THE WRECKING CREW (2026)

January 29, 2026

Greetings again from the darkness. Well, it’s not exactly a ‘good cop/bad cop’ scenario, since only one of them is a cop – and he’s suspended and out of his territory. It’s also not a traditional ‘Buddy comedy’ since these aren’t buddies, but rather estranged, grudge-holding half-brothers. Still, the premise is admirable, and the casting choice of pairing Dave Bautista with Jason Mamoa is marketing brilliance. Jonathan Tropper (creator and writer of “Banshee”) wrote the screenplay and Angel Manuel Soto (BLUE BEETLE, 2023) directed.

An apparent hit and run takes the life of Walter, the father of brothers by different mothers, James (Dave Bautista) and Jonny (Jason Mamoa). James is a composed Navy SEAL officer who is married with two kids. Jonny is a party animal cop on a reservation in Oklahoma, whose girlfriend Valentina (Morena Baccarin) dumps him moments after he’s suspended from his job and learns his father has died. Of course, Jonny had no relationship with his dad and has been estranged from brother James for a decade. When he’s attacked and his house is trashed by Yakuza gang members, Jonny figures there more to his dad’s story and heads to Hawaii (where James lives) to investigate.

The film serves its purpose when James and Jonny are going at each other with verbal digs or physical punches. The personality differences of Bautista and Mamoa makes these exchanges kinda fun … and sometimes funny. It’s actually a let down that their exchanges aren’t a bit more clever – say, in the mold of 48 HOURS (with Nick Nolte and Eddie Murphy). Perhaps I’m asking too much. The most frustrating aspect here is the villain. Claes Bang plays Robichaux, the leader of Yakuza, and he is severely underutilized here … other than a crack about him as the Vampire Lestat (Bang was terrific in the TV series “Dracula” ).

Morena Baccarin plays Valentina as a bank manager with extraordinary driving skills. Other supporting work comes from Jacob Batalon as Pica, more comedy relief as Walter’s assistant and referred to as ‘fat Jackie Chan’; Stephen Root as a frustrated Police Captain; and Temuera Morrison as the Governor. There are some stunning shots of Hawaii, and more of the impressive tattooed physiques of Bautista and Mamoa as they constantly fight – either each other or bad guys. They even get to look cool riding motorcycles. I feel obligated to make note of one particular action sequence that bothered me. It’s the biggest action set piece in the film … an incredible air and road chase scene featuring an incredible amount of gunfire and vehicle carnage. What bothered me was a stunning number of innocents who were harmed and probably killed … all with no care or attention from our heroes – James and Jonny (the former more concerned about his own wrecked vehicle). For me, this put a damper on what otherwise was played as a comical, over-the-top action film.

Streaming on Amazon Prime as of January 28, 2026

WATCH THE TRAILER


A PRIVATE LIFE (2026)

January 29, 2026

Greetings again from the darkness. The concept is interesting and relatable. A woman undertakes the solving of a mystery, and in the process, learns a great deal about herself. Writer-director Rebecca Zlotowski w-d (OTHER PEOPLE’S CHILDREN, 2022) and co-writers Anne Berest and Gaelle Mace have delivered a film that works on a couple of levels: as a whodunit and self-discovery.

Oscar winner Jodie Foster plays Lillian Steiner, a successful psychiatrist with a bit of a chip on her shoulder. We see her leave a voicemail for a patient who has just missed her third appointment, followed immediately by an unscheduled drop-by from another patient – this one angry for having spent thousands of dollars for treatment by Lillian, when a hypnotist cured him of his smoking habit with a single visit. Lillian then learns that the no-show patient, Paula Cohen-Solal (Virginie Efira), has died. Paula’s daughter, Valerie (Luana Bajrami), informs her that Paula committed suicide by downing all the pills Lillian had prescribed.

