Barbie and Oppenheimer. Two unlikely partners who teamed up to revive the idea of a double feature, and to yield a truly blockbuster opening week for both films. My wife and I got in on the Barbenheimer chaos and emerged on the other side bruised but exhilarated. We saw Barbie first, and then Oppenheimer – I feel the inverse order may have actually been healthier for my psyche. Walking out of Oppenheimer into the bright weekend sun, I felt myself grappling with, even overwhelmed by, large universal questions. I could have really used some of Barbie’s brightness at that moment.
In many ways, these two films could not be more different. One is about a globally known and distributed children’s toy, the other the founder of the atomic bomb. One embraces and explores femininity and the female condition, whereas the other features maybe 4 female characters in total. One is bright and colorful (at least on the surface), whereas the other is dark and moody. On paper, this would not seem to be a great wine pairing.
There are, however, areas where the two films are quite complementary. At the end of the day, both films serve to investigate the humanity within very public, idealistic figures. Barbie is a toy and Oppenheimer a human, but they both exist today as contrasting symbols. Barbie was widely touted as a type of feminine ideal (although one that has been rightfully questioned and interrogated as a product of problematic patriarchal influence) and Oppenheimer as a symbol of America’s mental and physical supremacy.
Both films also ask complicated questions surrounding the way ideals or symbols exist or endure once they are exposed to the whims of the broader world. When Barbie and Ken leave Barbieland, they quickly learn that what they believed to be universal truths no longer apply. The way they see themselves may not be how others see them. Similarly, an initial vision for how the atom bomb might be leveraged quickly shifts when the weapon rolls out of the lab and into the hands of the US military. Both Barbie and Oppenheimer are forced to realize that intention doesn’t necessarily translate to reality.
Finally, both films also invite the audience to look inwards and ask themselves hard questions. As a cisgender white male, the common theme that resonated for me was that of complicity, but others may find different points of resonance.
Ultimately, I hope that the Barbenheimer experience motivates more audiences to seek out double features. I just hope the next duo is a little less heavy, and maybe a little shorter.
The teenage shenanigans ring true. That feeling of invincibility and daring remind me of my crazy ideas and dumb decisions in the late 90s. Egghead and Twinkie take risks, make mistakes, hurt each other, get their hearts broken, and confess their fears. The film is a helpful guide for parents struggling to understand their kids’ feelings. Regardless of their core beliefs, 
We have been lucky enough to have seen a few of the titles already making the rounds. You can catch our reviews for the following films:
Paiffe
HEIGHTENED
Isaac Jay is Dan. He delivers the right amount of good-guy energy topped with the typical carefree male partner. His tonal shift between Eliza and KJ will rub you raw. His patience is vital to Glue Trap’s success.
To find out more about DWF: LA, 
BUCKY F*CKING DENT
David Duchovny adapts his novel of the same name for the big screen at Tribeca’s 2023. If you grew up a Red Sox fan like I did, the name Buck Dent is akin to “He Who Shall Not Be Named” in Harry Potter. Being a Sox fan, I was constantly aware of the curse. You can spot the mix of joy and anguish on my face throughout the years in a series of photos of little Lizzie propped up against The Green Monster. Duchovny perfectly captures the masochistic nature of born and bread fans in his heartwarming and hilarious film BUCKY F*CKING DENT.
A bit of truth and fiction, the film combines Super 8 recreations of scenes from a novel Marty never intended for anyone to see and the masterminded shenanigans from Ted and Co. The dialogue is pure acerbic deliciousness. The chemistry between Duchovny and Logan Marshall-Green is divine. The back-and-forth between the two feels effortless. I can’t remember the last time I laughed so hard at the inevitability of death.
Filmed in my and Kind’s neighborhood of the Upper West Side, the film takes place as Chloe describes it, making the scenario even funnier. Do I want to see the feature-length version of this? Yup. Is this perhaps the most convincing actual proof of concept ever created? I think it might.
