's “Blue Ruin” and “Green Room” remains one of the most startlingly effective one-two punches of the last twenty years, a pair of brutally violent thrillers that mine a grisly sense of inevitability out of the chaos they unleash. Saulnier slipped a little with the overly deliberate “Slow the Dark” but got a lot of his mojo back with “Rebel Ridge.” While he refuses to direct a third movie with a color in the title, Saulnier's next movie has an enticing set-up. This is a fugitive on-the-run story set, as the title hints, on Halloween night. Does that mean the movie will lean more into horror? I'm not sure it matters because the mere presence of some late autumnal, spooky ambiance is enough to make a delighted shiver run up my spine. (IMDb does describe the film as about “a terrifying chain of events” and an “action-packed horror thriller,” so here's hoping.”) Saulnier's first movie was “Murder Party,” also a Halloween set flick, so we know his appreciation for the holiday is sincere. His “Blue Ruin” leading man Macon Blair is nowhere to be seen – his director a follow-up to his “Toxic Avenger” entitled, yes, “The Shitheads” – but Imogen Poots from “Green Room” is back. And I like to say the name "Imogen Poots."
Jeremy Saulnier's “Blue Ruin” and “Green Room” remains one of the most startlingly effective one-two punches of the last twenty years, a pair of brutally violent thrillers that mine a grisly sense of inevitability out of the chaos they unleash. Saulnier slipped a little with the overly deliberate “Slow the Dark” but got a lot of his mojo back with “Rebel Ridge.” While he refuses to direct a third movie with a color in the title, Saulnier's next movie has an enticing set-up. This is a fugitive on-the-run story set, as the title hints, on Halloween night. Does that mean the movie will lean more into horror? I'm not sure it matters because the mere presence of some late autumnal, spooky ambiance is enough to make a delighted shiver run up my spine. (IMDb does describe the film as about “a terrifying chain of events” and an “action-packed horror thriller,” so here's hoping.”) Saulnier's first movie was “Murder Party,” also a Halloween set flick, so we know his appreciation for the holiday is sincere. His “Blue Ruin” leading man Macon Blair is nowhere to be seen – his director a follow-up to his “Toxic Avenger” entitled, yes, “The Shitheads” – but Imogen Poots from “Green Room” is back. And I like to say the name "Imogen Poots."
8. The Land of Nod
Kyle Edward Ball's “Skinamarink” was, to say the least, one of the more divisive horror hits of the last few years. For those of us who dug it, the film was a striking and unsettling dive into the particular mood of being a child in the grips of an unending nightmare. For those who didn't jive with it, “Skinamarink” was 90 minutes of blurry footage of a TV in a dark room or the corner of a bedroom. I loved the film but a question was left hanging in the air: Was this the arrival of a fresh new talent in the genre or is this director a one-trick pony with no further ideas up his sleeve? Ball's follow-up, “The Land of Nod,” will presumably give us our answer. The plot synopsis is mysterious, only telling us that the film is about a far-north Canadian neighborhood cut off from the world by a snowstorm. The title is a Biblical reference that also invokes sleeping, which means surely means something. That certainly suggest more of the eerie isolation of Ball's debut. The cast list also includes a character entitled “Closet Figure,” suggesting the same sort of childhood fears his last film tapped into. Still, “Skinamarink” impressed me enough that I'm very intrigued about what a second feature length movie from the guy who made that will look like.
Kyle Edward Ball's “Skinamarink” was, to say the least, one of the more divisive horror hits of the last few years. For those of us who dug it, the film was a striking and unsettling dive into the particular mood of being a child in the grips of an unending nightmare. For those who didn't jive with it, “Skinamarink” was 90 minutes of blurry footage of a TV in a dark room or the corner of a bedroom. I loved the film but a question was left hanging in the air: Was this the arrival of a fresh new talent in the genre or is this director a one-trick pony with no further ideas up his sleeve? Ball's follow-up, “The Land of Nod,” will presumably give us our answer. The plot synopsis is mysterious, only telling us that the film is about a far-north Canadian neighborhood cut off from the world by a snowstorm. The title is a Biblical reference that also invokes sleeping, which means surely means something. That certainly suggest more of the eerie isolation of Ball's debut. The cast list also includes a character entitled “Closet Figure,” suggesting the same sort of childhood fears his last film tapped into. Still, “Skinamarink” impressed me enough that I'm very intrigued about what a second feature length movie from the guy who made that will look like.
9. Untitled Jesse Eisenberg Musical-Comedy
Whether the musical is a commercially viable genre or not remains hotly debated among critics, fans, and industry insiders. Every time a singing-and-dancing hit comes along, there's seemingly another high profile attempt to revive the concept that doesn't connect with audiences. Despite that schism, musicals remain beloved by filmmakers themselves. This year sees David Lowery's long-delayed “Mother Mary” finally reaching audiences while Trey Parker fuses his typically inflammatory satire with Kendrick Lamar's rap beats in “Whitney Springs.” Both of those interest me but I'm most intrigued by a yet untitled film from Jesse Eisenberg. In addition to carving out a solid niche for himself as a quirky leading man, “A Real Pain” proved that Eisenberg has some real directorial chops too. An actor-turned-filmmaker going for such a big swing with his follow-up to a critical break-through definitely catches my attention. The film is set within the world of small town theater and features a loaded cast headlined by Paul Giamatti, Julianne Moore, and Bernadette Peters. Very intrigued by this one.
Whether the musical is a commercially viable genre or not remains hotly debated among critics, fans, and industry insiders. Every time a singing-and-dancing hit comes along, there's seemingly another high profile attempt to revive the concept that doesn't connect with audiences. Despite that schism, musicals remain beloved by filmmakers themselves. This year sees David Lowery's long-delayed “Mother Mary” finally reaching audiences while Trey Parker fuses his typically inflammatory satire with Kendrick Lamar's rap beats in “Whitney Springs.” Both of those interest me but I'm most intrigued by a yet untitled film from Jesse Eisenberg. In addition to carving out a solid niche for himself as a quirky leading man, “A Real Pain” proved that Eisenberg has some real directorial chops too. An actor-turned-filmmaker going for such a big swing with his follow-up to a critical break-through definitely catches my attention. The film is set within the world of small town theater and features a loaded cast headlined by Paul Giamatti, Julianne Moore, and Bernadette Peters. Very intrigued by this one.
10. Ancient History
There are different categories of being a fan of someone. Everybody who is into movies has actors that they like, performers they are fans of, because of their talent or unique choices in projects or what have you. On the other hand, there are stars you are a fan of simply because you find them enchanting. That's me and Sophia Lillis, an actress I will watch in anything because she's, I dunno, like, really pretty, you guys. Have you seen her in interviews, man? She's like an actual fairy princess has graced us measly humans with her delightful presence. It has certainly been a minute since I've had a genuine crush like this on a movie star. It's okay, my wife knows about this and approves. That makes it not creepy, I promise.
Sophia actually had a very good 2025 but mostly within the realm of television, with choice supporting roles in a prestige mini-series and Tim Robinson's super weird conspiracy comedy. On the movie front was, uh, a Dave Bautista action movie. Hopefully her 2026 year-in-cinema will be brighter. She's got an apparent lead role in Annie Baker's new movie, “Ancient History.” There's no details on the plot yet. Baker is best known for her slice-of-life stage plays. Her previous feature, “Janet Planet,” was one of those indie flicks that seemed to push most of its actually interesting themes and ideas into the realm of suggestion, playing out mostly as a movie were not a whole lot of stuff actually happens. But this one has Sophia in it, so it has to be good, right? I hope so because I'm definitely going to watch it. Either way, maybe my girl having a lead role in an A24 flick will finally get her some real critical recognition.
