DIE MY LOVE (2025)

November 6, 2025

Greetings again from the darkness. For the sake of her friends, family, and self, I do hope Lynne Ramsay’s movies do not reflect her real-life persona. Don’t get me wrong … she’s an extraordinary filmmaker, but to put it mildly, her films are not what we would label ‘uplifting’. Proof of these two descriptions can be found in WE NEED TO TALK ABOUT KEVIN (2011) and YOU WERE NEVER REALLY HERE (2017), and now again in her latest. The 2017 English translated novel by Ariana Harwicz has been adapted by Ms. Ramsay, Enda Walsh (HUNGER, 2008) and Alice Birch (THE WONDER, 2022). It’s an absorbing film featuring what is likely the year’s best and most haunting performance.

When we first meet Grace (Oscar winner Jennifer Lawrence) and Jackson (Robert Pattinson), they are a wild and free couple who dance to the Pinky & Perky (not Alvin and the Chipmunks) version of “Let’s Twist Again.” Jackson has inherited a rundown house in rural Montana from his recently deceased uncle, and they fix up the place enough to move in. Sex and laughter fill their days right up until the baby is born. Postpartum depression has been conveyed in other movies, yet I don’t believe it’s ever been as visceral as what we witness here. Grace clearly loves her baby, while everything else about her own existence seems to anger and disappoint her … the house, the dog, and especially Jackson.

Grace sinks to a level we don’t often witness. It’s so painful and uncomfortable to watch, and Jennifer Lawrence is fearless in her portrayal of Grace’s downward spiral. Robert Pattinson plays Jackson as a normal guy who loves his wife, while having no clue how to handle the situation. Therein lies the power of this story. We could know Grace and Jackson, and we could be the folks at the party trying so hard to say the right things … those things that turn out to be the worst things to say. We could also be that spouse willing to give the other enough space to find themselves.

Thanks to superb cinematographer Seamus McGarvey, the film has a gritty 1970’s look and feel to it, and excellent (though limited) supporting work is provided by (Oscar winner) Sissy Spacek, rarely seen Nick Nolte, and the always interesting LaKeith Stanfield. The soundtrack is unusual and fascinating, including songs by such diverse artists as Elvis, Toni Basil, Cocteau Twins, Peggy Lipton, Nick Lowe, and Cream. As a bonus, the film features the best ever use of John Prine and Iris Dement singing “In Spite of Ourselves”, a perfect fit. Mental health issues and depression are serious topics, and have rarely (if ever) been more accurately portrayed than what we see in this latest from filmmaker Lynne Ramsay. Despite the brilliant filmmaking and memorable performance, it’s not an easy movie to recommend. It’s only for those who can appreciate the magic within the dark clouds.

Opening in theaters on November 7, 2025

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Posted by David Ferguson

NUREMBERG (2025)

November 6, 2025

Greetings again from the darkness. Skipping the many films based on and around WWII and the Holocaust is understandable. Even the uplifting stories of heroism and survival are unsettling and tough to watch. However, so many lives lost in the name of a power-hungry madman means these stories must continue to be told – as a reminder to folks how dangerous and tragic it can be to blindly follow an authoritarian. Writer-director James Vanderbilt’s (TRUTH, 2015) second time directing is based on the writing of Jack El-Hai in “The Nazi and the Psychiatrist”.

Vanderbilt opens the film by stating it’s “based on the accounts of those who lived through it and those who didn’t”. It’s May 7, 1945. Hitler and many other Nazi officers are dead from suicide. The last day of the war finds Reichsmarschall Hermann Goring (Oscar winner Russell Crowe) surrendering to Allied troops. We are immediately struck by Crowe’s ability to create an air of superiority around Goring, even as he surrenders. Goring is imprisoned at Nuremberg, and what happens next is a reminder of how crucial humanity and justice are, even in times of war and in the face of atrocious activities by others.

While many want Goring and any remaining Nazi officials immediately executed, Supreme Court Justice Robert H Jackson (Michael Shannon) believes a tribunal and public trial are crucial for the allied nations to send the message that justice matters, no matter how heinous the crimes (or the criminals). A U.S. Army psychiatrist, Dr. Douglas Kelley (Oscar winner Rami Malek) is charged with interviewing Goring to ensure he is capable of being tried in court. It turns out that Goring is more than capable and we are drawn in watching the verbal and psychological duel play out between Goring and Kelley. These scenes (Crowe and Malek) are mesmerizing, and Crowe delivers a towering performance – his best in years, and certainly worthy of Oscar consideration.  Sgt Howie Triest (Leo Woodall) is present as a translator, though his place carries more weight later in the story.

