TOW (2026)

March 20, 2026

Greetings again from the darkness. Not many interesting stories feature a 1991 Toyota Camry as a main focus. The exception is this one based on the real-life journey of Seattle’s Amanda Ogle. Directed by Stephanie Laing and co-written by Jonathan Keasey and Brant Bolvin, it’s a story of Amanda’s tenacity and perseverance, and how it is sometimes possible for the little guy/gal to win.

Rose Byrne (fresh off her Oscar nomination for IF I HAD LEGS I’D KICK YOU, 2025) stars as Amanda and gives a showy performance as a woman whose addiction has resulted in her being estranged from her teenage daughter and living for months in the above-mentioned Camry … one of a couple of million “vehicular residents” as we are informed. Amanda is smart enough to have earned her Veterinary Tech certificate, yet her situation seems to constantly prevent her from getting back on solid ground. Most of this is her own doing, but one day her Camry is stolen, setting off a series of events that are quite remarkable.

Her car is recovered and Amanda can’t afford to pay the fee to have the car released from the tow lot. This sends her to a shelter managed with a firm hand by Barbara (Oscar winner Octavia Spencer, THE HELP, 2011). It also pits Amanda against the city’s red tape and the tow lot’s arrogant attorney (Corbin Bernsen, MAJOR LEAGUE, 1989).

Adding an interesting element to this story is that Amanda is not terribly likable. She’s brash and plays the victim in many situations. On top of that, she misleads (lies to) her daughter Avery (Elsie Fisher, so good in EIGHTH GRADE, 2018) about visiting her in Utah, and always seems to have enough money for cigarettes, alcohol, hair dye, make-up, etc. The daughter storyline is especially tough since Avery ‘needs’ her mother and desires support for her dream of being a fashion designer. Despite her flaws, we still find ourselves pulling for Amanda. It may be difficult to muster sympathy for her actions, but our humanity wants her situation to improve.

An inexperienced non-profit attorney, Kevin (Dominic Sessa, THE HOLDOVERS, 2023) takes an interest in her case, yet the wheels of the judicial system do not move quickly – especially when up against the tow company’s slick attorney … a character intended to emphasize the class difference. At the shelter, Amanda befriends Nova (pop star Demi Lovato who gets in one song) and tough-talking Denise (Oscar winner Ariana DeBose, WEST SIDE STORY, 2021). She also has an ongoing dialogue with Cliff (Simon Rex, RED ROCKET, 2021) at the tow yard. He’s sympathetic to her situation, but powerless to help.

The film doesn’t really focus on the hardships of the ‘unhoused’ but rather the challenges of being a societal afterthought going up against ‘the system’.  Director Laing finishes it off with a final shot of real-life Amanda, Avery, and Kevin together.

In theaters beginning March 20, 2026

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Posted by David Ferguson

THE TASTERS (2026)

March 12, 2026

Greetings again from the darkness. As we are unfortunately learning yet again … there are no upsides to war. There are the deaths and injuries that occur to soldiers and citizens. There is destruction of property and cityscapes. And there is the cost to those who are neither soldiers or government officials – the ‘quiet cost’ of war. Writer-director Silvio Soldini (BREAD AND TULIPS, 2000) and co-writer Doriana Leondeff have adapted the 2018 award-winning novel, “At the Wolf’s Table”, by Rosella Postorino, which itself was based on the remarkable story WWII survivor Margot Wolk told a German journalist about her time spent as a food taster for Hitler.

It’s the fall of 1943 and Rosa Sauer (Elisa Schlott) is returning to her in-laws’ farm in East Prussia from a bombed-out Berlin. Rosa’s husband, Gregor, enlisted one month after their wedding and they’ve seen each other only once in the past four years. An atmosphere of gloom hangs over the village, and one morning changes everything for Rosa. Nazi soldiers load her into a van with other German women. They are escorted to the ‘Wolf’s Lair’ in the forest … it’s the Fuhrer’s headquarters. The seven women are examined by a doctor and then escorted into a dining room where a feast awaits. Having spent months, even years, desperate for food, the chef-prepared meals create initial excitement with the women. The excitement quickly turns to dread and fear when it is revealed they are to eat every bite of the meal and then wait one hour under guard. The purpose is to make sure the food is not poisoned prior to Hitler eating.

