Book Review: A SUDDEN FLICKER OF LIGHT: A REVISIONIST HISTORY OF MOVIES

July 6, 2026

Book by David Thomson

If you are looking for a timeline of movie history compiled by one of the foremost film historians, and if you find text sprinkled with harsh opinions from a pompous expert to be an added benefit, then David Thomson has written the book for you. The British-born octogenarian has contributed thoughtful film criticism to most every major publication, and this is his 45th published book – some biographies, some based on television, most on cinema, and all with ties to the industry that supplies moving pictures for entertainment. This latest book covers the entire history from Eadward Muybridge’s galloping horses in 1887 to the Best Picture win for Sean Baker’s ANORA at the 2025 Oscars.

Mr. Thomson has never been one to sugarcoat his opinions, and the years have not softened his approach in the least. It’s important to note that this book serves as an overview of an industry that’s well over one hundred years old. Rather than drop a brief synopsis on thousands of movies released, he instead opts to pick the highlights and then dig a bit deeper on those topics, films, and contributors. Never do we doubt Mr. Thomson’s knowledge, nor are we left wondering where he stands on a particular movie, actor, writer, director, producer, or studio head. His clarity can be blinding and abrasive, while also being informative and thought-provoking.

True cinephiles will find value in the historical commentary. Thomson takes us back to the days of the Lumiere brothers and Georges Melies, and through the “new” waves – the studio systems of Selznick, Mayer and Thalberg; ‘talkies’; followed by the French directors Truffaut, Godard, and Rohmer; and then the 1970’s brats of Coppola, Lucas, Scorsese, and Spielberg. What Thomson spells out are the eras involved as cinema reinvents itself. Of course, technological advances played a role in filmmaking changes, and so did societal and cultural differences. Pre-Code, the Production Code, and the morality shifts post-code have all influenced who makes movies and what we see on screen.

Mr. Thomson has a recurring comparison throughout of movies versus books – watching versus reading. The difference between plopping down in your favorite chair and quietly escaping through the page-turning is one thing, and yet, the darkness of a spacious theater and the illumination of the silver screen is yet another escape that brings pleasure. It’s not surprising that Thomson is no fan of watching movies on personal devices, or even screening movies at home. Nothing replaces the communal experience of a packed theater for opening night of the latest release. Perhaps this is just the latest shift in movie watching, and we will learn to accept, regardless of how much nostalgia is lost.

At times, reading Thomson’s latest is a bit of a downer as he dwells on a particular film or topic of which he’s no fan. However, as soon as we begin to label him a “hater”, he will eloquently describe his admiration of a particular film or filmmaker. His respect for THE GODFATHER and CHINATOWN is as clear as his understanding of the vital advances from those early days as the industry was building and developing. Segments on DW Griffith, Thomas Dixon, Erich Stroheim, Francois Truffaut, Frank Capra, Hitler/Riefenstahl, CASABLANCA, CITIZEN KANE. Alfred Hitchcock (especially PSYCHO), OUT OF THE PAST, SUNSET BOULEVARD, BONNIE AND CLYDE, the 1970’s are among the most interesting. Personally, I embraced the connection of Norman Bates to Hannibal Lecter, as those are two characters (and movies) I’ve watched numerous times. Many other films, directors, and actors are referenced, though the value is in the highlights throughout the timeline of movies.

In this book, David Thomson does what we’ve come to expect David Thomson to do. We even depend on it.  He will shoot straight with us about his opinions, no matter how strongly many movie-goers may disagree. Pointed zingers are common in the book and often aimed at specific filmmakers and their final products. Thomson even shares his thoughts on Donald Trump a couple of times. David Thomson has devoted many decades of his life to an industry that he’s not hesitant to criticize. Disagreeing with Thomson on a movie, or debating him on the merits of a scene, are what keeps his work relevant after all of these years. He doesn’t seem to mind at all if we believe he’s wrong about something … just be prepared to defend your stance. A book that recounts history, provides insight from an expert, and encourages thought from the reader, is one that isn’t for everyone, but you know if it’s for you.

