Presents
Bart Freundlich’s new film WOLVES
From the famous courts of West 4th Street, to the tenements overlooking the bridges of the lower east side, Wolves paints an original, diverse, and emotional portrait of a boy becoming a man in New York City. 18-year-old, Anthony Keller is a high school basketball star. Now in his senior year he is being recruited by Cornell University, a dream come true. Called “Saint” by everyone at his school (St. Anthony’s), he does his best to live up to his name. He is captain of his team, a good student, has a long time girlfriend and some good friends. But the ease with which he moves through his life is a facade. At home, Anthony struggles with his troubled Father, Lee Keller, (Michael Shannon) and his gambling addiction. Anthony’s Mother, Jenny, (Carla Gugino) has made it her mission to keep the family afloat but has done so only with great emotional and financial sacrifice.
As Anthony approaches the end of his senior year and the city finals, he is faced with adversity from all sides, and the stakes are high. He must find his own definition of what it means to be a man, both on and off the court, and in doing so he is confronted with the decision of a lifetime.
There is definitely more than meets the eye to this coming of age, high school basketball story. Newcomer Taylor John Smith plays “Saint”, a kid trying desperately to make everyone around him happy. He is emotionally stretched thin and like many high school students who want/need to achieve their lofty dreams, finally meets his breaking point. WOLVES is filled to the brim with fantastic performances. With a heavy hitting cast alongside Smith, there are more layers to this film, and it all comes down to perspective.
Smith’s lead performance is natural, endearing, and powerful. The abusive aspect of the film coming directly from Michael Shannon (as his father), is tough stuff for any actor. But for Smith to easily go toe to toe with a vet like Shannon, all I can say is, “Bravo.” Speaking of Shannon, he plays a real self-loathing scumbag. Unhappy and resentful professor with a gambling addiction, he not only doles out physical abuse to his son but a heavy handed dose of emotional as well. Shannon gives a performance closer to his early seasons on Boardwalk Empire, short fuse and potentially underlying sociopathic tendencies. Carla Gugino is better than ever as the mother trapped in a marriage of frustration and protection of her son and her own sanity. Grittier than her performance in Match but equally as wonderful. For me, the most noteworthy role is one of the smallest. As a momentary surrogate father figure, former pro-baller and wise truth speaking guru, John Douglas Smith is a master. Some of the most impassioned moments in the script come from the mouth of this character Socrates (aptly named). I could have watched this man wax philosophic for the entire film. He was the grounding force the script so desperately needed, as not to lead it into after-school special territory.
On the whole, you will route for WOLVES and the storyline. You can catch the film in theaters and On Demand, tomorrow March 3rd. Check out the trailer below.
In Theaters & On Demand on March 3rd
RT: 110 Minutes
This truly entertaining doc lets us peek behind the feathers and into the lives of a troupe of very awesome entertainers. Often times the perception of Burlesque is objectification. This is totally misleading. The art of burlesque is about empowerment. It is not about having the perfect body, in fact, some of the best dancers are not the shapes we expect. Infusing sexiness, glamor, and humor is all part of the special form of performance. Here are a few introductions to the individuals we get to meet in the film.
Zora Von Pavonine, one of the stars featured in the film, spends every waking minute perfecting her act and 
We also meet Angelique DeVil, a college graduate and a dancer by trade, who credits burlesque for allowing her to express her various “personalities” – thus making her alive!
Lastly, Isaiah Esquire, is often referred to as “Glamazon.” He confesses that dance has transformed him from a shy, stuttering teenager who suffered from body image issues to a confident performer, dancer, and teacher.
With the perfect balance of intimate sit down interviews, backstage/rehearsals, and full-out performances, BURLESQUE: HEART OF THE GLITTER TRIBE is as enjoyable to watch as it is to be in awe of. You can watch the film
SYNOPSIS: When a photographer (Abbie Cornish) suffers severe memory loss after a traumatic accident, strange clues amongst her photos suggest she may be responsible for the deaths of family members she never knew she had. Justin Long plays a psychiatrist who helps her recover lost memories.
