Review: ‘A Haunting in Venice’ is a spooky shot in the arm for Branagh’s Poirot

A Haunting in Venice

It is rare for a film series to improve its footing 3 movies in. But that is precisely what Kenneth Branagh has accomplished with this year’s A Haunting in Venice, his 3rd directing / starring outing as Agatha Christie’s Hercule Poirot (after 2017’s Murder on the Orient Express and 2022’s Death on the Nile.) This is a focused and taut film that benefits immensely from both its gorgeous location and more supernatural tone compared to past films. While Agatha Christie obsessives may leave wishing for a more of a standard murder-plot adventure, many will find this a thrilling kick-off for the 2023 Halloween season.

The film directly follows 2022’s Death on the Nile and finds Detective Poirot enjoying retirement within the canals of Venice. His services are still in great demand (as evidenced by the constant line of hopeful clients) but he has lost his faith. When he is approached by his old friend and novelist Ariadne Oliver (Tina Fey, in a thinly veiled nod to author Agatha Christie), we know it can’t be long before the body count begins to climb.

As with the previous 2 films, the cast is stacked top to bottom. Despite the big-name actors, the characters outside Poirot are all thinly drawn. Kelly Reilly smolders as the grieving mother. Tina Fey gets a good laugh line or two as the Agatha Christie stand-in. Michelle Yeoh is the standout as the potential medium Joyce Reynolds, the only character that is really allowed to go toe to toe with Poirot (and even then, only briefly)

While the characters are thin, the atmosphere and cinematography of the film are incredibly lush – they are the real stars of the show. I would have bet you good money this film had a different cinematographer from the last two – the difference in style is night and day. But it is still Haris Zambarloukos at the helm, so all I can say is keep it up! Venice does a lot of the heavy lifting, of course, but there’s more to it than that. The first two films leveraged green-screen extensively, whereas Haunting is grounded and has a sense of place. The tone of the film is much more focused, and almost every scene contains rich imagery. I loved the way the suspense of the potential supernatural was implied in every scene – walls and windows of the palazzo creak and seem alive in a manner reminiscent of old Hollywood. No need for CGI thrills here. How great was the imagery? I could watch this movie with absolutely no dialogue and still enjoy myself immensely.

For many, the joy of a mystery film is in figuring out the solution before the detective. The case at the core of Haunting may not be complicated enough to satisfy all the sleuths in the theater, but the film is good enough they’ll certainly get another chance to see Poirot in action very soon. Here’s hoping the arthouse vibe of the series is here to stay!


The unsettling supernatural thriller based upon the novel “Hallowe’en Party” by Agatha Christie and directed by and starring Oscar® winner Kenneth Branagh as famed detective Hercule Poirot, will open in theaters nationwide on September 15, 2023.

“A Haunting in Venice” is set in eerie, post-World War II Venice on All Hallows’ Eve, “A Haunting in Venice” is a terrifying mystery featuring the return of the celebrated sleuth, Hercule Poirot. Now retired and living in self-imposed exile in the world’s most glamorous city, Poirot reluctantly attends a séance at a decaying, haunted palazzo. When one of the guests is murdered, the detective is thrust into a sinister world of shadows and secrets.

Reuniting the team of filmmakers behind 2017’s “Murder on the Orient Express” and 2022’s “Death on the Nile,” the film is directed by Kenneth Branagh with a screenplay by Oscar® nominee Michael Green (“Logan”) based upon Agatha Christie’s novel Hallowe’en Party. The producers are Kenneth Branagh, Judy Hofflund, Ridley Scott, and Simon Kinberg, with Louise Killin, James Prichard, and Mark Gordon serving as executive producers. A brilliant acting ensemble portrays a cast of unforgettable characters, including Kenneth Branagh, Kyle Allen (“Rosaline”), Camille Cottin (“Call My Agent”), Jamie Dornan (“Belfast”), Tina Fey (“30 Rock”), Jude Hill (“Belfast”), Ali Khan (“6 Underground”), Emma Laird (“Mayor of Kingstown”), Kelly Reilly (“Yellowstone”), Riccardo Scamarcio (“Caravaggio’s Shadow”), and recent Oscar winner Michelle Yeoh (“Everything Everywhere All at Once”).


 

Review: ‘REBEL’ is a frank and frightening look at the risks of radicalization.

REBEL the dazzling and audacious new film from Adil El Arbi and Bilall Fallah (Bad Boys for LifeBatgirl) tells the story of Kamal (Aboubakr Bensaihi), who resolves to change his life for the better, leaving Belgium to help war victims in Syria. But, having arrived, he is forced to join a militia and is left stranded in Raqqa. Back home, his younger brother Nassim (Amir El Arbi) quickly becomes easy prey for radical recruiters, who promise to reunite him with his brother. Their mother, Leila (Lubna Azabal), fights to protect the only thing she has left: her youngest son.


When I saw Bad Boys for Life in 2020, I would never in a thousand years have imagined the directors had a picture like Rebel in them. This is an ambitious, profound, and thoughtful film. Like Bad Boys, this is a film brimming with violence. But Rebel never uses violence to entertain, rather aiming to shock the audience or to underline or accentuate a point.


Rebel focuses on the Wasakis, a Belgian family with Moroccan roots. Kamal (Aboubakr Bensaihi) is the older brother, an idealistic drug dealer and rapper horrified by the atrocities he sees in the ongoing war in Syria. His younger brother Nassim is kind and impressionable. Devout matriarch Leila tries to watch over her boys. When Kamal travels to Syria as a volunteer, he believes he has found a non-violent way to make a difference. When he is captured by ISIS, he finds a different path forced upon him, one that will have also cause devastating effects back home.


Lubna Azabal gives a tortured performance as Leila. Her desperation to protect her family is visceral and raw. Bensaihi is phenomenal as Kamal. You believe the transformation he slowly goes through over the course of the film.


Kamal’s passion for rapping also provides one of the film’s most interesting elements – at times, the characters will break into musical interludes. Given the serious tone of the film, these moments could easily appear forced or interrupt the flow of the narrative. Luckily, Bensaihi’s talented flow and consistently gorgeous choreography keep this from occurring. The first such interlude, set in a Brussels’ restaurant, is particularly powerful.


Despite the balletic action and gorgeous cinematography, this is not an easy film to watch. But it provides important personalization for atrocities that the audience might otherwise write off due to stereotypes and misinformation. Atrocities that are still happening today.


Watch the Trailer!

In Theaters September 15, 2023


*Official Selection – 2022 Cannes Film Festival*



Directed by Adil El Arbi and Bilall Fallah (Bad Boys for LifeBatgirl)
Written by Adil El ArbiJan Van Dyck, Kevin Meul, and Bilall Fallah
Starring Aboubakr Bensaihi, Lubna Azabal, Amir El Arbi, Tara Abboud and Younes Bouab
Produced by Bert Hamelinch and Dimitri Verbeeck

RT: 135 minutes


 

Review: ‘ SOMETHING YOU SAID LAST NIGHT’ is a completely fresh take on trans storytelling.

A Film by Luis De Filippis


Ren, an aspiring writer and mid-twenty-something, accompanies her parents, Mona and Guido, and her younger sister, Siena, on a beach resort holiday in cottage country. As Ren navigates the resort, she struggles to cope with her parents’ loving yet overbearing nature, and tries to balance the yearning for independence with the comfort of being taken care of. The realities of being a stunted millennial and a trans woman coalesce in Ren not wanting to be perceived as a burden. Looming in the back of Ren’s mind is the secret of her recent dismissal from work, and that once the holiday is over, she will need to rely even more on her family’s support.


