Category Archives: Go To The Movies

SXSW 2022 review from Unseen Films: ‘This Much I Know To Be True’

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This Much I Know To Be True

THIS MUCH I KNOW TO BE TRUE is Nick Cave & Warren Ellis performing songs from the albums Ghosteen and Carnage. It’s a performance film shot over five days before they took it on tour.

If I told you this film is a religious experience, you would think I was daft, unless you’ve ever seen Cave in concert. I’ve seen him twice and this film is kind of like that. It’s the point at which music transports one to another place without the need for drugs. The visual tricks are simply the space, lighting changes, camera moves, and the performers. Yes, there are a few interstitials where they discuss what they are doing, but they are merely points to collect ourselves. In all seriousness moments in this film moved me to tears-the beauty of the sound and image took me to somewhere beautiful. The reason was somewhere beyond words.
What stays with me is the soundscape. This is a film I know I will watch hundreds of times in the time I have left simply so I can have the music swimming around inside me. This is a space occupied by very few films, the closest is the Sigur Ros documentary HEIMA which creates a sonic space that is pure magic.
I apologize but this film lives in a place beyond words. I can’t explain it I can only feel it. And I feel it deeply in the bottom of my soul.
You must see this film with as good a sound system as possible. (I am cursing myself for not putting on headphones.)
One of the best films at SXSW and 2022 as well.

For more of Steve’s thoughts on SXSW22, check out Unseen Films!

SXSW 2022 review: ‘IT IS IN US ALL’ is an explosive take down of toxic masculinity.

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IT IS IN US ALL

Hamish arrives on the soil of his mother’s birth; she is felt instantly. A shocking car accident rips him apart, shattering his clenched control. A beast broken, he finds himself lost in the world of his long-deceased mother. Young teen Evan, also involved in the accident befriends Hamish. The tremors of want and love beneath the stifling soil push to the surface, as he is led by the vitality of the unbridled boy Evan. He experiences the electric eroticism of living and danger. His rage accelerates to violence, and ultimately his vibrant release.

The layers of complexity in this script are unfathomable. A small town brimming with secrets pushes Hamish past his already frazzled limits, physically and mentally. In an attempt to figure out why his late mother left her hometown years ago, Hamish finds himself wrapped up in the local drama. As he navigates through the town landscape, quite literally at times, he faces more personal uncertainty than he could have ever anticipated.

If you want to see sheer brilliance on screen Cosmo Jarvis is your man. His portrayal of Hamish is brimming with nuance and unresolved trauma. If you have yet to see Jarvis in The Shadow of Violence, you must. The themes of identity and grief drive the film, and Jarvis plays each beat with an intensity that gets under your skin. 

Fair warning for photosensitive viewers: look for intense strobe effects combined with loud music about an hour into the runtime. Impactful lighting choices, a bathroom, a club, headlights, or the naturally foggy but lush landscape create a tense atmosphere. Themes are identity and trauma take center stage. Writer-director-actor Antonia Campbell-Hughes nails this narrative. IT IS IN US ALL is in direct response to toxic masculinity. The disintegration of self in these male characters occurs because they have been prevented from expressing emotions, questioning their place, or healing their wounds. It’s a sharp, meditative piece of filmmaking and evokes a much larger conversation on patriarchal behavior. 

Director:

Antonia Campbell-Hughes

Executive Producer:

Conor Barry

Producer:

Emma Foley, Tamryn Reinecke

Screenwriter:

Antonia Campbell-Hughes

Cinematographer:

Piers McGrail

Editor:

John Walters

Production Designer:

John Leslie

Music:

Tom Furse

Principal Cast:

Cosmo Jarvis, Rhys Mannion, Claes Bang, Antonia Campbell-Hughes, Lalor Roddy

To learn more about SXSW22 click here!

SXSW 2022 review: Winona Ryder stars in ‘THE COW,’ a twisted thriller you won’t see coming.

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THE COW

Upon arriving at a remote cabin in the redwoods, Kath and her boyfriend find a mysterious younger couple already there — the rental has apparently been double-booked. With nowhere else to go, they decide to share the cabin with these strangers until the next morning. When her boyfriend disappears with the young woman, Kath becomes obsessed with finding an explanation for their sudden breakup— but the truth is far stranger than she could have imagined.

A twisted moral mystery, Winona Ryder stars in SXSW22 narrative feature THE COW. Continuing Ed teacher Kath is dating one of her students. He is younger and on a different wavelength. Max suggests a surprise weekend away. When they arrive at a remote cabin, there’s another couple already there. After agreeing to share the space for the night, Max disappears with the other young woman; Kath is now left in the lurch. As she seeks closure, it turns out there’s more to the story. Where did Max go? Who is this mysterious woman? Welcome to the unreal journey that is THE COW.

