- Cannes Announces 2026 Program with New Films by Pedro Almodovar, Hirokazu Kore-eda, Asghar Farhadi, More (April 9, 2026)
The Cannes Film Festival announced the first selections for its 2026 program this year, a diverse array of films from international masters from around the world, blended in with new, unexpected voices. After a 2025 program of high profile Hollywood premieres like the last “Mission: Impossible” movie and Spike Lee’s “Highest 2 Lowest,” this year looks a bit more subdued on the red carpet front, but undeniably includes some of the best working filmmakers from around the world, including Pedro Almodovar, Asghar Farhadi, Ryusuke Hamaguchi, Hirokazu Kore-eda, Cristian Mungiu, Pawel Pawlikowski, Ira Sachs, and Andrey Zvyagintsev, all in competition.
Interestingly, the newest films from Jane Schoenbrun and Nicolas Winding Refn will both launch in programs ineligible for the Palme d’Or while the latest from James Gray, widely rumored for Cannes, is nowhere to be found. (It’s worth noting that films from Lee, Bi Gan, and Lynne Ramsay, among others, were all added after the initial program reveal last year.) Of course, the best thing about Cannes is the unknown. There’s almost certainly a masterpiece or two in here. Come back in May to find out which one(s).
In Competition
“All of a Sudden,” Ryusuke Hamaguchi
“Another Day,” Jeanne Herry
“The Beloved,” Rodrigo Sorogoyen
“Bitter Christmas,” Pedro Almodóvar
“The Black Ball,” Javier Ambrossi and Javier Calvo
“Coward,” Lukas Dhont
“The Dreamed Adventure,” Valeska Grisebach
“Fatherland,” Pawel Pawlikowski
“Fjord,” Cristian Mungiu
“Gentle Monster,” Marie Kreutzer
“Hope,” Na Hong-jin
“The Man I Love,” Ira Sachs
“Minotaur,” Andrey Zvyagintsev
“Moulin,” László Nemes
“Nagi Diary,” Koji Fukada
“Notre Salut,” Emmanuel Marre
“Parallel Tales,” Asghar Farhadi
“Sheep in the Box,” Hirokazu Kore-eda
“Stories of the Night,” Léa Mysius
“The Unknown,” Arthur Harrari
“A Woman’s Life,” Christine Bourgeois-Taquet
Un Certain Regard
“All the Lovers in the Night,” Yukiko Sode
“Benimana,” Marie-Clementine Dusabejambo
“Club Kid,” Jordan Firstman
“Congo Boy,” Rafiki Fariala
“Le Corset,” Louis Clichy
“Elephants in the Fog,” Abinash Bikram Shah
“Everytime,” Sandra Wollner
“I Am Always Your Maternal Animal,” Valentina Maurel
“I’ll Be Gone in June,” Katharina Rivilis
“The Meltdown,” Manuela Martelli
“Strawberries,” Laïla Marrakchi
“Teenage Death and Sex at Camp Miasma,” Jane Schoenbrun (Opening Film)
“Uļa,” Viesturs Kairišs
“Yesterday the Eye Didn’t Sleep,” Rakan Mayasi
Out of Competition
“L’Abandon,” Vincent Garenq
“De Gaulle: Tilting Iron,” Antonin Baudry
“Diamond,” Andy Garcia
“The Electric Kiss (Opening Night Film),” Pierre Salvadori
“Her Private Hell,” Nicolas Winding Refn
“Karma,” Guillaume Canet
“L’Objet Du Delit,” Agnes Jaoui
Cannes Premiere
“Heimsuchung,” Volker Schlöndorff
“Kokurojo: The Samurai and the Prisoner,” Kiyoshi Kurosawa
“Propeller One-Way Night Coach,” John Travolta
“The Third Night,” Daniel Auteuil
Special Screenings
“Avedon,” Ron Howard
“Cantona,” David Treehorn
“John Lennon: The Last Interview,” Steven Soderbergh
“Les Matins Merveilleux,” Avril Besson
“Les Survivants du Che,” Christophe Réveille
“Rehearsal for a Revolution,” Biga al Ahani
“The Survivors of Che,” Christophe Réveille
Midnight Screenings
“Colony,” Yeon Sang-ho
“Full Phil,” Quentin Dupieux
“Jim Queen,” Nicolas Athane and Marco Nguyen
“Roma Elastica,” Bertrand Mandico
“Sanguine,” Marion Le Corroller
- Netflix’s “Big Mistakes” Starts Off Feeling Small but Settles into Its Best Self (April 9, 2026)
The first two episodes of Netflix’s “Big Mistakes,” which basically play as one hour-long episode, actively annoyed me. A premise that feels overly familiar in the era of ordinary people getting caught up in violent situations a la “Ozark” with frustratingly dim lighting that matches that increasingly influential award winner centered by two obnoxious characters who I expected would just bicker their way through the next eight chapters: I started to regret my career choices.