SOMETHING YOU SAID LAST NIGHT centers on sisters Ren and Siena and their parents on vacation. Emotional turmoil, family drama, and love make this an exceptional indie.

The cast is phenomenal. Focusing on our leading lady, Carmen Madonia, gives Renata an often aloof attitude, hiding a lost mindset. She’s soft-spoken, outwardly feeling othered by her sister’s personality. But little is said. Madonia’s face replaces any unneeded dialogue.

The family chemistry is deliciously authentic. Each fully fleshed-out member has their quirks and distinct personality traits. What makes this script particularly special is the approach to transgender storytelling. They let Ren exist, merely hinting at her identity for the first time 30 minutes in. It’s never directly addressed. The juxtaposition of a pair of aggressive little boys is genius. The sound editing is a character unto itself. What we hear in the background speaks volumes. At times, Ren is almost an ancillary character. It’s undeniably intriguing filmmaking. 

SOMETHING YOU SAID LAST NIGHT takes trans storytelling in a fresh direction. Representation matters. Moreover, seeing a loving dynamic in the life of a trans woman is essential.


Opening in NY / The Quad on September 22
and LA / The Culver Theater on September 29

SOMETHING YOU SAID LAST NIGHT is based on director Luis De Filippis’s short film, “For Nonna Anna”, which premiered at the 2017 Toronto International Film Festival and received the Special Jury Prize at the 2018 Sundance Film Festival. The film was awarded Outfest’s Grand Jury Award, TIFF’s Changemaker Award, and Rotterdam International Film Festival’s Youth Jury Award.

WRITTEN AND DIRECTED BY Luis De Filippis
PRODUCED BY Jessica Adams, Michael Graf, Harry Cherniak, Rhea Plangg, Michela Pini, Luis De Filippis
EXECUTIVE PRODUCED BY Julia Fox, Francesca Silvestri, Kevin Chinoy, Andrew Adams, Jennifer Konawal, Jeremy Smith, Omar Chalabi, Charlie Hidalgo
STARRING Carmen Madonia, Ramona Milano, Paige Evans, Joey Parro, Augustus Oicle, Mi’de Woon-A-Tai, Carmelo Nelson
CINEMATOGRAPHY BY Norm Li, csc
EDITED BY Noemi Preiswerk
MUSIC BY Ella Van Der Woude


 

Review: Jacqueline Castel’s ‘MY ANIMAL’ is the small-town sapphic monster movie we all needed.

MY ANIMAL

Heather, an outcast teenage goalie, falls for newcomer Jonny, an alluring but tormented figure skater. As their relationship deepens, Heather’s growing desires clash with her darkest secret, forcing her to control the animal within.

Jacqueline Castel gives us an incredibly nuanced and modern twist on the classic monster movie.  Heather is already a loner, with small-town gossip labeling her damaged goods based on her mother’s alcoholism. The film opens with a fantastic backstory of that scenario. One of the most intriguing aspects of the family dynamic has to be the calm acceptance of the curse but the loathsome attitude towards Heather’s sexuality. This clever dichotomy deepens our emotional investment in her happiness. MY ANIMAL transfixes with an almost slow-burn feel and the lack of gore. 

Stephen McHattie, a genre legend, plays Heather’s dedicated father, Henry. He is genuinely caring, encouraging, and a brilliant addition to this film. It’s a lovely turn. Amandla Stenberg plays Jonny with a fiery energy. She has an effortlessly commanding presence. Bobbi Salvör Menuez gives Heather award-worthy vulnerability. They bring fearless intention from beginning to end. Their chemistry with Stenberg is organic, keeping the audience emotionally invested.

Augustus Muller‘s synth-heavy score serves a dual purpose in establishing the period and eliciting an ominous horror vibe. The constant presence of red gel lighting and the handheld camerawork are hypnotizing. The film has one of the most erotic and masterfully crafted love scenes. Bravo to intimacy coordinator Mimi Côté. MY ANIMAL is a slick metaphor for the isolation and ostracization of small-town LGBTQIA+ individuals. Horror elements aside, being different might feel like a curse some days. MY ANIMAL shows the power of owning one’s individuality.


MY ANIMAL is in select Theaters on September 8, 2023 and on Digital September 15, 2023.


DIRECTED BY: Jacqueline Castel
WRITTEN BY: Jae Matthews
PRODUCED BY: Andrew Bronfman, Michael Solomon
CAST: Bobbi Salvör Menuez, Amandla Stenberg, Heidi von Palleske, Cory Lipman, Charlie & Harrison Halpenny, Joe Apollonio, Scott Thompson, Dean McDermott and Stephen McHattie

SYNOPSIS: Bobbi Salvör Menuez (Euphoria) and Amandla Stenberg (Bodies Bodies Bodies) ignite in this genre-bending supernatural love story. Tormented by a hidden family curse, Heather is forced to live a secluded life on the outskirts of a small town. When she falls for the rebellious Jonny, their connection threatens to unravel Heather’s suppressed desires, tempting her to unleash the animal within.


RUN TIME: 103 minutes
RATING: R for language throughout, sexual content, nudity, some drug use and violence
GENRE: Horror, Romance
DISTRIBUTOR: Paramount Global Content Distribution


 

We’re kicking off the fall festival season with our TIFF 2023 curtain raiser!

Thu, Sep 7, 2023, 3:30 PM – Sun, Sep 17, 2023

TIFF 2023 is coming for you and the films are eclectic as usual. Promising big stars, buzzy indies, cool series, new filmmakers to discover,  and my personal favorite, in the form of the sinister Midnight Madness section, TIFF has all the films you’ll be hearing about come awards season. Here are a handful of things on our radar this year. Look for coverage from us and our main man Steve Kopian at Unseen Films.


 RIDDLE OF FIRE- (Midnight Madness Closing Night feature)Riddle of Fire still

Directed by Weston Razooli
NORTH AMERICAN PREMIERE
United States of America | 2023 | 113m | English
 
The movie follows three mischievous children as they embark on an odyssey when their mother asks them to run an errand.
 
Screenings:
Saturday, September 16 Royal Alexandra Theatre 11:59pm
Sunday, September 17 TIFF Bell Lightbox 11:30 am


EPISODIC CONTENT

 BAD BOY -World Premiere – Primetime Programme 

 From Ron Leshem (Executive producer of HBO’s Euphoria, Creator of the original Israeli Euphoria series off which the US series is based) and Hagar Ben-Asher (Bosch, City on a Hill)  

Created alongside Daniel Chen, Roee Florentin, Moshe Malka, Amit Cohen (No Man’s LandFalse Flag), Daniel Amsel (EuphoriaValley of Tears).

Starring Bat Hen Sabag, Amjad Shawa, Guy Menaster, Havtamo Parada, Neta Plotnik, Liraz Chamami, Ishay Lalush, Daniel Hen, Ben Sultan

 BAD BOY is a gripping true story about a young boy imprisoned in a chaotic and colorful juvenile detention facility. While in jail, DEAN bonds with ZORO, a mysterious fellow inmate who grows to be his closest friend and lifeline despite the fact that Zoro is serving time for cold-blooded murder. In order to survive the harsh reality behind bars, Dean learns to harness his unique creativity and humor – all while battling his own inner demons. Twenty years later, these traits still define Dean as a star comedian, while his time in jail is a secret that constantly threatens to resurface and tear his life apart.

