Official Trailer debut: ‘ROBOTS’ finds Jack Whitehall & Shailene Woodley at odds with “themselves”
Category Archives: Go To The Movies
Review: Sean Garrity’s ‘THE END OF SEX’ is a raunchy and relatable rom-com that keeps on giving.
THE END OF SEX
The End of Sex tells the story of a married couple (Hampshire and Chernick) who are feeling the pressures of parenting and adulthood. After they send their young kids to camp for the first time, they embark on a series of comic sexual adventures to reinvigorate their relationship.
Relentlessly hilarious, Sean Garrity‘s new film, THE END OF SEX, is the comedy married parents have been waiting for. Not since Judd Apatow’s This is 40 has a sex comedy nailed this age and stage in life so distinctly. Those are big shoes to fill, and Garrity and company step on up. Get ready to laugh and relate more than you ever planned.
Lily Gao is Josh’s co-worker Kelly. Her casually brazen suggestions to spice up their sex life feel straight out of a Millennial playbook. You cannot help but laugh at her confidence in this role. Melanie Scrofano plays Emma’s teaching partner and best friend, Wendy. She is a delight, matching energy with Hampshire like a pro. I’d watch a spin-off of their art classes in a heartbeat.
Screenwriter Jonas Chernick plays Josh as an everyman, nice guy. He is a solid foil for Hampshire’s breezy personality. Together they make an entertaining duo. Emily Hampshire is Emma. Her chameleonlike ability to live in the skin of any character is a dream to watch. She oozes charm and charisma, honesty and vulnerability. All the yes to her performance.
The script nails the unfiltered complexities of adult relationships, particularly co-parenting and the ebb and flow of physical attraction. It centers on communication and the dangers of giving up on ourselves to mollify our partners. Relationships are rarely 50/50. THE END OF SEX goes there and sometimes falls off the edge in the best way possible.
The quirky and overtly sexualized visuals on signs throughout the film become an over-the-top running joke. A brief but brilliant cameo from a comedy legend takes the script to another level. It is an unforgettable scene. THE END OF SEX celebrates kink rather than shaming. It permits viewers to explore fantasy while reflecting on intimacy. It’s a beginning of a conversation between partners, new and old, and a hell of a good time.
In Theaters This Friday
April 28th
*Official Selection – 2022 Toronto International Film Festival*
Directed by Sean Garrity (My Awkward Sexual Adventure)
Featuring:
Emily Hampshire (“Schitt’s Creek”)
Jonas Chernick (James vs. His Future Self), Gray Powell (“Sort Of”)
Lily Gao (“Letterkenny”), Melanie Scrofano (“Wynonna Earp”)
RT: 86 Minutes
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Review: ‘GRINGA’ is a breezy story of finding family and forgiveness.
GRINGA
After the sudden death of her mother, Marge seeks out the father who abandoned her. Crossing the border into Mexico in search of her soccer phenom and estranged Dad, Marge hopes to overcome childhood trauma and connect with the only person who understands her grief.
Once she finds Jackson, Marge discovers he has been spending his days surfing, coaching, and drinking himself into oblivion. He is in no shape to bring Marge into his life. Undeterred, Marge makes him pinky promise to do better. As they fumble toward reconciliation, Marge learns to be bolder, braver, and more self-accepting.
The women’s fútbol team overflows with cheeky personalities. These girls are great foils for Marge’s insecure nature. Jess Gabor is fantastic as Marge. She is natural, sarcastic, and vulnerable. Steve Zahn never disappoints. His comedic self-defense mechanisms pair well with the well-intended fatherly guidance. At the heart of it, Jackson is a damaged but kind soul. Zahn embraces his flaws, making him human and accessible. Together, they are easy to watch.
Waving the logistical fact that a minor would never be allowed to cross the border without a passport or note from their parents, GRINGA tells the story of two lost souls growing together. The script tackles body dysmorphia, eating disorders, culture, alcoholism, grief, and unresolved emotional trauma. In the end, GRINGA is a charming coming-of-age story for both father and daughter.
In theaters and on VOD on April 21st
Directed by:
EJ Foerster and Marny Eng
Written by:
Patrick Hasburgh
Starring:
Steve Zahn
Jess Gabor
Roselyn Sanchez
Judy Greer
Jorge A. Jimenez
Run time:
1hr 42 min
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Panic Fest 2023 review: Evan Marlowe’s ‘ABRUPTIO’ is mind-bending nightmare fuel.
ABRUPTIO
SYNOPSIS:
Les Hackel is a guy down on his luck who wakes to find an explosive device has been implanted in his neck.
Writer-director-producer-DP-and editor Evan Marlowe brings Panic Fest 2023 audiences, hands down one of the most twisted films in recent history with ABRUPTIO. A maniacally bizarre and wholly disturbing film, this story of coping mechanisms, humanity’s darkness, and unrelenting guilt will knock you off your feet.
