PEAS AND CARROTS
***WORLD PREMIERE | DANCES WITH FILMS 2024 ***
Evan Oppenheimer‘s hilarious DWF NY premiere PEAS AND CARROTS centers on 16-year-old Joey, the daughter of two one-hit wonder band members from the 90s. A glitch with the kids’ star projector opens a portal to an alternate universe where everybody only says three words: “Peas and Carrots.”
The Wethersbys, your typical New York family of quirky creatives, navigate their musical relevance and the children’s eclectic personalities. Joey longs to take the lead on a newly formed family band, but underlying feelings and said alternate universe has other plans.
The deliberate lens change between worlds is genius. There is a Nickelodeon quality about the entire production, and I do mean that in the highest regard. The score is authentically fun.
Playing the youngest Wethersby, Callum Vinson is adorable as Topper. Talia Oppenheimer has superb comic timing as middle child Mickey. Andrew Polk delivers acerbic wit as producer Woody. 
Amy Carlson and Jordan Bridges are a joy to watch as Laurie and Gordan. Their chemistry is spot on. Kirrilee Berger is a pure delight as Joey. She has a natural star quality akin to Jane Levy or Rachel Sennott. She brings an effervescent energy to the screen.
A clever device comes in the form of a bedtime routine. The dialogue is genuinely hilarious. When Joey enters her dream state, the cast’s commitment to the Peas and Carrots gag is laugh-out-loud funny. Each new scene provides more insight into this mysterious alternative universe. PEAS AND CARROTS manages to weave existentialism into a family film about confidence and identity. It’s a delicious treat, peas, carrots, rhubarb and all. Stick around for the musical credits and a sweet surprise. You’ll be begging for seconds.
Directed by: Evan Oppenheimer (Alchemy)
Produced by: Edward Schmidt, Jay Zellman
Starring: Kirrilee Berger (Unsung Hero), Amy Carlson (“Blue Bloods”), Jordan Bridges (“Rizzoli & Isles”), Andrew Polk (Armageddon Time), Kelly McAndrew (In the Family), Talia Oppenheimer (The Magnificent Meyerons), Callum Vinson (“Chucky”), Laurissa Romain (Top Five), Dan Thompson (A New York Story), Faith Gitchell, Krishna Doodnauth, Angel Desai (“NCIS: New Orleans”), Gabriel Rush (Moonrise Kingdom), Ajay Naidu (Office Space)
Joey Wethersby is a typical 16-year-old New York girl — if your typical New Yorker had parents who were in a one-hit wonder band in the 90’s. And if your typical New Yorker found themselves traveling every night to a bizarre alternate reality, where everybody only says three words: “Peas and Carrots”. Joey finds herself navigating this weird new world, while also dealing with her changing family dynamic, after she suggests that she and her parents (and, to her chagrin, her siblings) form a new band and start rocking out together.
About Evan Oppenheimer
Peas and Carrots is the eighth film written and directed by Evan Oppenheimer. His other films are The Magnificent Meyersons, Lost in Florence, A Little Game, The Speed of Thought, Alchemy, Justice, and The Auteur Theory.
The Magnificent Meyersons is currently on the Starz network, after being theatrically released twice, in 2020 and 2021. Lost in Florence, shot entirely in Italy, was released around the world in 2017 by MGM and Orion Pictures. A Little Game, Evan’s first family film, was called “a classic in its own right” upon its release in 2014, and won Best Feature and Best Actor at the International Family Film Festival. The Speed of Thought, a science fiction thriller, was released nationwide on-demand, as well as in numerous countries around the world, and is currently being adapted for a television series.
Alchemy, a romantic comedy, was subsequently a New York Times Highlight, the TV Guide Movie Pick of the Week, a Washington Post Best Bet, and an Us Weekly Pick. Justice was recognized as the first narrative film to deal with the after-effects of 9/11. It premiered at the 2003 Tribeca Film Festival, and was lauded in The New York Times (“A genuine surprise”), TV Guide (“Admirably subtle”), and The New York Daily News (“There’s no denying the film’s emotional core”).
Evan’s first film, The Auteur Theory, made on a shoestring budget of $70,000, screened in festivals worldwide, winning numerous awards. Reviewers have called it “ingenious”, “among the best first features I have ever seen”, “one of the best independent films of the year”, and “easily the funniest indie film since Clerks”.
