Review: ‘THE MEAN ONE’ is merry and murderous holiday horror.

THE MEAN ONE

Hokey Hallmark meets children’s classic in the new holiday horror THE MEAN ONE. Director Stephen LaMorte and writers Flip and Finn Kobler tell a twisted tale of trauma and small-town secrets through one of our most beloved and iconic holiday villains. A familiar story, but make it merry and murderous.

Twenty years after the Xmas Eve death of her mother in 2009, Cindy returns to her hometown to face the demons of her childhood. When history begins repeating itself, she vows to take back the night and the holiday spirit, no matter how much blood she has to spill.

Clever Seussian signage appears throughout the film, as do homage character names. The sometimes quippy dialogue works around what I can only assume would be a massive copyright infringement case.
The noteworthy turn comes from Cindy’s neighbor Doc Zuess. John Bingham, whose character is reminiscent of Roberts Blossom from Home Alone, is brilliant. His performance legitimizes The Mean One, bringing it out of its Hallmark moments.

Krystle Martin is Cindy. Her professional stunt work shines. From traumatized to trigger-happy, Cindy’s exposure therapy becomes a plot for revenge. Let us not forget our titular character brought to life by none other than “Art The Clown” himself, David Howard Thornton. His mannerisms are glorious. The film would be less memorable without him.

Christopher Sanders‘ narration adds a fantastic touch. The CG blood is straight up over the top. Is The Mean One ridiculously tropey? Yes. Will it be appearing on our eccentric holiday viewing list next week? Also, yes.


THE MEAN ONE is opening exclusively at Regal Cinemas nationwide on December 9th, with special advance screenings taking place everywhere on the evening of the 8th.
Additional details about where to see it on the big screen can be found at TheMeanOneMovie.com.

 

Directed by LaMorte with a script by Flip and Finn Kobler, THE MEAN ONE stars David Howard Thornton, Krystle Martin, Chase Mullins, John Bigham, Erik Baker, Flip Kobler, and Amy Schumacher. A co-production between A Sleight of Hand Productions, Amy Rose Productions, and Kali Pictures, the feature is Produced by Schumacher, LaMorte, and Martine Melloul. Executive Producers are Jordan Rosner, Gato Scatena, and Zach Stampone.


 

Review: Shudder and RLJE release ‘CHRISTMAS BLOODY CHRISTMAS’ – sex, gore, and rock ‘n roll for the gods.

When Tori closes her record shop on Christmas Eve, her plans include getting drunk with coworker Robbie. After the news breaks that repurposed military AI dressed as Satanta Claus reverted back to its aggressive state, things do not go as planned. So much for a silent night. CHRISTMAS BLOODY CHRISTMAS is neon-soaked rock ‘n roll merry mayhem.

The gruesome kills are juxtaposed with a sick soundtrack (and one brilliant oral sex scene), top that off with a particularly shocking choice of violence. When Tori witnesses the act, our killer Santa goes ham on the house. The words, “Oh! That’s fucking nuts,” poured out of my mouth as he breached the threshold. I would be surprised if you didn’t end up saying the same.

Riley Dandy and Sam Delich give spectacular performances. Given writer-director Joe Begos‘ meaty fandom-laced dialogue, they look like they loved every minute. The discussion about horror sequel superiority had me cheering out loud.

Delich brings that eager nice-guy energy to their will- they-won’t-they dynamic. Abraham Benrubi is unstoppable as our killer Santa. Simply put, he slays it. Dandy is fiery and punk rock in a tangible way. You want to be her best friend but probably cannot keep up. Once shit goes sideways, Dandy has the chance to champion her final girl realness and nails it. This performance kicks all the ass.

Steve Moore‘s original music is bitchin’. The practical fx are a gift. The pyrotechnic work keeps things merry and bright. The special makeup and Animatronic robot effects from Josh and Sienna Russell are a Christmas miracle. Will everyone compare it to Silent Night Deadly Night meets Terminator? Probably but who cares. CHRISTMAS BLOODY CHRISTMAS is a holiday horror treat. So, spike your eggnog, get as lit as your tree, and rock the hell out of this film.


Shudder and RLJE Films will release CHRISTMAS BLOODY CHRISTMAS in Theaters and it will stream exclusively on Shudder on December 9, 2022.

Starring Riley Dandy, Sam Delich, Abe Benrubi, Jeff Daniel Phillips

Directed by Joe Begos


Starring Riley Dandy, Sam Delich, Abe Benrubi, Jeff Daniel Phillips Directed by Joe Begos It’s Christmas Eve and fiery record store owner Tori Tooms just wants to get drunk and party, until the robotic Santa Claus at a nearby toy store goes haywire and makes her night more than a little complicated. Santa Claus begins a rampant killing spree through the neon drenched snowscape against a backdrop of drugs, sex, metal and violence, ultimately forcing Tori into a blood splattered battle for survival against the ruthless heavy metal Saint Nick himself.


 

In theaters and on VOD today, Andy Mitton’s ‘The Harbinger’ is a waking nightmare.

THE HARBINGER

Mo is taking every precaution possible in lockdown with her father and brother. When summoned to the city by an old friend, Mo’s loyalty takes precedence over her protesting family. She arrives to find a strung-out Mavis claiming something is controlling her dreams. When Mo then begins to have her dreams invaded by a hooded figure in a plague mask, things go from bad to downright terrifying. Writer-director Andy Mitton, who brought The Witch In The Window to Fantasia in 2018, dives headfirst into his new supernatural horror and extra creepy Fantasia 2022 entry, The Harbinger

The script slickly combines historic iconography from the plague to mirror current events and builds upon the concept of mass hysteria and mental health. Mitton introduces demonology and then mixes in the idea of viral internet posts, an issue directly addressed in Jane Schoenbrun‘s brilliant film, We’re All Going To The World’s Fair. Combined with the rapid spread of misinformation, internet challenges like Momo, and urban legends like Slenderman, the spread of evil becomes exponential. But this is really simplifying the fear in The Harbinger

Gabby Beans gives us every ounce of herself as Mo. She is the heartbeat of this plot. Beans brings a grounded vulnerability, and I cannot imagine any other performer in this role. The film has everything and then some. Jarring imagery, thoughtful camera work, cool-as-hell production design, and meticulously placed jump scares keep your pulse pounding as this story unfolds. On top of the authentic terror we all experienced at the beginning of the covid lockdown, The Harbinger is a masterfully crafted, waking nightmare. 


Andy Mitton’s THE HARBINGER opens in cinemas and on VOD today from XYZ Films


DIRECTOR

Andy Mitton

EXECUTIVE PRODUCER

Cassidy Freeman, Clark Freeman

PRODUCER

Jay Dunn, Richard W. King

WRITER

Andy Mitton

CAST

Gabby Beans, Cody Braverman, Emily Davis, Ray Anthony Thomas, Myles Walker

CINEMATOGRAPHER

Ludovica Isidori

COMPOSER

Andy Mitton

EDITOR

Andy Mitton

Shudder Original review: ‘BLOOD RELATIVES’ is a quirky vampire family comedy you can sink your teeth into. I already want a sequel.

