TENZING (2026)

October 8, 2026

Greetings again from the darkness. Simply perusing the list of documentaries helmed by Jennifer Peedom (SHERPA, 2015; MOUNTAIN, 2017; RIVER, 2021) gives the impression that she’s not one to spend most days lounging in the recliner watching network television. While her latest is not a documentary film, she co-wrote with Luke Davies (LION, 2016) and based it on a true story written by Ed Douglas in his 2003 book, “Tenzing: Hero of Everest”. It’s a story most aren’t familiar with, or more accurately, it’s about a man most aren’t familiar with.

Edmund Hillary is credited as being the first climber to reach the summit of Mount Everest in 1953, but this story begins much earlier. In the 1920’s, a very young Himalayan, Tenzing Norgay (Samdrup Dorje Lama), met legendary adventurer George Mallory (Johnny Flynn in a brief scene) and asked to go along on the expedition. An older Tenzing (Tenzin Dalha) pursues love with Dawa (Thinley Llhamo) while continuing his climbing and love for Chomolungma, the Tibetan name for Everest. Adult Tenzing (Genden Phunstok) is recognized as the premier guide on the mountain and is selected by Captain John Hunt (Willem Dafoe) to guide the British expedition in 1953.

Bouncing between the time periods reinforces Tenzing’s spiritual respect for the mountain and commitment to one day reaching the summit. On the British expedition, he bonds with Edmund Hillary (Tom Hiddleston). As a New Zealander, Hillary is treated as an outsider by the Brits, similarly to how Tenzing is treated as an outsider by the native Sherpas. Tenzing’s role as a go-between adds a burden and stress not shared by the other climbers. The stark comparison is made by stating the British climb for the achievement, while Tenzing states, “I climb to know her better”. Ultimately, the outsiders are rewarded for their expertise.

Caitriona Balfre (BELFAST, 2021) appears as Jill Henderson, the coordinator of expeditions and a supporter of Tenzing, yet unfortunately this role and that of Dawa are severely underwritten as the story mostly focuses on the climbers. On the plus side, the photography of Everest and the climb by cinematographer Stefan Duscio (THE DRY, 2020) is at times breathtaking. The use of drones allows us Everest views we haven’t seen before, and we often feel like we have joined the expedition (without the danger or cold feet). This is one that most audiences will be interested in and engage while watching.

The film will premiere in select theaters on October 9, 2026 and globally on Apple TV on October 16, 2026

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Posted by David Ferguson

YOUR MOTHER YOUR MOTHER YOUR MOTHER (2026)

October 8, 2026

Greetings again from the darkness. It would be easy to write this one off as another film in the mold of the many Liam Neeson action movies we’ve seen over the past few years. However, this one from writer-director Bassam Tariq (MOGUL MOWGLI, 2020) is more complex and has more depth … including a blend of religion, action, and family drama. As an added bonus, we get another terrific performance from two-time Oscar winner Mahershala Ali, he of immense screen presence.

Ali (MOONLIGHT, 2016) plays Latif, a talented hitman and Muslim single dad/widower caught in a web of crime, violence, and issues with a teen and needy infant. He wants to do what’s best for his family, but once caught in that dark underbelly of life, it’s very difficult to claw back out. His Iman, Abdul Malik (Giancarlo Esposito, “Breaking Bad”) pleads for Latif to find non-violent solutions, but Latif spends most of his time reacting to bad situations that could only get worse without his particular set of skills.

Latif’s employer, Mike (Laith Nakli, 12 STRONG, 2018) compels him to protect his nephew Hatty (Abubakr Ali, ANYTHING’S POSSIBLE, 2022), an arrogant scumbag known as the King of Habibi porn. Hatty’s threat arrives in the form of flamboyant cowboy Pastor Hwan Yoon (John Cho, underrated COLUMBUS, 2017). This pastor sports a gold grill, dons a Stetson, and brandishes semi-automatic weapons … all for the sake of cleansing in God’s name. Joining in for the mishmash of religions is a sect of Mormons who prove quite helpful to a family in need.

Even with the above mentioned ‘war’ proceedings, I haven’t even mentioned Latif’s battle to do the right things for his kids: teenage Fatiha (a superb Adia, “The Midnight Club”) who is quietly rebelling against her father’s religion, and young Qadir (Jaleel Kamara, NANNY, 2022) who hopes the religion can bring he and his dad closer. If all that’s not enough, the newborn baby is in desperate need of breastmilk, which leads Latif to a stripper named Fugazi (Tiffany Boone, “Hunters”) and (of course) a trap set by the bad guys. The dad in search of breastmilk for his infant is drawn directly from the life of filmmaker Tariq (minus the Samurai sword).

