In Dirty God, a young mother from London must pick up the pieces in the aftermath of an acid attack that leaves her with disastrous scarring. Living in a looks-obsessed world, and without that as her currency, Jane must move on with her new life, personal difficulties, and the unfortunate occurrences of everyday humiliation.
Vicky Knight as Jade is a revelation. Her expression of physical and emotional pain in all its nuance makes Dirty God as successful as it is. She just wants a bit of normalcy. From the fear her own daughter displays, to the reaction of peers, to confronting her ex and attacker in court, to feel loved, the daily battle screams from the screen. One of the most impactful scenes comes when she purchases a burka. Hiding the majority of her body gives her the confidence to act with freedom. It’s an exhilarating scene to experience with her. The emotional scars are as relevant as the physical ones. Knight, who was burnt as a child in real life, can represent the undercounted number of women that have been attacked in this manner.
Jade attempts to connect with others online. Those scenes are incredibly profound in the grand scheme of her arch. The most difficult thing is watching people treat Jade in a subhuman manner. It’s positively atrocious. The entire conversation around the importance of appearance in society, ableist behavior, and kindness, in general, is one for the ages. Dirty God is inspired and important viewing where the human divide and vitriol are so wide and prevalent. It’s an awesome statement on bullying and an even bigger one for self-esteem.
OPENING IN SELECT THEATERS ON NOVEMBER 13
Laemmle link: https://linktr.ee/
AVAILABLE ON DIGITAL PLATFORMS ON DECEMBER 15th
Dark Star Pictures will release DIRTY GOD with a virtual release through Laemmle Theaters in LA, Gateway Film Center (Virtual) in Columbus, and more theaters to be announced on November 13, 2020. The film will also be made available on digital platforms such as iTunes, Amazon, Google Play, Fandango Now, Direct TV, and through local cable providers on December 15, 2020. The film has a running time of 104 minutes and will not be rated by the MPAA.
Creative editing places you inside the family dynamic of the Hamburgs. Not just Madison’s odd relationship with his estranged father, but his aunt’s and uncles, grandparents, and his sister Barbara, the 4th of that namesake on his mother’s side. Madison uses home videos and still photography to invite you into the years he had with his Mom. Some of the most unique moments come in the form of vintage voiceovers from what seems like those creepy 1950s classroom movies. It is eerily effective. Intimate sit-down interviews play the largest part as the mystery grows. There are constant hints of family secrets but we only get a tease in the final moments of episode one. You’re so invested in this story, it’s frightening. There is no doubt Madison Hamburg wants the truth. I know I’ll be watching the final 3 episodes on HBO to find out if he gets it. Murder on Middle Beach will air episode 1 tonight at 10:00-11:00pm ET/PT.
With superb writing and slick editing, Echo Boomers is intoxicating. With Patrick Schwarzenegger’s voice-over narration the flow feels like a novel, and I do mean that as a compliment. This could easily be further developed into a long-running series. There is a lot to unpack in all the right ways. There’s a psychological subtext to each character that is carefully crafted. The cinematography is sharp, combined with the immersive score, you cannot help but love this crew.
Michael Shannon does what Michael Shannon does best. He lives and breathes every role. He is somehow terrifying and more approachable all at once. Patrick Schwarzenegger is amazing. He grabbed my attention in last year’s Daniel Isn’t Real. I recommend casting him in everything he has time for. He has the innate ability to connect with his castmates on a truly grounded level. He is comfortable in his own skin. You feel like you know him. He is undeniably magnetic. The nuanced dynamics in the screenplay let everyone have impactful moments. You can easily argue this is a true ensemble piece.
I cannot stress enough how fantastic the writing and directing is. This could have gone off the rails in a heartbeat or come off as an Ocean’s franchise ripoff but it holds its own and then some. It’s wildly entertaining. There’s something about Echo Boomers that makes it unique from any other film in 2020. It’s brimming with complexity, action, drama, suspense, and some unbelievable performances. The stakes keep getting higher and higher and even though you know it’s morally reprehensible, you’re all in. You can watch Echo Boomers now in Theaters, On Demand, and Digital from Saban Films.
