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

WHAT WE HIDE (2025)

August 22, 2025

Greetings again from the darkness. Put me down as one of those saps who struggles mightily watching kids in peril … even if ‘it’s only a movie.’ Writer-director Dan Kay taps right into my weakness in the opening scene. Two sisters find their mother on the floor of the rural house – dead from an overdose. It’s a situation where initially we have hope. Perhaps the girls will be better off without a druggie mom. But life is rarely that simple.

Mckenna Grace (GIFTED, 2017) is remarkable as 15-year-old Spider. She’s so determined to keep together what remains of her family that she looks forcefully in the eyes of her younger sister Jessie (a terrific Jojo Regina, WHERE THE CRAWDADS SING, 2022) and says, “I’ll die before I let them break us up.” And neither Jessie nor us viewers have any doubt she means it. Yet, the challenges of that promise mount quickly … and start with what to do with mom’s body while keeping her death a secret.

Other challenges include mom’s frightening druggie boyfriend, Reece (Dacre Montgomery, WENT UP THE HILL, 2025), who threatens the girls in order to extort money from them. There is also a social worker (Tamara Austin), and a well-meaning local Sheriff (Jesse Williams, “Grey’s Anatomy), who happens to be the father of Spider’s best friend Alexis (Malia Baker, “The Baby-Sitters Club”). All of this is piled up on the girls attending school and not arousing suspicion … an incredibly stressful task for two youngsters. The emotional strain forces them to deal with a situation way beyond their years.

The interaction between the two sisters is mesmerizing to watch. Both actors are tremendous and create characters that find us believing everything they say and do. Spider has (mostly) pent up anger, while Jessie chooses to remember her mom’s goodness. The dynamics shift a bit when local boy Cody (Forest Goodluck, THE MISEDUCATION OF CAMERON POST, 2018), takes an interest in Spider, using photography as an icebreaker. This acts as a reminder that Spider is a young girl who should be enjoying friends and figuring out relationships, rather than protecting her sister from outsiders.

Filmmaker Kay delivers an ending that fits so well with a story that has put the characters and viewers through immense emotional strain. This is one of the indie gems that has a lot going for it, not the least of which is these two outstanding young actors.

A limited theatrical rollout continues August 22, 2025 and August 29, 2025 in select cities

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Posted by David Ferguson

GHOSTBUSTERS: AFTERLIFE (2021)

November 18, 2021

Greetings again from the darkness. There is a reason musical acts like The Eagles, Jimmy Buffet, and The Rolling Stones continue to pack arenas. We love our nostalgia and prefer it familiar and easily recognizable. The fans don’t show up to hear the new songs, but rather those ‘oldies-but-goodies’ that bring back pleasant memories. Writer-director Jason Reitman and co-writer Gil Kenan fully understand this psychology as they deliver what amounts to a sequel of the original GHOSTBUSTERS movie released 37 years ago (and directed by Reitman’s father Ivan).

The hook in this updated version is that Callie (Carrie Coon), the adult daughter of original Ghostbuster Egon Spengler (originally portrayed by the late Harold Ramis), has been evicted from her apartment. She packs up the car and her two kids, and heads to the dilapidated farm house she inherited from the father she never knew. Callie has lived her life bitter and hurt that her father never reached out, choosing instead to isolate himself in Summerville in the “middle of nowhere”. Her kids are Trevor (Finn Wolfhard), an awkward teenager, and Phoebe (a stellar McKenna Grace), a science whiz who seems to be a near-clone of the grandfather she never met.

As they adjust to a new life, Trevor swoons over local girl Lucky (Celeste O’Connor), while Phoebe befriends another outcast self-named Podcast (Logan Kim), and Callie gets closer to Gary Grooberson (Paul Rudd), a Seismologist “teaching” summer school with help from some age-inappropriate movies on VHS. As great as Coon and Rudd are (and both are great), the real fun comes from the youngsters exploring grandfather’s workshop and the mysterious mountain at the edge of town, which is actually a long ago abandoned mine run by the town’s founder.

Supporting actors include Bokeem Woodbine, JK Simmons, and Tracy Letts. Many of the elements will seem familiar as the kids begin to uncover the ghostly creatures unlocked thanks to Grandpa Egon’s research and tools. As with the original, busting the ghosts is fun, but it’s the one-liners and crackling dialogue that make this a joyous ride from beginning to end. A battered Ectomobile (Ecto-1) plays a key role, as do ghost traps, crossing streams, and a new generation of Stay-Puft Marshmallows.

