MOVIE REVIEW: WUTHERING HEIGHTS

 

Tragedy strikes when Heathcliff falls in love with Catherine Earnshaw, a woman from a wealthy family in 18th-century England.

Director: Emerald Fennell

Cast: Margot Robbie, Jacob Elordi, Hong Chau, Shazad Latif, Alison Oliver, Martin Clunes, Ewan Mitchell

Release Date: February 13, 2026

Genre: Drama, Romance

Rated R for sexual content, some violent content and language.

Runtime: 2h 16m

Review:

Emerald Fennell’s Wuthering Heights offers up an abbreviated, Cliff’s Notes version of the novel which echoes Baz Luhrmann’s Romeo and Juliet with its garish visuals powered by strong turns from its leads.  Fennell’s film plays like a fever dream for the majority of its runtime which works in its favor, particularly early on, before it ultimately runs out of steam.  The stark visuals and simplified story telling makes it easy for anyone to jump into the story of obsession and emotional warfare at the center of the novel.  Any sort of subtly or nuance is thrown by the wayside in favor of a far hornier take on the story that features enough heaving bosoms, chiseled sweaty bodies and flushed cheeks to make romance novels seem quaint.  It borders on Skinamax territory at points before refocusing on the core “love” story at heart.  Margot Robbie and Jacob Elordi both use their natural screen magnetism to make you forget the fact that both characters are fairly terrible human beings.  Robbie and Elordi share the sort of onscreen chemistry that makes it easy to overlook or at least forget some of the character’s moral failings.  Robbie fluctuates between entitled to lovelorn fairly effortlessly throughout matched by Elordi’s imposing frame and simmering intensity helped by a dulling of Heathcliff’s cruelty.  The focus is centered more on their unrequited love which is presented in a heavily romanticized, stylized form that visually enthralling but shallow at the same time.  Fennell moves her film at such a rapid pace that she never lets any moment truly settle in before rushing to the next scene.  As a result, despite their best efforts of Robbie and Elordi, Catherine and Heathcliff’s deep connection never match the level of the visuals splashed onscreen.  Wuthering Heights finds Emerald Fennell on a path where her focus on visual seem to come at the cost of the story and character development both of which made her debut, Promising Young Woman, so potent.  

B-

MOVIE REVIEW: DRACULA

 

When a 15th-century prince denounces God after the devastating loss of his wife, he inherits an eternal curse and becomes Dracula. Condemned to wander the centuries, he defies fate and death, guided by the hope to be reunited with his lost love.

Director: Luc Besson

Cast: Caleb Landry Jones, Christoph Waltz,  Zoë Bleu, Matilda De Angelis, Ewens Abid

Release Date: February 6, 2026

Genre: Fantasy, Horror, Romance

Rated R for violence, some gore and sexuality

Runtime: 2h 9m

Review:

Luc Besson’s Dracula is a visually impressive production that leans heavier into the gothic romance aspect of the story, ala Francis Ford Coppola’s Bram Stoker's Dracula, powered by a solid turn from Caleb Landry Jones in the titular role and Christoph Waltz as a Van Helsing inspired priest.   Besson’s direction displays a sense of confidence behind the camera which gives his film a palatable sense of energy that instantly pops off the screen even if it all feels terribly familiar.  His visuals pop as usual which keeps the film from lagging more than you’d expect from a well-worn tale like this.  The basics of the story should be familiar to everyone by this point with minor superficial changes having little bearing in the overall story such as changing the locale from London to Paris and characters names adjustments.  Purists are sure to be annoyed by some of the more glaring omissions such as the Demeter being excised entirely or Dracula’s personal servant being an army of living gargoyles who also serve as his personal guardians.  There’s also a rather odd choice to remove his telepathy and replace it with a perfume elixir to control women’s minds which does have a rather fascinating musical montage that covers the centuries of Dracula’s search for his reincarnated love and a wonderfully choregraphed sequence in a nunnery.  It’s a perfect example of the film’s particular tone which makes it one of the funnier adaptations of Dracula in recent memory which may be disorienting for those looking for more vampiric horror.  It’s all incredibly garish but rarely boring thanks to everyone being fully onboard with Besson’s vision.  Caleb Landry Jones isn’t the most obvious choice as Dracula but he does bring a different sort of energy to the role which makes his turn incredibly watchable.  Jones has always had a very specific sort of energy, and it works in his favor here as there’s a sense of ferocity and longing in his performance but missing the ominous, malevolence that the character is usually ingrained in the role.  It makes the character less menacing by a few degrees although he’s given a few scenes to display his prowess as a ferocious warrior when push comes to shove.  Christoph Waltz gets the other meaty role as a priest investigating the vampire phenomenon who plays more like a 19th century Columbo than the standard iteration of Van Helsing.  Waltz is clearly having fun with the character whose quick wit is just as sharp as his metal stakes.  Waltz and Jones only share one scene together, but they make the most of their time together with both working well off each other.  Matilda de Angelis and Zoë Bleu are both solid in supporting roles with the latter leaning into a manic energy for Mina’s best friend and vampire, Maria.  Blue makes for a strong Mina however she’s given precious little time to establish the character before falling hopeless for her long-lost love.  This version of Dracula is an interesting curiosity of an adaptation since it’s familiar for large stretches of time while taking some interesting chances at the same time.   

