THE MAGIC FARAWAY TREE (2026)

August 21, 2026

Greetings again from the darkness. Director Ben Gregor may have delivered the rarest of films in this day and age … one filled with adventure, goodness, and life lessons … and one the entire family can watch and enjoy together. Simon Farnaby (PADDINGTON 2, 2017) adapted the screenplay from Enid Blyton’s series of four books published between 1939 and 1951. Ms. Blyton passed away in 1968, yet she remains one of the best-selling authors of children’s books.

Tim (Andrew Garfield) and Polly (Claire Foy, “The Crown”) are a married couple with three kids. Polly comes home in a stupor one evening, confessing to Tim that she quit her job due to a principle that meant a great deal to her. Since she’s the breadwinner of the family, and their car and apartment were tied to the job, they find themselves instantaneously broke and homeless. Their plan is tied to a ‘Dream Binder’ put together many years ago, and off they go to live in a rustic barn landlorded by marble-mouthed Brian (the film’s writer Simon Farnaby) and Bella (Farnaby’s real life wife Claire Keelan). Rustic is a bit of an understatement as the place is a mess and has no electricity.

Youngest daughter Fran (Billie Gadsdon, HERE, 2024) doesn’t speak much, while Joe (Phoenix Laroche) is having video game withdrawals. Beth (Delilah Bennett-Cardy) is the angry teen who wants nothing to do with a place lacking WIFI and friends. Daddy Tim is the dreamer, while Mama Polly is the practical one. Together they plan to grow tomatoes and market Tim’s delicious tomato sauce recipe. Meanwhile, Fran discovers the titular magic tree which leads to an enchanted land of colorful characters, including the charming and delightful Fairy Silky (Nicola Coughlan, “Bridgerton”) and the skeptical Moonface (Nonso Anozie, “Sweet Tooth”). Things escalate once Fran’s siblings join in the magic. Trips to Land of Goodies (“Don’t be greedy”) and Land of Birthdays (cold due to icing) also involve an angry Pixie, Saucepan Man, Mr. Wazisname, and Dame Washalot. The kids find out it’s not all rainbows and unicorns when they cross paths with the vicious Dame Snap (Rebecca Ferguson).

Polly’s ultra-wealthy and snobbish mother (screen veteran Jennifer Saunders) can’t comprehend this new lifestyle and looks forward to telling them, “I told you so.” Of course, this is a throwback fairy tale, so we are fairly certain she won’t get the chance. The closest comparisons to the film would be along the lines of THE CHRONICLES OF NARNIA (2005), THE ADVENTURES OF BARON MUNCHAUSEN (1988), and most any Monty Python feature. This particular family adventure leads to some wonderful life lessons and yes, brings the family closer together. The books from Enid Blyton are from another era, but the film has a contemporary feel as it reminds us that somewhere along the line, we lose the magic we had as kids … well, all except Tim, who has held on tightly.

Opens nationwide in theaters on August 21, 2026

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MUTINY (2026)

August 21, 2026

Greetings again from the darkness. This is a Jason Statham movie on a boat. For anyone who would be interested in this one, that description is all that’s needed. By now, we know what to expect from a Statham movie: lots of action, plenty of mano-y-mano fisticuffs, and a reason for him to flash a heart of gold buried under that tough and well-toned exterior. Director Jean-Francois Richet was behind the two excellent “Merine” movies in 2008, and here is back with his PLANE (2003) screenwriter JP Davis (joined by co-writer Lindsay Michel).

Cole Reed (Statham) is the trusted bodyguard for a billionaire shipping magnate (Ramon Tikaram) who is selling his company so that his son (Chaneil Kular) can pursue his own dreams (a tale as old as time). Of course, there is more to the story (and more to the son), but it becomes clear that the sale is not in the best interest of a particular group that is committed to halting the transaction. When the owner is ambushed, Cole Reed is falsely accused … oh, and yes, this sets him on a mission for revenge.

