Marvel Comics is set to release Battleworld #1 this Wednesday, and you can get an early look with the official preview below… “SLAY YOUR ENEMIES, PROVE YOUR WORTH AND ALL YOU DESIRE SHALL BE YOURS IN THE WORLD TO COME!” Heroes from various corners of the Multiverse find themselves on a patchwork world, engaged in their own Secret Wars to save their timelines! Who or what has fashioned this Battleworld, and for what sinister reasons? Enter Maestro. Is he a friend, or a foe? Battleworld #1 will be available on September 24th, with a retail price of $4.99. About Amie Cranswick: Amie Cranswick has been a member of Flickering Myth's editorial and management team for more than a decade. With a background in publishing and copyediting, she has been serving as the Editor-in-Chief of FlickeringMyth.com since 2023.

      Dust Bunny, 2025.

      Written and Directed by Bryan Fuller.

      Starring Sophie Sloan, Mads Mikkelsen, Sigourney Weaver, David Dastmalchian, Sheila Atim, and Rebecca Henderson.

      SYNOPSIS:

      A young girl employs a man (Mads Mikkelsen) to eliminate the monster lurking beneath her bed.

      When artists shift from television to film, their shortcomings can become more pronounced. A successful track record on TV—where there's ample time for character development and a collaborative episodic approach—doesn’t always carry over to the tighter constraints and heavier demands of filmmaking. However, I was pleased to discern within the first 15 minutes of Dust Bunny the unmistakable creative essence behind Hannibal, American Gods, and Dead Like Me. Through its cinematography, production design, and casting, Bryan Fuller’s style is unmistakably evident. In his first feature film as a director, he establishes himself as a visionary auteur.

      Dust Bunny offers an entertaining, imaginative late-night viewing experience. When it fully embraces its fantastical setting and genre elements, it transforms into a captivating piece of fantasy—highlighted by stunning set design from Jeremy Reed and rich cinematography by Nicole Hirsch Walker. However, when the film attempts to root itself in a more realistic framework, its fairytale elements begin to feel a bit strained. At times, it resembles a less concealed version of Burton's style. Fuller may lack the confidence of Del Toro, the precision of Raimi, or the comedic flair of Peter Jackson, but he undoubtedly belongs among their ranks, especially given that this is his debut feature. Making an impressive debut in 2025 is significantly more challenging than it was in the 90s, especially without the safe financial cushion of the DVD market.

      The opening effectively sets the mood: a young girl makes a wish at her window, and we follow her perspective as she observes a mysterious figure strolling down the street. Is the world truly as it appears, or is there a more insidious truth lurking beneath? Fuller wisely opts for showing rather than telling in these initial scenes. The set design evokes Little Nemo in Slumberland, featuring whimsical star cutouts on the walls and a low camera angle that magnifies the world's vastness. One of the film’s most impactful visuals depicts heroes and villains walking home at night, illuminated by street or car lights—an iconic moment that illustrates Fuller’s ability to create visionary macabre imagery on a limited budget. One can only imagine the possibilities with greater resources.

      The cast delivers strong performances across the board. Fuller has a knack for assembling impressive ensembles, and this film is no exception. Sophie Sloan excels in the lead role, cast on Sigourney Weaver's recommendation. Her dynamic with Mikkelsen is engaging, as is the relationship between Mikkelsen and Weaver—though it could have benefitted from greater depth. Unfortunately, many of their dialogues focus on plot details, which hampers pacing and diminishes the film’s enchantment. Another common issue for first-time directors appears: a struggle to know when to conclude a scene. What could have been a tight, brisk midnight film extends about 15 minutes too long. The climactic confrontation, while thrilling, becomes repetitive. Fortunately, David Dastmalchian’s late arrival revitalizes the film—his presence is always a welcome addition in any horror/thriller.

      Fuller has shared that the film’s inspiration stemmed from a childhood memory of wishing harm upon his father. This psychological depth surprisingly influences Dust Bunny, but not in a sufficiently nuanced manner to fully explore its complexity. Thanks to Sloan’s innocent portrayal and Fuller’s mix of darkness and wonder, the audience remains uncertain whether the child is entirely innocent or harboring something more disturbing.

      For a fable, the narrative is unexpectedly grim. The gunfights alone would likely scare off most children under eight. Yet, Fuller balances this darkness with dreamlike visuals, imaginative costumes designed by Catherine Leterrier and Oliver Bériot, and playful design elements that prevent the film from sinking entirely into despair. Fuller stumbles, however, by straying from the child's perspective. He appears torn between "putting away childish things" and fully embracing the delights of childlike imagination. This indecision hinders the film’s overall impact, though there remains much to appreciate.

      The tonal shift is particularly pronounced: the movie opens with a sense of silent wonder but later becomes bogged down by heavy dialogue. Mikkelsen repeatedly clarifying his role in this fairy tale to Weaver, Sloan, and a child protective services worker portrayed by Sheila Atim (who is enjoying herself alongside the rest of the cast) undermines the film’s mystique. If Fuller had more faith in his direction over his dialogue, it would have been far more impactful to allow the audience to ponder what the child actually perceives—whether the monster is genuine or merely a reflection of her trauma. The final scene wraps things up too neatly even for a