THE LOVE HYPOTHESIS (2026)

September 22, 2026

Greetings again from the darkness. This year’s batch of Hallmark Christmas movies hasn’t hit yet, so for those fans, here’s the next best thing … a Romantic Comedy based on the New York Times bestseller written by Ali Hazelwood. Directed by prolific TV director Claire Scanlon, with an adapted screenplay by Sarah Rothschild, the film delivers easy comedy with a burst of ‘Girl Power’.

Lili Reinhart (CHEMICAL HEARTS, 2020) stars as Olive, a junk food junkie fighting anxiety over her Grad School interview when we first meet her. This anxiety acts as an internal battle for the brilliant researcher committed to finding a treatment for pancreatic cancer, the disease that took her mother. Once on campus at Stanford, Olive is quickly befriended by the much more outgoing Anh (Rachel Marsh, “Unstable”). The story’s ‘conflict’ occurs when Olive realizes she and Anh have a crush on the same guy, Jeremy (Nicholas Duvernay, “The White Lotus”). Being the grateful and dutiful friend she is, Olive yields the lust to Anh via a most awkward interaction with Dr. Adam Carlsen (Tom Bateman, DEATH ON THE NILE, 2022).

Soon, ‘Dr Evil’ (as Carlsen is known by students) and Olive have struck up a mutually beneficial “fake dating” agreement, complete with rules and regulations. This arrangement allows Dr. Carlsen to pursue the professional advancement he requires, while Olive can ensure that BFF Anh and Jeremy are unencumbered to pursue romance. It’s a win-win, except, of course (and obviously), fake dating rarely stays fake. The necessary complication arrives in the form of Dr Thomas Benton (Arty Froushan, “Daredevil: Born Again”) who fulfills the role of scummy, misogynistic male who abuses his position of power.

This is a Girl Power story told in a rom-com the traditional rom-com style, which makes it a challenge for some of us to appreciate. Reportedly, author Hazelwood used Rey from the Star Wars movies as inspiration for Olive. In a touch of synchronicity, Daisy Ridley (who played Rey) is married to Tom Bateman. It’s not difficult to imagine this as a more real-life drama, which means the story is one worth telling. As a bonus, the best line in the movie is, “Carry yourself with the confidence of a mediocre white guy”, and that made me laugh.

Premieres on Prime Video on September 23, 2026

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Book Review: IT’S ALL ABOUT THE PLAYERS

September 21, 2026

by Peter Gammons

There are fans of baseball and then there is Peter Gammons. He’s on another level with his passion for the game, appreciation of its history, and respect for its players. While there are quite a few talented baseball writers, Mr. Gammons expertly utilizes his love of the game to describe what he’s seen and what it means to him. In this book, baseball history is the foundation, but it’s Gammons’ knowledge, experience, and adoration that feed his perspective and the words that fill the pages.

He’s well known as a sportswriter, announcer, analyst, and historian, and for many of us, Peter Gammons has been an educator … one who teaches us the intricacies of the game. It’s the stuff not in rule book. So why am I writing so much about Peter Gammons in this review? Well, because this book is a collection of stories and observations that he has collected over many decades. This book answers the question, ‘Why does Peter Gammons love baseball?’ It’s joyous reading for any baseball fan, but especially for those of us of a certain age who have watched and admired the players he writes about. He takes us into the clubhouses and dugouts. He lets us hang out by the batting cages. This is ‘inside baseball’ at its finest … easily accessible.

Gammons’ entire professional career has been intertwined with baseball. Being born and raised in the Boston area, his early ties were to the Boston Red Sox, and as any fan knows, those early loyalties often stick. He spent years as a writer for the ‘Boston Globe’, ‘Sports Illustrated’, and ‘The Sporting News’, before joining ESPN as an analyst. Over those decades, he won many awards and was recognized nationally for his baseball insight.  All of that time spent around the game is laid out with stories and moments and memories of the players who made his time at ballparks so special. Baseball fans will soak up these stories and feel like we were right there with him.

