Grimmfest (2021) capsule review: ‘Seagull’ captivates with deep trauma.

SEAGULL

After 8 years survival on a beach, Rose returns to her home town to settle unfinished business.


A portrait of mental health, gaslighting, and abuse, Seagull exposes one family’s dark secrets. The script is a slow-burn mystery with a creative, physical manifestation of grief and betrayal. Rose has exiled herself for eight years; her family disowned her. As the plot reveals itself, this dysfunctional family unit must confront its part. While I predicted the overall arc, this does not lessen the emotional impact of writer-director Peter Blach‘s choices. The best performances come from Gabrielle Sheppard as Rose and Adam Radcliffe as Geoff. Sheppard gives power to Rose. Her vulnerability and strength shine off the screen. With James Abbott and Blach’s script, Radcliffe is allowed to play the entire spectrum of emotions. He is terrifying. The cinematography by Rami Bartholdy is breathtaking. The film gets under your skin and lingers there. Seagull has an ending so satisfying, Grimmfest audiences will get their catharsis, and in true genre fashion.




Grimmfest (2021) review: ‘Night Drive’ shifts into an entirely new gear.

NIGHT DRIVE

A ride share driver’s life is turned upside down after an unexpected series of misfortunes.


Russel drives for Jaunt, an Uber-like app, shuttling people of all types all over L.A. After a young female passenger named Charlotte requests an added stop, Russel becomes caught up in a plot no one would see coming. This seemingly mundane premise spirals into shocking chaos that never ends. It’s an awesome commentary on how power changes the human soul. The chemistry between Sophie Dalah and AJ Bowen is electric. Their witty repartee and Charlotte’s penchant for danger keep the stakes and excitement high. With films like The Toll, Spree, and The Stranger, rideshare horror is an ever-expanding subgenre. Meghan Leon and Bradford Baruh share directing and producing credits. Baruh also plays the role of DP. Leon adds editor to her resume in addition to screenwriter. This script takes us on one wild ride. What feels like a set-up we’re getting used to becomes a (SPOILER ALERT) neo-noir sci-fi! It’s such an incredible payoff for an already tight 80 minutes. When are we going to normalize shorter runtimes with outstanding storytelling? Night Drive sets a strong precedent. Do I smell franchise potential? I could get revved up for that.



[Available October 16, 2021, 1:30 – 11:30 PM] Watch now online…


Grimmfest (2021) review: ‘The Free Fall’ lands a win with unexpected storytelling.

THE FREE FALL

Sara wakes from a coma to a life she doesn’t remember; a fragile, slippery reality that spirals into a nightmare where nothing is as it seems.


Boasting a bloody good opening, Adam Stillwell‘s The Free Fall is brimming with sinister intent. The set is a genre fan’s funhouse. During the title sequence, the camera explores the rooms with sweeping POV shots, placing the viewer on a haunting tour of the space. The house is vast, dark wood from ceiling to floor, art, and jewel-toned furnishings create both a warm and eerie feel. You know this house, and you anticipate evil in its halls.

Shawn Ashmore and Andrea Londo have a chemistry that remains at arm’s length. Londo plays Sarah with an overwhelming sense of anxiety shared openly with the audience. She commands with her innocence. Shawn Ashmore, as Nick, is cocksure and manipulative. There’s something off about his behavior. Ashmore makes you just as uncomfortable as Sarah. His commitment to the arc of Nick’s character is awesome.

Screenwriter Kent Harper‘s use of gaslighting and genre tropes keeps the audience guessing. You’ll need to understand what the hell is happening. There is a dinner party scene that has a cultish overtone. The transitions in this scene, score in particular, change the dynamic of the entire film. From that moment on, theories will wrack your brain. You will not see where this is going. When all is said and done, The Free Fall is a twisty mindfuck.



[Available October 16, 2021, 1:30 – 11:30 PM] Watch now online…


GRIMMFEST turns lucky 13 for this year’s hybrid addition. Here are some of the films we’re screaming about.

GRIMMFEST 2021

It’s no secret that the most buzz-worthy films come through only a handful of genre festivals. GRIMMFEST is on that shortlist. The festival turns a lucky 13 this year and it’s ready to rock audiences’ socks with a plethora of titles for every single viewer. After being completely virtual last year, a hybrid platform is back in action with a mix of in-person screenings from October 7th to 10th and online from October 14th to 17th. I can say that this year’s lineup is filled with everything from gore to absurdity, thrills to purest moments of wow. These are the films that will be on everyone’s lips. You can find out about tickets and schedules at https://grimmfest.com/

Do yourself a favor and mark your calendars now. There’s a lot to see.


THE BETA TEST

A Hollywood agent, engaged to be married in a few weeks, receives a mysterious letter inviting him for an anonymous sexual encounter and thus becomes ensnared in a sinister world of lying, infidelity, and digital data.

This genre-shattering film takes aim at Hollywood, toxic masculinity, horror, satire, all with co-writer-director Jim Cummings playing a sharp lead. His last film, The Wolf Of Snow Hollow, has a legit cult following now. Cummings has a distinct voice and I cannot wait to see if The Beta Test becomes another calling card on his resume.


THE RIGHTEOUS

A burdened man feels the wrath of a vengeful God after he and his wife are visited by a mysterious stranger…

There is something so striking about modern black & white cinematography. in The Righteous, writer-director Mark O’Brien also stars as the mysterious stranger in question. This horror film is filled with symbolism and will give any god-fearing viewer the vapers.


WHEN THE SCREAMING STARTS

When the Screaming Starts is a comedy-horror mockumentary about an inept, aspiring serial killer at the beginning of his “career” and a fledgling filmmaker willing to do anything to achieve his ambition.

A little bit of Vicious Fun meets Satanic Panic, I cannot wait to laugh and gag. Horror and comedy pair so well together and since everyone is a true-crime connoisseur who thinks they could commit the perfect murder, I am delighted to consume this one.


THE SPORE

The lives of ten strangers intersect through a terrifying chain of events as a mutating fungus begins to spread through a small town wiping out everyone that comes into contact with it.

