DEEPFAKING SAM ALTMAN (2026, doc)

January 15, 2026

Greetings again from the darkness. As far as non-political topics go, none are hotter than Artificial Intelligence (AI). What is the potential? What are the risks? Will it be used for good or evil? Who will control its use? Who am I kidding … AI is very much a political topic, and all of these questions have political and social implications. Award-winning documentarian Adam Bhala Lough has the same questions and concerns that we all do, and he decides to seek answers from the face of and driving force behind AI: Sam Altman, the founder of AI research organization OpenAI, which developed the chatbot, ChatGPT.

We watch his attempts to secure an interview with Altman through an endless stream of emails and voicemails – all with no response. In a somewhat comical bit, we see what are clearly OpenAI employees pleading ignorance to the whereabouts of the OpenAI building. For tech geeks, it’s the holy grail job and none are going to risk losing it by breaking an NDA. Upon realizing that the interview isn’t going to happen, Lough shifts into artist mode and decides to use AI to create SamBot … an imagined version of Sam Altman utilizing ChatGPT to answer Lough’s questions. This idea sends Lough to India for casting and a partnership with an AI developer.

It’s actually quite fascinating to watch this entire process come together, and of course, ethical and legal questions abound. The final interview with SamBot is obviously fake, yet Lough’s team of attorneys mull the legalities of marketing this. It’s no surprise that the legal risks are not the most entertaining piece of this puzzle. Instead, we watch SamBot (voiced by ChatGPT) actually manipulate Lough through the interview. Now, THAT is simultaneously entertaining and frightening, and speaks to the core issues with AI. Early on, Lough wonders if his young kids might someday have more AI friends than human ones, and this simple exercise shows just how possible that scenario is. Technology is your friend … right up until it isn’t.

Opens January 16 at the QUAD Cinema in New York City
January 30 at the Laemmle NoHo Theater in Los Angeles

Followed by a Nationwide Theatrical Roll Out

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Posted by David Ferguson

SHUFFLE (2026, doc)

January 15, 2026

Greetings again from the darkness. I really try to be a good citizen. I watch and read the news daily – even when it’s painful. I keep up with cultural and societal shifts. Despite my best efforts, every now and then something comes along that stuns me … catching me off guard to the point that I simply never suspected what’s really happening. My latest eye-opener comes courtesy of documentarian Benjamin Flaherty, who utilizes his own experiences (finally getting sober at age 41) to wake us up to the corruption that feeds the profitability of addiction centers (a billion-dollar industry).

South Florida is the rehab capital (another thing I didn’t know), and by the time Flaherty is finished telling the story, we can’t help but describe the rehab process as one big conspiracy of corruption and profit and deceit. The process is explained so completely, and he provides real life situations (focusing on three addicts), so we can’t feel anything but anger at those that profit and sadness for those caught in the loop. Insurance fraud has been a hot topic for a while, and the film serves up multiple examples (and proof) of just how some of these treatment facilities work the system – stooping to kickbacks for the ‘brokers’ who keep the addicts on the treadmill so that they qualify for treatment through insurance programs.

While we usually think of organized crime in terms of “The Sopranos” or Scorsese’s CASINO, the description absolutely fits what we witness here. One of those interviewed by Flaherty admits she’s been in 36 treatment centers (each covered by insurance). We hear that detox centers become like second homes. This is truly an example of the value expertly crafted documentaries can provide – information on topics we might not have access to. Flaherty’s message is impossible to miss: Wealth, not Health.

Opening at DCTV Firehouse Cinema in New York

January 16, 2026

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Posted by David Ferguson

SHEEPDOG (2025)

January 15, 2026

Greetings again from the darkness. We expect movies to entertain us, and the really good ones also carry a message or educate us on some important topic. This film from writer-director Steven Grayhm opens our eyes to the difficulties military veterans face when they return from war. Of course, numerous other films have taken on PTSD, and filmmaker Grayhm is sensitive to this history as he portrays the emotional, physical, and societal challenges that must be dealt with.

