ANNIVERSARY (2025)

October 29, 2025

Greetings again from the darkness. Brace yourself for one of the first films to take on the societal and political changes occurring within the United States. This is an exceptionally well-made film with a stellar cast and an eye-opening cautionary message from writer-director Jan Komasa (Oscar nominated for the excellent CORPUS CHRISTI, 2019) and co-writer Lori Rosene-Gambino. It features a deep and talented cast and would make a formidable double-feature with last year’s CIVIL WAR (directed by Alex Garland).

While the acting is top notch, the brilliance of the film is in the storytelling. Rather than a blatant attack on political extremists, this is presented as a type of thriller – the story of how one family is slowly, meticulously, and deliberately torn apart through ideology and by revenge. The film opens as Paul and Ellen Taylor (Kyle Chandler and Diane Lane) are throwing a 25th wedding anniversary party at their home. Their family has joined in the celebration: daughter Cynthia (Zoey Deutch, THE OUTFIT, 2022) and her husband Rob (Daryl McCormack, GOOD LUCK TO YOU, LEO GRANDE, 2022); rebellious daughter Anna (Madeline Brewer, “The Handmaid Tale’s”); and youngest daughter Birdie (Mckenna Grace, WHAT WE HIDE, 2025). Also attending are their son Josh (Dylan O’Brien, SATURDAY NIGHT, 2024) and his new girlfriend Liz Nettles (Phoebe Dynevor, INHERITANCE, 2025).

It’s the presence of that girlfriend that rocks Ellen, a university professor. Liz Nettles was a disruptive former student and the history between the two was not pleasant … but we watch as present day devolves into something much worse. Paul attempts to calm Ellen by telling her that “People change”. Ellen replies, “No, they don’t.” This ‘perfect family’ full of intelligent and creative folks is headed for a ride no one can prepare for. Two years later, the family reunites for a holiday meal, and Liz’s latest radical book now sits atop the best-sellers list, and she’s turned into a spokesperson for a movement.

The film and the story and the characters perfectly capture just how divisive politics have become – even, or maybe especially, between loved ones. The acting here is as good as anything we will see all year. Ms. Dynevor and Ms. Grace are certainly headed towards stardom. There are a few really powerful scenes, and the most chilling occurs when the ‘census workers’ interview Paul and Ellen. By this point, nerves and relationships are frayed, and the targeting of ‘non-changers’ is in full mode, leading societal change. A father-son conversation between Paul and Josh leads to the most important line in the film: “We are the keepers of our own souls.” The conclusion revolves around the 30th anniversary party for Paul and Ellen, ensuring all viewers understand just what has happened over five short years. This film hits hard due to the real-world synchronicity and concerns.

In theaters October 29, 2025

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Posted by David Ferguson

BALLAD OF A SMALL PLAYER (2025)

October 29, 2025

Greetings again from the darkness. It’s not Las Vegas. It’s not Monte Carlo. Somehow even more gamblers head to Asia, specifically the gambling capital of Macau … and that’s where this film from director Edward Berger (Oscar nominated for CONCLAVE, 2024) is set. Rowan Joffe (son of Roland Joffe, who directed THE KILLING FIELDS, 1984) has adapted the 2014 novel by Lawrence Osborne. That may be the last part of this that makes any sense.

Colin Farrell stars as Lord Doyle, a gambling addict laying low in his swanky hotel suite as he dodges those from whom he’s run up massive debts ($350k to the hotel). Lord Doyle presents himself as a high-roller aristocrat, but we quickly note he’s little more than a fraudster both in identity and wealth. A casino floor manager named Dao Ming (a lovely Fala Chen) takes pity on him as a ‘lost soul’ for no apparent reason, but it significantly impacts his direction. Hot on his trail is a Private Investigator named Cynthia Blithe (Oscar winner Tilda Swinton), hired by a woman whom Lord Doyle (under his real Irish name) bilked out of a large sum of money.