It’s that mission that finds Cole on a huge cargo ship, where he discovers yet another reason to be a hero. On the ship, he crosses paths with the third mate (Annabelle Wallis, “Peaky Blinders”, niece of legendary actor Richard Harris), who also discovers some nefarious activities being carried out by the captain and crew. This inspires the almost comical level of violence that follows … imagine a Jackie Chan movie played straight … or if John McClain was saving Christmas on a cruise ship. Plot holes abound, as do bone-crunching punches and some creative uses of props/weapons. Jason Statham continues to be the hero we deserve – at least in Jason Statham movies.

Opens in theaters nationwide on August 21, 2026

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NEVER STOP CHASING (2026, doc)

August 19, 2026

Greetings again from the darkness. Some folks are just made differently. As a kid, Reed Timmer was afraid of storms. Because of this, he watched The Weather Channel religiously. This drove his knowledge and interest, and he eventually became the foremost storm chaser in the United States. Director Ken Cole has followed Timmer for more than twenty years, as they have collaborated on the 2004 PBS movie TORNADO GLORY, and the 2013 series, “Tornado Chasers”. Additionally, Timmer has appeared on The Discovery Channel’s “Storm Chasers”. This latest takes viewers directly into storms with Reed’s team.

It’s likely every viewer will know in the first seven minutes whether this is a documentary experience they can make it through. The photography is simply too amazing to describe in words as Reed Timmer and his storm chasing team take on the 2013 El Reno Tornado – widely accepted as the largest in history. Fearless is not the right word, but courageous certainly is. They understand the danger of intercepting storms, and it’s the experience, knowledge, and technology that protects them … along with quite a bit of luck. There are also memories of colleagues and friends who were less fortunate.

The contrast between the chasers and TV studio meteorologists is almost comical. The chasers live for the adrenaline rush and display kid-like excitement, while the TV broadcasters remain calm and collected while passing along details and videos. The cameras and this “Dominator” team with their customized vehicle take us inside storms. In the process, they prove that this is not just some crazy hobby. They are compiling crucial data for science with the intention of further improving warnings – saving as many lives as possible.

The scenes of devastation from the May 2024 Greenfield, Iowa tornado are painful to watch, yet the historic drone coverage allowed for never-before obtained data … all from the relative (un)safety of a rental car (after the Dominator rig was damaged). A New York Times photographer goes along for the ride, and her reactions are fascinating to watch. The intensity of these storms only slightly exceeds the intensity of pursuit exhibited by Reed Timmer and his team. For most of us, this is certainly as close as we ever want to come to a tornado, and we owe thanks to those willing to lay it on the line for science.

In theaters nationwide beginning August 21, 2026

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THE STRANGER (2026, France)

August 18, 2026

Greetings again from the darkness. It has been quite a while since the last film adaptation of Albert Camus’ 1942 novel “L’Etranger”, and filmmaker Francois Ozon (behind one of my favorites, SWIMMING POOL, 2003) went to Albert’s daughter Catherine to get approval for this project. Previous adaptations include THE STRANGER (1967, Italy) and FATE (2001, Turkey). Ozone and Phillippe Piazzo collaborated on this updated screenplay (including some variations from the source material).

Ozon opted to film in black and white, and after some flashbacks to ‘old’ Algiers, we jump to the 1930’s where we find Meursault (a terrific Benjamin Voisin) as what’s often described as an indifferent man. Taciturn and/or withdrawn would also be properly descriptive, yet he’s typically quite direct during his limited times of speaking. Meursault is mysterious because he’s handsome and doesn’t spill his emotional guts over everything that happens. That everything includes the notice that his mother has died.

While most of us would be deeply affected by the news, we are unsure about Meursault. He spends time in the Baths of Algiers with Marie (Rebecca Marder), along with drinks in the pub, a Fernandel film at the cinema, and an evening of intimacy. At his mother’s funeral, his stoic demeanor confuses the attendees, and soon enough he and Marie are facing questions of love and marriage. As usual, he remains emotionally detached, willing to go along.

