The Monthly Movie Report – March 2026

March 27, 2026

We’ve finally turned the corner to spring and as we look at the calendar, a quarter of the year is already over.  This month, Hollywood held a grand party to celebrate the best films of 2025 (more on that in a minute) and we are off to a great start to 2026 at the movies. 

Already this year, there have been some strong new releases, the box-office is doing very well, and the slate for the rest of the year looks fantastic.  If you missed my 2026 preview, you can find it here.  Movie theaters even got a boost when Universal Pictures recently announced that they will extend the theatrical window for their new releases.  During the height of the pandemic, they shortened the window to release their films on PVOD (home rental) 17 days after the theatrical release date.  Starting this year, that window will be extended to five weekends, expanding to seven weekends in 2027.  This is great news for theaters as they will have more movies for fans who love to see them on the big screen.

This comes on the heels of a terrific celebration of the 2025 year in film at the Oscars earlier this month.  Of course, I was thrilled with the outcome as my favorite movie of the year (One Battle After Another) won six awards, including Best Picture, Best Director, and Best Adapted Screenplay.  Paul Thomas Anderson was rightfully celebrated for one the best films of his thirty year career as a writer-director.  Not to be outdone, my second favorite movie of 2025 (Sinners) won four Oscars, including Best Original Screenplay for Ryan Coogler and an emotional Best Actor win for Michael B. Jordan. 

The producers of the show made a smart decision in announcing the two screenplay awards back to back, so we got to see the wins for Anderson and Coogler one right after the other.  You can tell that they both respect the history of the Academy Awards and their first Oscars meant so much to them.  As much as we acknowledge that giving out trophies for movies can seem a little silly, there is something really cool in thinking about the lineage of almost 100 years of the Academy Awards.  I’m sure when Anderson looked at his Oscar for Best Director (when he quipped, “Boy, you sure make someone wait for one of these, don’t you?”) he was thinking that he is now alongside some of the greatest filmmakers in movie history as an Oscar-winning director.  Really cool moments, especially for a movie junkie like me.  So, everything is going great in Hollywood, right?  Well….

The Business Side of the Business

Despite the excitement of the last few months, Hollywood is (rightfully) on edge about the pending takeover of Warner Bros. Discovery by Paramount.  After accepting an offer from Netflix to be acquired late last year, WB re-opened negotiations with Paramount, who topped Netflix’s offer last month.  That caused the streamer to walk away from the deal, leading to the combination of two of Hollywood’s oldest studios. 

The irony in all of this is that Warner Bros. had an incredible year in 2025.  Their slate included three films that took home a collective 11 Oscars (One Battle After Another, Sinners and Weapons), along with massive hits A Minecraft Movie, Final Destination: Bloodlines, Superman, and The Conjuring: Last Rites.  Last month, their film Wuthering Heights became the ninth straight release from the studio to open #1 at the box-office, a run that ended with a recent release which I will cover shortly.  This acquisition has nothing to do with creating better art, this is all about dollars and cents. 

I had conflicted feelings about the potential suitors for WB for a number of reasons.  Netflix has been steadfastly against movie theaters (my passion), but since the deal was first announced, the CEO reiterated that after the transaction they would stick with WB’s theater-first strategy.  Most in Hollywood thought he was lying, or would placate filmmakers for a short period of time, before reverting to a streaming-only strategy. 

I actually talked myself into believing Netflix’s claim for one simple reason.  They were spending billions of dollars for a business that has valuable IP and an historic film library, but also earns hundreds of millions of dollars a year from theatrical releases.  If Netflix were to shut that business down, how do they replace those earnings?  I feel like they have plateaued in their membership growth, so the only way to continue growing earnings is by raising prices.  You can only do that for so long.  What do you do next?  You diversify into new revenue-generating services.  And the best way to do that is to acquire a business that already has that service in place and fits perfectly with what you already do.  But they were outbid and walked away.

