Marshals: Family Business

If you forget your doggy bag in a restaurant, always go back for it. You don’t want to miss out on good leftovers. Plus, it could save your life, like it does for Federal Judge Pauline Ayers and her husband Blake. Unfortunately, the valet keeping her engine running isn’t so lucky. They darn well better finish that steak, since he died for it. They will have time too, while Deputy Marshal Pete Calvin keeps them under protection in “Family Business,” the latest episode of Marshals, airing tonight on CBS.

Ayers is known for tough sentences, so the Marshals have no shortage of suspects. When the attempts keep coming, Blake Ayers asks if there is anywhere Calvin can put them where his whiny daughter Fallon might have more space. Of course, he happens to know of a ranch that is pretty far off the grid.

It turns out, it happens to be the same ranch wealthy Tom Weaver would like to buy, which rather puts a damper on Kayce Dutton’s romance with Weaver’s daughter, Dolly. Regardless, Dutton invites company over, presumably sending his son Tate off to friends—even though he and Fallon Ayers would make quite a dreary, mopey pair. Still, it is just as well he won’t be around.

This episode of the Yellowstone procedural is in fact very procedural. “Family Business” barely touches on the Dutton family or the Broken Rock reservation storylines, beyond Kayce Dutton’ work on the case. As the title suggests, “family” is a theme for tonight’s episode, but Calvin and Deputy Marshal Belle Skinner get most of the awkwardly applicable moments for a change.

Dutton is still actively engaged in the investigation, but series star Luke Grimes got a little more trailer time during the shooting of “Family Business.” It is also lighter on action than the previous guns-blazing two-parter, “Out of the Shadows” and “Lost Girls.”  However, it is a nice showcase for Logan Marshall-Green, who has emerged as the best casting decision beyond the Yellowstone mother ship holdovers. At this point, his Calvin deserves crossover opportunities in other Yellowstone spin-offs.

ND/NF ’26: Panda

The Yangtze is truly a river of tears. Throughout history, its floods have been devastating, leading to the deaths of hundred as recently as 2016. According to scientists, the Yangtze also contributes more plastic pollution to the oceans than any other river. Plus, in Nanjing, the bridge over the Yangtze happens to be a notorious site for suicides. Old Xin Qiji can’t do much about pollution or floods but he does his best to prevent suicides in Xinyang Zhang’s Panda, which screens during the 2026 New Directors/New Films.

Xin is a lot like the real-life Chen Si, whose efforts to dissuade potentials suicides on the Yangtze River Bridge were documented in The Angel of Nanjing. However, Xin is literally more poetic, incorporating his verse into the holistic treatment he proscribes for ailing suicide survivors.  Or, perhaps they are ghosts. Regardless, Xin is still there to treat their spiritual and emotional sicknesses.

Apparently, Frog Zhu has taken refuge in delusion, believing himself a mystical dragon rider, who must find a legendary beast to travel back to heaven. At least he no longer shows suicidal tendencies. Slowly, he starts to interact with Zhang’s small distantly interconnected cast of characters, including Pansy, a young woman struggling with her dysfunctional family. Arguably, Panda plays out like Short Cuts on the Yangtze, but with fewer overlapping plot arcs and considerably more emotional distance.

Zhang’s gritty, neo-realist style and affinity for those living on the extreme margins of contemporary Chinese society reflects the influence of his mentor, Jia Zhangke. However, he occasionally veers into surrealist magical realism that shares a kinship with the films of Bi Gan. Frankly, it is a shame he did not lean into the latter more forcefully, because the fantastical detours represent the film’s most powerful sequences. Frankly, Panda would be much more commercial if Zhang had made the scene depicting Old Xin conversing with the spirit of a deceased friend, who now inhabits a panda in the zoo, into a regular motif.

Exit 8, in Cinema Daily US

EXIT 8 is one of the most successful horror movie adaptations to-date, thanks to its creepy images and performances. Yet, itt also reflects a keen awareeness of its absurdist-existential predecessors that could help it crossover beyond category CINEMA DAILY US review up here.

