FAMILY DINNER
One of Tribeca 2022 Midnight selections features the sickest fad diet you could ever imagine. When Simi joins her famous nutritionist aunt for the Easter holiday, the tension in the house boils over almost immediately. Simi, an overweight 15-year-old girl, seeks approval and guidance, but things do not go according to plan. Family Dinner is a film that slowly and deliberately crawls under your skin.
Michael Pink creates a lecherous character arc for Stefan. His presence made me shudder with each appearance. Alexander Sladek gives relentless nuance to the role of Filipp. Displaying all the characteristics of a serial killer, what lies beneath the surface is even more disturbing. Sladek is unnerving.
Pia Hierzegger plays Auntie Claudia with an energy that is powerful and scary. The head of the household in every way possible, Hierzegger is astounding. Nina Katlein is spectacular as Simi. Despite every red flag, the bravery in Katliein’s eyes is shocking. Writer-director Peter Hengl’s script allows Simi to be a feminist icon.
The complexity of this script kept me guessing from beginning to end. Just when I thought I’d figured out what was going on, another twist. Much like in the films A Banquet and Honeydew, the preparation and consumption of food become weaponized. The infantilization between mother and son sent shivers down my spine. It is an added layer that compounded my unending distress. If you follow the proverbial breadcrumbs, the finale feels like a natural endpoint to a series of microaggressions that become exponentially more horrendous. Family Dinner had my heart in my throat with bona fide fear. Tribeca audiences are in for a frightful treat.
For more information on Family Dinner and the full Tribeca 2022 experience, click here:
https://tribecafilm.com/films/family-dinner-2022












With reminiscent aspects of the cult favorite
Shane West
The solutions to the puzzles evolve from difficult to unchallenging and back again. This inconsistency is forgivable from someone who is an avid winner of ‘Escape The Room’ experiences. (*Nerd alert) 

Writer-director 
Sick cinematography and a killer opening bring Fantaspoa 2022 audiences into the intensely scary world of 
Could we put together a cuddly list of family-friendly Easter films? Probably. But where’s the fun in that? Here is a list of films where a rabbit is featured in one way or another. Most are straightforward. A few, well, I guess you’ll have to watch them and figure out why they’re there. Happy Easter, and happy hunting for those pesky wabbits.



Peter Rabbit and his three sisters — Flopsy, Mopsy and Cotton-Tail — enjoy spending their days in Mr. McGregor’s vegetable garden. When one of McGregor’s relatives suddenly moves in, he’s less than thrilled to discover a family of rabbits in his new home. A battle of wills soon breaks out as the n








In the early 18th century, England is at war with the French. Nevertheless, duck racing and pineapple eating are thriving. A frail Queen Anne occupies the throne, and her close friend, Lady Sarah, governs the country in her stead while tending to Anne’s ill health and mercurial temper. When a new s








*Let me begin their review by stating that I have not seen the original Wyrmwood. I can only comment on Wyrmwood: Apocalypse as a stand-alone film.*
This cast is gold. The commitment to these characters is commendable. The fight sequences and choreography are damn entertaining. These actors go hard into the action. Bravo, to 

Director
Comic relief comes in the form of 
Opening with a disturbing turn,
Alexandra Loreth

The creature design is reminiscent of something that might come out of the Wētā Workshop from Jim Henson‘s team. Its evolution is fascinating. It manages to be shockingly grotesque and yet adorable. If you’re a fan of 
“With great power comes great responsibility.” A group of children in an apartment complex realizes they have a strange and often dangerous bond. They possess otherworldly powers. As the connection between the children grows, so too do their abilities. The Innocents plays like a mysterious superhero and villain origin story.
The complexity of The Innocents is endless. This young cast carries a heavy emotional weight. They delighted and terrified me. The evolution of this dark sci-fi narrative gave me full-body goosebumps. The volatility of young feelings is on an entirely uncharted plain. What these characters do with their power speaks to the purity of good and evil. Look for an extraordinary turn from 



Shudder original
Writer-director
As Kiera investigates the house’s history, we are introduced to everything from Jewish mysticism to quantum physics. I wasn’t expecting math to be a thing, yet here we are. I thought the record player that coaxed the family members into all sorts of trouble was clever. But, not so much the characters googling Latin quotations. It’s a lot. There are fleeting moments of greatness, such as an ancient abacus moving on its own, air blowing from underneath the cellar door as if a creature were heavily breathing. The classic scares worked best for me. The final 20 minutes is where the real action occurs, a clear nod to 
Will has created a facade of mental wellness. As the past comes back to haunt him, can he keep himself together?
The camera work is an entire entity. Editing wise, reflection, double vision, echoing of dialogue all build as the story progresses. These devices slowly place us into the mindset of Will, forcing us to question reality. There are bizarre and jarring references to films like 
The original music by The Halluci Nation and vocal performances by Tanya Tagaq are electrifying. It vibrates off the screen. During the opening credits, I stood up and danced in my kitchen because it was so infectious. The special FX makeup and CGI are startling. But it is the performances from this fresh young cast that pulls you into the narrative. These kids are stars. The emotional upheaval is all too familiar as they struggle with hormones, racism, and, in this instance, aliens. While most of us don’t have the alien experience in our back pocket, we can all agree that pre-teen to teenage years was complicated. The dialogue from writers Nyla Innuksuk (who also directs) and Ryan Cavan almost feels improvised. They have nailed the jargon of youth. The cinematography is breathtaking. Even if the characters aren’t impressed with the landscape, the audience unmistakably experiences the natural grandeur of Pangnirtung.
Having a film run in real-time is already bold. In 
Catty, protective, territorial; girls can be the worst. Mean girls made my life a living hell for years. Everyone I know has a story involving them. SXSW22 Midnighters world premiere SISSY addresses them head-on. 

Melora Walters as Ava is powerful in her manic behavior. She’s such a presence in any role. This casting was perfect. Richard Brake is brilliant. He’s so nonchalantly terrifying you’re just mesmerized by his performance. Jeremy Gardner is one of the best parts of this film. He’s a savior figure cloaked in mystery. His delivery of dialogue drives the greater mystery forward. He is an integral piece to this gothic puzzle. Jocelin Donahue has anxiety written all over her face. She has this throwback horror look from the hair, to the wardrobe, giving the entire film a timeless feel.
Mac Fisken‘s cinematography is amazing. The long lingering shots, the close-ups, and the static camera work are stunning. Watching the actors run into view and away again is such an effective stylistic choice. Writer-director Mickey Keating‘s creation lives and breathes in the audience’s ability to take the ride. I actually went back and watched the beginning again and there is one very Ari Aster moment. Keating smartly gives you a visual reference but it’s tricky to decipher right off the bat. OffSeason is worth multiple viewings. Make sure to have your volume turned up when you do.
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