Will this film be a little too close to home considering we’re still experiencing a global pandemic? I guess we’ll find out when we’re forced to look through the lens of writer-director D.M Cunningham.


HOTEL POSEIDON

Dave inherited the dingy and dilapidated Hotel Poseidon from his late father. He lives there and works as manager, and rarely seems to leave the place. The days and nights all bleed together. His existence is a hopeless one. When a young woman knocks at the hotel’s doors one night looking for a room, and his best friend shows up wanting to throw a party in the backroom, Dave’s world starts to spiral out of control, and his sense of reality starts to be shaken by recurring nightmares.

I have seen the title sequence for this film and it is hands down one of the coolest in all of cinematic history. I said what I said. If the rest of the film lives up to the initial visual, Hotel Poseidon will wow Grimmfest audiences.


ALONE WITH YOU

As a young woman painstakingly prepares a romantic homecoming for her girlfriend, their apartment begins to feel more like a tomb when voices, shadows, and hallucinations reveal a truth she has been unwilling to face.

Listen, you tell me Barbara Crampton is in a film and I’m watching it. Add on Emily Bennett who was fantastic in King Of Knives last year and I’m sold. Not only does she star, but she co-wrote and co-directed the film. Give me an all-female horror film every day of the year.



FULL VIRTUAL FESTIVAL LINE UP:

● FOR ROGER (Aaron Bartuska, USA)

● FATHER OF FLIES (Ben Charles-Edwards UK / USA)

● SLAPFACE (Jeremiah Kipp, USA)

● THE NIGHTS BELONG TO THE MONSTERS (Sebastian Perillo, Argentina)

● HAPPY TIMES (Michael Mayer, Israel / USA)

● NIGHT AT THE EAGLE INN (Erik Bloomquist, USA)

● VAL (Aaron Fradkin, USA, 77 min)

● THE SPORE (D.M. Cunningham, USA)

● THE PIZZAGATE MASSACRE (John Valley, USA)

● MOTHERLY (Craig David Wallace, Canada)

● SHOT IN THE DARK (Keene McRae, USA)

● NIGHT DRIVE (Brad Baruh, USA)

● MIDNIGHT (Oh-seung Kwon, South Korea)

● FACELESS (Marcel Sarmiento, USA)

● WE’RE ALL GOING TO THE WORLD’S FAIR (Jane Schoenbrun, USA)

● THE FREE FALL (Adam Stillwell, USA)

● ON THE THIRD DAY (Daniel de la Vega, Argentina)

● THE GUEST ROOM (Stefano Lodovichi, Italy)

● HOTEL POSEIDON (Stefan Lernous, Belgium)

● FORGIVENESS (Alex Kahuam, Mexico)

● TWO WITCHES (Pierre Tsigaridis, USA)

● KING KNIGHT (Richard Bates Jnr, USA)

● TARUMAMA / LLANTO MALDITO (Andres Beltran, Colombia)

● THE RIGHTEOUS (Mark O’Brien, Canada)


 

Passes and tickets can be purchased from www.grimmfest.com.

Review: ‘Life & Life’ is a thoroughly thought-provoking doc.

LIFE & LIFE

Synopsis:

NC Helkin’s LIFE & LIFE, which just won Best Documentary at the Brooklyn Film Festival, tracks the journey that musician Reggie Austin takes to redeem his life following a murder conviction 40 years ago. With surprising honesty and depth, the film looks at Austin’s effect on his fellow inmates at San Quentin and his efforts to reconnect with his family, as well as questioning parole and sentencing practices through his story. Ultimately, the film reveals the steep and dangerous hill ex-prisoners must climb upon release to free themselves and create a positive future. LIFE & LIFE is a story of the struggle for redemption and hope against near-impossible odds, accompanied by a soundtrack that comes straight from Austin’s heart.

Professional musician and convicted murderer. Two strikingly different resume items that Reggie Austin carries daily. In NC Helkin’s documentary Life & Life, after serving 35 years in prison for murder, Reggie Austin navigates life back on the outside. We watch his journey as he attempts to successfully balance work and the rebuilding of familial relationships. His grace is startling. His talent is undeniable. His advocacy is inspiring. The film consists of a genuinely effective combination of sit-down interviews, archival records, and Reggie’s musical stylings. Parole board transcripts give us a peek inside the complexities of releasing someone from prison. The editing of this particular section of the film deserves an award. It adds a dynamic and intentional rhythm.

But, Life & Life is not solely the story of one man. It’s a film that tackles the nuanced reach for systematic change within the prison industrial complex. It specifically addresses the “Three Strike Law” and its effects on so many still behind bars. It injects humanity into an oftentimes brushed aside section of the population. Reggie Austin is a success story. It’s not one we hear often, but I’m grateful we’re hearing it now. Life & Life is a lot of things. It’s frustrating, it’s joyful, and it’s artistic. It’s a lesson in compassion and redemption for not only Reggie but the audience as well.


NC Heikin’s Award-winning LIFE & LIFE

Screens at

2021 New Hope Film Festival (Philadelphia) JULY 30

Friday, July 30 at New Hope Arts Center (2A Stockton Ave.) Tickets are available at: https://www.goelevent.com/NewHopeFilmFestival/e/LifeLife.


Martha’s Vineyard African American Film Festival

Monday, August 9 at MV Performing Arts Center (100 Edgartown Vineyard Haven Road) Tickets available at: https://www.mvaaff.com/tickets/


NBFF 21 review: ‘TALIGATE’ is heart stopping terror.

TAILGATE

A cocksure, road-raging family man finds himself pursued and terrorized by the vengeful van driver he chooses to tailgate.

The villain in this film initially appears completely unassuming. That’s the bait and switch that is Tailgate. A simple premise of road rage produces one of the evilest monsters of all time. The level of fright this film provides will blow your mind. My palms were sweating, my heart pounding from start to finish. The terror is relentless. Performances are all top-notch. I give extra credit to our youngest cast members, Roosmarijn van der Hoek and Liz Vergeer. Their keen ability to keep up with the adults is outstanding.

