presents
When brothers Pedro (Ezequiel Rodríguez) and Jimmy (Demián Salomón) discover that a demonic infection has been festering in a nearby farmhouse — its very proximity poisoning the local livestock — they attempt to evict the victim from their land. Failing to adhere to the proper rites of exorcism, their reckless actions inadvertently trigger an epidemic of possessions across their rural community. Now they must outrun an encroaching evil as it corrupts and mutilates everyone it is exposed to, and enlist the aid of a wizened “cleaner,” who holds the only tools that can stop this supernatural plague.
A wildly original take on the possession film, When Evil Lurks is a shocking supernatural thriller from Argentine master of horror, writer-director Demián Rugna (Terrified).
Folk horror goes hard in this tale of possession and superstition. Writer-director Demian Rugna‘s WHEN EVIL LURKS pits fear and skepticism against an unrelenting demonic force. That’s only the beginning. 
The script reveals itself in bits and pieces, with the plot having ties to some apocalyptic lore affecting entire towns. We learn of a set of rules that are cannon to this happening from generations preceding our main characters. Take David Robert Mitchell’s IT FOLLOWS, add a page out of Stephen King‘s IT, and you’ll begin to understand what you’re dealing with. Somehow, WHEN EVIL LURKS is nastier and even more shocking. The script also suggests that cities were targets first, but there is also an implication that class is somehow involved. There are also what amounts to slayers, a select group of people who confront the evil known as “Cleaners.” There is so much meat on the bone in this script that despite the urge to hide your eyes, it compels you to watch it unfold.
One standout performance comes from Emilio Vodanovich as Jari, Pedro’s autistic son. As a mother of a child on the spectrum, I genuinely believed they had cast an actor with autism. It is a startling performance. Demian Soloman gives Jimi an authentic heart. A lot is going on behind those eyes. Ezequiel Rodríguez has your heart in your throat from beginning to end. His portrayal of Pedro runs the emotional gambit. He nails it. Rugna gives Jimi and Pedro enough depth and trauma that Soloman and Rodríguez could pull off a sequel in a heartbeat. 
Pablo Fuu‘s music is brilliantly disturbing, particularly in the repeated hard rock guitar riff. Holy Special FX, Batman! WHEN EVIL LURKS pulls no punches with the visual ick. Marcos Berta‘s work is gag-inducing and diabolical. It makes you angry and nauseous. The dialogue is often vile and biting but entirely hypnotizing as you discover more. The brutality grows from one scene to the next. WHEN EVIL LURKS is easily one of the most deranged films of the year. Rugna has broken all the rules. There is no coming back from this one.
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Available to stream on Shudder on October 27th
Director: Demián Rugna
Screenwriter: Demián Rugna
Starring: Ezequiel Rodríguez, Demián Salomón, Silvina Sabater, Virginia Garofalo, Paula Rubinsztein, Luis Dziembrowski
Producers: Fernando Diaz, Roxana Ramos
Executive Producers: Fernando Diaz, Roxana Ramos, Samuel Zimmerman, Emily Gotto
Cinematographer: Mariano Suarez
Editor: Lionel Cornistein
Composer: Pablo Fuu
Language: Spanish
Country of Origin: Argentina
Running Time: 99 minutes
About the Director
Born in Haedo, Buenos Aires, Argentina, director and screenwriter Demián Rugna specializes in fantasy and horror films. After making numerous short films in the horror genre and a large number of original scripts, he’s directed several feature films including The Last Gateway, Cursed Bastards! and You Don’t Know Who You’re Talking To. His fourth film, Terrified, was multi-awarded, sold to platforms all over the world, and was the most successful horror film at the box office in Argentina. Recently, he participated in an anthology film called Satanic Hispanics. His 5th feature film, When Evil Lurks, will premiere at the 2023 Toronto International Film Festival and be released this Fall.
The noteworthy turn comes from Cindy’s neighbor Doc Zuess. John Bingham, whose character is reminiscent of Roberts Blossom from Home Alone, is brilliant. His performance legitimizes The Mean One, bringing it out of its Hallmark moments.
Riley Rose Critchlow gives a particularly entrancing performance. Their living vs. dead personalities are vastly different but equally grin-inducing. Critchlow captures a relatable sadness, leaving a lasting impression. 
