TENZING (2026)

October 8, 2026

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.

Edmund Hillary is credited as being the first climber to reach the summit of Mount Everest in 1953, but this story begins much earlier. In the 1920’s, a very young Himalayan, Tenzing Norgay (Samdrup Dorje Lama), met legendary adventurer George Mallory (Johnny Flynn in a brief scene) and asked to go along on the expedition. An older Tenzing (Tenzin Dalha) pursues love with Dawa (Thinley Llhamo) while continuing his climbing and love for Chomolungma, the Tibetan name for Everest. Adult Tenzing (Genden Phunstok) is recognized as the premier guide on the mountain and is selected by Captain John Hunt (Willem Dafoe) to guide the British expedition in 1953.

Bouncing between the time periods reinforces Tenzing’s spiritual respect for the mountain and commitment to one day reaching the summit. On the British expedition, he bonds with Edmund Hillary (Tom Hiddleston). As a New Zealander, Hillary is treated as an outsider by the Brits, similarly to how Tenzing is treated as an outsider by the native Sherpas. Tenzing’s role as a go-between adds a burden and stress not shared by the other climbers. The stark comparison is made by stating the British climb for the achievement, while Tenzing states, “I climb to know her better”. Ultimately, the outsiders are rewarded for their expertise.

Caitriona Balfre (BELFAST, 2021) appears as Jill Henderson, the coordinator of expeditions and a supporter of Tenzing, yet unfortunately this role and that of Dawa are severely underwritten as the story mostly focuses on the climbers. On the plus side, the photography of Everest and the climb by cinematographer Stefan Duscio (THE DRY, 2020) is at times breathtaking. The use of drones allows us Everest views we haven’t seen before, and we often feel like we have joined the expedition (without the danger or cold feet). This is one that most audiences will be interested in and engage while watching.

The film will premiere in select theaters on October 9, 2026 and globally on Apple TV on October 16, 2026

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Posted by David Ferguson

THE SCOUT (2026)

October 1, 2026

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.

Mimi Davial stars as Sofia, a location scout who is working on an upcoming TV pilot. It doesn’t take us long to describe her work: driving, parking, walking, chatting, voicemails, phone calls, and meetings. Since she works in New York City, Sofia’s glovebox is stuffed with an endless stream of parking tickets. Sometimes her ‘walking’ turns into running since she so often is a bit late for an appointment. And that chatting … well that’s the small talk required when one is trying to worm the way inside someone’s home or place of business to take photos.

This is not so much a story as it is 90 minutes of observations … kinda like what Sofia is doing (only we don’t have to park or chat up strangers). There is the lonely lady (screen vet Rutanya Alda), the flirty stay-at-home dad, and the fish shop dude, among others. Sofia must answer to Jasmin (Lisa Haas), the Location Manager, and listen to the endless critiques and preferences of the team. Sofia gets a brief respite when, by happenstance, one of her flyers ends up on the door of Becca (Otmara Morrero) and the two old friends reconnect in a way that happens when adults have moved on with life.  We get only glimpses of Sofia the person contrasted with Sofia the scout.

Sofia understands the script and ever-changing shoot parameters. She works quickly and deals with folks in an endearing manner as it’s a job requirement. The work puts her in the midst of intimate and personal spaces, and she must endure the crew on site, even as they leave tact and grace at the front door. Ms. Davila perfectly embraces Sofia’s tired eyes and facial expressions meant to convey nothingness. She appears beat down … right up until she forces the charm to appear with the next potential client.

For those who dream of jumping into the glamour of the show business, Sofia demonstrates the lower rung of the ladder. As viewers, we interject Sofia’s inner voice based on her face and what we believe she’s thinking. Time is always short. Ms. Gonzalez-Nasser includes almost no exposition. We see Sofia’s day. In fact, we share it with her. Good luck finding the glamour.

In theaters nationwide this fall (2026)

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Posted by David Ferguson

DIGGER (2026)

September 29, 2026

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).

The studio has requested that no spoilers or hints be included in reviews, so I will tread extremely lightly here. An added reason is that the film is certainly best viewed ‘cold’ or with no preconceptions. If you’ve seen the video, you know immediately that this is a much different Tom Cruise character than the strutting, cocky, too-cool-for-school Ethan Hunt that he’s portrayed in numerous “Mission: Impossible” films. It’s his best non-action role since MAGNOLIA (1999), and also his most exuberant (some will say over-the-top). Under prosthetics that transform him into a man that looks his actual age, Cruise becomes Digger Rockwell, a man of enormous wealth, influence, and ego. Cruise has a couple of extended single takes, one of which is mesmerizing in the sheer amount of dialogue he recites and the physicality he displays.