Some of the issues in the first hour of “Big Mistakes” linger, but to say that the show finds its footing in unexpected ways would be an understatement. Behind-the-scenes drama could be to blame for the rough start tonally, but Dan Levy and his team relatively quickly figure out how to amplify the best aspects of their show, pivoting into a radically different one than it first seems.
“Big Mistakes” was created by and intended to be a vehicle for Levy and Rachel Sennott. When “I Love L.A.” went to series, Sennott couldn’t juggle both shows, so her part was recast with Taylor Ortega, and it feels like that shift impacted the show’s launch. The first impression I had was that Levy and Ortega not only don’t feel like siblings, but I’m not convinced they’ve ever even met. That lack of sibling chemistry early in the season really impacts the tone—it’s different watching a brother and sister bicker than it is two obnoxious strangers. There were also reports that Levy was struggling with the balance between crime and comedy in the writers room, and one can totally feel that early in the season, too.
BIG MISTAKES. (L to R) Dan Levy as Nicky and Boran Kuzum as Yusuf in Episode 103 of BIG MISTAKES. Cr. Spencer Pazer/Netflix © 2025
And then it’s gone. Before the halfway mark, “Big Mistakes” has become a more confident, balanced, entertaining show, a program that still struggles with some unbelievable choices by its many characters, but one that moves with such momentum that it’s an easy binge. It’s one of those shows where you want to see what’s going to happen next, how these two are going to fall into another trap or work their way out of one. And it contains several engaging performances, especially from Levy and Laurie Metcalf. It’s not perfect, but if this is Netflix’s newest “Ozark Lite,” it’s a better one than most of that imitative field.
Levy plays Nicky, a pastor in a town so small that his mother Linda (Metcalf) can both own the hardware store and be running for mayor. When his grandmother is dying, Linda tasks Nicky and his sister, Morgan (Ortega), with buying a nice necklace for her burial. They go to a pawn shop, and Morgan decides to shoplift what seems like an ordinary piece of jewelry, only to discover it is a bauble that is very important to a local crime syndicate. The store clerk/tough Yusuf (Boran Kuzum) brings Nick and Morgan to his boss, Ivan (Mark Ivanir), who basically forces them to join the payroll, giving them flip phones they have to answer whenever he needs them. What better unexpected pawns could a crime lord have than a pastor and a schoolteacher?
BIG MISTAKES. (L to R) Laurie Metcalf as Linda and Darren Goldstein as Tom Donaldson in Episode 104 of Big Mistakes. Cr. Courtesy of Netflix © 2026
Meanwhile, Linda launches a heated political campaign with her third child, Natalie (Abby Quinn), taking on a truly toxic power player in the community, Tom Donaldson (Darren Goldstein), whose strings are pulled by his wife, Annette (a perfectly cast Elizabeth Perkins). There are times when the Metcalf/Quinn/Perkins half of “Big Mistakes” feels like a different show from the Levy/Ortega one, but that becomes something more of a feature than a bug. The always-great Metcalf chews on the clever dialogue regarding small-town politics in a way that makes you wish she had guest-starred on “Veep,” and it allows a bit of a release from the criminal half of “Big Mistakes” while also reminding one that the worlds of international crime and local politics aren’t that different when it comes to idiotic behavior.
Levy settles into his role, too, getting just enough character work outside of the action of the piece to make him feel increasingly genuine. Mostly, he just doesn’t seem as adrift as in the early episodes, even developing some stronger chemistry with Ortega, although the extended scenes where they just yell at each other are the most consistently grating.
