A PRIVATE LIFE (2026)

January 29, 2026

Greetings again from the darkness. The concept is interesting and relatable. A woman undertakes the solving of a mystery, and in the process, learns a great deal about herself. Writer-director Rebecca Zlotowski w-d (OTHER PEOPLE’S CHILDREN, 2022) and co-writers Anne Berest and Gaelle Mace have delivered a film that works on a couple of levels: as a whodunit and self-discovery.

Oscar winner Jodie Foster plays Lillian Steiner, a successful psychiatrist with a bit of a chip on her shoulder. We see her leave a voicemail for a patient who has just missed her third appointment, followed immediately by an unscheduled drop-by from another patient – this one angry for having spent thousands of dollars for treatment by Lillian, when a hypnotist cured him of his smoking habit with a single visit. Lillian then learns that the no-show patient, Paula Cohen-Solal (Virginie Efira), has died. Paula’s daughter, Valerie (Luana Bajrami), informs her that Paula committed suicide by downing all the pills Lillian had prescribed.

The news sets Lillian off on the case, refusing to believe that she missed any warning signs during her sessions with Paula. A bizarre and uncontrollable case of tears sends Lillian to her ex-husband optometrist, Gabriel (Daniel Auteuil, CACHE, 2005) for an exam. He finds nothing that physically explains the tears, and she then leans on Gabriel for guidance on the case, and the two re-kindle a bit more than that. Lillian’s relationship with her son Julian (Vincent Lacoste) is a bit icy and she purposefully avoids alone time with her baby grandchild. Paula’s husband Simon (Mathieu Amalric, THE DIVING BELL AND THE BUTTERFLY, 2007) and daughter Valerie play key roles here as Lillian tries to put the pieces together.

There is no shortage of characters to keep track of, including Dr. Goldstein (renowned documentarian Frederick Wiseman), a former professor who bluntly explains to Lillian that she’s always been a bit of a pain, and Jessica the hypnotist (Sophie Guilleman) first visited by Lillian’s smoking patient. When Lillian herself goes ‘under’, much is revealed about her past and true feelings, and though she doesn’t admit it, this session has opened her up.

This is a French film and in addition to the French actors mentioned above, a couple other long-time well-respected French actors appear: Aurore Clement (PARIS, TEXAS 1984) and Irene Jacob (AU REVOIR LES ENFANTES, 1987). Some may be surprised at Jodie Foster’s excellemt French dialogue … sprinkled with the occasional colorful English. Cinematographer brilliantly uses spiral staircases as Lillian works through the maze of information, and viewers should take note that this is not the typical ‘American in Paris’ fairy tale. It’s more of a psychological character study.

Opens in theaters on January 30, 2026

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Posted by David Ferguson

MERCY (2026)

January 23, 2026

Greetings again from the darkness. Artificial Intelligence ranks with politics as one of the hottest topics of conversation these days. Of course, we don’t yet know what role AI will play in society; however, we are pretty certain all aspects of our world will be touched in some form. This story from writer Marco van Belle and director Timur Berkmambetov (WANTED, 2008) is set only three years in the future, and the premise is that AI judges now decide criminal cases. As with most stories steeped in science fiction, your enjoyment of the film will depend on your willingness to buy into a concept that seems a bit far-fetched. But that buy-in will likely leave you entertained, rather than rolling your eyes (ok, maybe both), by what’s on screen.

Detective Chris Raven (Chris Pratt) awakens from his drunken stupor to find himself locked down in a chair in front of AI Judge Mattox (Rebecca Ferguson, A HOUSE OF DYNAMITE, 2025) in Mercy Court. This new system is designed to quickly administer serious cases by assuming guilt unless innocence is proven. Raven is informed he is charged with the murder of his wife Nicole (Annabelle Wallis, “Peaky Blinders”) and has 90 minutes to reduce his likelihood of guilt from 98% to 92%, or face immediate penalty of death (in the chair). What follows is an overwhelming onslaught of video evidence through security cameras, video doorbells, cell phone records, etc. The initial impression is that Chris deserves to be the leading suspect. He also has access to all of the available video and technology data that the government collects.

