Category Archives: Review

Reviews from all of the movies we have seen lately, including everything in theaters and on DVD.

MUSK – Review

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Elon Musk.Photo by Ken Cedeno/UPI Credit: UPI/Alamy Live News. Courtesy of Bleecker Street

Alex Gibney, Oscar-winning director of insightful, factual, hard-hitting documentaries, turns his camera on Elon Musk, the world’s first trillionaire, and Musk is not happy about that. TikTok, Meta and YouTube all refused to run the trailer for Alex Gibney’s MUSK, claiming it is “too political,” even though they are fine with running actual political ads. It is easy to assume this decision is due to fear of this ultra-rich man. MUSK is a biographical documentary about Elon Musk, mostly focused on his business career with some of his personal life in the first half, and in the second half, his more recent move into the government and campaigns. Anything that is “political” is due to Musk’s own political activities, such as his funding of campaigns and his involvement with the quasi-governmental DOGE and its activities. This is information that all Americans deserve to know, given Musk’s extreme wealth and out-sized influence, things that should be concerning in a democratic republic where free speech and freedom of the press play such an important role. It is information deserve to know, even need to know, about the world’s richest man.

Director Alex Gibney approaches his subject as an investigative journalist, sussing out facts and details to paint a bigger picture of his subject Musk. Insights on this powerful man are plentiful, coming out of the tracing of Musk’s rise in the business world, in a documentary that runs about four hours, although, thankfully, with a short intermission. That running time seems daunting but the documentary is worth the time commitment.

Alex Gibney does not follow the usual biographical route of starting in childhood and tracing the person’s development. Instead, the documentary follows Musk’s business biography, from his first company to SpaceX and Tesla, with the personal information mixed in where it is important to understanding the business side of Musk. However, Gibney also traces Musk’s interests and attitudes, especially as they changed as he grew wealthier.

Several people speak in on-camera interviews, both people from his businesses, his ex-wife and an ex-girlfriend, and notably, Elon Musk’s father. One of the most telling moments are when Musk’s father in South Africa coolly describes shooting three Black men who entered his home, lingering more on the various colors of the blood spilled than the people shot.

One person who did not cooperate for this documentary was Elon Musk himself. But Alex Gibney does something that is both inventive and controversial, creating an AI version of Musk who speaks Musk’s on words, from interviews or writings, using a recreation of Musk’s voice. The effect is weird, yet weirdly appropriate for the documentary’s subject.

We do see the actual Musk in many archival video footage of interviews and in still photos. A pattern emerges of a man who has no trouble with self-promoting and exaggeration, even providing false information, on those businesses. Although Musk has no engineering degree, he likes to call himself an engineer. His real skill is in selling his companies for big payouts.

MUSK presents a wealth of documentary evidence and on-camera interviews of those around him, including the real founder of Tesla. At one time, Elon Musk had a reputation as an innovative, forward-thinking businessman, a kind of engineering entrepreneur in the tradition of Henry Ford, Steve Jobs or even Howard Hughes, who was the inspiration for the “Iron Man” comics that Musk so admires, apparently. He was lionized when he was leading Tesla and talking about a conversion to all electric cars and dealing with climate change. What the public largely didn’t know, and MUSK reveals, is that Musk was not the founder of Tesla, but an investor who bought in and then ousted the real founder.

Far from someone who started with nothing, Elon Musk grew up rich, and his father bankrolled his first business endeavors. As much as he would like to be seen as a Steve Jobs, he was not developing his first projects in his garage. Musk likes to call himself an engineer, although he does not have an engineering degree but two bachelor’s degrees, in physics and economics, although he reportedly was always more interested in practical applications of both than theory. Musk did enroll in a graduate engineering program but only attended briefly.

Something that comes through as the documentary traces Musk’s rise to extreme wealth is a disregard for the truth and increasingly, for other people. Much of the trillionaire’s ideas are grounded in the worlds of comic books and science fiction, with his own version of reality. History is full of cases where extreme wealth or power allowed a person to become increasingly disconnected from the real world the rest of us live in, to the detriment of everyone.

After the brief intermission, the documentary turns towards Musk’s more recent foray into the political realm, with Musk’s financial support of Trump’s presidential campaign and later DOGE involvement. Musk turned from pet interests in promoting electrical cars and green energy, and space exploration and an obsession with Mars, both interests that support his businesses, Tesla and SpaceX, to an new interest, the area of right-leaning politics, and especially Trump. The documentary offers a clever explanation of that new interest, noting that Trump had the power to keep Musk in money, while Musk had the money to keep Trump in power. The documentary follows Musk’s funding of political campaigns with large contributions, and then his delving directly in participation in government with the DOGE cuts, symbolized by his chainsaw wielding stunt.

MUSK offers a wealth of well-researched evidence and compelling information about Musk’s actions and possible motivations, particularly chilling as he has moved into the political sphere. MUSK presents a chilling picture for the country, and even the world. The documentary may be long but this is the most important documentary for every non-billionaire to see at this moment in time.

MUSK opens in theaters on Friday, Oct. 16, 2026.

