COYOTE VS ACME (2026)

August 27, 2026

Greetings again from the darkness. For those of us who grew up belly-laughing at Looney Tunes, the characters are considered sacred ground, so a bit of anxiety hits when movies like SPACE JAM (1996) hit the big screen. This especially holds true for this latest from director Dave Green, since we know so many of the beloved characters will be on display. Samy Burch (MAY DECEMBER, 2023) adapted the screenplay from a 1990 article in “The New Yorker”, with an assist from James Gunn (SUPERMAN, 2025) and Jeremy Slater (FANTASTIC FOUR, 2015). The blend of animation and live action is reminiscent of the 1988 classic, WHO FRAMED ROGER RABBIT.

The two opening scenes set a high bar. A tongue-in-cheek title card reading “Based on a True Story” leads to the two action sequences. Dr. Lorre frantically escapes from Acme Labs and the more familiar pacing of Wile E Coyote trying (yet again) to nab the Road Runner serve as an introduction to the endless stream of Acme products that the amazingly persistent Wile E Coyote has used during his decades long bird chasing. Persistence is usually an admirable trait, though in this case it has led to his stockpile of gadgets and his shot in court … once he sees the advertisement by local law firm Avery, Jones, and Maltese (a nod to original Warner Bros animators Tex Avery, Chuck Jones, and Michael Maltese). Will Forte plays lawyer Kevin Avery whose catchphrase is “There’s always someone to blame”. Avery is a lazy lawyer and his specialty is quickly settling damage suits and then moving on to the next one.

Think of Kevin Avery’s approach as similar to what we saw on “Better Call Saul”. Avery’s hand gets forced when Wile E Coyote’s case against Acme becomes massive – thanks to Avery’s niece Paige (an excellent Lana Condor) – and a settlement collapse with Acme’s arrogant lead attorney, Buddy Crane (John Cena in alpha-male mode) falls through. Paige’s idealism contrasts with Avery’s skepticism and Crane’s over-confidence, making for quite a show in the courtroom run by Luis Guzman’s judge.

Many scenes were filmed in Albuquerque, New Mexico – one of Bugs Bunny’s favorite spots – and the desert landscape makes for the perfect setting. Wile E Coyote is the epitome of a silent movie star, and we are reminded that he has ‘a limited number of signs’ for communicating. He has long been the aggressor and is now the victim seeking justice … going against the powerful mega corporation. Along the way, we see many of our Looney Tunes favorites, including Daffy Duck, Granny, Tweety Bird, Elmer Fudd, Yosemite Sam, Witch Hazel, and Foghorn Leghorn (as Acme’s CEO). Many of the voices are provided by the great Eric Bauza – though of course, the legendary Mel Blanc lives on in our hearts (and ears).

Looney Tunes has long magically combined silliness with seriousness. This film (along with the human characters) play it straight, which ensures the comedy lands perfectly. Warner Bros had previously shelved the project (for tax purposes) prior to finding the new distributor. Even the politics and finances of Hollywood couldn’t stop this crew. The legacy of these iconic cartoon characters remains intact, and Looney Tunes fans will surely be satisfied. Meep Meep.

In theaters beginning August 28, 2026

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Posted by David Ferguson

THE MAGIC FARAWAY TREE (2026)

August 21, 2026

Greetings again from the darkness. Director Ben Gregor may have delivered the rarest of films in this day and age … one filled with adventure, goodness, and life lessons … and one the entire family can watch and enjoy together. Simon Farnaby (PADDINGTON 2, 2017) adapted the screenplay from Enid Blyton’s series of four books published between 1939 and 1951. Ms. Blyton passed away in 1968, yet she remains one of the best-selling authors of children’s books.

Tim (Andrew Garfield) and Polly (Claire Foy, “The Crown”) are a married couple with three kids. Polly comes home in a stupor one evening, confessing to Tim that she quit her job due to a principle that meant a great deal to her. Since she’s the breadwinner of the family, and their car and apartment were tied to the job, they find themselves instantaneously broke and homeless. Their plan is tied to a ‘Dream Binder’ put together many years ago, and off they go to live in a rustic barn landlorded by marble-mouthed Brian (the film’s writer Simon Farnaby) and Bella (Farnaby’s real life wife Claire Keelan). Rustic is a bit of an understatement as the place is a mess and has no electricity.

