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

PRIMETIME (2026)

September 24, 2026

Greetings again from the darkness. Director Lance Oppenheim (SOME KIND OF HEAVEN, 2020) and co-writers Luke Dittrich and Ajon Singh toss nearly two hours of psychology at us, leaving us to fend for ourselves on how best to define evil and acceptable boundaries of ethics and decency. It’s a bit of a mind twister that some may define as horror, while others cast it as satire. Regardless of your take, I found this to be a mesmerizing look at the things that make some people tick.

Robert Pattinson stars as Chris Hansen, whom you likely recall as the host of “To Catch a Predator”, a special offering which ran from 2004-08 on “Dateline NBC”. Hansen became renowned for his creepy voice and catchphrases, “Why don’t you have a seat” and “You see how this looks, right?” It wasn’t enough to catch the pedophiles … they needed to be humiliated on camera and then have the tape replayed on national television. Legalities caught up with show … entrapment being a topic, despite few having sympathy for those targeted. Those caught in compromising positions are shown here, but this film is ingenious in how it turns the camera on what was going on behind the scenes.

Pattinson captures a persona as Hansen that is difficult to describe, yet abnormal and a bit twisted is a start. The always great Merritt Weaver (CHRISTY, 2025) plays the show’s ambitious producer Andie Bender – one who would readily admit to not being cut out for rom-coms. She’s a master at manipulating a situation or person so that it makes her and the show look good. Proof of this is in how she handles “Decoy Dan” (a terrific Skyler Gisondo, SUPERMAN, 2025). Ambitious in his own right, Dan masters the innocent voice used to reel in the target, and does so for the purpose of obtaining his SAG card.

Yes, everyone is out for something here. Matthew Maher (THE BRIDE!, 2026) plays Xavier, the staffer charged with attracting the right kind with online banter. Xavier founded “Perverted Justice”, an organization committed to nailing pedophiles. The downfall of the show occurred with an incident in Murphy, Texas … shown here with Bokeem Woodbine as a strutting Texas sheriff, devoted to nailing ‘The Whale’ … an important local official. It’s the one target that Hansen never had the chance to confront with his own words.

The supporting cast in the film is deep and, in some cases, quite surprising. These actors include Phoebe Bridgers (musician), Anna Farris, Jessica Hecht, Jeff Zucker (former President of CNN), Jonathan Lipnicki (the kid from JERRY MCGUIRE), Alex Winter (BILL & TED’S EXCELLENT ADVENTURE), Tony Revolori (THE GRAND BUDAPEST HOTEL), and Creed Bratton (“The Office”, The Grass Roots).

In addition to the cast, director Oppenheim has put the band back together (from SOME KIND OF HEAVEN, 2020). This includes cinematographer David Bolen whose lighting and camera work deliver a unique atmosphere, composer Ari Balouzian whose musical notes match the feeling, and editor Daniel Garber who fits the pieces together in a way that the “Yuck” factor never overwhelms. The psychological aspects mentioned earlier are on full display throughout, and best of luck maintaining your own sanity as you attempt to figure out if any of these folks are ‘good’ or if that bar is simply unachievable.

Opens in theaters on September 25, 2026

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Posted by David Ferguson

UNABOMBER (2026)

September 24, 2026

Greetings again from the darkness. One of the most frightening things in existence is when mental illness blends with brilliance. Ted Kaczynski was a 16-year-old math prodigy at Harvard in 1958, and then arrested in 1996 after being identified as the Unabomber. His reign of terror covered 1978 through 1995, and his bombings were responsible for three murders and twenty-three injuries. The manhunt was the longest and most expensive in FBI history.

Director Janus Metz (ALL THE OLD KNIVES, 2022) works from a screenplay by Sam Chalsen and Nelson Greaves, delivering a look at young Kaczynski and the FBI efforts to track him down with so few clues. In an interesting approach, Metz flip-flops the story between 1958 Harvard and the manhunt in the 90’s … opening with a New Jersey bombing in 1994 and moving to the release of the Manifesto a year later. It’s the Manifesto that breaks the case for the FBI, although it almost didn’t. The key agent involved here is Joanne Miller (Shailene Woodley, THE DESCENDANTS, 2011) as a behavioralist. When Kaczynski’s brother David (Matthew Kevin Anderson) relays to the feds that the writing style and terminology remind him of his brother, Joanne Miller shifts her focus.

The Harvard segments focus on Professor Henry Murray (Oscar winner Russell Crowe) and the mental stress project he runs with Christiana Morgan (Annabelle Wallis, THE MUMMY, 2017). At this age, Kaczynski is played exceptionally well by Jacob Tremblay (ROOM, 2015), who captures a young man who doesn’t really fit in socially, and believes he has a mentor and supporter in the Professor and his assistant. This segment shows what a quick mind Kaczynski possessed, while also letting us see just what led to extreme behavior later.