Published by Simon & Schuster, the book is available on AMAZON beginning July 7, 2026

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Posted by David Ferguson

COUTURE (2026)

June 26, 2026

Greetings again from the darkness. “The best laid plans of mice and men often go awry.” It’s a famous adage that easily could continue with ‘through no fault of their own’ … and as it pertains to writer-director Alice Winocour’s (MUSTANG, 2015) latest film, the adage applies specifically the women. For a film based on Fashion Week in Paris, we get a rare glimpse inside the Chanel showroom. More importantly we get a feel for the stress and pressure being carried by those involved.

Oscar winner Angelina Jolie stars as Maxine Walker, an American director of indie horror films on the verge of her big break. She’s been invited to create a short film that will open the show just prior to the models taking the runway. Chosen to star in the film and be first on the runway is this year’s big new arrival, rookie model/actor Ada (real life model Anyier Anei in her debut film role). The striking Ada is from Sudan by way of Kenya. Another character we are keyed on is French make-up artist Angele (Ella Rumpf, RAW, 2016), who maintains a helpful approach, despite often being taken advantage of.

Ada has skipped Pharmacy School and kept the secret from her father as she pursues this possible career change. Angele is working diligently to be a writer, despite the harsh criticism from a older male editor who tells her, “Just because they (the stories) are real doesn’t make them interesting.” Maxine is dealing long-distance with her teenage daughter while also going through the legalities and emotions of a divorce. All three working women have men making their dreams more challenging to reach. Maxine has it even worse when a doctor hits her with the results of a biopsy. This seems especially pertinent since Ms. Jolie underwent a preventive mastectomy and lost her mother to breast cancer.

Other characters involved here include Ukrainian Christine (Garance Marillier, RAW, 2016), an anxious seamstress working on her first solo dress for the show; Anton (an underutilized Louis Garrel, LITTLE WOMEN, 2019) as Maxine’s oft-frustrated cinematographer; and two French acting legends, Vincent Lindon as Maxine’s Doctor Hansen and Aurore Clement as a woman she meets in the hospital waiting room. There are many other near-connections, and that’s probably the film’s greatest flaw. So many of these characters could provide an interesting story, yet it feels like most get shortchanged. The film’s messages come across quite clearly: Fashion Week is built upon the work of many women, and those women all overcome obstacles to complete their work.

In theaters beginning June 26, 2026

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Posted by David Ferguson

SUPERGIRL (2026)

June 26, 2026

Greetings again from the darkness. Craig Gillespie previously directed I, TONYA (2017) and LARS AND THE REAL GIRL (2007), among other projects, and it’s perhaps those two films – both featuring odd outsiders – that motivated producer James Gunn to choose him to helm the feature film that brings DC’s Supergirl back to the big screen. The screenplay is by Ana Nogueira, and of course features characters originated by Jerry Siegel and Joel Shuster, with the key source material being the comic, “Supergirl: Woman of Tomorrow”.

Seeing as I’m neither a comic book fanatic nor a fan of the 1984 SUPERGIRL film starring Helen Slater (with the exception of Brenda Vaccaro’s performance), it’s safe to say I carried no heightened expectations into the theater. On the bright side, it’s quite entertaining to see Milly Alcock (“Sirens”, “House of the Dragon”) play Kara Zor-El as a not-so-Super girl trying to numb the pain of the tragedy that took her parents and home planet, Krypton. We see her younger days via periodic flashbacks with David Krumholtz and Emily Beecham as her parents. We also learn why they shipped her and her pet dog Krypto off to Earth to meet her cousin, Superman (David Corenswet) aka Clark Kent. He, of course, was raised in Kansas, creating the contrast between the two characters.

The one bit of advice mom gave Kara was to “be nice” and help others. That’s not so easy to do whilst on an intergalactic mind-numbing bender, but Kara continually rises to the occasion. The different effects of red sun and yellow sun become quite obvious, and it’s crossing paths with Ruthye (Eve Ridley) that drives the key story lines. An actor I’ve always admired, Matthias Schoenaerts, plays the face-studded vile villain Krem – the vicious dude who slaughtered Ruthye’s family, setting her off on a revenge mission, armed only with a prized sword handcrafted by her slain father. As savage as Krem is, we all recognize that a standout villain is vital to a standout superhero movie, and Krem simply falls short. On this interplanetary road trip, Kara and Ruthye encounter a slew of aliens who all look like castoffs from the Star Wars casino … but also with Lobo, an immortal intergalactic bounty hunter and stogie smoking hog rider. Lobo is played by Jason Mamoa, and the character seems forcibly wedged into the story for the sole purpose of having Mr. Mamoa on a poster. He makes an excellent bad boy, even if he doesn’t really fit here.

