IT’S COMING
Filmmaker Shannon Alexander delivers a chilling documentary about one family’s tumultuous home life in IT’S COMING. Ashley Roland has a gift, although she may feel it’s more of a curse. Her ability to see beyond the veil began at age eleven. Now a mother of five children and having moved back to her family’s Brooklyn apartment, entities are haunting everyone, particularly her young son, Javier. A black figure is making life incredibly frightening.
Ashley can see and hear spirits. The physical and mental toll is obvious, despite her shockingly calm demeanor. She has become so accustomed to her circumstances, and not much ruffles her feathers, until she realizes how deep the negative energy goes.
The film’s structure features sit-down interviews with Ashley and some of her children. She describes her family history and evolving abilities. Alexander accidentally captures small paranormal incidents on camera, predominantly while Javier and Ashley speak. Blink and you’ll miss it, Alexander seamlessly replays those seconds in slow motion, making audiences aware of what they’ve just witnessed. We also get a glimpse of Ashley’s home security footage. Unsurprisingly, the activity increases when the family addresses them in interviews.
Ashley brings in medium Soledad Haren to cleanse the apartment. She provides viewers with paranormal canon, reasons, and triggers for an uptick in activity. It is a solid checklist if you aren’t a connoisseur of this genre. Like clockwork, incidents get worse. An acrid odor pervades their apartment, so intense it triggers CO2 alarms and multiple fire department visits. Soledad returns with her spirit box and performs an automatic writing session, providing few answers and more questions.
A husband and wife team of demonologists, Chris and Harmony DeFlorio, arrive with all the electronic bells and whistles. We see their footage intercut with Shannon’s. The results are undeniably unsettling. This is the point where Ashley finally breaks. It is the first time we see her cry and become physically unwell. When you witness the effect on Chris and Harmony, your heart rate increases tenfold. The comparisons to England’s most infamous haunting, The Enfield Poltergeist, are inevitable.
Javier’s personality slowly changes throughout the long months of filming. He describes a growing friendship with the black entity he calls Kitty. If you know anything about the paranormal, you understand how dangerous this is. You can track what looks like disassociation creeping onto his face. Something is affecting this child, whether it’s his mother’s energy or something genuinely sinister is up to the viewer, but I’ve not been this disturbed by a paranormal documentary in a long time. The final scene will send a shiver down your spine. IT’S COMING will haunt your mind long after the credits roll. You’ll question everything.
IT’S COMING Trailer:
“It’s Coming” which debuted at Hot Docs, is being released by Freestyle Digital Media in North America on November 12th.
Synopsis:
Ashley Roland, a wife and mother of 5, has been beset by supernatural entities since the age of 11. After returning to her family’s ancestral Brooklyn apartment, she begins to witness strange events in her home and learns that her children are now experiencing the same. As the paranormal encounters begin to escalate, Ashley attempts to rid her house of malevolent spirits along with specialists in the field.
Website
https://itscomingfilm.com/
An unspoken competition begins between the two gentlemen, with Charlotte being the prize. Werther ingratiates himself into their lives based on his instant infatuation. That is what makes YOUNG WERTHER so intriguing. You cannot help but settle into the sheer audacity of a character, living vicariously through his fearless nature. 
Patrick J. Adams is endlessly charming as Charlotte’s fiance, Albert. Adams’ genuine demeanor and the fact that he plays a lawyer again (Thank You Suits) makes him perfectly cast. His mature approach makes Albert all the more inviting.
Werther is a wealthy eccentric walking a fine between swoon-worthy and obnoxious narcissist. Douglas Booth grabs your attention from the first frame. His authentic hyper-fixation of experiencing things here and now is infectious. Booth has the energy of a Golden Retriever who is happy to see you at the end of the day. He is captivating. 
THE MAN IN THE WHITE VAN
The script has an underlying “Boy Who Cried Wolf” (but with a young girl at the center) while simultaneously reminding audiences to believe women. It is a clever mix. The film cuts back and forth in time, showing us glimpses of abductions of women and girls by the mostly faceless serial perpetrator. Years crank by forwards and backward in a creative transition of rusted numbers.
Sean Astin and Ali Larter, playing Annie’s traditional parents, deliver pitch-perfect portrayals of the times. Brec Bassinger is fantastic as the eldest daughter, Margaret. Deemed the pretty people pleaser, her chemistry with Madison Wolfe solidifies the emotional stronghold of the family dynamic. Wolfe gives Annie all the vulnerability, pure innocence, and bravery we want from this character. She is endlessly fierce and a joy to watch. Wolfe owns the film.