Prior to the trial, another excellent scene plays out at the Vatican as (now) lead prosecutor Jackson strong arms the Catholic church into supporting the trial. Unlike Stanley Kramer’s fantastic 1961 film, JUDGMENT AT NUREMBERG, most of this one takes place outside of the courtroom. However, once it moves to trial, Jackson and co-counsel Sir David Maxwell-Ffyfe (Richard E Grant) find going toe-to-toe with Goring is every bit as challenging as Kelley had reported. Devastating concentration camp footage is shown to display the shock of those seeing it for the first time. The last bit of the story is about Kelley and his book centered on his sessions with Goring. Overall, the historical accounts have been scaled back for accessibility and brevity (despite the film’s 148-minute run), yet we never lose sight of the importance of the trials.

Opens in theaters on November 7, 2025

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Posted by David Ferguson

PETER HUJAR’S DAY (2025)

November 6, 2025

Greetings again from the darkness. “How was your day?” It’s a question we have each asked and been asked thousands of times. In 1974, writer Linda Rosenkrantz thought the answer to the question would make a fascinating book … considering her plan was to talk to her New York City artist friends. She had already written her best-selling book “Talk” (1968), and her idea with this new project was to discover how people fill up their day.

Director Ira Sachs (LITTLE MEN, 2016) opens the film with a note explaining that the recorded tapes of the conversation between Linda and famed photographer Peter Hujar on December 19, 1974, were misplaced. It wasn’t until 2019 when the typed transcript of their conversation was recovered that the idea of publication and a dramatized film version gathered strength. Ben Whishaw (WOMEN TALKING, 2022) plays Peter Hujar and Rebecca Hall (CHRISTINE, 2016) portrays Linda. These two, along with a tape recorder and Linda’s apartment, are the key characters in what, perhaps even more effectively, could have been a stage presentation. Although it’s not textbook cinema to film two characters having a long conversation, there is no denying the artistry to this film.

Still, this is a full run of two friends basically hanging out as one recounts the minutiae of his previous day. With Hujar being a well-known photographer, his name-dropping is probably more impressive than yours or mine. Susan Sontag and William Burroughs come up, and Hujar’s contract with the ‘New York Times’ to photograph Allen Ginsburg takes up much of the day’s energy. Whishaw’s take on Hujar’s oversharing can be interesting to watch – especially when he loses his train of thought and Hall’s Linda is there to rein him back in. The film surely works best as a time capsule of 1970’s artsy NYC, but tell me more about this “Topaz Caucasian”.

Opening in NYC and Los Angeles on November 7, 2025

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Posted by David Ferguson

ANNIVERSARY (2025)

October 29, 2025

Greetings again from the darkness. Brace yourself for one of the first films to take on the societal and political changes occurring within the United States. This is an exceptionally well-made film with a stellar cast and an eye-opening cautionary message from writer-director Jan Komasa (Oscar nominated for the excellent CORPUS CHRISTI, 2019) and co-writer Lori Rosene-Gambino. It features a deep and talented cast and would make a formidable double-feature with last year’s CIVIL WAR (directed by Alex Garland).

While the acting is top notch, the brilliance of the film is in the storytelling. Rather than a blatant attack on political extremists, this is presented as a type of thriller – the story of how one family is slowly, meticulously, and deliberately torn apart through ideology and by revenge. The film opens as Paul and Ellen Taylor (Kyle Chandler and Diane Lane) are throwing a 25th wedding anniversary party at their home. Their family has joined in the celebration: daughter Cynthia (Zoey Deutch, THE OUTFIT, 2022) and her husband Rob (Daryl McCormack, GOOD LUCK TO YOU, LEO GRANDE, 2022); rebellious daughter Anna (Madeline Brewer, “The Handmaid Tale’s”); and youngest daughter Birdie (Mckenna Grace, WHAT WE HIDE, 2025). Also attending are their son Josh (Dylan O’Brien, SATURDAY NIGHT, 2024) and his new girlfriend Liz Nettles (Phoebe Dynevor, INHERITANCE, 2025).

It’s the presence of that girlfriend that rocks Ellen, a university professor. Liz Nettles was a disruptive former student and the history between the two was not pleasant … but we watch as present day devolves into something much worse. Paul attempts to calm Ellen by telling her that “People change”. Ellen replies, “No, they don’t.” This ‘perfect family’ full of intelligent and creative folks is headed for a ride no one can prepare for. Two years later, the family reunites for a holiday meal, and Liz’s latest radical book now sits atop the best-sellers list, and she’s turned into a spokesperson for a movement.