As you would expect, many actors jump at the chance to work on an Inarritu film, and here the cast includes Oscar winner Riz Ahmed as Dr. Ganesh, John Goodman as President Compson, Michael Stuhlbarg as the Vice President, Sandra Huller (one of my 3 favorite actresses since TONI ERDMAN, 2016), Robert John Burke as Fitzgerald, and Jesse Plemons as Kenny. Ahmed is excellent in his role, while Goodman makes his mark with world class bellowing. Huller’s smaller role is a bit disappointing, but fortunately she has a starring role in Pawel Pawlikowski’s new film, FATHERLAND.

Even beyond the studio restrictions, I’m at a bit of a loss as how best to review this film. It’s likely meant to be satire as it takes on big issues like contemporary politics, global issues, ecological concerns, and socio-economic fallout. My view is that it’s a blend of Kubrick’s classic DOCTOR STRANGELOVE and some Coen Brothers films (minus the hilarity), topped off with editorial commentary on backroom politics and corporate greed. Controlling the narrative is a clear objective of these characters. The film takes one huge change of direction early on, and then another much later … the second being easier to foresee. These shifts will definitely challenge viewers, while also leaning into the creativity noted by those of us who find things to admire about the film.

Inarritu’s team is as superb as expected. Three-time Oscar winner Emmanuel Lubezki expertly handles the VistaVision cinematography, while Oscar winner Dennis Gassner awes us with Production Design. As an added bonus, the song playing over the closing credits is the excellent (and quite fitting) “Look What They’ve Done to My Song, Ma” by Melanie. But then, not everyone will stick around that long.

Opens in theaters on October 2, 2026

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Posted by David Ferguson

HEART OF THE BEAST (2026)

September 24, 2026

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).

Pitt plays James Belmont, retired after 30 years in Army Special Forces. His loyal companion, Odin, is a beautiful Shepherd who served as combat scout dog alongside James in multiple wars. Both carry their bodily and mental scars. Odin has been partially reassembled, including a prosthetic leg that doesn’t seem to slow him down. The two companions are now living a quiet life, close to nature, in the wilderness of Alaska. Well, it’s quiet except for multiple interruptions … some more dangerous than others.

One evening, an old-timer (Oscar winner JK Simmons) pulls up his canoe for a fireside chat with James. This allows us to learn some specifics about the background for man and ‘beast’.  The geezer is gone by the next morning, and a storm forces James and Odin into an early departure. It’s one that ends badly, as a heart attack causes a horrific plane crash. James and Odin are battered, but survive and begin a 58 mile trek through harsh Alaskan wilderness. The dangers lurking in nature are many. Some you expect, some you don’t. One segment recalls THE GREY, while another poses a nature-made tree bridge over raging river waters.

I may not be the first to notice that Brad Pitt has a face seemingly designed for the big screen, yet this time, his co-star’s face is equally impressive. Odin is a stunning creature and the bond these two share carries zero Hollywood fluff, and is sure to capture the emotions of most viewers. In fact, you should have nothing to do with anyone who doesn’t at least well up a bit during this one. Pitt has reunited with Ayer, his director from FURY (2014), and this survival story may work even better as a love story.

Opens in theaters on September 25, 2026

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Posted by David Ferguson

PRIMETIME (2026)

September 24, 2026

Greetings again from the darkness. Director Lance Oppenheim (SOME KIND OF HEAVEN, 2020) and co-writers Luke Dittrich and Ajon Singh toss nearly two hours of psychology at us, leaving us to fend for ourselves on how best to define evil and acceptable boundaries of ethics and decency. It’s a bit of a mind twister that some may define as horror, while others cast it as satire. Regardless of your take, I found this to be a mesmerizing look at the things that make some people tick.

Robert Pattinson stars as Chris Hansen, whom you likely recall as the host of “To Catch a Predator”, a special offering which ran from 2004-08 on “Dateline NBC”. Hansen became renowned for his creepy voice and catchphrases, “Why don’t you have a seat” and “You see how this looks, right?” It wasn’t enough to catch the pedophiles … they needed to be humiliated on camera and then have the tape replayed on national television. Legalities caught up with show … entrapment being a topic, despite few having sympathy for those targeted. Those caught in compromising positions are shown here, but this film is ingenious in how it turns the camera on what was going on behind the scenes.

