In a dystopian Turkey, the Government installs new networks throughout the country to monitor information. The installation goes wrong in a crumbling apartment complex and Mehmet (Ihsan Önal), the building intendant, will have to confront the evil entity behind the inexplicable transmissions that threaten the residents.
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.
THE ANTENNA
OPENING IN VIRTUAL THEATERS FRIDAY, OCTOBER 2 WITH A NORTH AMERICAN VOD RELEASE TO FOLLOW ON OCTOBER 20 ON ALL MAJOR PLATFORMS.
VIRTUAL THEATERS (October 2)-Including: Los Angeles (Laemmle), New York and major cities (Alamo On Demand) and Philadelphia (Film Society).
VOD (US & Canada) (October 20): Including: iTunes, Amazon, Google Play, Xbox, Vudu, Dish Network and all major cable providers.
DIRECTED & WRITTEN BY: Orçun Behram
CAST: Ihsan Önal, Gül Arici, Levent Ünsal, Isil Zeynep, Murat Saglam, Elif Çakman, Mert Toprak Yadigar and Eda Öze .
RT: 115 minutes; Color; Language: Turkish with English subtitles; Rating: Not Rated (Horror)
Distributed in North America by: Dark Star Pictures
In college, I used to drive 8 hrs, regularly, in my car to visit a boyfriend. I was alone. I drove straight through pausing only briefly if I saw families at a busy rest stop. But, I was alone. John Hyam’s new film is everything I was afraid of happening to me on those long rides. ALONE is a bonafide nightmare. The genius of this script is its simplicity. The relatively mundane encounters build in the most honest and horrifying way. Jessica does everything right. But, once a serial killer has you in his sites, there is no escape, or so you might think. The pacing is absolutely perfect. The sound editing highlights the isolation that is evident in the natural setting. The soundtrack beating it all into you. All combined you feel like you’re in Jessica’s shoes. ALONE is a stripped-down genre winner.
Jules Willcox is a powerhouse as Jessica. Her vulnerability is so relatable making it easy to root for her survival. This is a power dynamic that shouldn’t exist but women, in particular, are used to dealing with it constantly. With an evergrowing population of “incel’ culture, walking with your keys between your fingers, pretending to be on the phone, parking under a streetlight, are all small steps we take to protect ourselves. Women are often deemed too emotional until we are tested by the unimaginable. ALONE exploits all that ingrained fear and mixes it with grief. Willcox nails this role from every angle. Marc Menchaca does a brilliant job with physicality. He comes off as visually harmless but he is downright scary. Perfectly balancing emotional manipulation with the brute strength of a psychopath, you’ll believe he’s done this before.
The opening credits give you a tiny preview of what kind of visual delight you’re in for. Writer/director Guy Moshe has crafted a frightening and dark film. All the more impactful in 2020, when everything we do has now become virtual, LX 2048 is terrifying because in theory, 28 years from now this feels completely plausible. Residents of this new world are ordered to take government-sanctioned antidepressants because the sun is no longer safe to step into. Once you die, you can upgrade to a clone that will seamlessly take your place. That might sound like a dream to some but when does the human experience end and technology take over completely? Is there where humanity goes to die? With the new countdown clock in Union Square now counting down to irreplaceable climate damage, is this film an omen?
The sets make you feel like these people are living in Ray Bradbury‘s play The Veldt. Backlit, padded rooms, where the human is visually connected to a virtual pair of glasses creating their reality. It’s fascinating but emotionally disconnected, which is entirely the point. Besides the look, the engrossing exploration of the meaning of life through technology advancement. LX 2048 could easily be an entire series. There is a lot that gets packed into roughly an hour and 45 minutes.
James D’Arcy‘s performance is riveting. As Adam, he must grapple with the notion that his children are part of this system, that his marriage has deteriorated past saving, and that a “better version on himself” could show up to replace him at any moment. We must sift through his depression, mania, hope, hysteria. It is a roller coaster of emotions for the audience. Many scenes require D’Arcy to speak to people at length that are not actually present. A lot of virtual meetings and calls. It’s like watching a masterclass in acting. Wait for the Shakespeare to drop. You’ve only just begun to see the full scope of his talents.
Lena Olin and Bruce Dern star in Tom Dolby‘s newest film The Artist’s Wife. While Olin plays the wife of a world-renowned artist, the film is centered on her. She has clearly given her entire life to serve and care and nourish her husband’s talent, but her emotional patience has finally run out, and rightfully so. Olin’s performance is like watching a masterclass in acting because it is not “acting”, she is living in this role. Her effortless grace and honesty explode off the screen. Dern, ever the master himself, brings precision and sadness to his character’s circumstance that you will love and hate him all at once. It is captivating.