 Episode Count: 8×40


LIMBO (North American Premiere*)

Section: Centrepiece

North American Premiere

Australia/104 min/English

Directed by: Ivan Sen

Starring: Simon Baker, Rob Collins, Natasha Wanganeen, Nicholas Hope

*LIMBO World Premired at Berlinale Film Festival 2023

Synopsis:

Travis, a jaded detective, arrives in the remote outback town of Limbo to investigate the cold case murder of local Indigenous girl Charlotte Hayes 20 years ago. As truths about the murder begin to unfold, the detective gains a new insight into the unsolved case from the victim’s fractured family, the surviving witnesses, and the reclusive brother of the chief suspect. A poignant, intimate journey into the complexities of loss and the impact of the justice system on Aboriginal families in Australia.

Screening times:

September 12 5:45 pm Public screening Scotiabank 3

September 13 3:45 pm Public screening Scotiabank 9


BACKSPOT – World Premiere – Discovery 

 Directed by: D.W. Waterson

Written by: Joanne Sarazen, Story by: D.W. Waterson

Produced by: Alona Metzer, D.W. Waterson, Kawennáhere Devery Jacobs, Martin Katz

Executive Produced by: Elliot Page, Matt Jordan Smith, J.C. Davidson, Katisha Shaw

Starring: Devery Jacobs (“Reservation Dogs”), Evan Rachel Wood (“Westworld”), Shannyn Sossamon (A Knight’s Tale), Kudakwashe Rutendo, Thomas Antony Olajide, Wendy Crewson

 Synopsis:

A driven cheerleader (Devery Jacobs) struggles to handle the pressure when she and her girlfriend are both selected for an elite cheer squad, in D.W. Waterson’s feature directorial debut.

 RT: 93 Minutes

 Public Screenings

Friday, September 8 at 8:30PM at the TIFF Bell Lightbox

Monday, September 11 at 3:00PM at the TIFF Bell Lightbox

Friday, September 15 at 9:45PM at Scotiabank Theatre


THE CRITIC – World Premiere – Special Presentations 

Directed By: Anand Tucker (Hilary and Jackie)

Written by: Patrick Marber (Notes on a Scandal)

Starring: Ian McKellen (The Good Liar), Gemma Arterton (Summerland), Mark Strong (1917), Romola Garai (Suffragette), Ben Barnes (Westworld) and Alfred Enoch (Foundation

 Gemma Arterton and Sir Ian McKellen star as adversaries forced to take desperate measures to save their careers, in this scintillating tale of ambition and deceit in the theatre world.

 RT: 95 minutes

 Public Screenings

Monday, September 11 at 12:00PM at the Princess of Wales

Wednesday, September 13 at 4:00PM at Scotiabank 2

Saturday, September 16 at 3:00PM at Scotiabank 2


IRENA’S VOW (Quiver Distribution) – World Premiere – Centerpiece Program 

 Directed by: Louise Archambault (Atomic Saké, Familia)

Written by: Dan Gordon (Passenger 57, Wyatt Earp)

Starring: Sophie Nélisse (“Yellowjackets,” 47 Meters Down: Uncaged), Dougray Scott (Mission: Impossible 2, “Batwoman”), Andrzej Seweryn, and Maciek Nawrocki

Produced by: Nicholas Tabarrok, p.g.a, Beata Pisula, Tim Ringuette, Berry Meyerowitz and Jeff Sackman

Through the eyes of a strong-willed woman comes the remarkable true story of Irena Gut Opdyke and the triumphs of the human spirit over devastating tragedy. 19-year-old Irena Gut is promoted to housekeeper in the home of a highly respected Nazi officer when she finds out that the Jewish ghetto is about to be liquidated. Determined to help twelve Jewish workers, she decides to shelter them in the safest place she can think of: the basement of the German commandant’s house. Over the next two years, Irena uses her wit, humor, and courage to hide her friends until the end of the German occupation, concealing them in the midst of countless Nazi parties, a blackmail scheme, and even the birth of a child. Her story is one of the most inspiring of our time.

 RT: 121 Minutes

 Public Screenings

Sunday, September 10 at 3:15PM at TIFF Bell Lightbox Cinema 1

Monday, September 11 at 3:35PM at Scotiabank 11


KNOX GOES AWAY – World Premiere – Special Presentations 

 

Directed by: Michael Keaton

Written By: Gregory Poirier (Rosewood)

Starring: Michael Keaton (Birdman), James Marsden (“Jury Duty”), Al Pacino (The Godfather), and Marcia Gay Harden (Mystic RIver)

 Michael Keaton directs and plays Knox, a hitman losing his memory, putting him in a race against time to help his estranged son (James Marsden) cover up a messy crime.

 RT: 114 minutes

 Public Screenings

Sunday, September 10 at 9:45 PM at The Princess of Wales Theatre

Monday, September 11 at 5:30 PM at Roy Thomson Hall


SUMMER QAMPWORLD PREMIERE – 2023 Toronto International Film Festival

Directed by Jen Markowitz

Mins 80 | Language English | Year 2023 | Country Canada

SUMMER QAMP is a moving, compelling and joyful documentary following a group of LGBTQ+ youth at an idyllic lakeside camp in Alberta, Canada – CAMP fYrefly. The campers enjoy the traditional summer camp experience in a safe, affirming environment where they deepen their connections with their own community and themselves.

Screenings:

World Premiere – Saturday, September 9 at 12:15 PM at Scotiabank 13 

Sunday, September 10 at 4:30 PM at Scotiabank 12


For more information on TIFF 2023 click here!

The 48th edition of the Toronto International Film Festival takes place Thursday, September 7—17, 2023.


 

Review: ‘BRIGHTWOOD’ is a dizzying nightmare, and that’s a compliment.

BRIGHTWOOD

Filmmaker Dane Elcar‘s BRIGHTWOOD follows Jen and Dan down a path of terror over and over, literally. Trapped together in a time loop that shifts from moment to moment, the audience gets dragged onto an unpredictably demented ride into the depths of relationship survival. No matter how fast they run or which direction they travel, Dan and Jenn end up back in the same spot they began, a lakeside running path next to a “No Swimming” sign. Things get weirder when they run into a shadowy figure who ignores their pleas for help with intent to harm.

Dana Berger plays Jenn with an exasperated aura. She is a woman who has decided that this relationship is over. Berger’s emotional journey is vastly different from her co-star Max Woertendyke, playing Dan. He has some fight left in him as to their marriage. That comes with a caveat of information as the film rolls on. Woertendyke nails the comedy and the horror. Their remarkable chemistry and Elcar’s writing earn a second viewing. The editing is impressive. I wish I could have been in the room while Elcar was storyboarding. The coordinated chaos is delicious. The dialogue is honest and biting, even set against the mysterious goings-on. It’s undeniably ballsy.

A therapy session from hell, BRIGHTWOOD taunts our protagonists and the audience with macabre twists and turns, dizzying us with theories. Its shocking final reveal (which is a double doozy) seemingly suggests that, in this environment, compromise and teamwork are the only way forward, for better or for worse. No spoilers from me. It’s dark as hell.

BRIGHTWOOD
ARRIVES ON AUGUST 22ND on VOD and DVD

Written and directed by Dane Elcar, BRIGHTWOOD stars Dana Berger and Max Woertendyke.

Color

English Language

84 minutes

Not Rated

 

Review: Yellow Veil brings Youssef Chebbi’s mysterious ‘Ashkal: The Tunisian Investigation’ to cinemas

Ashkal: The Tunisian Investigation

ASHKAL: THE TUNISIAN INVESTIGATION poster

Set amongst derelict, half-finished apartment complexes of a former regime, the discovery of a mysterious burnt body by two police officers reveals a puzzling repetition of events. As the investigation progresses, a network of violence and corruption is uncovered throughout the city.


