THE EXCHANGE

In THE EXCHANGE, a socially awkward but highly enterprising teenager decides to acquire a “mail order best friend”; a sophisticated exchange student from France. Instead, he ends up importing his personal nightmare, a cologne-soaked, chain-smoking, sex-obsessed youth who quickly becomes the hero of his new community.

A unique fish out of water story, The Exchange is much more than a face value, raunchy comedy. In reality, it’s a complex look at small-town small-mindedness. It just so happens to be hilarious. Being set in Canada in the 80s brings an added notch of funny and relevance, using era politics and humor. One big-hearted young man, with some serious panache, can affect everyone around him. But don’t get too conformable with the formula; this film will surprise you in the best way possible.

The entire cast induces belly laughs. But you’ll definitely hone in on a few specific players. Justin Hartley plays the epitome of a narcissistic misogynist. Gary is the gym teacher and part-time local law enforcement. He’s completely ridiculous and you’ll love him for it. Jayli Wolf plays Brenda. She’s spunky and downright lovable in her adoration for an oblivious Tim. Her biggest quirk is one I can relate to. She makes up songs about literally nothing and everything. It’s ceaselessly amusing. Ed Oxenbould as Tim is everything we need him to be. His outward detestation for his life is palpable. He’s a social outcast, loathed for his love of cinema and general lack of trying to fit in. Avan Jogia as Stephan is sheer perfection. He is so likable in his commitment to this over-the-top character. He oozes a genuine charm that makes you fall in love with him. He’s an absolute star.

The soundtrack is magic. The Cure, The Smiths, Run DMC, and Phil Collins, play around an upbeat synth score. The script, by the actual Tim Long, has honest John Hughes vibes. It’s immensely fun. The Exchange is universally entertaining in its messaging and its heart.
THE EXCHANGE releases In Theaters, On Digital, and On Demand July 30, 2021.
Written by Tim Long (“The Simpsons,” “Late Show with David Letterman”), the film was directed by Dan Mazer (Dirty Grandpa). THE EXCHANGE stars Ed Oxenbould (The Visit), Avan Jogia (
Zombieland: Double Tap) and Justin Hartley (“This Is Us”).









Dachra‘s initial formula is similar to The Blair Witch Project. Soon going off the rails into something we’d never imagined experiencing. What sets this film apart is remarkable cinematography and ghastly twists and turns. The runtime is lengthy but necessary to place you inside the shoes and minds of our three protagonists. Being thrown into a new culture is oftentimes shocking and uncomfortable. Dachra takes discomfort to the next level. The script forces the viewer to endure a deranged and prolonged experience of hospitality. As the mystery grows, so too does the terror. So many questions swirl as the film progresses. This isn’t just one story. Dachra has franchise potential, with sequels and prequels possible.
Sometimes a film has the ability to sear an image into your brain. It’s rare when one film does it over and over. Hatem Nechi‘s camerawork is both dizzying and hypnotic. The long takes are impressive and eerily effective. There is real movie magic in Dachra. I am scarred by some of the things I saw. Performances are nuanced and skin-crawling. The practical fx are gag-inducing. The fact that this is writer-director Abdelhamid Bouchnak‘s first film is mindblowing. This story is very carefully curated to scare the hell out of the audience. It’s the perfect storm of horror and history.

Performances are top-notch. Greg Finley as Tommy manages to be both powerful and sympathetic all at once. There is a familiarity to his entire being that puts the audience at ease. Dylan Silver as Emma has an inspired tenacity that makes her a gorgeous foil for Finley. DOWNEAST could almost be considered an ensemble film. While the entire cast is incredibly solid, I feel compelled to mention one actor in particular. Kirk Fox‘s performance as Marty provides the much-needed levity to a heavy-handed storyline. He’s a star.
Downeast was produced by APS Films and directed by Joe Raffa, who wrote a script based on a story by Maine native Greg Finley. Finley produced alongside Cory Pyke. Edwin Pendleton Stevens served as executive producer.

Violet toils away curating her smaller comedy show all while taking the abuse of her boss, Bob. Taking back control is the name of the game, but things get a bit messy along the way. Bob Devore, whose name (I’m assuming) is intentionally close to the word “devour,” is the accomplished late-night figurehead on the comedy scene in L.A. He’s a real monster of a boss. No, like, he’s an actual monster. Under his thumb and in the shadow of his longstanding career, Violet longs to cut ties and make her own way. When love unexpectedly arrives, she must navigate everyone’s appetite for success and take matters into her own hands.