Hunting Matthew Nichols

When the original Blair Witch Project released, it inspired teenaged Matthew Nichols and his friend Jordan Reimer to make their own DIY horror movies. Judging by the small army of found footage films reviewed here, they were clearly not the only ones. Unfortunately, instead of earning a quick pay day, they fell into a ravine and died. At least that is what the provincial Vancouver Island police say, but they never discovered the bodies. Two decades later, his sister Tara and a documentary film crew set out to uncover their true fate. In the process, they produce another found footage horror movie: Markian Tarasiuk’s independently produced and released Hunting Matthew Nichols, which releases today in theaters.

Way up in northern Vancouver, there isn’t much for teens to do except watch horror movies and go hiking. Consequently, everyone hoped Nichols and Reimer would be found, considering how well they knew the woods (the Canadians call it “bush,” but same difference). Yet, the police only recovered Nichols’ video camera.

Tara Nichols wants answers and director Markian Tarasiuk and cameraman Ryan Alexander McDonald—playing themselves—want to help her at least reach some closure. Regardless, they get some pretty good footage when they discover the missing teens were preoccupied with the local not-so-urban legend of Roy McKenzie, a reputed cult leader, who may or may not have eaten the residents of his commune. McKenzie can definitely hang with the Blair Witch. Nichols and Reimer thought so too, judging from the totem the police turn over to his sister.

There is no getting around the fact Tarasiuk’s film looks and plays very much like Chris Stuckmann’s Shelby Oaks, but the Roy McKenzie lore helps somewhat set it apart. It also has some of the best performances you will find in the found footage sub-genre. Miranda MacDougall shows potential star-power as Tara Nichols.

Putin’s Fortune, Graphic Novel

It shouldn't surprise anyone that the autocrat is also a kleptocrat. Indeed, plundering Russia was always part of the plan—the KGB’s plan. It even had a name: Operation Luch. $50 billion was siphoned out of the country and used to reassert the KGB elites’ power after the fall of Communism. That is exactly what happened, with Putin reaping the greatest benefits, both in terms of money and power. French historian Yvonnick Denoël chronicles the Russian dictator’s enrichment and the ruthless consolidation of his position in Putin’s Fortune, illustrated by Gildas Java, which is now on-sale at book and comic retailers.

His boss at the KGB knew Gorbachev was doomed to fail, so he entrusted Operation Luch to his trusted subordinates, including Putin. They immediately started implementing his plans with help from some key allies in the East German Stasi and the Russian mob. Indeed, one of Denoël’s biggest “scoops” is his revelation of Putin’s longstanding cooperation with various criminal clans, which simply carried over from their alliance with the Communist Party.

Basically, Putin started creating a spider’s web of dummy corporations and holding companies, whose boards were all packed with KGB veterans. Money flowed out of the Soviet Union and later Russia, through lucrative western investments and back into slush funds that purchased state enterprises at fire-sale prices and financed Russian political campaigns.

At this point, just about all of Putin’s Fortune is already in the public record. Unfortunately, few people care. Perhaps Java’s starkly noir art can help, to an extent, because it vividly the soulless evil of the titular tyrant and his regime. His ultra-cool art is also clearly intended for adults, because it graphically illustrates the debauchery of Putin and his cronies, whom useful idiots like Marjorie Taylor Greene bizarrely celebrate for their alleged “traditional values.”

ND/NF ’26: Leviticus

Even before the 1980s, horror movies were associating sex and death. The former often led to the latter, but for the horny teens consuming these movies, the hedonism was maybe worth the risk. “Au contraire” say the Evangelical Australians, who will do anything to keep their kids from swinging the wrong way. For Naim and his on-again-off-again friend-hook-up-lover Ryan, the cure is way worse than the disease in director-screenwriter Adrian Chiarella’s Leviticus, the opening night film of this year’s New Directors/New Films.

