Maggie Gyllenhaal created a theatrical style horror-drama that uniquely incorporated a classic gothic novel by Mary Shelley Frankenstein with the 1935 film Bride of Frankenstein. The Bride! written and directed by Gyllenhaal, visualizes the mental state of Mary Shelley (Jessie Buckley) undergoing traumatic events and being reinvigorated leading her into a state of delirium while dying to be loved.

Jessie Buckley has become my new favorite actress; she can immerse into a character with electrifying dynamic. She has mastered the craft of acting with flawless transformations as she switches accents, goes into convulsions, and respectfully mirrors Tourette’s. Buckley proves why she is an Oscar nominated contender for best actress.

Christian Bale was rather typical in his performance, yet it was still entertaining to see him outside his comfort zone. He poured much of his American Psycho and Batman into his role of Frank, making him an intriguing character. Like a true gentleman, Bale shared the scenes selflessly with his co-star Jessie Buckley, allowing her to take the lead with her powerful performance.

The cinematography was vivid and extraordinary, giving off the Bonnie and Clyde vibe, 1930s theme background. The cutaway scenes really achieve that state of profound mental agitation to dramatize The Bride’s haunting thought process. The choreography for the dance sequences was innovative and produced a blend of horror, heart, and humor.

The film’s narrative felt a bit like patchwork, just like Frank and The Bride being pieced together, somehow it managed to stay cohesive. I admire the film’s artistic style, though it might not be understood by all and could be frustrating. Gyllenhaal deserves credit for originality and delivering her vision. The Bride! is worth watching on an IMAX screen to enjoy what it has to offer and applaud Jessie Buckley’s monster mash.

In this modernized film adaptation of Emily Brontë’s classic Gothic novel Wuthering Heights (1847), directed and screenplay written by Emerald Fennell, starring Margot Robbie (Cathy) and Jacob Elordi (Heathcliff), Fennell uses the novel’s narrative of sexual tension and social status conflict as a conduit for displaying elegant fashion designs and great use of color schematics.

Just like in Saltburn, Emerald Fennell elicits strong reactions from provocative topics and scenes in Wuthering Heights. Her interpretation from novel to script was adequate, staying centered to the original dramatic traits of jealousy, retribution, abuse, love and obsession. The extra layer of dark humor aligned effortlessly to prompt critical thinking about the issues presented.

There were generally decent performances by Elordi and Robbie, although they were physically present during the steamy encounters, they seemed emotionally detached – going through the motions with no chemistry between them, appearing to be strained. I lost interest in the characters and found it difficult to sustain my attention. The same cannot be said for promising actors Owen Cooper as the young Heathcliff and Charlotte Mellington as young Cathy. These newcomers adapted to their roles seamlessly and were authentic creating a strong opening sequence.

Despite the lack of visual passion between Elordi and Robbie, the supporting cast did not hesitate to spice things up. Ewan Mitchell as Joseph and Amy Morgan as Zillah lit up the screen with desire. Alison Oliver, no stranger to Fennell’s work, was pleasing in her role as the kinky submissive Isabella, while veteran actor Martin Clunes drew in the anger and disgust as Mr. Earnshaw – quite opposite from the novel.

The film relied heavily on the cinematography with the cold gloomy backdrop, a lavish castle and stunning glamorous wardrobe. I was mainly disappointed with the compartmentalized performances. Emerald Fennell had the opportunity to create a masterpiece film with a timeless novel, but it felt underdeveloped and fell slightly below expectations.

Teacher’s Pet is written and directed by award-winning narrative film director Noam Kroll. This great psychological thriller has insane twists set in a prestigious high school where academic development turns into fatal obsession. Kroll creates the mood right out of the gates with chilling tunes of progressive rock and the eerie, cringe looking Mr. Heller (Luke Barnett).

I commend director, writer Kroll for cleverly naming the malicious character Mr. Heller – the new teacher that lucratively influences the students with classical literature about mortality from the legends of Walt Whitman and Emily Dickinson. Kroll seamlessly wove in the typical teenage high school attitudes – bullying, turmoil of peer pressure, and despair, which they all open the perfect angle for a predator to take advantage of.

This film captures the drive of a sociopath obsessed with a traumatized student, Clara (Michelle Toria). It exploits the vulnerabilities that develop into mental anguish, manipulating truth and trust as a powerful tool. The suspenseful elements never tip into melodrama and humor is completely left out of the narrative to give the full shocking effect all the way up to the climatic final scene.

Luke Barnett definitely brought out the chilling and threatening persona, putting the “hell” in Heller. Standing in by Barnett is emerging talent Michell Torian, her presence is captivating adding emotional depth to her role. The supporting cast includes distinctive appearances by Sara Tomko (best known for her starring role in Resident Alien), no stranger to thrillers Clayton Royal Johnson (Stranger Things), Drew Powell (Gotham, The Pitt), Kevin Makely (Young Rock, Badlands) and scream queen Barbara Crampton (You’re Next, The Last Stop in Yuma County). The cohesive ensemble from a variety of acting backgrounds carried the premise, building up the tension in every scene with distinctive tragedies.

I highly recommend for indie horror fans to watch Teacher’s Pet, available on digital and VOD February 6, 2026.