SURGE
Joseph (Ben Whishaw, PERFUME: THE STORY OF A MURDERER, the upcoming James Bond film NO TIME TO DIE) is trapped in a soulless job, living a life devoid of emotion and meaning. After an impulsive act of rebellion, Joseph unleashes a wilder version of himself. He is propelled on a reckless journey through London, ultimately experiencing what it feels like to be alive. Whishaw won the Special Jury Award for his role in the film at the 2020 Sundance Film Festival.
SURGE feels like watching a powder keg about to explode. For a film that might seem to begin with inane tasks, the simmering tension becomes consuming. Once that fuse is lit, SURGE is a relentless display of emotional pyrotechnics. The handheld camera work is dizzying, placing the audience in Joseph’s physical frenzy. There are entire scenes without cuts. This is what a master class in performance looks like. Director Aneil Karia, cinematographer Stuart Bentley, and Ben Whishaw had to have established absolute trust to pull this off.
There is underlying violence that feels inevitable as Joseph begins to break. There may be a suggestion of hidden trauma. Ben Whishaw plays every beat with his whole body. His minute idiosyncrasies create an entire backstory. Compounding micro-aggressions lead to ticks, and then ultimately, a total breakdown in civilized behavior. He becomes manic. This is the epitome of base instinct. Whishaw will have you teetering on the brink of terror and awe. He is sensational.
Your heart will be your throat, unable to comprehend how this film could get any more intense. And yet, the stakes just keep getting higher. It felt like a panic attack. The end of the film is only cathartic in the physical sense. A mysterious sadness still hangs over Joseph’s fate. It’s such a bold choice. The combination of this script, Ben Whishaw’s performance, and Karia’s direction make SURGE an unstoppable force.
Debuts September 24th In Theaters
On-Demand Everywhere October 25th
Director: Aneil Karia
Written by: Rita Kalnejais, Rupert Jones
Story by: Rita Kalnejais, Aneil Karia, Rupert Jones
Produced by: Julia Godzinskaya, Sophie Vickers
Co-Producer: Scott O’Donnell
Director of Photography: Stuart Bentley, B.S.C.
Editor: Amanda James
Genre: Thriller
TRT: 105 minutes
Featured clips span generations, directors, and co-stars. Karloff’s prodigious work ethic seemed to rival Alexander Hamilton’s, only they weren’t all winners worthy of a musical. It sure felt like a stretch to watch contemporary directors compliment Karloff’s 1932 portrayal of Fu Manchu, a deeply racist film I’ve only run into at the $5 bin at Target. But there are gems to be found even in these lesser-known films – I was stunned and a little charmed to see a young Jack Nicholson co-starring with Karloff in 1963’s “The Terror” (all of Karloff’s scenes were filmed in 2 days).
Judy Greer, as Lady Elizabeth, is hilarious. The huffy delivery of her over-the-top dialogue is laugh-out-loud funny. The chemistry between her and Lynsky is magic. Her arch is increasingly delicious. Greer gives into the joy of the role. Melanie Lynskey, ladies, and gentlemen. This is a wildly fun performance. She will induce fits of giggles. She’s crass and sloppy and I loved every second. Justin and Christian’s script lets these two actresses be playful and ridiculous. I cannot imagine a better duo.
One of the funniest running gags has to be Hannah’s awkward run-ins with Marcus, another employee, and resident of Wadsworth Manor. This gives actor Wallace Jean solid moments to shine. You’ll remember those scenes. You get a little bit of everything in this script. It’s a stoner comedy, it’s a mystery, and it’s a unique relationship film. When I say relationship, I mean between our two female protagonists. They learn to cooperate and break down barriers in communication in silly and honest ways. Lady Of The Manor is goofy fun, and you can’t go wrong with it this weekend.
Aubrey Plaza plays against type as Lucy. She’s a type-A editor on the verge of bankruptcy. She’s got a lot to prove. On the surface, this is the least brooding role she’s ever played. Unsurprisingly, that’s all a rouse, and Plaza is up for the challenge. Lucy is given a beautiful arch. Her backstory, like Harris’, is slowly revealed. This allows us to fall in love with both of these characters. Sir Michael Caine gives one of his career’s best performances. As curmudgeonly and reclusive writer Hariss Shaw, he has settled into a lifetime of secrets and sadness. At times, Caine is raucous and crass. Others, he is docile and pensive. The chemistry between Plaza and Caine feels like an honest-to-God mentorship onscreen. This is generational genius, and we are the witnesses.
