Review: ‘BLACK BOX’ is one of the year’s most intense films.

BLACK BOX

Mathieu is a young and talented black box analyst on a mission to solve the reason behind the deadly crash of a brand new aircraft. Yet, when the case is closed by the authorities, Mathieu cannot help but sense there is something wrong with the evidence. As he listens to the tracks again, he starts detecting some seriously disturbing details. Could the tape have been modified? Going against his boss’ orders, Mathieu begins his own rogue investigation – an obsessional and dangerous quest for the truth that will quickly threaten far more than his career…


The first thing you’ll notice about Black Box is the sharp cinematography work. It’s unmissable as the film opens in one long take. The camera glides from inside the cockpit, down the aisles, into the rear of the aircraft, to land squarely on the titular object. It’s a stunning and terrifying beginning of a taut thriller. Mathieu is a gifted acoustic engineer tasked with transcribing the audio that leads up to the crash of Atrian 800, where 300 passengers and 16 crew members perished. When details begin to shift, Mathieu’s obsession with the truth spirals. 

Paired with the Netflix documentary Downfall: The Case Against BoeingBlack Box is even more frightening. Aviation insider politics adds an additional layer of suspense. My heart was in my throat every second of this film. Writer-director Yann Gozlan, alongside screenwriter Nicolas Bouvet-Levrard, and collaborator Jérémie Guez (The Night Eats The World, one of my favorite films), cleverly compounds conspiracy theories and intertwine them with raw emotion.

Watching the physical process of removing the voice recording apparatus is fascinating. To understand that such a small piece of equipment contains the key to such pertinent knowledge astounds. But ultimately, it’s a human being that leads to a conclusion. 

Pierre Niney as Matthieu gives a brilliant performance, luring you in with measured intensity. The nuance Niney presents hit differently for me as a mother of a neurodivergent child. Niney presents the physical aspects of an individual with Sensory Processing Disorder. Some people with neurotypical children don’t know that this can actually be a superpower. Ultra-sensitive auditory issues are both a blessing and a curse. Niney also brings emotional trauma, heightening Matthieu’s intention. Niney is, simply put, astonishing. 

The recreations of the crash circumstances and recovered wreckage have a visceral effect. The editing is award-worthy. In a narrative where the audience believes they have the entire picture, tweaking that understanding jars the brain. This evolving monster of a mystery slowly and relentlessly squeezes the air out of your lungs. After watching Black Box, I don’t know when I’ll be comfortable flying again. 


Directed by
Yann Gozlan

 

Cast
Pierre Niney, Lou de Laâge, André Dussollier

Opening

NYC – Village East by Angelika – 4/29/2022

LA – Laemmle Glendale – 5/6/2022


2022- France – Thriller – 129 mins
In French with English subtitles


Fantaspoa 2022 review: ‘SUBJECT’ is a uniquely mesmerizing fantasy.

SUBJECT

A famous novelist moves into a house near an isolated, strange village in an attempt to break his writers block. Soon, ideas emerge – as do strange sightings and mysterious pages, seemingly written by the former resident of the house


Attempting to ward off writer’s block, Max’s agent rents him a house in a small, isolated village. When Max finds his words in an old notebook inside the writing desk, it’s the beginning of pure chaos. Mystery compounds as the enigmatic yet cheerful townspeople come into contact with Max. Everyone in this town is slightly off-kilter. Writer-director Leo Falcão has done a splendid job keeping you on your toes, playing with language and magical realism. 

Is Max experiencing madness like Jack Torrance in The Shining? Something strange haunts this town, and Max is the only one out of the loop. Performances across the board are wonderful. I felt as if I were attending a ping pong match as I watched these fully fleshed-out characters coexist with Max. I needed to solve the complexities of the story. Falcão understands how to hold the viewer in the palm of his hand.

The costumes are like eye candy. With colors that pop, they have a strategic effect akin to Beetlejuice. The cinematic framing draws you into the already engaging narrative. The camera leads you to clues placing you inside the mystery like a passerby on the street. It’s immersive and ceaselessly intriguing. With an ending I did not see coming, Fantaspoa 2022 audiences will find themselves scratching their heads but unable to take their eyes off the screen. SUBJECT completely enchanted me. 


SUBJECT screened as part of Fantaspoa 2022.

For more information on the festival, please visit www.fantaspoa.com.


Fantaspoa 2022 review: ‘HOLY SHIT!’ is gag-worthy greatness.

HOLY SHIT!

A bloodied architect regains consciousness inside a locked portable toilet and soon realizes that he needs to find a way out of there or he’ll be blown up within the hour.


Ingenuity and one hell of a plot make Fantaspoa 2022 selection Holy Shit! one of the most fun films this year. Frank is locked in an overturned porta-potty, his forearm pierced by a thin piece of rebar. With only his wits about him, Frank must escape within 30 minutes to escape certain death by explosives outside of the four small, grotesque walls he finds himself trapped inside. Grasping anything at his disposal, Frank must MacGyver his way to safety, all while recollecting how he got in this predicament in the first place. 

The visceral tension created by writer-director Lukas Rinker is exacerbated by the superb performance of our leading man, Thomas Niehaus. He is nothing short of captivating. Together, they’ve made Holy Shit! a truly riveting story. You’ll yell at the screen in frustration, sweat as the minutes tick off, and cheer for the small victories along the way. Who would have thought a film about a man trapped inside a porta-potty would ignite that much emotion? It’s bizarrely brilliant.


HOLY SHIT! screened as part of Fantaspoa 2022.

For more information on the festival, please visit www.fantaspoa.com.


Review: Malin Akerman and Lorenza Izzo star in the taut thriller ‘THE AVIARY.’

THE AVIARY

SYNOPSIS: Malin Akerman and Chris Messina star in the twisted journey of two women’s desperate flee to escape the clutches of Skylight, an insidious cult. Lured in by the promise of “freedom” in the isolated desert campus called “The Aviary”, Jillian (Akerman) and Blair (Lorenzo Izzo) join forces to escape in hopes of real freedom. Consumed by fear and paranoia, they can’t shake the feeling that they are being followed by the cult’s leader, Seth (Messina), a man as seductive as he is controlling. The more distance the pair gains from the cult, the more Seth holds control of their minds. With supplies dwindling and their senses failing, Jillian and Blair are faced with a horrifying question: how do you run from an enemy who lives inside your head?


Two women attempt to escape a cult by hiking through the desert. When plans go awry, deception, confusion, and brainwashing pit them against one another. 

