Review: Horror comedy ‘SUMMONING SYLVIA’ has heart and hilarity to spare.

SUMMONING SYLVIA

Written and directed by Wesley Taylor and Alex Wyse, the horror comedy SUMMONING SYLVIA is ridiculous and absolutely fabulous. Three friends kidnap their engaged bestie Larry for a bachelor weekend in a haunted house. The property’s history, and a witchy book of spells, call for a seance. Duh. The group summons the former owner and her son to find out what happened to them. Things get extra spooky when the groom-to-be’s future military brother-in-law shows up. It’s not just the spirits causing trouble. (pun intended)

Magnificent editing from Sara Corrigan keeps the audience on its toes. We jump through time in a single pan of the camera. Bravo to the choreography in these particular scenes. Makeup and costumes from both eras are fantastic. The dialogue is so quippy. It’s fun, heartfelt, and surprisingly deep.

The cast’s chemistry is spectacular. Michael Urie is Jamie, Larry’s fiance. He’s the most down-to-earth of the bunch, with the better part of his screen time in sequences over the phone. Urie can do no wrong in my book. Veanne Cox is Sylvia. Her performance is frightening and downright brilliant. I would watch a stand-alone film on her character.

Noah J. Ricketts is Kevin, the dimmest bulb in the group. His relentlessly horny energy is a fun addition. Opposites attract in this friend group. Troy Iwata is Reggie, the type A of the group. Reggie’s meticulously planned itinerary gets wrecked with the appearance of the very straight Harrison. Iwata’s annoyed bitchy attitude (and rightfully so) made me love him even more.

Nicholas Logan plays Harrison. His overtly masculine energy, physical discomfort, and aggressive nature are a perfect foil for our four friends. His aura forces the audience to take stock of microaggressions and outright bigotry. Logan handles the distasteful behavior like a champ, and Harrison’s arch is a nuanced breath of fresh air.

Frankie Grande as Nico and Travis Coles as Larry are hysterical. Grande’s every beat is delicious. I found my eye seeking him in each frame, and he did not disappoint. He fills every possible moment with specificity, I guffawed. Coles brings mother energy and fierceness like no other. I wanted to have drinks and karaoke with him immediately. I am requesting a Grande-Coles buddy comedy asap.

SUMMONING SYLVIA is one of the funniest queer films of the year. As a theatre girl, I was in my element. I knew these characters. The film’s climax has a dual purpose that beautifully mirrors life and the afterlife. The finale is celebratory. Do not miss this hell of a good time.


Summoning Sylvia Opens in Theaters March 31, 2023
Broadway Stalwarts Wesley Taylor & Alex Wyse
Make Feature Directorial Debut with LGBTQ Horror Comedy
Starring Michael Urie, Veanne Cox, and Frankie Grande
Opens in Los Angeles at the Laemmle Glendale
Also Opens in New York City and Other Major Markets
 
Available on Cable VOD and Digital HD
Starting April 7 from The Horror Collective

Review: Agnieszka Smoczyńska’s complex film ‘FUGUE’ comes to U.S. cinemas.

FUGUE

Agnieszka Smoczyńska‘s sophomore feature, FUGUE, centers around memory loss and gender expectations. The film opens with a disheveled woman emerging from the subway tracks, clearly traumatized and unaware of her surroundings. In a quick jump forward two years, the same woman, now sporting short dark hair and just as confused, surrounded by medical experts. Her memory comprised only the past two years in Warsaw, and calling herself Alicja, doctors parade her on a talk show in a last-ditch effort to uncover her identity. A viewer calls in to claim the woman is his daughter. Reintroduced into a traditional household as a wife and mother of a young son, Alicja/Kinga struggles to integrate into a life she does not remember while being grilled about her disappearance.

Sporadic blue-tinged purgatory-like flashbacks of the woman in her heels, mussed blonde hair, and filthy trench coat give us little to go on. These sequences are undeniably unsettling. For most of the film, we draw our own conclusions based on the apparent hollowness of their marriage and a suggestion of an affair. Jakub Kijowski‘s bleak, but ravishing, cinematography sets the tone. Alicja stands apart from most of the action, furthering the feeling of isolation in an already stark environment.

Iwo Rajski plays Daniel with a natural fierceness that suggests he is starring in a documentary rather than a narrative. He is fantastic. Gabriela Muskala pens the screenplay and plays Alicja/Kinga. Her ability to reel you into her turmoil feels effortless. She is magnetic.

FUGUE is a far cry from The Lure and closer to the darkness and mystery of The Silent Twins. It begs the question of maternal instinct and gender roles. It touches on deep unresolved trauma and the unrealistic expectations of women to keep moving headlong. The heartbreaking finale sticks with you long after the credits roll.


Poland, Czech Republic, Sweden • 2018

Directed by: Agnieszka Smoczyńska

Written by: Gabriela Muskala
Starring: Gabriela Muskala, Lukasz Simlat, Iwo Rajski

 

Run time: 102 minutes

Language: Polish, English

Subtitles: English

Color: Color

Format: 2.35:1

Sound: 5.1


 

Review: Based on a true story, Marvin Samel’s very personal ‘iMordecai’ boasts compelling performances from Judd Hirsch, Carol Kane, and Sean Astin.

iMordecai

80-year-old Holocaust survivor Mordecai Samel is a man who works with his hands. When his son insists on replacing his taped-covered flip phone with an iPhone, his world opens up to new possibilities. Writer-director Marvin Samel brings his life and that of his family to the big screen with iMordecai. We must first learn from the past to better understand our future. This personal film will capture your heart.

Azia Dinea Hale plays Nina, a young phone tech who gives private lessons to Mordecai. Dealing with an unexpected family secret, Nina pushes onward to assure Mordecai that he can take his future into his hands and heal through experience and art. Hale is as sweet and patient as we need her to be.

