Shudder Original review: ‘The Banishing’ is overwhelming.

THE BANISHING

From acclaimed director Chris Smith comes THE BANISHING, which tells the true story of the most haunted house in England. A young reverend and his wife and daughter move into a manor with a horrifying secret. When a vengeful spirit haunts the little girl and threatens to tear the family apart, the reverend and his wife are forced to confront their beliefs. They must turn to black magic by seeking the help of a famous Occultist…or risk losing their daughter.

Portal mirror, dimensions, time loops of residual energy, religious mob, eccentric occultist, spirits with unfinished business… and Nazis? A doomed location and a church’s secret creates a perfect storm for a young family with skeletons of its own. Creepy dolls and things that go bump in the night fracture a fragile family dynamic. While British horror is a strong genre, The Banishing takes a familiar premise and cranks it beyond viability. You’ll be scratching your head as imagery rolls out… and rolls out, again.

The performances are brilliant. John Heffernan as Linus gives a fascinating and nuanced performance. Sexually repressed by choice and the church he is in denial of what is right in front of his eyes. Jealousy leads to rage and Heffernan is downright startling when it rears its ugly head. Sean Harris is a magical creature. Strawberry-dyed hair and a familiar eccentricity make Harris the only guiding light in making sense of this screenplay. I’d watch an entire series of his character’s adventures. That’s the franchise. Jessica Brown Findlay as Marianne is powerful. A palpable fear that only a mother knows seeps from her pores. Her feminist declarations will make you want to stand up and cheer.

The film’s final scene is so abrupt it’s actually irritating. This is clearly a massive plot point that is given but a moment, and that moment is the end of the film? That’s a ballsy way to, perhaps, set up a sequel. You must already have the audience on your side for that to succeed. The film is like taking every season of Ryan Murphy‘s American Horror Story and mashing them together with zero explanation. There is no consistency in the screenplay other than Marianne’s “take no shit”, anti-slut-shaming, mom-boss attitude, and Linus’ vile weakness. When you finally get to the supposed outcome with daughter Adelaide, it screams The Haunting of Bly Manor. The overall look of the film is undeniably gorgeous. Some scenes contain viscerally jarring imagery. Ultimately, Shudder subscribers can decide for themselves whether it’s overstuffed or if we’re more in a 13 Ghosts territory. You could give it a pass being that it’s based on the true story of the most haunted house in England. In my opinion, The Banishing deserves to be fleshed out as a series. Show up for the performances, the set, and the cinematography, and let me know what you think once the screen goes black for good.

THE BANISHING will stream exclusively to Shudder on April 15th in the US, Canada, UK, Ireland, Australia, and New Zealand, as well as via the Shudder offering within the AMC+ bundle where available.

THE BANISHING

Genre: Horror

Country: United Kingdom

Runtime: 97 min

Year: 2021

Rated: NA

Starring Jessica Brown Findlay (Downton Abbey), Sean Harris (Mission: Impossible franchise), John Lynch (The Secret Garden, Black Death), and John Heffernan (Eye in the Sky) and directed by Christopher Smith (Creep, Severance, Triangle).

THE BANISHING is a WestEnd Films production.

ABOUT SHUDDER:

AMC Networks’ Shudder is a premium streaming video service, super-serving members with the best selection in genre entertainment, covering horror, thrillers, and the supernatural. Shudder’s expanding library of film, TV series, and originals is available on most streaming devices in the US, Canada, the UK, Ireland, Germany, Australia, and New Zealand. For a 7-day, risk-free trial, visit www.shudder.com.

Review: ‘HONEYDEW’ is unsettling to say the least.

HONEYDEW

HONEYDEW tells the story of a young couple (played by Spielberg and Barr) who are forced to seek shelter in the home of an aging farmer (Kingsley) and her peculiar son when they suddenly begin having strange cravings and hallucinations taking them down a rabbit hole of the bizarre.

I first heard about Honeydew after its virtual premiere at Nightstream Film Festival. It is a miracle that I was able to avoid spoilers. I am delighted to report the intense buzz was spot on. Honeydew is that good. The sound editing and score consumed me. Combined with some split-screen deliciousness, Honeydew was dizzying madness. Writer-director Devereaux Milburn has taken the most successful aspects of classic and modern horror to create something insanely scary. It gets under your skin in a truly chilling way. The film also boasted one of the weirdest cameos ever. I did a literal double-take.

Malin Barr as Riley is amazing. Sawyer Spielberg as Sam is fantastic. The chemistry between the two actors is electric. Milburn’s dialogue allows them to convey the small cracks that exist in every relationship. These are keenly exacerbated by their bizarre circumstances. Barr and Spielberg are a hell of a pair but are also allowed to shine on their own. You’re constantly worried about them all while fascinated by their individual needs. Jaime Bradley knocks it out of the park as Gunni. What amounts to almost an entirely physical performance, he will disturb you to no end. Bradley owns every frame. Barbara Kingsley is a genius.  As Karen, she walks an extremely fine line between sweet and horrifying, leaning heavily towards the latter. The way these characters are written and the care with which they are performed culminates in one of the most uneasy watches in 2021.

There is a bit of an Ari Aster feel to the film in more than one way. Both the sound and score are keys to ramping up the fear factor. A combination of music, sound effects, and made-made noises like breath and clapping grate your nerves from start to finish. The plot is cleverly laid out for the audience from the very beginning. That does not lessen its impact as the explosive finale arrives. Once that happens, forget everything you know. I was so unsettled I didn’t know which way was up. All I can do now is cringe. Those images are burned into my brain. I’ll be eternally scarred by Honeydew‘s sights and sounds. 

Dark Star Pictures and Bloody Disgusting will release the rural horror film HONEYDEW on VOD, Digital HD, and DVD on April 13, 2021.

HONEYDEW is written and directed by Devereux Milburn (shorts “Stayed For” and “Wade”) and stars Sawyer Spielberg in his feature acting debut, Malin Barr  (Skyscraper, First Love, CBS’s “Bull”), and Barbara Kingsley (The Straight Story, “Jessica Jones”).

Review: ‘VOYAGERS’

Set in the near future, the film chronicles the odyssey of 30 young men and women who are sent deep into space on a multi-generational mission in search of a new home. The mission descends into madness, as the crew reverts to its most primal state, not knowing if the real threat they face is what’s outside the ship or who they’re becoming inside it.

What could go wrong with attempting to play God? Only everything. Instincts suppressed lead to one dangerous boiling pot of hormonal and phenomenally intelligent young people. It’s all one big morality question. Putting these unsuspecting kids in this position to save the entirety of the human race is a lot to ask. Then to lie to them, control them, use them without allowing them to be fully human themselves is cruel. And yet it’s not that simple. Limited resources forced this scenario. The likelihood of its success already feels like an uphill battle. All hell breaks loose when something attacks Richard, the only adult on board. Will these 30 young people fight their instincts or one another?

Colin Farrell as Richard is remarkable. He is the father figure. Loving, protective, and genuinely wanting these kids to succeed. Lily-Rose Depp as Sela is astonishing. She walks the perfect line of innocence and strength. Her journey, like Sheridan’s, is fascinating to watch evolve. Fionn Whitehead plays Zac with terrifying aggression. His portrayal of unhinged, pure testosterone-driven rage is all too familiar in the best way possible. Tye Sheridan plays Christopher with a curiosity and a growing intensity that makes him the perfect protagonist. He is levelheaded, kind, and determined to survive. Sheridan easily owns his leading man status.

Voyagers becomes a near-future version of Lord Of The Flies. It’s chaos created and chaos inevitable. The set is cool as hell. It feels immense and claustrophobic all at once. Trevor Gureckis‘ score is gorgeous. Writer-director Neil Burger has given audiences a heart-pounding and brilliant film. This one will stick with you long after the credits roll.