In Lavender, Abbie Cornish‘s character Janie is haunted by memories old and new. Trying desperately to reconnect to her childhood, she is drawn back to the home she once lived in and where her family was massacred. Problem is, she has zero memory of anything involved in that time or space. A car accident has triggered someone or something to send her mysterious gifts to help along the way. Her daughter Alice is being affected as well. Can Janie put together the disturbing clues in time to save history from repeating itself? A speeding ticket lawyer is a legal professional who practices law and focuses mostly on vehicular traffic infraction and other crimes related to this particular offense. This is an important matter because many people who commit this may overlook this and take it for granted or forget about it. If this happens, the crime may become a bigger issue. An attorney who specializes in this particular field is specially trained and educated to defend his client for charges associated with this offense. If you want to get more details, then visit 
Cornish is wonderful in this role. It’s a subtle and believable performance under truly bizarre circumstances. Dermot Mulroney plays her only living relative and uncle. His genuine and seemingly even paced presence is a gift to the film. Not to be left out is the altogether unsettling Justin Long. As Janie’s doctor, there is something a little extra strange about his character that will drive your brain to do somersaults as the plot twists at every turn. A bit of a departure from his usual fare, there is no denying his talent here. Nothing but praise for the entire cast as the chemistry is palpable. Director Ed Gass-Donnelly uses music and sound to his advantage to build the unease. With co-writer Colin Frizzell, the script will challenge you at every turn. Clever use of what appears to be a 360-degree camera and quick cuts only adds to the suspense. You will not figure it out until the final 10-15 minutes of the film. Lavender is a thrilling little gem.
My Name is Emily is a stunning coming of age film. Evanna Lynch shines in this complex role of a sad and brilliant young lady. The layers of this character come from the outstanding script from writer/director Fitzmaurice. Infusing philosophy, literature, poetry, loss and teenaged angst all intertwined into a story of finding oneself through letting go and letting people in. Michael Smiley is as wonderful as he’s ever been, touching the cornerstone of every possible emotion. George Webster, in particular, is one hell of a find. His natural ability to draw you in is reminiscent of the late Anton Yelchin. He will seduce you with his awkwardness and charm the pants off you all in the same scene. The honest chemistry between Lynch and Webster makes this film what it is. Another high note (pun not intended) is the glorious soundtrack. Each song evokes a familiarity that seems to fit perfectly into the moment. With a cool mix of voiceover moments and flashbacks, My Name is Emily is a true delight.
A film by Justin Kelly
WRITTEN AND DIRECTED BY:
The film overall was underwhelming. The acting did hugely improve as the film went on, however I believe it really could of been better if select parts of the story had been done differently. The overall theme that I think 
Some if us had great childhoods. Others, perhaps a rocky road. Abuse in a family can cause rifts both seen and unseen. How far would you go to protect your loved one? In Soham Mehta‘s new film, RUN THE TIDE, a young man is faced with the biggest nightmare so far. The return on his abusive mother now threatens the life he’s provided for his younger brother. Can time heal everything?
RUN THE TIDE stars Taylor Lautner (The Twilight Saga, “Scream Queens”), Constance Zimmer (“UnREAL,” “Entourage“), Kenny Johnson (“Bates Motel,” “Secrets and Lies”), Johanna Braddy (“UnREAL,” “Greek”) and introducing Nico Christou. Lautner gives a viscerally raw performance as the older brother who endured years of physical and emotional abuse at the hands of his mother, played beautifully by Zimmer. It’s a far cry for both, as we’re used to seeing Lautner is action roles these days. He easily wears his heart on his sleeve and proves we’ve been taking his acting chops for granted for far too long. Zimmer’s role is about as unglamorous a departure from the hit series UnReal as you can get also showing her immense talent. The chemistry between Lautner and newcomer Nico Christou is out of this world. Their bond feels anything but forced and they make the film what it is. Christou’s natural abilities are vastly beyond what you’d expect from someone his age. The soundtrack is one of the first things that captures you in this film. The thoughtfully chosen songs are ones that make you want to close your eyes and breathe. Writer Rajov Shah takes the entire film to present the back story and it comes off as completely organic in pacing. Run The Tide is a nice film about second chances and the realities for sacrifice.
