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

RE-ELECTION (2025)

October 20, 2025

Greetings again from the darkness. Real life doesn’t offer too many opportunities for ‘do-overs’. Fortunately, movies do. Dallas born-and-raised (now Los Angeles-based) Adam Saunders wears many hats for this film that was inspired by his own life. Mr. Saunders wrote the story, directed and produced the film, and takes the lead role.

Jimmy Bauer (Saunders) is what one might call a loser (although that description has been expanded so much in recent time that it’s probably not the right one to use here). Jimmy is 42 years old. He lives in a shed behind his dad’s (Tony Danza) struggling memorabilia shop where he works since he never finished high school. Use whatever descriptive label you prefer, but realize that none of that is his biggest personal flaw. Instead, that would be Jimmy’s hang-up that his life’s turning point was losing the Senior year Class President election to Manish Singh (Rizwan Manji). 

Manish not only won that election, he also became Governor of Texas and married Jimmy’s dream girl. See, Jimmy thinks Manish stole the life that he was meant for … and rigged 8-ball giveaways were a key. Now, 25 years later, he sees a do-over is possible by going back to high school and running (again) for Class President. His overly supportive sister Shawna (Patty Gugenheim) happens to be the school Principal. Jimmy is shocked with just how out-of-touch he is with today’s high schoolers. He knows very little about social media, technology, or gender-neutral bathrooms. In fact, he thinks throwing “a kegger” is a good idea to win voters.

Jimmy does find support from Noa (Bex Taylor-Klaus), a brilliant non-binary student, and Ama (Nathalie Kelly), a teacher and former classmate of Jimmy’s. She remembers him as being very kind to her. The whole campaign is quite a spectacle, and as you can imagine, Jimmy goes through some serious growing pains. As a psychological study, it’s interesting to note that ‘coming of age’ stories once revolved around teens and twenty-somethings. These days, it’s about a 42-year-old learning what it means to be an adult and a decent human being. There is a terrific message here about life and politics. Selflessness and service to others is what matters, and living with regrets is not a path to happiness. A famous Thoreau quote is used a couple of times during the film and is even on a poster in Stan’s shop. “What a man thinks of himself, that it is which determines, or rather indicates his fate.” Saunders’ film is a brisk 84 minutes of comedy and life lessons.

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Posted by David Ferguson

GROW (2025)

October 16, 2025

Greetings again from the darkness. I’m not sure if pumpkins get short-changed with most of their attention coming only during one season, or if perhaps they receive more attention than deserved during that season. Either way, pumpkins are rarely at the center of a cinematic event … despite having their moments during animated TV specials like “It’s the Great Pumpkin, Charlie Brown” and “Spookley, the Square Pumpkin”. Director John McPhail (the excellent ANNA AND THE APOCALYPSE, 2017) sets out to change that with a screenplay by a trio of writers: Nick Guthrie (MINI’S FIRST TIME, 2006), Ruth Fletcher (“Hawaii Five-O”), and Ruth’s husband and writing partner, Christos N. Gage.

Common sense tells us that if you are going to have a family-friendly, heartwarming story, then you best include a kid worthy of attention. When we first meet young Charlie Little (Priya Rose-Brookwell, “The Lazarus Project”), she’s trying to escape from a home for abandoned kids so that she can track down her mother … a mother who left her behind to pursue the bright lights of Hollywood. Instead of locating her mother, Charlie gets connected with her Aunt Dinah (Golda Rosheuvel, “Bridgerton”). It’s not a smooth transition because Charlie is a precocious child who wants to be loved, and Aunt Dinah is a very reserved woman trying to make ends meet on her struggling Little Farm.

Mugford, the local village, is known as the Pumpkin Capital of the World, and Charlie immediately dedicates herself to winning the cash prize at this year’s contest for the biggest pumpkin. See, Charlie is not just a spirited kid, she is also one with plants – she converses with them, and feels what they feel. Charlie and Dinah enlist the help of Arlo (Nick Frost, The Three Flavours Cornetto trilogy), a local with some past success in the contest. What’s surprising here is the nefarious activities of those involved with the contest – secrets, vandalism, and outright cheating. In other words, the pumpkin contest turns into a life lesson for young Charlie who always sees the best in others – even Toby the dog.

