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Greetings again from the darkness. Kate Beecroft's first feature film as writer-director can be accurately described as a biographical-drama, yet we can't help but wonder if a straight documentary could have been equally interesting. In no way is that meant as a criticism of the film, it's just that most of the cast (with only a couple of exceptions) is made up of non-actors playing versions of their real-life selves ... and each one of them holds our attention, leaving us wanting to know even more.

Tabatha Zimiga is a tough-looking mom who runs a 3000 acre horse farm near the Badlands of South Dakota. She's a horse trainer and trader, and is known as a 'horse whisperer' (her abilities are so renowned, some even jokingly refer to her as a witch). The auction prices on her horses have dropped recently, adding stress to Tabatha's existence. Not only did her husband die, leaving her to run the farm, but she's also the one who welcomes local kids to live at her place when things don't go well at their own home. As noted by the signs of blight in the area, poverty is commonplace, and some folks can't handle the added burden of kids. In fact, Tabatha currently has seven teenagers and her own three-year-old son to care for - so the reduced price for horses puts many in peril.

One of the teenagers is Tabatha's fourteen-year-old daughter, Porshia, a champion rider who markets the horses on TikTok ... while also going through the moods of a teenager who no longer has her dad. Also on the farm are Tabatha's mother Tracey (played by the always excellent Jennifer Ehle, SAINT MAUD, 2019) and Tabatha's boyfriend Clay. Tracey seems best suited to smart-aleck remarks as she brews her own moonshine. Tabatha calmly and firmly runs the show, knowing full well how dependent the kids are on her.

After one of the auctions, Roy Waters (Scoot McNairy, A COMPLETE UNKNOWN, 2024), a cocky rancher from Fort Worth, Texas makes an offer to Tabatha. He will buy the ranch and allow her and the kids to continue living and working there to build the horse trading business. He recognizes the value in having a horse whisperer of Tabatha's caliber. One can imagine how angry this makes Porshia, as it's the only home she's ever known, and the farm carries all memories of her late father. It's here where the film slips a bit, as the interaction between Tabatha, Porshia, and Roy seems a bit clunky, leaving us to fill in a few too many gaps.

Cinematographer Austin Shelton does a terrific job at capturing the unique terrain of the area, as well as the near chaos of the energetic kids. Periodically, the music is a bit too strong for the scene, but there is something true and honest here as we ask ourselves, "what makes a family?" It certainly seems like Tabatha knows.

The film opens on August 15, 2025.

Greetings again from the darkness. In the Mother Goose nursery rhyme, Jack and Jill not only went up the hill together, they also tumbled down. This latest from writer-director Samuel Van Grinsven and co-writer Jory Anast spin a Jack and Jill yarn that's not nearly as cutesy, yet does involve some emotional tumbling ... and one creepy spirit.

Horror film aficionados are accustomed to possession-themed stories, where someone from beyond takes over the body of one still living. The twist here ... and it's a good one ... is that the spirit of Elizabeth actually (and regularly) switches between not one, but two characters who are both important to her. Elizabeth was a renowned artist who opted for a way out, leaving behind her two great loves - her wife Jill (Vicky Krieps, PHANTOM THREAD, 2017) and their stunning mountain lake home (the Southern Alps of New Zealand).

On the day of the funeral, Jack (Dacre Montgomery, very good in the upcoming WHAT WE HIDE, 2025) shows up, claiming Jill invited him by phone. It's clear Jill has no idea who he is, or that Jack is Elizabeth's only child - one given up many years ago for reasons that aren't clear until much later. Elizabeth's sister, Helen (a terrific Sarah Peirse) has kept the family secret all this time. Jill invites Jack to stay at the house, despite Helen making it obvious his presence is not appreciated.

