FOLLOWING HARRY (2026, doc)

October 12, 2026

Greetings again from the darkness. Watching someone work so diligently for the greater good and to make the world a better place is so inspiring. And these days, it feels revolutionary and strange. Documentarian Susanne Rostock previously filmed a Harry Belafonte biopic, SING YOUR SONG (2011), and fortunately for our sake and for history, she was able to spend time with him prior to his passing in 2023. Those discussions with the man (in his 90’s) provide insight into what made him tick, what drove his activism, and what he viewed as his final mission.

Many only know Belafonte through his music. “Banana Boat Song (Day-O)” and “Jump in the Line (Shake, Senora)” are two of his biggest hits that continually show up in modern day projects. He began entertaining at age 19, ultimately winning an Emmy, a Grammy, a Tony, and an honorary Oscar (Jean Hersholt Humanitarian Award). Yet despite the accolades, he begins the film by questioning how best to ‘look back on my life’, and wondering “was the time wasted”. Of course, we already know the answer is ‘not in the least’, but Ms. Rostock allows Mr. Belafonte the time to discuss what he worked on and what he accomplished as an activist for doing the right thing.

Archival video clips and photographs document Harry’s time alongside such historical figures as Martin Luther King, Malcolm X, Muhammad Ali, and the Kennedys as the work for Civil Rights proceeded. Belafonte founded The Gathering for Justice, an organization dedicated to mobilizing communities to ensure justice for all. We see Belafonte speaking out after the Trayvon Martin incident and Black Lives Matter movement, and his push for the Women’s March. Quite telling is his interaction with actor Jamie Foxx, who absorbs the lessons being taught by Belafonte.

We feel Harry’s frustration when, in 2016, he was organizing a concert, and many big stars reported that it was “inconvenient”, providing a crystal-clear example of how so many benefit from the sacrifices of those who come before, yet are unwilling to follow in those steps. The difference in eras is quite remarkable, and Belafonte worked until his final days in educating the new generation on history and attempting to pass the torch. He left a legacy of encouragement and inspiration meant to provoke thought, discussion, and ideas … even though speaking out carries a price. So, when Harry wonders if his time was wasted, we absolutely know that he made the world a better place. Harry Belafonte’s legacy lives on as an example of a uniter.

Releases nationwide and in Canada on Amazon, Apple TV and other major VOD platforms on October 13, 2026

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Posted by David Ferguson

YOUR MOTHER YOUR MOTHER YOUR MOTHER (2026)

October 8, 2026

Greetings again from the darkness. It would be easy to write this one off as another film in the mold of the many Liam Neeson action movies we’ve seen over the past few years. However, this one from writer-director Bassam Tariq (MOGUL MOWGLI, 2020) is more complex and has more depth … including a blend of religion, action, and family drama. As an added bonus, we get another terrific performance from two-time Oscar winner Mahershala Ali, he of immense screen presence.

Ali (MOONLIGHT, 2016) plays Latif, a talented hitman and Muslim single dad/widower caught in a web of crime, violence, and issues with a teen and needy infant. He wants to do what’s best for his family, but once caught in that dark underbelly of life, it’s very difficult to claw back out. His Iman, Abdul Malik (Giancarlo Esposito, “Breaking Bad”) pleads for Latif to find non-violent solutions, but Latif spends most of his time reacting to bad situations that could only get worse without his particular set of skills.

Latif’s employer, Mike (Laith Nakli, 12 STRONG, 2018) compels him to protect his nephew Hatty (Abubakr Ali, ANYTHING’S POSSIBLE, 2022), an arrogant scumbag known as the King of Habibi porn. Hatty’s threat arrives in the form of flamboyant cowboy Pastor Hwan Yoon (John Cho, underrated COLUMBUS, 2017). This pastor sports a gold grill, dons a Stetson, and brandishes semi-automatic weapons … all for the sake of cleansing in God’s name. Joining in for the mishmash of religions is a sect of Mormons who prove quite helpful to a family in need.

