THE BRIDE (2026)

March 4, 2026

Greetings again from the darkness. I became a Universal Monsters fan as soon as I reached the age where my parents would let me stay up to watch the later horror movies on Fridays and Saturdays. That love for the films and the stories and the monsters has only grown over the years, so you can only imagine the excitement I held for this film … especially on the heels of last year’s impressive FRANKENSTEIN from visionary Guillermo Del Toro. When my movie hopes and expectations reach this level, disappointment often follows; however, not this time!

You likely know Maggie Gyllenhaal from her superb acting in such films as SECRETARY (2002), THE DARK KNIGHT ((2008), and CRAZY HEART (2009). You may not know that her feature film directorial debut was the excellent THE LOST DAUGHTER (2021), for which she also adapted the screenplay from the novel. The success of that ‘little’ film gave her the clout to create her dream project: a reimagining of James Whale’s 1935 classic, BRIDE OF FRANKENSTEIN. For this one, Ms. Gyllenhaal directs her own incredibly creative and innovative tale, two adjectives that also describe her stunning and original script.

A big-time project requires a top-notch cast, and the filmmaker secured two of the best working today for her leads: Jessie Buckley and Oscar winner Christian Bale. The supporting cast is also impressive, and includes (5-time Oscar nominee) Annette Bening, Peter Sarsgaard (Maggie’s real-life husband), Oscar winner Penelope Cruz, Jake Gyllenhaal (Maggie’s brother), and John Magaro (SEPTEMBER 5, 2024). The number of crossovers and intersections in the careers of these actors and Maggie are too many to list, but it speaks to the admiration these talented folks share for each other.

Obviously, Ms. Gyllenhaal’s inspiration was borne from James Whale’s two films, BRIDE OF FRANKENSTEIN (1935) and FRANKENSTEIN (1931), as well as the 1818 novel, “Frankenstein; or the Modern Prometheus”, written by Mary Shelley. Certain touches within her new movie pay homage to all three, plus a bonus tip of the top hat to Mel Brooks’  YOUNG FRANKENSTEIN (1974). Ms. Gyllenhaal opens the film in mob-filled 1930’s Chicago with a truly fantastic prologue sequence that introduces us to Ida, the first of three characters played by Ms. Buckley. Her performance in this segment is nothing short of mesmerizing, and it’s capped off by the ingenious inclusion of the deceased Mary Shelley … a type of spin on the iconic opening scene of BRIDE OF FRANKENSTEIN. Soon after, we find ‘Frank’ (Mr. Bale) making his plea to Dr. Euphronius (Ms. Bening) and her intriguing assistant Greta (Jeannie Berlin) to reinvigorate a life partner that can cure his many years of loneliness.

As you would surmise, Dr. Euphronius is successful, and soon Frank and Penny (Ida’s new name) have paired up and carve their way through society – often making headlines ala Bonnie and Clyde. Their road trips create moments of tenderness, longing, sensuality, and violence … yes, plenty of violence. A radical women’s social movement is started as a result of one of Penny’s key feminist moments. Despite a blank memory, Penny understands the power of women. Movie musicals featuring hoofing star Ronnie Reed (Mr. Gylenhaal) play a crucial role in Frank’s life, though it’s not until later in the story that the reason is revealed. All this time, two detectives (Mr. Sarsgaard and Ms. Cruz) are tracking Frank and Penny, and we note the soft spot one of them holds for The Bride.

The film is a majestic triumph for Maggie Gylenhaal as a filmmaker, and surely will open many doors for future projects. Visually, the film is stunning to watch. The Bride and Frank are both magnificent creatures, yet every set and every scene are a feast for the eye and ears (yes, the sound is equally superb). The actors have all delivered their A-game, yet somehow Jessie Buckley continues to stand out (she’s Oscar nominated this year for her memorable performance in HAMNET). It’s not just her shock of white hair or stained face (explained in the film). No, the performance is much deeper and multi-faceted. Without spoiling anything, Ms. Buckley must adjust to the requirements of each scene, as well as the wide realm of emotions her roles demand. For fans, we do get the left-hand twitch, and as for viewing this film only once … “I prefer not to.”

Opens in theaters March 6, 2026 (see it on the big screen!)

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Posted by David Ferguson

DREAMS (2026)

February 26, 2026

Greetings again from the darkness. SUNDOWN (2021) was an underrated film from writer-director Michael Franco who, this time out, attempts to tackle a few more complex issues involving immigration, class, and cultural differences. The result is a mixed bag that, without the presence of Oscar winner Jessica Chastain, likely would have fit right in to the old ‘Showtime After Dark’ series.

