SURGE
Joseph (Ben Whishaw, PERFUME: THE STORY OF A MURDERER, the upcoming James Bond film NO TIME TO DIE) is trapped in a soulless job, living a life devoid of emotion and meaning. After an impulsive act of rebellion, Joseph unleashes a wilder version of himself. He is propelled on a reckless journey through London, ultimately experiencing what it feels like to be alive. Whishaw won the Special Jury Award for his role in the film at the 2020 Sundance Film Festival.
SURGE feels like watching a powder keg about to explode. For a film that might seem to begin with inane tasks, the simmering tension becomes consuming. Once that fuse is lit, SURGE is a relentless display of emotional pyrotechnics. The handheld camera work is dizzying, placing the audience in Joseph’s physical frenzy. There are entire scenes without cuts. This is what a master class in performance looks like. Director Aneil Karia, cinematographer Stuart Bentley, and Ben Whishaw had to have established absolute trust to pull this off.
There is underlying violence that feels inevitable as Joseph begins to break. There may be a suggestion of hidden trauma. Ben Whishaw plays every beat with his whole body. His minute idiosyncrasies create an entire backstory. Compounding micro-aggressions lead to ticks, and then ultimately, a total breakdown in civilized behavior. He becomes manic. This is the epitome of base instinct. Whishaw will have you teetering on the brink of terror and awe. He is sensational.
Your heart will be your throat, unable to comprehend how this film could get any more intense. And yet, the stakes just keep getting higher. It felt like a panic attack. The end of the film is only cathartic in the physical sense. A mysterious sadness still hangs over Joseph’s fate. It’s such a bold choice. The combination of this script, Ben Whishaw’s performance, and Karia’s direction make SURGE an unstoppable force.
Debuts September 24th In Theaters
On-Demand Everywhere October 25th
Director: Aneil Karia
Written by: Rita Kalnejais, Rupert Jones
Story by: Rita Kalnejais, Aneil Karia, Rupert Jones
Produced by: Julia Godzinskaya, Sophie Vickers
Co-Producer: Scott O’Donnell
Director of Photography: Stuart Bentley, B.S.C.
Editor: Amanda James
Genre: Thriller
TRT: 105 minutes
Nelson Lee, as Ben, gives us a slick, and a tad aloof, performance. He’s the backboard we need for Albee’s ceaseless attitude. Trent Atkinson‘s smart script allows Lee to play many sides of a perfectly flawed man. Bethany Anne Lind, as Carly, is the bright savior figure. Lind wears her heart on her sleeve in an attempt to get to the root of her guests’ issues. Perhaps, to her own relationship’s detriment. Amber Midthunder plays Albee with a fire that is accosting. Breaking through her wall is precarious and revealing. Midthunder walks a thin line between entitled Gen Zer and trauma survivor. You’ll be captivated by her interactions with every cast member. Taylor Gray breathes life into Walker. His vulnerability drives this story like a freight train. He’s so committed to making Albee and Walker’s relationship work. Their pain is palpable. Gray evokes a visceral response. I could not fathom someone being so unequivocally devoted to what appears to be a toxic relationship.
There’s an honesty to this script that will be a gut-punch for viewers. It will undoubtedly force you to confront your relationships. Atkinson wrote the characters of Albee and Ben to have more similarities than at first glance. He did the same with Carly and Walker, creating engrossing dynamics. There are some profound moments between these cast members. Their overall chemistry is the stuff of dreams. 
Aubrey Plaza plays against type as Lucy. She’s a type-A editor on the verge of bankruptcy. She’s got a lot to prove. On the surface, this is the least brooding role she’s ever played. Unsurprisingly, that’s all a rouse, and Plaza is up for the challenge. Lucy is given a beautiful arch. Her backstory, like Harris’, is slowly revealed. This allows us to fall in love with both of these characters. Sir Michael Caine gives one of his career’s best performances. As curmudgeonly and reclusive writer Hariss Shaw, he has settled into a lifetime of secrets and sadness. At times, Caine is raucous and crass. Others, he is docile and pensive. The chemistry between Plaza and Caine feels like an honest-to-God mentorship onscreen. This is generational genius, and we are the witnesses.
Voracious readers will connect with this script. The film flows like a novel with its complex characters and ever-evolving nuance. The screenplay unfolds in three distinct chapters, befitting the subjects and full story. Both Lucy and Harris straddle the line between saving face and redemption. The passages from Harris’ fictional work touched my soul. I could feel my chest well up hearing them read by average folks along the book tour. By the finale of Best Sellers, I was in full tears. The totality of Anthony Greico‘s award-winning script has so much heart. It’s incredibly cathartic. These two people were meant to change each other. The messaging of identity and grief are undeniable. In the words of Harris Shaw himself, “Be brief, be brave, be truthful. ” Director Lina Roessler has done just that. Best Sellers is not to be missed.
Is this another out-of-this-world Nic Cage movie? Duh. Is it like watching a graphic novel and an episode of MST3K, all at once?! Yup. Overall, the screenplay features the smallest bit of backstory, and perhaps an homage to films like Return To Oz, Mad Max, and even The Wiz. There is so much happening in this wild story. I would not be angry if sequels popped up sooner rather than later. I have so many questions about this world that I’d even love a prequel! Give me all the whacked-out colorful silliness that is Prisoners of The Ghostland. I demand a franchise.