BLOOD RELATIVES

After her mother’s death, Jane tracks down her elusive dad to avoid foster care. When Jane unearths the truth about her father’s past, she demands a relationship, leading the estranged father-daughter team to take a road trip like no other. Oh, also, he’s a vampire. A unique take on the monster genre combined with a family road trip drama makes BLOOD RELATIVES one of a kind.

Victoria Moroles is Jane. Her precociousness is spot a delight. Segan gives her dialogue deliciously reminiscent of Dawson’s Creek, i.e., she is far too eloquent for fifteen. Her chemistry with Segan is comfortable and endlessly amusing. Her takedown of the film’s misogynist energy is chef’s kiss.

Josh Ruben (who also produces) plays Roger Fieldner. A patient who distinctly resembles Bram Stoker‘s Renfield. Kudos to Segan for the character name scramble. It is a role only Ruben could own. After witnessing his sycophantic behavior, I cannot imagine anyone else doing Roger justice. There is a reason he has become a scream king in the past few years. He is the best.

Writer-director-star Noah Segan plays Francis as a Yiddish-spewing loaner. His penchant for a happy-go-lucky attitude is more function over form. We learn about his deep-seated loneliness and unresolved trauma, which creates an equally funny and tragic persona. Segan gives a star-making performance.

The film occurs predominantly at night for obvious reasons. The use of moonlight, dusk, dawn, dashboard, and neon light gives the film a slick overall tone. The comedy shenanigans are balanced beautifully with dramatic growing pains.

BLOOD RELATIVES is an undeniably fun vampire coming-of-age family film. Heartwarming, silly, and intimate, it is easy to see why it garnered so much attention in the festival circuit. Shudder is the perfect platform for Segan’s madcap creation. I formally request a sequel when Jane gets to college. I have to know where this family unit ends up. Don’t forget to bring Fieldner along.


CHECK OUT THE TRAILER:  

Shudder will exclusively stream BLOOD RELATIVES on Shudder on November 22, 2022.

 

BLOOD RELATIVES stars Noah Segan (Knives Out) and Victoria Moroles (“Teen Wolf,” “Never Have I Ever”). It was written and directed by Segan. 

SYNOPSIS: In BLOOD RELATIVES, Francis, a 115-year-old Yiddish vampire, still looks 35. He’s been roaming American backroads in his beat-up muscle car for decades, keeping to himself, and liking it that way. One day, a teenage kid, Jane, shows up. She says she’s his daughter, and she’s got the fangs to prove it. They go on the road, deciding whether to sink their teeth into family life.


 

Review: Emotional trauma and a sinister spirit board a luxury yacht in Christian Schultz’s ‘PRESENCE’ on VOD today.

PRESENCE

Business partners Jennifer and Samantha are invited on a weeklong yachting voyage with a potential investor. Jennifer begins to have strange dreams, and it becomes clear that she may have brought something else with her.


I’ve been sitting on my thoughts about this film for two days now. If I’m being completely honest, I think PRESENCE plays like a rushed prequel to a horror franchise. All the elements are in place for some seriously scary storytelling. Yet somehow, I was left with more questions than answers.

Writer-director Christain Schultz gives us a damaged lead in Jennifer. She has emotional trauma that feels unresolved, even in the final moments. I wanted specifics, other than everyone around her referencing a “breakdown in New York.” Jenna Lyng Adams has moments of badassery, but they are few and far between (no fault of her own). I was also slightly confused about the dynamic of Jennifer and Sam’s relationship. At first, I thought they were lovers. It was a bit messy. Schultz and co-writer Peter Ambrosio ultimately make Jennifer a victim, even though I believe the intention was a reclamation of power through supernatural forces. I’m unclear whether this was an editing issue or a script issue.

I must say that the performance of Dave Davis is my favorite part of the film. Davis gives depth to the building mystery, in some moments with nothing but a panicked stare. His intensity immediately reeled me in, calming me during my desperation to make sense of the plot. I would watch an entire film about his journey with the Presence. That’s the story that hooked me instantly.

Overall, PRESENCE got me revved up with slick visuals but never satisfied me with its overall arc. I don’t need it spelled out because the bones are there. I was looking for a further explanation of “why” all around.


XYZ Films is proud to announce that Christian Schultz’s PRESENCE will land on North American VOD on November 17th, following a thrilling festival run that included Popcorn Frights and Panic Fest.

 

Review: ‘The Friendship Game’ explores the dangers of our deepest and darkest desires

THE FRIENDSHIP GAME

From the Producer of THE WITCH and the Writer of “The OA”

Four best friends play a mysterious game procured at a tag sale, testing their relationship in unpredictable and terrifying ways. Glitchy body doubles and piecemeal memories are only the beginning of the nightmare-fueled film.

Performances from our five leads are exceptional. Dylan Schombing plays Kyle, a young webcam hacker essential to the audience following any trace of sense. Schombing’s eyes speak volumes. Kelcey Mawema is Court. She has a party-girl spirit with a drinking problem that hides an inferiority complex. Mawema gives us a solid performance, never letting herself become a third wheel as the story progresses. Peyton List plays Zooza. This role is a departure for List, even with her darker character of Cobra Kai. You cannot help but focus on her turmoil.

Brendan Meyer (who I loved in OA, and am still bitter we didn’t get our ending…) plays Rob with a trustworthy boy-next-door aura. But, Ober’s script allows him to explore a nuance that Meyer owns. Kaitlyn Santa Juana‘s turn as Cotton is enthralling. She is the thread we follow through the film as we unravel the game. There’s an “it” quality about her I cannot pin down, but I’m dying to see her in whatever she does next.

The script had me hanging on every word, every visual, and mind-ending twist. Writer Damien Ober and director Scooter Corkle hypnotize audiences with dizzying editing combined with slowly leaking reveals. It’s a ceaselessly engrossing marriage of devices. Add on the notable red/ blue lighting and jarring soundscape, and The Friendship Game holds you captive from the very first frame. It is emotional manipulation at its finest.

RLJE Films will release the thriller/horror film THE FRIENDSHIP GAME in theaters, on-demand, and digital on November 11, 2022.

SYNOPSIS: The Friendship Game follows a group of teens as they come across a strange object that tests their loyalties to each other and has increasingly destructive consequences the deeper into the game they go.

THE FRIENDSHIP GAME stars Peyton List (“Cobra Kai”), Brendan Meyer (“The OA”), Kelcey Mawema (To All the Boys I’ve Loved franchise), Kaitlyn Santa Juana (“The Flash”) and Dylan Schombing (“Watchmen”). The film was written by Damien Ober (“The OA”) and directed by Scooter Corkle (Hollow in the Land).


