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

THRASH (2026)

April 10, 2026

Greetings again from the darkness. It’s a tradition that began with JAWS (1975). Every summer gets a new disaster or shark movie … something to put a bit of doubt into the minds of beach vacationers everywhere. Of course, Spielberg’s original film (from Peter Benchley’s novel) remains the best, and in addition to the slew of movies, it’s been joined by Discovery’s “Shark Week” and even the absurd “Sharknado” movies. In fact, there have been so many through the years, that we are ready for the blending of disasters like we get with this latest from writer-director Tommy Wirkola (the underappreciated VIOLENT NIGHT, 2022).

The small coastal town of Annieville, South Carolina is bracing to take a direct hit from a Category 5 hurricane. Most of the town has evacuated, yet some remain. Among those are pregnant Lisa (Phoebe Dynevor, ANNIVERSARY, 2025; “Bridgerton”), whose boss made her work, and young Dakota (Whitney Peak, “Gossip Girl”), who is home alone, grieving the loss of her mother and dealing with stifling anxiety. We get a countdown to impact, and Dakota’s Oceanographer uncle (Djimon Hounsou) has promised her he’s on the way.

A massive hurricane, along with the storm surge, flooding, and high winds is not enough this time. Along with all of that comes bull sharks and great whites that are swimming (and eating) their way through the town, including the flooded houses. A t-boned meat truck dumps a ton of blood in the streets to ensure we have enough shark attacks to keep these stragglers in danger. Dakota and Lisa share a story, while three foster kids just outside of town get their own – although for the three kids, it turns out their foster parents may have been the real sharks.

Wirkola’s film has plenty of tension and gore for the genre, and enough storytelling to keep us interested. We see the danger involved with rescue efforts when folks ignore the advanced warnings. In a previous review, I mentioned that Phoebe Dynevor is a rising star, and I’m sticking to that.

Premieres on Netflix on April 10, 2026

WATCH THE TRAILER

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

JIMMY & THE DEMONS (2026, doc)

April 2, 2026

Greetings again from the darkness. The first documentary from Cindy Meehl was her award-winning profile of ‘horse whisperer’ Buck Brannaman in BUCK (2011). It was a fantastic profile of an interesting man, and Ms. Meehl’s latest provides an even more personal look at artist James Grashow and his six-decade career, culminating in his masterpiece, “The Cathedral”.

The line dividing passion from obsession can be mighty thin, and James Grashow teeters between the two. Lest you think that’s a negative, it should be noted that Mr. Grashow is a spirited man who admittedly ‘loves life’ and fears death. When not exhausted or in pain, he’s a charming man dedicated to his craft … especially this latest project for a serious collector. Grashow, who is 79 when the project begins, doesn’t state this is his final project, but he cracks, “I pray I get to finish it”. The film follows him over the next three years as he works on the intricate details of the demons, the cathedral itself, and of the face of Christ.

Grashow claims that ideas have always hit him like ‘thunderbolts’ and his marriage of more than 50 years to Guzzy is a testament to both of them. She is certainly protective of her artist husband who always puts the work over his health. Documentarian Meehl includes some archival photographs and footage of Grashow’s work dating back to 1966. Much of this cardboard sculpting has a whimsy feel, yet the artistry is evident to all. We even see his sketch work on album covers for Deep Purple and Jethro Tull, as well as many sketches for periodicals over the years. The man has been prolific in producing art.

Grashow’s daughter recounts how he slyly introduced her to the magic in life, and in fact, the artist claims the ‘engine for creativity is play’ … and even in his 80’s, he’s able to play while working. As an example, this is the first film I’ve ever watched where ‘demon nipples’ are discussed (and carved). He admits that he could never spell or do math, but he always had a talent for art. This final masterpiece is truly spectacular, and he says it represents life and death, mortality, and eternity. James Grashow passed away in late 2025 … what he referred to as life’s “extra innings”. Depending on one’s perspective of the life of an artist, viewers are likely to pull varying thoughts from the film. I believe James Grashow would be fine with that.

