MAGIC HOUR (2026)

May 29, 2026

Greetings again from the darkness. We all love a good (and sneaky) twist in a movie. It takes exceptional storytelling and acting to pull it off, and it’s a bit funny when it becomes obvious that the screenwriter just kind of ran out of ways to maintain the suspense. That’s what happens about twenty minutes into this one from writer-director Katie Aselton, real life wife of filmmaker Mark Duplass, who also co-wrote this script.

Ms. Aselton (“The League”) also stars as Erin, whom we meet in the opening sequence as she’s filming her efforts to cure her husband Charlie (Daveed Diggs, HAMILTON, 2020) of his fear of heights. Their stint on the amusement park Ferris Wheel is filled with laughter and a chance for us to quickly get to know both. The next scene has their friend (Brad Garrett) showing the rental cabin in Joshua Tree National Park (where filming took place). He explains how this is the perfect place to work through things.

We see Erin and Charlie having discussions, but quickly (around the 20-minute mark) realize that some challenges must be dealt with rather than overcome. Much of the heavy-lifting is done by Ms. Aselton, but Mr. Diggs is a solid complement. Supporting work is minimal here, with two exceptions. A very odd night with drag queens (is that term still acceptable?) and a makeover is a real head-scratcher, and Erin’s mother (Susan Sullivan) shows up to deliver this memorable line: “You can be miserable and still have fun.”

Cinematographer Sarah Welden gets a few opportunities to capture the stunning scenery, even when the story, and the idea of letting go, falters a bit. In fact, the film might have worked best as a Short Film.

Releasing on March 29, 2026 in select theaters

WATCH THE TRAILER

Leave a Comment » | Drama | Tagged: , , , , , , | Permalink
Posted by David Ferguson

A BLIND BARGAIN (2026)

May 20, 2026

Greetings again from the darkness. For those of us who love movies and watch entirely too many each week/month/year, we have hardened to the fact that every so often we find one that simply doesn’t click for us. Even then, we hope to latch on to a particular character, setting, or element to the story that will keep us engaged. Sometimes the really odd, unconventional films are the ones with the most to offer – even though they often require the most ‘mental’ effort to connect.

As for oddity, it’s tough to beat a modern-day reimagining of a “lost” 1922 silent film starring Lon Chaney. Writer-director Paul Bunnell and co-write John Falotico have adapted a story by Bing Bailey, while theoretically paying homage to that original, and delivering a trippy story set in 1970. As proof of embracing the bizarre, we find the Master of Odd, Crispin Glover, cast at Dr. Gruder, a twisted physician who seems to relish human experimentations on reverse aging.

Seeing as I spent most of the film’s runtime wondering what was going on and why there were so many bizarre characters introduced, my explanation here will be quite broad. A Vietnam veteran named Dominic Fontaine (Jake Horowitz, the excellent THE VAST OF NIGHT, 2019) is desperate for drug money and cuts some deal that allows the mysterious Dr. Gruder to run his experimental anti-aging treatment on Dominic’s mother, Joy (Amy Wright, BREAKING AWAY, 1979). Joy is a former silent film actor and spends time watching her old flicks. She seems to have only a slight inclination of why she is at the Gruder Institute. Her hope is to be young again.

The film succeeds in creating an eerie atmosphere, and the cars of the era are on full display throughout … as is some wild and creative costuming. Some of the moments and scenes are a bit overly dramatic, and who better to score the film than Ego Plum, who has been known to claim artist Frieda Kahlo and Russian revolutionary Leon Trotsky as grandparents (they weren’t). For me, the highlight was the amazing Mary Hopkin singing “Those Were the Days” as the film came to an end.

A limited theatrical release

WATCH THE TRAILER

Leave a Comment » | Horror | Tagged: , , , , , , , , | Permalink
Posted by David Ferguson

DRIVER’S ED (2026)

May 15, 2026

Greetings again from the darkness. The Farrelly Brothers (Bobby and Peter) were the creative force behind such comedy classics as DUMB AND DUMBER (1994), THERE’S SOMETHING ABOUT MARY (1998), and one of my personal favorites, OUTSIDE PROVIDENCE (1999). At some point, the brothers decided to split up and work on their own projects. Peter won a couple of Oscars for GREEN BOOK (2018), and now Bobby, working from a screenplay by Thomas Moffett (AN ACTOR PREPARES, 2018), delivers one more in line with the brothers’ early works.

