Review: ‘LIBERTY’ is a slick, genre-bending environmental thriller that burrows into your brain.

LIBERTY

A young park ranger with a soulful connection to animals locks a group of eclectic strangers in a cage, forcing them to confront the realities that innocent creatures face daily.

The clever dialogue juxtaposes the fragility of animals in captivity as Matt assigns an animal to each human prisoner. The underlying theme of Matt’s bullying slyly mirrors the psychological torture of animals and the imprisonment of his captives.

Nicholas Michael McGovern delivers a mesmerizing performance through narration and chilling direct-to-camera fourth wall breaks. His steady voice soothes the audience. It is melodic and informative, making his intentions more frightening. He is magnificent.

The unit set lends itself to a stage play. I would pay good money to witness this on Broadway. It’s immersive enough to captivate a live audience even more. LIBERTY could be a unique opportunity for Gravitas to enter the theatre world. If I were producing a screen-to-stage adaptation, I would edit live audience reactions during each performance, creating a curated, visceral experience for each ticket holder.

Philippe De Witte‘s clever allegory about animal rights takes the audience on an unexpected moral journey. Akin to the strangling anxiety of Saw without the gore, LIBERTY is a one-of-a-kind entry into the psychological horror/ environmental thriller subgenre. LIBERTY is dark and daring. It is an emotional roller coaster that twists and turns, loops and lurches with a quiet, raw intensity. De Witte unlocks a primal fear surrounded by poetic madness. You are not ready for this film.


Available on VOD November 21st, 2023

*Winner of Best Foreign Feature Film, Best Music Score – Musical Composition for a Feature Film, and nominee for Best Feature Film – 2022 Burbank International Film Festival 

*Winner of Best Thriller – 2022 Montreal Independent Film Festival

*Winner of Best Feature Film, Best Thriller, Best Cast Ensemble, and Outstanding Achievement in Production Design – 2022 Lonely Wolf International Film Festival*

*Semi-finalist – 2022 Dumbo Film Festival*

*Official selection – 2022 Wildlife Conservation Film Festival*

Written and Directed by Philippe De Witte 

Produced by Michel Gouzée de Harven, Jean-Christophe Van den Berg, Yves Merlin, and Michael Whalen 

Featuring a breakout performance by Nicholas Michael McGovern  and Starring Alice Barrett (“Another World”), Olan Montgomery (“Stranger Things”), Denny Dale Bess (“Law & Order: SVU”), Samantha Smart (“Katy Keene”), Jonathan Kirkland (“Tulsa King”) and Andrea McKinnon (Boyhood)

In the environmental thriller Libertyan idealistic park guide holds six strangers captive, treating them like caged animals, to deliver his chilling message of freedom to the world. As his hostages run the gamut from confusion and disbelief to anger and hostility to grief and despair, our anti-hero compares their mental and physical breakdown to those of wild animals struggling in captivity.

RT: 103 minutes


 

Review: Ira Rosensweig’s ‘SHARE?’ is one of the smartest genre films of the year

SHARE?

Disturbing, funny, and undeniably thrilling, SHARE? is an intriguing human experiment. The premise is slick, a mix of social commentary, the dystopian role of influencer culture, and the disease of instant gratification. The film opens with a man (Melvin Gregg), dubbed #14, in an empty room wearing nothing but a pair of underwear. Once he hears the ping of a rudimentary computer interface, SHARE? unfolds like gangbusters. 

Bradley Whitford is a veteran “participant” craving interaction. Each man gains knowledge from the other’s vastly different strategies for survival. Gregg discovers rewards flow when he either embarrasses or hurts himself. As one coaches the other, a mutually beneficial relationship develops. Alice Braga enters the scene as a woman on a mission, determined to find a way out. Her fiery passion counters Whitford’s stubbornness and Gregg’s growing popularity. When best intentions backfire, and another very influential participant butt heads with her, the consequences prove unthinkable. 

The performances are magnificent. Whitford’s energy is manic. It is like hypnotic live theatre. Alice Braga brings her usual fierceness, rattling the day-to-day flow of events. Melvin Gregg is a one-man show that gets better and better by the minute. His flawed vulnerability pulls you into this mesmerizing plot. He is magnificent. 

The first feature film to be shot entirely from one fixed camera angle, SHARE? is a wonder. The structure demands your undivided attention, as each captive, like Pavlov’s Dog, learns and responds to obtain food, water, clothing, nonessentials, and social interaction. Desperation, cancel culture, isolation, and voyeurism drive SHARE? headlong like a freight train and with a finale so fitting it’s breathtaking. You’ll scream at the screen.


ARRIVING IN SELECT THEATERS & ON DIGITAL AND VOD

NOVEMBER 10, 2023

 

SHARE?

Directed by: Ira Rosensweig

Screenplay by: Benjamin Sutor

Story by: Ira Rosensweig & Benjamin Sutor

Producers: Carissa Buffel, Kevin Matusow, Ira Rosensweig

Country of Origin: USA

Language: English

Genre: Sci-fi Mystery

Distributor: XYZ Films

Cast: Melvin Gregg (The Way Back, The Blackening), Bradley Whitford (Get Out, The Handmaid’s Tale), Alice Braga (The Suicide Squad, Hypnotic), 

Danielle Campbell (Tell Me a Story)

 

OPENING IN SELECT THEATERS ON NOVEMBER 10th

AND NATIONWIDE ON DIGITAL / VOD

NYC: Alamo Drafthouse, Lower Manhattan, November 6th (one night only)

Philadelphia: PFS Bourse Theater – November 7th (one night only)

Chicago: Alamo Drafthouse, November 8th (one night only)

Austin: Alamo Drafthouse, November 9th (one night only)

San Francisco: Alamo Drafthouse, November 10th

Los Angeles: Arena Cinelounge November 10th (full week run)

Los Angeles: Alamo Drafthouse DTLA, November 11th

Richmond, VA: BTM Movieland at Boulevard Sq, Richmond, VA, November 10th

Columbia, SC: BTM Dutch Square Cinema 14, Columbia, SC, November 10th

Oaks, PA: Oaks Center Cinema, November 10th


 

Review: Murder mystery romp ‘HELEN’S DEAD’ opens to Theaters and On Demand today!

