Review: ‘Narratives Of Modern Genocide’ forces us to stop talking and start listening.

Narratives of Modern Genocide

After the holocaust, the world said, “never again,” yet genocide is happening in the world right now. The stories we forget to tell, of the survivors we never knew, will haunt us until we listen and act. Narratives of Modern Genocide challenges the audience to experience first-person accounts of survivors of genocide. Sichan Siv and Gilbert Tuhabonye share how they escaped the killing fields of Cambodia and the massacre of school children in Burundi. Mixing haunting animation, and expert context the film confronts our notion that the holocaust was the last genocide.

Sichan’s Siv narrative is all too familiar. He suffered unimaginable losses at the hands of the Khmer Rouge, enduring forced labor and the eventual execution of his family. But for Sichan, it becomes a tale of bravery and audacity.  After a failed attempt to escape, he tries a second time, fleeing on foot for three days with only the sun and moon to guide him to Thailand. He is the epitome of “The American Dream”. After emigrating to CT then New York City, he would eventually end up working for President George H. W. Bush as a translator. Think about the gravity of his journey. He went from being persecuted by his native government to becoming a prominent figure in the American government. That’s extraordinary.

Gilbert Tuhabonye was just a schoolboy when he witnessed atrocities that will haunt any viewer. He was the fastest runner in his Burundi community and it served him well when escaping torture and the mass murder of his classmates and teachers. Now living in Austen, he is a motivational speaker, author, retired professional long-distance runner, and a cross-country and track coach. Gilbert also the co-founder of the Gazelle Foundation which provides clean drinking water in his homeland.

We think genocide isn’t as prevalent, but we must learn from our history. The release of this doc is eerily timed with the events of insurrection at the US capitol last week. We have to pay closer attention to the calls of violence. Our democracy is on the brink and vigilance is key. Narratives of Modern Genocide will undoubtedly punch you in the gut. Sichan and Gilbert’s stories are difficult to hear but they cannot be ignored. While this may seem like the story of two men, it is the history of too many. Combined with beautifully drawn animation and starkly contrasted news clips, this doc strikes a cord. It’s important. It must be shown to as wide an audience as possible. It must serve as a warning to future generations.

ON DVD AND DIGITAL
January 12, 2021

Review: ‘The Reason I Jump’ is a megaphone for nonverbal autism.

The Reason I Jump

Based on the best-selling book by Naoki Higashida, translated into English by author David Mitchell (Cloud Atlas), The Reason I Jump is an immersive cinematic exploration of neurodiversity through the experiences of nonspeaking autistic people from around the world. The film blends Higashida’s revelatory insights into autism, written when he was just 13, with intimate portraits of five remarkable young people. It opens a window into a sensory universe that guides audiences to Naoki’s core message: not being able to speak does not mean there is nothing to say.

Based on the book of the same name by Naoki Higashida, The Reason I Jump is an emotional rollercoaster. I was already welling up listening to the opening monologue. The echolalia, the sensory overstimulation, the hand flapping, and ear covering all punched me in the gut when presented on screen. I’m a lucky Mom. At 5 years old, my child is now very verbal, he’s hyperlexic which means he’s been reading since he was two. He loves hugs, sleep, and eats well. On the autism spectrum, he would be closer to Asperger’s, if that were a diagnosis recognized nowadays. None of these facts lessen the fear, frustration, exhaustion, and pure elation in raising an exceptional human being. The Reason I Jump is tailor-made from the words of a nonverbal 13-year-old boy’s experiences from the inside out. In film form, it’s simply triumphant.

In the doc, we are introduced to 5 unique young people with autism.

Amrit (India)
Her mother realized she was using art to communicate. Her paintings are extraordinary, some visually akin to continuous line drawings. It took time for everyone to realize they are snapshots of her day.

Joss -(UK)
His anxiety is palpable. His impulses and tendency to meltdown are understandably unpredictable. Joss’s ability to show unadulterated joy is magic. His parents break down their own existence in the most relatable ways, both the highs and the lows.

Ben & Emma – US
These two have learned to spell with letterboards and keyboards to communicate. Best friends since very early childhood, what they have to say will shock you.