There is no escaping the terror. It is a meticulously crafted script of anxiety-drenched moments. THE MAN IN THE WHITE VAN is a film every parent needs to see, every husband who thinks his wife is being paranoid. It is a warning and a perfect example of gaslighting women experience daily. Stick around for the credits.
This oddball team of modern-day outlaws fearlessly tracks down society’s worst with hypnotic nonchalance. It is no wonder the film had a field day on the festival circuit—the cast rules. Raymond S. Barry is phenomenal as Lester. Mena Elizabeth Santos is equally deranged, letting the intrusive thoughts win.
Ryan Patrick Brown delivers an unexpectedly gentle turn as Freddy. Focusing on gains rather than violence, his love for his Baba and adoration for Westerns fit perfectly into this weird puzzle. Austan Wheeler delivers a comedically unhinged performance playing Lars. He is a coked-up loose cannon and motivator/bad influence for Freddy. Wheeler’s toxic aggression gets a pass due to his vigilante goals.
Robby Ngai‘s editing is applause-worthy. North provides enough meat to expand into a series. There is much to explore within these characters. Each one deserves an entire episode for their backstory.
The film celebrates the morally grey areas of life. The fantasy sequences bleed into the narrative like a gift. Memorable, singular, and sensorial FILTHY ANIMALS is the epitome of cult indie filmmaking.
Amy Carlson and Jordan Bridges are a joy to watch as Laurie and Gordan. Their chemistry is spot on. Kirrilee Berger is a pure delight as Joey. She has a natural star quality akin to Jane Levy or Rachel Sennott. She brings an effervescent energy to the screen. 
PERSONA
Sophia Ali is Sam, a fiery, take no shit woman whose severe injury and unresolved trauma threaten to end her fight. Ali nails every beat. You are rooting for her every second she is on screen.
Shanti Lowry gives Tricia a hopeful nature. Underneath is a mess of cryptic hallucinations and garbled memories. Lowry moves through the character with grace amongst the unpredictable.
Ho’s editing is quick and clever. Some of the most effective moments come as the women imagine rescue scenarios for better or worse. PERSONA taps into every true-crime-obsessed female fear. It’s like some demented practice run for very real circumstances. The film boasts an explosive final act. This pulse-pounding, dark ending is worth the wait.
YEAR 10
Somber natural lighting sets the tone for Year 10 from the get-go. The sweeping and ominous score plunges us deep into this near-future reality of sadness and violence. The team raises the bar even further by including heartbeat sounds, heavy drums, and dazzling strings. 
The film is a genuine family affair. Scan the credits for the many Goodgers involved in this magnificent production. Charlie Googger‘s handheld camera work is immersive and beautifully choreographed. Year 10 is quite a feat. This feature-length film with zero dialogue captivates with stunning performances wrought with panic and desperation. Toby Goodger is outstanding. His furious passion and fearless energy carry the entire movie. 
The script juxtaposes two survival styles, one of heart and kindness, and the other savagely selfish and brutal. The lack of dialogue never lessens the intensity. If anything, it allows raw emotion to convey each beat. YEAR 10 taps into the best and worst of humanity’s most feral instincts.
WHEN: Friday, December 6 at 12:45 PM EST
Gasbag – 
Filmmaker Kelsey Egan brings audiences THE FIX. The near future film occurs where toxic air is slowly poisoning the population, and only the wealthy have access to treatment. Ella exists in the shadow of her recently deceased supermodel mother. Thinking she’s taking a party drug, Ella accidentally ingests an experimental synthetic, causing accelerated and unpredictable mutations inside and out. Ella becomes the target of both the drug dealers and global big pharma Aethera. THE FIX is much more nuanced and endlessly intriguing. It is sci-fi, action, thriller, and everything in between. 
Icon Clancy Brown plays Aethera patriarch. Anytime he appears in a film, it elevates the entire production. Robyn Rossouw delivers a fear-soaked performance as Ella’s best friend, Gina. Huge accolades for Keenan Harrison and Tina Redman as they prove their acting chops, but I’ll let you discover their vital roles on your own. It is truly A+ work from both.