RATING: 3.5 out of 4 stars

YOU CAN SEE EVERYTHING – Review

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As the start of the cinema “awards season” officially begins (despite some high temp spikes, this is the Fall), filmgoers will now get to see the film that generated the most “buzz” at last month’s Telluride Film Festival. And the buzz isn’t about the performances of actors or the script, since this is a documentary. Perhaps this will be that ‘doc’ that grabs those who still consider them to be “homework”. There are a couple of big “hooks” to entice. First, it’s co-directed and “presented” by a comedy vet who has headlined several cable and streaming TV shows, though this is his first major feature film. Oh, and the subject was a huge story that became fodder for several podcasts, a best-selling book, and a critically acclaimed streaming limited series (garnering a couple of big awards). After that “media frenzy”, the person at the center of the “scandal” retreated from the public eye…until now. So, what happens after the noise dies down and the trial concludes? Well, now we are given an “invitation” that promises us that YOU CAN SEE EVERYTHING.

The comedian/filmmaker is Nathan Fielder, of “Nathan for You” and “The Rehearsal”. He and co-director Lance Oppenheim (who just helmed the hit “inspired by true events” movie PRIMETIME) are invited into the rented oceanside home of Elizabeth Holmes and her partner (her “baby daddy” and possible hubby), Billy Evans. It’s a hectic time for the duo, who are raising two kids (a toddler around two and an infant only a few months old) while preparing for her “away time”. In 34 days, she must “surrender” herself in order to begin incarceration for fraud. Yes, she is the woman behind Theranos, the company that promoted a “miracle” invention that could test a drop of blood and provide results and a reading within minutes. But the gizmo never worked as she promised. With his camera and sound crew out of sight (most of the time), Fielder becomes our observor/inquisitor who interviews both of them. Elizabeth promises complete “truth” as she stares intently into Fielder’s eyes and proclaims her innocence. Billy is more aggressive as he tells of his initial meeting with her (did her know her “history”) while hustling to start a new “medical marvel” business. And Fielder is always hovering, casting a cynical (some might say a “stink”) eye on the accelerating chaos and bizarre ticks. He even gets to speak with the parents of Elizabeth, though Mom barely says anything. “Prison Day” (in far-away Bryan, TX) finally arrives with teary farewells and a possible ending for the film. But it is not that, as Fielder digs much deeper and raises more questions than he can answer, even with his “dream team”. Could that month”embedded” with them have been an orchestrated piece of “performance art”?

Well, this film is certainly a “test” for any reviewer, or merely a film fan recommending it to a friend. Fielder and Oppenheim have put together a truly offbeat “profile” about the “aftermath” of fame (and infamy), which just might jumpstart another “news cycle” for the Theranos “saga”. As our “eyes”, Fielder heightens his stoic, awkward comic persona as we see him being somehow drawn into this world of investors and “sales-gaming”. At times, he’s almost a tennis ball being bounced between the very different spouses (or partners). Wisely, he steers much of the focus away from himself, avoiding too much influence (certainly nothing close to Michael Moore or the Albert Brooks dimwitted filmmaker character in his classic REAL LIFE). The world was more than a bit unnerved by the wide-eyed gaze of Holmes in the “teasers’ which just hint at her “vibe” as the “decieved dreamer” in many of her exchanges with Fielder. Then, there’s Evans, who takes charge with the zeal of an angry “battering ram” (an early scene at breakfast “foreshadows” his “role”). He’s also a mystery since his motivation careens from family protector to “super-salesman” (and what’s with him viewing online science videos at likely double the speed). He may be the “villain” in this scenario. Or is he? That’s part of the problem in talking to those thinking about seeing this. That and the sublimely surprising final act, which “pulls out all the stops” in recreating what happens behind tightly closed doors. There aren’t many examples of visual flourishes as the shots switch from close-ups to “two shots”, but the general off-kilter sense of unease is driven home by the haunting music score by Art Balouzian. Hopefully you’ll be able to take in this film with friends and family, as the post-movie discussions will be lively. 2026 is shaping up to be a great year for documentary features, and YOU CAN SEE EVERYTHING is one of the very best. And you’ll see that it’s certainly not homework or “eatin’ your veggies.”

3.5 Out of 4

YOU CAN SEE EVERYTHING is now playing in select theatres

TENZING – Review

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For the second weekend in a row, let’s talk about another “based on true events” film. Last week saw the release of THE SOCIAL RECKONING, which could be called a “sequel docudrama”. For this weekend, in between the superb documentary features, MUSK and YOU CAN SEE EVERYTHING, here’s one that’s more of the classic “biopic”, though it’s also a rousing “natural wonder set action-thriller”. We’re still a couple of months away (hopefully) from the frigid snows of Winter, so this film might be somewhat of a “prep”, so that whatever “hits” won’t seem nearly as brutal as the conditions of this true tale. This all took place nearly 75 years ago, thanks to the courage, stamina, and skill of several men. At the forefront was the ‘national hero” named TENZING.