Now that Paramount will be taking over WB, there is another set of concerns.  There is significant overlap between the two businesses and the head of Paramount financed the deal with an enormous amount of debt.  His father is one of the richest people in the world, so it’s not like Paramount will go bankrupt, but there will be pressure to bring in enough cash flow to pay down the debt and the most efficient way to do that is to cut jobs.  That is what Hollywood is freaking out about now – an already beleaguered industry will be facing even more employment challenges.  Sure, Paramount is committing to a strong theatrical output, but how that comes together with smaller teams of people will be interesting to see. 

Oh yeah, the CEO of Paramount is also a sycophant boot-licking stooge for the Dipshit-in-Chief and will now have CNN (owned by Warner Bros) along with CBS News (owned by Paramount) under his purview.  So, we have more potential for state-run media companies and the further erosion of quality journalism.  Happy days ahead, right?  And we’re at fucking war in the Middle East.  Again.  Jesus Christ, I need to distract myself with my movie obsession.  Let’s move on to this month’s new releases, shall we?

Off to a Great Start – Send Help and 28 Years Later: The Bone Temple

Usually January is a very slow month at the movies, but this year we were fortunate to get two excellent new releases.  First up is Send Help, a thriller-comedy featuring Rachel McAdams in a magnificent performance that showcases her many talents.  She plays Linda, a nebbish corporate strategist who is terrific at her job, but annoys her co-workers.  And that includes Bradley (Dylan O’Brien), who was just given the keys to his dad’s company after his death.  Bradley wants to do things his way, which includes promoting his frat-bro buddy over Linda for a key executive position.  He challenges her to prove her worth by joining him on a business trip, which turns tragic as their private jet crashes in the middle of the ocean.  Linda and Bradley are the only survivors on a deserted island and her survival smarts (honed by her obsession with Survivor) are the only thing keeping them alive, as Bradley has no smarts (not even book smarts.)  As the days pass, we see Linda quickly adapt to her new environment, but Bradley is floundering.  He tries to remind her that she works for him, but she points out that they aren’t in the office anymore. 

As their conflict escalates, we find our sympathies swinging back and forth between Linda and Bradley.  Sure, he’s a complete asshole nepo-baby who did nothing to earn his position at the company.  But something is not quite right with Linda and as the story unfolds we learn why, and this is where McAdams shines.  She portrays a character who is not comfortable in her own skin when in a corporate office, but transforms into someone who is in her element on the island and willing to do (almost?) anything to stay in her comfort zone.  There are a few scares here and there in Send Help, but this is far from a horror movie, even if it is directed by Sam Raimi, considered one of the masters of the horror genre.  Instead, this is a fun thriller that comes to a satisfying conclusion.  A winner right out of the gates.  Send Help is now available to rent on demand.

Another top-notch January release is definitely a horror movie.  In fact, 28 Years Later: The Bone Temple is downright nasty.  Picking up right after last year’s terrific 28 Years Later, we are back in England, where the zombie-like infected humans run rampant, looking to terrorize and kill the few remaining survivors.  We open with Spike, the teenage boy who was rescued by a curious band of people, led by Jimmy (Jack O’Connell, in an outstanding follow up to his performance in Sinners).  Jimmy and his disciples roam around the countryside, killing infected people for sport and force Spike to join their group.  Oh, and they are also Satanists. 

Whenever Jimmy and his merry band of crazies are on screen, this film (written by Alex Garland and directed by Nia DaCosta) can be kind of terrifying, especially a few torture scenes that are not for the squeamish.  But the real highlight of The Bone Temple is Ralph Fiennes as Dr. Kelson, who has managed to survive all of these years living in isolation, continuing his research about the virus that destroyed society.  He encounters Samson, an enormous infected person who can destroy anyone in his path.  Using a creative concoction of drugs, Kelson discovers that there might be a cure to the infectious disease.  But when Jimmy and his disciples show up, things get dicey, leading to a spectacular confrontation and what will likely be one of the iconic scenes of any film in 2026. 

