THE LEGEND OF JUAN JOSE MUNDO (2026)

July 16, 2026

Waco Independent Film Festival 2026

Greetings again from the darkness. For those who are itching to re-live the glory days of 1984 high school, writer-director Michael Walker and co-writer Susan Gomes are here for you. The surprising part is that even for non-Gen X viewers, the film is so well crafted and acted, that it flows beautifully as a time capsule for the era. As if that’s not enough, it’s also based on a true story.

Relative newcomer Anna Mirodin shines as Julie, a Jewish high school junior in suburban New York (White Plains). She’s a good student … trusted by her teachers, and a good girl … who admits she’s “never done anything with a boy.”  Her best friend, Suzanne (Hannah Kepple, “Cobra Kai”, and a Dyan Cannon lookalike) is a bit more adventurous and tries to coax her friend into being more assertive in pursuing her desires. The perfect opportunity arises for Anna when Juan Jose Mundo, arrives from Spain as the exchange student assigned to stay at her house during his trip.

Juan Jose Mundo (Alexandro Byrd in his first feature film) is a charming, handsome, gregarious young man with proper manners around parents and the charisma to attract high school students of both genders. It’s quite entertaining to watch Juan quickly embed himself into the basement parties and other activities of Julie’s classmates – all while her reserved nature prevents her from sharing her feelings with him. Along the way, we are treated to the ‘treasures’ of 1984, including the family station wagon, the tied-to-the-era fashion choices, the music (much of which now seems comical), the blatant racism, and the politics that generated a Mondale/Ferraro bumper sticker on said station wagon. Especially prevalent is the presence of mix tapes as a flirtation strategy. Despite ringing true to the period, much of what’s included acts as a painful reminder of 1984.

Admittedly, teen comedies aren’t my usual cup of tea, yet Walker and Gomes fill a void that’s existed since the days of John Hughes … this is a smart movie about teenagers, and it even serves up a life lesson, if you can find a teen to listen. On the surface, it doesn’t seem to be a story about the danger of those years, but in fact, it’s a cautionary tale about teen desire, confusion, frustration, and peer pressure. We even have awkward parents and an obnoxious sibling on display. Kudos to the cast and filmmakers for refusing to dumb down the material for their audience.

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Posted by David Ferguson

HORSEGIRLS (2026)

July 16, 2026

Greetings again from the darkness. I usually try to avoid using the word ‘endearing’ to describe a film that strikes an emotional chord, but for this film from writer-director Lauren Meyering and co-writer Mackenzie Breeden, the word fits perfectly. Much of the reason for this is the screen presence of Lillian Carrier, who was diagnosed with autism at age 16. Here she portrays twenty-two-year-old Margarita in a way that allows us to understand her real life challenges.

Margarita openly confesses the backstory of her name to most everyone she meets. It’s a clue to how direct and honest she can be, while also showing her difficulty in recognizing social cues and adhering to social norms. She lives with her mother Sandy (Gretchen Mol), who is undergoing chemotherapy for breast cancer. Sandy and Margarita have a deep bond, but mother is trying hard (for good reason) to push Margarita towards independence. This leads to arguments, and to Margarita securing a job at the local Halloween store run by Hank (Igbal Theba).

It’s joining a troupe of young hobby-horse dancers (yeah, I had no idea this was a thing) that leads Margarita even closer to independence. The team’s coach is played by (an excellent) Jerod Harris, and his ‘tough love’ approach is something Margarita responds to. “Walk it off, Red”, is one of his regular sayings as she initially stumbles through the routine or faces harsh treatment from the snooty girls on the team. We all know that ‘adulting’ is not easy. The trip is filled with obstacles. It’s even more challenging for those on the spectrum, yet we find a certain satisfaction in watching Margarita grow and develop.

I’ve been a fan of Gretchen Mol since the 1990’s and have often said I wish she would act more often … at least in the projects I see. Here, she’s a strong mother and vulnerable woman and really delivers as Margarita’s mother. As Margarita, Lillian Carrier is quite something to behold. She is smart and emotional and relatable … and someone we enjoy rooting for. Some may call this a ‘coming-of-age’ story, and perhaps it is. Mostly, it’s the journey of life that we all travel – only some roads are a bit bumpier than others. Look for a nice cameo towards the end.

