THE POUT-POUT FISH (2026, animated)

March 20, 2026

Greetings again from the darkness. What a welcome relief it is to watch a movie designed specifically for kids. No double entendres or secret winks of wit … just a straight-forward movie to entertain kids and provide a simple life lesson about the importance of friendship. Of course, parents will recognize the title as that of the 2008 mega-bestselling kids book by Deborah Diesen.

There are two key elements that stand out from the beginning. First, the color explodes on the screen, immediately making it enticing for youngsters. This undersea world has the appearance of a candyland or a favorite toy. Second, the demeanor of the Pout-Pout fish is accurately described as glum and gloomy as he sports an ever-present pout. Voiced to perfection by Nick Offerman (Ron Swanson from “Parks and Recreation”) this mopey ‘Mr. Fish’ is said to spread the “dreary-wearies” and deals with his own personality by collecting Zen rocks and living in the remains of a sunken ship, long ago split in half.

Crossing paths with a Pip (Nina Oyama), a spirited tiny seahorse, rattles the world of Mr. Fish, and the two set off on a shared mission that takes them through various communities under the sea, including Jellyfish Junction, Dolphin Cove, and Crystal Cave. The story plays like an underwater road trip movie, and of course, as adults, we easily recognize that this journey with Pip is opening up the world to our grumpy Pout-Pout fish. There are some pieces that the youngest kids may not fit together – starfish spies and the race with cuddlefish – but the dream of Shimmer (Jordan Sparks) is something we all recognize … hope.

This is not a film in the Pixar mode – one that works on multiple levels for kids and adults – but stories that emphasize the power of friendships and collaboration are crucial for youngsters. The only negatives here would be the disjointed music in the first half of the film and the predictability (for older kids and adults). Otherwise, the film accomplishes what it sets out to do … entertain youngsters and offer up an important message.

I watched the film with a couple of the world’s most brilliant youngsters, and here is what they said. Nine-year old Audrey said it was “very colorful” and explored “good and bad” personalities, while eight-year old Jack said it was “Awesome and funny”.

Opening in theaters on March 20, 2026

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2 Comments | Animation, Fantasy | Tagged: , , , , , , , , | Permalink
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

ARCO (2025, animation)

January 29, 2026

Greetings again from the darkness. ‘Arco, phone home’. OK, that’s not actually a line of dialogue in this Oscar nominated animated feature film from w-d Ugo Bienvenu, co-director Gilles Cazaux, and co-writer and Felix de Givry … but the line sure fits. Taking place in the future, the film’s strong themes are family, friends, and coming-of-age.

Hundreds of years in the future, ten-year-old Arco is tending to the family’s animals while his mother, father, and sister are off time-traveling. When told the age limit for such travel is twelve, Arco does what any young boy would do … he snatches his sister’s rainbow travel cloak while she’s sleeping and takes off to see what he’s been missing. Of course, things go wrong for Arco and he crash lands in the year 2075. Young Iris throws the trio of rainbow hunters (comic relief in Scooby-Doo mode) off his trail, and takes Arco home so Mikki, her robot nanny, can provide first aid.

The vibrant colors of Arco’s home are in the style of Studio Ghibli animation, and the bubble homes of Iris’ era speak clearly to the environmental message being delivered. Actually, there are a number of ecological issues covered here, yet the main focus is one of hope and the importance of family and friendship. You’ll notice some familiar voices, including Natalie Portman (also a producer), Mark Ruffalo, Will Ferrell, and Andy Samberg. This is a family film (not for the toddlers) with substance, and it certainly hasn’t been simplified or dumbed down for kids. It’s worthy of the Oscar nomination.

Opening in theaters on January 30, 2026

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Posted by David Ferguson

MERCY (2026)

January 23, 2026

Greetings again from the darkness. Artificial Intelligence ranks with politics as one of the hottest topics of conversation these days. Of course, we don’t yet know what role AI will play in society; however, we are pretty certain all aspects of our world will be touched in some form. This story from writer Marco van Belle and director Timur Berkmambetov (WANTED, 2008) is set only three years in the future, and the premise is that AI judges now decide criminal cases. As with most stories steeped in science fiction, your enjoyment of the film will depend on your willingness to buy into a concept that seems a bit far-fetched. But that buy-in will likely leave you entertained, rather than rolling your eyes (ok, maybe both), by what’s on screen.

