Category Archives: 2026 Films

2026 Films, British, Drama, Independent, Independent Drama, LGBTQ+ Drama, LGBTQ+ Films, LGBTQ+ Romance

Pillion-2026

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Pillion-2026

Director Harry Lighton

Starring Harry Melling, Alexander Skarsgård

Scott’s Review #1,549

Reviewed September 6, 2026

Grade: A

Pillion (2026) is a British, cutting-edge LGBTQ+ film that excites and titillates viewers but is really geared toward a specific target audience.

Gay males either experienced with or possessing knowledge of the BDSM (bondage, discipline, sadism, masochism) hardcore lifestyle will mostly appreciate the film.

Representation in this subculture is shamefully long overdue, so it’s a breath of fresh air to see a film like this released in mainstream markets and on streaming services.

Straight audiences with particular intellect and sexual curiosity may find themselves enveloped by the film and maybe even aroused.

In 2025, the film was a massive critical success, earning an impressive ten nominations at the British Independent Film Awards.

Unfortunately, it has not yet achieved those accolades in the United States, but sometimes an international film has a year-long lag before recognition. Fingers crossed.

The film was released in the U.S. in early 2026.

Colin (Harry Melling) is a shy, introverted gay man who lives with his parents in Bromley, London. He works a menial job assigning parking tickets while pursuing his hobby of singing in a barbershop quartet.

One Christmas Eve at the pub, he is handed a note by Ray (Alexander Skarsgård), a handsome American member of a local biker club, and Colin is swept off his feet when Ray takes him on as his submissive.

As they begin an unorthodox relationship, Colin’s cancer-riddled mother (Lesley Sharp) becomes concerned for her son’s well-being, while Colin’s growing romantic feelings for Ray test the boundaries of their lifestyle.

While some scenes are shocking, like a BDSM themed road trip where Colin finds himself in a line-up of four men wearing chaps, leaning side-by-side over a picnic table, positioned to be penetrated by their doms, there’s also an underlying romanticism and connection between the men.

Other scenes where Ray suggests Colin buy a butt plug because he’s ‘too tight’ or makes him sleep on the floor might run the gamut of making the viewer chuckle nervously or smile naughtily; they indeed have their impact.

But usually, they spend quiet nights at home like a ‘normal’ couple: Ray reads a book or plays with his dog while Colin dutifully makes dinner or runs errands for him.

The relationship is not abusive, and both men are content.

The conflict arises when Colin yearns for a deeper and possibly more conventional relationship. But can Ray give Colin what he needs?

The film wisely parallels the two men. While Colin’s life is an open book and his meddling parents, who only want the best for him, know the ins and outs of his everyday life, even his dates with men, Ray is a complete mystery.

Strikingly handsome and way out of Colin’s league in the gay pecking order of physical attractiveness, Ray is a complete mystery; we wonder why he pursues Colin to begin with.

Tall, blonde, and charismatic, where has he come from? Where is his family? Does he have an ex? Where does he work?

The ambiguity works quite well for delving into the characters.

A tender sequence in which Ray gives Colin the day off from service, and the men share a fun-filled romantic afternoon as a traditional couple, is wonderful, but can it be sustained?

The men share a kiss after some light hilltop wrestling, with Colin sitting on top of Ray in the more dominant position, but something in Ray’s eyes is filled with pain and unease.

A remarkable directorial debut by Harry Lighton, he empathetically examines self-discovery, desire, and conflicting emotions with a nonjudgmental perspective.

Pillion (2016) is not patronizing, played for laughs, or defined by stereotypes.

With exceptional acting performances by Harry Melling and Alexander Skarsgård, the characters are freshly brought to life and make a daring subject matter, taboo for most, into ravishing entertainment and a character study. 

