MOUSE (2026)

November 12, 2026

Greetings again from the darkness. It’s the films that sneak up on you … those are the ones with staying power. This film from writer-director Kelly O’Sullivan and co-director Alex Thompson (collaborators on GHOSTLIGHT, 2024 and SAINT FRANCES, 2019) packs quite the emotional gut-punch. Plenty of films are centered on grief, yet very few find a path for multiple perspectives like this one.

The story begins as a simple story of two best friends, Minnie and Callie. Not just friends … ‘best friends’, as Minnie (Katherine Mallen Kupferer, GHOSTLIGHT, 2024) makes clear on a couple of occasions. Callie (Chloe Coleman, “Big Little Lies”) is the shining star – popular and talented, while Minnie hangs in her shadow, shy and near non-existent to anyone other than Callie. The last day of their junior year ends with a sleepover, and it’s here where the ‘mean girl’ Cara (Audrey Grace Marshall) is exposed in full envy mode.

The next day everything changes. While Minnie is working her shift at a Chuck E Cheese type establishment, Callie is killed in a car wreck. The devastation is palpable for Minnie and Callie’s mother, Helen (Sophie Okonedo, HOTEL RWANDA, 2004). Both Minnie and Helen struggle without Minnie in their world. Things shift again three months after the funeral. Minnie and Helen begin spending time together. Minnie takes to the void Callie left with a caring mother in a well-off lifestyle, while Helen gets to play a mother role once again. Of course, we know this is not likely headed anywhere good for either, but in the moment, it seems to work. Minnie’s broken relationship with her own mother, Barbara (her real-life mother Tara Mallen, GHOSTLIGHT, 2024) provides a stark contrast to Minnie and Helen’s new bond.

As all this progresses, Minnie meets her first love interest (not counting her quiet crush on Callie) in video clerk Kat (Iman Vellani, THE MARVELS, 2023). It’s further proof that Minnie’s maturity, or trip to adulthood, is happening so much faster than the previous year. At the core of everything is grief. The film explores just how hard a loss can hit and how difficult it is to move on. There are a couple of scenes that stand out as truly exceptional. One is a back and forth between a vet’s clinic where Minnie is assisting her mother with putting down a sick dog, while Helen takes her first steps into a grief support group. The second memorable scene finds the drama teacher (David Hyde Pierce) offering life guidance in a manner that will surely stick with Minnie forever. This is exceptional storytelling and filmmaking.

The acting here is among the best I’ve seen this year. Sophie Okonedo delivers her most powerful performance in years, while Katherine Mallen Kupferer is a rising star. The sleeper here is Tara Mallen, whose character covers a wide spectrum and shares up with a gut-wrenching scene with Ms. Okonedo. The story takes place in 2002 North Little Rock, and that lends itself to the realism and human frailty on display. Life is hard, and excruciating pain and loss can define how folks move forward. Few films have shown this better.

The film expands nationwide in theaters on November 13, 2026

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Posted by David Ferguson

Book Review- GOING THE DISTANCE: STALLONE, PHILLY, AND THE STORY OF ROCKY by Mike Sielski

November 11, 2026

Go ahead and admit it. When you think of Rocky Balboa, that “Gonna Fly Now” music pops into your head. Either that, or your internal voice yells “Yo, Adrian!” And if somehow it’s neither of those, you surely picture bounding up the stairs outside the Philadelphia Museum of Art. The 50-year anniversary of the surprise blockbuster ROCKY (1976) is upon us, and to mark the occasion, author Mike Sielski serves up a well-researched dive detailing how the film came together and how Sylvester Stallone viewed this as a personal project that would make or break his career.

Quite surprisingly, Mr. Sielski pays tribute to more than the box office success of the film. This is a true tip of the cap to the city of Philadelphia, an exploration of the behind-the-scenes challenges of getting a movie made on a tight budget, and the commitment required by a young, struggling actor/screenwriter who (almost) no one was familiar with. Regarding that last point, in no way is this a love fest or worshipping of Stallone. Sly’s dedication to the project is certainly appreciated, but the warts and his true nature are also exposed.

ROCKY redefined ‘underdog’ films, yet this book is much more than a celebration of an unexpected box office hit or a profile of young Sylvester Stallone … although it has a bit of those things as well. The remarkable research conducted by Sielski includes fascinating stories about the city of Philadelphia; director John Avildsen; composer Bill Conti; Stallone’s training and screenwriting; casting co-stars Talia Shire, Burgess Meredith, and Carl Weathers; Steadicam inventor Garrett Brown; Butkus the dog; the surprising inspiration for the titular character; constant budgetary concerns; and the Oscar night confrontation between producer Irwin Winkler and NETWORK screenwriter Paddy Chayefsky.

