Review: ‘SILO’ stunningly shines a light on everyday perils farmers face.

SILO

Inspired by true events, SILO follows a harrowing day in an American farm town. Disaster strikes when teenage Cody becomes the victim of a grain entrapment accident. Family, neighbors, and first responders must put aside their differences to rescue him from drowning in the 50-foot tall silo where corn quickly turns to quicksand.

SILO is a beautifully shot and ominously scored film that will have your heart racing. When a sudden accident occurs on a local farm, a community must set aside its personal grudges to rescue a teen trapped under literal tons of grain. Without his inhaler, Cody must rely on the help of an individual responsible for past personal trauma if he wants to survive. SILO is compelling from start to finish. Director Marshall Burnette presents Jason Williamson‘s authentic script with a carefully curated eye. As someone who grew up in a small farming town in Connecticut and worked in the family’s store and ice cream shop, SILO hits close to home. The blood, sweat, and tears that seep into the soil are very real.

While the action revolves around the accident, these characters are fully fleshed-out people we recognize. The remarkable performances in SILO might even suggest that this film was a documentary and not a narrative. The cast has a chemistry that genuine. It’s astounding. You won’t have a moment to breathe once things go awry. Even within a 76-minute runtime, the writing is so great that we have enough backstory for every person on the scene to feel the emotional pull. We understand why they’re there and how they’re connected. SILO doesn’t simply address farming safety but gives us a compelling drama about small-town dynamics. It is impossible to watch this and not be consumed by the relationships in this film. That’s what happens when you have the perfect storm of acting, writing, and directing. This is a film that will resonate with a massive audience, regardless of their background. It sheds a light on a culture that is often taken for granted and the very real dangers of farming. SILO is a harrowing film about safety and an undeniably important watch.

Arriving in Theaters and
Virtual Cinemas on May 7, 2021

Review: ‘Eat Wheaties!’ is deliciously charming.

Eat Wheaties!

Sid Straw (Tony Hale) leads a dull life until he accidentally stalks famous college friend, Elizabeth Banks, on social media. With each failed attempt to prove he knows her, he rediscovers more of himself and the true meaning of friendship.

In the new film  EAT WHEATIES!, Sid Straw is the co-worker, family member, or neighbor that means well but always seems to get on someone’s nerves. His well-intentioned messaging to Elizabeth Banks create a downward spiral in his life that goes from silly to devastating. Blow after blow, Sid knows that his authentic self is good enough. This film is deliciously charming. Social media is a monster that can easily swallow its users whole. Sid Straw is misunderstood. He’s smart, thoughtful, quirky, and technologically behind the times.

Tony Hale knocks it out of the park.  EAT WHEATIES! allows him to hit every emotional high and low. You will fall in love with him. We’ve all known those social media newbies. The signing off on posts with their names, the public messages meant to be private, always makes me giggle. This character just captures your heart as he faces an enormous uphill battle against the media. Hale breathes life into a role that could easily become a caricature of a person. Alongside an amazing cast of familiar faces, Hale is a joy to watch as he navigates the complexities and ripple effects of a social media misstep. EAT WHEATIES! will make you laugh, cringe, cry, and then some. It a delight. PS, Stick around for the credits. Trust me.

Directed by Scott Abramovitch, Screen Media will release EAT WHEATIES! in theaters and on-demand on April 30.

Starring Tony Hale, with Paul Walter Hauser, Danielle Brooks, Lamorne Morris, Robbie Amell, David Walton, Sarah Burns, Elisha Cuthbert, Sarah Chalke, Sarah Goldberg, and Alan Tudyk

Review: Political allegory ‘The County’ milks it for all it’s worth.

presents

The County

After the global success of his Un Certain Regard winner RAMS, director Grímur Hákonarson returns to his native Iceland with another humanist farmland fable. Bitterly funny and deeply affecting, THE COUNTY plays out a timely political allegory against a jaw-dropping natural landscape, aided by a brainy, tenacious anti-heroine and Hákonarson’s dry Nordic humor.

Inja is left in the lurch with a nearly bankrupt dairy farm after the sudden and suspicious death of her husband. Under the thumb of the local Co-op, she discovers the shady dealings of those in charge and the effects on her fellow farmers. As she pushes back on social media, life gets more complicated. Inja becomes the Co-op’s target. Once our leading lady has had enough of patriarchal monopoly, her response is so satisfying you’ll be unable to repress a smirk. She must convince her neighbors there’s a better way than living in fear. The County is cinematically stunning. The script is brimming with unexpected moments. It’s one we can cheer for.

What I loved about this film was watching the tenacity of a woman pushed past the breaking point. Using wit and pure gumption, Inga helps a community that’s being taken advantage of. Arndís Hrönn Egilsdóttir‘s performance is out of this world. She is funny, powerful, gutsy, and yet completely vulnerable and grounded. The film doesn’t simply rely on the natural cinematic landscape but smartly uses its scope to tell this story. The script has a beautiful flow to it.  The ending is celebratory in a refreshing way. The County perfectly portrays the passion of a woman in her pursuit of doing what’s right.

