DRIVER’S ED (2026)

May 15, 2026

Greetings again from the darkness. The Farrelly Brothers (Bobby and Peter) were the creative force behind such comedy classics as DUMB AND DUMBER (1994), THERE’S SOMETHING ABOUT MARY (1998), and one of my personal favorites, OUTSIDE PROVIDENCE (1999). At some point, the brothers decided to split up and work on their own projects. Peter won a couple of Oscars for GREEN BOOK (2018), and now Bobby, working from a screenplay by Thomas Moffett (AN ACTOR PREPARES, 2018), delivers one more in line with the brothers’ early works.

Sam Nivola (“The White Lotus”, and son of actors Alessandro Nivola and Emily Mortimer) stars as Jeremy, a high school senior – lovesick and concerned since his girlfriend Samantha (Lilah Pate, MONSTER SUMMER, 2024) headed off to college a year ahead of him. In a setup that would have been unimaginable back in my day, Jeremy and three other seniors are taking part in a Driver’s Ed class. Aparna (Mohana Krishnan, “I Am Frankie”) is the class valedictorian, Yoshi (Aidan Laprete, SWIPED, 2025) is the school’s drug dealer, and Evie (newcomer Sophie Telegadis) seems to have a growing attraction to Jeremy.

Their substitute driving instructor is Mr. Rivers (Kumail Nanjani, THE BIG SICK, 2017), who is battling not one, but two broken arms … neither of which slow down his one-liners or his lackadaisical approach to the assignment. A certain spontaneous decision finds the drivers-in-training on a road trip for romance, sans instructor, to reunite Jeremy and Samantha. This also sends Principal Fisher (Molly Shannon) into a frenzy and campus security guard, Officer Walsh (Tim Baltz, “The Righteous Gemstones”) on their trail.

This teenage road trip has some comical moments, and getting to know each of the participants is the film’s strength. The actors each have an opportunity to shine, and as we would expect with students this age, there are moments that find us rolling our eyes and others that leave us impressed with the emotional depth shown. This is a film that features such highlights as reading a sext out loud in class, introducing us to teen phone separation anxiety, educating us that far too many students are prescribed anti-depressants and mood drugs, and what a frat party looks like these days (not much has changed evidently). There is also a three-legged cat, a Vintage Furs van, a hillbilly bandit, and a hot Good Samaritan (Marley Aliah) who appeals to a couple of the renegade students.

While most of the time is spent on a misguided romantic road trip to save a relationship, it evolves into a journey of self-discovery, as most things do at that age. It’s quite fun to watch this group of fairly young actors do their thing and outperform the adults, and the best line in the film is an odd one: “Most 8th graders don’t generally read obituaries”.

In theaters and On Demand beginning May 15, 2026

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Posted by David Ferguson

MISPER (2026)

April 24, 2026

Greetings again from the darkness. Thoreau famously wrote, “The mass of men live lives of quiet desperation.” That quote may overstate the being of the staff at The Grand, a 100-year-old hotel that once provided service for royalty, but now the seaside inn is crumbling at the seams and desperate for guests. The feature film directorial debut from writer-director Harry Sherriff and co-written by Laurence Tratalos is quite a pleasant surprise.

Leonard (Samuel Blenkin, “Black Mirror”) is the young man who covers the front desk and makes the rounds. He has a bit of a Bud Cort vibe to him … friendly enough, yet just a bit off. Leonard spends each morning gazing out the window as Elle (Emily Carey, young Diane in WONDER WOMAN, 2017) strolls from the bus stop to her station in the hotel’s restaurant. Elle is bright-eyed and cheerful, and shy Leonard has a quiet crush that he can’t bring himself to admit. In fact, Elle is a favorite of the guests and the staff.

