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

GROW (2025)

October 16, 2025

Greetings again from the darkness. I’m not sure if pumpkins get short-changed with most of their attention coming only during one season, or if perhaps they receive more attention than deserved during that season. Either way, pumpkins are rarely at the center of a cinematic event … despite having their moments during animated TV specials like “It’s the Great Pumpkin, Charlie Brown” and “Spookley, the Square Pumpkin”. Director John McPhail (the excellent ANNA AND THE APOCALYPSE, 2017) sets out to change that with a screenplay by a trio of writers: Nick Guthrie (MINI’S FIRST TIME, 2006), Ruth Fletcher (“Hawaii Five-O”), and Ruth’s husband and writing partner, Christos N. Gage.

Common sense tells us that if you are going to have a family-friendly, heartwarming story, then you best include a kid worthy of attention. When we first meet young Charlie Little (Priya Rose-Brookwell, “The Lazarus Project”), she’s trying to escape from a home for abandoned kids so that she can track down her mother … a mother who left her behind to pursue the bright lights of Hollywood. Instead of locating her mother, Charlie gets connected with her Aunt Dinah (Golda Rosheuvel, “Bridgerton”). It’s not a smooth transition because Charlie is a precocious child who wants to be loved, and Aunt Dinah is a very reserved woman trying to make ends meet on her struggling Little Farm.

Mugford, the local village, is known as the Pumpkin Capital of the World, and Charlie immediately dedicates herself to winning the cash prize at this year’s contest for the biggest pumpkin. See, Charlie is not just a spirited kid, she is also one with plants – she converses with them, and feels what they feel. Charlie and Dinah enlist the help of Arlo (Nick Frost, The Three Flavours Cornetto trilogy), a local with some past success in the contest. What’s surprising here is the nefarious activities of those involved with the contest – secrets, vandalism, and outright cheating. In other words, the pumpkin contest turns into a life lesson for young Charlie who always sees the best in others – even Toby the dog.

Charlie pampers ‘Peter’, her prize pumpkin, while we get riffs on PSYCHO and THE GODFATHER, and even a use for lion dung. Supporting work comes from Joe Wilkinson (“After Life”) as Dinah’s former farmhand, Jane Horrocks and Tim McInnerny as local pumpkin legends, and Jeremy Swift (“Ted Lasso”) as a lab technician under intense pressure. The film reminds me of some of the Disney movies from the 1960’s, as it’s charming and funny, and offers up some life lessons – complete with emotional depth as the relationship between Charlie and her Aunt Dinah develops. I don’t get many full-blown family films to review, and it’s nice to see one that works on multiple levels.

Opens nationwide on October 17, 2025

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Posted by David Ferguson

STEVE (2025)

October 3, 2025

Greetings again from the darkness. You know those days when it feels like you are being pulled in all directions, and nothing seems to go right? Welcome to 24 hours in the life of Steve, the headteacher at Stanton Wood, a reform boarding college for troubled/challenging young men. This is one of those days that feels like a week. Even before he walks through the front door, he’s already getting pulled this way and that – a minute here, a quick decision there, a request for a sidebar, a need to run something by him. It’s a relentless job, heightened by the presence of a BBC documentary crew.

Writer Max Porter adapted his 2023 novel “Shy” for the big screen, and the film reunites director Tim Mielants with Cillian Murphy (Oscar winner for OPPENHEIMER, 2023), his leading man from SMALL THINGS LIKE THESE (2024) and “Peaky Blinders”. Murphy is one of the few actors who is somehow just as effective when he’s not talking as when he is. It’s a skill that benefits this film which is … choose your preferred descriptive word … frenetic, chaotic, hectic.

These students are certainly energetic and that energy often slips into a combative mode. The faculty spends an inordinate amount of time diffusing these conflicts. We only see bits and pieces of academic teaching, leaving the bulk of time devoted to life lessons and behavioral advice. Emily Watson plays the school psychiatrist/therapist, Jenny, and as with all the adults working at Stanton Wood, her heart is in the right place – regardless of the immense frustration that goes with the job. Tracey Ullman, flashing some dramatic chops, is Steve’s most supportive co-worker – and quickly expresses her displeasure at his tendency to self-medicate. Lola (Little Simz) is the newest faculty member, and she has one particularly tense scene in the cafeteria … proving her mettle in this environment.

