THE MORRIGAN is now available on Digital from Cineverse.
The film follows an archaeologist specialising in Gaelic mythology who travels with her teenage daughter to a remote region of Ireland. The two are forced to fight for their lives as a vengeful Pagan War Goddess is released from her tomb.
To celebrate the release, WAMG is giving away:
One (1)Apple TV digital code
EMAIL michelle@wearemoviegeeks.com to enter.
WINNER WILL BE CHOSEN FROM ALL QUALIFYING ENTRIES. NO PURCHASE NECESSARY. MUST LIVE IN THE CONTINENTAL U.S
The Morrigan stars Saffron Burrows (Troy, The Bank Job), Toby Stephens (Die Another Day, Black Sails), and James Cosmo (Braveheart, Troy). The film is directed by Colum Eastwood and produced by Ashley Holberry and Gavin Cosmo Mehrtens of Cowboy Cosmonaut. Its festival run started with the World Premiere at Galway Film Fleadh, and includes screenings at Tallinn Black Nights and Tromsø International Film Festival. Alliance Media Partners [AMP] negotiated the North American distribution release with Cineverse. AMP will be representing the film for international sales at the upcoming European Film Market in Berlin.
Michael Shannon (Man of Steel,Nuremberg, Nocturnal Animals) is set to star in the terrifying new horror Doctor Caligari’s Cabinet of Wonders, as the enigmatic Doctor Caligari, it was announced today. The film will be directed by John Erick Dowdle (No Escape, As Above So Below, Quarantine, Devil) from his own screenplay, alongside his brother and producing partner Drew Dowdle. This film continues the collaboration between Shannon and the Dowdle Brothers, who co-created the Emmy-Nominated mini-series “Waco“, in which Shannon co-starred.
Anton is fully financing the film as well as handling worldwide rights at the upcoming European Film Market in Berlin. CAA Media Finance will co-rep North American rights with Anton.
Sébastien Raybaud (Victorian Psycho, Greenland 2, The Night House) and Brandt Wrightsman (Greenland 2) will produce for Anton, alongside Drew Dowdle for Brothers Dowdle Productions, and Stuart Manashil (His House, Pieces of a Woman, Malcom & Marie). Principal photography will commence June 2026.
Doctor Caligari’s Cabinet of Wonders is a contemporary take on the iconic classic, The Cabinet of Dr. Caligari, widely considered to be the first true horror movie. It’s a terrifying and mind-bending psychological horror starring Shannon as the titular villain, Doctor Caligari, a traveling mesmerist who journeys from town to town with a sleepwalker under his control, leaving a trail of grisly murders in their wake. When a young woman’s boyfriend disappears mysteriously, she believes that the enigmatic Doctor Caligari is somehow responsible. The problem is—nobody believes her.
Writer/Director John Erick Dowdle commented, “Having worked with Michael Shannon on multiple projects, my brother and I have seen firsthand the unnerving intensity he can bring to even the simplest moments. The idea of seeing him play the horrifying Doctor Caligari became an obsession for us. The trust and creative shorthand we’ve built together will allow us to push deeper and bolder as we reimagine this iconic German Expressionist classic for a modern audience. I couldn’t be more excited to bring this nightmare to life with him.”
Michael Shannon’s career features performances on stage, television and film during which time he has earned two Academy Award nominations for Best Supporting Actor in Sam Mendes’ Revolutionary Road (opposite Kate Winslet and Leonardo DiCaprio) and Tom Ford’s Nocturnal Animals (opposite Amy Adams and Jake Gyllenhaal), and Screen Actors Guild and Golden Globe nominations for his role in Ramin Bahrani’s 99 Homes.
Most recently Shannon appeared in James Vanderbilt’s critically acclaimed Nuremberg (opposite Russell Crowe and Rami Malik), and in Mike Makowksy’s miniseries “Death by Lightning” for Netflix. Audiences also know him from his role as General Zod in Warner Bros.’ DC Extended Universe films The Flash, Man of Steel. Other notable performances include Guillermo Del Toro’s Shape of Water, music icon Elvis Presley in Liza Johnson’s Elvis vs. Nixon (opposite Kevin Spacey as Nixon) and as Walt Thrombey in Rian Johnson’s written and directed mystery Knives Out.
Shannon is represented by CAA and Range Media Partners, and Yorn, Levine, Barnes, Krintzman, Rubenstein, Kohner, Endlich, Goodell & Gellman.
In “Cassandre: Season 5” All the regulars return for another quartet of 90-minute light crime dramas to be solved by our intrepid quintet of coppers in this ongoing French TV series. Review of Season 4 HERE.
