The editing of the trailer does remind me of Emerald Fennell’s Wuthering Heights trailers—and not necessarily in a good way. (I haven’t seen the movie, but I’ve gotten the impression that Fennell foregrounded the characters’ passions at the expense of the plot.) While people in Regency England has strong feelings, of course, the polite society was all about controlling them, and that’s a part of Jane Austen’s writing. Furthermore, at its core P&P is about a meeting of the minds, not looking for a romp in the hay. In this trailer, touch and intimate gaze feature heavily, making it appear the story is about the bodies more than the brains.
And why on earth is Elizabeth Bennett sitting up on the roof in the first place? To highlight her rebellious spirit even to the slowest of viewers???
I am fervently hoping any future trailer(s) will be more illuminating.
At this writing, IMDB doesn’t list a release date, but Deadline claims “launching in fall 2026”.
We see a little more in this version—like Adam starting to re-gather his team from jail—but how much more can there really be in an origin story? The fight scenes don’t seem to contain anything interesting, either. (I’m really not the prime target audience for this reboot, since it doesn’t seem to do anything new and inventive, merely new as in ‘an updated version’.) Adam’s relationships with his friend(s) on Earth show some comedic promise, at least.
I do wonder how they got such a cast to sign up for what appears a rather uninspired reboot? Unless the trailers lie again?
As MotU really was more my younger siblings’ cup of tea, I think for me it’ll be a movie to get from the library.
Hey, look! We found a thing on the internet! We thought it was cool, and wanted to share it with you.
“I must sleep. Sleep is the mind-healer. Sleep is the big-life that brings total ability to fucking do anything. I will face my bed. I will permit the blankie to pass over me and snores to pass through me. And when sleep has gone past I will turn the outer eye to greet the new morning. When the sleep has gone there will be everything. Energy and will to live will remain.”
Quite a clever rendition.
I will need to keep this firmly in mind, as I have recently-ish completed yet another turn around the sun and have never been this old in my life before…! 🙂
Right. The biggest thing staring at me are the colors. They are too muted, IMO—by now there’s plenty of evidence that the ancient world was awash with color. Some of it is explained by the weather in the trailer scenes, but there really should be more color. Even the glimpse of Penelope’s (Anne Hathaway) turquoise gown is left in the shadow of her head, making it appear darker.
(This is a tendency in some modern films I just can’t abide; wash-out tones like sepia have never appealed to me. History was colorful! And don’t get me started on the pervasiveness of black. Like slapping on unnecessary buckles and straps, pretensions of historicity while choosing black clothes for earlier periods has started to seriously irk me. Sure, if your film is about puritans, go for it. The antiquity? Black is certainly not as omnipresent as this!)
Otherwise, we see hints of several scenes from the epic. Perhaps too many; the whole feels jumbled, disorganized, and erratic. I am likely to want to see the movie, but unfortunately this trailer did nothing to encourage me to visit a theater to do so. Endless dark scenes of men in dark costumes glancing apprehensively around in dark surroundings, while I myself am sitting in a dark auditorium, holds no attraction for me. (For that much dark, we have Finnish winters, thank you very much.) I might as well wait for the disc and see it at home in greater comfort to offset all of that gloom.
The Odyssey will open on July 17, 2026.
Hey, look! We found a thing on the internet! We thought it was cool, and wanted to share it with you.
Content note: icky female bodily fluids are depicted (faked, obviously, but nevertheless) and discussed. Beware, hereinafter there be cooties!
The short is both written and directed by Julia Aks and Steve Pinder. Furthermore, Aks stars as Miss Estrogenia ‘Essy’ Talbot. According to IMDB, the farce is introduced thus:
“England, 1813. In the middle of a long-awaited marriage proposal, Miss Estrogenia Talbot gets her period. Her suitor, Mr. Dickley, mistakes the blood for an injury, and it soon becomes clear that his expensive education has missed a spot.”
Don’t let the film’s short duration fool you: Jane Austen’s Period Drama has very impressive sets and props plus acting and filming, but it’s the writing that takes the cake. (Chocolate cake, obviously, considering the topic.)
Well, now. This is clearly an origin story. I’m hazy on how—and why—would little Adam be sent to Earth to hide and what, exactly, there is at Castle Grayskull to protect in this version of the story. Perhaps that’ll become clearer in future trailers.
The protagonist is played by Nicholas Galitzine, a complete unknown to me, but the supporting cast has some very big names like Morena Baccarin, Idris Elba, Jared Leto, James Purefoy, and Kristen Wiig, and smaller familiar ones like Alison Brie, Hafþór Júlíus Björnsson, and Jóhannes Haukur Jóhannesson.
Like Molly Templeton said at Reactor magazine, so far it “looks like the generic version of Thor: Ragnarok, as ordered from a questionable website.” Agreed! Also, some clips and effects look almost like they’re copy-pasted from other Marvel Cinematic Universe content.
I haven’t bothered to dig up the MCU cinematographers or visual effects companies for comparison, to see whether there is a real overlap or whether this could be a case of a visual language being increasingly adopted within the genre movie industry in general. (It could also be a blatant case of stylistic copying to try and lure in MCU fans, of course.)
