THE PRESIDENT’S CAKE (2025, Iraq)

February 13, 2026

Greetings again from the darkness. We don’t see a lot of films from Iraq, but if this one from writer-director Hasan Hadi is any indication, the industry there is in fine form with storytelling. While not preachy or heavily politicized, the movie does offer some insight into authoritarianism in the 1990’s under dictator Saddam Hussein. Some would argue that the situation from thirty years ago acts as a modern-day cautionary tale.

Lamia (terrific first-timer Baneen Ahmad Nayyef) is a clever nine-year old who lives in the marshes with her elderly “Bibi” (Waheed Thabet Khreibat). Times are tough in the country due to UN sanctions and the pressure the Saddam Hussein regime pushes down to the citizenry. One of these pressures is the requirement of a national celebration of Saddam’s birthday. “Draw day” comes two days prior as Lamia’s teacher assigns responsibilities for the celebration. Lamia is to bake a birthday cake. This seemingly mundane task is gut-wrenching for Lamia, as she and Bibi barely have enough food to eat themselves. An ingredient list is compiled and Lamia, who feels the intense burden of this assignment, sets out to gather the items.

Lamia has two friends. Classmate Saeed (debuting Sajad Mohammad Qasem) and Lamia’s beloved pet rooster, Hindi, are her only connections outside of Bibi. Lamia and Saeed sometimes play a staring game (first to blink loses), and this serves as both a personal connection and a momentary timeout from the stressful world. It also gives us viewers a short reprieve from this environment as we find joy watching kids be kids, even if it’s a literal blink of an eye. Lamia’s pursuit of the ingredients proves there are creeps and good people in every society, even those under constant threat of war.

Daily life at school has the teacher leading mandatory support sessions for their leader Saddam, and it’s no joking matter. Lamia’s pressure-filled assignment teaches her (and us) that flour is for life, sugar makes life sweeter, and eggs are for fertility. Hadi’s film emphasizes the power of friendship and hope, while Lamia’s dedication to Hindi shows her own sterling mettle. Hadi ends the film with an archival clip of Saddam Hussein celebrating his birthday.

Limited theater opening on February 13, 2026, expanding on February 27, 2026

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Posted by David Ferguson

GOOD LUCK, HAVE FUN, DON’T DIE (2026)

February 11, 2026

Greetings again from the darkness. Director Gore Verbinski has a diverse oeuvre of films dating back almost thirty years. His work includes the first three “Pirates of the Caribbean” movies, the horror film THE RING (2002), the animated Oscar-winning RANGO (2011), THE LONE RANGER (2013), and the eerie A CURE FOR WELLNESS (2016). This is his first film in almost a decade. It’s written by Matthew Robinson (LOVE AND MONSTERS, 2020), and it’s bonkers.

The patrons of late-night diner Norm’s in Los Angeles are interrupted by a rumpled man who claims to be the from the future (Oscar winner Sam Rockwell). His stated mission is to assemble a group of seven diners to help him save the world by stopping a young boy who is programming AI to destroy the world. If you don’t believe him, he has a bomb strapped to his body … are you paying attention now? The man from the future claims he’s been in this same diner more than 100 times and the mission has failed each time, yet he’s back and this time his chosen team includes teachers Zazie Beetz and Michael Pena, Asim Chaudhry, grieving mother Juno Temple, and depressed Haley Lu Richardson who happens to be wearing a tattered princess costume.

Flashbacks are used to provide backstories on some of these characters, and mostly they face crazy and dangerous obstacles as they proceed through the night under future-man’s leadership. Along the way, the film harps on our current obsession with smart phones and technology, while also acknowledging the overwhelming emotions of the political landscape. The dark comedy and frenetic action are a bit exhausting to watch, but the cast is so talented and loaded that we stick with it.

Verbinski delivers a film that is busy and chaotic fun, except when it’s serious – then it’s just busy and chaotic. Rockwell carries much of the film and his blend of energy, wisecracks, and sincerity are a perfect fit for someone looking to stop the AI apocalypse. You may or may not love the film, but it’s doubtful anyone will label it as boring.

