Category Archives: Digital

Review: Executive produced by Snoop Dogg, ‘BROMATES’ is an over-the-top buddy comedy, chock full of hilarious performances.

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BROMATES

Two best friends go through breakups and decide to move in together. Total opposites, Sid and Jonesie, make great buddies but not-so-great roomies. To help Sid move on from his ex, Jonesie revs up Sid’s confidence leading to a journey that’s the most random path to healing ever. BROMATES boasts a ton of laughs and cameos. Part road movie, part buddy comedy, and a bit of climate change activism, it’s funny as hell.

Jessica Lowe is positively loathsome as influencer girlfriend Sadie. You cannot help but laugh at her ridiculously aloof behavior. Brendan Scannell as Runway Dave and Asif Ali as Angry Mike provide the added laughs to round out our group of guys. They give unforgettable performances.

Josh Brener plays Sid, a whipped Instagram boyfriend, and solar energy employee. His downer straight man act perfectly counters Howery’s positive energy. Lil Rel Howery is Jonesie, and he is the best thing in BROMATES. Laugh out loud hysterical. His relentless optimism is infectious. Joke after joke, the delivery is so natural I could not tell you if any of his lines were improvised. He is that good.

The script has honest Hangover vibes. While I wish the film focused more on actual roommate scenarios and less on the wacky road trip aspect, I still laughed my ass off. The climate change aspect is subtle and pitch-perfect. Kudos to the writers for using it effectively. The numerous cameos and ancillary characters no doubt strengthen the film, from beginning to end. Rob Riggle, Flula Borg, and Parvesh Cheena leave lasting impressions. In the end, raunchy and over-the-top, BROMATES is undeniably goofy as hell. You’ll laugh at the sheer absurdity of it all.

Available in THEATERS, on DIGITAL and ON DEMAND, OCTOBER 7th, 2022

 

Genre: buddy comedy with a focus on clean energy
Opens: Oct 7 in Theaters, Oct 28 on VOD from Quiver
Directed by: Court Crandall (writer of classic comedy Old School)
Executive Produced by: Chris Kemper and Snoop Dogg
Starring: Josh Brener (“Silicon Valley”), Lil Rel Howery (Get Out), Brendan Scannell (“Heathers”), Asif Ali (“Don’t Worry Darling”, “WandaVision”), Jessica Lowe (“Minx,” “The Righteous Gemstones”), Flula Borg (Pitch Perfect), Ken Davitian (Borat), Taryn Manning (“Orange Is the New Black”), Marla Gibbs (“The Jeffersons”), Rob Riggle (The Hangover), with a cameo from Snoop Dogg

Review: THE VISITOR’s core mythology overcomes challenging script.

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Have you ever heard that joke about the old man facing the end of days? He’s given multiple escalating opportunities to escape (in the version I’ve heard, potential rescuers come by first with a car, then a boat, then a helicopter) Through it all, the old man stays steadfast in his belief that God will save him. When he inevitably perishes, he confronts God and demands to know why his faith wasn’t rewarded. God laughs and says, “You idiot! I tried to send you a car, a boat, and a helicopter!”

Justin P. Lange‘s The Visitor is an immensely enjoyable horror film populated by a protagonist who has certainly never heard this joke. Things pretty quickly go amiss when Robert (Finn Jones) relocates from London to his wife’s small town. While settling into her childhood home, Robert finds a mysterious portrait in her attic. It is of a man referred to only as “The Visitor”, and he bears a striking resemblance to Robert.

While Maia (Jessica McNamee) laughs this off as a coincidence, this and other factors about town set Robert on edge. Jones does a good job of telegraphing Robert’s slowly deepening dread, but he’s fighting a losing battle against the film’s script. Things are obviously amiss in this town. Everyone is way too friendly, and certainly too grateful that Robert and Maia have moved back to town. I thought of Jordan Peele’s superb Get Out, where the protagonist similarly squirms against the discomfort of his circumstances. In that film, the audience was made to question their instinctual doubts and allegiances. Here, the red flags are far less subtle.

There is still much to like in The Visitor. The core performances are uniformly strong. Jones and McNamee have nice unforced chemistry, and I wished the film had given us more time with them. It is effectively paced (86 minutes!) and contains several genuinely frightful and inventive scares. I especially loved the way the film leveraged the biblical plagues without feeling the need for too much supporting exposition.

While I found some of The Visitor’s narrative beats obvious, I also found the core mythology of The Visitor somewhat irresistible. It could offer franchise potential. If someone is willing to paint another portrait, I’d be willing to take another look.

Paramount Home Entertainment will release the psychological horror/thriller film THE VISITOR on Digital and On Demand on October 7, 2022 and it will stream on EPIX in December 2022. The film is part of the Blumhouse Television and EPIX deal to produce eight original films together. Building on Blumhouse Television’s success with the Welcome to the Blumhouse movies slate for Amazon and Into the Dark anthology series for Hulu, the deal is the first-of-its-kind for EPIX, which is adding films to its growing slate of premium original content.

