Category Archives: Liz

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/.

 

DOC NYC (2021) review: ‘MR BACHMANN AND HIS CLASS’ is a lesson in compassion and kindness.

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MR BACHMANN AND HIS CLASS

Where does one feel at home? In Stadtallendorf, a German city with a complex history of both excluding and integrating foreigners, genial teacher Dieter Bachmann offers his pupils the key to at least feeling as if they are at home.

When children get caught in the crosshairs of sociopolitical complexities, it’s rarely a good thing. In one specialized German school, an extraordinary teacher treats his students like his own children. Through language, history, German, and music, Dieter Bachmann breaks down the walls of his classroom and the industrial landscape in which they reside. Their families mostly hail from Turkey, having left to find work at the local factories. They must learn to adapt to new languages and ideas, thus breaking a cycle for their generation.

Director Maria Speth immerses the audience in the cinema verite style, and the choice is perfection. As a former teacher, placing the camera inside the action gives the viewer a real sense of the minute-to-minute chaos of a classroom. Kids are laughing, rolling their eyes, struggling, learning, expressing opinions all at once. Their anxiety is palpable as we watch parent-teacher conferences. The heart of Bachmann is the purest. You are invested in these children as they navigate challenges in and outside of school. You get to experience the aha moments that are some of the most rewarding times as a teacher. The kids are bright and thoughtful. Their opinions often differ, but the conversations sparked from those differences are brilliant. Mr. Bachmann and His Class reminds us that the human spirit needs encouragement. We cannot do it alone. While it does take a village to raise a child, Stadtallendorf is lucky to have Dieter Bachmann. 

For Tickets to Mr. Bachmann and His Class click here!

Director: Maria Speth

Producer: Maria Speth
Cinematographer: Reinhold Vorschneider
Editor: Maria Speth
Music: Oliver Göbel
Language: German
Country: Germany

Year: 2021

DOC NYC, America’s largest documentary festival, runs in-person November 10-18 at IFC Center, SVA Theatre, and Cinépolis Chelsea and continues online until November 28.

Review: ‘See You Next Christmas’ is a charming and naturally evolving love story.

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SEE YOU NEXT CHRISTMAS

Annie and Tom Clark throw a holiday party every year, “Clarkmas.” Over the years, it’s become the go-to holiday event for their ragtag group of friends. When chronically single Natalie and Logan continue to run into each other at the party year after year, they begin to wonder if maybe they’re meant to be together…

Opening with a mix of holiday home videos, the vibe sets itself in See You Next Christmas. The dialogue is quippy, relatable, cringeworthy, and funny. You know these characters. Our leading lady, Natalie, is overachieving, high anxiety, self-aware woman. Logan is a slightly abrasive, emotionally stunted bro. The combination of these two personalities leads to genuine grounded interaction. Their chemistry swings from breezy to volatile in an instant. That’s real life. 

See You Next Christmas allows us to not only follow Natalie and Logan but another couple in a completely different stage of their relationship journey. The clever juxtaposition of Annie and Tom as an established married couple creates a strong anchor. They are, as they say, couple goals. Through the years, we also get updates on other guests’ lives. You become attached to them and eagerly await their arrival. They’re all charming in their way. The large ensemble cast provides those laugh-out-loud moments.

Elizabeth Guest, as Natalie, brings energy I remember from my 20s and my 30s. Ambition and sass with a bit of uncertainty. A J Meijer has a quiet vulnerability that creeps up on you. His emotional journey feels the most concise and revelatory. Christine Weatherup gives Annie a warmth that balances Natalie beautifully. It’s the life experience and familial relationship that resonates. Vin Vescio, as Tom, wins you over. He tries so hard to be the best husband. He’s a caregiver. You want to put him in your pocket and take him home. 

Writer-Director Christine Weatherup creates an honest evolution of relationships. See You Next Christmas won’t solely be pigeonholed into a specific time of year. I must admit it’s a breezy step into the holiday season after all the craziness of the past two years. 

 

Available on Demand Nov 9th: https://geni.us/SeeYouNextChristmas

SEE YOU NEXT CHRISTMAS was written and directed by Christine Weatherup and produced by Beatriz Chahin and Matt Enlow.  The film stars Elizabeth Guest (AP Bio, Superstore), AJ Meijer (Heathers the musical original Broadway cast, Sneaky Pete), Christine Weatherup (Watchmen, Grey’s Anatomy, Bread and Butter), and Vin Vescio (Chicago Med, For the Weekend).  Giant Pictures will release SEE YOU NEXT CHRISTMAS on digital platforms on November 9, 2021.  The film has a running time of 99 minutes and will not be rated by the MPAA.

Review: ‘That Cold Dead Look In Your Eyes’ is genre-destroying madness.

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Synopsis

Leonard is about to lose his girlfriend, home, and job. Upon that, he’s having strange hallucinations. Is it stress or an after effect of new technology installed all over the city? He must figure it out or he’ll be trapped in this nightmare forever.

