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‘THE RUSE’ (2025) A clever, twisted bait and switch.
THE RUSE
Filmmaker Stefan Mena brings audiences THE RUSE. The film follows an in-home nurse, Dale, and her newly assigned dementia patient. Upon arrival in a remote seaside town, Dale discovers she is replacing the last nurse who mysteriously went missing. Consumed by her patient’s ever-changing lucidity and he-said, she-said of the neighbors, Dale becomes entangled in a chilling whodunit.
As Tom, Michael Steger walks a razor-thin line between a good guy and a total creep. Steger is formidable. Equal parts charming and terrifying, it’s a compelling turn. Genre icon Veronica Cartwright gives Olivia everything she has. The performance is a beautiful balancing act of dementia and regal articulation. She is mesmerizing. Each beat is perfect. Madelyn Dundon plays Dale with a grounded familiarity. She is vulnerable and relatable. Mema puts her through the emotional ringer, and Dundon keeps up like a pro.
Mena’s score adds to the menacing feeling. The jump scares are legit. Mena executes thoughtfully written relationship-building while skillfully dropping clues to the mystery. Mena plays with small-town gossip, isolation, and a nurse’s instincts. THE RUSE boasts a twist that will f*ck you up. You are not prepared for the final 3rd of this film. This is a story about control. If you think you know where this screenplay is going, think again.
WORLD PREMIERE – MAINE INTERNATIONAL FILM FESTIVAL 2024
OFFICIAL SELECTION – TIFF 2024
The Ruse trailer:
Seismic Films and Mena Films’ upcoming Suspenseful Thriller THE RUSE, written and directed by Stevan Mena (Bereavement, Malevolence) and starring Veronica Cartwright (Alien, The Witches of Eastwick), Michael Steger (“90210”), and Madelyn Dundon (Getting Grace) will open in theaters nationwide on Friday, May 16th.
Produced by STEVAN MENA, TIMOTHY BRISTOLL, and SCOTT KRYCIA. Associate Produced by LEE MELTZER
Synopsis
When the in-home caregiver assigned to an elderly patient mysteriously vanishes, Dale (Madelyn Dundon) is quickly sent as the replacement nurse. She rushes to the remote seaside home, only to find herself in the middle of chaos, forced to deal with an unruly patient, mysterious neighbors, and terrifying supernatural occurrences that seem to plague the home. Is the house haunted? Or is something even more malevolent to blame? As the walls close in, unsure of whom she can trust, Dale fears for her life and that of her patient. Starring the legendary Veronica Cartwright (Alien, The Witches of Eastwick), you won’t want to miss this scary thriller that is guaranteed to keep you guessing till the very end!
Suspenseful Thriller | 105 minutes | Color | 2024 | USA | English
For more Thriller coverage, click here!
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(NYAFF 2025) The New York African Film Festival, now underway at Film at Lincoln Center
(NYAFF 2025)
The New York African Film Festival
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The New York African Film Festival (NYAFF), now underway at Film at Lincoln Center, lands in Harlem on Thursday with a focus on documentaries.
The Opening Night film, Ebrohimie Road: A Museum of Memory by Kọ́lá Túbọ̀sún, is an insightful documentary about the role of a small university bungalow on the life of esteemed Nigerian author, playwright and Nobel Prize in Literature awardee Wole Soyinka.
Of the 29 films coming to Maysles, three are world premieres, three are North American premieres, six are U.S. premieres, and three are New York premieres. Highlights include: French films; a Spanish film; films about art and music including the U.S. Premieres of Maurice Pellosh, Capturing Memory about the photographer-portraitist; one about the Bronx-based African Jazz-Art Society and Studios and the North American premiere of a film about artists in Haiti resisting the chaos; the New York premiere of a film about Nobel Prizewinner in Literature Wole Soyinka; fashion and beauty films; a film about Haiti; and another about child marriage. The Last Shore, a film about a young Gambian man’s viral drowning death in Venice to shouts of abuse rather than offers of help will have its North American premiere. Shorts Program #2: Ever Rising includes The Adventures of Angostat, a unique one-shot fiction film of urban artists, some with disabilities, about Angola’s first satellite launch; and a film about John Coltrane.
NYAFF runs in Harlem through Sunday, May 18, and then heads to BAM for FilmAfrica during the popular DanceAfrica series. See a trailer for the festival here:
You can find the schedule here: https://nyaff32.eventive.org/schedule
Film at Lincoln Center (FLC) and African Film Festival, Inc. (AFF) will partner to present the 32nd edition of the New York African Film Festival (NYAFF). NYAFF features more than 30 contemporary and classic films from Africa and its diaspora screening at FLC May 7 through May 13, with 100 films in total as the festival continues at other esteemed New York City cultural venues throughout the month of May, with many filmmakers in attendance for post-screening Q&As. Since its inception in 1993, the festival has been at the forefront of showcasing African and diaspora filmmakers’ unique storytelling through the moving image.
This year’s theme, “Fluid Horizons: A Shifting Lens on a Hopeful World,” honors the resilience of African youth and the forebearers who paved the way for them. As cinema was an integral part of the African continent’s struggle for independence and the triumph of its liberation, this edition of the festival celebrates the African youth who have turned to their cameras to document their experiences and the influence of those who came before them. With a multitude of genres ranging from comedies to experimental films, the 32nd New York African Film Festival offers a multidimensional take on African culture, history, and cinema.
For more film festival coverage, click here!
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‘THE MOOGAI’ (2025) Jon Bell expands his 2021 short folk horror into a trauma filled feature.
THE MOOGAI
Filmmaker Jon Bell delivers a horrific manifestation of unresolved cultural trauma in THE MOOGAI. The film opens in 1970. Aboriginal children have been forcibly removed from their families and adopted into white families for decades. Present day, Sarah Bishop eschews her cultural roots. Once a stolen child, a fact she vehemently denies, the difficult birth of her second child comes with collective wounds and folklore she cannot outrun.
Barely tolerating her birthmother, Ruth, Sarah’s whitewashed existence comes to a halt when an ancient entity rears its ugly head. Sarah’s aggression heightens as her delusions increase. She quickly spirals out of control in every aspect of her life. Sarah’s husband, Fergus, embraces his culture and does his best to navigate his familial deterioration.
The break between Sarah and her first child, Chloe, is heartbreaking. There’s no denying her resemblance to Fergus has something to do with Sarah’s icy response. The connection between Chloe, Fergus, and Ruth burns Sarah’s limited understanding of her absent culture. Ruth tries her best to protect her family, but Sarah’s relentless resistance to her roots only makes them manifest quicker as lore becomes reality and history repeats itself.
