The Cinema Dispatch is your one-stop-shop film review website that also offers lists, awards updates, and essays relating to the world of cinema. Reviews Klara and the Sun October 20, 2026 By: Hunter Friesen Sense and Sensibility October 15, 2026 By: Hunter Friesen Whalefall October 14, 2026 By: Hunter Friesen Tenzing October 12, 2026 By: Hunter Friesen Awards Button Button Awards Update: Pre-Fall Festival Season Predictions September 1, 2026 By: Hunter Friesen Final 2026 Academy Award Predictions March 12, 2026 By: Hunter Friesen 1 The Odyssey 2 La Bola Negra 3 Wild Horse Nine 4 Dune: Part Three 5 The Debut 6 Project Hail Mary 7 The Invite 8 All of a Sudden 9 Elsinore 10 Fjord Oscar Nomination Predictions - Best Picture Hunter Friesen Lists Twin Cities Film Fest 2026 Preview October 13, 2026 By: Hunter Friesen TIFF26 Recap September 23, 2026 By: Hunter Friesen

Dive into our expert Oscar predictions and analysis, staying ahead of the curve on the films and performers destined for Hollywood glory. Awards Button Button Awards Update: Pre-Fall Festival Season Predictions September 1, 2026 By: Hunter Friesen Final 2026 Academy Award Predictions March 12, 2026 By: Hunter Friesen Hunter Friesen Oscar Nomination Predictions Last Updated: 09/25/2026 Next Update: 10/25/2026 1 The Odyssey 2 La Bola Negra 3 Wild Horse Nine 4 Dune: Part Three 5 The Debut 6 Project Hail Mary 7 The Invite 8 All of a Sudden 9 Elsinore 10 Fjord Best Picture 1 Christopher Nolan (The Odyssey) 2 Los Javis (La Bola Negra) 3 Martin McDonagh (Wild Horse Nine) 4 Olivia Wilde (The Invite) 5 Ryūsuke Hamaguchi (All of a Sudden) Best Director 1 Wild Horse Nine 2 The Debut 3 Club Kid 4 Tender Loving Care 5 Fjord Best Original Screenplay 1 La Bola Negra 2 The Odyssey 3 The Invite 4 All of a Sudden 5 Project Hail Mary Best Adapted Screenplay 1 Matt Damon (The Odyssey) 2 John Malkovich (Wild Horse Nine) 3 Andrew Scott (Elsinore) 4 Ryan Gosling (Project Hail Mary) 5 John Turturro (The Only Living Pickpocket in New York) Best Lead Actor 1 Julianne Moore (The Debut) 2 Inde Navarrette (Obsession) 3 Sandra Hüller (Rose) 4 Virginie Efira (All of a Sudden) 5 Renate Reinsve (Fjord) Best Lead Actress 1 Paul Giamatti (The Debut) 2 Sam Rockwell (Wild Horse Nine) 3 John Leguizamo (The Odyssey) 4 Edward Norton (The Invite) 5 Guitarricadelafuente (La Bola Negra) Best Supporting Actor 1 Anne Hathaway (The Odyssey) 2 Penélope Cruz (The Invite) 3 Penélope Cruz (La Bola Negra) 4 Tao Okamoto (All of a Sudden) 5 Olivia Colman (Elsinore) Best Supporting Actress 1 The Odyssey 2 La Bola Negra 3 Wild Horse Nine 4 The Debut 5 Obsession Best Casting 1 The Odyssey 2 La Bola Negra 3 Dune: Part Three 4 Fatherland 5 Werwulf Best Cinematography 1 The Odyssey 2 La Bola Negra 3 Disclosure Day 4 Project Hail Mary 5 The Debut Best Original Score 1 La Nieve (La Bola Negra) 2 By Any Means (By Any Means) 3 This City May Have Chewed Me Up (The Debut) 4 How to Write a Song (Without You) (Power Ballad) 5 Let Me Sell You a Dream (Musk) Best Original Song 1 La Bola Negra 2 The Odyssey 3 Project Hail Mary 4 Dune: Part Three 5 The Debut Best Film Editing 1 The Odyssey 2 Dune: Part Three 3 Project Hail Mary 4 La Bola Negra 5 The Mosquito Bowl Best Sound 1 The Odyssey 2 Dune: Part Three 3 Werwulf 4 La Bola Negra 5 Project Hail Mary Best Production Design 1 The Odyssey 2 La Bola Negra 3 Werwulf 4 Sense and Sensibility 5 Dune: Part Three Best Costume Design 1 Werwulf 2 Digger 3 Clayface 4 The Odyssey 5 Rose Best Makeup & Hairstyling 1 Dune: Part Three 2 The Odyssey 3 Project Hail Mary 4 Whalefall 5 Godzilla Minus Zero Best Visual Effects 1 Wildwood 2 Toy Story 5 3 Ray Gunn 4 Iron Boy 5 Tangles Best Animated Feature 1 La Bola Negra (Spain) 2 All of a Sudden (Japan) 3 Fjord (Romania) 4 Possible Love (South Korea) 5 Minotaur (France) Best International Feature 1 Once Upon a Time in Harlem 2 American Doctor 3 You Can See Everything 4 Rehearsals for a Revolution 5 NAZA Best Documentary Feature

The Social Reckoning October 7, 2026 By: Button Hunter Friesen Whether we know it or not, the government regulates almost every second of our daily lives. We drive cars according to the law, eat food that has passed safety inspections, watch television that is deemed socially responsible, and sleep in beds that have been made with approved materials. Recent polls and studies suggest the average person spends about 1-2 hours on social media per day. That number almost doubles as the age bracket gets younger, with platforms like Instagram, Facebook, and TikTok being just as big a part of daily life as food and air. And yet, there's hardly an ounce of regulation tying it down, with users free to project and/or ingest anything they want. As alluded to by the apt title, writer/director Aaron Sorkin feels that we are at the moment of reckoning with the Pandora's box that is social media. As much as mythology is never strictly factual, its lessons on the dangers of total free will have always been pertinent, warnings that when kerosene and matches are nearby, we can't help but feel the need to play with them. Perhaps this is Sorkin's way of atoning for the responsibility he feels in aggrandizing the rise of Mark Zuckerberg and Facebook in The Social Network . However much his intentions were with his script, under David Fincher's slick direction and the decade-defining techno score by Trent Reznor and Atticus Ross, a certain swarm of viewers couldn't help but see how cool it was for an idea to immediately turn into an empire with 2.8 billion followers and over $1 trillion in value. Billed more as a companion piece rather than a direct sequel, The Social Reckoning never aims to be cool. It is vehemently old-school, featuring a protagonist who is introduced as not being able to work the navigation system in his rental car. Whether that is a fact or script invention, it's one of many things that make Jeff Horwitz (Jeremy Allen White) into the ideal Sorkin character. He's an investigative tech reporter who's almost a Luddite, makes references to Old Hollywood musicals and Frank Capra films, and personally handwrites letters to each employee of the Facebook Civil Integrity team. His goal is to get hard facts on how Facebook has become the global disseminator of political and social information, specifically how the algorithm pushes hyperactive users further down the rabbit hole of radicalization and disinformation. https://www.youtube.com/watch?v=gM4LkaXwGuY The Deep Throat to his Woodward/Bernstein is Frances Haugen (Mikey Madison). She's part of the Facebook "family," one that prides itself on never allowing employees to ask ethical questions or put their concerns in writing. Frances is an awkward person: fidgety with her hands and hair, eyes usually looking down during a conversation, and wearing wrist warmers from her neurological condition. Between her technological expertise on the inside and his investigative skills, the often reluctant pair work to define the specifics behind a downward trend that we all generally feel. With his signature mile-a-minute dialogue