John Gallagher Jr is charming and a fresh foil for a more level-headed Ryder. Brianne Tju plays Greta with a sharp edge that makes you want to punch her. When you watch, you’ll understand that this is a compliment. Owen Teague‘s performance is more nuanced than at first glance. His emo nature has a grounded backstory. Dermot Mulroney brings a rugged charm that is irresistible. His chemistry with Ryder feels pitch-perfect. 

Winona Ryder‘s journey feels just right. Blindsided at every turn, she keeps her cool for the most part. The way the script is structured we know more than Kath. This keeps Ryder relatable throughout. I know you’ll agree with me even as the screen goes black. Her final moments are pretty glorious. Fans of Ryder’s work, anything from Beetlejuice to Stranger Things, will love seeing her back on the big screen. We’ll take her wide-eyed wonder in any form.

THE COW is sure to intrigue any audience, thanks to director Eli Horowitz, who co-writes the screenplay with Matthew Derby. A great score from David Baldwin and solid editing back up this phenomenal script. HBO should tap these two for literally any upcoming series pitch. They are a hell of a team. A slow-burn plot holds you with tidbits of information in the form of flashbacks. Twist after twist glues you to your seat and the final 30 minutes had me yelling over and over, “What?!”

Director:

Eli Horowitz

Producer:

Raphael Margules, JD Lifshitz, Shaun Sanghani, Russ Posternak

Screenwriter:

Eli Horowitz, Matthew Derby

Cinematographer:

David Bolen

Editor:

Arndt-Wulf Peemöller

Production Designer:

Susannah Honey

Music:

David Baldwin

Principal Cast:

Winona Ryder, Dermot Mulroney, John Gallagher Jr, Owen Teague, Brianne Tju

To learn more about SXSW22 click here!

SXSW 2022 review: A father-son catfishing story in ‘I LOVE MY DAD’ is one of this year’s funniest films.

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I LOVE MY DAD

A story of attempted redemption gets complicated in this wildly personal and deliriously funny film. Chuck was not a great father. After his son Franklin gets released from a mental health facility, Chuck is determined to reconnect. Although he has the purest intentions, the way he goes about it could not be more wrong. Chuck decides to catfish him. Sounds like a foolproof plan, perhaps in some other universe. SXSW22 narrative feature I LOVE MY DAD will have you cackling and cringing from beginning to end.

Rachel Dratch provides further levity with her overt sexual intensity as Chucks’s girlfriend. Dratch and Oswalt have an outstanding dynamic. Claudia Sulewski is a spitfire. The way she can bounce off Morosini is magic. Put her in everything. Patton Oswalt as Chuck is a pure joy to watch. Each panged look on his face as he receives messages not meant for his eyes is visceral. He is charming as hell, and you can’t help but root for him. Writer-director and star James Morosini‘s personal story lands between heart-warming and cringeworthy, and every minute is wonderful. He is mesmerizing. Wearing his heart on his sleeve is one thing, but his willingness to embrace the slapstick comedy is on another level.

The script is super unique. Comedy aside, I LOVE MY DAD melds a story of mental health, self-worth, and connection. Including a particular track from The Cure has more weight than I first realized. The transitions when Becca/Patton begins to chat with Franklin (and vice versa) come out of left field, and they are gloriously creative. You will not be able to contain yourself. Either way you look at it, Morosini is pretty brave for putting this stuff out there. If this doesn’t get Hollywood’s attention, I’ll be shocked. As we bounce from sweet to outlandish, I LOVE MY DAD is one of the best films to come out of SXSW22.

Director:

James Morosini

Executive Producer:

Lauren Hantz, John Hantz, Jeremy Garelick, Dave Rath, David Bernon, Will Phelps, Paul Bernon

Producer:

Bill Stertz, Patton Oswalt, Sean O’Grady, Dane Eckerle, Phil Keefe, Daniel Brandt, Sam Slater

Screenwriter:

James Morosini

Cinematographer:

Steven Capitano Calitri

Editor:

Josh Crockett

Production Designer:

Bret August Tanzer

Principal Cast:

Patton Oswalt, James Morosini, Claudia Sulewski, Rachel Dratch, Ricky Velez, Lil Rel Howery, Amy Landecker

Additional Credits:

Line Producer: Billy Mulligan, Visual Effects: Patrick Longstreth, Casting: Eyde Belasco, Associate Producer: Jeffrey Penman

To learn more about SXSW22 click here!

