Today, Prime Video debuted the official teaser trailer and premiere date for its groundbreaking new series, Spider-Noir, starring Nicolas Cage in his first leading television role, premiering worldwide on May 27, 2026. Produced by Sony Pictures Television exclusively for MGM+ and Prime Video, the hotly anticipated series will debut domestically on MGM+’s linear broadcast channel on May 25, then globally on Prime Video on May 27 as a binge release, in more than 240 countries and territories.
For a special and unique viewing experience, you can watch Spider-Noir two ways, in “Authentic Black & White” and “True-Hue Full Color”.
Spider-Noir is a live-action series based on the Marvel comic Spider-Man Noir. Spider-Noir tells the story of Ben Reilly (Nicolas Cage), a seasoned, down on his luck private investigator in 1930s New York, who is forced to grapple with his past life, following a deeply personal tragedy, as the city’s one and only superhero.
Full cast includes Academy Award®-winning actor Nicolas Cage (Adaptation, Pig), Emmy Award®-winning actor Lamorne Morris (Fargo, New Girl)), Li Jun Li (Sinners, Babylon), Karen Rodriguez (The Hunting Wives, Acapulco), Abraham Popoola (Atlas, Slow Horses), with SAG Award®-winning actor Jack Huston (Boardwalk Empire, Day of The Fight), and Emmy Award®-winning and Academy Award®-nominated actor Brendan Gleeson (The Banshees of Inisherin, Harry Potter). Guest star cast includes Lukas Haas, Cameron Britton, Cary Christopher, Michael Kostroff, Scott MacArthur, Joe Massingill, Whitney Rice, Amanda Schull, Andrew Caldwell, Amy Aquino, Andrew Robinson, and Kai Caster.
Spider-Noir is produced by Sony Pictures Television exclusively for MGM+ and Prime Video. Emmy Award®-winning director Harry Bradbeer (Fleabag, Killing Eve) directed, and executive produced the first two episodes. Oren Uziel (The Lost City, 22 Jump Street) and Steve Lightfoot (Marvel’s The Punisher, Shantaram) serve as co-showrunners and executive producers. Uziel and Lightfoot developed the series with the Academy Award®-winning team behind Spider-Man: Into the Spider-Verse: Phil Lord, Christopher Miller, and Amy Pascal. Lord and Miller executive produce for their shingle Lord Miller along with Aditya Sood and Dan Shear. Amy Pascal also serves as an executive producer via Pascal Pictures. Cage and Pavlina Hatoupis also serve as executive producers.
“The Spider” (Nicolas Cage) in a scene from Prime Video’s Spider-Noir (Courtesy of Prime Video)
The French procedural series “Tom and Lola” leans into the dramedy realm, with lighthearted relationship subplots offsetting the murders they solve in less than an hour, each week of this twelve-episode first season. The eponymous police detectives, Tom (Pierre-Yves Bon) and Lola (Dounia Coesens) have a long, shared history before having gone their separate ways. Years later, he’s reassigned to her unit. Though she’s the boss, he’s equal in rank, making for ongoing amusing competitiveness between them over who will be in charge of what, and who will figure anything out first. Both actors are charming and appealing, individually and as a will-they/won’t-they duo. She epitomizes the wholesome girl-next-door image; he’s got the looks of one who has warmth to give, and lives up to that presentation, at home and with suspects. Tom and Lola were BFFs as kids, and still frequently act like playful siblings, providing comic relief from their stresses, and for our amusement.
Since they’d been apart, she’s had two kids with two dads, neither of whom is paying the ordered support, leaving her on the verge of eviction. Tom moves in with his own surly daughter to share expenses while he desperately hopes to reunite with wife Cynthia (Blandine Papillon) who is divorcing him. He’s a methodical neatnik. She’s more frazzled and disorganized. He follows rules and procedures; she’s more of a maverick. And Gaelle (Elodie Varlet), the attractive medical examiner who is Lola’s bestie, has the hots for Tom, and hopes his wife becomes his ex. All that sets up quite a swirl of character comedy. And, unlike several other series that blend large doses of family matters with the primary crime-solving, the screen time allotted to brattiness among their offspring, rather than body count is refreshingly low. Throughout the season, their combined teen and pre-teen trio cause far fewer problems than most of the police progeny in similar series.