Directed by: Steve Buscemi
FIRST WAVE OF TITLES FOR ITS 27th EDITION
Shazad Latif, as Kaz, has a quiet confidence that draws you in from the beginning. He possesses something special that makes the audience feel safe around him. Anyone would be lucky to have Kaz as a member of their family. Lily James plays Zoe with ambition, smarts, and girl-next-door sass. This character’s depth, flaws, and strengths equally embraced make the film thoroughly relatable. Dating is complicated, especially now. James embodies the modern-day woman and brings an elegance to Zoe that captures the audience immediately. Latif and James have a chemistry that feels earned.
When Abby’s grandma dies, the only thing she inherits a stupid kite – after giving it to her brother; he is mysteriously killed and the kite disappears. While searching for the truth, she is tangled in a strange supernatural plot, where this killer kite continues to kill! Now, Abby must string together a way to stop the kite before it blows us all away. Kites may not be the scariest monster ever, but they’re up there.
Could KILLER KITES be the new Midnight Madness screening? Anything is possible. Check out the trailer below. 
Directed by John Slattery
The End of Sex tells the story of a married couple (Hampshire and Chernick) who are feeling the pressures of parenting and adulthood. After they send their young kids to camp for the first time, they embark on a series of comic sexual adventures to reinvigorate their relationship.
Lily Gao
The script nails the unfiltered complexities of adult relationships, particularly co-parenting and the ebb and flow of physical attraction. It centers on communication and the dangers of giving up on ourselves to mollify our partners. Relationships are rarely 50/50. THE END OF SEX goes there and sometimes falls off the edge in the best way possible. 
The quirky and overtly sexualized visuals on signs throughout the film become an over-the-top running joke. A brief but brilliant cameo from a comedy legend takes the script to another level. It is an unforgettable scene. THE END OF SEX celebrates kink rather than shaming. It permits viewers to explore fantasy while reflecting on intimacy. It’s a beginning of a conversation between partners, new and old, and a hell of a good time.
Once she finds Jackson, Marge discovers he has been spending his days surfing, coaching, and drinking himself into oblivion. He is in no shape to bring Marge into his life. Undeterred, Marge makes him pinky promise to do better. As they fumble toward reconciliation, Marge learns to be bolder, braver, and more self-accepting.
The women’s fútbol team overflows with cheeky personalities. These girls are great foils for Marge’s insecure nature. Jess Gabor is fantastic as Marge. She is natural, sarcastic, and vulnerable. Steve Zahn never disappoints. His comedic self-defense mechanisms pair well with the well-intended fatherly guidance. At the heart of it, Jackson is a damaged but kind soul. Zahn embraces his flaws, making him human and accessible. Together, they are easy to watch.
Waving the logistical fact that a minor would never be allowed to cross the border without a passport or note from their parents, GRINGA tells the story of two lost souls growing together. The script tackles body dysmorphia, eating disorders, culture, alcoholism, grief, and unresolved emotional trauma. In the end, GRINGA is a charming coming-of-age story for both father and daughter.
Writer-director-producer-DP-and editor Evan Marlowe brings Panic Fest 2023 audiences, hands down one of the most twisted films in recent history with ABRUPTIO. A maniacally bizarre and wholly disturbing film, this story of coping mechanisms, humanity’s darkness, and unrelenting guilt will knock you off your feet. 
Robert Englund plays Mr. Salk, an OCD accountant dressed entirely in white. A genius move on Marlowe’s part to include his vocal stylings. Darren Darnborough gives Clive a perfectly sinister intonation. I would happily watch a spinoff following his character’s shenanigans. BUFFY loves of my life James Marsters voices Les. He is outstanding. His subdued nature makes you all the more uncomfortable. 
Luke Bracey plays Jesse, a photographer who returns with PTSD. His anger, bitterness, and assumptions sabotage a return to normalcy. Bracey takes us along on a journey that provokes real questions. 
The script would benefit from more scenes establishing the strength of Emma and Sam’s bond. The humor comes from Sam’s endearing and feisty conversations with his students. These scenes are genuine and hilarious. The film probably needs one or two at the beginning to establish Sam as a fully fleshed-out character, which only happens much later in the plot. Additionally, I would have loved to see Sam pining away for Emma as a kid. These nitpicky issues speak to the editing as a whole. The narrative is tricky as we jump in time. It could use a bit of reworking, in my opinion. I would watch this story as a series. There is so much to dig into.
ONE TRUE LOVES
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