U.S. Release Date:          April 9, 2021, in theatres
Running Time:               108min    

Review: ‘Painkiller’ is the perfect Bill Oberst Jr. vehicle.

Painkiller

After a man loses his daughter to a drug overdose, he begins a vigilante campaign to bring down the white-collar criminals, including the doctors and pharmaceutical companies, behind the opioid epidemic.

PAINKILLER boasts gorgeous opening titles with 360-degree slow-motion character images surrounded by raining down multicolored pills. Combined with a truly magnificent score, it feels like the audience is being set up for a wild ride. Unfortunately, the overall experience is less thrilling. The premise is intriguing. It’s a revenge story that any parent could get behind. The film gets bogged down by amateur performances from the majority of the cast. I also scratched my head at the idea that a heart surgeon, whose wife is begging for his money in a divorce proceeding, didn’t reside in a more upscale home. This could have been easily addressed by filming those scenes in the same location used for our leading man. After seeing the clarity and effectiveness of the drone shots, this detail disappointed me.

The acting is either over-the-top or underwhelming, with three notable exceptions. Khalmimah Gaston as Detective Janet Simone is an awesome scene partner for Bill Oberst Jr. Their dialogues lays the emotional groundwork that drives the plot. I absolutely believe her as a cop. She’s even-keeled and always present with Bill. Tom Parnell, who also wrote and produced the film, is very strong as Dr. Thomas Mac. While I did think his character deserved better accommodations, his chemistry with his fellow cast members is solid. That final scene is some of the best written and performed in the film. Now onto our leading man Bill Oberst Jr. The tone of his voice is intoxicating. There’s a vulnerability to his portrayal of Bill that makes the audience root for him. His scenes, both as he interacts with callers on his radio show and as he seeks revenge on those who push opioids, are captivating. He is undeniably the number one reason to watch PAINKILLER.

*ON DEMAND/DIGITAL/DVD* MAY 4, 2021

Assessment Strategies for the Modern Classroom: Professional Development Insights

Assessment is a cornerstone of effective teaching and can create massive change in your school, providing vital information on student learning, guiding instructional decisions, and ensuring that educational goals are being met. However, traditional assessment methods, often focused on rote memorization and standardized testing, may not fully capture the depth and breadth of student understanding in today’s dynamic educational environment. To meet the demands of modern classrooms, teachers must embrace innovative assessment strategies that are flexible, inclusive, and aligned with 21st-century learning objectives.

This article explores the evolving landscape of assessment, differentiating between formative and summative assessments, and highlighting the role of professional development in mastering these techniques. It also offers practical tips for teachers looking to enhance their assessment practices, ensuring that evaluations are meaningful, equitable, and supportive of student growth.
The Changing Face of Classroom Assessment

In the traditional model of education, assessment was often a final step in the learning process—a summative event designed to measure what students had learned at the end of a unit or course. While summative assessments remain important, there is a growing recognition that they represent just one piece of the puzzle. Modern education increasingly emphasizes the importance of formative assessments, which are ongoing processes that inform instruction and support student learning as it happens.

1. Formative vs. Summative Assessments: Understanding the Difference

Formative Assessments: These are informal, often ungraded assessments that take place during the learning process. The goal of formative assessment is to monitor student learning and provide feedback that can be used to improve both teaching and learning. Examples include quizzes, class discussions, peer reviews, and observation. Formative assessments are integral to a responsive teaching approach, allowing educators to adjust their instruction based on real-time insights into student understanding.

Summative Assessments: These are formal, graded evaluations that occur at the end of a learning period, such as a unit, semester, or course. Summative assessments aim to evaluate what students have learned and to what extent they have achieved the learning objectives. Examples include final exams, standardized tests, and major projects. While summative assessments are crucial for measuring outcomes, they often don’t provide the immediate feedback needed to guide instruction during the learning process.

Innovative Assessment Methods for the Modern Classroom

As education evolves, so too must our approaches to assessment. Here are some innovative strategies that teachers can incorporate into their classrooms to better assess student learning in a holistic and meaningful way:

1. Portfolio Assessments:
Portfolios are collections of student work that demonstrate progress, achievement, and growth over time. Unlike traditional tests, portfolios allow students to showcase a range of skills, including creativity, critical thinking, and problem-solving. They also provide a more comprehensive view of student learning by including various forms of work, such as written assignments, projects, and reflections. Portfolios can be particularly effective in subjects like art, writing, and project-based learning.

2. Performance-Based Assessments:
These assessments require students to apply their knowledge and skills in real-world or simulated scenarios. For example, instead of taking a written test on a scientific concept, students might conduct an experiment, present their findings, or create a model. Performance-based assessments are valuable because they assess not just what students know, but how they can use that knowledge in practical, often collaborative, contexts.

3. Peer and Self-Assessments:
Incorporating peer and self-assessment encourages students to take ownership of their learning. Peer assessment allows students to review each other’s work, providing constructive feedback and learning from their peers. Self-assessment helps students reflect on their own progress, strengths, and areas for improvement. Both methods foster a deeper understanding of learning objectives and promote metacognition, which is critical for lifelong learning.

4. Digital and Adaptive Assessments:
Technology offers new avenues for assessment that can be both engaging and personalized. Digital assessments, such as online quizzes and interactive simulations, can provide immediate feedback and adapt to the individual needs of students. Adaptive assessments adjust the difficulty of questions based on student responses, ensuring that each student is challenged at the appropriate level. These tools can be especially useful in differentiated instruction, allowing teachers to cater to a diverse range of learning needs.

5. Project-Based Assessments:
Project-based learning (PBL) integrates assessment into the learning process by requiring students to complete complex, multi-step projects that demonstrate their understanding and application of key concepts. PBL assessments often culminate in presentations, reports, or physical products that are evaluated based on a rubric. This method encourages deep learning, collaboration, and critical thinking, making it a powerful alternative to traditional exams.
Aligning Assessments with Learning Objectives

To be effective, assessments must be aligned with the specific learning objectives of the course or unit. This alignment ensures that assessments are measuring what they are intended to measure and that the results accurately reflect student understanding.

1. Define Clear Learning Objectives:
Before designing assessments, teachers must first establish clear, measurable learning objectives. These objectives should outline what students are expected to know, understand, and be able to do by the end of the learning period. Objectives should be specific, achievable, and aligned with broader curriculum standards.

2. Use a Variety of Assessment Methods:
Different types of assessments provide different insights into student learning. By using a variety of methods—such as quizzes, projects, essays, and presentations—teachers can capture a more complete picture of student achievement. This approach also allows students to demonstrate their learning in multiple ways, catering to diverse learning styles and strengths.

3. Develop Rubrics and Criteria:
Rubrics provide a clear framework for evaluating student work, outlining specific criteria and performance levels. Well-designed rubrics help ensure consistency and fairness in grading, while also providing students with a clear understanding of what is expected. Rubrics can be used for both formative and summative assessments, offering a structured way to provide feedback and guide student improvement.

4. Continuously Review and Adjust:
Assessment strategies should be regularly reviewed and adjusted based on their effectiveness in measuring student learning. Teachers should reflect on assessment outcomes, seek feedback from students, and make changes as needed to better align assessments with learning objectives. This iterative process helps ensure that assessments remain relevant and meaningful over time.
The Role of Professional Development in Mastering Assessment Techniques

To stay at the forefront of effective assessment practices, teachers must engage in ongoing professional development. This continuous learning helps educators refine their skills, stay updated on the latest research, and implement innovative strategies in their classrooms.

1. Attend Assessment Workshops:
Workshops focused on assessment techniques provide hands-on learning experiences, allowing teachers to explore new methods and tools in a collaborative setting. These workshops often cover a range of topics, from designing formative assessments to using technology in assessments. Attending these sessions can provide practical insights and inspire new approaches to assessment.

