DRIVER’S ED (2026)

May 15, 2026

Greetings again from the darkness. The Farrelly Brothers (Bobby and Peter) were the creative force behind such comedy classics as DUMB AND DUMBER (1994), THERE’S SOMETHING ABOUT MARY (1998), and one of my personal favorites, OUTSIDE PROVIDENCE (1999). At some point, the brothers decided to split up and work on their own projects. Peter won a couple of Oscars for GREEN BOOK (2018), and now Bobby, working from a screenplay by Thomas Moffett (AN ACTOR PREPARES, 2018), delivers one more in line with the brothers’ early works.

Sam Nivola (“The White Lotus”, and son of actors Alessandro Nivola and Emily Mortimer) stars as Jeremy, a high school senior – lovesick and concerned since his girlfriend Samantha (Lilah Pate, MONSTER SUMMER, 2024) headed off to college a year ahead of him. In a setup that would have been unimaginable back in my day, Jeremy and three other seniors are taking part in a Driver’s Ed class. Aparna (Mohana Krishnan, “I Am Frankie”) is the class valedictorian, Yoshi (Aidan Laprete, SWIPED, 2025) is the school’s drug dealer, and Evie (newcomer Sophie Telegadis) seems to have a growing attraction to Jeremy.

Their substitute driving instructor is Mr. Rivers (Kumail Nanjani, THE BIG SICK, 2017), who is battling not one, but two broken arms … neither of which slow down his one-liners or his lackadaisical approach to the assignment. A certain spontaneous decision finds the drivers-in-training on a road trip for romance, sans instructor, to reunite Jeremy and Samantha. This also sends Principal Fisher (Molly Shannon) into a frenzy and campus security guard, Officer Walsh (Tim Baltz, “The Righteous Gemstones”) on their trail.

This teenage road trip has some comical moments, and getting to know each of the participants is the film’s strength. The actors each have an opportunity to shine, and as we would expect with students this age, there are moments that find us rolling our eyes and others that leave us impressed with the emotional depth shown. This is a film that features such highlights as reading a sext out loud in class, introducing us to teen phone separation anxiety, educating us that far too many students are prescribed anti-depressants and mood drugs, and what a frat party looks like these days (not much has changed evidently). There is also a three-legged cat, a Vintage Furs van, a hillbilly bandit, and a hot Good Samaritan (Marley Aliah) who appeals to a couple of the renegade students.

While most of the time is spent on a misguided romantic road trip to save a relationship, it evolves into a journey of self-discovery, as most things do at that age. It’s quite fun to watch this group of fairly young actors do their thing and outperform the adults, and the best line in the film is an odd one: “Most 8th graders don’t generally read obituaries”.

In theaters and On Demand beginning May 15, 2026

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Posted by David Ferguson

THE WIZARD OF THE KREMLIN (2026)

May 15, 2026

Greetings again from the darkness. Stories on geopolitics are almost always interesting, and this latest from writer-director Olivier Assayas (CARLOS, 2010) and co-writer Emmanuel Carrere is also quite timely, given the current state of international events. The film is based on the 2022 fictionalized novel by Giuliano da Empoli, and it’s inspired by the life of Vladimir Putin’s former Deputy Chief, Vladislov Surkov … named here as Vadim Baranov.

Paul Dano (THERE WILL BE BLOOD, 2007) stars as Baranov, initially as a young man working as an avant-garde filmmaker. As a framing device for the film, Assayas uses American writer Rowland (Jeffrey Wright) interviewing Baranov for a biography, a couple of years after he stepped away from his duties. As Baranov recalls the past, we see it unfold on the screen. This includes the rise of a certain ex-KGB agent named Vladimir Vladimiriovich Putin (played by familiar Brit Jude Law). We watch as the more friendly Russian ways under Gorbachev and Yeltsin are re-structured to fit Putin’s power-hungry ideals. Baranov is the behind-the-scenes guy who arranges much of what occurs.

As often happens in real life, we see some characters come and go. Former Russian Oligarch Boris Berezovsky (Will Keen, VICTOR FRANKENSTEIN, 2015) has an interesting story that ends in exile, while Dmitri Sidorov (Tom Sturridge) and Ksenia (Oscar winner Alicia Vikander) also cross paths with Baranov … the latter ultimately becoming his wife and the mother of his child. While some of Baranov’s personal life creeps in, this is predominantly a story about power, politics, and getting things done. Gorbachev’s ‘glass of milk’ and the segment on Boris Yeltsin’s decline add flavor to Putin’s shift. We are told that he has changed Russia back to “a prison the size of a country.”

