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

HEART OF THE BEAST Composer Jared Michael Fry Reveals The Score’s Spiritual Journey

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HEART OF THE BEAST is doing very well it’s 3rd week out! The film has grossed a worldwide total of $131.4 million!

After a harrowing plane crash, Special Forces officer James Belmont (Brad Pitt) and his combat dog, Odin, find themselves stranded deep in the Alaskan wilderness. Together, they are forced into a brutal fight for survival against the elements. From acclaimed filmmaker David Ayer, HEART OF THE BEAST is an intense adventure thriller that explores the unbreakable bond between a man and his best friend as they face their greatest battle yet.
 
The Paramount Pictures film starring Pitt, J.K. Simmons and Anna Lamb is in theaters now

In his review, Jim Batts says the film is “a journey full of terror and surprising tenderness. It’s this love and devotion that propels and powers the HEART OF THE BEAST.”

Composer Jared Michael Fry’s score for HEART OF THE BEAST, the third for director David Ayer, truly conveys both the danger and vastness of the external forces the protagonist faces while reaching into his most intimate emotional life.
 
Stream: https://orcd.co/heartofthebeast

In my recent interview with Fry, we discussed his authentic, culturally specific score. Combined with the vocalizations of the award-winning Alaskan Inuit group Pamyua, the musicians anchor the film with just the tone of their voices and their language, evoking an earthy sound. The composer found himself “reinventing the wheel” for a compelling, emotional score for THE HEART OF THE BEAST.

Michelle WAMG: Hey Jared, how are you? 

Composer Jared Michael Fry: I’m good. Thank you very much. Nice to be here to chat about some music 

Michelle WAMG: I loved the film. I’m a huge David Ayer fan, so when I saw the two of you were working on a third film together, I was super excited.

Composer Jared Michael Fry: That’s awesome.

Michelle WAMG: I want to ask you first, how were you brought onto the project? Did he say, I got another film. Let’s do it.

Composer Jared Michael Fry: A little bit like that. David is awesome. So, since The Beekeeper, The Working Man, this one’s way different. We’ve just been working together. It’s a good team. It’s a crew. I feel very fortunate.

I mean, the same music editor, the same sound effects team, so really like having worked with David Ayer now a third time, I’m really like, you know, kind of meeting the crew if you will, you know and I know, I know things aren’t always going to be the same like that, but it has been a really cool team and everyone was up for the challenge and we did it. David, I mean, he’s phenomenal. I love what he did on this one. Really opened his heart, I’m so blessed by that. I know a lot of directors have their guy and I’m more than happy to be David Ayer’s guy.

Michelle WAMG: Especially after he and Brad Pitt had already done Fury together. So, when I saw that they were doing another film and especially the subject matter, war veterans, especially combat veterans, Brad Pitt playing James and the service dog Odin, and both of them suffering from PTSD.

Your cues, especially “The Letter” at the very end, and “The Final Mission” were so impactful, so emotional. When you were starting to work on the film, what type of orchestra did you have in your mind that I have got to have these certain pieces of these instruments to really bring across the emotions of the film? 

Composer Jared Michael Fry: I think even before that, “The Letter” was one of the first suites or themes that I was writing before I even had a picture. And literally that cue, “The Letter”, I wrote that piece of music, we put it up against that and it was working. Obviously picture changes and we conform and what not.

Early on writing, at the piano, we’re just writing the themes, that chord progression. It’s very simple, but when I read the script and I’m absorbing it and I’m just trying to feel when I read the story, and just to convey that, that’s what came out. I think strings were a shoe in, and there’s a lot of strings in “The Letter”, it’s mostly arranged for strings.

Some woodwinds that were included just based off the early stages, the characters in the wilderness, we’re trying some things out. It’s kind of a spiritual story, the thoughts are brewing about, are we going to bring in the Inuit culture into this story and what not? All those sorts of things were developing, but to get to that stage in the story the journey is at its end.

You’ve got this very American hero, a military veteran, but he’s in Alaska and he’s encountering something and the influences of another culture are kind of coming in. I think in a way that’s sort of like James kind of coming up against his next “battle”. I think it felt good to, to keep it kind of more of that kind of cinematic American sound. 

The writing of it was rooted early on the piano, just playing those chords and that theme and that launched quite a bit of the score. “The Letter” certainly was an early piece to hit, to catapult the rest of it.

Michelle WAMG: Can you talk about what you were thinking about when trying to include not only the orchestrations, but those amazing vocals you included?

Composer Jared Michael Fry: We recorded the London voices along with the strings in London at Air Studios and the idea behind that choir was, you look at the landscape, try to match the cinematic depth of what you’re seeing and just getting the voices in a hall like that. We wanted that grandness. The story and the challenge of this score was capturing so huge, but then being extremely intimate at the same time. Hopefully we achieved something, so with the vocals, we had the larger group and then kind of broke them down into kind of a smaller group within that group.