“All I need is one big score”. How many times have we heard a gambling addict state this? It’s a cliché, yet there are a few elements here that seem interesting and unusual. For some reason, the film seems to hit and run to the next point without ever giving us what we need. In other words, the structure is as messy as the constant rain on the streets of Macau. On the other hand, cinematographer James Friend (Oscar winner for Berger’s ALL QUIET ON THE WESTERN FRONT, 2022) turns Macau into a kaleidoscope of color and texture and beauty and danger. There are even a few times that the film tends to mirror the iconic visual style of director Wes Anderson.

For a guy that thrives on scamming folks, Lord Doyle’s choice of baccarat never makes any sense. Why choose a game that’s purely a game of chance/luck? As we struggle along with Doyle to keep up with the loose ends, a supernatural element appears, causing a shift in tone. It’s like dinner and dancing really did lead to an arrangement – only we weren’t present for it. The frantic pace is something Colin Farrell works very well. As I’ve stated in other reviews, he’s turned into a terrific actor who elevates every project. And though she’s underutilized here, Tilda Swinton continues to be an actor worth watching in any role. Watching the movie is entertaining enough, yet at its conclusion, we feel a bit cheated. Many that’s fitting after following Lord Doyle for 101 minutes.

Begins streaming on Netflix on October 29, 2025

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Posted by David Ferguson

COUNTRY DOCTOR (2025, doc short)

October 27, 2025

Greetings again from the darkness. With healthcare in the headlines most every day, this 37 minute documentary short film from co-directors Shari Cookson and Nick Doob couldn’t be more timely, nor more important. Rather than present a general overview of the crisis in rural America, the filmmakers present one specific real world case study from tiny Fairfax, Oklahoma, with a focus on the local doctor and the foundering hospital.

Dr. James Graham (not ‘Moonlight’ for you FIELD OF DREAMS fans) has practiced in the area for 41 years and has treated multiple generations of residents. Despite growing up poor and having had two kidney transplants himself, Dr. Graham is one of two doctors at the Fairfax hospital. He’s also the only doctor providing service to the local nursing home and three clinics … and he makes house calls and gives out hugs and philosophy (hope) to patients in need. It’s not unusual for his patients to pay him with fresh produce from their own gardens … sometimes secretly delivering these to the back end of his truck. This community knows how fortunate they are to have Dr. Graham, and it’s obvious he cares deeply about providing care to these neighbors – many he’s known since they were born.

Filming of this story dates back to pre-pandemic, and Dr. Graham mentions how many patients were lost due to COVID and the limitations brought on by the struggling hospital. It was a hosptial run by a group/individual who committed fraud and apparently put little effort toward medical care, the efficient running of the hospital, or the proper management of staff. Dr. Graham went as far as to speak directly with state politicians to explain the situation. He was met with, “Let us know if we can help …”, the infamous empty words politicians have become known for. The hospital was put up for auction, and the film covers the fascinating process. When a group run by Newport Beach (California) physician Dr. Elizabeth Pusey won the bid, skepticism was noted by Dr. Graham, the community, and the local newspaper. Capital improvements and infrastructure expansion began, yet communication from Dr. Pusey’s group was minimal.

What makes this documentary so powerful is that it’s a real-world example of what’s occurring around the country. So many citizens are at risk. More than 140 rural hospitals have closed since 2010, and more than 600 others remain at risk. It’s a travesty that the elected officials don’t share the humanity displayed on a daily basis by Dr. James Graham.

This documentary short premieres on HBO beginning October 28, 2025

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Posted by David Ferguson

THE FRENCH ITALIAN (2025)

October 27, 2025

Greetings again from the darkness. Are you a good person? It’s really not that difficult to determine … although it does require a bit of honest self-reflection. The debut feature film from writer-director Rachel Wolther (co-written with Jesse Millward) is clearly meant to be comical satire, and even more clearly does not include me in the target audience. It seems to me the window for putting whiny, entitled complainers in the spotlight has closed, and these folks are more sad and annoying than funny. Still, since I’m likely in the minority, I’ll strive for objectivity here.

