ELEANOR THE GREAT (2025)

September 25, 2025

Greetings again from the darkness. You’ve likely heard the old saying that you can’t put the genie back in the bottle. Well, the same goes for a lie … and sometimes even an innocent lie takes on a life of its own and begins to wreak havoc. This happens to Eleanor, and yet we somehow empathize with her in this film that is not just the first screenplay from Tory Kamen, it’s also the first feature film directed by Scarlett Johnansson.

When we first meet Eleanor (June Squibb, fresh off her lead role in THELMA, 2024) and Bessie (Rita Zohar, AMADEUS, 1984), the two elderly ladies are best friends who have lived together for fifteen years or so in Florida. They spend their days regaling each other with stories over coffee, at the beach doing bench exercises, and at home around the kitchen table. We see how much they appreciate and value each other’s friendship. As happens with old friends, Bessie passes away, and 94-year-old Eleanor moves back to New York to live with her daughter Lisa (Jessica Hecht, DAN IN REAL LIFE, 2007) and grandson Max (Will Price, “Goosebumps”).

Despite her age, or perhaps emboldened by it, Eleanor’s sharp tongue too often hits hard, especially when criticizing Lisa. It’s a trip to JCC that erroneously misdirects Eleanor into a support group of Holocaust survivors. Whether she’s embarrassed or just lonely for company, Eleanor doesn’t come clean and instead begins telling Bessie’s stories as if they were her own. One of the group’s observers that day is Nina (Erin Kellyman, THE GREEN KNIGHT, 2021), a university journalism student, who is so moved by Eleanor’s stories that she pesters her to sit for an interview.

Remember that whole thing about a lie taking on a life of its own? Well, Nina and Eleanor become friends, and Eleanor’s wisdom helps Nina deal with a particularly emotional period. Oh, and Nina’s dad, Roger Davies (Chiwetel Ejiofor, 12 YEARS A SLAVE, 2013), is a local TV journalist who sees the potential of taking Eleanor’s stories to a wider audience. It’s truly a mess that Eleanor finds herself in, and if/when the truth comes out, so many could be hurt from her break in trust.

It’s June Squibb’s remarkable performance that elevates this film to one that many will find emotional. Ms. Squibb turns 96 years old this year and now has a couple of strong lead roles to her credit after a terrific career as a character actor (NEBRASKA, 2013). Here, it’s Eleanor’s bond with Nina that’s the heart of the story, and a reminder that sometimes good people do bad things – and those bad things may be driven by good intentions … or even grief. Additionally, we must now recognize Scarlett Johnansson as a filmmaker who can handle complex stories and characters, and deliver entertainment for an audience.

Opens in theaters on September 26, 2025

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Posted by David Ferguson

DEAD OF WINTER (2025)

September 25, 2025

Greetings again from the darkness. So how do we fill the gap with solo action-thrillers now that Liam Neeson is making comedies? It’s a bit surprising, but some creativity and thinking outside the box occurred with the casting of two-time Oscar winner Emma Thompson in this latest from director Brian Kirk (21 BRIDGES, 2019). The story comes from two first time screenwriters, both known for other talents. Nicholas Jacobson-Larson is best known as a composer, while Dalton Leeb is an actor.

Ms. Thompson stars as Barb, a woman carrying the heavy burden of grief. Her husband has recently passed and his final wish was for his remains dumped in Lake Hilda, the site of their first date. The location is the frozen tundra of Minnesota (apologies to Green Bay fans), and we can’t help but wonder how many times Ms. Thompson watched FARGO (1996), studying the accent of Frances McDormand’s Marge Gunderson. Initially it’s a bit jarring hearing that accent from a Brit who excelled in films such as SENSE AND SENSIBILITY (1995) and THE REMAINS OF THE DAY (1993), but of course, the talented actor pulls it off.

Barb’s emotional trip goes sideways when a gunshot alerts her to a girl being hauled away by the man she had recently asked directions from. In this day of ‘mind your own business’, Barb could have just proceeded with her husband’s ashes and headed back home. Alas, ‘Minnesota nice’ doesn’t permit such neglect of those in peril. What follows is a game of cat and mouse … a battle of wits and guns. Barb lacks a particular set of skills other than ‘street smarts’, while Leah (Laurel Marsden, THE POPE’S EXORCIST, 2023) is being held captive in the cabin basement by the man (Marc Menchaca, “Ozark”) and his puffy purple jacket wearing wife (Judy Greer). The reason for this kidnapping is hinted at, but isn’t fully explained until later (revealing an outlandish plan).