Carol Kane is Mordecai’s wife, Fela. This witty, opinionated Polish woman is diagnosed with dementia. Mordecai’s secrets exacerbate her anxiety-ridden personality. Kane is a legend and compelling as ever in this role. We witness her moment-to-moment decisions, sometimes with nothing but a look in her eye. She is fantastic.

Sean Astin is Marvin, Mordecai’s son. Marvin’s confident facade begins to crack under the pressure of his cigar business, Fela’s diagnosis, and unresolved feelings with his father. Astin leaves his heart on the screen. Marvin is a complex person doing his best to keep his head above water. Astin takes each beat with thoughtfulness. It is a carefully crafted character study.

Judd Hirsch plays Mordecai with delicious chutzpah. He is proud, excitable, and dealing with deep seeded trauma. His journey is a reclamation of his youth. Hirsch is a treat to watch. Handpicked by Samel, he is funny, headstrong, and perfectly cast.

The film features beautifully animated sequences illustrating Mordecai’s childhood and hilarious flashback reenactments of his shenanigans as an adult. iModecai embraces the faults, chaos, and growing pains of our families. Samel’s script addresses everything, from intergenerational trauma to ageism, parenting, and embracing our truth. It oozes charm. Stick around for the credits to see footage of Samel’s twin daughters, the real-life Mordecai, and his art. iMordecai is a sentimental ode to survivors, culture, and unconditional love.


IN THEATERS FEBRUARY 10. ON AMAZON & APPLE TV APRIL 11.


When Mordecai, a Holocaust survivor, portrayed by Academy Award Nominee Judd Hirsch (The Fabelmans, Ordinary People) is given a new iPhone, an unexpected series of events upends his world. A heartwarming Miami-set comedy based on a true story. Co-starring Sean Astin (The Lord of the Rings trilogy, The Goonies) and Academy Award Nominee Carol Kane (Unbreakable Kimmy Schmidt, Hester Street).

https://www.imordecai.com

Facebook: http://bit.ly/GreenwichFB Twitter: http://bit.ly/TweetGreenwich Instagram: http://bit.ly/InstaGreenwich


 

BUFF23 capsule review: ‘THE ANGRY BLACK GIRL AND HER MONSTER’ is a brutal and biting social commentary.

THE ANGRY BLACK GIRL AND HER MONSTER

Desensitized to death by gang violence in her neighborhood and her family, Vicaria chooses science as her savior. “If death is a disease. Then there’s a cure.” In this modern take on Frankenstein, writer-director Bomani J Story brings BUFF 2023 audiences a bold reclamation of power.

Laya DeLeon Hayes is magnificent as Vicaria. Love and success are her motivators. She battles microaggression and blatant racism from every direction. Hayes owns every frame.

The practical fx and special effects makeup are as visceral as they should be. Hayes fearlessly handles the material with glee. The writing is unflinching. It’s a gutsy, hell yes script, socially and psychologically, tackling police violence on black bodies, socioeconomic pain, and family. The Angry Black Girl and Her Monster is a brutal but brilliant watch.


RLJE will release the film in theaters this summer.

Shudder and ALLBLK will follow with streaming debuts later in 2023.

Review: Based on the true events, ‘The Lost King’ is a charming story of one woman’s mission to correct history.

THE LOST KING

*World Premiere – TORONTO INTERNATIONAL FILM FESTIVAL 2022*

Underappreciated and taken for granted, Phillipa Langley gets a bee in her bonnet when she sees a production of King Richard III. Something compels her to start reading about the lost king. In a deluge of research, she falls down the rabbit hole, only to make one of the most astounding discoveries in history.

Two dominant themes in The Lost King are disability visibility and gender bias. Phillipa feels a kinship with Richard, angered he has been deemed a monster due to his severe scoliosis. It seems Shakespeare had a hand in demonizing his appearance for these years. The historical digging that happens in the film is eye-opening. She is whipsmart and undeterred in her mission to clear King Richard’s sullied reputation. We feel the frustration as Philiipa comes up against men taking credit for her work. Cheering her on when she stands up for herself, choosing to spread a strong feminist message to young girls rather than chase the fame regaled onto male archeologists on her dig.

The film’s magical realism adds a beautiful element to Phillipa’s journey. It highlights the emotional pull to finish her search. Not to mention how charming actor Harry Lloyd is as Richard. Steve Coogan plays Phillipa’s ex-husband John, a man going through a mid-life crisis who grows to respect Phillipa’s passion for her subject. Coogan is an icon and is no less intriguing in this role. Sally Hawkins plays Phillipa. Her ability to live in a character’s skin is magnificent. Her physicality dazzles. She can do no wrong in my book. Her enthusiasm is contagious.


EXCLUSIVELY IN OVER 750 THEATERS ON MARCH 24, 2023


In the archaeological find of a century, the remains of King Richard III — presumed scattered over 500 years ago — were discovered under a parking lot in Leicester in 2012. The search was spearheaded by amateur historian Philippa Langley, whose passion and unrelenting research were met with skepticism by the academic establishment. Directed by two-time Oscar® nominee Stephen Frears (The Queen, “A Very English Scandal”) and starring two-time Oscar nominee Sally Hawkins (The Shape of Water, Spencer) as Langley, The Lost King is the inspiring true story of a woman who refused to be ignored and took on Britain’s most eminent historians, forcing them to rethink the legacy of one of the most controversial rulers in English history. A tale of discovery, obsession, and stolen glory (both then and now), The Lost King is a magical adventure illuminated by one woman’s awakened sense of purpose.


CAST: Sally Hawkins, Steve Coogan, Harry Lloyd

DIRECTED BY: Stephen Frears

WRITTEN BY: Steve Coogan and Jeff Pope

PRODUCED BY: Christine Langan, Dan Winch and Steve Coogan

EXECUTIVE PRODUCED BY: Jeff Pope



Run Time: 108 minutes

Distributor: IFC Films

Review: ‘THE WORST ONES (Les Pires)’- art imitates life in this beautifully moving film.