 

Review: In theaters today, Eva Green and Chai Fonacia star in ‘NOCEBO,’ a mysterious revenge horror mixing ethics and folk healing.

NOCEBO

In NOCEBO, a fashion designer (Eva Green) suffers from a mysterious illness that confounds her doctors and frustrates her husband (Mark Strong) – until help arrives in the form of a Filipino nanny (Chai Fonacier) who uses traditional folk healing to reveal a horrifying truth.


After a mysterious phone call and a simultaneous encounter with a mangy dog riddled with ticks, Christine’s physical and mental health rapidly declines. Suffering from sleep apnea, nightmares, forgetfulness, and sharp, debilitating pains at any given moment, her already vulnerable marriage and successful fashion design career teeter on the edge of destruction. When Filipina Nanny Diana arrives at her door, Christine does not recall sending for her, but the extra set of hands proves life-changing, for better or worse.

Diana’s integration into the family lands somewhere between awkward and essential. Husband Felix and young daughter Roberta (they call her Bobs) are caught in the middle, allowing for gaslighting from Felix and growing distrust from Bobs. Add in the class distinction with Christine and her family living in a lavish mansion, while Diana arrives with nothing but a single suitcase, mostly filled not with clothing. Writer-director Lorcan Finnegan utilizes flashbacks of Diana’s life to illustrate the glaring contrast. Little by little, the audience begins to piece things together, but not before being disturbed by the effects of Diana’s folk healing methods.

Finnegan uses the color red in many specific instances; lipstick, curtains, and, most impactfully, Christine’s lucky shoes. The color is a sumptuous visual punch set against the mostly jewel-toned house. Finnegan understands the assignment.

As the story progresses and the truth reveals itself, your view of each character shifts. Eva Green plays Chrissy with both a manic and ruthless angle. She is a master at living inside the skin of a character, and Christine is no exception. Chai Fonacier is Diana. This juicy role allows us to see Fonacier’s massive range. I would watch her in all the things, as they say.

Radek Ladczuk‘s cinematography, which I loved in Jennifer Kent’s The Babadook and The Nightingale, is just as emotionally jarring in both overt and subtle forms. The closeups of hands, small objects, and facial features pull the audience into the overall mystery of Christine’s ailment and the impact of her family.

*********The next paragraph has a bit of a spoiler. Skip it to keep the mystery intact!*********

*******SPOILER ALERT*******

In the credits, just after the music tracks, I noticed bold text reading, “Justice for all Kentex workers.” A quick Google search led me to a story from 2015 in Manila in which a factory fire killed 72 factory workers after they were trapped on the second floor. Metal grates on the windows prevented them from escaping a horrifying death. We have heard so many of these same stories of unsafe sweatshop conditions. NOCEBO I pulls directly from the 2015 tragedy, making the film all the more terrorizing.

****** End Of Spoiler Info******

NOCEBO boasts a jaw-dropping and shockingly dark finale. Mixing folklore and revenge horror never miss. The term “nocebo” comes from the Latin to harm. The Oxford definition reads: “a detrimental effect on health produced by psychological or psychosomatic factors such as negative expectations of treatment or prognosis.” Finnegan slickly lulls you into one genre, then pulls the rug out from underneath us. The truth will either set you free or destroy you. NOCEBO is here to remind us all.


RLJE Films will release NOCEBO in theaters on Nov. 4, 2022 and on Demand and Digital on Nov. 22, 2022. The film will stream on Shudder at a later date.



Directed by Lorcan Finnegan (Vivarium) and written by Garret Shanley (Without Name), NOCEBO stars Eva Green (Casino Royale), Mark Strong (1917), Chai Fonacier (Jesus Is Dead) and Billie Gadsdon (Cruella).





GRIMMFEST 2022 review: Ramiro Blas wins Best Actor for ‘THE PASSENGER’

THE PASSENGER

Notable framing and beautiful aerial shots get us settled into an eclectic mix of folks on a journey in Blasco’s vintage van he calls Nessa. Young Marta, her mother Lidia, and religious but progressive Mariela are not exactly enjoying the ride. Blasco is a brash misogynistic conspiracy theorist. After spotting something strange on the side of the road, an accident transforms the group quite literally. What stalks them is gruesome and otherworldly.

The camera work from Ignacio Aguilar gets exponentially cooler as the chaos ensues. Fantastic editing and sound design add to the gloriously gory SFX makeup. It must have been one of the most gag-worthy sets to work on. I almost lost my lunch during one closeup.

The Passenger’s cast blew me away. Each actor brings something unique to the film. Actress Cristina Akcázar launches an outrageous physical performance filled with violent movements and wild energy.

Paula Gallego plays Marta and brings everything we need from sass to “final girl” greatness. Her chemistry with Ramiro Blas takes you by surprise. It is one hell of a pairing. Speaking of Ramiro Blas, as Blasco, he manages to be slimy and loveable all at once. There’s a reason he won The Grimm Reaper award for Best Actor. You’ll love to hate him and hate and love him.

The Passenger brings the best tropes of creature feature films. The final shot is slow-clap-worthy goodness. GRIMMFEST 2022 audiences and beyond will lap this up while simultaneously gagging.


Brooklyn Horror FF review: ‘The Weird Kidz’ features adult animation and horror? Hey Girl, I’m listening.

THE WEIRD KIDZ

This raunchy hand-drawn animated feature set in the 80s features three twelve-year-old “Dug,” his two buddies, Mel and Fatt, older brother Wyatt, and his brother’s girlfriend, Mary. On their way to an overnight camping trip, a gas station owner tells Dug to be careful of “The Night Child”, a creature that allegedly tore her brother to pieces years ago. But this BHFF 2022 creature feature has a second act you won’t see coming.

The character Mary is a badass feminist horror icon. Did I yell, ‘Hell, Yeah,” at the screen every time she surprised me with her choices? You know it. Horror legend Angela Bettis voices Duana, the gas station owner. That was quite the treat. Ella Coltrane is Wyatt. Walking a fine line between loathsome, cliche, and redemptive, it’s a memorable turn. The best voice performances come from Glen Bolton and Brian Ceely as Mel and Fatt. They stand out way above the rest with pitch-perfect tone and timing.

The era jokes and visual cues are kickass. Wyatt says, “Penis wrinkles,” a phrase I know from my first feature film in theaters, E.T. High five for the obscure homage. Also, the fact that I can remember the lyrics to, “Hey Girl,” days later, says a lot. 

There’s an overall snappiness that’s missing from The Weird Kidz. Even if the runtime currently stands at an hour and fifteen minutes, it feels much longer. It might benefit from some editing and a few 80s metal tracks. Writer-director Zach Passero does an excellent job flipping the script on the classic monster. The work is there, and Gen X will thank you.