Gary (Daniel Ryan, “The Bay”) is the hotel’s manager and he’s constantly worried about the hotel’s poor reviews and limited guests. He fears for the future – both his and the hotel’s. One morning, Elle doesn’t show for her shift. Gary assumes she has quit, while Leonard fears for the worst. Tragically, Leonard is correct, and the film’s tone shifts from the daily mundane life of the staff to the ongoing grief and guilt and confusion. Leonard is hit especially hard as his friend – and the one beacon of light in his life – is missing.

It’s fascinating to watch each of the staff have their moment. Pam (Christine Bottomley, “Domina”) replays her drive home and wonders if she could have helped. Maintenance man Khalid (Sunil Patel) and housekeeper Vivian (Rosalind Adler) also miss Elle’s smiling face. Leonard even pays an awkward visit to Elle’s father (Oliver Ryan) as an attempt to make sense of what’s happened. What makes the film unique is the dashes of humor blended with grief and regret. Cinematographer Bart Bazaz works wonders with the characters and the setting in the old building. It’s a terrific little film that explores grief in a different way, and reminds us to treasure those who bring light and hope into our lives.

Screening at the Dallas International Film Festival on April 24 and April 26, 2026

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Posted by David Ferguson

TWO WOMEN (2026)

April 23, 2026

Greetings again from the darkness. Relationships require communication, diligence, and a bit of luck. Director Chloe Robichaud (SARAH PREFERS TO RUN, 2016) is working from a script from playwright Catherine Leger to deliver a remake of the 1970 French sex comedy, DEUX FEMMES EN OR from Claude Fournier. Finding humor in strained or crumbling relationships is never easy – especially when medication or a newborn is involved.

Florence (Karine Gonthier-Hyndman) and Violette (Laurence Leboeuf) are neighbors in the same condominium complex in Montreal. Robichaud first shoots them from a distance – staring out their respective windows (separated only by the shared wall of their flats) at a world from which they each feel detached. Florence is not working and is on anti-depressants, while Violette has a new baby and feels a bit trapped and limited. One morning Violette invites Florence for a coffee, but mostly to confront her about the “crow” sounds seeping through that shared wall. Florence assures her that she and her partner David (Mani Soleymanlou) haven’t had sex in years. This confession finds common ground with the women as Violette’s husband Benoit (Felix Moati) is too-often on business trips that end up with a shared hotel room with Eli (Juliette Gariepy).

This sets off sex romps for both ladies. Florence stops taking her meds and Violette finds a daycare for her kid. Service providers reap the benefits as the two women re-awaken their sexual appetites. The cable guy, plumber, pest control provider, delivery guy, and window cleaner all expand their services so that the women can bust out of their respective ruts. In between these escapades, some awkward condo association meetings are held over minutiae – acting as a bit of contrast to the bouts of pleasure the women experience during the days.

Of course, there are no free lunches, and relationships tend to suffer when commitments falter. Although, humor is written in to the excellent escript, it’s really never funny to watch couples destroy their bond. There really is no way to “have it all.” One interesting note is that at least two actors, Louise Turcot and Donald Pilon appear in this film as well as the 1970 original. The final shot is a good one, and it’s quite likely the unconventional ending won’t please all viewers.

Opening in NYC on April 24, 2026 and additional theaters in May.

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Posted by David Ferguson

OUR HERO, BALTHAZAR (2026)

April 2, 2026

Greetings again from the darkness. If you see something, say something. If you know something, say something. If you fear something but aren’t sure, say something. Such is the world we live in today … the world our children live in today. Somehow that same world also revolves around social media and the insatiable desire to be ‘seen’. The first feature film from writer-director Oscar Boyson and co-writer Ricky Camilleri takes on these somewhat conflicting societal issues, and they do so with an approach that’s at times absurdist, often comical, and always a bit frightening (in a real world way).

Jaeden Martell (IT, 2017) stars as the titular Balthazar … known as Balthy to his friends and family. Balthy is unmistakenly a product of wealth, as evidenced by his elite private school, his ‘life coach’, and the $50 million penthouse suite overlooking NYC he lives in with his socialite mother (Jennifer Ehle). He’s a wannabe social media influencer with an innate ability to shed tears on demand – especially while filming his latest video. A “Mass Shooting Preparedness Seminar” held at school leads Balthy to believe – a surefire way to being a hero is to stop a school shooting before it happens. This leads to a beyond-awkward attempt to woo a classmate (Pippa Knowles) with his plan. She, of course, shuns him.