In theaters beginning February 13, 2026

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Posted by David Ferguson

SCARLET (2026, Japan anime)

February 5, 2026

Greetings again from the darkness. William Shakespeare has inspired so many writers and stories over the years that he often goes unacknowledged rather than credited. Such is the case with this latest from writer/director/animator Mamoru Hosoda with character names such as Amulet, Claudius, and Gertrude. Of course, since this is Japanese anime, the story’s path varies and features unusual and colorful characters.

At its core, this is a story of the pursuit of revenge and the lesson of forgiveness … and how neither is simple nor easy. The question becomes can humankind overcome the natural instincts of using violence and war to achieve revenge or some other desired dominant outcome? As we open in the 16th century, something is most definitely rotten in Denmark. King Amulet is shown no brotherly love by Claudius, an act which leaves Amulet’s daughter, Princess Scarlet seeking vengeance. Unfortunately for her, the plan goes sideways and she’s the one that crosses over.

This is a world where life and death coexist and it’s Scarlet who finds herself in the ‘Otherworld’ while Claudius aims to rule the ‘Infinity’ world. Scarlet’s Otherworld knows no time and is filled with those from all eras. As things often go for corrupt leaders, Claudius also finds himself in the Otherworld, where he and Scarlet are destined to meet yet again. Scarlet partners up with a modern-day paramedic named Hijiri, and in times of war with a goal of revenge, it never hurts to have an EMT friend (or maybe something a bit more serious).

The animation here can be stunning at times, especially the crowd scenes. Yet, what I found most admirable about the film was the message – the lesson we hope humans learn before it’s too late. A world without war … one filled with forgiveness … could be quite beautiful.

The film will receive an IMAX release on February 6, 2026 and expand wide on February 13.

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2 Comments | Animation, World Cinema/Foreign | Tagged: , | Permalink
Posted by David Ferguson

THE WRECKING CREW (2026)

January 29, 2026

Greetings again from the darkness. Well, it’s not exactly a ‘good cop/bad cop’ scenario, since only one of them is a cop – and he’s suspended and out of his territory. It’s also not a traditional ‘Buddy comedy’ since these aren’t buddies, but rather estranged, grudge-holding half-brothers. Still, the premise is admirable, and the casting choice of pairing Dave Bautista with Jason Mamoa is marketing brilliance. Jonathan Tropper (creator and writer of “Banshee”) wrote the screenplay and Angel Manuel Soto (BLUE BEETLE, 2023) directed.

An apparent hit and run takes the life of Walter, the father of brothers by different mothers, James (Dave Bautista) and Jonny (Jason Mamoa). James is a composed Navy SEAL officer who is married with two kids. Jonny is a party animal cop on a reservation in Oklahoma, whose girlfriend Valentina (Morena Baccarin) dumps him moments after he’s suspended from his job and learns his father has died. Of course, Jonny had no relationship with his dad and has been estranged from brother James for a decade. When he’s attacked and his house is trashed by Yakuza gang members, Jonny figures there more to his dad’s story and heads to Hawaii (where James lives) to investigate.

The film serves its purpose when James and Jonny are going at each other with verbal digs or physical punches. The personality differences of Bautista and Mamoa makes these exchanges kinda fun … and sometimes funny. It’s actually a let down that their exchanges aren’t a bit more clever – say, in the mold of 48 HOURS (with Nick Nolte and Eddie Murphy). Perhaps I’m asking too much. The most frustrating aspect here is the villain. Claes Bang plays Robichaux, the leader of Yakuza, and he is severely underutilized here … other than a crack about him as the Vampire Lestat (Bang was terrific in the TV series “Dracula” ).

Morena Baccarin plays Valentina as a bank manager with extraordinary driving skills. Other supporting work comes from Jacob Batalon as Pica, more comedy relief as Walter’s assistant and referred to as ‘fat Jackie Chan’; Stephen Root as a frustrated Police Captain; and Temuera Morrison as the Governor. There are some stunning shots of Hawaii, and more of the impressive tattooed physiques of Bautista and Mamoa as they constantly fight – either each other or bad guys. They even get to look cool riding motorcycles. I feel obligated to make note of one particular action sequence that bothered me. It’s the biggest action set piece in the film … an incredible air and road chase scene featuring an incredible amount of gunfire and vehicle carnage. What bothered me was a stunning number of innocents who were harmed and probably killed … all with no care or attention from our heroes – James and Jonny (the former more concerned about his own wrecked vehicle). For me, this put a damper on what otherwise was played as a comical, over-the-top action film.

