BEST SELLERS
Lucy Standbridge (Aubrey Plaza) has inherited her father’s publishing house, and the ambitious would-be editor has nearly sunk it with failing titles. She discovers she is owed a book by Harris Shaw (Michael Caine), a reclusive, cantankerous, booze-addled author who originally put the company on the map decades earlier. In a last-ditch effort to save the company, Lucy and Harris release his new book and embark on a book tour from hell that changes them both in ways they didn’t expect.
Aubrey Plaza plays against type as Lucy. She’s a type-A editor on the verge of bankruptcy. She’s got a lot to prove. On the surface, this is the least brooding role she’s ever played. Unsurprisingly, that’s all a rouse, and Plaza is up for the challenge. Lucy is given a beautiful arch. Her backstory, like Harris’, is slowly revealed. This allows us to fall in love with both of these characters. Sir Michael Caine gives one of his career’s best performances. As curmudgeonly and reclusive writer Hariss Shaw, he has settled into a lifetime of secrets and sadness. At times, Caine is raucous and crass. Others, he is docile and pensive. The chemistry between Plaza and Caine feels like an honest-to-God mentorship onscreen. This is generational genius, and we are the witnesses.
Voracious readers will connect with this script. The film flows like a novel with its complex characters and ever-evolving nuance. The screenplay unfolds in three distinct chapters, befitting the subjects and full story. Both Lucy and Harris straddle the line between saving face and redemption. The passages from Harris’ fictional work touched my soul. I could feel my chest well up hearing them read by average folks along the book tour. By the finale of Best Sellers, I was in full tears. The totality of Anthony Greico‘s award-winning script has so much heart. It’s incredibly cathartic. These two people were meant to change each other. The messaging of identity and grief are undeniable. In the words of Harris Shaw himself, “Be brief, be brave, be truthful. ” Director Lina Roessler has done just that. Best Sellers is not to be missed.
Available In Theaters & On-Demand
This Friday, September 17, 2021
Starring:
Sir Michael Caine (The Dark Knight, The Prestige)
Aubrey Plaza (Safety Not Guaranteed, “Parks and Rec”)
Ellen Wong (Scott Pilgrim vs the World, “GLOW”)
Scott Speedman (Underworld, The Strangers)
Cary Elwes (“Stranger Things”, The Princess Bride)
Directed by Lina Roessler (Little Whispers: The Vow, Mustard Seed)
Written by Anthony Greico the screenplay won a 2015 Nicholl Fellowship in Screenwriting Award
Gala Presentation – 2021 Berlinale Film Festival
Is this another out-of-this-world Nic Cage movie? Duh. Is it like watching a graphic novel and an episode of MST3K, all at once?! Yup. Overall, the screenplay features the smallest bit of backstory, and perhaps an homage to films like Return To Oz, Mad Max, and even The Wiz. There is so much happening in this wild story. I would not be angry if sequels popped up sooner rather than later. I have so many questions about this world that I’d even love a prequel! Give me all the whacked-out colorful silliness that is Prisoners of The Ghostland. I demand a franchise.
Bill M
This film’s visual is all about vibrant color. Your eyes dart everywhere in an attempt to take in every detail. Joseph Trapanese’s score is gorgeous. You will not be able to ignore it. The costumes are wild, and the set dressing is bewildering. Prisoners of The Ghostland is a genre-defying spectacle. It’s captivating in its eccentricity. It deserves to be viewed on the largest possible screen. You’ve never seen anything like this film. The story is completely disjointed at times, but that’s not a reason to write this off. Will I watch this again because it’s destined to be a cult favorite? You know it.
“What’s out there, is scarier than what’s in here,” sound like famous last words. Shelter in Place has a relatable setup, especially considering the past 18 months. There’s an empty hotel, a newlywed couple, two hotel staff, and a whole lot of questions. Jonathan and Sara have an enormous chip on their shoulders as they are in quarantine in the beautiful Hollywood Roosevelt Hotel. Sara is an influencer and David moves money around. They fill their time wandering the halls of the hotel, taking advantage of the two staff members, and snooping in places they should not be. Consumed with the boredom and getting on one another’s nerves, Sara finally realizes something is amiss in this luxurious and lifeless hotel.
Ty is the general manager of the hotel, with the patience of a saint. Kevin Daniels plays him immaculately. I think he’s the most nuanced character. Daniels is a star. I’d watch him in anything. Adela is the overly attentive maid from Poland. There’s big Season 1 of American Horror Story energy coming from her. Actress Ola Kaminska gives it her all. She’s eerie as hell. Jonathan is played by Brendan Hines. He’s pretty punchable, super douche, and I do mean that as a compliment. Tatjana Marjanovic is Sara. She’s strong in her emotional journey and has all the makings of a scream queen.
