Category Archives: Drama

Sundance (2022) capsule reviews: ‘The Dark Heart’ series & feature ‘Leonor Will Never Die’

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THE DARK HEART

Sweden: in a mythological landscape, search parties roam through forests of spruce, secret conversations are whispered in open fields, and verbal duels fought on narrow country roads. A story of family feuds, inheritances, and forbidden love.

Sweden’s true crime game is above and beyond. The US had already remade series like The Killing and The Bridge. Sundance 2022 audiences can dive headfirst into The Dark Heart. The series is a five-part psychological drama-thriller about how an old family feud clashes with a young, forbidden love story, leading to a tragedy with a deadly outcome, ultimately solved by a private investigator who gets obsessed with the case. The series is based on journalist Joakim Palmkvist’s book “The Dark Heart: A True Story of Greed, Murder, and an Unlikely Investigator”, which delves into the story about how a mysterious missing person’s case is investigated and solved by a local Missing People-volunteer involved in the searches. Think Broadchurch and Mare of East Town vibes. Small town politics and mystery with enough breadcrumbs and insinuation to keep you guessing. You will not be able to look away.

Cast: Aliette Opheim, Clara Christiansson Drake, Gustav Lindh, Peter Andersson.

World Premiere. Fiction. 

LEONOR WILL NEVER DIE

Fiction and reality blur when Leonor, a retired filmmaker, falls into a coma after a television lands on her head, compelling her to become the action hero of her unfinished screenplay.

As a writer, this script is essentially a dream, pun intended. Leading lady, Sheila Francisco is an absolute joy to watch and her energetic narration/script reading is a blast. In her coma, she is living inside her story. The recreations of 80s action films are astounding from the perfectly hokey score to the fight sequences. The visual jumps from these, to real-life, to memories, keeps you on your toes. The semiautobiographical nature of Leonor’s writing makes for a haunting present circumstance. The nonchalance in which her son and ex-husband converse with their lost loved one is bizarre. But that’s only half of the wackiness that ensues. Leonor is weird meta fun. You cannot help but adore the heart behind it.

Cast: Sheila Francisco, Bong Cabrera, Rocky Salumbides, Anthony Falcon.

World Premiere.

For more information and the complete lineup for Sundance 2022 film, click here!

Review: ‘The Midnight Swim’ is hypnotic.

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THE MIDNIGHT SWIM

THE MIDNIGHT SWIM, which world premiered at the Fantasia International Film Festival in 2014 and went on to win the Breakthrough Audience Award from AFI Fest and Best Feature Film from the Denver International Film Festival, marked the debut feature of Sarah Adina Smith (Buster’s Mal Heart, 2016; Birds of Paradise, 2021). The film follows half-sisters Isa, June, and Annie in the wake of the disappearance of their mother, Dr. Amelia Brooks, during a deep-water dive in Spirit Lake. The three women decide to travel home to settle her affairs, where they accidentally summon a local ghost and find themselves drawn deeper into the mysteries of the lake as their relationship begins to unravel.

Folklore and family meld too well in The Midnight Swim. You won’t know where one ends and the other begins. As we watch this story unfold all in “found footage” from Annie’s vintage camera. It becomes clear that their relationships with their mother were complex and dark. Grief manifests in a variety of ways, but the most successful aspect as strange things begin to occur is the connection between the three sisters. Aleksa Palladino, Lindsay Burdge, Jennifer Lafleur pull you into the film like sirens. There is tension, adoration, irritation, and unadulterated fun that happens amid weirdness. Did their mother drown, or was it suicide? These discussions are ongoing. We discover Annie is/was unwell, never specified in the film. We see this in her solitude when the camera is pointed at her, predominantly in mirrors, as she is the film’s “cinematographer.” We’re tipped off in moments when the girls explain that she only eats alone, when she pretends to be a stranger calling her deceased mother’s office and then begins to take “night swims” she cannot recall until time-lapse footage appears the following mornings.

Strangely enough, one of my favorite scenes is the only earnest tension breaker in the film. It’s an oddly placed music video performed by the sisters. Each has a chance to show off their personalities. It’s seemingly something they did as children, and like the rest of the film, it lands somewhere between enchanting and creepy as hell. The set’s dressing, particularly the bedrooms, have a candy-colored aesthetic to them. Laura Ashley-Esque prints against morose faces unsettle your body. The story of the ill-fated seven sisters becomes more intriguing once you realize the ancient origins apply both to the sea and stars. While writer-director Sarah Adina Smith‘s film ultimately leaves us with more questions than answers, it’s a film that is impossible to shake.

Pre-sale on collector’s BluRay launches Jan. 1, on Digital and VOD Jan. 25, 2022

Sundance (2022) review: Family friendly ‘MAIKA’ is universally entertaining.

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SYNOPSIS:
Ham Tran’s Maika follows 8-year-old Hung, who is still coping with the death of his mother and having difficulty connecting to his father, when his best friend moves away, along with others in his apartment as a greedy landlord conspires to push everyone out so he can sell the place. One night, as Hung retreats to the roof to be alone and watch the night sky he witnesses an errant falling star hitting the ground by a lake near his town. Hung hops on his bike in search of adventure. He arrives at the crash site, and instead of a meteor, discovers an alien girl from the planet Maika, who came in search of her lost friend. As Hung helps Maika find her friend and get back to her home, she inadvertently helps Hung make new friends and mend his broken heart. But danger lurks everywhere, as Hung is not the only one who knows of his new alien friend…

A grieving boy comes face to face with an alien girl trying to find her way home. Their adventures will bring unadulterated joy to Sundance 2022 audiences. Maika‘s cinematography is eye-popping. The production team dressed the sets and the actors in ways that hypnotized me. It’s the perfect eye candy for kids and parents alike. 

Our three youngest leads, Phu Trong, Diep Anh Chu, and Tin Tin are darling. These kids are out of this world fantastic. Their relationships are the purest and most honest I’ve seen in ages. You’ll double over in fits of giggles at Hung and Maika’s first interaction, while unexpected sidekick Beo takes the comedy to the next level.  

Maika has a familiar arc with all the finesse of E.T. and the charming goofiness of Little Rascals. Maika stands out with the emotional pull of grief and unconditional love. Add in some family-friendly subplot hijinks, all wrapped in a hilarious and sweet package, and you’ve got yourself a hit. With a whimsical score, every aspect of this film is enchanting. I laughed and cried a lot. Dub this in every language because its messaging is undeniably universal. It is a magnificent addition to Sundance 2022. Maika’s future is written in the stars.

Director/Writer:                      Ham Tran
Producers:                             Jenni Trang Le, Duy Ho, Anderson Le, Bao Nguyen
Executive Producers:           Quang Binh Nguyen Phan, Bich Hien Ngo Thi
Associate Producer:             Vi Vincent Ngo                           
Editors:                                  Ham Tran, Jayson Cabugason, Eunice Goh Yi Hui
Cinematographer:                 Minh Cong Trang
Composer:                             Christopher Wong
Cast:                                       Phu Truong, Diep Anh Chu, Tin Tin, Ngoc Tuong, Kim Nha
TRT:                                        105 min
Country:                                 Vietnam

To find out more about the entire Sundance 2022 lineup, click here!

