ANNIVERSARY (2025)

October 29, 2025

Greetings again from the darkness. Brace yourself for one of the first films to take on the societal and political changes occurring within the United States. This is an exceptionally well-made film with a stellar cast and an eye-opening cautionary message from writer-director Jan Komasa (Oscar nominated for the excellent CORPUS CHRISTI, 2019) and co-writer Lori Rosene-Gambino. It features a deep and talented cast and would make a formidable double-feature with last year’s CIVIL WAR (directed by Alex Garland).

While the acting is top notch, the brilliance of the film is in the storytelling. Rather than a blatant attack on political extremists, this is presented as a type of thriller – the story of how one family is slowly, meticulously, and deliberately torn apart through ideology and by revenge. The film opens as Paul and Ellen Taylor (Kyle Chandler and Diane Lane) are throwing a 25th wedding anniversary party at their home. Their family has joined in the celebration: daughter Cynthia (Zoey Deutch, THE OUTFIT, 2022) and her husband Rob (Daryl McCormack, GOOD LUCK TO YOU, LEO GRANDE, 2022); rebellious daughter Anna (Madeline Brewer, “The Handmaid Tale’s”); and youngest daughter Birdie (Mckenna Grace, WHAT WE HIDE, 2025). Also attending are their son Josh (Dylan O’Brien, SATURDAY NIGHT, 2024) and his new girlfriend Liz Nettles (Phoebe Dynevor, INHERITANCE, 2025).

It’s the presence of that girlfriend that rocks Ellen, a university professor. Liz Nettles was a disruptive former student and the history between the two was not pleasant … but we watch as present day devolves into something much worse. Paul attempts to calm Ellen by telling her that “People change”. Ellen replies, “No, they don’t.” This ‘perfect family’ full of intelligent and creative folks is headed for a ride no one can prepare for. Two years later, the family reunites for a holiday meal, and Liz’s latest radical book now sits atop the best-sellers list, and she’s turned into a spokesperson for a movement.

The film and the story and the characters perfectly capture just how divisive politics have become – even, or maybe especially, between loved ones. The acting here is as good as anything we will see all year. Ms. Dynevor and Ms. Grace are certainly headed towards stardom. There are a few really powerful scenes, and the most chilling occurs when the ‘census workers’ interview Paul and Ellen. By this point, nerves and relationships are frayed, and the targeting of ‘non-changers’ is in full mode, leading societal change. A father-son conversation between Paul and Josh leads to the most important line in the film: “We are the keepers of our own souls.” The conclusion revolves around the 30th anniversary party for Paul and Ellen, ensuring all viewers understand just what has happened over five short years. This film hits hard due to the real-world synchronicity and concerns.

In theaters October 29, 2025

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Posted by David Ferguson

BALLAD OF A SMALL PLAYER (2025)

October 29, 2025

Greetings again from the darkness. It’s not Las Vegas. It’s not Monte Carlo. Somehow even more gamblers head to Asia, specifically the gambling capital of Macau … and that’s where this film from director Edward Berger (Oscar nominated for CONCLAVE, 2024) is set. Rowan Joffe (son of Roland Joffe, who directed THE KILLING FIELDS, 1984) has adapted the 2014 novel by Lawrence Osborne. That may be the last part of this that makes any sense.

Colin Farrell stars as Lord Doyle, a gambling addict laying low in his swanky hotel suite as he dodges those from whom he’s run up massive debts ($350k to the hotel). Lord Doyle presents himself as a high-roller aristocrat, but we quickly note he’s little more than a fraudster both in identity and wealth. A casino floor manager named Dao Ming (a lovely Fala Chen) takes pity on him as a ‘lost soul’ for no apparent reason, but it significantly impacts his direction. Hot on his trail is a Private Investigator named Cynthia Blithe (Oscar winner Tilda Swinton), hired by a woman whom Lord Doyle (under his real Irish name) bilked out of a large sum of money.

“All I need is one big score”. How many times have we heard a gambling addict state this? It’s a cliché, yet there are a few elements here that seem interesting and unusual. For some reason, the film seems to hit and run to the next point without ever giving us what we need. In other words, the structure is as messy as the constant rain on the streets of Macau. On the other hand, cinematographer James Friend (Oscar winner for Berger’s ALL QUIET ON THE WESTERN FRONT, 2022) turns Macau into a kaleidoscope of color and texture and beauty and danger. There are even a few times that the film tends to mirror the iconic visual style of director Wes Anderson.