While we only see Chris Messina as cult leader Seth in brief moments, they are undoubtedly impactful. With his calm yet persuasive demeanor, it is easy to see why these characters fell under his spell from the very beginning. Lorenza Izzo plays Blair with unbridled, vibrating energy that is captivating. You clock every single beat in her eyes. Malin Akerman‘s confidence as Jillian makes her a perfect foil for Izzo. Akerman walks a fine line between vulnerable and secretive. She’s frighteningly good. 

The screenplay’s wordplay, score, and scene blocking heightened every moment. There was never a dull moment. The endless mindfuckery rubbed my nerves raw. I found I had left fingernail impressions on my palms without realizing it. The paranoia and tension in the dialogue had my head spinning. Are these women gaslighting one another, is one of them a villain and is this even real? These are some of the questions I had while sorting through the madness that is The Aviary

You cannot ignore the comparisons with Scientology and Rajneeshees. The final 20 minutes had me on the edge of my seat. If you think you know where this story is going, think again. The Aviary is a whirlwind of manipulative tactics. It’s fantastic. 


In Theaters, on Digital, and On Demand April 29, 2022


WRITTEN & DIRECTED BY: Chris Cullari & Jennifer Raite

STARRING: Malin Akerman, Lorenza Izzo, Chris Messina, Sandrine Holt

RUN TIME: 96 minutes

RATING: Rated R for language and some violent content.

GENRE: Thriller


OPENING THEATERS INCLUDE:

NEW YORK CITY – Cinema Village

LOS ANGELES – Lumiere Cinema

 

ATLANTA – Studio Movie Grill Marietta

CLEVELAND – Atlas Diamond Center

DETROIT – Emagine Royal Oak

HOUSTON – Studio Movie Grill Pearland

MINNEAPOLIS – Emagine Eagan

ORLANDO – Studio Movie Grill Sunset Walk

PHILADELPHIA – Westown Movies

TAMPA – Studio Movie Grill Seminole


Review: Family-friendly folklore ‘Jesse and The Elf Boy’ is available now.

A teenager becomes a renowned hairstylist with the help of an unexpected friend – a forest elf.

Inspired by Scottish legend, this feel-good comedy follows the antics of the solitary forest elf Ghillie Dhu who becomes friends with a girl lost in the woods. When she is unexpectedly whisked away by her mother, a forlorn Ghillie sets out on a quest to find his lost companion. Years later, in the city, Ghillie meets Jessie Macrae, a plucky teenager determined to win favor with her high-flying mother by becoming a renowned hairstylist. When Jessie discovers that Ghillie has a gift for hairstyling, they strike up a unique partnership which causes chaos for the manager of the chic hair salon and catapults Jessie to fame. Thanks to Ghillie, Jessie’s dreams are within reach, but will this meeting of two worlds be enough to overcome the deep hurts of broken relationships through the generations?


A spirited, family-friendly film with notes of Peter Pan whimsy, Jesse and the Elf Boy brings laughter and unexpected depth. The script is a sweet story of friendship, loyalty, family dynamics, and a bit of magic. 

While perhaps a tad random, with the premise that Jesse is a hairstylist, the film has a similar vibe to Edward Scissorhands with a touch of Rumplestiltskin. Performances illicit genuinely laugh-out-loud moments. The script teems with kooky, larger-than-life characters that will make audiences, young and old, giggle. The score from David Shaw is lovely. The standout costume belongs to Ghillie Dhu. It perfectly evokes a childlike wonder, if not a bit noisy for the sound editing. Whittle dons it with an ease that makes it believable.  

Julia Brown is phenomenally charming as Jesse. Her chemistry with Whittle makes for an easy watch. Speaking of our other titular character, Huck Whittle plays Ghillie with a darling innocence. Reminiscent of Jeremy Sumpter in Peter Pan (2003), Whittle is a star.

Getting to the main plot of a mother-daughter reconnection is a bit convoluted, as there are a handful of subplots. But, if you let that go, you’ll be completely charmed. The final reveal makes any inconsistencies worth the watch. 


https://fellowshipfilm.com/


Fantaspoa 2022 review: ‘FOLLOW HER’ is a clever social media revenge thriller.

Director Sylvia Caminer brings her new film Follow Her to Fantaspoa 2022. It features Dani Barker as social media up-and-comer Jess as she grinds away, posting live videos about her various paid gigs. When a glitch in her facial blur app causes an online frenzy, Jess must navigate not only a barrage of new followers and mixed comments but a new job offer. A meta revenge thriller, Follow Her, will have your heart in your throat.

Luke Cook plays Tom, the man who hires Jess to assist him in writing an erotic thriller. He’s effortless suave and ceaselessly witty. It is tricky to distinguish between written dialogue and what might be improved. The script allows him to play up the maniacal angle. You’re still rooting for him as a genre fan. Cook is exceptionally enigmatic, and Dani Barker keeps up with his energy. 

Barker plays double duty as Jess and screenwriter. She bears a striking resemblance to Kate Hudson and Chloe Fineman and possesses the charm of both combined. Barker understands the complexities of social media and the myriad of baggage that can accompany the lifestyle. She’s given audiences a slick screenplay.

Follow Her would make a great triple feature evening with CAM and Spree. Overall, the meta aspect of the screenplay comes into focus at around the 38-minute mark. The innate anxiety of being a woman alone with a man is front and center. Follow Her had me in full panic mode at 45 minutes. Each consecutive beat skillfully ups the ante. It speaks to the dark side of the internet age, gigging, vulnerability, sexual control, greed, and the consequence-free world we see more and more. Barker cleverly utilizes horror tropes and acknowledges them directly. Fantaspoa 2022 audiences are in for a treat. Genre fans will go nuts for this killer film. I’d “like & subscribe” for franchise development.


FOLLOW HER screens as part of Fantaspoa 2022. For more information on the festival, please visit www.fantaspoa.com.


Fantaspoa 2022 review: ‘OX-HEAD VILLAGE’ is a frightful folktale.

OX-HEAD VILLAGE

PLOT: Having launched a social media prank about a haunted building, three girls suddenly vanish. Rumors circulate that they were victims of The Ox-Head Village curse, triggering an investigation by two of their friends, desperate to find the truth about what has happened


Sick cinematography and a killer opening bring Fantaspoa 2022 audiences into the intensely scary world of Ox-Head Village. Finding out that this is director Takashi Shimizu‘s final film in his “Village Trilogy” makes me want to seek out Howling Village and Suicide Forest Village immediately. Japanese folklore surrounding a family curse brings this horror mystery to life. Kanon seeks answers as to why she resembles a missing girl from a failed prank video. As clues slowly come to light, Kanon must confront her family’s past mistakes to make way for her future. Loaded with haunting imagery, flashbacks, and macabre superstition, Ox-Head Village becomes the consequence of trying to outwit the curse. Performances across the board are solid. The colors are lush and the kills are brutal and disturbing. Elements akin to Ringu are unmissable. But, Ox-Head Village is undoubtedly unique. Make sure you don’t move once the credits begin to roll.


