THE DISRUPTED dives deep inside the lives of of three Americans working harder than ever, as their place in the middle class slips away. For a farmer, a factory worker, and an Uber driver, rising income inequality betrays the American Dream.
What does the American Dream even look like anymore? When I was a child, it was always something cliche like, “Married, with a house, a dog, and 2.5 kids.” When I graduated college in 2002, I moved back in with my parents for a few months transitioning from NYC to California. When I began to hear how many of my classmates had done the same, I was less embarrassed and more surprised. I began to notice my parents discuss money for the first time. How fellow upper middle class families were in way over their heads with newly built McMansions and more than one kid in college at the same time. My mother checked out a scholarship book from the library the size of three phones books put together. (Did you know you can get one for being left handed?) This time, it was for my two youngest sisters that were merely in 7th and 8th grade at the time. It was very eye-opening. Over the last almost 20 years, this has become the norm. Getting a job immediately following graduation and then working at that job until retirement wasn’t a thing people were doing any longer. Now in 2020, with a global pandemic, the economic wealth gap in more front and center than ever before. Gen Xers knew things were bad. Now that we’re parents and the luckiest of us is homeowners, we’ve come to understand that there is nothing equal in this country. In Sarah Colt’s debut documentary The Disrupted, we follow three different workers struggling to keep food on their table and maintain dignity for themselves.
The Disrupted – Trailer from Sarah Colt Productions on Vimeo.
When a movie opens with a silent conversation with a stuffed animal, you’ve got me. Alex hates college, so, so much. Admittedly, it’s awkward as hell. Sharing bathrooms, still eating in a cafeteria, living with weird roommates. Leaving home for the first time can be really hard. The college experience is not for everyone.
Dylan Gelula, as Maggie, has a whole lot more under her cool girl facade. Her performance feels grounded and sincere. She brings confidence that few can convey with such ease and was an awesome casting choice for Maggie. Writer/director/star Cooper Raiff is someone to watch for all the reasons I mentioned above. He is responsible for a film that feels like it could be any one of our stories from college. He takes real care with Alex. This is a character we need to see more of. He allows him to be sensitive, honest, confused, hopeful, vulnerable. Frankly, he’s one of the most brilliantly written characters this year. S#!%HOUSE shines in its authenticity.
The song “Yellow Cotton Dress” as performed by lead actor MacLeod Andrews is something I would listen to on loop. I was blown away by his comic timing as well as his ability to make me weep. A great deal of the film is just Andrews doing his thing. You will be enamored with him. After the film ended, I actually watched a 12-minute video of him recording a chapter from an audiobook. It was outstanding. It was a completely different side to the loveable and vulnerable character of Jack we get in this film. I’m suggesting you cast him in all the things, pronto. Natalie Walker clearly has a handle on comedy as well, taking a seemingly serious angle to Muriel. Her commitment to tone is spot on. MacLeod and Walker as a team are spectacular. Their chemistry just works.
The ending swings from genuinely devastating and to simply beautiful. It speaks volumes about the things we don’t talk enough about to one another. Sometimes all we need is for someone to listen. Sometimes we just need some help. This is one of the most unique scripts of the year. Director Adam Stovall co-wrote the script with Andrews and they’ve given us an entirely different perspective on horror and mental health. A Ghost Waits will undoubtedly surprise Screamfest audiences long after the credits roll. It’s a bit of a genre-bending wonder.
The action is relentless. The editing is pure awesome. The bizarre clues left along the way like breadcrumbs are genius. Ben O’Toole as Rex is outstanding. He gets to play multiple roles in this fast-paced, post heist thrill ride. We get a peek of what’s inside his head as his inner thoughts manifest as an entirely different side of his personality. It’s a brilliant, award-worthy performance.
presents
The performances are outstanding. Truly scary shit. Kyle Gallner as Drew is the good guy, the brains behind the operation. His dedication to Max and Lane may be his ultimate downfall. Gallner is deep in this role, which is no surprise. I am a huge fan of his eclectic body of work. This is no exception. Ryan Guzman as Max is the perfect self-obsessed asshole. Guzman plays the victim very well but walks a phenomenal line between the need for attention and contrition. But it is the performance from Alix Angelis that is fully immersed in terror and sheer brilliance. The entirety of the film’s success is driven by her insane work, and I do mean work. She must have been exhausted after every take.
