Three Films Make A Post: If you leave a door half open, soon you'll hear the whispers spoken.

The Wrong Girls (2026): Remember stoner comedies? Miss stoner comedies? Apparently, director Dylan Meyer does. Meyer also just happens to be the wife of Kristen Stewart, thus we have the dubious pleasure of watching Stewart and Alia Shawkat being stoned while going through a particularly uninvolving comedy plot about stolen super drugs. Jokes are mostly so unfunny they might as well be absent - though there are about five to ten funny minutes here if you add things up – unless you’re really into talented actresses pretending to be stoned while doing nothing of interest, directed with little verve.

Those Who Wish Me Dead (2021): This mid-budget action thriller with a pretty great cast (Angelina Jolie, Jon Bernthal, Nicholas Hoult and Aiden Gillen are certainly nothing to sneeze at) didn’t exactly set the world on fire when it came out. From my position, it’s exactly the kind of fun, not terribly deep but effective kind of thriller with a great cast the people who then proceed to ignore these films tend to say aren’t made anymore today (with which they inevitably mean in Hollywood – South Korea for example does a lot of this kind of thing).

Taylor Sheridan certainly has the control of a more than decent craftsman over set pieces, twists, and parallel plot lines, is gifted with actors who put the effort in, and a script that doesn’t bloat a still simple plot with simple enough characters up to untoward lengths. It’s a nice way to use up one’s popcorn reserves.

The Whisper Man (2026): James Ashcroft’s love letter to/rip-off of, the more up-market American serial killer thriller actually has a lot in common with Those Who Wish Me Dead – the great cast (in this case Michelle Monaghan, Adam Scott, Hamish Linklater, Michael Keaton, a Robert De Niro still worth watching when he’s on a third of his power, and others of that calibre), the unfussy approach to clichés and tropes, and a sense of genre filmmaking craftsmanship, presented on a not inconsiderable but also not superhero movie budget. This one’s not quite as tight – though most of the film’s excursions are at least moody.

I do wish the script either hadn’t included the supernatural element or integrated it into the plot tighter and earlier instead of tacking it onto the climax, but otherwise, what’s not to enjoy about this kind of filmmaking?