Streaming on Amazon Prime as of January 28, 2026

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Posted by David Ferguson

A PRIVATE LIFE (2026)

January 29, 2026

Greetings again from the darkness. The concept is interesting and relatable. A woman undertakes the solving of a mystery, and in the process, learns a great deal about herself. Writer-director Rebecca Zlotowski w-d (OTHER PEOPLE’S CHILDREN, 2022) and co-writers Anne Berest and Gaelle Mace have delivered a film that works on a couple of levels: as a whodunit and self-discovery.

Oscar winner Jodie Foster plays Lillian Steiner, a successful psychiatrist with a bit of a chip on her shoulder. We see her leave a voicemail for a patient who has just missed her third appointment, followed immediately by an unscheduled drop-by from another patient – this one angry for having spent thousands of dollars for treatment by Lillian, when a hypnotist cured him of his smoking habit with a single visit. Lillian then learns that the no-show patient, Paula Cohen-Solal (Virginie Efira), has died. Paula’s daughter, Valerie (Luana Bajrami), informs her that Paula committed suicide by downing all the pills Lillian had prescribed.

The news sets Lillian off on the case, refusing to believe that she missed any warning signs during her sessions with Paula. A bizarre and uncontrollable case of tears sends Lillian to her ex-husband optometrist, Gabriel (Daniel Auteuil, CACHE, 2005) for an exam. He finds nothing that physically explains the tears, and she then leans on Gabriel for guidance on the case, and the two re-kindle a bit more than that. Lillian’s relationship with her son Julian (Vincent Lacoste) is a bit icy and she purposefully avoids alone time with her baby grandchild. Paula’s husband Simon (Mathieu Amalric, THE DIVING BELL AND THE BUTTERFLY, 2007) and daughter Valerie play key roles here as Lillian tries to put the pieces together.

There is no shortage of characters to keep track of, including Dr. Goldstein (renowned documentarian Frederick Wiseman), a former professor who bluntly explains to Lillian that she’s always been a bit of a pain, and Jessica the hypnotist (Sophie Guilleman) first visited by Lillian’s smoking patient. When Lillian herself goes ‘under’, much is revealed about her past and true feelings, and though she doesn’t admit it, this session has opened her up.

This is a French film and in addition to the French actors mentioned above, a couple other long-time well-respected French actors appear: Aurore Clement (PARIS, TEXAS 1984) and Irene Jacob (AU REVOIR LES ENFANTES, 1987). Some may be surprised at Jodie Foster’s excellemt French dialogue … sprinkled with the occasional colorful English. Cinematographer brilliantly uses spiral staircases as Lillian works through the maze of information, and viewers should take note that this is not the typical ‘American in Paris’ fairy tale. It’s more of a psychological character study.

Opens in theaters on January 30, 2026

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Posted by David Ferguson

MERCY (2026)

January 23, 2026

Greetings again from the darkness. Artificial Intelligence ranks with politics as one of the hottest topics of conversation these days. Of course, we don’t yet know what role AI will play in society; however, we are pretty certain all aspects of our world will be touched in some form. This story from writer Marco van Belle and director Timur Berkmambetov (WANTED, 2008) is set only three years in the future, and the premise is that AI judges now decide criminal cases. As with most stories steeped in science fiction, your enjoyment of the film will depend on your willingness to buy into a concept that seems a bit far-fetched. But that buy-in will likely leave you entertained, rather than rolling your eyes (ok, maybe both), by what’s on screen.

Detective Chris Raven (Chris Pratt) awakens from his drunken stupor to find himself locked down in a chair in front of AI Judge Mattox (Rebecca Ferguson, A HOUSE OF DYNAMITE, 2025) in Mercy Court. This new system is designed to quickly administer serious cases by assuming guilt unless innocence is proven. Raven is informed he is charged with the murder of his wife Nicole (Annabelle Wallis, “Peaky Blinders”) and has 90 minutes to reduce his likelihood of guilt from 98% to 92%, or face immediate penalty of death (in the chair). What follows is an overwhelming onslaught of video evidence through security cameras, video doorbells, cell phone records, etc. The initial impression is that Chris deserves to be the leading suspect. He also has access to all of the available video and technology data that the government collects.