Valerie (Catherine Cohen, DATING & NEW YORK, 2021) and Doug (Aristotle Athari, MOLLI AND MAX IN THE FUTURE, 2023) are thirty-somethings living in New York City in a rent-controlled Brownstone. Their careers are stagnant (his) and borderline non-existent (hers). She doesn’t seem to have a clue about how to take responsibility at work, or even how to fulfill the basic duties. When girlfriend Mary (Chloe Cherry) moves in with usually quiet downstairs neighbor Jordan (Jon Rudnitsky, STEALING PULP FICTION, 2025), she brings along her karaoke machine, and immediately Valerie and Doug are annoyed with the sound pollution and constant “La Bamba”, and begin creating scenarios that might explain their neighbors.

Once they escape to the suburbs, the childish couple began strategizing to get revenge on the old neighbors, and with the help of equally unstable friend Wendy (Ruby McCollister), they decide to take advantage of Mary’s pursuit of acting. Their ‘ingenious’ plan involves putting on a fake play and inviting Mary to audition for the part. The plan makes little sense and ends up drawing in another actor named Joe (Ikechukwu Ufomadu, JUDAS AND THE BLACK MESSIAH, 2021) in what ends up being a quite fortunate move.

While this movie didn’t scratch an itch for me, I certainly appreciate the performances. Ms. Cohen and Mr. Athari nail characters who are impossible to like. Why they decided to relocate and gain revenge without ever bothering to meet the neighbors is quite a statement. Ms. McCollister brings some much needed quirky energy to the proceedings. Ms. Cherry transitioned from years in the adult film industry to more conventional acting with “Euphoria”. Her take on Mary in this film is definitely interesting and unusual. While I appreciated the “Atlas Shrugged” spoof, I found this satire to be less of a comedy and more of a generational snapshot for dummies (like me).

Available on VOD beginning October 28, 2025

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Posted by David Ferguson

Book Review- FEVER: THE COMPLETE HISTORY OF SATURDAY NIGHT FEVER (2025) by Margo Donohue

October 26, 2025

Book Review- FEVER: THE COMPLETE HISTORY OF SATURDAY NIGHT FEVER

by Margo Donohue

For many, SATURDAY NIGHT FEVER is remembered as that disco movie from the 1970’s where John Travolta danced to music by The Bee Gees. And they are correct. However, this common description is missing what made the film resonate with me and so many others. Author Margo Donohue understood the gap and her new book excels at connecting the dots for these two sides. In the process, she expertly serves up some inside scoop on the filmmaking process, the actors, and the era.

Author Donohue explains why opinions on the film are so widely varied. First of all, there are two versions … an R-rated version released theatrically, and a PG version that ran in prime-time television. The differences go much deeper than cleaning up the profanity. Some of the topics addressed in the original are so glossed over in the TV version that one would be excused for being unaware. At its core, the story is about a young man searching for a path to adulthood that doesn’t limit him in ways that remaining in the neighborhood would.

For film buffs, Donohue details how little faith the studio had in the film, the budgetary limitations, the change of director from John G Avildsen (coming off his Oscar win for ROCKY, 1976) to John Badham (coming off THE BINGO LONG TRAVELING ALL-STARS & MOTOR KINGS, 1976), and the concerns about whether “Welcome Back, Kotter” star John Travolta could transition his popularity from TV to the big screen. She also breaks down some of the most memorable scenes – that iconic opening strut swinging a paint can, and the significant and relatable family dinner, among others. Donohue also spills the beans on Travolta’s dance training and the choreography during filming.

Some of the best writing and research is found in the segments (seemingly) directed at those who tend to off-handedly dismiss this as just a disco dancing film. Donohue drills down into the manner in which Donna Pescow made her Annette into such a complex character. It’s a shame that the author wasn’t able to interview Travolta for the book, but many of his past quotes about playing Tony in the film are included. Personally, I always struggled with Tony choosing Stephanie as his dance partner (when she appeared to be a mediocre dancer) yet I found Stephanie to be so familiar as a person – wanting to be an adult and desperate to make herself seem so important. Both female characters are heartbreaking in their own way and Donohue provides a great deal for us to chew on.

