EPIC: ELVIS PRESLEY IN CONCERT (2026, doc)

February 22, 2026

Greetings again from the darkness. “Glory, Glory, Hallelujah.” As Elvis sings “The Battle Hymn of the Republic”, the combination of the lyrics and his voice send chills. We listen as Elvis states he’s never had the chance to tell us his story in his own words. Director Baz Luhrmann discovered hours of previously unheard audio and unseen video recordings while researching his 2022 film, ELVIS. He has masterfully edited this into a fascinating portrait of the King of Rock ‘n Roll, with an emphasis on his multi-year run at the Las Vegas International Hotel.

Despite the cute title and its double meaning, Luhrmann doesn’t deliver the standard concert film. The first segment offers a brief recap of Elvis’ early years as a teen idol, followed by his military stint (and buzz cut), and string of Hollywood films. But it really kicks into gear with the Las Vegas residency years – more than 1100 shows – beginning in 1969. As you watch this, keep in mind that Elvis was in his mid-thirties in most of the clips (he died in 1977 at age 42). Those early Vegas years were Elvis at his peak both physically and vocally. Luhrmann’s brilliant touch includes bouncing from rehearsal to live show. What shines through is Elvis’ true love of the music and absolute dedication to entertaining his fans.

Thankfully, Luhrmann (who also directed MOULIN ROUGE!, 2001) skips the ‘fat Elvis’ ending and focuses on the global phenomenon matched only by The Beatles and Taylor Swift. Elvis speaks to his disappointment at not having the opportunity to act in better films, and it’s clear that his long-time manager, Colonel Tom Parket was also the obstacle to Elvis touring Europe, Japan, or anywhere else outside of the Unites States. Creative editing has Elvis performing “You Were Always On My Mind” during the montage of Priscilla and Lisa Marie, as well as “In the Ghetto” on the heels of him mentioning that he avoids speaking on politics and sees himself as ‘an entertainer’. He even cringes when asked about his Sun Records recordings by Sam Phillips, noting the heavy echo of the songs that initially brought him notoriety.

As a lifelong Elvis fan, noting his pure joy in the music hits hard. A personal favorite moment occurs when he cuts loose on “How Great Thou Art”. The power and depth of that voice was a true gift … not unlike the genetic lottery he won with his looks. The middle-aged ladies sitting next to us in the theater swooned multiple times as he flashed his smile, and of course, those in attendance at his live show had obvious reactions as well. Perhaps no one on the planet ever kissed more women than Elvis.

Luhrmann includes bits of 50+ songs (I lost count) and uses some footage shot for two previous documentaries, ELVIS: THAT’S THE WAY IT IS (1970) and ELVIS ON TOUR (1972), yet here he goes much deeper into the man – the one with a sometimes goofy sense of humor who understood the power of entertaining the audience. Sometimes that audience included celebrities … we see Cary Grant, Sammy Davis Jr, and George Hamilton at shows; but mostly it was how his shows touched everyone with his energy. In deference to the many actors who have portrayed Elvis on screen, including Jacob Elordi, Austin Butler, Kurt Russell, Jonathan Rhys Meyers, Michael Shannon, and Bruce Campbell, there really was no one like him. Elvis may have left the building, but it’s clear the spirit of his music continues to take care of business.

One week run at IMAX theaters thru February 26, 2026 followed by a wide theater run beginning February 27, 2026

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Posted by David Ferguson

BILLY PRESTON: THAT’S THE WAY GOD PLANNED IT (2026, doc)

February 19, 2026

Greetings again from the darkness. That electric smile with the front tooth gap always seemed to accompany the amazing keyboard work of the great Billy Preston. This superb documentary from Paris Barclay proves the musicianship was otherworldly, but also that the Billy Preston smile often hid the pain, hardship, and history of the man.

The film opens on stage in 1971 at the Concert for Bangladesh, organized by Preston’s friend and former Beatle, George Harrison. The concert, and the corresponding film and (legendary) album were fundraisers for refugees of the Bangladesh Liberation War. We witness Preston’s joy as he leaps from the piano bench to dance across the stage as other musicians jammed – Eric Clapton, Leon Russell, Ringo Starr, etc. it’s not surprising to learn that Preston was a piano prodigy at age three, and early on played gospel music at church.

