REVIEW: “The Dreadful” (2026)

February 26, 2026 by Keith Garlington

Writer-director Natasha Kermani delves into the dark depths of gothic horror with “The Dreadful”, a slow-burning semi-supernatural chiller covered in medieval blood and grime. The story is set in the 15th century as a battle for control of the English throne rages during the Wars of the Roses. It’s a fittingly grim setting for Kermani to play in. But she struggles to sustain any momentum in this surprisingly dull gothic folktale.

“The Dreadful” is loosely based on the 1964 Japanese drama “Onibaba”. Sophie Turner gets the lead role playing Anne, a young wife living with her creepy and conniving mother-in-law, Morwin (Marcia Gay Harden) while her husband Seamus is away at war. The two live in poverty outside of a small village where they grow what food they can from the rugged terrain. Filmed in the damp, foggy, and overcast Cornwall, the locations deftly capture the desired atmosphere and isolation.

Anne and Morwin’s relationship is nearly as harsh as the conditions they live in. Morwin is possessive and manipulative, while Anne does what is expected from her mainly out of respect for her husband. But there’s an even more unsettling side to Morwin that sees her resorting to savage violence in the name of survival while forcing Anne to serve as her reluctant accomplice. It adds a wild twist to the story and one of its few real surprises.

A new strain is put on their relationship after Anne’s childhood friend Jago (Kit Harington) arrives home from the war with news that Seamus has died in battle. A few wobbly flashbacks to their younger days reveal that Jago has always had the hots for Anne. As time goes by he eventually shares his feelings with her. But this doesn’t sit well with Morwin who has no desire to let Anne leave her side. Oh, and then there’s the mysterious armored knight on a white stallion who pops up in the distance before eerily vanishing into the mist.

While the movie does its title justice by conveying a steady sense of dread, neither the slow-developing character drama or the dark mystery pays off in the way they need to. Turner’s carefully measured restraint plays well with Harden’s descent into madness, yet both work well above the material they’re given. Meanwhile Harington blends into the background without leaving much of an impression at all.

“The Dreadful” toys with some interesting ideas but it doesn’t do a lot with them. The sluggish pacing combined with an overall lack of scares leaves most of its potential untapped. And it certainly doesn’t come close to the chilling heights of Kaneto Shindō’s classic. In fairness, this isn’t intended to be a by-the-numbers remake. But it struggles to stand even on its own, which leaves “The Dreadful” feeling like a missed opportunity.

VERDICT – 2 STARS

First Glance: “Pressure” (2026)

February 25, 2026 by Keith Garlington

One of this year’s surprise early releases (at least for me) is “Pressure”, a historical war film from director Anthony Maras that recently dropped its first trailer. The feature is based on playwright David Haig’s 2014 stage production that was inspired by the true events leading up to the D-Day invasion. An intriguing cast led by Brendan Fraser, Andrew Scott, Kerry Condon, Damian Lewis, and Chris Messina anchor what looks to be a riveting true story.

Mere hours before he is set to order the launch of the largest seaborn invasion in history, Dwight D. Eisenhower (Fraser) meets with James Stagg (Scott), a meteorologist with the Royal Air Force, to discuss weather conditions for the D-Day attack. Stagg warns that a launch during the impending storms could be catastrophic. But others warn that a delay could result in losing the element of surprise. From the trailer we witness tensions rising as the stakes only get higher.

“Pressure” launches into theaters on May 29th. Check out the trailer below and let me know if you’ll be seeing it or taking a pass.

REVIEW: “Kill Bill: The Whole Bloody Affair” (2025)

February 24, 2026 by Keith Garlington

Quentin Tarantino originally conceived, wrote, and produced Kill Bill as one single film. But marketing an over four-hour movie concerned his producers. So Tarantino and Miramax compromised, deciding to divide the film into two feature-length volumes to be released six months apart. The acclaimed director wouldn’t have to cut major scenes and the producers could release two movies in an effort to maximize profits. It worked out for both. Tarantino’s creative control was kept in tact while the films were box office hits.

Now here we are, some 23 years later, and Tarantino still hasn’t changed his creative perspective on Kill Bill. Sure, he was forced to compromise to a degree for certain commercial demands. But he still sees it as one movie. And now that he fully owns the rights, he is able to give fans the single-film experience that he always envisioned. And he does so with “Kill Bill: The Whole Bloody Affair”.

