Coming to terms with the explanation of his mother’s untimely death, Alex turns to spiritual contact after the relationship with his father breaks down. As a student of metaphysics, Alex learns of the “scientific” premise of astral projection—the ability to project your spirit into an unseen spatial dimension. Attempting to astral project, Alex becomes plagued by shadow spirits—malevolent entities vying to enter his body to access our world. Alex soon learns that he is not the only member of his family to have been besieged by such beings, as his mother’s dark past is brought to his attention.
The pace of the film is a mystery. By that I mean, it has the feel of a slow and steady burn but in reality, the time passes really quickly. Which is sort of ironic when you consider the editing of a few scenes. You’ll have to watch to see what I mean by that. I was fully engrossed the entire run. Admittedly, the plot went in an entirely different direction than I was expecting which is always refreshing. At first, I thought it was going to be a typical setup of students and professor engaging in some private and shady experiments outside of the classroom but it has none of that. Then you think, well maybe it will a bit Flatliners inspired. Wrong again. Bravo for not falling into any of those traps. With Astral, there is very specific CG and used rather sparingly throughout the majority of the film. The effectiveness of the CG is impactful and it’s all that’s needed to build up the suspense. The film’s believability rests solely with our leading man, Frank Dillane. He happens to be my favorite actor from Fear The Walking Dead and he does not disappoint here. His natural ability to make you feel comfortable is pretty astounding. You genuinely root for him. Astral does an amazing job at making you feel on edge. The ending is worth the wait and the familiar occult historical references give it nicely grounded feel. Is astral projection the new Ouija board? Maybe.
ASTRAL was co-written by Chris and Michael Mul and is Chris Mul’s directorial debut. The film has a running time of 83 minutes and will not be rated by the MPAA.
Vertical Entertainment will release ASTRAL in a multi-city theatrical release with markets including LA and NY among others on November 23. The film will also be made available on digital platforms such as iTunes, Amazon, Google Play, Xbox, Fandango Now, Direct TV, Dish Network and through local cable providers
The film explores not only the decision but the potential for that regret. It also addresses the fears that all women have about losing their identity. As someone who is a SAHM to two kids under three, 15months apart, there are many days I feel like “I’m just Mom.” I yearn for adult conversation and most definitely experience postpartum anxiety. Thankfully, the film also addresses these emotions. It doesn’t skirt the conversation about getting pregnant and the potential difficulties involved. Motherhood is endless judgment. But so is the opposite. A woman cannot win either way. We don’t judge men in the same way, but I suppose that’s no surprise. Women’s rights are once again under scrutiny. Be it the government, doctors, the economy, the societal pressure to reproduce is unreal when you break it down by dollars and cents. Director Maxine Trump speaks with women from all backgrounds and life choices to see where they’re coming from as she tries to find her own truth about wanting to have kids with her husband. It’s an incredibly thoughtful film that made me feel more normal, frankly. TO KID OR NOT TO KID is wonderfully relevant in a time when women feel like they finally have more of a voice. The world is changing and women’s honesty will make the world a better place. We need to hold one another up not tear each other down. There are too many forces at hand already trying their best to divide us.
This doc explores the boundaries we push for love and acceptance. Amit is a husband, a father, and business owner. She is also transgender. This story is about her transition and how it affects the family and friends that surround her. It’s a timely film here in the US as the government is attempting to legally discredit transgender identity by legally defining gender as a biological, immutable condition determined by genitalia at birth. Amit has four children with her wife Galit. Daughter Agam is beyond wise for her years and the most vocal about their unique family dynamics. She understands that people’s ignorance is not her problem. She chooses to surround herself with open-minded peers. The emotional toll of transitioning seems endless. It has the highest highs and lowest lows. How does a marriage survive when circumstance completely changes? What happens after she goes to Thailand for gender reassignment surgery for a month? It’s not a glamorous film. It’s real, it’s honest. It’s exactly what people need to see. Family in Transition is a story of unconditional love and the ultimate sacrifices we make to become whole from the inside out.
This new take on a zombie film is actually about protection. Mina is a girl who haunts the woods. She longs for the taste of flesh and is extremely efficient at murder. But the murders serve a higher purpose other than sustenance. She is safeguarding her secret and looking after a kidnapped boy named Alex. She struggles with anger, self loathing, and caring for someone other than herself. Alex suffers from ongoing PTSD, in reality, they are not so different. The payoff of Mina’s backstory is disturbing but meaningful. The trust she builds with Alex is clearly something she never felt while she was alive. She has become a “living” urban legend. The film is driven solely by our two leads. They feel grounded in their backstories and the chemistry is the perfect amount of touch and go, at arm’s length. The film is certainly explores redemption and dabbles further into fantasy with a pretty ambiguous ending. The lack of score, with exception of “Mina’s Theme” that we hear perhaps three times in the film’s duration, adds to the heightened sense of eventual doom and sadness. The Dark is not your typical zombie fare and deserves your full attention
OPENS IN THEATERS TODAY!
Synopsis:
Just when I think Ben Foster can’t get better, well, I should know better by now. His fearless choices in roles continue in the new film Galveston. A man double-crossed and doing a good deed for a captive young girl (played spectacularly by Elle Tanning), Foster once again transforms voice, physicality, and persona to become a hero. His powerful on-screen presence is undeniable and one day, sooner rather than later, we will see him with a much deserved Oscar in his hands. His chemistry with Fanning is delicate and honest as the reality of their dilemma unfolds. The film is a tour de force of intensity from the get-go. It only becomes darker as the story rolls on. Galveston is as heartbreaking as it is triumphant.
