Review: ‘VOYAGERS’

Set in the near future, the film chronicles the odyssey of 30 young men and women who are sent deep into space on a multi-generational mission in search of a new home. The mission descends into madness, as the crew reverts to its most primal state, not knowing if the real threat they face is what’s outside the ship or who they’re becoming inside it.

What could go wrong with attempting to play God? Only everything. Instincts suppressed lead to one dangerous boiling pot of hormonal and phenomenally intelligent young people. It’s all one big morality question. Putting these unsuspecting kids in this position to save the entirety of the human race is a lot to ask. Then to lie to them, control them, use them without allowing them to be fully human themselves is cruel. And yet it’s not that simple. Limited resources forced this scenario. The likelihood of its success already feels like an uphill battle. All hell breaks loose when something attacks Richard, the only adult on board. Will these 30 young people fight their instincts or one another?

Colin Farrell as Richard is remarkable. He is the father figure. Loving, protective, and genuinely wanting these kids to succeed. Lily-Rose Depp as Sela is astonishing. She walks the perfect line of innocence and strength. Her journey, like Sheridan’s, is fascinating to watch evolve. Fionn Whitehead plays Zac with terrifying aggression. His portrayal of unhinged, pure testosterone-driven rage is all too familiar in the best way possible. Tye Sheridan plays Christopher with a curiosity and a growing intensity that makes him the perfect protagonist. He is levelheaded, kind, and determined to survive. Sheridan easily owns his leading man status.

Voyagers becomes a near-future version of Lord Of The Flies. It’s chaos created and chaos inevitable. The set is cool as hell. It feels immense and claustrophobic all at once. Trevor Gureckis‘ score is gorgeous. Writer-director Neil Burger has given audiences a heart-pounding and brilliant film. This one will stick with you long after the credits roll.

U.S. Release Date:          April 9, 2021, in theatres
Running Time:               108min    

Review: ‘Painkiller’ is the perfect Bill Oberst Jr. vehicle.

Painkiller

After a man loses his daughter to a drug overdose, he begins a vigilante campaign to bring down the white-collar criminals, including the doctors and pharmaceutical companies, behind the opioid epidemic.

PAINKILLER boasts gorgeous opening titles with 360-degree slow-motion character images surrounded by raining down multicolored pills. Combined with a truly magnificent score, it feels like the audience is being set up for a wild ride. Unfortunately, the overall experience is less thrilling. The premise is intriguing. It’s a revenge story that any parent could get behind. The film gets bogged down by amateur performances from the majority of the cast. I also scratched my head at the idea that a heart surgeon, whose wife is begging for his money in a divorce proceeding, didn’t reside in a more upscale home. This could have been easily addressed by filming those scenes in the same location used for our leading man. After seeing the clarity and effectiveness of the drone shots, this detail disappointed me.

The acting is either over-the-top or underwhelming, with three notable exceptions. Khalmimah Gaston as Detective Janet Simone is an awesome scene partner for Bill Oberst Jr. Their dialogues lays the emotional groundwork that drives the plot. I absolutely believe her as a cop. She’s even-keeled and always present with Bill. Tom Parnell, who also wrote and produced the film, is very strong as Dr. Thomas Mac. While I did think his character deserved better accommodations, his chemistry with his fellow cast members is solid. That final scene is some of the best written and performed in the film. Now onto our leading man Bill Oberst Jr. The tone of his voice is intoxicating. There’s a vulnerability to his portrayal of Bill that makes the audience root for him. His scenes, both as he interacts with callers on his radio show and as he seeks revenge on those who push opioids, are captivating. He is undeniably the number one reason to watch PAINKILLER.

*ON DEMAND/DIGITAL/DVD* MAY 4, 2021

Assessment Strategies for the Modern Classroom: Professional Development Insights

Assessment is a cornerstone of effective teaching and can create massive change in your school, providing vital information on student learning, guiding instructional decisions, and ensuring that educational goals are being met. However, traditional assessment methods, often focused on rote memorization and standardized testing, may not fully capture the depth and breadth of student understanding in today’s dynamic educational environment. To meet the demands of modern classrooms, teachers must embrace innovative assessment strategies that are flexible, inclusive, and aligned with 21st-century learning objectives.

This article explores the evolving landscape of assessment, differentiating between formative and summative assessments, and highlighting the role of professional development in mastering these techniques. It also offers practical tips for teachers looking to enhance their assessment practices, ensuring that evaluations are meaningful, equitable, and supportive of student growth.
The Changing Face of Classroom Assessment

In the traditional model of education, assessment was often a final step in the learning process—a summative event designed to measure what students had learned at the end of a unit or course. While summative assessments remain important, there is a growing recognition that they represent just one piece of the puzzle. Modern education increasingly emphasizes the importance of formative assessments, which are ongoing processes that inform instruction and support student learning as it happens.

1. Formative vs. Summative Assessments: Understanding the Difference

Formative Assessments: These are informal, often ungraded assessments that take place during the learning process. The goal of formative assessment is to monitor student learning and provide feedback that can be used to improve both teaching and learning. Examples include quizzes, class discussions, peer reviews, and observation. Formative assessments are integral to a responsive teaching approach, allowing educators to adjust their instruction based on real-time insights into student understanding.

Summative Assessments: These are formal, graded evaluations that occur at the end of a learning period, such as a unit, semester, or course. Summative assessments aim to evaluate what students have learned and to what extent they have achieved the learning objectives. Examples include final exams, standardized tests, and major projects. While summative assessments are crucial for measuring outcomes, they often don’t provide the immediate feedback needed to guide instruction during the learning process.

Innovative Assessment Methods for the Modern Classroom

As education evolves, so too must our approaches to assessment. Here are some innovative strategies that teachers can incorporate into their classrooms to better assess student learning in a holistic and meaningful way:

1. Portfolio Assessments:
Portfolios are collections of student work that demonstrate progress, achievement, and growth over time. Unlike traditional tests, portfolios allow students to showcase a range of skills, including creativity, critical thinking, and problem-solving. They also provide a more comprehensive view of student learning by including various forms of work, such as written assignments, projects, and reflections. Portfolios can be particularly effective in subjects like art, writing, and project-based learning.

2. Performance-Based Assessments:
These assessments require students to apply their knowledge and skills in real-world or simulated scenarios. For example, instead of taking a written test on a scientific concept, students might conduct an experiment, present their findings, or create a model. Performance-based assessments are valuable because they assess not just what students know, but how they can use that knowledge in practical, often collaborative, contexts.

3. Peer and Self-Assessments:
Incorporating peer and self-assessment encourages students to take ownership of their learning. Peer assessment allows students to review each other’s work, providing constructive feedback and learning from their peers. Self-assessment helps students reflect on their own progress, strengths, and areas for improvement. Both methods foster a deeper understanding of learning objectives and promote metacognition, which is critical for lifelong learning.