In keeping with the book’s title, each of the seven Parts and most of the chapters are sub-titled with the names of the players being written about in a particular part of the book. As an example, one of the most fascinating segments is titled, “Geniuses”, and subtitled with names like Jason Varitek, Greg Maddux, Robin Yount, Tony Gwynn, and Johnny Bench, to name a few. Gammons proceeds to tell a story about each that identifies the player as a baseball genius or savant … the trait, other than raw talent, that set them apart from other big leaguers who simply played hard.

Gammons has at least one story about every significant player over the past fifty years, and since the timeline of my love of the game corresponds so closely to the writings of Gammons, the book acts as a trip down memory lane … with the added benefit of being educational and entertaining. Even the stories on players who weren’t among my favorites are fascinating to read, providing a feeling of discovery and bonding over a beloved sport. This book is for you if you are the type who would be thrilled to read about such things as Ted Williams smelling the burning of the wood of the bat, the green wall and green grass of Fenway, the Yaz era, the rise of Latin American players and later Asian players, Castro’s Cuba, Frank Robinson as the first black manager, the uber-talented Barry Bonds and Ken Griffey Jr, the remarkable Cal Ripken Jr, an enigmatic Alex Rodriguez, “Chicks dig the long ball”, Moneyball, Cubs relief, difference-making GMs, the inexact science of drafting, Gammons’ chat with young Bryce Harper, torch passing from Mattingly to Jeter, and so much more.

Gammons comes clean about his brain surgery and facing the significant chance that his memory would be gone. Memories are what this book is – a treasure for baseball fans everywhere.

Available on Amazon beginning September 22, 2026 


SICK (2026, Poland)

September 19, 2026

Fantastic Fest 2026

Greetings again from the darkness. My decision to review this movie was based on one thing: it’s the feature film directorial and screenwriting debut of Agata Trzebuchowska, who starred in Pawel Pawlikowski’s excellent IDA (2013). That was the extent of my research for this film from Poland, and now after watching it, I am at a loss on how to review without spoiling anything about it. Simply stating that the twists will surely surprise you is not enough – and it helps if you are unaware, as I was, of the film’s genre prior to watching.

It starts out as a ‘normal’ family situation. Sixteen-year-old Maks (Konrad Kakol) travels to a rural home to care for his ailing grandmother (Monica Niemczyk). Maks is a typically awkward teenage boy who spends his time reading comic books and looking at girls online. He is soon joined by his nineteen-year-old sister, Emma (Katarzyna Lubik). She’s perturbed she has to be there and spends entirely too much time drinking and sunbathing, leaving much of the work to Maks.

Emma’s tough façade hides the depression she’s fighting, while Grandma appears to be battling multiple ailments – both physically and mentally. All I can add here is that things get creepy. And then things get creepier. The film takes us in a couple of different directions initially and then stuns us with a twist that shifts everything. The climax is something else totally (with only a few subtle hints along the way). It’s a summer Maks will never forget. Any deeper description would take away from your own bewilderment at the progressions. The twists are such that most will not ‘figure out’ where it’s headed, and viewers are better off just letting it unfold. It will be interesting to see where Ms. Trzebuchowska takes her next feature film.

The film has its World Premiere at Fantastic Fest on September 18, 2026

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THE WEIGHT (2026)

September 17, 2026

Greetings again from the darkness. Padraic McKinley, a film editor by trade, makes his feature film directorial debut with one that feels like a throwback. And that’s not just because it’s based in 1933 Eugene, Oregon during the depression.  This is a period thriller that maintains our interest through characters and setting and story. What’s unusual is that there are four writing credits: Matthew Booi, Shelby Gaines, Leo Scherman, and Matthew Chapman … usually not a good sign, but most of it works pretty well here.

Ethan Hawke stars as Samuel Murphy, a single dad devoted to his precocious young daughter Penny (Avy Berry, A QUIET PLACE: DAY ONE, 2024). Times are tough, and father and daughter return from church service to find they’ve been evicted. This leads to an alleyway skirmish resulting in Samuel being wrongfully arrested and separated from his daughter. Sentenced to a work camp run by Warden Clancy (Oscar winner Russell Crowe), Samuel’s resourcefulness in engineering the removal of a boulder and fixing up a broken down 1918 bootlegger’s car, impresses Clancy.

