NORMAL (2026)

April 16, 2026

Greetings again from the darkness. As evidenced by the abundance of ‘shoot-em-ups’ released each and every year, it’s clearly not that challenging for screenwriters to find a reason to have characters firing bullets at each other. Director Ben Wheatley proved his mettle with this genre in 2016 with the excellent and madcap FREE FIRE. This time out, he’s working from a script by Derek Kolstad (the “John Wick” and “Nobody” franchises) and Bob Odenkirk (well known comedy writer and star of “Better Call Saul”).

The film opens in Osaka, Japan as a Yakuza leader deals out punishment (some cruel, some shocking) and new assignments. It’s a bit surprising, and quite creative for the story to jump from Osaka to Minnesota, which is where the titular small town of Normal is located. Ulysses Richardson (Mr. Odenkirk) has been hired as the temporary town Sheriff after the previous one died under mysterious circumstances. As you would expect, Ulysses is carrying some personal baggage. He’s estranged from his wife (we can tell from the string of unreturned voicemails he leaves) and fights through vivid nightmares of a recent traumatic event that changed his life.

Despite his flaws, Ulysses is a sharp lawman. A couple of run-ins with the smarmy Mayor Kibner (Henry Winkler) and the tricky local bartender Moira (Lena Headey, “Game of Thrones”) ignite his ‘something’s not right about this town’ radar. Eventually, the tie-in to the Yakuza is established, as is the fact that Ulysses has to face-off against the entire town of Normal, including Deputy Anderson (Ryan Allen, IN THE SHADOW OF THE MOON, 2019) and Deputy Nelson (Billy MacLellan, NOBODY, 2021). To say that the action is stepped up is a bit of an understatement.

The point of separation between this and the endless bang-bang movies is in fact the fight of the ‘normal’ guy (in the town of Normal) against the entire town and the Japanese mob. Odenkirk has already mastered these types of roles after a couple of NOBODY films, and his personality works. A town moose is a welcome touch, as is opening with a Black Sabbath song. The film isn’t at the level of the aforementioned FREE FIRE, and certainly doesn’t have the benefit of that film’s cast or the twist of its confined space, but man against town works well enough for entertainment purposes, and fans of the genre should be satisfied.

Opens in theaters nationwide on April 17, 2026

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Posted by David Ferguson

AMERICAN SOLITAIRE (2026)

April 16, 2026

Greetings again from the darkness. For a soldier of war, making it back home is the goal; yet it’s also only a first step. What comes home with the veteran is never simple. Many films have characterized PTSD on screen, but the debut feature from writer-director Aaron Davidman digs even deeper. Slinger (Joshua Close, “Fargo”) returns home as a wounded Special Forces veteran who nearly died (perhaps he even did briefly) and now must rediscover his own self while also finding his place in a society that presents so many challenges for him.

Slinger rents a room from Athena (Joanne Kelly, “Warehouse 13”), another veteran who understands the difficulties in re-acclimating to a society that has a complex dynamic with guns, especially amongst the young. Soldiers are sent off to fight wars to protect our way of life, and then return home to communities that respect neither them nor the dark side of violence. Slinger can’t quite seem to connect with his own son, even as he tries to reach Emmitt (Jamir Vega, “Women of the Movement”), the teenage nephew of his old service friend, Auggie (Gilbert Ouwor, EMANCIPATION, 2022). Emmitt is the stand-in for all teenagers who believe guns make them tougher as the wrangle with each day’s temptations.

While trying to help Auggie deal with the pressures of a military promotion and return to battle, a gut-punch moment occurs as the friends are chatting. The question is asked, “Do you want to go back?” The answer … “No, but yeah.” The film never preaches or lectures, yet we respect Slinger’s gun safety guidance to Emmett, as well as his ability to process the many confusion moments he confronts in his return. Slinger’s approach provides a stark contrast to the “look at me” mentality that is so pervasive these days. A final lesson that filmmaker Davidman is sure to drive home occurs when it’s explained that one dies by suicide, rather than commits suicide. It’s the difference between victim and criminal.

A terrific ‘quiet’ opening finds a young boy (we later learn is Slinger in childhood) working diligently with his father in cleaning and handling firearms. This is quite a moment when offset against the realization that strikes Slinger by the end of the film. The film is fertile ground for post-viewing discussion and debate.

A limited theatrical release on April 17, 2026 in NYC and Los Angeles will be followed by additional markets.

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Posted by David Ferguson

CITY WIDE FEVER (2026)

April 15, 2026

Greetings again from the darkness. For his debut feature film, writer-director Josh Heaps pays tribute to the Italian Giallo films (originating in the 1960’s) he clearly adores. But he goes a step further by creating his own Giallo … placing a Giallo-loving film student right in the heart of a Giallo world. Clearly not a film for the masses, but for the admirers of this genre, it’s likely to bring great pleasure and entertainment.

Sam (an interesting Diletta Guglielmi) is a young film student who finds a USB drive filled with information that sets her on a journey to locate forgotten (fictional) Italian film director Saturnino Barresi and his final film, “City Wide Fever”. Barresi’s films followed the Giallo style  – meaning they were supernatural thrillers filled with eroticism, intensity, and violence. An example would be some of the films by director Dario Argento. Sam’s obsessive investigative journey devolves into an environment where she herself is in the midst of one of the films she is so attuned to … really a conspiracy to keep her from finding Barresi.

This is true guerilla filmmaking (it’s doubtful many permits were secured) by Mr. Heaps leading to an authentic feel and lack of staging. We get a terrific montage through Times Square, and then Sam and her partner Chloe (Angelika Kim) wade their way through the sleazy side of town – porn shops with poor lighting. This is a mystery with many moving pieces, and viewers should be prepared for what feels like time warps, multiple slashes, and a clever use for a bobby pin. Surreal horror is one description, yet know there is a story here – it just may not look and feel like those you’ve become accustomed to.

The always creative marketing team at The Alamo Drafthouse is including the film as part of their Weird Wednesday series on April 15, 2026. The film will also have a digital release on May 1.

The trailer can be found on the movie’s website

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Posted by David Ferguson

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

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