BLOOD FOR DUST
Years after some shady dealings haunt a group of business associates, Cliff tries to provide for what’s left of his family. As a floundering traveling salesman, his past finally catches up, forcing his hand into a new scheme with an old friend.
Scoot McNairy gives Cliff a palpable desperation and a fearlessness that captivates. He does not flinch. McNairy effortlessly carries the entire film. Kit Harington is unrecognizable as Ricky. His ultra-toxic masculinity drips off the screen. His physical and vocal work are unreal. His deliciously standoffish chemistry with Scoot McNairy makes the film.
This crime drama brings fantastic performances and a well-developed script. Cliff’s character has baggage and secrets that fuel his ultimate motivation. The slow-burn thriller pays off in spades with an explosive finale. Keep your friends close and your enemies closer. BLOOD FOR DUST challenges your idea of both. An unexpected story of redemption, it is a solid genre entry. Slow clap for the last frame.
In Select Theaters & Digital April 19
www.bloodfordustmovie.com
Director: Rod Blackhurst
Writer: David Ebeltoft
Cast: Scoot McNairy, Nora Zehetne, Ethan Suplee, Amber Rose Mason, Stephen Dorff, Josh Lucas, Kit Harington
Executive Producers: Arianne Fraser, Delphine Perrier, Henry Winterstern, Martin J. Barab, JJ Caruth, Paul W. Hazen, Matthew Helderman, Luke Taylor, Grady Craig, Tyler Gould, Rod Blackhurst, David Ebeltoft, Justin Oakey, Ford Corbett, Joshua Harris, Anthony Standberry, Angel Campbell, Matthew Alex Goldberg, Kanwaldeep Kalsi, Arthur Farme D’Amoed, David Gendron, Viviana Zarragoitia
Producers: Ryan Winterstern, Bernard Kira, Petr Jákl, Ari Novak, Arun Kumar, Bobby Campbell, Nathan Klingher, Mark Fasano, Noah Lang
Cinematographer: Justin Derry
Production Designer: Rob Ebeltoft
Editor: Justin Oakey
Run Time: 100 minutes
Synopsis
Cliff (Scoot McNairy), a former salesman with a checkered past, is pulled back into a life of crime after losing his job. Desperate to keep his family afloat, lured by his old colleague, Ricky (Kit Harington), into trafficking drugs and guns for a cartel. As Cliff delves deeper, his once straight-laced life turns into a high-stakes game of survival in this gripping thriller hailed as “Breaking Bad meets Fargo” (Variety). Also starring Josh Lucas and Stephen Dorff.



The fragility of Jeanne’s station and extraordinary influence are beautifully nurtured by Lavernhe’s continuous narration.
Benjamin Lavernhe delivers an unforgettable performance as La Borde. He is Jeanne’s guide to life at court and the only entirely human interaction anyone encounters. Lavernhe is the emotional stronghold of the film.
Maïwenn gives Jeanne a ceaselessly passionate and curious air. Her gentle elegance and care for her fellow actors beam off the screen. She is nothing less than captivating. Depp and Maïwenn’s chemistry is off the charts. She and Lavernhe take your breath away.
MIND BODY SPIRIT
Anya moves into her estranged late grandmother’s home in an attempt to find herself and start a career as a yoga influencer. Her timid, authentic nature makes her a target of criticism and self-doubt. When she discovers a hidden door to the attic and a handwritten book of rituals collected by her grandmother, dark motives inhabit Anya’s spiritual journey.
Inspiration from both Rob Savage‘s 

One of the most surprising aspects of dementia is the unfiltered confessions of an exhausted brain. Kathy is an open book, always willing to share her innermost thoughts with Max on camera. Max is an angel in her presence. His unconditional love and relentless patience are the things we can only hope to instill in our children. And because he is the primary caretaker, he must suffer the brunt of Kathy’s sporadic disdain.
Delving into the science behind the rise and cause of Alzheimer’s is fascinating. Food is a 
DIRECTED BY CAITLIN CRONENBERG
In Caitlin Cronenberg‘s HUMANE,
Alanna Bale is an aspiring actress and the youngest family member, Ashley. Her selfishness and loose lips cause nothing but chaos. Sebastian Chacon plays Noah York, adopted son, recovering alcoholic, and piano prodigy. Chacon is sensational, bringing a humanity that stands out among the ensemble cast.
Emily Hampshire, whose film cred has exploded since the Schitt’s Creek finale, is the eldest York daughter, Rachel. She is abrasive, unfiltered, and fearless. Hampshire owns every moment of screen time.
The set is stunning, a stone mansion with deep jewel-toned walls and carved mahogany. The use of solar-lined umbrellas in the brief periods exposed to the sun and the implementation of solar film on the windows make a massive impact. The characters each comment on the ingredients their stepmother has procured, suggesting the food chain has affected every socioeconomic corner. It is all very carefully curated, and undeniably brilliant. 

