Daniel Stine’s feature film debut, Virginia Minnesota, received its world premiere on March 2nd at the Cinequest Film Festival and stars a primarily female cast led by Aurora Perrineau and Rachel Hendrix.
Two young women, torn apart by a childhood tragedy, unexpectedly reunite and embark on an illuminating 24-hour journey, where they unlock memories of long forgotten innocence and what it means to truly believe.
This unexpected indie takes your heart by surprise within minutes. It’s part folklore, part road movie, and all charm. When four girls are called together to hear the reading of the will of their former headmistress, sparks fly and memories burn with truth and misunderstanding. I was not expecting this story to turn into a road movie at all, although with a character that is a suitcase with a personality (you’ll just have to watch to understand what I mean) I guess I should have predicted it in hindsight. While a small piece of the plot does revolve around a fiancé, the dialogue definitely passes The Bechdel Test with flying colors. Aurora Perrineau and Rachel Hendrix have a chemistry that is fun and comfortable.They challenge one another at every turn making Virginia Minnesota just as delightful as it is insightful. Guilt, repressed feelings and some seriously quirky encounters create a truly lovely and endlessly engrossing film.
VIRGINIA MINNESOTA – Trailer from Daniel Stine on Vimeo.
Virginia Minnesota premiered at the 2018 Cinequest Film Festival on March 2nd at 9:30 PM.
Virginia Minnesota was recently awarded the Global Grand Jury award for Best Hollywood Film at the Hollywood Film Festival (HFF), with Aurora Perrineau and Rachel Hendrix receiving special mention as Exceptional Emerging Artists. The film is produced by Rushaway Pictures, with cinematography by Pedro Ciampolini and a score by Gary Dworetsky.
This film is a sidesplitting winner. Outside of the documentary genre, we’re not often let into the world of adults on the autism spectrum. Keep The Change follows the beginnings of a relationship between two very different individuals who are ultimately seeking to be accepted and cherished for who they are. The issues of self-love, sexuality, class, are addressed in endearing and tongue-in-cheek ways. Newcomers and leads Brandon Polansky and Samantha Elisofon have an insane chemistry. The two appear to be polar opposites making their banter all the more entertaining. Any time you pit a glum and cynical individual against an outgoing and seemingly innocent one, interesting things are bound to happen. The dialogue is biting, witty, and oftentimes offensive, keeping the viewer on their toes and thoroughly amused. Writer/director Rachel Israel has given us a true gem. This unique romcom will undoubtedly charm the pants off of you and teach you some much-needed tolerance.
While there are admittedly a few bumps in the road during The Leisure Seeker, as a whole the film is a beautiful journey through one couple’s history. Slight pacing issues and superfluous scenes aside, the heart of this film is the love between two people who adore one another to the core. As a granddaughter that has been witness to dementia, the disease can be an exhausting trip minute to minute. Donald Sutherland undoubtedly gives an award-winning performance, navigating memory loss through ever-changing beats. I counted no less than four distinctive version of the same man portrayed on screen by Sutherland. For Helen Mirren, this role feels like a bit of a departure. It is one that requires both a facade and unadulterated softness. The chemistry between these our stars is movie magic. If you have ever experienced two people who are so lovingly interdependent, then this film will resonate with you in between the dialogue. The care with which Mirren’s character takes in protecting her husband countered by the real moment to moment human frustration of this burden are palpable. The film may not be everyone’s cup of teas, as you will certainly be more affected if you have lived through these circumstances. The Leisure Seeker is not a glamorous film. It is raw and poignant in its quiet.
Mamet gives a deliciously sardonic lean to the role that is funny and honest. The manic ways of Shoshanna Shapiro are nowhere in site. This should put Mamet on some serious casting lists. First-time writer-director Sophie Brooks shows us how a person can have a hold on your soul years after parting ways. The script is really smart and refreshing. It doesn’t glamorize the requisite navigation through adult relationships, those messy, real-life moments are the little things that stick with us in the end. Reality is much more awkward and The Boy Downstairs does not shy away from confrontation or feelings. It allows the audience to reflect on their own past emotional conflicts and in this film’s particular case, flashback sequences are the backbone of the plot. Strong performances from Matthew Shear and Dierdre O’Connell make The Boy Downstairs what it is. The chemistry is astounding. Being a grownup is complicated enough, so once you introduce the complexities of love and friendship, all hell will break loose, even if it’s a quiet thing. You can see The Boy Downstairs in theaters today.
