GROW (2025)

October 16, 2025

Greetings again from the darkness. I’m not sure if pumpkins get short-changed with most of their attention coming only during one season, or if perhaps they receive more attention than deserved during that season. Either way, pumpkins are rarely at the center of a cinematic event … despite having their moments during animated TV specials like “It’s the Great Pumpkin, Charlie Brown” and “Spookley, the Square Pumpkin”. Director John McPhail (the excellent ANNA AND THE APOCALYPSE, 2017) sets out to change that with a screenplay by a trio of writers: Nick Guthrie (MINI’S FIRST TIME, 2006), Ruth Fletcher (“Hawaii Five-O”), and Ruth’s husband and writing partner, Christos N. Gage.

Common sense tells us that if you are going to have a family-friendly, heartwarming story, then you best include a kid worthy of attention. When we first meet young Charlie Little (Priya Rose-Brookwell, “The Lazarus Project”), she’s trying to escape from a home for abandoned kids so that she can track down her mother … a mother who left her behind to pursue the bright lights of Hollywood. Instead of locating her mother, Charlie gets connected with her Aunt Dinah (Golda Rosheuvel, “Bridgerton”). It’s not a smooth transition because Charlie is a precocious child who wants to be loved, and Aunt Dinah is a very reserved woman trying to make ends meet on her struggling Little Farm.

Mugford, the local village, is known as the Pumpkin Capital of the World, and Charlie immediately dedicates herself to winning the cash prize at this year’s contest for the biggest pumpkin. See, Charlie is not just a spirited kid, she is also one with plants – she converses with them, and feels what they feel. Charlie and Dinah enlist the help of Arlo (Nick Frost, The Three Flavours Cornetto trilogy), a local with some past success in the contest. What’s surprising here is the nefarious activities of those involved with the contest – secrets, vandalism, and outright cheating. In other words, the pumpkin contest turns into a life lesson for young Charlie who always sees the best in others – even Toby the dog.

Charlie pampers ‘Peter’, her prize pumpkin, while we get riffs on PSYCHO and THE GODFATHER, and even a use for lion dung. Supporting work comes from Joe Wilkinson (“After Life”) as Dinah’s former farmhand, Jane Horrocks and Tim McInnerny as local pumpkin legends, and Jeremy Swift (“Ted Lasso”) as a lab technician under intense pressure. The film reminds me of some of the Disney movies from the 1960’s, as it’s charming and funny, and offers up some life lessons – complete with emotional depth as the relationship between Charlie and her Aunt Dinah develops. I don’t get many full-blown family films to review, and it’s nice to see one that works on multiple levels.

Opens nationwide on October 17, 2025

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Posted by David Ferguson

MR. BLAKE AT YOUR SERVICE (2025)

October 3, 2025

Greetings again from the darkness. When we first meet Mr. Blake, he’s tidily packing a small suitcase and informing an anxious phone caller that he will not be attending the ‘Man of the Year’ award ceremony, even as he’s being introduced as the guest of honor in the background. We realize Blake is leaving London because he takes one last forlorn glance at his long-time apartment before heading “back to where it began.” It’s rare for the author of the source novel to adapt and direct a film, but that’s the situation here with Gilles Legardinier and his 2012 book, “Complètement cramé !” Co-writer Christel Henon helped with the screenplay.

The always interesting John Malkovich plays against type and stars as Andrew Blake in this French (with subtitles) comedy originally titled “Well Done!”. Having retired as a businessman, Blake is mourning the death of his wife (40 years) Diane, and heads to the stunning French estate where they first met. It’s there where he receives a less-than-warm welcome by Odile (a terrific Emilie Dequenne, CLOSE, 2022), the manager of the inn. A misunderstanding between the two, lands Blake in a cramped room and a ‘trial’ as the home’s butler. He does meet the estate’s owner, Nathalie Beauvillier (French acting legend Fanny Ardant), who has also lost her spouse and finds herself speaking to a mannequin wearing her husband’s suits, as she navigates her way through severe financial challenges.

Other key players include the parttime groundskeeper Philippe Magnier (Philippe Bas) and the parttime maid Manon (Eugenie Anselin). In a film where everyone gets their moment, Magnier and Blake playfully banter (Blake calls him a grumpy frog) after near-violence marks their initial meeting. Manon heeds Blake’s fatherly advice when she finds herself in a situation with a less-than-supportive boyfriend. There is also the irritating Madame Berliner (played by co-writer Christel Henon) as Nathalie’s quasi-friend, and finally, Mephisto, the chunky house cat to whom the hard-driving Odile shows some affection.