Things change during a beach visit with friends, and Meursault finds himself imprisoned on murder charges. We witness the act and it feels quite surreal. The trial takes up a chunk of the film and among those speaking on his behalf are a couple of neighbors: an old man  (Denis Levant) who states Meursault was kind to him and his mangy dog, and another (Pierre Lottin) who may have abused his own girlfriend. Meursault manages to spurn God and a Priest while in his cell, and he does question the meaning of life. Ozon’s use of black and white are reminders of the French New Wave of the 50’s and 60’s, and plays right into Camus’ existentialism. The character of Meursault and the story leave us much room for reflection, thought, and discussion … despite appearing fairly simple on the surface.

On DVD/Blu-Ray August 18, 2026, available on digital nationwide

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DON’T SAY GOOD LUCK (2026)

August 14, 2026

Greetings again from the darkness. “Break a leg.” The well-meaning phrase dates back many years as a way to avoid the dreaded ‘good luck’ for someone preparing to perform on stage. When high school sophomore Sophie explains this to her mother, the mom hugs her and offers how bad she would feel if her daughter actually broke her leg. Such is the love of a mother … this particular mother … in this heartfelt movie from director Julia Hart, who co-wrote the screenplay with her husband Jordan Horowitz and Laura Hankin. It’s based on Ms. Hankin’s own personal story.

Sophie is played by Sunny Sandler (daughter of Adam, who also produces the film). She’s nervous for her audition for the “Waitress” musical at school. A butt dial from dear old dad (Max Greenfield) unwittingly clues her in to the return of mom’s (Melanie Lynskey) cancer. This happens just before Sophie’s turn on stage, and the real emotions shown impress the director (Stephanie Beatriz) and win her the lead role. Sophie’s big moment is tempered by her mom’s horrible news.

Sophie’s grandparents (Steve Buscemi, Bebe Neuwirth) arrive to ‘help’, and while grandpa offers driving lessons, grandma overreacts to everything, bringing more stress to an environment already on edge. So, while emotions are in overdrive, the comedy relief is provided by Jon Lovitz (a Sandler favorite) at the family bagel shop. The laughs are welcome due to the intensity of emotions shown by both mother-daughter relationships, and the BFF dynamic between Sophie and Carolyn (Scarlett Estevez). Plenty of teen angst and grown-up drama is on display, yet Ms. Sandler, and especially Ms. Lynskey both deliver such believable and strong performances, that the scales never tip.

Drama on the school stage would be enough for most teens, although life often delivers more than what seems fair. Mom wants Sophie to pursue her dreams, while Sophie doesn’t want to miss a moment with her mother. Plenty of tears flow, and yet, the interactions and situations mostly are handled in a way that seems realistic and true-to-the-moment.

Premiering on Netflix on August 14, 2026

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AN EYE FOR AN EYE (2026, doc, Iran)

August 11, 2026

Greetings again from the darkness. This can’t be right.  It doesn’t seem real. Yet, it’s possibly the harshest form of reality. Documentarians Tanaz Eshaghian and Farzad Jafari managed to gain access to two families during a process most of us westerners can’t fathom. I had to keep reminding myself this is a documentary and these are real people from real families. Theirs is a true story … a legal and cultural and family thriller with real consequences.

In Tehran, a man discovers a corpse buried in the floor of his kitchen. The previous tenants included Taherah, who was then arrested, convicted of murder, and sent to prison for fourteen years. Her defense for killing her husband was his drug abuse led to his violence towards her … as evidenced by hospital visits for treatment of injuries incurred. She had requested a divorce, but in Iran, divorce is typically only granted when instigated by the husband. So, Taherah, along with her daughters, did what they felt was needed to protect themselves. The other two were pardoned, and Taherah served her 14 year prison sentence.

Now you may think that story is tragic … and you’d be correct. However, it’s just the beginning here. Saria Law in Iran states the family of the murder victim decides between execution and forgiveness (accompanied with diya, or blood money). This is AFTER the prison sentence is served. In this case, the decision falls to Taherah’s in-laws, specifically Bashir, her brother-in-law. Her fate is in his hands. The elderly mother-in-law demands execution, but again, this is Iran, so it falls to the man.