SXSW 2022 review: Teen angst and aliens in the Arctic tundra, ‘SLASH/BACK’ is a culturally cool coming-of-age film from director Nyla Innuksuk.

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SLASH/BACK

We can all attest to being bored as teenagers. Even the Arctic tundra might seem uncool when you’re a certain age. SXSW22 feature film Slash/Back follows a group of Inuit girls who’ve had enough of being disregarded. Something is quite wrong in their town. When the adults won’t listen, they take matters into their own hands. Gather your pride, the girls from Pang are about to kick some ass.

The original music by The Halluci Nation and vocal performances by Tanya Tagaq are electrifying. It vibrates off the screen. During the opening credits, I stood up and danced in my kitchen because it was so infectious. The special FX makeup and CGI are startling. But it is the performances from this fresh young cast that pulls you into the narrative. These kids are stars. The emotional upheaval is all too familiar as they struggle with hormones, racism, and, in this instance, aliens. While most of us don’t have the alien experience in our back pocket, we can all agree that pre-teen to teenage years was complicated. The dialogue from writers Nyla Innuksuk (who also directs) and Ryan Cavan almost feels improvised. They have nailed the jargon of youth. The cinematography is breathtaking. Even if the characters aren’t impressed with the landscape, the audience unmistakably experiences the natural grandeur of Pangnirtung.

Pay close attention to the very intentional opening and closing credits as they change from Inuktitut to English. It’s a subtle but powerful statement. Slash/Back is a quirky coming-of-age tale with horror as a catalyst. With elements of The Thing and the energy of Stranger Things, the genre audience will adore this film.

Slash/Back at Online Screening
Mar 14, 9:00am CDT – Mar 16, 9:00am CDT
9:00am—10:26am
Availability: United States
Slash/Back at Violet Crown Cinema 1
Mar 14, 2022
3:45pm—5:11pm
Slash/Back at Violet Crown Cinema 3
Mar 14, 2022
4:15pm—5:41pm
Slash/Back at Stateside Theatre
Mar 17, 2022
6:15pm—7:41pm

Director:

Nyla Innuksuk

Executive Producer:

Hussain Amarshi, Neil Mathieson

Producer:

Dan Bekerman, Christopher Yurkovich, Alex Ordanis, Nyla Innuksuk, Stacey Aglok McDonald, Alethea Arnaquq-Baril, Ethan Lazar

Screenwriter:

Nyla Innuksuk, Ryan Cavan

Cinematographer:

Guy Godfree

Editor:

Simone Smith, Todd E. Miller

Production Designer:

Zosia Mackenzie

Sound Designer:

John Loranger

Music:

The Halluci Nation and Michael Brook

Principal Cast:

Tasiana Shirley, Alexis Wolfe, Chelsea Prusky, Frankie Vincent-Wolfe, Nalajoss Ellsworth

 

SXSW 2022 review: ‘SOFT & QUIET’ and infuriating and terrifying and brilliant.

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SOFT & QUIET

Playing out in real time, SOFT & QUIET is a runaway train that follows a single afternoon in the life of Emily, an elementary school teacher. Emily organizes the inaugural club mixer of like-minded women, and she indoctrinates them into her sisterhood. When they all decide to move the meeting to Emily’s house, they stop at the local store to pick up refreshments, where an altercation breaks out between two sisters and the club that spirals into a volatile chain of events.

Having a film run in real-time is already bold. In Soft & Quiet, that is the tip of the iceberg. Essentially, a group of Karens sharing their super racist views embrace each other at their first official group meeting. The dialogue takes every offensive, cliché, and horrifying thing spewed over the internet, heard on cell phone footage, and in national rallies, especially since Obama was running for office. Government suspicion, recruiting, homeschooling, The Constitution, traditional family, you name it, the subject appears in this script. It’s like reading through the comments section on Facebook or 8chan. It’s terrifying. 

Handheld camerawork immerses the viewer inside the film, moving from speaker to speaker, moving with the action. The amount of rehearsal this must have required is mind-boggling. The subtle digs are clever. Leslie’s jacket reads “Lieben Zu Hassen” which translates from German to English as “Love To Hate.” I have to hand it to this cast. It is the nonchalance that kills you. To say vitriolic things and act in such a vile manner, you have to trust your director and your fellow cast members. The hidden humor of these women traveling in a minivan is unmissable.