Grayhm undertook years of research with veterans and much of what we see here was derived directly from those personal discussions. The film opens with an elderly man in a parole hearing. We learn Whitney St. Germain (the always great Vondie Curtis-Hall) is a veteran and has served 30 years of a life sentence at Leavenworth.  As he’s paroled, we skip to the final day at a paper mill in Massachusetts. Another veteran, Calvin Cole (Mr. Grayhm is also the lead actor) is one of those put out of work – or as Calvin calls it, “between gigs” by the closing of the mill.

It takes a while for these two men to cross paths. By the time they do, Calvin (thanks to drugs and booze) has been charged with assault and forced to participate in a VA program run by Dr. Elecia Knox (Virginia Madsen). An awkward exchange leads Whitney (also known as “Gunny”) to learn Calvin is the ex-husband of his daughter, Alice (Lilli Cooper). The two men share something else – Lilli wants nothing to do with either of them, which becomes the start of a bond … along with the fact they are both veterans, albeit from different eras.

His career as a dependable supporting actor has provided the chance to see Curtis-Hall in this substantial role. His level-headedness and desire to re-connect with his daughter lead him to be supportive of Calvin, who really goes through some emotional stuff thanks to the VA program. Basically, the idea is to tear down the man and rebuild him so that he can control the violent urges and contribute to family and society. Calvin is also helped by his friend and old hockey coach, Clarence (Dominic Fumusa), while Calvin himself does what he can to support his friend Darryl (Matt Dallas), yet another struggling vet.

Some of the banter from these men is so realistic that we assume filmmaker Grayhm used his research specifically. Gunny talks about being unappreciated on his return from Vietnam, while Calvin’s multiple brain injuries are little more than entries in the VA file. It would be nice if the film’s message would inspire some families and friends to reconnect with struggling veterans – those whose ‘normal’ doesn’t feel normal. Providing hope means a great deal.

Opens in limited theaters on December 17, 2025 and then wide on January 16, 2026

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Posted by David Ferguson

MY NEIGHBOR ADOLF (2025)

January 12, 2026

Greetings again from the darkness. We can pick our friends, but not our family or neighbors. However, we can (and do) speculate on and judge our neighbors – and that’s what occurs in this smart little film from writer-director Leon Prudovsky and co-writer Dmitri Malinsky. The premise of the film may initially seem absurd to some, but the final version is touching and quite entertaining.

A short prologue takes us to 1934 in Eastern Europe where a large Jewish family is enjoying their time together and posing for a family portrait. We then flash forward to 1960 South America. It’s after the war, and Polsky (screen vet David Hayman) is living a life of solitude in a dilapidated countryside home. Polsky still grieves for his many losses, while wearing the mark of a Holocaust survivor. He’s a grumpy man who shares pleasantries with neither the friendly postal carrier nor the inquisitive lady inquiring about the empty house next door … a house he would much prefer remain vacant. Polsky spends his days tending the black rose bush, which is his bond to happier times, especially those with his wife.

The previously mentioned inquisitive lady turns out to be Frau Kaltenbrunner (Olivia Sibush), charged with finding a home for the mysterious Mr. Herzog (Udo Kier), a process that means Polsky now has a neighbor – one whose German Shepard named Wolfie breaks through the fence and damages the beloved rose bush. The two men barely acknowledge each other, except for a property line negotiation. Polsky catches a glimpse of Herzog’s eyes without the sunglasses and immediately pegs him as Hitler. Heavy duty research follows as Polsky displays an urgency missing from his life for many years.

Remarkably, the premise is bizarre, yet rather than be the main thrust, it merely leads to the crux of the story. Of course, we understand why Polsky might not believe the media reports of Hitler’s bunker suicide, but he’s taken aback by how investigators show little interest in his evidence, and are more concerned about his own mental health. Almost accidentally, the two men slowly begin relaxing their defenses towards the other. A chess board thaws the ice, as does the slow-to-come conversation. What we soon see are two men, burdened by the past, finally opening themselves up to living again.

