THE FIX
Filmmaker Kelsey Egan brings audiences THE FIX. The near future film occurs where toxic air is slowly poisoning the population, and only the wealthy have access to treatment. Ella exists in the shadow of her recently deceased supermodel mother. Thinking she’s taking a party drug, Ella accidentally ingests an experimental synthetic, causing accelerated and unpredictable mutations inside and out. Ella becomes the target of both the drug dealers and global big pharma Aethera. THE FIX is much more nuanced and endlessly intriguing. It is sci-fi, action, thriller, and everything in between.
Icon Clancy Brown plays Aethera patriarch. Anytime he appears in a film, it elevates the entire production. Robyn Rossouw delivers a fear-soaked performance as Ella’s best friend, Gina. Huge accolades for Keenan Harrison and Tina Redman as they prove their acting chops, but I’ll let you discover their vital roles on your own. It is truly A+ work from both.
Daniel Sharman gives Eric zen confidence before revealing a sinister motive. The arrogance pours off of him. He is perfectly punchable in his underlying deep-seated daddy issues and self-loathing. Grace Van Dien (Stranger Things) owns this film. She gives Ella similar energy to Mila Jovovich in the Resident Evil franchise. Van Dien is an effortless badass. With each new role, she proves her talent. I hope she’s getting the dollar amount she deserves.
Production is spectacular. Props are sleek, costumes are clean but unique, and the sets are just as applause-worthy in their minimalist glory. The special FX makeup team gives us top-notch originality.
The script mimics global politics with a razor-sharp edge. COVID is undoubtedly an inspiration, and the similarities to something like Spiderman are undeniable, but THE FIX offers a unique version of the origin story trope. Beautifully woven into Egan’s work, you cannot miss the magical creature allegory.
THE FIX could seamlessly expand into a multiple-season series. There is so much well-developed canon that audiences would tune in without hesitation. Tackling ethics, capitalism, and the fragility of humanity, THE FIX has arrived to entertain and challenge.
The Fix Trailer:
Available on VOD this Friday, November 22nd
Synopsis
A toxic compound infects Earth’s atmosphere. Pharmaceutical giant, Aethera, sells immunity… but most can’t afford the daily dose. When a troubled model takes a new drug at a party, she suffers a shocking transformation. Pursued by a dangerous gang and authorities in cahoots with Aethera, she hunts for a “fix” to reverse the drug’s effects, only to discover her mutations may be the key to saving the human race.
Director: Kelsey Egan
Producers: Greig Buckle, Allison Friedman, Jeremy Walton, David Lyons and Egan
Executive Producers: Showmax, Moo Studios and Van Dien.
Cast: Grace Van Dien, Daniel Sharman, Keenan Arrison, Tina Redman, Robyn Rossouw, Tafara Nyatsanza, Nicole Fortuin and Clancy Brown
Genre: Sci-Fi Thriller
Language: English
Runtime: 98 minutes
THE SHADE
Laura Benanti plays the family matriarch, Renee. She adds authentic warmth to every role. Even if her scenes are few and far between, she steals every single one. Dylan McTee plays the eldest brother, Jason. He exudes hurt with an overly aggressive demeanor that perfectly suits the role. 
There are a few particularly memorable shots by cinematographer Tom Fitzgerald. Heather Benson and the makeup department give us startling work. They deserve all the applause. 
What gets the pulse-pounding is undeniably well done. Chipman and cowriter David Purdy use dreams as a gateway to terror. Perry Blackshear‘s 
DREAM TEAM
Agents No and Chase (Esther Garrel and Alex Zhang Hungtai) leisurely follow the trail of deaths but mostly sport tight clothes and make innuendos. The script occurs in episodes featuring a repeated title sequence and undeniably clever cheeky titles.
The script is intentionally utter nonsense. If you want to learn about coral, DREAM TEAM is your jam. Performances across the board are spot-on for mediocre porn overdramatics. I feel like watching on mushrooms would be an experience. There are so many moments of WTF I lost count 30 minutes in. At that point, it is best to throw your hands up and tell yourself, “Sure, why not?” My favorite scene involves an invisible coworker. I was also thankful for the break in what I assume are meant to be channel surfing breaks in the narrative pattern.