Brian Kirk delivers an entertaining thriller and cinematographer Christopher Ross takes full advantage of the snow and ice covered setting. Judy Greer is surprisingly effective as the vile and menacing woman (a departure from her usual roles) so desperate to save herself, while Marc Menchaca is a reluctant accomplice, and Emma Thompson is a formidable foe standing in their way. The flashbacks come a bit too frequently and really don’t add much to an already dramatic, emotional, and frenzied situation … which all begins with a closely-held tackle box. Despite that, the film nails the ending … cold.

Opening in theaters on September 26, 2025

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Posted by David Ferguson

DEATH OF A LADIES’ MAN (2025)

September 25, 2025

Greetings again from the darkness. For a film that takes its title from a 1977 Leonard Cohen album and includes (I counted seven) songs from the icon throughout the film, we can expect something other than a light-hearted rom-com. And that’s before we discover that the leading character is diagnosed with a brain tumor. Writer-director Matt Bissonnette’s film was well received on the festival circuit in 2021 and is now being released VOD.

Gabriel Byrne (brilliant, as usual) stars as Samuel O’Shea, a twice-divorced professor based in Montreal and spending entirely too much time with drink(s) in hand. Samuel begins experiencing hallucinations … all too real hallucinations. Initially these include the Frankenstein monster at the pub, and a bizarre, choreographed hockey ice dance at his son’s (Antoine Olivier Pilon) game. From there, the visions get even stranger – often including lip-synching to a Leonard Cohen song. One exception is the recurring vision of his late father (Brian Gleeson), who died as a young adult. These interactions are ‘normal’ conversations, often filled with fatherly advice.

Once he receives the fatal diagnosis, Samuel does what anyone would do – he heads to the family cottage in Ireland in order to take stock of his life. He also decides to write the novel that he’s always wanted to write. This stage of life (waiting to die) and writing the novel can both take many shapes. In fact, Samuel’s novel is about his life, his regrets, and about whether a late-life romantic relationship can work. Charlotte Lafleur (Jessica Pare, “Mad Men”) enters, having a significant impact on Samuel, his outlook, and his writing.

Younger viewers may find this one a bit difficult to connect with; however, I expect many of those over age 50 will relate very well to what Samuel goes through. The film was well received on the festival circuit in 2021 and is only now getting streaming distribution. It’s not perfect, yet it’s a creative view of what one experiences after being told their time is limited.

Releasing on VOD beginning September 26, 2025

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Posted by David Ferguson

CHAIN REACTIONS (2025, doc)

September 24, 2025

Greetings again from the darkness. OK, so this tribute to the 50th anniversary of THE TEXAS CHAIN SAW MASSACRE may seem a year late, but it was actually an award winner at the 2024 Venice Film Festival. This documentary has now gained distribution and will finally show for an audience that remains so loyal and respectful of that original film from director Tobe Hooper (who passed away in 2017). Documentarian Alexandre O Phillippe has a nice track record of exploring popular films, including his superb 78/52 (2017), which surgically analyzed the iconic shower scene in Hitchcock’s masterpiece, PSYCHO.

Fittingly, this documentary opens on a clip of Hooper’s original film from 1974. It then takes a unique approach by dividing this into five chapters, each with insight and observations from one particular person of interest.

Chapter One features comedian-actor Patton Oswalt describing his first viewing of the film. With his rare brand of humor, Oswalt provides a surprisingly in-depth perspective on the film, while making some spot-on comparisons to the original NOSFERATU, and the Bulgarian classic, MAN BITES DOG. He even opens our eyes to some similarities to the staircase scene in GONE WITH THE WIND … the first time I’ve ever heard “Chain Saw” and GWTW mentioned in the same sentence. Especially worth noting is Oswalt emphasizing the importance of the fantastic Art Direction from the late Robert Burns’.

Chapter Two puts Japanese filmmaker Takashi Mike in the spotlight. Best known for his films, ICHI THE KILLER (2001) and 13 ASSASSINS (2010), he explains how his younger self was a huge fan of Bruce Lee, which developed his interest in cinema. He then recalls a fascinating tale of showing up to a sold-out screening of Chaplin’s CITY LIGHTS, and how fate took him around the block to his first-ever viewing of “Chain Saw”. This opened his eyes to how movies could be dangerous … and then he details the technical aspects of shooting on 16mm and blowing it up for the big screen to achieve the ‘grainy’ look.