Director Soldini fills the screen with greys and browns to match the atmosphere of despair and fear. The slow pacing lends credence to the women’s days of wondering if the next meal will be their last. Abortion, hidden identities, and an affair all play a part in what is little more than an attempt to survive for however long the war might last. The seven women form bonds, yet no one is ever relaxed or comfortable. Rosa is initially referred to as “Berliner” since she arrived from the big city. She’s told, “This isn’t Berlin.” “No one needs secretaries.” Rosa is tougher than she looks and holds her own, soon making friends with Elfriede (Alma Hasun), a woman with a secret.

Atypical for a war movie, there is little action and minimal violence. Not much time is spent getting to know the personalities of the women. Instead, it’s a different kind of survival story – one that involves psychology and self-control. Their thrice daily activities require immense mental fortitude, yet the alternative is even worse. Whether Margot Wolk’s story was completely accurate or not, matters little. It’s a story of those with power versus those with none. And that’s a theme that plays out daily even eighty-plus years later.

In U.K. and Irish theaters beginning March 13, 2026

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Posted by David Ferguson

GROUP: THE SCHOPENHAUER EFFECT (2026)

March 12, 2026

Greetings again from the darkness. Alexis Lloyd was inspired by Irvin D Yalom’s 2005 novel, “The Schopenhauer Cure”, to create his web series, “Group”, as well as this follow-up feature film, which he wrote and directs. I have not watched the series, but Lloyd backs off a bit on the life and death focus for the film, choosing instead to allow the sometimes chaotic elements of group therapy to guide the way.

The cast from the series returns for the film, along with the key addition of Thomas Sadoski (“The Newsroom”) as Alexis, a documentary filmmaker interested in making a series about group therapy. Despite being invited by Dr. Ezra Hertzfelt (played by Elliot Zeisel, a licensed psychotherapist), the group of patients do not react warmly to having an “observer” in their midst. Alexis attempts to pacify them by stating that he needs the therapy himself. Prior to the Alexis introduction, Lloyd provides a superb and relatable opening. We see the characters/patients walking to the session through the streets of Manhattan and we hear their inner voices in the whirlwind of thoughts careening through.

Three different sessions are presented here. The first is the initial in-person session after COVID, which required Zoom meetings. It’s in the session where we learn one of the group is pregnant and the new guy, Alexis, is introduced. The second session involves a startling announcement from Dr. Hertzfeld, along with the backlash of emotions that follow. Probably by design, the film leaves us feeling like we are eavesdropping. The mixture of scripted dialogue and improvisation works because these actors are so comfortable with the material and the objective and their own character.

As you would expect, a film about group therapy that takes place almost entirely in one room is dialogue-driven, requiring attention from the viewer to pick up all subtle nods as connections are made and broken. As fascinating as it is to watch this, it remains difficult to comprehend how eight folks in one room can ever find inner peace (or whatever it is they seek) with emotions running the gamut.

After a one week run in NYC beginning March 13, 2026, the film opens wide in theaters

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Posted by David Ferguson

FOR WORSE (2026)

March 5, 2026

Greetings again from the darkness. Starting over in life is really a misnomer. We like the phrase ‘new beginning’, but in fact, it’s just the next phase in our journey called life. Still, a significant break or traumatic event can certainly change one’s outlook and that’s what Amy Landecker (“Your Honor”) examines here with her feature film directorial debut. In addition to directing, Ms. Landecker also wrote the script, produced the film, and has the lead role.

