Category Archives: Features

HOT DOCS 2022 review: ‘Images Of A Nordic Drama’ pits art lovers against the art world.

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IMAGES OF A NORDIC DRAMA

Who would have ever guessed that the discovery of paintings by an unknown Norwegian artist would cause such upheaval in the art world? When art collector Haakon Mehren was led to a barn filled with oversized canvases, his jaw immediately hit the floor. Who was this artist? After some sleuthing, Mehren introduces the world to Aksel Waldemar Johannessen, an unapologetic alcoholic who did the unthinkable. Johannessen painted the poor, often using his image mixed with dark and twisted imagery of inner turmoil.

Self-portrait painted by Aksel Waldemar Johannessen

Art is subjective, but there is undoubtedly a most elite shroud in curating. Norway’s most coveted paintings never before depicted the lower class. Their claim to fame was Edvard Munch. If you know even a sliver about art, you can immediately conjure the image of “The Scream.” The curatorial staff at the National Museum and gatekeepers of the Munch Museum immediately pushed back on adding the works to Norway’s collective narrative. Mehren made it his life’s mission to share Johannessen’s artistic contributions, scheduling exhibitions throughout Europe. The public’s reaction was overwhelmingly delightful. That only fueled the fire from Norway’s elite.

Director Nils Gaup uses a gorgeous score while repeatedly showcasing Johannessen’s paintings. This distinctive choice brings due awe to each piece. There’s no denying that some of the work is frightening, while others are simply breathtaking. The variety of subjects is astounding. You will find yourself lost in them. IMAGES OF A NORDIC DRAMA is the perfect addition to this year’s HOT DOCS 2022 lineup. If you weren’t an art lover before, get ready for your world is about to change.

The painting “Man on a diving board” by Aksel Waldemar Johannessen. This painting was exhibited at The Met.

HOT DOCS 2022 Link to buy tickets:

https://hotdocs.ca/whats-on/hot-docs-festival/films/2022/images-of-a-nordic-drama

@hotdocs #HotDocs22

HOT DOCS 2022 FESTIVAL SCREENINGS:
PUBLIC SCREENINGS:

Saturday, April 30 at 11:30 am
Location: Varsity 8 (55 Bloor Street West)

Thursday, May 5 at 8:45 pm
Location: Varsity 8 (55 Bloor Street West)

Running Time: 71 minutes

Language: English, German, Norwegian

Country: Norway, Germany (Feature Documentary)

Fantaspoa 2022 review: ‘FOLLOW HER’ is a clever social media revenge thriller.

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Director Sylvia Caminer brings her new film Follow Her to Fantaspoa 2022. It features Dani Barker as social media up-and-comer Jess as she grinds away, posting live videos about her various paid gigs. When a glitch in her facial blur app causes an online frenzy, Jess must navigate not only a barrage of new followers and mixed comments but a new job offer. A meta revenge thriller, Follow Her, will have your heart in your throat.

Luke Cook plays Tom, the man who hires Jess to assist him in writing an erotic thriller. He’s effortless suave and ceaselessly witty. It is tricky to distinguish between written dialogue and what might be improved. The script allows him to play up the maniacal angle. You’re still rooting for him as a genre fan. Cook is exceptionally enigmatic, and Dani Barker keeps up with his energy. 

Barker plays double duty as Jess and screenwriter. She bears a striking resemblance to Kate Hudson and Chloe Fineman and possesses the charm of both combined. Barker understands the complexities of social media and the myriad of baggage that can accompany the lifestyle. She’s given audiences a slick screenplay.

Follow Her would make a great triple feature evening with CAM and Spree. Overall, the meta aspect of the screenplay comes into focus at around the 38-minute mark. The innate anxiety of being a woman alone with a man is front and center. Follow Her had me in full panic mode at 45 minutes. Each consecutive beat skillfully ups the ante. It speaks to the dark side of the internet age, gigging, vulnerability, sexual control, greed, and the consequence-free world we see more and more. Barker cleverly utilizes horror tropes and acknowledges them directly. Fantaspoa 2022 audiences are in for a treat. Genre fans will go nuts for this killer film. I’d “like & subscribe” for franchise development.

FOLLOW HER screens as part of Fantaspoa 2022. For more information on the festival, please visit www.fantaspoa.com.

Fantaspoa 2022 review: ‘OX-HEAD VILLAGE’ is a frightful folktale.

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OX-HEAD VILLAGE

PLOT: Having launched a social media prank about a haunted building, three girls suddenly vanish. Rumors circulate that they were victims of The Ox-Head Village curse, triggering an investigation by two of their friends, desperate to find the truth about what has happened

Sick cinematography and a killer opening bring Fantaspoa 2022 audiences into the intensely scary world of Ox-Head Village. Finding out that this is director Takashi Shimizu‘s final film in his “Village Trilogy” makes me want to seek out Howling Village and Suicide Forest Village immediately. Japanese folklore surrounding a family curse brings this horror mystery to life. Kanon seeks answers as to why she resembles a missing girl from a failed prank video. As clues slowly come to light, Kanon must confront her family’s past mistakes to make way for her future. Loaded with haunting imagery, flashbacks, and macabre superstition, Ox-Head Village becomes the consequence of trying to outwit the curse. Performances across the board are solid. The colors are lush and the kills are brutal and disturbing. Elements akin to Ringu are unmissable. But, Ox-Head Village is undoubtedly unique. Make sure you don’t move once the credits begin to roll.

 OX-HEAD VILLAGE screened as part of Fantaspoa 2022.

For more information on the festival, please visit www.fantaspoa.com.

CAST: Kôki, Riku Hagiwara, Keiko Horiuchi, Haruka Imô, Akaji Maro, Satoru Matsuo, Riko, Fumiya Takahashi, Naoki Tanaka, Rinka Ôtani

DIRECTOR: Takashi Shimizu

Review: ‘STANLEYVILLE’ is so weird it works.

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An exercise in the absurd, the hit indie STANLEYVILLE opens with Maria (Susanne Wuest) walking away from her life on a moment’s whim. Found lounging aimlessly on an airport chair, an odd man named Homunculus (the absolute legend Julian Richings) informs her of her selection to participate in an exclusive competition. The prize is an orange compact SUV.

Without hesitating, Maria arrives at an apartment alongside four other contestants. In a series of eight individual challenges, the first being balloon blowing, Maria, Felicia, Manny, Bofill, and Andrew battle to be the victor. The Master of ceremonies appears equal parts confused and confident in his role. As the stakes get higher and the games get weirder, chaos ensues. Five opposite archetypes collide in one of the most bizarre films I’ve ever witnessed. 

STANLEYVILLE is so odd it works. The film’s pacing is intentionally erratic, and the personalities are strong. That is, all except Maria. She is content to play the game fairly and with an abundance of reverence. The performances of our six cast members are outstanding. This eclectic mix of actors pours their heart into a script that must have seemed outrageous when they first read it. Full disclosure, I’m not sure I walked away understanding what I watched either, but I’ll tell you this, I cannot stop thinking or talking about STANLEYVILLE.

The finale is equally enigmatic, occurring offscreen. It’s a keenly written full-circle moment that makes you think. STANLEYVILLE is like nothing you’ve seen before. Some will assume writer-director Maxwell McCabe-Lokos was making it all up as he went along. I cannot be the first to salivate at the idea of turning this into a stage play without intermission. The story is a conversation starter. What that conversation consists of is determined entirely by each viewer’s experience. It’s a one-of-a-kind film. 

