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

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

GAIL DAUGHTRY AND THE CELEBRITY SEX PASS (2026)

July 9, 2026

Greetings again from the darkness. As a huge fan of THE WIZARD OF OZ (1939), I admire the homage paid to the classic film by writer-director David Wain (WET HOT AMERICAN SUMMER, 2001) and his co-writer Ken Marino, collaborators on ROLE MODELS (2008) and WANDERLUST (2012). In fact, there are long-term shared comedic genes noted throughout the list of cast, crew, and filmmakers here … with quite a few running through the “Reno 911!” franchise. If that’s not hint enough, I’ll repeat what I’ve written many times over the years: comedy tastes are quite diverse, and some will laugh heartily at this one, while others will be baffled as to what is so funny.

Zoey Deutch, fresh off her fine work in last year’s NOUVELLE VAGUE and ANNIVERSARY, plays the titular Gail from Kansas (the first Oz reference), a perky hairdresser engaged to her high school sweetheart Tom (Michael Cassidy). Fred Melamed is the local postal worker/narrator who promises a crazy community story – one which takes very little time getting underway. Casual conversation ends with Tom explaining to naïve Gail what a Celebrity Pass is, and the couple heads to a cookbook reading by Jennifer Anniston, who just happens to be Tom’s recently mentioned celeb of choice. You can guess what happens next.

Stunned by the events, Gail heads to Los Angeles with her best friend and fellow hairstylist Otto (not Toto), played by Miles Gutierrez-Riley. The two hope to meet their favorite hairstylist Remy Fontaine (Thomas Lennon) at the national conference and of course, Gail hopes to even the score with Tom by tracking down her own CSP, Jon Hamm. The trip kicks off a ‘spot the celebrity cameo’ for viewers, beginning with Henry Winkler at LAX. This photo op leads to Gail’s suitcase being mistakenly swapped with another – unknowingly putting the mob (led by Sabrina Impacciatore of “White Lotus” fame) on her trail. If it seems a bit preposterous, just know that much of the comedy is purposefully of this ilk.

In addition to a psychic reading and a stop at the infamous Chateau Marmont, there is a celebrity map vendor played by Michael Ian Black, and other sightings, including Kerri Kenney, Richard Kind, Weird Al Yankovic, Penn Jillette, Elizabeth Banks, Elizabeth Perkins, and Paul Rudd. However, it’s kindred spirits in John Slattery (a nice “Mad Man” touch), CAA agent-in-training Caleb (Ben Wang), and a paparazzo (co-writer Ken Marino) who views Jon Hamm as his photographic white whale, who travel with Gail in search of her conquest.

For some, the various vignettes will provide the humor they desire, and even for those who comedic itches are not scratched, the zany madcap tribute to THE WIZARD OF OZ may be creative enough to keep you engaged.

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After a festival run at Sundance and Tribeca, the film opens in theaters on July 10, 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

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

TOY STORY 5 (2026)

June 16, 2026

Greetings again from the darkness. It’s been thirty-one years since I sat stunned in the movie theater after being first introduced to Woody, Buzz, and the entire gang of Pixar toys. It was the year BRAVEHEART won five Oscars and TOY STORY, which marked a shift in filmmaking, won none. That was Pixar’s first feature film and since there was no Animated Feature Film category at the time, the Academy didn’t really know what to do with it. Fortunately, John Lasseter (since fired) and Andrew Stanton certainly knew what to do, as this is the fifth film of the franchise, and they’ve managed to create cinematic magic with each one.

We’ve established that I’m a raving fan for the franchise. Yet with each entry, I still go in concerned that this will be the first dud. I’m relieved and happy to report that the fifth film is funny, colorful, filled with great characters, and maintains the emotional charge we’ve come to expect. Pixar’s Andrew Stanton has been involved with each of the TS films and he’s joined this time by co-director and co-writer McKenna Harris (her first feature). They have managed to uphold tradition, while making the film entirely contemporary and introducing the beloved characters to a new generation (it’s been seven years since TOY STORY 4).

The familiar characters are back, which means most of the familiar voices are as well: Tom Hanks as Woody, Tim Allen as Buzz Lightyear, Joan Cusack as Jessie, Wallace Shawn as Rex, Annie Potts as Bo Peep, Tony Hale as Forky, and Keanu Reeves as Duke Caboon. New to the scene are Scarlett Spears as Bonnie (she’s the third to voice the character), and of course, with the passing of Don Rickles, Estelle Harris, and Jim Varney, there have been new voices for Mr and Mrs Potato Head and Slinky Dog. And yes, Pixar’s good luck charm John Ratzenberger returns as Hamm. Among the others making their first Toy Story credits are the voices of global sensation Bad Bunny as ‘Pizza with sunglasses’, Greta Lee as Lilypad the smart tablet, Conan O’Brien as a ‘specialized’ device, and Mykal-Michelle Harris as Blaze.

This is definitely a female-centric story as Jessie takes the lead role. Woody and Buzz are featured prominently, but Jessie is the one focused on ensuring young Bonnie makes friends. The emphasis on technology is one all parents will recognize. Kids don’t “play” the way they once did, and the story emphasizes how that adds complexity to not just making friends, but also in defining what friendship actually is in this modern world. Smart devices, screens, and tablets have pushed toys to the background – or the garage, or even worse. It’s heartwarming, and sometimes nerve-wracking, watching Jessie and this crew of toys do what they can to help kids hold onto childhood as long as possible.

There are some subplots included regarding Buzz and Jessie, Jessie’s background with previous kids, and the ongoing challenges faced by parents. The animation is as stunning as you’d expect, and Randy Newman returned to compose the film’s score. By now it’s no secret that Taylor Swift, with a writing boost from Jack Antonoff, performs her new song, “I Knew it, I Knew You”, over the closing credits (and stay for the stingers).

DISNEY & PIXAR’S TOY STORY 5 releases exclusively in theaters June 19, 2026. Run time: 1hr 42min

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Posted by David Ferguson

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

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