The film opens with Lauren (Landecker) and her husband (Paul Adalstein) going through the final step of divorce with an oddball mediator (Simon Helberg, “The Big Bang Theory”). The scene is meant to be comedic, but mostly it’s too bizarre to generate laughs. The session ends and the husband goes home to his younger spiritual influencer girlfriend, while Lauren goes home to their 5 year old daughter, and unloads emotionally on her BFF Julie (Missi Pyle, CAPTAIN FANTASTIC, 2016), before heading to her first acting class.

It’s at the acting class led by teacher Liz (Gaby Hoffman, forever the little girl in FIELD OF DREAMS, 1989) where Lauren first meets Sean (Nico Hirago, BOOKSMART, 2019). Despite the age difference, the attraction leads them back to his place, where adulting clashes with the younger man’s bohemian lifestyle. Still, they agree to attend a wedding together – a weekend wedding celebration of one of their acting classmates. It’s a chaotic event where new characters are introduced and diversity runs rampant. A creepy magician (Ken Marino, ROLE MODELS, 2008) leeches onto Lauren, who physically collides with one of the brides’ dad (Landecker’s real life husband, Bradley Whitford), bringing a messy ending to the reception.

As a filmmaker, Landecker includes no shortage of contemporary touches (influencers, music, diversity) and homes in on generational divides – all while proving the point that ‘starting over’ at age 50 is a tough step emotionally. Perhaps the part about now being a single mom is underplayed, but it’s likely that was by design to show the Lauren character finding herself in this new phase. Although it’s billed as “a refreshingly honest, heartfelt, and hilarious take”, the argument could be made that only the first two apply, as the third feels too forced and unnatural in numerous scenes.

Theatrical release is expanding on March 6, 2026

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Posted by David Ferguson

THE BRIDE (2026)

March 4, 2026

Greetings again from the darkness. I became a Universal Monsters fan as soon as I reached the age where my parents would let me stay up to watch the later horror movies on Fridays and Saturdays. That love for the films and the stories and the monsters has only grown over the years, so you can only imagine the excitement I held for this film … especially on the heels of last year’s impressive FRANKENSTEIN from visionary Guillermo Del Toro. When my movie hopes and expectations reach this level, disappointment often follows; however, not this time!

You likely know Maggie Gyllenhaal from her superb acting in such films as SECRETARY (2002), THE DARK KNIGHT ((2008), and CRAZY HEART (2009). You may not know that her feature film directorial debut was the excellent THE LOST DAUGHTER (2021), for which she also adapted the screenplay from the novel. The success of that ‘little’ film gave her the clout to create her dream project: a reimagining of James Whale’s 1935 classic, BRIDE OF FRANKENSTEIN. For this one, Ms. Gyllenhaal directs her own incredibly creative and innovative tale, two adjectives that also describe her stunning and original script.

A big-time project requires a top-notch cast, and the filmmaker secured two of the best working today for her leads: Jessie Buckley and Oscar winner Christian Bale. The supporting cast is also impressive, and includes (5-time Oscar nominee) Annette Bening, Peter Sarsgaard (Maggie’s real-life husband), Oscar winner Penelope Cruz, Jake Gyllenhaal (Maggie’s brother), and John Magaro (SEPTEMBER 5, 2024). The number of crossovers and intersections in the careers of these actors and Maggie are too many to list, but it speaks to the admiration these talented folks share for each other.

Obviously, Ms. Gyllenhaal’s inspiration was borne from James Whale’s two films, BRIDE OF FRANKENSTEIN (1935) and FRANKENSTEIN (1931), as well as the 1818 novel, “Frankenstein; or the Modern Prometheus”, written by Mary Shelley. Certain touches within her new movie pay homage to all three, plus a bonus tip of the top hat to Mel Brooks’  YOUNG FRANKENSTEIN (1974). Ms. Gyllenhaal opens the film in mob-filled 1930’s Chicago with a truly fantastic prologue sequence that introduces us to Ida, the first of three characters played by Ms. Buckley. Her performance in this segment is nothing short of mesmerizing, and it’s capped off by the ingenious inclusion of the deceased Mary Shelley … a type of spin on the iconic opening scene of BRIDE OF FRANKENSTEIN. Soon after, we find ‘Frank’ (Mr. Bale) making his plea to Dr. Euphronius (Ms. Bening) and her intriguing assistant Greta (Jeannie Berlin) to reinvigorate a life partner that can cure his many years of loneliness.