Oscilloscope Laboratories is proud to release STANLEYVILLE — the quirky, dark feature debut from writer/director Maxwell McCabe-Lokos that has won festival accolades across the globe — exclusively at New York City’s Metrograph on April 22nd, with a wider rollout to follow.

Color
English Language
88 minutes
Not Rated

The pitch-black comedy, which critics lovingly call “a strange movie for strange people” and “an episode of Survivor for sociopathic miscreants”, stars Susanne Wuest (GOODNIGHT MOMMY), Cara Ricketts (FOX’s The Resident), Christian Serritiello, George Tchortov (Amazon’s The Expanse), Adam Brown (Peter Jackson’s THE HOBBIT trilogy), and genre legend Julian Richings (CUBE).

Review: ‘Marevelous and The Black Hole’ is a family film with heart and pizzazz.

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MARVELOUS AND THE BLACK HOLE

A teenage delinquent (Miya Cech, ALWAYS BE MY MAYBE) befriends a surly magician (Rhea Perlman, “Cheers,” MATILDA) who helps her navigate her inner demons and dysfunctional family with sleight of hand magic. A coming-of-age comedy that touches on unlikely friendships, grief, and finding hope in the darkest moments.

After losing her mother, Sammy lashes out physically and emotionally. When her dad forces her to take a business class in summer school, she encounters a magician by happenstance. Under the guise of a final project, Sammy trades anger for magic. 

The score heightens the film’s charm. Cartoon animation and black & white fantasy sequences create playful transitions whenever Sammy feels rage. The costumes are meaningful. Sammy is in black the entire film, while Margot dons lush colors adorned with embroidery or applique. 

Rhea Perlman plays Margot, AKA The Marvelous. Perlman’s cheery disposition is a brilliant foil for Miya Cech‘s Sammy. She brings a motherly quality that Sammy so desperately needs. Cech is outstanding. She possesses a fierce attitude that’s relatable. Cech levels up the typical teenage angst with grounded sass and genuine vulnerability underneath. Together, their chemistry is like a warm hug. If I’m being honest, I would gladly watch an entire series about these two characters.

Marvelous and The Black Hole is nothing short of darling. This family-friendly flick is about navigating grief. Writer-director Kate Tsang gives audiences a sweet ode to storytelling and healing. 

MARVELOUS AND THE BLACK HOLE
Opens in Select Theaters on April 22, 2022

Written + Directed by: Kate Tsang
Produced by: Carolyn Mao
Co-Producers: Allison Avery Jordan, Christa Boarini
Director of Photography: Nanu Segal, BSC
Production Designer: Yong Ok Lee
Edited by: Cyndi Trissel, Ryan Denmark
Costume Designer: Amanda Bujak

TRT: 81 minutes

 

21 eclectic films featuring a rabbit… ya know, for Easter.

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Could we put together a cuddly list of family-friendly Easter films? Probably. But where’s the fun in that? Here is a list of films where a rabbit is featured in one way or another. Most are straightforward. A few, well, I guess you’ll have to watch them and figure out why they’re there. Happy Easter, and happy hunting for those pesky wabbits.

Space Jam

Swackhammer (Danny DeVito), an evil alien theme park owner, needs a new attraction at Moron Mountain. When his gang, the Nerdlucks, heads to Earth to kidnap Bugs Bunny (Billy West) and the Looney Tunes, Bugs challenges them to a basketball game to determine their fate. The aliens agree, but they steal the powers of NBA basketball players, including Larry Bird (Larry Bird) and Charles Barkley (Charles Barkley) — so Bugs gets some help from superstar Michael Jordan (Michael Jordan).

Fantastic Mr. Fox

After 12 years of bucolic bliss, Mr. Fox (George Clooney) breaks a promise to his wife (Meryl Streep) and raids the farms of their human neighbors, Boggis, Bunce and Bean. Giving in to his animal instincts endangers not only his marriage but also the lives of his family and their animal friends. When the farmers force Mr. Fox and company deep underground, he has to resort to his natural craftiness to rise above the opposition.

The Matrix

Neo (Keanu Reeves) believes that Morpheus (Laurence Fishburne), an elusive figure considered to be the most dangerous man alive, can answer his question — What is the Matrix? Neo is contacted by Trinity (Carrie-Anne Moss), a beautiful stranger who leads him into an underworld where he meets Morpheus. They fight a brutal battle for their lives against a cadre of viciously intelligent secret agents. It is a truth that could cost Neo something more precious than his life.

Us

Accompanied by her husband, son and daughter, Adelaide Wilson returns to the beachfront home where she grew up as a child. Haunted by a traumatic experience from the past, Adelaide grows increasingly concerned that something bad is going to happen. Her worst fears soon become a reality when four masked strangers descend upon the house, forcing the Wilsons into a fight for survival. When the masks come off, the family is horrified to learn that each attacker takes the appearance of one of them.

Peter Rabbit

Peter Rabbit and his three sisters — Flopsy, Mopsy and Cotton-Tail — enjoy spending their days in Mr. McGregor’s vegetable garden. When one of McGregor’s relatives suddenly moves in, he’s less than thrilled to discover a family of rabbits in his new home. A battle of wills soon breaks out as the new owner hatches scheme after scheme to get rid of Peter — a resourceful rabbit who proves to be a worthy and wily opponent.

WATERSHIP DOWN

When a young rabbit named Fiver (Richard Briers) has a prophetic vision that the end of his warren is near, he persuades seven other rabbits to leave with him in search of a new home. Several obstacles impede their progress, including predators, a rat-filled cemetery, and a speeding river. Upon arriving at their final destination, a hill dubbed Watership Down, the rabbits find that their journey is still far from over. Realistically drawn, this British animated film carries an emotional weight.

Donnie Darko

During the presidential election of 1988, a teenager named Donnie Darko sleepwalks out of his house one night and sees a giant, demonic-looking rabbit named Frank, who tells him the world will end in 28 days. When Donnie returns home, he finds that a jet engine has crashed into his bedroom. Is Donnie living in a parallel universe, is he suffering from mental illness – or will the world really end?

Miss Potter

Based on the life of early 20th-century author Beatrix Potter, creator of Peter Rabbit. As a young woman Potter rails against her parents’ wishes for her to marry and settle down. Instead, she continues to write about and draw the animals she has adored since childhood. Her early attempts to find a publisher for her children’s stories are unsuccessful, but an offer from a small firm will turn her into a literary phenomenon.

Night of the Lepus (1972)

Arizona rancher Cole Hillman (Rory Calhoun), dealing with massive rabbit overpopulation on his land, calls on a local college president, Elgin Clark (DeForest Kelley), to help him. In order to humanely resolve the matter, Elgin brings in researchers Roy (Stuart Whitman) and Gerry Bennett (Janet Leigh), who inject the rabbits with chemicals. However, they fail to anticipate the consequences of their actions. A breed of giant mutant rabbits emerges and starts killing every human in sight.

Harvey

Elwood P. Dowd (James Stewart) is a wealthy drunk who starts having visions of a giant rabbit named Harvey. Elwood lives with his sister Veta (Josephine Hull) and her daughter (Victoria Horne), and Veta worries that Elwood has gone insane. In the process of trying to have him committed, Veta admits that she occasionally sees Harvey herself. The director of the mental home, Dr. Chumley (Cecil Kellaway), tries to reconcile his duty to help Elwood with his own growing experiences with Harvey.

Zootopia

From the largest elephant to the smallest shrew, the city of Zootopia is a mammal metropolis where various animals live and thrive. When Judy Hopps (Ginnifer Goodwin) becomes the first rabbit to join the police force, she quickly learns how tough it is to enforce the law. Determined to prove herself, Judy jumps at the opportunity to solve a mysterious case. Unfortunately, that means working with Nick Wilde (Jason Bateman), a wily fox who makes her job even harder.