Chris calls his teenage daughter Britt (Kylie Rogers, BEAU IS AFRAID, 2023) to proclaim his innocence (despite his blackout memory due to drunkenness). His other calls are to his AA sponsor and friend Rob (Chris Sullivan, “This is Us”), and his police partner Jaq (Kali Reis, REBUILDING, 2025), the latter of whom hops on a futuristic air travel scooter to assist with gathering evidence for Chris. The thing meant to grab the viewer is the detective work by Chris as he races the clock. Of course, there is a political statement made in that Mercy Court doesn’t seem to be much a deterrent given the chaotic red zones within the city (but this isn’t the movie to look for rational thought). We can’t help but think of the superior MINORITY REPORT (2002), and as silly as this film gets at times, we can’t miss the point that we simply don’t know the risks of Artificial Intelligence, and that waking up while locked down in the ‘Mercy’ chair would be most anyone’s nightmare. Mr. Pratt does all he can while spending most of the time in that chair, and Ms. Ferguson makes an effective AI-generated judge (is that a compliment). Again, those who buy-in will be entertained.

Opens in theaters on January 23, 2026

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Posted by David Ferguson

THE TESTAMENT OF ANN LEE (2026)

January 23, 2026

Greetings again from the darkness. One might believe that celibate communal living and worship would have been an easier sell in the 1780’s than today, yet this film from writer-director Mona Fastvold (THE WORLD TO COME, 2020) and co-writer Brady Corbet (THE BRUTALIST, 2024) proves otherwise. It turns out the second coming and extreme shaking while worshipping requires a bit more faith than many possess. The film is based on the true story of Ann Lee, the founder of the Shakers who, along with a small contingency, emigrated to the U.S. from England to spread their beliefs.

That small group of believers who followed Ann Lee (Amanda Seyfried) included her brother William (Lewis Pullman), her husband Abraham (Christopher Abbott), and young Mary (Thomasin McKenzie), among others. Their life is not easy and recruiting a congregation proves challenging. Ann never loses faith and consistently stays true to her beliefs, allowing all to follow … well, except for her husband Abraham who doesn’t much buy into the pure life with no sexual relations requirement. Ann believes that this was Adam and Eve’s sin and is convinced a pure existence is the way to righteous living.

Probably the most unique thing about the film (other than the actual subjects of Ann and the Shakers) is the manner in which the hymns/songs are choreographed and performed. This makes for such an odd visual and there are quite a few of these moments. Tim Blake Nelson plays a pastor who crosses paths with Ann, providing an interesting sequence (as he typically does). The choreography is the work of Celia Rowlson-Hall and the music comes from Oscar winner Daniel Blumberg. Ms. Seyfried delivers yet another standout performance, although this movie certainly won’t be to everyone’s taste. It’s a long film that’s not easy to relate to. Ann Lee saw herself as the female incarnation of God, and the film attempts to show how some believed her.

Opens in theaters on January 23, 2026

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Posted by David Ferguson

MEL BROOKS: THE 99 YEAR OLD MAN (2026, doc)

January 20, 2026

Greetings again from the darkness. “Laughter is the best medicine.” Proof comes in the form of filmmaker Mel Brooks and this two-part HBO Documentary from two Emmy award winning directors: Judd Apatow and Michael Bonfiglio. The title is a take-off on Brooks’ age and his decades-long-running gag, “The 2000 Year-Old Man”. This is a film for anyone who is a fan of any of Mel Brooks’ eleven feature film comedies, his long track record of comedy writing (TV, film, Broadway), or a general history of the comedy forum. Two parts cover the familiar pieces of his career, while also putting his work into historical perspective, and offering insight into his personal life, his inspirations, and his romance and friendships.

A modern-day (quite candid) interview with Brooks provides the structure, and it’s fascinating to see a man who will hit the century mark very soon be so engaging as he recalls life moments – and even specific jokes that he wrote decades prior. The two-part presentation is generally in chronological order; however, a generous inclusion of archival clips and TV interviews and talk shows with Brooks provide not just valuable insight, but also extreme entertainment. We learn he and his brothers were raised by an optimistic mother who provided hope, despite their poverty in Brooklyn. When he was of age, he enlisted in the Army and fought in WWII. It’s no surprise that his comedy sense was influenced by Charlie Chaplin, Buster Keaton, and the Marx Brothers, yet Brooks is sure to include the Ritz Brothers as well. Much of his comedy work touched on his being Jewish … topics not always easy to laugh about in a post-war world. One of his great quotes: “If you don’t get killed in the Army, you learn a lot.”