Samuel is laser-focused on getting released and reuniting with his daughter, so he accepts a deal with Clancy. The job is moving a supply of gold bars through the rough forest terrain before the government confiscates it. He has five days and must depend on a couple other convicts. We get a countdown through the trek, where they meet up with native American Anna (Julia Jones, WIND RIVER, 2017) and a creepy stranger (Cameron Brady). The journey is anything but simple as challenges include more than a creepy stranger … also, a dangerous rope bridge, campfires, weather, and mostly distrust, backstabbing, and greed.

The film’s only weakness is in the non-descript secondary characters, although the cast (Austin Amelio, Avi Nash, Lucas Lynngaard Tonnesen, Sam Hazeldine, George Burgess, Alec Newman) does the best with what they are given. In fact, only Mr. Hawke, Mr. Crowe, and Ms. Jones are memorable in their roles, and what’s interesting is that both Hawke and Crowe quietly underplay their characters using eyes and body language, making them stand out even more. Hawke has really put together a varied career, and he’s coming off a terrific season one of “The Lowdown” (plus he’s had five Oscar nominations over the years). Oscar winner Crowe remains one of the most powerful screen presences when he’s in the mood.

As previously stated, McKinley’s first feature is a bit of throwback, but one with heart and depth … and plenty to keep us engaged (although I’ll admit Clancy’s infatuation with baseball felt like a piece was missing). Whether a happy ending is in the wings is in doubt until the very end.

Opening in theaters on September 18, 2026

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TRACES OF HOME (2026, doc)

September 17, 2026

Greetings again from the darkness. The risk a filmmaker runs by producing a documentary to make sense of their own family is that it might easily turns into family therapy and/or personal therapy. However, in this case, it appears that’s exactly what Colette Ghunim was trying to do. She never had the close bond with her parents that she desperately wanted, so she set out to find out why those emotional defense mechanisms were in place. As with any therapy, the hope is that things get better, while the possibility exists that things get worse.

We first see Colette in a family video at Christmas in 1977. A grown Colette is not only the director of this film, she’s also the narrator … and she spent five plus years on the project. Her mother Iza is of Mexican descent, while her father Hosni was born in Palestine. Colette states she and her older brother Ramsey lived what appeared to be a typical suburban sitcom style childhood in Schaumburg, Illinois. Her complaint is that she never felt especially close to either of her parents, despite admitting they simply wanted to provide an American upbringing to the kids. Dad Hosni wanted to be a director, so he was rarely without a camera – providing plenty of clips of the kids from their childhood. Some of those clips show Mom Iza and Colette exchanging glances that carried silent messages.

Remarkably, Colette arranges a couple of family trips so that the parents can re-trace their roots. A trip to Palestine (Safed) finds Hosni emotional, despite cloudy memories of his time as a four-year-old, escaping war with his family. The sojourn to Mexico not only allows Iza to experience the joy of locating a childhood home, but also the pain of learning just how much her mother sacrificed in taking the kids from a dangerous environment. The emotions are rampant and that includes Colette’s own reactions.

Family dynamics are often bumpy, and we can’t help but wonder if Colette’s project was more for her than for her parents. Clearly, it was difficult for all. As viewers, we feel like eavesdroppers most of the time, and intruders some of the time.

Opens in theaters September 18, 2026 in NYC and September 25th in Los Angeles.

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KNIFE: THE ATTEMPTED MURDER OF SALMAN RUSHDIE (2026, doc)

September 17, 2026

Greetings again from the darkness. Seeing someone get violently attacked is horrifying, whether that be live or a video replay. An additional adjective can be added, ‘shocking’, when the attack occurs on a public figure in a public place. Such is the case when author Salman Rushdie was ambushed on stage at Chautauqua Institute (NY) in 2022. The attacker used a knife to stab Rushdie 14 times. One of the best documentarians working today, Alex Gibney (ENRON: THE SMARTEST GUYS IN THE ROOM, 2005; and an Oscar winner for TAXI TO THE DARK SIDE, 2007), brings this story to the screen based on Rushdie’s 2024 memoir “Knife: Meditations After an Attempted Murder”.

