- FX’s Exhilarating “The Drop: A Snowfall Saga” Is a Spin-off For the Ages (September 1, 2026)
Three years after FX’s “Snowfall” ended, the show’s first spin-off is finally here. Originally announced in 2023, “The Drop: A Snowfall Story” follows fan-favorite Wanda Bell (Gail Bean) as she embarks on a career in the music industry after finally getting clean from drugs. She, along with her cousins Lemar (Asante Blackk) and James (Peyton Alex Smith), uses their talents to create beats, manage talent, and bring their community together to usher in a new era of music.
While some characters are familiar, this new series feels inherently different from its predecessor. Focused on a community trying to heal from a decade that tried to rip them apart, each episode shows how intertwined the music industry and street politics have always been. As their lives become tied up with up-and-coming rapper Artillery (Simmie “Buddy” Sims III), whose newest track celebrates the death of a police officer, it becomes clear that Wanda, Lemar, and James’s lives are tethered to the realities of the community they grew up in, no matter how hard they try to escape it.
While the plot may sound generic, there’s something present within the foundation of this new series that sets it apart from other crime dramas. In each scene, there’s a freshness that emanates from the camera lens and through the performers that gaze beyond it. At the center of this is Blackk, who, seven years after a breakout performance in Ava DuVernay’s “When They See Us,” has finally been given a screenplay worthy of his talents. As Lemar, he harnesses a wisdom beyond his years, perfectly emulating a man on the precarious cusp between boyhood and the harsh world of adulthood.
He, along with Wanda, is the heart of this story, and Bean is equally staggering when she’s on screen. Though this new version of her may be clean, she’s still the determined and brash woman we’ve always known. Clinging to the dreams of working at a record label, Wanda is determined to see this arc of her life through, no matter the cost. Bean is magnetic throughout it all, her eyes filled with a feverish determination, yet behind her strong outer shell lies a coldness that she harnesses like a weapon, and will define Bean’s on-screen presence for years. Each character in this new series feels lived in, like the air they breathe has transferred from the page of each episode’s script onto the yellow haze of the LA streets they exist upon.
The series is shot, blocked, and framed with life in mind; the lives of these characters, their community, and the city they live in. Every sequence has weight, not just narratively, but in the surroundings of our characters and the music they begin to share. The streets they wander feel alive, backed by a fantastic soundtrack, grounded performances, and well-crafted sets. There’s a particular sequence in the show’s first episode that sets this all in motion, when Lemar plays his first beat for Artillery and his friends. As the musician saunters down the stairs of a trap house, gauze and bandages plastered to his forehead and stomach, he begins to rap over the music blaring in the background.
“These the life and times of a rider,” he chants, as his friends repeat the words, and the original beat fades out and gives way to Larrance “Rance 1500” Dopson’s sinister score. In this moment, we see how music can bring this community together, but also how it can quickly morph from art into something bigger. The words Artillery raps seem to ricochet off the walls of the house he inhabits, and each sequence where these characters create beats and songs is electric. The sound mixing is often tethered to the performances of these actors and is used to highlight the seemingly insignificant everyday sounds and vocal inflections that go into making rap music the elevated genre it’s always been. The craft present within the series gives it a slick edge which allows the show to quickly unfold into a uniquely singular television event.
FX hasn’t simply cashed in on a spin-off of one of the company’s most impressive shows; they have given creator and writer Malcolm Spellman room to shape the future of this franchise, which proves to be a breeding ground for rich storytelling. From its magnetic, expansive cast to its exciting needle drops, each episode has an admirable freshness. In a television landscape filled to the brim with lackluster reboots, sequels, and spin-offs, “The Drop: A Snowfall Saga” manages to stand alone, bringing forth its own remarkable merit. With each well-crafted sequence, this new series proves itself a singular experience, showcasing the intricacies of music, community, and survival in a time of upheaval.
Five episodes were screened for review.
