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
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.
I’ve never trusted wolves. You could argue this is because I’ve always been raised around ultra-docile dogs, but I think my 20+ years of watching movies are really to blame. The ratio just doesn’t hold water. For every domesticated wolf acting as Kevin Costner’s sidekick, there are countless more stalking our hero through a snowy tundra, howls echoing through the night.
Sam Hobkinson’s smooth direction compels the audience forward. There’s a charming and particularly modern manner to the way that Hobkinson features key figures in Misha’s journey to stardom – their whole essence summarized into a single characteristic (“The Publisher”, “The Journalist”) We are not really meant to get to know these people (although “The Survivor” radiates winking humor with deep emotion in her few minutes of screen-time) – they are here to feed us the facts we need to drive the narrative forward, to build momentum towards the film’s core question. Which is, of course, can we believe Misha?
This eclectic documentary traverses from the inception to the nuance of programming this iconic television show. Everything from the production design to intimate interviews with the actors, from the musical guests to the writers’ room is in this film. It hits on the social, racial, and educational impact of the show. The show’s schedule was one of the most intense I’ve ever heard of. 100 episodes per year filled to the brim with original sketches (both muppet and street scenes), animation, and original songs, Sesame Street has changed the lives of countless families across the globe.
Some of the most charming bits in the film are the blooper reels. The genius, off-the-cuff moments between cast members staying in muppet character will slay you. One very poignant time in the show’s history was anything but unscripted. The death of Mr. Hooper was a carefully curated scene. It sticks with me still today. In 1990, when Jim Henson passed at the age of 53, the world mourned alongside the cast and crew of Sesame Street. Caroll Spinney as Big Bird singing “It’s Not Easy Being Green” at Jim’s funeral is heartbreaking and eternal.
I have actually spent a few days on the island of Malta. When I met my husband he told me that his heritage was Scottish, Irish, and Maltese. I honestly had no idea what he was talking about. I’m half Italian and was completely unaware of the small, bustling island off the coast of Italy. Even with my little experience in the area, I can attest to the authenticity you get in LUZZU. Pre-pandemic, it was filled with tourists taking ferry boats from Sicily or to the smaller island of Gozo, where they actually filmed some of Game Of Thrones. It boasts crystal blue waters and ancient architecture. It also contains kind, hardworking locals that have been thriving in the fishing industry for a long, long, time. Now, things are changing and everyone is being forced to adapt. LUZZU takes all that local beauty and then gives us a weighty story we can sink our teeth into.
Jes is down on his luck in every way possible. He’s not catching anything that he can sell. His new son is not growing as he should. His mother-in-law doesn’t respect him. Jes dives headfirst into the black market fishing industry. While he fixes his luzzu (which is his wooden fishing boat) by hand, he snatches up any side hustle that comes his way. It’s heartwrenching to watch him struggle. You just want him to make it. As the danger grows, so do the emotional consequences.
The juxtaposition of what all other networks are airing during this incident is rattling. No one, outside the studio, knows what is occurring. Everyone is nonchalant or celebratory so when the danger escalates, seeing the calm on ancillary characters is unnerving. It’s fantastic. This script manages to tackle class structure and emotional trauma, with media profits as the underlying force of everything that goes awry in Sebastian’s “plan”. Prime Time does an incredible job of keeping you on the hook until the screen goes black. In a present era where every second of media is either controlled or completely reckless, Prime Time taps into every viewer’s own fear of being lied to. Sundance audiences will love this film.
An already messy relationship between three individuals is challenged when they’re thrown back together after two years. As they one-up each other, passive-aggressively, boundaries are pushed to their breaking points. The film has a nonchalant pace that will either be up your alley or not. The settings will undoubtedly dazzle the Sundance audience. Bertie is played by Idella Johnson. Her acting warms up as the plot rolls along. She hits her stride once we hear her sing. Not warm up, but really SANG!. Her performance around the fire is explosive. Broadway-quality, touch your soul kind of stuff. Lucien Guignard as Fred is as complicated as this script needs him to be. He is charming and perhaps even underutilized. There was so much more to his story that I wanted to hear about. Hannah Pepper as Lane is the most relatable character for the masses. We don’t see a lot of polyamory portrayed in film. It’s often left as a punchline in romcoms. Here, Pepper opens her veins on screen. The idea of not sharing a lover but running when things get hard is very grounded. She walks a line that keeps the story honest and grounded in a reality we can sink our teeth into. Wine, adventure, confession, disappointment, you get it all in a visceral way. Ma Belle, My Beauty a fantastic feature debut for writer/director Marion Hill. She and the entire cast and crew should be proud.