We’re living in a world where we have an admitted sexual predator in the White House. We’re living in a moment in time where women are sick and tired of being trampled on, blamed, persecuted, broken, and made to relive their trauma over and over. In dark times we seek escapism. Movies and theater and art keep us grounded. They let us forget the shit and live in a world that can be, at times, as perfect as the fairytale presented. The new film starring Mary Elizabeth Winstead, All About Nina, is not that film.
A comic, trying to wade her way through shitty relationships and her budding career, invited us to ride an emotionally explosive rollercoaster right alongside her. As the plot rolls along, it takes a complete 180. Nina’s battle with her past finally comes to light in a very public way. Once this occurs, the script’s small, delicately placed moments have their full weight realized. The comedy is raunchy and appreciated. The cast is filled with comic greats, new and old, but it is Common and Winstead that make this story breathe. It took me a full 45 mins to buy into what Common was selling but maybe that’s just the cynic in me. One particular scene breaks that defense for me and it’s worth the wait. As for Winstead, if I thought she’d even be looked at for this role come Oscar season I would send a blimp with her name on it. She is brilliant in the way women often are but don’t have to balls to shows you, for lack of a better description. Although, once you see her in this film you will just realize it couldn’t be more perfect. All About Nina currently has a 100% fresh certification on Rotten Tomatoes. That’s genuinely difficult to achieve and I am thrilled about it.
presents
Blood Fest takes a page out of the Scream franchise playbook by breaking down the scary movie rules and tropes. It’s a horror fan’s playground, literally. “Bloodfest” is horror’s Comic-Con or Disneyland. The film doesn’t take itself too seriously, the dialogue is snappy as hell, and the sets are incredible. I know people, myself included, that would pay good money to enter such a gore-infused playland. Blood Fest is unapologetically silly and wonderful. Once on location at Bloodfest, we get right into the slashing, enhanced by a nice practical FX and some CG shots. It’s like being trapped in a horror video game you’re watching someone else play for you. Every nightmare someone might have is explored even if only for a moment.Think Cabin In The Woods level humor and (frankly, plot, as well) but with some new twists. To top it off, the entire cast is phenomenally talented. Also, ladies and gentlemen, Zachery Levi cameo. Blood Fest is wildly entertaining and undeniably fun. If you love the horror genre you’ll be thoroughly amused by the tongue-in-cheek way the plot rolls out, despite a few corny moments. Simply sit back and enjoy the bloody ride. Oh, and back to the franchise mention, there is no reason why this couldn’t turn into one itself. A sequel, at the very least, is completely plausible and welcome.
Cam is unique for so many reasons. First, it’s a genre-bending menagerie. You think you know what you’re in for with a sex worker vying to be in the top ten of her live sex show site. But the script is flipped several times and in completely unexpected ways each time. It’s difficult to categorize Cam and I do mean this as a compliment. It seesaws from horror to thriller and swings into surreal territory all while keeping the audience in the dark until the very end. Rarely do we see sex workers treated as human beings, but in Cam, there is a sense of empowerment attached to the storyline. Lead actress, Madeline Brewer, has the massive task of being more than two distinct characters and to explain further would ruin the plot. Brewer knocks it out of the park here. Her talent is undeniable. I will say that the commentary on social media and immediate gratification it can produce is front and center. The final scene renders the plot unapologetic. Cam is an all-around good trip.
Oftentimes, mothers lose their own identities tending to the needs of their families. Balancing loved ones and household management consumes who we once were and who we truly long to be. It is easy to get stuck in an endless cycle of chores and other people’s feelings. If you’re lucky enough to give yourself a voice, therein lies your truth. The film is not ultimately about puzzles, but they are a brilliant metaphor for relationships and the enigmatic ways of people. Puzzle illustrates the idea of not fitting into your expected place.
Sometimes I forget how talented Keanu Reeves truly is. He can take a pretty lifeless role and make it into something we weren’t expecting. That being said, these talents are really wasted in Siberia. It’s a poor man’s John Wick. The pace is often excruciating. When it is on, it’s vastly entertaining. The potential lies within the higher stakes, action-oriented scenes, but since they are few and what feels like far between it’s tough to stay on the train. 50 minutes into the 1:44 minute run it finally feels like,”Ok now we’re getting somewhere!” Alas, it will be 15 more minutes until something relatively interesting occurs. The script really takes it damn time getting to the point.
The performances are strong. Ana Ularu is vastly underutilized opposite Reeves. There is so much going on behind that tough girl veneer, a sadness that you want to fix. She has a brilliant presence but has been diminished to sex doll with a heart of gold. Someone write her a juicy role, please. Molly Ringwald appears for what is tantamount to a cameo, speaking of underutilized. Her performance in this year’s Tribeca selection, All These Small Moments is proof we need her back in our lives on a more permanent basis. Reeves, as Lucas Hill, diamond dealer trapped in a lackluster marriage and put in a shady work position, is the only saving grace. The problem being, you can feel the pained longing to kick some real ass. Ultimately, Siberia ends up being a midlife crisis cry for help, more than anything else. It left me cold and a bit empty.
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