Detective Fox loves work and alcohol. After going to AA, his sponsor, Chip, becomes the main suspect in his investigation of a missing kid. Fox also starts to believe that people are disappearing up Chip’s butt.
8 minutes into Butt Boy and it was successfully one of the weirdest things I’ve ever watched. 5 minutes more and I was completely horrified but couldn’t look away, much like a brutal car accident on the side of the road. This is a compliment. The plot sounds insane; an unsatisfied man starts putting things up his butt to feel again, becomes obsessed with the sensation, leading him down a dark path. Oh, then enter a grief-stricken detective on a mission and you’ve got Butt Boy. I’m tagging it “supervillain origin story meets addiction fable.” I wish I had been in the room for this screenplay’s creation. A version with commentary will be demanded in the future.
Performances are genre perfect. Over-the-top clichés perhaps at quick glance but with genuinely great acting beats throughout. Combine that with a spectacular set on the tail end (no pun intended) and cool sound and color choices, it’s this year’s most unexpected find. Butt Boy is the kind of cult film that you get exposed to either by a genre cinephile or some random dude late one night who says, “Bro! 2020 is/was fucking crazy! But have you seen Butt Boy?!” Then he makes you watch it and you have no idea what you just watched but now you’re that guy who makes other people watch it because why not share the gag-inducing images, WTF storyline, and 100 percent triumphant ending. To be honest, it was the buzz, first, and then the trailer that got me to watch. Now I feel the need to share. You’re welcome, in advance.
You can experience Butt Boy for yourself right now On-Demand. And you know I’ve left you the trailer below as a snack.
BUTT BOY is directed and co-written by Tyler Cornack (who steps outside from behind the camera to star in the flick as well) and produced by Bill Morean and Ryan Koch, who also co-wrote. Together the three founded the popular Tiny Cinema online channel, which Rice collaborates on and where the concept for the absurdist mystery feature was first conceived.
A girl born into an all-female cult led by a man in their compound begins to question his teachings and her own reality.
The Other Lamb relies, almost entirely, on the abilities of Raffey Cassidy and Michiel Huisman. These two could have a film of their own. You will find yourself yearning for more once the credits roll. So many questions remain, and I do mean that as a compliment. The intensity brought by both these actors adds to the eerie nature of the plot. There is a visceral pull that makes you keep watching even as you are horrified by the subject matter. A film about abusive misogyny and subversive female empowerment in the strangest of circumstance equals brilliant storytelling in my book.
The vivid cinematography makes for a stunning viewing experience on its own. Add in the chilling screenplay, engrossing editing, and breathtaking performances from the almost entirely female cast and you have a gorgeous portrait of brainwashing and inevitable betrayal. The Other Lamb has an otherworldly feel. It will make your skin crawl as it grips your body entirely with its storytelling.
The open ocean intimidates the hell out of me since my biggest fear is drowning. Am I afraid of walking under ladders and breaking mirrors? Guilty. Have I grown up to believe in fairy tales and old wives’ tales? Absolutely. Does my very own sister work in the maritime industry? You’re catching on here. Sea Fever exists to torment me.
Hermione Corfield plays Siobhán, a Ph.D. student placed on a fishing boat for her studies. What she lacks in interpersonal skills, she makes up for in brains and intuition. Battling the folklore of the sailors on board, she is faced with a creature of unknown origins that has an agenda of its own. The cast has instant chemistry and the setting of a confined and creaking ship makes for a skin-crawling experience on its own. Adding a “sea monster” element and all that comes with it makes for both a tragic and truly terrifying viewing experience. You will live in the claustrophobia of the scenario. The sound editing and cinematography combined with a cast doing complete justice to writer/director Neasa Hardiman‘s script is the perfect storm for scary. 
The chemistry between Alexandra Daddario and Maddie Hasson is off the charts cool. You’ll find yourself rooting for something you never thought you would because it’s entertaining as hell, no pun intended. The kills are fun, which always sounds weird no matter how much horror I consume. We also get everything 80’s you ever wanted, iconic tunes, over-the-top decor, bitchin’ cars, big hair, and cocaine. It’s no surprise that with a team of Marc Meyers and Alan Trezza, We Summon The Darkness has, at the very least, sequel potential. 