The news sets Lillian off on the case, refusing to believe that she missed any warning signs during her sessions with Paula. A bizarre and uncontrollable case of tears sends Lillian to her ex-husband optometrist, Gabriel (Daniel Auteuil, CACHE, 2005) for an exam. He finds nothing that physically explains the tears, and she then leans on Gabriel for guidance on the case, and the two re-kindle a bit more than that. Lillian’s relationship with her son Julian (Vincent Lacoste) is a bit icy and she purposefully avoids alone time with her baby grandchild. Paula’s husband Simon (Mathieu Amalric, THE DIVING BELL AND THE BUTTERFLY, 2007) and daughter Valerie play key roles here as Lillian tries to put the pieces together.

There is no shortage of characters to keep track of, including Dr. Goldstein (renowned documentarian Frederick Wiseman), a former professor who bluntly explains to Lillian that she’s always been a bit of a pain, and Jessica the hypnotist (Sophie Guilleman) first visited by Lillian’s smoking patient. When Lillian herself goes ‘under’, much is revealed about her past and true feelings, and though she doesn’t admit it, this session has opened her up.

This is a French film and in addition to the French actors mentioned above, a couple other long-time well-respected French actors appear: Aurore Clement (PARIS, TEXAS 1984) and Irene Jacob (AU REVOIR LES ENFANTES, 1987). Some may be surprised at Jodie Foster’s excellemt French dialogue … sprinkled with the occasional colorful English. Cinematographer brilliantly uses spiral staircases as Lillian works through the maze of information, and viewers should take note that this is not the typical ‘American in Paris’ fairy tale. It’s more of a psychological character study.

Opens in theaters on January 30, 2026

WATCH THE TRAILER


THE LOVE THAT REMAINS (2026, Iceland)

January 29, 2026

Greetings again from the darkness. If not for a few bizarre (and interesting) visual metaphors tossed in, one might mistake this film from Icelandic filmmaker Hlynur Palmason (GODLAND, 2022) as a documentary. After all, we are mostly watching one family’s life over the course of a year. There are no car chases or criminal masterminds – just a few people living their lives.

A simple story or film does not necessarily mean boring or dull. Anna (Saga Gardarsdottir) is an artist striving to get her work displayed in a gallery. Magnus (Sverrir Gudnason) works at sea on a commercial fishing vessel. The two longtime lovers are working through the boundaries of their recent separation. While they keep things very cordial and familiar for their three kids, it seems Magnus (“Maggi”) holds hope that they can reconcile, while Anna is trying her best to maintain the break.

We watch as these normal folks go about their normal days. The kids act like kids – playing and exploring and joking around. Anna meets with an annoying museum curator, and Maggi takes his shifts aboard the ship. Another key player is the family dog – perfectly named Panda. There are times the dog seems to have more personality and energy than the others, but of course, life can be that way … we just go about our daily rituals.

The fragility of relationships is front and center here … even though love still exists. Director Palmason includes some stunning shots displaying the beauty of the Icelandic countryside, and the phrasing of one particular piece of dialogue stuck with me: “A relentless monologue of death.” It’s a toss-up whether this movie is more about normal life or whether it’s as much about being lost at sea (both proverbially and actually). American audience may find the pacing a bit slow, but as you might guess, there’s plenty going on.

Opens in NYC theaters on January 30, 2026 and expands regionally in February.

WATCH THE TRAILER


ARCO (2025, animation)

January 29, 2026

Greetings again from the darkness. ‘Arco, phone home’. OK, that’s not actually a line of dialogue in this Oscar nominated animated feature film from w-d Ugo Bienvenu, co-director Gilles Cazaux, and co-writer and Felix de Givry … but the line sure fits. Taking place in the future, the film’s strong themes are family, friends, and coming-of-age.

Hundreds of years in the future, ten-year-old Arco is tending to the family’s animals while his mother, father, and sister are off time-traveling. When told the age limit for such travel is twelve, Arco does what any young boy would do … he snatches his sister’s rainbow travel cloak while she’s sleeping and takes off to see what he’s been missing. Of course, things go wrong for Arco and he crash lands in the year 2075. Young Iris throws the trio of rainbow hunters (comic relief in Scooby-Doo mode) off his trail, and takes Arco home so Mikki, her robot nanny, can provide first aid.