Charlie pampers ‘Peter’, her prize pumpkin, while we get riffs on PSYCHO and THE GODFATHER, and even a use for lion dung. Supporting work comes from Joe Wilkinson (“After Life”) as Dinah’s former farmhand, Jane Horrocks and Tim McInnerny as local pumpkin legends, and Jeremy Swift (“Ted Lasso”) as a lab technician under intense pressure. The film reminds me of some of the Disney movies from the 1960’s, as it’s charming and funny, and offers up some life lessons – complete with emotional depth as the relationship between Charlie and her Aunt Dinah develops. I don’t get many full-blown family films to review, and it’s nice to see one that works on multiple levels.

Opens nationwide on October 17, 2025

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Posted by David Ferguson

WISDOM OF HAPPINESS (2025, doc)

October 16, 2025

Greetings again from the darkness. Co-directors Philip Delaquis and Barbara Miller opt against an on-camera Q&A session with the Dalai Lama and instead allow His Holiness (the 14th Dalai Lama) to speak directly to the camera on topics pertinent to what’s happening in the 21st century. This approach allows the film and his words to wash over us like a meditative event … calm and soothing. His words not only guide us on ways to chill out, but also inspire us to pay close attention to the current situation.

He opens by stating that “everyone wants peace and happiness”. While logically, we believe this, yet the actions of some, leave us doubtful. Still, going with that premise, the Dalai Lama proceeds to stress the importance of finding a peaceful mind through deep breathing, compassion, education, and the power of nature. The filmmakers include some amazing archival footage dating back to his childhood and the upheaval in China that led him (and so many others) to be refugees to India, where he remains today at age 90.

Obviously, this isn’t a ‘normal’ movie, or even a typical documentary. More than anything it’s a reminder … a recommendation to reset our approach. We are so caught up in what he terms “busy, busy, busy” that it causes us stress and concern, leading to unhappiness. He says peace is the way to happiness, which is our purpose in life. By peace, he refers to a peaceful mind as well as a lack of war/conflict (resolved through dialogue) and a caring approach to our planet and environment.

What a different world this would be if global leaders took the Dalai Lama’s approach of compassion and kindness into their governing of nations.

Opening in select theaters nationwide on October 17, 2025

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Posted by David Ferguson

THE WOMAN IN CABIN 10 (2025)

October 9, 2025

Greetings again from the darkness. We all love a thrilling whodunit murder mystery. The best ones offer a magical blend of creative story, interesting setting, and fascinating characters. Writer-director Simon Stone (THE DIG, 2021) has delivered a film adapted from the best-selling 2016 novel by Ruth Ware. Frequent writing partners (SEBERG,2019) Joe Schrapnel and Anna Waterhouse collaborated with Stone to adapt the novel into a movie that looks great, and for the most part, fulfills the above listed requirements.

Keira Knightley stars as Laura Blacklock, an award-winning journalist who has been through a recent traumatic experience while on the job. Her editor (an underutilized Gugu Mbatha-Raw, BELLE, 2013) tries to convince Laura to take some time off. Instead, she accepts an invitation from billionaire Richard Bullmer (Guy Pearce) to join his gaggle of rich friends aboard a 3-day cruise on his ultra-luxury yacht. The purpose is to fundraise for cancer treatments as a tribute to his wife Ann, recently stricken with the dreaded disease.

The guest list includes the very rich and famous, and Laura’s job is to cover the ‘charitable’ event. You’ll likely notice pretty quickly that, just like in real life, movie billionaires are difficult to relate to and easy to dislike. Some are outright obnoxious like Adam (Daniel Ings, “The Gentlemen”) and Heidi (Hannah Waddingham, “Ted Lasso”), while others are just a bit too creepy, such as Dr. Mehta (Art Malik) and the host, Bullmer. There’s also rock star Danny Tyler (Paul Kay, “After Life”), a former party animal who has cleaned up his life and is intent on avoiding trouble and bad publicity.