As you awkwardly cringe at the horror of it all, your level of anticipation simmers wildly. It’s so uncomfortable your palms will sweat. The film is sliced right down the middle. The first half respects the title, and the second half goes off the rails. As the terror increases, your heart will be in your throat. Soft & Quiet is a powder keg. It is pure rage-fueled, technically coordinated, chaos. This film deserves a hard and loud standing ovation for writer-director Beth de Araújo. This is a thrilling masterpiece. 

Director:

Beth de Araújo

Executive Producer:

Robina Riccitiello

Producer:

Josh Peters, Saba Zerehi, Joshua Beirne-Golden, Beth de Araújo

Screenwriter:

Beth de Araújo

Cinematographer:

Greta Zozula

Editor:

Lindsay Armstrong

Production Designer:

Tom Castronovo

Sound Designer:

William Tabanou

Music:

Miles Ross

Principal Cast:

Stefanie Estes, Olivia Luccardi, Eleanore Pienta, Dana Millican, Melissa Paulo, Jon Beavers, Cissy Ly

Additional Credits:

Jon Cooper: First Assistant Camera, Matt Hadley: Gaffer, Elodie Ichter: Colorist, Bridget Bruce: Costume Designer, Jillian Johns: Costume Designer, Music Supervisor: Ella Sahlman

To learn more about SXSW22 click here!

SXSW 2022 review: Living your best life is triggering in ‘SISSY.’

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SISSY

Synopsis: Cecilia and Emma were tween-age BFFs who were going to grow old together and never let anything come between them until Alex arrived on the scene. Twelve years later, Cecilia is a successful social media influencer living the dream of an independent, modern millennial woman… until she runs into Emma for the first time in over a decade. Emma invites Cecilia away on her bachelorette weekend at a remote cabin in the mountains, where Alex proceeds to make Cecilia’s weekend a living hell. #triggered

Catty, protective, territorial; girls can be the worst. Mean girls made my life a living hell for years. Everyone I know has a story involving them. SXSW22 Midnighters world premiere SISSY addresses them head-on. 

Slow clap for the editing in SISSY. It is clever and engaging from the beginning. The tension in the script is a deliberate build, sort of like ascending a rollercoaster, knowing that that first drop is coming and will be one many. But there are moments of silliness that cut through the anticipation. Overall a slick structure that never lets up. Trust me when I say you will not see where this leads. The practical FX are so tight I exclaimed, “Oh, F*ck,” at one point. There is no better an endorsement than that. 

The chemistry between Aisha Dee and Hannah Barlow (who co-writes and directs with Kane Senes) is magic. You believe they were best friends when they were twelve. Fast forward 15 years or so, and things look very different in their relationship. But, best friends never really lose their groove. That is until someone comes between them. Aisha Dee is our true leading lady, and she friggin kills it. SISSY obliterates your moral compass. 

SISSY tackles unresolved childhood trauma most darkly. Combined with the influencer angle is pure genius. SXSW22 audiences are going to love this. You root for all the wrong things, and therein lies the brilliance.

SISSY – Midnighters (**World Premiere**)
Writers/Directors: Hannah Barlow, Kane Senes
Cast: Aisha Dee, Hannah Barlow, Emily De Margheriti, Daniel Monks, Yerin Ha, Lucy Barrett

To find out more about SXSW22 click here!

SXSW 2022 review: ‘PIRATES’ is a feelgood throwback filled with relatable shenanigans.

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PIRATES

New Year’s Eve 1999. Cappo (ELLIOT EDUSAH), Two Tonne (JORDAN PETERS), and Kid (REDA ELAZOUAR) drive through London in their tiny Peugeot 205, pumping a live garage set from the stereo and arguing about their Avirex jackets and Naf Naf imports. As the eighteen-year-olds step into adulthood, they know their lives and friendships are on the brink of change. Determined to end the century on a bang they drive from place to place in a desperate search for tickets for the best millennium party EVER. In their efforts to end up somewhere, they end up closer together.

Let me begin my review of SXSW22 narrative spotlight feature PIRATES by stating that I was the same age as Kid, Cappo, and Two Tonne on the eve of Y2K. I can vividly remember that night and the pure excitement and energy exerted on that day was something I wish I could bottle now. What PIRATES gets right is just that. The feeling of invincibility and the idea that anything is possible. That and the sheer audacity of youth. 

Kid, played by Reda Elazouar, is pure unadulterated comic relief. He believes what he’s saying, lending the audience to smirk at every turn. I have a feeling we’ll be seeing a lot more of him in the future. 

Elliot Edusah is Cappo, the kid that wants more out of life than repeating high school shenanigans. He’s the down-to-earth friend with loyalty as his best quality. Edusah is an easy watch. His boy-next-door good looks and sincere attitude compel you to root for him.