Billy Preston’s career found him playing with everyone from Ray Charles to Nat King Cole to The Beatles (that’s him on the Apple roof in 1969) to The Rolling Stones to Red Hot Chili Peppers. Rock guitar legend Eric Clapton is interviewed for the film and his respect for Preston is as obvious as his frustration at not being able to help him more during times of personal crisis. Preston’s life struggles included being sexually abused at an early age, confusion and difficulties with his sexuality, a scandal that got him arrested, and a drug conviction and insurance fraud conviction that landed him in prison. Despite a kidney transplant in 2002, Preston’s health deteriorated and he passed away in 2005 at age 59.

There is a terrific clip from “Shindig”, and we see/hear Preston do a spot-on impersonation of Ray Charles. Singer Merry Clayton gushes over his talent and the role of A&M Records is discussed. The uniqueness of Preston is emphasized with a comment about his ‘Ranch and Rolls’. He loved riding horses and driving luxury cars. Billy Preston’s lasting impact on music can be noted on so many songs, but perhaps the most touching is the song he wrote for his mother, “You are So Beautiful” (made famous by Joe Cocker). Director Paris Barclay pulls no punches in providing a 360-view of Preston as a man who faced obstacles and challenges and as a musician posthumously inducted into the Rock ‘n Roll Hall of Fame. I’ll view his smile a bit differently now, while also admiring his music even more.

Premiering On February 20th at NYC’s Film Forum

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Posted by David Ferguson

SOUL POWER: THE LEGEND OF THE AMERICAN BASKETBALL ASSOCIATION (2026, doc)

February 15, 2026

Greetings again from the darkness. I had to have that ball. The red, white, and blue basketball looked so cool whether you were shooting a jumper or spinning it on your finger. And it looked even better when “Dr J” was soaring in for a finger-roll or slamming one home. To this young kid, the ABA was ultra cool, and now this four-episode documentary series from director Kenan Kamwana Holley and producers George Karl, Julius Erving, and Common (among others) provides a rush of nostalgia for those my age, and a sports history lesson for younger folks.

Personally, I would have been satisfied with four hours of ABA game clips. After all, this was the league that introduced the three-point arc and the slam dunk contest, as well as flamboyant players and play. But of course, director Holley understands that there is also a significant story to tell about what was happening off the court. Quite an impact is made by allowing those involved to tell their version some fifty plus years later. Some of the best segments feature interviews with Rick Barry, Julius Erving, Spencer Haywood, and Ellie Brown … the latter being the first female sports team owner when she took over for her husband John Y Brown (owner of KFC, governor of KY, once owner of Celtics). We learn about the battle between the stodgy established NBA and the upstart dynamic young league.

The ABA began in 1967 and lasted until the four-team merger with the NBA after the 1976 season. During that span, most of the ABA teams functioned under tremendous financial strain, and teams and cities and logos were juggled fairly regularly. Still, the players and exciting brand of basketball (as compared to the slow-play NBA) sustained the league and its persistent annoyance to the more established league. In addition to those already named, some of the other true ABA stars included George McGinnis, Louie Dampier, Moses Malone, Marvin Barnes, James Silas, Dan Issel, Artis Gilmore, and George Gervin … those latter three all sit for interviews as well. A segment on David “Skywalker” Thompson reminds us of what an incredible talent he was.

It’s likely that Will Ferrell’s comedic SEMI-PRO (2008) film is the only exposure some have to the ABA. In keeping with the league’s actual history, it’s no surprise that Dr. J is the big draw. Julius Erving is a producer on the film, and also provides some insight and commentary along the way. His skills at the time were unlike anything we had ever seen on a basketball court, and he certainly earned the extra attention here. If there is a downside, it’s related to the poor quality and deterioration of the clips from 50 plus years ago. Obviously, we are spoiled with the high-definition replays over the past twenty years, and we should be thankful that this much video has been preserved from the rebel league, but some of it is pretty rough.