Speaking of presence ... we never see Elizabeth, but we know she's there (and there). Jill sleeps next to the coffin, and every time she and Jack fall asleep, Elizabeth's spirit does her thing. Mood and atmosphere are key here, and everyone (including Jack, Jill, and us viewers) is confused as to what the spirit of Elizabeth is trying to accomplish. Does the spirit want Jack and Jill to have the relationship that mom and son never did? Or is the spirit focused on having her beloved wife, and possibly the long lost son as well, join her in her new locale? The goal isn't always clear, but it is always a bit creepy ... which is good for the movie.

Cinematographer Tyson Perkins likely had a blast working with the combination of skilled actors, a stunning modern house, and the geographic terrain which could be both beautiful and treacherous - although the number of 'eyeball shots' were a bit eerie. A not so minor complaint is in regard to the low-level dialogue, which was exceptionally difficult to hear at times. Still, the acting here is superb, as is the piano-based score from composer Hanan Townshend (TO THE WONDER, 2012), and kudos to a horror movie that's neither slasher, sequel, nor re-tread.

Opening in theaters on August 15, 2025.

Greetings again from the darkness. Is it possible to be a rock star that no one has heard of? Well, in a way, that's what happened to Marc Bolan. In Great Brittain, Bolan and his band T. Rex drew huge crowds and had a massive fan base, whereas in the United States, they had only a small cult following (which meant very little record sales or radio airtime). Ethan Silverman (he of previous short films and music videos) conceived of this record album/documentary combination, and in 2020 set out to make the project come to life.

This may be the only 'making of an album' documentary that doesn't feature a single complete song being recorded. Instead, Silverman treats us to a revolving studio door of musicians who have come to pay tribute to the influential Bolan by recording one of his songs. The lineup includes such artists as U2, Nick Cave, Joan Jett, Beth Orton, Maria McKee, The Orwells, Macy Gray, Snarky Puppy, Lucinda Williams, Kesha, and the multi-talented John Cameron Mitchell. Unfortunately, missing from the action is David Johansen (passed away earlier this year), whose version of "Bang a Gong" is an album highlight, and whose band New York Dolls were assuredly influenced by Marc Bolan.

What really makes this a gift for us Marc Bolan fans is the stream of archival interviews and concert clips, many of which we've never seen before. Glitter band, glam-rock, or androgyny - however you choose to describe it, there is no denying Marc Bolan was a pioneer. He, along with David Bowie, brought a new look and feel to music ... turning rock concerts into theatrical productions. Bolan and Bowie were colleagues, friends, and rivals and Silverman plays clips of each discussing the complicated relationship and respect the two shared. They set the stage for acts like Alice Cooper, KISS, Queen, Def Leppard, and even R. E. M. It's also mentioned how Bolan's understanding of production led him to take full advantage of color TV, which was then entering mainstream.

The concert clips are undeniable proof of Marc Bolan's charisma, showmanship, and talent. The feedback and tributes from other artists make his songwriting excellence clear to the rest of us. We even get a concert clip of young Elton John playing keyboard with T. Rex, and Ringo Starr discussing Bolan's influence on "Back Off Boogaloo", Ringo's 1972 hit single. Bolan's partner, singer Gloria Jones, is the mother of his son Rolan. She provides some memories, while Rolan sings backup on some recordings prior to showing us his family photo album. There is a terrific clip of Marc Bolan (as TV host) introducing a hot new band, Generation X featuring Billy Idol, who also contributes his own recollection of Bolan.

The 25-song album was produced by Hal Willner, whose career touched so many artists (Marianne Faithful, Lou Reed, Lucinda Williams). Willner passed away in 2022, and he's a steady studio presence throughout the film. A musical highlight here is Nick Cave's moving version of "Cosmic Dance", allowing his haunting voice to capture those lyrics. Marc Bolan died in a car crash in 1977 at age 29. The album has been available, and Silverman's documentary is now beginning a rolling theatrical run.

A tiered theatrical release begins August 8, 2025, opening in various cities each week through September 13, 2025. It will become available on Digital beginning September 5, 2025.