I got the email and all I saw was the director’s name. You had me at Onur Tukel, send me the film. If you aren’t familiar with the genre of weird and wonderful that Tukel has put forth into the world of cinema, you’re seriously missing out. From titles like Applesauce to Black Magic for White Boys, if you ever think you know where one of his scripts is headed, you’re sorely mistaken. Enter his newest creation, That Cold Dead Look In Your Eyes.

Leonard blew up his life by cheating on his girlfriend. She is kicking him out. In the meantime, her photographer father that she so clearly adores is visiting at an inopportune time, leaving Leonard to play an awkward host. Dennis is loathsome. He regards himself very highly and cares little for the opinion of others. He’s brash and his attitude seems to be contagious. Leonard is spiraling in every aspect of life. His cooking skills are garbage, he’s running out of money, what’s left of his personal space has been invaded. The entire film seems to be one bashing extravaganza of Leonard, or is it? There is a sadness that consumes him. Maybe it’s the strange new technology that begins appearing around the city. There’s a 5G joke in here, perhaps, and it isn’t subtle. 

Franck Raharinosy as Leonard is just as helpless as you need him to be. Put this man out of his misery in some form or fashion. That’s probably the oddest compliment I could give him. He plays such a convincing sad sack of a man, you feel bad for him. Alan Ceppos is magnificent in his ability to make you cringe. He just doesn’t give a f*ck, for lack of eloquence. This is a performance akin to watching a car crash. You want to look away but you cannot. You are transfixed by Ceppos’ nonchalance. He’s unreal.

The decision to use color for the past and black and white for the present threw me. It became a revelatory choice. Unsurprising for Tukel, whose films tend to center on relationships. You’ll always be taken aback by whatever comes out of his brain next. Tukel can make the mundane hilarious. In Cold Dead Look, we get everything from gaslighting to buffoonery, cruelty to madness, and depression with a side of hideous hallucinations. The film feels like one lengthy Twilight Zone episode in French. Do I have any inkling of what the hell happened once the credits rolled? No, I do not. But, That Cold Dead Look In Your Eyes is unlike anything you’ve seen before, while simultaneously, very obviously being an Onur Tukel film.

The newest film from acclaimed director Onur Tukel (Catfight, Summer of Blood), and featuring Nora Arnezeder (Army of the Dead, Upcoming series “The Offer”) and Max Casella (“The Sopranos”, The Tender Bar), THAT COLD DEAD LOOK IN YOUR EYES will release On Demand 11/9.

Soho International Film Festival short review: ‘KLUTZ.’ is a creative and thought-provoking meditation on grief.

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Zowie lost her sister and is falling down on the job of life. Can’t love. Won’t go out. Refuses to work properly. But she stumbles upon an accidental superpower: when she falls, when she feels pain — gravity bends so that she can see her sister again. However, the space-time-continuum giveth, the space-time-continuum taketh away, and the next time she hurts, her sister is gone. Frustrated and depleted, Zowie is torn between moving on or withering on the vine. So, in a whiskey-fueled dream-state, she makes a choice: to fall one last time. On purpose.

Grief is a personal journey. When your person gets ripped from your orbit, all bets are off. “Coping” can mean destructive behavior in the form of alcohol, binge eating, even self-harm. Or, grief can manifest itself into the most creative outlets. In Zowie’s case, pain and darkness are where she’s become comfortable. It’s also where her sister appears to her, bringing her momentary joy. In Klutz, Zowie must learn to evolve within her preconceived notions of sadness.

Grief has no timeline. No one can tell you how to process it. It’s not their place. Klutz manages to pull you into Zowie’s emotional orbit. The dialogue is dynamic and thoughtful, at times mired in anguish, while others were playfully silly. I was lucky enough to watch Klutz three times, catching more and more cleverly repeated images each viewing. I adored this short on a personal level. As someone who has lost one of my people, I lived inside this narrative. Klutz is relatable and poetic. It’s a beautifully insightful little film.

Showings – select to order tickets:
  • Runtime:
    14 minutes
  • Language:
    English
  • Country:
    United States
  • Premiere:
    NEW YORK Premiere
  • Note:
    Death
  • Director:
    Michelle Bossy
  • Screenwriter:
    Elizabeth Narciso
  • Producer:
    Malka Wallick, Mara Kassin, Howard Wallick & Freda Rosenfeld, David Selden & Julie Wallick, Elizabeth Narciso, Scott & Susan Shay
  • Cast:
    Malka Wallick, Mara Kassin, Sanjit De Silva, Geneva Carr, Angel Desai, Wai Ching Ho, Florencia Lozano, Geoffrey Owens

Review: ‘IDA RED’ – a family crime drama where performances rule all.