BIG MISTAKES. (L to R) Taylor Ortega as Morgan and Dan Levy as Nicky in Episode 107 of Big Mistakes. Cr. Courtesy of Netflix © 2026
Importantly, Levy and his fellow producers wisely surround their abrasive leads with rich supporting characters, mostly on the criminal side of the coin. Kuzum and Ivanir are particularly good, taking roles that could have been two-dimensional and making them richer through subtle choices. Ivanir conveys why Ivan would see our leads as different from his usual criminal cronies, while Kuzum finds a balance between being charming and dangerous.
“Big Mistakes” sometimes feels a bit too derivative of things that its creators know people love from the accidental criminals of “Ozark” to the dysfunctional siblings of “Schitt’s Creek,” but it’s ultimately smart enough to overcome that criticism. It’s an easy weekend binge in one of the most crowded TV months of the year. And a reminder that sometimes people, and shows, aren’t what they first appear.
Whole season screened for review. Now on Netflix.
- HBO’s “Euphoria” Feels as Lost as Its Characters in Riveting, Infuriating Third Season (April 8, 2026)
HBO’s “Euphoria” is in such a weird place in 2026. A show that once felt abrasively fresh and inventive went away for long enough that not only did its stars all become just as bright in other places, but its provocations seem increasingly hollow in a very different world. Premiering four years after we last saw these characters, the third season of Sam Levinson’s Emmy winner sometimes feels like a shadow of its former self, a program about young people trying to find who they are that is struggling through an identity crisis of its own, but there are just enough times when that shadow springs to life that it’s not so easily dismissed as a relic that took too long to return.
On the one hand, the disjointed nature of the storytelling across the three episodes sent to press makes for a TV-watching experience that lacks consistent momentum. On the other hand, it’s a season that’s often about people stuck in their routines, unable to find direction in a world of side hustles that treat their bodies like means to ends. There are individual beats, scenes, and performances in these three episodes that spark with that energy that the show found at its best, but 2026 “Euphoria” feels more uncertain of what it’s doing or saying than ever before.
If the goal is to reflect a lack of direction or focus in the quarter-life crises of its characters through a show that also can’t maintain a train of thought, then mission accomplished. But that feels like an awfully shallow sentiment for a generation that’s constantly trying to find new ways to keep its head above water.
The Rue (Zendaya) of 2026 isn’t battling addiction as much as what her addiction wrought. It turns out that the theft from unexpected crime boss Laurie (Martha Kelly) has turned her into a drug mule, literally using her body to transport product across the Mexican border. While she uses her body literally, Cassie (Sydney Sweeney) does so virtually, re-introduced dressed like a dog in lingerie to appease a very precise corner of the internet. Cassie is trying to raise extra funds for her dream wedding to now-entrepreneur Nate (Jacob Elordi)—including a $50k flower bill—by doing whatever it takes online, including opening an OnlyFans account.
Of course, other familiar faces return. Lexi (Maude Apatow) is working in Hollywood with a power player portrayed by Sharon Stone, while Maddy (Alexa Demie) circles a similar world of celebrities and influencers. At its best, Levinson and company seem to be commenting on the increasingly shallowness of, well, everything. Weddings are funded by softcore porn, celebrities care more about their online persona than their abilities, and the alleged sins of the world, like drugs and sex, are the only viable escapes from it all. Real happiness, whatever that may mean, is as brief and elusive as a drug high or a one-night stand. And if it’s true in your teens, it’s still true in your twenties.
Interestingly, the world has seen the stars of “Euphoria” develop their skills outside the show, and many of them bring what they’ve learned back to their familiar characters. Most of all, Zendaya slides right back into what I still consider her best performance. There’s a jittery, anxious energy that the “Dune” star brings to Rue that I really wish more film writers and directors would find a way to let her explore on screen. This version of Rue has essentially embraced the chaos, bouncing from Laurie’s grip into the sphere of a dangerous crime lord named Alamo (Adewale Akinnuoye-Agbaje). Zendaya sketches her as a reactive creature, someone who has faced so many hurdles that she just jumps when there isn’t even one in front of her. It’s another truly great turn, the best thing about the season, and, again, the best of Zendaya’s career.