Cinematographer Hazem Berrabah offers striking juxtaposing visuals of sheep grazing on open fields next to grey concrete structures. Half-built complexes with their innumerable exposed rebar present like monsters bearing sharp teeth and long claws. 

The defiance by detectives keeps your attention steady. No one wants to be told they cannot do their job. Performances from stars Fatma Oussaifi and Mohamed Houcine Grayaa are spellbinding. Their moody and grounded work feels personal and devastating. Oussaifi’s reaction to the overwhelming amount of misogyny hits hard. The writing is hard to shake, a compliment for writer-director Youssef Chebbi and co-writer François-Michel Allegrini.

US audiences who love TRUE DETECTIVE will love this film. This allegory for the return of self-immolation as a revolutionary protest engages a supernatural element that keeps the audience transfixed on the story. Ashkal: The Tunisian Investigation has completely unexpected, bold storytelling leaving you with more questions than answers. Do not miss it.

 

Theatrical Rollout
August 18th: NYC (Roxy Cinemas)
August 18th: LA (American Cinematheque Los Feliz, Lumiere Music Hall)
September 1st: Boulder (Dairy Center)
September 8th: Chicago (Music Box)

Digital
August 22nd
 

 

Director: Youssef Chebbi

Writer: François-Michel Allegrini, Youssef Chebbi
Producer: Farès Ladjimi
Cast: Fatma Oussaifi, Mohamed Houcine Grayaa, Aymen Ben Hmida
Festivals: Cannes Director’s Fortnight, Toronto International Film Festival, Beyond Fest

92 MIN / 2022 / TUNISIA, FRANCE, QATAR / ARABIC, FRENCH / THRILLER, HORROR

Review: ‘KING ON SCREEN’ is a treat for all horror fans.

KING ON SCREEN

King On Screen Poster


Filmmaker Daphné Baiwir taps into our love of horror through the lens and pages of Stephen King. Her new documentary KING ON SCREEN gives audiences all the insider goodies, things we heard through the grapevine and never before explored details from relationships with King and some of our favorite filmmakers who dared to translate his words for cinephiles.

The number of King’s books that jumped from page to screen is astounding. As a kid in the 80s, like many of the filmmakers in the doc, I grew up seeing King’s books on my family’s shelf but immersed myself in the films first. The kids in Stand By Me and IT became my peers. I rented The Shining, Creepshow, and Pet Sementary ad nauseum. By the time 1996 rolled around, I remembered the glee I experienced when I discovered The Green Mile in the grocery store checkout aisle.

While we don’t hear from King directly, we see stills and videos of Stephen on the sets of his adaptations. Filmmakers like Greg Nicotero, Mike Flanagan, David Carson, Taylor Hackford, Tom Holland, John Harrison, Mick Garris, and Frank Darabont share how King’s books inspired their work. They speak to the overwhelming readability of small-town horror. King singlehandedly made Maine an unlikely horror destination. I love that everyone addresses The Shining controversy. Behind-the-scenes footage and anecdotes explain the breakdown between the book and the film. Kubrick obliterates Jack Torrance’s humanity that fans of the book (King, most of all) hate.

King’s deep dive into the political landscape has always existed. The film explores his ability to explore universal truths, whether religion, race, or greed, and make characters lovable or loathsome based on their moral compass. In the same way, we joke about The Simpsons‘ writers predicting the future, Stephen King uses the global landscape to create villains and heroes that shake us to our core. Translating that from page to screen sometimes takes a slight adjustment. The best filmmakers always ask Steve first.

For horror fans, KING ON SCREEN is like a kid coming home with a Halloween candy haul that would put you in a coma. For fans of his books, it’s like changing costumes and going out for round two. It’s delicious fun, no matter how cliche you might find the Easter egg-filled bookend scenes. They play like a Where’s Waldo for readers and genre fans alike. (I loved it.) So, turn the lights down and make popcorn. KING ON SCREEN scares up our nostalgia and celebrates a storytelling master.

 

The horror documentary KING ON SCREEN will be in Theaters on August 11th

and available On Demand and Blu-Ray on September 8th.

 

The film is directed by Daphné Baiwir (Deauville and the American dream) and features interviews with Frank Darabont (The Shawshank Redemption, The Green Mile, The Walking Dead), Mick Garris (The Stand, Sleepwalkers), Mike Flanagan (“Midnight Mass,” Doctor Sleep), Tom Holland (The Langoliers, Chucky), Vincenzo Natali (Cube, In the Tall Grass), Greg Nicotero (“The Walking Dead,” “Creepshow”), Mark L. Lester (Commando, Firestarter), Taylor Hackford (Dolores Claiborne, Ray), Dee Wallace (E.T. The Extra-Terrestrial, Cujo), Tim Curry (Congo, The Rocky Horror Picture Show) and James Caan (The Godfather, Misery).


 

Review: Corey Stanton’s ‘TRADER’ is the ultimate disruptor.

TRADER

Trader posterA manipulative sociopath armed with a dangerously ambitious spirit, her wits, and an affinity for snorting wasabi voyages into the high-intensity game of stock market trading and wages war against the financial world. When she stumbles upon news of a monumental pharmaceutical trade, she risks everything to complete her ultimate success story no matter the cost.


The script is structured like chapters of a commerce self-help book, not unlike the ones my husband consumes, even ten years deep into the IB world in Manhattan, now top of the food chain. Day trading is grittier, riskier, and with your own dollars, not those of an often faceless whale. TRADER understands the real-life dynamics and injects a magical realism that plays as the trader’s innermost thoughts and motivation. It also directly tackles market manipulation. It’s nothing short of ingenious.

Kimberly-Sue Murray owns every second of screen time. Her manic energy drives the narrative like a runaway freight train. The character is slick, interested only in the genuine long con. Murray masters everything from various accents to grounded emotional release through interpretive dance. She truly is the smartest person in the room. Filmmaker Corey Stanton gives the trader a backstory that slowly reveals itself, adding a new level to the complexity of TRADER. Just when you think you’ve got the story pegged, think again. TRADER is relentlessly tense. It is a conspiracy theorist’s wet dream. 

TRADER is a one-woman show. I would love to see this live onstage, to feel the energy in person. TRADER is an indictment of capitalism and how, with the aid of the internet, the combination of the two may be the undoing of society. This twisted film is a one-of-a-kind ride. It’s an ever-evolving endgame that sucks you in. Don’t forget to unclench your jaw and draw a breath while you watch. TRADER is the ultimate disruptor.

The New Thriller from Filmmaker Corey Stanton

TRADER

Hits U.S. VOD Nationwide on August 10th!


 About XYZ Films 
XYZ Films is an independent studio whose mission is to empower visionary storytellers from every corner of the planet. XYZ was founded in 2008 by Nate Bolotin, Nick Spicer, and Aram Tertzakian and has expanded in recent years into documentary, talent management, and distribution. Some of the company’s classic titles include THE RAID franchise, 2017 Sundance winner I DON’T FEEL AT HOME IN THIS WORLD ANYMORE, and Panos Cosmatos’ psychedelic revenge thriller MANDY.


 

Fantasia 2023 shorts program review: The biting brilliance in ‘BORN OF WOMAN’ wows again.

Fantasia Festival 2023 logo

BORN OF WOMAN

(2023 shorts program)

Born of Woman 2023 banner

Fantasia’s top-tier showcase of intimate auteur genre visions returns with eight works from six countries that will leave you shaken and amazed. 


Sayani

A crashed pilot seeks a way out of her unfamiliar and harsh surroundings. As her hopes of rescue fade, memories become her saving grace and doom. This beautifully lit short takes advantage of its pace. A final reveal shocks.