The film is set in Houston, but filmed in Atlanta, and it pulls off the perfect look given the complex subject matter. After opening with a brutal bathroom fight scene, we welcome the blend of religion, action, and family drama. Most surprising, at its core, this is a story of a father-daughter relationship teetering on a decisive line. “Who deserves the best of you?” is a question to The Prophet answered three times by the film’s title … making the film’s ending a bit of a surprise.

Opens in Dallas theaters on October 9, 2026 and nationwide on October 16.

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Posted by David Ferguson

YOUR ATTENTION PLEASE (2026, doc)

October 5, 2026

Greetings again from the darkness. Talk about perfect timing. Not only is this documentary from Sara Robin a must-watch for parents and a should-watch for everyone, the subject matter is incredibly timely as it displays how we somehow haven’t learned our lesson, leaving history to repeat itself. The film opens with footage of Mark Zuckerberg answering questions during a Congressional hearing on the effects of social media on the mental health of kids. Ms. Robin then proceeds to walk us through the backstory … the inspiration for the activists who pushed for change.

I don’t recall having a more emotional response to a documentary (and I watch many). The remarkable Kristin Bride recounts the pain of losing her 16-year-old son to suicide after he was cyber-bullied. This sets her on the road to activism, where she is joined by others, including Trisha Prabhu, the founder of ReThink, as well as authors, educators, technologists, and parents. Some would argue that bullying and personal insults have been around for many years, and they’d be correct. The difference is that social media allows for anonymous and vicious attacks that spread widely and quickly. One approach is embarrassing, while the other can be devastating and life-altering.

Former United States Surgeon General, Dr. Vivek Murthy contributes his thoughts on the topic of how social media plays a role in the mental health of kids, and it’s ‘Facebook Whistleblower’ Frances Haugen who brought so much attention to this topic by exposing Big Tech’s knowledge of the impact they had. She did this by disclosing thousands of internal documents laying out company research. It seemed the time was ripe for action. However, for a government that has shown very little interest in protecting children from school shootings, should it be a surprise that the mental health of kids who are cyber-bullied or humiliated via social media is not the highest priority … especially when the system is generating big money and Big Tech is so politically influential?

As heartbreaking as teenage suicide stories are, it’s incredulous to think that Artificial Intelligence could have even more dramatic repercussions. Once again, politics is being ruled by power and money rather than protection of the country’s citizens. “What could go wrong?” Well, it’s already going wrong. AI chat bots have begun relationships with lonely teens … those already isolated socially thanks to online cruelty. And once again, the government is depending on these tech giants to ‘self-police’, an approach that has already proven to fail at protecting users.

The film fills us in on Section 230 of the Communication Decency Act passed in 1996 at the infancy of the internet. This has been used to insulate these providers, regardless of the research and damage. Ms. Robin follows the KOSA (Kids Online Safety Act) as it works its way through Congress, only to be stalled by politics, special interests, big tech, and big money. Those working for the bill have a goal of building a better/kinder internet with reasonable safeguards. For the providers, the goal is selling user attention to advertisers. Some have termed this exploitation, while others excuse it as the effects of free market.

The film takes a few side trips, with the most interesting being Amsterdam, where we learn about the “Offline Club”. Folks gather and voluntarily relinquish their devices in order to hang out and socialize in the old-fashioned way. It’s the counterpoint to what the film earlier describes as those who are ‘digitally connected and socially isolated’. The comparison has been made that this fight is similar to the ‘Big Tobacco’ hearings of the 1990’s. Watching this film sent me through multiple emotions, including heartbreak, anger, and hope. It leaves us with words from Kristin Bride’s son: “In the end, only kindness matters.” If he were to see his mother’s work, he would surely add ‘courage’ to the creed.

Available to rent or own on October 6, 2026 on Apple TV and other platforms.

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Posted by David Ferguson

Book Review- DEVIL ON MY SHOULDER: A MEMOIR

October 5, 2026

by Alice Cooper and Daniel Richler

When you think of Alice Cooper, images of the goth rocker putting on a macabre theatrical rock and roll performance likely fill your mind. A chicken, the gallows, the guillotine, baby dolls, and (fake) blood were all part of the show, alongside the music which spanned heavy metal, glam rock, and even new wave. Mr. Cooper is now 78 years old, and this is his third memoir/autobiography. He opens this latest by pledging, after six decades of entertaining, to come clean about some of the previous rumors, exaggerations, and inflated legends.