The practical fx missed with the sound editing made me almost vomit. It took me way too long to catch my breath. The look of the film is spot on. The camera work is cool as hell. But it is the storyline that will suck you in. The entire plot is centered around confession. This demon is looking for something very specific and until then, it will torture and kill until it is satisfied. I could not tear my eyes away from the screen even when I wanted to. Writer/director Damien LeVeck and co-writer Aaron Horwitz know exactly what they’re doing. The social commentary is unmistakable. The Cleansing Hour is full tilt, batshit crazy. The ending… you’ll never see it coming. Stay. Through. The. Credits.
The cast of Eternal Beauty is a dream. The script is magic. Living somewhere between reality and the imagination, Jane exists in a constant state of determined anguish. Her solitary exacerbated by family members who treat her like a second class citizen. She is eccentric and lovable but most notably, mentally ill. She has a need to control her environment, it is her coping mechanism. Always waging war with herself on whether or not her medication is helping or hindering her stability. This is a film about family dynamics, self-discovery, honesty, and more specifically, one woman’s journey to understand herself.
David Thewlis is always a charmer, playing Mike as manic and uneven as we need him to be to match Hawkin’s energy. They have lovely chemistry. Doctor Who fans will be delighted to see both Billie Piper and Penelope Wilton as one of Jane’s sisters and her mother. Piper is the favorite daughter, having grown up to be a maneater who is terrible with money. Wilton is a cruel, domineering matriarch. It is clear that Jane’s affliction is hereditary. Bravo to both Piper and Wilton, they are quite a loathsome pair. 
Sally Hawkins is superb. She has such care for the physicality of each character she embodies. Truly becoming whomever she portrays. She is a pure joy to watch as she navigates the highs and lows. It would be no surprise if she were nominated for this role. She takes this rapid-fire dialogue and pounces on it. At times she is wickedly funny but never letting us forget that Jane’s world is something we will never fully grasp for better or for worse. This feels like the closest we’ll come to viscerally experiencing the mind of someone who is mentally ill. It is truly captivating.
Unsettling, oftentimes ear-piercing sound editing mixed with a 1984-esque storyline makes The Antenna an eerie watch. Set in an unnamed city in Turkey, this film is clearly an allegory for the current (yet timeless) right-wing propaganda spreading like a disease throughout today’s politics. Oppression is the name of the game. The government is installing new tv antennas so that hourly bulletins can more easily be broadcast to citizens. Accompanied by an evil black sludge coming from the new installation that seeps into the pores of high-rise tenants. Once they come in contact with it, their indoctrination is viscerally permanent. The Antenna represents the death of free speech.
The attention to detail in editing (both audio and visual), close-up shots, are all carefully crafted to induce madness in the residents and the viewer. The inspiration writer/director Orçun Behram has taken from Cronenberg and Ben Wheatley is unmistakable. I don’t know how this film was made on a $200, 000 budget. I am genuinely impressed. The Antenna is a highly stylized dystopian horror that will excite genre fans. Its smart script and dark as hell visuals are a real meal unto themselves. I will be waiting with bated breath for whatever comes next from Orçun Behram. You can watch the film in Virtual Cinemas this Friday, October 2nd, and On-Demand/VOD October 20th. Check out the trailer for some more insight.
I am a huge fan of true crime. Whenever I can’t find something I want to watch on television, I’ll immediately turn to one of the numerous 24hr true crime oriented stations and leave it on in the background. My husband and I always joke when an episode begins, “The husband did it.” We laugh because it’s cliche but usually true. Netflix’s new documentary from director Jenny Popplewell is a different approach to this kind of investigation on film. This carefully crafted doc has an intimacy that feels invasive. That is entirely the point. Through eerie bodycam footage, you’re in the room experiencing what officers, friends, and family did as the truth is slowly revealed. The audience feels like they are living this tragedy in realtime.
We are privy to Shanann’s text messages that lead up to these horrific events. We see videos she shared with her followers on social media. Little by little, we see the deterioration of a relationship. Rather than the stale, faceless narration that usually accompanies the genre, we are hearing directly from Shanann as she confronts her own faults, questions her choices, and gets real with her husband Chris, and her closest friends. It is one of the most brutally honest docs I’ve seen. Oftentimes cringeworthy. You’ll think to yourself, “I shouldn’t be reading these messages,” but they are essential pieces of the puzzle.