Se Dit D’un Cerf Qui Quitte Son (Said of a Deer That Sheds Its Antlers)

A black comedy version of The Lottery, this film kills off its eldest family members, and everyone is cool with it. This laugh-out-loud absurdist short had me grinning uncontrollably. Salomé Crickx has a real winner here.

Only Yourself To Blame

In a sharp look at rape trauma and its eternal demons, filmmaker Noomi Yates‘ 8-minute short creates a powerful statement that speaks volumes.

Sweet Tooth poster 2023Les Dents Du Bonheur (Sweet Tooth)

What begins as a bring your daughter to work story quickly spirals to a darkly absurdist commentary on class. The production design and cinematography have you believe this short is a timeless French narrative drama. Director Joséphibe Darcy Hopkins takes us down the rabbit hole of deranged power structure, revenge, and respect.

The Taster

A near-future scenario plays the backdrop for director Sophia Bierend‘s Fantasia short. A young woman becomes the official taster for a high-ranking general. Learning about the recent demise of her predecessor, her insight into the fearmongering of her new environment grows clearer. Mandy Peterat‘s production design is top-notch. THE TASTER is one hell of a treatment for a feature. It screams franchise development.

Madeline Brewer in PRUNING
PRUNING

Nian

Racism and folklore come together for a sweet tongue-in-cheek revenge tale from Michelle Krusiec. It is a satisfyingly smirk-inducing addition to the program.

Mancha

Writer-director Nicole Mejia‘s visual metaphor for generational trauma comes to life through a beautiful combination of Seth Macmillian’s camerawork, Alain Emile’s music, and performances. Its inevitability haunts you.


Review: ‘JULES’ provides a sweet perspective amid alien frenzy.

JULES

What a month aliens are having! If Marc Turtletaub’s Jules had debuted any other time of year, it might not have resonated nearly as loudly. But as it stands, it premiers amongst a swirl of government hearings that may make some believe, more than ever, that we are not alone in the universe. Spielberg wishes he had this kind of publicity for E.T. Jules provides a welcome vision for skeptics and believers alike.

Ben Kingsley stars as Milton Robinson, a melancholy widower going through the motions in a quiet Pennsylvania town. He attends town halls, watches tv, and tends to his garden. The only break in his routine seems to be occasional visits from his daughter, Denise (Zoë Winters). A son is mentioned, but only barely.

Then a UFO crashes in Milton’s backyard.

After unsuccessfully trying to raise the alarm, Milton gets to know his new neighbor, the silent creature (Jade Quon) who is eventually given the titular name. The alien eventually comes to greatly influence Milton, along with two other women who regularly attend the town hall (Harriet Sansom Harris and Jade Quon) Silent and largely immobile, the alien serves as a blank canvas upon which the others broadcast their hopes, questions, and fears.

As compared to our current media environment, Jules’ vision of our interaction with aliens is refreshing delightful, if not a little far-fetched. Nobody seems particularly threatened by the alien, nor the alien by them. In fact, calm would be the best way to sum up reactions on both sides. While there are some darker themes that emerge throughout the film, they are brief. At its core, this is a sweet and thoughtful film.

The performances are universally warm and thoughtful. Kingsley’s Milton is too gruff at first, but quickly reveals layers. He blossoms as his discovery brings new people into his life. Harriet Sansom Harris is a marvel as Sandie, radiating a warmth tinged with sadness. Jane Curtin’s comedic timing continues to age like a fine wine.

Jules is a perfect film for today’s fascination with the idea of aliens. Everyone is looking at the news and asking “What’s out there?”. Jules’ introspective focus answers that big question, but also suggests that it is what’s going on inside us that continues to matter the most.


*Winner: Audience Award – 2023 Sonoma International Film Festival*
 
Directed by Marc Turtletaub (Puzzle)
Written by Gavin Steckler (“Review”)
Starring: Ben Kingsley (GandhiSchindler’s List), Harriet Sansom Harris (Licorice Pizza),  Zoe Winters (“Succession”), Jade Quon (Transformers: The Last Knight) and Jane Curtin (“3rd Rock From the Sun”)
Produced by Debbie Liebling, p.g.a., Andy Daly, Michael B. Clark, p.g.a., Alex Turtletaub, p.g.a., and Marc Turtletaub, p.g.a.

JULES will open in the following Los Angeles theaters next Friday, August 11:


AMC The Americana 18
322 Americana Way, Glendale, CA 91210

AMC Century City 15
10250 Santa Monica Boulevard, Los Angeles, CA 90067

AMC Citywalk Stadium 19
100 Universal City Plaza, Universal City, CA 91608

AMC The Grove 14
189 The Grove Drive, Los Angeles, CA 90036

Regal Sherman Oaks
15301 Ventura Boulevard, Sherman Oaks, CA 91403
 
*Please note, this list of theaters is partial and will be updated.

Review: ‘TIL DEATH DO US PART’ could spell franchise for director Timothy Woodward Jr.

TIL DEATH DO US PART

From the creator of Final Destination and Directed by Emmy® Award Winner Timothy Woodward Jr., Til Death Do Us Part portrays the grim reality that not every romance story ends with happily ever after. After running away on her wedding day, a bride-to-be must fight for survival against her former fiancé and his seven deadly groomsmen. In the ultimate horror showdown, the groomsmen soon discover that she has no intention of going back to the life she left behind.


When a bride flees her wedding day, the groomsmen track her down, shall we say, to address the problem she has created for everyone involved. Director Timothy Woodward Jr. gives audiences an action-packed romp in TIL DEATH TO US PART.

Pancho Moler and Neb Chupin deserve your attention. This pairing is a buddy comedy in the making. Orlando Jones has fantastic chemistry with Gigandet. He is effortlessly charming. Cam Gigandet nails the villain role with a deliciously overconfident and definitively slimy aura. The camera loves him. His delivery is chef’s kiss. I would be delighted to watch a spinoff film featuring Jones and Gigandet in a heartbeat. Hell, TIL DEATH DO US PART earns a franchise series. Maybe call it THE GROOMSMEN? *now I feel I’ve earned a producer credit*

Ser’Darius Blain is elegant as The Groom. His presence is genuinely beguiling. Jason Patric elevates the film with his captivating storytelling. It’s a killer turn. Natalie Burn holds her own against this primarily male cast. Quite literally sticking it to the patriarchy, Burn is tailor-made for this genre. 

Markos Keyto’s production design is phenomenal. The fight choreography is entertaining as hell. The soundtrack is a character all its own. Together they are the perfect marriage of camp and kick ass. Shout out to the practical fx team. There is a brilliant moment with a chainsaw. The editing keeps things interesting, forcing you to pay attention to the story as it unfolds. Comparisons to Mr. and Mrs. Smith are inevitable, but this film has an unexpected nuance from writers Chad Law and Shane Dax Taylor. Besides the runtime feeling a little long, TIL DEATH DO US PART is an undeniably fun action-thriller.


TIL DEATH DO US PART

 Releases Exclusively in Theaters Nationwide on August 4

 

Key cities the film is opening in include New York, Los Angeles, Charlotte, Chattanooga, Columbus, Durham, Houston, Jacksonville, Kansas City, Knoxville, Las Vegas, Long Beach, Nashville, Ontario (Canada), Louisville, Miami, Oklahoma City, Portland (OR), San Diego, Tampa, Tucson, Wichita, Westbrook (CT) and many more.

All theaters: https://www.fandango.com/til-death-do-us-part-2023-231971/movie-overview



 Directed by: Emmy® Award Winner Timothy Woodward Jr.