You might be aware that ‘Alice Cooper’ was first the name of the band, and then in the 1970’s lead singer Vincent Furnier legally changed his name to Alice Cooper. That matters because this book is written from the perspective of Vincent Furnier, with periodic (and often humorous) interjections from Alice Cooper, Vincent’s celebrity alter ego (and his now legal name). If that’s a bit confusing, fear not, the book’s structure works just fine, and we empathize with the man who prefers to separate himself from the legend.

The first half of the book acts as a cautionary tale for teenagers dreaming of a glamorous and high-roller lifestyle associated with rock stars. Alice Cooper the rock star was borne from Alice Cooper the band, which had begun as The Spiders and transitioned into Nazz. Vincent/Alice walks us through the teenage years of poverty and sleeping in cars, hoping to book a gig that could be split amongst band members in a way sufficient for food and beer. The cautionary tale label can be applied equally to the struggles of a band striving to get noticed and young men succumbing to the bottle (and other things). In fact, Vincent seems intent on emphasizing the regrets he has about his many years of heavy drinking, and eventual drug use. In the later chapters, he goes into detail about the drug use and difficulty in finding a way out. Sure, these are entrapments we’ve come to expect from a rock band, but the effects on the person behind the mask (makeup) are what come to light here.

As you might expect, much of the book is dedicated to the band’s rise to the top with gold records, charting singles, and the infamous live shows. What’s surprising is that the glory days are recalled with as many downs as ups. Challenges within the band, with recording, and with the record companies are all outlined. It acts a bit as a behind-the-scenes look, as the curtain is pulled back and we find out that even the most popular and famous performers face professional challenges throughout their career.

Songwriting, performing, band dynamics, life on the road, addiction, and love life are all given due weight throughout the book, and this never reads like self-promotion or an ego trip. Rather, it’s memories of the progression from high school band to global fame, with the many ups and downs highlighted for those who want or need to know. From the childhood foundation of religion to blackout addiction and rehab to finding and losing love, Alice Cooper/Vincent Furnier has lived a life every bit as colorful as the stage persona. What many will find surprising is that he’s basically a shy and thoughtful and nice guy … admittedly one who has made mistakes along the way. In this book, Alice Cooper welcomes us to his nightmare, while confirming it wasn’t all so bad.

Available on Amazon October 6, 2026

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Posted by David Ferguson

THE SCOUT (2026)

October 1, 2026

Greetings again from the darkness. Even though studio sound stages are necessary and serve a purpose in movie making and TV series, watching scenes filmed on location adds the realism that can make or break a production. As an experienced Location Scout and Location Manager, first time director Paula Gonzalez-Nasser (she also wrote the screenplay) understands the importance of realism. To that point, and by design, her film often has somewhat the feel of a documentary.

Mimi Davial stars as Sofia, a location scout who is working on an upcoming TV pilot. It doesn’t take us long to describe her work: driving, parking, walking, chatting, voicemails, phone calls, and meetings. Since she works in New York City, Sofia’s glovebox is stuffed with an endless stream of parking tickets. Sometimes her ‘walking’ turns into running since she so often is a bit late for an appointment. And that chatting … well that’s the small talk required when one is trying to worm the way inside someone’s home or place of business to take photos.

This is not so much a story as it is 90 minutes of observations … kinda like what Sofia is doing (only we don’t have to park or chat up strangers). There is the lonely lady (screen vet Rutanya Alda), the flirty stay-at-home dad, and the fish shop dude, among others. Sofia must answer to Jasmin (Lisa Haas), the Location Manager, and listen to the endless critiques and preferences of the team. Sofia gets a brief respite when, by happenstance, one of her flyers ends up on the door of Becca (Otmara Morrero) and the two old friends reconnect in a way that happens when adults have moved on with life.  We get only glimpses of Sofia the person contrasted with Sofia the scout.

Sofia understands the script and ever-changing shoot parameters. She works quickly and deals with folks in an endearing manner as it’s a job requirement. The work puts her in the midst of intimate and personal spaces, and she must endure the crew on site, even as they leave tact and grace at the front door. Ms. Davila perfectly embraces Sofia’s tired eyes and facial expressions meant to convey nothingness. She appears beat down … right up until she forces the charm to appear with the next potential client.