Other Anticipated Movies:
There are different categories of being a fan of someone. Everybody who is into movies has actors that they like, performers they are fans of, because of their talent or unique choices in projects or what have you. On the other hand, there are stars you are a fan of simply because you find them enchanting. That's me and Sophia Lillis, an actress I will watch in anything because she's, I dunno, like, really pretty, you guys. Have you seen her in interviews, man? She's like an actual fairy princess has graced us measly humans with her delightful presence. It has certainly been a minute since I've had a genuine crush like this on a movie star. It's okay, my wife knows about this and approves. That makes it not creepy, I promise.
Sophia actually had a very good 2025 but mostly within the realm of television, with choice supporting roles in a prestige mini-series and Tim Robinson's super weird conspiracy comedy. On the movie front was, uh, a Dave Bautista action movie. Hopefully her 2026 year-in-cinema will be brighter. She's got an apparent lead role in Annie Baker's new movie, “Ancient History.” There's no details on the plot yet. Baker is best known for her slice-of-life stage plays. Her previous feature, “Janet Planet,” was one of those indie flicks that seemed to push most of its actually interesting themes and ideas into the realm of suggestion, playing out mostly as a movie were not a whole lot of stuff actually happens. But this one has Sophia in it, so it has to be good, right? I hope so because I'm definitely going to watch it. Either way, maybe my girl having a lead role in an A24 flick will finally get her some real critical recognition.
Other Anticipated Movies:
The Adventures of Cliff Booth
Having been a very high profile director for many years, David Fincher has been attached to a number of projects over the years that ultimately never came to fruition. Some of these unrealized films seem like a good match for Fincher's style, like an adaptation of a graphic novel about the Cleveland Torso Murders or a David Ayers script about WWII submarine operators. Others sound kind of insane on their face. Such as the “Seven” and “Fight Club” director making a big budget Captain Nemo movie for Disney or a sequel to “World War Z.” The idea of Fincher taking the reins of a prequel/sequel to Tarantino's “Once Upon a Time in Hollywood” made for Netflix sounds like one of those crazier “what if?” projects. Somehow, it's actually happening though. This is, of course, because Fincher is good buddies with Brad Pitt. Still, the idea of Tarantino writing a sequel to that movie, of all his films, and handing it off to another nineties wunderkind with a distinctive style all his own is an interesting concept to think about. Despite the validity of this entire project being kind of suspect.
Having been a very high profile director for many years, David Fincher has been attached to a number of projects over the years that ultimately never came to fruition. Some of these unrealized films seem like a good match for Fincher's style, like an adaptation of a graphic novel about the Cleveland Torso Murders or a David Ayers script about WWII submarine operators. Others sound kind of insane on their face. Such as the “Seven” and “Fight Club” director making a big budget Captain Nemo movie for Disney or a sequel to “World War Z.” The idea of Fincher taking the reins of a prequel/sequel to Tarantino's “Once Upon a Time in Hollywood” made for Netflix sounds like one of those crazier “what if?” projects. Somehow, it's actually happening though. This is, of course, because Fincher is good buddies with Brad Pitt. Still, the idea of Tarantino writing a sequel to that movie, of all his films, and handing it off to another nineties wunderkind with a distinctive style all his own is an interesting concept to think about. Despite the validity of this entire project being kind of suspect.
Alpha Gang
Two years ago, David and Nathan Zellner managed to cast some high-profile actors – Riley Keough and the aforementioned Jesse Eisenberg – in a movie where they were completely obscured by elaborate Bigfoot make-ups and spent nearly the entire runtime scratching, sniffing, farting, fucking, puking, pissing, and shitting. In other words, “Sasquatch Sunset” was a glorious prank that couldn't quite sustain itself as an actual movie. The Zellners' next project sounds along similar lines. “Alpha Gang” sees very famous and beloved performers like Cate Blanchett, Chris Pine, and Lea Seydoux cast as aliens who arrive on Earth with the intention of destroying mankind but instead fall victim to human emotions. Will these stars be unrecognizable under elaborate alien make-ups? Will they participate in any lower functions on-screen, as they discover the flaws of their human bodies? A part of me is kind of hoping they will, simply because it'll be funny to say that motion picture exist, even if it's not great.
Two years ago, David and Nathan Zellner managed to cast some high-profile actors – Riley Keough and the aforementioned Jesse Eisenberg – in a movie where they were completely obscured by elaborate Bigfoot make-ups and spent nearly the entire runtime scratching, sniffing, farting, fucking, puking, pissing, and shitting. In other words, “Sasquatch Sunset” was a glorious prank that couldn't quite sustain itself as an actual movie. The Zellners' next project sounds along similar lines. “Alpha Gang” sees very famous and beloved performers like Cate Blanchett, Chris Pine, and Lea Seydoux cast as aliens who arrive on Earth with the intention of destroying mankind but instead fall victim to human emotions. Will these stars be unrecognizable under elaborate alien make-ups? Will they participate in any lower functions on-screen, as they discover the flaws of their human bodies? A part of me is kind of hoping they will, simply because it'll be funny to say that motion picture exist, even if it's not great.
Evil Dead Burn
What is the most anticipated horror sequel of 2026? It's probably”The Strangers: Chapter 3” “28 Years Later: The Bone Temple,” the second part of Danny Boyle's surprisingly excellent latest entry in his non-zombie epic. If you have bad taste, it might be “Scream 7,” an unnecessary follow-up unforgettably tangled in the really shitty behind-the-scenes details of its origin. (And if your taste is bad in a different way, maybe it's “Scary Movie 6.”) The directorial team who made the last two “Scream” flicks instead jumped over to sequelize their first solo hit. At least “Ready or Not 2: Here I Come” didn't fire its lead actress for not being okay with genocide and also had the balls to do the obvious subtitle. If I'm being honest, I'm probably most excited for “Evil Dead Burn.” “Evil Dead Rise” showed that new ideas can be properly executed within this series while still featuring the crazy camera work and insane gore fans want. The director of “Burn” previously made very good French spider flick “Infested,” giving me hope for this one. If I'm being sarcastic, my answer is “Attack of the Killer Tomatoes: Organic Intelligence.” Yes, they made a new “Killer Tomatoes” movie! And 96 year old John Astin is back for it! My god, please tell me F.T. will be there too.
What is the most anticipated horror sequel of 2026? It's probably
The Ascent
What I call the “confined space thriller” continues to be a frequent enough appearance in theaters and on streaming services. I bet people keep making movies with the set-up of “some people get trapped in a small place” because they are, by their very nature, fairly cheap to make. Probably the most notable of this year's claustrophobic shockers is “The Ascent,” in which some white people get trapped in the basket of a hot air balloon above some sharks. That's largely because it's Adam Green's first feature film in almost a decade, since 2017's “Victor Crowley.” Green has made a couple of movies I've liked, including a confined space thriller set on a ski lift, so maybe this one will be less silly than it sounds.
However, the doofier the set-up for one of these is the more the campy bullshit center of my brain is activated. Which is why I'm amused by “Zipline,” in which white people get stuck on a zipline also above some sharks, and “Flush.” The latter is probably the apotheosis of this mini-genre, as it confines the protagonist – or their head anyway – to a toilet bowl for most of the film. How much more confined can you get than that? At least until someone allows me to make my cinematic masterpiece, “Doggie Door of Doom”
What I call the “confined space thriller” continues to be a frequent enough appearance in theaters and on streaming services. I bet people keep making movies with the set-up of “some people get trapped in a small place” because they are, by their very nature, fairly cheap to make. Probably the most notable of this year's claustrophobic shockers is “The Ascent,” in which some white people get trapped in the basket of a hot air balloon above some sharks. That's largely because it's Adam Green's first feature film in almost a decade, since 2017's “Victor Crowley.” Green has made a couple of movies I've liked, including a confined space thriller set on a ski lift, so maybe this one will be less silly than it sounds.