Common is the series narrator (he mentions that his dad played in the ABA), and kudos to all involved for the nostalgia and history lesson. The ABA played a crucial role in the evolution of professional basketball, and this film offers a documented record of how it all happened. From NBA legend George Mikan being the league’s first commissioner, to singer Pat Boone being an original team owner, to Rick Barry’s contentious relationship with everyone (except a basketball), to the legal battles involving Barry, Haywood, and Dr. J, to the fight for Lew Alcindor, to the first female team owner, to Darnell Hillman’s afro, to the players’ fashion, to the first microphone job for Bob Costas, to Larry Brown’s overalls, to that iconic first slam dunk contest, to Silna’s big payday, to the high-flying exploits of Erving and Thompson, to that final merger … this is quite a trip for fans.

Available on Prime Video

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Posted by David Ferguson

MR NOBODY AGAINST PUTIN (2025, doc)

January 25, 2026

Greetings again from the darkness. Heroes come in many shapes and sizes, and heroic acts may be big or small. What’s consistent is the need for courage to do the right thing, regardless of the circumstances or personal risk. The actions of Pavel “Pasha” Talankin clearly fall under this definition, and with the help of his co-director David Borenstein, the finished film not only provides us with rare insight into Russian life, it has also been nominated for Best Documentary Feature at this year’s Academy Awards.

Pasha was an Event Coordinator and Videographer at a Primary School in Karabash, Russia. It’s a town of approximately 10,000 residents and the pollution from the local refinery business has not only turned the local mountain black, it has also caused the town to be labeled toxic as it reduces the lifespan of locals. Initially we see Pasha’s interactions with the students, including the normal shenanigans and giggles one would expect from the age group. However, things changed quickly in February 2022 when Vladimir Putin announced a “Special Military Operation” … the invasion of Ukraine.

The ‘before’ and ‘after’ contrast is stark. The government takes control of daily lessons while administering the national and war propaganda required to brainwash students (and teachers) that Russia is in the right and Europe is the enemy. Pasha makes for an interesting guide for us. After all, he displays a pro-democracy flag above his desk. He also figures there are dual uses for his camera – fulfilling the requirements set by the government, while also documenting that not all Russians support the war.

“Even a guy like me should have some principles”, Pasha states as he resigns from the school – although he quickly realizes the opportunity afforded by his position. His camera shows the “Stop the War” protests that the Russian government claims never happened. And to be clear, Pasha fully acknowledges the personal risk he is taking by doing what he’s doing. Over the course of two-plus years, it’s heartbreaking to learn of the deaths that occurred for some soldiers who were previously students at the school. It’s a stark reminder that the cost of war is incalculable, making Pasha’s actions all the more courageous, enlightening, and necessary.  Should anyone have doubts about the effects of communism and authoritarianism, this striking documentary is a must-see.

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Posted by David Ferguson

MEL BROOKS: THE 99 YEAR OLD MAN (2026, doc)

January 20, 2026

Greetings again from the darkness. “Laughter is the best medicine.” Proof comes in the form of filmmaker Mel Brooks and this two-part HBO Documentary from two Emmy award winning directors: Judd Apatow and Michael Bonfiglio. The title is a take-off on Brooks’ age and his decades-long-running gag, “The 2000 Year-Old Man”. This is a film for anyone who is a fan of any of Mel Brooks’ eleven feature film comedies, his long track record of comedy writing (TV, film, Broadway), or a general history of the comedy forum. Two parts cover the familiar pieces of his career, while also putting his work into historical perspective, and offering insight into his personal life, his inspirations, and his romance and friendships.

A modern-day (quite candid) interview with Brooks provides the structure, and it’s fascinating to see a man who will hit the century mark very soon be so engaging as he recalls life moments – and even specific jokes that he wrote decades prior. The two-part presentation is generally in chronological order; however, a generous inclusion of archival clips and TV interviews and talk shows with Brooks provide not just valuable insight, but also extreme entertainment. We learn he and his brothers were raised by an optimistic mother who provided hope, despite their poverty in Brooklyn. When he was of age, he enlisted in the Army and fought in WWII. It’s no surprise that his comedy sense was influenced by Charlie Chaplin, Buster Keaton, and the Marx Brothers, yet Brooks is sure to include the Ritz Brothers as well. Much of his comedy work touched on his being Jewish … topics not always easy to laugh about in a post-war world. One of his great quotes: “If you don’t get killed in the Army, you learn a lot.”