HELEN’S DEAD

Helen’s Dead follows the story of Addie (Dylan Gelula). After a terrible breakup with her boyfriend, Addie goes to confront her best friend about cheating allegations and accidentally steps into a murder scene.


HELEN’S DEAD is an ensemble comedy filled with familiar faces. Several uninvited guests throw Leila’s curated entertainment plans out the window. HELEN’S DEAD turns a whirlwind of lies and a spoiled dinner party into a chaotic murder mystery. 

Tyrese Gibson plays Helen’s vengeful boyfriend on the hunt for his lady and some loot. Gibson is equal parts scary and charming. Beth Dover, whom I feel is simultaneously everywhere and not enough places, plays Girl Boss journalist and Leila’s supposed ticket back into the mainstream. Dover is as great as ever. Annabelle Dexter-Jones is our ambitious Leila, looking for the perfect dinner party to weave a small-town comeback tale for the masses. Her nightmarish perfection-driven micromanaging is everything you’d hope for. Brian Huskey plays Leila’s partner, but more importantly, her therapist. His turtleneck-wearing, effected speech character work is fantastic. 

Emile Hirsh is a manic misogynist and one catalyst in the chaos. Matilda Lutz plays the titular Helen. She is a star. Her presence is magnetic, and you cannot take your eyes off of her. Dylan Gelula, whom I adored in Cooper Raiff‘s Shithouse, gives us high millennial manicness for the gods. Gelula embodies Addie to a tea. Oliver Cooper steals the show with his portrayal of Cameron, a local theatre actor smitten with Helen and roped into an elaborate charade by Leila. Cooper is a joy to watch. If you aren’t smirking at his every syllable, check your pulse. 

While the film goes slightly off the rails an hour in, what remains of HELEN’S DEAD is a revenge plot gone awry and a twisted tale of reconciliation. 



In Theaters & On Demand November 3, 2023

Directed by K. Asher Levin
Written by Amy Brown Carver
Story by K. Asher Levin and Amy Brown Carver

Produced by Levin, Daniel Cummings, Robert Dean, Roy Scott MacFarland & Todd Lundbohm



Huge Genre News: NIGHTSTREAM is back in new form!

Digital Genre Film Fest NIGHTSTREAM Relaunched Yesterday as Year Round Curated TVOD Platform, Ft. Exclusive Title SUMMONERS, Films from Distros Including Oscilloscope, Utopia, Dark Sky & More


Christine Nyland and Larry Fessenden from Nightstream Exclusive SUMMONERS


(Brooklyn, NY | October 31, 2023) The Brooklyn Horror Film Festival, in association with the Boston Underground Film Festival and the Overlook Film Festival, announces today the re-launch of Nightstream. The former virtual film festival will re-launch as a transactional VOD platform that will showcase acclaimed genre films. Nightstream enables at-home audiences to have a one-stop-shop for their favorite (and new discovery) genre indies in lieu of scrolling through offerings buried in other more overarching platforms. Viewers can expect the lineup to continue to grow over time but always remain curated by the festival programmers.

Nightstream was initially launched in 2020 when film festivals were shuttered at the height of the pandemic. These major horror festivals joined forces to satiate their audiences’ appetites for new, exciting titles even while they were stuck at home. Despite the fact that the world is back in action, Nightstream will give genre fans the curated festival experience 24/7.

Terence Krey and Christine Nyland, the filmmaking team behind 2020’s indie gem An Unquiet Grave, unveil Summoners as the very first Nightstream Exclusive. The film made its world premiere at Brooklyn Horror Festival last year and debuts exclusively on the platform as a launch title. Co-starring indie icon Larry Fessenden, the film focuses on a former witch who is plunged back into a world of witchcraft far more dangerous than ever before after her childhood friend seeks her help in performing a dark spell.

Spearheading the relaunch is Justin Timms, Director of Brooklyn Horror Film Festival. “Finding a way to support new indie films along with keeping our collective festivals afloat during the pandemic was our priority and I’m thrilled that we can continue that for the long term,” says Timms. “Not only will we be sharing revenue with the films on the channel but a portion of the proceeds will also be split among the other founding festivals. We hope audiences around the country will see the value in supporting this effort and choose Nightstream when renting one of these standout titles.”

As of today’s Halloween launch day, the platform will feature over thirty titles, including those from indie distributors Oscilloscope, Dark Star, Dark Sky, Dekanalog, Utopia, Yellow Veil Pictures, and others. Titles include Jane Schoenbrun’s We’re All Going to World’s Fair (Utopia), Gaspar Noe’s Lux Aeterna (Yellow Veil), Joel PotrykusBuzzard (Oscilloscope), and much more. The full listing of film offerings is available at nightstream.org.

Prices will vary per title, and users will have the option to rent or buy most titles with a default pricing of $4.99 to rent and $12.99 to buy.

Full information is available at:
https://nightstream.org/

About Nightstream
In response to the many challenges impacting the film community amid the Covid-19 pandemic and ongoing concerns of safety and security associated with physical exhibition and festivals in 2020 and 2021, the collaborative online event NIGHTSTREAM was launched by organizers of a number of American genre festivals across the country to present a dynamic and accessible virtual film festival.

NIGHTSTREAM will live on, continuing as a curated hub for genre films where audiences across the US will be able to rent, buy and discover the latest indie films.

About Brooklyn Horror Film Festival
Bringing the best of domestic and international genre cinema to New York City since 2016, the Brooklyn Horror Film Festival is a premier East Coast genre festival that embodies the eclectic spirit of its namesake.

Brooklyn Horror not only provides the nightmare fuel that audiences expect but also prides itself on challenging those expectations, spotlighting films that push the boundaries of what is normally deemed horror.