The Bone Temple is planned to be the second film in a trilogy and definitely feels like a bridge to the next movie.  While the next installment hasn’t been officially greenlit, there is hope in Hollywood that it will happen, with Alex Garland once again writing the script and Danny Boyle returning to direct.  There better be a third movie because the ending of The Bone Temple sets it up with a closing sequence featuring the star of the first film in this franchise.  I won’t spoil it except to say that three years ago you may have seen the actor portray the man who created the world’s most dangerous weapon in history.  If you are a fan of the 28 Days / Weeks / Years Franchise, then this new installment is a must-see.  28 Years Later: The Bone Temple is now available to rent on demand.

Portrait of a Legend – Man on the Run

Another documentary about a Beatle?  Really?  Hold on, let me try to convince you.  Yes, there is practically nothing left to tell about the story of the Beatles.  That being said, there are four (not a typo) movies planned for release in 2028 about the Fab Four.  Filming is underway now, with Sam Mendes (American Beauty, Skyfall, 1917) directing the pictures, each one told from the perspective of a different band member.  That will be quite the cinematic experience, but for now, let’s discuss a terrific new documentary focused on Paul McCartney.

In Man on the Run, director Morgan Neville takes us through the years immediately after the Beatles broke up, and how McCartney put his life back together.  There is very little rehash of the Beatles years.  In fact, the opening montage that covers that time period is one of the more innovative displays of filmmaking I’ve ever seen.  Then we jump right into the aftermath of the breakup and hear how Paul struggled to find his identity, begin a life with his new wife Linda and take on the new role of a father.  At the ripe old age of 28, he was wondering if his life as a musician was over.  We then see how he began writing and recording again, eventually assembling a new band, which became Wings. 

Neville does a terrific job combining archival footage, interview excerpts, and contemporary insights by those in the musician’s life, including McCartney himself.  He essentially serves as the narrator of the film, but we also hear from so many other people who were part of his life and career.  I loved the way Neville didn’t use cutaways to the participants sitting in an interview room.  Instead, we hear their voices while we watch the footage from the time they were talking about.  This filmmaking style keeps you engrossed in the story the whole time.

Now, the 1970s were not my favorite time in McCartney’s career, and Neville does highlight some of the lesser quality material he released.  He also covers McCartney’s arrest in Japan for drug possession, so I wouldn’t say this is too hagiographic, despite McCartney’s involvement.  I was a little disappointed we didn’t get to his 1989 album Flowers in the Dirt, which was a terrific collaboration with Elvis Costello.  I have a soft spot for that album, as the first time I saw McCartney in concert was the tour that supported it.  Instead, Neville picks a good ending point for the documentary, but I’d be lying if I said I wouldn’t love a sequel that covered the next chapter of McCartney’s career.  Man on the Run is now available to stream on Prime Video.  

While I Admire the Effort…..The Bride!

Some streaks are made to come to an end.  Such was the case when The Bride! premiered in early March with a colossal thud at the box-office, ending Warner Bros. streak of nine consecutive hit films.  This one had trouble written all over it.  Maggie Gyllenhaal was given a sizable budget to make a period-piece reimagining of The Bride of Frankenstein that is part thriller, part noir detective story, part feminist empowerment drama, and part comedy-musical.  It reportedly had poor test screenings, underwent numerous reshoots, and had its release date pushed back several months.  My expectations were low going into the theater and sadly, they were met – The Bride! is kind of a mess.  That being said, there are some aspects of the film that I admired, even if it didn’t all come together in the end.

Newly minted Oscar-winner Jessie Buckley stars as the title character, who is resurrected at the request of the creature from Frankenstein (played by Christian Bale.)  Annette Bening plays a scientist who is inspired by Dr. Frankenstein’s achievements and decides to run the same playbook to bring the dead back to life.  Needless to say, there are problems with her creation, but the happy couple escape captivity, fall in love, and go on a crime spree in the vein of Bonnie and Clyde.   