Set in the suburbs of Boulogne-Sur-Mer in northern France, The Worst Ones captures a film within a film as it follows the production of a feature whose director turns to the local Cité Picasso housing project for casting. Eager to capture performances of gritty authenticity, the director selects four working class teenagers to act in the film to the surprise and consternation of the local community, who question the director’s choice of “the worst ones.” As the director and crew audition, rehearse, film, and interact with their hand-picked cast, jealousies are stoked, lines are crossed, and ethical questions arise, with thought-provoking and at times darkly funny results. Winner of the top prize in the Un Certain Regard section of the 2022 Cannes Film Festival, The Worst Ones announces directors Lise Akoka and Romane Gueret as exciting new voices in French cinema.


THE WORST ONES is a meta-narrative that succeeds in conveying hope through hardship. Not only does the film shine in its storytelling, embracing heartbreak and socioeconomic trauma, but the performances also by our four young actors will hypnotize the viewer. Check out the clip below for a taste:

Timéo Mahaut and Mallory Wanecque play the theatrical brother and sister duo, Lily and Ryan. Each pulling from the script an element of abandonment and aggression. This recurring theme is “permission to feel,” The screenplay skillfully taps into the idea that these children struggle to experience a traditional childhood when food, parents, stability, and peace seem out of reach. Their casting becomes the ultimate healing outlet. THE WORST ONES boasts a compelling film-within-a-film structure with an ending that leaves an impression on your soul.

 


Cannes award-winning feature THE WORST ONES (Les Pires), will open theatrically today in New York on March 24 (The Quad) and in Los Angeles on April 7 (Laemmle Monica) with additional cities including Chicago, Denver, and more to follow.

Review: ‘SCREAM VI’: Bright Lights, Big Serial Killer.

SCREAM VI


Scream 6 brings Ghostface out of Woodsboro and onto the bustling streets of New York City. When the film opens, Sam and Tara Carpenter (Melissa Barrera and Jenna Ortega) have seemingly left the trauma of the 2022 Scream reboot/sequel behind them. Tara is enrolled at the fictional Blackmore University, and Sam is getting the therapy she likely desperately needs to unpack her serial-killer linage (she’s the secret daughter of Billy Loomis, one of the baddies from the original 1996 film) But, since this is a Scream film, we know that it is only a matter of time until another psychopath adopts the Ghostface persona and comes after them.

2022’s reboot thrived by finding the perfect balance of new + nostalgia. While that film could be seen as a symbolic passing of the torch from Neve Campbell’s Sydney Prescott to Barrera’s Sam, it is still jarring to watch a Scream film without Sydney. Especially when Scream 6 is so clearly inspired by Scream 2 (talk about sentences you never think you will write), which similarly followed Sydney as she escaped Woodsboro for a fictional college setting. This time though, Courtney Cox is the only original star returning, and she struggles to provide a meaningful link to the weight of original films. Honestly, with so many of the other beloved characters missing in action, a clean break might have been the better approach.

Despite all of the changes, Ghostface remains as sharp as ever. There are even more kills, and they are bigger and gorier. This film makes the most out of its R- rating. There are also great homages to the past films (so much so that the film had me begging for one twist that never materializes – maybe next time!)

The much-promoted New York setting ultimately feels a bit underused – filming actually occurred in Montreal, and there are only a few scenes that truly attempt to capture the energy of the city. It’s a shame because those scenes are some of my favorites in the whole film. There’s a moment where Sam and Tara hide from Ghostface in a bodega, only to realize that this killer is willing to use weapons even more deadly than a knife. Another scene on the NYC subway captures the rising anxiety facing the city’s public transit today, where a rise in unprovoked attacks has left citizens suspicious of their fellow passengers. But that’s largely it – it feels like a waste of the setting (although to be fair, New York has posed a challenging setting for horror films in the past.) What about Ghostface popping up in a cab, a chase through central park, or a set piece on one of the iconic bridges?

Overall, the talent of the core cast and the film’s passion for the rich history of the franchise more than make up for its shortcomings. But the inevitable Scream 7 should make sure to stay on its toes, or else risk that the stabbings will start to get stale.


IN THEATERS NOW!


 

Review: MGM+ and Blumhouse bring audiences Yoko Okumura’s ‘UNSEEN,’ a wild story of dual survival.

 

UNSEEN

SYNOPSIS: Two women form an unlikely connection when a depressed gas station clerk SAM (Purdy), receives a call from EMILY (Francis), a nearly blind woman who is running from her murderous ex in the woods. Emily must survive the ordeal with Sam being her eyes from afar using video call.


Emily wakes up disoriented and tied up in a remote cabin by her ex. After fleeing into the woods but breaking her much-needed glasses, she accidentally dials Sam, a meek gas station attendant. (*cue the My Girl fans) Emily cannot see without her glasses. Begging this anxious stranger to video call her to aid in her escape from the ever-looming Charlie. These unlikely partners team up in different locations, leading to freedom for both women.

Michael Patrick Lane is Emily’s captor and psycho ex, Charlie. Scary and somehow kooky, he is like the Michael Myers of ex-boyfriends. Missi Pyle plays Carole, and she’s a real asshole. Her performance is both caricature and authentically terrifying. Pyle gives us rich, tacky, gun-toting Karen energy. I mean, had station is in Tallahassee. Her character work is unreal.

Midori Francis is an absolute badass as Emily. Minutes in, I was yelling at the screen, cheering her on. Her shockingly calm demeanor is all the motivation Sam needs to help. Jolene Purdy plays Sam with zero self-esteem and a heart of hold. Her emotional arc in the film will leave you with a smirk. She and Francis have electric chemistry, especially considering they are never in the same space as one another. They are both stars.