THE COUNTY is written and directed by Grímur Hákonarson, and stars Arndís Hrönn Egilsdóttir, Sigurður Sigurjónsson, and Sveinn Ólafur Gunnarsson.

THE COUNTY opens in theatres and virtual cinemas nationwide Friday, April 30th, 2021.

Review: “BLOODTHIRSTY’ overflows with music and metaphor.

BLOODTHIRSTY

Grey, an indie singer, whose first album was a smash hit, gets an invitation to work with notorious music producer Vaughn Daniels at his remote studio in the woods. Together with her girlfriend/lover Charlie, they arrive at his mansion, and the work begins. But Grey is having visions that she is a wolf, and as her work with the emotionally demanding Vaughn deepens, the vegan singer begins to hunger for meat and the hunt. As Grey starts to transform into a werewolf, she begins to find out who she really is, and begins to discover the family she never knew. What will it take to become a great artist and at what cost to her humanity?

The music is not only a major plot point but a character of its own. Lauren Beatty brings Lowell’s songs to life with an honest folk/pop vibe. They are haunting. Combined with the string-heavy score, the soundtrack enters bone-chilling territory. Wow. Now that most of us have watched Framing Britney Spears we understand the mental health pressure of pop stardom. To see that explored in Bloodthirsty on a more literal level was incredibly intriguing. A controlling father figure, isolation, and a strict diet all enhanced by horror make this story ceaselessly engrossing. Separately, there is a family and loyalty dynamic. It’s a brilliant combination of genres.

Greg Bryk as Vaughn is scary. His manipulation skills are daunting. He’s very punchable and I do mean that as a compliment. He infuriated me and made me so uncomfortable. I guess that means he’s done his job well.  Lauren Beatty, who was phenomenal in Bleed With Me (also directed by Amelia Moses), gives us a vulnerability that is consuming, pun fully intended. She’s got genre darling potential in spades. Here, she is allowed to challenge the audience’s perception of reality. What would you sacrifice for your art? Bloodthirsty will have you questioning the creative process long after the credits roll. 

 

 

Website: http://www.brainmedia.com/films/bloodthirsty

Directed by Amelia Moses (Bleed With Me), conceived and written by mother-daughter duo Wendy Hill-Tout and singer-songwriter Lowell, and featuring the original music of Lowell, BLOODTHIRSTY stars Lauren Beatty (Bleed With Me) and Greg Bryk (The Handmaid’s Tale). The film premiered at Fantastic Fest 2020 and opens In Select Theaters and On-Demand on April 23.

 

Review: ‘STREET GANG: How We Got To Sesame Street’ is a nostalgic hug of legacy and love.

STREET GANG: HOW WE GOT TO SESAME STREET

STREET GANG: HOW WE GOT TO SESAME STREET reintroduces this visionary “gang” of mission-driven artists, writers, and educators that audaciously interpreted radical changes in society and created one of  the most influential and impactful television programs in history.

This eclectic documentary traverses from the inception to the nuance of programming this iconic television show. Everything from the production design to intimate interviews with the actors, from the musical guests to the writers’ room is in this film. It hits on the social, racial, and educational impact of the show. The show’s schedule was one of the most intense I’ve ever heard of. 100 episodes per year filled to the brim with original sketches (both muppet and street scenes), animation, and original songs, Sesame Street has changed the lives of countless families across the globe.

John Stone isn’t a household name in the way that Jim Henson and even Frank Oz are. Stone was the director chosen by television executive Joan Ganz Cooney. His passion and work ethic combined with an extraordinary group of artists made Sesame Street the beloved program we know today. Street Gang doesn’t sugarcoat the naysayers. It does not ignore the internal conflict. It’s an honest look at bringing it to life. The conversations between the curriculum creators and the writers were key to reaching the audience, making learning both fun and engaging.

Some of the most charming bits in the film are the blooper reels. The genius, off-the-cuff moments between cast members staying in muppet character will slay you. One very poignant time in the show’s history was anything but unscripted. The death of Mr. Hooper was a carefully curated scene. It sticks with me still today. In 1990, when Jim Henson passed at the age of 53, the world mourned alongside the cast and crew of Sesame Street. Caroll Spinney as Big Bird singing “It’s Not Easy Being Green” at Jim’s funeral is heartbreaking and eternal.

I grew up with this show. As a 40-year-old moth of a 4 and 5-year-old, my children are now growing up with this show. I’m not ashamed to say I sit and watch with them. I’m just as enthralled with Sesame Street as I ever was. Their ability to grow with the times is what keeps them relevant and brilliant. Each scene in Street Gang: How We Got To Sesame Street held me with its nostalgia as it peeked behind the curtain. It left me with the hope that the show will continue its legacy long after we’re gone.

