Category Archives: Poster

Review: ‘WYRMWOOD APOCALYPSE’ screams franchise potential.

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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’

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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.

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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.

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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.

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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

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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.

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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 Olenik. Geno 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.

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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 Davis, NITRAM 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.

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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 Taken, Tarik 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.

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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.

BUFF 2022 capsule review: Creature feature ‘HATCHING’ takes growing pains in a horrifying direction.

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HATCHING

Tinja exists in a world where her mother expects perfection. Subconsciously, she seeks to replace her lack of affection. When she stumbles upon a strange abandoned egg, she decides she will nurture it. When things go awry, Mother has created a monster.

There’s no denying Hatching is a metaphor for puberty. Physical and emotional changes in Tinja are tied directly to the creature. As terror, anxiety, and jealousy intensify, so does Hatching’s horror. Our leading lady, Siiri Solalinna, is nothing short of extraordinary. She’s vulnerable, grounded, and fearless. It’s an astounding performance.

The creature design is reminiscent of something that might come out of the Wētā Workshop from Jim Henson‘s team. Its evolution is fascinating. It manages to be shockingly grotesque and yet adorable. If you’re a fan of Labyrinth or The Dark Crystal, you’ll especially appreciate the aesthetic. Hatching is a unique and terrifying journey. It’s one of the most emotionally brutal scripts of the year. BUFF 2022 fans are in for one hell of a film. 

IFC Midnight releases HATCHING in theaters April 29th and on VOD everywhere you rent movies May 17th.

Starring: Siiri Solalinna, Sophia Heikkilä, Jani Volanen, Reino Nordin

Directed By: Hanna Bergholm

Synopsis: 12-year-old Tinja is desperate to please her mother, a woman obsessed with presenting the image of a perfect family. One night, Tinja finds a strange egg. What hatches is beyond belief.

To find out more about BUFF22, click here!

Review: English language version of animated charmer ‘POUPELLE OF CHIMNEY TOWN’ is coming to VOD, Digital, Blu-ray, & DVD in May.

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POUPELLE OF CHIMNEY TOWN

Poupelle of Chimney Town is the story of young Lubicchi living among the thick smoke from the chimneys of his isolated town, yearning to see the “stars” — to know the truth — his father always told him about. One Halloween night he meets Poupelle, a man-made of garbage, and together they look to the sky as their adventure begins. Spectacularly beautiful, filled with inspiring performances and splendid music and sound effects, and produced at Tokyo’s famed STUDIO4ºC, Poupelle of Chimney Town brings laughter, tears, and joy.

Perfect for audiences that like their cartoons dramatic and dark, Poupelle of Chimney Town uses polished Japanese animation to tell a complex story of friendship, acceptance, environmentalism, and– the folly of authoritarian states? 

 While many American audiences are familiar with gripping emotional narratives in animation thanks to Pixar’s penchant for powerful tearjerkers, this film elicits a similar pathos but doesn’t pair that with anything cute or cuddly. Instead, the main character is a lonely, friendless child that befriends a foul-smelling creature literally made of trash. Together, the pair adventure around a smog-blanketed city on a mission to open the hearts and minds of Chimney Town and defy the dystopian mind police roving the neighborhoods and assassinating free thinkers. 

To be honest, I found these all to be heavy concepts for a kids’ movie! My most generous comparison is to the subgenre of dark cartoons from the 1980s like “The Secret of Nimh” or “All Dogs Go to Heaven” which– full disclosure– gave me nightmares for most of my childhood. Like those films, “Poupelle of Chimney Town” has many moments of lighthearted fun, comedic dialogue, friendship, and ultimately a ragtag group of kids fighting to do what’s right. The action sequences borrow visuals from beloved video games with nostalgic effects and are loads of fun in particular. Overall, more sophisticated kids and adults will probably find it all charming; I may be a wimp.

The rights in the U.S. and Canada are controlled by Eleven Arts which has appointed Shout! Factory to handle distribution. The film’s home entertainment release will kick off with a premium VOD outing on May 3, 2022,

Digital download availability from May 17,

and  Blu-ray and DVD combination from May 31.

