Her Private Hell (2026)

Her Private Hell is written and directed by Nicolas Winding Refn, and unfortunately it continues the filmmaker's uneven output following the heights of Drive. This is a film that wields symbolism like a sledgehammer, repeatedly beating the audience over the head with imagery and dialogue that leave little room for interpretation. There is no subtlety to its themes, and the screenplay introduces some characters through clumsy exposition rather than allowing them to develop naturally. The score is another major distraction, overwhelming scenes that would have benefited from restraint instead of constantly demanding the audience's attention. To make matters worse, the ending is telegraphed so early that there is little satisfaction when it finally arrives. It left me wondering whether the brilliance of Drive was more a product of its cast and collaboration than Refn's direction alone.

Sophie Thatcher, known for Companion and Yellowjackets, delivers what is easily her weakest performance to date. She has proven herself capable of carrying emotionally demanding material before, but nothing here ever comes together. Whether it's the dialogue, the direction, or the character itself, her acting never finds its footing and lacks the authenticity needed to anchor the film.

Charles Melton, known for May December and Riverdale, gives a performance that is simply forgettable. He never leaves much of an impression despite his screen time. Havana Rose Liu, known for Bottoms and No Exit, struggles with a character that comes across as stiff and emotionally distant, resulting in a wooden performance. Kristine Froseth, known for The Assistant and Looking for Alaska, also feels miscast, unable to find a natural rhythm within the film's heightened style. It's disappointing because each of these actors has shown far stronger work elsewhere, suggesting the shortcomings lie more with the material and direction than with their abilities.

Overall, Her Private Hell is an exhausting experience that mistakes obvious symbolism for meaningful storytelling. Between its heavy-handed script, intrusive score, predictable conclusion, and underwhelming performances, the film never gives the audience a reason to invest in its world or characters. For me, this is another major disappointment from Nicolas Winding Refn and one of the weakest films of the year. Result: F

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Pinocchio: Unstrung (2026)

Pinocchio: Unstrung is written and directed by Rhys Frake-Waterfield , the filmmaker behind Winnie-the-Pooh: Blood and Honey and its sequel. In terms of overall quality, this lands squarely between those two films. The direction is competent enough to keep the story moving, but it never rises above the low-budget slasher formula the filmmaker has become known for. The screenplay offers a few interesting ideas by reimagining the classic fairy tale as horror, yet it never fully commits to expanding the concept beyond its premise. While there are moments of creativity, the film is ultimately held back by uneven storytelling and inconsistent execution. Richard Brake , known for 31 and Barbarian , plays a dark interpretation of Geppetto and gives the film its strongest performance. It would have been easy for the role to become overly theatrical or cartoonish, but Brake keeps his performance restrained and unsettling instead. His quiet menace makes the character feel believable within th...

They Will Kill You (2026)

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Motor City (2026)

Motor City is directed by Potsy Ponciroli and is a film that relies almost entirely on visual storytelling. With what feels like no more than six lines of dialogue throughout its runtime, Ponciroli places the burden on his direction and the performances to carry the narrative. He succeeds more often than not, using framing, pacing, and silence to build tension instead of exposition. The result is a revenge thriller that feels heavily inspired by Drive , directed by Nicolas Winding Refn , though it never quite reaches the same level of style or emotional resonance. Even so, paying homage to one of the best neo-noir films of the last two decades is hardly a bad thing. Also, it has an amazing elevator scene similar to the one in Drive . Alan Ritchson , known for Reacher and The Ministry of Ungentlemanly Warfare , plays a man who has been wrongfully accused and embarks on a relentless quest for vengeance. It's a role that perfectly suits his imposing physical presence, and he prove...

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