2026 Films, Horror, Psychological Horror, Supernatural Horror

Obsession-2026

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Obsession-2026

Director Curry Barker

Starring Michael Johnston, Inde Navarrette

Scott’s Review #1,547

Reviewed August 31, 2026

Grade: A-

Thanks largely to tremendous word of mouth about Obsession (2026), I couldn’t wait to see the new film. One reviewer even described it as ‘mind-blowing ‘.

Reported to be shocking, disturbing, and downright freaky, the film’s reviews are refreshing in a modern embrace of the horror genre.

Some recent horror films have even received Oscar nominations!

I loved Obsession, and the strong accolades kept me on my toes throughout, knowing creepiness and shenanigans lurked around every corner.

I worried the buzz might leave me ultimately disappointed, but it didn’t, and I still find myself replaying various sequences in my mind.

However, I also don’t agree that Obsession has changed the world or reshaped the horror genre. It’s not that good.

Patterned after the classic Fatal Attraction (1987), at least in subject matter, though even more warped, it’s a film for a new generation that veterans can also enjoy.

It’s a fantastically disturbing supernatural offering on par with Hereditary (2018) or Midsommar (2019) in terms of modern horror.

I’m already a fan of director Curry Barker, who also writes and edits the project. At a mere twenty-six years old, he’s been influenced by Ari Aster while peppering Obsession with his own unique blend of terror.

The film follows Bear (Michael Johnston), a young music store employee who has feelings for his friend, Nikki (Inde Navarrette). He is kind and a hopeless romantic, but he doesn’t want to risk ruining the friendship.

Unsure if the feelings are mutual and feeling insecure after a botched attempt at revealing his feelings, he buys a supernatural toy called a “One Wish Willow” that grants his wish for Nikki to fall in love with him.

Bear soon discovers that some desires come at a dark, sinister price when Nikki’s personality shifts and she becomes obsessed with him.

Bear and Nikki’s other friends, Ian (Cooper Tomlinson) and Sarah (Megan Lawless), are also involved.

Barker does a wonderful job setting the mood, and whether scenes are in the daytime or nighttime, it always feels dark. When the group is working at the music store, dining in a restaurant, or sitting in a car, it’s always dark.

The film has a quiet feel and, blessedly, isn’t ruined by over-the-top or bombastic echoing noise.

In the first scene, Bear sits in a diner across from a woman he is pouring his heart out to. The scene runs long as the viewer sits perplexed about what is going on until we realize the woman is only a waitress helping Bear practice expressing his feelings for Nikki.

Of course, sudden violin sounds of creepy peril surface in the creepiest sequences and at just the right time, like when the audience notices Nikki standing in a corner or hovering in the background watching Bear.

Navarette does a wonderful job as Nikki. Teetering from sociable to a crumbling emotional madwoman, she teeters between emotions seamlessly.

She’s good at subtly playing ‘off’ so we’re not sure if she’s Nikki or the stark raving wackadoo bubbling beneath the surface as the personalities tend to duel.

Her pageant smile as she watches Bear leave the house is both comical and frightening.

Johnston is also impressive as Bear. Sensitive yet realistic, he is the film’s anchor, and it’s easy to want to be friends with a guy like him. Handsome yet not conceited, we want him to be with Nikki the normal and fear for his life with Nikki the psycho.

Disturbing scenes like a character’s head bashed against a steering wheel or a filleted ‘cat sandwich’ provide appropriate gross-out moments.

Teetering with dark comedy, it’s hard not to laugh, if not nervously, when Nikki wets her pants or shrieks at Bear to stay in bed.

Fortunately, the film never dissolves into complete foolishness.

Thankfully, gone are the days of female exploitation in horror films, and there is not a bare breast to be found. The only gratuitous scene is a quick bare-assed shot of Bear, so it’s nice that the males are getting their naked due.

Obsession (2026) delivers a ‘be careful what you wish for’ message and frames the danger of making someone love you above all else.

The only way to do that is to dehumanize them and strip away everything that made them someone you liked in the first place, which is dark territory.