- Short Films in Focus: Bouncy Brothers (with Nicholas J. Santore) (September 1, 2026)
As you’ve traveled this summer, either at carnivals, block parties, state fairs, or street fairs, you have probably seen a bouncy house. Someone was in charge of getting that bouncy house to that location, inflating it, testing it out, and waiting for the rental to be finished so they could deflate it, roll it back up, lift it onto a trailer, take it back to headquarters, re-inflate it, and hose it down before renting it out again. It is hard work that seems like it would put smiles on the faces of those who work these circuits, given their child-pleasing end results, but behind the scenes, it can be physically exhausting and hard to keep up with the demands and cancellations.
“Bouncy Brothers” is a short doc about one man, Anthony Glazier, who got into the business of renting out bouncy houses, a seemingly lucrative business, seeing as how you always count on seeing one somewhere in the summertime. Anthony moved far away from his family to set up shop in a rural area, where his office consists of an overturned bucket for a chair and an actual chair for a table, where he listens to voicemails on his landline from either co-workers calling in sick or customers canceling their order.
For anyone who has gone into business for themselves and works alone most of the time, this will feel painfully real, as you watch your month’s rent, bills, and possible leftover money for savings or spending dwindle with each phone call. Desperate, Anthony calls on his brother, Ted, to come out and help him get back on track. Too many bouncy houses need cleaning, and nobody can do the job alone. Ted agrees, having been here before. This isn’t the first time Anthony has reached out for help.
Bouncy Brothers
Nicholas J. Santore’s documentary dives deeper into their relationship as well as the business of working on your own and surviving by the skin of your teeth. Anthony is clearly a good self-starter, but caves easily when negotiating a price for a bouncy house rental, because something is always better than nothing. Ted, always there to rescue his brother in times of need, fears this venture might not go the distance and that he’ll have to save him again down the road. Still, he’s there and not giving up on him. “Trust is hard to find,” Anthony says. “And I trust my brother more than anybody.”
Santore produced “Bouncy Brothers” with his producing partner, Tom Krawczyk, who directed the wonderful short film, “My Dudus,” which told the story of his mother’s friendship with a neighborhood squirrel. Both films are loving, moving tributes to members of their families (Anthony and Ted are Nicholas’ uncles), while also revealing the heartbreak within the narratives. Bouncy houses, castles, and slides are a lot of fun, but like the relationship between two siblings, they sometimes need a lot of maintenance and care to sustain.
Q&A with director Nicholas J. Santore
How did this come about?
My uncles Anthony and Ted have been next-door neighbors for most of their adult lives. Their houses, located in the west suburbs of Illinois, are also next door to my grandparents (their parents), who first moved into the neighborhood in the early 1960s. As you can imagine, I’ve spent much of my 39 years on that block.
After Anthony moved next door, they spent most of their time working on projects together in Ted’s home workshop, including several years gut-rehabbing Anthony’s house from the ground up. Raised in a tight-knit family with a strong blue-collar work ethic, together they could achieve anything they put their minds to.
But at the end of the pandemic, Anthony was restless for a change. He couldn’t handle the confines of the suburbs and his 9-to-5 job, and he wanted to be the first in the family to give it a go on his own. Anthony had visited a friend who moved to Bushnell, Florida, several times and decided to move there when he was offered the opportunity to take over an inflatable bounce house rental business. On a whim, he traded his newly renovated home for the business, which included five acres of land, a house barely holding onto its foundation, and a collection of inflatable bounce houses. Even with zero knowledge of how to manage the business, Anthony felt it was the perfect opportunity to take a leap and figure it out.
Director Nick Santore
I knew this move was the beginning of a bigger story. Over the next year, I tracked everything happening between Anthony and Ted. I kept thinking how incredible it would be if they were in a position to run the business together; I could somehow show the bond they share by grinding through hard work. Then came that fateful phone call from my uncle Ted. He had told me that Anthony was struggling to run the business by himself and was in dire need of help. Ted, a high school teacher, decided to spend his entire summer in Florida to get Anthony back on track. I knew I had to follow along.