Jestina – Sierra Leone
With Jestina, we tackle stimming and perception by others. Stimming a sensory-driven repetition of behavior like rocking or flapping to self soothe. Sometimes it’s a visual stim, sometimes watching wheels turn or glitter shine. Culturally, her mother and other parents in her autistic adjacent community are told their children are possessed. It destroys the spirits of entire families.

The narrated excerpts from the book directly correlate with whichever child is being highlighted at that time. Voiced by Jordan O’Donegan, they have a poetic feel to their profundity. Naoki writes, “Making sounds with your mouth isn’t the same as communication.” That quote did me in. When you hear that, truly hear it, you will be taken aback. Jestina, Ben, Emma, Joss, and Amrit all communicate in a different way, we just had to learn how to listen. The heightened sound design immerses you into the world of an autistic person. We do not understand what it is like to be utterly overwhelmed not being able to be fully understood. The cinematography is breathtaking. Quick cuts, predominantly in close-up form combined with a gorgeous soundtrack put you in an alternate headspace. The editing takes all these elements and blends them into a viscerally stunning documentary.

As a mother of a child on the autism spectrum, I feel like I can see I want to broadcast this film to the world so that neurotypical individuals can understand my son and every other person on the spectrum. The label of autism, whether people realize it or not, creates implicit bias. We are missing out on the potential and impact of an entire faction of our society. It is our duty to meet each other in the middle. The Reason I Jump is a captivating peek behind the autism curtain. Don’t look away now. Thank you Naoki Higashida for writing this book. Thank you David Mitchell for translating it for your son. Thank you Jerry Rothwell for directing such an important film. Thank you to the families that shared their lives. Watch this film, then choose to listen and learn in a new way.

The Reason I Jump will be in theaters and virtual cinemas Friday, Jan 8th

**WINNER – Audience Award, World Cinema Documentary –
Sundance Film Festival 2020**
**OFFICIAL SELECTION – AFI Docs 2020**
**OFFICIAL SELECTION – BFI London Film Festival 2020**
**OFFICIAL SELECTION – Chicago International Film Festival 2020**
**OFFICIAL SELECTION – Hot Docs Film Festival 2020**
**OFFICIAL SELECTION – Martha’s Vineyard Film Festival 2020**
**OFFICIAL SELECTION – SXSW Film Festival 2020**
**OFFICIAL SELECTION – WINNER’S CIRCLE – DOC NYC 2020**

Review: IFC Midnight’s ‘Hunter Hunter’ is one of the most intense films of 2020.

HUNTER HUNTER

HUNTER HUNTER follows a family living in the remote wilderness earning a living as fur trappers. Joseph Mersault (Devon Sawa), his wife Anne (Camille Sullivan), and their daughter Renée (Summer H. Howell) struggle to make ends meet and think their traps are being hunted by the return of a rogue wolf. Determined to catch the predator in the act, Joseph leaves his family behind to track the wolf. Anne and Renée grow increasingly anxious during Joseph’s prolonged absence and struggle to survive without him.  When they hear a strange noise outside their cabin, Anne hopes it is Joseph but instead finds a man named Lou (Nick Stahl), who has been severely injured and left for dead. The longer Lou stays and Joseph is away, the more paranoid Anne becomes, and the idea of a mysterious predator in the woods slowly becomes a threat much closer to home.

The contentious relationship between Devon Sawa and Camille Sullivan is what makes the initial framework of this film so intriguing. With Anne longing for more traditional stability for her family, Joe thrives in the wilderness. Trapping is just not meeting their monetary needs any longer. With their daughter Renee to protect, they are in for a bigger surprise than running out of food and a rogue wolf on the prowl. Hunter Hunter goes to a place so dark, you won’t be able to get it out of your head.

The survivalist and tracker methods ring true. Sawa, who has been churning out films the past few years, once again holds the audience captive with his presence. I’ve stated before that his talent is often overlooked. His commitment to a role is stellar and he’s a lovely human in real life. Here his portrayal of Joe is steadfast and loyal, with a side of heroic intention. His chemistry with Summer H. Howell as daughter Renee is a touch reminiscent of Ben Foster and Thomasin McKenzie in Leave No Trace. Howell gives a “raised off the grid”, tough as nails, but thoroughly innocent age-appropriate performance. It’s just right. Nick Stahl and Devon Sawa in one movie together, have made my schoolgirl fantasies a reality… in the most satisfying, genre nerd girl way. Stahl is downright scary. You can read the unspoken backstory he’s given himself in his posture and gaze. It’s startling.

