January 12, 2026
Greetings again from the darkness. We can pick our friends, but not our family or neighbors. However, we can (and do) speculate on and judge our neighbors – and that’s what occurs in this smart little film from writer-director Leon Prudovsky and co-writer Dmitri Malinsky. The premise of the film may initially seem absurd to some, but the final version is touching and quite entertaining.
A short prologue takes us to 1934 in Eastern Europe where a large Jewish family is enjoying their time together and posing for a family portrait. We then flash forward to 1960 South America. It’s after the war, and Polsky (screen vet David Hayman) is living a life of solitude in a dilapidated countryside home. Polsky still grieves for his many losses, while wearing the mark of a Holocaust survivor. He’s a grumpy man who shares pleasantries with neither the friendly postal carrier nor the inquisitive lady inquiring about the empty house next door … a house he would much prefer remain vacant. Polsky spends his days tending the black rose bush, which is his bond to happier times, especially those with his wife.
The previously mentioned inquisitive lady turns out to be Frau Kaltenbrunner (Olivia Sibush), charged with finding a home for the mysterious Mr. Herzog (Udo Kier), a process that means Polsky now has a neighbor – one whose German Shepard named Wolfie breaks through the fence and damages the beloved rose bush. The two men barely acknowledge each other, except for a property line negotiation. Polsky catches a glimpse of Herzog’s eyes without the sunglasses and immediately pegs him as Hitler. Heavy duty research follows as Polsky displays an urgency missing from his life for many years.
Remarkably, the premise is bizarre, yet rather than be the main thrust, it merely leads to the crux of the story. Of course, we understand why Polsky might not believe the media reports of Hitler’s bunker suicide, but he’s taken aback by how investigators show little interest in his evidence, and are more concerned about his own mental health. Almost accidentally, the two men slowly begin relaxing their defenses towards the other. A chess board thaws the ice, as does the slow-to-come conversation. What we soon see are two men, burdened by the past, finally opening themselves up to living again.
An odd twist is handled beautifully by the actors. A few bits of note to go with this one. Frau Kaltenbrunner’s last name is (probably not) coincidentally the same as that of Ernst Kaltenbrunner, former Director of Reich Security, and a convicted Nazi criminal. Our two lead actors, David Hayman and Udo Kier have had excellent careers dating back to the mid-60’s. Kier has long been a personal favorite, and he recently passed in November 2025. He also has a role in THE SECRET AGENT, Brazil’s submission for Best International Feature of 2025. The performances of these two men elevate the material and create emotion where it’s needed … and neither actor ever stoops to scene stealing. Prudovsky’s film is not just a pleasant surprise, it’s an excellent film worthy of attention.
Opens in theaters on January 9, 2026
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Leave a Comment » | 
Drama, World Cinema/Foreign | Tagged: David Hayman, Dmitri Malinsky, Leon Prudovsky, movies, Olivia Sibush, Udo Kier | 
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Posted by David Ferguson
January 12, 2026
Greetings again from the darkness. We always hear that the most challenging rom-coms to make are the friends-to-lovers stories. That theory has always confused me since one of the best, if not the best, of the genre was WHEN HARRY MET SALLY … a perfect example of friends-to-lovers. Along that path comes the film adaptation of Emily Henry’s romance novel, directed by Brett Haley (THE HERO, 2017) and written by Yulin Kuang, Amos Vernon, and Nunzio Randazzo.
Poppy (Emily Bader, “My Lady Jane) is a free-spirited travel writer who never misses a chance to talk about her desire to explore the world. Alex (Tom Blyth, “Billy the Kid”) is a reserved guy who prefers a quiet life. Despite growing up in the same small Ohio town, Poppy and Alex never met until she hitched a ride back home from Boston College. The ‘opposites attract’ theory doesn’t hold here … well, the two beautiful people are definitely opposites, but there would be no attraction were these two characters placed anywhere other than in the middle of a rom-com.
Against all odds, a bond of friendship does form. Poppy and Alex make a pact to meet once every year for a vacation – a way to get her mind off of work and a way for him to get a bit more adventurous. The film shows us different trips the two take together, and we see some of the blips that occur along the way. It’s obvious to see how Poppy learns to appreciate Alex’s stability, while Alex gains an understanding of Poppy’s wild side. Supporting work comes from Sarah Catherine Hook (Piper in “The White Lotus”) as Sarah, Alex’s on-again-off-again girlfriend, Lukas Gage as a guide they meet on a trip, and Molly Shannon and Alan Rick as Poppy’s hugging parents.