Sam Nivola (“The White Lotus”, and son of actors Alessandro Nivola and Emily Mortimer) stars as Jeremy, a high school senior – lovesick and concerned since his girlfriend Samantha (Lilah Pate, MONSTER SUMMER, 2024) headed off to college a year ahead of him. In a setup that would have been unimaginable back in my day, Jeremy and three other seniors are taking part in a Driver’s Ed class. Aparna (Mohana Krishnan, “I Am Frankie”) is the class valedictorian, Yoshi (Aidan Laprete, SWIPED, 2025) is the school’s drug dealer, and Evie (newcomer Sophie Telegadis) seems to have a growing attraction to Jeremy.

Their substitute driving instructor is Mr. Rivers (Kumail Nanjani, THE BIG SICK, 2017), who is battling not one, but two broken arms … neither of which slow down his one-liners or his lackadaisical approach to the assignment. A certain spontaneous decision finds the drivers-in-training on a road trip for romance, sans instructor, to reunite Jeremy and Samantha. This also sends Principal Fisher (Molly Shannon) into a frenzy and campus security guard, Officer Walsh (Tim Baltz, “The Righteous Gemstones”) on their trail.

This teenage road trip has some comical moments, and getting to know each of the participants is the film’s strength. The actors each have an opportunity to shine, and as we would expect with students this age, there are moments that find us rolling our eyes and others that leave us impressed with the emotional depth shown. This is a film that features such highlights as reading a sext out loud in class, introducing us to teen phone separation anxiety, educating us that far too many students are prescribed anti-depressants and mood drugs, and what a frat party looks like these days (not much has changed evidently). There is also a three-legged cat, a Vintage Furs van, a hillbilly bandit, and a hot Good Samaritan (Marley Aliah) who appeals to a couple of the renegade students.

While most of the time is spent on a misguided romantic road trip to save a relationship, it evolves into a journey of self-discovery, as most things do at that age. It’s quite fun to watch this group of fairly young actors do their thing and outperform the adults, and the best line in the film is an odd one: “Most 8th graders don’t generally read obituaries”.

In theaters and On Demand beginning May 15, 2026

WATCH THE TRAILER

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

BLUE HERON (2026)

May 7, 2026

Greetings again from the darkness. The first feature film from writer-director Sophy Romvari has been well received on the festival circuit, and it’s easy to see why so many have been drawn in by this Canadian- Hungarian production. It’s a deeply personal film with autobiographical elements from the filmmaker. The best family dramas often deliver a gut-punch, and this one certainly does … yet it’s the storytelling structure that provides hope for future gems like this.

It’s the 1990’s and a family is moving into a new place on Vancouver Island. Mom and Dad (Inringo Reti, Adam Tompa) have three sons and a daughter. Eight-year-old Sasha (Eylul Guven) is the youngest and we view the story and the family through her eyes. Even this opening sequence dishes out an ominous feeling, yet there are no specifics that cause this. Soon, Sasha is paying particular attention to oldest brother Jeremy (Edik Beddoes), whose physical appearance offers a clue … although it’s his increasingly worrisome behavior that mark him as a troubled teen and one that the parents must be concerned about. This ‘ordinary’ family becomes not so ordinary.

Being the parent of a troubled teen is a no-win situation, just as being that troubled/confused kid is tough to navigate. Dad spends a great deal of time with a camcorder, while mom carries the emotional blame. None of them can make sense of their situation, and the parents want to protect their other kids while also being supportive of Jeremy. In addition to young Sasha being our eyes, filmmaker Romvari uses a creative device to generate brilliant storytelling. We watch as a grown Sasha (Amy Zimmer) conducts a case study on the family of her childhood. This works exceptionally well for making this story extremely personal through creative filmmaking.

Other than an initial voiceover, the past is presented as the present, and we become so engrossed that the second half feels more like the future than a look back at the past. Much of this deals with memories – often quick clips of past moments where the full story is beyond recollection. The closest comparison for this film is Lynne Ramsay’s terrific WE NEED TO TALK ABOUT KEVIN (2011), yet Sophy Romvari uses her own life experiences to grab and hold our attention. Mental illness is more openly addressed these days, and this talented filmmaker pulls back the curtain on the effects it can have on a family.

Opened April 17, 2026 in NYC and April 24 in Los Angeles, and will expand nationwide in May.

