TENZING (2026)

October 8, 2026

Greetings again from the darkness. Simply perusing the list of documentaries helmed by Jennifer Peedom (SHERPA, 2015; MOUNTAIN, 2017; RIVER, 2021) gives the impression that she’s not one to spend most days lounging in the recliner watching network television. While her latest is not a documentary film, she co-wrote with Luke Davies (LION, 2016) and based it on a true story written by Ed Douglas in his 2003 book, “Tenzing: Hero of Everest”. It’s a story most aren’t familiar with, or more accurately, it’s about a man most aren’t familiar with.

Edmund Hillary is credited as being the first climber to reach the summit of Mount Everest in 1953, but this story begins much earlier. In the 1920’s, a very young Himalayan, Tenzing Norgay (Samdrup Dorje Lama), met legendary adventurer George Mallory (Johnny Flynn in a brief scene) and asked to go along on the expedition. An older Tenzing (Tenzin Dalha) pursues love with Dawa (Thinley Llhamo) while continuing his climbing and love for Chomolungma, the Tibetan name for Everest. Adult Tenzing (Genden Phunstok) is recognized as the premier guide on the mountain and is selected by Captain John Hunt (Willem Dafoe) to guide the British expedition in 1953.

Bouncing between the time periods reinforces Tenzing’s spiritual respect for the mountain and commitment to one day reaching the summit. On the British expedition, he bonds with Edmund Hillary (Tom Hiddleston). As a New Zealander, Hillary is treated as an outsider by the Brits, similarly to how Tenzing is treated as an outsider by the native Sherpas. Tenzing’s role as a go-between adds a burden and stress not shared by the other climbers. The stark comparison is made by stating the British climb for the achievement, while Tenzing states, “I climb to know her better”. Ultimately, the outsiders are rewarded for their expertise.

Caitriona Balfre (BELFAST, 2021) appears as Jill Henderson, the coordinator of expeditions and a supporter of Tenzing, yet unfortunately this role and that of Dawa are severely underwritten as the story mostly focuses on the climbers. On the plus side, the photography of Everest and the climb by cinematographer Stefan Duscio (THE DRY, 2020) is at times breathtaking. The use of drones allows us Everest views we haven’t seen before, and we often feel like we have joined the expedition (without the danger or cold feet). This is one that most audiences will be interested in and engage while watching.

The film will premiere in select theaters on October 9, 2026 and globally on Apple TV on October 16, 2026

WATCH THE TRAILER

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Posted by David Ferguson

THE INVISIBLE MAN (2020)

February 27, 2020

 Greetings again from the darkness. I got hooked on “Monster” movies as a kid, and even all these years later, I still get a kick out of them. Of course, with today’s special effects, the look of these films is much different than in the early days. The big challenge for the genre now isn’t how to frighten us or create an awe-inspiring effect, but rather can it capture the charm and appeal of those ground-breaking B-movies? Universal Studio’s Dark Universe got off to a less-than-stellar start with Tom Cruise’s 2017 THE MUMMY. Now, after re-grouping, the fabled Monster studio re-boots THE INVISIBLE MAN … with roots in H.G. Wells’1897 sci-fi novel and the Claude Rains – James Whale film from 1933.

Perhaps their best decision was choosing Leigh Whannell to write and direct. I’m hesitant to mention that Mr. Whannell was a creative writing force behind both the SAW and INSIDIOUS franchises, as some may jump to conclusions on what to expect with this latest. All I can say is that you’d be incorrect to assume THE INVISIBLE MAN falls in line with those previous films. Instead, this film is a psychological thriller in the form of #MeToo vengeance. Whereas the 1933 film featured a brilliant scientist whose invention turned him sour, this contemporary version is told from the viewpoint of a woman who has been abused and controlled by her boyfriend.

When we first see Cecilia (Elisabeth Moss), she is sneaking out of her stunning cliffside home while her boyfriend Adrian (Oliver Jackson-Cohen) sleeps. Within just a few minutes, Ceclia’s escape has taken us on a tour of the home (including a high-tech laboratory), disclosed that she has drugged Adrian, introduced us to her sister Alice (Harriet Dyer), and above all, given us a glimpse at just how terrorized Cecilia feels. The sequence is complemented by a nerve-jarring score from composer Benjamin Wallfisch (BLADE RUNNER 2049).

We flash forward two weeks and find Cecilia taking refuge at a friend’s home, and she remains so paranoid, she is barely able to step outside. As the old saying goes, ‘is it paranoia if they are really after you?’ Her friend is James (Aldis Hodge, CLEMENCY), a stout no-nonsense cop and single dad raising teenage daughter Sydney (Storm Reid, A WRINKLE IN TIME). When it’s discovered that Adrian has committed suicide and, according to Adrian’s creepy attorney brother Tom (Michael Dorman), left millions to Cecilia, she allows herself to celebrate the moment. However, what fun would it be watching her spend and give away money? Instead, the tone shifts and Cecilia’s life becomes unbearable as she is convinced dead/invisible Adrian is torturing her. As you can imagine, this leads to questions about Cecilia’s mental stability, which then leads to more misery and tragedy.

Director Whannell’s brilliant approach and Ms. Moss’ superb performance combine to make this a thrill ride worth taking … it’s the kind where some folks in the audience shout warnings to the characters on screen! It’s difficult to tell which is more frightening, having everyone you know think you have lost your mind, or actually being stalked by an invisible, presumed-dead former abuser who wants you to suffer. Floating knives and physical fights are unsettling, but can’t compare to the tension created by cinematographer Stefan Duscio turning his camera to a blank wall or empty space. Our mind (and Ms. Moss’s face) fill in the gaps with Adrian’s evil presence. This is not a scientist-gone-bad, but rather a madman utilizing his most powerful tool. Having Adrian be an Optics innovator was a contemporary twist that takes us from the science fiction of the 1930’s to the technological world of modern day.

The film was originally going to star Johnny Depp, but it works so much better, and is so much more terrifying, having it told through the eyes of Ms. Moss’ Cecilia. Strangely enough, the movie I kept flashing back to was not the 1933 Claude Rains and Gloria Stuart (64 years later, she played reminiscing Rose in TITANIC) movie directed by the great James Whale, but rather the schlocky 1991 Julia Roberts film SLEEPING WITH THE ENEMY. This is the most fun kind of movie suspense, and what’s scarier than the things we can’t see? It’s nice to have Universal Studios’ monsters back on track, and we have talented filmmaker Leigh Whannell to thank for this “Surprise!”

watch the trailer:

1 Comment | Fantasy, Horror, Thriller | Tagged: , , , , , , , , , | Permalink
Posted by David Ferguson