There is never any real doubt about where all this is headed – only how long will it take. Brett Haley’s movie will serve the same role as Emily Henry’s novel: a warm blanket for those who believe in the destiny of love.
Premieres on Netflix on January 9, 2026
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Leave a Comment » | Rom-Com | Tagged: Alan Rick, Amos Vernon, Brett Haley, Emily Bader, Emily Henry, Lukas Gage, Molly Shannon, Nunzio Randazzo, Sarah Catherine Hook, Tom Blyth, Yulin Kuang | Permalink
Posted by David Ferguson
January 7, 2026
Greetings again from the darkness. Let’s get this out of the way upfront. My only issue with this sequel is that it exists at all. It’s pretty much the definition of a money grab. Why should a successful stage production that lasted about three hours be turned into two films totaling almost five hours? There are only two possible answers: either more story to tell (nope, not here), or more money to make (yep!). Now, I have nothing against studios cashing in on a good thing – especially these days, when tickets are difficult to sell. So, my one issue with the film, really isn’t much of an issue at all … in fact, I really enjoy the spectacular visuals and could watch Cynthia Erivo as Elphaba any time.
Jon M Chu is back in the director’s chair and the key players are back on screen. Ms. Erivo deserves recognition and awards for her remarkable turn as Elphaba, and Ariana Grande uses that stunning voice as Glinda the Good. Also returning are Jeff Goldblum as The Wizard of Oz, (Oscar winner) Michelle Yeoh as Madame Morrible, Jonathan Bailey as Fiero (and Scarecrow), Ethan Slater as Boq (and The Tin Man), and Marissa Bode as Nessarose.
Friendship and the inner-strength to do the right thing are the messages here. However, the truth is that messages are less important here than the breathtaking visuals – special effects, costumes, and gorgeous sets. The songs aren’t quite as memorable as those in the first film, yet the singing voices are still tremendous. Corruption and darker personalities are at play here, and Erivo and Grande handle the dynamic very well. The final twist is a welcome relief – especially for parents of younger kids.
As a reminder, these characters are based on the originals created by L Frank Baum, and the film is based on the musical stage play by Stephen Schwartz (music and lyrics) and Winnie Holzman (stage book), the latter of whom gets screenplay credit alongside Dana Fox. The source novel was written by Gregory Maguire. Certainly deserving mention are Production Designer (Oscar winner) Nathan Crowley, Set Decorator (Oscar winner) Lee Sandales, Costume Designer (Oscar winner) Paul Tazewell, and Composers John Powell and (Oscar winner) Stephen Schwartz.
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2 Comments | Fantasy | Tagged: Ariana Grande Butera, Cynthia Erivo, Dana Fox, Ethan Slater, Gregory Maguire, Jeff Goldblum, John M Chu, John Powell, Jonathan Bailey, L Frank Baum, Lee Sandales, Marissa Bode, Michelle Yeoh, movies, Nathan Crowley, Paul Tazewell, Stephen Schwartz, Winnie Holzman | Permalink
Posted by David Ferguson
January 7, 2026
Greetings again from the darkness. Chinese filmmaker Bi Gan’s third feature continues his string of visually stunning films and dramatic visual effects. However, this one runs 160 minutes, and seems to be inaccessible to most moviegoers, while the film will surely mesmerize a few. Bi Gan is a cinematic artist who is at ease toying with time and our sense of normalcy.
In the first segment, we learn that the secret to longevity – even immortality – has been discovered. Those who do not dream will be rewarded with long lives. Of course, rebels fight back. Here they are known as ‘Deliriants’ … those who hold fast to dreaming, recognizing that a life without creativity or imagination is hardly worth extending. Bi Gan structures the movie into five segments, each offering a bow to our five senses and to a specific era of cinema. Jackson Yee (BETTER DAYS, 2019) plays the deliriant in each segment. The eras range from silent movies with a nod to Melies to film noir to vampires. Stretching from science fiction to monsters to romance, the film refuses to be limited to any one label.
The film won a Special Jury Prize at Cannes in 2025, and in addition to writer-director Bi Gan, those deserving of recognition include the Production Design team of Liu Qiang and Tu Nan, Cinematographer Dong Jingsong, and composer M83 who somehow complements the various eras and styles. My take is that the film is lacking an emotional connection for most viewers, though the artistry and visual style ate stunning. Perhaps it leaves us with the question of whether eternal life is an admirable pursuit.