 OX-HEAD VILLAGE screened as part of Fantaspoa 2022.

For more information on the festival, please visit www.fantaspoa.com.

CAST: Kôki, Riku Hagiwara, Keiko Horiuchi, Haruka Imô, Akaji Maro, Satoru Matsuo, Riko, Fumiya Takahashi, Naoki Tanaka, Rinka Ôtani

DIRECTOR: Takashi Shimizu


Review: ‘STANLEYVILLE’ is so weird it works.

An exercise in the absurd, the hit indie STANLEYVILLE opens with Maria (Susanne Wuest) walking away from her life on a moment’s whim. Found lounging aimlessly on an airport chair, an odd man named Homunculus (the absolute legend Julian Richings) informs her of her selection to participate in an exclusive competition. The prize is an orange compact SUV.

Without hesitating, Maria arrives at an apartment alongside four other contestants. In a series of eight individual challenges, the first being balloon blowing, Maria, Felicia, Manny, Bofill, and Andrew battle to be the victor. The Master of ceremonies appears equal parts confused and confident in his role. As the stakes get higher and the games get weirder, chaos ensues. Five opposite archetypes collide in one of the most bizarre films I’ve ever witnessed. 

STANLEYVILLE is so odd it works. The film’s pacing is intentionally erratic, and the personalities are strong. That is, all except Maria. She is content to play the game fairly and with an abundance of reverence. The performances of our six cast members are outstanding. This eclectic mix of actors pours their heart into a script that must have seemed outrageous when they first read it. Full disclosure, I’m not sure I walked away understanding what I watched either, but I’ll tell you this, I cannot stop thinking or talking about STANLEYVILLE.

The finale is equally enigmatic, occurring offscreen. It’s a keenly written full-circle moment that makes you think. STANLEYVILLE is like nothing you’ve seen before. Some will assume writer-director Maxwell McCabe-Lokos was making it all up as he went along. I cannot be the first to salivate at the idea of turning this into a stage play without intermission. The story is a conversation starter. What that conversation consists of is determined entirely by each viewer’s experience. It’s a one-of-a-kind film. 


Oscilloscope Laboratories is proud to release STANLEYVILLE — the quirky, dark feature debut from writer/director Maxwell McCabe-Lokos that has won festival accolades across the globe — exclusively at New York City’s Metrograph on April 22nd, with a wider rollout to follow.


Color
English Language
88 minutes
Not Rated


The pitch-black comedy, which critics lovingly call “a strange movie for strange people” and “an episode of Survivor for sociopathic miscreants”, stars Susanne Wuest (GOODNIGHT MOMMY), Cara Ricketts (FOX’s The Resident), Christian Serritiello, George Tchortov (Amazon’s The Expanse), Adam Brown (Peter Jackson’s THE HOBBIT trilogy), and genre legend Julian Richings (CUBE).


Review: ‘Marevelous and The Black Hole’ is a family film with heart and pizzazz.

MARVELOUS AND THE BLACK HOLE

A teenage delinquent (Miya Cech, ALWAYS BE MY MAYBE) befriends a surly magician (Rhea Perlman, “Cheers,” MATILDA) who helps her navigate her inner demons and dysfunctional family with sleight of hand magic. A coming-of-age comedy that touches on unlikely friendships, grief, and finding hope in the darkest moments.


After losing her mother, Sammy lashes out physically and emotionally. When her dad forces her to take a business class in summer school, she encounters a magician by happenstance. Under the guise of a final project, Sammy trades anger for magic. 

The score heightens the film’s charm. Cartoon animation and black & white fantasy sequences create playful transitions whenever Sammy feels rage. The costumes are meaningful. Sammy is in black the entire film, while Margot dons lush colors adorned with embroidery or applique. 

Rhea Perlman plays Margot, AKA The Marvelous. Perlman’s cheery disposition is a brilliant foil for Miya Cech‘s Sammy. She brings a motherly quality that Sammy so desperately needs. Cech is outstanding. She possesses a fierce attitude that’s relatable. Cech levels up the typical teenage angst with grounded sass and genuine vulnerability underneath. Together, their chemistry is like a warm hug. If I’m being honest, I would gladly watch an entire series about these two characters.

Marvelous and The Black Hole is nothing short of darling. This family-friendly flick is about navigating grief. Writer-director Kate Tsang gives audiences a sweet ode to storytelling and healing. 


MARVELOUS AND THE BLACK HOLE
Opens in Select Theaters on April 22, 2022


Written + Directed by: Kate Tsang
Produced by: Carolyn Mao
Co-Producers: Allison Avery Jordan, Christa Boarini
Director of Photography: Nanu Segal, BSC
Production Designer: Yong Ok Lee
Edited by: Cyndi Trissel, Ryan Denmark
Costume Designer: Amanda Bujak

TRT: 81 minutes


 

21 eclectic films featuring a rabbit… ya know, for Easter.

Could we put together a cuddly list of family-friendly Easter films? Probably. But where’s the fun in that? Here is a list of films where a rabbit is featured in one way or another. Most are straightforward. A few, well, I guess you’ll have to watch them and figure out why they’re there. Happy Easter, and happy hunting for those pesky wabbits.


Space Jam

Swackhammer (Danny DeVito), an evil alien theme park owner, needs a new attraction at Moron Mountain. When his gang, the Nerdlucks, heads to Earth to kidnap Bugs Bunny (Billy West) and the Looney Tunes, Bugs challenges them to a basketball game to determine their fate. The aliens agree, but they steal the powers of NBA basketball players, including Larry Bird (Larry Bird) and Charles Barkley (Charles Barkley) — so Bugs gets some help from superstar Michael Jordan (Michael Jordan).


Fantastic Mr. Fox

After 12 years of bucolic bliss, Mr. Fox (George Clooney) breaks a promise to his wife (Meryl Streep) and raids the farms of their human neighbors, Boggis, Bunce and Bean. Giving in to his animal instincts endangers not only his marriage but also the lives of his family and their animal friends. When the farmers force Mr. Fox and company deep underground, he has to resort to his natural craftiness to rise above the opposition.


The Matrix

Neo (Keanu Reeves) believes that Morpheus (Laurence Fishburne), an elusive figure considered to be the most dangerous man alive, can answer his question — What is the Matrix? Neo is contacted by Trinity (Carrie-Anne Moss), a beautiful stranger who leads him into an underworld where he meets Morpheus. They fight a brutal battle for their lives against a cadre of viciously intelligent secret agents. It is a truth that could cost Neo something more precious than his life.


