THE WEIRD KIDZ
This raunchy hand-drawn animated feature set in the 80s features three twelve-year-old “Dug,” his two buddies, Mel and Fatt, older brother Wyatt, and his brother’s girlfriend, Mary. On their way to an overnight camping trip, a gas station owner tells Dug to be careful of “The Night Child”, a creature that allegedly tore her brother to pieces years ago. But this BHFF 2022 creature feature has a second act you won’t see coming.
The character Mary is a badass feminist horror icon. Did I yell, ‘Hell, Yeah,” at the screen every time she surprised me with her choices? You know it. Horror legend Angela Bettis voices Duana, the gas station owner. That was quite the treat. Ella Coltrane is Wyatt. Walking a fine line between loathsome, cliche, and redemptive, it’s a memorable turn. The best voice performances come from Glen Bolton and Brian Ceely as Mel and Fatt. They stand out way above the rest with pitch-perfect tone and timing.
The era jokes and visual cues are kickass. Wyatt says, “Penis wrinkles,” a phrase I know from my first feature film in theaters, E.T. High five for the obscure homage. Also, the fact that I can remember the lyrics to, “Hey Girl,” days later, says a lot.
There’s an overall snappiness that’s missing from The Weird Kidz. Even if the runtime currently stands at an hour and fifteen minutes, it feels much longer. It might benefit from some editing and a few 80s metal tracks. Writer-director Zach Passero does an excellent job flipping the script on the classic monster. The work is there, and Gen X will thank you.
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Runtime:80 minutes
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Country:USA
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Premiere:World Premiere
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Director:Zach Pass
Mark Rylance
There are moments in the film that appear unusual until you realize the larger picture. Calum frustratingly attempts to teach Sophie a self-defense technique that feels inappropriate for her age. He is unbothered by her confession of a first kiss and more focused on the fact that she felt comfortable sharing about her life. He offers her a sip of beer. What draws us into the screenplay is an intoxicating mix of awkward moments juxtaposed by a relationship one strives to have with their offspring. The care Calum expresses, the time feels weighted and invested.
Tora the Trucker Cat, truck driver David, and girlfriend Destiny travel together from state to state for months. Tora has a leash to explore national parks and a seat in David’s backpack when she needs a break. Tora has become the focus of David’s newfound photography skills. She’s a bit of a celebrity that’s allowed David to express himself in ways he never thought possible.
Sir Anthony Hopkins plays Paul’s grandfather, Aaron. Hopkins nails the role with charm and grace. He is a crucial moral compass for Paul but is also part of the broader problem. Gray explains how this microcosm of one family is just as relevant today, stating that one can be oppressed and still be an oppressor. This idea is never more true as we watch Paul begin to understand white privilege while simultaneously wrestling with his desire to be an artist and feeling unsupported, behavioral acting out, and the subsequent physical discipline.
Let me explain why the cast’s explanations became of great significance. The most successful aspect of Gray’s script is the nuance in character building. These are not sugar-coated versions of people, but characters in volatile times, racially and economically. Their flaws are exponentially recognizable, regardless of the year. Armageddon Time could be happening right now. The cynical nature of history and generational trauma will have audiences’ hearts in their throats, shaking their heads in shame for much of the film. Therein lies the film’s strongest achievement.
With a little bit of The Blair Witch Project vibe, writer-director Scott Sloane takes on exploitation in a unique and relevant way. Performances are solid across the board. The first half of the film is tightly structured. While the second half is a touch predictable, it is still fun, filled with gore and revenge. If you’re a ghost hunter/paranormal/ true crime/ horror nerd like me, you will appreciate the legit editing. Special shout out to the incessantly creepy contortionist work. Bravo.
2D charcoal and pen animation and an ominous score (in fact, my six-year-old son heard it in the background and exclaimed, “That’s so scary!”) 
The script is relentlessly chilling. Because the audience has more information than anyone else, it feels as though the characters are sitting ducks. We are right alongside Sara as she witnesses her tormentors thrown into the back of a serial killer’s van. She says nothing, both out of fear and perhaps relief. Those that have ever been on the receiving end of horrible words and despicable actions will undoubtedly wince throughout the film.