Permission is one of the most honest portrayals of how awkward true intimacy is. When you are so comfortable with someone to the point of predictability, does that have the potential to become a death sentence for a relationship? Life’s ‘what ifs” are some of the most tempting ideas a person can entertain. The chemistry between the entire cast is palpable. You will find yourself falling in love with Hall and Stevens and definitely crushing on Arnaud, Gershon, Craig, Spector, and Sudeikis. This true ensemble of actors along with writer/director Brian Crano has given us a gift. What may appear on the surface as small moments in the script are incredibly impactful due to some really brilliant acting and writing. Permission has an authenticity that sneaks up on you. It’s those moments that define the story and make it so relatable. The music is perfectly paired with each scene, almost becoming its own fly on the wall secondary cast member. Overall, the film is a refreshing look at adult relationships and how to find 
This new limited series will strike a chord with a wider audience than one might think. Based on the Anthony Award-winning international bestseller by Caleb Carr, The Alienist possesses underpinnings of feminism, glorious period set and dress, and a chemistry between cast members that is electric. These characters are fully fleshed out and Bruhl, Evans, and Fanning do not disappoint. Daniel Bruhl‘s Holmes-esque portrayal of Dr. Kreizler is striking. Seeing Evans as almost a number two in masculinity is a true testament to his abilities. Fanning walks a beautiful line between the inherent misogyny of the times and fearlessness.
The forensics are graphic, be forewarned. The show airs at 9 pm and would be incredibly inappropriate for a younger audience but is sheer perfection for psychological thriller/horror fans. The introduction to forensic psychology and science is both a joy and disturbing to behold. Not even halfway through the premiere and I was fully invested in the story. The Alienist is great television.
You might think that a film without a single word of dialogue would be difficult or tedious to watch. You’d be completely wrong in the case of festival favorite, Driftwood. After a young woman washes up on shore, an older man “rescues” her and brings her to his home to recoup. But all is not what it seems from the very beginning. The relationship between the two is unsettling at every turn. Is the woman an amnesiac? Performances from all three cast members are equally intriguing. Each wanting for something completely different. Again… all without dialogue! The viewer’s insinuations make this story a unique emotional journey. Writer/director Paul Taylor has done something so new and strange, easily running the gambit of humorous to patriarchal grotesque, Driftwood will leave you scratching your head and wanting to watch again and again. The impact is undoubtedly endless.
Check out the film’s chilling trailer below…
We all know Steven Yeun as our beloved (may he rest in peace) Glen, but in Mayhem, he does such a fantastic job that you completely forget about his Walking Dead persona. Mayhem is literally laugh out loud funny all while having some of the coolest fight choreography and blood gushing effects. Screenwriter Matias Caruso might have hit the jackpot with the plotline because this is the most imaginative way to utilize “The F-word” in a script possible. I would go back and watch to count the number of times it’s used and not a single time is it superfluous, it’s genius. Yeun’s training with zombies made him the perfect pick for this role. He is the embodiment of everyone who has ever felt oppressed by the BS hierarchy of corporate. Samara Weaving gives a borderline Harley Quinn inspired performance as a woman who was wronged by Yeun’s character. Her effortless delivery and comic timing, down to specific idiosyncracies she displays are spot on brilliant. In reality, this is an ensemble piece of pitch-perfect character work. You cannot help but get revved up watching Mayhem. It has to be one of my favorites of 2017. You can catch MAYHEM in theaters and available On Demand / Digital HD 
PRESENTS THE ACCLAIMED NEW MASTERPIECE
Synopsis: Nanami is an apathetic, part-time junior high school teacher, whose only solace comes from connecting with others on “Planet”, a new social network service. One day, a young man named Tetsuya messages her and asks to meet in person. The two begin dating and quickly become engaged. When Testuya begs Nanami to increase her guest list for the wedding, Nanami reaches out to online-friend, Amuro, a self-proclaimed jack-of-all-trades, who hires actors to play Nanami’s guests on her big day. A few weeks following the ceremony, Tetsuya’s mother confronts Nanami with allegations of lying and cheating. Heartbroken and despondent, Nanami checks herself into a hotel and manages to get hired there as a maid. One day, Amuro offers Nanami a housekeeping job in an old mansion, whose sole resident’s infectious spirit helps Nanami to open her heart. However, Nanami soon realizes that Amuro, the mansion, and its occupant aren’t what they seem – and even dreams have limits.
There is something otherworldly about Iwai Shunji‘s latest film. While A BrideFor Rip Van Winkle runs just minutes shy of 3 hrs, the story is vastly engrossing. Our beautiful lead actress, Haru Kuroki, gives us an honest and quietly bold performance that allows us to feel each beat in real time with her. We are along for the ride just as much as she is. The classical soundtrack adds an ethereal quality to mysterious turns in the script. To speak too much about the plot would ruin it for the viewer. I can say that it will be unlike anything you’ve seen before. It certainly speaks to the power of social media. It tackles isolationism and the yearning to feel truly connected physically and emotionally. A Bride For Rip Van Winkle will surprise and delight to no end. You can check out the trailer below and catch the film in theaters this Friday.
Daniel Radcliffe is almost unrecognizable as real-life adventurer Yossi Ghinsberg. Greg McLean‘s film, based on Ghinsberg’s harrowing journey (and autobiography) in the Bolivian jungle in 1981 is filled with some of the most gag-inducing moments in a non-horror film we’ve seen since 127hrs. Radcliffe, sporting a heavy accent, transforms onscreen from a fit hiker to gaunt survivor. His emotional and physical rollercoaster ride is quite the experience for the audience, proving once again that Radcliffe’s talent is far beyond his Harry Potter years.
