Greetings again from the darkness. The concept of ‘normal behavior’ seems quite elusive these days, but clearly the uncontrollable ticks and inappropriate (for proper society) verbal outbursts of Tourette Syndrome add to life’s complexities. Writer-director Kirk Jones (WAKING NED DEVINE, 1998) takes on the true story of John Davidson, whose actions prove role models come in many forms. Although the film doesn’t dig too deeply, it benefits from the real-life actions of one man and a couple of excellent lead performances … plus the always welcome presence of two beloved character actors.
The film opens in 2019 with the adult John Davidson (Robert Aramayo, DANCE FIRST, 2023) spouting an obscenity at Queen Elizabeth as he’s to receive his MBE (Member of the Order of the British Empire) for his volunteer work. This outburst actually occurred. We then flash back to 1983 Scotland where Scott Ellis Watson portrays young John as a charming middle school kid with a knack for soccer. Once the unexplained ticks begin, everyone assumes John is acting out – despite his denials. This includes the school administration and his own parents (Steven Cree and the always great Shirley Henderson), who dole out punishments ranging from physical to emotional … all in an attempt to rein in his actions.
If there is a more remarkable person in the story than John, it would be Dottie Achenbach (Maxine Peake, DANCE FIRST, 2023). She’s the mother of John’s schoolmate, and she’s been diagnosed with terminal cancer. Watching her get to know John and show patience with his affliction is not just heartwarming, but also a case study in patience and caring. Dottie helps John get a job (working for a stellar Peter Mullan) at the community center, and then assists in finding John his own flat as he strives for independence. Of course, as you would expect whenever someone bucks societal norms and expectations, John is a curiosity to some and bothersome to others. He faces judgment and even assault … plus an arrest from law enforcement that hasn’t yet been educated.
It’s adult John that really surprises. Not only does he embrace the responsibilities of his job, he begins helping others through his Tourette’s Weekend seminars. He recognizes what these folks are going through, as he’s living life daily in the same (metaphorical) shoes. John becomes an ambassador for Tourette Syndrome through lectures and seminars … educating those who previously had no understanding. We’ve seen the quirks … kissing the lamppost … and now we see the true impact of caring. The relentless stream of “Sorry” has shifted to education and societal improvement. Robert Aramayo turns in a terrific performance as John, and the film leaves us with the keys: education, understanding, acceptance. Clips from a documentary on Davidson’s life are shown over the closing credits.
In theaters beginning April 24, 2026
Posted by David Ferguson 
Greetings again from the darkness. Memorable movies need not have a huge budget or special effects. All that’s needed is an interesting story and characters we care about. Screenwriter Robert Machoian (the excellent THE KILLING OF TWO LOVERS, 2020) fully understands this, while Cole Webley’s feature film directorial debut (after many shorts and videos) transitions the story to the big screen in a way that leaves us emotionally drained. It’s one of the obligatory ‘tough watches’ that plays the festival circuit – only this one is extremely well written, directed, and acted.
Greetings again from the darkness. Learning that Lou’s life is a bit of a mess becomes clear in the first few opening scenes. It’s early morning and she sneaks out after a one-night stand, noticing missed calls from Steve, her ex that she’s living with temporarily (along with his new partner). Soon, she’s dumped by her agent and is adamant that she won’t fly home to see her dad, despite holding the ticket he purchased for her. This is the feature film directorial debut from Timothy David, and the screenplay comes from Sally Gifford, who also has a small role in the film.
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Greetings again from the darkness. Perhaps we can all agree that hiking is not best served as a spectator sport. Sure, there have been other hiking movies, including WILD (2014) as Cheryl Strayed (portrayed by Reese Witherspoon) takes on a solo hike of the Pacific Crest Trail. Yet almost by definition, a hike is meant, at a minimum, to help clear one’s head and, at its best, allow a connection with nature as one tries to center themselves from the stress of life. Writer-director Bart Schrivjer w-d (not his first hiking movie) has seemingly captured these elements of hiking better than others.
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Greetings again from the darkness. Evidence of the greatness of William Shakespeare has been provided so many times and in so many ways over so many years. Books, live theater, movies, and the work of influenced artists have made their way to various audiences, and regardless of the specific project, the source material stands tall. Director Aneil Karia and actor Riz Ahmed previously shared an Oscar for their excellent short film THE LONG GOODBYE (2021) and now they have collaborated again on an adapted screenplay by Michael Lesslie (MACBETH. 2015 with Michael Fassbender and Marion Cotillard) for a new version of Shakespeare’s “Hamlet”.
Greetings again from the darkness. If you see something, say something. If you know something, say something. If you fear something but aren’t sure, say something. Such is the world we live in today … the world our children live in today. Somehow that same world also revolves around social media and the insatiable desire to be ‘seen’. The first feature film from writer-director Oscar Boyson and co-writer Ricky Camilleri takes on these somewhat conflicting societal issues, and they do so with an approach that’s at times absurdist, often comical, and always a bit frightening (in a real world way).
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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.
