MOTION DETECTED
Eva narrowly escaped being murdered during a recent terrifying home invasion in Mexico City. She and her husband decide to relocate to Los Angeles where she can recuperate. But when her husband has to travel for business, she’s left alone in an unfamiliar place and suffering from paranoia. She’s consoled by the smart home security system, but the technology is difficult to master and she starts to wonder if it will actually keep her safe or take over her life.
MOTION DETECTED relies entirely on Natasha Esca‘s performance as Eva. Her descent into madness goes from 75 to 200 very quickly. A moment with wine is, perhaps, a touch over the top. Esca shines brightest when speaking Spanish. It’s her most natural delivery.
I understand the need for lighting, but the nighttime bedroom scenes appear overlit. That aside, the set is gorgeous. This LA mansion has all the architectural features to swoon over. Using what appear to be Ring video clips to create palpable fear is a slick device, and the subplot of trauma heightens the stakes.
The film struggles with picking a storytelling lane. Eva’s PTSD and (*spoiler alert*) the haunted alarm system conflict more than they mesh. The idea that Diablo might manifest your greatest fears to lure you in needs a better narrative anchor in the film’s opening scene. Overall, the notion of tech knowing too much about us at every moment is a solid starting point. We can all relate to using some version of an AI assistant. The meat is on the bone in MOTION DETECTED, but it is a tad undercooked, in my opinion.
All Man:
Matt Bomer‘s narration adds a brilliant touch of nostalgia in a way that is hard to describe until you experience it for yourself. The film uses archival footage and photography, sit-down interviews, and creative transitional animation. The catalog was bright, smart, and sexy, and gave men something to aspire to be. It challenged the idea of masculinity with its European-inspired fashion and copy, written by Gene. He was meticulous in his work ethic, taking customer feedback and recognizing that 75% of their shoppers were women. Watching the images from the catalogs made me want to order (almost) every single article of clothing for my husband. Gene clearly understood the broad appeal. If International Male existed today, I’d be begging them to take my money. 
Everything shifted for International Male once the AIDS epidemic touched the employees and the world. Gene sold the catalog, and the new creative directors were more hesitant to hire queer staff, in fact, firing a huge percentage of them. In the 90s, the positive changes came in the form of more models of color. But with the loss of gay buyers and department stores filled with men’s retail, International Male was no longer a cash cow. But it’s easy to see how the catalog catapulted our current influencers in pop culture with the freedom to express themselves on a gender spectrum now celebrated across the globe. So, thank you, International Male. You made a difference while allowing us to drool.
Michael Neelsen‘s newest documentary, BEYOND HUMAN NATURE, tells the story of the heinous death of Tom Monfils and how it leads to chaos in a small town paper mill. This homicide investigation will upend people’s lives for decades. It is one hell of a mystery. 
What sets it apart is the case itself. The deliberate and malicious acts by the Green Bay Police Department set off a whirlwind of betrayal and death. Serious questions remain all these years later. If you think you know how this story ends, think again. The twists and turns are endless. 
Despite the length of the contest, we learn very little about most of the contestants. This is the rare film I actually wished was a mini-series. Kyle (Joe Cole) serves as the audience’s main proxy in the competition. Before the competition details surrounding Kyle are mostly superficial. Kyle works at a local fast-food restaurant, has a deaf brother, and is motivated to win the truck to provide for his wife and baby. Kyle begins to unravel as the contest drags on from hours into days.
The atmosphere surrounding the contest itself is beautifully realized. The imagery surrounding the laying of hands on the gleaming metal car feels explicitly religious. As the contest progresses, certain elements of the plot do begin to strain credibility. Kyle faces many rivals within the contest, but none of the build-ups leads to a satisfying payoff. A twist surrounding one character seems particularly far-fetched. A final coda has rich details but feels like it arrives too late.
