THE BRIDE! – Review by Valerie Kalfrin

Months after Guillermo del Toro’s retelling of Mary Shelley’s Frankenstein, here comes The Bride!, a kinetic yet scattershot story reimagining the creature and his beloved as a 1930s couple on the run, a la Bonnie and Clyde. Writer-director Maggie Gyllenhaal has a lot she wants to say in this messy mashup of monsters, mobsters, and even musicals, but it doesn’t all come through loud and clear.

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THE BRIDE! – Review by Leslie Combemale

If you thought we as a society were over trashing big artistic swings by female artists, reaction to writer/director Maggie Gyllenhaal’s The Bride! will disabuse you of that notion. Though by no means perfect, the new gothic romance centering on and reimagining Frankenstein’s bride is visually stunning, fearlessly kinetic and inventive, and worth celebrating.

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THE BRIDE! – Review by T.J. Callahan

Frankenstein’s monster is lonely. If he’s going to live, he wants to live life to the fullest…in EVERY way…wink, wink. He needs someone who’s like him in mind and body. Abby someone. Abby Normal. Or in this case, Ida, and he wants her to be his (The) Bride! The Bride is a very meta mash up of monsters, mayhem, murder, molls, massive amounts of makeup, meddling men, and the marvelous mind of Maggie Gyllenhaal which all adds up to maniacal movie magic. .

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DTF ST. LOUIS – Review by Lynn Venhaus

Despite its titillating title, DTF St. Louis is not as cringy as it may seem, but yes, frank sexuality is a major part of the HBO limited series. Writer-director Steve Conrad’s aim is to explore what repressed desires and temptation lead to in a typical Midwest suburb – the holy trinity of modern crime dramas: betrayal, double-crosses, and secrets. And a healthy dose of awkwardness. As he probes middle-age malaise in an offbeat, but familiar way, Conrad’s seven-episode arc centers on an unusual murder mystery.

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WEEK IN WOMEN: Maggie Gyllenhaal’s THE BRIDE to haunt theaters in March – Brandy McDonnell reports

Two-time Oscar nominee Maggie Gyllenhaal’s long-awaited feature film The Bride, an adaptation of Mary Shelley’s Frankenstein, arrives in theaters on March 6. The movie is part of the Filmed for IMAX program and will be released in IMAX as well as standard formats. Written and directed by Gyllenhaal, her steampunk take on the 1935 horror classic Bride of Frankenstein is the follow-up to her 2021 Academy Award-nominated Netflix drama The Lost Daughter.

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WEEK IN WOMEN: Maggie Gyllenhaal’s THE BRIDE moved to 2026 – Brandy McDonnell reports

Film fans will have to wait longer than originally planned to see two-time Oscar nominee Maggie Gyllenhaal’s The Bride, an adaptation of Mary Shelley’s Frankenstein. Gyllenhaal is writing and directing her steampunk take on The Bride as the follow-up to her 2021 Academy Award-nominated Netflix drama The Lost Daughter. Ahead of the 2025 CinemaCon, Warner Bros. announced it is moving The Bride from a Sept. 26, 2025 release date, to March 6, 2026, a springtime slot that has worked well for the studio’s previous event movies.

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SEPTEMBER 5 – Review by T.J. Callahan

September 5 is almost like watching a documentary. It is so believably real, and it manages to build the tension and keep it despite the audience knowing or having the opportunity to know what happens. This is a film about a tragic event, but it’s not political. It’s more about breaking news and how it’s disseminated to the public. It’s how split second, ethical choices are weighed and made from moral and competitive points of view. Electronic media has changed exponentially in the last 40 years, but the broadcasters haven’t. September 5 allows us to be fly’s on the wall of the past.

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SEPTEMBER 5 – Review by Susan Granger

On September 5,1972, Palestinian terrorists, part of a group known as Black September, infiltrated the Olympic Village in Munich, killing two Israeli athletes and taking nine others hostage. Writer/director Tim Fehlbaum’s September 5 is a tense journalism thriller, chronicling how news of that atrocity reached the rest of the world. Since ABC Sports was broadcasting the Olympic Games, utilizing their link to the newly launched space satellite, its bleary-eyed crew were on-site and among the first to hear gunfire. As they scrambled to get into position to ‘cover’ this major story, logistics became their primary concern.

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SEPTEMBER 5 – Review by Diane Carson

In September 5 Swiss director Tim Fehlbaum recreates the historical trauma of the 1972 Munich Olympics when eight members of the Black September Palestinian group scaled a fence, shot two men, and then took eleven Israeli athletes and coaches hostage. No one anticipated such an event, nor had anything like this ever happened previously. Shocked by gunshots, desperately trying to grasp what had just occurred, workers in the ABC Sports control room scrambled to follow events. But first, as the crisis came into focus, Roone Arledge, president and executive producer of ABC Sports, had to insist that ABC news would not take over the coverage, an act of courage in and of itself.

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SEPTEMBER 5 – Review by Jennifer Merin

September 5 is an intensely gripping dramatization of ABC Sports News’ moment-to-moment live, on air coverage of the shocking Palestinian terrorist massacre of Israeli athletes at the 1972 Summer Olympics in Berlin in 1972. ABC’s coverage was a first. Seen by millions of viewers around the world, it was the first such live on the scene reportage of an international breaking news story, a precedent-setting achievement in news gathering. Although the horrendous outcome of the attack is widely known, the film is such an authentic and detailed account of what happened, as seen from the news team’s point of view, that it feels like an observational documentary, one that puts you inside ABC’s broadcast control room with the news team as they synthesize updates from reporters, German and Olympic authorities and other sources, and manage their technical resources to get accurate information to millions of viewers galvanized to their TV sets worldwide.

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