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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Posted by David Ferguson

DREAMS (2026)

February 26, 2026

Greetings again from the darkness. SUNDOWN (2021) was an underrated film from writer-director Michael Franco who, this time out, attempts to tackle a few more complex issues involving immigration, class, and cultural differences. The result is a mixed bag that, without the presence of Oscar winner Jessica Chastain, likely would have fit right in to the old ‘Showtime After Dark’ series.

Jennifer (Ms. Chastain) is a wealthy socialite who helps run the McCarthy Family Foundation that is focused on art and causes for those less fortunate. She works with her brother Jake (Rupert Friend, “Homeland”) and their patriarchal father (Marshall Bell). At the ballet school they founded in Mexico City, Jennifer met and began a torrid affair with the lead dancer, Fernando (professional dancer Isaac Hernandez). The affair has since turned into an ongoing relationship. Jennifer seems to believe she’s in love and Fernando dreams of escaping poverty and living a life of luxury in the states with Jennifer. She has absurd wealth – private jets, a Bentley, houses all over, and non-stop galas and events requiring high fashion.

We recognize this as a relationship built on lust. It’s a matter of loins, not heart. The cross-cultural bond is favored by neither culture. Jennifer’s family sees the benefit in providing support to the underprivileged, but not in bringing them into the house, so to speak. Fernando’s parents are equally at odds with this relationship. Racism is evident, as is class differential – exposing the two-faces of the foundation’s founding family. The story highlights that most everyone has a dark side, and keeping up appearances becomes ‘normal’. Franco’s movie progresses slowly, making this relationship all the more uncomfortable to watch. It’s a shame that we never buy the coupling of Jennifer and Fernando as anything more than physical, but it is quite a shock to hear Chastain utter the line, “suck your balls” multiple times.

In theaters beginning February 27, 2026

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Posted by David Ferguson

SPACE COWBOY (2026, doc)

February 26, 2026

Greetings again from the darkness. We don’t always know what ignites a particular passion in someone; however, Joe Jennings has the card so many husbands mistakenly play … only his is accurate and beyond debate. Jennings can blame his wife, Sissy, for this decades long passion for ‘camera flying’. Although it was his father who sparked the interest in photography, it was Sissy who first convinced Joe to skydive. The rest is X-Games and cinematography history. Maura Strauch (SUNSHINE SUPERMAN, 2014) and Bryce Leavitt (directorial debut) have found their profile of Joe Jennings to be well-received on the film festival circuit.

Much of the film floats around Jennings’ long-awaited final aerial stunt: successfully executing and shooting four passengers in a car that gets pushed from a plane. Now don’t worry, Jennings has pushed more than 100 cars from planes – he’s the guy to call if you need that filmed, yet he’s struggled for years with the four passengers and having some control of the car free-falling. I doubt many will be surprised at how easy it is to push a car out of an airplane, and how challenging it can be to control the unpredictable fall.

We learn about Jennings’ childhood … one which he admits was “not normal”, including being referred to as “Joe Dirt” by classmates. Still, he found his place after Sissy got him skydiving and he later partnered with remarkable skysurfer Rob Harris – at least until tragedy struck. Jennings is forthright in his comment, “things can go wrong quickly”, and obviously from 12,000 feet above, things going wrong can be catastrophic. The filmmakers utilize some familiar music on the soundtrack, including “Mad World”, Mason Williams, and ELO, but it’s the incredible midair footage (and car flying) that generates the oohs and aahs.

Opening February 27th for a Weeklong Run at LA’s Laemmle Royal

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Posted by David Ferguson

EPIC: ELVIS PRESLEY IN CONCERT (2026, doc)

February 22, 2026

Greetings again from the darkness. “Glory, Glory, Hallelujah.” As Elvis sings “The Battle Hymn of the Republic”, the combination of the lyrics and his voice send chills. We listen as Elvis states he’s never had the chance to tell us his story in his own words. Director Baz Luhrmann discovered hours of previously unheard audio and unseen video recordings while researching his 2022 film, ELVIS. He has masterfully edited this into a fascinating portrait of the King of Rock ‘n Roll, with an emphasis on his multi-year run at the Las Vegas International Hotel.