  • Runtime:
    80 minutes
  • Country:
    USA
  • Premiere:
    World Premiere
  • Director:
    Zach Pass

NYFF60 review: ‘BONES AND ALL’ is a cult classic in the making, boasting stellar performances, morbid humor, and visceral visuals.

BONES AND ALL

Lucky audiences at NYFF60 had the chance to experience BONES AND ALL, one of the buzziest films to come out of the Venice Film Festival, with its eight-and-a-half-minute standing ovation. At this point, it is hard to imagine that you haven’t heard about it. It is thoroughly accurate to describe it as the following: “A coming-of-age romantic cannibal road film” Directed by Luca Guadagnino, Bones and All comes from a screenplay by David Kajganich, based on the 2015 novel of the same name by Camille DeAngelis. It centers on Maren’s father abandoning her at age eighteen, leaving behind an audio tape as her only guidance and explanation. This narration is an overarching theme during Maren’s journey. Left to fend for herself after years of life on the run with her father, she stumbles across another “eater” named Sully. When he makes her uneasy, she runs again, only to bump into Lee on the road. The two form a bond based on survival and their need to consume flesh. As they travel cross country, the menace from other eaters proves to be the most spine-chilling aspect of their relationship. 

Part of this story features Maren tracking down the mother she’s never met. In what would essentially prove to be a brilliant monologue, Chloë Sevigny‘s brief screentime makes you sweat. Michael Stuhlbarg is incredibly unsettling as fellow drifter Jake. When you discover that he’s teaching a non-eater how to do what they do, it feels wrong and so very right. Stuhlbarg crushes every role. Here, it took me a few minutes to realize it was him. Jake is a dirty, overalls-wearing backwoods soul and proud of it. It’s scary good.

Mark Rylance, who I have had the privilege of seeing on Broadway in Twelfth Night (yes, I had the coveted seats onstage), is hands down the most uncomfortable aspect of Bones and All. His performance borders on caricature and yet somehow works like gangbusters. From his straggly ponytail and fedora to his flair-spangled jacket, Rylance will have you eating out of the palm of his hand, whether you want to or not. Pun intended.

Timothée Chalamet as Lee is nothing but charming. He oozes casual suave. It should come as no surprise to anyone who knows his work. Bones and All reconnects Chalamet with Luca Guadagnino. One could argue that Call Me By Your Name was Chalamet’s star vehicle at NYFFF55. Bones and All is just as bold. Chalamet brings a punk edge and a caring nature opposite Taylor Russell. As Maren, she’s measured and soft. Her approach to adults shows a curated maturity. It’s a perfect balance to Chalamet. Together, they capture the innocence of young love, even if they’re pulling the wool over people’s eyes for a meal.

Bones and All is one of the most visceral films in history. As a horror fan (one might even call me a fanatic), I have seen and heard it all. Bones and All had me squirming and gagging and utterly entranced. It gives new meaning to “a visual feast for the eyes.” It will not be a film for everyone. It is best to go into your viewing experience with little to no knowledge, but that may feel like a bait and switch to some viewers. You can find out if you have the stomach for BONES AND ALL when A24 releases it on November 18th. Bring an open mind, and leave the snacks at home.

GRIMMFEST 2022 capsule review: ‘MALIBU HORROR STORY’ – righting past wrongs with social relevance and revenge.

MALIBU HORROR STORY

In GRIMMFEST 2022 feature Malibu Horror Story, a young filmmaking team and series runners for a paranormal investigative show attempt to solve a seven-year-old mystery of four missing teens. A social commentary on colonialism, Malibu Horror Story is revenge horror goodness, chock full of intrigue, Native American culture, and spiritual portals.

With a little bit of The Blair Witch Project vibe, writer-director Scott Sloane takes on exploitation in a unique and relevant way. Performances are solid across the board. The first half of the film is tightly structured. While the second half is a touch predictable, it is still fun, filled with gore and revenge. If you’re a ghost hunter/paranormal/ true crime/ horror nerd like me, you will appreciate the legit editing. Special shout out to the incessantly creepy contortionist work. Bravo.


  • Year:
    2021
  • Runtime:
    85 minutes
  • Language:
    English
  • Country:
    United States
  • Premiere:
    International premiere
  • Rating:
    15
  • Director:
    Scott Slone
  • Screenwriter:
    Scott Slone
  • Producer:
    Dustin Harris, Scott Slone
  • Executive Producer:
    Henri M. Kessler, Brandon Edgley, Ricardo Emanuel Gonzalez
  • Cast:
    Tommy Cramer, Dylan Sprayberry, Jacob Hughes

GRIMMFEST 2022 review: ‘MOON GARDEN’ gave me goosebumps.

MOON GARDEN

One of the most extraordinary and exciting cinematic experiences of the year, GRIMMFEST audiences got a taste of the uniqueness of Moon Garden. A five-year-old girl’s trauma manifests as bizarre and visceral images as she sits in a coma. The audience hears the real-time action as the doctors and her parents navigate their tumultuous relationship. Guided by her parents’ voices, Emma attempts to escape her mysterious prison world, wading through creatures of good and evil. Moon Garden is an industrial steampunk fairy tale that is relentlessly haunting and undeniably riveting.

Moon Garden is character and world-building at its best. Fascinating and terrifying all at once, we are right alongside Emma in this frightening in-between existence. A bit of Return To Oz with a touch of Pan’s Labyrinth, the magic of Moon Garden grows with each passing second. The editing is stunning. In addition to the monstrous action, writer-director Ryan Stevens Harris incorporates memories, giving Emma the tools to survive in her strange surroundings. It’s a beguiling screenplay tackling love and fear.

Haven Lee Harris plays Emma with authentic fear and wonder. She is darling. As a mother of two children around her age, Moon Garden made my palms sweat. My pulse elevated, and I simply could not take my eyes off the screen. Harris is nothing short of captivating. I cannot wait to see what she does next. What a star!

Ryan Stevens Harris cleverly utilizes cinematic homage and fantasy to express childhood trauma. This gothic fairytale surprises at every turn. It is undoubtedly one of my favorite films of the year.

 

  • Year:
    2022
  • Runtime:
    95 minutes
  • Language:
    English
  • Country:
    United States
  • Premiere:
    International premiere
  • Rating:
    12A
  • Director:
    Ryan Stevens Harris
  • Screenwriter:
    Ryan Stevens Harris

GRIMMFEST 2022 review: Neil LaBute lets his thirsty dialogue lead the way in ‘House Of Darkness’

HOUSE OF DARKNESS

Hap meets Mina at a bar, offers her a ride home, and finds himself invited into her country estate for a nightcap. Along with some sexually loaded cat-and-mouse play, there’s more to this potential one-night stand, and it’s killer. If Bram Stoker wrote a #MeToo version of Dracula, you’d have something like Neil LaBute‘s House Of Darkness.