Pattinson captures a persona as Hansen that is difficult to describe, yet abnormal and a bit twisted is a start. The always great Merritt Weaver (CHRISTY, 2025) plays the show’s ambitious producer Andie Bender – one who would readily admit to not being cut out for rom-coms. She’s a master at manipulating a situation or person so that it makes her and the show look good. Proof of this is in how she handles “Decoy Dan” (a terrific Skyler Gisondo, SUPERMAN, 2025). Ambitious in his own right, Dan masters the innocent voice used to reel in the target, and does so for the purpose of obtaining his SAG card.

Yes, everyone is out for something here. Matthew Maher (THE BRIDE!, 2026) plays Xavier, the staffer charged with attracting the right kind with online banter. Xavier founded “Perverted Justice”, an organization committed to nailing pedophiles. The downfall of the show occurred with an incident in Murphy, Texas … shown here with Bokeem Woodbine as a strutting Texas sheriff, devoted to nailing ‘The Whale’ … an important local official. It’s the one target that Hansen never had the chance to confront with his own words.

The supporting cast in the film is deep and, in some cases, quite surprising. These actors include Phoebe Bridgers (musician), Anna Farris, Jessica Hecht, Jeff Zucker (former President of CNN), Jonathan Lipnicki (the kid from JERRY MCGUIRE), Alex Winter (BILL & TED’S EXCELLENT ADVENTURE), Tony Revolori (THE GRAND BUDAPEST HOTEL), and Creed Bratton (“The Office”, The Grass Roots).

In addition to the cast, director Oppenheim has put the band back together (from SOME KIND OF HEAVEN, 2020). This includes cinematographer David Bolen whose lighting and camera work deliver a unique atmosphere, composer Ari Balouzian whose musical notes match the feeling, and editor Daniel Garber who fits the pieces together in a way that the “Yuck” factor never overwhelms. The psychological aspects mentioned earlier are on full display throughout, and best of luck maintaining your own sanity as you attempt to figure out if any of these folks are ‘good’ or if that bar is simply unachievable.

Opens in theaters on September 25, 2026

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Posted by David Ferguson

UNABOMBER (2026)

September 24, 2026

Greetings again from the darkness. One of the most frightening things in existence is when mental illness blends with brilliance. Ted Kaczynski was a 16-year-old math prodigy at Harvard in 1958, and then arrested in 1996 after being identified as the Unabomber. His reign of terror covered 1978 through 1995, and his bombings were responsible for three murders and twenty-three injuries. The manhunt was the longest and most expensive in FBI history.

Director Janus Metz (ALL THE OLD KNIVES, 2022) works from a screenplay by Sam Chalsen and Nelson Greaves, delivering a look at young Kaczynski and the FBI efforts to track him down with so few clues. In an interesting approach, Metz flip-flops the story between 1958 Harvard and the manhunt in the 90’s … opening with a New Jersey bombing in 1994 and moving to the release of the Manifesto a year later. It’s the Manifesto that breaks the case for the FBI, although it almost didn’t. The key agent involved here is Joanne Miller (Shailene Woodley, THE DESCENDANTS, 2011) as a behavioralist. When Kaczynski’s brother David (Matthew Kevin Anderson) relays to the feds that the writing style and terminology remind him of his brother, Joanne Miller shifts her focus.

The Harvard segments focus on Professor Henry Murray (Oscar winner Russell Crowe) and the mental stress project he runs with Christiana Morgan (Annabelle Wallis, THE MUMMY, 2017). At this age, Kaczynski is played exceptionally well by Jacob Tremblay (ROOM, 2015), who captures a young man who doesn’t really fit in socially, and believes he has a mentor and supporter in the Professor and his assistant. This segment shows what a quick mind Kaczynski possessed, while also letting us see just what led to extreme behavior later.

The FBI pieces fit together like a procedural, and in addition to Woodley, agents are portrayed by Alexander Ludwig (“Vikings”), Stephen Ogg (“The Walking Dead”), and Marc Menchaca (“Ozark”). We also see how luck and perseverance and instinct can play a role in such a broad investigation. The capture of Kaczynski at his remote and rustic cabin in Montana is reenacted here, as is at least one “wrong guy” moment from earlier. We see actual news clips from reports during this era, and at the film’s conclusion, audio recordings and photos of imprisoned Kaczynski are replayed. In 2020, a docuseries, “Unabomber: In His Own Words”, was released, and both projects capture the mental state of one who was a true danger to society. This film from Mr. Metz states that it’s based on a true story, however, I couldn’t find a reference to a female agent who was key to the case, and none are noted in the update prior to the closing credits. At this point, I’m not sure if this is creative license or protecting agent identities.

Premieres on Netflix on September 25, 2026

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Posted by David Ferguson

THE UPRISING (2026)

September 10, 2026

Greetings again from the darkness. It can be challenging to relate to an historical drama set in the 14th century, yet the Peasants’ Revolt of 1381 in medieval England sometimes hits quite close to home. Writer-director Paul Greengrass directed three of the Jason Bourne movies, so we can expect the action sequences to be frenetic and thrilling … often relying too heavily on handheld cameras.