Areal shots are stunning. The addition of out-of-focus camerawork puts you in Emily’s chaotic mindset. The splashy neon colors of the Gator Galore station contrast beautifully with Emily’s overcast forest landscape. Directed by Yoko Okumura and written by Salvatore Cardoni and Brian Rawlins, UNSEEN balances comic, over-the-top characters with nuanced ones and the plausible scenario of a woman’s abduction by her ex. The script is a commentary on class and one hell of a story of gender-based violence. It is undeniably entertaining. Some audiences might initially make comparisons with Shudder’s SEE FOR ME, but that would be a mistake. Unseen stands apart in its unexpected comedy, performances, and clever writing. The final reveal made me say, “Oh, shit.” Be sure to stick around for the credits.


Paramount Home Entertainment will release the horror thriller  film UNSEEN on Digital and On Demand on March 7, 2023 and on MGM+ on May 2023.

 UNSEEN stars an ensemble cast of Midori Francis (“Grey’s Anatomy”), Jolene Purdy (“Orange is the New Black”), Missi Pyle (Gone Girl) and Michael Patrick Lane (“Dynasty”). The film is directed by Yoko Okumura (“The Bold Type”) and written by Salvatore Cardoni (Gnomes & Trolls: The Secret Chamber) and Brian Rawlins. The film was executive produced by Alexander Kruener, Jeremy GoldChris McCumber and Jason Blum.

The film is part of the Blumhouse Television and MGM+ deal to produce eight original films together. MGM’s streaming service, EPIX, rebranded as MGM+ on January 15, 2023.

 Building on Blumhouse Television’s success with the Welcome to the Blumhouse movies slate for Amazon and Into the Dark anthology series for Hulu, the deal is the first-of-its-kind for MGM+, which is adding films to its growing slate of premium original content.


 

Review: Irish folk horror ‘UNWELCOME’ is a fairy tale for adults.

UNWELCOME

Directed by Jon Wright and co-written by Mark Stay, Irish folk horror UNWELCOME has you on edge from the beginning. A fresh start for Maya, Jaime, and their baby on the way, comes with a caveat; their newly inherited country house has a beautiful garden that backs up against the woods and a promised nightly offering to keep the Red Caps at bay. Not upholding tradition with the little people beyond the wall could be a huge mistake.

Colm Meaney is the abusive Daddy Whelan, heading up the unsavory local family fixing the cottage. Proud and fiery, he is just as volatile as his children. Jaime-Lee O’Donnell and Chris Walley make the aggressive audience relentlessly uncomfortable with their behavior and nationalist words. Kristian Nairn plays Eoin, the quiet, clearly complicated, deemed “simple” son of the Whelan crew. Nairn gives a brilliant performance, more complex than at first glance.

Douglas Booth wears his emotions on his sleeve as Jaime. He is charming and kind but channels his unresolved trauma into simmering anger and anxiety. Hannah John-Kamen is enchanting and vulnerable. She owns the screen in her self-assured presence. Her chemistry with Booth and the rest of the cast keeps you watching.

The script is a dark adult version of a Grimm’s fairytale. Costumes are as colorful as the scenery is lush. Gorgeous drone shots down windy roads are breathtaking. The score creeps up on you. The first appearance of the elusive creatures is reminiscent of 80s Jim Henson; think Hoggle and the goblins from Labyrinth. They are awesome in the truest sense of the word. As a person who has been pregnant twice, the violence in the film is visceral. The commitment from the cast is applause-worthy. As the impressive practical effects get more intense, so do their performances. You will find yourself wincing and giggling simultaneously. Yes, it is over the top. And yes, the ending is a real WTF. Just go with it and have fun because in UNWELCOME, keeping the tradition alive keeps you alive.


UNWELCOME is set to be out in theaters this FRIDAY, MARCH 10th

 as it’s part of the AMC Thrills & Chills lineup,

and on Digital Tuesday, March 14th!


 

Review: ‘American Cherry’ offers bold visual storytelling, but narration is less ripe.

AMERICAN CHERRY

American Cherry unfolds like a bold and hazy dream. There are moments of such quiet beauty in every corner of the film – patient shots of dust swirling in a sunbeam, a butterfly crawling across a screen door. The dusty, nondescript town at the center of the film manages to feel familiar and alien all at once.
The plot and narrative are an awkward fit for such an intriguing setting. Troubled young Finn (Hart Denton, toned down from his manic turn on Riverdale) drifts through the town. He’s obviously troubled. His relationship with his parents is strained, and we can tell there’s anger (or worse) bubbling under his quiet exterior. He connects with Eliza, a girl at his school. Eliza is troubled too, in her own quieter way: she lives with her alcoholic mother, the two of them living through a trial separation from her step-father and step-sister. As Finn and Eliza deepen their bond, it quickly becomes clear that he will bring great love or great danger into her life (perhaps both.)

I was impressed with both young leads. Denton appears in nearly every scene of the film and provides its narration. If the audience doesn’t connect with him, American Cherry has no chance. He is up to the task. Sarah May Sommers is particularly affecting as Eliza – I especially admired scenes where she has to navigate between her budding happiness with Finn and the thoughts and expectations of her high-school friends.

I found much to love about American Cherry, but left confused surrounding its tone and intention. From a genre perspective, it somehow sits right at the intersection of romance and psychological thriller, but that ambiguity was confusing in ways that felt unintentional. Is this trying to be Fear for the zoomer generation? Good Will Hunting with more bite? I felt it needed to commit a little bit more firmly. By seeking such balance, it risks underdelivering on both counts.

I found the script somewhat overwrought as well – the heavy-handedness of the dialogue is difficult to reconcile with the casual nuance of the cinematography. It is hard to watch young actors deliver lines like “there’s an umbilical cord connecting my belly with this town” with stone-faced seriousness.

All this being said, the visual power of the film is difficult to resist and does the heavy lifting of transporting the audience when the script can’t quite deliver. This is a confusing picture, but undeniably beautiful.


