SUPERGIRL (2026)

June 26, 2026

Greetings again from the darkness. Craig Gillespie previously directed I, TONYA (2017) and LARS AND THE REAL GIRL (2007), among other projects, and it’s perhaps those two films – both featuring odd outsiders – that motivated producer James Gunn to choose him to helm the feature film that brings DC’s Supergirl back to the big screen. The screenplay is by Ana Nogueira, and of course features characters originated by Jerry Siegel and Joel Shuster, with the key source material being the comic, “Supergirl: Woman of Tomorrow”.

Seeing as I’m neither a comic book fanatic nor a fan of the 1984 SUPERGIRL film starring Helen Slater (with the exception of Brenda Vaccaro’s performance), it’s safe to say I carried no heightened expectations into the theater. On the bright side, it’s quite entertaining to see Milly Alcock (“Sirens”, “House of the Dragon”) play Kara Zor-El as a not-so-Super girl trying to numb the pain of the tragedy that took her parents and home planet, Krypton. We see her younger days via periodic flashbacks with David Krumholtz and Emily Beecham as her parents. We also learn why they shipped her and her pet dog Krypto off to Earth to meet her cousin, Superman (David Corenswet) aka Clark Kent. He, of course, was raised in Kansas, creating the contrast between the two characters.

The one bit of advice mom gave Kara was to “be nice” and help others. That’s not so easy to do whilst on an intergalactic mind-numbing bender, but Kara continually rises to the occasion. The different effects of red sun and yellow sun become quite obvious, and it’s crossing paths with Ruthye (Eve Ridley) that drives the key story lines. An actor I’ve always admired, Matthias Schoenaerts, plays the face-studded vile villain Krem – the vicious dude who slaughtered Ruthye’s family, setting her off on a revenge mission, armed only with a prized sword handcrafted by her slain father. As savage as Krem is, we all recognize that a standout villain is vital to a standout superhero movie, and Krem simply falls short. On this interplanetary road trip, Kara and Ruthye encounter a slew of aliens who all look like castoffs from the Star Wars casino … but also with Lobo, an immortal intergalactic bounty hunter and stogie smoking hog rider. Lobo is played by Jason Mamoa, and the character seems forcibly wedged into the story for the sole purpose of having Mr. Mamoa on a poster. He makes an excellent bad boy, even if he doesn’t really fit here.

Krypto the superdog plays near-dead for most of the film, but does have some excitable moments … creating an excellent ‘pink eye’ joke. Some may compare this to CAPTAIN MARVEL (2019) or the most recent SUPERMAN (2025), but the messy CGI fight scenes and weak story prevent this one from reaching those levels. Milly Alcock’s take on Supergirl gets too few chances to play against Corenswet’s Superman, and the film suffers because of it. Composer Claudia Sarne (THE BOOK OF ELI, 2010) delivers a fitting electronic score, but the needle drops seem to be trying too hard. It’s likely huge comic book fans will have a different take on the film, and that’s as it should be.

In theaters beginning June 26, 2026

WATCH THE TRAILER

Leave a Comment » | Action, Fantasy | Tagged: , , , , , , , , , , , , | Permalink
Posted by David Ferguson

THE INVITE (2026)

June 26, 2026

Greetings again from the darkness. This is at least the eighth film adaptation of a story by Cesc Gay: THE PEOPLE UPSTAIRS (Spain, 2020), VICINI DI CASA (Italy, 2022), THE NEIGHBORS FROM UPSTAIRS (Switzerland, 2023), V DOBREM I ZLEM (Czech Republic, 2024), NEPRILICHNYE GOSTI (Russia, 2024), MAYBE MORE (France, 2024), THE PEOPLE UPSTAIRS (S Korea, 2025). Clearly, it’s a story and situation that resonates with many couples, regardless of geography, language, or culture … and director Olivia Wilde provides an American spin with assistance from co-writers Will McCormack (Oscar winner, TOY STORY 4) and Rashida Jones (“Parks and Recreation”).

In addition to directing the film, Ms. Wilde also stars as Angela, who is married to Joe, played by Seth Rogen. We see a bored Joe barely paying attention to the school band his job requires him to conduct, and he then trudges home on a folding bicycle that he wrestles through every possible obstacle. When he arrives home, Angela is putting the finishing touches on dinner party details … and the two immediately begin bickering over everything either of them says or does. Angela is high-strung and intent on making a good impression with the upstairs neighbors she has invited, while Joe makes no promises about avoiding the topic of wall-shaking sexcapades those same neighbors engage in, regularly disrupting his serene evenings of pot smoking.