This is a whimsical, feel-good movie that never delves too deeply into the characters. However, that doesn’t mean they aren’t relatable, as we do find ourselves pulling for each of them. At its best, this is a story of turning grief into something positive during the next phase of life. Mr. Blake becomes a most unexpected uniter – a man whose advice, guidance, and good intentions not only help each of these characters with their own situation, but also instigate a bonding within the staff. This becomes a ‘one good deed leads to another’ scenario, although the final Christmas setting and reunion feels a bit syrupy. On a sad note, Emilie Dequenne passed away earlier this year from cancer. She was only 43.

Will be released in UK and Irish cinemas on October 3, 2025

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Posted by David Ferguson

ONE BATTLE AFTER ANOTHER (2025)

September 25, 2025

Greetings again from the darkness. My immediate reaction after viewing this film was that it represented the highest level of filmmaking – including superb acting, a complex story that fits today’s narrative, and the most varied and diverse score I can recall from many years of moviegoing. After a couple of days to mull it over, I believe it’s possible that my initial reaction somehow underrated this instant classic. High praise should be no surprise since the film is the work of writer-director Paul Thomas Anderson – the man behind such cinematic gems as LICORICE PIZZA (2021), PHANTOM THREAD (2017), THE MASTER (2012), THERE WILL BE BLOOD (2007), PUNCH DRUNK LOVE (2002), MAGNOLIA (1999), BOOGIE NIGHTS (1997), and HARD EIGHT (1996).

Anderson has been nominated for eleven Oscars over the years, and here he adapts the 1990 Thomas Pynchon novel “Vineland”. While the novel is set in the 1980’s, Anderson structures his film in such a manner that much post-viewing conversation will focus on its synchronicity to our current political landscape/battlefield. Remarkably, Anderson has delivered a film that features stunning action sequences, cutting political satire, and touching personal drama. It’s almost too much to ask of any one movie, and is very likely a bit too much for some movie goers.

As the film opens, a resistance movement called French 75, led by Perfidia Beverly Hills (powerhouse Teyana Taylor) is doing their thing with help from explosives expert Pat (Leonardo DiCaprio). With the excitement of fulfilling their mission, Perfida and Pat fall for each other – a shared cause can do that. Mucking up the movement and the relationship (unbeknownst to Pat) is a militant with the memorable name of Colonel Steven Lockjaw (Sean Penn). Lockjaw is laser-focused on stopping the resistance – in fact, the only thing that can stop him is a creepy attraction to Perfida, who uses his weakness to her advantage.

A jaw-dropping visual occurs as we see a (very) pregnant Perfida firing an automatic weapon during target practice. Soon after the baby is born, Perfida (not the mothering type) takes off, and Pat, now underground and known as Bob Ferguson, is left to raise the child. Flash forward 16 years, and teenage Willa (the terrific movie debut of Chase Infiniti) and her father are living a quiet life. She’s a tough, but normal high schooler with friends, while he has dulled his mind and outlook with drugs and alcohol … unable to remember the secret password when Colonel Lockjaw tracks him down. French 75 loyalist Deandra (Regina Hall) finds a safe house for Willa, as Bob frantically bounds around town until Willa’s Sensei (Benecio Del Toro) offers to help him. This sensei also hides his own secrets, as Del Toro sprinkles in his patented one-liners.

There is so much going on here, and I’m only now getting to the Christmas Adventurers Club – a clandestine group of white supremacists motivated by racism and lust for power and purity. It’s a club Col Lockjaw desperately wants to be admitted to. In fact, racism hovers over much of the film, with the resistance attempting to defy it through radicalism and extremism … although which side is the most radical or extreme could (and has) carried debates for quite a while.

Three Oscar winning actors are featured here: DiCaprio, Penn, and Del Toro. All three are excellent, but it’s Sean Penn’s Lockjaw that will likely stick with you. Delving into caricature at times, Penn employs many stereotypes, a distinct strut, and a few facial ticks to go with his one weakness in creating a character that we can’t help but laugh at, while also being a bit frightened of his persona. DiCaprio’s Pat/Bob runs the gamut from revolutionary to a Lebowski-type fleeing in his ratty bathrobe. His look varies throughout with varying hairstyles and wardrobes. His father-daughter relationship is truly the heart of the film, and is exceptional drama.