AVAILABLE MARCH 17
on Amazon, Vudu and Cable VOD (Comcast/Charter/Cox/Xfinity)


AMERICAN CHERRY is a psychological thriller-romance about a mysterious, troubled boy (Hart Denton, “Riverdale”) who meets an impressionable girl (Sarah May Sommers, Once Upon a Time in Hollywood) in their small town. Together they embark on a romance where his love turns into obsession as he tries to protect her from her dysfunctional family — he makes her a video diary that confesses an intricate story of love, mental illness and the tragic consequences if left untreated. 
 
Written and Directed by: Marcella Cytrynowicz
Producers: Geoffrey Goodman, Hanna Griffiths,
Dave Ross,Taryn Sims and Jeff Wald
Executive Producers: Jenny Alonzo, Louis Arriola,
Matthew Helderman, Michael L. Holland,
Grady Justice, Nikki Stier Justice and Luke Taylor
Cinematographer: Gus Bendinelli

 

CAST: Hart Denton (“Riverdale,” “13 Reasons Why”), Sarah May Sommers (Once Upon a Time in Hollywood), Audrey Holcomb, Larsen Thompson, Matty Cardarople (“Stranger Things), and Leonor Varela (Blade II)

 

Review: ‘EMILY’ is a sensual and complex tale of loss and genius.


EMILY imagines Emily Brontë’s own Gothic story that inspired her seminal novel, “Wuthering Heights.” Haunted by the death of her mother, Emily struggles within the confines of her family life and yearns for artistic and personal freedom, and so begins a journey to channel her creative potential into one of the greatest novels of all time.


EMILY shares the part-fictional story of a brilliant writer whose life and loss of love inspired one of the greatest novels of all time.

Wuthering Heights fans will recognize the inspiration in Frances O’Connor‘s screenplay. Sibling and familial dynamics loom large, as does jealousy. A myriad of topics appears in the script; grief, individualism, and life in the arts. Emily shirks gender norms and yet yearns for the approval of her Father. Betrayal, morality, lust, defiance, sibling rivalry, adoration, and spite play keen roles in EMILY. A particularly sharp monologue serves as a Freudian confessional. It is brilliant and heartbreaking.

Nanu Segal’s cinematography is both visually striking and emotionally impactful. The score is chill-inducing, ethereal, and classic all at once. Emily contains one of the most gloriously choreographed love scenes. Two particular moments in Sam Sneade‘s editing were particularly effective. First, when Weightman and Emily discuss their inspiration in writing, and second when William first reads Emily’s poem. These subtle choices are massive emotional shifts in the narrative. Bravo.

Fionn Whitehead plays Branwell Brontë with the vibrancy of a firecracker. He is a delightful foil for Mackey. Their connection is undeniable. Oliver Jackson-Cohen is Mr. Weightman. Battling societal morality and love, Jackson-Cohen gives a stunning performance. His intuition and chemistry with Mackey are explosive.

Emma Mackey is perfection. The script allows her to play the full spectrum of human emotion. She is vulnerable, anxious, fearless, defiant, and endlessly passionate. Emily’s curiosity for life and experience gives Mackey the freedom to immerse herself in the role. She nails it.

EMILY is every English Lit major’s fantasy. Emily is an iconic feminist role model, walking the thin line between relatable and remarkable. Frances O’Connor gives audiences a heroine to admire and aspire to be.


Bleecker Street will release EMILY
in select theatres February 17, 2023


Directed by: Frances O’Connor
Written by: Frances O’Connor
Produced by: Piers Tempest, Robert Connolly, David Barron
Cast: Emma Mackey, Fionn Whitehead, Oliver Jackson-Cohen, Alexandra Dowling,
Adrian Dunbar, Amelia Gething, and Gemma Jones


Rated R | 130 minutes

Facebook: @BleeckerStFilms
Twitter: @bleeckerstfilms
Instagram: @bleeckerstfilms

#EmilyMovie


 

Review: ‘Swallowed’ is any LGBTQ person’s nightmare… and then some.

SWALLOWED

Cooper Koch and Jose Colon play best friends, Benjamin and Dom. In order to send Benjamin off to L.A. with some extra cash, Dom coordinates a drug mule operation that complicates everything. When the packages turn out to be something far more sinister, things get much darker than anyone imagined.

Swallowed is a genre-obliterating film with fantastic performances. Jena Malone adds gritty believability. To no one’s surprise, she manages to bring charm and intensity. Koch and Colon have spectacular chemistry, and you 100 percent buy their relationship. Koch possesses an accessible vulnerability. Colon’s honesty feels grounded. Bravo for their openness to go full frontal nude. We all know how rare that is, and it makes complete sense given the plot. The film also features a solid villainous turn from Mark Patton, a genre legend from A Nightmare on Elm Street 2. One line, in particular, is slyly redemptive given his status in the horror canon.

The camera work has visceral intimacy. Writer-director Carter Smith (The Ruins) gives audiences a unique genre entry, with the leads being LGBTQ male characters in scenarios we usually see female characters tackle. Swallowed is part crime thriller, part coming-of-age, and body horror. This film is an LGBTQ scenario of nightmares. Get ready to squirm.

 
The horror / thriller / LGTBQIA+ film, SWALLLOWED, will be released on digital and on demand February 14, 2023.

It stars Jena Malone (The Hunger Games Film Series, Cold Mountain, Stepmom), Mark Patton (A Nightmare on Elm Street 2: Freddys Revenge, Freddy vs. Jason), Cooper Koch  (Fracture) and Jose Colon (Feature Acting Debut)
 
It was written and directed by Carter Smith (The Ruins).


Review: ‘The Way Out’ is a twisted tale of manipulation and revenge.