Fatal Attraction

For Dan Gallagher (Michael Douglas), life is good. He is on the rise at his New York law firm, is happily married to his wife, Beth (Anne Archer), and has a loving daughter. But, after a casual fling with a sultry book editor named Alex (Glenn Close), everything changes. Jilted by Dan, Alex becomes unstable, her behavior escalating from aggressive pursuit to obsessive stalking. Dan realizes that his main problem is not hiding his affair, but rather saving himself and his family.

Who Framed Roger Rabbit

Down-on-his-luck private eye Eddie Valiant (Bob Hoskins) gets hired by cartoon producer R.K. Maroon (Alan Tilvern) to investigate an adultery scandal involving Jessica Rabbit (Kathleen Turner), the sultry wife of Maroon’s biggest star, Roger Rabbit (Charles Fleischer). But when Marvin Acme (Stubby Kaye), Jessica’s alleged paramour and the owner of Toontown, is found murdered, the villainous Judge Doom (Christopher Lloyd) vows to catch and destroy Roger.

Wallace and Gromit: The Curse of the Were-Rabbit

The plucky characters from a series of animated shorts, Wallace (Peter Sallis) and his dog, Gromit, make their feature debut here. After starting a pest control business just like this exterminator in Orlando, the duo soon lands a job from the alluring Lady Tottington (Helena Bonham Carter) to stop a giant rabbit from destroying the town‘s crops. Both Wallace and the stuffy Victor (Ralph Fiennes) vie for the lady’s affections. If Wallace wants to please his pretty client, and best Victor, he needs to capture that pesky bunny.

The Favourite

In the early 18th century, England is at war with the French. Nevertheless, duck racing and pineapple eating are thriving. A frail Queen Anne occupies the throne, and her close friend, Lady Sarah, governs the country in her stead while tending to Anne’s ill health and mercurial temper. When a new servant, Abigail, arrives, her charm endears her to Sarah. Sarah takes Abigail under her wing, and Abigail sees a chance to return to her aristocratic roots.

Alice in Wonderland

Lewis Carroll’s beloved fantasy tale is brought to life in this Disney animated classic. When Alice (Kathryn Beaumont), a restless young British girl, falls down a rabbit hole, she enters a magical world. There she encounters an odd assortment of characters, including the grinning Cheshire Cat (Sterling Holloway) and the goofy Mad Hatter (Ed Wynn). When Alice ends up in the court of the tyrannical Queen of Hearts (Verna Felton), she must stay on the ruler’s good side — or risk losing her head.

Jojo Rabbit

Jojo is a lonely German boy who discovers that his single mother is hiding a Jewish girl in their attic. Aided only by his imaginary friend — Adolf Hitler — Jojo must confront his blind nationalism as World War II continues to rage on.

Caveat

A desperate drifter suffering from partial memory loss agrees to look after his landlord’s psychologically troubled niece in an isolated island mansion.

HOP

Beneath Easter Island, in a giant factory that manufactures the world’s Easter candy, the popular rabbit is preparing to pass the mantle to his son, E.B. (Russell Brand). But E.B. has no interest in the job and would rather be a drummer. He runs away to Los Angeles, where an unemployed slacker named Fred O’Hare (James Marsden) accidentally runs into him. Feigning injury, E.B. tricks Fred into giving him shelter, but an oversized chick is planning a coup back on Easter Island.

Monty Python and The Holy Grail

A comedic send-up of the grim circumstances of the Middle Ages as told through the story of King Arthur and framed by a modern-day murder investigation. When the mythical king of the Britons leads his knights on a quest for the Holy Grail, they face a wide array of horrors, including a persistent Black Knight, a three-headed giant, a cadre of shrubbery-challenged knights, the perilous Castle Anthrax, a killer rabbit, a house of virgins, and a handful of rude Frenchmen.

A Christmas A Story

(Don’t argue with me, this film 100% falls under this odd list. In fact, it’s the second film with a hideous bunny suit.)

Based on the humorous writings of author Jean Shepherd, this beloved holiday movie follows the wintry exploits of youngster Ralphie Parker (Peter Billingsley), who spends most of his time dodging a bully (Zack Ward) and dreaming of his ideal Christmas gift, a “Red Ryder air rifle.” Frequently at odds with his cranky dad (Darren McGavin) but comforted by his doting mother (Melinda Dillon), Ralphie struggles to make it to Christmas Day with his glasses and his hopes intact.

HOPPY EASTER

Topic series review: ‘DECEIT’- a story of a real-life honey trap brings the drama.

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DECEIT Official Synopsis:

Five months on from the brutal murder of Rachel Nickell on Wimbledon Common and the Met Police are still no closer to capturing the man they’re convinced is responsible. First identified through a television appeal, the evidence is stacked against Colin Stagg. The media feed a national obsession, covering every detail of the case and demanding justice. The police are determined to catch the man who, in their eyes, is guilty before he kills again. In desperation, the relatively young detective inspector leading the case, engages the nation’s most famous criminal profiler to devise a bold undercover operation which will see an attractive, young female officer start a relationship with Colin Stagg.

As each episode begins, the filmmakers behind the miniseries DECEIT make it abundantly clear that the show involved a plethora of research. In 1992, a woman named Rachel Nickell was brutally murdered in front of her two-year-old son. Police believed they found the guilty party based on an expert forensic profiler. After bringing top undercover officer Sadie Byrne into the mix, they devise an elaborate operation to obtain a confession. 

The series’ four episodes appear to jump in time as Sadie studies Colin’s interrogation tapes. She draws him into her web first with letters, then phone calls. DECEIT’s intrigue is relentless. It’s a fresh perspective from the typical detective plotlines involving female officers. The danger feels heightened. 

Eddie Marsan plays profiler Paul Britton with an unsettling intensity. His scenes with Algar are tense. Sion Young is Colin Stagg. He is both frightening and pathetic, creating a skin-crawling effect. 

Niamh Algar is captivating as a fictionalized version of a real-life undercover officer. It’s like meta method acting, watching her prepare for a role within a role. The deeper she gets into the character of Lizzie, the further she spirals. Her anxiety and fear are palpable. It’s a hell of a performance. 

DECEIT’s lighting has a heavyhanded neo-noir effect, especially when Algar plays “Lizzie.” The editing keeps your mind sharp. The story draws you in, and the characters hold your emotional attention. I appreciated the updates on our players during the finale. Separating truth from fiction reminded me that innumerable lives were ruined. It’s a final nail in the reality coffin for the viewer. DECEIT is a unique entry amongst the true-crime fare.

The 4-part miniseries DECEIT, streaming exclusively on Topic beginning April 14.

Based on a true story, this UK crime thriller follows Lizzie James, a female detective employed to obtain evidence against Collin Stagg, the prime suspect in the brutal murder of Rachel Nickell, which occurred in broad daylight in London’s Wimbledon Common. The case went on to become one of the most infamous entrapment cases in British law enforcement history.

Directed by Niall MacCormick and starring Niamh Algar (Raised by Wolves, Topic’s The Virtues), Eddie Marsan (Deadpool 2, Ray Donovan), and Harry Treadaway (Star Trek: Picard, The Crown), DECEIT has been hailed in the UK, with The Telegraph calling it “a gripping portrait of a real-life undercover operation,” and The Evening Standard declaring that the series “stand[s] out from the usual true crime fare.”