Opens at the Quad Cinema in NYC on April 3, 2026 before expanding to additional markets nationwide.

WATCH THE TRAILER

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

FANTASY LIFE (2026)

March 28, 2026

Greetings again from the darkness. As one who readily admits to unabated cringing at most romantic-comedies, it’s with a certain burst of pride that I acknowledge that this one from first time writer-director Matthew Shear is actually quite entertaining, and possesses a minimal cringe factor. There are likely a couple of reasons for this. First, Mr. Shear, who also stars in the film, has clearly been influenced by his time acting on filmmaker Noah Baumbach’s sets, and the second reason would be the most welcome presence of Amanda Peet in her first big screen role in 10 years.

We first meet Sam (Matthew Shear) as he’s being fired from his job, and soon after as he’s having a panic attack in a coffee shop. We recognize Sam’s overall lack of confidence, even before he heads to his appointment with a psychiatrist (Judd Hirsch). It’s there where the receptionist (Andrea Martin) suggests he consider babysitting for her three granddaughters. Sam initially views this nanny/manny position as temporary, but of course, it ends up being an extended gig. In fact, the story is loosely divided into the seasons of the year.

Sam is instantly attracted to Dianne (Amanda Peet), the mother of the three girls. Dianne is attempting to revive her acting career (it’s an age thing) while also managing a teetering marriage to musician David (Alessandro Nivola). David announces he’s headed out on an extended tour in Australia, making Sam’s manny position all the more crucial to Dianne … providing the time and proximity for the two to get better acquainted. Their initial bonding comes courtesy of granola.

Touches like the granola and the realization that the story doesn’t go down the predictable road are what set this one apart from the slew of mush in this genre. Mental health and the meds-of-the-day are part of the landscape, as are antisemitism and ageism. There is even a ‘Lake Bell’ crack and a grumpy grandpa. We do get the obligatory disastrous family dinner, but even that is handled with a spin. The ensemble cast is exceptional. In addition to Judd Hirsch and Andrea Martin, we are also treated to Bob Balaban, Jessica Harper, Holland Taylor and Zosia Mamet. Each is terrific, but let’s leave no doubt … this is Amanda Peet’s moment to shine (again), and she seizes it. As a winner of the SXSW Narrative Feature Audience Award, Matthew Shear’s film proves anxiety and NYC angst can play wide. The film may be as much character study as it is rom-com, but I’m sticking to my ‘minimal cringe’ description as a compliment.

Opens in theaters on March 27, 2026

WATCH THE TRAILER

2 Comments | Rom-Com | Tagged: , , , , , , , , , | Permalink
Posted by David Ferguson

I LIVE HERE NOW (2026)

March 28, 2026

Greetings again from the darkness. The first feature film from writer-director Julie Pacino (daughter of screen legend Al Pacino) is a whirlwind of creativity that is not likely one for the masses. The film has a surreal, dreamlike style that disorients us through the use of color and imagery. In fact, the hazy symbolism is well done and speaks to the ongoing effects of childhood trauma.

 Rose (played by Lucy Fry, who was Marina Oswald in the 2016 limited series “11.22.83”) is on the verge of an acting career breakthrough when she finds out she’s pregnant. Her charming boyfriend Travis (comedian Matt Rife) ghosts her and runs to mommy (Sheryl Lee, Laura Palmer from the Twin Peaks franchise). Overprotective Mommy is also ultra-rich and insists on control of all decisions regarding Travis, Rose, and the unborn child. A woman’s agency over her body is a key element in this story, and it’s multi-layered throughout Rose’s life – as evidenced by the flashbacks to her youth, and the ongoing self-inflicted cuts and burns.