Camille Sullivan has been written as a fully nuanced woman, forced to activate her Mother Bear instincts. The power she brings to this film is unmatched. This cast has to not only contend with a terrifying script but the elements of filming in the wilderness. I have so many questions since the credits rolled but the mystery that remains isn’t even relevant when the screen goes black. You are simply left in shock.

That sharp turn in the plot blows up everything you think you know about how this story will end. Your heart will be in your throat for the final 3rd. Writer/director Shawn Linden has given us one of the most disturbing films of 2020. The utter carnage, both emotional and physical, inflicted on this cast is brutal. The visceral horror of that befalls the viewer is skin-crawling and nausea-inducing. Hunter Hunter is complex and precisely crafted. Camille Sullivan‘s performance will go down as one of the most iconic final girls, ever.

STARRING:

Devon Sawa – Nick Stahl – Camille Sullivan – Summer Howell

DIRECTED AND WRITTEN BY:

Shawn Linden

IN SELECT THEATERS, ON DIGITAL & ON DEMAND – DECEMBER 18, 2020

Interview: Adam Eqypt Mortimer discusses his latest film ‘Archenemy’

Once again, our amazing colleague Matthew Schuchman brings great questions to one of the coolest filmmakers in the biz. Adam Eqypt Mortimer brought us Daniel Isn’t Real last year and now we’re jumping into the superhero genre in only a way Mortimer can. With brooding visual similarities and a fresh script, Archenemy (read my review here) is hella cool. Yes, I said it. Matt gets some awesome info from Adam. Wait until you find out who was originally in talks to play Max Fist! Joe Manganiello ultimately landed the role and is balls to wall amazing. The rest of this kick-ass cast combined with a screenplay that keeps you guessing will undoubtedly win you over. Can Archenemy save audiences during one of the weidrest movie viewing years in history? Find out for yourself. The film is now in Theaters, On Digital and On Demand. Check out Matt’s interview with writer/director  Adam Eqypt Mortimer below.

Did you always intend to show Max’s origin as animations?

That’s an interesting question. When I was first writing it I knew that that was always part of the story; that we were gonna see his stories that he’s telling about Chromium. But I wasn’t super certain how I was going to do it. I knew that I wanted there to be a big contrast between the present-tense story, and what we were seeing from the past. So it was kind of a confluence of– I understood how we were going to be shooting the present, but how different can we make the past? One of the issues I struggled with when I was writing the script was the scene where Max is falling out of a giant building and flying through the sky and punching his enemy and all this crazy stuff. If that was hyper realized or looks exactly the same as the rest of the movie, then it would only ever appear as truth. So ultimately, I thought I could do animation. Daniel Noah from SpectreVision and I talked a lot about what it should be and I really came around to animation in thinking about things like, Who Framed Roger Rabbit, and Pink Floyd’s The Wall. Watership Down, too. In ways that those film’s innovations can be very expressive and interact with reality and all of those kinds of things. Then it started to feel like the right move, as long as it didn’t feel like comic book pages or motion comics. It’s not supposed to be referencing comics, it’s supposed to be referencing more. The feeling of this sort of superhero world and how that might present itself in Max’s deranged mind. 

Well, I do also appreciate that the film doesn’t try to force-feed me everything through pointed exposition.

You know, there’s whole scenes of Max and his new friend Hamster walking down the street and Max is telling him all of this stuff about how he had the crystal fist, and the cosmic source, and all this stuff. But,I tended to think of all that, not like an exposition, because it’s not really there to set the stage to advance the story. I thought of it more like music, or decoration, or poetry. You can let all of this madness and all these strange world constructions flow over you and take it however you want. I said to Joe [Mangainello] when we started the process of building the character, “I don’t even care that much if I can understand what you say.” Joe and I are both metalheads and I told him to think about the way he talks as being like the guitar player from Slayer, Kerry King. Like, it’s sloppy and insane, loud and fast, and it’s really not about precise musical construction; it’s about getting some kind of point across through all this other stuff. So that was how I thought about things both in terms of how Max talks and about how he sees things. 

