James Whale’s 1935 film The Bride of Frankenstein has long been revered as one of the best Frankenstein films ever made, even better than its predecessor. But, as Maggie Gyllenhaal points out in an interview with Entertainment Weekly, “The movie’s called The Bride of Frankenstein, but she’s not really in it. It’s just a Frankenstein sequel, and she literally doesn’t speak.” With her new film, The Bride!, Gyllenhaal sets out to give the woman the voice, autonomy, and spotlight she deserves. What ensues is a ferocious, bold swing from the filmmaker and a movie unlike any Frankenstein-adjacent film we’ve seen before.

There’s been a lot of controversy surrounding Emerald Fennell’s adaptation of Emily Brontë’s classic 1847 novel Wuthering Heights, largely centered around the decision to whitewash the character of Heathcliff by casting Jacob Elordi in the role. However, almost every adaptation of the novel thus far has cast a white actor in the role, with Andrea Arnold’s 2011 adaptation being one of the rare exceptions. Between the casting, anachronistic costume designs, and original songs by Charli xcx, it’s clear even before audiences step into the theater that this version of Wuthering Heights isn’t concerned with being faithful to the novel or the time period in which it takes place. Anyone who walks into Emerald Fennell’s Wuthering Heights expecting an accurate adaptation of Emily Brontë’s novel is setting themselves up for major disappointment.

One Battle After Another might just be Paul Thomas Anderson’s funniest film to date. It’s also arguably his most accessible and mainstream. The film channels the spirit of Thomas Pynchon’s writing style, leaning into paranoia and absurdism. While the narrative is loosely inspired by Pynchon’s novel Vineland