Us

Accompanied by her husband, son and daughter, Adelaide Wilson returns to the beachfront home where she grew up as a child. Haunted by a traumatic experience from the past, Adelaide grows increasingly concerned that something bad is going to happen. Her worst fears soon become a reality when four masked strangers descend upon the house, forcing the Wilsons into a fight for survival. When the masks come off, the family is horrified to learn that each attacker takes the appearance of one of them.


Peter Rabbit

Peter Rabbit and his three sisters — Flopsy, Mopsy and Cotton-Tail — enjoy spending their days in Mr. McGregor’s vegetable garden. When one of McGregor’s relatives suddenly moves in, he’s less than thrilled to discover a family of rabbits in his new home. A battle of wills soon breaks out as the new owner hatches scheme after scheme to get rid of Peter — a resourceful rabbit who proves to be a worthy and wily opponent.


WATERSHIP DOWN

When a young rabbit named Fiver (Richard Briers) has a prophetic vision that the end of his warren is near, he persuades seven other rabbits to leave with him in search of a new home. Several obstacles impede their progress, including predators, a rat-filled cemetery, and a speeding river. Upon arriving at their final destination, a hill dubbed Watership Down, the rabbits find that their journey is still far from over. Realistically drawn, this British animated film carries an emotional weight.


Donnie Darko

During the presidential election of 1988, a teenager named Donnie Darko sleepwalks out of his house one night and sees a giant, demonic-looking rabbit named Frank, who tells him the world will end in 28 days. When Donnie returns home, he finds that a jet engine has crashed into his bedroom. Is Donnie living in a parallel universe, is he suffering from mental illness – or will the world really end?


Miss Potter

Based on the life of early 20th-century author Beatrix Potter, creator of Peter Rabbit. As a young woman Potter rails against her parents’ wishes for her to marry and settle down. Instead, she continues to write about and draw the animals she has adored since childhood. Her early attempts to find a publisher for her children’s stories are unsuccessful, but an offer from a small firm will turn her into a literary phenomenon.


Night of the Lepus (1972)

Arizona rancher Cole Hillman (Rory Calhoun), dealing with massive rabbit overpopulation on his land, calls on a local college president, Elgin Clark (DeForest Kelley), to help him. In order to humanely resolve the matter, Elgin brings in researchers Roy (Stuart Whitman) and Gerry Bennett (Janet Leigh), who inject the rabbits with chemicals. However, they fail to anticipate the consequences of their actions. A breed of giant mutant rabbits emerges and starts killing every human in sight.


Harvey

Elwood P. Dowd (James Stewart) is a wealthy drunk who starts having visions of a giant rabbit named Harvey. Elwood lives with his sister Veta (Josephine Hull) and her daughter (Victoria Horne), and Veta worries that Elwood has gone insane. In the process of trying to have him committed, Veta admits that she occasionally sees Harvey herself. The director of the mental home, Dr. Chumley (Cecil Kellaway), tries to reconcile his duty to help Elwood with his own growing experiences with Harvey.


Zootopia

From the largest elephant to the smallest shrew, the city of Zootopia is a mammal metropolis where various animals live and thrive. When Judy Hopps (Ginnifer Goodwin) becomes the first rabbit to join the police force, she quickly learns how tough it is to enforce the law. Determined to prove herself, Judy jumps at the opportunity to solve a mysterious case. Unfortunately, that means working with Nick Wilde (Jason Bateman), a wily fox who makes her job even harder.


Fatal Attraction

For Dan Gallagher (Michael Douglas), life is good. He is on the rise at his New York law firm, is happily married to his wife, Beth (Anne Archer), and has a loving daughter. But, after a casual fling with a sultry book editor named Alex (Glenn Close), everything changes. Jilted by Dan, Alex becomes unstable, her behavior escalating from aggressive pursuit to obsessive stalking. Dan realizes that his main problem is not hiding his affair, but rather saving himself and his family.


Who Framed Roger Rabbit

Down-on-his-luck private eye Eddie Valiant (Bob Hoskins) gets hired by cartoon producer R.K. Maroon (Alan Tilvern) to investigate an adultery scandal involving Jessica Rabbit (Kathleen Turner), the sultry wife of Maroon’s biggest star, Roger Rabbit (Charles Fleischer). But when Marvin Acme (Stubby Kaye), Jessica’s alleged paramour and the owner of Toontown, is found murdered, the villainous Judge Doom (Christopher Lloyd) vows to catch and destroy Roger.


Wallace and Gromit: The Curse of the Were-Rabbit

The plucky characters from a series of animated shorts, Wallace (Peter Sallis) and his dog, Gromit, make their feature debut here. After starting a pest control business just like this exterminator in Orlando, the duo soon lands a job from the alluring Lady Tottington (Helena Bonham Carter) to stop a giant rabbit from destroying the town‘s crops. Both Wallace and the stuffy Victor (Ralph Fiennes) vie for the lady’s affections. If Wallace wants to please his pretty client, and best Victor, he needs to capture that pesky bunny.

The Favourite

In the early 18th century, England is at war with the French. Nevertheless, duck racing and pineapple eating are thriving. A frail Queen Anne occupies the throne, and her close friend, Lady Sarah, governs the country in her stead while tending to Anne’s ill health and mercurial temper. When a new servant, Abigail, arrives, her charm endears her to Sarah. Sarah takes Abigail under her wing, and Abigail sees a chance to return to her aristocratic roots.


Alice in Wonderland

Lewis Carroll’s beloved fantasy tale is brought to life in this Disney animated classic. When Alice (Kathryn Beaumont), a restless young British girl, falls down a rabbit hole, she enters a magical world. There she encounters an odd assortment of characters, including the grinning Cheshire Cat (Sterling Holloway) and the goofy Mad Hatter (Ed Wynn). When Alice ends up in the court of the tyrannical Queen of Hearts (Verna Felton), she must stay on the ruler’s good side — or risk losing her head.


Jojo Rabbit

Jojo is a lonely German boy who discovers that his single mother is hiding a Jewish girl in their attic. Aided only by his imaginary friend — Adolf Hitler — Jojo must confront his blind nationalism as World War II continues to rage on.


Caveat

A desperate drifter suffering from partial memory loss agrees to look after his landlord’s psychologically troubled niece in an isolated island mansion.