For a guy that thrives on scamming folks, Lord Doyle’s choice of baccarat never makes any sense. Why choose a game that’s purely a game of chance/luck? As we struggle along with Doyle to keep up with the loose ends, a supernatural element appears, causing a shift in tone. It’s like dinner and dancing really did lead to an arrangement – only we weren’t present for it. The frantic pace is something Colin Farrell works very well. As I’ve stated in other reviews, he’s turned into a terrific actor who elevates every project. And though she’s underutilized here, Tilda Swinton continues to be an actor worth watching in any role. Watching the movie is entertaining enough, yet at its conclusion, we feel a bit cheated. Many that’s fitting after following Lord Doyle for 101 minutes.

Begins streaming on Netflix on October 29, 2025

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Posted by David Ferguson

THE FRENCH ITALIAN (2025)

October 27, 2025

Greetings again from the darkness. Are you a good person? It’s really not that difficult to determine … although it does require a bit of honest self-reflection. The debut feature film from writer-director Rachel Wolther (co-written with Jesse Millward) is clearly meant to be comical satire, and even more clearly does not include me in the target audience. It seems to me the window for putting whiny, entitled complainers in the spotlight has closed, and these folks are more sad and annoying than funny. Still, since I’m likely in the minority, I’ll strive for objectivity here.

Valerie (Catherine Cohen, DATING & NEW YORK, 2021) and Doug (Aristotle Athari, MOLLI AND MAX IN THE FUTURE, 2023) are thirty-somethings living in New York City in a rent-controlled Brownstone. Their careers are stagnant (his) and borderline non-existent (hers). She doesn’t seem to have a clue about how to take responsibility at work, or even how to fulfill the basic duties. When girlfriend Mary (Chloe Cherry) moves in with usually quiet downstairs neighbor Jordan (Jon Rudnitsky, STEALING PULP FICTION, 2025), she brings along her karaoke machine, and immediately Valerie and Doug are annoyed with the sound pollution and constant “La Bamba”, and begin creating scenarios that might explain their neighbors.

Once they escape to the suburbs, the childish couple began strategizing to get revenge on the old neighbors, and with the help of equally unstable friend Wendy (Ruby McCollister), they decide to take advantage of Mary’s pursuit of acting. Their ‘ingenious’ plan involves putting on a fake play and inviting Mary to audition for the part. The plan makes little sense and ends up drawing in another actor named Joe (Ikechukwu Ufomadu, JUDAS AND THE BLACK MESSIAH, 2021) in what ends up being a quite fortunate move.

While this movie didn’t scratch an itch for me, I certainly appreciate the performances. Ms. Cohen and Mr. Athari nail characters who are impossible to like. Why they decided to relocate and gain revenge without ever bothering to meet the neighbors is quite a statement. Ms. McCollister brings some much needed quirky energy to the proceedings. Ms. Cherry transitioned from years in the adult film industry to more conventional acting with “Euphoria”. Her take on Mary in this film is definitely interesting and unusual. While I appreciated the “Atlas Shrugged” spoof, I found this satire to be less of a comedy and more of a generational snapshot for dummies (like me).

Available on VOD beginning October 28, 2025

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Posted by David Ferguson

SPRINGSTEEN: DELIVER ME FROM NOWHERE (2025)

October 23, 2025

Greetings again from the darkness (on the edge of town). My connection to Bruce Springsteen’s music dates back more than 50 years and includes hitchhiking (from San Antonio) to a gig at the Armadillo World Headquarters in Austin. As much as I loved the early tunes from his first two albums, it was the 1975 release of the “Born to Run” album that spoke to me on a mystical level. His storytelling and anthems on that instant classic, as well as the next two albums, “Darkness on the Edge of Town” and “The River”, had a way of drawing us in for a pure escape. By 1981, Springsteen’s albums were huge and his live performances were legendary and exhilarating. It’s the time period just after that serves as the basis for this film from writer-director Scott Cooper, based on the 2023 book, “Deliver Me From Nowhere: The Making of Bruce Springsteen’s Nebraska” by Warren Zanes.

