Category Archives: Digital

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).

 

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

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THE CONTRACTOR

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

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

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

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

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

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

DISTRIBUTOR: Paramount Pictures

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

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THE YELLOW WALLPAPER

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

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

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

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

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

 

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

Review: English language version of animated charmer ‘POUPELLE OF CHIMNEY TOWN’ is coming to VOD, Digital, Blu-ray, & DVD in May.

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POUPELLE OF CHIMNEY TOWN

Poupelle of Chimney Town is the story of young Lubicchi living among the thick smoke from the chimneys of his isolated town, yearning to see the “stars” — to know the truth — his father always told him about. One Halloween night he meets Poupelle, a man-made of garbage, and together they look to the sky as their adventure begins. Spectacularly beautiful, filled with inspiring performances and splendid music and sound effects, and produced at Tokyo’s famed STUDIO4ºC, Poupelle of Chimney Town brings laughter, tears, and joy.

Perfect for audiences that like their cartoons dramatic and dark, Poupelle of Chimney Town uses polished Japanese animation to tell a complex story of friendship, acceptance, environmentalism, and– the folly of authoritarian states? 

 While many American audiences are familiar with gripping emotional narratives in animation thanks to Pixar’s penchant for powerful tearjerkers, this film elicits a similar pathos but doesn’t pair that with anything cute or cuddly. Instead, the main character is a lonely, friendless child that befriends a foul-smelling creature literally made of trash. Together, the pair adventure around a smog-blanketed city on a mission to open the hearts and minds of Chimney Town and defy the dystopian mind police roving the neighborhoods and assassinating free thinkers. 

To be honest, I found these all to be heavy concepts for a kids’ movie! My most generous comparison is to the subgenre of dark cartoons from the 1980s like “The Secret of Nimh” or “All Dogs Go to Heaven” which– full disclosure– gave me nightmares for most of my childhood. Like those films, “Poupelle of Chimney Town” has many moments of lighthearted fun, comedic dialogue, friendship, and ultimately a ragtag group of kids fighting to do what’s right. The action sequences borrow visuals from beloved video games with nostalgic effects and are loads of fun in particular. Overall, more sophisticated kids and adults will probably find it all charming; I may be a wimp.

The rights in the U.S. and Canada are controlled by Eleven Arts which has appointed Shout! Factory to handle distribution. The film’s home entertainment release will kick off with a premium VOD outing on May 3, 2022,

Digital download availability from May 17,

and  Blu-ray and DVD combination from May 31.

The English-language voice cast of Tony Hale (“Being the Ricardos,” “Veep”), Antonio Raul Corbo (“Brooklyn Nine-Nine”), Stephen Root (“Finding Nemo,” “King of the Hill”), Misty Lee (“Star Wars Jedi: Fallen Order,” “Ultimate Spider-Man”), and Hasan Minhaj (“The Daily Show,” “The Morning Show”).

Review: Charlotte Gainsbourg’s directorial debut ‘Jane By Charlotte’ is a beautiful ode to her mother.

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Charlotte Gainsbourg looks at her mother Jane Birkin in a way she never did, overcoming a sense of reserve. Using a camera lens, they expose themselves to each other, begin to step back, leaving space for a mother-daughter relationship.

A love letter from a daughter to mother, actress Charlotte Gainsbourg‘s directorial debut, Jane By Charlotte, is one of the most intimate looks at the international icon, Jane Birkin. Through photographs, home movies, and quiet, casual sit-down interviews, we learn things about Jane right along with Charlotte. It is as if we are experiencing the same revelations. Seeing Jane and Charlotte perform, you’d never guess they were so soft-spoken in real life. There’s breezy energy about the film that is difficult to describe. As a mother, it touched me in a very personal way. At 41, I’m only just becoming comfortable with questions like Charlotte asks of Jane. As an American, I acknowledge the cultural differences with which we discuss intimacy. In the conversations between Jane and Charlotte, I am in awe of their relationship. Will I be more comfortable having such an open line of communication with my daughter? My daughter, also named Charlotte, is just about to turn five, but it is something I aspire to attain.

Jane and Charlotte find common ground in parenting styles and celebrity. They speak openly about Jane’s lifelong dependency on sleeping pills, inspiration for songs, and her various marriages. The loss of her daughter Kate was perhaps the most impactful event in her life. The grief she carries is palpable. Jane and Charlotte discuss maternal guilt. It’s one of the most poignant through lines in the film. Charlotte’s eye and adoration for her mother are written all over this doc. It’s a lovely ode to a beloved icon from a daughter who continues to idolize her. As a mother, Jane By Charlotte has a revelatory feeling of intimacy. Gainsbourg‘s documentary makes me jealous in the best way possible.