The supporting cast is excellent and includes Alana Haim, Shayna McHayle, Tony Goldwyn, Kevin Tighe, DW Moffett, John Hoogenakker, and Jena Malone … many familiar faces and a great deal of talent. Cinematographer Michael Bauman (back with Anderson after LICORICE PIZZA) delivers the action sequences, the dramatic moments, and a couple of car chases … one which will live on in infamy. Filmed in VistaVision (I saw it in IMAX), there is a mesmerizing car chase through and over and down a hilly desert highway. It’s unlike any car chase I’ve seen, and had me leaning forward in my seat trying to get a look ahead.

This is a story that covers quite a few years and just about as many topics as you’d like to associate with it. There is a nod to THE BATTLE OF ALGIERS (1966), which was another film about the fight for freedom. One note that I’m unsure how to address is the score from frequent Anderson collaborator Jonny Greenwood (Radiohead guitarist). It’s simply fantastic the way Greenwood melds diverse music with the numerous shifts in tone of the characters and story. As for filmmaker Paul Thomas Anderson, it’s subjective as to whether he has outdone his previous stellar work, yet I can confidently label this one as both bleak and funny, while also thrilling, chilling, and timely.

Opens in theaters on September 26, 2025

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Posted by David Ferguson

ELEANOR THE GREAT (2025)

September 25, 2025

Greetings again from the darkness. You’ve likely heard the old saying that you can’t put the genie back in the bottle. Well, the same goes for a lie … and sometimes even an innocent lie takes on a life of its own and begins to wreak havoc. This happens to Eleanor, and yet we somehow empathize with her in this film that is not just the first screenplay from Tory Kamen, it’s also the first feature film directed by Scarlett Johnansson.

When we first meet Eleanor (June Squibb, fresh off her lead role in THELMA, 2024) and Bessie (Rita Zohar, AMADEUS, 1984), the two elderly ladies are best friends who have lived together for fifteen years or so in Florida. They spend their days regaling each other with stories over coffee, at the beach doing bench exercises, and at home around the kitchen table. We see how much they appreciate and value each other’s friendship. As happens with old friends, Bessie passes away, and 94-year-old Eleanor moves back to New York to live with her daughter Lisa (Jessica Hecht, DAN IN REAL LIFE, 2007) and grandson Max (Will Price, “Goosebumps”).

Despite her age, or perhaps emboldened by it, Eleanor’s sharp tongue too often hits hard, especially when criticizing Lisa. It’s a trip to JCC that erroneously misdirects Eleanor into a support group of Holocaust survivors. Whether she’s embarrassed or just lonely for company, Eleanor doesn’t come clean and instead begins telling Bessie’s stories as if they were her own. One of the group’s observers that day is Nina (Erin Kellyman, THE GREEN KNIGHT, 2021), a university journalism student, who is so moved by Eleanor’s stories that she pesters her to sit for an interview.

Remember that whole thing about a lie taking on a life of its own? Well, Nina and Eleanor become friends, and Eleanor’s wisdom helps Nina deal with a particularly emotional period. Oh, and Nina’s dad, Roger Davies (Chiwetel Ejiofor, 12 YEARS A SLAVE, 2013), is a local TV journalist who sees the potential of taking Eleanor’s stories to a wider audience. It’s truly a mess that Eleanor finds herself in, and if/when the truth comes out, so many could be hurt from her break in trust.

It’s June Squibb’s remarkable performance that elevates this film to one that many will find emotional. Ms. Squibb turns 96 years old this year and now has a couple of strong lead roles to her credit after a terrific career as a character actor (NEBRASKA, 2013). Here, it’s Eleanor’s bond with Nina that’s the heart of the story, and a reminder that sometimes good people do bad things – and those bad things may be driven by good intentions … or even grief. Additionally, we must now recognize Scarlett Johnansson as a filmmaker who can handle complex stories and characters, and deliver entertainment for an audience.