As you would surmise, Dr. Euphronius is successful, and soon Frank and Penny (Ida’s new name) have paired up and carve their way through society – often making headlines ala Bonnie and Clyde. Their road trips create moments of tenderness, longing, sensuality, and violence … yes, plenty of violence. A radical women’s social movement is started as a result of one of Penny’s key feminist moments. Despite a blank memory, Penny understands the power of women. Movie musicals featuring hoofing star Ronnie Reed (Mr. Gylenhaal) play a crucial role in Frank’s life, though it’s not until later in the story that the reason is revealed. All this time, two detectives (Mr. Sarsgaard and Ms. Cruz) are tracking Frank and Penny, and we note the soft spot one of them holds for The Bride.

The film is a majestic triumph for Maggie Gylenhaal as a filmmaker, and surely will open many doors for future projects. Visually, the film is stunning to watch. The Bride and Frank are both magnificent creatures, yet every set and every scene are a feast for the eye and ears (yes, the sound is equally superb). The actors have all delivered their A-game, yet somehow Jessie Buckley continues to stand out (she’s Oscar nominated this year for her memorable performance in HAMNET). It’s not just her shock of white hair or stained face (explained in the film). No, the performance is much deeper and multi-faceted. Without spoiling anything, Ms. Buckley must adjust to the requirements of each scene, as well as the wide realm of emotions her roles demand. For fans, we do get the left-hand twitch, and as for viewing this film only once … “I prefer not to.”

Opens in theaters March 6, 2026 (see it on the big screen!)

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Posted by David Ferguson

GUNFIGHTER PARADISE (2026)

March 4, 2026

Greetings again from the darkness. Writer-director Jethro Waters’ previous work includes a documentary, some short films, and music videos. He describes his first narrative feature film as a semi-autobiographical dark comedy … yet after watching, that description seems a bit oversimplified (not that I have come up a better label). Visuals are key to his presentation, while traditional story structure is not. It will mess with your mind a bit.

Braz Cubas stars as Stoner, a hunter returning to his North Carolina home after his mother has passed away. We immediately know something is off with Stoner thanks to the ever-present camo face paint. Is it PTSD or something else? He is preparing for a threat that may come or may not. We soon realize Stoner is in a slow spiral of mental illness headed to madness. The threats may be imagined or may be real, but either way, Stoner is likely not the best to deal.

Rather than attempt to explain all that occurs, I’ll provide some of the key elements that play a role: a pair of Confederate reenactors, a mummified cat, “Dear Stoner” letters from his deceased mother (with narration from the great Jessica Hecht), a fervent neighbor, a skilled killer, and Stoner’s hallucinations, visions, and internal voices. To top it off, he has the support of his old friend and now cable guy, Joel (Joel Loftin). There is also a religious element, though the film is never preachy.

The film unfolds a bit like a puzzle and demands a great deal of interpretation from the viewer. Some may embrace the challenge, while others may be put off by watching the psychological falling of a man searching for his purpose. Either way, beware the smell of burnt gunpowder.

Premiering In Theaters February 27, 2026

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Posted by David Ferguson

DREAMS (2026)

February 26, 2026

Greetings again from the darkness. SUNDOWN (2021) was an underrated film from writer-director Michael Franco who, this time out, attempts to tackle a few more complex issues involving immigration, class, and cultural differences. The result is a mixed bag that, without the presence of Oscar winner Jessica Chastain, likely would have fit right in to the old ‘Showtime After Dark’ series.

