Review: Teachable moments and family friendly vibes in ‘DOLPHIN ISLAND’. Available now!

DOLPHIN ISLAND

DOLPHIN ISLAND invites us to experience an island paradise, where 14-year-old Annabel lives with her fisherman grandfather. She is surrounded by an extended family of loving but quirky neighbors and her best friend – a dolphin named Mitzy. Everything changes when her maternal grandparents arrive with a shifty lawyer to bring her back to New York. It’s up to Annabel and her friends to figure out how to save the day and prove that love conquers all!

If you’re looking for something wholesome to watch with the family, look no further than DOLPHIN ISLAND. Filmed in The Bahamas after the devastation of Hurricane Dorian, the cast and crew are local and lovely. The film’s score is perfect for the story and the characters. It’s light and friendly and matches like a dream with mother nature’s gorgeous scenery. Mitzy the dolphin provides laughs and heart alongside the family drama. I watched this with my four-year-old daughter who is obsessed with sea creatures. She absolutely adored the scenes with Mitzy and the rest of the beautiful creatures on the island conservatory where our leads Jonah and Annabel live and work. The performances are charming. You’ll recognize a few faces and be introduced to some great new talent, as well. Tyler Jade Nixon is grounded and genuine as we need her to be. You know this young lady. Bob Bledsoe uses his comedy chops to be a slimy lawyer you’ll love to hate. Peter Woodward is the grandfather we all wish we could enjoy. His sense of responsibility, gumption, and adoration for Nixon‘s Annabel is captivating. The script tackles complex family dynamics, friendship, class warfare, grief, and climate change. It’s never preachy. DOLPHIN ISLAND is a film you’d find on the UP network or even Hallmark. It’s quaint with well-thought-out messaging. Family films are few and far between. Rest assured you can sit down with your entire family and enjoy.

 

https://dolphinislandmovie.com/watch-now/

What started as a mission to help victims of hurricane Dorian, ended up with an award-winning family movie. DOLPHIN ISLAND was filmed in the Grand Bahama island between hurricane Dorian and COVID. The goal was to stimulate their devastated economy and highlight their beautiful sites and culture. A portion of the profits goes to the local cast and crew in The Bahamas.

Directed by Mike Disa (SPACE DOGS, HOODWINKED TOO!)

Starring Peter Woodward (THE PATRIOT), Dionne Lea (NO BAD DAYS), Tyler Jade Nixon (DOLPHIN KICK), Bob Bledsoe (Parks & Recreation), David Raizor (YOU CAN’T TAKE MY DAUGHTER), and introducing Annette Duncan and Aaron Borrow.

 

 

Review: ‘Reefa’ is a film where art and life converge.

REEFA

REEFA is based on the true story of Israel “Reefa” Hernandez Jr., an 18-year-old Colombian immigrant and art prodigy, who is spending his last summer in Miami with friends, family and his new girl Frankie before moving to New York City, along with moving supplies, on an art scholarship. While Israel and his friends skateboard the city streets and spray-paint the walls of Wynwood, Miami’s graffiti Mecca, anxieties emerge twofold: Israel and his family nervously await their Green Cards while he desperately seeks recognition for his art. When Israel decides to spray paint one last wall, a piece which would command immediate respect from his peers, a sudden encounter with a vengeful Miami police officer leaves his family and friends devastated, the Miami community outraged, and the country reeling from another case of police brutality.

Tyler Dean Flores plays the titular character. He’s a star. There is an ease to his performance that mixes charm and innocence. This film arrives at the tail-end of a murder trial for police brutality, and as we continue the complicated immigration policy debate. REEFA is not simply one family’s story but thousands. What is phenomenal about this script is its ability to tackle multiple subjects simultaneously, never entering the preachy territory. Not only is this a love story about two young people from very different backgrounds, but it’s also a dreamer’s story. REEFA tackles the immigration debate from a humanistic standpoint, The Hernandez family does everything right to obtain their green cards but their fear of stepping over any line is palpable. The conversations between Reefa and his parents highlight the sacrifices and innate understanding that the system is not just. Certainly, the film culminates with an explosive confrontation between Reefa and the police officer hellbent on making him an example. Having read about the effects of tasers on the human body, especially in teenagers, I knew this family would be forever changed as soon as it enters the scene. There is a lot to digest in REEFA, and every part of it is an ode to this young man’s beautiful life and art.

REEFA was written and directed by Jessica Kavana Dornbusch (Love and Debate). The film has a running time of 96 minutes and will not be rated by the MPAA. 

Vertical Entertainment will release REEFA on VOD / Digital Platforms including iTunes, Amazon, Apple TV, Google Play, On-Demand, FandangoNow, and all major cable/satellite platforms on April 16, 2021.

Shudder exclusive: ‘Boys From County Hell’ working hard or hardly working?

Strange events unfold in Six Mile Hill – a sleepy Irish town that claims to have been traveled by the famed author Bram Stoker – when construction on a new road disrupts the alleged grave of Abhartach, a legendary Irish vampire said to have inspired Dracula. Deadly and sinister forces terrorize the work crew led by Francie Moffat and his son Eugene, a free-spirited young man who prefers pints to pickaxes, and they’re forced to fight to survive the night while exposing the true horror that resides in the town’s local myth.

When anyone moves a relic, I can’t help but think of the words of Martha Plimpton in The Goonies, “Brand, God put that rock there for a purpose and um, I’m not so sure you should um move it.” She’s always right, of course. But then we might not have fun horror films like Boys From County Hell on Shudder. The opening scene is jarring as hell. With a plot that revolves around a legend and the locals that are tasked to bring the modern world into small-town life, starting with a bang was a perfect choice. The score is truly something. Mixed with ominous string and kickass local rock songs. The script is funny and has a bit of a Shawn of the Dead vibe minus the heavy-handed camp. Take your vampire tropes and shove them, because this is altogether new. The comic timing of this cast combined with the writing gives you equal belly laughs and fright. I would watch an entire series about this town! The makeup and practical fx are phenomenal. For me, the biggest visual impact was the blood CGI. There’s something so unsettling about this that creeps under your skin. It’s incredibly effective. Boys From County Hell also touches on community. Respecting where you come from and being unafraid to expand your horizons. It’s a rollicking good time.

BOYS FROM COUNTY HELL comes to Shudder in the US and Canada on April 22nd

Starring Jack Rowan (Peaky Blinders), Nigel O’Neill (The Bookshop), Louisa Harland (Derry Girls), Fra Fee (Animals, the upcoming Hawkeye series) and John Lynch (The Terror, The Banishing) and Michael Hough (the upcoming Chapelwaite series), and written and directed by Chris Baugh (Bad Day for the Cut).

Review: “BLOODTHIRSTY’ overflows with music and metaphor.

BLOODTHIRSTY

Grey, an indie singer, whose first album was a smash hit, gets an invitation to work with notorious music producer Vaughn Daniels at his remote studio in the woods. Together with her girlfriend/lover Charlie, they arrive at his mansion, and the work begins. But Grey is having visions that she is a wolf, and as her work with the emotionally demanding Vaughn deepens, the vegan singer begins to hunger for meat and the hunt. As Grey starts to transform into a werewolf, she begins to find out who she really is, and begins to discover the family she never knew. What will it take to become a great artist and at what cost to her humanity?