Luke Bracey plays Jesse, a photographer who returns with PTSD. His anger, bitterness, and assumptions sabotage a return to normalcy. Bracey takes us along on a journey that provokes real questions. 
The script would benefit from more scenes establishing the strength of Emma and Sam’s bond. The humor comes from Sam’s endearing and feisty conversations with his students. These scenes are genuine and hilarious. The film probably needs one or two at the beginning to establish Sam as a fully fleshed-out character, which only happens much later in the plot. Additionally, I would have loved to see Sam pining away for Emma as a kid. These nitpicky issues speak to the editing as a whole. The narrative is tricky as we jump in time. It could use a bit of reworking, in my opinion. I would watch this story as a series. There is so much to dig into.
ONE TRUE LOVES
Thomas Parigi‘s performance transfixes. His ability to hold the audience in the palm of his hands, quite literally in this case, has the viewer waiting with bated breath for his next move. Parigi is a musician. His Soundcloud is as mesmerizing as his performance in the film. This debut role should garner him the attention he deserves. Parigi pulls you into this one-of-a-kind folklore horror dealing with loss, love, self-confidence, and generational embracement. The Strange Case of Jacky Caillou is an undisputable gem.
The cast’s chemistry is spectacular. Michael Urie is Jamie, Larry’s fiance. He’s the most down-to-earth of the bunch, with the better part of his screen time in sequences over the phone. Urie can do no wrong in my book. Veanne Cox is Sylvia. Her performance is frightening and downright brilliant. I would watch a stand-alone film on her character. 
Nicholas Logan plays Harrison. His overtly masculine energy, physical discomfort, and aggressive nature are a perfect foil for our four friends. His aura forces the audience to take stock of microaggressions and outright bigotry. Logan handles the distasteful behavior like a champ, and Harrison’s arch is a nuanced breath of fresh air.
SUMMONING SYLVIA is one of the funniest queer films of the year. As a theatre girl, I was in my element. I knew these characters. The film’s climax has a dual purpose that beautifully mirrors life and the afterlife. The finale is celebratory. Do not miss this hell of a good time.
Michael Patrick Lane is Emily’s captor and psycho ex, Charlie. Scary and somehow kooky, he is like the Michael Myers of ex-boyfriends. Missi Pyle plays Carole, and she’s a real asshole. Her performance is both caricature and authentically terrifying. Pyle gives us rich, tacky, gun-toting Karen energy. I mean, had station is in Tallahassee. Her character work is unreal.
Midori Francis is an absolute badass as Emily. Minutes in, I was yelling at the screen, cheering her on. Her shockingly calm demeanor is all the motivation Sam needs to help. Jolene Purdy plays Sam with zero self-esteem and a heart of hold. Her emotional arc in the film will leave you with a smirk. She and Francis have electric chemistry, especially considering they are never in the same space as one another. They are both stars.
Areal shots are stunning. The addition of out-of-focus camerawork puts you in Emily’s chaotic mindset. The splashy neon colors of the Gator Galore station contrast beautifully with Emily’s overcast forest landscape. Directed by Yoko Okumura and written by Salvatore Cardoni and Brian Rawlins, UNSEEN balances comic, over-the-top characters with nuanced ones and the plausible scenario of a woman’s abduction by her ex. The script is a commentary on class and one hell of a story of gender-based violence. It is undeniably entertaining. Some audiences might initially make comparisons with Shudder’s 
Although the zombie makeup is not great, costumes and general makeup are thoughtfully aged and disheveled. Something that is usually a sticking point in low-budget apocalyptic films. I was equally impressed with the locations. It appears the filmmakers had a lot of options, and they used them to their advantage. Performances are strong all around. A large ancillary and featured extra cast makes for a more impressive final product.