About TOPIC
Topic is the boundary-pushing streaming service from First Look Entertainment for thrillers, mysteries, dramas and documentaries from around the world, serving viewers who crave entertainment beyond the mainstream. Whether it’s a Nordic-noir crime thriller (The Killing), an Italian supernatural political drama (The Miracle), or a haunting true crime docu-series from the UK (The Missing Children), Topic expands your view of the world.

Featuring North American premieres, exclusive TV series and film, and programming from more than 40 countries, Topic showcases an unparalleled collection of creators, perspectives and experiences. Complemented by our Topic Originals, we prioritize bold storytelling and champion underrepresented voices. Topic Originals and exclusives include Oscar® nominee The Letter Room (starring Oscar Isaac), Lambs of God (starring Ann Dowd), BAFTA® nominee The Virtues (starring Stephen Graham), Emmy® nominee The Accidental Wolf (starring Kelli O’Hara), Dark Woods, Gotham Award winning Philly D.A., and Soul City (directed by Coodie & Chike).

Topic is available to US and Canadian audiences on topic.com, AppleTV & iOS, Roku, Amazon Fire TV, Android & Android TV, Samsung, Apple TV Channels, Roku Premium Channels, Bell Fibe, Amazon Prime Video Channels, and Comcast (Xfinity X1, Xfinity Flex and XClass TV). Topic is part of First Look Entertainment which also includes Topic Studios, the award-winning entertainment studio which develops, finances, and produces content for all platforms.

Review: ‘WYRMWOOD APOCALYPSE’ screams franchise potential.

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WYRMWOOD: APOCALYPSE

Synopsis: Rhys lives in the zombie-infested wasteland. His job is to capture civilians and deliver them to what’s left of the military. When Rhys captures a half-zombie-half-human named Grace, he comes to believe she is the key to ending the apocalypse.

*Let me begin their review by stating that I have not seen the original Wyrmwood. I can only comment on Wyrmwood: Apocalypse as a stand-alone film.*

I was immediately drawn into the film hearing Nick Cave and The Bad Seeds‘ track “Red Right Hand,” alongside the quick-cut editing. Equal parts quirky and cool, I was committed. The costumes and sets are elaborate eye candy. The special effects makeup and practical FX are deliciously gruesome. The score, combined with the red lighting, makes for the perfect touch of camp. Wyrmwood: Apocalypse has legit legs for a franchise reboot. 

This cast is gold. The commitment to these characters is commendable. The fight sequences and choreography are damn entertaining. These actors go hard into the action. Bravo, to Luke McKensie, Shantae Barnes-Cowan, Jake Ryan, Bianca Brady, Tasia Zalar, Jay Gallagher, and Nick Boshier for their phenomenal chemistry.

The plot possesses a similar concept as Zydrate from one of my all-time favorite films, Repo! The Genetic Opera. There’s revenge, cognisant zombies, mind control, harvesting, and family dynamics. You name it, and it’s in Wyrmwood: Apocalypse. There’s enough meat in this storyline to justify a series development. I could easily see this doing well on the SyFy network. It has to be from writer-director Kiah Roache-Turner and co-writer Tristan Roache-Turner. Consistency is key to maintaining a fandom. The bottom line is Wyrmwood: Apocalypse is a new beginning.

Zombie Action-Horror WYRMWOOD: APOCALYPSE — OUT DIGITALLY IN THE U.S. APRIL 14!

Genre: Horror

Country: Australia

Runtime: 90 mins

Year: 2022

Language: English

Rated: NA

Cleveland International Film Festival 2022 short film review: ‘CANDIDATO 34’ chronicles the world’s most extraordinary run for public office.

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CANDIDATO 34

Bryan Russell is the first person in the world with Down syndrome to ever run for public office. CANDIDATO 34 is a documentary short chronicling Bryan’s extraordinary story in the days before the 2020 congressional election in Peru, as he attempts to convince a reluctant public that he is capable of being a congressman, and an important voice for change. Candidato 34 will make its World Premiere in the FilmSlam-Spanish Language Cinema Shorts Program starting March 31st at the 2022 Cleveland International Film Festival.

As the first person in the world with Down Syndrome to run for public office, Bryan Russell represents so many marginalized groups everywhere. Bryan’s team, including his parents, pour their hearts into his campaign, supporting his dreams and ideas. Let me clarify something immediately; his parents are present as cheerleaders and coordinators. Bryan is an accomplished young man. He is charming, eloquent, raw, and relentlessly determined. These characteristics become abundantly clear in his ability to campaign like any other candidate. As someone who has worked on political campaigns in the US, Bryan does it with more honesty and savvy than many career politicians. He has an understanding and perspective of often ignored individuals. Win or lose, Bryan Russell is a passionate catalyst for change in Peru and throughout the world.

As a Mother of a neurodivergent son, Bryan is a hero. My most prevalent anxiety as a parent is the future. Bryan possesses the confidence and self-awareness I wish for my child. In 38 minutes, Candidato 34 filled me with hope and possibility. This little film speaks volumes about representation, kindness, and perseverance. Bryan Russell is an inspiration to my family. I hope this film spreads far and wide. There are a lot of people that would benefit from the experience. 

 

CANDIDATO 34 – TRAILER from Ryan Marley on Vimeo.

About the Filmmakers:

Ryan Marley (Director) is a filmmaker and television director best known for his work in documentary, factual and kids TV. He has been nominated for 3 Canadian Screen Awards and has directed over 25 series and documentaries. He most recently directed all 4 seasons of the groundbreaking documentary series “Employable Me” which tells the stories of job seekers who prove that having a physical disability or neurological condition shouldn’t make them unemployable. They might only need help in undergoing the proper training such as Reskilling. The series won the Diversify TV Excellence Award at MIPCOM 2017 & 2020, a 2018, 2019 & 2020 Rockie Award, an NYTVF Award and was nominated for four Canadian Screen Awards. His documentary “Sitting Tall: The Patrick Anderson Story” examines the background and career of Patrick Anderson, arguably the greatest wheelchair basketball player of all time, as he prepares for the Paralympic Games in Tokyo. It was featured at the 2021 Awareness Film Festival and The 2021 New York Shorts International Film Festival where it won Best Documentary. Ryan splits his time between Toronto and Los Angeles.

Katie Lafferty (Executive Producer/Producer) has been chasing character-driven stories since graduating from Carleton University with a Journalism degree in 2002. Since then, she has produced some of Canada’s biggest shows including sports documentary series “Tessa & Scott,” and the groundbreaking series “Employable Me,” which tells the stories of job seekers who prove that having a physical disability or neurological condition shouldn’t make them unemployable. The series won the Diversify TV Excellence Award at MIPCOM 2017 & 2020, a 2018, 2019 & 2020 Rockie Award, an NYTVF Award and was nominated for four Canadian Screen Awards. Her latest feature-length documentary Candidato 34 is being produced in association with Lionsgate’s unscripted division, Pilgrim Media Group.

About Hitch Films:

Hitch Films is a creative team with extensive experience telling compelling stories about people around the world. We are a passionate team of award-winning documentary filmmakers bringing to light the amazing stories and struggles of incredible people with disabilities, and from marginalized communities, who are fighting prejudice and perception to gain independence and respect.