Detective Chris Raven (Chris Pratt) awakens from his drunken stupor to find himself locked down in a chair in front of AI Judge Mattox (Rebecca Ferguson, A HOUSE OF DYNAMITE, 2025) in Mercy Court. This new system is designed to quickly administer serious cases by assuming guilt unless innocence is proven. Raven is informed he is charged with the murder of his wife Nicole (Annabelle Wallis, “Peaky Blinders”) and has 90 minutes to reduce his likelihood of guilt from 98% to 92%, or face immediate penalty of death (in the chair). What follows is an overwhelming onslaught of video evidence through security cameras, video doorbells, cell phone records, etc. The initial impression is that Chris deserves to be the leading suspect. He also has access to all of the available video and technology data that the government collects.

Chris calls his teenage daughter Britt (Kylie Rogers, BEAU IS AFRAID, 2023) to proclaim his innocence (despite his blackout memory due to drunkenness). His other calls are to his AA sponsor and friend Rob (Chris Sullivan, “This is Us”), and his police partner Jaq (Kali Reis, REBUILDING, 2025), the latter of whom hops on a futuristic air travel scooter to assist with gathering evidence for Chris. The thing meant to grab the viewer is the detective work by Chris as he races the clock. Of course, there is a political statement made in that Mercy Court doesn’t seem to be much a deterrent given the chaotic red zones within the city (but this isn’t the movie to look for rational thought). We can’t help but think of the superior MINORITY REPORT (2002), and as silly as this film gets at times, we can’t miss the point that we simply don’t know the risks of Artificial Intelligence, and that waking up while locked down in the ‘Mercy’ chair would be most anyone’s nightmare. Mr. Pratt does all he can while spending most of the time in that chair, and Ms. Ferguson makes an effective AI-generated judge (is that a compliment). Again, those who buy-in will be entertained.

Opens in theaters on January 23, 2026

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Posted by David Ferguson

WICKED: FOR GOOD (2025)

January 7, 2026

Greetings again from the darkness. Let’s get this out of the way upfront. My only issue with this sequel is that it exists at all. It’s pretty much the definition of a money grab. Why should a  successful stage production that lasted about three hours be turned into two films totaling almost five hours? There are only two possible answers: either more story to tell (nope, not here), or more money to make (yep!). Now, I have nothing against studios cashing in on a good thing – especially these days, when tickets are difficult to sell. So, my one issue with the film, really isn’t much of an issue at all … in fact, I really enjoy the spectacular visuals and could watch Cynthia Erivo as Elphaba any time.

Jon M Chu is back in the director’s chair and the key players are back on screen. Ms. Erivo deserves recognition and awards for her remarkable turn as Elphaba, and Ariana Grande uses that stunning voice as Glinda the Good. Also returning are Jeff Goldblum as The Wizard of Oz, (Oscar winner) Michelle Yeoh as Madame Morrible, Jonathan Bailey as Fiero (and Scarecrow), Ethan Slater as Boq (and The Tin Man), and Marissa Bode as Nessarose.

Friendship and the inner-strength to do the right thing are the messages here. However, the truth is that messages are less important here than the breathtaking visuals – special effects, costumes, and gorgeous sets. The songs aren’t quite as memorable as those in the first film, yet the singing voices are still tremendous. Corruption and darker personalities are at play here, and Erivo and Grande handle the dynamic very well. The final twist is a welcome relief – especially for parents of younger kids.

As a reminder, these characters are based on the originals created by L Frank Baum, and the film is based on the musical stage play by Stephen Schwartz (music and lyrics) and Winnie Holzman (stage book), the latter of whom gets screenplay credit alongside Dana Fox. The source novel was written by Gregory Maguire. Certainly deserving mention are Production Designer (Oscar winner) Nathan Crowley, Set Decorator (Oscar winner) Lee Sandales, Costume Designer (Oscar winner) Paul Tazewell, and Composers John Powell and (Oscar winner) Stephen Schwartz.

