Capture (2026) (USA)

⭐️⭐️⭐️

Little orphan Abby (I’m sorry) discovers the identity of her birth parents by inheriting their awesome estate in the middle of the woods. Foster sibling drama (frustrated sister and kindhearted private investigator brother) has Abby (a solid Kaitlyn Lunardi from The Hangman) working hard to not screw things up, hoping she can get a good nest egg going with a home sale and kick some of her more unhealthy habits. She’s also sensibly interested in knowing the history of her biological family. When you ain’t got anything but bad choices in your past, it’s much easier to talk yourself out of exiting strange situations. Unfriendly bar patrons have Abby thrown off from the outset but a friendly (and handsome) bartender gives her a lift to the property even though he’s getting the stink eye from everyone. That Kyle. He’s a good egg (and handsome) until he’s not (still handsome, just not on the inside). While exploring her new digs, which has sat empty for nearly two decades, she comes across a collection of videotapes and the camera that shot ‘em. Abby begins watching the home videos and session tapes (her mother was a shrink and the house was her home office) she’s come across and they paint a rather horrifying picture of what her parents went through and how something awful was unleashed into the house . Yet there’s a bit more to the story and it involves the camcorder that these events were captured on and the unsettling power that it holds. Supernatural spookiness slowly boils over as eerie images hit on screen and in Abby’s home while she digs deeper into the lives of her parents. Her handsome bartender shares the tragic past involving multiple bodies, suspected witchcraft and burning. There’s even a helpful news report to serve as a visual aid. Bonus! My dude Grant Schumacher (also from The Hangman and the under appreciated Dawn of the Beast) shows up as Abby’s papa so you can throw that in the plus column. Familiar faces from Dawn and director Bruce Wemple’s other work fill out the cast (sadly, no Anna Shields) and everyone knows what they’re doing, so I’m all for it. It’s an intriguing idea and, as ridiculous as an evil camera is, I’m for evil items doing evil things and evil secrets in gorgeous houses. It may lose its footing a little as it crosses the finish line but it’s still a fine time.