The music is not only a major plot point but a character of its own. Lauren Beatty brings Lowell’s songs to life with an honest folk/pop vibe. They are haunting. Combined with the string-heavy score, the soundtrack enters bone-chilling territory. Wow. Now that most of us have watched Framing Britney Spears we understand the mental health pressure of pop stardom. To see that explored in Bloodthirsty on a more literal level was incredibly intriguing. A controlling father figure, isolation, and a strict diet all enhanced by horror make this story ceaselessly engrossing. Separately, there is a family and loyalty dynamic. It’s a brilliant combination of genres.

Greg Bryk as Vaughn is scary. His manipulation skills are daunting. He’s very punchable and I do mean that as a compliment. He infuriated me and made me so uncomfortable. I guess that means he’s done his job well.  Lauren Beatty, who was phenomenal in Bleed With Me (also directed by Amelia Moses), gives us a vulnerability that is consuming, pun fully intended. She’s got genre darling potential in spades. Here, she is allowed to challenge the audience’s perception of reality. What would you sacrifice for your art? Bloodthirsty will have you questioning the creative process long after the credits roll. 

 

 

Website: http://www.brainmedia.com/films/bloodthirsty

Directed by Amelia Moses (Bleed With Me), conceived and written by mother-daughter duo Wendy Hill-Tout and singer-songwriter Lowell, and featuring the original music of Lowell, BLOODTHIRSTY stars Lauren Beatty (Bleed With Me) and Greg Bryk (The Handmaid’s Tale). The film premiered at Fantastic Fest 2020 and opens In Select Theaters and On-Demand on April 23.

 

Review: ‘STREET GANG: How We Got To Sesame Street’ is a nostalgic hug of legacy and love.

STREET GANG: HOW WE GOT TO SESAME STREET

STREET GANG: HOW WE GOT TO SESAME STREET reintroduces this visionary “gang” of mission-driven artists, writers, and educators that audaciously interpreted radical changes in society and created one of  the most influential and impactful television programs in history.

This eclectic documentary traverses from the inception to the nuance of programming this iconic television show. Everything from the production design to intimate interviews with the actors, from the musical guests to the writers’ room is in this film. It hits on the social, racial, and educational impact of the show. The show’s schedule was one of the most intense I’ve ever heard of. 100 episodes per year filled to the brim with original sketches (both muppet and street scenes), animation, and original songs, Sesame Street has changed the lives of countless families across the globe.

John Stone isn’t a household name in the way that Jim Henson and even Frank Oz are. Stone was the director chosen by television executive Joan Ganz Cooney. His passion and work ethic combined with an extraordinary group of artists made Sesame Street the beloved program we know today. Street Gang doesn’t sugarcoat the naysayers. It does not ignore the internal conflict. It’s an honest look at bringing it to life. The conversations between the curriculum creators and the writers were key to reaching the audience, making learning both fun and engaging.

Some of the most charming bits in the film are the blooper reels. The genius, off-the-cuff moments between cast members staying in muppet character will slay you. One very poignant time in the show’s history was anything but unscripted. The death of Mr. Hooper was a carefully curated scene. It sticks with me still today. In 1990, when Jim Henson passed at the age of 53, the world mourned alongside the cast and crew of Sesame Street. Caroll Spinney as Big Bird singing “It’s Not Easy Being Green” at Jim’s funeral is heartbreaking and eternal.

I grew up with this show. As a 40-year-old moth of a 4 and 5-year-old, my children are now growing up with this show. I’m not ashamed to say I sit and watch with them. I’m just as enthralled with Sesame Street as I ever was. Their ability to grow with the times is what keeps them relevant and brilliant. Each scene in Street Gang: How We Got To Sesame Street held me with its nostalgia as it peeked behind the curtain. It left me with the hope that the show will continue its legacy long after we’re gone.

THE CRITICALLY ACCLAIMED DOCUMENTARY WILL OPEN IN THEATERS ON APRIL 23, 2021, AND ON-DEMAND MAY 7, 2021

Directed by Marilyn Agrelo (Mad Hot Ballroom) and produced by Trevor Crafts (Experimenter 2015) and Ellen Scherer Crafts, the documentary chronicles the improbable origins and expansion of the groundbreaking show that not only changed children’s television programming, but had real-world effects on equality, education, and representation worldwide. The film is inspired by Michael Davis’ New York Times best-selling book of the same name.

About Screen Media Ventures, LLC

Screen Media Ventures, LLC, a Chicken Soup for the Soul Entertainment (Nasdaq: CSSE) company, acquires the rights to high-quality, independent television series and feature films. Screen Media Ventures acquires worldwide rights for distribution through theatrical, home video, pay-per-view, free, cable and pay television, video-on-demand, and new digital media platforms. The company acquires AVOD rights for third-party networks and is the main supplier of content for Crackle Plus and other Chicken Soup for the Soul Entertainment properties. With a library of over 1,500 television series and motion pictures, Screen Media Ventures is one of the largest independent suppliers of high-quality tv series and motion pictures to U.S. and international broadcast markets, cable networks, home video outlets, and new media venues. For more information, visit: www.screenmedia.net

About Chicken Soup for the Soul Entertainment

Chicken Soup for the Soul Entertainment, Inc. (Nasdaq: CSSE) operates streaming video-on-demand networks (VOD). The company owns Crackle Plus which owns and operates a variety of ad-supported and subscription-based VOD networks including Crackle, Popcornflix, Popcornflix Kids, Truli, Pivotshare, Españolflix, and FrightPix. The company also acquires and distributes video content through its Screen Media subsidiary and produces original long and short-form content through Landmark Studio Group, its Chicken Soup for the Soul Originals division, and APlus.com. Chicken Soup for the Soul Entertainment is a subsidiary of Chicken Soup for the Soul, LLC, which publishes the famous book series and produces super-premium pet food under the Chicken Soup for the Soul brand name.

 About Macrocosm Entertainment

Trevor Crafts and Ellen Scherer Crafts created Macrocosm to bring dynamic engaging content to global audiences by building and showcasing unique worlds. Films include Sundance Film Festival World Premiere Street Gang: How We Got To Sesame Street (2021), 7 Splinters in Time (2018) Manson Family Vacation (Netflix, SXSW 2015 premier), and Experimenter (Magnolia, Sundance 2015 premier). In publishing, they created Lantern City, one of UPROXX Top Ten Comics of 2015, and The Not-So-Secret Society (2017) the first original children’s graphic novel for KaBOOM! an imprint of BOOM! Studios. For more information visit: www.macrocosm.tv.

Review: ‘At Night Comes Wolves’ but not much sense.

AT NIGHT COMES WOLVES

A sheltered housewife abandons her marriage and her misogynistic husband, only to learn that he used to be the leader of a doomsday cult that she is about to join. In this unnerving tale about misogyny, fate, and sexism comes a story about a woman who is about to change the world forever. After Leah Shaffer finally leaves her emotionally manipulative husband, she finds a friend in a drifter with whom she quickly feels a deep connection. The drifter introduces Leah to a prodigal chemist, and Leah learns her new friends are all that is left of a doomsday cult that disbanded years earlier. Together, the new trio is about to change the world, but before they can reveal their secrets, they have to tie up loose ends with Leah’s husband– and their ex-leader.