HOP

Beneath Easter Island, in a giant factory that manufactures the world’s Easter candy, the popular rabbit is preparing to pass the mantle to his son, E.B. (Russell Brand). But E.B. has no interest in the job and would rather be a drummer. He runs away to Los Angeles, where an unemployed slacker named Fred O’Hare (James Marsden) accidentally runs into him. Feigning injury, E.B. tricks Fred into giving him shelter, but an oversized chick is planning a coup back on Easter Island.


Monty Python and The Holy Grail

A comedic send-up of the grim circumstances of the Middle Ages as told through the story of King Arthur and framed by a modern-day murder investigation. When the mythical king of the Britons leads his knights on a quest for the Holy Grail, they face a wide array of horrors, including a persistent Black Knight, a three-headed giant, a cadre of shrubbery-challenged knights, the perilous Castle Anthrax, a killer rabbit, a house of virgins, and a handful of rude Frenchmen.


A Christmas A Story

(Don’t argue with me, this film 100% falls under this odd list. In fact, it’s the second film with a hideous bunny suit.)

Based on the humorous writings of author Jean Shepherd, this beloved holiday movie follows the wintry exploits of youngster Ralphie Parker (Peter Billingsley), who spends most of his time dodging a bully (Zack Ward) and dreaming of his ideal Christmas gift, a “Red Ryder air rifle.” Frequently at odds with his cranky dad (Darren McGavin) but comforted by his doting mother (Melinda Dillon), Ralphie struggles to make it to Christmas Day with his glasses and his hopes intact.


HOPPY EASTER


Review: ‘WYRMWOOD APOCALYPSE’ screams franchise potential.

WYRMWOOD: APOCALYPSE

Synopsis: Rhys lives in the zombie-infested wasteland. His job is to capture civilians and deliver them to what’s left of the military. When Rhys captures a half-zombie-half-human named Grace, he comes to believe she is the key to ending the apocalypse.


*Let me begin their review by stating that I have not seen the original Wyrmwood. I can only comment on Wyrmwood: Apocalypse as a stand-alone film.*

I was immediately drawn into the film hearing Nick Cave and The Bad Seeds‘ track “Red Right Hand,” alongside the quick-cut editing. Equal parts quirky and cool, I was committed. The costumes and sets are elaborate eye candy. The special effects makeup and practical FX are deliciously gruesome. The score, combined with the red lighting, makes for the perfect touch of camp. Wyrmwood: Apocalypse has legit legs for a franchise reboot. 

This cast is gold. The commitment to these characters is commendable. The fight sequences and choreography are damn entertaining. These actors go hard into the action. Bravo, to Luke McKensie, Shantae Barnes-Cowan, Jake Ryan, Bianca Brady, Tasia Zalar, Jay Gallagher, and Nick Boshier for their phenomenal chemistry.

The plot possesses a similar concept as Zydrate from one of my all-time favorite films, Repo! The Genetic Opera. There’s revenge, cognisant zombies, mind control, harvesting, and family dynamics. You name it, and it’s in Wyrmwood: Apocalypse. There’s enough meat in this storyline to justify a series development. I could easily see this doing well on the SyFy network. It has to be from writer-director Kiah Roache-Turner and co-writer Tristan Roache-Turner. Consistency is key to maintaining a fandom. The bottom line is Wyrmwood: Apocalypse is a new beginning.


Zombie Action-Horror WYRMWOOD: APOCALYPSE — OUT DIGITALLY IN THE U.S. APRIL 14!


Genre: Horror

Country: Australia

Runtime: 90 mins

Year: 2022

Language: English

Rated: NA


Review: HBO Documentary Film: ‘TONY HAWK: UNTIL THE WHEELS FALL OFF’

TONY HAWK: UNTIL THE WHEELS FALL OFF

Centering around intimate new interviews with Tony Hawk himself, the film is an all-encompassing look at the skateboarder’s life, legendary career, and relationship with the sport with which he’s been synonymous for decades. Hawk, a pioneer of modern vertical skating who is still pushing his limits at the age of 53, remains one of the most influential skateboarders of all time.


Tony Hawk kicks off his big HBO documentary by falling down. A lot. Like, 5 solid minutes of eating it all over the ramp. It’s a bold, remarkably human way to start a documentary about a 53-year-old icon who many in the non-skating community would still consider the most famous skateboarder of all time (this reviewer raises his hand). Heck, my wife knows more about Tony Hawk than I do.

The complete list of things I knew about Tony Hawk before watching this documentary:

  • He was (probably) the most prominent skater in the world
  • He was the first skater to land a 900 (a crazy trick where you shoot off a ramp and spin 2.5 times in the air before landing)  I also learned this from his video game series, Tony Hawk Pro Skater
  • He has a hilarious Twitter feed

And yet, I left Sam Jones’ Tony Hawk: Until the Wheels Fall Off feeling pretty invested in skateboarding. Jones’ documentary benefits not only from extensive access to Hawk and his skating peers but also from a wealth of archival footage and clips that help these interview recollections resonate. Sure, you learn about Hawk’s upbringing in San Diego, and his dynamic with his strict father – but what really resonates is the sense of purpose uniting these passionate young skateboarders. You really get the spirit of the community. Tricks and success in this sport, which may be similar to the one that can be watched on the best stadiums for tourists, are the product of individual inspiration, yes, but also due to watching and learning from both your rivals and teammates. Hawks’ contemporaries are real unique characters, too. I particularly loved hearing from Rodney Mullen, who applies the principles of Nietzsche to the act of launching yourself off a skate ramp without a hint of irony.

I also appreciated the documentary’s balanced romanticism surrounding skateboarding. There are the obligatory skating montages, but there’s also a blunt assessment of the risks (and honestly, the near foolishness) of Hawk refusing to set aside his board at 53 years old. We’re talking about guys for whom broken bones and near-constant concussions seem to always be part of the deal – it takes a lot to make these folks nervous. Hawks’ peers speak frankly and graphically about the risks he’s taking on. Given Hawks’ prominent association with this documentary, I was surprised he didn’t push to edit some of those comments out of the final product. I appreciated that Jones included them.

Ultimately, this feels to be an honest portrait of a complicated legend who became a pro athlete before he had his learner’s permit. It strives to connect viewers to the deep connection skaters have with their art, it clues you in on Tony Hawk’s countless contributions to the sport, and acknowledges that most guys in their 50s shouldn’t be on fast-moving, narrow objects.

You see Tony Hawk falling down a lot. But he also executes tricks that seem to scratch the surface of immortality. Unless you’ve skated a mile in his shoes, can you really pass judgment? One thing’s for sure – after seeing this documentary, I’ll be firing up my wife’s copy of Pro Skater.