Voracious readers will connect with this script. The film flows like a novel with its complex characters and ever-evolving nuance. The screenplay unfolds in three distinct chapters, befitting the subjects and full story. Both Lucy and Harris straddle the line between saving face and redemption. The passages from Harris’ fictional work touched my soul. I could feel my chest well up hearing them read by average folks along the book tour. By the finale of Best Sellers, I was in full tears. The totality of Anthony Greico‘s award-winning script has so much heart. It’s incredibly cathartic. These two people were meant to change each other. The messaging of identity and grief are undeniable. In the words of Harris Shaw himself, “Be brief, be brave, be truthful. ” Director Lina Roessler has done just that. Best Sellers is not to be missed.
Is this another out-of-this-world Nic Cage movie? Duh. Is it like watching a graphic novel and an episode of MST3K, all at once?! Yup. Overall, the screenplay features the smallest bit of backstory, and perhaps an homage to films like Return To Oz, Mad Max, and even The Wiz. There is so much happening in this wild story. I would not be angry if sequels popped up sooner rather than later. I have so many questions about this world that I’d even love a prequel! Give me all the whacked-out colorful silliness that is Prisoners of The Ghostland. I demand a franchise.
Bill M
This film’s visual is all about vibrant color. Your eyes dart everywhere in an attempt to take in every detail. Joseph Trapanese’s score is gorgeous. You will not be able to ignore it. The costumes are wild, and the set dressing is bewildering. Prisoners of The Ghostland is a genre-defying spectacle. It’s captivating in its eccentricity. It deserves to be viewed on the largest possible screen. You’ve never seen anything like this film. The story is completely disjointed at times, but that’s not a reason to write this off. Will I watch this again because it’s destined to be a cult favorite? You know it.
Frankie (John Pollono), Swaino (Jon Bernthal), and Packie (Shea Whigham) are working-class men that share a friendship bond going back to childhood. That bond is strengthened further by their co-parenting of Frankie’s beloved daughter Crystal, who has spent a lifetime being raised by a loving– if raucous– male collective. This sets the scene for a fascinating character study of a group of men raised in a culture steeped in toxic masculinity who struggle to push back against it but often fall incredibly short. 
At first, Small Engine Repair seems like a dark family drama with a comedic edge. However, it is not until the second act that the viewer realizes that they are in the midst of a thriller. Complex performances by the entire cast gradually build tension through sharp looks, quick words, and complicated histories until the atmosphere on screen is so thick with menace that suddenly, every word and movement is a threat. 
At an impasse of religion and love, the title of this thought-provoking short film suggests that it’s a horror film. While not touted as such, what unfolds in 25 minutes between family members is absolutely horrific. To fully appreciate the nuance in Over My Dead Body takes an open mind. Often, we place ourselves in the shoes of the characters on screen. Here, depending on your religious beliefs (or lack thereof), the complexities are unsurpassed. Having religion forced upon me as a child backfired at the age of about 14. In a world filled with volatility caused by media corporations, conflicting gods, and traditions, Over My Dead Body hits harder in modern times. Our families are supposed to love us unconditionally. What happens when that isn’t true? The cinematography is smart and takes advantage of the lush sets and costumes. Performances from this true ensemble cast are magnetic. You know this family. It resembles your own in more ways than you might realize at first watch. With an ending that will leave you breathless, the impact of this short should echo loudly.
Sefchik’s visual work is nothing short of stunning. This should come as no surprise given his extensive career as a digital artist with the likes of George Lucas and James Cameron. The details are immaculate. While the performances from our dedicated cast veer into the amateur lane at times, their brightest moments come when interacting with what isn’t actually there. That’s more impressive than it sounds. Sefchik also co-wrote the script with producer Derrick Ligas. Social commentary is smartly placed inside a horror film. Themes of environmental destruction, media, and capitalism soak this story in realism. Using personal fears to goad our players into darkness is a brilliant touch. When greed rules, evil prevails. The fact that this entire film was made for $65,000 is mindblowing. Any indie filmmaker can attest to that. BEHEMOTH is a win in its script and most certainly in Sefchik’s mesmerizing VFX. If this is his first foray into feature storytelling, I cannot wait to see, quite literally, what comes next.
Confetti is a heartfelt film that aims to tackle complicated issues of immigration, dyslexia, and the barriers that parents will overcome to provide a better life for their children. 