THE VISITOR  stars Finn Jones (“Game of Thrones”), Jessica McNamee (Mortal Kombat), Dane Rhodes (Where the Crawdads Sing) and Donna Biscoe (“Saints & Sinners”). The film was written by Adam Mason (Songbird) & Simon Boyes (Songbird) and directed by Justin P. Lange (The Seventh Day). The film was Executive Produced by Bradley Pilz, Greg Gilreath, Adam Hendricks, Jeremy Gold, Chris McCumber, David Grove Churchill Viste and Jason Blum.

Official trailer drop: A bloody cool concept, ‘SAWED OFF’ arrives on digital and DVD October 11th.

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SAWED OFF is coming to digital and DVD on October 11th. The synopsis reads as follows “In the vein of “THE EVIL DEAD meets GROUNDHOG DAY,” the movie centers on two hunters, friends for years and vying for the affections of the same woman, who find themselves on cursed land and keep killing each other and coming back to life.” From what I can make out from the trailer, the concept is really cool. Whether it translates into production remains to be seen. Color me intrigued. Stay tuned for coverage.

Uncork’d Entertainment has acquired SAWED OFF, a new supernatural horror feature based on a comic anthology story and starring Eva Hamilton (RUIN ME, DEATH KISS), Jody Barton (UGLY SWEATER PARTY), and Trae Ireland (13/13/13).

Hunter Johnson (IRRATIONAL FEAR) produces and directs.  The screenplay is by Barton, Johnson, and Chuck Wagner, based on Wagner’s Eclipse Comics story “Bag Limit,” published in TALES OF TERROR in 1986.

SAWED OFF will be released on digital platforms and on DVD on October 11.

Capsule Review: Henrika Kull’s ‘BLISS’ (Glück) is a raw and realistic depiction of love.

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BLISS

An unconventional LGBTQ love story set in the world of sex workers, Bliss is set in a world where femininity is considered a commodity. Two sex workers fall in love with each other while working in a Berlin brothel. Together – and yet each on her own – they experience the one moment when happiness seems possible – but their love is threatened by different ideas of life and their own abysses.

In private, there is an uncomplicated intimacy between Maria and Sascha, but judgment bubbles to the surface once in mixed company. Self-loathing and regret are deep-seated, a deadly combination for sabotage. The script slowly but slickly reveals Sascha’s inner demons, putting Maria and the audience in an uncomfortable position. The second half of Bliss deals with the ripple of her emotional instability. It’s tricky but familiar. Performances from Katharina Behrens and Eva Collé are spectacular, fearless, and raw. It’s stylistically similar to a docu-drama, and I dug the energy of the entire film. Writer-director Henrika Kull gives audiences a gem.

Available On Digital August 16th

 

Directed by Henrika Kull

Starring Katharina Behrens, Eva Collé (as Adam Hoya), Nele Kayenberg, Jean-Luc Bubert

 

Review: Will ‘CAMPING TRIP’ leave you asking for s’more? (I had to.)

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*Resisting the urge to title this review “camping is in tents.”*


Two couples escape the monotony of lockdown by journeying into the woods for a camping trip. When they inadvertently become entangled in a crime, secrets come to light, and things get more intense. What’s a little money and murder between friends?

Performances are fine. I wish I sensed more believable chemistry between our four protagonists. Michael D’ Amico and Jonathan Vanderzon fare better as our villains. Their presence elicited a genuinely visceral reaction.

Camping Trip would benefit from a 15 to 20-minute cut. While the climax is satisfying, by no means did it need that much slow-motion editing. What follows is a confusing shift in relationships that feels forced. Like much of their response to finding a body and a bag filled with money, their decisions are laughable, if not infuriating. If nothing else, it gives the audience a reason to keep watching and wondering how this bungling crew parts ways.

The camera work in the final ten minutes is quite literally dizzying. It also allows the audience to use their imaginations, rather than relying on mediocre fight choreography and the continued use of watered-down practical fx blood. Polly’s particular skill makes for a slick final moment. I had hoped it was featured more in the story. Michel DeMars’ score in this scene, in particular, is perfect. In the end, Camping Trip has an intriguing plot, even if the exposition lacks polish.

FAR FROM COVID FAR FROM SAFE

 

Debuting on Digital On Demand August 16

 

Fuica Film Pictures and 8Cube are delighted to share the new trailer and poster for their upcoming horror, Camping Trip. The sinister thriller will be available on Digital Download from 16th August.

Camping Trip stars Leo Zola (Leonardo Fuica), Caitlin Cameron, Hannah Forest Briand, and Alex Gravenstein and is directed by Leonardo and Demian Fuica, who both make their English language feature-length directorial debuts.