Opens Friday, March 18th at the Quad Cinema in New York and
March 25th at the Landmark Westwood in Los Angeles
Expands to additional cities in April + Available on Digital May 6th (Mother’s Day weekend)

About Jane Birkin
A native of London, Jane Birkin began her career as an actress appearing in Michelangelo Antonioni’s Blowup (1966), and Kaleidoscope (1966). In 1968, she began a years-long working and personal relationship with Serge Gainsbourg; The duo released their debut album Jane Birkin/Serge Gainsbourg in 1969, and Birkin also appeared in the film Je t’aime moi non plus (1976) under Gainsbourg’s direction. Birkin later starred in the Agatha Christie adaptations Death on the Nile (1978), and Evil Under the Sun (1982), and continued to work as both an actress and a singer, appearing in various independent films and recording numerous solo albums. In 1991, she appeared in the miniseries “Red Fox,” and in the American drama film, A Soldier’s Daughter Never Cries in 1998. Having lived primarily in France since the 1970s, Birkin is the mother of photographer Kate Barry, actress and singer Charlotte Gainsbourg, and musician Lou Doillon.

About Charlotte Gainsbourg
Charlotte Gainsbourg grew up on film sets as both of her parents, Jane Birkin and Serge Gainsbourg, were involved in the film industry. At the age of 13, she debuted in her first motion picture playing Catherine Deneuve’s daughter in the film Paroles et Musiques. In 1986, Charlotte won a César Award for Most Promising Actress for An Impudent Girl. That same year she appeared in the film Charlotte For Ever written and directed by Charlotte’s father Serge Gainsbourg. From 1988 until today, Charlotte expanded her career with various projects such as The Cement Garden, Jane Eyre, 21 Grams, Ma Femme Est Actrice, I’m Not There, The Science of Sleep, Golden Door, The Tree, Samba, Mon Chien Stupide, and Lars von Triers’ films Melancholia, Antichrist and Nymphomaniac. In 2009, she won the award for Best Actress at the Cannes Film Festival for Antichrist. While Charlotte has been working on film projects, she led another rich career in Music as a singer and a composer and released several albums: Charlotte for Ever (1986), 5:55 (2006), IRM (2009), Stage Whisper (2011), Rest (2017).

 

Review: Mickey Keating’s ‘OFFSEASON’ is selling scary from start to finish.

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OFFSEASON

Upon receiving a mysterious letter that her mother’s gravesite has been vandalized, Marie quickly returns to the isolated offshore island where her late mother is buried. When she arrives, she discovers that the island is closing for the offseason with the bridges raised until Spring, leaving her stranded. One strange interaction with the local townspeople after another, Marie soon realizes that something is not quite right in this small town. She must unveil the mystery behind her mother’s troubled past in order to make it out alive.

What makes this film so unsettling is a brilliant mix of Shawn Duffy‘s heightened sound editing, Shayfer James‘ music selection, and isolated locations. If you’re a genre fan, particularly gaming-wise, OffSeason is like watching Marie walk through a new live-action version of Silent Hill, down to the radio, the flashlight, and the fog. As short bursts of information are leaked to us through flashbacks, Marie is trapped in a nightmare.

Melora Walters as Ava is powerful in her manic behavior. She’s such a presence in any role. This casting was perfect. Richard Brake is brilliant. He’s so nonchalantly terrifying you’re just mesmerized by his performance. Jeremy Gardner is one of the best parts of this film. He’s a savior figure cloaked in mystery. His delivery of dialogue drives the greater mystery forward. He is an integral piece to this gothic puzzle. Jocelin Donahue has anxiety written all over her face. She has this throwback horror look from the hair, to the wardrobe, giving the entire film a timeless feel.

Mac Fisken‘s cinematography is amazing. The long lingering shots, the close-ups, and the static camera work are stunning. Watching the actors run into view and away again is such an effective stylistic choice. Writer-director Mickey Keating‘s creation lives and breathes in the audience’s ability to take the ride. I actually went back and watched the beginning again and there is one very Ari Aster moment. Keating smartly gives you a visual reference but it’s tricky to decipher right off the bat. OffSeason is worth multiple viewings. Make sure to have your volume turned up when you do.

In Select Theaters, On Demand and Digital:
 March 11, 2022

Starring: 
Jocelin Donahue, Joe Swanberg, Richard Brake, Melora Walters, Jeremy Gardner
Directed and Written By:
Mickey Keating
Run Time: 83 minutes | Rating: Not Rated

Review: The one reason to watch ‘Gasoline Alley’… Devon Sawa.

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GASOLINE ALLEY

Devon Sawa plays Jimmy Jayne, a tattoo parlor owner with a cop’s instinct in his blood. When he becomes the main suspect in the brutal murder of three sex workers, he does the legwork detectives are ignoring.

Luke Wilson plays detective Freddy Vargas with a vigor and smartass attitude. It rings awkward most of the time, especially set against Sawa’s rebel do-gooder. Knowing Wilson’s abilities, I don’t blame this on him. As for Bruce Willis as Detective Freeman, if he is on-screen all of ten minutes, I’d be surprised. His name still has pull, despite the string of mediocre (and cop-centric) roles over the past few years. In truth, it could have been any actor.

Devon Sawa is a chameleon. Every role in the past few years, and there have been A LOT, Sawa has fully immersed himself. He’s just so good at what he does. Even surrounded by Wilson and Willis, there’s no denying Gasoline Alley is his vehicle. He’s a certified badass. I would love to see him in a Punisher reboot. I know, I know that sounds insane. But he’s got the chops for a franchise of that ilk. 