The film is comprised mostly of footage from the 1960s, readings of court transcripts, and present-day sit-down interviews with almost all of the key players in this unprecedented case. But in truth, it’s the same old story; racist white men asserting control over the black population (and anyone that is their ally). In one particular interview with Lolis Eric Elie, son of famed civil rights lawyer Lolis Elie, he recalls never having “the talk” about how to handle being questioned by a police officer. “How often do you talk about humidity? Well, it’s always there.”
Performances are badass. Nathan Phillips gives a really grounded portrayal of Sinclair. As much as one can be discovering that a family of vamps are trying to kill you. Alyssa Sutherland, as a nurse who lost her daughter and husband in the war, is the sensible, even-keeled figure and voice of reason. She is fearless and kind and a nice foil for the boat’s majority of overly masculine residents. Ruby Isobel Hall is phenomenal in her timing and perceived innocence. It’s some truly nuanced work. For me, the star of this film is Alex Cooke. Frankly, I could have watched an entirely separate film of the history of his character (nudge, nudge, wink, wink, writer-director Justin Dix and writer Jordan Prosser!) His totally nonchalant epicness deserves more screen time. Cooke kills it in this role.
The most unusual aspect of Dix‘s and Prosser‘s screenplay is that I found myself questioning who the real villains are? A family is kidnapped for profit. Then said family is punished for defending itself. Our crew is merely intervening after a tragedy and gets caught in the middle. I found myself relating to the vampires as a mother, which is both weird and wonderful. While there are definitely a few telegraphed plot points, the majority of the script is super original and wild as hell. Blood Vessel could easily become a franchise based on a very satisfying ending. You’ll undoubtedly hunger for more.
As someone who had not one, but two traumatic birth experiences, Kindred spoke to me on an entirely different level. The innate fear you experience when you are growing a small human inside your body is enough without the opinions and actions from those who have ulterior motives. Tamara Lawrance embodies the visceral panic that occurs on the physical, emotional, mental plains of waiting for what a mother hopes will be an inevitably hopeful outcome. But the most evocative aspect of Kindred is the gaslighting pregnant women often endure. Your instinct is ignored constantly, questions deemed silly or paranoid. Doctors and perfect strangers are poking and prodding you with advice and sometimes, touching you without your permission. Pregnancy is a very invasive experience no matter how you look at it. Kindred tackles all this and so much more in an intelligent and terrifying way.
The camera work, colors, and music all create an ambiance that feels foreboding. You don’t even know how completely off-kilter you’ll be by the cinematography until it’s too late. You will question your own opinions about what is real and what is not due to the brilliant and carefully crafted script from writer-director Joe Marcantonio. His work with this cast is award-worthy. He is able to bounce your opinion about these characters like a ping pong ball as the plot rolls along. Perhaps with the exception of Fiona Shaw’s portrayal of Margaret. She is overbearing and loathsome throughout. Her backstory is a smartly written foil for Lawrance’s Charlotte. Jack Lowden performance as Thomas lies somewhere in between the two. Desperately needing to be useful and loved, his loyalty is fickle and all the more disturbing. Tamara Lawrance wins the day with her perfect portrayal of Charlotte. Grief-stricken, imprisoned, bedrest restricted woman, whose internal alarms are ringing ad nauseam, she is phenomenal and represents the confused and delirious viewer, as well. Kindred is dark and scary. It will get under your skin as it slowly drives you into your own madness.
I think sometimes people forget about the importance of sound and score. In horror, they are like an unseen character. In the opening of The Dark and the Wicked, sound and score put you on edge before the title appears on-screen. Christopher Duke, Joe Stockton, and Tom Schraeder, alongside writer-director Bryan Bertino carefully craft that feeling of uneasiness you want in a genre knockout. The premise is relatable enough, to begin with; a brother and sister return to their home as their father lay dying. Something is wrong with their mother. She tries to tell them but can’t quite express what’s invading her house. This plot gets more and more upsetting as clues are revealed. It made my skin crawl.