4. Digital and Adaptive Assessments:
Technology offers new avenues for assessment that can be both engaging and personalized. Digital assessments, such as online quizzes and interactive simulations, can provide immediate feedback and adapt to the individual needs of students. Adaptive assessments adjust the difficulty of questions based on student responses, ensuring that each student is challenged at the appropriate level. These tools can be especially useful in differentiated instruction, allowing teachers to cater to a diverse range of learning needs.

5. Project-Based Assessments:
Project-based learning (PBL) integrates assessment into the learning process by requiring students to complete complex, multi-step projects that demonstrate their understanding and application of key concepts. PBL assessments often culminate in presentations, reports, or physical products that are evaluated based on a rubric. This method encourages deep learning, collaboration, and critical thinking, making it a powerful alternative to traditional exams.
Aligning Assessments with Learning Objectives

To be effective, assessments must be aligned with the specific learning objectives of the course or unit. This alignment ensures that assessments are measuring what they are intended to measure and that the results accurately reflect student understanding.

1. Define Clear Learning Objectives:
Before designing assessments, teachers must first establish clear, measurable learning objectives. These objectives should outline what students are expected to know, understand, and be able to do by the end of the learning period. Objectives should be specific, achievable, and aligned with broader curriculum standards.

2. Use a Variety of Assessment Methods:
Different types of assessments provide different insights into student learning. By using a variety of methods—such as quizzes, projects, essays, and presentations—teachers can capture a more complete picture of student achievement. This approach also allows students to demonstrate their learning in multiple ways, catering to diverse learning styles and strengths.

3. Develop Rubrics and Criteria:
Rubrics provide a clear framework for evaluating student work, outlining specific criteria and performance levels. Well-designed rubrics help ensure consistency and fairness in grading, while also providing students with a clear understanding of what is expected. Rubrics can be used for both formative and summative assessments, offering a structured way to provide feedback and guide student improvement.

4. Continuously Review and Adjust:
Assessment strategies should be regularly reviewed and adjusted based on their effectiveness in measuring student learning. Teachers should reflect on assessment outcomes, seek feedback from students, and make changes as needed to better align assessments with learning objectives. This iterative process helps ensure that assessments remain relevant and meaningful over time.
The Role of Professional Development in Mastering Assessment Techniques

To stay at the forefront of effective assessment practices, teachers must engage in ongoing professional development. This continuous learning helps educators refine their skills, stay updated on the latest research, and implement innovative strategies in their classrooms.

1. Attend Assessment Workshops:
Workshops focused on assessment techniques provide hands-on learning experiences, allowing teachers to explore new methods and tools in a collaborative setting. These workshops often cover a range of topics, from designing formative assessments to using technology in assessments. Attending these sessions can provide practical insights and inspire new approaches to assessment.

2. Enroll in Online Courses:
Online courses offer flexibility and depth, allowing teachers to dive into specific aspects of assessment at their own pace. Platforms like Coursera, edX, and FutureLearn offer courses on educational assessment, formative assessment techniques, and data-driven decision-making. These courses often include case studies, interactive activities, and opportunities for reflection, making them a valuable resource for teachers looking to enhance their assessment skills.

3. Join Professional Learning Communities (PLCs):
Professional Learning Communities are networks of educators who come together to share ideas, strategies, and resources. Joining a PLC focused on assessment can provide ongoing support and collaboration, helping teachers stay informed about best practices and emerging trends. PLCs can be found within schools, districts, or online communities.

4. Read Educational Assessment Literature:
There is a wealth of literature available on the topic of educational assessment. Books such as “Classroom Assessment & Grading That Work” by Robert J. Marzano and “The Formative Assessment Action Plan” by Nancy Frey and Douglas Fisher offer valuable insights into effective assessment strategies. Regularly reading up on the latest research and theories can deepen teachers’ understanding and inspire new approaches in their classrooms.

5. Participate in Reflective Practice:
Reflective practice is a key component of professional growth. Teachers should regularly reflect on their assessment practices, considering what works well and where there is room for improvement. This reflection can be enhanced by peer observations, student feedback, and self-assessment, creating a continuous cycle of learning and improvement.
Conclusion: Elevating Assessment in the Modern Classroom

Effective assessment is not a one-size-fits-all process—it requires careful planning, alignment with learning objectives, and a willingness to embrace new methods and tools. By incorporating innovative assessment strategies, aligning assessments with clear objectives, and engaging in ongoing professional development, teachers can create a more responsive and equitable learning environment.

For modern educators, mastering the art of assessment is an ongoing journey. With the right tools, strategies, and mindset, teachers can transform assessment from a mere evaluation tool into a powerful driver of student growth and success. As the educational landscape continues to evolve, so too must our approaches to assessment—ensuring that every student’s learning journey is recognized, supported, and celebrated.

Review: ‘The Toll’ plays upon familiar fears.

 

THE TOLL

Synopsis: Supernatural terror and spine-tingling suspense highlight this gripping journey into fear. When Cami orders a taxi service to take her to her father’s country home, she’s hoping for a quiet and uneventful ride. But a wrong turn by Spencer, her chatty driver, results in the car stalling on a dark and remote road. After several threatening and inexplicable occurrences, Cami and Spencer realize they are being watched—by an unseen presence that sees them as trespassers, and is ready to exact a deadly toll.
Writer-director Michael Nader sets up The Toll in a marvelous way. It plays upon the very real fears of ride-sharing. My heart was already in my throat minutes in. The writing is sharp and relatable. A woman alone in a car with a male driver, perhaps a tad too chatty for the hour and length of the drive. The pitch-black atmosphere, barely illuminated by headlights and dashboard glow adds to the fear factor. Ramp up the terror with a backwoods legend and this film settles into one extremely unsettling watch. Do your eyes a favor and watch it in the dark.
The first half and the finale of The Toll are hugely successful. My misgivings arrive in the middle of the film with a sudden tonal shift. It feels like Nader took a handful of horror DVDs, tossed them into the air, and used the plots/visuals from whichever films landed inside a circle on the ground. The trauma and the gaslighting aspect are the most intriguing. Credit where credit is due, the final twist is brilliant. While The Toll has a lot to explore with solid performances and a genuinely scary emotional build-up, I’m not sure if it works as a whole.
Saban Films’ THE TOLL opens In Theaters, On Demand, and Digital on Friday, March 26.
Writer/Director: Michael Nader
Cast: Jordan Hayes, Max Topplin, James McGowan, Rosemary Dunsmore
Producers: Max Topplin, Jordan Hayes, William Day Frank
Genre: Horror, Thriller
Run Time: 80 mins
Rating: R for Language Throughout and Some Violence
Distributor: Saban Films

SXSW 2021 reviews: ‘Stuffed’, ‘Don’t Peek’, ‘The Moogai’ are all chilling and unique shorts.