The vibrant colors of Arco’s home are in the style of Studio Ghibli animation, and the bubble homes of Iris’ era speak clearly to the environmental message being delivered. Actually, there are a number of ecological issues covered here, yet the main focus is one of hope and the importance of family and friendship. You’ll notice some familiar voices, including Natalie Portman (also a producer), Mark Ruffalo, Will Ferrell, and Andy Samberg. This is a family film (not for the toddlers) with substance, and it certainly hasn’t been simplified or dumbed down for kids. It’s worthy of the Oscar nomination.

Opening in theaters on January 30, 2026

WATCH THE TRAILER


MR NOBODY AGAINST PUTIN (2025, doc)

January 25, 2026

Greetings again from the darkness. Heroes come in many shapes and sizes, and heroic acts may be big or small. What’s consistent is the need for courage to do the right thing, regardless of the circumstances or personal risk. The actions of Pavel “Pasha” Talankin clearly fall under this definition, and with the help of his co-director David Borenstein, the finished film not only provides us with rare insight into Russian life, it has also been nominated for Best Documentary Feature at this year’s Academy Awards.

Pasha was an Event Coordinator and Videographer at a Primary School in Karabash, Russia. It’s a town of approximately 10,000 residents and the pollution from the local refinery business has not only turned the local mountain black, it has also caused the town to be labeled toxic as it reduces the lifespan of locals. Initially we see Pasha’s interactions with the students, including the normal shenanigans and giggles one would expect from the age group. However, things changed quickly in February 2022 when Vladimir Putin announced a “Special Military Operation” … the invasion of Ukraine.

The ‘before’ and ‘after’ contrast is stark. The government takes control of daily lessons while administering the national and war propaganda required to brainwash students (and teachers) that Russia is in the right and Europe is the enemy. Pasha makes for an interesting guide for us. After all, he displays a pro-democracy flag above his desk. He also figures there are dual uses for his camera – fulfilling the requirements set by the government, while also documenting that not all Russians support the war.

“Even a guy like me should have some principles”, Pasha states as he resigns from the school – although he quickly realizes the opportunity afforded by his position. His camera shows the “Stop the War” protests that the Russian government claims never happened. And to be clear, Pasha fully acknowledges the personal risk he is taking by doing what he’s doing. Over the course of two-plus years, it’s heartbreaking to learn of the deaths that occurred for some soldiers who were previously students at the school. It’s a stark reminder that the cost of war is incalculable, making Pasha’s actions all the more courageous, enlightening, and necessary.  Should anyone have doubts about the effects of communism and authoritarianism, this striking documentary is a must-see.

WATCH THE TRAILER


Book Review: A STAR IS REBORN by Robert Hofler (2026)

January 24, 2026

As we experience this age of cinematic sequels, spinoffs, remakes, and reboots, author and historian Robert Hofler reminds us how a good story lends itself to being reimagined for different eras. He does this by taking us through the incredible history of the various film projects for A STAR IS BORN – on the 50th anniversary of the 1976 version. The book is subtitled: “The Most Filmed Hollywood Story of Love Found and Lost”.

Hofler does more than take us “behind the scenes” … he takes us deep inside Hollywood and reveals the inner workings, negotiations, and strategies involved with bringing the projects to the big screen. And what about those projects? Hofler researches the foundation, which takes us back to WHAT PRICE HOLLYWOOD? (1932) – based on the tumultuous marriage of silent movie star Colleen Moore and film producer John McCormick. This core story, with five credited and three uncredited writers, became the basis for four (so far) movies entitled, A STAR IS BORN. The years were 1937, 1954, 1976, and 2018. You likely think of them as Janet Gaynor/Frederic March (1937), Judy Garland/James Mason (1954), Barbra Streisand/Kris Kristofferson (1976), and Lady Gaga/Bradley Cooper (2018).