Even with the above mentioned ‘war’ proceedings, I haven’t even mentioned Latif’s battle to do the right things for his kids: teenage Fatiha (a superb Adia, “The Midnight Club”) who is quietly rebelling against her father’s religion, and young Qadir (Jaleel Kamara, NANNY, 2022) who hopes the religion can bring he and his dad closer. If all that’s not enough, the newborn baby is in desperate need of breastmilk, which leads Latif to a stripper named Fugazi (Tiffany Boone, “Hunters”) and (of course) a trap set by the bad guys. The dad in search of breastmilk for his infant is drawn directly from the life of filmmaker Tariq (minus the Samurai sword).

The film is set in Houston, but filmed in Atlanta, and it pulls off the perfect look given the complex subject matter. After opening with a brutal bathroom fight scene, we welcome the blend of religion, action, and family drama. Most surprising, at its core, this is a story of a father-daughter relationship teetering on a decisive line. “Who deserves the best of you?” is a question to The Prophet answered three times by the film’s title … making the film’s ending a bit of a surprise.

Opens in Dallas theaters on October 9, 2026 and nationwide on October 16.

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Posted by David Ferguson

HOLDING LIAT (2026, doc)

October 1, 2026

Greetings again from the darkness. It happened on October 7, 2023. Hamas attacked. People were killed. Hostages were taken. A war began or rather was reignited. Documentarian Brandon Kramer (THE FIRST STEP, 2021) details each of these and chooses to focus on the plight of one family. We all know about the still ongoing (and escalated) violence between Israel and the Palestinians (more than 75 years now) on the West Bank, and Kramer’s attention to one family makes this personal, emotional, and frightening.

Liat Beinen (a Holocaust history teacher and American citizen) and her husband Aviv Atzilli were among the 250 taken hostage during that October 7 siege. The film crew picks up with Liat’s father Yehuda and her mother Chaya two weeks after the attack as they desperately long for information about whether their daughter and son-in-law are still alive. It’s interesting to note that both families have been critical of Prime Minister Netanyahu, but mostly their frustration is on his lack of effort in bringing home hostages … rather than seizing the political opportunity afforded.

Yehuda is quite adept in front of a camera and in speaking his mind. In fact, he and his daughter Taj travel to Washington, D.C. to meet with U.S. politicians in hopes of making this an American issue. It’s a strategy that may have worked, although mostly what we see are Congressmen saying very little of substance. Yehuda is not interested in playing the game. He is blunt in his observations and criticisms, and makes it clear that he wants his daughter released and returned. We feel pain alongside the family as names are read for each hostage release.

Kramer notes the weeks as they pass, as well as whatever information the family receives from the military. The stress levels and frustrations are palpable and understandable. Even while watching, we struggle to understand the emotions of the family – or their strength. The family does express appreciation to President Biden, though it’s quite clear their lives will never be the same. The film offers us much, and regardless of one’s political affiliation, the pain and tragedy caused by war should be a united stance.

Available on VOD beginning October 2, 2026

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Posted by David Ferguson

VERITY (2026)

September 30, 2026

Greetings again from the darkness. Verity Crawford’s mid-century modern lake house/mansion is jaw-dropping and a true architectural marvel (actually located in Armonk, NY). Of course, if the best thing I can say about a film is that the title character’s house is amazing … well, you have a good idea how I felt about it. Still, I will not be bashing the movie as I might have if I had watched it on my own. Instead, I was in a theater full (mostly adult women) of fans of Colleen Hoover’s best-selling 2018 novel (I have not read it), and as shown by audience reactions, the vast majority thoroughly enjoyed the ride.