The Quran promotes “an eye for an eye”, while also claiming forgiveness is better. An anti-execution advocacy group is brought in to assist with the negotiations, and a hefty sum is settled upon. It’s a shocking amount of money for the poor family and if they can’t raise it, execution is the only step. In another twist of fate, Bashir’s eldest son must assume the negotiations, and he takes a hardline approach despite the efforts of the advocacy group and the pleas from Taherah’s son, Mohsen.

It’s remarkable just how much of this process the filmmakers capture for us to witness. We are often inside private homes or in closed door negotiations … truly eavesdropping on life and death matters. The stress and tension will be felt by each viewer as negotiations and the courtroom drama play out. Eshaghian and Farzad have delivered a terrific documentary that will certainly take most viewers out of their comfort zone and open eyes to a world we struggle to comprehend.

Opens in theaters on August 12, 2026 and will be available digitally on Jolt.film beginning August 14, 2026

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COOKIE QUEENS (2026, doc)

August 6, 2026

Greetings again from the darkness. “Would you like to buy some Girl Scout cookies?” It’s a familiar pitch we hear every year at grocery stores, our front doors, and even at the office as co-workers spread the word on behalf of their scouting daughters. With an annual hankering for Thin Mints, we gladly exchange our cash for a box … or two or three. Documentarian Alysa Nahmias takes an unusual approach to this ritual of local Girl Scouts selling sweets. For historical perspective, the film opens with archival footage covering decades of boxed goodie transactions initiated by girls in the familiar vests.

Should anyone doubt the size of this venture, we are informed that Girl Scouts sell $800 million in cookies over the six-week period each year. The $6.00 per box is divided up into shares for the cookie bakers, the Girl Scout corporate offices, the Girl Scout councils, and $1.10 goes to the Girl Scout troops, and yes, the individual Girl Scouts (through prizes). Nahmias makes this a personal story by following four girls of varying ages as they work their way through cookie season.

Olive lives in North Carolina. She’s twelve years old and holds the record by selling more than 8000 boxes. We hear her teaching younger scouts about ‘upselling’, and then Olive answers a customer’s question by stating she wants to become a Supreme Court justice. She’s remarkably well-spoken and media savvy. Her dad video records her personal pleas for cookie sales and then uploads the videos to her dedicated website.

Chino, California is where we find nine-year-old Nikki, who desperately wants a trophy like the one her older sisters, Nyah and Nala, won for being top cookie sellers in the area. A trip to Europe is now on the line, and it’s interesting to watch as the older scouts position ‘cute’ Nikki to draw in customers, many who think the older girls are too old for scouting.

Shannon Elizabeth is eight years old and has a goal of selling 2750 boxes in El Paso so that she can attend this year’s summer camp. It’s in this house where we see the burden carried by parents becomes crystal clear. Lastly, we have five-year-old Ara in San Diego. She struggles with diabetes and is whip-smart, although her tiny frame struggles to pull her red wagon loaded with cookies. Ara’s original goal is 45 boxes, but that shifts to 55 as the weeks go by.

Rather than ooh and ahh at the girls giggling their way through group activities, we are left feeling the weight of cookie selling – both on the girls and their families. There is definitely an upside to the life lessons of setting goals, possessing the self-confidence to talk to adults, and developing a work ethic and commitment to individual and team objectives. But according to the film, families must now financially commit to a certain number of cookie boxes, and then those are either sold by the girls or the parents are on the hook. This is a change from the old days when it was common for friends and family to place orders ahead of time, and the troop would order extra product for the public booth sales. It’s a bit nerve-racking to see what these parents and kids go through, whether they are selling thousands of boxes or a few dozen. The interactions between the parents and girls is quite something to behold.

One of the benefits of Girl Scouts is the push for being a well-rounded person, and we see young Ara as she does Pilates and plays the piano. By the end of the film, Olive’s activism has her leading the charge for a bigger share of proceeds going to the girls at the troop level … this after her own emotional crisis and battle with her mother over whose goals they have set. There is a lot going on in this film and I recommend a crunchy Do-Si-Dos to calm your nerves while watching.