For those who dream of jumping into the glamour of the show business, Sofia demonstrates the lower rung of the ladder. As viewers, we interject Sofia’s inner voice based on her face and what we believe she’s thinking. Time is always short. Ms. Gonzalez-Nasser includes almost no exposition. We see Sofia’s day. In fact, we share it with her. Good luck finding the glamour.

In theaters nationwide this fall (2026)

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Posted by David Ferguson

HOLDING LIAT (2026, doc)

October 1, 2026

Greetings again from the darkness. It happened on October 7, 2023. Hamas attacked. People were killed. Hostages were taken. A war began or rather was reignited. Documentarian Brandon Kramer (THE FIRST STEP, 2021) details each of these and chooses to focus on the plight of one family. We all know about the still ongoing (and escalated) violence between Israel and the Palestinians (more than 75 years now) on the West Bank, and Kramer’s attention to one family makes this personal, emotional, and frightening.

Liat Beinen (a Holocaust history teacher and American citizen) and her husband Aviv Atzilli were among the 250 taken hostage during that October 7 siege. The film crew picks up with Liat’s father Yehuda and her mother Chaya two weeks after the attack as they desperately long for information about whether their daughter and son-in-law are still alive. It’s interesting to note that both families have been critical of Prime Minister Netanyahu, but mostly their frustration is on his lack of effort in bringing home hostages … rather than seizing the political opportunity afforded.

Yehuda is quite adept in front of a camera and in speaking his mind. In fact, he and his daughter Taj travel to Washington, D.C. to meet with U.S. politicians in hopes of making this an American issue. It’s a strategy that may have worked, although mostly what we see are Congressmen saying very little of substance. Yehuda is not interested in playing the game. He is blunt in his observations and criticisms, and makes it clear that he wants his daughter released and returned. We feel pain alongside the family as names are read for each hostage release.

Kramer notes the weeks as they pass, as well as whatever information the family receives from the military. The stress levels and frustrations are palpable and understandable. Even while watching, we struggle to understand the emotions of the family – or their strength. The family does express appreciation to President Biden, though it’s quite clear their lives will never be the same. The film offers us much, and regardless of one’s political affiliation, the pain and tragedy caused by war should be a united stance.

Available on VOD beginning October 2, 2026

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Posted by David Ferguson

VERITY (2026)

September 30, 2026

Greetings again from the darkness. Verity Crawford’s mid-century modern lake house/mansion is jaw-dropping and a true architectural marvel (actually located in Armonk, NY). Of course, if the best thing I can say about a film is that the title character’s house is amazing … well, you have a good idea how I felt about it. Still, I will not be bashing the movie as I might have if I had watched it on my own. Instead, I was in a theater full (mostly adult women) of fans of Colleen Hoover’s best-selling 2018 novel (I have not read it), and as shown by audience reactions, the vast majority thoroughly enjoyed the ride.

Directed by Michael Showalther (THE BIG SICK, 2017) with an adapted screenplay from Nick Antosca (creator of the AppleTV series “Cape Fear”), the film will likely be a hot topic of discussion within the many Book Clubs that had Ms. Hoover’s novel on their lineup a few years ago. The cast, like that house, is nothing short of gorgeous. Dakota Johnson (of “Fifty Shades” franchise fame) plays struggling writer Lowen Ashleigh, who is recruited to ghostwrite the next three novels for uber-popular novelist Verity Crawford, played by Oscar winner Anne Hathaway. Verity has been an invalid, unable to speak or walk, since a car accident that occurred not long after her daughter drowned in the lake. Verity’s husband, Jeremy, is played by Josh Hartnett (OPPENHEIMER, 2023), and Lowen’s agent, Corey, is played by Ismael Cruz Cordova (MISS BALA, 2019).

That’s four gorgeous actors in a film that aspires to the genre of psychological erotic thriller. The only issues with that label are that the sex scenes are lame and awkward, while the psychological aspects are cliché and easy to predict. Or at least I thought so … the audience reactions seemed to prove otherwise. In flashback scenes, we see Verity interviewed by the familiar faces of Gayle King (“CBS Mornings”), podcaster Alex Cooper, and Sean Evans (YouTube’s “Hot Ones”). This is meant to create a contemporary feel.

Much of the film’s tone is related to the discovery of Verity’s autobiographical notes, and Lowen’s reaction. I’ll certainly not go into the twists and turns served up here, other than to say viewers are supposed to accept the theme of writers treating truth as fiction, and fiction as truth. It doesn’t help the movie that none of the actors give their best performance, leaving us with cheesy melodrama (no, not all melodrama is cheesy). Judging by the audience, that’s evidently sufficient. Either way, what a stunning house!