It is easy to see why Jane Schoenbrun acts as executive producer. The neon color pops are right up her alley. Listen, coming from someone who starred in two of these things many years ago – do not even try to look that shit up on the internet, I will hunt you down- DREAM TEAM owns the bit. The question remains whether audiences will tolerate it for 90-plus minutes.
HIPPO
Daruma deals with addiction, PTSD, and redemption in an honest way. There is zero sugarcoating. Immersive camera work helps place the viewer in Patrick’s emotionally injured mindset by placing the camera in his lap whenever he gets intoxicated in a club. Yellen’s overall cinematography is spectacular. His choice to mix follow shots, close-ups, and stunning drone footage while our players embark on their road trip captures Daruma’s vulnerability and heart. 
John W. Lawson is undeniably charming as curmudgeonly neighbor Robert. His nuanced backstory is the perfect foil for Tobias Forrest. You’ll fall in love with him. Forrest gives his all, leaning into Patrick’s flaws and working to find his suppressed humanity. Forrest nails each beat. He and Lawson share relatable chemistry. It’s a dramedy duo you didn’t know you needed. 
Rob Morrow
The script is relatively predictable, except for one late reveal that had me simultaneously yelling, “WTF?”. It’s something you’ll have to witness to understand. Overall, the editing and storytelling style feels disjointed. Even at only an hour and thirty-plus minute run, the cuts feel like snippets of a Law & Order series rather than a single film.
Based on the harrowing true story and book of the same name, Andrew Boodhoo Kightlinger’s Lost on a Mountain in Maine follows 12-year-old Donn Fedler‘s nine-day journey lost in the wilderness. When a father-son hike goes awry, Donn must fight to survive. 
The film opens with archival footage of one of the 1939 searchers as he describes the danger of the terrain. More interviews interspersed throughout the narrative, with Donn’s childhood friend and brother Ryan, reinvigorate your emotional investment. Idan Menin‘s cinematography, Andrew Drazek‘s editing, and Garth Stevenson‘s truly affecting score come together beautifully.
Caitlin Fitzgerald delivers a lovely performance as Ruth Fedler. She captures that mother-child bond perfectly. Ruth’s relentless efforts to find help are inspiring, and Fitzgerald nails her calm ferocity. Paul Sparks, who I loved as gangster Mickey Doyle in Boardwalk Empire, plays Don Sr. with a much-needed complexity. Fitzgerald and Sparks have a genuinely sweet chemistry. 
Luke David Blumm is outstanding as our lead, Donn. He is spirited and charming, effortlessly filling the frame with each fully fleshed-out beat. He’s a star.
CELLAR DOOR
The set is marvelous. Wood-paneled rooms mixed with modern updates, a sprawling terrace, and an exterior straight out of Great Expectations, the audience falls in love with the house at first glance.
Beautiful camera work has an immersive feel. Eccentric production design initially mirrors Anx’s graphic artist occupation, eventually morphing to match the ever-evolving circumstances of the disease. There is a Tim Burton/JimHenson-esque quality to the creature fx. A grotesque whimsy that makes it difficult to look away.
Matthieu Sampeur and Edith Proust give us magnificent performances. The script possesses a dark inevitably the longer they are together. Director Thibault Emin, alongside co-writers Alice Butaud and Emma Sandona, delivers a surprising link to childhood trauma in Anx. The existential aspect creeps up on you and burrows under your skin. The psychosexual element is bonkers. ELSE is a genre-obliterating love story.
THE HOUSE FROM
The editing is clever. For example, one former owner of Jesse’s house in Breaking Bad house was a teacher, so Avallone cuts to scenes of Walter White in his chemistry classroom. She was able to buy her son his first car from the profits of filming. On the opposite end of the spectrum, the current owner of Walter White’s house aggressively hates tourists.
THE HOUSE FROM counters this negative fan experience with the owner of The Goonies‘ home. Susan Preston got a bad rap. This redemptive story is authentically heartwarming. Bushnell Ave, in South Pasadena, is the ultimate film fan’s dream. From Back to the Future to Old School, it boasts several famous houses, and the owners love the fans. The Rubio House in Altadena is iconic. I lost track of the number of films and television shows listed by the owner, Liz. Ethan Embry visits the house, and his excitement and nostalgia are infectious.
