HEAD TRIP shorts program
“Head Trip” is a series of 9 ingenious shorts featured at this week’s Brooklyn Horror Film Festival. They range from deeply dark to laugh-out-loud funny.
Lips, dir. Nicole Tegelaar (Netherlands, Belgium)
Talk about body horror. This short is laser-focused on a particular body part. A young woman awakens in a mysterious clinic. She’s been injured and requires surgery. This one kept me guessing as to who was the bigger danger: the staff or the other patients.
The Departure, dir. Nico van den Brink (Netherlands)
A melancholy, beautiful piece from the Netherlands. The principal characters create immediate rapport despite the short run time, and the cinematography was top-notch. A tragic and thoughtful journey into loss and longing that had me wishing for more.
A Tale Best Forgotten, dir. Tomas Stark (Sweden)
Adapted from a Helen Adam ballade, this is one killer tune.
Sudden Light, dir. Sophie Littman (UK)
My favorite short of the group is a dreamlike countryside odyssey into doubt and fear. Mia (Esme Creed-Miles) and Squeeze (Millie) are walking their dog home, and take a fateful shortcut through a field. I loved the way this short fully harnesses its countryside setting – mud, branches, and smoke all combine into an overwhelming rush. The caliber of talent involved makes you wish for a feature-length narrative.
Tropaion, dir. Kjersti Helen Rasmussen (Norway)
A testament to the power of the wilderness, this short contains barely any dialogue. Stark images are the sole driver of the narrative. The child performers, in particular, are excellent.
The Faraway Man, dir. Megan Gilbert, Jill Hogan (USA)
A powerful narrative on the way evil can manifest itself. A young woman is haunted by the figure of a man, dressed in black, watching from distance. A great example of how blurred the line can be between horror and tragedy. Another short that could easily be stretched to a feature.
Man or Tree, dir. Varun Raman, Tom Hancock (UK)
A breath of fresh air. Imagine you partied too hard and woke up transformed into a tree. I guess you could say this is the rare short that focuses on the trees instead of the whole forest.
Playing With Spiders, dir. Rylan Rafferty (USA)
A disturbing glance behind the curtain of a small cult that worships, you guessed it, spiders. The night before a fateful ritual, Lydia (Kelly Curran) begins to ask some big questions of her peers and leaders. Is she a skeptic, or the only true believer? Even though this had a comedic tone at times, it got the biggest jump scare of the night.
A Puff Before Dying, dir. Mike Pinkney, Michael Reich (USA)
An absolute gut-buster of a short. Like “Team America: World Police” on acid. When 3 teen girls (who are also marionettes) hit the road for a night out, the devil’s lettuce quickly rears its tempestuous head. Will they have the willpower to resist, or will the night end in tragedy?
Today is the final day of BHFF 2021. You can still get tickets to the CLOSING NIGHT film
by clicking this LINK.
Fair warning, it is not for the faint of heart.
Larry Fessenden plays Former Attorney General Dan Lieberman. He’s a legend, so it’s no surprise that what is essentially equivalent to a radio play for him is an outstanding performance. Zachary Booth, as Jake, has fearless energy and an intoxicating excitement that passes through the screen to the viewer. I would watch him in anything.
Your pulse will be pounding watching this mystery unfold through live, minute-to-minute editing. If you didn’t respect the process of editing before now, 
Emily Bennett understands how to accentuate a feeling of claustrophobia. Stuck in a wildly angled apartment, brimming with eccentric kitsch, Charlie awaits the arrival of her girlfriend behind a front door that won’t open. As time passes, confusion arises. Simone should be home by now. Charlie hears voices, doesn’t know what time it is, and things seem to move on their own. Reality shifts under her, and things get worse by the minute.
Dora Madison, as Thea, is fantastic. She’s got this crunchy, stoner vibe. The way she holds the phone during her video calls with Charlie is incredible. It adds to the realism of her party friend vibe. Madison’s laid-back attitude counters Bennett perfectly. Emma Myles, who you’ll recognize from Orange Is The New Black, plays Simone. She’s the photographer girlfriend of Charlie. The script allows her to play both soft and hard moments, and she kills it.