The moment I realized At Night Comes Wolves was more than a woman escaping her trash marriage, I was genuinely intrigued! Time jumps must be executed with precision and clarity. If this were a big-budget film, I probably wouldn’t be second-guessing the structure. Unfortunately, everything that followed let me down. The acting leaves much to be desired. I must give credit where credit is due. Vladimir Noel as Davey is amazing. His commitment to this dialogue should be applauded. He’s your star.  Perhaps this story would benefit from expanding his character’s adventures into a miniseries? Perhaps not. His is a story unto itself.

The pacing lags in places, which is odd considering there’s a whole bunch of WTF going on. Leah’s character is way too nonchalant with literally everything that is being introduced to her. I began to shake my head, wondering if I was being inducted into a weird cult. There were far too many concepts in this script. It was a bit maddening, sometimes laughable. It’s never a positive sign when you’re constantly checking the runtime on a screener. The final reveal actually made me angry. I will not spoil it, but let’s just say there were a million different ways to rid the population of misogyny! These storylines need to be ripped apart because the “Future scenes” are on another level! Find a different way to use those cast members, Noel included, to get from point A to point B. That’s a film I would enjoy.

AVAILABLE ON DIGITAL PLATFORMS ON APRIL 20

Fantaspoa 2021 reviews: Two neon-soaked films about unresolved trauma in ‘Bloodshot Heart’ & ‘Playdurizm’

Fantaspoa 2021

BLOODSHOT HEART

At 44, Hans still lives with his mother. When Matilda, a tenant half his age, moves in, Hans relives old memories and is infatuated. To win her love, Hans comes up with a dangerous plan.

Writer-Director Parish Malfitano has given Fantaspoa audiences a hallucinatory, Giallo-inspired mindfuck with Bloodshot Heart. As if our leading man Hans (Richard James Allen) weren’t quirky enough, we learn that his mysterious ex and his domineering mother have the ultimate power over his perceived reality. When Matilda enters the picture, Hans hatches a plan to win her over that has dire and violent consequences for everyone involved. We’re never completely sure what we’re seeing is real or not. The bait and switch of characters are abundant. Color, score, and costumes become all-consuming. Richard James Allen‘s portrayal of Hans is something you must experience. His lovesick puppy act masks all the mysterious and deeply troubling emotions inside his head. The nuance he brings to Hans is astounding. Bloodshot Heart will leave you in a dizzied state. It is wild.


PLAYDURIZM

When a teenager finds himself caught in a glitchy-glitzy reality with his onscreen male idol, he does all he can to be possessed by this man and ignore the violent clues of how he got there.

I’m not going to lie. Playdurizm is extremely difficult to watch. You have no clue what the hell is going on until the finale. But damn it’s cool to look at. Eccentric costumes, neon-soaked production design, bright green vomit, all make your head spin. This is the perfect entry for the festival circuit. Brave Fantaspoa audiences will either eat it up or turn away and gag. With all the WTF that occurs in this film, it pays off in the end. Trigger warning: The amount of sexual violence in this film is jarring. Director Gem Deger (who also stars as D) definitely takes a colorful approach to PTSD. Playdurizm is a striking, LGBTQA+ foray into the genre realm.


Brazil’s long-running Fantaspoa Fantastic Film Festival is currently celebrating its seventeenth edition online and completely free of charge. The 2021 edition of the beloved South American genre festival is supported by a special grant from the Brazilian government, which is offered to relevant cultural events amidst the pandemic. Running through April 18th, the seventeenth edition of Fantaspoa features more than 100 shorts and 50 feature films from more than 35 countries. All festival screenings will have a cap of 3,000 views, and all will be geo-blocked to Brazilian viewers.

These films are part of Fantaspoa 2021, which runs for free on the streaming platform Darkflix, from April 9th through the 18th. All film screenings are geo-blocked to Brazil, with additional details available at www.fantaspoa.com.

Review: ‘The Knot’ is a battle between karma and pride.

THE KNOT

Shirish and Geeta, a middle-class couple, have a car accident one night. Their differing reactions to the fallout from the accident open up fissures in their relationship and puts to test their values and beliefs.

Before we were married, my husband and I lived in India for a year. We pretended to be married to avoid the social scrutiny. We purchased a scooter to get places on the weekends and took rickshaw rides as infrequently as possible because of Westerner price gouging. The streets were always overflowing with vehicles and people. Before I continue, I feel I must preface this review with the fact that my husband and I are white. We were born and raised on the east coast of the United States. Once we arrived in India, we dove headfirst into the culture, food, and local customs. It was all so new to us. We would be forever changed by our time there. The social structure in India is a caste system. The disparity between the upper class and the lower class is astounding. In the US, it’s easier to hide. There is a bit more visual nuance. In India, it’s much more black and white. In Ashish Pant‘s The Knot, a young, affluent couple is forced to confront that very social construct after a sudden accident. The foundation of their marriage begins to crack as the lies they tell one another and themselves will have dire consequences.

The Knot is a morality tale and a relationship movie. Geeta and Shirish are forced to confront their own flaws and the power dynamics in their marriage. Shirish’s obsession with status comes to a head with Geeta’s attempts to dissolve her guilt. Performances across the board are wonderful and the look of the film is lush. The Knot makes a point to show the realities of the country. This authenticity is key to the film’s success. The traffic is a chaotic free-for-all. We lived in Hyderabad. Drivers didn’t use their turn signals, instead, they would honk their horns. From the audio in the film, it sounds as if little has changed since 2009. It’s indescribably dangerous. We often wondered how many hit-and-run deaths were hidden due to the normalized practice of bribery. The film slyly grapples with the hierarchy at its worst. Pant uses subtle shifts in language, music, and dialect to illustrate caste. It’s such an intelligent and daring screenplay. The Knot boasts an explosive finale. The very last pan of the camera and the breaking of the fourth wall is chilling. Bravo to Ashish Pant for making such a fearless debut film.

THE KNOT WORLD PREMIERED ON MARCH 31, 2021 AT THE SANTA BARBARA INTERNATIONAL FILM FESTIVAL

Shudder Original review: ‘The Banishing’ is overwhelming.

THE BANISHING

From acclaimed director Chris Smith comes THE BANISHING, which tells the true story of the most haunted house in England. A young reverend and his wife and daughter move into a manor with a horrifying secret. When a vengeful spirit haunts the little girl and threatens to tear the family apart, the reverend and his wife are forced to confront their beliefs. They must turn to black magic by seeking the help of a famous Occultist…or risk losing their daughter.

Portal mirror, dimensions, time loops of residual energy, religious mob, eccentric occultist, spirits with unfinished business… and Nazis? A doomed location and a church’s secret creates a perfect storm for a young family with skeletons of its own. Creepy dolls and things that go bump in the night fracture a fragile family dynamic. While British horror is a strong genre, The Banishing takes a familiar premise and cranks it beyond viability. You’ll be scratching your head as imagery rolls out… and rolls out, again.

The performances are brilliant. John Heffernan as Linus gives a fascinating and nuanced performance. Sexually repressed by choice and the church he is in denial of what is right in front of his eyes. Jealousy leads to rage and Heffernan is downright startling when it rears its ugly head. Sean Harris is a magical creature. Strawberry-dyed hair and a familiar eccentricity make Harris the only guiding light in making sense of this screenplay. I’d watch an entire series of his character’s adventures. That’s the franchise. Jessica Brown Findlay as Marianne is powerful. A palpable fear that only a mother knows seeps from her pores. Her feminist declarations will make you want to stand up and cheer.

