Category Archives: Reviews

Review: ‘Transference’ is the beginning of something powerful.

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SYNOPSIS: A twelve-year-old boy, Joshua, is charged with the protection of his twin sister when their father passes, but she possesses a special ability and his greatest challenge will not be keeping her safe but keeping her hidden. Twenty years later, Joshua is struggling to cope with the events of his childhood and the choices he has made since. Out of desperation, he places Emma in a psychiatric compound against her will. Joshua is driven to the world of underground crime to maintain their secret. But he cannot earn enough to hide their past and someone has followed their trail of destruction. When a sinister visitor attempts to remove Emma from his care, Joshua comes to the most important realization he can make for himself, his sister, and the world.

Twins connected by trauma, stalked by evil, forced into hiding to protect themselves and the outside world. Yeah, I’ll bite. Transference has a lot going on in the way of structure. The narration breaks are very effective as they keep you on your toes during the madness. Emma’s “affliction” is fascinating. The idea that it can be weaponized is something looms large. As the plot slowly rolls out, the dread grows. The big reveal is pretty great. While there is something a little off with the film as a whole, it has big potential. Melissa Joy Boerger, AaronTomlin, and Jeremy Ninaber are all very dark and brooding. Tomlin is allowed to show the most range with the material. These three are obviously capable of much more. I would have liked to have seen more adult flashbacks that included Boerger. She was held back by the script.

The editing is the real winner in Transference. It’s skillfully crafted back and forth keeps the storytelling intriguing. Just when you think you’re following the plot, it flips the switch. What is real and what is imagined is up to the audience. Matthew Ninaber has given is an engrossing sci-fi. I would watch this as a series. There is a ton of potential for this world to be expanded. I think it would shine brighter as one, frankly. For now, I’ll take the feature. Fellow genre fans will see what I mean. 

TRANSFERENCE will open in L.A. March 6th

Available on nationwide VOD March 10th & on Blu-Ray March 24th

TRANSFERENCE

Genre: Sci-Fi / Thriller

Country: CANADA

Runtime: 85 min

Language: English

Rating: NA

Review: Karma is a real killer in ‘The Dare’, On-Demand and VOD now.

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Synopsis: When a childhood prank goes wrong, four strangers are forced to relive a cruel game at the hands of a masked psychopath.

Torture porn at it’s finest, The Dare is genuinely gagworthy in its practical FX. Without reading the synopsis, the film’s full plot doesn’t reveal itself until halfway through. This allows you to become invested in the mystery and backstory of how a killer was created. A little bit of the Saw franchise sprinkled in, The Dare is absolutely terrifying.

The Dare has an insanely talented ensemble cast. Starring Bart Edwards (The Witcher), Richard Brake (Rob Zombie’s 31, 3 From Hell), Richard Short (American Horror Story, Arthur & Merlin: Knights of Camelot), Alexandra Evans (London Fields, Redistributors), Robert Maaser (Mission: Impossible – Rogue Nation, 1917), Harry Jarvis (The Knight Before Christmas, Proven Innocent), Devora Wilde (The Tombs, False Witness), and Emily Haigh (Horizon). Performances from each cast member are riveting and fully fleshed out.

Brainwashing, abuse, cruelty, all make The Dare as brutal and compelling as it is. Just when you think you can’t take it anymore, the narrative switches up. As more is revealed your perspective rapidly changes. That’s solid writing. You will need to get to the end and you won’t know who you’re rooting for until the final moments. And if I’m being nit-picky, speaking of the very final moment, it is a bit unbelievable and trope-tastic, but hey, suspension of disbelief. After all the trauma the viewer has been through at that point, let it go. Write/Director Giles Alderson gives genre audiences what they paid for.  The film is genuine heart-pounding, white-knuckled, madness.

 

https://youtu.be/IMm_dKVTegQ

The Horror Collective’s latest release, the award-winning horror film The Dare, has now been released and is available to watch on VOD and digital platforms! The film, which was produced by Millennium Media (Hellboy, Shut In, Rambo Last Blood) and is being distributed by The Horror Collective, will also have a limited, one-night release in theaters on March 6th, 2020.

The Dare had its world premiere at Ft. Lauderdale, FL’s Popcorn Frights Film Festival where it received the Audience Award for Best Feature Film.

Review: ‘Blood On Her Name’- a killer neo-noir brimming with tension.

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SYNOPSIS: The dead body lies at her feet, its blood still draining onto the floor. It was an accident, borne of self-defense, but its discovery could have devastating consequences for local garage owner Leigh Tiller and her son.

Feat. Bethany Anne Lind (REPRISAL, OZARK), Will Patton, (REMEMBER THE TITANS, ARMAGEDDON) and Elizabeth Röhm (AMERICAN HUSTLE, JOY)

There is a heavy and devastating state of dread that occurs as you experience Blood On Her Name. The film occurs in what feels like real-time pacing making the tension truly palpable. As details of a haunting past slowly leak into view, karma’s long-arm feels destined to right the universe. This story is nothing short of tragic. Leigh simply wants to make a better life for her son but circumstances will not release her from childhood trauma and poor current choices. As a mother, I immediately put myself in her shoes. The fear and panic were overwhelming. It was an actual experience sitting through this film.

Bethany Anne Lind is a force to be reckoned with. She has an extraordinary ability to own the screen and pull you along her emotional journey. She is the heart of this film. Frankly, the other members of the cast could have been played by anyone. Don’t get me wrong, the chemistry among everyone else is spot on. What I mean is, Lind is so captivating that it’s her performance alone that remains seared into your psyche. Blood On Her Name is a triumphant feature debut for director Matthew Pope and co-writer and producer Don Thompson. It opens in select cinemas (Today) Feb. 28th and on VOD.

BLOOD ON HER NAME will expand nationwide in the coming weeks.

Review: ‘Olympics Dreams’ Goes for the Gold

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One of my two first sports memories from my childhood was the Miracle on Ice victory of the US Olympic Hockey Team defeating the Russian team in the 1980 Winter Olympics. Ever since, it has been a quadrennial ritual of mine (and now my family’s) to watch with great intensity all of the drama that unfolds as champions from every nation in the world battle it out in their respective sports on the frozen slopes,rinks and tracks.

Olympic Dreams brings us to the world of the Winter Olympics in a way that has never really been seen before. It is the first film to ever be shot in the Olympic Village during an actual Olympics – the 2018 Winter Games in Pyeongchang, South Korea. While this games was not without it’s nail biting moments (reference the shootout gold medal victory of the US Women’s Hockey Team) Olympic Dreams brings a different type of drama, one much more subtle although no less impactful.

