Dracula: a Love Tale (2026)

Luc Besson takes a little bit from here and a little bit from there to make his rather sympathetic to the monster adaptation of the legendary novel. By now we've had a million adaptation of Bram Stoker's story so it always takes... something... to breathe new life into the tale but Besson's vision feels like a mishmash of other takes on Dracula and little that is fresh. Much of this film felt like I had seen it before. 

Besson uses the skeleton of the Stoker novel. He moves the action from London to Paris (despite having everyone speak English) and exorcises most of the characters from the plot and reduces many of those that remain to mere shadows of characters. For example Jonathan Harker is really just there to move the plot along and the Lucy stand-in is barely more than that. 

However there are some interesting threads here for the three main central characters that remain. Mina is a woman in a (practically) loveless engagement seeking something more. The Van Helsing stand-in played by Waltz, isn't so much a vampire hunter as a vampire saviour, focusing on saving the souls of the undead. And Dracula himself is one of the most sympathetic versions of the character I have seen (perhaps Luke Evans in Dracula Untold has him beat on that front). If there is something new here it is in how the film treats the vampiric curse as a distance from God out of pain and suffering. Sadly the film just doesn't do enough with that to make it feel very interesting. It is presented as a surface idea only. 

The film aesthetically and plotwise borrows heavily from Coppola's film version. The whole reincarnation/lost love story line and much of the art direction/make-up/costumes feel ripped right from that film. It is a testament to Bram Stoker's Dracula how much of that film's cannon has integrated into our cultural understanding of the legend (a literary Mandela effect). This version keeps getting weighed down in its imitation of that film

Even the usually deranged Caleb Landry Jones feels restrained here in a way that takes away from the film. Both him and Waltz are often scene stealers but the film doesn't give either a chance to truly shine. The film has break out moments of creepy exuberance (eg. a rather disturbing scene in a nunnery) but then always gets back into a more predictable tract. Perhaps the Besson/Jones/Waltz combo made me feel I was going to be in for something more radical set me up for disappointment. While not a bad adaptation, I just never felt it gave me any reason to watch this version over one of the many others. 

Dracula: a Love Tale

Starring: Caleb Landry Jones, Christoph Waltz, Zoë Bleu

Writer/Director: Luc Besson

Pillion (2026)

I think what struck me about Pillion, in the context of queer cinema, was how it is reminiscent of the sort of gay films popularized in the 80s in how it explores something the audience and the broader world within the story may be uncomfortable with. But in this case, where in the older films it would have been the same sex relationship itself, here that is not the element that is subversive, it isn't the shock value. In this case its the dom/sub relationship, how those around Colin react to it and are uncomfortable. It isn't a man on man kiss that is transgressive, but the scenes of  domination which make the write ups about the film titillating. 

In Pillion Colin's gayness is supported in a very wholesome way by his family and community. Audiences are used to seeing men be affectionate on film together and no one blinks an eye. It is the commands, the power dynamics, which illicit giggles and squirming. Pillion's strength is in how it brings this to the fore and presents it so that you can feel understand the relationship between Ray and Colin. The film throws a few shock value sex scenes in to push boundaries (not as strongly as I thought they might) but it remains all simulated. Pillion is a solid R not an NC-17. 

By the end it is the scenes of gentle connection which becomes shocking and bring on the real reaction.  In this way it circles back to the queer cinema of the last century. A cuddle in the bed brings gasps, hand holding becomes transgressive, a kiss at the film's climax is monumental. And like so much of the 2SLGBTQ+ cannon there is loss. Colin's journey points towards him finding his way but this isn't the happily ever after story. Pillion feels like it is part of some grand tradition but in ways one wouldn't expect. 

I love it when a new film maker debuts with an exciting feature. Pillion is an example of that, the kind of film that makes you sit up and take notice. Lighton has made something impressive and shows a lot of potential. I'm going to be watching what he does next.

Pillion

Starring: Harry Melling, Alexander Skarsgård, Jake Shears

Writer/Director: Harry Lighton

Nirvanna the Band the Show the Movie (2026)

How does one begin to describe Nirvanna the Band, the Show, the Movie, an absurdist adaptation of an absurdist TV series inspired by an absurdist web series? From the twisted brilliance of Johnson and McCarrol who reached super success with their film BlackBerry, they return to their roots in this passion project bringing bigger ideas and a bigger budget to the loveable fictional versions of the themselves. While it's hard to represent what this movie experience is like (other than saying it is a damn good time) I will say that this is a good example of how you do take a TV project and bring it to the big screen. 