Chapter Three brings us Alexandra Heller-Nicholas, a renowned film critic from Australia. She provides a bit of a history lesson, recalling the “Chain Saw” was banned for years in Australia, and when she finally saw it, the source was a well worn and yellowed version which she compared to the heat of the Outback. In her discussion, she mentions Peter Weir’s fantastic classic PICNIC AT HANGING ROCK (1975). Both can be labeled a bit avant-garde as films that make you FEEL something.

Chapter Four could have been the most entertaining section, but unfortunately, the great horror writer Stephen King spent entirely too much time talking about other films. Rather than focus on THE TEXAS CHAIN SAW MASSACRE, Mr. King rattles off other great film titles like THE BLAIR WITCH PROJECT, NO COUNTRY FOR OLD MEN, THE SHINING, THE HAUNTING, THE INNOCENTS, and POLTERGEIST. Fortunately, he does bring Edgar Allan Poe into the conversation.

Chapter Five, the final section, finds filmmaker Karyn Kusama (GIRLFIGHT, 2000; DESTROYER, 2018) focusing on the primal nature of Tobe Hooper’s film, while also educating us on the landscape of myth. Ms. Kusama makes an excellent observation about the opening crawl in “Chain Saw” … it really does plant the seed of “a true story” in our mind.

In 1974, director Tobe Hooper released what would shockingly become an American Masterpiece, THE TEXAS CHAIN SAW MASSACRE. All these years later, the film still frightens viewers and continues to influence new generations of filmmakers. With an unusual approach, documentarian Alexandre O Phillippe pays tribute to the filmmaker and his work by giving artists a platform to explain what the film means to them. Good stuff … except for that meat hook (gets me every time)!

This documentary opened in New York and Los Angeles on September 19, 2025 and expands nationwide on September 26, 2025

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Posted by David Ferguson

HIM (2025)

September 18, 2025

Greetings again from the darkness. Here is my PSA (Public Service Announcement): This is not a “Football” movie. If you are expecting FRIDAY NIGHT LIGHTS or ANY GIVEN SUNDAY, you will be disappointed. This is a Psychological Horror film (think BLACK SWAN) featuring a couple of football players, and it’s produced by Jordan Peele, he of NOPE and GET OUT fame. Writer-director Justin Tipping (KICKS, 2016) and co-writers (co-creators of “Limetown”) Zack Aker and Skip Bronkie serve up few X’s and O’s, and plenty of commentary on fame and the quest for greatness.

Marlon Wayans is best known for his comedy work, and here he delivers his best dramatic performance since REQUIEM FOR A DREAM (2000). He plays Isaiah White, the ultra-successful quarterback of the fictional San Antonio Saviors. Many consider White the G.O.A.T. (Greatest of All-Time). His issue is that he’s aging and is likely at the end of his career. On the other end of the spectrum, we have rising star Cameron Cade (Tyriq Withers, I KNOW WHAT YOU DID LAST SUMMER), the young hotshot who many predict will replace White as the GOAT. Cameron’s problem is that a surprise causes possible brain damage, knocking him out of the combine and leaving him undrafted.

Cameron’s off-kilter agent (Tim Heidecker) arranges for him to train with White for a week. Having worshipped Isaiah White for most of his life, Cameron jumps at the chance. Upon arriving at White’s isolated desert compound, he quickly discovers dreams don’t always match reality. White greets him warmly, but we all notice (well, Cameron’s a bit slow) that things are a bit off. From a sadist trainer (MMA fighter Maurice Greene) to a sardonic doctor (a funny Jim Jeffries), to a creatively made-up and creepy Mrs. White (Julia Fox), the setting for a horrific week is in place.

White pushes Cameron past the point of decency in training, and the doctor delivers some curious blood transfusions. White preaches to Cameron that this unorthodox approach is what’s required for peak performance and greatness. The commitment must be to excellence, not some mushy family-first mentality. Some of the drills are violent, while others turn a bit nuts. This is psychological warfare mixed with physical extremes.

There are some cool x-ray effects, and the music from Bobby Krlic (The Haxan Cloak) adds a nice touch; however, this is about envy and power. The first two acts have some eye-opening moments, but things really fly off the rails in the finale. Brutal violence seems too mild as a description, and the commentary on team ownership expectations seems a bit heavy-handed. We all know billionaires are accustomed to getting what they want. This one is worth seeing for Marlon Wayans’ performance, but we find ourselves thinking “what if” through much of the film.