Our very good friend Steve Kopian, from Unseen Films, pointed out an important device in Tailgate that heightens its entire concept. This story occurs entirely during the day. In fact, it essentially happens in real-time. But it’s the daylight factor that makes it the most sinister. Every atrocious act occurs both in broad daylight and before innumerable witnesses. It is baffling and infinitely exciting. Congratulations to writer-director Lodewijk Crijns. Tailgate is one of the best films at this year’s North Bend Film Festival, without a doubt.


Showings – select to order tickets:

NBFF 21 capsule review: Udo Kier leaves it all on the screen in ‘SWAN SONG’

SWAN SONG

SWAN SONG follows retired hairdresser and local bar performer icon Pat Pitsenbarger (Kier) who has given up on life from the confines of his small-town Sandusky, Ohio nursing home. But when Pat gets word that a former client’s dying wish was for him to style her final hairdo, he sets out on an epic journey across Sandusky to confront the ghosts of his past – and collect the beauty supplies necessary for the job. SWAN SONG is a comical and bittersweet journey about rediscovering oneself, and looking gorgeous while doing so.

Udo Kier is a cinematic treasure. In Swan Song, his specificity and nuance make this an unforgettable viewing experience. He is elegant, funny, and simply entrancing. Jennifer Coolidge gives her most understated performance yet.  As Patrick’s former apprentice hairdresser, she gives the audience a fantastic combination of disgruntled diva and grounded humanity. Her chemistry with Kier is vital. The script smartly delves into regret, spite, loss, and redemption. It’s genuinely hilarious and endlessly touching. The soundtrack is beautifully thought out. And no, YOU started crying when “Dancing On My Own” played. Swan Song is a literal walk down memory lane. Kier deserves the Oscar for this role. I’m starting his official campaign right here, right now.


  • Director: Todd Stephens
  • Screenwriter: Todd Stephens
  • Producer: Stephen Israel, Tim Kaltenecker, Todd Stephens, Rhet Topham
  • Executive Producer: Jay Michael Fraley, Rhet Topham
  • Cast: Udo Kier, Jennifer Coolidge, Linda Evans
  • Cinematographer: Jackson Warner Lewis
  • Editor: Spencer Schilly, Santiago Figueira W

Showings – select to order tickets:


 

Review: ‘Dachra’ takes a familiar formula and annihilates it.

DACHRA

An investigation into witchcraft leads a trio of journalism students to a mysterious town marked by sinister rituals. Inspired by true events.

Dachra‘s initial formula is similar to The Blair Witch Project. Soon going off the rails into something we’d never imagined experiencing. What sets this film apart is remarkable cinematography and ghastly twists and turns. The runtime is lengthy but necessary to place you inside the shoes and minds of our three protagonists. Being thrown into a new culture is oftentimes shocking and uncomfortable. Dachra takes discomfort to the next level. The script forces the viewer to endure a deranged and prolonged experience of hospitality. As the mystery grows, so too does the terror. So many questions swirl as the film progresses. This isn’t just one story. Dachra has franchise potential, with sequels and prequels possible.

Sometimes a film has the ability to sear an image into your brain. It’s rare when one film does it over and over.  Hatem Nechi‘s camerawork is both dizzying and hypnotic. The long takes are impressive and eerily effective. There is real movie magic in Dachra. I am scarred by some of the things I saw. Performances are nuanced and skin-crawling. The practical fx are gag-inducing. The fact that this is writer-director Abdelhamid Bouchnak‘s first film is mindblowing. This story is very carefully curated to scare the hell out of the audience.  It’s the perfect storm of horror and history.

Dachra | Dekanalog US Trailer from Dekanalog on Vimeo.

DACHRA opens in theatres and virtual cinemas nationwide on Friday, July 9th.

DACHRA is written and directed by Abdelhamid Bouchnak and stars Yasmine Dimassi, Aziz Jbali, Bilel Slatnia, Hela Ayed, Hedi Majri, Rahri Rahali.

Color
Arabic Language with English Subtitles
114 minutes
Not Rated

Review: ‘Chasing Childhood’ is essential viewing for parents and policymakers, alike.

CHASING CHILDHOOD

Overprotected and over directed, American children are wilting under the weight of well-meaning parents. In the pursuit of keeping them safe and creating an impressive resumé of extracurricular activities to wow admissions boards, over-parenting smothers children across socioeconomic classes. This thoughtful film follows education professionals and reformed helicopter parents who seek and offer solutions for developing more confident, independent young people while restoring some joy and freedom to childhood.

I grew up in Simsbury, Connecticut. Getting less than an “A” on an assignment my entire childhood was, shall we say, frowned upon. When I struggled with pre-Algebra in 7th grade, my parents got me a math tutor. I loathed it. To be clear, this was triggered because I had a “B+” grade point average. That pretty much sums up the pressure I felt to excel. I was in dance classes 5 days a week until I aged out of the studio, performing En Pointe at age 9 with girls 4+ years my senior. I was an overachiever born and, most definitely, bred. Once high school began, my anxiety hit new heights. Silently struggling with dyslexia, believing that my peers would hear the millisecond long pause when I had to read a date out loud was panic-inducing. Starring in every school play, managing boys Cross-Country & Track, maintaining a social life, and prepping for college were all-consuming. This was in the late 90s. That disquieting grew exponentially over the years. I used to be fearless, attending a performing arts conservatory in Manhattan, moving across the country to audition for Disneyland on a whim. But social pressure from my parents for not following the “traditional” educational path weighed on me like an elephant on my chest. I never felt like any of my success was enough. I’m 41 now, and that sense of inadequacy remains. Despite the incredible stories I have from living abroad, making movies, writing, teaching, creating a small business, the list is obnoxious, I have been trained to think I can be better.

