DARKNESS
Stella, 17-year-old, and her younger sisters, Luce and Aria, are locked inside their house with bars on the windows. Outside is the Apocalypse: two-thirds of humanity is dead since sunlight has become too strong and only men can go outside. Their claustrophobic life is brightened up by some special games, such as the air party. But their father gets angry: he would like them to completely erase the past. The girls stay locked in their house, alone, with no food until things begin to break down and puncture the delicate shell of their cloistered existence.
Eerily the perfect film at this moment in our history, three girls wait in locked down isolation as their father scavenges for food in an uninhabitable world outside. The sisters pass the time with make-believe skits, attending to a strict schedule that revolves around their hyper-aggressive dad and reminiscing about their dead mother. But something else is very wrong here. Very, very wrong. Due to the current global pandemic, a phrase I am still not used to writing 11 months in, Darkness will resonate on a personal level, especially for parents. The film also has a similar circumstantial setup as ONLY one of my favorite films from Tribeca Film Festival 2019. But perhaps ends up more reminiscent of a certain M. Night Shyamalan film. All three young actresses giving stunning performances and they have a great screenplay to work with. If I’m being nitpicky, the runtime could be cut by 10-15 minutes as Stella pushes past her physical boundaries. The camera work puts you in the shoes of the sisters. Sometimes claustrophobic, other times disorienting. The full picture slowly reveals itself to be far more disturbing than you might think. There are clues sprinkled throughout but at the heart of it, Darkness is about emotional manipulation and physical abuse. It’s absolutely chilling. This film would easily garner a larger audience on any of the genre centric platforms. I’m excited to see where it ends up landing.
DIRECTED BY EMANUELA ROSI, ITALY, 2019
Starring Denise Tantucci, Valerio Binasco, Gaia Bocci, Olimpia Tosatto
German Premiere
Now, the scary. This is a double-edged sword for me. While the creature makeup of The Devil is one of the most successful parts of the film visually, the ways in which he is utilized felt cheap. For me, it was a reason to exploit Kirk. It makes zero sense to have her fornicate (probably the first time I’ve used that word in earnest) with The Devil, without that being a major plot point that comes to fruition. It takes away from the overall feminist narrative of the film. I absolutely loved being terrified by the appearance of The Devil. Those moments stick in my head for their fright factor but make me cringe when used tom over sexual a character who is already sexually harrassed over and over for her appearance. This film might fair better if those scenes are cut altogether. The climax is most certainly unexpected and incredibly satisfying. Although with a runtime of 1 hour and 51 minutes, The Reckoning could lose a good 30 mins. Neil Marshall and Charlotte Kirk set out to highlight the atrocities committed against women in a time of fear, sickness, and paranoia. They are able to tell this story through the experiences of Grace and even a few ancillary characters associated with her. The real-life horrors are enough.
The Right One
Procrastinating romance novelist Sarah is attempting to finish her third book after breaking up with a longtime boyfriend. It’s not going well. Her agent Kelly forces her out into the dating scene causing her to repeatedly stumble upon a mystery man with many different personalities. Can she figure out who he is and in return also discover her true self? The Right One is laugh out loud funny from beginning to end. Though it’s not simply a rom-com, it’s much more complex. The script is rightfully presented in three clean acts. It allows the characters to develop naturally. 35 minutes in we get our first clue to Godfrey’s past and it is unexpectedly dark. While the funny doesn’t stop, it lets the cast explore the underlying messages in writer Ken Mok‘s directorial debut.