While the drama is a touch overplayed, perhaps akin to a Lifetime drama hokeyness, that does not lessen the intriguing arc in a genre that is tricky to conquer with new ideas. So while we’ve seen the sentimental attachment aspect in the past, the surprising plot point surrounding the very badass Ellen Hillman was phenomenal. Alive‘s final reveal garnered an honest, approving nod from me. I applaud the passion and commitment of writer-director David Marantz. It undoubtedly has an audience.
The film begins with intriguing flashbacks of a cult murder, newspaper clippings, and a hauntingly saccharine song. The setup immediately captured my attention. A sudden shift in style and time reveals Karma and Sunny living in fear and relying on the kindness of former cult members for protection. Small crumbs of cult life are just enough to keep you invested in Karma’s fate.
Michael Madsen is vile. His iconic voice serves him well as Paul, giving him an effortless presence. He could have been made more menacing with a few tighter shots overall. Kimberly Alexander plays Sunny with extraordinary nuance. This roller coaster ride of a role spans every emotion; adoration, cruelty, and unadulterated honesty. Alexander goes for it.
It takes a solid 25 mins to get to any action, but then it is pretty much maniacal from there on out. The plot gets more sick and twisted as we roll along, both physically and psychologically. WAKING KARMA shines brightest in the scenes between mother and daughter. The shockingly devastating dialogue by director Liz Fania Werner with co-director Carlos Montaner‘s DP work almost demands an in-depth 
First-time director Ric Maddox, alongside writers Sean Crampton and Jordan Wisely, brings the story of an elite ex-Navy seal with PTSD placed in a top-secret government rehabilitation program. Using criminal civilians as bait, can our soldier in question be saved? A twist on The Most Dangerous Game (1931) meets Universal Soldier (1992), THE STALKING FIELDS is an action-packed entry into a potential new franchise.
The dialogue has a uniquely poetic perspective at times but quickly becomes contrasted by innumerable F-bombs. I say this as a person who has a sailor’s mouth, and this felt excessive. The quick-take editing has all the horror genre elements. From the lighting to the angles, it is visually intriguing. I must applaud the creativity in location design. Besides the woods, the military behind the scenes could easily take place in a cleverly lit warehouse walled off entirely with plastic sheeting. That budget must have been astronomical. I have to hand it to the CG team for some legit graphics on each monitor. They had my eyes darting from screen to screen. Bravo for the detail.
Even though the script overflows with tropes, they are masterfully woven into a compelling narrative. As multiple complications arise, the camera finally moves in a smooth dronelike manner. Then the gore hits us right in the face. *nudge, nudge, wink, wink* I would pay so much money to experience YULE LOG again in 3D. No, seriously. Also, don’t for a moment think you have the slightest idea of what comes next. YULE LOG is absolutely deranged and ridiculously entertaining.
Performances are outstanding. The commitment to the absurd is perfection. With shocking emotional swings and spectacular editing, there is not a slow moment. How Adult Swim managed to sneak in a last-minute horror film without Warner Bros. knowing blows my mind. It’s a holiday miracle. The creativity applied to this low-budget and undeniably genius production makes it one of the finest genre films of the year. YULE LOG is a Willy Winka mindfuck of a revenge horror. Don’t dare leave before the credits. You’ll miss out on writer-director Casper Kelley’s original theme song. It’s one final bizarre and brilliant stocking stuffer.
John Travolta plays island crime boss Buckley. His eccentricity is evident through costume choices and dialogue. Thank goodness he is who he is because the character leans heavily into caricature territory. He is at his best in high-stakes action sequences. 
Bruce Willis plays Ian Swan with that legendary, effortless swagger we love. He is funny, charismatic, and a total badass. He is everything you want him to be. 
Somehow, PARADISE CITY makes Jenner’s character impervious to automatic rifle bullets and, somehow, possesses the ability to survive a 10th-floor header into a shallow koi pond. It is unbelievable. No, literally, even for an action film, it is far-fetched. And this pains me to say that every female performance is downright atrocious, except for Mary Ann Perreira as Auntie Kona. She is a treasure. The dialogue from director Chuck Russell and co-writers Corey Large, and Edward John Drake, is mostly eye-roll-inducing. The already sped-through, convoluted plot also jumps in time, but not enough. It is messy. 