The screenplay by Dolby, Nicole Branding, and Andi Nazemian about is a woman’s reawakening and the pressures of a caretaker. It skillfully highlights perceived gender roles. At some points actually taking an ax to them. The exploration of the ripple effects of dementia on a family unit certainly rings true. The manic behavior, the confusion, the disdain, and anger all come to a head. It’s tragic and very real.
The cinematography is beautiful. The soundtrack is a spectacular collection of indie hits. I especially adored the placement of Us by Regina Spektor. It’s joyful and perfect. The Artist’s Wife is about loss. But it is also about self-care. It is about sacrifice. Tom Dolby has presented us with a complex look at the human spirit through art and love. You will be entranced from every perspective.
NO ESCAPE puts a modern, social media-driven twist on the ultimate adventure seeker. Think Hostel (2005) meets The Game (1997) as Youtube influencer Cole (Keegan Allen) and his friends fly to Moscow to experience what they think is a one-of-a-kind escape room. Once they arrive, they’re wined and dined by a local rich kid before being led to their final destination. But not all is what it seems. As an avid watcher of all things horror, the setup rightfully lulls you into a false sense of fun with its club scene music, lighting, and awesome camera work. Then the other shoe drops, calling out Cole’s obsession with his stats over his own reality. His cocky persona is knocked down several pegs when he realizes his friends’ lives are in actual danger.
The film is written and directed by Will Wernick (Escape Room, which was fantastic), will easily tap into the younger generation who has literally grown up with social media. At 40, I was around for the birth of chat rooms in 8th grade. As someone who is at the mercy of social media in my work now, I understand the importance and the danger of such platforms. The internet is a weird place. One of the most effective pieces of the script is the ever-rolling comment section of Cole’s videos. It’s a fantastic insight into an audience “in real-time.” While the entire cast does a great job and has believable chemistry, Keegan Allen’s performance leads this film to success. Having been a fan since Pretty Little Liars, then watching his award-worthy skills in 
Now that I’ve has some time to sit on this film, I realize that the entire premise is based on deceit. While centered around the premise of actually getting to a music festival, it is really a selfish trip meant to distract, take advantage of, and use Stacey, the only female character in the film. She is manipulated by her boyfriend so that he can have one last hoorah before being kicked out of the country on an expired visa. He delays their arrival to take in the sites and generally be kind of a douche. While that sounds pretty awful, it’s a great setup for dialogue and genuinely hilarious shenanigans that ensue. Directed by 
The era of Blockbuster store glory also coincided with those weird interaction VHS boardgames. I had one called “Nightmare” where a Gatekeeper character would give you instructions and yell at you through the screen. It was equal parts hilarious and terrifying. Rent-A-Pal is a 90’s throwback filled with psychological terror that uses the same gimmick to the nth degree. Great stationary camera work and color choices really add the somber nature of our leading man’s state of loneliness at the beginning of the film. 15 minutes of brutally sad setup leads to a seemingly simple but chilling turn in the mood. Enter Wil Wheaton as Andy, David’s Rent-A-Pal. This bargain-bin VHS shows up when David seemingly loses out on the Video-Rendevous match of his dreams. His depression is palpable in Brian Landis Folkins’ performance. But, as someone who watched the degeneration of my own grandmother due to dementia, the heavy emotion is warranted. In an attempt to make himself feel better and out of sheer curiosity, David puts in this mysterious tape and “meets” Andy. A first glance, Andy is open and a really good listener. Lying just beneath the surface are clues of the more sinister. Perhaps it’s the language and mindset of the times, but some of his dialogue is almost like today’s incels. It is downright upsetting. Heightened by the editing, we get pieces of the video as David obsesses at learning its timing so his friendship becomes as real as it can be. To a lonely and socially awkward man, Rent-A-Pal is what the internet has now become to so many. Once he feels his luck changing, David is given the chance to take the girl of his dreams out on a date, but that instant connection is thwarted by Andy. The tension built up by the performances and clever structure creates an intensely ominous feeling. You’re constantly waiting for the other shoe to drop as David’s aggression ramps up and his sanity jumps over the edge. Wheaton brings a kind of brilliance to the film that is to be applauded. He has created a fully fleshed out villain without actually interacting with his co-star… as far as we can tell for sure. There were moments where I found myself staring at the screen longer than maybe I should have, wondering if my mind was playing tricks on me or not. Rent-A-Pal will disturb you. You will want to hit rewind again and again.
