THOUGHTS & PRAYERS (2025, doc)

November 16, 2025

Greetings again from the darkness. Why do 95% of schools have lockdown drills? Why are active shooter defense products a $3 billion industry? Why do thirty states allow teachers to carry firearms? Well, the answer is pretty simple and is clearly stated by one of the students interviewed: because more of us care more about our gun rights than the safety of children. That’s one of the heartbreaking points that comes from this documentary by co-directors Zackary Canepari and Jessica Dimmock.

We see shelter shutters designed to block visibility on classroom windows. There are robotic dogs meant to sound the alert and keep students safe. A demonstration shows how a table turns into a bullet proof body shield – meant for those without access to the mobile type. Gun violence has become so normalized and expected that we now run drills for students as early as kindergarten … leaving teachers and parents to explain to kids that can’t yet read why they need to be quiet and take cover.

How to survive an active shooter in America means teachers go through gun training and run drills on how to protect themselves and students. And you thought Algebra was stressful. Some of this is incredibly realistic and all of it is quite serious and focused – we can tell by the facial expressions, both young and old. The stated goal is to create muscle memory in case action is ever needed. One of the students mentions that the drills for shooting are similar to what one might do for tornadoes or hurricanes (and we note how those are natural disasters as contrasted with human-induced).

Archival footage of previous school shootings is shown, and we never adjust to the looks of panic during these clips. We even get a glimpse of the Edge video game, produced by the Department of Homeland Security … yet another way to reach kids and instill the importance of preparation. It’s unlikely any drill of video game can replace the shock and terror of a real shooter event. At least we hope not. While all of this is painful and heartbreaking to watch, the real world is such that these products, tools, and drills play an important role. “Thoughts and Prayers” may be one of the most overused phrases these days, but this documentary is a sobering reminder of what our society has become, and what our teachers and students must endure.

Premieres on HBO this Tuesday, November 18, 2025

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Posted by David Ferguson

THE MERCHANTS OF JOY (2025, doc)

November 15, 2025

Greetings again from the darkness. The thing I love about documentaries is that so many tell stories that might otherwise not be told. Quite often, we don’t even realize there is a story to be told, which is the case with this latest from Celia Aniskovich about selling Christmas trees. If you’ve ever strolled the streets of Manhattan in December, then you know there’s no place like NYC at Christmas. Maneuvering through the mass of people becomes more challenging thanks to the street vendors lining the sidewalks selling Christmas trees. And there’s the story.

It turns out there are groups that own the tree stands. They are referred to as “the Five Families”, and each has found their own path to the sidewalk. The film introduces us to the five groups … well technically to four of them, as one (the largest), only appears via phone recordings instead of an on-camera interview. Each of these ‘frenemies’ recounts their own story: NYC Trees, Uptown Christmas Trees, the NY Tree Lady, and Greg’s Trees.

Aniskovich allows these stories to unfold in a naturalistic way (leading us to believe that quite a bit was edited out of the final version). Big Greg started his business at age 21, and now his son, Little Greg, has joined him. They also operate stands for roses and pumpkins in order to have business year-round. George (NYC Trees) was previously employed by Big Greg, and is quite a hustler in his own right – adding a carnival to his bag of tricks. Jane and George are from Vermont and have run Uptown Christmas Trees for 49 years. They are transitioning the business to their daughter Ciree, and have quite a colorful business motto! Heather is known as the NY Tree Lady, and despite a periodic show of nerves, she seems successful and quite charitable in her treatment of others.

These folks and their stories are so interesting that we don’t even feel a void with the refusal of big time Kevin Hammer (100 lots) to join in the documentary festivities. We hear about trade secrets and turf wars and mafia involvement, but mostly we hear from real people doing real work. It’s a bit surprising to learn of the emotional stress, but they each seem aware that they are selling moments in time and Christmas spirit … one tree at a time. Aniskovich was inspired by Owen Long’s article “Secrets of the Christmas Tree Trade” (The Epic Magazine & New York Magazine), and leaves us with Jane’s motto, ‘Sell the %^&&*(# tree!