and ability to make exposition dumps feel incredibly entertaining, journalism is a genre that suits Sorkin incredibly well, so much so that he even created an entire television show for it ( The Newsroom ). Scenes with multiple characters often have overlapping and turn-taking dialogue, each constantly proving to be the smartest in the room. The more barbed the exchanges are, the more they crackle through the teal-toned frames by cinematographer Jeff Cronenweth. Bill Burr plays Charlie, a former friend of the billionaire, who serves as a vessel so Sorkin can debate Zuckerberg (Jeremy Strong, replacing Jesse Eisenberg), and becomes an adversary once he sees the darkness take over the light. During a congressional hearing prep session that just so happens to take place on January 06, 2021, the pair engage in a heated argument over Facebook's deprioritization of oversight on its content. Guardrails create friction for engagement, with Zuckerberg seeing the platform as a nonpartisan public square. But how much impartiality can Zuckerberg claim when his platform is literally engineered to supply outrage content perpetually? For as much as these scenes amount to little more than wish fulfillment on the part of Sorkin, they create a good excuse for Strong to portray Zuckerberg as a modern-day Roman emperor. He is a natural, more grown-up version of Eisenberg's version of the character, still with clipped speech patterns and poorly disguised narcissism. Madison proves that her Oscar win for Anora was no fluke, and White is a sturdy beacon of professionalism. Sorkin leaning into sentimentality creates a deadly pit of syrupy nonsense, which has stymied his previous two directorial projects, The Trial of the Chicago 7 and Being the Ricardos . That same self-inflicted wound is enacted here with an unbearably hokey final stretch that attempts to put an inspirational little bow on everything. Even Alexandre Desplat's Hollywood score swells to a crescendo, making this no-nonsense presentation feel more like a gentle reminder. Sony Pictures Releasing will release The Social Reckoning in theaters nationwide on October 09th. More Reviews Sense and Sensibility October 15, 2026 By: Hunter Friesen Whalefall October 14, 2026 By: Hunter Friesen Tenzing October 12, 2026 By: Hunter Friesen Double click the dataset icon to add your own content. 1/1/2035 By: Author Name Hunter Friesen

Sense and Sensibility October 15, 2026 By: Button Hunter Friesen For the better part of this year, I've been stuck in a creative rut. When people tell me what a great year it's been for movies, I can only muster a slight shrug of indifference while struggling to pinpoint my favorite films. Sure, I really liked expected hits such as Disclosure Day , The Odyssey , and The Invite . But none of them felt like "the one," the kind of movie that stands alongside my favorites from previous years. It's as if there's a shade over the screen that only I can see, diluting what was once a consistently magical experience. After five years of watching hundreds of movies annually, a little burnout is to be expected (recently gorging on thirty movies in seven days at TIFF probably didn’t help…). Lately, it's entirely possible I've been treating moviegoing more like a sport than a passion, giving it the same weight as checking tasks off a to-do list. After all, the person who sees the most paintings in a museum isn't necessarily the one who gets the most out of them. Thankfully, and not a moment too soon, director Georgia Oakley's adaptation of Sense and Sensibility arrives to pull me out of this funk, reinvigorating my love for cinema with a story that feels both timeless and contemporary. This is a film that is playful, passionate, devastating, and affirming. Those emotions can't be bought, nor are they often delivered with such sophistication and wit. https://www.youtube.com/watch?v=mcrwcvad84U Another year, another Focus Features film set in England that opens with a woman lying in a lush green field while being watched by a hawk. Last year it was Hamnet , director Chloé Zhao's exploration of grief and beauty through the lens of William Shakespeare's life. Bodhi Rae Breathnach appeared there as Shakespeare's eldest daughter, Susanna, and now plays here Margaret, the youngest of the Dashwood sisters. Perhaps she never left the set, simply standing still while the crew built a new movie around her. What a wonderful life that would be, one filled with deep feeling and a liberating spirit. While not as persistent in her approach as Zhao, Oakley imbues her film with a profound connection to nature. The English countryside is rendered in rich greens and earthy browns, with trees and fields swaying in a constant breeze. There are paths to wander, hills to climb, and bodies of water to contemplate beside. It's the sort of setting that turns anyone into a romantic, waiting for the perfect person to appear over the horizon. Elder sisters Elinor (Daisy Edgar-Jones) and Marianne (Esmé Creed-Miles) approach love very differently. The former is measured and restrained, while the latter demands a love that is bold and all-consuming. Yet pursuing a life guided purely by love in a society built on gender inequality requires an exorbitant amount of money, something the Dashwoods lost upon their father's death. They become a formerly wealthy family's version of poor: still living on their estate but with fewer servants and growing dependence on their dandyish half-brother and his insufferable wife, Fanny. Relief arrives in the form of Fanny's brother Edward (George MacKay), a seemingly progressive young man who feels as though he's wandered in from another century. Like Elinor, he is almost too reserved in the face of passion, preventing the pair from acting on their feelings. A distant relative with a generous heart and an even bigger mouth, Mrs. Jennings (Fiona Shaw), provides the Dashwoods with a cottage deeper in the countryside. There, two very different men compete for Marianne's affection. The first is Colonel Brandon (Herbert Nordrum from The Worst Person in the World ), a tall and seemingly dull military officer who appears to embody everything Marianne rejects. Then there's Willoughby (Frank Dillane), who sweeps in after she injures her ankle and literally carries her to safety. He loves to dance, embraces spontaneity, and seems far less concerned with the social restrictions imposed upon matters of the heart. A necessary disclosure on my part: I have never read Jane Austen's novel, nor have I seen any adaptation of it. That includes Ang Lee's celebrated 1995 version, a film that has occupied an embarrassingly permanent spot on my watchlist. I have no attachment to these characters or their famous predecessors. Daisy Edgar-Jones is not competing with Emma Thompson in my mind, nor Creed-Miles with Kate Winslet, MacKay with Hugh Grant, or Nordrum with Alan Rickman. Even so, if comparison is inevitable, these performers clear that bar with ease. Edgar-Jones conveys Elinor's internal struggles with quiet confidence, embodying