Debuts Tuesday, April 5 on HBO and will be available

to stream on HBO Max

Director: Sam Jones

Executive Producers: Mel Eslyn, Jay Duplass, and Mark Duplass


ABOUT SAM JONES
Sam Jones is a director of documentary films and narrative television. He most recently directed an episode of “Ted Lasso” and a film in post-production: “Running With Our Eyes Closed, A Film about Jason Isbell,” which is being co-produced by the Duplass Brothers and Jones.

Jones is the creator and host of the documentary series “Off Camera with Sam Jones,” which had a 219 episode run on DirecTV’s Audience Network from 2013-2020. Jones is also an acclaimed commercial director and recently wrote and directed a series of commercials for OnePlus featuring Robert Downey Jr. He directed the Showtime series “Roadies,” created by Cameron Crowe, and also directed and produced the feature-length Showtime documentary “Lost Songs: The Basement Tapes Continued,” a film that reexamines Bob Dylan’s “The Basement Tapes.” In 2002, Jones started his documentary career with “I Am Trying To Break Your Heart,” which chronicles beloved indie-rock band Wilco’s tumultuous recording of their acclaimed fourth album, “Yankee Hotel Foxtrot.” Rolling Stone named “I Am Trying To Break Your Heart” one of the best rock films of all time.

Jones began his career as a photographer and quickly gained acclaim for his seminal portraits of cultural icons. His work has appeared on the covers of Vanity Fair, Rolling Stone, Esquire, GQ, Time, and many others, and he has had several books published. Jones lives in Los Angeles with his daughters and still loves to skateboard.


 

Festival review: Kelsey Peterson’s personal documentary ‘MOVE ME’ inspires.

MOVE ME

At 27, Kelsey Peterson dove into Lake Superior, off the shores of Wisconsin, and emerged paralyzed. Now, the former dancer struggles to redefine who she is while adapting to life with a disability. At the intersection of acceptance and hope, Kelsey unexpectedly finds herself facing an opportunity to dance again, showing her a new path toward acceptance, all the while grappling with a decision to participate in a cutting-edge clinical trial that could bring her much-desired change — forcing her to evaluate the possibilities of her recovery, body, and spirit.

In Move Me, a first-time filmmaker with a disability simultaneously takes the reins behind the scenes, while revealing her inner revolution through raw storytelling onscreen.


Dancer and choreographer Kelsey Peterson was paralyzed from the chest down after diving into shallow waters. In conjunction with a friend injured in the same manner, Kelsey decides to dance for the first time since her accident by creating a unique piece of choreography. Her documentary feature MOVE ME is a portrait of a woman attempting to reclaim her identity.

The combination of home movies, rehearsals, and scenes from her daily life create a raw picture of Kelsey’s existence. Kelsey explains that after the accident, she realized that the world does not accommodate her current state. This singular statement makes MOVE ME so much more profound for able-body viewers. When you see the rehearsal restroom, the irony is exhausting. 

MOVE ME doesn’t simply tell the tale of a single dance. Kelsey navigates her father’s declining health while simultaneously researching the possibility of joining an experimental trial. She speaks with other participants, discovering that it’s not all positive outcomes. Uncertainty looms large as Kelsey weighs her options. She holds nothing back, tackling everything from bowel function to sexual sensation.

“A Cripple’s Dance” bases pieces of its choreography on Kelsey and Gabe’s moments of impact and what followed in the water. The intimacy of the camera work is visceral. Gabe’s lyrics are profoundly beautiful and hit you in the heart like a dagger. The result will give you chills. 

This film was personal for me. I began dancing at the age of three. Since then, I have competed, choreographed, and expressed myself through movement. When I lost some of my abilities from an emergency appendectomy and then years later, a neck injury, I was devastated. I remember the grief of losing those lifelong skills, talents that came without thought as they were muscle memory. Let me be clear I am able-bodied. You would not know I was in pain by the way I move through the day. I cannot begin to fathom the strength Kelsey Peterson possesses daily. Her positive outlook and relentless optimism drive her film. To me, she’s fearless. She’s sort of my hero. MOVE ME makes me appreciate my body’s movement tenfold.


Co-Directors: Kelsey Peterson, Daniel Klein

Producers: Kelsey Peterson, Daniel Klein, Madeline Brown

Executive Producers: Lois Vossen, Sally Jo Fifer, Joanna Rudnick

Cinematographer: Brennan Vance

Editor: Nico Bovat


Festival Screening Info:
Full Frame Documentary FF (World Premiere)
Streaming April 7 -10, 2022
 
Reel Abilities FF New York
Streaming April 7 -13, 2022
In-Person Screening Tues. April 12, 8:00pm
Film Info:

Review: Mayim Bialik’s directorial debut ‘As They Made Us’ is relatable in its drama.

AS THEY MADE US

As They Made Us follows Abigail (Agron), a divorced mother of two, who is struggling to find sanity in her dysfunctional family as she attempts to cultivate new love. Her father, Eugene (Hoffman), has a degenerative condition that he and his wife, Barbara (Bergen), refuse to accept. Her brother Nathan (Helberg) has been estranged from the family for decades. A self-appointed fixer, Abigail attempts to mend her complicated family before it’s too late.


Mayim Bialik‘s feature debut packs an emotional punch. As They Made Us feels like a fresh wound for anyone with childhood trauma. Brilliantly structured with flashbacks and present-day chaos, Bialik weaves a portrait of a family existing in turmoil. 

Simon Helberg plays the son who escaped the weight of negativity. Estranged from the family, he leaves Abigail (Agron) behind to take the brunt of the aggression. Helberg plays a vastly different role from Bialik’s costar on The Big Bang Theory, and her script allows Helberg to show his range. Dustin Hoffman is patriarch Eugene. Navigating his cognitive decline, Hoffman plays dual roles in a way. At times, happy go lucky and defiant, others violent and loud. His journey is the most outwardly complex. Candace Bergen is the epitome of Jewish mother cliches, with a real mean streak. She lands somewhere in between abrasive and meddling. Still managing to be charming, Bergen brings heightened energy to the film. 

Dianna Agron is the default child, the emotional packhorse. Taking on caregiver roles that ought to belong to Bergen’s Barbara, Agron must shift between daughter, nurse, and wife roles to ease Eugene’s suffering. These are all at her own cost as she carries these scars. Agron is the star of this film. Even with Hoffman and Bergen, she steals the show. Her exhaustion is palpable. 

The family’s Jewish faith is a significant plot point. It becomes a large part of Abigail’s coping mechanisms, parenting, and healing. The character reminds me a lot of my Mother. Replace Judaism with Catholicism, and I’ve witnessed this same story play out a generation before. As They Made Us speaks volumes in roughly 90 minutes. Tackling forgiveness, acceptance, and mortality, Bialik’s voice as a filmmaker is pretty striking for her first time out. I am eager to see what comes next.



