BA
You’re damned if you do, and you’re damned if you don’t. In Benjamin Wong‘s Screamfest 2024 film BA, a father in dire straights makes a supernatural bargain with hideous consequences. On a mission to provide a better life for his young daughter, Daniel must reap souls until he settles his debt. His appearance is a decaying skeleton, names carved into his skin, and physical touch kills any living thing. But, if he breaks the otherwordly agreement, it could be deadly.
Daniel’s challenges are plenty. Besides the Faustian bargain, he must keep his features hidden from his daughter. If she comes in contact with her, she will perish. He makes extra cash by working nights for a near-blind convenience store owner. He walks in the daylight draped in clothing to conceal his literal Death mask. With Collette missing school, Daniel must also dodge child services.
The FX makeup is sleek and scary, and the team matches Daniel’s reflection moments. Kai Cech delivers a lovely performance as Collette, giving her natural innocence and an appropriate fear of abandonment. Lawrence Kao gives a relatable turn, making impossible decisions that any parent would replicate in his position. It is a nuanced role, and Kao brings us along on his emotional rollercoaster with gentle hands.
The film is an intriguing mix of desperate times call for desperate measures, and a unique canon. There is enough meat on the bone to expand the film into a series. It’s not gruesome and nails the fantasy aspect. BA is a PG-13 graphic novel foray into the genre.
BA Trailer:
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Director:Benjamin Wong
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Screenwriter:Benjamin Wong
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Producer:Elizabeth Ai
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Cast:Lawrence Kao, Kai Cech, Brian Thompson, Michael Paul Chan, Shelli Boone, Jonathan Medina
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Sound Design:Sung Rok Choi
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Year:2024
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Runtime:1:19:00
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Language:English
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Country:United States
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Premiere:LA Premiere
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Rating:Unrated
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Genre:Fantasy, Horror, Drama, Supernatural, Thriller, Genre-Bending, Asian American, Magical Realism, Dark Fantasy
GHOST GAME
I have mad love for 
As an Autism Parent, Vienna Maas does a lovely job portraying Sam, a child on the spectrum. Writer Adam Cesare handles it with such care. I genuinely appreciated both the delicate touch and the representation, so cheers.
Aidan Hughes is hands down one of the best players in this ensemble. His chameleon shifting is bone-chilling. Kia Dorsey gives Laura a fearless passion. She begs your attention in the morally grey area she exists in. She effortlessly leads this large cast, and I look forward to whatever comes next. Casting directors, get your eyes on her ASAP.
Based on the 1957 stage play The Kitchen by Arnold Wesker, filmmaker Alonso Ruizpalacios brings LA COCINA to the big screen. This exquisite drama follows the staff at a restaurant in Times Square and the coordinated (and uncoordinated) chaos behind the scenes. It is a beautiful character study that will punch you in the gut.
SYNOPSIS: It’s the lunch rush at The Grill in Manhattan, and money has gone missing from the till. All the undocumented cooks are being investigated, and Pedro (Briones) is the prime suspect. He’s a dreamer and a troublemaker, and in love with Julia (Mara), an American waitress who cannot commit to a relationship. Rashid, The Grill´s owner, has promised to help Pedro with his papers so he can “become legal”. But a shocking revelation about Julia compels Pedro to spiral into an act that will stop the production line of one of the city’s busiest kitchens once and for all.
In filmmaker Ludvig Gür’s IN THE NAME OF GOD, a young priest struggling to inspire his congregation rekindles a relationship with his long-lost mentor. Jonas’ Old Testament-style promises of a higher calling come with a caveat. The Lord grants him special healing powers only when Theodor sacrifices bad people.
Performances are solid across the board. Thomas Hanzon gives Jonas a self-assuredness that simultaneously comforts and terrifies. It is an effortlessly unsettling turn. Vilhelm Blomgren is journalist Erik. Blomgren represents the audience in an emotionally turbulent performance. 
THE LINE
The script never shies away from the cringiest of frat behavior. Don’t feel bad for your repeated eye rolls. The soundtrack is perfect for 2014.
Austin Abrams gives pledge O’Brien a much-needed vulnerability within the hyper-toxic masculinity but also counters with his own brand of hideous aggression. Much like Tom’s, his facade is more nuanced than at first glance. Abrams is great as he challenges the system. Bo Mitchell plays Tom’s roommate Mitch Miller with an infectious exuberance. He’s a hurt kid who overcompensates for not fitting in. Mitchell is spectacular.
Alex Wolff instantly became a legend in Hereditary. As Tom, he plays both sides of the card. Tom is a genuinely good person and a weak sheep, and Wolff pulls it off effortlessly by digging into Tom’s unresolved trauma. He delivers an emotional rollercoaster for the audience.