B-

MOVIE REVIEW: THE MOMENT

 

A rising pop star navigates the complexities of fame and industry pressure while preparing for her arena tour debut.

Director: Aidan Zamiri

Cast: Charli XCX, Rosanna Arquette, Kate Berlant, Jamie Demetriou, Hailey Benton Gates, Isaac Powell, Alexander Skarsgård

Release Date: January 30, 2026 

Genre: Comedy, Drama, Thriller

Rated R for language throughout and some drug material

Runtime: 1h 43m

Review:

The Moment is a fun mockumentary that plays like a pop starlet’s Spinal Tap and functions as a sort of anxiety driven confessional about the instant massive fame hits.  Aidan Zamiri does a solid job behind the camera in his debut film and there’s clear sense that Charli XCX trust him implicitly which shouldn’t be a surprise since he’s directed a handful of her recent videos.  The film opens with an aggressive barrage of strobe and images that might induce A Clockwork Orange style seizure in more than a few people before settling into its more vérité documentary approach.  Once the film moves into the meat of its story Charli XCX takes center stage and brings her magnetic personality to the screen with impressive ease.  The real treat is that she’s more than willing to make fun of herself and is more than willing to make herself look incredibly unglamourous and uncool.  The corporate label head, played by Rosanna Arquette, and cheese ball director, played with inspired gusto by Alexander Skarsgard, serves as her primary antagonist as they continually try to monetize and bottle her zeitgeist capturing moment.  It makes for a series of hilarious situations that are outlandish on the surface but not terribly detached from reality either, especially if you’ve ever watched the evolution of a pop star.  Charli XCX has been a well-established niche artist for the last decade before her explosion onto the mainstream last summer.  It’s an impressive bit of foresight to take hold of the moment and create a faux version of her experience that’s peppered with threads of truth and vulnerability that shines through in two singular moments where you feel she’s speaking from the heart.  It’s something she’s broached in the past during her real documentary, Charli XCX: Alone Together from 2021, which only hardcore fans saw but carries similar themes.  The Moment may become a nice time capsule for those same hardcore fans later down the road but for the general public there is still plenty to appreciate here thanks to Charli XCX’s honest self-reflection on display.  

B+

MOVIE REVIEW: SEND HELP

 

A woman and her overbearing boss become stranded on a deserted island after a plane crash. They must overcome past grievances and work together to survive, but ultimately, it's a battle of wills and wits to make it out alive.

Director: Sam Raimi

Cast:  Rachel McAdams, Dylan O'Brien, Edyll Ismail, Dennis Haysbert, Xavier Samuel 

Release Date: January 30, 2026 

Genre: Horror, Thriller

Rated R for strong/bloody violence and language

Runtime: 1h 54m

Review:

Send Help boast a deceptively simple set up that finds Sam Raimi embracing his old school love of horror comedy paired with fun, over the top turns from its central duo of Rachel McAdams and Dylan O’Brien.  Raimi uses a slick script from Mark Swift and Damian Shannon to deliver a fun office/gender role reversal by setting up the toxic environment O’Brien’s nepo baby takes over.  Everything is overblown but strangely familiar to anyone who’s worked in those environments.  Rachel McAdams is the “ugly” socially inept workhorse who was promised a promotion before having the rug swiftly taken out from under her.  McAdams fully embraces the role adding in layers to the character that slowly reveal themselves over the course of the film.  Sporting overly baggy clothes and greasy hair still isn’t quite enough to hide the fact that she’s an attractive woman, but she makes it work thanks to her excellent comedic timing and fully committed turn.  She fully embraces the character’s blossoming transformation once the action moves onto the island coming to a bloody zenith when she hunts a wild boar.  Dylan O’Brien plays up the faux alpha office male as the new crowned prince of his company topped off with an off-putting laugh.  Their back and forth on the island is fun and the script keeps things interesting by moving in unexpected direction and switching up tones along the way.  The battle of wits is slowly revealed along the way although some elements are easier to figure out than others.  Send Help’s story is simple but there’s a fun undercurrent of the Stanford prison experiment as we watch the power dynamic shift which leaves plenty of food for thought long after the film ends.  