Even as an acknowledged cinephile, I was taken aback by the drama generated by each of these productions prior to them ever hitting the silver screen. Whether it’s the powerful David O Selznick controlling all aspects in 1937 (often to the frustration of William Wellman), or the challenges incurred by working with uber-talented and often-medicated Judy Garland (and how it relates to Cary Grant), or the truly absurd dynamics of Barbra Streisand and her ambitious boyfriend (and hair stylist to the stars) Jon Peters, or the (to me) shocking revelation of the original director and female lead for the 2018 version, every chapter delivers eye-opening, and often jaw-dropping revelations about the film productions. On a personal note, the 1976 version is easily my least favorite (although I believe Kristofferson deserves more credit than he receives), yet I was so immersed in the details of that section of the book that I read through without once coming up for air.

Hofler’s book is not written for the casual movie fan. It’s for those who thrive on pulling back the curtain on the hard work and personal and professional drama that goes into the magic we see on screen. The ideal reader will be exhilarated (as I was) at learning how the script and screenwriting faced so many obstacles over the past 90 years or so – each attempt to modernize taking the challenges head-on. Even the climactic turn of events and final scenes were built to speak to an audience of the times. The most striking example of this was Bradley Cooper using a specific tragic event in rock music to shift his own film. For those looking for backstage details and a few lessons in Hollywood history, Robert Hofler has written the book for you. It certainly won’t trash your life.

The book is available beginning January 27, 2026


MERCY (2026)

January 23, 2026

Greetings again from the darkness. Artificial Intelligence ranks with politics as one of the hottest topics of conversation these days. Of course, we don’t yet know what role AI will play in society; however, we are pretty certain all aspects of our world will be touched in some form. This story from writer Marco van Belle and director Timur Berkmambetov (WANTED, 2008) is set only three years in the future, and the premise is that AI judges now decide criminal cases. As with most stories steeped in science fiction, your enjoyment of the film will depend on your willingness to buy into a concept that seems a bit far-fetched. But that buy-in will likely leave you entertained, rather than rolling your eyes (ok, maybe both), by what’s on screen.

Detective Chris Raven (Chris Pratt) awakens from his drunken stupor to find himself locked down in a chair in front of AI Judge Mattox (Rebecca Ferguson, A HOUSE OF DYNAMITE, 2025) in Mercy Court. This new system is designed to quickly administer serious cases by assuming guilt unless innocence is proven. Raven is informed he is charged with the murder of his wife Nicole (Annabelle Wallis, “Peaky Blinders”) and has 90 minutes to reduce his likelihood of guilt from 98% to 92%, or face immediate penalty of death (in the chair). What follows is an overwhelming onslaught of video evidence through security cameras, video doorbells, cell phone records, etc. The initial impression is that Chris deserves to be the leading suspect. He also has access to all of the available video and technology data that the government collects.

Chris calls his teenage daughter Britt (Kylie Rogers, BEAU IS AFRAID, 2023) to proclaim his innocence (despite his blackout memory due to drunkenness). His other calls are to his AA sponsor and friend Rob (Chris Sullivan, “This is Us”), and his police partner Jaq (Kali Reis, REBUILDING, 2025), the latter of whom hops on a futuristic air travel scooter to assist with gathering evidence for Chris. The thing meant to grab the viewer is the detective work by Chris as he races the clock. Of course, there is a political statement made in that Mercy Court doesn’t seem to be much a deterrent given the chaotic red zones within the city (but this isn’t the movie to look for rational thought). We can’t help but think of the superior MINORITY REPORT (2002), and as silly as this film gets at times, we can’t miss the point that we simply don’t know the risks of Artificial Intelligence, and that waking up while locked down in the ‘Mercy’ chair would be most anyone’s nightmare. Mr. Pratt does all he can while spending most of the time in that chair, and Ms. Ferguson makes an effective AI-generated judge (is that a compliment). Again, those who buy-in will be entertained.

Opens in theaters on January 23, 2026

WATCH THE TRAILER


THE TESTAMENT OF ANN LEE (2026)

January 23, 2026

Greetings again from the darkness. One might believe that celibate communal living and worship would have been an easier sell in the 1780’s than today, yet this film from writer-director Mona Fastvold (THE WORLD TO COME, 2020) and co-writer Brady Corbet (THE BRUTALIST, 2024) proves otherwise. It turns out the second coming and extreme shaking while worshipping requires a bit more faith than many possess. The film is based on the true story of Ann Lee, the founder of the Shakers who, along with a small contingency, emigrated to the U.S. from England to spread their beliefs.