The murders occur in familiar plot territory, ranging from a variation on the locked-room mysteries, to a seemingly impossible fatal stabbing while the victim is flying solo in his hot-air balloon. One involves an old woman who believes her late husband is trying to kill her from beyond. Setting the series in Toulon, on Southern France’s Mediterranean coastline provides several plots that begin with bodies turning up in those seemingly friendly waters for a variety of reasons. Coroner Gaelle – the most engaging character among the supporting cast – even gets her own featured episode (the 9th) when she’s accused of murdering a guy whose corpse is found in her morgue, though he was quite healthy when he strolled in. The 12th gives us a self-styled vigilante, who actually catches some baddies before problems arise.
The appeal of the cast and the visual pleasures of Toulon and its environs make these a set of nice breezy ways to spend an hour. The main plots are stand-alone, but should be viewed in order for the relationship progressions. No cliff-hangers, though questions remain about what may be coming in Season Two. That dozen aired abroad late last year, and will surely follow this entertaining intro to our side of the Pond. You’ll like them! You’ll really like them!
“Tom and Lola”, in French with subtitles, streams on MHz Choice on February 10, 2026.
In the crime drama MISDIRECTION, a couple of burglars/lovers (Olga Kurylenko, Oliver Trevana) use high-tech equipment and a meticulous plan to rob a rich guy’s (Frank Grillo) large modern home while he’s supposed to be at a banquet for the whole evening. This is meant to be their last big score before retiring to a life of leisure. The soon-to-be-victim departs on schedule; they bypass his security, empty a big stash of cash from his safe and continue looking for more valuables.
Uh oh! The dude comes home much earlier than expected! He can tell there’s been a breach and grabs his gun. The rest plays out just about in real time, as the confrontation gets more and more complicated. The thriller focuses more on the characters than the actual crime.
We soon learn that Olga had another agenda in picking this house besides the booty. That leads to an ongoing argument about what to do with Grillo. They aren’t really killers, but he’s seen their faces. There’s a lot of movement in physical, logistic and emotional terms as Olga’s underlying motivation gradually unfolds. That includes doubts about whether her anger is justified, or if she’s just nuts.
The house’s rather Spartan décor and dim lighting leave everyone in shades of gray, providing a noirish backdrop that complements the moral ambiguity and the suspense. Lacy McClory’s script keeps us guessing about what may or should happen to whom. The lot of the trio is further complicated by some unexpected visitors. Although everything after a couple of brief early scenes occurs in Grillo’s house, director Kevin Lewis (Willy’s Wonderland) keeps it from feeling claustrophobic, moving them among several rooms in various combinations, incorporating enough action to keep it from being too talky, and sustaining the intensity with a brisk pace.
This drama’s setup could have also worked well as a farce, with things going wrong and the players variably arguing and coaxing each other – especially with the arrival of the others upsetting the apple cart. That’s the direction an Elmore Leonard or Donald Westlake would have taken it, and probably to great advantage, based on their many successful novels turned into comedic caper flicks. But that’s not a complaint. The thriller option works out pretty well, too, with the trio of leads delivering fine performances.
MISDIRECTION is available on Digital formats from Cineverse on February 10, 2026.
French director Luc Besson’s English-language DRACULA transforms Bram Stoker’s gothic horror novel into a sort of fairy tale-like gothic romantic fantasy, about a 15th century prince cursed by God for renouncing him after the death of his beloved wife, who is doomed to an eternal life searching for his lost love. Besson, know for LA FEMME NIKITA and THE FIFTH ELEMENT, also wrote the screenplay for DRACULA and certainly knows how to create thriller entertainment. With a score by Danny Elfman and Christoph Waltz in a supporting role, the film is silly fun, although it has some unevenness in tone.