Jordan Peters plays Two Tonne with underlying low self-esteem that he covers with over-the-top bravado. This intriguing dichotomy gives Peters the chance to play the entire emotional gambit as well as the comedy aspect. 

Ancillary cast members nail every beat. You remember scenes that only run for a few minutes because of the pure shenanigans the boys attempt to pull. The chemistry among the entire cast makes PIRATES a breezy and nostalgic watch. For an American audience, the film would benefit from closed captions. Heavy with slang and fast-paced quips, I know I missed a good deal of the definitively funny dialogue. A Google joke right off the bat? It got me. Kid carries around a Tamagochi, and it’s a solid running joke. From the costumes to the sets, audiences from that generation (myself included) will connect with PIRATES right away.

Section: Narrative Spotlight
Sales: Gunpowder & Sky
Run Time: 80 min
Country: United Kingdom
Language: English
Writer/Director: Reggie Yates
Cast: Elliot Edusah, Jordan Peters, Reda Elazouar, Kassius Nelson, Youssef Kerkour, Rebekkah Murrell, Shiloh Coke, Tosin Cole, Aaron Shosanya
Executive Producers: Rose Garnett, Farhana Bhula, Jim Reeve
Producers: Kate Norrish, Polly Leys
Cinematographer: Rachel Clark
Editor: Ash White

For more information on SXSW 2022 click here!

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

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OFFSEASON

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

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

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

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

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

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

Review: ‘THE LONG WALK’ is an ever-evolving entity of grief.

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THE LONG WALK

The Long Walk is Laotian director Mattie Do’s third feature, and centres around an old man, who discovers that he can travel back in time and speak with the dead. The film stars Yannawoutthi Chanthalungsy, Noutnapha Soydara, Vilouna Phetmany, Chansamone Inoudom and Por Silatsa.

Do not take your eyes off the screen for a second.m The Long Walk has an enigmatic script that obliterates genre norms. When a colleague and trusted friend Steve Kopian, at Unseen Films, told me that I had to make sure to watch without distraction, he was not exaggerating. Blink, and you might miss pertinent information. Part sci-fi and a lot of ambient horror, The Long Walk is unlike anything you’ve seen before. Spirits and time manipulation are the tips of the iceberg.

Performances are mesmerizing. As the plot evolves, each actor runs the emotional gambit. The lush Laos countryside becomes a haunting backdrop for a story you won’t see coming. The trickiest part about writing a review is not wanting to spoil the experience for the audience. There are rare occasions where going into a film blind is in your best interest. The Long Walk is one of those films. This film will take your breath away as you move from fear to heartbreak, confusion to awe. The Long Walk is one of the year’s most intriguing films. It bears repeating, do not look away. 

The Entrancing Time-Travel Ghost Story — Out Now In Select Theaters + On VOD March 1
The first Lao film to screen theatrically in the US, from Laos’ first and only women director:

ABOUT MATTIE DO:

Mattie Do is Laos’ first, and only, female filmmaker. Born in California to recent refugees of Laos’ Communist Revolution, Mattie was raised in Los Angeles, but returned to Laos a decade ago after her father retired in Vientiane.

In 2012, Mattie directed her first feature film, Chanthaly. The film was the ninth feature film produced in the country of Laos since the 1975 revolution, the first feature film to feature a female protagonist, and the first Lao feature film to be directed by a woman. Chanthaly also challenged Laos’ strict censorship which at the time mandated that Lao women only be depicted in traditional dress speaking formal Lao, and restricted any depiction of supernatural or superstitious beliefs. The film premiered at Fantastic Fest in Austin, Texas becoming the first Lao film to screen outside of SE Asia. Chanthaly’s success at festivals led to Mattie’s selection for the Cannes’ Fabrique des Cinemas du Monde, TIFF’s Directors Talent Lab, Berlinale Talents, and BIFAN’s Fantastic Film School. Afterward, Mattie worked with the Ministry of Culture to create the infrastructure necessary to introduce foreign co-production to Laos, including a framework for managing the country’s rigid censorship. In 2015, Mattie produced Laos’ first American and Japanese co-productions, which later respectively premiered at the Toronto International Film Festival and Locarno Film Festival.

Mattie Do’s second feature, Dearest Sister, premiered at Fantastic Fest before screening at BFI’s London Film Festival, Singapore International Film Festival and nearly two dozen other film festivals. The film received Special Jury Mentions at the Sitges International Fantastic Film Festival, Lund’s Fantastisk Filmfestival, and Fantasporto Film Festival. The film was later selected as Laos first official submission to the 90th Academy Awards.

