MUTINY (2026)

August 21, 2026

Greetings again from the darkness. This is a Jason Statham movie on a boat. For anyone who would be interested in this one, that description is all that’s needed. By now, we know what to expect from a Statham movie: lots of action, plenty of mano-y-mano fisticuffs, and a reason for him to flash a heart of gold buried under that tough and well-toned exterior. Director Jean-Francois Richet was behind the two excellent “Merine” movies in 2008, and here is back with his PLANE (2003) screenwriter JP Davis (joined by co-writer Lindsay Michel).

Cole Reed (Statham) is the trusted bodyguard for a billionaire shipping magnate (Ramon Tikaram) who is selling his company so that his son (Chaneil Kular) can pursue his own dreams (a tale as old as time). Of course, there is more to the story (and more to the son), but it becomes clear that the sale is not in the best interest of a particular group that is committed to halting the transaction. When the owner is ambushed, Cole Reed is falsely accused … oh, and yes, this sets him on a mission for revenge.

It’s that mission that finds Cole on a huge cargo ship, where he discovers yet another reason to be a hero. On the ship, he crosses paths with the third mate (Annabelle Wallis, “Peaky Blinders”, niece of legendary actor Richard Harris), who also discovers some nefarious activities being carried out by the captain and crew. This inspires the almost comical level of violence that follows … imagine a Jackie Chan movie played straight … or if John McClain was saving Christmas on a cruise ship. Plot holes abound, as do bone-crunching punches and some creative uses of props/weapons. Jason Statham continues to be the hero we deserve – at least in Jason Statham movies.

Opens in theaters nationwide on August 21, 2026

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Posted by David Ferguson

NEVER STOP CHASING (2026, doc)

August 19, 2026

Greetings again from the darkness. Some folks are just made differently. As a kid, Reed Timmer was afraid of storms. Because of this, he watched The Weather Channel religiously. This drove his knowledge and interest, and he eventually became the foremost storm chaser in the United States. Director Ken Cole has followed Timmer for more than twenty years, as they have collaborated on the 2004 PBS movie TORNADO GLORY, and the 2013 series, “Tornado Chasers”. Additionally, Timmer has appeared on The Discovery Channel’s “Storm Chasers”. This latest takes viewers directly into storms with Reed’s team.

It’s likely every viewer will know in the first seven minutes whether this is a documentary experience they can make it through. The photography is simply too amazing to describe in words as Reed Timmer and his storm chasing team take on the 2013 El Reno Tornado – widely accepted as the largest in history. Fearless is not the right word, but courageous certainly is. They understand the danger of intercepting storms, and it’s the experience, knowledge, and technology that protects them … along with quite a bit of luck. There are also memories of colleagues and friends who were less fortunate.

The contrast between the chasers and TV studio meteorologists is almost comical. The chasers live for the adrenaline rush and display kid-like excitement, while the TV broadcasters remain calm and collected while passing along details and videos. The cameras and this “Dominator” team with their customized vehicle take us inside storms. In the process, they prove that this is not just some crazy hobby. They are compiling crucial data for science with the intention of further improving warnings – saving as many lives as possible.

The scenes of devastation from the May 2024 Greenfield, Iowa tornado are painful to watch, yet the historic drone coverage allowed for never-before obtained data … all from the relative (un)safety of a rental car (after the Dominator rig was damaged). A New York Times photographer goes along for the ride, and her reactions are fascinating to watch. The intensity of these storms only slightly exceeds the intensity of pursuit exhibited by Reed Timmer and his team. For most of us, this is certainly as close as we ever want to come to a tornado, and we owe thanks to those willing to lay it on the line for science.

In theaters nationwide beginning August 21, 2026

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Posted by David Ferguson

THE STRANGER (2026, France)

August 18, 2026

Greetings again from the darkness. It has been quite a while since the last film adaptation of Albert Camus’ 1942 novel “L’Etranger”, and filmmaker Francois Ozon (behind one of my favorites, SWIMMING POOL, 2003) went to Albert’s daughter Catherine to get approval for this project. Previous adaptations include THE STRANGER (1967, Italy) and FATE (2001, Turkey). Ozone and Phillippe Piazzo collaborated on this updated screenplay (including some variations from the source material).