The will- they/won’t-they love tease between Cassandre (Gwendoline Hamon) and Pascal (Alexandre Varga) continues on its rocky course. The other three principals in the homicide squad also have several romantic and personal developments claiming some screen time. One particular new arrival complicates life for the stars, in a plot thread that might wear thin on some viewers.
The individual murder cases are generally up to snuff with their predecessors, though the second relies a bit heavily on coincidence, and the third might turn out less surprisingly than series fans would expect. Series creator and main writer Bruno Lecigne splits the script creation duties with Mathieu Masmondet and a slew of others keeping a steady balance between the humor and crime-solving sides of the episodes.
No need to binge, but watch them in order for relationship progressions. I’d also recommend spreading them out a bit. Screening them back-to-back for review purposes left me a bit irritated with the ratio of soapy subplots to more substantive elements, and impatient with the stars’ avoidance of many things that should have been said or done sooner. Or maybe that’s just symptomatic of my progressive curmudgeination (My word, but feel free to use it on any old crabs in your lives.).
Despite these freshly-picked nits the season was enjoyable enough to keep me ready for the rest of the series to cross the Atlantic. They’ve already aired three more seasons, with a few more episodes scheduled for later this year. I would have liked for Dominique Pinon’s Jean-Paul to be featured more, but there are plenty of episodes left for him to enhance with his unique charm.
“Cassandre: Season Five”, in French with subtitles, streams on MHz Choice starting on February 3.
Terror Vison Records is honored to present the Original Motion Picture Score to In the Mouth of Madness written and performed by John Carpenter and Jim Lang. Available, finally, for the first time on vinyl and cassette. To celebrate the release, WAMG is giving away:
One (1)Pickman’s Variant – Yellow/red/black handpour (LTD to 200)
EMAIL michelle@wearemoviegeeks.com to enter.
WINNER WILL BE CHOSEN FROM ALL QUALIFYING ENTRIES. NO PURCHASE NECESSARY. MUST LIVE IN THE CONTINENTAL U.S
In the Mouth of Madness has long been embraced by Carpenter fans for the depth and texture it brings to his sound, pushing his music into territory he hadn’t explored before. The film marks a sharp break from the minimalist scores that defined Halloween, The Fog, Christine, Halloween III, Escape from New York, Big Trouble in Little China, and They Live. Where those films relied on stripped-down synth lines and rigid repetition, In the Mouth of Madness leans into a heavier, hard-rock attack mixed with a murky layer of synth akin to Prince of Darkness. That shift didn’t just serve the film; it reoriented Carpenter’s musical identity, paving the way for the more aggressive scores of Vampires and Ghosts of Mars and ultimately laying the groundwork for his later solo work. The score is bold and intense, one that fans continue to discover and return to.
In the Mouth of Madness tells the story of John Trent, played by Sam Neill, an insurance investigator sent to locate a missing horror novelist named Sutter Cane. As the search unfolds, Trent begins to realize that Cane’s books are bleeding into reality, collapsing the line between fiction, belief, and the end of the world itself. The film was initially dismissed upon its release, but, like much of Carpenter’s work, gradually built a cult following as its ideas and ambitions caught up with audiences.
Terror Vision located the original master tapes and uncovered an additional, shorter cut of the film’s main theme, as heard during the film’s opening credits, resulting in the definitive release of this essential score fans have been wanting for years.
The packaging includes:
– Deluxe 2XLP featuring 24 tracks with over an hour of music
– New Artwork by Ghoulish Gary Pullin and layout by Earl Kess
– Printed Record Sleeves
– Extensive liner notes pulled from new interviews with Carpenter/Lang compiled/written by Shon Wheeler
– Mastered by Collin Jordan at The Boiler Room
– Pressed at Terror Vision’s in-house facility – Graveface Press
Available as these colorways:
Terror Vision Website Exclusive Bespoke Edition (super LTD and very time-consuming to press, hence the additional cost – LTD to 94 copies)
Sutter Cane’s Variant – blood in blue (LTD to 200) “Did I ever tell you my favorite color was blue?”
Pickman’s Variant – Yellow/red/black handpour (LTD to 200)
Hobb’s End Variant – Glow Green with Black Swirl (LTD to 200)
“Single Black Crayon” – LTD to 50 (this option is just a black record, well, two of them as it’s a double LP set)
Jaafar Jackson as Michael Jackson in Michael. Photo Credit: Glen Wilson/Lionsgate
“Y’all willin’ to fight for it?” asks Joe Jackson of his sons in the brand new trailer for MICHAEL.