Look, I give Gyllenhaal a lot of credit for trying something different with a story that’s been told many times over the last 100 years.  The production design, costumes, and acting are all excellent.  Buckley and Bale are fully committed to the story on the page, not hesitating to portray the director’s vision.  I just found the story a little too silly, the tone was all over the place, and the structure of the movie was distracting as Buckley also portrays the ghost of Frankenstein author Mary Shelley providing narration. 

The supporting cast features an outstanding team of talented actors, including Jake Gyllenhaal (Maggie’s brother), Peter Sarsgaard (her husband), and Penélope Cruz, but they are mostly wasted by the script.  Even though I was disappointed with The Bride!, I’m glad studios are still willing to give filmmakers a chance to make something bold.  Sometimes you get a home run like One Battle After Another, Sinners or Weapons.  And sometimes you get The Bride!  You can’t win ‘em all.  The Bride! should be available to rent on demand in April and stream on HBO Max later this year.

A Great Coda for a Great Series – Peaky Blinders: The Immortal Man

Oscar-winner Cillian Murphy returns to the role that he portrayed for six seasons in Peaky Blinders, a BBC-produced crime-drama that was extremely popular when it ran on Netflix.  Peaky Blinders: The Immortal Man picks up in 1940, a few years after the end of the series, with Tommy Shelby living a quiet life, having left his role as a crime boss.  He is writing a memoir of his life of crime and misdeeds, reflecting on the many friends and family members he lost along the way.  He soon gets wind of some trouble brewing with his old gang.  It seems that his son Duke (portrayed by Barry Keoghan) is running things now and has partnered up with the Nazis in a scheme to destabilize the British economy.  Tommy decides to suit up, don his trademark cap, and head into the city.  Then shit starts going down.

If you are a fan of the Peaky Blinders series, then it’s a no-brainer to watch this film, which I liked a lot.  I’ve seen most of the series (still have to watch the last season) and I thoroughly enjoyed The Immortal Man.  It’s written by the show’s creator Steven Knight, and directed by Tom Harper, who also worked on the series.  It has the same look and feel of the show, but with a fresh story.  Tommy is faced with not just the crime conflicts, but also dealing with a son who he doesn’t know and feels abandoned by his father, as well as the guilt for the friends and family members who died in support of his business.  The supporting cast includes a few characters from the series, but is also strengthened by the presence of Tim Roth as the Nazi schemer and Rebecca Ferguson as Duke’s aunt. 

The film is a perfect combination of everything we love about Peaky Blinders – crime, drama, beautiful production design and costumes of England, terrific music, and some spicy scenes that will make you chuckle.  There is reportedly a spin-off series in the works from Knight and his team, although the timing is uncertain.  As for Knight himself?  He’s writing the script for the next James Bond movie to be directed by Denis Villeneuve.  Can’t wait for that one.  Peaky Blinders: The Immortal Man is now streaming on Netflix.   

Brilliantly Unhinged – Nirvana the Band the Show the Movie

Every year I am fortunate to see a movie that would have passed me by had I not started this hobby writing about films.  This year, the first entry into that category is the indescribable comedy Nirvana the Band the Show the Movie.  This one comes from director Matt Johnson (who also made the brilliant 2023 film BlackBerry), who also co-stars with Jay McCarrol as friends living in Canada with aspirational goals.  For them, anyway.  They are wannabe musicians who have never recorded anything, but feel like they should book a show at The Rivoli, a theater in their hometown of Toronto.  The film starts out as a caper with Matt and Jay trying to figure out how to secure their gig, and eventually turns into a time travel adventure.

I have been hearing about this movie for over a year after rapturous reviews at South by Southwest, and later at last year’s Toronto Film Festival.  Johnson and McCarrol are icons in their home country of Canada, where the inspiration for this movie became a cult hit with their fans.  You see, this gimmick of Matt and Jay started with a web series Nirvana the Band the Show, which ran for a few seasons in the late 2000s.  Now, we have the movie, hence the complicated name.  Oh yeah, there is never an explanation (that I have found) as to why their act is named “Nirvana the Band.”

