HOUSE OF SCREAMING GLASS
After inheriting an old schoolhouse, Elizabeth begins to lose time and experience visions of evil in her isolation and exploration of her familial connections.
Success lies within the use of a go-pro and the out-of-focus visuals. The set might be some artist commune or quirky AirBnB listing. It delivers jewel-toned decor choices and creepy corners, echoing loneliness. Elizabeth discovers a trunk filled with dark objects, including a book with sketches right out of Guillermo del Toro’s imagination.
Lani Call gives Elizabeth a dour and macabre personality. Bravo for her commitment to the role. The screenplay from director Richard R. Williams, Costanza Bongiorni, and Tom Jolliffe does not give her a moment of ease. HOUSE OF SCREAMING GLASS is a one-woman show that gets weirder and grosser by the minute.
The film opens with a gruesome shot, transitioning to the world’s slowest upward pan. The pacing, while artistically intentional, remains an issue. Call’s narration deserved a pop shield in front of her microphone. Elizabeth makes questionable choices that defy logic as she plunges into her dark legacy. No doubt the practical FX team will make you gag as her physical appearance rapidly deteriorates. The film is out there. What’s good is great, but HOUSE OF SCREAMING GLASS ultimately suffers from the length.
This otherworldly thriller arrives on VOD and DVD on May 21st
Directed and co-written by Williams (RUST BELT DRILLER) with a script co-authored by Costanza Bongiorni and Tom Jolliffe, HOUSE OF SCREAMING GLASS stars Lani Call.
Elizabeth Cadosia has lived a life of isolation under the shadow of her mentally fractured mother. On the day her mother dies, Elizabeth receives an unexpected inheritance—a timeworn schoolhouse from her grandmother—whom she has never met. Within the schoolhouse, Elizabeth finds herself entwined in a tapestry of unsettling visions and harrowing nightmares.
An incredibly surreal, ultra-low budget experiment in minimalist horror – inspired by classic horror, witchcraft legends, the Cthulhu mythos, and Tarkovsky and Antonioni’s “slow cinema” – the film was made by a very small group of close friends and is anchored by a powerful performance from actor Lani Call.
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Nowadays, if you can find an operating mall, you might still come across an AS SEEN ON TV store. A small display remains at Bed, Bath, and Beyond locations. Back in the 1950s, Atlantic City was the hub of Pitchmen. Future American celebrities like Ed McMahon, of Star Search fame, began on the boardwalk. 
Between local television spots and fairgrounds, pitching products was (and still is) a lucrative career. Only the best survive and put bundles of cash in their pockets. In a world of MLMs, this intimate energy exchange is the oldest truck in the book, and it works. The modern version comes in the form of TikTok influencers, but those 10-30-second uploads have nothing on the original masters.
Nikolaj Coster-Waldau is, to no one’s surprise, spectacular. My introduction to his work began with Game of Thrones. Even thirty years ago, he possessed a magnetic presence on screen. 
NIGHTWATCH taps into classic fears and creates authentic dread from beginning to end. A premise stemming from toxic masculinity gets a perfect foil in its horror element. Bornedal’s dialogue is particularly meta, no doubt inducing a smirk from the audience more than once. 
The film is a genre-bender. When you think you know what’s happening, the plot twists again. Bornedal’s sequel, 30 years in the making, has a lot to live up to. The Shudder Original 
The film starts with a bang. Bravo to Casper Kjær Jensen for one hell of a performance. Nikolaj Coster-Waldau returns as Martin. We now know he and Kalinka married and had a daughter named Emma. After Kalinka’s suicide, Martin is distraught. Emma discovers the newspaper clippings about her parents’ traumatic ordeal. Seeking answers, she takes her father’s old job on night watch. 
Kim Bodnia is the same thoughtless jackass settling right back into the role of Jens. The character’s development feels darker and more insensitive than before, but Bodnia’s chemistry with Nikolaj Coster-Waldau is still dazzling. 
Ole Bornedal makes the sequel a true family affair. His daughter, Fanny Bornedal, plays Emma. She is a pro. Ole gives her characteristics of Martin and Kalinka. Emma is a bold, bright, and fearless medical forensics student. Fanny commands each frame. She’s a star. 
The effervescent joy of being in the room fully translates from the screen. You’ll find yourself smiling until it hurts. LAUGH PROUD features multigenerational comics. The sets range from serious to hysterical. Many comics discuss childhood trauma, coming-out stories, dating, technology, patriarchal structure, aging, and everything in between. A loving and supportive energy is beaming between the performer and the audience. It is an inviting and celebratory special.
Corrine Britti gives Psychic Claire a great quirkiness. Schrack and co-writer Jordan Friedber‘s screenplay allows her to play a dual role. Her commitment is applause-worthy. Andrew Roth does a fantastic job at filling the screen with his presence. His optimism and generally ridiculous “always be selling” persona keep the film in the horror comedy subgenre. Once again, Friedberg and Schrack mix it up in the final act so Roth can show off his acting chops. 