 

Review: ‘Get Away If You Can’ provides a sea-side meditation on gender and love.

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GET AWAY IF YOU CAN


Hopeful that an open-ocean sail might relight the spark of their passion, a troubled married couple (played by filmmakers Terrence Martin and Dominique Braun) hits a breaking point when one’s refusal to explore a foreboding deserted island sends them on a deep internal journey that will require drastic decisions in order to survive.

With a title like Get Away if You Can, I sat down expecting a 90-minute sea-set thriller with the potential for a high body count. Instead, I was treated to a thoughtful meditation on love, purpose, and gender.

Co-directors (and real-life spouses) Dominique Braun and Terrence Martin star as a married couple on a solo sailing trip. The journey is long, and the destination is unknown, but Martin’s TJ is in a hurry to get them there. When he resists his wife’s request to take a few days to explore a deserted island, things quickly spiral out of control.

The filming locations are stunning – the filmmakers deftly navigate the cramped interiors and deck of the sailing yacht, giving a sense of scale and place at all times. The island drawing Domi’s (Dominique Braun) attention might be part of the “islands of despair”, but it is truly gorgeous. As in, I can understand having a fight with your spouse over an island like this. If despair looks like this, sign me up. Scenes away from the boat and island are purposeful, and further our associations with the two leads. Through flashbacks and phone calls, Domi’s world is shown to be lush, green, and free. TJ’s flashbacks, on the other hand, are grounded in steel, machinery, and work. The settings smartly reinforce the opposing dynamics pulling at the two lovers.

Since much of the film’s plot finds TJ and Domi in conflict, we don’t get to see much direct chemistry between the two leads. Braun’s Domi has a heavy load to carry, and we feel her appetites and frustrations. Martin’s TJ is given less to work with, expressing his frustrations by guzzling red wine and gorging himself on saltines. Ed Harris gives a compelling supporting turn as Alan, the father of Martin’s character. Alan is a stern man from a military background. But, more than this, he seems to embody toxic masculinity itself. Harris’ restrained physical performance speaks volumes – this is a man who can make chewing a piece of steak simultaneously hilarious, intimidating, and hostile. Harris’ energy lurks even in scenes where is physically absent.

I found the film’s climax to be brave and thoughtful. You may not agree with the choices the characters make, but you can understand the journey that has brought them to that moment. Despite some choppy waves, there’s ultimately a lot to like about this boat trip.

IN SELECT THEATERS AND ON DIGITAL
Friday, August 19 
Los Angeles, CA // Laemmle Monica
Colorado Springs, CO // Icon 14
Middletown, DE // Westown Movies
Rogers, MN // Emagine Rogers 18
Chicago, IL // Cinema 14 Chatham
Birmingham, MI // Emagine Palladium 15

WRITTEN AND DIRECTED BY: Terrence Martin and Dominique Braun
STARRING: Terrence Martin, Dominique Braun, Ed Harris, Riley Smith, Martina Gusman 
EXECUTIVE PROUCED BY: Andrew Davies Gans, Cary Wayne Moore
PRODUCED BY: Terrence Martin and Dominique Braun
CINEMATOGRAPHY BY: Lucio Bonelli, Michael Lockridge, Guillermo Nieto
EDITING BY: Russell Lichter, Andrés Quaranta

 

Review: ‘Orphan: First Kill’ is shocking and twisted prequel.

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Leena, a murderous sociopath who looks like a child due to a medical condition, escapes from an Estonian psychiatric facility. Leena impersonates the missing daughter of a wealthy family but becomes pitted against a determined mother.

Performances sell this film. Matthew Finlan at Gunnar with a slimy rich kid flair that makes him supremely punchable. Rossif Sutherland‘s genuine vulnerability in grounds the chaos. With the audience’s knowledge, his performance is one of the most important in the film. Julia Stiles is mind-blowing as Tricia. I’ll only reveal that the rollercoaster of this role is delicious, and I did not see it coming.

Isabelle Fuhrman plays the audience like a fiddle in what might seem like a tricky undertaking years later. The final reveal in Orphan was a game-changing moment that sticks in genre fans’ minds. For Fuhrman to nail this performance, knowing the audience is in on the secret this time speaks volumes about her skills. The use of body doubles ensured that she remained in the role. Had she been recast, we might have had a very different conversation about this franchise.

The use of mirrors is a noticeable and effective trope. Growing up in Connecticut, I can attest that the costume department gets an A+ for their work. Now, we need to discuss the screenplay. A total WTF twist keeps Orphan: First Kill fresh and engaging. The terror tables overturn with an unexpected villainous turn from multiple characters in the film. The unpredictability of this prequel manages to be creepy and cringe all at once. There’s a deliberate white privilege that is chef’s kiss. I wasn’t sure whom to root for. It was a ping-pong match of vile behavior. That made me all the more invested in the madness. When I tell you that I reveled in a particular kill, you’d be hard-pressed to disagree upon viewing. Orphan: First Kill is a wild ride genre fans will happily stay on if only to see how this chapter plays out.