Taking place in venues throughout the borough every October, BHFF compliments its ambitious features and shorts programming with exciting and unique live events, crafting a must-attend festival experience for industry members and film fans alike.


 

Review: Jeremy Pion-Berlin’s ‘Failure To Protect’ exposes a very flawed CPS system.

FAILURE TO PROTECT

FAILURE TO PROTECT follows five parents – Anna, Trish, Rheta, Ernst, and Rosa – as they fight desperately to reunify with their children taken by Child Protective Services (CPS). It’s an unwavering and nuanced look at the child welfare system where criminals have more rights than parents.

 The families’ stories showcase the variety of circumstance that can lead to a child’s removal from the home, as well as the trials and tribulations that inevitably follow. The cases are as complex as they are tragic. They include histories of mental illness, as well as allegations of abuse, neglect, and trauma. Parents are pitted against their own children and each other. Along the way, the parents fight to clear their names, and prove their fitness as guardians.

Through these highly personal stories, we explore many tough questions, such as do parents whose personal struggles compromised their children’s safety deserve a second chance? Is the CPS system biased against minorities, LGBTQIA+ couples, and the economically disadvantaged? To avoid leaving a child in an abusive or dangerous environment, do social workers remove children first and ask questions later?  The film offers an unprecedented, in-depth window into the grim realities of the child welfare system through the often ignored perspective of parents.

The families are eclectic. All shapes, sizes, races, ages, and socioeconomic backgrounds face the challenges of reuniting parents and children. Allegations range from neglect to sexual abuse. Each case is unique, and the system does not exist to react to those nuances.

The film features interviews with parents recounting the circumstances/allegations that caused their children’s removal and social workers explaining how the system functions. Civil rights lawyers and judges speak to the lessened burden of proof concerning children. The film illuminates the parent’s rights, most of whom have no idea they exist. Bodycam footage of children’s removal and news clips of the death of kids in foster care tear your heart out.

The amount of unresolved and generational trauma involved in these cases will not surprise you, but the manufacturing of “facts” by social workers will. When you hear “The Right To Lie” case, your jaw will drop to the floor. Or expletives come bursting forth. *raises hand* Netflix‘s TAKE CARE OF MAYA is a terrific companion film to FAILURE TO PROTECT. Each film shines a light on the faults in the family services system. While the film features a variety of families, the racial biases are pervasive. This eye-opening doc pulls no punches. It puts everyone in the hot seat.

FAILURE TO PROTECT l Official Trailer l from Jeremy Pion-Berlin on Vimeo.


OPENING ON DIGITAL PLATFORMS ON OCTOBER 17

FAILURE TO PROTECT was directed, produced, and edited by Jeremy Pion-Berlin.  It was executive-produced by Jordan Savage, Devon CollinsLisa Pion-Berlin, Jeff Porter, and Sgt. Major Keith L. Craig.  It has a running time of 98 minutes and will not be rated by the MPAA.  The film has screened at numerous prestigious film festivals including Phoenix Film Festival, Julien Dubuque International Film Festival, Atlanta Docufest, and Doc Boston, and has won numerous awards includingBest of Fest“ at Frozen River Film Festival, “Best Documentary” and “Best Director” at Oceanside International Film Festival, “Audience Choice Award” at Atlanta Docufest, “Best Director Documentary” and “Audience Choice Award” at First Glance Film Festival Los Angeles, “Best US Documentary Film” at Doc. Boston, among other awards. FAILURE TO PROTECT will be released on digital platforms by Porter+Craig Film & Media on October 17.

SOCIAL MEDIA HANDLES

@failure_to_protect


 

Review: Adam Ellis’ viral Twitter thread moves from phone screens to movie screens in John McPhail’s ‘DEAR DAVID.’

SYNOPSIS: Shortly after comic artist Adam (Augustus Prew) responds to Internet trolls, he begins experiencing sleep paralysis — while an empty rocking chair moves in the corner of his apartment. As he chronicles increasingly malevolent occurrences in a series of tweets, Adam begins to believe he is being haunted by the ghost of a dead child named David. Encouraged by his boss to continue the “Dear David” thread, Adam starts to lose his grip on what is online…and what is real. Based on the viral Twitter thread by BuzzFeed comic artist Adam Ellis.

Director John McPhail and screenwriter Mike Van Waes had the tricky job of taking Adam Ellis‘ real-life viral Twitter feed and translating it for the big screen. If you don’t know the “Dear David” story, let me sum it up. Cartoonist Adam Ellis starts to document the haunting of his apartment. Things get weirder each night, culminating in photographs of this little boy with a caved-in skull dropping onto Adam’s bed. It was truly terrifying reading the thread. I remember sweating as the incidents became creepier and more intense. It was an honest-to-goodness viral moment. This week, DEAR DAVID moves from small screens to movie screens, and the results are mostly comparable.

In his supporting role, scream king Justin Long is Buzzfeed’s deliciously douchey editor. You love to hate him. But the film hinges on the likeability and overall effectiveness of Augustus Prew as Adam. Prew does a fantastic job of charming us. He is relatable in a way that caught me off guard. I can only imagine Adam Ellis being proud of his portrayal regardless of how accurate it is to real life.

The film boasts amazingly timed jump scares. Let’s give a brilliant slow clap for editors David Arthur and Glenn Garland. The script is especially relevant in our ongoing age of vitriolic online engagement. It is also a mystery wrapped in a horror movie, using a personal connection about self-worth. If you know the Dear David canon, it might be better to separate the two. Did I shout with glee when the original “David” drawing appeared? Yup. If I’m being entirely honest, the climax feels a touch hokey, but the final scene brings some redemption. DEAR DAVID is inarguably intriguing. I needed to know how McPhail would expand upon the genuinely disturbing origin material, so there’s no denying I was along for the ride. Genre fans will eat this up.