WATCH THE TRAILER

Leave a Comment » | Drama, World Cinema/Foreign | Tagged: , , , , , , | Permalink
Posted by David Ferguson

MISPER (2026)

April 24, 2026

Greetings again from the darkness. Thoreau famously wrote, “The mass of men live lives of quiet desperation.” That quote may overstate the being of the staff at The Grand, a 100-year-old hotel that once provided service for royalty, but now the seaside inn is crumbling at the seams and desperate for guests. The feature film directorial debut from writer-director Harry Sherriff and co-written by Laurence Tratalos is quite a pleasant surprise.

Leonard (Samuel Blenkin, “Black Mirror”) is the young man who covers the front desk and makes the rounds. He has a bit of a Bud Cort vibe to him … friendly enough, yet just a bit off. Leonard spends each morning gazing out the window as Elle (Emily Carey, young Diane in WONDER WOMAN, 2017) strolls from the bus stop to her station in the hotel’s restaurant. Elle is bright-eyed and cheerful, and shy Leonard has a quiet crush that he can’t bring himself to admit. In fact, Elle is a favorite of the guests and the staff.

Gary (Daniel Ryan, “The Bay”) is the hotel’s manager and he’s constantly worried about the hotel’s poor reviews and limited guests. He fears for the future – both his and the hotel’s. One morning, Elle doesn’t show for her shift. Gary assumes she has quit, while Leonard fears for the worst. Tragically, Leonard is correct, and the film’s tone shifts from the daily mundane life of the staff to the ongoing grief and guilt and confusion. Leonard is hit especially hard as his friend – and the one beacon of light in his life – is missing.

It’s fascinating to watch each of the staff have their moment. Pam (Christine Bottomley, “Domina”) replays her drive home and wonders if she could have helped. Maintenance man Khalid (Sunil Patel) and housekeeper Vivian (Rosalind Adler) also miss Elle’s smiling face. Leonard even pays an awkward visit to Elle’s father (Oliver Ryan) as an attempt to make sense of what’s happened. What makes the film unique is the dashes of humor blended with grief and regret. Cinematographer Bart Bazaz works wonders with the characters and the setting in the old building. It’s a terrific little film that explores grief in a different way, and reminds us to treasure those who bring light and hope into our lives.

Screening at the Dallas International Film Festival on April 24 and April 26, 2026

WATCH THE TRAILER

Leave a Comment » | Comedy, Drama, World Cinema/Foreign | Tagged: , , , , , , , , , , | Permalink
Posted by David Ferguson

I SWEAR (2026)

April 23, 2026

Greetings again from the darkness. The concept of ‘normal behavior’ seems quite elusive these days, but clearly the uncontrollable ticks and inappropriate (for proper society) verbal outbursts of Tourette Syndrome add to life’s complexities. Writer-director Kirk Jones (WAKING NED DEVINE, 1998) takes on the true story of John Davidson, whose actions prove role models come in many forms. Although the film doesn’t dig too deeply, it benefits from the real-life actions of one man and a couple of excellent lead performances … plus the always welcome presence of two beloved character actors.

The film opens in 2019 with the adult John Davidson (Robert Aramayo, DANCE FIRST, 2023) spouting an obscenity at Queen Elizabeth as he’s to receive his MBE (Member of the Order of the British Empire) for his volunteer work. This outburst actually occurred. We then flash back to 1983 Scotland where Scott Ellis Watson portrays young John as a charming middle school kid with a knack for soccer. Once the unexplained ticks begin, everyone assumes John is acting out – despite his denials. This includes the school administration and his own parents (Steven Cree and the always great Shirley Henderson), who dole out punishments ranging from physical to emotional … all in an attempt to rein in his actions.

If there is a more remarkable person in the story than John, it would be Dottie Achenbach (Maxine Peake, DANCE FIRST, 2023). She’s the mother of John’s schoolmate, and she’s been diagnosed with terminal cancer. Watching her get to know John and show patience with his affliction is not just heartwarming, but also a case study in patience and caring. Dottie helps John get a job (working for a stellar Peter Mullan) at the community center, and then assists in finding John his own flat as he strives for independence. Of course, as you would expect whenever someone bucks societal norms and expectations, John is a curiosity to some and bothersome to others. He faces judgment and even assault … plus an arrest from law enforcement that hasn’t yet been educated.