Directed by Michael Showalther (THE BIG SICK, 2017) with an adapted screenplay from Nick Antosca (creator of the AppleTV series “Cape Fear”), the film will likely be a hot topic of discussion within the many Book Clubs that had Ms. Hoover’s novel on their lineup a few years ago. The cast, like that house, is nothing short of gorgeous. Dakota Johnson (of “Fifty Shades” franchise fame) plays struggling writer Lowen Ashleigh, who is recruited to ghostwrite the next three novels for uber-popular novelist Verity Crawford, played by Oscar winner Anne Hathaway. Verity has been an invalid, unable to speak or walk, since a car accident that occurred not long after her daughter drowned in the lake. Verity’s husband, Jeremy, is played by Josh Hartnett (OPPENHEIMER, 2023), and Lowen’s agent, Corey, is played by Ismael Cruz Cordova (MISS BALA, 2019).

That’s four gorgeous actors in a film that aspires to the genre of psychological erotic thriller. The only issues with that label are that the sex scenes are lame and awkward, while the psychological aspects are cliché and easy to predict. Or at least I thought so … the audience reactions seemed to prove otherwise. In flashback scenes, we see Verity interviewed by the familiar faces of Gayle King (“CBS Mornings”), podcaster Alex Cooper, and Sean Evans (YouTube’s “Hot Ones”). This is meant to create a contemporary feel.

Much of the film’s tone is related to the discovery of Verity’s autobiographical notes, and Lowen’s reaction. I’ll certainly not go into the twists and turns served up here, other than to say viewers are supposed to accept the theme of writers treating truth as fiction, and fiction as truth. It doesn’t help the movie that none of the actors give their best performance, leaving us with cheesy melodrama (no, not all melodrama is cheesy). Judging by the audience, that’s evidently sufficient. Either way, what a stunning house!

Opens in theaters on October 2, 2026

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Posted by David Ferguson

DIGGER (2026)

September 29, 2026

Greetings again from the darkness. There will likely be a very distinct line of demarcation between those who ‘dig’ DIGGER and those who don’t. Director Alejandro Inarritu, who won Oscars for THE REVENANT (2015) and BIRDMAN (THE UNEXPTED VIRTUE OF IGNORANCE, 2014) and a list of five esteemed writers (Sabina Berman, Jez Butterworth, Alexander Dinelaris, Nicolas Giacobone, Inarritu) seemingly crafted a film that looks amazing, while intentionally angering or annoying or confusing a big chunk of movie goers. Not only will those who prefer traditional storytelling be frustrated, the politics involved will surely irritate many (and drive some nasty comments).

The studio has requested that no spoilers or hints be included in reviews, so I will tread extremely lightly here. An added reason is that the film is certainly best viewed ‘cold’ or with no preconceptions. If you’ve seen the video, you know immediately that this is a much different Tom Cruise character than the strutting, cocky, too-cool-for-school Ethan Hunt that he’s portrayed in numerous “Mission: Impossible” films. It’s his best non-action role since MAGNOLIA (1999), and also his most exuberant (some will say over-the-top). Under prosthetics that transform him into a man that looks his actual age, Cruise becomes Digger Rockwell, a man of enormous wealth, influence, and ego. Cruise has a couple of extended single takes, one of which is mesmerizing in the sheer amount of dialogue he recites and the physicality he displays.

As you would expect, many actors jump at the chance to work on an Inarritu film, and here the cast includes Oscar winner Riz Ahmed as Dr. Ganesh, John Goodman as President Compson, Michael Stuhlbarg as the Vice President, Sandra Huller (one of my 3 favorite actresses since TONI ERDMAN, 2016), Robert John Burke as Fitzgerald, and Jesse Plemons as Kenny. Ahmed is excellent in his role, while Goodman makes his mark with world class bellowing. Huller’s smaller role is a bit disappointing, but fortunately she has a starring role in Pawel Pawlikowski’s new film, FATHERLAND.