“An emotional avalanche of mourning and celebration” is perhaps the best way to describe the viewing experience. Director Tylor Norwood has mixed intimate sit down interviews with neighbors, friends, and Robin’s wife Susan, with television appearances, personal photographs, and most notably to the subject at hand, Robin’s doctors. As someone who’s grandmother recently passed from the same disorder, this hurt just a bit more. To have an inside view of the pain and fear and confusion that Williams (and his loved ones) must have been feeling, it makes this all the sadder. His doctors agree that his high level of cognitive function, much higher than the average person, is most likely what made the diagnosis so elusive. The man was nothing short of brilliant. Weaved into the film is his love story with Susan. She has become an advocate for the disorder. When you think of soulmates, these two are it. It is beautiful to watch. For the cinephile, Robin’s Wish is also a fantastic insight into his work and mindset from some of his most iconic career moments. But it is the personal asides, the conversations with injured troops from his USO tour days that will solidify him as one of the most treasured human beings of our time. To see him celebrated properly and more fully understood feels like vindication from the tabloid mess that initially ensued following his death. It was not deserved. It was shameful. This film is both a tribute and an education for so many suffering in silence. Robin’s Wish can come true in this documentary.
The film has a simple enough setup but the script goes off the rails in the darkest way possible. There is a thread of manipulation that runs deep with Sylvester McCoy‘s dialogue. It’s not even hidden but it is enthralling to watch. As a Doctor Who and The Hobbit fan, this was so far out of the box for my experience with his persona it made my skin crawl. Can someone be too good at being bad? Maisie Williams holds her own against this maniacal couple and the group of misogynistic thugs in her sphere. The violence in the film is extremely high and she bares the brunt of much of it. Handling it like a pro, we are rooting for her survival from the very beginning. Writer-director Julius Berg (along with co-writer Matthieu Gompel) turns up the weird and evil with a subplot that is downright heinous. You’ll be sweating and yelling at the screen as you watch what happens to every single character. Another interesting subplot is centered around dementia. It goes hand in hand with manipulation but at times, you have to respect the way in which it ties in. It’s just so sick you cannot look away. The practical fx are gag-worthy but completely appropriate. I can easily admit that my anxiety was through the roof while viewing. Rita Tushingham‘s performance, in particular, gave me flashbacks to The People Under The Stairs and more recently, 
With a haunting score, Entwined is often the most effective when you have you don’t know what’s happening. Danae keeps you under her spell with her childlike innocence and otherworldly dialogue. Is she a princess held captive and pure from outside influence? She is positively enchanting. For Panos, that’s precisely the problem. In his attempt to be her hero, he falls victim to the mystery in the forest. Speaking of the woods, they are an entire character in Entwined. As is the ever-burning fire in Danae’s isolated cabin. But is he truly trapped?
Performances are lovely. 
Telsa is one of the most uniquely presented biographies on film. Told from the narrative point of view of Anne Morgan and her unrequited love for Nikola Tesla, we are led into the mind of this scientifically gifted and eccentric man. Socially awkward, as many geniuses are, Telsa was responsible for changing more of history than most of us realize. His intelligence oftentimes hindering true companionship, his ups and downs can be felt through the screen by the wonderful performance from Ethan Hawke. Ever the chameleon, Hawke’s physicality and vocal dynamics force you to sit up and pay closer attention. But with the intrigue of the film’s presentation, this is an incredibly easy feat. There was a sadness to Telsa, an unending need for more success and validation of his contributions. Eve Hewson is captivating as Anne Morgan. Her sense of calm and poise put you at ease while you go on this engrossing journey. Jim Gaffigan as Westinghouse is also a complete joy to watch.
The look of this film is nothing short of stunning. Half theatrical stage play and half tongue in cheek look at technology, Telsa uses a modern scope in period dress to engage the audience. It immediately reminded me of the surprise that A Knight’s Tale utilized in 2001; music choices decades outside of the plot’s timeline. It made it all the more relatable in the coolest way. Endlessly enthralling, Tesla shines a light on some of the darker parts of one brilliant man’s life and work.
Secretly centered around deep childhood trauma, Random Acts Of Violence, is one of this year’s most visually stunning horror films. Reminiscent of Creepshow with its comic book window integration, actor/producer/writer/director Jay Baruchel‘s newest feature will freak you out. The gore factor is insanely high, the kills are next level disturbing. The killer has a literal playbook. But from page to screen they are all the more unsettling. Bravo to the makeup effects team for building purely maniacal creations. But in truth, they come from Jay Baruchel’s brain. Scary shit, indeed. Performances are top-notch from everyone. The honest intensity and fear will rattle even the hardcore viewer.