Opens in theaters on September 19, 2025

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Posted by David Ferguson

A BIG BOLD BEAUTIFUL JOURNEY (2025)

September 18, 2025

Greetings again from the darkness. I’m not normally the target market for romantic philosophy-of-life movies, so it seems apropos that one I connect with is likely to be labeled maudlin or sappy by others. Being a big fan of director Kogonada’s underrated COLUMBUS (2017), I was interested to see him team up again with his AFTER YANG (2021) star Colin Farrell, in a blacklist script from writer Seth Reiss (THE MENU, 2022).

Matching Colin Farrell with Margot Robbie means that, at a minimum, beautiful movie stars will fill the screen. Beyond their stunning looks, both are extremely talented actors – Farrell has certainly honed his skill over the years, while Robbie is a modern day Grace Kelly. David and Sarah first meet each other at a wedding. The attraction is there, but this encounter ends awkwardly with each going their separate way. We learn they are quasi-miserable lonely souls who see little hope in finding a true soulmate – the message here being that nothing should be assumed until one’s own soul-searching is complete.

The world’s most bizarre Rental Car counter is staffed by two quirky characters played by Phoebe Waller-Bridge (“Fleabag”) and Kevin Kline. A fantastical GPS system in their matching 1994 Saturns finds David and Sarah ordering the same ‘fast food cheeseburger’ at a roadside diner. This is step one in their titular journey … so named as David screams it while driving. Now traveling in the same Saturn, this GPS directs them to a series of doors – each connected to some past moment of their lives. A red door leads to a lighthouse, another to a high school musical production, one to a special museum, and yet another to hospital visits. It’s part trip down memory lane and part spiritual awakening.

What matters is that David and Sarah are sharing the journey with each other – good memories and bad. Stepping through the doors exposes bits of their life and personality that might take years for two in a relationship to discover, if ever they would. Dealing with one’s own past is a first step in moving forward, much less in accepting another to share a life with. Regrets, missed opportunities, grief, and hurdles are all part of what make us who we are. Supporting cast members include Lily Rabe, Billy Magnussen, Jodi Turner-Smith, and Sarah Gadon. Hamish Linklater nails his one crucial scene as David’s dad … surprisingly, it’s the film’s best scene. Whether it’s viewed as a search for one’s own soul or for a soulmate, the film deals with the baggage that goes with being a grown-up.

Exclusively in theaters beginning September 19, 2025

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Posted by David Ferguson

SWIPED (2025)

September 18, 2025

Greetings again from the darkness. Successful businesspeople always intrigue me – especially visionary founders and true entrepreneurs – those who actually bring something new to the market. Henry Ford, Steve Jobs, Bill Gates, and Elon Musk all fit the description … although to clarify, I do not assume their business acumen translates into moral integrity or empathetic humanity. Writer-director Rachel Lee Goldenberg and writer Bill Parker (previous collaborators on UNPREGNANT, 2020) and writer Kim Caramele take on the somewhat tricky project of profiling Whitney Wolfe.

Ms. Wolfe, played here by Lily James (CINDERELLA, 2015; BABY DRIVER, 2017) was the brains behind two successful dating apps, Tinder and Bumble. While the story is “inspired by actual events”, telling Whitney’s story is complicated by the fact that she remains under the terms of a Tinder NDA … the filmmakers weren’t even allowed to speak with her. Instead, reading the lawsuit documents and researching interviews from those who were around as she made her mark provided the outline of this talented, ambitious woman who rose to the top in a sea of Tech Bros.

The film opens in 2012 Los Angeles when Whitney first crossed paths with Sean Rad (Ben Schnetzer, 7 DAYS IN ENTEBBE, 2017), the founder of Hatch Labs/Tinder. Her ingenuity and creative mind helped Tinder explode in popularity by taking the app directly to the college students she identified as the initial target market. We feel the energy in the room as the Tinder team watches their success literally click off on a digital counter mounted in the office. That euphoric energy is soon replaced by a much different vibe for Whitney and the other female co-workers.

One of the best features of the film is how it portrays Whitney and her experience with the male-dominated Tech Bros. Sexual harassment, misogyny, and a straight-faced mentor who lies to her face lead to her anxiety and paranoia. Even other women in the company are frustrated that she hasn’t used her power – in fact, Whitney has a collision between ambition and wanting to do things the right way. When is the line crossed for toxic behavior? What to ‘let slide’ and when to ‘stand up’ is the dilemma facing Whitney and scores of other women.