Credits

Ryan Marley – Director

Katie Lafferty – Executive Producer/Producer

Craig Piligian – Producer

Gretchen Stockdale – Executive Producer

Paul Boynett – Executive Producer/Writer

George Wright – Executive Producer/Editor

Michelle Asgarali – Associate Producer

37 minutes, Canada, 2021

DCP Image: 1.85:1, 4K, Color, Sound: 5.1 mix

Review: HBO Documentary Film: ‘TONY HAWK: UNTIL THE WHEELS FALL OFF’

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TONY HAWK: UNTIL THE WHEELS FALL OFF

Centering around intimate new interviews with Tony Hawk himself, the film is an all-encompassing look at the skateboarder’s life, legendary career, and relationship with the sport with which he’s been synonymous for decades. Hawk, a pioneer of modern vertical skating who is still pushing his limits at the age of 53, remains one of the most influential skateboarders of all time.

Tony Hawk kicks off his big HBO documentary by falling down. A lot. Like, 5 solid minutes of eating it all over the ramp. It’s a bold, remarkably human way to start a documentary about a 53-year-old icon who many in the non-skating community would still consider the most famous skateboarder of all time (this reviewer raises his hand). Heck, my wife knows more about Tony Hawk than I do.

The complete list of things I knew about Tony Hawk before watching this documentary:

  • He was (probably) the most prominent skater in the world
  • He was the first skater to land a 900 (a crazy trick where you shoot off a ramp and spin 2.5 times in the air before landing)  I also learned this from his video game series, Tony Hawk Pro Skater
  • He has a hilarious Twitter feed

And yet, I left Sam Jones’ Tony Hawk: Until the Wheels Fall Off feeling pretty invested in skateboarding. Jones’ documentary benefits not only from extensive access to Hawk and his skating peers but also from a wealth of archival footage and clips that help these interview recollections resonate. Sure, you learn about Hawk’s upbringing in San Diego, and his dynamic with his strict father – but what really resonates is the sense of purpose uniting these passionate young skateboarders. You really get the spirit of the community. Tricks and success in this sport, which may be similar to the one that can be watched on the best stadiums for tourists, are the product of individual inspiration, yes, but also due to watching and learning from both your rivals and teammates. Hawks’ contemporaries are real unique characters, too. I particularly loved hearing from Rodney Mullen, who applies the principles of Nietzsche to the act of launching yourself off a skate ramp without a hint of irony.

I also appreciated the documentary’s balanced romanticism surrounding skateboarding. There are the obligatory skating montages, but there’s also a blunt assessment of the risks (and honestly, the near foolishness) of Hawk refusing to set aside his board at 53 years old. We’re talking about guys for whom broken bones and near-constant concussions seem to always be part of the deal – it takes a lot to make these folks nervous. Hawks’ peers speak frankly and graphically about the risks he’s taking on. Given Hawks’ prominent association with this documentary, I was surprised he didn’t push to edit some of those comments out of the final product. I appreciated that Jones included them.

Ultimately, this feels to be an honest portrait of a complicated legend who became a pro athlete before he had his learner’s permit. It strives to connect viewers to the deep connection skaters have with their art, it clues you in on Tony Hawk’s countless contributions to the sport, and acknowledges that most guys in their 50s shouldn’t be on fast-moving, narrow objects.

You see Tony Hawk falling down a lot. But he also executes tricks that seem to scratch the surface of immortality. Unless you’ve skated a mile in his shoes, can you really pass judgment? One thing’s for sure – after seeing this documentary, I’ll be firing up my wife’s copy of Pro Skater.

Debuts Tuesday, April 5 on HBO and will be available

to stream on HBO Max

Director: Sam Jones

Executive Producers: Mel Eslyn, Jay Duplass, and Mark Duplass

ABOUT SAM JONES
Sam Jones is a director of documentary films and narrative television. He most recently directed an episode of “Ted Lasso” and a film in post-production: “Running With Our Eyes Closed, A Film about Jason Isbell,” which is being co-produced by the Duplass Brothers and Jones.

Jones is the creator and host of the documentary series “Off Camera with Sam Jones,” which had a 219 episode run on DirecTV’s Audience Network from 2013-2020. Jones is also an acclaimed commercial director and recently wrote and directed a series of commercials for OnePlus featuring Robert Downey Jr. He directed the Showtime series “Roadies,” created by Cameron Crowe, and also directed and produced the feature-length Showtime documentary “Lost Songs: The Basement Tapes Continued,” a film that reexamines Bob Dylan’s “The Basement Tapes.” In 2002, Jones started his documentary career with “I Am Trying To Break Your Heart,” which chronicles beloved indie-rock band Wilco’s tumultuous recording of their acclaimed fourth album, “Yankee Hotel Foxtrot.” Rolling Stone named “I Am Trying To Break Your Heart” one of the best rock films of all time.

Jones began his career as a photographer and quickly gained acclaim for his seminal portraits of cultural icons. His work has appeared on the covers of Vanity Fair, Rolling Stone, Esquire, GQ, Time, and many others, and he has had several books published. Jones lives in Los Angeles with his daughters and still loves to skateboard.

 

Festival review: Kelsey Peterson’s personal documentary ‘MOVE ME’ inspires.

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MOVE ME

At 27, Kelsey Peterson dove into Lake Superior, off the shores of Wisconsin, and emerged paralyzed. Now, the former dancer struggles to redefine who she is while adapting to life with a disability. At the intersection of acceptance and hope, Kelsey unexpectedly finds herself facing an opportunity to dance again, showing her a new path toward acceptance, all the while grappling with a decision to participate in a cutting-edge clinical trial that could bring her much-desired change — forcing her to evaluate the possibilities of her recovery, body, and spirit.

In Move Me, a first-time filmmaker with a disability simultaneously takes the reins behind the scenes, while revealing her inner revolution through raw storytelling onscreen.

Dancer and choreographer Kelsey Peterson was paralyzed from the chest down after diving into shallow waters. In conjunction with a friend injured in the same manner, Kelsey decides to dance for the first time since her accident by creating a unique piece of choreography. Her documentary feature MOVE ME is a portrait of a woman attempting to reclaim her identity.

The combination of home movies, rehearsals, and scenes from her daily life create a raw picture of Kelsey’s existence. Kelsey explains that after the accident, she realized that the world does not accommodate her current state. This singular statement makes MOVE ME so much more profound for able-body viewers. When you see the rehearsal restroom, the irony is exhausting. 

MOVE ME doesn’t simply tell the tale of a single dance. Kelsey navigates her father’s declining health while simultaneously researching the possibility of joining an experimental trial. She speaks with other participants, discovering that it’s not all positive outcomes. Uncertainty looms large as Kelsey weighs her options. She holds nothing back, tackling everything from bowel function to sexual sensation.

“A Cripple’s Dance” bases pieces of its choreography on Kelsey and Gabe’s moments of impact and what followed in the water. The intimacy of the camera work is visceral. Gabe’s lyrics are profoundly beautiful and hit you in the heart like a dagger. The result will give you chills. 

This film was personal for me. I began dancing at the age of three. Since then, I have competed, choreographed, and expressed myself through movement. When I lost some of my abilities from an emergency appendectomy and then years later, a neck injury, I was devastated. I remember the grief of losing those lifelong skills, talents that came without thought as they were muscle memory. Let me be clear I am able-bodied. You would not know I was in pain by the way I move through the day. I cannot begin to fathom the strength Kelsey Peterson possesses daily. Her positive outlook and relentless optimism drive her film. To me, she’s fearless. She’s sort of my hero. MOVE ME makes me appreciate my body’s movement tenfold.