Emotional revenge propels the script forward. Although, if I’m being honest, I found myself getting bored and distracted when Sawa wasn’t speaking. The film feels convoluted until the final 30 minutes, and then it’s an avalanche of violence. It’s almost videogame cliché. As a whole, Gasoline Alley feels long, but Sawa earns every single frame.

GASOLINE ALLEY

In Theaters, Digital, and On Demand February 25, 2022

Review: ‘KING KNIGHT’ is an unlikely story of self-acceptance.

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KING KNIGHT

SYNOPSIS: “Thorn (CRIMINAL MINDS’ Matthew Gray Gubler) and Willow appear to have it all as the revered high priest and priestess of a coven of new-age witches. But a secret from Thorn’s past throws their lives into turmoil and sends them on a trippy, hilarious journey.”

Committed coven leader Thorn is hiding a secret. How will his partner Willow and fellow coven members react when the truth comes to light? King Knight is a film about acceptance and growth against the backdrop of Wiccan comedy. Yes, Wiccan comedy. 

Writer-director Richard Bates, Jr. flips the script on societal norms with a humor reminiscent of Christopher Guest’s films. King Knight has a killer ensemble cast. The eclectic nature of the members will make you grin, with each actor given their time to shine. A highlight performance comes from Barbara Crampton as Thorn’s mother, and it’s simply magic. The horror icon, who seems to appear in one film after another without a break, can do no wrong in my eyes. She is hilarious in her brief but memorable screentime. 

Angela Sarafyan as Willow is delicious. She’s ethereal and grounded. Is she a practicing Wiccan? You could have fooled me. Her energy counters Gubler with the ease we needed. Matthew Gray Gubler as Thorn is fantastic. His dedication to the absurdity of the script draws you into King Knight. He’s suave and funny, and I want more of him on my screen. I would watch him dance any day of the week.

It’s easy to see why this was a Fantasia 2021 selection. The use of tarot cards as transition devices is super slick. Quirky and colorful animation adds another element of cool. Oh, the soundtrack is fire, as the kids say. While it struggles a tad from pacing issues, King Knight is a perfectly weird and fun film.

In Select Theaters, On Demand and Digital:
February 17, 2022
Starring:
Matthew Gray Gubler, Angela Sarafyan, Andy Milonakis, Kate Comer, Johnny Pemberton, Josh Fadem, Nelson Franklin, Emily Chang, Ronnie Gene Blevins, Swati Kapila, Shane Brady, AnnaLynne McCord, Alice Glass, with Barbara Crampton, and Ray Wise
Directed and Written By:
Richard Bates, Jr. 
 
Run Time: 81 minutes | Rating: Not Rated

Review: ‘A PELOTON OF ONE’ – a long road to healing through the ride of a single survivor.

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A PELOTON OF ONE

 “A Peloton of One” is a documentary film about surviving Childhood Sexual Abuse, focusing on the next chapter in the Survivors’ story – what happens after victims come forward. The film follows Dave Ohlmuller who conducts a solo bicycle ride from Chicago to New York, meeting a variety of other Survivors and legal advocates along the way.

Trauma, the Catholic Church, politics, mental health, justice, and sexual abuse, A Peloton of One is a film about awareness for victims and the truth. #IRideWithDave Know the hashtag and understand its immense power and message. Dave Ohlmuller‘s emotional and physical journey as a survivor and an advocate is breathtaking and inspiring. 

I attended Catholic parochial school for eight years. My Mother thought it would be a better education. And while that element ended up being a blessing, the stress and fear instilled in me at the age of 6 were not. While I’m not the victim of sexual abuse by the church (that would happen in college by an acquaintance), I fully understand the emotional stronghold that the church has on families. After college, I tangentially worked on a few campaigns. Because of this, have a greater understanding of the protection politicians provide for specific institutions. This pushback is entirely about greed and votes. 

The metaphor of a peloton is perfect. The lack of safety as Dave (mostly) rides alone represents every survivor who felt dismissed, who lived in fear, who kept it inside from childhood to adulthood. His unadulterated honesty and bravery connect people of all ages across the country. A Peloton of One is an important watch. Pay attention to those who are blocking laws. Ask why they stand in the way of justice. Audiences have heard the news, but the A Peloton of One puts faces to stories. It further personalizes the truth and the long road to healing. 

** IN THEATERS FRIDAY FEBRUARY 18 **

FESTIVALS & AWARDS

 

Greenwich International Film Festival

Winner: Audience Award for Best Film

 

Golden Door International Film Festival

Official Selection

 

New Jersey Documentary Film Festival

Official Selection

 

Jersey Shore Film Festival

Official Selection

 

Review: ‘A Banquet’ is deliciously strange.

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A BANQUET

Widowed mother Holly (Sienna Guillory) is radically tested when her teenage daughter Betsey (Jessica Alexander) experiences a profound enlightenment and insists that her body is no longer her own, but in service to a higher power. Bound to her newfound faith, Betsey refuses to eat but loses no weight. In an agonizing dilemma, torn between love and fear, Holly is forced to confront the boundaries of her own beliefs.