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Posted by David Ferguson

RESURRECTION (2025, China)

January 7, 2026

Greetings again from the darkness. Chinese filmmaker Bi Gan’s third feature continues his string of visually stunning films and dramatic visual effects. However, this one runs 160 minutes, and seems to be inaccessible to most moviegoers, while the film will surely mesmerize a few. Bi Gan is a cinematic artist who is at ease toying with time and our sense of normalcy.

In the first segment, we learn that the secret to longevity – even immortality – has been discovered. Those who do not dream will be rewarded with long lives. Of course, rebels fight back. Here they are known as ‘Deliriants’ … those who hold fast to dreaming, recognizing that a life without creativity or imagination is hardly worth extending.  Bi Gan structures the movie into five segments, each offering a bow to our five senses and to a specific era of cinema. Jackson Yee (BETTER DAYS, 2019) plays the deliriant in each segment. The eras range from silent movies with a nod to Melies to film noir to vampires. Stretching from science fiction to monsters to romance, the film refuses to be limited to any one label.

The film won a Special Jury Prize at Cannes in 2025, and in addition to writer-director Bi Gan, those deserving of recognition include the Production Design team of Liu Qiang and Tu Nan, Cinematographer Dong Jingsong, and composer M83 who somehow complements the various eras and styles. My take is that the film is lacking an emotional connection for most viewers, though the artistry and visual style ate stunning. Perhaps it leaves us with the question of whether eternal life is an admirable pursuit.

Opening in theaters on January 9, 2026

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Posted by David Ferguson

BUGONIA (2025)

January 4, 2026

Greetings again from the darkness. We can only assume there were conspiracy theorists during the time of cavemen since alarmists have existed at every other stage of humanity. It’s intriguing to assume there is more going on ‘behind the curtain’ than what we see with our own eyes. We feel there must be a reason those other people get rich or escape the judicial system or hold onto power … while we are stuck in the role of being just everyday folks. Filmmaker Yorgos Lanthimos has a track record of unconventional projects (POOR THINGS, 2023; THE FAVOURITE, 2018; THE LOBSTER, 2015), and this time, he and screenwriter Will Tracy (THE MENU, 2022) have remade the 2013 award-winning South Korean cult film, SAVE THE GREEN PLANET!, by Jang Joon-hwan … and it’s a doozy.

Teddy (Jesse Plemons) is a radicalized beekeeper whose conspiracy theories have been built through specific podcasts and online extremists. He has dragged his well-meaning cousin Don (the film debut of neurodivergent actor Aidan Delbis) so far into these beliefs that they have both chemically castrated in order to remain focused. That focus is on Michelle Fuller (two-time Oscar winner Emma Stone), a high-powered Biomedical CEO, whom the men are convinced is the Earth-based leader and mastermind of the aliens committed to destroying mankind.

Adding to this is the distinct contrast between these two factions. Teddy and Don are a grungy, unkempt duo living in a dilapidated house, while Michelle is an impeccably dressed, confident woman living and working in a pristine home and office. A less-than-smooth kidnapping occurs as the men wear jumpsuits and masks that are worth a chuckle. Once Michelle is chained to the cot in their basement, her head is shaved (for real) and antihistamine cream is spread over her body. Teddy believes she communicates with her home base through her hair, and that the cream will numb her powers against them.

This is as bonkers as it sounds, yet it’s actually very intense and leads to some elevated verbal sparring between Teddy the believer and Michelle the polished executive. Corporate greed, big pharma, and the destruction of bees are all topics of discussion, and these conversations are key to the story. See, it’s only three days to the next lunar eclipse and Teddy is convinced that’s the only window for negotiations with Michelle’s alien community.

Stavros Halkias as the local sheriff and Teddy’s former babysitter, and Alicia Silverstone as Teddy’s mother have key supporting roles. Production Designer James Price creates the contrast required for the story, and composer Jerskin Fendrix fits the mood for each scene. Whether you figure out the twist early or not, it’s still worthy of discussion on whether aliens are a bigger threat to our planet than ourselves.