Iliza Shlesinger is basically playing her standup self and I mean that as a compliment. Her aggressive manner is pure magic for this role as Sarah’s literary agent. But don’t let her fool you, there’s a softer side hiding in there even if just a little bit. I can see her acting career turning out to be akin to Kathryn Hahn‘s. I would put money on it. Cleopatra Coleman as Sarah is exactly who we need. Solid romcom sweetness with an edge. I could watch an entire series of her being quirky. She’s a damn delight. Nick Thune has a total Bill Murray/ Steve Martin energy. It was like watching an incredibly curated improv show. He is charming as hell. His chemistry with Coleman is fun and natural. I was first introduced to his amazing abilities in the fantastically weird and wonderful indie, 
The Right One taps into a lot of very real fears that dating and relationships bring. Opening up yourself to potential hurt but also actual love and acceptance. We see abandonment issues and self-doubt, jealousy, and trauma. . You’ll laugh and be forced to look at some of your own flaws along the way.
This stunningly gorgeous sci-fi film has so much potential. What drags it down is the amount of information we’re missing. A lot of the backstory is buried inside writer/director Nicholas Ashe Bateman’s mind. It’s juicy, no doubt. Uniquely told. It would be glorious as a stage play. There’s enough intrigue in The Wanting Mare to indeed sustain a series of films, as is the intention. The audience has to commit themselves to what they are given. It’s a lot of trust to put in the viewer. What is abundantly clear is that there is a cyclical nature to the female characters and that these elusive tickets put a target on your back. This script is filled with people lying to each other, either to protect someone or keep them from leaving. It’s an interesting concept. The horses are treated similarly to unicorns in Legend. A commodity, yes, but also they must be protected at all costs.
Performances, across the board, are excellent. While there are a lot of characters to track, there is not a single actor who lets you down. Each beat is curated. This cast left it all on the screen. 
I have actually spent a few days on the island of Malta. When I met my husband he told me that his heritage was Scottish, Irish, and Maltese. I honestly had no idea what he was talking about. I’m half Italian and was completely unaware of the small, bustling island off the coast of Italy. Even with my little experience in the area, I can attest to the authenticity you get in LUZZU. Pre-pandemic, it was filled with tourists taking ferry boats from Sicily or to the smaller island of Gozo, where they actually filmed some of Game Of Thrones. It boasts crystal blue waters and ancient architecture. It also contains kind, hardworking locals that have been thriving in the fishing industry for a long, long, time. Now, things are changing and everyone is being forced to adapt. LUZZU takes all that local beauty and then gives us a weighty story we can sink our teeth into.
Jes is down on his luck in every way possible. He’s not catching anything that he can sell. His new son is not growing as he should. His mother-in-law doesn’t respect him. Jes dives headfirst into the black market fishing industry. While he fixes his luzzu (which is his wooden fishing boat) by hand, he snatches up any side hustle that comes his way. It’s heartwrenching to watch him struggle. You just want him to make it. As the danger grows, so do the emotional consequences.
This is a fearless film. There is nothing shy about it. Writer/director/editor/DP Ben Hozie has given us an unapologetic look at sexual impulse, gratification, and all the complex feelings that come along with it. It’s not often we see an actor do full-frontal nudity. Leading man Peter Vack is not just full-frontal but masturbates (a lot) in PVT CHAT. And so he should. His character Jack has zero stability in his life with the exception of his need to connect with other humans. This is mostly achieved through cam sessions. While sexual gratification is s short-term goal, he’s really looking for companionship. He’s a great online gambler, that’s how he survives monetarily. At the heart of it, he has fallen in love with a girl he doesn’t completely know is real. Vack is excellent. His vulnerability pours off the screen. His portrayal of a seriously flawed and real human being is stunning.