Here is what works. The fight choreography is undeniably entertaining. (Extra points for having Savannah kick off her heels for brawling.) Overall, the tightest scenes occur when Savannah and Ryan arrive in Paradise City proper. There is genuine yet surprising humor and a grounded backstory. That’s all I’ll say to avoid spoilers. I could see this story maybe working better in serial form. But that’s a big maybe. Jenner is the only one that sustains authenticity. He deserves better, and so does Bruce Willis’s legacy. 
Annet Mahendru gives Alice palpable manic desperation. Her ability to jump from one emotion to another in the same breath is impressive. It is one hell of a turn. Milo Gibson is Dave Hayes. His character arc almost feels like the audience is witnessing a slow-motion car crash. Gibson brings not-so-subtle anger and protective alpha energy. 
MANIFEST WEST addresses a myriad of current and alarming themes in America. The score is melancholy and ominous. Writer-directors Joe Dietsch and Louie Gibson use the girls’ history text as a smart foreshadowing device. Antigovernment sentiment compounds the simmering chaos. Add Alice’s deteriorating bipolar disorder, and you have a powder keg. Children learn from their parents, for better or for worse. MANIFEST WEST runs head-on with its relevance to a shocking conclusion.
The intimate nature of Bad Axe is visceral. The Siev family could be anyone’s neighbors. They are friendly, hardworking, and respectful members of their community. They bug each other as much as they love each other. They remind me of my holidays when all four siblings invade our childhood home with inside jokes, arguments, and an unconditional adoration for one another. 
Performances from our five leads are exceptional. Dylan Schombing plays Kyle, a young webcam hacker essential to the audience following any trace of sense. Schombing’s eyes speak volumes. Kelcey Mawema is Court. She has a party-girl spirit with a drinking problem that hides an inferiority complex. Mawema gives us a solid performance, never letting herself become a third wheel as the story progresses. Peyton List plays Zooza. This role is a departure for List, even with her darker character of Cobra Kai. You cannot help but focus on her turmoil.
Brendan Meyer (who I loved in OA, and am still bitter we didn’t get our ending…) plays Rob with a trustworthy boy-next-door aura. But, Ober’s script allows him to explore a nuance that Meyer owns. Kaitlyn Santa Juana‘s turn as Cotton is enthralling. She is the thread we follow through the film as we unravel the game. There’s an “it” quality about her I cannot pin down, but I’m dying to see her in whatever she does next.
The script had me hanging on every word, every visual, and mind-ending twist. Writer Damien Ober and director Scooter Corkle hypnotize audiences with dizzying editing combined with slowly leaking reveals. It’s a ceaselessly engrossing marriage of devices. Add on the notable red/ blue lighting and jarring soundscape, and The Friendship Game holds you captive from the very first frame. It is emotional manipulation at its finest.
Diana’s integration into the family lands somewhere between awkward and essential. Husband Felix and young daughter Roberta (they call her Bobs) are caught in the middle, allowing for gaslighting from Felix and growing distrust from Bobs. Add in the class distinction with Christine and her family living in a lavish mansion, while Diana arrives with nothing but a single suitcase, mostly filled not with clothing. Writer-director Lorcan Finnegan utilizes flashbacks of Diana’s life to illustrate the glaring contrast. Little by little, the audience begins to piece things together, but not before being disturbed by the effects of Diana’s folk healing methods.
As the story progresses and the truth reveals itself, your view of each character shifts. Eva Green plays Chrissy with both a manic and ruthless angle. She is a master at living inside the skin of a character, and Christine is no exception. Chai Fonacier is Diana. This juicy role allows us to see Fonacier’s massive range. I would watch her in all the things, as they say.
*******SPOILER ALERT*******
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