Category Archives: Liz

Review: ‘Death Of A Telemarketer’ is a cleverly written double entendre.

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DEATH OF A TELEMARKETER

Ace telemarketer Kasey (Lamorne Morris) is in a close sales contest with newbie employee, Barry (Woody McClain), and must score a big sale by midnight or he’ll lose the largest commission to date. Out of desperation, Kasey waits until everyone leaves the office and finds the Do Not Call list. He thinks he’s found the perfect mark, but instead finds himself held hostage and at the mercy of Asa (Jackie Earle Haley), the man he tried to swindle. Now Kasey must pass Asa’s twisted test on ethics if he wants to live to sell another day.

The title alone makes your ears perk up. Death Of A Telemarketer is revenge porn for all those dinnertime phone calls in to his pbx system for small office. Half the time, a caller doesn’t even get your name right. Or, maybe they’ll ask if your husband is home. Really? You have to respect the people who work these jobs. I cannot imagine anyone choosing this as their life’s passion, but as this film’s leading man Kasey comes to explain, when you’re good at something, it makes you feel accomplished. But, knowing that their goal often involves a scam makes things a bit more complicated. On the other hand, life is never as simple as we want it to be. Death Of A Telemarketer tackles all that and more. It’s a surprisingly nuanced story and funny as hell. 

Haley Joel Osment makes everything better. I have loved watching his career spring back to life through meaty indie roles. He is meant to do this for a long time. Jackie Earle Haley, as Asa, knocks it out of the park. Haley’s career is eclectic, and his talents never fail to shine. As Asa, you kind of love to hate him. Lamorne Miller, as Kasey, is a bonafide star. You’re buying what he’s selling, pun 100% intended. His comic timing is something you can’t teach. He begs your attention in every frame. Death of a Telemarketer is a whirlwind of jokes and an unexpected emotional rollercoaster. Writer/Director Khaled Ridgeway draws from personal experience, and it shows. He nails the absurdity that accompanies this profession but never lets the genuine humanity of his characters slip past the audience. It’s a breezy watch that will make you laugh and maybe make you want to call your Dad.

DEATH OF A TELEMARKETER

In theaters and VOD December 3, 2021

Directed by Khaled Ridgeway

Starring Lamorne Morris, Jackie Earle Haley, Haley Joel Osment

Release Date: 12/3/21

Review: Survive holiday hell and hilarity in Camille Griffin’s ‘SILENT NIGHT’

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SILENT NIGHT

 

SYNOPSIS: In true British fashion, (while the rest of the world faces impending doom), a group of old friends reunites to celebrate Christmas in the comfort of an idyllic country home. Burdened with the inconvenience of mankind’s imminent destruction, they adopt a stiff upper lip, crack open another bottle of prosecco and continue with their festivities. But no amount of stoicism can replace the courage needed for their last night on earth.

Writer/Director Camille Griffin gives audiences the gift of holiday hell and hilarity. Think The Big Chill meets Love Actually and sprinkles in Melancholia, as Silent Night finds us rocking around the Christmas tree for, perhaps, the last time. A group of friends makes a pact to spend their Christmas together, with one huge and horrifying caveat. The eclectic holiday soundtrack amps up the energy tenfold. But it’s all a bit of bait and switch. Therein lies the genius that is Silent Night. You think the film is one thing when suddenly BAM. This genre-destroying film will shock you.

Silent Night has an ensemble cast that’s to die for. Keira Knightley strikes the perfect balance of overly stressed host and mother, bringing that quirky charm we know so well. Lucy Punch has the innate ability to be funny without a single word and her talents are elevated by Griffin’s cheeky dialogue. Matthew Goode gives us the gambit of emotions. He’s a solid anchor amongst the spiraling chaos. A standout performance comes from Griffin’s real-life son, Roman Griffin Davis, as Art. After his incredible turn in JoJo Rabbit, it should come as no surprise that he knocks it out of the park here. His fearless honesty spills off the screen, and you will be unable to take your eyes off of him. He steals every scene. 

Even as these chic adults reminisce about what could have been, their children attempt to come to terms with impending doom. Every scene featuring a child is perfection. That is what kids are like, and thank you, Camille Griffin, for including these gems. If you didn’t know she was a parent beforehand, you would as you watched the film play out. The complexity of parenting lies within the overall arc of the film. In truth, this is one of the darkest films I’ve ever seen. If I said I wasn’t shaking from anxiety and crying in the end, I’d be lying. The writing is soaked in acerbic wit. It’s a punch to the face, over and over, all while it begs existential questions of privilege and morality. I could easily see a prequel, sequel, or series in which we follow other locations simultaneously. This is a formal request for such a creation.

AMC+ and RLJE Films will release the darkly comedic drama/horror SILENT NIGHT in Theaters and streaming exclusively on AMC+ on December 3, 2021.

Marking writer Camille Griffin’s feature directorial debut, SILENT NIGHT features an all-star ensemble cast including Keira Knightley (Pirates of the Caribbean Franchise), Matthew Goode (Downton Abbey), Roman Griffin Davis (Jojo Rabbit), Annabelle Wallis (“Peaky Blinders”), Lily Rose-Depp (Voyagers), Ṣọpé Dìrísù (“Gangs of London”), Kirby Howell-Baptiste (“The Good Place”), Lucy Punch (Into the Woods), Rufus Jones (”Flack”) and Trudie Styler (Filth, Moon).

Shudder original review: ‘THE ADVENT CALENDAR’ is the holiday horror gift that keeps on giving.

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THE ADVENT CALENDAR

Eva (Eugénie Derouand, Paris Police 1900), an ex-dancer, is now using a wheelchair, unable to walk. When her friend Sophie (Honorine Magnier, Tomorrow is Ours) gives her an old wooden antique advent calendar before Christmas, she realizes each window contains a surprise that triggers repercussions in real life. Some of them are good, but most of them are bad, really bad. Now Eva will have to choose between getting rid of the calendar or walking again – even if it causes death and destruction to everyone she holds dear around her.

Writer/Director Patrick Ridremont gives Shudder audiences enough horror to rude into the holidays with The Advent Calendar. Think of it as a Christmas-themed Pandora’s box. Eva’s life is pretty sad. Isolated by the insensitivity of people who only see her wheelchair, combined with the declining health of her beloved father, Eva trudges through day-to-day life. When given a unique birthday gift, each day brings the unexpected. For better, and most certainly, for worse.