If Genesis‘ 1986 music video ‘Land of Confusion’ and the Michael Douglas film The Game had a lovechild, you might begin to imagine the otherworldly visual experience of ABRUPTIO. Marlowe creates a killer script adding discomfort with his lead players in the form of life-sized puppets. The voice cast is out of this world. Christopher McDonald voices Police Chief Richter with the confident bravado that makes him an icon. His puppet bares a striking likeness to McDonald, and aside from Mom and Les, has the most realistic human appearance. Jordan Peele is Danny, Les’ smooth-talking best friend. He provides an awesomely creepy performance, in the quirkiest sense.
Rich Fulcher portrays Dummkopf with weaselly energy. It’s reminiscent of a Dick Tracy comic book character, and while brief, it is an unforgettable turn. Sid Haig plays dry comedian Sal Cheek. He is pitch-perfect in his final roles. Truly a master. He is already sorely missed. Hana Mae Lee is Chelsea, a family friend’s daughter visiting home. She brings a much-needed innocence to balance the absolute chaos.
Robert Englund plays Mr. Salk, an OCD accountant dressed entirely in white. A genius move on Marlowe’s part to include his vocal stylings. Darren Darnborough gives Clive a perfectly sinister intonation. I would happily watch a spinoff following his character’s shenanigans. BUFFY loves of my life James Marsters voices Les. He is outstanding. His subdued nature makes you all the more uncomfortable.
Horror homages arrive not only on the iconic voice casting but in echoes from films like Don’t Look Now, The Shining, Saw, and Beetlejuice, as the plot digs further into the freakishly weird. Lead puppet designer and fabricator Jeff Farley pulls us further into the story with his jarring creations. Part sex doll and all nightmare, our cast of life-sized puppets intrigues and terrifies to no end. The blinking might be the unsettling visual of all. Your brain is already trying to process what you are looking at, and then the puppets’ eyes close sporadically, and it is eerie as hell.
Disturbing and sadistic, ABRUPTIO is a real-time, mind-bending car crash fever dream of the fantastic. It’s a must-see for genre fans looking for something beyond what their imagination or nightmares could ever provide.
Abruptio trailer from Evan Marlowe on Vimeo.
After years in production, Abruptio is screening at festivals around the world. The film will next screen in a hybrid format at Panic Fest: in person on April 15 and streaming virtually from April 19 to April 23.
Festival details:
Panic Fest: https://panicfilmfest.com/
Abruptio screens at Fantaspoa on April 28 and April 30.
Fantaspoa: https://fantaspoa.com/filme/
Stars
James Marsters (voice)
Christopher McDonald (voice)
Hana Mae Lee (voice)
Jordan Peele (voice)
Robert Englund (voice)
Sid Haig (voice)
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Review: ‘ONE OF THESE DAYS’ provides an irresistible competition narrative.
ONE OF THESE DAYS
Bastian Günther’s One of These Days is a fascinating drama with an attention-grabbing core concept you can’t look away from. Based on real events, it centers on an annual Texas competition (Hands On) where contestants place their hands on a truck and then try to outlast the other hopefuls to bring the vehicle home. Contestants must maintain constant contact with the truck at all times, but they cannot lean on the vehicle or squat down. 5-minute breaks are given every hour, and 15-minute breaks are every 6 hours. The contest can last for days.
Despite the length of the contest, we learn very little about most of the contestants. This is the rare film I actually wished was a mini-series. Kyle (Joe Cole) serves as the audience’s main proxy in the competition. Before the competition details surrounding Kyle are mostly superficial. Kyle works at a local fast-food restaurant, has a deaf brother, and is motivated to win the truck to provide for his wife and baby. Kyle begins to unravel as the contest drags on from hours into days.
Cole is effective as Kyle, but the true star of the film is Carrie Preston’s Joan. Joan is not a contestant – she’s the marketing brains behind Hands On. A cheaper movie might paint Joan as an egomaniacal villain with an appetite as wide as Texas. Preston imbues Joan with equal parts sweet gusto, social cunning, and quiet sadness. Small details surrounding her family and personal life are given, but they nevertheless contribute to a richer understanding of her every action. Preston shines, but her brilliance also serves to highlight the lack of detail given to the other characters.
The atmosphere surrounding the contest itself is beautifully realized. The imagery surrounding the laying of hands on the gleaming metal car feels explicitly religious. As the contest progresses, certain elements of the plot do begin to strain credibility. Kyle faces many rivals within the contest, but none of the build-ups leads to a satisfying payoff. A twist surrounding one character seems particularly far-fetched. A final coda has rich details but feels like it arrives too late.
The competition at the core of the film is a strong enough hook to overcome the film’s shortcomings. The central themes of One of These Days are gripping and compelling. Ultimately, this was a film I didn’t regret taking for a test drive.
Directed by: Bastian Günther
Starring: Carrie Preston, Joe Cole, Carrie Hernandez
Distributor: Uncork’d Entertainment
In a small town in Texas, an annual endurance contest (Hands On) to win a pickup truck promises thrilling entertainment to spectators and the chance of a lifetime to participants but ends in real tragedy.
