
A HOLIDAY I DO

Frazzled, single mom Jane (Hicks) is raising 10-year-old Lexi (Hahn) and managing her family’s horse farm following the loss of her father … holding it all together with a little moral support from her mom (Larson) and their festive neighbors. When she agrees to be the best (wo)man in the elaborate, yuletide wedding of her BFF ex-husband, Mark (Piazza), she finds herself navigating an emotionally charged holiday, a bridezilla fiancé (Chappell), a raging blizzard and a surprise visit from a no-nonsense banker (Warfield). Things become even more complicated and hectic when an unexpected romance sparks between her and the wedding planner, Sue (Reyes). As the big day looms, Jane’s going to need a little Christmas magic to not only clean up the mess she’s made, but to rescue her family’s farm before it’s too late.
Smalltown divorcee and farmgirl Jane is in the midst of planning the final events of her BFF/ex-husband Mark’s upcoming wedding. When he and his fiancee Heather get stranded by snow, Jane steps in with the wedding planner, triggering chaos. A HOLIDAY I DO is a charming cup of cheer for these festive months ahead.
The ensemble cast is delightful. Kayden Bryce, Marsha Warfield, Colette Hahn, Mandy Logsdon, Cameron Judd, and Dale Dobbs make you laugh and smile the entire film.
India Chappell gives Heather the precise amount of jealousy and meltable iciness, countering Mark’s (Joe Piazza) boy next-door aura. Jill Larson is Jane’s mother, Mary Ellen. Unbeknownst to the family, the farm is on the verge of bankruptcy. Larson is like a warm hug. She is an uplifting presence and an ideal mother figure.
Rivkah Reyes plays Sue with approachable sophistication. Her warm smile invites you in. Lindsay Hicks plays Jane with a brightness that mirrors the film itself. Her charming awkwardness is spot on. Hicks masters the art of romcom slapstick. The relationship between Jane and Sue develops naturally. Reyes and Hicks’ chemistry is endearing.
The score by Phil Tipping and Kanoa Wolfe-Doblin perfectly matches the light-hearted, breezy premise. Its sweet simplicity lulls the viewer into a calm state. The dialogue is cute and accessible, especially for families with younger LBGTQ members. A HOLIDAY I DO is an excellent addition to the Hallmark-esque holiday films on Tello.
A Holiday I Do
Holiday, Romantic Comedy, LGBTQ+ / 93 Minutes / Not Rated
From Tello Films and Rock Solid Creative Studios, A Holiday I Do was directed by Paul Schneider and Alicia Schneider from a screenplay by Melinda Bryce, based on a story by Paul Schneider and Alicia Schneider. Produced by Jennifer Nichole Lee, Paul Schneider and Alicia Schneider. Cinematographer was Jackson Swan. Music composed by Phil Tipping and Kanoa Wolfe-Doblin. Casting by Carmen Aiello. Production Designer was Nancy Oeswein.
Pre-order: Nov. 1 / Premieres: Nov. 10
Rent A Holiday I Do for $6.99 (14 days) or purchase the film for $14.99.
Make the season even more gay! Rent more yuletide fun in a special movie four-pack for just $10.99 (14 days) that includes the acclaimed LGBTQ+ Tello holiday romcoms Christmas at the Ranch, Merry & Gay, I Hate New Year’s and Season of Love:
· Christmas at the Ranch, starring Lindsay Wagner (Grey’s Anatomy; SyFy’s Warehouse 13; The Bionic Woman, The Six Million Dollar Man, Marcus Welby, M.D.) and Amanda Righetti (Captain America: The First Avenger, Friday the 13th, The Mentalist).
When a high-powered executive reluctantly returns to her family’s Nashville ranch just before Christmas, her introduction to ranch hand Kate goes terribly awry. But now they must put their differences aside and band together to save the homestead … and perhaps discover that finding love isn’t always where (or who) you expect. Featuring a holiday-inspired, original soundtrack.
· Merry & Gay, starring Dia Frampton (runner up in the inaugural season of The Voice and lead singer of the band Meg & Dia), Andi René Christensen (Bel-Air, Hacks), the first non-binary actor to star in a lead role in a holiday romcom, and Stella Parton (Nothing is Impossible, Dolly Parton’s Christmas of Many Colors: Circle of Love, Dolly Parton’s Coat of Many Colors).
When Becca finishes her run starring in a popular Broadway musical, she leaves New York City to spend the holidays with family and friends in her sleepy Tennessee hometown and to direct the annual Christmas pageant. Ecstatic, her well-meaning, but meddling mom and her best friend hatch a plan to reunite Becca and Sam, who were childhood pals and high school sweethearts. Featuring an upbeat, holiday-inspired soundtrack of all original music,
· I Hate New Year’s, starring Dia Frampton (runner up in the inaugural season of The Voice and lead singer of the band Meg & Dia), Ashley Argota (The Fosters, Lab Rats, Broadway’s The Lion King) and Candis Cayne (The Magicians, Grey’s Anatomy, I Am Cait, Elementary, Dirty Sexy Money).
Experiencing writer’s block, rising music star Layne Price visits a mysterious fortune teller whose flamboyant advice she misconstrues. Heading home to Nashville for New Year’s Eve, a holiday she hates, Layne hits the town with BFF Cassie, who is planning to finally confess that her feelings have evolved into more than friendship. However, Layne is too focused on “bumping into” her elusive ex to notice. But sometimes you find inspiration and love—with a little mystical intervention—where you least expect it. Featuring a high-energy, original soundtrack.
· Season of Love, starring starring Sandra Mae Frank (New Amsterdam, Zoe’s Extraordinary Playlist), Jessica Clark (True Blood, Pocket Listing), Dominique Provost-Chalkley (Wynonna Earp, Avengers: Age of Ultron), Emily Goss (Snapshots, Murder at the Murder Mystery Party), Laur Allen (Christmas at the Ranch, Young and the Restless) and Janelle Marie Rodriguez (Kings of LA, Love and Basketball)
The first LGBTQ holiday romcom widely released, the film follows the lives of three very different couples dealing with their love lives in interrelated tales as they celebrate Christmas and New Years.
About Tello Films:
Tello Films produces, acquires and distributes innovative, high-quality films, series and shorts. Founded by CEO Christin Baker in 2009 and headquartered in Nashville, Tenn., with offices in Los Angeles, Tello Films was the first network dedicated to telling stories featuring and about lesbian/queer women. Powered by Vimeo OTT, Tello Films network content is available to stream on any device and includes such Emmy-nominated series as Secs and EXECS and Riley Parra and such critically acclaimed films as Season of Love, Christmas at the Ranch and I Hate New Years. Wanna see more? Visit us online at: https://www.tellofilms.com
Join the Conversation …
Like us: https://twitter.com/tellofilms
Follow us: https://www.facebook.com/tellofilms

