LOST ON A MOUNTAIN IN MAINE
Based on the harrowing true story and book of the same name, Andrew Boodhoo Kightlinger’s Lost on a Mountain in Maine follows 12-year-old Donn Fedler‘s nine-day journey lost in the wilderness. When a father-son hike goes awry, Donn must fight to survive. 
The film opens with archival footage of one of the 1939 searchers as he describes the danger of the terrain. More interviews interspersed throughout the narrative, with Donn’s childhood friend and brother Ryan, reinvigorate your emotional investment. Idan Menin‘s cinematography, Andrew Drazek‘s editing, and Garth Stevenson‘s truly affecting score come together beautifully.
Caitlin Fitzgerald delivers a lovely performance as Ruth Fedler. She captures that mother-child bond perfectly. Ruth’s relentless efforts to find help are inspiring, and Fitzgerald nails her calm ferocity. Paul Sparks, who I loved as gangster Mickey Doyle in Boardwalk Empire, plays Don Sr. with a much-needed complexity. Fitzgerald and Sparks have a genuinely sweet chemistry. 
Luke David Blumm is outstanding as our lead, Donn. He is spirited and charming, effortlessly filling the frame with each fully fleshed-out beat. He’s a star.
Lost on a Mountain in Maine is a solid family film highlighting not only Donn’s extraordinary story but masculinity, fatherhood, childhood, and marriage in a timeless fashion. I can see this becoming a fantastic learning tool for The Scouts. Lost on a Mountain in Maine is a tale of perseverance and faith whose final moments are heartwarming and celebratory.
LOST ON A MOUNTAIN IN MAINE Trailer:
A Moving and Inspiring Family Adventure Film From Producer Sylvester Stallone
In Theaters Nationwide This Friday,
November 1st!
World Premiere – 2024 Maine International Film Festival
Directed by: Andrew Boodhoo Kightlinger
Written by: Luke Paradise
Produced by: Sylvester Stallone, Braden Aftergood, Dick Boyce, Ryan B. Cook
Starring:
Luke David Blumm (“The Watcher”)
Paul Sparks (“House of Cards”)
Caitlin FitzGerald (The Trial of the Chicago 7, “Succession”)
Griffin Wallace Henkel (Armageddon Time)
Ethan Slater (Universal’s upcoming Wicked)
Based on the book by the same name, the film tells the inspiring story of a 12-year-old boy, who, separated from his family by a fast moving storm, must fight to stay alive during his nine-day adventure lost in the backwoods of Maine.
For more films based on true stories, click here!
CELLAR DOOR
The set is marvelous. Wood-paneled rooms mixed with modern updates, a sprawling terrace, and an exterior straight out of Great Expectations, the audience falls in love with the house at first glance.
THE HOUSE FROM
The editing is clever. For example, one former owner of Jesse’s house in Breaking Bad house was a teacher, so Avallone cuts to scenes of Walter White in his chemistry classroom. She was able to buy her son his first car from the profits of filming. On the opposite end of the spectrum, the current owner of Walter White’s house aggressively hates tourists.
THE HOUSE FROM counters this negative fan experience with the owner of The Goonies‘ home. Susan Preston got a bad rap. This redemptive story is authentically heartwarming. Bushnell Ave, in South Pasadena, is the ultimate film fan’s dream. From Back to the Future to Old School, it boasts several famous houses, and the owners love the fans. The Rubio House in Altadena is iconic. I lost track of the number of films and television shows listed by the owner, Liz. Ethan Embry visits the house, and his excitement and nostalgia are infectious.
The doc also uses TikTok and other social media clips of fan visits. The behind-the-scenes footage from Home Alone takes the cake. The lovely neighbors across the street took camcorder video from their front yard during the 1990 production, and it is a coup for Gen X and Millennials.
2. The varying visual aspects are so cool, from the black and white to the halo effect. Those specificities keep the audience relatively grounded in Jack’s chaotic “space and time.” What did this storyboarding look like? With all the elements involved, I imagine it was a huge wall or an entire room.