From director Antoine Fuqua and starring Jaafar Jackson, Nia Long, Laura Harrier, Juliano Krue Valdi, with Miles Teller, and Colman Domingo, MICHAEL is in theaters and IMAX April 24
MICHAEL is the cinematic portrayal of the life and legacy of one of the most influential artists the world has ever known. The film tells the story of Michael Jackson’s life beyond the music, tracing his journey from the discovery of his extraordinary talent as the lead of the Jackson Five, to the visionary artist whose creative ambition fueled a relentless pursuit to become the biggest entertainer in the world. Highlighting both his life off-stage and some of the most iconic performances from his early solo career, the film gives audiences a front-row seat to Michael Jackson as never before.
Colman Domingo as Joe Jackson in Michael. Photo Credit: Courtesy of LionsgateJudah Edwards as Young Tito, Jaylen Hunter as Young Marlon, Juliano Krue Valdi as Young MJ, Nathaniel McIntyre as Young Jackie and Jayden Harville as Young Jermaine in Michael. Photo Credit: Courtesy of Lionsgate
Paramount Pictures today announced a Scream 7 Opening Night Fan Event Screening to be held on Thursday, February 26, celebrating the film’s theatrical release exclusively in theatres nationwide on February 27.
Fans will be among the first to see the film on the biggest movie screens during the Opening Night Fan Event Screening on Thursday, February 26 at 6:00PM local time. In addition to regular theatrical engagements that evening, the event will feature one special show in participating IMAX locations and at theatres across the country, including Dolby Cinema, 4DX, SCREENX, MX4D and exhibitors’ proprietary premium large formats, including Cinemark XD.
Ticketholders attending the advance fan screening of Scream 7 will also enjoy special content curated for this event and receive a limited-edition collector’s print commemorating the 30th Anniversary of Scream, to be given away at their local theatre on the date of the event – while supplies last.
“We’re excited to give our most devoted Scream fans the first opportunity to experience the latest chapter of this iconic franchise on the biggest screens, in the most immersive way,” said Paramount Pictures Head of Domestic Distribution Shaun Barber.
Tickets for the Scream 7 Opening Night Fan Event Screening and for general theatrical showtimes go on sale Monday, February 9 at 6:00AM PT. To purchase tickets for the Fan Event Screening and to find participating theatre listings in your area, visit screammovie.com/seeitfirst. General tickets are also available at screammovie.com, fandango.com/scream7, exhibitors’ websites and mobile apps, and participating theatre box offices nationwide.
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. The film is directed by original Scream writer, Kevin Williamson, with a screenplay by Kevin Williamson and Guy Busick, story by James Vanderbilt & Guy Busick, based on characters created by Kevin Williamson.
As a huge Jason Statham fan, I was somewhat disappointed by the balance between drama and action in his latest vehicle, SHELTER. It’s slower and darker than most of his body(-slamming) of work. Here he’s a recluse living solo with his dog on a small island off the dreary Scottish coast, with only a small shack and decommissioned lighthouse. His only dealing with other humans is a boat that brings supplies once a week. Jessie (Bodie Rae Breathnach), the girl who delivers them, is supposed to just drop the box and leave without even seeing him. Her one attempt at conversation is curtly rebuffed.
That solitude falls apart when a sudden storm swamps Jessie’s boat, forcing him to rescue the girl and treat her injuries. He really doesn’t want to leave the island, but eventually must to get medical supplies. That’s when he’s picked up by ever-vigilant government agents who monitor the ubiquitous security cameras throughout what’s left of the Empire. He’s on Her/His Majesty’s terrorist watch list, so the heavy-duty pursuit begins. A retired spy network mucky-muck (Bill Nighy) has his own surveillance system (which even monitors the government’s), and his own agenda. We soon learn that Jason isn’t really a terrorist, but has been framed, which is why he’s been in hiding for a decade, or so. Not much of a surprise there. It’s Jason-freakin’-Statham! We already knew there ain’t no way he’s gonna be the bad guy!
So one faction deploys all their assets to arrest him, and one sends meaner minions to kill him. And Jessie, while they’re at it, since she’s seen too much of this top-secret stuff. The rest is a chase with almost enough action to satisfy Jason’s fans. His backstory is that he’s got super-lethal skills akin to his eponymous character in THE BEEKEEPER, allowing him to contend with vastly superior forces, while having to protect Jessie along the way.