A black & white opening takes us to Bruce’s childhood (he’s played by newcomer Matthew Anthony Pellicano Jr) where we get a feel for his rocky home life with mom Adele (Gaby Hoffman, C’MON C’MON, 2021) and on-the-verge of violence dad “Dutch” (a terrific Stephen Graham, “Adolescence”). Cooper then cuts to the closing night of the 1981 tour in Cincinnati, where Jeremy Allen White (“Shameless”) as Bruce belts out “Born to Run” with the E Street Band (decent lookalikes). At this point, I found myself a bit deflated. It all felt too cliché and the song just wasn’t up to the standard I’d hoped. Fortunately, things were about to get much more interesting with a deep dive into the birth of “Nebraska”.

Bruce was 31 years old and on the verge of superstardom after his first true hit, “Hungry Heart” (which fortunately is mentioned but never heard). The record company is itching for the next round of hits, while Bruce is clearly dealing with some mixed emotions. His rented house in Colts Neck, New Jersey affords him the solitude he needs to obsess over Terrence Malick’s BADLANDS (1973) with Martin Sheen as a psychotic killer based on real life killer Charles Starkweather (the last name plays an interesting part of Springsteen trivia). Bruce fans know what happens next – in the sanctity of the home’s bedroom, and with the help of guitar tech Mike Batlan (Paul Walter Hauser, RICHARD JEWELL, 2019), he records the songs for the “Nebraska” album using low-tech equipment. His insistence on releasing the album in raw form sends the record company into a tizzy. Bruce also works in a few jam sessions at the infamous club, The Stone Pony, where we see him cut through Little Richard’s “Lucille” and John Lee Hooker’s “Boom Boom”.

It’s here where the deep friendship between Bruce and his agent, Jon Landau (a wonderful Jeremy Strong, THE APPRENTICE, 2004) becomes the heart of the film. Nope, it’s not the music that makes this story work … it’s the support of Landau for his friend, whom he also recognizes as a genius. During this dark emotional time, Bruce somehow begins a romance with Faye (Odessa Young, MOTHERING SUNDAY, 2021), a local single mom – who is also an amalgam of women in Bruce’s life at the time. This contributes to the complexities of Bruce’s mental state during this time, and helps us (and him) understand why this particular music is so necessary for him.

“I have seen rock & roll’s future and his name is Bruce Springsteen”. That’s a quote from a 1974 concert review by music writer Jon Landau. Yes, the same man who became Springsteen’s long-time manager and close friend. But this movie isn’t about Bruce Springsteen the rock icon. It’s a meditative and exploratory peek at a soulful artist during a dark and confusing time. He is sliced open to reveal someone still dealing with a less-than-joyous childhood while balancing the pressure of becoming an international sensation. This was the calm before the storm of “Born in the U.S.A.” … only it wasn’t anything near calm for Bruce. He was in pain – a true tortured soul working through the emotions of finding himself. It’s quite fascinating to watch, though most assuredly, a departure from the mainstream music biopics we have seen over the past few years.

Scott Cooper’s film, CRAZY HEART (2009) won Jeff Bridges an Oscar, and proved the director had a feel for angst in musicians. Warren Zanes wrote the book this film is adapted from, and as guitarist for the Del Fuegos and Tom Petty biographer, Zanes absolutely understands this life. It’s because of these two gentlemen and superb performance in Acts 2 and 3 by Jeremy Allen White and Jeremy Strong that this film never wallows in melodrama, despite the lead character suffering with depression and anxiety.  While we hear cuts from the Nebraska album, Springsteen fans should know this is not a concert film. The music is utilized precisely and purposefully, but the music does not drive this film. The exception might be White’s rendition of “Born in the U.S.A.” while in the studio. That’s the one time audience members might be tempted to yell: “BRRUUUUUCE!”

Opens wide on October 24, 2025

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Posted by David Ferguson

THE WOMAN IN CABIN 10 (2025)

October 9, 2025

Greetings again from the darkness. We all love a thrilling whodunit murder mystery. The best ones offer a magical blend of creative story, interesting setting, and fascinating characters. Writer-director Simon Stone (THE DIG, 2021) has delivered a film adapted from the best-selling 2016 novel by Ruth Ware. Frequent writing partners (SEBERG,2019) Joe Schrapnel and Anna Waterhouse collaborated with Stone to adapt the novel into a movie that looks great, and for the most part, fulfills the above listed requirements.