The Way Out

Pizza delivery boy and recovering alcoholic Alex grieves the loss of his abusive father while navigating the inheritance of his childhood home and mortgage. To get by, he rents a room to Shane, a domineering trainer who takes over Alex’s life with intrusive advice.

Ashleigh Murray is Alex’s best friend, Grace. She gives us the perfect balance of sweet, supportive, and firey. She’s a foil for Beauchamp. Sherri Sheperd is outstanding as Alex’s AA sponsor Ronnie. This is a fantastic turn filled with grounded concern, loving energy, and wise words. Her calm demeanor balances the chaos beautifully. She is a thoughtfully curated character.

Jonny Beauchamp plays Alex. Writet-director Barry Jay‘s screenplay allows him to show his vast range as he assumes some of Shane’s personality traits as the story progresses. Beginning as a meek and mild, lost young man, Alex slowly becomes increasingly more aggressive. Mike C. Manning (Slapface) throws you off balance from the moment he appears onscreen. He oozes toxic masculinity, helped by his intense workout obsession and the score. Shane goes from subtle to overt manipulation quicker than I expected. He is downright scary. While Manning portrays the ultimate gaslighter, his character is more nuanced than at first glance.

Overall, the lighting is a bit dark for my taste, but the score is carefully crafted and smartly used. The script morphs into a sick and twisted revenge story I did not see coming. There is a complex moral ambiguity that is endlessly intriguing. The Way Out is an unexpected journey of self-discovery and one credible psychological thriller.


On-Demand Release/Worldwide – Feb 10, 2023

 

Review: Robbie Banfitch’s ‘The Outwaters’ is dizzying terror like you’ve never experienced before.

THE OUTWATERS

Robbie Banfitch‘s found footage horror film THE OUTWATERS begins its reign of terror immediately. Presented as case evidence in the disappearance of four friends shooting a music video in the Mojave desert, we experience the film through the three memory cards filled with video in chronological order. Yes, we’ve seen plenty of found footage since The Blair Witch Project in 1999, but THE OUTWATERS takes the genre to a new level. Welcome to the latest film you’ll talk about for a long time.

Like in The Blair Witch Project, each character goes by their real-life name. Banfitch is the sole cinematographer. The shaky handheld camerawork gives the film solid legitimacy. The sound editing varies based on the speaker’s proximity to the camera, lending to the validity of the experience. With the film opening with a horrifying 911 call, memory card number one contains relatively mundane introductions to the characters. Background information reveals itself in what is essentially Robbie’s private vacation footage. But, you’re so entranced by the opening audio, you become obsessed with discovering the cause of those screams. That, my friends, is compelling editing.

Card two introduces the mystery in earnest. Card three is chaos. 99.9% of the film occurs through Robbie’s lens’ perspective. Much of the explosive final hour is lit by nothing but a flashlight. Therefore, a great deal of what we can’t see paralyzes us. Don’t for a second think that the daylight is any safer. What we do get a glimpse of is gag-inducing and chaotic fear. Ultimately, the ear-piercing manipulation of sound grabs you by the throat. I forgot to breathe. Fair warning: Everything is so dizzying you may get queasy. The script evolves in such a clever and unique way I just resigned myself to yelling. “WTF?!” at each new reveal. It simply keeps going and going. I stopped trying to figure out which way was up. THE OUTWATERS‘ final few minutes made me gasp. If that’s not an endorsement, I don’t know what is. Robbie Banfitch is the next great horror auteur. No one can take that away from him.


Directed by: Robbie Banfitch

Starring: Robbie Banfitch, Angela Basolis, Michelle May, Scott Schamell, and Leslie Ann Banfitch and features original music by Salem Belladonna.

Playing in select theaters nationwide (US and Canada) beginning February 9 including: New York (Alamo Drafthouse Manhattan, Regal Essex 14, Kaufman Astoria), Los Angeles (Music Hall 3), Atlanta, Austin, Boston, Calgary, Chicago, Cleveland, Dallas, Denver, Detroit, Houston, Miami, Minneapolis, Philadelphia, Phoenix, Portland, San Antonio, San Diego, San Francisco, Seattle, St. Louis, Toronto, Vancouver, Washington, D.C and many more.

Following its theatrical run, Cinedigm and Bloody Disgusting plan to release The Outwaters exclusively on its horror streaming service as a SCREAMBOX Original.

All theaters: https://fandan.co/3jjjkuW


 

Review: Casper Van Dien runs a tight ship in Corey Deshon’s ‘DAUGHTER’

DAUGHTER

SYNOPSIS: A young woman is kidnapped and inducted into a bizarre family as their new surrogate daughter. As she navigates through this twisted dynamic, awful secrets about the past are revealed, leading to even darker implications about the future.


(L-R) Elyse Dinh as Mother, Casper Van Dien as Father, and Ian Alexander as Brother in the thriller film, DAUGHTER, a Dark Star Pictures release. Photo courtesy of Dark Star Pictures

Shot on 16mm film, DAUGHTER comes alive with a timeless 70s exploration horror look. Told in chapters, this slow-burn thriller raises questions about captivity, indoctrination, and freedom of thought. It will make you shiver.

Elyse Dinh tackles the role of “Mother.” She is the stabilizer in the family dynamic. Dinh’s chemistry with Vivien Ngô keeps you watching. Ian Alexander, whom I adored in The OA, plays “Son.” Alexander fully embodies whatever character they play, and this is no exception. There is solid potential for more of this character in the future.

Casper Van Dien is “Father.” He is unsettling from the beginning. A looming figure, he makes your skin crawl. Vivien Ngô plays “Daughter” with the complexity needed to sustain the pace. The audience is along for the ride on her shoulders. She had me constantly wondering what move might come next in the bizarre game of chess. It is a captivating turn.