However, the doofier the set-up for one of these is the more the campy bullshit center of my brain is activated. Which is why I'm amused by “Zipline,” in which white people get stuck on a zipline also above some sharks, and “Flush.” The latter is probably the apotheosis of this mini-genre, as it confines the protagonist – or their head anyway – to a toilet bowl for most of the film. How much more confined can you get than that? At least until someone allows me to make my cinematic masterpiece, “Doggie Door of Doom”
Avengers: Doomsday and Spider-Man: Brand New Day
Nobody is debating anymore over whether the Superhero Bubble has burst or not. Now the debate is over how burst exactly it is. Disney is still making Marvel movies but "Thunderbolts*" and "Fantastic Four: First Steps," even with relatively positive reactions from audiences and fans, are not making the kind of money they would have pre-pandemic. The desperation on the studio's behalf is starting to get noticeable. "Avengers: Doomsday" is seeing the company backtracking on retiring Chris Evans as Captain America, despite the satisfying conclusion he received. Iron Man is still dead but Robert Downey Jr. is back, as Doctor Doom now. Which does not seem like a great match of actor and character, not to mention that it annoyingly downplays his role as Reed Richards' arc rival and instead makes him more of an Avengers enemy. Or, depressingly, a multi-versal variant of Tony Stark. While people seem increasingly less enthused about multiverse shenanigans, the company is still betting big on it. "Doomsday" is bringing back the X-Men from the 2000s, Fox produced films. This marks what feels like the fourth or fifth grand finale we've gotten for that cast and their universe. All of these movies feel like the Marvel Cinematic Universe waving familiar keys before an increasingly bored audience of babies. See, James Marsden as Cyclops is wearing the Jim Lee costume! Please give us two billion dollars.
The "Spider-Man" brand is still ostensibly a profitable, popular one. "Brand New Day" is bringing in "Shang-Chi's" Destin Daniel Cretton to direct. I like that guy and hopefully he can re-ground a franchise that has gotten a little too wrapped up in crossover event synergy. I say that as if Bruce Banner and the Punisher and Daredevil and probably a brand new Jean Grey aren't going to be in this movie. Once again, I am begging to see a movie where Peter Parker is simply Your Friendly Neighborhood Spider-Man and not at the center of cosmic upheaval. At least this sequel will finally answer my pleas of "Please, just let Spidey punch the Scorpion already."
Nobody is debating anymore over whether the Superhero Bubble has burst or not. Now the debate is over how burst exactly it is. Disney is still making Marvel movies but "Thunderbolts*" and "Fantastic Four: First Steps," even with relatively positive reactions from audiences and fans, are not making the kind of money they would have pre-pandemic. The desperation on the studio's behalf is starting to get noticeable. "Avengers: Doomsday" is seeing the company backtracking on retiring Chris Evans as Captain America, despite the satisfying conclusion he received. Iron Man is still dead but Robert Downey Jr. is back, as Doctor Doom now. Which does not seem like a great match of actor and character, not to mention that it annoyingly downplays his role as Reed Richards' arc rival and instead makes him more of an Avengers enemy. Or, depressingly, a multi-versal variant of Tony Stark. While people seem increasingly less enthused about multiverse shenanigans, the company is still betting big on it. "Doomsday" is bringing back the X-Men from the 2000s, Fox produced films. This marks what feels like the fourth or fifth grand finale we've gotten for that cast and their universe. All of these movies feel like the Marvel Cinematic Universe waving familiar keys before an increasingly bored audience of babies. See, James Marsden as Cyclops is wearing the Jim Lee costume! Please give us two billion dollars.
The "Spider-Man" brand is still ostensibly a profitable, popular one. "Brand New Day" is bringing in "Shang-Chi's" Destin Daniel Cretton to direct. I like that guy and hopefully he can re-ground a franchise that has gotten a little too wrapped up in crossover event synergy. I say that as if Bruce Banner and the Punisher and Daredevil and probably a brand new Jean Grey aren't going to be in this movie. Once again, I am begging to see a movie where Peter Parker is simply Your Friendly Neighborhood Spider-Man and not at the center of cosmic upheaval. At least this sequel will finally answer my pleas of "Please, just let Spidey punch the Scorpion already."
Supergirl and Clayface
Warner Brothers' reaction to on-going superhero fatigue was to – in very typical DC Comics fashion – reboot their entire universe. And I liked last year's "Superman," enjoying James Gunn's wackier and more hopeful take. The movie made money but didn't break records, which seems to line up with the studio's more cautious approach to expanding its new cinematic universe. This year, they've only got two movies on the docket, very different in approach. The first is "Supergirl," a spin-off to their previous effort. Milly Alcock's dysfunctional take on the heroine seems like an interesting interpretation. "I, Tonya's" Craig Gillespie seems like a decent match to the material. That first trailer really did feel like reheated "Guardians of the Galaxy" though, doing little to address concerns that James Gunn's style is as single-minded as Zack Snyder's.
Perhaps a "Clayface" movie, described as an R-rated body horror flick, will be more diverse in tone. That movie probably started as the last remnant of a post-"Joker" plan to build more movies around Batman villains but I think doing "The Substance" with Bruce Wayne's gloopiest adversary isn't without potential. The director previously made the lame remakes of "The Woman in Black" and "See No Evil" so I'm still keeping my expectations measured. I do think trying a couple different things and seeing how they go is a better approach than spamming audiences with one mega-budget blockbuster after another.
Warner Brothers' reaction to on-going superhero fatigue was to – in very typical DC Comics fashion – reboot their entire universe. And I liked last year's "Superman," enjoying James Gunn's wackier and more hopeful take. The movie made money but didn't break records, which seems to line up with the studio's more cautious approach to expanding its new cinematic universe. This year, they've only got two movies on the docket, very different in approach. The first is "Supergirl," a spin-off to their previous effort. Milly Alcock's dysfunctional take on the heroine seems like an interesting interpretation. "I, Tonya's" Craig Gillespie seems like a decent match to the material. That first trailer really did feel like reheated "Guardians of the Galaxy" though, doing little to address concerns that James Gunn's style is as single-minded as Zack Snyder's.
Perhaps a "Clayface" movie, described as an R-rated body horror flick, will be more diverse in tone. That movie probably started as the last remnant of a post-"Joker" plan to build more movies around Batman villains but I think doing "The Substance" with Bruce Wayne's gloopiest adversary isn't without potential. The director previously made the lame remakes of "The Woman in Black" and "See No Evil" so I'm still keeping my expectations measured. I do think trying a couple different things and seeing how they go is a better approach than spamming audiences with one mega-budget blockbuster after another.
The Bride! and Lee Cronin's The Mummy
Blumhouse's remakes of Universal's classic gallery of monsters hasn't produced both a commercial and critical success since 2020's “The Invisible Man” but they are still trying. Lee Cronin is doing a riff on “The Mummy” next. The recently released teaser trailer dismisses with images of shambling, bandaged corpses in favor of lots of mysterious, ominous imagery. It feels like a lot of other folk horror movies that have come and gone in recent years. This is, if nothing else, a different take on the cinematic monster than we've previously seen. The director has described it as “Seven” meets “Poltergeist” while rumors recently circulated that the film is so disconnected from past “Mummy” movies that Blumhouse was considering re-titling it. What we know of the premise entails a vanished daughter who mysteriously re-emerges out of the dessert, bringing with her an ancient evil that ruins her otherwise overjoyed family's good mood. Which also, I must note, sounds like a way to explore familial shame and generational trauma and a whole bunch of “elevated” ideas that the genre has not been missing in the last decade. The premise of an ancient, mummified Egyptian corpse is elastic enough to tell any sort of story. However, I find myself wondering if Blumhouse's latest attempts to modernize the Universal monster canon can genuinely update the material for modern sensibilities while maintaining a meaningful connection to what made these stories resonate in the first place. Cronin's “Evil Dead Rise” blew my socks off, so perhaps all of this is more promising than it seems.