Of course, Sweeney, Schafer, and Elordi have also seen their stocks skyrocket. They flow right back into these roles as if they never left, but they almost seem above the material at times. Elordi has been so nuanced in work like “On Swift Horses” and “Frankenstein,” but he’s hampered here by a shallow presentation of Nate through three episodes. (One hopes that changes over the subsequent five episodes of the season.) Sweeney again nails the fragility of a woman who’s so obsessed with image and opinion but can’t understand how fleetingly those things make her happy. Schafer doesn’t really do much until the third episode, but she glows under the chance to portray a happier Jules, one who seems in control of her own happiness more than at any other point in the series.
And yet what does it all mean? There’s a conversation in the second episode in which Maddy tells Cassie that she’s being too desperate instead of being herself. “Who am I?” asks Cassie, as if desperation to please IS being herself. “Euphoria” often has a similar problem: Pushing into shock value and even scenes that feel designed for TikTok virality instead of actually saying anything. As often as a performer’s choice rises above the artifice of it all, that hollowness always returns, especially with a trio of episodes that struggle to maintain a narrative throughline.
To start the third season, “Euphoria” seems to be saying that being in your twenties in the ‘20s exists on the surface of humanity, chasing highs through meaningless elements like drugs, sex, and online virality. If these characters were shallow, broken creatures when they were teenagers at the start of the show, this season seems to be building to the idea that we can’t just mature out of those habits because our birth certificate implies we should. To that end, the hollow chaos may be the point.
Only time will tell if Levinson and company can turn what is essentially just the setup for the season into a payoff that feels deeper and more focused. Or if it will be content to reflect the uncertainty of its characters through storytelling that can feel maddeningly uncertain itself.
Three episodes screened for review. Premieres on Sunday, April 12 on HBO.
- Peacock’s “The Miniature Wife” is Big on Feelings, and That’s Not Nothing (April 8, 2026)
They say no one wins when the family feuds. Maybe not, but the bestseller lists, box office, and streaming would like a word. Anything that makes us yell, “mommy, daddy, don’t!” with our faces only partially covered and a grin on our lips, has a good chance of winning us over. There’s the vitriolic fallout of 2019’s “Marriage Story” and the crown jewel of marital enmity, “The War of the Roses,” as proof.
These are influential stories, but life is their inspiration. When a marriage decays, it can turn catastrophically bad. We all know it, many of us have seen it, and others have written about it. The challenge is coming at it in a new way to recontextualize a weaponized marriage—so we don’t forget to treat each other better. In 2013, Manuel Gonzales released the collection “The Miniature Wife: and Other Stories,” and created an inspired metaphor. A scientist specializing in miniaturization shrinks his wife. Or as he describes it, “The truth of the matter is: I have managed to make my wife very, very small.” And that’s the point; he needed to make her small to make himself feel big.”
With a concept this incisive, it’s no wonder it captured the imaginations of executive producers and co-stars Elizabeth Banks and Matthew Macfadyen, alongside showrunners Jennifer Ames and Steve Turner, from the production company Media Res. And so, here we have a 10-episode dark dramedy about “the power (im)balances between spouses.”
THE MINIATURE WIFE — Pictured: (l-r) Elizabeth Banks as Lindy, Matthew Macfadyen as Les — (Photo by: Peacock)
“The Miniature Wife” has a setup that begs you to pay attention. I did. That decision is dubious; come with me and decide for yourself. Based on the somewhat “Roses”-reimagined short story by Gonzales, the series version of “The Miniature Wife” expands the characters and their hijinks. Lindy (Banks) is now a Pulitzer Prize-winning author and professor who’s in a slump. Les (Macfadyen) is her Nobel-chasing husband who specializes in agricultural advances. They have a disgruntled daughter, Lulu (Sofia Rosinsky), and one—in some ways both—of them has an ardent lover in Richie (O-T Fagbenle). During an argument, Lindy is accidentally shrunken down to 6 inches tall, and life, careers, and parenthood get complicated. The marriage itself was already in shambles.
Picture me flailing, attempting to encapsulate my reactions. Satirical absurdism is likely the best way to categorize this show. Logic is not in the building. Yet I found myself searching for an internal logic that would make the self-destruct button inside this world work. For most of the first five episodes of “The Miniature Wife,” I kept asking the characters, “Why would you do that?“ The only answer I found was “BIG emotions.” And when your work, homelife, or the past make you feel small, big emotions are your wrecking ball. Apparently, they are also a superpower because some of these characters do things that should be physically impossible. Yes, even though this is a world where people get shrunken down to cake-topper size, I need some form of mechanics to immerse myself in the fantastical.