And so, I headed down to Florida to spend a full week capturing Ted’s arrival as he jumped in to help Anthony save the business. Over the course of the week, I discovered more than just a beautiful bond; I chronicled the ups and downs of brotherhood and realized Ted wasn’t there to save just the business, but Anthony himself. This film delves into the inner turmoil we undergo when we choose to leave family behind in pursuit of a dream, how that dream isn’t always what it’s cracked up to be, and what it really looks like to have family by your side.
The film is great at depicting how back-breaking this work is. Did you ever feel the need to put the cameras down and help out? And did you?
We were so wrapped up in capturing absolutely everything we possibly could that we didn’t have time to think about or do anything else!
Did you have the “one year later” idea planned when you finished filming them that summer? Or did you have a finished film and then the “one year later” happened?
The film was actually finished before I decided to add the ending. But as documentaries often go, the story kept going. It took some time and convincing for me to add that last beat to the film; I don’t always like wrapping things up so perfectly for an audience. But since it felt like such a vital part of the story, I knew it had to be in there. I think it really helps solidify how strong the bond between the brothers really is.
What did Anthony and Ted think of this film when they saw it?
I think more than anything, they were impressed by the fact that we were able to pull so much of a story out of what they felt was just a week’s worth of the two of them working. I honestly wish I could have filmed for much longer, especially with Anthony on his own. I think there are so many more layers to this story I’d like to dive into, which I may do within the constructs of a narrative film.
With this and Krawczyk’s “My Dudus,” do you find you’re mainly drawn to stories of your families, or might the next film be a complete departure?
I have always been all about family-focused stories. Although most of my projects have been focused on people close to my collaborators and me, I am starting to explore outside of that close circle. I am currently working as a story producer on a documentary about a high school football team from the ‘80s that is, in its own right, its own little family. As a storyteller, I love examining the values and complexity within family dynamics, and I don’t see that changing any time soon.
- The Unloved, Part 153: This Is My Life (September 1, 2026)
Nora Ephron’s legacy is so vast that you need only say her name and everyone knows exactly what you mean. “Like a Nora Ephron movie,” “right out of a Nora Ephron play,” “a piece redolent of Nora Ephron.” Say no more. And yet her movies don’t get the same shine as the idea of her movies, where people are pushed through the shape of the modern world as if through a pasta maker, having to deal with their new shape and its attendant problems. Namely that you’re about to be someone’s dinner.
Whether that’s Meg Ryan’s bookshop owner fighting for her life when Tom Hanks’ corporate lackey moves in next door to suck the blood out of her business in “You’ve Got Mail.” Or Ryan again and Billy Crystal having to become other people to find love in Rob Reiner’s film of her script “When Harry Met Sally…” Or Meryl Streep’s gadabout having to become a wife for a cad in Mike Nichols’ film of “Heartburn” before finally realizing she’d rather just be herself. That is the plight of the Nora Ephron woman, and once we’ve met them we don’t forget them.
1992’s “This is My Life” didn’t even get a chance to be forgotten, as it barely got attention at the time and has since been so neglected you could be forgiven for not knowing it exists. For a figure as monolithic as Ephron, that’s quite a feat. It’s a crying shame as it’s an incredible piece, funny and brittle and warm and cold all at once. Julie Kavner (the best friend of the comedy writer), Samantha Mathis, and Gabby Hoffman play Ephron at different stages of her life, from the young woman knee high to unappreciated comedic voices in her house, to the teen girl watching with jealousy and sadness as someone close to her becomes too famous to be her mother anymore, and to the woman who thought she could have it all.
It’s a remarkable little comedy with no greater ambition than capturing those moments when three people have to understand what it means to share a life as it changes so dramatically. A really special film. Legendary film critic Carrie Rickey and I once started talking about her movies, and we both landed at the same conclusion: it’s her best movie by quite some distance. When Carrie gives it the seal of approval, that’s gospel.
- “Onimusha: Way of the Sword” is a Drawn-Out Samurai Epic (August 31, 2026)
Capcom has had an incredible 2026 so far, with the releases of the fantastic “Resident Evil Requiem,” “Pragmata,” and “Monster Hunter Stories 3.” Rounding out the year is “Onimusha: Way of the Sword.”