Youngest daughter Fran (Billie Gadsdon, HERE, 2024) doesn’t speak much, while Joe (Phoenix Laroche) is having video game withdrawals. Beth (Delilah Bennett-Cardy) is the angry teen who wants nothing to do with a place lacking WIFI and friends. Daddy Tim is the dreamer, while Mama Polly is the practical one. Together they plan to grow tomatoes and market Tim’s delicious tomato sauce recipe. Meanwhile, Fran discovers the titular magic tree which leads to an enchanted land of colorful characters, including the charming and delightful Fairy Silky (Nicola Coughlan, “Bridgerton”) and the skeptical Moonface (Nonso Anozie, “Sweet Tooth”). Things escalate once Fran’s siblings join in the magic. Trips to Land of Goodies (“Don’t be greedy”) and Land of Birthdays (cold due to icing) also involve an angry Pixie, Saucepan Man, Mr. Wazisname, and Dame Washalot. The kids find out it’s not all rainbows and unicorns when they cross paths with the vicious Dame Snap (Rebecca Ferguson).

Polly’s ultra-wealthy and snobbish mother (screen veteran Jennifer Saunders) can’t comprehend this new lifestyle and looks forward to telling them, “I told you so.” Of course, this is a throwback fairy tale, so we are fairly certain she won’t get the chance. The closest comparisons to the film would be along the lines of THE CHRONICLES OF NARNIA (2005), THE ADVENTURES OF BARON MUNCHAUSEN (1988), and most any Monty Python feature. This particular family adventure leads to some wonderful life lessons and yes, brings the family closer together. The books from Enid Blyton are from another era, but the film has a contemporary feel as it reminds us that somewhere along the line, we lose the magic we had as kids … well, all except Tim, who has held on tightly.

Opens nationwide in theaters on August 21, 2026

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Posted by David Ferguson

SUPERGIRL (2026)

June 26, 2026

Greetings again from the darkness. Craig Gillespie previously directed I, TONYA (2017) and LARS AND THE REAL GIRL (2007), among other projects, and it’s perhaps those two films – both featuring odd outsiders – that motivated producer James Gunn to choose him to helm the feature film that brings DC’s Supergirl back to the big screen. The screenplay is by Ana Nogueira, and of course features characters originated by Jerry Siegel and Joel Shuster, with the key source material being the comic, “Supergirl: Woman of Tomorrow”.

Seeing as I’m neither a comic book fanatic nor a fan of the 1984 SUPERGIRL film starring Helen Slater (with the exception of Brenda Vaccaro’s performance), it’s safe to say I carried no heightened expectations into the theater. On the bright side, it’s quite entertaining to see Milly Alcock (“Sirens”, “House of the Dragon”) play Kara Zor-El as a not-so-Super girl trying to numb the pain of the tragedy that took her parents and home planet, Krypton. We see her younger days via periodic flashbacks with David Krumholtz and Emily Beecham as her parents. We also learn why they shipped her and her pet dog Krypto off to Earth to meet her cousin, Superman (David Corenswet) aka Clark Kent. He, of course, was raised in Kansas, creating the contrast between the two characters.

The one bit of advice mom gave Kara was to “be nice” and help others. That’s not so easy to do whilst on an intergalactic mind-numbing bender, but Kara continually rises to the occasion. The different effects of red sun and yellow sun become quite obvious, and it’s crossing paths with Ruthye (Eve Ridley) that drives the key story lines. An actor I’ve always admired, Matthias Schoenaerts, plays the face-studded vile villain Krem – the vicious dude who slaughtered Ruthye’s family, setting her off on a revenge mission, armed only with a prized sword handcrafted by her slain father. As savage as Krem is, we all recognize that a standout villain is vital to a standout superhero movie, and Krem simply falls short. On this interplanetary road trip, Kara and Ruthye encounter a slew of aliens who all look like castoffs from the Star Wars casino … but also with Lobo, an immortal intergalactic bounty hunter and stogie smoking hog rider. Lobo is played by Jason Mamoa, and the character seems forcibly wedged into the story for the sole purpose of having Mr. Mamoa on a poster. He makes an excellent bad boy, even if he doesn’t really fit here.

