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

TOW (2026)

March 20, 2026

Greetings again from the darkness. Not many interesting stories feature a 1991 Toyota Camry as a main focus. The exception is this one based on the real-life journey of Seattle’s Amanda Ogle. Directed by Stephanie Laing and co-written by Jonathan Keasey and Brant Bolvin, it’s a story of Amanda’s tenacity and perseverance, and how it is sometimes possible for the little guy/gal to win.

Rose Byrne (fresh off her Oscar nomination for IF I HAD LEGS I’D KICK YOU, 2025) stars as Amanda and gives a showy performance as a woman whose addiction has resulted in her being estranged from her teenage daughter and living for months in the above-mentioned Camry … one of a couple of million “vehicular residents” as we are informed. Amanda is smart enough to have earned her Veterinary Tech certificate, yet her situation seems to constantly prevent her from getting back on solid ground. Most of this is her own doing, but one day her Camry is stolen, setting off a series of events that are quite remarkable.

Her car is recovered and Amanda can’t afford to pay the fee to have the car released from the tow lot. This sends her to a shelter managed with a firm hand by Barbara (Oscar winner Octavia Spencer, THE HELP, 2011). It also pits Amanda against the city’s red tape and the tow lot’s arrogant attorney (Corbin Bernsen, MAJOR LEAGUE, 1989).

Adding an interesting element to this story is that Amanda is not terribly likable. She’s brash and plays the victim in many situations. On top of that, she misleads (lies to) her daughter Avery (Elsie Fisher, so good in EIGHTH GRADE, 2018) about visiting her in Utah, and always seems to have enough money for cigarettes, alcohol, hair dye, make-up, etc. The daughter storyline is especially tough since Avery ‘needs’ her mother and desires support for her dream of being a fashion designer. Despite her flaws, we still find ourselves pulling for Amanda. It may be difficult to muster sympathy for her actions, but our humanity wants her situation to improve.

An inexperienced non-profit attorney, Kevin (Dominic Sessa, THE HOLDOVERS, 2023) takes an interest in her case, yet the wheels of the judicial system do not move quickly – especially when up against the tow company’s slick attorney … a character intended to emphasize the class difference. At the shelter, Amanda befriends Nova (pop star Demi Lovato who gets in one song) and tough-talking Denise (Oscar winner Ariana DeBose, WEST SIDE STORY, 2021). She also has an ongoing dialogue with Cliff (Simon Rex, RED ROCKET, 2021) at the tow yard. He’s sympathetic to her situation, but powerless to help.

The film doesn’t really focus on the hardships of the ‘unhoused’ but rather the challenges of being a societal afterthought going up against ‘the system’.  Director Laing finishes it off with a final shot of real-life Amanda, Avery, and Kevin together.

In theaters beginning March 20, 2026

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Posted by David Ferguson

THE POUT-POUT FISH (2026, animated)

March 20, 2026

Greetings again from the darkness. What a welcome relief it is to watch a movie designed specifically for kids. No double entendres or secret winks of wit … just a straight-forward movie to entertain kids and provide a simple life lesson about the importance of friendship. Of course, parents will recognize the title as that of the 2008 mega-bestselling kids book by Deborah Diesen.

There are two key elements that stand out from the beginning. First, the color explodes on the screen, immediately making it enticing for youngsters. This undersea world has the appearance of a candyland or a favorite toy. Second, the demeanor of the Pout-Pout fish is accurately described as glum and gloomy as he sports an ever-present pout. Voiced to perfection by Nick Offerman (Ron Swanson from “Parks and Recreation”) this mopey ‘Mr. Fish’ is said to spread the “dreary-wearies” and deals with his own personality by collecting Zen rocks and living in the remains of a sunken ship, long ago split in half.

Crossing paths with a Pip (Nina Oyama), a spirited tiny seahorse, rattles the world of Mr. Fish, and the two set off on a shared mission that takes them through various communities under the sea, including Jellyfish Junction, Dolphin Cove, and Crystal Cave. The story plays like an underwater road trip movie, and of course, as adults, we easily recognize that this journey with Pip is opening up the world to our grumpy Pout-Pout fish. There are some pieces that the youngest kids may not fit together – starfish spies and the race with cuddlefish – but the dream of Shimmer (Jordan Sparks) is something we all recognize … hope.

This is not a film in the Pixar mode – one that works on multiple levels for kids and adults – but stories that emphasize the power of friendships and collaboration are crucial for youngsters. The only negatives here would be the disjointed music in the first half of the film and the predictability (for older kids and adults). Otherwise, the film accomplishes what it sets out to do … entertain youngsters and offer up an important message.

I watched the film with a couple of the world’s most brilliant youngsters, and here is what they said. Nine-year old Audrey said it was “very colorful” and explored “good and bad” personalities, while eight-year old Jack said it was “Awesome and funny”.