The film’s final scene is so abrupt it’s actually irritating. This is clearly a massive plot point that is given but a moment, and that moment is the end of the film? That’s a ballsy way to, perhaps, set up a sequel. You must already have the audience on your side for that to succeed. The film is like taking every season of Ryan Murphy‘s American Horror Story and mashing them together with zero explanation. There is no consistency in the screenplay other than Marianne’s “take no shit”, anti-slut-shaming, mom-boss attitude, and Linus’ vile weakness. When you finally get to the supposed outcome with daughter Adelaide, it screams The Haunting of Bly Manor. The overall look of the film is undeniably gorgeous. Some scenes contain viscerally jarring imagery. Ultimately, Shudder subscribers can decide for themselves whether it’s overstuffed or if we’re more in a 13 Ghosts territory. You could give it a pass being that it’s based on the true story of the most haunted house in England. In my opinion, The Banishing deserves to be fleshed out as a series. Show up for the performances, the set, and the cinematography, and let me know what you think once the screen goes black for good.

THE BANISHING will stream exclusively to Shudder on April 15th in the US, Canada, UK, Ireland, Australia, and New Zealand, as well as via the Shudder offering within the AMC+ bundle where available.

THE BANISHING

Genre: Horror

Country: United Kingdom

Runtime: 97 min

Year: 2021

Rated: NA

Starring Jessica Brown Findlay (Downton Abbey), Sean Harris (Mission: Impossible franchise), John Lynch (The Secret Garden, Black Death), and John Heffernan (Eye in the Sky) and directed by Christopher Smith (Creep, Severance, Triangle).

THE BANISHING is a WestEnd Films production.

ABOUT SHUDDER:

AMC Networks’ Shudder is a premium streaming video service, super-serving members with the best selection in genre entertainment, covering horror, thrillers, and the supernatural. Shudder’s expanding library of film, TV series, and originals is available on most streaming devices in the US, Canada, the UK, Ireland, Germany, Australia, and New Zealand. For a 7-day, risk-free trial, visit www.shudder.com.

Review: ‘HONEYDEW’ is unsettling to say the least.

HONEYDEW

HONEYDEW tells the story of a young couple (played by Spielberg and Barr) who are forced to seek shelter in the home of an aging farmer (Kingsley) and her peculiar son when they suddenly begin having strange cravings and hallucinations taking them down a rabbit hole of the bizarre.

I first heard about Honeydew after its virtual premiere at Nightstream Film Festival. It is a miracle that I was able to avoid spoilers. I am delighted to report the intense buzz was spot on. Honeydew is that good. The sound editing and score consumed me. Combined with some split-screen deliciousness, Honeydew was dizzying madness. Writer-director Devereaux Milburn has taken the most successful aspects of classic and modern horror to create something insanely scary. It gets under your skin in a truly chilling way. The film also boasted one of the weirdest cameos ever. I did a literal double-take.

Malin Barr as Riley is amazing. Sawyer Spielberg as Sam is fantastic. The chemistry between the two actors is electric. Milburn’s dialogue allows them to convey the small cracks that exist in every relationship. These are keenly exacerbated by their bizarre circumstances. Barr and Spielberg are a hell of a pair but are also allowed to shine on their own. You’re constantly worried about them all while fascinated by their individual needs. Jaime Bradley knocks it out of the park as Gunni. What amounts to almost an entirely physical performance, he will disturb you to no end. Bradley owns every frame. Barbara Kingsley is a genius.  As Karen, she walks an extremely fine line between sweet and horrifying, leaning heavily towards the latter. The way these characters are written and the care with which they are performed culminates in one of the most uneasy watches in 2021.

There is a bit of an Ari Aster feel to the film in more than one way. Both the sound and score are keys to ramping up the fear factor. A combination of music, sound effects, and made-made noises like breath and clapping grate your nerves from start to finish. The plot is cleverly laid out for the audience from the very beginning. That does not lessen its impact as the explosive finale arrives. Once that happens, forget everything you know. I was so unsettled I didn’t know which way was up. All I can do now is cringe. Those images are burned into my brain. I’ll be eternally scarred by Honeydew‘s sights and sounds. 

Dark Star Pictures and Bloody Disgusting will release the rural horror film HONEYDEW on VOD, Digital HD, and DVD on April 13, 2021.

HONEYDEW is written and directed by Devereux Milburn (shorts “Stayed For” and “Wade”) and stars Sawyer Spielberg in his feature acting debut, Malin Barr  (Skyscraper, First Love, CBS’s “Bull”), and Barbara Kingsley (The Straight Story, “Jessica Jones”).

Review: ‘VOYAGERS’

Set in the near future, the film chronicles the odyssey of 30 young men and women who are sent deep into space on a multi-generational mission in search of a new home. The mission descends into madness, as the crew reverts to its most primal state, not knowing if the real threat they face is what’s outside the ship or who they’re becoming inside it.

What could go wrong with attempting to play God? Only everything. Instincts suppressed lead to one dangerous boiling pot of hormonal and phenomenally intelligent young people. It’s all one big morality question. Putting these unsuspecting kids in this position to save the entirety of the human race is a lot to ask. Then to lie to them, control them, use them without allowing them to be fully human themselves is cruel. And yet it’s not that simple. Limited resources forced this scenario. The likelihood of its success already feels like an uphill battle. All hell breaks loose when something attacks Richard, the only adult on board. Will these 30 young people fight their instincts or one another?

Colin Farrell as Richard is remarkable. He is the father figure. Loving, protective, and genuinely wanting these kids to succeed. Lily-Rose Depp as Sela is astonishing. She walks the perfect line of innocence and strength. Her journey, like Sheridan’s, is fascinating to watch evolve. Fionn Whitehead plays Zac with terrifying aggression. His portrayal of unhinged, pure testosterone-driven rage is all too familiar in the best way possible. Tye Sheridan plays Christopher with a curiosity and a growing intensity that makes him the perfect protagonist. He is levelheaded, kind, and determined to survive. Sheridan easily owns his leading man status.

Voyagers becomes a near-future version of Lord Of The Flies. It’s chaos created and chaos inevitable. The set is cool as hell. It feels immense and claustrophobic all at once. Trevor Gureckis‘ score is gorgeous. Writer-director Neil Burger has given audiences a heart-pounding and brilliant film. This one will stick with you long after the credits roll.

U.S. Release Date:          April 9, 2021, in theatres
Running Time:               108min    

Review: ‘Painkiller’ is the perfect Bill Oberst Jr. vehicle.

Painkiller

After a man loses his daughter to a drug overdose, he begins a vigilante campaign to bring down the white-collar criminals, including the doctors and pharmaceutical companies, behind the opioid epidemic.

PAINKILLER boasts gorgeous opening titles with 360-degree slow-motion character images surrounded by raining down multicolored pills. Combined with a truly magnificent score, it feels like the audience is being set up for a wild ride. Unfortunately, the overall experience is less thrilling. The premise is intriguing. It’s a revenge story that any parent could get behind. The film gets bogged down by amateur performances from the majority of the cast. I also scratched my head at the idea that a heart surgeon, whose wife is begging for his money in a divorce proceeding, didn’t reside in a more upscale home. This could have been easily addressed by filming those scenes in the same location used for our leading man. After seeing the clarity and effectiveness of the drone shots, this detail disappointed me.