Ozon opted to film in black and white, and after some flashbacks to ‘old’ Algiers, we jump to the 1930’s where we find Meursault (a terrific Benjamin Voisin) as what’s often described as an indifferent man. Taciturn and/or withdrawn would also be properly descriptive, yet he’s typically quite direct during his limited times of speaking. Meursault is mysterious because he’s handsome and doesn’t spill his emotional guts over everything that happens. That everything includes the notice that his mother has died.

While most of us would be deeply affected by the news, we are unsure about Meursault. He spends time in the Baths of Algiers with Marie (Rebecca Marder), along with drinks in the pub, a Fernandel film at the cinema, and an evening of intimacy. At his mother’s funeral, his stoic demeanor confuses the attendees, and soon enough he and Marie are facing questions of love and marriage. As usual, he remains emotionally detached, willing to go along.

Things change during a beach visit with friends, and Meursault finds himself imprisoned on murder charges. We witness the act and it feels quite surreal. The trial takes up a chunk of the film and among those speaking on his behalf are a couple of neighbors: an old man  (Denis Levant) who states Meursault was kind to him and his mangy dog, and another (Pierre Lottin) who may have abused his own girlfriend. Meursault manages to spurn God and a Priest while in his cell, and he does question the meaning of life. Ozon’s use of black and white are reminders of the French New Wave of the 50’s and 60’s, and plays right into Camus’ existentialism. The character of Meursault and the story leave us much room for reflection, thought, and discussion … despite appearing fairly simple on the surface.

On DVD/Blu-Ray August 18, 2026, available on digital nationwide

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Posted by David Ferguson

OLMO (2026)

August 6, 2026

Greetings again from the darkness. Olmo is like most fourteen-year-old boys. His visual fantasizing about the girl of his dreams requires nothing more than a toy car and a glimpse of her walking outside. Yet, Olmo is also different than most his age because he shares caregiving responsibilities for his disabled dad, who is stricken with Multiple Sclerosis. It’s been more than a decade since he last directed a feature film, and writer-director Fernando Eimbcke delivers one of his best. He and co-writer Vanesa Garnica also collaborated on this year’s FLIES, which is currently making the festival rounds (including Cannes).

Alvan Uttapa stars as Olmo, and he perfectly captures the essence of a teenage boy trying to figure things out in Las Cruces, New Mexico in the late 1970’s. He and his older sister Ana (Rosa Armendariz) have a never-ending argument that goes like this, “Your turn.” “No, your turn.” This is in reference to whose turn it is to help their father Nestor (Gustavo Sanchez Parra) with the many things he is unable to do on his own now that the disease has rendered him mostly helpless to control his body.  Their mother Cecilia (Andrea Suarez Paz) takes as many double shifts as possible at the diner so that the family can fight the near-eviction notices that arrive frequently.

When Nina (Melanie Frometa), Olmo’s object of desire, invites him and his best buddy Miguel (Diego Olmedo) to a big party, she has only one condition … bring the stereo. Olmo is giddy with excitement, and only has two obstacles: first, it’s ‘his turn’ to care for dad, and second, the stereo needs repair. This leads to a tremendous scene with Nestor talking the boys through how to troubleshoot and fix the (era-specific) stereo. It’s here where we get the full impact of Nestor wanting so much to be the father he was before the disease. The once proud man hears the bickering over whose turn it is, and feels the frustration of being a lesser dad who can’t even stop his daughter from smoking. But the stereo repair restores some of that feeling … even if only for a moment.

Olmo and Miguel together are a hoot, and the comedic touches elevate the film from generic coming-of-age to a multi-dimensional story of a family grounded in real life issues. Olmo has the desires of a normal teenage boy, Ana wants to be part of the “in crowd” (she spends much of the movie in bright white roller skates), Nestor wants to be an involved father, and Cecilia wants to take care of the family while tending to her own needs. This is an era before cell phones, and a backyard grill becomes a (further) point of contention between Nestor and Uncle Julio. Even Walter Murphy’s disco classic, “A Fifth of Beethoven” has a place in this story.

