Wildwood (2026)

It is rare that a film continues to exceed your expectations more and more as it plays out, building from a strong start into something truly magical and epic until its ending leaves you breathless. When a film like that comes along it is something to celebrate. Wildwood is that sort of movie. Wildwood is a modern fairytale which understands that fairytales are brutal stories packed with emotion, terror, beauty, pain, loss, and growth. It is part Labyrinth, part Lord of the Rings, part Disney's Robin Hood, part Narnia, part Return to Oz, part Portlandia, and yet wholly and completely original. 

First I will say this is a story that will grab you from the first frame and keep you on the edge of your seat for its full duration. Filled with diverse and uniquely rich characters, the film manages to do wonderful character development while keeping its story telling pace. I want you know that you will adore this tale. It has a powerful darkness to it and is NOT for young children, but in that darkness is a beautiful story of love and hope that rises from its heart. I found myself viscerally reacting moment after moment. I was literally laughing and crying and surprised by one development after the next. 

The sheer artistry of Wildwood is breathtaking. There are scenes where you loose count of the amount of figures on the screen, each one animated so intricately. The film looks like nothing you've seen before. This is the sort of film that big screens were made for as it is one of the most gorgeous movies I've seen in a while. I am in awe of the achievement this film is. We are lucky to get to see Wildwood come to life.

Go to see it on a big screen just for the spectacle of it alone, but I dare you not to be moved by the power of its story and characters. Simply perfection. 

Wildwood

Starring: Carey Mulligan, Mahershala Ali, Peyton Elizabeth Lee, Jacob Tremblay, Awkwafina, Angela Bassett, Jake Johnson, Charlie Day, Amandla Stenberg, Jemaine Clement, Maya Erskine, Tantoo Cardinal, Tom Waits, Richard E. Grant, Blythe Danner

Director: Travis Knight

Writer: Chris Butler

 

Rose of Nevada (2026)

Some of Rose of Nevada worked for me, some didn't. The story fascinated me, a small town still never having recovered from a long ago tragedy, and the sudden reappearance of the missing boat. But the film's aesthetic approach, from it's camcorder style visuals to its overly articulated acting style kept pulling me from the story and making me think about things other than the themes the narrative could have been exploring. 

The film looks like something someone made with their home video camera. It's like they got two big stars to make a home movie... and they asked everyone to give the most unrealistic line readings of the dialogue as they could muster. There is a tension between the unrealness of the performances and the cinema verite-ness of just following everyone around with the camera which never gelled. 

Still, there was something about this tale, with its exploration of the responsibility of these men to their village and its future, the loss of what could have been, and connections through time and community that was quite interesting to me. Sometimes its mixed bags like that that sit with you even when it wasn't something you enjoyed. 

Rose of Nevada

Starring: George MacKay, Callum Turner

Writer/Director: Mark Jenkin

 

You Can See Everything (2026)

I went into You Can See Everything fairly skeptical. I could never really get myself to give a shit about Elizabeth Holmes' story as it was happening, never cared to watch the Hulu miniseries starring Seyfried, and I was convinced that I would not be enthused about a three-frickin-hour documentary about her. Man could not have been more wrong. In my defence, perhaps if You Can See Everything was actually about Holmes and the case I would have bored. But soon into this film you see it's about other things, a lot of other things. 

Fielder and Oppenheim have crafted a film about the nature of documentary film making itself. It touches on relationships (romantic, professional, friendships) and how we connect. It touches on the based-on-a-real-story television/film industry. It touches on communication and our responsibilities to each other. And Fielder makes it about himself in someways. You Can See Everything evoked for me one of my all time favourite documentaries, The Stories We Tell by Sarah Polley. It asks us to reflect on what we are watching as a thing itself and not just on the story it's telling. Cause even documentaries are stories and they are shaped by their story tellers.

Fielder Michael Moores himself into the story, quite bravely asking us to consider him as subject as well. Like that provocative film maker of what seems like another lifetime, Fielder understands he and his perspective are as much under the microscope as Holmes. I was fascinated with the way he was willing to pose questions about his own role as film maker. I was also quite taken with how much Seyfried participates in this experiment in film making, letting herself get pulled in in ways I wouldn't expect an A-lister to be willing to do. Famously this film has a nude scene (neither Seyfried nor Fielder) which did elicit some gasps when it happens. It happens early in the film and feels like a war cry, we aren't going to hold back with what we expose. At first we think that is referring to Holmes and Evans, kind of like the title of the film itself, but by the end we realize You Can See Everything is a statement on how to view this film as a product itself. 