The other major studio release in this vein is Maggie Gyllenhaal's emphatically punctuated “The Bride!” That one seems to slot Christian Bale as the Frankenstein monster and Jessie Buckley as his mate into a Bonnie and Clyde type crime spree. It looks bold, if nothing else. “The Bride!” should not be confused with “Brides,” which seems to slot the brides of Dracula into swinging, 1960s Rome. That one is being directed by Chloe Okuno, who previously made the interesting “Watcher” and one of my favorite “V/H/S” segments. If your taste in women-directed gothic horror skews more towards Hammer than Universal, Anna Biller's “The Face of Horror” and Grace Glowicki's “Dead Lover” seem to be modern day tributes to that gorier, more vividly colored era of monster mayhem.
The other major studio release in this vein is Maggie Gyllenhaal's emphatically punctuated “The Bride!” That one seems to slot Christian Bale as the Frankenstein monster and Jessie Buckley as his mate into a Bonnie and Clyde type crime spree. It looks bold, if nothing else. “The Bride!” should not be confused with “Brides,” which seems to slot the brides of Dracula into swinging, 1960s Rome. That one is being directed by Chloe Okuno, who previously made the interesting “Watcher” and one of my favorite “V/H/S” segments. If your taste in women-directed gothic horror skews more towards Hammer than Universal, Anna Biller's “The Face of Horror” and Grace Glowicki's “Dead Lover” seem to be modern day tributes to that gorier, more vividly colored era of monster mayhem.
A Blind Bargain
Crispin Glover's dad, nearly as beloved and eccentric a character actor as his son, died last year. That was sad. It also seems to have prompted the actor to finish the weirdo, black-and-white art film they made together, after years of on-and-off production. “No! You're Wrong, or: Spooky Action at a Distance” is not coming to any multiplexes, as Glover is taking it on tour with his other freaky home-made curios. Otherwise, Crispin seems to be working through his grief. He has a historical drama about Iowa's "beer mafia," a comedy seemingly set in the softcore smut industry, and a starring turn as a creepypasta villain lined up.
The most intriguing of Glover's upcoming work to me, and possibly nobody else, is "A Blind Bargain." If you know your silent movie history, you'll recognize that title as belonging to a notoriously lost 1922 Lon Chaney film. It has been described as one of the Man of a Thousand Faces' few "true" horror movies, saw him playing both a mad scientist and his ape man creation, and was heavily censored when new. Remaking a movie that nobody has seen in a century is certainly a better idea than remaking some well known classic, in my opinion. Director Paul Bunnell previously made clever ghost short "The Visitant" all the way back in 1981 and has been involved in a few classic horror pastiches over the years, suggesting he loves this kind of stuff. The setting for the story has been shifted up to the seventies, meaning Crispin grew a big goofy mustache in the doctor role, and I like that.
Crispin Glover's dad, nearly as beloved and eccentric a character actor as his son, died last year. That was sad. It also seems to have prompted the actor to finish the weirdo, black-and-white art film they made together, after years of on-and-off production. “No! You're Wrong, or: Spooky Action at a Distance” is not coming to any multiplexes, as Glover is taking it on tour with his other freaky home-made curios. Otherwise, Crispin seems to be working through his grief. He has a historical drama about Iowa's "beer mafia," a comedy seemingly set in the softcore smut industry, and a starring turn as a creepypasta villain lined up.
The most intriguing of Glover's upcoming work to me, and possibly nobody else, is "A Blind Bargain." If you know your silent movie history, you'll recognize that title as belonging to a notoriously lost 1922 Lon Chaney film. It has been described as one of the Man of a Thousand Faces' few "true" horror movies, saw him playing both a mad scientist and his ape man creation, and was heavily censored when new. Remaking a movie that nobody has seen in a century is certainly a better idea than remaking some well known classic, in my opinion. Director Paul Bunnell previously made clever ghost short "The Visitant" all the way back in 1981 and has been involved in a few classic horror pastiches over the years, suggesting he loves this kind of stuff. The setting for the story has been shifted up to the seventies, meaning Crispin grew a big goofy mustache in the doctor role, and I like that.
Disclosure Day
An air of mystery has surrounded Steven Spielberg's next movie. All we've known about it for a while was who starred in it, that the script was by David Koepp, and that it was about UFOs. Even what was assumed to be the title for a while, “The Dish,” was actually people mistaking the name of a website reporting on the film for the as-yet-unrevealed title. Well, now we know that the movie is called “Disclosure Day” and that Josh O'Conner is playing a “whistleblower” of some sort, suggesting this is Spielberg approaching the alien topic from a more conspiratorial angle. Beyond that, we still don't know much, the marketing thus far leaning into the intrigue around this one. “Disclosure Day” has a plum July release date, so we can assume this is the director in blockbuster mode and not personal drama mode.
An air of mystery has surrounded Steven Spielberg's next movie. All we've known about it for a while was who starred in it, that the script was by David Koepp, and that it was about UFOs. Even what was assumed to be the title for a while, “The Dish,” was actually people mistaking the name of a website reporting on the film for the as-yet-unrevealed title. Well, now we know that the movie is called “Disclosure Day” and that Josh O'Conner is playing a “whistleblower” of some sort, suggesting this is Spielberg approaching the alien topic from a more conspiratorial angle. Beyond that, we still don't know much, the marketing thus far leaning into the intrigue around this one. “Disclosure Day” has a plum July release date, so we can assume this is the director in blockbuster mode and not personal drama mode.
A Colt is My Passport
Gareth Evans shot his last movie, “Havoc,” in 2021 and it took Netflix four years to finally get it in front of eyeballs. That must have given the action director enough time to prepare for his next shoot-em-up. That would be “A Colt is My Passport,” a remake of a 1967 Japanese neo-noir. The premise, of a hitman betrayed and pursued by his gangland connections, sounds like any number of middling action movies made in recent memory. However, the original shows a notable influence from the French New Wave, with a heavily stylized visual approach. Will Gareth's remake draw on any of that? Or will it indulge more in the director's frenetically choreographed and hard-hitting violence? I guess we'll see.
Gareth Evans shot his last movie, “Havoc,” in 2021 and it took Netflix four years to finally get it in front of eyeballs. That must have given the action director enough time to prepare for his next shoot-em-up. That would be “A Colt is My Passport,” a remake of a 1967 Japanese neo-noir. The premise, of a hitman betrayed and pursued by his gangland connections, sounds like any number of middling action movies made in recent memory. However, the original shows a notable influence from the French New Wave, with a heavily stylized visual approach. Will Gareth's remake draw on any of that? Or will it indulge more in the director's frenetically choreographed and hard-hitting violence? I guess we'll see.
Dog of God
Last year, a low budget animated movie from Latvia, made in Blender with no celebrity voices in it – few voices at all, for that matter – won the Academy Award for Best Animated Feature. This year, the country not best known for its film industry, much less its animation, was hoping to repeat that surprise win. Latvia submitted another animated movie, “Dog of God,” as its official International Feature selection to the Academy. Despite having an animal in its title, this one does not appear to be the crowdpleaser that “Flow” was. Instead, it's a rotoscoped folk horror film inspired by the story of Thess of Kaltenbrun, a man in 17th century Livonia put on trial for being a werewolf. An accusation he didn't deny but instead countered by claiming he was a good werewolf that fought the devil on the behalf of God's will. The Academy may not dig that kind of thing but it's right up my alley and I think “Dog of God” – a title that my brain keeps mixing up with “The Dog Stars,” Ridley Scott's next science fiction epic – looks pretty cool. Hoping to check it out soon.