Jennifer (Ms. Chastain) is a wealthy socialite who helps run the McCarthy Family Foundation that is focused on art and causes for those less fortunate. She works with her brother Jake (Rupert Friend, “Homeland”) and their patriarchal father (Marshall Bell). At the ballet school they founded in Mexico City, Jennifer met and began a torrid affair with the lead dancer, Fernando (professional dancer Isaac Hernandez). The affair has since turned into an ongoing relationship. Jennifer seems to believe she’s in love and Fernando dreams of escaping poverty and living a life of luxury in the states with Jennifer. She has absurd wealth – private jets, a Bentley, houses all over, and non-stop galas and events requiring high fashion.

We recognize this as a relationship built on lust. It’s a matter of loins, not heart. The cross-cultural bond is favored by neither culture. Jennifer’s family sees the benefit in providing support to the underprivileged, but not in bringing them into the house, so to speak. Fernando’s parents are equally at odds with this relationship. Racism is evident, as is class differential – exposing the two-faces of the foundation’s founding family. The story highlights that most everyone has a dark side, and keeping up appearances becomes ‘normal’. Franco’s movie progresses slowly, making this relationship all the more uncomfortable to watch. It’s a shame that we never buy the coupling of Jennifer and Fernando as anything more than physical, but it is quite a shock to hear Chastain utter the line, “suck your balls” multiple times.

In theaters beginning February 27, 2026

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Posted by David Ferguson

THE PRESIDENT’S CAKE (2025, Iraq)

February 13, 2026

Greetings again from the darkness. We don’t see a lot of films from Iraq, but if this one from writer-director Hasan Hadi is any indication, the industry there is in fine form with storytelling. While not preachy or heavily politicized, the movie does offer some insight into authoritarianism in the 1990’s under dictator Saddam Hussein. Some would argue that the situation from thirty years ago acts as a modern-day cautionary tale.

Lamia (terrific first-timer Baneen Ahmad Nayyef) is a clever nine-year old who lives in the marshes with her elderly “Bibi” (Waheed Thabet Khreibat). Times are tough in the country due to UN sanctions and the pressure the Saddam Hussein regime pushes down to the citizenry. One of these pressures is the requirement of a national celebration of Saddam’s birthday. “Draw day” comes two days prior as Lamia’s teacher assigns responsibilities for the celebration. Lamia is to bake a birthday cake. This seemingly mundane task is gut-wrenching for Lamia, as she and Bibi barely have enough food to eat themselves. An ingredient list is compiled and Lamia, who feels the intense burden of this assignment, sets out to gather the items.

Lamia has two friends. Classmate Saeed (debuting Sajad Mohammad Qasem) and Lamia’s beloved pet rooster, Hindi, are her only connections outside of Bibi. Lamia and Saeed sometimes play a staring game (first to blink loses), and this serves as both a personal connection and a momentary timeout from the stressful world. It also gives us viewers a short reprieve from this environment as we find joy watching kids be kids, even if it’s a literal blink of an eye. Lamia’s pursuit of the ingredients proves there are creeps and good people in every society, even those under constant threat of war.

Daily life at school has the teacher leading mandatory support sessions for their leader Saddam, and it’s no joking matter. Lamia’s pressure-filled assignment teaches her (and us) that flour is for life, sugar makes life sweeter, and eggs are for fertility. Hadi’s film emphasizes the power of friendship and hope, while Lamia’s dedication to Hindi shows her own sterling mettle. Hadi ends the film with an archival clip of Saddam Hussein celebrating his birthday.

Limited theater opening on February 13, 2026, expanding on February 27, 2026

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Posted by David Ferguson

A PRIVATE LIFE (2026)

January 29, 2026

Greetings again from the darkness. The concept is interesting and relatable. A woman undertakes the solving of a mystery, and in the process, learns a great deal about herself. Writer-director Rebecca Zlotowski w-d (OTHER PEOPLE’S CHILDREN, 2022) and co-writers Anne Berest and Gaelle Mace have delivered a film that works on a couple of levels: as a whodunit and self-discovery.