The FBI pieces fit together like a procedural, and in addition to Woodley, agents are portrayed by Alexander Ludwig (“Vikings”), Stephen Ogg (“The Walking Dead”), and Marc Menchaca (“Ozark”). We also see how luck and perseverance and instinct can play a role in such a broad investigation. The capture of Kaczynski at his remote and rustic cabin in Montana is reenacted here, as is at least one “wrong guy” moment from earlier. We see actual news clips from reports during this era, and at the film’s conclusion, audio recordings and photos of imprisoned Kaczynski are replayed. In 2020, a docuseries, “Unabomber: In His Own Words”, was released, and both projects capture the mental state of one who was a true danger to society. This film from Mr. Metz states that it’s based on a true story, however, I couldn’t find a reference to a female agent who was key to the case, and none are noted in the update prior to the closing credits. At this point, I’m not sure if this is creative license or protecting agent identities.

Premieres on Netflix on September 25, 2026

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Posted by David Ferguson

SHAUN THE SHEEP: THE BEAST OF MOSSY BOTTOM (2026, animated)

September 24, 2026

Greetings again from the darkness. Shaun the Sheep is a British creation dating back thirty years or so. It’s through Aardman, the same imaginative studio as the brilliant ‘Wallace and Grommet’ characters and stories. Through multiple series and feature movies, we’ve come to know and love the claymation Shaun and his misadventures. This latest from co-directors Steve Cox and Matthew Walker, and co-writers Mark Burton and Giles Pilbrow, is yet another entry that will entertain adults and kids of all ages.

Halloween is rapidly approaching and the flock of sheep has been cultivating a secret pumpkin patch. At the same time, the clumsy, unaware farmer is working up the courage to invite the local veterinarian to the Halloween Hoe-down. A freak occurrence has the farmer accidentally destroying the pumpkin patch, leading Shaun and his nifty science book (“Home-Made Science”) to concoct a rapid-growth solution meant to replenish the pumpkins. Of course, there are ‘hairy’ side effects that put all involved on a track resembling a Buster Keaton movie … one hilarious misstep (with the best intentions) after another.

There are so many subtle touches to complement the chaos that most are best left for the viewer to discover. For a taste, there’s a nod to Hitchcock’s PSYCHO, perfectly timed wilting flowers, a slick use of a car wash, a sea shanty, and a few pokes at selfies and social influencers. Perhaps my favorite is the angry mob chasing the beast, reminiscent of what happened to the Frankenstein monster. In reality, the show is a tribute to monster movies with an emphasis on Shaun (and his trusty book of experiments) as Doctor Frankenstein.

The visuals here are outstanding as usual, and for those unfamiliar, dialogue is non-existent – other than a song lyric near the end. The communication and emotions are conveyed through grunts, groans, and giggles … and we are never in doubt as to what a character is thinking or ‘saying’. Sheep, a farmer, a loyal dog, the helpful vet, some longshoremen, and angry townspeople all play a role in this Halloween tale that will surely entertain (with a good-natured fright) viewers of all ages. The tradition continues.

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Posted by David Ferguson

THE LOVE HYPOTHESIS (2026)

September 22, 2026

Greetings again from the darkness. This year’s batch of Hallmark Christmas movies hasn’t hit yet, so for those fans, here’s the next best thing … a Romantic Comedy based on the New York Times bestseller written by Ali Hazelwood. Directed by prolific TV director Claire Scanlon, with an adapted screenplay by Sarah Rothschild, the film delivers easy comedy with a burst of ‘Girl Power’.

Lili Reinhart (CHEMICAL HEARTS, 2020) stars as Olive, a junk food junkie fighting anxiety over her Grad School interview when we first meet her. This anxiety acts as an internal battle for the brilliant researcher committed to finding a treatment for pancreatic cancer, the disease that took her mother. Once on campus at Stanford, Olive is quickly befriended by the much more outgoing Anh (Rachel Marsh, “Unstable”). The story’s ‘conflict’ occurs when Olive realizes she and Anh have a crush on the same guy, Jeremy (Nicholas Duvernay, “The White Lotus”). Being the grateful and dutiful friend she is, Olive yields the lust to Anh via a most awkward interaction with Dr. Adam Carlsen (Tom Bateman, DEATH ON THE NILE, 2022).

Soon, ‘Dr Evil’ (as Carlsen is known by students) and Olive have struck up a mutually beneficial “fake dating” agreement, complete with rules and regulations. This arrangement allows Dr. Carlsen to pursue the professional advancement he requires, while Olive can ensure that BFF Anh and Jeremy are unencumbered to pursue romance. It’s a win-win, except, of course (and obviously), fake dating rarely stays fake. The necessary complication arrives in the form of Dr Thomas Benton (Arty Froushan, “Daredevil: Born Again”) who fulfills the role of scummy, misogynistic male who abuses his position of power.

This is a Girl Power story told in a rom-com the traditional rom-com style, which makes it a challenge for some of us to appreciate. Reportedly, author Hazelwood used Rey from the Star Wars movies as inspiration for Olive. In a touch of synchronicity, Daisy Ridley (who played Rey) is married to Tom Bateman. It’s not difficult to imagine this as a more real-life drama, which means the story is one worth telling. As a bonus, the best line in the movie is, “Carry yourself with the confidence of a mediocre white guy”, and that made me laugh.

Premieres on Prime Video on September 23, 2026

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Posted by David Ferguson

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