STUFFED

A musical film about a taxidermist who dreams of stuffing a human and a man she meets online so afraid of ageing he volunteers to be her specimen. An unexpected romantic spark between them complicates their plans.

Honestly, you had me at the categories “Musical, Horror”. This is the perfect short for genre fans who are clamoring to get back into theatres of all kinds. The score is wonderfully quirky. It will strike a chord with Sondheim fans. It’s is very Sweeney Todd inspired in sound and darkness. Written by Joss Holden-Rea and Theo Rhys, directed by Rhys, and music and lyrics by Holden-Rea, these two make one hell of a creative team. (I’m begging for a feature-length version of this story) Actors Anthony Young and Alison Fitzjohn have gorgeous voices. Their ability to connect with one another and the audience is a thing of beauty. The cinematography is carefully curated. The practical FX are outstanding. STUFFED is a unique experience you do not want to miss out on. This is the magic that audiences of SXSW salivate over.


DON’T PEAK

A young woman discovers a frightening video game character intent on crossing into the real world.

It’s rare that I jump and feel the need to cover my eyes these days while watching horror. I’ve consumed so much I can usually predict what’s eventually going to happen. In this hair-raising short, a game of Animal Crossing becomes a nightmare when an invited entity crosses from gameplay to real life. I found my heart in my throat. To be that successful in terrifying me in under 7 minutes, I say, “Bravo, writer-director Julian Terry. You got me.”


THE MOOGAI

An Aboriginal psychological horror, THE MOOGAI is the story of a family terrorized by a child-stealing spirit.

Whether a literal interpretation of an actual demon or not, so many theories swirled in my mind as I sweat through my t-shirt watching this short film. This feels like an intense form of gaslighting. Or maybe it’s a product of sleep deprivation. Perhaps it’s Postpartum? The terror is seen and unseen and in this short, the performances take you to the darkest parts of your mind. As a parent, it’s beyond unsettling.

 

SXSW 2021 reviews: ‘I’m Fine (Thanks For Asking)’ & ‘Sound Of Violence’

I’M FINE (THANKS FOR ASKING)

When a recently widowed mother becomes houseless, she convinces her 8-year-old daughter that they are only camping for fun while working to get them off of the streets.

Women have been trained to be pleasers. Asking for help has not been hardwired into our DNA. It takes a lot for most of us to ask for help. In I’m Fine (Thanks For Asking) we follow Danny over the course of one very long day. She is desperately trying to earn the last $200 she needs to secure a new apartment for her and her daughter Wes. It is not going well. As she pounds the pavement to get them out of this tragic position, the reality of her situation slowly takes hold. I’m Fine (Thanks For Asking) boasts a genuine screenplay about grief and struggle. Kelley Kali‘s performance, direction, and writing are feminist-driven and incredibly honest. From comical to heartfelt, it was refreshing to hear the juxtaposition in dialogue. There are scenes where Kali allows herself the express exasperation. Others in which she pleads for leniency. Each encounter is equally important. This character is a fully fleshed-out woman with flaws and determination. Kali shows us she’s got the “it” factor. In fact, her performance is so down-to-earth to earth you might think this was a documentary. It’s raw and revelatory. So much about this film feels like the representation we need to see more of. 


SOUND OF VIOLENCE

Alexis recovered her hearing during the brutal murder of her family when she was ten. The visceral experience awakened synesthetic abilities in her and started her on an orphaned path of self-discovery through the healing music of brutal violence. She goes on to pursue a career teaching and experimenting to find new sounds. She is supported and loved by her roommate Marie who is unaware of the dark secrets behind Alexis’ unique music and the part she unknowingly plays. Faced with the likelihood of losing her hearing again, Alexis escalates her pursuit of her masterpiece through gruesome sound experiments and devastating designs. She won’t let anything stop her not even love.

This film is definitely about trauma. That’s undeniable. Alexis is dealing with synaesthesia (the ability to see sound) and intermittent bouts of losing the hearing she has regained. Yes, it’s a lot. Her PTSD coping strategy goes off the rails faster than anticipated. The sound editing in this film is key to its success. Color is another factor that helps the audience immerse themselves into Alexis’ mindset. To auditorily and visually understand her euphoria is important here. This is the film’s most successful aspect. It is truly glorious. But something stalls the overall flow of the film. What I think is off is the order in which we see her unusual “Experiments” occur. The nonchalance is of it all needed to be explored more. I would have loved to see some scenes with a psychotherapist juxtaposed with the behavior. Is it fair to assess this film as one woman’s perfect form of torture porn? Maybe not. It’s certainly more complex. The beginning had so much potential but it really jumps the shark about 30 minutes in. Jasmin Savoy Brown as Alexis is as committed as they come, but I think the material fails her. Detective Fuentes’s dialogue is so over the top it reads farcical.  There is a lot to work with but Sound of Violence ultimately becomes silly. Alexis’s journey begins as extreme commitment and mutates into complete disassociation.

SXSW 2021 reviews: ‘Language Lessons’ translates universally, and ‘Violet’ silences the voices that haunt us.

LANGUAGE LESSONS

A Spanish teacher and her student develop an unexpected friendship.

Unique, shocking, insightful, complex, beautiful, these are a few words that describe one of the best films from this year’s SXSW virtual festival. Two strangers become connected through chance and a gift of Spanish lessons. Cariño and Adam communicate through zoom, voicemail, genuine human connection. Mark Duplass plays Adam. Unsurprising that he is completely natural and down to earth. You’re instantly enamored with his performance. Natalie Morales is charming and honest. She’s funny and relatable. Their chemistry is the stuff of movie magic.  I would love to see them paired up again and again. They completely work around the entire subject of Covid. This could be happening at any point in time and that’s nice to feel right now. Ultimately, this screenplay is about the human spirit without a filter. Written by Morales and Duplass, and directed by Morales, Language Lessons is profound and revealing. It will touch you in ways you won’t expect. If you are looking to understand a new language, consider help from this experts in B2B transcriptions.

 

VIOLET

A film development executive realizes that “guiding voice” inside her head has been lying to her about everything.

I don’t know if a film could be any more relatable to everyone. My husband used to point out how negatively I spoke about myself. Once I noticed the self-deprecating behavior, I started noticing my mother doing the same thing. It’s a learned behavior. One we permit to exist. Olivia Munn, who wowed me back in The Newsroom, represents so many of us. This issue is ageless, ingrained, suffocating. Her vulnerability and honesty shine and we’re better for it. Justin Theroux‘s voice acting is the dickheaded tone we all know too well. What a fantastic choice. The internal battle of never feeling like we’re enough is universal. In Violet, the visual juxtaposition of handwritten thoughts, like a right-brain/left-brain battle, and Theroux as “The Voice” is perfection. When you finally catch onto the overall picture, it’s really quite genius. It’s telegraphed without our knowledge early on. Writer-director Justine Bateman nails her feature debut. What a complex and carefully curated script. Women, in particular, are going to be locked into this film.