An odd twist is handled beautifully by the actors. A few bits of note to go with this one. Frau Kaltenbrunner’s last name is (probably not) coincidentally the same as that of Ernst Kaltenbrunner, former Director of Reich Security, and a convicted Nazi criminal. Our two lead actors, David Hayman and Udo Kier have had excellent careers dating back to the mid-60’s. Kier has long been a personal favorite, and he recently passed in November 2025. He also has a role in THE SECRET AGENT, Brazil’s submission for Best International Feature of 2025. The performances of these two men elevate the material and create emotion where it’s needed … and neither actor ever stoops to scene stealing. Prudovsky’s film is not just a pleasant surprise, it’s an excellent film worthy of attention.

Opens in theaters on January 9, 2026

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Posted by David Ferguson

PEOPLE WE MEET ON VACATION (2026)

January 12, 2026

Greetings again from the darkness. We always hear that the most challenging rom-coms to make are the friends-to-lovers stories. That theory has always confused me since one of the best, if not the best, of the genre was WHEN HARRY MET SALLY … a perfect example of friends-to-lovers. Along that path comes the film adaptation of Emily Henry’s romance novel, directed by Brett Haley (THE HERO, 2017) and written by Yulin Kuang, Amos Vernon, and Nunzio Randazzo.

Poppy (Emily Bader, “My Lady Jane) is a free-spirited travel writer who never misses a chance to talk about her desire to explore the world. Alex (Tom Blyth, “Billy the Kid”) is a reserved guy who prefers a quiet life. Despite growing up in the same small Ohio town, Poppy and Alex never met until she hitched a ride back home from Boston College. The ‘opposites attract’ theory doesn’t hold here … well, the two beautiful people are definitely opposites, but there would be no attraction were these two characters placed anywhere other than in the middle of a rom-com.

Against all odds, a bond of friendship does form. Poppy and Alex make a pact to meet once every year for a vacation – a way to get her mind off of work and a way for him to get a bit more adventurous. The film shows us different trips the two take together, and we see some of the blips that occur along the way. It’s obvious to see how Poppy learns to appreciate Alex’s stability, while Alex gains an understanding of Poppy’s wild side. Supporting work comes from Sarah Catherine Hook (Piper in “The White Lotus”) as Sarah, Alex’s on-again-off-again girlfriend, Lukas Gage as a guide they meet on a trip, and Molly Shannon and Alan Rick as Poppy’s hugging parents.

There is never any real doubt about where all this is headed – only how long will it take. Brett Haley’s movie will serve the same role as Emily Henry’s novel: a warm blanket for those who believe in the destiny of love.

Premieres on Netflix on January 9, 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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2 Comments | Fantasy | Tagged: , , , , , , , , , , , , , , , , , | Permalink
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

IT WAS JUST AN ACCIDENT (Iran/France, 2025)

January 3, 2026

Greetings again from the darkness. What is true human nature? Is there even such a thing? Are we preprogrammed to do the right thing, or is it our nature to hold grudges, seek revenge, and take advantage of every situation? This superb film from Iranian filmmaker Jafar Panahi explores the topic, and it’s important to know that he was inspired to write the story after being imprisoned for creating propaganda against the regime.

A man is driving his family on a dusty road through the darkness. His pregnant wife (Afssaneh Najmabadi) sits beside him as their young daughter dances to the blasting music in the backseat. When the man hits a stray dog, the daughter becomes upset. Her level-headed mother says, “It was only an accident” … setting the tone for what is to come. When their car breaks down a bit farther down the road, the shop’s owner, Vahid (Vahid Mobasseri) is startled by a familiar and haunting sound – the squeak of the car driver’s prosthetic leg.

Vahid is convinced that squeak belongs to Eghbal, or Peg Leg, as he referred to the prison guard who tortured him. The next day, Vahid kidnaps the man (Ebrahim Azizi) by force and drives him to the desert where he digs a hole in which to bury him. However, the man is convincing in his pleas of “you’ve got the wrong man”, and since Vahid was constantly blindfolded, he has only that haunting squeak as evidence. Rather than risk killing the wrong man, Vahid begins assembling folks who, like himself, were once tortured by Peg Leg. His friend Salar recommends Shiva (Mariam Afshari), a wedding photographer, which leads to bride-to-be Goli (Hadis Pakbaten), the groom-to-be (Madjid Panahi), and an angry and emotional Hamid (Mohamad Ali Elyasmeyr) joining in the quest to decide: mistaken identity or guilty of torture.