A Banquet follows Betsey, a teenager attempting to find her footing after the traumatic death of her father. After wandering into the woods at a party, she emerges changed. She stops eating but never loses an ounce. Something is quite wrong. 

Director Ruth Paxton and Screenwriter Justin Bull understands how to highlight the complexities of women. A Banquet‘s haunting visuals and invasive close-ups are often combined with ear-piercing moments of audio, placing you in the emotional chaos of its characters. 

Lindsay Duncan plays the family matriarch. Duncan is a legend. As June, she’s cold and intense; convinced Betsey’s condition is a put-on, her pride drives a wedge between the four women. 
Playing younger sister Isabelle, Ruby Stokes is everything you need her to be. Supportive and bright, her chemistry with Jessica Alexander is brilliant. The script’s structure allows her to move from a nonchalant baby sister to an additional caretaker. She relents to the unknown, forcibly aging her years in months. She’s fantastic.

Sienna Guillory plays mum Holly with PTSD written all over her. The underlying trauma, at times, stops her in her tracks. Holly is borderline OCD, so her new circumstance is unbearable. As the story progresses, her fury and desperation grow exponentially. Jessica Alexander as Betsey gives a scary good performance. Justin Bull’s script allows her to play every emotion in the book. One moment she’s practically comatose and the next manipulative. It’s a rollercoaster ride. She’s extraordinary.

The entire film simmers with pulse-quickening energy. The film is set predominantly in the family home, the walls are richly dark, and the light is dim. It allows each woman (and their carefully curated wardrobe) to pop against the background. The score is chill-inducing. Folklore meets grief, A Banquet is entirely unsettling and mysterious from beginning to end. It shook me to my core.

Opens in Select Theaters, on Digital Platforms
and VOD on February 18th
Directed by: Ruth Paxton
Written by: Justin Bull
Produced by: Leonora Darby, Nik Bower, James Harris, Mark Lane, Laure Vaysse
Director of Photography: David Liddell
Edited by: Matyas Fekete
Starring: Sienna Guillory, Jessica Alexander, Ruby Stokes, Kaine Zajaz, Lindsay Duncan
Runtime: 97 mins

Review: ‘Student Body’ is inconsistent genre fare saved by its performances.

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STUDENT BODY

Synopsis:
A distressing incident compels childhood best friends Jane and Merritt to take action against their high school math teacher, driving their splintered relationship into further turmoil and provoking deadly consequences.

When a close-knit circle of private school friends attempts to request a makeup calculus test, things do not go as planned. Student Body flips the script, quite literally, on whatever genre you thought you were watching. In a film of consequences and crazies, surviving high school just became a lot harder.

Each member of the group has their role to play; manipulative leader, aggressive jock, comic relief, activist, and smart girl. Together, their chemistry makes Student Body worth your time.
Stand-out performances come from two players. Austin Zajur as French is the loveable goofball of the bunch. His charming energy gives us the most memorable moments of levity. Harley Quinn Smith is a star. She’s such a natural, your eye goes to her immediately as her confident voice echoes above the fray of group scenes.

Writer-director Lee Ann Kurr gives us two distinct genres by structuring the script as one half character development and the other half horror. The issue with the second half is pacing. The urgency is missing. There are 15 minutes between murders, a brief slump then the third. Then, it stops being cohesive at all. There’s an overall emphasis on safety. We know new locks and safety glass were installed as they make a point to highlight it over and over. Unfortunately, unless I missed it, there’s no president for the measure. As the generation who experienced Columbine, some of these details seem nonsensical. Bulletproof windows and roll-down gates, but no classroom locks from the inside?

While I suspect the filming was done in an empty high school, halls, and classrooms lacking almost all signs of life, in the end, this probably lent to efficiency. Overall, there’s a lot of solid material in Student Body. The editing is fantastic and the soundtrack (at least in the beginning) lends itself to teen movie cult status. I wish that had continued. The dialogue is never pretentious or tries too hard. That and the cinematography make it enjoyable.

Now On Digital!

Directed by Lee Ann Kurr
Written by Lee Ann Kurr

Starring:
Christian Camargo, Montse Hernandez, Cheyenne Haynes, Harley Quinn Smith, Austin Zajur, Anthony Keyvan

Run Time: 1:28:48
Rating: N/A

Review: ‘GHOSTS OF THE OZARKS’ has a brilliant cast with a familiar endgame.

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In GHOSTS OF THE OZARKS, TimBlake Nelson, David Arquette, Angela Bettis, Thomas Hobson, Phil Norris and Tara Perry star in this exciting new take on the southern ghost story. In post-Civil War Arkansas, a young doctor is mysteriously summoned to a remote town in the Ozarks only to discover that the utopian paradise is filled with secrets and surrounded by a menacing, supernatural presence.

Ghosts of the Ozarks is a bit of an oddity. As a sci-fi western, it boasts an extraordinary ensemble cast. It’s incredibly refreshing to see actors of color in a western period piece. Until lately, they have been erased from Hollywood and history. Particularly in roles of authority. Thomas Hobson playing leading man Doc pulls you in with his genuine need to help and protect. Bouncing between anxiety and passion, this performance invites you to ride along for the journey of this tumultuous script. There’s no denying the similarities to The Village. Ghosts of the Ozarks is ultimately about control and greed through the lens of folk horror.