Paramount Pictures will release the horror/thriller film ORPHAN: FIRST KILL in Theaters, on Digital, and streaming on Paramount+ on August 19, 2022. The film is the highly anticipated prequel to the 2009 horror classic film ORPHAN.

ORPHAN: FIRST KILL stars Isabelle Fuhrman (Orphan), Rossif Sutherland (Possessor) and Golden Globe Nominee Julia Stiles (10 Things I Hate About You). The film was written by David Coggeshall (Prey) and directed by William Brent Bell (The Boy).

Review: Out on Digital tomorrow, ‘LUX ÆTERNA’ is pure Gaspar Noé chaos.

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LUX ÆTERNA

LUX ÆTERNA takes place backstage of a French film production, often utilizing split-screens to follow two characters at once. Charlotte Gainsbourg, acting as herself, plays the film’s — and the film-within-a-film’s — leading role of an actress taking on the role of a witch burned at the stake while French actress Beatrice Dalle, playing a version of herself as well, takes on the on-screen role of director. The film progresses with mounting tension as the set descends into aggressive chaos— both in style, form, and plot. Actress and model Abbey Lee (The Neon Demon), Karl Glusman (Love), Claude-Emmanuelle Gajan-Maull (Climax), Félix Maritaud (Sauvage / Wild, Knife + Heart), and Clara Deshayes also appear as interpretations of themselves.

Narcissism, gaslighting, sexism, celebrity, the industry as a whole, everything is on the line in this 50 minutes of coordinated chaos. Toxicity and ass-kissing intermingled with personal drama, as each actor in LUX ÆTERNA plays a version of themselves. As the tension mounts, who and how will each player respond when “art” is on the line?

The lighting, which comes with a trigger warning before the film begins, is undeniably jarring. Combined with the incessant ringing of an alarm, it’s a visceral invasion. In tandem with the distress of Charlotte on screen, the viewer slowly finds themselves on sensory overload. 

Charlotte Gainsbourg can do no wrong in my book. She possesses a vulnerability that is unsurpassed. The amount of trust she has in Gaspar Noé astounds me with each additional project. Gainsbourg understood the assignment.

In true Gaspar Noé fashion, LUX ÆTERNA  pushes the boundaries of color, sound, and content. Few filmmakers have a style that screams their name, and Noé has cultivated that skill. In a short runtime, LUX ÆTERNA  has a lot to say. Welcome to one of the most unexpected and raw moments of exploitation.

Following a successful theatrical run across the United States from May into early June that put the film in the top 10 indies at the box office, Yellow Veil Pictures will release Gaspar Noe’s LUX ÆTERNA on digital platforms including Amazon, Google Play, Vudu, and more this Friday, June 10th in North America, followed by a 2-disc Collector’s Edition Blu-Ray available summer 2022. LUX ÆTERNA is currently available for digital pre-order on Vimeo on Demand.

Review: ‘THE POLICEMAN’S LINEAGE’ sends ‘Parasite’ stars deep-undercover.

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THE POLICEMAN’S LINEAGE

SYNOPSIS: Parasite’s Woo-sik Choi stars as Choi Min-Jae, a rookie police officer and a man of principle, who teams up with Park Gang-Yoon, the chief of an investigation team that has an unrivaled arrest record but includes corrupt methods. Together, the two very different policemen dive deep into a massive case that shakes the police force upside down.

The Policeman’s Lineage is a straightforward cop thriller that manages to keep its head above water despite a reliance on some overused genre themes. To be fair, there have been so many variations of the undercover cop film that innovation is practically impossible.  Director Kyu-mann Lee wisely leans into two key strengths: fresh-faced lead Choi Woo-shik (flush from the success and recognition of the brilliant Parasite), and the theme of paternal mentorship that drives the film’s best moments.

Choi Woo-shik stars as Choi Min Jae, a young, 3rd generation cop with strong morals. He is shown early on to prioritize what he believes to be right above all else, which does not endear him to his fellow officers. Facing bleak career prospects, he is given the opportunity to go (you guessed it) undercover to investigate a special unit touting a top arrest record. Sounds like a great promotion, right? Well, the Internal Affairs chief planning the operation (a steely, understated Park Hee-soon) believes the unit has crossed over the line in its pursuit of justice. It isn’t hard to be suspicious of the unit’s chief, Detective Park (Cho Jin-woong.) Park drives around in a shiny Mercedes, wears designer clothes, and flashes the cash at high-stakes poker tables. Must have a great financial planner!