Sundance (2022) review: ‘GOD’S COUNTRY’ is far beyond a feminist reclamation of power. It’s a “Hell Yes” of a film.

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GOD’S COUNTRY

Based on the short story “Winter Light” by James Lee Burke, Sundance 2022 feature GOD’S COUNTRY is here to rock you to your core. Sandra Guidry is a local professor mourning the loss of her mother. She now resides alone, surrounded by memories of her past and the miles of wilderness that make up her canyon property. When she arrives home to find a red truck parked in her yard, it is accosting, at the very least. When it reappears the following day, Sandra confronts the passengers. After polite requests to desist, matters escalate, and a battle of wills begins. 

Ingenuity, culture, and passion all have you cheering out loud for Sandra. The script smartly comments on race in America. Sandra’s quiet “don’t fuck with me” attitude makes God’s Country as successful as it is. It also tackles commonality in a carefully curated way, allowing us to take breaths amongst the deep-seated hatred and ignorance. But, don’t for a second get comfortable. God’s Country is ultimately about power. 

Thandiwe Newton is spectacular. She’s fearless, vulnerable, and captivating. Sandra’s backstory adds another level of insight for the audience. Newton masterfully uses every device in her toolbox. There is a relentless simmering of anxiety that keeps you unsettled. The repetition of the rising water visual takes on an entirely new meaning as the plot progresses. 

Shaye Ogbonna and director Julian Highins’ screenplay shifts the power dynamic. It’s a reclamation of sorts, a rise above trauma, work through of grief, and obliteration of toxic masculinity. The final shot will stop your heart. God’s Country demands your attention with its complexities. It’s a tremendous highlight of Sundance 2022.

To find out more about the entire Sundance 2022 lineup, click here!

Sundance (2022) review: ‘Brian and Charles’ is a hilarious and heartwarming buddy comedy.

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BRIAN AND CHARLES

After a particularly harsh winter Brian goes into a deep depression; completely isolated and with no one to talk to, Brian does what any sane person would do when faced with such a melancholic situation. He builds a robot.

Brian is an eccentric inventor of creative, if not completely useless, things. After accidentally inventing a robot, he experiences the gambit emotions, the likes of which both he and the audience are not prepared for.

You have to wonder how much of the dialogue is improvised based upon David Earl‘s genius timing and rhythm. You will fall in love with this character. Earl creates a man that’s loveable, kind, and hilarious. You laugh out loud at moments that perhaps should not be funny. Ultimately, it’s Brian’s earnest care and wonder for Charles that hits you in the heart.

Chris Hayward as Charles is absolutely darling. As he is a newly created being, he possesses the whole of knowledge and yet has the social-emotional intelligence of a toddler. His unpredictable nature makes the chemistry with Earl pure magic.

 The awkward juxtaposition of Charles’ massively disproportionate body with Brian makes for quite the visual gag at any given moment. Bravo to Earl and Hayward for this one-of-a-kind screenplay. The mockumentary structure adds an extra element of levity. If you’re not grinning from ear to ear, I suggest you get your head checked. There is no doubt in my mind that this will be one of the biggest hits out of Sundance 2022. Brian and Charles is bursting with charm.

To find out more about the entire Sundance 2022 lineup, click here!

Sundance (2022) Midnight review: ‘SPEAK NO EVIL’ annihilates the notion of a gracious host.

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SPEAK NO EVIL

A Danish family visits a Dutch family they met on a holiday. What was supposed to be an idyllic weekend slowly starts unraveling as the Danes try to stay polite in the face of unpleasantness.

After meeting on an Italian holiday, two young families spend a weekend together in the Dutch countryside. Cultural misunderstanding and language barriers aren’t the only things creating tension, as guests become increasingly uncomfortable with their host family. 

The ominous score puts your frame of mind into peril immediately. Performances across the board will have you hanging on every word. The sly dialogue combined with increasingly cringe-worthy behavior keeps your skin crawling and your pulse elevated every second of the film. You are humming with anticipation of something terrible. Speak No Evil is the epitome of psychological horror. 

These people are not unfamiliar; the manipulation, the overly opinionated, the inappropriate, and overtly abusive. Boundaries are crossed and outright obliterated. As if that weren’t enough, the ultimate reveal of this odd couple will absolutely terrify you. Speak No Evil’s final third had me digging my nails into my palms so hard they almost drew blood. If that is not an endorsement, I don’t know what is.

To find out more about the entire Sundance 2022 lineup, click here!

Sundance (2022) review: ‘WATCHER’ is a slow-burn story of gaslighting and daily dread.

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WATCHER

Julia joins her husband when he relocates to his family’s native Romania for a new job. Having recently abandoned her acting career, she finds herself frequently alone and unoccupied.

Maika Monroe has solidified herself as a genre darling. If you somehow missed her It Follows or Villains, she’s a captivating performer. In Watcher writer-director, Chloe Okuno introduces us to a young couple’s international move to Bucharest takes a terrifying turn. A string of local murders haunts Julia as she spends her days alone and becomes aware of a neighbor staring at her from his apartment each night. Watcher takes you on a journey of cultural clash, instinct, and terror.

The film echoes the ingrained fear that women endure daily. We constantly live in a heightened state of awareness and anxiety that is exhausting. But it’s not only that aspect; it’s the gaslighting that might be more impactful than anything else and, its ensuing isolation can feel all-consuming. Monroe is in almost every frame. Her mindset will be all too familiar for the female audience. The sense that someone is a bit too close, looking at you a moment too long, and in many cases, we are helpless. What Monroe brings bravery to Julia that allows the viewer to be cautiously optimistic about her safety. Okuno and Zach Ford‘s script gives her a sense of action while maintaining fragility. It’s the moments of courage that we get to root for while simultaneously biting our nails. It’s a beautiful balance. Benjamin Kirk Nielsen‘s cinematography combined with Okuno’s blocking also put the viewer in Julia’s state of peril. Accompanied by a string-heavy score is everything we need it to be. The emotional manipulation in this film is sheer brilliance. While it’s not necessarily a new storyline, it is the bold approach that sets it apart. Watcher will have you maniacally screaming at the screen in terror and frustration. Sundance audiences are in for a ride.

To find out more about the entire Sundance 2022 lineup, click here!

Double Bill Review: Gonzalo Calzada’s ‘Nocturna: Side A – The Great Old Man’s Night’ & ‘Nocturna: Side B – Where the Elephants Go to Die’ are where the theatrical and experimental meet.