The film opens in theaters on July 17, 2026

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Posted by David Ferguson

READING LOLITA IN TEHRAN (2026)

July 9, 2026

Greetings again from the darkness. Other than basic decency and human connection, there are few things that define a person and their life more than education. Whether gained in a classroom or through daily experiences, understanding people and history is what provides our perspective and our foundation of humanity. A common strategy of small-minded authoritarians who seek only more power is to limit educational opportunities for others … as if holding one group down will lift up said power-monger. This is on full display in this film based on the experiences Azar Nafisi detailed in her 2003 memoir. The film is directed by Eran Riklis (LEMON TREE, 2008), who co-wrote the screenplay with Marjorie David.

Golshifteh Farahani (PATERSON, 2016, EXTRACTION, 2020) stars as Azar Nafisi, a literature professor at Tehran University, whom we first meet just after the 1979 Islamic Revolution. In very little time, we learn Azar is a passionate and dedicated teacher, while also being a fierce defender of personal rights – to teach and to learn. Director Riklis divides the film into four chapters, each using the name of a classic literature piece. F. Scott Fitzgerald’s 1925 “The Great Gatsby” is where we begin, and the professor structures a classroom courthouse, putting the novel on trial … on the heels of Ayatollah Khomeini instilling hijab laws as a way to hold women back and stifle feelings.

Part 2 jumps ahead 15 years to 1995 in the section named “Lolita” for Nabokov’s 1955 novel. At this point, most every move is a risk for Azar, and she finds herself wistfully daydreaming of the days when she could browse the many titles at Hamida’s independent bookstore, which no longer exists. Moving forward to 1988, it’s Henry Miller’s 1878 novella “Daisy Miller”, as well as the peak of the Iran-Iraq border war. In this section, Azar looks over her students and concludes, “They have nothing to remember.” It’s the most poignant line of the film and perfectly captures the importance of a cultured and open society. The final chapter takes place in 1996 and takes its title from Jane Austen’s 1813 novel, “Pride and Prejudice”. This also coincides to Azar’s final year in Iran, before she moved to the U.S. Azar is quite fortunate to have married Bijan (Arash Marandi), an engineer who was so patient and understanding.

Azar became a U.S. citizen in 2008 (as a young woman, she earned her Ph.D. from the University of Oklahoma) and has carried forth as an esteemed academic professional since. Perhaps her most rewarding and risky days were the regular sessions she held at her house in Iran, inviting women to learn and discuss the literature that had been forbidden by the regime. Filmed in Italy (not Iran), Azar Nafisi’s story is one of courage and determination, and it reminds us of the societal importance of equality, free speech, and open learning. In contrast, Azar, the filmmakers, and lead actors are forbidden from returning to Iran.

Opens July 10, 2026 in New York and July 17 in Los Angeles and Nationwide

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Posted by David Ferguson

COUTURE (2026)

June 26, 2026

Greetings again from the darkness. “The best laid plans of mice and men often go awry.” It’s a famous adage that easily could continue with ‘through no fault of their own’ … and as it pertains to writer-director Alice Winocour’s (MUSTANG, 2015) latest film, the adage applies specifically the women. For a film based on Fashion Week in Paris, we get a rare glimpse inside the Chanel showroom. More importantly we get a feel for the stress and pressure being carried by those involved.

Oscar winner Angelina Jolie stars as Maxine Walker, an American director of indie horror films on the verge of her big break. She’s been invited to create a short film that will open the show just prior to the models taking the runway. Chosen to star in the film and be first on the runway is this year’s big new arrival, rookie model/actor Ada (real life model Anyier Anei in her debut film role). The striking Ada is from Sudan by way of Kenya. Another character we are keyed on is French make-up artist Angele (Ella Rumpf, RAW, 2016), who maintains a helpful approach, despite often being taken advantage of.

Ada has skipped Pharmacy School and kept the secret from her father as she pursues this possible career change. Angele is working diligently to be a writer, despite the harsh criticism from a older male editor who tells her, “Just because they (the stories) are real doesn’t make them interesting.” Maxine is dealing long-distance with her teenage daughter while also going through the legalities and emotions of a divorce. All three working women have men making their dreams more challenging to reach. Maxine has it even worse when a doctor hits her with the results of a biopsy. This seems especially pertinent since Ms. Jolie underwent a preventive mastectomy and lost her mother to breast cancer.

Other characters involved here include Ukrainian Christine (Garance Marillier, RAW, 2016), an anxious seamstress working on her first solo dress for the show; Anton (an underutilized Louis Garrel, LITTLE WOMEN, 2019) as Maxine’s oft-frustrated cinematographer; and two French acting legends, Vincent Lindon as Maxine’s Doctor Hansen and Aurore Clement as a woman she meets in the hospital waiting room. There are many other near-connections, and that’s probably the film’s greatest flaw. So many of these characters could provide an interesting story, yet it feels like most get shortchanged. The film’s messages come across quite clearly: Fashion Week is built upon the work of many women, and those women all overcome obstacles to complete their work.