Chris calls his teenage daughter Britt (Kylie Rogers, BEAU IS AFRAID, 2023) to proclaim his innocence (despite his blackout memory due to drunkenness). His other calls are to his AA sponsor and friend Rob (Chris Sullivan, “This is Us”), and his police partner Jaq (Kali Reis, REBUILDING, 2025), the latter of whom hops on a futuristic air travel scooter to assist with gathering evidence for Chris. The thing meant to grab the viewer is the detective work by Chris as he races the clock. Of course, there is a political statement made in that Mercy Court doesn’t seem to be much a deterrent given the chaotic red zones within the city (but this isn’t the movie to look for rational thought). We can’t help but think of the superior MINORITY REPORT (2002), and as silly as this film gets at times, we can’t miss the point that we simply don’t know the risks of Artificial Intelligence, and that waking up while locked down in the ‘Mercy’ chair would be most anyone’s nightmare. Mr. Pratt does all he can while spending most of the time in that chair, and Ms. Ferguson makes an effective AI-generated judge (is that a compliment). Again, those who buy-in will be entertained.

Opens in theaters on January 23, 2026

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Posted by David Ferguson

THE TESTAMENT OF ANN LEE (2026)

January 23, 2026

Greetings again from the darkness. One might believe that celibate communal living and worship would have been an easier sell in the 1780’s than today, yet this film from writer-director Mona Fastvold (THE WORLD TO COME, 2020) and co-writer Brady Corbet (THE BRUTALIST, 2024) proves otherwise. It turns out the second coming and extreme shaking while worshipping requires a bit more faith than many possess. The film is based on the true story of Ann Lee, the founder of the Shakers who, along with a small contingency, emigrated to the U.S. from England to spread their beliefs.

That small group of believers who followed Ann Lee (Amanda Seyfried) included her brother William (Lewis Pullman), her husband Abraham (Christopher Abbott), and young Mary (Thomasin McKenzie), among others. Their life is not easy and recruiting a congregation proves challenging. Ann never loses faith and consistently stays true to her beliefs, allowing all to follow … well, except for her husband Abraham who doesn’t much buy into the pure life with no sexual relations requirement. Ann believes that this was Adam and Eve’s sin and is convinced a pure existence is the way to righteous living.

Probably the most unique thing about the film (other than the actual subjects of Ann and the Shakers) is the manner in which the hymns/songs are choreographed and performed. This makes for such an odd visual and there are quite a few of these moments. Tim Blake Nelson plays a pastor who crosses paths with Ann, providing an interesting sequence (as he typically does). The choreography is the work of Celia Rowlson-Hall and the music comes from Oscar winner Daniel Blumberg. Ms. Seyfried delivers yet another standout performance, although this movie certainly won’t be to everyone’s taste. It’s a long film that’s not easy to relate to. Ann Lee saw herself as the female incarnation of God, and the film attempts to show how some believed her.

Opens in theaters on January 23, 2026

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Posted by David Ferguson

MEL BROOKS: THE 99 YEAR OLD MAN (2026, doc)

January 20, 2026

Greetings again from the darkness. “Laughter is the best medicine.” Proof comes in the form of filmmaker Mel Brooks and this two-part HBO Documentary from two Emmy award winning directors: Judd Apatow and Michael Bonfiglio. The title is a take-off on Brooks’ age and his decades-long-running gag, “The 2000 Year-Old Man”. This is a film for anyone who is a fan of any of Mel Brooks’ eleven feature film comedies, his long track record of comedy writing (TV, film, Broadway), or a general history of the comedy forum. Two parts cover the familiar pieces of his career, while also putting his work into historical perspective, and offering insight into his personal life, his inspirations, and his romance and friendships.