From writer/director Bastian Günther, and starring Carrie Preston (“True Blood”, “The Good Fight”), Callie Hernandez (Shotgun Wedding, “The Flight Attendant”), Joe Cole (“Gangs of London”, “Peaky Blinders”), and Cullen Moss (“Outer Banks”), ONE OF THESE DAYS will screen in select theaters and be available On Demand and Digital April 14, 2023 from Gravitas Ventures.
*** SHOWING AT THE FOLLOWING THEATERS
FROM THIS FRIDAY APRIL 14
AND AVAILABLE IN THE US AND CANADA ON DEMAND AND DIGITAL ***
CA – L.A/SAN FRAN
Arena Cinelounge (Hollywood, CA)
Cinelounge – Tiburon (Tiburon, CA)
New York
Kent Triplex (Brooklyn, NY)
Cleveland
Atlas Cinemas Diamond Center 16 (Mentor, OH)
Boston
Entertainment Cinemas Leominster 10 (Leominster, MA)
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Review: Festival favorite ‘A LIFE ON THE FARM’ is a weirdly moo-ving doc. Yup.
A LIFE ON THE FARM
Somerset, England, and a mysterious VHS tape of a local farmer named Charles Carson. A LIFE ON THE FARM is a documentary feature that has had genre festivals buzzing since last year. Well, the chickens have come to roost, as they say, because the film finally arrives in theaters. You are not ready.
Carson’s tape provides viewers with so much unwanted information and detail. Most notably, a distasteful closeup of a bovine afterbirth and a dead cat. That is only the first taste of weirdness, as images get much darker the longer you watch. Carson’s nonchalant attitude toward everything on the farm feels jarring. His nervous laughter echoes throughout the film and viewers are disturbed. A LIFE ON THE FARM is one of the most bizarre home movies ever discovered. It feels wrong to watch, and yet you cannot look away! 
Director Oscar Harding happened upon the tape as a child but had only had the pleasure of watching until his father hit stop on the VCR. It isn’t until the VHS reemerges in his adulthood that he feels compelled to dig deeper into the man beyond the vast amount of background provided by Charles along the way.
Carson’s neighbors and fans of the tape share their confusion, fascination, and shock at the tape’s contents, but I stopped in my tracks and took a step back when I realized the deeper meaning behind Charles’s actions. The films are part of his coping mechanism for loneliness, loss of purpose, grief, and, eventually, dementia. Friends honor Carson’s memory with understanding and respect for his complicated circumstances.
A new chapter to the mystery of Charles Carson occurred in 1996 when a new video appeared on YouTube. Harding and his peers are astounded by the short film’s artistry, story, and editing. Carson’s view of mortality is astonishing. A LIFE ON THE FARM is a creepy, enchanting, unusual, and extraordinary chronicling of a particular life.
** Theatrical tour at Alamo Drafthouse theaters throughout the US
starts April 13th (schedule below); both films available On Demand May 9th **
Fan Favorites from Fantastic Fest 2022, CHOP & STEELE, and A LIFE ON THE FARM will be screened as a double feature, with a theatrical rollout starting on April 13th at Alamo Drafthouse theaters throughout the country. The above special screenings will all precede live comedy shows with Found Footage Festival founders Joe Pickett and Nick Prueher, as well as filmmaker Q&As for A LIFE ON THE FARM in select cities. This double feature will screen as part of the theater chain’s fan-favorite “Fantastic Fest Presents” series and will expand further with additional shows in the weeks following.
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Review: ‘One True Loves’ is a complex love story written by The New York Times bestselling author Taylor Jenkins Reid.
ONE TRUE LOVES
SYNOPSIS: Simu Liu (Shang-Chi And The Legend Of The Ten Rings), Phillipa Soo (Hamilton), and Luke Bracey (Point Break) star in this modern twist on a classic love story from NY Times bestselling author Taylor Jenkins Reid. Emma and Jesse are living the perfect life together until Jesse disappears in a tragic helicopter crash on their first wedding anniversary. Four years later, Emma has found happiness again and is about to marry her best friend when Jesse resurfaces, turning her world upside down and leaving her torn between two great loves.
Emma faces an impossibly complex scenario. ONE TRUE LOVES puts the audience in the shoes of a woman torn in opposite directions through memory, loss, and love.
Luke Bracey plays Jesse, a photographer who returns with PTSD. His anger, bitterness, and assumptions sabotage a return to normalcy. Bracey takes us along on a journey that provokes real questions. Simu Liu is Sam. He is a high school orchestra teacher. His scenes are funny, charming, and self-deprecating. I would have happily watched an entire film about him and his students. I request a spin-off. Phillipa Soo plays Emma, a former travel writer. At the urging of her older sister, Emma uses books to heal. Soo is enchanting as she embraces change. She brings a timeless leading lady energy. You will fall in love with her sincerity.
