Greetings again from the darkness. For anyone who grew up watching the gritty, street-smart films of the 1970’s, this one from actor-turned-writer/director Noah Segan will feel like it’s one you missed back in the day. From the characters to the plot to the music to the ending, this one feels so familiar, while also taking us on a tour of the boroughs that make up New York.
The always interesting (and underrated) John Turturro stars as Harry, the titular pickpocket. We learn so much about Harry in the opening scenes, which is important since the film plays much like a character study. Not only is Harry skilled at his (criminal) trade, but technological advances have turned him into a dinosaur. The cold cash he needs has been replaced by chipped credit cards, easily traced smart phones, and even the few remaining non-smart watches aren’t built to the standards of yesteryear. We also learn that beyond his profession, Harry’s basically a decent fellow (he puts stolen wallets in mailboxes), and he provides regular loving care for his non-communicative and disabled partner Rosie (Karina Arroyave, “24”). His fence is a longtime friend named Ben (Steve Buscemi), who runs a pawn shop, and Harry is even on friendly terms with the local detective (Giancarlo Esposito, “Breaking Bad”) who is coasting through his final year before retirement. The world in which all three men made their way is little more than a fading memory.
The gym bag inside a renovated classic car provides Harry with some good and bad – a huge wad of cash as well as a gun that he immediately dumps. The cash should have been a tipoff, yet we understand that his tech blind spot prevents him from recognizing the included USB card as a digital locker … which also happens to put the owner on his track. That owner is an energetic twenty-something punk named Dylan (Will Price, ELEANOR THE GREAT, 2025) who happens to be part of a connected family, meaning that digital locker contains access to big time money. It doesn’t take long for Dylan to find Harry and make the expected threats if he doesn’t return the locker. This starts the countdown and puts Harry on the streets trying to recover the card.
Turturro and his overcoat are mesmerizing to watch and listen to as the story takes us through the streets and shops of the boroughs. Those from New York will recognize much, while others will appreciate Harry’s journey. It’s a journey that includes a stop off to see his long-estranged daughter (Tatiana Maslany, “Orphan Black”) who is not thrilled to see him, and a previous ‘associate’, Eve (Victoria Moroles, “Teen Wolf”) whose computer skills come in quite handy. We also get a kick out of Harry having the worst sense of direction for any New Yorker in history.
The ending sequence features a philosophical discussion with a key member of Dylan’s family played by Oscar winner Jamie Lee Curtis. Director Segan also earns brownie points and respect for the manner in which the ending is handled. Cinematographer Sam Levy works wonders capturing Harry on the streets, as well as the more intimate moments that create tension. Gary Lionelli’s score fits the era beautifully, including soft jazz in the scenes with Harry and Rosie. The decision to end the film with Cole Porter’s “I Happen to Like New York”, sung by Bobby Short, left me wanting to re-watch the film as soon as possible … this despite the lingering message that eventually we must all make way for the next generation.
Opens in theatres on October 30, 2026
Posted by David Ferguson 
Greetings again from the darkness. Most everyone has experienced the traumatic signs of Alzheimer’s or dementia in a loved one or friend. It’s heartbreaking to watch someone you care about fade away in front of you. Writer-director Lance Hammer (BALLAST, 2008) finds a new way to open our eyes to these situations. It’s still heartbreaking, yet he’s also managed to make it thought-provoking in a ‘what would you do’ kind of way.
Greetings again from the darkness. Every family has a history, and some families are part of history. Such is the case for writer Thomas Mann, who along with his daughter Erika and son Klaus, are the subjects for this latest from the amazing writer-director Pawel Pawlikowski (COLD WAR, 2018; IDA, 2013) and co-writer Henk Handloegten (GOOD BYE LENIN!, 2003). In my movie viewing experience over the years, I’ve found most movies from Poland to be well made and a bit of a downer. This one fits both descriptions, and I’d add well-acted.
Greetings again from the darkness. She wasn’t yet 30 years old when her first novel, “Strangers on a Train” was published. A year later, Alfred Hitchcock directed the film version, an opportunity many writers would kill for. Patricia Highsmith then crafted a career writing about murder, or the threat of it. Her most famous character, Tom Ripley, was central to five of her novels, or what’s been called “The Ripliad”. On screen, the Ripley role has been played by Alain Delon, Dennis Hopper, Matt Damon, John Malkovich, Barry Pepper, and Adam Scott (in the recent terrific mini-series, “Ripley”).
Greetings again from the darkness. The husband and wife co-directing and co-writing team of Alex Huston-Fischer and Eleanor Wilson have delivered the pleasant surprise film of the year. It’s based on the 2008 short story, “The Wicker Husband”, written by Ursula Willis-Jones and it manages to be thoroughly entertaining while poking around into human psychology.
Greetings again from the darkness. So, what does one do with excess creative urges when one is a Julliard trained violist and a successful stand-up comedian? Well … how about writing, directing, and starring in a film filled with authenticity and familiar everyday struggles (even for those of us who aren’t classically trained). That’s exactly what Isabel Hagen has done, and the result is a gem of indie filmmaking. 
Greetings again from the darkness. Simply perusing the list of documentaries helmed by Jennifer Peedom (SHERPA, 2015; MOUNTAIN, 2017; RIVER, 2021) gives the impression that she’s not one to spend most days lounging in the recliner watching network television. While her latest is not a documentary film, she co-wrote with Luke Davies (LION, 2016) and based it on a true story written by Ed Douglas in his 2003 book, “Tenzing: Hero of Everest”. It’s a story most aren’t familiar with, or more accurately, it’s about a man most aren’t familiar with.
Greetings again from the darkness. Even though studio sound stages are necessary and serve a purpose in movie making and TV series, watching scenes filmed on location adds the realism that can make or break a production. As an experienced Location Scout and Location Manager, first time director Paula Gonzalez-Nasser (she also wrote the screenplay) understands the importance of realism. To that point, and by design, her film often has somewhat the feel of a documentary.
Greetings again from the darkness. There will likely be a very distinct line of demarcation between those who ‘dig’ DIGGER and those who don’t. Director Alejandro Inarritu, who won Oscars for THE REVENANT (2015) and BIRDMAN (THE UNEXPTED VIRTUE OF IGNORANCE, 2014) and a list of five esteemed writers (Sabina Berman, Jez Butterworth, Alexander Dinelaris, Nicolas Giacobone, Inarritu) seemingly crafted a film that looks amazing, while intentionally angering or annoying or confusing a big chunk of movie goers. Not only will those who prefer traditional storytelling be frustrated, the politics involved will surely irritate many (and drive some nasty comments).
Greetings again from the darkness. Director David Ayer (the excellent END OF WATCH, 2012) is no fool. He wisely begins the movie by putting the audience at ease. Yes, the dog survives. We learn this in the opening scene he blocks the road of a pickup driver (Anna Lambe, “True Detective”). We immediately shift to flashback mode, unsure whether the dog’s owner is still alive. The first feature film screenplay from Cameron Alexander benefits immensely from a couple of key factors: stunning scenery and a touching bond between man (Oscar winner Brad Pitt) and dog (Odin, a properly renamed Uber).