B+

MOVIE REVIEW: GRIZZLY NIGHT

On 12 August 1967, in Montana's Glacier National Park, the unthinkable happened: On the same night, nine miles apart, there were not one, but two fatal grizzly bear attacks.

Director: Burke Doeren

Cast: Brec Bassinger, Lauren Call, Jack Griffo, Charles Esten, Ali Skovbye, Oded Fehr

Release Date: January 30, 2026 US/February 2, 2026UK

Genre: Drama

Rated R for grisly images and brief language.

Runtime: 1h 27m

Review:

Grizzly Night, Burke Doeren directorial debut, is a solid but uneven fact-based creature feature that steadily finds its footing as it goes along.  Doeren takes full advantage of shooting on location to establish a sense of the landscape where the ensemble cast of characters find themselves on this fateful night.  Inspired by a true event known as the "Night of the Grizzlies,” there’s an unsteady sense of what kind of tone they are shooting for especially early on as its verges on schlocky creature feature thanks to thinly written characters and performances that vary wildly in terms of quality.  It gives the false impression that the film is going to be an all-out carnage machine which it never actually becomes as we are witness only to early moments of the attacks with some of the gorier elements taking place offscreen.  The focus here is much more on the rescue efforts that happen after the fact with a handful of familiar character actors balancing out some of the younger, less experienced performers.  Oded Fehr, Charles Esten and Brec Bassinger bring some dramatic weight to the production with each delivering solid work in limited screentime.  Lauren Call, who plays botanist Ranger Joan Devereaux, starts off a bit shaky but settles into the role over the course of the film which gives us a sense of the character’s emotional journey through the traumatic events.   Oded Fehr brings the right amount of calm and empathy as Dr. John Lindberg, who is trust into a lifesaving situation with a moment between him and Bassinger serving as an emotional highlight in the film.  There’s a steep drop off from there as the final act feels rushed, giving very little time to the unfortunate effects that nearly wiped out the grizzly bear.  Grizzly Night ends up being a passable docudrama that could have done a bit more with the subject matter if it had taken a more thoughtful approach to its scripting and overall themes at play.  

C

MOVIE REVIEW: THE TESTAMENT OF ANN LEE

 

Revered by her followers, Ann Lee preaches gender and social equality as the founder of the devotional sect the Shakers.

Director: Mona Fastvold

Cast: Amanda Seyfried, Thomasin McKenzie, Lewis Pullman, Stacy Martin, Tim Blake Nelson, Christopher Abbott

Release Date: December 25, 2025

Genre: Biography, Drama, History, Musical

Rated R for sexual content, graphic nudity, violence and bloody images

Runtime: 2h 10m

Review:

Mona Fastvold’s The Testament of Ann Lee is a fascinating curiosity of a film that’s powered by a fully committed turn from Amanda Seyfried and painstakingly constructed to elicit a sense of the religious fervor that drove Ann Lee but outside of the arresting musical numbers the film keeps the audience at a frustrating arm’s length from her psyche.  Fastvold’s directs her film with a steady hand as we follow the course of Ann Lee’s life, narrated by Thomasin McKenzie’s Sister Mary, and her journey to self-discovery after the loss of four infants to her transformation into religious leader.  The movie moves at a methodical pace with the musical numbers sprinkled throughout giving it a distinctive look and feel with those moments bringing a palpable sense of energy that the film struggles to maintain once those sequences end.  Seyfried is fantastic across the board with the film giving her ample time for her talents to shine but the film takes the focus off her at regular intervals which dulls the impact of her performance.  Lewis Pullman gets a hefty amount of screentime as her missionary brother tasked with growing their following which is fine, but his character is never as interesting or engaging as Seyfried’s Ann Lee.  Their journey together into the new world feels like it should be far more riveting and engaging than it ultimately is onscreen.  Seyfried’s character is further removed from the spotlight in the film’s final act which doesn’t give the audience a lot of insight into what made her so attractive to her followers or her general mindset as a self-proclaimed vessel of God.  Her position as the rare female preacher also seems like fertile ground to explore but the film never delves too much into it until a violent encounter near the end of the film that is rather jarring thanks to the viciousness of the violence.  After that point, the film fast tracks towards its finale in a rather rushed manner which just closes the story out as quickly as possible.  It makes The Testament of Ann Lee feel like a missed opportunity since you get the sense that Seyfried could have brought so much more emotional texture and nuance that would have made her character connect on a more personal level that extended beyond her emotional damage.

C