The big break came when Sid Caeser hired him ‘off the books’ as a writer for “Your Show of Shows”. It was here where he worked with Neil Simon, Larry Gelbert, and Carl Reiner, the latter who would become a lifelong friend (and the straight man on “The 2000 Year Old Man” gag). By the mid-1960’s Brooks and Buck Henry would collaborate to create the TV hit “Get Smart”, a James Bond parody. The show’s success allowed Brooks to write his first screenplay for THE PRODUCERS (1967), which featured the now iconic comedy musical satire, “Springtime for Hitler” – and won him an Oscar. Brooks discusses his feeling of pride as a Jewish man being able to make fun of Hitler. It’s these moments that really hit hard in this documentary. Brooks felt a responsibility to poke fun at life’s inequities. It was with BLAZING SADDLES (1974) where he lampooned racism. It’s in this segment where Brooks discusses his professional teaming with Gene Wilder, and how (shockingly) Gig Young was originally cast as The Waco Kid.

Part Two of the documentary kicks off with Brooks’ classic (and my personal favorite) YOUNG FRANKENSTEIN (1974), which he co-wrote with the film’s star, Gene Wilder. His beautiful answer to the question of why he filmed in black and white: it is “a valentine to James Whale”, the director of many classic horror films, including FRANKENSTEIN (1931). The film goes through Brooks’ next films SILENT MOVIE (1976) and HIGH ANXIETY (1977), and what I found to be the most touching moment occurred as Mel Brooks watched a clip of his beloved wife, Anne Bancroft, in a scene from SILENT MOVIE. Love, admiration, and sadness are all visible on his face as the clip plays and he takes in this intimate memory. Although his HISTORY OF THE WORLD: PART 1 (1981) was not a hit, another clip reminds us of the immense talent of another actress, the late great Madeline Kahn (one of my all-time favorites). Brooks discusses what he viewed as the importance of bonding art with the power of comedy. We also learn of Brooks’ production company backing such prestige projects as THE ELEPHANT MAN (1980) and THE FLY (1986). Although he directed and acted in more films, the next great Mel Brooks achievement was taking “The Producers” to Broadway in 2005. The production won a record 12 Tony’s (second place is “Hamilton” with 11).

The career is truly unparalleled, and Mel Brooks laid the foundation for contemporary film comedy, yet what sets this documentary apart is the personal aspect. It’s clear Apatow (a very successful filmmaker himself) reveres Brooks and provides the forum for Mel to relay any bits he’d like to pass along. Sure, we hear the important role Brooks played for other Jewish entertainers like Adam Sandler, Sarah Silverman, Jerry Seinfeld, Nick Kroll, Ben Stiller, and Barry Levinson, yet beyond that, it’s the friendships with Norman Lear, Sid Caeser, and especially Carl Reiner that accentuate the life of the man. Having seen the “60 Minutes” segment, many of us know that elderly Reiner and Brooks would spend most evenings watching “Jeopardy”, yet it’s so touching to learn (from Rob Reiner) what happened after Carl passed away. We hear from Brooks’ sons and his granddaughter, and we hope they recognize the wisdom and life lessons presented here. One of Brooks’ best quotes and a driving force of his work: “I think I can say anything serious if it’s funny.” Brooks’ best advice: “Be kind”; and possibly his best joke: when asked, boxers or briefs? … Brooks answers “Depends”.

Part 1, January 22, 2026 HBO

Part 2, January 23, 2026 HBO

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Posted by David Ferguson

DEEPFAKING SAM ALTMAN (2026, doc)

January 15, 2026

Greetings again from the darkness. As far as non-political topics go, none are hotter than Artificial Intelligence (AI). What is the potential? What are the risks? Will it be used for good or evil? Who will control its use? Who am I kidding … AI is very much a political topic, and all of these questions have political and social implications. Award-winning documentarian Adam Bhala Lough has the same questions and concerns that we all do, and he decides to seek answers from the face of and driving force behind AI: Sam Altman, the founder of AI research organization OpenAI, which developed the chatbot, ChatGPT.