The film is essentially broken into 2 equal parts equally. The first hour is how Yossi and company come to be in the jungle, to begin with. Relationships are challenged, tempers flare, bodies are wearing down. Suddenly, and by a devastating accident, Yossi falls into the raging river, stranding him alone. This second hour has Radcliffe in almost every shot. Blended with colorful flashbacks, seriously intense stunts, and beautiful insight, JUNGLE thrills. The story is beyond incredible, lending you to wonder how and if you could survive. Check out the trailer below!
Sometimes a documentary teaches you more than you ever expected. Sometimes a doc is so relevant to the present it’s shocking. Nancy Burski’s, THE RAPE OF RECY TAYLOR, caught me by surprise from the very beginning. I learned not much has really changed in the past 80 years when it comes to everything I hold dear with respect to racism and sexism.
Sean Baker‘s The Florida Project is easily in my top 5 films at this year’s NYFF. The entire film is so organic with an almost documentary-style feel. The story revolves around an often overlooked segment of the country; one that we tend to dismiss as low-class. The viewing experience is akin to being a fly on the wall during events we cannot unsee. Completely irreverent and oozing with charm, it’s also a film about children but not for children. Lazy summer days and trying to entertain themselves, more alone than in the presence of proper adult supervision, the children explore and wreak havoc on tourists and locals alike. The genuine chemistry between Willem Dafoe and rambunctious newcomer Brooklyn Prince is what makes The Florida Project so perfect. Dafoe becomes a universal father figure and will no doubt remind you what a chameleon he truly is onscreen. Bria Vinaite (Also a complete unknown until now) as Halley is frighteningly all too familiar, and I do mean that as a compliment. Her relationship with Moonee is as awkwardly earnest as it is heartbreaking. Our spitfire, six-year-old Prince steals every scene with her natural curiously and sass. She will not be contained. Sean Baker‘s use of real-life vibrantly colored backdrops screams for attention against the energy pouring from the entire cast of misbehaving children. You will be laughing out loud from the very first scene and find yourself completely engrossed in the lives of these characters. I will be putting forth a mighty effort come awards season on behalf of The Florida Project, as it deserves the widest audience possible.
In a complex and incredibly nuanced new film, sisters must decide if physical and emotional separation is what they need to survive. Indivisible is a story of exploitation and personal desire.
Angela and Marianna Fontana play conjoined twins Dasy and Viola. Sought after for their singing talents and local idolatry, everyone wants a piece of them. Born into a selfish family living off the girls’ fame, they are forced to perform, threatened by guilt and permeating greed. While one sister yearns to be surgically divided, the other feels devastated by the idea. In bold performances from these real-life twins, we are rooting for their ultimate happiness. Despite being attached at the hip, each young woman gives a brilliant performance. Full of dreams and determination, these ladies own the screen is presence and ability. Battling religious fanaticism and the seduction of escapism, our leading ladies ooze with charisma. Indivisible takes a heartfelt and intimate approach to dismiss the sideshow mentality. Every theme in this script is some sort of double entendre. With beautiful cinematography on top of a clever and unexpected script, Indivisible is one of a kind.
Growing up is awkward. No one is ever really prepared to deal with puberty, whether it’s the child or the parent. In Dorie Barton‘s brilliant directorial debut, Girl Flu, one little girl isn’t the only one that comes face to face with what it means to become a woman.
Synopsis:
Girl Flu is truly an endearing film. Funny, relatable, and just enough edge to surpass the afterschool special pigeonhole, it’s a directorial debut that Dorie Barton can be proud of. Whether the reality of the plot is who is really raising whom, we are treated to some incredibly sold performances from the entire cast. Katee Sackhoff (Battlestar Galactica) brings Jenny to life; an ill-equipped, young mother, raising a 12-year-old, who never quite grew up herself. Her crunchy and pot smoking morning rituals annoy the hell out of her daughter and her boyfriend, played by Jeremy Sisto (Waitress). Sackhoff is a beautiful balance of super flighty and genuinely sincere. Sisto, solid as ever, navigates his evolving feelings for mother and daughter alike adding to the heart and humor of a universal milestone. Heather Matarazzo (Welcome to the Dollhouse), as mom Jenny’s best friend, is damn hilarious. Not surprising for Matarazzo, as she lights up the screen in every role she plays. The real breakout star, without a doubt, is our major lead Jade Pettyjohn (School of Rock) as Bird. Humiliated and bullied, surviving on the resiliency she’s been forced to develop, she is whip-smart, vulnerable, and a total pro in this role. Irrational child logic is what makes this script so honestly entertaining. We laugh because we’ve been there. The cool soundtrack is the perfect addition. It’s been a fan favorite at over two dozen film festivals so far and it’s easy to see why. You can catch GIRL FLU on VOD (Amazon, iTunes, Google Play) today, September 29. Check out the trailer below!
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