Kenan and Kel Reunion Mitchell are back together for a Gothic horror comedy, Meet Frankenstein, which mixes ’90s nostalgia with comfort horror. Learn more..!
Kenan and Kel Reunion: A wave of nostalgia washed over the entertainment world when Kenan Thompson and Kel Mitchell announced their reunion on a Good Sports episode on Prime Video, announcing a new feature film: Kenan & Kel Meet Frankenstein.
Filming is set to take place in summer 2026, and this is not simply a follow-up to their recent Good Burger 2 success, it’s a calculated bringing-back of a 77-year-old cinematic template. By situating the quintessential ’90s pair in the world of Gothic horror, producers are tapping into a burgeoning “Gothic Renaissance” and the popularity of “Comfort Horror.”
The entire film is set in a building that’s a straight-up homage to the 1948 Abbott and Costello Meet Frankenstein.” In those days, Universal Pictures revitalized its fading monster franchise by infusing it with high-octane comedy. Kenan and Kel are now following suit with the streaming age.
Ryan Jr. stated, “First it was Abbott and Costello, then Pryor and Wilder—and now it’s Kenan and Kel.”
It’s a familiar “wrong place, wrong time” plot device, but one that’s easy to relate to: Thompson and Mitchell are delivery drivers working in the modern gig economy. A routine delivery at a secret, out-of-place castle results in the accidental reactivation of Frankenstein’s monster.
Jonah Feingold, who brings grounded human emotion to ”magical realism,” is helming the project. Producer John Ryan Jr. has described the look of the film as “Shaun of the Dead meets Scooby-Doo.”
So it’s looking like this won’t be a dumb parody – it’ll be a “straight” horror comedy where the stakes feel genuine, even if the heroes are hilarious.
Why Now? The late 2020s are all about the “war of the Frankensteins.” With Guillermo del Toro’s bleak The Witches and Maggie Gyllenhaal’s stylistic The Bride! opening in theatres, viewers are hungry for a palate cleanser.
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For Millennials, it’s a return to the “Aw, here it goes!” energy of their youth. For Gen Z, it’s two industry legends including Kenan Thompson, the longest-tenured SNL cast member taking a stab at a new genre.
“It’s exciting to take a classic monster story and turn it on its head, and have fun doing it.”
–said Thompson
This film represents a shift from “reboot culture” to “genre homage.” If it is successful, it paves the way for a possible “Kenan & Kel Monster Universe,” in which the duo could cross paths with the Mummy or the Wolf Man in future films.
By owning their production via Thompson’s Artists for Artists banner, the pair is not only pursuing nostalgia — they are establishing a permanent comedy institution. As we approach the 2026 production cycle, one thing is certain: the “schemer” and the “innocent” are introducing themselves anew, and this time, the monsters should be the ones fearing.
Kenan and Kel Reunion Frankenstein isn’t returning ’90s nostalgia but the gothic horror genre that makes comfort to the audience who love these kinda silly monsters.
Restitching strands of millennial nostalgia and “comfort horror,” the film touts itself as the antithesis of that era’s darker, prestige monster films. Given a wide canvas to tell their own story and an angle that nods to classic Hollywood storytelling, Kenan Thompson and Kel Mitchell aren’t just looking back — they’re ensuring their past holds up over time.
If the bet pays off, this may lead to an endlessly silly monster age where comedy, instead of terror, reigns in the night—and the monsters finally have something to fear.
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Paul Dano joins Javier Bardem and Penelope Cruz in Florian Zeller's new psychological thriller Bunker, which will be a major cinematic release in 2026.
Paul Dano has been the subject of some, not all of it boring Dolby-drama-based Hollywood chat heat. After Quentin Tarantino’s inflammatory comments about the actor last week, the industry came out in support of Dano, showing that sometimes the loudest voices are not everyone’s. Instead of retreating from the public eye, the lauded actor is going straight into something truly extraordinary: Oscar-winning director Florian Zeller’s next film, the psychological thriller Bunker.
It’s worth taking a moment to appreciate what this casting actually is. Zeller, whose credentials include the beloved play The Father (which won Hopkins the Oscar for Best Actor and earned Zeller himself one for Best Adapted Screenplay), is renowned for getting the best out of his performers.
His second film, The Son, may have divided critics, but it still garnered Hugh Jackman a Golden Globe nomination. Now, with Bunker, Zeller is putting together what can only be described as a powerhouse ensemble.
The cast is a veritable who’s-who among Hollywood stars. Dano is teaming with Oscar-winning real life couple Javier Bardem and Penélope Cruz, whose on and off-screen chemistry is already legendary.
Stephen Graham, gritty, intense actor famous for his role in the television series “Justified,” and Patrick Schwarzenegger complete the cast. This is not some film being made under the radar — this is a prestige title that plans to make a splash in 2026 cinema.
Bunker follows an architect whose life and marriage are complicated when he takes on the design of a survival bunker for a wealthy tech tycoon. When this secretive building project starts to penetrate the family’s life, things begin to disintegrate. The premise alone indicates the psychological heights that Zeller has been known for.
This is a director who knows that genuine tension is not a byproduct of jump scares or external threats — it’s born when relationships break down under duress, in probing the ethical compromises we make and examining how fear informs our decisions.