In the film’s opening “prologue,” we meet a pre-teen Tenzing Norgay, a Sherpa shepherd tending to his flock in the shadow of Chomolungma, AKA Mount Everest. Stumbling upon the camp of a baffling group of strangers, he spies a pair of boots. As he slips them on, he is startled by their owner, George Mallory (Johnny Flynn). Returning home, Tenzing dreams of being part of a mountain climbing team. But he’s got to help his poor, struggling family. When they lose their home and livestock, they make the arduous journey through the mountains. When Tenzing is struck by a fever, his parents stop at a monastery in Nepal. As the lad is treated, his folks decide to continue their travels and promise to return for him. They never come back. Instead, this “outcast” deals with the local hostility in the nearby village. Eventually, Tenzing catches the eye of a sweet local woman named Dawa, leading to marriage and children. Seeking to better their life, he relocates to Darjeeling and applies to be part of the Sherpa guide team for the Shipton expedition. Luckily, their supervisor, Henderson (Caitronia Balfe) is touched by his spirit. Years later, in 1952, Tenzing (Genden Phuntsok) is the principal guide for the Swiss expedition, which came the closest to Everest’s summit. Norgay’s personal life has also changed as Dawa has passed away, leaving him to raise their two children. Soon, Tenzing is recruited by Brit John Hunt (Willem Dafoe) for his expedition. But Tenzing will only accept if he is made part of the official climbing team, rather than one of the guide/supply-carriers. It’s “unheard of”, but Hunt finally agrees. Tenzing still must convince and assure his children that he will return safely. The mission soon begins as he meets his fellow climbers and forms a fast bond with a New Zealander, Edmund Hillary (Tom Hiddleston). The two become a team that vies to be chosen as the duo who will be the very first to reach the top of Everest.

Much like the film’s title subject, Phuntsok ably guides this talented cast through this grand adventure story. Despite his almost frozen smile, he shows us the concerns and fears surrounding this hero. He wants to conquer that mountain, but not at the cost of his struggling family. But Phunstok brings that determined “can-do” spirit to compelling life. He makes a terrific dramatic team with Hiddleston, whose Hillary treats him as a “defying danger” brother-in-arms (sharpen that pickaxe), while also tempering his own fears, especially when he nearly ends his quest so close to his goal. Dafoe is excellent as usual as the gruff but often warm father/leader of the team. Speaking of warmth, Balfe brings much of that to her role as the expedition arranger. A bit of dramatic tension comes from Tenzing Jigmey as Pasang, the veteran guide who has been “passed over” by Tenzing.

Helmed by director Jennifer Peedom, the film is more than merely a grand, breathtaking celebration of the peaks that touch the clouds, though it is quite glorious. But while we’re dazzled, Peedom never allows us to forget the deadly dangers in each icy step. At the sign of sudden snow swirls, the climbers drop and lie flat, wondering if this will be their burial site. As the men gasp for breath, using air tanks like scuba divers, we hold our breath as the elements are defied. Cinematographer Stefan Duscio expertly doubles New Zealand locales for Nepal. It’s all enhanced by the stirring score from Rebekka Karijord. And big kudos to editor Simon Njoo, who keeps the narrative clear, despite the inspired flashbacks. For fans of tru-life amazing adventures, TENZING guides us to the peak of an incredible life.

3 Out of 4

TENZING streams exclusively on AppleTV

THE SOCIAL RECKONING – Review

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To the surprise of very few moviegoers, it’s sequel time at the ole’ multiplex. Ah, but this film is fairly unique, since it’s based on actual events. That’s happened with biographies, going back to THE JOLSON STORY and JOLSON SINGS AGAIN (almost the best sequel title after BREAKIN’ 2: ELECTRIC BOOGALOO), but this is closer to THE GUNFIGHT AT THE O.K. CORRAL and DAY OF THE GUN, in that it’s a “follow-up”, a “what happened later” exploration. And while those movies spanned ten years, there are sixteen years between these two. And the principals are still in the news. None of the cast members of the 2010 film return, but its Oscar-winning screenwriter is back, and sitting in the director’s chair. After THE SOCIAL NETWORK comes THE SOCIAL RECKONING.

The film’s main story is structured almost as a novel, but one that has us “flipping back the pages”. The prologue is the kind of uncomfortable police interaction so common on streaming video websites, as two officers encounter an angry, possibly inebriated young woman (Portia Doubleday) waiting for a tow service for her stalled vehicle along a dark, rain-soaked highway. Next chapter: It’s 2029, and we meet a data engineer named Frances Haugen (Mikey Madison), who doesn’t get a chance to ask a question or voice her concerns (on several index cards) during a big tri-monthly staff meeting. On the way back to her desk, she brings her inquiry up to a supervisor, who quickly dismisses her. Around the same time, East Coast reporter Jeff Horwitz (Jeremy Allen White) arrives at the West Coast offices of the Wall Street Journal, where Bureau chief Kris (Betty Gilpin) tells him that he’ll be covering the high-tech world (but the guy can’t use a map app to get him there on time). Later, Jeff and his aides send out some email “feelers’ about Facebook “worries”. The “bait” is taken by Frances, who meets with Jeff in a public park. She is alarmed about how the site’s algorithms direct users to several radical “outrage’ groups in order to increase their site usage (some folks stay on for over nine hours a day). Jeff needs this explained, and he still begs her for more evidence, but the young woman is jittery and hesitant. It’s the first of many clandestine meetings. The timeline shifts to 2021 during the preparations for testimony before a Senate subcommittee. In a huge, brightly lit, sterile room, Facebook CEO Mark Zuckerberg (Jeremy Strong) is being coached by a media consultant named Maya (Wunmi Mosaku). She’s also brought in a former investor, now critic, Charlie Garrigan (Bill Burr), to throw a few “curveballs” at the stoic, prickly billionaire. The film continues to skip and backtrack during those years to highlight Jeff’s research, Frances becoming bolder, and the often volatile policies at the home of the popular website, before everything collides on a fateful January day prior to a major congressional hearing.