OPENS APRIL 8, 2022
IN THEATERS AND DIGITAL / VOD


Writer & Director: Mayim Bialik

Cast: Dianna Agron and Simon Helberg, with Candice Bergen, Dustin Hoffman, Justin Chu Cary, Charlie Weber, and Julian Gant

Producers:  Jordan Beckerman, Ash Christian, Anne Clements, Michael Day, Jordan Yale Levine, Mark Maxey

Runtime Time: 96 minutes

Rated: R for language


 

Short film review: John Stuart Wildman’s ‘SWEAT OF HIS COW’ is the sexy absurdity we all secretly desire.

SWEAT OF HIS COW

From the depths of someone’s lost VHS tapes is this story of an impossibly gorgeous doctor lawyer who runs out of gas next to a barn where an impossibly sweaty man is milking a cow. A sexy relationship ensues where they learn that gas is just the beginning, milk is always the end.


Thoughts I had while watching the award-winning short film, SWEAT OF HIS COW...

“Is this a lost VHS from someone’s basement? Oh, this score is very softcore porn goodness. Does this film star Milky White from Into The Woods?! Amazing. These hair flips are luscious, and now I’m laughing. Wow, this is a softcore porn videos inspired rom-com! And also, WOW! John is really sweaty and also a proper beefcake. Should I be watching this? Am I allowed to watch this? My god, this is hilarious wordplay.”

Celena Rea nails every line with total commitment. She has a commanding presence, accentuated by specific hair, make-up, and costume choices. Also, she does her own stunts. Her chemistry with writer-director John Stuart Wildman as Sweaty Man is electric. He knocks it out of the park. I knew John was charming, but, damn. Casting directors pay attention. John could easily carry leading roles in literally every genre. Shout out to Chris Gardner for his comic timing as Saxophone Player.

I couldn’t love this weird, little film anymore. There’s not a dull moment in its 5-minute runtime. Sweat Of His Cow is easily something you’d see produced by Funny Or Die or SNL, but better. I want a series of Sweaty Man shorts about his sexual encounters. And, I’m not sorry about it. This film is now burned into my brain forever.


You can watch Sweat of His Cow screening virtually at the Sarasota Film Festival now!

(And you should.)

https://www.sarasotafilmfestival.com/film/sweat-of-his-cow/


Official Trailer Drop: ‘The Bob’s Burgers Movie’ is getting served up in May. #BobsBurgersMovie

The Bob’s Burgers Movie

A ruptured water main creates an enormous sinkhole right in front of Bob’s Burgers, blocking the entrance indefinitely and ruining the Belchers’ plans for a successful summer. While Bob and Linda struggle to keep the business afloat, the kids try to solve a mystery that could save their family’s restaurant. As the dangers mount, these underdogs help each other find hope as they try to get back behind the counter.


 The Bob’s Burgers Movie
Only in Theaters on May 27


Release date: May 27, 2022 (USA)
Directors: Loren Bouchard, Bernard Derriman
Adapted from: Bob’s Burgers

#BobsBurgersMovie

Shudder Original review: ‘Night’s End’ is a creepy and campy crowd-pleaser.

NIGHT’S END

An anxious shut-in moves into a haunted apartment, hiring a stranger to perform an exorcism which quickly takes a horrific turn.


Director Jennifer Reeder and screenwriter Brett Neveu bring us the Shudder Original Night’s End. Anxiety-ridden Ken is apartment-bound and attempting to get his life back on track. In doing so, he accidentally records a strange occurrence while filming his amateur YouTube videos. Things get weirder when he’s encouraged to pursue the building’s history and provoke whatever entity might be lurking in his domain. Night’s End is the perfect marriage of creepy and campy. Shudder audiences will love it. 

Every single performance adds to the overall arc of Night’s End. Dark Corners host Daniel Kyrie, and Lyden Knight, played by Theo Germaine, give that YouTube clout appearance. Their distinct personalities up the anty for the finale. The camp enters the arena officially with the introduction of author Colin Albertson, played by Lawrence Grimm, a famous paranormal expert guiding Ken on his journey. Grimm, whose name evokes perfect casting, represents every talking head in any SyFy channel show. He will make you smirk with familiarity. 

Comic relief comes in the form of Michael Shannon. Yes, Michael Shannon! He plays Isaac, Ken’s marital replacement. Donning Hawaiian shirts and giving us an honest-to-goodness stepdad goofiness, Shannon is effortlessly hilarious.

Felonious Munk is Ken’s best friend, Terry. He’s encouraging and genuinely interested in getting Ken well. Walker and Munk’s banter is essential to Jen’s backstory. Kate Arrington, as ex-wife Kelsey, is down-to-earth and loveable. The chemistry with Walker has a closeness that feels grounded. Keep in mind, every single interaction Ken experiences is through Zoom. Bravo to the editor Mike OlenikGeno Walker plays Ken with a super natural (two words) energy. His paranoia is palpable as frustration and confusion pour off the screen. Walker is a commanding lead. 

Night’s End uses horror tropes to tackle mental health uniquely. Fran Bittakis‘ set dressing, cleverly disguised in draped plastic, serves a dual purpose. The apartment appears amid repair, but it also allows for some ghostly apparition moments. Zoom works perfectly, considering Ken suffers from crippling anxiety and agoraphobia throughout the film. The significance hits home in the finale. The creepy factor will turn your knuckles white, even if the film’s climax begets an eye roll. Know what you’re going into with Night’s End, and you’ll undoubtedly have a good time. I still think there is sequel potential. That’s a character journey I want to explore. 


Premieres March 31 on Shudder


Capsule review: Inspired by actual events, ‘NITRAM’ is a gripping tale of inevitable violence.

NITRAM

SYNOPSIS: Nitram (Caleb Landry Jones) lives with his mother (Judy Davis) and father (Anthony LaPaglia) in suburban Australia in the Mid 1990s. He lives a life of isolation and frustration at never being able to fit in. That is until he unexpectedly finds a close friend in a reclusive heiress, Helen (Essie Davis). However, when that relationship meets a tragic end, and Nitram’s loneliness and anger grow, he begins a slow descent that leads to disaster.


Witness the downward spiral of an already unwell young man as he slowly travels down the rabbit hole of complete darkness. When Nitram finally connects with a reclusive heiress named Helen, his world appears brighter. Helen provides the comfort and emotional shelter his parents could not. When the sadness becomes too much, his anger and anxiety manifest in violence and unfathomable tragedy. Inspired by actual events, NITRAM tells the story of one man’s undoing, changing Australia’s history forever. 