Jahdeana Mary brings earnest innocence and hurt to Chloe. You want to hug her. Meyne Wyatt is great playing Fergus. He is charming and protective. He’s a real highlight. Tessa Rose is spectacular as Ruth, giving audiences lived-in knowledge and fear. She is the heart of the film. Shari Sebbens gives Sarah everything from elitism to postpartum depression, unbridled rage to superstitious anxiety. You simultaneously loathe and feel for her. Sebbens is truly a revelation.
Practical FX, makeup, and jump scares are solid. THE MOOGAI keenly delves into medical gaslighting and the pressure on women to “do it all.” While the film is also a creature feature, Jon Bell never shies away from showing viewers that the scariest monsters are humans. It is a surprising cultural reclamation.
You can read our coverage of the original SXSW short film here!
The Moogai Trailer:
THE MOOGAI
Theatrical Release Date: May 9, 2025
Written and Directed By: Jon Bell
Director of Photography: Sean Ryan
Cast: Shari Sebbens, Meyne Wyatt, Tessa Rose, Clarence Ryan, with Toby Leonard Moore and Bella Heathcote
Produced By: Kristina Ceyton, Samantha Jennings & Mitchell Stanley
Executive Produced By: Stephen Kelliher, Sophie Green, Phil Hunt, Compton Ross, Daniel Negret, Anjali Patil, Salman Al-Rashid & Sam Frohman
Editor: Simon Njoo Ase
Runtime: 86 Minutes
Synopsis: Sarah and Fergus, a hopeful young Aboriginal couple, give birth to their second baby. But what should be a joyous time of their lives becomes sinister when Sarah starts seeing a malevolent spirit she is convinced is trying to take her baby. Fergus, who can’t see it but desperately wants to believe her, grows increasingly worried as she becomes more unbalanced. Is the child-stealing spirit real or is she in fact the biggest threat to the safety of their family?
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‘PÁRVULOS: CHILDREN OF THE APOCALYPSE’ (2025) One of last year’s best gets a June release. Check out the trailer!
PÁRVULOS: CHILDREN OF THE APOCALYPSE
PÁRVULOS: CHILDREN OF THE APOCALYPSE- One of the coolest films from last year’s festival circuit is coming in June.
Synopsis: In a dystopian future ravaged by a viral apocalypse, three young brothers—Salvador, Oliver, and Benjamin—find themselves isolated in a remote cabin deep within the woods. As they navigate this desolate world, they harbor a dark and disturbing secret in their basement, a presence they must feed to ensure their own survival.
Here is our original Fantastic Fest 2024 review:
Filmmaker Isaac Ezban brings Fantastic Fest 2024 PÁRVULOS, the story of three siblings surviving in the woods by scavenging in a virus-ravaged world. The dangerous secret they harbor in the basement may be their undoing.
The cinematography is something to behold. The sepia-toned lens locks you into a compelling plot. It creates this magical, borderline eerie feeling. The production design team is aces with children’s drawings and makeshift inventions. The post-apocalyptic aspects are relatively subtle but incredibly effective. The end credits are outstanding. The original song “Our People Need Our Help” is a certified banger.
Two surprising performances will blow you away, but I won’t spoil that with specifics. I will only say that Norma Flores and Horacio Lazo give us everything they’ve got. Our three young brothers are magnificent. Mateo Ortega Casillas gives Benny the right amount of innocence and rebellion. Leonardo Cervantes delivers vulnerability and compassion as Oliver. Farid Escalante Correa gives Salvador a perfect mix of resentment and raging hormones. Together, they warm and break your heart.
The film’s tone takes an unexpectedly amusing twist once Benny learns the secret that Oliver and Salvador keep in the basement. Benny convinces his brothers that normalcy can return if they try hard enough. Their unrelenting determination hits a snag when a young woman crashes their holiday plans. The film takes another turn during its nearly two-hour run. A wildly dark finale holds you captive.
PÁRVULOS has enough meat on the bone for a series. Visually striking, beautifully acted, and ceaselessly compelling. Is it not only a highlight of Fantastic Fest, but one of the year’s best films, period.
PÁRVULOS: CHILDREN OF THE APOCALYPSE
On Demand June 3rd
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‘EGGHEAD & TWINKIE’ (2025) The perfect Gen-Z rom-com finally gets a release date!
EGGHEAD & TWINKIE
EGGHEAD & TWINKIE is an instant classic. After coming out to her parents, two best friends go on an impromptu road trip to meet a crush. This genre-bending film is one of the most fun selections at Outfest: LA. (Here is our original review from the fest)
Jill Cefalo-Sanders provides quirky animation, giving us adorable hand-drawn anime-inspired visuals for emotions, sounds, and transitions. It’s very Lizzie McGuire, and that’s an absolute compliment. It’s almost its own character in the film. The script kicks close-minded conservatism to the curb, much like a Mini Katana cutting through outdated beliefs with precision and style. Writer-director Sarah Kambe Holland makes Twinkie a total badass. She is funny, brave, awkward, fearless, and (to use a Gen Z word) fire. Holland gives Egghead all the qualities to balance his best friend. He is nerdy, loyal, thoughtful, and unequivocally at Twinkie’s mercy. The script doesn’t shy away from sexual fluidity but directly addresses it in an accessible way.
Asahi Hirano plays Jess with a comfortability that is chef’s kiss. Acting like an LGBTQ+ sensai for Twinkie, Hirano makes the conversation flow easily. She is a delight, someone who could carry a spinoff film. Louis Tomeo as Egghead is fantastic. He is laugh-out-loud funny in his natural delivery. The sass is perfection. Holland allows him to show his comedy chops through the script and hilarious editing from Anna DeFinis and Kristina League. Sabrina Jie-a-fa plays Twinkie with a perfect balance of audaciousness and hesitancy. We see authentic coming-of-age and coming-out stories in her journey. Together, Tomeo and Jie-a-fa are a spectacular duo. You will fall in love with them.
The teenage shenanigans ring true. That feeling of invincibility and daring reminds me of my crazy ideas and dumb decisions in the late 90s. Egghead and Twinkie take risks, make mistakes, hurt each other, get their hearts broken, and confess their fears. The film is a helpful guide for parents struggling to understand their kids’ feelings. Regardless of their core beliefs, EGGHEAD & TWINKIE is undeniably relatable. A modern-day romcom-buddy comedy-road movie we all needed to see. It is easily one of the year’s best films. Do not sleep on it!
EGGHEAD & TWINKIE
2023 | USA | 87 min | Color | Narrative Comedy
RELEASE INFO
Available on Demand April 29 (U.S. & Canada)
*Special Screening in Los Angeles, including Q&A with filmmakers and cast
Thurs, April 24, 7:00pm
Laemmle Glendale, 207 N. Maryland Ave.