Oscar winner Jodie Foster plays Lillian Steiner, a successful psychiatrist with a bit of a chip on her shoulder. We see her leave a voicemail for a patient who has just missed her third appointment, followed immediately by an unscheduled drop-by from another patient – this one angry for having spent thousands of dollars for treatment by Lillian, when a hypnotist cured him of his smoking habit with a single visit. Lillian then learns that the no-show patient, Paula Cohen-Solal (Virginie Efira), has died. Paula’s daughter, Valerie (Luana Bajrami), informs her that Paula committed suicide by downing all the pills Lillian had prescribed.

The news sets Lillian off on the case, refusing to believe that she missed any warning signs during her sessions with Paula. A bizarre and uncontrollable case of tears sends Lillian to her ex-husband optometrist, Gabriel (Daniel Auteuil, CACHE, 2005) for an exam. He finds nothing that physically explains the tears, and she then leans on Gabriel for guidance on the case, and the two re-kindle a bit more than that. Lillian’s relationship with her son Julian (Vincent Lacoste) is a bit icy and she purposefully avoids alone time with her baby grandchild. Paula’s husband Simon (Mathieu Amalric, THE DIVING BELL AND THE BUTTERFLY, 2007) and daughter Valerie play key roles here as Lillian tries to put the pieces together.

There is no shortage of characters to keep track of, including Dr. Goldstein (renowned documentarian Frederick Wiseman), a former professor who bluntly explains to Lillian that she’s always been a bit of a pain, and Jessica the hypnotist (Sophie Guilleman) first visited by Lillian’s smoking patient. When Lillian herself goes ‘under’, much is revealed about her past and true feelings, and though she doesn’t admit it, this session has opened her up.

This is a French film and in addition to the French actors mentioned above, a couple other long-time well-respected French actors appear: Aurore Clement (PARIS, TEXAS 1984) and Irene Jacob (AU REVOIR LES ENFANTES, 1987). Some may be surprised at Jodie Foster’s excellemt French dialogue … sprinkled with the occasional colorful English. Cinematographer brilliantly uses spiral staircases as Lillian works through the maze of information, and viewers should take note that this is not the typical ‘American in Paris’ fairy tale. It’s more of a psychological character study.

Opens in theaters on January 30, 2026

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Posted by David Ferguson

THE LOVE THAT REMAINS (2026, Iceland)

January 29, 2026

Greetings again from the darkness. If not for a few bizarre (and interesting) visual metaphors tossed in, one might mistake this film from Icelandic filmmaker Hlynur Palmason (GODLAND, 2022) as a documentary. After all, we are mostly watching one family’s life over the course of a year. There are no car chases or criminal masterminds – just a few people living their lives.

A simple story or film does not necessarily mean boring or dull. Anna (Saga Gardarsdottir) is an artist striving to get her work displayed in a gallery. Magnus (Sverrir Gudnason) works at sea on a commercial fishing vessel. The two longtime lovers are working through the boundaries of their recent separation. While they keep things very cordial and familiar for their three kids, it seems Magnus (“Maggi”) holds hope that they can reconcile, while Anna is trying her best to maintain the break.

We watch as these normal folks go about their normal days. The kids act like kids – playing and exploring and joking around. Anna meets with an annoying museum curator, and Maggi takes his shifts aboard the ship. Another key player is the family dog – perfectly named Panda. There are times the dog seems to have more personality and energy than the others, but of course, life can be that way … we just go about our daily rituals.

The fragility of relationships is front and center here … even though love still exists. Director Palmason includes some stunning shots displaying the beauty of the Icelandic countryside, and the phrasing of one particular piece of dialogue stuck with me: “A relentless monologue of death.” It’s a toss-up whether this movie is more about normal life or whether it’s as much about being lost at sea (both proverbially and actually). American audience may find the pacing a bit slow, but as you might guess, there’s plenty going on.

Opens in NYC theaters on January 30, 2026 and expands regionally in February.

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2 Comments | Drama, World Cinema/Foreign | Tagged: , , | Permalink
Posted by David Ferguson

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