A good-for-one-thing manchild boyfriend is bad enough, but having decisions dictated by his mother is a bit too much for Rose. Intent on making the next audition set up by her agent (Cara Seymour, “The Knick”), Rose checks in to the Crown Inn, one of the most bizarre hotels you’ll likely ever see. Assigned to “The Lovin’ Oven” room, Rose is instructed when to take the magic pill. Memories and emotional distortion abound here, thanks in no small part to the flashbacks and the odd actions of fellow guest Lillian (Madeline Brewer, “The Handmaid’s Tale”).

As we’ve learned through many films and stories, the past must be confronted if one is to move forward. Filmmaker Julie Pacino presents past trauma, pain, mommy issues, and psychological warfare through surreal images highlighted by mesmerizing and disorienting colors … at times it plays like a horror film. While It’s certainly no bed of roses, the film is a creative look at how one woman deals with life is a welcome and necessary approach.

WATCH THE TRAILER

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

TOW (2026)

March 20, 2026

Greetings again from the darkness. Not many interesting stories feature a 1991 Toyota Camry as a main focus. The exception is this one based on the real-life journey of Seattle’s Amanda Ogle. Directed by Stephanie Laing and co-written by Jonathan Keasey and Brant Bolvin, it’s a story of Amanda’s tenacity and perseverance, and how it is sometimes possible for the little guy/gal to win.

Rose Byrne (fresh off her Oscar nomination for IF I HAD LEGS I’D KICK YOU, 2025) stars as Amanda and gives a showy performance as a woman whose addiction has resulted in her being estranged from her teenage daughter and living for months in the above-mentioned Camry … one of a couple of million “vehicular residents” as we are informed. Amanda is smart enough to have earned her Veterinary Tech certificate, yet her situation seems to constantly prevent her from getting back on solid ground. Most of this is her own doing, but one day her Camry is stolen, setting off a series of events that are quite remarkable.

Her car is recovered and Amanda can’t afford to pay the fee to have the car released from the tow lot. This sends her to a shelter managed with a firm hand by Barbara (Oscar winner Octavia Spencer, THE HELP, 2011). It also pits Amanda against the city’s red tape and the tow lot’s arrogant attorney (Corbin Bernsen, MAJOR LEAGUE, 1989).

Adding an interesting element to this story is that Amanda is not terribly likable. She’s brash and plays the victim in many situations. On top of that, she misleads (lies to) her daughter Avery (Elsie Fisher, so good in EIGHTH GRADE, 2018) about visiting her in Utah, and always seems to have enough money for cigarettes, alcohol, hair dye, make-up, etc. The daughter storyline is especially tough since Avery ‘needs’ her mother and desires support for her dream of being a fashion designer. Despite her flaws, we still find ourselves pulling for Amanda. It may be difficult to muster sympathy for her actions, but our humanity wants her situation to improve.

An inexperienced non-profit attorney, Kevin (Dominic Sessa, THE HOLDOVERS, 2023) takes an interest in her case, yet the wheels of the judicial system do not move quickly – especially when up against the tow company’s slick attorney … a character intended to emphasize the class difference. At the shelter, Amanda befriends Nova (pop star Demi Lovato who gets in one song) and tough-talking Denise (Oscar winner Ariana DeBose, WEST SIDE STORY, 2021). She also has an ongoing dialogue with Cliff (Simon Rex, RED ROCKET, 2021) at the tow yard. He’s sympathetic to her situation, but powerless to help.

The film doesn’t really focus on the hardships of the ‘unhoused’ but rather the challenges of being a societal afterthought going up against ‘the system’.  Director Laing finishes it off with a final shot of real-life Amanda, Avery, and Kevin together.

In theaters beginning March 20, 2026

WATCH THE TRAILER

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

THE POUT-POUT FISH (2026, animated)

March 20, 2026

Greetings again from the darkness. What a welcome relief it is to watch a movie designed specifically for kids. No double entendres or secret winks of wit … just a straight-forward movie to entertain kids and provide a simple life lesson about the importance of friendship. Of course, parents will recognize the title as that of the 2008 mega-bestselling kids book by Deborah Diesen.