It’s adult John that really surprises. Not only does he embrace the responsibilities of his job, he begins helping others through his Tourette’s Weekend seminars. He recognizes what these folks are going through, as he’s living  life daily in the same (metaphorical) shoes. John becomes an ambassador for Tourette Syndrome through lectures and seminars … educating those who previously had no understanding. We’ve seen the quirks … kissing the lamppost … and now we see the true impact of caring. The relentless stream of “Sorry” has shifted to education and societal improvement. Robert Aramayo turns in a terrific performance as John, and the film leaves us with the keys: education, understanding, acceptance. Clips from a documentary on Davidson’s life are shown over the closing credits.

In theaters beginning April 24, 2026

WATCH THE TRAILER

1 Comment | Drama | Tagged: , , , , , , , | Permalink
Posted by David Ferguson

JUST SING (2026, doc)

April 23, 2026

Greetings again from the darkness. The popularity and staying power of Karaoke shows just how much we enjoy singing. Even for those with crippling stage fright, singing in the shower can provide a bit of joy. But what about those with real talent? There is only so much room for the Adeles and Ed Sheerans of the world. Co-directors Angelique Molina and Abraham Troen take us inside the world of collegiate a cappella (singing without instrumentation). Now, you are likely to immediately think of either church choir, barbershop quartets, or Pentatonix … all fine singing choices, yet all a bit different than what the film documents.

The film follows the USC (University of Southern California) VoCals as they pursue a record sixth team win at the International Championship of Collegiate A Cappella. The ICCA has 12,000 competitors, but only one winner which is determined by judges in New York City. Of course, to reach the finals, a team must earn the right through hard work, creativity, talent, and by winning regional events.

Listening to the participants, a common theme emerges. They each felt like outsiders until they became part of the a cappella team. In their words, they found “my people”. Blending talent into beautiful art requires a lot of work … plus fundraising. We learn that the PITCH PERFECT movies and the “Glee” TV series helped make singing cool. Perhaps most importantly, the a cappella group provided a direction or a path for these outsiders. We do learn the importance of arrangements and soloists for competition, but all of this seems more about community and belonging and sharing the journey … although the reaction to NYC finals is quite telling.

Abramorama will release the film in New York City and Los Angeles on April 24th, followed by a North American theatrical rollout.

WATCH THE TRAILER

Leave a Comment » | Documentary | Tagged: , , | Permalink
Posted by David Ferguson

NORMAL (2026)

April 16, 2026

Greetings again from the darkness. As evidenced by the abundance of ‘shoot-em-ups’ released each and every year, it’s clearly not that challenging for screenwriters to find a reason to have characters firing bullets at each other. Director Ben Wheatley proved his mettle with this genre in 2016 with the excellent and madcap FREE FIRE. This time out, he’s working from a script by Derek Kolstad (the “John Wick” and “Nobody” franchises) and Bob Odenkirk (well known comedy writer and star of “Better Call Saul”).

The film opens in Osaka, Japan as a Yakuza leader deals out punishment (some cruel, some shocking) and new assignments. It’s a bit surprising, and quite creative for the story to jump from Osaka to Minnesota, which is where the titular small town of Normal is located. Ulysses Richardson (Mr. Odenkirk) has been hired as the temporary town Sheriff after the previous one died under mysterious circumstances. As you would expect, Ulysses is carrying some personal baggage. He’s estranged from his wife (we can tell from the string of unreturned voicemails he leaves) and fights through vivid nightmares of a recent traumatic event that changed his life.

Despite his flaws, Ulysses is a sharp lawman. A couple of run-ins with the smarmy Mayor Kibner (Henry Winkler) and the tricky local bartender Moira (Lena Headey, “Game of Thrones”) ignite his ‘something’s not right about this town’ radar. Eventually, the tie-in to the Yakuza is established, as is the fact that Ulysses has to face-off against the entire town of Normal, including Deputy Anderson (Ryan Allen, IN THE SHADOW OF THE MOON, 2019) and Deputy Nelson (Billy MacLellan, NOBODY, 2021). To say that the action is stepped up is a bit of an understatement.

The point of separation between this and the endless bang-bang movies is in fact the fight of the ‘normal’ guy (in the town of Normal) against the entire town and the Japanese mob. Odenkirk has already mastered these types of roles after a couple of NOBODY films, and his personality works. A town moose is a welcome touch, as is opening with a Black Sabbath song. The film isn’t at the level of the aforementioned FREE FIRE, and certainly doesn’t have the benefit of that film’s cast or the twist of its confined space, but man against town works well enough for entertainment purposes, and fans of the genre should be satisfied.