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Nocturna: Side A – The Great Old Man’s Night

&

Nocturna: Side B – Where the Elephants Go to Die

“Nocturna: Side A – The Great Old Man’s Night” follows a nearly 100-year-old man who, on his final night on earth, fights for redemption from his life’s misdeeds. In “Nocturna: Side B – Where Elephants Go to Die,” Calzada embarks on an aesthetically opposite experimental twist of the same story.

Nocturna: Side A – The Great Old Man’s Night

 

Visual representations of grief, love, and regret make for a unique movie experience in the first of these two films. An extraordinarily haunting score adds to the emotional pull of the film. It’s a genre-defying film. There are brilliant clues along the way, but you have to stay sharp-eyed to notice them from the beginning. The added device of Alzheimer’s creates a perfect dance of deception and mystery. The cast is outstanding. Not a performance is out of place. Nocturna: Side A will break your heart as it inspires you to make peace with your shortcomings. Somewhere between memory and longing lies an enchanting storyline.

Nocturna: Side B – Where the Elephants Go to Die

 

This film has an entirely different approach and aesthetic. Audio and narration give it an almost accosting opening that prepares you for a drastically stylistic approach to more in-depth stories of the souls in the building. Nocturna: Side B is perhaps questionable as a stand-alone film. But it is undoubtedly a rich, nightmarish addition to the Nocturna: Side A.

Nocturna: Side A – The Great Old Man’s Night and Nocturna: Side B – Where the Elephants Go to Die will be released January 18 on iTunes/Apple TV, Amazon Prime Video, Google Play, Xbox, Vudu, Vimeo, DirecTv, local cable & satellite providers, and on DVD.

 

Sundance 2022: Some of what we’ll be watching at this year’s festival, and it’s a lot.

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Having switched from in-person to completely virtual, audiences of Sundance 2022 will have the opportunity to see a plethora of entertainment that will terrify, tantalize, and remind you of why we love storytelling so much. From horror to drama, television series to shorts, documentaries to VR experiences, we’ll be watching as much as our eyes can consume from January 20-30th. Things are finding distribution left and right, with is always great news. That means even if you miss something during the festival, it will most likely be coming to a theater or streaming platform very soon.

There is something for everyone. Genre favorite filmmakers, writers, actors, and wearers of all the hats,  Aaron Moorhead and Justin Benson, are bringing their latest film Something In The Dirt. Cooper Raif‘s newest Cha Cha Real Smooth is one we’re stoked for. His debut feature Shithouse was one of the most accurate films about college life I’ve ever seen. The shorts lineup this year is bound to blow you away. Do not overlook them, I beg you. There are feature documentaries on Kanye West and Princess Diana, the rise of TikTok, and Slave to Sirens (the first and only all-woman thrash metal band in the Middle East).

Without further ado, here is a list of some of the amazing content we’re excited about this year.

 U.S. DRAMATIC COMPETITION

Cha Cha Real Smooth / U.S.A. (Director and Screenwriter: Cooper Raiff, Producers: Dakota Johnson, Ro Donnelly, Erik Feig, Jessica Switch, Cooper Raiff) — A directionless college graduate embarks on a relationship with a young mom and her teenage daughter while learning the boundaries of his new bar mitzvah party-starting gig. Cast: Dakota Johnson, Cooper Raiff, Vanessa Burghardt, Evan Assante, Brad Garrett, Leslie Mann. World Premiere.

Besides Raiff being an obvious phenom, I suspect this one will hit harder for those with children on the spectrum. I’m particularly excited for Vanessa Burghardt’s performance, as she is on the spectrum herself. Representation matters, across the board.

Dual / U.S.A. (Director and Screenwriter: Riley Stearns, Producers: Nate Bolotin, Aram Tertzakian, Lee Kim, Riley Stearns, Nick Spicer, Maxime Cottray) — After receiving a terminal diagnosis, Sarah commissions a clone of herself to ease the loss for her friends and family. When she makes a miraculous recovery, her attempt to have her clone decommissioned fails, and leads to a court-mandated duel to the death. Cast: Karen Gillan, Aaron Paul, Beulah Koale. World Premiere.

This plot sounds like something out of West World and Doctor Who. Did I just mention those because of Paul and Gillan? Happy coincidence.

U.S. DOCUMENTARY COMPETITION

I Didn’t See You There / U.S.A. (Director: Reid Davenport, Producer: Keith Wilson) — Spurred by the spectacle of a circus tent that goes up outside his Oakland apartment, a disabled filmmaker launches into an unflinching meditation on freakdom, (in)visibility, and the pursuit of individual agency. World Premiere.

I fell into advocacy for those with disabilities when my son was diagnosed on the autism spectrum. I have a feeling that this film will give me a deeper understanding of not only my son’s perspective on society but the ever-present need for awareness and empathy.

WORLD CINEMA DRAMATIC COMPETITION

Brian And Charles / U.K. (Director: Jim Archer, Screenwriters: David Earl, Chris Hayward, Producer: Rupert Majendie)  — A story of friendship, love, and letting go. And a 7ft tall robot that eats cabbages. A comedy shot in documentary format. Cast: David Earl, Chris Hayward, Louise Brealey, Jamie Michie, Lowri Izzard, Mari Izzard. World Premiere.

Prediction: Brian And Charles will be one of the most endearing films of the entire festival. This unlikely buddy comedy is sure to capture everyone’s heart.

 

Leonor Will Never Die / Philippines (Director and Screenwriter: Martika Ramirez Escobar, Producers: Monster Jimenez, Mario Cornejo)  — Fiction and reality blur when Leonor, a retired filmmaker, falls into a coma after a television lands on her head, compelling her to become the action hero of her unfinished screenplay. Cast: Sheila Francisco, Bong Cabrera, Rocky Salumbides, Anthony Falcon. World Premiere.

As a writer, I’m selfishly looking forward to this. There’s always a bit of myself in my fiction, and who wouldn’t want to become an action hero?

WORLD CINEMA DOCUMENTARY COMPETITION

Calendar Girls / Sweden (Directors, Screenwriters, and Producers: Maria Loohufvud, Love Martinsen) — A coming-of-golden-age look at Florida’s most dedicated dance team for women over 60, shaking up the outdated image of “the little old lady,” and calling for everyone to dance their hearts out, while they still can. World Premiere.

Dancing since the age of three, this 41-year-old is looking for a few new role models.

 

Nothing Compares / Ireland, U.K. (Director: Kathryn Ferguson, Producers: Eleanor Emptage, Michael Mallie) — The story of Sinéad O’Connor’s phenomenal rise to worldwide fame and subsequent exile from the pop mainstream. Focusing on Sinéad’s prophetic words and deeds from 1987 to 1993, the film reflects on the legacy of this fearless trailblazer through a contemporary feminist lens. World Premiere.