Naim and his mother recently moved to the sleepy provincial town after enduring a vague, never fully explained trauma. Clearly, she has adopted religion as her coping mechanism—the more old-time, the better. Despite their church’s funky-aspiring Christian rock band, Naim is more interested in exploring his sexuality, preferably with Ryan. Unfortunately, Ryan also does some exploring with the “blue jeans” pastor’s son.

In a fit of jealousy, Naim informs on Ryan and his rival, but soon regrets it. To cure the boys, the congregation brings in a “Deliverance Preacher” who essentially places a curse on the lads. Every night, a demon will taunt them in the form of the one they most desire. According to the film’s logic, this is intended to scare them straight, literally. Yet, if it actually worked, wouldn’t the demon subsequently take the shape of women?

Regardless, Naim’s mother soon commits the ultimate betrayal, by arranging his own session with the Deliverance Preacher. Ironically, she drives Naim back to Ryan. Despite the risks, they join forces, in hopes of devising a way to undo the curse. As long as they are with someone, the demon cannot approach. Yet, as soon as they separate, they cannot tell whether the doppelganger might be appearing before them, instead their forbidden lover.

Clearly, Leviticus (named for the Old Testament book with the hardcore fire-and brimstone reputation) owes an enormous debt of gratitude to David Robert Mitchell’s It Follows. Chiarella and cinematographer Tyson Perkins stage several darkly sinister scenes, in which tremendous tension is built from the is-he-or-isn’t-he question. Frankly, the paranoia of not being able to trust the one you adore the most is quite terrifying.

However, the entire curse business makes little sense and the depiction of the Evangelicals is distractingly heavy-handed and simplistic. If Chiarella were to make a film about Berber nomads, he would probably try to understand their culture, their values, and their world view. Yet, obviously, no such effort was made with Evangelicals. The truth is they simply do not talk or think as Chiarella depicts. The absence of such understanding leaves Leviticus conspicuously populated with straw men, whose only purpose is to undermine the beliefs they supposedly profess. That’s projection and wish fulfilment.

Unbroken, in The Epoch Times

Performing in a dance troupe should not require the degree of courage required of the Shen Yun company. The documentary UNBROKEN serves as an urgent wakeup call, exposing the CCP's extraterritorial harassment campaign against Shen Yun. Yet, it also serves as a performing arts doc, vividly capturing the company's artistry. EPOCH TIMES review up here.

Hamlet: One of the Contemporary Productions

The difference between an “l” and an “n” can be huge. In this case, it is an “l” for Hamlet, so you should be able to watch it without falling asleep. At least, it is sort of Hamlet. Not only has the setting been updated, the cast of characters has been severally abridged. However, his father “the king” is still dead and his mother is still marrying his uncle rather soon afterward in Aneil Karia’s Hamlet, which opens this Friday in New York.

The story follows a similar arc, but in this case, Hamlet is the heir to his father’s real estate, including the enormous luxury the development known as El Sinore. Poor Hamlet is still grieving when Uncle Claudius announces his engagement to Hamlet’s mother, Gertrude. Frankly, Hamlet finds it all rather unseemly, even before he encounters the ghost of his father.

So, yes, this is Hamlet. However, Michael Lesslie’ adaptation simplifies Shakespeare’s original play in often strange ways. Horatio is gone. Instead, Ophelia and Laertes stand-in for him in scenes where his presence would be required. However, this greatly muddies the nature of Hamlet’s relationship with the latter, with whom he ordinarily has no love lost, yet now they are sort of friends—at least until Hamlet kills his father, Polonius. Rosencranz and Guildenstern also got the axe, but the Hamlet of Shakespeare’s play would be the first to tell you they were no great loss.

Bizarrely, since there is no Horatio, we never get “a fellow of infinite jest” or “good night sweet prince.” Also, since Laertes frequently covers for him, he never leaves, so there is no “to thine own self be true” speech. Of course, we still have Hamlet’s soliloquy, but Karia’s ill-conceived staging sabotages Riz Ahmed’s big moment, shooting him solely in profile while driving behind the wheel of a car. It is a head-scratchingly uncinematic treatment.