Online research (using a secret identity) connects Balthy to Solomon (an outstanding Asa Butterfield, GREED, 2019), a young man in rural Texas whose tough online persona clashes with his real life insecurities. Solomon certainly has access to guns, and a life of poverty with his grandmother means his online threatening posts are the red flags Balthy needs in his quest for heroism. An obvious contrast between the rich NYC boy and the poor country Texas boy also shares commonality. Both boys feel isolated and not part of the mainstream. Their family lives are not ideal, and both feel at risk of being invisible.

Balthy heads to Texas and the initial meet with Solomon doesn’t go smoothly, but the mutual need to bond with another brings them around. Whether Balthy can actually succeed in his mission to stop a school shooting plays out in his relationship with Solomon. The two fine actors perfectly capture the awkwardness of the age, as well as the differences and similarities of those growing up in such distinct environments.

Chris Bauer appears as Solomon’s estranged father, and his personality and ‘job’ explains a great deal about the boy’s outlook. For Solomon, this appears to be about exhibiting (toxic) masculinity, while for Balthy, it’s about pre-fab heroism. The need for real attention is the shared space in their Venn Diagram, and the NYC-to-Texas extremism is there to make a point. The filmmakers smartly use humor to avoid over-bearing heaviness, yet the film remains a reminder to heed red flags and say something.

Opened in NYC on March 27, 2026 and opens in LA on April 3

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Posted by David Ferguson

FOR WORSE (2026)

March 5, 2026

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

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

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

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

Theatrical release is expanding on March 6, 2026

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Posted by David Ferguson

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

THE WRECKING CREW (2026)

January 29, 2026

Greetings again from the darkness. Well, it’s not exactly a ‘good cop/bad cop’ scenario, since only one of them is a cop – and he’s suspended and out of his territory. It’s also not a traditional ‘Buddy comedy’ since these aren’t buddies, but rather estranged, grudge-holding half-brothers. Still, the premise is admirable, and the casting choice of pairing Dave Bautista with Jason Mamoa is marketing brilliance. Jonathan Tropper (creator and writer of “Banshee”) wrote the screenplay and Angel Manuel Soto (BLUE BEETLE, 2023) directed.

An apparent hit and run takes the life of Walter, the father of brothers by different mothers, James (Dave Bautista) and Jonny (Jason Mamoa). James is a composed Navy SEAL officer who is married with two kids. Jonny is a party animal cop on a reservation in Oklahoma, whose girlfriend Valentina (Morena Baccarin) dumps him moments after he’s suspended from his job and learns his father has died. Of course, Jonny had no relationship with his dad and has been estranged from brother James for a decade. When he’s attacked and his house is trashed by Yakuza gang members, Jonny figures there more to his dad’s story and heads to Hawaii (where James lives) to investigate.

The film serves its purpose when James and Jonny are going at each other with verbal digs or physical punches. The personality differences of Bautista and Mamoa makes these exchanges kinda fun … and sometimes funny. It’s actually a let down that their exchanges aren’t a bit more clever – say, in the mold of 48 HOURS (with Nick Nolte and Eddie Murphy). Perhaps I’m asking too much. The most frustrating aspect here is the villain. Claes Bang plays Robichaux, the leader of Yakuza, and he is severely underutilized here … other than a crack about him as the Vampire Lestat (Bang was terrific in the TV series “Dracula” ).