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Posted by David Ferguson

DUST BUNNY (2025)

December 10, 2025

Greetings again from the darkness. Raise your hand if you were once a kid. Well then, you likely had some experience with a monster under the bed or in the closet. You may have even had an imaginary friend. It no longer matters how your parents handled scary bedtime for you during childhood, but writer-director Bryan Fuller offers a fantastical tale on what could happen if you don’t believe your kids! Mr. Fuller is best known as the creator of the terrific (and dark) TV series “Hannibal”, and he once again collaborates with Mads Mikkelsen, the titular star of that show.

A tense and dialogue-free opening is so cinematically perfect that I immediately wondered if the rest of the film was going to be a letdown. This plays out like a ‘scary’ children’s story twisted through the mind of a grown-up intent on sending this message to parents: bedtime can be scary time for kids. Sophie Sloan plays Aurora, a ten-year-old girl living with foster parents who lack the understanding and comforting skills that Aurora believes they should possess. The dust bunny from the opening scene is the reason Aurora often warns folks to stay off the floor … advice she heeds herself.

A traumatic event occurs when the foster parents ignore her warning, and soon Aurora is negotiating with a mysterious neighbor on the same floor of her building. She believes he can kill the monster, and she’s not above helping herself to the offering plate of the local church to convince him to help. The neighbor is played by Mikkelsen with his customary style – only the first time we see him he’s wielding nunchucks while wearing a 1970’s style track suit. Since he’s a real-life hitman, he’s convinced there are bad guys after him, and they’ve mistaken Aurora’s apartment for his.

Since I mentioned that filmmaker Fuller was likely inspired by childhood stories, I should also make clear that this movie is R-rated and most definitely NOT for kids. Even though the monster appears to be directly from the mind of Jim Henson’s demented uncle, the film spins off into a wild ride of CGI, action sequences, and violence … all done with tongue planted firmly in cheek. There is some wry humor mixed in, but this is a bizarre fantasy on steroids.

Special mention goes to the set directors and costume designers, as this is one of the funkiest and most elaborate apartment buildings we’ve seen on screen, and even Aurora’s bedroom with zany stuffies looks like something out of a dream. Supporting work is provided by Sigourney Weaver as Mikkelsen’s handler, and one not overly sympathetic to Aurora’s situation – although her specialized high heels add to the ambiance; David Dastmalchian as a confused participant; and Sheila Atim as an FBI agent stunned by developments. If your youngster knows the word “procure” or provides details about the monster under their bed, it’s best to believe them.

In theaters on December 12, 2025

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Posted by David Ferguson

SINNERS (2025)

December 8, 2025

Greetings again from the darkness. My apologies for this review posting months after it should have. The tardiness of the post has nothing to do with the quality of the movie, which I found quite entertaining and creative. It might be best described as an innovate storytelling approach to an age-old tale … with some very cool twists and turns. Ryan Coogler previously directed BLACK PANTHER: WAKANDA FOREVER (2022), BLACK PANTHER (2018), CREED (2015), and FRUITVALE STATION (2013); however, this is his first fully original film as writer-director, and it certainly doesn’t lack ambition.

You likely know that Michael B Jordan starred in all of Coogler’s films mentioned above, and he’s back here as both “Smoke” (Elijah) and his twin brother “Stack” (Elias). The boys are fresh from Capone’s gang in Chicago, and intent on setting up a juke joint in their old Mississippi hometown stomping grounds. An abandoned sawmill that has seen its share of slaughters will do just fine (and no, you definitely shouldn’t read any foreshadowing or irony into the setting. Wink. Wink.). Since I mentioned the twins, you should know that the technical aspects are astounding (in addition to Jordan’s terrific performances). An early scene where the brothers share a cigarette amazed me in its execution and detail. This was the first of many.