That is a real shame, because other scenes are brilliantly executed. To Karia’s credit, Hamlet’s pivotal confrontation with Gertrude and Polonius has the visceral violence most productions do not have the guts for. Indeed, Timothy Spall and Sheeba Chaddha are both terrific as Polonius and Gertrude, even when Hamlet isn’t slamming them into walls.

I Know Exactly How You Die

Poor struggling horror writer Rian Burman is going through a lot right now. He doesn’t need his agent constantly calling to berate him on top of it all. He ought to just write himself a new one. Apparently, he can do that in the Clayborne, the low-budget motel he checked into. Things tend to come to pass there once they are put to paper (or laptop hard drive). Obviously, that will cause some issues since he writes horror in Alexandra Spieth’s I Know Exactly How You Die, which hits various streaming platforms tomorrow.

Burman needs to send that demanding agent some pages pronto, but he is still reeling from a bad break-up. Katie Waters is a lot like his ex. She is just his type. Unfortunately, she is also Hector Darbes’ type as well. The serial killer has stalked her throughout his killing spree and now he has followed her to the Clayborne as well. That was a far as Burman got before meeting Waters face-to-face.

He soon realizes writing comes to life at the Clayborne—a fact Naja, the proprietress and very amateur poet, reluctantly confirms. Unfortunately, he already washed out the roads and toppled the local cell towers, but he resolves to change the tragic fate he envisioned for Waters. Yet, much to his alarm, his story seems to be taking on a life of its own, in a decidedly dangerous way.

There is a lot that works in Spieth’s film, starting with the two principles. Rushabh Patel and Stephanie Gomes Hogan both bring interesting, energetic screen-presences to the party. The fundamental premise is also intriguing. However, there is an awful lot of fudging and conspicuous attempts at narrative sleight-of-hand.

Marshals: Out of the Shadows

Obviously, Yellowstone fans prefer complex storylines. Frankly, the weekly procedural format might not be a perfect fit for the faithful, even though they should certainly appreciate the Marshal Service’s cowboy roots. Consequently, it probably makes sense to start making some two-parters for Kayce Dutton’s spin-off. It turns out they needed more than one episode to catch the traffickers holding Tate Dutton’s friend Hayley Charlo. In fact, their frustrated attempts to rescue Charlo are causing Dutton even more angst and guilt than usual (and he already carries quite a lot) in “Out of the Shadows,” the latest episode of creator Stephen Hudnut’s Marshals, premiering tonight on CBS.

During the third act of last week’s episode, Charlo convinced Dutton to let her return to her captors, so her fellow trafficking victims would not suffer reprisals. Unfortunately, the camper they thought was carrying the girls was empty, leaving them back at square one. It was a tough call, which his boss Pete Calvin respects. However, Dutton must take tons of grief from former Reservation cop Miles Kittle and his whiny, annoying son.

In a case of good news-bad news, the Marshals manage to connect the traffickers to a rather nasty biker gang, the Iron Sentinels. Even better (or worse), Deputy Marshal Belle Skinner still has an undercover alias that should still be valid with them, but Clavin definitely has the feeling he is sending her into the lion’s den.

The Marshals-versus-bikers storyline really gives this episode a neo-Western vibe. It is also an installment conservatives should appreciate since it is all about combating human trafficking, a brutal, nightmarish crime that has become bizarrely politicized, after many on the left started to resent the success of Angel Studio’s The Sound of Freedom. Plus, Dutton has some moments of “improvisation” that Dirty Harry Callahan could appreciate.

Bone Keeper, Co-Starring John Rhys-Davies

This creature has its own Patterson-Gimlin film. Everyone assumes it is a hoax, but viewers know better. So does Olivia Wheeler, because her missing-presumed-dead grandfather shot it—and then vanished (conveniently leaving the footage behind). She also thinks her mother disappeared down its cave in search of him, so she organizes an expedition to find some traces of them in Howard J. Ford’s Bone Keeper, which releases this Monday on digital in the UK.