Starring: Cam Gigandet (TwilightNever Backdown), Jason Patric (The Lost Boys, Speed 2: Cruise Control), Natalie Burn (Black Adam, The Enforcer) and Orlando Jones (The Time Machine, Drumline).


Co-written by Chad Law (Black Water) and Shane Dax Taylor (Isolation), Til Death Do Us Part also stars Ser’Darius Blain (Jumanji: Welcome to the Jungle), D.Y. Sao (Everything Everywhere All at Once), Neb Chupin (Mindcage, Acceleration) and Pancho Moler (3 from Hell). The film is produced by Jeffrey Reddick (Final Destination), Woodward Jr./Status Media and Entertainment and Burn/Born To Burn Films. Reddick and Woodward Jr. previously collaborated on the popular horror films The Final Wish &The Call, both starring genre legend Lin Shaye. The film’s Executive Producers include Matthew Helderman and Luke Taylor, with Thomas Mann and Neb Chupin acting as Co-Executive Producers.


 

Fantasia 2023 review: A visual feast, The Adams Family ‘s ‘WHERE THE DEVIL ROAMS,’ showcases the fiercest loyalty to family and the macabre.

Fantasia Festival 2023 logoWHERE THE DEVIL ROAMS

A Film by The Adams Family

Where The Devil Roams posterOn behalf of their freakish and fantastical extended family members, three Depression-era carnies leave blood in their wake from town-to-town while trying to right the wrongs committed by locals. WHERE THE DEVIL ROAMS is the latest and greatest from the filmmaking phenom family Toby Poser, John, and Zelda Adams. The production design is delicious. Fall color palettes and jewel tones mingle in a curated, handmade Martha Stewart Halloween spread. The lighting is breathtaking. The Adams create stunning tableaus that are stylistically orgasmic. All of this visual feast as H6LLB6ND6R‘s newest rock songs crank in the background. The dialogue is poetic. The special makeup and practical effects by Trey Lindsay, John Adams, and Toby Poser are squirm-worthy.

Sam Rodd plays sinister magician Mr. Tibbs with a skin-crawling, almost slithery delivery. His otherworldly dealings with the devil peak Eve’s interest when she needs to keep the family together. John Adams is Seven, a PTSD-ridden army doctor. Like each of his real-life family counterparts, John Adams wears all the hats behind the camera. As Seven, post-war, the sight of blood outs him in the throw of shock. This irony plays spectacularly against their murderous tendencies.

Zelda Adams plays Eve, a primarily mute, morbidly curious young woman who only speaks in song during their act. Portraying Eve and in real life, Zelda is the best of both her parents. Her ability to keep pace with John and Toby as a writer, singer, and cinematographer is astounding. Toby Poser is Maggie, the mother hen of the circus. If you fuck with the family, you’ll regret it. Poser’s brilliant vocal stylings contrast with the darkness of Maggie’s actions. This level of specificity makes the character exponentially more disturbing, and yet you fall in love with her immediately.

As in Hellbender, menstrual blood features briefly, but its symbolic feminist nature screams off the screen for any human who bleeds every month. Normalizing periods and the power they represent is a consistent message in their filmmaking. WHERE THE DEVIL ROAMS puts women in the front seat, again. The final image made my mouth drop open. It is a wow. If you haven’t seen Hellbender and The Deeper You Dig, you are in for a treat. You have a homework assignment.

The Adams’ creative world is unrelentingly impressive. WHERE THE DEVIL ROAMS is another notch in their horror belt, showcasing the best in the indie business. Their loyalty to their genre family and their literal one (scan the credits for proof) is unmatched. The film features the largest cast The Adams have worked with thus far, including friends old and new in Razor de RockefellerHitomi Nakamura, and Justin Julio. Their fearless and bold storytelling takes me by surprise with each new chapter. Fantasia audiences have the honor of experiencing a fresh way to make movies. I cannot wait to see whatever they have been working on overseas. I’m already counting down the days until Fantasia 2025. No doubt we’ll get a newfangled fix we never knew we needed.


Fantasia 2023 review: ‘LOVELY, DARK, and DEEP’ is a fever dream of trauma

Fantasia Festival 2023 logoLOVELY, DARK, AND DEEP

lovely dark and deep poster

A thoroughly unsettling opening scene plunges us into Fantasia 2023 film LOVELY, DARK, AND DEEP. Georgina Campbell plays Lennon, a newly hired park ranger with a personal agenda, solving a tragedy from her past. Writer-director Teresa Sutherland brings trauma and psychological terror to audiences with a twisted dive into memory and mystery.

Campbell is magnificent, carrying the film with the same ease as BARBARIAN. Her ability to hold your attention as the mostly sole individual on screen is unsurpassed. Lennon’s guilt, grief, and unresolved trauma seep from Campbell’s pores and tie you in knots.

The dizzying camerawork from cinematographer Rui Poças and ominous original music from Shida Shahabi raise the hairs on the back of your neck. Sharp sound design by Branko Neskov, which includes podcast audio, is a clever device. As a National Park After Dark fan, this was a slick addition to Sutherland’s narrative style. Editor Alexander Amick furthers Lennon’s isolation amid flashbacks and ghoulish visuals that muddy the lines of reality. It is the ultimate manipulation. All of these elements come together for an atmospheric stranglehold of fear. LOVELY, DARK, AND DEEP holds you tightly, only momentarily loosening its grip for minutes at a time. With a script that keeps you guessing at every turn, Fantasia is a uniquely crafted atmospheric journey into psychological terror.


Tue July 25, 2023
4:15 PM

Fantasia 2023 review: Run to see the powerful Ukrainian drama ‘STAY ONLINE.’ It will rock you to your core.

Fantasia Festival 2023 logo

STAY ONLINE

Stay Online poster

Best served on the biggest movie screen possible, STAY ONLINE takes us on a real-time journey of political mayhem through the eyes and laptop screen of one Ukrainian resister. Switching from tab to app to window, Katya places us inside the war via news popups, video calls, and chats while air raid sirens blare in the background. This coordinated chaos forces you to sit up and pay attention. Following the action takes focus, and there isn’t a moment of downtime.

Stay Online - Ukrainian thrillerThe narrative flips when Katya becomes entangled with the son of the laptop owner. Her online sleuthing would put the cops to shame. It is millennial cyberstalking at its best. Liza Zaitseva gives a heart-stopping performance as Katya. Her relentless emotional investment is a rollercoaster ride. She is simply magnificent.

STAY ONLINE speaks directly to the power of information sharing in a time when news media outlets gloss over images of war in tightly edited clips that run every hour. Grisly is profitable, and so is fear-mongering. The human aspect often becomes a political pawn. Ukrainian filmmaker Yeva Strelnikova‘s feature-film debut leaves your heart in your throat. The film’s premiere comes at a particularly auspicious time, with Ukraine throwing its hat in the ring at NATO. STAY ONLINE is gripping, devastating, and entirely brilliant. It is one of the most powerful films of the year.



Mon July 24, 2023
2:05 PM

Vampires, Werewolves, Frankenstein, Time Travel, and Fever Dreams. Oh, is that all? Nope. What to Watch at Fantasia Festival 2023, coming this week!

