Crossover Pairings (List) --- NOT A COMPLETE LIST
Feb. 8th, 2026 08:03 pm( Read more... )
Like many people, I came across some TikTok videos roughly six months ago about this movie. Of course, I live in the US, so I have had to wait a long time to see it. The TikTok videos made the movie seem so romantic and I was so obsessed - it was hard to wait so long to see it in theaters. But I did it! And here is what I think.
Positives:
The actors that were chosen seem to look more like normal people than the popular actors of today. That is, there wasn’t a bunch of lip filler and buccal fat removal and other body modifications. To me personally, that felt nostalgic. That may just be an indicator of my age as a millennial, but I liked that aspect. To me, this made the characters feel more accessible.
This isn’t new, but I liked that this movie seemed to “push the boundaries” of the original story. There have been a lot of Dracula adaptations. There have already been adaptations that try to make Dracula seem like a good guy just caught in a bad situation (Dracula Untold). But, to me, this movie has been the most successful so far in aligning Dracula with human characteristics. This Dracula is very human to me. He’s stubborn, he’s flawed, he’s single-minded. He struggles with overwhelming grief, loss, and betrayal. He’s numb, he’s bored, he’s sarcastic, he’s funny. He’s a little nuts. But, speaking from my own experiences with grief, I think we are all these things when we have lost something we truly loved.
And Mina isn’t just a damsel in distress. She’s pensive, thoughtful, intentional with her words. She is not the traditional female lead with no agency. She collects information and makes choices.
I will always appreciate a movie that questions what is and isn’t normal. Is Dracula unreasonable for asking that God spare his wife? Is the phrase, “God has other plans/another destiny” ever enough to console us at our lowest points, and should it be? If you or I lived to be 430 years old, would we also be desperate for a connection to the past, an end, or closure? Which is the correct version of love? Draculas obsession and devotion, or the priest’s quest for repentance and forgiveness? These are things I found myself asking.
Negatives:
I think the narrative moved too quickly. I think this movie had a lot going on, and not enough time and space to fully show it. I really had to focus to keep tying the plot threads together.
Dracula should have preyed on more men. In the moment, I interpreted Dracula biting only women at the french court as him being angry none of them were his wife. They seemed to mock him and, hopeless, he attacked. But, as the movie progressed, the traditional “Dracula, monster who attacks women” theme kept showing up, and I didn’t find it necessary. For example, I didn’t care much for the scene at the nunnery. For the character, I’d think it would be used as an insult to God - God took his wife, so he kills Gods “wives”. But, if they were going to do this, Dracula should have just gone in there and attacked them all. No need for perfume. The perfume in this scene wasn’t necessary.
Finally, I think we need to talk more at length about the perfume. Because it has been brought up as something that’s used in a sexually exploitative way and that concerned me going into this movie. Here is what I saw: the perfume is a new take on the traditional, Dracula hypnotizes people thing. It was initially introduced as a way for Dracula to draw his wife to him. Because, during the plague, most women were hidden away in churches (where Dracula could not go). So he realized there was no way for him alone to find the reincarnation of his wife. I liked this explanation. There was never any indication that Dracula used this perfume in order to get sexual favors from women. There was a joke here or there about women suddenly finding Dracula attractive with the perfume. But I took that as the extent of it.
In the scene where Mina finally fully remembers her past life, Dracula tells her he has never used the perfume around her because he didn’t need to. He was just happy he found her and patiently waiting for her to remember. He throws the perfume into the fire as a way to show her he will not use it. It’s confusing, because the men downstairs smell the perfume in their own fireplace. This leaves a question of whether the perfume was in the air when Mina fully remembers. It’s a question to ask, but I don’t think the answer is definitively a yes. Ultimately, I think the perfume plays no role in this scene. Especially because, when Mina asks Dracula to bite her, he says “but you have your whole life ahead of you” meaning he is hesitant to condemn her to a vampires life. She insists, and says “I want to be with you forever”. Dracula even cries when he bites her.
Overall, I don’t think Dracula acts like a sexual predator in this film. He’s a predator in the traditional Dracula, I drink people’s blood way, but that is it. Dracula forcing Mina to fall in love with him would ruin the entire premise of the movie, and the integrity of the character.
I bet it feels real good to be a sailing ship when they tighten the rigging
David Fincher’s long-anticipated Once Upon a Time in Hollywood spin-off, The Adventures of Cliff Booth, has finally revealed its first trailer — and it made its debut during the big game. Written by Quentin Tarantino and directed by Fincher, the Netflix feature centers once again on Brad Pitt’s Cliff Booth, the former stuntman-turned-Hollywood fixer, this time embroiled in what looks like a far more action-heavy adventure.
It’s fascinating how clearly it blends two distinct cinematic voices. The dialogue, needle drops, and even the trailer’s playful censorship — with F-bombs bleeped out using stylized film scratches — feel unmistakably Tarantino. Visually, though, it’s pure David Fincher, with slick digital photography and a colder, more controlled aesthetic than Once Upon a Time in Hollywood.
