AN EYE FOR AN EYE (2026, doc, Iran)

August 11, 2026

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

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

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

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

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

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

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Posted by David Ferguson

COOKIE QUEENS (2026, doc)

August 6, 2026

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

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

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

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

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

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

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

Opening in theaters on August 7, 2026

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Posted by David Ferguson

OLMO (2026)

August 6, 2026

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

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

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

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

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

In theaters nationwide beginning August 7, 2026

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Posted by David Ferguson

DO US PART (2026)

August 6, 2026

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

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

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

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

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

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Posted by David Ferguson

THE DINK (2026)

July 23, 2026

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

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

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

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

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

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Posted by David Ferguson

SHEEP IN THE BOX (2026, Japan)

July 23, 2026

Greetings again from the darkness. Most of us would do just about anything for a grieving loved one. Kepsuke (Daigo Yamamoto) proves this when he accompanies his wife Otone (Haruka Ayase) to a presentation at ReBirth, a company specializing in humanoids meant to replace a lost child. An accident two years ago cost this couple their 7-year-old son Kakeru (Rimu Kuwaki), and the husband, though skeptical of the whole thing, hopes this is what his wife needs to move on.

The film is written and directed by the ultra-talented Hirokazu Kore-eda (THE TRUTH, 2019; SHOPLIFTERS, 2018; OUR LITTLE SISTER, 2015), who has utilized his remarkable insight into human nature to bring us several memorable films. This one may lack the emotional depth of his previous work, yet it has plenty to say about technology and artificial intelligence. Otone is an architect and Kepsuke is a builder, and for much of the film, she is working on designing a unique house for another couple. Of course, the real story here is how humanoid Kakeru fits with this new family. Otone is initially quite accepting of this new being, while Kepsuke takes a bit longer.

Could you love a robot? Is an emotional bond even possible? Does this constitute life and should the new Kakeru even be considered a ‘real’ boy? Filmmaker Kore-eda throws in a twist since there are two sides to this story … and Kakeru’s side is easily the most fascinating. As it/he bonds with his true peers, the story takes on a much different and much larger picture than the intimate family drama we initially expected. We are told we are “a product of your own past”, and it’s Otone and Kepsuke who believe they are deciding whether to keep it or not. The obvious comparison here is Spielberg’s AI: ARTIFICIAL INTELLIGENCE (2001), but Kore-eda takes a different approach and leaves us pondering whether technology is serving us or will technology ultimately serve itself?

Opening in theaters July 24, 2026 and expanding through August 7, 2026

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Posted by David Ferguson

A WOMAN’S WORK (2026)

July 17, 2026

Waco Independent Film Festival 2026

Greetings again from the darkness. It’s such a treat when a film sneaks up and surprises you with such emotional depth that you not only feel like you know the characters, but you also want to stick around and see how they do over the next few years. The first feature film from writer-director A.R. Ephraim does just that, leaving me so touched by what I’d just watched, yet saddened that my connection with Jolene was over.

Louisa Harland (HAMNET, 2025) delivers a quietly powerful performance as Jolene, a young woman working in the coal mines of Harlan County, Kentucky. She has been supporting her two sisters since their parents passed away. Sixteen-year-old Lara (Emma Duchesneau) is in love with local boy Judd (Braden Bell), who is not the sharpest tool in the drawer. Six-year-old Emmy (newcomer Shelby Mullins) is sweet and smart, and benefitting from Jolene’s life lessons on cooking, fishing, and shooting.

When Lara tells Lou that she’s getting married to Judd, the reaction is just what you would expect from a protective sister who sees the bigger picture. Lou works the nightshift at the mines. She packs a lunch for 2-3 days, “just in case”, and comes home daily to wash the ground-in coal dust off her body. Unfortunately, the weight of her life does not rinse off so easily. Miners’ attitude towards working women isn’t much better than the small town attitude towards a gay woman raising kids. Lou’s relationship with Kylie (Alice Kremelberg, “The Boroughs”) is the worst kept secret in town, yet the two women seem good for each other.