A modern-day (quite candid) interview with Brooks provides the structure, and it’s fascinating to see a man who will hit the century mark very soon be so engaging as he recalls life moments – and even specific jokes that he wrote decades prior. The two-part presentation is generally in chronological order; however, a generous inclusion of archival clips and TV interviews and talk shows with Brooks provide not just valuable insight, but also extreme entertainment. We learn he and his brothers were raised by an optimistic mother who provided hope, despite their poverty in Brooklyn. When he was of age, he enlisted in the Army and fought in WWII. It’s no surprise that his comedy sense was influenced by Charlie Chaplin, Buster Keaton, and the Marx Brothers, yet Brooks is sure to include the Ritz Brothers as well. Much of his comedy work touched on his being Jewish … topics not always easy to laugh about in a post-war world. One of his great quotes: “If you don’t get killed in the Army, you learn a lot.”

The big break came when Sid Caeser hired him ‘off the books’ as a writer for “Your Show of Shows”. It was here where he worked with Neil Simon, Larry Gelbert, and Carl Reiner, the latter who would become a lifelong friend (and the straight man on “The 2000 Year Old Man” gag). By the mid-1960’s Brooks and Buck Henry would collaborate to create the TV hit “Get Smart”, a James Bond parody. The show’s success allowed Brooks to write his first screenplay for THE PRODUCERS (1967), which featured the now iconic comedy musical satire, “Springtime for Hitler” – and won him an Oscar. Brooks discusses his feeling of pride as a Jewish man being able to make fun of Hitler. It’s these moments that really hit hard in this documentary. Brooks felt a responsibility to poke fun at life’s inequities. It was with BLAZING SADDLES (1974) where he lampooned racism. It’s in this segment where Brooks discusses his professional teaming with Gene Wilder, and how (shockingly) Gig Young was originally cast as The Waco Kid.

Part Two of the documentary kicks off with Brooks’ classic (and my personal favorite) YOUNG FRANKENSTEIN (1974), which he co-wrote with the film’s star, Gene Wilder. His beautiful answer to the question of why he filmed in black and white: it is “a valentine to James Whale”, the director of many classic horror films, including FRANKENSTEIN (1931). The film goes through Brooks’ next films SILENT MOVIE (1976) and HIGH ANXIETY (1977), and what I found to be the most touching moment occurred as Mel Brooks watched a clip of his beloved wife, Anne Bancroft, in a scene from SILENT MOVIE. Love, admiration, and sadness are all visible on his face as the clip plays and he takes in this intimate memory. Although his HISTORY OF THE WORLD: PART 1 (1981) was not a hit, another clip reminds us of the immense talent of another actress, the late great Madeline Kahn (one of my all-time favorites). Brooks discusses what he viewed as the importance of bonding art with the power of comedy. We also learn of Brooks’ production company backing such prestige projects as THE ELEPHANT MAN (1980) and THE FLY (1986). Although he directed and acted in more films, the next great Mel Brooks achievement was taking “The Producers” to Broadway in 2005. The production won a record 12 Tony’s (second place is “Hamilton” with 11).

The career is truly unparalleled, and Mel Brooks laid the foundation for contemporary film comedy, yet what sets this documentary apart is the personal aspect. It’s clear Apatow (a very successful filmmaker himself) reveres Brooks and provides the forum for Mel to relay any bits he’d like to pass along. Sure, we hear the important role Brooks played for other Jewish entertainers like Adam Sandler, Sarah Silverman, Jerry Seinfeld, Nick Kroll, Ben Stiller, and Barry Levinson, yet beyond that, it’s the friendships with Norman Lear, Sid Caeser, and especially Carl Reiner that accentuate the life of the man. Having seen the “60 Minutes” segment, many of us know that elderly Reiner and Brooks would spend most evenings watching “Jeopardy”, yet it’s so touching to learn (from Rob Reiner) what happened after Carl passed away. We hear from Brooks’ sons and his granddaughter, and we hope they recognize the wisdom and life lessons presented here. One of Brooks’ best quotes and a driving force of his work: “I think I can say anything serious if it’s funny.” Brooks’ best advice: “Be kind”; and possibly his best joke: when asked, boxers or briefs? … Brooks answers “Depends”.