The source novel is entitled “Shy”, and although Steve is the focus of the film, the student named Shy (Jay Lycurgo, “Titans”) seems to be a special case for Steve, and Shy’s phone conversation with his mother is the most heartbreaking moment in the film. When it is announced that the school is too expensive to run and will be shut down in six months, the presence of a local official (Roger Allam) leaves little doubt that a political message is being delivered. A recurring element finds the documentary crew asking each participant to name three words that describe themselves. Steve’s response: “very, very, tired”. He looks it and we understand. Some nice camera work from cinematographer Robrecht Heyvaert gives us glimpses of a lovely world outside the walls of Stanton Wood, whereas inside the stress is palpable.

Premiering on Netflix on October 3, 2025

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Posted by David Ferguson

SHELL (2025)

October 3, 2025

Greetings again from the darkness. Every one of us wants to look good and feel good. But how far will we go? What if our livelihood depended on looking young? There is no denying that societal pressures favor those who are pleasing to the eye, and of course, Hollywood is the poster child for rewarding beauty and youth … and penalizing, or at least ignoring, the other end of the spectrum. The second film from director Max Minghella (his first was TEEN SPIRIT, 2018) features a screenplay from Jack Stanley (THE PASSENGER, 2023), and it likely pays a price for coming on the heels of last year’s THE SUBSTANCE (2024), a body horror film with a similar theme, but one that was far more extreme.

The film opens with a terrific sequence with the rarely seen Elizabeth Berkley (SHOWGIRLS, 1995) as Jenna Janero. The sequence firmly establishes that we’re in for a ‘body horror’ ride; although unfortunately, this is one of the best scenes for quite a while. We then meet Samantha Lake (Elisabeth Moss, “Mad Men”), a struggling actor who has hit the dreaded age of 40 – a poor ‘choice’ in Hollywood. Sam’s career peak seems to have passed her by and now she’s auditioning for roles against much younger actors – including Chloe Benson (Kaia Gerber, SATURDAY NIGHT, 2022), whom Sam babysat years ago.

After a professional nudge, Sam finds herself at Shell Corporation, a strange place that promises its clients vitality and the end of aging. The Director and face of the company is Zoe Shannon (Kate Hudson, ALMOST FAMOUS, 2000), a 68-year-old woman who doesn’t look a day over 40. Not surprisingly, delivering youth to women is extremely lucrative, and Zoe lives her luxurious lifestyle in a stunning mansion. Oh, there is a downside … some clients have to be ‘disappeared’ when the side effects pop up.

Dressed in a ridiculous oversized Columbo trench coat (supposedly to trick us into believing Ms. Moss is a hefty woman), Sam is a bit reluctant at first to join the Shell program. All it takes is handsome and smooth-talking Dr. Hubert (Arian Moayed, “Inventing Anna”) to ease her into the program. Soon Sam and Zoe are buddies and spending a great deal of time together, relishing their youthful looks and subsequent riches.

Of course, all fantasies must come crashing down at some point, and although her psoriasis is gone, the side effects cause the worst Vanity Fair interview in history, and lead to an extreme third act. Dr. Thadeus Brand (Peter MacNicol, “Ally McBeal”), the inventor of Shell returns for Sam’s debrief. His use of lobster enzymes comes into play, resulting in a sequence of splatter.

It’s a bit odd that the film never capitalizes on women taking power, or even taking control of their own life. Although Kate Hudson does nice work here, I couldn’t help but think that casting Gwyneth Paltrow would have added a touch of irony. Este Haim provides a bit of support work as Sam’s assistant and friend, and the focus pretty much remains on the obsession/pursuit of youth and beauty – at any cost. Director Max Minghella is best known as an actor (“The Handmaid’s Tale”) and as the son of Oscar winning director Anthony Minghella (THE ENGLISH PATIENT, 1996). It’s likely meant as satire, but the film strikes so close to today’s societal pressures, especially on women, that we can’t help but be a bit saddened by it. One thing’s certain … there was a missed opportunity for the B52’s “Rock Lobster”.

In Select Theatres & On Digital October 3, 2025

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Posted by David Ferguson

MR. BLAKE AT YOUR SERVICE (2025)

October 3, 2025

Greetings again from the darkness. When we first meet Mr. Blake, he’s tidily packing a small suitcase and informing an anxious phone caller that he will not be attending the ‘Man of the Year’ award ceremony, even as he’s being introduced as the guest of honor in the background. We realize Blake is leaving London because he takes one last forlorn glance at his long-time apartment before heading “back to where it began.” It’s rare for the author of the source novel to adapt and direct a film, but that’s the situation here with Gilles Legardinier and his 2012 book, “Complètement cramé !” Co-writer Christel Henon helped with the screenplay.