Co-Directors: Kelsey Peterson, Daniel Klein

Producers: Kelsey Peterson, Daniel Klein, Madeline Brown

Executive Producers: Lois Vossen, Sally Jo Fifer, Joanna Rudnick

Cinematographer: Brennan Vance

Editor: Nico Bovat

Festival Screening Info:
Full Frame Documentary FF (World Premiere)
Streaming April 7 -10, 2022
 
Reel Abilities FF New York
Streaming April 7 -13, 2022
In-Person Screening Tues. April 12, 8:00pm
Film Info:

Review: Mayim Bialik’s directorial debut ‘As They Made Us’ is relatable in its drama.

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AS THEY MADE US

As They Made Us follows Abigail (Agron), a divorced mother of two, who is struggling to find sanity in her dysfunctional family as she attempts to cultivate new love. Her father, Eugene (Hoffman), has a degenerative condition that he and his wife, Barbara (Bergen), refuse to accept. Her brother Nathan (Helberg) has been estranged from the family for decades. A self-appointed fixer, Abigail attempts to mend her complicated family before it’s too late.

Mayim Bialik‘s feature debut packs an emotional punch. As They Made Us feels like a fresh wound for anyone with childhood trauma. Brilliantly structured with flashbacks and present-day chaos, Bialik weaves a portrait of a family existing in turmoil. 

Simon Helberg plays the son who escaped the weight of negativity. Estranged from the family, he leaves Abigail (Agron) behind to take the brunt of the aggression. Helberg plays a vastly different role from Bialik’s costar on The Big Bang Theory, and her script allows Helberg to show his range. Dustin Hoffman is patriarch Eugene. Navigating his cognitive decline, Hoffman plays dual roles in a way. At times, happy go lucky and defiant, others violent and loud. His journey is the most outwardly complex. Candace Bergen is the epitome of Jewish mother cliches, with a real mean streak. She lands somewhere in between abrasive and meddling. Still managing to be charming, Bergen brings heightened energy to the film. 

Dianna Agron is the default child, the emotional packhorse. Taking on caregiver roles that ought to belong to Bergen’s Barbara, Agron must shift between daughter, nurse, and wife roles to ease Eugene’s suffering. These are all at her own cost as she carries these scars. Agron is the star of this film. Even with Hoffman and Bergen, she steals the show. Her exhaustion is palpable. 

The family’s Jewish faith is a significant plot point. It becomes a large part of Abigail’s coping mechanisms, parenting, and healing. The character reminds me a lot of my Mother. Replace Judaism with Catholicism, and I’ve witnessed this same story play out a generation before. As They Made Us speaks volumes in roughly 90 minutes. Tackling forgiveness, acceptance, and mortality, Bialik’s voice as a filmmaker is pretty striking for her first time out. I am eager to see what comes next.


OPENS APRIL 8, 2022
IN THEATERS AND DIGITAL / VOD

Writer & Director: Mayim Bialik

Cast: Dianna Agron and Simon Helberg, with Candice Bergen, Dustin Hoffman, Justin Chu Cary, Charlie Weber, and Julian Gant

Producers:  Jordan Beckerman, Ash Christian, Anne Clements, Michael Day, Jordan Yale Levine, Mark Maxey

Runtime Time: 96 minutes

Rated: R for language

 

Short film review: John Stuart Wildman’s ‘SWEAT OF HIS COW’ is the sexy absurdity we all secretly desire.

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SWEAT OF HIS COW

From the depths of someone’s lost VHS tapes is this story of an impossibly gorgeous doctor lawyer who runs out of gas next to a barn where an impossibly sweaty man is milking a cow. A sexy relationship ensues where they learn that gas is just the beginning, milk is always the end.

Thoughts I had while watching the award-winning short film, SWEAT OF HIS COW...

“Is this a lost VHS from someone’s basement? Oh, this score is very softcore porn goodness. Does this film star Milky White from Into The Woods?! Amazing. These hair flips are luscious, and now I’m laughing. Wow, this is a softcore porn videos inspired rom-com! And also, WOW! John is really sweaty and also a proper beefcake. Should I be watching this? Am I allowed to watch this? My god, this is hilarious wordplay.”

Celena Rea nails every line with total commitment. She has a commanding presence, accentuated by specific hair, make-up, and costume choices. Also, she does her own stunts. Her chemistry with writer-director John Stuart Wildman as Sweaty Man is electric. He knocks it out of the park. I knew John was charming, but, damn. Casting directors pay attention. John could easily carry leading roles in literally every genre. Shout out to Chris Gardner for his comic timing as Saxophone Player.

I couldn’t love this weird, little film anymore. There’s not a dull moment in its 5-minute runtime. Sweat Of His Cow is easily something you’d see produced by Funny Or Die or SNL, but better. I want a series of Sweaty Man shorts about his sexual encounters. And, I’m not sorry about it. This film is now burned into my brain forever.

You can watch Sweat of His Cow screening virtually at the Sarasota Film Festival now!

(And you should.)

https://www.sarasotafilmfestival.com/film/sweat-of-his-cow/

Cleveland International Film Festival 2022 review: Anna Baumgarten’s ‘DISFLUENCY’ speaks volumes. #CIFF46

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DISFLUENCY

SYNOPSIS:
After unexpectedly failing her final college class due to a traumatic personal event, Jane, an aspiring speech pathologist, retreats home to her parent’s lake house in the hometown she grew up in. Her older sister and friends, as well as an old high school crush, soften the burden of failure, inspiring her to embrace the carefree summer as she tries to sort out what to do next. She also rekindles an old friendship with her neighbor Amber, a single mother with a difficult toddler, utilizing her skills and knowledge to help her connect with her son. Jane, however, fights through PTSD and imposter syndrome as she attempts to piece together what exactly happened in order to unravel the emotional and psychological tangle that’s been haunting her as she finds a path forward toward the never-ending process of healing.

Writer-director Anna Baumgarten has a way with words. In her new film Disfluency, their weight is unfathomable. After flunking her final college course, aspiring speech therapist Jane navigates her next steps at her parent’s lake house. Struggling to reveal her motives for failure, she makes her friends and family her test subjects, studying how others use language. Jane slowly works her way to catharsis over the summer months, wearing every possible emotion on her sleeve. Disfluency is the perfect title for a film that’s bound to captivate a massive audience. Words have power and how we express them is life-changing.

Beautifully grounded performances make you fall for these characters. Discovering that actress Ariela Barer is Libe’s real-life sister makes so much sense now. As Lacy, she is hilarious, and I would be remiss not to mention her. Their chemistry is electric. Don’t assume for one second she only exists for comic relief. Lacy is a catalyst for healing.

PTSD is something that never truly leaves you. As a sexual assault survivor, I can attest to the flashbacks and how my trauma affected my relationships moving forward. It’s a permanent piece of my psyche. I understand why women don’t come forward, even to family. Not until #MeToo became mainstream did I reveal my hurt to family, and even that occurred via social media. Jane’s functionality in Disfluency mimics mine. PTSD is often an unseen burden.

Chelsea Alden‘s portrayal of Amber was also personal to me. From the sadness on her face to the eagerness to learn, I felt that performance and the care Alden brings to Amber. As a Mother of a neurodivergent son now in Kindergarten, his language delay was something I suspected early on. I remember the fear in my body when he failed his initial hearing test in the NICU. In the end, that wasn’t the issue after all. Lucky for us, his pediatrician flagged him at 18 months. Two weeks after his second birthday, he had five days a week of ABA and speech services. Now he’s a thriving, sweet, curious, and brilliant little boy. The screenplay utilizes sign language. Featured in an emotionally climactic scene that tears your heart out, it’s one of this year’s most impactful cinematic moments. 