When the breakdown finally occurs and Whitney is recruited by Badoo founder Andrey Andeev (Dan Stevens with a Russian accent). Her perfect scenario of creating an app that shifts dating dynamics from a work environment that rewards proper behavior and quality of production is nearly shattered by a repeat of past evils. However, we see how Whitney has grown as a person and takes responsibility for ensuring things are done correctly in her environment. It ends up as a feel-good story of redemption.

An excellent supporting cast also consists of Clea DuVall, an excellent Myha’la, Jackson White, and Pierson Fode. The main criticism would be with the camera work. The bouncing handheld technique is overused for a story that creates its own energy. It would be a mistake to wave this off as a “Me Too” film, despite it fitting squarely in the space. More importantly, it’s a reflection of real-life workspaces and how one trailblazer found the right path and became the youngest female self-made billionaire … certainly a story worth telling.

20th Century Studios’ SWIPED releases on Hulu on September 19, 2025.

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Posted by David Ferguson

WALTZING WITH BRANDO (2025)

September 18, 2025

Greetings again from the darkness. Marlon Brando was a true Hollywood legend. Renowned for his performances in such movies as A STREETCAR NAMED DESIRE (1951), ON THE WATERFRONT (1954), and of course, THE GODFATHER (1972). He was nominated for eight Oscars, winning three. Despite his on-screen fame, Brando was an enigma in life. Sexual escapades, a commitment to causes, a neighbor and friend to Jack Nicholson, and his own French Polynesian island contributed to the mystique. It’s that private island which writer-director Bill Fishman (nearly a 40-year career of music videos) focuses on here.

The film is adapted from the 2011 book, “Waltzing with Brando: Planning a Paradise in Tahiti”, written by Bernard Judge, who is not just a big part of the story, it is in fact, his story being told. We first meet Bernard Judge (played by Jon Heder, NAPOLEON DYNAMITE, 2004) as a California-based architect with an interest in ecologically friendly and sustainable construction. It’s this interest that draws the attention of Marlon Brando (Billy Zane, TITANIC 1997; TOMBSTONE 1993, the underrated DEAD CALM 1989), who wants to develop something special on his remote island, Tetioroa. The two men hit it off and Bernard, with input from Brando, develops a comprehensive master plan and design.

Now if all that sounds a bit serious, you should know that director Fishman takes a light-handed, comedic approach to most of it. Zane’s Brando is both charming and manipulative, while Heder’s acting as Bernard is more suited to the man who finally takes to the relaxed Tahiti lifestyle, rather than the starched-shirt architect we first meet. Zane is made to look very much like Brando, yet he doesn’t limit his performance to posing and side-eyes. He even gets to deliver his Brando in “cuts” from THE GODFATHER, LAST TANGO IN PARIS, APOCALYPSE NOW, and SUPERMAN.

We learn developing a private island is not easy, even for Hollywood royalty. It’s also not cheap, and Brando, despite feeling tired of acting, continued taking jobs to pay for his dream … his restructuring of his “Gangster Movie” (THE GODFATHER) ended up costing him millions of dollars. The supporting cast includes Rob Corddry as Brando’s Business Partner, Richard Dreyfuss as the Money Manager, Alaina Huffman as Bernard’s wife, Camille Razat as a special friend. There are also appearances from Tia Carrere, David Guerira (as Francis Ford Coppola), and Heiae Touniou. Thanks to CGI, we see clips of Brando with Dick Cavett and Johnny Carson, and in keeping with the light-handed approach, there is a significant amount of speaking to the camera (breaking the 4th wall).

Billy Zane makes an excellent Brando (with a unique doorstop), while Jon Heder seems a bit miscast (or trying too hard). The story emphasizes Brando’s relaxed island style, purposefully avoiding the dark side. For Bernard Judge, these four or five years were life-altering, and we even see him looking back in 2010 during an interview for the book. Bernard passed away in 2021, so he didn’t get to see the film. It’s not a movie you can’t refuse, but for movie fans, it’s certainly fun to see Billy Zane as the icon.