Opening in theaters on January 9, 2026
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1 Comment | Fantasy, World Cinema/Foreign | Tagged: Bi Gan, Dong Jingsong, Jackson Yee, Liu Qiang, M83, Tu Nan | Permalink
Posted by David Ferguson
January 4, 2026
Greetings again from the darkness. We can only assume there were conspiracy theorists during the time of cavemen since alarmists have existed at every other stage of humanity. It’s intriguing to assume there is more going on ‘behind the curtain’ than what we see with our own eyes. We feel there must be a reason those other people get rich or escape the judicial system or hold onto power … while we are stuck in the role of being just everyday folks. Filmmaker Yorgos Lanthimos has a track record of unconventional projects (POOR THINGS, 2023; THE FAVOURITE, 2018; THE LOBSTER, 2015), and this time, he and screenwriter Will Tracy (THE MENU, 2022) have remade the 2013 award-winning South Korean cult film, SAVE THE GREEN PLANET!, by Jang Joon-hwan … and it’s a doozy.
Teddy (Jesse Plemons) is a radicalized beekeeper whose conspiracy theories have been built through specific podcasts and online extremists. He has dragged his well-meaning cousin Don (the film debut of neurodivergent actor Aidan Delbis) so far into these beliefs that they have both chemically castrated in order to remain focused. That focus is on Michelle Fuller (two-time Oscar winner Emma Stone), a high-powered Biomedical CEO, whom the men are convinced is the Earth-based leader and mastermind of the aliens committed to destroying mankind.
Adding to this is the distinct contrast between these two factions. Teddy and Don are a grungy, unkempt duo living in a dilapidated house, while Michelle is an impeccably dressed, confident woman living and working in a pristine home and office. A less-than-smooth kidnapping occurs as the men wear jumpsuits and masks that are worth a chuckle. Once Michelle is chained to the cot in their basement, her head is shaved (for real) and antihistamine cream is spread over her body. Teddy believes she communicates with her home base through her hair, and that the cream will numb her powers against them.
This is as bonkers as it sounds, yet it’s actually very intense and leads to some elevated verbal sparring between Teddy the believer and Michelle the polished executive. Corporate greed, big pharma, and the destruction of bees are all topics of discussion, and these conversations are key to the story. See, it’s only three days to the next lunar eclipse and Teddy is convinced that’s the only window for negotiations with Michelle’s alien community.
Stavros Halkias as the local sheriff and Teddy’s former babysitter, and Alicia Silverstone as Teddy’s mother have key supporting roles. Production Designer James Price creates the contrast required for the story, and composer Jerskin Fendrix fits the mood for each scene. Whether you figure out the twist early or not, it’s still worthy of discussion on whether aliens are a bigger threat to our planet than ourselves.
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2 Comments | Fantasy, Sci-Fi | Tagged: Aidan Delbis, Alicia Silverstone, Emma Stone, James Price, Jang Joon-hwan, Jerskin Fendrix, Jesse Plemons, Stavros Halkias, Will Tracy, Yorgos Lanthimos | Permalink
Posted by David Ferguson
January 3, 2026
Greetings again from the darkness. What is true human nature? Is there even such a thing? Are we preprogrammed to do the right thing, or is it our nature to hold grudges, seek revenge, and take advantage of every situation? This superb film from Iranian filmmaker Jafar Panahi explores the topic, and it’s important to know that he was inspired to write the story after being imprisoned for creating propaganda against the regime.
A man is driving his family on a dusty road through the darkness. His pregnant wife (Afssaneh Najmabadi) sits beside him as their young daughter dances to the blasting music in the backseat. When the man hits a stray dog, the daughter becomes upset. Her level-headed mother says, “It was only an accident” … setting the tone for what is to come. When their car breaks down a bit farther down the road, the shop’s owner, Vahid (Vahid Mobasseri) is startled by a familiar and haunting sound – the squeak of the car driver’s prosthetic leg.