Every once in a blue moon a film comes along that pushes you past your own emotional boundaries. The heaviness of the stories in Identifying Features swallows you whole. You are forced to confront the realities that are far too often swept under the political rug here in the US and are dreaded in Mexico. With a score that vibrates your already unsettled soul, the handheld cinematography puts you in the shoes of any one of these individuals getting shoved back across the border… And those who don’t ever make it. The alternating scenes from a mother to a son build up a visceral tension to an ending that is beyond shocking. The intimacy of the sound editing and long lingering beautifully shot close-ups force you to remain engaged no matter how badly you’d like to look away. Identifying Features is brilliant in its unyielding honesty. You will sink so far into the depths of these families’ grief, digging out will take more time than you’ll realize. It’s nothing short of captivating.
Sir Walter Scott said it best in his poem “Marmion”, ‘Oh, what a tangled web we weave,/ When first we practice to deceive!’ The genius of this script is the storytelling structure. Minutes in you understand that our leading lady is caught in a web so large she cannot get out now. The relentless danger he allows herself to be in is astounding. The audience is constantly waiting for the other shoe to drop. Now that I have had time to sit on my viewing, I am actually aghast at the pace of the film. It barrels along in its deception and doesn’t let up for a minute. While there is clearly a backstory that predates the present timeline in White Lie, I found the lack of information all the more intriguing. I was forced to make assumptions thus leading to, perhaps, a completely different take than anyone sitting next to me. Bravo to writers/directors Yonah Lewis, Calvin Thomas for being bold enough to make such choices.
Kacey Rohl‘s performance as Katie makes the film as enthralling as it is. Her ability to make you loathe her and sympathize with her is uncanny. You understand that the complexity of this role is massive. She absolutely nails it. White Lie will have you uncomfortable from start to finish. It will be impossible to look away even though you’ll feel as entangled in the lies as Katie. It’s quite masterful.
Based on the book of the same name by Naoki Higashida, The Reason I Jump is an emotional rollercoaster. I was already welling up listening to the opening monologue. The echolalia, the sensory overstimulation, the hand flapping, and ear covering all punched me in the gut when presented on screen. I’m a lucky Mom. At 5 years old, my child is now very verbal, he’s hyperlexic which means he’s been reading since he was two. He loves hugs, sleep, and eats well. On the autism spectrum, he would be closer to Asperger’s, if that were a diagnosis recognized nowadays. None of these facts lessen the fear, frustration, exhaustion, and pure elation in raising an exceptional human being. The Reason I Jump is tailor-made from the words of a nonverbal 13-year-old boy’s experiences from the inside out. In film form, it’s simply triumphant.
In the doc, we are introduced to 5 unique young people with autism.
Joss -(UK)
Jestina – Sierra Leone
The narrated excerpts from the book directly correlate with whichever child is being highlighted at that time. Voiced by Jordan O’Donegan, they have a poetic feel to their profundity. Naoki writes, “Making sounds with your mouth isn’t the same as communication.” That quote did me in. When you hear that, truly hear it, you will be taken aback. Jestina, Ben, Emma, Joss, and Amrit all communicate in a different way, we just had to learn how to listen. The heightened sound design immerses you into the world of an autistic person. We do not understand what it is like to be utterly overwhelmed not being able to be fully understood. The cinematography is breathtaking. Quick cuts, predominantly in close-up form combined with a gorgeous soundtrack put you in an alternate headspace. The editing takes all these elements and blends them into a viscerally stunning documentary.