Penelope (Alexi Pappas) is a cross country skier at her first Olympics and clearly is out of her element. She is adrift and alone in the Olympic Village, morose at a time when most 22-year olds would be living it up. Even though she is part of one of the largest delegation of athletes at the games, she awkwardly tries to connect to others without much success.

Away from the hustle and bustle that the athletes experience, we find 37-year old Ezra (Nick Kroll), a volunteer walk-in dentist from the US, who is equally adrift. Unsure of where to go and whom to see to get settled, Ezra, too, tries his best to fit in with the rarefied set of folks participating in Pyeongchang. He nervously admits to an athlete he’s giving a check up to that he and his fiancee are on a break as she doesn’t understand his desire to travel and experience new cultures and places. And as would have it in a film, he connects with Penelope while eating in the cafeteria setting up the arc of the rest of the film – two misfits meet…will they get together, or will they fuck it all up?

Penelope is isolated, not just being in South Korea so far from the US, but from her teammates, her coach who isn’t there with her and her family. She receives phone calls from her coach and father, but she is never at ease, emotional and clearly lost. She spent her entire childhood, training endlessly for this one shot missing out on so much to be at the Olympics, but in the end she’s alone. Hell, even her event, the 10km Freestyle, is 25-35 minutes of pure solitary hell. When she finishes, there are no fans, coaches or teammates there to greet like the other skiers with nothing but a personal best to show for it. She never got her Jessie Diggins moment. Was it really worth it? On the flipside, Ezra himself stuck in limbo between continents while his relationship is on hold, flounders in the same way that Penelope does. The budding relationship is akin to that of Bob Harris (Bill Murray) and Charlotte (Scarlett Johansson) in Lost in Translation.

I was surprised by this film and was really taken with Pappas who also co-wrote the film with Kroll and husband/director Jeremy Teicher. Her embodiment of Penelope opened up a narrative of an Olympic athlete that I hadn’t seen nor really considered before. She herself is a former Olympic long distance runner and I have no doubt that’s why her performance felt so authentic and visceral. It’s hard to separate Kroll from his previous bombastic roles in shows like The League and Parks and Recreation so his performance didn’t carry the same weight as Pappas’. They vibed well together in their scenes, but I was left with asking, why him of all people when it is no secret that the Olympic Village is a hot bed of lascivious activity.

All of the behind the scenes shots that Teicher was able to incorporate into the film were also fantastic. The scale of the Olympics is so huge and his direction made them seem so much more accessible through these characters. The inclusion of Olympian skiers Morgan Schild and Gus Kenworthy was also a really nice touch.

This is a film I really enjoyed. It’s a great film for the Valentine’s Day weekend. Would this film win the gold? Maybe, maybe not, but I think it might make the medal stand.

Olympic Dreams opens today in select cities and is also available on demand.

Review: ‘You Go To My Head’ has a long lasting psychological effect on its audience.

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In a desolate stretch of the Sahara, a mysterious car accident leaves a young woman lost and alone. Jake, a reclusive architect, finds her unconscious. He drives her to the nearest doctor, to discover that she’s suffering from post-traumatic amnesia. Intoxicated by the woman’s beauty, Jake claims to be her husband. He names her Kitty and takes her to his remote desert home to recuperate. The Angell Law Firm knows personal injury law, which is why our Atlanta car accident attorneys are able to offer the best legal representation in the state. For best legal advice, check out your url. At JLF Firm | Accident Attorneys, we will fight for the rights of all the victims who are injured in accidents or caused by negligence. We are the car accident attorney Riverside residents trust. Your life is valuable and you deserve fair compensation. If you have an accident, then you need to get a Riverside accident attorneys to fight for your rights. When it’s time to find a law firm it’s very often because of a sudden unexpected event. Perhaps an accident or injury that you need to act on right away. Sometimes it’s not unexpected as much as it is just delaying the inevitable. This is often the case where bankruptcy attorneys are involved. Many of their clients spend time looking for simple answers to their debt until they get sued by a creditor and it’s time to find a bankruptcy attorney. So the question is, how do you go about finding an attorney? Seems like a simple enough question on the surface, but when you start to look for a Long Island Personal Injury Attorneys firm, you’ll notice right away that there seems to be an endless number of law firms and how will you manage to find the one that’s right for you. As good as the search engines are, the legal profession is just as good as marketing themselves on the search engines. For this reason, if you type in a particular legal issue, such as bankruptcy or medical malpractice, it’s very likely that you will get results from law firms all over the country. In a medical malpractice personal injury lawsuit, a victim seeks compensation for the injury or injuries he or she has suffered. Compensation can include past and future medical expenses, disability or deformity, loss of income, emotional and mental anguish, loss of a spouse’s comfort and society, past and future pain and suffering, and an amount which would be necessary to make the person whole as respects a permanent personal injury. You can check this news for more detail about the medical malpractice attorney. Those firms that have done such a good job trying to get noticed on search engines will be displayed when you are searching. Exploring a bankruptcy attorney’s website and finding a lot of great information may lead you to believe that this is the attorney you want to retain. It is a bit disappointing to find out that when you click the contact tab, you find out the attorney is in Chicago, and you are in New York. Certainly I am not suggesting that you turn to the Yellow Pages! However, there are sources that still let your fingers do the walking, but this time, on the keyboard. One of the most underused resources on the Internet is the local search directory. The major search engines have long recognized this with sites like Yahoo Local and Google Places, but many people don’t know that they have to access those sites differently. It’s hard to change old habits, and eve the major players aren’t making inroads to the local marketplace as fast as they had hoped. In addition, the thrust of their marketing seems to be directed to retail stores and services.
Vehicle accidents are the most common type of incident which will require you to go seeking the services of Attorneys’ dealing in personal injury cases. Aside from auto accidents, there are other kinds such as motorcycle, truck and boat accidents as well which can be avoided if drivers had a permit like this motorcycle licence. These can result in personal injuries or death at worst. The main reason why there are car accidents is the failure to exercise care while driving. Irresponsible and reckless driving is usually the main reason why car accidents occur. Unfortunately not all countries have laws that can protect people from personal injury. As a driver one should follow the rules, exercise care and adjust to different driving conditions. The failure to do so could result in serious injury and your lifestyle to be compromised. When an auto collides with another, personal injury is very likely to occur and this leads to having to be represented in court by an Attorney for personal injury. Usually the case is taken to court to determine fair and just compensation and this is when you need an experienced Attorney to represent you. You can check this https://www.stephenbabcock.com/ site for more information regading to personal injury and accident attorney.
The party who is proven to be responsible will be ordered to pay for damages, loss of income, medical bills and other related items. If a car is damaged, they have to pay for repair or if a victim is suffering from injuries, the medical bills need to be paid which can amount to a considerable sum of money. The victim may also suffer from mental anguish and trauma as well. This will all be taken into account when the judge makes his decision. As a victim, there are things you need to bare in mind. When the injury is severe, call an ambulance and the police, so that everything is recorded. There are cases when injuries are not visible like fractures or internal injuries so receiving hospital treatment is vital. A good idea is to take a picture of everything like skid marks, location of cars and injuries to the injured. These should be available for immediate release. Photographs are considered to be great evidence. It is also a good idea to collect details from witnesses. The success of a case is often determined by witnesses and an instance of this is when a driver runs a red light. In order to make sure that the maximum payment is received, you need to do some research on Attorneys for personal injury in view of engagement. You need to select a licensed person to ensure that they are legitimate to practice. Perhaps asking friends and family for personal recommendations can help you in your selection process. Being confident that you have the very best personal injury Attorney representing you will lessen the stress involved when dealing with a court case.
There is no need to worry about upfront payments, we can guarantee there will be no charges until we get you your compensation. We can handle any type of situation such as car accidents, truck accidents, motorcycle accidents, dog bites, slips, falls, wrongful death, and any situation which involves negligence. You will not have to worry about anything because your Riverside accident attorney from the JLF Firm| Accident Attorneys will take care of you. You can trust our knowledge and experience in this stressful moment of your life. Contact your Riverside accident attorney today. Jason Stone Injury Lawyers are great firm if you need someone to handle your injury case. Jeff and his associates and legal assistants are very precise in what they do. They are skilled, efficient, professional and compassionate. They did such a great job that I even didn’t have to appear in a court. I could not have had better representation. I would highly recommend him to anyone! Thank you for the amazing job Jeff! The personal injury attorneys at denton & zachary, pllc are committed to helping victims in Little Rock obtain the compensation they deserve for his or her injuries. Our injury lawyers will go above and beyond to carry the at-fault party accountable and make sure you are fully compensated for your medical bills, lost income, and pain and suffering.
As Kitty struggles to come to grips with who she is, Jake invents an elaborate life they can share – the life he has always yearned for. Little by little, Kitty begins to fall in love with him. But when shreds of her past begin to surface, Jake takes steps to ensure he will not lose the love of his life…
As a viewer, you feel just as captive as our leading lady. The constant feeling of dread looms large. The beautiful desert landscape in stark contrast to the modern, predominantly white architecture, allows us to fully immerse ourselves into the relationship between Kitty and Jake. You will feel the isolation and wonder if you have a bit of Stockholm syndrome. Waiting for “the other shoe to drop” is maddening. The score is jarring and incredibly effective. You Go To My Head is a masterfully structured film from every angle. Not to mention it is breathtakingly shot.
Performances by Delfine Bafort and Svetozar Cvetkovic are hypnotizing. They are both charming and flawed, and their chemistry is a perfect balance of wonder and skepticism.  And while the film is almost a full 2 hrs with a slow burn, the anxiety holds you down and forces you to watch. That is a sign of a truly successful film. I cannot stop thinking about this story. It sincerely through me for a loop. You Go To My Head will confound audiences long after the credits roll… and that’s a great thing.
DIMITRI DE CLERCQ’S GRIPPING 
PSYCHOLOGICAL THRILLER 
YOU GO TO MY HEAD
OPENS ON VALENTINE’S DAY (FEBRUARY 14) IN 
NEW YORK CITY & FEBRUARY 21 IN LOS ANGELES

