REVIEW: “Cold Storage” (2026)

When a highly contagious, mutating microorganism with world-ending capabilities threatens to escape a decommissioned military facility, the unlikely trio of Joe Keery, Georgina Campbell, and Liam Neeson are the only thing standing between our planet and total annihilation. If that sounds crazy to you, then you get the vibe of “Cold Storage”, a comedy horror film that is utterly bonkers in the best ways imaginable.

You would never know it, but “Cold Storage” is only the second feature film from director Jonny Campbell and his first since 2006’s “Alien Autopsy”. Here he gets some terrific material to work with from screenwriter David Koepp, who is adapting his own 2019 novel of the same name. Just as good is the all-in cast who fully embraces the film’s horror and comedy elements. Keery, Campbell, and Neeson take center stage. But they’re surrounded by great pieces including Leslie Manville, Vanessa Redgrave, and Sosie Bacon.

Some opening script tells us the government once stored top-secret scientific experiments on the Skylab space station. When it fell out of orbit in 1979, some of its debris crashed to earth. Most fell in the Indian Ocean, but other parts hit land, including an oxygen tank near the small village of Kiwirrkurra in Western Australia. When all contact with the village is lost, bioterror agent Major Robert Quinn (Neeson) and his partner Trini (Manville) accompany Dr. Hero Martins (Bacon) to investigate. The trio discovers a rapidly mutating parasitic fungus that is highly contagious and lethal to its carrier.

Jump ahead eighteen years to the remote Atchison Mines in Missouri River Bluffs, Kansas. It was once the home to a high security top-secret facility ran by the U. S. Department of Defense. But years passed and the DOD decommissioned the facility. After remaining abandoned for years, it was finally purchased and turned into a 24-hour self-storage business.

Enter the chatty and slightly neurotic Teacake (Keery) and his new co-worker Naomi (Campbell). They work the night shift at the storage company which usually consists of long boring evenings where nothing happens. But that quickly changes after the overly curious pair track a mysterious beep to an old console behind the walls. It leads to the duo discovering the once sealed military base and more specifically its lower sublevel where the parasitic fungus had been isolated for decades.

As you can probably guess, the deadly fungus spreads and wrecks havoc throughout the complex. Meanwhile, alarms secretly go out to the Department of Defense who immediately contact the retired Major Quinn. He’s sent to the Kansas location to contain the fungus before it escapes the facility. But he’ll need some specialized equipment, and maybe a little help from some old and new friends if he’s going to head off a potential apocalypse.

“Cold Storage” manages to surprise in so many different ways. First is the effortlessly playful chemistry between Keery and Campbell. Together they mine as many laughs as scares from Koepp’s gleefully outrageous script. Then there’s the lights-out supporting characters. In addition to Neeson and Manville’s special agents, we get Teacake and Naomi’s slimeball boss (Gavin Spokes), Naomi’s obsessive ex (Aaron Heffernan), a stubborn DOD Colonel (Robert Brake), Quinn’s inside ally (Ellora Torchia), and the elderly Mrs. Rooney (Redgrave) who comes to check her storage unit at the worst possible time.

Just as fun are the film’s visuals which feature a healthy helping of practical effects with some well incorporated digital enhancement. I don’t know if decaying flesh or bursting bodies ever looked so good. So as you can tell, “Cold Storage” has a little something for everyone. It doesn’t lean too far one way or another – striking that pitch-perfect balance between straight comedy and gory horror. And as a proud genre film lover, it delivered on its potential in ways that I ever expected.

VERDICT – 4 STARS

REVIEW: “Shelter” (2026)

Jason Statham’s latest first quarter action thriller is “Shelter”, and it’s a nice escape from heavier awards season stock. You would be hard-pressed to say “Shelter” breaks new ground. But it does fit snugly within Statham’s wheelhouse. And for fans of the 58-year-old’s specific brand of action, it has all the ingredients while hitting the familiar marks they’ve come to expect.