Torb and Lucille’s (Tim Blake Nelson and genre legend Angela Bettis) performance at the piano, which encores over the credits, is a standout moment. Although, it’s one of the times that causes me to question the writing. It moves Ghosts of the Ozarks into a genre obliterating territory. Part of me believes the film might fare better as a series. As it stands, it’s so over the top, at times, it feels silly. There’s no denying that Ghosts Of The Ozarks has potential. While the script feels long at moments, there is a lot of great material. Cool, handcrafted sets and costumes are highlights, a casting director who nailed it. Overall, I’m not entirely sure what to make of it. Ghosts Of The Ozarks is absolutely unique. In that respect, it’s a winner.

XYZ Films will release the mystery thriller GHOSTS OF THE OZARKS in Select Theaters and Demand and on Digital on February 3, 2022.  

  GHOSTS OF THE OZARKS stars Thomas Hobson (That Girl Lay Lay), Phil Morris (Star Trek III: The Search for Spock), Tara Perry (Proxy), Tim Blake Nelson (Old Henry), Angela Bettis (Girl Interrupted), and David Arquette (Scream Franchise). 

The film is directed by Matt Glass (The Party’s Just Beginning) along with Jordan Wayne Long (12 Hour Shift). Long also co-wrote the film with Sean Anthony Davis (Think Brilliance) and Tara Perry (Proxy).

Review: ‘The Midnight Swim’ is hypnotic.

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THE MIDNIGHT SWIM

THE MIDNIGHT SWIM, which world premiered at the Fantasia International Film Festival in 2014 and went on to win the Breakthrough Audience Award from AFI Fest and Best Feature Film from the Denver International Film Festival, marked the debut feature of Sarah Adina Smith (Buster’s Mal Heart, 2016; Birds of Paradise, 2021). The film follows half-sisters Isa, June, and Annie in the wake of the disappearance of their mother, Dr. Amelia Brooks, during a deep-water dive in Spirit Lake. The three women decide to travel home to settle her affairs, where they accidentally summon a local ghost and find themselves drawn deeper into the mysteries of the lake as their relationship begins to unravel.

Folklore and family meld too well in The Midnight Swim. You won’t know where one ends and the other begins. As we watch this story unfold all in “found footage” from Annie’s vintage camera. It becomes clear that their relationships with their mother were complex and dark. Grief manifests in a variety of ways, but the most successful aspect as strange things begin to occur is the connection between the three sisters. Aleksa Palladino, Lindsay Burdge, Jennifer Lafleur pull you into the film like sirens. There is tension, adoration, irritation, and unadulterated fun that happens amid weirdness. Did their mother drown, or was it suicide? These discussions are ongoing. We discover Annie is/was unwell, never specified in the film. We see this in her solitude when the camera is pointed at her, predominantly in mirrors, as she is the film’s “cinematographer.” We’re tipped off in moments when the girls explain that she only eats alone, when she pretends to be a stranger calling her deceased mother’s office and then begins to take “night swims” she cannot recall until time-lapse footage appears the following mornings.

Strangely enough, one of my favorite scenes is the only earnest tension breaker in the film. It’s an oddly placed music video performed by the sisters. Each has a chance to show off their personalities. It’s seemingly something they did as children, and like the rest of the film, it lands somewhere between enchanting and creepy as hell. The set’s dressing, particularly the bedrooms, have a candy-colored aesthetic to them. Laura Ashley-Esque prints against morose faces unsettle your body. The story of the ill-fated seven sisters becomes more intriguing once you realize the ancient origins apply both to the sea and stars. While writer-director Sarah Adina Smith‘s film ultimately leaves us with more questions than answers, it’s a film that is impossible to shake.

Pre-sale on collector’s BluRay launches Jan. 1, on Digital and VOD Jan. 25, 2022

Review: ‘Salt In My Soul’ is inspiration through posthumous eloquence.

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SALT IN MY SOUL

Based on the bestselling posthumously published memoir of the same name, SALT IN MY SOUL is a documentary and classic coming of age story about a young woman figuring out how to live while dying. Mallory Smith was diagnosed with cystic fibrosis at the age of three. In her twenty-five-year battle with the deadly disease, she carved out a life that most of us don’t come close to. Using Mallory’s posthumously published 2500-page secret diaries, hundreds of hours of newly discovered footage, and audio recordings, the film offers Mallory as the narrator of her own extraordinary chronicle.

 

Mallory Smith‘s physically and emotionally fraught journey is equal parts heartbreaking and extraordinary. How does a person come to terms with death a such a young age? That’s the ultimate question as we delve into the mind of Mallory in her own intimate, raw, and eloquent reflections. Mallory’s parents, Diane and Mark, her brother Micah, friends, and doctors tell stories in sit-down interviews. A mix of photographs, home movies, cellphone videos, online and handwritten journals tell Mallory’s story and of those around her. Diane and Mark tasked themselves with different end goals. Mom took to fundraising and awareness while Dad researched relentlessly for new treatments. Mallory lived her life with a vigor you don’t often see or feel from a person twice her age. Her drive and determination to be present is an inspiration. No one treated her like a fragile object. It was the opposite.