The book’s release is timed to the 50th anniversary of the original movie, and so is Peter Farrelly’s new movie, I PLAY ROCKY, which is focused on Stallone’s mission to get the film made. It seems there is no shortage of ways to acknowledge fifty years of Rocky Balboa, so grab a raw-egg power drink, read the book, and watch the movies.

Mike Sielski’s book is available on AMAZON

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Posted by David Ferguson

QUARTER (2026)

November 11, 2026

Greetings again from the darkness. Well, it’s my first ‘Diabetes Comedy’ to review, and I truly had no idea what to expect. Was it going to be a ‘woe is me’ downer that served up a few punchlines? Was it going to be a heavy guilt trip for those of us who are clueless about the disease? So, I’m happy to report that it’s neither of those, and instead it’s a humorous and personal look at everyday life for an almost twenty-five-year-old woman who deals with the not-so-small burden of keeping herself alive. Granted, that may not sound like the foundation for giggles, yet the film offers plenty.

The film is co-directed by Arnon Manor and Kelsey Bascom, the latter of whom wrote the screenplay based on her own experiences living with Type 1 Diabetes. Ms. Bascom also stars in the film as Kelly, in the days leading up to her big 25th birthday. At times, it’s hard to tell what fluctuates more, Kelly’s blood sugar levels, her work life, or her personal life. She has a mother (Ali Wentworth) who has grown accustomed to hovering in an effort to ensure her daughter is taking the necessary steps for her health. It’s an effort that has not changed over the years, and it stems from love and caring.

Kelly works in a drab office with indistinguishable cubicles and co-workers who are clueless to her diabetes. With an uneventful social calendar, Kelly is described as a “Friends” character without friends. We join her for a couple of doctor visits. One doctor is played by Eric Roberts, who seems a bit disinterested in her allergies and condition, while her OB/GYN is played by Brooke Shields (also a producer on the film), who isn’t shy with the personal questions. Kelly’s specialist (Raven-Symone) tries to sell her on an insulin pump … mostly to make her own life and these office visits easier on herself. All of these situations provide some humor, and much of it is courtesy of Ms. Bascom’s facial expressions, as she seems resigned to the fact that no one much cares.

Tati Gabrielle plays Kelly’s quirky neighbor … one who just might provide a bit of a surprise later in the film (this after being a bit annoying). I admire how the humor is derived from real life situations, including the warning sirens for low blood sugar (followed by juice boxes). We also learn ‘skinny jeans are a waste of a UTI, as well as new uses for garlic (maybe not try this one). In this blend of humor and sadness, we end up with a master class on living with diabetes.

QUARTER will be released in theaters beginning November 13, 2026, timed to World Diabetes Day on November 14.

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Posted by David Ferguson

Book Review- IS IT TOO LATE TO MAKE A RUN FOR IT? by Judi Dench with Brendan O’Hea (2026)

November 7, 2026

You surely know Dame Judi Dench from her illustrious and highly decorated acting career on stage and on screen. With this memoir, we learn so much more about her life and career, and the personality that makes her one we’d love to have a drink with. Not your typical memoir, this one is in the format of an interview conducted by Brendan O’Hea, and it’s broken up into specific topics of discussion. O’Hea is a theater director and actor, and he and ‘Jude’ are longtime friends and colleagues, making for mostly warm conversation.

The 26 topics/chapters provide the structure for O’Hea’s questions, which leads to Dench regaling us with memories and stories, and sometimes veering a bit off-topic for something extra interesting or colorful. She turns 92 this year, and thanks to her acting career, she has travelled the world and met and worked with many fascinating folks. Dench discloses she’s suffering from macular degeneration, which now severely limits her vision. In typical fashion (what we come to understand after reading this), she doesn’t complain about this late-in-life development, yet she does confess to missing reading, seeing her beloved garden, and having pet cats and dogs (now a tripping hazard).

For fans of James Bond movies who only know Judi Dench as M, 007’s boss (for both Pierce Brosnan and Daniel Craig), you might be surprised at the breadth of her career spanning more than sixty years and crossing TV, feature films, and stage productions on Broadway and in England. Oscar, ten BAFTAs, two Golden Globes, two SAG awards, eight Oliviers, and a Tony. She tells stories from many of the productions she was involved with, and she often mentions her late husband Michael Williams, also an actor. Together they were married thirty years at the time of his passing (2001) and had a daughter, Finty, who also pops up in a few stories.