2. Enroll in Online Courses:
Online courses offer flexibility and depth, allowing teachers to dive into specific aspects of assessment at their own pace. Platforms like Coursera, edX, and FutureLearn offer courses on educational assessment, formative assessment techniques, and data-driven decision-making. These courses often include case studies, interactive activities, and opportunities for reflection, making them a valuable resource for teachers looking to enhance their assessment skills.

3. Join Professional Learning Communities (PLCs):
Professional Learning Communities are networks of educators who come together to share ideas, strategies, and resources. Joining a PLC focused on assessment can provide ongoing support and collaboration, helping teachers stay informed about best practices and emerging trends. PLCs can be found within schools, districts, or online communities.

4. Read Educational Assessment Literature:
There is a wealth of literature available on the topic of educational assessment. Books such as “Classroom Assessment & Grading That Work” by Robert J. Marzano and “The Formative Assessment Action Plan” by Nancy Frey and Douglas Fisher offer valuable insights into effective assessment strategies. Regularly reading up on the latest research and theories can deepen teachers’ understanding and inspire new approaches in their classrooms.

5. Participate in Reflective Practice:
Reflective practice is a key component of professional growth. Teachers should regularly reflect on their assessment practices, considering what works well and where there is room for improvement. This reflection can be enhanced by peer observations, student feedback, and self-assessment, creating a continuous cycle of learning and improvement.
Conclusion: Elevating Assessment in the Modern Classroom

Effective assessment is not a one-size-fits-all process—it requires careful planning, alignment with learning objectives, and a willingness to embrace new methods and tools. By incorporating innovative assessment strategies, aligning assessments with clear objectives, and engaging in ongoing professional development, teachers can create a more responsive and equitable learning environment.

For modern educators, mastering the art of assessment is an ongoing journey. With the right tools, strategies, and mindset, teachers can transform assessment from a mere evaluation tool into a powerful driver of student growth and success. As the educational landscape continues to evolve, so too must our approaches to assessment—ensuring that every student’s learning journey is recognized, supported, and celebrated.

Review: ‘The Toll’ plays upon familiar fears.

 

THE TOLL

Synopsis: Supernatural terror and spine-tingling suspense highlight this gripping journey into fear. When Cami orders a taxi service to take her to her father’s country home, she’s hoping for a quiet and uneventful ride. But a wrong turn by Spencer, her chatty driver, results in the car stalling on a dark and remote road. After several threatening and inexplicable occurrences, Cami and Spencer realize they are being watched—by an unseen presence that sees them as trespassers, and is ready to exact a deadly toll.
Writer-director Michael Nader sets up The Toll in a marvelous way. It plays upon the very real fears of ride-sharing. My heart was already in my throat minutes in. The writing is sharp and relatable. A woman alone in a car with a male driver, perhaps a tad too chatty for the hour and length of the drive. The pitch-black atmosphere, barely illuminated by headlights and dashboard glow adds to the fear factor. Ramp up the terror with a backwoods legend and this film settles into one extremely unsettling watch. Do your eyes a favor and watch it in the dark.
The first half and the finale of The Toll are hugely successful. My misgivings arrive in the middle of the film with a sudden tonal shift. It feels like Nader took a handful of horror DVDs, tossed them into the air, and used the plots/visuals from whichever films landed inside a circle on the ground. The trauma and the gaslighting aspect are the most intriguing. Credit where credit is due, the final twist is brilliant. While The Toll has a lot to explore with solid performances and a genuinely scary emotional build-up, I’m not sure if it works as a whole.
Saban Films’ THE TOLL opens In Theaters, On Demand, and Digital on Friday, March 26.
Writer/Director: Michael Nader
Cast: Jordan Hayes, Max Topplin, James McGowan, Rosemary Dunsmore
Producers: Max Topplin, Jordan Hayes, William Day Frank
Genre: Horror, Thriller
Run Time: 80 mins
Rating: R for Language Throughout and Some Violence
Distributor: Saban Films

SXSW 2021 reviews: ‘Nuevo Rico’ & ‘The Thing That Ate The Birds’

Nuevo Rico

A brother and sister stumble upon a celestial secret that propels them into Reggaetón stardom, but at what price?

This mixed media animation is a literal bright spot in the shorts program. It’s a little Adult Swim, a dash of video game, part music video, all drenched in neon-colored deliciousness. Twins Barbie and Vico find out about the trappings of fame and dismissing their culture the hard way. In 16 minutes it manages to touch on socio-economics, politics, and identity, just to name a few relevant issues. Writer-director Kristian Mercado uses voice-over, songs, and dialogue to communicate this unique short.  Angélica Agélviz‘s character designs are striking. I could easily watch an expanded series about these characters. There’s enough content to warrant more in-depth episodes. Plus, you won’t be able to get enough of the distinctive look of Nuevo Rico. It’s just plain cool.”


The Thing That Ate The Birds

Set on the North Yorkshire Moors, the film follows Abel, the Head Gamekeeper as he discovers the thing that is eating his grouse. His blunt and violent response brings the menace back home shattering his already crumbling relationship with his wife.

The short has its SXSW premiere from Gunpowder & Sky’s horror brand, ALTER – The Thing That Ate The Birds by writer and director duo Sophie Mair (Ella, And the Baby Screamed) and Dan Gitsham (Ella, And the Baby Screamed). If this is meant to be a treatment for a feature, I want to see that feature. The score is classic Hitchcock strings. The cinematography is gorgeous and that last shot is pure Ari Aster, unapologetic horror. It’s one hell of an introduction to those who are unfamiliar with Mair and Gitsham. Someone, please give them a huge budget and the freedom to scare the crap out of us in a longer form.

ABOUT ALTER

ALTER is a horror brand for novel and grounded stories exploring the human condition through warped perspectives.

Giving voice to emerging, diverse, and established filmmakers, ALTER’s owned and operated channel is distributed across YouTube and Facebook, with more than 15M monthly uniques,  where three short films or series are released each week. In addition to curating and distributing award-winning content, ALTER develops unique stories with some of the most innovative minds in the genre through its ALTER Studio projects – which are not bound to a particular platform or format.

In October, ALTER, along with Executive Producer Sam Raimi (Evil DeadSpider-Man), premiered Part 2 of the horror series “50 States of Fright”, starring Rachel Brosnahan (“The Marvelous Mrs. Maisel”), Travis Fimmel (“Vikings”, Warcraft: The Beginning) and Christina Ricci (“Monster,” “Z: The Beginning of Everything”). In 2019, the BAFTA-nominated horror short, The Blue Door starring (Gemma Whelan – Game of ThronesThe End of the F***ing World) premiered on ALTER, and earlier this year it was also announced that “Moreau”, a sci-fi TV series that puts a modern spin on the classic novel, “The Island of Dr. Moreau” by H.G. Wells has gone into development and will be written by Zack Stentz (X-Men: First Class, Thor, Rim Of The World). In addition, the psychological thriller “Horror Accidental”, based on the Japanese TV drama series, ‘Horror Accidental 1&2’, will be brought to life by writer and director Evan Daugherty (‘Divergent,’ ‘Tomb Raider’).

Additional releases include the brand’s first unscripted podcast series, “ALTER Weekly”, which gives its audience a deep dive into the past, present, and future of the horror genre; short film La Noria, directed by Carlos Beana, that won best-animated film at The Webby Awards; CAM, winner of Best Screenplay at 2018’s Fantasia Festival and was acquired by Netflix; the official 2018 Sundance Film Festival selection, Summer of 84, the thriller directed by RKSS (Turbo Kid); and the  SXSW selection, Villains, starring Bill Skarsgard (It) and Maika Monroe (It Follows).

ABOUT GUNPOWDER & SKY

Gunpowder & Sky is an independent studio that creates and distributes feature films, series, short-form content, podcasts, and channels, bridging digital and traditional entertainment.