THE CRITICALLY ACCLAIMED DOCUMENTARY WILL OPEN IN THEATERS ON APRIL 23, 2021, AND ON-DEMAND MAY 7, 2021

Directed by Marilyn Agrelo (Mad Hot Ballroom) and produced by Trevor Crafts (Experimenter 2015) and Ellen Scherer Crafts, the documentary chronicles the improbable origins and expansion of the groundbreaking show that not only changed children’s television programming, but had real-world effects on equality, education, and representation worldwide. The film is inspired by Michael Davis’ New York Times best-selling book of the same name.

About Screen Media Ventures, LLC

Screen Media Ventures, LLC, a Chicken Soup for the Soul Entertainment (Nasdaq: CSSE) company, acquires the rights to high-quality, independent television series and feature films. Screen Media Ventures acquires worldwide rights for distribution through theatrical, home video, pay-per-view, free, cable and pay television, video-on-demand, and new digital media platforms. The company acquires AVOD rights for third-party networks and is the main supplier of content for Crackle Plus and other Chicken Soup for the Soul Entertainment properties. With a library of over 1,500 television series and motion pictures, Screen Media Ventures is one of the largest independent suppliers of high-quality tv series and motion pictures to U.S. and international broadcast markets, cable networks, home video outlets, and new media venues. For more information, visit: www.screenmedia.net

About Chicken Soup for the Soul Entertainment

Chicken Soup for the Soul Entertainment, Inc. (Nasdaq: CSSE) operates streaming video-on-demand networks (VOD). The company owns Crackle Plus which owns and operates a variety of ad-supported and subscription-based VOD networks including Crackle, Popcornflix, Popcornflix Kids, Truli, Pivotshare, Españolflix, and FrightPix. The company also acquires and distributes video content through its Screen Media subsidiary and produces original long and short-form content through Landmark Studio Group, its Chicken Soup for the Soul Originals division, and APlus.com. Chicken Soup for the Soul Entertainment is a subsidiary of Chicken Soup for the Soul, LLC, which publishes the famous book series and produces super-premium pet food under the Chicken Soup for the Soul brand name.

 About Macrocosm Entertainment

Trevor Crafts and Ellen Scherer Crafts created Macrocosm to bring dynamic engaging content to global audiences by building and showcasing unique worlds. Films include Sundance Film Festival World Premiere Street Gang: How We Got To Sesame Street (2021), 7 Splinters in Time (2018) Manson Family Vacation (Netflix, SXSW 2015 premier), and Experimenter (Magnolia, Sundance 2015 premier). In publishing, they created Lantern City, one of UPROXX Top Ten Comics of 2015, and The Not-So-Secret Society (2017) the first original children’s graphic novel for KaBOOM! an imprint of BOOM! Studios. For more information visit: www.macrocosm.tv.

Review: ‘VOYAGERS’

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

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

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

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

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

Review: ‘The Toll’ plays upon familiar fears.

 

THE TOLL

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

Review: ‘HAPPILY’ is completely unexpected

 

HAPPILY

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

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

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

IFC Midnight review: ‘COME TRUE’

COME TRUE

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

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

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

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

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

KEEP AN EYE OUT (Au Poste!)

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

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

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

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

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

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

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

CHERRY

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

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

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

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

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

 

Review: ‘The Mimic’ is like nothing else you’ve seen or heard.

THE MIMIC

mimic: noun mim∙ic <\‘mi-mik \>

: a person who copies the behavior or speech of other people

: a person who mirrors other people

: an animal that naturally looks like something else

Based on a true story, this clever, intriguing, and hyperbolic comedy follows the main character – ‘the Narrator’ (Thomas Sadoski) who is befriended by his young new neighbor ‘the Kid’ (Jake Robinson), after he joins the local newspaper team.

Obsessed with the idea that the Kid may be a sociopath, the Narrator goes to extreme lengths to uncover the truth about him and his wife, a woman he ultimately begins to fancy. Between long walks down the street, a twisted dinner date, and a car drive gone terribly wrong, the Narrator gets closer and closer to the truth about the Kid. But the truth, as he finds, is anything but what he expected.

With a genuine laugh out loud, “Who’s On First?” meets  Adaptation (2002) energy, THE MIMIC so damn quirky you’re sort of hypnotized by its rhythm. It hums like a David Sedaris story that he’s narrating himself. The back and forth, rapid-fire dialogue is a bit dizzying but it certainly leaves you perched on the edge of your seat trying to keep up with the antics of these two gentlemen. You are so invested in them and their dynamic, you get swept up in this completely unexpected and magnetic film. I’m not exactly sure why there’s essentially a Febreze commercial halfway through the script but at that point you sort of just shrug and say, “Sure, why not.” We also experience a very meta scene, not including the moment when The Narrator turns to look straight into the camera. I was obsessed with it. Writer/Director Thomas F. Mazziotti’s screenplay has a rich theatrical feel. There is no doubt this could be an award-winning stage production. I would buy tickets to watch this live over and over just to feel the electricity between two actors up close and personal.