Keira Knightley stars as Laura Blacklock, an award-winning journalist who has been through a recent traumatic experience while on the job. Her editor (an underutilized Gugu Mbatha-Raw, BELLE, 2013) tries to convince Laura to take some time off. Instead, she accepts an invitation from billionaire Richard Bullmer (Guy Pearce) to join his gaggle of rich friends aboard a 3-day cruise on his ultra-luxury yacht. The purpose is to fundraise for cancer treatments as a tribute to his wife Ann, recently stricken with the dreaded disease.

The guest list includes the very rich and famous, and Laura’s job is to cover the ‘charitable’ event. You’ll likely notice pretty quickly that, just like in real life, movie billionaires are difficult to relate to and easy to dislike. Some are outright obnoxious like Adam (Daniel Ings, “The Gentlemen”) and Heidi (Hannah Waddingham, “Ted Lasso”), while others are just a bit too creepy, such as Dr. Mehta (Art Malik) and the host, Bullmer. There’s also rock star Danny Tyler (Paul Kay, “After Life”), a former party animal who has cleaned up his life and is intent on avoiding trouble and bad publicity.

 Coincidentally (or not), Bullmer has hired Laura’s ex-boyfriend Ben (David Ajala, “Star Trek: Discovery”) as the official photographer for the cruise. Things are going awkwardly fine until the middle of the first night when Laura is awakened by a scuffle next door that results in someone going overboard. The conspiracy is in full mode once all passengers are accounted for and Laura is positioned as a bit unstable, given her insistence that she heard and saw someone go in the water. A couple of other interesting supporting roles are covered by Gitte Witt and Kaya Scodelario (“The Gentlemen”), neither of which belong to the rich group.

The rest of the movie comes down to Laura trying to solve this mystery, while certain forces are preventing her from doing so. It’s a tale as old as time, and a common cliché – follow the money until you have your answer, and don’t trust the filthy rich folks. There’s another theme here that I found even more interesting, and that’s the frustration and panic that Laura feels when no one believes her story. It’s such a tough challenge. Her struggle and tenacity is what makes the film work. It’s highly likely that the novel plays even better than the screen version, as some of what happens here seems unlikely in a real-world event. Still, there is entertainment value in trying to stay ahead of the curve.

Releasing globally on Netflix on October 10, 2025

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Posted by David Ferguson

STEVE (2025)

October 3, 2025

Greetings again from the darkness. You know those days when it feels like you are being pulled in all directions, and nothing seems to go right? Welcome to 24 hours in the life of Steve, the headteacher at Stanton Wood, a reform boarding college for troubled/challenging young men. This is one of those days that feels like a week. Even before he walks through the front door, he’s already getting pulled this way and that – a minute here, a quick decision there, a request for a sidebar, a need to run something by him. It’s a relentless job, heightened by the presence of a BBC documentary crew.

Writer Max Porter adapted his 2023 novel “Shy” for the big screen, and the film reunites director Tim Mielants with Cillian Murphy (Oscar winner for OPPENHEIMER, 2023), his leading man from SMALL THINGS LIKE THESE (2024) and “Peaky Blinders”. Murphy is one of the few actors who is somehow just as effective when he’s not talking as when he is. It’s a skill that benefits this film which is … choose your preferred descriptive word … frenetic, chaotic, hectic.

These students are certainly energetic and that energy often slips into a combative mode. The faculty spends an inordinate amount of time diffusing these conflicts. We only see bits and pieces of academic teaching, leaving the bulk of time devoted to life lessons and behavioral advice. Emily Watson plays the school psychiatrist/therapist, Jenny, and as with all the adults working at Stanton Wood, her heart is in the right place – regardless of the immense frustration that goes with the job. Tracey Ullman, flashing some dramatic chops, is Steve’s most supportive co-worker – and quickly expresses her displeasure at his tendency to self-medicate. Lola (Little Simz) is the newest faculty member, and she has one particularly tense scene in the cafeteria … proving her mettle in this environment.

The source novel is entitled “Shy”, and although Steve is the focus of the film, the student named Shy (Jay Lycurgo, “Titans”) seems to be a special case for Steve, and Shy’s phone conversation with his mother is the most heartbreaking moment in the film. When it is announced that the school is too expensive to run and will be shut down in six months, the presence of a local official (Roger Allam) leaves little doubt that a political message is being delivered. A recurring element finds the documentary crew asking each participant to name three words that describe themselves. Steve’s response: “very, very, tired”. He looks it and we understand. Some nice camera work from cinematographer Robrecht Heyvaert gives us glimpses of a lovely world outside the walls of Stanton Wood, whereas inside the stress is palpable.