When we all graduated from high school, we had big dreams. Perhaps, moving away from home and starting a career, finally being able to go out when we wanted, eat what we wanted, buy whichever shoes she wanted from 
presents
Coal Country, West Virginia is filled with workers whose way of life has been ingrained for generation after generation. It proves to put food on the table but at what cost to personal health and the destruction of the environment in what is most definitely a dying industry. In this tumultuous election season, we saw a lot of promises. Locals voted to make their lives better, and we all cross our fingers that it doesn’t end up being against their own self-interest in the end.
Much like the Detroit, someone who cares and wants to give these folks a real new beginning, has a wonderful opportunity to come in and set up shop. Bring hope to these threatened lives. With renewable energy costing less and less each year, we as a people are moving away from destruction and towards the future. Riddled with corruption by the local government since the start of the industry, why would any local vote for a candidate being touted as “elite” and “Washington insider”, regardless of a record of working her entire life for the betterment of families? I have a hard time believing that a man, whose entire life has revolved around himself and making money off the backs of hard-working people, a man high in his towering glass highrise, is going to keep the promises he made. Maybe this will finally be the hard lesson coal country needs to learn, but what an awful loss that’s coming along the way.
AFTER FIRE
Director Justin Kelly‘s intense film comes out of the gate with a bang and does not let up until the final frame. It’s a no holds bar look at the gay porn industry and those inside it. Whether you are at home on your PC, or out and about 
Christian Slater hits a grand slam in this titular role. He walks the thin line of creepy and sad with perfection. Even though you know his character is taking full advantage of his “employees”, somehow you still feel for him. Garrett Clayton, who I had not seen previously, blew me away as our young sought after “Brent Corrigan”. I was convinced they had found a porn star that could, in fact, act really well. 
Sometimes, when you get really lucky, you get to be part of movie history. When Kevin Pollak got the call that he was going to direct a movie version of Ken Baker‘s Book, “The Late Bloomer: A Memoir of My Body”, I was in the room. We were just sitting down for a small roundtable interview for his Tribeca Film Festival Film documentary 
They say you can never go home again. Maybe some of us should heed this advice depending on the skeletons in our closets. In Thomas Dekker‘s new film JACK GOES HOME, Rory Culkin finds himself playing the title character whose loss might be his greatest gain. Or maybe it’s the other way around.
I’ve see a horror film or two in my day, but I’ve never seen anything like Jack Goes Home. The story appears to be straight forward: Jack’s parents are in a car accident. His father dies and he goes home to take care of his mother, who has survived. When something goes bump in the night, he is compelled, by his father’s own words, to explore his childhood like never before. It doesn’t take too long before things get weird. Grief can make people act in funny ways, but this film takes it to a whole other level. Dekker’s script is off the hinges with scares both physically and emotionally. You’re never quite sure who is fooling whom. 
With genre veteran Lin Shaye as Jack’s mother, you’re immediately thrown for a loop. Her presence is this insane mix of calming and unnerving. Each scene she appears in makes your skin crawl. Rory Culkin is more intense with each role he takes on. Following up on his fierce performance in 
Sieranevada takes a peek inside a grieving family and the reality of being stuck in a small space with the people you love and hate. Days after the death of the family patriarch and the recent Charlie Hebdo attacks, we find our cast gathered together to honor their beloved father. While they wait for the priest to arrive, we discover, little by little, the chaos, the meddling, the selfish, emotionally unstable ways that only your own family can throw at you all at once. Director Cristi Puiu, makes us, the audience, a fly on the wall for 3 solid hrs. This might pose a challenge for some viewers. The camera, mostly stationary, pans back and forth in place for extended periods of time, catching whispers, shouts, and much chain smoking predominantly from a hallway position. While the actors try desperately not to step on each other or wake the baby while they wait to eat once the elusive priest finally arrives. The dialogue is a beautiful mix of over the top arguments, manic bereavement, and laughter at internet conspiracy theories. It’s undeniably relatable. Only a big family dynamic can get your blood boiling and creative juices flowing for that long. 