Caleb Landry Jones embodies the mentally fragile Nitram with his entire being. It’s no wonder he won Best Actor when the film premiered at Cannes last year. Jones’ uncanny ability to live in the skin of his character is something you don’t see often. He’s on another level, whether that be his voiceover work in Finch or his haunting performance in Antiviral. Alongside stellar performances from Judy Davis and Anthony LaPaglia as Nitram’s emotionally exhausted parents and a breathtaking turn from Essie DavisNITRAM is an eerie chronicling of inevitable implosion.


IFC Films will release the thriller/drama NITRAM in Theaters, on Digital Rental and AMC+ on March 30, 2022.

Directed by Justin Kurzel (TRUE HISTORY OF THE KELLY GANG, SNOWTOWN MURDERS, MACBETH) and written by Shaun Grant (TRUE HISTORY OF THE KELLY GANG, BERLIN SYNDROME), NITRAM stars Caleb Landry Jones (THREE BILLBOARDS OUTSIDE EBBING MISSOURI, GET OUT, HEAVEN KNOWS WHAT), Essie Davis (THE BABADOOK, TRUE HISTORY OF THE KELLY GANG), Oscar Nominee Judy Davis (HUSBANDS AND WIVES, BARTON FINK, NAKED LUNCH), and Anthony LaPaglia (EMPIRE RECORDS, WITHOUT A TRACE).


 

Review: Chris Pine helmed action thriller ‘The Contractor’ has franchise potential.

THE CONTRACTOR

SYNOPSIS: Chris Pine stars in the action-packed thriller as Special Forces Sergeant James Harper, who is involuntarily discharged from the Army and cut-off from his pension. In debt, out of options and desperate to provide for his family, Harper contracts with a private underground military force. When the very first assignment goes awry, the elite soldier finds himself hunted and on the run, caught in a dangerous conspiracy and fighting to stay alive long enough to get home and uncover the true motives of those who betrayed him. Also starring Kiefer Sutherland, Ben Foster, Gillian Jacobs and Eddie Marsan.


If you’re a fan of hit franchise films like The Bourne Identity and TakenTarik Saleh’s new film The Contractor is right in your wheelhouse. J. P. Davis’ script gives us a top-tier espionage and black ops storyline, creating an emotionally taut thriller with Chris Pine as our hero.

Keifer Sutherland does his effortless badass thing, and you’ll be on your toes every second he’s on screen. Ben Foster, who I attended Interlochen Arts Camp with when we were young, is a star yet again. Ben has that “it” factor. I knew it the second I met him. As Mike, Pines’ former Sargent and best friend, he’s charming and funny. He, too, handles the physical aspects of the film like an expert. You cannot help but focus on Foster when he appears onscreen. His presence is undeniable. 

Chris Pine gives James Harper all the qualities we need. Harper is a fully fleshed-out, flawed human being. He’s layered and complex, and Pine gives him life. The action sequences are just as hard-hitting as the emotional ones. It should come as no surprise, given Pine’s natural ability to pull you into any role. I’d love to see The Contractor become its own franchise. Pine has the chops. 

The film’s plot comes at an auspicious time in history. To give any more detail would be spoiling it for the audience. The fight choreography is enthralling. The twists and turns and emotional impact glue you to your seat. The Contractor is a solid action thriller with the heart to back it up. You can catch the film in theaters, Digital, and On-Demand on April 1st.

IN THEATERS, ON DIGITAL AND ON DEMAND: April 1, 2022
DIRECTOR: Tarik Saleh
WRITER: J.P. Davis
CAST: Chris Pine, Ben Foster, Gillian Jacobs, Eddie Marsan, JD Pardo, Florian Munteanu and Kiefer Sutherland
RUN TIME: 103 minutes
RATING: R for violence and language
GENRE: Action, Thriller

DISTRIBUTOR: Paramount Pictures


Review: Feminist horror ‘THE YELLOW WALLPAPER’ available today on Digital release.

THE YELLOW WALLPAPER

The debut film THE YELLOW WALLPAPER from creative duo—Alexandra Loreth and Kevin Pontuti—is a chilling and boldly original vision of madness. Jane, a writer and young mother, is prescribed a rest treatment by her physician husband John, who takes her to a remote country estate for the summer. She becomes obsessed with the peculiar yellow wallpaper in the bedroom he has chosen for her. In her isolation, she secretly writes about a woman trapped in the wallpaper—that she must free.


Opening with a disturbing turn, The Yellow Wallpaper is a slow burn horror about Postpartum Depression and gaslighting. New mother Jane and her physician husband rent a summer home in hopes of settling Jane’s nerves after giving birth. Jane becomes obsessed with the wallpaper in the couple’s bedroom. As her behavior becomes more and more erratic, she is less understood by all those around me. Perhaps, it is because they are not truly listening. 

The score from Robert Coburn haunts with heavy, ear-piercing strings, oboe, and maybe even bagpipe? I almost wish there were more music for me to contemplate. Era records, perhaps, to contrast such a purposeful and grating score. The slow, lingering closeups of the titular wallpaper are chilling. The costumes and set are outstanding. Bravo, to the hair and make-up team for their meticulous work. It did not go unnoticed. 

Alexandra Loreth evenly plays Jane with the nuance of PPD topped off with gaslighting. Postpartum depression was not yet a diagnosis in the Elizabethan era. Nor is it acknowledged as much as it should be today, quite frankly. Loreth’s voiceovers are a nice reprieve from the predominant silence. Her performance hits its peak as her isolation and writings increase. The faster editing and closeups help greatly. 

While the film opens with a bang, that same energy feels sapped in the one hour and forty minutes runtime. The Yellow Wallpaper would benefit from a 20 to 30-minute cut. I found myself glancing at the clock more than once. The final 20 minutes are, by far, the most intriguing. The variation and mounting intensity make The Yellow Wallpaper meaningfully upsetting. Loreth and director Kevin Pontuti penned the screenplay together. There’s a lot of depth and potential. You could easily make this a franchise with some tweaking. 


 

THE YELLOW WALLPAPER is a dark and disturbing contemporary adaptation of Charlotte Perkins Gilman’s well-known and controversial gothic feminist horror story about patriarchy and mental health. The film is a collaboration between partners Alexandra Loreth and Kevin Pontuti and stars Alexandra Loreth, Joe Mullins, Clara Hart, and Jeanne O’Connor. The film was written by Alexandra Loreth and Kevin Pontuti and directed by Pontuti. THE YELLOW WALLPAPER has a running time of 99 minutes and will not be rated by the MPAA. The film World Premiered at Cinequest followed by a successful festival run. Mutiny Pictures will release the film on March 29.