However, this Dracula tale is not for everyone, certainly not purists, and so some people are likely to hate it while others find it amusing. The original title, apparently, was DRACULA A LOVE STORY, so that’s a tip off. It mixes brooding gothic romance with action sequences and some bloody, while sprinkling in dark humor and references to other Dracula movies. It’s not particularly horror and, reportedly, it was created by Besson less out of a fascination with the Dracula novel and more out of a wish to work again with Caleb Landry Jones, with whom the director/writer worked in his 2023 film DOGMAN.
In 15th century Wallachia, in the Carpathian Mountains, Prince Vlad II (Caleb Landry Jones), also known as Count Dracula, is madly in love with his princess Elisabeta (Zoe Bleu), but is pulled away from their bedroom romps by the arrival of the Ottoman Turks on the border. Worried for the princess, he sends her off to another castle for safety but just to be sure, he threatens his bishop, to extract a guarantee: Since the prince is going to be God’s defender of the faith, then bishop must make God promise that his princess will not be killed.
The princess never makes it to the other castle and, heartbroken and enraged, denounces God. As a punishment, God condemns Vlad to eternal life, as a vampire. The rest of the film follows the grieving immortal prince across the centuries, as he searches for the reincarnation of his lost princess. His search takes him across centuries and to the royal courts of Europe (in a series of visually lush scenes) until he decides to send out minion vampires instead to search for this princess.
Besson does get around to including part of Bram Stoker’s novel, although things are turned on their head in this version. Four hundred years later after the death of Princess Elisabeta, Jonathan Harker (Ewens Abid), a Parisian lawyer in this version, comes to visit Count Dracula in his decaying Romanian castle, with an offer to buy one of the Count’s real estate holdings. That visit is how Vlad spots a photo in a locket, of Harker’s fiancee Mina, who looks exactly like the princess. Locking up Harker, Vlad sets off for Victorian-era Paris.
This Dracula’s quest is for the lost Elisabeta rather than fresh victims, but still, a vampire’s gotta eat. He has to fuel up and restore his good looks before he meets her, but Vlad has found a clever way to ensure an endless supply of fresh blood, by creating an irresistible perfume that draws women to him. Silly stuff, of course, but delivered with a winking sense of fun.
In Paris, things get lively, with Matilda De Angelis chewing up some scenery among other things as Vlad’s servant vampire Maria. Maria is lock up in an asylum after attacking a priest, where she is tended by Dr. Dumont (Guillaume de Tonquedec) who calls in a specialist, a priest/detective (Christoph Waltz) from the Vatican, to solve the case. We also meet Maria’s unsuspecting nobleman fiance Henry Spencer (David Shields) and, of course, Mina (Zoe Bleu again).
Plenty of other vampire movies get referenced along the way, with a good measure of tongue in cheek. This certainly isn’t the first Dracula comedy, or even the first Dracula romance. Christoph Waltz is a standout, in a kind of van Helsing role as the droll, clever, unconventional priest/detective, who is called in to treat Maria, played by a very entertaining Matilda De Angelis.
Waltz gets plenty of scenes and provides a lot of the fun in this film, and gets the best lines, but Caleb Landry Jones as Prince Vlad is the star. This Dracula is less a figure of pure evil than a cursed, violent man filled with regrets and grief. Jones varies between grieving widower and a coolly clever vampire with penchant for swiftly violence. There are plenty of fight scenes, both sword battles and martial arts fights, as many as there are blood-sucking ones. There is some blood but less gore than you might expect.
Again, all pretty silly but entertaining, and Landry Jones often plays it with a winking smugness. His looks vary too, going from handsome medieval prince or Victorian hand-kisser to a crumbling pale thing in an enormous white wig. Caleb Landry Jones is a good choice for this part, as his looks are unconventional enough that he can play romantically handsome in some scenes or just weird-looking in others.
Although the film is in English, everyone sports some kind of accent, which often makes the dialog difficult to discern. Danny Elfman’s score adds a bit of fun, and reminds us not to get to serious here. While the film has nice costumes and sets, scenery is more variable, from some well-done, even beautiful CGI scenes but others using cheesy low-budget backdrops.
Luc Besson’s DRACULA is no Dracula classic. But, despite it’s flaws and silliness, it is kind of fun to watch, if you don’t take it seriously and can get past the violence it does to Bram Stoker’s novel.
