THE ONLY LIVING PICKPOCKET IN NEW YORK (2026)

October 29, 2026

Greetings again from the darkness. For anyone who grew up watching the gritty, street-smart films of the 1970’s, this one from actor-turned-writer/director Noah Segan will feel like it’s one you missed back in the day. From the characters to the plot to the music to the ending, this one feels so familiar, while also taking us on a tour of the boroughs that make up New York.

The always interesting (and underrated) John Turturro stars as Harry, the titular pickpocket. We learn so much about Harry in the opening scenes, which is important since the film plays much like a character study. Not only is Harry skilled at his (criminal) trade, but technological advances have turned him into a dinosaur. The cold cash he needs has been replaced by chipped credit cards, easily traced smart phones, and even the few remaining non-smart watches aren’t built to the standards of yesteryear. We also learn that beyond his profession, Harry’s basically a decent fellow (he puts stolen wallets in mailboxes), and he provides regular loving care for his non-communicative and disabled partner Rosie (Karina Arroyave, “24”). His fence is a longtime friend named Ben (Steve Buscemi), who runs a pawn shop, and Harry is even on friendly terms with the local detective (Giancarlo Esposito, “Breaking Bad”) who is coasting through his final year before retirement. The world in which all three men made their way is little more than a fading memory.

The gym bag inside a renovated classic car provides Harry with some good and bad – a huge wad of cash as well as a gun that he immediately dumps. The cash should have been a tipoff, yet we understand that his tech blind spot prevents him from recognizing the included USB card as a digital locker … which also happens to put the owner on his track. That owner is an energetic twenty-something punk named Dylan (Will Price, ELEANOR THE GREAT, 2025) who happens to be part of a connected family, meaning that digital locker contains access to big time money. It doesn’t take long for Dylan to find Harry and make the expected threats if he doesn’t return the locker. This starts the countdown and puts Harry on the streets trying to recover the card.

Turturro and his overcoat are mesmerizing to watch and listen to as the story takes us through the streets and shops of the boroughs. Those from New York will recognize much, while others will appreciate Harry’s journey. It’s a journey that includes a stop off to see his long-estranged daughter (Tatiana Maslany, “Orphan Black”) who is not thrilled to see him, and a previous ‘associate’, Eve (Victoria Moroles, “Teen Wolf”) whose computer skills come in quite handy. We also get a kick out of Harry having the worst sense of direction for any New Yorker in history.

The ending sequence features a philosophical discussion with a key member of Dylan’s family played by Oscar winner Jamie Lee Curtis. Director Segan also earns brownie points and respect for the manner in which the ending is handled. Cinematographer Sam Levy works wonders capturing Harry on the streets, as well as the more intimate moments that create tension. Gary Lionelli’s score fits the era beautifully, including soft jazz in the scenes with Harry and Rosie. The decision to end the film with Cole Porter’s “I Happen to Like New York”, sung by Bobby Short, left me wanting to re-watch the film as soon as possible … this despite the lingering message that eventually we must all make way for the next generation.

Opens in theatres on October 30, 2026

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QUEEN AT SEA (2026)

October 29, 2026

Greetings again from the darkness. Most everyone has experienced the traumatic signs of Alzheimer’s or dementia in a loved one or friend. It’s heartbreaking to watch someone you care about fade away in front of you. Writer-director Lance Hammer (BALLAST, 2008) finds a new way to open our eyes to these situations. It’s still heartbreaking, yet he’s also managed to make it thought-provoking in a ‘what would you do’ kind of way.

Amanda (Oscar winner Juliette Binoche) shows up at the home of her mother and stepfather, finding them embraced in a moment of intimacy. Amanda immediately begins barking at Martin (Tom Courtenay, 45 YEARS, 2015), saying he promised to stop having sex with Leslie (screen veteran Anna Calder-Marshall) since it appears her dementia has advanced to the point that she can no longer give consent. A phone call to the police kicks off a stream of events that no one could have envisioned.