Chasing Childhood is a film that could not have arrived at a better time. After the year we’ve had in lockdown, it’s time to confront some harsh realities. Chasing Childhood is tailor-made for parents, educators, and policymakers of every age. I have a 4 and 5-year-old living in an apartment we own on the Upper West Side of Manhattan. By all measures, life is great. What you don’t see is the aura of tension that surrounds the admissions process when applying to preschool. Now, we’re entering Kindergarten with my son. The questions of, “Where are you all applying?” have been swirling around me since he was 2. The idea that the school we picked for our 2-year-old would somehow determine what tax brackets my children would fall under in 20 years is exhausting. Filmmakers Margaret Munzer Loeb and Eden Wurmfeld clearly explain how we’re stifling kids. They are exhausted. This trend of micromanaging their futures kills their present joy. The doc talks to parents, teachers, experts, and kids about how we can change this negative trend. With stats about recess and play Vs. standardized testing will undoubtedly move your needle in terms of curriculum and quality of life. Wilton, Connecticut is featured quite heavily, alongside Patchogue, NY, and of course, Manhattan. Wilton is actually one of the towns we’ve considered in making our city exodus. The irony of how I stumbled upon Wilton should not be surprising. I googled, “Top School Districts in Connecticut.” Simsbury was always in the Top 5. I should have guessed that any town along what Connecticut calls “The Gold Coast” would be the other top districts. After watching, Wilton is looking better and better. What makes Chasing Childhood so successful is the film’s honesty. The interviews with every participant are authentic. The implementation of more play is key to a well-balanced life. The film is not preachy. It does not judge. It does explain how we’ve become wired this way. How seemingly small societal shifts went from ripples to tidal waves in policy and parenting. It’s nothing short of fascinating.
About two minutes into watching this documentary, it occurs to me that I may be its exact target audience. As a lifelong fan of Unsolved Mysteries (the old school 90s version with Robert Stack, naturally), the opening montage with talking heads spouting their pet theories had me instantly hooked. For the next two hours, I was engrossed in Director
With a team of journalists, eyewitnesses, and researchers, the documentary sorts through many common theories about what may have happened to the hikers ranging from the scientific and rational (avalanche) to the more whimsical and outrageous (alien abduction/ Russian yeti), and intriguing geopolitical angles (Cold War military experiment gone wrong). The documentary adds color to the historical narrative by bringing a crew into the Ural Mountains to complete the same trek as the doomed hikers, which adds striking visuals into the bleak and unforgiving landscape. 
La Dosis is a dark psychological thriller that from the very first scene pushes viewers to consider the harsh and subjective balance between life and death. At its center is Marcos, the lead overnight nurse of the ICU unit in a private hospital. By now, audiences are accustomed to anti-hero protagonists, so it is not hard to find compassion for Marcos even as he makes the ethically murky decision to euthanize critically ill patients that are suffering in their final days. In a nuanced and complex performance, Carlos Portaluppi excels in infusing Marcos’ actions with compassion. Through the many moody silent stretches of the film, the audience watches Marcos alone in shadowed rooms and backlit hallways as the weight of his actions plays across his face. 