Director Jennifer Takaki includes sweet animation sporadically playing under Corky’s narration. The film mixes personal footage and stills from Corky, the camera always in hand on the streets of Chinatown, old news interviews, and scenes of his relentless kindness towards the younger generation of aspiring photographers.
PHOTOGRAPHIC JUSTICE: THE CORKY LEE STORY comes at a time in American history when Asian hate crime continues its uptick. Logging the cyclical violence and ignorance of the general population is vital to understanding the importance of the film. 
PRATFALL
Filmmaker Alex Andre captures an unusual connection between two strangers. PRATFALL walks a highwire of intimacy, trust, and confession. It’s a powerfully human story through the lens of two culturally diverse individuals.
Filmed predominantly on the Upper West Side (trust a local gal to recognize every street corner in the opening scene), moving its way east, then south through midtown and back, the hand-held cinematography lends to the intimacy and claustrophobia of Eli and Joelle’s inner turmoil. The classical score lulls you during the long follow shots. The upbeat soundtrack is a fantastic foil. 

The notion of invisible labor rears its ugly head around 15 minutes in, but it’s what happens 4 minutes later that is so horrific you won’t believe what you’re eyes are telling your brain. THE COFFEE TABLE pulls no punches. Its first brutal images are so disturbing you won’t know what to do next. With Maria dutifully shopping for her idiot husband, the audience can only wait with bated breath for her reaction and what Jesús plans to do next. Admittedly, his behavior will break you.
David Pareja gives Jesús a shockingly calm demeanor when forced to speak with the other cast members. It will, no doubt, upset the viewer tenfold. The lies flow out, and poor Maria continues to berate him without knowing a damn thing. His subsequent management of trauma drives the entire film.
presents
THE LONG GAME puts racism at the forefront of this sports story. There’s a push and pull between their Mexican-Ametican identity and belonging. Peña encourages the boys to fit in by acclimating to white culture. Even when the boys sneak across the border, the Mexican locals give them a hard time. Joe also battles the unresolved fear of his hyper-masculine father. His own biases stunt his emotional growth. The idea of acceptance, both self and socially, is the key to the narrative.
This ensemble cast is a hole-in-one. Cheech Marin delivers a funny, heartwarming performance as course groundskeeper and inside man Pollo. He is a wonderful addition. Dennis Quaid plays Frank Mitchell, Peña’s war buddy and the only white man in town willing to act as the face and assistant coach of the team. Quaid railroads fear by normalizing every moment. There is nothing “white savior” about his performance. He is charming.
Jay Hernandez gives a complex performance as conflicted JB. His trauma often overtakes his good intentions, but his arc catalyzes change. Hernandez effortlessly holds your attention. Countering JB’s outlook, Julian Works captivates as Joe. As he gains due confidence, Works gives the role an honest vulnerability. He has fierce chemistry with Hernandez.
The upbeat, nostalgic soundtrack elevates the family-friendly feel. Super 8 footage, beautifully shot and edited milestone montages, has the same effect. THE LONG GAME remains relevant in a world where many opinions of race haven’t changed since the story’s origin. This cheer-worthy film educates and inspires. It is the real deal.

Jermaine Fowler gives an unforgettable performance as Frank, the exterminator. All eyes are on him in every scene he shows up in. Noni Hazlehurst is loveable as Charlotte’s dementia-ridden grandmother.
Ryan Corr gives Ethan a palpable charm in his mounting frustration. Charlotte’s stepfather, the building handyman by day and graphic artist by night, the epic snowstorm outside, the needy residents inside, and a giant ass, alien spider severely harsh his mellow.
The film boasts a sometimes curious childlike score, an absurdly upbeat soundtrack, smart-looking opening credits, and an unmissable homage to Alien and Terminator. Our titular character is a creative wonder. Sting is something you have to see to appreciate. It is magnificent. Thank you, WĒTĀ Workshops.
ALL YOU NEED IS DEATH
The script builds a vibrating anticipation. The audience has little information. Filmmaker Paul Duane slowly reveals our protagonists’ what, but the why remains a mystery. Based on dark Irish lore passed down through the maternal lineage and some ancient cursed story, the song drips with agony, even if the audience cannot initially understand a single word. All parties are consumed by its power the moment it is heard.
Only one character appears to coherently recall the film’s secretive canon, but only to a point. Rita’s son reveals the unspoken, generational seriousness of their circumstances. The drastic measures he takes to protect the legend are shocking. He must find Anna and her cohorts.
Quick visual and dialogue genre homages pop up from time to time. Horror fans will find a sly smirk spread across their lips while intently trying to figure out what the hell is going on. Cast members Simone Collins, Charlie Maher, Catherine Wiggins, and Nigel O’Neill are captivating. One performance in particular, while short-lived, is mesmerizing. 
Maxwell Jenkins gives Thomas the volatile toxicity of a hormonal teenage boy. Fiercely independent and craving social interaction, Thomas puts his family in danger by keeping secrets. He is entirely unlikeable, meaning Jenkins does his job correctly.
The immersive handheld camera work and sound editing immediately draw you in. When we get our first glimpse of the creatures, it is jarring. It took my breath away. The more we see, the more shocking the reaction. It is wildly bizarre and completely original. Due to the lack of backstory, the audience must go along for the ride from moment to moment. 