Opening in theaters on August 7, 2026

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OLMO (2026)

August 6, 2026

Greetings again from the darkness. Olmo is like most fourteen-year-old boys. His visual fantasizing about the girl of his dreams requires nothing more than a toy car and a glimpse of her walking outside. Yet, Olmo is also different than most his age because he shares caregiving responsibilities for his disabled dad, who is stricken with Multiple Sclerosis. It’s been more than a decade since he last directed a feature film, and writer-director Fernando Eimbcke delivers one of his best. He and co-writer Vanesa Garnica also collaborated on this year’s FLIES, which is currently making the festival rounds (including Cannes).

Alvan Uttapa stars as Olmo, and he perfectly captures the essence of a teenage boy trying to figure things out in Las Cruces, New Mexico in the late 1970’s. He and his older sister Ana (Rosa Armendariz) have a never-ending argument that goes like this, “Your turn.” “No, your turn.” This is in reference to whose turn it is to help their father Nestor (Gustavo Sanchez Parra) with the many things he is unable to do on his own now that the disease has rendered him mostly helpless to control his body.  Their mother Cecilia (Andrea Suarez Paz) takes as many double shifts as possible at the diner so that the family can fight the near-eviction notices that arrive frequently.

When Nina (Melanie Frometa), Olmo’s object of desire, invites him and his best buddy Miguel (Diego Olmedo) to a big party, she has only one condition … bring the stereo. Olmo is giddy with excitement, and only has two obstacles: first, it’s ‘his turn’ to care for dad, and second, the stereo needs repair. This leads to a tremendous scene with Nestor talking the boys through how to troubleshoot and fix the (era-specific) stereo. It’s here where we get the full impact of Nestor wanting so much to be the father he was before the disease. The once proud man hears the bickering over whose turn it is, and feels the frustration of being a lesser dad who can’t even stop his daughter from smoking. But the stereo repair restores some of that feeling … even if only for a moment.

Olmo and Miguel together are a hoot, and the comedic touches elevate the film from generic coming-of-age to a multi-dimensional story of a family grounded in real life issues. Olmo has the desires of a normal teenage boy, Ana wants to be part of the “in crowd” (she spends much of the movie in bright white roller skates), Nestor wants to be an involved father, and Cecilia wants to take care of the family while tending to her own needs. This is an era before cell phones, and a backyard grill becomes a (further) point of contention between Nestor and Uncle Julio. Even Walter Murphy’s disco classic, “A Fifth of Beethoven” has a place in this story.

Immigrant parents (Nestor and Cecilia) raising Americanized kids (Olmo and Ana) means both English and Spanish are spoken at home … often in the same conversation. Sometimes everyday life creates huge tensions and stress for all family members – and sometimes it’s a specific event. This time, that specific event awakens Olmo. Director Eimbcke gives us a shot near the beginning of the film that is actually the film’s ending … a smooth move for the filmmaker. This feels like it could have been a documentary, which is a testament to how family life is so well captured.

In theaters nationwide beginning August 7, 2026

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DO US PART (2026)

August 6, 2026

Greetings again from the darkness. Movie weddings are fertile grounds for romantic-comedies. Folks get dressed up and meet at a fancy venue, while possibly drinking a bit too much and almost certainly dealing with an abundance of family drama. Emotions and stress levels skyrocket, and some handle this better than others. Writer-director Reed Arnold (his directorial debut) sees this as the perfect opportunity for the groom’s ex (best friend/wannabe lover) to crash the wedding, igniting chaos and guilt and pent-up feelings … and laughs.