The script would benefit from more scenes establishing the strength of Emma and Sam’s bond. The humor comes from Sam’s endearing and feisty conversations with his students. These scenes are genuine and hilarious. The film probably needs one or two at the beginning to establish Sam as a fully fleshed-out character, which only happens much later in the plot. Additionally, I would have loved to see Sam pining away for Emma as a kid. These nitpicky issues speak to the editing as a whole. The narrative is tricky as we jump in time. It could use a bit of reworking, in my opinion. I would watch this story as a series. There is so much to dig into.
ONE TRUE LOVES has all the makings of a Hallmark classic; a quaint New England town, a bookshop, grief, and a love triangle. It speaks to the nuance of relationships, not just romantic but familial. It addresses the concept of growing apart rather than together. In a world where divorce is statistically high, ONE TRUE LOVES dares to challenge the audience’s moral compass and sense of loyalty. It is a glorious springboard for Phillipa Soo, letting audiences experience her range from stage to screen.
ONE TRUE LOVES will be in theaters on April 7th and on digital April 14th.
IN THEATERS: April 7, 2023
ON DIGITAL: April 14, 2023
ON DEMAND: April 28, 2023
DIRECTOR: Andy Fickman
WRITERS: Taylor Jenkins Reid, Alex Jenkins Reid
CAST: Phillipa Soo, Simu Liu, Luke Bracey
RUN TIME: 100 minutes
RATING: PG-13
GENRE: Romance, Drama, Comedy
DISTRIBUTOR: The Avenue
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Review: The mysterious and heart-wrenching ‘PILGIMS’ comes to U.S. cinemas this Friday!
PILGRIMS
Paulius and Indre seek answers to a mystery that plagues them. PILGRIMS draws you in from the get-go as we follow our two leads down a path of emotional self-destruction and healing. They share a bond no one wants.
Giedrius Kiela and Gabija Bargailaite play Paulius and Indre, respectively. Each brings qualities of pain. Kiela’s aggression has the audience in a death grip. His volatility is frightening. Bargailaite is more subtle. Her unraveling happens in a finale that breaks you. They are hypnotizing. 
Slick editing and long takes on a stationary camera make the audience an unwilling witness to Paulius and Indre’s plans. The script’s structure leaves much to the imagination as clues come slowly. My mind swirled as I watched Paulius walk Indre through the crime’s timeline. You feel compelled to keep watching. As someone whose close friend died under mysterious circumstances years ago, the unresolved pain and trauma are palpable. The need to understand and reason with the devil never fades, no matter how many years go by. PILGRIMS captures the very messy essence of grief.
PILGRIMS Arrives
in Cinemas this Friday!
Lithuania’s Official Submission to the 95th Academy Awards Lands in U.S. Cinemas on 4/7!
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Review: ‘The Strange Case of Jacky Caillou’ is a genre-defying tale.
The Strange Case of Jacky Caillou
When Jacky’s grandmother, a renowned healer, suddenly passes away and a particularly compelling young woman with a mysterious rash arrives on his doorstep, he has no choice but to stay and try to help. As her condition worsens, it becomes clear that she’s afflicted with no ordinary illness. She’s transforming into something dangerous before his eyes, but he’s already in too deep to abandon her.
Writer-director Lucas Delangle and co-writer Olivier Strauss place Jacky in an environment that might feel stifling for a young man with dreams outside his genetic talents. His grandmother nurtures his gift of healing, understanding that he must fully embrace himself before sharing his abilities with the masses. Jacky finds himself torn between love and the greater good. The Strange Case of Jacky Caillou is a surprising film that twists and turns in the most unexpected ways. It is rare to find something this unique.
Thomas Parigi‘s performance transfixes. His ability to hold the audience in the palm of his hands, quite literally in this case, has the viewer waiting with bated breath for his next move. Parigi is a musician. His Soundcloud is as mesmerizing as his performance in the film. This debut role should garner him the attention he deserves. Parigi pulls you into this one-of-a-kind folklore horror dealing with loss, love, self-confidence, and generational embracement. The Strange Case of Jacky Caillou is an undisputable gem.
IN THEATERS (LA, NY) APRIL 7
ON DVD AND DIGITAL APRIL 11
Director: Lucas Delangle
Cast: Thomas Parigi, Edwige Blondiau, Lou Lampros, Jean-Louise Coulloc’h
Screenplay: Lucas Delangle, Olivier Strauss
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Review: Starring Owen Wilson as a local PBS legend, ‘PAINT’ is not a stroke of genius.
PAINT
Carl Nargle is a Bob Ross-like local icon with an exceptional sexual pull for his viewers and staff, but his old-school misogyny and pride rub those close to him the wrong way. Newcomer Ambrosia takes the hour after Carl when he refuses to boost ratings by extending the show. Ambrosia’s popularity skyrockets with her quirky paintings. PAINT becomes a battle of personalities and a search for personal redemption. 
The cast makes PAINT watchable. Stephen Root and Wendi McLendon-Covey are ensemble highlights. Ciara Renée plays Ambrosia with cool confidence. She is a smart foil for Wilson. Michaela Watkins plays Katherine, Nargle’s producer and ex-lover. Watkins displays a down-to-earth vibe. Her warmth is endearing, and her coping mechanism for rejection is relatable and funny. Owen Wilson brings his iconic vocal stylings to Carl. The character is more complex than at first glance. Underneath the fame is a lack of SF esteem and regret. Wilson does his best to save the script.