The acting is either over-the-top or underwhelming, with three notable exceptions. Khalmimah Gaston as Detective Janet Simone is an awesome scene partner for Bill Oberst Jr. Their dialogues lays the emotional groundwork that drives the plot. I absolutely believe her as a cop. She’s even-keeled and always present with Bill. Tom Parnell, who also wrote and produced the film, is very strong as Dr. Thomas Mac. While I did think his character deserved better accommodations, his chemistry with his fellow cast members is solid. That final scene is some of the best written and performed in the film. Now onto our leading man Bill Oberst Jr. The tone of his voice is intoxicating. There’s a vulnerability to his portrayal of Bill that makes the audience root for him. His scenes, both as he interacts with callers on his radio show and as he seeks revenge on those who push opioids, are captivating. He is undeniably the number one reason to watch PAINKILLER.

*ON DEMAND/DIGITAL/DVD* MAY 4, 2021

Assessment Strategies for the Modern Classroom: Professional Development Insights

Assessment is a cornerstone of effective teaching and can create massive change in your school, providing vital information on student learning, guiding instructional decisions, and ensuring that educational goals are being met. However, traditional assessment methods, often focused on rote memorization and standardized testing, may not fully capture the depth and breadth of student understanding in today’s dynamic educational environment. To meet the demands of modern classrooms, teachers must embrace innovative assessment strategies that are flexible, inclusive, and aligned with 21st-century learning objectives.

This article explores the evolving landscape of assessment, differentiating between formative and summative assessments, and highlighting the role of professional development in mastering these techniques. It also offers practical tips for teachers looking to enhance their assessment practices, ensuring that evaluations are meaningful, equitable, and supportive of student growth.
The Changing Face of Classroom Assessment

In the traditional model of education, assessment was often a final step in the learning process—a summative event designed to measure what students had learned at the end of a unit or course. While summative assessments remain important, there is a growing recognition that they represent just one piece of the puzzle. Modern education increasingly emphasizes the importance of formative assessments, which are ongoing processes that inform instruction and support student learning as it happens.

1. Formative vs. Summative Assessments: Understanding the Difference

Formative Assessments: These are informal, often ungraded assessments that take place during the learning process. The goal of formative assessment is to monitor student learning and provide feedback that can be used to improve both teaching and learning. Examples include quizzes, class discussions, peer reviews, and observation. Formative assessments are integral to a responsive teaching approach, allowing educators to adjust their instruction based on real-time insights into student understanding.

Summative Assessments: These are formal, graded evaluations that occur at the end of a learning period, such as a unit, semester, or course. Summative assessments aim to evaluate what students have learned and to what extent they have achieved the learning objectives. Examples include final exams, standardized tests, and major projects. While summative assessments are crucial for measuring outcomes, they often don’t provide the immediate feedback needed to guide instruction during the learning process.

Innovative Assessment Methods for the Modern Classroom

As education evolves, so too must our approaches to assessment. Here are some innovative strategies that teachers can incorporate into their classrooms to better assess student learning in a holistic and meaningful way:

1. Portfolio Assessments:
Portfolios are collections of student work that demonstrate progress, achievement, and growth over time. Unlike traditional tests, portfolios allow students to showcase a range of skills, including creativity, critical thinking, and problem-solving. They also provide a more comprehensive view of student learning by including various forms of work, such as written assignments, projects, and reflections. Portfolios can be particularly effective in subjects like art, writing, and project-based learning.

2. Performance-Based Assessments:
These assessments require students to apply their knowledge and skills in real-world or simulated scenarios. For example, instead of taking a written test on a scientific concept, students might conduct an experiment, present their findings, or create a model. Performance-based assessments are valuable because they assess not just what students know, but how they can use that knowledge in practical, often collaborative, contexts.

3. Peer and Self-Assessments:
Incorporating peer and self-assessment encourages students to take ownership of their learning. Peer assessment allows students to review each other’s work, providing constructive feedback and learning from their peers. Self-assessment helps students reflect on their own progress, strengths, and areas for improvement. Both methods foster a deeper understanding of learning objectives and promote metacognition, which is critical for lifelong learning.

4. Digital and Adaptive Assessments:
Technology offers new avenues for assessment that can be both engaging and personalized. Digital assessments, such as online quizzes and interactive simulations, can provide immediate feedback and adapt to the individual needs of students. Adaptive assessments adjust the difficulty of questions based on student responses, ensuring that each student is challenged at the appropriate level. These tools can be especially useful in differentiated instruction, allowing teachers to cater to a diverse range of learning needs.

5. Project-Based Assessments:
Project-based learning (PBL) integrates assessment into the learning process by requiring students to complete complex, multi-step projects that demonstrate their understanding and application of key concepts. PBL assessments often culminate in presentations, reports, or physical products that are evaluated based on a rubric. This method encourages deep learning, collaboration, and critical thinking, making it a powerful alternative to traditional exams.
Aligning Assessments with Learning Objectives

To be effective, assessments must be aligned with the specific learning objectives of the course or unit. This alignment ensures that assessments are measuring what they are intended to measure and that the results accurately reflect student understanding.

1. Define Clear Learning Objectives:
Before designing assessments, teachers must first establish clear, measurable learning objectives. These objectives should outline what students are expected to know, understand, and be able to do by the end of the learning period. Objectives should be specific, achievable, and aligned with broader curriculum standards.

2. Use a Variety of Assessment Methods:
Different types of assessments provide different insights into student learning. By using a variety of methods—such as quizzes, projects, essays, and presentations—teachers can capture a more complete picture of student achievement. This approach also allows students to demonstrate their learning in multiple ways, catering to diverse learning styles and strengths.

3. Develop Rubrics and Criteria:
Rubrics provide a clear framework for evaluating student work, outlining specific criteria and performance levels. Well-designed rubrics help ensure consistency and fairness in grading, while also providing students with a clear understanding of what is expected. Rubrics can be used for both formative and summative assessments, offering a structured way to provide feedback and guide student improvement.

4. Continuously Review and Adjust:
Assessment strategies should be regularly reviewed and adjusted based on their effectiveness in measuring student learning. Teachers should reflect on assessment outcomes, seek feedback from students, and make changes as needed to better align assessments with learning objectives. This iterative process helps ensure that assessments remain relevant and meaningful over time.
The Role of Professional Development in Mastering Assessment Techniques

To stay at the forefront of effective assessment practices, teachers must engage in ongoing professional development. This continuous learning helps educators refine their skills, stay updated on the latest research, and implement innovative strategies in their classrooms.

1. Attend Assessment Workshops:
Workshops focused on assessment techniques provide hands-on learning experiences, allowing teachers to explore new methods and tools in a collaborative setting. These workshops often cover a range of topics, from designing formative assessments to using technology in assessments. Attending these sessions can provide practical insights and inspire new approaches to assessment.

2. Enroll in Online Courses:
Online courses offer flexibility and depth, allowing teachers to dive into specific aspects of assessment at their own pace. Platforms like Coursera, edX, and FutureLearn offer courses on educational assessment, formative assessment techniques, and data-driven decision-making. These courses often include case studies, interactive activities, and opportunities for reflection, making them a valuable resource for teachers looking to enhance their assessment skills.