 Coincidentally (or not), Bullmer has hired Laura’s ex-boyfriend Ben (David Ajala, “Star Trek: Discovery”) as the official photographer for the cruise. Things are going awkwardly fine until the middle of the first night when Laura is awakened by a scuffle next door that results in someone going overboard. The conspiracy is in full mode once all passengers are accounted for and Laura is positioned as a bit unstable, given her insistence that she heard and saw someone go in the water. A couple of other interesting supporting roles are covered by Gitte Witt and Kaya Scodelario (“The Gentlemen”), neither of which belong to the rich group.

The rest of the movie comes down to Laura trying to solve this mystery, while certain forces are preventing her from doing so. It’s a tale as old as time, and a common cliché – follow the money until you have your answer, and don’t trust the filthy rich folks. There’s another theme here that I found even more interesting, and that’s the frustration and panic that Laura feels when no one believes her story. It’s such a tough challenge. Her struggle and tenacity is what makes the film work. It’s highly likely that the novel plays even better than the screen version, as some of what happens here seems unlikely in a real-world event. Still, there is entertainment value in trying to stay ahead of the curve.

Releasing globally on Netflix on October 10, 2025

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Posted by David Ferguson

STEVE (2025)

October 3, 2025

Greetings again from the darkness. You know those days when it feels like you are being pulled in all directions, and nothing seems to go right? Welcome to 24 hours in the life of Steve, the headteacher at Stanton Wood, a reform boarding college for troubled/challenging young men. This is one of those days that feels like a week. Even before he walks through the front door, he’s already getting pulled this way and that – a minute here, a quick decision there, a request for a sidebar, a need to run something by him. It’s a relentless job, heightened by the presence of a BBC documentary crew.

Writer Max Porter adapted his 2023 novel “Shy” for the big screen, and the film reunites director Tim Mielants with Cillian Murphy (Oscar winner for OPPENHEIMER, 2023), his leading man from SMALL THINGS LIKE THESE (2024) and “Peaky Blinders”. Murphy is one of the few actors who is somehow just as effective when he’s not talking as when he is. It’s a skill that benefits this film which is … choose your preferred descriptive word … frenetic, chaotic, hectic.

These students are certainly energetic and that energy often slips into a combative mode. The faculty spends an inordinate amount of time diffusing these conflicts. We only see bits and pieces of academic teaching, leaving the bulk of time devoted to life lessons and behavioral advice. Emily Watson plays the school psychiatrist/therapist, Jenny, and as with all the adults working at Stanton Wood, her heart is in the right place – regardless of the immense frustration that goes with the job. Tracey Ullman, flashing some dramatic chops, is Steve’s most supportive co-worker – and quickly expresses her displeasure at his tendency to self-medicate. Lola (Little Simz) is the newest faculty member, and she has one particularly tense scene in the cafeteria … proving her mettle in this environment.

The source novel is entitled “Shy”, and although Steve is the focus of the film, the student named Shy (Jay Lycurgo, “Titans”) seems to be a special case for Steve, and Shy’s phone conversation with his mother is the most heartbreaking moment in the film. When it is announced that the school is too expensive to run and will be shut down in six months, the presence of a local official (Roger Allam) leaves little doubt that a political message is being delivered. A recurring element finds the documentary crew asking each participant to name three words that describe themselves. Steve’s response: “very, very, tired”. He looks it and we understand. Some nice camera work from cinematographer Robrecht Heyvaert gives us glimpses of a lovely world outside the walls of Stanton Wood, whereas inside the stress is palpable.

Premiering on Netflix on October 3, 2025

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Posted by David Ferguson

SHELL (2025)

October 3, 2025

Greetings again from the darkness. Every one of us wants to look good and feel good. But how far will we go? What if our livelihood depended on looking young? There is no denying that societal pressures favor those who are pleasing to the eye, and of course, Hollywood is the poster child for rewarding beauty and youth … and penalizing, or at least ignoring, the other end of the spectrum. The second film from director Max Minghella (his first was TEEN SPIRIT, 2018) features a screenplay from Jack Stanley (THE PASSENGER, 2023), and it likely pays a price for coming on the heels of last year’s THE SUBSTANCE (2024), a body horror film with a similar theme, but one that was far more extreme.