Stand out performances from Xander Berkeley, Tom Nowicki, Lynne Andrews, and Julie Oliver-Touchstone must be acknowledged. They are all key in the build-up to a shattering finale. Michael Abbott, Jr. is a great foil for Ireland. Their relationship feels very genuine. Marin Ireland is magnificent. The fear in her eyes is everything we feel. They portray the pull of family obligations to perfection. The Dark and the Wicked is one of the most atmospherically disturbing films of 2020. The colors and lighting scream bleak and ominous from the get-go. Smartly used tropes like spooked animals, doors opening themselves, and body horror mixed with ghostly visions let us know things are clearly not okay in this house. The practical fx are gruesome. The build-up is a bit reminiscent of Relic. Long lingering shots get under your skin. Alongside that keen sound is sharp scene editing. It creates small jump scares that have a massive overall impact on the mood. The film relies heavily (and brilliantly) on what you don’t see just as much as completely messed up, mind-bending imagery. The Dark and the Wicked succeeds in creating an unsafe space that is undeniably horrifying. This film literally made me shiver. It is a quick descent into spectacular terror.
John Turturro as Mr. Silk is a masterclass. Like every one of his roles, he is a chameleon. He is slyly one of the evilest characters we’ve seen in quite some time. It’s the nuance that makes this performance so incredible. He is a representation of all that is negative and manipulative about the real world. Chris Messina as Paul’s father is a beautiful anchor. His care for this role is evident from the very beginning. Eve Hewson is a firecracker. Her shocking energy makes you smile wider than you thought possible. Sophie Giannamore is a wonder. She is the very person Paul needed to meet for innumerable reasons. Her chemistry with Jaeden Martell is electric. The ease with which she handles the dramatic and lovely nature of her character is perfection. Jaeden Martell is Paul. His quiet strength and vulnerable nature let us live in his shoes. I’ve seen every one of his roles and he is a star. His ability to breathe life into Paul allows the audience to sit back and let Martell take their anxiety and run with it. He represents the outsider we all felt like we were in some form or another.
It’s visually splendid, from the circus colors, the lush costumes, each character having a stand out color pop. And then, there are the chapter illustrations. They are gasp-worthy gorgeous. The brilliant combination of Olivia Dufault’s screenplay, DP Andrew Droz Palermo‘s camera work, Aaron Osborne’s production design, Donna Zakowska‘s thoughtful costumes, and director Martin Krejcí overall vision make for a stunning and important lesson in 2020. Not only does it serve as a lesson, but it endlessly entertaining. The True Adventures of Wolfboy is a film we can all get behind right now.
At this point, all I really need to see to get excited is “A Moorhead and Benson Film” on my screen. You literally never know what you’re going to get except that it will most likely make you question your own reality. Synchronic is yet another visual and storytelling mindfuck. After the success of Spring and 
When a movie opens with a silent conversation with a stuffed animal, you’ve got me. Alex hates college, so, so much. Admittedly, it’s awkward as hell. Sharing bathrooms, still eating in a cafeteria, living with weird roommates. Leaving home for the first time can be really hard. The college experience is not for everyone.
Dylan Gelula, as Maggie, has a whole lot more under her cool girl facade. Her performance feels grounded and sincere. She brings confidence that few can convey with such ease and was an awesome casting choice for Maggie. Writer/director/star Cooper Raiff is someone to watch for all the reasons I mentioned above. He is responsible for a film that feels like it could be any one of our stories from college. He takes real care with Alex. This is a character we need to see more of. He allows him to be sensitive, honest, confused, hopeful, vulnerable. Frankly, he’s one of the most brilliantly written characters this year. S#!%HOUSE shines in its authenticity.