Opens in theaters on September 26, 2025

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Posted by David Ferguson

A BIG BOLD BEAUTIFUL JOURNEY (2025)

September 18, 2025

Greetings again from the darkness. I’m not normally the target market for romantic philosophy-of-life movies, so it seems apropos that one I connect with is likely to be labeled maudlin or sappy by others. Being a big fan of director Kogonada’s underrated COLUMBUS (2017), I was interested to see him team up again with his AFTER YANG (2021) star Colin Farrell, in a blacklist script from writer Seth Reiss (THE MENU, 2022).

Matching Colin Farrell with Margot Robbie means that, at a minimum, beautiful movie stars will fill the screen. Beyond their stunning looks, both are extremely talented actors – Farrell has certainly honed his skill over the years, while Robbie is a modern day Grace Kelly. David and Sarah first meet each other at a wedding. The attraction is there, but this encounter ends awkwardly with each going their separate way. We learn they are quasi-miserable lonely souls who see little hope in finding a true soulmate – the message here being that nothing should be assumed until one’s own soul-searching is complete.

The world’s most bizarre Rental Car counter is staffed by two quirky characters played by Phoebe Waller-Bridge (“Fleabag”) and Kevin Kline. A fantastical GPS system in their matching 1994 Saturns finds David and Sarah ordering the same ‘fast food cheeseburger’ at a roadside diner. This is step one in their titular journey … so named as David screams it while driving. Now traveling in the same Saturn, this GPS directs them to a series of doors – each connected to some past moment of their lives. A red door leads to a lighthouse, another to a high school musical production, one to a special museum, and yet another to hospital visits. It’s part trip down memory lane and part spiritual awakening.

What matters is that David and Sarah are sharing the journey with each other – good memories and bad. Stepping through the doors exposes bits of their life and personality that might take years for two in a relationship to discover, if ever they would. Dealing with one’s own past is a first step in moving forward, much less in accepting another to share a life with. Regrets, missed opportunities, grief, and hurdles are all part of what make us who we are. Supporting cast members include Lily Rabe, Billy Magnussen, Jodi Turner-Smith, and Sarah Gadon. Hamish Linklater nails his one crucial scene as David’s dad … surprisingly, it’s the film’s best scene. Whether it’s viewed as a search for one’s own soul or for a soulmate, the film deals with the baggage that goes with being a grown-up.

Exclusively in theaters beginning September 19, 2025

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Posted by David Ferguson

WALTZING WITH BRANDO (2025)

September 18, 2025

Greetings again from the darkness. Marlon Brando was a true Hollywood legend. Renowned for his performances in such movies as A STREETCAR NAMED DESIRE (1951), ON THE WATERFRONT (1954), and of course, THE GODFATHER (1972). He was nominated for eight Oscars, winning three. Despite his on-screen fame, Brando was an enigma in life. Sexual escapades, a commitment to causes, a neighbor and friend to Jack Nicholson, and his own French Polynesian island contributed to the mystique. It’s that private island which writer-director Bill Fishman (nearly a 40-year career of music videos) focuses on here.

The film is adapted from the 2011 book, “Waltzing with Brando: Planning a Paradise in Tahiti”, written by Bernard Judge, who is not just a big part of the story, it is in fact, his story being told. We first meet Bernard Judge (played by Jon Heder, NAPOLEON DYNAMITE, 2004) as a California-based architect with an interest in ecologically friendly and sustainable construction. It’s this interest that draws the attention of Marlon Brando (Billy Zane, TITANIC 1997; TOMBSTONE 1993, the underrated DEAD CALM 1989), who wants to develop something special on his remote island, Tetioroa. The two men hit it off and Bernard, with input from Brando, develops a comprehensive master plan and design.

Now if all that sounds a bit serious, you should know that director Fishman takes a light-handed, comedic approach to most of it. Zane’s Brando is both charming and manipulative, while Heder’s acting as Bernard is more suited to the man who finally takes to the relaxed Tahiti lifestyle, rather than the starched-shirt architect we first meet. Zane is made to look very much like Brando, yet he doesn’t limit his performance to posing and side-eyes. He even gets to deliver his Brando in “cuts” from THE GODFATHER, LAST TANGO IN PARIS, APOCALYPSE NOW, and SUPERMAN.