This movie is part mockumentary (largely filmed around unsuspecting people who end up in the final cut), part parody (especially of Back to the Future), part adventure, and 100% comedy.  This was easily the hardest I laughed at the theater in a long time at the absurdity of what these characters get themselves into.  Is it goofy at times?  Sure.  But it’s also a marvel in filmmaking as they edited footage of their old web series into the scenes where they travel back to 2008.  There are some sequences (especially the opening) where you will ask out loud “How the hell did they do that?”  If you are willing to go along for the ride, laugh at goofy characters in an absurd plot, and admire a creative experience from a talented set of filmmakers, I highly recommend this one.  Nirvana the Band the Show the Movie is now available to rent on demand.

The Next Great Hollywood Blockbuster – Project Hail Mary

Get a charming movie star.  Send his character into space.  Put him in life-threatening peril.  Make him have to “science the shit” out of his situation to accomplish his mission.  Yup, it still works.  You may be thinking of 2015’s The Martian starring Matt Damon as an astronaut stranded on Mars and you’d be right.  It’s not a coincidence that Project Hail Mary, the newest blockbuster starring Ryan Gosling as our hero in space, is based on a novel written by Andy Weir, who also wrote The Martian.  I’m not pointing out the similarities of these two films in a derogatory way.  I’m just noting that the formula works in a brilliant blockbuster movie way.

Gosling plays Ryland Grace, a middle-school science teacher who is recruited by the government to help them with a secret mission.  Scientists have discovered that the Sun is slowly dimming, due to an unknown cause.  Upon further research, they learn that every star in the galaxy is also infected, except for one.  They have launched a mission, Project Hail Mary, to send astronauts out into space to determine what is so special about that star and if they can learn anything to help save Earth.  Grace is first brought in to support the research team, led by Eva Stratt, played by the magnificent Sandra Hüller (Oscar nominated for Anatomy of a Fall).  Eventually, he ends up on the mission himself.

While out in space, Grace encounters an alien that he names Rocky.  Together, they work together to learn what they can about the infection since Rocky’s planet has the same problem as Earth’s.  Now, normally you might think I’m providing a spoiler that he encounters an alien.  In fact, Rocky shows up in the first trailer, which premiered months ago, that I thought gave away too much of the plot.  Having now seen the film, I realize that Rocky is such an integral part of the movie that it’s not really a spoiler to know about the character.

Project Hail Mary is directed by Phil Lord and Christopher Miller, the brains behind the Spider-Verse animated films and The Lego Movie, as well as the directors of 21 Jump Street and its sequel.  They certainly delivered an outstanding movie with Project Hail Mary.  The film contains the perfect combination of thrills, laughs, incredible special effects, and touching moments.  Gosling is in A+ movie star acting-mode here, carrying practically the whole picture on his back.  Hüller is great, as are other members of the supporting cast, but there is no way this works without Gosling at the center of it.  I mean, he spends a good chunk of the movie acting opposite an alien puppet, and pulls it off.  Speaking of which, the filmmakers were smart in using practical effects wherever possible, even pointing out in interviews that there are very few green screen shots in the movie.  Had Rocky been a CGI alien, or they hadn’t built an actual spaceship to film in, I think this would have looked like shit.  Instead, it looks magnificent.

Another aspect of this film that I loved was the storytelling technique.  We open with Grace waking up from his space coma after reaching his destination and trying to get oriented to who he is and where he is.  As we move forward in time while he attempts his mission and remembers more about his past, we also see his backstory and his recruitment through flashbacks.  It’s another demonstration of Gosling’s talents in portraying this character in drastically different points in his life.  As I understand it, the book features the same plot structure.  I had intentions of reading it, but never got around to it.  There are just too many movies on the watchlist these days.  Anyway, if you are looking for a movie that checks every box in what you want in a fun, exciting, and touching blockbuster, that will also likely contend for awards next year, go see this one on the biggest screen possible.  Project Hail Mary is now playing in theaters.

That’s all for this week.  I hope you enjoyed my look at some new releases.  I’ll be back next month with more movie reviews.  Thanks for reading and if you would like to be notified about future posts, you can subscribe below.