You Can See Everything

Starring: Elizabeth Holmes, Billy Evans, Nathan Fielder, Amanda Seyfried, Christopher Abbot

Writer/Directors: Nathan Fielder, Lance Oppenheim

Sense and Sensibility (2026)

Jane Austin's most famous stories are mostly about how money is a cage for those who have it and for those who don't, especially the women caught up by economic machinations. Oakley's adaptation of Sense and Sensibility finds the dark undertones of this and highlights them. I was struck by the gloom of this take although I found it highly appropriate for the material and perhaps a fresh way into the trials and tribulations of the Dashwood sisters. 

17th century England feels very lived in and worn in this film. The countryside life of the upper class (or in the Dashwoods' case the lower upper class) is close to nature while London is grimy and smelly to match the social experiences they find there. The film focuses on the disparity between those who choose their honour over their financial state and those who choose the money. There is a desperation palpable in this version, a kind of essentialism. Austin often brings into clarity the precariousness of women's lives even in the upper stratosphere of society, and Oakley captures that. But that precariousness extends to the men as well, whether its Ferrars, Willoughby, or even Colonel Brandon, everyone is on the brink of ruin.. in one way or another. This gives an urgency to the story that isn't just about denying one's feelings or letting them run rampant; it is about one's well being. 

What felt a little lacking were the characters. The film spends much time on Elinor and Edward but much of the rest of the cast of characters feel more like they are filling a role than coming to life as real people. Even Marianne gets less life breathed into her than I would have hoped. I was happy anytime Fiona Shaw was onscreen, chewing it all up as the wonderful Mrs. Jennings (one of my favourite side characters in literature), as she found not only the character's lust for life and her circle of loved ones but also the tiresome nature of her overbearing love, she even found some of that character's rougher edges as well. Going back to Elinor and Edward, who both come off as more rounded characters that most of this cast, the film still doesn't give either quite enough to make me feel the tragic nature of their love so the film's climax ends up a bit underwhelming. 

Perhaps something I appreciated and was frustrated with at the same time was the resolution of Marianne and Branden's story. On the one hand I found it satisfying that they don't just rush from his rejected admiration to her finally seeing his worth and embracing him. Even with her exuberance for passion, sometimes it can feel a bit like whiplash to see her 180 be too rapid. Yet the film's subtle suggestion of their future still felt a bit cold. Maybe it is a bit more real. Yet it felt a bit less rewarding. 

Still, this Sense and Sensibility does find a way, through its exploration of money's evil pull, to offer up something fresh. This story is a compelling one, even with some flaws, and it is gorgeously filmed in that way that makes you want to lose yourself in the heath and in the passion of a denied love. 

Sense and Sensibility

Starring: Daisy Edgar-Jones, George MacKay, Esmé Creed-Miles, Caitríona Balfe, Frank Dillane, Herbert Nordrum, Fiona Shaw, Bodhi Rae Breathnach

Director: Georgia Oakley

Writer: Diana Reid

Your Mother Your Mother Your Mother (2026)

Tariq has quite an eye for crafting a scene and a talent for building those scenes into a compelling story. With Your Mother, Tariq blends a strong sense of family and faith with the tension that comes from the violent world of his central character, a hitman. He explores the inherent violence in religious communities through this story of a muslim hitman who gets entangled with a gun worshipping Texas evangelical church. It is a combination ripe with emotion and meaning with a powerful performance from Ali (what else would you expect) at its centre.

Beautiful and emotional Your Mother Your Mother Your Mother is powerful on the big screen. My only complaint is that I did not find the narrative made a lot of sense. It felt like the script was often just trying to get us from one of the important scenes to another and didn't always feel real. The climactic battle is a bit confusing and not quite earned. But the film's strength comes more in its characters connecting, particularly Ai and his daughter. 

It is those moments where Your Mother truly shines. Young actress Adia is incredible and paired with Ali playing her father, the two really bring the story to life everytime they are together. The film's real ending, following the big climactic battle, is a quiet emotional scene that makes you realize the is far less interested in the set pieces than the film's marketing is, and that is for the best.