Premieres at DOC NYC on November 14, 2025 and will stream on Prime Video beginning December 1, 2025

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Posted by David Ferguson

NOUVELLE VAGUE (2025)

November 14, 2025

Greetings again from the darkness. Like most who obsess over cinema, I went through my French New Wave phase. Actually, binge is likely more accurate since the phase has yet to end. I’ll always make time for Truffaut, Godard, Chabrol, Rohmer, Varda, and Demy. American director Richard Linklater clearly shares this fondness as he releases this homage on the heels of BLUE MOON, his other superb 2025 release. Co-writers on this film are Holly Gent, Laetitia Masson, Vincent Palmo Jr, and Michele Petin … two of whom have previous collaborations with Linklater.

While Linklater shows us the many faces and names of those behind the movement, most of this story focuses on Jean Luc Godard and his quest to make BREATHLESS (1960). Godard is played by relative newcomer Guillaume Marbeck and the trademark sunglasses. Godard is a film critic turned writer turned director. In fact, we hear him repeat, “I have to direct”, seeing as his goal to direct his first feature by age 25 has already been missed. He talks reluctant and skittish producer Georges de Beauregard (Bruno Dreyfurst) into financing the film by claiming Francois Truffaut (Adrien Rouyard) and Claude Chabrol (Antoine Besson) had co-written the script. Both men had successful films under their belts with THE 400 BLOWS and LE BEAU SERGE, respectively, so the producer viewed his risk as minimal.

Already a star at age 21, Jean Seberg (a terrific Zoey Deutch) finally agrees to join the cast, as does amateur boxer and new actor Jean-Paul Belmondo (Aubry Dullin). Linklater does a nice job in recreating the haphazard manner in which Godard worked. Of course, there was no script … other than what he wrote each morning over breakfast. He was after spontaneity, and this caused a clash with Seberg. Much of how he worked would be considered guerilla filmmaking, and it’s interesting to see how the cast and crew react to Godard’s ‘genius’.

Along with the music, Linklater and cinematographer David Chambille capture the authentic look and feel, and it serves as a tribute to the era, including ever-present cigarettes. The French New Wave, and especially Godard, offered a new vision for cinema. Their impact on future filmmakers cannot be overstated, and Linklater’s passion for the movement for cinema is obvious. He surely hopes the film inspires others to explore the revolutionists from the Wave that shook the foundation of cinema … even if “it’s no CITIZEN KANE”. Just keep in mind what Godard says, “All you need for a movie is a girl and a gun.”

Releasing on Netflix on November 14, 2025

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Posted by David Ferguson

REBUILDING (2025)

November 14, 2025

Greetings again from the darkness. We don’t see the fire. There is no need. We see the aftermath right along with Dusty as he takes a deep breath and surveys what’s left of his multi-generational ranch. We are also there as he auctions the cattle that he can no longer tend to. Without the assistance of any significant early dialogue, writer-director Max Walker-Silverman (A LOVE SONG, 2022) ensures we understand the man that Dusty is.

We can’t help but feel the pain when we see another person suffering, yet when they are dealing with total devastation and the loss of everything they own, we are simply at a loss as to how to react or help. Josh O’Connor has turned into one of the finest actors working today, as evidenced by his roles in “The Crown”, EMMA (2020), and CHALLENGERS (2024). In what may be his finest work yet, he perfectly captures Dusty, a quiet, proud man soul-searching for a way forward.

Dusty’s ex-wife Ruby (Meghann Fahy, “The White Lotus”) looks for a way to help him re-connect with their young daughter Callie Rose (Lily LaTorre, RUN RABBIT RUN, 2023), while Callie Rose’s grandmother Bess (Amy Madigan) understands the proud man’s pain and offers strength and support while she can. Watching Dusty and Callie Rose together is quite moving, and we find ourselves mentally urging things to work out.