Having graduated drama school only blocks from the NYFF, I can relate to The Rehearsal on a very personal level. Based on the novel Eleanor Catton‘s debut novel of the same name. Director/writer Alison Maclean‘s film version is slightly different but the themes remain the same. Teachers taking advantage of their students. It was lovely to see the authenticity of a performing arts school portrayed on the big screen. It’s been a while since both the discipline and seemingly ridiculous have been combined to give the viewer a slice of life in a conservatory style education. No one is nice to you. everyone is competition. The teachers are their to teach you with hard life lessons. But this story is also about the emotional responsibility of not only the teachers, but the students as they grow into mature adults. Our main plot revolves around the lives and work of the kids. More specifically, their final project. The dialogue is evenhanded in humor and drama. The performances are extremely solid.The final scene is cinematic perfection. 
Thanks to the likes of Stephen King, Poltergeist, and American Horror Story clowns are not cool. Lately, in fact, people dressed as clowns are attempting to lure small children into wooded areas in middle America. Why? That’s just sick! In Tom Nagel‘s new film CLOWNTOWN, a group of friends is stranded in what appears to be an abandoned town, until crazies dressed as clowns try to kill them. 
There is good, bad, and ugly about this film. We’ll start with the bad. The story is missing just enough explanation to bother me. The back story does not go far enough into the connection of why. That’s all I’ll say for now, because I do think the film deserves an audience. The ugly, while I’m being relatively nit-picky at this point, is as follows. The film runs long. It could have been much tighter getting to the “good stuff”. That’s basically all in that category. And now, for the good or I should actually say, the great: the acting. I have to say, with the exception of one character, this film has exceptional performances. I have to give our leading ladies a shout out for the level of terror portrayed on their faces. It reads completely genuine to me. Our clown friends are beyond unsettling. On the whole, I was impressed on this front. My favorite part of the entire film has got to be the opening scene. It harkens back to classic horror tropes featuring a babysitter and the creepy kids, brief gratuitous nudity included. It was a fantastic intro to a story that had all the potential in the world. Also, high five for the homage final shout. I’ll let you discover that fun gem on your own.
In a world where our entire life exists online, we are constantly in danger of being hacked. Using tools like an 
Mike Regan is about to launch “the Uber for private jets” in a new app roll out. When his company hires new tech Ed, who seems to have all the quick fixes, Mike invites him inside his home to tweak the glitches in his smart home. Unable to understand social cues after a short period of time, Ed becomes obsessed with taking Mike down notch by notch. Nothing is off-limits. Ed put Mike’s business, reputation, and family in harm’s way. His actions prove detrimental, but Mike will not allow his entire life to be destroyed. He has to fight firewall with firewall.
I.T. will do nothing less than make you rethink the devices in your hand and how you use them. In a present day where a foreign country is hacking a major political party in real life, that’s awful enough. Perhaps, though, we should be more afraid of the troll in a basement with nothing better to do than destroy others.
More often than not, when we think about our legal system today, perhaps the word that comes to the mind of many is “Injustice” How much does personal belief, whether religious or political, sway the decision of a DA’s office or a jury. My husband recently served on a jury here in Manhattan, on a relatively well known case. After his month long ordeal, he stated, “In some alternate universe, if I was ever thinking about breaking the law, well, God help me. A jury of my peers is anything but.” He explained that the particular jury he served on contained individuals who slept during proceedings, doodled in their notebooks, sighed audibly in court, and verbally fought to be excused on a daily basis. He cannot imagine what it would have been like had he been the defendant. In a very important documentary, SOUTHWEST OF SALEM, four women, who happen to be lesbians, were convicted of a heinous crime based upon a modern day witch hunt. In Texas, their jury was most certainly not comprised of their peers. 
Directed by filmmaker journalist Deborah Esquenazi, this emotional documentary first made its big splash earlier this year at the Tribeca Film Festival and received audience accolades. It recently garnered Grand Jury Award at 2016 Outfest and Outstanding Documentary Jury Award at the 2016 Frameline Film Festival.
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