Immigrant parents (Nestor and Cecilia) raising Americanized kids (Olmo and Ana) means both English and Spanish are spoken at home … often in the same conversation. Sometimes everyday life creates huge tensions and stress for all family members – and sometimes it’s a specific event. This time, that specific event awakens Olmo. Director Eimbcke gives us a shot near the beginning of the film that is actually the film’s ending … a smooth move for the filmmaker. This feels like it could have been a documentary, which is a testament to how family life is so well captured.

In theaters nationwide beginning August 7, 2026

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Posted by David Ferguson

THE DINK (2026)

July 23, 2026

Greetings again from the darkness. In 2004, we had a film based on dodgeball, so it only makes sense that the hottest game going these days, Pickleball, gets its shot on the big screen. Josh Greenbaum (WILL & HARPER, 2024) directs a screenplay from Sean Clements (“Workaholics”), and the result is a comedy in the realm of films like HAPPY GILMORE (1996), KICKING & SCREAMING (2005), and yes, DODGEBALL: A TRUE UNDERDOG STORY (2004). The film tries (too) hard to generate laughs, and its best moments seem to be in the sincere intergenerational bond between two otherwise mismatched characters.

Jake Johnson (“New Girl”) stars as Dustin Boyd, a one-time tennis prodigy whose pro tennis career was derailed by a wrist injury. Having been cultivated from an early age by his father (think Todd Marinovich), the collapse of his career also caused a break in his relationship with dear old dad, Chuck (Ed Harris), who now owns and runs a prestigious tennis club where he allows Dustin to train rich kids … although he spends most of his time telling stories about ‘what could have been.’ As the popularity of pickleball grows, tennis traditionalist Chuck fights the pressure from the pickleball contingent led by Skip (the always great Patton Oswalt). A quirk in the club by-laws sets up a duel – a match between the tennis proponents and the pickleball group.

Circumstances shove Dustin into the pickleball universe, and it’s this route that offers him a shot at regaining dad’s respect. Actually, pickleball is prescribed to him by his unconventional doctor played by Ben Stiller (also a producer on the film). Dustin thinks the new game is hokey, but he finds a true friend in Candace (Oscar winner Mary Steenburgen). This contrasts with RJ, his loyal assistant at the club (played by Aaron Chen, George on “Fisk”), who worships Dustin, but hesitates to call him out. Dustin and Candace are surprisingly good together – not just as pickleball partners against Gail (Cleo King) and Judy (the late Lynne Marie Stewart, Miss Yvonne on “Pee-Wee’s Playhouse”) – but as true friends.

The duel – traditional versus contemporary – ends exactly how you would expect, and it’s elevated by surprise appearances from a couple of real life tennis legends during the match. Jake Johnson is at his comedic best in slightly awkward situations, but much of this one is so obvious and generic, it’s difficult to give much credit to the comedy. The use of Country music and the classic film, THE GRADUATE (1967) are especially nice touches, as are supporting roles from Christine Taylor (Stiller’s wife) and Martin Kove (THE KARATE KID). The pickleball fans out there deserve their moment on the big screen, and they will hopefully find a few more laughs than I did.

THE DINK will premiere globally on AppleTV on July 24, 2026

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Posted by David Ferguson

SHEEP IN THE BOX (2026, Japan)

July 23, 2026

Greetings again from the darkness. Most of us would do just about anything for a grieving loved one. Kepsuke (Daigo Yamamoto) proves this when he accompanies his wife Otone (Haruka Ayase) to a presentation at ReBirth, a company specializing in humanoids meant to replace a lost child. An accident two years ago cost this couple their 7-year-old son Kakeru (Rimu Kuwaki), and the husband, though skeptical of the whole thing, hopes this is what his wife needs to move on.