There’s an immediate and visceral Wow factor that occurs when the box first appears. The design is intricate. It’s simultaneously inviting and terrifying. It also allows for a brilliant screenplay structure as we know there are more surprises to come counting down the days with Eva. The Advent Calendar could have been an entire series on Shudder. 

Eugénie Derouand, as Eva, is outstanding. You can see the gears turning as her moral compass disintegrates. It’s an emotional rollercoaster. Derouand makes it look easy, and you cannot help but root for her. 

The practical fx and makeup are unsettling and grotesque. I found myself unable to look away, quite frankly. The tropes are consuming, and they’ll send a shiver down your spine. They are relentless. Overall, The Advent Calendar is a gift that keeps on giving, whether you like it or not. Add this one to your annual holiday horror lists immediately. 

Shudder, AMC Networks’ streamer for horror, thrillers and the supernatural will premiere writer/director Patrick Ridremont’s ornate and elegant French horror fantasy The Advent Calendar exclusively on Tuesday, December 2nd. Combining Faustian themes and allusions with European folklore and tense, chilling terror, the Shudder Original film provides some highly original holiday season horror.

The Advent Calendar world premiered earlier this year at London’s Frightfest and was produced by Alain Benguigui, Virginie Ogouz, Jean-Yves Roubin, and Cassandre Warnauts.

HBO original documentary review: ‘ADRIENNE’ lets us peek inside the life of the immensely talented Adrienne Shelley.

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ADRIENNE

As the muse of Hal Hartley’s indie classics and as writer/director of the critically acclaimed Waitress, Adrienne Shelly was a shining star in the indie film firmament.

Indie film darling, writer, and director Adrienne Shelley‘s tragic death in 2006 sparked immediate action by her husband, Andrew Ostray. His new documentary explores Shelley’s childhood, her artistic talents, and her legacy. What happened that fateful day? How would he explain everything to their then 2-year-old daughter? Andy sets out to let people into Adrienne’s world, her career, and to help his own family navigate their grief.

Adrienne’s rise to fame seemed written in the stars. Certainly in her diary entries. Her daughter Sophie, who bears a striking resemblance to her mother, reads passages from the diaries through the years. Andy talks to Adrienne’s childhood friends, co-stars, and former directors as they recall her talents and loyal friendship. He documented conversations he had with Sophie about Adrienne. Richard O’Connor creates beautiful line-drawn animation with Sophie and Andy’s voiceovers that become great transition moments. 

Adrienne was so self-aware. It’s inspiring to watch the interviews where she expresses her values. Her uniqueness and vision allowed her to make a space for herself in the entertainment industry and quickly. She was also making a doc herself about happiness. There is so much insightful footage of Adrienne being Adrienne. A repeating theme is a sadness that she carried with her for a great deal of her life. It’s a heaviness that hovers over the entirety of the film. But she and Andy’s love story is never diminished. It’s the reason we have Waitress; this glorious celebration of a woman breaking free and understanding unconditional love. 

The doc swells to the gut-wrenching moment when Andy confronts the man who murdered Adrienne. It is a powerful interaction that had me trembling. But, most likely, you’ve already wept while watching ADRIENNE. You cannot sit through Jessie Mueller’s rendition of “She Used To Be Mine” from Waitress: The Musical and not be a complete emotional wreck. It’s not physically possible. This film is partly a gift to his daughter and Adrienne’s fans. It’s undoubtedly a physical catharsis, leaving the human experience of how one single person can impact everyone around them. It’s a legacy of an extraordinary woman and her story. ADRIENNE will touch your soul. 

Director: Andy Ostroy
Executive Producer: Marc Levin, Nancy Abraham, Lisa Heller
Producer: Andy Ostroy; Co-Producer: Jillian A. Goldstein; Supervising Producer: Daphne Pinkerson
Cinematographer: Trish Govoni
Editor: Angela Gandini, Co-Editor: Kristen Nutile
Music: Andrew Hollander
Language: English, Spanish
Country: USA

Year: 2021

So many stories left to tell. Adrienne, an HBO original documentary about the life and legacy of actress, director, and screenwriter Adrienne Shelly, premieres December 1 at 8 pm on HBOMax.

Review: ‘THE HUMANS’ is a living, breathing tableau of the American family.

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THE HUMANS

Erik Blake gathers three generations of his Pennsylvania family to celebrate Thanksgiving at his daughter’s apartment in lower Manhattan. As darkness falls and eerie things go bump in the night, the group’s deepest fears are laid bare.

I wish I had seen Stephen Karam‘s stage version of The Humans. As a theatre major/lover, I could immediately feel the weight of the dialogue; subjects that feel mundane, long pauses fill the air, then the delicious, sharp back and forth. Karam developed his Tony-award-winning script for the screen and every single second of it is authentic. The most magical part of The Humans for a kid that grew up in the Connecticut burbs and then attended a theatre conservatory on the Upper West Side is the specificity to every detail of the sets and sound editing. Now 41, owning a co-op a block away from school, I realize how immune I’ve become to the sounds of a clanking and hissing radiator or the banging footsteps of the neighbors overhead. It is only when I visit home for the holidays that I notice the birds chirping or the silence of a neighborhood with picket fences. And yet, The Humans taps into a universality of the American family. There is something so familiar about the generational divides that appear around a dinner table; the brazen backtalk of the youngest adult, the words of wisdom, often misconstrued, from the parental units. Relationships are rubbed raw by alcohol or exhaustion. It’s a visceral discomfort that is highlighted brilliantly in this film. 

Karam’s use of sound, in particular, makes The Humans a genre-bending ride. Don’t be confused when your heart sounds and you think you’ve mistakenly turned on a horror film. The deliberate panic-inducing score and sound editing exacerbate buried secrets in The Humans. Karam’s carefully curated script is a masterclass in storytelling. He clearly understands the natural rhythm of familial banter. Each character experiences an arc over a few hours. The Humans plays in real-time. The blocking is coordinated chaos, and I mean that in the highest regard. The camera sits quietly, like an observer in an adjacent part of the apartment. Speaking of, in seeing photos of the two-story unit set from the Broadway run, I am even more impressed at the similarities in the film. With the cramped spaces down to the water stains on the walls, the production team deserves all the awards. 