In writing the book, Margo Donohue makes the point that much of what’s in the film would not be included were it to be remade today. Racism, misogyny, abortion, suicide, religion, family dysfunction, and sexual abuse are key elements to Badham’s true version (R, not PG). It’s a gritty street movie that offsets poverty and other less desirable attributes with some historically popular music and some stunning dance sequences. In addition to the heaviness, there are also moments of levity: “Attica!”, Marisa Tomei’s line is always good for chuckle, as is, “He hits my hair!”. My personal favorite occurs while the group is at White Castle, and they ask, “Don’t you never chew, Tony?”. If a writer chooses to take on a movie that has had a lasting impact on so many, there better be some valuable insight and some behind-the-scenes intel that pack a punch. Margo Donohue has succeeded in delivering all of that and more. Unfortunately, Ms. Donohue passed away unexpectedly earlier this year at the age of 58, and her legacy is her writing and the influence of her podcast.

Amazon link for the book

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Posted by David Ferguson

SPRINGSTEEN: DELIVER ME FROM NOWHERE (2025)

October 23, 2025

Greetings again from the darkness (on the edge of town). My connection to Bruce Springsteen’s music dates back more than 50 years and includes hitchhiking (from San Antonio) to a gig at the Armadillo World Headquarters in Austin. As much as I loved the early tunes from his first two albums, it was the 1975 release of the “Born to Run” album that spoke to me on a mystical level. His storytelling and anthems on that instant classic, as well as the next two albums, “Darkness on the Edge of Town” and “The River”, had a way of drawing us in for a pure escape. By 1981, Springsteen’s albums were huge and his live performances were legendary and exhilarating. It’s the time period just after that serves as the basis for this film from writer-director Scott Cooper, based on the 2023 book, “Deliver Me From Nowhere: The Making of Bruce Springsteen’s Nebraska” by Warren Zanes.

A black & white opening takes us to Bruce’s childhood (he’s played by newcomer Matthew Anthony Pellicano Jr) where we get a feel for his rocky home life with mom Adele (Gaby Hoffman, C’MON C’MON, 2021) and on-the-verge of violence dad “Dutch” (a terrific Stephen Graham, “Adolescence”). Cooper then cuts to the closing night of the 1981 tour in Cincinnati, where Jeremy Allen White (“Shameless”) as Bruce belts out “Born to Run” with the E Street Band (decent lookalikes). At this point, I found myself a bit deflated. It all felt too cliché and the song just wasn’t up to the standard I’d hoped. Fortunately, things were about to get much more interesting with a deep dive into the birth of “Nebraska”.

Bruce was 31 years old and on the verge of superstardom after his first true hit, “Hungry Heart” (which fortunately is mentioned but never heard). The record company is itching for the next round of hits, while Bruce is clearly dealing with some mixed emotions. His rented house in Colts Neck, New Jersey affords him the solitude he needs to obsess over Terrence Malick’s BADLANDS (1973) with Martin Sheen as a psychotic killer based on real life killer Charles Starkweather (the last name plays an interesting part of Springsteen trivia). Bruce fans know what happens next – in the sanctity of the home’s bedroom, and with the help of guitar tech Mike Batlan (Paul Walter Hauser, RICHARD JEWELL, 2019), he records the songs for the “Nebraska” album using low-tech equipment. His insistence on releasing the album in raw form sends the record company into a tizzy. Bruce also works in a few jam sessions at the infamous club, The Stone Pony, where we see him cut through Little Richard’s “Lucille” and John Lee Hooker’s “Boom Boom”.

It’s here where the deep friendship between Bruce and his agent, Jon Landau (a wonderful Jeremy Strong, THE APPRENTICE, 2004) becomes the heart of the film. Nope, it’s not the music that makes this story work … it’s the support of Landau for his friend, whom he also recognizes as a genius. During this dark emotional time, Bruce somehow begins a romance with Faye (Odessa Young, MOTHERING SUNDAY, 2021), a local single mom – who is also an amalgam of women in Bruce’s life at the time. This contributes to the complexities of Bruce’s mental state during this time, and helps us (and him) understand why this particular music is so necessary for him.