Despite the cute title and its double meaning, Luhrmann doesn’t deliver the standard concert film. The first segment offers a brief recap of Elvis’ early years as a teen idol, followed by his military stint (and buzz cut), and string of Hollywood films. But it really kicks into gear with the Las Vegas residency years – more than 1100 shows – beginning in 1969. As you watch this, keep in mind that Elvis was in his mid-thirties in most of the clips (he died in 1977 at age 42). Those early Vegas years were Elvis at his peak both physically and vocally. Luhrmann’s brilliant touch includes bouncing from rehearsal to live show. What shines through is Elvis’ true love of the music and absolute dedication to entertaining his fans.

Thankfully, Luhrmann (who also directed MOULIN ROUGE!, 2001) skips the ‘fat Elvis’ ending and focuses on the global phenomenon matched only by The Beatles and Taylor Swift. Elvis speaks to his disappointment at not having the opportunity to act in better films, and it’s clear that his long-time manager, Colonel Tom Parket was also the obstacle to Elvis touring Europe, Japan, or anywhere else outside of the Unites States. Creative editing has Elvis performing “You Were Always On My Mind” during the montage of Priscilla and Lisa Marie, as well as “In the Ghetto” on the heels of him mentioning that he avoids speaking on politics and sees himself as ‘an entertainer’. He even cringes when asked about his Sun Records recordings by Sam Phillips, noting the heavy echo of the songs that initially brought him notoriety.

As a lifelong Elvis fan, noting his pure joy in the music hits hard. A personal favorite moment occurs when he cuts loose on “How Great Thou Art”. The power and depth of that voice was a true gift … not unlike the genetic lottery he won with his looks. The middle-aged ladies sitting next to us in the theater swooned multiple times as he flashed his smile, and of course, those in attendance at his live show had obvious reactions as well. Perhaps no one on the planet ever kissed more women than Elvis.

Luhrmann includes bits of 50+ songs (I lost count) and uses some footage shot for two previous documentaries, ELVIS: THAT’S THE WAY IT IS (1970) and ELVIS ON TOUR (1972), yet here he goes much deeper into the man – the one with a sometimes goofy sense of humor who understood the power of entertaining the audience. Sometimes that audience included celebrities … we see Cary Grant, Sammy Davis Jr, and George Hamilton at shows; but mostly it was how his shows touched everyone with his energy. In deference to the many actors who have portrayed Elvis on screen, including Jacob Elordi, Austin Butler, Kurt Russell, Jonathan Rhys Meyers, Michael Shannon, and Bruce Campbell, there really was no one like him. Elvis may have left the building, but it’s clear the spirit of his music continues to take care of business.

One week run at IMAX theaters thru February 26, 2026 followed by a wide theater run beginning February 27, 2026

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Posted by David Ferguson

BILLY PRESTON: THAT’S THE WAY GOD PLANNED IT (2026, doc)

February 19, 2026

Greetings again from the darkness. That electric smile with the front tooth gap always seemed to accompany the amazing keyboard work of the great Billy Preston. This superb documentary from Paris Barclay proves the musicianship was otherworldly, but also that the Billy Preston smile often hid the pain, hardship, and history of the man.

The film opens on stage in 1971 at the Concert for Bangladesh, organized by Preston’s friend and former Beatle, George Harrison. The concert, and the corresponding film and (legendary) album were fundraisers for refugees of the Bangladesh Liberation War. We witness Preston’s joy as he leaps from the piano bench to dance across the stage as other musicians jammed – Eric Clapton, Leon Russell, Ringo Starr, etc. it’s not surprising to learn that Preston was a piano prodigy at age three, and early on played gospel music at church.

Billy Preston’s career found him playing with everyone from Ray Charles to Nat King Cole to The Beatles (that’s him on the Apple roof in 1969) to The Rolling Stones to Red Hot Chili Peppers. Rock guitar legend Eric Clapton is interviewed for the film and his respect for Preston is as obvious as his frustration at not being able to help him more during times of personal crisis. Preston’s life struggles included being sexually abused at an early age, confusion and difficulties with his sexuality, a scandal that got him arrested, and a drug conviction and insurance fraud conviction that landed him in prison. Despite a kidney transplant in 2002, Preston’s health deteriorated and he passed away in 2005 at age 59.