The soundtrack is fun. A handful of sharp jump scares had my heart racing. I wish Schrack and Friedberg had leaned into Mason’s unresolved trauma earlier in the film. That emotional pull hits another level, heightening the dark threats, but I respect them for introducing a redemption arc. While the pacing is uneven, the visuals and sound editing are phenomenal. Essentially, what is good is extremely good. FOR SALE ends with one final genuine gafaw.
Founded in 2004, Big Beach is a Los Angeles-based
THE LAST STOP IN YUMA COUNTY
Jim Cummings proves once again that his high-strung straight guy routine is gold. His eye for unique projects as an executive producer remains top-notch. His entire look, down to his Archie comic red hair, is perfection for The Knife Salesman. (Yes, that is his actual character’s title).
Jocelin Donahue brings authenticity to small-town waitress Charlotte. She is so watchable. Sierra McCormick (We Need To Do Something) is a delight as aspiring bank robber Sybil. She’s another bright spot in this wild ensemble cast. 
Faizon 
Richard Brake
BLOOD FOR DUST
Years after some shady dealings haunt a group of business associates, Cliff tries to provide for what’s left of his family. As a floundering traveling salesman, his past finally catches up, forcing his hand into a new scheme with an old friend.
Scoot McNairy gives Cliff a palpable desperation and a fearlessness that captivates. He does not flinch. McNairy effortlessly carries the entire film. Kit Harington is unrecognizable as Ricky. His ultra-toxic masculinity drips off the screen. His physical and vocal work are unreal. His deliciously standoffish chemistry with Scoot McNairy makes the film.
This crime drama brings fantastic performances and a well-developed script. Cliff’s character has baggage and secrets that fuel his ultimate motivation. The slow-burn thriller pays off in spades with an explosive finale. Keep your friends close and your enemies closer. BLOOD FOR DUST challenges your idea of both. An unexpected story of redemption, it is a solid genre entry. Slow clap for the last frame.
The fragility of Jeanne’s station and extraordinary influence are beautifully nurtured by Lavernhe’s continuous narration.
Benjamin Lavernhe delivers an unforgettable performance as La Borde. He is Jeanne’s guide to life at court and the only entirely human interaction anyone encounters. Lavernhe is the emotional stronghold of the film. 
Maïwenn gives Jeanne a ceaselessly passionate and curious air. Her gentle elegance and care for her fellow actors beam off the screen. She is nothing less than captivating. Depp and Maïwenn’s chemistry is off the charts. She and Lavernhe take your breath away.
One of the most surprising aspects of dementia is the unfiltered confessions of an exhausted brain. Kathy is an open book, always willing to share her innermost thoughts with Max on camera. Max is an angel in her presence. His unconditional love and relentless patience are the things we can only hope to instill in our children. And because he is the primary caretaker, he must suffer the brunt of Kathy’s sporadic disdain. 
Delving into the science behind the rise and cause of Alzheimer’s is fascinating. Food is a 
DIRECTED BY CAITLIN CRONENBERG
In Caitlin Cronenberg‘s HUMANE, 
Alanna Bale is an aspiring actress and the youngest family member, Ashley. Her selfishness and loose lips cause nothing but chaos. Sebastian Chacon plays Noah York, adopted son, recovering alcoholic, and piano prodigy. Chacon is sensational, bringing a humanity that stands out among the ensemble cast.
Emily Hampshire, whose film cred has exploded since the Schitt’s Creek finale, is the eldest York daughter, Rachel. She is abrasive, unfiltered, and fearless. Hampshire owns every moment of screen time. 
The set is stunning, a stone mansion with deep jewel-toned walls and carved mahogany. The use of solar-lined umbrellas in the brief periods exposed to the sun and the implementation of solar film on the windows make a massive impact. The characters each comment on the ingredients their stepmother has procured, suggesting the food chain has affected every socioeconomic corner. It is all very carefully curated, and undeniably brilliant. 
Director Jennifer Takaki includes sweet animation sporadically playing under Corky’s narration. The film mixes personal footage and stills from Corky, the camera always in hand on the streets of Chinatown, old news interviews, and scenes of his relentless kindness towards the younger generation of aspiring photographers. 
PHOTOGRAPHIC JUSTICE: THE CORKY LEE STORY comes at a time in American history when Asian hate crime continues its uptick. Logging the cyclical violence and ignorance of the general population is vital to understanding the importance of the film. 
PRATFALL
Filmmaker Alex Andre captures an unusual connection between two strangers. PRATFALL walks a highwire of intimacy, trust, and confession. It’s a powerfully human story through the lens of two culturally diverse individuals. 
Filmed predominantly on the Upper West Side (trust a local gal to recognize every street corner in the opening scene), moving its way east, then south through midtown and back, the hand-held cinematography lends to the intimacy and claustrophobia of Eli and Joelle’s inner turmoil. The classical score lulls you during the long follow shots. The upbeat soundtrack is a fantastic foil. 