Be warned that the film does involve scenes of surgery. They can be a bit intense if you are squeamish. Salt In My Soul predominantly shows Mallory and her family teaching us to celebrate and fight for life. The timing of this doc is more impactful given the current state of the world. The importance of masks for the immunocompromised has never been more relevant. An unfathomable number of us have been closer to death in the past two years than we ever thought possible Mallory’s message of living each moment to its fullest could not resonate more than in this moment in time. Salt In My Soul is a unique film. Undeniably intimate and relentlessly moving, it’s a film that stays with you.

SALT IN MY SOUL

A Feature Documentary Film by Will Battersby
Run time: 96 Minutes (USA- Feature Documentary)

SALT IN MY SOUL will be released theatrically in New York (Cinema Village) and Los Angeles (Laemmle Royal) on January 21 followed by the VOD Release in the US, Canada, and UK & Ireland and key territories worldwide on January 25.

 

VOD Platforms: 

US- Apple TV/iTunes, Amazon, Google Play, Microsoft/Xbox, Vudu
Canada- Apple TV/iTunes, Microsoft/Xbox
UK- Apple TV/iTunes, Amazon, Google Play, Microsoft/Xbox
Ireland- Apple TV/iTunes, Google Play

Cable Platforms: 

US- InDemand TVOD (Comcast, Spectrum, Cox), DirectTV/AT&T, and more 


ABOUT THE BOOK

SALT IN MY SOUL: An Unfinished Life, by Mallory Smith, is a powerful, intimate, and inspiring portrait of a brave young woman living with chronic illness. Mallory understood that patient voices need to be amplified in order to improve healthcare, that the intersection of human behavior and nature is critical to environmental sustainability, and that love and friendship give life meaning. As Mallory’s body deteriorated, she sharpened her mind, crystallized her thinking, and honed her writing skills. In her 2500 pages of private journal entries, she created poetry out of prosaic experiences.  Beautifully written, provocative, and peppered with insights, SALT IN MY SOUL reminds us to follow Mallory’s mantra and “Live Happy.”  

For more information about the book SALT IN MY SOUL: An Unfinished Life please go to: https://www.penguinrandomhouse.com/books/607965/salt-in-my-soul-by-mallory-smith/

 

Double Bill Review: Gonzalo Calzada’s ‘Nocturna: Side A – The Great Old Man’s Night’ & ‘Nocturna: Side B – Where the Elephants Go to Die’ are where the theatrical and experimental meet.

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Nocturna: Side A – The Great Old Man’s Night

&

Nocturna: Side B – Where the Elephants Go to Die

“Nocturna: Side A – The Great Old Man’s Night” follows a nearly 100-year-old man who, on his final night on earth, fights for redemption from his life’s misdeeds. In “Nocturna: Side B – Where Elephants Go to Die,” Calzada embarks on an aesthetically opposite experimental twist of the same story.

Nocturna: Side A – The Great Old Man’s Night

 

Visual representations of grief, love, and regret make for a unique movie experience in the first of these two films. An extraordinarily haunting score adds to the emotional pull of the film. It’s a genre-defying film. There are brilliant clues along the way, but you have to stay sharp-eyed to notice them from the beginning. The added device of Alzheimer’s creates a perfect dance of deception and mystery. The cast is outstanding. Not a performance is out of place. Nocturna: Side A will break your heart as it inspires you to make peace with your shortcomings. Somewhere between memory and longing lies an enchanting storyline.

Nocturna: Side B – Where the Elephants Go to Die

 

This film has an entirely different approach and aesthetic. Audio and narration give it an almost accosting opening that prepares you for a drastically stylistic approach to more in-depth stories of the souls in the building. Nocturna: Side B is perhaps questionable as a stand-alone film. But it is undoubtedly a rich, nightmarish addition to the Nocturna: Side A.

Nocturna: Side A – The Great Old Man’s Night and Nocturna: Side B – Where the Elephants Go to Die will be released January 18 on iTunes/Apple TV, Amazon Prime Video, Google Play, Xbox, Vudu, Vimeo, DirecTv, local cable & satellite providers, and on DVD.

 

Review: From stage to screen, the verdict is in for ‘Who is Amos Otis?’

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WHO IS AMOS OTIS?

SYNOPSIS

After assassinating the President, Amos Otis pleads self-defense and must convince the jury that America was not only under attack by its unhinged ruler – but that his actions saved the country and the world. The assassin’s provocative testimony and ingenious defense turns the proceedings upside down and puts our country on trial. 

A wow of a film, Who Is Amos Otis? is like a swift punch in the throat. Written, produced, and directed by Greg Newberry, the story has us follow the President’s assassin and his subsequent trial. If you think this is a mere courtroom drama, think again. You’re in for one of the year’s most surprising and controversial films. It’s a hell of a way to end the year. 

Rico Reid as Amos’ court-appointed attorney Jason, is confident and brave. He brings a levelheadedness that superbly matches the ever-evolving energy in the room. Josh Katawick, as Amos, has a presence reminiscent of the late great Phillip Seymour Hoffman. He’s three steps ahead of everyone. It is an incredibly nuanced performance.