Premiering on Netflix on October 3, 2025

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Posted by David Ferguson

SHELL (2025)

October 3, 2025

Greetings again from the darkness. Every one of us wants to look good and feel good. But how far will we go? What if our livelihood depended on looking young? There is no denying that societal pressures favor those who are pleasing to the eye, and of course, Hollywood is the poster child for rewarding beauty and youth … and penalizing, or at least ignoring, the other end of the spectrum. The second film from director Max Minghella (his first was TEEN SPIRIT, 2018) features a screenplay from Jack Stanley (THE PASSENGER, 2023), and it likely pays a price for coming on the heels of last year’s THE SUBSTANCE (2024), a body horror film with a similar theme, but one that was far more extreme.

The film opens with a terrific sequence with the rarely seen Elizabeth Berkley (SHOWGIRLS, 1995) as Jenna Janero. The sequence firmly establishes that we’re in for a ‘body horror’ ride; although unfortunately, this is one of the best scenes for quite a while. We then meet Samantha Lake (Elisabeth Moss, “Mad Men”), a struggling actor who has hit the dreaded age of 40 – a poor ‘choice’ in Hollywood. Sam’s career peak seems to have passed her by and now she’s auditioning for roles against much younger actors – including Chloe Benson (Kaia Gerber, SATURDAY NIGHT, 2022), whom Sam babysat years ago.

After a professional nudge, Sam finds herself at Shell Corporation, a strange place that promises its clients vitality and the end of aging. The Director and face of the company is Zoe Shannon (Kate Hudson, ALMOST FAMOUS, 2000), a 68-year-old woman who doesn’t look a day over 40. Not surprisingly, delivering youth to women is extremely lucrative, and Zoe lives her luxurious lifestyle in a stunning mansion. Oh, there is a downside … some clients have to be ‘disappeared’ when the side effects pop up.

Dressed in a ridiculous oversized Columbo trench coat (supposedly to trick us into believing Ms. Moss is a hefty woman), Sam is a bit reluctant at first to join the Shell program. All it takes is handsome and smooth-talking Dr. Hubert (Arian Moayed, “Inventing Anna”) to ease her into the program. Soon Sam and Zoe are buddies and spending a great deal of time together, relishing their youthful looks and subsequent riches.

Of course, all fantasies must come crashing down at some point, and although her psoriasis is gone, the side effects cause the worst Vanity Fair interview in history, and lead to an extreme third act. Dr. Thadeus Brand (Peter MacNicol, “Ally McBeal”), the inventor of Shell returns for Sam’s debrief. His use of lobster enzymes comes into play, resulting in a sequence of splatter.

It’s a bit odd that the film never capitalizes on women taking power, or even taking control of their own life. Although Kate Hudson does nice work here, I couldn’t help but think that casting Gwyneth Paltrow would have added a touch of irony. Este Haim provides a bit of support work as Sam’s assistant and friend, and the focus pretty much remains on the obsession/pursuit of youth and beauty – at any cost. Director Max Minghella is best known as an actor (“The Handmaid’s Tale”) and as the son of Oscar winning director Anthony Minghella (THE ENGLISH PATIENT, 1996). It’s likely meant as satire, but the film strikes so close to today’s societal pressures, especially on women, that we can’t help but be a bit saddened by it. One thing’s certain … there was a missed opportunity for the B52’s “Rock Lobster”.

In Select Theatres & On Digital October 3, 2025

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Posted by David Ferguson

ARE WE GOOD? (2025, doc)

October 3, 2025

Greetings again from the darkness. Marc Maron is the rare comedian who can make you laugh and make you think, while also making you feel beat down … and often sad for him. Maron has done stand-up comedy. He’s acted in TV series (“GLOW”) and even had his own series (2013-16). You might have seen him acting in movies (THE ORDER, 2024) or perhaps heard his voice acting (THE BAD GUYS franchise). And beyond that, he may be best known as a trailblazer in the world of podcasts – his “WTF” launched in 2009 at a time when few even knew what a podcast was.

Director Steven Feinartz has quite a track record with comedy specials (Bill Burr, Eddie Pepitone, Steve Byrne, etc.), but this documentary is something a bit different. The film kicks off in 2020 as Maron (along with everyone else) is trying to figure out the new rules that go with COVID. It’s also the year Maron’s romantic partner and soul mate, director Lynn Shelton died. Ms. Shelton directed numerous TV shows as well as some movies (SWORD OF TRUST, 2019, which also starred Maron). The camera catches Maron’s emotional response to her death and then follows as that grief sticks with him.