Jason Isaacs takes a logical approach as Jay. The arc of Kranz’s writing allows Isaacs to break this role wide open. It was akin to watching a teapot slowly come to a boil. Ann Dowd plays Linda. She is gentle, hesitant, and genuine in her grief and guilt. It feels like she’s trying too hard to appease and remain compassionate. Dowd’s best moments are when she’s in tune with Reed Birney. As Richard, Birney counters Dowd’s apologetic energy. He is defensive at every turn, to the point of unlikability. It’s his survival mechanism. Birney wears an air of toxic masculinity like a badge of honor. Martha Plimpton plays Gail with thoroughly justifiable guarded anger. She is seeking ownership and responsibility from Linda and Richard. Her pointed line of questioning makes her intentions clear as day. Plimpton owns every glance, sigh, and raw syllable uttered in Mass. It’s an entire emotional journey right before our eyes. It’s a performance that captivates. The chemistry between these four actors is something so rare. They understood the assignment, as they say.
The quiet, lingering moments in the first 20 minutes of the film are meticulously crafted to keep you stewing in anticipation of the inevitable storm to come. The entire film has a low registering hum and a palpable heaviness. As the plot is slowly revealed, politics seep into the conversation. The aftermath of trauma and grief are front and center. The discussion of mental health will echo in many households. The included social pleasantries on either end establish a grounded aspect, but it is that final unexpected 10 minutes that hit hardest. It’s a visceral catharsis. This is a master class in writing and performance. I would watch this on stage in a heartbeat. Mass is a portrait of four parents dealing with unthinkable loss. The most powerful aspect is the understanding that this conversation could be happening any day of the week nowadays. This is an emotional rollercoaster you cannot be prepared for. Mass brilliantly challenges the perspectives of cause and effect, blame, acceptance, forgiveness, life and death, and what parenthood means, deep in your soul. You will walk away changed.
Born in 1980, my entire childhood revolved around Ghostbusters. Ecto-cooler was in my lunchbox. Ghost traps were created from tissue boxes. When I received the elusive Ecto 1 for Christmas, I was the envy of the neighborhood. The extended version of Anthony Bueno’s documentary Cleanin’ Up The Town: Remembering The Ghostbusters takes you into the minds and personalities that created the iconic film. It is overflowing with behind-the-scenes footage and stories, and it’s all to die for. When you find out who the original cast was meant to be, your head will spin.
The film utilizes animation to illustrate what these first ideas and meetings looked like. The sketches of the ghosts are insanely impressive. We’ve got the standard talking-head interviews, but it’s a franchise fan’s dream. The late, great Harold Ramis is included, in all his glory. Ghostbusters was made with a group of the most elite talents of the time. The photos of the team building the technology to create the film are pretty amazing. The FX from Steve Johnson gave us the iconic characters of The Librarian, Slimer, and The Stay Puft Marshmellow Man.
When Sigourney Weaver landed the role of Dana, it changed everything. She pushed the boys to not only be better actors, but she is also responsible for a huge aspect of Dana’s arch. Weaver and Ivan Reitman discuss her audition, which will forever remain unseen by the public. Ernie Hudson’s role looked very different from the original script to the final incarnation. He talks about the dynamics of the entire cast. Even with a runtime of 2 hrs, you won’t want the film to end. It’s a cinephile’s dream. The wealth of information, the access to cast and crew, and the sheer love that emanates from everyone involved make Cleanin’ Up The Town: Remembering The Ghostbusters a nostalgic joyride.
Writer-director Potsy Ponciroli‘s screenplay harkens back to classic westerns. There’s plenty of gunslinging, horseback, and trouble, for genre fans. It’s ceaselessly engaging, overflowing with slick writing, striking natural lighting, and insanely fantastic performances. There’s an underlying complexity that history fans will fawn over. Ponciroli has given audiences something special.
Trace Adkins, as Henry’s brother-in-law, Al, is a wonderful balance of welcoming and spitfire. He owned every moment of screen time. Stephen Dorff is an unmistakable villain. You’ll loathe him. That’s a compliment to the work he does. Scott Haze plays Curry with confidence that counters Nelson to a tee. He shared the screen with Nelson in his breakthrough role in 
There is a smartly laid-out trail of clues, so keep a sharp eye out. Old Henry has a climax so legendary you’ll want to watch it again. It’s destined to be a classic. You can find Old Henry in theaters, beginning today. And, if you’re in the New York City area, our colleague, Joey Magidson at 
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.
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!
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