Info & Tickets:
https://www.laemmle.com/film/
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Director:Sarah Kambe Holland
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Screenwriter:Sarah Kambe Holland
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Producer:Danielle Fountaine, Sarah Kambe Holland, Valerie Starks
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Executive Producer:Simon Holland, Torye Kambe, Dan Pastewka, Kathleen Weldon
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Cast:Sabrina Jie-A-Fa, Louis Tomeo, Asahi Hirano, Ayden Lee
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Cinematographer:Olivia Wilson
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Editor:Kristina League, Anna Definis, Sarah Kambe Holland
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Animator:Jill Cefalo-Sanders
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Production Design:Luke Sanders
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Composer:Ben Thornewill
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Sound Design:Bo Li
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Music:Arielle James Harris
For more LGBTQ films, click here!
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‘UNBROKEN’ (2025) Netflix honors Holocaust Remembrance Day with release of astounding doc
UnBroken
Beth Lane’s captivating documentary, UnBroken, tells the story of seven siblings who survived Nazi Germany. Following the arrest of their hero mother and previously imprisoned Catholic father, marked for a concentration camp, Lane’s mother and siblings were smuggled to safety in the back of a truck in the dead of night by their farmer neighbor. A journey of unbelievable resiliency, Lane retraces their steps from Berlin to America and into the pages of history.
Lane pieces together the Weber children’s story using archival footage, family photos, letters of eldest brother Alfons, and the foggy memories of the five remaining sisters. She travels to Berlin, stopping at each location where the siblings were hidden and nurtured. Lane discovers her grandfather’s original fascist concentration camp papers and the entry log of all seven children in a nunnery, finding that her mother Bela’s instinct about her middle name was correct.
Misfit delivers enchanting line-drawn animation to fill in the visual gaps. Aaron Soffin and Dina Guttmann’s editing is award-worthy. Jonathan Snipes’ score is haunting. The film plays out like historical fiction from one moment to the next.
One particularly intriguing moment happens as Beth runs into a small group of young people listening to music outside the siblings’ old apartment. After she tells them what the film is about, she asks if they would hide her if history repeats itself. Their honesty will burn into your memory. The echoes of trauma and triumph rear their ugly heads in many ways, but the knowledge that in saving seven siblings, there are now 72 thriving Weber family members is something to celebrate.
The similarities to the systematic dismantling of the United States’ democracy should serve as a stark warning, but UnBroken also shines a light on the goodness of the human heart. One phrase from the film perfectly captures the message. “When you’re faced with adversity, who do you become?”
Here’s the link to the trailer on YouTube:
Streaming on Netflix today!
About the film:UNBROKEN is the miraculous true story of the seven Weber siblings, ages 6-18, who evaded certain capture and death, and ultimately escaped Nazi Germany relying solely on their youthful bravado and the kindness of strangers, following their mother’s incarceration and murder at Auschwitz.After being hidden in a laundry hut by a benevolent German farmer, the children spent two years on their own in war torn Germany. Emboldened by their father’s mandate that they ‘always stay together,’ the children used their own cunning instincts to fight through hunger, loneliness, rape, bombings and fear. Climactically separated from their father, the siblings are forced to declare themselves as orphans in order to escape to a new life in America. Unbeknownst to them, this salvation would become what would finally tear them apart, not to be reunited for another 40 years.Filmmaker Beth Lane, daughter of the youngest Weber sibling, embarks on a quest to retrace their steps, seeking answers to long-held questions about her family’s survival. The film examines the journey of the Weber family as told through conversations with living siblings – now in their eighties and nineties – while Beth and her crew road trip across Germany, following the courageous, tumultuous, and harrowing path taken by her family over seventy years ago.UnBroken is Beth Lane’s feature directorial debut, and it is both a professional milestone and a personal quest to immortalize the incredible story of the Weber siblings’ survival as the only family of seven Jewish siblings living in Nazi Germany known to have survived and emigrated together.The film had its world premiere at the 23rd Heartland International Film Festival, where it was awarded Best Documentary Feature Film. It also won the Audience Choice award at the River Run Int’l Film Festival, Julien Dubuque Int’l Film Festival and The Berkshire Int’l Film Festival.
For more documentary films, click here!
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‘FRÉWAKA’ (2025) Shudder original delivers Irish folk-horror at its finest
FRÉWAKA
Filmmaker Aislinn Clarke brings Shudder audiences a dark and tense story of a primary caregiver and the odd elderly ward she finds herself assigned. Following the death of her estranged mother, Shoo travels to a small town riddled with foul energy for the woman she must look after. Peig is a household name, and not in a good way. Surrounded by Peig’s superstitious rituals, Shoo’s growing isolation and underlying anguish trigger a long-dormant demand.
Beautifully lit and framed (DP Narayan Van Maele is a wonder), FRÉWAKA pulls you in from the first scene. Straying from any formula, Clarke takes an even more nightmarish approach with the second scene. The audience is in a constant state of unease. Peig’s routine is easily dismissed as dementia, but Clarke understands folk horror to its core.
Bríd Ní Neachtain gives Peig a fiery sass that is intoxicating. Walking the line between paranoia and rage, Neachtain commands your attention. Clare Monnelly infuses a similar hardness to Shoo but mixes a lost hurt, complex grief, and underlying fear into her role. Together, they make one hell of a compelling watch.
A clever mix of unresolved trauma and lore, Clarke keeps you guessing at every turn. One particular death made me gasp out loud. The script examines mental illness, generational trauma, and fae canon in a wicked and creative manner. FRÉWAKA is wholely unsettling. It is a perfect crossover for any romantasy readers and genre girlies.
New Film from The Devil’s Doorway Filmmaker Aislinn Clarke
Debuts April 25
Shudder, AMC Networks’ premium streaming service for horror, thrillers and the supernatural, today announced the streaming premiere date and released the trailer and poster for FRÉWAKA, from the director/writer of the acclaimed THE DEVIL’S DOORWAY, Aislinn Clarke. The highly anticipated film, which made its world premiere at the 2024 Locarno Film Festival and its U.K. premiere at the BFI London Film Festival, will make its exclusive streaming debut Friday, April 25 on Shudder as part of the Halfway to Halloween celebration.
For more horror coverage, click here!
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‘DADDY’ (2025) The terrifying consequences of dragging emotional baggage into parenthood.