3. Join Professional Learning Communities (PLCs):
Professional Learning Communities are networks of educators who come together to share ideas, strategies, and resources. Joining a PLC focused on assessment can provide ongoing support and collaboration, helping teachers stay informed about best practices and emerging trends. PLCs can be found within schools, districts, or online communities.

4. Read Educational Assessment Literature:
There is a wealth of literature available on the topic of educational assessment. Books such as “Classroom Assessment & Grading That Work” by Robert J. Marzano and “The Formative Assessment Action Plan” by Nancy Frey and Douglas Fisher offer valuable insights into effective assessment strategies. Regularly reading up on the latest research and theories can deepen teachers’ understanding and inspire new approaches in their classrooms.

5. Participate in Reflective Practice:
Reflective practice is a key component of professional growth. Teachers should regularly reflect on their assessment practices, considering what works well and where there is room for improvement. This reflection can be enhanced by peer observations, student feedback, and self-assessment, creating a continuous cycle of learning and improvement.
Conclusion: Elevating Assessment in the Modern Classroom

Effective assessment is not a one-size-fits-all process—it requires careful planning, alignment with learning objectives, and a willingness to embrace new methods and tools. By incorporating innovative assessment strategies, aligning assessments with clear objectives, and engaging in ongoing professional development, teachers can create a more responsive and equitable learning environment.

For modern educators, mastering the art of assessment is an ongoing journey. With the right tools, strategies, and mindset, teachers can transform assessment from a mere evaluation tool into a powerful driver of student growth and success. As the educational landscape continues to evolve, so too must our approaches to assessment—ensuring that every student’s learning journey is recognized, supported, and celebrated.

Review: ‘The Toll’ plays upon familiar fears.

 

THE TOLL

Synopsis: Supernatural terror and spine-tingling suspense highlight this gripping journey into fear. When Cami orders a taxi service to take her to her father’s country home, she’s hoping for a quiet and uneventful ride. But a wrong turn by Spencer, her chatty driver, results in the car stalling on a dark and remote road. After several threatening and inexplicable occurrences, Cami and Spencer realize they are being watched—by an unseen presence that sees them as trespassers, and is ready to exact a deadly toll.
Writer-director Michael Nader sets up The Toll in a marvelous way. It plays upon the very real fears of ride-sharing. My heart was already in my throat minutes in. The writing is sharp and relatable. A woman alone in a car with a male driver, perhaps a tad too chatty for the hour and length of the drive. The pitch-black atmosphere, barely illuminated by headlights and dashboard glow adds to the fear factor. Ramp up the terror with a backwoods legend and this film settles into one extremely unsettling watch. Do your eyes a favor and watch it in the dark.
The first half and the finale of The Toll are hugely successful. My misgivings arrive in the middle of the film with a sudden tonal shift. It feels like Nader took a handful of horror DVDs, tossed them into the air, and used the plots/visuals from whichever films landed inside a circle on the ground. The trauma and the gaslighting aspect are the most intriguing. Credit where credit is due, the final twist is brilliant. While The Toll has a lot to explore with solid performances and a genuinely scary emotional build-up, I’m not sure if it works as a whole.
Saban Films’ THE TOLL opens In Theaters, On Demand, and Digital on Friday, March 26.
Writer/Director: Michael Nader
Cast: Jordan Hayes, Max Topplin, James McGowan, Rosemary Dunsmore
Producers: Max Topplin, Jordan Hayes, William Day Frank
Genre: Horror, Thriller
Run Time: 80 mins
Rating: R for Language Throughout and Some Violence
Distributor: Saban Films

SXSW 2021 review: ‘JAKOB’S WIFE’ gives us everything to sink our teeth into.

JAKOB’S WIFE

Jakob's Wife

Anne, married to a small-town Minister, feels her life has been shrinking over the past 30 years. Encountering “The Master” brings her a new sense of power and an appetite to live bolder. However, the change comes with a heavy body count.

Jakob's WifeCasting two of the biggest horror legends in Larry Fessenden and Barbara Crampton was pure genius. Fessenden gets his comeuppance as a misogynist minister and clueless husband when he stumbles upon the reason his wife is so different as of late. Witnessing him bungling around is extremely satisfying. His chemistry with Crampton is perfection. Barbara plays Anne; a woman who is not allowed to have a point of view, let alone shine. She is the dutiful wife who puts her dreams aside for stability. Her initial sadness is palpable. Once circumstances change, Crampton gets to play a new completely new role. She is fierce as hell. I loved every second of this character’s second chance at life. Her performance is borderline camp and I could not get enough of her. Crampton never seems to stop working.  After this role, I can imagine she’ll be even more overwhelmed with offers.

Jakob's WifeTravis Stevens does an incredible job of highlighting the mundane and oftentimes loathsome trappings of marriage. The result of 30 years of oppression that Anne tolerates is infuriating but creates the perfect backdrop for her arc. This script is about the restructuring of power. Even the title is genius, subconsciously telling you that Anne isn’t in charge of her own identity. I laughed out loud and cheered audibly when Anne begins to stand up for herself. The pure, unadulterated sass is magic. After Girl On The Third Floor, I expected a lot from Stevens. Boy, does he deliver the goods. (Keep an eye out for CM Punk to make a quick appearance, btw.) Jakob’s Wife has kick-ass music from Tara Busch. Yvonne Reddy‘s costumes are carefully curated to reflect the vibrance of Anne’s newfound confidence. Based on Girl On The Third Floor, where bodily fluids were aplenty, I assumed the gore factor would be high. In fact, the amount of blood is glorious and over-the-top to the point of giggle fits. Stevens’ dialogue maintains its wit and unfiltered outbursts. Perhaps my favorite bit comes in the form of Crampton telling a little girl to, “Fuck Off.” But his would not be the only time I guffawed during Jakob’s Wife. A scene that has Anne rearranging her living room furniture is anything but ordinary. It’s revelatory. There’s a Death Becomes Her wackiness to it all. As one of the all-time great genre films, this is a huge compliment. Visually, the Master is clearly inspired by Salem’s Lot and the classic Nosferatu. This film is not just a vampire movie, it’s a complex look at relationships. It’s a feminist awakening. There is much to love about Jakob’s Wife. It’s one of the best films from this year’s SXSW virtual fest. It’s destined to be a massive hit, breaking the genre molds to make Crampton, Fessenden, and Travis Stevens household names.

Review: ‘HAPPILY’ is completely unexpected

 

HAPPILY

A happily married couple (Joel McHale and Kerry Bishé) discover their friends are resentful of their lustful relationship. When a visit from a mysterious stranger leads to a dead body, they begin to question the loyalty of their so-called friends.

As a 40-year-old woman who has always had her relationship categorized as Janet and Tom, this film spoke to me in a completely different way. I felt the animosity that they receive in a visceral way. The dialogue was genuinely funny in an adult way. The kind of dialogue that actually comes out of our mouths at a certain age and comfort level. The things we say when we just don’t GAF anymore, and honestly, I respect the hell out of it. The plot seems simple enough but the thriller aspect ramps up along with the funny. This cast is superb. They’re sexy, blunt, hilarious, weird, and the kind of eclectic personalities you need to pull this off. This set is cool as hell. I want to go to there. You think you know where this script is going but you really don’t. It’s much darker. It’s much twistier. Do. Not. Get. Comfortable. At the heart of it all, HAPPILY is about communication and trust. It’s about the facade of happiness we feel like we have to portray to the world. This interaction of that theme is told through terror and humor and a bit of WTF. Congrats to writer-director BenDavid Grabinski on a true standout film in 2021.