We had some of the vocalists singing more like world vowels, instead of your tame “ahs” and “oohs,” it was “azzz!,” really shouting just to enhance the drama and almost lament some of the drama on screen. I have to talk about Pamyua, the group that I reached out to in Alaska and their group is Inuit soul, but they’re just so connected to the culture that I had from the group, Philip Blanchett. He actually wrote some lyrics too, and their language, their poetry is connected to this story and it was a perfect marriage of the story that we were telling. It was so fitting for this story. And it just works. To bring them in and their culture in so many early discussions, we’re talking about the wilderness as a character, his encounter with death when he goes down in the crash, there was a lot of discussion about is he actually even alive? Is it an underworld journey? That inner kind of story happening inside James that they just have the Inuit culture that Pamyua brought, just studying it and dissecting it and just diving in. There’s just language for the connectedness of you and the awareness of the nature around you. It plays on that big, beautiful, but also threatening and dangerous.

Michelle WAMG: It wasn’t filmed in Alaska, but still these big scenes and then just them playing in the wilderness where he’s letting Odin be a dog and he’s throwing and he’s playing catch with him and the music’s building and it’s just perfect. It’s such a nice blend, the earthy tones and the vocalizations of the Inuit group were just spot on.

Composer Jared Michael Fry: When they’re on many of their journeys, there’s a piece that comes back and I borrowed from a lot of different cultures actually in the instrumentation because I just wanted to add that they’re always connected, like that sound, that music when I wrote their love theme, it has an A section and a B section. It’s in the score, at the beginning when they’re flying, then it’s also on the album, the track “Heart of the Beast” at the end of the album in its full nature that unfortunately is not in the picture, but we recorded it and it was so good.

That B section, I turned that melody into chords and those are the chords that kind of accompany their journey, so it’s always had that connection of their love story, or that bond that they have. Just by bringing all that in and being able to write with them, what a joy. I’m glad it’s got something that has worked and is inspiring. 

Michelle WAMG: There were two cues, these soulful piano solos. One of the track listings, “Because You Gave Everything” and then “From Here, Forward” and the film’s credits list Nathan Williamson as piano soloist. There’s all this epic music and what you would expect from this type of adventure of him and the dog and then there’s two beautiful piano solos. When did you decide to go with this? 

Composer Jared Michael Fry: I gotta be honest. I actually fought against putting piano in the score. That came down from the producers, from Brad Pitt himself and David Ayer in the end, that intimate piano sound at the very end. As an audience member myself, along with my thoughts and feelings about the score, and my intention for what I think is David’s vision and getting across the story. But it’s interesting, now that the film’s out, I’ve seen it still multiple times, see the response and actually see it for what it is myself, I’m a believer. It was a great decision by the filmmakers to have that intimate piano there.

We actually recorded the score and then we had a pickup session. I didn’t go to London a second time. I’m blown away by Nathan, because in one day he recorded about three pieces and that’s phenomenal. It was such heart with beautiful performances.

Michelle WAMG: The violin (Eloisa-Fleur Thom) and cello (Ian Burdge) soloists were exquisite.

Composer Jared Michael Fry: I think it brought us all to tears when they were recording those solos at the end of the day. I’m just so grateful for the London Contemporary Orchestra and the leader conductor of that, Hugh Tieppo-Brunt, and Ed Farmer who also conducted the last day, but Hugh listened to the music before we got involved and he handpicked these players that were going to perform. They just crushed it.

Every time we get to record live, I’m always blown away by just the human artistry and emotion that comes through because I mock up these demos that over the course of my career have been the final product sometimes, but it is so much better to collaborate with professionals at that level. They’re just so wonderful and when you hear them play and, and then you’re able to convey, “okay, no, but here, just hold back, just to give us a little bit more.” They jump on every bit of that.

Michelle WAMG:  Composing for The Working Man and The Beekeeper, very different movies from this. Do you find yourself working on projects like the Jason Statham films, and then you’re presented with a project such as Heart Of The Beast, that’s totally different, where you’ve got to totally shift gears?

Composer Jared Michael Fry: Yes. I had no idea where to go. I had no starting point for this. Out of the many films that I’ve done, I’ve done quite a bit of horror, quite a bit of action. I love it. We all have heart. We all feel things. That’s why we do what we do. Even in the Statham movies, The Beekeeper and Working Man, you’re always looking for the heart. This one just wears its heart on its sleeves a little bit more.

Every project with David is a completely different sound palette, if you will, but when you’re doing action and when it’s Jason Statham, you kind of know this scene needs this, right? To be successful, to be entertaining, to drive it forward. Whereas this one, all those tropes are completely thrown out the window. And we certainly went through a discovery process with this movie quite a bit. At one point, it was a much more adventurous score and much more adventurous story.

It takes hearing, constant collaboration along with revising and talking and dissecting, so it took some time to get to this story when we started stripping back, and the word is restraint, when that became a big theme in the story and letting the picture, the edit, just everything speak for themselves. Our focus was that deeper story underneath it all and playing to that. Things started clicking and I’m glad we found it.