Vahid is convinced that squeak belongs to Eghbal, or Peg Leg, as he referred to the prison guard who tortured him. The next day, Vahid kidnaps the man (Ebrahim Azizi) by force and drives him to the desert where he digs a hole in which to bury him. However, the man is convincing in his pleas of “you’ve got the wrong man”, and since Vahid was constantly blindfolded, he has only that haunting squeak as evidence. Rather than risk killing the wrong man, Vahid begins assembling folks who, like himself, were once tortured by Peg Leg. His friend Salar recommends Shiva (Mariam Afshari), a wedding photographer, which leads to bride-to-be Goli (Hadis Pakbaten), the groom-to-be (Madjid Panahi), and an angry and emotional Hamid (Mohamad Ali Elyasmeyr) joining in the quest to decide: mistaken identity or guilty of torture.
This journey of decision-making is bold storytelling filled with some great long takes. Director Panahi filmed this (guerilla style) in Iran, although Postproduction took place in France, which has submitted the film for Best International Feature film. Despite the intensity of the subject matter and the characters, there are surprising moments of (dark) humor … and the crazy twists are what have us questioning so much. At what price does revenge come? Can justice be served, and if so, what would it look like? The details one remembers from being tortured are likely ingrained forever. Filmmaker Panahi sticks the ending in such a way that we leave nearly as haunted as Vahid.
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2 Comments | Drama, World Cinema/Foreign | Tagged: Afssaneh Najmabadi, Ebrahim Azizi, Hadis Pakbaten, Jafar Panahi, Madjid Panahi, Mariam Afshari, Mohamad Ali Elyasmeyr, movies, Vahid Mobasseri | Permalink
Posted by David Ferguson
January 2, 2026
Greetings again from the darkness. Well, we can’t really call this a feel-good movie. After all, the first segment (which is really the third) deals with what appears to be the early stages of the end of the world. Plus, it’s adapted from a Stephen King novella/short story and it’s directed by Mike Flanagan, who is best known for DOCTOR SLEEP (2019) and “The Haunting of Hill House” … not exactly the genes of a happy-go-lucky film experience. Still, beyond those points, it’s a terrific film that leaves us with an inspirational and life-affirming message.
The storytelling structure is worthy of forewarning. Reverse order, or backwards … the story of Charles “Chuck” Krantz is told mostly from old age to youth, rather than the traditional chronological order. Beginning with Act III, we get a glimpse of Chuck in a hospital bed, before picking up in the classroom where teacher Marty Anderson (Chiwetel Ejiofor) is informed by his smartphone-toting students that an earthquake has caused parts of California to collapse into the sea. This catastrophe has an impact on the parent-teacher conferences Marty holds … everyone wonders what’s the point – especially once internet is lost. This segment is subtitled, “Thanks, Chuck” because billboards everywhere are thanking the unknown Chuck for 39 great years. After the parent conferences with David Dastmalchian and Harvey Guillen, Marty crosses paths with his neighbor (Matthew Lilliard) and a funeral home director (Carl Lumbly), before re-connecting with his ex-wife (Karen Gillian). Rather than face the end of the world alone, Marty chooses to be with someone who has been special in his life. We understand.
Act II, “Buskers Forever”, delivers the most memorable scene from the movie. We meet the infamous “Chuck” from the billboards. It’s Tom Hiddleston who spontaneously plops down his briefcase and begins dancing to the beats of a street drummer (The Pocket Queen). Chuck’s fantastic dance steps draw a crowd and he invites bystander Janice (Annalise Basso) to join him. It’s a beautiful sequence guaranteed to put a smile on your face – just like with Chuck and Janice, both of whom have had a bad day. Hiddleston (as Chuck) only has about 20 minutes of screen time, but it will definitely stick with you.
Although those first two acts pack a wallop, it’s Act I, “I Contain Multitudes”, that carries much of the weight. Teen Chuck is played by Jacob Tremblay (ROOM, 2015), while even younger Chuck is played by a debuting Cody Flanagan (the director’s son). Chuck’s grandparents are played by Mia Sara (the girlfriend in FERRIS BUELLER’S DAY OFF, 1986) and Mark Hamill, both exceptional here. Grandma Sarah teaches young Chuck to find the joy in dancing, while Grandpa Albie has the best intentions with his not-so-great life advice. We also find Chuck’s teacher (Kate Siegel, Flanagan’s wife) explaining the Walt Whitman poem, “Song of Myself”, to young Chuck – it’s the same Whitman poem Marty was teaching early in the film.
Flanagan delivers an unusual way to look back on one’s life, and seems to stress the point that the view can be quite different from how you recall certain moments. An environmental and global event forces folks to live in that moment, but the lesson here is about all the other moments in our life. The message is to avoid obsessing about what could happen in the future and focus on what (and who) matters. Nick Offerman serves as the film’s narrator, and yes, some sentimentality is involved, yet it’s never an overdose. In fact, the story is likely to leave you in a contemplative state – analyzing how you deal with your moments. Maybe a dance?