The subtle creepiness is just enough to teeter on the edge, as the film is more drama than your typical horror. THE JESSICA CABIN is a spectacular entry into the LGBTQIA+ genre, perfectly melding comedy, culture, and complex storyline. The film looks at mental health in a stunningly nuanced way. It is crazy charming and superbly funny, pushing moral boundaries while asking existential questions. Seek it out.
The film directly follows 2022’s Death on the Nile and finds Detective Poirot enjoying retirement within the canals of Venice. His services are still in great demand (as evidenced by the constant line of hopeful clients) but he has lost his faith. When he is approached by his old friend and novelist Ariadne Oliver (Tina Fey, in a thinly veiled nod to author Agatha Christie), we know it can’t be long before the body count begins to climb.
While the characters are thin, the atmosphere and cinematography of the film are incredibly lush – they are the real stars of the show. I would have bet you good money this film had a different cinematographer from the last two – the difference in style is night and day. But it is still Haris Zambarloukos at the helm, so all I can say is keep it up! Venice does a lot of the heavy lifting, of course, but there’s more to it than that. The first two films leveraged green-screen extensively, whereas Haunting is grounded and has a sense of place. The tone of the film is much more focused, and almost every scene contains rich imagery. I loved the way the suspense of the potential supernatural was implied in every scene – walls and windows of the palazzo creak and seem alive in a manner reminiscent of old Hollywood. No need for CGI thrills here. How great was the imagery? I could watch this movie with absolutely no dialogue and still enjoy myself immensely.
When I saw Bad Boys for Life in 2020, I would never in a thousand years have imagined the directors had a picture like Rebel in them. This is an ambitious, profound, and thoughtful film. Like Bad Boys, this is a film brimming with violence. But Rebel never uses violence to entertain, rather aiming to shock the audience or to underline or accentuate a point.
Rebel focuses on the Wasakis, a Belgian family with Moroccan roots. Kamal (Aboubakr Bensaihi) is the older brother, an idealistic drug dealer and rapper horrified by the atrocities he sees in the ongoing war in Syria. His younger brother Nassim is kind and impressionable. Devout matriarch Leila tries to watch over her boys. When Kamal travels to Syria as a volunteer, he believes he has found a non-violent way to make a difference. When he is captured by ISIS, he finds a different path forced upon him, one that will have also cause devastating effects back home.
Kamal’s passion for rapping also provides one of the film’s most interesting elements – at times, the characters will break into musical interludes. Given the serious tone of the film, these moments could easily appear forced or interrupt the flow of the narrative. Luckily, Bensaihi’s talented flow and consistently gorgeous choreography keep this from occurring. The first such interlude, set in a Brussels’ restaurant, is particularly powerful.
The cast is phenomenal. Focusing on our leading lady, Carmen Madonia, gives Renata an often aloof attitude, hiding a lost mindset. She’s soft-spoken, outwardly feeling othered by her sister’s personality. But little is said. Madonia’s face replaces any unneeded dialogue.
Joëlle Haddad-Champeyroux plays innumerable ancillary characters. It is a fantastic running joke. Thomas Vieljeux gives Thibaut a melancholy and wounded self-esteem that suits the narrative. It also places Claire in an unexpected hero role.
Lizzie Kehoe is hilarious as Claire. She’s the quirky yet emotionally stunted girl who is genuinely charming. Her giddy exuberance is infectious. Kehoe gives it her all as we wade through an increasingly complex coming-of-age story. 
The film’s only fault is perhaps its length. It could use a trim on some of the lingering shots. On the other hand, the story would benefit from being fleshed out and turned into a miniseries. I think the characters earn backstories and an even deeper emotional investment. GOODBYE, PETRUSHKA would make an accessible YA series. Writer-director Nicola Rose covers a lot of ground in an hour and forty minutes. Hidden beneath a classic meets modern fairytale structure lies political commentary, gender dynamics, emotional manipulation, and celebrated individuality. GOODBYE, PETRUSHKA has solid development potential. Rose has a voice, and there is an undoubtedly hungry audience for what she’s serving.
Michael Reagan plays Tyler Wilson. Reagan balances a toxic masculinity that hides behind a starving artist’s desire. His dismissive intolerance is loathsome, fueled by Tyler’s not-so-secret problem with alcohol. Tedra Millan gives Jen relatability with her compounding worrying. Jen has a lot on her plate, and like most women, her need to solve all the world’s problems consumes her. Written on her face and the pace of her breathing, it’s a visceral feeling.
This film is an extraordinary story of a power struggle that takes aim at capitalism and cleverly pits mental health against self-preservation. GHOSTS OF THE VOID leaves us with questions of morality and equal parts relief and dread.