Move Me No Mountain
Written, directed, edited, and shot by Deborah Richards, Indie Vegas Film Festival 2024 selection MOVE ME NO MOUNTAINS is a dark meditation on grief and healing. 
The script dives headfirst into the plight of the unhoused from every perspective, giving us a wide range of backstories in the characters Jenna crosses paths with. The film’s premiere comes at an auspicious moment in history as The Supreme Court has agreed to hear a complicated case that may make homelessness illegal. Richards handles the issue with the care and respect it deserves. 
The notion of invisible labor rears its ugly head around 15 minutes in, but it’s what happens 4 minutes later that is so horrific you won’t believe what you’re eyes are telling your brain. THE COFFEE TABLE pulls no punches. Its first brutal images are so disturbing you won’t know what to do next. With Maria dutifully shopping for her idiot husband, the audience can only wait with bated breath for her reaction and what Jesús plans to do next. Admittedly, his behavior will break you.
David Pareja gives Jesús a shockingly calm demeanor when forced to speak with the other cast members. It will, no doubt, upset the viewer tenfold. The lies flow out, and poor Maria continues to berate him without knowing a damn thing. His subsequent management of trauma drives the entire film.
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THE LONG GAME puts racism at the forefront of this sports story. There’s a push and pull between their Mexican-Ametican identity and belonging. Peña encourages the boys to fit in by acclimating to white culture. Even when the boys sneak across the border, the Mexican locals give them a hard time. Joe also battles the unresolved fear of his hyper-masculine father. His own biases stunt his emotional growth. The idea of acceptance, both self and socially, is the key to the narrative.
This ensemble cast is a hole-in-one. Cheech Marin delivers a funny, heartwarming performance as course groundskeeper and inside man Pollo. He is a wonderful addition. Dennis Quaid plays Frank Mitchell, Peña’s war buddy and the only white man in town willing to act as the face and assistant coach of the team. Quaid railroads fear by normalizing every moment. There is nothing “white savior” about his performance. He is charming.
Jay Hernandez gives a complex performance as conflicted JB. His trauma often overtakes his good intentions, but his arc catalyzes change. Hernandez effortlessly holds your attention. Countering JB’s outlook, Julian Works captivates as Joe. As he gains due confidence, Works gives the role an honest vulnerability. He has fierce chemistry with Hernandez.
The upbeat, nostalgic soundtrack elevates the family-friendly feel. Super 8 footage, beautifully shot and edited milestone montages, has the same effect. THE LONG GAME remains relevant in a world where many opinions of race haven’t changed since the story’s origin. This cheer-worthy film educates and inspires. It is the real deal.
Jermaine Fowler gives an unforgettable performance as Frank, the exterminator. All eyes are on him in every scene he shows up in. Noni Hazlehurst is loveable as Charlotte’s dementia-ridden grandmother. 
Ryan Corr gives Ethan a palpable charm in his mounting frustration. Charlotte’s stepfather, the building handyman by day and graphic artist by night, the epic snowstorm outside, the needy residents inside, and a giant ass, alien spider severely harsh his mellow. 
The film boasts a sometimes curious childlike score, an absurdly upbeat soundtrack, smart-looking opening credits, and an unmissable homage to Alien and Terminator. Our titular character is a creative wonder. Sting is something you have to see to appreciate. It is magnificent. Thank you, WĒTĀ Workshops. 
ALL YOU NEED IS DEATH
The script builds a vibrating anticipation. The audience has little information. Filmmaker Paul Duane slowly reveals our protagonists’ what, but the why remains a mystery. Based on dark Irish lore passed down through the maternal lineage and some ancient cursed story, the song drips with agony, even if the audience cannot initially understand a single word. All parties are consumed by its power the moment it is heard.
Only one character appears to coherently recall the film’s secretive canon, but only to a point. Rita’s son reveals the unspoken, generational seriousness of their circumstances. The drastic measures he takes to protect the legend are shocking. He must find Anna and her cohorts.
Quick visual and dialogue genre homages pop up from time to time. Horror fans will find a sly smirk spread across their lips while intently trying to figure out what the hell is going on. Cast members Simone Collins, Charlie Maher, Catherine Wiggins, and Nigel O’Neill are captivating. One performance in particular, while short-lived, is mesmerizing. 
Dupieux is a master of providing comedy within social commentary. As Yannick becomes more agitated, he reveals how out of touch he is with general society while simultaneously hurling offensive barbs at his captives. Equal parts hilarious and terrifying, all I could imagine as an actor and theatre patron was how I might escape such a scenario.
The honest laughs come when Dupieux leans fully into the meta satire in new dialogue written by Yannick. Filled with redundancies and mistakes, the audience in the theatre and at home belly laugh at the actors’ forced commitment.
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