Much of what we see on screen is Maron using comedy and his work to process his grief. Directly to the camera he questions whether this is proper or not – is it an abuse of her memory? Maron’s podcast has featured many guests over the years, including Paul McCartney and Robin Williams … even Barack Obama showed up to tape a show in Maron’s garage studio. Not surprisingly, Lynn Shelton was a podcast guest back in 2015. But this is something different. We are watching a guy dealing with loss. It all seems real, yet how are we to know for sure. That ending certainly catches us off guard – not that we don’t wish him happiness.

It’s quite interesting to watch as Maron goes back on stage in 2021. One 2022 segment features actor/comedian Patton Oswalt recounting the loss of his wife and sharing the emotions of grief with Maron. It’s a powerful segment that ends too quickly. Fellow comedians John Mulaney, Nate Bargatze, and David Cross contribute, and Maron discloses some personal baggage: his love of cats, his use of cocaine in the 1980’s, being sober since 1999, and having ex-wives. One of my favorite parts involves his dad jokes – jokes specifically for his dad, who was in the audience for a show. Maron’s 60th birthday party wraps things up, and though we aren’t exactly sure what we’ve watched – it’s certainly more personal than most celebrities would accept.

Utopia will release the film in theaters in NY and LA on October 3rd and nationwide theatrical events on October 5th & 8th.

The theatrical releasee will coincide with the end of Maron’s enormously popular podcast WTF. 16 years in, WTF is one of the most streamed and longest running podcasts of all time.

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Posted by David Ferguson

ALL OF YOU (2025)

September 26, 2025

Greetings again from the darkness. This plays like a spin on the old Verizon commercials: Do you love me now? Writer-director William Bridges and co-writer/ lead actor Brett Goldstein deliver one of the more frustrating and cringey romantic movies I’ve seen in a while. There are a couple of character references to situations feeling too “adult”, and I kept thinking, why don’t any of these grown-ups act like an adult?

Simon (co-writer Goldstein, “Ted Lasso”) and Laura (Imogen Poots, THE FATHER, 2020) have been best friends since their days at university. Their bond is so close, they seem one step from having their own secret language. As the opening credits play, we are inundated with advertisements for Soul Connex. The ads claim all it takes is “a simple eye test” to find your forever soul mate. Now, in real life, it’s possible that two people as connected as Simon and Laura might recognize the soul mate sharing inside jokes with them, but in this movie, complications are mandatory.

Laura decides to take the test, while Simon adamantly refuses. He prefers to let nature take its course (a rare toaster analogy), while she prefers to charge his credit card for her test. She’s certain they will remain friends, which contrasts with his line, “I’ll miss you every day”. Sure enough, Laura finds her match in Lukas (Steven Cree, “Outlander”), while Simon becomes a periodic third wheel. She loves Lukas and they have a kid together, while Simon wanders through the forest of potential mates … periodically meeting up with his old BFF as sparks are re-ignited.

There is a major shift when Laura’s dad dies, and the film becomes one of the most maddening scenarios that any movie has dared present. The settings are often stunning, and the people are quite pleasant to look at, but the recurring situations defy all rational romance and true love preferences. It becomes something we have no interest in participating in, and frankly, turns these two previously pleasant and easily likable characters into quasi-villains that we no longer care for in the least.

Typically, I can find something positive to latch onto in a movie, regardless of however much negativity I feel towards the rest. All I can say here is that both lead characters need to realize it’s time to be an adult – and that means doing the right thing (or at least it used to).

The film will be released in select theaters and on Apple TV+ on September 26th, 2025

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Posted by David Ferguson

ONE BATTLE AFTER ANOTHER (2025)

September 25, 2025

Greetings again from the darkness. My immediate reaction after viewing this film was that it represented the highest level of filmmaking – including superb acting, a complex story that fits today’s narrative, and the most varied and diverse score I can recall from many years of moviegoing. After a couple of days to mull it over, I believe it’s possible that my initial reaction somehow underrated this instant classic. High praise should be no surprise since the film is the work of writer-director Paul Thomas Anderson – the man behind such cinematic gems as LICORICE PIZZA (2021), PHANTOM THREAD (2017), THE MASTER (2012), THERE WILL BE BLOOD (2007), PUNCH DRUNK LOVE (2002), MAGNOLIA (1999), BOOGIE NIGHTS (1997), and HARD EIGHT (1996).