Fantasia Festival 2023 logo

Fantasia 2023 is almost upon us, or as we like to say, “It’s Christmas in July, Motherf*ckers!” But, we usually keep that on the inside. Now that you have a taste of how demented we naturally are, here is a handful of films we are stoked to check out at this year’s fest. It’s the stuff we’ll undoubtedly be buzzing about for the remainder of the year. We have been lucky enough to have seen a few of the titles already making the rounds. You can catch our reviews for the following films:

With Love and a Major Organ

Suitable Flesh

Satan Wants You

Paiffe

Onyx the Fortuitous and the Talisman of Souls

Talk To Me

Molli and Max in the Future


Now, onto the films that we cannot wait to get our eyeballs on for the first time…

 

LOVELY, DARK, AND DEEP

lovely dark and deep poster


LOVELY, DARK AND DEEP is the hotly anticipated directorial debut of Teresa Sutherland, screenwriter of THE WIND and a writer on MIDNIGHT MASS. Laced with stunning visuals, this ominously beautiful, deeply frightening nightmare is anchored by a captivating lead performance from BARBARIAN’s Georgina Campbell. Campbell plays a park ranger in an isolated forest outpost, the site of multiple mysterious disappearances, and she is plagued by visions blending the past and present with something even more sinister. This transfixing film oozes an immersive, fever-dream atmosphere. Also starring Nick Blood, Wai Ching Ho, and Edgar Morais. World Premiere. 

You had us at Georgina Campbell and the woods. Teresa Sutherland understands how to create atmospheric chaos, both physically and emotionally. We’re betting on this one.



APORIA

Sophie’s (Judy Greer, HALLOWEEN) life takes a sudden hard turn when either fate or a terrible chance of circumstance sees her husband Mal (Edi Gathegi, THE HARDER THEY FALL) killed in a drunk-driving accident. Left to parent her grief-torn teenaged daughter (Faithe Herman, SHAZAM!) on her own while trying to keep things together with an emotionally taxing nursing job, her breaking point might be coming up fast and it takes every bit of her remaining strength not to fall apart. One day, her husband’s best friend (Payman Maadi, A SEPARATION), a brilliant former physicist, approaches her with an experimental machine that he’s secretly been working on for years. One that’s capable of bending time in specific ways. A device that could — perhaps — bring a version of Sophie’s old life back to her. She understands that by taking a chance with this, the consequences will be entirely unforeseeable. It’s an impossible choice to make. And a lifeline that’s all but impossible to resist.

As a self-proclaimed Whovian, time-bending is my jam. Add in Judy Greer, whose career is a delicious buffet of eclectic tastes, and you’ve got my eyeballs for however long you want them.


STAY ONLINE

Stay Online poster

STAY ONLINE, the feature-film debut of Ukrainian filmmaker Eva Strelnikova, follows Katya (Liza Zaitseva), a volunteer from Kyiv who is fighting against the Russian invasion of Ukraine. While using a laptop donated to the resistance, she comes into contact with the original owner’s superhero-obsessed son, who is looking for his lost parents. In an effort to make a positive change in this boy’s life and pull herself out of a destructive cycle, Katya risks all that she holds dear to locate his parents.

If your heart isn’t pumping, palms sweating while watching this film, check your pulse. Told through the lens f a laptop screen, this political thriller set during the early days of the war in Ukraine will have you on edge from start to finish.


BLACKOUT

A still from Larry Fessenden's Blackout

In a small upstate New York town, artist Charley Barrett (Alex Hurt) checks out of the motel that’s been his recent home and sets out on a series of personal missions. These include exposing the corruption of ruthless developer Hammond (Marshall Bell), and reconciling with former lover Sharon (Addison Timlin), Hammond’s daughter. Another is connected to his tragic secret: Charley is a werewolf, recently infected with the curse and responsible for a series of gruesome murders. The local residents have scapegoated one of the Latino workers on Hammond’s construction site for the killings, and as a full moon rises, their desire for justice hits a fever pitch while Charley succumbs to his transformation once more.

Larry Fessenden, Ladies and Gentlemen, and All Genre Fans. This horror legend not only appears in every single instant cult classic but writes and directs slick horror through his production company Glass Eye Pix. Fessenden’s Monster Mania takes a new turn in werewolf form this go around. 


WHERE THE DEVIL ROAMS

Darkest prayers will be answered, in sawdust and sacrilege, when Fantasia goes WHERE THE DEVIL ROAMS. This astonishing new feature from cult favourites The Adams Family (Toby Poster, John Adams, Zelda Adams), follows a family of traveling sideshow performers as they traverse Depression-era America on a bloody search for eternal life. As in THE DEEPER YOU DIG and HELLBENDER, both Fantasia World Premieres, the gifted filmmaking family’s latest creation continues their inspired explorations of familial power dynamics through the prism of horror. Haunting, poetic, sometimes funny, frequently freakish, and told with conviction through a deeply personal lens. World Premiere. 

Filmmaking phenoms The Adams Family has been rocking my world for years with their uniquely smart storytelling and jarring imagery. Fellow born and bred New Englanders, I love them and their work on a deeply personal level. If you check Twitter notes, they have publicly accepted me into the family. They can do no wrong in my book.


EMPIRE V

EMPIRE V

A disaffected student (Pavel Tabakov) follows an invitation to join “the elite” and finds himself forcibly transformed into a vampire, joining a supernatural ruling class who exercise an anonymous dictatorship over humans. Celebrated Russian-American director Victor Ginzburg (GENERATION P) demonstrates a striking visual imagination, perfectly complementing a story that reinvents nearly every aspect of vampire lore in clever and fantastical ways. This is the MATRIX of vampire cinema. Years in the making, EMPIRE V is both next-level blockbuster storytelling and megabudget anti-Oligarch satire, electrified with breathtaking visuals from the great Aleksei Rodionov (COME AND SEE). Co-starring Miron Fedorov, AKA rap star Oxxxymiron, whose anti-War benefit concerts led the Russian justice ministry to condemn him as a “foreign agent.” EMPIRE V itself has been banned by Russia’s Ministry of Culture, ensuring that the citizens of its home country may never see the film. World Premiere. 

I don’t care how many vampire films we’ve seen, I’m a Child of the Night, an Anne Rice, Stephen King lover. And yes, even Twilight, baby. Vampires will get me through the door every single time. Empire V looks slick as hell, and I’m all for satire. Especially when it involves Russia and all forms of revolt. This new take clearly has teeth.


BIRTH/REBIRTH

Rose (Marin Ireland, THE DARK AND THE WICKED) is a morgue technician with little patience for the living. Brilliant and obsessively driven, she also has a personal side-project that’s consumed much of her waking energies: The reversing of physical death. Celine (Judy Reyes, SCRUBS) is a hardworking maternity nurse who gives her all to patients shift after shift, the emotional intensity of her work only finding reprieve when she comes home to her effervescent six-year-old daughter, Lila (A.J. Lister). Fates take a horrific turn that smashes the lives of both women into each other, dropping them down a gruesome rabbit hole of desperate choices and ascending moral compromise that will shake you to your core. We’ll reveal no more.

Female-driven horror storytelling with motherhood at the center, Birth/Rebirth may connect with childbearing audiences that don’t usually go for this kind of fare. Risky, visceral, and unafraid to shock, audiences cannot prepare for what they are about to witness. Mary Shelley approves. 


WHITE NOISE

white noise short film still

Ava’s debilitating hyper-sensitivity to sound is becoming unliveable. Her doctor’s prescription of exposure therapy backfires as she descends into a fit of panic in both her class and the subway. When her attempt at suicide fails, she pleads with her doctor to enrol her in an experimental trial involving an anechoic chamber: the world’s quietest room. The doctor has his reservations, but Ava is convinced this is the ticket to her salvation. In this soundless space, her euphoria quickly mutates into madness when she begins to hear the inner workings of her own body.