DRACULA opens in theaters on Friday, Feb. 6, 2026.
When a new Ghostface killer emerges in the quiet town where Sidney Prescott (Neve Campbell) has built a new life, her darkest fears are realized as her daughter (Isabel May) becomes the next target. Determined to protect her family, Sidney must face the horrors of her past to put an end to the bloodshed once and for all. Directed by Kevin Williamson, the cast also features Jasmin Savoy Brown, Mason Gooding, Anna Camp, David Arquette, Roger L. Jackson, Michelle Randolph, Jimmy Tatro, Mckenna Grace, Asa Germann, Celeste O’Connor, Sam Rechner, Ethan Embry, Mark Consuelos, Tim Simons with Matthew Lillard with Joel McHale and Courteney Cox.
SCREAM7 IS ONLY IN THEATRES, DOLBY CINEMA, 4DX, SCREENX, PREMIUM LARGE FORMATS AND IMAX ON FEBRUARY 27, 2026!
WAMG is giving away 10 pairs of Fandango Codes to see the film in theaters.
EMAIL michelle@wearemoviegeeks.com to enter. WINNER WILL BE CHOSEN FROM ALL QUALIFYING ENTRIES. NO PURCHASE NECESSARY.
Fandango Promotional Code (“Code”) is good for up to $20 off (total ticket price and associated fees and charges) the purchase of one movie ticket to see Scream 7 at participating Fandango theaters in the US.
Universal Pictures revealed to Superbowl Sunday viewers the new trailer for MINIONS & MONSTERS.
Fresh off the worldwide blockbuster success of summer 2024’s funniest comedy, Despicable Me 4, Illumination expands its joyful animated universe with a riotous new chapter, featuring all-new characters, in the biggest global animated franchise in history: Minions & Monsters.
This is the rambunctious, ridiculous and totally true story of how the Minions conquered Hollywood, became movie stars, lost everything, unleashed monsters onto the world and then banded together to try and save the planet from the mayhem they had just created.
Minions & Monsters is directed by Academy Award® nominee Pierre Coffin, a director of the first three Despicable Me films and the first Minions film. Coffin has also provided the voice for the Minions since their film debut in 2010. The film is written by Brian Lynch (Minions, The Secret Life of Pets films) and Pierre Coffin and is produced by Illumination’s Academy Award® nominated founder and CEO Chris Meledandri and by Bill Ryan (executive producer, The Super Mario Bros. Movie). The executive producer is Brian Lynch.
More than ten years after their creation, the Minions have become the most iconic animated characters of their generation. Globally recognized and beloved by fans of all ages, they have propelled Illumination’s Despicable Me and Minions to a global box office of more than $5.6 billion.
In 1977 filmmaker Steven Spielberg’s new Alien first contact movie, CLOSE ENCOUNTERS OF THE THIRD KIND, was released in cinemas on December 14.
Unsuspecting audiences witnessed the arrival of extraterrestrials at Devil’s Tower in Wyoming. The film went onto win two Academy Awards from it’s 9 Oscar nominations and was called “the greatest movie ever made by science-fiction guru Ray Bradbury.”
The climax of the movie was the ultimate arrival of scout ships and a Mothership and boy was it ever chilling.
Check out the Superbowl Sunday spot where you can spot a similar scene.
With DISCLOSURE DAY being on many lists of the most anticipated films of 2026, those of us sitting in theaters almost 50 years ago can’t help but notice in the final shot of the new trailer the reveal of the UFO emerging through the clouds just as the ships did a half century ago.
Additionally this marks the 30th feature film collaboration between composer John Williams and Steven Spielberg who worked together on CLOSE ENCOUNTERS OF THE THIRD KIND.
CLOSE ENCOUNTERS OF THE THIRD KIND. 1977
If you found out we weren’t alone, if someone showed you, proved it to you, would that frighten you?
This summer, the truth belongs to seven billion people.
We are coming close to … Disclosure Day.