2nd Annual Dances With Films – NYC 





The score possesses a moving, almost visceral effect on the viewer. The information Rolnick discovers through her years of research will shock you. Their stories remain ever-evolving living entities. The film reinforces the tried and true Churchill adage, “Those that fail to learn from history are doomed to repeat it.” 

Bradley Whitford is a veteran “participant” craving interaction. Each man gains knowledge from the other’s vastly different strategies for survival. Gregg discovers rewards flow when he either embarrasses or hurts himself. As one coaches the other, a mutually beneficial relationship develops. Alice Braga enters the scene as a woman on a mission, determined to find a way out. Her fiery passion counters Whitford’s stubbornness and Gregg’s growing popularity. When best intentions backfire, and another very influential participant butt heads with her, the consequences prove unthinkable.
The performances are magnificent. Whitford’s energy is manic. It is like hypnotic live theatre. Alice Braga brings her usual fierceness, rattling the day-to-day flow of events. Melvin Gregg is a one-man show that gets better and better by the minute. His flawed vulnerability pulls you into this mesmerizing plot. He is magnificent.
The first feature film to be shot entirely from one fixed camera angle, 


Emile Hirsh is a manic misogynist and one catalyst in the chaos. Matilda Lutz plays the titular Helen. She is a star. Her presence is magnetic, and you cannot take your eyes off of her. Dylan Gelula, whom I adored in Cooper Raiff‘s 

As of today’s Halloween launch day, the platform will feature over thirty titles, including those from indie distributors Oscilloscope, Dark Star, Dark Sky, Dekanalog, Utopia, Yellow Veil Pictures, and others. Titles include Jane Schoenbrun’s
Don’t Tell Larry
Dot-Marie Jones and Ed Begley Jr. serve up pro performances that most certainly elevate DON’T TELL LARRY. Kiel Kennedy has a genuine Will Ferrell energy. His portrayal of Larry is cringe, uncomfortable, and entirely unhinged. It’s wild and wonderful. I won’t say more because seeing is believing. Kennedy gives Larry a larger-than-life persona, mastering the comedy and terror.
Kenneth Mosley is Patrick, Susan’s work bestie and equally fabulous sidekick. Do yourself a favor. Watch Mosley’s reel on IMDB. You will wonder why he isn’t on every screen in your home. His performance as Patrick immediately catches you off guard in the best way. He’s magnetic. Patty Guggenheim is unforgettable as the hyper-ambitious Susan. Guggenheim is a star. She has a similar energy to Julia Louis-Dreyfus. Her comic timing and charisma pull you in. Her chemistry with Mosely makes me want a sequel/spin-off/whatever!