Krypto the superdog plays near-dead for most of the film, but does have some excitable moments … creating an excellent ‘pink eye’ joke. Some may compare this to CAPTAIN MARVEL (2019) or the most recent SUPERMAN (2025), but the messy CGI fight scenes and weak story prevent this one from reaching those levels. Milly Alcock’s take on Supergirl gets too few chances to play against Corenswet’s Superman, and the film suffers because of it. Composer Claudia Sarne (THE BOOK OF ELI, 2010) delivers a fitting electronic score, but the needle drops seem to be trying too hard. It’s likely huge comic book fans will have a different take on the film, and that’s as it should be.

In theaters beginning June 26, 2026

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Posted by David Ferguson

TOY STORY 5 (2026)

June 16, 2026

Greetings again from the darkness. It’s been thirty-one years since I sat stunned in the movie theater after being first introduced to Woody, Buzz, and the entire gang of Pixar toys. It was the year BRAVEHEART won five Oscars and TOY STORY, which marked a shift in filmmaking, won none. That was Pixar’s first feature film and since there was no Animated Feature Film category at the time, the Academy didn’t really know what to do with it. Fortunately, John Lasseter (since fired) and Andrew Stanton certainly knew what to do, as this is the fifth film of the franchise, and they’ve managed to create cinematic magic with each one.

We’ve established that I’m a raving fan for the franchise. Yet with each entry, I still go in concerned that this will be the first dud. I’m relieved and happy to report that the fifth film is funny, colorful, filled with great characters, and maintains the emotional charge we’ve come to expect. Pixar’s Andrew Stanton has been involved with each of the TS films and he’s joined this time by co-director and co-writer McKenna Harris (her first feature). They have managed to uphold tradition, while making the film entirely contemporary and introducing the beloved characters to a new generation (it’s been seven years since TOY STORY 4).

The familiar characters are back, which means most of the familiar voices are as well: Tom Hanks as Woody, Tim Allen as Buzz Lightyear, Joan Cusack as Jessie, Wallace Shawn as Rex, Annie Potts as Bo Peep, Tony Hale as Forky, and Keanu Reeves as Duke Caboon. New to the scene are Scarlett Spears as Bonnie (she’s the third to voice the character), and of course, with the passing of Don Rickles, Estelle Harris, and Jim Varney, there have been new voices for Mr and Mrs Potato Head and Slinky Dog. And yes, Pixar’s good luck charm John Ratzenberger returns as Hamm. Among the others making their first Toy Story credits are the voices of global sensation Bad Bunny as ‘Pizza with sunglasses’, Greta Lee as Lilypad the smart tablet, Conan O’Brien as a ‘specialized’ device, and Mykal-Michelle Harris as Blaze.

This is definitely a female-centric story as Jessie takes the lead role. Woody and Buzz are featured prominently, but Jessie is the one focused on ensuring young Bonnie makes friends. The emphasis on technology is one all parents will recognize. Kids don’t “play” the way they once did, and the story emphasizes how that adds complexity to not just making friends, but also in defining what friendship actually is in this modern world. Smart devices, screens, and tablets have pushed toys to the background – or the garage, or even worse. It’s heartwarming, and sometimes nerve-wracking, watching Jessie and this crew of toys do what they can to help kids hold onto childhood as long as possible.

There are some subplots included regarding Buzz and Jessie, Jessie’s background with previous kids, and the ongoing challenges faced by parents. The animation is as stunning as you’d expect, and Randy Newman returned to compose the film’s score. By now it’s no secret that Taylor Swift, with a writing boost from Jack Antonoff, performs her new song, “I Knew it, I Knew You”, over the closing credits (and stay for the stingers).