We watch his attempts to secure an interview with Altman through an endless stream of emails and voicemails – all with no response. In a somewhat comical bit, we see what are clearly OpenAI employees pleading ignorance to the whereabouts of the OpenAI building. For tech geeks, it’s the holy grail job and none are going to risk losing it by breaking an NDA. Upon realizing that the interview isn’t going to happen, Lough shifts into artist mode and decides to use AI to create SamBot … an imagined version of Sam Altman utilizing ChatGPT to answer Lough’s questions. This idea sends Lough to India for casting and a partnership with an AI developer.

It’s actually quite fascinating to watch this entire process come together, and of course, ethical and legal questions abound. The final interview with SamBot is obviously fake, yet Lough’s team of attorneys mull the legalities of marketing this. It’s no surprise that the legal risks are not the most entertaining piece of this puzzle. Instead, we watch SamBot (voiced by ChatGPT) actually manipulate Lough through the interview. Now, THAT is simultaneously entertaining and frightening, and speaks to the core issues with AI. Early on, Lough wonders if his young kids might someday have more AI friends than human ones, and this simple exercise shows just how possible that scenario is. Technology is your friend … right up until it isn’t.

Opens January 16 at the QUAD Cinema in New York City
January 30 at the Laemmle NoHo Theater in Los Angeles

Followed by a Nationwide Theatrical Roll Out

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Posted by David Ferguson

SHUFFLE (2026, doc)

January 15, 2026

Greetings again from the darkness. I really try to be a good citizen. I watch and read the news daily – even when it’s painful. I keep up with cultural and societal shifts. Despite my best efforts, every now and then something comes along that stuns me … catching me off guard to the point that I simply never suspected what’s really happening. My latest eye-opener comes courtesy of documentarian Benjamin Flaherty, who utilizes his own experiences (finally getting sober at age 41) to wake us up to the corruption that feeds the profitability of addiction centers (a billion-dollar industry).

South Florida is the rehab capital (another thing I didn’t know), and by the time Flaherty is finished telling the story, we can’t help but describe the rehab process as one big conspiracy of corruption and profit and deceit. The process is explained so completely, and he provides real life situations (focusing on three addicts), so we can’t feel anything but anger at those that profit and sadness for those caught in the loop. Insurance fraud has been a hot topic for a while, and the film serves up multiple examples (and proof) of just how some of these treatment facilities work the system – stooping to kickbacks for the ‘brokers’ who keep the addicts on the treadmill so that they qualify for treatment through insurance programs.

While we usually think of organized crime in terms of “The Sopranos” or Scorsese’s CASINO, the description absolutely fits what we witness here. One of those interviewed by Flaherty admits she’s been in 36 treatment centers (each covered by insurance). We hear that detox centers become like second homes. This is truly an example of the value expertly crafted documentaries can provide – information on topics we might not have access to. Flaherty’s message is impossible to miss: Wealth, not Health.

Opening at DCTV Firehouse Cinema in New York

January 16, 2026

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Posted by David Ferguson

CRITICAL INCIDENT (2025, doc)

December 29, 2025

Greetings again from the darkness. The line between right and wrong may be more blurred than ever these days, yet we’d be mistaken if we were to assume that the line was once distinct and clear. Rick Rowley (Oscar nominated for his 2013 documentary DIRTY WARS) offers the disturbing details of the investigation into the 2010 event that led to the death at the border of an undocumented Mexican immigrant named Anastasio Hernandez – Rojas.

Though undocumented, Anastasio Hernandez-Rojas had lived in San Diego for 26 years, worked as a pool builder, and been married to Maria. They had five U.S. born kids. The first interview is with Rodney Scott, who was Chief of the Border Patrol of the San Ysidro port of entry in 2010 at the time of the even. As the former Chief, he claims not to know all of the details other than that the security cameras at the time were ‘props’ used as deterrents, which is why no video footage of the incident was provided. 

The film takes us through the non-existent investigation by the police – the detective states the Border Patrol treated it as a medical event, rather than a use of force, so no witness statements were obtained and the scene was cleaned. We see some of the agents being deposed by Maria’s attorney, Gene Iredale, and learn of the autopsy results. Investigative Reporter John Carlos Frey spends a great deal of time trying to find details on what appears to be a cover-up. When he connects with an eyewitness, iphone footage leads to public marches for justice in 2012. He ends up working with a former BP agent, as well as the Southern Border Communities Coalition.