It’s the latest mainline entry in the series after a staggering 20-year hiatus, the last one being 2006’s “Onimusha: Dawn of Dreams” all the way back on the PlayStation 2. Since then there have been a few spin-offs and remasters of older titles, but fans were itching for a new “Onimusha,” one built for the modern age.
That’s exactly what we got with “Onimusha: Way of the Sword.” It has a heartfelt story, charming characters, surprisingly manageable sandbox, and excellent combat. Although the pacing suffers a bit and feels drawn-out due to an overabundance of mini-boss battles, “Way of the Sword” is the triumphant resurgence that the series needed.
You play as Miyamoto Musashi (whose likeness is borrowed from the legendary Japanese actor Toshiro Mifune) journey to become the strongest samurai around. After stumbling across demonic monsters called Genma and getting himself killed, he’s granted an Oni gauntlet during his brief trip to hell, gets resurrected and gains tremendous Oni-like powers.
With these newfound abilities, he vows to rid Kyoto of the infectious malice that’s driving its citizens mad. It’s a strong setup that paves the way for an emotional ending, and that’s mainly thanks to his equally compelling comrades and adversaries.
His rival, Ganryu Sasaki, was also killed and given a gauntlet. But he chooses to devour human souls instead of Genma ones like Musashi, showing the stark contrast between both their humanities. Despite being a serious samurai, Musashi also has his clumsy side, occasionally tripping over himself. Shizuka, the Oni living inside his gauntlet, is a fun companion who banters with him too. These moments add smart moments of humor to an otherwise dark tale.
As you continue through the story and purify more regions of Kyoto from the foggy malice, the area opens up, allowing Musashi to explore more of it. It’s reminiscent of Kamurocho from the “Yakuza/Like a Dragon” games. It’s a sandbox with virtually no loading screens that you can seamlessly roam around in and is unexpectedly dense and lively. It’s a welcome change of pace from needlessly bloated open-worlds like feudal Japan in “Assassin’s Creed: Shadows.”
The real-time combat is a treat, as it’s weighty and meticulous, veering on the edge of a Soulslike while having plenty of cinematic flair. When you hit enemies, different colored soul orbs fly out of them, and Musashi can use his gauntlet to absorb them to help in battle. For example, red orbs give him points to unlock new skills, while yellow orbs replenish his health aside from using healing items. There’s a delicate balance between attacking your opponent and stopping momentarily to absorb the souls.
Musashi can parry, block, and dodge attacks. While these mechanics aren’t revolutionary by themselves, it’s the way that they reward you that feels so gratifying. Parrying builds up your Blaze meter, and when full, Musashi’s sword erupts in blue flame. His regular attacks then deal extra damage and increase the chance for blue soul orbs to drop, which when absorbed, in turn builds up the Oni Armament meter, allowing you to unleash devastating Oni-fueled attacks. Every gameplay mechanic cleverly feeds into each other, resulting in combat feeling like a synergistic bloody dance.
Boss fights are exhilarating too, whether it’s the lightning beast Nue or intimidating multi-armed Rasho-Gan, they have unique attack patterns to learn in order to deflect or dodge them. Some can be frustratingly difficult sometimes, but once you have the rhythm down, the victory becomes all the sweeter. However, “Way of the Sword” relies too heavily on certain Genma mini-bosses that appear when Musashi attempts to close demonic rifts around Kyoto. It drags the story out unnecessarily and gets repetitive after a while.
Outside of the main story, though, you can tackle side quests from locals called Curious Cases. Not only do you learn more about ancient Japanese mythology and its different creatures, but you’re incentivized as they provide helpful materials to augment Musashi’s equipment. While Curious Cases basically just end with killing a group of Genma, they don’t overstay their welcome, and the rewards are still worth completing them for.
“Onimusha: Way of the Sword” is a fantastic action game that continues Capcom’s impressive stride. The scope of it all is impressively restrained. The story, characters, and world all feel grounded, but the apocalyptic stakes simultaneously make them feel grander. Thankfully, the reins were unleashed when it came to the combat, which is one of the most satisfying this year.