Opening in theaters on March 20, 2026

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Posted by David Ferguson

THE TASTERS (2026)

March 12, 2026

Greetings again from the darkness. As we are unfortunately learning yet again … there are no upsides to war. There are the deaths and injuries that occur to soldiers and citizens. There is destruction of property and cityscapes. And there is the cost to those who are neither soldiers or government officials – the ‘quiet cost’ of war. Writer-director Silvio Soldini (BREAD AND TULIPS, 2000) and co-writer Doriana Leondeff have adapted the 2018 award-winning novel, “At the Wolf’s Table”, by Rosella Postorino, which itself was based on the remarkable story WWII survivor Margot Wolk told a German journalist about her time spent as a food taster for Hitler.

It’s the fall of 1943 and Rosa Sauer (Elisa Schlott) is returning to her in-laws’ farm in East Prussia from a bombed-out Berlin. Rosa’s husband, Gregor, enlisted one month after their wedding and they’ve seen each other only once in the past four years. An atmosphere of gloom hangs over the village, and one morning changes everything for Rosa. Nazi soldiers load her into a van with other German women. They are escorted to the ‘Wolf’s Lair’ in the forest … it’s the Fuhrer’s headquarters. The seven women are examined by a doctor and then escorted into a dining room where a feast awaits. Having spent months, even years, desperate for food, the chef-prepared meals create initial excitement with the women. The excitement quickly turns to dread and fear when it is revealed they are to eat every bite of the meal and then wait one hour under guard. The purpose is to make sure the food is not poisoned prior to Hitler eating.

Director Soldini fills the screen with greys and browns to match the atmosphere of despair and fear. The slow pacing lends credence to the women’s days of wondering if the next meal will be their last. Abortion, hidden identities, and an affair all play a part in what is little more than an attempt to survive for however long the war might last. The seven women form bonds, yet no one is ever relaxed or comfortable. Rosa is initially referred to as “Berliner” since she arrived from the big city. She’s told, “This isn’t Berlin.” “No one needs secretaries.” Rosa is tougher than she looks and holds her own, soon making friends with Elfriede (Alma Hasun), a woman with a secret.

Atypical for a war movie, there is little action and minimal violence. Not much time is spent getting to know the personalities of the women. Instead, it’s a different kind of survival story – one that involves psychology and self-control. Their thrice daily activities require immense mental fortitude, yet the alternative is even worse. Whether Margot Wolk’s story was completely accurate or not, matters little. It’s a story of those with power versus those with none. And that’s a theme that plays out daily even eighty-plus years later.

In U.K. and Irish theaters beginning March 13, 2026

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Posted by David Ferguson

GROUP: THE SCHOPENHAUER EFFECT (2026)

March 12, 2026

Greetings again from the darkness. Alexis Lloyd was inspired by Irvin D Yalom’s 2005 novel, “The Schopenhauer Cure”, to create his web series, “Group”, as well as this follow-up feature film, which he wrote and directs. I have not watched the series, but Lloyd backs off a bit on the life and death focus for the film, choosing instead to allow the sometimes chaotic elements of group therapy to guide the way.

The cast from the series returns for the film, along with the key addition of Thomas Sadoski (“The Newsroom”) as Alexis, a documentary filmmaker interested in making a series about group therapy. Despite being invited by Dr. Ezra Hertzfelt (played by Elliot Zeisel, a licensed psychotherapist), the group of patients do not react warmly to having an “observer” in their midst. Alexis attempts to pacify them by stating that he needs the therapy himself. Prior to the Alexis introduction, Lloyd provides a superb and relatable opening. We see the characters/patients walking to the session through the streets of Manhattan and we hear their inner voices in the whirlwind of thoughts careening through.

Three different sessions are presented here. The first is the initial in-person session after COVID, which required Zoom meetings. It’s in the session where we learn one of the group is pregnant and the new guy, Alexis, is introduced. The second session involves a startling announcement from Dr. Hertzfeld, along with the backlash of emotions that follow. Probably by design, the film leaves us feeling like we are eavesdropping. The mixture of scripted dialogue and improvisation works because these actors are so comfortable with the material and the objective and their own character.

As you would expect, a film about group therapy that takes place almost entirely in one room is dialogue-driven, requiring attention from the viewer to pick up all subtle nods as connections are made and broken. As fascinating as it is to watch this, it remains difficult to comprehend how eight folks in one room can ever find inner peace (or whatever it is they seek) with emotions running the gamut.

After a one week run in NYC beginning March 13, 2026, the film opens wide in theaters

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Posted by David Ferguson

IMMUTABLE (2026, doc)

March 5, 2026

Greetings again from the darkness. We are all well aware of what entitlement looks like, and in this documentary, co-directors Gabriel London and Charlie Sadoff take a look at what the other side can look like. These students are born into high-risk areas – crime and poverty surround them, and education is not always a priority. It’s the Washington Urban Debate League that opens doors for these students.