Paul Reiser, who also writes the screenplay with Wally Marzano-Lesnevich, plays Barry. A real estate mogul from NYC, he receives a call from his distant cousin in Ireland, requesting his presence to heal a wound from generations past. The caller is Ciáran, played by Colm Meaney. The two proud, established men momentarily connect for the sake of their family. When Barry finds himself inheriting half of the family land, shenanigans ensue, dividing this small town between old and new ways.
This breezy film is perfect for the festival circuit. Jane Levy grounds the film as Barry’s daughter. While 95% of her appearances occur as phone calls from NYC, her brightness keeps Barry grounded for the viewer. Reiser is as great as ever. His big-city energy is a delicious foil for Meaney’s homegrown pride. Ciáran wavers between forgiveness and fight, and Meaney is a pro.
The landscape of the film is breathtaking. The sets are inviting. The script is heartwarming and silly. Frankly, THE PROBLEM WITH PEOPLE is a film we all need right about now. While it doesn’t break the mold, it makes you smile from beginning to end. I would easily watch a sequel of these two men navigating whatever comes next.
The performances swing widely. The score, while fine on its own, doesn’t match the over-the-top portrayals of everyone beyond Penny and Albie. Even Timothy Haug and Christine Griffin give us lackluster chemistry.
The plot is glaringly apparent to everyone but Albie and Penny. Once revealed an hour and ten minutes into the runtime, the fact that our invaders have to explain and then begin to bicker while the score ramps up its intensity, things get increasingly eye-roll-inducing. I think there is supposed to be some overarching social commentary, but the film lost me, somehow flipping from thriller to comedy, and I wasn’t sure if that was the film’s intent.


The look of the film is dreamy. Moody indoor shots juxtaposed with lush Swiss landscapes create a visually sumptuous experience.
Emilia Jones plays Margot, a college student and movie theatre concession girl who goes on a date with an older patron who may or may not be a murderer. Based on Kristen Roupenian‘s 2017 viral short story in The New Yorker, director Susanna Fogel skillfully weaves a dark tale that every woman has lived.
Emilia Jones (
The script also comedically highlights how far women go to remain appealing, how we placate for acceptance, the self-deprecating behavior, and the blatant shunning of red flags. There is a sex scene that is truly something to behold. It is the most cringeworthy, amusing, icky, relatable thing any woman can watch. It accurately captures the constant fear of existing as a woman. The relentless anxiety, the people pleasing, and the patriarchal pressure from every direction, CAT PERSON nails each aspect with humor and truth in fiction.
MOSQUITO LADY
Phillipino folklore Manananggal meets Catholic guilt in Kristine Gerolaga‘s short film, MOSQUITO LADY. When a young woman can no longer hide her pregnancy from her devout parents, she resorts to a legendary monster to assist her. The practical and Special FX are exquisitely gag-worthy. What a frightening jab at religious righteousness and an exploration of culture.
A little girl who lost her sight tries to convince her mother that an old woman haunts her. ALICIA is a standout short in story, production, and performance. The score is a perfect combination of high-intensity strings. The film hinges on the spectacular young lead, Naia Las Heras, as the titular character. There’s nothing more unsettling than experiencing the genuine fear of a child. Director Tony Morales and writer Cekis Casanova give us enough information to grow an entire franchise. I could see studios from Blumhouse to IFC Midnight snapping this up for development.

Cole is a new online content monitor for the FBI. Upon discovering the final message of his predecessor, he finds a new meaning of “images seared into your brain.” Michael Rich‘s THE QUEUE is the physical manifestation of PTSD from vile online videos.






In EMPIRE V, the two primary notions of Vampirism are Glamour and Discourse. They essentially break down to look and influence. Blood holds all the memories of the human it comes from and arrives differently than we’ve become accustomed to.
The CGI transition pieces serve as history lessons and sexy vampire propaganda. I’ve never seen anything like it outside of high-tech, immersive video games. Even the closing credits have an elegance and visual splendor akin only to Netflix’s The Crown.
The fight choreography is Matrixlike. The entire film echoes Neo’s training. It holds equal complexities, no doubt captivating a similar audience. If I didn’t know any better, EMPIRE V would fit perfectly into the list of films featured in the new doc 
Lewi Dawson plays Spencer, Sophie’s best friend and colleague. They are undeniably fantastic in this role. Stanley Browning is Adam, blind date and lead carrier of the infected alien hate worm. Etcetera Etcetera is our hostess with the mostess and hypnotizes with her spooky charm. Lauren Last gives us everything we need to feel grounded, permitting us to laugh at the premise. I would love to see her in more stories. I would welcome a sequel about Spencer and Sophie’s forthcoming shenanigans.
2023 has been a step in the right direction for trans, queer, and nonbinary representation with films like 
Various animation styles change from scene to scene, from hand-drawn to greenscreen, live-action to stop motion layer and mesmerize, forcing the audience to sit up and pay attention. QUANTUM COWBOYS‘ narrative timeline loops and shifts to give our protagonists a chance at redemption. Butterfly effects cling to each of them as “Memory” plays the storyteller and provides second chances disguised as a mysterious stone arc. This clever device keeps the audience enthralled, wondering how this might end.
The cast boasts faces familiar and iconic. Kiowa Gordon and John Way shine alongside David Arquette and Lily Gladstone ( a near-future Oscar winner IMHO). This one-of-a-kind film will undoubtedly delight with its wacky and meta climax. QUANTUM COWBOYS is an ambitious film that, while currently planned as a trilogy, could easily transition to a series at a major studio. Marslett gives audiences a choose-your-own-adventure-style story whose possibilities are endless.

The families are eclectic. All shapes, sizes, races, ages, and socioeconomic backgrounds face the challenges of reuniting parents and children. Allegations range from neglect to sexual abuse. Each case is unique, and the system does not exist to react to those nuances. 
You must be logged in to post a comment.