The ancillary cast of The Mimic is truly unreal. But the main focus is on our two leads; Thomas Sadoski and Jake Robinson. Sadoski’s mix of morose and obsessive behavior barrels the plot forward. Robinson’s overtly sunny disposition is so cringe-worthy (especially to this New Yorker critic) that you’re immediately placed in The Narrator’s (and Sadoski’s) mindset that something is off with The Kid. I first fell in love with Thomas Sadoski on The Newsroom. He’s just so goddamn good at what he does. He lives in a character’s skin with what looks like such ease. In The Mimic, you can see it all in his pained facial expressions. The Kid must be a sociopath. Jake Robinson looks like an ad for toothpaste from the 1950s. He’s got this classically handsome, old Hollywood charm that’s infectious, which is exactly why he was the perfect choice for this role. His comic timing is magic. The chemistry between these two men at odds is like a ticking time bomb. I was mesmerized by their report.

There is just something about this film that makes it special. I think it will garner a bit of a cult following. I can hear it being quoted in the same way Swingers still gets quoted among a certain age group of cinephiles. It’s got that same buzz about it. The Mimic will not be replicated and that’s what makes it so fantastic.

THE MIMIC will be screening in select theaters, and available on VOD beginning Friday, February 5, 2021.

Review: ‘The Reason I Jump’ is a megaphone for nonverbal autism.

The Reason I Jump

Based on the best-selling book by Naoki Higashida, translated into English by author David Mitchell (Cloud Atlas), The Reason I Jump is an immersive cinematic exploration of neurodiversity through the experiences of nonspeaking autistic people from around the world. The film blends Higashida’s revelatory insights into autism, written when he was just 13, with intimate portraits of five remarkable young people. It opens a window into a sensory universe that guides audiences to Naoki’s core message: not being able to speak does not mean there is nothing to say.

Based on the book of the same name by Naoki Higashida, The Reason I Jump is an emotional rollercoaster. I was already welling up listening to the opening monologue. The echolalia, the sensory overstimulation, the hand flapping, and ear covering all punched me in the gut when presented on screen. I’m a lucky Mom. At 5 years old, my child is now very verbal, he’s hyperlexic which means he’s been reading since he was two. He loves hugs, sleep, and eats well. On the autism spectrum, he would be closer to Asperger’s, if that were a diagnosis recognized nowadays. None of these facts lessen the fear, frustration, exhaustion, and pure elation in raising an exceptional human being. The Reason I Jump is tailor-made from the words of a nonverbal 13-year-old boy’s experiences from the inside out. In film form, it’s simply triumphant.

In the doc, we are introduced to 5 unique young people with autism.

Amrit (India)
Her mother realized she was using art to communicate. Her paintings are extraordinary, some visually akin to continuous line drawings. It took time for everyone to realize they are snapshots of her day.

Joss -(UK)
His anxiety is palpable. His impulses and tendency to meltdown are understandably unpredictable. Joss’s ability to show unadulterated joy is magic. His parents break down their own existence in the most relatable ways, both the highs and the lows.

Ben & Emma – US
These two have learned to spell with letterboards and keyboards to communicate. Best friends since very early childhood, what they have to say will shock you.

Jestina – Sierra Leone
With Jestina, we tackle stimming and perception by others. Stimming a sensory-driven repetition of behavior like rocking or flapping to self soothe. Sometimes it’s a visual stim, sometimes watching wheels turn or glitter shine. Culturally, her mother and other parents in her autistic adjacent community are told their children are possessed. It destroys the spirits of entire families.

The narrated excerpts from the book directly correlate with whichever child is being highlighted at that time. Voiced by Jordan O’Donegan, they have a poetic feel to their profundity. Naoki writes, “Making sounds with your mouth isn’t the same as communication.” That quote did me in. When you hear that, truly hear it, you will be taken aback. Jestina, Ben, Emma, Joss, and Amrit all communicate in a different way, we just had to learn how to listen. The heightened sound design immerses you into the world of an autistic person. We do not understand what it is like to be utterly overwhelmed not being able to be fully understood. The cinematography is breathtaking. Quick cuts, predominantly in close-up form combined with a gorgeous soundtrack put you in an alternate headspace. The editing takes all these elements and blends them into a viscerally stunning documentary.

As a mother of a child on the autism spectrum, I feel like I can see I want to broadcast this film to the world so that neurotypical individuals can understand my son and every other person on the spectrum. The label of autism, whether people realize it or not, creates implicit bias. We are missing out on the potential and impact of an entire faction of our society. It is our duty to meet each other in the middle. The Reason I Jump is a captivating peek behind the autism curtain. Don’t look away now. Thank you Naoki Higashida for writing this book. Thank you David Mitchell for translating it for your son. Thank you Jerry Rothwell for directing such an important film. Thank you to the families that shared their lives. Watch this film, then choose to listen and learn in a new way.