Anderson has been nominated for eleven Oscars over the years, and here he adapts the 1990 Thomas Pynchon novel “Vineland”. While the novel is set in the 1980’s, Anderson structures his film in such a manner that much post-viewing conversation will focus on its synchronicity to our current political landscape/battlefield. Remarkably, Anderson has delivered a film that features stunning action sequences, cutting political satire, and touching personal drama. It’s almost too much to ask of any one movie, and is very likely a bit too much for some movie goers.

As the film opens, a resistance movement called French 75, led by Perfidia Beverly Hills (powerhouse Teyana Taylor) is doing their thing with help from explosives expert Pat (Leonardo DiCaprio). With the excitement of fulfilling their mission, Perfida and Pat fall for each other – a shared cause can do that. Mucking up the movement and the relationship (unbeknownst to Pat) is a militant with the memorable name of Colonel Steven Lockjaw (Sean Penn). Lockjaw is laser-focused on stopping the resistance – in fact, the only thing that can stop him is a creepy attraction to Perfida, who uses his weakness to her advantage.

A jaw-dropping visual occurs as we see a (very) pregnant Perfida firing an automatic weapon during target practice. Soon after the baby is born, Perfida (not the mothering type) takes off, and Pat, now underground and known as Bob Ferguson, is left to raise the child. Flash forward 16 years, and teenage Willa (the terrific movie debut of Chase Infiniti) and her father are living a quiet life. She’s a tough, but normal high schooler with friends, while he has dulled his mind and outlook with drugs and alcohol … unable to remember the secret password when Colonel Lockjaw tracks him down. French 75 loyalist Deandra (Regina Hall) finds a safe house for Willa, as Bob frantically bounds around town until Willa’s Sensei (Benecio Del Toro) offers to help him. This sensei also hides his own secrets, as Del Toro sprinkles in his patented one-liners.

There is so much going on here, and I’m only now getting to the Christmas Adventurers Club – a clandestine group of white supremacists motivated by racism and lust for power and purity. It’s a club Col Lockjaw desperately wants to be admitted to. In fact, racism hovers over much of the film, with the resistance attempting to defy it through radicalism and extremism … although which side is the most radical or extreme could (and has) carried debates for quite a while.

Three Oscar winning actors are featured here: DiCaprio, Penn, and Del Toro. All three are excellent, but it’s Sean Penn’s Lockjaw that will likely stick with you. Delving into caricature at times, Penn employs many stereotypes, a distinct strut, and a few facial ticks to go with his one weakness in creating a character that we can’t help but laugh at, while also being a bit frightened of his persona. DiCaprio’s Pat/Bob runs the gamut from revolutionary to a Lebowski-type fleeing in his ratty bathrobe. His look varies throughout with varying hairstyles and wardrobes. His father-daughter relationship is truly the heart of the film, and is exceptional drama.

The supporting cast is excellent and includes Alana Haim, Shayna McHayle, Tony Goldwyn, Kevin Tighe, DW Moffett, John Hoogenakker, and Jena Malone … many familiar faces and a great deal of talent. Cinematographer Michael Bauman (back with Anderson after LICORICE PIZZA) delivers the action sequences, the dramatic moments, and a couple of car chases … one which will live on in infamy. Filmed in VistaVision (I saw it in IMAX), there is a mesmerizing car chase through and over and down a hilly desert highway. It’s unlike any car chase I’ve seen, and had me leaning forward in my seat trying to get a look ahead.

This is a story that covers quite a few years and just about as many topics as you’d like to associate with it. There is a nod to THE BATTLE OF ALGIERS (1966), which was another film about the fight for freedom. One note that I’m unsure how to address is the score from frequent Anderson collaborator Jonny Greenwood (Radiohead guitarist). It’s simply fantastic the way Greenwood melds diverse music with the numerous shifts in tone of the characters and story. As for filmmaker Paul Thomas Anderson, it’s subjective as to whether he has outdone his previous stellar work, yet I can confidently label this one as both bleak and funny, while also thrilling, chilling, and timely.

Opens in theaters on September 26, 2025

WATCH THE TRAILER

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Posted by David Ferguson

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