In theaters beginning June 26, 2026

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THE INVITE (2026)

June 26, 2026

Greetings again from the darkness. This is at least the eighth film adaptation of a story by Cesc Gay: THE PEOPLE UPSTAIRS (Spain, 2020), VICINI DI CASA (Italy, 2022), THE NEIGHBORS FROM UPSTAIRS (Switzerland, 2023), V DOBREM I ZLEM (Czech Republic, 2024), NEPRILICHNYE GOSTI (Russia, 2024), MAYBE MORE (France, 2024), THE PEOPLE UPSTAIRS (S Korea, 2025). Clearly, it’s a story and situation that resonates with many couples, regardless of geography, language, or culture … and director Olivia Wilde provides an American spin with assistance from co-writers Will McCormack (Oscar winner, TOY STORY 4) and Rashida Jones (“Parks and Recreation”).

In addition to directing the film, Ms. Wilde also stars as Angela, who is married to Joe, played by Seth Rogen. We see a bored Joe barely paying attention to the school band his job requires him to conduct, and he then trudges home on a folding bicycle that he wrestles through every possible obstacle. When he arrives home, Angela is putting the finishing touches on dinner party details … and the two immediately begin bickering over everything either of them says or does. Angela is high-strung and intent on making a good impression with the upstairs neighbors she has invited, while Joe makes no promises about avoiding the topic of wall-shaking sexcapades those same neighbors engage in, regularly disrupting his serene evenings of pot smoking.

The stage is set for an evening of conflict, and although it begins amicably enough, things do spiral into an emotional hurricane that creates more noise and emotion than any of those intrusive sounds Joe despises. Oscar winner Penelope Cruz is Pina, and Edward Norton plays her boyfriend Hawk. These are coy and cool personas who are sizing up Angela and Joe, for reasons most will identify almost immediately.

The first half (or more) of the film seems designed as a set up for a stream of Seth Rogen one-liners, and judging from audience reactions at the screening, these quips will strike a chord with his fans. However, there is a lot more going on here than merely a platform for punchlines. Relationships are often complicated by a lack of communication, and that’s on full display here. Sex is a huge part of their marital problems and an even bigger part of the evening’s conversation, yet sex is more of a conduit to underlying issues that may be exposed before this party ends.

The four characters are consistently unlikable, and yet, this works thanks to the proficiency of the actors, the message delivered by the story, and the expert direction by Olivia Wilde. She previously directed DON’T WORRY DARLING (2022) and BOOKSMART (2017), the latter of which was excellent. This story and setting seem to be a better fit for the stage than the screen, yet Ms. Wilde ensures the pacing and movements within the apartment are precise and keep us engaged. There is a certain audience that will be drawn to the Seth Rogen comedy, while some will be caught off guard by the relationship tension. For some viewers, there is a certain pleasure to be found in comparing the film to the Mike Nichols classic, WHO’S AFRAID OF VIRGINIA WOOLF? (1966). As uncomfortable as it is to watch, some will find solace and relief that their own relationship hasn’t fallen this far (hopefully).

SELECT THEATERS JUNE 26, EVERYWHERE JULY 10

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LONE RIDER (2026)

June 26, 2026

Dances With Films LA – closing night film

Greetings again from the darkness. We discover a certain guilty pleasure in following a lost soul millennial as he searches for meaning, connection, or some reason to exist. The film from writer-director Adam Jumba and co-writer Christian Flowers is one of the closing night films for this year’s Dances With Films LA festival, and it’s likely to generate plenty of thought and consideration for viewers.

Jack Alcott never really clicked in “Dexter: New Blood”, but this role as chain-smoking Tyler fits him like a glove. He seems frustrated by everything and nothing, all at the same time. Is he a slacker or a dreamer? Initially, we can’t tell; however, it doesn’t take long to get a better feel for him and what he’s thinking. He’s bored with his job at the marina, yet he’s not ambitious enough to prove himself or pursue something better. Two young new hires make him realize time is passing quickly. He stops by a boarded-up ice cream shop where a flashback shows he once hung out with friends, and even had a silent crush on Alice (Rose Reid).

These last two events convince Tyler to head back home to rural Pennsylvania. His perceptive sister Erica (Izabela Vidovic) is happy to see him, while his dad (Michael Gaston) offers no warmth, while holding strong to his demands for full payment on Tyler’s beloved 1989 Mustang that holds most of his fond memories. A younger brother is the true definition of a do-nothing teenager … the kind whose video games can’t even be interrupted for greeting a returning older brother.