The film opens with a gentle overview via drone of the beaten down mining town, and later Lou states, “all these buildings used to be something.” Lou is tough, but she’s also an incredibly giving and caring person. She’s the kind of friend or sister you want … she’ll even stick up for a loved one in a bar fight. When Kylie decides she’s ‘gotta get outta here’ (the way small town often folks do), Lou has a decision to make. What we witness is the difference between sacrifice and responsibilities. That difference is love … and proof that family is borne from the heart. A.R. Ephraim has created a film that will stick with me for a while.

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Posted by David Ferguson

THE ODYSSEY (2026)

July 16, 2026

Greetings again from the darkness. What makes a movie “epic”? Most cinephiles would agree the list of epic movies includes LAWRENCE OF ARABIA (1962), GONE WITH THE WIND (1939), BEN-HUR (1959), and APOCALYPSE NOW (1979). Of course, arguments can be made for many other films, and it really comes down to how you define ‘epic’ and how you perceive a specific film. Regardless of your definition or perception, there is no doubt that this latest from Oscar winning filmmaker Christopher Nolan is an epic film and an epic movie-watching experience. Yes, it’s the first film to be filmed entirely with IMAX 70mm cameras, and it’s based on the Homer’s “Odyssey”, itself a piece of epic Greek literature … but it also is a piece of filmmaking unlike anything we’ve previously seen.

Oscar winner Matt Damon stars as Odysseus, and the story is centered on his ten-year journey home after the Trojan War. This includes a breathtaking Trojan Horse sequence, told with a twist from tradition. My favorite sequence (and that’s really saying something) involves the Cyclops and his flock of sheep inside the Master Cave in Greece. It’s truly staggering film work that would itself win every technical Oscar in most years. However, Nolan offers us so much more here – action-packed battle scenes, torturous boat journeys at sea, other creatures that must be seen (Scylla who snatches men from the deck of a ship), and the unheard (by us) song of the Sirens known to seize men. Another terrific sequence involves a fabulous Samantha Morton as Circe the witch, who has a special way of treating strangers.

Oscar winner Anne Hathaway plays Queen Penelope, wife to Odysseus and mother to their son Telemachus, played by (Spider-Man) Tom Holland. The two have a twenty year wait to see if Odysseus lives and if he will return to them in Ithaca. Penelope is left to manage the power struggles for her hand in marriage and for the kingdom, with a key figure being the slimy Antinous (Robert Pattinson). Oscar winner Lupita Nyong’o plays the stunning Helen of Troy, as well as her twin sister in a dual role, and it’s Zendaya who shows up periodically for Odysseus as the goddess Athena. In a substantial role, we find Oscar winner Charlize Theron as Calypso, spending years on her island with the wayward and lost Odysseus. Nolan’s cast is massive and talented and includes John Leguizano in a key role, as well as Jon Bernthal as Menelaus, Elliot Page as Sinon, and Himesh Patel as Eurylochus … plus many others you’ll recognize.

Nolan reteams with Oscar winning cinematographer Hoyte Van Hoytema to provide a truly amazing visual experience, filming in at least six countries to help us visualize Antiquity and Odysseus’ journey across the Mediterranean Sea: Morocco, Greece, Italy, Iceland, Scotland, and Malta. Three-time Oscar winner Ludwig Goransson delivers a unique and powerful score, with a blend of electronics and even some jazz. Nolan has credited Emily Wilson’s 2017 translation of Homer’s “Odyssey” for the modern language take, and though “Zeus’s Law” is referenced a few times, it can easily be described as human decency. The modern-day messages shine through – false gods, lust for power, and treating others poorly are mistakes humans have made over and over … and these messages couldn’t be more relevant than right now. The film reportedly had a $250 million budget, and as amazing as the film is, there will surely be those who complain that it moves too slowly or the film is too dark. I would only say that watching the film is like having a book unfold in front of you. I would certainly recommend if you are planning to see the film, head to an IMAX theater or at least the biggest screen nearby.

Opens in theaters on July 17, 2026

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Posted by David Ferguson

THE LEGEND OF JUAN JOSE MUNDO (2026)

July 16, 2026

Waco Independent Film Festival 2026

Greetings again from the darkness. For those who are itching to re-live the glory days of 1984 high school, writer-director Michael Walker and co-writer Susan Gomes are here for you. The surprising part is that even for non-Gen X viewers, the film is so well crafted and acted, that it flows beautifully as a time capsule for the era. As if that’s not enough, it’s also based on a true story.