Morena Baccarin plays Valentina as a bank manager with extraordinary driving skills. Other supporting work comes from Jacob Batalon as Pica, more comedy relief as Walter’s assistant and referred to as ‘fat Jackie Chan’; Stephen Root as a frustrated Police Captain; and Temuera Morrison as the Governor. There are some stunning shots of Hawaii, and more of the impressive tattooed physiques of Bautista and Mamoa as they constantly fight – either each other or bad guys. They even get to look cool riding motorcycles. I feel obligated to make note of one particular action sequence that bothered me. It’s the biggest action set piece in the film … an incredible air and road chase scene featuring an incredible amount of gunfire and vehicle carnage. What bothered me was a stunning number of innocents who were harmed and probably killed … all with no care or attention from our heroes – James and Jonny (the former more concerned about his own wrecked vehicle). For me, this put a damper on what otherwise was played as a comical, over-the-top action film.

Streaming on Amazon Prime as of January 28, 2026

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Posted by David Ferguson

EEPHUS (2025)

December 27, 2025

Greetings again from the darkness. You don’t have to be a baseball fan to enjoy this one. You don’t need to be an old man either. Since I am both, you can only imagine the appreciation I have for writer-director Carson Lund and his co-writers Michael Basta and Nate Fisher as they deliver a nostalgic and humorous look at how men deal with glory days of old and a rapidly changing landscape that looks to erase the past and their memories.

Two adult recreational league men’s teams gather for a final game on the baseball field where they’ve played their entire lives. The land is being developed for a new school, so the River Dogs and Adler’s Paint square off to scratch that itch one last time – safe/out arguments, aching bodies, rounding the bases, and the form of male camaraderie that only exists when keeping score is involved. In fact, this game has an official scorekeeper in old-timer Franny, who takes the game even more seriously than many of the players.

The field and the game take place in New England, but the location could be anywhere, U.S.A. These are friends and acquaintances, some connected only through baseball, while others are lifelong buddies, co-workers, and relatives. As throwbacks to a different era, this game, which goes extra innings, includes a lost ball in the woods, car headlights to illuminate the field, a delay due to a trash truck, and a shortage of pitchers.

For those who don’t know, an “eephus” pitch is an extremely slow, arcing junk pitch designed to contrast with fastballs and catch the hitter off-guard. Probably the most famous was Rip Sewell’s eephus pitch to Ted Williams in an all-star game, and the pitch has been used more recently by Clayton Kershaw and Zack Greinke. However, the pitcher most associated with the pitch is Bill “Spaceman” Lee, who pitched for the Red Sox for many years. Known for his quirky personality, the pitch was a natural part of his arsenal. That same Bill Lee, now 78 years old, makes an appearance in this film, and even pitches an inning … showing off the titular pitch.

Lee also gets to rattle off a couple of his most famous phrases: “Strikeouts are fascist” and “The sun don’t shine on the same dog’s ___ every day”. And as quickly as he appeared, Lee is then nowhere to be found. The post-game handshakes have a bit more emotion than a typical game, and the players even take in some fireworks before heading back to real life. A nod to Lou Gehrig’s famous farewell is included, and the film ends with Tom Waits singing “Ol’ 55”. Appreciation is the best word I can come up with for Carson Lund and these teams of actors who portray the fun and pain that goes along with a final game.

The film is currently streaming and available VOD

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Posted by David Ferguson

ANACONDA (2025)

December 23, 2025

Greetings again from the darkness. Longtime movie lovers usually cringe with announcements regarding movie remakes. Of course, some work out pretty well: A STAR IS BORN (2018), THE THING (1982), TRUE GRIT (2010); while others deserve backlash: PSYCHO (1998), ROLLERBALL (2002), THE TEXAS CHAINSAW MASSACRE (2003). When the news hit that writer-director Tom Gormican (THE UNBEARABLE WEIGHT OF MASSIVE TALENT, 2022) was going to remake ANACONDA (1997), it wasn’t so much a cringe reaction as it was a giant question mark … Why remake a movie that on its best day could only be labeled a fringe cult favorite? Once the leads of Jack Black (after Nic Cage dropped out) and Paul Rudd were announced, it made much more sense. This was to be a comedic take on an original film that featured quite a few accidental comedy elements.