Joe was really amazing in the film, and I feel like no one else could have really been Max Fist. Was he always the first choice?

I’m glad it was him; I think he was amazing. There was a moment though when I was talking to Nicolas Cage about it. We had lunch and talked about it and he was interested in it. He seemed great for it also, because he is somebody who had once almost played Superman, but he had also been in Leaving Las Vegas and one of my ideas in this movie was always; it’s Superman in Leaving Las Vegas— but we couldn’t do it. It didn’t work out with him and so then I got Joe and like you say, Joe is absolutely the perfect person; and a long time ago, also, was up for the part of playing Superman. He was going to be Superman and it didn’t work out and, but you can just see how he is Superman. But it’s not just him as a physical actor. He has so much confidence that he can deconstruct himself into a tragic mess of a man and pull that off too, which is what’s wonderful about it. 

Why does Max care about Hamster so much? Is it just because Hamster is willing to listen to him?

I don’t know, I mean that that’s one of the emotional mysteries of the movie. When you meet Max, he’s somebody who doesn’t care about anybody. He lives this emotional life that he can’t get out of his own head. That’s the journey, and I hope it’s a believable one. I think you get this idea of him talking about how important it was to be a superhero. Then you increasingly see that imagery in terms of people’s love for him, they build statues to him. You start to go like, “wait a minute…” What does it mean to have been a hero and I think by defining things in this tiny relationship between him and hamster, there is a whole different way to look at why you would be a hero. 

I don’t know if it is just me– and this is kind of getting away from the point– but I started focusing on smaller things. There’s the henchman Finn, and he carries this book in his hand but I couldn’t see what the book was. Was it something like, “The Big Book of Zen?”

It’s called; Nihilism for Beginners. There is a frame or two where you can see it. And I’m glad that you are looking for details like that because I put a lot into thinking about the world and all of the characters. Even when they are just in a scene or two, they’re really building part of that universe. The idea with him is, he’s a guy who’s just started to think philosophically about the world and he’s like, “God I’m just a hired hitman goon, but the world is so much more complex.” There’s a scene where he’s interrogating Indigo about this other guy who died but you can see that there’s this incredible sort of sorrow or grief about what he is doing. That was all Joseph Reitman; super great actor. I will always want to do things where there’s tons of fucking violence and bleakness and it’s crazy, but there’s also the theme of empathy and who can have empathy and what does that feel like. There was a little patch of that in that character. 

It’s clear that–and especially from talking to you now– that you had a specific point of where you wanted this to end, but were there thoughts about deciding whether the ending would flip the other way, maybe?

I think it was more a question of how it would play out, or what the timing of it was. The question for me really was, “It’s going to be a story about a betrayal of some kind and a mistruth of some kind.” So where exactly does that play out? Does that play out in terms of everything he said is invented? Or is it that he’s telling the story differently than he should? It’s important to have a narrative twist or a narrative, revelation, but the emotional revelation around it is really the key.

Most movies do kind of give up the kitty a little too early. I love the fact that, as an audience member, just as you may start to believe Max, he’s doing a bump of coke on the stairwell before going in to punch a bunch of guys. 

There’s nothing that gives you superpowers better than amphetamines and that’s one thing I want people to take away from this [joking laughter]. If you’re gonna run into people who are shooting at you with uzis; you take meth. It’s gonna be bad, but it’ll be better that way. 

Has the casting process gotten easier for you, now that your stock is on the rise?

No doubt, Archenemy was so much easier to get done, than Daniel Isn’t Real. With this movie, I had all these people able to see my last movie. Glenn Howerton, Paul Scheer, and Joe; all saw my previous film, and they think, “I love that movie, I would work with this director.” That’s how I was able to get them in it and that’s the wonderful, wonderful aspect of starting to build up a body of work that you can point to. When I was making my first movie, nobody gave a fuck that I wanted to make a movie. None of my set ideals are real, it was like very few people gave a fuck to help stretch my vision. Now they’ve got my back and it’s sort of grown like that in a way. It’s wonderful because the most important thing to me is to be able to attract brilliant people to work with me and particularly get actors who are really good and can really do all of it. So to be able to point to other examples of what I’ve done is a blessing.