Your Mother Your Mother Your Mother

Starring: Mahershala Ali, John Cho, Giancarlo Esposito, Abubakr Ali, Tramell Tillman, Adia

Writer/Director: Bassam Tariq

La bola negra (2026)

Sometimes films feel more like poetry than prose. La bola negra is filmed with one foot in realism and another in impressionism. Los Javis have taken a gem of Spanish Queer Literature and built around it a soaring and gorgeous epic which imagines a legacy of queer art throughout the decades. Always made with an eye to real beauty, La bola negra wrestles with our connections to the queer ancestors, both figurative and in this story's case, literal, that have brought us to where we are. 

I kept being swept up in the majesty of this film. Without feeling overwrought, La bola negra consistently centres itself in beautiful settings and the visuals evoke the characters, and their passions and struggles. The way Ambrossi and Calvo so seemingly effortlessly  weave their story through eras and wars and passions, feels so liberating. Survival through trauma in this sort of historic queer epics, is par for the course yet La bola negra finds a freshness, perhaps in the way it embraces a realness to its queer story telling, a queerness to its epic story telling. It doesn't shy away from its purpose and beautiful paints it across the screen. 

The film's thesis, that we do not live until we embrace who we truly are, is boldly spoken and lived by the characters in this movie. There is also, through its time-spanning plot, a sense of wrestling with what we owe those who paved our way. The film's most heart-wrenching moments for me were not necessarily the pieces of drama from the historical scenes of war and fascism but the revelations of the modern relationships. There is something quite beautiful about these two modern queer artists making this film from the fragments of a past queer artist's work and building on it until it becomes something even more than either could have imagined. 

The film's cast comes together so beautifully spanning the years of the story. From Cruz's spectacular cameo, which imbues the film with a joyous yearning, through the young leads of each time period, I couldn't take my eyes off of them. They truly become who they are portraying.

La bola negra will haunt you and inspire you, asking you to reflect on how we got here and where we have come from. It is about our connections through art and beauty to our honest selves. 

La bola negra

Starring: Guitarricadelafuente, Miguel Bernardeau, Carlos González, Milo Quifes, Lola Dueñas, Penélope Cruz, Glenn Close

Directors: Javier Ambrossi, Javier Calvo

Writers: Alberto Conejero, Javier Ambrossi, Javier Calvo

Animals (2026)

Animals is the second attempt in as many years to remake Kurosawa's High and Low after Spike Lee's Highest 2 Lowest. The idea in each case is the same. A powerful man believes his son is kidnapped only to find out it is the son of a staff person kidnapped by mistake and the fallout from this exposes the problems inherent in our stratified societies. In this version of the story we follow a likely to be successful candidate running to be mayor of LA just as he is embroiled in the campaign. While I felt like Lee's film last year turned the questions of the story into something less interesting, this one I feel focused on more of what I was interested in. However Animals feels like it squanders those questions in its final act. 

Affleck sets up his moral dilemma quite effectively. His and Washington's characters are very much a balance between relatable to the suburban audience this film is aimed at, and compromised in ways that should make that audience uncomfortable. And as the plot works through its elements, that same audience is, with the mirror held up to it, asked to reflect on a series of problems. But the film doesn't entirely make its audience reckon with the consequences. I wish Animals had been bolder. It's like the set up was all there but then they pulled back and gave what ends up being a rather standard feeling sort of ending. 

The climax mitigates a lot of what could have been really uncomfortable circumstances. There is some Hollywood, out of nowhere "twists" which feel forced. It also gives the audience a bit of a chance to breathe, and maybe not have to wrestle as hard with what they are watching as they might have. The good guys win and the bad guys get what's coming to them. All can be right again with the world. The film sort of self-consciously attempts to suggest some doom with its very last scenes, indicating that the good guys cover it up in a way that is less than ethical, but since the film has established its happy ending as effectively as it does, it almost seems to be suggesting, and it is easy for the audience to buy into the idea that, the cover up is for the best. 

Perhaps one day there will be a truly good adaptation of High and Low that lives up to the legacy. Animals, while not entirely a lost cause, doesn't achieve this.   

Animals

Starring: Ben Affleck, Kerry Washington, Gillian Anderson, Adriana Paz, Luis Gerardo Méndez, Steven Yeun, Ray Fisher

Director: Ben Affleck

Writers: Connor O. McIntyre, Billy Ray, Ben Affleck