The always interesting John Malkovich plays against type and stars as Andrew Blake in this French (with subtitles) comedy originally titled “Well Done!”. Having retired as a businessman, Blake is mourning the death of his wife (40 years) Diane, and heads to the stunning French estate where they first met. It’s there where he receives a less-than-warm welcome by Odile (a terrific Emilie Dequenne, CLOSE, 2022), the manager of the inn. A misunderstanding between the two, lands Blake in a cramped room and a ‘trial’ as the home’s butler. He does meet the estate’s owner, Nathalie Beauvillier (French acting legend Fanny Ardant), who has also lost her spouse and finds herself speaking to a mannequin wearing her husband’s suits, as she navigates her way through severe financial challenges.

Other key players include the parttime groundskeeper Philippe Magnier (Philippe Bas) and the parttime maid Manon (Eugenie Anselin). In a film where everyone gets their moment, Magnier and Blake playfully banter (Blake calls him a grumpy frog) after near-violence marks their initial meeting. Manon heeds Blake’s fatherly advice when she finds herself in a situation with a less-than-supportive boyfriend. There is also the irritating Madame Berliner (played by co-writer Christel Henon) as Nathalie’s quasi-friend, and finally, Mephisto, the chunky house cat to whom the hard-driving Odile shows some affection.

This is a whimsical, feel-good movie that never delves too deeply into the characters. However, that doesn’t mean they aren’t relatable, as we do find ourselves pulling for each of them. At its best, this is a story of turning grief into something positive during the next phase of life. Mr. Blake becomes a most unexpected uniter – a man whose advice, guidance, and good intentions not only help each of these characters with their own situation, but also instigate a bonding within the staff. This becomes a ‘one good deed leads to another’ scenario, although the final Christmas setting and reunion feels a bit syrupy. On a sad note, Emilie Dequenne passed away earlier this year from cancer. She was only 43.

Will be released in UK and Irish cinemas on October 3, 2025

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Posted by David Ferguson

ALL OF YOU (2025)

September 26, 2025

Greetings again from the darkness. This plays like a spin on the old Verizon commercials: Do you love me now? Writer-director William Bridges and co-writer/ lead actor Brett Goldstein deliver one of the more frustrating and cringey romantic movies I’ve seen in a while. There are a couple of character references to situations feeling too “adult”, and I kept thinking, why don’t any of these grown-ups act like an adult?

Simon (co-writer Goldstein, “Ted Lasso”) and Laura (Imogen Poots, THE FATHER, 2020) have been best friends since their days at university. Their bond is so close, they seem one step from having their own secret language. As the opening credits play, we are inundated with advertisements for Soul Connex. The ads claim all it takes is “a simple eye test” to find your forever soul mate. Now, in real life, it’s possible that two people as connected as Simon and Laura might recognize the soul mate sharing inside jokes with them, but in this movie, complications are mandatory.

Laura decides to take the test, while Simon adamantly refuses. He prefers to let nature take its course (a rare toaster analogy), while she prefers to charge his credit card for her test. She’s certain they will remain friends, which contrasts with his line, “I’ll miss you every day”. Sure enough, Laura finds her match in Lukas (Steven Cree, “Outlander”), while Simon becomes a periodic third wheel. She loves Lukas and they have a kid together, while Simon wanders through the forest of potential mates … periodically meeting up with his old BFF as sparks are re-ignited.

There is a major shift when Laura’s dad dies, and the film becomes one of the most maddening scenarios that any movie has dared present. The settings are often stunning, and the people are quite pleasant to look at, but the recurring situations defy all rational romance and true love preferences. It becomes something we have no interest in participating in, and frankly, turns these two previously pleasant and easily likable characters into quasi-villains that we no longer care for in the least.

Typically, I can find something positive to latch onto in a movie, regardless of however much negativity I feel towards the rest. All I can say here is that both lead characters need to realize it’s time to be an adult – and that means doing the right thing (or at least it used to).

The film will be released in select theaters and on Apple TV+ on September 26th, 2025

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Posted by David Ferguson

ONE BATTLE AFTER ANOTHER (2025)

September 25, 2025

Greetings again from the darkness. My immediate reaction after viewing this film was that it represented the highest level of filmmaking – including superb acting, a complex story that fits today’s narrative, and the most varied and diverse score I can recall from many years of moviegoing. After a couple of days to mull it over, I believe it’s possible that my initial reaction somehow underrated this instant classic. High praise should be no surprise since the film is the work of writer-director Paul Thomas Anderson – the man behind such cinematic gems as LICORICE PIZZA (2021), PHANTOM THREAD (2017), THE MASTER (2012), THERE WILL BE BLOOD (2007), PUNCH DRUNK LOVE (2002), MAGNOLIA (1999), BOOGIE NIGHTS (1997), and HARD EIGHT (1996).