Two problems. One is that most of the fights occur in dark settings, obscuring the action. The main reason for any butts plopping down on those theater seats is to watch Jason go all Statham-y on hordes of baddies in vivid detail. Shame on director Roman Waugh for undercutting his most valuable asset. The dude’s helmed enough action flicks to know better. The second is that Jessie’s character is written (also by Waugh) as annoyingly whiny, imposing too much dialog and too many moody silences on what couldda shouldda been a faster-paced adventure, as THE BEEKEEPER and A WORKING MAN were within the last two years. This plays out as if it were written for someone like Liam Neeson, who typically has more quiet, thoughtful stretches between his action scenes.
So, if Stathamians (Stathamites?) lower their adrenaline expectations, they can still find this worth the time. If not, then hope for BEEKEEPER 2: THE RETURN OF THE HIVE, or some other project that better serves The Master.
SHELTER opens in theaters on Friday, Jan. 30, 2026.
John Rambo, the highly anticipated origin story to the legendary franchise, has commenced production in Bangkok, Thailand, starring Noah Centineo (the upcoming Street Fighter) as the one-man fighting force, under the direction of the acclaimed, visceral Jalmari Helander(Sisu, Sisu: Road to Revengeand Rare Exports).
The film’s screenplay is by Rory Haines and Sohrab Noshirvani (Black Adam, The Mauritanian), and the film is produced by Kevin King Templeton and Les Weldon (Rambo & Expendables franchises), Jonathan Yunger (Rambo: Last Blood, Expend4bles) for Millennium Media, Michael Disco (San Andreas, Rampage) and Angela Russo-Otstot (Extraction, The Gray Man) for AGBO, Executive Producers include Anthony & Joe Russo (Avengers, Captain America), Trevor Short (Expendables franchise) for Millennium Media, Dallas Sonnier (Bone Tomahawk, The Pendragon Cycle: Rise of the Merlin) and Amanda Presmyk (Dragged Across Concrete, Run Hide Fight) for Bonfire Legend. The film will be distributed by Lionsgate.
John Rambo takes audiences back, years before the events of First Blood, diving deep into the roots and experiences that forged one of the big screen’s most enduring and complex characters.
Centineo will be joined by an exciting ensemble cast including yao (Sinners), Jason Tobin (“A Thousand Blows”), Quincy Isaiah (“Winning Time: The Rise of the Lakers Dynasty”), Jefferson White (“Yellowstone”), and Tayme Thapthimthong(“The White Lotus”).
After last weekend’s brutal winter storm, aren’t you dreaming of a getaway to a tropical island where you’re not wrenching your back shoveling snow or scraping ice off of your car’s windshield? Ah, but what if it’s deserted, with little to no chance of leaving (if only that old boat that’s got “S.S. MINNOW” painted on its side didn’t have that nasty hole in it hull)? And forget about any rescue ships arriving. Perhaps you’re not alone, at least that makes things more bearable. But what if it’s that co-worker you can’t stand? Or trust? These are all things to ponder while basking away in the warmth of your multiplex while watching at least one of these “stranded castaways” make several attempts to SEND HELP.
One part of that duo is introduced in the film’s opening scenes, Linda Liddle (Rachel McAdams). She’s a thirty-something single lady who spends most of her evenings devouring episodes of the TV series “Survivor” with her pet bird, when she’s not prepping for the next day. She’s “workin’ 9 to 5” as a bean counter “cog” at a big investment firm downtown. Its owner has just passed, leaving the company to his arrogant, entitled son, Bradley Preston (Dylan O’Brien). Linda’s all prepared to be appointed the new vice-president, due to her skills, seniority, and a promise from the late Mr. Preston. But naturally, the VP promotion goes to one of Bradley’s “frat bros”. Linda confronts Bradley, who really wants to axe her. However, he’s told of her invaluable “number-crunching”, so she’s spared. This also gets her an invite on the private jet to Bangkok to help seal the deal on a big merger. But these skies are far from friendly, as a storm cripples the aircraft, plunging it into the sea. Linda survives and awakens on the shore of what appears to be a large, lush, deserted island. As she has been researching and training to audition for her fave TV show, she’s in her element. And…she’s not alone. Further down the beach is her injured boss Bradley. Linda tends to the wounds of the ungrateful CEO, while locating food and building a shelter. The two clash, as it becomes clear that in this place, Linda is the boss. Can they work and live together? And does Linda really want to be rescued and return to her dreary life slaving for the obnoxious BP?