Opens in theaters nationwide on April 17, 2026

WATCH THE TRAILER

Leave a Comment » | Action | Tagged: , , , , , , , | Permalink
Posted by David Ferguson

AMERICAN SOLITAIRE (2026)

April 16, 2026

Greetings again from the darkness. For a soldier of war, making it back home is the goal; yet it’s also only a first step. What comes home with the veteran is never simple. Many films have characterized PTSD on screen, but the debut feature from writer-director Aaron Davidman digs even deeper. Slinger (Joshua Close, “Fargo”) returns home as a wounded Special Forces veteran who nearly died (perhaps he even did briefly) and now must rediscover his own self while also finding his place in a society that presents so many challenges for him.

Slinger rents a room from Athena (Joanne Kelly, “Warehouse 13”), another veteran who understands the difficulties in re-acclimating to a society that has a complex dynamic with guns, especially amongst the young. Soldiers are sent off to fight wars to protect our way of life, and then return home to communities that respect neither them nor the dark side of violence. Slinger can’t quite seem to connect with his own son, even as he tries to reach Emmitt (Jamir Vega, “Women of the Movement”), the teenage nephew of his old service friend, Auggie (Gilbert Ouwor, EMANCIPATION, 2022). Emmitt is the stand-in for all teenagers who believe guns make them tougher as the wrangle with each day’s temptations.

While trying to help Auggie deal with the pressures of a military promotion and return to battle, a gut-punch moment occurs as the friends are chatting. The question is asked, “Do you want to go back?” The answer … “No, but yeah.” The film never preaches or lectures, yet we respect Slinger’s gun safety guidance to Emmett, as well as his ability to process the many confusion moments he confronts in his return. Slinger’s approach provides a stark contrast to the “look at me” mentality that is so pervasive these days. A final lesson that filmmaker Davidman is sure to drive home occurs when it’s explained that one dies by suicide, rather than commits suicide. It’s the difference between victim and criminal.

A terrific ‘quiet’ opening finds a young boy (we later learn is Slinger in childhood) working diligently with his father in cleaning and handling firearms. This is quite a moment when offset against the realization that strikes Slinger by the end of the film. The film is fertile ground for post-viewing discussion and debate.

A limited theatrical release on April 17, 2026 in NYC and Los Angeles will be followed by additional markets.

WATCH THE TRAILER

1 Comment | Drama | Tagged: , , , , , | Permalink
Posted by David Ferguson

CITY WIDE FEVER (2026)

April 15, 2026

Greetings again from the darkness. For his debut feature film, writer-director Josh Heaps pays tribute to the Italian Giallo films (originating in the 1960’s) he clearly adores. But he goes a step further by creating his own Giallo … placing a Giallo-loving film student right in the heart of a Giallo world. Clearly not a film for the masses, but for the admirers of this genre, it’s likely to bring great pleasure and entertainment.

Sam (an interesting Diletta Guglielmi) is a young film student who finds a USB drive filled with information that sets her on a journey to locate forgotten (fictional) Italian film director Saturnino Barresi and his final film, “City Wide Fever”. Barresi’s films followed the Giallo style  – meaning they were supernatural thrillers filled with eroticism, intensity, and violence. An example would be some of the films by director Dario Argento. Sam’s obsessive investigative journey devolves into an environment where she herself is in the midst of one of the films she is so attuned to … really a conspiracy to keep her from finding Barresi.

This is true guerilla filmmaking (it’s doubtful many permits were secured) by Mr. Heaps leading to an authentic feel and lack of staging. We get a terrific montage through Times Square, and then Sam and her partner Chloe (Angelika Kim) wade their way through the sleazy side of town – porn shops with poor lighting. This is a mystery with many moving pieces, and viewers should be prepared for what feels like time warps, multiple slashes, and a clever use for a bobby pin. Surreal horror is one description, yet know there is a story here – it just may not look and feel like those you’ve become accustomed to.

The always creative marketing team at The Alamo Drafthouse is including the film as part of their Weird Wednesday series on April 15, 2026. The film will also have a digital release on May 1.

The trailer can be found on the movie’s website

Leave a Comment » | Thriller | Tagged: , , , , | Permalink
Posted by David Ferguson

« Previous Entries