SXSW 2021 review: ‘JAKOB’S WIFE’ gives us everything to sink our teeth into.

JAKOB’S WIFE

Jakob's Wife

Anne, married to a small-town Minister, feels her life has been shrinking over the past 30 years. Encountering “The Master” brings her a new sense of power and an appetite to live bolder. However, the change comes with a heavy body count.

Jakob's WifeCasting two of the biggest horror legends in Larry Fessenden and Barbara Crampton was pure genius. Fessenden gets his comeuppance as a misogynist minister and clueless husband when he stumbles upon the reason his wife is so different as of late. Witnessing him bungling around is extremely satisfying. His chemistry with Crampton is perfection. Barbara plays Anne; a woman who is not allowed to have a point of view, let alone shine. She is the dutiful wife who puts her dreams aside for stability. Her initial sadness is palpable. Once circumstances change, Crampton gets to play a new completely new role. She is fierce as hell. I loved every second of this character’s second chance at life. Her performance is borderline camp and I could not get enough of her. Crampton never seems to stop working.  After this role, I can imagine she’ll be even more overwhelmed with offers.

Jakob's WifeTravis Stevens does an incredible job of highlighting the mundane and oftentimes loathsome trappings of marriage. The result of 30 years of oppression that Anne tolerates is infuriating but creates the perfect backdrop for her arc. This script is about the restructuring of power. Even the title is genius, subconsciously telling you that Anne isn’t in charge of her own identity. I laughed out loud and cheered audibly when Anne begins to stand up for herself. The pure, unadulterated sass is magic. After Girl On The Third Floor, I expected a lot from Stevens. Boy, does he deliver the goods. (Keep an eye out for CM Punk to make a quick appearance, btw.) Jakob’s Wife has kick-ass music from Tara Busch. Yvonne Reddy‘s costumes are carefully curated to reflect the vibrance of Anne’s newfound confidence. Based on Girl On The Third Floor, where bodily fluids were aplenty, I assumed the gore factor would be high. In fact, the amount of blood is glorious and over-the-top to the point of giggle fits. Stevens’ dialogue maintains its wit and unfiltered outbursts. Perhaps my favorite bit comes in the form of Crampton telling a little girl to, “Fuck Off.” But his would not be the only time I guffawed during Jakob’s Wife. A scene that has Anne rearranging her living room furniture is anything but ordinary. It’s revelatory. There’s a Death Becomes Her wackiness to it all. As one of the all-time great genre films, this is a huge compliment. Visually, the Master is clearly inspired by Salem’s Lot and the classic Nosferatu. This film is not just a vampire movie, it’s a complex look at relationships. It’s a feminist awakening. There is much to love about Jakob’s Wife. It’s one of the best films from this year’s SXSW virtual fest. It’s destined to be a massive hit, breaking the genre molds to make Crampton, Fessenden, and Travis Stevens household names.

SXSW 2021 review: ‘Broadcast Signal Intrusion’ and ‘Alien On Stage’

BROADCAST SIGNAL INTRUSION

In the late 90s, a video archivist unearths a series of sinister pirate broadcasts and becomes obsessed with uncovering the dark conspiracy behind them.

Harry Shum Jr was one of the most underutilized actors on GLEE. With a true leading man role in Broadcast Signal Intrusion in the Midnighters section, he was up against genre fans’ huge expectations. I think he definitely delivered. He gave us brooding vulnerability and a badass attitude that played well against the jarring imagery of the tapes. They were truly skin crawling. The film’s score has a throwback feel. It’s pure noir thriller deliciousness. The cinematography is certainly noteworthy. There is no denying the inspiration from Brian De Palma‘s ‘Blow Out.’ Gentry’s finale leaves a lot of unanswered questions but Shum holds his own in an inspired by true events screenplay. I was fully invested as he went down the rabbit hole of mystery and obsession. Please cast him in more roles with the complexity of Broadcast Signal Intrusion. A few things that stuck out like a sore thumb; James’ newly acquired detective skills get him further than any FBI agent, and the mystery of his stalker breaks late then peters out to less of an impact. Aside from a few script tweaks, this is a solid entry from this year’s lineup and well worth being disturbed by.


ALIEN ON STAGE

Alien On Stage is a Documentary about a unique crew of Dorset Bus Drivers whose amateur dramatics group decides to ditch doing another pantomime and try something different. Having never done anything like it before, they spent a year creating a serious adaptation of the sci-fi, horror film, Alien; finding ingenious homemade solutions to pay homage to the original film. The show is a crushing flop but fate gives them a second chance to find their audience. Whilst still adjusting to the idea that their serious show is actually a comedy, the group finds out they’re suddenly being whisked from their village hall to a London West End theatre to perform this accidental masterpiece for one night only.

This charming doc is the perfect family watch. More specifically, it is theatre nerd deliciousness. It’s Waiting For Guffman in real life. The rehearsals are almost painful to watch. I felt director Dave’s anxiety as his cast muddled through forgotten lines, missed cues, and disastrous blocking. You’re just rooting for it all to come together in the end. Each actor has a genuine love for the show. Most of them are completely clueless about dialogue delivery, making it a laugh riot for a hyped-up, tuned-in, sold-out audience. The amount of work these bus drivers and their family and friends put into this stage production of Alien is astounding. Every set piece, prop, and costume is made by hand with more love than a Broadway play. You will absolutely fall in love with them all. You’ll be cheering along with their live audience. Bravo to directors Lucy Harvey and Danielle Kummer for having the foresight to nurture this local charity production and turn cameras on them. Everyone involved in Alien On Stage deserves a standing ovation.

Review: ‘HAPPILY’ is completely unexpected

 

HAPPILY

A happily married couple (Joel McHale and Kerry Bishé) discover their friends are resentful of their lustful relationship. When a visit from a mysterious stranger leads to a dead body, they begin to question the loyalty of their so-called friends.

As a 40-year-old woman who has always had her relationship categorized as Janet and Tom, this film spoke to me in a completely different way. I felt the animosity that they receive in a visceral way. The dialogue was genuinely funny in an adult way. The kind of dialogue that actually comes out of our mouths at a certain age and comfort level. The things we say when we just don’t GAF anymore, and honestly, I respect the hell out of it. The plot seems simple enough but the thriller aspect ramps up along with the funny. This cast is superb. They’re sexy, blunt, hilarious, weird, and the kind of eclectic personalities you need to pull this off. This set is cool as hell. I want to go to there. You think you know where this script is going but you really don’t. It’s much darker. It’s much twistier. Do. Not. Get. Comfortable. At the heart of it all, HAPPILY is about communication and trust. It’s about the facade of happiness we feel like we have to portray to the world. This interaction of that theme is told through terror and humor and a bit of WTF. Congrats to writer-director BenDavid Grabinski on a true standout film in 2021.