The doc also uses TikTok and other social media clips of fan visits. The behind-the-scenes footage from Home Alone takes the cake. The lovely neighbors across the street took camcorder video from their front yard during the 1990 production, and it is a coup for Gen X and Millennials.
2. The varying visual aspects are so cool, from the black and white to the halo effect. Those specificities keep the audience relatively grounded in Jack’s chaotic “space and time.” What did this storyboarding look like? With all the elements involved, I imagine it was a huge wall or an entire room.
4. Can you tell us about casting Kelly Marie, Chris, and Jack? Their chemistry is magic. Did you let them play with dialogue during the shoot?
5. The set is incredible. As a theatre nerd, it was immersive enough for the imagination to fill in the blanks and for the cast to play on. How did you decide on a unit set?
6. Would you and Nik consider a franchise with new characters? I would be the first person watching the interactions of other people’s minds swirling with what-ifs!
A sweeping opening shot accompanied by Riccardo Amorese‘s booming cinematic score immediately grabs your attention. The location is exquisite, with sprawling grounds and old-world villa architecture. THE COMPLEX FORMS is visually spectacular at every turn. Our mysterious entities remind me of the darkest Jim Henson creatures and Moana’s villainous crab, Tamatoa.
David Richard White gives leading man Christian an intriguing mix of fear and determination. Aided by D’Orta’s sharp cinematography, White compels you to root for him.
You’re damned if you do, and you’re damned if you don’t. In Benjamin Wong‘s Screamfest 2024 film BA, a father in dire straights makes a supernatural bargain with hideous consequences. On a mission to provide a better life for his young daughter, Daniel must reap souls until he settles his debt. His appearance is a decaying skeleton, names carved into his skin, and physical touch kills any living thing. But, if he breaks the otherwordly agreement, it could be deadly.
Daniel’s challenges are plenty. Besides the Faustian bargain, he must keep his features hidden from his daughter. If she comes in contact with her, she will perish. He makes extra cash by working nights for a near-blind convenience store owner. He walks in the daylight draped in clothing to conceal his literal Death mask. With Collette missing school, Daniel must also dodge child services.
The FX makeup is sleek and scary, and the team matches Daniel’s reflection moments. Kai Cech delivers a lovely performance as Collette, giving her natural innocence and an appropriate fear of abandonment. Lawrence Kao gives a relatable turn, making impossible decisions that any parent would replicate in his position. It is a nuanced role, and Kao brings us along on his emotional rollercoaster with gentle hands.
GHOST GAME
I have mad love for 
As an Autism Parent, Vienna Maas does a lovely job portraying Sam, a child on the spectrum. Writer Adam Cesare handles it with such care. I genuinely appreciated both the delicate touch and the representation, so cheers.
Aidan Hughes is hands down one of the best players in this ensemble. His chameleon shifting is bone-chilling. Kia Dorsey gives Laura a fearless passion. She begs your attention in the morally grey area she exists in. She effortlessly leads this large cast, and I look forward to whatever comes next. Casting directors, get your eyes on her ASAP.
Based on the 1957 stage play The Kitchen by Arnold Wesker, filmmaker Alonso Ruizpalacios brings LA COCINA to the big screen. This exquisite drama follows the staff at a restaurant in Times Square and the coordinated (and uncoordinated) chaos behind the scenes. It is a beautiful character study that will punch you in the gut.
SYNOPSIS: It’s the lunch rush at The Grill in Manhattan, and money has gone missing from the till. All the undocumented cooks are being investigated, and Pedro (Briones) is the prime suspect. He’s a dreamer and a troublemaker, and in love with Julia (Mara), an American waitress who cannot commit to a relationship. Rashid, The Grill´s owner, has promised to help Pedro with his papers so he can “become legal”. But a shocking revelation about Julia compels Pedro to spiral into an act that will stop the production line of one of the city’s busiest kitchens once and for all.