4. Can you tell us about casting Kelly Marie, Chris, and Jack? Their chemistry is magic. Did you let them play with dialogue during the shoot?
5. The set is incredible. As a theatre nerd, it was immersive enough for the imagination to fill in the blanks and for the cast to play on. How did you decide on a unit set?
6. Would you and Nik consider a franchise with new characters? I would be the first person watching the interactions of other people’s minds swirling with what-ifs!
THE COMPLEX FORMS
A sweeping opening shot accompanied by Riccardo Amorese‘s booming cinematic score immediately grabs your attention. The location is exquisite, with sprawling grounds and old-world villa architecture. THE COMPLEX FORMS is visually spectacular at every turn. Our mysterious entities remind me of the darkest Jim Henson creatures and Moana’s villainous crab, Tamatoa.
David Richard White gives leading man Christian an intriguing mix of fear and determination. Aided by D’Orta’s sharp cinematography, White compels you to root for him.
GHOST GAME
I have mad love for 
As an Autism Parent, Vienna Maas does a lovely job portraying Sam, a child on the spectrum. Writer Adam Cesare handles it with such care. I genuinely appreciated both the delicate touch and the representation, so cheers.
Aidan Hughes is hands down one of the best players in this ensemble. His chameleon shifting is bone-chilling. Kia Dorsey gives Laura a fearless passion. She begs your attention in the morally grey area she exists in. She effortlessly leads this large cast, and I look forward to whatever comes next. Casting directors, get your eyes on her ASAP.
Based on the 1957 stage play The Kitchen by Arnold Wesker, filmmaker Alonso Ruizpalacios brings LA COCINA to the big screen. This exquisite drama follows the staff at a restaurant in Times Square and the coordinated (and uncoordinated) chaos behind the scenes. It is a beautiful character study that will punch you in the gut.
SYNOPSIS: It’s the lunch rush at The Grill in Manhattan, and money has gone missing from the till. All the undocumented cooks are being investigated, and Pedro (Briones) is the prime suspect. He’s a dreamer and a troublemaker, and in love with Julia (Mara), an American waitress who cannot commit to a relationship. Rashid, The Grill´s owner, has promised to help Pedro with his papers so he can “become legal”. But a shocking revelation about Julia compels Pedro to spiral into an act that will stop the production line of one of the city’s busiest kitchens once and for all.
THE LINE
The script never shies away from the cringiest of frat behavior. Don’t feel bad for your repeated eye rolls. The soundtrack is perfect for 2014.
Austin Abrams gives pledge O’Brien a much-needed vulnerability within the hyper-toxic masculinity but also counters with his own brand of hideous aggression. Much like Tom’s, his facade is more nuanced than at first glance. Abrams is great as he challenges the system. Bo Mitchell plays Tom’s roommate Mitch Miller with an infectious exuberance. He’s a hurt kid who overcompensates for not fitting in. Mitchell is spectacular.
Alex Wolff instantly became a legend in Hereditary. As Tom, he plays both sides of the card. Tom is a genuinely good person and a weak sheep, and Wolff pulls it off effortlessly by digging into Tom’s unresolved trauma. He delivers an emotional rollercoaster for the audience.
THE LINE has an authenticity that is infuriating, which is a compliment. It touches on privilege in a marvelously slick manner. The film boasts a finale that is nothing short of perfect. THE LINE is a film that every parent should watch and something every frat brother should acknowledge.
Stories from staff, families, and residents tell tales of daily transgressions that build over time, ranging from laundry, food choice, incontinence care, medication changes, falls, and worker burnout due to understaffing. The film utilizes beautiful, childlike drawings as transitions and storytelling devices. Cell phone videos of neglect will break your heart. Photos of resulting abuse may take your breath away.