Drawing on producer Christina Saliba’s experiences, this short film from director Tamara Scherbak made the hairs on the back of my neck stand up. Suffering from the same affliction, this brilliantly torturous short places the viewer inside the body of someone with constant sensory overload. *Shiver and wince*


Last but not least, the annual goodness that is BORN OF WOMAN 2023 shorts program. Every year I look forward to the brutal, genius, angry, gorgeous, bloody storytelling from a handpicked group of female filmmakers. 130 mins, 8 films, from the United Kingdom, USA, Belgium, France, Germany, and Argentina. 

For all things Fantasia Festival 2023, click here.

 

Reviews will be rolling out as fast as we can watch and type!


 

DWF LA review: ‘KATIE’S MOM’ is a delicious homage and star vehicle for Dina Meyer.

KATIE’S MOM

Katie's Mom poster

SYNOPSIS
A heartfelt comedy influenced by THE GRADUATE but told from the perspective of a protagonist inspired by Mrs. Robinson. Set in Pasadena, KATIE’S MOM is about Nancy Rosenfeld (Dina Meyer (STARSHIP TROOPERS, SAW)), a nurturing mom and recent divorcée, whose beloved Jewish/Christmas mashup holiday celebration with her adult children is derailed when she falls for Alex Rojas (Aaron Dominguez (Only Murders in the Building)), her daughter’s charming new boyfriend. Their electrifying affair upends her status quo and sets her on a path to becoming the woman she was meant to be.


Nancy is a divorcee trying to plan the perfect Christmanukah for her kids, Katie and Eli. When Her daughter arrives with her new boyfriend, things get complicated.

Nancy’s grown children, Katie and Eli, are selfish brats, if we are being honest. Julia Tolchin and Colin Bates tap into rude rich kid personas from different but equally effective angles. Aaron Dominguez is effortlessly charming as Alex. You buy into his sincerity. He’s a solid foil for both Tolchin and Meyer.

Speaking of the titular character, Dina Meyer nails the divorced Mom vibe with a combination of sexual frustration, invisible labor, and unconditional love. I would watch an entire series based on her upcoming shenanigans. She is incredibly camera friendly and oh-so-watchable.

Fantasy sequences are fun and sexy. The storytelling is undeniably relatable to any woman who has let her identity slip after marriage and kids. There is a broad audience for this film. KATIE’S MOM is a different kind of coming-of-age story. It is a sexual awakening and a reclamation of power.


For all things DWF LA, click here!

 

DWF LA review: Christopher Beatty’s film ‘BIBI’ is hauntingly beautiful madness.

Dances With Films LA poster 2023BIBI

Bibi Poster

Writer-director Christopher Beatty gives DANCES WITH FILMS audiences a stunningly atmospheric film with BIBI. Stuck in a cycle of grief, Vivian experiences nightmares of her late daughter Ava. Seeking solace through a strained relationship with her eldest daughter Bibi, the nightmares bleed into her reality. Discerning between the two becomes a battle between good and evil, the past and the present.

Bibi stillStand-out editing from Benjamin Murphy keeps viewers on their toes, while John Paesano‘s score takes you to another world. The costume design by Kimberly G. Grader completes the picture of upper-echelon existence and ethereal madness.

Tammy Blanchard counters the mood with her brash persona. She is a necessary and memorable piece of this puzzle. Performances from Judith Ann DiMinni and Elizabeth Paige, playing Bibi and Vivian, respectively, are phenomenal. Beatty’s script gives both women the chance to show their acting chops. They wade deep into anguish, darkness, and mystery.

Elizabeth Paige in BIBIBIBI is a compelling supernatural thriller that is reminiscent of Jennifer Kent’s The Babdook, possessing a shocking final act you will not see coming. The physical manifestation of grief and trauma swirls into a hypnotic storm of emotional chaos. BIBI should not be missed.


For more information on DWF LA click here!

 

Blood In The Snow (2021) compelling thriller, ‘PEPPERGRASS’ comes to digital tomorrow. (6/16/23)

PEPPERGRASS

During a pandemic, a pregnant restaurateur tries to rob a priceless truffle from a reclusive veteran.


Peppergrass is a slow-burn thriller that ultimately turns into a survival film. It builds a similar tension that Alone did. Not the horror I was expecting from the 2021 edition of Blood in The Snow, but it is, nonetheless, intriguing as hell. You must have patience during the first third is heavy character-building. While our two protagonists botch their unusual robbery, the camera continues its handheld intimacy. Forced into the dark woods, Eula attempts to make it to the car in one piece. This goal proves a more complicated task, as the landscape is unkind to a pregnant person.

Chantelle Han gives it her all as Eula. As the plot roles out, in a predominantly real-time fashion, the audience watches her physically and emotionally tap out at points. But it is when she barrels through the cold, darkness, and imminent threat that makes her a total badass. Han is the driving force of Peppergrass.

The score, at times, is this curious mix of ominous whimsy and borderline grating organ tones. It begs your attention. Peppergrass is nothing like I expected. It places you inside the action because there is literally nowhere else to go. The danger and isolation are palpable. It’s a solid film.


Coming to digital June 16 (US/Canada)

Tribeca 2023 review: ‘CHASING CHASING AMY’ is an eye-opening story of self-discovery wrapped inside an ode to fandom.

CHASING CHASING AMY

12-year-old Sav Rodgers watched the film Chasing Amy, and his life was forever changed. Developing a kinship — and maybe a slight obsession — with it as he grew into his queerness, he decides to fund and direct a documentary that examines its role in LGBTQ+ film culture. He makes significant progress, even garnering the support and collaboration of its director, Kevin Smith. However, as the production of the documentary continues, Rodgers realizes that the legacy of the film and his relationship with it might be changing. So where does that leave him?


Sav Rodgers brings Tribeca audiences a personal story of self-discovery, being othered, and catharsis. Kevin Smith‘s 1997 film CHASING AMY is a snapshot in time. While younger generations might perceive it as problematic, for those who saw the movie during its theatrical run, it represented a sexual awakening, a different point of view, and an “oh shit” moment. A complicated love letter to a controversial LGBTQIA+ film CHASING CHASING AMY is one of the best docs at this year’s fest.

The moment Sav Rodgers meets Kevin, it’s fireworks. Kevin gives Sav access to everything the rest of us have always wanted to know. Smith confesses that Holden is him. The film plays through his lens, and much of the story comes from real people in his life. Some conversations are word for word. Just ask a close friend of Kevin and GO FISH screenwriter Guinevere Turner, who put much of herself into Amy when collaborating on the script.

The film includes interviews with critics from all generations. Each has a different perspective on the characters and the dialogue. This aspect is fascinating, filled equally with smirks and head nodding for a Gen Xer such as myself. Jason Lee talks about his hesitancy in some of Banky’s dialogue. Everyone involved understands that the film would in no way fly today.

Joey Lauren Adams, who gives us the iconic performance as Alyssa, explains her power in the role through archival interviews and a sense from the film. Kevin was, perhaps, ahead of their time in featuring a strong bisexual woman. But, the biggest irony may be Joey’s truth about CHASING AMY. This pivotal interview changes everything for everyone. Both Kevin and Joey get into their complicated past with Harvey Weinstein. Their experiences are vastly different. I am so grateful for their honesty. It means so much to so many survivors. *Waves hands in the air*

Intertwined with everything else in this glorious doc, Sav lets us into their relationship with his girlfriend, Riley. Delving into deeply personal issues, he may or may not realize how universal they are until now. One part fanboy film, another part film history, all self-discovery story, and a love letter to Riley, CHASING CHASING AMY is tailor-made for Smith fans and indie fans, the queer community, and allies.



For all things Tribeca, click here!