The film is written and directed by the ultra-talented Hirokazu Kore-eda (THE TRUTH, 2019; SHOPLIFTERS, 2018; OUR LITTLE SISTER, 2015), who has utilized his remarkable insight into human nature to bring us several memorable films. This one may lack the emotional depth of his previous work, yet it has plenty to say about technology and artificial intelligence. Otone is an architect and Kepsuke is a builder, and for much of the film, she is working on designing a unique house for another couple. Of course, the real story here is how humanoid Kakeru fits with this new family. Otone is initially quite accepting of this new being, while Kepsuke takes a bit longer.

Could you love a robot? Is an emotional bond even possible? Does this constitute life and should the new Kakeru even be considered a ‘real’ boy? Filmmaker Kore-eda throws in a twist since there are two sides to this story … and Kakeru’s side is easily the most fascinating. As it/he bonds with his true peers, the story takes on a much different and much larger picture than the intimate family drama we initially expected. We are told we are “a product of your own past”, and it’s Otone and Kepsuke who believe they are deciding whether to keep it or not. The obvious comparison here is Spielberg’s AI: ARTIFICIAL INTELLIGENCE (2001), but Kore-eda takes a different approach and leaves us pondering whether technology is serving us or will technology ultimately serve itself?

Opening in theaters July 24, 2026 and expanding through August 7, 2026

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Posted by David Ferguson

THE ODYSSEY (2026)

July 16, 2026

Greetings again from the darkness. What makes a movie “epic”? Most cinephiles would agree the list of epic movies includes LAWRENCE OF ARABIA (1962), GONE WITH THE WIND (1939), BEN-HUR (1959), and APOCALYPSE NOW (1979). Of course, arguments can be made for many other films, and it really comes down to how you define ‘epic’ and how you perceive a specific film. Regardless of your definition or perception, there is no doubt that this latest from Oscar winning filmmaker Christopher Nolan is an epic film and an epic movie-watching experience. Yes, it’s the first film to be filmed entirely with IMAX 70mm cameras, and it’s based on the Homer’s “Odyssey”, itself a piece of epic Greek literature … but it also is a piece of filmmaking unlike anything we’ve previously seen.

Oscar winner Matt Damon stars as Odysseus, and the story is centered on his ten-year journey home after the Trojan War. This includes a breathtaking Trojan Horse sequence, told with a twist from tradition. My favorite sequence (and that’s really saying something) involves the Cyclops and his flock of sheep inside the Master Cave in Greece. It’s truly staggering film work that would itself win every technical Oscar in most years. However, Nolan offers us so much more here – action-packed battle scenes, torturous boat journeys at sea, other creatures that must be seen (Scylla who snatches men from the deck of a ship), and the unheard (by us) song of the Sirens known to seize men. Another terrific sequence involves a fabulous Samantha Morton as Circe the witch, who has a special way of treating strangers.

Oscar winner Anne Hathaway plays Queen Penelope, wife to Odysseus and mother to their son Telemachus, played by (Spider-Man) Tom Holland. The two have a twenty year wait to see if Odysseus lives and if he will return to them in Ithaca. Penelope is left to manage the power struggles for her hand in marriage and for the kingdom, with a key figure being the slimy Antinous (Robert Pattinson). Oscar winner Lupita Nyong’o plays the stunning Helen of Troy, as well as her twin sister in a dual role, and it’s Zendaya who shows up periodically for Odysseus as the goddess Athena. In a substantial role, we find Oscar winner Charlize Theron as Calypso, spending years on her island with the wayward and lost Odysseus. Nolan’s cast is massive and talented and includes John Leguizano in a key role, as well as Jon Bernthal as Menelaus, Elliot Page as Sinon, and Himesh Patel as Eurylochus … plus many others you’ll recognize.