The English-language voice cast of Tony Hale (“Being the Ricardos,” “Veep”), Antonio Raul Corbo (“Brooklyn Nine-Nine”), Stephen Root (“Finding Nemo,” “King of the Hill”), Misty Lee (“Star Wars Jedi: Fallen Order,” “Ultimate Spider-Man”), and Hasan Minhaj (“The Daily Show,” “The Morning Show”).

SXSW 2022 short film review: ‘NOT EVEN FOR A MOMENT DO THINGS STAND STILL’ is a film that will imprint on your soul.

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NOT EVEN FOR A MOMENT DO THINGS STAND STILL

Art as catharsis happens when we have no words. It is one of the innumerable reasons we create. In September 2021, artist Suzanne Brennan Firstenuerg made something that would stun the country. She planted a white flag on the National Mall for each person who had died of Covid-19 in America. The reaction was nothing short of awe-inspiring.

You can see the momentary panic on the faces of friends, family, and frontline workers wondering where to place their small white flag in an eventual sea of over 700,000. We hear the intimate audio, prayers, sobs, and send-offs that no person dreams of giving in this way. Beyond that, the sound design is simple, the wind blowing gently against each tribute. The result is like the sound of the ocean. The title serves as a triple entendre, echoing the relentless tragedy of the ever-evolving virus, the flapping of the flags, and the words of the Japanese Death Poem by Seiju.

Not even for a moment
do things stand still; witness
color in the trees.

Even though we’re watching on a screen, the vastness of the piece is never lost. The visual impact is visceral. Somehow, this representation is almost a better reference to those who still deny the virus existed in the first place. While those minds may never change, those living in reality can feel the massive impact of this monument. NOT EVEN FOR A MOMENT DO THINGS STAND STILL is 15 minutes of collective grief. It is one of the most powerful short films I’ve ever had the privilege to experience. And it is precisely that, an experience.

Director/Writer:                      Jamie Meltzer
Producers:                              Annie Marr, Jamie Meltzer, Suzanne Brennan Firstenberg
Editors:                                   Jamie Meltzer, Annie Marr
Cinematographers:                Mario Furloni, Melissa Langer
Sound Design:                       Dave Cerf
TRT:                                        15 min
Country:                                 USA

 

Review: ‘MEASURE OF REVENGE’ is a genre-bending thriller with theatrical roots.

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MEASURE OF REVENGE

“Measure of Revenge” is a taut throwback revenge thriller. This film is equal parts Shakespearian tragedy, family melodrama, and neo-noir mystery. Despite being set in modern-day New York, the themes of the film root it alongside the pulpy classics of the 70s. Through this lens, the city remains dark and dangerous even in the daylight.

Melissa Leo stars as Lillian Cooper, a veteran stage actress who happens to be the mother of a rock star. When her son, Curtis (“Animal Kingdom”’s Jake Weary), and his fiancé are found dead during Lillian’s final on-stage performance, she immediately suspects foul play. Despite the death being ruled an accidental overdose, she sets off to get her own answers. This journey draws her to the mysterious Taz (Bella Thorne), who happens to conveniently be both Curtis’ ex-lover as well as his drug dealer (don’t you hate it when that happens?). Lillian also increasingly relies on ghostly apparitions of her own previous Shakespearian roles. These visions (or are they merely hallucinations?) inspire and propel her forward in her quest for clarity and vengeance.

I appreciated the way the film leaned into its theater roots without becoming too highbrow. There’s clearly a linkage between Lilian’s decisions and her performances of Hamlet and Lady Macbeth, but you also don’t leave the film feeling like you need to get a Ph.D. in Shakespeare. Leo does justice to Lillian’s trauma and sorrow, but she also imbues her with a winking charm. This film features one of the best-planned alibis I’ve seen in a thriller, and some of the methods Lillian employs for revenge were positively refreshing in today’s age of shoot-em-up thrillers. When a gun goes off in this film, it means something.

Thorne is a welcome presence as Taz, but I wish she had been a little more utilized. She has good chemistry with Leo, but so much of this film hinges on her previous relationship with Curtis. I would have loved a flashback of their interaction, even if it provided the audience with more questions than answers.