Then COVID-19 and 2020 made things so much worse. Once their failures are exposed, the government protects nursing homes from lawsuits sighting the pandemic and loss of workers. In each case, once regulations appear, they apply only to staff and never to the corporations behind the individual homes. These workers are the essential piece of the puzzle between a new standard of care and honoring their relentless efforts to do the right thing. The film delves into racism, the reductive overview of the profession, the label “women’s work,” and how simple changes would make all the difference.
The corporate lawyers use vile tactics to diminish their role, often attacking the family members with shaming language. Melissa explains this by giving her clients mock cross-examination examples to emotionally prepare them for what is coming in litigation. Another way they try to determine litigation is to delay and then drown Melissa and her team in documents. By giving her the runaround, they hope she will give up. They don’t know Melissa Miller.
The personal connections between legislation and privatization will shock no one. STOLEN TIME lays it out for you. The systemic failure, profit over people, no regulatory oversight, long-term residents are unnecessarily suffering. STOLEN TIME is about accountability and justice. The goal is an overhaul of the system. When we say long-term care, the keyword should still be “Care.”
TEACUP
Ep 1: Think About the Bubbles
BAD GENIUS
What begins as a favor to one morphs into a financial opportunity for Lynn. Using her staggering math skills, Lynn initially creates a secret code to pass test answers to a small group of acquaintances. As the scheme grows, so does the danger. The stakes get even higher when the SATs come around. Lynn must recruit help from the only other student needing tuition funds. A borderline insane plan comes with a price tag bigger than any dollar amount.
This cast is fantastic. Benedict Wong plays Lynn’s hardworking widower father. He is a lovely addition to the film. Performances from Jabari Banks and Callina Liang are the anchors. Banks delivers vulnerable energy that perfectly mirrors his character’s backstory. Liang effortlessly leads, giving Lynn a slick confidence from start to finish. Focusing on a whip-smart female lead is a winning strategy.
The script begs the broader question, “Why should three hours on a Saturday morning determine the rest of our lives?” In a system that is entirely rigged by and for the wealthy, why not beat them at their own game? Some systems deserve to break. BAD GENIUS will captivate audiences who have testing PTSD and parents who know it’s coming for their kids. It boasts a deliciously satisfying finale. Tens across the board. A must-see.
FALLING STARS
There is a reminiscent feeling in FALLING STARS, some that reminds me of 80s classics like The Gate and The Lost Boys, with the glow of red dashboard hues, flashlights, and the moon being the dominant lighting sources. The cinematography by Bienczycki has an intimacy to it. Karpala’s screenplay is just downright cool. It is genuinely refreshing to witness masculinity based on regret and an apologetic undertone.
J. Aaron Boykin is the mainstay of this film. As radio DJ Barry, he opens the film and acts as a narrative conduit for Mike’s panic. Andrew Gabriel is Sal, the middle brother. His caring nature and fixer attitude beg your attention. Shaun Duke Jr. gives Mike a tentative bravery and a strong sense of responsibility. He is the protector, for better or for worse.
In the first two minutes, the most skin-crawling aspect of this short is not the horrifically laid out crime scenes but the images conjured in our imagination of the people involved. Cinematographer Emily Tapanes forces you into the ick.
Special FX by Michael Dinetz’s Haunted Dreams Effects Studio are gagworthy. The use of the T-Bones song, “No Matter What Shape (Your Stomach’s In),” is particularly unhinged and most certainly genius. STOMACH IT is the physical manifestation and subsequent consequences of trauma monsters. Peter Klausner has a sick mind, and as a genre fan, I’m here for it.
Saoirse Ronan narrates the constant temptation in scientific terms while scenes of alcoholic behavior play against her words. Rona’s work in rehab is beautifully juxtaposed with her nature work in Orkney. This narrative device becomes a repeated reprieve from her reality. It feels poetic.