The big break came when Sid Caeser hired him ‘off the books’ as a writer for “Your Show of Shows”. It was here where he worked with Neil Simon, Larry Gelbert, and Carl Reiner, the latter who would become a lifelong friend (and the straight man on “The 2000 Year Old Man” gag). By the mid-1960’s Brooks and Buck Henry would collaborate to create the TV hit “Get Smart”, a James Bond parody. The show’s success allowed Brooks to write his first screenplay for THE PRODUCERS (1967), which featured the now iconic comedy musical satire, “Springtime for Hitler” – and won him an Oscar. Brooks discusses his feeling of pride as a Jewish man being able to make fun of Hitler. It’s these moments that really hit hard in this documentary. Brooks felt a responsibility to poke fun at life’s inequities. It was with BLAZING SADDLES (1974) where he lampooned racism. It’s in this segment where Brooks discusses his professional teaming with Gene Wilder, and how (shockingly) Gig Young was originally cast as The Waco Kid.

Part Two of the documentary kicks off with Brooks’ classic (and my personal favorite) YOUNG FRANKENSTEIN (1974), which he co-wrote with the film’s star, Gene Wilder. His beautiful answer to the question of why he filmed in black and white: it is “a valentine to James Whale”, the director of many classic horror films, including FRANKENSTEIN (1931). The film goes through Brooks’ next films SILENT MOVIE (1976) and HIGH ANXIETY (1977), and what I found to be the most touching moment occurred as Mel Brooks watched a clip of his beloved wife, Anne Bancroft, in a scene from SILENT MOVIE. Love, admiration, and sadness are all visible on his face as the clip plays and he takes in this intimate memory. Although his HISTORY OF THE WORLD: PART 1 (1981) was not a hit, another clip reminds us of the immense talent of another actress, the late great Madeline Kahn (one of my all-time favorites). Brooks discusses what he viewed as the importance of bonding art with the power of comedy. We also learn of Brooks’ production company backing such prestige projects as THE ELEPHANT MAN (1980) and THE FLY (1986). Although he directed and acted in more films, the next great Mel Brooks achievement was taking “The Producers” to Broadway in 2005. The production won a record 12 Tony’s (second place is “Hamilton” with 11).

The career is truly unparalleled, and Mel Brooks laid the foundation for contemporary film comedy, yet what sets this documentary apart is the personal aspect. It’s clear Apatow (a very successful filmmaker himself) reveres Brooks and provides the forum for Mel to relay any bits he’d like to pass along. Sure, we hear the important role Brooks played for other Jewish entertainers like Adam Sandler, Sarah Silverman, Jerry Seinfeld, Nick Kroll, Ben Stiller, and Barry Levinson, yet beyond that, it’s the friendships with Norman Lear, Sid Caeser, and especially Carl Reiner that accentuate the life of the man. Having seen the “60 Minutes” segment, many of us know that elderly Reiner and Brooks would spend most evenings watching “Jeopardy”, yet it’s so touching to learn (from Rob Reiner) what happened after Carl passed away. We hear from Brooks’ sons and his granddaughter, and we hope they recognize the wisdom and life lessons presented here. One of Brooks’ best quotes and a driving force of his work: “I think I can say anything serious if it’s funny.” Brooks’ best advice: “Be kind”; and possibly his best joke: when asked, boxers or briefs? … Brooks answers “Depends”.

Part 1, January 22, 2026 HBO

Part 2, January 23, 2026 HBO

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Posted by David Ferguson

THE RIP (2026)

January 15, 2026

Greetings again from the darkness. A terrific opening sequence finds Captain Jackie Velez (Lina Esco, “S.W.A.T.”) being ambushed by a couple of masked men. She manages to send a text as she returns fire. It’s her final text. This film from writer-director Joe Carnahan (THE GRAY, 2011; SMOKIN’ ACES, 2006) and co-writer Michael McGrale (“CSI: Miami”) was inspired by true events within the Miami Police Department.