The pace perfectly mirrors the setting of a PBS station in Burlington, Vermont. The dry humor will hit or miss with audiences. It plays like a Christopher Guest film without the mockumentary structure. It pokes fun at the art industry in a tangible and blunt way. In the end, PAINT is an unexpected love story. If you can rock with the vibe, good for you. If not, it’s a bit like watching paint dry.
Release date: April 7, 2023 (USA)
Director: Brit McAdams
Producers: Sam Maydew, Peter Brant
Distributed by: IFC Films
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Review: Horror comedy ‘SUMMONING SYLVIA’ has heart and hilarity to spare.
SUMMONING SYLVIA
Written and directed by Wesley Taylor and Alex Wyse, the horror comedy SUMMONING SYLVIA is ridiculous and absolutely fabulous. Three friends kidnap their engaged bestie Larry for a bachelor weekend in a haunted house. The property’s history, and a witchy book of spells, call for a seance. Duh. The group summons the former owner and her son to find out what happened to them. Things get extra spooky when the groom-to-be’s future military brother-in-law shows up. It’s not just the spirits causing trouble. (pun intended)
Magnificent editing from Sara Corrigan keeps the audience on its toes. We jump through time in a single pan of the camera. Bravo to the choreography in these particular scenes. Makeup and costumes from both eras are fantastic. The dialogue is so quippy. It’s fun, heartfelt, and surprisingly deep.
The cast’s chemistry is spectacular. Michael Urie is Jamie, Larry’s fiance. He’s the most down-to-earth of the bunch, with the better part of his screen time in sequences over the phone. Urie can do no wrong in my book. Veanne Cox is Sylvia. Her performance is frightening and downright brilliant. I would watch a stand-alone film on her character.
Noah J. Ricketts is Kevin, the dimmest bulb in the group. His relentlessly horny energy is a fun addition. Opposites attract in this friend group. Troy Iwata is Reggie, the type A of the group. Reggie’s meticulously planned itinerary gets wrecked with the appearance of the very straight Harrison. Iwata’s annoyed bitchy attitude (and rightfully so) made me love him even more. 
Nicholas Logan plays Harrison. His overtly masculine energy, physical discomfort, and aggressive nature are a perfect foil for our four friends. His aura forces the audience to take stock of microaggressions and outright bigotry. Logan handles the distasteful behavior like a champ, and Harrison’s arch is a nuanced breath of fresh air.
Frankie Grande as Nico and Travis Coles as Larry are hysterical. Grande’s every beat is delicious. I found my eye seeking him in each frame, and he did not disappoint. He fills every possible moment with specificity, I guffawed. Coles brings mother energy and fierceness like no other. I wanted to have drinks and karaoke with him immediately. I am requesting a Grande-Coles buddy comedy asap.
SUMMONING SYLVIA is one of the funniest queer films of the year. As a theatre girl, I was in my element. I knew these characters. The film’s climax has a dual purpose that beautifully mirrors life and the afterlife. The finale is celebratory. Do not miss this hell of a good time.
Summoning Sylvia Opens in Theaters March 31, 2023
Broadway Stalwarts Wesley Taylor & Alex Wyse
Make Feature Directorial Debut with LGBTQ Horror Comedy
Starring Michael Urie, Veanne Cox, and Frankie Grande
Opens in Los Angeles at the Laemmle Glendale
Also Opens in New York City and Other Major Markets
Available on Cable VOD and Digital HD
Starting April 7 from The Horror Collective
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Review: Agnieszka Smoczyńska’s complex film ‘FUGUE’ comes to U.S. cinemas.
FUGUE
Agnieszka Smoczyńska‘s sophomore feature, FUGUE, centers around memory loss and gender expectations. The film opens with a disheveled woman emerging from the subway tracks, clearly traumatized and unaware of her surroundings. In a quick jump forward two years, the same woman, now sporting short dark hair and just as confused, surrounded by medical experts. Her memory comprised only the past two years in Warsaw, and calling herself Alicja, doctors parade her on a talk show in a last-ditch effort to uncover her identity. A viewer calls in to claim the woman is his daughter. Reintroduced into a traditional household as a wife and mother of a young son, Alicja/Kinga struggles to integrate into a life she does not remember while being grilled about her disappearance. 
Sporadic blue-tinged purgatory-like flashbacks of the woman in her heels, mussed blonde hair, and filthy trench coat give us little to go on. These sequences are undeniably unsettling. For most of the film, we draw our own conclusions based on the apparent hollowness of their marriage and a suggestion of an affair. Jakub Kijowski‘s bleak, but ravishing, cinematography sets the tone. Alicja stands apart from most of the action, furthering the feeling of isolation in an already stark environment. 