Universal Pictures is proud to release a new original event film created and directed by Steven Spielberg. The film stars SAG winner and Oscar® nominee Emily Blunt (Oppenheimer, A Quiet Place), Emmy and Golden Globe winner Josh O’Connor (Challengers, The Crown), Oscar® winner Colin Firth (The King’s Speech, Kingsman franchise), Eve Hewson (Bad Sisters, The Perfect Couple) and two-time Oscar® nominee Colman Domingo (Sing Sing, Rustin).
Based on a story by Spielberg, the screenplay is by David Koepp, whose previous work with Spielberg includes the scripts for Jurassic Park, The Lost World: Jurassic Park, War of the Worlds and Indiana Jones and the Kingdom of the Crystal Skull. Combined, those films earned more than $3 billion worldwide. Koepp also wrote the script for this 2025’s Jurassic World Rebirth.
Disclosure Day is produced by five-time Academy Award® nominee Kristie Macosko Krieger (The Fabelmans, West Side Story) and by Spielberg for Amblin Entertainment. The executive producers are Adam Somner and Chris Brigham.
Steven Spielberg is one of the industry’s most successful and influential filmmakers. The top-grossing director of all time, Spielberg has helmed such blockbusters as Jaws, E.T. The Extra-Terrestrial, the Indiana Jones franchise and Jurassic Park.
Among his myriad honors, he is a three-time Academy Award® winner, including Oscars® for Best Director and Best Picture for Schindler’s List, which received a total of seven Oscars®, and for Best Director for Saving Private Ryan. His most recent film, The Fabelmans, was released by Universal in 2022 and received seven Academy Award® nominations, including for Directing, Best Original Screenplay, Best Actress and Best Picture.
During Superbowl Sunday, a new SUPERGIRL trailer featuring Krypto debuted during the Puppy Bowl… and it’s super cute!
“Supergirl,” DC Studios’ newest feature film to hit the big screen, will be in theaters worldwide this summer from Warner Bros. Pictures, starring Milly Alcock in the dual role of Supergirl/Kara Zor-El. Craig Gillespie directs the film from a screenplay by Ana Nogueira.
When an unexpected and ruthless adversary strikes too close to home, Kara Zor-El, aka Supergirl, reluctantly joins forces with an unlikely companion on an epic, interstellar journey of vengeance and justice.
Alcock stars alongside Matthias Schoenaerts, Eve Ridley, David Krumholtz, Emily Beecham, and Jason Momoa. DC Studios heads Peter Safran and James Gunn are producing the film, which is based on characters from DC, Supergirl based on characters created by Jerry Siegel and Joe Shuster.
The film is executive produced by Nigel Gostelow, Chantal Nong Vo and Lars P. Winther. Behind the camera, Gillespie is joined by director of photography Rob Hardy, production designer Neil Lamont, editor Tatiana S. Riegel, costume designer Anna B. Sheppard, Visual Effects Supervisor Geoffrey Baumann, and composer Ramin Djawadi.
DC Studios Presents a Troll Court Entertainment Production, The Safran Company Production, A Film by Craig Gillespie, “Supergirl,” which will be in theaters and IMAX® across North America on June 26, 2026, and internationally beginning 24 June 2026, distributed by Warner Bros. Pictures.
PROJECT HAIL MARY starring Ryan Gosling and directed by Phil Lord & Chris Miller hits theaters & IMAX on March 20.
On Superbowl Sunday, Amazon MGM Studios released a brand new poster and final trailer before the film opens.
Science teacher Ryland Grace (Ryan Gosling) wakes up on a spaceship light years from home with no recollection of who he is or how he got there. As his memory returns, he begins to uncover his mission: solve the riddle of the mysterious substance causing the sun to die out. He must call on his scientific knowledge and unorthodox ideas to save everything on Earth from extinction… but an unexpected friendship means he may not have to do it alone.
PROJECT HAIL MARY, based on Andy Weir’s New York Times best-selling novel, with the screenplay from Drew Goddard (THE MARTIAN), also stars Sandra Hüller, Lionel Boyce, Ken Leung, and Milana Vayntrub and Priya Kansara.