Confetti is a refreshing insight into the Asian American immigrant experience that is not frequently centered. Director Ann Hu should be commended for elevating complex intersectional stories like this one, even if some plot points feel a bit disjointed or unfinished. Charming performances by Zhu Zhu and Harmonie He animate a touching story of perseverance and sacrifice. 
Let’s start with a confession – I’ll always think of Val Kilmer as my Batman. 1995’s Batman Forever was the first superhero film I ever saw, and that impression was deep and lasting. The car! The suit! Nicole Kidman! That is not to indicate that I am incapable of evaluating Kilmer fairly, but only to say this image of him at the likely mountain-top of his fame has left a lasting impression.
Drugging his family and holding them captive in a bunker aside, toxic masculinity is smartly displayed throughout John’s journey. It appears in a spit fight, inappropriate conversations, and almost drowning a friend. The culmination of these moments keeps you tense and extremely uncomfortable. John and The Hole is unpredictable. I believe the most disturbing aspect of Nicolás Giacobone‘s screenplay is actually the final scene. Not wanting to spoil anything for the reader, I was horrified. The reasons are a complex mix of socioeconomics and Giacobone’s understanding our how the world functions. John and The Hole begs a larger conversation about aggression, pressure, and parenting. Do not miss this film.
Ride The Eagle is a one-of-a-kind film. The script is written by director Trent O’Donnell and star Jake Johnson. Tackling regret, forgiveness, and everything in between, there’s an honesty that stings and inspires. Mostly, Ride The Eagle makes you smile.
The script is filled with quirky characters. J.K. Simmons is fantastic in his manic energy. His delivery makes you involuntarily grin. Susan Sarandon, who we only see in her videotape to Leif, gives us warmth, and wisdom, and a boatload of snark. Her dialogue is yet another example of the care taken by O’Donnell and Johnson in their writing. There is a specificity that allows us to sit in Leif’s emotional shoes.
I want D’arcy Carden to be my new best friend. The scenes between her and Johnson are pure gold. Their chemistry is off the charts. Made even more impressive by the fact that they speak exclusively over the phone. It’s like watching a masterclass in scene partnering. Their report nudges the script into rom-com territory. But, in truth, 
The score is vibrant and incredibly thoughtful. Ride the Eagle shines with heart and charm. It has a palpable vulnerability that makes it undeniably relatable. Of the nearly 200 films I’ve seen in 2021, Ride The Eagle easily soars onto my top 10 list.
If an innocent man was sitting in front of you, would you even know it? This is a question I asked myself several times throughout Enemies of the State, Sonia Kennebeck’s propulsive new documentary. Years ago, movies made these kinds of questions easy on us: there’s that old western stereotype of the gunslinging hero wearing the white hat, staring down a villain dressed in black. These days, our digital lives have complicated that confrontation. In a world where stories of hackers, deep fakes, and police corruption flood the headlines, who can truly be trusted?
In a film where nothing is certain, Kennebeck’s balanced direction is welcomed. Pains are taken to give equal air time to protagonists on each side of the conflict, to keep the viewer in check. I naturally found myself empathizing with DeHart’s family early in the film. In the immediate next scene, the camera lingers on the variety of medals on Detective Brett Kniss’ walls – as if to say, “You don’t want to believe this guy? He’s an Eagle Scout!”
This story might have fared better as a miniseries. In fact, I know it would have. With all the makings of a True Detective style, cliffhanger-filled crime-thriller, nothing quite pans out in a completely satisfying manner. Even at just shy of an hour and 40-minute runtime, there is a ton of missed opportunity and information that would have pushed Midnight in the Switchgrass into greatness territory. As it stands, it’s a bit of a rushed and disconnected mess.
The soundtrack does not help. It feels forced and somehow creates a hokey feel. The editing, particularly surrounding Emile Hirsch‘s flashes, creates a perception that you’re missing some greater storyline. It’s simply unnecessary. There are moments when the acting is so over the top it’s nonsensical. Each character needed more time to develop. We hear about their pasts only briefly. This is yet another example of where further serial development would benefit the entire narrative.
Bruce Willis is underutilized. He could have been any actor playing that role. Megan Fox wavers between totally believable and taken for granted. It’s her stunts that read fake, which is a tad baffling because we know she’s capable of action stardom. I’m not sure who to blame here. In her most recent film, 
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