There is an old saying about a certain road being ‘paved with the best intentions.’ We have no doubt that Amanda loves her mother and is trying to protect her. As the story unfolds, we also have no doubt that Martin loves his wife and treats her kindly. He claims she initiates intimacy and he can tell it’s what she wants. Martin gets arrested and the bedroom is quarantined as a crime scene. Soon, Leslie is being interviewed by a psychiatrist and examined by a doctor. In other words, this couple in their 80’s has their life turned upside down by experts who supposedly know better. Even Amanda believes they shouldn’t be separated.

With a dose of irony, things get even more complicated when Leslie is moved into a memory home for care. And while Amanda is focused on this situation, her teenage daughter Sarah (Florence Hunt, “Bridgerton”) is living alone at their home, getting a bit closer to a particular classmate. Amanda’s reaction to this is contrasted to her concerns about her mother’s situation.

The acting here is elite, especially for Anna Calder-Marshall and Tom Courtenay, although Ms. Binoche carries the less sympathetic role. Filmmaker Hammer provides no easy answers, although his film excels at providing a realistic situation where best intentions and expert guidance could make things worse instead of better. Of course, that’s not always the case … but how are we to know?

Opens in theaters on October 30, 2026

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FATHERLAND (2026, Poland)

October 29, 2026

Greetings again from the darkness. Every family has a history, and some families are part of history. Such is the case for writer Thomas Mann, who along with his daughter Erika and son Klaus, are the subjects for this latest from the amazing writer-director Pawel Pawlikowski (COLD WAR, 2018; IDA, 2013) and co-writer Henk Handloegten (GOOD BYE LENIN!, 2003). In my movie viewing experience over the years, I’ve found most movies from Poland to be well made and a bit of a downer. This one fits both descriptions, and I’d add well-acted.

Erika (Sandra Huller, ANATOMY OF A MURDER, 2023; TONI ERDMAN, 2016) is accompanying her father (Hanns Zischler, CLOUDS OF SILS MARIA, 2014) on his 1949 speaking tour. Thomas Mann won the Nobel Prize in Literature in 1929, and fled Germany once Hitler assumed power. Father and daughter had sworn never to return to their home country, yet here they are … not always with a warm welcome. Mr. Mann describes himself as a bourgeois relic, and it’s likely many Germans had more severe nicknames for him.

The film opens with what can be described as a prologue. It’s an awkward scene of a phone conversation between Erika and her brother Klaus (August Diehl, INGLOURIOUS BASTERDS, 2009), as she attempts to persuade him to join the speaking tour. We only see him and he mostly just mopes that she’s the only one who understands him, as he questions his father’s and their family’s place after the war. The conversation ends, leaving Erika with an uneasy feeling, yet hopeful Klaus will meet up with them.

Most scenes feature Erika and her father, but the black 1948 Buick Super she drives him in stands out visually. And speaking of visuals, director Pawlikowski and his frequent collaborator, cinematographer Lukasz Zal, deliver yet another striking black and white film that’s beautiful to look at, even beyond the subject matter. As one whose writing was influenced by him, Thomas Mann takes the opportunity to view the Weimar room where Goethe died many years prior. This corresponds to another incident that ultimately leads us to a powerful ending moment. The film is Poland’s official submission for this year’s Best International film, and it should receive serious consideration.

Opens in theaters on October 30, 2026

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Book Review: FRANK CAPRA by Sam Wasson

October 26, 2026

When a biographer assumes the weight of researching and writing about a legend within a particular industry, few undertake a man so complex, or with a career so relevant, or a life so intertwined with history as filmmaker Frank Capra. But then, few writers are as accomplished as Sam Wasson, known for numerous movie industry-based books, including my personal favorite, “The Big Goodbye: Chinatown and the Last Years of Hollywood”. With access to Capra’s personal archives, Wasson goes deep on multiple aspects of Capra’s fascinating life … a life of ups and downs; and one that certainly proves the adage: “Each man’s life touches so many other lives.”