They have taken what works from their seed of a TV show, a couple of lovable losers in their endless quest to get a gig at the Rivoli, and brought it to new heights... literally! In this case the CN Tower. Throw in some time travel, sky diving, and a lot of Back to the Future love and you have what may be the silliest but the most fun movie you'll see in a long time. 

I don't want to say more except just see it. It's nonsense and it isn't logical but it's got heart and a lot of laughs. 

Nirvana the Band the Show the Movie

Written by, Directed by, and Starring: Matt Johnson, Jay McCarrol

Arco (2025)

I wish Hollywood made more hand drawn animation. Thank goodness it's still prevalent in other parts of the world. The gorgeous French film Arco is an example of why the push towards GCI in mainstream western animation is such a loss. Arco is a true thing of beauty, capturing a visual story telling style that CGI just cannot touch. 

It may call to mind Studio Ghibli films or even the Iron Giant. Arco is the story of being lost through time and finding connection. The story is bittersweet and will literally make you cry. It is a reminder of the power of fantastic story telling and all it can accomplish. 

But I can't get over just how beautiful it is to watch and how much I want more of this sort of animation. Arco is best seen on a big screen but can be fully appreciated at home as well. It is the sort of story that is accessible for almost all ages offering something rich to whomever approaches it.

Arco

Starring: Romy Fay, Juliano Krue Valdi, Mark Ruffalo, Natalie Portman, Will Farrell, Andy Samberg, America Ferrera, Flea

Director: Ugo Bienvenu

Writers: Félix de Givry, Ugo Bienvenu

The Voice of Hind Rijab (2025)

Director Kaouther Ben Hania has taken the audio from a real distress call to the Red Crescent, as well as some social media video of the responders taking the call, and crafted a film dramatization of the event. It is harrowing and powerful because of its literalness. What we are watching is actors playing real responders in a moment of real crisis. We even sometimes hear their voices. The one voice we really do hear is that of a little girl named Hind Rijab. 

Film has been a medium to very effectively bring to light the horrors of war and The Voice of Hind Rajab joins a long legacy of powerful indictments of political violence. This is the story of just one family killed at the alter of armed conflict and yet it in many ways is the story of all. 

It is also the story of those trying to save lives. What we watch in this film is the experience of those attempting to intervene to rescue those caught in the middle. They are heroes and they often fail. The Voice of Hind Rajab is not only a testament to the dead but to those who attempt to keep as many people alive as possible.  

The Voice of Hind Rajab is heartbreaking yet in its way inspiring, as it brings into focus those real heroes of war. The helpers.

The Voice of Hind Rijab

Writer/Director: Kaouther Ben Hania

Send Help (2026)

Raimi has made a bonkers survivalist/revenge comedy and it is a lot of fun. Sometimes it pulls back from the edge a little too much for my tastes. The film pushes some boundaries visually but plays it somewhat safe psychologically. I kinda wished he had gone all in. 

But McAdams and O'Brien are both incredible bringing deranged performances to real life. McAdams especially handles things well, bringing a grounding to her bizarro character as she makes the tonal shifts mostly work. O'Brien creates a very realistic douchiness so that his Bradley is truly reprehensible while also being human. The characters could have been far more one note than they are but the two of them together nail it. 

My only disappintment is the film doesn't quite go as transgressive and I would have liked. It pulls its punches. But even in doing so it's funny and gripping with just a slight bit of unease thrown in for good measure. It is a fun watch.

Send Help

Starring: Rachel McAdams, Dylan O'Brien, Denis Haysbert, Edyll Ismail, Bruce Campbell

Director: Sam Raimi

Writers: Damian Shannon, Mark Swift

The Wrecking Crew (2026)

Soto knows how to make really fun films. The Wrecking Crew is another that is far more fun than it should be. The action is on point, the script is smart enough to support its story, and the chemistry between its stars is off the charts. It all comes together to make a really watchable film. 

I've said it before and I'll say it again, Bautista is the best actor to come from the world of wrestling and even when he is in something like this, less dramatic and more action comedy, he gives a strong performance. And Momoa has proven he can light up screen with his charm and is a good enough actor to deliver on the more dramatic moments. What really makes it work is how well they work together. They play off each other wonderfully.

I'm not saying The Wrecking Crew is anything more than it tries to be. It is a fun action comedy with some compelling leads. I do think it shows more films should be shot in Honolulu, a great city with far more story telling potential than has been exploited. 

The Wrecking Crew

Starring: Jason Momoa, Dave Bautista, Claes Bang, Temuera Morrison, Jacob Batalon, Frankie Adams, Miyavi, Stephen Root, Morena Baccarin 

Director: Ángel Manuel Soto

Writer: Jonathan Tropper