Opens in theaters on October 2, 2026

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Posted by David Ferguson

DIGGER (2026)

September 29, 2026

Greetings again from the darkness. There will likely be a very distinct line of demarcation between those who ‘dig’ DIGGER and those who don’t. Director Alejandro Inarritu, who won Oscars for THE REVENANT (2015) and BIRDMAN (THE UNEXPTED VIRTUE OF IGNORANCE, 2014) and a list of five esteemed writers (Sabina Berman, Jez Butterworth, Alexander Dinelaris, Nicolas Giacobone, Inarritu) seemingly crafted a film that looks amazing, while intentionally angering or annoying or confusing a big chunk of movie goers. Not only will those who prefer traditional storytelling be frustrated, the politics involved will surely irritate many (and drive some nasty comments).

The studio has requested that no spoilers or hints be included in reviews, so I will tread extremely lightly here. An added reason is that the film is certainly best viewed ‘cold’ or with no preconceptions. If you’ve seen the video, you know immediately that this is a much different Tom Cruise character than the strutting, cocky, too-cool-for-school Ethan Hunt that he’s portrayed in numerous “Mission: Impossible” films. It’s his best non-action role since MAGNOLIA (1999), and also his most exuberant (some will say over-the-top). Under prosthetics that transform him into a man that looks his actual age, Cruise becomes Digger Rockwell, a man of enormous wealth, influence, and ego. Cruise has a couple of extended single takes, one of which is mesmerizing in the sheer amount of dialogue he recites and the physicality he displays.

As you would expect, many actors jump at the chance to work on an Inarritu film, and here the cast includes Oscar winner Riz Ahmed as Dr. Ganesh, John Goodman as President Compson, Michael Stuhlbarg as the Vice President, Sandra Huller (one of my 3 favorite actresses since TONI ERDMAN, 2016), Robert John Burke as Fitzgerald, and Jesse Plemons as Kenny. Ahmed is excellent in his role, while Goodman makes his mark with world class bellowing. Huller’s smaller role is a bit disappointing, but fortunately she has a starring role in Pawel Pawlikowski’s new film, FATHERLAND.

Even beyond the studio restrictions, I’m at a bit of a loss as how best to review this film. It’s likely meant to be satire as it takes on big issues like contemporary politics, global issues, ecological concerns, and socio-economic fallout. My view is that it’s a blend of Kubrick’s classic DOCTOR STRANGELOVE and some Coen Brothers films (minus the hilarity), topped off with editorial commentary on backroom politics and corporate greed. Controlling the narrative is a clear objective of these characters. The film takes one huge change of direction early on, and then another much later … the second being easier to foresee. These shifts will definitely challenge viewers, while also leaning into the creativity noted by those of us who find things to admire about the film.

Inarritu’s team is as superb as expected. Three-time Oscar winner Emmanuel Lubezki expertly handles the VistaVision cinematography, while Oscar winner Dennis Gassner awes us with Production Design. As an added bonus, the song playing over the closing credits is the excellent (and quite fitting) “Look What They’ve Done to My Song, Ma” by Melanie. But then, not everyone will stick around that long.

Opens in theaters on October 2, 2026

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Posted by David Ferguson

Book Review: EVERY TIME A BELL RINGS

September 28, 2026

by Emily St James and Lauren Theisen

Like many families, our holiday traditions include annual viewings of the 1966 animated “How the Grinch Stole Christmas”, A CHRISTMAS STORY (1983), and, of course, the main event, IT’S A WONDERFUL LIFE (1946). The latter, Frank Capra’s classic, is now 80 years old, and the timing is perfect for a deep dive into why this film has made such an impact on so many viewers over the years. Co-authors Emily St James and Lauren Theisen clearly share a love for the film and fully engage when writing about the individual pieces that make up the whole: the studio, the filmmakers, the cast, and a couple of odd (perhaps lucky) breaks along the way.

When classics collide, the result can be fascinating. The ties to the 1938 short story, “The Greatest Gift” by writer Philip Van Doren Stern is pretty direct, and we can’t help but notice some connection or familiarity to Charles Dickens’ classic 1843 novella “A Christmas Story”, which has spawned many movie versions. And then there is the tale of director Frank Capra’s trip to Seneca Falls, NY, a town that even today, stakes a claim and its identity to being the inspiration for Bedford Falls (understandably, no town attaches its tourism hopes to Pottersville). The book explores all of this, giving Mr. Capra a well-earned extended segment on his life, career, and feelings about the film.