Review: Socially relevant ‘BUTTER’ takes on popularity, self-worth, and the internet.

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BUTTER

A lonely obese boy everyone calls “Butter” is about to make history. He is going to eat himself to death-live on the Internet-and everyone is invited to watch.

Reminiscent of one of my all-time favorite films, Angus (1995), BUTTER is a relatable film about self-worth, being a teenager, and the internet. Marshall, aka Butter, is a musically inclined, obese teen battling bullying, a dismissive father, and an overwhelming feeling of isolation. While posing online as a sports phenom at a private school to catch the eye of his crush, he simultaneously vows to eat himself to death live online on New Year’s Eve. These conflicting plans further complicate his life. The audience gets a front-row seat to an emotional journey of confidence, self-respect, and loneliness, for better or for worse.

Ravi Patel as Butter’s doctor is hilarious. He’s so upbeat you’ll light up each time he appears. He is a solid stellar addition to the cast. Mykelti Williamson is Marshall’s music teacher Professor Dunn. Williamson boosts his confidence by reminding him of his immense talent, never coddling him. He is the dose of reality that guides this young man.

McKaley Miller plays Butter’s crush, Anna. Miller brings a girl next door energy that plays perfectly against Kersting’s Marshall. Mira Sorvino brings a gentleness as concerned and guilt-ridden mother Marian. As a Mom, I recognized the weight in her glance.

Alex Kersting nails it in the titular role. He effortlessly oozes charm and unironic confidence. Kersting is pure joy to watch in this film. I hope we see him in more leading roles because he owns each frame.

BUTTER doesn’t break the mold, but it will strike a chord with every viewer. The most important theme is mental health. The script confronts the darkness head-on, and it doesn’t make excuses. BUTTER also possesses all the fun and angst of classic teen films. It’s filled with heart. Writer-director Paul A. Kaufman has a solid family watch on his hands. 

IN THEATERS FEBRUARY 25th

Directed & Written by Paul A. Kaufman
Produced by Paul A. Kaufman, J. Todd Harris, Christina Sibul
Starring Alex Kersting, Mira Sorvino, Mykelti Willliamson, Brian Van Holt, Ravi Patel, Annabeth Gish, McKayley Miller, Jack Griffo, Adain Bradley, Natalie Valerin, Jake Austin Walker, Matthew Gold, Monte Markham and Jessie Rabideau 

*Official Winner – Socially Relevant Film Festival 2020*
*World Premiere – Cinequest Film Festival 2020*
*Official Selection – Portland Film Festival 2020*

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

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GASOLINE ALLEY

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

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

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

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

GASOLINE ALLEY

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

Review: ‘STUDIO 666’ is heavy on the metal and the malevolence.

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Foo Fighters need a tenth album. In Studio 666, they move into an Encino mansion with a musical and murderous past. Get ready to rock and gag and laugh.

Practical FX are gnarly. I actually exclaimed, “Oh F*ck!” as I caught my first glimpse of gore. Studio 666 is based on a story by Dave Grohl. Self-professed genre lover, the screenplay from Jeff Buhler and Rebecca Hughes is laced with profanity that you cannot help but smirk. It’s so over the top, ya gotta laugh. Beyond that, Studio 666 is pure horror-comedy gold.

Every member of the band brings their personality to the forefront. Grohl is hilarious. His unadulterated manic energy makes Studio 666 a goddamn freight train. That and the fact that it rocks. Grohl wrote an entire metal album for the film and we get to receive it with open ears. I have to say, if casting directors don’t use Dave in a plethora of upcoming acting projects, they are seriously missing out.

The tropes are abundant but always fun. The kills are gruesome and creative. Hands down, Studio 666 has a Top 10 of all-time chainsaw kill. Side note, Doritos must have a huge stake in the financing because the amount of chips featured and consumed is anything but inconspicuous. Studio 666 brings the giggles and the gore. Genre fans will go nuts for this film.

Tickets on sale now: http://foofighters.co/Studio666Tickets

Slaying theatres February 25th!

Review: Peter Dinklage takes your breath away in ‘CYRANO.’

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Award-winning director Joe Wright envelops moviegoers in a symphony of emotions with music, romance, and beauty in Cyrano, re-imagining the timeless tale of a heartbreaking love triangle. A man ahead of his time, Cyrano de Bergerac (played by Peter Dinklage) dazzles whether with ferocious wordplay at a verbal joust or with brilliant swordplay in a duel. But, convinced that his appearance renders him unworthy of the love of a devoted friend, the luminous Roxanne (Haley Bennett), Cyrano has yet to declare his feelings for her — and Roxanne has fallen in love, at first sight, with Christian (Kelvin Harrison Jr.).