All the Easter eggs are there for literary fans. The costumes and production design scream at the audience. My suspicions were confirmed as soon as Mina introduced herself. Along comes Lucy. That was the final nail in the coffin for me, pun intended. Hap Jackson, if you reach, is the inverse initials for Jonathan Harper.

Kate Bosworth is powerful. Dressed in a long white lace dress, flowing blonde locks, and a choked to-boot, her elegance pours off the screen. A feminist owning her sexuality, Mina is never afraid to speak plainly. Bosworth is always controlling the scene. Gia Crovatin plays Lucy with a similarly straightforward presence. Each performance is a slightly nuanced take on the other but in the same family.

Justin Long hails supreme as Hap. The middle management everyman looking to get laid and fumbling in the presence of a beautiful woman is a universal story. Witnessing him struggle to keep up with Bosworth keeps the audience engaged, waiting for the other shoe to drop. Long’s effortless charm slowly wanes as the plot rolls along. As Hap gets more intoxicated, so to does his misogynistic inner thoughts. LaBute is famous for writing meaty female roles and exposing the darkness in men. Long devours this role at every turn. With a resume including films like Jeepers Creepers, Tusk, After Life, Barbarian, and Drag Me To Hell, there is a reason he’s constantly working. He’s a damn genre darling.

House of Darkness works for those who come to terms with that LaBute knows you know how this story ends. The fun comes in the complexity of his dark humor, his delicious dialogue, and Bosworth and Long playing a table tennis match in which he has no idea he’s losing. The audience is in on the joke, and that’s where the fun lives.


Showings – select to order tickets:
  • Year:
    2022
  • Runtime:
    88 minutes
  • Language:
    English
  • Country:
    United States
  • Premiere:
    International Premiere
  • Rating:
    15
  • Director:
    Neil LaBute
  • Screenwriter:
    Neil LaBute
  • Producer:
    Daryl Freimark, Tim Harms, Shaun Sanghani, Shelley D. Needham
  • Cast:
    Justin Long, Kate Bosworth, Gia Crovatin
  • Cinematographer:
    Daniel Katz
  • Editor:

    David Hyatt


Fantastic Fest 2022 review: ‘GIVE ME AN A’ for autonomy, damnit.

GIVE ME AN A

A wild ride of an anthology reacting to the overturning of Roe v Wade through horror, dark comedy, and sci-fi. Created by an all-female filmmaking team, this 17-segment series focuses on the visceral gut reactions of each filmmaker to expand conversations about women’s reproductive rights and the importance of bodily autonomy and also addresses the issues of a democracy that does not protect the needs of the majority of the population.


A kickass self-aware cheer squad presents this all-female-created feminist horror anthology. Each of the shorts is introduced by a call and response board, football game style, featuring the title on one and writer(s)-director(s) on the other. This phenomenal group of films made me want to scream, “Hell yeah!” But it also scared the shit out of me.

The Voiceless
A terrifying body horror short is a supernatural and bloody physical manifestation of body autonomy.

DTF
A dating app couple has a straightforward conversation but during foreplay. Hilariously respectful and legal chat about consent and expectation. This one turns the tables on reality.

Good Girl
This short is a direct takedown of religious indoctrination that women exist to produce children. It features Catholic school girls in a warped version of sex education class.

Our Precious Babies
This laugh-out-loud short, backed up by a laugh track, is a sitcom version of a fertility facility. It speaks to the extremism since the overturning of Roe and what could be coming next.

The Walk
A young woman attempts to make it to the front door of an abortion clinic only to be swarmed by frenzied protestors.

Medi-Evil
The cultivation of women’s bodies like that of a beehive was a visceral and disturbing watch. It made me squirm.

Sweetie
This complex short tackles the familial fallout and generational effects of forced birth.

Abigail
Alyssa Milano plays Abigail Adams reading her letters to her husband and his colonial cronies. Who knew she was such an eloquent badass?!

Plan C
This one is a mock commercial for government-approved birth control. It’s a real nightmare that simultaneously tackles abuse. Molly C. Quinn is riveting.

Hold Please
A secret support group for women I wish existed in real life. It’s a visual and emotional powerhouse.

God’s Plan
A pregnant woman is pulled over and threatened with a ticket. The dialogue is ripped from the headlines.

Crone
A woman harassed in her car has vengeful fantasies. Or maybe they’re flashbacks.

Crucible
Reality competition show spoof. Jackie Tohn hosts a show the men are less than thrilled about the “prize.” This is a vicious reality check, and I want to watch this show. Who’s your Daddy?

The Last Store
Ten years into the future, Gina Torres stars as a store owner with a particular set of skills, hounded by a local cop. It made my palms sweat.

Traditional
This sci-fi short brings conspiracy theories surrounding IVF to gestation.

GIVE ME AN A: The Cheerleaders
Writer-director-creator Natasha Halevi leaves us with the film’s creative finale, featuring our beloved cheer squad (oh, and some dudes.) A choreographed dance from Stephanie Landwehr is deliciously sinful.

directors

Natasha Halevi, Meg Swertlow, Bonnie Discepolo, Danin Jacquay, Erica May Wright, Monica Moore-Suriyage, Caitlin Hargraves, Megan Rosati, Hannah Alline, Avital Ash, Mary C. Russell, Valerie Finkel, Loren Escandon, Francesca Maldonado, Kelly Nygaard


 

 

Review: THE VISITOR’s core mythology overcomes challenging script.

Have you ever heard that joke about the old man facing the end of days? He’s given multiple escalating opportunities to escape (in the version I’ve heard, potential rescuers come by first with a car, then a boat, then a helicopter) Through it all, the old man stays steadfast in his belief that God will save him. When he inevitably perishes, he confronts God and demands to know why his faith wasn’t rewarded. God laughs and says, “You idiot! I tried to send you a car, a boat, and a helicopter!”

Justin P. Lange‘s The Visitor is an immensely enjoyable horror film populated by a protagonist who has certainly never heard this joke. Things pretty quickly go amiss when Robert (Finn Jones) relocates from London to his wife’s small town. While settling into her childhood home, Robert finds a mysterious portrait in her attic. It is of a man referred to only as “The Visitor”, and he bears a striking resemblance to Robert.

While Maia (Jessica McNamee) laughs this off as a coincidence, this and other factors about town set Robert on edge. Jones does a good job of telegraphing Robert’s slowly deepening dread, but he’s fighting a losing battle against the film’s script. Things are obviously amiss in this town. Everyone is way too friendly, and certainly too grateful that Robert and Maia have moved back to town. I thought of Jordan Peele’s superb Get Out, where the protagonist similarly squirms against the discomfort of his circumstances. In that film, the audience was made to question their instinctual doubts and allegiances. Here, the red flags are far less subtle.

