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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Posted by David Ferguson

FRANKENSTEIN (2025)

December 29, 2025

Greetings again from the darkness. As a lifelong lover of cinema, I tend to latch on to the works of those who so obviously feel the same. Among those who have achieved some level of mainstream success are Martin Scorses, Quinton Tarantino, Steven Spielberg, and Christopher Nolan. Another filmmaker who definitely belongs in the group, and it may surprise some, is Guillermo del Toro (an Oscar winner for PINOCCHIO, 2022, and THE SHAPE OF WATER, 2017). Other gems in his oeuvre include CRIMSON PEAK (2015) and PAN’S LABRYNTH (2006).  The esteemed director has long claimed that his “dream project” is a film version of Mary Shelley’s 1818 novel, “Frankenstein: Or, The Modern Prometheus”.

The dream is now a reality, and what a thing of beauty it is. The visuals here eclipse all expectations, and the only caution I would offer is that the tone and themes are a bit of a twist from traditional takes on the story … and we all know there have been many previous takes. All of this confirms what a remarkable source material Mary Shelley’s novel is. That’s not to say del Toro’s version is ‘new’, yet it’s certainly an oddity and an outlier to what we’ve come to expect from Frankenstein movies.

Setting the film in 1857 (nearly 40 years after the novel) affords del Toro some benefits of advancements, as well as audience familiarity to the times. It may seem strange, or even contrary, but to me, this film’s central theme is humanity – how we use it and how we sometimes work against it. An opening in the Arctic where creature (Jacob Elordi) and creator (Oscar Isaac) cross paths yet again – after chases that only become clear later in the film – and it’s horrifying and stunning. Pivotal to the sequence is Captain Anderson’s (Lars Mikkelsen, “House of Cards”, and brother of Mads) ship and crew.

Victor Frankenstein, the human God/creator, is played with enthusiastic ambition that often drifts into mania. He’s a man of science whose vision refuses to be contained. Even in success, his need to control override his accomplishments … meaning the creature is truly born into misery and pain, resulting in confusion and a need to find where and how he belongs. Is it possible for a laboratory experiment to be a tortured soul? Director del Toro clearly believes this … as did James Whale in those early versions. It’s in these moments where Elordi truly shines as the creature – it’s a terrific performance through prosthetics.

Two-time Oscar winner Christoph Waltz and Mia Goth (a dual role) are both terrific in supporting roles, and it’s best if nothing further is disclosed about their characters as each are key to the story. Beyond the fascinating, tragic, and heartbreaking story is a film with such stunning visuals that it stands alone as a work of art. Guillermo del Toro’s talented crew includes cinematographer Dan Laustsen, Production Designer Tamara Deverell, Oscar winning Set Decorator Shane Vieau, and two-time Oscar winning composer Alexandre Desplat, who delivers an incredible score (one certain to be nominated). Of course, as previously stated, this was the “dream project” of Guillermo del Toro, and he has delivered one for the ages … dreams really do come true!

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Posted by David Ferguson

CRITICAL INCIDENT (2025, doc)

December 29, 2025

Greetings again from the darkness. The line between right and wrong may be more blurred than ever these days, yet we’d be mistaken if we were to assume that the line was once distinct and clear. Rick Rowley (Oscar nominated for his 2013 documentary DIRTY WARS) offers the disturbing details of the investigation into the 2010 event that led to the death at the border of an undocumented Mexican immigrant named Anastasio Hernandez – Rojas.

Though undocumented, Anastasio Hernandez-Rojas had lived in San Diego for 26 years, worked as a pool builder, and been married to Maria. They had five U.S. born kids. The first interview is with Rodney Scott, who was Chief of the Border Patrol of the San Ysidro port of entry in 2010 at the time of the even. As the former Chief, he claims not to know all of the details other than that the security cameras at the time were ‘props’ used as deterrents, which is why no video footage of the incident was provided. 

The film takes us through the non-existent investigation by the police – the detective states the Border Patrol treated it as a medical event, rather than a use of force, so no witness statements were obtained and the scene was cleaned. We see some of the agents being deposed by Maria’s attorney, Gene Iredale, and learn of the autopsy results. Investigative Reporter John Carlos Frey spends a great deal of time trying to find details on what appears to be a cover-up. When he connects with an eyewitness, iphone footage leads to public marches for justice in 2012. He ends up working with a former BP agent, as well as the Southern Border Communities Coalition.