With films like Atonement, Pride & Prejudice, and Anna Karenina under his belt, Joe Wright was the perfect director for this delicious adaptation of Erica Schmidt‘s stage musical. From page to stage, and now to the big screen, CYRANO is a classic tale of a man hindered by pride. Unable to express his love for Roxanne, Cyrano becomes a pawn in a love triangle. Poetic maestro and prolific swordsman Cyrano has always been in love with childhood friend Roxanne. When she falls in love, at first sight, with the newly arrived Christian, Cyrano promises to protect him from harm. To further complicate matters, Cyrano agrees to write daily love letters to Roxanne, posing as Christian. Filled with catchy songs, delicious wordplay, and performances that will leave you in awe, CYRANO is a musical for the ages.

Kelvin Harrison Jr. plays Christian, a young soldier under Cyrano’s guide. His fresh energy is a superb foil to Dinklage’s worldliness. Ben Mendelsohn plays Duke De Guiche with a slimy foppish style that rubs you the wrong way from the beginning. He is manipulative and, (dare I say) dastardly. 

Haley Bennett, as Roxanne, has the voice of an angel. Effortless and aerie, the perfect ingenue. Her chemistry with Dinklage is electric as they are reprising their roles from Schmidt’s musical. They nail every single beat together. It’s cinematic magic. 

Peter Dinklage is mesmerizing in the titular role. Sometimes an actor comes along that captivates so thoroughly you find yourself lost in their words and presence. Dinklage hypnotizes the audience at every turn with humor, passion, and heartbreak. His confidence translates into an unadulterated sexiness. I found myself swooning as he navigated fight choreography, lyrics, and wit with ease. This performance is nothing less than award-worthy. (Shame on the Academy for no nomination.)

The choreography is spellbinding. The costumes and sets are lush. The cinematography and framing from Seamus McGarvey are characters unto themselves. Schmidt’s screenplay drips with wordplay and longing. With the music by Aaron and Bryce Dessner and lyrics by Matt Berninger and Carin Besser, Joe Wright has a brilliant film on his hands. CYRANO deserves a theatrical viewing. Even at two hours, I did not want it to end. It’s a glorious experience. 

The greatest love story ever told is in theaters everywhere on February 25th.

Cast: Peter Dinklage, Haley Bennett, Kelvin Harrison Jr., Ben Mendelsohn
Directed by: Joe Wright
Screenplay by: Erica Schmidt
Based on: The stage musical adapted and directed by Erica Schmidt, from “Cyrano de Bergerac” by Edmond Rostand, with music by Aaron & Bryce Dessner and lyrics by Matt Berninger & Carin Besser
Producers: Tim Bevan, Eric Fellner, Guy Heeley
Executive Producers: Erica Schmidt, Sarah-Jane Robinson, Sheeraz Shah, Lucas Webb, Matt Berninger, Carin Besser, Aaron Dessner, Bryce Dessner, Kevin Ulrich, Aaron L. Gilbert, Jason Cloth
Music by: Bryce Dessner & Aaron Dessner

Rated: PG-13 for some strong violence, thematic and suggestive material, brief language

Soundtrack Available on Decca Records

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

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KING KNIGHT

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

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

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

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

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

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

Review: ‘A Banquet’ is deliciously strange.

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A BANQUET

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Review: Based on the True Story of Author Karen Blixen (Out of Africa) ‘THE PACT’ is brimming with manipulation and artistry.

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THE PACT

It’s 1948 and 63-year-old “Out of Africa” author Karen Blixen (pen name: Isak Dinesen) is a lonely literary sensation devastated by syphilis and mourning her lost love, until she meets talented 30-year-old poet Thorkild Bjørnvig. She offers him a Faustian bargain and promises him stardom if he will obey her unconditionally. As her demands become more and more pernicious, Thorkild must choose between Blixen’s promise of fame or his family. From director Bille August (PELLE THE CONQUEROR) comes this sterling adaptation of Bjørnvig’s bestselling memoir.

The Pact is a study of the eccentricity of art and artist. The Baroness plays emotional chess with the carefully curated people chosen as part of her inner circle. Under the guise of nurturing the artist to greatness, she overtly steers the decisions of each individual, whether they know it or not. Is she some sort of creative seer? Or is this a game of power? Playing with the hearts and minds of people is a dangerous endeavor.