“I have seen rock & roll’s future and his name is Bruce Springsteen”. That’s a quote from a 1974 concert review by music writer Jon Landau. Yes, the same man who became Springsteen’s long-time manager and close friend. But this movie isn’t about Bruce Springsteen the rock icon. It’s a meditative and exploratory peek at a soulful artist during a dark and confusing time. He is sliced open to reveal someone still dealing with a less-than-joyous childhood while balancing the pressure of becoming an international sensation. This was the calm before the storm of “Born in the U.S.A.” … only it wasn’t anything near calm for Bruce. He was in pain – a true tortured soul working through the emotions of finding himself. It’s quite fascinating to watch, though most assuredly, a departure from the mainstream music biopics we have seen over the past few years.

Scott Cooper’s film, CRAZY HEART (2009) won Jeff Bridges an Oscar, and proved the director had a feel for angst in musicians. Warren Zanes wrote the book this film is adapted from, and as guitarist for the Del Fuegos and Tom Petty biographer, Zanes absolutely understands this life. It’s because of these two gentlemen and superb performance in Acts 2 and 3 by Jeremy Allen White and Jeremy Strong that this film never wallows in melodrama, despite the lead character suffering with depression and anxiety.  While we hear cuts from the Nebraska album, Springsteen fans should know this is not a concert film. The music is utilized precisely and purposefully, but the music does not drive this film. The exception might be White’s rendition of “Born in the U.S.A.” while in the studio. That’s the one time audience members might be tempted to yell: “BRRUUUUUCE!”

Opens wide on October 24, 2025

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Posted by David Ferguson

BLUE MOON (2025)

October 23, 2025

Greetings again from the darkness. Most everyone, especially lovers of Broadway musicals, knows the work of Rodgers and Hammerstein. And they should. Richard Rodgers and Oscar Hammerstein II are regarded among the most prolific musical production writers in history. Their projects include “The King and I”, “Carousel”, and “The Sound of Music”. Their first collaboration, “Oklahoma!” is at the center of this latest from acclaimed director Richard Linklater (his NOUVELLE VAGUE coming out this year) and writer Robert Kaplow (ME AND ORSON WELLES, 2008). Yet we can’t help but wonder why so few are familiar with the work of Rodgers and Hart. Together, composer Richard Rodgers and lyricist Lorenz Hart wrote more than one thousand songs, including “My Funny Valentine”, “The Lady is a Tramp”, and of course, “Blue Moon.”

An opening title card provides quotes made about Lorenz Hart. The first describes him as “fun”, while the second states, “he was the saddest man.” The contrast is startling. We first see Ethan Hawke as Lorenz Hart as he stumbles and collapses in a dark alley. We then flash back seven months to March 31, 1943, the opening night of “Oklahoma!” on Broadway. Hart leaves the production before it’s over and heads to Sardi’s, where he plants himself at the bar, conversing with Eddie (Bobby Cannavale), his favorite bartender. This kicks off one of the more dialogue-heavy movies we will likely ever see … fitting for a man who excelled at assembling words.

It takes little time for us to recognize Hart’s bitterness and envy towards his former partner’s (Rodgers) success with a new collaborator (Hammerstein). He’s alternatingly condescending and profane … until Richard Rodgers (Andrew Scott) shows up and Hart turns on the fake charm. For a single setting film (rare in movies, not so rare in live theater), this one is surprisingly complex. Hart’s sexuality is hidden much better than his alcoholism. In fact, Rodgers offers to work with him again for a revival of their “A Connecticut Yankee” – but only if Hart stops drinking and behaves professionally towards their work. These are the issues that previously divided them.

Adding yet another layer is the presence of Elizabeth Weiland (Margaret Qualley). She has charmed ‘Larry’, who claims to love her … although he states, “everybody loves her.” Their relationship is askew, as he adores her and likely wants more, while she wants him to introduce her to the great Richard Rodgers. Also in the mix is a terrific sequence between Hart and the “Charlotte’s Web” writer E.B. White (Patrick Kennedy). Their wordplay nears competition and ends with what would be a Stuart Little idea. Periodically drawn into the evening’s progression is Sardi’s house pianist (Jonah Lee), who idolizes the work of Rodgers and Hart. As if all that isn’t enough, we get interactions with future director George Roy Hill (David Rawle), whom Hart counsels to concentrate on friendships (i.e., Butch and Sundance), and an obnoxiously whip smart young theater protégé named Stevie (Cillian Sullivan as teenage Stephen Sondheim).

