Movies, Film, and Chili

Project Hail Mary (2026) is based on the novel by Andy Weir,  who brought you The Martian,  and directed by the duo Phil Lord and Christopher Miller , known for The Lego Movie and 21 Jump Street . They bring a surprising amount of heart and clarity to a story that could have easily become too technical or isolated. The film balances science, humor, and emotion well, never losing focus even when it narrows down to one man against impossible odds. Ryan Gosling , known for Blade Runner 2049 and La La Land , delivers a flawless performance. He carries much of the film alone, forced to express a wide range of emotions without always having another actor to bounce off of. It is a demanding role and he handles it effortlessly, making the isolation feel real without ever losing the audience’s attention. James Ortiz plays the alien, which is not a spoiler given the marketing. His performance brings personality and charm to a character that could have easily felt gimmicky. The in...

Whistle (2026) plays less like a finished horror film and more like a theater kid’s passion project that somehow made it to the screen. The script tries to build emotional investment in the main character but never succeeds, and the horror elements are almost nonexistent. The scares simply are not there, leaving the film feeling hollow for a genre that depends heavily on tension and payoff. The screenplay comes from Owen Egerton , whose work here feels more like a personal self insert than a fully realized character.  The protagonist, played by Dafne Keen , comes across almost like a gender swapped version of the writer himself. Keen, known for Logan and His Dark Materials , tries to bring intensity to the role but the material gives her very little to work with. The direction from Corin Hardy , who previously directed The Nun , feels restrained by the script. It is hard not to feel a bit bad for him because there is only so much a director can do when the writing does not provi...

Reminders of Him (2026) is directed by Vanessa Caswill and written by Colleen Hoover and Lauren Levine . The film clearly aims for an emotional romantic drama, but it struggles early on trying to manufacture relationship development and sexual tension. Much of the setup feels forced, stretching how people actually behave in relationships and leaning heavily into "fantasy" romance rather than something believable. Maika Monroe , known for It Follows and Longlegs , gives a decent performance with the material she is given. She sells the emotional weight of the character fairly well, but the script often puts her in situations that feel more engineered for melodrama than natural storytelling. Tyriq Withers , recognized from I Know What You Did Last Summer and Him , tries to bring sincerity to the role, but the lack of chemistry between the leads makes the central relationship difficult to buy. He does what he can, though the screenplay never gives the romance enough authe...

Undertone (2026) from A24 is a film that commits almost entirely to tension. From the moment the atmosphere settles in, it rarely lets up. About ninety percent of the runtime is built on sustained unease with very little relief, punctuated by a handful of terror moments. If you are already tense, the movie keeps you there until the credits. Ian Tuason writes and directs, and the film ends up feeling more pretentious than carefully constructed. The movie begins as what looks like a story about a possessed podcast, but it quickly turns into a religious horror film that also tries to make the audience wrestle with themes about abortion. The bait and switch is noticeable, and the narrative focus becomes messy. Several scenes feel directly inspired by Paranormal Activity , sometimes to the point of distraction. Nina Kiri , known for The Handmaid's Tale and the horror film The Heretics , carries the movie as the central character. She plays a very different type of role than her ch...

Scream 7 (2026) marks the return of Kevin Williamson , the original writer of Scream , now stepping back in to write and direct. The result is a sequel that feels closer in spirit to the franchise’s roots. It balances meta commentary with straightforward slasher brutality and, for the most part, it works. Neve Campbell returns as Sidney Prescott and immediately grounds the film. Her presence alone gives the story weight, and the script wisely centers her instead of sidelining her. There are a few cameos from figures in Sidney’s past that longtime fans will appreciate, and while some feel more nostalgic than necessary, they never fully derail the pacing. Also, she's not past her prime. Isabel May , known for 1883 and Alexa & Katie , steps into a major role and holds her own as Sidney's daughter. She brings a modern energy without feeling like a forced replacement, and her dynamic with Campbell adds tension that feels organic rather than manufactured. The violence is tu...

Dracula (2026) is written and directed by Luc Besson , and it feels like a filmmaker trying to modernize a classic myth while chasing a younger audience. The film is hyperactive in its editing, filled with quick cuts that rarely let a scene breathe. It is hard not to compare that to the more confident pacing of The Fifth Element , which trusted its style and performances to carry attention without frantic cutting. Here, the editing feels almost desperate at times. Caleb Landry Jones takes on the title role and uses a very odd accent that feels like a deliberate directorial choice. He also leans heavily into overacting, pushing expressions and line delivery to theatrical extremes. In Three Billboards Outside Ebbing, Missouri , he was more subdued and forgettable in a supporting role. Here he is front and center, and the performance is certainly memorable, just not always in a good way. Christoph Waltz plays the priest positioned as the protagonist. As expected, he brings his tradem...