Last year, a low budget animated movie from Latvia, made in Blender with no celebrity voices in it – few voices at all, for that matter – won the Academy Award for Best Animated Feature. This year, the country not best known for its film industry, much less its animation, was hoping to repeat that surprise win. Latvia submitted another animated movie, “Dog of God,” as its official International Feature selection to the Academy. Despite having an animal in its title, this one does not appear to be the crowdpleaser that “Flow” was. Instead, it's a rotoscoped folk horror film inspired by the story of Thess of Kaltenbrun, a man in 17th century Livonia put on trial for being a werewolf. An accusation he didn't deny but instead countered by claiming he was a good werewolf that fought the devil on the behalf of God's will. The Academy may not dig that kind of thing but it's right up my alley and I think “Dog of God” – a title that my brain keeps mixing up with “The Dog Stars,” Ridley Scott's next science fiction epic – looks pretty cool. Hoping to check it out soon.
Ebenezer
Ti West managed to escape the horror pigeon hole a bit with the success of his “X” trilogy. Indeed, his next film does seem to be a move into more respectable territory. As in it's roughly the 200th adaptation of “A Christmas Carol,” a story that's been mined for film and television so often that it's very difficult to imagine a new spin on it. Given West's experience with the spooky stuff, one imagines this retelling might be moodier or creepier than most, which would hypothetically be something different. The cast has a lot of respectable names in it – Ian McKellen, Rupert Grint, Daisy Ridley, Andrea Riseborough – and you can't help but be curious to see which roles they'll be playing. Unfortunately, the name at the center of the cast, starring as Scrooge, is Johnny Depp. The fallout of Depp's personal life has been so odious that West choosing to put him in his movie makes me skeptical not only of this project but of the director in general. If it was a really interesting or innovative sounding story, maybe that would change my mind a little. Instead, it's the fuckin' “Christmas Carol” again. You're selling out for that, Ti?
Ti West managed to escape the horror pigeon hole a bit with the success of his “X” trilogy. Indeed, his next film does seem to be a move into more respectable territory. As in it's roughly the 200th adaptation of “A Christmas Carol,” a story that's been mined for film and television so often that it's very difficult to imagine a new spin on it. Given West's experience with the spooky stuff, one imagines this retelling might be moodier or creepier than most, which would hypothetically be something different. The cast has a lot of respectable names in it – Ian McKellen, Rupert Grint, Daisy Ridley, Andrea Riseborough – and you can't help but be curious to see which roles they'll be playing. Unfortunately, the name at the center of the cast, starring as Scrooge, is Johnny Depp. The fallout of Depp's personal life has been so odious that West choosing to put him in his movie makes me skeptical not only of this project but of the director in general. If it was a really interesting or innovative sounding story, maybe that would change my mind a little. Instead, it's the fuckin' “Christmas Carol” again. You're selling out for that, Ti?
Hokum and Nightborn
The folk horror revival is, inexplicably, still going strong in the indie horror scene. I'll admit, I'm more than a little tired of the tropes and conventions of this subgenre right now. That doesn't mean there aren't some interesting filmmakers doing work within in it though. “Oddity” showed that Damian Mc Carthy has a good grasp on tone, sound design, and when to deploy some freaky visuals. “Hokum” is his next one, a very Irish sounding ghost story starring Adam Scott. Mark Jenkin's “Enys Men” was more on the vaguer side but well done. His follow-up, “Rose of Nevada,” looks to exploit that concept of time travel for existential horror, always an underrated premise. Natalie Erika James slipped a bit with “Apartment 7A” and her next one, “Saccharine,” sounds like its going to make the mistake of foregrounding the subtext again. (This time, with the theme of disordered eating.) But basing a movie around the obscure ritual of ash eating is an interesting one.
And that's why I've sat through a dozen mediocre folk horror flicks, because exploiting arcane mythology for macabre stories remains a cool idea when it actually works. So I'm going to take a gamble on “Wicker,” a darkly comedic re-imagining of the Gingerbread Man legend, in which Olivia Coleman as a stinky fish-monger makes herself a husband out of a wicker basket. Alexander Skarsgard is in the cast and one assumes that the famously hunky, somewhat vacant-faced actor is playing the title straw man. Probably the most intriguing title of this type coming this year is “Nightborn.” Hanna Bergholm's “Hatching” made great use of some very weird, practical creature effects. Her next movie is based on the age-old story of the changeling, which will hopefully present some opportunities for similarly odd puppetry. If nothing else, movies about weird, pagan folklore mean a lot more when they are coming from countries that actually have a lot of genuine, weird pagan history, such as Bergholm's Finland.
The folk horror revival is, inexplicably, still going strong in the indie horror scene. I'll admit, I'm more than a little tired of the tropes and conventions of this subgenre right now. That doesn't mean there aren't some interesting filmmakers doing work within in it though. “Oddity” showed that Damian Mc Carthy has a good grasp on tone, sound design, and when to deploy some freaky visuals. “Hokum” is his next one, a very Irish sounding ghost story starring Adam Scott. Mark Jenkin's “Enys Men” was more on the vaguer side but well done. His follow-up, “Rose of Nevada,” looks to exploit that concept of time travel for existential horror, always an underrated premise. Natalie Erika James slipped a bit with “Apartment 7A” and her next one, “Saccharine,” sounds like its going to make the mistake of foregrounding the subtext again. (This time, with the theme of disordered eating.) But basing a movie around the obscure ritual of ash eating is an interesting one.
And that's why I've sat through a dozen mediocre folk horror flicks, because exploiting arcane mythology for macabre stories remains a cool idea when it actually works. So I'm going to take a gamble on “Wicker,” a darkly comedic re-imagining of the Gingerbread Man legend, in which Olivia Coleman as a stinky fish-monger makes herself a husband out of a wicker basket. Alexander Skarsgard is in the cast and one assumes that the famously hunky, somewhat vacant-faced actor is playing the title straw man. Probably the most intriguing title of this type coming this year is “Nightborn.” Hanna Bergholm's “Hatching” made great use of some very weird, practical creature effects. Her next movie is based on the age-old story of the changeling, which will hopefully present some opportunities for similarly odd puppetry. If nothing else, movies about weird, pagan folklore mean a lot more when they are coming from countries that actually have a lot of genuine, weird pagan history, such as Bergholm's Finland.
Her Private Hell
Time comes for all “cool” directors. Social media has exacerbated the inevitable decline from the hip list for everyone, as sometimes anonymous posters can build an entire follower off the back of saying something universally adored sucks actually. I mean, look at the guy who made “Amelie,” once a film fan favorite, who is now so irrelevant that his next upcoming movie seems anticipated by exactly nobody. All of which is to say that, yes, I know that it is apparently cringe to still be interested in Nicholas Winding Refn in 2026. I can certainly understand why his edge-lord, wannabe rock star attitude could turn people off after a while. Was that Amazon series he did aggressively bad or something? Either way, Refn is back with a new one this year, that sounds like he's fully returning to “Only God Forgives” and “The Neon Demon” territory. Which happens to be my two favorites of Refn's career, so I am curious about this one.
Time comes for all “cool” directors. Social media has exacerbated the inevitable decline from the hip list for everyone, as sometimes anonymous posters can build an entire follower off the back of saying something universally adored sucks actually. I mean, look at the guy who made “Amelie,” once a film fan favorite, who is now so irrelevant that his next upcoming movie seems anticipated by exactly nobody. All of which is to say that, yes, I know that it is apparently cringe to still be interested in Nicholas Winding Refn in 2026. I can certainly understand why his edge-lord, wannabe rock star attitude could turn people off after a while. Was that Amazon series he did aggressively bad or something? Either way, Refn is back with a new one this year, that sounds like he's fully returning to “Only God Forgives” and “The Neon Demon” territory. Which happens to be my two favorites of Refn's career, so I am curious about this one.