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RLJE Films will release the action/thriller ARCHENEMY In Theaters, On Digital and On Demand December 11, 2020. 

Review: ‘Archenemy’ is not your average super hero tale.

Max Fist (Manganiello) claims to be a hero from another dimension who fell through time and space to Earth, where he has no powers. No one believes his stories except for a local teen named Hamster. Together, they take to the streets to wipe out the local drug syndicate and its vicious crime boss known as The Manager.

After hitting indie badass status with Daniel Isn’t Real, one of my top ten films of 2019, writer/director Adam Eqypt Mortimer has given us a new feast for the eyes. Enter Archenemy. If a script can keep you guessing until the very last scene that’s quality screenwriting and directing. Mortimer revamps the superhero genre. This is something that straddles the line between a classic comic book approach and an altogether fresh origin story… with a seriously kickass soundtrack. If you saw Daniel Isn’t Real, and dammit you should have by now, you’ll notice a penchant for saturated jewel tones and dark lighting…  and opening with a wormhole. With the heightened voiceovers from Skylan Brooks, you feel as if you’re watching a graphic novel playing out in real-time. Instead of using cartoony “BAM!” and “POW”, Brooks’ hyped narration does that for you. Add in some specifically stylized animation during Joe Manganiello’s dialogue, Archenemy challenges the audience to take in a larger picture and really use their brains. In my humble opinion, the character of Hamster is not-so-secretly a little slice of Adam. You get that genre fanboy brightness that makes Archenemy as cool as it is. Hamster is also a master storyteller, that’s his art. I don’t think this theory is such a stretch.

The underlying social commentary cannot be missed. Social media monsters and drugs are the newest and loudest villains ( besides this effing pandemic) around presently. All that aside, the story itself is complex in the best way possible. It builds a narrative in which you’re constantly asking questions like, “Is he who he says he is?”, “Is this a mental illness?”, “Does it even matter?!”. The answers are actually beside the point when you’ve got great acting to back up the script. Joe Manganiello is perfection in this role. Once you realize that he’s half hero half megalomaniac your mind explodes. It is in the flaws of these characters where we fall in love with them in earnest. Skylan Brooks brings this “kid in a candy store vibe” that never gets old. I cannot wait to see more of him and Zolee Griggs. She has this mature presence that makes you care for her and understand what a badass she already is.

Archenemy has all the makings of a franchise. I hope we see more of this crew! Amy Seimetz, Glenn Howerton, and Paul Sheer level up this film. Every single cast member gives a nuanced performance. It’s dark and complex and nothing like you think it’s going to be. How often do we genuinely get to say that? You can check out Archenemy today!

Stay tuned to Reel News Daily for interviews with Adam Eqypt Mortimer and Skylan Brooks by our awesome colleague Matthew Schuchman! In the meantime, you can check out the trailer below:

RLJE Films will release the action/thriller ARCHENEMY In Theaters, On Digital and On Demand December 11, 2020. 

 

Review: ‘The Stand In’ pits Drew Barrymore against Drew Barrymore.

The Stand In

When ordered to serve a year in rehab, actress Candy (Drew Barrymore) hires her on-set stand-in to take her place. The unassuming woman flips the script and steals her identity, career and boyfriend in this hilarious comedy about trading places.

Drew Barrymore gets to play two polar opposite roles. Candy Black is character number one. For sure a nod to Drew’s vast collection of lovable characters over the years but with a seriously jaded mean streak. And perhaps also a not-so-hidden, tongue-in-cheek riff on Melissa McCarthy, who gets named dropped immediately in the best way possible. For Barrymore’s character Candy, 5 years after a breakdown on set, she is another person. Her sadness has consumed her. She is a recluse who is court-ordered to go to rehab for 90 days. Frankly, she has other plans. Her second character is the titular role. Paula is seemingly lovely, sweet, and bright, but now also out of a job until she gets an auspicious call to get back on the horse for Candy. Both women get the opportunity to reshape who they are… for better or for worse. You think you know where this story is going, but you’re in for a big surprise.