Part 1, January 22, 2026 HBO

Part 2, January 23, 2026 HBO

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Posted by David Ferguson

THE RIP (2026)

January 15, 2026

Greetings again from the darkness. A terrific opening sequence finds Captain Jackie Velez (Lina Esco, “S.W.A.T.”) being ambushed by a couple of masked men. She manages to send a text as she returns fire. It’s her final text. This film from writer-director Joe Carnahan (THE GRAY, 2011; SMOKIN’ ACES, 2006) and co-writer Michael McGrale (“CSI: Miami”) was inspired by true events within the Miami Police Department.

With their captain’s brutal murder unsolved, the job must go on for the team that mourns her death and lives with the frustration that no task force has been assigned. Newly promoted Lieutenant Dane Dumars (Oscar winner Matt Damon) takes his team on an evening job to which he’s been alerted. Money is involved, as is a chance to get a lead on the captain’s killer. His team includes (Oscar winner) Ben Affleck, Teyana Taylor (ONE BATTLE AFTER ANOTHER, 2025), Steven Yeun (“Beef”, NOPE, 2022), and Catalina Sandino Moreno (MARIA FULL OF GRACE, 2004). They are greeted at the stash house by Desi (Sasha Calle, ON SWIFT HORSES, 2024) who claims to know nothing about the money the team finds. It’s a lot of money. The kind of money that clearly has one source and that causes extreme stress within the team – and Desi.

Twists and turns and purposeful misdirection occur regularly throughout the film. We can’t always tell who is a good cop and who has ulterior motives. Did I mention that it’s a lot of money? At times it feels like Carnahan is trying to give us a story in the vein of the class THE DEPARTED (2006), what with all of the distrust, even amongst the cops. Kyle Chandler (ANNIVERSARY, 2025) plays a DEI Agent and Scott Adkins (JOHN WICK 4, 2023) plays a Federal Agent and Affleck’s brother. These characters add to the many complications and layers we wade through, including loyalties and motives.

It’s the complexity of the story and characters that work best here. Steven Yeun and Sasha Calle are especially strong in their roles, and it’s always a kick to see real life Boston buddies, Affleck and Damon, acting together. While the intrigue is a plus, the overwhelming gunfire and chase scenes towards the end actually take away from the story time fun – not enough to ruin it – just keep it from being what it could have been. The film includes my two favorite movie lines so far in 2026: “You look a little snitchy”, and “Can you sense my patience fraying?”. That’s a movie that deserves an audience.

Premieres on Netflix on January 16, 2026

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Posted by David Ferguson

SHEEPDOG (2025)

January 15, 2026

Greetings again from the darkness. We expect movies to entertain us, and the really good ones also carry a message or educate us on some important topic. This film from writer-director Steven Grayhm opens our eyes to the difficulties military veterans face when they return from war. Of course, numerous other films have taken on PTSD, and filmmaker Grayhm is sensitive to this history as he portrays the emotional, physical, and societal challenges that must be dealt with.

Grayhm undertook years of research with veterans and much of what we see here was derived directly from those personal discussions. The film opens with an elderly man in a parole hearing. We learn Whitney St. Germain (the always great Vondie Curtis-Hall) is a veteran and has served 30 years of a life sentence at Leavenworth.  As he’s paroled, we skip to the final day at a paper mill in Massachusetts. Another veteran, Calvin Cole (Mr. Grayhm is also the lead actor) is one of those put out of work – or as Calvin calls it, “between gigs” by the closing of the mill.