Leo and Thorne are backed by an excellent supporting cast. Weary sure looks the part of a rock star, but I couldn’t get over how obviously dubbed his singing was during musical scenes. He and Leo have a beautiful soft dynamic together. I could watch Adrian Martinez in anything, and he provides a necessary bit of levity as the body count rises. I especially appreciated the way that Michael Potts’ Detective Eaton evolved over the course of the film. His final exchange with Leo sends the film off on a high note.

Shakespeare wrote in Merchant of Venice: “Truth will come to sight; murder cannot be hid long.” A simple statement, but it has generated countless stories over the years. Maybe “Measure of Revenge” is just another one of these stories, but Shakespeare would be happy to see they gave him his share of the credit.

In Theaters, on Digital and On Demand March 18th, 2022

DIRECTED BY: Peyfa

STARRING: Melissa Leo, Bella Thorne, Jake Weary

RUN TIME: 92 minutes

RATING: NR

GENRE: Thriller

 

Review: Charlotte Gainsbourg’s directorial debut ‘Jane By Charlotte’ is a beautiful ode to her mother.

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Charlotte Gainsbourg looks at her mother Jane Birkin in a way she never did, overcoming a sense of reserve. Using a camera lens, they expose themselves to each other, begin to step back, leaving space for a mother-daughter relationship.

A love letter from a daughter to mother, actress Charlotte Gainsbourg‘s directorial debut, Jane By Charlotte, is one of the most intimate looks at the international icon, Jane Birkin. Through photographs, home movies, and quiet, casual sit-down interviews, we learn things about Jane right along with Charlotte. It is as if we are experiencing the same revelations. Seeing Jane and Charlotte perform, you’d never guess they were so soft-spoken in real life. There’s breezy energy about the film that is difficult to describe. As a mother, it touched me in a very personal way. At 41, I’m only just becoming comfortable with questions like Charlotte asks of Jane. As an American, I acknowledge the cultural differences with which we discuss intimacy. In the conversations between Jane and Charlotte, I am in awe of their relationship. Will I be more comfortable having such an open line of communication with my daughter? My daughter, also named Charlotte, is just about to turn five, but it is something I aspire to attain.

Jane and Charlotte find common ground in parenting styles and celebrity. They speak openly about Jane’s lifelong dependency on sleeping pills, inspiration for songs, and her various marriages. The loss of her daughter Kate was perhaps the most impactful event in her life. The grief she carries is palpable. Jane and Charlotte discuss maternal guilt. It’s one of the most poignant through lines in the film. Charlotte’s eye and adoration for her mother are written all over this doc. It’s a lovely ode to a beloved icon from a daughter who continues to idolize her. As a mother, Jane By Charlotte has a revelatory feeling of intimacy. Gainsbourg‘s documentary makes me jealous in the best way possible.

Opens Friday, March 18th at the Quad Cinema in New York and
March 25th at the Landmark Westwood in Los Angeles
Expands to additional cities in April + Available on Digital May 6th (Mother’s Day weekend)

About Jane Birkin
A native of London, Jane Birkin began her career as an actress appearing in Michelangelo Antonioni’s Blowup (1966), and Kaleidoscope (1966). In 1968, she began a years-long working and personal relationship with Serge Gainsbourg; The duo released their debut album Jane Birkin/Serge Gainsbourg in 1969, and Birkin also appeared in the film Je t’aime moi non plus (1976) under Gainsbourg’s direction. Birkin later starred in the Agatha Christie adaptations Death on the Nile (1978), and Evil Under the Sun (1982), and continued to work as both an actress and a singer, appearing in various independent films and recording numerous solo albums. In 1991, she appeared in the miniseries “Red Fox,” and in the American drama film, A Soldier’s Daughter Never Cries in 1998. Having lived primarily in France since the 1970s, Birkin is the mother of photographer Kate Barry, actress and singer Charlotte Gainsbourg, and musician Lou Doillon.