Since its inception in 2016, Gunpowder & Sky has released more than 30 feature films and series, more than 750 short films in theatres, on TVOD, and leading platforms such as HBO, Netflix, MTV, Hulu, Sky, Showtime, Spotify, Amazon, YouTube, Quibi, Audible and Discovery.

Notable films and series include 69: The Saga Of Danny Hernandez, Her Smell, Everybody’s Everything, Prospect, Sea Fever, The Little Hours, Cam, Hearts Beat Loud, Lords of Chaos, Tragedy Girls, Betting on Zero, Summer of 84, Villains, Survive, 50 States of Fright and Drawn & Recorded.

With a collective audience of more than 65M monthly unique viewers, Gunpowder & Sky also owns and operates content brands that include DUST, the number one free sci-fi channel; ALTER, a leading horror brand, and CUT, an unscripted & comedy brand that is home to the successful formats “Truth or Drink” and “Fear Pong”. DUST, ALTER, and CUT are distributed on all major streaming platforms including Apple, Amazon, Comcast, Facebook, Peacock, Roku, Samsung, Sinclair, Sling, Vizio, Xumo, and YouTube.

Gunpowder & Sky also recently launched its premium audio studio, and in less than one year has established a leading position in music and sci-fi, claiming #1 fiction podcast on Apple and the #1 podcast on Audible.

With offices in Los Angeles and New York, Gunpowder & Sky was founded by Van Toffler and Floris Bauer, in partnership with The Chernin Group and AT&T.

SXSW 2021 reviews: ‘Stuffed’, ‘Don’t Peek’, ‘The Moogai’ are all chilling and unique shorts.

STUFFED

A musical film about a taxidermist who dreams of stuffing a human and a man she meets online so afraid of ageing he volunteers to be her specimen. An unexpected romantic spark between them complicates their plans.

Honestly, you had me at the categories “Musical, Horror”. This is the perfect short for genre fans who are clamoring to get back into theatres of all kinds. The score is wonderfully quirky. It will strike a chord with Sondheim fans. It’s is very Sweeney Todd inspired in sound and darkness. Written by Joss Holden-Rea and Theo Rhys, directed by Rhys, and music and lyrics by Holden-Rea, these two make one hell of a creative team. (I’m begging for a feature-length version of this story) Actors Anthony Young and Alison Fitzjohn have gorgeous voices. Their ability to connect with one another and the audience is a thing of beauty. The cinematography is carefully curated. The practical FX are outstanding. STUFFED is a unique experience you do not want to miss out on. This is the magic that audiences of SXSW salivate over.


DON’T PEAK

A young woman discovers a frightening video game character intent on crossing into the real world.

It’s rare that I jump and feel the need to cover my eyes these days while watching horror. I’ve consumed so much I can usually predict what’s eventually going to happen. In this hair-raising short, a game of Animal Crossing becomes a nightmare when an invited entity crosses from gameplay to real life. I found my heart in my throat. To be that successful in terrifying me in under 7 minutes, I say, “Bravo, writer-director Julian Terry. You got me.”


THE MOOGAI

An Aboriginal psychological horror, THE MOOGAI is the story of a family terrorized by a child-stealing spirit.

Whether a literal interpretation of an actual demon or not, so many theories swirled in my mind as I sweat through my t-shirt watching this short film. This feels like an intense form of gaslighting. Or maybe it’s a product of sleep deprivation. Perhaps it’s Postpartum? The terror is seen and unseen and in this short, the performances take you to the darkest parts of your mind. As a parent, it’s beyond unsettling.

 

Review: ‘HAPPILY’ is completely unexpected

 

HAPPILY

A happily married couple (Joel McHale and Kerry Bishé) discover their friends are resentful of their lustful relationship. When a visit from a mysterious stranger leads to a dead body, they begin to question the loyalty of their so-called friends.

As a 40-year-old woman who has always had her relationship categorized as Janet and Tom, this film spoke to me in a completely different way. I felt the animosity that they receive in a visceral way. The dialogue was genuinely funny in an adult way. The kind of dialogue that actually comes out of our mouths at a certain age and comfort level. The things we say when we just don’t GAF anymore, and honestly, I respect the hell out of it. The plot seems simple enough but the thriller aspect ramps up along with the funny. This cast is superb. They’re sexy, blunt, hilarious, weird, and the kind of eclectic personalities you need to pull this off. This set is cool as hell. I want to go to there. You think you know where this script is going but you really don’t. It’s much darker. It’s much twistier. Do. Not. Get. Comfortable. At the heart of it all, HAPPILY is about communication and trust. It’s about the facade of happiness we feel like we have to portray to the world. This interaction of that theme is told through terror and humor and a bit of WTF. Congrats to writer-director BenDavid Grabinski on a true standout film in 2021.

In Theaters, On Digital & On-Demand March 19th, 2021
BenDavid Grabinski’s Happily is a dark romantic comedy from producer Jack Black, with an all-star powerhouse cast including Joel McHaleKerry BishéStephen RootPaul Scheer, Breckin MeyerNatalie ZeaNatalie Morales, Jon Daly, Kirby Howell-Baptiste, and Charlyne Yi.

Review: Extraordinarily personal doc ‘GROOMED’ comes to Discovery+ this Friday.

GROOMED

GROOMED is the devastatingly powerful story of filmmaker Gwen van de Pas as she returns to her hometown in search of answers about the man who sexually abused her as a child. To understand her ongoing traumas, Gwen travels to meet survivors, psychologists, and even a convicted sex offender. Produced by Gwen van de Pas, Bill Guttentag, and Dylan Nelson, GROOMED addresses a common yet little understood manipulation type called ‘grooming’, how to recognize it, and how to stop it. What begins as an exploration into grooming becomes a dramatic journey where Gwen faces unexpected revelations in her case, finally finds her anger, and boldly confronts the evil we’d rather ignore. Executive produced by Blumhouse in association with Yellow Dot Films.

Gwen Van De Pas’s trauma has never gone away. As an 11 year old, an older swim teammate groomed her. The term was one she only learned 20 years after the abuse occurred. To regain power, she returns to Holland to decide whether or not to report her abuser. Her life cannot move forward without healing. The insight Gwen gains from sitting down with her parents are very impactful. They’re able to explain that when at 17 years old Gwen told them about her abuse that they were at a crossroads based on her mental health. Their guilt is palpable. As a parent myself, I completely understand their desire to protect Gwen from self-harm first. This is not simply about her healing. This film is about the healing of everyone around her. Sexual abuse infiltrates entire families.

The structure of the doc takes us through the grooming bullet points one by one, through the words of a convicted sex offender and behavioral experts. (1. Target The Victim 2. Gain The Family’s Trust 3. Build A Relationship 4. Sexualize The Relationship 5. Maintain Control) She interviews other victims, of all ages, sex, and backgrounds. Not only is this a part of understanding just how pervasive sexual abuse is, but it was a chance for Gwen to feel less isolated for once. Speaking with psychologists, her ultimate goal is to finally report him, but she is rightfully afraid. The evidence she kept still has a profound emotional stronghold. Watching her battle the words and the intentions of her abuser is heartbreaking. She feels complicit and he groomed her to think that way. In their interviews, other victims express how it has affected them physically. Hospitalization, eating disorders, disassociative habits, physical intimacy, panic attacks are just the tip of the trauma iceberg.

This incredibly personal and powerful doc is something parents need to watch. It’s a film survivors should watch. Reporting is not easy. Retraumatization is one of the key factors in every single one of these cases. Gwen Van De Pas was brave. Groomed is her victory lap. If we could all just have a fraction of her courage, we might be able to prevent others from becoming victims. The cycle has to stop.