In Theaters, On Digital & On-Demand March 19th, 2021
BenDavid Grabinski’s Happily is a dark romantic comedy from producer Jack Black, with an all-star powerhouse cast including Joel McHaleKerry BishéStephen RootPaul Scheer, Breckin MeyerNatalie ZeaNatalie Morales, Jon Daly, Kirby Howell-Baptiste, and Charlyne Yi.

Review: Extraordinarily personal doc ‘GROOMED’ comes to Discovery+ this Friday.

GROOMED

GROOMED is the devastatingly powerful story of filmmaker Gwen van de Pas as she returns to her hometown in search of answers about the man who sexually abused her as a child. To understand her ongoing traumas, Gwen travels to meet survivors, psychologists, and even a convicted sex offender. Produced by Gwen van de Pas, Bill Guttentag, and Dylan Nelson, GROOMED addresses a common yet little understood manipulation type called ‘grooming’, how to recognize it, and how to stop it. What begins as an exploration into grooming becomes a dramatic journey where Gwen faces unexpected revelations in her case, finally finds her anger, and boldly confronts the evil we’d rather ignore. Executive produced by Blumhouse in association with Yellow Dot Films.

Gwen Van De Pas’s trauma has never gone away. As an 11 year old, an older swim teammate groomed her. The term was one she only learned 20 years after the abuse occurred. To regain power, she returns to Holland to decide whether or not to report her abuser. Her life cannot move forward without healing. The insight Gwen gains from sitting down with her parents are very impactful. They’re able to explain that when at 17 years old Gwen told them about her abuse that they were at a crossroads based on her mental health. Their guilt is palpable. As a parent myself, I completely understand their desire to protect Gwen from self-harm first. This is not simply about her healing. This film is about the healing of everyone around her. Sexual abuse infiltrates entire families.

The structure of the doc takes us through the grooming bullet points one by one, through the words of a convicted sex offender and behavioral experts. (1. Target The Victim 2. Gain The Family’s Trust 3. Build A Relationship 4. Sexualize The Relationship 5. Maintain Control) She interviews other victims, of all ages, sex, and backgrounds. Not only is this a part of understanding just how pervasive sexual abuse is, but it was a chance for Gwen to feel less isolated for once. Speaking with psychologists, her ultimate goal is to finally report him, but she is rightfully afraid. The evidence she kept still has a profound emotional stronghold. Watching her battle the words and the intentions of her abuser is heartbreaking. She feels complicit and he groomed her to think that way. In their interviews, other victims express how it has affected them physically. Hospitalization, eating disorders, disassociative habits, physical intimacy, panic attacks are just the tip of the trauma iceberg.

This incredibly personal and powerful doc is something parents need to watch. It’s a film survivors should watch. Reporting is not easy. Retraumatization is one of the key factors in every single one of these cases. Gwen Van De Pas was brave. Groomed is her victory lap. If we could all just have a fraction of her courage, we might be able to prevent others from becoming victims. The cycle has to stop.

Streaming Exclusively on discovery+
March 18, 2021

IFC Midnight review: ‘COME TRUE’

COME TRUE

High school student Sarah (Stone) is at her lowest point yet when she runs away from home and finds herself with no one to rely on and struggling with recurring nightmares. She chances upon a university sleep study that offers the promise of safety and money and brings her an unexpected friend and confidant in the overseeing scientist Jeremy (Liboiron). But there’s something curious about proceedings and being under observation seems to make Sarah’s disturbing dreams even worse. As the darkness begins to close in, it’s soon clear that Sarah has unknowingly become the conduit to a horrifying, new discovery…

Come True is best described as visceral nightmares. The wearer of all the hats, writer-director-DP-editor Anthony Scott Burns has given audiences a sci-fi head trip so stunningly beautiful it will overwhelm you. The film has a dark “Through the Looking Glass” feel. Visually akin to The Cell or What Dreams May Come, specifically the purgatory scenes. There’s a frightening beauty to Sarah’s dreams. This cast is amazing. The vulnerability of every single actor should be recognized. Our leading lady, Julia Sarah Stone is astonishing. Her physicality creates a false sense that her character is fragile. Stone owns each frame, sometimes with nothing but her eyes.

The visual progression of horrifying imagery is stunning. The sleep experiment costumes have a Tron meets Captain EO vibe and I really dig them. The script is solidly disturbing. In all honesty, I was locked in until the very final scene which for me stepped into “Huh?” territory. I’ve now watched this film twice. The second viewing was a lot more telling. I have new theories. That being said, the rest of the film is so powerful, Come True is completely worth your attention. Thoroughly engrossing original visuals and storytelling are ramped up by Electric Youth and Pilotpriest’s synth score. It manages to wrap itself around you and immerse you in fear. Each of these elements creates an experience making Come True its own entity. It may give you your own new set of nightmares.

COME TRUE will open in select theaters, digital platforms, and cable VOD on March 12, 2021.

National Geographic and Disney+ review: ‘OWN THE ROOM’ is at the crossroads of passion and presentation.

OWN THE ROOM

Directed by Emmy® Award-Winning team behind Science Fair, Cristina Costantini and Darren Foster, OWN THE ROOM chronicles five ambitious students from disparate corners of the planet and the victories and setbacks they face as they take their budding business ventures to Macau, China to compete in the Global Student Entrepreneur Awards. Santosh is from a small farming town in Nepal; Alondra works the register at her family’s bakery in Puerto Rico; Henry is a programming wiz from Nairobi; Jason is a marketing machine from Greece; and Daniela is an immigrant escaping the crisis in Venezuela, taking on the chemical industry from her lab at NYU.

Every year, students represent each country in an entrepreneurial pitch competition where 1st prize is $100,000. The Global Student Entrepreneur Awards is a life-changing opportunity. In Own The Room (filmed in 2019) New York by way of Venezuela, Nairobi, Nepal, Puerto Rico, and Greece, were represented by Daniela, Henry, Santosh, Alondra, and Jason. You will absolutely fall in love with all five of them. While these young entrepreneurs are unique in personality and ideas, their dedication is familiar and infectious. Sustainability, housing, well-being, accessibility, and communication are merely the broad categories for each of their pitches. With intimate sit-downs and real-time competition footage, this film immerses the viewer in this global, high-stakes competition.

An intriguing highlight of Own The Room is the fact that all five students have the love and encouragement of their parents. It was great to hear the families support each dream, instilling them with the confidence to succeed. Watching the preparation, their anxiety and excitement are visceral. You’ll be on the edge of your seat as you wait for their pitches in Macau. First, they must get past the semifinal round. Contestants are split between seven rooms. The winner of each room makes it to the finals. You won’t believe the last-minute obstacles that Henry faces. It’s simply exhilarating. As a viewer, you’re proud of these young people. They give you hope that our future is bright. Own The Room is an inspiring documentary.