The film opens with a terrific sequence with the rarely seen Elizabeth Berkley (SHOWGIRLS, 1995) as Jenna Janero. The sequence firmly establishes that we’re in for a ‘body horror’ ride; although unfortunately, this is one of the best scenes for quite a while. We then meet Samantha Lake (Elisabeth Moss, “Mad Men”), a struggling actor who has hit the dreaded age of 40 – a poor ‘choice’ in Hollywood. Sam’s career peak seems to have passed her by and now she’s auditioning for roles against much younger actors – including Chloe Benson (Kaia Gerber, SATURDAY NIGHT, 2022), whom Sam babysat years ago.

After a professional nudge, Sam finds herself at Shell Corporation, a strange place that promises its clients vitality and the end of aging. The Director and face of the company is Zoe Shannon (Kate Hudson, ALMOST FAMOUS, 2000), a 68-year-old woman who doesn’t look a day over 40. Not surprisingly, delivering youth to women is extremely lucrative, and Zoe lives her luxurious lifestyle in a stunning mansion. Oh, there is a downside … some clients have to be ‘disappeared’ when the side effects pop up.

Dressed in a ridiculous oversized Columbo trench coat (supposedly to trick us into believing Ms. Moss is a hefty woman), Sam is a bit reluctant at first to join the Shell program. All it takes is handsome and smooth-talking Dr. Hubert (Arian Moayed, “Inventing Anna”) to ease her into the program. Soon Sam and Zoe are buddies and spending a great deal of time together, relishing their youthful looks and subsequent riches.

Of course, all fantasies must come crashing down at some point, and although her psoriasis is gone, the side effects cause the worst Vanity Fair interview in history, and lead to an extreme third act. Dr. Thadeus Brand (Peter MacNicol, “Ally McBeal”), the inventor of Shell returns for Sam’s debrief. His use of lobster enzymes comes into play, resulting in a sequence of splatter.

It’s a bit odd that the film never capitalizes on women taking power, or even taking control of their own life. Although Kate Hudson does nice work here, I couldn’t help but think that casting Gwyneth Paltrow would have added a touch of irony. Este Haim provides a bit of support work as Sam’s assistant and friend, and the focus pretty much remains on the obsession/pursuit of youth and beauty – at any cost. Director Max Minghella is best known as an actor (“The Handmaid’s Tale”) and as the son of Oscar winning director Anthony Minghella (THE ENGLISH PATIENT, 1996). It’s likely meant as satire, but the film strikes so close to today’s societal pressures, especially on women, that we can’t help but be a bit saddened by it. One thing’s certain … there was a missed opportunity for the B52’s “Rock Lobster”.

In Select Theatres & On Digital October 3, 2025

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Posted by David Ferguson

MR. BLAKE AT YOUR SERVICE (2025)

October 3, 2025

Greetings again from the darkness. When we first meet Mr. Blake, he’s tidily packing a small suitcase and informing an anxious phone caller that he will not be attending the ‘Man of the Year’ award ceremony, even as he’s being introduced as the guest of honor in the background. We realize Blake is leaving London because he takes one last forlorn glance at his long-time apartment before heading “back to where it began.” It’s rare for the author of the source novel to adapt and direct a film, but that’s the situation here with Gilles Legardinier and his 2012 book, “Complètement cramé !” Co-writer Christel Henon helped with the screenplay.

The always interesting John Malkovich plays against type and stars as Andrew Blake in this French (with subtitles) comedy originally titled “Well Done!”. Having retired as a businessman, Blake is mourning the death of his wife (40 years) Diane, and heads to the stunning French estate where they first met. It’s there where he receives a less-than-warm welcome by Odile (a terrific Emilie Dequenne, CLOSE, 2022), the manager of the inn. A misunderstanding between the two, lands Blake in a cramped room and a ‘trial’ as the home’s butler. He does meet the estate’s owner, Nathalie Beauvillier (French acting legend Fanny Ardant), who has also lost her spouse and finds herself speaking to a mannequin wearing her husband’s suits, as she navigates her way through severe financial challenges.