The sixth chapter is a complete visual departure from the rest of the film. It’s explosive. With a beginning and ending that feels like an homage to Tobe Hooper‘s The Texas Chainsaw Massacre, the long-awaited finale of DAUGHTER feels spot on. Any other choice would have felt like a cop-out. DAUGHTER has the makings of a franchise if writer-director Corey Deshon can quicken the pace with this first film as canon.


Dark Star Pictures will release the thriller film DAUGHTER in select theaters, on Digital and On Demand on February 10, 2023

The thriller DAUGHTER stars an ensemble cast of Casper Van Dien (Starship Troopers), Elyse Dinh (Spider-Man 2), Vivien Ngô (“Queen Sugar”), and Ian Alexander (“Star Trek: Discovery”). The film is written and directed by Corey Deshon (“A Million Little Things”).


DIRECTOR’S STATEMENT

From the wars we fight over our conflicting worldviews, the insane mental gymnastics we conjure in order to justify them, and the insignificance of truth in the absence of freedom, comes DAUGHTER. Shot on 16mm film with a predominantly Vietnamese cast, DAUGHTER is a uniquely diverse and genre-bending tale in the vein of Dogtoothmeets 10 Cloverfield Lane.

Inspired by feminist existentialist philosopher Simone De Beauvoir’s “The Ethics of Ambiguity,” this film is a meditation on the morality and ethics of freedom and creative expression within an oppressed system. Through this surrealist psychodrama, we seek to explore the questions, “Can one truly be free if they do not will the freedom of others? “and, “If that freedom must come at a moral cost, who is going to pay?”


IN THEATERS: February 10, 2023
ON DIGITAL AND ON DEMAND: February 10, 2023
ON DVD: May 9, 2023
DIRECTOR: Corey Deshon
WRITER: Corey Deshon
CAST: Casper Van Dien, Elyse Dinh, Vivien Ngô, and Ian Alexander   
RATING: Not Rated
RUN TIME: 95 minutes
GENRE: Thriller
DISTRIBUTOR: Dark Star Pictures




Review: ‘Woman of the Photographs’ is a hauntingly beautiful and unusual love story.

WOMAN OF THE PHOTOGRAPHS

An unassuming photographer finds himself entangled in influencer Kyoko, who has body dysmorphia. Part fable, part romance, and certainly part body horror.  WOMAN OF THE PHOTOGRAPHS is a one-of-a-kind, genre film.


The juxtaposed images of Kai and his pet praying mantis eating are a delight. Hideki Nagai‘s physicality mirrors that of the insect. He is skittish, introverted, and meticulous in his work. Nagai draws you in immediately. Itsuki Otaki is equally captivating as Kyoko. The chemistry of our two leads is endlessly intriguing. I could not take my eyes off their engrossing dynamic.

The score is lighthearted, almost French. The hyper-augmented sound editing draws attention to the fact that Nagai has zero dialogue. Combined with eclectic music like jazz and Jazz and The Nutcracker Suite, it accentuates the playful nature of the film. Kyoko experienced many fantasy sequences as a coping method.

The film utilizes classic devices. Mirrors and reflection play a dual role. Reds and fuchsias feature prominently in the form of nail polish, shoes, a toothbrush, Kyoko’s blouse, a robe, and phone case, and most importantly, the scar. I can see why this was such a hit on the festival circuit. WOMAN OF THE PHOTOGRAPHS begs a larger conversation about image and self-worth as dictated by the internet and society.


WOMAN IN THE PHOTOGRAPHS in Select Theaters on February 3rd and On Demand everywhere on February 7th.


https://epic-pictures.com/film/woman-of-the-photographs

Shudder capsule review: ‘Attachment’ dazzles with its smart script.

ATTACHMENT

New couple Maja and Leah battle terror and tradition when they move back into the same house as Leah’s Hasidic mother, Chana. Jewish mysticism takes center stage in this unique entry for Tribeca 2022 Midnight section. Is Chana an overprotective parent, or is something more sinister happening? Enter writer-director Gabriel Bier Gislason‘s ATTACHMENT.

The writing is perfectly genius, as it disguises the mystery within the secretive nature of the religion. I watch a lot of horror. ATTACHMENT had me on the ropes. I had no idea where this script would land. The language barrier raises the stakes, as important revelations become lost in translation, literally. Performances are spectacular and nuanced. The emotional journeys are lush. Their pasts slowly revealed creating a genuine and curious bond. I could not take my eyes off the screen while watching Attachment, fearing I’d miss the smallest detail. Audiences will be hypnotized.


*STREAMING EXCLUSIVELY ON SHUDDER*
FEBRUARY 9th, 2023


FEATURE | DENMARK | 105 MINUTES | DANISH, ENGLISH | ENGLISH SUBTITLES
DIRECTOR
Gabriel Bier Gislason
PRODUCER
Thomas Heinesen
SCREENWRITER
Gabriel Bier Gislason
CINEMATOGRAPHER
Valdemar Winge Leisner
EDITOR
Nikoline Løgstrup
US DISTRIBUTOR
Shudder
CAST
Josephine Park, Ellie Kendrick, Sofie Gråbøl, David Dencik


 

Review: Drugs and double-crossing déjà vu ‘THE LAST DEAL’ slides by with solid performances.

THE LAST DEAL

A blackmarket cannabis dealer gets squeezed out of the business when marijuana becomes legal, and is forced to make one last deal with the people he should trust the least.


A strong fast-paced opening turns into a predictable script of double-crosses and drug debts. The score and transitional fade-outs feel generic and dated. Although, the handheld camerawork is a bright spot. I’ll give the script credit where credit is due, with one surprisingly violent scene halfway through.

An hour in, we briefly meet a round of new characters. One, in particular, provides a cringeworthy moment that is a complete waste of time. On the other hand, actress April Lang provides a tangible grounding for Vince as a character, but the glaring lack of a thick Boston accent matching her son made me roll my eyes. That’s not on Lang. Her performance is the most natural in the film, and I wanted to see her storyline more than anyone. Kenny Johnson also impressed me as Vince’s pilot Carter. That’s another story I’d like to explore.