2026 Films, Action, Adventure, Blockbuster, Epic, Fantasy

The Odyssey-2026

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The Odyssey-2026

Director Christopher Nolan

Starring Matt Damon

Scott’s Review #1,542

Reviewed July 23, 2026

Grade: A

Christopher Nolan’s film The Odyssey (2026) is a breathtaking spectacle that feels cinematically invigorating and inspired.

It’s movie magic at its finest.

Fortunate to see this film in an enormous IMAX theater, it’s the perfect and recommended way to see a film of this scale. A crowded and energetic audience is also suggested to connect with the overall moviegoing experience.

My hat goes off to Nolan, who has gotten asses back into empty theater seats in recent years where they belong.

It was thanks to his 2023 film Oppenheimer, which won Best Picture, that cinema became a mandatory part of moviegoing enjoyment again, along with the progressive Barbie (2023).

In the story, Odysseus (Matt Damon), king of Ithaca, embarks on a perilous journey to return home after the Trojan War, after many years away from his land and loved ones.

Crossing the Mediterranean Sea with his fellow soldiers, they soon find themselves battling not only the elements but an array of deadly obstacles and mythical creatures that await the men along the way.

In clever and intriguing form, the story traverses a few different timelines.

It is told in non-linear fashion, from early romantic sequences between Odysseus and his wife, Penelope (Anne Hathaway), to the backstory of his son, Telemachus (Tom Holland), and nemesis, Antinous (Robert Pattinson).

We immediately learn that Odysseus has been away for years, but what happens during those years is mysterious and aching to be slowly unraveled.

Other characters like Menelaus (Jon Bernthal), Helen of Troy/ Clytemnestra (Lupita Nyong’o), Athena (Zendaya), Circe (Samantha Morton), Calypso (Charlize Theron), various nymphs, and others are featured as Odysseus and Telemachus’ stories are explored.

Additionally, lands and worlds like Hades, a distinct realm where individuals go after death, and Aeaea, an island inhabited by the villainous Circe, are featured.

Having some knowledge of Greek Mythology is extremely helpful, as it can be quite difficult to keep track of who everyone is and how their history is part of Odysseus’s.

My two favorite sequences are when Odysseus’s men desperately land on Aeaea, fraught with severe hunger. Circe, who seems motherly and kind, delights in preparing steamy stew and other delicious food for them.

As they greedily chow down, they begin to cough and choke, turning into pigs. Circe turns wicked, vowing revenge on the men for an apparent attack on her sister years earlier.

The final thirty minutes of The Odyssey features a grandiose and daring fight sequence after Penelope declares she will marry whoever can string Odysseus’s bow and shoot an arrow through a row of axe heads.

The suitors all fail, but Odysseus succeeds and reveals his identity to her, culminating in a reunion. The hall erupts in battle, Odysseus slaying the challenging suitors.

The sequence features thunderous sound effects that, to me, sounded like footsteps running along a jogging path increasing in their intensity and momentum as the fight turns darker and bloodier.

Way back to the films The Dark Knight (2008) and Inception (2010), directed by Nolan, I vividly recall being enamored with those similar sound scores.

To say that The Odyssey is a spectacle is an understatement.

It proves with technical precision and grandeur that there’s no filmmaker quite like Nolan to reignite an ancient adventure and that there’s no limit to magnificence and perfection in cinema.

Lush seas, gritty battles, and mythical creatures abound in this opus.

Still, the film also has quality acting and a bit of heart too, so the story is never overwhelmed by the technical stuff, which is always a fear in blockbusters of this nature.

Damon, Hathaway, Holland, and Pattinson get top acting praise from me.

Terrific chemistry exists between Damon and Hathaway, specifically, making their passionate and dedicated love story remarkably believable.

I’ve heard complaints about the film being too ‘woke’, a derogatory term tinged with racism and homophobia. Nolan wisely makes the film inclusive, featuring a trans actor (Page) and several black and brown actors.

The Odyssey (2026) offers action, adventure, battles, and all the other trimmings expected from an epic action film shrouded in fantasy and magic.