THE LINE has an authenticity that is infuriating, which is a compliment. It touches on privilege in a marvelously slick manner. The film boasts a finale that is nothing short of perfect. THE LINE is a film that every parent should watch and something every frat brother should acknowledge.
Stories from staff, families, and residents tell tales of daily transgressions that build over time, ranging from laundry, food choice, incontinence care, medication changes, falls, and worker burnout due to understaffing. The film utilizes beautiful, childlike drawings as transitions and storytelling devices. Cell phone videos of neglect will break your heart. Photos of resulting abuse may take your breath away.
Then COVID-19 and 2020 made things so much worse. Once their failures are exposed, the government protects nursing homes from lawsuits sighting the pandemic and loss of workers. In each case, once regulations appear, they apply only to staff and never to the corporations behind the individual homes. These workers are the essential piece of the puzzle between a new standard of care and honoring their relentless efforts to do the right thing. The film delves into racism, the reductive overview of the profession, the label “women’s work,” and how simple changes would make all the difference.
The corporate lawyers use vile tactics to diminish their role, often attacking the family members with shaming language. Melissa explains this by giving her clients mock cross-examination examples to emotionally prepare them for what is coming in litigation. Another way they try to determine litigation is to delay and then drown Melissa and her team in documents. By giving her the runaround, they hope she will give up. They don’t know Melissa Miller.
The personal connections between legislation and privatization will shock no one. STOLEN TIME lays it out for you. The systemic failure, profit over people, no regulatory oversight, long-term residents are unnecessarily suffering. STOLEN TIME is about accountability and justice. The goal is an overhaul of the system. When we say long-term care, the keyword should still be “Care.”
TEACUP
Ep 1: Think About the Bubbles
FALLING STARS
There is a reminiscent feeling in FALLING STARS, some that reminds me of 80s classics like The Gate and The Lost Boys, with the glow of red dashboard hues, flashlights, and the moon being the dominant lighting sources. The cinematography by Bienczycki has an intimacy to it. Karpala’s screenplay is just downright cool. It is genuinely refreshing to witness masculinity based on regret and an apologetic undertone.
J. Aaron Boykin is the mainstay of this film. As radio DJ Barry, he opens the film and acts as a narrative conduit for Mike’s panic. Andrew Gabriel is Sal, the middle brother. His caring nature and fixer attitude beg your attention. Shaun Duke Jr. gives Mike a tentative bravery and a strong sense of responsibility. He is the protector, for better or for worse.
In the first two minutes, the most skin-crawling aspect of this short is not the horrifically laid out crime scenes but the images conjured in our imagination of the people involved. Cinematographer Emily Tapanes forces you into the ick.
Special FX by Michael Dinetz’s Haunted Dreams Effects Studio are gagworthy. The use of the T-Bones song, “No Matter What Shape (Your Stomach’s In),” is particularly unhinged and most certainly genius. STOMACH IT is the physical manifestation and subsequent consequences of trauma monsters. Peter Klausner has a sick mind, and as a genre fan, I’m here for it.
Shadowland’s initial 38 minutes drag with long, meandering shots, particularly of Iranon (“chaos magician) doing what I would lovingly refer to as “witchy shit.” As a self-professed spooky girl, I mean no disrespect by that term. Frankly, it’s narratively monotonous.
Stanley’s response is to call the women hysterical and spew conspiracy theories rather than take accountability for his actions. Iranon reenters the fray to detail when he discovers Richard’s allegations and their ensuing physical confrontation. It’s damning.
As a contrary view, Richard’s sycophant protege and priestess, Anaiya, believes that baptism will cleanse his past. Witnessing these women embrace him feels icky. It is challenging to know if her intentions are pure or an act. But Anaiya’s journey does not end there.
His only outlet is Rikke, a woman whose own BID diagnosis manifests as self-induced blindness. As his accomplice, she offers him emotional and physical support and lines are easily blurred.
Joseph Sims-Dennett brings BAAL to Beyond Fest 2024. Upon hearing the news of her father’s death, Grace finds her estranged brother missing from their hometown. Following a strange lead and ignoring the ominous warnings from her remaining family members, she takes a journey into the wilderness, only to be tested mentally, physically, and spiritually in the worst ways possible. 
BAAL explores the devastating effects of unresolved trauma and guilt. As the film ended, I found myself scratching and shaking my head. Even after the final scene, I am unsure what was real and what wasn’t. I have so many questions. Sims-Dennett combines multiple tropes but never quite makes a cohesive product.
Saoirse Ronan narrates the constant temptation in scientific terms while scenes of alcoholic behavior play against her words. Rona’s work in rehab is beautifully juxtaposed with her nature work in Orkney. This narrative device becomes a repeated reprieve from her reality. It feels poetic.