the "sense" of the title. Creed-Miles represents its "sensibility," delivering a performance that practically ignites the screen. Though their romantic pursuits drive much of the story, screenwriter Diana Reid wisely centers the sisters' bond as the emotional core. They experience heartbreak and joy together, their contrasting personalities creating a deeply affecting chemistry. The world they inhabit is overflowing with social rituals and expectations. Invitations, letters, dresses, parties, rumors, formal calls, engagements, inheritances, and honorable intentions are just a few of the mechanisms that keep society rigidly in place. With an approach that gently punctures the stiffness while acknowledging its historical context, Oakley and her collaborators render every detail with sumptuous beauty. Shooting on 35mm with flickering candlelight and soft natural illumination, cinematographer Arnaud Potier somehow turns brown into the most beautiful color imaginable. Grace Snell's costumes and Francesca Di Mottola's production design are radiant, elevated further by Roger Goula's delicate score. Because of their similarities, one could argue that Oakley owes a considerable debt to Greta Gerwig's Little Women . It's a funny observation considering Jane Austen wrote her novel roughly half a century before Louisa May Alcott. Regardless of any parallels between the stories or their adaptations, both endure because they speak to universal desires. To find love and purpose remains one of life's greatest adventures. To walk that path alongside people who genuinely care for you is what makes the journey all the more meaningful. Focus Features will release Sense and Sensibility in theaters nationwide on October 16th. More Reviews Double click the dataset icon to add your own content. 1/1/2035 By: Author Name Sense and Sensibility October 15, 2026 By: Hunter Friesen Tenzing October 12, 2026 By: Hunter Friesen Double click the dataset icon to add your own content. 1/1/2035 By: Author Name Author Name

Whalefall October 14, 2026 By: Button Hunter Friesen Although they'll likely be a little reluctant to admit it, a formative experience for almost all men, at one time or another, is taking part in a group debate over which animals they could theoretically beat in a fight. These debates commonly take place around a campfire or at a lunch table, fueled by a mixture of alcohol, ego, and stupidity. They start at the bottom of the food chain and work their way up. Fish? Obviously, I eat a bottomless amount of those during Lent. Eagle? Would be a vicious fight with a lot of cuts and scrapes, but a good punch could do it. Kangaroo? Like boxing, they’d have to be in my weight class. Bear? Absolutely not. I’ve seen The Revenant . Of course, the debate usually stops just before you reach the apex predators. At that point, it becomes a question of survival rather than winning. How long could you last going toe-to-toe with nature’s dominant hunters? A whale is one of the largest animals ever to exist, with calls louder than a jet engine and speeds of over 40 mph. Sperm whales are the largest of all whale species, weighing over 45 tons. No wonder Captain Ahab was obsessed with hunting down Moby Dick. And now, through the power of IMAX visuals and soundscapes, Whalefall offers modern audiences an opportunity to literally venture into the belly of the beast. But before we can dive into the ocean, we must first learn how a landdweller could convince themselves to get their feet in the water. Jay Gardiner (Austin Abrams) has a whale of a dad in the form of Mitt (Josh Brolin), an intense diver who never stops pushing his son to become a man and take on the world. It’s all rather vague machismo, brazenly expressed as if there’s a dark force to be conquered in life. There’s also always a connection to the ocean, specifically to how whales are harbingers of life throughout the aquatic world. https://www.youtube.com/watch?v=rN9F6-tbySY The opening of Whalefalls makes it clear that Jay no longer has a father; he had one. Stubborn against treatments and pills for his assumed serious illness, the old man decided to bury his body at sea, the place he was truly happy. Returning home from college in Iowa, the most landlocked and whale-free state in the country, Jay can’t help but feel compelled to get in the water and search for his dad’s remains. Putting on that diving tank again, he feels the cumulative weight of all those years of his dad drilling home the essentials to surviving out of your element. However, what his dad never taught him was how to survive being swallowed whole by an 80-foot, 60-ton sperm whale. Apart from Jonah in the Bible, it’s probably not been common enough for even the most amphibious humans to imagine. Director Brian Duffield weaponizes his entire production arsenal to illustrate the terror of this scenario. The theater shakes intensely as the whale passes by, the entire area handcuffed to its movements. There is no escaping its sight and grasp, with echolocation calls piercing the dark depths. Once inside, Jay experiences a lot of wincing moments. His bones crunch as he’s being chewed up within one of the beast’s lower mouths. He makes his way to the stomach, a cavernous area that bellows and continually fills with the carcasses of freshly caught prey. They’re all bathed in oozing acid, burning holes in Jay’s clothes and equipment. Both the figurative pressure of his dwindling oxygen and the literal pressure of the ocean depths fracture his psyche, allowing for several moments where we flashback to his fraught relationship with his father. Those moments of claustrophobic freedom don’t offer the intended relief. They are heavy-handed, accented by Joseph Trapanese’s epic score and Pietro Scalia’s intense editing. Then again, a movie about a being swallowed by a whale has no business being small, so this oversized swing for the heartstrings is par for the course. Abrams is an extremely talented up-and-comer, his skinny frame and natural vulnerability giving way to complimentary comparisons to Timothée Chalamet. It is a little too bad he’s forced to “charm” the audience by talking to himself throughout his escape, a character trait that annoyed me here just as much as it did throughout all of Project Hail Mary . Whalefall likely won’t do for whales as Jaws did for sharks. That’s probably a good thing, as whales are too endangered and important to the natural order of things for us to develop an irrational fear of them. But I’m still fine staying here in the Midwest, where I can’t find myself getting hands-on experience with that survival debate. 20th Century Studios will release Whalefall in theaters nationwide on October 16th. More Reviews Double click the dataset icon to add your own content. 1/1/2035 By: Author Name Sense and Sensibility October 15, 2026 By: Hunter Friesen Tenzing October 12, 2026 By: Hunter Friesen Double click the dataset icon to add your own content. 1/1/2035 By: Author Name Author Name