Andrew Garfield is ‘Ploughman’, a self-imposed moniker since “I am what I do”. We watch as he works his plot of land around the three graves near his cabin. He’s grieving and lonely, having paid a steep price from the bubonic plague known as “Black Death”. While he’s toiling away, the council for teenage King Richard II (Woody Norman, C’MON C’MON, 2021) is plotting behind closed doors whether to save the kingdom by taxing the rich or by taxing the poor. The rich would expect a seat at the proverbial table, so it all falls to the poor, of course. Ploughman doesn’t take kindly to the announcement and violently lashes out in anger … an action that John Ball (Jamie Bell) and Wat Tyler (Cosmo Jarvis) use as step one in the uprising of the frustrated masses.

The king’s council of corruption and manipulation is made up of elders: Archbishop Sudbury (Stephen Dillane), Chief Justice Belknap (Stanley Townsend), Treasurer Hales (Tom Hollander), and Mayor of London William Walworth (Jonny Lee Miller). While this group protects their own cone of power, the young king cowers in dark corners, escaping nightmares and uncertainty. Even his mum (Katherine Waterston) struggles to get him to govern.

Those in the rebellion are joined by Alyce (Thomasin McKenzie), a character clearly designed to represent the strong and determined women of the era. Injustice is readily accepted in no particular era, so an upswell of anger towards an oligarch by the oppressed is not surprising … although Ploughman’s elite fighting skills certainly are. The progression of the story and the battle scenes deliver significant intensity, and we can’t help but wince as those involved prove the adage, ‘power corrupts’.

If you know any of this history, you know the timid King makes a shocking turn, and one can only assume filmmaker Greengrass had no qualms about any modern-day symmetry shown in this saga from almost 650 years ago. The performances are quite good, and the Bavarian shooting locales perfectly capture the time period. Cinematographer Pal Ulvik Rokseth (ARMAND, 2024) embraces the feel of this setting, despite the trademark Greengrass overuse of handhelds. History can provide lessons of inspiration or lessons of caution, sometimes within the same story.

Opens nationwide in theaters on September 11, 2026

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Posted by David Ferguson

MAYDAY (2026)

September 3, 2026

Greetings again from the darkness. I guess we were due for a “Cold War Buddy Comedy”. And who better to deliver than co-directors John Francis Daley and Johnathan Goldstein, the team behind GAME NIGHT (2018) and DUNGEONS & DRAGONS: HONOR AMONG THIEVES (2023). This time out, they deliver excellent visuals to go along with stellar comedic chemistry between first class wisecracker Ryan Reynolds and expert straight man (and Oscar winner) Kenneth Branagh.

Reynolds stars as hotshot Navy pilot Troy Kelly, nicknamed “Assassin” for not-so-heroic reasons held at bay until near the film’s end. The year is 1987, which is forty years into the Cold War, and Reynolds is shot down while on a Top-Secret reconnaissance mission deep into Russian territory. A terrific visual effect has us following Troy’s ejection and fiery parachute down towards a very rough landing. He’s rescued by Nikolai Ustinov (Branagh), who it’s soon learned is a former KGB agent. Now living like a hermit miles from civilization, Nikolai prefers to be called ‘Nick’ and is thoroughly obsessed with all things American, especially TOP GUN … of which his prized possession is a Kramer-style bootleg of the film shot in a theater.

We are treated to a Jackie Chan-style bar fight, where Nick surprises with advanced skills. This forces the two men on a road trip, where Troy hopes he can be returned to freedom, and Nick hopes his efforts to save Troy will result in the ultimate relo to the U.S. for him and his daughter (an underused Maria Bakalova). While on this road trip, the men are being pursued by an ambitious and relentless Soviet agent played by Marcin Dorocinski (MISSION: IMPOSSIBLE – DEAD RECKONING PART ONE, 2023). Other memorable visuals include a chase scene through a parade involving a nuclear missile launcher and fisticuffs midflight while the plane door is open.

Cinematographer Barry Peterson deserves credit for visuals that maintain the pace of the Reynolds – Branagh back-and-forth, and the accompanying Bruce Springsteen songs don’t hurt either (a result of the Boss selling off his catalog). David Morse has a small role as Troy’s dad, but the subplot feels a bit slapped on, even if it doesn’t really distract from the overall entertainment value delivered by this latest Daley-Goldstein project. A key element on display is how both sides fall prey to propaganda.