Even beyond the studio restrictions, I’m at a bit of a loss as how best to review this film. It’s likely meant to be satire as it takes on big issues like contemporary politics, global issues, ecological concerns, and socio-economic fallout. My view is that it’s a blend of Kubrick’s classic DOCTOR STRANGELOVE and some Coen Brothers films (minus the hilarity), topped off with editorial commentary on backroom politics and corporate greed. Controlling the narrative is a clear objective of these characters. The film takes one huge change of direction early on, and then another much later … the second being easier to foresee. These shifts will definitely challenge viewers, while also leaning into the creativity noted by those of us who find things to admire about the film.

Inarritu’s team is as superb as expected. Three-time Oscar winner Emmanuel Lubezki expertly handles the VistaVision cinematography, while Oscar winner Dennis Gassner awes us with Production Design. As an added bonus, the song playing over the closing credits is the excellent (and quite fitting) “Look What They’ve Done to My Song, Ma” by Melanie. But then, not everyone will stick around that long.

Opens in theaters on October 2, 2026

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Posted by David Ferguson

HEART OF THE BEAST (2026)

September 24, 2026

Greetings again from the darkness. Director David Ayer (the excellent END OF WATCH, 2012) is no fool. He wisely begins the movie by putting the audience at ease. Yes, the dog survives. We learn this in the opening scene he blocks the road of a pickup driver (Anna Lambe, “True Detective”). We immediately shift to flashback mode, unsure whether the dog’s owner is still alive. The first feature film screenplay from Cameron Alexander benefits immensely from a couple of key factors: stunning scenery and a touching bond between man (Oscar winner Brad Pitt) and dog (Odin, a properly renamed Uber).

Pitt plays James Belmont, retired after 30 years in Army Special Forces. His loyal companion, Odin, is a beautiful Shepherd who served as combat scout dog alongside James in multiple wars. Both carry their bodily and mental scars. Odin has been partially reassembled, including a prosthetic leg that doesn’t seem to slow him down. The two companions are now living a quiet life, close to nature, in the wilderness of Alaska. Well, it’s quiet except for multiple interruptions … some more dangerous than others.

One evening, an old-timer (Oscar winner JK Simmons) pulls up his canoe for a fireside chat with James. This allows us to learn some specifics about the background for man and ‘beast’.  The geezer is gone by the next morning, and a storm forces James and Odin into an early departure. It’s one that ends badly, as a heart attack causes a horrific plane crash. James and Odin are battered, but survive and begin a 58 mile trek through harsh Alaskan wilderness. The dangers lurking in nature are many. Some you expect, some you don’t. One segment recalls THE GREY, while another poses a nature-made tree bridge over raging river waters.

I may not be the first to notice that Brad Pitt has a face seemingly designed for the big screen, yet this time, his co-star’s face is equally impressive. Odin is a stunning creature and the bond these two share carries zero Hollywood fluff, and is sure to capture the emotions of most viewers. In fact, you should have nothing to do with anyone who doesn’t at least well up a bit during this one. Pitt has reunited with Ayer, his director from FURY (2014), and this survival story may work even better as a love story.

Opens in theaters on September 25, 2026

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Posted by David Ferguson

UNABOMBER (2026)

September 24, 2026

Greetings again from the darkness. One of the most frightening things in existence is when mental illness blends with brilliance. Ted Kaczynski was a 16-year-old math prodigy at Harvard in 1958, and then arrested in 1996 after being identified as the Unabomber. His reign of terror covered 1978 through 1995, and his bombings were responsible for three murders and twenty-three injuries. The manhunt was the longest and most expensive in FBI history.

Director Janus Metz (ALL THE OLD KNIVES, 2022) works from a screenplay by Sam Chalsen and Nelson Greaves, delivering a look at young Kaczynski and the FBI efforts to track him down with so few clues. In an interesting approach, Metz flip-flops the story between 1958 Harvard and the manhunt in the 90’s … opening with a New Jersey bombing in 1994 and moving to the release of the Manifesto a year later. It’s the Manifesto that breaks the case for the FBI, although it almost didn’t. The key agent involved here is Joanne Miller (Shailene Woodley, THE DESCENDANTS, 2011) as a behavioralist. When Kaczynski’s brother David (Matthew Kevin Anderson) relays to the feds that the writing style and terminology remind him of his brother, Joanne Miller shifts her focus.