Saoirse Ronan is spectacular, delivering a raw portrait of a fractured and flawed woman. Rona is incredibly lonely, seeking genuine human connection. When drunk, she is emotionally abusive. Saoirse explores every facet of sickness and redemption. It is a nuanced turn. Give her an Oscar already.
The film boasts visually engaging elements, including a stage production style set, black-and-white flashback moments, and a halo effect when Jack and Chris step into a memory. The editing is as fast-paced as the dialogue. Hautekiet and co-writer Nik Oldershaw never give you a minute to breathe but certainly laugh. Jack and Chris’ chemistry is dazzling. The entire film plays out like a live improv show, and it’s electric. 
The entire cast nails each beat. Kelly Marie Tran oozes charm as Mia. She is so watchable and gives Mia a genuine heart. Chris W. Smith delivers honest best-friend vibes. He’s got that sitcom aura in the best way possible. Jack De Sena is spectacular, running through the emotional gambit. He reminds me of Jack Black, with a loveable quality that draws you in. Discovering that Smith is De Sena’s comedy partner in their popular sketch comedy channel Chris and Jack and now the world makes more sense.
The script is whip-smart. It is a ping-pong match of wits between best friends through self-doubt, anxiety, and depression. The film is a dizzying whirlwind of meta-purgatory, tackling the incredible nuance in relationships and the importance of communication. It’s about owning your shit. Me, Myself, & the Void is one of the best indie gems of the year.
GIRL INTERNET SHOW: A KATI KELLI MIXTAPE
Kelli is a star. She has that sardonic wit you see in Aubrey Plaza. Frankly, if you told me they were blood relatives, I would accept that as fact. Also, it’s impossible to ignore how stunning she is.
The film ends with Kati’s short film, finished three days before her passing. The subject is both ironic and eerie. Going in with the understanding that Kati is no longer with us weighs heavy in the back of your mind. Knowing what a massive star she was and how much bigger she could have been leaves a sting, but GIRL INTERNET SHOW: A Kati Kelli Mixtape celebrates an artist in all her magnificence. It’s an unforgettable film. Kelli lives forever, an eternal celluloid angel. She flies.
Danielle Octavien plays Tara’s best friend, Helen. She is incredibly natural, and I enjoyed every minute of her screen time. Georgie is the most intriguing character. Andrew Diego‘s commitment to the character’s PTSD and/or neurodivergence is applause-worthy, even if writer Patricia V. Davis writes him as a borderline offensive stereotype.
Johnny is toxic as hell. Joshua Malekos gives audiences an extremely unlikable and manipulative character. He is a gaslighting master, and I wanted nothing more than for him to find a tragic end, regardless of his backstory. Tara Nichol Caldwell is perfectly passable as Tara. Unfortunately, the script does nothing for her, leaving a mediocre and likely forgettable turn.
The script never hides Johnny’s shady leanings. Having masks appear everywhere ends up coming off as hokey. The costumes also make little sense in specific scenes. Honestly, the fact that Tara sticks around is utterly preposterous. The amount of tropes all smashed together makes for a messy finished product. LYVIA’S HOUSE ends up being an overly long, frustrating watch.
Two surprising performances will blow you away, but I won’t spoil that with specifics. I will only say that Norma Flores and Horacio Lazo give us everything they’ve got. Our three young brothers are magnificent. Mateo Ortega Casillas gives Benny the right amount of innocence and rebellion. Leonardo Cervantes delivers vulnerability and compassion as Oliver. Farid Escalante Correa gives Salvador a perfect mix of resentment and raging hormones. Together, they warm and break your heart.
HAYRIDE TO HELL
The cast delivers solid Hallmark energy, and that is a total compliment. The dialogue is laugh-out-loud hilarious the entire run. The script solidly shifts into the horror realm halfway through, and you easily root for our band of heroes turned vengeful villains.
Bill Moseley gives Sam an equal parts sweet and sarcastic edge. The more agitated he becomes, the funnier he gets. Moseley is a legend, and he must be protected at all costs. 
HAYRIDE TO HELL is homegrown horror at its finest. Featuring some of the genre’s greats doing what they do best, fans cannot help but be enchanted by the Halloween fun and clever kills. It’s a beautiful marriage of everything that makes the season fun. HAYRIDE TO HELL is the perfect film to watch on a chilly Autumn afternoon with some homemade cider and popcorn in hand.
Masterfully absurd, Lenny and Harpo Guit’s latest film, HEADS OR FAILS, introduces Fantastic Fest 2024 to the ceaselessly irresponsible and eternal hustler, Armande. Down on her luck and owing money to everyone in her path in Belgium, risky wagers are her bread and butter. Whether they pan out is another thing entirely.
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