Chasing Childhood is a film that could not have arrived at a better time. After the year we’ve had in lockdown, it’s time to confront some harsh realities. Chasing Childhood is tailor-made for parents, educators, and policymakers of every age. I have a 4 and 5-year-old living in an apartment we own on the Upper West Side of Manhattan. By all measures, life is great. What you don’t see is the aura of tension that surrounds the admissions process when applying to preschool. Now, we’re entering Kindergarten with my son. The questions of, “Where are you all applying?” have been swirling around me since he was 2. The idea that the school we picked for our 2-year-old would somehow determine what tax brackets my children would fall under in 20 years is exhausting. Filmmakers Margaret Munzer Loeb and Eden Wurmfeld clearly explain how we’re stifling kids. They are exhausted. This trend of micromanaging their futures kills their present joy. The doc talks to parents, teachers, experts, and kids about how we can change this negative trend. With stats about recess and play Vs. standardized testing will undoubtedly move your needle in terms of curriculum and quality of life. Wilton, Connecticut is featured quite heavily, alongside Patchogue, NY, and of course, Manhattan. Wilton is actually one of the towns we’ve considered in making our city exodus. The irony of how I stumbled upon Wilton should not be surprising. I googled, “Top School Districts in Connecticut.” Simsbury was always in the Top 5. I should have guessed that any town along what Connecticut calls “The Gold Coast” would be the other top districts. After watching, Wilton is looking better and better. What makes Chasing Childhood so successful is the film’s honesty. The interviews with every participant are authentic. The implementation of more play is key to a well-balanced life. The film is not preachy. It does not judge. It does explain how we’ve become wired this way. How seemingly small societal shifts went from ripples to tidal waves in policy and parenting. It’s nothing short of fascinating.

I have a greater understanding of my own parents now. We all want better for our kids. I try to keep this in mind when signing up my littles for activities. They are few and far between on purpose. Besides the logistical and monetary commitments involved, it’s because I vividly remember the years before high school. Playing outside until it got dark, riding my bike across town, exploring the woods, jumping off things that most definitely should have broken my bones. I retain the joy and excitement and calm from those moments. If nothing else, Chasing Childhood is a perfect reminder to stop, take a breath, and realize that success in life doesn’t come from the longest resume. It’s time and memories. Let’s step back and honor childhood. Let the kids be kids. Happiness comes first.

Virtual Live Premiere on June 24, 2021, and

Nationwide Watch Now @ Home Cinema Release on June 25, 2021

Directed by: Margaret Munzer Loeb, Eden Wurmfeld

Produced by: Lisa Eisenpresser, Eden Wurmfeld

FeaturingGenevieve Eason, Savannah Eason, Julie Lythcott-Haims, Peter Gray, Lenore Skenazy, Dr. Michael Hynes

 

World Premiere in the American Perspectives section at the 2020 DOC NYC Film Festival 

Official Selection of the 2020 Annapolis Film Festival

Official Selection of the 2021 Portland International Film Festival

Official Selection of the 2021 Cleveland International Film Festival

Official Selection of the 2021 Julien Dubuque International Film Festival

Official Selection of the 2021 Sonoma International Film Festival

Tribeca Festival 2021 Review and Interview: Director Nick Moran talks ‘Creation Stories’

CREATION STORIES

Creation Stories tells the unforgettable tale of infamous Creation Records label head Alan McGee; and of how one written-off young Glaswegian upstart rose to irrevocably change the face of British culture.

I was immediately charmed by director Nick Moran after congratulating him on Creation Stories. “Oh, Thank You! I was very concerned about whether it would work with American audiences, ya know because Trainspotting didn’t work as big as it did over here. And ya know, Lock, Stock, (and Two Smoking Barrels) didn’t work as big as it did over here. So I’m like, are they gonna get this sort of Brit Pop-tastic film. And I’m really excited that everyone I’ve spoken to has really, really liked the film.” I assured him that any cinephile in the US knows what those Trainspotting and Lock, Stock are. I was hard-pressed to find a wall in college without one or both of those posters plastered on them. It was a cultural phenomenon in the late 90s. These films opened the minds of countless fans and future filmmakers.

Creation Stories is of a similar ilk. The film’s pace is like a runaway freight train, easily identifying itself as an Irvine Welsh script. In an early scene, young Allen discovers the Sex Pistols. There is joyous, visceral energy to the editing. Moran was the perfect choice for director. After having spoken with him, it all makes even more sense now. This matches Nick’s personal energy. The entire viewing experience of Creation Stories brought me back to when I was in high school and got riled up on the way to live shows or just listening to bands like Oasis. Having to wait in front of the radio for a song to play, that buzzy anticipation isn’t something today’s generation experiences.

Allen McGee was a hustler and a dreamer. But also an addict. His vices were drugs and alcohol, but also risk. His innate ability to take risks on bands changed the face of music. His influence reached beyond the music industry. McGee had his hands in more than the music scene. His stories are so wild you’d almost believe that they were total BS. Ewen Bremner nails this role. He captures Allen McGee‘s dizzying aura. Allen went from a kid excited about music to establishing an inspired empire. Bremner leaves it all on the screen surrounded by a cast of brilliant players like Jason Isaacs, Suki Waterhouse, Leo Flanagan, and many more, including a brief but memorable appearance from Nick Moran as Malcolm McLaren. The way Moran harnesses Welsh and Dean Cavanagh‘s script melds so well with the era. Bringing on Danny Boyle solidified the film version. The drugs, the parties, the hair, and clothing. The entire look of the film has the impression of what I imagine a really great acid trip feels like. It’s a whirlwind. I cannot begin to imagine what was shot and not used! I would not be mad at an eventual director’s cut version.

Let’s talk about the music. The soundtrack is nothing short of a hit. Combining tracks from The Jesus and Mary Chain, David Bowie, Sex Pistols, and yes, Oasis, Moran explains how he chose what would be featured in the film. “It wasn’t much of a learning curve for me, It was more of a case of going through the record collection I’ve already got, brushing the dust off a few of them, and going, ‘Well, what about this?’ ” He perfectly sums up Creation Stories by saying, “If you don’t know that music, then it’s a great discovery!” It’s a celebratory history lesson in a way.

You can watch Creation Stories through Tribeca At Home beginning tonight. Check out the trailer for a taste of what’s to come.

Available Starting

Wed June 16 – 8:00 PM

At Home

$15

Streaming Tribeca at Home is not available outside the USA

Purchased films remain available to stream on-demand from the above date through June 23

 

Tribeca Festival 2021 review: ‘P.S. Burn This Letter Please’ is a joyous history lesson.