Dana Berger plays Jenn with an exasperated aura. She is a woman who has decided that this relationship is over. Berger’s emotional journey is vastly different from her co-star Max Woertendyke, playing Dan. He has some fight left in him as to their marriage. That comes with a caveat of information as the film rolls on. Woertendyke nails the comedy and the horror. Their remarkable chemistry and Elcar’s writing earn a second viewing. The editing is impressive. I wish I could have been in the room while Elcar was storyboarding. The coordinated chaos is delicious. The dialogue is honest and biting, even set against the mysterious goings-on. It’s undeniably ballsy. 
A therapy session from hell, BRIGHTWOOD taunts our protagonists and the audience with macabre twists and turns, dizzying us with theories. Its shocking final reveal (which is a double doozy) seemingly suggests that, in this environment, compromise and teamwork are the only way forward, for better or for worse. No spoilers from me. It’s dark as hell.
Cinematographer Hazem Berrabah offers striking juxtaposing visuals of sheep grazing on open fields next to grey concrete structures. Half-built complexes with their innumerable exposed rebar present like monsters bearing sharp teeth and long claws. 
The defiance by detectives keeps your attention steady. No one wants to be told they cannot do their job. Performances from stars Fatma Oussaifi and Mohamed Houcine Grayaa are spellbinding. Their moody and grounded work feels personal and devastating. Oussaifi’s reaction to the overwhelming amount of misogyny hits hard. The writing is hard to shake, a compliment for writer-director Youssef Chebbi and co-writer François-Michel Allegrini.
The number of King’s books that jumped from page to screen is astounding. As a kid in the 80s, like many of the filmmakers in the doc, I grew up seeing King’s books on my family’s shelf but immersed myself in the films first. The kids in Stand By Me and IT became my peers. I rented The Shining, Creepshow, and Pet Sementary ad nauseum. By the time 1996 rolled around, I remembered the glee I experienced when I discovered The Green Mile in the grocery store checkout aisle. 
While we don’t hear from King directly, we see stills and videos of Stephen on the sets of his adaptations. Filmmakers like Greg Nicotero, Mike Flanagan, David Carson, Taylor Hackford, Tom Holland, John Harrison, Mick Garris, and Frank Darabont share how King’s books inspired their work. They speak to the overwhelming readability of small-town horror. King singlehandedly made Maine an unlikely horror destination. I love that everyone addresses The Shining controversy. Behind-the-scenes footage and anecdotes explain the breakdown between the book and the film. Kubrick obliterates Jack Torrance’s humanity that fans of the book (King, most of all) hate. 
King’s deep dive into the political landscape has always existed. The film explores his ability to explore universal truths, whether religion, race, or greed, and make characters lovable or loathsome based on their moral compass. In the same way, we joke about The Simpsons‘ writers predicting the future, Stephen King uses the global landscape to create villains and heroes that shake us to our core. Translating that from page to screen sometimes takes a slight adjustment. The best filmmakers always ask Steve first. 
For horror fans, KING ON SCREEN is like a kid coming home with a Halloween candy haul that would put you in a coma. For fans of his books, it’s like changing costumes and going out for round two. It’s delicious fun, no matter how cliche you might find the Easter egg-filled bookend scenes. They play like a Where’s Waldo for readers and genre fans alike. (I loved it.) So, turn the lights down and make popcorn. KING ON SCREEN scares up our nostalgia and celebrates a storytelling master.
Judith/Margot’s curated existence managing two identities and two families begins to crumble, exposing her lies, motives, and underlying trauma. 
Virginie Efira wows audiences as a woman wearing all the hats. Effortlessly embodying each distinct persona, Efira proves, once again she is a star. It is a balancing act of power structures, dangerous satisfaction, and unusual sacrifice. 
Antoine Barraud gives audiences a film almost best viewed without prior knowledge of the plot. Enticing the audience and challenging their sense of morality, MADELEINE COLLINS hypnotizes with twists, turns, and deep complexity. Barraud and co-writer Héléna Klotz carefully weave an unmissable commentary about beauty, unrequited male infatuation, and childhood trauma into the narrative. The film overflows with nuance, and its final reveal changes everything. It is a wildly elaborate hurricane of grief.
A manipulative sociopath armed with a dangerously ambitious spirit, her wits, and an affinity for snorting wasabi voyages into the high-intensity game of stock market trading and wages war against the financial world. When she stumbles upon news of a monumental pharmaceutical trade, she risks everything to complete her ultimate success story no matter the cost.