Terror Goes Viral

 

Lionsgate will distribute the horror film DEAR DAVID in select Theaters, On Digital and On Demand on October 13th which is a co-production by Lionsgate and Buzzfeed Studios.

 

The film stars Augustus Prew (“The Morning Show”), Andrea Bang (“A Million Little Things”), Rene Escobar Jr. (Neon Lights), Cameron Nicoll (Slumberland) and Justin Long (Barbarian). The film was co-produced by BuzzFeed Studios and directed by John McPhail (Anna and the Apocalypse). The film was written by Mike Van Waes in his feature film debut based on a story by Waes and Evan Turner (The Out-Laws). 


Merry and murderous holiday horror ‘THE MEAN ONE’ hits VOD, DVD, and Blu-Ray Today!

THE MEAN ONE

Hokey Hallmark meets children’s classic in the new holiday horror THE MEAN ONE. Director Stephen LaMorte and writers Flip and Finn Kobler tell a twisted tale of trauma and small-town secrets through one of our most beloved and iconic holiday villains. A familiar story, but make it merry and murderous.

Twenty years after the Xmas Eve death of her mother in 2009, Cindy returns to her hometown to face the demons of her childhood. When history begins repeating itself, she vows to take back the night and the holiday spirit, no matter how much blood she has to spill.

Clever Seussian signage appears throughout the film, as do homage character names. The sometimes quippy dialogue works around what I can only assume would be a massive copyright infringement case.
The noteworthy turn comes from Cindy’s neighbor Doc Zuess. John Bingham, whose character is reminiscent of Roberts Blossom from Home Alone, is brilliant. His performance legitimizes The Mean One, bringing it out of its Hallmark moments.

Krystle Martin is Cindy. Her professional stunt work shines. From traumatized to trigger-happy, Cindy’s exposure therapy becomes a plot for revenge. Let us not forget our titular character brought to life by none other than “Art The Clown” himself, David Howard Thornton. His mannerisms are glorious. The film would be less memorable without him.

Christopher Sanders‘ narration adds a fantastic touch. The CG blood is straight up over the top. Is The Mean One ridiculously tropey? Yes. Will it be appearing on our eccentric holiday viewing list next week? Also, yes.


The film hits VOD, DVD, and Blu-Ray Today!

 

You can watch the film here, on its watch page: www.themeanonemovie.com/watch

 

Directed by LaMorte with a script by Flip and Finn Kobler, THE MEAN ONE stars David Howard Thornton, Krystle Martin, Chase Mullins, John Bigham, Erik Baker, Flip Kobler, and Amy Schumacher. A co-production between A Sleight of Hand Productions, Amy Rose Productions, and Kali Pictures, the feature is Produced by Schumacher, LaMorte, and Martine Melloul. Executive Producers are Jordan Rosner, Gato Scatena, and Zach Stampone.


 

Review: ‘BRIGHTWOOD’ is a dizzying nightmare, and that’s a compliment.

BRIGHTWOOD

Filmmaker Dane Elcar‘s BRIGHTWOOD follows Jen and Dan down a path of terror over and over, literally. Trapped together in a time loop that shifts from moment to moment, the audience gets dragged onto an unpredictably demented ride into the depths of relationship survival. No matter how fast they run or which direction they travel, Dan and Jenn end up back in the same spot they began, a lakeside running path next to a “No Swimming” sign. Things get weirder when they run into a shadowy figure who ignores their pleas for help with intent to harm.

Dana Berger plays Jenn with an exasperated aura. She is a woman who has decided that this relationship is over. Berger’s emotional journey is vastly different from her co-star Max Woertendyke, playing Dan. He has some fight left in him as to their marriage. That comes with a caveat of information as the film rolls on. Woertendyke nails the comedy and the horror. Their remarkable chemistry and Elcar’s writing earn a second viewing. The editing is impressive. I wish I could have been in the room while Elcar was storyboarding. The coordinated chaos is delicious. The dialogue is honest and biting, even set against the mysterious goings-on. It’s undeniably ballsy.

A therapy session from hell, BRIGHTWOOD taunts our protagonists and the audience with macabre twists and turns, dizzying us with theories. Its shocking final reveal (which is a double doozy) seemingly suggests that, in this environment, compromise and teamwork are the only way forward, for better or for worse. No spoilers from me. It’s dark as hell.

BRIGHTWOOD
ARRIVES ON AUGUST 22ND on VOD and DVD

Written and directed by Dane Elcar, BRIGHTWOOD stars Dana Berger and Max Woertendyke.

Color

English Language

84 minutes

Not Rated

 

Review: ‘KING ON SCREEN’ is a treat for all horror fans.

KING ON SCREEN

King On Screen Poster


Filmmaker Daphné Baiwir taps into our love of horror through the lens and pages of Stephen King. Her new documentary KING ON SCREEN gives audiences all the insider goodies, things we heard through the grapevine and never before explored details from relationships with King and some of our favorite filmmakers who dared to translate his words for cinephiles.

The number of King’s books that jumped from page to screen is astounding. As a kid in the 80s, like many of the filmmakers in the doc, I grew up seeing King’s books on my family’s shelf but immersed myself in the films first. The kids in Stand By Me and IT became my peers. I rented The Shining, Creepshow, and Pet Sementary ad nauseum. By the time 1996 rolled around, I remembered the glee I experienced when I discovered The Green Mile in the grocery store checkout aisle.

While we don’t hear from King directly, we see stills and videos of Stephen on the sets of his adaptations. Filmmakers like Greg Nicotero, Mike Flanagan, David Carson, Taylor Hackford, Tom Holland, John Harrison, Mick Garris, and Frank Darabont share how King’s books inspired their work. They speak to the overwhelming readability of small-town horror. King singlehandedly made Maine an unlikely horror destination. I love that everyone addresses The Shining controversy. Behind-the-scenes footage and anecdotes explain the breakdown between the book and the film. Kubrick obliterates Jack Torrance’s humanity that fans of the book (King, most of all) hate.