My little brother had that famous X-Files poster on his wall as a kid. The one that Mulder displayed in his office that read ‘I Want To Believe’. I have seen things that I cannot explain, both otherworldly and perhaps alien spacecraft related in my almost 40 years on Earth. All of that being said, Close Encounters Of The Fifth Kind would be better consumed as a series. There is a lot of information thrown at you, especially on the front end. While I was immediately suspect at the use of Fox News clips 4 times in the first 15 minutes, I was genuinely intrigued by information from Dr. Greer, founder of CSETI. As a total nerd myself, I am very familiar with this organization. My issues with the doc come in the very conspiratorial terms that get thrown at the audience. Not only that but also the complete shift in tone when Dr. Greer begins to explain how we are already communicating with beings from space. The videos of sightings and contact incidents are severely undermined by a distracting electronic soundtrack. It feels like an infomercial for one of Dr. Greer’s CE-5 workshops. I should be high on peyote in a yurt in Crestone. While you can see the passion behind what Dr. Greer is trying to communicate, the editing hurts the messaging. It takes what little we are given in way of video evidence and dumbs it down to YouTube-style nuttiness that you might run across on Reddit these days. I do encourage people to make their minds up for themselves as the new information does lead you to question life as we know it.
Writers Hannah Marks and Joey Power have treated us to a genuine and hilarious look at female relationships. Minus the obvious current technology, this is a story that easily spans any generational gap. The dialogue is quippy and whip-smart. Somewhere between Dawson’s Creek and any John Hughes film. (Clearly, I’m dating myself here.) It’s laugh out loud funny the entire time. It reminded me of last year’s Booksmart. Same intoxicating energy.
Dylan Sprouse is back, ladies and gentlemen. This role allows him to prove that he (and not just his brother Cole) is the teen heartthrob of the moment. His innate ability to both seduce you and put you at ease with his nonchalance is the stuff of gold. Luke Spencer Roberts as Ben is awesome. You might think he’s going to be the sidekick but he is the sanity seeker with a wicked sense of comic timing. More of him everywhere, please.
Liana Liberato as Clara is every cool, confident girl we wanted to be in high school, but really nice. Her free-spiritedness is an awesome foil for April’s darker, sardonic tendencies. But she is equally as sharp. Hannah Marks, as April, is the quirky, indie girl we also wanted to be or actually were but didn’t know it until now. Bravo for her ability to successfully tackle the trifecta of executive producer, star, and writer. I cannot wait to see what she does next.
The chemistry between Liberato and Marks is magic. It’s that feeling we all have with our best friend; that rapid-fire back and forth that is way funnier when brimming with inside jokes. The most interesting part of this script is watching the pure development of a female relationship that mirrors the ups and downs of a romantic one. The soundtrack is fantastic, mixed with some fun countdown animation, Banana Split is hands down one of the best comedies of 2020.
Melinda Page Hamilton and Bailey Edwards give startling performances. The entire film hinges on their chemistry. This casting is brilliant. M.O.M. solely utilizes the look of web, cell, and security camera angles, making for sharp and intrusive shots that cleverly mirror the storyline. This plot is upsetting but plausible in the rage-filled world our kids live in. You are constantly waiting for the other shoe to drop. The use of a single sound effect creates an off-kilter feeling a viewer can’t quite put their finger on beyond the subject matter. When that is revealed, wow. That moment flips the script and causes a chain reaction that you’ve been dreading. The script, based in large part on the testimonies and journals of real school shooters and their parents, is hard to watch but essential viewing. Parents need to watch this film. Genre fans need to watch this film. I hope people will seek it out after this week’s run in Los Angeles.
Famke Janssen becomes more relevant as Jacob’s ex-wife Val in the second half. She is his eyes and ears on a lead back in the States. Her ever dark, brooding, and strong presence was the perfect casting choice. Denis O’Hare‘s startling appearance is awesome. He can essentially do no wrong and is one of the most sought after character actors working, just ask Ryan Murphy. Jeffery Dean Morgan, who I have adored since his Supernatural days, has superstar range. Not only does he have a booming voice but truly dashing good looks. He owns the entire screen whenever he appears. Here, he plays NYPD detective thrust into the honeymoon murder investigation of his own daughter and son-in-law in London. When the details seem familiar, he makes it his mission to find the killer on an international chase. Morgan has the ability to say very little but expresses so much simply through a glance. He is undeniably fantastic. I hope we see more big-screen appearances once The Walking Dead comes to an end.