Tenzing October 12, 2026 By: Button Hunter Friesen Throughout much of history, the concept of exploration and adventure has been a white man's game. Going all the way back to the days of Alexander the Great and up to the colonialist movements, European powers have viewed the rest of the world as places to be conquered and tamed. To hell with the natural beauty of the landscapes, or the thousands/millions of indigenous people. Even a relatively young nation like the United States tried to muscle its way into the land grab fray through the belief in Manifest Destiny. To see that Tenzing shows less interest in the white man's burden and more towards those whose stories have often been unfairly overlooked is an achievement on its own. This is the story of the first successful summit of Mount Everest, possibly one of the final natural wonders of the world to be conquered by man. Throughout the 20th century, European nations turned it into a fierce yet friendly game, with sides taking turns year after year. George Mallory (whose reason for climbing the mountain was simply "because it's there") led the charge for the British, while the Swiss fielded their own expeditioners. From the beginnings of the pursuit in 1921 through the '40s, each side inched closer and closer to the top, always turning back because of poor weather, inadequate equipment, or sheer exhaustion. The one constant throughout, from his childhood meeting with Mallory on one of his first summits to his adult years as a sherpa, is the titular Tenzing Norgay (Genden Phuntsok). From his earliest days as a boy in Tibet, Tenzing never saw Everest as an adversary to be overcome. She is a heavenly mother figure known as Chomolungma, perpetually looking down and offering blessings to the Tibetan and Nepalese people. She is present in all aspects of his life, which Australian director Jennifer Peedom and screenwriter Luke Davies track sporadically across the film. https://www.youtube.com/watch?v=KkYCY5YR12U The focal storyline is the 1953 summit where Tenzing is the head sherpa for the British team led by Colonel John Hunt (Willem Dafoe), an army man who is treating this expedition like a siege. His top soldiers are a collection of British climbers, as well as a standoffish New Zealander named Edmund Hillary (Tom Hiddleston). Along with over a dozen local Sherpas under Tenzing's command, the group makes the perilous journey up the mountain, possibly never to return. Having cut her teeth on several mountain-focused documentaries over the past few decades (2008's Miracle on Everest , 2015's Sherpa , and 2017's Mountain , narrated by Dafoe), Peedom has a deep interest and skill in illustrating the terrifying beauty and majesty of Everest. The various smaller white peaks are blindingly bright, while the permanent ice sheets creak and crack as the crew traverses over them. There’s documentary-esque realism to the proceedings as filming took place on portions of Everest. Cinematographer Stefan Duscio incorporates drones and widescreen photography to create grand imagery that is best enjoyed on the big screen. It's too bad that will be an extremely tough format to see the film in once it lands on Apple TV following a week-long cursory theatrical run. As the two outsiders amongst the stiff-lipped British, Hillary and Tenzing form a bond. It also helps that they're the best climbers, their immense skills being the only reason they narrowly avoid certain death when an ice sheet collapses beneath their feet. An audience member behind me let out a deafening shriek equivalent to that of a jump scare in a horror movie. It was an apt reaction, as the camera plunges in right behind them as they dangle for their lives. Then again, we all know how this story turns out. That feeling of inevitability borders on mundanity throughout much of the runtime as we flip back-and-forth between the 1953 timeline and the notable chapters of Tenzing's earlier life. While rendered with authenticity through their use of local actors and dialogue, there's still a feeling of sameness as Tenzing overcomes the trials and tribulations of life. And when sandwiched between the thrills of mountain climbing, these smaller-scaled scenes leave a lot to be desired. Fortunately, composer Rebekka Karijord finds the emotional throughline with a soaring score. Most of that rote is to be expected in a film titled after the main historical figure, along with being produced by their heirs. Make no mistake, this is a story that deserves to be told, especially when Everest has now been successfully summited on over 13,000 occasions, which threatens to trivialize the immense endeavor by those who blazed the trail. Like Chomolungma to its people, Tenzing Norgay is what connects all those climbers, imbuing them with the kind of courage and tenacity that makes humans do incredible things. This review was originally published from the Canadian premiere at the 2026 Toronto International Film Festival. Apple TV will release Tenzing in select theaters on October 09th, followed by its streaming premiere on October 16th. More Reviews Double click the dataset icon to add your own content. 1/1/2035 By: Author Name Sense and Sensibility October 15, 2026 By: Hunter Friesen Whalefall October 14, 2026 By: Hunter Friesen Tenzing October 12, 2026 By: Hunter Friesen Author Name

Animals October 8, 2026 By: Button Hunter Friesen "Humans are just animals who tell stories." That line comes midway through Animals , Ben Affleck's newest directorial effort. It's meant to make us think about how little separates a wild animal from us when our backs are up against the wall. However, by that point, the thematic weight of the film had already been lost on me, and I decided to focus on the literal question of whether animals do tell stories to each other. It turns out many species are sort of capable of doing that, such as bees performing dances to communicate information about flowers. If I were a film critic bee, my review for Animals would just be a half-frowned shoulder shrug. For as much as it seems a bit narcissistic for Affleck to cede acting duties to his brother for his directorial debut, Gone Baby Gone , only to then give himself the lead or showiest supporting role in every subsequent directorial project, these films are often the best uses of his on-screen talent. Here, he plays Mark Kimball, a Los Angeles mayoral candidate who is a seemingly perfect man. He's a former soldier, teacher, and lawyer, using his responsibilities in the latter position to take on environmentally corrupt businesses. Up the hill in his mansion, he's got a beautiful psychologist wife, Abigail (Kerry Washington), and a young son, Denny. https://www.youtube.com/watch?v=mlBfQJ8oxB0 Normally, we wouldn't have to wait long for all the pleasantness to be revealed as a façade. But that doesn't happen, with Affleck, as well as co-writers Billy Ray and Connor O. McIntyre, doubling down on Mark's idealism. His campaign is unaffiliated with the two major political parties, which means he's funding everything himself through exorbitant loans. At the