McGregor's Month (September 2026)

In imitation of our eponymous editor’s ‘Theaker’s Week’ column, I thought I’d try a ‘McGregor’s Month’. Though imitation is indeed the highest form of flattery, my main motive is that I really wanted to say something about at least three of the following (presented in the order I read or watched them), but didn’t have enough time to write reviews, not even short ones. On which note, I can’t promise I’ll write another one of these either…which might be for the best!

 

The Coming of Joachim Stiller, a 1960 novella by Hubert Lampo (English translation by Marga Emlyn-Jones).**** Recommended to me by a Belgian friend as an introduction to the Flemish tradition of magical realism, which I’m embarrassed to say I’d never heard of before. Written in a crisp, clean, and understated style that foregrounds the often-unnoticed singularity of modernity and urban life. The attention to internal logic is impeccable, making the ambiguity of the conclusion satisfying rather than frustrating.

Obsession, a 2025 feature film directed by Curry Barker.***** An original and inventive premise that is for the most part extrapolated and elaborated with great skill and conviction. The narrative is as lean as the budget (though the latter is well-disguised by both the writing and acting) and its success at the box office has apparently made it the fifth highest-grossing horror film of all time.

Trap, a 2024 feature film directed by M. Night Shyamalan.**** I first came across Shyamalan’s latest in a review citing it as further evidence of his declining craftsmanship since Split (2017) and was, in consequence, pleasantly surprised. Neither his nor Josh Hartnett’s best, but a solid horror film (or suspense or thriller, depending on your preferred definitions) that was also successful at the box office.

King Zero, a 2026 novel by Charlie Higson.*** The next in the line of authorised Bond continuation novels, following his On His Majesty’s Secret Service (2023), which I missed (thankfully, because it’s about saving the Coronation). Included here because of the weirdness that has pervaded the recent films and original novels. A respectable espionage thriller that is at its worst when trying to remain faithful to Fleming’s worldview in an up-to-the-minute setting.

Something in the Water, a 2024 feature film directed by Hayley Easton.* I’ve no idea what, if anything, was actually in the water, but it definitely wasn’t a shark (or any other big fish). While I don’t want to make the mistake of assuming all poor CGI is now AI, the special effects are very, very poor. It doesn’t help that after the first attack, the sharks’ behaviour is also wildly implausible.   

Black Alibi, a 1942 novella by Cornell Woolrich.***** As regular readers will know, I’m obsessed with crime and horror crossovers, of which this is one of the best examples I’ve ever read. Much to my shame (again), I’d never heard of Woolrich until reading one of Joel Lane’s essays and he really is a master of noir, as good or better than James M. Cain and Jim Thompson. This is the third (of six) in his ‘Black Series’ (published from 1940 to 1948) and what I particularly liked is the way in which he uses explicit self-reflection on genre to heighten expectation for the dénouement. Definitely the month’s highlight, with Obsession a close second.