One of the interesting things about this presentation is how low-key the movie is – especially the demeanor of Baranov, who we presume carried out many orders that were certainly not low-key or laid back. This tone actually adds to the frightening nature of political power on display. It’s stated in the movie that Russia has “always been forged with an axe”, although the film would have us believe much of it was surgical. For those who are interested in geopolitics, the film will hold appeal, and you’ll likely agree that the material might have been best served as one of the 3-4 episode miniseries which are all the rage these days.

 Opening in theaters on May 15, 2026

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Posted by David Ferguson

REMARKABLY BRIGHT CREATURES (2026)

May 7, 2026

Greetings again from the darkness. You likely know that an octopus has eight limbs (the name is a giveaway). Did you also know they have nine brains and three hearts? Anything else you need to know about the species, at least for this movie, will be explained by Marcellus (voiced by Albert Molina), the main attraction at the aquarium where much of this story takes place. Most every book club had the 2022 best-selling debut novel from Shelby Van Pelt on its agenda, and now writer-director Olivia Newman (WHERE THE CRAWDADS SING, 2022) and co-writer John Whittington have adapted it for the big screen.

Two-time Oscar winner Sally Field (yes, we still like her) stars as Tova, the aging cleaning lady at the Aquarium where Marcellus lives. In addition to her obsessive cleaning rituals, Tova spends quite a bit of time talking about her life to Marcellus through the glass. Thanks to Mr. Molina’s narration, we hear how the oft-grumpy Marcellus reacts to each new personal disclosure. Circumstances are such that Cameron (Lewis Pullman, Bill’s son) is stuck in town and takes Tova’s job after she is injured. It’s at this point where we figure out we have a three-character tale of life’s bumpy trail.

Tova and Cameron are carrying grief from personal losses, while each is juggling decisions about where the next step in life should take them. Tova must decide soon on an open spot at a nearby retirement home, while Cameron’s dream of being a rock star is on hold while he searches for the rich dad he’s never met … the one who deserted Cameron’s mother while she was pregnant. Marcellus knows he is approaching the end and he only wishes to return to the peaceful sea. He has the best line from the film, “Oh how I miss the quiet.”

We watch, often through Marcellus’ perspective, as Tova and Cameron learn to coexist. She mentors the man-child on doing things the ‘right’ way, and they both deal with town locals. Tova’s group of friends known as the “Knit-wits” (Joan Chen, Kathy Baker, Beth Grant) try to be supportive, but seem a tad out of touch with her true feelings. Cameron is attracted to local paddle board store owner Avery (Sofia Black D’Elia, “Your Honor”) – at least until his immaturity rears up yet again. All of this runs through Ethan (the always great Colm Meaney), the town’s eyes and ears … other than Marcellus, of course.

This is an easy-to-watch heartwarming story of redemption and salvation, and a reminder of how others impact us, and we impact others. Marcellus is surely the most opinionated and judgmental octopus we’ve been exposed to. He’s also not totally honest with himself as he describes humans as “a dull species”, while also trying to help those he’s become fond of. Shared loneliness and grief can be somewhat muted via the healing power of connection, and there is a certain satisfaction in watching that come to pass.

Begins streaming on Netflix on May 8, 2026

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BLUE HERON (2026)

May 7, 2026

Greetings again from the darkness. The first feature film from writer-director Sophy Romvari has been well received on the festival circuit, and it’s easy to see why so many have been drawn in by this Canadian- Hungarian production. It’s a deeply personal film with autobiographical elements from the filmmaker. The best family dramas often deliver a gut-punch, and this one certainly does … yet it’s the storytelling structure that provides hope for future gems like this.

It’s the 1990’s and a family is moving into a new place on Vancouver Island. Mom and Dad (Inringo Reti, Adam Tompa) have three sons and a daughter. Eight-year-old Sasha (Eylul Guven) is the youngest and we view the story and the family through her eyes. Even this opening sequence dishes out an ominous feeling, yet there are no specifics that cause this. Soon, Sasha is paying particular attention to oldest brother Jeremy (Edik Beddoes), whose physical appearance offers a clue … although it’s his increasingly worrisome behavior that mark him as a troubled teen and one that the parents must be concerned about. This ‘ordinary’ family becomes not so ordinary.

Being the parent of a troubled teen is a no-win situation, just as being that troubled/confused kid is tough to navigate. Dad spends a great deal of time with a camcorder, while mom carries the emotional blame. None of them can make sense of their situation, and the parents want to protect their other kids while also being supportive of Jeremy. In addition to young Sasha being our eyes, filmmaker Romvari uses a creative device to generate brilliant storytelling. We watch as a grown Sasha (Amy Zimmer) conducts a case study on the family of her childhood. This works exceptionally well for making this story extremely personal through creative filmmaking.