At nearly 660 pages, the book requires a serious commitment from the reader. Fortunately, the reward is a journey that covers Capra’s family’s emigrating to this country, his achievement of the American dream, the height of recognition and fame, and a lasting legacy with beloved films. Beyond those familiar pieces, we go back to the times when Hollywood was discovering sound and developing the popularity of movies; some of the impact of the Great Depression; the devastation, sacrifices, and true patriotism of World War II; and the cultural and economic shifts of a post-war universe. Wasson even dives into the scandal of communism, blacklists, and naming names … and the role of the House Un-American Activities Committee.

Many of Frank Capra’s affiliations throughout his career are well known: Columbia Pictures founder Harry Cohn, renowned screenwriters Robert Riskin and Jo Swerling, and A-list movie stars Barbara Stanwyck and James Stewart. Writer Wasson explores each of these relationships, in addition to going deep on lesser-known topics like Capra’s organizational and political involvement with the Academy and Directors Guild, and his direction of propaganda films under the banner “Why We Fight” during WWII. What sets this book apart are the stories and details attached to each of these.

Speaking of stories, Wasson includes little vignettes throughout … things we’ve never previously heard, yet they provide a better understanding of Capra the person, rather than merely Capra the famous director. Will Rogers at the Academy Awards is certainly a shocking incident, a personal moment with President Franklin Roosevelt at the White House is memorable, and there are a few marital items included involving Capra and Lu, his wife and key supporter for more than fifty years. An extensive section on James Stewart is included, outlining his service as a fighter pilot – all of which is connected to his relationship with a director (and man) he trusted, Frank Capra.

As one would expect (and hope for), there is a section of the book dedicated to IT’S A WONDERFUL LIFE (1946) – this after dropping many related nuggets throughout the book. Some may think even more should have been included regarding this most beloved movie, however, Wasson delivers significant details surrounding topics like the communism fallout in Hollywood and how Capra was involved (an informant) and impacted. Once again, it’s the specifics that make the difference. It’s staggering how Frank Capra rose from deep poverty to become a part of so many aspects of American history, while working in the movie industry from the 1920’s through the 1960’s. Movie lovers remember him for his classic movies (sometimes referred to as Capra-corn) like IT HAPPENED ONE NIGHT (1934, 5 Oscars), MR DEEDS GOES TO TOWN (1936, one Oscar), LOST HORIZON (1937, 2 Oscars), MR SMITH GOES TO WASHINGTON (1939, one Oscar), and IT’S A WONDERFUL LIFE (1946). Sam Wasson’s book ensures that this wonderfully complex man … one who was sometimes controversial … receives the full life treatment. It’s a treatment that’s quite a treat for the reader.

Available from HARPER COLLINS beginning October 27, 2026

Available from AMAZON beginning October 27, 2026


A TALENT FOR MURDER (2026)

October 21, 2026

Greetings again from the darkness. She wasn’t yet 30 years old when her first novel, “Strangers on a Train” was published. A year later, Alfred Hitchcock directed the film version, an opportunity many writers would kill for. Patricia Highsmith then crafted a career writing about murder, or the threat of it. Her most famous character, Tom Ripley, was central to five of her novels, or what’s been called “The Ripliad”. On screen, the Ripley role has been played by Alain Delon, Dennis Hopper, Matt Damon, John Malkovich, Barry Pepper, and Adam Scott (in the recent terrific mini-series, “Ripley”).

The Ripley character is (kinda sorta) back again in this film from director Anton Corbijn, adapted by Joanna Murray-Smith from her own stage play “Switzerland”. Edward Ridgeway (Alden Ehrenreich, SOLO: A STAR WARS STORY, 2018) is sent by the unnamed publisher to persuade renowned writer Patricia Highsmith (Oscar winner Helen Mirren) to write one more Ripley novel. Upon his arrival at her remote Tegna, Switzerland home, young and ambitious Edward finds the writer to be as ornery and difficult as her reputation led him to expect. In fact, his predecessor, sent on the same mission, has disappeared without a trace, leaving Edward a bit leery … although his career hinges on his success in getting her to sign the contract.