Finally allowing himself to accept some assistance, Dusty moves into a FEMA trailer and takes a temporary job on a highway crew holding a traffic sign. He mostly ignores the neighbors … a small community of those who have also lost everything … until one of these neighbors, Mila (Kali Reis, CATCH THE FAIR ONE, 2021) manages to draw Dusty into the group. It turns out misery really does love company, and these neighbors offer support to each other while bonding over a devastation that we all hope to never experience.

Wi-fi at the local library, a blue barn, a job in Montana, a family death, a fizzled bank loan, and the high-severity burn that means no crops for up to 10 years make up the harsh reality of Dusty’s situation. Walker-Silverman includes a few memorable lines of dialogue (this is not a big talky movie), ensuring that we viewers are deep in thought. Beginning again is terribly difficult, and these folks merely try to find moments of joy amidst the sadness. What they never lose sight of his hope … and hope sometimes appears in something as simple as a sprig of growth. The film’s subdued approach acts to make it all the more impactful.

In select theaters November 14 and opening wide November 21, 2025.

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Posted by David Ferguson

STEVE SCHAPIRO: BEING EVERYWHERE (2025, doc)

November 14, 2025

Greetings again from the darkness. Historians record events for future generations. We tend to think of history as what we read on the page in books, yet it’s the photographers who often bring those words to life – delivering visuals that hit home and make the past so memorable. Few photographers have done it better or for a longer period of time or across a more diverse cross-section than photojournalist Steve Schapiro.

Maura Smith, Schapiro’s wife of 40 years (until his death in 2022 at age 87) has crafted a loving documentary and tribute to him, while also conveying what an incredibly interesting life he led. She put her charming husband on camera and let him tell the stories associated with his photographs. This is a man entrenched in movie stills, movie posters, celebrity and VIP portraits, and the Civil Rights Movement … including the March on Washington and the Selma to Montgomery march. His photographs were published in all the major magazines (often on the cover) of the times, and his movie work included such films as MIDNIGHT COWBOY, THE GODFATHER, CHINATOWN, and TAXI DRIVER (to name a few). Schapiro even sits on the white sofa that was used for sessions during RISKY BUSINESS and FERRIS BUELLER’S DAY OFF.

Many of the faces from his work are easily recognizable: James Baldwin, Andy Warhol, David Bowie, Barbara Streisand, Muhammad Ali – plus musicians such as Frank Zappa, The Velvet Underground, Ike and Tina Turner, Ray Charles, and Frank Sinatra. It’s fascinating to listen as Schapiro recounts some of his freelance assignments, and his time with Bobby Kennedy is especially detailed and interesting … in fact his memories about the Civil Rights Movement are what elevate his work. His after-the-tragedy recollections of going through the Lorraine Hotel after Martin Luther King’s assassination are gut-wrenching. Schapiro states that the perfect photograph is a blend of emotion, design, and information … much like his life.

Opens in NYC on November 14, 2025 and then rolls out nationwide

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Posted by David Ferguson

THE SIEGE OF APE CANYON (2025, doc)

November 12, 2025

Greetings again from the darkness. According to one of those interviewed, this isn’t just a Bigfoot story … it’s THE Bigfoot story! The film is directed by Eli Watson (not his first Bigfoot project) and produced by Seth Breedlove, the founder of Small Town Monsters – a production company with projects in the vein of the old “In Search of …” series.

It was 1924, in the shadows of Mount Saint Helens in Washington state, when a group of gold prospectors led by a man named Fred Beck claimed to be attacked by a bunch of large, hairy, ape-like creatures. The men were under siege in a cabin near the mine as they fired their guns at the rock-throwing creatures … creatures henceforth referred to as Mountain Devils. This encounter, or stories of this encounter, created one of the most infamous Bigfoot stories of all time. Director Watson includes a black & white reenactment of this ‘siege in Ape Canyon.

We meet Marc Myrsell, an avid researcher who, 50 years after the attack, began looking into the story to determine if any evidence might exist to shift the legend into local history. The search initially focused on proving the existence of the cabin, and then of the gold mine. Mr. Myrsell admits, ‘no good research project is ever done”, and after 100 years have passed, he remains diligent in his quest to discover any shreds of evidence.