A Grand Jury investigation lasts more than three years and results in no agents being prosecuted, and another investigation begins to determine if International Human Rights Laws were violated. By 2022, even Congress is convinced a proper investigation is warranted. Shadow units, such as Critical Investigation Team (CIT) are discovered – and referred to as “Border Patrol Cover-up Units”.

There is little here to provide us with faith in our institutions, especially these days. Homeland Security manages the 20,000 Border Patrol Agents, and it has since been discovered that Anastasio Hernandez-Rojas was tased while face down with hands cuffed behind his back. The methamphetamine in his toxicology could have been from the meds administered at the time of treatment. It’s little wonder the film is subtitled, “Death at the Border”. Rick Rowley delivers a powerful HBO documentary at a time when clear answers are difficult to come by.

Premieres on HBO on December 29, 2025

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Posted by David Ferguson

EEPHUS (2025)

December 27, 2025

Greetings again from the darkness. You don’t have to be a baseball fan to enjoy this one. You don’t need to be an old man either. Since I am both, you can only imagine the appreciation I have for writer-director Carson Lund and his co-writers Michael Basta and Nate Fisher as they deliver a nostalgic and humorous look at how men deal with glory days of old and a rapidly changing landscape that looks to erase the past and their memories.

Two adult recreational league men’s teams gather for a final game on the baseball field where they’ve played their entire lives. The land is being developed for a new school, so the River Dogs and Adler’s Paint square off to scratch that itch one last time – safe/out arguments, aching bodies, rounding the bases, and the form of male camaraderie that only exists when keeping score is involved. In fact, this game has an official scorekeeper in old-timer Franny, who takes the game even more seriously than many of the players.

The field and the game take place in New England, but the location could be anywhere, U.S.A. These are friends and acquaintances, some connected only through baseball, while others are lifelong buddies, co-workers, and relatives. As throwbacks to a different era, this game, which goes extra innings, includes a lost ball in the woods, car headlights to illuminate the field, a delay due to a trash truck, and a shortage of pitchers.

For those who don’t know, an “eephus” pitch is an extremely slow, arcing junk pitch designed to contrast with fastballs and catch the hitter off-guard. Probably the most famous was Rip Sewell’s eephus pitch to Ted Williams in an all-star game, and the pitch has been used more recently by Clayton Kershaw and Zack Greinke. However, the pitcher most associated with the pitch is Bill “Spaceman” Lee, who pitched for the Red Sox for many years. Known for his quirky personality, the pitch was a natural part of his arsenal. That same Bill Lee, now 78 years old, makes an appearance in this film, and even pitches an inning … showing off the titular pitch.

Lee also gets to rattle off a couple of his most famous phrases: “Strikeouts are fascist” and “The sun don’t shine on the same dog’s ___ every day”. And as quickly as he appeared, Lee is then nowhere to be found. The post-game handshakes have a bit more emotion than a typical game, and the players even take in some fireworks before heading back to real life. A nod to Lou Gehrig’s famous farewell is included, and the film ends with Tom Waits singing “Ol’ 55”. Appreciation is the best word I can come up with for Carson Lund and these teams of actors who portray the fun and pain that goes along with a final game.

The film is currently streaming and available VOD

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Posted by David Ferguson

SENTIMENTAL VALUE (2025, Norway)

December 26, 2025

Greetings again from the darkness. Dysfunctional families are frequently at the center of movies – often used for comedic effect. But this latest family drama from writer-director Joachim Trier (THE WORST PERSON IN THE WORLD, 2021) is something different. It’s something much more powerful. Trier delivers a film of characters struggling with the real effects of the tangled web of emotions that occur when family dynamics take the inevitable twists and turns.

An incredible two-segment opening prepares us for what’s coming. We see a very cool house that’s at the center of a 6th grade essay written as if the girl were the house – seeing and feeling all that happens within the walls. This bumps against a segment where Nora (Renate Reinsve, who was superb in Trier’s THE WORST PERSON IN THE WORLD) is a lead actress experiencing extreme stage anxiety just prior to the curtain rise of her stage performance in Chekov’s “The Seagull”. The two scenes may appear unrelated, but in Trier’s film, everything ties together to create the whole of human experience.