Iwo Rajski plays Daniel with a natural fierceness that suggests he is starring in a documentary rather than a narrative. He is fantastic. Gabriela Muskala pens the screenplay and plays Alicja/Kinga. Her ability to reel you into her turmoil feels effortless. She is magnetic.
FUGUE is a far cry from The Lure and closer to the darkness and mystery of The Silent Twins. It begs the question of maternal instinct and gender roles. It touches on deep unresolved trauma and the unrealistic expectations of women to keep moving headlong. The heartbreaking finale sticks with you long after the credits roll.
Poland, Czech Republic, Sweden • 2018
Directed by: Agnieszka Smoczyńska
Written by: Gabriela Muskala
Starring: Gabriela Muskala, Lukasz Simlat, Iwo Rajski
Run time: 102 minutes
Language: Polish, English
Subtitles: English
Color: Color
Format: 2.35:1
Sound: 5.1
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BUFF 2023 review: It’s the battle of the narcissists in Kristoffer Borgli’s ‘SICK OF MYSELF’
SICK OF MYSELF
Not to be outdone by her narcissistic boyfriend, Signe manufactures drama to remain in the spotlight. The couple is absolute fraud who will do anything for attention. Their toxicity is contagious, figuratively speaking. When Signe finds that she receives less attention, she goes to drastic lengths to reclaim it.
The line between fantasy and reality blurs often enough to keep you guessing. This unhinged story of mental illness is undeniably shocking. Even more surprising is the message of disability treatment. Writer-director Kristoffer Borgli manages to weave this aspect into the story, if only briefly, before returning to the root of Signe’s narcissism. The special effects makeup team gives audiences a progressively evolving visual of Signe’s condition. It is eye-catching work. Costumes and color schemes noticeably pop, reminding us that this is a comedy.
Kristine Kujath Thorp is magnificent as Signe. Her ability to cry on cue serves the character at any given moment. Her self-absorption knows no bounds, and Thorp leans into obsessive and damaging behavior like a pro. Her performance feels effortless.
SICK OF MYSELF becomes a girl who cried wolf story. Through her self-mutilating plot, Signe is her worst enemy. But an addict only has two choices; feed the need or get better. A scathing takedown of self-aggrandizing behavior, this film is a must-see at BUFF 2023.
Boston Underground Film Festival 2023
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BUFF23 review: ‘MISTER ORGAN’ is a terrifying and infuriating story of a con man.
MISTER ORGAN
Journalist David Farrier takes audiences on a baffling five-year story that began as a car park scam that swiftly became the investigation into the chase of a professional con man. Michael Organ is a master manipulator, a gaslighter, a world twister, and a terrifying person. He can spot a victim in an instant. He is an evil parasite.
Farrier is fearless. He faces the monster head-on by inviting Michael to participate in the investigation under the guise of a documentary. Feigning dumb, Farrier allows Organ to blow smoke, knowing full well that every word is a lie. Weaving in interviews with a barrage of former roommates and targets in between, most of whom are terrified to show their faces in fear of retaliation. We see a picture of a devious man doing as he pleases to intimidate everyone.
Organ’s favorite thing is to hear the sound of his voice. He is a sociopath. He reminds me of Trump. Farrier’s ability to sit in on the long conversations astounds me. We feel his palpable exhaustion, confusion, and frustration. Digging into Organ’s family, Farrier hits a wall. No one wants to talk. Will this con artist ever see real consequences? David Farrier sums the experience up for the audience. “Michael Organ is a black hole, and I’ve fallen in.” BUFF23 audiences are not ready for the madness.
BOSTON UNDERGROUND FILM FESTIVAL 2023
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Review: Based on the true events, ‘The Lost King’ is a charming story of one woman’s mission to correct history.
THE LOST KING
*World Premiere – TORONTO INTERNATIONAL FILM FESTIVAL 2022*
Underappreciated and taken for granted, Phillipa Langley gets a bee in her bonnet when she sees a production of King Richard III. Something compels her to start reading about the lost king. In a deluge of research, she falls down the rabbit hole, only to make one of the most astounding discoveries in history.
Two dominant themes in The Lost King are disability visibility and gender bias. Phillipa feels a kinship with Richard, angered he has been deemed a monster due to his severe scoliosis. It seems Shakespeare had a hand in demonizing his appearance for these years. The historical digging that happens in the film is eye-opening. She is whipsmart and undeterred in her mission to clear King Richard’s sullied reputation. We feel the frustration as Philiipa comes up against men taking credit for her work. Cheering her on when she stands up for herself, choosing to spread a strong feminist message to young girls rather than chase the fame regaled onto male archeologists on her dig.
The film’s magical realism adds a beautiful element to Phillipa’s journey. It highlights the emotional pull to finish her search. Not to mention how charming actor Harry Lloyd is as Richard. Steve Coogan plays Phillipa’s ex-husband John, a man going through a mid-life crisis who grows to respect Phillipa’s passion for her subject. Coogan is an icon and is no less intriguing in this role. Sally Hawkins plays Phillipa. Her ability to live in a character’s skin is magnificent. Her physicality dazzles. She can do no wrong in my book. Her enthusiasm is contagious.