DADDY
In Neal Kelley and Jono Sherman‘s sci-fi comedy DADDY, four men navigate an intense government-controlled assessment retreat to determine whether they are eligible to father children. When they arrive at a remote cabin in the California hills without phones or the appearance of an assigned monitor, paranoia sets in.
The dialogue feels like a stage play. The men share anxieties, theories, dreams, trauma, and awkward existential moments. Their social hardwiring takes center stage with subtle (and not so subtle) toxicity and competitive natures rearing their ugly heads. The audience lives in their discomfort. 
The men are colored-coded with various shades of sweatsuits and matching household items. Each one has a unique personality, problem-solving strategies, and emotional intelligence. Kelley and Sherman escalate mundane scenarios mirroring the unpredictability of parenting. I would love to see the women’s retreat as a sequel.
These men are complicated, and the arrival of a mystery guest heightens everything. Yuriy Sardarov, Jacqueline Toboni, Neal Kelley, Jono Sherman, and Pomme Koch deliver exceptionally nuanced performances. 
Empathy, competition, and fear create a powder keg. DADDY is a superb companion watch for The Assessment. Both occur in a dystopian near-future that looks more plausible with each passing day. DADDY is a complex character study with an ending that may shatter your moral compass. Do not miss it.
DADDY Trailer:
The film will be available on VOD on Tuesday, April 15th following a limited theatrical release.
Anchor Bay Entertainment’s sci-fi comedy DADDY, directed and written by Neal Kelly and Jono Sherman and starring Yuriy Sardarov (“Chicago Fire,” Argo), Jacqueline Toboni (“Grimm,” “The L Word: Generation Q”), Neal Kelley, Jono Sherman, and Pomme Koch (“Law & Order,” “WeCrashed”).
For more sci-fi coverage, click here!
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‘VULCANIZADORA’ Trailer drop. Indie brilliance coming to theaters May 2nd
VULCANIZADORA
OPENING IN SELECT THEATERS MAY 2, 2025
Two friends trudge through a Michigan forest with the intention of following through on a disturbing pact. Once their plan goes shockingly awry, the surreal and haunting consequences of their failure can’t stay hidden for long.
You can find our Tribeca 2024 review here!!
“Joel Potrykus, the undisputed maestro of ‘metal slackerism,’ again serves up a singular experience by taking a simple idea to its logical conclusion, and then a lot further.”
– IndieWire
“A darkly funny heavy metal comedy that deftly shifts into a poignant existential drama. Potrykus helms with edgy style, but it’s his and Burge’s transformative performances that carry this unconventional gem.”
– Bloody Disgusting
“A fascinating film. What I admire most about the truly strange ‘Vulcanizadora’ is that I haven’t seen anything like it. Joshua Burge is phenomenal.”
Written and Directed by JOEL POTRYKUS (APE, BUZZARD, RELAXER)
Produced by HANNAH DWECK, MATT GRADY, ASHLEY POTRYKUS, THEODORE SCHAEFER
Starring JOSHUA BURGE, JOEL POTRYKUS, BILL VINCENT, SOLO POTRYKUS, MELISSA BLANCHARD
Run Time: 85 minutes
Language: English
For more Joel Potrykus films, click here!
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‘NORA’ (2025) Music and motherhood strike a beautiful cord.
NORA
The multitalented filmmaker and musician Anna Campbell‘s musical motherhood journey NORA is in theatres now. The film follows a former musician who moves to the burbs to raise her young daughter. With her husband on the road for six weeks, Nora must navigate considerable life changes in the suburban jungle while coming to terms with her deepest dreams.
Sophie Mara Baaden plays six-year-old Sadie with authentic innocence and sass. She has wonderful chemistry with Campbell. Lesley Ann Warren plays Nora’s waspy mother and provides the stereotypical artist’s parent doubtful “I told you so” tone. Nick Fink is fantastic as Sadie’s first-grade teacher Adam. He and Campbell are a striking duo. It doesn’t hurt that his singing voice Is delicious.
The script nails the loss of personal identity when a woman becomes a mother. The invisible labor and patriarchal structure often lead to isolation and lingering resentment. It delves into self-loathing and body changes. It tackles suburban social pressure, which can be a lot. On the flip side, she also perfectly captures the love-filled hyping up we do for our kids every single day.
Nora disassociates through musical fantasy sequences. Each one, featuring Noah Harmon‘s undeniably original and catchy song, becomes a spectacular music video that delivers visual surprises and pushes her’s narrative forward like an emotional freight train. Think Veruca Salt, The Breeders, Tori Amos, and Yeah Yeah Yeahs. It is a jolt of feminist rocker joy.
Campbell is ceaselessly charming. She is funny, self-effacing, anxiety-ridden, and pottymouthed, just the way I like my fellow Moms. As a woman who gave up a career performing to be a supportive partner and mother, NORA fills my soul with a knowing.
Kevin Fletcher‘s cinematography is beautiful. Christoph Baaden’s editing is applause-worthy. Each cast member gives us precisely what we need from them. NORA manages to be both unique and extraordinarily universal. It is a must-see.
NORA Trailer:
Releasing in Theaters in Los Angeles on April 11th and in New York on April 18th
The journey of self discovery isn’t always easy. Returning to her hometown after abandoning her music career, Nora finds it difficult to settle into the new demands of suburban motherhood. When her husband goes on tour and leaves her solo-parenting their precocious six-year-old, Nora is forced to evaluate her current circumstances and the dreams she left behind.
Directed by:
Anna Campbell
Written by:
Anna Campbell
Starring:
Anna Campbell
Lesley Ann Warren
Sophie Mara Baaden
Nick Fink
Jay Walker
Max Lesser
Nancy Hale
Running Time:
101 Minutes
For more musical films, click here!
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Eagerly awaited sequel FIVE NIGHTS AT FREDDY’S 2 teaser trailer is here.
FIVE NIGHTS AT FREDDY’S 2
Welcome back! Are you ready to start the show?
Watch the teaser for FIVE NIGHTS AT FREDDY’S 2.
#FNAF2Movie is only in theaters this December.
FIVE NIGHTS AT FREDDY’S 2 – IN THEATERS DECEMBER 5
Official Website | Facebook | X | Instagram | TikTok | YouTube | #FNAF2Movie
Anyone can survive five nights. This time, there will be no second chances.
Blumhouse’s box-office horror phenomenon Five Nights at Freddy’s, the highest-grossing horror film of 2023, begins a blood-chilling new chapter of animatronic terror.
Based on Scott Cawthon’s blockbuster game series, Five Nights at Freddy’s 2 is directed by acclaimed returning filmmaker Emma Tammi (The Wind, Blood Moon).