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Crime boss Ida “Red” Walker (Oscar® winner Melissa Leo*) turns to her son, Wyatt (Josh Hartnett), to pull off one last heist to get out of prison. But with the FBI closing in, Wyatt must choose between family and freedom in this high-octane thriller.

IDA RED opens up with honest to goodness tense action. Come to find out, half of it is a whole lot of bait and switch. The script has plenty of surprising revelations. It is undeniably engaging, from the shocking violence to the keen character building.

Frank Grillo, as Dallas Walker, is as epic and as he is evil, with an IDGAF aura. It’s one hell of a performance. Melissa Leo is Ida. Her uncanny ability to own the screen with nothing but a look gets me every time. This crime family matriarch rules from prison with an iron fist and favoritism. And, damnit, the fact that it’s a woman makes my heart skip a beat. More of this, please.

Sofia Hublitz, who is fantastic on Ozark, plays Darla Walker. She’s the youngest troublemaker of this family unit. Hublitz walks the perfect line between innocence and passionate anger. Josh Hartnett, as Wyatt Walker, is the unwaveringly loyal son. Hartnett’s multiple-year hiatus from the big screen was noticed, especially by those of us who grew up alongside him in movies like The Faculty, Pearl Harbor, and Sin City. Whenever I do see him nowadays, I am reminded immediately of his immense talent. He’s got a coolness to him that you can’t teach. As Wyatt, his familial devotion is palpable, to a fault. IDA RED allows him to play the full spectrum of emotions. 

The soundtrack boasts some of the coolest (and strangest) choices. I was obsessed. IDA RED could have been a limited series. As it stands, it’s a solidly done family crime drama, possessing fully fleshed-out, massively flawed characters with incredible actors breathing life into them. I recommend a watch.

Watch the trailer:

Saban Films will release the action/crime/thriller IDA RED in Theaters, On Digital, and On Demand on November 5, 2021.

IDA RED is written and directed by John Swab (Body Brokers, Let Me Make You a Martyr) and stars Josh Hartnett (Wrath of Man, “Penny Dreadful”), Sofia Hublitz (“Ozark”), William Forsythe (The Devil’s Rejects, Raising Arizona), Deborah Ann Woll (“True Blood”), Frank Grillo (Boss Level, The Purge franchise), and Academy Award winning actress Melissa Leo (The Fighter, Prisoners, Frozen River).

 

Review: Hannah Marks explores the growing pains of modern love in ‘Mark,Mary, and Some Other People’

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Synopsis:

Mark and Mary, acquaintances from college, run into each other at a drug store as Mary is buying a pregnancy test. The test is negative and the two wind up dating and rapidly falling for each other. Mark has a more traditional view of relationships and Mary’s view is more modern and progressive. They try “ethical non-monogamy” at Mary’s request, and create their own version of an open relationship, while also trying to balance their fledgling careers and friendships. Through a series of ups and downs, Mary starts to realize she’s more traditional than she thought whereas Mark starts to open up and see the world differently through Mary and a polyamorous lens.

“Traditional” relationships structures were created by, well, who knows. Love is weird and complicated, no matter how hard we try. We’re only human. We have urges that are as basic as they come. Anyone who claims to not be attracted to a person outside of their monogamous relationship is a liar. Love is messy and ever-evolving, and writer-director Hannah Marks gets that. Marks popped onto my radar with Banana Split. Her writing is laugh-out-loud-funny and relatable as hell. In her sophomore film, Mark, Mary, and Some Other People, we get the entire emotional spectrum in an hour and a half.

Hayley Law, as Mary, is equal parts bold and down-to-earth. Ben Rosenfield, as Mark, is the definition of charming. I’m not sure he could be more adorable if he tried. Their chemistry with each other, and the rest of this cast, is electric. You have to wonder if any of the dialogue is improvised. It is abundantly clear making this film was a good time.

Mark, Mary, and Some Other People has both nonchalance and honed in emotional palpability. It tackles big issues like communication, the evolution of relationships, and growing up, all with humor and honesty. It’s not pretty or tied up with a bow. Marks understands why that’s important. It’s a peek inside the complexities of human nature. Mark, Mary, and Some Other People is yet another successful notch in her filmmaking belt.

In Theaters and On Demand:

Friday, November 5

Written & Directed By:
Hannah Marks
Produced by:
Stephen Braun, Jon Lullo, Brendan Walter, Jonathan Duffy, Kelly Williams, Pete Williams, and Hannah Marks
Executive Produced By:
Stephen Braun
Starring:

Ben Rosenfield, Hayley Law, Nik Dodani, Odessa A’zion, Matt Shively, Sofia Bryant, Maggie Wheeler, Joe Lo Truglio, Haley Ramm with Gillian Jacobs and Lea Thompson

Blood In The Snow (2021) capsule review: ‘Tin Can’ is unlike anything you’ve ever seen before.