September is a wildly busy month for new and exciting game releases, even before “Grand Theft Auto VI” arrives in November. Be sure to make time for “Onimusha: Way of the Sword.”
Capcom provided a review copy of this title. It will be released for PS5, Windows, Nintendo Switch 2, and Xbox Series X/S on September 4, 2026.
- “The Blood of Dawnwalker” Captivates Gamers with Immersive Storytelling (August 31, 2026)
It’s funny sometimes how issues with a game can be overwhelmed by what it does well. Every gamer has a few titles that they adore that they’d admit don’t have the strongest storytelling, just addictive gameplay. There are platformers that are among my favorite of all time for which I could barely tell you what the story is at all. What’s rarer is for early technical and gameplay issues to fall away under impressive writing and world-building.
But that was exactly my experience with the surprisingly excellent “The Blood of Dawnwalker,” a new RPG from a co-creator of “The Witcher 3: Wild Hunt” and “Cyberpunk 2077,” but a title that could get lost in the wave of titles about to be released in one of the most crowded release windows in history. In September and October, before “Grand Theft Auto VI” takes all the oxygen in the gaming world, there are a dozen or so titles that I can’t wait to play. If half of them are as good as “Dawnwalker,” this will be one of the best gaming years of all time.
Fans of a little Marvel character named Blade can probably guess what the title of this game refers to already. In that world, Blade was known as a “daywalker,” but the idea here is the same: A human-vampire hybrid that can survive the sunlight that usually kills bloodsuckers. The developers at Rebel Wolves take that concept and apply it to an RPG experience that will feel very visually familiar to fans of “The Witcher.” However, the hybrid existence of the “Dawnwalker” that gives this game its title also creatively influences the way it’s played: Divided into alternating daylight and nighttime loops in which the player has different powers, experiences, and even story chapters. It’s one of the many aspects of this game that feels fresh and unusual, a new way to tell a familiar story instead of just another gimmick.
The Dawnwalker in this case is named Coen, a young man in 14th-century Europe, in a community so overrun by vampires that the townspeople are forced to bow down to their needs like cult members. When Coen’s mother becomes ill, she is unable to participate in one of the ceremonies run by the evil Brencis, ruler of Vale Sangora in the Carpathian Mountains. In retaliation, Brencis kidnaps Coen’s family and turns Coen into the Dawnwalker, a figure who becomes increasingly powerful as he amasses allies to rescue his family from the vicious King.
After the kidnapping, Coen has 30 days to save his family from Brencis, and activities take time segments that are tracked on the player’s HUD. A side mission to build an alliance might take one block; a deeper story mission might take four—after eight blocks, the clock shifts from day to night, or back again. You will not be able to do everything in Vale Sangora in the allotted blocks before Brencis kills your family, leading to a fresh new way to give players authorship in a manner that was reportedly conceived as a way to replicate playing games like Dungeons & Dragons around an actual table.
“Dawnwalker” isn’t just about choosing main and side missions on a pretty predictable track—it has embedded in it a remarkable sense of the passage of time, one of many things that gives both Vale Sanngora and the story that unfolds in it a three-dimensionality that these games often lack. You won’t be able to come back and save every NPC that asks for help. There’s not enough time. (Although, it should be noted, there are aspects of the game like character design and motion that look more than a bit visually dated, as if this is an expansion of a 2010s RPG instead of a 2026 one, but some of that could be patched out over time.)
Of course, being comparable to Blade makes Coen into kind of a badass. During the day, your sword will be your weapon of choice, and the game relies on a directional parry and strike system. If an enemy comes at you from the right, an icon will encourage you to parry right, making it easier to counter. (You can “Omniblock” in all directions, but it’s not advisable given how much harder it makes fighting back.) The physics of the combat, especially early on, feel a bit unpolished in the pre-release version, although they could be refined with patches. There were times in the review build when it felt like timing and damage weren’t reliable, but the game is more fluid in the “Vampirism” department, where Wolverine-esque claws and superpowers turn you into a killing machine. And, in both halves, the combat improves over time as the upgrades give you more toys with which to play, including even spells that Coen can cast during the day.