Some relatives of the mining team from 1924 are located, and discussions and revelations occur. Of course, for anyone seeking proof of Bigfoot, Sasquatch, or Mountain Devils, the search continues. At a minimum, we meet some interesting and dedicated folks and see some breathtaking views.

Available on VOD (including Prime Video) beginning November 11, 2025

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Posted by David Ferguson

Book Review- REFLECTIONS: ON CINEMATOGRAPHY

November 9, 2025

By Sir Roger Deakins

For most moviegoers, what makes or breaks a particular film is a combination of the story and the characters. Not much (if any) thought goes into how the film was made, what techniques or technology was utilized, or how many folks were involved in the process. That’s OK, and in fact, it’s the goal of most filmmakers – produce a film that entertains or enlightens, while keeping the magic behind the curtain. Of course, that ‘magic’ is actually hard work by a large crew after a significant amount of planning and preparation. For those who do care about such things (cinephiles, aspiring filmmakers), this latest book from Sir Roger Deakins is one to read and one to absorb.

Deakins is a two-time Oscar winner and 16-time nominee. Any list of the greatest cinematographers would include his name. An early interest in photography led to a start with documentaries, and then to this legendary career in feature films. He has worked with some of cinema’s most distinguished directors and on some of the best films since the 1980’s. The directors include the Coen Brothers, Martin Scorsese, Sam Raimi, and Denis Villeneuve. The films include BLADE RUNNER 2049 (2017), SKYFALL (2012), TRUE GRIT (2010), NO COUNTRY FOR OLD MEN (2007), A BEAUTIFUL MIND (2001), THE BIG LEBOWSKI (1998), FARGO (1996), THE SHAWSHANK REDEMPTION (1994), and SID AND NANCY (1986). Of course, these lists are partial … the full lists would include more than a dozen directors and more than 70 films.

One of the remarkable things about Deakins’ latest book (he also published “Byways”, a book of his photographs in 2021) is that nearly every film he’s worked on gets at least a mention, although the breadth and detail of the write-ups vary significantly. It’s so rare and such a privilege to have one of the film industry’s giants take us on a mostly chronological journey through his career. Though not billed as a memoir, the book does include bits and pieces of his childhood in Torquay, England and personal life … especially the collaborations with his wife, James, herself a well-respected script supervisor. However, most of this deals with his approach to lighting and shooting and his collaboration with directors and crew.

Nearly 400 pages and 32 chapters are filled with Deakins recollections, as well as photographs/stills from the films, and sketches detailing individual shots from those films. We have all seen storyboards that directors use to plan a project, but for me, these are first diagrams I’ve ever seen on camera and lighting placements for specific scenes and settings. Deakins takes us through the scouting and preparation, and doesn’t shy away from discussing the directors who are most open to suggestions and recommendations. It’s difficult to imagine any filmmaker not encouraging input from a man with such a pedigree, yet it’s a reminder that egos are certainly prevalent in Hollywood.

Deakins has traveled the world with his work, and he is especially forthcoming on his time in Africa. Still, it’s his work on Hollywood films that has made him famous, and he credits his early work in documentaries for influencing his style. Some of the more detailed chapters are devoted to NO COUNTRY FOR OLD MEN, SKYFALL, and BLADE RUNNER, three very different films where the lighting seemed especially challenging. Surprisingly, every chapter offers interesting and valuable insight into the making of films, and specifically the shooting of individual scenes.

Cinematography is a blend of art, science, creativity, and experience. Deakins shies away from the term “craft”, but what he accomplishes is pretty much the definition of a craft … and he’s an expert. As we would expect, this renowned cinematographer who excels at visual storytelling has included a hefty number of visuals to go along with his descriptions and journal-type entries. The book acts as an education, a memoir, and a tribute to the man who has contributed so much to our moviegoing pleasure over the past 40-plus years.