Review: Based on the children’s novel, ‘Waiting For Anya’ comes to theaters tomorrow.

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Adapted from the novel by the author of War Horse, Waiting for Anya follows Jo Lalande (Noah Schnapp), a thirteen-year-old shepherd boy, and reclusive widow Horcada (Anjelica Huston), who come together with their village to help smuggle Jewish children into Spain during the harrows of WWII.

This powerhouse cast gives earnest performances. That being said, some things are amiss with Waiting For Anya. Something about the cinematography combined with this particular score gives the film a made for TV feel about it. It’s all in the details. The costumes, while beautiful, are a bit too clean for the time period and terrain.

The plot does delve into the nuances of humanity. I mean it is about Nazis after all. Noah Schnapp, whose breakout performance in Stranger Things is nothing less than award-worthy, feels off here. Knowing what he is capable of, I have to think this has something to do with direction choices. Same with the iconic Anjelica Huston. It’s as if I were watching a film on UP, where the actors are being told to mug for the camera intentionally. Waiting For Anya‘s running time of 1 hour and 50 minutes also does not help. Understanding that this film is based on a children’s novel of the same name (by Michael Morpurgo) does make the choices feel more appropriate. Although the tragic but completely telegraphed (and seemingly plucked right out of M. Night Shyamalan‘s The Village) death of an ancillary character near the end was incredibly difficult.  In truth, it is straight from the book itself. As a special needs mom, it hit a little too close to home, so take that opinion with a grain of salt.

The trailer looks absolutely gorgeous but the quality in the actual feature is inconsistent. Wide sweeping shots that are simply gorgeous are the undercut with a few poorly placed greenscreen shots. It has all the makings of a sweeping historical drama but lands in a holocaust family drama, if that’s even a thing. After all that nitpicking, I would still recommend this film as a mother. Certainly as a history lesson for my children when they reach middle school age. Until then, I believe I’ll start with the novel.

Vertical Entertainment will release WAITING FOR ANYA in theaters, on demand and digital February 7, 2020.

WAITING FOR ANYA stars Noah Schnapp (“Stranger Things”, The Peanuts Movie), Academy Award winner Anjelica Huston (The Witches, The Addams Family), Jean Reno (Leon: The Professional, The Big Blue). The film was written and directed by Ben Cookson (Almost Married).

Review: ‘Toxic Beauty’ documentary reiterates that beauty is pain… and the industry knows all about it.

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Synopsis: Toxic Beauty reveals the harmful health consequences of chemicals found in everyday cosmetic and beauty products, the huge corporations that knowingly use them and the lack of governmental regulations to protect consumers.

The first thing I did after the credits of Toxic Beauty rolled was rabidly google chemical names of the ingredients on the labels of our products. I filled a garbage can with bottles of all shapes and sizes. What have I been putting into my and my family’s systems?