There is still much to like in The Visitor. The core performances are uniformly strong. Jones and McNamee have nice unforced chemistry, and I wished the film had given us more time with them. It is effectively paced (86 minutes!) and contains several genuinely frightful and inventive scares. I especially loved the way the film leveraged the biblical plagues without feeling the need for too much supporting exposition.

While I found some of The Visitor’s narrative beats obvious, I also found the core mythology of The Visitor somewhat irresistible. It could offer franchise potential. If someone is willing to paint another portrait, I’d be willing to take another look.


Paramount Home Entertainment will release the psychological horror/thriller filmTHE VISITOR on Digital and On Demand on October 7, 2022 and it will stream on EPIX in December 2022. The film is part of the Blumhouse Television and EPIX deal to produce eight original films together. Building on Blumhouse Television’s success with the Welcome to the Blumhouse movies slate for Amazon and Into the Dark anthology series for Hulu, the deal is the first-of-its-kind for EPIX, which is adding films to its growing slate of premium original content.

THE VISITOR stars Finn Jones (“Game of Thrones”), Jessica McNamee (Mortal Kombat), Dane Rhodes (Where the Crawdads Sing) and Donna Biscoe (“Saints & Sinners”). The film was written by Adam Mason (Songbird) & Simon Boyes (Songbird) and directed by Justin P. Lange (The Seventh Day). The film was Executive Produced by Bradley Pilz, Greg Gilreath, Adam Hendricks, Jeremy Gold, Chris McCumber, David Grove Churchill Viste and Jason Blum.


Tallgrass Film Fest 2022 short film review: ‘In the Mountains’ is a wacky, animated nightmare.

IN THE MOUNTAINS

2D charcoal and pen animation and an ominous score (in fact, my six-year-old son heard it in the background and exclaimed, “That’s so scary!”) IN THE MOUNTAINS quickly lays a foundation of terror. After our couple goes for a hike and discovers footprints, among other items, at the peak, they realize they are not alone in the wilderness. What they come across in a cave changes the trajectory from uncomfortable to full-on punk horror. That’s the only way I can describe it. IN THE MOUNTAINS compresses a feature to its essential elements in the darkest way possible. Writer-director Wally Chung also lends his voice to the project. You’ll be thinking about this short long after its five-minute runtime. 


  • Year:
    2022
  • Runtime:
    5 minutes
  • Language:
    English
  • Country:
    USA
  • Rating:
    Mature
  • Director:
    Wally Chung
  • Producer:
    Wally Chung


October Programming on MUBI – thrills and chills for everyone.

October Programming on MUBI

Includes exclusive streaming premiere of Martine Syms’ art-school satire The African Desperate, Julie Ha and Eugene Yi’s rousing documentary Free Chol Soo Lee, Lucile Hadzihalilovic’s Lynchian horror, Earwig

Plus a month-long Halloween programming with George A. Romero, Michio Yamamato’s Bloodthirsty Trilogy, and more!

EXCLUSIVELY ON MUBI

Tuesday, October 4

Invisible Demons, directed by Rahul Jain

[Viewfinders] A visually immersive exploration of the global threat of climate change, Invisible Demons (Cannes ‘21) is the stunning sophomore film from filmmaker Rahul Jain. Told through striking images and eye-opening accounts from everyday citizens, Jain delivers a visceral journey through the stories of just a few of Delhi’s 30 million inhabitants fighting to survive, as he offers a deeply experiential and new perspective on the clear and present climate reality. A MUBI Release.

 

Friday, October 7

Free Chol Soo Lee, directed by Julie Ha and Eugene Yi

[Viewfinder] A highlight of this year’s Sundance Film Festival, Free Chol Soo Lee finds award-winning journalists Julie Ha and Eugene Yi excavating the largely unknown yet essential history of the case of Chol Soo Lee, a 20-year-old Korean immigrant who, in the 1970s, was racially profiled and convicted of a Chinatown gang murder in San Francisco. A stirring testament to the power of local journalists and the collective political action, this breathtaking true story ignited an unprecedented push for social action that would unite Asian Americans and inspire a new generation of activists, and serves as an urgent reminder that his legacy is more relevant than ever. A MUBI Release. 

Wednesday, October 12

Rosa Rosae. A Spanish Civil War Elegy, directed by Carlos Saura

[Brief Encounters] Legendary Spanish filmmaker Carlos Saura (Cria Cuervos) recovers and manipulates more than thirty images, drawings and photographs to recreate the Spanish Civil War in his new animated short Rosa Rosae: A Spanish Civil War Elegy (2021). The montage of images set to the music of singer-songwriter José Antonio Labordeta pays tribute to those childhoods stolen by the Spanish Civil War, reflecting the horrors of universal warfare and resonating with the urgent topic of conflict in today’s world. A MUBI Release. 

 

Saturday, October 15

Earwig, directed by Lucile Hadzihalilovic

[MUBI Spotlight] Loosely adapted from Brian Catling’s novella of the same name, Lucile Hadžihalilović (EvolutionInnocence) conjures a surrealist Lynchian nightmare in her first English-language feature Earwig – a macabre tale of a young girl with melting teeth and her cadaverous caretaker who molds and refits her dentures each day. Sumptuously-produced and fitted with a hypnotic soundtrack by Augustin Viard (in collaboration with Nicolas Becker & Warren Ellis), Hadžihalilović’s latest beguilingly hermetic world captures the same elusive and hallucinatory fixations on isolation and the horrors of adolescence as her previous work.

 

Friday, October 21

The African Desperate, directed by Martine Syms

[Debuts] The electrifying feature debut from renowned artist Martine Syms, The African Desperate (2022) brings her razor-sharp satire and vivid aesthetic invention to a riotous coming-of-age comedy. Tracking one very long day for Palace Bryant (an expertly deadpan Diamond Stingily), a newly minted MFA grad whose final 24 hours in art school become a real trip, the result is a shocking original vision that becomes a hazy, hilarious, and hallucinatory night-long odyssey, stumbling from academic critiques to backseat hookups while revealing Martine as a major new voice in American independent filmmaking. A MUBI release. 

 

Wednesday, October 26

Spectre: Sanity, Madness and The Family, directed by Jean-Baptiste de Laubier

[Debuts] The debut feature from music producer and longtime Céline Sciamma collaborator Jean-Baptiste de Laubier (Para One), Spectre: Sanity, Madness and the Family (2021), is an intimate docudrama inspired by De Laubier’s own family history. Following the youngest son of a large family whose childhood was dominated by intense spiritual fervor, who receives a mysterious package from his sister that leads to the awakening of long dormant memories, this kaleidoscopic work mixes real and fictional archival footage with a mesmerizing electro soundtrack to reveal the power of buried personal histories. A MUBI Release. 

