EVERYONE WILL BURN
María José has lost her will to live following the tragic death of her son and the constant reminders of her cruel small town. When the mysterious little Lucía appears out of nowhere, calling her “Mommy,” María José initiates a reckoning fit for the gods or maybe the devil.
The townspeople are religious fanatics, believing María José triggered the apocalypse years ago with the birth of her son. Exacerbated by nosy neighbors, weak church figureheads, and zealots with a modicum of power, fear takes hold when little Lucía appears to use supernatural powers in gruesome acts of revenge. Everyone Will Burn culminates in a violent confrontation that’s intensely rewarding as a genre fan. Do not move a muscle when the credits roll. The best moment is yet to come.
Macarena Gómez brings a manic energy to the films. Warranted by the emotional torture of everyone in her life, her deliberate descent into pure red hot chaos is glorious. As Lucía, Sofía García skillfully walks the line between vulnerable and terrifying. She is nothing short of captivating. Her chemistry with Macarena Gómez is perfection.
Bravo to the costume and lighting teams. The no holds bar fight choreography is shocking and applause-worthy. EVERYONE WILL BURN harkens back to classic European horror and still manages to remain fresh and fantastic.
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Year:2021
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Runtime:120 minutes
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Language:Spanish
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Country:Spain
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Premiere:North American
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Director:David Hebrero
Uncork’d Entertainment has acquired SAWED OFF, a new supernatural horror feature based on a comic anthology story and starring Eva Hamilton (RUIN ME, DEATH KISS), Jody Barton (UGLY SWEATER PARTY), and Trae Ireland (13/13/13).
Hunter Johnson (IRRATIONAL FEAR) produces and directs. The screenplay is by Barton, Johnson, and Chuck Wagner, based on Wagner’s Eclipse Comics story “Bag Limit,” published in TALES OF TERROR in 1986.
Check out the newest trailer for the film and our 
Performances sell this film. Matthew Finlan at Gunnar with a slimy rich kid flair that makes him supremely punchable. Rossif Sutherland‘s genuine vulnerability in grounds the chaos. With the audience’s knowledge, his performance is one of the most important in the film. Julia Stiles is mind-blowing as Tricia. I’ll only reveal that the rollercoaster of this role is delicious, and I did not see it coming.
Isabelle Fuhrman plays the audience like a fiddle in what might seem like a tricky undertaking years later. The final reveal in Orphan was a game-changing moment that sticks in genre fans’ minds. For Fuhrman to nail this performance, knowing the audience is in on the secret this time speaks volumes about her skills. The use of body doubles ensured that she remained in the role. Had she been recast, we might have had a very different conversation about this franchise.
The use of mirrors is a noticeable and effective trope. Growing up in Connecticut, I can attest that the costume department gets an A+ for their work. Now, we need to discuss the screenplay. A total WTF twist keeps Orphan: First Kill fresh and engaging. The terror tables overturn with an unexpected villainous turn from multiple characters in the film. The unpredictability of this prequel manages to be creepy and cringe all at once. There’s a deliberate white privilege that is chef’s kiss. I wasn’t sure whom to root for. It was a ping-pong match of vile behavior. That made me all the more invested in the madness. When I tell you that I reveled in a particular kill, you’d be hard-pressed to disagree upon viewing. Orphan: First Kill is a wild ride genre fans will happily stay on if only to see how this chapter plays out.
With Nope, Jordan Peele further solidifies his standing as the modern horror auteur. Who else is making movies like Peele right now? A better question might be, who else do the studios trust to make big budget, non-franchise films like this? (the list is very short.) With his third feature, Peele again delivers on that trust with another compelling narrative that pairs thrills with dazzling cinematography, as well as a willingness to subvert the expectations of his audience.
Siblings OJ (Daniel Kaluuya) and Emerald (Keke Palmer) Haywood are co-owners of Haywood’s Hollywood Horses, horse trainers serving the entertainment industry and descendants of a proud legacy. They are struggling to keep their heads above water in a competitive, dwindling industry (after all, a CGI horse is way easier to train, right?) They also have to contend with the long reputational shadow of their late father (Keith David), as well as the pressures of their family’s place in cinematic history (legend has it that they are direct decedents of the jockey featured in one of the very first motion pictures.) When OJ thinks he may have discovered UFO on the edges of their family ranch, he seizes on an opportunity to capture (and profit from) photographic evidence of their discovery.
Daniel Kaluuya and Keke Palmer give tremendous lead performances. Working with Peele for the second time (after 2017’s prolific Get Out), Kaluuya gives a subtle showcase. I can’t get enough of this pairing – I hope they work together 20 more times. Kaluuya’s OJ is quieter and more introverted than Palmer’s Emerald. Given his screen-time, he has minimal dialogue in the film – most of his performance comes from his eyes, his facial expressions, and his body language. I was reminded of Clint Eastwood’s Man with No Name character – someone who listened more than he spoke but was deliberate (and often lethal) in his action. Palmer’s Emerald is a ball of kinetic energy but also delivers poignant moments as well (especially in the film’s final act.) The two siblings have an easy, unfussy chemistry with each other.
Steven Yeun is phenomenal in the supporting role of former child star turned ranch/amusement park owner Ricky “Jupe” Park. When he was younger, Ricky was part of a TV sitcom co-starring a chimpanzee named Gordy. A tragedy occurred on set, and Ricky has spent his adulthood profiting off the memory of this trauma. While this incident fits with the film’s overall theme of spectacle (and the ways that humanity tries, and fail, to contain nature) it is an awkward fit. There are some haunting images associated with Ricky’s story (especially a moment where Gordy looks directly into the camera lens), but the resolution of this sub-plot doesn’t fit seamlessly with the action occurring on the Haywood ranch. Perhaps there is a larger intention here from Peele, but it just didn’t connect with me.
Actress Eline Schumacher leaves her soul on the screen. The slow, deliberate fracturing of the human psyche is breathtaking. It’s a brave, emotionally wrought, and award-worthy performance.
An eccentric director who activated a curse in order to get the best film possible? Sounds more like an industry documentary than a horror comedy to me. 
Kota Eberhardt, as Desi, holds her own against Krige. Her presence is equally as fierce as her costar. Something about her performance demands your attention. Eberhardt could easily carry a film on her own. Alice Krige is the epitome of genius as Veronica Ghent. The nuance she radiates is breathtaking.
The film possesses a mesmerizing score from Clint Mansell. Something Argento would approve. Jaime Ramsay‘s camera work is dizzying and invasive. The juxtaposition of striking visuals and memory fragments represents unresolved trauma, new and ancient. She Will feels like a victory cry for the #MeToo movement. Slick editing heightens the film’s themes of nature, instinct, suppression of power, and interconnected female experience. Charlotte Colbert‘s debut with co-writer Kitty Percy is a rage-shedding catharsis. She Will is the witchy stuff of dreams.
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