Jennifer (Ms. Chastain) is a wealthy socialite who helps run the McCarthy Family Foundation that is focused on art and causes for those less fortunate. She works with her brother Jake (Rupert Friend, “Homeland”) and their patriarchal father (Marshall Bell). At the ballet school they founded in Mexico City, Jennifer met and began a torrid affair with the lead dancer, Fernando (professional dancer Isaac Hernandez). The affair has since turned into an ongoing relationship. Jennifer seems to believe she’s in love and Fernando dreams of escaping poverty and living a life of luxury in the states with Jennifer. She has absurd wealth – private jets, a Bentley, houses all over, and non-stop galas and events requiring high fashion.

We recognize this as a relationship built on lust. It’s a matter of loins, not heart. The cross-cultural bond is favored by neither culture. Jennifer’s family sees the benefit in providing support to the underprivileged, but not in bringing them into the house, so to speak. Fernando’s parents are equally at odds with this relationship. Racism is evident, as is class differential – exposing the two-faces of the foundation’s founding family. The story highlights that most everyone has a dark side, and keeping up appearances becomes ‘normal’. Franco’s movie progresses slowly, making this relationship all the more uncomfortable to watch. It’s a shame that we never buy the coupling of Jennifer and Fernando as anything more than physical, but it is quite a shock to hear Chastain utter the line, “suck your balls” multiple times.

In theaters beginning February 27, 2026

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Posted by David Ferguson

EPIC: ELVIS PRESLEY IN CONCERT (2026, doc)

February 22, 2026

Greetings again from the darkness. “Glory, Glory, Hallelujah.” As Elvis sings “The Battle Hymn of the Republic”, the combination of the lyrics and his voice send chills. We listen as Elvis states he’s never had the chance to tell us his story in his own words. Director Baz Luhrmann discovered hours of previously unheard audio and unseen video recordings while researching his 2022 film, ELVIS. He has masterfully edited this into a fascinating portrait of the King of Rock ‘n Roll, with an emphasis on his multi-year run at the Las Vegas International Hotel.

Despite the cute title and its double meaning, Luhrmann doesn’t deliver the standard concert film. The first segment offers a brief recap of Elvis’ early years as a teen idol, followed by his military stint (and buzz cut), and string of Hollywood films. But it really kicks into gear with the Las Vegas residency years – more than 1100 shows – beginning in 1969. As you watch this, keep in mind that Elvis was in his mid-thirties in most of the clips (he died in 1977 at age 42). Those early Vegas years were Elvis at his peak both physically and vocally. Luhrmann’s brilliant touch includes bouncing from rehearsal to live show. What shines through is Elvis’ true love of the music and absolute dedication to entertaining his fans.

Thankfully, Luhrmann (who also directed MOULIN ROUGE!, 2001) skips the ‘fat Elvis’ ending and focuses on the global phenomenon matched only by The Beatles and Taylor Swift. Elvis speaks to his disappointment at not having the opportunity to act in better films, and it’s clear that his long-time manager, Colonel Tom Parket was also the obstacle to Elvis touring Europe, Japan, or anywhere else outside of the Unites States. Creative editing has Elvis performing “You Were Always On My Mind” during the montage of Priscilla and Lisa Marie, as well as “In the Ghetto” on the heels of him mentioning that he avoids speaking on politics and sees himself as ‘an entertainer’. He even cringes when asked about his Sun Records recordings by Sam Phillips, noting the heavy echo of the songs that initially brought him notoriety.

As a lifelong Elvis fan, noting his pure joy in the music hits hard. A personal favorite moment occurs when he cuts loose on “How Great Thou Art”. The power and depth of that voice was a true gift … not unlike the genetic lottery he won with his looks. The middle-aged ladies sitting next to us in the theater swooned multiple times as he flashed his smile, and of course, those in attendance at his live show had obvious reactions as well. Perhaps no one on the planet ever kissed more women than Elvis.

Luhrmann includes bits of 50+ songs (I lost count) and uses some footage shot for two previous documentaries, ELVIS: THAT’S THE WAY IT IS (1970) and ELVIS ON TOUR (1972), yet here he goes much deeper into the man – the one with a sometimes goofy sense of humor who understood the power of entertaining the audience. Sometimes that audience included celebrities … we see Cary Grant, Sammy Davis Jr, and George Hamilton at shows; but mostly it was how his shows touched everyone with his energy. In deference to the many actors who have portrayed Elvis on screen, including Jacob Elordi, Austin Butler, Kurt Russell, Jonathan Rhys Meyers, Michael Shannon, and Bruce Campbell, there really was no one like him. Elvis may have left the building, but it’s clear the spirit of his music continues to take care of business.

One week run at IMAX theaters thru February 26, 2026 followed by a wide theater run beginning February 27, 2026

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Posted by David Ferguson

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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3 Comments | Drama, World Cinema/Foreign | Tagged: , , , , , , , , , , , , , | Permalink
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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2 Comments | Fantasy, Thriller | Tagged: , , , , , , , , | Permalink
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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1 Comment | Drama | Tagged: , , , , , , , , , | Permalink
Posted by David Ferguson

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