THRASH (2026)

April 10, 2026

Greetings again from the darkness. It’s a tradition that began with JAWS (1975). Every summer gets a new disaster or shark movie … something to put a bit of doubt into the minds of beach vacationers everywhere. Of course, Spielberg’s original film (from Peter Benchley’s novel) remains the best, and in addition to the slew of movies, it’s been joined by Discovery’s “Shark Week” and even the absurd “Sharknado” movies. In fact, there have been so many through the years, that we are ready for the blending of disasters like we get with this latest from writer-director Tommy Wirkola (the underappreciated VIOLENT NIGHT, 2022).

The small coastal town of Annieville, South Carolina is bracing to take a direct hit from a Category 5 hurricane. Most of the town has evacuated, yet some remain. Among those are pregnant Lisa (Phoebe Dynevor, ANNIVERSARY, 2025; “Bridgerton”), whose boss made her work, and young Dakota (Whitney Peak, “Gossip Girl”), who is home alone, grieving the loss of her mother and dealing with stifling anxiety. We get a countdown to impact, and Dakota’s Oceanographer uncle (Djimon Hounsou) has promised her he’s on the way.

A massive hurricane, along with the storm surge, flooding, and high winds is not enough this time. Along with all of that comes bull sharks and great whites that are swimming (and eating) their way through the town, including the flooded houses. A t-boned meat truck dumps a ton of blood in the streets to ensure we have enough shark attacks to keep these stragglers in danger. Dakota and Lisa share a story, while three foster kids just outside of town get their own – although for the three kids, it turns out their foster parents may have been the real sharks.

Wirkola’s film has plenty of tension and gore for the genre, and enough storytelling to keep us interested. We see the danger involved with rescue efforts when folks ignore the advanced warnings. In a previous review, I mentioned that Phoebe Dynevor is a rising star, and I’m sticking to that.

Premieres on Netflix on April 10, 2026

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Posted by David Ferguson

HAMLET (2026)

April 10, 2026

Greetings again from the darkness. Evidence of the greatness of William Shakespeare has been provided so many times and in so many ways over so many years. Books, live theater, movies, and the work of influenced artists have made their way to various audiences, and regardless of the specific project, the source material stands tall. Director Aneil Karia and actor Riz Ahmed previously shared an Oscar for their excellent short film THE LONG GOODBYE (2021) and now they have collaborated again on an adapted screenplay by Michael Lesslie (MACBETH. 2015 with Michael Fassbender and Marion Cotillard) for a new version of Shakespeare’s “Hamlet”.

The timing may seem a bit odd as Chloe Zhao’s HAMNET (2025) was nominated for Best Feature Film, yet to describe this one as a twist on the story is certainly an understatement. Rather than Denmark, the setting is modern day London’s South Asian community. Hamlet (Riz Ahmed, SOUND OF METAL, 2019) has returned home to see the body of his father being prepped for cremation. Soon after, he’s stunned to learn that his mother Gertrude (a terrific Sheeba Chaddha) is already engaged to marry his uncle Claudius (Art Malik, THE WOMAN IN CABIN 10, 2025). Of course, all of this rings true to The Bard, however, some shifts, cuts, and changes take place due to time and setting. None more startling than what we see with Ophelia (Morfyyd Clark, SAINT MAUD, 2019) … plus Laertes (Joe Alwyn, who also appeared in last year’s HAMNET), and Polonius (Timothy Spall, WICKED LITTLE LETTERS, 2024). At least Mr. Spall gets a worthy dying scene.

In this contemporary imagining of the story, Elsinore is a corporation rather than a castle. In keeping with this, Hamlet follows his father’s spirit to the roof of an office building so that the key information can be passed along, leading to Hamlet’s mission of revenge. The iconic lines are included – often in ways that catch us off guard. “To be or not to be” is delivered in such a crude manner, it may be enough to disappoint traditionalist fans … the most famous dialogue is delivered by Hamlet as he’s behind the wheel in a high-speed game of chicken on the highway. “Rotten” is displayed as graffiti on the side of a building, rather than referencing Denmark, and “The play is the thing” does lead us to a highlight of the film … a new dance sequence designed to publicly indict Claudius at the wedding reception.