The film will be released globally on Apple TV on September 4.

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Posted by David Ferguson

THE MARCHING BAND (2026, France)

August 26, 2026

Greetings again from the darkness. Circumstances. Fate. Luck. Determination. It’s been said that what we make of our lives is up to us. Still, it seems likely that these factors play a role- often a significant role. Writer-director Emmanuel Corcol and co-writers Irene Muscari, Oriane Bonduel, and Khaled Amara have delivered a film that’s touching, funny, and grounded in emotional sincerity. The film never moves too quickly or too slowly, instead allowing the characters to guide the pace.

Benjamin Lavernhe (THE FRENCH DISPATCH, 2021) plays Thibaut, a world-renowned orchestral conductor. The film opens with him conducting to the point of apparent exhaustion. We (and he) soon learn it’s leukemia that has drained his energy. A bone marrow transplant is his only hope, and his sister Rose (Mathilde Courcol-Rozes) readily volunteers to be tested. The surprise is not that she’s no match, but rather that they aren’t true brother and sister. Thibaut was adopted long ago. Soon, he’s tracked down a biological brother he was previously unaware of. Jimmy (Pierre Lotin, THE STRANGER, 2026) is a working class divorced dad employed in a school kitchen.

The two brothers had been separately adopted at an early age, and when Thibaut learns that Jimmy also has a love of music, the flashing lights of ‘nature vs nurture’ cannot be ignored. Thibaut quickly realizes his own privilege, having been classically trained from an early age, and Jimmy can’t help but feel envious of the life his brother has led, while still accepting his own. After the procedure, Thibault discovers Jimmy is in a local marching band filled with townspeople who are striking against the town’s largest employer. The band is its own community with friends and history … oh, and music. It doesn’t take long for Thibaut to offer his talents when the band is in need, and it becomes a razor thin line on whether Jimmy is grateful or angry with the development.

Watching these two newfound brothers struggle through a relationship with no actual history is made believable thanks to the script and the actors. Sabrina (Sarah Suco), who plays the trumpet and is attracted to the oblivious Jimmy, is actually instrumental in keeping the two men moving forward. The contrast between the world of Thibaut and the world of Jimmy is obvious as the two men search for connection. Both men ask ‘what could have been’ without uttering a word. At the center of this fine film is the power of music, and those involved ensure it never devolves into the sentimental hogwash we too often see in American movies.

Nationwide theater expansion begins August 28,2026

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Posted by David Ferguson

IF I TELL YOU (2026)

August 26, 2026

Greetings again from the darkness. Writer-director Tessa Blake and screenwriter Jennifer Manocherian have adapted Lisa O’Donnell’s 2014 novel, “Closed Doors”, and set the story in small town Minnesota rather than Scotland. This relocation works beautifully thanks to the contrast of the wide-open natural spaces of Boundary Waters with the claustrophobic nature of family life. Parents are tasked with a balancing act: protecting kids with teaching them, while also maintaining our own peace of mind. Where is the line between being honest with kids and protecting them from situations that are beyond their age bracket?

Michael (Etienne Kellici, YOU GOTTA BELIEVE, 2024) is a normal twelve-year-old who likes playing with his group of friends and enjoying the freedom that comes with small town living. Michael is also a perceptive kid, and he’s spotted a shift in his once close-knit family. His dad Brian (Bill Heck, “The Old Man”) is struggling with his unemployment to the point of it affecting his daily moods and his family relationships. Michael’s mom Rosemary (Allison Miller, “A Million Little Things”, and a young Linda Purl lookalike) is loving and kind, while Granny (Carol Kane) is a trusted family elder living with them.

Michael’s initial concerns shoot to another level one evening when his mother comes home late, and he hears his parents arguing behind closed doors. His concern grows again when he sees mom’s face is injured and she’s a bit withdrawn. The adults tell Michael not to worry, but of course, he does. When Rosemary stays silent, rumors circulate around town, adding even more stress to the family. Michael’s best friend Alice (Kennedi Butler, “True Detective”) lost her mother a year ago, and now she’s faced with her dad re-marrying, providing her a ‘new mom’. These kids take on the stress of the parents … and no amount of silence will protect them.

The film is such a grounded display of just how complicated life can be … even in a bucolic small town, and even for twelve-year-olds. As Michael jumps to conclusions while trying to solve the mystery, Rosemary’s decision soon delivers a wave of guilt, showing just how difficult personal decisions can be – and how the impact can go far beyond one’s own nuclear family. These five actors are all excellent at capturing the essence and internal turmoil of the characters, and how the desire to protect kids is often at odds with honesty and openness.

Opening in select theaters nationwide on August 27, 2026

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