Krypto the superdog plays near-dead for most of the film, but does have some excitable moments … creating an excellent ‘pink eye’ joke. Some may compare this to CAPTAIN MARVEL (2019) or the most recent SUPERMAN (2025), but the messy CGI fight scenes and weak story prevent this one from reaching those levels. Milly Alcock’s take on Supergirl gets too few chances to play against Corenswet’s Superman, and the film suffers because of it. Composer Claudia Sarne (THE BOOK OF ELI, 2010) delivers a fitting electronic score, but the needle drops seem to be trying too hard. It’s likely huge comic book fans will have a different take on the film, and that’s as it should be.

In theaters beginning June 26, 2026

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Posted by David Ferguson

THE INVITE (2026)

June 26, 2026

Greetings again from the darkness. This is at least the eighth film adaptation of a story by Cesc Gay: THE PEOPLE UPSTAIRS (Spain, 2020), VICINI DI CASA (Italy, 2022), THE NEIGHBORS FROM UPSTAIRS (Switzerland, 2023), V DOBREM I ZLEM (Czech Republic, 2024), NEPRILICHNYE GOSTI (Russia, 2024), MAYBE MORE (France, 2024), THE PEOPLE UPSTAIRS (S Korea, 2025). Clearly, it’s a story and situation that resonates with many couples, regardless of geography, language, or culture … and director Olivia Wilde provides an American spin with assistance from co-writers Will McCormack (Oscar winner, TOY STORY 4) and Rashida Jones (“Parks and Recreation”).

In addition to directing the film, Ms. Wilde also stars as Angela, who is married to Joe, played by Seth Rogen. We see a bored Joe barely paying attention to the school band his job requires him to conduct, and he then trudges home on a folding bicycle that he wrestles through every possible obstacle. When he arrives home, Angela is putting the finishing touches on dinner party details … and the two immediately begin bickering over everything either of them says or does. Angela is high-strung and intent on making a good impression with the upstairs neighbors she has invited, while Joe makes no promises about avoiding the topic of wall-shaking sexcapades those same neighbors engage in, regularly disrupting his serene evenings of pot smoking.

The stage is set for an evening of conflict, and although it begins amicably enough, things do spiral into an emotional hurricane that creates more noise and emotion than any of those intrusive sounds Joe despises. Oscar winner Penelope Cruz is Pina, and Edward Norton plays her boyfriend Hawk. These are coy and cool personas who are sizing up Angela and Joe, for reasons most will identify almost immediately.

The first half (or more) of the film seems designed as a set up for a stream of Seth Rogen one-liners, and judging from audience reactions at the screening, these quips will strike a chord with his fans. However, there is a lot more going on here than merely a platform for punchlines. Relationships are often complicated by a lack of communication, and that’s on full display here. Sex is a huge part of their marital problems and an even bigger part of the evening’s conversation, yet sex is more of a conduit to underlying issues that may be exposed before this party ends.

The four characters are consistently unlikable, and yet, this works thanks to the proficiency of the actors, the message delivered by the story, and the expert direction by Olivia Wilde. She previously directed DON’T WORRY DARLING (2022) and BOOKSMART (2017), the latter of which was excellent. This story and setting seem to be a better fit for the stage than the screen, yet Ms. Wilde ensures the pacing and movements within the apartment are precise and keep us engaged. There is a certain audience that will be drawn to the Seth Rogen comedy, while some will be caught off guard by the relationship tension. For some viewers, there is a certain pleasure to be found in comparing the film to the Mike Nichols classic, WHO’S AFRAID OF VIRGINIA WOOLF? (1966). As uncomfortable as it is to watch, some will find solace and relief that their own relationship hasn’t fallen this far (hopefully).