Tyler “steals’ the car under the cloak of darkness, and it sets him off on a personal journey with no specific destination in mind. Without admission (or even acknowledgment) Tyler is in the midst of self-discovery, and with that comes some emotional pain. Director Jumba utilizes a scrambled timeline to help us better understand Tyler and the path he took to get to this point. Tyler tries to re-live past fun with a friend, but finds out ‘Ring and Stare’ (a form of ding dong ditch) doesn’t translate well to adulthood. And a reunion with Alice merely clears the air without being life-changing. We are a bit relieved (and hopeful) when Tyler gives a lift to some tourists looking for the beach. All of this comes after a really cool opening where Tyler absorbs nighttime radio … a DJ who is both soothing and insightful. Wearing loneliness on one’s sleeve guarantees neither a life of misery, nor an ability to dig out of one. 

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Posted by David Ferguson

ANGELENO (2026)

June 26, 2026

Dances With Films LA

Greetings again from the darkness. Making its world premiere at this year’s Dances With Films LA is the first feature film from writer-director Jay Diaz, whose previous credits include numerous short films, videos, and TV episodes. Himself a first generation American, Diaz tells the similar story of Angel, a man working hard at life while trying to prevent his dreams from slowly slipping away.

Angel (played with heart by Jeff Torres) is a barista at a local coffee shop, an Uber driver, and the caregiver for his ailing mom. In other words, Angel is a grounded giver who also happens to be easy to like and root for. He’s the kind of guy who helps co-worker Heather (Lauren Marini) shoot an audition film, while he also arranges the cake for his young Goddaughter’s birthday party. That birthday party, and one thrown by another co-worker are two of the three that play a key role in the story and in Angel’s life. Surprised to cross paths with his now New York-based ex, Mia (Corina Calderon), Angel awkwardly greets her before heading off to his Uber gig. It’s here where he bumps into his old film school buddy, Taylor (Brian Thomas Smith). Taylor admits that he owes Angel and is surprised to learn that his more talented friend gave up his dream of filmmaking. An invitation to an industry party follows.

There are various elements of the story that work exceptionally well. The only nitpick is the abundance of ‘white people are bad’ moments sprinkled throughout. Of course, we understand that’s part of the challenge Angel faces on a regular basis, yet he’s such a strong and interesting character, this approach seems overly emphasized. We certainly respect his calm demeanor in these unfortunate situations, and he even acts as a connective facilitator during one confrontation. Angel is simply a guy we like and respect, and his constant use of “I got you” is never an empty promise. The varying vibes of the three different parties prove what a juggling act Angel must handle each and every day. By the end, he senses hope that his dreams may still be achievable. Cinematographer Tony Joun effectively shoots the up close and personal scenes, while also capturing the distinct areas of Los Angeles.

Premiering at Dances With Films LA on June 20, 2026

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YALE (2026)

June 18, 2026

Opening night feature at 2026 Dances With Films LA

Greetings again from the darkness. Sometimes I believe the best use of cinema is in proving the old adage, ‘truth is stranger than fiction’. Combining that with the mission of Dances With Films to remain a festival that highlights independent filmmaking, featuring director Jay Silverman’s film on Opening Night is a fitting choice. It’s a remarkable story that writer Van Billet based on his own family. We can only imagine some of those holiday memories.

Caitlin McGee (“Bluff City Law”) stars as “Mac”, a flawed woman who is also a successful horror writer. Her agent (the always terrific Rachael Harris) is threatening to drop her, while at the same time Mac must overcome her challenging past in order to help her 12-year-old son Ryan (Benjamin Mackey) who needs a life-saving emergency kidney transplant. Certain circumstances and medical backgrounds leave Mac with one choice … track down her estranged father who abandoned her and her now deceased mother when Mac was only nine years old. And while this is the story of Mac and Ryan, it’s that man who shocks us in so many ways.

Yale Parker (played by veteran character actor Kevin Dunn) is the owner and in-house stand-up comedian for a low-rent strip club. His gambling debts are out-of-control and he also carries a secret that could not only devastate Mac, but also help Ryan. Will Yale finally perform an act that is neither self-serving nor filled with corny jokes (told while wearing outlandish clothes and a horrible wig)? The core of this story is watching Mac and Yale battle the past while negotiating a relationship that was shattered when she was so young. Many awkward conversations occur during a makeshift road trip that generates even more awkward conversations.