But I do have to wonder, if visuals across big productions are starting to resemble each other to this extent, what does it forebode for future genre action movies? I’ve gotten quite tired of the stagnant action movie structure, to be honest. For a while the larger story arc across the separate MCU movies was interesting, since it had never been done before on that scale. (In fact, MCU reminds me of Babylon 5, the first to introduce really extensive story arcs for SFFnal tv shows.) But is there going to be anything interesting that’ll define action franchises anymore? Thematic differences like fast custom cars (vroom vroom!) or superpowered individuals or big monsters will remain, sure, but anything worth caring about? I guess I’m hankering after a paradigm shift in action movies, really.
Annnyway. 🙂
Travis Knight is directing a script by Chris Butler, Aaron Nee, Adam Nee, and Dave Callaham. Callaham at least I recognize from the 2014 Godzilla, Wonder Woman 1984, Shang-Chi and the Legend of the Ten Rings, and Spider-Man: Across the Spider-Verse.
The release date for the U.S. and U.K. for MotU is listed as June 05, 2026.
Hey, look! We found a thing on the internet! We thought it was cool, and wanted to share it with you.
Oh, I had not come across this—a new Robin Hood adaptation is coming to the big screen. It involves an old, wounded Robin, and they’ve scored quite a big name for the titular role: Hugh Jackman.
Here’s a trailer:
The Death of Robin Hood | Official Trailer HD | A24 by A24 on YouTube
There are some impressive locations and cinematic beauty, like when the little girl (who sounds like one of the protagonists) and Robin meet in the woods and he promises to make her a bow. Sadly, though, I find the trailer a bit too vague; too many flashbacks to Robin’s past, perhaps? Also, some of the scenes are too dark to see. While that’s a benefit for me when really graphic violence is depicted, I can’t say I really care for either. (I wish the movie business would get out of the if-it’s-fantasy-it-must-be-explicitly-violent-because-Game-of-Thrones-was-and-that-did-great rut already!)
It seems that Jackman is the only name I know from the cast. Even the writer-director Michael Sarnoski is completely unknown to me, so I can’t even guess at the style of story this might be. I do like what I see of the adult and young female protagonists, though (played by Jodie Comer and Faith Delaney, it looks like).
While there is something to be said for a tale where a man and a girl form a meaningful connection, this doesn’t look like a movie for me. (Like I implied in my post about the 2025 Red Sonja reboot, there is no longer a need to see absolutely everything SFFnal if you want to see anything, since the selection has grown so much.) We’ll see if that changes with further trailers.
According to IMDB, The Death of Robin Hood has only two release dates at this writing: one for Mexico on May 28, 2026, and merely 2026 for United States.
Hey, look! We found a thing on the internet! We thought it was cool, and wanted to share it with you.
2025 saw the beginning of production on another new screen adaptation of a Jane Austen story besides Netflix’s Pride and Prejudice—a remake of Sense and Sensibility is also in the works.
The film is directed by Georgia Oakley (who is, sadly, completely unfamiliar to me both as director and writer), and bestselling author Diana Reid wrote the screenplay (ditto).
Elinor is played by Daisy Edgar-Jones, Marianne by Esmé Creed-Miles, Margaret by Bodhi Rae Breathnach, and Mrs. Dashwood by Caitríona Balfe. Outside the Dashwood family, we’ll have George MacKay as Edward Ferrars, Frank Dillane as John Willoughby, and Herbert Nordrum as Colonel Brandon.
I’ve seen Balfe in a few random episodes of Outlander, but otherwise the core cast is unknown to me. (Well, technically I have seen Dillane as a 16-year-old version of Tom Riddle in Harry Potter and the Half-Blood Prince 15+ years ago, but don’t remember a thing of such a fleeting experience.) It’s actually rather refreshing to get to see a production without preconceptions.
Also starring will be Fiona Shaw as Mrs. Jennings, whom I really like as Mrs. Croft in the 1995 Persuasion and as Maarva in Andor. (I always forget her truly excellent performance as Aunt Petunia in the Harry Potter adaptations because the character is so repulsive.) The funny marvelous thing is that Shaw has also been cast in Netflix’s Pride and Prejudice as Lady Catherine de Bourgh. Her performances alone should be worth seeing both new versions!
The new S&S adaptation by Focus Features and Working Title Films is in post-production at this writing. The shooting started in July 2025 and, according to IMDB, the U.S. and U.K. release dates are set in September 2026.
It really packs a lot into its minute-and-a-half running time. I can’t figure out a single thing that’s extraneous or out of place; everything fits either into disco or Discovery, even the tempo change at the end. Ha! 🙂
The other day, I was rummaging around in some old stuff when I found this. The blog Thumbs & Ammo collected movie posters or screencaps with firearms replaced by a thumbs-up.
Some of my favorites are below.
Pierce Brosnan as James Bond by Pulai A. via Thumbs & Ammo
Laurence Fishburne in Matrix Reloaded by Jonathon J. via Thumbs & Ammo
Sigourney Weaver and Carrie Henn in Aliens by Elliot D. via Thumbs & Ammo
And saving the best for last:
Harrison Ford in Star Wars: Episode IV – A New Hope by James L. via Thumbs & Ammo
Epically hilarious! 😀 Looks like the blog hasn’t been updated in a good while, though. Shame.
Co-Geeking 