King’s deep dive into the political landscape has always existed. The film explores his ability to explore universal truths, whether religion, race, or greed, and make characters lovable or loathsome based on their moral compass. In the same way, we joke about The Simpsons‘ writers predicting the future, Stephen King uses the global landscape to create villains and heroes that shake us to our core. Translating that from page to screen sometimes takes a slight adjustment. The best filmmakers always ask Steve first.

For horror fans, KING ON SCREEN is like a kid coming home with a Halloween candy haul that would put you in a coma. For fans of his books, it’s like changing costumes and going out for round two. It’s delicious fun, no matter how cliche you might find the Easter egg-filled bookend scenes. They play like a Where’s Waldo for readers and genre fans alike. (I loved it.) So, turn the lights down and make popcorn. KING ON SCREEN scares up our nostalgia and celebrates a storytelling master.

 

The horror documentary KING ON SCREEN will be in Theaters on August 11th

and available On Demand and Blu-Ray on September 8th.

 

The film is directed by Daphné Baiwir (Deauville and the American dream) and features interviews with Frank Darabont (The Shawshank Redemption, The Green Mile, The Walking Dead), Mick Garris (The Stand, Sleepwalkers), Mike Flanagan (“Midnight Mass,” Doctor Sleep), Tom Holland (The Langoliers, Chucky), Vincenzo Natali (Cube, In the Tall Grass), Greg Nicotero (“The Walking Dead,” “Creepshow”), Mark L. Lester (Commando, Firestarter), Taylor Hackford (Dolores Claiborne, Ray), Dee Wallace (E.T. The Extra-Terrestrial, Cujo), Tim Curry (Congo, The Rocky Horror Picture Show) and James Caan (The Godfather, Misery).


 

Review: Corey Stanton’s ‘TRADER’ is the ultimate disruptor.

TRADER

Trader posterA manipulative sociopath armed with a dangerously ambitious spirit, her wits, and an affinity for snorting wasabi voyages into the high-intensity game of stock market trading and wages war against the financial world. When she stumbles upon news of a monumental pharmaceutical trade, she risks everything to complete her ultimate success story no matter the cost.


The script is structured like chapters of a commerce self-help book, not unlike the ones my husband consumes, even ten years deep into the IB world in Manhattan, now top of the food chain. Day trading is grittier, riskier, and with your own dollars, not those of an often faceless whale. TRADER understands the real-life dynamics and injects a magical realism that plays as the trader’s innermost thoughts and motivation. It also directly tackles market manipulation. It’s nothing short of ingenious.

Kimberly-Sue Murray owns every second of screen time. Her manic energy drives the narrative like a runaway freight train. The character is slick, interested only in the genuine long con. Murray masters everything from various accents to grounded emotional release through interpretive dance. She truly is the smartest person in the room. Filmmaker Corey Stanton gives the trader a backstory that slowly reveals itself, adding a new level to the complexity of TRADER. Just when you think you’ve got the story pegged, think again. TRADER is relentlessly tense. It is a conspiracy theorist’s wet dream. 

TRADER is a one-woman show. I would love to see this live onstage, to feel the energy in person. TRADER is an indictment of capitalism and how, with the aid of the internet, the combination of the two may be the undoing of society. This twisted film is a one-of-a-kind ride. It’s an ever-evolving endgame that sucks you in. Don’t forget to unclench your jaw and draw a breath while you watch. TRADER is the ultimate disruptor.

The New Thriller from Filmmaker Corey Stanton

TRADER

Hits U.S. VOD Nationwide on August 10th!


 About XYZ Films 
XYZ Films is an independent studio whose mission is to empower visionary storytellers from every corner of the planet. XYZ was founded in 2008 by Nate Bolotin, Nick Spicer, and Aram Tertzakian and has expanded in recent years into documentary, talent management, and distribution. Some of the company’s classic titles include THE RAID franchise, 2017 Sundance winner I DON’T FEEL AT HOME IN THIS WORLD ANYMORE, and Panos Cosmatos’ psychedelic revenge thriller MANDY.


 

Review: ‘MOTION DETECTED’ has a solid concept but a glitchy execution.

MOTION DETECTED

Eva narrowly escaped being murdered during a recent terrifying home invasion in Mexico City. She and her husband decide to relocate to Los Angeles where she can recuperate. But when her husband has to travel for business, she’s left alone in an unfamiliar place and suffering from paranoia. She’s consoled by the smart home security system, but the technology is difficult to master and she starts to wonder if it will actually keep her safe or take over her life.


MOTION DETECTED relies entirely on Natasha Esca‘s performance as Eva. Her descent into madness goes from 75 to 200 very quickly. A moment with wine is, perhaps, a touch over the top. Esca shines brightest when speaking Spanish. It’s her most natural delivery.

I understand the need for lighting, but the nighttime bedroom scenes appear overlit. That aside, the set is gorgeous. This LA mansion has all the architectural features to swoon over. Using what appear to be Ring video clips to create palpable fear is a slick device, and the subplot of trauma heightens the stakes.

The film struggles with picking a storytelling lane. Eva’s PTSD and (*spoiler alert*) the haunted alarm system conflict more than they mesh. The idea that Diablo might manifest your greatest fears to lure you in needs a better narrative anchor in the film’s opening scene. Overall, the notion of tech knowing too much about us at every moment is a solid starting point. We can all relate to using some version of an AI assistant. The meat is on the bone in MOTION DETECTED, but it is a tad undercooked, in my opinion.

Motion Detected world premiered at the 2022 Dances With Films Festival and debuted on Cable VOD and Digital HD, including iTunes, Amazon, Vudu, Comcast and Verizon, May 19, 2023.


PBS airing Bobbi Jo Hart’s doc ‘FANNY: THE RIGHT TO ROCK’ tonight!