The editing and cinematography are noticeably effective in allowing you to feel trapped and isolated. The use of red lighting is ominous and consuming. Directed and written by Chris Beyrooty and Connor Martin, the screenplay has Sara run out of the medication she’s taking, leading to panic attacks. The realism factor of a couple in lockdown allows Shelter in Place to push genre boundaries. It is anything but your typical genre film. There is some powerfully mean dialogue that will sound familiar to anyone in a relationship crisis. Just when you think the narrative hits a lull, you are reminded that something is very wrong here. While the final 15 minutes is heart-pounding, ultimately I haven’t a damn clue what Shelter In Place‘s ending really means. It’s a lot of successful, slow-burn build-up for a payoff that could have gone a million different directions. I’m not sure this was the right turn.
Frankie (John Pollono), Swaino (Jon Bernthal), and Packie (Shea Whigham) are working-class men that share a friendship bond going back to childhood. That bond is strengthened further by their co-parenting of Frankie’s beloved daughter Crystal, who has spent a lifetime being raised by a loving– if raucous– male collective. This sets the scene for a fascinating character study of a group of men raised in a culture steeped in toxic masculinity who struggle to push back against it but often fall incredibly short. 
At first, Small Engine Repair seems like a dark family drama with a comedic edge. However, it is not until the second act that the viewer realizes that they are in the midst of a thriller. Complex performances by the entire cast gradually build tension through sharp looks, quick words, and complicated histories until the atmosphere on screen is so thick with menace that suddenly, every word and movement is a threat. 
While the success of this film hinges on the commitment of the spectacular ensemble, I must specifically salute Enzo Cellucci and David Krumholtz. The majority of the film revolves around Max remaining an observer. It is not until he is forced to participate that we are fully consumed by the heat of embarrassment only actors know in their souls. Cellucci’s emotional and physical beatdown creates greatness. As Adam, David Krumholtz is a goddamn character study in CLASS. It is everything, from the slicked-back hair, the robe over silk pajamas, and the pièce de résistance, the accent. The impeccably precise bastardization of a British accent is a thing of glory. If your ear is sharp enough, you’ll notice how it changes from scene to scene. It is, as they say, the chef’s kiss. CLASS is easily one of the most honest and cringeworthy shorts I’ve ever watched. I lived inside every second, and I loved it just as much. I’m still laughing. I am dying to see this developed into something bigger. It certainly deserves the audience. To everyone involved, Bravo!
What would I do if I were trapped in a bathroom with my family? When I watch films, I instantly put myself in the shoes of the lead protagonist. This time was different. I put myself in the shoes of Vinessa Shaw‘s character, Diane. Under the auspice of a tornado warning, the safety of her children is her main priority. No one could have predicted the evil that would ensue as they realized they were on their own. Shaw has a moment so gutwrenching, I could not hold back tears having two small children of my own. John James Cronin is fantastic as Bobby. He perfectly encapsulates innocence and fear.
Sierra McCormick, who I believe was the best part of American Horror Stories, nails it again. Her anxiety is palpable, and she is unafraid to leave it all onscreen. If she isn’t the next genre darling, I’ll be shocked. The script does a great job of highlighting the awkwardness, the lack of privacy, and the growing tension under duress. Who wants to use the toilet in front of your family? Screenwriter Max Booth III provides us with a sharp left turn a third of the way in. The gasp and look of horror on my face must have been hideous. No matter how I assumed this story would play out, that one moment is so mind-blowing it will send chills down your spine. The film’s most impactful aspect is the sound. Man does this cast sell it. Your own imagination is your worst enemy while watching. The ambiguity lets every viewer come away with a different and twisted result. Director Sean King O’Grady has an undeniable hit with We Need To Do Something. Here’s hoping he and Booth team up again and again.
Growing up Catholic didn’t honestly impact me until 8th-grade. I should say that attending Catholic School didn’t make me feel any different until one specific religion class. It was a moment that changed my entire life. It was explained to me, that telling my mother I was gay would be the equivalent of telling her I had committed murder. That was a defining moment. Today, my mother lovingly refers to one of my younger sisters and me as her “heathen children.” I begrudgingly attended Christmas and Easter Mass with my family throughout my college years. Then I put my foot down. I would no longer perpetuate the charade. To put this all in extra context, I am a straight woman. I grew up in the arts, surrounded by some of the most extraordinary humans on this planet. I continue to defend equal rights and acceptance, despite pushback from too many. Films like Scott Boswell’s A WAKE are important for families who may not even know they are in crisis. This story offers acceptance and unconditional love as lifesaving tools.
The cast is amazing. Each actor brings the energy necessary to tell this story with truth and realism. Some moments are awkward, while others are rage-inducing. Megan Trout, as older sister Megan, is great. She’s the voice of reason in all of the chaos, whether the other family members are ready or not. Kolton Stewart, as Jameson, is lovely. His quiet strength brings a calm to the sadness. Bettina Devin as Grandmother is a gem. She’s elegant and understanding. Sofia Rosinsky‘s neurotic mentality is a story unto itself. Through flashbacks, we can see a clear progression of her personality, her growing manic tendencies, and genuine curiosity. She’s a spitfire.