Nolan reteams with Oscar winning cinematographer Hoyte Van Hoytema to provide a truly amazing visual experience, filming in at least six countries to help us visualize Antiquity and Odysseus’ journey across the Mediterranean Sea: Morocco, Greece, Italy, Iceland, Scotland, and Malta. Three-time Oscar winner Ludwig Goransson delivers a unique and powerful score, with a blend of electronics and even some jazz. Nolan has credited Emily Wilson’s 2017 translation of Homer’s “Odyssey” for the modern language take, and though “Zeus’s Law” is referenced a few times, it can easily be described as human decency. The modern-day messages shine through – false gods, lust for power, and treating others poorly are mistakes humans have made over and over … and these messages couldn’t be more relevant than right now. The film reportedly had a $250 million budget, and as amazing as the film is, there will surely be those who complain that it moves too slowly or the film is too dark. I would only say that watching the film is like having a book unfold in front of you. I would certainly recommend if you are planning to see the film, head to an IMAX theater or at least the biggest screen nearby.

Opens in theaters on July 17, 2026

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Posted by David Ferguson

THE LEGEND OF JUAN JOSE MUNDO (2026)

July 16, 2026

Waco Independent Film Festival 2026

Greetings again from the darkness. For those who are itching to re-live the glory days of 1984 high school, writer-director Michael Walker and co-writer Susan Gomes are here for you. The surprising part is that even for non-Gen X viewers, the film is so well crafted and acted, that it flows beautifully as a time capsule for the era. As if that’s not enough, it’s also based on a true story.

Relative newcomer Anna Mirodin shines as Julie, a Jewish high school junior in suburban New York (White Plains). She’s a good student … trusted by her teachers, and a good girl … who admits she’s “never done anything with a boy.”  Her best friend, Suzanne (Hannah Kepple, “Cobra Kai”, and a Dyan Cannon lookalike) is a bit more adventurous and tries to coax her friend into being more assertive in pursuing her desires. The perfect opportunity arises for Anna when Juan Jose Mundo, arrives from Spain as the exchange student assigned to stay at her house during his trip.

Juan Jose Mundo (Alexandro Byrd in his first feature film) is a charming, handsome, gregarious young man with proper manners around parents and the charisma to attract high school students of both genders. It’s quite entertaining to watch Juan quickly embed himself into the basement parties and other activities of Julie’s classmates – all while her reserved nature prevents her from sharing her feelings with him. Along the way, we are treated to the ‘treasures’ of 1984, including the family station wagon, the tied-to-the-era fashion choices, the music (much of which now seems comical), the blatant racism, and the politics that generated a Mondale/Ferraro bumper sticker on said station wagon. Especially prevalent is the presence of mix tapes as a flirtation strategy. Despite ringing true to the period, much of what’s included acts as a painful reminder of 1984.

Admittedly, teen comedies aren’t my usual cup of tea, yet Walker and Gomes fill a void that’s existed since the days of John Hughes … this is a smart movie about teenagers, and it even serves up a life lesson, if you can find a teen to listen. On the surface, it doesn’t seem to be a story about the danger of those years, but in fact, it’s a cautionary tale about teen desire, confusion, frustration, and peer pressure. We even have awkward parents and an obnoxious sibling on display. Kudos to the cast and filmmakers for refusing to dumb down the material for their audience.

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Posted by David Ferguson

HORSEGIRLS (2026)

July 16, 2026

Greetings again from the darkness. I usually try to avoid using the word ‘endearing’ to describe a film that strikes an emotional chord, but for this film from writer-director Lauren Meyering and co-writer Mackenzie Breeden, the word fits perfectly. Much of the reason for this is the screen presence of Lillian Carrier, who was diagnosed with autism at age 16. Here she portrays twenty-two-year-old Margarita in a way that allows us to understand her real life challenges.

Margarita openly confesses the backstory of her name to most everyone she meets. It’s a clue to how direct and honest she can be, while also showing her difficulty in recognizing social cues and adhering to social norms. She lives with her mother Sandy (Gretchen Mol), who is undergoing chemotherapy for breast cancer. Sandy and Margarita have a deep bond, but mother is trying hard (for good reason) to push Margarita towards independence. This leads to arguments, and to Margarita securing a job at the local Halloween store run by Hank (Igbal Theba).