The word “immutable” is defined as something not subject to change. Well, that’s not the word to describe these students, but rather the opportunities available to those who dedicate themselves and put in the work. College scholarships become possible, and at a minimum these students learn that persuasion is a learned skill. For viewers unfamiliar with the world of competitive academic debate, brace yourself.

The film opens with Debate Camp in the summer of 2022. We follow a group of young newcomers. They lack confidence and must learn the finer points of research, argument structure, and delivery. The “Spreading” approach is stunning to watch. Combining ultra-fast talking with reading the argument is a strategy designed to trip up the other team. However, reaching proficiency in this rapid-fire approach takes hours of practice … as does learning that one must often make an argument on the opposite side of personal belief on a topic. And therein lies an unspoken value to this entire community. Just ask any parent, every teenager knows how to argue a point they believe, but learning there are at least two sides is an invaluable experience.

We hear from parents, teachers, coaches, and students on the value and benefits of debate. Further that, we witness the difference in these students from that first Debate Camp through the January 2024 tournament – a qualifier for TOC (Tournament of Champions). The pressures are as obvious as the desire to compete. One particular student has been diagnosed with autism, yet her determination and skill is beautiful to behold. The program is all the more impressive when you understand that participants are intentionally not drawn from a pool of “A” students. And therein lies the true opportunity to reach greater levels. Honing the skills for competitive debate is, at its core, training in communicable interactions … a worthy life skill.

Airing on PBS beginning March 6, 2026

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Posted by David Ferguson

FOR WORSE (2026)

March 5, 2026

Greetings again from the darkness. Starting over in life is really a misnomer. We like the phrase ‘new beginning’, but in fact, it’s just the next phase in our journey called life. Still, a significant break or traumatic event can certainly change one’s outlook and that’s what Amy Landecker (“Your Honor”) examines here with her feature film directorial debut. In addition to directing, Ms. Landecker also wrote the script, produced the film, and has the lead role.

The film opens with Lauren (Landecker) and her husband (Paul Adalstein) going through the final step of divorce with an oddball mediator (Simon Helberg, “The Big Bang Theory”). The scene is meant to be comedic, but mostly it’s too bizarre to generate laughs. The session ends and the husband goes home to his younger spiritual influencer girlfriend, while Lauren goes home to their 5 year old daughter, and unloads emotionally on her BFF Julie (Missi Pyle, CAPTAIN FANTASTIC, 2016), before heading to her first acting class.

It’s at the acting class led by teacher Liz (Gaby Hoffman, forever the little girl in FIELD OF DREAMS, 1989) where Lauren first meets Sean (Nico Hirago, BOOKSMART, 2019). Despite the age difference, the attraction leads them back to his place, where adulting clashes with the younger man’s bohemian lifestyle. Still, they agree to attend a wedding together – a weekend wedding celebration of one of their acting classmates. It’s a chaotic event where new characters are introduced and diversity runs rampant. A creepy magician (Ken Marino, ROLE MODELS, 2008) leeches onto Lauren, who physically collides with one of the brides’ dad (Landecker’s real life husband, Bradley Whitford), bringing a messy ending to the reception.

As a filmmaker, Landecker includes no shortage of contemporary touches (influencers, music, diversity) and homes in on generational divides – all while proving the point that ‘starting over’ at age 50 is a tough step emotionally. Perhaps the part about now being a single mom is underplayed, but it’s likely that was by design to show the Lauren character finding herself in this new phase. Although it’s billed as “a refreshingly honest, heartfelt, and hilarious take”, the argument could be made that only the first two apply, as the third feels too forced and unnatural in numerous scenes.

Theatrical release is expanding on March 6, 2026

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Posted by David Ferguson

THE BRIDE (2026)

March 4, 2026

Greetings again from the darkness. I became a Universal Monsters fan as soon as I reached the age where my parents would let me stay up to watch the later horror movies on Fridays and Saturdays. That love for the films and the stories and the monsters has only grown over the years, so you can only imagine the excitement I held for this film … especially on the heels of last year’s impressive FRANKENSTEIN from visionary Guillermo Del Toro. When my movie hopes and expectations reach this level, disappointment often follows; however, not this time!

You likely know Maggie Gyllenhaal from her superb acting in such films as SECRETARY (2002), THE DARK KNIGHT ((2008), and CRAZY HEART (2009). You may not know that her feature film directorial debut was the excellent THE LOST DAUGHTER (2021), for which she also adapted the screenplay from the novel. The success of that ‘little’ film gave her the clout to create her dream project: a reimagining of James Whale’s 1935 classic, BRIDE OF FRANKENSTEIN. For this one, Ms. Gyllenhaal directs her own incredibly creative and innovative tale, two adjectives that also describe her stunning and original script.

