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

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.

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

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.

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 YpsilantiTHREE 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.

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.

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 Sonataprominently 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

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.

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.

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.

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.

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 LongKate BerlantLynn CohenBecky Ann BakerFran Drescher &
Richard Schiff
Genre:                                 Comedy, Drama
Specs:                                 93 min
Distributor:                         Gravitas Ventures

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

 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”).

 

Review: ‘Cold Brook’ is charming directorial debut from William Fitchner.

COLD BROOK is the story of Ted & Hilde, two ordinary guys in a small town who embark on an extraordinary adventure and risk everything for a stranger in need. It’s a story about coming home; something everyone, everywhere has an innate desire to do.

Cold Brooks shines both in its incredible casting and genuine script. This is a story about connecting to loved ones. It’s about reconciling the past with the future. With intriguing paranormal elements, writer-director William Fitchner (also starring at Ted) gives a little indie gem that feels comfortable and homey. Kim Coates stars as Fitchner’s best buddy (and coworker) with lovely ease. You believe these two have been friends for a lifetime. His scenes with Mary Lynn Rajskub are gold. That marriage is an entire story waiting to be written. Harold Perrineau as Gil Le Deux id sincere and mysterious. His delicate approach and wide-eyed sense of wonder are a gorgeous foil for Coates and Fitchner’s working-class do-gooders. Fitchner is charming and nuanced. His emotional journey is extremely well-charted through writing and performance. While this script is not overly-complicated, that does not make it any less complex in character development. That is a real key to this film. The relationship dynamics from work to play to home are what keep you watching and smiling. Cold Brook is nothing short of great family entertainment and I look forward to seeing what might come next from Fitchner’s imagination and hard work.

COLD BROOK will be in theaters and On Demand and Digital on November 8, 2019.

COLD BROOK is the directorial debut of William Fichtner (“Mom,” “Prison Break”) who not only stars in the film but co-wrote it with Cain DeVore (Mitzi & Joe). The film also stars Kim Coates (Goon series, “Sons of Anarchy”) and Harold Perrineau (“Lost,” Romeo + Juliet).

 

Review: ‘Adopt A Highway’ sees Ethan Hawke challenging societal stigmas.

ADOPT A HIGHWAY

Starring Academy Award Nominee Ethan Hawke

Russ Millings has just been released from prison after serving 21 years for a 3rd strike conviction for possessing an ounce of marijuana. As he tries to adapt to a world he doesn’t recognize – including trying to learn how to use the internet – he finds an abandoned baby in a dumpster behind the fast food restaurant where he works as a dishwasher. Unsure of what to do, and caught between impulses of kindness and panic, Russ soon realizes this could be his chance at redemption.

Ethan Hawke is someone I can easily describe as versatile and earnest. The man works so often I think we really take him for granted. His resume is profoundly eclectic. His latest work in Adopt A Highway is no exception.

Writer-director Logan Marshall-Green has given us a poignant gem of a film. This story is charming and heartfelt. How can we, as a society, look beyond the labels of someone that has served prison time. How do we reintegrate them into our lives? What can we do to make them feel like they won’t be shunned? Nonviolent offenders, especially those who have been ostracized from the outside world for long periods of time just need a little compassion. Hawke’s portrayal of Russell is as complex and soulful as I would hope for. You root for him the entire film. He is endearing and heartbreaking. This is a beautiful role for Hawke. You will be buying what he’s selling, I promise. Elaine Hendrix makes an appearance as Di. She is a breath of fresh air in the short time she’s on-screen, proving that giving a stranger a chance can change your entire outlook on life.

The most surprising is that Adopt A Highway is produced by Jason Blum. This is not a film I would have expected to be in Blum’s wheelhouse as I have become so accustomed to his brilliant horror fare. I am very glad he took a chance on this. The cinematography has an intimacy that feels childlike and joyful. It is reflective of both rediscovery and the harsh realities of re-entering society. The pacing is wonderful. The script is much more nuanced than at first glance. It is ultimately about love. Adopt A Highway is a well acted, thoughtfully crafted debut film. It deserves your attention.

RLJE Films will release ADOPT A HIGHWAY in theaters, on VOD and Digital HD on Friday, November 1, 2019.

ADOPT A HIGHWAY stars Academy Award nominee Ethan Hawke (Boyhood, Before Midnight, Training Day), Elaine Hendrix (“Sex & Drugs & Rock & Roll”), Diane Gaeta (Other People’s Children), Mo McRae (“Empire,” The First Purge), Chris Sullivan (“This Is Us,” Guardians of the Galaxy Vol. 2), and Betty Gabriel (“Westworld,” Get Out).  The film is written and directed by Logan Marshall-Green (Spider-Man: Homecoming, The Invitation) in his feature filmmaking debut.

Review: ‘BADLAND’ – a western gone south.