Thrills, Chills and Exquisite Horrors

This Halloween, MUBI presents Thrills, Chills and Exquisite Horrors, a new series covering the vast range of genre cinema, from classic films to recent arthouse sensations and everything in between. From gothic frights in James Whale’s essential classic The Old Dark House, to the matriarchal anxiety of Veronika Franz and Severin Fiala’s and Austrian sensation Goodnight Mommy, and the haunting technological paranoia of Japanese master Kiyoshi Kurosawa’s cult classic, Pulse, these gems provide an opportunity to come together and celebrate the autumnal ritual of coming together to enjoy the many thrills that the cinema can offer us.

Goodnight Mommy (Veronika Franz, Severin Fiala, 2014) – October 1

Pulse (Kiyoshi Kurosawa, 2001) – October 5

When a Stranger Calls (Fred Walton, 1979) – October 13

The Old Dark House (James Whale, 1932) – October 23

Deep Red (Dario Argento, 1975) – October 31

George A. Romero: Double of the Dead

Legendary horror master George A. Romero returns to MUBI with a gruesome double feature with a generous amount of blood, guts, and sociopolitical allegory to satisfy any zombie movie cravings. From the final two chapters of Romero’s epic five-decade long Dead series: the “found-footage” shot Diary of the Dead (2007) is riddled with media anxieties as a group of film students document their way through a zombie apocalypse, while Survival of the Dead (2009) chronicles two families warring over whether the dead and the living can coexist. 

Diary of the Dead (2007) – October 5 

Survival of the Dead (2009) – October 30

From the Land of Fire and Ice: An Icelandic Double Bill

This October, as the days grow shorter and the air grows colder, MUBI presents a double feature celebrating some of the very best of contemporary Icelandic cinema, which has recently experienced a resurgence of sorts in the international festival circuit. In Rams (Prix Un Certain Regard, Cannes ‘15), Grímur Hákonarson crafts a hilarious and heartbreaking portrait of two warring brothers whose lifelong animosity explodes when confronted with a new disease on their farm, while in Hlynur Palmason’s critically acclaimed A White, White Day, an off duty sheriff begins to suspect a local neighbor of having an affair with his recently deceased wife which spirals into obsession in this singular story of grief, revenge and unconditional love.

Rams (Grímur Háknarson, 2015) – October 9

A White, White Day (Hlynur Palmason, 2019) – October 10

Fears and Fangs in Japan: Michio Yamamoto’s Bloodthirsty Trilogy

To celebrate the Halloween spirit, this October MUBI presents Michio Yamanto’s aptly titled Bloodthirsty Trilogy. Presented here are three tails sure to delight, with The Vampire Doll, which follows a woman and her boyfriend in search of her missing brother in a creepy mansion with a dark history, Lake of Dracula, which finds a young woman’s adolescent nightmares revealing a hellish prophecy, and Evil of Dracula, which sees Yamamato relocating his vampiric frights into an all girls school. Inspired by the British and American gothic horror films of the 1960s, this series represents Toho’s answer to Hammer Studios, with an emphasis on atmospheric thrills and chills that help bridge the gap between gothic classics and Japanese genre cinema.

 

The Vampire Doll (1970) – October 11

The Lake of Dracula (1971) – October 20

Evil of Dracula (1974) – October 27

Artist Focus: Morgan Quaintance

British experimental artist, critic, and writer Morgan Quaintance explores cinema as collective memory. Through his texturally rich short films, Quaintance focuses on hidden or forgotten history through the reconstruction of archival materials, moving image, photographs, written text and disconnected sounds. This month MUBI presents a double bill of his most recent work: Surviving You, Always (2020), contrasting the proposed metaphysical highs of psychedelic drugs versus the harsh actualities of concrete metropolitan life in 1990s London, and A Human Certainty (2021), playfully following the neurotic ramblings of a death-obsessed romantic in the throes of post-breakup blues.

 

A Human Certainty (2021) – October 24

Surviving You, Always (2020) – October 25

Glitch Zone: Films by Martine Syms

To celebrate the release of The African Desperate, Martine Syms’ acclaimed feature debut, this month MUBI spotlights two essential shorts from one of the most exciting new voices in filmmaking. Part of her ongoing series She MadBitch Zone takes us to an empowerment program for teenage girls founded by supermodel and business mogul Tyra Banks, while Soliloquy finds the artist delivering a scathing anti-capitalist manifesto that touches on questions the possibility of change in a society dominated by social media.

She Mad: Bitch Zone (2020) – October 17

Soliloquy (2021) – October 19 

The African Desperate (2022) – October 21

I Don’t Like You Either: A Pialat Retrospective

This month, MUBI continues its ongoing retrospective of misunderstood French master Maurice Pialat with Van Gogh, his bruising and deeply felt portrait of the esteemed Dutch painter. Pialat’s work is marked by a sense of realism that locates them somewhere between his compatriot, Jean Renoir, and the working-class naturalism of Ken Loach, which lends a sense of authenticity to this singular portrait of an artist that emphasizes the everyday labor of the craftsman over the final work. 

Van Gogh (1991) – October 2

Now streaming

Loulou (1980) – September 10 

The Mouth Agape (1974) – September 21

Under the Sun of Satan (1987) – September 27

 Complete list of films premiering on MUBI this month:

October 1 – Goodnight Mommy, directed by Severin Fiala, Veronika Franz | Thrills, Chills and Exquisite Horrors

October 2 – Van Gogh, directed by Maurice Pialat | I Don’t Like You Either: A Maurice Pialat Retrospective

October 3 – The Great Buster: A Celebration, directed by Peter Bogdanovich | Portrait of the Artist

October 4 – Invisible Demons, directed by Rahul Jain | Viewfinders

October 5 – Pulse, directed by Kiyoshi Kurosawa | Thrills, Chills and Exquisite Horrors

October 6 – Diary of the Dead, directed by George A. Romero | George A. Romero: Double of the Dead

October 7 – Free Chol Soo Lee, directed by Eugene Yi, Julie Ha | Viewfinder

October 8 – Tucker & Dale vs Evil, directed by Eli Craig

October 9 – Rams, directed by Grímur Hákonarson | From the Land of Fire and Ice: An Icelandic Double Bill

October 10 – A White, White Day, directed by Hlynur Palmason | From the Land of Fire and Ice: An Icelandic Double Bill

October 11 – The Vampire Doll, directed by Michio Yamamoto | Fears and Fangs in Japan: Michio Yamamoto’s Bloodthirsty Trilogy

October 12 – Rosa Rosae. A Spanish Civil War Elegy, directed by Carlos Saura | Brief Encounters

October 13 – When a Stranger Calls, directed by Fred Walton | Thrills, Chills and Exquisite Horrors

October 14 – Center Stage, directed by Stanley Kwan

October 15 – Earwig, directed by Lucile Hadzihalilovic | MUBI Spotlight

October 17 – She Mad: Bitch Zone, directed by Martine Syms | Martine Syms: Short Films