Jason Reitman is a two-time Oscar nominee for UP IN THE AIR (2009) and JUNO (2007), but it seems clear his mission here was to provide a fitting tribute to the original film, his father, and the late Harold Ramis. He’s assisted along the way with some special effects and even more special appearances, though the missing Rick Moranis is notable (and expected). The original blockbuster spawned sequels, re-boots, toys, an animated series, video games, documentaries, and now … another sequel (one that mostly disregards everything but the original). There is a Spielberg feel as the scene is small town instead of NYC, and perhaps with this family-friendly focus on the kids, the best comparison might be THE GOONIES. It’s nostalgic, yet new and fresh, and we do get a look at Hook and Ladder #8, and the familiar tune of Ray Parker Jr’s iconic theme song. Hang on for the mid-credit and post-credit scenes, and just remember to take this for what it is … a rollicking good time.

Opening in theaters on November 19, 2021

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Posted by David Ferguson

SPIRIT UNTAMED (2021, animated)

June 1, 2021

Greetings again from the darkness. Any kids that watched Dreamworks’ original SPIRIT: STALLION OF THE CIMARRON (2002) are now at least in their mid-20s and many likely have kids of their own. That original film featured old school animation, and provides a nice comparison for today’s computerized “drawing”. However, from a story and character perspective this is less a sequel to that film, and more a spinoff of the original Netflix series, of which there have been more than 50 episodes.

Lucky Prescott (voiced by Isabela Merced, Dora in DORA AND THE LOST CITY OF GOLD, 2019) is a rambunctious youngster being attended to by her Aunt Cora (Oscar winner Julianne Moore) at the home of Lucky’s wealthy and now candidate-for-Governor grandfather. With no time for her shenanigans, grandpa ships off Lucky and Cora to be reunited with Lucky’s father, Jim Prescott (Jake Gyllenhaal). The two haven’t seen each other since Lucky’s mother died tragically ten years ago. On the train ride to Miradero, Lucky has a connection with a beautiful wild stallion she names Spirit. The two share a bond of wildness and independence, though soon enough Spirit is being held captive by mean-spirited horse wranglers.

Lucky and her father have an awkward reunion as he tries to keep her safe, unwilling to admit the free-spirited nature she shares with her mother, who once rode with the Los Caballeros, a local trick-riding team. Her mother’s clothes, boots, and posters open Lucky’s eyes to a world that feels like home. She befriends not just Spirit, but also a couple of local girls, Pru (Marsai Martin) and Abigail (Mckenna Grace), who are drawn to Lucky’s energy, but also recognize the danger she’s in going up against the evil wrangler (Walton Goggins).

What follows is an adventure with terrific visuals and enough action to keep the three and five year olds that I watched the film with glued to the screen. Heck Mountain and the Ridge of Regret seemed to be especially exciting for them, and I personally got a kick out of the importance of math (a word problem) in keeping Lucky on track. The film clocks in under 90 minutes, which is just right for most kids. The songs (Taylor Swift sings the trailer song) didn’t seem to make much impression, but the kid characters did. From a grown-up perspective, it’s hard to miss the fact that the adult males aren’t the best role models, and even Abigail’s young brother Snips (Lucian Perez) spends most of his time wreaking mischievous trouble. However, the lack of other political messages was a relief, and female empowerment in youngsters is always a welcome story line.

The film is co-directed by Elaine Bogan and Ennio Torreson. Writing credits go to John Fusco (the original Spirit film), Aury Wallington (the TV series) and Kristin Hahn and Katherine Nolfi. The all-star voice cast is a nice complement to the visuals (especially the mountains and clouds), and the message about independence and finding one’s own way in life. It should also be noted that the film is rated PG, not G.

Opens in theaters on Friday June 4, 2021

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Posted by David Ferguson

I, TONYA (2017)

December 21, 2017

 Greetings again from the darkness. Your recollection of Tonya Harding is likely not that she was the 1991 U.S. Champion figure skater and a two-time Olympian. And rather than honoring her as the first female skater to land a triple axel in competition, you likely remember “the incident” in 1994 where she whacked her on-ice rival Nancy Kerrigan on the knee with a club. Only Ms. Harding wasn’t the one who attacked Ms. Kerrigan … and that’s only the beginning to what director Craig Gillespie (LARS AND THE REAL GIRL) and writer Steven Rogers (P.S. I LOVE YOU, and a bunch of other mushy stuff) detail in this madcap look at a reality infinitely stranger than most fiction.