The film and the story and the characters perfectly capture just how divisive politics have become – even, or maybe especially, between loved ones. The acting here is as good as anything we will see all year. Ms. Dynevor and Ms. Grace are certainly headed towards stardom. There are a few really powerful scenes, and the most chilling occurs when the ‘census workers’ interview Paul and Ellen. By this point, nerves and relationships are frayed, and the targeting of ‘non-changers’ is in full mode, leading societal change. A father-son conversation between Paul and Josh leads to the most important line in the film: “We are the keepers of our own souls.” The conclusion revolves around the 30th anniversary party for Paul and Ellen, ensuring all viewers understand just what has happened over five short years. This film hits hard due to the real-world synchronicity and concerns.

In theaters October 29, 2025

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Posted by David Ferguson

BALLAD OF A SMALL PLAYER (2025)

October 29, 2025

Greetings again from the darkness. It’s not Las Vegas. It’s not Monte Carlo. Somehow even more gamblers head to Asia, specifically the gambling capital of Macau … and that’s where this film from director Edward Berger (Oscar nominated for CONCLAVE, 2024) is set. Rowan Joffe (son of Roland Joffe, who directed THE KILLING FIELDS, 1984) has adapted the 2014 novel by Lawrence Osborne. That may be the last part of this that makes any sense.

Colin Farrell stars as Lord Doyle, a gambling addict laying low in his swanky hotel suite as he dodges those from whom he’s run up massive debts ($350k to the hotel). Lord Doyle presents himself as a high-roller aristocrat, but we quickly note he’s little more than a fraudster both in identity and wealth. A casino floor manager named Dao Ming (a lovely Fala Chen) takes pity on him as a ‘lost soul’ for no apparent reason, but it significantly impacts his direction. Hot on his trail is a Private Investigator named Cynthia Blithe (Oscar winner Tilda Swinton), hired by a woman whom Lord Doyle (under his real Irish name) bilked out of a large sum of money.

“All I need is one big score”. How many times have we heard a gambling addict state this? It’s a cliché, yet there are a few elements here that seem interesting and unusual. For some reason, the film seems to hit and run to the next point without ever giving us what we need. In other words, the structure is as messy as the constant rain on the streets of Macau. On the other hand, cinematographer James Friend (Oscar winner for Berger’s ALL QUIET ON THE WESTERN FRONT, 2022) turns Macau into a kaleidoscope of color and texture and beauty and danger. There are even a few times that the film tends to mirror the iconic visual style of director Wes Anderson.

For a guy that thrives on scamming folks, Lord Doyle’s choice of baccarat never makes any sense. Why choose a game that’s purely a game of chance/luck? As we struggle along with Doyle to keep up with the loose ends, a supernatural element appears, causing a shift in tone. It’s like dinner and dancing really did lead to an arrangement – only we weren’t present for it. The frantic pace is something Colin Farrell works very well. As I’ve stated in other reviews, he’s turned into a terrific actor who elevates every project. And though she’s underutilized here, Tilda Swinton continues to be an actor worth watching in any role. Watching the movie is entertaining enough, yet at its conclusion, we feel a bit cheated. Many that’s fitting after following Lord Doyle for 101 minutes.

Begins streaming on Netflix on October 29, 2025

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Posted by David Ferguson

SPRINGSTEEN: DELIVER ME FROM NOWHERE (2025)

October 23, 2025

Greetings again from the darkness (on the edge of town). My connection to Bruce Springsteen’s music dates back more than 50 years and includes hitchhiking (from San Antonio) to a gig at the Armadillo World Headquarters in Austin. As much as I loved the early tunes from his first two albums, it was the 1975 release of the “Born to Run” album that spoke to me on a mystical level. His storytelling and anthems on that instant classic, as well as the next two albums, “Darkness on the Edge of Town” and “The River”, had a way of drawing us in for a pure escape. By 1981, Springsteen’s albums were huge and his live performances were legendary and exhilarating. It’s the time period just after that serves as the basis for this film from writer-director Scott Cooper, based on the 2023 book, “Deliver Me From Nowhere: The Making of Bruce Springsteen’s Nebraska” by Warren Zanes.

