THE PRESIDENT’S CAKE (2025, Iran)

February 13, 2026

Greetings again from the darkness. We don’t see a lot of films from Iran, but if this one from writer-director Hasan Hadi is any indication, the industry there is in fine form with storytelling. While not preachy or heavily politicized, the movie does offer some insight into authoritarianism in the 1990’s under dictator Saddam Hussein. Some would argue that the situation from thirty years ago acts as a modern-day cautionary tale.

Lamia (terrific first-timer Baneen Ahmad Nayyef) is a clever nine-year old who lives in the marshes with her elderly “Bibi” (Waheed Thabet Khreibat). Times are tough in the country due to UN sanctions and the pressure the Saddam Hussein regime pushes down to the citizenry. One of these pressures is the requirement of a national celebration of Saddam’s birthday. “Draw day” comes two days prior as Lamia’s teacher assigns responsibilities for the celebration. Lamia is to bake a birthday cake. This seemingly mundane task is gut-wrenching for Lamia, as she and Bibi barely have enough food to eat themselves. An ingredient list is compiled and Lamia, who feels the intense burden of this assignment, sets out to gather the items.

Lamia has two friends. Classmate Saeed (debuting Sajad Mohammad Qasem) and Lamia’s beloved pet rooster, Hindi, are her only connections outside of Bibi. Lamia and Saeed sometimes play a staring game (first to blink loses), and this serves as both a personal connection and a momentary timeout from the stressful world. It also gives us viewers a short reprieve from this environment as we find joy watching kids be kids, even if it’s a literal blink of an eye. Lamia’s pursuit of the ingredients proves there are creeps and good people in every society, even those under constant threat of war.

Daily life at school has the teacher leading mandatory support sessions for their leader Saddam, and it’s no joking matter. Lamia’s pressure-filled assignment teaches her (and us) that flour is for life, sugar makes life sweeter, and eggs are for fertility. Hadi’s film emphasizes the power of friendship and hope, while Lamia’s dedication to Hindi shows her own sterling mettle. Hadi ends the film with an archival clip of Saddam Hussein celebrating his birthday.

Limited theater opening on February 13, 2026, expanding on February 27, 2026

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Posted by David Ferguson

GOOD LUCK, HAVE FUN, DON’T DIE (2026)

February 11, 2026

Greetings again from the darkness. Director Gore Verbinski has a diverse oeuvre of films dating back almost thirty years. His work includes the first three “Pirates of the Caribbean” movies, the horror film THE RING (2002), the animated Oscar-winning RANGO (2011), THE LONE RANGER (2013), and the eerie A CURE FOR WELLNESS (2016). This is his first film in almost a decade. It’s written by Matthew Robinson (LOVE AND MONSTERS, 2020), and it’s bonkers.

The patrons of late-night diner Norm’s in Los Angeles are interrupted by a rumpled man who claims to be the from the future (Oscar winner Sam Rockwell). His stated mission is to assemble a group of seven diners to help him save the world by stopping a young boy who is programming AI to destroy the world. If you don’t believe him, he has a bomb strapped to his body … are you paying attention now? The man from the future claims he’s been in this same diner more than 100 times and the mission has failed each time, yet he’s back and this time his chosen team includes teachers Zazie Beetz and Michael Pena, Asim Chaudhry, grieving mother Juno Temple, and depressed Haley Lu Richardson who happens to be wearing a tattered princess costume.

Flashbacks are used to provide backstories on some of these characters, and mostly they face crazy and dangerous obstacles as they proceed through the night under future-man’s leadership. Along the way, the film harps on our current obsession with smart phones and technology, while also acknowledging the overwhelming emotions of the political landscape. The dark comedy and frenetic action are a bit exhausting to watch, but the cast is so talented and loaded that we stick with it.

Verbinski delivers a film that is busy and chaotic fun, except when it’s serious – then it’s just busy and chaotic. Rockwell carries much of the film and his blend of energy, wisecracks, and sincerity are a perfect fit for someone looking to stop the AI apocalypse. You may or may not love the film, but it’s doubtful anyone will label it as boring.

In theaters beginning February 13, 2026

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Posted by David Ferguson

Book Review- “HANNIBAL LECTER: A LIFE” by Brian Raftery

February 7, 2026

Analyzed too closely, our fascination with serial killers could (and should) be considered disturbing. Novels, stage plays, movies, and TV series have long focused on the criminals who both frighten society and manage to long elude law enforcement. This is not referring to the demented appeal of scumbag shoot-the-CEO-in-the-back murderers with bushy eyebrows, but rather those whose intellect and psychological profiles allow them to stay one step ahead of those seeking justice – at least for a while. Included on the list would be such recognizable names as Jack the Ripper, Ed Gein, Ted Bundy, Jeffrey Dahmer, Aileen Wuornos, and the Zodiac Killer. Capitalizing on the public’s fascination led Thomas Harris to write “Red Dragon” in 1981, his first novel featuring Hannibal Lecter. Three more Lecter novels followed, and it’s Mr. Harris’ many Lecter works, and the projects influenced by them, that drove this detailed and expertly researched book from author Brian Raftery.

