SUMMONING SYLVIA
Written and directed by Wesley Taylor and Alex Wyse, the horror comedy SUMMONING SYLVIA is ridiculous and absolutely fabulous. Three friends kidnap their engaged bestie Larry for a bachelor weekend in a haunted house. The property’s history, and a witchy book of spells, call for a seance. Duh. The group summons the former owner and her son to find out what happened to them. Things get extra spooky when the groom-to-be’s future military brother-in-law shows up. It’s not just the spirits causing trouble. (pun intended)
Magnificent editing from Sara Corrigan keeps the audience on its toes. We jump through time in a single pan of the camera. Bravo to the choreography in these particular scenes. Makeup and costumes from both eras are fantastic. The dialogue is so quippy. It’s fun, heartfelt, and surprisingly deep.
The cast’s chemistry is spectacular. Michael Urie is Jamie, Larry’s fiance. He’s the most down-to-earth of the bunch, with the better part of his screen time in sequences over the phone. Urie can do no wrong in my book. Veanne Cox is Sylvia. Her performance is frightening and downright brilliant. I would watch a stand-alone film on her character.
Noah J. Ricketts is Kevin, the dimmest bulb in the group. His relentlessly horny energy is a fun addition. Opposites attract in this friend group. Troy Iwata is Reggie, the type A of the group. Reggie’s meticulously planned itinerary gets wrecked with the appearance of the very straight Harrison. Iwata’s annoyed bitchy attitude (and rightfully so) made me love him even more. 
Nicholas Logan plays Harrison. His overtly masculine energy, physical discomfort, and aggressive nature are a perfect foil for our four friends. His aura forces the audience to take stock of microaggressions and outright bigotry. Logan handles the distasteful behavior like a champ, and Harrison’s arch is a nuanced breath of fresh air.
Frankie Grande as Nico and Travis Coles as Larry are hysterical. Grande’s every beat is delicious. I found my eye seeking him in each frame, and he did not disappoint. He fills every possible moment with specificity, I guffawed. Coles brings mother energy and fierceness like no other. I wanted to have drinks and karaoke with him immediately. I am requesting a Grande-Coles buddy comedy asap.
SUMMONING SYLVIA is one of the funniest queer films of the year. As a theatre girl, I was in my element. I knew these characters. The film’s climax has a dual purpose that beautifully mirrors life and the afterlife. The finale is celebratory. Do not miss this hell of a good time.
Sporadic blue-tinged purgatory-like flashbacks of the woman in her heels, mussed blonde hair, and filthy trench coat give us little to go on. These sequences are undeniably unsettling. For most of the film, we draw our own conclusions based on the apparent hollowness of their marriage and a suggestion of an affair. Jakub Kijowski‘s bleak, but ravishing, cinematography sets the tone. Alicja stands apart from most of the action, furthering the feeling of isolation in an already stark environment. 
Iwo Rajski plays Daniel with a natural fierceness that suggests he is starring in a documentary rather than a narrative. He is fantastic. Gabriela Muskala pens the screenplay and plays Alicja/Kinga. Her ability to reel you into her turmoil feels effortless. She is magnetic.
Azia Dinea Hale plays Nina, a young phone tech who gives private lessons to Mordecai. Dealing with an unexpected family secret, Nina pushes onward to assure Mordecai that he can take his future into his hands and heal through experience and art. Hale is as sweet and patient as we need her to be. 
Sean Astin is Marvin, Mordecai’s son. Marvin’s confident facade begins to crack under the pressure of his cigar business, Fela’s diagnosis, and unresolved feelings with his father. Astin leaves his heart on the screen. Marvin is a complex person doing his best to keep his head above water. Astin takes each beat with thoughtfulness. It is a carefully crafted character study.
I’ve been a fan of filmmaker Onur Tukel‘s weird and wild sense of humor since 
If the internet comments section became a brilliant satirical dialogue, you might have an inkling of how smirk-inducing POUNDCAKE is. With every conspiracy theory, controversial subject matter, and offensive conversation you can think of, Tukel pushes the envelope. Simultaneously hilarious and politically on point, the film makes fun of us all. 
Kristine Kujath Thorp is magnificent as Signe. Her ability to cry on cue serves the character at any given moment. Her self-absorption knows no bounds, and Thorp leans into obsessive and damaging behavior like a pro. Her performance feels effortless.
Two dominant themes in The Lost King are disability visibility and gender bias. Phillipa feels a kinship with Richard, angered he has been deemed a monster due to his severe scoliosis. It seems Shakespeare had a hand in demonizing his appearance for these years. The historical digging that happens in the film is eye-opening. She is whipsmart and undeterred in her mission to clear King Richard’s sullied reputation. We feel the frustration as Philiipa comes up against men taking credit for her work. Cheering her on when she stands up for herself, choosing to spread a strong feminist message to young girls rather than chase the fame regaled onto male archeologists on her dig.
The film’s magical realism adds a beautiful element to Phillipa’s journey. It highlights the emotional pull to finish her search. Not to mention how charming actor Harry Lloyd is as Richard. Steve Coogan plays Phillipa’s ex-husband John, a man going through a mid-life crisis who grows to respect Phillipa’s passion for her subject. Coogan is an icon and is no less intriguing in this role. Sally Hawkins plays Phillipa. Her ability to live in a character’s skin is magnificent. Her physicality dazzles. She can do no wrong in my book. Her enthusiasm is contagious.
I feel like SCRAP would do well as a series. Kerr gives us just enough backstory to reel us in, and there is a complexity that drives Beth and Ben. I would love to see more of their childhood. SCRAP allows for a redemption story and one of healing. I feel compelled to ask Kerr for more of this family. The film speaks to a vast number of Americans struggling to stay afloat. It is unimaginably relatable.
THE WORST ONES is a meta-narrative that succeeds in conveying hope through hardship. Not only does the film shine in its storytelling, embracing heartbreak and socioeconomic trauma, but the performances also by our four young actors will hypnotize the viewer. Check out the clip below for a taste:
BUFF 2023 documentary feature STAND BY FOR FAILURE is an acid trip in creativity. An explosion of overlapping media and audio, jump cuts, and dissolves are mind-bending. Filmmaker Ryan Worsley takes us on a journey through Willy Wonka’s creepy ass tunnel whether or not we want to ride. Welcome to the world of Negativland. 
GEOFF MCFETRIDGE: DRAWING A LIFE
The mind of an artist is a splendid thing. SXSW 2023 doc GEOFF MCFETRIDGE: DRAWING A LIFE delves into the wondrous mind of a nurtured creative. Director Dan Covert puts a face and a name to the work we’ve seen for years. Meet Geoff McFetridge, graphic designer, visual artist, and family man. 
From director James Byrkit (Coherence) comes a collection of stories from the other side of consciousness.
A young Chinese-American rapper from New York struggles with her identity and career path in the thought-provoking short SLICK TALK. Balancing culture, passion, and parental pressure, Kiki responds to a manager who messages her online after watching her music video.
Animated short film SPROUT sees an agoraphobic scientist accidentally create a baby-like plant. As the creature rapidly grows, so does its curiosity to explore the outside, upending life in more ways than one. Written, directed, and animated by Zora Kovac, this sweet and child-friendly film tackles anxiety, bravery, human connection, and of course, growth. Watch it with the entire family.
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