The Reason I Jump will be in theaters and virtual cinemas Friday, Jan 8th

**WINNER – Audience Award, World Cinema Documentary –
Sundance Film Festival 2020**
**OFFICIAL SELECTION – AFI Docs 2020**
**OFFICIAL SELECTION – BFI London Film Festival 2020**
**OFFICIAL SELECTION – Chicago International Film Festival 2020**
**OFFICIAL SELECTION – Hot Docs Film Festival 2020**
**OFFICIAL SELECTION – Martha’s Vineyard Film Festival 2020**
**OFFICIAL SELECTION – SXSW Film Festival 2020**
**OFFICIAL SELECTION – WINNER’S CIRCLE – DOC NYC 2020**

Review: IFC Midnight’s ‘Hunter Hunter’ is one of the most intense films of 2020.

HUNTER HUNTER

HUNTER HUNTER follows a family living in the remote wilderness earning a living as fur trappers. Joseph Mersault (Devon Sawa), his wife Anne (Camille Sullivan), and their daughter Renée (Summer H. Howell) struggle to make ends meet and think their traps are being hunted by the return of a rogue wolf. Determined to catch the predator in the act, Joseph leaves his family behind to track the wolf. Anne and Renée grow increasingly anxious during Joseph’s prolonged absence and struggle to survive without him.  When they hear a strange noise outside their cabin, Anne hopes it is Joseph but instead finds a man named Lou (Nick Stahl), who has been severely injured and left for dead. The longer Lou stays and Joseph is away, the more paranoid Anne becomes, and the idea of a mysterious predator in the woods slowly becomes a threat much closer to home.

The contentious relationship between Devon Sawa and Camille Sullivan is what makes the initial framework of this film so intriguing. With Anne longing for more traditional stability for her family, Joe thrives in the wilderness. Trapping is just not meeting their monetary needs any longer. With their daughter Renee to protect, they are in for a bigger surprise than running out of food and a rogue wolf on the prowl. Hunter Hunter goes to a place so dark, you won’t be able to get it out of your head.

The survivalist and tracker methods ring true. Sawa, who has been churning out films the past few years, once again holds the audience captive with his presence. I’ve stated before that his talent is often overlooked. His commitment to a role is stellar and he’s a lovely human in real life. Here his portrayal of Joe is steadfast and loyal, with a side of heroic intention. His chemistry with Summer H. Howell as daughter Renee is a touch reminiscent of Ben Foster and Thomasin McKenzie in Leave No Trace. Howell gives a “raised off the grid”, tough as nails, but thoroughly innocent age-appropriate performance. It’s just right. Nick Stahl and Devon Sawa in one movie together, have made my schoolgirl fantasies a reality… in the most satisfying, genre nerd girl way. Stahl is downright scary. You can read the unspoken backstory he’s given himself in his posture and gaze. It’s startling.

Camille Sullivan has been written as a fully nuanced woman, forced to activate her Mother Bear instincts. The power she brings to this film is unmatched. This cast has to not only contend with a terrifying script but the elements of filming in the wilderness. I have so many questions since the credits rolled but the mystery that remains isn’t even relevant when the screen goes black. You are simply left in shock.

That sharp turn in the plot blows up everything you think you know about how this story will end. Your heart will be in your throat for the final 3rd. Writer/director Shawn Linden has given us one of the most disturbing films of 2020. The utter carnage, both emotional and physical, inflicted on this cast is brutal. The visceral horror of that befalls the viewer is skin-crawling and nausea-inducing. Hunter Hunter is complex and precisely crafted. Camille Sullivan‘s performance will go down as one of the most iconic final girls, ever.

STARRING:

Devon Sawa – Nick Stahl – Camille Sullivan – Summer Howell

DIRECTED AND WRITTEN BY:

Shawn Linden

IN SELECT THEATERS, ON DIGITAL & ON DEMAND – DECEMBER 18, 2020

Review: ‘Archenemy’ is not your average super hero tale.

Max Fist (Manganiello) claims to be a hero from another dimension who fell through time and space to Earth, where he has no powers. No one believes his stories except for a local teen named Hamster. Together, they take to the streets to wipe out the local drug syndicate and its vicious crime boss known as The Manager.

After hitting indie badass status with Daniel Isn’t Real, one of my top ten films of 2019, writer/director Adam Eqypt Mortimer has given us a new feast for the eyes. Enter Archenemy. If a script can keep you guessing until the very last scene that’s quality screenwriting and directing. Mortimer revamps the superhero genre. This is something that straddles the line between a classic comic book approach and an altogether fresh origin story… with a seriously kickass soundtrack. If you saw Daniel Isn’t Real, and dammit you should have by now, you’ll notice a penchant for saturated jewel tones and dark lighting…  and opening with a wormhole. With the heightened voiceovers from Skylan Brooks, you feel as if you’re watching a graphic novel playing out in real-time. Instead of using cartoony “BAM!” and “POW”, Brooks’ hyped narration does that for you. Add in some specifically stylized animation during Joe Manganiello’s dialogue, Archenemy challenges the audience to take in a larger picture and really use their brains. In my humble opinion, the character of Hamster is not-so-secretly a little slice of Adam. You get that genre fanboy brightness that makes Archenemy as cool as it is. Hamster is also a master storyteller, that’s his art. I don’t think this theory is such a stretch.