Johnson & Johnson is one of the largest beauty corporations in the world. The class-action lawsuit against them for not informing the public of the toxic ingredients in their talc has caused an uproar and rightly so. What did they know and when did they know it? The answers will shock you. We meet a group of women, including the whistleblower herself, Deane Berg, who have been diagnosed with cancer because if their use of Johnson & Johnson’s Baby Powder. The most recent class-action lawsuit is one of the largest in history so why in the hell is this product still on the shelves?! The FDA is being bought off to block the truth. Unsurprisingly, there is a plethora of evidence. The film validly ties this to the lies we were told from the tobacco industry. The same chemicals in cigarettes are hiding in lotions, toothpaste, shampoo, makeup, and soap. The list goes on and on.

The film also follows Mymy Nguyen, a young woman who is about to be a med student at Boston University. She decides to be the subject of her own experiment, testing the chemical levels of her daily beauty routine, a detox, and then her use of alternative self-care products. Juxtaposed with scientists that have been tracking this for years, Toxic Beauty is scary and informative.

Toxic Beauty shines a spotlight on the industry, the American government, and our own personal responsibility to do a little research to protect the environment, ourselves, and our children. It challenges the early indoctrination of beauty standards. Write/Director Phyllis Ellis has put together an eye-opening documentary.

TOXIC BEAUTY

Directed by Phyllis Ellis
Out on Digital and On-Demand 1/28
Documentary | 90 Minutes

Panic Fest review: ‘Greenlight’ – Making movies takes a killer instinct.

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A young director is looking for his big break, but when a producer asks him to goes beyond his limits the opportunity could break him. Coming this month to Kansa City, MO’s Panic Fest, Greenlight is an industry thriller you’ll want a ticket to.

Jack’s passion for filmmaking is put to the test when he is hired to direct his first feature: a psychological thriller about a sleep experiment gone awry. But when the producer makes a request from Jack that he knows he cannot fulfill, everyone and everything is at risk. He wants to last kill in the film to be real.

There are some really smart heads up lines in the dialogue. When the production begins, the coloring and shots improve tenfold. The film has a sleek look, especially if you’ve even been on a set. The tension is immediately felt. When the shit hits the fan at about 30 minutes in, you can see where Jack has no choice but to comply. Threats of manufactured blackmail and violence leave him in a panic. The audience is with him on this sick ride. We now own his paranoia.

Chase Williamson as Jack is thrilling to watch. His amped-up slide into desperate madness is palpable. Shane Coffey as Williamson’s best bud and DP is incredibly natural. He very much deserves a mention. Director Graham Denman does a great job with this script from Patrick R Young. The anxiety is brilliantly enhanced by the metaplot and the literal use of the word “Cut!” Greenlight is entertaining as hell and you will need to see how the end plays out for your own sanity’s sake. The film has already garnered Best Feature and Best Male Performance awards at multiple festivals. I am excited to see what Denman brings to the genre world next.

 

https://panicfilmfest.com/greenlight/

GREENLIGHT comes to VOD and digital platforms Feb. 25th, 2020

Santa Barbara International Film Festival 2020 review: The world premiere of ‘The Night’ is as captivating as it is terrifying.

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Kourosh Ahari’s THE NIGHT
The Iranian-American Ahari makes a startling feature directorial debut with a stylish psychological thriller about a young couple trapped in a mysterious hotel that hungers for their secrets and may not release them or their child back into the world. The film stars Shahab Hosseini (star of A SEPARATION and THE SALESMAN).

What a knock out world premiere for director Kourosh Ahari. Beautifully lush cinematography (including some early haunting POV shots) props up the richness of The Night. The score adds a layer or jarring dread that is simply gorgeous. While the script skillfully utilizes a number of classic tropes, it is also stacked with a multitude of original imagery that unnerves the viewer from the very beginning. I was thrown for a loop more times than I can count. The heightened sound editing also pushes The Night into next-level scary. The plot will have you questioning your own sanity. Is this a dispute between exhausted new parents? Is this an alcohol-induced hallucination? Or is this hotel housing unwanted guests?

Performances are so strong you will quickly forget that the film is predominantly in Farsi. As Parasite director Boon Jong-Ho so eloquently stated at this year’s Golden Globes, “Once you overcome the one-inch tall barrier of subtitles, you will be introduced to so many more amazing films.” This is the most important quote in cinema right now. Kourosh Ahari’s THE NIGHT is a heart-pounding and twisted watch. Santa Barbara International Film Festival is lucky to host its world premiere. This film should be on every genre fan’s radar this year.

WORLD PREMIERE – SATURDAY, JANUARY 18

Review: Indie Sci-Fi Comedy ‘The Wave’ starring Justin Long and Donald Faison, directed by Gille Klabin is one insanely weird trip.

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Justin Long (Die Hard 4.0, Accepted) and Donald Faison (Scrubs, Clueless) lead the unique modern-day parable that follows Frank (Long), an opportunistic insurance lawyer, who thinks he’s in for the time of his life when he goes out on the town to celebrate an upcoming promotion with his co-worker, Jeff (Faison). But their night takes a turn for the bizarre when Frank is dosed with a hallucinogen that completely alters his perception of the world, taking him on a psychedelic quest through board meetings, nightclubs, shootouts, and alternate dimensions. As Frank ping-pongs between reality and fantasy, he finds himself on a mission to find a missing girl, himself… and his wallet.

Visually intoxicating, The Wave hits you like a ton of bricks. Justin Long plays Frank, an insurance lawyer, underappreciated at work and at home and stuck in the loop of the mundane, decides to go out on the town for once. When the shit hits the fan, we’re all on drugs with Long. The highs and lows, the mysterious chase, the lost time. It’s all insane and wonderful.

Sheila Vand, star of my one my all-time favorite film’s A Girl Walks Home Alone At Night, plays Theresa with a cool ease that the perfect foil for Long’s quick-witted corporate cynicism. Her energy is electric. Donald Faison as Frank’s best friend is was a smart choice from a sidekick standpoint. Their chemistry is awesome. He stands as a representation of the viewing audience in the sense that we’re just as confused (in the best way possible) as he is. This script is jarring and electric. Justin Long, once again, owns whatever role he takes on. I buy every second he is on screen. I don’t know if any other actor would have resonated as truthfully. Long’s ability to live moment to moment in each character is nothing short of genuine and delicious talent. Time jumping, drug-induced, comment on karma, The Wave is simply cool.

IN THEATERS AND ON VOD JANUARY 17TH

Review: Killer Inside: The Mind of Aaron Hernandez Is Another Netflix Doc Win

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It’s no secret that Netflix has been on fire it when it comes to original content these past few years. It’s said that Netflix spent over $15 billion on original content in 2019 and this year for the first time, Netflix-produced films garnered more Oscar nominations (24) than any other studio including Disney which owns nearly everything media-related in the world (take that, Mouse!). As the world’s favorite media streaming service, Netflix is hitting its stride at a time when more and more competition is trying to take a bite out of its market share.