Only in theaters on September 19, 2025

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Posted by David Ferguson

QUEEN OF MANHATTAN (2025)

September 18, 2025

Greetings again from the darkness. I recently watched NAKED AMBITION, a documentary on Bunny Yeager – a woman who excelled as a pinup in front of the camera as well as a photographer behind it. This film from writer-director Thomas Mignone (best known for his music videos) made for the perfect follow-up. While Bunny Yeager refused to join in to the shift towards more extreme content in the 1970’s and 1980’s, Mignone’s subject, Vanessa del Rio, not only carved out a career, she also became quite famous for her erotic and explicit films of the era.

Vivian Lamolle (“Grease: Rise of the Pink Ladies”) portrays Vanessa del Rio and works hard to capture her charm and spirit. Filmmaker Mignone kicks things off by stating it’s 1981 and the film is “based on true events … allegedly”. The director conducted many hours of interviews with the real Ms. Del Rio (now in her 70’s), and much of what’s in the film stems from those conversations. By the time the film begins, Vanessa is well-established and well-known as an adult actress. Two of her film sets are referenced here, DRACULA EROTICA and FOXHOLES, making it clear that Vanessa was fully aware of the expectations and embraced this as career.

Supporting work comes from some familiar faces. Drea de Matteo plays Dominique, the club manager, and David Proval plays club owner Mickey. Both are alums of “The Sopranos”. Esai Morales plays Vanessa’s dad in flashbacks to 1960 Cuba, while Taryn Manning (“Orange is the New Black”) and Jesse Metcalf (“Desperate Housewives”) have key roles.  Dita Von Teese also appears. Vanessa became legendary in an industry most of us can’t really relate to, and as you might guess, the expected timeline of popularity is a bit short for most performers.

The grittiness of the era and of New York City specifically is quite clear, as is the demanding pace of work and unfair distribution of revenue. It’s interesting to note that the film presents adult entertainers as real folks – some struggling to make ends meet, while others become marquee names. This is not a documentary, but does profile Vanessa’s career – including her advocacy for sex workers’ rights. The AIDS epidemic (and the accompanying misinformation) of the 1980’s convinced her to end her film career, yet it’s noted that she made over 200 movies in a twelve-year span.

The film will be released IN SELECT THEATRES on September 19th and On Demand October 14th. 

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Posted by David Ferguson

BANG BANG (2025)

September 11, 2025

Greetings again from the darkness. There is no obvious explanation for my connection to and appreciation of Tim Blake Nelson on the big screen … well … other than his talent. He certainly doesn’t possess the traditional attributes of a movie star, yet that’s exactly what he is. Not only is he one of the most dependable character actors around (see O BROTHER WHERE ART THOU and MINORITY REPORT), but he’s also terrific in lead roles (see OLD HENRY and ASLEEP IN MY PALM). With this latest film, director Vincent Grashaw and screenwriter Will Janowitz (who also has a role in the film) benefit from the actor’s audacious and fearless performance.

Bernard “Bang Bang” Rozyski (Tim Blake Nelson) is a bitter man. He’s also an alcoholic. As a former boxer, he appears to be in a race to the bottom with the area of Detroit in which he lives. Both man and city are crumbling and to add insult, the former boxing rival that Bernard views as the reason for his decline is running for Mayor. Darnell Washington (Glenn Plummer) became rich peddling juicers (not countertop grills) and now holds himself up as a guiding light for a city that needs a reason to exist … not unlike Bernard.

Bernard’s estranged daughter (Nina Arianda) surprises him with a knock on the door and a request to watch her son Justin (Andrew Liner) while she gets settled with a new job in a new city. Justin’s ankle monitor prevents him from going with mom until he fulfills his community service. He also shows little interest in Grandpa’s philosophical meanderings … until he learns boxing can lead to money and girls. Bernard begins training him with the help of an old friend (Kevin Corrigan), and it’s at this point when we wonder if Bernard’s new path is one of redemption or revenge.

While the reasoning may be initially unclear, we have no doubt that Bernard is haunted by the past – and he understands this very well. Fighting, family, and his former house all play a role in his bitterness and frustration. We also understand that things don’t tend to get better for a guy like ‘Bang Bang’. Although the film covers familiar ground with some recognizable tropes, Tim Blake Nelson’s performance and the raw aesthetic of the film keep us fully engaged. His final confrontation with Washington may go a bit over the top, but it reminds us that while a hammer sees everything as a nail, a fighter may very well view everything as a fight … or at least as the only way to resolve conflict.

The film opens in select theaters on September 12, 2025 (NYC, LA, Detroit, with additional markets TBA), following its premiere at the Tribeca Festival.

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Posted by David Ferguson

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