The cast is superb. Amy Schumer stuns in the role of eldest daughter Aimee. The quiet anguish in her eyes and understanding tones of an adult kid attempting to maintain peace resonates immediately. Her performance has an authenticity that will make you take notice. Steven Yeun is a gentle pleaser as youngest daughter Brigid’s (Beanie Feldstein) boyfriend. He is attentive and honest, with perfectly played outsider energy. It should be no surprise to anyone paying attention to Yeun’s roles since leaving The Walking Dead. His talents are limitless. Dementia takes hold of matriarch Momo, played by the legendary June Squibb. While she technically has little dialogue, each syllable has weight. You’re fully aware of her importance. 

Beanie Feldstein as a musician and wide-eyed optimist, Brigid gives us the know-it-all baby of the family, please treat me as an adult vibe we need. You know her character. Feldstein’s delivery is chef’s kiss. Reprising her Tony Award-winning role as Deirdre is Jayne Houdyshell. The underlying pain is precisely masked by good humor and sass. This behavior comes with a breaking point. I could have sworn I was listening to my mother tell stories about her day. Houdyshell doesn’t take any shit. She’s loving but refuses to be a doormat.

Richard Jenkins‘s performance is immaculate. Karam tapped into the plight of the middle-class white man. From working the same job for decades, sending his kids to college, and entering the next phase of life feeling like the rug has been pulled from underneath him. What you aren’t expecting is the PTSD aspect to loom so large. As someone who experienced 9/11 in college and was downtown two days prior, that day hits differently, more so if you lived through it here in Manhattan. That trauma is key to who Erik has become. It is part of his very essence. Jenkins’s physicality is a story unto itself. He is outstanding. 

The Humans is the perfect film to watch with your family. Its nuance will bowl you over. The Humans is timeless and completely relatable. It’s a snapshot of what kitchen tables have looked like for years. Do not overlook this one. 

RELEASE DATE: In Theaters November 24 and on Showtime

From writer/director Stephen Karam and starring Richard Jenkins, Jayne Houdyshell, Amy Schumer, Beanie Feldstein, Steven Yeun, and June Squibb.

Blood In The Snow (2021) review: ‘Woodland Grey’ is a mesmerising tale.

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WOODLAND GREY

A man living alone in the deep woods finds Emily, a hiker, unconscious and laying on the forest floor. He brings her back to his home and helps her get back to health so she can leave the forest and get home. After a few tense days coexisting, Emily makes a discovery. She finds a crudely built shed behind the man’s home. When she opens it, she unleashes something truly haunting. As Emily and the man come to terms with what has been released, they also attempt to find a way out of the forest which isn’t exactly what it seems.

Writer-director Adam Reider establishes isolation beautifully in the opening of Woodland Grey. With the sensory engulfing rustling of fall-colored trees, we watch William empty his trapped food and cook it over a campfire in front of his trailer. What appears to be a solitary existence is interrupted when he discovers Emily unconscious in his woods. His attempts to keep a dark secret and his controlled environment are about to go to hell.

The tension between actors Jenny Raven and Ryan Blakely is palpable. Reider, alongside writer Jesse Toufexis, gives these actors opposite personalities to the extreme. But this device keeps things interesting. Each brings a fire and nuanced perspective to the story. When you see it, you’ll understand how meaningful that becomes. They are truly spectacular.

The score helps to build a simmering unease from the very beginning. The structure of the script does not let you get comfortable. You cannot miss the references, directly and indirectly, to “Hansel and Gretel”. It’s all a bit maddening in the most brilliant ways. Could this film be a metaphor for purgatory? Completely possible. Could it be about the emotional stronghold of regret? Easily. I have so many questions and I don’t even care about the answers. I was too mesmerized to care. Woodland Grey is one of the most unique horror films of the year.

For more info on Blood In The Snow 2021 click here!

Blood In The Snow (2021) review: ‘The Chamber of Terror’ is half torture and half terrific.

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THE CHAMBER OF TERROR

Nash Caruthers is on a deadly collision course with the people that tore his world apart…along with something unexpected. Something far more sinister.

If you’re going to call a film The Chamber of Terror, then you better be prepared to scare the hell out of people with insane torture devices. Instead, this Blood In The Snow film festival feature initially comes off as a half-baked schlocky mess. The room itself looks like a local haunted house, with red uplighting and blood spatter that could have been made by a giant spin art machine. The Chamber of Terror is not short on blood flow. Here’s a breakdown of the plot, sort of: Purposely getting captured by the crime family who killed his wife and daughter, Nash Caruthers has revenge on his mind. Things get weird. Time jumping, zombies, and a witch whose got her own agenda becomes a bit WTF. 

The acting, for the most part, is pretty cheesy. Although, the Giallo monologue is a genre treat. Two specific cast members understood the assignment. First, Robert Nolan, as the crime family patriarch, is batshit fantastic. I wanted to see more of his shenanigans. And finally, our machete-wielding, mustachioed antihero is the best part of this movie. Timothy Paul McCarthy, as Nash, is some brand of wild. He is the reason to watch The Chamber of Terror. 

Fifty minutes in, and we’re rolling into what the entire film should be; a tongue-in-cheek, laugh-out-loud gorefest. Now the film shines. Ultimately, if you can stick around until that point, you’ll enjoy the wackiness that is coming your way. Now, two final words on Nash Caruthers; Franchise potential.

For more info on Blood In The Snow 2021 click here!

Blood In The Snow (2021) review: ‘FLEE THE LIGHT’ understands the power of the past.

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FLEE THE LIGHT

A mystical horror-thriller where reincarnation, demons and sorceresses intertwine to tell the story of a spiritual search gone wrong. A psychology student (Annie Tuma) delves into her sister’s (Ariana Marquis) psychosis, exposing herself to an ancient predator who hunts souls. Also stars Jane Siberry.

Blood in the Snow 2021 screened Flee The Light last night, a classicly structured folk horror where two sisters with a witchy lineage choose between good and evil. Delphi and Andra become consumed by visions that turn more sinister by the hour. Can they save one another from pure darkness? Flee The Light has an evolution that you won’t see coming. The Wicca research is clear, beautifully shot, and carefully intertwined. I would watch a prequel in a hot minute. Props to the set dressers and location scouts for doing their homework. There is an ethereal quality in certain scenes that grab your attention. 

Screenwriter Jennifer Mancini uses childhood flashbacks to establish the sisterly bond. These are precisely what the audience needed to feel emotionally invested in their relationship. Annie Tuma and Ariana Marquis give fully committed performances. You believe their chemistry. The final scene genuinely brings everything together. I would be remiss if I did not mention actress Jane Siberry for her beautiful turn. With glorious cadence changes, she knocks it out of the park. Flee The Light has a final shot that is a whole lot of Yes. Alexandra Senza gives us a solid B-movie. But the potential for Senza and Mancini to develop an entire franchise is magical.