As you would expect, the contemporary setting also lends itself to modern day music, and the soundtrack is definitely that. There is a bit too much shaky-cam for my tastes, and as brilliant as Riz Ahmed is an actor, some of his dialogue is somewhat challenging to absorb, especially in the first act. For those into bold choices, Anna Karia’s film may work.

In theaters beginning April 10, 2026

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Posted by David Ferguson

THE TALLEST DWARF (2026, doc)

April 5, 2026

Greetings again from the darkness. Psychologists long ago concluded that ‘belonging’ is a fundamental human social need. Finding our ‘peeps’ … a group of similar folks to share life with … plays a significant role in our identity – who we are. Documentarian Julie Wyman turns her focus … and her camera … onto herself as she searches for her own place.

It’s a bit disturbing, and kind of heartbreaking, to watch as Julie interviews her parents. Claiming they thought she was “normal” as a kid, properly ruffles Julie’s feathers as she reminds them of the many times she brought up the issue when she was younger. Julie’s sister acknowledges school fights over Julie’s proportions, and then we see an analysis of da Vinci’s Vitruvian Man … right down to the optimal limb to torso to height percentages.

Dwarf culture becomes the story here as Julie meets with Little People of America. The most famous and successful dwarf actor, Billy Barty, was a co-founder of the organization in 1957. Mr. Barty passed away in 2000 at the age of 76, but the organization continues with participation from many. Julie seems to be testing the waters to determine if she will be accepted, as her proportions are considered ‘partial dwarfism’. What she finds is a group who collaborates with and protects each other.

The battles with medical research and big pharma reminded me of some of the same issues faced by the hearing-impaired community. Should attempts be made to ‘normalize’ or should the group be accepted in their natural state. Although I am not part of either community, it has always seemed to me that the individuals should decide on their own. There are plenty of hearing-impaired who choose hearing aids or Cochlear implants, and if growth hormones or other options are available for dwarfism, then these folks should be allowed to choose … free from backlash and judgment.

Julie Wyman’s film does a nice job addressing this, as well as her own situation. There are a few familiar faces you might recognize in Little People of America, including actors Mark Povinelli (NIGHTMARE ALLEY, 2021), Sofiya Cheyenne (“Loudermilk”), Matthew Jeffers (“New Amsterdam”), and Katrina Kemp (“Spider-Man”). There is also a quick shot of Danny Woodburn (Mickey from “Seinfeld”) at an event. The line that will surely stick with most viewers is the admission that dwarfism makes one “invisible, but always on display”.

Premiering on PBS Independent Lens on April 6, 2026

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Posted by David Ferguson

JIMMY & THE DEMONS (2026, doc)

April 2, 2026

Greetings again from the darkness. The first documentary from Cindy Meehl was her award-winning profile of ‘horse whisperer’ Buck Brannaman in BUCK (2011). It was a fantastic profile of an interesting man, and Ms. Meehl’s latest provides an even more personal look at artist James Grashow and his six-decade career, culminating in his masterpiece, “The Cathedral”.

The line dividing passion from obsession can be mighty thin, and James Grashow teeters between the two. Lest you think that’s a negative, it should be noted that Mr. Grashow is a spirited man who admittedly ‘loves life’ and fears death. When not exhausted or in pain, he’s a charming man dedicated to his craft … especially this latest project for a serious collector. Grashow, who is 79 when the project begins, doesn’t state this is his final project, but he cracks, “I pray I get to finish it”. The film follows him over the next three years as he works on the intricate details of the demons, the cathedral itself, and of the face of Christ.