The sets and costumes are sumptuous. The dialogue is delicious and poetic, possessing a gravitational pull that is undeniable. The film’s intentionally steady and emotional momentum works its magic on you. The Pact has a mysterious morality that falls somewhere between manipulation and genius. It’s a surprising debate between free will and the lies we tell ourselves. The Pact is ceaselessly complex and brilliantly acted. As a writer, it’s a piece that will sit with me for quite some time. 

Opening in New York on February 11, 2022
Opening in Los Angeles and San Francisco on February 18, 2022

PLAYDATES
Quad Cinema in New York, NY
Nuart Theatre in Los Angeles, CA
Landmark’s Opera Plaza in San Francisco, CA
Smith San Rafael in San Rafael, CA

Directed by Bille August (Pelle the Conqueror, The Best Intentions)
Produced by Jesper Morthorst and Karin Trolle
Starring Birthe Neumann and Simon Bennebjerg

** Official Selection – 2022 Palm Springs International Film Festival **
** Official Selection – 2021 AFI European Union Films Showcase **

Review: ‘COSMIC DAWN’ is a whirlwind of conspiracy and otherworldly imaginings.

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COSMIC DAWN

After witnessing an alien abduction as a child (and subsequently being told she’s crazy for most of her life) Aurora, now a young woman, joins the UFO cult The Cosmic Dawn after discovering a book written by the group’s leader, Elyse. Aurora’s time at the cult’s remote island compound is marked by miraculous revelations, consciousness expanding flowers, and a burgeoning friendship with Tom, the resident cook. When a fellow cult member starts to display increasingly bizarre behavior, Aurora begins to question Elyse’s sanity (and her own) and starts looking for a way out.

Boasting spectacular visuals alongside a riveting script from writer-director Jefferson Moneo, Cosmic Dawn is one of those films I’ve been hearing about for quite some time. With throwback sci-fi elements, get ready for a wild ride into the world of cults and the cosmos.  

Joshua Burge is always so present in a scene. Cosmic Dawn is another indie gem he can add to his resume, alongside Relaxer and Buzzard. There’s just something cool about his demeanor that captivates me. Emmanuelle Chriqui, as Natalie, is sweet and passionate about her experiences and the group. A true believer, she breathes life into this role.

As Cosmic Dawn guru Elyse, Antonia Zegers perfectly melds leadership and manipulation qualities that keep the viewer on their toes. Her (mostly) zen nature is quite unsettling. Camille Rowe as Aurora is vulnerable yet strong, open but wary. Her anxiety comes through the screen and directly affects the audience.

The editing forces you to pay attention as we jump from past to present, wading through ever-present trauma. The score elicits an eerie and almost visceral reaction. The soundtrack is hippy-dippy, space-aged perfection. The trippy moments in the script will have you second-guessing everything you think you know. As a believer, Cosmic Dawn lands somewhere between colorfully quirky and incredibly intense. It’s going to vibe with genre fans.

Jefferson Moneo’s
COSMIC DAWN
Debuts Theatrically + On Demand February 11th

Review: ‘AIR DOLL’ is filled with complexity and enchantment.

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AIR DOLL

In AIR DOLL, the Galatea myth is transported to present day Tokyo, when an inflatable sex doll named Nozomi (Doona) finds that she has grown consciousness and a heart.

Hirokazu Kore-eda (Shoplifters) 2009 film Air Doll is finally available for US audiences. Overflowing with whimsey, the film is based on the manga series Kuuki Ningyo by Yoshiie Gōda. Underneath the lightheartedness is an engrossing study in grief and the complexities of humanity. Air Doll is a genre-bending wonder.

The relationship with coworker Junichi (a brilliant Arata Iura) sums up the film best. His suspension of disbelief and/or the immediate acceptance of Nozomi’s reality puts the audience into a whirl of complicated emotions. Their journey will mystify you. Bae Doona is so enchanting. If you weren’t already a fan of her work on Sense8 or The Host, you’ll fall in love with her in Air Doll. Her performance is like watching a meta character study. Doona’s toddler-like wonder fills every beat with joy. But, it’s the underlying sadness that takes Air Doll to the next level. The longing for genuine connection while navigating social graces and newfound emotions is nothing short of fascinating.

Is it fair to categorize Air Doll as an unusual coming-of-age story? Perhaps, a story of enlightened consciousness would be better suited. Air Doll is yet another perfectly thoughtful addition to Dekanalog‘s collection of films. It begs larger questions of existence and life, exploring the meaning of happiness on a grander scale. The film’s evolution is endlessly surprising. You won’t be able to look away. Air Doll is truly something special.

AIR DOLL, from director Hirokazu Kore-eda, hits U.S. cinemas and VOD on February 4th!