In Theaters, On Digital & On-Demand March 19th, 2021
BenDavid Grabinski’s Happily is a dark romantic comedy from producer Jack Black, with an all-star powerhouse cast including Joel McHaleKerry BishéStephen RootPaul Scheer, Breckin MeyerNatalie ZeaNatalie Morales, Jon Daly, Kirby Howell-Baptiste, and Charlyne Yi.

Review: Extraordinarily personal doc ‘GROOMED’ comes to Discovery+ this Friday.

GROOMED

GROOMED is the devastatingly powerful story of filmmaker Gwen van de Pas as she returns to her hometown in search of answers about the man who sexually abused her as a child. To understand her ongoing traumas, Gwen travels to meet survivors, psychologists, and even a convicted sex offender. Produced by Gwen van de Pas, Bill Guttentag, and Dylan Nelson, GROOMED addresses a common yet little understood manipulation type called ‘grooming’, how to recognize it, and how to stop it. What begins as an exploration into grooming becomes a dramatic journey where Gwen faces unexpected revelations in her case, finally finds her anger, and boldly confronts the evil we’d rather ignore. Executive produced by Blumhouse in association with Yellow Dot Films.

Gwen Van De Pas’s trauma has never gone away. As an 11 year old, an older swim teammate groomed her. The term was one she only learned 20 years after the abuse occurred. To regain power, she returns to Holland to decide whether or not to report her abuser. Her life cannot move forward without healing. The insight Gwen gains from sitting down with her parents are very impactful. They’re able to explain that when at 17 years old Gwen told them about her abuse that they were at a crossroads based on her mental health. Their guilt is palpable. As a parent myself, I completely understand their desire to protect Gwen from self-harm first. This is not simply about her healing. This film is about the healing of everyone around her. Sexual abuse infiltrates entire families.

The structure of the doc takes us through the grooming bullet points one by one, through the words of a convicted sex offender and behavioral experts. (1. Target The Victim 2. Gain The Family’s Trust 3. Build A Relationship 4. Sexualize The Relationship 5. Maintain Control) She interviews other victims, of all ages, sex, and backgrounds. Not only is this a part of understanding just how pervasive sexual abuse is, but it was a chance for Gwen to feel less isolated for once. Speaking with psychologists, her ultimate goal is to finally report him, but she is rightfully afraid. The evidence she kept still has a profound emotional stronghold. Watching her battle the words and the intentions of her abuser is heartbreaking. She feels complicit and he groomed her to think that way. In their interviews, other victims express how it has affected them physically. Hospitalization, eating disorders, disassociative habits, physical intimacy, panic attacks are just the tip of the trauma iceberg.

This incredibly personal and powerful doc is something parents need to watch. It’s a film survivors should watch. Reporting is not easy. Retraumatization is one of the key factors in every single one of these cases. Gwen Van De Pas was brave. Groomed is her victory lap. If we could all just have a fraction of her courage, we might be able to prevent others from becoming victims. The cycle has to stop.

Streaming Exclusively on discovery+
March 18, 2021

IFC Midnight review: ‘COME TRUE’

COME TRUE

High school student Sarah (Stone) is at her lowest point yet when she runs away from home and finds herself with no one to rely on and struggling with recurring nightmares. She chances upon a university sleep study that offers the promise of safety and money and brings her an unexpected friend and confidant in the overseeing scientist Jeremy (Liboiron). But there’s something curious about proceedings and being under observation seems to make Sarah’s disturbing dreams even worse. As the darkness begins to close in, it’s soon clear that Sarah has unknowingly become the conduit to a horrifying, new discovery…

Come True is best described as visceral nightmares. The wearer of all the hats, writer-director-DP-editor Anthony Scott Burns has given audiences a sci-fi head trip so stunningly beautiful it will overwhelm you. The film has a dark “Through the Looking Glass” feel. Visually akin to The Cell or What Dreams May Come, specifically the purgatory scenes. There’s a frightening beauty to Sarah’s dreams. This cast is amazing. The vulnerability of every single actor should be recognized. Our leading lady, Julia Sarah Stone is astonishing. Her physicality creates a false sense that her character is fragile. Stone owns each frame, sometimes with nothing but her eyes.

The visual progression of horrifying imagery is stunning. The sleep experiment costumes have a Tron meets Captain EO vibe and I really dig them. The script is solidly disturbing. In all honesty, I was locked in until the very final scene which for me stepped into “Huh?” territory. I’ve now watched this film twice. The second viewing was a lot more telling. I have new theories. That being said, the rest of the film is so powerful, Come True is completely worth your attention. Thoroughly engrossing original visuals and storytelling are ramped up by Electric Youth and Pilotpriest’s synth score. It manages to wrap itself around you and immerse you in fear. Each of these elements creates an experience making Come True its own entity. It may give you your own new set of nightmares.

COME TRUE will open in select theaters, digital platforms, and cable VOD on March 12, 2021.

National Geographic and Disney+ review: ‘OWN THE ROOM’ is at the crossroads of passion and presentation.

OWN THE ROOM

Directed by Emmy® Award-Winning team behind Science Fair, Cristina Costantini and Darren Foster, OWN THE ROOM chronicles five ambitious students from disparate corners of the planet and the victories and setbacks they face as they take their budding business ventures to Macau, China to compete in the Global Student Entrepreneur Awards. Santosh is from a small farming town in Nepal; Alondra works the register at her family’s bakery in Puerto Rico; Henry is a programming wiz from Nairobi; Jason is a marketing machine from Greece; and Daniela is an immigrant escaping the crisis in Venezuela, taking on the chemical industry from her lab at NYU.

Every year, students represent each country in an entrepreneurial pitch competition where 1st prize is $100,000. The Global Student Entrepreneur Awards is a life-changing opportunity. In Own The Room (filmed in 2019) New York by way of Venezuela, Nairobi, Nepal, Puerto Rico, and Greece, were represented by Daniela, Henry, Santosh, Alondra, and Jason. You will absolutely fall in love with all five of them. While these young entrepreneurs are unique in personality and ideas, their dedication is familiar and infectious. Sustainability, housing, well-being, accessibility, and communication are merely the broad categories for each of their pitches. With intimate sit-downs and real-time competition footage, this film immerses the viewer in this global, high-stakes competition.

An intriguing highlight of Own The Room is the fact that all five students have the love and encouragement of their parents. It was great to hear the families support each dream, instilling them with the confidence to succeed. Watching the preparation, their anxiety and excitement are visceral. You’ll be on the edge of your seat as you wait for their pitches in Macau. First, they must get past the semifinal round. Contestants are split between seven rooms. The winner of each room makes it to the finals. You won’t believe the last-minute obstacles that Henry faces. It’s simply exhilarating. As a viewer, you’re proud of these young people. They give you hope that our future is bright. Own The Room is an inspiring documentary.