BADLAND

More than a decade after the Civil War, a nation tries to rebuild as an outlaw faction takes root across the West. Gunslinging detective Matthias Breecher (Kevin Makely) is hired by one of the first African American Senators (Tony Todd) to track down the worst of the Confederate war criminals (Trace Adkins, Bruce Dern and Jeff Fahey), with nothing more than his wits and his revolver. As he roams the Old West seeking justice, his resolve is tested when he meets a determined pioneer woman (Mira Sorvino) who is far more than she seems. As the lawless converge on this lawman, death is inevitable in a terrain that welcomes no stranger.

Badland is a post civil war western written and directed by Justin Lee. The cinematography is perfect for the genre. Typical western tropes of honorable, gun-slinging hero on horseback and trigger-happy villains are what kept me watching. I was admittedly a bit distracted by the formality of the dialogue. It didn’t feel gritty enough for the time period and at points, I thought I was watching a Hallmark movie. While the actors make the best of it, I found it more difficult to fully immerse myself in a genre I typically enjoy. Because of this, Badland played like a stage play. Over the top line readings and slow pacing between dialogue led to an unnatural feel in exchanges. Ironically, I would watch this on a stage! It looks gorgeous from the sets to the costumes. I must give credit to Jeff Fahey in his role as Huxley Wainright. He is most definitely the highlight of this film. He fills the screen with his presence and makes everything work, finally. The story is presented in 4 chapters. I did get my fist fights, shoot outs, and classic love story but ultimately felt like Lee’s script could have used a good editor and another pass.

from Cinedigm, BADLAND opens in theaters and on-demand on November 1st.

Badland stars Kevin Makely (Big Legend), Mira Sorvino (Mighty Aphrodite), Trace Adkins (Hickok, I Can Only Imagine), Bruce Dern (Once Upon a Time … in Hollywood), Tony Todd (The Final Destination), Wes Studi (The Last of the Mohicans) and Jeff Fahey (“Lost”).

Written and directed by Justin Lee, BADLAND is set in the unincorporated areas of the West, where renegade factions have replaced law and order. Co-stars include Amanda Wyss (“Highlander”) and Ryan Kelley (“Teen Wolf”).

BHFF 2019 review: ‘The Swerve’ is striking and complex.

The Swerve

East Coast Premiere
USA | 2019 | 95 Min | Dir. Dean Kapsalis

High school English teacher Holly (Azura Skye) has always taken the stress and thanklessness of motherhood in stride, but a dark secret weighs heavily on her. The sudden appearance of a mouse and a betrayal by her self-absorbed husband send her spiraling down into catastrophe as she wreaks total havoc on her life. THE SWERVE is an epic, tenacious showcase for Skye, who shreds through the screen flailing for a lifeline in director Dean Kapsalis emotionally crushing feature debut. —Joseph Hernandez

This was the film that punched me in the gut at this year’s Brooklyn Horror Film Festival. The Swerve is a build-up of agony. Long-suffering in silence. Pasted on smiles. This film is essentially how it often feels to be a mother. Dean Kapsalis has given us a truly gutwrenching character in Holly. Azura Skye is simply devastating in this role. The quiet anguish is palpable. As a mother of two toddlers, I can attest to the isolation and loneliness of living for other people. The despair that can come with a mother’s inherent guilt. This story goes beyond the normal realm. Betrayed by a selfish family, Holly just wants to be acknowledged. As her behavior escalates we wonder where the lines actually blur. Therein lies the genius of this script. The ending is so powerful is was physically painful to watch. The Swerve is an eye-opening and unique film. It will stick with me longer than it should.

https://www.youtube.com/watch?v=KZr3BUrk6zo

BHFF 2019 review: ‘This Is Our Home’ proves grief is a ghost that haunts eternal.

THIS IS OUR HOME

USA | 2019 | 73 Min | Dir. Omri Dorani

A struggling couple’s weekend getaway goes awry when a child arrives in the middle of the night claiming to be their son.

Grief carries a power that is beyond our understanding. It can be all-consuming or a numbness. Each person deals with it in a very personal way. When couples lose a child, the statical chances of them remaining in that relationship drop dramatically. Grief changes who you are. This Is Our Home plays upon the fragility of this concept. Grief never leaves you.

The uneasy dread comes into the script immediately. An old colonial home in the middle of nowhere is a great place for fear to live. Add a locked door? Yup. I wanna open it knowing full well that’s a terrible idea because obviously bad things hide behind it. But don’t we always want what we can’t have?

Performances are incredibly natural. The chemistry between Simone Policano and Jeff Ayars is magic. The sound editing brings This Is Our Home into another terrifying realm. Brooklyn Horror Film Festival goers must have had an extra visceral experience in a theater. I will fully admit that I covered my eyes and got chills more than once. I had no idea what would be coming next and it scared the shit out of me. There are some truly startling scenarios that will keep you hanging on, every single second with your heart pounding. Beautifully framed and stunningly scored, This Is Our Home proves that if we’re not very careful, grief can consume us permanently.