It’s absolutely fair to label Yale Parker a deadbeat dad yet, as most parents try to convince their kids, most everyone has some good buried inside. Yale’s big secret will not be revealed here, but it’s safe to say the film’s best scenes feature Mr. Dunn and Ms. McGee coming to grips with each other and themselves. Family dynamics are a popular topic for films, and writer Billet is to be commended for turning his own family mess into a story that will both entertain and strike an emotional chord.

YALE has its WORLD PREMIERE at Dances With Films on June 18, 2026

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POWER BALLAD (2026)

June 4, 2026

Greetings again from the darkness. It’s been said that we must experience the bad times to fully appreciate the good times. However, while those bad times are occurring, they can feel overwhelming and like it will never get better again. It’s also been said that inner peace can only be found by appreciating what one has. All of this philosophy is on display in this latest from writer-director John Carney and co-writer Peter McDonald. Mr. Carney has been the creative force behind three other gems centered on music: FLORA AND SON (2023), SING STREET (2016), and ONCE (2008). Mr. McDonald’s 2011 short film PENTECOST received an Oscar nomination. These guys are talented and they’ve done it again with this film.

For twenty-five years (plus or minus), Paul Rudd has crafted a certain on-screen persona. He’s been so adept at this that most of us are quite aware of what to expect for a Paul Rudd movie or role. In a welcome change of pace, this time it’s different. As the lead singer of a wedding band, he still fires off a few patented one-liners, but he is also a middle-aged married guy with a teenage daughter. Rudd’s Rick is the sensitive type who still harbors dreams of what could have been as a songwriter and rock star had he not moved to Ireland for the girl. Rick is often frustrated at playing the same old re-tread hits over and over as well-dressed folks dance the night away.

A twist of fate finds Rick crossing paths with Danny Wilson (Nick Jonas), a singer who was once part of a mega-hit Boy Band. Danny is now attempting to transition to grown-up music in an industry that doesn’t always embrace a change of style. His agent, Mac (Jack Reynor) makes this abundantly clear. Rick and Danny spend a few post-wedding hours proving their love of music as they fine-tune some songs in Danny’s palatial suite. They share what each has been working on and generously offer the other some suggestions. Rick leaves reinvigorated about reclaiming his joy in songwriting, while Danny takes a different approach to quell the pressure of re-branding his image.

What follows is not just a life lesson, but commentary on art and greed and blind ambition. Playing key roles here are Rick’s wife (Marcella Plunkett) and daughter Aja (Beth Fallon), and especially Rick’s guitarist and close friend Sandy (played by the film’s co-writer Peter McDonald). Our parents train us to ‘do the right thing’, but what happens when others don’t? Therein lies the life lesson. From a musical standpoint, the lip-synching could have been better produced to sound live, but that’s a minor quibble for a movie that’s so entertaining while introducing us to a new path for Paul Rudd.

Opens in theaters on June 5, 2026

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Posted by David Ferguson

MAGIC HOUR (2026)

May 29, 2026

Greetings again from the darkness. We all love a good (and sneaky) twist in a movie. It takes exceptional storytelling and acting to pull it off, and it’s a bit funny when it becomes obvious that the screenwriter just kind of ran out of ways to maintain the suspense. That’s what happens about twenty minutes into this one from writer-director Katie Aselton, real life wife of filmmaker Mark Duplass, who also co-wrote this script.

Ms. Aselton (“The League”) also stars as Erin, whom we meet in the opening sequence as she’s filming her efforts to cure her husband Charlie (Daveed Diggs, HAMILTON, 2020) of his fear of heights. Their stint on the amusement park Ferris Wheel is filled with laughter and a chance for us to quickly get to know both. The next scene has their friend (Brad Garrett) showing the rental cabin in Joshua Tree National Park (where filming took place). He explains how this is the perfect place to work through things.

We see Erin and Charlie having discussions, but quickly (around the 20-minute mark) realize that some challenges must be dealt with rather than overcome. Much of the heavy-lifting is done by Ms. Aselton, but Mr. Diggs is a solid complement. Supporting work is minimal here, with two exceptions. A very odd night with drag queens (is that term still acceptable?) and a makeover is a real head-scratcher, and Erin’s mother (Susan Sullivan) shows up to deliver this memorable line: “You can be miserable and still have fun.”

Cinematographer Sarah Welden gets a few opportunities to capture the stunning scenery, even when the story, and the idea of letting go, falters a bit. In fact, the film might have worked best as a Short Film.

Releasing on March 29, 2026 in select theaters

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