Dupieux is a master of providing comedy within social commentary. As Yannick becomes more agitated, he reveals how out of touch he is with general society while simultaneously hurling offensive barbs at his captives. Equal parts hilarious and terrifying, all I could imagine as an actor and theatre patron was how I might escape such a scenario.
The honest laughs come when Dupieux leans fully into the meta satire in new dialogue written by Yannick. Filled with redundancies and mistakes, the audience in the theatre and at home belly laugh at the actors’ forced commitment.

The first official appearance of our titular character is startling. Anne Müller‘s is dazzling. Her jarring physical performance makes BAGHEAD relentlessly unsettling.
Freya Allan plays Iris with equal parts frailty and fearlessness. You cannot take your eyes off her. Someone, please write a film featuring her as a young version of Juliette Lewis because the resemblance is uncanny. Take my money now.

Summoning Sylvia
Michael Pitt plays co-worker, and piece of shit, Lafontaine. His dwindling morality acts as a mirror for Ollie. Pitt is vile and spectacular.
Sheridan gives Ollie a perfect balance of anxiety, rage, and a hero complex. We watch his sanity slowly crumble under the weight of the world’s evil. Sheridan is phenomenal as his priorities shift and nothing goes as planned. He proves himself as a leading man once again.

Utilizing Alzheimer’s as a creative device in storytelling delivers a nuanced and intriguing film. It places the viewer in Roy’s shoes as clues to his past drop in real-time. Classic noir lighting, score, and clever casefile tape transition visuals add to the flashback-filled narrative.
Karen Gillan plays Laura Baines, the obsession of a potential subject in the case. She nails the old-school detective ingenue style of dramatics. Gillan brings a vocal tone and cadence similar to Elizabeth Holmes. It’s jarring but effective.
Director Adam Cooper and co-writer Bill Collage do an excellent job adapting the 2017 novel The Book of Mirrors by E.O. Chirovici, keeping the viewer guessing. We know something is off, but with each character’s perspective, we constantly question the truth. Boasting an intensely dark ending, SLEEPING DOGS satisfies the bibliophile and cinephile alike.


Jessie Buckley is flawless as a foul-mouthed immigrant single mother, Rose Gooding. Buckley’s fierce spirit proves perfection for the role. She and Colman share a delicious chemistry, and I beg the industry to pair them together in future projects.
A massive thank you to screenwriter Jonny Sweet and director Thea Sharrock for gifting audiences with a dazzling story about complex, fearless women. The script is a creative commentary on repression, patriarchal rule, female friendship, and freedom of expression. You’ll be doubled over with laughter at the ceaselessly imaginative insults in the letters. The unadulterated glee in hearing these words feels naughty in a rather freeing and celebratory way. WICKED LITTLE LETTERS is the best fucking film of the year.

Everything from the lighting, the lens, costumes, set design, the score, hair and makeup, and the jokes nail the era. Along with the live tape, black and white behind-the-scenes footage shows us what the at-home audience missed.
David Dastmalchian owns every frame as Jack Delroy. A delicious mix of genuine and fame-hungry, his effortless performance is mesmerizing. He has the audience in the palm of his hand. You cannot take your eyes off of him.
An ancient evil affects the firstborn children of a wealthy family with uncontrollable wailing in their dreams. Eager to cash in, a team of macabre experts takes on this new client. As they dig deeper into this unique case, the usually confident group discovers they are in over their heads. In EXHUMA, that’s only the beginning of this horrifying tale.
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Mixing tradition and superstition combined with an ominous score makes the hairs on your arms stick straight up. It’s a multi-sensory watch. EXHUMA deserves your full attention from the very first frame. There is so much meat on the bone. Expanding this world almost certainly feels possible and welcome. At its current runtime of two-plus hours, viewers would eat up more stories from this team. Their chemistry is magic, and a franchise would delight fans. The twists and turns keep coming. EXHUMA is undeniably one of the most intriguing cinematic experiences of the year.
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