Relative newcomer Anna Mirodin shines as Julie, a Jewish high school junior in suburban New York (White Plains). She’s a good student … trusted by her teachers, and a good girl … who admits she’s “never done anything with a boy.”  Her best friend, Suzanne (Hannah Kepple, “Cobra Kai”, and a Dyan Cannon lookalike) is a bit more adventurous and tries to coax her friend into being more assertive in pursuing her desires. The perfect opportunity arises for Anna when Juan Jose Mundo, arrives from Spain as the exchange student assigned to stay at her house during his trip.

Juan Jose Mundo (Alexandro Byrd in his first feature film) is a charming, handsome, gregarious young man with proper manners around parents and the charisma to attract high school students of both genders. It’s quite entertaining to watch Juan quickly embed himself into the basement parties and other activities of Julie’s classmates – all while her reserved nature prevents her from sharing her feelings with him. Along the way, we are treated to the ‘treasures’ of 1984, including the family station wagon, the tied-to-the-era fashion choices, the music (much of which now seems comical), the blatant racism, and the politics that generated a Mondale/Ferraro bumper sticker on said station wagon. Especially prevalent is the presence of mix tapes as a flirtation strategy. Despite ringing true to the period, much of what’s included acts as a painful reminder of 1984.

Admittedly, teen comedies aren’t my usual cup of tea, yet Walker and Gomes fill a void that’s existed since the days of John Hughes … this is a smart movie about teenagers, and it even serves up a life lesson, if you can find a teen to listen. On the surface, it doesn’t seem to be a story about the danger of those years, but in fact, it’s a cautionary tale about teen desire, confusion, frustration, and peer pressure. We even have awkward parents and an obnoxious sibling on display. Kudos to the cast and filmmakers for refusing to dumb down the material for their audience.

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Posted by David Ferguson

HORSEGIRLS (2026)

July 16, 2026

Greetings again from the darkness. I usually try to avoid using the word ‘endearing’ to describe a film that strikes an emotional chord, but for this film from writer-director Lauren Meyering and co-writer Mackenzie Breeden, the word fits perfectly. Much of the reason for this is the screen presence of Lillian Carrier, who was diagnosed with autism at age 16. Here she portrays twenty-two-year-old Margarita in a way that allows us to understand her real life challenges.

Margarita openly confesses the backstory of her name to most everyone she meets. It’s a clue to how direct and honest she can be, while also showing her difficulty in recognizing social cues and adhering to social norms. She lives with her mother Sandy (Gretchen Mol), who is undergoing chemotherapy for breast cancer. Sandy and Margarita have a deep bond, but mother is trying hard (for good reason) to push Margarita towards independence. This leads to arguments, and to Margarita securing a job at the local Halloween store run by Hank (Igbal Theba).

It’s joining a troupe of young hobby-horse dancers (yeah, I had no idea this was a thing) that leads Margarita even closer to independence. The team’s coach is played by (an excellent) Jerod Harris, and his ‘tough love’ approach is something Margarita responds to. “Walk it off, Red”, is one of his regular sayings as she initially stumbles through the routine or faces harsh treatment from the snooty girls on the team. We all know that ‘adulting’ is not easy. The trip is filled with obstacles. It’s even more challenging for those on the spectrum, yet we find a certain satisfaction in watching Margarita grow and develop.

I’ve been a fan of Gretchen Mol since the 1990’s and have often said I wish she would act more often … at least in the projects I see. Here, she’s a strong mother and vulnerable woman and really delivers as Margarita’s mother. As Margarita, Lillian Carrier is quite something to behold. She is smart and emotional and relatable … and someone we enjoy rooting for. Some may call this a ‘coming-of-age’ story, and perhaps it is. Mostly, it’s the journey of life that we all travel – only some roads are a bit bumpier than others. Look for a nice cameo towards the end.

The film opens in theaters on July 17, 2026

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1 Comment | Drama | Tagged: , , , , , , | Permalink
Posted by David Ferguson

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