For more info on Blood In The Snow 2021 click here!

Blood In The Snow (2021) review: ‘PEPPERGRASS’ is a compelling thriller.

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During a pandemic, a pregnant restaurateur tries to rob a priceless truffle from a reclusive veteran.

Peppergrass is a slow-burn thriller that ultimately turns into a survival film. It builds a similar tension that Alone did. Not the horror I was expecting from Blood in The Snow, but it is, nonetheless, intriguing as hell. You must have patience during the first third is heavy character-building. While our two protagonists botch their unusual robbery, the camera continues its handheld intimacy. Forced into the dark woods, Eula attempts to make it to the car in one piece. This goal proves a more complicated task, as the landscape is unkind to a pregnant person.

Chantelle Han gives it her all as Eula. As the plot roles out, in a predominantly real-time fashion, the audience watches her physically and emotionally tap out at points. But it is when she barrels through the cold, darkness, and imminent threat that makes her a total badass. Han is the driving force of Peppergrass.

The score, at times, is this curious mix of ominous whimsy and borderline grating organ tones. It begs your attention. Peppergrass is nothing like I expected. It places you inside the action because there is literally nowhere else to go. The danger and isolation are palpable. It’s a solid film.

Coming to digital June 16 (US/Canada)

 

For more info on BITS 2021 click here!

Review: Marc Brener’s ‘The Rumperbutts’ is a musical comedy for the indie loving audience.

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Selling Out… Isn’t all it’s cracked up to be.

A married couple and indie band duo, who never reached the success that they had always hoped, decides to stop pursuing their dream when a financial dreamed opportunity arises for them to trade fx with VT markets in the UK.

In spite of all the money and newfound success, the two of them are miserable and have spilt up. However, on one magical evening, a mysterious stranger comes into their lives and gives them a second chance.

Holy shit, it’s Mates of State starring in a musical rom-com! Filmed in 2013, 5 months after my husband and I left Yale, The Rumperbutts shot in downtown New Haven at the legendary Toad’s Place and the surrounding streets. The plot is amusing; married bandmates sell out to become the faces of a children’s show. They now fill arenas with children and parents dressed as the fictional creatures, The Rumperbutts. Also, they loathe each other. They are contractually stuck on a tour bus and jaded as hell. When a mysterious invitation appears, it offers to change their lives forever. 

Richie might be a modern-day, pot-smoking Puck/guardian angel? Josh Brenner‘s magical role is an in-your-face, witty character that will undoubtedly make you laugh out loud. His energy with Kori and Jason is wildly organic. I would watch a spinoff featuring Richie’s escapades in a hot minute. As for Kori Gardner and Jason Hammel, Mates of State are huge on the indie scene. Their marital and musical chemistry translates perfectly onto the big screen. Their comic timing is delightful. If you’re already a fan of the band, you’ll undoubtedly enjoy the stoner comedy mixed with marital and money woes. If you’re unfamiliar, this is a brilliant, tongue-in-cheek, introduction to their whole vibe.  

Where has The Rumperbutts been hiding all these years? Be still my heart. It’s essentially an album wrapped in a rom-com. Frankly, I’m a sucker for a solid musical, so this ended up being right up my alley. Writer-Director Marc Brener has no direct link to Yale. None that I could find via Google, at least. Toad’s Place is such an iconic venue, and for those of us watching with the local connection, the choice was an added warm hug. (Especially because I’ve performed there.) The Rumperbutts speaks to the lengths we’ll go to become famous and remain famous at the cost of our relationships. But, all the dramatic undertones aside, the film is a good time with friggin amazing tunes and comfort comedy. I’d watch it again, and I might even buy Rumperbutts merch for my kids. 

Writer/director Marc Brener’s hilarious new comedy The Rumperbutts, featuring “Blue Bloods” star Vanessa Ray and Josh Brenner from “Silicon Valley”, premieres on Digital November 19 from Global Digital Releasing.

Starring Kori Gardner, Jason Hammel, Josh Brener, Arian Moayed and Vanessa Ray, and featuring music by “Mates of State”

Review: ‘Black Friday’ a hilarious and gross entry into the holiday season.

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On Thanksgiving night, a group of disgruntled toy store employees begrudgingly arrive for work to open the store at midnight for the busiest shopping day of the year. Meanwhile, an alien parasite crashes to Earth in a meteor. This group of misfits led by store manager Jonathan (Bruce Campbell) and longtime employee Ken (Devon Sawa) soon find themselves battling against hordes of holiday shoppers who have been turned into monstrous creatures hellbent on a murderous rampage on Black Friday.

Is there a more perfect analogy for Black Friday shoppers than crazed zombie-like beings looking to consume? If you’ve never worked retail for the holidays, you have no idea what it’s like to deal with monsters. It honestly prepares you for any weird or crazy behavior from people the other 11 months of the year. Black Friday writer Andy Greskoviak must know a little something about the experience. His script is hilarious, tongue-in-cheek, and wholeheartedly captures the love-hate relationship between co-workers. Director Casey Tebo has given audiences a gory yuletide gift.

Bruce Motherf*cking Campbell, ladies, and gentlemen. Like Sawa, you tell me Campbell is to appear in a film, give it to me, you don’t have to ask. This guy is the poster boy for horror-comedy. He is a legend. As store manager Jonathan, he nails every beat. Stephen Peck gives life to Floor Manager Brian. He is the embodiment of second-tier management and the power that comes with that role. His shitty attitude makes the dynamic between the workers laugh out loud funny.  Ivana Baquero is a nice foil for all the masculine energy. She’s sweet and caring and unafraid to keep up with the boys club. Her presence is a necessary grounding. Michael Jai White is the hero we all want him to be. If you’re not rooting for this man, shame on you. I wanted much more of him.

Ryan Lee, as Chris, is just as impeccable as Sawa and the rest. A germaphobe whose anxiety looms large, Lee gets the opportunity to shine here. I did not realize this is the same kid from Super 8 and Goosebumps! More of him, please, and thank you. Devon Sawa is a bonafide horror icon. Seeing him alongside Bruce Campbell feels right. Sawa never fails to bring the comedy. He’s so damn natural. I am so stoked to see him working nonstop in genre films over the past few years. Black Friday is yet another role for him to kick some ass. In truth, Black Friday is an ensemble piece. The chemistry is incredible.