A story of cyclical abuse with a touch of magical realism, Baby, Don’t Cry was a completely unexpected journey. Fair warning for survivors of abuse, this film may be a trigger watching for you. The deeper you go into the story the more complex our leads are revealed to be. Two young people in hopes of escaping their sad circumstances, latch onto one another. It’s evidently unhealthy to the audience but entirely understandable. Lack of father figures is a running theme, as are racism and mental illness. The emotional burdens that Baby and Fox carry are unrelenting. Zita Bai, our leading lady, and creator of Baby, has given us a thoroughly nuanced character. Some moments will make you infuriated with her, while others provoke sympathy It’s an extraordinary culmination of emotions. Baby, Don’t Cry will make you cringe, shake your head, and fill you with a bit of wonder.
Thanks to Twitter, an estranged and dysfunctional family throws an accidental party on their move-out day. A barrage of quirky characters show up to explore and wreak their own brand of havoc. Wonderful Paradise is an absurdist sideshow. I would genuinely recommend watching this high. The number of times I exclaimed, “Huh?”, “What?”, or, “Sure, why not?! ” I lost count quite frankly. I must applaud the cast for their absolute commitment to their craft. The cast grows exponentially as the film rolls on and every single performer gives it 110%. The slow and district progression of the set is wild. The practical FX combined with the wackiest of screenplays make Wonderful Paradise perfect for Fantasia audiences. It is unlike anything I’ve ever seen before. Do I understand the final result? Absolutely not. Would I watch it again? Don’t threaten me with a good time.
Perry Blackshear is the man with all the hats taking on directing, writing, cinematography, and producing. One of the best goosebumps-inducing moments occurs in the form of actress Libby Ewing’s hand appearing from nowhere. There is something so startling about this simple action. Its impact speaks volumes. There is a nice connection between the physical and metaphorical. The fight training scenes are a great representation of emotional preparedness. And without spoiling anything, the devil you know is sometimes a safer bet than the devil you don’t. When I Consume You is an addiction allegory. Whether that is drugs or depression, the weight of trauma never quite leaves you. While the pacing of the film had some static moments, overall this is a fresh take on a haunting premise.
Performances across the board are stellar. The commitment to the absurd is magic. The chemistry within this cast is outstanding. They are charming and energetic. It’s like watching a group of bright-eyed kids play. The camera work is a real marvel considering the impressively long takes. This film is all about timing, no pun intended. The cuts, if any, are tricky to spot. You’d think that reliving scenes would get old, but they manage to feel fresh each play based on location. Makoto Ueda’s script is that phenomenal. The camera also allows the viewer to feel like they’re part of the action. BEYOND THE INFINITE TWO MINUTES will be a huge hit with Fantasia audiences of all ages. It’s a nonstop, joyous experience.
The film has some super fun camera work, taking advantage of go-pro technology, warping depth perception, and speed dynamics. Genuine laugh-out-loud dialogue pairs excellently with the ultra-violence. The choreography that went into some of these takes should be applauded. Performances are riotous. The line between villain and hero is blurred, making for an increasingly fun watch. I could easily see the rights for the script being snatched up for Western audiences. Could Fantasia Fest 2021 audiences be seeing the first film in a potential franchise? Sweetie, You Won’t Believe It… until you see it for yourself.
At an impasse of religion and love, the title of this thought-provoking short film suggests that it’s a horror film. While not touted as such, what unfolds in 25 minutes between family members is absolutely horrific. To fully appreciate the nuance in Over My Dead Body takes an open mind. Often, we place ourselves in the shoes of the characters on screen. Here, depending on your religious beliefs (or lack thereof), the complexities are unsurpassed. Having religion forced upon me as a child backfired at the age of about 14. In a world filled with volatility caused by media corporations, conflicting gods, and traditions, Over My Dead Body hits harder in modern times. Our families are supposed to love us unconditionally. What happens when that isn’t true? The cinematography is smart and takes advantage of the lush sets and costumes. Performances from this true ensemble cast are magnetic. You know this family. It resembles your own in more ways than you might realize at first watch. With an ending that will leave you breathless, the impact of this short should echo loudly.
Sefchik’s visual work is nothing short of stunning. This should come as no surprise given his extensive career as a digital artist with the likes of George Lucas and James Cameron. The details are immaculate. While the performances from our dedicated cast veer into the amateur lane at times, their brightest moments come when interacting with what isn’t actually there. That’s more impressive than it sounds. Sefchik also co-wrote the script with producer Derrick Ligas. Social commentary is smartly placed inside a horror film. Themes of environmental destruction, media, and capitalism soak this story in realism. Using personal fears to goad our players into darkness is a brilliant touch. When greed rules, evil prevails. The fact that this entire film was made for $65,000 is mindblowing. Any indie filmmaker can attest to that. BEHEMOTH is a win in its script and most certainly in Sefchik’s mesmerizing VFX. If this is his first foray into feature storytelling, I cannot wait to see, quite literally, what comes next.
You must be logged in to post a comment.