According to the 2001-inspired prologue, the Bone Keeper has been terrorizing this inhospitable region of Scotland since the era of neanderthals. Lately, the Lovecraftian monster has developed a habit of consuming Wheelers. Nevertheless, the Wheeler granddaughter is determined to continue throwing good family-members after bad, so to speak.

Wisely, she has recruited a group of friends who are either abrasively annoying or interchangeably dull, so viewers won’t mind when the Bone Keeper starts snatching them up, one by one. Most of them condescendingly assumed they were humoring Wheeler, but they can’t say they weren’t warned. After all, they visited Prof. Harrison, the leading expert on the Bone Keeper, whom the locals dismiss as a crank. He did his best to dissuade Wheeler and her crew. Failing that, he encouraged them to simply try to bring back some physical proof.

Sins of Kujo, in Cinema Daily US

In Netflix's SINS OF KUJO, the title character represents the worst of the worst. His ethics are unconventional, but he has an economist's understanding of incentives and unintended consequences, which makes the series one of the bet legal dramas in a long time. CINEMA DAILY US review up here.

Roger Corman: The Pope of Pop Cinema, on TCM

Arguably, Alfred Hitchcock and Roger Corman most indelibly personify filmmaking for several generations of American genre film fans, thanks to their droll media appearances. And so they should, because their lasting influence matches their wit. Sure, Corman made a lot of Z-grade exploitation films, but many of them, like Little Shop of Horrors, blossomed into a weird, unlikely immortality. Plus, nobody had better “making of” stories than Roger Corman. The venerable master regales viewers with some of them in Bertrand Tessier’s Roger Corman: The Pope of Pop Cinema, which airs tonight on TCM.

Who couldn’t listen to Roger Corman stories all night? Many of the famous directors he mentored could also tell Corman stories all night, as well. Once again, Ron Howard, Joe Dante, Allann Arkush, and Peter Bogdanovich reminisce about the man who gave them their start directing, as they had in Alex Stapleton’s Corman’s World, which is admittedly longer and more comprehensive.

Sadly, Corman alumnus Jonathan Demme had already passed away by the time Pope of Pop was produced. Nevertheless, Tessier’s short fiftysome minute film covers some new material, addressing some of Corman’s late career triumphs, such as the money he made from the straight-to-VOD sequels to the Death Race 2000 remake and the sale of the title to his1950s hot-rod movie, The Fast and the Furious, to Universal. In fact, Death Race (2008) director Paul W.S. Anderson also offers his memories of the Hollywood icon.

Long Time Listener, on AMC ALLBLCK

Radio is rarely live or local anymore. Increasingly, DJs are a thing of the past. Jessica Walter wouldn’t have the opportunity to stalk Clintt Eastwood in Play Misty for Me. However, there are podcasters, who are practically begging for obsessive fans, especially considering how they mostly gab about true crime. Genesis was one of the pioneers, but her podcast is on the verge of cancelation, because it now sounds comparatively tame. However, a mystery heavy-breather will either save her show, or kill Genesis, maybe both, when he starts phoning-in as the title character of Danielle Nicolet’s Long Time Listener, which premieres today on AMC ALLBLCK.

Genesis and her producer Carter decide to take some calls as sort of an old school throwback, but they soon wish they hadn’t. It was already a tough day at the office, after Ruby, the network manager just cancelled Genesis’s show. Then “Long Time Listener” calls in. It sounds like he has a victim with him, who could possibly be her ex-girlfriend. Genesis bluffs her way through the call, belittling Long Time Listener, but deep down, she isn’t quite sure it is a hoax.

Things get real when LTL hacks the show’s socials and posts a sex-tape he (or she) recorded of Genesis and Carter (her other ex). Eventually, people start dying. Of course, nobody should be better prepared for this kind of thing than an experienced true crime podcaster, right? Indeed, she is keenly aware the stalker is most likely someone already in close proximity to her.

As directed by Nicolet, best known for her role on The Flash, who also plays Genesis’s colleague, lifestyle podcaster Elle, Long Time Listener largely has the vibe of a made-for-Lifetime movie. Nevertheless, screenwriters John Doolan and Joe Narode will probably genuinely shock the target audience with their twist ending. To give credit where its due, they dexterously use the expectations viewers have developed over time against them.