About Charlotte Gainsbourg
Charlotte Gainsbourg grew up on film sets as both of her parents, Jane Birkin and Serge Gainsbourg, were involved in the film industry. At the age of 13, she debuted in her first motion picture playing Catherine Deneuve’s daughter in the film Paroles et Musiques. In 1986, Charlotte won a César Award for Most Promising Actress for An Impudent Girl. That same year she appeared in the film Charlotte For Ever written and directed by Charlotte’s father Serge Gainsbourg. From 1988 until today, Charlotte expanded her career with various projects such as The Cement Garden, Jane Eyre, 21 Grams, Ma Femme Est Actrice, I’m Not There, The Science of Sleep, Golden Door, The Tree, Samba, Mon Chien Stupide, and Lars von Triers’ films Melancholia, Antichrist and Nymphomaniac. In 2009, she won the award for Best Actress at the Cannes Film Festival for Antichrist. While Charlotte has been working on film projects, she led another rich career in Music as a singer and a composer and released several albums: Charlotte for Ever (1986), 5:55 (2006), IRM (2009), Stage Whisper (2011), Rest (2017).

 

SXSW 2022 review: ‘THE CELLAR’ begins with great source material.

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THE CELLAR

Filmed on location in Roscommon, Ireland, The Cellar tells the story of Keira Woods (Elisha Cuthbert), whose daughter mysteriously vanishes in the cellar of their new house in the country. Keira soon discovers there is an ancient and powerful entity controlling their home that she will have to face or risk losing her family’s souls forever.

Shudder original The Cellar made its debut at SXSW 2022 in the Midnighter’s section. Elisha Cuthbert helms this haunted house film alongside Eion Macken. As a husband and wife team working on a new Gen X influencer platform, their strangely inexpensive Irish mansion comes with more than some old furniture. With Mom and Dad busy pitching their ideas, kids Ellie and Steven are home alone when the power goes out. As Ellie descends the creepy stairs of the pitch-black basement in search of the fuse, she mysteriously disappears while on the phone with Kiera. 

Writer-director Brendan Muldowney made a short film in 2004 titled The Ten Steps (which you can find online.) The short film is horror perfection. The Cellar is a feature expanded from that story. The Ten Steps captured all the fear in 10 minutes. The Cellar takes a lot of cliches that genre fans will love, and frankly work well, and becomes an overlong and dimly lit film. As a mom, I felt Cuthbert’s sense of urgency was missing. These parents are the least panicked Mother and Father I’ve ever seen. Where are the missing posters? No tears of distress? 

As Kiera investigates the house’s history, we are introduced to everything from Jewish mysticism to quantum physics. I wasn’t expecting math to be a thing, yet here we are. I thought the record player that coaxed the family members into all sorts of trouble was clever. But, not so much the characters googling Latin quotations. It’s a lot. There are fleeting moments of greatness, such as an ancient abacus moving on its own, air blowing from underneath the cellar door as if a creature were heavily breathing. The classic scares worked best for me. The final 20 minutes is where the real action occurs, a clear nod to The Beyond. This is what I was waiting for, and it is genuinely satisfying. The visual change-up was an honest “Hell, Yes” moment, no pun intended. The Cellar is ultimately a film Shudder audiences will dig. So, simply sit back, don’t overthink it, and enjoy the devilish chaos.

 

*Perhaps ignore the fact that it will remind a few of you of Krampus.

Official Selection, SXSW 2022. If you miss its Shudder release, you can catch The Cellar in theaters on April 15 from RLJ Films.

To learn more about SXSW 22 click here!

Netflix documentary series review: ‘BAD VEGAN: Fame. Fraud. Fugitives.’ is the weirdest con job you’ll ever see. Streaming today!

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Presents

Bad Vegan: 

Fame. Fraud. Fugitives.
From Chris Smith, the executive producer of Tiger King and director of Fyre: The Greatest Party that Never Happened, comes BAD VEGAN: FAME. FRAUD. FUGITIVES., a wild four-part documentary series that explores how Sarma Melngailis, the celebrity restaurateur behind the glittering New York hotspot Pure Food and Wine, went from being the queen of vegan cuisine to being known as the “Vegan Fugitive.” Shortly after meeting a man named Shane Fox on Twitter in 2011, Melngailis begins draining her restaurant’s funds and funneling the money to Fox after he cons her into believing he could make her dreams — from expanding her food empire to making her beloved pitbull immortal — a reality…but only if she continues to obey his every request without question. A few years later the couple, now married and on the lam after stealing nearly $2 million from the restaurant and its staff, are found holed up in a Tennessee motel by law enforcement. Their undoing? A charge made under Fox’s real name, Anthony Strangis, for a Domino’s pizza. BAD VEGAN: FAME. FRAUD. FUGITIVES. takes viewers on a journey more bizarre than fiction.