The stage is set for an evening of conflict, and although it begins amicably enough, things do spiral into an emotional hurricane that creates more noise and emotion than any of those intrusive sounds Joe despises. Oscar winner Penelope Cruz is Pina, and Edward Norton plays her boyfriend Hawk. These are coy and cool personas who are sizing up Angela and Joe, for reasons most will identify almost immediately.

The first half (or more) of the film seems designed as a set up for a stream of Seth Rogen one-liners, and judging from audience reactions at the screening, these quips will strike a chord with his fans. However, there is a lot more going on here than merely a platform for punchlines. Relationships are often complicated by a lack of communication, and that’s on full display here. Sex is a huge part of their marital problems and an even bigger part of the evening’s conversation, yet sex is more of a conduit to underlying issues that may be exposed before this party ends.

The four characters are consistently unlikable, and yet, this works thanks to the proficiency of the actors, the message delivered by the story, and the expert direction by Olivia Wilde. She previously directed DON’T WORRY DARLING (2022) and BOOKSMART (2017), the latter of which was excellent. This story and setting seem to be a better fit for the stage than the screen, yet Ms. Wilde ensures the pacing and movements within the apartment are precise and keep us engaged. There is a certain audience that will be drawn to the Seth Rogen comedy, while some will be caught off guard by the relationship tension. For some viewers, there is a certain pleasure to be found in comparing the film to the Mike Nichols classic, WHO’S AFRAID OF VIRGINIA WOOLF? (1966). As uncomfortable as it is to watch, some will find solace and relief that their own relationship hasn’t fallen this far (hopefully).

SELECT THEATERS JUNE 26, EVERYWHERE JULY 10

WATCH THE TRAILER

Leave a Comment » | Comedy, Drama | Tagged: , , , , , , , | Permalink
Posted by David Ferguson

PETER ASHER: EVERYWHERE MAN (2026, doc)

June 26, 2026

Greetings again from the darkness. This documentary opens with Steve Martin sitting on the sofa conversing with his friend Peter Asher. An early point is made that defining or labeling Peter Asher is a bit challenging, and co-directors Daniel Geller and Dayna Goldfine (collaborators for more than 35 years, including HALLELUJAH: LEONARD COHEN, A STORY, A SONG, 2021) then proceed to spell out his remarkable career and his impact on music and the music industry. Perhaps the closest comparison we can offer is that of the recently deceased music executive, Clive Davis. Two influential men who brought passion to the work.

Asher was a redheaded child actor along with his sister Jane Asher. She has gone on to have an acting career spanning 70+ years (still going), while Peter shifted into music and initially became famous as one-half of the duo Peter and Gordon, part of the infamous British Invasion. Peter and Gordon Waller met at school, and though their personalities couldn’t have been much different, their vocal styles perfectly harmonized – not unlike the singing duo they worshipped, The Everly Brothers. Sister Jane entered into a quite serious relationship with a young fellow named Paul McCartney, and Paul and Peter became fast friends thanks to a shared love of music. A single moment worthy of the price of admission is hearing the original recording of Paul’s demo of “A World Without Love”.  A McCartney song that became the first hit for Peter and Gordon.

When profiling someone who has been this influential, it’s often best to allow the beneficiaries to have their say. That’s exactly what Geller and Goldfine do. Some of these are interviewed for the film, while some are from archival footage, and among those we hear from: Jane Asher, Peter’s daughters, Paul McCartney, Marianne Faithful, Carole King, James Taylor, Twiggy, Danny Kortchmar, Leland Sklar, Robin Williams, and Linda Ronstadt. Since the full list is even longer, the directors include a slide show of singers, bands, and entertainers whose careers have all been touched by Peter Asher. It’s quite a segment.

I’ve long enjoyed (and learned from) Peter Asher’s work on The Beatles channel on Sirius Radio, and this profile offers even more – including details on the Indico Art Gallery, and Peter’s reunion with Gordon for a benefit performance. Gordon later passed away in 2009. For those who enjoy music history, few documentaries are more informative than this one on a true overlooked influencer.

In Theaters Beginning June 19th in NYC

Before Expanding to LA and Markets Nationwide Beginning June 26

WATCH THE TRAILER

Leave a Comment » | Documentary | Tagged: , , | Permalink
Posted by David Ferguson

THE GET OUT (2026)

June 26, 2026

Greetings again from the darkness. So what is it that differentiates this one from the many other crime-comedies that have come before? The truth is … not much, but maybe just enough to keep fans of the genre tuned in. It certainly has an intriguing cast, and writer-director Derrick Borte (back with his UNHINGED star) and co-writer Daniel Forte have adapted the 2010 Thomas Perry novel, “Strip”.