When they play the same scenes it’s an excellent dynamic. Watching Drew commit to these two women is really fun. You’re constantly waiting for the other shoe to drop. It makes for a heightened watch. It becomes unexpectedly dark. Drew is actually scary to watch. The marketing is doing a disservice to the film. There is so much more to The Stand In than the trailer offers viewers. I hope they can appreciate what comes their way.

It is definitely an interesting commentary on fame and notoriety. There are innumerable moments that will make you cringe but you have to ride them out. The Stand In makes fun of itself in a thoughtful way. The cameos are aplenty and each person is given the opportunity to highlight the trappings of Hollywood with their dialogue. I think that’s what I appreciated most. The dark honesty is what sticks with me as the credits rolled. The entire success hangs on Barrymore’s ability to play two characters we’ve never seen from her before. Congratulations to director Jaime Babbitt for helping a film that’s much deeper than an audience is expecting.

In Select Theaters, On Demand, and on Digital December 11, 2020

Review: ‘What Lies Below’ is a new breed of supernatural thriller.

In WHAT LIES BELOWLiberty, a socially awkward 16-year-old, returns from two months at camp to a blindsided introduction of her Mother’s fiancé, John Smith, whose charm, intelligence, and beauty paint the picture of a man too perfect to be human.
This script does an excellent job of presenting something that feels familiar but layering it with the lust of a teenage girl. Braden R. Duemmler gives us a nuanced look at relationship dynamics wrapped in an enigma of anxiety and fear. We get a fantastic balance of a real-life scenario with the understanding that something is indeed very off about John Smith. The cringeworthy moments are aplenty and that’s a compliment. The character of Liberty is fully fleshed out. I was that girl, in many ways, at 16. While my passion was writing and theatre, I understood the awkward encounters and the sensation of excitement at the thought of an attractive older man having an understanding of the things I liked.  Liberty ends up being a badass through her terror and she is a hero in my book. That’s the kind of female protagonist we need.
Mena Suvari plays Michelle, Liberty’s lovesick mother. She is an incredible foil for Ema Horvath. She plays a kinda lost, flaky mom with serious (albeit warranted) daddy issues. When she essentially chooses John over Liberty you cannot help but detest her. But, their dynamic is set from the very beginning and it is what drives Liberty until the end of the film. Trey Tucker strikes a great balance of charming, smart, slightly weird, and intense as hell. His performance and Horvath’s create the needed mystery and vibration that make What Lies Below such a success.
Ema Horvath is outstanding. Having just seen her in The Mortuary Collection, I was aware of her innate ability to slide into someone else’s skin (no pun intended), but this role fits her so well. She’s bright and self-aware and brings that careful insecurity to this performance. I, for one, cannot wait to see what she does next.
There are subtle classic sci-fi references throughout, leading you to think you know where this is headed. The ending smacked me hard in the face. I was not expecting it and to Duemmler’s credit, I say “Bravo”. It’s a bold choice and I think genre fans will love it. Check out the trailer for a taste of What Lies Below.

Vertical Entertainment will release the supernatural thriller WHAT LIES BELOW on Demand and Digital on December 4, 2020.

Written by Braden R. Duemmler, who is also making his directorial feature debut, the film stars Ema Horvath (“Don’t Look Deeper”), Trey Tucker (The Space Between Us), Mena Suvari (American Beauty), and Haskiri Velazsquez (“Saved by the Bell”).

Review: ‘King Of Knives’ shines light on the dark side of family dynamics.

KING OF KNIVES

ONE BIG CRAPPY FAMILY

KING OF KNIVES tells the story of Frank and Kathy who are baby boomer parents and Sadie & Kaitlin, their millennial daughters. Frank is screaming towards a mid-life crisis. Kathy pretends she’s happy and doesn’t drink that much wine. Sadie is the good child; convinced her first and only boyfriend is the one to marry. Kaitlin is the rebel, the entertainer; the truth-teller who will not filter how she’s feeling.

Over three days, with much drama and humor, this crap-happy family careens and skids straight towards a fateful anniversary. On the way, they realize they are more alike than they know.

