The science-fiction films to look forward to in 2026

Well, those little green shoots of recovery that I predicted last year have bloomed. This year should bring tighter storylines, cheaper projects (which is a good thing, because studios can take more risks), and a more enjoyable moviegoing experience across the board.

On January 16, 28 years later: the Temple of Bones will (honestly) keep all these maddening promises kept in 2025 28 years later. There will be Cillian Murphy reprising his role from 2002 28 days laterand many more from actor Jack O’Connell’s “Jimmys”, a cult acrobatic killer.

There will also be Nia DaCosta in the director’s chair – a much-lauded young talent who not long ago had the misfortune of directing The wonders. A film written by Alex Garland is exactly what DaCosta needs to rebuild his career.

The first truly science fiction release to watch out for is Good luck, have fun, don’t die (February), starring Sam Rockwell as a man from the future, taking hostages in a Los Angeles restaurant in an extremely unlikely attempt to save the world.

Director Gore Verbinski was criticized for his latest film, A remedy for well-beingprobably because he didn’t know when to stop adding craziness to it. I rather liked it, though, and have high hopes for this wittier, crazier, more accommodating vehicle.

After Guillermo del Toro’s plush toy, on the road to 2025 Frankensteinhere, thank God, comes The Bride! (March 6), directed by Maggie Gyllenhaal, starring Jessie Buckley as the Bride and Christian Bale as the Monster.

The friendly hue of James Whale’s 1935 Bride of Frankenstein hovers over this fiery retread, which shakes up the morals of the time when the artificial duo embarks on a Bonnie and Clyde-style trip.

Genre purists are finally having their moment with Hail Mary Project (March 20), directed by Phil Lord and Christopher Miller and based on Andy’s book “The Martian“Weir. Science teacher Ryland Grace (Ryan Gosling) wakes up on a spaceship with no memory of who he is or how he got there. Oh, and the sun goes out. Luckily, though, he may not have to figure all this out on his own…

No luck for the rare protagonists of The dog’s stars (March 27), directed by Ridley Scott and starring Jacob Elordi and Josh Brolin, based on the post-flu pandemic novel of the same name by Peter Heller. Physical, mental and spiritual survival hang in the balance as a mysterious radio signal offers the last thing the two can face: hope.

Then there’s a Steven Spielberg film about UFOs, Disclosure Day, scheduled for June 6. The story is by Spielberg himself and the screenplay by his longtime collaborator David Koepp. Emily Blunt, Josh O’Connor and Colin Firth star. And if you want to get an idea of ​​the film, take a look at the teaser on YouTube.

Fees The bottom (although I’m not sure “fresh” is quite the right word to describe her bravura performance there), Demi Moore leads a strong ensemble in I love boostersa sci-fi satire about the future of fast fashion. It is written and directed by Boots Riley, whose 2018 dystopian comedy Sorry to bother you set the bar very high for this one.

Flowervale Street (August 14), written, produced and directed by David Robert Mitchell, stars Anne Hathaway and Ewan McGregor as a 1980s couple who begin to notice bizarre happenings in their neighborhood. Mitchell’s 2014 horror film It follows has garnered it a lot of attention, so once again, fingers crossed for the second release.

Likewise with Hopea highly anticipated sequel from South Korean director Na Hong-Jin after that of 2016 The lamentations. A spectral tiger haunts Korea’s heavily fortified demilitarized zone, but what begins as a local emergency escalates to the point where Alicia Vikander and Michael Fassbender appear… as aliens.

Another year marked by horror, therefore, although it will probably not be worse for that. Fans of the science fiction genre will have to wait patiently until December 18 to Dune: Part Threethe third of Denis Villeneuve’s adaptations of Frank Herbert’s first two volumes Dune series.

If my memory is any guide, Messiah of the duneson which this film is based, was both short and long-winded: a fascinating but punishing interior monologue about psychic incest and the solitude of God. Let’s just hope Villeneuve is on his A-game.