The game of cat-and-mouse actually begins on Edward’s train ride when he meets Clementine Harriet Balfour (Olivia Cooke, SOUND OF METAL, 2019). The flirtatious encounter finds both on missions of persuasion. Edward needs a stubborn writer’s commitment, and Clementine would like her wealthy Aunt Peggy (Juliet Stevnson, BEND IT LIKE BECKHAM, 2002) to release the trust fund so she might enjoy life. A literary game between Edward and Highsmith not only brings Clementine back into the story, but also finds Edward playing a fictionalized version of the already fictional Ripley. It’s quite fun to watch him take on the dual role and see how things proceed with Clementine. Simultaneously, the changes to Edward’s demeanor become palpable.

Dame Helen Mirren tackles the role of the author with gusto. It’s not just the cigarettes and alcohol, but also the mind games and psychological tricks she employs on Edward that keep us on our toes. The result of their ‘new’ Ripley story fails to impress, but the path to that point is quite something to watch as it unfolds. What we see is a story within the story or a movie within the movie, and all three leads are excellent. A special nod to Brid Brennan (BROOKLYN, 2015) who has a brief turn as Kathryn Grierson – yet another character whose psychological powers add some intrigue here.

It should be noted that the work on Highsmith’s house is especially effective, as the weapons collection (guns and knives) and the artwork speak to the real-life home of the writer … and that modernist portrait of Highsmith in red plays like another character. Cinematographer Robbie Ryan does fine work inside the confines of the house as Highsmith and Edward go at each other. As for director Anton Corbijn, the best I can tell, this is his first narrative feature since LIFE (2014) and A MOST WANTED MAN (2014). It’s nice to have him back, as the suspense and psychological aspects play to his strengths. Patricia Highsmith passed away in 1995, which is the year this film is set, and it should be quite clear to all viewers that this is a fictional story about a real person.

Opening in theaters October 23, 2026

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WICKER (2026)

October 20, 2026

Greetings again from the darkness. The husband and wife co-directing and co-writing team of Alex Huston-Fischer and Eleanor Wilson have delivered the pleasant surprise film of the year. It’s based on the 2008 short story, “The Wicker Husband”, written by Ursula Willis-Jones and it manages to be thoroughly entertaining while poking around into human psychology.

Oscar winner and actor-extraordinaire Olivia Colman stars as Fisherwoman. All folks in the village are known by their job or lot in life. No actual names are used. So, when I say Mrs. Tailor (Elizabeth Debicki, TENET, 2020) is the villain of the story, you immediately know what her husband does for a living. Fisherwoman, a disheveled and unkempt woman, not only lives a life of solitude, but she also is subjected to a relentless stream of cruel comments from those in the village. At the Bottlewasher’s wedding, a local custom involves not a bouquet, but rather shaken wicker eggs to determine the next bride-to-be. The magic egg rolls to Fisherwoman.

After absorbing the expected wisecracks and put-downs, she heads to the remote home of the mystical master Basketweaver (Peter Dinklage), and promptly orders ‘a husband’. One month later she is giddy at the altar as she and the Wicker Husband (Alexander Skarsgard) recite their vows. Wedding night exertions leave their bed in need of repair, and Wicker Husband simply asks for a hammer so that he may fix the bed … a task he performs numerous times.

Fisherwoman and Wicker Husband develop a bond, and the entire village takes note when they share a dance at the Butcher’s wedding (lots of weddings for a small village). Love and respect within a marriage are admirable and necessary traits, but what we soon witness is the opposite end of human traits: jealousy, distrust, feelings of inadequacy, and a desire for comeuppance.  By simply asking the question, “Do you love your wife?”, the Wicker Husband establishes himself as a noble creature, and that’s more than others can bear.