Anderson has been nominated for eleven Oscars over the years, and here he adapts the 1990 Thomas Pynchon novel “Vineland”. While the novel is set in the 1980’s, Anderson structures his film in such a manner that much post-viewing conversation will focus on its synchronicity to our current political landscape/battlefield. Remarkably, Anderson has delivered a film that features stunning action sequences, cutting political satire, and touching personal drama. It’s almost too much to ask of any one movie, and is very likely a bit too much for some movie goers.

As the film opens, a resistance movement called French 75, led by Perfidia Beverly Hills (powerhouse Teyana Taylor) is doing their thing with help from explosives expert Pat (Leonardo DiCaprio). With the excitement of fulfilling their mission, Perfida and Pat fall for each other – a shared cause can do that. Mucking up the movement and the relationship (unbeknownst to Pat) is a militant with the memorable name of Colonel Steven Lockjaw (Sean Penn). Lockjaw is laser-focused on stopping the resistance – in fact, the only thing that can stop him is a creepy attraction to Perfida, who uses his weakness to her advantage.

A jaw-dropping visual occurs as we see a (very) pregnant Perfida firing an automatic weapon during target practice. Soon after the baby is born, Perfida (not the mothering type) takes off, and Pat, now underground and known as Bob Ferguson, is left to raise the child. Flash forward 16 years, and teenage Willa (the terrific movie debut of Chase Infiniti) and her father are living a quiet life. She’s a tough, but normal high schooler with friends, while he has dulled his mind and outlook with drugs and alcohol … unable to remember the secret password when Colonel Lockjaw tracks him down. French 75 loyalist Deandra (Regina Hall) finds a safe house for Willa, as Bob frantically bounds around town until Willa’s Sensei (Benecio Del Toro) offers to help him. This sensei also hides his own secrets, as Del Toro sprinkles in his patented one-liners.

There is so much going on here, and I’m only now getting to the Christmas Adventurers Club – a clandestine group of white supremacists motivated by racism and lust for power and purity. It’s a club Col Lockjaw desperately wants to be admitted to. In fact, racism hovers over much of the film, with the resistance attempting to defy it through radicalism and extremism … although which side is the most radical or extreme could (and has) carried debates for quite a while.

Three Oscar winning actors are featured here: DiCaprio, Penn, and Del Toro. All three are excellent, but it’s Sean Penn’s Lockjaw that will likely stick with you. Delving into caricature at times, Penn employs many stereotypes, a distinct strut, and a few facial ticks to go with his one weakness in creating a character that we can’t help but laugh at, while also being a bit frightened of his persona. DiCaprio’s Pat/Bob runs the gamut from revolutionary to a Lebowski-type fleeing in his ratty bathrobe. His look varies throughout with varying hairstyles and wardrobes. His father-daughter relationship is truly the heart of the film, and is exceptional drama.

The supporting cast is excellent and includes Alana Haim, Shayna McHayle, Tony Goldwyn, Kevin Tighe, DW Moffett, John Hoogenakker, and Jena Malone … many familiar faces and a great deal of talent. Cinematographer Michael Bauman (back with Anderson after LICORICE PIZZA) delivers the action sequences, the dramatic moments, and a couple of car chases … one which will live on in infamy. Filmed in VistaVision (I saw it in IMAX), there is a mesmerizing car chase through and over and down a hilly desert highway. It’s unlike any car chase I’ve seen, and had me leaning forward in my seat trying to get a look ahead.

This is a story that covers quite a few years and just about as many topics as you’d like to associate with it. There is a nod to THE BATTLE OF ALGIERS (1966), which was another film about the fight for freedom. One note that I’m unsure how to address is the score from frequent Anderson collaborator Jonny Greenwood (Radiohead guitarist). It’s simply fantastic the way Greenwood melds diverse music with the numerous shifts in tone of the characters and story. As for filmmaker Paul Thomas Anderson, it’s subjective as to whether he has outdone his previous stellar work, yet I can confidently label this one as both bleak and funny, while also thrilling, chilling, and timely.