Nora and her married sister Agnes (Inga Ibsdotter Lilleaas, A BEAUTIFUL LIFE, 2023), an historian, are close to each other and to differing degrees estranged from their filmmaker father Gustav (Stellan Skarsgard, “Chernobyl”) who shows up for the funeral of his ex-wife, the girls’ mother. An awkward reunion is made worse when Gustav tells Nora that he wrote a script for her. She wants nothing to do with him or the script. It’s hard to tell if Gustav is offering the role as a peace offering to his daughter, or if he is taking advantage of her success on stage to secure financing for the film … it’s been 15 years since his last.

I disclose all of that to give you some idea of the intricacies involved in these relationships. Things only get more complicated when Gustav casts a popular American actor, Rachel Kemp (the always amazing Elle Fanning) in the role meant for Nora … in a film about Gustav’s mother, his daughter, and his grandson … and the family house. That house is the centerpiece to much of what has occurred and what occurs as the father tries to re-connect with his daughters. The eavesdropping through the stove is a nice touch that exemplifies the communication problems for the family members.

As good as Ms. Fanning and Ms. Lilleaas are, there are a handful of scenes between Renate Reinsve and Stellan Skarsgard that are among the most resonant scenes of the year. And the film itself (replete with nods to Lasse Hallstrom and Ingmar Bergman) is also one of the best of the year. Rarely does a family drama perfectly capture the entanglement of emotions, memories, and art. This one succeeds through directing, writing, acting, and cinematography (Kasper Tuxen).

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Posted by David Ferguson

ANACONDA (2025)

December 23, 2025

Greetings again from the darkness. Longtime movie lovers usually cringe with announcements regarding movie remakes. Of course, some work out pretty well: A STAR IS BORN (2018), THE THING (1982), TRUE GRIT (2010); while others deserve backlash: PSYCHO (1998), ROLLERBALL (2002), THE TEXAS CHAINSAW MASSACRE (2003). When the news hit that writer-director Tom Gormican (THE UNBEARABLE WEIGHT OF MASSIVE TALENT, 2022) was going to remake ANACONDA (1997), it wasn’t so much a cringe reaction as it was a giant question mark … Why remake a movie that on its best day could only be labeled a fringe cult favorite? Once the leads of Jack Black (after Nic Cage dropped out) and Paul Rudd were announced, it made much more sense. This was to be a comedic take on an original film that featured quite a few accidental comedy elements.

This latest take revolves around four lifelong friends stuck in mid-life limbo, searching for meaning. Doug (Jack Black), Griff (Paul Rudd), Kenny (Steve Zahn), and Claire (Thandiwe Newton) made a movie together as kids, and Griff discovered the VHS tape at his mom’s house. Watching their work as youngsters ignites the desire to recreate the passion they once had. The solution is obvious (to them): remake ANACONDA!

They head to the Amazon and almost immediately are unknowingly caught up in a gold crime ring where a key player, Ana (Daniela Melchior, ROAD HOUSE, 2024) winds up captaining the boat they chartered for the river work. Also on the boat is Santiago (Selton Mello (I’M STILL HERE, 2024), a snake handler who brings along his pet as the titular character. As you might imagine, the whole thing turns into quite an ordeal and yes, there is a giant snake who feasts on humans (like in the original).

Director Gormican co-wrote the script with Kevin Etten, and rather than tongue-in-cheek, they go full-on comedic reimagining of the original 1997 film written by Hans Bauer, Jim Cash, and Jack Epps Jr. Paying additional homage to that film, there are mentions of Jennifer Lopez, Eric Stoltz, and a wisecrack about Jon Voight’s confusing accent. I’ll admit that I don’t always find the genius in this type of comedy, but I found myself laughing more often than not at some of the outrageous escapades … likely due to the talents of the lead actors (Zahn especially has some zingers). You likely know already whether this one will appeal to you, so enjoy … or not.