We learn developing a private island is not easy, even for Hollywood royalty. It’s also not cheap, and Brando, despite feeling tired of acting, continued taking jobs to pay for his dream … his restructuring of his “Gangster Movie” (THE GODFATHER) ended up costing him millions of dollars. The supporting cast includes Rob Corddry as Brando’s Business Partner, Richard Dreyfuss as the Money Manager, Alaina Huffman as Bernard’s wife, Camille Razat as a special friend. There are also appearances from Tia Carrere, David Guerira (as Francis Ford Coppola), and Heiae Touniou. Thanks to CGI, we see clips of Brando with Dick Cavett and Johnny Carson, and in keeping with the light-handed approach, there is a significant amount of speaking to the camera (breaking the 4th wall).

Billy Zane makes an excellent Brando (with a unique doorstop), while Jon Heder seems a bit miscast (or trying too hard). The story emphasizes Brando’s relaxed island style, purposefully avoiding the dark side. For Bernard Judge, these four or five years were life-altering, and we even see him looking back in 2010 during an interview for the book. Bernard passed away in 2021, so he didn’t get to see the film. It’s not a movie you can’t refuse, but for movie fans, it’s certainly fun to see Billy Zane as the icon.

Only in theaters on September 19, 2025

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Posted by David Ferguson

GRIFFIN IN SUMMER (2025)

August 28, 2025

Greetings again from the darkness. For fourteen-year-olds, there’s often very little difference in passion for something and obsession with that same thing. Writer-director Nicholas Colia (reimagining his 2017 short film, ALEX AND THE HANDYMAN) brings us the coming-of-age story of Griffin (a fantastic newcomer in Everett Blunck), whose passion for art is undeniable and plays a role in his newfound obsession (this time we can tell the difference).

A cold opening finds us on stage at the school’s end of year Student Talent Show. Griffin announces he will be performing an excerpt from his ‘latest’ play, “Regrets of Autumn”, which he describes as “Who’s Afraid of Virginia Woolf” and “American Beauty”. The scene, and his performance, are intense and funny, and far beyond the audience of teens since it’s a harsh view of the relationship between an alcoholic housewife and her disinterested and philandering husband.

With summer arriving, Griffin convenes his friends to begin rehearsal on his play. The basement takes some rearranging, and his patient and understanding friend Kara (the talented Abby Ryder Fortson, ARE YOU THERE GOD? IT’S ME, MARGARET, 2023) has agreed to be the director … despite her knowing that things must go according to Griffin’s plan. Of course, not every 14-year-old wishes to adhere to his 60 hour per week rehearsal schedule (don’t be late!), so there is a bit of pushback as kids like to be kids. Griffin is struck by another annoyance – his mother (expert at playing beat down characters, Melanie Lynskey, “Yellowjackets”) has hired a twenty-something handyman named Brad (the always interesting Owen Teague, IT, 2017), and the noise is disturbing Griffin’s creativity.

It’s the dynamic between Griffin and Brad that sets this one apart from so many movies. Stars align when Brad discloses that he’s a performance artist in New York City … the city of Griffin’s hopes and dreams. Soon the two are working together, and the fallout causes other issues that Griffin’s blinders initially prevent him from noticing. Additionally, his attraction to Brad is interrupted by Brad’s girlfriend Chloe (an energetic and funny Kathryn Newton, “Big Little Lies”), generating more unfortunate actions.

Coming-of-age is a term that gets easily tossed around, but the actual process can be quite challenging and often involves the first heartbreak. There’s another interesting aspect to Colia’s screenplay and that’s the similarities between Griffin’s parents’ relationship and that of the couple in his play. It’s never directly mentioned, yet was clearly an influence. This is Everett Blunck’s first lead role, and he’s a unique talent that we will surely see more often in the coming years. The same can be said for filmmaker Nicholas Colia who has delivered a dramatic coming-of-age with plenty of laughs, while also commenting on how one’s passion for art may be easily mocked, making it difficult to sustain.

Available in theaters beginning August 29, 2025

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Posted by David Ferguson

THE THURSDAY MURDER CLUB (2025)

August 27, 2025

Greetings again from the darkness. This is the type of movie that almost begs to be criticized, while at the same time, deserves to be enjoyed for being exactly what it tries to be. Author Richard Osman now has five books in this series, and the first has been adapted by co-writers Katy Brand (GOOD LUCK TO YOU, LEO GRANDE, 2022) and Suzanne Heathcote (“Fear the Walking Dead”). It’s directed by Chris Columbus, known for HOME ALONE (1990), MRS DOUBTFIRE (1993) and a couple of the Harry Potter movies. These are professionals who know how to entertain … and just as importantly, they know how to cast.