Kimberly-Sue Murray owns every second of screen time. Her manic energy drives the narrative like a runaway freight train. The character is slick, interested only in the genuine long con. Murray masters everything from various accents to grounded emotional release through interpretive dance. She truly is the smartest person in the room. Filmmaker Corey Stanton gives the trader a backstory that slowly reveals itself, adding a new level to the complexity of TRADER. Just when you think you’ve got the story pegged, think again. TRADER is relentlessly tense. It is a conspiracy theorist’s wet dream. 
TRADER is a one-woman show. I would love to see this live onstage, to feel the energy in person. TRADER is an indictment of capitalism and how, with the aid of the internet, the combination of the two may be the undoing of society. This twisted film is a one-of-a-kind ride. It’s an ever-evolving endgame that sucks you in. Don’t forget to unclench your jaw and draw a breath while you watch. TRADER is the ultimate disruptor.
Ben Kingsley stars as Milton Robinson, a melancholy widower going through the motions in a quiet Pennsylvania town. He attends town halls, watches tv, and tends to his garden. The only break in his routine seems to be occasional visits from his daughter, Denise (Zoë Winters). A son is mentioned, but only barely.
As compared to our current media environment, Jules’ vision of our interaction with aliens is refreshing delightful, if not a little far-fetched. Nobody seems particularly threatened by the alien, nor the alien by them. In fact, calm would be the best way to sum up reactions on both sides. While there are some darker themes that emerge throughout the film, they are brief. At its core, this is a sweet and thoughtful film.
Jules is a perfect film for today’s fascination with the idea of aliens. Everyone is looking at the news and asking “What’s out there?”. Jules’ introspective focus answers that big question, but also suggests that it is what’s going on inside us that continues to matter the most.
When a bride flees her wedding day, the groomsmen track her down, shall we say, to address the problem she has created for everyone involved. Director Timothy Woodward Jr. gives audiences an action-packed romp in TIL DEATH TO US PART.
Pancho Moler and Neb Chupin deserve your attention. This pairing is a buddy comedy in the making. Orlando Jones has fantastic chemistry with Gigandet. He is effortlessly charming. Cam Gigandet nails the villain role with a deliciously overconfident and definitively slimy aura. The camera loves him. His delivery is chef’s kiss. I would be delighted to watch a spinoff film featuring Jones and Gigandet in a heartbeat. Hell, 
Ser’Darius Blain is elegant as The Groom. His presence is genuinely beguiling. Jason Patric elevates the film with his captivating storytelling. It’s a killer turn. Natalie Burn holds her own against this primarily male cast. Quite literally sticking it to the patriarchy, Burn is tailor-made for this genre. 
Markos Keyto’s production design is phenomenal. The fight choreography is entertaining as hell. The soundtrack is a character all its own. Together they are the perfect marriage of camp and kick ass. Shout out to the practical fx team. There is a brilliant moment with a chainsaw. The editing keeps things interesting, forcing you to pay attention to the story as it unfolds. Comparisons to Mr. and Mrs. Smith are inevitable, but this film has an unexpected nuance from writers Chad Law and Shane Dax Taylor. Besides the runtime feeling a little long, TIL DEATH DO US PART is an undeniably fun action-thriller.
We have been lucky enough to have seen a few of the titles already making the rounds. You can catch our reviews for the following films:
Paiffe
THAT’S A WRAP
Award-winning director Marcel Walz’s upcoming horror/thriller THAT’S A WRAP is scheduled to release on digital platforms on August 25th, 2023 from Quiver Distribution. Cerina Vincent (Cabin Fever), Monique T. Parent (Jurassic City), Sarah French (Space Wars: The Quest for Deepstar), Gigi Gustin (The Retaliators), and Dave Sheridan (The Devil’s Rejects) star in a film written by Joe Knetter and Robert L. Lucas.
The cast of a film arrive to a wrap party, but someone has dressed up as the slasher in the film, and begins to stage their own kill scenes. One by one, the cast disappear until the true nature of the evening is revealed.
Joe Knetter, Marcel Walz, and Sarah French produce, with BJ Mezek, Andreas Tremmel, Justus Heinz, Yazid Benfeghoul, Tina Limbeck, Robert L. Lucas, and Kai E. Bogatzki executive producing.
Peppergrass
Chantelle Han
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