Margot Robbie (THE WOLF OF WALL STREET) stars as Tonya Harding, and it’s a career-defining performance … funny, tragic, physical and emotionally charged. This isn’t the expected bleak biopic, but rather it’s a brilliant blend of parody, docudrama, and dark comedy focused on some real life folks that will surely make you grateful for your life. Harding’s abusive, profane and icy mother LaVona is played with aplomb by Allison Janney, who manages to bring some humor to the role of a woman whose approach went far beyond the realm of tough love and straight into cruelty. Sebastian Stan plays Tonya’s husband Jeff Gillooly and Paul Walter Hauser is Shawn Eckhardt, his friend and co-conspirator. In regards to these last two gents, we spend most of the film trying to decide if they are goofy, ignorant or downright dangerous (or all of the above).

Director Gillespie expertly weaves together the domestic scenes, ice skating scenes, and “current” interviews with the main characters. The domestic scenes include Tonya and Jeff, Tonya and her mother, Eckhardt with Tonya and Jeff, and Eckhardt with his own parents. The ice skating scenes emphasize how hard Tonya worked and her relationship with Coach Diane Rawlinson (Julianne Nicholson), while the interviews (recreated from actual interviews) provide contradictory details from the memories of Tonya, Jeff, Eckhardt and LaVona. The film tries not to make fun of them, but they kind of do it to themselves.

Bobby Cannavale appears as a “Hard Copy” reporter who provides some story structure by walking us through the timeline as reported by the media at the time. McKenna Grace plays a young Tonya, while Caitlin Carver is Nancy Kerrigan. Tonya has long been labeled as the most “notorious” figure skater, and a failed boxing career was the closest she came to capitalizing on her notoriety after the scandal. Her life and the incident have been the basis for songs, books, news specials, documentaries, TV parodies, and even a Brooklyn-based museum. The film reminds us that truth and recollections are open to interpretation, and that there is much more to the story than what was reported. Respect is too much for Tonya to hope for, but this excellent and entertaining film might deliver a dose of compassion or empathy (along with incredulity and some laughs).

watch the trailer:

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Posted by David Ferguson

GIFTED (2017)

April 6, 2017

 Greetings again from the darkness. The “right” choice isn’t always obvious. Things get more complicated when even the “best” choice isn’t clear. Place a young child at the heart of that decision tree, and the result may yield emotional turmoil and an abundance of moral high ground and judgment. Such best intentions are at the core of this latest from director Marc Webb (his first feature since 500 Days of Summer) and writer Tom Flynn.

Frank (Chris Evans) is raising his 10 year old child prodigy niece Mary (Mckenna Grace) in low-key small town Florida. The circumstances that brought the two of them together aren’t initially known, but are explained in a poignant moment later in the film. Frank has been home-schooling Mary and now believes it’s time she transitions to public school for the socialization aspect … “try being a kid for once” he urges. Of course, Mary’s teacher Bonnie (Jenny Slate, Obvious Child) immediately realizes Mary is special, and just like that, the wheels of the educational system are in motion to explain to Frank why they know what’s best for Mary … a high-fallutin private school where she can be all she can be.

There is a really nice and enjoyable story here of Uncle Frank dedicated to doing what he thinks is best for bright and charming and spirited young Mary, but it all comes crashing down when the bureaucrats, and ultimately Frank’s mother (Lindsay Duncan), get involved. When the adults can’t agree on the best route for Mary, a courtroom battle ensues. Ms. Duncan gets a witness scene reminiscent of Jack Nicholson in A Few Good Men, and her overall performance stands in effective stark contrast to the warm fuzzies of Mr. Evans.

The supporting cast contributes nicely, though Octavia Spencer’s role as kindly neighbor Roberta is more limited than it should be, and the love connection between Evans and Ms. Slate could have easily been omitted – but she is so pleasant on screen, that we don’t mind at all. Glenn Plummer and John Finn are the attorneys who go to war, and Fred the one-eyed cat also gets plenty of screen time. But there is little doubt that the movie really belongs to the effervescent Miss Grace. She nails the back and forth between kid and genius, and we never doubt her sincerity.

Child prodigies have been explored through other fine movies such as Little Man Tate, Searching for Bobby Fischer, and Shine, and while this one may run a bit heavier on melodrama, but it’s worthy of that group. The best discussions after this movie would revolve around what’s best for the child. Should she be deprived of “higher” education in order to live within a more “normal” social environment? Are any of the adults more interested in their own ego than in what’s in the child’s best interest? Home school vs public school vs private school is always good for some fireworks, and everyone has their own thoughts. So how do we decide who gets to decide? Does a parent get the final say on their child – even if their motivations may be in doubt? Should every kid be pushed to their academic – or artistic – or athletic – limits? The questions are many and the answers are complicated. There is a great line in the film that itself is worthy of conversation: “You got on the bad side of a small-minded person with authority”. Yikes. Even Cat Stevens’ great song “The Wind” can’t soften that.

watch the trailer:

 

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Posted by David Ferguson