October 18 – The Gold-Laden Sheep & the Sacred Mountain, directed by Ridham Janve

October 19 – Soliloquy, directed by Martine Syms | Martine Syms: Short Films

October 20 – Lake of Dracula, directed by Michio Yamamoto | Fears and Fangs in Japan: Michio Yamamoto’s Bloodthirsty Trilogy

October 21 – The African Desperate, directed by Martine Syms | Debuts

October 23 – The Old Dark House, directed by James Whale | Thrills, Chills and Exquisite Horrors

October 24 – A Human Certainty, directed by Morgan Quaintance | Artist Focus: Morgan Quaintance

October 25 – Surviving You, Always, directed by Morgan Quaintance | Artist Focus: Morgan Quaintance

October 26 – Spectre: Sanity, Madness and The Family, directed by Jean-Baptiste de Laubier | Debuts

October 27 – Evil of Dracula, directed by Michio Yamamoto | Fears and Fangs in Japan: Michio Yamamoto’s Bloodthirsty Trilogy

October 28 – The Commune, directed by Thomas Vinterberg

October 29 – Dear Diary, directed by Nanni Moretti

October 30 – Survival of the Dead, directed by George A. Romero | George A. Romero: Double of the Dead

October 31 – Deep Red, directed by Dario Argento | Thrills, Chills and Exquisite Horrors


MUBI is a streaming service, a film distributor and a production company. But mostly, MUBI is a place to discover beautiful, interesting, incredible cinema. A new hand-picked film arrives on MUBI every single day. Cinema from all over the globe, from all kinds of directors. From brand new work by emerging filmmakers, to modern masterpieces from today’s greatest icons. All carefully chosen by MUBI’s curators. MUBI also produces and distributes ambitious new films, which members can watch exclusively on the platform. MUBI is the biggest community of film lovers, available across 190 countries, with more than 10 million members around the world. Subscription plans are $10.99 a month or $83.88 for 12 months. MUBI is available on the web, Roku devices, Amazon Fire TV, Apple TV, LG and Samsung Smart TVs, as well as on mobile devices including iPad, iPhone and Android.

mubi.com


 

Review: ‘PIGGY’ tests morality with bloody brilliant performances and writing.

PIGGY


Morally ambiguous and brilliant, PIGGY has been making the festival rounds this year to much acclaim. Writer-director Carlota Pereda uses the backdrop of teenage bullying and dials it up to the nth degree with murder, mayhem, and lies.

The script is relentlessly chilling. Because the audience has more information than anyone else, it feels as though the characters are sitting ducks. We are right alongside Sara as she witnesses her tormentors thrown into the back of a serial killer’s van. She says nothing, both out of fear and perhaps relief. Those that have ever been on the receiving end of horrible words and despicable actions will undoubtedly wince throughout the film.

PIGGY also speaks to the weight of parental support. We find Sara’s mother to be a nagging, uncaring shrew, while her father pays attention to her with genuine love. Her woes are exacerbated by her parents owning the local butcher shop, leading vile peers to dub her “Piggy.” One of the girls, Claudia, has a deeper connection to Sara based on her delay tactics in teasing and a matching bracelet with Sara.

The stakes in the film get higher and higher as the police, the chatty locals, and Sara’s conscience drives her to the breaking point. But that’s not all that weighs on Sara’s mind. PIGGY keeps you on your toes, constantly challenging your morality. Lead actress Laura Galán gives a star-making performance. You can see the wheels turning in each deliberate beat. Raw and thoroughly vulnerable, it is one hell of a turn. PIGGY had my heart in my throat from start to finish. Audiences are in for some hard questions and emotional torture.


Release Dates: 
October 7, 2022 (Exclusively in Alamo Drafthouse Theaters)
October 14, 2022 (Theatrical/VOD)

Directed by Carlota Pereda
Cast: Laura Galán, Richard Holmes, Carmen Machi, Irene Ferreiro, Camille Aguilar, Claudia Salas, Pilar Castro
Runtime: 90 mins
Genre: Horror/Thriller
Distributor: Magnet Releasing


Tallgrass Film Festival 2022 short review: Fingers crossed, ‘Slasher Squad’ is just the beginning.

SLASHER SQUAD

Short film Slasher Squad features picture-perfect animation akin to hyper-realistic mocap games like Uncharted and The Last of Us. Some of the details look so real I did a double take more than once. The story revolves around our female protagonist hearing the news about a serial killer on the loose. After checking the locks and hopping in the shower, we see she’s not alone. 

The ending of the film is a double twist. The first had me yelling at the screen. The second was so shocking I audibly exclaimed, “Okay, that’s AWESOME.” Writer-director-producers Nathan Stone and Stuart Campbell manage to world build in under 4 minutes! Adelaide Kane, whom I adored in Reign, plays our lead, Amber. Sean Tinnion‘s original score is unmissable. Slasher Squad is a perfect treatment, ripe for whatever forms they want to expand it in, be it a game, series, or feature. I would watch the hell out of this team’s creative endeavors. 


  • Year:
    2022
  • Runtime:
    5 minutes
  • Language:
    English
  • Country:
    Australia
  • Premiere:
    Kansas
  • Rating:
    13+
  • Director:
    Nathan Stone & Stuart Campbell
  • Producer:
    Nathan Stone & Stuart Campbell


Tallgrass Film Festival 2022 review: Death complicates friendship in ‘THE CIVIL DEAD’

THE CIVIL DEAD

The indie film that’s been killing it on the festival circuit, Clay Tatum’s The Civil Dead, sets friendship and tomfoolery against the everyday moments. All Clay wants to do is chill out when his wife leaves for a week. But an old friend mysteriously appears out of nowhere, complicating both relationships. You see, one of them is dead.

You immediately fantasize about all the fun things you would do together. There’s an undeniably brilliant poker scene. But things get weird, and Clay has second thoughts about helping Whit for eternity. The chemistry between Whitmer Thomas and director Clay Tatum is otherworldly. Pun intended. They make awkward endearing.

The script, penned by our two leads, might seem straightforward at first but do not get comfortable with the buddy comedy genre. The Civil Dead goes in a direction I did not see coming, though, in retrospect, I should have. From hilarious to shockingly dark, the film tackles loneliness in a brutally honest way. This one is going to haunt you in the best way possible.


DIRECTOR:
CLAY TATUM

WRITTEN BY:
CLAY TATUM
WHITMER THOMAS

EXEC PROD:
KASANDRA BARUCH
MIKE MARASCO

PRODUCED BY:
KASANDRA BARUCH
MIKE MARASCO
CLAY TATUM
WHITMER THOMAS

DIRECTOR OF PHOTOGRAPHY:
JOSHUA HILL

MUSIC BY:
MAX WHIPPLE

103 mins