SELECT THEATERS JUNE 26, EVERYWHERE JULY 10

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Posted by David Ferguson

PETER ASHER: EVERYWHERE MAN (2026, doc)

June 26, 2026

Greetings again from the darkness. This documentary opens with Steve Martin sitting on the sofa conversing with his friend Peter Asher. An early point is made that defining or labeling Peter Asher is a bit challenging, and co-directors Daniel Geller and Dayna Goldfine (collaborators for more than 35 years, including HALLELUJAH: LEONARD COHEN, A STORY, A SONG, 2021) then proceed to spell out his remarkable career and his impact on music and the music industry. Perhaps the closest comparison we can offer is that of the recently deceased music executive, Clive Davis. Two influential men who brought passion to the work.

Asher was a redheaded child actor along with his sister Jane Asher. She has gone on to have an acting career spanning 70+ years (still going), while Peter shifted into music and initially became famous as one-half of the duo Peter and Gordon, part of the infamous British Invasion. Peter and Gordon Waller met at school, and though their personalities couldn’t have been much different, their vocal styles perfectly harmonized – not unlike the singing duo they worshipped, The Everly Brothers. Sister Jane entered into a quite serious relationship with a young fellow named Paul McCartney, and Paul and Peter became fast friends thanks to a shared love of music. A single moment worthy of the price of admission is hearing the original recording of Paul’s demo of “A World Without Love”.  A McCartney song that became the first hit for Peter and Gordon.

When profiling someone who has been this influential, it’s often best to allow the beneficiaries to have their say. That’s exactly what Geller and Goldfine do. Some of these are interviewed for the film, while some are from archival footage, and among those we hear from: Jane Asher, Peter’s daughters, Paul McCartney, Marianne Faithful, Carole King, James Taylor, Twiggy, Danny Kortchmar, Leland Sklar, Robin Williams, and Linda Ronstadt. Since the full list is even longer, the directors include a slide show of singers, bands, and entertainers whose careers have all been touched by Peter Asher. It’s quite a segment.

I’ve long enjoyed (and learned from) Peter Asher’s work on The Beatles channel on Sirius Radio, and this profile offers even more – including details on the Indico Art Gallery, and Peter’s reunion with Gordon for a benefit performance. Gordon later passed away in 2009. For those who enjoy music history, few documentaries are more informative than this one on a true overlooked influencer.

In Theaters Beginning June 19th in NYC

Before Expanding to LA and Markets Nationwide Beginning June 26

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Posted by David Ferguson

THE GET OUT (2026)

June 26, 2026

Greetings again from the darkness. So what is it that differentiates this one from the many other crime-comedies that have come before? The truth is … not much, but maybe just enough to keep fans of the genre tuned in. It certainly has an intriguing cast, and writer-director Derrick Borte (back with his UNHINGED star) and co-writer Daniel Forte have adapted the 2010 Thomas Perry novel, “Strip”.

Oscar winner Russell Crowe stars as Manco Kapek, an Albanian immigrant who has been in the United States for twenty-plus years. He runs a successful Los Angeles nightclub that he converted from a strip joint, explaining that one must be willing to change with the times. The club’s bookkeeper is Sunny (an enchanting Teresa Palmer, THE FALL GUY, 2024), who is also Manco’s much younger, but very devoted, girlfriend. Also in the mix is Spence (Benedict Hardie, HACKSAW RIDGE, 2017), Manco’s (mostly) trusty assistant. A cardiac incident jolts Manco into thoughts of retirement, and he contacts Joe (Luke Evans, BEAUTY AND THE BEAST, 2017), a New Jersey transplant who has previously expressed an interest in buying the club.

Next up, we have college professor Jeff (Aaron Paul, “Breaking Bad”), one the most high-strung and polite robbers we’ve seen … well, until bank teller Carrie (Nina Dobrev) forces him into a partnership. She’s giddy for crime and is obsessed with the movie, POINT BREAK. Two other key characters are Detective Slosser (Josh McConville, ELVIS, 2022) and Rodriguez (Daniel Zovatto, “Penny Dreadful: City of Angels”). It’s Rodriguez’s money that makes Manco well-to-do and puts him in danger.

So, here’s the lineup of what Borte’s film delivers: armed robbery, murder, a shootout, drugs, drug cartel money, money laundering, arson, a car explosion, off-key karaoke, a Viagra overdoes, extortion, a double-cross, and somehow … a large bear (possibly a grizzly, but I’m no expert). I lost count on the number of twists and turns, but these are certainly the film’s focus rather than character development or character connection. Crowe’s screen presence is always off-the-chart, and he’s coming off an underappreciated performance in NUREMBERG. He plays Manco with his tongue planted firmly in cheek. The film is entertaining enough for those who just want simple entertainment for an evening, and it even ends with the Gipsy Kings’ version of “Hotel California” (Spanish).