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TIN CAN (Dir. Seth A Smith) (99 mins)
As the world enters quarantine, a front-line parasitologist is imprisoned in a life-suspension chamber. To escape she must destroy the last of her kind.

Tin Can immediately throws you off-kilter. The camera work can be disorienting at times. Mostly, it is claustrophobic as hell. We are in the dark just as much as the characters, quite literally. Our view becomes quietly less obstructed as the film progresses. Do not confuse that with plot clarity. The strangeness continually grows, no pun intended. This sci-fi body horror film will be a hit with Doctor Who fans for a multitude of visual reasons. The special fx makeup has a visceral impact. You’ll be so engrossed in the mystery of it all, as breadcrumbs drop, you’re hungry for more. Fair warning, do yourself a favor and do not eat while you watch. Tin Can’s complexity is endless. There’s an interesting argument about the god complex in science. I can guarantee you’ve never seen anything like Tin Can. Leave your expectations at the door and sit in this experience.

Round 2 of BITS 2021 is coming in November. You can purchase tickets now!

Review: ‘Isolation’ horror anthology is pulse-pounding genre goodness.

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ISOLATION

As a narrative framework, Director and Producer, Nathan Crooker created a fictional world many months into the future that is based around the current global pandemic. All eleven filmmakers used the same unifying framework in creating their stories. The filmmakers were tasked with how to stay creative using only what was available to them at the time. They were not allowed to use Zoom or any other video conferencing services and were only allowed to use the equipment and resources they had with them when they entered into lockdown, including cast and crew, adhering to their respective COVID-19 protocols.

As Fil Eisler‘s opening credits crawl across the screen, and you hear his eerie score, you already feel you’re in for something unsettling. Nathan Crooker is behind the concept of Isolation. His instructions to fellow filmmakers? Solely use what you have at your disposal in lockdown. Each sequence transition utilizes Eisler’s animation to highlight a new city and story. It’s sheer perfection.

Larry Fessenden‘s piece “Fever” is precisely that; a wildly dark, creatively shot, fever dream. It nailed the undying spirit of New York and hit me square in the chest. Andrew Kasch‘s film “5G” takes a conspiracy theory angle. It’s that online alt-right anger we know all too well. But how they communicate with our man Chad is altogether something new. Cody Goodfellow‘s script is clever. Paranoia takes hold in Dennie Gordon‘s “The Dread” as a husband and wife hole up in their Los Angeles hillside home. Are their fears so unfounded after all? 

Bobby Roe‘s “Pacific Northwest” broke my heart into a million pieces. What would happen if my kids had to survive on their own? It destroys me to let my mind go to that place. Co-written by Zack Andrews, this one kept my pulse pounding. Written and directed by Adam Brown and Kyle I. Kelley, “Meat Hands” was unexpected. Loneliness is a killer, but so is interacting with people in a pandemic. Physical intimacy is vital to survival. Cleverly connecting back to “5G,” Alix Austin and Keith Siewert‘s “It’s Inside” takes place in London. Pushing 5G and chemtrail theories, YouTuber Paige believes someone is inside her flat. Bravo for the practical FX and sound editing because it all makes you cringe. 

The palpable sadness of Zach Passero‘s film “Gust” is unavoidable. Outside of the pandemic, it touches the monotony of motherhood and its emotional isolation day in and day out. “Homebodies” by Alexandra Neary sees an investigative journalist come upon a horror he did not expect. The film taps into the sensationalism that’s crept into the media. If you weren’t waiting for Cuomo’s daily updates last year, you were seeing the same images of empty streets and not much else. I was not expecting this more traditional turn. It was awesome. Finally, we find ourselves in Berlin with Christian Pasquariello‘s “Comfort Zone.” If this doesn’t scream governmental and scientific transparency to viewers, I don’t know what will. It’s a super slick cherry on top of Isolation‘s overall storytelling. 

Isolation taps into authentic fears. For anyone unfamiliar, what a fantastic introduction to the work of these filmmakers. The length and uniqueness of styles keep you hovering on the edge of your seat. You don’t have a moment to get settled.

*Available on VOD Tomorrow, November 2nd, 2021*

Produced by Nathan Crooker
Directed by:
Dennie Gordon (Jack Ryan, Legion, Hunters, Waco)
Larry Fessenden (“The Last Winter,” “Habit,” “Depraved”),
Bobby Roe, (“The Houses October Built 1&2”)
Andrew Kasch, (“Tales Of Halloween”),
Zach Passero (“Wicked Lake”)
Christian Pasquariello (“Alien Invasion: S.U.M. 1”)
Alexandra Neary (“The Innocent”)
Alix Austin & Keir Siewert (“Retch”)
Kyle I. Kelley & Adam Brown (“The Music Lesson”)

Blood In The Snow (2021) review: Mark O’Brien’s ‘THE RIGHTEOUS’ brings an unpredictable darkness.

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THE RIGHTEOUS (Dir. Mark O’Brien) (96 mins)
A burdened man feels the wrath of a vengeful God after he and his wife are visited by a mysterious stranger.