A black & white opening takes us to Bruce’s childhood (he’s played by newcomer Matthew Anthony Pellicano Jr) where we get a feel for his rocky home life with mom Adele (Gaby Hoffman, C’MON C’MON, 2021) and on-the-verge of violence dad “Dutch” (a terrific Stephen Graham, “Adolescence”). Cooper then cuts to the closing night of the 1981 tour in Cincinnati, where Jeremy Allen White (“Shameless”) as Bruce belts out “Born to Run” with the E Street Band (decent lookalikes). At this point, I found myself a bit deflated. It all felt too cliché and the song just wasn’t up to the standard I’d hoped. Fortunately, things were about to get much more interesting with a deep dive into the birth of “Nebraska”.

Bruce was 31 years old and on the verge of superstardom after his first true hit, “Hungry Heart” (which fortunately is mentioned but never heard). The record company is itching for the next round of hits, while Bruce is clearly dealing with some mixed emotions. His rented house in Colts Neck, New Jersey affords him the solitude he needs to obsess over Terrence Malick’s BADLANDS (1973) with Martin Sheen as a psychotic killer based on real life killer Charles Starkweather (the last name plays an interesting part of Springsteen trivia). Bruce fans know what happens next – in the sanctity of the home’s bedroom, and with the help of guitar tech Mike Batlan (Paul Walter Hauser, RICHARD JEWELL, 2019), he records the songs for the “Nebraska” album using low-tech equipment. His insistence on releasing the album in raw form sends the record company into a tizzy. Bruce also works in a few jam sessions at the infamous club, The Stone Pony, where we see him cut through Little Richard’s “Lucille” and John Lee Hooker’s “Boom Boom”.

It’s here where the deep friendship between Bruce and his agent, Jon Landau (a wonderful Jeremy Strong, THE APPRENTICE, 2004) becomes the heart of the film. Nope, it’s not the music that makes this story work … it’s the support of Landau for his friend, whom he also recognizes as a genius. During this dark emotional time, Bruce somehow begins a romance with Faye (Odessa Young, MOTHERING SUNDAY, 2021), a local single mom – who is also an amalgam of women in Bruce’s life at the time. This contributes to the complexities of Bruce’s mental state during this time, and helps us (and him) understand why this particular music is so necessary for him.

“I have seen rock & roll’s future and his name is Bruce Springsteen”. That’s a quote from a 1974 concert review by music writer Jon Landau. Yes, the same man who became Springsteen’s long-time manager and close friend. But this movie isn’t about Bruce Springsteen the rock icon. It’s a meditative and exploratory peek at a soulful artist during a dark and confusing time. He is sliced open to reveal someone still dealing with a less-than-joyous childhood while balancing the pressure of becoming an international sensation. This was the calm before the storm of “Born in the U.S.A.” … only it wasn’t anything near calm for Bruce. He was in pain – a true tortured soul working through the emotions of finding himself. It’s quite fascinating to watch, though most assuredly, a departure from the mainstream music biopics we have seen over the past few years.

Scott Cooper’s film, CRAZY HEART (2009) won Jeff Bridges an Oscar, and proved the director had a feel for angst in musicians. Warren Zanes wrote the book this film is adapted from, and as guitarist for the Del Fuegos and Tom Petty biographer, Zanes absolutely understands this life. It’s because of these two gentlemen and superb performance in Acts 2 and 3 by Jeremy Allen White and Jeremy Strong that this film never wallows in melodrama, despite the lead character suffering with depression and anxiety.  While we hear cuts from the Nebraska album, Springsteen fans should know this is not a concert film. The music is utilized precisely and purposefully, but the music does not drive this film. The exception might be White’s rendition of “Born in the U.S.A.” while in the studio. That’s the one time audience members might be tempted to yell: “BRRUUUUUCE!”

Opens wide on October 24, 2025

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Posted by David Ferguson

BLUE MOON (2025)

October 23, 2025

Greetings again from the darkness. Most everyone, especially lovers of Broadway musicals, knows the work of Rodgers and Hammerstein. And they should. Richard Rodgers and Oscar Hammerstein II are regarded among the most prolific musical production writers in history. Their projects include “The King and I”, “Carousel”, and “The Sound of Music”. Their first collaboration, “Oklahoma!” is at the center of this latest from acclaimed director Richard Linklater (his NOUVELLE VAGUE coming out this year) and writer Robert Kaplow (ME AND ORSON WELLES, 2008). Yet we can’t help but wonder why so few are familiar with the work of Rodgers and Hart. Together, composer Richard Rodgers and lyricist Lorenz Hart wrote more than one thousand songs, including “My Funny Valentine”, “The Lady is a Tramp”, and of course, “Blue Moon.”