Considered to be the fourth film by Quentin Tarantino, Kill Bill remains one of the most audacious genre mash-ups ever put to screen. “The Whole Bloody Affair” brings a noticeable cohesion to what was previously two movies, allowing Tarantino’s many creative flourishes to work more in unison. It also energizes his nonlinear storytelling, adding a near seamless fluidity to his frequent timeline jumping.

But more than anything, “The Whole Bloody Affair” fully immerses us in Tarantino’s full-throttled celebration of the movies and genres that have helped define him as a filmmaker. He finds inspiration everywhere from the grindhouse to the arthouse, plucking ideas and style choices from spaghetti westerns, kung fu cinema, samurai films, pulpy exploitation, and even anime. But it’s his ability to wrangle it all together that impresses most. It’s one thing to pay homage. It’s something else to turn it into such a singular experience as this.

I won’t rehash my thoughts on Kill Bill’s sprawling revenge-fueled story (you can read them [HERE] for Volume 1 and [HERE] for Volume 2). All of its killer beats still hit with the same exhilarating force – the now iconic fight sequence at The House of Blue Leaves; the superbly crafted wedding rehearsal flashback; the tension-soaked duel with O-Ren; the tight-quartered throwdown with Elle; the fierce confrontation with Veronica; the suffocating buried alive scene. They remain extraordinary. But when viewed together as one piece, everything feels bigger, bolder and vastly more epic in size, scale and personal stakes.

Similarly, Uma Thurman’s spectacular lead performance can be appreciated as an even grander achievement. The multi-faceted brilliance of what she accomplishes stands out even more when absorbed in one sitting. She brings grit, resilience and ferocity, but also a striking vulnerability to the Bride’s blood-drenched revenge tour. She anchors the incredible action while finding the rich emotional complexity that Tarantino wrote into the character.

Even the already exceptional supporting cast seems to shine just a tad brighter in this fully realized version. David Carradine, Lucy Liu, Daryl Hannah, Michael Madsen, Vivica A. Fox, Sonny Chiba, Michael Parks, and Gordon Liu bring layers of personality and charm. And they only scratch the surface when it comes to memorable characters in Tarantino’s vibrant and violent world.

“The Whole Bloody Affair” brings with it a handful of additions and subtractions that enhance the overall experience. For starters, Tarantino cuts a major spoiler that was slapped onto the end of Volume 1 as a cliffhanger finish. Without it, the true ending has far more dramatic impact. He also removed the transitions to black-and-white during the epic fight against the Crazy 88s which was originally added to satisfy the ratings board. And he added an extended version of Production I.G.’s terrific anime sequence. Overall, with its extra footage, “TWBA” runs 27 minutes longer than the two original films combined.

It’s also easier to appreciate Tarantino’s willingness to take big swings – narratively, technically and stylistically. His screenplay remains daring and defiant, both in structure and in substance. It veers here and there and we enjoy every detour his story takes. And Kill Bill is still a visual feast, with Tarantino and DP Robert Richardson indulging in split-screens, closeups, tracking shots, trucking shots, slow-motion pans, quick zooms, and more. And of course there is Tarantino’s unabashed style which impacts every frame. The movie wouldn’t be the same without it.

“The Whole Bloody Affair” is Quentin Tarantino’s uncut, unrated, and unleashed magnum opus. It’s the fulfillment of a former video store clerk’s dream and a virtuosic showcase for one of the most defining auteurs of our time. Tarantino’s definitive version is a visceral experience that retains everything we love from Volumes 1 and 2 yet makes it feel as if we’re discovering something new for the very first time. It’s a remarkable feat and we’re fortunate to be here for it.

VERDICT – 4.5 STARS

REVIEW: “Psycho Killer” (2026)

February 23, 2026 by Keith Garlington

Georgina Campbell has been earning her stripes as a bona fide scream queen, having starred in 2022’s “Barbarian”, 2023’s underrated “Bird Box Barcelona”, 2024’s “The Watchers”, 2025’s “Influencers”, and the fun genre-bender “Cold Storage” from earlier this month. Now she dives right back into the horror genre with “Psycho Killer”, a movie with all the potential to be one of the darkest and more twisted chillers this year (just check out its killer trailer for proof).