Ryan (Travis Laughlin) is the groom, while his best man and best friend, Mark, (the filmmaker Arnold) is doing what he does – keeping things loose and wondering how many bridesmaids he can sleep with. We learn quickly that Ryan is a good guy and Mark is a reason so many women don’t trust men. The wedding day is clicking along with only Mark’s juvenile one-liners causing any disturbance. That changes quickly when Rose (Kelly Russo) arrives … uninvited. Rose and Ryan were best friends in college and seemed destined to be together forever. We know this thanks to the flashback where we see their first meeting as Rose works the Pancakes for Parkinsons fundraiser.

Entirely too much is disclosed as these once close friends babble on about the past, present, and future. Despite radio silence for years, Rose simply couldn’t hold back her feelings for Ryan any longer – opting to spoil his wedding day by unleashing her pent-up love. I found myself wondering who is the biggest child amongst these three, and being baffled at the adulting failures on display. There are some unexpected twists here, and the best scene is not the face-to-face between Rose and the bride-to-be, Julia (Laura Elizabeth Delhauer), but rather a tender moment on the sofa between Ryan and an inebriated Rose.

At some point, we all realize that personal connections slip over time. Even those friends whom we once viewed as close and irreplaceable often take a different path in life. In these cases, our memories tend to jumble – we dwell on the really good or the really bad. Mr. Arnold’s film goes even further by uncovering long-held secrets among old friends, creating even more pain. While I struggled a bit with the level of acting in the film, the story structure was such that the film plays as more entertaining than most rom-coms … although I do believe it might work even better as a stage play.

Opens in theaters: NYC August 7, Los Angeles August 14

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THE DINK (2026)

July 23, 2026

Greetings again from the darkness. In 2004, we had a film based on dodgeball, so it only makes sense that the hottest game going these days, Pickleball, gets its shot on the big screen. Josh Greenbaum (WILL & HARPER, 2024) directs a screenplay from Sean Clements (“Workaholics”), and the result is a comedy in the realm of films like HAPPY GILMORE (1996), KICKING & SCREAMING (2005), and yes, DODGEBALL: A TRUE UNDERDOG STORY (2004). The film tries (too) hard to generate laughs, and its best moments seem to be in the sincere intergenerational bond between two otherwise mismatched characters.

Jake Johnson (“New Girl”) stars as Dustin Boyd, a one-time tennis prodigy whose pro tennis career was derailed by a wrist injury. Having been cultivated from an early age by his father (think Todd Marinovich), the collapse of his career also caused a break in his relationship with dear old dad, Chuck (Ed Harris), who now owns and runs a prestigious tennis club where he allows Dustin to train rich kids … although he spends most of his time telling stories about ‘what could have been.’ As the popularity of pickleball grows, tennis traditionalist Chuck fights the pressure from the pickleball contingent led by Skip (the always great Patton Oswalt). A quirk in the club by-laws sets up a duel – a match between the tennis proponents and the pickleball group.

Circumstances shove Dustin into the pickleball universe, and it’s this route that offers him a shot at regaining dad’s respect. Actually, pickleball is prescribed to him by his unconventional doctor played by Ben Stiller (also a producer on the film). Dustin thinks the new game is hokey, but he finds a true friend in Candace (Oscar winner Mary Steenburgen). This contrasts with RJ, his loyal assistant at the club (played by Aaron Chen, George on “Fisk”), who worships Dustin, but hesitates to call him out. Dustin and Candace are surprisingly good together – not just as pickleball partners against Gail (Cleo King) and Judy (the late Lynne Marie Stewart, Miss Yvonne on “Pee-Wee’s Playhouse”) – but as true friends.

The duel – traditional versus contemporary – ends exactly how you would expect, and it’s elevated by surprise appearances from a couple of real life tennis legends during the match. Jake Johnson is at his comedic best in slightly awkward situations, but much of this one is so obvious and generic, it’s difficult to give much credit to the comedy. The use of Country music and the classic film, THE GRADUATE (1967) are especially nice touches, as are supporting roles from Christine Taylor (Stiller’s wife) and Martin Kove (THE KARATE KID). The pickleball fans out there deserve their moment on the big screen, and they will hopefully find a few more laughs than I did.

THE DINK will premiere globally on AppleTV on July 24, 2026

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