There is a terrific clip from “Shindig”, and we see/hear Preston do a spot-on impersonation of Ray Charles. Singer Merry Clayton gushes over his talent and the role of A&M Records is discussed. The uniqueness of Preston is emphasized with a comment about his ‘Ranch and Rolls’. He loved riding horses and driving luxury cars. Billy Preston’s lasting impact on music can be noted on so many songs, but perhaps the most touching is the song he wrote for his mother, “You are So Beautiful” (made famous by Joe Cocker). Director Paris Barclay pulls no punches in providing a 360-view of Preston as a man who faced obstacles and challenges and as a musician posthumously inducted into the Rock ‘n Roll Hall of Fame. I’ll view his smile a bit differently now, while also admiring his music even more.

Premiering On February 20th at NYC’s Film Forum

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Posted by David Ferguson

SOUL POWER: THE LEGEND OF THE AMERICAN BASKETBALL ASSOCIATION (2026, doc)

February 15, 2026

Greetings again from the darkness. I had to have that ball. The red, white, and blue basketball looked so cool whether you were shooting a jumper or spinning it on your finger. And it looked even better when “Dr J” was soaring in for a finger-roll or slamming one home. To this young kid, the ABA was ultra cool, and now this four-episode documentary series from director Kenan Kamwana Holley and producers George Karl, Julius Erving, and Common (among others) provides a rush of nostalgia for those my age, and a sports history lesson for younger folks.

Personally, I would have been satisfied with four hours of ABA game clips. After all, this was the league that introduced the three-point arc and the slam dunk contest, as well as flamboyant players and play. But of course, director Holley understands that there is also a significant story to tell about what was happening off the court. Quite an impact is made by allowing those involved to tell their version some fifty plus years later. Some of the best segments feature interviews with Rick Barry, Julius Erving, Spencer Haywood, and Ellie Brown … the latter being the first female sports team owner when she took over for her husband John Y Brown (owner of KFC, governor of KY, once owner of Celtics). We learn about the battle between the stodgy established NBA and the upstart dynamic young league.

The ABA began in 1967 and lasted until the four-team merger with the NBA after the 1976 season. During that span, most of the ABA teams functioned under tremendous financial strain, and teams and cities and logos were juggled fairly regularly. Still, the players and exciting brand of basketball (as compared to the slow-play NBA) sustained the league and its persistent annoyance to the more established league. In addition to those already named, some of the other true ABA stars included George McGinnis, Louie Dampier, Moses Malone, Marvin Barnes, James Silas, Dan Issel, Artis Gilmore, and George Gervin … those latter three all sit for interviews as well. A segment on David “Skywalker” Thompson reminds us of what an incredible talent he was.

It’s likely that Will Ferrell’s comedic SEMI-PRO (2008) film is the only exposure some have to the ABA. In keeping with the league’s actual history, it’s no surprise that Dr. J is the big draw. Julius Erving is a producer on the film, and also provides some insight and commentary along the way. His skills at the time were unlike anything we had ever seen on a basketball court, and he certainly earned the extra attention here. If there is a downside, it’s related to the poor quality and deterioration of the clips from 50 plus years ago. Obviously, we are spoiled with the high-definition replays over the past twenty years, and we should be thankful that this much video has been preserved from the rebel league, but some of it is pretty rough.

Common is the series narrator (he mentions that his dad played in the ABA), and kudos to all involved for the nostalgia and history lesson. The ABA played a crucial role in the evolution of professional basketball, and this film offers a documented record of how it all happened. From NBA legend George Mikan being the league’s first commissioner, to singer Pat Boone being an original team owner, to Rick Barry’s contentious relationship with everyone (except a basketball), to the legal battles involving Barry, Haywood, and Dr. J, to the fight for Lew Alcindor, to the first female team owner, to Darnell Hillman’s afro, to the players’ fashion, to the first microphone job for Bob Costas, to Larry Brown’s overalls, to that iconic first slam dunk contest, to Silna’s big payday, to the high-flying exploits of Erving and Thompson, to that final merger … this is quite a trip for fans.