Seemingly an odd casting decision for a short, Jewish, alcoholic man who is both miserable and talented, Ethan Hawke is absolutely terrific as Lorenz Hart. Alcoholism may destroy a partnership, and true love may constantly elude him, yet Hawke allows us to see the genius within. Hart would be dead just a few months after this painful (for him) opening night of “Oklahoma!” … leaving little doubt that his all-time favorite line was fitting: “Nobody ever loved me that much.” (from CASABLANCA)

Opening nationwide on October 20, 2025

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Posted by David Ferguson

LUV YA’, BUM! (2025, doc)

October 23, 2025

Greetings again from the darkness. It’s unusual for a documentary to credit three directors, but these three have been involved with some of the best Texas-based documentaries. Sam Wainwright Douglas, David Hartstein, and Andrew Alden Miller have each worked on at least one of these: HONKY TONK HEAVEN: THE LEGEND OF THE BROKEN SPOKE (2016), TOWER (2016), FADERS UP: THE JOHN AIELLI EXPERIENCE (2024), and ALONG CAME KINKY … TEXAS JEWBOY FOR GOVERNOR (2009). This time, their collaboration gives us a history lesson on legendary football coach O.A. “Bum” Phillips.

The film opens with a stream of acclamations for Bum from a lineup of folks who would know: former opponents, former players, league coaches, and even an owner. The raving compliments in the opening and throughout the runtime are delivered by such football luminaries as Terry Bradshaw, Dan Pastorini, Earl Campbell, Jerry Jones, Wade Phillips, Wes Phillips, JJ Watt, Archie and Peyton Manning, Billy “White Shoes” Johnson, Elvin Bethea, Mike Barber, Mike Renfro, Gary Kubiak, and Von Miller. Dennis Quaid serves as the narrator.

The title would lead us to believe that this is a documentary on Bum Phillips, and while he and his career are profiled, this is every bit as much about the Houston Oilers, the rabid fan base, and Bum’s influence on players and coaches, and his son and grandson. It’s clear that Nederland High School football coach Bum Phillips learned a great deal from then A&M coach Bear Bryant, and the impressive thing about Bum’s career is how he took the knowledge from Bryant and Bum’s other coaching gigs and turned it into his own style … and a successful professional coaching career.

Archival footage captures the excitement of the ‘Luv ya Blue’ period in Houston, as Bum guided the Oilers into prominence. During Bum’s tenure (1975-1980), the Oilers fans were the envy of the league as they waved their banners from a sea of blue in the Astrodome. They even had a Houston Oilers anthem (surely annoying for fans of any other team). The Oilers rivalry with the dominant Steelers is discussed, and numerous players offer insight into what it was like to play for Bum. There is even a full segment on former Longhorn and all-time Oiler great, Earl Campbell. We hear from Earl and see footage of some of his amazing runs. Bum’s famous quote about Earl, “I don’t know if he’s in a class by himself, but I do know that when the class gets together, it sure don’t take long to call the roll.” And of course, the Mike Renfro catch/non-catch is shown.

With his familiar Stetson and Texas drawl, Bum Phillips was a popular icon. Clips of interviews with his son Wade and grandson Wes, both successful NFL coaches (and each with a Super Bowl ring) demonstrate just what an influence Bum was for them … even after he retired to his ranch. While we leave this viewing understanding that Bum was an excellent coach and well-respected, we also are confident he was a class act. For a man who had nearly as many memorable quotes as Yogi Berra (although Bum’s made a bit more sense), the film leaves us with this one: “Winning is only half of it … having fun is the other half.”