It takes a while for these two men to cross paths. By the time they do, Calvin (thanks to drugs and booze) has been charged with assault and forced to participate in a VA program run by Dr. Elecia Knox (Virginia Madsen). An awkward exchange leads Whitney (also known as “Gunny”) to learn Calvin is the ex-husband of his daughter, Alice (Lilli Cooper). The two men share something else – Lilli wants nothing to do with either of them, which becomes the start of a bond … along with the fact they are both veterans, albeit from different eras.

His career as a dependable supporting actor has provided the chance to see Curtis-Hall in this substantial role. His level-headedness and desire to re-connect with his daughter lead him to be supportive of Calvin, who really goes through some emotional stuff thanks to the VA program. Basically, the idea is to tear down the man and rebuild him so that he can control the violent urges and contribute to family and society. Calvin is also helped by his friend and old hockey coach, Clarence (Dominic Fumusa), while Calvin himself does what he can to support his friend Darryl (Matt Dallas), yet another struggling vet.

Some of the banter from these men is so realistic that we assume filmmaker Grayhm used his research specifically. Gunny talks about being unappreciated on his return from Vietnam, while Calvin’s multiple brain injuries are little more than entries in the VA file. It would be nice if the film’s message would inspire some families and friends to reconnect with struggling veterans – those whose ‘normal’ doesn’t feel normal. Providing hope means a great deal.

Opens in limited theaters on December 17, 2025 and then wide on January 16, 2026

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Posted by David Ferguson

MY NEIGHBOR ADOLF (2025)

January 12, 2026

Greetings again from the darkness. We can pick our friends, but not our family or neighbors. However, we can (and do) speculate on and judge our neighbors – and that’s what occurs in this smart little film from writer-director Leon Prudovsky and co-writer Dmitri Malinsky. The premise of the film may initially seem absurd to some, but the final version is touching and quite entertaining.

A short prologue takes us to 1934 in Eastern Europe where a large Jewish family is enjoying their time together and posing for a family portrait. We then flash forward to 1960 South America. It’s after the war, and Polsky (screen vet David Hayman) is living a life of solitude in a dilapidated countryside home. Polsky still grieves for his many losses, while wearing the mark of a Holocaust survivor. He’s a grumpy man who shares pleasantries with neither the friendly postal carrier nor the inquisitive lady inquiring about the empty house next door … a house he would much prefer remain vacant. Polsky spends his days tending the black rose bush, which is his bond to happier times, especially those with his wife.

The previously mentioned inquisitive lady turns out to be Frau Kaltenbrunner (Olivia Sibush), charged with finding a home for the mysterious Mr. Herzog (Udo Kier), a process that means Polsky now has a neighbor – one whose German Shepard named Wolfie breaks through the fence and damages the beloved rose bush. The two men barely acknowledge each other, except for a property line negotiation. Polsky catches a glimpse of Herzog’s eyes without the sunglasses and immediately pegs him as Hitler. Heavy duty research follows as Polsky displays an urgency missing from his life for many years.

Remarkably, the premise is bizarre, yet rather than be the main thrust, it merely leads to the crux of the story. Of course, we understand why Polsky might not believe the media reports of Hitler’s bunker suicide, but he’s taken aback by how investigators show little interest in his evidence, and are more concerned about his own mental health. Almost accidentally, the two men slowly begin relaxing their defenses towards the other. A chess board thaws the ice, as does the slow-to-come conversation. What we soon see are two men, burdened by the past, finally opening themselves up to living again.

An odd twist is handled beautifully by the actors. A few bits of note to go with this one. Frau Kaltenbrunner’s last name is (probably not) coincidentally the same as that of Ernst Kaltenbrunner, former Director of Reich Security, and a convicted Nazi criminal. Our two lead actors, David Hayman and Udo Kier have had excellent careers dating back to the mid-60’s. Kier has long been a personal favorite, and he recently passed in November 2025. He also has a role in THE SECRET AGENT, Brazil’s submission for Best International Feature of 2025. The performances of these two men elevate the material and create emotion where it’s needed … and neither actor ever stoops to scene stealing. Prudovsky’s film is not just a pleasant surprise, it’s an excellent film worthy of attention.