All of this is as fun as it sounds, a few graphics glitches aside, but what’s most remarkable about “Dawnwalker” is the storytelling. Vale Sangora is a detailed setting with fascinating characters throughout. While you’re mostly a lone warrior, the story of “Blood of Dawnwalker: requires Coen to make allies, and they are not just bland NPCs but fully considered supporting characters with arcs and backstories of their own that feel complexly written. Of course, like all good RPGs, these supporting players are influenced by your dialogue choices and actions. Who you romance, who you snub, and even who you kill can influence the endgame in a way that makes this story your own.
“The Blood of Dawnwalker” features many of the other expected elements of RPGs like crafting, skill trees, and inventory management. Like “The Witcher” games, you will spend a remarkable amount of time with your gear, either equipping, destroying, or selling it. And you will constantly be choosing perks or upgrades to your ability trees, which add another level of authorship. But make sure you have tolerance for weight management before you embark.
The final mission of “The Blood of Dawnwalker” left me a little cold, especially given how captivating some of the mid-game missions were structured, but that could be in part because of the choices I made to get there. Your final hours will be different from mine. And, without spoiling, I found the game’s epilogue surprisingly moving, a recounting of how the choices I made filled out the storytelling outline provided by the developers. I found myself honestly sad to say goodbye to Coen and Vale Sangora, and hoping the sun rises on both again in the future.
The publisher provided a review copy of this title. It is available on September 3rd for PS5, Windows, and Xbox Series X/S.
- Official Trailer for UK Comedy 'Extra Geography' Set at Boarding School (September 1, 2026)
"Why are you being weird?" "I'm friends with boys now." Vertigo Releasing has unveiled their first official trailer for the film Extra Geography, an indie comedy from the UK about two best friends at a boarding school. This intiailly premiered at the 2026 Sundance Film Festival back in January, and recently played at the Melbourne & Edinburgh Film Festivals. Set in an English boarding school, Extra Geography follows two teenage girls (Flic and Minna) as they grapple with all the challenges of girlhood: friendship, boys, studies, growing up and their summer project, "to fall in love". Which causes a rift in their friendship once things start to heat up. This stars Marni Duggan, Galaxie Clear, Alice Englert, and Aoife Riddell. Sundance adds: "Extra Geography offers a bittersweet lesson in unsinkable friendship: in life, love, and Shakespeare, someone always gets upstaged." This is a very quirky, distinct indie creation about female friendship and the prickly sides of it – especially when romance gets involved. With comparisons to Lady Bird and Frances Ha from reviews. An indie discovery from Sundance worthy of finding an audience beyond the fest. Take a look. // Continue Reading ›
- Dennis Quaid, Jean Reno, Sky Katz in 'The Florist' Action Movie Trailer (September 1, 2026)
"As long as she's next to you, I can't do anything!" Saban Films revealed the official trailer for The Florist, an action thriller movie heading direct to VOD in the US this fall. Yet another of these instantly forgettable, dime-a-dozen junk action movies. The latest film from the director of London Has Fallen back in 2015. The Florist is a pulse-pounding, suspense-driven action thriller that combines explosive, tactical set pieces with a gripping story of redemption, survival, and the deadly lengths one man will go to protect the innocent. A quiet horticulturalist harboring a secret life as a lethal assassin finds his true identity jeopardized when he forms an unlikely friendship with a witness of police corruption. This stars Dennis Quaid as Carl, Jean Reno as his assassin buddy Charlie, with Sky Katz, Leonidas Gulaptis, and Anna Schafer. Not to be confused with JCVD's action movie The Gardener, with a similar premise about an assassin now taking care of flowers. I wish this looked any good! It's definitely something they used to release direct-to-TV in the 90s. // Continue Reading ›