Winner of the 2025 SXSW Documentary Spotlight Audience Award, the film is set to premiere in select theaters across the country on October 24, 2025, followed by a digital release on November 25 

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Posted by David Ferguson

WHERE THE WIND BLOWS (2025)

October 23, 2025

Greetings again from the darkness. If the Hallmark Channel produced a Western Romance movie, it would likely look much like this one from writer-director John Schimke, who along with co-writer Mike Maden, adapted the 2009 novel from Caroline Fyffe for the silver screen. Filmed in Montana, there are some terrific landscape shots displaying the vastness of the 19th century frontier.

Chase (Trevor Donovan, “90201”) stops into a saloon with his buddy Nathan (C Thomas Howell). While Nathan seems right at home with the booze, women, and gambling, Chase heads up to his room alone, despite the temptations of the ladies. Awakened by shots fired, Chase finds Nathan lying in a pool of blood … the result of cheating at poker. Chase rides off to inform Nathan’s wife – although he softens the tale quite a bit.

As a widow, Jessie (Ashley Elaine) finds herself with a ranch in need of a man and herself in need of a ‘pretend’ husband so that she can finalize an adoption. It turns out that Chase is not only the hunkiest blond cowboy, he’s also the most upstanding and he agrees to help her. Chase also finds many reasons to go shirtless, and Jessie, who sports entirely too much make-up for a prairie woman, doesn’t mind one bit.

Jessie has a loyal friend in town named Mrs. Hollyhock (Michelle Hurd, “The Glades”), and she’s also being stalked by the required villain drifter (Rob Mayes) … a man who is quite the contrast to our hero, Chase.  There is little doubt where this one is headed, and there are few, if any, twists or surprises along the way. Only the visuals of the setting prevent this one from being total cornball, however, these days we should be thankful for any story about a decent man who treats others well.

In select theaters on OnDemand beginning October 24, 2025

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Posted by David Ferguson

THE SUMMER BOOK (2025)

October 20, 2025

Greetings again from the darkness. Watching this film is how I imagine it would be to view a poem. It’s meditative and slow … somehow calming us as we contemplate the topics broached. Director Charlie McDowell (THE ONE I LOVE, 2014) and screenwriter Robert Jones have adapted the 1972 novel by Tove Jansson. Granted, it’s an unusual set up for a film shown anywhere outside of a film festival, yet because it is poignant and relatable, it’s an easy one to recommend.

Nine-year-old Sophia (newcomer Emily Matthews) arrives by boat on an island in the Gulf of Finland with her father (Anders Danielsen Lie) and her grandmother (8-time Oscar nominee Glenn Close). The well-worn family cabin has clearly been an annual retreat, and a simple straw hat clues us in to the fact that Sophia’s mother has recently passed away. Dialogue is relatively minimal here as we watch these three go through each day. The few interactions that occur are quite meaningful. The father, an illustrator who spends his time focused on work, is grieving deeply over his wife. Sophia is frustrated and longing for his attention. She tells her grandmother, “He doesn’t love me since she died.” It’s a heartbreaking moment.

The film’s best scenes are those with Sophia and her grandmother, a woman trying to fill a gap while also dealing with the reality of her age (a failing memory and worsening health). Grandmother is wise and recognizes this is her moment to pass along life lessons. These include social graces (with neighbors) and the joy of quiet moments. The three chip in to cultivate a struggling poplar sapling – seemingly transformed into a tribute to the departed mother and wife. A man we assume to be Sophia grandfather drops off a box of fireworks for Midsommer, and though he’s a no-show for the festivities (and duds), his inclusion of a special surprise for Sophia is a hit.

Grandmother urges her emotionally distant son to show warmth to Sophia, as she (grandmother) won’t always be around. It’s a rare film that covers grief, growing old, and growing up … any one of these would be (and has been) a central theme for many movies and stories. McDowell’s film is not one for showoff acting performances, yet Glenn Close and young Emily Matthews are so natural together, that we realize this is something special. In keeping with the film’s tone, composer Hania Rani’s score is serene, while including some wonderful piano. There is a moment when Grandmother answers a question with, “Life is long, Sophia”. She could have added, ‘except when it isn’t’.

Available on all major VOD platforms beginning October 21, 2025

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Posted by David Ferguson

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