The film presents as brilliant social satire in the form of a fable, replete with romance and villainy. Although it’s set in a long ago small rural village, we immediately recognize the personality types and signs of emotions (good and bad). The acting here is superb. Olivia Colman delivers yet another performance that somehow stuns us. Peter Dinklage goes ‘Shakespearian’ and shines while working alone in his workshop. Richard E Grant jolts us as the bumbling town doctor in his only scene, and Alexander Skarsgard is totally believable as the object of desire buried under a spectacular skin of wicker.

As if the acting and story aren’t impressive enough, the technical aspects are superb. The wicker sound effects are familiar and spot on, while Weta Workshop’s prosthetic designer Joe Dunckley and lead makeup effects artist Sarah Rubano knock it out of the park on the wicker suit(s) and effects. Production designer Renato Cseh delivers an authentic feel to the village, while Oscar winning cinematographer Lol Crawley’s (THE BRUTALIST, 2024) work has been accurately described as folk art. This is surely a strange movie, yet it’s one that will grow an audience.

The film opens in theaters beginning October 23, 2026

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Book Review- THE STEPS: A MEMOIR by Sylvester Stallone

October 18, 2026

Most anyone who has seen the 1976 movie ROCKY would describe it as inspirational. Still, I can’t help but wonder how many movie lovers would apply that same label to Sylvester Stallone, the man who starred in the film and wrote the screenplay. My guess is that not many would. For the past fifty years, the public persona of Stallone has been as a mega-wealthy mega-star with a full serving of ego and multiple marriages. Perhaps that fed his desire to pen an autobiography that details his rise from poverty … a rise attributed to resilience, perseverance, determination, and talent. It’s a story only he could tell, and he does so in a manner that finds him likable and relatable – and one to admire and respect.

The three ‘steps’ that make up the bulk of the book are New York, Los Angeles, and Rocky. Readers will find the most ‘new’ information in the New York step, as it details Stallone’s childhood and his later pursuit of a dream. The Stallone we know now lives in a stunning multi-million-dollar seaside mansion, but those early years were often spent in squalor with cockroaches and a mattress made of pizza boxes. This was a young college dropout so determined to find a path that he juggled his waking hours between odd jobs, trying to find an agent, and writing (and writing some more). These jobs included cleaning the lions cage at the Central Park Zoo, slicing fish at a deli, and working the aisles as a movie theater usher. It’s that last one where he didn’t just watch hundreds of movies, but he studied the acting and especially the writing to determine what worked and what didn’t.

The cross-country drive to Los Angeles brought more of the same struggle for Stallone. Continually being told he was not a fit or didn’t have “the look”, he rigorously auditioned for acting roles while writing script after script, honing his skills. Although he avoids an overabundance of name dropping, Stallone sprinkles a few interesting stories along the way … Henry Winkler and Ben Gazzara being two (very different) examples. Times got so economically tough for Stallone, he even sold his beloved dog, Butkus. Of course, the two were later reunited (to co-star in ROCKY). It’s in the Los Angeles ‘step’ where it becomes crystal clear just how crucial the support of Sasha Czack was to his career pursuits as well as his mental state. She spent years by his side, and they eventually married in 1974.

The ROCKY ‘step’ will surprise some readers in just how close it came to never being made. Stallone’s commitment to starring in the film nearly cost him hundreds of thousands of dollars, as well as his first break. Of course, we now know that by sticking to his plan, he became world famous and kicked off one of the most successful franchises in cinema. The casting stories are interesting, and it’s in this section where Stallone circles back to his parents. These are parents incapable of showing love to Stallone or his brother Frank. In fact, Stallone mentions how he never got a hug from either parent, yet his desire to make them proud led to dad’s role in the film and a sad story about inviting mom to the Oscars.