Opens in select theaters on June 26, 2026 and On Digital and On Demand June 30.

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Posted by David Ferguson

LONE RIDER (2026)

June 26, 2026

Dances With Films LA – closing night film

Greetings again from the darkness. We discover a certain guilty pleasure in following a lost soul millennial as he searches for meaning, connection, or some reason to exist. The film from writer-director Adam Jumba and co-writer Christian Flowers is one of the closing night films for this year’s Dances With Films LA festival, and it’s likely to generate plenty of thought and consideration for viewers.

Jack Alcott never really clicked in “Dexter: New Blood”, but this role as chain-smoking Tyler fits him like a glove. He seems frustrated by everything and nothing, all at the same time. Is he a slacker or a dreamer? Initially, we can’t tell; however, it doesn’t take long to get a better feel for him and what he’s thinking. He’s bored with his job at the marina, yet he’s not ambitious enough to prove himself or pursue something better. Two young new hires make him realize time is passing quickly. He stops by a boarded-up ice cream shop where a flashback shows he once hung out with friends, and even had a silent crush on Alice (Rose Reid).

These last two events convince Tyler to head back home to rural Pennsylvania. His perceptive sister Erica (Izabela Vidovic) is happy to see him, while his dad (Michael Gaston) offers no warmth, while holding strong to his demands for full payment on Tyler’s beloved 1989 Mustang that holds most of his fond memories. A younger brother is the true definition of a do-nothing teenager … the kind whose video games can’t even be interrupted for greeting a returning older brother.

Tyler “steals’ the car under the cloak of darkness, and it sets him off on a personal journey with no specific destination in mind. Without admission (or even acknowledgment) Tyler is in the midst of self-discovery, and with that comes some emotional pain. Director Jumba utilizes a scrambled timeline to help us better understand Tyler and the path he took to get to this point. Tyler tries to re-live past fun with a friend, but finds out ‘Ring and Stare’ (a form of ding dong ditch) doesn’t translate well to adulthood. And a reunion with Alice merely clears the air without being life-changing. We are a bit relieved (and hopeful) when Tyler gives a lift to some tourists looking for the beach. All of this comes after a really cool opening where Tyler absorbs nighttime radio … a DJ who is both soothing and insightful. Wearing loneliness on one’s sleeve guarantees neither a life of misery, nor an ability to dig out of one. 

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Posted by David Ferguson

ANGELENO (2026)

June 26, 2026

Dances With Films LA

Greetings again from the darkness. Making its world premiere at this year’s Dances With Films LA is the first feature film from writer-director Jay Diaz, whose previous credits include numerous short films, videos, and TV episodes. Himself a first generation American, Diaz tells the similar story of Angel, a man working hard at life while trying to prevent his dreams from slowly slipping away.

Angel (played with heart by Jeff Torres) is a barista at a local coffee shop, an Uber driver, and the caregiver for his ailing mom. In other words, Angel is a grounded giver who also happens to be easy to like and root for. He’s the kind of guy who helps co-worker Heather (Lauren Marini) shoot an audition film, while he also arranges the cake for his young Goddaughter’s birthday party. That birthday party, and one thrown by another co-worker are two of the three that play a key role in the story and in Angel’s life. Surprised to cross paths with his now New York-based ex, Mia (Corina Calderon), Angel awkwardly greets her before heading off to his Uber gig. It’s here where he bumps into his old film school buddy, Taylor (Brian Thomas Smith). Taylor admits that he owes Angel and is surprised to learn that his more talented friend gave up his dream of filmmaking. An invitation to an industry party follows.

There are various elements of the story that work exceptionally well. The only nitpick is the abundance of ‘white people are bad’ moments sprinkled throughout. Of course, we understand that’s part of the challenge Angel faces on a regular basis, yet he’s such a strong and interesting character, this approach seems overly emphasized. We certainly respect his calm demeanor in these unfortunate situations, and he even acts as a connective facilitator during one confrontation. Angel is simply a guy we like and respect, and his constant use of “I got you” is never an empty promise. The varying vibes of the three different parties prove what a juggling act Angel must handle each and every day. By the end, he senses hope that his dreams may still be achievable. Cinematographer Tony Joun effectively shoots the up close and personal scenes, while also capturing the distinct areas of Los Angeles.