An opening title card provides quotes made about Lorenz Hart. The first describes him as “fun”, while the second states, “he was the saddest man.” The contrast is startling. We first see Ethan Hawke as Lorenz Hart as he stumbles and collapses in a dark alley. We then flash back seven months to March 31, 1943, the opening night of “Oklahoma!” on Broadway. Hart leaves the production before it’s over and heads to Sardi’s, where he plants himself at the bar, conversing with Eddie (Bobby Cannavale), his favorite bartender. This kicks off one of the more dialogue-heavy movies we will likely ever see … fitting for a man who excelled at assembling words.

It takes little time for us to recognize Hart’s bitterness and envy towards his former partner’s (Rodgers) success with a new collaborator (Hammerstein). He’s alternatingly condescending and profane … until Richard Rodgers (Andrew Scott) shows up and Hart turns on the fake charm. For a single setting film (rare in movies, not so rare in live theater), this one is surprisingly complex. Hart’s sexuality is hidden much better than his alcoholism. In fact, Rodgers offers to work with him again for a revival of their “A Connecticut Yankee” – but only if Hart stops drinking and behaves professionally towards their work. These are the issues that previously divided them.

Adding yet another layer is the presence of Elizabeth Weiland (Margaret Qualley). She has charmed ‘Larry’, who claims to love her … although he states, “everybody loves her.” Their relationship is askew, as he adores her and likely wants more, while she wants him to introduce her to the great Richard Rodgers. Also in the mix is a terrific sequence between Hart and the “Charlotte’s Web” writer E.B. White (Patrick Kennedy). Their wordplay nears competition and ends with what would be a Stuart Little idea. Periodically drawn into the evening’s progression is Sardi’s house pianist (Jonah Lee), who idolizes the work of Rodgers and Hart. As if all that isn’t enough, we get interactions with future director George Roy Hill (David Rawle), whom Hart counsels to concentrate on friendships (i.e., Butch and Sundance), and an obnoxiously whip smart young theater protégé named Stevie (Cillian Sullivan as teenage Stephen Sondheim).

Seemingly an odd casting decision for a short, Jewish, alcoholic man who is both miserable and talented, Ethan Hawke is absolutely terrific as Lorenz Hart. Alcoholism may destroy a partnership, and true love may constantly elude him, yet Hawke allows us to see the genius within. Hart would be dead just a few months after this painful (for him) opening night of “Oklahoma!” … leaving little doubt that his all-time favorite line was fitting: “Nobody ever loved me that much.” (from CASABLANCA)

Opening nationwide on October 20, 2025

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Posted by David Ferguson

WHERE THE WIND BLOWS (2025)

October 23, 2025

Greetings again from the darkness. If the Hallmark Channel produced a Western Romance movie, it would likely look much like this one from writer-director John Schimke, who along with co-writer Mike Maden, adapted the 2009 novel from Caroline Fyffe for the silver screen. Filmed in Montana, there are some terrific landscape shots displaying the vastness of the 19th century frontier.

Chase (Trevor Donovan, “90201”) stops into a saloon with his buddy Nathan (C Thomas Howell). While Nathan seems right at home with the booze, women, and gambling, Chase heads up to his room alone, despite the temptations of the ladies. Awakened by shots fired, Chase finds Nathan lying in a pool of blood … the result of cheating at poker. Chase rides off to inform Nathan’s wife – although he softens the tale quite a bit.

As a widow, Jessie (Ashley Elaine) finds herself with a ranch in need of a man and herself in need of a ‘pretend’ husband so that she can finalize an adoption. It turns out that Chase is not only the hunkiest blond cowboy, he’s also the most upstanding and he agrees to help her. Chase also finds many reasons to go shirtless, and Jessie, who sports entirely too much make-up for a prairie woman, doesn’t mind one bit.

Jessie has a loyal friend in town named Mrs. Hollyhock (Michelle Hurd, “The Glades”), and she’s also being stalked by the required villain drifter (Rob Mayes) … a man who is quite the contrast to our hero, Chase.  There is little doubt where this one is headed, and there are few, if any, twists or surprises along the way. Only the visuals of the setting prevent this one from being total cornball, however, these days we should be thankful for any story about a decent man who treats others well.