Streaming Exclusively on discovery+
March 18, 2021

IFC Midnight review: ‘COME TRUE’

COME TRUE

High school student Sarah (Stone) is at her lowest point yet when she runs away from home and finds herself with no one to rely on and struggling with recurring nightmares. She chances upon a university sleep study that offers the promise of safety and money and brings her an unexpected friend and confidant in the overseeing scientist Jeremy (Liboiron). But there’s something curious about proceedings and being under observation seems to make Sarah’s disturbing dreams even worse. As the darkness begins to close in, it’s soon clear that Sarah has unknowingly become the conduit to a horrifying, new discovery…

Come True is best described as visceral nightmares. The wearer of all the hats, writer-director-DP-editor Anthony Scott Burns has given audiences a sci-fi head trip so stunningly beautiful it will overwhelm you. The film has a dark “Through the Looking Glass” feel. Visually akin to The Cell or What Dreams May Come, specifically the purgatory scenes. There’s a frightening beauty to Sarah’s dreams. This cast is amazing. The vulnerability of every single actor should be recognized. Our leading lady, Julia Sarah Stone is astonishing. Her physicality creates a false sense that her character is fragile. Stone owns each frame, sometimes with nothing but her eyes.

The visual progression of horrifying imagery is stunning. The sleep experiment costumes have a Tron meets Captain EO vibe and I really dig them. The script is solidly disturbing. In all honesty, I was locked in until the very final scene which for me stepped into “Huh?” territory. I’ve now watched this film twice. The second viewing was a lot more telling. I have new theories. That being said, the rest of the film is so powerful, Come True is completely worth your attention. Thoroughly engrossing original visuals and storytelling are ramped up by Electric Youth and Pilotpriest’s synth score. It manages to wrap itself around you and immerse you in fear. Each of these elements creates an experience making Come True its own entity. It may give you your own new set of nightmares.

COME TRUE will open in select theaters, digital platforms, and cable VOD on March 12, 2021.

National Geographic and Disney+ review: ‘OWN THE ROOM’ is at the crossroads of passion and presentation.

OWN THE ROOM

Directed by Emmy® Award-Winning team behind Science Fair, Cristina Costantini and Darren Foster, OWN THE ROOM chronicles five ambitious students from disparate corners of the planet and the victories and setbacks they face as they take their budding business ventures to Macau, China to compete in the Global Student Entrepreneur Awards. Santosh is from a small farming town in Nepal; Alondra works the register at her family’s bakery in Puerto Rico; Henry is a programming wiz from Nairobi; Jason is a marketing machine from Greece; and Daniela is an immigrant escaping the crisis in Venezuela, taking on the chemical industry from her lab at NYU.

Every year, students represent each country in an entrepreneurial pitch competition where 1st prize is $100,000. The Global Student Entrepreneur Awards is a life-changing opportunity. In Own The Room (filmed in 2019) New York by way of Venezuela, Nairobi, Nepal, Puerto Rico, and Greece, were represented by Daniela, Henry, Santosh, Alondra, and Jason. You will absolutely fall in love with all five of them. While these young entrepreneurs are unique in personality and ideas, their dedication is familiar and infectious. Sustainability, housing, well-being, accessibility, and communication are merely the broad categories for each of their pitches. With intimate sit-downs and real-time competition footage, this film immerses the viewer in this global, high-stakes competition.

An intriguing highlight of Own The Room is the fact that all five students have the love and encouragement of their parents. It was great to hear the families support each dream, instilling them with the confidence to succeed. Watching the preparation, their anxiety and excitement are visceral. You’ll be on the edge of your seat as you wait for their pitches in Macau. First, they must get past the semifinal round. Contestants are split between seven rooms. The winner of each room makes it to the finals. You won’t believe the last-minute obstacles that Henry faces. It’s simply exhilarating. As a viewer, you’re proud of these young people. They give you hope that our future is bright. Own The Room is an inspiring documentary.

National Geographic will premiere OWN THE ROOM on Disney+ on March 12, 2020.

SXSW21: What we’re excited to dive into at this year’s virtual fest.

SXSW21 is virtual, allowing it to reach a wider audience. Screenings begin Tuesday and we’re already salivating at the lineup. Here are just a few films we’re excited to watch.


NARRATIVE:

RECOVERY

Directors: Mallory Everton, Stephen Meek, Screenwriters: Whitney Call, Mallory Everton, Producers: Scott Christopherson, Stephen Meek, Abi Nielson Hunsaker
Two directionless sisters brave a cross-country road trip to rescue their grandmother from a COVID outbreak at her nursing home. Cast List: Whitney Call, Mallory Everton, Anne Sward Hansen, Julia Jolley, Baylee Thornock, Jessica Drolet, Stephen Meek, Tyler Andrew Jones, Noah Kershisnik, Justin Call (World Premiere)

It’s officially been a year since we locked ourselves in our homes. If anyone can make pandemic humor relatable, it’s Whitney Call and Mallory Everton with their improv and sketch comedy background. Also, the fact that they’ve known each other forever, I’m guessing that will only help make this the most believable chemistry between co-stars. 

WITCH HUNT

Director/Screenwriter: Elle Callahan, Producers: Eric B. Fleischman, Maurice Fadida
In a modern America where witches are real and witchcraft is illegal, a sheltered teenager must face her own demons and prejudices as she helps two young witches avoid law enforcement and cross the southern border to asylum in Mexico. Cast List: Gideon Adlon, Elizabeth Mitchell, Abigail Cowen, Nicholas and Cameron Crovetti, Christian Camargo (World Premiere)

I know women who practice witchcraft. To think their wellbeing could ever be put in jeopardy is a terrifying thought. Originally slated to screen at SXSW2020, it’s time to share this film with the masses. The synopsis alone gets the gears turning on possible political parallels from the past few years.

PAUL DOOD’s DEADLY LUNCH BREAK

Director: Nick Gillespie, Screenwriters: Brook Driver, Matt White, Nick Gillespie, Producer: Finn Bruce
When Paul’s chances of winning a national talent contest are ruined and his dreams of fame are slashed, he plans a deathly revenge rampage!! 1 lunch break, 5 spectacular murders! Each wrongdoer dispatched in a fitting manner by the sparkly suited Paul! Cast List: Tom Meeten, Katherine Parkinson, Kris Marshall, Alice Lowe, Mandeep Dhillon, Johnny Vegas, Steve Oram, Craig Parkinson, Kevin Bishop, Pippa Haywood (World Premiere)

Here is another cast list that grabbed my attention right away. Plus sequins and murder aren’t usually synonymous. British humor gets me every single time.

JAKOB’S WIFE

Director: Travis Stevens, Screenwriters: Travis Stevens, Kathy Charles, Mark Steensland, Producers: Barbara Crampton, Bob Portal, Travis Stevens, Inderpal Singh
The disappearance of a young woman threatens to change the beige and banal lives of Anne Fedder (Barbara Crampton) and her pastor husband Jakob Fedder (Larry Fessenden) forever. Cast List: Barbara Crampton, Larry Fessenden, Bonnie Aarons, Mark Kelly, Sarah Lind, Robert Rusler, Nyisha Bell, Phil Brooks (World Premiere)

Travis Stevens gave me one of the most gagworthy practical FX-filled films in 2019 with GIRL ON THE THIRD FLOOR. Starring genre queen (and Timelord in my own mind) Barbara Crampton and the legendary Larry Fessenden, the buzz around this newest work is electric. Crampton’s uncanny ability to own the screen with a glance will undoubtedly captivate audiences, yet again. Also, knowing that Stevens is a huge horror fan himself (his producer credits give him away as does his totally down-to-earth Twitter feed) gives me the warm and fuzzies knowing that he’ll take care of audiences in all the ways we need.