The underlying social commentary cannot be missed. Social media monsters and drugs are the newest and loudest villains ( besides this effing pandemic) around presently. All that aside, the story itself is complex in the best way possible. It builds a narrative in which you’re constantly asking questions like, “Is he who he says he is?”, “Is this a mental illness?”, “Does it even matter?!”. The answers are actually beside the point when you’ve got great acting to back up the script. Joe Manganiello is perfection in this role. Once you realize that he’s half hero half megalomaniac your mind explodes. It is in the flaws of these characters where we fall in love with them in earnest. Skylan Brooks brings this “kid in a candy store vibe” that never gets old. I cannot wait to see more of him and Zolee Griggs. She has this mature presence that makes you care for her and understand what a badass she already is.

Archenemy has all the makings of a franchise. I hope we see more of this crew! Amy Seimetz, Glenn Howerton, and Paul Sheer level up this film. Every single cast member gives a nuanced performance. It’s dark and complex and nothing like you think it’s going to be. How often do we genuinely get to say that? You can check out Archenemy today!

Stay tuned to Reel News Daily for interviews with Adam Eqypt Mortimer and Skylan Brooks by our awesome colleague Matthew Schuchman! In the meantime, you can check out the trailer below:

RLJE Films will release the action/thriller ARCHENEMY In Theaters, On Digital and On Demand December 11, 2020. 

 

Review: ‘The Stand In’ pits Drew Barrymore against Drew Barrymore.

The Stand In

When ordered to serve a year in rehab, actress Candy (Drew Barrymore) hires her on-set stand-in to take her place. The unassuming woman flips the script and steals her identity, career and boyfriend in this hilarious comedy about trading places.

Drew Barrymore gets to play two polar opposite roles. Candy Black is character number one. For sure a nod to Drew’s vast collection of lovable characters over the years but with a seriously jaded mean streak. And perhaps also a not-so-hidden, tongue-in-cheek riff on Melissa McCarthy, who gets named dropped immediately in the best way possible. For Barrymore’s character Candy, 5 years after a breakdown on set, she is another person. Her sadness has consumed her. She is a recluse who is court-ordered to go to rehab for 90 days. Frankly, she has other plans. Her second character is the titular role. Paula is seemingly lovely, sweet, and bright, but now also out of a job until she gets an auspicious call to get back on the horse for Candy. Both women get the opportunity to reshape who they are… for better or for worse. You think you know where this story is going, but you’re in for a big surprise.

When they play the same scenes it’s an excellent dynamic. Watching Drew commit to these two women is really fun. You’re constantly waiting for the other shoe to drop. It makes for a heightened watch. It becomes unexpectedly dark. Drew is actually scary to watch. The marketing is doing a disservice to the film. There is so much more to The Stand In than the trailer offers viewers. I hope they can appreciate what comes their way.

It is definitely an interesting commentary on fame and notoriety. There are innumerable moments that will make you cringe but you have to ride them out. The Stand In makes fun of itself in a thoughtful way. The cameos are aplenty and each person is given the opportunity to highlight the trappings of Hollywood with their dialogue. I think that’s what I appreciated most. The dark honesty is what sticks with me as the credits rolled. The entire success hangs on Barrymore’s ability to play two characters we’ve never seen from her before. Congratulations to director Jaime Babbitt for helping a film that’s much deeper than an audience is expecting.

In Select Theaters, On Demand, and on Digital December 11, 2020

Fathom Events review: Movie musical ‘STAND!’ only in theaters tonight, December 1st.

STAND!

In Theaters Only on December 1, 2020

Directed by: Robert Adetuyi (Stomp The YardBring It On: Worldwide #Cheersmack)

1919. Stefan and his father Mike fled Ukraine for the New World, where they struggle to earn enough to reunite the family. Stefan is instantly smitten with the Jewish suffragette neighbour, Rebecca – but Rebecca’s brother Moishe and Mike oppose the would-be Romeo and Juliet. Returned soldiers, angry at the lack of jobs after the war, violently threaten the city’s immigrants, including Emma, the refugee from racist violence in Oklahoma. When a movement develops for workers to leave their jobs in protest, AJ Anderson, a wealthy lawyer, pits all against each other in a dramatic and inspirational final stand.

The potential in this story is obvious. Catchy numbers and an intriguing premise based on a true story. Unfortunately, it needs to stage to fully bloom. As someone who graduated from a musical theatre conservatory in Manhattan, I recognize the over-the-top gesture and intonation that is needed to reach the back row. But because the audience is experiencing it from a screen, it comes off as forced at times. The energy is lost in translation and it feels uneven. Theater broadcasting LIVE in a movie theater is different. Here, it’s actually the camera that ruins that genuine connection. Performances are outstanding so they deserve that give and take electric feeling. It also lacks in one major area where most musicals thrive; choreography. With a large and varied immigrant ensemble, this was a lost opportunity leading to momentary lulls in pacing. I kept hoping something was coming, some big number highlighting the different facets of people coming together. The moments definitely presented themselves over and over and not a single number. I think it could have pushed STAND! across the finish line.