Choi agrees to go undercover partly out of principle, and partly in exchange for information about his deceased father, who died years ago under mysterious circumstances while working with Detective Park. Detective Park’s team is surprisingly keen to welcome Choi into the fold despite his reputation as a straight-laced, scrupulous officer.

What follows is a mash-up of Point Break meets Platoon, as Choi’s resolve wobbles under the dueling influences of his two opposing supervisors.  Will he stick to his morals and Internal Affairs, or will he grow to sympathize and understand Detective Park’s take-no-prisoners approach to justice? All 3 leads bring compelling performances to the table. Choi Woo-shik is the film’s center of gravity, and he does admirable work digesting all of the necessary plot exposition on behalf of the audience. He continues to be a talent to watch.  Cho Jin-woong has the toughest job of the 3, shouldered with making Detective Park believably warm while simultaneously steely and terrifying. He mostly manages, but countless scenes of him gifting Choi clothes or taking the rookie for a ride on his big boat make it harder to buy in when he has to switch gears over to “bad cop”. I wish there had been more scenes between Detective Park and Internal Affairs.

The film drags a bit at nearly 2 hours in length – especially in the final 20 minutes, where too many twists are introduced too late. Ultimately, The Policeman’s Lineage represents an appropriate addition to the cop thriller genre, even if it doesn’t reinvent the wheel.

The Policeman’s Lineage will be on digital, VOD and cable* June 7, 2022 from Echelon Studios.

CAST: Woo-sik Choi (Parasite), Cho Jin-woong (The Handmaiden), Park Myeong-hoon (Parasite), and Hee-soon Park (Apple TV+’s Dr. Brain)

CREDIT: The Policeman’s Lineage is directed by Kyu-mann Lee (Wide Awake), produced by Han-seung Lee (The Tower), and executed produced by Hyun-joo Jung (The Gangster, The Cop, The Devil). The production team includes production designer Chae Kyoung-sun (Squid Game), editor Nam Na-young (Squid Game) costume designer Kyeong-mi Kim (Okja), composer Young-gyu Jang (Train to Busan), and makeup artists Hyo-kyun Hwang & Tae-Yong Kwak (Parasite)

The Policeman’s Lineage will be available on:

*Cable and Digital Transactional Video On Demand including:

Comcast

Charter-Spectrum

Directv

iTunes

Cox Cable

Dish Network

Sling TV

Google Play

Verizon Fios

Fandango / VUDU

InDemand

Vubiquity

Rogers

Vimeo on Demand

 

Review: ‘Tales From The Other Side’ is spooky fun for horror lovers.

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I love a good horror anthology. With a classic Halloween trope of three kids getting pulled into the town legend’s Victorian mansion, Tales From The Other Side finds Scary Mary spinning tales of terror for her eager guests. Six separate stories send shivers down their spines and sweets into their bellies. 

“Petrified Boy”

A ringmaster takes advantage of a tragedy.

“Flicker”

An aspiring filmmaker takes a job making memorial videos for a funeral home. 

“Crystal Ball”

A couple in turmoil steals the coveted object of a fortune teller. 

“Either / Or”

Trae Ireland, Tonya Cornelisse, and James Duval pack a punch in a story about a mental facility patient claiming to be the prophet, Elijah. This segment is the epitome of masterful performance. The finale will blow you away. 

“Blood Red”

An artist’s triste gets bloody complicated. 

“Krampus Vs. Elf”

A visually jarring stop motion battle between good and evil. It’s pretty disgusting, but the ending is chef’s kiss. 

Our three young leads are fantastic. Brooklyn Anne Miller, in particular, is flawless. Get that girl a show on Nickelodeon ASAP. Roslyn Gentle, as Mary, is a superstar. I’d watch an entire franchise with her as the center. 

Tales From The Other Side has a solid “Are You Afraid of the Dark?” vibes. It’s tricky to stand out amongst hits like The Mortuary Collection and the VHS franchise, but Tales From The Other Side gives it an honest-to-goodness try. The filmmakers are clear classic genre fans working on a micro-budget. The makeup and scores are great additions. The opening title sequence from Sean Wyn is creative and disturbing. What more could you ask for setting up scary stories with anything but horrifying drawings from children? It’s not as if you don’t know where the overarching narrative around Scary Mary is going. Tales From The Other Side is still a gruesome delight.

ON DIGITAL AND DVD JUNE 7

Directors: Pablo Macho Maysonet IV, Jamaal Burden, Scotty Baker, Jacob Cooney, Lucas Heyne, Kern Saxton, Frank Merle

Cast: Ros Gentle, Michael Broderick, Rafael Delgado Jr., James Duval, Chelsea Vale, Vernon Wells, Andreas Rodriguez

Review: ‘A SEXPLANATION’ is the single most sex positive lesson of my entire life.