The Harvard segments focus on Professor Henry Murray (Oscar winner Russell Crowe) and the mental stress project he runs with Christiana Morgan (Annabelle Wallis, THE MUMMY, 2017). At this age, Kaczynski is played exceptionally well by Jacob Tremblay (ROOM, 2015), who captures a young man who doesn’t really fit in socially, and believes he has a mentor and supporter in the Professor and his assistant. This segment shows what a quick mind Kaczynski possessed, while also letting us see just what led to extreme behavior later.

The FBI pieces fit together like a procedural, and in addition to Woodley, agents are portrayed by Alexander Ludwig (“Vikings”), Stephen Ogg (“The Walking Dead”), and Marc Menchaca (“Ozark”). We also see how luck and perseverance and instinct can play a role in such a broad investigation. The capture of Kaczynski at his remote and rustic cabin in Montana is reenacted here, as is at least one “wrong guy” moment from earlier. We see actual news clips from reports during this era, and at the film’s conclusion, audio recordings and photos of imprisoned Kaczynski are replayed. In 2020, a docuseries, “Unabomber: In His Own Words”, was released, and both projects capture the mental state of one who was a true danger to society. This film from Mr. Metz states that it’s based on a true story, however, I couldn’t find a reference to a female agent who was key to the case, and none are noted in the update prior to the closing credits. At this point, I’m not sure if this is creative license or protecting agent identities.

Premieres on Netflix on September 25, 2026

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Posted by David Ferguson

SHAUN THE SHEEP: THE BEAST OF MOSSY BOTTOM (2026, animated)

September 24, 2026

Greetings again from the darkness. Shaun the Sheep is a British creation dating back thirty years or so. It’s through Aardman, the same imaginative studio as the brilliant ‘Wallace and Grommet’ characters and stories. Through multiple series and feature movies, we’ve come to know and love the claymation Shaun and his misadventures. This latest from co-directors Steve Cox and Matthew Walker, and co-writers Mark Burton and Giles Pilbrow, is yet another entry that will entertain adults and kids of all ages.

Halloween is rapidly approaching and the flock of sheep has been cultivating a secret pumpkin patch. At the same time, the clumsy, unaware farmer is working up the courage to invite the local veterinarian to the Halloween Hoe-down. A freak occurrence has the farmer accidentally destroying the pumpkin patch, leading Shaun and his nifty science book (“Home-Made Science”) to concoct a rapid-growth solution meant to replenish the pumpkins. Of course, there are ‘hairy’ side effects that put all involved on a track resembling a Buster Keaton movie … one hilarious misstep (with the best intentions) after another.

There are so many subtle touches to complement the chaos that most are best left for the viewer to discover. For a taste, there’s a nod to Hitchcock’s PSYCHO, perfectly timed wilting flowers, a slick use of a car wash, a sea shanty, and a few pokes at selfies and social influencers. Perhaps my favorite is the angry mob chasing the beast, reminiscent of what happened to the Frankenstein monster. In reality, the show is a tribute to monster movies with an emphasis on Shaun (and his trusty book of experiments) as Doctor Frankenstein.

The visuals here are outstanding as usual, and for those unfamiliar, dialogue is non-existent – other than a song lyric near the end. The communication and emotions are conveyed through grunts, groans, and giggles … and we are never in doubt as to what a character is thinking or ‘saying’. Sheep, a farmer, a loyal dog, the helpful vet, some longshoremen, and angry townspeople all play a role in this Halloween tale that will surely entertain (with a good-natured fright) viewers of all ages. The tradition continues.