Oscar winner Russell Crowe stars as Manco Kapek, an Albanian immigrant who has been in the United States for twenty-plus years. He runs a successful Los Angeles nightclub that he converted from a strip joint, explaining that one must be willing to change with the times. The club’s bookkeeper is Sunny (an enchanting Teresa Palmer, THE FALL GUY, 2024), who is also Manco’s much younger, but very devoted, girlfriend. Also in the mix is Spence (Benedict Hardie, HACKSAW RIDGE, 2017), Manco’s (mostly) trusty assistant. A cardiac incident jolts Manco into thoughts of retirement, and he contacts Joe (Luke Evans, BEAUTY AND THE BEAST, 2017), a New Jersey transplant who has previously expressed an interest in buying the club.

Next up, we have college professor Jeff (Aaron Paul, “Breaking Bad”), one the most high-strung and polite robbers we’ve seen … well, until bank teller Carrie (Nina Dobrev) forces him into a partnership. She’s giddy for crime and is obsessed with the movie, POINT BREAK. Two other key characters are Detective Slosser (Josh McConville, ELVIS, 2022) and Rodriguez (Daniel Zovatto, “Penny Dreadful: City of Angels”). It’s Rodriguez’s money that makes Manco well-to-do and puts him in danger.

So, here’s the lineup of what Borte’s film delivers: armed robbery, murder, a shootout, drugs, drug cartel money, money laundering, arson, a car explosion, off-key karaoke, a Viagra overdoes, extortion, a double-cross, and somehow … a large bear (possibly a grizzly, but I’m no expert). I lost count on the number of twists and turns, but these are certainly the film’s focus rather than character development or character connection. Crowe’s screen presence is always off-the-chart, and he’s coming off an underappreciated performance in NUREMBERG. He plays Manco with his tongue planted firmly in cheek. The film is entertaining enough for those who just want simple entertainment for an evening, and it even ends with the Gipsy Kings’ version of “Hotel California” (Spanish).

Opens in select theaters on June 26, 2026 and On Digital and On Demand June 30.

WATCH THE TRAILER

Leave a Comment » | Comedy, Thriller | Tagged: , , , , , , , , , , | Permalink
Posted by David Ferguson

LONE RIDER (2026)

June 26, 2026

Dances With Films LA – closing night film

Greetings again from the darkness. We discover a certain guilty pleasure in following a lost soul millennial as he searches for meaning, connection, or some reason to exist. The film from writer-director Adam Jumba and co-writer Christian Flowers is one of the closing night films for this year’s Dances With Films LA festival, and it’s likely to generate plenty of thought and consideration for viewers.

Jack Alcott never really clicked in “Dexter: New Blood”, but this role as chain-smoking Tyler fits him like a glove. He seems frustrated by everything and nothing, all at the same time. Is he a slacker or a dreamer? Initially, we can’t tell; however, it doesn’t take long to get a better feel for him and what he’s thinking. He’s bored with his job at the marina, yet he’s not ambitious enough to prove himself or pursue something better. Two young new hires make him realize time is passing quickly. He stops by a boarded-up ice cream shop where a flashback shows he once hung out with friends, and even had a silent crush on Alice (Rose Reid).

These last two events convince Tyler to head back home to rural Pennsylvania. His perceptive sister Erica (Izabela Vidovic) is happy to see him, while his dad (Michael Gaston) offers no warmth, while holding strong to his demands for full payment on Tyler’s beloved 1989 Mustang that holds most of his fond memories. A younger brother is the true definition of a do-nothing teenager … the kind whose video games can’t even be interrupted for greeting a returning older brother.

Tyler “steals’ the car under the cloak of darkness, and it sets him off on a personal journey with no specific destination in mind. Without admission (or even acknowledgment) Tyler is in the midst of self-discovery, and with that comes some emotional pain. Director Jumba utilizes a scrambled timeline to help us better understand Tyler and the path he took to get to this point. Tyler tries to re-live past fun with a friend, but finds out ‘Ring and Stare’ (a form of ding dong ditch) doesn’t translate well to adulthood. And a reunion with Alice merely clears the air without being life-changing. We are a bit relieved (and hopeful) when Tyler gives a lift to some tourists looking for the beach. All of this comes after a really cool opening where Tyler absorbs nighttime radio … a DJ who is both soothing and insightful. Wearing loneliness on one’s sleeve guarantees neither a life of misery, nor an ability to dig out of one. 