- Grandma's Talking Clock in Horror 'The Cuckoo Clock' Official Trailer (September 1, 2026)
"You have to stop her!" Compassionate Disaster Films has revealed their official trailer for an indie horror film titled The Cuckoo Clock, marking the feature debut of filmmaker Lisa Jay. This is debuting in limited theaters this October - just in time for the horror season to kick off. A young woman named Penny falls in love with the home health care nurse sent to care for her elderly Grandmother with dementia. When the nurse mysteriously disappears, Grandma’s cuckoo clock speaks to her with a warning that Grandma might be responsible. "The granddaughter, Penny, starts on seemingly solid ground... The eventual disappearance of the nurse, Megan, is the catalyst for her mental disintegration. But maybe not. Perhaps there's something deeper - an earlier event that triggered her. Hints of whatever the problem may be emerge in a hallucinatory manner." Starring Hana Hahn, MaKenna DeCaro, and Laura Drake. The Cuckoo Clock film conveys a dream logic and symbolism to put the viewer in Penny's mind, her point of view. Very creepy clock horror – even a giant freaky cuckoo bird makes an appearance in the trailer. A movie for horror fans to watch out for. // Continue Reading ›
- Another Exciting Trailer #2 for 'Street Fighter' Action Movie from Japan (September 1, 2026)
"This tournament isn't what you think it is... If you want to save your brother – then you must fight!" 👊 Capcom + Legendary have unveiled another new trailer for the kick ass live-action Street Fighter movie called simply Street Fighter. We posted the awesome full trailer back in April + a behind-the-scenes promo too. Directed by Kitao Sakurai, this video game action movie lands in theaters October 2026 this fall. Street Fighters Ryu & Ken reunite when Chun-Li recruits them for the World Warrior Tournament. As they face a hidden conspiracy, they must confront each other and their past – or face destruction. The epic cast: Noah Centineo as Ken Masters, Andrew Koji as Ryu, Jason Momoa as Blanka, Roman Reigns as Akuma, Callina Liang as Chun-Li, Curtis "50 Cent" Jackson as Balrog, Andrew Schulz as Hibiki, David Dastmalchian as M. Bison, Cody Rhodes as Guile, Vidyut Jammwal as Dhalsim, Eric André as Don Sauvage, Orville Peck as Vega, Olivier Richters as Zangief, Mel Jarnson as Cammy, Hirooki Goto as E. Honda, Rayna Vallandingham as Juli. They made this over in Japan and it looks like they're staying true to the video game aesthetics and making it as bonkers as can be. The fights actually look like they will be good! Along with the new trailer, they've also debuted a "playable" arcade trailer (only on YT) to join in on the action and play Street Fighter while watching all the footage. Super cool. Who's ready to fight? // Continue Reading ›
- Official Trailer for Acclaimed Indie Film 'Mouse' Feat. Sophie Okonedo (September 1, 2026)
"Sometimes I used to wish that Callie was a bit more like you." IFC revealed the official trailer for the indie film titled Mouse, an acclaimed grief drama made by the filmmakers Kelly O'Sullivan & Alex Thompson as their follow-up to the indie surprise Ghostlight (also a good film). Mouse premiered at the 2026 Berlin Film Festival and also stopped by the Sydney, Melbourne, New Zealand, Deauville, and Vancouver Film Fests. Set in 2002, best friends Minnie & Callie's relationship is upended on the eve of senior year. After a tragedy, Minnie struggles to form her own identity. Facing the challenges of establishing herself as the school year begins, she starts to pull away from her other friends and create a complicated relationship with Helen – Callie's mother struggling with the situation in her own ways. The film stars Sophie Okonedo as Helen, Katherine Mallen Kupferer as Minnie, Chloe Coleman as Callie, with Iman Vellani, David Hyde Pierce, and Tara Mallen as Minnie's mom Barbara – one of my favorite performances in the whole film. I'm proud to be quoted in this trailer from my Berlinale review: "Mouse features pure, distinct filmmaking that feels entirely of its own. No other filmmakers are making films that look and sound and feel like this..." // Continue Reading ›