If I’m being picky, there are minute pacing issues as some innocuous shots felt long. On the upside, the use of the swipe transition is a throwback I wasn’t expecting. The practical FX are cool as hell. The special fx makeup progresses with the plot, and the intricate creature design becomes creepier and more visceral. Slow clap for SFX master Robert Kurtzman and his entire team. Black Friday is a little Color Out of Space meets Dawn of the Dead. Am I obsessed with the ending? You know it. Do yourself a favor, sit back, relax, and enjoy this film until the real-life stress of the holiday season eats you alive. 

Available In Theaters November 19th
& On Demand November 23rd

Directed by Casey Tebo
Written by Andy Greskoviak
Music by Patrick Stump (Fall Out Boy)
Starring Devon Sawa, Ivana Baquero, Ryan Lee, Stephen Peck, Michael Jai White, and Bruce Campbell

 

DOC NYC (2021) review: ‘GO HEAL YOURSELF’ takes a deep dive into alternative medicine.

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GO HEAL YOURSELF

Against the wishes of her family, Yasmin sets out to find a treatment for her
epilepsy via alternative medicine. Meeting inspiring people all around the
world, she learns that this route is not as easy as simply taking a pill.

My aunt has always used homeopathic remedies. She’s beaten breast cancer twice. As someone with chronic pain from a neck injury caused by a car accident, anxiety since childhood, severe dance injuries, and phantom pain and diastasis recti from two C-sections, I would love to find ways to heal myself juts like I found the CBD oil for anxiety which allows me to cope with my mind. You hear testimonials constantly on the internet or get messages on social media from women in health and wellness, aka the newest pyramid scheme. In Go Heal Yourself, filmmaker Yasmin C. Rams goes on a mission to explore alternative medicine for her epilepsy and her father’s Parkinson’s. It is a journey fraught with emotion. 

The argument of western vs. eastern medicine will never fade. Alternative medicine is a rare topic in my house. We believe in science, but that never discounts the science we aren’t familiar with yet. Although, my neck injury was so painful that I did my first and only session of acupuncture. It did not move the needle (pun intended) on my pain scale. I’ve since watched two aunts go through breast cancer treatments. Neither of their stories is the norm. While one used homeopathic medicine and CBD treatments (find the Exhale Wellness Delta 8 joint here), the other did chemotherapy but never got sick. I’ve never heard of that before. 

In Go Heal Yourself, Yasmin’s father is skeptical. Her attempts to change his diet or convince him that his medication isn’t helping fall of deaf ears. Her epilepsy seems to reach a point of no return as CBD and herbal supplements become too expensive. In her search for answers, Rams reaches out to those individuals across the globe who claim their sickness wained due to a drastic lifestyle change and not medication. You cannot help but become emotionally attached to the people featured in Go Heal Yourself. You’d be hardpressed not to know someone in your life that isn’t afflicted similarly. While some of them heal, others struggle. Each believes that holistic medicine will lessen their ailments in the end. It’s the mental aspect that seems the most powerful. With mindfulness becoming more mainstream, those who practice may feel vindication from this doc.

We are fully invested in Yasmin’s journey. It’s a personal, oftentimes dark, diary of sorts. Undoubtedly, we’re hoping to find our miracle cure as we watch. Go Heal Yourself is going to rattle people, and there’s no getting around it. But if it causes us to stop and think for a moment about what our health means in our souls, then it has succeeded wholeheartedly. At the very least it opens up the dialogue.

Online Dates

Sunday, November 14 – Sunday, November 28, 2021

Director: Yasmin C. Rams
Producer: Yasmin C. Rams, Rodney Charles
Cinematographer: Vita Spiess, Nic Smith
Editor: Kirsten Kieninger
Music: Patrick Puszko
Language: English, German, Spanish, Mandarin
Country: Germany

Year: 2021

DOC NYC (2021) review: ‘YOUNG PLATO’ dares kids (and audiences) to use their words.

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YOUNG PLATO

An inspiring documentary from the filmmakers of School Life (Released by Magnolia Pictures), YOUNG PLATO charts the dream of Elvis-loving school headmaster Kevin McArevey – a maverick who is determined to change the fortunes of an inner-city community plagued by urban decay, sectarian aggression, poverty and drugs. YOUNG PLATO hums with the confidence of youth, a tribute to the power of the possible. 

Teaching is hard. It’s also perhaps one of the most underappreciated careers. You cannot fully comprehend the emotional and physical burdens if you’ve never been in a classroom. In Belfast, a headmaster named Mr. McArevey teaches Philosophy to his primary school students. He makes it approachable. He creatively breaks down ideas to facilitate communication and critical thinking. Holy Cross Boys’ Primary School could be a blueprint for schools all over the globe.

Dealing with their anger is a running theme. Considering the neighborhood’s history, this is vital for these boys’ survival. I’m 41 years old, and until watching Young Plato, I don’t think I truly understood the chaos of religious politics in Ireland. Directors Neasa Ní Chianáin and Declan McGrath juxtapose volatile footage from 2001 with present-day footage of those same streets, now lined with school-age children. It’s a chilling effect.

 Holy Cross’s methods of discipline, under the guidance of McArevey, are fantastic, as the students actively and knowingly utilize philosophical strategies. The social-emotional impact that this could have in every school would be mind-blowing. In an area where violence is so prevalent, using the power of words is priceless. These young boys, even during reprimand, are unafraid to express their feelings. The intimacy and care that Young Plato takes in showcasing the children are beautiful. As a former teacher, this is a school that has all the tools. As a mother of a Kindergartener on the spectrum, focused, individual attention can change a child’s life. Holy Cross is a shining example. 

As the kids learn about their area’s recent violent past, the profound thoughts of peace from these youngsters give me hope. McArevey makes kids accountable for their words and actions. The staff does not let them off the hook while simultaneously extending consistent praise. Watching these lads progress through the school year, seeing the unique brand of teaching should inspire us all to do and be better with one another. Young Plato is a guide to a better world. 

For tickets to see Young Plato click here!

Director: Neasa Ní Chianáin, Declan McGrath
Executive Producer: Lesley McKimm, Justin Binding, Andrew Reid, Catherine LeGoff, Grainne McAleer
Producer: David Rane, Co-Producer: Hanne Phlypo, Jackie Doyle, Céline Nusse, Declan McGrath
Writer: Neasa Ní Chianáin, Etienne Essery, Declan McGrath
Cinematographer: Neasa Ní Chianáin
Editor: Philippe Ravoet
Music: David Poltrock
Language: English
Country: Ireland, UK, France, Belgium

Year: 2021

Review: ‘The Pebble and the Boy’ is a sweet coming-of-age road movie.