PBS

presents

FANNY: THE RIGHT TO ROCK

*This review was originally featured on AWFJ.org*



Sexism, racism, and rock & roll, Fanny: The Right To Rock is the story of how two Filipina American sisters started Fanny, the legendary rock group you may have never heard of until now. Jean and June Millington used to gather a crowd in their California backyard. After they decided to put together a band comprised of extraordinarily fearless and talented female musicians, the road to Fanny began.

After getting signed, Fanny moved into a house to live and, more importantly, make music. The rock history that went in and out of their “Fanny Hill” home in L. A. is astonishing; Bonnie Raitt, Joe Cocker, and Little Feat, to name a few. The freedom to express your sexuality, bed hop, do drugs, and make damn good music ruled that house. Unconscious healing that occurred through the safety inside Fanny Hill comes through the voices of all that crossed the threshold.

Experiencing Fanny’s songs for the first time, I immediately recognized the impact made on so many other artists. So how is Fanny not in my musical catalog? Jean, June, Alice, Brie, Patti, Cam, and Nickey were trailblazers who worked three times as hard as men and cranked out thought-provoking lyrics ahead of the times. Fanny was a feminist rock group with sharp wit and zero fear. The documentary utilizes sit-down interviews, studio sessions past and present, and live performances on stage and on television. The archival photography from Linda Wolf is extraordinary.

Fanny broke up due to a deadly combination of things; misogyny, societal times, no one big bop to make money, and having a studio that pushed them to their limits. As members came and went throughout the years, the sound morphed but always retained that iconic grit.

In 1975, they said goodbye to their rock days to pursue motherhood and personal musical pursuits. In 1999, David Bowie (whom June briefly dated) made a statement mentioning the band by name. This capsule appeared in Rolling Stone Magazine, thus sparking the ladies and their former producers to write a brand new album, Fanny Walked The Earth.

Bobbi Jo Hart’s doc comes at the perfect time in the band’s history and ours. It shines a light on their industry impact, from the importance of their Filipina culture to their mold-breaking lyrics and energy. Watching Fanny proves that great rock and roll lives forever. Get ready for their new single When We Need Her to be the anthem we need right now.


FANNY: THE RIGHT TO ROCK premieres on PBS on May 22, with streaming on PBS.org and the PBS app.

 

FILM DETAILS:

Title: Fanny: The Right to Rock

Directors: Bobbi Jo Hart

Release Date: May 27, 2022

Running Time: 96 minutes

Language: English

Screenwriter: Bobbi Jo Hart, Documentary

Distribution Company: Film Movement


 

There’s something in the air. No. Seriously. ‘KILLER KITES’ trailer causes mayhem and an early release!

KILLER KITES

Now available due to high demand!!


Directed by: Alan Dale, Austin Frosch

Starring: Manon Pages, Austin Naulty, Carter Simoneaux

Distributor : Film Hub


When Abby’s grandma dies, the only thing she inherits a stupid kite – after giving it to her brother; he is mysteriously killed and the kite disappears. While searching for the truth, she is tangled in a strange supernatural plot, where this killer kite continues to kill! Now, Abby must string together a way to stop the kite before it blows us all away. Kites may not be the scariest monster ever, but they’re up there.

Could KILLER KITES be the new Midnight Madness screening? Anything is possible. Check out the trailer below. 

AVAILABLE NOW TO HIGH DEMAND


 

Official Trailer debut: ‘ROBOTS’ finds Jack Whitehall & Shailene Woodley at odds with “themselves”

 

Review: Sean Garrity’s ‘THE END OF SEX’ is a raunchy and relatable rom-com that keeps on giving.

THE END OF SEX


The End of Sex tells the story of a married couple (Hampshire and Chernick) who are feeling the pressures of parenting and adulthood. After they send their young kids to camp for the first time, they embark on a series of comic sexual adventures to reinvigorate their relationship.


Relentlessly hilarious, Sean Garrity‘s new film, THE END OF SEX, is the comedy married parents have been waiting for. Not since Judd Apatow’s This is 40 has a sex comedy nailed this age and stage in life so distinctly. Those are big shoes to fill, and Garrity and company step on up. Get ready to laugh and relate more than you ever planned. 

Lily Gao is Josh’s co-worker Kelly. Her casually brazen suggestions to spice up their sex life feel straight out of a Millennial playbook. You cannot help but laugh at her confidence in this role. Melanie Scrofano plays Emma’s teaching partner and best friend, Wendy. She is a delight, matching energy with Hampshire like a pro. I’d watch a spin-off of their art classes in a heartbeat. 

Screenwriter Jonas Chernick plays Josh as an everyman, nice guy. He is a solid foil for Hampshire’s breezy personality. Together they make an entertaining duo. Emily Hampshire is Emma. Her chameleonlike ability to live in the skin of any character is a dream to watch. She oozes charm and charisma, honesty and vulnerability. All the yes to her performance. 

The script nails the unfiltered complexities of adult relationships, particularly co-parenting and the ebb and flow of physical attraction. It centers on communication and the dangers of giving up on ourselves to mollify our partners. Relationships are rarely 50/50. THE END OF SEX goes there and sometimes falls off the edge in the best way possible. 

The quirky and overtly sexualized visuals on signs throughout the film become an over-the-top running joke. A brief but brilliant cameo from a comedy legend takes the script to another level. It is an unforgettable scene. THE END OF SEX celebrates kink rather than shaming. It permits viewers to explore fantasy while reflecting on intimacy. It’s a beginning of a conversation between partners, new and old, and a hell of a good time.


In Theaters This Friday
April 28th

*Official Selection – 2022 Toronto International Film Festival*

Directed by Sean Garrity (My Awkward Sexual Adventure)
 
Featuring:
Emily Hampshire (“Schitt’s Creek”)
 Jonas Chernick (James vs. His Future Self), Gray Powell (“Sort Of”)
Lily Gao (“Letterkenny”), Melanie Scrofano (“Wynonna Earp”)


RT: 86 Minutes


 

Review: ‘GRINGA’ is a breezy story of finding family and forgiveness.