moment, he is extremely cash-poor, hedging his family's entire financial future on the election. He also won't break the law to offer an under-the-table job to Ramon (Luis Gerardo Méndez), the husband of his maid Cecilia (Adriana Paz), as he entered the country illegally. Of course, if you're not going to reveal that a man is already in the muck, you have to plunge him in there yourself. That moment comes when Denny is kidnapped while he's out trick-or-treating with Cecilia. Communicating through phone calls and apparently possessing all-seeing powers, the kidnappers demand $7 million in cash by morning. Not having that money on him, Mark and Abigail resort to desperate measures, which include borrowing from the mysteriously white-suited Dayle Burton (Gillian Anderson). Taking place almost exclusively within Kimball's mansion, Affleck and his editors, William Goldenberg and Christopher Rouse, push everything at a frenzied pace. Storied cinematographer Robert Elswit follows the actors as their panic drives them from room to room, often within a single take. It's very showy work, with plenty of shouting and heightened speeches thrown in for good measure. However, showy work isn't always a mark of quality work, as this all feels a little beneath the extremely talented cast and crew. Anderson controls every scene, instilling a sense of power through her hushed British accent and sleek appearance. It's too bad her character is thinly written, which is still infinitely deeper than the incredibly lame villains. Affleck clearly only needed them as an instigating force to examine the wide cracks that we intentionally avoid in our lives. But a villain still needs to be somewhat compelling, especially when they interrupt the proceedings so consistently. Affleck recently revealed that he used AI "for lots of things" in this film, a not-so-surprising fact given that he sold his AI film-tech startup, InterPositive, to Netflix just a few months ago. He intentionally chose not to reveal exactly when and where AI was used, explaining that it would rob the illusion of a magic trick. Without possessing much of a trained eye for these things, I couldn't pinpoint the exact moments, save for maybe the embarrassingly conceived and staged final act. For all the talk about AI being a savior, this still proves that it can't turn lead into gold. Netflix will release Animals in select theaters and on its streaming service on October 09th. More Reviews Sense and Sensibility October 15, 2026 By: Hunter Friesen Whalefall October 14, 2026 By: Hunter Friesen Tenzing October 12, 2026 By: Hunter Friesen The Social Reckoning October 7, 2026 By: Hunter Friesen Hunter Friesen

Digger September 29, 2026 By: Button Hunter Friesen A few moments into Digger , Tom Cruise, playing the titular Digger Rockwell, recounts a story from his youthful days in Texas. He says he hit a home run as a kid, sending the ball twenty feet over the fence and sealing the win for his little league team. After the game, he expected his stern grandfather to congratulate him on the feat of power. Instead, he was disappointed. He told Digger that any dummy with enough muscle can get lucky every once in a while to hit a home run. In his view, the ultimate showcase of baseball skill is hitting a triple, as that takes speed, finesse, and gumption. There's a reason it's the least common type of hit in baseball. Perhaps director Alejandro G. Iñárritu could have taken that advice for his newest film, his first in English in over a decade. Or maybe one of his four credited co-writers (Sabina Berman, Jez Butterworth, Alexander Dinelaris, Nicolás Giacobone) snuck the story in as a way to temper Iñárritu's eyes as they quickly became bigger than his stomach. But Iñárritu is not a filmmaker who has ever done anything lightly, only stepping up to the play when a grand slam is in play. Babel featured multiple globe-trotting storylines, her served as director/writer/producer/editor/composer and the central basis for the story in Bardo ; performed one-take trickery in Birdman ; and braved the frigid elements for The Revenant . He earned back-to-back directing Oscars for the latter two works, proving that his sights are often on target. Digger joins those works in ambition, but not outcome. Shot by Emmanuel Lubezki (also an Academy Award winner for Birdman and The Revenant ) in widescreen VistaVision, Digger looks like a million bucks. The reported budget is $125 million, probably the same amount Mr. Rockwell put into his palatial compound. The film opens in an unknown serene location, a mysterious place where jungles, marshes, fields, and oak trees co-exist. Inside are decorations one would expect from a Texas-born oil tycoon: lots of dead animal furs, guns adorned above the fireplace, and massive paintings illustrating the kill-or-be-killed law of nature. https://www.youtube.com/watch?v=qORTe1wW3Wg But all this material beauty is just window dressing for a deeply ugly movie, made by those with either a deep contempt or twisted sense of compassion for humanity. Rising out of Digger's lake are air bubbles, the same ones coming out of the ice caps he's drilling up in Greenland. The more he drills, the more air that gets released, and the more the caps melt. One of the caps, about the size of a small US state, reaches a critical melting point, breaks away, and is hurled toward northern Europe by Arctic Ocean currents. Mother Nature has finally fought back, with millions of lives being lost and/or displaced within a matter of days. Hustling and bustling through the dozens of rooms at Digger's compound are a host of wacky characters. There's Ganesh (Riz Ahmed), Digger's head of environmental science who tries to supply facts and reasoning in these dire times; Emma Rockwell (Sandra Hüller), Digger's angered half-sister; President Compson (John Goodman), who should be questioned as to how he got elected in a less fraught time period; and the Vice President (Michael Stuhlbarg), timidly appeasing every whim of the dictator-in-chief. Each brings strong personalities, bristling against the words "if," "possible," and "could" that Ganesh uses in his science-focused presentation on the impending catastrophe. These people only deal in absolutes, with facts being malleable pieces used to build a narrative. Despite all of this being packed within the first twenty minutes, so many questions are raised. Where are we? What year is it? It seems pretty modern, but some of the tech is a little different than we're used to. Why does the president leave the White House and come to Digger? How does he get there so fast? Why is everything else moving so fast? Why is everyone yelling their lines and being the most obnoxious versions of themselves? Why am I not laughing at any of the jokes? Eventually, a sudden story shift answers most of these questions. I know what it is, and you don't. And I can't and won't tell you about it here. Sounds a bit cheeky, right? That's the tone Iñárritu strikes here, replacing his prior pretension with an obscene amount of