WATCH THE TRAILER

Leave a Comment » | Drama | Tagged: , , , , , | Permalink
Posted by David Ferguson

ANGELENO (2026)

June 26, 2026

Dances With Films LA

Greetings again from the darkness. Making its world premiere at this year’s Dances With Films LA is the first feature film from writer-director Jay Diaz, whose previous credits include numerous short films, videos, and TV episodes. Himself a first generation American, Diaz tells the similar story of Angel, a man working hard at life while trying to prevent his dreams from slowly slipping away.

Angel (played with heart by Jeff Torres) is a barista at a local coffee shop, an Uber driver, and the caregiver for his ailing mom. In other words, Angel is a grounded giver who also happens to be easy to like and root for. He’s the kind of guy who helps co-worker Heather (Lauren Marini) shoot an audition film, while he also arranges the cake for his young Goddaughter’s birthday party. That birthday party, and one thrown by another co-worker are two of the three that play a key role in the story and in Angel’s life. Surprised to cross paths with his now New York-based ex, Mia (Corina Calderon), Angel awkwardly greets her before heading off to his Uber gig. It’s here where he bumps into his old film school buddy, Taylor (Brian Thomas Smith). Taylor admits that he owes Angel and is surprised to learn that his more talented friend gave up his dream of filmmaking. An invitation to an industry party follows.

There are various elements of the story that work exceptionally well. The only nitpick is the abundance of ‘white people are bad’ moments sprinkled throughout. Of course, we understand that’s part of the challenge Angel faces on a regular basis, yet he’s such a strong and interesting character, this approach seems overly emphasized. We certainly respect his calm demeanor in these unfortunate situations, and he even acts as a connective facilitator during one confrontation. Angel is simply a guy we like and respect, and his constant use of “I got you” is never an empty promise. The varying vibes of the three different parties prove what a juggling act Angel must handle each and every day. By the end, he senses hope that his dreams may still be achievable. Cinematographer Tony Joun effectively shoots the up close and personal scenes, while also capturing the distinct areas of Los Angeles.

Premiering at Dances With Films LA on June 20, 2026

WATCH THE TRAILER

Leave a Comment » | Drama | Tagged: , , , , , , | Permalink
Posted by David Ferguson

YALE (2026)

June 18, 2026

Opening night feature at 2026 Dances With Films LA

Greetings again from the darkness. Sometimes I believe the best use of cinema is in proving the old adage, ‘truth is stranger than fiction’. Combining that with the mission of Dances With Films to remain a festival that highlights independent filmmaking, featuring director Jay Silverman’s film on Opening Night is a fitting choice. It’s a remarkable story that writer Van Billet based on his own family. We can only imagine some of those holiday memories.

Caitlin McGee (“Bluff City Law”) stars as “Mac”, a flawed woman who is also a successful horror writer. Her agent (the always terrific Rachael Harris) is threatening to drop her, while at the same time Mac must overcome her challenging past in order to help her 12-year-old son Ryan (Benjamin Mackey) who needs a life-saving emergency kidney transplant. Certain circumstances and medical backgrounds leave Mac with one choice … track down her estranged father who abandoned her and her now deceased mother when Mac was only nine years old. And while this is the story of Mac and Ryan, it’s that man who shocks us in so many ways.

Yale Parker (played by veteran character actor Kevin Dunn) is the owner and in-house stand-up comedian for a low-rent strip club. His gambling debts are out-of-control and he also carries a secret that could not only devastate Mac, but also help Ryan. Will Yale finally perform an act that is neither self-serving nor filled with corny jokes (told while wearing outlandish clothes and a horrible wig)? The core of this story is watching Mac and Yale battle the past while negotiating a relationship that was shattered when she was so young. Many awkward conversations occur during a makeshift road trip that generates even more awkward conversations.

It’s absolutely fair to label Yale Parker a deadbeat dad yet, as most parents try to convince their kids, most everyone has some good buried inside. Yale’s big secret will not be revealed here, but it’s safe to say the film’s best scenes feature Mr. Dunn and Ms. McGee coming to grips with each other and themselves. Family dynamics are a popular topic for films, and writer Billet is to be commended for turning his own family mess into a story that will both entertain and strike an emotional chord.