The first film, which opened to a record-shattering $80 million and went on to earn almost $300 million worldwide, followed Mike, a troubled young man who reluctantly takes a job as a night security guard at an abandoned theme restaurant, Freddy Fazbear’s Pizzeria, hoping it will help him retain custody of his young sister. That fateful decision instead drags him into the black heart of a supernatural nightmare.
The film is again produced by Jason Blum (M3GAN, Black Phone, Halloween franchise) and Scott Cawthon.
Genre: Horror
Director: Emma Tammi
Producers: Jason Blum, Scott Cawthon
For more horror coverage, click here!
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‘ZERO’ (2025) Next-level cat-and-mouse-thriller that wowed at Beyond Fest 2024 finally in theatres and on VOD April 11th!
ZERO
Jean Luc Herbulot brings Beyond Fest 2024 audiences a heartpounder in ZERO. Two Americans in Senegal wake up to discover bombs strapped to their chests and an unknown man speaking in their ear. They have ten hours to complete seemingly unrelated tasks before they explode. Can they beat a madman at his own game? This stealthy geopolitical thrill ride does not disappoint.
At first glance, our leading men appear opposites, but the script slowly reveals their motivations are the same. ZERO is an entirely new game of cat-and-mouse. A surprising philosophical angle is carefully crafted into the screenplay, branding a message into the audience’s psyche.
Fast-paced editing and augmented sound effects keep you engaged from the first frame. The concept combines the adrenaline of SAW and SPEED, but it’s funnier and inevitably much darker. The soundtrack is fantastic. Gregory Turbellier‘s camerawork is immersive and sharp.
Performances are outstanding. Unmistakable icon Willem Dafoe is the mysterious voice over the phone. There is something about his tone and rhythm that hypnotizes the viewer. Gary Dourdan adds a voice of enlightenment. His calm, powerful demeanor sets a tone against the tumultuous pacing.
Leading players Hus Miller (who also co-writes) and Cam McHarg have fiery chemistry, each delivering fully flushed-out characters even if we know the most basic information about them. They make a great on-screen team. I would love to see this entire crew create more projects together.
Jean Luc Herbulot delivers a winner in ZERO. Its bold messaging and fearless choices make it one of the year’s most shocking thrillers.
DIRECTOR: Jean Luc Herbulot
WRITERS: Jean Luc Herbulot, Hus Miller
CAST: Hus Miller, Cam McHarg, Gary Dourdan, Moran Rosenblatt, Annabelle Lengronne, Jessica Lorraine, Roger Sallah
For more Beyond Fest 2024, click here!
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‘GREEN AND GOLD’ (2025) The feel-good, family film with a message is now available on VOD!
GREEN AND GOLD
GREEN AND GOLD is now STREAMING on Amazon, Apple, Google Play, and Fandango!
Green and Gold highlights small-town farmers’ vital role as stewards of the land and pillars of their communities. Over the past 5 years alone, America has lost more than 140,000 family farms, but their resilient spirit endures. The film highlights hard work, love for the land, and commitment to preserving legacies for future generations.
Set against the backdrop of the 1990s, Green and Gold celebrates the enduring spirit of family, community, and football focusing on the heartwarming and triumphant journey of a small-town farmer.
Nelson remarked, “This story felt personal to me, I felt a real connection to it because the Nelson family farm has been a working farm in South Dakota since the Civil War, and my wife’s family were also farmers. Green and Gold captures the tenacity of small-town farmers and the strength of family and community. I was honored to play Buck and highlight the dreams defining many lives in America’s heartland.”
Director Anders Lindwall expressed, “Growing up just north of Green Bay as the grandson of a dairy farmer and die-hard Packers fans, my brother Davin and I poured our hearts into this film. It’s our tribute to small-town communities and the values they stand for.”
This meaningful film is presented in collaboration with Culver’s and the Green Bay Packers, the nation’s only community-owned professional football team. Culver’s small-town Wisconsin roots give the restaurant franchise a true heart for agriculture and inspired the creation of its Thank You Farmers® Project, which has donated more than $6.5 million toensure a sustainable food supply for the future.
As for the Green Bay Packers, this marks the team’s first time partnering with a feature film on this level, adding a unique depth to the story. “Green and Gold portrays the story of Packers fans’ devotion to legacy and community—it is a must-see. We are proud to be part of a story celebrating supporting one another and showcasing the critical role that family farms play across our great state of Wisconsin and beyond,” said Packers director of corporate partnership sales & activations, Justin Wolf.
Green and Gold is directed by Anders Lindwall and produced by Davin Lindwall and Aaron Boyd. Dan Visser, Darren Moorman, Scott Pomeroy, Craig Cheek, and Brooks Malberg executive produce the feature film. The screenplay was written by Steven Shafer, Michael Graf, Missy Mareau Garcia, and Anders Lindwall.
Green and Gold was named an Official Selection and Audience Award Winner at the 2024 Austin Film Festival. The film received Official Selection and Audience Choice at the Heartland Film Festival for its compelling storytelling and emotional depth.
About Culver’s and the Thank You Farmers Project
Since its founding in 2013, Culver’s Thank You Farmers® Project has donated over $6.5 million to agriculture, ensuring a sustainable food supply for future generations. Culver’s is a proud partner of the National FFA Foundation, investing in youth leadership and climate-smart agricultural practices. Learn more about the Thank You Farmers® Project at www.culvers.com/thank-you-farmers-project.
Gold and Green is an authentic, multigenerational story of family values and self-discovery. The film is a great companion watch with the David Duchovny film REVERSE THE CURSE. Both delve into child/parent relationships that heavily revolve around a sports team. Oh, and Craig T. Nelson never misses. Check out the trailer below.
For more information, visit greenandgoldmovie.com and on social IG, FB @greenandgoldmovie
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‘Goodbye Horses: The Many Lives of Q Lazzarus’ (2025) Music, movies, and mystery. One inspiring and heartbreaking path to stardom.
GOODBYE HORSES:
THE MANY LIVES OF Q LAZZARUS
Filmmaker Eva Aridjis Fuentes‘s fascination with an unknown singer leads her on an unexpected journey sparked by the luckiest cab ride of her life.
Goodbye Horses: The Many Lives of Q Lazzarus opens with a song that fans will immediately associate with one of the most iconic villains in cinematic history. Diane Luckey penned Goodbye Horses in the 80s while working as a taxi driver. Following a cameo in the film Philadelphia in the mid-90s, Q Lazzarus disappeared. But why?
The chance meeting of Fuentes and Luckey gives us insight into a music industry mystery. Diane, aka Q Lazzarus, tells us her history with music, beginning in her childhood Baptist church choir. She knew her tastes were different and embraced her unique and powerhouse presence.