Hen and Howl
Since I was a young man, I've been fascinated with how animals see the world, how they interpret things around them, how their vision of life differs from our own. I've always wanted to tell a story strictly from an animal's perspective, always stumbling with the idea cause I haven't been able to convey how a non-human mind would express observations about the world in a way that wasn't blatantly human. That's a hard nut to crack, ya know? Perhaps it is a mission statement better suited to a visual medium like cinema, where perspective and camerawork can convey ideas without using man-made words. Two different films this year are setting to assume the perspectives of two very different animals. I wasn't a fan of Gyorgy Palfi's “Taxidermia” but his next movie, “Hen,” promises to tell a story from a humble chicken's point-of-view. To quote the ever-wise Werner Herzog – who has a facts-based, weird twins drama coming this year – “Look into the eyes of a chicken and you will see real stupidity.” Canines, owing to their proximity to us, are animals much easier to relate to. “Howl” will tell the story of an abandoned dog bonding with a wolf cub during a rough winter. If you think that sounds heartwarming, know this one is being made by E. Elias Merhige, the guy behind arthouse horror freak-outs like “Begotten” and “Shadow of the Vampire,” so this won't be “Snow Buddies” territory. Though I'm hoping Merhige's film is going to kill fewer puppies...
Since I was a young man, I've been fascinated with how animals see the world, how they interpret things around them, how their vision of life differs from our own. I've always wanted to tell a story strictly from an animal's perspective, always stumbling with the idea cause I haven't been able to convey how a non-human mind would express observations about the world in a way that wasn't blatantly human. That's a hard nut to crack, ya know? Perhaps it is a mission statement better suited to a visual medium like cinema, where perspective and camerawork can convey ideas without using man-made words. Two different films this year are setting to assume the perspectives of two very different animals. I wasn't a fan of Gyorgy Palfi's “Taxidermia” but his next movie, “Hen,” promises to tell a story from a humble chicken's point-of-view. To quote the ever-wise Werner Herzog – who has a facts-based, weird twins drama coming this year – “Look into the eyes of a chicken and you will see real stupidity.” Canines, owing to their proximity to us, are animals much easier to relate to. “Howl” will tell the story of an abandoned dog bonding with a wolf cub during a rough winter. If you think that sounds heartwarming, know this one is being made by E. Elias Merhige, the guy behind arthouse horror freak-outs like “Begotten” and “Shadow of the Vampire,” so this won't be “Snow Buddies” territory. Though I'm hoping Merhige's film is going to kill fewer puppies...
Hexed and Hoppers
Disney released the highest grossing animated movie of all time last year, with “Zootopia 2.” I'm sure this means the studio execs believe the company's animation sector is doing just fine. I didn't think “Zootopia 2” was bad but the studio's increasing reliance on sequels is disheartening. (Look no further than the “live action” remake of “Moana,” by far the most unnecessary of this highly mercenary wave of films.) Ignoring “Toy Story 5,” the zombie-like reanimation of a story that has clearly concluded at least two times now, Disney/Pixar is thankfully trying out two non-sequels in 2026. But will they be good? “Hoppers” is also a movie about how animals perceive the world, though this one will presumably be a lot wackier than the above mentioned titles. The brain-swapping, robot beaver premise is odd enough to get my attention, if nothing else. “Hexed,” meanwhile, is about Mommy Issues hang-outs being resolved via revealed magical powers and a trip to a fantastical alternate reality. That sounds like “Encanto” and “Coco” and “Onward” and probably a few other movies, doing nothing to dissuade the notion that the House of Mouse is a bit out of fresh ideas lately.
Disney released the highest grossing animated movie of all time last year, with “Zootopia 2.” I'm sure this means the studio execs believe the company's animation sector is doing just fine. I didn't think “Zootopia 2” was bad but the studio's increasing reliance on sequels is disheartening. (Look no further than the “live action” remake of “Moana,” by far the most unnecessary of this highly mercenary wave of films.) Ignoring “Toy Story 5,” the zombie-like reanimation of a story that has clearly concluded at least two times now, Disney/Pixar is thankfully trying out two non-sequels in 2026. But will they be good? “Hoppers” is also a movie about how animals perceive the world, though this one will presumably be a lot wackier than the above mentioned titles. The brain-swapping, robot beaver premise is odd enough to get my attention, if nothing else. “Hexed,” meanwhile, is about Mommy Issues hang-outs being resolved via revealed magical powers and a trip to a fantastical alternate reality. That sounds like “Encanto” and “Coco” and “Onward” and probably a few other movies, doing nothing to dissuade the notion that the House of Mouse is a bit out of fresh ideas lately.
Ice Cream Man and The Whisper Man
How do you like your men? Quiet and mysterious or sweet, creamy, and cold? How about homicidal? James Ashcroft has been doing his part to put New Zealand back on the map for horror fans. “Coming Home in the Dark” was a real grim, intense one while “The Rule of Jenny Penn” featured the kind of flashy performances that catch critics' attention. You can tell that one nudged Ashcroft in Hollywood's direction because he's got Robert DeNiro in his next movie. Unfortunately, “The Whisper Man” has a fairly generic premise of a true crime author son digging into his detective dad's back-files to discover that a notorious serial killer had an accomplice. Sounds like kind of a John Wayne Gacy/Project Delta situation but I feel like I can already guess the end of the second act twist. Hopefully Ashcroft will make it good.
As for the “Ice Cream Man,” that's the latest from Eli Roth. Who is either a subversive, vulgar auteur or a Zionist hack, depending on who you ask. His new film is apparently not a remake of the Clint Howard starring trash-slasher cult classic, despite a superficially similar premise. You'd think a horror buff like Eli would know better than to re-use a notable title like that. Anyway, most of the press around this one so far focuses on how fucked-up and gnarly it's going to be and on how Ari Millen in the lead role is going to be our next horror icon. (Also Snoop Dog is working on the soundtrack, for whatever that is worth.) Sounds to me like Roth saw the “Terrifier” movies and has decided to out-do Art the Clown at his own grisly, infanticidal game. This will probably be awful but “Thanksgiving” was kind of fun so perhaps Roth still has some spark left in him.
How do you like your men? Quiet and mysterious or sweet, creamy, and cold? How about homicidal? James Ashcroft has been doing his part to put New Zealand back on the map for horror fans. “Coming Home in the Dark” was a real grim, intense one while “The Rule of Jenny Penn” featured the kind of flashy performances that catch critics' attention. You can tell that one nudged Ashcroft in Hollywood's direction because he's got Robert DeNiro in his next movie. Unfortunately, “The Whisper Man” has a fairly generic premise of a true crime author son digging into his detective dad's back-files to discover that a notorious serial killer had an accomplice. Sounds like kind of a John Wayne Gacy/Project Delta situation but I feel like I can already guess the end of the second act twist. Hopefully Ashcroft will make it good.
As for the “Ice Cream Man,” that's the latest from Eli Roth. Who is either a subversive, vulgar auteur or a Zionist hack, depending on who you ask. His new film is apparently not a remake of the Clint Howard starring trash-slasher cult classic, despite a superficially similar premise. You'd think a horror buff like Eli would know better than to re-use a notable title like that. Anyway, most of the press around this one so far focuses on how fucked-up and gnarly it's going to be and on how Ari Millen in the lead role is going to be our next horror icon. (Also Snoop Dog is working on the soundtrack, for whatever that is worth.) Sounds to me like Roth saw the “Terrifier” movies and has decided to out-do Art the Clown at his own grisly, infanticidal game. This will probably be awful but “Thanksgiving” was kind of fun so perhaps Roth still has some spark left in him.
Jack of Spades
The Coen brothers have been broken up for about seven years now. In that time, Ethan Coen has co-created the first two parts of a “lesbian B-movie trilogy” with his other partner, wife Tricia Cooke. The taste-makers of Film Twitter have now decided these movies, “Drive-Away Dolls” and “Honey Don't!,” are bad but I thought they weren't without their charms. Joel Coen, meanwhile, has made a very stylized “Macbeth” adaptation. This has prompted some to declare which brother is the talented one and which is the one that was simply dragged along. I prefer to say that Ethan is the goofy one and Joel is the serious one, perhaps. Joel is continuing that reputation with his next one, “Jack of Spades.” It is a Scotland-lensed, 1800s set story described as "a gothic mystery.” Obviously, I love the shadowy, spooky side of things. This was very evident on Joel's “MacBeth,” so I'm excited to see the director embrace that aesthetic further with a project that hopefully brings out more of the horrific undertones occasionally visible in the brothers' other work.