On the heels of The Tinder Swindler and Inventing Anna, watching individuals fall under the spell of another human being is fascinating. The overlooked red flags are easy for me to spot as I watch from my couch at home. We’ve watched some crazy stories over the years, but nothing like Netflix’s documentary series, BAD VEGAN. Sarma Melngailis gets into hot water when a conman steals not only her heart but her employees’ money. But, is it that cut and dry? Witnessing this twisted plot unfold, I have serious reservations about the genuine involvement of Sarma in her own undoing. Desperate for funds, her entanglement and secretive marriage to Anthony Strangis leads to massive fraud, lies, and some of the strangest behavior from a smart and successful woman I’ve ever heard of.

The doc has unprecedented footage, some of which looks like it came from Strangis’ cell phone. Sarma’s moments of pushback while on the run show a clear head through her tears and anger. I’m not sure I believe her version. Through sit-down interviews with her former staff, restaurant associates, lawyer, and even her father, I don’t think they know what the real truth is, either. Along with phone calls between Sarma and Anthony, the series spans the rise and fall of this sophisticated businesswoman. The promises and threats she endured are, quite literally, unbelievable. When do we ask Sarma to take responsibility for her part in this apparent lunacy? The book deals and tv appearance feel inevitable if we’ve learned anything from Anna Sorokin (who is being deported back to Germany as of this week). Part of me wants Sarma to rise from the ashes, and yet there is this nagging feeling that she doesn’t deserve it. The series covers a lot, but I’m glad to know that I’m not the only one that has reservations *no pun intended* when it comes to Sarma Melngailis.

BAD VEGAN is now streaming on Netflix. We’re very eager to hear your thoughts as you watch.

Premieres on Netflix this Wednesday, March 16th, 2022

From Director and Executive Producer Chris Smith (Tiger King,
Fyre: The Greatest Party that Never Happened)
Executive Producers: Chris Smith, Ryann Fraser, Mark Emms

SXSW 2022 review: Winner of Best Cinematography ‘A VANISHING FOG’ is spellbinding journey of whimsy and warning.

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A VANISHING FOG

Facing the imminent return of an unnamed social and ecological violence, F – played by the emblematic and commanding newcomer Sebastián Pii in his debut cinematic role—yearns to overcome his human limitations and plan his escape, knowing all too well that his departure will come with a heartrending goodbye to the only world he has ever known.

It should be no surprise that A Vanishing Fog won the SXSW22 film festival award for Best Cinematography. This film not only speaks to the race against the climate crisis, but The Vanishing Fog also specifically tackles the helpless human aspect. The film follows a young man named F. He appears to be the last protector of an enormous and lush hidden landscape. As capitalist outsiders seek to buy his home, F’s internal struggle between escape and loyalty is palpable. Caring for his ailing father, attempting to communicate with any possible remaining ally by yelling out into the abyss, F understands the end is nigh, whatever that form may take. 

First-time cinematographer Gio Park shot A Vanishing Fog in the mysterious and formidable Páramo of Sumapaz—the largest swath of alpine moorland in the world. It is the first feature film to be shot in this location. You won’t believe such a place exists. It is so incredible that it looks to have been created on a soundstage or green screen. It will take your breath away. 

A Vanishing Fog is a film that deserves enormous screens. Imagine sitting in a room surrounded by IMAX-sized walls. The film begs this experience. I could easily see this becoming a staple at any museum. Lead actor Sebastián Pii leaves every ounce of himself in this role. He’s charming, innocent, desperate, endearing, and determined. You are right alongside his emotional journey. Visual grandeur aside, Pii captures your heart with his wonder and physical fearlessness. A Vanishing Fog is unlike anything you’ve experienced before. It’s a must-see.