NEXT

Something In The Dirt / U.S.A. (Directors: Justin Benson, Aaron Moorhead, Screenwriter: Justin Benson, Producers: David Lawson, Aaron Moorhead, Justin Benson)  — When neighbors John and Levi witness supernatural events in their Los Angeles apartment building, they realize documenting the paranormal could inject some fame and fortune into their wasted lives. An ever-deeper, darker rabbit hole, their friendship frays as they uncover the dangers of the phenomena, the city, and each other. Cast: Justin Benson, Aaron Moorhead. World Premiere. Fiction.

Genre fans will recognize these household names for their spellbinding skills. I’ve yet to watch away from their films without chills or an audible “WTF.”

The Cathedral / Italy, U.S.A. (Director and Screenwriter: Ricky D’Ambrose, Producer: Graham Swon) — An only child’s account of an American family’s rise and fall over two decades. Cast: Brian d’Arcy James, Monica Barbaro, Mark Zeisler, Geraldine Singer, William Bednar-Carter. North American Premiere. Fiction.

MIDNIGHT

Hatching / Finland (Director: Hanna Bergholm, Screenwriter: Ilja Rautsi, Producers: Mika Ritalahti, Nico Ritalahtit) — While desperately trying to please her demanding mother, a young gymnast discovers a strange egg. She tucks it away and keeps it warm, but when it hatches, what emerges shocks everyone. Cast: Jani Volanen, Siiri Solalinna, Sophia Heikkilä, Saija Lentonen, Reino Nordin, Oiva Ollila. World Premiere. Fiction.

 

PIGGY / Spain (Director and Screenwriter: Carlota Pereda, Producers: Merry Colomer, David Atlan-Jackson) — Sara deals with constant teasing from girls in her small town. But it comes to an end when a stranger kidnaps her tormentors. Sara knows more than she’s saying and must decide between speaking up and saving the girls or saying nothing to protect the strange man who spared her. Cast: Laura Galán. World Premiere. Fiction.

Speak No Evil / Denmark (Director and Screenwriter: Christian Tafdrup, Screenwriter: Mads Tafdrup, Producer: Jacob Jarek) — A Danish family visits a Dutch family they met on a holiday. What was supposed to be an idyllic weekend slowly starts unraveling as the Danes try to stay polite in the face of unpleasantness. Cast: Morten Burian, Sidsel Siem Koch, Fedja van Huêt, Karina Smulders, Liva Forsberg, Marius Damslev. World Premiere. Fiction.

KIDS

Maika / Vietnam (Director and Screenwriter: Ham Tran, Producers: Jenni Trang Le, Duy Ho, Anderson Le, Bao Nguyen) — After a meteor falls to earth, 8-year-old Hung meets an alien girl from the planet Maika, searching for her lost friend. As Hung helps her otherworldly friend search, the alien inadvertently helps Hung make new friends and heal a broken heart. But danger lurks everywhere… Cast: Phu Truong, Diep Anh Tru, Tin Tin, Ngoc Tuong, Kim Nha. World Premiere. Fiction.

INDIE EPISODIC PROGRAM

The Dark Heart / Sweden (Director: Gustav Möller, Screenwriter: Oskar Söderlund, Producers: Anna Carlsten, Caroline Landerberg) — Sweden: in a mythological landscape, search parties roam through forests of spruce, secret conversations are whispered in open fields, and verbal duels fought on narrow country roads. A story of family feuds, inheritances, and forbidden love. Cast: Aliette Opheim, Clara Christiansson Drake, Gustav Lindh, Peter Andersson. World Premiere. Fiction. 

Sweden’s true crime game is above and beyond. The US had already remade series like The Killing and The Bridge. Sundance 2022 audiences can dive headfirst into The Dark Heart. The series is a five-part psychological drama-thriller about how an old family feud clashes with a young, forbidden love story, leading to a tragedy with a deadly outcome, ultimately solved by a private investigator who gets obsessed with the case. The story is based on journalist Joakim Palmkvist’s book “The Dark Heart: A True Story of Greed, Murder, and an Unlikely Investigator”, which delves into the story about how a mysterious missing person’s case is investigated and solved by a local Missing People-volunteer involved in the searches.

INTERNATIONAL LIVE ACTION SHORT FILMS

Warsha / France/Lebanon (Director and Screenwriter: Dania Bdeir, Producer: Coralie Dias) — A Syrian migrant working as a crane operator in Beirut volunteers to cover a shift on one of the most dangerous cranes, where he is able to find his freedom. Cast: Khansa. World Premiere.

Once in a blue moon, a short film takes your breath away and Warsha might be that film in 2022.

U.S LIVE ACTION SHORT FILMS

Huella / U.S.A. (Director and Screenwriter: Gabriela Ortega, Producers: Helena Sardinha, Rafael Thomaseto) — When the death of her grandmother unleashes a generational curse, a disenchanted flamenco dancer resigned to a desk job is forced to experience the five stages of grief through a visit from her female ancestors. Cast: Shakira Barrera, Denise Blasor, Carla Valentine. 

U.S. NONFICTION SHORT FILMS

Long Line of Ladies / United States (Directors: Rayka Zehtabchi, Shaandiin Tome, Producers: Garrett Schiff, Pimm Tripp-Allen, Rayka Zehtabchi, Sam Davis, Dana Kurth) — A girl and her community prepare for her Ihuk, the once-dormant coming of age ceremony of the Karuk and Yurok tribes of Northern California. World Premiere. DAY ONE

For Sundance 2022 full line-up, tickets, and more click here!

 

Review: ‘The Shepherdess and The Seven Songs’ screening at MoMA this week.

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THE SHEPHERDESS AND THE SEVEN SONGS

Following an impressive global film festival run that began with the 70th annual Berlinale and included in MoMA’s 2020 New Directors/New Films festival, THE SHEPHERDESS AND THE SEVEN SONGS (Laila aur satt geet) returns to New York on January 12th, 2022 for a week-long run at The Museum of Modern Art, courtesy of Deaf Crocodile Films and theatrical partner Gratitude Films.

Laila Aur Satt Geet is part allegory, part ethnographic study, and part feminist fairy tale, using the narrative device of local folk songs – seven, to be exact – to describe the protagonist – Laila’s inner and outer worlds.

Laila uses her beauty as her weapon. While navigating misogyny, tradition, indifference, and desire, Laila embarks on a physical and spiritual journey. THE SHEPHERDESS AND THE SEVEN SONGS (Laila aur satt geet) is a genre-defying film. With dazzling cinematography, the camera tends to linger (sometimes stationary) and allows the viewer to experience a cinema verite effect during some scenes. Juxtaposed with sweeping shots of the lush locations and closeups of our leading lady’s face. The pensive moments are weightier when stillness consumes Laila. We watch a young woman reclaim her power through poetic song. Some selections are metaphorical and others literal. Writer-director Pushpendra Singh (The Honor Keeper, 2014; Ashwatthama, 2017; Pearl of the Desert, 2019) guides Navjot Randhawa along the emotional spectrum. She is a fully fleshed-out, flawed woman. It’s a brave performance that hit me in the gut. THE SHEPHERDESS AND THE SEVEN SONGS (Laila aur satt geet) never fails to keep you engaged, culminating in a gorgeous cinematic gem.