DOCUMENTARY:

LILY TOPPLES THE WORLD

Director: Jeremy Workman, Producers: Jeremy Workman, Robert J. Lyons
Lily Topples The World follows 20-year-old Lily Hevesh — the world’s most acclaimed domino toppler and the only woman in her field — in a coming-of-age story of artistry, passion, and unlikely triumph. Executive produced by Kelly Marie Tran. (World Premiere)

My kids (and I) have become obsessed with toppling videos on YouTube. Once you go down that rabbit hole, you’re not coming out. The sheer patience it must take to build these feats is something I cannot even fathom. Knowing that this entire doc centers on a young woman at the top of her game encourages me to watch with my kids. I have a feeling SXSW audiences may do the same.

THE LOST SONS

Director: Ursula Macfarlane, Producer: Gagan Rehill
1960s Chicago, a baby is kidnapped from a hospital. Fifteen months later, a toddler is abandoned. Could he be the same baby? In a tale of breathtaking twists and turns, two mysteries begin to unravel and dark family secrets are revealed. (World Premiere)

This is a story I was slightly familiar with from its 20/20 broadcast. Since we’re all true crime junkies now, The Lost Sons should garner a sold-out audience.


SHORT FILMS:

THE THING THAT ATE THE BIRDS

Directors/Screenwriters: Sophie Mair, Dan Gitsham
On the North Yorkshire Moors, Abel, Head Gamekeeper, discovers the thing that is eating his grouse. (North American Premiere)

Gunpowder & Sky’s horror brand, ALTER will be premiering the horror short film by writer and director duo Sophie Mair (Ella, And the Baby Screamed) and Dan Gitsham (Ella, And the Baby Screamed), The Thing That  Ate The Birds. They had me at the title. Since horror is my jam, and the name alone instills a sense of fear and anxiety, I have to know what “The Thing” is!

NUEVO RICO

Director: Kristian Mercado, Screenwriters: Kristian Mercado, Juan Arroyo
A brother and sister stumble upon a celestial secret that changes their lives forever and propels them into Reggaetón stardom, but they soon discover that their newfound fame comes at a deep price. (World Premiere)

Animation with edgy social commentary will catch my attention every time. Filmmaker Kristian Mercado Figueroa is known for this skill. With the voice talents of Orange Is The New Black alum Jackie Cruz, this one caught my eye from its press still alone.

STUFFED

Director: Theo Rhys, Screenwriters: Theo Rhys, Joss Holden-Rea
Stuffed is a short musical about a taxidermist who dreams of stuffing a human and the man she meets online, so afraid of aging he volunteers to be her specimen. An unexpected romantic spark between them complicates their plans. (North American Premiere)

You had me at the categories Horror and Musical. Since Sweeney Todd, Repo: The Genetic Opera, and Anna and the Apocalypse, I’ve been dying for more genre musical goodness. STUFFED may just fill that void even in short form.

MARVIN’S NEVER HAD COFFEE BEFORE

Director: Andrew Carter, Screenwriters: Andrew Carter, Kahlil Maskati
Marvin Wexler tries coffee for the first time and desperately tries to talk about it with anyone who will listen.

I grew up a tea drinker. I loathed just the idea of coffee until I was in my 30’s. Now I have 10 bags in different flavors and roasts and an obnoxious coffee maker in my apartment. I remember the joy of discovering this drink that fuels my days and some of my nights as a writer and a Mom.


You can find the full lineup of events and grab yourself tickets at

SXSW

 

 

 

 

 

 

 

 

Review: ‘My Beautiful Stutter’ speaks to everyone.

MY BEAUTIFUL STUTTER

My Beautiful Stutter follows five kids who stutter, ages 9 to 18, from all over the United States and all walks of life, who, after experiencing a lifetime of bullying and stigmatization, meet other children who stutter at an interactive arts-based program, The Stuttering Association for the Young, based in New York City. Their journey to SAY find some close to suicide, others are withdrawn and fearful, exhausted and defeated from failed fluency training, societal pressures to not stutter or the decision to remain silent. Over the course of a year, we witness firsthand the incredible transformation that happens when these young people of wildly different backgrounds experience for the first time the revolutionary idea at the heart of SAY: that it’s okay to stutter.

This heartfelt doc is incredibly eye-opening for anyone who doesn’t have information about stuttering. While we learn about the neurological reasons, more importantly, we learn about the social-emotional effect on children. Bullying is already such a pervasive issue. Add on stuttering and it can really be a recipe for an exponentially challenging childhood. These beautiful, intelligent, glorious kids should not be “fixed”. They aren’t a problem. It is society that should be more accepting.

Growing up stuttering, Taro Alexander wanted to create a program to improve the lives of kids who stutter now. He understood the weight of feeling viewed as different. He founded SAY The Stuttering Association for the Young. Then came CAMP SAY. CAMP SAY is a safe environment where kids of all ages can come and learn, play, make friends, and be accepted for exactly who they are. The film features the summer of 2015. The kids have group therapy sessions, not necessarily clinical, but it allows them to share their feelings without judgment. Outside of all the typical camp activities like sports, ceramics, campfires, and swimming, Alexander utilizes theatre and creative writing to break down their barriers.

The film features members of CAMP SAY community. Juliana, now graduating from the program uses singing to boost her confidence. Malcolm’s stutter was triggered after witnessing a violent act. His passion is baseball. This is his first year at camp. Sarah and Emily are best friends at CAMP SAY. They explain how important it is to be able to connect with someone who can genuinely relate and to finally realize that they’re not alone. Travis is one of the counselors at camp. He also uses music to feel uninhibited by his stutter. Will features his college entrance essay. The gorgeous, astute, poetic writing in that essay undoubtedly wowed any essay reader. My Beautiful Stutter brings together footage from home, camp, and beyond to immerse you into a world where communication is a double-edged sword.

When you’re looking some perfect tips and ideas that can better help improve your essay writing skills, you can check out this essay writing service reddit reviews here for more info!

One of the greatest days at camp happens when an older camper is paired with a younger one and they answer questions like, “What’s your favorite subject in school?” or “Something I’ve always wanted to try but haven’t had a chance to yet…” Watching these kids grow is profound. The amount of sadness they carry with them every single day will stay with you. As a former teacher and current parent of a child on the spectrum, it was disheartening to hear that these kids all recall their teachers not understanding how their stutter affects them emotionally. The stories of constantly being cut off by others must be ceaselessly frustrating. Frankly, they all feel exhausted.

The timing of My Beautiful Stutter is incredible considering President Biden stuttered as a child. He actively reaches out to kids across the country, even giving them his cell phone number so he can pass on techniques on how to ease their frustration. Kids and parents alike can learn more about Taro Alexander, SAY and CAMP SAY here. My Beautiful Stutter is an important watch. This is a family film. Make it a movie night. Sit down with your loved ones and feel the unadulterated love these children bring to the world. As Emily says in the film, “Stop and Listen.” Solid advice.

Premiering Exclusively on discovery+ This Thursday
March 11, 2021

Directed by: Ryan Gielen (Stop The Bleeding, The Graduates)
Produced by: Michael Alden and Ryan Gielen

Executive Produced by:
Paul Rudd, Mariska Hargitay, Peter Hermann, Patrick James Lynch, George Springer

Since 2001, SAY has offered comprehensive and innovative programs that address the physical, social and emotional impacts of stuttering.

**Film Festival Awards**
Best Documentary at Boston International Kids Film Festival
Audience Award Best Documentary at the Rhode Island Film Festival
Best Documentary at the Golden Door Film Festival
Best Documentary at Doc Sunback Film Festival
 

discovery+ is the definitive non-fiction, real life subscription streaming service. discovery+ features a landmark partnership with Verizon that gives their customers with select plans up to 12 months of discovery+ on Verizon. discovery+ has the largest-ever content offering of any new streaming service at launch, featuring a wide range of exclusive, original series across popular, passion verticals in which Discovery brands have a strong leadership position, including lifestyle and relationships; home and food; true crime; paranormal; adventure and natural history; as well as science, tech and the environment, and a slate of high-quality documentaries. For more, visit discoveryplus.com or find it on a variety of platforms and devices, including ones from Amazon, Apple, Google, Microsoft, Roku, and Samsung.