National Geographic will premiere OWN THE ROOM on Disney+ on March 12, 2020.

Review: ‘My Beautiful Stutter’ speaks to everyone.

MY BEAUTIFUL STUTTER

My Beautiful Stutter follows five kids who stutter, ages 9 to 18, from all over the United States and all walks of life, who, after experiencing a lifetime of bullying and stigmatization, meet other children who stutter at an interactive arts-based program, The Stuttering Association for the Young, based in New York City. Their journey to SAY find some close to suicide, others are withdrawn and fearful, exhausted and defeated from failed fluency training, societal pressures to not stutter or the decision to remain silent. Over the course of a year, we witness firsthand the incredible transformation that happens when these young people of wildly different backgrounds experience for the first time the revolutionary idea at the heart of SAY: that it’s okay to stutter.

This heartfelt doc is incredibly eye-opening for anyone who doesn’t have information about stuttering. While we learn about the neurological reasons, more importantly, we learn about the social-emotional effect on children. Bullying is already such a pervasive issue. Add on stuttering and it can really be a recipe for an exponentially challenging childhood. These beautiful, intelligent, glorious kids should not be “fixed”. They aren’t a problem. It is society that should be more accepting.

Growing up stuttering, Taro Alexander wanted to create a program to improve the lives of kids who stutter now. He understood the weight of feeling viewed as different. He founded SAY The Stuttering Association for the Young. Then came CAMP SAY. CAMP SAY is a safe environment where kids of all ages can come and learn, play, make friends, and be accepted for exactly who they are. The film features the summer of 2015. The kids have group therapy sessions, not necessarily clinical, but it allows them to share their feelings without judgment. Outside of all the typical camp activities like sports, ceramics, campfires, and swimming, Alexander utilizes theatre and creative writing to break down their barriers.

The film features members of CAMP SAY community. Juliana, now graduating from the program uses singing to boost her confidence. Malcolm’s stutter was triggered after witnessing a violent act. His passion is baseball. This is his first year at camp. Sarah and Emily are best friends at CAMP SAY. They explain how important it is to be able to connect with someone who can genuinely relate and to finally realize that they’re not alone. Travis is one of the counselors at camp. He also uses music to feel uninhibited by his stutter. Will features his college entrance essay. The gorgeous, astute, poetic writing in that essay undoubtedly wowed any essay reader. My Beautiful Stutter brings together footage from home, camp, and beyond to immerse you into a world where communication is a double-edged sword.

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One of the greatest days at camp happens when an older camper is paired with a younger one and they answer questions like, “What’s your favorite subject in school?” or “Something I’ve always wanted to try but haven’t had a chance to yet…” Watching these kids grow is profound. The amount of sadness they carry with them every single day will stay with you. As a former teacher and current parent of a child on the spectrum, it was disheartening to hear that these kids all recall their teachers not understanding how their stutter affects them emotionally. The stories of constantly being cut off by others must be ceaselessly frustrating. Frankly, they all feel exhausted.

The timing of My Beautiful Stutter is incredible considering President Biden stuttered as a child. He actively reaches out to kids across the country, even giving them his cell phone number so he can pass on techniques on how to ease their frustration. Kids and parents alike can learn more about Taro Alexander, SAY and CAMP SAY here. My Beautiful Stutter is an important watch. This is a family film. Make it a movie night. Sit down with your loved ones and feel the unadulterated love these children bring to the world. As Emily says in the film, “Stop and Listen.” Solid advice.

Premiering Exclusively on discovery+ This Thursday
March 11, 2021

Directed by: Ryan Gielen (Stop The Bleeding, The Graduates)
Produced by: Michael Alden and Ryan Gielen

Executive Produced by:
Paul Rudd, Mariska Hargitay, Peter Hermann, Patrick James Lynch, George Springer

Since 2001, SAY has offered comprehensive and innovative programs that address the physical, social and emotional impacts of stuttering.

**Film Festival Awards**
Best Documentary at Boston International Kids Film Festival
Audience Award Best Documentary at the Rhode Island Film Festival
Best Documentary at the Golden Door Film Festival
Best Documentary at Doc Sunback Film Festival
 

discovery+ is the definitive non-fiction, real life subscription streaming service. discovery+ features a landmark partnership with Verizon that gives their customers with select plans up to 12 months of discovery+ on Verizon. discovery+ has the largest-ever content offering of any new streaming service at launch, featuring a wide range of exclusive, original series across popular, passion verticals in which Discovery brands have a strong leadership position, including lifestyle and relationships; home and food; true crime; paranormal; adventure and natural history; as well as science, tech and the environment, and a slate of high-quality documentaries. For more, visit discoveryplus.com or find it on a variety of platforms and devices, including ones from Amazon, Apple, Google, Microsoft, Roku, and Samsung.

RT: 90 Minutes

SLO Film Fest 2021 review: ‘BLEEDING AUDIO’ rocks.

BLEEDING AUDIO

Told through the eyes of quirky, charming and humble bandmates Shawn, Jon, Matt and Justin, BLEEDING AUDIO is an intimate portrait detailing The Matches’ promising career, defeating break up, and inspiring reunion, as they reflect on what success truly means for musicians in today’s digital industry. Their story overlaps with the drastic changes the music industry has undergone in the past several years. From declining record sales, to excessive touring, to illegal downloading and streaming, this film digs deeper into the challenges the average musician faces in the digital age and how artists can navigate their careers today

How do I not know about The Matches? Their sound is right up my alley. The minute I heard their songs in the introduction, I was hooked. Shawn, Justin, Matt, and Jon have distinct personalities and styles, and together they are unbelievable. This is the most badass entrepreneurial band I’ve ever heard of. The things they did to become known were geniuses. This was pounding the pavement in its truest form. Members Justin and Shawn made all the band’s art. Their parents worked the door, security, snack bar while they slowly wracked up fans.

Huge names in the industry like Mark Hoppus of Blink-182,  Warped Tour founder Kevin Lyman, Tom Higgenson of Plain White T’s (just to mention a few) all wonder why the hell these guys aren’t one of the biggest bands in the world. Their consensus is they had everything they needed to be massive; catchy songs, genuine talent, an ambition that blew people away. Why aren’t they household names?! Bleeding Audio breaks down the music industry. Literally explaining where the money goes and why. I think we all sort of understood this concept when Taylor Swift took Spotify to task over streaming but I don’t think I ever thought about what happens to get to the album itself. The money comes from publishing. The Matches didn’t necessarily go searching for a label. Once they were popular the labels came to them. Epitaph was their dream. They got it. Warped Tour was next. Meeting other bands who became their fans opened even more doors. These guys were loved. Their creativity surpasses anything I’ve ever seen from a single band. Then… Napster happened. Music was about to change forever.