Opens in theaters on January 9, 2026

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Posted by David Ferguson

WICKED: FOR GOOD (2025)

January 7, 2026

Greetings again from the darkness. Let’s get this out of the way upfront. My only issue with this sequel is that it exists at all. It’s pretty much the definition of a money grab. Why should a  successful stage production that lasted about three hours be turned into two films totaling almost five hours? There are only two possible answers: either more story to tell (nope, not here), or more money to make (yep!). Now, I have nothing against studios cashing in on a good thing – especially these days, when tickets are difficult to sell. So, my one issue with the film, really isn’t much of an issue at all … in fact, I really enjoy the spectacular visuals and could watch Cynthia Erivo as Elphaba any time.

Jon M Chu is back in the director’s chair and the key players are back on screen. Ms. Erivo deserves recognition and awards for her remarkable turn as Elphaba, and Ariana Grande uses that stunning voice as Glinda the Good. Also returning are Jeff Goldblum as The Wizard of Oz, (Oscar winner) Michelle Yeoh as Madame Morrible, Jonathan Bailey as Fiero (and Scarecrow), Ethan Slater as Boq (and The Tin Man), and Marissa Bode as Nessarose.

Friendship and the inner-strength to do the right thing are the messages here. However, the truth is that messages are less important here than the breathtaking visuals – special effects, costumes, and gorgeous sets. The songs aren’t quite as memorable as those in the first film, yet the singing voices are still tremendous. Corruption and darker personalities are at play here, and Erivo and Grande handle the dynamic very well. The final twist is a welcome relief – especially for parents of younger kids.

As a reminder, these characters are based on the originals created by L Frank Baum, and the film is based on the musical stage play by Stephen Schwartz (music and lyrics) and Winnie Holzman (stage book), the latter of whom gets screenplay credit alongside Dana Fox. The source novel was written by Gregory Maguire. Certainly deserving mention are Production Designer (Oscar winner) Nathan Crowley, Set Decorator (Oscar winner) Lee Sandales, Costume Designer (Oscar winner) Paul Tazewell, and Composers John Powell and (Oscar winner) Stephen Schwartz.

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Posted by David Ferguson

IT WAS JUST AN ACCIDENT (Iran/France, 2025)

January 3, 2026

Greetings again from the darkness. What is true human nature? Is there even such a thing? Are we preprogrammed to do the right thing, or is it our nature to hold grudges, seek revenge, and take advantage of every situation? This superb film from Iranian filmmaker Jafar Panahi explores the topic, and it’s important to know that he was inspired to write the story after being imprisoned for creating propaganda against the regime.

A man is driving his family on a dusty road through the darkness. His pregnant wife (Afssaneh Najmabadi) sits beside him as their young daughter dances to the blasting music in the backseat. When the man hits a stray dog, the daughter becomes upset. Her level-headed mother says, “It was only an accident” … setting the tone for what is to come. When their car breaks down a bit farther down the road, the shop’s owner, Vahid (Vahid Mobasseri) is startled by a familiar and haunting sound – the squeak of the car driver’s prosthetic leg.

Vahid is convinced that squeak belongs to Eghbal, or Peg Leg, as he referred to the prison guard who tortured him. The next day, Vahid kidnaps the man (Ebrahim Azizi) by force and drives him to the desert where he digs a hole in which to bury him. However, the man is convincing in his pleas of “you’ve got the wrong man”, and since Vahid was constantly blindfolded, he has only that haunting squeak as evidence. Rather than risk killing the wrong man, Vahid begins assembling folks who, like himself, were once tortured by Peg Leg. His friend Salar recommends Shiva (Mariam Afshari), a wedding photographer, which leads to bride-to-be Goli (Hadis Pakbaten), the groom-to-be (Madjid Panahi), and an angry and emotional Hamid (Mohamad Ali Elyasmeyr) joining in the quest to decide: mistaken identity or guilty of torture.