Other than an initial voiceover, the past is presented as the present, and we become so engrossed that the second half feels more like the future than a look back at the past. Much of this deals with memories – often quick clips of past moments where the full story is beyond recollection. The closest comparison for this film is Lynne Ramsay’s terrific WE NEED TO TALK ABOUT KEVIN (2011), yet Sophy Romvari uses her own life experiences to grab and hold our attention. Mental illness is more openly addressed these days, and this talented filmmaker pulls back the curtain on the effects it can have on a family.

Opened April 17, 2026 in NYC and April 24 in Los Angeles, and will expand nationwide in May.

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Posted by David Ferguson

MISPER (2026)

April 24, 2026

Greetings again from the darkness. Thoreau famously wrote, “The mass of men live lives of quiet desperation.” That quote may overstate the being of the staff at The Grand, a 100-year-old hotel that once provided service for royalty, but now the seaside inn is crumbling at the seams and desperate for guests. The feature film directorial debut from writer-director Harry Sherriff and co-written by Laurence Tratalos is quite a pleasant surprise.

Leonard (Samuel Blenkin, “Black Mirror”) is the young man who covers the front desk and makes the rounds. He has a bit of a Bud Cort vibe to him … friendly enough, yet just a bit off. Leonard spends each morning gazing out the window as Elle (Emily Carey, young Diane in WONDER WOMAN, 2017) strolls from the bus stop to her station in the hotel’s restaurant. Elle is bright-eyed and cheerful, and shy Leonard has a quiet crush that he can’t bring himself to admit. In fact, Elle is a favorite of the guests and the staff.

Gary (Daniel Ryan, “The Bay”) is the hotel’s manager and he’s constantly worried about the hotel’s poor reviews and limited guests. He fears for the future – both his and the hotel’s. One morning, Elle doesn’t show for her shift. Gary assumes she has quit, while Leonard fears for the worst. Tragically, Leonard is correct, and the film’s tone shifts from the daily mundane life of the staff to the ongoing grief and guilt and confusion. Leonard is hit especially hard as his friend – and the one beacon of light in his life – is missing.

It’s fascinating to watch each of the staff have their moment. Pam (Christine Bottomley, “Domina”) replays her drive home and wonders if she could have helped. Maintenance man Khalid (Sunil Patel) and housekeeper Vivian (Rosalind Adler) also miss Elle’s smiling face. Leonard even pays an awkward visit to Elle’s father (Oliver Ryan) as an attempt to make sense of what’s happened. What makes the film unique is the dashes of humor blended with grief and regret. Cinematographer Bart Bazaz works wonders with the characters and the setting in the old building. It’s a terrific little film that explores grief in a different way, and reminds us to treasure those who bring light and hope into our lives.

Screening at the Dallas International Film Festival on April 24 and April 26, 2026

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Posted by David Ferguson

I SWEAR (2026)

April 23, 2026

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

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Posted by David Ferguson

OMAHA (2026)

April 23, 2026

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.

John Magaro (SEPTEMBER 5, 2024; PAST LIVES, 2023; FIRST COW, 2019) continues racking up his list of strong performances. It’s very early morning (in 2008) when he wakes up his two young kids and loads them, along with the family dog, in the car. Nine-year-old Ella (a shockingly good performance from Molly Belle Wright) and six-year-old Charlie (Wyatt Solis) aren’t told where the trip will lead, but as viewers, that familiar feeling of dread hits the minute dad speaks with the Sheriff, and we understand the family has been evicted. It doesn’t take long for us to figure out dad is not only grieving the loss of his wife (the mother of the kids), but he is also dealing with severe poverty. This combination explains the desperation he works so hard to hide from the kids.

Lest you think this is one big show of misery, you should know that some fun is mixed in on the road trip … a bag of candy here, flying a kite on the Salt Flats there. This father and these kids adore each other, and it’s the remarkably insightful Ella who continually pushes dad for a reason and destination of the trip. In fact, we see most of this story from Ella’s perspective, making things all the more emotional at times. Those distinctly expressive eyes of Magaro allow him to convey so much, despite saying so little. Talia Balsam (“Mad Men”) has a crucial role near the end of the film, yet by then, we are so invested in dad, Ella, and Charlie, that it’s difficult to accept another.

Over the closing credits, director Webley explains the Safe Haven Law and how it applies to the titular city … and how it has since been amended.

Opens in theaters on April 24, 2026

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Posted by David Ferguson

KANGAROO ISLAND (2026, Australia)

April 23, 2026

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.

Rebecca Breeds (“Pretty Little Liars”) delivers a terrific performance as Lou, in this smart drama filmed in Australia. Of course, after a drinking spree in the airport lounge, Lou ends up on the flight and the reunion with her family is every bit as awkward as she imagined. Lou had some early success as a TV actor, but her career has hit a rough patch. Lou and her sister Freya (Adelaide Clemens, “Justified: City Primeval”) have what could be termed a strained relationship … due to the fact that Freya married Lou’s ex-boyfriend, surfer/astronomer Ben (Joel Jackson). The sisters’ dad (Erik Thomson) has beckoned her to return home so that he can deliver significant news.