Opening with some gruesome imagery, The Postcard Killings immediately captures your interest. The script is thoroughly engrossing. It has a bit of a Se7en feel with a body horror aspect. Just when you think you know what’s going on, think again. As bodies pile up, clues are revealed that will both intrigue and shock. You will place yourself in Jacob ‘s shoes. One hour in, you will be thrown so much information and the tonal shift will knock you down. You will never be bored. The international locations are stunning, mixed with the light orchestral score, The Postcard Killings is an entertaining thriller.
Twins connected by trauma, stalked by evil, forced into hiding to protect themselves and the outside world. Yeah, I’ll bite. Transference has a lot going on in the way of structure. The narration breaks are very effective as they keep you on your toes during the madness. Emma’s “affliction” is fascinating. The idea that it can be weaponized is something looms large. As the plot slowly rolls out, the dread grows. The big reveal is pretty great. While there is something a little off with the film as a whole, it has big potential. Melissa Joy Boerger, AaronTomlin, and Jeremy Ninaber are all very dark and brooding. Tomlin is allowed to show the most range with the material. These three are obviously capable of much more. I would have liked to have seen more adult flashbacks that included Boerger. She was held back by the script.
Torture porn at it’s finest, The Dare is genuinely gagworthy in its practical FX. Without reading the synopsis, the film’s full plot doesn’t reveal itself until halfway through. This allows you to become invested in the mystery and backstory of how a killer was created. A little bit of the Saw franchise sprinkled in, The Dare is absolutely terrifying.
Brainwashing, abuse, cruelty, all make The Dare as brutal and compelling as it is. Just when you think you can’t take it anymore, the narrative switches up. As more is revealed your perspective rapidly changes. That’s solid writing. You will need to get to the end and you won’t know who you’re rooting for until the final moments. And if I’m being nit-picky, speaking of the very final moment, it is a bit unbelievable and trope-tastic, but hey, suspension of disbelief. After all the trauma the viewer has been through at that point, let it go. Write/Director Giles Alderson gives genre audiences what they paid for. The film is genuine heart-pounding, white-knuckled, madness.
This entire cast has fresh and energetic chemistry. They ooze the ambition that each of these characters needs. Platt, Speedman, Dobrev, Ehle, and Massoud make things more than interesting. If I had to nitpick, the makeup on Damian Lewis as Ford is a bit over the top. It feels a bit cartoonish and is slightly distracting. That being said, the performance is so good I actually didn’t know it was Lewis under the makeup. The scene where Ford goes on a drunken rant with his employees is so cringey and intense, it will make your skin crawl. Replace Ford with any current slime ball “politician”, it’s an easy swap. Lewis’ performance is unhinged in the best way possible. Ben Platt is solid as ever. The specificity that he brings to Bram both physically and emotionally is top-notch. His casting was a perfect choice. Massoud and Dobrev are equally vulnerable. Their performances are nothing short of captivating.
The score, along with the title and credit sequences are simply brilliant. Sort of a visual metaphor for finding the truth. The script takes a look at where On the whole, Run This Town is a super intriguing look at scandal, those who try to expose it, and those who suppress it. It highlights the work you don’t see and who is really responsible for moving the needle behind the scenes. It’s a great commentary on power, greed, ambition, xenophobia, and #MeToo. Run This Town is a fantastic feature debut for writer/director Ricky Tollman. The dialogue, in pacing and quippiness, is very reminiscent of Aaron Sorkin, particularly in the opening scene. That is precisely how you get an audience’s attention. Well done.
John Leguizamo plays detective Espada. He nails this role. He’s a hardass but very sly in the way he handles his job. He’s really great in this role. Helen Hunt plays his mother. Her Mama Bear persona is viscerally familiar to me, personally. She is gentle with Bart and commanding with Detective Espada. The yearning to protect, teach, and soothe is palpable. The moments of acquiescence really hit home. It’s all done with love.
Tye Sheridan‘s specificity hits close to home as a mother of a child on the spectrum. The eye-contact avoidance, repetitive verbiage, comfort in routine, the incredibly high intelligence are all things I have experienced first hand. The care with which he handles this role is refreshing. Major applause from a community who tends to see over-the-top characterizations of loved ones.
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