P.S. Burn This Letter Please

A box of letters, held in secret for nearly 60 years, ignites a 5-year exploration into a part of LGBT history that has never been told. The letters, written in the 1950s by a group of New York City drag queens, open a window into a forgotten world where being yourself meant breaking the law and where the penalties for “masquerading” as a woman were swift and severe. Using original interviews, never-before-seen archival footage and photographs and stylized recreations, P.S. BURN THIS LETTER PLEASE reconstructs this pre-Stonewall era as Lennie, Robbie, George, Michael, Jim, Henry, Claude, Tish, and Terry—former drag queens now in their 80s and 90s—reveal how they survived and somehow flourished at a time when drag queens were both revered and reviled, even within the gay community. The government sought to destroy them, then history tried to erase them, now they get to tell their story for the first time.

There’s something both nostalgic and tangible about handwritten letters. With technology at our fingertips, they are few and far between and nearly nonexistent to certain generations. In P. S. Burn This Letter Please, a box of letters from the 50s chronicles the lives of a small LGBTQ circle of friends. Through sit-down interviews with the authors, immaculate archival footage and photos, we delve into history. This documentary is phenomenally compelling. If it doesn’t make you grin from ear to ear, you’re out of your mind.

Happiness isn’t the only reaction this film elicits. It is a lesson in oppression, one that sounds all too familiar. We hear about biological family dynamics, the difference between those who accepted and those who broke these beautiful souls down. The majority of the doc is celebratory and juicy. Oh honey, the exquisite fashion. The delicious stories. Hearing the truth from those who lived it is priceless.

I learned an entirely new vocabulary. I learned about the “who’s who” of drag and female impersonators in those years. What was it like to be a performer? Who was actually running the gay clubs? That answer will shock you. To say I was fascinated would be an understatement. The dramatic readings of the letters are to die for. To think what wasn’t included in the film leaves me wanting more. Outside of its Tribeca Festival screening, you can watch P.S. Burn This Letter Please streaming on Discovery +. You will not regret jumping into its fabulousness.

 

Tribeca Festival 2021 review: ‘No Running’ has tailwind for larger storytelling.

No Running


NO RUNNING | JUNETEENTH PROGRAMMING

Online World Premiere

Synopsis: When high school student Jaylen Brown finds himself under suspicion after his classmate’s mysterious disappearance, prejudice quickly begins to bubble up to the surface of his small town. Working quickly to clear his own name, he begins to unravel a massive web of secrets that all point to otherworldly forces at play.

A smart, biting screenplay by Tucker Morgan takes us into the world of a young black man in very unfriendly territory. No Running has a twist to the social relevance. It’s a sci-fi film that leaves more questions than answers and that just fine by me. The story has all the makings of a franchise. No Running is Jaylen’s story but the door is left ajar for an entirely expanded world of who and why. In a town riddled with missing posters, No Running could be the beginning of something much larger. The suggestion of an otherworldly savior has endless potential.

Skylan Brooks, coming off an extraordinary performance in Archenemy, proves his star power. His ability to convey truth, relatability, and vulnerability is a gift. Each cast member elevates his performance. As you watch, you’ll easily be wrapped up in the local hostility weighed upon Jaylen. You’ll be infuriated and compelled to solve the mystery alongside this talented young man. Morgan’s script gives us a beautiful example of black excellence with Jaylen. No Running is a gem at Tribeca Festival 2021. Genre fans will connect on a multitude of levels. Congratulations to director Delmar Washington for a unique entry in this year’s lineup.


Available Starting

Fri June 11 – 8:00 PM

At Home

$15

Streaming Tribeca at Home is not available outside the USA

Purchased films remain available to stream on-demand from the above date through June 23

Director: Delmar Washington
Written by:  Tucker Morgan
Cast: Skylan Brooks, Taryn Manning, Shane West, Diamond White, Rutina Wesley, Bill Engvall
Producer: Eric Fleischman, Maurice Fadida
Co-Producer: Chris Abernathy
Editor: Adam Tyree
Cinematographer: Juan Sebastian Baron

Tribeca Festival 2021 review: ‘No Man Of God’ will get inside your head.

No Man Of God

The complicated relationship that formed between the FBI analyst Bill Hagmaier and serial killer Bundy during Bundy’s final years on death row.

Amber Sealy‘s breaking the mold of our image of Ted Bundy. No Man Of God does not romanticize Bundy’s personality, but it does somehow humanize his intellect. This is the most unexpected story of friendship and trust. It just so happens to involve one of the most prolific serial killers of our times. Of all the Bundy films, this is the one we’ve been waiting for and we didn’t even know it. Through letters that progressed to sit-down interviews, Hagmaier built a bond with Bundy no other person was ever able to attain. It’s extraordinary.

Elijah Wood is a phenomenal foil for Luke Kirby. There is a measured and genuine tone to his delivery that is completely believable. You’re just buying what he’s selling. I think this might be his best dramatic performance since Set Fire To The Stars. Luke Kirby is a genius. He is slick as hell. Kit Lesser‘s dialogue allows for poetic moments, philosophical ones, as well as pure terror. It’s his manner of nonchalance that keeps you off-kilter. It is undeniably an award-winning performance.

Wood and Kirby’s incredibly natural back and forth holds your attention every single second. The emotional electricity builds to a pitch-perfect finale. This is a masterclass in scene partnering, writing, and directing. No Man Of God is nothing short of riveting. It is a must-see.

Spotlight Narrative

World Premiere

Available Starting

Sat June 12 – 6:00 PM

At Home

$15

Streaming Tribeca at Home is not available outside the USA

This purchased film will remain available to stream on-demand from the above date through 6/14 at 6 PM EST

Review: ‘Take Me Somewhere Nice’ ultimately travels well.

Take Me Somewhere Nice

On the edge of adulthood, Alma leaves her mother’s home in the Netherlands and travels to her native Bosnia to visit the father she’s never met. But from the start, nothing goes as planned.