While still undeniably small in scope, Meagan Holder solidly anchors the film as the reasonably proactive Genesis. Likewise, Lyriq Bent nicely projects the proper degree of ambiguity as Carter, who must serve as potential love interest and prime suspect. Cleo Berry is usually annoyingly shticky as Genesis’s flamboyant co-host, Max, but he truly shines in pivotal third act scenes.

My Undesirable Friends: Pt. I – Last Air in Moscow, on Mubi

For TV Rain, there was no revolution to televise—just the rise of an Orwellian dictatorship. At first, the oppression increased at a steady rate, but after Putin’s illegal invasion of Ukraine, the general crackdown on civil society escalated exponentially. Considered the last independent network in Russia, TV Rain (sometimes romanized “Dozhd”) and its journalists were branded “foreign agents,” solely due to their skepticism of Putin. In reality, their only real foreign connection was Julia Loktev, a friend of TV Rain host Anna Nemzer, who documented the journalists during late 2021 and early 2022 in My Undesirable Friends: Pt. I – Last Air in Moscow, which Friday on Mubi.

Loktev’s epic five-and-a-half-hour documentary starts with the dawning of the “foreign agent” age. Every TV Rain show and social media post must be prefaced with the Putin’s regime’s mandated boilerplate labeling what follows as the product of paid foreign agitation. As they comply with the law, Nemzer and her colleagues mock the disclaimer, turning it into a badge of honor. They are hardly the only “foreign agents.” All reasonably independent journalists and scores of NGOs and their employees were tarred with the same scarlet letter. It was even unjustly applied to Memorial, the now-defunct non-profit, founded during the Soviet era, which documented the Communists’ crimes against humanity—a practice that Putin obviously considered bad for business.

As Nemzer and her colleagues struggle to comply with the new rules, she and Loktev regularly check in with friends who are slowly becoming dissidents, like “Ksyusha," whose husband, Ivan Safronov was (and still is) imprisoned on treason charges. Eventually, she too joins TV Rain, but when things get bad, she is the most reluctant to consider exile, because she knows it will be used against her husband.

Nemzer and Loktev also introduce viewers to a TV Rain roommates who are arduously appealing a past case through Russia’s kangaroo appellate courts, for the sake of ultimately petitioning the European Court of Human Rights. Yet, that effort goes for naught after Putin launches his war on Ukraine and withdraws from the Council of Europe.

It takes Loktev three and a half absurdist hours to get to that point. Things move much quicker during the second two-hour section, which begins with the start of the Ukraine invasion. Despite expecting it on an intellectual level, those associated with TV Rain react with shock and horror, which quickly turns to panic.

Putin’s regime prohibits the use of the word “war” in media coverage insisting on the euphemism “special military operation” instead. It also mandates only Russan government sources can only be cited. Working around such restrictions becomes increasingly dicey, especially as TV Rain personnel are increasingly detained. Loktev spends considerable time waiting outside one such holding facility, waiting and hoping for the release of on-camera anchor Eduard “Edik” Burmistrov, who wasn’t even arrested for his TV Rain work. He just happened to attend a vigil for assassinated opposition leader Boris Nemtsov.

My Undesirable Friends is absolutely harrowing stuff. In retrospect, the mammoth shape makes a lot of sense. For a while, the constant drumbeat of outrages are like the drippings of water torture, but after the WAR begins, it becomes a genuine monsoon. Perhaps a half hour could have been pruned from the “before” section, but that is arguably rather high praise for a film that runs over five hours.

Regardless, the madness and the sheer pettiness Loktev documents is bizarre and terrifying. The audience essentially witnesses an entire nation lose its mind, driving away or imprisoning its future generations in the process. Nemzer is a wise choice to serve as the film’s initial voice, because she is incredibly smart and charismatic, but also highly relatable as a parent. She is also already realistic to the point of cynicism. Consequently, instead of shaking our heads at her naivete, we [sadly] nod for her prescience.