There’s something genuinely intriguing about a film that dares to blend the supernatural with teenage romance while channeling the literary ghost of William Shakespeare himself. All That Glitters is set to release on February 20, 2026, and even before audiences have had a chance to experience it, the project carries the kind of conceptual promise that reminds us why original storytelling still matters in cinema.
At its heart, this is a film about the intersection of adolescence and artistic ambition—two universally relatable territories that rarely get treated with the kind of imaginative flair that director Peter Lavery appears to be bringing to his feature debut. The premise alone is wildly appealing: Ryan, a disinterested teenager navigating the treacherous waters of school romance, somehow manages to enlist the ghost of Shakespeare himself as his unlikely collaborator in landing the role of Romeo. It’s the kind of high-concept hook that could easily veer into pure absurdity, but in the hands of the right creative team, it becomes something genuinely worth anticipating.
What makes this collaboration particularly promising:
- Peter Lavery’s directorial vision as a first-time feature filmmaker brings a fresh perspective to what could have been a tired trope
- The combination of comedy and drama suggests a willingness to balance humor with emotional stakes rather than choosing one lane
- A cast featuring Elliot Grihault, Paul Ready, and Tim Downie—actors known for their range and commitment to character work—suggests this won’t be a lightweight teen flick
- The Shakespeare angle opens doors to genuine thematic richness about love, performance, identity, and artistic struggle
The casting here deserves particular attention. Tim Downie, who’s proven his versatility across projects like Outlander and Good Omens, brings a certain gravitas that could make the spectral Shakespeare feel like an actual presence rather than a gimmick. Paul Ready brings character actor credibility that grounds ensemble pieces. And Elliot Grihault carries the film as Ryan—a role that requires both comedic timing and the emotional vulnerability needed to make a disinterested teenager’s journey toward self-discovery feel earned rather than manipulative.
For isn’t all the world a stage?
The tagline itself—”For isn’t all the world a stage?”—nods directly to As You Like It while pointing to something deeper about this film’s thematic concerns. It’s asking us to consider whether the performance aspect of high school romance (the masks we wear, the roles we play) is fundamentally different from the theatrical performances that Shakespeare immortalized. That’s not shallow stuff. That’s a film interested in ideas.
What we’re anticipating heading into the 2026 release:
- Whether Lavery can sustain the tonal balance between comedy and genuine emotional stakes throughout the 100-minute runtime
- How the supernatural element—Shakespeare’s ghost—will be visualized and integrated without overwhelming the more intimate character work
- Whether the film will offer commentary on artistic creation, teenage identity, and the universality of Shakespeare that feels fresh rather than scholastic
- The chemistry between the leads and how well they’ll navigate what could be a genuinely touching romance subplot
There’s also something to be said about the studios backing this project. Clover Fox Films and Elevation Films are taking a swing on what amounts to Peter Lavery’s feature debut with an unconventional concept—that’s the kind of bet that, when it pays off, reminds us why the mid-budget original film still has a vital role to play in cinema. This isn’t a franchise entry or a prestige adaptation of an already-beloved source material. It’s a new idea, executed by filmmakers with demonstrable talent.
The fact that this film currently carries a 0.0/10 rating on IMDb is simply a reflection of its Coming Soon status—no one has seen it yet, so there are no votes to count. What matters now is the anticipation building around it, the creative intentions on display, and whether the execution will match the promise of the concept.
What genuinely excites me about All That Glitters is that it represents the kind of filmmaking that requires genuine conviction. You don’t make a movie about a teenager getting romantic advice from Shakespeare’s ghost unless you believe in the emotional core of that story. You don’t assemble this particular cast unless you’re committed to character and nuance. And you don’t entrust a first-time feature director with this material unless you trust his vision.
When All That Glitters arrives in February 2026, it will arrive as something increasingly rare: a film willing to be both playful and sincere, both fantastical and grounded. In a cinematic landscape often dominated by sequels and safe bets, that willingness to take a swing matters. That’s worth paying attention to.