 

A VANISHING FOG (Entre la niebla). Colombia/Czech Republic/Norway, 2021, 76 min. In English and Sunapakún with English subtitles. Director / Writer: Augusto Sandino; Producer: Augusto Sandino; Executive Producer: Alejandro Santo Domingo, Munir Falah and Nubia Stella Cubillos; Cinematography: Gio Park; Editor: Augusto Sandino; Production Designer: Constanza Romero; Sound Designer: Emil Nygård Olsen; Music: Emil Nygård Olsen; Principal Cast: Sebastián Pii, Mario de Jesús Viana, Christian Ballesteros; Worldwide Sales: Pluto Film.

About the director:

Augusto Sandino is one of the outstanding names in Colombian contemporary cinema. Winner of over 30 international accolades and the National Cinema Award 2000-2005 given by the Ministry of Culture of Colombia for his short Aniversario. His feature debut Gentle Breath (Suave el aliento) won the Special Jury prize and the FIPRESCI award at Tallinn Black Nights Film Festival in 2016. Founding Director of the Auteur cinema symposium manifesto with Carlos Reygadas, Lisandro Alonso and Amat Escalante in 2014, Sandino has also been the producer of his films plus the works La forma del presente (The Shape of Now) at DOK Leipzig Next Masters 2018; La torre (The Tower) at IFFR Bright Future 2018; and Karen llora en un bus (Karen Cries on the Bus) at Berlinale Forum 2011. A Vanishing Fog (Entre la niebla) is his second feature film.

SXSW.com

Review: ‘Pasang: In The Shadow of Everest’ Showcases a National Hero with Tenacity to Spare

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Pasang: In The Shadow of Everest

Pasang: In the Shadow of Everest brings to life the untold and inspiring story of Pasang Lhamu Sherpa, the first Nepali woman to summit Mt. Everest who, in her quest, awakened her country to the entrenched inequalities confronted and endured by women and in Nepal.

Why do people climb mountains? What is it that drives a person to climb to the peak of the highest mountain on earth? As a person afraid of heights and generally risk-averse, I, for one, will certainly never understand. But whatever it is that lights that kind of internal fire within a person, it is certainly not a male instinct alone. 

 Although not intentional, it was ultimately very appropriate that I watched Pasang: In The Shadow of Everest on International Womens’ Day. The film tells the story of Pasang Lhamu Sherpa, the first Nepali woman to summit Mt. Everest in 1993. Succeeding in a sport dominated by men and traditionally an elite pastime of the western world, Pasang also battled ethnic discrimination, cultural gender norms, and even political opposition to become a national hero. Filmmaker Nancy Svendsen does a lovely job presenting Pasang’s tenacity and determination, which boldly shines through as she pushes back against skepticism and critique at every turn.

 Just in time for Womens’ History month, this film is a poignant example of the many untold tales of female heroism that are frequently under-recognized. Pasang: In The Shadow of Everest is an inspiring story that deserves the attention and recognition of international audiences.

Pasang: In The Shadow of Everest premiered at SBIFF on March 3rd.

Director: Nancy Svendsen

Writer/Producer: Sharon Wood

Producer: Christy McGill

Executive Producer: Ang Dorjee Sherpa

TRT: 72 minutes

Country: USA

Year: 2022

Language: English, French, Nepali

SXSW 2022 review from Unseen Films: ‘The Blind Man Who Did Not Want to See The Titanic’ (2021)

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The Blind Man Who Did Not Want to See The Titanic

One of the great finds at SXSW, this is the story of Jaakko a  blind movie fan who has a long-distance relationship with a disabled woman he has never met in person. Because he is also in a wheelchair Jaakko’s mobility is limited so they have been unable to work out meetings. When circumstances take a turn Jaakko decides he has to make the trek to his lady love.

Beautiful romance turns thriller as we worry how this is all going to go. Things are made tenser thanks to director Teemu Nikki shooting the film to simulate blindness. Anything outside of our focus is blurry we can’t really see around Jaakko. It’s a genuine claustrophobia that heightens everything.

What makes this film work are the people. Everyone is wonderful. Actually, Petri Poikolainen as Jaakko is magnificent. This is an Oscar-worthy performance. It’s stunning. Poikolainen is so good that I want to see him in more films,  he’s so good that he makes it clear that we need to hire more people with disabilities. (Poikolainen is blind and has MS)

Highly recommended. This is one of the great finds of the festival

To read more of Steve’s coverage of SXSW22, head to Unseen Films!