One of the best parts of Netflix’s business model is that because they have millions of users paying a monthly fee to use their service, they have a constant stream of revenue coming in that allows them to take chances on their original content. Because of that, we are able to get content like Killer Inside: The Mind of Aaron Hernandez. Netflix has produced some of the most highly acclaimed true crime series of the last few years in the critically acclaimed Making a Murderer, Evil Genius and their documentary about Amanda Knox. Killer Inside fits nicely alongside these series/films.

Following the demise of once heralded New England Patriots football star Aaron Hernandez, this series tries to put together how a rising football star and role model for the Latino community could be a cold blooded killer off the field. In 2013, Hernandez was arrested initially for the murder of his fiancee’s sister’s boyfriend Odin Lloyd. Over the 3+ hour three-part series, director Geno McDermott unpacks the confounding tale of how this all happened as best as possible. McDermott and the editing team do a masterful job of tracking back and forth in Hernandez’s timeline incorporating interviews with friends, former teammates, trial footage and jailhouse phone call audio from the various people with whom Hernandez spoke while in prison. For a story that twists and turns as much as this one does, they really do a masterful job grounding the viewer and not overloading us with too much or too little information.

Many of the details of this story are very familiar, not just to football fans but to the public at large. This case was a huge deal. It was played out in public and while it wasn’t OJ Simpson-like in scale, it was still a case in the public eye for multiple years. So giving new information or drilling down on points that weren’t already well known was McDermott‘s real challenge here. He did a great job moving both forward and backward in the timeline in particular to incorporate the bombshell news that Hernandez was implicated, later indicted and tried for two additional murders.

I do appreciate that this film tried its best to tackle the why – what caused a high-profile athlete playing for the best franchise in the sport who had yet to hit his peak only being 23 years old to bafflingly murder someone from his own inner circle…and in such a stupid manner that he was so easily caught? The film visits and revisits the claims that Hernandez was gay or bisexual throughout the film with a corroborating interview with his high school quarterback, Dennis Sansoucie, that they were lovers in high school. That shame of who he really was and that should it come out it would ruin him was posited as a possible motive. McDermott interestingly knits the story of former Patriot offensive lineman Ryan O’Callaghan who came out as gay after leaving the NFL throughout the series. His tale demonstrates the weight of what being gay in the macho culture of the NFL is like and what that can do to one’s psyche. It was an interesting take and sadly a perspective that is far too uncommon.

Near the end of the film, it’s revealed that Hernandez definitely had CTE, the degenerative disorder from repeated blows to head/concussions. This, too, was listed as a possible reason. The doctor who examined his brain said it was the worst case she’d ever seen for someone his age. His family life is probed thoroughly and shows that cracks the developed after the death of his father pushed him into hanging out with the wrong crowd at the wrong time in his life. All of these things combined may have been the cause of what pushed him to do the unthinkable for someone who was legitimately on the top of his own world. It’s something that will likely never be known as the true motive died with Aaron Hernandez. The series never comes off as preachy, pushing the viewer in any specific direction as to how this all happened and why.

This is a well-made series and it has a particularly poignant end with his last recorded phone call with his fiancee Shayanna Jenkins and his then 4-year old daughter, a sad end to a life that should have been different. I will give infinite credit to McDermott for not keeping Odin Lloyd, his family and likewise Daniel de Abreu and Safiro Furtado, the two victims of a murder for which Hernandez was ultimately acquitted, in the background. They deserved at least that.

Killer Inside: The Mind of Aaron Hernandez premieres today on Netflix.

Here’s the trailer:

Review: ‘Three Christs’ brings heavenly performances.

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In 1959, psychiatrist Dr. Alan Stone (Richard Gere) arrives at a mental hospital in Ypsilanti, Michigan armed with the radical belief that schizophrenic patients should be treated not with confinement and electroshock therapy but with empathy and understanding. As his first study, he takes on the particularly challenging case of three men—Joseph (Peter Dinklage), Leon (Walton Goggins), and Clyde (Bradley Whitford)—each of whom believes they are Jesus Christ. Hoping that by getting them together in the same room to confront their delusions he can break through to them, Dr. Stone begins a risky, unprecedented experiment that will push the boundaries of psychiatric medicine and leave everyone involved—including Dr. Stone himself—profoundly changed. Based on a remarkable true story, Three Christs is a fascinating and moving look at one man’s journey into the deepest mysteries of the human mind.

This impeccable cast leaves their hearts on the screen. Gere, Dinklage, Goggins, Whitford, and Pollak are at their best. Based on true events in the 1950’s, when shock therapy was the most common treatment for a schizophrenic outburst, Dr. Stone introduces psychotherapy as a means of potentially curing this diagnosis.

Gere as Dr. Stone is as reliable as ever. It’s a solid and compassionate performance. Peter Dinklage as Joseph (or Jesus #1) has all the elegance of an eccentric European professor. An opera aria and letter writing are his means of self-expression. Dinklage is nothing short of riveting. Bradley Whitford plays Clyde (#2). Carrying a tattered cardboard box and responding in oxymoronic rhetoric, he is charming and genuine.

Walton Goggins is Leon (JC #3). Intuitive and emotionally stunning, his performance is truly award-worthy. Charlotte Hope as Dr. Stone’s research assistant gives an innocent and inquisitive tone to her character Becky. Kevin Pollak is Dr. Orbus. He is a power-wielding man whose true nature is slow to emerge. Unscrupulous in his selfishness, Pollak plays him in such a way that while you loathe him, he is essential as a foil for Gere. I would be remiss if I did not mention James Monroe Iglehart as Benny, the group’s orderly. He is the perfect balance between professional and personal. He could be the very representation of the film’s viewer.

The film has highs and lows in pacing. It’s simple but precisely shot. Ultimately, this film shines in its high caliber performances. Three Christs is an important story in the larger scheme of discussing mental illness across the spectrum. Not labeling individuals but treating them with compassion. It tackles healing through human connection and not the for-profit approach to medicine.

IFC Films will release THREE CHRISTS in theaters, On Digital and On Demand on Friday, January 10, 2020.