Well, I should begin with the casting choice that has been at the forefront of the film’s media blitz. When Jesse Eisenberg declined to return after scoring an Oscar nom for his last turn as Zuckerberg (and passing on a huge paycheck), Strong stepped up, since he’s played versions of real people before (his Roy Cohn in THE APPRENTICE is superb). In his take, the older Mark is a mix of socially awkward, stiff-postured, prickly, and defiant, with a “my way or the highway” bluster and superiority (he has no time for lessers). And yeah, we get that “Data’s other brother” vibe (something for the Trekkers). Sure, Strong’s doing a bit of parody, but he draws us in, becoming the focus of any scene. The other casting “coup” may be the big-screen return of 2025 Oscar winner Madison, playing someone with little in common with her ANORA. However, Frances wins us over, despite her many quirks (those “warmers”) and impatience (I flashed to Jimmy Fallon on SNL as IT guy, “Moooove!”). Aside from the fear-based reluctance, Frances feels a loyalty to the company, much like to a person who had good intentions but has wildly strayed from them. This makes her burst out of her paranoia bonds more powerful as she “puts herself out there”. There’s also a nice chemistry, but not romantic, between her and White as the “tech fumbler”, who is also playing “catch up”. Still, there’s that reporter’s dogged determination to get the story, which propels him and endears us to him, even as he pushes Frances and his pair of overworked interns. Kudos to stand-up comic, now film actor, Burr, who is a great verbal sparring partner for Strong. Plus, there are great supporting turns by Mosaku as the very patient (she’s tested) “media coach, Gilpin as the demanding, but still compassionate editor, Billy Magnussen as the sneering FB “tech-bro”, and Doubleday as the product of online “radicalization”.

That writer-turned-director is Oscar-winner Aaron Sorkin, who doesn’t quite have the same visual flair as David Fincher, but crafts the scenes around his “rat-a-tat,” sometimes “too smart,” dialogue. Iconic Golden Age filmmaker Frank Capra is referenced here, though many of the Frances and Jeff exchanges remind us of Howard Hawks and his newspaper classic comedy HIS GIRL FRIDAY (again, minus the “lovey-dubby”). But, like Capra and Hawks, Sorkin has passion in many scenes that recreate events that were watched with horror on our “devices”. And there are several plot contrivances (Frances has dinner next to a family discussing online bullies), along with a final scene “call back” that will induce a “c’mon” jolt, but it’s refreshing to see a talent using his art to comment and perhaps “sway” , much like many of the films of Oliver Stone. This helps to make the wild “re-imaginings” more palatable. Sorkin does try for some visuals that highlight character, like the warm, cozy wood and brick apartment of Sarah and the frigid, cool blues and wide expanses of Mark’s “workspace” (some could be the HQ of a Bond mastermind). Plus, Sorkin conveys the rainy Northwest in constant Fall mode, while making Puerto Rico a non-stop party (Canada stands in for both). But the main delight of the film is that whip-cracking script, often peppered with almost too many “factoids” (it’s his “calling card”), and the solid acting ensemble that make THE SOCIAL RECKONING worthy of a theatre night rather than a download.

3 Out of 4

THE SOCIAL RECKONING is now playing in theatres

REYKJAVIK 112 – TV Series Review

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Regular readers have seen my frequent complaints about European crime series that stretched five or six episodes worth of material over 8 hourlong shows to fill out a season. So, here’s a tip of whatever sort of cap they  most frequently wear in Iceland for the producers of”Reykjavik 112” for cramming eight hours worth of material into six briskly paced, fat-free episodes.

We open with a couple having a semi-anonymous one-night stand, from which the ungentlemanly gent bolts quickly the next morning. Both are surprised later that day to discover that the guy, Holdar (Kolbetnn Arnbjorns), is the new lead homicide detective in their city, and the woman, Freyja (Vivian Olafsdottir), is a shrink who is about to become central to solving the latest, and extraordinarily gruesome, murder. A woman was killed in her home and displayed in a most hideous manner while her 3-year-old daughter was hiding under the bed. Freyja’s job will be to coax the traumatized child out of her terrified silence to provide whatever information she can to identify the killer.

(For those curious about the title, 112 is the Icelandic equivalent of our 911. I’m sure you don’t need help with the Reykjavik part.)