We get treated to many of Q’s unreleased songs, most of which she performed live in clubs downtown and during her days on the London rock scene. Serving as the doc’s soundtrack, you will wonder how the rest of her discography fell by the wayside. American audiences and record labels weren’t ready for Q, even as the locals embraced her.
With all the elements of a successful career at her fingertips, her romance with club promoter Richard slowly changed things for the worse. The lack of recognition took its toll. Richard’s leaving, combined with the Philadelphia soundtrack snub, was the final straw, and the drugs introduced by Richard led to Q’s world crumbling. But out of destitution and depression, Q rises from the ashes of sex work, crack addiction, rehab, finding her husband, getting clean, and fighting to bring her son James home.
James, now an adult, encourages his mother to reclaim her work. Eva, Q, and her former bandmates plan an upcoming concert. Chasing the dream of finally making her music and onstage persona a household name. Q’s newfound enthusiasm is infectious. Even though life had different plans, Q Lazzarus and Diane Luckey gave us one unforgettable story.
The montage of vastly different bands covering Goodbye Horses possesses an effervescent energy. It’s that sense-memory magic a brilliantly written song triggers. GOODBYE HORSES is an intriguing unraveling of dreams and the rebuilding of a life. I hope audiences furiously download and stream her music to honor an artist worth celebrating.
Upcoming Screenings information:
March 22 Asbury Park (Showroom Cinema)
March 25 Denver (Sie Film Center)**JUST ADDED
March 25-27 Albuquerque (The Guild Cinema)**JUST ADDED
March 30, April 3 Austin (Austin Film Society)
March 31 Seattle (Here-After Theater, programmed by Grand Illusion)**JUST ADDED
March 31-April 2 Charlottetown, Prince Edward Island, Canada (Tivoli Cinema)
April 2 Winchester, Virginia (Alamo Drafthouse) **JUST ADDED
April 7 Saugerites, New York (Orpheum Theater, Upstate Films/Sonic Wave Series) **JUST ADDED
April 9 Rochester, New York (The Little) **JUST ADDED
May 28-June 1 Romania (Dokstation Music Documentary Film Festival) **JUST ADDED
May 29 Chicago (Facets) **JUST ADDED
*Winner of the Audience Award at the Morelia International Film Festival*
SYNOPSIS
Goodbye Horses: The Many Lives of Q Lazzarus is an intimate film in the vein of Searching for Sugarman, which solves a musical mystery while taking the viewer on a rollercoaster ride through the life of enigmatic singer Diane Luckey, aka Q Lazzarus. Discovered by Jonathan Demme in 1987 during a fateful cab ride, Q had a moment of fame after her cult hit song “Goodbye Horses” was featured in The Silence of the Lambs. But while Q had a following in the New York and London club scenes, she was unable to get a record deal and completely vanished from the public eye in 1995. Not even her friends and bandmates knew what had happened to her, that is until another fateful car ride 25 years later brought her together with filmmaker and fan Eva Aridjis-Fuentes. Q entrusted Eva with the incredible story of her life, told in the film for the very first time through Q’s own words and music, and through dozens of never-before heard songs.
Eva Aridjis-Fuentes
Director: Eva Aridjis-Fuentes (The Favor, La Santa Muerte)
Producer: Howard Gertler (All the Beauty and the Bloodshed, Crip Camp)
Co-producer: Kathy Rivkin Daum (Moonage Daydream, DEVO)
Executive Producers: Cyrus Etemad, Betty Ferber, Clate Korsant
Editors: Eva Aridjis-Fuentes, Connor Kalista
Cinematographers: Nathan Corbin, Eva Aridjis-Fuentes
Sound: Danny Hole
Music Supervisor: Dawn Sutter Madell
TRT: 103 min
Country: USA
Film website: goodbyehorsesmovie.com
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‘TIGER’ (SXSW 2025 short) Tragedy, art, and family legacy bloom in this mesmerizing short.
TIGER
Tragedy follows a family of creatives. Dana Tiger‘s artist father was the creator of the t-shirt brand Tiger. After his untimely death, her mother pushed his art into the homes of millions in the 80s. The entire family begins silkscreening orders to JCPenney day and night. When the youngest sibling, Chris, unexpectedly passes the same way, the business halts, and hope fades. But the Tiger story does not end there.
Home videos, family photographs, original art, and a haunting ancestral voice carry us through the family’s past and present. Dreamlike editing, filled with dynamic choices, creates a mesmerizing 12 minutes. An extraordinary story of resiliency, loyalty, and validation, TIGER is an inspiring short about generational healing and legacy.
Credits
Director: |
Loren Waters |
|---|---|
Executive Producer: |
Loren Waters, Robert L. Hunter |
Producer: |
Dana Tiger, Loren Waters |
Screenwriter: |
Loren Waters |
Cinematographer: |
Robert L. Hunter |
Editor: |
Amanda Moy, Eva Dubovoy |
Sound Designer: |
Amanda Moy, Eva Dubovoy |
Music: |
Trevor Kowalski |
Principal Cast: |
Dana Tiger, Lisa Tiger |
Additional Credits: |
Senior Colorist: Andrew Francis, Associate Producer: Dylan Brodie, Post Sound Mixer: James Russell, First Assistant Camera: Marissa Shoemaker, Production Assistant: Serena Jones |
For all things SXSW, click here!
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‘NEW JACK FURY’ (SXSW 2025) An over-the-top, laugh-out-loud funny ode to 80s made-for-TV movies.
NEW JACK FURY
Multi-hyphenate filmmaker Lanfia Wal brings a hilarious visual feast in his SXSW 2025 Midnighter feature, NEW JACK FURY. Straightlaced cop Dylan Gamble wants to take down a crime organization called the Styles Syndicate but gets fired before he can do so. A year later, Dylan’s obsession remains. After the Syndicate kidnaps his new girlfriend, he must team up with a small-time crook named Hendrix Moon and Moon’s arch-rival, a mild-mannered moonwalker named Leslie Kindall. Shenanigans ensue, and the audience is all the cooler for it.
Stylistically, I immediately think of Vera Drew’s The People’s Joker, from the visual aesthetic to the laugh-out-loud, unfiltered, tongue-in-cheek dialogue. It is a vibe. Think Grindhouse VHS meets movie of the week, and it is perfection.
Every single cast member nails it. I do not know if any dialogue is improvised, but every beat feels like a Groundlings sketch. It is akin to watching living muppets. Slow clap for this fully committed, genuinely awe-inspiring ensemble cast.