There are two key elements that stand out from the beginning. First, the color explodes on the screen, immediately making it enticing for youngsters. This undersea world has the appearance of a candyland or a favorite toy. Second, the demeanor of the Pout-Pout fish is accurately described as glum and gloomy as he sports an ever-present pout. Voiced to perfection by Nick Offerman (Ron Swanson from “Parks and Recreation”) this mopey ‘Mr. Fish’ is said to spread the “dreary-wearies” and deals with his own personality by collecting Zen rocks and living in the remains of a sunken ship, long ago split in half.

Crossing paths with a Pip (Nina Oyama), a spirited tiny seahorse, rattles the world of Mr. Fish, and the two set off on a shared mission that takes them through various communities under the sea, including Jellyfish Junction, Dolphin Cove, and Crystal Cave. The story plays like an underwater road trip movie, and of course, as adults, we easily recognize that this journey with Pip is opening up the world to our grumpy Pout-Pout fish. There are some pieces that the youngest kids may not fit together – starfish spies and the race with cuddlefish – but the dream of Shimmer (Jordan Sparks) is something we all recognize … hope.

This is not a film in the Pixar mode – one that works on multiple levels for kids and adults – but stories that emphasize the power of friendships and collaboration are crucial for youngsters. The only negatives here would be the disjointed music in the first half of the film and the predictability (for older kids and adults). Otherwise, the film accomplishes what it sets out to do … entertain youngsters and offer up an important message.

I watched the film with a couple of the world’s most brilliant youngsters, and here is what they said. Nine-year old Audrey said it was “very colorful” and explored “good and bad” personalities, while eight-year old Jack said it was “Awesome and funny”.

Opening in theaters on March 20, 2026

WATCH THE TRAILER

2 Comments | Animation, Fantasy | Tagged: , , , , , , , , | Permalink
Posted by David Ferguson

GROUP: THE SCHOPENHAUER EFFECT (2026)

March 12, 2026

Greetings again from the darkness. Alexis Lloyd was inspired by Irvin D Yalom’s 2005 novel, “The Schopenhauer Cure”, to create his web series, “Group”, as well as this follow-up feature film, which he wrote and directs. I have not watched the series, but Lloyd backs off a bit on the life and death focus for the film, choosing instead to allow the sometimes chaotic elements of group therapy to guide the way.

The cast from the series returns for the film, along with the key addition of Thomas Sadoski (“The Newsroom”) as Alexis, a documentary filmmaker interested in making a series about group therapy. Despite being invited by Dr. Ezra Hertzfelt (played by Elliot Zeisel, a licensed psychotherapist), the group of patients do not react warmly to having an “observer” in their midst. Alexis attempts to pacify them by stating that he needs the therapy himself. Prior to the Alexis introduction, Lloyd provides a superb and relatable opening. We see the characters/patients walking to the session through the streets of Manhattan and we hear their inner voices in the whirlwind of thoughts careening through.

Three different sessions are presented here. The first is the initial in-person session after COVID, which required Zoom meetings. It’s in the session where we learn one of the group is pregnant and the new guy, Alexis, is introduced. The second session involves a startling announcement from Dr. Hertzfeld, along with the backlash of emotions that follow. Probably by design, the film leaves us feeling like we are eavesdropping. The mixture of scripted dialogue and improvisation works because these actors are so comfortable with the material and the objective and their own character.

As you would expect, a film about group therapy that takes place almost entirely in one room is dialogue-driven, requiring attention from the viewer to pick up all subtle nods as connections are made and broken. As fascinating as it is to watch this, it remains difficult to comprehend how eight folks in one room can ever find inner peace (or whatever it is they seek) with emotions running the gamut.

After a one week run in NYC beginning March 13, 2026, the film opens wide in theaters

WATCH THE TRAILER

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

« Previous Entries