Win Passes To The St. Louis Advance Screening Of CLAYFACE

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DC Studios’ “Clayface” is a horror thriller from director James Watkins, starring Tom Rhys Harries in the title role of the cult favorite villain from Gotham’s rogues gallery.

Matt Hagen’s meteoric rise from Gotham street kid to Hollywood leading man is tragically cut short when a local crime boss’s actions leave him horribly disfigured. Abandoned by his team and with nothing left, Matt seeks out a cutting edge treatment that miraculously returns him to his former self… but also unexpectedly affects his grip on reality, spiraling him down a destructive path of all-consuming revenge.

The film also stars Naomi Ackie, David Dencik, Max Minghella and Eddie Marsan, as well as Nancy Carroll and Joshua James.

The screening is at 7PM on Tuesday, October 20th (Doors open at 6PM) at Alamo Drafthouse – City Foundry.

Please arrive early as seating is not guaranteed.

GET YOUR PASSES HERE – http://wbtickets.com/mBoOL39217

James Watkins directs from a screenplay by Mike Flanagan and Hossein Amini, story by Flanagan, based on characters from DC. The film is produced by Matt Reeves, Lynn Harris, James Gunn and Peter Safran, with Michael E. Uslan, Chantal Nong Vo, Lars P. Winther, Rafi Crohn and Paul Ritchie executive producing.

Watkins’ creative team includes director of photography Rob Hardy, production designer James Price, editor Jon Harris and costume designer Keith Madden. Music is by Volker Bertelmann.

DC Studios Presents a 6th & Idaho Production, a James Watkins Film, “Clayface.” The film will be distributed by Warner Bros. Pictures and released only in theaters in North America on October 23, 2026, and internationally beginning 21 October 2026.

Watch The Trailer For THE EXORCIST: MARTYRS

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Blumhouse Atomic Monster, the home of horror, offered fans plenty of First Looks, surprises and giveaways at its packed BlumFest New York Comic-Con session Friday. Hosted by Matthew Patrick aka MatPat, the founder and former host of YouTube’s “Theory” channels and a leading voice in internet horror fandom, the session kicked off with Blumhouse Atomic Monster CEO and Founder Jason Blum reflecting on the success of this year’s Obsession and Backrooms, thanking fans for supporting the theatrical experience in 2026.

Director Mike Flanagan, along with Academy Award®-nominated actor Chiwetel Ejiofor (Backrooms) unveiled the trailer for The Exorcist: Martyrs.

Thirteen years ago, New York City detective Julie Miller (Johansson) ended the terror reign of satanic serial killer Father Sunday. The case made her a hero, and she has thrown herself into her work ever since. Now a new killer scrawls her name in an altar boy’s blood on the walls of a church crypt, dragging her back into the darkness she believed she had buried with him.

Aided by former prison chaplain Father William (Academy Award® nominee Chiwetel Ejiofor), who heard Father Sunday’s final confession, and sharp rookie detective Gina Restrepo (Sasha Calle, The Rip), Detective Miller will discover a filament linking a lineage of serial killers, from H.H. Holmes to the Zodiac, that could corrupt everything, and everyone, she loves with an evil that goes well beyond the mortal.

The top-flight cast includes Academy Award® nominee Diane Lane as Mary, Detective Miller’s mother, who has moved in with her to help raise her grandson Max (Jacobi Jupe, Hamnet); Actor Award winner Scoot McNairy (Argo) as paroled convict Clay Silver; Emmy winner Gil Bellows (Carrie) as Peter Nicks, a former acolyte of Father Sunday; Emmy and Tony winning screen legend Laurence Fishburne as revered priest Father Nichol; and acclaimed star of The Odyssey, Emmy and Special Tony Award winner John Leguizamo, in the most menacing role of his career as Father Sunday.

Watch this interview with IGN about the new trailer and how Flanagan’s film ties to EXORCIST 3.

The film is produced by Blumhouse-Atomic Monster, Morgan Creek Entertainment and Flanagan, who will also write and direct via his Red Room Pictures banner. Alexandra Magistro will also executive produce for Red Room Pictures. David Robinson produces and Topher Merrill and John Baden executive produce for Morgan Creek Entertainment. Also set to produce are Trevor Macy, Karl Frankenfield and Roy Lee. Jason Blum and Ryan Turek serve as producer and executive producer for Blumhouse Atomic Monster.

THE EXORCIST: MARTYRS opens in theaters March 12.

https://www.universalpictures.com/movies/the-exorcist-martyrs

Win Passes To The St. Louis Advance Screening Of TENZING

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WIN TICKETS TO SEE TENZING ON THE BIG SCREEN! 

Inspired by the extraordinary true story of the historic first summit of Mount Everest, TENZING brings one of the greatest adventures in history to life.

In select theaters Oct 9 and streaming Oct 16 on Apple TV https://apple.co/_Tenzing

We Are Movie Geeks is giving 5 lucky winners a pair of tickets each to see TENZING at Marcus Ronnie’s Cinema on Wednesday, October 14 at 7:00 PM!

FOR PASSES, EMAIL: michelle@wearemoviegeeks.com

Rated PG.

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.