Former man of the cloth Frederic has a crisis of faith triggered by the death of his young daughter. When a mysterious injured young man named Aaron appears in their yard late one night, questions swirl as to his true identity. The young man’s intentions and intensity grow with each passing hour. Aaron slowly ingratiates himself with Frederic’s wife, Ethel, turning her sullen and suspicious mind into a gracious one overnight. His relationship with Frederic proves the most complicated.

Is The Righteous a parable? You’re constantly second-guessing any theory that pops into your head. The screenplay leans on its cast with brilliant storytelling. Stunning black and white cinematography compound a visceral sadness from the very opening shots. You cannot help but be swept away by the camera work. It’s so intentional, creating a timeless and unsettling hum from start to finish. The score is yet another brilliant element. It gave me goosebumps.

Mimi Kuzyk as Ethel is grounded and loving. You’ll hang on every word. Henry Czerny as Frederic is as skeptical as we need him to be. His pensive moments reel you in. You’re right along with him at every turn. Writer-director-star Mark O’Brien, as Aaron, is nothing short of captivating, as each beat is an entire journey. You will be mesmerized by both this performance and the script. You’ll want to watch it again and again.

Religion, redemption, and revenge all take center stage. As one forced into eight years of Catholic school attendance, this one got under my skin on another level. Nothing will prepare you for the reveals in this story. The escalation of terror is much like a rollercoaster that never seems to want to descend. It will make your heart race. Do not get comfortable. The Righteous is one hell of a feature debut. How can O’Brien possibly top such an epic introduction? I’ll be damned if I’m not here for whatever that may be.

You can check out the second half of BLOOD IN THE SNOW (2021) in person

November 18-23 at The Royale Theatre

Tickets are on sale now!

Blood In The Snow (2021) review: ‘MOTHERLY’ shows the dark side of unconditional love.

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MOTHERLY (Dir. Craig David Wallace) (81 mins)
Single mom Kate will do anything to protect her daughter Beth from a dark and disturbing past that haunts them both. They have started a new life in an isolated farmhouse in the middle of the woods, far from the prying eyes of other people. Over the course of one day, Kate begins to suspect that something sinister is happening around them. As the danger becomes clear, Kate’s motherly instincts are put to the test. How far will she go to protect her daughter?

Kate is reliving an unthinkable nightmare after her neighbor’s daughter was killed inside her house on her watch. Now in witness protection, something is stalking Kate and her child, Beth. What follows is the unraveling of truth, and it’s far scarier than fiction. 

Performances across the board are phenomenal. Tessa Kozma plays Beth with the energy of a spoiled 9-year-old. She’s ungrateful, rude, and perfect in this role. Lora Burke as Kate hits it out of the ballpark. She reached every emotional high and low, proving a mother’s love is boundless. Bravo, to Kristen MacCulloch and Nick Smyth as grief-stricken parents at the end of their rope. They give very different but nuanced performances. 

Motherly is a visceral form of physical and psychological torture. It chills you to the bone. The script’s structure is in a manner that constantly keeps us guessing. The facts roll out slowly. The score is eerie, with breathy and repetitive voices overlapping the genre-familiar strings. Director Craig David Wallace, who co-wrote the script with Ian Malone, gives us a twisted home invasion teeming with mystery. Motherly is a tale of revenge, lies, grief, and obsession. 

You can check out the second half of BLOOD IN THE SNOW (2021) in person

November 18-23 at The Royale Theatre

Tickets are on sale now!

Blood In the Snow (2021) Shorts reviews from Super Channel weekend.

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Here are some of the short films showing on Super Channel this weekend at  BITS 2021…

Giant Bear (*shown alongside Don’t Say Its Name)
Gorgeous animation of the desolate and snowy tundra. One man comes face to face with a legend. The Inuit vocal track will consume you. This one left me with a lot of emotions.

The Death Doula
A man’s past interferes with his ability to usher a client into the afterlife. This nuanced story presents questions of morality and anguish. Beautiful and costumes sets help ease the viewer into a lulled sense of safety. It is incredibly unique.

Watershed
The world’s water supply is poison. A soul survivor stumbles across a young Mandarin girl who may have figured out how to create clean water. Danger lurks off of every overhanging eve. With powerful visuals, Watershed is an awesome treatment for a feature or series. I need to know what happens next.

Part of A Series of Web Bites:

Creepy Bits- Chapter 1- “Baby Face”
Is a young Mom seeing things on the baby monitor? This is still a fear for me. Are those dust particles or spirits gliding across my screen?! This one goes much further. It’s unsettling.

Narcoleap: S2
Thanks to a “previously on Narcoleap” recap, we get the concept of the show, immediately. And it’s cool. Director Kate Green, who also created the series, gives us drama, complexity, and a ton of great characters. As you keep watching, the show gives you a genuine Quantum Leap feel, but you also catch a Dollhouse vibe through its humor and sci-fi aspects. This is a full-on production. How has this not been picked up by Syfy or CW already? This is my formal push. It deserves a wider audience.