Available on Prime Video

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Posted by David Ferguson

THE PRESIDENT’S CAKE (2025, Iraq)

February 13, 2026

Greetings again from the darkness. We don’t see a lot of films from Iraq, but if this one from writer-director Hasan Hadi is any indication, the industry there is in fine form with storytelling. While not preachy or heavily politicized, the movie does offer some insight into authoritarianism in the 1990’s under dictator Saddam Hussein. Some would argue that the situation from thirty years ago acts as a modern-day cautionary tale.

Lamia (terrific first-timer Baneen Ahmad Nayyef) is a clever nine-year old who lives in the marshes with her elderly “Bibi” (Waheed Thabet Khreibat). Times are tough in the country due to UN sanctions and the pressure the Saddam Hussein regime pushes down to the citizenry. One of these pressures is the requirement of a national celebration of Saddam’s birthday. “Draw day” comes two days prior as Lamia’s teacher assigns responsibilities for the celebration. Lamia is to bake a birthday cake. This seemingly mundane task is gut-wrenching for Lamia, as she and Bibi barely have enough food to eat themselves. An ingredient list is compiled and Lamia, who feels the intense burden of this assignment, sets out to gather the items.

Lamia has two friends. Classmate Saeed (debuting Sajad Mohammad Qasem) and Lamia’s beloved pet rooster, Hindi, are her only connections outside of Bibi. Lamia and Saeed sometimes play a staring game (first to blink loses), and this serves as both a personal connection and a momentary timeout from the stressful world. It also gives us viewers a short reprieve from this environment as we find joy watching kids be kids, even if it’s a literal blink of an eye. Lamia’s pursuit of the ingredients proves there are creeps and good people in every society, even those under constant threat of war.

Daily life at school has the teacher leading mandatory support sessions for their leader Saddam, and it’s no joking matter. Lamia’s pressure-filled assignment teaches her (and us) that flour is for life, sugar makes life sweeter, and eggs are for fertility. Hadi’s film emphasizes the power of friendship and hope, while Lamia’s dedication to Hindi shows her own sterling mettle. Hadi ends the film with an archival clip of Saddam Hussein celebrating his birthday.

Limited theater opening on February 13, 2026, expanding on February 27, 2026

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Posted by David Ferguson

GOOD LUCK, HAVE FUN, DON’T DIE (2026)

February 11, 2026

Greetings again from the darkness. Director Gore Verbinski has a diverse oeuvre of films dating back almost thirty years. His work includes the first three “Pirates of the Caribbean” movies, the horror film THE RING (2002), the animated Oscar-winning RANGO (2011), THE LONE RANGER (2013), and the eerie A CURE FOR WELLNESS (2016). This is his first film in almost a decade. It’s written by Matthew Robinson (LOVE AND MONSTERS, 2020), and it’s bonkers.

The patrons of late-night diner Norm’s in Los Angeles are interrupted by a rumpled man who claims to be the from the future (Oscar winner Sam Rockwell). His stated mission is to assemble a group of seven diners to help him save the world by stopping a young boy who is programming AI to destroy the world. If you don’t believe him, he has a bomb strapped to his body … are you paying attention now? The man from the future claims he’s been in this same diner more than 100 times and the mission has failed each time, yet he’s back and this time his chosen team includes teachers Zazie Beetz and Michael Pena, Asim Chaudhry, grieving mother Juno Temple, and depressed Haley Lu Richardson who happens to be wearing a tattered princess costume.

Flashbacks are used to provide backstories on some of these characters, and mostly they face crazy and dangerous obstacles as they proceed through the night under future-man’s leadership. Along the way, the film harps on our current obsession with smart phones and technology, while also acknowledging the overwhelming emotions of the political landscape. The dark comedy and frenetic action are a bit exhausting to watch, but the cast is so talented and loaded that we stick with it.