REFLECTIONS: ON CINEMATOGRAPHY releases on November 11, 2025 and is available in bookstores and Amazon

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Posted by David Ferguson

CHRISTY (2025)

November 7, 2025

Greetings again from the darkness. For those who think of Sydney Sweeney as just an attractive model for blue jeans or eye-candy on the red carpet, this is a movie that will change your mind. She plays tough. OK, not as tough as boxing champ and domestic violence survivor Christy Martin, whom she portrays here … but tough, nonetheless.

In a perfect world, writer-director David Michod (ANIMAL KINGDOM, 2010) and co-wrtiers Mirrah Foulkes (also Michod’s spouse) and Katherine Fugate would tell the uplifting story of the first great female boxer of the 1990’s and the first female boxer to make the cover of “Sports Illustrated” and fight on Mike Tyson’s undercard. While they do tell that part of the story, there is also the much darker aspect of Christy’s life. It’s actually a story of survival – and honestly, since I was not a boxing fan at the time, it’s the 2010 headlines of her surviving a vicious attack by her husband that come to mind when I hear her name. Michod and his cast handle both aspects very well.

It’s 1989 in rural West Virginia. Christy gets her first taste of boxing and takes to it immediately. However, her mother (Merritt Weaver, “Godless”) and meek father (Ethan Embry, “Sneaky Pete”) are humiliated by the rumors that Christy is hanging out with Rosie (Jess Garbor “Shameless”), a lesbian. When they threaten to send her to a priest for curing, Christy seizes the chance to pursue boxing. Trainer Jim Martin (Ben Foster) initially wants nothing to do with her, but he quickly realizes she could be his ticket to the big time.

The story follows Christy’s rise in boxing, while at the same time showing us the dark side of a relationship. Jim is an expert manipulator and controller, and Foster’s searing blue eyes deliver his patented icy and intimidating stare (in spite of that awful haircut) on more than one occasion. Shadowboxing in legendary promoter Don King’s (Chad Coleman, “The Wire”) office gives Christy the opportunity she needs in 1995. He labels her “The Coal Miner’s Daughter” and her pink outfits become a trademark.

Christy’s story has many parallels with the tragic Dorothy Stratten story. Her time as a Playboy model and violent fallout with her scumbag husband became the basis for Bob Fosse’s film STAR 80 (1983). In this film, when Michod finally shows the despicable act of Jim Martin on Christy, it’s stunning and memorable. We can’t help but think how unfortunate and tragic it was for Christy to battle both her husband and mother. Towards the end, we see the actual Christy Salters (she took back her maiden name) as a security guard who fist bumps the fighter on the way to the ring. It’s a nice touch. And kudos to Sydney Sweeney for taking on such a challenging role (physically and emotionally).

In theaters beginning November 7, 2025

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Posted by David Ferguson

DIE MY LOVE (2025)

November 6, 2025

Greetings again from the darkness. For the sake of her friends, family, and self, I do hope Lynne Ramsay’s movies do not reflect her real-life persona. Don’t get me wrong … she’s an extraordinary filmmaker, but to put it mildly, her films are not what we would label ‘uplifting’. Proof of these two descriptions can be found in WE NEED TO TALK ABOUT KEVIN (2011) and YOU WERE NEVER REALLY HERE (2017), and now again in her latest. The 2017 English translated novel by Ariana Harwicz has been adapted by Ms. Ramsay, Enda Walsh (HUNGER, 2008) and Alice Birch (THE WONDER, 2022). It’s an absorbing film featuring what is likely the year’s best and most haunting performance.

When we first meet Grace (Oscar winner Jennifer Lawrence) and Jackson (Robert Pattinson), they are a wild and free couple who dance to the Pinky & Perky (not Alvin and the Chipmunks) version of “Let’s Twist Again.” Jackson has inherited a rundown house in rural Montana from his recently deceased uncle, and they fix up the place enough to move in. Sex and laughter fill their days right up until the baby is born. Postpartum depression has been conveyed in other movies, yet I don’t believe it’s ever been as visceral as what we witness here. Grace clearly loves her baby, while everything else about her own existence seems to anger and disappoint her … the house, the dog, and especially Jackson.