EXCLUSIVELY IN OVER 750 THEATERS ON MARCH 24, 2023
In the archaeological find of a century, the remains of King Richard III — presumed scattered over 500 years ago — were discovered under a parking lot in Leicester in 2012. The search was spearheaded by amateur historian Philippa Langley, whose passion and unrelenting research were met with skepticism by the academic establishment. Directed by two-time Oscar® nominee Stephen Frears (The Queen, “A Very English Scandal”) and starring two-time Oscar nominee Sally Hawkins (The Shape of Water, Spencer) as Langley, The Lost King is the inspiring true story of a woman who refused to be ignored and took on Britain’s most eminent historians, forcing them to rethink the legacy of one of the most controversial rulers in English history. A tale of discovery, obsession, and stolen glory (both then and now), The Lost King is a magical adventure illuminated by one woman’s awakened sense of purpose.
CAST: Sally Hawkins, Steve Coogan, Harry Lloyd
DIRECTED BY: Stephen Frears
WRITTEN BY: Steve Coogan and Jeff Pope
PRODUCED BY: Christine Langan, Dan Winch and Steve Coogan
EXECUTIVE PRODUCED BY: Jeff Pope
Run Time: 108 minutes
Distributor: IFC Films
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Review: ‘THE WORST ONES (Les Pires)’- art imitates life in this beautifully moving film.
Set in the suburbs of Boulogne-Sur-Mer in northern France, The Worst Ones captures a film within a film as it follows the production of a feature whose director turns to the local Cité Picasso housing project for casting. Eager to capture performances of gritty authenticity, the director selects four working class teenagers to act in the film to the surprise and consternation of the local community, who question the director’s choice of “the worst ones.” As the director and crew audition, rehearse, film, and interact with their hand-picked cast, jealousies are stoked, lines are crossed, and ethical questions arise, with thought-provoking and at times darkly funny results. Winner of the top prize in the Un Certain Regard section of the 2022 Cannes Film Festival, The Worst Ones announces directors Lise Akoka and Romane Gueret as exciting new voices in French cinema.
THE WORST ONES is a meta-narrative that succeeds in conveying hope through hardship. Not only does the film shine in its storytelling, embracing heartbreak and socioeconomic trauma, but the performances also by our four young actors will hypnotize the viewer. Check out the clip below for a taste:
Timéo Mahaut and Mallory Wanecque play the theatrical brother and sister duo, Lily and Ryan. Each pulling from the script an element of abandonment and aggression. This recurring theme is “permission to feel,” The screenplay skillfully taps into the idea that these children struggle to experience a traditional childhood when food, parents, stability, and peace seem out of reach. Their casting becomes the ultimate healing outlet. THE WORST ONES boasts a compelling film-within-a-film structure with an ending that leaves an impression on your soul.
Cannes award-winning feature THE WORST ONES (Les Pires), will open theatrically today in New York on March 24 (The Quad) and in Los Angeles on April 7 (Laemmle Monica) with additional cities including Chicago, Denver, and more to follow.
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BUFF 2023 review: ‘SMOKING CAUSES COUGHING’ is Quentin Dupieux at his finest.
SMOKING CAUSES COUGHING
Keep an Eye Out and Incredible But True director and master of the absurd, Quentin Dupieux, brings his latest film, SMOKING CAUSES COUGHING, to BUFF 2023 audiences. A brilliant bait-and-switch, this bizarre superhero team film is not what it seems.
Structured as a deranged knockoff of the Power Rangers, the film follows the superhero crew Tobacco Force. Ordered to go on retreat to recharge their relationship, their Chief, a scrawny puppet akin to TMNT Master Splinter, warns them of the ultimate intergalactic evil. Within the larger narrative, the film soon pivots to a campfire story anthology, each tale wilder than the last. Murder, mayhem, an industrial accident, and forbidden love all mix in Dupieux’s most bizarre film yet.
Quentin Dupieux’s style screams off the screen. You never know what weirdness comes next. He makes it a habit of pushing the envelope. The limit does not exist in his dialogue. Jokes often go on for longer than the audience expects. That is quintessential Dupieux. SMOKING CAUSES COUGHING is yet another over-the-top entry, and BUFF23 audiences are in for an unforgettable time. Heads up, stick around for the credits.
BOSTON UNDERGROUND FILM FESTIVAL 2023
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BUFF 2023 review: Kirby McClure’s ‘SPAGHETTI JUNCTION’ is sci-fi meets family drama.
SPAGHETTI JUNCTION
August lives with her troublemaker sister and a father stuck in mourning. Navigating the world with a newfound physical disability, she discovers a mysterious traveler needing her help. Filmmaker Kirby McClure brings BUFF23 audiences an otherworldly story of belonging with SPAGHETTI JUNCTION.