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Posted by David Ferguson

THE LOVE HYPOTHESIS (2026)

September 22, 2026

Greetings again from the darkness. This year’s batch of Hallmark Christmas movies hasn’t hit yet, so for those fans, here’s the next best thing … a Romantic Comedy based on the New York Times bestseller written by Ali Hazelwood. Directed by prolific TV director Claire Scanlon, with an adapted screenplay by Sarah Rothschild, the film delivers easy comedy with a burst of ‘Girl Power’.

Lili Reinhart (CHEMICAL HEARTS, 2020) stars as Olive, a junk food junkie fighting anxiety over her Grad School interview when we first meet her. This anxiety acts as an internal battle for the brilliant researcher committed to finding a treatment for pancreatic cancer, the disease that took her mother. Once on campus at Stanford, Olive is quickly befriended by the much more outgoing Anh (Rachel Marsh, “Unstable”). The story’s ‘conflict’ occurs when Olive realizes she and Anh have a crush on the same guy, Jeremy (Nicholas Duvernay, “The White Lotus”). Being the grateful and dutiful friend she is, Olive yields the lust to Anh via a most awkward interaction with Dr. Adam Carlsen (Tom Bateman, DEATH ON THE NILE, 2022).

Soon, ‘Dr Evil’ (as Carlsen is known by students) and Olive have struck up a mutually beneficial “fake dating” agreement, complete with rules and regulations. This arrangement allows Dr. Carlsen to pursue the professional advancement he requires, while Olive can ensure that BFF Anh and Jeremy are unencumbered to pursue romance. It’s a win-win, except, of course (and obviously), fake dating rarely stays fake. The necessary complication arrives in the form of Dr Thomas Benton (Arty Froushan, “Daredevil: Born Again”) who fulfills the role of scummy, misogynistic male who abuses his position of power.

This is a Girl Power story told in a rom-com the traditional rom-com style, which makes it a challenge for some of us to appreciate. Reportedly, author Hazelwood used Rey from the Star Wars movies as inspiration for Olive. In a touch of synchronicity, Daisy Ridley (who played Rey) is married to Tom Bateman. It’s not difficult to imagine this as a more real-life drama, which means the story is one worth telling. As a bonus, the best line in the movie is, “Carry yourself with the confidence of a mediocre white guy”, and that made me laugh.

Premieres on Prime Video on September 23, 2026

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Posted by David Ferguson

SICK (2026, Poland)

September 19, 2026

Fantastic Fest 2026

Greetings again from the darkness. My decision to review this movie was based on one thing: it’s the feature film directorial and screenwriting debut of Agata Trzebuchowska, who starred in Pawel Pawlikowski’s excellent IDA (2013). That was the extent of my research for this film from Poland, and now after watching it, I am at a loss on how to review without spoiling anything about it. Simply stating that the twists will surely surprise you is not enough – and it helps if you are unaware, as I was, of the film’s genre prior to watching.

It starts out as a ‘normal’ family situation. Sixteen-year-old Maks (Konrad Kakol) travels to a rural home to care for his ailing grandmother (Monica Niemczyk). Maks is a typically awkward teenage boy who spends his time reading comic books and looking at girls online. He is soon joined by his nineteen-year-old sister, Emma (Katarzyna Lubik). She’s perturbed she has to be there and spends entirely too much time drinking and sunbathing, leaving much of the work to Maks.

Emma’s tough façade hides the depression she’s fighting, while Grandma appears to be battling multiple ailments – both physically and mentally. All I can add here is that things get creepy. And then things get creepier. The film takes us in a couple of different directions initially and then stuns us with a twist that shifts everything. The climax is something else totally (with only a few subtle hints along the way). It’s a summer Maks will never forget. Any deeper description would take away from your own bewilderment at the progressions. The twists are such that most will not ‘figure out’ where it’s headed, and viewers are better off just letting it unfold. It will be interesting to see where Ms. Trzebuchowska takes her next feature film.

The film has its World Premiere at Fantastic Fest on September 18, 2026

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Posted by David Ferguson

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