This is an era of women’s psychological thrillers, and although “The Miniature Wife” is listed as a dramedy, it has the same beats as a thriller. That’s a good thing. I’ve always been a fan of what a story is trying to say: what are the themes beyond the plot?
The main theme examines how women are often made to shrink next to men who need them to be less in order to feel powerful. That’s an easy one. As a result, the secondary theme highlights how women become adept at navigating environments designed to make things difficult for them. Love that. The third theme is about the problematic catalyst of narcissism x tiny minds. When those two traits collide, nothing is safe. Confidently climbing territory like that, this Peacock series has something to say, and the characters are legitimately propelled into change. But, gosh, it annoyed me most of the time. I enjoy a heaping pile of science-fiction pandemonium, but this might not be my brand of absurdist satire.
THE MINIATURE WIFE — Pictured: (l-r) Zoe Lister-Jones as Vivienn, Matthew Macfadyen as Les, Rong Fu as Janet, O-T Fagbenle as RPW — (Photo by: Rafy/Peacock)
From the leads through to Ronny Chieng’s ‘demon’ investor and Zoe Lister-Jones’ boss-chick in a power suit, these are catastrophically arrogant characters who are nowhere near as brilliant as they think, while still being brilliant. At least in their work. Not so much in their lives. Even with truly engaging character work by everyone in the cast—especially Fagbenle, Rosinsky, Sian Clifford as Lindy’s neurotic but liberated literary agent, and Tricia Black—halfway through, I wanted to stop watching. Wait, I can’t forget about the Shirtless Man—he may have been my favorite, not because he’s shirtless, but because he’s direct and perceptive. What was I saying? Oh yes, at the end of Episode 8, my one-word review would have been “Tedious.”
Here’s the surprise: “The Miniature Wife” didn’t leave me cold. The characters take us through an array of emotions. Mostly I wanted them to implode—demonstratively—but that’s NOT nothing. In this world, the main characters seek validation through the adoration of the masses; nothing else matters to them. They must be praised, or they are nothing. The question becomes, can they evolve before they destroy themselves and each other?
With that in mind, before the finale lands, we are rewarded with “JANET RENO” – Episode 109, a full-blown romcom complete with runaways, revelations, and multiple stabbings—that’s not a spoiler. You won’t have any idea what I mean until it happens. Weirdly, like with “Vladimir” before it, the denouement makes “The Miniature Wife” worth the ride. Episode 9 is a Hail Mary that pulls you back in for a somewhat satisfying final Episode 10. An ending that’s very much like “The War of the Roses”—I’m just not telling you which version.
Whole season screened for review. Streams April 9 on Peacock.
- Final Season of “Hacks” Ends a Perfect Run for HBO Max Hit (April 7, 2026)
Great stars always leave the fans wanting more. End with your best joke, so they’re still laughing when the lights come up.
While there’s a temptation to lament losing a great comedy, “Hacks” hasn’t lost a step since its 2021 premiere, cementing its legacy as one of the smartest, funniest shows of its era, and it’s not gonna get stale before it exits stage right.
It’s simply the best comedy of the 2020s, one that’s so consistently witty that it often makes the troubled state of TV comedy look even worse in comparison. With an all-timer performance from Jean Smart and an ensemble that has only improved over the years, “Hacks” will soon be done as it launches its final run of 10 episodes this week, a closing routine that’s about legacy, friendship, and the power of a perfect punchline.
Starting life as a study of cross-generational comedy, with a young comedian named Ava Daniels (Hannah Einbinder) taking a job as a ghostwriter for a fading Vegas stand-up comedy legend named Deborah Vance, “Hacks” has really grown with its characters. This final season opens with a Vance who had it all and watched it blow up in her face. The fiery end of her talk show run means she’s now the nemesis of Bob Lipka (Tony Goldwyn), the Sarandos-esque power player who has banned Vance from doing basically anything online or on TV. Is this the end of Deborah Vance? If she can’t perform, who is she?