This HBO docu-series about a mad genius who happened to be a trans woman, The Lady and The Dale comes from Emmy-winning Mark and Jay Duplass and is co-directed by Nick Cammilleri and Zackery Drucker. Who is Elizabeth Dean Carmichael? Perhaps the first question should be, “Who is Jerry Dean Michael?” Smart, fearless, and loyal, Jerry might as well be the subject of Catch Me If You Can. Then everything changes as entrepreneur Liz arrives on the scene. She would be the one to rule. Using eye-catching 2D animation and archival footage to illustrate intimate sit-down interviews, it’s insanely engaging. The way this family was brought up sounds like it cannot be true but boy, is it entertaining. The FBI, the mob, the police, the media all wanted a piece of Jerry or Liz… or both. And this is only the first episode of this docu-series! To think this is merely a set-up for what is coming in Liz’s story is surreal. Last night, The Lady and The Dale debuted with back to back episodes. They are explosive and completely unreal. If you’re not completely hooked a few minutes into episode 1, I would be flabbergasted. The amount of information thrown at the audience is massive and completely intriguing. How do one woman and a three-wheeled car make history? Just you wait and see. This is a captivating story of a woman who wouldn’t take no for an answer. Elizabeth Carmichael would take on the auto industry and the world, for better or for worse. The final two episodes of The Lady and The Dale will air over the next two Sundays and will be available to stream on HBO Max.
The juxtaposition of what all other networks are airing during this incident is rattling. No one, outside the studio, knows what is occurring. Everyone is nonchalant or celebratory so when the danger escalates, seeing the calm on ancillary characters is unnerving. It’s fantastic. This script manages to tackle class structure and emotional trauma, with media profits as the underlying force of everything that goes awry in Sebastian’s “plan”. Prime Time does an incredible job of keeping you on the hook until the screen goes black. In a present era where every second of media is either controlled or completely reckless, Prime Time taps into every viewer’s own fear of being lied to. Sundance audiences will love this film.
Rosie is trying to figure out who is responsible for the death of her sister, Amelia. A year afterward, she is obsessed with watching her old YouTube diaries for any sort of clue. The darkest side of the internet comes to light in this unapologetically raw indie. We live in a world where a single tweet can incite violence. But since the beginning of the internet and chat rooms, pedophiles have stalked kids, acted like peers, and lured them into unsafe situations. People don’t seem to grasp the permanence of posting online. The consequences can be life-altering. 
Marc Menchaca stars in another unsettling role, post 
#Like a great companion piece for 
Mimi is me as a kid; overly dramatic, kooky, aggressively brimming with sass. I played with all the boys, digging holes, making forts, playing with stick lightsabers. Am I obsessed with the fact that PG: Psycho Goreman is energized by a truculent little girl?! Hell yes. Do I love the fact that it’s over-the-top in every single way? You betcha. Is this one of the most fun viewing experiences I’ve had in lockdown? 100%. It’s a genre-bending romp of relentlessly violent, gore-filled, sci-fi weirdness and I am here for it all.
Essentially, if you’ve ever been a genre nerd, you’ll love this film. Think Peter Jackson‘s splatstick trilogy, add a pinch of The Gate, with a side of Saturday morning cartoon realness and you can begin to comprehend what this film is. The costume and creature builds are out of this world fun. Every single detail of Psycho Goreman screams an homage to fans. It feels like it was tailormade for my 40-year-old self, and I will continue to tell myself this lie.
The chemistry between cast members is outstanding. The family dynamics are hilarious. I hope I talk to my kids that way when they get to be Mimi and Luke’s age. The dialogue is delivered with such commitment, it’s magical. The kids interacting with PG will force a grin that just won’t go away. Writer/director Steven Kostanski, who I already knew from his ABC’s of Death 2 segment, really gets it. You can tell from his extensive resume that he’s a fan that not only writes for an audience but for himself and I cannot wait to see what’s next. PG: Psycho Goreman is destined for cult classic status. If I don’t see this costume pop up at a future Comic-Con, I will be shocked.
Sir Walter Scott said it best in his poem “Marmion”, ‘Oh, what a tangled web we weave,/ When first we practice to deceive!’ The genius of this script is the storytelling structure. Minutes in you understand that our leading lady is caught in a web so large she cannot get out now. The relentless danger he allows herself to be in is astounding. The audience is constantly waiting for the other shoe to drop. Now that I have had time to sit on my viewing, I am actually aghast at the pace of the film. It barrels along in its deception and doesn’t let up for a minute. While there is clearly a backstory that predates the present timeline in White Lie, I found the lack of information all the more intriguing. I was forced to make assumptions thus leading to, perhaps, a completely different take than anyone sitting next to me. Bravo to writers/directors Yonah Lewis, Calvin Thomas for being bold enough to make such choices.