This journey of decision-making is bold storytelling filled with some great long takes. Director Panahi filmed this (guerilla style) in Iran, although Postproduction took place in France, which has submitted the film for Best International Feature film. Despite the intensity of the subject matter and the characters, there are surprising moments of (dark) humor … and the crazy twists are what have us questioning so much. At what price does revenge come? Can justice be served, and if so, what would it look like? The details one remembers from being tortured are likely ingrained forever. Filmmaker Panahi sticks the ending in such a way that we leave nearly as haunted as Vahid.

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Posted by David Ferguson

THE LIFE OF CHUCK (2025)

January 2, 2026

Greetings again from the darkness. Well, we can’t really call this a feel-good movie. After all, the first segment (which is really the third) deals with what appears to be the early stages of the end of the world. Plus, it’s adapted from a Stephen King novella/short story and it’s directed by Mike Flanagan, who is best known for DOCTOR SLEEP (2019) and “The Haunting of Hill House” … not exactly the genes of a happy-go-lucky film experience. Still, beyond those points, it’s a terrific film that leaves us with an inspirational and life-affirming message.

The storytelling structure is worthy of forewarning. Reverse order, or backwards … the story of Charles “Chuck” Krantz is told mostly from old age to youth, rather than the traditional chronological order. Beginning with Act III, we get a glimpse of Chuck in a hospital bed, before picking up in the classroom where teacher Marty Anderson (Chiwetel Ejiofor) is informed by his smartphone-toting students that an earthquake has caused parts of California to collapse into the sea. This catastrophe has an impact on the parent-teacher conferences Marty holds … everyone wonders what’s the point – especially once internet is lost. This segment is subtitled, “Thanks, Chuck” because billboards everywhere are thanking the unknown Chuck for 39 great years. After the parent conferences with David Dastmalchian and Harvey Guillen, Marty crosses paths with his neighbor (Matthew Lilliard) and a funeral home director (Carl Lumbly), before re-connecting with his ex-wife (Karen Gillian). Rather than face the end of the world alone, Marty chooses to be with someone who has been special in his life. We understand.

Act II, “Buskers Forever”, delivers the most memorable scene from the movie. We meet the infamous “Chuck” from the billboards. It’s Tom Hiddleston who spontaneously plops down his briefcase and begins dancing to the beats of a street drummer (The Pocket Queen). Chuck’s fantastic dance steps draw a crowd and he invites bystander Janice (Annalise Basso) to join him. It’s a beautiful sequence guaranteed to put a smile on your face – just like with Chuck and Janice, both of whom have had a bad day. Hiddleston (as Chuck) only has about 20 minutes of screen time, but it will definitely stick with you.

Although those first two acts pack a wallop, it’s Act I, “I Contain Multitudes”, that carries much of the weight. Teen Chuck is played by Jacob Tremblay (ROOM, 2015), while even younger Chuck is played by a debuting Cody Flanagan (the director’s son).  Chuck’s grandparents are played by Mia Sara (the girlfriend in FERRIS BUELLER’S DAY OFF, 1986) and Mark Hamill, both exceptional here. Grandma Sarah teaches young Chuck to find the joy in dancing, while Grandpa Albie has the best intentions with his not-so-great life advice. We also find Chuck’s teacher (Kate Siegel, Flanagan’s wife) explaining the Walt Whitman poem, “Song of Myself”, to young Chuck – it’s the same Whitman poem Marty was teaching early in the film.

Flanagan delivers an unusual way to look back on one’s life, and seems to stress the point that the view can be quite different from how you recall certain moments. An environmental and global event forces folks to live in that moment, but the lesson here is about all the other moments in our life. The message is to avoid obsessing about what could happen in the future and focus on what (and who) matters. Nick Offerman serves as the film’s narrator, and yes, some sentimentality is involved, yet it’s never an overdose. In fact, the story is likely to leave you in a contemplative state – analyzing how you deal with your moments. Maybe a dance?

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2 Comments | Drama, Sci-Fi | Tagged: , , , , , , , , , , , , , , , , , , | Permalink
Posted by David Ferguson

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