If I’m being honest, when the screen faded to black I genuinely abhorred protagonist Alma. Let me explain. Alma travels to see her estranged and hospitalized father. Upon arrival to her homeland of Bosnia, it is nothing but one mishap after another. As a young woman on her own in an unknown land, Alma chooses to dawdle aimlessly until her cousin can drive her to the hospital. The lack of urgency she displays throughout the film is confusing. Through distasteful encounters with men, young and old, she often uses her sexuality to advance her pace. The fact that she was left at a bus station, sans luggage or money, and didn’t end up dead is a baffling miracle in my view. Through the bizarre kindness of mostly strangers along the way to the hospital, she is eventually able to navigate to her father’s location only to be let down once more. Although, “let down” feels inaccurate. The nonchalance displayed by Alma is jarring. Whether it’s brazen sexual encounters or finding drugs in a suitcase, she is cool as a cucumber. It felt like this road movie was more of a waking dream.

As I had a few days to sit on Take Me Somewhere Nice, I was hit with a surprising epiphany. I was exactly like Alma in my youth! The careless way I used my sexual power, the reckless abandon I took with almost everything in my life. I was once fearless. At 41, I look at Alma with the eyes of 20 years of mistakes and growth. Writer-director Ena Sendijarević honestly gets everything right. Take Me Somewhere Nice is about a sheltered girl out in the world alone for the first time. It all makes sense now, even if her choice of her sexual partners makes me cringe. Taking a step back allowed me to appreciate her mindset in an entirely new light. Newcomer Sara Luna Zorić perfectly captures this generation’s bold nature. Watching her adapt to her surroundings is infuriating, awkward, and ultimately inspiring. I cannot leave this review without giving a standing ovation to the breathtaking cinematography. The colors, landscape, and smart camerawork are enthralling.

Take Me Somewhere Nice opens in theatres and virtual cinemas nationwide today.

The film opens in theatres and virtual cinemas nationwide this Friday, June 11th, 2021.

TAKE ME SOMEWHERE NICE is written and directed by Ena Sendijarević and stars Sara Luna Zorić, Ernad Prnjavorac, and Lazar Dragojević.

Bosnian, Dutch, and English Language with English Subtitles
91 minutes
Not Rated

Tribeca Film Festival 21 review: ‘POSER’

Lennon exists timidly on the sidelines of the thriving Columbus, Ohio indie music scene, yearning for a personal connection that might shepherd her into the inner sanctum of warehouse concerts, exclusive backstage, house parties and the cutting-edge art scene. As she fuels her desire for entrée into a podcast featuring live music and conversations with the artists she so fervently admires, Lennon finds inspiration for her own musical ambitions…and a growing sense of misdirected identity. Enter Bobbi Kitten, an enigmatic, striking and talented half of a popular, indie pop duo, who takes Lennon under her confident wing—unwittingly entangling herself in a dark obsession. 

**2021 Tribeca Film Festival: U.S. Narrative Competition**

Poser is a volatile and sensual unraveling. Lennon is attracted to the confidence of indie rock singers. In an attempt to jumpstart her new podcast, she follows acts through their underground performances, picking their brains and then some. When she meets Bobbi Kitten, the lead singer of Damn The Witch Siren, she is enamored. This close-knit community of creators allows Lennon to peek behind the curtain and gives her permission to step outside of her box, perhaps to their own detriment.

Directors Ori Segev and Noah Dixon have managed to create a film that possesses a timeless quality about self-actualization. I actually thought Dixon was a fellow Gen Xer based on a slew of very specific choices but as it turns out that’s not the case. This only proves the universality of Poser’s themes of self-doubt and the irrational decisions we make to fit in.

The chemistry between Bobbi Kitten and Sylvie Mix is magnetic. Kitten’s effortless awareness and cool girl demeanor draw the audience in immediately. She is a phenomenal foil for Mix’s portrayal of Lennon, whose guiding narration hits every beat. The vulnerability and ultimate indifference are consuming. This is the culmination of smart writing, superb casting, and kick-ass direction.

The editing and soundtrack are fly as hell. A mix of featured indie bands and a killer original score, it’s an entire character in the film. The third act should not have knocked me as hard as it did, the clues were all there. It’s a poetic injustice. That’s great writing. The wolf in sheep’s clothing metaphor is *chef’s kiss. Noah Dixon’s script is a chilling commentary on art and originality. Poser is a profoundly unique example of fighting your own perceived mediocrity. It’s creative as hell and a perfect fit for Tribeca audiences.

Tribeca Film Festival Screenings
 
World Premiere: Thursday, June 10th at 8 pm ET
Hudson Yards Public Square and Gardens
 

Tribeca Festival 2021 capsule Review: ‘Last Film Show’ is a glorious nostalgic hug for movie lovers.

Last Film Show

When the magic of movies conquers nine-year young Samay’s heart; he moves heaven and earth in pursuit of his 35mm dreams unaware of heartbreaking times that await him.

Stunningly beautiful cinematography, including thoughtful close-ups and overhead shots of Samay’s mother cooking his lunches, will make you remember the impact a great film has on all the senses. Last Film Show is the perfect way to celebrate being back in person at Tribeca. Performances from every single cast member are triumphant. It feels like an ode to film lovers. You’ll fall head over heels in love with Bhavin Rabari in particular. It’s rare that child is so spectacular in a role that you forget that’s it’s a narrative and not a documentary. Last Film Show gives us everything we’ve been missing since this pandemic began. To say much more about the plot is truly a disservice. It’s one I implore you to see for yourself. We’ve missed this more than we realized. Last Film Show is a cinematic masterpiece.

TRIBECA 2021
WORLD PREMIERE / Spotlight Narrative Competition

 

Available Starting

Fri June 11 – 6:00 PM

At Home

$15

Streaming Tribeca at Home is not available outside the USA. Purchased films remain available to stream on-demand from the above date through June 23

 

 

Tribeca Film Festival 2021 is back with a vengeance. Here’s what we’re stoked to see.