Opens in theaters on September 26, 2025

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Posted by David Ferguson

ELEANOR THE GREAT (2025)

September 25, 2025

Greetings again from the darkness. You’ve likely heard the old saying that you can’t put the genie back in the bottle. Well, the same goes for a lie … and sometimes even an innocent lie takes on a life of its own and begins to wreak havoc. This happens to Eleanor, and yet we somehow empathize with her in this film that is not just the first screenplay from Tory Kamen, it’s also the first feature film directed by Scarlett Johnansson.

When we first meet Eleanor (June Squibb, fresh off her lead role in THELMA, 2024) and Bessie (Rita Zohar, AMADEUS, 1984), the two elderly ladies are best friends who have lived together for fifteen years or so in Florida. They spend their days regaling each other with stories over coffee, at the beach doing bench exercises, and at home around the kitchen table. We see how much they appreciate and value each other’s friendship. As happens with old friends, Bessie passes away, and 94-year-old Eleanor moves back to New York to live with her daughter Lisa (Jessica Hecht, DAN IN REAL LIFE, 2007) and grandson Max (Will Price, “Goosebumps”).

Despite her age, or perhaps emboldened by it, Eleanor’s sharp tongue too often hits hard, especially when criticizing Lisa. It’s a trip to JCC that erroneously misdirects Eleanor into a support group of Holocaust survivors. Whether she’s embarrassed or just lonely for company, Eleanor doesn’t come clean and instead begins telling Bessie’s stories as if they were her own. One of the group’s observers that day is Nina (Erin Kellyman, THE GREEN KNIGHT, 2021), a university journalism student, who is so moved by Eleanor’s stories that she pesters her to sit for an interview.

Remember that whole thing about a lie taking on a life of its own? Well, Nina and Eleanor become friends, and Eleanor’s wisdom helps Nina deal with a particularly emotional period. Oh, and Nina’s dad, Roger Davies (Chiwetel Ejiofor, 12 YEARS A SLAVE, 2013), is a local TV journalist who sees the potential of taking Eleanor’s stories to a wider audience. It’s truly a mess that Eleanor finds herself in, and if/when the truth comes out, so many could be hurt from her break in trust.

It’s June Squibb’s remarkable performance that elevates this film to one that many will find emotional. Ms. Squibb turns 96 years old this year and now has a couple of strong lead roles to her credit after a terrific career as a character actor (NEBRASKA, 2013). Here, it’s Eleanor’s bond with Nina that’s the heart of the story, and a reminder that sometimes good people do bad things – and those bad things may be driven by good intentions … or even grief. Additionally, we must now recognize Scarlett Johnansson as a filmmaker who can handle complex stories and characters, and deliver entertainment for an audience.

Opens in theaters on September 26, 2025

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Posted by David Ferguson

DEATH OF A LADIES’ MAN (2025)

September 25, 2025

Greetings again from the darkness. For a film that takes its title from a 1977 Leonard Cohen album and includes (I counted seven) songs from the icon throughout the film, we can expect something other than a light-hearted rom-com. And that’s before we discover that the leading character is diagnosed with a brain tumor. Writer-director Matt Bissonnette’s film was well received on the festival circuit in 2021 and is now being released VOD.

Gabriel Byrne (brilliant, as usual) stars as Samuel O’Shea, a twice-divorced professor based in Montreal and spending entirely too much time with drink(s) in hand. Samuel begins experiencing hallucinations … all too real hallucinations. Initially these include the Frankenstein monster at the pub, and a bizarre, choreographed hockey ice dance at his son’s (Antoine Olivier Pilon) game. From there, the visions get even stranger – often including lip-synching to a Leonard Cohen song. One exception is the recurring vision of his late father (Brian Gleeson), who died as a young adult. These interactions are ‘normal’ conversations, often filled with fatherly advice.

Once he receives the fatal diagnosis, Samuel does what anyone would do – he heads to the family cottage in Ireland in order to take stock of his life. He also decides to write the novel that he’s always wanted to write. This stage of life (waiting to die) and writing the novel can both take many shapes. In fact, Samuel’s novel is about his life, his regrets, and about whether a late-life romantic relationship can work. Charlotte Lafleur (Jessica Pare, “Mad Men”) enters, having a significant impact on Samuel, his outlook, and his writing.

Younger viewers may find this one a bit difficult to connect with; however, I expect many of those over age 50 will relate very well to what Samuel goes through. The film was well received on the festival circuit in 2021 and is only now getting streaming distribution. It’s not perfect, yet it’s a creative view of what one experiences after being told their time is limited.

Releasing on VOD beginning September 26, 2025

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Posted by David Ferguson

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