Unfortunately, “Psycho Killer” falls well short of its potential due to its scattershot storytelling, some mind-boggling choices, and an ending that feels yanked from another movie entirely. Its especially surprising considering it’s written by Andrew Kevin Walker who penned two David Fincher gems, 1995’s “Seven” and 2023’s “The Killer”. But despite beginning with so much promise, “Psycho Killer” struggles to create anything cohesive out of its big ideas and noteworthy inspirations.

**Image Courtesy of 20th Century Studios**

Director Gavin Polone wastes no time getting things started. Campbell plays Jane Archer, a Kansas State Trooper who witnesses her husband and fellow officer Mike (Stephen Adekolu) fatally shot during a traffic stop. The killer gets away and is later identified as a wanted serial killer who has committed a string of interstate homicides spanning six states. Dubbed the “Satanic Slasher”, his M.O. includes leaving behind various satanic symbols at the crime scenes, scrawled in his victim’s blood.

Determined to end the Slasher’s spree, Jane uses her two-week provisional leave to track down her husband’s killer, following his trail of bodies while attempting to head him off before he strikes again. She makes a number of alarming discoveries along the way which enables her to build a possible profile. Yet the Slasher remains one step ahead of her, continuing his random killing spree with an ultimately goal that no one sees coming.

So far so good. It’s a sturdy setup that could go in any number of interesting directions. Instead it turns into a base level cat-and-mouse story with Jane tracking the killer across the Midwest like a super sleuth while the incompetent local authorities sit around twiddling their thumbs. With the brief exception of one lone FBI agent (Grace Dove), Jane is left on her own, jumping from jurisdiction to jurisdiction and getting more done than the local cops and the feds combined.

Meanwhile the hulking Slasher (played by former wrestler James Preston Rogers) goes about his bloody business, somehow avoiding suspicion despite sticking out like a sore thumb. He’s an obvious presence who is built like a Mack truck and who talks like he’s voicing some galactic supervillain in a Marvel movie. He’s undeniably menacing especially when he slips on his creepy radiation mask. But how on earth does he stay at large?

Things really turn preposterous in the second half. And it doesn’t get any goofier than when the Slasher visits a gated mansion owned by a Satanic cult leader named Pendleton (Malcolm McDowell). Pendleton and his five young coke-snorting followers briefly (and unintentionally) yank the movie in an utterly absurd direction. Shortly after that, the movie takes another bizarre turn with a final act that feels miles removed from everything that came before it.

Somewhere inside of “Psycho Killer” lives a good idea waiting to be realized. Campbell gives another strong lead performance that’s begging for better material. And Polone doesn’t shortchange us on the blood and gore. But those things aren’t enough to overcome the confounding lack of cohesion. And the story only unravels more as it progresses. It’s a case of a movie that doesn’t lack vision. It just lacks the know-how needed to translate it onto the screen.

VERDICT – 2 STARS

REVIEW: “Midwinter Break” (2026)

February 21, 2026 by Keith Garlington

A movie that I’m worried might slip under too many radars is “Midwinter Break”, a deeply human adult drama that could sell itself solely on its two stars, Lesley Manville and Ciarán Hinds. And while Manville and Hinds are every bit as wonderful as we expect, there’s so much more to connect with and absorb in Polly Findlay’s extraordinary directorial debut. And it will stick with you well after the credits roll.

“Midwinter Break” has the look of an easygoing relationship drama, and in a way it is. But it doesn’t take long to realize Findlay has much more on her mind. As we tag along with married couple Stella (Manville) and Gerry (Hinds) on a vacation in Amsterdam, we witness the film’s rich themes making their way to the surface. And as they do, Findlay patiently explores them through the couple’s seemingly sweet relationship as well as their individual struggles, which both have kept buried for years.

Based on the 2017 novel of the same name by Bernard MacLaverty. “Midwinter Break” tells a story that’s likely to resonate with anyone who has been married for some time. From one insightful angle, it looks at the long-lasting impact of trauma and how it can set the course for someone’s life. But it also looks at the complexity of relationships. Findlay captures the joy of growing old with someone you love, but also the absolute necessity of communication.

Stella and Gerry have had a long and loving life together. Their early days as an Irish couple was marked by a traumatic incident during The Troubles that could have turned tragic. But they endured, even though the event certainly left some scars. They moved from Belfast to Glasgow where Stella became a teacher and Gerry an architect. They had a son Michael who is now off with his own family, leaving them to enjoy the later years of their lives.