Salman Rushdie makes for quite an eloquent narrator of his own story, and you are likely familiar with him as the target of Iranian Ayatollah Khomeini-issued fatwa in 1988, after Rushdie released his book, “The Satanic Verses.” A bit of quick math tells you that, at the time of this attack, Rushdie had lived more than thirty years with a death threat following him around. Mr. Gibney structures the film in intertwined pieces, including the attack, Rushdie’s hospital and recovery stint, the recordings by his wife, his earlier background as a writer, and his post-attack return to writing.

The film opens with Rushdie on stage at the event that would change his life, yet miraculously, not end it. Gibney elects not to show the video of the attack until much later in the film, however, the early images of Rushdie in the hospital bed make it clear just how violent this attack was. Rachel Eliza Griffiths is a renowned writer and Rushdie’s fifth wife. The video and photos she took of him in the hospital are incredibly personal, while also documenting his amazing recovery from a near-death attack. She understands the importance of documenting his recovery, and it’s clear these two adore each other.

Rushdie tries to recall those early days in the hospital, and one of his most vivid memories is a dream sequence involving Death from Bergman’s 1957 THE SEVENTH SEAL (a clip is included), and we also get scenes from TWELVE ANGRY MEN (1957) and PSYCHO (1960), two classic movies in which knives played a prominent role. Our first look at Rushdie’s injured eye is stunning, and as we learn more about his severe injuries, we can’t help but wonder just how he recovered so quickly and maintained such a positive outlook.

This is a man who uses language at an elevated level, and despite living most of his adult life under threats, his writings are often inspirational and about freedom of expression, especially in regard to religion. The archival footage of his early years provides a profile of a man who has always had the courage to write and say what he felt needed to be expressed. Amazingly, he was cleared to leave the hospital after six weeks, and Gibney films Rushdie’s return to the very stage (on Day 401) where the attack took place. It’s an emotional moment, and one Rushdie says brings him full circle and allows him to make peace … although neither Rushdie nor his wife mention the attacker’s name (a young man likely to spend the rest of his life in prison). Perhaps the most powerful words come not from the filmmaker or either of the talented writers, but rather when Rushdie recalls a lesson learned from his parents: “What can’t be cured, must be endured.”

Opening in theaters on September 17, 2026

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THE UPRISING (2026)

September 10, 2026

Greetings again from the darkness. It can be challenging to relate to an historical drama set in the 14th century, yet the Peasants’ Revolt of 1381 in medieval England sometimes hits quite close to home. Writer-director Paul Greengrass directed three of the Jason Bourne movies, so we can expect the action sequences to be frenetic and thrilling … often relying too heavily on handheld cameras.

Andrew Garfield is ‘Ploughman’, a self-imposed moniker since “I am what I do”. We watch as he works his plot of land around the three graves near his cabin. He’s grieving and lonely, having paid a steep price from the bubonic plague known as “Black Death”. While he’s toiling away, the council for teenage King Richard II (Woody Norman, C’MON C’MON, 2021) is plotting behind closed doors whether to save the kingdom by taxing the rich or by taxing the poor. The rich would expect a seat at the proverbial table, so it all falls to the poor, of course. Ploughman doesn’t take kindly to the announcement and violently lashes out in anger … an action that John Ball (Jamie Bell) and Wat Tyler (Cosmo Jarvis) use as step one in the uprising of the frustrated masses.

The king’s council of corruption and manipulation is made up of elders: Archbishop Sudbury (Stephen Dillane), Chief Justice Belknap (Stanley Townsend), Treasurer Hales (Tom Hollander), and Mayor of London William Walworth (Jonny Lee Miller). While this group protects their own cone of power, the young king cowers in dark corners, escaping nightmares and uncertainty. Even his mum (Katherine Waterston) struggles to get him to govern.