Following the run at MoMA, THE SHEPHERDESS AND THE SEVEN SONGS

will be released on VOD in North America in spring 2022

from Deaf Crocodile, Gratitude Films, and Grasshopper Films.

THE SHEPHERDESS AND THE SEVEN SONGS

Original title: Laila aur satt geet

Genre: Drama

Country: India

Runtime: 96 min

Year: 2021

Languages: Gujari and Hindi; English subtitles

Rated: NA

Review: ‘SHATTERED’ mixes ‘Fatal Attraction’ and ‘Misery’ into a thriller for the tech era.

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SHATTERED

In the tradition of Fatal Attraction and Basic Instinct comes this dazzling action-thriller starring Academy Award® nominee John Malkovich (RED) and Frank Grillo (Avengers: Endgame). After lonely tech millionaire Chris (Cameron Monaghan, “Shameless”) encounters charming, sexy Sky (Lilly Krug), passion grows between them – and when he’s injured, she quickly steps in as his nurse. But Sky’s odd behavior makes Chris suspect that she has more sinister intentions, especially when Sky’s roommate is found dead from mysterious causes.

Tale as old as time: Boy is lonely, boy meets girl, girl is bad for him. At first, that’s hot. Later, it’s not. Michael Douglass and Glenn Close taught us these dance moves in 1987’s Fatal Attraction. Prieto’s Shattered takes this formula, adds a helping of 1990’s Misery (James Cann plays an injured writer, and Kathy Bates is the nurse who happens to be an obsessed fan. Great movie – don’t watch if you’re squeamish about ankle torture) and gives it all a glossy high-tech setting.

Chris Decker (Shameless’ Cameron Monaghan) is our lonely boy this time around. Chris created and sold a high-tech security app while he was at MIT. Now’s he’s flush with cash, but he’s also peaked too early. That’s how he finds himself divorced, bored, and lonely in his massive Montana home. His only solace seems to be an impressive wine collection. During a late-night bottle run, he meets the mysterious and sexy Sky (Lilly Krug). She looks like trouble, but she needs a ride home, and she likes his taste in wine. What’s a guy to do?

Things get hot and heavy fast and then go wrong even faster. As in, deliriously bonkers fast. This movie is not interested in slow-burning anything – it turns the gas all the way up. Sky, of course, is not who she claims to be, and Chris finds himself in grave danger. Some films would tease this uncertainty out over many scenes, but Shattered stamps down on the gas pedal. This film burns through the plot faster than it can produce it. There’s probably another version of this film where Chris uses his own security app to slowly turn the tables on Sky – a nuanced vision of cat and mouse for the App generation. I would have also loved exploring more of the film’s snowy Montana setting.

But that film probably would have been a whole lot less visceral fun! Lilly Krug struggles a bit with the good-girl half of the film, but gamely brings Sky’s more psychopathic tendencies to life. Decker is dealt a tough hand here, his character reserved and introverted when he’s not being actively tortured. There are hints of past trauma and obsessive paranoia that I wish the film had spent more time drawing out. John Malkovich, playing a greedy landlord dressed exclusively in pastel ski jackets, chews scenery like he just finished a hunger strike.

Coming in at a tight 92 minutes, the pacing and pleasures of Shattered are more than enough to make up for any glitches in its application. You’ll double-check your password security after watching this one.

CHECK OUT THE RED BAND TRAILER: 

Lionsgate will release the thriller film SHATTERED in Select Theaters and On Demand on January 14th! Available on Blu-ray and DVD on February 22nd!

SHATTERED stars an ensemble cast of Academy Award® nominee John Malkovich (RED), Cameron Monaghan (“Shameless”), Frank Grillo (Avengers: Endgame), Sasha Luss (Anna), and Lilly Krug (Every Breath You Take). The film is directed by Luis Prieto (Kidnap) and was written by David Loughery (Fatale).

 

IFC Midnight trailer debut: ‘A BANQUET’ dishes out family and fear this February.

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A BANQUET

Directed by Ruth Paxton
Starring Sienna Guillory, Jessica Alexander, Ruby Stokes,
and Lindsay Duncan

Synopsis
Widowed mother Holly (Sienna Guillory) is radically tested when her teenage daughter Betsey (Jessica Alexander) experiences a profound enlightenment and insists that her body is no longer her own, but in service to a higher power. Bound to her newfound faith, Betsey refuses to eat but loses no weight. In an agonizing dilemma, torn between love and fear, Holly is forced to confront the boundaries of her own beliefs.

Opens in Select Theaters, on Digital Platforms
and VOD on February 18th

About the Director
Ruth Paxton is a Scottish filmmaker who graduated in 2007 with an MA in Film and TV from Screen Academy Scotland having gained her honours degree at Edinburgh College of Art. Her award-winning shorts have been exhibited and nominated in competition at numerous international events and prominent film festivals. Winner of Best Woman Director at the 12th London Short Film Festival for her film PULSE, and nominated one of Canongate Books 40 Scottish Storytellers of The Future; artists anticipated to dominate the next 40 years of creative life in Scotland. In 2019 Screen Daily featured her as one of ‘Six emerging Scotland based Directors you need to know.’ A BANQUET is Ruth’s debut feature, a psychological horror produced by Tea Shop Productions and Riverstone Pictures. The film is represented by HanWay Films, and was recently acquired by IFC Films for North America. It was selected for the Great 8 showcase at Cannes Marche presented by BFI, BBC Films and the British Council, and will have its World Premiere at Toronto International Film Festival 2021, in the Discovery section.

Directed by: Ruth Paxton
Written by: Justin Bull
Produced by: Leonora Darby, Nik Bower, James Harris, Mark Lane, Laure Vaysse
Director of Photography: David Liddell
Edited by: Matyas Fekete
Starring: Sienna Guillory, Jessica Alexander, Ruby Stokes, Kaine Zajaz, Lindsay Duncan
Runtime: 97 mins

IFC MIDNIGHT
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#ifcmidnight

Review: From stage to screen, the verdict is in for ‘Who is Amos Otis?’

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WHO IS AMOS OTIS?

SYNOPSIS

After assassinating the President, Amos Otis pleads self-defense and must convince the jury that America was not only under attack by its unhinged ruler – but that his actions saved the country and the world. The assassin’s provocative testimony and ingenious defense turns the proceedings upside down and puts our country on trial. 

A wow of a film, Who Is Amos Otis? is like a swift punch in the throat. Written, produced, and directed by Greg Newberry, the story has us follow the President’s assassin and his subsequent trial. If you think this is a mere courtroom drama, think again. You’re in for one of the year’s most surprising and controversial films. It’s a hell of a way to end the year. 

Rico Reid as Amos’ court-appointed attorney Jason, is confident and brave. He brings a levelheadedness that superbly matches the ever-evolving energy in the room. Josh Katawick, as Amos, has a presence reminiscent of the late great Phillip Seymour Hoffman. He’s three steps ahead of everyone. It is an incredibly nuanced performance.