Tribeca Film Festival is back and it’s the 20th anniversary, baby. This year’s lineup not only features a slew of incredible new films but will also include titles that didn’t get the chance to screen at the 2020 festival due to Covid. Audiences can experience Tribeca in a multitude of ways. You can enjoy outdoor screenings or watch from the comfort of your couch with Tribeca At Home. There are podcasts, live talks, immersive programs, and so much more. This festival is reliable for churning out crowdpleasers and this year is no exception. Here is a mere handful of films we are excited to share with our readers.

Werewolves Within

SYNOPSIS:
After a proposed gas pipeline creates divisions within the small town of Beaverfield, and a snowstorm traps its residents together inside the local inn, newly arrived forest ranger FINN (Sam Richardson) and postal worker CECILY (Milana Vayntrub) must try to keep the peace and uncover the truth behind a mysterious creature that has begun terrorizing the community.
When everyone is talking about a film before it even premieres you know you have to check it out. The pairing of Milana Vayntrub and Sam Richardson is pure comic genius. The screenplay from Mishna Wolff gives this duo a chance to shine and the audience nonstop belly laughs. In fact, this ensemble cast will blow you away. The hidden social commentary inside a werewolf mystery heightens everything. You do not want to miss this one.
Virtual Screening
Available Starting

Thu June 17 – 6:00 PM

At Home

$15

Streaming Tribeca at Home is not available outside the USA. Purchased films remain available to stream on demand from the above date through June 23


Poser

Lennon exists timidly on the sidelines of the thriving Columbus, Ohio indie music scene, yearning for a personal connection that might shepherd her into the inner sanctum of warehouse concerts, exclusive backstage, house parties and the cutting-edge art scene. As she fuels her desire for entrée into a podcast featuring live music and conversations with the artists she so fervently admires, Lennon finds inspiration for her own musical ambitions…and a growing sense of misdirected identity. Enter Bobbi Kitten, an enigmatic, striking and talented half of a popular, indie pop duo, who takes Lennon under her confident wing—unwittingly entangling herself in a dark obsession.
This is a film that will connect with multiple generations. It’s a story about finding your niche but that’s a really glossy explanation. The script is nuanced in a way that you will not see coming.
Available Starting

Fri June 11 – 6:00 PM

At Home

$15

Streaming Tribeca at Home is not available outside the USA. Purchased films remain available to stream on demand from the above date through June 23.


Settlers

Remmy and her parents, refugees from Earth, have found peace on the Martian outskirts—until strangers appear in the hills beyond their farm. Told as a triptych, the film follows Remmy as she struggles to survive in an uneasy landscape.

An unexpected feminist tale, Settlers script makes the heart beat faster, ceaselessly begging the question, “What would you do to survive?”

Available Starting

Fri June 18 – 8:00 PM

At Home

$15

Streaming Tribeca at Home is not available outside the USA. Purchased films remain available to stream on demand from the above date through June 23


How It Ends

In this feel-good apocalyptic comedy, Liza (Zoe Lister-Jones) embarks on a hilarious journey through LA in hopes of making it to her last party before it all ends, running into an eclectic cast of characters along the way.

Having a massively successful run on the festival circuit, Zoe Lister-Jones stars in a cameo-filled, riotous, and thoughtful film about coming to terms with the traumas of our childhood. You will laugh (a lot) and cry. This one will undoubtedly hit all the right notes.

Available Starting

Mon June 21 – 6:00 PM

At Home

$15

Streaming Tribeca at Home is not available outside the USA. Purchased films remain available to stream on demand from the above date through June 23


We Need To Do Something

After Melissa and her family seek shelter from a storm, they become trapped. With no sign of rescue, hours turn to days and Melissa comes to realize that she and her girlfriend Amy might have something to do with the horrors that threaten to tear her family – and the entire world, apart.

This is one of the first titles to get picked up before its premiere. That always makes a film extra buzzy. The idea of being trapped in a bathroom with my family already gives me anxiety. Add on the horror element and you’d push anyone’s nerves beyond their breaking point.

Available Starting

Wed June 16 – 6:00 PM

At Home

$15

Streaming Tribeca at Home is not available outside the USA. Purchased films remain available to stream on demand from the above date through June 23


Ultrasound

**World Premiere** – Midnight

Driving home late at night during a heavy rainstorm, Glen experiences car trouble. Near where his car gets stuck, he spots a house, knocks on the door and is greeted by an oddly friendly middle-aged man, Arthur, and his younger wife, Cyndi. The strange couple pours him a drink, and then more drinks, followed by an unexpected offer that Glen can’t refuse. Elsewhere, a young woman, Katie, is feeling emotionally weighed down by a secret romantic arrangement that feels like a textbook case of gaslighting. And at the same time, in a nondescript research facility, medical professional Shannon begins questioning her role in a bizarre experiment, fearing that she’s doing more harm than good.

When I tell you that you aren’t ready for Ultrasound, I mean that as the highest compliment. This is a film best viewed totally unaware of the plot. Frankly, that’s not too difficult as the script provides dizzying twists over and over again. This is a film that people will be talking about. It’s one you’ll want to watch again and again.

Available Starting

Wed June 16 – 6:00 PM

At Home

$15

Streaming Tribeca at Home is not available outside the USA. Purchased films remain available to stream on demand from the above date through June 23


Claydream

A modern day Walt Disney, Will Vinton picked up a ball of clay and saw a world of potential.  Known as the “Father of Claymation,” Vinton revolutionized the animation business during the 1970s, ’80s, and ’90s.  But after 30 years of being the unheralded king of clay, Will Vinton’s carefully sculpted American dream came crumbling down at the hands of an outside investor, Nike’s Phil Knight.

The poster alone screams nostalgia for a generation brought up on Saturday morning cartoons. With sitdown interviews and behind-the-scenes clips, fall in love with Will Vinton and his creations all over again.

Available Starting

Sun June 13 – 7:00 PM

At Home

$15

Streaming Tribeca at Home is not available outside the USA. Purchased films remain available to stream on demand from the above date through June 23


No Man Of God

In 1980, Ted Bundy was sentenced to death by electrocution. In the years that followed, he agreed to disclose the details of his crimes, but only to one man.  NO MAN OF GOD is based on the true story of the strange and complicated relationship that developed between FBI agent Bill Hagmaier and an incarcerated Ted Bundy in the years leading to Bundy’s execution.