smugness. Combined with Cosmo Sheldrake's frantic score, the ear-splitting IMAX soundscape, and dialogue scenes packed with aggressive shouting, this becomes an extremely unpleasant viewing experience. Should I praise a movie for giving me a headache and putting me in a generally sour mood afterwards? Simultaneously, the structure and ideas percolating here are deeply fascinating. The only difference between a tragedy and a comedy is time, and we've reached the point where we can only laugh at our own ineptitude. Everything is literally crumbling right before our eyes, and our only worry is not being the one holding the hot potato when it all comes crashing down, as if that matters. There should be more movies like this, armed with pokes and prods as it sends the audience home questioning what they just witnessed. There should also be more roles like this for Tom Cruise. As he did for Michael Keaton in Birdman , Iñárritu brings Cruise out of his self-controlled action movie shell and back to a similar lane as his turn as Les Grossman in Tropic Thunder . To play someone his own age, the sixty-four-year-old actor dons thinning grey hair, wrinkly skin, and a bulging gut. Iñárritu and Lubezki certainly don't flatter him by shooting primarily from a low angle, the light bouncing off his bald, spotted forehead. They give him plenty of monologues, mostly done in a single take as the actor's superhuman energy and athleticism grab our attention. Digger is a film I want to learn everything about. I want to read every review, interview, and essay. I want a Hearts of Darkness: A Filmmaker's Apocalypse documentary made about it, capturing everything from inception to presentation. It'll be in my head for the rest of my life, intermittently reappearing to make me ponder its ideas. But I never want to rewatch it, as that sounds like a miserable use of my time. It's quite the conundrum, one that can only be achieved by a film whose swing perpetually flirts with being fair or foul. Warner Bros. Pictures will release Digger in theaters nationwide on October 02nd. More Reviews The Social Reckoning October 7, 2026 By: Hunter Friesen Tenzing October 12, 2026 By: Hunter Friesen Animals October 8, 2026 By: Hunter Friesen Digger September 29, 2026 By: Hunter Friesen Hunter Friesen

Twin Cities Film Fest 2026 Preview October 13, 2026 By: Hunter Friesen As Minnesotans, it's in our DNA to appreciate a good potluck. Everything tastes just a little better when a community comes together to prepare a meal, one that encourages everyone to both contribute and consume something that speaks to them. That sentiment directly applies to that of a film festival, with eclectic flavors from all over the country (and world) coming together for a lively, unpredictable feast for the senses. Now celebrating its seventeenth year, the Twin Cities Film Fest (TCFF) offers that to Minnesota cinephiles as it showcases over 100 feature films October 15th-24th. Speaking of food, the festival kicks off with You Belong Here , featuring Chef Ouita Michel as she delves into universal human themes while celebrating the food, people, and places that are the fundamental ingredients of her community. Michel, as well as actor /producer Steve Zahn, will be in attendance for a pre-screening food tasting and post-screening conversation. Also screening on Opening Night is Wild Horse Nine , the newest dark comedy from writer/director Martin McDonagh ( Three Billboards Outside of Ebbing, Missouri , The Banshees of Inisherin ). Sam Rockwell and John Malkovich star as a pair of CIA agents dispatched to Easter Island as they stage the 1973 Chilean coup. Several other big studio dishes will make their Minnesota premieres, such as the Spotlight Film: Elsinore . Andrew Scott is a heavyweight Oscar contender for his performance of Ian Charleson in the tearjerker drama, which begins its theatrical rollout on Thanksgiving. Other awards hopefuls screening at the festival include La Bola Negra , the generation-spanning wartime gay romance from Los Javis; I Play Rocky , the biopic of how Sylvester Stallone poured his heart and soul into the making of Rocky ; Club Kid , Jordan Firstman's Gen-Z comedy about a party promoter who unexpectedly finds out he has a son; and A Talent for Murder , a twisty thriller about a book editor who travels to Switzerland to convince famed author Patricia Highsmith to write another Ripley novel. A good potluck always needs some local delicacies. More than one third of this year's selected films feature Minnesota-connected stories and filmmakers. One such film is A Month in Minnesota , a documentary about the fatal shootings by ICE agents earlier this year. Talent will be in attendance for nearly all of these screenings, offering audiences the chance to interact with their community in person and up on the big screen. The festival also features HER Series, Changemaker Series, Black on Screen, and OUT Series. These sections put spotlights on often underrepresented demographics, with over 40% of the total festival selection featuring BIPOC voices. Overlapping in many of those sections is One In A Million , a PBS Frontline Features documentary chronicling one girl’s epic journey from Syria to Germany and back again. Alight, a nonprofit that provides humanitarian support for refugees, will be sponsoring the screening and conducting conversations afterwards. All in-person screenings will take place at the Marcus West End Cinema and Edina Mann 4 Theatre, with a select number of films available to stream through the online festival platform. Tickets are still available for a number of screenings, which can be found at twincitiesfilmfest.org . More Reviews The Social Reckoning October 7, 2026 By: Hunter Friesen Tenzing October 12, 2026 By: Hunter Friesen Animals October 8, 2026 By: Hunter Friesen Digger September 29, 2026 By: Hunter Friesen Hunter Friesen

Explore a captivating collection of must-watch films on our curated list page. Lists Twin Cities Film Fest 2026 Preview October 13, 2026 By: Hunter Friesen TIFF26 Recap September 23, 2026 By: Hunter Friesen TIFF26 Preview September 7, 2026 By: Hunter Friesen Top 50 Films of the 2020s February 23, 2026 By: Hunter Friesen 2022 Losers Button 2023 Losers Button 2026 Sundance Film Festival Preview Button 25 Most Anticipated Films of 2024 Button 26 Most Anticipated Films of 2026 Button A Brief History of Presidents' in Film Button Cannes 2022: 50 Films That Could Premiere Button Cannes 2023 Predictions - Part 2: Hollywood Makes a Splash Overseas Button Cannes 2023 Predictions - Part 4: The Irregulars and Up-and-Comers Button Cannes 2023 Recap Button Cannes 2024 Predictions - Part 3: The Loyalists Button Cannes 2025 Lineup Predictions Button Every Spider-Man Movie Ranked Button MSPIFF 2023 Recap Button MSPIFF 2025 Preview Button MSPIFF 2026 Preview Button Omaha Film Festival 2024 Recap Button Ranking the Films of Adam McKay Button Ranking the Films of Michael Haneke Button Ranking the Planet of the Apes Franchise Button Sundance 2023 Recap Button TIFF23 Recap