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The director was inspired by their real-life nearly seventeen year marriage and he’s created a narrative that addresses the challenges of long term relationships in an increasingly volatile world. That type of writing intentionality leads to more real, strong performances. When Zeller spoke about recruiting Dano to the project, his words were effusive.
“From Little Miss Sunshine to There Will Be Blood, Paul has never ceased to surprise me as an actor,”
–he said.
That’s not the kind of recommendation that is bandied about. This is a director who has directed some of the most acclaimed performances of recent film, and when he talks about working with Dano, he sounds genuinely excited.
“He has a remarkable singularity - something truly unique – and in that respect he is irreplaceable.”
—He also said
The film is now in its second week of production, shooting in Madrid, and London. Blue Morning Pictures and the Spanish company MOD Producciones are producing, with international sales by Film Nation Entertainment. Everything about the set-up indicates a film that’s being treated as a substantial artistic effort and not just another genre piece.
What that timing makes especially intriguing is how it positions Dano’s career going forward. Instead of being defined by recent controversy, he has attached himself immediately to an art house project and a director known for eliciting complex, nuanced performances. Take Tarantino’s assessment with a degree of salt if you want, but Dano is clearly in demand by the filmmakers who really matter.
As we approach 2026, Bunker is becoming another film to keep an eye on. With Zeller at the helm, a cast that strong, and a premise that insinuates genuine psychological depth, this very well could be the film that ignites discussions and the kind of performances that stick with audiences well beyond the credits.
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At Sundance 2026, Andrew Stanton’s In the Blink of an Eye debuts with a bold multi-timeline sci-fi tale examining human emotion in the past, present and future.
If you have been keeping up with the Sundance Film Festival 2026, you may have found yourself wondering what Andrew Stanton is doing these days. The Whiz behind Wall-E has at long last arrived back on live-action soil and he is doing so with uncertainty, not caution. His new film In the Blink of an Eye is not only a return to form it is a high concept, mindbending thrill ride.
| Feature | Details |
| Movie Title | In the Blink of an Eye |
| Director | Andrew Stanton |
| Writer | Colby Day |
| Genre | Science Fiction / Drama |
| Narrative Style | Triptych (3 interconnected stories) |
| Time Periods | 45,000 BC (Neanderthals), Present Day, and Far Future |
| Core Theme | Human connection across time, evolution, and technology |
| Story Approach | Visual storytelling & behavior over heavy dialogue |
| Structure | Non-linear and multi-timeline |
| Editing Style | Using “Emotional Sync Points” to link different eras |
| Premiere | Sundance Film Festival 2026 |
| Vibe | Thought-provoking, Sci-Fi With Emotional Depth |
| Standout Factor | Skips the “Hero’s Journey” to focus on shared human feelings |
So, what’s the deal? That’s not your average “aliens destroy the White House” science-fiction movie. It’s a triptych — which is just a fancy way of saying that it tells three separate stories that are all interconnected.
It is a narrative that leaps randomly back and forth over the course of thousands of years, from ancient Neanderthals to the current day, and then to the future.
It’s ambitious, it’s a little experimental, and it’s trying to suss out what really makes us “human” from era to era.
Andrew Stanton had long been working on big shows such as Stranger Things, 3 Body Problem, and he spent that time ‘hand-picking’ his dream team. He’s also leaning heavily on his animation roots.
Andrew Stanton’s biggest takeaway is the importance of imagination. He thinks the presence of a character — an expression, a movement, or maybe a choice can say more than dialogue ever could. The end product is a movie meant to make you feel first, leading emotion with images rather than explaining everything in words.
The author, Colby Day, confessed he was a little tired of the typical movie structure we get applied to everything. Rather than tracking a single protagonist on a familiar trajectory, he wanted to “blow up the world” and change the rules. He was inspired by films such as Cloud Atlas — those “big swings” that might be a little messy but way more interesting than a “safe” blockbuster.
Just think about what it would be like to edit three separate films into one. The editor Mollie Goldstein said they had to find “sync points.” They’re moments when a character in 45,000 BC is experiencing exactly what someone in the future is. It’s the emotional glue that holds the whole thing together.
Connectedness is the new spectacle: The age of hollow, effects-laden action-movies is waning. In the Blink of an Eye caters to a burgeoning demand for narratives with emotional connections — demonstrating that no matter how far technology evolves or centuries elapse, what really resonates is how intimately we are linked to one another.
The Comeback of the “Big Idea”: For a time, it seemed like movies were made by committee. This feels like a personal project and a risk. If this works, studios will once again trust directors with strange, “unfilmable” scripts.
Universal Struggles: By featuring Neanderthals, the film makes us aware that even as our phones evolve, our hearts don’t. We’re all still coming to grips with the same primal fears and loves that people had thousands of years ago.
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Darkly In The Blink of an Eye is a quiet rebellion against all the sci-fi that has played it safe for far too long. Rather than pursuing bigger explosions and louder stakes, it looks inward – across centuries, across species, across futures – to consider what actually endures.
When the film connects Neanderthals, modern humans and future societies through shared feelings, it tells us our survival is not dependent on wiping out the other; rather it magnifies our humanity. If this movie sticks the landing like it promises, it won’t just be a standout at Sundance — it may indicate a turn toward even braver, more emotionally intelligent sci-fi, where connection matters more than spectacle.
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