The script possesses inklings of The Life of David Gail and The Terminator. The writing is whip-smart. It keeps you guessing, all while prodding you with a steady stream of information. The script is thick with wordplay, snark, and wit. It dares to ask the questions many of us have been thinking over the past five years. You immediately recognize the theatricality of Newberry’s dialogue. The project moves from stage to screen, with Reid and Katawick starring in their original roles. It explains the perfect chemistry between them. I would have loved to feel that live energy in which the audience was the jury during its 2019 run. I am formally requesting a New York run. Everyone I know would vie for a chance to be a jury member.

Without spoiling anything, Who is Amos Otis? takes a sharp left turn roughly 45 minutes in, obliterating the genre you think you’re consuming. Compounding the political thriller are the hottest and most controversial topics front and center. It is a film that people will either love or hate, but the brightest viewers will respect it for its audacity and artistry. Who is Amos Otis? is a fearless and enthralling film. It’s not only a conversation starter. Who is Amos Otis? is a conversation igniter.

Official Trailer for Who is Amos Otis? on Vimeo.

WHO IS AMOS OTIS? a searing, mind-bending, SCI-FI political thriller based on the Pulitzer Prize nominated play from Cincinnati playwright and award-winning filmmaker GREG NEWBERRY (Beemer Baby, Homefree) will be released by Gravitas Ventures on Digital | VOD on December 28th.

Starring an ensemble cast of strong characters JOSH KATAWICK  (“Glengarry Glen Ross” “A Few Good Men”), RICO REID (Tolerance, All Wars),  MICHAEL G. BATH (Miles Ahead, Healing River, Notzilla), A.J. FORD (One Flew Over the Cuckoo’s Nest, Of Mice and Men, All The Way), CHRISTINE BRUNNER (The New Detectives, The Life Project), DEREK SNOW (The Shawshank Redemption, The Old Man & the Gun, Extremely Wicked, Shocking Evil and Vile), CHRISTINE JONES (Carol, Healing River, Promises to Keep), MIKE DENNIS (Carol, Miles Ahead, Surviving Compton), DONALD VOLPENHEIN (Gotti, “The Kill Point”), PEGGY ALLEN (Hourglass – A Smallville Story, Sphragida,  2 Mars), DENISE DAL VERA (Dark Waters, “Tell Me a Story”), CAROL BRAMMER (Hands Down).

Review: ‘You Mean Everything To Me’ is the personification of relationship red flags.

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YOU MEAN EVERYTHING TO ME

Synopsis:

Still reeling from getting kicked out of her sister’s apartment, Cassandra (Morgan Saylor of Homeland, White Girl and Blow the Man Down) falls hard and fast for Nathan, a local DJ (Ben Rosenfield of 6 Years, Boardwalk Empire, Mrs. America, Twin Peaks).  After a whirlwind romance, he convinces her to quit her job and enlists her to dance at his club. As his coercive control increases and his demands grow darker, Nathan soon isolates her from her friends and family. Confused and desperate, she must figure out how to save another from the same fate and decide what her own freedom is worth.

You Mean Everything to Me is a whirlwind of scary energy. Lost soul Cassandra gets quickly reeled into a relationship with a master manipulator named Nathan. Writer-director Bryan Wizemann brings to the screen a story that most women would categorize as their worst nightmare. Some of us might even say it’s less of a drama and more of a horror.  It’s a film that will take your breathe away.

Ben Rosenfield plays the opposite of his last role in Mark, Mary, and Some Other People. As Nathan, he pours on the charm. Rosenfield is also keenly aggressive in a way that is so slick, the more experienced viewers take notice. What might seem like confidence is a divisive and dark power dynamic from the first breath. All of this further proves Rosenfield is a top-notch talent.

Morgan Saylor, as Cassandra, gives us a beautiful balance of naive and bold. I adored her in Blow The Man Down. I, You Mean Everything to Me, Saylor’s Cassandra is under Nathan’s spell. He sniffed out her insecurities in a heartbeat and pounced. You can see the wheels turning as she battles her instincts with immediate emotional gratification. It’s a heartbreaking performance and one you will not soon forget.

The writing is sharp and nuanced. The initially sly gaslighting is infuriating because it’s so familiar. You could throw a rock and hit any other woman who has experienced similar behavior. When the rush of oxytocin kicks in, all logic goes out the door. The plot moves like a freight train, and because of this, you feel just as trapped as Cassandra. You’ll want to rescue her. You’re on a rollercoaster ride of emotional terror. You Mean Everything to Me is challenging to sit through, but Rosenfield and Saylor compel you to keep going. The final third of the film is nothing short of heart pounding. I was shaking. You Mean Everything to Me is a must-watch.

The film is opening in NYC on December 17th at Cinema Village (with an in-person and virtual theatrical rollout in other cities)

Written and Directed by Bryan Wizemann
Produced by Matt Grady
Cinematography by Mark Schwartzbard
Edited by Michael Taylor

Cast: Morgan Saylor, Ben Rosenfield, Lindsay Burge, Tom Riis Farrell, Jacinto Taras Riddick, and Nicholas Webber

Review: ‘THE HUMANS’ is a living, breathing tableau of the American family.

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THE HUMANS

Erik Blake gathers three generations of his Pennsylvania family to celebrate Thanksgiving at his daughter’s apartment in lower Manhattan. As darkness falls and eerie things go bump in the night, the group’s deepest fears are laid bare.

I wish I had seen Stephen Karam‘s stage version of The Humans. As a theatre major/lover, I could immediately feel the weight of the dialogue; subjects that feel mundane, long pauses fill the air, then the delicious, sharp back and forth. Karam developed his Tony-award-winning script for the screen and every single second of it is authentic. The most magical part of The Humans for a kid that grew up in the Connecticut burbs and then attended a theatre conservatory on the Upper West Side is the specificity to every detail of the sets and sound editing. Now 41, owning a co-op a block away from school, I realize how immune I’ve become to the sounds of a clanking and hissing radiator or the banging footsteps of the neighbors overhead. It is only when I visit home for the holidays that I notice the birds chirping or the silence of a neighborhood with picket fences. And yet, The Humans taps into a universality of the American family. There is something so familiar about the generational divides that appear around a dinner table; the brazen backtalk of the youngest adult, the words of wisdom, often misconstrued, from the parental units. Relationships are rubbed raw by alcohol or exhaustion. It’s a visceral discomfort that is highlighted brilliantly in this film. 