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2 Comments | Drama, Sci-Fi | Tagged: Annalise Basso, Carl Lumbly, Chiwetel Ejiofor, Cody Flanagan, David Dastmalchian, Harvey Guillen, Jacob Tremblay, Karen Gillian, Kate Siegel, Mark Hamill, Matthew Lilliard, Mia Sara, Mike Flanagan, movies, Nick Offerman, Stephen King, The Pocket Queen, Tom Hiddleston, Walt Whitman | Permalink
Posted by David Ferguson
December 29, 2025
Greetings again from the darkness. As a lifelong lover of cinema, I tend to latch on to the works of those who so obviously feel the same. Among those who have achieved some level of mainstream success are Martin Scorses, Quinton Tarantino, Steven Spielberg, and Christopher Nolan. Another filmmaker who definitely belongs in the group, and it may surprise some, is Guillermo del Toro (an Oscar winner for PINOCCHIO, 2022, and THE SHAPE OF WATER, 2017). Other gems in his oeuvre include CRIMSON PEAK (2015) and PAN’S LABRYNTH (2006). The esteemed director has long claimed that his “dream project” is a film version of Mary Shelley’s 1818 novel, “Frankenstein: Or, The Modern Prometheus”.
The dream is now a reality, and what a thing of beauty it is. The visuals here eclipse all expectations, and the only caution I would offer is that the tone and themes are a bit of a twist from traditional takes on the story … and we all know there have been many previous takes. All of this confirms what a remarkable source material Mary Shelley’s novel is. That’s not to say del Toro’s version is ‘new’, yet it’s certainly an oddity and an outlier to what we’ve come to expect from Frankenstein movies.
Setting the film in 1857 (nearly 40 years after the novel) affords del Toro some benefits of advancements, as well as audience familiarity to the times. It may seem strange, or even contrary, but to me, this film’s central theme is humanity – how we use it and how we sometimes work against it. An opening in the Arctic where creature (Jacob Elordi) and creator (Oscar Isaac) cross paths yet again – after chases that only become clear later in the film – and it’s horrifying and stunning. Pivotal to the sequence is Captain Anderson’s (Lars Mikkelsen, “House of Cards”, and brother of Mads) ship and crew.
Victor Frankenstein, the human God/creator, is played with enthusiastic ambition that often drifts into mania. He’s a man of science whose vision refuses to be contained. Even in success, his need to control override his accomplishments … meaning the creature is truly born into misery and pain, resulting in confusion and a need to find where and how he belongs. Is it possible for a laboratory experiment to be a tortured soul? Director del Toro clearly believes this … as did James Whale in those early versions. It’s in these moments where Elordi truly shines as the creature – it’s a terrific performance through prosthetics.
Two-time Oscar winner Christoph Waltz and Mia Goth (a dual role) are both terrific in supporting roles, and it’s best if nothing further is disclosed about their characters as each are key to the story. Beyond the fascinating, tragic, and heartbreaking story is a film with such stunning visuals that it stands alone as a work of art. Guillermo del Toro’s talented crew includes cinematographer Dan Laustsen, Production Designer Tamara Deverell, Oscar winning Set Decorator Shane Vieau, and two-time Oscar winning composer Alexandre Desplat, who delivers an incredible score (one certain to be nominated). Of course, as previously stated, this was the “dream project” of Guillermo del Toro, and he has delivered one for the ages … dreams really do come true!
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2 Comments | Drama, Horror | Tagged: Alexandre Desplat, Christoph Waltz, Dan Laustsen, frankenstein, Guillermo del Toro, Jacob Elordi, Lars Mikkelsen, Mary Shelley, Mia Goth, Oscar Isaac, Shane Vieau, Tamara Deverell | Permalink
Posted by David Ferguson
December 29, 2025
Greetings again from the darkness. The line between right and wrong may be more blurred than ever these days, yet we’d be mistaken if we were to assume that the line was once distinct and clear. Rick Rowley (Oscar nominated for his 2013 documentary DIRTY WARS) offers the disturbing details of the investigation into the 2010 event that led to the death at the border of an undocumented Mexican immigrant named Anastasio Hernandez – Rojas.