Over the course of the season, a few more murders occur, making it clear that the perpetrator has a deranged agenda, and is meticulous, leaving no incriminating evidence at the scenes. We also rotate among a number of suspects – many of whom are eminently dislikable regardless of their guilt. Among those easy to detest is a struggling journalist, Rakel (Anna Gunndis Guo), whose methods of gaining information she shouldn’t have, and publishing some that imperil the process of ending the crime spree, include some truly slimy tactics.

Performances are solid all around. But the major credit goes to the four writers (including the author of the source novel, DNA  – Yrsa Sigurdardottir) for squeezing so many intriguing character sidebars and suspects into such a tight package. None of the personae are one-dimensional. Like most European procedurals, there isn’t as much punching or shooting as we usually find in our own primetime series, but the proceedings roll along briskly among all the moving parts, eventually fitting them into a complete picture that is not only comprehensible, but will offer some surprises for most viewers.

If they can keep the surviving cast and writers together, I certainly hope this will run for several more seasons. A number of the relationships introduced here are interesting enough to explore further, along with whatever new crimes may challenge our police protagonists.

Icelandic crime drama REYKJAVIK 112 premieres October 6, 2026 in the U.S. and Canada on MHz Choice.

3 1/2 Out Of 4 Stars

https://watch.mhzchoice.com/reykjavik-112

STRANGLEHOLD – Review

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Even if you don’t know Clark Duke by name, you’ve seen him in a bunch of sidekick and supporting roles, mostly in TV and movie comedies. Kinda short and pudgy; big horn-rimmed glasses; and a nice guy with a touch of nerdiness describes his default setting. He’s always been a plus for any production. He might be best-known for 19 episodes of “The Office”; minor parts in the KICK ASS and HOT TUB TIME MACHINE movies. Others may know him from a featured role throughout the dramedy series, “Greek”.

Like many successful actors, Clark has started directing and writing, using his Arkansas roots as the basis for his first two feature-length films. The first was a crime drama titled ARKANSAS; this one, STRANGLEHOLD, is a chaotic, gory comedy set in a rural Arkansas strip club. His brother Chandler is credited as a co-writer, besides filling a significant supporting role. Even their mom, Angela, contributes a brief, yet memorable, appearance. Perhaps spending most of his career in supporting roles motivated Clark to give so many of these minor characters their moments in the metaphorical sun.

Our heroine is one of the strippers, Bailey (Ashley Benson), living small in a trailer park, struggling financially to raise an infant with her lazy, hard-drinking husband, Tim (Jake Lacy). As you might expect, she performs for a grabby bunch of rednecks, making the workplace even more of a hassle than similar venues in more genteel locations. Her lot is further worsened by two factors – she’s not as free-wheeling on exposing her naughty bits as her more successful colleagues. When bras stay on, dollar bills are less likely to be tossed onto the stage. The more aggravating problem is that the club’s manager, Junior (Justin Long), is a much bigger jerk than he needs to be – denigrating and short-changing his employees whenever he can find an excuse. Casting Long was a fun choice by Duke, since this assholian hick is quite a stretch from the awkward nice-guy roles that have shaped most of his career.

The tale unfolds shortly before Christmas. Tim gets fired from his job as a big box-store greeter for just being stupidly combative about following their rules. The baby needs an expensive medicine, and ain’t nobody gonna help the couple stay afloat. Tim’s a gun nut with some military training – no surprise there – so Ashley decides they should rob the club on a night when it’s hosting a private party for high rollers of the less-than-legal persuasion. That’s when the cash in the safe should be unusually bountiful.

Their heist attempt is when the chaos kicks in, lasting for more than half of the film’s running time. You’re better off not knowing too many details. I can say that the patrons are mostly crime bosses using the club to launder their cash, under the guidance of its owner, Roger (Ron Perlman). There are a whole lotta gun-totin’, conspiracy theorizin’ rednecks adding mayhem and casualties to the proceedings. Things get very messy. And very funny.

The Duke boys (Clark and Chandler, not the ones from Hazzard County) deliver a product that manages to satirize the prideful ignorance of the rubes in the cast – particularly how they blame everyone else for their disappointments and failures – with empathy for those stuck in the underclasses with no real hope for reaching the American Dream that was sold to them from childhood on. The title is apt for both the micro and macro levels of its content. The dialog and physical comedy blend well, steering clear of the extremes of pure slapstick or tedious polemics. And Clark shows some fine directing chops in keeping so many moving parts coherent beneath the chaos.

There’s less nudity than one might expect from the premise of featuring such racy premises, but plenty of bloody action to provide the lowbrow kicks most viewers will be seeking.

2 out of 4 stars.

STRANGLEHOLD is available on Digital Platforms and Video On Demand now.