BHFF 2019 review: ‘Sator’

SATOREast Coast Premiere
USA | 2019 | 85 Min | Dir. Jordan Graham

Deep in the woods, it’s hard to really say what’s whispering in the night. Ask grandma, though, and she’ll tell you it’s Sator—a protective dark force among the trees, a satanic presence, a ritualistic killer who’s haunted their family for generations. A young man ventures back to the forest in an attempt to rebuild a relationship with his brother who’s been hibernating in seclusion after traumatic events led to the disappearance of their mother years past. A disturbing mediation on family bonds and mental illness, SATOR is an impressive cinematic feat by first-time filmmaker Jordan Graham. —Vanessa Meyer

This enigmatic script is partially based on true events. 5 years in the making, writer, director, producer, editor Jordan Graham has brought a slow burn indie horror to BHFF that is worth the wait. Something is stalking Adam. Living in the woods in what amounts to a hunting cabin, isolation and family trauma haunt the shit out of him. With concerned siblings and a grandmother who is plagued by automatic writing to an entity she calls Sator, this family feels doomed from the get-go. The build-up has moments reminiscent of the original Blair Witch. The woods are a scary place at night, period. Add a little Hereditary for good measure. Even with those similarities, Sator is incredibly original and undeniably eerie. Besides the insane climax, that is straight-up bonkers, scary AF, it’s the sound editing and score that makes Sator as disturbing as it is. Graham wears all the hats so it makes sense that it took 5 years to complete. My own grandmother experienced automatical writing all throughout my childhood and adolescence. This was not a foreign concept to me. Sometimes I wonder if all of us on the outside might regret thinking it was crazy, one day. It’s easier to push that sentiment aside and coalesce to an old woman’s ramblings. Brooklyn Horror Film Fest is lucky to have Sator in its program this year.

BHFF 2019 review: ‘Girl On The Third Floor’ is a gag-worthy trip to hell.

GIRL ON THE THIRD FLOOR

New York Premiere
USA | 2019 | 93 Min | Dir. Travis Stevens

Don Koch tries to renovate a rundown mansion with a sordid history for his growing family, only to learn that the house has other plans.

Travis Stevens’ feature debut is dripping with gore… And bodily fluids. It is a truly demented film. A man’s future is haunted by his own past and that of the house he’s attempting to renovate for his newly growing family for which he will need to hire experts like this flood damage restoration experts. And if you need an experienced carpet cleaning company, miami carpet cleaning services has the best cleaning techniques and cleaning methods to offer! Someone’s not thrilled with the changes. You can also consider carpet cleaning phoenix which uses safe and harsh-free chemicals for cleaning.

The use of mirrors in his film is classic. There are some super pissed off spirits in this house. You always hear about the horrors of renovation but this is some next-level shit. Philip “CM Punk” Brooks as Don is epically awesome. There is humor behind the horror and damnit, that’s what makes this film so damn rad. Brooks fully immerses himself in the grotesque bits of this film. And I do mean fully. Stevens has an IDGAF attitude in story and style and I am here for it. If this is what I can expect from him, give the man a giant bank account, a swimming pool of blood, and take my money already. Brooklyn Horror Film Festival audiences lapped this film up and were grossed out in the process. Girl On The Third Floor is like nothing else you’ll see right now.

BHFF 2019 review: ‘Spiral’ is socially relevant horror at its best.

SPIRAL

North American Premiere
Canada | 2019 | 87 Min | Dir. Kurtis David Harder

To get away from the city life, same-sex couple Malik and Aaron and their teen daughter, Kayla, move to a small suburban town in the mid-’90s. Unfortunately, they’re greeted right away with homophobic threats. When Malik witnesses a strange gathering in the neighbor’s house, he starts to fear for their lives. A queer horror game-changer, SPIRAL uses the genre to call out the deep-rooted fear of the other in America and expose the cycle of hate as the most corruptible, ancient evil of all. —Joseph Hernandez

Bigotry and cults? PTSD and ghostly warnings? Lost time and murder mysteries? Making its North American premiere at Brooklyn Horror Film Fest this year, Spiral has all these things at once. This mind-bending script will keep you on the edge of your seat from start to finish. As a viewer, you will live in the shoes of our leading man, Malik. Played by Jeffrey Bowyer-Chapman his performance is so incredibly nuanced, it is simply captivating. The terror is visceral. The confusion is exhilarating. The reveal is gasp-inducing. I literally exclaimed, “Dear God!” It will be socially relevant for far longer than we’d like it to be. With beautiful pacing, intriguing storyline, and a genuinely gag-worthy practical effect, Spiral is pretty much perfection.

https://vimeo.com/454424536

https://vimeo.com/454424536/0a7440dee0