After their third album, they were burnt out. The band played one final beautifully, raucous show. 2 years later, they find out that their overbearing manager Miles didn’t register their songs, with the exception of 4. The amount of money they lost because of this was ultimately the reason they broke up. It was a brutal blow. In 2014 the guys meet up for pancakes. This leads to a show that sells out in 2 minutes. Then another. Then another. The Matches were inexplicably back for what would become a sold-out world tour.

The doc has an unreal amount of footage, art, interviews, it’s pretty magical. If you’ve never heard of The Matches, there’s no way you’ll walk away from Bleeding Audio without needing to go find their music. Thank you to director Chelsea Christer for introducing me to my newest musical obsession.

Bleeding Audio – Official Trailer from Chelsea Christer on Vimeo.

You can get tickets to a watch BLEEDING AUDIO here

 

Review: ‘Keep An Eye Out (Au Poste!) is an uproarious meta masterpiece.

KEEP AN EYE OUT (Au Poste!)

Belgian funnyman Benoît Poelvoorde (Man Bites Dog) is Commissaire Buran, a good, bad cop interrogating Fugain, (Grégoire Ludig), an average Joe who discovered a dead body outside his apartment building. As the film begins, Fugain must, on an empty stomach, explain how and why he happened to leave home seven times in one night before coming across a corpse in a puddle of blood. Since he’s the investigation’s only suspect, Fugain’s anxiety is already sky-high when Buran leaves him alone with Philippe, a one-eyed rookie cop with bizarre speech patterns and a few minutes to live.

The 110% commitment to the absolute absurd is what makes Keep An Eye Out (Au Poste!) so phenomenal. It has an authentic Monty Python level of rapid-fire, totally ridiculous tone to the dialogue. You’re just smirking the entire time. Whatever these guys were selling I was buying. I gutturally laughed out through the entire 73-minute run. Also, can we please normalize these kinds of runtimes? Great, concise storytelling. I’m here for it.

Chief Inspector played by Benoît Poelvoorde is a real prick but in the best way possible. The perfect foil for Ludig. He isn’t really listening to anyone and meanders between genius and complete moron. His presence is commanding. Grégoire Ludig plays the completely unsuspecting Fugain. His character goes on the journey of a lifetime. Ludig is the “straight man” of the cast, which isn’t saying much. In an American version, he’d be played by Paul Rudd; genuine comic timing in an everyman sort of way. His charming panic becomes our panic. It’s a true testament not only to his talents but the magnificent script. The nonchalance of the entire thing will floor you. Enter Philippe, the underling assigned to watch Fugain when the Chief is called away. Actor Marc Fraize was honestly my favorite thing about the entire film. I wanted to put him in my pocket and take him with me. His loveable, quirky oaf delivery was something unto itself. He really completed the circle of greatness for me, personally.

The storytelling style is a mix of interrogation and creative recreations of Fugain’s official statement. All while attempting to hide another matter in plain sight. The cinematography is beautiful; something akin to a Wes Anderson film with its very distinct color palette. The visual gags are to die for. You will not know which end is up. It’s dizzying and meta, and once it takes off it doesn’t let up for a minute. It’s like watching a tennis match of wit and weirdness. I could not recommend KEEP AN EYE OUT more.

KEEP AN EYE OUT (Au Poste!) opens tomorrow in theatres and virtual cinemas nationwide.

A list of theatres and virtual cinemas can be found HERE.

Apple TV+ review: ‘CHERRY’ has Tom Holland spiralling.

CHERRY

The wild journey of a disenfranchised young man from Ohio who meets the love of his life, only to risk losing her through a series of bad decisions and challenging life circumstances.

Tom Holland plays the titular role in Cherry. The character feels like what might have happened to a modern-day Holden Caufield after the end of Catcher In The Rye. Cherry is classified as an American crime drama, but for me, it’s a genre-bending film that flows similarly to the Nico Walker novel it’s based on. Presented in parts, prologue and epilogue included, the screenplay moves at a rapid pace so you never have time to get too settled. Color is an important part of the structure, as red indicates each chapter shift. The lighting choices are smart and help create the overall mood of the film. There is a palpable heaviness to the story. The camera work is fantastic. Closeups are intentional and amazing. The score is also a huge highlight.

There’s an intense charm about Tom Holland. He commands the screen with his ability to both put you at ease and surprise you. You just believe him. If that’s not the very definition of great acting, I’m not sure what is. His narration controls the overall atmosphere of the film from the get-go. While Holland gets to explore the dark humor in it all, you’re constantly waiting for the other shoe to drop for Cherry. The military PTSD exacerbates his already existing sadness which inevitably leads to addiction… Which leads to a string of bank robberies.

Cherry is a self-destructive story of a young man with no sense of direction, controlled by impulse rather than logic. It could just as easily been an entire series. There’s a lot jammed into its two hour and twenty-minute run. If I’m being perfectly honest, it’s almost too much. With 30 minutes left, I had to pause and come back later. To clarify it was very engaged it was just a lot to ingest in one sitting. Had this played in theaters, I worry an audience wouldn’t be able to stick with the length. Outside of that one concern, Cherry is highly entertaining thanks to Holland’s full commitment to Jessica Goldberg, and Angela Russo-Otstot‘s phenomenal screenplay, and the stylistic choices of The Russo Brothers’ overall aesthetic choices.

Apple will release the movie in theaters on February 26 then on Apple TV+ on March 12. Customers can view Apple TV+ on any Apple device, recent smart TVs, set-top boxes, or on the web.

 

Review: What is ‘Fire Bones’? It’s almost gleefully indescribable.

We’re all stuck at home, binge-watching crime doc, reading books, listening to music and podcasts like fiends. What if we could take all of those things and combine them into one incredible immersive theatrical experience? Enter FIRE BONES, a multi-media project utilizing film, music, audio, visual art, and even poetry as it tells a whimsical Southern Gothic tale via a road trip to solve a crazy mystery. The project was created by poet and Director of Creative Writing at SMU, Greg Brownderville, and features the narrative directorial debut of Bart Weiss, the Founder of Dallas Video Fest and a Professor of Film at University of Texas, Arlington. FIRE BONES is a visual feast. The Chapter pages have small, striking mixed media tags that are strung as clues. I would hang each one of them on my walls. When you click through, each numbered to avoid confusion, you are treated to something unique that pushes this mystery along.

The story revolves around the disappearance of an extraordinary woman named Amra. She was a pilot, a leader of the town’s Pentecostal church “Fire Bones”, and a local legend that everyone knew… or so they thought. We follow Greg and Bart’s search for answers as accusations fly and information slowly comes to light in this unusual town filled with eccentric residents. The commitment to this unique format by this cast is magic. It’s weird and wonderful and I guarantee you have never seen or heard anything like it. Each clue gets better and better. Two standouts from the first half of this journey are Chapter 4: Clue #13 – Trainbow – Poetric dialogue set against breathtaking swamp and train imagery. And Chapter 5, Clue #15 Sign of the Times –  A hilarious song with a tongue-in-cheek take on church board messaging.