It’s tempting to call this a biography of Hannibal Lecter, a fictional character – despite his being referred to as “the late, great, Hannibal Lecter” during the most recent Presidential campaign (and a few times since). Yet, the biography label feels insufficient since Raftery also delves into Thomas Harris’ writing process, interviews with FBI agents, and serves up some behind-the-scenes details of the movie and TV projects of which ‘Hannibal the cannibal’ was a part. For many readers, including yours truly, gaining some insight into Harris is reward enough. The ever-reclusive bestselling author (more than 50 million books sold) is renowned not just for his outstanding storytelling, but also for his ability to avoid the spotlight and most anything resembling an interview (for decades).

Of course, the public fascination lies not with bestselling authors, but instead on serial killers. Harris’ work on Lecter has permitted us to get up close and (too) personal with this brilliant and dangerous character. It’s the mind games that draw us in … much more so than the grisly murders or cannibalism. This is what makes Raftery’s book so special. He guides us through the various incarnations of the enigmatic Hannibal Lecter. Harris’ four Lecter novels are “Red Dragon” (1981), “The Silence of the Lambs” (1988), “Hannibal” (1999), and the prequel “Hannibal Rising” (2006). Releases of the four novels spanned twenty-five years, fitting properly with Harris’ devotion to the character and his process. The novels fed the cinema with MANHUNTER (1986), THE SILENCE OF THE LAMBS (1991), HANNIBAL (2001), RED DRAGON (2002), HANNIBAL RISING (2007), and the TV series “Hannibal” (2013-15). Author Raftery divides the books/films into sections to facilitate our understanding of Lecter and how the projects came together.

Easily the most popular and widely seen version of Lecter is from the 1991 film version, THE SILENCE OF THE LAMBS. It won five Oscars: Best Picture, Best Director (Jonathan Demme), Best Adapted Screenplay (Ted Tally), Best Actress (Jodie Foster), and Best Actor (Sir Anthony Hopkins). Raftery gives the novel and the film its due, and includes quotes from Hopkins on his pride in portraying the character. For film lovers, Raftery also includes some juicy details around the early decisions on script, director, and casting. There are plenty of surprises throughout the book, yet this section probably contains the most. Raftery doesn’t shy away from the fading interest in Lecter in the later versions, however, the overall success rate and longevity is quite impressive.

Whether you are drawn to Hannibal Lecter through the Thomas Harris novels, the frightening on screen portrayal by Sir Anthony Hopkins, or a general interest in the criminal mind, Brian Raftery’s book will surely exceed expectations, while offering valued insight into one of the most intriguing literary villains of all-time.

Published by Simon & Schuster, available February 10, 2026

Amazon order link

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Posted by David Ferguson

SCARLET (2026, Japan anime)

February 5, 2026

Greetings again from the darkness. William Shakespeare has inspired so many writers and stories over the years that he often goes unacknowledged rather than credited. Such is the case with this latest from writer/director/animator Mamoru Hosoda with character names such as Amulet, Claudius, and Gertrude. Of course, since this is Japanese anime, the story’s path varies and features unusual and colorful characters.

At its core, this is a story of the pursuit of revenge and the lesson of forgiveness … and how neither is simple nor easy. The question becomes can humankind overcome the natural instincts of using violence and war to achieve revenge or some other desired dominant outcome? As we open in the 16th century, something is most definitely rotten in Denmark. King Amulet is shown no brotherly love by Claudius, an act which leaves Amulet’s daughter, Princess Scarlet seeking vengeance. Unfortunately for her, the plan goes sideways and she’s the one that crosses over.

This is a world where life and death coexist and it’s Scarlet who finds herself in the ‘Otherworld’ while Claudius aims to rule the ‘Infinity’ world. Scarlet’s Otherworld knows no time and is filled with those from all eras. As things often go for corrupt leaders, Claudius also finds himself in the Otherworld, where he and Scarlet are destined to meet yet again. Scarlet partners up with a modern-day paramedic named Hijiri, and in times of war with a goal of revenge, it never hurts to have an EMT friend (or maybe something a bit more serious).

The animation here can be stunning at times, especially the crowd scenes. Yet, what I found most admirable about the film was the message – the lesson we hope humans learn before it’s too late. A world without war … one filled with forgiveness … could be quite beautiful.

The film will receive an IMAX release on February 6, 2026 and expand wide on February 13.

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Posted by David Ferguson

THE WRECKING CREW (2026)

January 29, 2026

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

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

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

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

Streaming on Amazon Prime as of January 28, 2026

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Posted by David Ferguson

A PRIVATE LIFE (2026)

January 29, 2026

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

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

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

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

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

Opens in theaters on January 30, 2026

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Posted by David Ferguson

THE LOVE THAT REMAINS (2026, Iceland)

January 29, 2026

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

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

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

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

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

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Posted by David Ferguson

ARCO (2025, animation)

January 29, 2026

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

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

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

Opening in theaters on January 30, 2026

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Posted by David Ferguson

MR NOBODY AGAINST PUTIN (2025, doc)

January 25, 2026

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

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

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

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

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Posted by David Ferguson

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

January 24, 2026

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

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

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

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

The book is available beginning January 27, 2026

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Posted by David Ferguson

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