Once the truth came to light, I was weeping. As a mother of two young children, the same ages as Bella and Cece, I could not wrap my brain around these atrocities. I cannot seem to shake this film. It is a visceral sadness. Fair warning to any viewer with children of their own. This will tap into something primal. The most successful aspect of this film is that it focuses solely on Shanann and the girls. No traditional sitdown interviews with anyone, with the exception of video footage of Chris and the police while he is interrogated. There are zero crime photos or autopsy reports. It is the most humanizing true crime doc out there. Netflix and Popplewell have given genre fans a new form of storytelling and a voice to the victims.
In college, I used to drive 8 hrs, regularly, in my car to visit a boyfriend. I was alone. I drove straight through pausing only briefly if I saw families at a busy rest stop. But, I was alone. John Hyam’s new film is everything I was afraid of happening to me on those long rides. ALONE is a bonafide nightmare. The genius of this script is its simplicity. The relatively mundane encounters build in the most honest and horrifying way. Jessica does everything right. But, once a serial killer has you in his sites, there is no escape, or so you might think. The pacing is absolutely perfect. The sound editing highlights the isolation that is evident in the natural setting. The soundtrack beating it all into you. All combined you feel like you’re in Jessica’s shoes. ALONE is a stripped-down genre winner.
Jules Willcox is a powerhouse as Jessica. Her vulnerability is so relatable making it easy to root for her survival. This is a power dynamic that shouldn’t exist but women, in particular, are used to dealing with it constantly. With an evergrowing population of “incel’ culture, walking with your keys between your fingers, pretending to be on the phone, parking under a streetlight, are all small steps we take to protect ourselves. Women are often deemed too emotional until we are tested by the unimaginable. ALONE exploits all that ingrained fear and mixes it with grief. Willcox nails this role from every angle. Marc Menchaca does a brilliant job with physicality. He comes off as visually harmless but he is downright scary. Perfectly balancing emotional manipulation with the brute strength of a psychopath, you’ll believe he’s done this before.
The opening credits give you a tiny preview of what kind of visual delight you’re in for. Writer/director Guy Moshe has crafted a frightening and dark film. All the more impactful in 2020, when everything we do has now become virtual, LX 2048 is terrifying because in theory, 28 years from now this feels completely plausible. Residents of this new world are ordered to take government-sanctioned antidepressants because the sun is no longer safe to step into. Once you die, you can upgrade to a clone that will seamlessly take your place. That might sound like a dream to some but when does the human experience end and technology take over completely? Is there where humanity goes to die? With the new countdown clock in Union Square now counting down to irreplaceable climate damage, is this film an omen?
The sets make you feel like these people are living in Ray Bradbury‘s play The Veldt. Backlit, padded rooms, where the human is visually connected to a virtual pair of glasses creating their reality. It’s fascinating but emotionally disconnected, which is entirely the point. Besides the look, the engrossing exploration of the meaning of life through technology advancement. LX 2048 could easily be an entire series. There is a lot that gets packed into roughly an hour and 45 minutes.
James D’Arcy‘s performance is riveting. As Adam, he must grapple with the notion that his children are part of this system, that his marriage has deteriorated past saving, and that a “better version on himself” could show up to replace him at any moment. We must sift through his depression, mania, hope, hysteria. It is a roller coaster of emotions for the audience. Many scenes require D’Arcy to speak to people at length that are not actually present. A lot of virtual meetings and calls. It’s like watching a masterclass in acting. Wait for the Shakespeare to drop. You’ve only just begun to see the full scope of his talents.
Lena Olin and Bruce Dern star in Tom Dolby‘s newest film The Artist’s Wife. While Olin plays the wife of a world-renowned artist, the film is centered on her. She has clearly given her entire life to serve and care and nourish her husband’s talent, but her emotional patience has finally run out, and rightfully so. Olin’s performance is like watching a masterclass in acting because it is not “acting”, she is living in this role. Her effortless grace and honesty explode off the screen. Dern, ever the master himself, brings precision and sadness to his character’s circumstance that you will love and hate him all at once. It is captivating.
The screenplay by Dolby, Nicole Branding, and Andi Nazemian about is a woman’s reawakening and the pressures of a caretaker. It skillfully highlights perceived gender roles. At some points actually taking an ax to them. The exploration of the ripple effects of dementia on a family unit certainly rings true. The manic behavior, the confusion, the disdain, and anger all come to a head. It’s tragic and very real.
The cinematography is beautiful. The soundtrack is a spectacular collection of indie hits. I especially adored the placement of Us by Regina Spektor. It’s joyful and perfect. The Artist’s Wife is about loss. But it is also about self-care. It is about sacrifice. Tom Dolby has presented us with a complex look at the human spirit through art and love. You will be entranced from every perspective.