The script possesses inklings of The Life of David Gail and The Terminator. The writing is whip-smart. It keeps you guessing, all while prodding you with a steady stream of information. The script is thick with wordplay, snark, and wit. It dares to ask the questions many of us have been thinking over the past five years. You immediately recognize the theatricality of Newberry’s dialogue. The project moves from stage to screen, with Reid and Katawick starring in their original roles. It explains the perfect chemistry between them. I would have loved to feel that live energy in which the audience was the jury during its 2019 run. I am formally requesting a New York run. Everyone I know would vie for a chance to be a jury member.

Without spoiling anything, Who is Amos Otis? takes a sharp left turn roughly 45 minutes in, obliterating the genre you think you’re consuming. Compounding the political thriller are the hottest and most controversial topics front and center. It is a film that people will either love or hate, but the brightest viewers will respect it for its audacity and artistry. Who is Amos Otis? is a fearless and enthralling film. It’s not only a conversation starter. Who is Amos Otis? is a conversation igniter.

Official Trailer for Who is Amos Otis? on Vimeo.

WHO IS AMOS OTIS? a searing, mind-bending, SCI-FI political thriller based on the Pulitzer Prize nominated play from Cincinnati playwright and award-winning filmmaker GREG NEWBERRY (Beemer Baby, Homefree) will be released by Gravitas Ventures on Digital | VOD on December 28th.

Starring an ensemble cast of strong characters JOSH KATAWICK  (“Glengarry Glen Ross” “A Few Good Men”), RICO REID (Tolerance, All Wars),  MICHAEL G. BATH (Miles Ahead, Healing River, Notzilla), A.J. FORD (One Flew Over the Cuckoo’s Nest, Of Mice and Men, All The Way), CHRISTINE BRUNNER (The New Detectives, The Life Project), DEREK SNOW (The Shawshank Redemption, The Old Man & the Gun, Extremely Wicked, Shocking Evil and Vile), CHRISTINE JONES (Carol, Healing River, Promises to Keep), MIKE DENNIS (Carol, Miles Ahead, Surviving Compton), DONALD VOLPENHEIN (Gotti, “The Kill Point”), PEGGY ALLEN (Hourglass – A Smallville Story, Sphragida,  2 Mars), DENISE DAL VERA (Dark Waters, “Tell Me a Story”), CAROL BRAMMER (Hands Down).

Review: Explore a Riveting Doc with ‘Dead Man’s Switch: A Crypto Mystery’ on Discovery+ tomorrow!

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DEAD MAN’S SWITCH: A CRYPTO MYSTERY

$215 million dollars disappeared in 2018 when Gerry Cotten, CEO of one of North America’s largest crypto exchanges, died suddenly – or did he? Journalists, regulators and crypto enthusiasts are determined to discover what happened to Gerry and the fortunes of 115,000 creditors. Dead Man’s Switch: A Crypto Mystery tracks a tantalizing unsolved story of deception, greed, corruption, and the potential of unregulated currency to be used for both good and evil.

A mysterious death abroad, $215 million missing, and a deep dive into the murky world of cryptocurrency– what else could you wish for? 

 Dead Man’s Switch is a captivating watch where viewers can’t be sure if they’re diving into the story of a heist, fraud, or perhaps even a murder mystery. Exploring the meteoric rise and dramatic fall of Quadriga CX, one of North America’s largest crypto exchanges, the documentary examines fascinating possibilities about what happened to its charismatic leader Gerry Cotten and– potentially more important for the many investors– where did all that money go? 

Amidst the intriguing narrative of Gerry Cotten’s rise and the close-knit community that propelled his success, an unexpected element comes into play – the world of crypto trading bots. This group of journalists, crypto enthusiasts, and Gerry’s former friends delve deep into the allure of cryptocurrency. As the story unfolds, the once vibrant and communal atmosphere of Quadriga CX faces challenges when the crypto markets experience a downturn, leading many investors to seek safer and more reliable platforms, such as the Best Crypto Exchange Canada, to secure their assets. You may also check out Instant Funding prop firm reviews here.

The facade of success begins to crack, revealing a more complex reality. However, it is Gerry Cotten’s sudden demise in 2018 that marks a turning point, raising questions that lead these individuals to explore the mysterious realm of crypto trading bots and their role in the unfolding drama. Explore https://immediate.net/cs/ to gain further insights into cryptocurrency trading bots. For those keen on staying informed about the potential implications of such initiatives and seeking investment opportunities in the cryptocurrency space, a valuable approach is to delve into review of Invest Diva to navigate the dynamic world of crypto investments.

 This doc is a fun watch for those intrigued by true crime or big tech, and also serves as an excellent primer for anyone itching to join in on fiery crypto-conspiracy Reddit boards.

Streaming on discovery+ on December 23rd

Written and Directed by Sheona McDonald (When Dreams Take Flight)

*Official Selection – Hot Docs 2021*
*Official Selection – Calgary International Film Festival*
*Official Selection –  DOXA*
*Official Selection – Melbourne Documentary Film Festival*
*Official Selection – Gimli Film Festival*

Review: ‘THE JINKX AND DELA HOLIDAY SPECIAL’ is my newest holiday tradition.