National Geographic will premiere OWN THE ROOM on Disney+ on March 12, 2020.

SXSW21: What we’re excited to dive into at this year’s virtual fest.

SXSW21 is virtual, allowing it to reach a wider audience. Screenings begin Tuesday and we’re already salivating at the lineup. Here are just a few films we’re excited to watch.


NARRATIVE:

RECOVERY

Directors: Mallory Everton, Stephen Meek, Screenwriters: Whitney Call, Mallory Everton, Producers: Scott Christopherson, Stephen Meek, Abi Nielson Hunsaker
Two directionless sisters brave a cross-country road trip to rescue their grandmother from a COVID outbreak at her nursing home. Cast List: Whitney Call, Mallory Everton, Anne Sward Hansen, Julia Jolley, Baylee Thornock, Jessica Drolet, Stephen Meek, Tyler Andrew Jones, Noah Kershisnik, Justin Call (World Premiere)

It’s officially been a year since we locked ourselves in our homes. If anyone can make pandemic humor relatable, it’s Whitney Call and Mallory Everton with their improv and sketch comedy background. Also, the fact that they’ve known each other forever, I’m guessing that will only help make this the most believable chemistry between co-stars. 

WITCH HUNT

Director/Screenwriter: Elle Callahan, Producers: Eric B. Fleischman, Maurice Fadida
In a modern America where witches are real and witchcraft is illegal, a sheltered teenager must face her own demons and prejudices as she helps two young witches avoid law enforcement and cross the southern border to asylum in Mexico. Cast List: Gideon Adlon, Elizabeth Mitchell, Abigail Cowen, Nicholas and Cameron Crovetti, Christian Camargo (World Premiere)

I know women who practice witchcraft. To think their wellbeing could ever be put in jeopardy is a terrifying thought. Originally slated to screen at SXSW2020, it’s time to share this film with the masses. The synopsis alone gets the gears turning on possible political parallels from the past few years.

PAUL DOOD’s DEADLY LUNCH BREAK

Director: Nick Gillespie, Screenwriters: Brook Driver, Matt White, Nick Gillespie, Producer: Finn Bruce
When Paul’s chances of winning a national talent contest are ruined and his dreams of fame are slashed, he plans a deathly revenge rampage!! 1 lunch break, 5 spectacular murders! Each wrongdoer dispatched in a fitting manner by the sparkly suited Paul! Cast List: Tom Meeten, Katherine Parkinson, Kris Marshall, Alice Lowe, Mandeep Dhillon, Johnny Vegas, Steve Oram, Craig Parkinson, Kevin Bishop, Pippa Haywood (World Premiere)

Here is another cast list that grabbed my attention right away. Plus sequins and murder aren’t usually synonymous. British humor gets me every single time.

JAKOB’S WIFE

Director: Travis Stevens, Screenwriters: Travis Stevens, Kathy Charles, Mark Steensland, Producers: Barbara Crampton, Bob Portal, Travis Stevens, Inderpal Singh
The disappearance of a young woman threatens to change the beige and banal lives of Anne Fedder (Barbara Crampton) and her pastor husband Jakob Fedder (Larry Fessenden) forever. Cast List: Barbara Crampton, Larry Fessenden, Bonnie Aarons, Mark Kelly, Sarah Lind, Robert Rusler, Nyisha Bell, Phil Brooks (World Premiere)

Travis Stevens gave me one of the most gagworthy practical FX-filled films in 2019 with GIRL ON THE THIRD FLOOR. Starring genre queen (and Timelord in my own mind) Barbara Crampton and the legendary Larry Fessenden, the buzz around this newest work is electric. Crampton’s uncanny ability to own the screen with a glance will undoubtedly captivate audiences, yet again. Also, knowing that Stevens is a huge horror fan himself (his producer credits give him away as does his totally down-to-earth Twitter feed) gives me the warm and fuzzies knowing that he’ll take care of audiences in all the ways we need.


DOCUMENTARY:

LILY TOPPLES THE WORLD

Director: Jeremy Workman, Producers: Jeremy Workman, Robert J. Lyons
Lily Topples The World follows 20-year-old Lily Hevesh — the world’s most acclaimed domino toppler and the only woman in her field — in a coming-of-age story of artistry, passion, and unlikely triumph. Executive produced by Kelly Marie Tran. (World Premiere)

My kids (and I) have become obsessed with toppling videos on YouTube. Once you go down that rabbit hole, you’re not coming out. The sheer patience it must take to build these feats is something I cannot even fathom. Knowing that this entire doc centers on a young woman at the top of her game encourages me to watch with my kids. I have a feeling SXSW audiences may do the same.

THE LOST SONS

Director: Ursula Macfarlane, Producer: Gagan Rehill
1960s Chicago, a baby is kidnapped from a hospital. Fifteen months later, a toddler is abandoned. Could he be the same baby? In a tale of breathtaking twists and turns, two mysteries begin to unravel and dark family secrets are revealed. (World Premiere)

This is a story I was slightly familiar with from its 20/20 broadcast. Since we’re all true crime junkies now, The Lost Sons should garner a sold-out audience.


SHORT FILMS:

THE THING THAT ATE THE BIRDS

Directors/Screenwriters: Sophie Mair, Dan Gitsham
On the North Yorkshire Moors, Abel, Head Gamekeeper, discovers the thing that is eating his grouse. (North American Premiere)

Gunpowder & Sky’s horror brand, ALTER will be premiering the horror short film by writer and director duo Sophie Mair (Ella, And the Baby Screamed) and Dan Gitsham (Ella, And the Baby Screamed), The Thing That  Ate The Birds. They had me at the title. Since horror is my jam, and the name alone instills a sense of fear and anxiety, I have to know what “The Thing” is!

NUEVO RICO

Director: Kristian Mercado, Screenwriters: Kristian Mercado, Juan Arroyo
A brother and sister stumble upon a celestial secret that changes their lives forever and propels them into Reggaetón stardom, but they soon discover that their newfound fame comes at a deep price. (World Premiere)

Animation with edgy social commentary will catch my attention every time. Filmmaker Kristian Mercado Figueroa is known for this skill. With the voice talents of Orange Is The New Black alum Jackie Cruz, this one caught my eye from its press still alone.

STUFFED

Director: Theo Rhys, Screenwriters: Theo Rhys, Joss Holden-Rea
Stuffed is a short musical about a taxidermist who dreams of stuffing a human and the man she meets online, so afraid of aging he volunteers to be her specimen. An unexpected romantic spark between them complicates their plans. (North American Premiere)

You had me at the categories Horror and Musical. Since Sweeney Todd, Repo: The Genetic Opera, and Anna and the Apocalypse, I’ve been dying for more genre musical goodness. STUFFED may just fill that void even in short form.

MARVIN’S NEVER HAD COFFEE BEFORE

Director: Andrew Carter, Screenwriters: Andrew Carter, Kahlil Maskati
Marvin Wexler tries coffee for the first time and desperately tries to talk about it with anyone who will listen.

I grew up a tea drinker. I loathed just the idea of coffee until I was in my 30’s. Now I have 10 bags in different flavors and roasts and an obnoxious coffee maker in my apartment. I remember the joy of discovering this drink that fuels my days and some of my nights as a writer and a Mom.


You can find the full lineup of events and grab yourself tickets at

SXSW