VERITY – Review

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So, after book-based movies in 2024 and 2026, which author now has a second film adaptation this year? If this were the 1980s or 1990s, you’d guess that it was Tom Clancy, John Grisham, or the amazingly prolific Stephen King (there’s a new limited-series version of “Carrie” streaming in a couple of weeks). Well, the “cinema scribe” of the moment appears to be Colleen Hoover. It started with IT ENDS WITH US two years ago (though the lawsuits and legal battles occupied the gossip websites into this year). Next in 2025 was REGRETTING YOU (well, I regretted seeing it). Only a few months ago, theatres got REMINDERS OF HIM (what’s with the double R’s). Now, with the final few months of 2026, we get another page-turner (or, for some, a “stomach-turner”) turned into a flick full of very true, really, “big-time” movie stars, with one Oscar-winner in the title role of the mysterious VERITY.

In the opening moments, we get a whirlwind montage that tells us of the popularity of the best-selling author of very dark romance-thrillers, Verity Crawford (Anne Hathaway). Look, she’s sitting down with Gayle King, and she’s scarfing down chicken wings with Sean Evans. And then we meet another writer at the other end of the spectrum. Lowen Ashleigh (Dakota Johnson) is at a tiny bookstore, reading from her new short story collection to a trio of distracted listeners. She dashes out into the street and gets a call from her agent, imploring her to “wear something nice” to the meeting they have at a big NYC publishing house. On the way, she has a “meet weird” with a sullen, handsome stranger. When Lowen arrives for the “sit-down”, she’s surprised to see that man again. He’s Jeremy Crawford (Josh Hartnett), the husband of Verity. After signing an NDA, Lowen is told that Verity has been in an accident and cannot finish her new trilogy, so a ghostwriter is needed. After some prodding from her agent (who “ups” her “price”), and since she’s moving out of the apartment she shared with her recently deceased mother, Lowen accepts the offer. She will stay in the Crawford home in order to go through notes and outlines and get the first new novel organized. Jeremy greets her at the mansion tucked away in the snowy forests of Vermont. Lowen also meets his adorable six-year-old son, Crew (Brady Wagner), along with his catatonic mother, Verity. She cannot speak or move and is assisted by her somber nurse, Anna (Irina Dvorovenko). Lowen learns about the recent passing of Crew’s twin sister, Harper, from the still-grieving Jeremy (this may have contributed to Verity’s state). In going through V’s office, Lowen finds another manuscript, a biography, that hints at sinister machinations. Lowen is drawn into the couple’s web of deceit as she deals with her growing attraction to Jeremy. And then there’s the possibility that Verity may not be as helpless or as hopeless as they think…

Though she’s not playing the title character, Johnson carries the film as the main focus, Lowen (mmm, this character names…). She shows us the humiliation of an artist who’s just not connecting in that intro in the almost empty bookstore. And this is compounded by her recent loss, so Johnson conveys this with a hesitant delivery and stiff body language. The energy level rises a bit as Lowen embarks on her new mission in the woods, and her interest in her host. The almost ageless Hartnett projects a smouldering intensity, only relieved by his affection for lil’ Crew (again, the names…). His Jeremy seems like the lonely royal in an almost empty castle, recalling his past tragedies. And now we should talk about that title role, played by the ever-stunning Hathaway. In the flashback “media blitz,” she’s cool and calm, dutifully reciting her patter and platitudes. Happily, Hathaway gets to “cut loose” in the flashback that covers her steamy, passionate romance with Jeremy, which then shifts into her darker demeanor when it appears that Verity is far from the “picture-perfect” matriarch. And even though she’s giving us the present-day frozen stare, Hathaway draws us into Verity’s despair. Wagner is adorably shy, while Dvorovenko is subtly shady and sullen as the not-so-nice nurse.

So, this is actually from the talented filmmaker (and writer/actor) Michael Showalter, the same filmmaker who helmed gems like THE BIG SICK and THE EYES OF TAMMY FAYE, amongst many others? Well, he’s in an uphill battle with a convoluted, lackluster story source that would test anyone. It has the promise of being a creepy modern noir with a touch or two of MISERY, but that is squelched by some truly turgid dialogue, ludicrous staging (the first meeting of Lowen and Jeremy is so absurd that I thought it was a daydream), and glacier-slow pacing (like a turtle swimming in molasses). The hackneyed plot trudged on and on, with some silly erotic fantasies (right out of so many “skinamax” 2 AM fodder) failing to enliven this “trudge”. It’s a low bar, but this is the worst of the Hoover movies, since they’ve wasted so many gifted talents, mainly Showalter and the luminous Hathaway (a shame we couldn’t get a good “throwdown” with her and Johnson in a nightmare sequence). The locations are splendid, especially this lakeside estate built around boulders (maybe this is near the home of THE ROSES). And kudos for the costuming (oh, that red dress on Verity), but that’s about all I’ll remember from this overwrought and often ridiculous fluff. A sudsy, glossy soap opera mystery can be campy fun, but verily, VERITY is so very, very far from that; it’s an irritating ordeal.

1 Out of 4

VERITY opens in theatres everywhere on Friday, October 2, 2026

THE NICE ONES – Review

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You know the old cautionary saying “you gotta look out for the quiet ones”. The horror flick, THE NICE ONES changes that to beware of the “suddenly nice” ones. It’s another variation on an attractive group of young revelers gathering in an isolated house when bad things start to happen. Genre veterans have seen a plethora of such gorefests, but there are usually one or two novelties in how they show the inevitable. That’s what keeps us coming back for the next one.