Bill M
This film’s visual is all about vibrant color. Your eyes dart everywhere in an attempt to take in every detail. Joseph Trapanese’s score is gorgeous. You will not be able to ignore it. The costumes are wild, and the set dressing is bewildering. Prisoners of The Ghostland is a genre-defying spectacle. It’s captivating in its eccentricity. It deserves to be viewed on the largest possible screen. You’ve never seen anything like this film. The story is completely disjointed at times, but that’s not a reason to write this off. Will I watch this again because it’s destined to be a cult favorite? You know it.
Director Michael McGowan‘s screenplay pays full tribute to novelist Miriam Toews‘ original text by keeping these characters unapologetically demonstrative and smart. The film swiftly takes an ax to the patriarchal religious structure. That’s really the smallest part of deconstructing preconceived notions in this story. All My Puny Sorrows is about the reclamation of power and what that looks and feels like for each of the Von Riesen family members: dad included. Well-read audiences may connect on a different level. Ironically, the heavy literary aspect might also be the film’s downfall, with some viewers unable to discern between quotes and original dialogue. It will either win or lose audiences in its verbosity. I’m hoping that’s not the case, as those moments are akin to poetry.
Frankie (John Pollono), Swaino (Jon Bernthal), and Packie (Shea Whigham) are working-class men that share a friendship bond going back to childhood. That bond is strengthened further by their co-parenting of Frankie’s beloved daughter Crystal, who has spent a lifetime being raised by a loving– if raucous– male collective. This sets the scene for a fascinating character study of a group of men raised in a culture steeped in toxic masculinity who struggle to push back against it but often fall incredibly short. 
At first, Small Engine Repair seems like a dark family drama with a comedic edge. However, it is not until the second act that the viewer realizes that they are in the midst of a thriller. Complex performances by the entire cast gradually build tension through sharp looks, quick words, and complicated histories until the atmosphere on screen is so thick with menace that suddenly, every word and movement is a threat. 
While the success of this film hinges on the commitment of the spectacular ensemble, I must specifically salute Enzo Cellucci and David Krumholtz. The majority of the film revolves around Max remaining an observer. It is not until he is forced to participate that we are fully consumed by the heat of embarrassment only actors know in their souls. Cellucci’s emotional and physical beatdown creates greatness. As Adam, David Krumholtz is a goddamn character study in CLASS. It is everything, from the slicked-back hair, the robe over silk pajamas, and the pièce de résistance, the accent. The impeccably precise bastardization of a British accent is a thing of glory. If your ear is sharp enough, you’ll notice how it changes from scene to scene. It is, as they say, the chef’s kiss. CLASS is easily one of the most honest and cringeworthy shorts I’ve ever watched. I lived inside every second, and I loved it just as much. I’m still laughing. I am dying to see this developed into something bigger. It certainly deserves the audience. To everyone involved, Bravo!
What would I do if I were trapped in a bathroom with my family? When I watch films, I instantly put myself in the shoes of the lead protagonist. This time was different. I put myself in the shoes of Vinessa Shaw‘s character, Diane. Under the auspice of a tornado warning, the safety of her children is her main priority. No one could have predicted the evil that would ensue as they realized they were on their own. Shaw has a moment so gutwrenching, I could not hold back tears having two small children of my own. John James Cronin is fantastic as Bobby. He perfectly encapsulates innocence and fear.
Sierra McCormick, who I believe was the best part of American Horror Stories, nails it again. Her anxiety is palpable, and she is unafraid to leave it all onscreen. If she isn’t the next genre darling, I’ll be shocked. The script does a great job of highlighting the awkwardness, the lack of privacy, and the growing tension under duress. Who wants to use the toilet in front of your family? Screenwriter Max Booth III provides us with a sharp left turn a third of the way in. The gasp and look of horror on my face must have been hideous. No matter how I assumed this story would play out, that one moment is so mind-blowing it will send chills down your spine. The film’s most impactful aspect is the sound. Man does this cast sell it. Your own imagination is your worst enemy while watching. The ambiguity lets every viewer come away with a different and twisted result. Director Sean King O’Grady has an undeniable hit with We Need To Do Something. Here’s hoping he and Booth team up again and again.
Growing up Catholic didn’t honestly impact me until 8th-grade. I should say that attending Catholic School didn’t make me feel any different until one specific religion class. It was a moment that changed my entire life. It was explained to me, that telling my mother I was gay would be the equivalent of telling her I had committed murder. That was a defining moment. Today, my mother lovingly refers to one of my younger sisters and me as her “heathen children.” I begrudgingly attended Christmas and Easter Mass with my family throughout my college years. Then I put my foot down. I would no longer perpetuate the charade. To put this all in extra context, I am a straight woman. I grew up in the arts, surrounded by some of the most extraordinary humans on this planet. I continue to defend equal rights and acceptance, despite pushback from too many. Films like Scott Boswell’s A WAKE are important for families who may not even know they are in crisis. This story offers acceptance and unconditional love as lifesaving tools.