As you’ve probably guessed, this is basically a two character study, though enlivened with plenty of action and suspense. At the heart of it is Linda Liddle superbly brought to life by the talented McAdams. Though she’s mainly known for dramas, she expertly delivers her best comedy performance since the original MEAN GIRLS (that can’t be 22 years ago). She’s endearingly awkward and klutzy in the story’s first act, establishing Liddle as socially inept and dripping with “flopsweat” through her “bargain basement” attire. I was reminded of Michelle Pfieffer’s Selina in BATMAN RETURNS. And like her, trauma changes Liddle (the plane crash here) into someone completely different, full of purpose and drive. And often very intimidating. McAdams succeeds at turning our chuckles into gasps, almost reaching through the screen to pull us in (I’m guessing the 3D version works well). Luckily she’s got a superb scene, and island, partner with the versatile rising star O’Brien. I sang his praises a couple of years ago for his remarkable recreations of young Dan Aykroyd in SATURDAY NIGHT. Since then, he was also compelling in TWINLESS (but let’s forget ANNIVERSARY, shall we). As with McAdams, his take on Bradley is a comic horrible boss straight out of many workplace romps in act one. We even see some of his snark and venom-spewing attitude in his beach rescue. Somehow, O’Brien is able to turn it around, and have us in his corner, for a bit. Then we see that his seeming change of heart masks plenty of dark intentions. His vulnerability his another mask to cloud his cruelty. These are two charismatic screen actors in top form.
And who’s “pulling their strings”? Why, it’s none other than the glorious genre movie-making mastermind Sam Raimi. Actually, he’s got his fingerprints all over it, delighting and engaging us with his manic storytelling style, full of dark, almost pitch black, comic set pieces (somehow the plane crash is harrowing and hysterical), heightened by his still energetic compositions that careen from big close-ups (that tuna fish on Linda’s chin) to the sweeping island panoramas (take in the ragged cliffs). Those paying close attention will be rewarded by several of his endearing “call backs” (look at the office wall and the parking garage) that clearly set this in the quirky “Raimi-verse”, much like his last foray in the “Marvel-verse”. Be forewarned that he doesn’t hold back on the blood, guts, and mayhem (yes, there are native wildlife in the tall grass). And there are still lots of narrative “tricks” up the sleeve of this directing “prankster” as he makes good “pop pulp” out of the clever, twisty script from Damian Shannon and Mark Swift. Plus, two of Raimi’s stalwarts, cinematographer Bill Pope (making both the gleaming offices and lush beaches glisten) and composer extraordinaire Danny Elfman lift the film up with their artistry. Couple that with some vibrant visual effect magic and startling stunts and Raimi, along with McAdams and O’Brien, bring lots of energy (Sam’s been at this for five decades now) and a very entertaining take on cinematic castaway tropes (a nice mix of the Hanks classic, along with SWEPT AWAY and MISERY) in SEND HELP.
3.5 Out of 4
SEND HELP opens in theatres everywhere on Friday, January 30, 2026
Today, Apple TV announced that the highly anticipated fourth season of global hit series “Ted Lasso” will officially make its global debut in summer 2026. Apple TV also shared a glimpse of the new season, which will star and be executive produced by Jason Sudeikis. The fourth season is currently in production, and fan favorites including Emmy Award winner Hannah Waddingham, Juno Temple, Emmy Award winner Brett Goldstein, Brendan Hunt and Jeremy Swift are all set to return as their celebrated characters, alongside new season four additions Tanya Reynolds, Jude Mack, Faye Marsay, Rex Hayes, Aisling Sharkey, Abbie Hern and Grant Feely.
In season four, Ted returns to Richmond, taking on his biggest challenge yet: coaching a second division women’s football team. Throughout the course of the season, Ted and the team learn to leap before they look, taking chances they never thought they would.
“Ted Lasso” season four adds Emmy Award winner Jack Burditt (“Nobody Wants This,” “Modern Family,” “30 Rock”) as executive producer under a new overall deal with Apple TV. Sudeikis stars and executive produces alongside Hunt, Joe Kelly, Jane Becker, Jamie Lee and Bill Wrubel. Goldstein serves as writer and executive producer alongside Leann Bowen. Sarah Walker and Phoebe Walsh will serve as writers and producers for season four, and Sasha Garron co-produces. Julia Lindon will write for season four, and Dylan Marron will serve as story editor. Bill Lawrence executive produces via his Doozer Productions, in association with Warner Bros. Television Studios and Universal Television, a division of NBCUniversal content. Doozer’s Jeff Ingold and Liza Katzer also serve as executive producers. The series was developed by Sudeikis, Lawrence, Kelly and Hunt, and is based on the preexisting format and characters from NBC Sports.
Following its global debut on Apple TV, “Ted Lasso” broke records and quickly earned praise from fans and critics all over the world. The first season became the most Emmy Award-nominated comedy series, and the series went on to land rare back-to-back Outstanding Comedy Series Emmys for its first two seasons on air.