As Kate (Joelle Rae) and Dale (Emrhys {not a typo; I double-checked} Cooper) are driving to the aforesaid abode, she notices strange lights in the sky. Kate has been recently released from an institution for the clinically confused, and Dale had been her therapist before they started making mattress music. They’re meeting a handful of his old friends – most of whom don’t like Kate, and the feeling is mutual – except for Shelly (Ayvianna Snow), who is more amiable. When Kate tells them about the mysteriously moving lights suggestive of UFOs, they assume she’s having a schizophrenic relapse and dismiss her concerns. Most aggravating is Dale, who remains particularly condescending towards his partner, even as her fears start becoming a key part of their shared reality.

One by one, others start seeing those lights which cause major personality changes. Suddenly each affected person morphs into in a state of trancelike bliss, droning on about happiness to come, albeit by killing the rest to speed them along their path. The usual bloodbath ensues in its full glory of gory.

The rest of the details don’t matter. It’s all by the book.  No sex or nudity; mild drug use, and less mild drinking. This one will probably get an R rating simply on the blood and guts component. No expense was spared on those effects. For me, the downside is that they never explain the source of the lights… or perhaps I just missed it. Writer/director Peter Stylianou leaves things open-ended, probably hoping to set up a franchise like the SMILE series. The premise could easily support a string of sequels, with or without any of the same cast, as new players fall prey to the same lights in their skies. Time (and gross revenues) will tell. This could enjoy a long home-market life – Especially re-emerging every October.    

THE NICE ONES is available On Demand on September 29.

FUNNY MONEY: THE DANE COOK STORY – Review

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Looks like 2026 is shaping up to be a great year for documentaries. Now, don’t groan. They aren’t the cinematic version of “eating your vegetables” or “homework”. No, they’re going to be a big part of end-of-the-year top ten lists, not to mention “awards talk”. And this just might be the year that one or two of them crack the Oscar Best Picture list (it can now have as many as ten contenders). YOU CAN SEE EVERYTHING got lots of energized “buzz” at a recent film festival, plus I’ll be praising BOORMAN AND THE DEVIL when it gets a wide release. One of the most popular “doc genres” is the chronicling of a “true crime”, though I really enjoy the bios of “show folk” (really “jazzed” for upcoming ones of Martin Mull, Norm McDonald, and Maria Bamford). Well, this new “non-fiction flick” actually combines the two (“You got celeb in my crime…you got crime in my celeb”). And like that beloved candy, there’s much to savor in FUNNY MONEY: THE DANE COOK STORY. Let’s unwrap this tasty treat…


As the title states, this is the story of stand-up comedy superstar Dane Cook. The opening, like much of what follows, is the funny fella’ talking to us (the camera, really). We get lots of biographical info with faded photos and scratchy 8mm home movies, segueing into blurry home video. Even though he was a child of divorce, Cook made the best of it, with the help and support of his “best pal” and idol, his half-brother Daryl. Always a fan of comedy, Dane entered the world of the open-mike in 1990, during the big stand-up “resurgence” via cable TV, videotapes, CDS, and a slot at nearly every bar with a spotlight and a brick wall. As his star was rising, things weren’t going well for “bro Daryl” in his job as a prison guard. During an altercation, he was sliced with a metal can “shiv” and almost bled out. Dane facilitated a career change, putting him on the “payroll” as head of his security team. Then Daryl became his business manager, just as Dane broke into movies, put a recording on the top of the Billboard chart, and filled arenas and stadiums (a second show was added to MSG). When Dane decided he now needed the services of a big talent agency, Daryl tried to talk him out of it. Then, the unthinkable happened. Dane went to apply for a bank loan in order to purchase a plush estate (no more rentals), and the rep “lowered the boom”. Only “crumbs” were left in the accounts that Daryl had set up for him. Dane was getting “fleeced” by his beloved “bro”. This leads to a cross-country chase for him, as Dane, with his “financial forensics team,” makes some shocking and often absurd discoveries about this “crime spree”.

Separately, this show biz “rise-to-fame” fable and the true tale of greed and deception would be compelling enough, but in this expert blending by documentary vet Bret Harvey (with writing collaborator Pollyanna Hardwick-Brown), the result hits on all emotional cylinders. Though I was unfamiliar with the body of Dane’s work, I found the story of his childhood (lotsa’ “hard knocks,” for sure) and his career ambitions very enlightening, especially the story of him grabbing an absent comic’s “slot”. Then there’s the endearing bond he has with his older stepbrother (Dane still taps into those old emotions). We get “talking head” interviews with childhood buddies of both men, along with their sister. And then there’s Erika, Daryl’s ex-wife (his second missus), who also spins quite a tale. She’s “tough to read” as we wonder if she’s a “co-mastermind” or a very, very naive “dupe”. But her “side” is needed since we never hear from Daryl himself, other than old videos and a haunting final phone message. Yes, it’s heartbreaking, but often quite hilarious, even with the zany scheming of the guilty (you may never think of spaghetti sauce and Bagel Bites in the same way again). Still, much like Dane, we’re left wondering about the “crime”. It’s one thing to “skim”, but he tries to take it all. Perhaps due to his years at the mic, Cook is quite an engrossing storyteller as he pulls us into his astounding career highlights (he passed on auditioning for SNL, but later hosted), then guides us into a dark quagmire of lies and larceny. Still, somehow he can find the laughter bursting through the tears. Kudos to him and filmmaker Harvey for taking us on the wild, wacky, and heartbreaking ride of FUNNY MONEY: THE DANE COOK STORY.