Other key players include the parttime groundskeeper Philippe Magnier (Philippe Bas) and the parttime maid Manon (Eugenie Anselin). In a film where everyone gets their moment, Magnier and Blake playfully banter (Blake calls him a grumpy frog) after near-violence marks their initial meeting. Manon heeds Blake’s fatherly advice when she finds herself in a situation with a less-than-supportive boyfriend. There is also the irritating Madame Berliner (played by co-writer Christel Henon) as Nathalie’s quasi-friend, and finally, Mephisto, the chunky house cat to whom the hard-driving Odile shows some affection.

This is a whimsical, feel-good movie that never delves too deeply into the characters. However, that doesn’t mean they aren’t relatable, as we do find ourselves pulling for each of them. At its best, this is a story of turning grief into something positive during the next phase of life. Mr. Blake becomes a most unexpected uniter – a man whose advice, guidance, and good intentions not only help each of these characters with their own situation, but also instigate a bonding within the staff. This becomes a ‘one good deed leads to another’ scenario, although the final Christmas setting and reunion feels a bit syrupy. On a sad note, Emilie Dequenne passed away earlier this year from cancer. She was only 43.

Will be released in UK and Irish cinemas on October 3, 2025

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Posted by David Ferguson

ARE WE GOOD? (2025, doc)

October 3, 2025

Greetings again from the darkness. Marc Maron is the rare comedian who can make you laugh and make you think, while also making you feel beat down … and often sad for him. Maron has done stand-up comedy. He’s acted in TV series (“GLOW”) and even had his own series (2013-16). You might have seen him acting in movies (THE ORDER, 2024) or perhaps heard his voice acting (THE BAD GUYS franchise). And beyond that, he may be best known as a trailblazer in the world of podcasts – his “WTF” launched in 2009 at a time when few even knew what a podcast was.

Director Steven Feinartz has quite a track record with comedy specials (Bill Burr, Eddie Pepitone, Steve Byrne, etc.), but this documentary is something a bit different. The film kicks off in 2020 as Maron (along with everyone else) is trying to figure out the new rules that go with COVID. It’s also the year Maron’s romantic partner and soul mate, director Lynn Shelton died. Ms. Shelton directed numerous TV shows as well as some movies (SWORD OF TRUST, 2019, which also starred Maron). The camera catches Maron’s emotional response to her death and then follows as that grief sticks with him.

Much of what we see on screen is Maron using comedy and his work to process his grief. Directly to the camera he questions whether this is proper or not – is it an abuse of her memory? Maron’s podcast has featured many guests over the years, including Paul McCartney and Robin Williams … even Barack Obama showed up to tape a show in Maron’s garage studio. Not surprisingly, Lynn Shelton was a podcast guest back in 2015. But this is something different. We are watching a guy dealing with loss. It all seems real, yet how are we to know for sure. That ending certainly catches us off guard – not that we don’t wish him happiness.

It’s quite interesting to watch as Maron goes back on stage in 2021. One 2022 segment features actor/comedian Patton Oswalt recounting the loss of his wife and sharing the emotions of grief with Maron. It’s a powerful segment that ends too quickly. Fellow comedians John Mulaney, Nate Bargatze, and David Cross contribute, and Maron discloses some personal baggage: his love of cats, his use of cocaine in the 1980’s, being sober since 1999, and having ex-wives. One of my favorite parts involves his dad jokes – jokes specifically for his dad, who was in the audience for a show. Maron’s 60th birthday party wraps things up, and though we aren’t exactly sure what we’ve watched – it’s certainly more personal than most celebrities would accept.

Utopia will release the film in theaters in NY and LA on October 3rd and nationwide theatrical events on October 5th & 8th.

The theatrical releasee will coincide with the end of Maron’s enormously popular podcast WTF. 16 years in, WTF is one of the most streamed and longest running podcasts of all time.

