DWF21
headling the Midnight series is
Rust Belt Driller
Renn Maxwell seems to have everything going for him. He has a manager that cares, he’s good enough at his craft (visual art) to have private gallery screenings. He seems to live in a nice looking house and he has a committed, streetwise, and beautiful partner in Carol. But Renn has been followed all his life by something dark. And now with the chaos of the modern world, and his own inner horrors, that evil has finally gotten close enough to reach out and touch. What follows in the next few days will pain the city of Buffalo, NY a whole new canvas, mostly flowing red.
Rust Belt Driller is the epitome of a midnight movie. It’s a celebration of gross practical FX, borderline annoying and meta infomercials, and a bent reality between art and life. The editing is jarring as hell. Be prepared to jump from the varying levels in audio decibels. There’s some really solid camera work, as well. The saturation levels in the color correction throw your brain off-kilter. But this stylistic decision makes an impact. There are definitely moments that could use editing for time. A few stares that last too long would benefit from hitting the cutting room floor.
Of all the performances, I have to mention one standout from the crowd. Mary Coleman as The Homeless Woman was really great. As I watched her short monologue, I audibly said, “Wow, she’s really good.” So, shout out to Miss Coleman. Screenwriter and star Aaron Krygier as Renn is pretty spectacular. His commitment is what sells this entire idea. Am I suggesting you watch this while on some sort of drug? I’m not not suggesting that. Rust Belt Driller is a psychosexual horror from some seriously disturbed minds. While I may not exactly understand the ending, I have to applaud the ingenuity and unadulterated balls it took to make this film.
Rust Belt Driller is a feature Horror film that is headlining the Midnight series on August 27, 2021, at 11:55 PM at Dances with Films at the Mann Chinese Theater in Hollywood.
Dances With Films LA runs from August 26th to September 12th. You can find out more info at https://danceswithfilms.com/home-2021/
At an impasse of religion and love, the title of this thought-provoking short film suggests that it’s a horror film. While not touted as such, what unfolds in 25 minutes between family members is absolutely horrific. To fully appreciate the nuance in Over My Dead Body takes an open mind. Often, we place ourselves in the shoes of the characters on screen. Here, depending on your religious beliefs (or lack thereof), the complexities are unsurpassed. Having religion forced upon me as a child backfired at the age of about 14. In a world filled with volatility caused by media corporations, conflicting gods, and traditions, Over My Dead Body hits harder in modern times. Our families are supposed to love us unconditionally. What happens when that isn’t true? The cinematography is smart and takes advantage of the lush sets and costumes. Performances from this true ensemble cast are magnetic. You know this family. It resembles your own in more ways than you might realize at first watch. With an ending that will leave you breathless, the impact of this short should echo loudly.
Sefchik’s visual work is nothing short of stunning. This should come as no surprise given his extensive career as a digital artist with the likes of George Lucas and James Cameron. The details are immaculate. While the performances from our dedicated cast veer into the amateur lane at times, their brightest moments come when interacting with what isn’t actually there. That’s more impressive than it sounds. Sefchik also co-wrote the script with producer Derrick Ligas. Social commentary is smartly placed inside a horror film. Themes of environmental destruction, media, and capitalism soak this story in realism. Using personal fears to goad our players into darkness is a brilliant touch. When greed rules, evil prevails. The fact that this entire film was made for $65,000 is mindblowing. Any indie filmmaker can attest to that. BEHEMOTH is a win in its script and most certainly in Sefchik’s mesmerizing VFX. If this is his first foray into feature storytelling, I cannot wait to see, quite literally, what comes next.
Confetti is a heartfelt film that aims to tackle complicated issues of immigration, dyslexia, and the barriers that parents will overcome to provide a better life for their children. 
Confetti is a refreshing insight into the Asian American immigrant experience that is not frequently centered. Director Ann Hu should be commended for elevating complex intersectional stories like this one, even if some plot points feel a bit disjointed or unfinished. Charming performances by Zhu Zhu and Harmonie He animate a touching story of perseverance and sacrifice. 
Let’s start with a confession – I’ll always think of Val Kilmer as my Batman. 1995’s Batman Forever was the first superhero film I ever saw, and that impression was deep and lasting. The car! The suit! Nicole Kidman! That is not to indicate that I am incapable of evaluating Kilmer fairly, but only to say this image of him at the likely mountain-top of his fame has left a lasting impression.
Drugging his family and holding them captive in a bunker aside, toxic masculinity is smartly displayed throughout John’s journey. It appears in a spit fight, inappropriate conversations, and almost drowning a friend. The culmination of these moments keeps you tense and extremely uncomfortable. John and The Hole is unpredictable. I believe the most disturbing aspect of Nicolás Giacobone‘s screenplay is actually the final scene. Not wanting to spoil anything for the reader, I was horrified. The reasons are a complex mix of socioeconomics and Giacobone’s understanding our how the world functions. John and The Hole begs a larger conversation about aggression, pressure, and parenting. Do not miss this film.
Ride The Eagle is a one-of-a-kind film. The script is written by director Trent O’Donnell and star Jake Johnson. Tackling regret, forgiveness, and everything in between, there’s an honesty that stings and inspires. Mostly, Ride The Eagle makes you smile.
The script is filled with quirky characters. J.K. Simmons is fantastic in his manic energy. His delivery makes you involuntarily grin. Susan Sarandon, who we only see in her videotape to Leif, gives us warmth, and wisdom, and a boatload of snark. Her dialogue is yet another example of the care taken by O’Donnell and Johnson in their writing. There is a specificity that allows us to sit in Leif’s emotional shoes.