The issues in the stage play turned screenplay is still incredibly relevant. This is the most successful aspect. Taking pages from Ragtime, Newsies, Parade, and Hamilton, stories of immigrants, race, religious persecution, classism, and the right to strike are all still ripe for vibrant storytelling in 2020. STAND! shines brightest when it sings. By far the best numbers belong to Lisa Bell. Get this girl on Broadway the minute it’s officially back. The Romeo and Juliet aspect between Rebecca and Stefan is charming enough but not as powerful as Emma or Mike Sokolowski’s emotional journey, whom the original stageplay STRIKE! is based upon. STAND! needs an Off-Broadway run and a workshop. But be the first movie theater audience to get chills while Lisa Bell belts out the theme in the final moments of the film, for sure. It’s worth the ticket price.

Music, Lyrics and Score: Danny Schur (Made In Winnipeg: The Terry Sawchuk Origin Story)

Featuring Lisa Bell’s show-stopping performance of the protest song Stand!

Starring:
Marshall Williams (“Glee”, “How to Build a Better Boy”)
Laura Wiggins (“Shameless”, 20th Century Women)
Lisa Bell (No Time Like Christmas, “Canadian Idol”)
Gregg Henry (“Guardians of the Galaxy”, “Scandal”)
Erik Athavale (Fractured, Breakthrough)
Paul Essiembre (“Covert Affairs”, “Silver Surfer”)
Hayley Sales (Deadpool 2, “The Good Doctor”)

Tickets and a list of participating theater locations will be available at www.FathomEvents.com.

RT: 110 Minutes

Review: ‘Echo Boomers’ pushes all the boundaries.

Two-time Academy Award nominee Michael Shannon (Knives Out) stars in this gripping crime-thriller filled with pulse-pounding twists and turns. A recent college graduate Lance Zutterland (Patrick Schwarzenegger) leaves school in debt, realizing everything he had worked towards was built on a lie. When he is pulled into a criminal underground operation, he finds his peers fighting the system by stealing from the rich and giving to… themselves. With nothing to lose, they leave behind a trail of destruction but with the cops closing in, tensions mount and Lance soon discovers he is in over his head with no way out.

With superb writing and slick editing, Echo Boomers is intoxicating. With Patrick Schwarzenegger’s voice-over narration the flow feels like a novel, and I do mean that as a compliment. This could easily be further developed into a long-running series. There is a lot to unpack in all the right ways. There’s a psychological subtext to each character that is carefully crafted. The cinematography is sharp, combined with the immersive score, you cannot help but love this crew.

Michael Shannon does what Michael Shannon does best. He lives and breathes every role. He is somehow terrifying and more approachable all at once. Patrick Schwarzenegger is amazing. He grabbed my attention in last year’s Daniel Isn’t Real. I recommend casting him in everything he has time for. He has the innate ability to connect with his castmates on a truly grounded level. He is comfortable in his own skin. You feel like you know him. He is undeniably magnetic. The nuanced dynamics in the screenplay let everyone have impactful moments. You can easily argue this is a true ensemble piece.

I cannot stress enough how fantastic the writing and directing is. This could have gone off the rails in a heartbeat or come off as an Ocean’s franchise ripoff but it holds its own and then some. It’s wildly entertaining. There’s something about Echo Boomers that makes it unique from any other film in 2020. It’s brimming with complexity, action, drama, suspense, and some unbelievable performances. The stakes keep getting higher and higher and even though you know it’s morally reprehensible, you’re all in. You can watch Echo Boomers now in Theaters, On Demand, and Digital from Saban Films.

ECHO BOOMERS stars Patrick Schwarzenegger (Daniel Isn’t Real, Scouts Guide to the Zombie Apocalypse), Gilles Geary (“The I-Land”), Hayley Law (“Riverdale,” “Altered Carbon”), Jacob Alexander (I Don’t Know How She Does It), Oliver Cooper (Project X), Kate Linder (“The Young and the Restless”), Lesley Ann Warren (“In Plain Sight,” Victor Victoria), Alex Pettyfer (The Last Witness, I Am Number Four), and Michael Shannon (Nocturnal Animals, 99 Homes).  The film is directed by Seth Savoy (“Blood Brothers”) from a script by Kevin Bernhardt (Shiner, Peaceful Warrior), Jason Miller (“The Whisperers”) and Savoy.

Review: IFC Midnight’s ‘KINDRED’ will make you scream.

PRESENTS

Written and Directed by Joe Marcantonio

Starring Tamara Lawrance, Jack Lowden, Fiona Shaw, and Edward Holcraft

KINDRED follows vulnerable mother-to-be Charlotte (Tamara Lawrance) as she is taken in by her recently deceased boyfriend’s mother (Fiona Shaw) and her stepson (Jack Lowden), who seem increasingly obsessed with her every move. Plagued by mysterious hallucinations, Charlotte’s suspicions grow about Margaret and Thomas’ intentions for her unborn child.