As a mother of a child on the autism spectrum, I feel like I can see I want to broadcast this film to the world so that neurotypical individuals can understand my son and every other person on the spectrum. The label of autism, whether people realize it or not, creates implicit bias. We are missing out on the potential and impact of an entire faction of our society. It is our duty to meet each other in the middle. The Reason I Jump is a captivating peek behind the autism curtain. Don’t look away now. Thank you Naoki Higashida for writing this book. Thank you David Mitchell for translating it for your son. Thank you Jerry Rothwell for directing such an important film. Thank you to the families that shared their lives. Watch this film, then choose to listen and learn in a new way.
Vicky Knight as Jade is a revelation. Her expression of physical and emotional pain in all its nuance makes Dirty God as successful as it is. She just wants a bit of normalcy. From the fear her own daughter displays, to the reaction of peers, to confronting her ex and attacker in court, to feel loved, the daily battle screams from the screen. One of the most impactful scenes comes when she purchases a burka. Hiding the majority of her body gives her the confidence to act with freedom. It’s an exhilarating scene to experience with her. The emotional scars are as relevant as the physical ones. Knight, who was burnt as a child in real life, can represent the undercounted number of women that have been attacked in this manner.
Jade attempts to connect with others online. Those scenes are incredibly profound in the grand scheme of her arch. The most difficult thing is watching people treat Jade in a subhuman manner. It’s positively atrocious. The entire conversation around the importance of appearance in society, ableist behavior, and kindness, in general, is one for the ages. Dirty God is inspired and important viewing where the human divide and vitriol are so wide and prevalent. It’s an awesome statement on bullying and an even bigger one for self-esteem.
Telsa is one of the most uniquely presented biographies on film. Told from the narrative point of view of Anne Morgan and her unrequited love for Nikola Tesla, we are led into the mind of this scientifically gifted and eccentric man. Socially awkward, as many geniuses are, Telsa was responsible for changing more of history than most of us realize. His intelligence oftentimes hindering true companionship, his ups and downs can be felt through the screen by the wonderful performance from Ethan Hawke. Ever the chameleon, Hawke’s physicality and vocal dynamics force you to sit up and pay closer attention. But with the intrigue of the film’s presentation, this is an incredibly easy feat. There was a sadness to Telsa, an unending need for more success and validation of his contributions. Eve Hewson is captivating as Anne Morgan. Her sense of calm and poise put you at ease while you go on this engrossing journey. Jim Gaffigan as Westinghouse is also a complete joy to watch.
The look of this film is nothing short of stunning. Half theatrical stage play and half tongue in cheek look at technology, Telsa uses a modern scope in period dress to engage the audience. It immediately reminded me of the surprise that A Knight’s Tale utilized in 2001; music choices decades outside of the plot’s timeline. It made it all the more relatable in the coolest way. Endlessly enthralling, Tesla shines a light on some of the darker parts of one brilliant man’s life and work.
The terror begins from the very first scene. Blink and you’ll miss the clues laid out from the getgo. Relic crawls under your skin and chills you to the bone. The script is skillfully crafted. Not only are you inside a haunted house story but you’re also tangled up in family trauma and dementia. As someone whose grandmother passed this spring, as someone who watched her mental and physical deterioration for years from Alzheimer’s, this film felt personal and all the more upsetting. For those who have had a relative with the disease, you’re constantly asking yourself, “Do I see traces of it in my Mother? My Father? Will I feel just as helpless in the future?” Relic is an allegory that builds upon fear, much 
Emily Mortimer, Bella Heathcote, and Robyn Nevin are phenomenal. Three generations of women expose themselves to give us some of the most epic horror performances since Toni Collette in Hereditary, Lupita Nyong’o in Us, and Riley Keough in The Lodge. The specificity to age and stage development is obviously there but it the reaction to trauma both unlying and on the surface that is played with precision. This story, outside of the horror aspect, will resonate with so many, regardless of generation. The cinematographer coupled with the story leaves so many things unanswered. I actually would love a sequel… or even a prequel. Director-writer Natalie Erika James and co-writer Christian White, they have given the viewing audience an exceptionally frightening masterpiece. Very few films still cause me to cover my eyes. Though I wished I had, I could not pull my attention from the screen. Brilliant performances, dark and lush cinematography, and alarmingly visceral storytelling make Relic completely hypnotic. It will, no doubt, paralyze you with fears beyond your understanding.
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