To adore the look of this film is to be, perhaps unknowingly, a cinephile. The black and white cinematography begs for your attention, as does the handheld camera work and editing. Bathed in natural light, you cannot help but be completely enamored with Buck Alamo- A Phantasmagoriacal Ballad from the very beginning. Then color kicks in. Simply beautiful. It screams authenticity. The score has a quaint and sometimes ominous feel that is delightfully matched with the plot. Our leading man pours every ounce of himself into this role. Once he’s given a death sentence by his doctor, he seems to make amends with his children who want nothing to do with him. He does his best to come to terms with the state of his life through music and storytelling.
Oldenburg Film Festival is lucky to share this feature’s World Premiere. Buck Alamo is a family affair, made with love, attention, and creativity. It directly begs the question of legacy. As the music ramps up, so does the plot. This film lives and dies in those musical numbers. And I can easily attest, Buck Alamo – A Phantasmagorical Ballad is very much alive and kicking, ladies and gentlemen. Sit back, relax, and take in all the glory of this incredibly unique viewing experience.
NO ESCAPE puts a modern, social media-driven twist on the ultimate adventure seeker. Think Hostel (2005) meets The Game (1997) as Youtube influencer Cole (Keegan Allen) and his friends fly to Moscow to experience what they think is a one-of-a-kind escape room. Once they arrive, they’re wined and dined by a local rich kid before being led to their final destination. But not all is what it seems. As an avid watcher of all things horror, the setup rightfully lulls you into a false sense of fun with its club scene music, lighting, and awesome camera work. Then the other shoe drops, calling out Cole’s obsession with his stats over his own reality. His cocky persona is knocked down several pegs when he realizes his friends’ lives are in actual danger.
The film is written and directed by Will Wernick (Escape Room, which was fantastic), will easily tap into the younger generation who has literally grown up with social media. At 40, I was around for the birth of chat rooms in 8th grade. As someone who is at the mercy of social media in my work now, I understand the importance and the danger of such platforms. The internet is a weird place. One of the most effective pieces of the script is the ever-rolling comment section of Cole’s videos. It’s a fantastic insight into an audience “in real-time.” While the entire cast does a great job and has believable chemistry, Keegan Allen’s performance leads this film to success. Having been a fan since Pretty Little Liars, then watching his award-worthy skills in 
Now that I’ve has some time to sit on this film, I realize that the entire premise is based on deceit. While centered around the premise of actually getting to a music festival, it is really a selfish trip meant to distract, take advantage of, and use Stacey, the only female character in the film. She is manipulated by her boyfriend so that he can have one last hoorah before being kicked out of the country on an expired visa. He delays their arrival to take in the sites and generally be kind of a douche. While that sounds pretty awful, it’s a great setup for dialogue and genuinely hilarious shenanigans that ensue. Directed by 
Jason Biggs plays Phil, a documentary filmmaker whose conscious ways heavy on him. The Subject is aptly named. Phil made a film about a black 15-year-old whose murder is caught on tape, by him. It’s been two years, he’s worried that Malcolm’s death means nothing back in Harlem. He’s onto his next project but cannot shake the guilt of possible exploitation, nor can the press. His girlfriend wants him to get over it, but Phil tries really hard to do the right thing. After finally attempting to move forward, the other shoe drops. Someone begins filming him.
Anabelle Acosta as girlfriend Jess is very compelling. There is a lot to learn from their relationship dynamic and it comes into play heavily. Carra Patterson as Marley is quite the catalyst for chaos. She gives off a Maya Rudolph vibe and I dug her energy throughout. Nile Bullock’s performance as Malcolm is exactly where the audience needs him to be; balancing the line of an arrogant teen and an innocent child. Jason Biggs is better than ever. He plays Phil with an understanding of power and guilt. It’s stunning. Aunjanue Ellis plays Malcolm’s mother, Leslie. The scenes between her and Biggs are explosive. She represents so many mothers who lose their children to violence. Her performance is the culmination of everything in this film. Cutting through mansplaining and truth, everything leads up to these moments. The Subject is phenomenal in its storytelling. It’s a must-see film. Harlem International Film Festival was a fitting home for its Manhattan premiere. The film has an ending you will not see coming. Congratulations to director Lanie Zipoy and everyone involved in making this film.