With music by HEALTH and the constant din of cicadas, an overarching ominous feeling follows August from start to finish. The lighting plays a beautiful role, from sunsets to firelight, natural light to pink hues surrounding Shiny. DP Kristian Zuniga creates a dizzying and awe-inspiring perspective with a mix of drone and handheld camerawork.
Eleanore Miechkowski plays Shiny with manic energy. She is perfectly loathsome, and that is a compliment. Jesse Gallegos is Antonio. His entire aura is punchable but perfect.
Cameron McHarg plays August’s father with equal parts empathy and fury. His performance brings the story back down to Earth (pun intended). Tyler Rainey is The Traveller. I could not keep my eyes off him. His theater training serves this role perfectly.
Cate Hughes plays August with a grounded curiosity and natural delivery. From beat to beat, her ability to adapt is breathtaking. She’s a star. Her chemistry with Rainey creates an undeniably captivating emotional journey.
The script is complex. I have so many questions. Breaking it down to its most basic concept, two wounded souls seek a tranquil existence. The further into the story, the more intriguing. So much so that I exclaimed, “Oh, shit!” at one unexpected revelation. SPAGHETTI JUNCTION might fair better as a limited series, but there is much to explore in McClure’s creation, and surely enough to grab viewers’ attention.
BOSTON UNDERGROUND FILM FESTIVAL 2023
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BUFF 2023 review: ‘THE UNHEARD’ takes sensory overload to the extreme.
THE UNHEARD
Jeffrey A Brown (The Beach House) brings B7FF 2023 audiences THE UNHEARD. The film follows Chloe, a young deaf woman who undergoes an experimental treatment to restore her hearing. While recuperating at her family’s beach house, auditory hallucinations and family secrets haunt her. Writers Michael and Shawn Rasmussen explore the impact of sound in everyday life through a series of heartache and small-town mystery.
Disability recognition and accessibility weren’t something I gave too much energy to until my son was diagnosed with ASD. I’ve found myself an advocate these past seven years, bringing attention to neurodiversity and education. THE UNHEARD gives audiences a taste of living with a disability in a straightforward and equally creative way. The Rasmussens understood the assignment and heightened the issue with a supernatural thriller.
Brendan Meyer (The Friendship Game) plays Joshua with a gentle approach. He deserves more screen time. Lachlan Watson (Only The Good Survive) is sensational. They handle the physical and emotional weight like a pro, weaving in and out of pain, fear, and curiosity at any moment.
The Unheard has meticulous sound editing. The silence places us into the mindset of Chloe. It is jarring at first but draws your attention to everything minute detail. You find yourself more cognisant of every noise. THE UNHEARD boasts clever cinematography, subconsciously building a claustrophobic environment with tight shots and the alarmingly quiet Cape Cod off-season location. It’s a slow-burn mystery that puts you through the wringer. BUFF 2023 audiences got an all-sensory experience, and Shudder subscribers are in for something unnerving.
THE UNHEARD streams on SHUDDER on March 31st.
BOSTON UNDERGROUND FILM FESTIVAL 2023
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BUFF 2023 review: ‘STAND BY FOR FAILURE: A NEGATIVLAND DOCUMENTARY’ walks a brilliant tightrope between art and culture.
STAND BY FOR FAILURE: A NEGATIVLAND DOCUMENTARY
BUFF 2023 documentary feature STAND BY FOR FAILURE is an acid trip in creativity. An explosion of overlapping media and audio, jump cuts, and dissolves are mind-bending. Filmmaker Ryan Worsley takes us on a journey through Willy Wonka’s creepy ass tunnel whether or not we want to ride. Welcome to the world of Negativland.
David Wills, Don Joyce, Ian Allen, Tim Maloney, Chris Grigg, Mark Hosler, Peter Dayton, Jon Leidecker, Mark Gergis, Peter Conheim, and Richard Lyons embrace creativity to make things that have never existed before. Mixing home videos, commercial clips, photographs, and creative sound editing of everyday items like a toilet flush, Negativland comes to life. Beginning in 1980, bizarre albums and a radio show with live on-air mixing caught an unexpected audience’s attention. A lawsuit with U2 over some cover art got them a different kind of attention. Negativland turned that into a book. These guys are smart. Negativland exposes the intersection of culture and profit.
Immaculate editing from Worsley wows from the very first frame. The film includes videos from their live stage shows and studio time. It is fascinating to witness their genius in real-time. The film slyly reveals how the media sculpts our perception of life. You might not immediately realize how relevant the film is today. David Wills’ ramblings teeter on the edge of madness and insanity. Are we witnessing an unstable person’s stream of consciousness or an artist holding a mirror up to society? Who’s to say? As a whole, the band, and the film, are unafraid to cross the line and blow your mind.
As a theatre kid, a singer in a ska band, a podcaster, a writer, and a general weirdo, the film is tailor-made for my sensibilities. It is hypnotizing. It deserves a watch in IMAX or a planetarium. For maximum effect, it should show in every modern art museum. STAND BY FOR FAILURE: A NEGATIVLAND DOCUMENTARY is an undisputed must-see.
Boston Underground Film Festival 2023
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