It’s joining a troupe of young hobby-horse dancers (yeah, I had no idea this was a thing) that leads Margarita even closer to independence. The team’s coach is played by (an excellent) Jerod Harris, and his ‘tough love’ approach is something Margarita responds to. “Walk it off, Red”, is one of his regular sayings as she initially stumbles through the routine or faces harsh treatment from the snooty girls on the team. We all know that ‘adulting’ is not easy. The trip is filled with obstacles. It’s even more challenging for those on the spectrum, yet we find a certain satisfaction in watching Margarita grow and develop.

I’ve been a fan of Gretchen Mol since the 1990’s and have often said I wish she would act more often … at least in the projects I see. Here, she’s a strong mother and vulnerable woman and really delivers as Margarita’s mother. As Margarita, Lillian Carrier is quite something to behold. She is smart and emotional and relatable … and someone we enjoy rooting for. Some may call this a ‘coming-of-age’ story, and perhaps it is. Mostly, it’s the journey of life that we all travel – only some roads are a bit bumpier than others. Look for a nice cameo towards the end.

The film opens in theaters on July 17, 2026

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Posted by David Ferguson

GAIL DAUGHTRY AND THE CELEBRITY SEX PASS (2026)

July 9, 2026

Greetings again from the darkness. As a huge fan of THE WIZARD OF OZ (1939), I admire the homage paid to the classic film by writer-director David Wain (WET HOT AMERICAN SUMMER, 2001) and his co-writer Ken Marino, collaborators on ROLE MODELS (2008) and WANDERLUST (2012). In fact, there are long-term shared comedic genes noted throughout the list of cast, crew, and filmmakers here … with quite a few running through the “Reno 911!” franchise. If that’s not hint enough, I’ll repeat what I’ve written many times over the years: comedy tastes are quite diverse, and some will laugh heartily at this one, while others will be baffled as to what is so funny.

Zoey Deutch, fresh off her fine work in last year’s NOUVELLE VAGUE and ANNIVERSARY, plays the titular Gail from Kansas (the first Oz reference), a perky hairdresser engaged to her high school sweetheart Tom (Michael Cassidy). Fred Melamed is the local postal worker/narrator who promises a crazy community story – one which takes very little time getting underway. Casual conversation ends with Tom explaining to naïve Gail what a Celebrity Pass is, and the couple heads to a cookbook reading by Jennifer Anniston, who just happens to be Tom’s recently mentioned celeb of choice. You can guess what happens next.

Stunned by the events, Gail heads to Los Angeles with her best friend and fellow hairstylist Otto (not Toto), played by Miles Gutierrez-Riley. The two hope to meet their favorite hairstylist Remy Fontaine (Thomas Lennon) at the national conference and of course, Gail hopes to even the score with Tom by tracking down her own CSP, Jon Hamm. The trip kicks off a ‘spot the celebrity cameo’ for viewers, beginning with Henry Winkler at LAX. This photo op leads to Gail’s suitcase being mistakenly swapped with another – unknowingly putting the mob (led by Sabrina Impacciatore of “White Lotus” fame) on her trail. If it seems a bit preposterous, just know that much of the comedy is purposefully of this ilk.

In addition to a psychic reading and a stop at the infamous Chateau Marmont, there is a celebrity map vendor played by Michael Ian Black, and other sightings, including Kerri Kenney, Richard Kind, Weird Al Yankovic, Penn Jillette, Elizabeth Banks, Elizabeth Perkins, and Paul Rudd. However, it’s kindred spirits in John Slattery (a nice “Mad Man” touch), CAA agent-in-training Caleb (Ben Wang), and a paparazzo (co-writer Ken Marino) who views Jon Hamm as his photographic white whale, who travel with Gail in search of her conquest.

For some, the various vignettes will provide the humor they desire, and even for those who comedic itches are not scratched, the zany madcap tribute to THE WIZARD OF OZ may be creative enough to keep you engaged.

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After a festival run at Sundance and Tribeca, the film opens in theaters on July 10, 2026
 

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Posted by David Ferguson

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