Luc Besson isn’t interested in giving us just another cape-flapping, coffin-hopping Dracula. With Dracula, hitting theaters nationwide on February 6th, 2026, via Vertical, Besson leans hard into gothic romanticism, tragic obsession, and visual excess, crafting a lavish, blood-soaked love story that wears its heart on its sleeve and occasionally trips over it. This version of the legend opens with a 15th-century prince, Vlad, played by Caleb Landry Jones, whose world collapses after the brutal murder of his wife, Elisabeta.
Read MoreAncient Gods, Tight Spaces, and Uneasy Possession: The Morrigan Delivers Solid Pagan Horror
There is something immediately reassuring about The Morrigan. From the jump, it looks far more expensive than you would ever expect, leaning hard into Ireland’s rugged landscapes, weathered stone, and claustrophobic cave systems to sell its world. Directed by Colum Eastwood, the film taps into Gaelic mythology with sincerity, even when it stumbles in execution, and that commitment goes a long way.
Read MoreBrad Anderson's Worldbreaker Finds Beauty, Fear, and Frustration in Survival
Brad Anderson’s Worldbreaker opens with a premise that feels intentionally stripped down. A father and daughter living in isolation after the collapse of the world, training not for hope but for inevitability. It is a setup that immediately recalls post-apocalyptic touchstones like A Quiet Place, but Anderson is less interested in constant escalation than he is in mood, restraint, and unease.
Read MoreThe Confession: Rats, Religion, and a Story That Can’t Find Its Focus
There is a genuinely solid movie buried inside The Confession. The problem is getting to it without losing patience along the way. Written and directed by Will Canon, The Confession opens on an immediately unsettling note.
Read MoreWhen the Woods Fight Back: Grizzly Night Isn’t the Bear Movie You Think It Is
There is something eternally appealing about a good animal attack movie. Put people in the wilderness, add bad decisions, stir in teeth and claws, and let nature do the rest. Grizzly Night arrives looking like it wants to sit comfortably in that tradition, but what it ultimately delivers is something a little stranger, a little heavier, and far more grounded than its marketing might suggest.
Read MoreCabins, Chaos, and End Times Comedy: Weekend at the End of the World Is Dumb Fun With a Dragging Pulse
Some movies aim for reinvention. Weekend at the End of the World just wants to throw you into the woods, crank up the chaos, and see if you laugh before the world ends. Directed by Gille Klabin, best known for The Wave, Weekend at the End of the World is a horror-comedy that wears its influences proudly.
Read MoreTraining Ground for Feelings: Atropia Turns War Games Into an Awkward Romance
There is something immediately unnerving about Atropia, and not just because it takes place inside a fabricated country designed to help soldiers rehearse for war. Directed by Hailey Gates, the film understands that the strangest part of these simulations is not the fake buildings or staged violence, but the emotional labor required to keep the illusion alive. From that discomfort, Atropia builds a dry, frequently funny satire that slowly reveals a softer and more complicated center.
Read MoreJellyfish Season: A Sunburned, Cosmic Love Letter to Friendship
Jellyfish Season is the kind of film that quietly disarms you. What begins as a feature-length buddy comedy about three best friends forcing themselves onto a beach vacation gradually unfolds into something far more personal, strange, and emotionally resonant. Shot on Kodak 16mm and soaked in the sun-bleached textures of Florida, the film plays like a love letter to friendship, Florida, and the strange magic that happens when you finally slow down.
Read More