YALE has its WORLD PREMIERE at Dances With Films on June 18, 2026

WATCH THE TRAILER

Leave a Comment » | Drama | Tagged: , , , , , , | Permalink
Posted by David Ferguson

UNIDENTIFIED (2026, Saudi Arabia)

June 18, 2026

Greetings again from the darkness. Writer-director Haifaa Al-Monsour (MARY SHELLEY, 2017; WADJA, 2012) will always be referred to as a trailblazer, and the label was earned by becoming the first female filmmaker in Saudi Arabia to direct a feature length film. She has since influenced and inspired other women to pursue the art. Her latest film was co-written with her husband Brad Nieman, and it opens coldly with a woman’s dead body discovered in the desert.

Nawal (Mila Alzahrani) is an administrative assistant who is hooked on a podcast titled “Unsolved Crimes from Around the World”. Incredibly, the podcast blends crime stories with make-up tips, and Nawal just can’t get enough of either. When she hears about the unidentified body, she offers her assistance to the police who initially want nothing to do with her. However, she continues her own investigation, and the police recognize that she can ask questions and meet with people that they can’t. In the meantime, we get some of Nawal’s backstory, and as we see from the flashbacks and nightmares, there is quite a bit of unpleasantness and even tragedy.

We have become accustomed to crime thrillers with a tangled web of leads and evidence, so we recognize that this one isn’t especially well done or unique. Many aspects are included here: religion, family, pride, and dignity. Nawal claims her goal is for the family to claim the body for peace, despite the defense mode they seem to hide behind. The funniest use of a shopping mall train is a nice touch, but the big twist at the end feels unearned. Anytime a film uses the final ten minutes to lay out what really happened, it’s a big clue that the storytelling was less than admirable. I simply chuckled at the presumption that we should accept this. Haifaa Al-Monsour does include commentary on the social and cultural treatment of women even in modern times, and that’s likely the most important aspect of the film.

Sony Pictures Classics will release the film on June 19, 2026

WATCH THE TRAILER

Leave a Comment » | Thriller, World Cinema/Foreign | Tagged: , , , | Permalink
Posted by David Ferguson

TOY STORY 5 (2026)

June 16, 2026

Greetings again from the darkness. It’s been thirty-one years since I sat stunned in the movie theater after being first introduced to Woody, Buzz, and the entire gang of Pixar toys. It was the year BRAVEHEART won five Oscars and TOY STORY, which marked a shift in filmmaking, won none. That was Pixar’s first feature film and since there was no Animated Feature Film category at the time, the Academy didn’t really know what to do with it. Fortunately, John Lasseter (since fired) and Andrew Stanton certainly knew what to do, as this is the fifth film of the franchise, and they’ve managed to create cinematic magic with each one.

We’ve established that I’m a raving fan for the franchise. Yet with each entry, I still go in concerned that this will be the first dud. I’m relieved and happy to report that the fifth film is funny, colorful, filled with great characters, and maintains the emotional charge we’ve come to expect. Pixar’s Andrew Stanton has been involved with each of the TS films and he’s joined this time by co-director and co-writer McKenna Harris (her first feature). They have managed to uphold tradition, while making the film entirely contemporary and introducing the beloved characters to a new generation (it’s been seven years since TOY STORY 4).

The familiar characters are back, which means most of the familiar voices are as well: Tom Hanks as Woody, Tim Allen as Buzz Lightyear, Joan Cusack as Jessie, Wallace Shawn as Rex, Annie Potts as Bo Peep, Tony Hale as Forky, and Keanu Reeves as Duke Caboon. New to the scene are Scarlett Spears as Bonnie (she’s the third to voice the character), and of course, with the passing of Don Rickles, Estelle Harris, and Jim Varney, there have been new voices for Mr and Mrs Potato Head and Slinky Dog. And yes, Pixar’s good luck charm John Ratzenberger returns as Hamm. Among the others making their first Toy Story credits are the voices of global sensation Bad Bunny as ‘Pizza with sunglasses’, Greta Lee as Lilypad the smart tablet, Conan O’Brien as a ‘specialized’ device, and Mykal-Michelle Harris as Blaze.

This is definitely a female-centric story as Jessie takes the lead role. Woody and Buzz are featured prominently, but Jessie is the one focused on ensuring young Bonnie makes friends. The emphasis on technology is one all parents will recognize. Kids don’t “play” the way they once did, and the story emphasizes how that adds complexity to not just making friends, but also in defining what friendship actually is in this modern world. Smart devices, screens, and tablets have pushed toys to the background – or the garage, or even worse. It’s heartwarming, and sometimes nerve-wracking, watching Jessie and this crew of toys do what they can to help kids hold onto childhood as long as possible.