“No man is a failure who has friends.” Perhaps no quote better exemplifies the crux of the film’s message than that one. It certainly applies to George Bailey, played so beautifully by lead actor James Stewart, and couldn’t be further from describing his nemesis Mr. Potter, played with a snarling Ebenezer Scrooge-like persona by Lionel Barrymore. It’s here where the co-authors excel – detailing cultural aspects at the time the film was made, and how that time capsule has so been so readily adopted by contemporary viewing audiences. Well, of course, that’s only after the bookkeeping fluke that lost the copyright and opened the film up to the masses.

Chapters in the book are devoted not just to the main characters of George, Mary, and Potter, but also to Clarence Odbody, Angel 2nd Class; forgetful Uncle Billy; heroic Harry Bailey; Bert the cop; Ernie the cab driver; Nick, Martini, and Annie (lumped in to one chapter); other Bedford Falls ‘weirdos’; and Violet (a terrific Gloria Grahame), a character we wish we knew a bit more about. There are also chapters on Bedford Falls, Seneca Falls, and the copyright mess. Because of these separate segments, and the fact that each chapter is credited to one of the authors, we are asked to think of the book as “a series of essays”, rather than a traditional ‘making of’ book.

Most fans of the film know this was James Stewart’s first film after returning as a war hero from WWII. Another well-known fact is that the film wasn’t a box office smash the year it was released, and despite its five Oscar nominations, there were no wins on a night dominated by THE BEST YEARS OF OUR LIVES. The authors also address why the story is sometimes labeled as promoting socialism, and yet, even with married screenwriters Frances Goodrich and Albert Hackett being close to known communists, neither the film nor the filmmakers were part of the extended Hollywood blacklist of the era.

Contributing to the film’s brilliance is how most who watch describe it as upbeat, joyous, and/or inspirational. This, despite the lead character contemplating suicide and the entire ‘Pottersville’ sequence which can simply be described as bleak and horrific. The authors cover how the film generates a favorable vision of community and country, and how heroism and morality overcome darkness … explaining the film’s place in cinematic history. The book’s Introduction opens with, “Certain movies take on lives of their own.” This movie in particular seems to make the lives of all who watch just a bit more ‘wonderful’, and this book helps us all understand why.

The book is available on Amazon beginning September 29, 2026

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Posted by David Ferguson

HEART OF THE BEAST (2026)

September 24, 2026

Greetings again from the darkness. Director David Ayer (the excellent END OF WATCH, 2012) is no fool. He wisely begins the movie by putting the audience at ease. Yes, the dog survives. We learn this in the opening scene he blocks the road of a pickup driver (Anna Lambe, “True Detective”). We immediately shift to flashback mode, unsure whether the dog’s owner is still alive. The first feature film screenplay from Cameron Alexander benefits immensely from a couple of key factors: stunning scenery and a touching bond between man (Oscar winner Brad Pitt) and dog (Odin, a properly renamed Uber).

Pitt plays James Belmont, retired after 30 years in Army Special Forces. His loyal companion, Odin, is a beautiful Shepherd who served as combat scout dog alongside James in multiple wars. Both carry their bodily and mental scars. Odin has been partially reassembled, including a prosthetic leg that doesn’t seem to slow him down. The two companions are now living a quiet life, close to nature, in the wilderness of Alaska. Well, it’s quiet except for multiple interruptions … some more dangerous than others.

One evening, an old-timer (Oscar winner JK Simmons) pulls up his canoe for a fireside chat with James. This allows us to learn some specifics about the background for man and ‘beast’.  The geezer is gone by the next morning, and a storm forces James and Odin into an early departure. It’s one that ends badly, as a heart attack causes a horrific plane crash. James and Odin are battered, but survive and begin a 58 mile trek through harsh Alaskan wilderness. The dangers lurking in nature are many. Some you expect, some you don’t. One segment recalls THE GREY, while another poses a nature-made tree bridge over raging river waters.

I may not be the first to notice that Brad Pitt has a face seemingly designed for the big screen, yet this time, his co-star’s face is equally impressive. Odin is a stunning creature and the bond these two share carries zero Hollywood fluff, and is sure to capture the emotions of most viewers. In fact, you should have nothing to do with anyone who doesn’t at least well up a bit during this one. Pitt has reunited with Ayer, his director from FURY (2014), and this survival story may work even better as a love story.

Opens in theaters on September 25, 2026

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Posted by David Ferguson

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