Stunt performer turned director Ric Roman Waugh follows up several solid collaborations with Gerard Butler (minus 2019’s “Angel Has Fallen”) with a Statham vehicle that’s built upon an easy to recognize foundation. A man with a secret past lives a quiet, discreet life until he’s pushed back into the life he had tried to put behind him. That’s literally the basic premise of Statham’s last two movies. And we get it again in “Shelter”, but with a small yet meaningful twist.

Image Courtesy of Black Bear Pictures

Statham plays Michael Mason, a former government assassin within MI6’s top-secret Black Kite program. Years earlier, Mason went rogue during a critical mission which made him a target of his own agency. As a result, Mason went off the grid, quietly living in an old lighthouse on a tiny island in the Scottish Isles. Once a week he’s left a crate of supplies by a young girl named Jessie (Bodhi Rae Breathnach) who comes to the island on her uncle’s boat. Otherwise he keeps to himself, living in seclusion and out of MI6’s eye.

After dropping off supplies, Jessie and her uncle get caught in a storm. Mason manages to save the injured girl, but her uncle drowns when their boat sinks. Realizing he needs medicine to treat Jessie’s injury, Mason risks exposing himself by going into the closest town. There his image is captured and funneled through MI6’s fancy new surveillance system where his old handler and MI6 dark agent Manafort (Bill Nighy) dispatches a kill squad to track down and eliminate his old asset and any witnesses.

Mason wastes no time offing Manafort’s team before taking Jessie on the run, using back channels and old connections to keep her safe. But Manafort intensifies his pursuit, revealing his own devious motives in the process. Meanwhile a driven and upright young agent named Roberta (Naomi Ackie) begins filling in the blanks to Mason’s backstory while discovering the real reason behind Manafort’s efforts to kill the best of his former assassins.

Image Courtesy of Black Bear Pictures

Most of “Shelter” follows Mason’s attempt to stay one step ahead of Manafort’s killers, from his island lighthouse to the rural countryside to downtown London. It’s laced with a variety of solid action scenes that includes car chases, shoot-outs, and (of course) some bone-cracking fight sequences. But the difference maker is Mason’s emerging relationship with Jessie. The father-daughter dynamic that forms adds heart. And both Statham and Breathnach breathe a surprising amount of life into it.

Yet outside of that, there’s not a lot here that we haven’t seen before. It’s a nagging issue that stayed in the back of my mind throughout. But Statham fans (a group I consider myself to be a part of) will find themselves at home with the action star’s latest. The film has its share of thrills, and the evolving relationship at its core gives “Shelter” a welcomed emotional kick that serves the movie well.

VERDICT – 3.5 STARS

REVIEW: “The Strangers – Chapter 3” (2026)

Defining the Strangers movie franchise is no easy task. The original 2008 film, “The Strangers” was truly chilling, and over time it became a cult classic. Its clunker 2018 sequel, “Prey at Night” didn’t fare near as well. But the real confusion came in 2024 with the release of “The Strangers – Chapter 1”, the first film in a new trilogy from director Renny Harlin. “Chapter 2” followed in 2025, and now here we are in early 2026 with “Chapter 3”.

It takes some research to figure out what the trilogy is meant to be. It’s not a prequel trilogy as many of us first thought, but it’s not necessarily a reboot or a rematch either. Instead its creators consider it a “relaunch” and have said that it exists within the same universe as the original two films. That may explain it in words, but finding a concrete connection between the older movies and the newer ones is easier said than done.

Image Courtesy of Lionsgate

Regardless, the trilogy has been quite the rollercoaster ride. “Chapter 1” played like 30 minutes worth of content stretched into a 90-minute movie. But “Chapter 2” was a surprising step up despite a few problems of its own. As with its predecessors, “Chapter 3″ has its own set of issues. Yet it manages to do a serviceable job tying the trilogy together and bringing it to decent conclusion.

“Chapter 3” begins exactly where the previous film left off. After spending the last movie fleeing from the three masked psychopathic strangers, Maya (Madelaine Petsch) managed to kill the one called Pin-Up Girl just before the credits rolled. Now the remaining two, Scarecrow and Dollface, mourn her in their own twisted way before continuing their pursuit of Maya in and around the rural timber town of Venus, Oregon.