GRINGA

After the sudden death of her mother, Marge seeks out the father who abandoned her. Crossing the border into Mexico in search of her soccer phenom and estranged Dad, Marge hopes to overcome childhood trauma and connect with the only person who understands her grief.

Once she finds Jackson, Marge discovers he has been spending his days surfing, coaching, and drinking himself into oblivion. He is in no shape to bring Marge into his life. Undeterred, Marge makes him pinky promise to do better. As they fumble toward reconciliation, Marge learns to be bolder, braver, and more self-accepting.

The women’s fútbol team overflows with cheeky personalities. These girls are great foils for Marge’s insecure nature. Jess Gabor is fantastic as Marge. She is natural, sarcastic, and vulnerable. Steve Zahn never disappoints. His comedic self-defense mechanisms pair well with the well-intended fatherly guidance. At the heart of it, Jackson is a damaged but kind soul. Zahn embraces his flaws, making him human and accessible. Together, they are easy to watch.

Waving the logistical fact that a minor would never be allowed to cross the border without a passport or note from their parents, GRINGA tells the story of two lost souls growing together. The script tackles body dysmorphia, eating disorders, culture, alcoholism, grief, and unresolved emotional trauma. In the end, GRINGA is a charming coming-of-age story for both father and daughter.


In theaters and on VOD on April 21st

Directed by:

EJ Foerster and Marny Eng

 

Written by:

Patrick Hasburgh

 

Starring:

Steve Zahn

Jess Gabor

Roselyn Sanchez

Judy Greer

Jorge A. Jimenez

 

Run time:

1hr 42 min

Review: ‘ONE OF THESE DAYS’ provides an irresistible competition narrative.

ONE OF THESE DAYS

Bastian Günther’s One of These Days is a fascinating drama with an attention-grabbing core concept you can’t look away from. Based on real events, it centers on an annual Texas competition (Hands On) where contestants place their hands on a truck and then try to outlast the other hopefuls to bring the vehicle home. Contestants must maintain constant contact with the truck at all times, but they cannot lean on the vehicle or squat down. 5-minute breaks are given every hour, and 15-minute breaks are every 6 hours. The contest can last for days.

Despite the length of the contest, we learn very little about most of the contestants. This is the rare film I actually wished was a mini-series. Kyle (Joe Cole) serves as the audience’s main proxy in the competition. Before the competition details surrounding Kyle are mostly superficial. Kyle works at a local fast-food restaurant, has a deaf brother, and is motivated to win the truck to provide for his wife and baby. Kyle begins to unravel as the contest drags on from hours into days.

Cole is effective as Kyle, but the true star of the film is Carrie Preston’s Joan. Joan is not a contestant – she’s the marketing brains behind Hands On. A cheaper movie might paint Joan as an egomaniacal villain with an appetite as wide as Texas. Preston imbues Joan with equal parts sweet gusto, social cunning, and quiet sadness. Small details surrounding her family and personal life are given, but they nevertheless contribute to a richer understanding of her every action. Preston shines, but her brilliance also serves to highlight the lack of detail given to the other characters.

The atmosphere surrounding the contest itself is beautifully realized. The imagery surrounding the laying of hands on the gleaming metal car feels explicitly religious. As the contest progresses, certain elements of the plot do begin to strain credibility. Kyle faces many rivals within the contest, but none of the build-ups leads to a satisfying payoff. A twist surrounding one character seems particularly far-fetched. A final coda has rich details but feels like it arrives too late.

The competition at the core of the film is a strong enough hook to overcome the film’s shortcomings. The central themes of One of These Days are gripping and compelling. Ultimately, this was a film I didn’t regret taking for a test drive.


Directed by: Bastian Günther

Starring: Carrie Preston, Joe Cole, Carrie Hernandez

Distributor: Uncork’d Entertainment


In a small town in Texas, an annual endurance contest (Hands On) to win a pickup truck promises thrilling entertainment to spectators and the chance of a lifetime to participants but ends in real tragedy.

From writer/director Bastian Günther, and starring Carrie Preston (“True Blood”, “The Good Fight”), Callie Hernandez (Shotgun Wedding, “The Flight Attendant”), Joe Cole (“Gangs of London”, “Peaky Blinders”), and Cullen Moss (“Outer Banks”), ONE OF THESE DAYS will screen in select theaters and be available On Demand and Digital April 14, 2023 from Gravitas Ventures.


*** SHOWING AT THE FOLLOWING THEATERS

FROM THIS FRIDAY APRIL 14

AND AVAILABLE IN THE US AND CANADA ON DEMAND AND DIGITAL ***

CA – L.A/SAN FRAN

Arena Cinelounge (Hollywood, CA)

Cinelounge – Tiburon (Tiburon, CA)

New York

Kent Triplex (Brooklyn, NY)

Cleveland

Atlas Cinemas Diamond Center 16 (Mentor, OH)

Boston

Entertainment Cinemas Leominster 10 (Leominster, MA)


 

Review: Festival favorite ‘A LIFE ON THE FARM’ is a weirdly moo-ving doc. Yup.

A LIFE ON THE FARM

Somerset, England, and a mysterious VHS tape of a local farmer named Charles Carson. A LIFE ON THE FARM is a documentary feature that has had genre festivals buzzing since last year. Well, the chickens have come to roost, as they say, because the film finally arrives in theaters. You are not ready.

Carson’s tape provides viewers with so much unwanted information and detail. Most notably, a distasteful closeup of a bovine afterbirth and a dead cat. That is only the first taste of weirdness, as images get much darker the longer you watch. Carson’s nonchalant attitude toward everything on the farm feels jarring. His nervous laughter echoes throughout the film and viewers are disturbed. A LIFE ON THE FARM is one of the most bizarre home movies ever discovered. It feels wrong to watch, and yet you cannot look away!

Director Oscar Harding happened upon the tape as a child but had only had the pleasure of watching until his father hit stop on the VCR. It isn’t until the VHS reemerges in his adulthood that he feels compelled to dig deeper into the man beyond the vast amount of background provided by Charles along the way.