The Coen brothers have been broken up for about seven years now. In that time, Ethan Coen has co-created the first two parts of a “lesbian B-movie trilogy” with his other partner, wife Tricia Cooke. The taste-makers of Film Twitter have now decided these movies, “Drive-Away Dolls” and “Honey Don't!,” are bad but I thought they weren't without their charms. Joel Coen, meanwhile, has made a very stylized “Macbeth” adaptation. This has prompted some to declare which brother is the talented one and which is the one that was simply dragged along. I prefer to say that Ethan is the goofy one and Joel is the serious one, perhaps. Joel is continuing that reputation with his next one, “Jack of Spades.” It is a Scotland-lensed, 1800s set story described as "a gothic mystery.” Obviously, I love the shadowy, spooky side of things. This was very evident on Joel's “MacBeth,” so I'm excited to see the director embrace that aesthetic further with a project that hopefully brings out more of the horrific undertones occasionally visible in the brothers' other work.
The Mandalorian and Grogu
What is the most anticipated “franchise” movie of 2026? I guess it's “Avengers: Doomsday,” though skepticism abounds over whether Disney can recapture that cultural moment. If you're a freak, your answer might be Takashi Miike's “Bad Lieutenant: Tokyo.” There is a part of me that is delighted that Abel Ferrara's ultra-gritty noir has unexpectedly grown into a series linked by the idea of different auteurs telling stand alone stories about different lieutenant which are bad in different cities. And speaking of Tokyo! If you're the type of nerd I am, your answer might be “Godzilla Minus Zero.” The November 6th U.S. release date was announced during the week I was writing this post. Supposedly the movie is already in post-production, meaning it's certainly possible that date will hold. I'm still kind of expecting Toho to bump it to next year but, if “Minus Zero” does come out before 2026 ends, slot it into the second position on my top ten list.
If you're a slightly different breed of nerd than me, your answer might be “The Mandalorian and Grogu.” There's no need for me, somewhat who doesn't care that much about “Star Wars” anyway, to reiterate how Disney's desire to exploit this super-valuable I.P. for its worth has done more harm than good. I did enjoy the first two seasons of “The Mandalorian” a reasonable amount. A show focused less on grand Jedi mysticism, the holy Skywalker family line, or epic warring factions that simply hangs out in the weirder corners of that universe, running with the spaghetti western and samurai film influences on the original series, was a good idea. That was a while ago, of course, and the series definitely seems to have run its course by now. Ya know, they've already slapped Baby Yoda's face on every piece of merchandise imaginable. Either way, I will concede that this is a better strategy for continuing the franchise than following up on the disastrous “Rise of Skywalker” or doing an origin story about Watto or whatever.
What is the most anticipated “franchise” movie of 2026? I guess it's “Avengers: Doomsday,” though skepticism abounds over whether Disney can recapture that cultural moment. If you're a freak, your answer might be Takashi Miike's “Bad Lieutenant: Tokyo.” There is a part of me that is delighted that Abel Ferrara's ultra-gritty noir has unexpectedly grown into a series linked by the idea of different auteurs telling stand alone stories about different lieutenant which are bad in different cities. And speaking of Tokyo! If you're the type of nerd I am, your answer might be “Godzilla Minus Zero.” The November 6th U.S. release date was announced during the week I was writing this post. Supposedly the movie is already in post-production, meaning it's certainly possible that date will hold. I'm still kind of expecting Toho to bump it to next year but, if “Minus Zero” does come out before 2026 ends, slot it into the second position on my top ten list.
If you're a slightly different breed of nerd than me, your answer might be “The Mandalorian and Grogu.” There's no need for me, somewhat who doesn't care that much about “Star Wars” anyway, to reiterate how Disney's desire to exploit this super-valuable I.P. for its worth has done more harm than good. I did enjoy the first two seasons of “The Mandalorian” a reasonable amount. A show focused less on grand Jedi mysticism, the holy Skywalker family line, or epic warring factions that simply hangs out in the weirder corners of that universe, running with the spaghetti western and samurai film influences on the original series, was a good idea. That was a while ago, of course, and the series definitely seems to have run its course by now. Ya know, they've already slapped Baby Yoda's face on every piece of merchandise imaginable. Either way, I will concede that this is a better strategy for continuing the franchise than following up on the disastrous “Rise of Skywalker” or doing an origin story about Watto or whatever.
Masters of the Universe
If we are talking about the intersecting paths of nostalgia and studios desperately exploiting familiar intellectual properties in hopes of making an on-going franchise, the last thirty years of “He-Man and the Masters of the Universe” are a good case study. Mattel has been trying to resurrect a once blockbuster toy and cartoon empire with varying degrees of success, with a dwindling crowd of die-hard fan boys being the only consistent audience in all that time. I believe that a big issue with reviving “He-Man” is that the aesthetics of the series is essentially eighties in a way that comes across as dorky to anyone born in any other decade. Nevertheless, after many false starts over many years, a new big budget “Masters of the Universe” movie has been completed. Travis Knight, who previously made a pretty decent movie out of another eighties toy property, is in the director's chair. With the exception of Jared Leto – who continues to have a career in Hollywood despite his limited on-screen charisma, lack of box office power, obnoxious on-set antics, and a laundry list of accusations – playing the funniest eighties cartoon villain, the cast seems fairly on-point. The peeks we've gotten at the costumes and sets suggest a devoted fidelity to the source material. Whether that will extend to the tone or if the movie will be more knowingly campy or sardonic remains to be seen. It also remains to be seen whether this goofy bullshit will connect with audiences, fans, or anyone else. Either way, I think Knight's “Masters of the Universe” will probably be a bigger deal than another long-gestating attempt to translate an eighties cartoon made to sell toys to the big screen.
If we are talking about the intersecting paths of nostalgia and studios desperately exploiting familiar intellectual properties in hopes of making an on-going franchise, the last thirty years of “He-Man and the Masters of the Universe” are a good case study. Mattel has been trying to resurrect a once blockbuster toy and cartoon empire with varying degrees of success, with a dwindling crowd of die-hard fan boys being the only consistent audience in all that time. I believe that a big issue with reviving “He-Man” is that the aesthetics of the series is essentially eighties in a way that comes across as dorky to anyone born in any other decade. Nevertheless, after many false starts over many years, a new big budget “Masters of the Universe” movie has been completed. Travis Knight, who previously made a pretty decent movie out of another eighties toy property, is in the director's chair. With the exception of Jared Leto – who continues to have a career in Hollywood despite his limited on-screen charisma, lack of box office power, obnoxious on-set antics, and a laundry list of accusations – playing the funniest eighties cartoon villain, the cast seems fairly on-point. The peeks we've gotten at the costumes and sets suggest a devoted fidelity to the source material. Whether that will extend to the tone or if the movie will be more knowingly campy or sardonic remains to be seen. It also remains to be seen whether this goofy bullshit will connect with audiences, fans, or anyone else. Either way, I think Knight's “Masters of the Universe” will probably be a bigger deal than another long-gestating attempt to translate an eighties cartoon made to sell toys to the big screen.
Normal
Ben Wheatley got in on the folk horror revival early with “Kill List.” He managed to ride the indie success of that one for a good while but it does feel like Wheatley's subsequent work has rarely captured the level of eeriness and intensity as that one. (With Wheatley even taken obvious for-hire jobs like “The Meg 2.”) Perhaps the two releases he has lined-up in 2026 will remind us why Wheatley was interesting in the first place. “Bulk” is some sort of super low budget, weirdo sci-fi thing that has gotten some positive notices on the festival circuit. “Normal,” meanwhile, is a neo-noir riff with Bob Odenkirk leading a solid cast. I've enjoyed Odenkirk's previous goes at utilizing his range in off-beat starring roles so I'm interested to see how this one plays out.