Elsewhere the prowling Sheriff Rotter (played by the wonderfully unsettling Richard Brake) patrols the forest-lined country roads with motivations that could be called sketchy at best. Meanwhile Maya’s sister, Debbie (Rachel Shenton) and her husband Howard (George Young) arrive in Venus with a hired bodyguard (Miles Yekinni) after learning Maya was never picked up by the ambulance sent to bring her back home to Portland. Their investigation intersects with the good sheriff while Maya tries to get a leg up on her maniacal pursuers.

Harlin breaks up the current day mayhem with several flashbacks that not only reveal the identities of the deranged serial-killing trio, but how they came together and how they’ve managed to continue murdering for years. These scenes add some disturbing context to the strangers, as well as the townsfolk of Venus. We end up learning more through them than any other part of the movie.

Image Courtesy of Lionsgate

As for our protagonist, much of “Chapter 3” emphasizes the evolution of Maya whose trauma makes her increasingly cold and calloused. It’s a tricky task for the committed Petsch whose performances throughout the trilogy have come in three phases. Each film asks her to do something different, yet all three performances are distinctly connected. So it’s impossible to fairly judge what she’s doing in “Chapter 3” without factoring in the previous movies. When you do, it’s easy to appreciate what she accomplishes.

The Strangers trilogy has become a cheap critical punching bag for many, but it’s far from the cataclysmic disaster it’s made out to be. It’s hard to justify spreading the story out into three feature length films and their strict dependency on seeing the other movies are somewhat of a handicap. As for “Chapter 3”, it may succeed in wrapping things up, but it’s not without its lapses in logic. Still, it manages to do what it needs to do as a final chapter. And judging by its box office performance, it could very well be the FINAL chapter.

VERDICT – 3 STARS

REVIEW: “Send Help” (2026)

Horror fans can rejoice! For the first time in seventeen years Sam Raimi returns to the genre he cut his teeth on. Well, sort of. His latest film, “Send Help” could easily be categorized as a survival thriller. But it’s Sam Raimi, the director of the original three Evil Dead movies. So to no surprise, “Send Help” has its share of grisly horror and pitch-black comedy. And I kinda loved every moment.

“Send Help” goes down like a cocktail of ”Horrible Bosses”, “Castaway”, and “Misery” but seasoned with Raimi’s own special sauce. Written by Damian Shannon and Mark Swift, the story gives a deliciously meaty role to Rachel McAdams who relishes every twisted second she’s given. Dylan O’Brien is wonderfully detestable as a smarmy privileged slimeball. Together they breathe fire into this bonkers mashup that goes in some delirious directions.

Image Courtesy of 20th Century Studios

McAdams plays Linda Liddle, a homely and awkward accountant working for a prominent consulting firm. Linda is a numbers guru who is hardworking and a valuable behind-the-scenes asset to the company. So much so that the CEO had promised to promote her to the vice president position. But after he unexpectedly dies, his entitled son Bradley (O’Brien) takes the reins and immediately promotes his college buddy Donovan (Xavier Samuel) to VP.

As for Linda (who Bradley is repulsed by), he secretly plans to have her transferred to an obscure go-nowhere position. But before he does, Bradley agrees to take Linda along on an overseas business trip to finalize a major merger. But as their private jet passes through a severe storm, its engines fail which sends the plane crashing into the ocean. Linda miraculously survives, washing ashore on a remote island somewhere in the Gulf of Thailand.

As Linda gets her bearings, she discovers an injured and unconscious Bradley on the beach. Lucky for him, Linda is a survival enthusiast with a load of skills she learned as an avid watcher of the television show “Survivor” (one of my favorite early gags). When Bradley finally comes to, he wastes no time belittling Linda’s efforts and asserting himself as her boss. But he quickly learns this isn’t the same “Linda from accounting” and they aren’t in the office any more. Madcap blood-soaked hijinks ensue.