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Just your typical queer, Asian American, comedic sex education documentary about the universal search for love, connection, and family acceptance.

Gloriously raw and unapologetic, A Sexplanation was the most informative lesson on sex I’ve ever seen. Like director Alex Liu, my parents never had “The Talk” with me. My Catholic school elementary sex-ed class was in 5th grade. Separating the boys and girls, we got the basics on menstrual health and body parts. That was it. I think I got that same lesson in my high school health class. Why are those classes always taught by gym teachers, anyway? Seriously, why don’t schools bring in experts? In A Sexplanation, Alex Liu does all the groundwork for those left to their own devices at slumber parties, sleep-away camps, and dial-up internet. 

Liu sits down with folks across the sexuality information spectrum; doctors, scientists, therapists, activists, a politician, and a priest! Some of the most intriguing moments happen when Alex speaks with his parents. They are honest, unfiltered, and make the viewer feel the need to talk to their parental figures to clear some shit up. The film also introduces us to programs like INclued, an LGBTQ-centered evidence-based sexual health education program for youth ages 14-19. I wish that existed when I was a teen!

Along with the interviews, visual gags featuring phallic objects and vibrant cartoon animation from Woodenmarker serves as quirky transitions. The biggest challenge in watching the film will be the same for everyone, and Liu understands this. Getting past our ingrained biases, owning each cringe at an image or word, and diving deep into the reasons those reactions occur in the first place. Tackling family dynamics, “The Talk” is so important and how we learn to talk about sex. Statistics do not lie. States teaching abstinence-only have higher teen pregnancy and STI rates. Families need to normalize open lines of communication. We need to step out of our comfort zones and embrace our own sex positivity to better the world. When it comes to sexual health, there are a lot of things that can go wrong. That’s why it’s so important to make sure that you’re doing everything you can to stay healthy and safe. One of the best ways to do this is to have a live sex call at eho cams.

 Liu makes himself the guinea pig in a project that could actually save lives. The amount of information in the doc is mind-blowing. The lack of shame makes A Sexplanation a glorious watch and an honest-to-goodness celebration of sexual literacy.

Available on Digital Download from 6th June

Director’s Statement

Alex Liu, writer and director: “A Sexplanation follows my quest to confront my sex education — by finally getting a real one.

Growing up, sex felt shameful. My parents never brought it up. School focused on disease, pregnancy, and abstinence. By my 30s, I was surprised by how much shame I still carried. After talking with friends, I realized I wasn’t alone.

  The film documents my attempt to strip away this shame, no matter how awkward it might get — even masturbating in an MRI machine (for science!).

Through honest conversations with scientists, educators, and even my parents, I try to uncover some naked truths and hard facts that will get us to a healthier, sexier future.”

asexplanation.com

A Sexplanation will be available on Digital Download from 6th June on iTunes on GooglePlay.

Review: ‘Paulie Go!’ is a genre-bending, fish-out-of-water story.

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After being rejected letter from the AI robotics program he’s worked his entire life towards, Paulie won’t take no for an answer. He steals his uncle’s van and drives to Minnesota in an attempt to track down one Professor Chuck Shikenjansk and change his mind. 

As Cheryl, Tracie Thoms is a joy, possessing aspects of Paulie and Avery’s personalities. Her character brings Paulie Go! to another level of storytelling. Madison Wolfe plays Avery with an effortless cool. She’s slick and savvy. Without even knowing it, she’s a role model. Ethan Dizon as Paulie is so much fun to watch. He’s a master of awkward social-emotional interaction and a victim of extreme overconfidence. Dizon’s energy is infectious. He and Wolfe have perfect chemistry. 

Director Andrew Nackman brings audiences a fish out of water road (or boat) movie that is relatable and family-friendly. In truth, it’s a genre-defying delight. That small-town Minnesota energy lends itself to genuine and funny dialogue. Paulie Go! is a film about two teens who have more in common than they realize. Jake Greene‘s script ( story also by Nackman and David J. Lee) subverts all expectations as it overflows with nuance. Paulie Go! deals with adolescence, loss, and self-discovery. Watch it with the entire family. 

Available to Rent or Own on Digital Platforms May 24, 2022

Directed by ANDREW NACKMAN

Written by JAKE GREENE

Produced by LAUREN TAIT HOGARTH, LAURA IVEY & JAKE GREENE

Starring ETHAN DIZON, MADISON WOLFE, DAVID THEUNE, BERNARD WHITE & TRACIE THOMS

Review: Inconsistencies aside, ‘ESCAPE THE FIELD’ is a solid horror maze of madness.