Brad Pitt fully leans into a grimier, more seventies-era Cliff Booth, sporting a glorious porno moustache, while Yahya Abdul-Mateen II looks like he wandered in from the set of Dolemite. The film also appears significantly more kinetic than its predecessor, featuring car chases, brutal hand-to-hand fights, and at least one eyebrow-raising moment where Booth takes someone out using an Oscar statuette — possibly one won by Rick Dalton.
The trailer is scored to a groovy cover of Henry Mancini’s Peter Gunn Theme, further reinforcing the pulpy, retro vibe. As someone who loved Cliff Booth’s previous cinematic outing, this looks like a leaner, meaner, and more action-forward chapter for the character — and yes, I want it in my eyeballs immediately.
As for when it’s coming out? That remains a mystery. A Cannes premiere has been rumored, but Netflix’s complicated relationship with the festival makes that far from a sure thing. A summer release is possible, though a Q4 rollout could make more sense if Netflix plans an awards push. For now, though, your guess is as good as mine.
What does everyone think of the new trailer? Let us know in the comments!
The post The Adventures of Cliff Booth: David Fincher’s Tarantino Spin-Off Gets a Trailer appeared first on JoBlo.
by Loewenflamme
In einem ruhigen Moment am Tisch der Vimes-Wache erzählt Sam Vimes von seiner Herkunft, seiner Berufung und der verzweifelten, doch unbeirrbaren Hingabe, die ihn in der Nacht bewahren ließ. Zusammen mit Sybil und Willikins erinnert er sich daran, wie Keel ihn geformt hat – nicht mit Heldentum, sondern mit der Fähigkeit, trotz Dunkelheit zu stehen, zu überleben und weiterzumachen. Ein stilles, ehrliches Gespräch über Verantwortung, Gerechtigkeit und den Preis des Überlebens in einer Stadt, die ihnen nichts schenkt.
Words: 2493, Chapters: 1/1, Language: Deutsch
Steven Spielberg has brought us a couple of the most iconic alien films with Close Encounters of the Third Kind and E.T. – The Extra-Terrestrial. Now the blockbuster maestro has returned to the sci-fi world with a new UFO movie that remained shrouded in secret…until recently. The new movie, Disclosure Day, hints at a day when the secrets of alien life will be revealed to the world. David Koepp wrote the film’s screenplay, based on a story by Spielberg. A few months ago, Universal dropped the first teaser for the film (see it lower in the article), but to mark the Super Bowl, they released a brand new Big Game trailer that’s packed with action and carnage, giving us more of a hint as to what Spielberg might have in store for us.
The official press release reads:
Universal Pictures is proud to release a new original event film created and directed by Steven Spielberg. The film stars SAG winner and Oscar® nominee Emily Blunt (Oppenheimer, A Quiet Place), Emmy and Golden Globe winner Josh O’Connor (Challengers, The Crown), Oscar® winner Colin Firth (The King’s Speech, Kingsman franchise), Eve Hewson (Bad Sisters, The Perfect Couple) and two-time Oscar® nominee Colman Domingo (Sing Sing, Rustin).
Based on a story by Spielberg, the screenplay is by David Koepp, whose previous work with Spielberg includes the scripts for Jurassic Park, The Lost World: Jurassic Park, War of the Worlds and Indiana Jones and the Kingdom of the Crystal Skull. Combined, those films earned more than $3 billion worldwide. Koepp also wrote the script for this 2025’s Jurassic World Rebirth.
Disclosure Day is produced by five-time Academy Award® nominee Kristie Macosko Krieger (The Fabelmans, West Side Story) and by Spielberg for Amblin Entertainment. The executive producers are Adam Somner and Chris Brigham.
Here’s the first trailer Universal unveiled for Disclosure Day:
At 93 years old, it would be understandable if John Williams elected to step away, but he is set to compose the score for the project. This will mark his 30th collaboration with Spielberg, with the first being The Sugarland Express, all the way back in 1974.
Williams previously hinted that he was considering retiring after he completed his scores for The Fabelmans and Indiana Jones and the Dial of Destiny, but he later changed his mind. “I’ll stick around for awhile,” Williams said. “I can’t retire from music. A day without music is a mistake.” He added that his decades-long collaboration with Spielberg was as good a reason as any not to retire. “One thing Steven isn’t is a man you can say no to,” he said.


The post Disclosure Day: The top secret Steven Spielberg UFO film has a new Big Game Trailer appeared first on JoBlo.
Why can't we get a dracula movie with all the gaga in love, lusty, trance like beauty, PLUS an ending that is just them ending up together for fucking ever.
We could have them just eat all the ppl trying to break Mina from her love spell or whatever or like "no go away I choose eternity with Vlad!" And they just fuck off. They have their castle, riches, minions, and travel and just be together. For just a second I thought maybe that's how this movie will end. Like if it had ended right as she Turned on the music box, cut to him in the halls with a cheeky smile, fade to black