Sala Baker plays The Boss with badass energy. He steals every second of attention when he appears onscreen. Mister Fitzgerald is Bobby. His confident demeanor makes him likable immediately. More of him everywhere. Anthony Molinari is strong enough as Vince to carry the film. His voiceover work sets a Narcos-level tone at the beginning and end of the film. Unfortunately, the script doesn’t keep up with his potential.


IN THEATERS NATIONWIDE FEB 3

ON DEMAND FEB 7

Directed by Jonathan Salemi, and also starring Anthony Molinari (Tenet), Mister Fitzgerald (“F.B.I.”), Jeffri Lauren (Inside & Out), Mike Ferguson (Ebola Rex), Conner Floyd (“The Young & The Restless”), and Gigi Gustin (The Retaliators), THE LAST DEAL is a Scatena & Rosner Films release.


Review: Character-driven zombie film ‘ALIVE’ is now available on Digital and VOD

ALIVE

Helen navigates a ravaged world with her boyfriend Kevin and her little brother Barney. Desperate to find help after Barney’s infection slowly turns him into a zombie, they come upon a house where lives Dan, a man harboring a heavy secret.

The film has a very BBC look to it. It is difficult, beyond the appearance of a smartphone, to tell what year the film occurs. A mix of religion, politics, and pure survival mode mix to keep the audience engaged in the narrative. The sound editing by Rob Pepper, especially the creepy sound of the virus progressively infecting young Barney, made my skin crawl.

Although the zombie makeup is not great, costumes and general makeup are thoughtfully aged and disheveled. Something that is usually a sticking point in low-budget apocalyptic films. I was equally impressed with the locations. It appears the filmmakers had a lot of options, and they used them to their advantage. Performances are strong all around. A large ancillary and featured extra cast makes for a more impressive final product.

While the drama is a touch overplayed, perhaps akin to a Lifetime drama hokeyness, that does not lessen the intriguing arc in a genre that is tricky to conquer with new ideas. So while we’ve seen the sentimental attachment aspect in the past, the surprising plot point surrounding the very badass Ellen Hillman was phenomenal. Alive‘s final reveal garnered an honest, approving nod from me. I applaud the passion and commitment of writer-director David Marantz. It undoubtedly has an audience.


THE INFECTION SPREADS ON JANUARY 31, 2023 ON DIGITAL AND ON DEMAND!

 

Review: Israel’s Official Submission to the 94th Academy Awards, ‘LET IT BE MORNING’ is a slick satirical dramedy with spectacular performances.

LET IT BE MORNING

Based on the Sayed Kashua novel, Eran Kolirin‘s sharp political satire LET IT BE MORNING hits theaters this Friday. Premiering at Canne in 2022, we find Sami returning to his childhood village to attend his younger brother’s wedding, only to find Israeli soldiers lock down the town without explanation.

On the surface, the film is an intimate character study of the growing tensions in a family and community in close quarters and the disruption of everyday life. Slyly mirroring the Israel-Palestine tensions in a darkly comedic way, LET IT BE MORNING tackles the status quo, the want for power, and the need for change in a superbly brilliant way.

Shai Goldman‘s cinematography captures both the beautiful landscape and the claustrophobic living conditions, smartly accentuated by natural light, soft candlelight, and lone street lamps. Music tracks like SIA‘s “Chandelier” break the tension in seemingly mundane moments. The script gets funnier and deeper under such dark circumstances as everyone approaches their physical and emotional breaking points.

Performances are undeniably fantastic. Most notably, Juna Sulieman as Mira, Ehab Salami as the ever-optimistic Abed, and Alex Bakri as an often indifferent Sami. They wade through politics, flailing relationships, and the facades we curate for survival. LET IT BE MORNING utilizes biting humor, metaphor, and reluctant honesty to tackle happiness and hope.


LET IT BE MORNING opens in theaters on February 3rd in New York City (QUAD Cinema) and LA (Laemmle Royal)

The film will then expand into select major cities on February 10th and nationwide on February 17th.


The film premiered in the Un Certain Regard section of the Cannes Film Festivalthen went on to acclaim at other festivals around the world. It also won in nine of the eleven categories in which it was nominated at the Ophir Awards (Israel’s Academy Awards), including Best Film, Best Director, Best Actor, and Best Actress.

 
QUAD Cinema’s Retrospective Series Honoring Filmmaker Eran Kolirin
Quad Cinema in New York will also be presenting a four-day retrospective (Jan 30th-Feb 2nd) featuring select films from Eran Kolirin’s filmography, celebrating the director’s work leading up to the theatrical release of Let It Be Morning. Co-sponsored by the Consulate General of Israel in NY, the retrospective series will include the 2007 global phenomenon (and Kolirin’s feature directorial debut) The Band’s Visit on 35mm as well as the 2011 Venice-selected, quirky comedy The Exchange and soldier-returns-home drama Beyond the Mountains and Hills, which competed in the Un Certain Regard at the 2016 Cannes Film Festival. Filmmaker Eran Kolirin will be present for Q&A discussions after select screenings throughout the retrospective and during the opening weekend of “Let It Be Morning” at the QUAD Cinema. 

 

About filmmaker Eran Kolirin:

Born in Tel Aviv in 1973, writer/director Eran Kolirin’s feature film debut THE BAND’S VISIT (2007) thrust him into the international spotlight, winning critical acclaim and over 50 prestigious awards from around the globe, including eight Israeli Academy awards, two awards and special mentions at the Cannes Film Festival and two European Film Awards. His second film THE EXCHANGE (2010) competed at the 68th Venice International Film Festival in 2011. In 2016, his third film BEYOND THE MOUNTAINS AND HILLS premiered in the Un Certain Regard section of the Cannes Film Festival. LET IT BE MORNING is his fourth feature film as writer/director.