Grashow claims that ideas have always hit him like ‘thunderbolts’ and his marriage of more than 50 years to Guzzy is a testament to both of them. She is certainly protective of her artist husband who always puts the work over his health. Documentarian Meehl includes some archival photographs and footage of Grashow’s work dating back to 1966. Much of this cardboard sculpting has a whimsy feel, yet the artistry is evident to all. We even see his sketch work on album covers for Deep Purple and Jethro Tull, as well as many sketches for periodicals over the years. The man has been prolific in producing art.

Grashow’s daughter recounts how he slyly introduced her to the magic in life, and in fact, the artist claims the ‘engine for creativity is play’ … and even in his 80’s, he’s able to play while working. As an example, this is the first film I’ve ever watched where ‘demon nipples’ are discussed (and carved). He admits that he could never spell or do math, but he always had a talent for art. This final masterpiece is truly spectacular, and he says it represents life and death, mortality, and eternity. James Grashow passed away in late 2025 … what he referred to as life’s “extra innings”. Depending on one’s perspective of the life of an artist, viewers are likely to pull varying thoughts from the film. I believe James Grashow would be fine with that.

Opens at the Quad Cinema in NYC on April 3, 2026 before expanding to additional markets nationwide.

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Posted by David Ferguson

OUR HERO, BALTHAZAR (2026)

April 2, 2026

Greetings again from the darkness. If you see something, say something. If you know something, say something. If you fear something but aren’t sure, say something. Such is the world we live in today … the world our children live in today. Somehow that same world also revolves around social media and the insatiable desire to be ‘seen’. The first feature film from writer-director Oscar Boyson and co-writer Ricky Camilleri takes on these somewhat conflicting societal issues, and they do so with an approach that’s at times absurdist, often comical, and always a bit frightening (in a real world way).

Jaeden Martell (IT, 2017) stars as the titular Balthazar … known as Balthy to his friends and family. Balthy is unmistakenly a product of wealth, as evidenced by his elite private school, his ‘life coach’, and the $50 million penthouse suite overlooking NYC he lives in with his socialite mother (Jennifer Ehle). He’s a wannabe social media influencer with an innate ability to shed tears on demand – especially while filming his latest video. A “Mass Shooting Preparedness Seminar” held at school leads Balthy to believe – a surefire way to being a hero is to stop a school shooting before it happens. This leads to a beyond-awkward attempt to woo a classmate (Pippa Knowles) with his plan. She, of course, shuns him.

Online research (using a secret identity) connects Balthy to Solomon (an outstanding Asa Butterfield, GREED, 2019), a young man in rural Texas whose tough online persona clashes with his real life insecurities. Solomon certainly has access to guns, and a life of poverty with his grandmother means his online threatening posts are the red flags Balthy needs in his quest for heroism. An obvious contrast between the rich NYC boy and the poor country Texas boy also shares commonality. Both boys feel isolated and not part of the mainstream. Their family lives are not ideal, and both feel at risk of being invisible.

Balthy heads to Texas and the initial meet with Solomon doesn’t go smoothly, but the mutual need to bond with another brings them around. Whether Balthy can actually succeed in his mission to stop a school shooting plays out in his relationship with Solomon. The two fine actors perfectly capture the awkwardness of the age, as well as the differences and similarities of those growing up in such distinct environments.

Chris Bauer appears as Solomon’s estranged father, and his personality and ‘job’ explains a great deal about the boy’s outlook. For Solomon, this appears to be about exhibiting (toxic) masculinity, while for Balthy, it’s about pre-fab heroism. The need for real attention is the shared space in their Venn Diagram, and the NYC-to-Texas extremism is there to make a point. The filmmakers smartly use humor to avoid over-bearing heaviness, yet the film remains a reminder to heed red flags and say something.