The graphic novel-style opening credits are spectacular. Completely absurd built-in commercials are chef’s kiss. A Street Fighter-esque scene is magic. The single-camera-style shooting further supports the theatrical feeling. NEW JACK FURY is precisely what SXSW audiences come for. It has cult-classic written all over it.
Ps- stick around during the credits for some behind-the-scenes fun. It is impossible not to love this film.
NEW JACK FURY Trailer:
Lanfia Wal
Lanfia Wal is a director, writer, producer, and VFX artist. Lanfia’s writing credits include being the lead writer on the Showmax/Canal+ crime drama ‘Crime & Justice’. He has also directed social media campaigns and music videos for record labels such as Def Jam and Shady Records. He was also a finalist for the 2024 PAGE Screenwriting awards.
Credits:
Director:
Lanfia Wal
Executive Producer:
Chris R. Jones
Producer:
Van White, Mariah Morgenstern, Denaun Porter, Lanfia Wal, Akino Childrey
Screenwriter:
Lanfia Wal
Cinematographer:
Jonathan Rigattieri
Editor:
Lanfia Wal
Production Designer:
Lanfia Wal
Sound Designer:
Nate Attias
Music:
Mr. Porter, Bobby “White Gold” Yewah, Amar “Vettrax” Dean, Choice Noble
Principal Cast:
Andre Hall, Page Kennedy, Dean “Michael Trapson” Morrow, Paul Wheeler, Ally Renee, Shawn Nathan, Wrekless Watson, Ace Vane, James Markham Hall, Jr., Vincent M. Ward
For all things SXSW, click here!
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‘SEVEN VEILS’ (2025) A lush and twisted tidal wave of art and trauma.
SEVEN VEILS
In SEVEN VEILS, filmmaker Atom Egoyan examines the exploitation of female trauma. The line of art and life blur completely as a protege director remounts her mentor’s production of Salome with an unusually intimate touch.
Egoyan’s editing is complex. It forces you to keep up. It is both the film’s best and worst aspect. If you drop focus, the film will run away from you in its artistic endeavor. The juxtaposition of Jeanine’s childhood, her marriage, and the play is a whirlwind of obsession. The play is a visceral therapy session and a reclamation of her past.
Amanda Seyfried has a knowing in her eyes. Her commitment to Salome’s text feels organic and seeped in trauma. Seyfried owns this character. It’s a brilliant and immensely heartbreaking turn.
It is far too simplistic to describe the film’s plot as a story of a suffering artist. SEVEN VEILS digs into gross power dynamics and the financial advantage of oppressing female truth. SEVEN VEILS emits a dangerous and formidable energy.
SEVEN VEILS Trailer:
Directed by Atom Egoyan, Starring Amanda Seyfried
Filmed On Location During Egoyan’s Staging of the
Opera Salome
In Select Theaters Nationwide Next Week
March 7, 2025
**Official Selection: Toronto International Film Festival**
**Official Selection: Special Gala: Berlin International Film Festival**
Written & Directed by: Atom Egoyan
Starring: Amanda Seyfried, Rebecca Liddiard, Douglas Smith, Mark O’Brien, Vinessa Antoine, Ambur Braid, Michael Kupfer-Radecky
Produced by: Atom Egoyan, Niv Fichman, Simone Urdl, Kevin Krikst, Fraser Ash
Executive Produced by: Nate Bolotin, Maxime Cottray, Adrian Love, Noah Segal, John Sloss, Nick Spicer, Aram Tertzakian
After years away, theater director Jeanine (Academy Award® nominee Amanda Seyfried) re-enters the opera world to stage her former mentor’s most famous work. Haunted by dark and disturbing memories from her past, Jeanine allows her repressed trauma to color the present as her personal and professional lives begin to unravel. Renowned director Atom Egoyan (Exotica, The Sweet Hereafter) reunites with Seyfried in this visually stunning, propulsive work, filmed on location during the staging of Egoyan’s acclaimed production of Salome.
RT: 107 Minutes
Backstory
Atom Egoyan directed the opera, Salome, in 1996, the first opera in what would be many to come over his career. Best known as a prominent film director since the 1980s, Egoyan has proven he is a master of both mediums. “I’ve been involved with opera for a number of years, doing it parallel to my film work. I always wondered if there was a way to bring the two worlds together,” says Egoyan.
More recently, the director was interested in exploring what the production of Salome would mean in our current culture. This interest led Egoyan to write the script for Seven Veils, about a remount of Salome that he filmed at the same time the opera was on stage, using the opera singers from Salome in the film.
“Salome is a production I’ve done a number of times so when I knew that the Canadian Opera Company was remounting it, I thought this would be an ideal time to fuse the opera singers I knew they had booked with the script I had written,” says Egoyan. “I wanted to explore how the themes of Salome could weave with the story of remounting this particular production. It’s not really an opera movie, it’s just using the world of the opera as a workplace like any workplace. We see the characters as they float in and out of scenes dealing with the preparation of the opera.”
“Atom’s production of Salome electrified the stage when it debuted in 1996 and has evolved with each remounting. The opera explores themes that resonate through Atom’s body of work, and SEVEN VEILS is an exciting and provocative next step in this ongoing evolution,” says producer Niv Fichman.
“The story of Salome has such a rich inheritance. It comes to us from the bible and then became the basis of this extraordinary play that Oscar Wilde wrote that explodes with language of people describing things they can’t have. The composer Richard Strauss saw a production of this unique play and was seized by the idea of making it the basis of the libretto. He found a way of harnessing what Oscar Wilde did with his words with truly revolutionary music. It was exciting to bring that energy into this moment and all the issues that are floating around our space, and seeing how these characters are navigating the dynamics of creativity, desire and power,” says Egoyan.
SEVEN VEILS is produced by Rhombus Media and Ego Film Arts, with the participation of Telefilm Canada and Ontario Creates, in association with XYZ Films, IPR.VC, Cinetic Media, Crave, and the Canadian Opera Company.
Elevation Pictures will be distributing the film theatrically in Canada.
For more films from XYZ, click here!
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‘THE RULE OF JENNY PEN’ (2025) Geoffrey Rush and John Lithgow stun in a disquieting ping pong match of cruelty and power.
THE RULE OF JENNY PEN
After suffering a stroke, Stefan must convalesce in an assisted living facility that also houses a psychotic patient who tortures the residents with a creepy hand puppet. Based on Owen Marshall‘s short story, James Ashcroft brings THE RULE OF JENNY PEN to life in all its skin-crawling glory.
Stefan immediately recognizes Dave exerting control over the other residents, and his curmudgeonly, hard-nosed approach to those around him softens. His life dedicated to fairness emboldens him to level the playing field, even if that means drastically adjusting his moral compass.