But the more we observe the more we notice details that point to deeper frustrations. For example, Stella is devoutly religious which is quite the contrast to the much more skeptical Gerry who rarely skips a chance to rib her about her faith. Then there is Gerry’s drinking which is much worse than he’s willing to admit. Hoping to give their marriage a jolt, Stella surprises an enthusiastic Gerry with a trip to Amsterdam.

As they enjoy the city’s beautiful sites and unique personality, Stella and Gerry learn they can’t escape their individual internal crisis. It comes to a head once Stella opens up about her feelings, setting up the film’s poignant second half. It’s here that Findlay casts a new light on their relationship which reveals new layers to each character. Manville and Hinds navigate it all with such moving authenticity. There’s not a false note to be found in their performances.

Findlay allows it all to play out deliberately and organically to the point that some might consider it slow-moving. But that’s hardly the case. Every scene, no matter how trivial or mundane it may seem on its own, is revealing in some way and is presented with purpose. Findlay reveals so much detail in the ‘small’ moments. And as more plays out before our eyes, the clearer the portrait of their marriage becomes.

“I’m married. Although I’m not sure how much marriage we have left in us.” Stella’s heartbreaking confession hits like a ton of bricks, much like “Midwinter Break” as a whole. It’s a movie that’s not afraid to deal earnestly and honestly with its themes, while treating an underserved adult audience the kind of offering they rarely get these days. It’s intimate, nuanced, emotionally textured, and remarkably restrained. Altogether, it makes “Midwinter Break” the first must-see drama of 2026.

VERDICT – 4.5 STARS

REVIEW: “The Mortuary Assistant” (2026)

February 20, 2026 by Keith Garlington

“The Mortuary Assistant” attempts to follow in the footsteps of “Five Nights at Freddy’s” and more recently “Iron Lung” by adapting a small indie horror video game to the big screen. While those two films were surprising box office successes, it may be a tougher road for “The Mortuary Assistant” which is expected to get a limited theatrical release before streaming on Shudder starting March 27th.

“The Mortuary Assistant” video game came out in 2022 and was primarily developed by Brian Clarke’s one-person studio, DarkStone Digital. It had a low budget and a small scale, but it was well-received by players and critics. The movie adaptation is somewhat similar – modest budget and small in scope. Director Jeremiah Kipp does some good things with a film that’s certain to register more with fans of the game. Others might struggle to make sense of it all.

The film’s biggest strength is Willa Holland. She plays Rebecca Owens, a young woman whose life has been marked by trauma. Yet she has found victory in her struggles. She’s a recovering alcoholic who is celebrating one year of sobriety. And she’s nearing the end of an internship for a job she’s surprisingly enthusiastic about – a mortuary assistant. But unfortunately for her, this is a horror movie, which means everything in her world is about to be turned upside-down.

After successfully embalming her final supervised procedure, her boss Raymond Delver (Paul Sparks) welcomes Rebecca to a full-time position at River Fields Mortuary. The peculiarly adamant Raymond assigns her the day shift while he insists on handling nights. But after Raymond calls Rebecca to fill in for him, she finds herself thrust into a terrifying situation, locked inside the mortuary overnight with corpses being reanimated by demonic entities. Yikes.

It’s certainly a promising premise and (to his credit) Kipp squeezes everything he can from it. The fittingly chilling mortuary setting adds plenty of good atmosphere. And it’s helped by the eerie use of light and shadows and some standout practical effects. But the story is plagued by overwritten and sometimes confusing exposition that muddies as much as it reveals. And while much of what we see desperately needs explaining, the info dumps often stymie the suspense.

The same can be said for Rebecca’s clumsily handled backstory. It’s thrown together in pieces, all in an effort to feed an on-the-nose metaphor that becomes too obvious to be effective. Alcoholism and personal loss are worthwhile subjects, and Holland does her best to make them feel central to Rebecca’s story. But they come across as pieces that don’t always fit with the rest of the movie.

“The Mortuary Assistant” starts off with a lot of promise, and you can see all the ingredients for a wickedly entertaining chiller. It certainly has the commitment in its star Willa Holland and the technical know-how from director Jeremiah Kipp. But the too frequent “Let me explain” moments bog things down while the ‘dream versus reality’ aspect grows more repetitive than revelatory. It all undermines the movie’s ambition and leaves us with an experience that can’t quite match the strength of its source material.