But on an entirely different level.

It also offers tenderness, humanity, connection, and heart that exceed expectations all around.

2026 Films, Comedy, Drama

The Devil Wears Prada 2-2026

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The Devil Wears Prada 2-2026

Director David Frankel

Starring Anne Hathaway, Meryl Streep

Scott’s Review #1,533

Reviewed May 11, 2026

Grade: B+

Twenty years after the box-office smash The Devil Wears Prada (2006), an entertaining and satisfying follow-up, The Devil Wears Prada 2 (2026), will please fans of the original and even garner a fresh audience.

The experience is fun and largely what one would expect from a sequel. Besides a light plot twist or two, there is nothing too surprising about the film. One could almost accuse it of being a money grab or a nostalgic throwback, and they’d be right in a way.

But with the return of the original cast, and with director David Frankel and screenwriter Aline Brosh McKenna at the helm, the formula works well, and consistency and truth to the characters are maintained.

And film audiences can rest easy with legendary icon Meryl Streep leading the pack of quality actors.

Doubtful if Streep would accept a role merely for a paycheck and without a good script at hand. This lends to security for cinema fans looking for more than a mediocre sequel. As I settled into my seat, I felt confident I would enjoy the film.

It’s delightful to see Anne Hathaway, Emily Blunt, and Stanley Tucci back at the helm.

Miranda (Streep), Andy (Hathaway), Emily (Blunt), and Nigel (Tucci) return to the fashionable streets of New York City and the sleek offices of Runway Magazine.

Stalwarts Miranda and Nigel remain at the company, while former assistants Andy and Emily, now in their 40s, have branched out into other industries (Andy) or an advertising company (Emily).

When Andy loses her job, she is offered a role with Runway, uniting with the others, much to the bitchy Miranda’s chagrin. The women playfully spar while an obvious respect is showcased.

Mixed with the humor is a dramatic storyline involving corporate takeovers, backstabbing, a struggle for control, and an interesting generational age angle.

Hathaway and Streep, in particular, have lost none of their original chemistry despite Andy now being a grown woman and an equal and no longer a minion to be chewed up and spit out.

The most fun is the knowledge that the women don’t really hate each other but share mutual admiration. They have their unique way of expressing that.

Laugh-out-loud moments occur mostly at Miranda’s expense as the rigid superstar is forced to endure an international flight in crowded coach seating and eating lunch in the building’s cafeteria, where she has never set foot.

Even though all the principal actors are wonderful, Streep is unsurprisingly the best part. The actor has a gift for flawlessly making any scene she is in something special.

As Miranda, she uses her eyes to her advantage, meshing wickedness, humor, and a burgeoning sentimentality. She’s a character audiences have previously loved to hate and now love to love.

Thankfully, since the setting is the fashion world, New York City is prominently featured and oozes sophistication, style, and a coolness. Many scenes of the characters walking down the crowded streets occur, enhancing a fresh, metropolitan Big Apple.

Impressively, the lobby of the Waldorf Astoria, Hudson Yards, and the former McGraw-Hill building are used.

Gorgeous locales in Milan, Italy, the fashion capital of the world, are featured at a swanky gala and as the film’s high point. da Vinci’s The Last Supper, The Palazzo Parigi & Grand Spa Milano, and Lake Como are featured, which provides a sizzling, sophisticated feeling.

We even get to see Lady Gaga perform!

The film has laughs, heart, and a timely message about technology, journalism, and the treatment of people as aging, disposable objects rather than human beings.

In a 2026 world filled with corruption, lies, and coldness, the film gives a much-needed slice of escapism and an uplifting message of unity.

A box office hit, it also reaffirms the importance of audience connection, and I happily enjoyed the film in a full theatre.

The consensus about The Devil Wears Prada 2 (2026) is that while not as good as the original, it’s a quality slice of popcorn nostalgia with a terrific message.

I agree 100% with this sentiment.