3 Out of 4

FUNNY MONEY: THE DANE COOK STORY is now streaming as a Video On Demand via all major outlets and apps

HEART OF THE BEAST – Review

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James Belmont (Brad Pitt) and Odin in Heart of the Beast from Paramount Pictures.

As Fall begins, and with the big awards “heavy hitters” still a few weeks away, the multiplexes could use a good dose of “star power”. Or should I say “Pitt” power? Yes, the Oscar winner returns after burning up racetracks around the globe in F1: THE MOVIE. His newest release doesn’t try to emulate that one’s high-octane thrills and spectacle, nor its shiny CG sheen. Oh, but it’s not a “drawing room” drama, since it has lots of action, suspense, and unexpected “pathos”. It’s an offbeat “movie meal” crafted by Brad’s FURY director. This time they’re not steering another tank in WWII since they’re in the modern day as the duo, along with an amazing canine co-star, journey into the HEART OF THE BEAST.

After a brief fast-forward, we’re introduced to the story’s focus: retired Army Special Forces vet James Belmont (Brad Pitt) and his furry “brother in arms” combat canine Odin (Uber), a frisky, dark-haired German Shepherd. James has landed his single-engine floatplane on a lake deep in the Alaskan wilderness. It’s part of their “much-earned” “downtime” in order to deal with the aftereffects of wartime in the Middle East. Their shared wounds are both mental (PTSD flashbacks) and physical (“Odie” lost a leg, and both are scarred). Luckily, the fishing is great, and the quiet is calming…until a chatty hiker (J.K. Simmons) breaks into their solitary “bliss”. Over campfire beers, their “guest” warns James about a fast-moving storm. By morning, the duo is alone once more. Their supplies are loaded into the plane, and, using his piloting skills, the plane breaks past the dark clouds. Then, the unthinkable happens: James is struck with a health emergency (his “ticker” seems to be having an “episode”). They crash to earth, with the plane sinking to the bottom of a lake. After the two reunite, James retrieves some supplies. They’ve no choice but to hike through the wilderness, nearly sixty miles, to reach a road. Can these devoted friends survive the brutality of nature, the weather, and the wildlife before their supplies and strength run out? This could be the greatest battle these wary soldiers have ever faced.

It would be tempting to say this film is a “one-man show”, but really it’s a “one-human show”, with Pitt flexing his emotional acting chops as the “walking wounded” Belmont. For much of the story, he’s stoic, especially when interacting with the “interloper”. Oh, but Pitt “flips the switch,” giving us an energized and engaged James when bonding with Odie. Pushing past his “matinee idol” smoulder, Pitt exposes his vulnerable side when protecting and caring for his animal “soulmate”. It’s joyous to see him taking risky roles so many decades into his film career. Simmons provides some needed levity as the “party crasher’ who helps fill us in the “backstory” of JB and OD. As for the latter, Uber (and his team of stunt dogs and doubles) melts our hearts with his soulful, brown, watery eyes as the challenges of the trek reopen his own past traumas. He’s the “protector” that we’re rooting for James to protect and heal all of their pain.

The aforementioned director who worked with Pitt a dozen years ago is David Ayer. With this work, he’s coming off of a couple of well-received Jason Statham “bone-crunchers”. This one gives Ayer more of a challenge for his filmmaking abilities. He’s balancing the gorgeous scenery with several harrowing stunt sequences, while always reminding us of the emotional commitment in the story’s duo. Much of what works is due to the structure of the script by Cameron Alexander (one of the 2017 “Blacklist” screenplays). It combines elements of other great “sole survivor against nature” films like THE REVENANT and ALL IS LOST. Oh, but it’s not one “soul” since Ayer keeps us emotionally connected to Odin and his plight. The gorgeous location work, with New Zealand doubling for Alaska, almost makes us forget about the long trek…until Ayer reminds us with a raging river to cross and hungry wildlife ready to pounce. As if the incredible plane crash wasn’t enough for our heroes. This leads to a story problem for many who may have a tough time accepting Belmont’s stamina and strength sustaining him over his cardiac “glitch”. Maybe it’s his adrenaline “amping up” in response to the possible loss of Odie ( a little “suspension of disbelief” perhaps is warranted). If you can get past this, you’ll be rewarded with a journey full of terror and surprising tenderness. It’s this love and devotion that propels and powers the HEART OF THE BEAST.

2.5 Out of 4

HEART OF THE BEAST is now playing in theatres everywhere