PIGGY also speaks to the weight of parental support. We find Sara’s mother to be a nagging, uncaring shrew, while her father pays attention to her with genuine love. Her woes are exacerbated by her parents owning the local butcher shop, leading vile peers to dub her “Piggy.” One of the girls, Claudia, has a deeper connection to Sara based on her delay tactics in teasing and a matching bracelet with Sara.
The ending of the film is a double twist. The first had me yelling at the screen. The second was so shocking I audibly exclaimed, “Okay, that’s AWESOME.” Writer-director-producers 
You immediately fantasize about all the fun things you would do together. There’s an undeniably brilliant poker scene. But things get weird, and Clay has second thoughts about helping Whit for eternity. The chemistry between Whitmer Thomas and director Clay Tatum is otherworldly. Pun intended. They make awkward endearing.
The script, penned by our two leads, might seem straightforward at first but do not get comfortable with the buddy comedy genre. The Civil Dead goes in a direction I did not see coming, though, in retrospect, I should have. From hilarious to shockingly dark, the film tackles loneliness in a brutally honest way. This one is going to haunt you in the best way possible.
It’s the summer of 1948 in Redhook, Brooklyn, and the Trouth family exists in quiet peace until Louis Jr. appears after years away. Old wounds have festered, and now he’s back for revenge. Guilt is his weapon. Well, that and a unique knife with a Turkish inscription belonging to younger brother Charles. BRUTAL SEASON is like an immersive theater experience on film. This slow-burn thriller is not what I expected, in all the right ways.
Performances across the board are stellar. One is particularly inescapable. The subtle manipulation Houston Settle brings into the fray, you know he’s up to no good. Jr.’s bitterness is palpable. His passive-aggressive nature turns vicious. 
There’s no denying that BRUTALSEASON has a similar energy to 
The townspeople are religious fanatics, believing María José triggered the apocalypse years ago with the birth of her son. Exacerbated by nosy neighbors, weak church figureheads, and zealots with a modicum of power, fear takes hold when little Lucía appears to use supernatural powers in gruesome acts of revenge. Everyone Will Burn culminates in a violent confrontation that’s intensely rewarding as a genre fan. Do not move a muscle when the credits roll. The best moment is yet to come.
Macarena Gómez brings a manic energy to the films. Warranted by the emotional torture of everyone in her life, her deliberate descent into pure red hot chaos is glorious. As Lucía, Sofía García skillfully walks the line between vulnerable and terrifying. She is nothing short of captivating. Her chemistry with Macarena Gómez is perfection.
Bravo to the costume and lighting teams. The no holds bar fight choreography is shocking and applause-worthy. EVERYONE WILL BURN harkens back to classic European horror and still manages to remain fresh and fantastic.
The script tackles guilt, a longing for acceptance, prejudice, and a willingness to take a chance. The otherworldly score by Sebastián Zeluta is hypnotic. It’s a touch transcendent. The handheld camera work, particularly during emotionally wrought scenes between our two leads, is a specific and keenly impactful choice. It also highlights the progressing surreal chaos occurring along Peter’s journey.
Alone in a cruel near-future world, 13-year-old Vesper experiments with what’s left of her surroundings to nourish her and her paralyzed father. Abandoned by her mother, Vesper keeps Darius’ body alive with her bio-hacking skills and uploads his full consciousness into a small droid. While she and others suffer immensely, the wealthy exist in private, enclosed spaces called “Citadels.” They produce seeds that the remaining poor vie for to survive in the harsh environment. After someone sabotages their generator, she reaches out to her Uncle, the leader of a group that cultivates children’s blood for seed trade. When Vesper discovers a young woman from the nearby Citadel passed out in the woods, she imagines a way out. VESPER is a gorgeous film about control and climate change wrapped in a glorious sci-fi narrative. 
Rosy McEwan plays Camellia with a complex mix of yearning and practicality. She is a slick foil for Vesper. McEwan’s grace and control are all the more stunning when given the opportunity to break. Our titular role comes to life with the sensational performance of Raffiella Chapman. Her raw vulnerability jumps off the screen. There is no denying she is a star. Her ability to carry this film from beginning to end is a wonder. 
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