2026 is turning out to be a big year for those fans of the bard, but then, William “Big Bill” Shakespeare has never really had a bad year in popular culture, and we’re not talking years, but centuries. And not merely on stage, the first venue for his works, but in the movies. Now, many films are “line-for-line” adaptations, while others have used his themes as a “starting point”, much like WEST SIDE STORY, which has had its “progeny” (GNOMEO AND JULIET). Of the scribe’s plays, it’s “Hamlet” that seems to be this year’s big “inspiration”. Though it was technically a 2025 release, it’s almost a “sure bet” that HAMNET will snag some Oscar gold. That story of the “melancholy dame” has even been translated into animation. Yes, way back in 1994, there was THE LION KING (which got sequels and a CGI “live-action” remake), but now it’s getting another animated “spin”, though it’s closer to anime. And there’s a “gender swap” too, as its title character is a princess named SCARLET.
As the story begins, Princess Scarlet (voice of Man Ashida) is wandering alone through a dusty desert. The desolation ends when she is dragged down a watering hole by gnarled, claw-like hands. An elderly woman appears to tell her that she is in the “Otherworld”, a limbo-like region for the recently deceased, before their journey ends either dissolving into “nothingness” or basking in the heavenly afterlife of “Infinite-land”. Scarlet screams at the old woman, explaining that she can’t be dead, which prompts her to think about her past life. In 16th-century Denmark, she is the only daughter to kindly King Amulet (Masachika Ichimura), a widower who weds the cruel Gertrude (Yuki Saito). She plots with the king’s envious brother, Claudius (Koji Yakusho). Soon their plot to seize the throne succeeds when Amulet is framed for criminal misdeeds and is executed. A distraught Scarlet devotes herself to becoming a fierce fighter, with fists and swords. The conflict erupts at a big celebration ball when we see that a potion is poured into a goblet. Cut to Scarlet writhing in agony, then back to the Otherworld as she frees herself. Along the barren landscape, she encounters strangers from many eras (bandits with guns, camel caravans, etc.). Then, somehow, she bonds with a paramedic, a young man from modern-day Japan named Hijiri (Masaki Okada). He wants to continue healing others, while Scarlet embarks on a trail of revenge when she learns that Claudius and several of his underlings are also in this weird place. Can this mismatched duo work together in order to enter the Infinite-land, or will Scarlet’s uncle triumph? And is there a chance either or both will return to the land of the living?
This imaginative spin on a classic was written and directed by Mamoru Hosoda, who gifted moviegoers with another unique artistic interpretation a few years ago with his “Beauty and the Beast”-inspired BELLE. Huzzah to his dedication to classic drawn animation, which he has cleverly integrated with modern tech to provide detailed textures to figures and backdrops. It also stylistically separates the two “worlds” that Scarlet occupies. The real Denmark has a linear look resembling a children’s book illustration from early in the last century. The “in-between” Otherworld has a more “lived-in” appearance as each traveler carries the dust, dirt, and “mileage” of their journeys. Hosoda also provides a nice “tribute” to a couple of celebrated cartoon “gizmos” from the Fleischer Brothers Studio, a rival to Disney from the 1920s to the 1940s (the creators of Betty Boop, who also made the first screen incarnations of Popeye and Superman). At a couple of points in the story, we’re treated to elaborate dance numbers with characters whose renderings seem to be drawn over live footage of dancers, much like the use of “rotoscoping” (tracing over film of live actors) as used by many “Golden Age” US studios. Also, for heightened dramatic effect, Hosoda utilizes photographs and miniature sets, much as the Fleischers did by framing their clear cartoon drawings against tiny sets on a turntable (an early 3D feel). But these flourishes would falter without the superb storytelling and the expertly crafted staging and movement (concise acting and gesturing), from the quiet moments of the romance between Scarlet and Hijiri to the violent battle set pieces (the princess is quite a fighter). Yes, there are some tropes here from the anime world (the principals scream with wide-open mouths), but it never detracts from this fable of the afterlife. For lovers of animation who want something beyond the usual slapstick and adorable animals, Scarlet is quite an engaging cinematic fantasy.
3 out of 4
SCARLET opens in select theatres on Friday, February 6, 2026