Verbinski delivers a film that is busy and chaotic fun, except when it’s serious – then it’s just busy and chaotic. Rockwell carries much of the film and his blend of energy, wisecracks, and sincerity are a perfect fit for someone looking to stop the AI apocalypse. You may or may not love the film, but it’s doubtful anyone will label it as boring.

In theaters beginning February 13, 2026

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Posted by David Ferguson

Book Review- “HANNIBAL LECTER: A LIFE” by Brian Raftery

February 7, 2026

Analyzed too closely, our fascination with serial killers could (and should) be considered disturbing. Novels, stage plays, movies, and TV series have long focused on the criminals who both frighten society and manage to long elude law enforcement. This is not referring to the demented appeal of scumbag shoot-the-CEO-in-the-back murderers with bushy eyebrows, but rather those whose intellect and psychological profiles allow them to stay one step ahead of those seeking justice – at least for a while. Included on the list would be such recognizable names as Jack the Ripper, Ed Gein, Ted Bundy, Jeffrey Dahmer, Aileen Wuornos, and the Zodiac Killer. Capitalizing on the public’s fascination led Thomas Harris to write “Red Dragon” in 1981, his first novel featuring Hannibal Lecter. Three more Lecter novels followed, and it’s Mr. Harris’ many Lecter works, and the projects influenced by them, that drove this detailed and expertly researched book from author Brian Raftery.

It’s tempting to call this a biography of Hannibal Lecter, a fictional character – despite his being referred to as “the late, great, Hannibal Lecter” during the most recent Presidential campaign (and a few times since). Yet, the biography label feels insufficient since Raftery also delves into Thomas Harris’ writing process, interviews with FBI agents, and serves up some behind-the-scenes details of the movie and TV projects of which ‘Hannibal the cannibal’ was a part. For many readers, including yours truly, gaining some insight into Harris is reward enough. The ever-reclusive bestselling author (more than 50 million books sold) is renowned not just for his outstanding storytelling, but also for his ability to avoid the spotlight and most anything resembling an interview (for decades).

Of course, the public fascination lies not with bestselling authors, but instead on serial killers. Harris’ work on Lecter has permitted us to get up close and (too) personal with this brilliant and dangerous character. It’s the mind games that draw us in … much more so than the grisly murders or cannibalism. This is what makes Raftery’s book so special. He guides us through the various incarnations of the enigmatic Hannibal Lecter. Harris’ four Lecter novels are “Red Dragon” (1981), “The Silence of the Lambs” (1988), “Hannibal” (1999), and the prequel “Hannibal Rising” (2006). Releases of the four novels spanned twenty-five years, fitting properly with Harris’ devotion to the character and his process. The novels fed the cinema with MANHUNTER (1986), THE SILENCE OF THE LAMBS (1991), HANNIBAL (2001), RED DRAGON (2002), HANNIBAL RISING (2007), and the TV series “Hannibal” (2013-15). Author Raftery divides the books/films into sections to facilitate our understanding of Lecter and how the projects came together.

Easily the most popular and widely seen version of Lecter is from the 1991 film version, THE SILENCE OF THE LAMBS. It won five Oscars: Best Picture, Best Director (Jonathan Demme), Best Adapted Screenplay (Ted Tally), Best Actress (Jodie Foster), and Best Actor (Sir Anthony Hopkins). Raftery gives the novel and the film its due, and includes quotes from Hopkins on his pride in portraying the character. For film lovers, Raftery also includes some juicy details around the early decisions on script, director, and casting. There are plenty of surprises throughout the book, yet this section probably contains the most. Raftery doesn’t shy away from the fading interest in Lecter in the later versions, however, the overall success rate and longevity is quite impressive.

Whether you are drawn to Hannibal Lecter through the Thomas Harris novels, the frightening on screen portrayal by Sir Anthony Hopkins, or a general interest in the criminal mind, Brian Raftery’s book will surely exceed expectations, while offering valued insight into one of the most intriguing literary villains of all-time.

Published by Simon & Schuster, available February 10, 2026

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Posted by David Ferguson

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