After reading the book, it’s fair to describe Dame Judi Dench as an optimist – she loves and appreciates and celebrates life. She’s also forthcoming and direct – not shying away from less than pleasant memories or those that prove her humanity. She was once told by a director that there is “every single thing wrong with your face.” This is a woman who appreciates a good laugh … even/especially if it stems from a prank. One chapter is devoted to her ‘Bugbears’ (pet peeves), and she rips on cell phones and bad grammar (neither of which surprised this reader). However, much more time is devoted to the things and people she likes: animals, certain directors, Dame Maggie Smith, Christmas, and those special trees in her garden – the ones planted for certain folks in her life.

On a personal note, I found the section on ‘Ageing’ especially insightful, as she honestly admits she’d rather be “younger and dumber”, as there are very few advantages to getting older. She claims to choose roles by the story being told rather than by reading the script … and her career is so diverse by her own choosing. Despite claiming she’d choose live theater over film, she also admits to a door mat that states, “I’ve been expecting you 007”. For one who dreamed of becoming a ballet dancer, this Dame has done just fine … and her memoir leaves us feeling like we could be good friends.

Available on AMAZON

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Posted by David Ferguson

LITTERMATES (2026)

November 5, 2026

Greetings again from the darkness. Solitude and uncertainty are poor bedfellows, leading to issues with rational thought and behavior patterns. Writer-director Scott Tinkham and co-director Michael Woloson explore this through a setting that may or may not be apocalyptic. An unspecified conflict is occurring ‘out there’, and whatever it is, it leaves a couple of folks disoriented and compromised … unsure of who they are and how they arrived.

Chester (Oliver Woolf) is set up in a home in the English countryside. The perimeter is fenced and he has a well-stocked shelter … a hint of how bad things might get. When a young man (Joey Bader) shows up, Chester looks to help him. The man is injured and dazed, unaware of who he is, how he was injured, or how he got to this spot. He can barely communicate at all. Chester nurses him back to help and rehabs his clarity by teaching his name as Liam. Rewards (hot tub and karaoke) are provided through tokens known as ‘nifties’. As Liam heals, he and Chester have a structure that seems to work … although as the viewer, we still aren’t sure whether to trust Chester or what to make of Liam.

Once Mel (Kaylee McGregor) arrives – in basically the same condition Liam was when he showed up, Chester reacts accordingly and puts her through the same rehabilitation that worked for Liam. In fact, Liam takes pride in teaching Mel some of the guidelines and rituals, while trying to provide her the counsel that has worked for him. However, while Liam settles in nicely to this new quasi-family, Mel begins to push the envelope and express curiosity about the outside world … a world in which we periodically hear sounds of war.

Chester’s theory is that by sticking together, their odds of survival and thriving are significantly better than what awaits beyond the gate and fence. The budget here is miniscule, but the message is certainly worthy of discussion.

Opening in theaters on November 6, 2026

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Posted by David Ferguson

POSSIBLE LOVE (2026, S Korea)

November 5, 2026

Greetings again from the darkness. With his first feature film in eight years, award-winning filmmaker (and novelist) Lee Chang-Dong and co-writer Jungmi Oh have delivered an excellent character study that is South Korea’s official submission for the Best International Film Oscar. If the rom-com sounding title doesn’t deter some viewers, it’s likely the complexity, along with a runtime pushing three hours, may keep some folks away … which would be a shame since so many human emotions and traits are on display.

Mi-ok (Jeon Do-yeon) is an upbeat and supportive wife to her husband Ho-seok (Sui Kyung-gu). It’s been two years since he was injured in a high-profile union dispute, and he’s been in a withdrawn funk ever since – rarely speaking or smiling. At the funeral of a family member, they cross paths with another couple, Ye-ji (Cho Yeo-jeong, PARASITE) and Sang-woo (Zo In-sung). Ye-ji is directing a documentary about the effects of that union dispute and ‘the disappearing laborers’, and Sang-woo is a businessman born into wealth and a certain lifestyle. The women establish a friendship that may or may not be based on Mi-ok’s ability to assist with the documentary. See, Ye-ji’s goal is to get Ho-seok to break his silence and talk about the union strike.

It’s painful to see someone shut down emotionally, especially when they realize it. Ho-seok understands that he needs the counseling sessions offered, but he simply can’t bring himself to face his previous co-workers (for reasons later revealed). In a strange twist, the two couples end up vacationing together at Sang-woo’s beachside family mansion. This further emphasizes the difference in class between the two couples (as if the wardrobe and Porsche) weren’t enough. It’s still a character study, but now it’s clearly a multi-faceted character study: one group, two couples, four individuals.