It’s important to note that Sylvester Stallone wrote this autobiography in a style that makes for warm and comfortable reading … like a friend is telling you his life story. However, this isn’t his full ‘life’ story, as it really takes us only through the Academy Awards ceremony in 1977, where ROCKY won three Oscars, including Best Picture. This story isn’t written to boast about a remarkable career. Rather it’s written to inspire and preach the importance of dedication to a cause and how dealing with failure is crucial to dealing with life’s ups and downs. “The Steps” is a perfect title as it fits for life, Stallone’s writing, and the sprint up the steps of the Philadelphia Museum of Art.

Available at Amazon


Book Review- EMPEROR OF NOTHING: THE MAKING OF LARRY DAVID

October 16, 2026

by Blake J. Harris

No one should question whether a biography on Larry David is justified. Very few have achieved the level of success he’s had over the past thirty-plus years with not just one, but two of the most popular TV shows in history … one of which regularly appears on the lists of all-time bests. No, the only real question comes down to whether that’s worth 550 pages. As a huge “Seinfeld” fan and one who found much of his backstory quite interesting, I’ll admit, in Larry David language … it’s just too much.

Biographer and bestselling author Blake J. Harris divides the book into five sections, although it’s really three: David’s backstory and climb (approximately 200 pages), the “Seinfeld” era (the next 250 pages), and finally, the details on “Curb Your Enthusiasm”. Not surprisingly, the most interesting section is the first which details Larry David’s upbringing and years spent as a struggling stand-up comedian working to find his place, his voice, and his audience. He even worked as a taxi driver … he says, “because it was easy.”

Another ‘not surprising’ fact is that Larry David initially balked at the idea of a biography, imagining no one would be interested. It’s stated that there are ‘few things in life he enjoyed more than being left alone’. After relenting, off-and-on discussions between David and the author spanned nearly five years, producing some remarkable and detailed stories that all seem to fit the comedian, actor, and writer we’ve come to admire and tolerate. Reading about his bizarre approach to stand-up combined and his propensity for walking off stage mid-set if he was not satisfied with his material or the audience makes his ultimate success all the more impressive.

Despite being acknowledged by fellow comedians as ‘the least likely to succeed’, we learn about his comedy influences (Woody Allen and Mel Brooks), as well as a lifelong friendship with comedian Richard Lewis – the man likely most responsible for keeping David in the game. Observational humor, in contrast to what many say, is not ‘about nothing’. Larry David spent years taking notes on names, events, incidents – some seemingly meaningless to many. Those people and occurrences often fed the stand-up and later formed the foundation for characters, scenes, and episodes of “Seinfeld” and “Curb Your Enthusiasm”.

For a guy making the rounds at comedy clubs in New York, it was only a matter of time before he crossed paths with an up-and-comer named Jerry Seinfeld. The two would later create TV history together, but there’s so much more to the story. Larry David’s relationship with a fellow named Kenny Kramer became a cloudy mixture of real life and comedy, ultimately leading to one of the most outrageous TV characters anyone had ever seen … well that and David’s time on the comedy skit show “Fridays”, where he worked with a bizarre comic named Michael Richards.

“Seinfeld” fans will not only enjoy the stories about PROGNOSIS NEGATIVE, a movie script Larry David wrote, but also the numerous other bits of inspiration that led to some of the show’s most memorable lines, characters, and scenes. It is likely that many devotees of “Seinfeld” are unaware of the initial hurdles of the pilot, “The Seinfeld Chronicles”, what caused the title change, and how the show continued to secure another chance (on numerous occasions). These early challenges surely say more about network executives than about the creative forces of Larry David and Jerry Seinfeld. The original idea of how a comedian gets his material seems like an obvious hit now, but in those days couldn’t have been more of a question mark. The multiple chapters on “Seinfeld” are informative and detailed, sometimes overly so. We get casting stories, as well as how it went from three leads to four. The stories speak not just to the success of the show, but also to the minds of its creators.