In select theaters on OnDemand beginning October 24, 2025

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Posted by David Ferguson

THE SUMMER BOOK (2025)

October 20, 2025

Greetings again from the darkness. Watching this film is how I imagine it would be to view a poem. It’s meditative and slow … somehow calming us as we contemplate the topics broached. Director Charlie McDowell (THE ONE I LOVE, 2014) and screenwriter Robert Jones have adapted the 1972 novel by Tove Jansson. Granted, it’s an unusual set up for a film shown anywhere outside of a film festival, yet because it is poignant and relatable, it’s an easy one to recommend.

Nine-year-old Sophia (newcomer Emily Matthews) arrives by boat on an island in the Gulf of Finland with her father (Anders Danielsen Lie) and her grandmother (8-time Oscar nominee Glenn Close). The well-worn family cabin has clearly been an annual retreat, and a simple straw hat clues us in to the fact that Sophia’s mother has recently passed away. Dialogue is relatively minimal here as we watch these three go through each day. The few interactions that occur are quite meaningful. The father, an illustrator who spends his time focused on work, is grieving deeply over his wife. Sophia is frustrated and longing for his attention. She tells her grandmother, “He doesn’t love me since she died.” It’s a heartbreaking moment.

The film’s best scenes are those with Sophia and her grandmother, a woman trying to fill a gap while also dealing with the reality of her age (a failing memory and worsening health). Grandmother is wise and recognizes this is her moment to pass along life lessons. These include social graces (with neighbors) and the joy of quiet moments. The three chip in to cultivate a struggling poplar sapling – seemingly transformed into a tribute to the departed mother and wife. A man we assume to be Sophia grandfather drops off a box of fireworks for Midsommer, and though he’s a no-show for the festivities (and duds), his inclusion of a special surprise for Sophia is a hit.

Grandmother urges her emotionally distant son to show warmth to Sophia, as she (grandmother) won’t always be around. It’s a rare film that covers grief, growing old, and growing up … any one of these would be (and has been) a central theme for many movies and stories. McDowell’s film is not one for showoff acting performances, yet Glenn Close and young Emily Matthews are so natural together, that we realize this is something special. In keeping with the film’s tone, composer Hania Rani’s score is serene, while including some wonderful piano. There is a moment when Grandmother answers a question with, “Life is long, Sophia”. She could have added, ‘except when it isn’t’.

Available on all major VOD platforms beginning October 21, 2025

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Posted by David Ferguson

RE-ELECTION (2025)

October 20, 2025

Greetings again from the darkness. Real life doesn’t offer too many opportunities for ‘do-overs’. Fortunately, movies do. Dallas born-and-raised (now Los Angeles-based) Adam Saunders wears many hats for this film that was inspired by his own life. Mr. Saunders wrote the story, directed and produced the film, and takes the lead role.

Jimmy Bauer (Saunders) is what one might call a loser (although that description has been expanded so much in recent time that it’s probably not the right one to use here). Jimmy is 42 years old. He lives in a shed behind his dad’s (Tony Danza) struggling memorabilia shop where he works since he never finished high school. Use whatever descriptive label you prefer, but realize that none of that is his biggest personal flaw. Instead, that would be Jimmy’s hang-up that his life’s turning point was losing the Senior year Class President election to Manish Singh (Rizwan Manji). 

Manish not only won that election, he also became Governor of Texas and married Jimmy’s dream girl. See, Jimmy thinks Manish stole the life that he was meant for … and rigged 8-ball giveaways were a key. Now, 25 years later, he sees a do-over is possible by going back to high school and running (again) for Class President. His overly supportive sister Shawna (Patty Gugenheim) happens to be the school Principal. Jimmy is shocked with just how out-of-touch he is with today’s high schoolers. He knows very little about social media, technology, or gender-neutral bathrooms. In fact, he thinks throwing “a kegger” is a good idea to win voters.

Jimmy does find support from Noa (Bex Taylor-Klaus), a brilliant non-binary student, and Ama (Nathalie Kelly), a teacher and former classmate of Jimmy’s. She remembers him as being very kind to her. The whole campaign is quite a spectacle, and as you can imagine, Jimmy goes through some serious growing pains. As a psychological study, it’s interesting to note that ‘coming of age’ stories once revolved around teens and twenty-somethings. These days, it’s about a 42-year-old learning what it means to be an adult and a decent human being. There is a terrific message here about life and politics. Selflessness and service to others is what matters, and living with regrets is not a path to happiness. A famous Thoreau quote is used a couple of times during the film and is even on a poster in Stan’s shop. “What a man thinks of himself, that it is which determines, or rather indicates his fate.” Saunders’ film is a brisk 84 minutes of comedy and life lessons.

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Posted by David Ferguson

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