Libe Barer, as Jane, nails every single beat, working through gaslighting, second-guessing, victim-shaming, depression, anger, and everything in between. The script gives Barer the space to explore all the complexities accompanying trauma. In a breathtaking monologue, Barer says it all, quite literally. It’s a wave of emotional nuance that packs one hell of a punch. 

With tight visual flashbacks and accidental therapy sessions in the form of slick dialogue, Baumgarten provides a conversation starter for many. It’s easy to see why it won Best Narrative Film at Oxford FF. Disfluency tackles the boundless intricacies of communication. It’s a must-see.

Screening information (VIRTUAL):
Sunday, April 10 at 11:00AM
Sunday, April 17 at 11:59PM

Ticketing information:
https://www.clevelandfilm.org/films/2022/disfluency?fbclid=IwAR0J0cyFMWDN56qzc0YXuzE-UtazQi9SWpwlxX_RmgDve9SJyMyxEZ3a6mU

ABOUT THE FILM:
Based on the 2018 award-winning short film, DISFLUENCY just won the 2022 Oxford Film Festival Jury Prize for Best Narrative Feature, which followed last year’s 2021 Austin Film Festival Jury Prize for Best Narrative Feature Film.

Director/Writer:                      Anna Baumgarten
Producers:                    Danny Mooney, Elaine Hastings Edell
Executive Producers:           Ben Wiessner, Jim Cummings, Alex Rudolph, Chicago Media Angels
Editor:                       Kevin Birou
Cinematographer:                 John Fisher
Music:                                     Nathan Alexander
Cast:                         Libe Barer, Ariela Barer, Chelsea Alden, Dylan Arnold,
Travis Tope, Kimiko Singer, Molly Hagan, Ricky Wayne,
Diana De La Cruz, Wayne David Parker
TRT:                                      95 min
Country:                      USA

Official Trailer Drop: ‘The Bob’s Burgers Movie’ is getting served up in May. #BobsBurgersMovie

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The Bob’s Burgers Movie

A ruptured water main creates an enormous sinkhole right in front of Bob’s Burgers, blocking the entrance indefinitely and ruining the Belchers’ plans for a successful summer. While Bob and Linda struggle to keep the business afloat, the kids try to solve a mystery that could save their family’s restaurant. As the dangers mount, these underdogs help each other find hope as they try to get back behind the counter.

 The Bob’s Burgers Movie
Only in Theaters on May 27

Release date: May 27, 2022 (USA)
Directors: Loren Bouchard, Bernard Derriman
Adapted from: Bob’s Burgers
#BobsBurgersMovie

Review: ‘Inventions that Changed History’ is a Palette Cleansing Delight’ streaming on discovery+

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Inventions that Changed HistoryInventions That Changed History reveals the wild and often unbelievable stories behind many of pop culture’s most impactful inventions. Historians, Scientists, Pop Culture Experts and Hollywood Celebrities take us on this wild ride full of information and incredible tales.

Ready to dominate at the next Trivia Night? “Inventions that Changed History” is a light, silly romp that is likely to help your team win a free round. With a mix of historical exposition on familiar inventions– Mr. Potato Head and waterbeds make silly and fascinating segments– it is the perfect palette cleansing alternative to more serious documentaries (or the news). 

Filled with surprising celebrity cameos from fan favorites like Guillermo from “What we do in the Shadows,” Meredith from “The Office,” and Amanda Seals from “Insecure” candidly riffing on a nostalgic parade of core memories for Gen X/ Millennials, the show is a good time all around. In particular, I was locked in learning the origins of the Easy-Bake Oven while simultaneously trying to remember if and how severely I  burned myself– not enough to stop it from being one of my favorite toys. Oh, the 90s! 

A fun concept with plenty of options to explore, this could quickly become a niche favorite. What a treat!

Episodes 1 & 2 Streaming on discovery+ on March 31st

Two episodes premiering weekly through April 14

Executive Producers: Tom Forman, Chuck Dalaklis, Jenny Daly, and Jon Beyer

For Discovery, Wyatt Channell and Howard Swartz serve as executive producers

Scores of Hollywood celebrities like Richard Kind (“Curb Your Enthusiasm”), Lance Reddick (“The Wire”), Nicole Sullivan (MADtv), Haskiri Velazquez (“Saved By The Bell”), Amanda Seales (“Insecure”), Flula Borg (Suicide Squad), Yeardly Smith (“The Simpsons”), Jeff Ross (Comedian), Eric Griffin (Actor/Comedian), Harvey Guillen (“What We Do in the Shadows”) and Rachael Harris (The Hangover), join in on the fun as they take a hysterical and insightful hands-on approach to the inventions that molded their youth and stayed with them into adulthood.

Episode 2 Inventions:

Mr. Potato Head 

Pop Rocks

Corn Cob Holders

Easy Bake Oven 

Box Wine

Rubber Chicken

Listerine

Vending Machines

 

Episode 1 Inventions:

Waterbeds

Barf Bags

Big Mouth Billy Bass

Flushing Toilet

Super Soaker 

Sea-Monkeys

Pool Noodle

Slip ‘N Slide 

 

Shudder Original review: ‘Night’s End’ is a creepy and campy crowd-pleaser.

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NIGHT’S END

An anxious shut-in moves into a haunted apartment, hiring a stranger to perform an exorcism which quickly takes a horrific turn.

Director Jennifer Reeder and screenwriter Brett Neveu bring us the Shudder Original Night’s End. Anxiety-ridden Ken is apartment-bound and attempting to get his life back on track. In doing so, he accidentally records a strange occurrence while filming his amateur YouTube videos. Things get weirder when he’s encouraged to pursue the building’s history and provoke whatever entity might be lurking in his domain. Night’s End is the perfect marriage of creepy and campy. Shudder audiences will love it. 

Every single performance adds to the overall arc of Night’s End. Dark Corners host Daniel Kyrie, and Lyden Knight, played by Theo Germaine, give that YouTube clout appearance. Their distinct personalities up the anty for the finale. The camp enters the arena officially with the introduction of author Colin Albertson, played by Lawrence Grimm, a famous paranormal expert guiding Ken on his journey. Grimm, whose name evokes perfect casting, represents every talking head in any SyFy channel show. He will make you smirk with familiarity. 

Comic relief comes in the form of Michael Shannon. Yes, Michael Shannon! He plays Isaac, Ken’s marital replacement. Donning Hawaiian shirts and giving us an honest-to-goodness stepdad goofiness, Shannon is effortlessly hilarious.

Felonious Munk is Ken’s best friend, Terry. He’s encouraging and genuinely interested in getting Ken well. Walker and Munk’s banter is essential to Jen’s backstory. Kate Arrington, as ex-wife Kelsey, is down-to-earth and loveable. The chemistry with Walker has a closeness that feels grounded. Keep in mind, every single interaction Ken experiences is through Zoom. Bravo to the editor Mike Olenik. Geno Walker plays Ken with a super natural (two words) energy. His paranoia is palpable as frustration and confusion pour off the screen. Walker is a commanding lead. 

Night’s End uses horror tropes to tackle mental health uniquely. Fran Bittakis‘ set dressing, cleverly disguised in draped plastic, serves a dual purpose. The apartment appears amid repair, but it also allows for some ghostly apparition moments. Zoom works perfectly, considering Ken suffers from crippling anxiety and agoraphobia throughout the film. The significance hits home in the finale. The creepy factor will turn your knuckles white, even if the film’s climax begets an eye roll. Know what you’re going into with Night’s End, and you’ll undoubtedly have a good time. I still think there is sequel potential. That’s a character journey I want to explore. 

Premieres March 31 on Shudder

Capsule review: Inspired by actual events, ‘NITRAM’ is a gripping tale of inevitable violence.