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Posted by David Ferguson

Book Review- “REAR WINDOW: THE MAKING OF A HITCHCOCK MASTERPIECE IN THE HOLLYWOOD GOLDEN AGE” by Jennifer O’Callaghan

September 28, 2025

Writing a book about a beloved movie is a tricky undertaking. Viewers who love the movie typically have their own memories and perspectives regarding what they saw on the big screen … why the film had such an emotional impact. On the other hand, anyone who hasn’t bothered to watch a movie that was released more than seventy years ago either has no interest in it, or isn’t likely to take the time to read a book to determine if they should watch it now. So, while the market for potential readers may not be massive, author Jennifer O’Callaghan is surely very aware that anyone reading her new “Rear Window” book is likely a raving fan of the movie and excited to learn as many ‘behind-the-scenes’ details as possible.

Yours truly is certainly one of those raving fans of REAR WINDOW (1954) and of its director, the legendary Master of Suspense, Alfred Hitchcock. Ms. O’Callaghan delivers all the scoop fans of the film could possibly want, yet after reflecting on the content, I believe it fair to state that the book’s title actually undersells what has been researched and reported here. Readers will benefit from numerous history lessons on Hollywood (not just the movie), as well as various personal profiles. In other words, cinephiles and classic film lovers will likely be as absorbed in these stories as I found myself.

Author O’Callaghan chooses an unusual structure for the book. While the timeline and stories bounce around, she always ties a particular detail or person to the film, REAR WINDOW. This results in something much broader than the “making of” projects that have become so prevalent these days. An argument could be made that Hitchcock’s wife, Alma, deserves a bit more attention, or that their daughter Patricia could have provided additional familial anecdotes (she has 2-3 quotes included); however, this is offset by the fascinating personal and professional elements – especially for stars Jimmy Stewart and Grace Kelly.

Of particular interest to this reader was the profile of the luminous Grace Kelly. Most of us are aware that she left Hollywood when she married Prince Rainier of Monaco, and we learn that although she embraced her duty to her new country, she also held on to the hope that she could someday return to acting … even going so far as considering the lead in Hitchcock’s MARNIE (1964), a role that ultimately went to Tippi Hedren, who also starred in THE BIRDS (1963). We learn that Grace left home after high school, determined to pursue an acting career. She was one of many famous tenants of the Barbizon Hotel for Women in New York, before heading to California for movie roles … her first being Henry Hathaway’s FOURTEEN HOURS (1951). Grace Kelly’s eleven movie career included three films with her favorite director, Alfred Hitchcock: DIAL M FOR MURDER (1954), REAR WINDOW (1954), and TO CATCH A THIEF (1955). Consistent throughout her film career was how highly her directors and lead actors spoke of her – adoration that was later shared by the citizens of Monaco.

This gives you a pretty good idea of the type of insight to expect from this book. Just know that the details provided also cover some of Hollywood’s power structure, and insight into the realization that what we saw on screen with Jimmy Stewart was basically the man he was when the cameras weren’t rolling. The comparison to Tom Hanks seems apropos. Stewart’s military service and influence are also outlined, and alone would have made him a hero and idol. Some of Hitchcock’s renowned ego is touched on, including a spat with one particular writer – an interesting reveal that won’t be spoiled here.

Of course, this is a book about one of the all-time great movies, REAR WINDOW, and author O’Callaghan never loses sight of that. The remarkable Greenwich Village apartment set is detailed, as are the supporting characters that make the film such an emotional deep dive. Details on the great Thelma Ritter (who plays wise-cracking Stella) are provided, and we get some inside info on Raymond Burr (the villain Lars Thorwald) and Wendell Corey (Detective Doyle). Just as interesting as those key characters is the breakdown of the other residents who have become so familiar to us: dancer Georgine Darcy (as Miss Torso), Judith Evelyn (as Miss Lonelyhearts), and Ross Bagdasarian, a real-world composer who also created “Alvin and Chipmunks” and the corresponding popular Christmas song.

 This may not be the book for casual movie fans, but for those who revel in the history of cinema and behind-the-scenes secrets, you’ll very much appreciate the bits of previously unknown facts, data, and trivia. It also works as a better understanding of how Alfred Hitchcock worked on his films, how he put them together, and his strategy during the era of The Hays Code and blacklists. Entertainment Journalist Jennifer O’Callaghan has researched and written a book that will surely be treasured by cinephiles and Hitchcock fans.

Available beginning September 30, 2025

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Posted by David Ferguson

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