The cast is amazing. Each actor brings the energy necessary to tell this story with truth and realism. Some moments are awkward, while others are rage-inducing. Megan Trout, as older sister Megan, is great. She’s the voice of reason in all of the chaos, whether the other family members are ready or not. Kolton Stewart, as Jameson, is lovely. His quiet strength brings a calm to the sadness. Bettina Devin as Grandmother is a gem. She’s elegant and understanding. Sofia Rosinsky‘s neurotic mentality is a story unto itself. Through flashbacks, we can see a clear progression of her personality, her growing manic tendencies, and genuine curiosity. She’s a spitfire.
A story of cyclical abuse with a touch of magical realism, Baby, Don’t Cry was a completely unexpected journey. Fair warning for survivors of abuse, this film may be a trigger watching for you. The deeper you go into the story the more complex our leads are revealed to be. Two young people in hopes of escaping their sad circumstances, latch onto one another. It’s evidently unhealthy to the audience but entirely understandable. Lack of father figures is a running theme, as are racism and mental illness. The emotional burdens that Baby and Fox carry are unrelenting. Zita Bai, our leading lady, and creator of Baby, has given us a thoroughly nuanced character. Some moments will make you infuriated with her, while others provoke sympathy It’s an extraordinary culmination of emotions. Baby, Don’t Cry will make you cringe, shake your head, and fill you with a bit of wonder.
Thanks to Twitter, an estranged and dysfunctional family throws an accidental party on their move-out day. A barrage of quirky characters show up to explore and wreak their own brand of havoc. Wonderful Paradise is an absurdist sideshow. I would genuinely recommend watching this high. The number of times I exclaimed, “Huh?”, “What?”, or, “Sure, why not?! ” I lost count quite frankly. I must applaud the cast for their absolute commitment to their craft. The cast grows exponentially as the film rolls on and every single performer gives it 110%. The slow and district progression of the set is wild. The practical FX combined with the wackiest of screenplays make Wonderful Paradise perfect for Fantasia audiences. It is unlike anything I’ve ever seen before. Do I understand the final result? Absolutely not. Would I watch it again? Don’t threaten me with a good time.
I feared this Martyrs Lane would be overlooked among the plethora of gore-filled content. That would have been the biggest shame to befall this year’s Fantasia International Film Festival. Writer-director Ruth Platt‘s carefully crafted tension and mystery should be celebrated. It has a quieter Babadook energy to it that is unmistakable. The film manages to be both a slow burn and a vice grip of tension. The editing puts your head in a spin in that you’re never sure what is real until the very final scene. Performances are outstanding. The fact that the entire premise mostly hinges on the work of two small girls will blow you away. It is no wonder young lead Sienna Sayer won the Special Jury Rising Star award. Martyrs Lane will hit harder for parents. Any story centered around children begets that internal ache from the very getgo and Martyrs Lane is no exception. It’s beautifully shot and elegantly lit. The exquisite progression in makeup heightens the overall dread. It speaks to the consuming power of grief and secrets. I cannot wait for Shudder audiences to experience this film in a few weeks. This one is special. Undoubtedly, one of my favorites from this year’s lineup.
Perry Blackshear is the man with all the hats taking on directing, writing, cinematography, and producing. One of the best goosebumps-inducing moments occurs in the form of actress Libby Ewing’s hand appearing from nowhere. There is something so startling about this simple action. Its impact speaks volumes. There is a nice connection between the physical and metaphorical. The fight training scenes are a great representation of emotional preparedness. And without spoiling anything, the devil you know is sometimes a safer bet than the devil you don’t. When I Consume You is an addiction allegory. Whether that is drugs or depression, the weight of trauma never quite leaves you. While the pacing of the film had some static moments, overall this is a fresh take on a haunting premise.
Performances across the board are stellar. The commitment to the absurd is magic. The chemistry within this cast is outstanding. They are charming and energetic. It’s like watching a group of bright-eyed kids play. The camera work is a real marvel considering the impressively long takes. This film is all about timing, no pun intended. The cuts, if any, are tricky to spot. You’d think that reliving scenes would get old, but they manage to feel fresh each play based on location. Makoto Ueda’s script is that phenomenal. The camera also allows the viewer to feel like they’re part of the action. BEYOND THE INFINITE TWO MINUTES will be a huge hit with Fantasia audiences of all ages. It’s a nonstop, joyous experience.
A delicious mix of absurdity and folklore, Kratt is everything Fantasia International Film Festival 2021 audiences want in a single film. There’s a plethora of practical FX and gore, but the best moments come from actress Mari Lill as Grandma. Her commitment to the slapstick and over-the-top character changes makes Kratt one of the best films from this year’s fest.
You cannot miss the mockery of government, technology, religion, extremist politics, and everything in between. The score is wonderful and the cinematography is sharp. The script has one of the most brilliant and whip-smart final moments, cranking up the social commentary to 11. Kratt will have Fantasia Fest 2021 audiences doubled over. Whether that’s from gross-out moments or the laughs us up to the individual.
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