After graduating from Yale University with a B.A. in English, Evan was an editor for three years at Atheneum Publishers. He then moved on to NYU Film School, where his student film Cross Road Blues won first prize at the University Film & Video Association Student Film Festival.
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YEAR 10
Somber natural lighting sets the tone for Year 10 from the get-go. The sweeping and ominous score plunges us deep into this near-future reality of sadness and violence. The team raises the bar even further by including heartbeat sounds, heavy drums, and dazzling strings. 
The film is a genuine family affair. Scan the credits for the many Goodgers involved in this magnificent production. Charlie Googger‘s handheld camera work is immersive and beautifully choreographed. Year 10 is quite a feat. This feature-length film with zero dialogue captivates with stunning performances wrought with panic and desperation. Toby Goodger is outstanding. His furious passion and fearless energy carry the entire movie. 
The script juxtaposes two survival styles, one of heart and kindness, and the other savagely selfish and brutal. The lack of dialogue never lessens the intensity. If anything, it allows raw emotion to convey each beat. YEAR 10 taps into the best and worst of humanity’s most feral instincts.
WHEN: Friday, December 6 at 12:45 PM EST
Gasbag – 
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.
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. Read More – 
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 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.
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. 
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.
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.
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.
FALLING STARS
There is a reminiscent feeling in FALLING STARS, some that reminds me of 80s classics like The Gate and The Lost Boys, with the glow of red dashboard hues, flashlights, and the moon being the dominant lighting sources. The cinematography by Bienczycki has an intimacy to it. Karpala’s screenplay is just downright cool. It is genuinely refreshing to witness masculinity based on regret and an apologetic undertone.
J. Aaron Boykin is the mainstay of this film. As radio DJ Barry, he opens the film and acts as a narrative conduit for Mike’s panic. Andrew Gabriel is Sal, the middle brother. His caring nature and fixer attitude beg your attention. Shaun Duke Jr. gives Mike a tentative bravery and a strong sense of responsibility. He is the protector, for better or for worse.
Saoirse Ronan narrates the constant temptation in scientific terms while scenes of alcoholic behavior play against her words. Rona’s work in rehab is beautifully juxtaposed with her nature work in Orkney. This narrative device becomes a repeated reprieve from her reality. It feels poetic.
Saoirse Ronan is spectacular, delivering a raw portrait of a fractured and flawed woman. Rona is incredibly lonely, seeking genuine human connection. When drunk, she is emotionally abusive. Saoirse explores every facet of sickness and redemption. It is a nuanced turn. Give her an Oscar already.
TIFF 2024
Sook-Yin Lee
Johnny Ma
Joseph Kahn
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CLOSE TO YOU
CLOSE TO YOU
CLOSE TO YOU
Augmented color choices in STRANGE DARLING give the film a devilish and addicting quality. The score is grating and decidedly ominous- A genuine compliment. The lighting is simply delicious. The soundtrack is fire, as the kids say. 
Fitzgerald and Gallner’s chemistry is sick. There is an undeniable electricity between them, and it’s like watching a a sexy car crash happen in real time. The plot is spectacularly unpredictable. Don’t bother guessing from moment to moment, even though Mollner’s script hypes you up to do so. The sheer number of “Oh Shit” moments! Slow clap, sir.
CUCKOO
Abandonment and unresolved trauma collide with a monster movie and mad scientist in Tilman Singer‘s (
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Ladi Emeruwa is a star. He exudes effortless charm, diving headfirst into Eddie’s unresolved trauma and the ensuing panic attacks. Emeruwa’s ability to grab the audience is a filmmaker’s dream. He has that ” It” factor in spades. 
The score is proper neo-noir, but the volume is often distracting. Filmmakers Bertie Speirs and Samantha Speirs deliver a well-crafted thriller. Eddie has dreams with flashes of memories or fantasies. We aren’t exactly sure. His lost time ups the ante. They skillfully tease a mysterious backstory so the audience constantly questions Eddie’s possible culpability. MIDNIGHT TAXI takes you along for a complex psychological ride.
ONE FOR THE ROAD
Based on a Stephen King story, Daniel Carsenty‘s short film ONE FOR THE ROAD is here to terrify LA Shorts International Film Festival audiences with its world premiere. 
Synopsis
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