RT: 90 Minutes

SLO Film Fest 2021 review: ‘BLEEDING AUDIO’ rocks.

BLEEDING AUDIO

Told through the eyes of quirky, charming and humble bandmates Shawn, Jon, Matt and Justin, BLEEDING AUDIO is an intimate portrait detailing The Matches’ promising career, defeating break up, and inspiring reunion, as they reflect on what success truly means for musicians in today’s digital industry. Their story overlaps with the drastic changes the music industry has undergone in the past several years. From declining record sales, to excessive touring, to illegal downloading and streaming, this film digs deeper into the challenges the average musician faces in the digital age and how artists can navigate their careers today

How do I not know about The Matches? Their sound is right up my alley. The minute I heard their songs in the introduction, I was hooked. Shawn, Justin, Matt, and Jon have distinct personalities and styles, and together they are unbelievable. This is the most badass entrepreneurial band I’ve ever heard of. The things they did to become known were geniuses. This was pounding the pavement in its truest form. Members Justin and Shawn made all the band’s art. Their parents worked the door, security, snack bar while they slowly wracked up fans.

Huge names in the industry like Mark Hoppus of Blink-182,  Warped Tour founder Kevin Lyman, Tom Higgenson of Plain White T’s (just to mention a few) all wonder why the hell these guys aren’t one of the biggest bands in the world. Their consensus is they had everything they needed to be massive; catchy songs, genuine talent, an ambition that blew people away. Why aren’t they household names?! Bleeding Audio breaks down the music industry. Literally explaining where the money goes and why. I think we all sort of understood this concept when Taylor Swift took Spotify to task over streaming but I don’t think I ever thought about what happens to get to the album itself. The money comes from publishing. The Matches didn’t necessarily go searching for a label. Once they were popular the labels came to them. Epitaph was their dream. They got it. Warped Tour was next. Meeting other bands who became their fans opened even more doors. These guys were loved. Their creativity surpasses anything I’ve ever seen from a single band. Then… Napster happened. Music was about to change forever.

After their third album, they were burnt out. The band played one final beautifully, raucous show. 2 years later, they find out that their overbearing manager Miles didn’t register their songs, with the exception of 4. The amount of money they lost because of this was ultimately the reason they broke up. It was a brutal blow. In 2014 the guys meet up for pancakes. This leads to a show that sells out in 2 minutes. Then another. Then another. The Matches were inexplicably back for what would become a sold-out world tour.

The doc has an unreal amount of footage, art, interviews, it’s pretty magical. If you’ve never heard of The Matches, there’s no way you’ll walk away from Bleeding Audio without needing to go find their music. Thank you to director Chelsea Christer for introducing me to my newest musical obsession.

Bleeding Audio – Official Trailer from Chelsea Christer on Vimeo.

You can get tickets to a watch BLEEDING AUDIO here

 

Review: ‘Keep An Eye Out (Au Poste!) is an uproarious meta masterpiece.

KEEP AN EYE OUT (Au Poste!)

Belgian funnyman Benoît Poelvoorde (Man Bites Dog) is Commissaire Buran, a good, bad cop interrogating Fugain, (Grégoire Ludig), an average Joe who discovered a dead body outside his apartment building. As the film begins, Fugain must, on an empty stomach, explain how and why he happened to leave home seven times in one night before coming across a corpse in a puddle of blood. Since he’s the investigation’s only suspect, Fugain’s anxiety is already sky-high when Buran leaves him alone with Philippe, a one-eyed rookie cop with bizarre speech patterns and a few minutes to live.

The 110% commitment to the absolute absurd is what makes Keep An Eye Out (Au Poste!) so phenomenal. It has an authentic Monty Python level of rapid-fire, totally ridiculous tone to the dialogue. You’re just smirking the entire time. Whatever these guys were selling I was buying. I gutturally laughed out through the entire 73-minute run. Also, can we please normalize these kinds of runtimes? Great, concise storytelling. I’m here for it.

Chief Inspector played by Benoît Poelvoorde is a real prick but in the best way possible. The perfect foil for Ludig. He isn’t really listening to anyone and meanders between genius and complete moron. His presence is commanding. Grégoire Ludig plays the completely unsuspecting Fugain. His character goes on the journey of a lifetime. Ludig is the “straight man” of the cast, which isn’t saying much. In an American version, he’d be played by Paul Rudd; genuine comic timing in an everyman sort of way. His charming panic becomes our panic. It’s a true testament not only to his talents but the magnificent script. The nonchalance of the entire thing will floor you. Enter Philippe, the underling assigned to watch Fugain when the Chief is called away. Actor Marc Fraize was honestly my favorite thing about the entire film. I wanted to put him in my pocket and take him with me. His loveable, quirky oaf delivery was something unto itself. He really completed the circle of greatness for me, personally.

The storytelling style is a mix of interrogation and creative recreations of Fugain’s official statement. All while attempting to hide another matter in plain sight. The cinematography is beautiful; something akin to a Wes Anderson film with its very distinct color palette. The visual gags are to die for. You will not know which end is up. It’s dizzying and meta, and once it takes off it doesn’t let up for a minute. It’s like watching a tennis match of wit and weirdness. I could not recommend KEEP AN EYE OUT more.

KEEP AN EYE OUT (Au Poste!) opens tomorrow in theatres and virtual cinemas nationwide.

A list of theatres and virtual cinemas can be found HERE.

Review: ‘Black Holes: The Edge of All We Know’ is a mind-blowing doc.

BLACK HOLES:

THE EDGE OF ALL WE KNOW

What can black holes teach us about the boundaries of knowledge? These holes in spacetime are the darkest objects and the brightest—the simplest and the most complex. With unprecedented access, Black Hole | The Edge of All We Know follows two powerhouse collaborations. Stephen Hawking anchors one, striving to show that black holes do not annihilate the past. Another group, working in the world’s highest-altitude observatories, creates an earth-sized telescope to capture the first-ever image of a black hole. Interwoven with other dimensions of exploring black holes, these stories bring us to the pinnacle of humanity’s quest to understand the universe.

It sounds like the stuff of science fiction but the discoveries that have come from the study of Black Holes are actual science. Stephen Hawking has essentially told us that everything we know could be an illusion. Black Holes do not follow any laws of physics. That idea is mind-blowing. As humans, we year to understand the structure of the universe. The challenge continues to be that seeing is believing, even for scientists.

In Black Holes: The Edge of All We Know, a group of scientists called Event Horizon Telescope (EHT) are collaborating around the globe. They have set up stations around the world to communicate with one another to act as one massive Earth-sized telescope in an attempt to capture the first image of a black hole. The amount of data is larger than any other experiment, ever. As the information finally gets developed into images in 2018, they were deemed top secret. They didn’t even share the images among the 4 EHT teams until they were finally in person. The final picture shared with the public in 2019 is simply breathtaking. This is when theory becomes reality.

Before his passing, Stephen Hawking and colleagues thought that information was not actually eaten by black holes but that some information makes an imprint and comes back. How much? That’s just another mystery they’re trying to figure out. They work tirelessly through equations on chalkboards, step back and wonder if anything they’ve just done makes sense. Stephen would enter the conversation and flip the work on its head. Watching them work through possibilities is like watching a tennis match of genius. Witnessing how each mind contributes is incredible. Sasha Haco, Malcolm J. Perry, and Andrew Strominger continue what the four began together. The work continues.

If you are someone who watched the most recent rover land on Mars and cried, as I did, you will be captivated by this film. With an effective score, beautiful black and white animation, and real-time tracking of their project, your heart is in your throat as you root for their success. You’ll learn things you never knew were possible. Black Holes: The Edge of All We Know is a fascinating look at the minds and circumstances pushing the boundaries of the unknown. This is the stuff of dreams, science, the human spirit, and a little bit of magic.