Family is complicated. Every generation trying to make life better for the next but ultimately failing in one way or another. You cannot do it all perfectly, that’s not a thing. It is in the mistakes and flaws we accept where we grow as individuals and as one family unit. King Of Knives is a raw and undeniably funny look at regret. It shines in its honesty. It allows its characters to feel relatable with great dialogue and effective editing as the full plot is revealed. It’s a beautifully balanced screenplay, allowing each of the four family members to come to terms with where they fit in and how that might affect the others.

The performances are really great. I have to call out the comic timing from everyone. It’s a natural back and forth I have with my family, like it or not. While we all think everyone is so very different, I reality we’re all just as messed up as the next person in line. Gene Pope, Mel Harris, Roxi Pope, and Emily Bennett do a fantastic job making you believe they are related. There is just enough connection and disconnection for you to buy it completely. They are coated in trauma they ignore and facing it one year later will finally break open family secrets and revelations that will change everyone. Lindsay Joy‘s script feels real from my perspective; the first of four (now adult) kids that all did different things and pretend to be too cool for school most of the time. But we know, deep down, we’re all floundering in one way or another. We’re still better together. King Of Knives hits home for any viewer. Sometimes you have to break it down to build it back up. It’s a “Go call you Dad” kind of film. It’s the perfect holiday film, once you watch it you’ll understand why. It releases today on VOD and Digital platforms. Get a taste from the trailer below.

This refreshing comedy is written by Lindsay Joy with story by Gene Pope and directed by Jon Delgado.  The film stars Gene Pope, Mel Harris, Roxi Pope, and Emily Bennett.  It was produced by Gene Pope, Daniel Sollinger, and Jenn Gomez. The film has a running time of 94 minutes and will not be rated by the MPAA.  Gravitas Ventures will release KING OF KNIVES on VOD and Digital platforms including iTunes, Amazon, Apple TV, Google Play, Fandango Now and all major cable/satellite platforms on Tuesday, December 1.

Review: ‘Thirst’ sinks its teeth into cult status.


The addict Hulda is arrested and accused of murdering her brother. After she is let go because of insufficient evidence, she meets Hjörtur, a thousand-year-old gay vampire. Together they fight a cult while being investigated by a rogue detective.

Gloriously gory and unapologetically in your face, vampire horror-comedy Thirst is a movie about a girl and her unlikely gay best friend. Poor Hulda just wants to stop being blamed for a bunch of murders and find someone to care about her for the right reasons. Poor Hjörtur just wants to play with his food, and as The Prince of Darkness, he can damn well do what he pleases. The performances are wildly funny and the chemistry between Hjörtur Sævar Steinason and Hulda Lind Kristinsdóttir is simply electric. The visual gags, quite literally, are unforgettable. The overt sexualization of the men is genius. If you know nothing going in, you know everything soon enough.

It could have been made by the same filmmakers as genre film fest favorite Fried Barry. The colors, the camera work, the visual mindfuckery. They are cut from the same weird and wonderful cloth. In Thirst, the amount of practical fx and blood are equal parts laughable and joyous. Genre fans will literally cheer. The relationship between Hulda and Hjörtur is what stays with me 12 hours after viewing. You could write an entire television series on their dynamic and I would be there to watch it. The climax of the film is nothing short of a spectacular splatterfest. Combined with the over the top power ballads(which I’m pretty sure is my favorite aspect), this is sure to reach cult status. Stick around once the credits start to roll. Your ears and eyes won’t be sorry.

Direct from a well-received festival run, where it played such fests as ScreamFest 2020, London FrightFest, and Out On Film, Thirst comes to DVD and Digital 12/1 from Uncork’d Entertainment.

From directors Steinþór Hróar Steinþórsson, Gaukur Úlfars comes a high-energy thrill fest with some of the most creative films to grace a screen in years. Hjörtur Sævar Steinason, Jens Jensson, Hulda Lind Kristinsdóttir, Ester Sveinbjarnardóttir, Birgitta Sigursteinsdóttir, and Birna Halldórsdóttir star.

Direct from a well-received festival run, where it played such fests as ScreamFest 2020, London FrightFest, and Out On Film, Thirst comes to DVD and Digital 12/1 from Uncork’d Entertainment.