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THE JINKX AND DELA HOLIDAY SPECIAL

Created by and starring drag superstars BenDeLaCreme & Jinkx Monsoon, “The Jinkx & DeLa Holiday Special” is the story of two queens who set out to create a classic Christmas TV variety show, but just can’t agree on how.

If you like involuntary fits of maniacal laughter, look no further than The Jinkx and DeLa’s Holiday Special this December. Listen, Christmas and camp go together like eggnog and arguing with your crazy uncle over dinner. Ah, the holidays.

These two magnificent drag stars are the perfect pairing in personality and visual aesthetic. BenDelaCreme and Jinkx Monsoon are two of my favorite performers. If you know the drag world, they are household names. DeLa is perky sunshine personified while Jinkx is more dark, tawdry, and sardonic. Their comic timing is a thing of the gods. The overall mid-century vibe that these two carry with their brand works in tandem with the classic holiday specials from Bing Crosby and friends. As someone who grew up in Connecticut, the regional-specific jokes are spot on. Everything just works in spectacular fashion.

The Jinkx and DeLa’s Holiday Special is a celebration of inclusivity, told through the destruction of the ridiculousness that is Christianity, and damnit, it is chef’s kiss. The musical numbers are friggin bops. These ladies have the pipes to back them up. The lyrics are snarky, innuendo-filled treats. And, my god, the decadent costumes are delicious. Does The Jinkx and DeLa’s Holiday Special make me want to host a booze-soaked watch party shindig? You bet your sweet ass it does. I found my new holiday tradition.

JINX AND DELA HOLIDAY SPECIAL is available :

In theaters from December 13 (North America): Showing in Alamo Drafthouse theaters across the country. Click here for participating cities.

On Digital Globally: Amazon Prime, iTunes, Apple TV, Google Play, Vudu

On DVD and Blu-ray: Available from the official site

 

Review: Survive holiday hell and hilarity in Camille Griffin’s ‘SILENT NIGHT’

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SILENT NIGHT

 

SYNOPSIS: In true British fashion, (while the rest of the world faces impending doom), a group of old friends reunites to celebrate Christmas in the comfort of an idyllic country home. Burdened with the inconvenience of mankind’s imminent destruction, they adopt a stiff upper lip, crack open another bottle of prosecco and continue with their festivities. But no amount of stoicism can replace the courage needed for their last night on earth.

Writer/Director Camille Griffin gives audiences the gift of holiday hell and hilarity. Think The Big Chill meets Love Actually and sprinkles in Melancholia, as Silent Night finds us rocking around the Christmas tree for, perhaps, the last time. A group of friends makes a pact to spend their Christmas together, with one huge and horrifying caveat. The eclectic holiday soundtrack amps up the energy tenfold. But it’s all a bit of bait and switch. Therein lies the genius that is Silent Night. You think the film is one thing when suddenly BAM. This genre-destroying film will shock you.

Silent Night has an ensemble cast that’s to die for. Keira Knightley strikes the perfect balance of overly stressed host and mother, bringing that quirky charm we know so well. Lucy Punch has the innate ability to be funny without a single word and her talents are elevated by Griffin’s cheeky dialogue. Matthew Goode gives us the gambit of emotions. He’s a solid anchor amongst the spiraling chaos. A standout performance comes from Griffin’s real-life son, Roman Griffin Davis, as Art. After his incredible turn in JoJo Rabbit, it should come as no surprise that he knocks it out of the park here. His fearless honesty spills off the screen, and you will be unable to take your eyes off of him. He steals every scene. 

Even as these chic adults reminisce about what could have been, their children attempt to come to terms with impending doom. Every scene featuring a child is perfection. That is what kids are like, and thank you, Camille Griffin, for including these gems. If you didn’t know she was a parent beforehand, you would as you watched the film play out. The complexity of parenting lies within the overall arc of the film. In truth, this is one of the darkest films I’ve ever seen. If I said I wasn’t shaking from anxiety and crying in the end, I’d be lying. The writing is soaked in acerbic wit. It’s a punch to the face, over and over, all while it begs existential questions of privilege and morality. I could easily see a prequel, sequel, or series in which we follow other locations simultaneously. This is a formal request for such a creation.

AMC+ and RLJE Films will release the darkly comedic drama/horror SILENT NIGHT in Theaters and streaming exclusively on AMC+ on December 3, 2021.

Marking writer Camille Griffin’s feature directorial debut, SILENT NIGHT features an all-star ensemble cast including Keira Knightley (Pirates of the Caribbean Franchise), Matthew Goode (Downton Abbey), Roman Griffin Davis (Jojo Rabbit), Annabelle Wallis (“Peaky Blinders”), Lily Rose-Depp (Voyagers), Ṣọpé Dìrísù (“Gangs of London”), Kirby Howell-Baptiste (“The Good Place”), Lucy Punch (Into the Woods), Rufus Jones (”Flack”) and Trudie Styler (Filth, Moon).