Button TIFF24 Recap Button TIFF25 Preview Button TIFF25: Tyler's Time at the Festival Button TIFF26 Recap Button The Best Hollywood Screenwriters of All-Time Button The Biggest Flops in TIFF History Button The Greatest Irish Filmmakers Button The Worst Cannes Premieres Ever Button Top 10 Films of 2018 Button Top 10 Films of 2020 Button Top 10 Films of 2022 Button Top 10 Films of 2023 (So-Far) Button Top 10 Films of 2024 (So Far) Button Top 10 Films of 2025 (So Far) Button Top 10 Oliver Stone Films Button Top 10 Steven Spielberg Films Button Twin Cities Film Fest 2022 Preview Button Twin Cities Film Fest 2023 Recap Button Twin Cities Film Fest 2025 Preview Button Tyler's Favorite Musicals Button 2022 Winners Button 2023 Winners Button 25 Most Anticipated Films of 2022 Button 25 Most Anticipated Films of 2025 Button 36 Most Anticipated Films of 2023 Button Cannes 2021: All The Films That Could Premiere Button Cannes 2023 Predictions - Part 1: The Festival Masters Button Cannes 2023 Predictions - Part 3: The Festival Mainstays Button Cannes 2023 Preview Button Cannes 2024 Predictions - Part 1: The Question Marks Button Cannes 2024 Predictions- Part 2: The Regulars Button Cannes 2025 Recap Button MSPIFF 2023 Preview Button MSPIFF 2024 Preview Button MSPIFF 2025 Recap Button Movies That Made More Money Than You Think Button Predicting the Cannes Jury President Button Ranking the Films of Christopher Nolan Button Ranking the Mad Max Franchise Button Sundance 2023 Preview Button TIFF23 Preview Button TIFF24 Preview Button TIFF24: Tyler's Time at the Festival Button TIFF25 Recap Button TIFF26 Preview Button The Best Cinematographers Working Today And Where To Find Them Next Button The Best Military Movies for Veterans Day Button The Great Musical War of 2021 Button The Most Successful Directors at Cannes Button Top 10 DreamWorks Animated Movies Button Top 10 Films of 2019 Button Top 10 Films of 2021 Button Top 10 Films of 2023 Button Top 10 Films of 2024 Button Top 10 Films of 2025 Button Top 10 Martin Scorsese Films Button Top 10 Pixar Films Button Top 50 Films of the 2020s Button Twin Cities Film Fest 2023 Preview Button Twin Cities Film Fest 2024 Preview Button Twin Cities Film Fest 2026 Preview Button

TIFF26 Preview September 7, 2026 By: Hunter Friesen After the glitz and glamour that encompassed celebrating its fiftieth anniversary last year, one would think the 2026 Toronto International Film Festival (TIFF) would present itself in a lower key. After all, "Tiffty One" (TIFF + fifty-one) doesn't roll off the tongue as much as "Tiffty" did last year, nor will it likely be as ubiquitous. Luckily, CEO Cameron Bailey and his programming team don't understand the notion of slowing down, a self-imposed expectation they've placed upon themselves after years of presenting hundreds of eye-catching films over eleven days and several swanky venues, with many going on to massive awards and box office success. Notable standouts from last year include the box office sensation Obsession , Wake Up Dead Man: A Knives Out Mystery , Frankenstein , Hamnet , Train Dreams , and No Other Choice . I normally spend all eleven days at the festival, mingling with friends and colleagues as we all rush between screenings, often scarfing down a street hot dog or Tim Hortons donut along the way. Because of a previous engagement, my time this year has been reduced to six days, losing the first weekend. In turn, that will shrink my total viewing from the usual 36-38 films to about 25-27 (yes, I'm aware that's still an abnormal number for anyone). All in all, this condensed timeline will push me to be a bit more strategic about what I see and when I see it. I love the rush and grind of the festival, the threat of being buried under the avalanche if you don't keep your wits about you. The Cannes Film Festival has seen an exponential increase in its importance for the Oscar race over the past few years, debuting major domestic and international contenders like Anora , Anatomy of a Fall , The Secret Agent, Sentimental Value , and Emilia Pérez . Each made a stop in Toronto to kick-start the next phase of their awards campaigns. Many of this year's big players will try to replicate that strategy, ensuring another battle in the war for audience attention between the major arthouse distributors. Neon will be bringing over Cristian Mungiu’s Palme d'Or winner Fjord , Ryusuke Hamaguchi's 196-minute nursing home drama All of a Sudden , and Arthur Harari's existential body-swap thriller The Unknown . Netflix has the sweeping gay wartime drama La Bola Negra and the Léa Seydoux-starring thriller Gentle Monster . And then there's Mubi with the Belgian World War I film Coward and Russian dissident Andrey Zvyagintsev's Minotaur . Also scattered throughout are other titles that received good marks, such as Club Kid, The Man I Love, The Beloved, Bitter Christmas, La Gradiva , and Clarissa . There will also be some Sundance Film Festival films venturing north after their debuts in the Utah mountains back in January. Josephine was by far the best film I saw then, and I'm hoping rookie distributor Sumerian Pictures can reignite audience passion. Sony Pictures Classics is bringing along a trio of their films: Ha-Chan, Shake Your Booty! , The Only Living Pickpocket in New York , and Bedford Park . Once Upon a Time in Harlem , the standout documentary of the festival, will also make an appearance. Speaking of mountains, coming immediately after its world premiere at the Telluride Film Festival in Colorado is Tenzing , a biopic on Tenzing Norgay who, alongside Edmund Hillary, became the first to reach the summit of Mount Everest. While that film looks to the past, famed documentarians Elizabeth Chai Vasarhelyi and Jimmy Chin will illustrate the present with Everest: The Other Side , the story of two ski mountaineers attempting to ski down the mountain's North Face. Around the same time as the Telluride Film Festival, several international titles from big-name auteurs will make their world premieres at the Venice Film Festival. Hirokazu Kore-eda suffered a rare misstep earlier in the year with Sheep in the Box , which he'll look to rectify with Look Back , his adaptation of the immensely popular manga and anime film. Two European directors also looking to make a comeback are Florian Zeller and Nanni Moretti. The former will present Bunker , starring acting power couple Javier Bardem and Penélope Cruz, while the latter has Louis Garrel in the decades-spanning romance It Will Happen Tonight . Lee Chang-dong is returning to the silver screen after an extended hiatus with Possible Love . Netflix will throw quite a bit of its weight behind that title as it tours throughout the fall festival circuit. Other directors will either be following up hugely acclaimed work and/or making their triumphant returns to Toronto. Peter Farrelly began his unlikely path to a Best Picture Oscar for Green Book at TIFF in 2018. He returns with I Play Rocky , the underdog story of how the unknown Sylvester Stallone put his heart and soul