The “Curb Your Enthusiasm” section details what came next for Larry David after the rousing success of “Seinfeld”. It also put him front and center as an actor, something he had avoided with the previous show (except for the man in the cape and Steinbrenner’s voice). The casting stories come together here and we learn Cheryl Hines was previously Rob Reiner’s personal assistant at Castle Rock. ‘Curb’ gave Larry an outlet for the mounds of material he collected and provided a platform for his alter-ego … the one most assume is the real Larry David. Of course, the show became a bit of a crossover with the “Seinfeld” regulars making frequent appearances on ‘Curb’, giving credence to the rumors that the actors (not just Jerry) had bonded nicely in their previous venture with Larry David.

“Seinfeld ran for 172 episodes over nine seasons, while “Curb Your Enthusiasm” had 120 episodes over 12 seasons. This book from Blake J. Harris is thoroughly researched and goes quite deep on details for the two shows and for Larry David’s backstory. He’s quick to give credit to other behind-the-scenes folks (e.g., Larry Charles), which feeds right into the final shocker: Larry David is a pretty decent guy in real life. Sure, he’s a professional perfectionist sometimes filled with anxiety, but his observational skills and comedic instincts are gold, I tell ya’. If all that somehow isn’t enough, we even get an OJ Simpson story which may be the biggest surprise of all.

Available on Amazon beginning October 20, 2026


ON A STRING (2026)

October 15, 2026

Greetings again from the darkness. So, what does one do with excess creative urges when one is a Julliard trained violist and a successful stand-up comedian? Well … how about writing, directing, and starring in a film filled with authenticity and familiar everyday struggles (even for those of us who aren’t classically trained). That’s exactly what Isabel Hagen has done, and the result is a gem of indie filmmaking.  

Ms. Hagen appears as a blend of Greta Gerwig and Elizabeth Holmes. As Isabel, she’s a freelance violist with seemingly little ambition other than finding her place in life. She’s stumped by the question, ‘What do you do for fun?’ This is a slice of life tale of one who is socially awkward, yet not to the point of being weird or bizarre. Things just don’t seem to click for Isabel. The superb opening scene is an example, as Isabel plays solo during a botched marriage proposal in the park. This is merely the first touch of subtle comedy brilliantly inserted into what’s often thought of as serious moments.

We next see Isabel playing at a wedding ceremony, a funeral, a private dinner party, sitting in with an indie rock band, and at a recording session for a film score. She’s also seen breaking up with a boyfriend, having practice sessions with her regular quartet, keeping up a façade for a friend, managing strained family dynamics, and giving in-home lessons for a precocious 6-year-old. Isabel juggles all of this while nursing a painful wrist, practicing for a spot with the prestigious Philharmonic Orchestra, and fending off the advances of the 6-year-old’s dad (Frederick Weller).

 Other supporting roles include violinist Ling Ling Huang as Isabel’s best friend, Dylan Baker as Isabel’s dad, Eric Bogosian as a hotheaded director, and an excellent Jamie Lee as the mother of the above-mentioned student and wife of the above-mentioned horny dad. Isabel’s obnoxious pianist brother is played by her real-life brother, Oliver Hagen, and their mother is played by Karen Blood. It’s difficult to do justice to the precise mixture of humor and drama, yet it’s the relatability to everyday moments that makes this one work so well.

In theaters through October 2026, and then hopefully will find an extended life through streaming

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MUSK (2026, doc)

October 14, 2026

Greetings again from the darkness. A four-hour documentary would be overkill for most individuals, but when the subject is Elon Musk, the run time seems fitting, if not a bit short. This profile was put together by Oscar winner Alex Gibney, one of the best documentarians working today. His previous work includes ENRON: THE SMARTEST GUYS iN THE ROOM (2005); TAXI TO THE DARK SIDE (2007); STEVE JOBS: THE MAN IN THE MACHINE (2015); the first Elizabeth Holmes doc, THE INVENTOR: OUT FOR BLOOD IN SILICON VALLEY (2019), and this year’s KNIFE: THE ATTEMPTED MURDER OF SALMAN RUSHDIE.