Opened in NYC on March 27, 2026 and opens in LA on April 3

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Posted by David Ferguson

FANTASY LIFE (2026)

March 28, 2026

Greetings again from the darkness. As one who readily admits to unabated cringing at most romantic-comedies, it’s with a certain burst of pride that I acknowledge that this one from first time writer-director Matthew Shear is actually quite entertaining, and possesses a minimal cringe factor. There are likely a couple of reasons for this. First, Mr. Shear, who also stars in the film, has clearly been influenced by his time acting on filmmaker Noah Baumbach’s sets, and the second reason would be the most welcome presence of Amanda Peet in her first big screen role in 10 years.

We first meet Sam (Matthew Shear) as he’s being fired from his job, and soon after as he’s having a panic attack in a coffee shop. We recognize Sam’s overall lack of confidence, even before he heads to his appointment with a psychiatrist (Judd Hirsch). It’s there where the receptionist (Andrea Martin) suggests he consider babysitting for her three granddaughters. Sam initially views this nanny/manny position as temporary, but of course, it ends up being an extended gig. In fact, the story is loosely divided into the seasons of the year.

Sam is instantly attracted to Dianne (Amanda Peet), the mother of the three girls. Dianne is attempting to revive her acting career (it’s an age thing) while also managing a teetering marriage to musician David (Alessandro Nivola). David announces he’s headed out on an extended tour in Australia, making Sam’s manny position all the more crucial to Dianne … providing the time and proximity for the two to get better acquainted. Their initial bonding comes courtesy of granola.

Touches like the granola and the realization that the story doesn’t go down the predictable road are what set this one apart from the slew of mush in this genre. Mental health and the meds-of-the-day are part of the landscape, as are antisemitism and ageism. There is even a ‘Lake Bell’ crack and a grumpy grandpa. We do get the obligatory disastrous family dinner, but even that is handled with a spin. The ensemble cast is exceptional. In addition to Judd Hirsch and Andrea Martin, we are also treated to Bob Balaban, Jessica Harper, Holland Taylor and Zosia Mamet. Each is terrific, but let’s leave no doubt … this is Amanda Peet’s moment to shine (again), and she seizes it. As a winner of the SXSW Narrative Feature Audience Award, Matthew Shear’s film proves anxiety and NYC angst can play wide. The film may be as much character study as it is rom-com, but I’m sticking to my ‘minimal cringe’ description as a compliment.

Opens in theaters on March 27, 2026

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Posted by David Ferguson

I LIVE HERE NOW (2026)

March 28, 2026

Greetings again from the darkness. The first feature film from writer-director Julie Pacino (daughter of screen legend Al Pacino) is a whirlwind of creativity that is not likely one for the masses. The film has a surreal, dreamlike style that disorients us through the use of color and imagery. In fact, the hazy symbolism is well done and speaks to the ongoing effects of childhood trauma.

 Rose (played by Lucy Fry, who was Marina Oswald in the 2016 limited series “11.22.83”) is on the verge of an acting career breakthrough when she finds out she’s pregnant. Her charming boyfriend Travis (comedian Matt Rife) ghosts her and runs to mommy (Sheryl Lee, Laura Palmer from the Twin Peaks franchise). Overprotective Mommy is also ultra-rich and insists on control of all decisions regarding Travis, Rose, and the unborn child. A woman’s agency over her body is a key element in this story, and it’s multi-layered throughout Rose’s life – as evidenced by the flashbacks to her youth, and the ongoing self-inflicted cuts and burns.

A good-for-one-thing manchild boyfriend is bad enough, but having decisions dictated by his mother is a bit too much for Rose. Intent on making the next audition set up by her agent (Cara Seymour, “The Knick”), Rose checks in to the Crown Inn, one of the most bizarre hotels you’ll likely ever see. Assigned to “The Lovin’ Oven” room, Rose is instructed when to take the magic pill. Memories and emotional distortion abound here, thanks in no small part to the flashbacks and the odd actions of fellow guest Lillian (Madeline Brewer, “The Handmaid’s Tale”).