Carson’s neighbors and fans of the tape share their confusion, fascination, and shock at the tape’s contents, but I stopped in my tracks and took a step back when I realized the deeper meaning behind Charles’s actions. The films are part of his coping mechanism for loneliness, loss of purpose, grief, and, eventually, dementia. Friends honor Carson’s memory with understanding and respect for his complicated circumstances.

A new chapter to the mystery of Charles Carson occurred in 1996 when a new video appeared on YouTube. Harding and his peers are astounded by the short film’s artistry, story, and editing. Carson’s view of mortality is astonishing. A LIFE ON THE FARM is a creepy, enchanting, unusual, and extraordinary chronicling of a particular life.


** Theatrical tour at Alamo Drafthouse theaters throughout the US
starts April 13th (schedule below); both films available On Demand May 9th **


Fan Favorites from Fantastic Fest 2022, CHOP & STEELE, and A LIFE ON THE FARM will be screened as a double feature, with a theatrical rollout starting on April 13th at Alamo Drafthouse theaters throughout the country. The above special screenings will all precede live comedy shows with Found Footage Festival founders Joe Pickett and Nick Prueher, as well as filmmaker Q&As for A LIFE ON THE FARM in select cities. This double feature will screen as part of the theater chain’s fan-favorite “Fantastic Fest Presents” series and will expand further with additional shows in the weeks following.


 

Review: Get revved up for Indy Saini’s ‘Women in the Front Seat’

WOMEN IN THE FRONT SEAT

Filmmaker Indy Saini seeks out like-minded female motorcycle riders across the country. Women of all ages, races, and backgrounds share their reasons for the ride. This unexpected film overflows with depth and heart.

We meet riders and their bikes. Each possesses a unique personality. I loved discovering what each woman packs and what they consider road essentials. The attention to detail fascinates me but does not surprise me. Women are responsible for an incalculable amount of invisible labor. We have to keep track of so much information all the time.

Saini interweaves her family history into her search. She films herself on long solo journeys from interview to interview and in the back of a pickup truck.

Every subject speaks to their fear of their first ride. You never hear men share those sentiments. The misogyny is pervasive. They thrive on breaking gender stereotypes, many inspired by the pushback they received from their mothers. “You can’t do this” became a rallying cry. Mack explains that she never asks for permission.

These women are genuinely fearless and incredibly generous. Many groups attach charity to their rides. Many have been in life-threatening accidents and got tight back on a bike. These women thrive in a community. Their clear communication creates a sense of safety and care for each other.

The film is a quiet reclamation of power through motorcycles. It is a perfect metaphor for the everyday challenges and celebrations of womanhood. Women in the Front Seat is an unapologetic, fierce, hell yeah of a doc. Take the ride.



Indy Saini’s WOMEN IN THE FRONT SEAT
now streaming on Amazon


Director/Writer: Indy Saini
Producers: Indy Saini, R.K. Janmeja Singh
Editor: Esther Shubinski
Cinematographer: Indy Saini
Music: Catherine Joy
TRT: 74 min
Country: USA

 

Review: ‘One True Loves’ is a complex love story written by The New York Times bestselling author Taylor Jenkins Reid.

ONE TRUE LOVES

SYNOPSIS: Simu Liu (Shang-Chi And The Legend Of The Ten Rings), Phillipa Soo (Hamilton), and Luke Bracey (Point Break) star in this modern twist on a classic love story from NY Times bestselling author Taylor Jenkins Reid. Emma and Jesse are living the perfect life together until Jesse disappears in a tragic helicopter crash on their first wedding anniversary. Four years later, Emma has found happiness again and is about to marry her best friend when Jesse resurfaces, turning her world upside down and leaving her torn between two great loves.


Emma faces an impossibly complex scenario. ONE TRUE LOVES puts the audience in the shoes of a woman torn in opposite directions through memory, loss, and love.

Luke Bracey plays Jesse, a photographer who returns with PTSD. His anger, bitterness, and assumptions sabotage a return to normalcy. Bracey takes us along on a journey that provokes real questions. Simu Liu is Sam. He is a high school orchestra teacher. His scenes are funny, charming, and self-deprecating. I would have happily watched an entire film about him and his students. I request a spin-off. Phillipa Soo plays Emma, a former travel writer. At the urging of her older sister, Emma uses books to heal. Soo is enchanting as she embraces change. She brings a timeless leading lady energy. You will fall in love with her sincerity. 

The script would benefit from more scenes establishing the strength of Emma and Sam’s bond. The humor comes from Sam’s endearing and feisty conversations with his students. These scenes are genuine and hilarious. The film probably needs one or two at the beginning to establish Sam as a fully fleshed-out character, which only happens much later in the plot. Additionally, I would have loved to see Sam pining away for Emma as a kid. These nitpicky issues speak to the editing as a whole. The narrative is tricky as we jump in time. It could use a bit of reworking, in my opinion. I would watch this story as a series. There is so much to dig into.

ONE TRUE LOVES has all the makings of a Hallmark classic; a quaint New England town, a bookshop, grief, and a love triangle. It speaks to the nuance of relationships, not just romantic but familial. It addresses the concept of growing apart rather than together. In a world where divorce is statistically high, ONE TRUE LOVES dares to challenge the audience’s moral compass and sense of loyalty. It is a glorious springboard for Phillipa Soo, letting audiences experience her range from stage to screen.


ONE TRUE LOVES will be in theaters on April 7th and on digital April 14th.

IN THEATERS: April 7, 2023
ON DIGITAL: April 14, 2023
ON DEMAND: April 28, 2023
DIRECTOR: Andy Fickman
WRITERS: Taylor Jenkins Reid, Alex Jenkins Reid
CAST: Phillipa Soo, Simu Liu, Luke Bracey

RUN TIME: 100 minutes
RATING: PG-13
GENRE: Romance, Drama, Comedy
DISTRIBUTOR: The Avenue