I want D’arcy Carden to be my new best friend. The scenes between her and Johnson are pure gold. Their chemistry is off the charts. Made even more impressive by the fact that they speak exclusively over the phone. It’s like watching a masterclass in scene partnering. Their report nudges the script into rom-com territory. But, in truth, 
The score is vibrant and incredibly thoughtful. Ride the Eagle shines with heart and charm. It has a palpable vulnerability that makes it undeniably relatable. Of the nearly 200 films I’ve seen in 2021, Ride The Eagle easily soars onto my top 10 list.
If an innocent man was sitting in front of you, would you even know it? This is a question I asked myself several times throughout Enemies of the State, Sonia Kennebeck’s propulsive new documentary. Years ago, movies made these kinds of questions easy on us: there’s that old western stereotype of the gunslinging hero wearing the white hat, staring down a villain dressed in black. These days, our digital lives have complicated that confrontation. In a world where stories of hackers, deep fakes, and police corruption flood the headlines, who can truly be trusted?
In a film where nothing is certain, Kennebeck’s balanced direction is welcomed. Pains are taken to give equal air time to protagonists on each side of the conflict, to keep the viewer in check. I naturally found myself empathizing with DeHart’s family early in the film. In the immediate next scene, the camera lingers on the variety of medals on Detective Brett Kniss’ walls – as if to say, “You don’t want to believe this guy? He’s an Eagle Scout!”
Till Death is a creative story about abuse, control, and reclaiming your voice. The film stars Megan Fox as Emma. She has been held emotionally captive by her abusive and powerful husband for 11 years. Their marital turmoil reaches new heights when a weekend getaway develops into physical captivity, with a side of heist and murder. Fox is great. The small moments of both recoil and challenge establish their dynamic, making for an uncomfortable watch. The physicality of this role is only half the battle. You cannot help but watch and yell at the screen alongside her. I think, “Son of a bitch!” came out of my mouth a lot. If I can be picky for a moment, I don’t think Fox’s character is given enough time to transition from submissive to badass, but that doesn’t lessen how enjoyable Till Death ultimately is. She gives a visceral performance.
It’s a harrowing script. The tension is constantly being ratcheted up. I was not expecting such a cat and mouse game when it first began. It’s the ingenuity that grabs you. I was genuinely surprised by Jason Carvey‘s screenplay. It’s undeniably clever, gruesome, infuriating, and fun. Till Death is essentially the worst anniversary scavenger hunt ever. (Which is actually the best compliment.)
Violet toils away curating her smaller comedy show all while taking the abuse of her boss, Bob. Taking back control is the name of the game, but things get a bit messy along the way. Bob Devore, whose name (I’m assuming) is intentionally close to the word “devour,” is the accomplished late-night figurehead on the comedy scene in L.A. He’s a real monster of a boss. No, like, he’s an actual monster. Under his thumb and in the shadow of his longstanding career, Violet longs to cut ties and make her own way. When love unexpectedly arrives, she must navigate everyone’s appetite for success and take matters into her own hands.
Take Me Somewhere Nice
Romania’s hit film Two Lottery Tickets is the most enjoyable buffoonery you can think of. In his second feature, writer/director Paul Negoescu takes a story from writer Ion Luca Caragiale and sends us on a €6 million fool’s errand. Local pushover Dinel’s wife fled to Italy with her boss two years ago. He is depressed and going broke trying to raise enough money to bring her back home. Drinking buddy Sile, a womanizing gambler, convinces him to spend his last few euros on a lotto ticket. Against all logic, Dinel’s idiotic chosen numbers end up being the winner. After two thugs steal his bum bag with the ticket inside, Dinel, Sile, and local conspiracy theorist Pompiliu must follow the clues by annoying neighbors, evading the police, and generally being ridiculous. It’s the sincerity of these three men simply being themselves that makes Two Lottery Tickets both loveable and hilarious. Actors Dorian Boguță, Dragoș Bucur, and Alexandru Papadopol all deliver lines in a way that makes you smirk and cringe. This is a film that has such comic ease to it. Once in a while, you come across a film that is like a cinematic hygge (because that’s a thing I just made up but you totally know what I mean, so whatever). Two Lottery Tickets has all the makings of that film you want to tell your friends about. Negoescu and cast have given viewers such relatable characters. In fact, if you watch it in a group setting, someone in the room is probably a Dinel, a Sile, or a Pompiliu. It is truly that delightful.
Wendell is an ex-con whose parole officer enjoys berating him over the phone. When a new handyman job brings him to the door of Suzanne, a quirky woman with dementia, he’s in for more than unclogging her pipes. The set-up gets weirder and weirder. Secrets and lies live in this house, but not for long. Wendell’s path to freedom is dean on arrival. Do not get comfortable for a single minute of Dementia Part II.
Graham Skipper plays such an asshole. It’s incredible to watch. Najarra Townsend, who was phenomenal in 
Shout out to Matt Mercer and Mike Testin for normalizing a runtime of 1 hour and 5 minutes. Good storytelling doesn’t need to be overstuffed with unnecessary nonsense. The dark comedy of Dementia Part II mixed with the very serious underlying mental health issues makes this film ripe for midnight screenings. I can already hear the audience yelling out Wendell’s many alternative names, making lewd gestures with pipes, and throwing $100 bills at the screen. You cannot go wrong with its vomit-inducing practical fx and outstanding performances from the entire cast.
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