Those in the rebellion are joined by Alyce (Thomasin McKenzie), a character clearly designed to represent the strong and determined women of the era. Injustice is readily accepted in no particular era, so an upswell of anger towards an oligarch by the oppressed is not surprising … although Ploughman’s elite fighting skills certainly are. The progression of the story and the battle scenes deliver significant intensity, and we can’t help but wince as those involved prove the adage, ‘power corrupts’.

If you know any of this history, you know the timid King makes a shocking turn, and one can only assume filmmaker Greengrass had no qualms about any modern-day symmetry shown in this saga from almost 650 years ago. The performances are quite good, and the Bavarian shooting locales perfectly capture the time period. Cinematographer Pal Ulvik Rokseth (ARMAND, 2024) embraces the feel of this setting, despite the trademark Greengrass overuse of handhelds. History can provide lessons of inspiration or lessons of caution, sometimes within the same story.

Opens nationwide in theaters on September 11, 2026

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DON’T FORGET ME: EDDIE COCHRAN (2026, doc)

September 9, 2026

Greetings again from the darkness. With new music being created every day, it’s important to keep alive the history of those early musicians who, decades later, are still influencing contemporary songwriters and musicians. This is exactly what Kirsty Bell accomplishes with her informative profile of Eddie Cochran, a young man whose stardom and artistic pursuits were cut short by a fatal car crash at age 21.

Most are familiar with “the day the music died”. On February 3, 1959, a plane crash in Iowa killed Buddy Holly (age 22), Richie Valens (17), and JP “The Big Bopper” Richardson (28), each a talented and rising star. Not as many are familiar with the car crash that killed Cochran barely one year later, on April 17, 1960. Cochran wrote and performed the classic “Summertime Blues”, which charted for him, and has since been recorded and performed by many artists, including The Beach Boys, Blue Cheer, The Who (yes, at Woodstock) and Alan Jackson.

Filmmaker Bell serves up a true profile of Eddie Cochran, going back to his childhood and his formative years in music (studio sessions). Jack Harris appears periodically as Eddie in reenactments and as narrator, as does Frances Barber as his beloved mother. Eddie’s older sister is interviewed, reminding us that not only is his story musical history, it’s also a personal tragedy. We learn Cochran’s guitar playing was influenced by Chet Atkins and that he was enamored with the music of Ray Charles. He not only befriended Gene Vincent (of “Be-Bop-A-Lula” fame, and another too-soon passing), but also the aforementioned Buddy Holly, with whom he had a friendly competition that found the two passing musical notes and ideas to each other.

The list of icons interviewed here includes Keith Richards, Albert Lee, Ronnie Wood, Peter Frampton, Alice Cooper, Cliff Richard, John Waters, Suzi Quatro, Garry Tallent, Yungblud, Rod Stewart, Roger Daltrey, Sting, and Kiefer Sutherland (among others). It’s a partial lineup that demonstrates just how influential and respected Eddie Cochran was, despite his unfortunately short career. Of course, I’ve only mentioned “Summertime Blues”, but Cochran left other memorable tunes, including “C’mon Everybody”, and “Twenty Flight Rock”. Because of his age, we will never know what directions he might have gone – music production, film acting, and/or continued songwriting and performing.

The film travels back to Cochran’s hometown of Albert Lea, Minnesota and also goes into detail about his 1960 European Tour with Gene Vincent. We are fortunate to have the 1956 movie, THE GIRL CAN’T HELP IT, which features a performance from Eddie (and others). In a remarkable twist of fate, it was Police Officer Dave Dee who found Cochran’s guitar after the fatal crash. This police officer went on to be part of Dave Dee, Dozy, Beaky, Mick & Tich, an English rock band from the 1960’s (and mentioned in Quentin Tarantino’s DEATH PROOF). The message delivered by Kirsty Bell’s film and Eddie Cochran’s story is that good music connects the generations … even if tragedy strikes far too often.