Take two Oscar winners, a former James Bond, a few British acting stalwarts, and add in a stunning English countryside manor and a murder mystery, and the result is low-key, crowd-pleasing entertainment (even if it panders a bit to its target audience). The setting is Cooper Chase, a scrumptious estate serving as a much-desired retirement home. Hobbies among the residents include the expected crafts, archery, crosswords, sudoku, jigsaw puzzling, and various committees. The most unusual is the Thursday Murder Club, where Elizabeth (Oscar winner Dame Helen Mirren), Ron (former 007 Pierce Brosnan), and Ibrahim (Oscar winner Sir Ben Kingsley) meet up to discuss an open police case provided by Elizabeth’s now comatose ex-cop friend.

It doesn’t take long for new resident Joyce (Celia Imrie, THE BEST EXOTIC MARIGOLD HOTEL, 2011) to be accepted into the club, where her nursing experience perfectly complements the diverse skills of former union leader Ron, former psychiatrist Ibrahim, and the mysteriously clever Elizabeth (whose background takes a while to come to light). Greedy owner Ian Ventham (David Tennant) wants to transition the home into luxury condos, and this irritates the residents while putting a spotlight on the other two owners, Tony Curran (Geoff Bell) and Bobby Tanner (Richard E Grant). 

When the murder occurs, the TMC springs into action with a “real” case. If they can solve it, they may even save Cooper Chase for all residents. The story unfolds in the manner of most whodunits, and our attention is on the main characters as well as others who come into play: Stephen (Jonathan Pryce) is Elizabeth’s dementia-stricken husband, DCI Chris Hudson (Daniel Mays) doesn’t appreciate the talents of TMC, while his assistant, Officer Donna de Freitas (Naomie Ackie) certainly does.

The clues, the research, and the disclosure of mastermind Elizabeth’s past are all fun to watch, and Joyce’s obsession with baking fancy cakes provides a necessary distraction at times. Fifteen-time Oscar nominee Thomas Newman provides the score, and we also get a bit of T Rex (“Bang a Gong”), a Springsteen ‘The River’ t-shirt, and a finale featuring an on-the-nose Cat Stevens’ “Oh Very Young”. One blink and you’ll miss it one-liner occurs when Stephen tells his wife, “You look like the Queen”. Gray cinema murder mystery is definitely having a moment thanks to “Only Murders in the Building”, the “Matlock” reboot, and the recently announced reboot of “Murder She Wrote.” It’s interesting to note that Helen Mirren, Pierce Brosnan, and Geoff Bell were all key players in the recent “MobLand”, a much darker limited series. I’m sure Dame Helen Mirren is enjoying the resurgence … just don’t call her “feisty”.

Opens on Netflix beginning August 28, 2025

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Posted by David Ferguson

EDDINGTON (2025)

July 17, 2025

Greetings again from the darkness. It’s frightening to see how societal norms and individual behavior have shifted over the past five years. It seems clear that the COVID Pandemic was a turning point … or at a minimum, an accelerant. Writer-director Ari Aster (MIDSOMMER, 2019; HEREDITARY, 2018) uses this as a theme in this Neo-noir Western that takes place in a small fictional town in 2020 New Mexico as the pandemic was kicking into gear.

You should know upfront that Aster serves up a giant pot of cinematic vegetable soup. Topics touched on include: politics, racism, pedophilia, Antifa, gun rights, Black Lives Matter, White guilt, envy, divisiveness, murder, conspiracy theories, George Floyd, David Hogg, face masks, social distancing mandates, cults, ambition, abortion, and Native American land rights. If that’s not enough for you, the film also includes an abundance of dark comedy and the final act features a barrage of violence. Just writing that is exhausting, yet nowhere near as exhausting as watching this film.

Oscar winner Joaquin Phoenix (JOKER, 2019) stars as Sheriff Joe Cross, an odd man in a white hat who dares challenge his rival, the sitting town Mayor, Ted Garcia (Pedro Pascal) for the office in the upcoming election. Cross is the one who eschews wearing a mask, while Garcia is the smooth-talking type who encourages commitment to the mandates. The differences between the men are obvious when we see Garcia’s heart-warming (pandering) TV ad as contrasted to Cross’ campaign car sign with “You’re” spelled “Your”. The two men don’t like each other, a situation exacerbated by rumors of a long-ago incident between Garcia and Cross’ wife, Louise (two-time Oscar winner Emma Stone).