We often hear about how charming Ted Bundy was. Director Amber Sealey‘s No Man Of God puts the audience in the room with him as writer Kit Lesser used actual transcripts from Bundy and Hagmaier’s conversations. Brimming with complexity and boasting amazing performances from Luke Kirby and Elijah Wood, leave your expectations at the door. 
Available Starting

Sat June 12 – 6:00 PM

At Home

$15

Streaming Tribeca at Home is not available outside the USA. This purchased film will remain available to stream on demand from the above date through 6/14 at 6 PM EST


Creation Stories

 Creation Stories charts the true story of the rise and fall of Creation Records and its infamous founder, Alan McGee; the man responsible for supplying the “Brit Pop” soundtrack to the 90s, a decade of cultural renaissance known as Cool Britannia.  From humble beginnings to Downing Street soirées, from dodging bailiffs to releasing multi-platinum albums, Creation had it all. Breakdowns, bankruptcy, fights and friendships… and not forgetting the music. Featuring some of the greatest records you have ever heard, we follow Alan through a drug-fueled haze of music and mayhem, as his rock’n’roll dream brings the world Oasis, Primal Scream, and other generation-defining bands.

Drugs, music, risk, and passion drove Allen McGee to change the face of music in the 90s. Creation Stories comes at you like a freight train with a visceral energy that makes you wanna get up and dance. If you are a fan of Trainspotting, also penned by Irvine Welsh, this is right up your alley. Be on the lookout for our upcoming interview with director Nick Moran!

Available Starting

Wed June 16 – 8:00 PM

At Home

$15

Streaming Tribeca at Home is not available outside the USA. Purchased films remain available to stream on demand from the above date through June 23


My Heart Can’t Beat Unless You Tell It To

Two mysterious siblings find themselves at odds over care for their frail and sickly younger brother.

This is another film that is best experienced without prior knowledge of the plot. My Heart Can’t Beat Unless You Tell It To comes out of left field in a genre-bending tale of morality. The emotional gut-punch that the film becomes will consume you.


TRIBECA FILM FESTIVAL 21 runs from June 9th to the 20th. For more information visit https://tribecafilm.com/festival and stayed tuned to Reel News Daily for reviews and updates.

Review: ‘Two Lottery Tickets’ wins big.

TWO LOTTERY TICKETS

After two petty criminals jack his fanny-pack and the winning ticket, the three guys spend what little money they have tracking down the thieves. Although all three guys are easy marks with zero talent for sleuthing, their wild goose chase around Dinel’s apartment complex precedes a road trip to Bucharest, where the two thugs might be about to cash in on the €6 million jackpot.

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.

TWO LOTTERY TICKETS opens in U.S. theatres and virtual cinemas on Friday, May 21st, 2021. Check out the trailer below.

TWO LOTTERY TICKETS is written and directed by Paul Negoescu and stars Dorian Boguță, Dragoș Bucur, and Alexandru Papadopol.
Color
Romanian Language with English Subtitles
86 minutes
Not Rated

Harlem International Film Festival 2021 review: ‘My Fiona’

MY FIONA

 New York State Premiere
Director: Kelly Walker
Country: US, Running Time: 86 min
Following the suicide of her best friend, Jane finds purpose in helping her friend’s wife with their child. In doing so, she becomes inadvertently drawn into an intimate relationship bound by grief that’s potentially catastrophic to the healing for all those involved.

Jeanette Maus‘s final feature role is impactful beyond words. She plays Jane, a woman whose best friend commits suicide and must address her own grief within the complexity of her newfound family dynamic. How close is too close when all are have left are the ones left behind? The cast’s chemistry is immaculate. Maus leaves it all on screen. Every moment is an emotional gut-punch. Suicide is a loaded subject. The script tackles its all-consuming confusion with a carefully crafted hand. In an attempt to discover Fiona’s “Why” and to find her place without Fiona, Jane must come to grips with the messy aftermath of loss. MY FIONA is an intimate look at grief from the perspective of a best friend. It’s a fresh take on something that is so relatable. It’s okay to not be okay. Writer-director Kelly Walker has given Harlem International Film Festival audiences a true gem. MY FIONA is a different kind of love story. Do not miss this film.

Audiences in New York can access the film now!

16th Edition
May 6-16, 2021 Extended Dates!

Review: ‘SILO’ stunningly shines a light on everyday perils farmers face.

SILO

Inspired by true events, SILO follows a harrowing day in an American farm town. Disaster strikes when teenage Cody becomes the victim of a grain entrapment accident. Family, neighbors, and first responders must put aside their differences to rescue him from drowning in the 50-foot tall silo where corn quickly turns to quicksand.

SILO is a beautifully shot and ominously scored film that will have your heart racing. When a sudden accident occurs on a local farm, a community must set aside its personal grudges to rescue a teen trapped under literal tons of grain. Without his inhaler, Cody must rely on the help of an individual responsible for past personal trauma if he wants to survive. SILO is compelling from start to finish. Director Marshall Burnette presents Jason Williamson‘s authentic script with a carefully curated eye. As someone who grew up in a small farming town in Connecticut and worked in the family’s store and ice cream shop, SILO hits close to home. The blood, sweat, and tears that seep into the soil are very real.

While the action revolves around the accident, these characters are fully fleshed-out people we recognize. The remarkable performances in SILO might even suggest that this film was a documentary and not a narrative. The cast has a chemistry that genuine. It’s astounding. You won’t have a moment to breathe once things go awry. Even within a 76-minute runtime, the writing is so great that we have enough backstory for every person on the scene to feel the emotional pull. We understand why they’re there and how they’re connected. SILO doesn’t simply address farming safety but gives us a compelling drama about small-town dynamics. It is impossible to watch this and not be consumed by the relationships in this film. That’s what happens when you have the perfect storm of acting, writing, and directing. This is a film that will resonate with a massive audience, regardless of their background. It sheds a light on a culture that is often taken for granted and the very real dangers of farming. SILO is a harrowing film about safety and an undeniably important watch.

Arriving in Theaters and
Virtual Cinemas on May 7, 2021