Karam’s use of sound, in particular, makes The Humans a genre-bending ride. Don’t be confused when your heart sounds and you think you’ve mistakenly turned on a horror film. The deliberate panic-inducing score and sound editing exacerbate buried secrets in The Humans. Karam’s carefully curated script is a masterclass in storytelling. He clearly understands the natural rhythm of familial banter. Each character experiences an arc over a few hours. The Humans plays in real-time. The blocking is coordinated chaos, and I mean that in the highest regard. The camera sits quietly, like an observer in an adjacent part of the apartment. Speaking of, in seeing photos of the two-story unit set from the Broadway run, I am even more impressed at the similarities in the film. With the cramped spaces down to the water stains on the walls, the production team deserves all the awards. 

The cast is superb. Amy Schumer stuns in the role of eldest daughter Aimee. The quiet anguish in her eyes and understanding tones of an adult kid attempting to maintain peace resonates immediately. Her performance has an authenticity that will make you take notice. Steven Yeun is a gentle pleaser as youngest daughter Brigid’s (Beanie Feldstein) boyfriend. He is attentive and honest, with perfectly played outsider energy. It should be no surprise to anyone paying attention to Yeun’s roles since leaving The Walking Dead. His talents are limitless. Dementia takes hold of matriarch Momo, played by the legendary June Squibb. While she technically has little dialogue, each syllable has weight. You’re fully aware of her importance. 

Beanie Feldstein as a musician and wide-eyed optimist, Brigid gives us the know-it-all baby of the family, please treat me as an adult vibe we need. You know her character. Feldstein’s delivery is chef’s kiss. Reprising her Tony Award-winning role as Deirdre is Jayne Houdyshell. The underlying pain is precisely masked by good humor and sass. This behavior comes with a breaking point. I could have sworn I was listening to my mother tell stories about her day. Houdyshell doesn’t take any shit. She’s loving but refuses to be a doormat.

Richard Jenkins‘s performance is immaculate. Karam tapped into the plight of the middle-class white man. From working the same job for decades, sending his kids to college, and entering the next phase of life feeling like the rug has been pulled from underneath him. What you aren’t expecting is the PTSD aspect to loom so large. As someone who experienced 9/11 in college and was downtown two days prior, that day hits differently, more so if you lived through it here in Manhattan. That trauma is key to who Erik has become. It is part of his very essence. Jenkins’s physicality is a story unto itself. He is outstanding. 

The Humans is the perfect film to watch with your family. Its nuance will bowl you over. The Humans is timeless and completely relatable. It’s a snapshot of what kitchen tables have looked like for years. Do not overlook this one. 

RELEASE DATE: In Theaters November 24 and on Showtime

From writer/director Stephen Karam and starring Richard Jenkins, Jayne Houdyshell, Amy Schumer, Beanie Feldstein, Steven Yeun, and June Squibb.

Review: Ethan Hawke stars in ‘Zeroes and Ones,’ a creatively shot political thriller.

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presents

ZEROES AND ONES

Called to Rome to stop an imminent terrorist bombing, a soldier desperately seeks news of his imprisoned brother — a rebel with knowledge that could thwart the attack. Navigating the capital’s darkened streets, he races to a series of ominous encounters to keep the Vatican from being blown to bits.

Zeros and Ones is a surrealistic mash-up from Abel Ferrara – a political and pandemic thriller that is simultaneously thoughtful and baffling. This is a film that invites the viewer in while still keeping them at a distance. The film is bookended by two videos featuring start Ethan Hawke, who speaks candidly to the audience about his excitement and experience relating to the film. Hawke freely admits that he didn’t understand Ferrara’s script when he received it, but that he really liked it. Having just finished “Zeros and Ones”, Hawke’s point resonated.

The film’s achievements are especially impressive given it was filmed in Rome during a rigid COVID lockdown. By nature of these restrictions, the majority of the action is restricted. The camera is limited to claustrophobic rooms and empty nighttime streets, but cinematographer Sean Price Williams makes the most of it. The outdoor scenes, in particular, are quite striking: sanitation workers clad in PPE decontaminating a subway car, mist mingling with the glow of the street lights.

Our protagonist (Ethan Hawke’s “J.J.”) is an enigmatic military man, his face hidden beneath a black mask even when he’s in plain sight. He’s on a journey through Rome, but his objectives (and destination) are murky. He’s trying to locate his twin brother (also Hawke), an imprisoned revolutionary who may hold the key to thwarting a terrorist plot on the Vatican. While this may sound like the plot of a multi-million dollar action film, Ferrara’s vision is wisely more conservative. He is more interested in backroom deals and shadowy government priorities than big explosions.

Hawke offers a game performance in the dual role – although he seems to have far more fun playing the revolutionary brother than the military one (after all, who doesn’t want to spit lines like, “Why is nobody setting themselves on fire?!”)

J.J.’s encounters with other characters throughout the film are always one layer removed – he’s always speaking to them through a phone screen, from behind a layer of glass, or filming them using his own camera. It’s a strong artistic choice, but also puts much more emphasis on the dialogue to drive the action of the film, and contributed to an overall lack of visceral connection to the material.

Ultimately, Zeros and Ones is a wonderful example of artistic vision flourishing under restrictive circumstances. One has to wonder how we will look back historically and evaluate these films against history once the pandemic finally recedes (fingers crossed.) I’m glad Hawke and Ferrara were still willing to act up despite having to mask up.

Zeros and Ones – In Select Theaters, On Demand and Digital on November 19, 2021. Ethan Hawke, Valerio Mastandrea, Cristina Chiriac.

Review: ‘The Pebble and the Boy’ is a sweet coming-of-age road movie.

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THE PEBBLE AND THE BOY

Written and directed by Chris Green, The Pebble and the Boy is the story of a son attempting to honor his recently passed father. Riding from Manchester on his dad’s scooter to Mod mecca of Brighton, John gets more than he bargains for in his attempt to scatter his father’s ashes. The film is structured like a walk down memory lane for Phil’s mates and a history lesson for John. Ultimately, The Pebble and the Boy morphs into a way to navigate grief and regret.

Patrick McNamee as John is everything we need him to be; vulnerable and a little lost. I must give mention to John’s would-be sidekick, Nicki. Sacha Parkinson is funny, brash, and fills the screen with her vibrant presence. As the script progresses, the one character we never physically hear from becomes the most intriguing. Phil is an enigma for John. Unraveling the mystery of the man takes center stage and is undoubtedly the most successful aspect of the script. Filled with surprises, The Pebble and the Boy is like a warm hug. It’s a breezy, coming-of-age road movie with one hell of a soundtrack.

Inspired by Mod-culture, The Pebble And The Boy will be released on digital in the US and Canada on November 16.

The film was written and directed by Chris Green (Me, Myself and Di) and stars Patrick McNamee (Our Girl), Sacha Parkinson (Coronation Street), Max Boast (Sex Education), Patsy Kensit (Lethal Weapon 2, Shelter Island), Ricci Harnett (Rise of the Footsoldier) and Jesse Birdsall (Hollyoaks).

The film features tracks from Paul Weller, The Jam, The Style Council, Secret Affair, and The Chords. The title of the film is taken from the final track on Weller’s eighth studio album, As Is Now.