Lee Chang-Dong’s film isn’t so dependent on the story as it is establishing the many differences and motivations of the individual characters. It’s more about class differences and marital connections than the fallout from labor issues. The four actors are each outstanding, especially Sui Kyung-gu. When his strong façade breaks, everything shifts. Cinematographer Kim Ji-yong deserves a shoutout here with his work on diverse settings and by assisting with the individuality on display. The film plays much like reading a novel, though it was clearly inspired by Krzysztof Kieslowski’s 1989 mini-series, “Dekalog”. This film is well worth the investment and effort.

Premieres on Netflix on November 6, 2026

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Posted by David Ferguson

BEING HEUMANN (2026)

November 5, 2026

Greetings again from the darkness. Section 504 of the Rehabilitation Act guaranteed certain rights for those with disabilities. It fell under the purview of the Health, Education, and Welfare (HEW) department, later renamed Health and Human Services. In 1977, HEW was led by Joseph Califano, and his initial refusal to sign off inspired a group headed by activist Judy Heumann (polio put her in a wheelchair) to begin what’s now known as the ‘504 sit-in’. The film comes from writer-director Sian Heder (Oscar winner for CODA, 2021) and co-writer Rebekah Taussig, and is based on “Being Heumann: An Unrepentant Memoir of a Disability Rights Activist” (2020), written by Judith Heumann and Kristen Joiner.

Heder takes the right approach here. Rather than a biopic on Ms. Heumann’s life as an activist, the focus is on this specific issue and the events surrounding it. Those events include some courageous folks, almost all with some disability, saying five years of waiting for equal access is enough. They weren’t demanding anything new … only the implementation of what Congress had already passed. Ruth Madeley delivers a fierce performance as Judy. Mark Ruffalo plays Joseph Califano, while Dylan O’Brien is TV reporter Evan White, and Rob Delaney plays Congressman Miller. Judy wants Califano’s signature so the ramps, etc. can be built, while Califano knows the implementation will cost billions of dollars (and likely cost him his job).

What we witness is a community of folks mutually dependent on each other. Disagreements occur, and Judy is more laser-focused than most, but all of the courageous participants are committed to the cause. Even the Black Panthers offer assistance. The activists face numerous obstacles including lack of food and police harassment. Most of the film takes place during the sit-in, which at 28 days, remains the longest non-violent sit-in on record at a federal building. The visuals are eye-opening: Judy in her wheelchair negotiating rush hour traffic and the ever-present and imposing stairs. Judy’s phrase is “Those stairs are a problem.” (only her delivery is more colorful)

Showing both sides of this (government vs protesters), makes it easy for us to follow and respect the dedication to the cause. Judy can be a bit prickly as the flawed leader, but she’s also smart and determined. Her right-hand assistant activist is Kitty Cone (played well by Madeline Delp), and most of the protesters are performers dealing with real world disabilities. This was an era without social media, so the TV cameras were crucial to securing the support of the public and applying even more pressure to Califano. The film ends by letting us know that it was another 13 years before the full Americans with Disabilities Act (ADA) passed in 1990, and the clip shown is pretty memorable.

Begins streaming on AppleTV on November 13, 2026

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Posted by David Ferguson

SILVER SCREAMERS (2026, doc)

November 5, 2026

Greetings again from the darkness. Residents of the senior center in Aurora, Ontario can now provide quite an answer if they are ever asked the question, “What’s better than Bingo?”. Seriously, when filmmaker Sean Cisterna (THE LONG RIDER doc, 2022) pitches the idea of forming a film crew from this group in order to produce a short horror film entitled, “The Rug”, we are as skeptical as the residents. Most readily admit they aren’t fans of horror films, but something magical happens when they begin taking on the roles of production design, sound, practical effects, props, wardrobe, camera operator, and first assistant director.

Upbeat documentaries that deliver joy are not common, yet Cisterna and this band of seniors who jump right in are such a welcome relief from a world that seems to get bumpier every day. We really shouldn’t be surprised. These folks (up to age 96) bring a lifetime of skills and a passion and a willingness to try something new, while proving they have much to offer. We thoroughly enjoy getting to know each of them and wouldn’t have minded at all if more individual time had been spent on camera.

The premise here is that Cisterna was running into roadblocks as he tried to secure financing for his next film. He then stumbled upon a government grant for keeping seniors engaged. Now you would be forgiven if your mind wandered to the idea of free labor or one man taking advantage of the elderly, but such doubts will fade once you see how seriously the crew takes this project … collaboration and conflict on full display. It actually feels like a celebration as the premiere of “The Rug” takes place. We can sense the pride of accomplishment. The ending sequence puts a worthy exclamation point on what we’ve just watched. It’s a true audience-pleaser, as well as an insight into indie filmmaking. Bingo night will never be the same.

Premiering on BloodStream on November 6, 2026

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Posted by David Ferguson

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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Posted by David Ferguson

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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Posted by David Ferguson

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