THREE CHRISTS is directed by award-winning filmmaker Jon Avnet (Fried Green Tomatoes) from a script co-written by Avnet and Eric Nazarian.  The film is based on Milton Rokeach’s groundbreaking and controversial experiment chronicled in his book The Three Christs Of Ypsilanti. THREE CHRISTS features an all-star cast including Richard Gere (Chicago, Pretty Woman), Peter Dinklage (“Game of Thrones” Three Billboards Outside Ebbing, Missouri), Walton Goggins (“Justified,” Them That Follow), Bradley Whitford (“The West Wing,” Get Out), Charlotte Hope(Allied, Les Miserables), and Julianna Margulies (“The Good Wife,” “ER”).

Review: ‘Reality Queen’ is funnier than actual reality.

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In the tradition of Best in Show and A Mighty Wind, and inspired by today’s obsession with reality TV and social media stars, writer-director Steven Jay Bernheim’s clever mockumentary fixes on a Paris Hilton-esque heiress named “London” (newcomer Julia Faye West) who is struggling to regain fame after being pushed out of the limelight by three Kardashian-type sisters named “The Kims.” London’s life is a self-indulgent maelstrom of product endorsements, talent managers, pet psychics, private jets, fashion shows, yachts, and a celebrity posse. Despite her wackiness, she ultimately makes it back to the top of the heap. This parody of America’s infatuation with fame raises the question: are these celebs-for-no-reason marketing geniuses, or are they just the accidental beneficiaries of the American public’s stupidity?

This tongue in cheek look at reality celebrity is hilarious. I mean, laugh out loud funny. The cast is incredible. A mockumentary in full effect, it’s like one long Comedy Central episode. They take aim at everyone: The Kardashians, boy bands, Paris Hilton, Britney Spears, their eccentric entourages, and all the people who exploit them. But in truth, Reality Queen exposes just how highly produced “reality” shows and stars are. Does watching “reality” television make us feel better about ourselves? Probably. Do we follow these people because we idolize their ability to make money when they have exactly zero real skills? I don’t know if I can answer that. Reality Queen certainly lets us feel like we’re above it all, even if we are guilty of clicking a hair gummies ad or betting on who will receive the final rose.

Denise Richards plays an Angelina Jolie lookalike and she is everything. Julia Faye West as our main subject, London Logo, is a giant bobblehead. The commitment to this over the top caricature is awesome. Kate Orsini plays BBS journalist Diana Smelt-Marlin. She is the best part of this film. She gives us permission to laugh and roll our eyes at a worldwide culture that is pretty gross but definitely entertaining. I would watch an entire series that she hosts. From Twitter battles to terrible celebrity products, Reality Queen would be even greater as a series. There is so much fodder to explore.

Review: ‘The Sonata’ has a script and score to die for.

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Synopsis: After being informed of the sudden death of her long lost composer father (Rutger Hauer), a young virtuoso violinist Rose (Freya Tingley) inherits an old mansion in which he used to live. There, she discovers her father’s final work: a mysterious music score marked with strange symbols. With the help of Charles (Simon Abkarian), her agent and manager, she deciphers the symbols and, little by little, starts to unlock secrets concerning her father’s past, setting in motion the mechanisms of a somber plan imagined since the very day she was born. They soon discover that there’s more to the sonata in question than meets the eye which, when played, triggers and unleashes dark and terrifying forces

When first-person horror video game POV camera work ramped up the discomfort and intrigue even before the titles appear, I was fully immersed in The Sonata. What an interesting choice for a film that only utilizes this mechanism once. I had no idea what I was in for next. What I got, what unexpected and wonderful. Music is a character in this film. The score is as powerful an entity as any actor. Bravo to composer Alexis Maingaud. The Sonata has stunning cinematography. The shots are incredibly thoughtful. The lighting is haunting, perhaps even reminiscent of a Guillermo Del Toro film. The sets are simply breathtaking. The script is complex and thoroughly engrossing with Davinci Code-like intricacies. You appreciate that doom seems inevitable but you are genuinely glued to the screen. Performances, across the board, are magnificent, including the late, great Rutger Hauer. The Sonata is a masterpiece of genre filmmaking.

The Sonata, prominently features Rutger Hauer in one of his last on-screen roles. Co-written and directed by Andrew Desmond, the film also stars Freya Tingley (Hemlock Grove, The Spinning Man) and Simon Abkarian (Casino Royale), and was co-written by Arthur Morin. The film marks Desmond’s feature directorial debut. Screen Media will release the film in theaters and on demand January 10th.

I’m Baaaaaack….and Here’s My Top 50 of the Decade

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Hello all! It’s been nigh on four years since I last dropped some knowledge on you here at Reel News Daily. I went off and got a Master’s degree, new job and all that, but have still been rocking films from all over the world. I’m happy to be back in the fold here at Reel News Daily and look forward to contributing more this year. Don’t you feel lucky?

So, I figured my phoenix rising from the ashes post should be something that might start a little conversation – my Top 50 films of the last decade. There were so many great films to choose from, which made this list very difficult. After two days of whittling it down and moving films around, I feel confident with what I decided on. I’m sure I missed a few of your favorites, but this is my list so you’ll just have to deal with it.

Here we go:

50) Shoplifters (2018) dir. by Hirokazu Koreeda
49) Spider-Man: Into the Spider-Verse (2018) dir. by Bob Perischetti, Peter Ramsey & Rodney Rothman
48) Gone Girl (2014) dir. by David Fincher
47) A Hidden Life (2019) dir. by Terrence Malick
46) Annihilation (2018) dir. by Alex Garland
45) Under the Skin (2013) dir. by Jonathan Glazer
44) Her (2013) dir. by Spike Jonze
43) The Favourite (2018) dir. by Yorgos Lanthimos
42) Take Shelter (2011) dir. by Jeff Nichols
41) Leviathan (2012) dir. by Lucien Castaing-Taylor & Verena Paravel
40) Upstream Color (2013) dir. by Shane Carruth
39) Death of Stalin (2017) dir. by Armando Iannucci
38) Columbus (2017) dir. Kogonada
37) Holy Motors (2012) dir. by Leos Carax
36) Shame (2011) dir. by Steve McQueen
35) Scott Pilgrim Vs. the World (2010) dir. by Edgar Wright
34) Midnight in Paris (2011) dir. by Woody Allen
33) Stories We Tell (2012) dir. by Sarah Polley
32) Cold War (2018) dir. by Pawel Pawlikowski
31) Mad Max: Fury Road (2015) dir. by George Miller
30) Inside Llewyn Davis (2013) dir. by Ethan & Joel Coen
29) The Look of Silence (2015) dir. by Joshua Oppenheimer
28) We Need to Talk About Kevin (2011) dir. by Lynne Ramsay
27) BlacKkKlansman (2018) dir. by Spike Lee
26) First Reformed (2017) dir. by Paul Schrader
25) Carol (2015) dir. by Todd Haynes
24) Winter’s Bone (2010) dir. by Debra Granik
23) Citizenfour (2014) dir. by Laura Poitras
22) Animal Kingdom (2010) dir. by David Michôd
21) A Separation (2011) dir. by Asgar Farhadi
20) Meek’s Cutoff (2010) dir. by Kelly Reichardt
19) La La Land (2016) dir. by Damien Chazelle
18) Phantom Thread (2018) dir. by Paul Thomas Anderson
17) The Lobster (2015) dir. by Yorgos Lanthimos
16) Calvary (2014) dir. by John Michael McDonagh
15) Best of Enemies: Buckley Vs. Vidal (2015) dir. by Robert Morgan & Morgan Neville
14) Looper (2012) dir. by Rian Johnson
13) Frances Ha (2013) dir. by Noah Baumbach
12) Beasts of the Southern Wild (2012) dir. by Benh Zeitlin
11) Lady Bird (2018) dir. by Greta Gerwig
10) A Girl Walks Home Alone at Night (2014) dir. by Ana Lily Amirpour
9) Moonlight (2016) dir. by Barry Jenkins
8) Only Lovers Left Alive (2013) dir. by Jim Jarmusch
7) Zero Dark Thirty (2012) dir. by Kathryn Bigelow
6) The Tree of Life (2014) dir. by Terrence Malick
5) You Were Never Really Here (2017) dir. by Lynne Ramsay
4) Ex Machina (2014) dir. by Alex Garland
3) Melancholia (2011) dir. by Lars Von Trier
2) The Act of Killing (2012) dir. by Joshua Oppenheimer