 

Soho International Film Festival short review: ‘KLUTZ.’ is a creative and thought-provoking meditation on grief.

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Zowie lost her sister and is falling down on the job of life. Can’t love. Won’t go out. Refuses to work properly. But she stumbles upon an accidental superpower: when she falls, when she feels pain — gravity bends so that she can see her sister again. However, the space-time-continuum giveth, the space-time-continuum taketh away, and the next time she hurts, her sister is gone. Frustrated and depleted, Zowie is torn between moving on or withering on the vine. So, in a whiskey-fueled dream-state, she makes a choice: to fall one last time. On purpose.

Grief is a personal journey. When your person gets ripped from your orbit, all bets are off. “Coping” can mean destructive behavior in the form of alcohol, binge eating, even self-harm. Or, grief can manifest itself into the most creative outlets. In Zowie’s case, pain and darkness are where she’s become comfortable. It’s also where her sister appears to her, bringing her momentary joy. In Klutz, Zowie must learn to evolve within her preconceived notions of sadness.

Grief has no timeline. No one can tell you how to process it. It’s not their place. Klutz manages to pull you into Zowie’s emotional orbit. The dialogue is dynamic and thoughtful, at times mired in anguish, while others were playfully silly. I was lucky enough to watch Klutz three times, catching more and more cleverly repeated images each viewing. I adored this short on a personal level. As someone who has lost one of my people, I lived inside this narrative. Klutz is relatable and poetic. It’s a beautifully insightful little film.

Showings – select to order tickets:
  • Runtime:
    14 minutes
  • Language:
    English
  • Country:
    United States
  • Premiere:
    NEW YORK Premiere
  • Note:
    Death
  • Director:
    Michelle Bossy
  • Screenwriter:
    Elizabeth Narciso
  • Producer:
    Malka Wallick, Mara Kassin, Howard Wallick & Freda Rosenfeld, David Selden & Julie Wallick, Elizabeth Narciso, Scott & Susan Shay
  • Cast:
    Malka Wallick, Mara Kassin, Sanjit De Silva, Geneva Carr, Angel Desai, Wai Ching Ho, Florencia Lozano, Geoffrey Owens

Review: ‘IDA RED’ – a family crime drama where performances rule all.

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Crime boss Ida “Red” Walker (Oscar® winner Melissa Leo*) turns to her son, Wyatt (Josh Hartnett), to pull off one last heist to get out of prison. But with the FBI closing in, Wyatt must choose between family and freedom in this high-octane thriller.

IDA RED opens up with honest to goodness tense action. Come to find out, half of it is a whole lot of bait and switch. The script has plenty of surprising revelations. It is undeniably engaging, from the shocking violence to the keen character building.

Frank Grillo, as Dallas Walker, is as epic and as he is evil, with an IDGAF aura. It’s one hell of a performance. Melissa Leo is Ida. Her uncanny ability to own the screen with nothing but a look gets me every time. This crime family matriarch rules from prison with an iron fist and favoritism. And, damnit, the fact that it’s a woman makes my heart skip a beat. More of this, please.

Sofia Hublitz, who is fantastic on Ozark, plays Darla Walker. She’s the youngest troublemaker of this family unit. Hublitz walks the perfect line between innocence and passionate anger. Josh Hartnett, as Wyatt Walker, is the unwaveringly loyal son. Hartnett’s multiple-year hiatus from the big screen was noticed, especially by those of us who grew up alongside him in movies like The Faculty, Pearl Harbor, and Sin City. Whenever I do see him nowadays, I am reminded immediately of his immense talent. He’s got a coolness to him that you can’t teach. As Wyatt, his familial devotion is palpable, to a fault. IDA RED allows him to play the full spectrum of emotions. 

The soundtrack boasts some of the coolest (and strangest) choices. I was obsessed. IDA RED could have been a limited series. As it stands, it’s a solidly done family crime drama, possessing fully fleshed-out, massively flawed characters with incredible actors breathing life into them. I recommend a watch.

Watch the trailer:

Saban Films will release the action/crime/thriller IDA RED in Theaters, On Digital, and On Demand on November 5, 2021.

IDA RED is written and directed by John Swab (Body Brokers, Let Me Make You a Martyr) and stars Josh Hartnett (Wrath of Man, “Penny Dreadful”), Sofia Hublitz (“Ozark”), William Forsythe (The Devil’s Rejects, Raising Arizona), Deborah Ann Woll (“True Blood”), Frank Grillo (Boss Level, The Purge franchise), and Academy Award winning actress Melissa Leo (The Fighter, Prisoners, Frozen River).

 

Review: Hannah Marks explores the growing pains of modern love in ‘Mark,Mary, and Some Other People’

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Synopsis:

Mark and Mary, acquaintances from college, run into each other at a drug store as Mary is buying a pregnancy test. The test is negative and the two wind up dating and rapidly falling for each other. Mark has a more traditional view of relationships and Mary’s view is more modern and progressive. They try “ethical non-monogamy” at Mary’s request, and create their own version of an open relationship, while also trying to balance their fledgling careers and friendships. Through a series of ups and downs, Mary starts to realize she’s more traditional than she thought whereas Mark starts to open up and see the world differently through Mary and a polyamorous lens.

“Traditional” relationships structures were created by, well, who knows. Love is weird and complicated, no matter how hard we try. We’re only human. We have urges that are as basic as they come. Anyone who claims to not be attracted to a person outside of their monogamous relationship is a liar. Love is messy and ever-evolving, and writer-director Hannah Marks gets that. Marks popped onto my radar with Banana Split. Her writing is laugh-out-loud-funny and relatable as hell. In her sophomore film, Mark, Mary, and Some Other People, we get the entire emotional spectrum in an hour and a half.

Hayley Law, as Mary, is equal parts bold and down-to-earth. Ben Rosenfield, as Mark, is the definition of charming. I’m not sure he could be more adorable if he tried. Their chemistry with each other, and the rest of this cast, is electric. You have to wonder if any of the dialogue is improvised. It is abundantly clear making this film was a good time.

Mark, Mary, and Some Other People has both nonchalance and honed in emotional palpability. It tackles big issues like communication, the evolution of relationships, and growing up, all with humor and honesty. It’s not pretty or tied up with a bow. Marks understands why that’s important. It’s a peek inside the complexities of human nature. Mark, Mary, and Some Other People is yet another successful notch in her filmmaking belt.

In Theaters and On Demand:

Friday, November 5

Written & Directed By:
Hannah Marks
Produced by:
Stephen Braun, Jon Lullo, Brendan Walter, Jonathan Duffy, Kelly Williams, Pete Williams, and Hannah Marks
Executive Produced By:
Stephen Braun
Starring:

Ben Rosenfield, Hayley Law, Nik Dodani, Odessa A’zion, Matt Shively, Sofia Bryant, Maggie Wheeler, Joe Lo Truglio, Haley Ramm with Gillian Jacobs and Lea Thompson