It’s actually a bit of guilty fun watching Lou and Ben dodge the past, while Freya tries to convince Lou that God is the path to a better life. Flashbacks to ten years prior – before Lou left Australia to pursue stardom. We see the early days of Lou, Ben, and Freya … along with mention of another tragedy. This flashback allows us to join in the uncomfortable moments these three share in modern times. In fact, family dynamics are such that we realize stress has been an ongoing element for these folks, right along with dishonesty and lack of transparency. The transfer of the family home and talk of euthanasia create even more strife … almost to the breaking point for some.

What we learn is that frayed bonds do not necessarily mean broken bonds. Can the family come together … or at least be honest with each other? This drama is well done and handled exceptionally by the cast, especially Rebecca Breeds (whom I was not familiar with). The scenery of this island in Australia is often breathtaking, and the running ‘lost luggage’ gag is one for the ages.

Opening in theaters on April 24, 2026

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Posted by David Ferguson

TWO WOMEN (2026)

April 23, 2026

Greetings again from the darkness. Relationships require communication, diligence, and a bit of luck. Director Chloe Robichaud (SARAH PREFERS TO RUN, 2016) is working from a script from playwright Catherine Leger to deliver a remake of the 1970 French sex comedy, DEUX FEMMES EN OR from Claude Fournier. Finding humor in strained or crumbling relationships is never easy – especially when medication or a newborn is involved.

Florence (Karine Gonthier-Hyndman) and Violette (Laurence Leboeuf) are neighbors in the same condominium complex in Montreal. Robichaud first shoots them from a distance – staring out their respective windows (separated only by the shared wall of their flats) at a world from which they each feel detached. Florence is not working and is on anti-depressants, while Violette has a new baby and feels a bit trapped and limited. One morning Violette invites Florence for a coffee, but mostly to confront her about the “crow” sounds seeping through that shared wall. Florence assures her that she and her partner David (Mani Soleymanlou) haven’t had sex in years. This confession finds common ground with the women as Violette’s husband Benoit (Felix Moati) is too-often on business trips that end up with a shared hotel room with Eli (Juliette Gariepy).

This sets off sex romps for both ladies. Florence stops taking her meds and Violette finds a daycare for her kid. Service providers reap the benefits as the two women re-awaken their sexual appetites. The cable guy, plumber, pest control provider, delivery guy, and window cleaner all expand their services so that the women can bust out of their respective ruts. In between these escapades, some awkward condo association meetings are held over minutiae – acting as a bit of contrast to the bouts of pleasure the women experience during the days.

Of course, there are no free lunches, and relationships tend to suffer when commitments falter. Although, humor is written in to the excellent escript, it’s really never funny to watch couples destroy their bond. There really is no way to “have it all.” One interesting note is that at least two actors, Louise Turcot and Donald Pilon appear in this film as well as the 1970 original. The final shot is a good one, and it’s quite likely the unconventional ending won’t please all viewers.

Opening in NYC on April 24, 2026 and additional theaters in May.

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Posted by David Ferguson

JUST SING (2026, doc)

April 23, 2026

Greetings again from the darkness. The popularity and staying power of Karaoke shows just how much we enjoy singing. Even for those with crippling stage fright, singing in the shower can provide a bit of joy. But what about those with real talent? There is only so much room for the Adeles and Ed Sheerans of the world. Co-directors Angelique Molina and Abraham Troen take us inside the world of collegiate a cappella (singing without instrumentation). Now, you are likely to immediately think of either church choir, barbershop quartets, or Pentatonix … all fine singing choices, yet all a bit different than what the film documents.

The film follows the USC (University of Southern California) VoCals as they pursue a record sixth team win at the International Championship of Collegiate A Cappella. The ICCA has 12,000 competitors, but only one winner which is determined by judges in New York City. Of course, to reach the finals, a team must earn the right through hard work, creativity, talent, and by winning regional events.

Listening to the participants, a common theme emerges. They each felt like outsiders until they became part of the a cappella team. In their words, they found “my people”. Blending talent into beautiful art requires a lot of work … plus fundraising. We learn that the PITCH PERFECT movies and the “Glee” TV series helped make singing cool. Perhaps most importantly, the a cappella group provided a direction or a path for these outsiders. We do learn the importance of arrangements and soloists for competition, but all of this seems more about community and belonging and sharing the journey … although the reaction to NYC finals is quite telling.

Abramorama will release the film in New York City and Los Angeles on April 24th, followed by a North American theatrical rollout.

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Posted by David Ferguson

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