A big-time project requires a top-notch cast, and the filmmaker secured two of the best working today for her leads: Jessie Buckley and Oscar winner Christian Bale. The supporting cast is also impressive, and includes (5-time Oscar nominee) Annette Bening, Peter Sarsgaard (Maggie’s real-life husband), Oscar winner Penelope Cruz, Jake Gyllenhaal (Maggie’s brother), and John Magaro (SEPTEMBER 5, 2024). The number of crossovers and intersections in the careers of these actors and Maggie are too many to list, but it speaks to the admiration these talented folks share for each other.

Obviously, Ms. Gyllenhaal’s inspiration was borne from James Whale’s two films, BRIDE OF FRANKENSTEIN (1935) and FRANKENSTEIN (1931), as well as the 1818 novel, “Frankenstein; or the Modern Prometheus”, written by Mary Shelley. Certain touches within her new movie pay homage to all three, plus a bonus tip of the top hat to Mel Brooks’  YOUNG FRANKENSTEIN (1974). Ms. Gyllenhaal opens the film in mob-filled 1930’s Chicago with a truly fantastic prologue sequence that introduces us to Ida, the first of three characters played by Ms. Buckley. Her performance in this segment is nothing short of mesmerizing, and it’s capped off by the ingenious inclusion of the deceased Mary Shelley … a type of spin on the iconic opening scene of BRIDE OF FRANKENSTEIN. Soon after, we find ‘Frank’ (Mr. Bale) making his plea to Dr. Euphronius (Ms. Bening) and her intriguing assistant Greta (Jeannie Berlin) to reinvigorate a life partner that can cure his many years of loneliness.

As you would surmise, Dr. Euphronius is successful, and soon Frank and Penny (Ida’s new name) have paired up and carve their way through society – often making headlines ala Bonnie and Clyde. Their road trips create moments of tenderness, longing, sensuality, and violence … yes, plenty of violence. A radical women’s social movement is started as a result of one of Penny’s key feminist moments. Despite a blank memory, Penny understands the power of women. Movie musicals featuring hoofing star Ronnie Reed (Mr. Gylenhaal) play a crucial role in Frank’s life, though it’s not until later in the story that the reason is revealed. All this time, two detectives (Mr. Sarsgaard and Ms. Cruz) are tracking Frank and Penny, and we note the soft spot one of them holds for The Bride.

The film is a majestic triumph for Maggie Gylenhaal as a filmmaker, and surely will open many doors for future projects. Visually, the film is stunning to watch. The Bride and Frank are both magnificent creatures, yet every set and every scene are a feast for the eye and ears (yes, the sound is equally superb). The actors have all delivered their A-game, yet somehow Jessie Buckley continues to stand out (she’s Oscar nominated this year for her memorable performance in HAMNET). It’s not just her shock of white hair or stained face (explained in the film). No, the performance is much deeper and multi-faceted. Without spoiling anything, Ms. Buckley must adjust to the requirements of each scene, as well as the wide realm of emotions her roles demand. For fans, we do get the left-hand twitch, and as for viewing this film only once … “I prefer not to.”

Opens in theaters March 6, 2026 (see it on the big screen!)

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Posted by David Ferguson

GUNFIGHTER PARADISE (2026)

March 4, 2026

Greetings again from the darkness. Writer-director Jethro Waters’ previous work includes a documentary, some short films, and music videos. He describes his first narrative feature film as a semi-autobiographical dark comedy … yet after watching, that description seems a bit oversimplified (not that I have come up a better label). Visuals are key to his presentation, while traditional story structure is not. It will mess with your mind a bit.

Braz Cubas stars as Stoner, a hunter returning to his North Carolina home after his mother has passed away. We immediately know something is off with Stoner thanks to the ever-present camo face paint. Is it PTSD or something else? He is preparing for a threat that may come or may not. We soon realize Stoner is in a slow spiral of mental illness headed to madness. The threats may be imagined or may be real, but either way, Stoner is likely not the best to deal.

Rather than attempt to explain all that occurs, I’ll provide some of the key elements that play a role: a pair of Confederate reenactors, a mummified cat, “Dear Stoner” letters from his deceased mother (with narration from the great Jessica Hecht), a fervent neighbor, a skilled killer, and Stoner’s hallucinations, visions, and internal voices. To top it off, he has the support of his old friend and now cable guy, Joel (Joel Loftin). There is also a religious element, though the film is never preachy.

The film unfolds a bit like a puzzle and demands a great deal of interpretation from the viewer. Some may embrace the challenge, while others may be put off by watching the psychological falling of a man searching for his purpose. Either way, beware the smell of burnt gunpowder.

Premiering In Theaters February 27, 2026

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2 Comments | Drama, Uncategorized | Tagged: | Permalink
Posted by David Ferguson

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