If the pandemic had never happened, this could have easily been one of the most popular in-person attractions in immersive theatre history. If you’ve ever experienced a show like Sleep No More, which is an intense, live walkthrough of Macbeth in which the scenes play out from room to room as the audience wears masks and is encouraged to interact with the cast, you’d understand what I mean. FIRE BONES could easily adopt this presentation. It could be a permanent exhibit at MoMA. In our current circumstances, it’s a fun thing to do with family members. Fare warning, if you are listening with younger ears, there is a bit of profanity from time to time. While it is ultimately 4 1/2 hrs of content, you easily breeze from one piece to the next. The audio style wavers between true crime and radio drama. The videos are stunning to look at. Sharply shot and puzzling in content, you cannot help but we swept up in the mystery. Because each chapter is short, you never have time to get distracted. And because the format changes, you’re constantly engaged. FIRE BONES has massive expansion potential, but in its current form is undeniably entertaining. In an unpredictable world, some predictable fun is welcome.

Fire Bones trailer from Fire Bones on Vimeo.

 

Review: IFC Midnight ‘THE VIGIL’ is a look at the disturbing effects of trauma.

THE VIGIL

Steeped in ancient Jewish lore and demonology, THE VIGIL is a supernatural horror film set over the course of a single evening in Brooklyn’s Hasidic Borough Park neighborhood. Low on funds and having recently left his insular religious community, Yakov reluctantly accepts an offer from his former rabbi and confidante to take on the responsibility of an overnight “shomer,” fulfilling the Jewish practice of watching over the body of a deceased community member. Shortly after arriving at the recently departed’s dilapidated house to sit the vigil, Yakov begins to realize that something is very, very wrong.

With a very similar tone as Relic, down to the infamous front door frame, The Vigil plays upon tradition, lore, and trauma. The trappings of religion are always complex. As a former Catholic, I can attest to the creepiness of essentially being told that it was a blessing to consume the metaphorical body parts of the son of God. I had to kneel at the feet of a crucified Jesus… at an altar. The more I say I say it out loud the weirder and more awful these rituals sound to my 40-year-old self. In The Vigil, Vakov is hired to sit with the body of a deceased member of the Jewish community he has just left. Already haunted by the death of someone close to him, he is consumed by hideous visions and physical manifestations of terror.

Mrs. Litvak, played by the late great Lynn Cohen, is a beautiful go-between for lore and reality. Never is the Alzheimer’s diagnosis exploited, just the mere mention is enough to ignite theories in the viewer’s mind. Cohen is simply a joy to watch. She strikes a phenomenal balance between darling and intense. Dave Davis as Yakov is outstanding. His grief anchors you in place. His vulnerability is absolutely key to this screenplay working as well as it does. His emotional transformation is astounding.

The look of the film is dark. The concept of juxtaposing old-world tradition against the modern is clever. The framing is smart. Wide panning angles force your eyes to scan the room constantly. The audio of The Vigil is a character into itself. Scraping, pounding, creaking are only the beginning of the trail of fear. 30 minutes in and the viewer is in full panic mode alongside Yakov. The idea that victims of deep trauma are the target of this entity is unbelievably cruel. The number of successful jump scares in The Vigil is unreal. Whether driven by guilt or an actual demon, this film will get under your skin. It’s a chilling experience. You’ll hopefully feel as free in the final moments as Yakov does. Writer/director Keith Thomas genuinely manages to provide equal parts fright and catharsis. It’s quite literally breathtaking.

AN IFC MIDNIGHT RELEASE | UNITED STATES | FEB 26TH, 2021 | 90 MINS | NR

Review: ‘WRONG TURN’ is an incredibly smart reboot you won’t see coming.

WRONG TURN

SYNOPSIS: Backwoods terror and never-jangling suspense meet when Jen (Charlotte Vega) and a group of friends set out to hike the Appalachian Trail. Despite warnings to stick to the trail, the hikers stray off course—and cross into land inhabited by The Foundation, a hidden community of mountain dwellers who use deadly means to protect their way of life. Suddenly under siege, Jen and her friends seem headed to the point of no return— unless Jen’s father (Golden Globe® nominee Matthew Modine) can reach them in time.

The reboot (and the seventh installment of the franchise) of Wrong Turn starts with another group of successful 20 somethings hiking the Appalachian Trail. When the local Virginians get aggravated by their presence, and they veer from the trail, things get deadly but not for the reasons you think. This script is completely different than the original, which is the greatest bait and switch from the clever set-up in the beginning. That’s the difference between a remake and a reboot. This cast is diverse and cool. They get to take their initial instigators to task, at least verbally. All the tropes are there but they’re used smartly. The first kill is so brutal you’ll both gasp and respect the decision to go all-in so early. From that moment on, the violence and gore are used for shock value that is carefully intentional in forwarding the plot.

Matthew Modine plays Jennifer’s father who comes searching for her 6 weeks after she goes missing. He is great. He walks this fantastic balance between modern man and totally self-sufficient badass that just feels incredibly believable. This is the updated father figure that will resonate with a large genre audience. It’s yet another successful aspect of screenwriter Alan B. McElroy’s reboot of the franchise. Bill Sage is a nice familiar face. He always lives in whatever role he tackles. This is no exception. Even with a runtime of one hour and fifty minutes, I would have been pleased to see more of him on screen. Charlotte Vega as Jen is outstanding. She has a genuine presence that grows stronger with each scene. There is an unexplainable accessibility to her character. Hollywood should continue to take note of this talent. Also, audiences should keep an ear open for Modine’s daughter Ruby as she sings the film’s final song. Stunning performance.

The score is classic staccato string work. Combined with the handheld camerawork and quick-cut editing, the terror is firmly in high gear. This is a totally fresh take of new world versus the old. The complexity of the script will throw you off-kilter. It challenges the viewers’ sense of morality. Who are the true villains? It’s about intrusion and disrespect of cultural differences on a multitude of levels. It’s quite brilliant in a time a faux “wokeness”. The nuance will knock you off your feet. You will not know where this plot is going. It’s twist after twist. That. Ending. Pure perfection.

Saban Films will release the horror film On-Demand, Digital, Blu-ray, and DVD on February 23, 2021. 

THEATRICAL RELEASE: January 26, 2021

ON DEMAND, DIGITAL, DVD, and BLU-RAY: February 23, 2021

DIRECTOR: Mike P. Nelson

WRITER: Alan B. McElroy

CAST: Charlotte Vega, Adain Bradley, Bill Sage, Emma Dumont, Dylan McTee, Daisy Head, Tim DeZarn, and Matthew Modine.

RUN TIME: 109 minutes

RATING: R for strong bloody violence, grisly images, and pervasive language.

GENRE: Horror

DISTRIBUTOR:  Saban Films