Premiering at Dances With Films LA on June 20, 2026

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YALE (2026)

June 18, 2026

Opening night feature at 2026 Dances With Films LA

Greetings again from the darkness. Sometimes I believe the best use of cinema is in proving the old adage, ‘truth is stranger than fiction’. Combining that with the mission of Dances With Films to remain a festival that highlights independent filmmaking, featuring director Jay Silverman’s film on Opening Night is a fitting choice. It’s a remarkable story that writer Van Billet based on his own family. We can only imagine some of those holiday memories.

Caitlin McGee (“Bluff City Law”) stars as “Mac”, a flawed woman who is also a successful horror writer. Her agent (the always terrific Rachael Harris) is threatening to drop her, while at the same time Mac must overcome her challenging past in order to help her 12-year-old son Ryan (Benjamin Mackey) who needs a life-saving emergency kidney transplant. Certain circumstances and medical backgrounds leave Mac with one choice … track down her estranged father who abandoned her and her now deceased mother when Mac was only nine years old. And while this is the story of Mac and Ryan, it’s that man who shocks us in so many ways.

Yale Parker (played by veteran character actor Kevin Dunn) is the owner and in-house stand-up comedian for a low-rent strip club. His gambling debts are out-of-control and he also carries a secret that could not only devastate Mac, but also help Ryan. Will Yale finally perform an act that is neither self-serving nor filled with corny jokes (told while wearing outlandish clothes and a horrible wig)? The core of this story is watching Mac and Yale battle the past while negotiating a relationship that was shattered when she was so young. Many awkward conversations occur during a makeshift road trip that generates even more awkward conversations.

It’s absolutely fair to label Yale Parker a deadbeat dad yet, as most parents try to convince their kids, most everyone has some good buried inside. Yale’s big secret will not be revealed here, but it’s safe to say the film’s best scenes feature Mr. Dunn and Ms. McGee coming to grips with each other and themselves. Family dynamics are a popular topic for films, and writer Billet is to be commended for turning his own family mess into a story that will both entertain and strike an emotional chord.

YALE has its WORLD PREMIERE at Dances With Films on June 18, 2026

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UNIDENTIFIED (2026, Saudi Arabia)

June 18, 2026

Greetings again from the darkness. Writer-director Haifaa Al-Monsour (MARY SHELLEY, 2017; WADJA, 2012) will always be referred to as a trailblazer, and the label was earned by becoming the first female filmmaker in Saudi Arabia to direct a feature length film. She has since influenced and inspired other women to pursue the art. Her latest film was co-written with her husband Brad Nieman, and it opens coldly with a woman’s dead body discovered in the desert.

Nawal (Mila Alzahrani) is an administrative assistant who is hooked on a podcast titled “Unsolved Crimes from Around the World”. Incredibly, the podcast blends crime stories with make-up tips, and Nawal just can’t get enough of either. When she hears about the unidentified body, she offers her assistance to the police who initially want nothing to do with her. However, she continues her own investigation, and the police recognize that she can ask questions and meet with people that they can’t. In the meantime, we get some of Nawal’s backstory, and as we see from the flashbacks and nightmares, there is quite a bit of unpleasantness and even tragedy.

We have become accustomed to crime thrillers with a tangled web of leads and evidence, so we recognize that this one isn’t especially well done or unique. Many aspects are included here: religion, family, pride, and dignity. Nawal claims her goal is for the family to claim the body for peace, despite the defense mode they seem to hide behind. The funniest use of a shopping mall train is a nice touch, but the big twist at the end feels unearned. Anytime a film uses the final ten minutes to lay out what really happened, it’s a big clue that the storytelling was less than admirable. I simply chuckled at the presumption that we should accept this. Haifaa Al-Monsour does include commentary on the social and cultural treatment of women even in modern times, and that’s likely the most important aspect of the film.

Sony Pictures Classics will release the film on June 19, 2026

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Posted by David Ferguson

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