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ESCAPE THE FIELD

The fear is inescapable in Emerson Moore’s horror-thriller about six strangers who suddenly awaken in a remote, endless cornfield. Stripped of their possessions, they are left with only six items: a gun with a single bullet, matches, a lantern, a knife, a compass, and a flask of water. As mysterious sirens blare in the distance and traps appear at every turn, the group realizes it’s been plunged into a cat-and-mouse game with an unseen evil, and survival depends upon solving a diabolical — and deadly — puzzle.

With reminiscent aspects of the cult favorite The Cube, Escape the Field is an intriguing foray into the escape room genre. A cornfield is our game board, making for an entirely different dynamic in a scenario we’ve seen for years. An eclectic group of people comprises this cast. Writer-director  Emerson Moore, alongside screenwriter Joshua Dobkin and Sean Wathen, take a different approach, mixing ideas from past films to brand new and exciting elements. There’s a lot to chew on in Escape The Field. 

Shane West plays Ryan with intimidation and alpha male toxicity. West ups the anty with emotional unpredictability elevated by a clever script device. Theo Rossi plays Tyler. If you haven’t been paying attention to indie cinema or mainstream television series, Rossi has become a familiar face and a damn fine actor. Escape the Field is no exception. Rossi has this undeniably accessible aura about him. Jordan Claire Robbins plays Sam, a doctor whose skills are pertinent to the group’s survival. Robbins’ neighborly energy brings trustworthiness and ease to the viewers. You’re rooting for her. I would be remiss if I didn’t mention Tahirah Sharif. Her presence drastically improves Escape The Field every second she’s onscreen. 

The solutions to the puzzles evolve from difficult to unchallenging and back again. This inconsistency is forgivable from someone who is an avid winner of ‘Escape The Room’ experiences. (*Nerd alert)  Escape The Field has all the raw elements of a spectacular franchise. I’d watch a prequel and a sequel, as long as the next film’s evolution takes notes from its incarnation. Make sure you stick around after the credits begin to roll. You don’t want to miss one final moment of goodness. 

U.S. Release Date: In Select Theaters, On Digital and On Demand on May 6, 2022.

Cities:                                    New York (Cinema Village), Los Angeles (Lumiere Cinema), and key cities nationwide.           

Cast:                                      Jordan Claire Robbins, Theo Rossi, Tahirah Sharif, Julian Feder, Elena Juatco, and Shane West

Directed by:                           Emerson Moore         

Written by:                             Emerson Moore and Joshua Dobkin & Sean Wathen

Produced by:                        Andrew Davies Gans, Michael Philip, Jason Moring and Emerson Moore

Genre:                                    Thriller            

Rating:                                   R

Running Time:                      88 minutes

Review: Despite fantastic performances, ‘The Ravine’ takes a turn for the worse.

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presents

In THE RAVINE, when an unspeakable crime rocks a peaceful community, family and friends are left to wonder if they overlooked the murderer among them or if there might be more to the story. Inspired by true events, this haunting thriller stars Eric Dane, Teri Polo, Peter Facinelli, and Leslie Uggams.

Based on a true story, The Ravine skillfully creates a tense atmosphere. The film opens to ominous phone messages, tight-knit relationships, and one pulse-pounding vignette. It’s a familiar panic for someone who has lost a friend in the prime of their life; the unanswered phone tag, the swirl of shock, and unadulterated, unfiltered emotion. Performances are heartbreaking from the children to the adults. They are raw and riveting. All these positive aspects cannot save the film from a failed ending.

Director Keoni Waxman writes the script based on Robert and Kelly Pascuzzi‘s novel of the same name. Its structure utilizes flashbacks and present-day fallout. Through police work, past regressions, and the unexpected introduction of a gifted and religious psychic, The Ravine takes a turn in genre and never fully recovers. The script leans on religious redemption in the end, but the audience does not expect the hard right turn in the narrative. As a choice in storytelling, regardless of how close these depictions are to true events, it doesn’t match with the repetitive scenes of violence. The final 20+ minutes of the moment-by-moment explanation felt rushed and overwhelming. For a film that begins like an episode of True Detective, The Ravine ends in a preachy manner. It soured the entire experience. 

Cinedigm will release THE RAVINE in theaters and on Demand and Digital on May 6, 2022.

 
The film stars Eric Dane (“Euphoria”), Teri Polo (Meet the Parents), Peter Facinelli (The Vanished), Byron Mann (The Big Short), Leslie Uggams (Deadpool), and Kyle Lowder (“Days of Our Live”).

THE RAVINE was written and directed by Keoni Waxman (The Hard Way). It was co-written with Kelly Pascuzzi and Robert Pascuzzi whose book “THE RAVINE” is the basis for the film.

Review: Malin Akerman and Lorenza Izzo star in the taut thriller ‘THE AVIARY.’