Though undocumented, Anastasio Hernandez-Rojas had lived in San Diego for 26 years, worked as a pool builder, and been married to Maria. They had five U.S. born kids. The first interview is with Rodney Scott, who was Chief of the Border Patrol of the San Ysidro port of entry in 2010 at the time of the even. As the former Chief, he claims not to know all of the details other than that the security cameras at the time were ‘props’ used as deterrents, which is why no video footage of the incident was provided.
The film takes us through the non-existent investigation by the police – the detective states the Border Patrol treated it as a medical event, rather than a use of force, so no witness statements were obtained and the scene was cleaned. We see some of the agents being deposed by Maria’s attorney, Gene Iredale, and learn of the autopsy results. Investigative Reporter John Carlos Frey spends a great deal of time trying to find details on what appears to be a cover-up. When he connects with an eyewitness, iphone footage leads to public marches for justice in 2012. He ends up working with a former BP agent, as well as the Southern Border Communities Coalition.
A Grand Jury investigation lasts more than three years and results in no agents being prosecuted, and another investigation begins to determine if International Human Rights Laws were violated. By 2022, even Congress is convinced a proper investigation is warranted. Shadow units, such as Critical Investigation Team (CIT) are discovered – and referred to as “Border Patrol Cover-up Units”.
There is little here to provide us with faith in our institutions, especially these days. Homeland Security manages the 20,000 Border Patrol Agents, and it has since been discovered that Anastasio Hernandez-Rojas was tased while face down with hands cuffed behind his back. The methamphetamine in his toxicology could have been from the meds administered at the time of treatment. It’s little wonder the film is subtitled, “Death at the Border”. Rick Rowley delivers a powerful HBO documentary at a time when clear answers are difficult to come by.
Premieres on HBO on December 29, 2025
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Leave a Comment » | Documentary | Tagged: Rick Rowley | Permalink
Posted by David Ferguson
December 27, 2025
Greetings again from the darkness. You don’t have to be a baseball fan to enjoy this one. You don’t need to be an old man either. Since I am both, you can only imagine the appreciation I have for writer-director Carson Lund and his co-writers Michael Basta and Nate Fisher as they deliver a nostalgic and humorous look at how men deal with glory days of old and a rapidly changing landscape that looks to erase the past and their memories.
Two adult recreational league men’s teams gather for a final game on the baseball field where they’ve played their entire lives. The land is being developed for a new school, so the River Dogs and Adler’s Paint square off to scratch that itch one last time – safe/out arguments, aching bodies, rounding the bases, and the form of male camaraderie that only exists when keeping score is involved. In fact, this game has an official scorekeeper in old-timer Franny, who takes the game even more seriously than many of the players.
The field and the game take place in New England, but the location could be anywhere, U.S.A. These are friends and acquaintances, some connected only through baseball, while others are lifelong buddies, co-workers, and relatives. As throwbacks to a different era, this game, which goes extra innings, includes a lost ball in the woods, car headlights to illuminate the field, a delay due to a trash truck, and a shortage of pitchers.
For those who don’t know, an “eephus” pitch is an extremely slow, arcing junk pitch designed to contrast with fastballs and catch the hitter off-guard. Probably the most famous was Rip Sewell’s eephus pitch to Ted Williams in an all-star game, and the pitch has been used more recently by Clayton Kershaw and Zack Greinke. However, the pitcher most associated with the pitch is Bill “Spaceman” Lee, who pitched for the Red Sox for many years. Known for his quirky personality, the pitch was a natural part of his arsenal. That same Bill Lee, now 78 years old, makes an appearance in this film, and even pitches an inning … showing off the titular pitch.
Lee also gets to rattle off a couple of his most famous phrases: “Strikeouts are fascist” and “The sun don’t shine on the same dog’s ___ every day”. And as quickly as he appeared, Lee is then nowhere to be found. The post-game handshakes have a bit more emotion than a typical game, and the players even take in some fireworks before heading back to real life. A nod to Lou Gehrig’s famous farewell is included, and the film ends with Tom Waits singing “Ol’ 55”. Appreciation is the best word I can come up with for Carson Lund and these teams of actors who portray the fun and pain that goes along with a final game.
The film is currently streaming and available VOD
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Leave a Comment » | Comedy, Drama | Tagged: Bill Lee, Carson Lund, Michael Basta, movies, Nate Fisher | Permalink
Posted by David Ferguson
Movie Reviews from the Dark 