WAKE UP DEAD MAN: A KNIVES OUT MYSTERY (2025)

December 10, 2025

Greetings again from the darkness. The phrase ‘Third time’s the charm’ loses impact when the first two times were also charmed. Such is the case for writer-director Rian Johnson and his ‘Knives Out’ trilogy (so far). The filmmaker has really tapped into the joy of whodunits for those of us who are big fans of the genre. This third one has a darker tone and feel than the first two, but many of the elements remain in place – including a stellar ensemble of well-known actors, some whom only appear briefly.

Rising star Josh O’Connor plays troubled young Priest Jud Duplencity. If you are unfamiliar with O’Connor, I highly recommend REBUILDING (2025) and EMMA. (2020). After a physical confrontation, this Priest gets reassigned to Chimney Rock, where arrogant Monsignor Jefferson Wicks (Josh Brolin) rules over his loyal flock which includes devoted assistant Martha (Glenn Close), depressed Dr. Nat Sharp (Jeremy Renner), stressed out lawyer Vera Draven (Kerry Washington), best selling sci-fi author Lee Ross (Andrew Scott), cellist Simone (Cailee Spaeny), groundskeeper Samson Holt (Thomas Haden Church), and ambitious politician/social media influencer wannabe Cy Draven (Daryl McCormack). As I previously stated, it’s quite an ensemble … and it also includes Mila Kunis, Bridget Everett, Annie Hamilton, Jeffrey Wright, and James Faulkner.

Having this set at a church with two rival Priests make ‘The Good Friday Murder’ one for the Knives Out pages. When superstar detective Benoit Blanc (Daniel Craig)  arrives on the scene, he calls it “The Holy Grail” of murder and a “perfectly impossible” crime. A ‘closed room’ murder with all suspects seated in the church pews – except Priest Duplencity, who is front and center at the altar, creates quite a conundrum for Blanc and the Priest. Of course, that’s where the fun comes in for Rian Johnson and his writing. He excels at weaving a tapestry of confusion sprinkled with just enough witty humor to prevent the mood from sinking too low.

A secret that’s been held for 60 years leads to another contemporary secret, as well as a few more between characters. Eve’s Apple and the religious inserts are a welcome addition, and mostly this is designed as yet another fun treat for the ‘Knives Out’ fan base. There’s even Tom Waits singing “Come On Up to the House” to close things out.

Opens on Netflix on November 12, 2025

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Posted by David Ferguson

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

GOOD LUCK TO YOU, LEO GRANDE (2022)

June 16, 2022

Greetings again from the darkness. Normally when we see a movie where the focus is almost entirely on two characters conversing while in one room, we expect it to feel like something better served in live theater. But director Sophie Hyde does succeed in keeping it cinematic, despite the dialogue-centric script from writer Katy Brand and a setting that is 95 percent within the confines of a single hotel room. An extraordinary performance from two-time Oscar winner Emma Thompson and solid complimentary work from Daryl McCormack keep us interested in the characters.

Nancy Stokes (Ms. Thompson) is a middle-aged woman fidgeting in a hotel room when Leo Grande (Mr. McCormack) knocks on her door and asks if he may kiss her on the cheek. It turns out Nancy is two years a widow and has hired sex worker Leo to assist with knocking a few things off her to-do list of unfulfilled intimate activities. See, Nancy has only ever had sex with her husband, and now she longs to feel young and excited again, and hopes this pay-for-it adventure will scratch that itch in just the right way.

Their initial meeting is fascinating to watch. Nancy, a former religious studies teacher, is a planner, list-maker, and steps-follower. She’s also filled with nervous energy and a bit embarrassed by the situation … clearly wanting to move forward, while trying to convince herself she doesn’t really want it. On the other side of this would-be tryst, Leo is the master of calm demeanor and smooth talk. He’s a professional who takes pride in the “service” he provides, and he recognizes what to say (and when) to try and put Nancy at ease. It’s clearly not his first rodeo. In this initial meeting, Nancy and Leo literally dance around the sex, and instead focus on conversation. She wants to know all about him, while he just wants to the job he was hired for.

Subsequent meetings (jobs, hook-ups, trysts?) between the two occur in the same room at The Duffield Hotel, and Nancy continues to poke the personal boundaries that Leo tries to uphold. As happens with human nature, barriers begin to break down. This intrusion changes the dynamics and causes quite the mood shift as personal lives and relationships open wounds that are probably best left to a situation where one hasn’t contracted for the sexual services of another.

Most of the dialogue seems believable and true to the characters, and Ms. Thompson does much of the heavy lifting. The only exceptions to this would be Nancy offering to talk to Leo’s mother (What the heck? That’s ridiculous even for a former teacher.), and when Nancy recalls asking her class about the impact of pay-for-sex … a discussion that seems a bit too on point for the film. A truly annoying song plays over the opening credits, but later an Alabama Shakes song plays with perfect timing. When Nancy’s real name is revealed, that too produces a cringe, but mostly we are reminded that the perfect fantasy sex partner will always be just that – a fantasy. Ms. Hyde’s film leaves us with this thought … will “empirically sexy” become the go-to compliment for romantic partners?

Opens in theaters on June 17, 2022

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Posted by David Ferguson