This journey of decision-making is bold storytelling filled with some great long takes. Director Panahi filmed this (guerilla style) in Iran, although Postproduction took place in France, which has submitted the film for Best International Feature film. Despite the intensity of the subject matter and the characters, there are surprising moments of (dark) humor … and the crazy twists are what have us questioning so much. At what price does revenge come? Can justice be served, and if so, what would it look like? The details one remembers from being tortured are likely ingrained forever. Filmmaker Panahi sticks the ending in such a way that we leave nearly as haunted as Vahid.

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Posted by David Ferguson

THE LIFE OF CHUCK (2025)

January 2, 2026

Greetings again from the darkness. Well, we can’t really call this a feel-good movie. After all, the first segment (which is really the third) deals with what appears to be the early stages of the end of the world. Plus, it’s adapted from a Stephen King novella/short story and it’s directed by Mike Flanagan, who is best known for DOCTOR SLEEP (2019) and “The Haunting of Hill House” … not exactly the genes of a happy-go-lucky film experience. Still, beyond those points, it’s a terrific film that leaves us with an inspirational and life-affirming message.

The storytelling structure is worthy of forewarning. Reverse order, or backwards … the story of Charles “Chuck” Krantz is told mostly from old age to youth, rather than the traditional chronological order. Beginning with Act III, we get a glimpse of Chuck in a hospital bed, before picking up in the classroom where teacher Marty Anderson (Chiwetel Ejiofor) is informed by his smartphone-toting students that an earthquake has caused parts of California to collapse into the sea. This catastrophe has an impact on the parent-teacher conferences Marty holds … everyone wonders what’s the point – especially once internet is lost. This segment is subtitled, “Thanks, Chuck” because billboards everywhere are thanking the unknown Chuck for 39 great years. After the parent conferences with David Dastmalchian and Harvey Guillen, Marty crosses paths with his neighbor (Matthew Lilliard) and a funeral home director (Carl Lumbly), before re-connecting with his ex-wife (Karen Gillian). Rather than face the end of the world alone, Marty chooses to be with someone who has been special in his life. We understand.

Act II, “Buskers Forever”, delivers the most memorable scene from the movie. We meet the infamous “Chuck” from the billboards. It’s Tom Hiddleston who spontaneously plops down his briefcase and begins dancing to the beats of a street drummer (The Pocket Queen). Chuck’s fantastic dance steps draw a crowd and he invites bystander Janice (Annalise Basso) to join him. It’s a beautiful sequence guaranteed to put a smile on your face – just like with Chuck and Janice, both of whom have had a bad day. Hiddleston (as Chuck) only has about 20 minutes of screen time, but it will definitely stick with you.

Although those first two acts pack a wallop, it’s Act I, “I Contain Multitudes”, that carries much of the weight. Teen Chuck is played by Jacob Tremblay (ROOM, 2015), while even younger Chuck is played by a debuting Cody Flanagan (the director’s son).  Chuck’s grandparents are played by Mia Sara (the girlfriend in FERRIS BUELLER’S DAY OFF, 1986) and Mark Hamill, both exceptional here. Grandma Sarah teaches young Chuck to find the joy in dancing, while Grandpa Albie has the best intentions with his not-so-great life advice. We also find Chuck’s teacher (Kate Siegel, Flanagan’s wife) explaining the Walt Whitman poem, “Song of Myself”, to young Chuck – it’s the same Whitman poem Marty was teaching early in the film.

Flanagan delivers an unusual way to look back on one’s life, and seems to stress the point that the view can be quite different from how you recall certain moments. An environmental and global event forces folks to live in that moment, but the lesson here is about all the other moments in our life. The message is to avoid obsessing about what could happen in the future and focus on what (and who) matters. Nick Offerman serves as the film’s narrator, and yes, some sentimentality is involved, yet it’s never an overdose. In fact, the story is likely to leave you in a contemplative state – analyzing how you deal with your moments. Maybe a dance?

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Posted by David Ferguson

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