With their captain’s brutal murder unsolved, the job must go on for the team that mourns her death and lives with the frustration that no task force has been assigned. Newly promoted Lieutenant Dane Dumars (Oscar winner Matt Damon) takes his team on an evening job to which he’s been alerted. Money is involved, as is a chance to get a lead on the captain’s killer. His team includes (Oscar winner) Ben Affleck, Teyana Taylor (ONE BATTLE AFTER ANOTHER, 2025), Steven Yeun (“Beef”, NOPE, 2022), and Catalina Sandino Moreno (MARIA FULL OF GRACE, 2004). They are greeted at the stash house by Desi (Sasha Calle, ON SWIFT HORSES, 2024) who claims to know nothing about the money the team finds. It’s a lot of money. The kind of money that clearly has one source and that causes extreme stress within the team – and Desi.

Twists and turns and purposeful misdirection occur regularly throughout the film. We can’t always tell who is a good cop and who has ulterior motives. Did I mention that it’s a lot of money? At times it feels like Carnahan is trying to give us a story in the vein of the class THE DEPARTED (2006), what with all of the distrust, even amongst the cops. Kyle Chandler (ANNIVERSARY, 2025) plays a DEI Agent and Scott Adkins (JOHN WICK 4, 2023) plays a Federal Agent and Affleck’s brother. These characters add to the many complications and layers we wade through, including loyalties and motives.

It’s the complexity of the story and characters that work best here. Steven Yeun and Sasha Calle are especially strong in their roles, and it’s always a kick to see real life Boston buddies, Affleck and Damon, acting together. While the intrigue is a plus, the overwhelming gunfire and chase scenes towards the end actually take away from the story time fun – not enough to ruin it – just keep it from being what it could have been. The film includes my two favorite movie lines so far in 2026: “You look a little snitchy”, and “Can you sense my patience fraying?”. That’s a movie that deserves an audience.

Premieres on Netflix on January 16, 2026

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Posted by David Ferguson

SHEEPDOG (2025)

January 15, 2026

Greetings again from the darkness. We expect movies to entertain us, and the really good ones also carry a message or educate us on some important topic. This film from writer-director Steven Grayhm opens our eyes to the difficulties military veterans face when they return from war. Of course, numerous other films have taken on PTSD, and filmmaker Grayhm is sensitive to this history as he portrays the emotional, physical, and societal challenges that must be dealt with.

Grayhm undertook years of research with veterans and much of what we see here was derived directly from those personal discussions. The film opens with an elderly man in a parole hearing. We learn Whitney St. Germain (the always great Vondie Curtis-Hall) is a veteran and has served 30 years of a life sentence at Leavenworth.  As he’s paroled, we skip to the final day at a paper mill in Massachusetts. Another veteran, Calvin Cole (Mr. Grayhm is also the lead actor) is one of those put out of work – or as Calvin calls it, “between gigs” by the closing of the mill.

It takes a while for these two men to cross paths. By the time they do, Calvin (thanks to drugs and booze) has been charged with assault and forced to participate in a VA program run by Dr. Elecia Knox (Virginia Madsen). An awkward exchange leads Whitney (also known as “Gunny”) to learn Calvin is the ex-husband of his daughter, Alice (Lilli Cooper). The two men share something else – Lilli wants nothing to do with either of them, which becomes the start of a bond … along with the fact they are both veterans, albeit from different eras.

His career as a dependable supporting actor has provided the chance to see Curtis-Hall in this substantial role. His level-headedness and desire to re-connect with his daughter lead him to be supportive of Calvin, who really goes through some emotional stuff thanks to the VA program. Basically, the idea is to tear down the man and rebuild him so that he can control the violent urges and contribute to family and society. Calvin is also helped by his friend and old hockey coach, Clarence (Dominic Fumusa), while Calvin himself does what he can to support his friend Darryl (Matt Dallas), yet another struggling vet.

Some of the banter from these men is so realistic that we assume filmmaker Grayhm used his research specifically. Gunny talks about being unappreciated on his return from Vietnam, while Calvin’s multiple brain injuries are little more than entries in the VA file. It would be nice if the film’s message would inspire some families and friends to reconnect with struggling veterans – those whose ‘normal’ doesn’t feel normal. Providing hope means a great deal.

Opens in limited theaters on December 17, 2025 and then wide on January 16, 2026

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2 Comments | Drama | Tagged: , , , , , , | Permalink
Posted by David Ferguson

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