GHOST- A Primitive Evolution
Radio signals connect two post-apocalyptic survivors. This is both a short film and a music video. I have to say, this song rocks. Loved the bridge. I would watch this in longer form. There are solid concepts here and a very cool final shot.

Midnight Lunch Break
Becka is a mouthy shock jock radio host who gets an in-studio visit from a masked listener on Halloween. This one is laugh-out-loud hilarious. At 5 minutes, it’s such a tease, I wanted to see more!

The Revenge of the Snowflakes
A woman’s success is spoiled by online trolls. She takes her boyfriend along in a tongue-in-cheek revenge moment turned violet. This short was great but it was clear there is so much more to the story that we don’t get to see. I wanted a feature to back up the 5 minutes… Which is a great thing.

We All Dream (*being shown with Motherly at 9 pm this evening)
A young girl’s apparent sleepwalking poses a constant danger to her family. All is not what it seems. This is wildly fun and creepy. It produced a slow grin I couldn’t wipe off. Give me more of this story ASAP.

Disquietude (screening with Tin Can Sunday night at 11:30 pm.)
Grab your headphones or crank up the audio for this one featuring a musician. It’s vital to the plot. Trapped inside an anechoic chamber with only her music and thoughts, each infinitesimal sound becomes exacerbated to the nth degree. This would drive anyone mad. It’s perfectly panic-inducing.

You can check out the second half of BLOOD IN THE SNOW (2021) in person

November 18-23 at The Royale Theatre

Tickets are on sale now!

Blood In The Snow Film Festival (2021) capsule review: ‘Don’t Say Its Name’- Females leads, folklore, and fear. Oh, My!

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DON’T SAY ITS NAME

The quiet of a snowy Indigenous community is upended by the arrival of the mining company WEC who have signed an agreement to drill the land. But before drilling starts, WEC employees begin to turn up dead, attacked by a mysterious force. As a local peace officer and a park ranger investigate, they come face to face with the vengeful spirits that have haunted the land for generations.

BITS 2021 audiences got an eyeful this weekend with indigenous tradition and terror. This complex story of activism and horror hits on more levels than you expect. Don’t Say Its Name utilizes local talent to cement its authenticity. Violet spirits collide with capitalism on a reservation attempting to maintain its soul. A mining company is corrupting the land. Both nature and the community will not have it. 

Two kickass female leads in one film? Thank you. The cast generally consists of more women, and I am not complaining. It’s inspiring to watch these actresses communicate with each other. Leads, Sera-Lys McArthur and Madison Walsh will make you stand up and yell, “F@ck Yeah!” Of course, we cannot forget the horror element that provides genuine jump scares and grounded storytelling. For gore fans, there is plenty of blood from the very beginning. The practical FX are classic. The terror factor alongside cultural erasure makes Don’t Say Its Name a fascinating watch. Add it to the growing list of great Canadian horror. 

Don’t Say Its Name is opening on VOD/Digital on November 16

Blood in the Snow Film Festival 2021 is taking place on Super Channel Oct 29 to 31st and at the Royal Cinema Nov 18 to 23rd, 2021

Shudder original review: New anthology ‘Horror Noire’ features 6 thought-provoking black horror stories.

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HORROR NOIRE

Six stories, one film. Experience the next chapter of Black horror. Starring Lesley-Ann Brandt (Lucifer, Spartacus), Luke James (The Chi, Thoughts of a Colored Man), Erica Ash (Survivor’s Remorse, A Black Lady Sketch Show), Brandon Mychal Smith (Four Weddings and a Funeral, You’re the Worst), Sean Patrick Thomas (Macbeth, The Curse of La Llorona), Peter Stormare (American Gods, Fargo,) Malcolm Barrett (Genius: Aretha Franklin, Timeless) and Rachel True (The Craft, Half & Half), among others. With new and adapted stories by Tananarive Due, Steven Barnes, Victor LaValle, Shernold Edwards, Al Letson and Ezra C. Daniels.

‘Brand Of Evil’

I love a good anthology, and Shudder has them in spades. From The Mortuary Collection to Creepshow, Horror Noire is another original notch in subscribers’ belts. Written and directed by black filmmakers featuring black horror stories, this is an expanded follow-up to the 2019 Shudder original documentary Horror Noire: A History of Black Horror. Horror Noire (2021) features 6 strikingly different shorts. Each reaches into a different facet of terror. 

The Lake

A woman’s fresh start turns sour when she moves into a lake house that has a checkered past. This script slowly evolves, no pun intended. I did not see this coming. The storytelling is whipsmart, with juxtapositions between past transgressions and present transformation. It’s brilliant. 