This latest take revolves around four lifelong friends stuck in mid-life limbo, searching for meaning. Doug (Jack Black), Griff (Paul Rudd), Kenny (Steve Zahn), and Claire (Thandiwe Newton) made a movie together as kids, and Griff discovered the VHS tape at his mom’s house. Watching their work as youngsters ignites the desire to recreate the passion they once had. The solution is obvious (to them): remake ANACONDA!

They head to the Amazon and almost immediately are unknowingly caught up in a gold crime ring where a key player, Ana (Daniela Melchior, ROAD HOUSE, 2024) winds up captaining the boat they chartered for the river work. Also on the boat is Santiago (Selton Mello (I’M STILL HERE, 2024), a snake handler who brings along his pet as the titular character. As you might imagine, the whole thing turns into quite an ordeal and yes, there is a giant snake who feasts on humans (like in the original).

Director Gormican co-wrote the script with Kevin Etten, and rather than tongue-in-cheek, they go full-on comedic reimagining of the original 1997 film written by Hans Bauer, Jim Cash, and Jack Epps Jr. Paying additional homage to that film, there are mentions of Jennifer Lopez, Eric Stoltz, and a wisecrack about Jon Voight’s confusing accent. I’ll admit that I don’t always find the genius in this type of comedy, but I found myself laughing more often than not at some of the outrageous escapades … likely due to the talents of the lead actors (Zahn especially has some zingers). You likely know already whether this one will appeal to you, so enjoy … or not.

Opens in theaters on Christmas Day 2025

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Posted by David Ferguson

THE FRENCH ITALIAN (2025)

October 27, 2025

Greetings again from the darkness. Are you a good person? It’s really not that difficult to determine … although it does require a bit of honest self-reflection. The debut feature film from writer-director Rachel Wolther (co-written with Jesse Millward) is clearly meant to be comical satire, and even more clearly does not include me in the target audience. It seems to me the window for putting whiny, entitled complainers in the spotlight has closed, and these folks are more sad and annoying than funny. Still, since I’m likely in the minority, I’ll strive for objectivity here.

Valerie (Catherine Cohen, DATING & NEW YORK, 2021) and Doug (Aristotle Athari, MOLLI AND MAX IN THE FUTURE, 2023) are thirty-somethings living in New York City in a rent-controlled Brownstone. Their careers are stagnant (his) and borderline non-existent (hers). She doesn’t seem to have a clue about how to take responsibility at work, or even how to fulfill the basic duties. When girlfriend Mary (Chloe Cherry) moves in with usually quiet downstairs neighbor Jordan (Jon Rudnitsky, STEALING PULP FICTION, 2025), she brings along her karaoke machine, and immediately Valerie and Doug are annoyed with the sound pollution and constant “La Bamba”, and begin creating scenarios that might explain their neighbors.

Once they escape to the suburbs, the childish couple began strategizing to get revenge on the old neighbors, and with the help of equally unstable friend Wendy (Ruby McCollister), they decide to take advantage of Mary’s pursuit of acting. Their ‘ingenious’ plan involves putting on a fake play and inviting Mary to audition for the part. The plan makes little sense and ends up drawing in another actor named Joe (Ikechukwu Ufomadu, JUDAS AND THE BLACK MESSIAH, 2021) in what ends up being a quite fortunate move.

While this movie didn’t scratch an itch for me, I certainly appreciate the performances. Ms. Cohen and Mr. Athari nail characters who are impossible to like. Why they decided to relocate and gain revenge without ever bothering to meet the neighbors is quite a statement. Ms. McCollister brings some much needed quirky energy to the proceedings. Ms. Cherry transitioned from years in the adult film industry to more conventional acting with “Euphoria”. Her take on Mary in this film is definitely interesting and unusual. While I appreciated the “Atlas Shrugged” spoof, I found this satire to be less of a comedy and more of a generational snapshot for dummies (like me).

Available on VOD beginning October 28, 2025

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