*Available on VOD March 2nd, 2021*

Directed by Peter Galison (Co-Founder, Black Hole Initiative at Harvard)
With a score by  Zoë Keating

Featuring
Shep Doeleman, Founding Director, Event Horizon Telescope
physicist Andrew Strominger,
theoretical physicist Malcolm Perry,
Co-Founder/CEO Unitary Sasha Haco  (Black Hole Entropy from Soft Hair)
and Stephen Hawking

 

Apple TV+ review: ‘CHERRY’ has Tom Holland spiralling.

CHERRY

The wild journey of a disenfranchised young man from Ohio who meets the love of his life, only to risk losing her through a series of bad decisions and challenging life circumstances.

Tom Holland plays the titular role in Cherry. The character feels like what might have happened to a modern-day Holden Caufield after the end of Catcher In The Rye. Cherry is classified as an American crime drama, but for me, it’s a genre-bending film that flows similarly to the Nico Walker novel it’s based on. Presented in parts, prologue and epilogue included, the screenplay moves at a rapid pace so you never have time to get too settled. Color is an important part of the structure, as red indicates each chapter shift. The lighting choices are smart and help create the overall mood of the film. There is a palpable heaviness to the story. The camera work is fantastic. Closeups are intentional and amazing. The score is also a huge highlight.

There’s an intense charm about Tom Holland. He commands the screen with his ability to both put you at ease and surprise you. You just believe him. If that’s not the very definition of great acting, I’m not sure what is. His narration controls the overall atmosphere of the film from the get-go. While Holland gets to explore the dark humor in it all, you’re constantly waiting for the other shoe to drop for Cherry. The military PTSD exacerbates his already existing sadness which inevitably leads to addiction… Which leads to a string of bank robberies.

Cherry is a self-destructive story of a young man with no sense of direction, controlled by impulse rather than logic. It could just as easily been an entire series. There’s a lot jammed into its two hour and twenty-minute run. If I’m being perfectly honest, it’s almost too much. With 30 minutes left, I had to pause and come back later. To clarify it was very engaged it was just a lot to ingest in one sitting. Had this played in theaters, I worry an audience wouldn’t be able to stick with the length. Outside of that one concern, Cherry is highly entertaining thanks to Holland’s full commitment to Jessica Goldberg, and Angela Russo-Otstot‘s phenomenal screenplay, and the stylistic choices of The Russo Brothers’ overall aesthetic choices.

Apple will release the movie in theaters on February 26 then on Apple TV+ on March 12. Customers can view Apple TV+ on any Apple device, recent smart TVs, set-top boxes, or on the web.

 

Review: What is ‘Fire Bones’? It’s almost gleefully indescribable.

We’re all stuck at home, binge-watching crime doc, reading books, listening to music and podcasts like fiends. What if we could take all of those things and combine them into one incredible immersive theatrical experience? Enter FIRE BONES, a multi-media project utilizing film, music, audio, visual art, and even poetry as it tells a whimsical Southern Gothic tale via a road trip to solve a crazy mystery. The project was created by poet and Director of Creative Writing at SMU, Greg Brownderville, and features the narrative directorial debut of Bart Weiss, the Founder of Dallas Video Fest and a Professor of Film at University of Texas, Arlington. FIRE BONES is a visual feast. The Chapter pages have small, striking mixed media tags that are strung as clues. I would hang each one of them on my walls. When you click through, each numbered to avoid confusion, you are treated to something unique that pushes this mystery along.

The story revolves around the disappearance of an extraordinary woman named Amra. She was a pilot, a leader of the town’s Pentecostal church “Fire Bones”, and a local legend that everyone knew… or so they thought. We follow Greg and Bart’s search for answers as accusations fly and information slowly comes to light in this unusual town filled with eccentric residents. The commitment to this unique format by this cast is magic. It’s weird and wonderful and I guarantee you have never seen or heard anything like it. Each clue gets better and better. Two standouts from the first half of this journey are Chapter 4: Clue #13 – Trainbow – Poetric dialogue set against breathtaking swamp and train imagery. And Chapter 5, Clue #15 Sign of the Times –  A hilarious song with a tongue-in-cheek take on church board messaging.

If the pandemic had never happened, this could have easily been one of the most popular in-person attractions in immersive theatre history. If you’ve ever experienced a show like Sleep No More, which is an intense, live walkthrough of Macbeth in which the scenes play out from room to room as the audience wears masks and is encouraged to interact with the cast, you’d understand what I mean. FIRE BONES could easily adopt this presentation. It could be a permanent exhibit at MoMA. In our current circumstances, it’s a fun thing to do with family members. Fare warning, if you are listening with younger ears, there is a bit of profanity from time to time. While it is ultimately 4 1/2 hrs of content, you easily breeze from one piece to the next. The audio style wavers between true crime and radio drama. The videos are stunning to look at. Sharply shot and puzzling in content, you cannot help but we swept up in the mystery. Because each chapter is short, you never have time to get distracted. And because the format changes, you’re constantly engaged. FIRE BONES has massive expansion potential, but in its current form is undeniably entertaining. In an unpredictable world, some predictable fun is welcome.

Fire Bones trailer from Fire Bones on Vimeo.

 

Review: IFC Midnight ‘THE VIGIL’ is a look at the disturbing effects of trauma.

THE VIGIL

Steeped in ancient Jewish lore and demonology, THE VIGIL is a supernatural horror film set over the course of a single evening in Brooklyn’s Hasidic Borough Park neighborhood. Low on funds and having recently left his insular religious community, Yakov reluctantly accepts an offer from his former rabbi and confidante to take on the responsibility of an overnight “shomer,” fulfilling the Jewish practice of watching over the body of a deceased community member. Shortly after arriving at the recently departed’s dilapidated house to sit the vigil, Yakov begins to realize that something is very, very wrong.

With a very similar tone as Relic, down to the infamous front door frame, The Vigil plays upon tradition, lore, and trauma. The trappings of religion are always complex. As a former Catholic, I can attest to the creepiness of essentially being told that it was a blessing to consume the metaphorical body parts of the son of God. I had to kneel at the feet of a crucified Jesus… at an altar. The more I say I say it out loud the weirder and more awful these rituals sound to my 40-year-old self. In The Vigil, Vakov is hired to sit with the body of a deceased member of the Jewish community he has just left. Already haunted by the death of someone close to him, he is consumed by hideous visions and physical manifestations of terror.

Mrs. Litvak, played by the late great Lynn Cohen, is a beautiful go-between for lore and reality. Never is the Alzheimer’s diagnosis exploited, just the mere mention is enough to ignite theories in the viewer’s mind. Cohen is simply a joy to watch. She strikes a phenomenal balance between darling and intense. Dave Davis as Yakov is outstanding. His grief anchors you in place. His vulnerability is absolutely key to this screenplay working as well as it does. His emotional transformation is astounding.

The look of the film is dark. The concept of juxtaposing old-world tradition against the modern is clever. The framing is smart. Wide panning angles force your eyes to scan the room constantly. The audio of The Vigil is a character into itself. Scraping, pounding, creaking are only the beginning of the trail of fear. 30 minutes in and the viewer is in full panic mode alongside Yakov. The idea that victims of deep trauma are the target of this entity is unbelievably cruel. The number of successful jump scares in The Vigil is unreal. Whether driven by guilt or an actual demon, this film will get under your skin. It’s a chilling experience. You’ll hopefully feel as free in the final moments as Yakov does. Writer/director Keith Thomas genuinely manages to provide equal parts fright and catharsis. It’s quite literally breathtaking.

AN IFC MIDNIGHT RELEASE | UNITED STATES | FEB 26TH, 2021 | 90 MINS | NR