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THE PEBBLE AND THE BOY

Written and directed by Chris Green, The Pebble and the Boy is the story of a son attempting to honor his recently passed father. Riding from Manchester on his dad’s scooter to Mod mecca of Brighton, John gets more than he bargains for in his attempt to scatter his father’s ashes. The film is structured like a walk down memory lane for Phil’s mates and a history lesson for John. Ultimately, The Pebble and the Boy morphs into a way to navigate grief and regret.

Patrick McNamee as John is everything we need him to be; vulnerable and a little lost. I must give mention to John’s would-be sidekick, Nicki. Sacha Parkinson is funny, brash, and fills the screen with her vibrant presence. As the script progresses, the one character we never physically hear from becomes the most intriguing. Phil is an enigma for John. Unraveling the mystery of the man takes center stage and is undoubtedly the most successful aspect of the script. Filled with surprises, The Pebble and the Boy is like a warm hug. It’s a breezy, coming-of-age road movie with one hell of a soundtrack.

Inspired by Mod-culture, The Pebble And The Boy will be released on digital in the US and Canada on November 16.

The film was written and directed by Chris Green (Me, Myself and Di) and stars Patrick McNamee (Our Girl), Sacha Parkinson (Coronation Street), Max Boast (Sex Education), Patsy Kensit (Lethal Weapon 2, Shelter Island), Ricci Harnett (Rise of the Footsoldier) and Jesse Birdsall (Hollyoaks).

The film features tracks from Paul Weller, The Jam, The Style Council, Secret Affair, and The Chords. The title of the film is taken from the final track on Weller’s eighth studio album, As Is Now.

 

Review: Terrifying tots take aim at Mommy’s new boyfriend in ‘Ankle Biters’.

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ANKLE BITERS

Sean, a pro hockey enforcer, has fallen in love with Laura, a widowed mother of four young daughters. When Laura’s children mistake an act of lovemaking as an attack, they plot to protect their mother at all costs and with horrific results.

Are you fighting DUI charges in Wyoming and want a bit of crime and comedy on screen? Well, here is one. Poor Sean and Laura just wanted a little bit of rough sex, but his soon-to-be stepkids are seriously killing the vibe. Thinking the bruises on their mother’s body are from abuse, four menacing little monsters take matters into their own hands.  Ankle Biters, a new Canadian horror-comedy, lands somewhere between The Bad Seed (1956) and The Crush (1993). “What are little girls made of? Sugar and spice, and everything nice; That’s what little girls are made of.” Maybe, not so much. 

Sean was an extremely violent hockey player, so perhaps this is merely a case of karma by kids? Zion Forrest Lee plays Sean with an overly friendly stepdad vibe. It falls somewhere between sweet and super creepy. The appearance from Colin Mochrie, as Detective Morton, made me laugh out loud. It makes the last third of the film brilliant.

Genre fans, let me introduce Rosalee, Violet, Lily Gail, and Dahlia Reid. These sinister sisters are bonafide stars. Their genetically boosted chemistry is the stuff of movie magic. They are downright frightening, giving us four fearless performances. They scared me, and I’m a mom and former teacher! Sheer perfection. 

The camera work often hovers on the girls’ level. Panning closeups in slow motion add to the eerie feeling you get from this gruesome foursome. It’s a carefully thought-out choice. While the pacing drags a touch, overall, it’s a dark and wild ride. The climax boasts some of the most gagworthy FX. I even screamed out loud at the same time as Sean. The final scenes completely caught me off guard. Well played, Ankle Biters. Well played. 

ON DEMAND/DVD NOVEMBER 16

Director: Bennet De Brabandere

Cast: Zion Forrest Lee, Marianthi Evans, Lily Gail Reid, Violet Reid, Rosalee Reid, Dahlia Reid

 

DOC NYC (2021) review: ‘The Business of Birth Control’

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The Business of Birth Control

Sixty years after the pill revolutionized women’s emancipation, THE BUSINESS OF BIRTH CONTROL examines the complex relationship between hormonal birth control and women’s health and liberation. The documentary traces the feminist movement to investigate and expose the pill’s risks alongside the racist legacy of hormonal contraception and its ongoing weaponization against communities of color.  Weaving together the stories of bereaved parents, body literacy activists and femtech innovators, the film reveals a new generation seeking holistic and ecological alternatives to the pill while redefining the meaning of reproductive justice.

Is “the Pill” killing us? Perhaps not, according to the innumerable doctors who prescribe it to 11 million women. 35% of which are for reasons other than preventing pregnancy. Anytime I heard about my girlfriends going on birth control in high school or college, it was the same complaints; weight gain, mood swings, depression, and suicidal ideation. I never went on the pill because I was terrified by the side effects. In The Business of Birth Control, get ready to have your mind blown because everything you think you know about contraceptives and The Pill is about to change. The entire FDA approval study was based on only 132 women in Puerto Rico. What?! Under the auspices of body autonomy, the side effects were hidden or swept under the rug by the medical industry. Not a damn thing has changed. Profit and politics and old white men making decisions for women. Follow the money. Why fix a $17 billion industry? 

The Business of Birth Control utilizes doctors, educators, activists, professionals in payroll administration services and people passionate about giving you as much information as possible. We also hear about the fatal links to products like Yaz and NuvaRing. Director Abby Epstein introduces us to a group of parents who lost their daughters to the side effects of these hormonal contraceptives. They have become activists and not by choice. They wonder why there aren’t clear visual warnings on the front of contraception packages, much like cigarettes. I always pause when I watch drug commercials, and they rattle off the giant list of potential side effects.

I struggled to get pregnant for eight months. Every month I cried when the pregnancy test was negative. Then someone turned me onto an app very similar to the method discussed in the doc. I tracked my temperature each morning and some other information because you cannot get pregnant every day of your cycle, but that’s not what has been drilled into our heads since Sex Ed class in 5th grade. Within three months, I was pregnant, and I knew because of my spike in temperature. I knew before taking a test because I had learned the natural cycle of my body. 