A Grand Jury investigation lasts more than three years and results in no agents being prosecuted, and another investigation begins to determine if International Human Rights Laws were violated. By 2022, even Congress is convinced a proper investigation is warranted. Shadow units, such as Critical Investigation Team (CIT) are discovered – and referred to as “Border Patrol Cover-up Units”.

There is little here to provide us with faith in our institutions, especially these days. Homeland Security manages the 20,000 Border Patrol Agents, and it has since been discovered that Anastasio Hernandez-Rojas was tased while face down with hands cuffed behind his back. The methamphetamine in his toxicology could have been from the meds administered at the time of treatment. It’s little wonder the film is subtitled, “Death at the Border”. Rick Rowley delivers a powerful HBO documentary at a time when clear answers are difficult to come by.

Premieres on HBO on December 29, 2025

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Posted by David Ferguson

COUNTING CROWS: HAVE YOU SEEN ME LATELY? (2025, doc)

December 18, 2025

Greetings again from the darkness. The next entry in the HBO Music Box documentary series comes from director Amy Scott and provides a textbook example of what can happen when a band hits it big ‘overnight’. It’s not always pretty, and sometimes it’s downright uncomfortable. Counting Crows’ popularity exploded with the release of their 1993 debut album, “August and Everything After”. The hit single, “Mr Jones” was all over the radio, only to be followed by an even better song, “Round Here”. The band and their music were ubiquitous.

Director Scott allows band leader, lead singer, and songwriter Adam Duritz to spend a good amount of time explaining what happened after the band’s follow-up album, “Recovering the Satellites” hit big … but not as big as the first album. Adoration was met with vitriol. Duritz admits to his struggles with mental illness and the delay in a proper diagnosis. We also hear from band members, as well as musicians Cindi Lauper and Chris Martin (Coldplay) on the impact of the music, as well as the strain of celebrity and pressure on artists. At times, we feel we are in a Duritz therapy session, although the music reminds us otherwise.

Additionally, NBA coach Steve Kerr, actor Mary-Louise Parker (once romantically involved with Duritz), and comedian Jeffrey Ross also contribute to the insight of celebrity. Their input helps us understand why success and criticism were both so tough on Duritz. There are some fascinating bits to the Counting Crows story. This little band from Berkeley put together a demo tape that spurred a bidding war by record labels and led to the great T-Bone Burnett producing their first album. The importance of MTV is discussed, and a spectacular clip of the band performing on “Saturday Night Live” is included – along with the story of why there never invited back.

Despite the backlash and internal battles, the band continued to make music. Duritz was ultimately properly diagnosed, and his current partner, Zoe Mintz, offers insight into the man. This is certainly not one of those fairy tale stories, as it seems the band endured as much pain as success … but for a guy who spent some time bartending at the Viper Room, Adam Duritz has delivered some beautiful songs and vocals.

Debuts on HBO on December 18, 2025

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Posted by David Ferguson

WIZKID: LONG LIVE LAGOS (2025, doc)

December 10, 2025

Greetings again from the darkness. There may be no more effective way to change the outside world’s perspective of a culture or country than through music. That’s the path Wizkid is taking to re-introduce the world to his home country of Nigeria and transform the image. Documentarian Karam Gill continues his focus on those in the music industry who have loftier goals than just hit records.

The globalization of music has made it possible for just about anyone to listen to music from most any country and from most any artist. Wizkid, Nigerian born Ayodeji Ibrahim Balogun, certainly looks the part … fancy clothes, plenty of bling, and fashion shades. More importantly, he’s a talented performer who connects with an audience through his Afrobeats. He’s been a star for about 15 years and broke through in the United States about five years ago.

Director Gill uses a scheduled concert at Tutenham Hotspur Stadium as structure for the film. The countdown to the big show includes Wizkid’s preparations as well as the challenge his mother faces with a cancer diagnosis. We see Wizkid as an Ambassador for Nigeria and begin to understand why he is held as a beacon of hope. The payoff for the build-up is that we see him in concert and watch as his fans groove en masse. The question is asked, “What do you stand for?”. It seems clear Wizkid is working to change the perception of Nigeria.

Premieres on HBO on December 11, 2025 as part of the Music Box Series

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