That small group of believers who followed Ann Lee (Amanda Seyfried) included her brother William (Lewis Pullman), her husband Abraham (Christopher Abbott), and young Mary (Thomasin McKenzie), among others. Their life is not easy and recruiting a congregation proves challenging. Ann never loses faith and consistently stays true to her beliefs, allowing all to follow … well, except for her husband Abraham who doesn’t much buy into the pure life with no sexual relations requirement. Ann believes that this was Adam and Eve’s sin and is convinced a pure existence is the way to righteous living.

Probably the most unique thing about the film (other than the actual subjects of Ann and the Shakers) is the manner in which the hymns/songs are choreographed and performed. This makes for such an odd visual and there are quite a few of these moments. Tim Blake Nelson plays a pastor who crosses paths with Ann, providing an interesting sequence (as he typically does). The choreography is the work of Celia Rowlson-Hall and the music comes from Oscar winner Daniel Blumberg. Ms. Seyfried delivers yet another standout performance, although this movie certainly won’t be to everyone’s taste. It’s a long film that’s not easy to relate to. Ann Lee saw herself as the female incarnation of God, and the film attempts to show how some believed her.

Opens in theaters on January 23, 2026

WATCH THE TRAILER


H IS FOR HAWK (2026)

January 23, 2026

Greetings again from the darkness. Some losses hit hard. When Helen’s dad dies suddenly and unexpectedly, her downward spiral begins. Writer-director Philippa Lowthorpe and co-writer Emma Donaghue have adapted Helen MacDonald’s 2014 book/memoir for a screen version that moves about as slowly as any movie I’ve ever seen. That’s allowed when depression is taking hold (of Helen, not me).

Claire Foy (THE GIRL IN THE SPIDER’S WEB, 2018) stars as Helen. She’s a natural science academic at Cambridge and has a close relationship with her photojournalist dad (the always great Brendan Gleeson). His death leads her to training a beautiful goshawk she names Mabel. Helen is patient with the bird and spends an inordinate amount of time with the magnificent creature … so much time, in fact, that it jeopardizes her job, her friendships, her family, and quite frankly, her sanity. But that all makes it sound much more exciting than it plays out on screen

Based on Helen’s true story, the time period is 2007, yet we believe this emotional crash could happen to most anyone at any time. Her distraction (which she claims Mabel isn’t) is a bit more worrisome than some, and as her mom (Lindsay Duncan), brother James (Josh Dylan), and best friend Christina (Denise Gough) fret over how best to help her, it turns out time and delivering her dad’s eulogy are even more effective than training the hawk. As odd as it seems, this may be a textbook “finding yourself” story and film.

Opening in theaters on January 23, 2026

WATCH THE TRAILER


WITHOUT KELLY (2026, short film)

January 23, 2026

Greetings again from the darkness. The Sundance Film Festival does a terrific job each year of selecting captivating short films. One of the films in the lineup of this year’s shorts program on January 24, 2026 is from Swedish filmmaker Lovisa Siren, and it’s a gem.

Medea Strid stars as Esther, a young mother who must face the first separation from her child when she’s required to allow the child’s father Anton, played by Truls Carlberg, to spend one week with Kelly. The story was inspired by the director’s own experience as a young parent, and Esther’s emotions are palpable as she struggles to let go … as well as replacing the personal touch that she’s come to depend on.

It’s painful to watch Anton attempt to gently usher Esther away, and perhaps more painful watching her ultimately find the intimacy she craves – from a source she probably shouldn’t. This is a relatable and powerful story and Ms. Strid’s performance carries the ten-minute run time. The film also won the Orizzonti Award for Best Short Film at the 2025 Venice Film Festival.

Selected for Sundance Film Festival shorts program on January 24, 2026