Abby Epstein and Executive Producer Ricki Lake (The Business of Being Born) have given us so much to consider with this doc. There are more ways to maintain reproductive autonomy than I ever imagined. The fight continues to bring these options to every corner of the country, and much like the battle to keep abortion safe and legal, we cannot slow down in educating the masses. This film is not strictly for cis-gendered women who menstruate. The Business of Birth Control is knowledge every person should consume. Let’s keep talking to each other because that is empowerment. 

November 10th – November 18th

For tickets to watch The Business of Birth Control click here!

Directed by: Abby Epstein (The Business of Being Born, Weed The People)

Executive produced by: Ricki Lake (Hairspray)

Producers: Abby Epstein, James Costa (Lunch Hour, Welcome to Chechnya), Holly Grigg-Spall, Anna Kolber (Chasing the Present)

DOC NYC (2021) review: ‘OBJECTS’ taps into our tangible sentimentality.

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OBJECTS

Why do we sometimes save objects for years that seem precious to us, yet have no intrinsic value? For some, these mementos are the root of clutter and materialism, but for others, they are a treasured record of their lives. A way to hold on to time and life itself. A tangible nostalgia.

OBJECTS explores a very different kind of ‘collector.’ Through the lives of three unique individuals who have held onto a seemingly meaningless object – a fifty-year-old clump of grass, a sweater that once belonged to a French actress, and a forty-year-old sugar egg – the documentary explores how we find meaning. These objects are not things to be flaunted, rather they are items that profoundly touch their owners in ways that few others can understand.

Vincent Liota taps into our inherently sentimental human hearts. As someone who has a box of objects dating back to at least age 5, as someone who married a man with his own small chest of treasured things, and a mother that fills her home with memories (including a broken flamingo ornament that I would hide in the Christmas tree to avoid its demise), OBJECTS speaks directly to me.

While looking through the memories hidden inside his bookshelf, Robert Krulwich, former host of RadioLab and current NPR correspondent, says something that struck me, “That’s time travel.” Objects are stories. Objects are history. As for the doc, OBJECTS features items spanning from a clump of grass to a sugar egg. Hearing the meaning of these things directly from the people who keep them moves you. You are instantly invested in their safety and fascinated by their existence. The walkthroughs of spaces filled with memories create an emotional gravity that is undeniable. We all know the old saying, “One man’s trash is another man’s treasure.” OBJECTS proves just that.

I adored the time focusing on the methods of Marie Kondo. Like everyone else, when her series hit Netflix, I started to rummage through my drawers, cabinets, and boxes of things. I pulled all my clothes out of the closet and threw them onto my bed to decide what sparked joy. It was much more difficult than I could have ever imagined. In the end, I think I tossed things based more on logic and not at all on sentimentality. When it comes to my children, well, that is another story. I have a box filled with their sweetest baby outfits. 

OBJECTS captivates you with its ceaseless charm. Items that seem to have zero connection to the viewer go from innocuous to deeply meaningful. As we bounce from one unique narrative to the next, you cannot help but think about what is most important in your life. Perhaps it is not the object itself but the memory it envokes that we cherish so much. Regardless, OBJECTS reminds us that we are all connected, how a passing moment affects an entire lifetime. To quote Doctor Who, “We are all stories in the end, just make it a good one, eh?”

https://www.objectsfilm.com/trailer

For more information and tickets to watch OBJECTS click here!

Director: Vincent Liota
Executive Producer: Sally Roy, Vincent Liota
Producer: Vincent Liota
Writer: Vincent Liota
Cinematographer: Sam Cullman, Vincent Liota, Jason Longo, Bryan Margaca
Editor: Vincent Liota
Music: APM Library, Mark Orton
Language: English, French, Italian
Country: USA

Year: 2021

DOC NYC (2021) review: ‘JAGGED’ is everything you oughta know about Alanis Morissette and Jagged Little Pill.

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JAGGED

JAGGED, directed by Alison Klayman, takes viewers to 1995 when a 21-year-old Alanis Morissette burst onto the music scene with the first single off her ground-breaking album, “Jagged Little Pill.” With a rawness and emotional honesty that resonated with millions, and despite a commercial landscape that preferred its rock stars to be male, she took radio and MTV by storm and the album went on to sell 33 million copies. Featuring an in-depth interview with Alanis, as well as never-before-seen archival material, JAGGED explores her beginnings as a young Canadian pop star, the rocky path she faced navigating the male-dominated music industry, and the glass ceiling she shattered on her journey to becoming the international icon and empowered artist she is today.

I went to rehearsal one night only to have my Mom hit play on the kitchen cd player to find my Jagged Little Pill album spinning. She’s cooking dinner and suddenly hears the lyrics, “Would she go down on you in a theatre?” That was an interesting conversation when I got home, mainly because I’m not even sure I knew what that meant at that point in my high school life. I was a pretty sheltered kid. Maybe that’s the reason Alanis’ music spoke to me. It was raw and emotional. JAGGED is Alison Klayman‘s new doc about one of my first feminist heroes, Alanis Morissette. As soon as the film begins, so do my goosebumps and unadulterated, joyful belting. That album gave me the confidence to be unabashedly me. I’ll be eternally grateful. 

JAGGED is a mix of sit-downs with industry greats, behind-the-scenes footage, and concert performances. The concert footage is so crisp you’d think it was filmed yesterday. As Alanis’s handwritten lyrics crawl across the screen in real-time, it remains clear that her writing is brilliant and forever relevant. The sit-down interviews with Morissette are insightful. Like her lyrics, she’s brutally honest, fearless, and funny. Alanis has a great laugh. It’s genuine and from the diaphragm. Watching her tell her own story feels incredibly relatable. In some ways, it adds more weight to Jagged Little Pill‘s lyrics. Twenty-five years later, screaming these songs with the knowledge of the emotion and experiences behind them, I love them even more. How could you not?

The juxtaposition of the bullshit from critics is glorious and pointed. Morissette flashes a middle finger to every single one of them. At the height of her fame, empowerment was not welcome. Certain critics don’t enjoy female artists talking about their love lives. It becomes misogynistic fodder. Ask Taylor Swift, who gets featured in the film. Isn’t it ironic? Don’t you think? Jagged Little Pill was, and continues to be, an anthem for so many women. Her audience spans generations. Because of her, women continue to cultivate and hold female artists in high esteem because their music represents the masses. Alanis a goddamn icon. Anyone who claims differently is wrong. I’ll die on this hill. 

For tickets to JAGGED click here!