In filmmaker Ludvig Gür’s IN THE NAME OF GOD, a young priest struggling to inspire his congregation rekindles a relationship with his long-lost mentor. Jonas’ Old Testament-style promises of a higher calling come with a caveat. The Lord grants him special healing powers only when Theodor sacrifices bad people.
Performances are solid across the board. Thomas Hanzon gives Jonas a self-assuredness that simultaneously comforts and terrifies. It is an effortlessly unsettling turn. Vilhelm Blomgren is journalist Erik. Blomgren represents the audience in an emotionally turbulent performance. 
THE LINE
The script never shies away from the cringiest of frat behavior. Don’t feel bad for your repeated eye rolls. The soundtrack is perfect for 2014.
Austin Abrams gives pledge O’Brien a much-needed vulnerability within the hyper-toxic masculinity but also counters with his own brand of hideous aggression. Much like Tom’s, his facade is more nuanced than at first glance. Abrams is great as he challenges the system. Bo Mitchell plays Tom’s roommate Mitch Miller with an infectious exuberance. He’s a hurt kid who overcompensates for not fitting in. Mitchell is spectacular.
Alex Wolff instantly became a legend in Hereditary. As Tom, he plays both sides of the card. Tom is a genuinely good person and a weak sheep, and Wolff pulls it off effortlessly by digging into Tom’s unresolved trauma. He delivers an emotional rollercoaster for the audience.
THE LINE has an authenticity that is infuriating, which is a compliment. It touches on privilege in a marvelously slick manner. The film boasts a finale that is nothing short of perfect. THE LINE is a film that every parent should watch and something every frat brother should acknowledge.
Stories from staff, families, and residents tell tales of daily transgressions that build over time, ranging from laundry, food choice, incontinence care, medication changes, falls, and worker burnout due to understaffing. The film utilizes beautiful, childlike drawings as transitions and storytelling devices. Cell phone videos of neglect will break your heart. Photos of resulting abuse may take your breath away.
Then COVID-19 and 2020 made things so much worse. Once their failures are exposed, the government protects nursing homes from lawsuits sighting the pandemic and loss of workers. In each case, once regulations appear, they apply only to staff and never to the corporations behind the individual homes. These workers are the essential piece of the puzzle between a new standard of care and honoring their relentless efforts to do the right thing. The film delves into racism, the reductive overview of the profession, the label “women’s work,” and how simple changes would make all the difference.
The corporate lawyers use vile tactics to diminish their role, often attacking the family members with shaming language. Melissa explains this by giving her clients mock cross-examination examples to emotionally prepare them for what is coming in litigation. Another way they try to determine litigation is to delay and then drown Melissa and her team in documents. By giving her the runaround, they hope she will give up. They don’t know Melissa Miller.
The personal connections between legislation and privatization will shock no one. STOLEN TIME lays it out for you. The systemic failure, profit over people, no regulatory oversight, long-term residents are unnecessarily suffering. STOLEN TIME is about accountability and justice. The goal is an overhaul of the system. When we say long-term care, the keyword should still be “Care.”
TEACUP
Ep 1: Think About the Bubbles
BAD GENIUS
What begins as a favor to one morphs into a financial opportunity for Lynn. Using her staggering math skills, Lynn initially creates a secret code to pass test answers to a small group of acquaintances. As the scheme grows, so does the danger. The stakes get even higher when the SATs come around. Lynn must recruit help from the only other student needing tuition funds. A borderline insane plan comes with a price tag bigger than any dollar amount.
This cast is fantastic. Benedict Wong plays Lynn’s hardworking widower father. He is a lovely addition to the film. Performances from Jabari Banks and Callina Liang are the anchors. Banks delivers vulnerable energy that perfectly mirrors his character’s backstory. Liang effortlessly leads, giving Lynn a slick confidence from start to finish. Focusing on a whip-smart female lead is a winning strategy.
The script begs the broader question, “Why should three hours on a Saturday morning determine the rest of our lives?” In a system that is entirely rigged by and for the wealthy, why not beat them at their own game? Some systems deserve to break. BAD GENIUS will captivate audiences who have testing PTSD and parents who know it’s coming for their kids. It boasts a deliciously satisfying finale. Tens across the board. A must-see.
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