Production is spectacular. Props are sleek, costumes are clean but unique, and the sets are just as applause-worthy in their minimalist glory. The special FX makeup team gives us top-notch originality. Read More – 
THE FIX could seamlessly expand into a multiple-season series. There is so much well-developed canon that audiences would tune in without hesitation. Tackling ethics, capitalism, and the fragility of humanity, THE FIX has arrived to entertain and challenge.
THE SHADE
Laura Benanti plays the family matriarch, Renee. She adds authentic warmth to every role. Even if her scenes are few and far between, she steals every single one. Dylan McTee plays the eldest brother, Jason. He exudes hurt with an overly aggressive demeanor that perfectly suits the role. 
There are a few particularly memorable shots by cinematographer Tom Fitzgerald. Heather Benson and the makeup department give us startling work. They deserve all the applause. 
What gets the pulse-pounding is undeniably well done. Chipman and cowriter David Purdy use dreams as a gateway to terror. Perry Blackshear‘s 
DREAM TEAM
Agents No and Chase (Esther Garrel and Alex Zhang Hungtai) leisurely follow the trail of deaths but mostly sport tight clothes and make innuendos. The script occurs in episodes featuring a repeated title sequence and undeniably clever cheeky titles.
The script is intentionally utter nonsense. If you want to learn about coral, DREAM TEAM is your jam. Performances across the board are spot-on for mediocre porn overdramatics. I feel like watching on mushrooms would be an experience. There are so many moments of WTF I lost count 30 minutes in. At that point, it is best to throw your hands up and tell yourself, “Sure, why not?” My favorite scene involves an invisible coworker. I was also thankful for the break in what I assume are meant to be channel surfing breaks in the narrative pattern.
It is easy to see why Jane Schoenbrun acts as executive producer. The neon color pops are right up her alley. Listen, coming from someone who starred in two of these things many years ago – do not even try to look that shit up on the internet, I will hunt you down- DREAM TEAM owns the bit. The question remains whether audiences will tolerate it for 90-plus minutes.
HIPPO
Daruma deals with addiction, PTSD, and redemption in an honest way. There is zero sugarcoating. Immersive camera work helps place the viewer in Patrick’s emotionally injured mindset by placing the camera in his lap whenever he gets intoxicated in a club. Yellen’s overall cinematography is spectacular. His choice to mix follow shots, close-ups, and stunning drone footage while our players embark on their road trip captures Daruma’s vulnerability and heart. 
John W. Lawson is undeniably charming as curmudgeonly neighbor Robert. His nuanced backstory is the perfect foil for Tobias Forrest. You’ll fall in love with him. Forrest gives his all, leaning into Patrick’s flaws and working to find his suppressed humanity. Forrest nails each beat. He and Lawson share relatable chemistry. It’s a dramedy duo you didn’t know you needed. 
Rob Morrow
The script is relatively predictable, except for one late reveal that had me simultaneously yelling, “WTF?”. It’s something you’ll have to witness to understand. Overall, the editing and storytelling style feels disjointed. Even at only an hour and thirty-plus minute run, the cuts feel like snippets of a Law & Order series rather than a single film.
Based on the harrowing true story and book of the same name, Andrew Boodhoo Kightlinger’s Lost on a Mountain in Maine follows 12-year-old Donn Fedler‘s nine-day journey lost in the wilderness. When a father-son hike goes awry, Donn must fight to survive. 
The film opens with archival footage of one of the 1939 searchers as he describes the danger of the terrain. More interviews interspersed throughout the narrative, with Donn’s childhood friend and brother Ryan, reinvigorate your emotional investment. Idan Menin‘s cinematography, Andrew Drazek‘s editing, and Garth Stevenson‘s truly affecting score come together beautifully.
Caitlin Fitzgerald delivers a lovely performance as Ruth Fedler. She captures that mother-child bond perfectly. Ruth’s relentless efforts to find help are inspiring, and Fitzgerald nails her calm ferocity. Paul Sparks, who I loved as gangster Mickey Doyle in Boardwalk Empire, plays Don Sr. with a much-needed complexity. Fitzgerald and Sparks have a genuinely sweet chemistry. 
Luke David Blumm is outstanding as our lead, Donn. He is spirited and charming, effortlessly filling the frame with each fully fleshed-out beat. He’s a star.
CELLAR DOOR
The set is marvelous. Wood-paneled rooms mixed with modern updates, a sprawling terrace, and an exterior straight out of Great Expectations, the audience falls in love with the house at first glance.
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