Ben Wheatley got in on the folk horror revival early with “Kill List.” He managed to ride the indie success of that one for a good while but it does feel like Wheatley's subsequent work has rarely captured the level of eeriness and intensity as that one. (With Wheatley even taken obvious for-hire jobs like “The Meg 2.”) Perhaps the two releases he has lined-up in 2026 will remind us why Wheatley was interesting in the first place. “Bulk” is some sort of super low budget, weirdo sci-fi thing that has gotten some positive notices on the festival circuit. “Normal,” meanwhile, is a neo-noir riff with Bob Odenkirk leading a solid cast. I've enjoyed Odenkirk's previous goes at utilizing his range in off-beat starring roles so I'm interested to see how this one plays out.
Primate
The cliché is that January and February are the months when studios dump the movies they have little hope or respect for. I don't know if this is strictly true anymore. Seems to me that August and September have a worst track record these days. Nevertheless, the “January movie” has attracted a perverse sort of allure over the years. As if the phrase is shorthand for competently made schlock that benefits from low expectations and minimum oversight. I'm not sure if any of his movies have actually come out in this month before but Johannes Roberts strikes me as one of the more reliable directors working in this landscape. He seems to know when to give the audience what they want and with a reasonable degree of timing and style. His latest is boosted by having a hell of a premise. “Primate” is basically a horror movie re-imagining of the infamous story of Travis the Chimpanzee. That's the pet/surrogate child/ticking time bomb that belonged to a very sad woman and gruesomely disfigured her friend after snapping one morning, necessitating the police to gun him down. You can argue about the tact of taking a true story like that and turning it into a gory horror flick, not the least of which because animals like Travis are as much victims of ignorant human behavior as they are victimizer. That's not the question an exploitation director would ask though and, when processed under those conditions, “Primate” looks like fine trash to me. I mean, it's got a little person in a monkey suit playing a rampaging chimp! Sign me up. Do you think the script was called “Going Ape Shit” at any point in its development?
Street Fighter
Some have speculated that, with superhero movies starting to fall out of fashion, video game adaptations will emerge as the next populist genre de jour. It's certainly a theory that's gaining a lot of steam. 2026 sees a number of high profile sequels based on the interactive entertainment medium, such as “Super Mario Galaxy” and “Mortal Kombat 2.” (Also a third “Silent Hill” movie that I hesitate to call “high profile.”) The once bemoaned state of the game-to-movies format is now attracting A-list talent. Zach Creggor is probably going to get an Oscar nomination for his “Weapons” script and he's following that up with a new “Resident Evil” movie. Of 2026's gaming adaptations, the one that has my attention the most is “Street Fighter.” Because I actually am a fan of Capcom's long-running fighting game series. The accusation that this third attempt at a live action version of the games is cast like a “Saturday Night Live” sketch is not unfounded. The teaser trailer attracted a lot of criticism too, from people saying the costumes looked too silly. All of this will mean nothing if the movie ends up sucking. And it might, especially considering director Kitao Sakurai is more known for abrasive humor than high-kicking martial arts. However, I'd argue that there's some validity to the approach of faithfully translating cartoonish source material into live action and accepting the silliness at hand, leaning into that rather than fleeing from it. I guess we'll see if that actually works when the movie comes out in October.
Some have speculated that, with superhero movies starting to fall out of fashion, video game adaptations will emerge as the next populist genre de jour. It's certainly a theory that's gaining a lot of steam. 2026 sees a number of high profile sequels based on the interactive entertainment medium, such as “Super Mario Galaxy” and “Mortal Kombat 2.” (Also a third “Silent Hill” movie that I hesitate to call “high profile.”) The once bemoaned state of the game-to-movies format is now attracting A-list talent. Zach Creggor is probably going to get an Oscar nomination for his “Weapons” script and he's following that up with a new “Resident Evil” movie. Of 2026's gaming adaptations, the one that has my attention the most is “Street Fighter.” Because I actually am a fan of Capcom's long-running fighting game series. The accusation that this third attempt at a live action version of the games is cast like a “Saturday Night Live” sketch is not unfounded. The teaser trailer attracted a lot of criticism too, from people saying the costumes looked too silly. All of this will mean nothing if the movie ends up sucking. And it might, especially considering director Kitao Sakurai is more known for abrasive humor than high-kicking martial arts. However, I'd argue that there's some validity to the approach of faithfully translating cartoonish source material into live action and accepting the silliness at hand, leaning into that rather than fleeing from it. I guess we'll see if that actually works when the movie comes out in October.
Titan
As someone more interested in cryptozoology as a modern extension of ancient myth-making, and less so because I believe Mokele Mbembes is just waiting for the right Young Earth Creationist to reveal itself to, I fully support making more horror movies inspired by these creatures of legend and rumor. Jim Cummings and William Sadler are taking on “The Yeti” this year. Stories of the “Kraken” are forming the basis of the second original kaiju movie to come out of Scandinavia in recent years. A more obscure cryptid is also getting the cinematic treatment this year. The Boiúna is an enormous, shapeshifting black snake from the indigenous folklore of the Amazon rain forest. Overly eager cryptozoologists have speculated that the stories might be evidence of a relic population of titanoboas in the jungle, which is likely where the upcoming “Titan” gets its title from. The film is directed Mike P. Nelson, a filmmaker I rarely hear anyone praise who nevertheless keeps getting shots at rebooting well known horror series. (In so much that “Wrong Turn” and “Silent Night, Deadly Night” are well-known and a beer commercial disguised as a new Jason movie is a reboot.) “Titan” might end up being an uninspired rehash of “Anaconda” but, still, its folkloric connection and the occasional flair Nelson has shown makes me interested.
Other films of note
At the Sea, Blockhead, The Boy in the Iron Box, By Design, City Wide Fever, Family Movie, Flowervale Street, Ghost Boy, I Love Boosters, The Marshmallow Experiment, Obsession, Onslaught, Other Mommy, The Plague, Remains, R.U.R., Ties, Visitation, Whalefall, Wild Horse Nine, Wildwood, and The Young People
As someone more interested in cryptozoology as a modern extension of ancient myth-making, and less so because I believe Mokele Mbembes is just waiting for the right Young Earth Creationist to reveal itself to, I fully support making more horror movies inspired by these creatures of legend and rumor. Jim Cummings and William Sadler are taking on “The Yeti” this year. Stories of the “Kraken” are forming the basis of the second original kaiju movie to come out of Scandinavia in recent years. A more obscure cryptid is also getting the cinematic treatment this year. The Boiúna is an enormous, shapeshifting black snake from the indigenous folklore of the Amazon rain forest. Overly eager cryptozoologists have speculated that the stories might be evidence of a relic population of titanoboas in the jungle, which is likely where the upcoming “Titan” gets its title from. The film is directed Mike P. Nelson, a filmmaker I rarely hear anyone praise who nevertheless keeps getting shots at rebooting well known horror series. (In so much that “Wrong Turn” and “Silent Night, Deadly Night” are well-known and a beer commercial disguised as a new Jason movie is a reboot.) “Titan” might end up being an uninspired rehash of “Anaconda” but, still, its folkloric connection and the occasional flair Nelson has shown makes me interested.
Other films of note
At the Sea, Blockhead, The Boy in the Iron Box, By Design, City Wide Fever, Family Movie, Flowervale Street, Ghost Boy, I Love Boosters, The Marshmallow Experiment, Obsession, Onslaught, Other Mommy, The Plague, Remains, R.U.R., Ties, Visitation, Whalefall, Wild Horse Nine, Wildwood, and The Young People
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