Being ill-equipped to run an election, even with the assistance of his two deputies, Michael (Michael Ward, EMPIRE OF LIGHT, 2022) and Guy (Luke Grimes, “Yellowstone”), isn’t the extent of Cross’ problems. His marriage to Louise is rocky at best, and having her mother, Dawn (Deidre O’Connell, a talented actor in TV and movies since the 1980’s) live with them and spew her conspiracy theories only adds to the bumpy ride. Things get worse for Joe when Louise grows close to charismatic but vacuous cult leader Vernon (Austin Butler) … a guru who manages to calmly say things that rile folks up in a hollow-cause kind of way.

Cinematographer Darius Khondji works his magic with a film that bounces all over the place thematically. In traditional Westerns, it was always good versus evil; however, this contemporary version is more political and seems to lack any people who are actually good. Joaquin Phoenix goes all in for his role, and Pedro Pascal continues to prove he can play just about any character. Emma Stone and Austin Butler take on minor roles, while Deidre O’Connell gets to shine in a couple of scenes. Don’t believe for a second that filmmaker Aster is attempting to explain how we’ve reached this moment. It’s more a snapshot in time of how people react under extreme pressure and how everyone has a snapping point. Is the film provocative or is Aster just having fun stirring the pot? Talk amongst yourselves (after watching).

Opens in theaters on July 18, 2025

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Posted by David Ferguson

SORRY, BABY (2025)

July 17, 2025

Greetings again from the darkness. Once it became a bumper sticker, it also became a cliché. “Stuff” happens. It happens to each of us. Of course, the degree to which something bad affects us is a personal matter, and how we deal with it determines the impact on our life. A traumatic event will stick with us forever in what’s best described as the aftermath. Although we get some backstory, first time writer-director Eva Victor focuses on the aftermath, and the result is a realistic, grounded, and emotional perspective of one woman’s journey to trudging forward.

Much of the brilliance of the film is derived from the performance of the filmmaker, Eva Victor, as Agnes. Victor built an online following thanks to some comedy shorts, yet it’s on screen where this unique and ground-breaking talent truly arrives. Presented in five chapters, the story is told in mostly chronological order, except for the first segment which establishes the utter closeness of friends, Agnes and Lydie (Naomie Ackie, BLINK TWICE, 2024). The two were graduate school classmates, with Lydie moving on to New York City while Agnes remained to become a professor at the small New England school they attended.

We learn that the two besties shared a thesis advisor in Preston Decker (Louis Cancelmi, KILLERS OF THE FLOWER MOON, 2023), and he viewed Agnes as a brilliant student, and Lydie as a bit less. In a genius bit of filmmaking, we see the evening when Agnes is sexually assaulted, and that’s followed by a visceral scene in which Agnes describes the event in excruciating detail to Lydie. It’s an event that Agnes carries with her, ultimately driving an incredible scene with Lydie’s newborn baby. Other memorable players here include fellow graduate student Natasha (Kelly McCormack, “A League of Their Own”), whose no-filter rudeness and jealousy contribute to her scene-stealing; Gavin (Lucas Hedges, MANCHESTER BY THE SEA, 2016) as Anges’ neighbor with benefits; Fran (E.R. Frightmaster, “Grey’s Anatomy”) as Lydie’s spouse; attorney Eleanor Winston (Hettiene Park, DON’T LOOK UP, 2021), who conducts Agnes’ jury pool interview in a powerful scene; and Pete (John Carroll Lynch, FARGO, 2996) as a good listener and proficient sandwich maker in another of the film’s best scenes.

That should seem like a lot for one movie. It is. Key elements here include a cat, a sandwich, a mouse, lighter fluid, and boots. The film is filled with direct talk – Agnes says things out loud that many of us think to ourselves. She is a bit of all of us … with a deadpan delivery that sometimes finds the humor in the worst moments. Eva Victor will likely remind many of Phoebe Waller-Bridge of “Fleabag” due to her look and height, and there is no denying the talent on display. The scene with Agnes speaking directly to the baby hits home, and the words are those we would all appreciate at any stage in life, but certainly in the aftermath of one of those bad times as we attempt to move on.

Opening in theaters on July 18, 2025

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Posted by David Ferguson

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