Opens in theaters on Christmas Day 2025

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Posted by David Ferguson

MARTY SUPREME (2025)

December 22, 2025

Greetings again from the darkness. We give thanks to the movie Gods for filmmakers like Josh Safdie, as there is zero chance that he will ever make a movie that bores us. This is his first solo movie in many years after frequent collaborations with his brother, Benny (UNCUT GEMS, 2019; GOOD TIME, 2017). But fear not, because working alongside the writer-director are other frequent collaborators: screenwriter Ronald Bronstein, cinematographer Darius Khondji, composer Daniel Lopatin, and costume designer Miyako Bellizzi.

The film opens in 1952 New York City where Marty Mauser (two-time Oscar nominee Timothee Chalamet) is working as a shoe salesman, barely managing to stay a half-step ahead of bill collectors. Marty uses the shoe storage room for quickies with childhood friend Rachel (Odessa A’zion, SITTING IN BARS WITH CAKE, 2023), who is married to a stereotypical inner-city brute named Ira (Emory Cohen). Rachel much prefers Marty, while also realizing his big dreams of greatness and grandeur prevent him from ever settling down for family life. It’s startling how quickly we come to understand the personalities here.

Marty manages to get himself to the table tennis championship tournament where his skill in the game is almost as obvious as his too-big-for-his-britches persona. He’s all American in that his arrogance shines through his fast-talking entitlement … diametrically opposite to his Japanese opponent in the finals. Marty’s hustler instincts score him a luxury hotel upgrade as well as an introduction to once-popular movie star Kay Stone (Oscar winner Gwyneth Paltrow) and her husband (played by “Shark Tank” investor Kevin O’Leary). Marty smooth-talks one of them into bed, while attempting to fast-talk the other into a business deal.

If you’ve seen previous Safdie films, you know he thrives on a frenetic pace and characters who create chaos. As an example, we are subjected to a cringe-inducing honey-licking visual, as well as a bathtub accident and related dog incident, both succeeding in generating shock value. This is a hectic story about a chaotic guy (supposedly loosely based on real life ping pong player/entertainer Marty Reisman). After losing in the tournament finals, our Marty endures a crazy year that includes ping pong against a seal and performing halftime showboating at Globetrotters games – his work properly described as a vaudeville act.

Safdie sprinkles in some familiar faces throughout, including NBA legend Geroge Gervin, Fran Drescher (as Marty’s mom), Larry Sloman, Sandra Bernhard, and film director Abel Ferrera (in a key role as a dog owner). We even get (musician) Tyler the Creator as Marty’s hustling cohort. Sharp-eyed basketball fans might spot Kemba Walker and Tracy McGrady as Globetrotters. Marty’s crazy year does culminate with him finding a way to Japan for the next world championship tournament, where kissing a pig becomes the big risk. Some of Marty’s antics may sometimes be in the mold of the Three Stooges, but he’s clearly very talented at table tennis … it’s just the ‘life with integrity’ thing that he finds difficult – even drawing in Rachel and Kay. The ending is not unlike many sports movies, but the path Marty and Safdie lead us down is absolutely unique and entertaining.

Opens in theaters on Christmas Day 2025

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Posted by David Ferguson

SONG SUNG BLUE (2025)

December 22, 2025

Greetings again from the darkness. ‘Do what you love’ and ‘Pursue your passion.’ That’s the traditional advice we give youngsters, so they won’t grow up to live a mundane life filled with regrets. Perhaps there is no better example of living your dream than the real-life love story of Mike Sardina and Claire Stengl-Sardina. These two Milwaukee residents not only found a path to sing on stage, they also found true love with each other.

Writer-director Craig Brewer (the underrated DOLEMITE IS MY NAME, 2019) was inspired by watching the 2008 documentary by Greg Kohs with the same title and same subject. Speaking of inspired, the casting of Hugh Jackman as Mike (or as he prefers to be called, Lightning) and Kate Hudson as Claire certainly qualifies. Their harmony is obvious in both their singing and their acting. We first see Mike at an AA meeting, celebrating 20 years sober. He then heads to the Wisconsin State Fair where he is scheduled to take part in a musical legends program. Only he refuses to fulfill his duties as Don Ho, but does take notice of Claire and her performance as the great Patsy Cline.