Image Courtesy of 20th Century Studios

Raimi has a blast playing around with the multi-faceted dynamic between Linda and Bradley. He uses aspects from their professional and personal lives to define our hero and our villain. But one of the great joys of “Send Help” is its unpredictability. And we get good taste of it once Raimi starts blurring the lines between who’s good and who’s bad. We can’t help but root for Linda as she turns the tables on her douche of a boss. But “Send Help” has more up its sleeve than just that. And the moral ambiguity that arises from the primal chaos adds to the entertainment.

As some biting social commentary percolates amid the psychological mind games and physical savagery, Raimi never loses sight of the premise’s B-movie appeal. He giddily unloads some crazy action, gobs of gore, and warped humor with a nasty edge. Its biggest weakness is an ending that’s a tad too tidy. But the overall film is so insanely fun that it’s hard getting hung up on minor quibbles. Instead you’ll be amped to see it again. And you’ll once again be wondering why Rachel McAdams isn’t a bigger star.

VERDICT – 4 STARS

REVIEW: “Dracula” (2026)

The latest cinematic expression of Bram Stoker’s seminal 1897 horror classic “Dracula” is the simply yet fittingly titled “Dracula”. It comes from writer-director Luc Besson who offers up an unconventional reimagining of vampire mythology and the Dracula story itself. He spins a dark tale rooted more in romance than horror. Yet it has splashes of blood, some wild creative strokes, and even injections of humor, all of which make this more than some generic Dracula rehash.

While the core of Stoker’s story remains, the differences in Besson’s retelling come to light frequently and fairly quickly. With its period romance focus comes some unique style choices which work in surprising harmony with the film’s Gothic horror elements. There’s also an interesting thematic shift from science vs. religion to faith vs. apostasy. We also see a chunk of the story taking place in Paris rather than London.

Other differences are more character related. Dracula’s three brides (or sisters, depending on what interpretation you hold) are replaced by comical stone gargoyles which uproots a prominent thematic layer to Stoker’s story yet makes this more of a singular love story. Also absent is Dr. Abraham Van Helsing. Instead we get an unnamed priest from an order of vampire hunters. And there is no Renfield, at least not the version of him we’re used to.

Image Courtesy of Vertical

Besson’s story kicks off with a prologue set in 1480 Eastern Europe. Before setting out to face the invading Ottomans, Prince Vladimir of Wallachia (Caleb Landry Jones) seeks assurance from a high-ranking Cardinal (Haymon Maria Buttinger) that God will protect his precious wife Elisabeta (Zoë Bleu) while he’s in battle. But as she’s being ushered to a safer location, Elisabeta and her escort are ambushed and murdered. A devastated and angry Vladimir abandons God, vowing never to serve Him again until Elisabeta is returned.

400 years later in Paris, Dr. Dumont (Guillaume de Tonquédec) seeks help from the Vatican on a disturbing case that is outside of his expertise. He’s sent a Bavarian priest (played by a magnetic Christoph Waltz) from a group secretly commissioned by the Church. Once there, the priest is escorted deep below the hospital where Dumont introduces him to his patient, Maria (Matilda De Angelis), a volatile and seductive young woman who the priest quickly determines is a vampire.

We learn the priest’s order has been hunting the head vampire for centuries. And that head vampire is none other than Count Dracula, formerly Prince Vladimir. Now 400 years old and a husk of his former self, Dracula stays secluded in his Romanian castle while his “associates” scour the land for his reincarnated bride. But his search takes a turn when a solicitor from Paris named Jonathan Harker (Ewens Abid) pays him a business visit.

Image Courtesy of Vertical

Over the course of his chilling stay at the Count’s castle, Harker shows Dracula a photo of his fiancé Mina (also Bleu) who bears a striking resemblance to his long departed wife. Certain that he has finally found her, Dracula departs for Paris to reunite with his Elisabeta. From there Besson branches out with two storylines that are destined to intersect. One follows Dracula’s venture into Paris as he searches for Mina. The other follows the priest’s investigation as he searches for Dracula.