Brand of Evil

This selection is an exceptional commentary on black labor, art, and capitalism. Brand of Evil is cultural appropriation in the most literal sense. How much does your soul cost? 

Bride Before You

A newly married woman seeks help conceiving by way of magic. The generational trauma of black women receives a retelling against a Reconstruction-era backdrop. Beautiful sets and costumes help create an eerie environment for a story that’s visually and metaphorically engrossing.

‘Sundown’

Fugue State

The fine line between religion and cult mixed with rogue attacks by individuals with their faces painted red. A prolific writer and his reporter wife bring the story a little too close to home. Is this a MAGA/anti-vaxxer allegory? I don’t think that’s overreaching. 

Daddy

Parenting is terrifying. Your child is your entire world, and at the same time, you can miss the old version of yourself. It will change you, no matter how hard you try. I must mention Miles Mcnicoll as James. He is a natural. So sweet, you’ll want to eat him up. He’s got a bright future in this industry. 

Sundown

This selection is laugh-out-loud and sharp as hell, taking its title, quite literally, into darkness. The “Whites Only” signs are the first (and most brilliant) clue in this short. This cast is perfect. Every single actor knocks it out of the park. The tongue-in-cheek way Sundown overkills tropes is *chef’s kiss. Genre fans are going to love this one. I would watch this one in expanded feature form in a hot minute. It’s delicious.

Premieres October 28 only on Shudder

Starring Lesley-Ann Brandt (Lucifer, Spartacus), Luke James (The Chi, Thoughts of a Colored Man), Erica Ash (Survivor’s Remorse, A Black Lady Sketch Show), Brandon Mychal Smith (Four Weddings and a Funeral, You’re the Worst), Sean Patrick Thomas (Macbeth, The Curse of La Llorona), Peter Stormare (American Gods, Fargo,) Malcolm Barrett (Genius: Aretha Franklin, Timeless) and Rachel True (The Craft, Half & Half), among others. With new and adapted stories by Tananarive Due, Steven Barnes, Victor LaValle, Shernold Edwards, Al Letson, and Ezra C. Daniels.

Review: ’13 Minutes’ is a pulse-quickening ensemble piece that will echo in every corner of America.

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13 Minutes

Synopsis: The day starts out as usual for residents in the small Heartland town of Minninnewah. It’s springtime and big storms are just part of life. Nothing to get worked up about…until they are. Inhabitants will have just 13 Minutes to get to shelter before the largest tornado on record ravages the town, leaving the inhabitants searching for their loved ones and fighting for their lives. In the wake of total devastation, four families must overcome their differences and find strength in themselves and each other in order to survive.

This ensemble film is about a small town in the path of a brewing storm. Racism, homophobia, religion, and small-town politics swirl around the inhabitants as they prepare for anything. Stories collide, and relationships are put to the ultimate test. 

So, here is the breakdown of characters for 13 minutes: Trace Adkins and Anne Heche play a couple named Rick and Tammy, whose far is in dire financial straights. Tammy is also a local OB at the woman’s clinic. Their religion keeps their son Luke (Will Peltz) between a rock and a hard place. Adkins and Heche never fail to blow me out of the water with each beat.

Thora Birch, oh how I have missed you. Birch plays mechanic and single Mom, Jess. Sofia Vassilieva plays her 19-year-old daughter Maddie. Maddie’s future is in flux, and the decision she makes is one her mother understands all too well. These two women have a genuine report with each other. I adored their scenes.

Amy Smart is an ambitious Mom, Kim. She’s the regional emergency manager for the county. Husband Brad, played by Peter Facinelli, is the local tv weatherman. Their elementary school-aged daughter Peyton happens to be deaf. Shaylee Mansfield, as Peyton, is a highlight of this film. Her innocence shines off the screen.

Paz Vega plays Ana. She and her fiance, Carlos (Yancey Arias), are attempting to buy their own home as Ana works at the local motel as the maid. Carlos works on Rick’s farm as a newly hired mechanic. Vega is a hero in 13 minutes, in more ways than one. This character is carefully curated. Vega lives in her. 

Every single member of this cast is outstanding. They understood the assignment. This script is a snapshot of the country, plain and simple. It is just under an hour into the runtime when the tornado hits. These scenes have a visceral impact. They are pure terror. Writer-director Lindsay Gossling taps into the essence of human nature and the spirit of a small-town America. 13 minutes navigates different beliefs, prejudice, and fear, with flawed and fully fleshed-out characters. It’s not simply a disaster film, it is a reflection of the best and worst of humanity in crisis.

In THEATERS October 29th, on DIGITAL and ON-DEMAND, November 19th

Director: Lindsay Gossling

Writer: Lindsay Gossling

Cast: Trace Adkins, Thora Birch, Peter Facinelli, Anne Heche, Amy Smart, Sofia Vassilieva, Paz Vega, Will Peltz, Shaylee Mansfield

Producers: Travis Farncombe, Lindsay Gossling, Karen Harnisch

Cinematographer: Steve Mason ACS, ASC

Language:  English

Running Time: 108 minutes

Rating: PG-13

Indie Memphis Film Festival (2021) review: ‘BUNKER’ is a remarkable eye-opener that will be your next obsession.