The song “Yellow Cotton Dress” as performed by lead actor MacLeod Andrews is something I would listen to on loop. I was blown away by his comic timing as well as his ability to make me weep. A great deal of the film is just Andrews doing his thing. You will be enamored with him. After the film ended, I actually watched a 12-minute video of him recording a chapter from an audiobook. It was outstanding. It was a completely different side to the loveable and vulnerable character of Jack we get in this film. I’m suggesting you cast him in all the things, pronto. Natalie Walker clearly has a handle on comedy as well, taking a seemingly serious angle to Muriel. Her commitment to tone is spot on. MacLeod and Walker as a team are spectacular. Their chemistry just works.
The ending swings from genuinely devastating and to simply beautiful. It speaks volumes about the things we don’t talk enough about to one another. Sometimes all we need is for someone to listen. Sometimes we just need some help. This is one of the most unique scripts of the year. Director Adam Stovall co-wrote the script with Andrews and they’ve given us an entirely different perspective on horror and mental health. A Ghost Waits will undoubtedly surprise Screamfest audiences long after the credits roll. It’s a bit of a genre-bending wonder.
The action is relentless. The editing is pure awesome. The bizarre clues left along the way like breadcrumbs are genius. Ben O’Toole as Rex is outstanding. He gets to play multiple roles in this fast-paced, post heist thrill ride. We get a peek of what’s inside his head as his inner thoughts manifest as an entirely different side of his personality. It’s a brilliant, award-worthy performance.
The cast of Eternal Beauty is a dream. The script is magic. Living somewhere between reality and the imagination, Jane exists in a constant state of determined anguish. Her solitary exacerbated by family members who treat her like a second class citizen. She is eccentric and lovable but most notably, mentally ill. She has a need to control her environment, it is her coping mechanism. Always waging war with herself on whether or not her medication is helping or hindering her stability. This is a film about family dynamics, self-discovery, honesty, and more specifically, one woman’s journey to understand herself.
David Thewlis is always a charmer, playing Mike as manic and uneven as we need him to be to match Hawkin’s energy. They have lovely chemistry. Doctor Who fans will be delighted to see both Billie Piper and Penelope Wilton as one of Jane’s sisters and her mother. Piper is the favorite daughter, having grown up to be a maneater who is terrible with money. Wilton is a cruel, domineering matriarch. It is clear that Jane’s affliction is hereditary. Bravo to both Piper and Wilton, they are quite a loathsome pair. 
Sally Hawkins is superb. She has such care for the physicality of each character she embodies. Truly becoming whomever she portrays. She is a pure joy to watch as she navigates the highs and lows. It would be no surprise if she were nominated for this role. She takes this rapid-fire dialogue and pounces on it. At times she is wickedly funny but never letting us forget that Jane’s world is something we will never fully grasp for better or for worse. This feels like the closest we’ll come to viscerally experiencing the mind of someone who is mentally ill. It is truly captivating.
Unsettling, oftentimes ear-piercing sound editing mixed with a 1984-esque storyline makes The Antenna an eerie watch. Set in an unnamed city in Turkey, this film is clearly an allegory for the current (yet timeless) right-wing propaganda spreading like a disease throughout today’s politics. Oppression is the name of the game. The government is installing new tv antennas so that hourly bulletins can more easily be broadcast to citizens. Accompanied by an evil black sludge coming from the new installation that seeps into the pores of high-rise tenants. Once they come in contact with it, their indoctrination is viscerally permanent. The Antenna represents the death of free speech.
The attention to detail in editing (both audio and visual), close-up shots, are all carefully crafted to induce madness in the residents and the viewer. The inspiration writer/director Orçun Behram has taken from Cronenberg and Ben Wheatley is unmistakable. I don’t know how this film was made on a $200, 000 budget. I am genuinely impressed. The Antenna is a highly stylized dystopian horror that will excite genre fans. Its smart script and dark as hell visuals are a real meal unto themselves. I will be waiting with bated breath for whatever comes next from Orçun Behram. You can watch the film in Virtual Cinemas this Friday, October 2nd, and On-Demand/VOD October 20th. Check out the trailer for some more insight.
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