Deborah is at an age when people start to consider their legacy, and hers can’t be bombing her way out of the spotlight. In the hysterical premiere, Vance tasks her team—Jimmy (Paul W. Downs), Kayla (Megan Stalter), and Randi (Robby Hoffman)—with getting her an EGOT, as if that’s just as easy as asking for one. (It leads to one of the most amazingly unexpected extended cameos in the history of the show from a Pulitzer Prize winner.)
After that gambit predictably doesn’t go as planned, Vance pivots to an effort to play a sold-out show at Madison Square Garden, a quest that takes up most of this final season with a few wonderful excursions that HBO doesn’t really want spoiled. It’s not really one to reveal that the writers bring on some new faces, while also allowing some familiar ones to return. I won’t explain how, but there’s basically an entire absolutely incredible episode that feels like a tribute to Kaitlyn Olson’s fearless comic timing as Deborah’s daughter.
Of course, the writing centers the final arc for Deborah, Ava, Kayla, and Jimmy. There have arguably been stretches of “Hacks” recently that overemphasized an antagonistic relationship between Deborah and Ava, focusing on how frenemies can make great art. Wisely, the final season almost entirely avoids any serious antipathy between our two beloved protagonists, letting them fight the system (and even AI) together, and that unity becomes one of its greatest strengths.
If this were a show that was once about two very different people discovering that they could professionally succeed together in ways that they couldn’t apart, the final season unsentimentally reveals to Deborah and Ava how much they’ve impacted each other personally. The finale is surprisingly emotional, giving just enough wish fulfillment for these beloved characters and anchoring it in a moving plotline that might surprise viewers. Without spoiling, it feels just right in ways that series finales too rarely do lately, allowing us to sense that this world goes on while also serving as a satisfying conclusion.
Smart, Einbinder, Downs, and Stalter are all fantastic this season, but it’s always been the writing that truly elevates “Hacks.” Not only is it shaped by consistently clever dialogue, but it also understands the world of show business in ways that so many programs set behind the curtain fail to. Talent comes with a boozy cocktail of genius and anxiety, a drink with a different recipe for the women of Deborah and Ava’s generations, but one that tastes largely the same. The scripts for “Hacks” understand the ego battles that erupt behind the scenes, but also never feel like they’re “inside baseball” to a degree that ordinary people can’t relate.
Everyone questions their legacy at some point in their lives, like Deborah Vance, and everyone wonders about the role they’ve played in the lives of those who are closest to them, like Ava Daniels. The final season of “Hacks” may be about how Deborah Vance will be remembered, but the show about her was practically flawless.
Entire season screened for review. Premieres on HBO Max on April 9, 2026.
- Another 'The Sea Hag' Teaser for 'Widow's Bay' Horror Comedy Series (April 9, 2026)
"Have you heard the story of the Sea Hag?" Apple TV has revealed another new teaser trailer for the horror comedy series Widow's Bay, out to watch later this month. These are some fun teaser! A skeptical mayor of a New England town refuses to bow to the superstitions of residents who say the place is cursed. Created by Katie Dippold, it's partially directed and produced by horror filmmaker Hiro Murai. "Prepare to visit the local haunts of Widow's Bay." Unfortunately, the locals were right. After decades of calm, the ol' stories that seemed too crazy to be true, start happening again. Widow's Bay blends genuine horror with some clever comedy. Matthew Rhys stars as new mayor Tom Loftis, with Kate O'Flynn, Stephen Root, Kingston Rumi Southwick, Kevin Carroll, and Dale Dickey. This has some talented horror directors involved - such as Ti West (The Sacrament, The Innkeepers, X, Pearl, MaXXXine), Andrew DeYoung (Friendship), Hiro Murai ("Barry", "Atlanta", "Mr & Mrs Smith", Guava Island). The initial teaser debuted last week. This next one tells the tale of "The Sea Hag" & how she haunts sailors. Just wait until the kicker hits at the end. // Continue Reading ›
- First Look Teaser for Zombie Film 'Colony' Directed by Yeon Sang-ho (April 9, 2026)