With Musk refusing to meet with Gibney, the solution is to create an AI image of Elon (a man who questions if we are living in a simulation) and have it recur throughout the film, vocalizing the man’s own words. Gibney and team compiled a database of all public statements made by Musk over the years, and this combined with his actions and insight from journalists, baby mamas, his parents, and others who have crossed paths provide the often stunning material presented. Regardless of your impression of Elon Musk … entrepreneur, inventor, visionary, something more dastardly … you will surely find some new information in Gibney’s remarkable documentary.

Gibney questions why we allowed Musk to take on so much power and have such influence. He then provides the background that includes his companies: Zip2 (transitioning the phone book to the internet), Paypal (from which he was removed), Tesla, SpaceX, StarLink, Twitter/X, and XAI/Grok. Details are provided on how he profited from the sale of his first business, how he was removed from power at Paypal, and thanks to Martin Eberhart (the actual founder of Tesla), we learn how Musk manipulated facts to present himself as the company’s founder. Some of the most gut-wrenching sights occur as Tesla’s AutoPilot is covered. What we learn is really quite despicable – the ad spouting AutoPilot features was fake … the programming was occurring in the backseat of the car as it was self-driving. Everyone would call that false advertising, while most would call it fraud. Sadly, multiple deaths occurred due to the system’s faults.

Musk has fathered more than a dozen children via multiple women (the exact numbers of either are uncertain), and we hear from three of these women. Justin Musk has written a book entitled, “The Starter Wife”, and she comes clean about their relationship and their kids. Pop singer Grimes speaks to her uneasiness at clips showing their son X on Musk’s shoulders at the White House. Influencer and fellow baby mama Ashley St Clair also spills some tea – and speaks to her willingness to turn down millions from him to keep quiet. None of this shines a positive light on Musk, yet it helps us understand why he seems focused on building his own legacy of kids. A discussion of the ‘woke mind virus’ leads directly to his trans daughter Jenny.

The first half of the film is scary, but the second half is downright ‘run for the hills (or another planet)’ harrowing. Elon’s true motives become clear. Between the Tesla cameras, the work on DOGE, and StarLink, Musk understands the value of building a database unlike anything previously built, while at the same time gutting the agencies that might regulate or control his companies. He’s able to combine government data (where he and his team had full access) with public and private domains to put him in control of more information than anyone has ever possessed. This is where his power and influence gains strength.

Gibney shows us how the cult of Elon supports a misogynist and egomaniac. To his credit, Musk has learned to deal with failures by continuing to move forward, regardless of the cost. Tech reporter Kara Swisher and other journalists offer specific insight to what they’ve observed over the years, and how he used the “Twitter playbook” when running DOGE. However, perhaps the most chilling interviews come from Elon’s own father in South Africa and former United States Ambassador to the UN, Samantha Power, who details exactly how costly and tragic the cuts to USAID were to children who depended on the aid.

If Gibney underplays any aspect, it’s Musk’s involvement in politics. He mentions the hundreds of millions in donations, and touches on the ‘dark money’ contributions through 501(c)(4), but an entire documentary could be created for how this influences elections. The film’s best line is: “Trump had the power to keep Musk in money, and Musk had the money to keep Trump in power.” As a country, that’s where we are. Is Elon Musk a genius or is he insane? Arguments can be made for both. This is a man who once said ‘with AI we are summoning the demon’, yet now his own XAI, Grok, is fully intertwined with the United States military. There are no guard rails in place. We often watch great horror movies like PSYCHO and THE SHINING for escapism. But the real horror is what’s happening right now in real life, and we can now include this documentary from Alex Gibney to the list.

Opening in theaters on October 16, 2026

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