Young, bloody Sammie (the film debut of Miles Caton) staggers to his preacher father’s alter carrying the neck of a shattered Charley Patton guitar. And this may be the closest Coogler’s film gets to a serene scene. What follows is a unique blend of too many bits to list, but definitely includes horror, monsters, blues music, biblical references, southern racism, historical events (Robert Johnson’s crossroads), mythology, mobsters, Mississippi Delta black culture, and enough violence for a few films. You may think you’ve seen all there is to see about vampire mythology, but Coogler doesn’t shy away from new blood (so to speak). Now, is all that just too much for one movie to tackle? Many will likely think so, however, those that go with it will likely find it as entertaining as I did.

The supporting cast is massive and filled with familiar faces and talented actors – too many to list here, but know that each contribution adds to the overall dynamic. I will mention Hailee Steinfeld, who plays Mary, a “dangerous” multi-racial woman who is the bridge between black and white (and perhaps good and evil). There are at least eleven other actors who excel in their role and have a memorable, and often surprising or shocking impact, but the only other one I’ll call by name is the legendary Buddy Guy who appears in the 1992 Epilogue. From a technical standpoint, acknowledging those who created the Southern Gothic horror atmosphere are Cinematographer Autumn Durald Arkapaw, Editor Michael P Shawver, and Composer Ludwig Goransson (a two-time Oscar winner). Filmmaker Ryan Coogler has established himself as one who combines a strong technical team, a stellar cast, and a sharp script to create films that have broader appeal than one might expect (superheroes, vampires, and culture clashes). His films are now must-see cinema.

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Posted by David Ferguson

HIM (2025)

September 18, 2025

Greetings again from the darkness. Here is my PSA (Public Service Announcement): This is not a “Football” movie. If you are expecting FRIDAY NIGHT LIGHTS or ANY GIVEN SUNDAY, you will be disappointed. This is a Psychological Horror film (think BLACK SWAN) featuring a couple of football players, and it’s produced by Jordan Peele, he of NOPE and GET OUT fame. Writer-director Justin Tipping (KICKS, 2016) and co-writers (co-creators of “Limetown”) Zack Aker and Skip Bronkie serve up few X’s and O’s, and plenty of commentary on fame and the quest for greatness.

Marlon Wayans is best known for his comedy work, and here he delivers his best dramatic performance since REQUIEM FOR A DREAM (2000). He plays Isaiah White, the ultra-successful quarterback of the fictional San Antonio Saviors. Many consider White the G.O.A.T. (Greatest of All-Time). His issue is that he’s aging and is likely at the end of his career. On the other end of the spectrum, we have rising star Cameron Cade (Tyriq Withers, I KNOW WHAT YOU DID LAST SUMMER), the young hotshot who many predict will replace White as the GOAT. Cameron’s problem is that a surprise causes possible brain damage, knocking him out of the combine and leaving him undrafted.

Cameron’s off-kilter agent (Tim Heidecker) arranges for him to train with White for a week. Having worshipped Isaiah White for most of his life, Cameron jumps at the chance. Upon arriving at White’s isolated desert compound, he quickly discovers dreams don’t always match reality. White greets him warmly, but we all notice (well, Cameron’s a bit slow) that things are a bit off. From a sadist trainer (MMA fighter Maurice Greene) to a sardonic doctor (a funny Jim Jeffries), to a creatively made-up and creepy Mrs. White (Julia Fox), the setting for a horrific week is in place.

White pushes Cameron past the point of decency in training, and the doctor delivers some curious blood transfusions. White preaches to Cameron that this unorthodox approach is what’s required for peak performance and greatness. The commitment must be to excellence, not some mushy family-first mentality. Some of the drills are violent, while others turn a bit nuts. This is psychological warfare mixed with physical extremes.

There are some cool x-ray effects, and the music from Bobby Krlic (The Haxan Cloak) adds a nice touch; however, this is about envy and power. The first two acts have some eye-opening moments, but things really fly off the rails in the finale. Brutal violence seems too mild as a description, and the commentary on team ownership expectations seems a bit heavy-handed. We all know billionaires are accustomed to getting what they want. This one is worth seeing for Marlon Wayans’ performance, but we find ourselves thinking “what if” through much of the film.

Opens in theaters on September 19, 2025

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Posted by David Ferguson

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