Grace sinks to a level we don’t often witness. It’s so painful and uncomfortable to watch, and Jennifer Lawrence is fearless in her portrayal of Grace’s downward spiral. Robert Pattinson plays Jackson as a normal guy who loves his wife, while having no clue how to handle the situation. Therein lies the power of this story. We could know Grace and Jackson, and we could be the folks at the party trying so hard to say the right things … those things that turn out to be the worst things to say. We could also be that spouse willing to give the other enough space to find themselves.

Thanks to superb cinematographer Seamus McGarvey, the film has a gritty 1970’s look and feel to it, and excellent (though limited) supporting work is provided by (Oscar winner) Sissy Spacek, rarely seen Nick Nolte, and the always interesting LaKeith Stanfield. The soundtrack is unusual and fascinating, including songs by such diverse artists as Elvis, Toni Basil, Cocteau Twins, Peggy Lipton, Nick Lowe, and Cream. As a bonus, the film features the best ever use of John Prine and Iris Dement singing “In Spite of Ourselves”, a perfect fit. Mental health issues and depression are serious topics, and have rarely (if ever) been more accurately portrayed than what we see in this latest from filmmaker Lynne Ramsay. Despite the brilliant filmmaking and memorable performance, it’s not an easy movie to recommend. It’s only for those who can appreciate the magic within the dark clouds.

Opening in theaters on November 7, 2025

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Posted by David Ferguson

NUREMBERG (2025)

November 6, 2025

Greetings again from the darkness. Skipping the many films based on and around WWII and the Holocaust is understandable. Even the uplifting stories of heroism and survival are unsettling and tough to watch. However, so many lives lost in the name of a power-hungry madman means these stories must continue to be told – as a reminder to folks how dangerous and tragic it can be to blindly follow an authoritarian. Writer-director James Vanderbilt’s (TRUTH, 2015) second time directing is based on the writing of Jack El-Hai in “The Nazi and the Psychiatrist”.

Vanderbilt opens the film by stating it’s “based on the accounts of those who lived through it and those who didn’t”. It’s May 7, 1945. Hitler and many other Nazi officers are dead from suicide. The last day of the war finds Reichsmarschall Hermann Goring (Oscar winner Russell Crowe) surrendering to Allied troops. We are immediately struck by Crowe’s ability to create an air of superiority around Goring, even as he surrenders. Goring is imprisoned at Nuremberg, and what happens next is a reminder of how crucial humanity and justice are, even in times of war and in the face of atrocious activities by others.

While many want Goring and any remaining Nazi officials immediately executed, Supreme Court Justice Robert H Jackson (Michael Shannon) believes a tribunal and public trial are crucial for the allied nations to send the message that justice matters, no matter how heinous the crimes (or the criminals). A U.S. Army psychiatrist, Dr. Douglas Kelley (Oscar winner Rami Malek) is charged with interviewing Goring to ensure he is capable of being tried in court. It turns out that Goring is more than capable and we are drawn in watching the verbal and psychological duel play out between Goring and Kelley. These scenes (Crowe and Malek) are mesmerizing, and Crowe delivers a towering performance – his best in years, and certainly worthy of Oscar consideration.  Sgt Howie Triest (Leo Woodall) is present as a translator, though his place carries more weight later in the story.

Prior to the trial, another excellent scene plays out at the Vatican as (now) lead prosecutor Jackson strong arms the Catholic church into supporting the trial. Unlike Stanley Kramer’s fantastic 1961 film, JUDGMENT AT NUREMBERG, most of this one takes place outside of the courtroom. However, once it moves to trial, Jackson and co-counsel Sir David Maxwell-Ffyfe (Richard E Grant) find going toe-to-toe with Goring is every bit as challenging as Kelley had reported. Devastating concentration camp footage is shown to display the shock of those seeing it for the first time. The last bit of the story is about Kelley and his book centered on his sessions with Goring. Overall, the historical accounts have been scaled back for accessibility and brevity (despite the film’s 148-minute run), yet we never lose sight of the importance of the trials.

Opens in theaters on November 7, 2025

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Posted by David Ferguson

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