1) The Master (2012) dir. by Paul Thomas Anderson

So there you have it. It was a tough job, but I was happy to do it. Here are a few that nearly made the list: Everybody Wants Some!! (underrated Richard Linklater that more people should watch), Tomas Alfredson’s slow burn spy thriller Tinker Tailor Soldier Spy and Paul Thomas Anderson’s hippie noir adaptation of Thomas Pynchon’s Inherent Vice. Admittedly, it was hard to weave many of the films from 2019 into the list as they’ll need to sit me a longer. I will say that Bong Joon Ho’s Parasite and Noah Baumbach’s Marriage Story nearly edged their way on.

Here’s to hoping that the next ten years brings as many great films as the last ten have.

Review: With a script by Shia LaBeouf, ‘Honey Boy’ is a personal triumph.

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I’ve been watching Shia LaBeouf since he made his Disney Channel debut on Even Stevens. A kid so talented he was scooped up by Hollywood and exploited like many a young child star. We’ve seen him shine and fall from grace and make some of the wildest career moves. But remove that veneer and you have a genuine artist.

Honey Boy is LaBeouf’s screenplay. It tackles his tumultuous upbringing without a real sugarcoating. The verbal and emotional abuse he had to endure must have been astronomical. It all makes sense when you see the scenes between him and Noah Jupe. Their on-screen dynamic is effortless. Lucas Hedges, who I have had my eye on since Zero Theorem, is phenomenal as the 2005 version of Otis. His combative attitude seems like second nature and I can easily see LaBeouf saying and doing the exact same things. Hedges makes you feel like he did one hell of a character study of his creator. Noah Jupe as young Otis is a breath of fresh air. He is something special. He exudes innocence. LaBeouf is playing his father. He is vulnerable, scary, aggressive, and heartbreaking. You can never say this man isn’t spectacularly talented.

Director Alma Har’el has created one of the most satisfying films of the year. The way she handles LaBeouf’s material is beautiful, quirky, fun, and heartfelt. This script is catharsis on film. The juxtaposition of scenes in 1995 and 2005, with stunning lighting and cinematography, is wonderful. LaBeouf has opened every wound and laid it all out. It’s gorgeous misery and you’ll want to remain present for it. Honey Boy is a triumph.

Honey Boy opens in theaters Nationwide today, Dec 6th.

Review: ‘The Wolf Hour’ will close in on your comfort level.

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SYNOPSIS: It’s July 1977, and New York City is awash with escalating violence. A citywide blackout is triggering fires, looting, and countless arrests, and the Son of Sam murders are riddling the city with panic. June, once a celebrated counterculture figure, attempts to retreat from the chaos by shutting herself inside the yellowed walls of her grandmother’s South Bronx apartment. But her doorbell is ringing incessantly, the heat is unbearable, and creeping paranoia and fear are taking hold. Visitors, some invited, some unsolicited, arrive one by one, and June must determine whom she can trust and whether she can find a path back to her former self.

Naomi Watts gives a powerful performance that is so raw, it will get under your skin for long after the credits have rolled. This stylistic film hits a nerve for the viewer instantly. Its claustrophobia consumes you as much as Watts’ character June. Clearly suffering PTSD exacerbated by the current overwhelming outside forces that play out keep June locked in her house 24hrs day for God knows how many years at the point we meet her. Her desperation is palpable. The colors and sound editing combined with brilliant slow-burn pacing make The Wolf Hour hypnotizing. It feels post-apocalyptic. It feels far too relevant. Watts is like a ticking timebomb. Her performance is one of the year’s best. This could have been a stage play based upon its singular location but I’m not sure you could have captured the heaviness of the air and environment in the same way. In film form, The Wolf Hour digs its nails into you in the fiercest way.

In theaters December 6

Written & Directed by: Alistair Banks Griffin
Starring: Naomi Watts, Jennifer Ehle, Emory Cohen, Kelvin Harrison Jr.

Review: ‘Grand Isle’ is much like the hurricane it’s set against.

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Grand Isle follows Walter (Nicolas Cage) and his neglected wife (Strickland) who lure a young man (Benward) into their Victorian home to escape a hurricane. When the man is charged with murder by Detective Jones (Grammar), he must reveal the couple’s wicked secrets to save himself.

Kelsey Grammer plays a southern detective with an old-world charm, attempting to get the truth in a twisted case of breaking and entering turned murder. Buddy is a young, working-class father who gets wrapped up with one of the most volatile couples in town. (Nic Cage and Kadee Strickland) These two have secrets and a love/hate relationship for the ages. The plot seems cliche but it’s anything but. You will not be able to predict what’s coming next. I have to give credit where credit is due to co-writers Iver William Jallah and Rich Ronat. The script is much more emotionally complex than expected. It’s a film about deep down trauma and how we do or do not cope. With some decent fight choreography and a whole hell of a lot of weirdness, Grand Isle is a sick mystery no one will see coming. Cage is scary and bizarre as usual. Kadee Strickland is sexy as hell and damn lunatic. She pretty much owns this entire story. Luke Benward as Buddy, our main protagonist, gives a solid performance. Besides Strickland, Kelsey Grammer is my favorite part of this movie. While he is in fewer scenes than I’d like, his delivery and presence is exactly what Grand Isle needed to succeed.