"I'm taking humanity to the next level." Just announced today as a big 2026 Cannes Film Festival premiere in the Midnight section! Get a first look! Colony is the next new Korean zombie thriller coming up this year - directed by the same K-zombie mastermind behind the movies Seoul Station, Train to Busan, Peninsula, and many others recently. Yeon Sang-ho returns to his zombie roots for Colony, about a virus that infects people so they quarantine the entire facility (hence the "colony"). This actually looks like it's kind of Yeon Sang-ho's Resident Evil at first glance. The film follows survivors trapped inside a Korean high-rise during a zombie outbreak. Professor Se Jeong, attends a biotech conference-only to witness it spiral into catastrophe when a rapidly mutating virus is unleashed. As the outbreak spreads & the infected begin to transform, they seal off the building. Starring Gianna Jun, Koo Kyo-hwan, Ji Chang-wook, Shin Hyun-been, Kim Shin-rock, Go Soo. It's this year's Cannes Midnight horror movie from Korea they're showcasing! Should be nasty and fun and weird – especially as these zombie creatures start "evolving" into something else gross. // Continue Reading ›
- Family Man Serial Killer 'The Step Daddy' Trailer with Vincent M. Ward (April 9, 2026)
"What's your problem, old man?" Never trust a creeper! Lionsgate released an official trailer for a movie called The Step Daddy, a junky fun horror thriller being released direct-to-VOD in April. After originally premiering back in 2020 this is finally getting sent out for release this year. When a seemingly charming stepfather suddenly stabs his wife & stepson, it lights the fuse to a horrifying string of frightening murders. On the surface, Tim is a thoughtful & mild-mannered family man, but deep within him lies an insatiable killer, forever on the hunt for his next victim. As his body count rises & his new family begins to suspect the evil he possesses, the race is on to stop this brutal sociopath before it's too late. This horror stars Vincent M. Ward (from "The Walking Dead") with Ptosha Storey, Lew Temple, Nick Gomez, Felissa Rose, Sadie Katz, and Rusty Coones. Another movie that looks like a fake SNL movie trailer that they actually somehow turned into a real movie. If anyone wants to watch it? All of this just looks ridiculous & hilarious. // Continue Reading ›
- Jon Bernthal is Frank Castle in 'The Punisher: One Last Kill' TV Trailer (April 9, 2026)
"To find peace – he will lose it." Marvel has revealed the official trailer for a TV special presentation one-off event called The Punisher: One Last Kill, ready to watch streaming on Disney+ this May. This TV movie about The Punisher is a spin-off from Marvel's other gritty NYC crime series Daredevil: Born Again, which is where Jon Bernthal's version of the fan fave character The Punisher first popped up. This will also carry over into the next big Marvel movie this summer - Spider-Man: Brand New Day, as Bernthal can already be seen in that trailer. In One Last Kill – as Frank Castle searches for meaning beyond revenge, an unexpected force pulls him back into the fight. Jon Bernthal stars as Frank Castle aka Punisher – a vigilante who aims to fight the criminal underworld by any means necessary, no matter how lethal the results are. The series cast includes Jason R. Moore as Curtis Hoyle, Roe Rancell, and Mila Jaymes. The Punisher will be in theaters this summer (in the Spidey movie) but not in this series - it's for streaming. View the footage below. // Continue Reading ›
- Get Your Tickets Trailer for 'Mortal Kombat II' Fight Tournament Sequel (April 9, 2026)
"I hope your ancestors are watching..." Get your tickets! WB has launched a new promo trailer for Mortal Kombat II (MK2), based on the popular video platform fighting game series, hitting theaters this May. I'm so there! This is a follow-up to the most recent live-action Mortal Kombat movie that opened 2021. And it looks like a huge improvement! Seems like it'll be well worth the wait! I've got a good feeling from all this footage. Fan fave champions—joined by the action superstar Johnny Cage himself—are pitted against one another in the ultimate, no-holds barred, gory battle to defeat the dark rule of Shao Kahn that threatens the very existence of the Earthrealm and its defenders. Let them fight! "We had up the ante on every aspect," says the actor playing Shao Kahn. Karl Urban stars as Johnny Cage (from his own movie Uncaged Fury), and joined by Adeline Rudolph, Jessica McNamee, Josh Lawson, Ludi Lin, Mehcad Brooks, Tati Gabrielle, Lewis Tan, and Damon Herriman, with Chin Han as Shang Tsung, Tadanobu Asano as Lord Raiden, Joe Taslim as Bi-Han, Hiroyuki Sanada as Hanzo Hasashi / Scorpion. We've already seen a number of trailers so far, but more footage can't hurt. Especially because it continues to look VERY good. // Continue Reading ›