As someone who had not one, but two traumatic birth experiences, Kindred spoke to me on an entirely different level. The innate fear you experience when you are growing a small human inside your body is enough without the opinions and actions from those who have ulterior motives. Tamara Lawrance embodies the visceral panic that occurs on the physical, emotional, mental plains of waiting for what a mother hopes will be an inevitably hopeful outcome. But the most evocative aspect of Kindred is the gaslighting pregnant women often endure. Your instinct is ignored constantly, questions deemed silly or paranoid. Doctors and perfect strangers are poking and prodding you with advice and sometimes, touching you without your permission. Pregnancy is a very invasive experience no matter how you look at it. Kindred tackles all this and so much more in an intelligent and terrifying way.

The camera work, colors, and music all create an ambiance that feels foreboding. You don’t even know how completely off-kilter you’ll be by the cinematography until it’s too late. You will question your own opinions about what is real and what is not due to the brilliant and carefully crafted script from writer-director Joe Marcantonio.  His work with this cast is award-worthy. He is able to bounce your opinion about these characters like a ping pong ball as the plot rolls along. Perhaps with the exception of Fiona Shaw’s portrayal of Margaret. She is overbearing and loathsome throughout. Her backstory is a smartly written foil for Lawrance’s Charlotte. Jack Lowden performance as Thomas lies somewhere in between the two. Desperately needing to be useful and loved, his loyalty is fickle and all the more disturbing. Tamara Lawrance wins the day with her perfect portrayal of Charlotte. Grief-stricken, imprisoned, bedrest restricted woman, whose internal alarms are ringing ad nauseam, she is phenomenal and represents the confused and delirious viewer, as well. Kindred is dark and scary. It will get under your skin as it slowly drives you into your own madness.

KINDRED will open in select theaters, digital and VOD on November 6th.

Directed by: Joe Marcantonio
Written by: Joe Marcantonio and Jason McColgan
Produced by: Dominic Norris and Jack Lowden
Cinematographer: Carlos Catalan
Edited by: Fiona Desouza
Starring: Tamara Lawrance, Jack Lowden, Fiona Shaw, Edward Holcroft
Runtime: 100 mins

Review: ‘The Dark and the Wicked’ is dark, disturbing, and brilliant.

The Dark And The Wicked

On a secluded farm, a man is slowly dying. Bedridden and fighting through his final breaths, his wife is slowly succumbing to overwhelming grief. To help their mother and say goodbye to their father, siblings Louise (Marin Ireland) and Michael (Michael Abbott Jr.) return to their family farm. It doesn’t take long for them to see that something’s wrong with mom, though—something more than her heavy sorrow. Gradually, as their own grief mounts, Louise and Michael begin suffering from a darkness similar to their mother’s, marked by waking nightmares and a growing sense that something evil is taking over their family.

I think sometimes people forget about the importance of sound and score. In horror, they are like an unseen character. In the opening of The Dark and the Wicked, sound and score put you on edge before the title appears on-screen. Christopher Duke, Joe Stockton, and Tom Schraeder, alongside writer-director Bryan Bertino carefully craft that feeling of uneasiness you want in a genre knockout. The premise is relatable enough, to begin with; a brother and sister return to their home as their father lay dying. Something is wrong with their mother. She tries to tell them but can’t quite express what’s invading her house. This plot gets more and more upsetting as clues are revealed. It made my skin crawl.

Stand out performances from Xander Berkeley, Tom Nowicki, Lynne Andrews, and Julie Oliver-Touchstone must be acknowledged. They are all key in the build-up to a shattering finale. Michael Abbott, Jr. is a great foil for Ireland. Their relationship feels very genuine. Marin Ireland is magnificent. The fear in her eyes is everything we feel. They portray the pull of family obligations to perfection. The Dark and the Wicked is one of the most atmospherically disturbing films of 2020. The colors and lighting scream bleak and ominous from the get-go. Smartly used tropes like spooked animals, doors opening themselves, and body horror mixed with ghostly visions let us know things are clearly not okay in this house. The practical fx are gruesome. The build-up is a bit reminiscent of Relic. Long lingering shots get under your skin. Alongside that keen sound is sharp scene editing. It creates small jump scares that have a massive overall impact on the mood. The film relies heavily (and brilliantly) on what you don’t see just as much as completely messed up, mind-bending imagery. The Dark and the Wicked succeeds in creating an unsafe space that is undeniably horrifying. This film literally made me shiver. It is a quick descent into spectacular terror.

RLJE Films will release the horror film THE DARK AND THE WICKED In Theaters, On Digital and On Demand November 6, 2020. 
Written and directed by Bryan Bertino (The Strangers, The Monster, Mockingbird), THE DARK AND THE WICKED stars Marin Ireland (“The Umbrella Academy,” Hell or High Water), Michael Abbott Jr. (Loving, Mud) and Xander Berkeley (“The Walking Dead”).
~The Dark and The Wicked will also arrive on Shudder in early 2021. Stayed tuned for more info!~