Kacey Rohl‘s performance as Katie makes the film as enthralling as it is. Her ability to make you loathe her and sympathize with her is uncanny. You understand that the complexity of this role is massive. She absolutely nails it. White Lie will have you uncomfortable from start to finish. It will be impossible to look away even though you’ll feel as entangled in the lies as Katie. It’s quite masterful.
Mary and her father survive by the clock. They thrive in routine. Cole is the opposite. He’s chatty, vivacious, and a traveler. Mary feels bound by the obligation to care for her father. She’s never allowed herself to grow. The anxiety that is palpable on Mary’s face is something I know all too well. Then this burst of energy comes barreling into their lives and it the best medicine they could have ever happened upon. Cole challenges everything she’s come to rely on. But she is not the only one who needs awakening.
Beautifully scored, with sharp and glorious cinematography, The Wake of Light is like nothing I expected to see. There is something about the intimacy of the handheld style that feels like the viewer is just out of frame. Boasting stunning and meaningful close-ups. alongside the slightly heightened audio, there is a familiarity that feels lived in.
The screenplay is so charming you will lose yourself in the genuine connection between two strangers. The rhythm of their dialogue is lovely and grounded. Performances are outstanding. Rome Brooks as Mary has the most intentional beats. Her emotional journey is written on her face. There is a complexity that sneaks up on you. Matt Bush as Cole is an open book, as well. Behind his manic but infectious energy is loneliness as thick as Mary’s. He nails this role with shades of unexpected nuance. William Morton as Mary’s father is wonderful. His ability to communicate without dialogue is hypnotic. The chemistry between all three actors is beautiful to watch. Writer/director Renji Phillip has given audiences a special film. It encompasses fear, regret, human connection, and finding peace. It’s an enchanting, must-see.
Rarely do I stop a screening link every 5 to ten minutes and reiterate what is happening out loud to my husband. While viewing Alex Knapp‘s post-apocalyptic psychological thriller GO/DON’T GO, I did just that. I was so intrigued I had to share all of the subtle genius happening on screen from beat to beat, sometimes blink-and-you-miss-it imagery. The meticulous thought that went into this script is noteworthy. The breadcrumbs are laid out to entice your imagination with theories. Here is what I can glean from what I saw, stay with me; Agam and K are dating, an unknown world event happens, in a panic, they try to make their way to the mountains to better assess the situation. Something goes awry and K disappears, leaving Adam as the sole human left on Earth. What we and Adam are left with is to piece together disjointed information to try and escape what feels like a little bit of a purgatory-esque version of Memento. Yup. Until the final image, I wracked my brain as to the innumerable possibilities that this story presented me. Was Adam in hell? Was Adam in a parallel timeline? Was Adam insane? Is this an allegory for grief?
GO/DON’T GO could easily be developed into an entire series based on the flashes of information we receive in a 1 hour and 30-minute runtime. What’s with the lightbulb diary? How is all the food so fresh? Why is there still electricity at all? Where is his dog? *Silent scream* I want to know so much more, but completely respect the fact that a massive mystery still remains. If you want to run and tell people and/or ask them if they’ve seen this film while on the festival circuit, well I don’t know what a bigger compliment you could give a first-time filmmaker. Alex Knapp is not only captivating in the role of Adam, but he clearly understands how to effectively build suspense with his writing. He holds the viewer captive with questions and punctuates those moments with a superb soundtrack. The ever-changing lighting is haunting. GO/DON’T GO grabs you from the very first scene and keeps you guessing until the screen goes black. The thought that went into this film is palpable. While I still have so many things I want to know about the ending, I am a cheerleader for Knapp. Whatever’s coming next, I want it now.
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