John Lithgow as “Dave Crealy”, Geoffrey Rush as “Stefan Mortensen”, and Jenny Pen in James Ashcroft’s THE RULE OF JENNY PEN. Courtesy of Matt Henley. An IFC Films and Shudder Release.
Geoffrey Rush is Stefan Mortensen. As a man who built of career on doling out justice, the utter lack of control is physical and mental torture. Rush is spectacular. His stubborn, unrelenting sense of righting the wrong makes him easy to root for.
John Lithgow is Dave Crealy. His character is a cruel menace. Lithgow’s physical stature plays a key role. He is at least a head taller than the rest of the cast, easily dominating any space. Crealy is a ticking time bomb. Lithgow leans into his irrationality like a pro. It is terrifying. Rush and Lithgow go toe to toe in a fascinating tennis match of chaos and vitriol. It is a masterclass.
Geoffrey Rush as “Stefan Mortensen” in James Ashcroft’s THE RULE OF JENNY PEN. Courtesy of Matt Henley. An IFC Films and Shudder Release.
The augmented sound editing by John Mackay and Matthew Lambourn is particularly challenging if, like me, you are prone to overstimulation. Frankly, the entire film is similarly structured. Matt Henley’s camera work is intentional, with close-ups that feel invasive in the best way. Gretchen Peterson’s editing reminds us that while Stefan is undeniably brilliant, his mind and body are failing him. Ashcroft and co-writer Eli Kent weaponize lost time and immobility. The infantilization of patients is heartbreaking and uncomfortable.
THE RULE OF JENNY PEN is a bleak but captivating watch. It reminds us how we treat our elderly once deemed socially inconvenient. The script delves into power structure, unresolved trauma, and the consequences of unchecked evil. THE RULE OF JENNY PEN is something greater than sinister.
Jenny Pen in James Ashcroft’s THE RULE OF JENNY PEN. Courtesy of Matt Henley. An IFC Films and Shudder Release.
THE RULE OF JENNY PEN Trailer:
IN THEATERS THIS FRIDAY, MARCH 7TH
Synopsis
Arrogant Judge Stefan Mortensen (Rush) suffers a near-fatal stroke, leaving him partially paralyzed and confined to a retirement home. Resistant to the staff and distant from his friendly roommate, Mortensen soon clashes with seemingly gentle resident Dave Crealy (Lithgow) who secretly terrorizes the home with a sadistic game called “The Rule of Jenny Pen” while wielding his dementia doll as an instrument of cruelty. What begins as childish torment quickly escalates into far more sinister and disturbing incidents. When Mortensen’s pleas to the staff go unanswered, he takes it upon himself to put an end to Crealy’s reign of terror.
About The Director
James Ashcroft formed Light in the Dark Productions in 2014, specializing in contemporary screen adaptations from New Zealand’s literary canon. His feature film directing debut Coming Home in the Dark premiered at the Sundance Film Festival 2021 to great acclaim, followed by a global festival tour. He is currently working on a slate of features in the US including Max Brooks’ Devolution and Grady Hendrix’ How To Sell A Haunted House, for Legendary Studios and Sam Raimi’s Ghost House Pictures, The Whisper Man for the Russo Brother’s AGBO Productions/Netflix and an adaptation of the graphic novel Old Haunts for AWA Studios.
He attended the Venice Biennale Cinema College as one of 12 teams selected worldwide. He was also one of 15 director/producers selected for the Torino Film Festivals inaugural Up & Coming Programme, showcasing talent from around the world. From 2006-2013, Ashcroft served as Artistic Director and Chief Executive of national Maori theatre company Taki Rua Productions, developing and touring New Zealand works both nationally and internationally. Ashcroft is a graduate of Victoria University and Toi Whakaari: New Zealand Drama School. He has served internships with acclaimed theatre company The Wooster Group in New York.
Director: James Ashcroft
Screenwriters: Eli Kent, James Ashcroft
Cast: John Lithgow, Geoffrey Rush
Producers: Catherine Fitzgerald, Orlando Stewart
Executive Producers: James Ashcroft, Eli Kent, John Lithgow, Geoffrey Rush, Emily Gotto, Nicholas Lazo, Samuel Zimmerman
Director of Photography: Matt Henley
Editor: Gretchen Peterson
Composer: John Gibson
Language: English
Country: New Zealand
Running Time: 103 minutes
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Reunion comedy ‘THE STRESS IS KILLING ME’ (2025) A palatable entry into Gen X misery share
THE STRESS IS KILLING ME
Following their 20th college reunion, a group of old friends agrees to stay in a rental together for a week-long getaway rather than immediately part ways. During dinner, everyone around the table says what they’d be if they could choose another career path. They agree to take the week and live out that dream in the rental house. From chef to teacher, artist to detective, the group reluctantly indulges in each other’s fantasies. The past does not stay buried, and things get chaotic.
You know these characters. They are quirky, anxiety-riddled, moody, unhappy, hopeful, and exhausted. Ya know, all the things we are in our 40s. The cast has a fun chemistry. It’s easy to imagine that they are friends in real life, and they concocted this film throughout the weekend. Misery loves company. THE STRESS IS KILLING ME digs into all those messy, unresolved feelings that hide in the back of our memories 20 years later.
Each character delves into regrets and what-ifs. The script examines mortality, imposter syndrome, and the patterns we fall into with old friends. While it’s still slightly goofy and relatively predictable, THE STRESS IS KILLING ME is an enjoyable walk down memory lane. It’s a comfort watch.
THE STRESS IS KILLING ME Trailer:
Freestyle Digital Media’s new comedy, THE STRESS IS KILLING ME will have its world theatrical premiere on Friday February 28, 2025 at the Landmark Westwood Theatre in Los Angeles and run for a week in the lead to the March 7th digital and streaming release.
THE STRESS IS KILLING ME is written, directed, and produced by Tom Carroll, and stars Grayson Berry, Carly Christopher, April Hartman, Theron LaFountain, Barry Landers, Lisa Lucas, Matthew Page, and Crystal Thomas.
Synopsis: THE STRESS IS KILLING ME is a comedy about eight college friends reuniting for their 20th reunion at the University of New Mexico. Now in their forties, they’ve all achieved professional success but find themselves disenchanted with their current careers. During the reunion, they share their dream jobs and decide to spend a week to live them out, leading to a whirlwind of hilarious and heartfelt moments. THE STRESS IS KILLING ME explores mid-life crises, the search for happiness, and the unexpected twists life throws our way. As each friend steps into a wildly different role—like artist, yoga teacher, or sex therapist—they confront the challenges of their aspirations and rediscover the bonds of friendship that have stood the test of time.
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