As we’ve learned through many films and stories, the past must be confronted if one is to move forward. Filmmaker Julie Pacino presents past trauma, pain, mommy issues, and psychological warfare through surreal images highlighted by mesmerizing and disorienting colors … at times it plays like a horror film. While It’s certainly no bed of roses, the film is a creative look at how one woman deals with life is a welcome and necessary approach.

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Posted by David Ferguson

TOW (2026)

March 20, 2026

Greetings again from the darkness. Not many interesting stories feature a 1991 Toyota Camry as a main focus. The exception is this one based on the real-life journey of Seattle’s Amanda Ogle. Directed by Stephanie Laing and co-written by Jonathan Keasey and Brant Bolvin, it’s a story of Amanda’s tenacity and perseverance, and how it is sometimes possible for the little guy/gal to win.

Rose Byrne (fresh off her Oscar nomination for IF I HAD LEGS I’D KICK YOU, 2025) stars as Amanda and gives a showy performance as a woman whose addiction has resulted in her being estranged from her teenage daughter and living for months in the above-mentioned Camry … one of a couple of million “vehicular residents” as we are informed. Amanda is smart enough to have earned her Veterinary Tech certificate, yet her situation seems to constantly prevent her from getting back on solid ground. Most of this is her own doing, but one day her Camry is stolen, setting off a series of events that are quite remarkable.

Her car is recovered and Amanda can’t afford to pay the fee to have the car released from the tow lot. This sends her to a shelter managed with a firm hand by Barbara (Oscar winner Octavia Spencer, THE HELP, 2011). It also pits Amanda against the city’s red tape and the tow lot’s arrogant attorney (Corbin Bernsen, MAJOR LEAGUE, 1989).

Adding an interesting element to this story is that Amanda is not terribly likable. She’s brash and plays the victim in many situations. On top of that, she misleads (lies to) her daughter Avery (Elsie Fisher, so good in EIGHTH GRADE, 2018) about visiting her in Utah, and always seems to have enough money for cigarettes, alcohol, hair dye, make-up, etc. The daughter storyline is especially tough since Avery ‘needs’ her mother and desires support for her dream of being a fashion designer. Despite her flaws, we still find ourselves pulling for Amanda. It may be difficult to muster sympathy for her actions, but our humanity wants her situation to improve.

An inexperienced non-profit attorney, Kevin (Dominic Sessa, THE HOLDOVERS, 2023) takes an interest in her case, yet the wheels of the judicial system do not move quickly – especially when up against the tow company’s slick attorney … a character intended to emphasize the class difference. At the shelter, Amanda befriends Nova (pop star Demi Lovato who gets in one song) and tough-talking Denise (Oscar winner Ariana DeBose, WEST SIDE STORY, 2021). She also has an ongoing dialogue with Cliff (Simon Rex, RED ROCKET, 2021) at the tow yard. He’s sympathetic to her situation, but powerless to help.

The film doesn’t really focus on the hardships of the ‘unhoused’ but rather the challenges of being a societal afterthought going up against ‘the system’.  Director Laing finishes it off with a final shot of real-life Amanda, Avery, and Kevin together.

In theaters beginning March 20, 2026

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Posted by David Ferguson

THE POUT-POUT FISH (2026, animated)

March 20, 2026

Greetings again from the darkness. What a welcome relief it is to watch a movie designed specifically for kids. No double entendres or secret winks of wit … just a straight-forward movie to entertain kids and provide a simple life lesson about the importance of friendship. Of course, parents will recognize the title as that of the 2008 mega-bestselling kids book by Deborah Diesen.

There are two key elements that stand out from the beginning. First, the color explodes on the screen, immediately making it enticing for youngsters. This undersea world has the appearance of a candyland or a favorite toy. Second, the demeanor of the Pout-Pout fish is accurately described as glum and gloomy as he sports an ever-present pout. Voiced to perfection by Nick Offerman (Ron Swanson from “Parks and Recreation”) this mopey ‘Mr. Fish’ is said to spread the “dreary-wearies” and deals with his own personality by collecting Zen rocks and living in the remains of a sunken ship, long ago split in half.