The film opens in UK cinemas on September 11, 2026

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WHO MOVES AMERICA (2026, doc)

September 9, 2026

Greetings again from the darkness. Whether it’s flight attendants, dock workers, or Amazon, we tend to think about, and dread, the inconvenience a labor strike will cause us personally. Documentarian Yael Bridge gives us a rare peek inside … sometimes behind closed doors … to show us how a potential work stoppage (strike) could affect those workers and their families. This time, the company is UPS, which according to the film handles approximately six percent of all goods in the United States.

The film opens with some archival footage of the first UPS strike in 1997, before jumping to 2023 when the 340,000 UPS workers are preparing for collective bargaining on a new contract. Coming off the post-COVID era where UPS profits soared, the Teamsters union members are requesting and expecting many favorable changes. Filmmaker Bridge focuses on three people: a relatively new UPS driver in California, a long-time New York employee who was around during the 1997 strike, and a struggling part-timer in Kentucky. It should be noted that part-timers make up about 60% of the UPS workforce, and based on some of what we learn here, the company may have been skirting legalities in this area.

Solidarity is built through education and communication, and it’s a slow process when the workers are spread throughout the country and the expectations vary widely. At the time, drivers averaged $39 per hour and part-timers averaged $16 per hour. Of course, higher wages were one demand, but so were better working conditions (breaks, holidays, etc). It’s pretty interesting to hear these discussions, and even more enlightening to see which employees take a leadership role. The Teamsters’ national President, Sean O’Brien, makes the rounds and provides video updates for the employees. He’s also the one who announces a ‘tentative agreement’ (one that not every employee loves) that is subject to voting passage. Since each subsequent labor contract is built upon previous negotiations, generations of workers play a role … and this time it appears the union will plan ahead for the next round coming in five years.

The film opens September 9, 2026 in NYC’s IFC Center, kicking off a nationwide release that expands to Los Angeles on September 24, followed by Philadelphia, Boston, Encinitas, and additional cities throughout the fall.

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MAYDAY (2026)

September 3, 2026

Greetings again from the darkness. I guess we were due for a “Cold War Buddy Comedy”. And who better to deliver than co-directors John Francis Daley and Johnathan Goldstein, the team behind GAME NIGHT (2018) and DUNGEONS & DRAGONS: HONOR AMONG THIEVES (2023). This time out, they deliver excellent visuals to go along with stellar comedic chemistry between first class wisecracker Ryan Reynolds and expert straight man (and Oscar winner) Kenneth Branagh.

Reynolds stars as hotshot Navy pilot Troy Kelly, nicknamed “Assassin” for not-so-heroic reasons held at bay until near the film’s end. The year is 1987, which is forty years into the Cold War, and Reynolds is shot down while on a Top-Secret reconnaissance mission deep into Russian territory. A terrific visual effect has us following Troy’s ejection and fiery parachute down towards a very rough landing. He’s rescued by Nikolai Ustinov (Branagh), who it’s soon learned is a former KGB agent. Now living like a hermit miles from civilization, Nikolai prefers to be called ‘Nick’ and is thoroughly obsessed with all things American, especially TOP GUN … of which his prized possession is a Kramer-style bootleg of the film shot in a theater.

We are treated to a Jackie Chan-style bar fight, where Nick surprises with advanced skills. This forces the two men on a road trip, where Troy hopes he can be returned to freedom, and Nick hopes his efforts to save Troy will result in the ultimate relo to the U.S. for him and his daughter (an underused Maria Bakalova). While on this road trip, the men are being pursued by an ambitious and relentless Soviet agent played by Marcin Dorocinski (MISSION: IMPOSSIBLE – DEAD RECKONING PART ONE, 2023). Other memorable visuals include a chase scene through a parade involving a nuclear missile launcher and fisticuffs midflight while the plane door is open.

Cinematographer Barry Peterson deserves credit for visuals that maintain the pace of the Reynolds – Branagh back-and-forth, and the accompanying Bruce Springsteen songs don’t hurt either (a result of the Boss selling off his catalog). David Morse has a small role as Troy’s dad, but the subplot feels a bit slapped on, even if it doesn’t really distract from the overall entertainment value delivered by this latest Daley-Goldstein project. A key element on display is how both sides fall prey to propaganda.

The film will be released globally on Apple TV on September 4.

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