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BUNKER

Bunker investigates the lonely lives of American men who have decided to live in decommissioned military bunkers and nuclear missile silos, and follows the process of building and selling these structures to the wealthy and not-so-wealthy alike.

From a 6000 sq ft hidden structure in Central Michigan to the luxury Survival Condos in Kansas, Bunker is a fascinating documentary screened at the Indie Memphis Film Festival 2021. Individual reasons for ownership range from a survivalist perspective to conspiracy theorist. Stock on the shelves varies from medications, rice, water, gas masks, tents, shelf-stable food, and weapons. Leave your assumptions at the door when going into this film. Director Jenny Perlin gives us access to the spaces and minds of those who purchase, create, and reside bunkers in these modern times.

One of the featured owners is 42-year-old Milton. He is the proud owner of a concrete bunker in a landscape of partially buried bunker hangars in South Dakota. He talks about his unstable childhood, three failed marriages, daughter, spirituality, and why he hasn’t yet seen a second sun appear in the sky. Perlin spends the day with Milton, waxing philosophical and highlighting the loneliness that seems to encompass him.

Ed in Kansas has an elaborate estate titled “Subterra Castle”. Above ground, it appears to be a menagerie of land gardens  with landscape enhancements and outlying buildings. He equates the lifestyle to the fable “The Grasshopper and the Ant.” Ed is a crunchy kind of guy with his Tibetan flags, shelves of vitamins, and vernal Equinox gatherings. His abode is a multistory home. You’d be hard-pressed to say you were underground if not for the tunnel that leads you inside. When you realize what he’s inside, it will blow your mind. *Subterra Castle went on the market in 2020 for $3.2 million.*

A large portion of the doc is cinema verite style. Perlin plants the camera, and we watch the seemingly mundane. It draws you into a world that’s most likely foreign to the average viewer. As the film progresses, she follows builders and owners through tunnels and halls. My husband and I wondered where the crossover of buyers that could afford the high-end options and their politics? You cannot help but wonder. Full transparency, I live in Manhattan in a co-op building on the UWS, so you can probably guess where I’m coming from with this interest. I wish Perlin had a chance to speak with Survival Condo buyers (if they exist) to find out their motives. It is out of sheer personal curiosity since she establishes this with every other owner. But, I highly recommend Googling the company. It’s worth it after watching the film. Perlin delivers an in-depth look at a variety of structures and the people who call them home. You’ll shake your head, either in confusion or agreement, while watching Bunker. It is a one-of-a-kind film.

Indie Memphis Fil m Festival (2021) review: ‘I Was A Simple Man’ is a gorgeous ghost story and ode to Hawaii.

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I WAS A SIMPLE MAN

I Was A Simple Man is a ghost story set in the pastoral countryside of the north shore of O‘ahu, Hawai‘i. Revealed in four chapters, it tells the story of an elderly man facing the end of his life, visited by the ghosts of his past. Incorporating familial history and mythology, dream logic, and surrealism, I Was a Simple Man is a time-shifting, kaleidoscopic story of a fractured family facing the death of their patriarch that will take us from the high-rises of contemporary Honolulu to pre-WWII pastorals of O‘ahu and, finally, into the beyond.

Masao is coming to terms with his mortality in a quietly epic fashion. They say your life flashes before your eyes when you are about to die. In Masao’s case, we are a party to the type of man he was years ago. He is ushered into death by the ghost of his wife Grace, who takes him on a journey through time. There is a bit of a Christmas Carol quality, as Grace brings him into the memories of different and defining times. We come to learn his shortcomings, self-sabotage, doubt, adoration for his wife, and finally, acceptance of his fate. 

Constance Wu, as Grace, exudes elegance and patience. She’s part ghost and pure angel. Our leading man, Steve Iwamoto, playing the present incarnation of Masao, is captivating. He fills each frame with pensive presence. He is unafraid of the physicality of Masao. 

It’s clear from the opening scene that I Was A Simple Man isn’t merely Masao’s story but also a commentary about the colonization of Hawaii. The lush landscape split in two; the top half is nothing but untouched flora, while the bottom half of the city frames are shiny highrise buildings. In quiet moments, we hear the sounds of nature; the wind, crickets, birds, waves, and even some waining dialogue. This film is an ode to the island. The stillness choreographed into many scenes feels meaningful.

Experiencing the juxtaposition of generational reckoning with Masao’s condition is meaningful in a way that will resonate with those who’ve ever watched a loved one pass. It brings feelings of disdain, sadness, confusion, and grief. I Was A Simple Man is a gorgeous catharsis on film.