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THE AVIARY

SYNOPSIS: Malin Akerman and Chris Messina star in the twisted journey of two women’s desperate flee to escape the clutches of Skylight, an insidious cult. Lured in by the promise of “freedom” in the isolated desert campus called “The Aviary”, Jillian (Akerman) and Blair (Lorenzo Izzo) join forces to escape in hopes of real freedom. Consumed by fear and paranoia, they can’t shake the feeling that they are being followed by the cult’s leader, Seth (Messina), a man as seductive as he is controlling. The more distance the pair gains from the cult, the more Seth holds control of their minds. With supplies dwindling and their senses failing, Jillian and Blair are faced with a horrifying question: how do you run from an enemy who lives inside your head?

Two women attempt to escape a cult by hiking through the desert. When plans go awry, deception, confusion, and brainwashing pit them against one another. 

While we only see Chris Messina as cult leader Seth in brief moments, they are undoubtedly impactful. With his calm yet persuasive demeanor, it is easy to see why these characters fell under his spell from the very beginning. Lorenza Izzo plays Blair with unbridled, vibrating energy that is captivating. You clock every single beat in her eyes. Malin Akerman‘s confidence as Jillian makes her a perfect foil for Izzo. Akerman walks a fine line between vulnerable and secretive. She’s frighteningly good. 

The screenplay’s wordplay, score, and scene blocking heightened every moment. There was never a dull moment. The endless mindfuckery rubbed my nerves raw. I found I had left fingernail impressions on my palms without realizing it. The paranoia and tension in the dialogue had my head spinning. Are these women gaslighting one another, is one of them a villain and is this even real? These are some of the questions I had while sorting through the madness that is The Aviary. 

You cannot ignore the comparisons with Scientology and Rajneeshees. The final 20 minutes had me on the edge of my seat. If you think you know where this story is going, think again. The Aviary is a whirlwind of manipulative tactics. It’s fantastic. 

In Theaters, on Digital, and On Demand April 29, 2022

WRITTEN & DIRECTED BY: Chris Cullari & Jennifer Raite

STARRING: Malin Akerman, Lorenza Izzo, Chris Messina, Sandrine Holt

RUN TIME: 96 minutes

RATING: Rated R for language and some violent content.

GENRE: Thriller

OPENING THEATERS INCLUDE:

NEW YORK CITY – Cinema Village

LOS ANGELES – Lumiere Cinema

 

ATLANTA – Studio Movie Grill Marietta

CLEVELAND – Atlas Diamond Center

DETROIT – Emagine Royal Oak

HOUSTON – Studio Movie Grill Pearland

MINNEAPOLIS – Emagine Eagan

ORLANDO – Studio Movie Grill Sunset Walk

PHILADELPHIA – Westown Movies

TAMPA – Studio Movie Grill Seminole

Review: Family-friendly folklore ‘Jesse and The Elf Boy’ is available now.

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A teenager becomes a renowned hairstylist with the help of an unexpected friend – a forest elf.

Inspired by Scottish legend, this feel-good comedy follows the antics of the solitary forest elf Ghillie Dhu who becomes friends with a girl lost in the woods. When she is unexpectedly whisked away by her mother, a forlorn Ghillie sets out on a quest to find his lost companion. Years later, in the city, Ghillie meets Jessie Macrae, a plucky teenager determined to win favor with her high-flying mother by becoming a renowned hairstylist. When Jessie discovers that Ghillie has a gift for hairstyling, they strike up a unique partnership which causes chaos for the manager of the chic hair salon and catapults Jessie to fame. Thanks to Ghillie, Jessie’s dreams are within reach, but will this meeting of two worlds be enough to overcome the deep hurts of broken relationships through the generations?

A spirited, family-friendly film with notes of Peter Pan whimsy, Jesse and the Elf Boy brings laughter and unexpected depth. The script is a sweet story of friendship, loyalty, family dynamics, and a bit of magic. 

While perhaps a tad random, with the premise that Jesse is a hairstylist, the film has a similar vibe to Edward Scissorhands with a touch of Rumplestiltskin. Performances illicit genuinely laugh-out-loud moments. The script teems with kooky, larger-than-life characters that will make audiences, young and old, giggle. The score from David Shaw is lovely. The standout costume belongs to Ghillie Dhu. It perfectly evokes a childlike wonder, if not a bit noisy for the sound editing. Whittle dons it with an ease that makes it believable.  

Julia Brown is phenomenally charming as Jesse. Her chemistry with Whittle makes for an easy watch. Speaking of our other titular character, Huck Whittle plays Ghillie with a darling innocence. Reminiscent of Jeremy Sumpter in Peter Pan (2003), Whittle is a star.

Getting to the main plot of a mother-daughter reconnection is a bit convoluted, as there are a handful of subplots. But, if you let that go, you’ll be completely charmed. The final reveal makes any inconsistencies worth the watch. 

https://fellowshipfilm.com/

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

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

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

 

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).