Crossing paths with a Pip (Nina Oyama), a spirited tiny seahorse, rattles the world of Mr. Fish, and the two set off on a shared mission that takes them through various communities under the sea, including Jellyfish Junction, Dolphin Cove, and Crystal Cave. The story plays like an underwater road trip movie, and of course, as adults, we easily recognize that this journey with Pip is opening up the world to our grumpy Pout-Pout fish. There are some pieces that the youngest kids may not fit together – starfish spies and the race with cuddlefish – but the dream of Shimmer (Jordan Sparks) is something we all recognize … hope.

This is not a film in the Pixar mode – one that works on multiple levels for kids and adults – but stories that emphasize the power of friendships and collaboration are crucial for youngsters. The only negatives here would be the disjointed music in the first half of the film and the predictability (for older kids and adults). Otherwise, the film accomplishes what it sets out to do … entertain youngsters and offer up an important message.

I watched the film with a couple of the world’s most brilliant youngsters, and here is what they said. Nine-year old Audrey said it was “very colorful” and explored “good and bad” personalities, while eight-year old Jack said it was “Awesome and funny”.

Opening in theaters on March 20, 2026

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Posted by David Ferguson

THE TASTERS (2026)

March 12, 2026

Greetings again from the darkness. As we are unfortunately learning yet again … there are no upsides to war. There are the deaths and injuries that occur to soldiers and citizens. There is destruction of property and cityscapes. And there is the cost to those who are neither soldiers or government officials – the ‘quiet cost’ of war. Writer-director Silvio Soldini (BREAD AND TULIPS, 2000) and co-writer Doriana Leondeff have adapted the 2018 award-winning novel, “At the Wolf’s Table”, by Rosella Postorino, which itself was based on the remarkable story WWII survivor Margot Wolk told a German journalist about her time spent as a food taster for Hitler.

It’s the fall of 1943 and Rosa Sauer (Elisa Schlott) is returning to her in-laws’ farm in East Prussia from a bombed-out Berlin. Rosa’s husband, Gregor, enlisted one month after their wedding and they’ve seen each other only once in the past four years. An atmosphere of gloom hangs over the village, and one morning changes everything for Rosa. Nazi soldiers load her into a van with other German women. They are escorted to the ‘Wolf’s Lair’ in the forest … it’s the Fuhrer’s headquarters. The seven women are examined by a doctor and then escorted into a dining room where a feast awaits. Having spent months, even years, desperate for food, the chef-prepared meals create initial excitement with the women. The excitement quickly turns to dread and fear when it is revealed they are to eat every bite of the meal and then wait one hour under guard. The purpose is to make sure the food is not poisoned prior to Hitler eating.

Director Soldini fills the screen with greys and browns to match the atmosphere of despair and fear. The slow pacing lends credence to the women’s days of wondering if the next meal will be their last. Abortion, hidden identities, and an affair all play a part in what is little more than an attempt to survive for however long the war might last. The seven women form bonds, yet no one is ever relaxed or comfortable. Rosa is initially referred to as “Berliner” since she arrived from the big city. She’s told, “This isn’t Berlin.” “No one needs secretaries.” Rosa is tougher than she looks and holds her own, soon making friends with Elfriede (Alma Hasun), a woman with a secret.

Atypical for a war movie, there is little action and minimal violence. Not much time is spent getting to know the personalities of the women. Instead, it’s a different kind of survival story – one that involves psychology and self-control. Their thrice daily activities require immense mental fortitude, yet the alternative is even worse. Whether Margot Wolk’s story was completely accurate or not, matters little. It’s a story of those with power versus those with none. And that’s a theme that plays out daily even eighty-plus years later.

In U.K. and Irish theaters beginning March 13, 2026

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Posted by David Ferguson

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