It’s Mike who envisions the two being billed as Lighting (him) and Thunder (her), but it’s Claire who pitches the idea of a Neil Diamond ‘interpretation’ … as opposed to an impressionist. If you are fan, you know that Neil Diamond was a prolific songwriter with hundreds of songs from his career spanning more than five decades. Even if you aren’t a Neil Diamond fan, you are likely to know many of the songs – especially “Sweet Caroline”, which is a bit of a running gag in the film (and in real life as well).

Filmmaker Brewer brilliantly mixes the pursuit of stage fame with the blended personal family life – two teenage daughters, Rachel (a terrific Ella Anderson) and Angelina (King Princess), and a young son, Dana (Hudson Hensley). The family moments ground the film and allow us to accept the human side of Mike and Claire – especially after tragedy and near tragedy strike. Other supporting work is provided by Jim Belushi, Fisher Stevens, Michael Imperioli, and Mustafa Shakir.

There is an excellent sequence where Mike and Claire get to open for Eddie Vedder and Pearl Jam when the grunge band’s tour hits Milwaukee. This is one of the feel good moments – and there are a few of these, as well as a few that don’t feel quite so good. Mental issues, physical issues, and personal issues all create obstacles for these folks, and yet the dreams stay alive. Hugh Jackman is all in as Mike, and yet it’s Kate Hudson who is the memorable one with both her performance and her surprisingly elite singing voice. Ms. Hudson’s performance in ALMOST FAMOUS (2000) will always be iconic, however, she built a career doing many films of which I’m not particularly fond. Her work here is awards-worthy … or as Mike would say, “Huge”. The film is a crowd-pleaser that’s neither corny nor lame. Brewer includes a closing shot of the real Mike and Claire as the credits roll.

Opens in theaters on Christmas Day, December 25, 2025

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Posted by David Ferguson

OUR HAPPY PLACE (2025)

December 20, 2025

Greetings again from the darkness. Horror films are a dime a dozen (meaning there is no shortage from the genre), so it’s a revelation when a filmmaker has a legitimate feel for psychological horror – the kind that creeps us out and (likely) causes a nightmare or two. Such is the case for writer-director Paul Bickel. The scariest place on Earth is between our ears, and Bickel attacks the space by keeping us guessing as we attempt to solve the mysterious events occurring on screen.

We open on nearly indistinguishable flashes of memory until we zero in on Raya (the film debut of Raya Miles) waking up in the forest. She’s filthy, has an injured foot, and her clothes are in tatters. She’s a bit disoriented, yet finds her way home thanks to the barbed wire fence and local road. Once home, her hot shower is accompanied by flashbacks unrelated to her mysterious forest awakening. After the shower, she enters a bedroom where her partner, Paul (the film’s director Paul Bickel), is bedridden and non-communicative. She cares for him by spoon-feeding oatmeal, giving his beard a trim, and keeping the oxygen in stock. Mostly, she frets about this new life.

Well, ‘mostly’ is not the right word since the awakenings in the forest and staggering march home have become regular occurrences for Maya … and she’s still not understanding why or how. She Facetimes with her friend Amy (Tracie Thoms, GRINDHOUSE: DEATH PROOF, 2007) who expresses concern at the situation, but Maya tells her not need to visit. This is all filmed at Grout Creek in Big Bear, so the scenery is gorgeous (if you aren’t the one waking each morning oblivious to how you ended up in the forest), and the snow fall and Maya’s exhaustion are bonus elements to the overall atmosphere created by a nightmare situation she must interpret in order to bring about an end.

Maya’s daily existence manages to get worse as the nightmares become more intense (she wakes up in ever-deepening graves) and real – thanks to her own detective work and some truly frightening and unexpected developments. Missing women, pieces of gifted jewelry, and a recurring axe are crucial elements to the story. And even though we are forced to guess our way through most of the film, the ending is excellent … even the closing credits have flair. Much of this was filmed during the COVID pandemic as Bickel and Miles were secluded in the cabin. Other scenes were filmed once the world re-opened, and I believe most everyone will appreciate the camera work and individual shots throughout. Here’s hoping Raya Miles continues acting and Paul Bickel continues making movies for us.

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Posted by David Ferguson

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