The script is filled with just enough breadcrumbs to keep you invested but completely blindsided. The feminist monologue Baruchel writes for Brewster is amazing; throwing the glorification of violence against women in our faces. The psychological trauma being explored makes for such a smart screenplay. The camera work slowly reveals just how sick the premise is, how vile the imagery. And that’s coming from someone who ingests horror more than the average person probably should. Good news for Shudder, this film will reverb in viewers’ nightmares. Random Acts of Violence is anything but random. It is genre art.
As a fan of Narcos and Cocaine Cowboys, I had incredibly high expectations for The Tax Collector. The slick editing in the beginning, that mixes voiceover and time-jumping violence immediately drew me in. Soto plays David with strength and a conscience. This felt like a fresh take on the typical gang genre. While there is a family angle that is different from the usual fare, it was the introduction of Shia LaBeouf‘s character Creeper that locked me into this particular narrative. He is an unexpected maniac. In reality, it should have come as no surprise because that’s LaBeouf’s schtick; he embodies any role with frightening ease. It was his role that kept me watching The Tax Collector because the idea of Creeper going nuts, simply based on a very brief intercut scene had me salivating for his character’s abilities to take shape. Then, it was a bit of bait and switch. While Bobby Soto was entertaining enough, and the rest of what feels like an ensemble cast is strong as well, LaBeouf’s character disappears and I lost most of my emotional investment. With the aspect of religion Vs religion used in a kind of silly way, I only watched until the end after some serious violence for violence’s sake occurs and thought, “Well, I’ve made it this far. How does this end now?” It’s pretty brutal (this is me warning you now) if you’re at all squeamish. After some truly senseless deaths, and ironically, one that not satisfying enough, the movie sort of just ends okay. That final shot though, come one now. Which is something I actually said out loud at the screen. Admittedly, I thought LaBeouf was the best part of this film. Show up for the genre, the music, the color choices, stay for Shia and The Tax Collector may just keep you in your seat.
The simple wonders of experiencing something for the first time is essentially the purest form of comedy in An American Pickle. Seth Rogen plays two distinctly different versions of “himself”. Having met Seth in real life, his Ben character feels very much like him. Down-to-earth, genuinely sweet, and very funny. As Herschel, he is truly astounding. The magic in his eyes, the reverent and tender respect for history and his family. I fear Rogen gets lumped into a certain category when you mention his name. While I love all his films, An American Pickle is different in a good way for him. It’s an engaging script with a funny concept. But really, the film is about family loyalty and pride. The jokes are whipsmart and insanely relevant to the absurdity of social influence and 2020 in general. This film lives and dies by the performances from Rogen. He needs more opportunities to show his acting chops in earnest. While the film has a lot of hilarious moments, as a whole it’s a little meandering for its roughly hour and a half runtime. Come to think of it, it might have fared better as a serial sitcom. Nonetheless, I think it’s worth your time. If you’re a Seth Rogen fan you will not be disappointed. An American Pickle premieres tomorrow exclusively on HBO Max.
Alex MacNicoll as our leading man is charming and down to Earth. He’s totally believable as a brave and gentlemanly boy next door. The mystery girl next door is played by Genevieve Hannelius. She has an authentic Taissa Farmiga vibe ala American Horror Story, season 1. One of the most entertaining parts of the film is J.T. Palmer as Colton’s best friend, Michael. He is the audience. I loved his commentary.
This is a surprising script. Filled with whimsy and an unexpected love story. Gemma Arterton plays two distinct sides of one woman. She is a lonely recluse, working day in and day out on her academic thesis. She was once a free spirit with an open heart. Her performance is stunning. Lucas Bond as Frank is simply darling. He represents a new start for Alice. He cracks her curmudgeonly shell. Through his innocent curiosity, her walls slowly come down. He is extraordinarily perceptive. She shares her studies in folklore. This leads to inevitable magic about the script, highlighting the location, and letting the score shine. His performance is a revelation.
Dixie Egerickx as Edie, Frank’s suspicious classmate is a wonderful addition to the story. She essentially represents both the townspeople and Alice, all at once. Her wit and hardened confidence match Alice at every turn. Gugu Mbatha-Raw is simply lovely as Alice’s long lost love. Their flashback scenes are lush with color and you can almost feel them radiate through the screen.
The screenplay and editing are gorgeous. It hones in on Alice’s abandonment trauma. This explains Alice’s writing. Summerland, mythic pagan heaven. This seems like a perfect escape for her emotionally fraught past. There is a pretty shocking twist that will leave you breathless and more invested in the story than you thought possible. Summerland is a beautiful film that deserves an audience.
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