As Besson’s vision unfolds, it’s hard not to enjoy his nods to the classic story but also his own original reinventions. Nearly every change he makes is there to serve his biggest revision – making this a doomed Gothic love story. Jones is outstanding in portraying Dracula as a creepy yet tragically heartbroken figure rather than a predatory bloodsucking monster. Bleu is a revelation in her crucial dual-ish role. And Waltz is his usual captivating self despite the priest being strangely underwritten in spots.

In addition to the stellar performances, Besson is also helped by Colin Wandersman’s bold cinematography and Danny Elfman’s sweeping score. The period-rich production design and costumes add to the film’s stylish verve. It all enhances this beguiling new spin on Stoker’s classic. It’s chilling, alluring, wonderfully weird, and slyly funny at the most unexpected times. Best of all, it doesn’t try to be the grandest of all Dracula incarnations. The movie is very much its own thing which is a key reason it works so well.

VERDICT – 4 STARS

REVIEW: “Whistle” (2026)

In recent years the first quarter of the movie calendar has become a favorite time to release a slew of new horror movies. Among this year’s batch is “Whistle”, the latest film from director Corin Hardy and his first since 2018’s “The Nun”. It’s a movie that’s full of potential and ripe with the kind of substance that fan’s of the horror genre look for and relish. Sadly it squanders most of that potential in several frustrating ways.

“Whistle” is written for the screen by Owen Egerton who is adapting his own short story. He pens a tale that is built upon a clever idea but is surrounded with a copy-and-paste horror veneer. The generic high‑school milieu, its coming‑of‑age shallowness, one of the most preposterous character angles I’ve seen in years – it all keeps “Whistle” from being scary, interesting, original, or at times even logical.

Image Courtesy of Independent Film Company

“Whistle” opens with a prologue where Pellington High School’s star basketball player Mason Raymore (Stephen Kalyn) is incinerated in the locker room shower after being chased by a terrifying burning figure. It’s a horrific death which is witnessed by several of Mason’s teammates. Hardy uses it to set the table and to prime his audience for what’s to come….sort of.

Six months later me meet Chrys (Dafne Keen), a quiet and reserved teen who just moved to town after a life-changing tragedy. On her first day at Pellington High her cousin Rel (Sky Yang) introduces her to his friends, Grace (Ali Skovbye), Dean (Jhaleil Swaby), and Ellie (Sophie Nelisse). The don’t remotely seem like the kind of kids who would hang out together, but they fit the common horror movie archetypes – the nerd, the blond hottie, the brain-dead jock, and the smart girl.

Everyone at school seems to have moved right on from the Mason incident. So much so that no one even thought to clean out his old locker, which is assigned to Chrys. Inside of it Chrys finds an ornate Aztecan whistle which her teacher, Mr. Craven (Nick Frost) immediately takes to study. But the whistle find its way back to the teens who can’t resist blowing it, unleashing an ancient evil entity that curses them all to death.

Basically here is how the curse works. Everyone within the piercing earshot of its sound are cursed with facing whatever future death fate has chosen for them. After they “summon” the death, it stalks them, often ending in some gloriously gruesome fashion. Thoughts of “Final Destination” are unavoidable. But Hardy and Egerton have a few of their own cards to play. Regrettably not all of them work.

Image Courtesy of Independent Film Company

While “Whistle” is plagued by several disappointing choices, its most outrageous one comes with the character Noah (Percy Hynes White), a psychotic drug-dealing youth pastor who pops up at the most random times. He’s an utterly weightless inclusion who adds nothing to the movie other than a convenient antagonist. He would be easy to laugh off if not for the decision to wedge him into the film’s climactic ending.

Sadly “Whistle” is yet another trite chiller about a generic batch of kids who pay the consequences for their own foolish curiosity. Despite the film’s efforts, the underdeveloped and weakly defined characters never register beyond surface level. So we barely feel a thing when they are offed in an array of creatively gory ways. And we feel even less during the ludicrous, scare-free big finish and the franchise-teasing mid-credits scene. No thanks. I think one blow of the whistle was enough for me.

VERDICT – 1.5 STARS