DISNEY & PIXAR’S TOY STORY 5 releases exclusively in theaters June 19, 2026. Run time: 1hr 42min

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Posted by David Ferguson

DISCLOSURE DAY (2026)

June 9, 2026

Greetings again from the darkness. Three-time Oscar winner Steven Spielberg readily admits to a lifelong fascination with life beyond Earth. Two of his most iconic films (plus a couple of others) dealt with just that topic: CLOSE ENCOUNTERS OF THE THIRD KIND (1977) and ET: THE EXTRATERRESTRIAL (1982). Now, more than forty years later, he uses 79 years of collective data to question how humanity would react to full ‘disclosure’ of alien activity. What’s interesting is that Spielberg and co-writer David Koepp present the story as a high-octane action-thriller of conspiracy rather than in a traditional science fiction format.

The film’s opening catches us off-guard. Why are we watching close-ups of sweaty body slams during a WWE match? It turns out Dr. Daniel Kellner (Josh O’Connor) is in the crowd as a rendezvous point to exchange his backpack for his captured girlfriend, Jane (Eve Hewson). Oscar winner Colin Firth plays Noah Scanlon, the leader of WARDEX, a private company that has worked closely with the government and military to safeguard the most confidential information on interactions with interplanetary life. Kellner, an IT and math whiz, stole the data and then bolted from his desk at WARDEX. He now finds himself in a predicament that would have likely gone much worse if not for the powerful tool/weapon/device of interstellar origin he uses to safely escape Scanlon’s henchman – taking Jane and the data along with him.

The Kellner – Jane side of the story turns into a chase movie, and in the meantime, we learn surprising and quite disparate details of each of their backgrounds. The ‘other side’ of the story involves Kansas City TV meteorologist Margaret Fairchild (Emily Blunt) and her musician boyfriend Jackson (Wyatt Russell). One morning a cardinal (bird, not ballplayer) lands on their kitchen table and proceeds to have a staring contest with Margaret prior to again taking flight. Not only does this encounter leave Margaret with a very particular set of skills, but it also sends her on the road to track down Kellner. It’s a connection and reason she can’t explain to average guy Jackson, who does his best to support a girlfriend he’s convinced is going bonkers (hey, we’ve all been there).

Once Kellner and Margaret meet up, yet another chase sequence occurs and this one is even bigger, noisier, and more high-powered than the others (not one, but two speeding trains!). Their movements are directed by the calm, smooth-talking leadership of Hugo Wakefield (Colman Domingo), who is masterminding the whole mission of public disclosure. There is a lot going with the various stories, and Spielberg and Koepp are asking the audience to keep up … even while a potential World War III brews in the background. The film is set up to elicit discussion around numerous topics such as religion, politics, technology, corporate greed, and especially empathy (a topic that too often seems lacking these days).

Despite keeping us (and the characters) on the run for most of the film, Spielberg and Koepp wrap things up at the end, allowing viewers to determine if they believe the right steps were taken. Two frequent collaborators stand out here: cinematographer Janusz Kaminski (with a constantly-moving camera) and composer John Williams. Ninety-four-year-old Mr. Williams, a five-time Oscar winner, came out of retirement for the job on his 30th Spielberg film and proves yet again why he’s an all-time great. As with most of Spielberg’s films, the ensemble cast is strong. O’Connor’s Kellner is easy for us to relate to. Firth’s villainous corporate head is especially effective when he’s doing the mind-control thing, while Domingo contrasts perfectly. Ms. Hewson shows again why she’s one of the more underrated actors working today, and though Wyatt Russell might be a bit miscast as Blunt’s beau, he always makes it fun. The true star here is Emily Blunt. She’s had many standout scenes in her career, yet it’s this role that comes across as an actor who was all in. She is outstanding.

Of course, a Spielberg film wouldn’t be complete without discussing the legend himself. His love of cinema is so obvious here, and his complete understanding of how to grab an audience and leave them fully entertained has never been better. There may be segments that don’t hit as hard as others, and at times the story line seems a bit forced, but the ride is wild and enjoyable and sure to please many movie goers. As for alien life, Mulder told us, ‘The truth is out there’. But then a certain colonel once said, “You can’t handle the truth!” Perhaps it’s best if we just … “listen.”

Opens in theaters on June 12, 2026

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Posted by David Ferguson

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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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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2 Comments | Animation, Fantasy, World Cinema/Foreign | Tagged: , , , , , , , | Permalink
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

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