The southern gothic thriller stars Nicolas Cage, Kelsey Grammer, Luke Benward and KaDee Strickland. Directed by Stephen S. Campanelli, the film was co-written by Iver William Jallah and Rich Ronat. Screen Media will release the film in theaters nationwide and on-demand December 6th.

Review: ‘After Class’ pits generational activism against itself with thoughtful writing and a lot of laughs.

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Synopsis:
AFTER CLASS follows a New York City professor (Long) as he spends a week reconnecting with his family while defending his reputation over controversial behavior at his college.

After Class is one hell of a film. Lead by Justin Long as an adjunct professor of creative writing, the plot revolves around a moment in class that triggers his students. While the script deals head-on with the MeToo movement, it’s complexity must be experienced first hand. It’s about loyalty and family and standing up for what you believe in with some goddamn conviction. While Long leads the way, this feels like an ensemble cast because of the amount of talent stacked up. There is not a loose thread in this film. I’ve never seen Fran Drescher in a role so opposite her iconic days on The Nanny. Cast this fabulous lady in all the things. Richard Schiff is excellent in his attempt to keep the peace with families old and new. Watching him keep it together (or not) is a delight. Kate Berlant is perfection as Long’s feisty sister. She feels like she’s been doing this for ages. She easily steals the attention in every scene she’s in. And now to Long. As far as I’m concerned, Juston Long can do no wrong. His eclectic body of work always catches me off guard. While we get to see his quirky comedy, we also get some serious drama and vulnerability I didn’t know would affect me as much as it did. I was particularly amused by the fact the Berlant’s character has a podcast since Long’s newest venture (and fun as hell to listen to I might add) is a podcast with his brother titled Life Is Short. Drescher appeared on an episode I have not listened to yet and now I know why. He is undeniably charming as ever in After Class, but incredibly nuanced making it easy to remember how he is able to helm so many films. The script is constantly challenging your thought process, perhaps even making you roll your eyes, depending on what generation you relate most to. That’s kind of the beauty of this film. It’s got a lot going on in all the best ways possible. Congrats to the cast as well as a big round of applause for writer-director Daniel Schechter for a sincerely heartfelt indie. Everyone should be proud.

**Official Selection – Tribeca Film Festival**
**Official Selection – Rome Film Festival**
**Official Selection – Traverse City Film Festival**
**Official Selection – Fort Lauderdale Film Festival**
**Official Selection – Greenwich Film Festival**
**Official Selection – San Francisco Jewish Film Festival**
**Official Selection – Boston Film Festival**
**Official Selection – Nantucket Film Festival**

—————————————–

Gravitas Ventures is set to release Daniel Schechter’s smart comedy/drama AFTER CLASS (formerly SAFE SPACES) in theaters and on VOD beginning December 6, 2019. The film stars Justin Long, Fran Drescher, Richard Schiff, and Kate Berlant.

The film is a compelling study of a well-intentioned millennial-aged teacher overstepping the line in class in the MeToo era and dealing with the repercussions. This comes in the middle of a family emergency when his grandmother requires hospice care, and family chaos begins to consume his life. The film provides raw moments of emotional turmoil that switches between loss, comedy, and drama, providing glimpses of beautiful and awkward moments that happen in life.

Release Date:                     December 6, 2019 – In the theaters below and on digital/VOD nationwide:
Los Angeles – Arena Cinelounge and Galaxy Mission Grove
Orlando – Old Mill Playhouse
Cleveland – Tower City Cinemas
Boston – Entertainment Cinemas Leominster
Minneapolis – Emagine Rogers 18, East Bethel 10 and Lakeville
Seattle – Galaxy Monroe
Dallas – La Gran Plaza 8
Reno – Galaxy Victorian
Las Vegas – Galaxy Theaters Luxury and Galaxy Cannery
San Francisco – 4 Star Theater
Santa Barbara – Galaxy Colony Square
Directed by:                        Daniel Schechter
Written by:                          Daniel Schechter 
Cast:                                    Justin Long, Kate Berlant, Lynn Cohen, Becky Ann Baker, Fran Drescher &
Richard Schiff
Genre:                                 Comedy, Drama
Specs:                                 93 min
Distributor:                         Gravitas Ventures

Review: ‘LOVE IS BLIND’ is unlike anything you’ve seen this year.

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 funny and irresistible story of a young girl who literally cannot see or hear her mother, even though she is living with her under the same roof. With the help of an eccentric psychiatrist, and a local, accidental hero, our heroine has to grow up, but falls in love and eventually takes hold of her future – despite not being able to see what’s right in front of her.

Love Is Blind is visually and conceptually spectacular. It taps into the emotional versus logical. We create our own reality for many different reasons; coping from loss, anxiety, or simply in an attempt more perfect environment for our imaginations to flourish.

The craziest thing is that to say much more about the plot is to do it a disservice. It’s almost indescribable. Love Is Blind challenges the notion of being an to heal inside and out. It’s about human connection.

The film has an enveloping feel of hyper-saturated colors. The soundtrack is hypnotizing. The narration adds to the whimsy. The script features beautifully nuanced characters. Quirky personalities all come together to make for an engrossing story. The cast is unreal and the performances across-the-board are a delight. Shannon Tarbet, Aidan Turner, Benjamin Walker, Matthew Broderick, and Chloë Sevigny take this charming as hell script and run with it. The film is co-directed by Monty Whitebloom and Andy Delaney from a script by Jennifer Schuur. It is important for me to note, as a mother of a toddler on the spectrum, to see a character represented with such life and humor is amazing. Love Is Blind is undeniably one of the most unique indie films I’ve seen in quite a while.

Uncork’d Entertainment will release the romantic comedy LOVE IS BLIND in theaters and on Digital and On Demand on November 8, 2019.

LOVE IS BLIND stars Shannon Tarbet (“Killing Eve,” Colette), Aidan Turner (The Man Who Killed Hitler and Then The Bigfoot, The Hobbit franchise), Benjamin Walker (“Jessica Jones,” In the Heart of the Sea), Matthew Broderick (“Better Things,” The Producers), and Chloë Sevigny (“The Act,” The Dead Don’t Die).  The film is co-directed by Monty Whitebloom and Andy Delaney (“Polarbearman”) from a script by Jennifer Schuur (“Big Love,” “The Catch”).