on the line to make a little movie called Rocky . CODA director Siân Heder opens the festival with Being Heumann , an inspiring drama about disability activist Judy Heumann. The legendary Mike Leigh recently revealed that Tender Loving Care will likely be his final feature, which features Widow's Bay breakout and Emmy favorite Kate O'Flynn. And Slumdog Millionaire director Danny Boyle dramatizes the rise of Rupert Murdoch and his role in reshaping the modern news landscape with The Sun and Fox News in Ink . Many famous actors will take a break from the spotlight and step behind the camera, including Chris Rock ( Misty Green ), Jesse Eisenberg ( The Debut ), Tim Blake Nelson ( The Life and Deaths of Wilson Shedd ), Cody Fern ( Closing Night ), and Courteney Cox ( Evil Genius ). Eisenberg's previous film, A Real Pain , scored an Oscar for Kieran Culkin. I have my eye on beloved industry veteran Paul Giamatti receiving a similar treatment, especially after he came so close a few years ago with The Holdovers . Other stars coming into the festival with serious Oscar buzz are Cynthia Erivo ( Prima Facie ), Andrew Scott ( Elsinore ), John Malkovich ( Wild Horse Nine ), and Mahershala Ali ( Your Mother Your Mother Your Mother ). On top of everything already mentioned, there's a swath of world premieres, each with the possibility to break out into the larger cultural conversation. The Julia Set will be the follow-up feature performance by One Battle After Another breakout star Chase Infiniti; Helen Mirren will play famed author Patricia Highsmith in A Talent for Murder , Seth Rogen and Anna Kendrick are a couple debating if they should have a child in Babies , and Jay Baruchel portrays “The Mad Canadian” stuntman Ken Carter in the aptly titled The Stunt Driver . Over a dozen other films not already mentioned have my eye, further illustrating the biggest conundrum of being a voracious cinephile at TIFF. No matter how big your appetite is, and how well you plan, you will never have enough time to see everything that interests you. Believe me, I've tried my best to craft a perfect schedule over the years, but something always falls through the cracks. And yet, that's a beautiful thing, allowing everyone to have their own experience, sharing stories about what they did and didn't love. I'll pass along my tale through several full reviews during the festival, as well as a full recap article once I've regained my sanity back home. The 2026 Toronto International Film Festival runs from September 10-20th. To browse the full lineup, visit the festival website . More Reviews The Social Reckoning October 7, 2026 By: Hunter Friesen Tenzing October 12, 2026 By: Hunter Friesen Animals October 8, 2026 By: Hunter Friesen Digger September 29, 2026 By: Hunter Friesen Hunter Friesen

MSPIFF 2026 Preview April 6, 2026 By: Hunter Friesen April showers bring May flowers. But what April also brings is the annual Minneapolis-St. Paul International Film Festival (MSPIFF, pronounced "EM-spiff”), which is celebrating its forty-fifth year of showcasing an eclectic range of films to Minnesota moviegoers. In my brief time attending the festival, the programming has only gotten stronger, and so has the festival's attendance and its place within the great cinema landscape. Of course, the majority of the 200 films within the lineup will be screened at The Main Cinema, which was recently renovated with new seating in a few of its theaters. Other venues for select screenings include the Edina Theatre, Pop’s Art Theater, Capri Theater, Landmark Center, and FilmNorth. Opening the festivities on April 8th is a screening of the documentary feature Paralyzed by Hope: The Maria Bamford Story , which focuses on the Duluth-born comedian and her inspiring story about struggling with mental health. The film had its world premiere at the Sundance Film Festival back in January and is co-directed by Judd Apatow and Neil Berkeley. The latter will be in attendance with Bamford herself for an introduction and post-screening conversation. Also screening at the same time is another timely documentary, called Everybody to Kenmure Street , about protestors disrupting illegal immigration enforcement. One of MSPIFF’s biggest selling points is its consolidation of many notable independent and foreign language films released in the late spring and early summer. Debuting in Minnesota now, after world premiering at the Cannes Film Festival last May, are Two Prosecutors , Young Mothers , The Little Sister , Exit 8 , Renoir , Eagles of the Republic , Romería, and Mother and Child . Each was met with positive acclaim and came from notable filmmakers who have rarely steered audiences wrong. There’s also plenty to offer for those looking for some late-night, genre features. Premiering in the Midnight Madness section at last year’s Toronto International Film Festival were Obsession and Normal . The former became the talk of the festival with its dark, supernatural twist on unconditional love. The latter stars Bob Odenkirk as the new police chief of a quaint Minnesota town that harbors many secrets underneath its blanket of snow. Adam Scott stars in Hokum as a horror writer who is haunted by a witch at a creepy Irish inn. And writer/director François Ozon adapts the famed novel The Stranger , about a man who exacts a series of unfeeling crimes. Upping the star wattage throughout the eleven days will be screenings of The Christophers , directed by Steven Soderbegerh and starring Ian McKellen and Michaela Coel; Late Fame , starring Willem Dafoe and Greta Lee; Silent Friend , starring Tony Leung Chiu-wai and Léa Seydoux; Power Ballad , with Paul Rudd and Nick Jonas; and Rose of Nevada , with Callum Turner and George MacKay. After becoming a box office sensation back home in the UK and nabbing several awards at the BAFTAs, the inspirational real-life drama I Swear finally lands in American theaters. After honoring legends such as Roger Deakins and Ang Lee in the past, this year’s Milgrom Tribute is being bestowed upon cinematographer Dean Cundey. With a career spanning nearly 50 years and collaborations with directors such as John Carpenter, Robert Zemeckis, Steven Spielberg, and Ron Howard, Cundey has been the eyes for many of Hollywood’s defining films. He’ll accept the award during a conversation about his career on April 12th. It will then be followed by screenings of two of his films: Escape from New York and Jurassic Park . Cundey will conduct a Q&A session following the screening of the latter film. To access the full list of films and secure tickets, you can visit the MSP Film Society website . In addition, there will be several panels hosted by industry insiders, and parties to network with fellow cinephiles. The Minneapolis-St. Paul International Film Festival runs from April 08-19th at The Main Cinema. More Reviews The Social Reckoning October 7, 2026 By: Hunter Friesen Tenzing October 12, 2026 By: Hunter Friesen Animals October 8, 2026 By: Hunter Friesen Digger September 29, 2026 By: Hunter Friesen Hunter Friesen