There are some subplots included regarding Buzz and Jessie, Jessie’s background with previous kids, and the ongoing challenges faced by parents. The animation is as stunning as you’d expect, and Randy Newman returned to compose the film’s score. By now it’s no secret that Taylor Swift, with a writing boost from Jack Antonoff, performs her new song, “I Knew it, I Knew You”, over the closing credits (and stay for the stingers).

DISNEY & PIXAR’S TOY STORY 5 releases exclusively in theaters June 19, 2026. Run time: 1hr 42min

WATCH THE TRAILER

2 Comments | Animation, Comedy, Fantasy | Tagged: , , , , , , , , , , , , , , , , , , | Permalink
Posted by David Ferguson

GREGG ALLMAN: THE MUSIC OF MY SOUL (2026, doc)

June 12, 2026

Greetings again from the darkness. The songs are part of music history: “Whipping Post”, “Midnight Rider”, “In Memory of Elizabeth Reed”, “Melissa”, and “Ramblin’ Man”. Their album, “Live at Fillmore East”, is considered one of the best live albums of all time. The Allman Brothers paved the way for a couple of hugely Southern rock bands, Lynyrd Skynyrd and the Marshall Tucker Band, and they were influential to the work of countless other bands and musicians. Of course, a documentary about Gregg Allman must include much about the band, yet documentarian James Keach does tremendous work here maintaining the focus on the man. Mr. Keach is mostly retired from a long acting career, yet he’s continued to take on directing gigs across the past thirty-plus years – including  a couple of other documentaries on musicians: LINDA AND THE MOCKINGBIRDS (2020) and GLEN CAMPBELL: I’LL BE ME (2014).

Keach used a 2014 interview given by Gregg as the foundation for this profile. Sure, it’s unusual to have such a reluctant rock star, but if somehow nothing else shines through as you watch this, you’ll certainly come away recognizing the Gregg Allman was a shy and sensitive man who dodged the spotlight when not on stage. Wait a minute (you might say) – didn’t he marry Cher at the height of her pop star career (not exactly low key)? The answer is yes, and as Cher notes here, they separated just a few days after the vows – turns out Gregg was not willing to live his life as a full-blown celebrity. The point of all this is that the rarely seen 2014 interview offers the only glimpse of himself that we get from Gregg. The rest comes from those he knew, those he married, the kids he fathered, and musicians he played with and influenced (Chuck Leavell, Jackson Browne).

Gregg was prolific at two things: songwriting and getting married (7 wives). But he was only really good at the former. His distinctive singing voice tears into the guts of “Whipping Post”, while capturing the bluesy longing of “Melissa” (a song Gregg wrote as a homesick 17 year old). We learn that even though Gregg was first to play guitar, big brother Duane took it over and Gregg began a love affair with a Hammond organ. Duane went on to become a legendary session man and then the leader of the Allman Brothers band. Keach includes some terrific photos of young Duane and Gregg together, and we hear the childhood stories – including the murder of their father.

As you would expect for a band creating a new sound, things were not easy. Band names (Allman Joys, Hour Glass) preceded Allman Brothers, as Gregg was the last to join. It was their 1971 live album, “At Fillmore East”, that rocketed the brothers and the band to fame. Tragically, a motorcycle accident killed brother Duane shortly thereafter. He was only 24. The band managed to stay together, but the shock deeply affected members of the band, especially Gregg (drugs and alcohol became a problem) and bassist and founding member Berry Oakley (also from a motorcycle accident).

We hear stories from some of Gregg’s wives and daughters, as well as his musician son, Devon. The humanity of the man is crystal clear as those closest to him recount his life – one in which he ultimately got sober. In 2014, Gregg and others collaborated on the “All My Friends” benefit concert after Gregg revealed he had liver cancer. He and another founding member of the band, Butch Trucks, died in 2017, while Dickey Betts passed in 2024. Drummer Jaimoe is the only surviving member of the Allman Brothers band formed in 1969 Jacksonville, Florida. Documentarian James Keach has delivered a stellar profile of Gregg Allman the man, while also paying tribute to the band, the songs, and the family.

Opens in theaters on June 17, 2026

WATCH THE TRAILER

Leave a Comment » | Documentary | Tagged: , | Permalink
Posted by David Ferguson

« Previous Entries