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NITRAM

SYNOPSIS: Nitram (Caleb Landry Jones) lives with his mother (Judy Davis) and father (Anthony LaPaglia) in suburban Australia in the Mid 1990s. He lives a life of isolation and frustration at never being able to fit in. That is until he unexpectedly finds a close friend in a reclusive heiress, Helen (Essie Davis). However, when that relationship meets a tragic end, and Nitram’s loneliness and anger grow, he begins a slow descent that leads to disaster.

Witness the downward spiral of an already unwell young man as he slowly travels down the rabbit hole of complete darkness. When Nitram finally connects with a reclusive heiress named Helen, his world appears brighter. Helen provides the comfort and emotional shelter his parents could not. When the sadness becomes too much, his anger and anxiety manifest in violence and unfathomable tragedy. Inspired by actual events, NITRAM tells the story of one man’s undoing, changing Australia’s history forever. 

Caleb Landry Jones embodies the mentally fragile Nitram with his entire being. It’s no wonder he won Best Actor when the film premiered at Cannes last year. Jones’ uncanny ability to live in the skin of his character is something you don’t see often. He’s on another level, whether that be his voiceover work in Finch or his haunting performance in Antiviral. Alongside stellar performances from Judy Davis and Anthony LaPaglia as Nitram’s emotionally exhausted parents and a breathtaking turn from Essie Davis, NITRAM is an eerie chronicling of inevitable implosion.

IFC Films will release the thriller/drama NITRAM in Theaters, on Digital Rental and AMC+ on March 30, 2022.

Directed by Justin Kurzel (TRUE HISTORY OF THE KELLY GANG, SNOWTOWN MURDERS, MACBETH) and written by Shaun Grant (TRUE HISTORY OF THE KELLY GANG, BERLIN SYNDROME), NITRAM stars Caleb Landry Jones (THREE BILLBOARDS OUTSIDE EBBING MISSOURI, GET OUT, HEAVEN KNOWS WHAT), Essie Davis (THE BABADOOK, TRUE HISTORY OF THE KELLY GANG), Oscar Nominee Judy Davis (HUSBANDS AND WIVES, BARTON FINK, NAKED LUNCH), and Anthony LaPaglia (EMPIRE RECORDS, WITHOUT A TRACE).

 

Review: Chris Pine helmed action thriller ‘The Contractor’ has franchise potential.

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THE CONTRACTOR

SYNOPSIS: Chris Pine stars in the action-packed thriller as Special Forces Sergeant James Harper, who is involuntarily discharged from the Army and cut-off from his pension. In debt, out of options and desperate to provide for his family, Harper contracts with a private underground military force. When the very first assignment goes awry, the elite soldier finds himself hunted and on the run, caught in a dangerous conspiracy and fighting to stay alive long enough to get home and uncover the true motives of those who betrayed him. Also starring Kiefer Sutherland, Ben Foster, Gillian Jacobs and Eddie Marsan.

If you’re a fan of hit franchise films like The Bourne Identity and Taken, Tarik Saleh’s new film The Contractor is right in your wheelhouse. J. P. Davis’ script gives us a top-tier espionage and black ops storyline, creating an emotionally taut thriller with Chris Pine as our hero.

Keifer Sutherland does his effortless badass thing, and you’ll be on your toes every second he’s on screen. Ben Foster, who I attended Interlochen Arts Camp with when we were young, is a star yet again. Ben has that “it” factor. I knew it the second I met him. As Mike, Pines’ former Sargent and best friend, he’s charming and funny. He, too, handles the physical aspects of the film like an expert. You cannot help but focus on Foster when he appears onscreen. His presence is undeniable. 

Chris Pine gives James Harper all the qualities we need. Harper is a fully fleshed-out, flawed human being. He’s layered and complex, and Pine gives him life. The action sequences are just as hard-hitting as the emotional ones. It should come as no surprise, given Pine’s natural ability to pull you into any role. I’d love to see The Contractor become its own franchise. Pine has the chops. 

The film’s plot comes at an auspicious time in history. To give any more detail would be spoiling it for the audience. The fight choreography is enthralling. The twists and turns and emotional impact glue you to your seat. The Contractor is a solid action thriller with the heart to back it up. You can catch the film in theaters, Digital, and On-Demand on April 1st.

IN THEATERS, ON DIGITAL AND ON DEMAND: April 1, 2022
DIRECTOR: Tarik Saleh
WRITER: J.P. Davis
CAST: Chris Pine, Ben Foster, Gillian Jacobs, Eddie Marsan, JD Pardo, Florian Munteanu and Kiefer Sutherland
RUN TIME: 103 minutes
RATING: R for violence and language
GENRE: Action, Thriller

DISTRIBUTOR: Paramount Pictures

Review: Feminist horror ‘THE YELLOW WALLPAPER’ available today on Digital release.

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THE YELLOW WALLPAPER

The debut film THE YELLOW WALLPAPER from creative duo—Alexandra Loreth and Kevin Pontuti—is a chilling and boldly original vision of madness. Jane, a writer and young mother, is prescribed a rest treatment by her physician husband John, who takes her to a remote country estate for the summer. She becomes obsessed with the peculiar yellow wallpaper in the bedroom he has chosen for her. In her isolation, she secretly writes about a woman trapped in the wallpaper—that she must free.

Opening with a disturbing turn, The Yellow Wallpaper is a slow burn horror about Postpartum Depression and gaslighting. New mother Jane and her physician husband rent a summer home in hopes of settling Jane’s nerves after giving birth. Jane becomes obsessed with the wallpaper in the couple’s bedroom. As her behavior becomes more and more erratic, she is less understood by all those around me. Perhaps, it is because they are not truly listening. 

The score from Robert Coburn haunts with heavy, ear-piercing strings, oboe, and maybe even bagpipe? I almost wish there were more music for me to contemplate. Era records, perhaps, to contrast such a purposeful and grating score. The slow, lingering closeups of the titular wallpaper are chilling. The costumes and set are outstanding. Bravo, to the hair and make-up team for their meticulous work. It did not go unnoticed. 

Alexandra Loreth evenly plays Jane with the nuance of PPD topped off with gaslighting. Postpartum depression was not yet a diagnosis in the Elizabethan era. Nor is it acknowledged as much as it should be today, quite frankly. Loreth’s voiceovers are a nice reprieve from the predominant silence. Her performance hits its peak as her isolation and writings increase. The faster editing and closeups help greatly. 

While the film opens with a bang, that same energy feels sapped in the one hour and forty minutes runtime. The Yellow Wallpaper would benefit from a 20 to 30-minute cut. I found myself glancing at the clock more than once. The final 20 minutes are, by far, the most intriguing. The variation and mounting intensity make The Yellow Wallpaper meaningfully upsetting. Loreth and director Kevin Pontuti penned the screenplay together. There’s a lot of depth and potential. You could easily make this a franchise with some tweaking. 

 

THE YELLOW WALLPAPER is a dark and disturbing contemporary adaptation of Charlotte Perkins Gilman’s well-known and controversial gothic feminist horror story about patriarchy and mental health. The film is a collaboration between partners Alexandra Loreth and Kevin Pontuti and stars Alexandra Loreth, Joe Mullins, Clara Hart, and Jeanne O’Connor. The film was written by Alexandra Loreth and Kevin Pontuti and directed by Pontuti. THE YELLOW WALLPAPER has a running time of 99 minutes and will not be rated by the MPAA. The film World Premiered at Cinequest followed by a successful festival run. Mutiny Pictures will release the film on March 29.