Executive Producer: Bill Simmons, Jody Gerson, Marc Cimino; Co-Executive Producer: Geoff Chow, Sean Fennessy, Noah Malale
Producer: Jaye Callahan, Alison Klayman, Kyle Martin
Cinematographer: Julia Liu
Editor: Brian Goetz
Music: Ilan Isakov, Tom Deis
Language: English
Country: USA

Year: 2021

#JaggedHBO, the second film in the #MusicBoxHBO series premieres November 18 at 8 PM on HBO Max.

Discovery + review: ‘SET!’ invites you to take a seat at one of the weirdest and most wonderful competitive sports you’ve never heard of.

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Once a year, a group of feverishly determined table setters vie for the “Best of Show” ribbon at the Orange County Fair table setting competition. Often referred to as “The Olympics of Table Setting,” contestants can spend over 6 months preparing their table to compete and ultimately be judged. A merely misplaced soup spoon can mean the end for an otherwise perfect table. But like any competition, it is not without its dramatics. Old rivalries, controversy, and eccentric personalities come to a head as SET! explores topics far beyond the silverware.

Competitive tablescaping? Yes, you read that correctly. What, praytell, is competitive tablescaping? Well, it’s only the most amazing, strange, imaginative, cutthroat sport you’ve probably never heard of. Each year, under the guidance of a specific theme, competitors create place settings that will either wow or ward off a panel of judges and their fellow contestants. In SET!, director Scott Gawlik documents the six months leading up to the annual Orange County Fair table setting competition and its coveted “Best In Show” ribbon. 

Every inch and angle of cutlery and drinking glasses amounts to a point total. Scores are a cumulative system where one tiny mistake could cost you the top prize, which I think is bragging rights and not the 50 cent ribbon. What makes this sport so massively entertaining comes down to the interpretation of the theme and the competitors’ personalities. In SET!, featured competitors are not shy about sharing their opinions. More often than not, they’re downright catty. 

The judging is rigid. The rules are clear, but that doesn’t mean some of the comments aren’t questionable. Gawlik presents this aspect with glorious tongue-in-cheek energy through the film’s editing. But the drama pervades the entire process. A mostly female-dominated pastime, SET! also features a male competitor, Tim, who made his Dr. Suess-themed table on a literal dime. Others spend thousands on a single display. The snark, the tears, and the infighting make SET! something akin to Christopher Guest‘s Best In Show and The Real Housewives. The eccentricities of our featured contestants make SET! popcorn-worthy, high-stakes drama. The final displays vary in size, tone, and unconventionality. Some tables are complex, while others are simple and clean. But it’s the behind-the-scenes shenanigans of SET! that holds you captive. I never thought I’d be so invested in the placement of a water glass, and yet, here I am wondering what my holiday table will look like a month from now. 

Streaming on discovery+ on November 12th

Directed by Scott Gawlik

*Official Selection – Hot Docs 2021*
*Official Selection – Newport Beach Film Festival*

DOC NYC (2021) review: ‘The Bengali’ breaks cultural and physical barriers.

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THE BENGALI

Fatima Shaik, an African-American author (Economy Hall) from New Orleans, and whose family has lived in Louisiana for four generations, embarks upon an unlikely quest from The Big Easy to a part of India where no African-American (or American) has ever gone. Her search for the past is fraught with uncertainty as she looks for her late grandfather Shaik Mohamed Musa’s descendants, the land he claimed to own, and the truth behind the stories she grew up with. Her incredible journey is told in New York City-based award-winning filmmaker Kavery Kaul’s (Cuban Canvas, Long Way From Home) new feature documentary THE BENGALI.

In the aftermath of Hurricane Katrina, people lost homes, heirlooms, family, and stories. In The Bengali, African American writer Fatima Shaik leaves her birthplace of New Orleans to follow the path of her grandfather, Shaik Muhamed Musa. His history becomes the mystery Fatima seeks to unravel. Director Kavery Kaul was born in Kolkata. These two women travel to India on a mission of recovery and emotional enlightenment.

I lived in India from the end of 2008 into the beginning of 2009. In many cases, I was the first Westerner many of the locals in Hyderabad had ever seen. Most certainly, the first white woman. I was fascinated by the lush history of my surroundings. I watched as the landscape changed around me, sometimes quite literally. I witnessed the erection of modern malls and office buildings, as tent cities surrounding the community we initially lived in were simultaneously bulldozed over. The difference in culture was overwhelming. But unlike Fatima Shaik, I had no familial connection to the country. In The Bengali, Fatima and Kavery are there to seek answers and validate the stories passed down from Fatima’s grandfather. The greater the roadblocks, the more she questions. The locals are suspicious, and rumors begin to fly about her presence. Is her entire family history a lie?

Watching The Bengali is like a time warp for me. Fatima is just as lost and overwhelmed in the country’s bureaucratic ridiculousness. It’s a palpable frustration I know all too well. Merely attempting to travel from point A to point B is a challenge. Never mind the daunting sense of direction within street signs and, in many cases, house numbers. The handheld camera work immerses you into the chaos. In most cities, the people speak at least a few English words. In a small village, that was always less likely. Thankfully, Fatima had Kavery to assist in translation. Attempting this journey without her aid would be near impossible. But, like my own experiences, the most intriguing conversations occur between her and the village women. Discussions of gender roles, education, arranged marriage vs. love marriage give us insight into rural Indian culture. Religion becomes a point of contention, but that should not be of any surprise. But it is the often forgotten story of immigrants that rings the loudest. There is an entire history of Indian and African American culture in America that I had never heard of. The documentary became a new page in our history. 

Finding roots changes a person, no matter the outcome of information. The Bengali is a candid and revelatory dive into past and present, and thus the future. It breaks social and physical barriers, showing the viewer we’re all part of a much larger community than we could imagine.

Director: Kavery Kaul
Executive Producer: Deborah Shaffer
Producer: Kavery Kaul, Lucas Groth
Writer: Kavery Kaul
Cinematographer: John Russell Foster
Editor: Lucas Groth
Music: Nainita Desai
Language: English, Bengali
Country: USA
Year: 2021

Winner of the Special Jury Award at Roxbury Film Festival and the International Humanitarian Award at Flickers’ Rhode Island International Film Festival, The Bengali will make its New York Premiere at DOC NYC, America’s largest documentary festival. The film will screen in person on Saturday, Nov. 13th at 4:45 pm at IFC Center with additional virtual screenings from Nov. 14-28. For tickets, visit https://www.docnyc.net/film/the-bengali/.