The score immediately reminded me of The Goonies. It is a perfect mix of ominous and whimsical. Dylan’s reading voice is costar Rob Brownstein’s voice. As a mute boy, Dylan’s internal vocal reference would most certainly be that of his father. This moment of specificity from Charbonier and Powell is magic. The entire film’s sound design is award-worthy. Dylan’s hearing is likely acutely sharp due to developmental adaptation. The audio is jarring in a way that places the viewer in his constant state of hyper-awareness. His panic is our panic and it is palpable.
It’s a fresh take on the legend and more shudder-inducing than you’d expect. The pacing is perfection. All the tropes are there but with a hell of a twist. The Djinn‘s main conflict plays out within an hour, making the stakes feel higher as we count down the minutes alongside Dylan. Speaking of our leading young man, Ezra Dewey is a star. His chemistry with Rob Brownstein is charming and genuine. Dewey’s ability to own this entire film sans dialogue is the stuff of dreams. Mark my words, he will be everywhere. The Djinn is a very scary bedtime story warning us all to be careful what we wish for.
If you’re looking for something wholesome to watch with the family, look no further than DOLPHIN ISLAND. Filmed in The Bahamas after the devastation of Hurricane Dorian, the cast and crew are local and lovely. The film’s score is perfect for the story and the characters. It’s light and friendly and matches like a dream with mother nature’s gorgeous scenery. Mitzy the dolphin provides laughs and heart alongside the family drama. I watched this with my four-year-old daughter who is obsessed with sea creatures. She absolutely adored the scenes with Mitzy and the rest of the beautiful creatures on the island conservatory where our leads Jonah and Annabel live and work. The performances are charming. You’ll recognize a few faces and be introduced to some great new talent, as well. Tyler Jade Nixon is grounded and genuine as we need her to be. You know this young lady. Bob Bledsoe uses his comedy chops to be a slimy lawyer you’ll love to hate. Peter Woodward is the grandfather we all wish we could enjoy. His sense of responsibility, gumption, and adoration for Nixon‘s Annabel is captivating. The script tackles complex family dynamics, friendship, class warfare, grief, and climate change. It’s never preachy. DOLPHIN ISLAND is a film you’d find on the UP network or even Hallmark. It’s quaint with well-thought-out messaging. Family films are few and far between. Rest assured you can sit down with your entire family and enjoy.
Tyler Dean Flores plays the titular character. He’s a star. There is an ease to his performance that mixes charm and innocence. This film arrives at the tail-end of a murder trial for police brutality, and as we continue the complicated immigration policy debate. REEFA is not simply one family’s story but thousands. What is phenomenal about this script is its ability to tackle multiple subjects simultaneously, never entering the preachy territory. Not only is this a love story about two young people from very different backgrounds, but it’s also a dreamer’s story. REEFA tackles the immigration debate from a humanistic standpoint, The Hernandez family does everything right to obtain their green cards but their fear of stepping over any line is palpable. The conversations between Reefa and his parents highlight the sacrifices and innate understanding that the system is not just. Certainly, the film culminates with an explosive confrontation between Reefa and the police officer hellbent on making him an example. Having read about the effects of tasers on the human body, especially in teenagers, I knew this family would be forever changed as soon as it enters the scene. There is a lot to digest in REEFA, and every part of it is an ode to this young man’s beautiful life and art.


The moment I realized At Night Comes Wolves was more than a woman escaping her trash marriage, I was genuinely intrigued!
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I first heard about Honeydew after its virtual premiere at Nightstream Film Festival. It is a miracle that I was able to avoid spoilers. I am delighted to report the intense buzz was spot on. Honeydew is that good. The sound editing and score consumed me. Combined with some split-screen deliciousness, Honeydew was dizzying madness. Writer-director Devereaux Milburn has taken the most successful aspects of classic and modern horror to create something insanely scary. It gets under your skin in a truly chilling way. The film also boasted one of the weirdest cameos ever. I did a literal double-take.
Malin Barr as Riley is amazing. Sawyer Spielberg as Sam is fantastic. The chemistry between the two actors is electric. Milburn’s dialogue allows them to convey the small cracks that exist in every relationship. These are keenly exacerbated by their bizarre circumstances. Barr and Spielberg are a hell of a pair but are also allowed to shine on their own. You’re constantly worried about them all while fascinated by their individual needs. Jaime Bradley knocks it out of the park as Gunni. What amounts to almost an entirely physical performance, he will disturb you to no end. Bradley owns every frame. Barbara Kingsley is a genius. As Karen, she walks an extremely fine line between sweet and horrifying, leaning heavily towards the latter. The way these characters are written and the care with which they are performed culminates in one of the most uneasy watches in 2021.

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









G. O. Parsons‘ screenplay is so batshit it works. A possessed weasel, a fairy, a turtle, an alligator, a chameleon, a gorilla, a knight, and an Ostrich provide us with hilarious and gruesome kills and calamity. The Janitor’s mission of cleaning this damn place will not be deterred. There will undoubtedly be comparisons to the Five Nights at Freddy’s games and The Banana Splits movie but who cares. WILLY’S WONDERLAND has execution that is out of this world. The creature, set, and prop builds are wild. Attention to detail is award-worthy. My mother used to work at a Chuck E. Cheese. The atmosphere built for Cage and company to exist in is spot on. The handheld camerawork is dizzying and fantastic. The lighting is often enhanced with a black light hue that is simply delicious. It’s a funhouse of horrors. This is a genre fan’s dream watch. The practical FX are bloodsoaked and brutal. The soundtrack is epic. You will be singing Willy’s theme over and over because it balances on the edge of maniacal, weird, and wonderful. Where can I buy that and an official Willy’s Wonderland t-shirt? I’m as deadly serious as The Janitor.
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