Saoirse Ronan is spectacular, delivering a raw portrait of a fractured and flawed woman. Rona is incredibly lonely, seeking genuine human connection. When drunk, she is emotionally abusive. Saoirse explores every facet of sickness and redemption. It is a nuanced turn. Give her an Oscar already.
The entire cast nails each beat. Kelly Marie Tran oozes charm as Mia. She is so watchable and gives Mia a genuine heart. Chris W. Smith delivers honest best-friend vibes. He’s got that sitcom aura in the best way possible. Jack De Sena is spectacular, running through the emotional gambit. He reminds me of Jack Black, with a loveable quality that draws you in. Discovering that Smith is De Sena’s comedy partner in their popular sketch comedy channel Chris and Jack and now the world makes more sense.
The script is whip-smart. It is a ping-pong match of wits between best friends through self-doubt, anxiety, and depression. The film is a dizzying whirlwind of meta-purgatory, tackling the incredible nuance in relationships and the importance of communication. It’s about owning your shit. Me, Myself, & the Void is one of the best indie gems of the year.
GIRL INTERNET SHOW: A KATI KELLI MIXTAPE
Kelli is a star. She has that sardonic wit you see in Aubrey Plaza. Frankly, if you told me they were blood relatives, I would accept that as fact. Also, it’s impossible to ignore how stunning she is.
The film ends with Kati’s short film, finished three days before her passing. The subject is both ironic and eerie. Going in with the understanding that Kati is no longer with us weighs heavy in the back of your mind. Knowing what a massive star she was and how much bigger she could have been leaves a sting, but GIRL INTERNET SHOW: A Kati Kelli Mixtape celebrates an artist in all her magnificence. It’s an unforgettable film. Kelli lives forever, an eternal celluloid angel. She flies.
Danielle Octavien plays Tara’s best friend, Helen. She is incredibly natural, and I enjoyed every minute of her screen time. Georgie is the most intriguing character. Andrew Diego‘s commitment to the character’s PTSD and/or neurodivergence is applause-worthy, even if writer Patricia V. Davis writes him as a borderline offensive stereotype.
Johnny is toxic as hell. Joshua Malekos gives audiences an extremely unlikable and manipulative character. He is a gaslighting master, and I wanted nothing more than for him to find a tragic end, regardless of his backstory. Tara Nichol Caldwell is perfectly passable as Tara. Unfortunately, the script does nothing for her, leaving a mediocre and likely forgettable turn.
The script never hides Johnny’s shady leanings. Having masks appear everywhere ends up coming off as hokey. The costumes also make little sense in specific scenes. Honestly, the fact that Tara sticks around is utterly preposterous. The amount of tropes all smashed together makes for a messy finished product. LYVIA’S HOUSE ends up being an overly long, frustrating watch.
Two surprising performances will blow you away, but I won’t spoil that with specifics. I will only say that Norma Flores and Horacio Lazo give us everything they’ve got. Our three young brothers are magnificent. Mateo Ortega Casillas gives Benny the right amount of innocence and rebellion. Leonardo Cervantes delivers vulnerability and compassion as Oliver. Farid Escalante Correa gives Salvador a perfect mix of resentment and raging hormones. Together, they warm and break your heart.
HAYRIDE TO HELL
The cast delivers solid Hallmark energy, and that is a total compliment. The dialogue is laugh-out-loud hilarious the entire run. The script solidly shifts into the horror realm halfway through, and you easily root for our band of heroes turned vengeful villains.
Bill Moseley gives Sam an equal parts sweet and sarcastic edge. The more agitated he becomes, the funnier he gets. Moseley is a legend, and he must be protected at all costs. 
HAYRIDE TO HELL is homegrown horror at its finest. Featuring some of the genre’s greats doing what they do best, fans cannot help but be enchanted by the Halloween fun and clever kills. It’s a beautiful marriage of everything that makes the season fun. HAYRIDE TO HELL is the perfect film to watch on a chilly Autumn afternoon with some homemade cider and popcorn in hand.
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