UNSEEN
SYNOPSIS: Two women form an unlikely connection when a depressed gas station clerk SAM (Purdy), receives a call from EMILY (Francis), a nearly blind woman who is running from her murderous ex in the woods. Emily must survive the ordeal with Sam being her eyes from afar using video call.
Emily wakes up disoriented and tied up in a remote cabin by her ex. After fleeing into the woods but breaking her much-needed glasses, she accidentally dials Sam, a meek gas station attendant. (*cue the My Girl fans) Emily cannot see without her glasses. Begging this anxious stranger to video call her to aid in her escape from the ever-looming Charlie. These unlikely partners team up in different locations, leading to freedom for both women.
Michael Patrick Lane is Emily’s captor and psycho ex, Charlie. Scary and somehow kooky, he is like the Michael Myers of ex-boyfriends. Missi Pyle plays Carole, and she’s a real asshole. Her performance is both caricature and authentically terrifying. Pyle gives us rich, tacky, gun-toting Karen energy. I mean, had station is in Tallahassee. Her character work is unreal.
Midori Francis is an absolute badass as Emily. Minutes in, I was yelling at the screen, cheering her on. Her shockingly calm demeanor is all the motivation Sam needs to help. Jolene Purdy plays Sam with zero self-esteem and a heart of hold. Her emotional arc in the film will leave you with a smirk. She and Francis have electric chemistry, especially considering they are never in the same space as one another. They are both stars.
Areal shots are stunning. The addition of out-of-focus camerawork puts you in Emily’s chaotic mindset. The splashy neon colors of the Gator Galore station contrast beautifully with Emily’s overcast forest landscape. Directed by Yoko Okumura and written by Salvatore Cardoni and Brian Rawlins, UNSEEN balances comic, over-the-top characters with nuanced ones and the plausible scenario of a woman’s abduction by her ex. The script is a commentary on class and one hell of a story of gender-based violence. It is undeniably entertaining. Some audiences might initially make comparisons with Shudder’s SEE FOR ME, but that would be a mistake. Unseen stands apart in its unexpected comedy, performances, and clever writing. The final reveal made me say, “Oh, shit.” Be sure to stick around for the credits.
Paramount Home Entertainment will release the horror thriller film UNSEEN on Digital and On Demand on March 7, 2023 and on MGM+ on May 2023.
UNSEEN stars an ensemble cast of Midori Francis (“Grey’s Anatomy”), Jolene Purdy (“Orange is the New Black”), Missi Pyle (Gone Girl) and Michael Patrick Lane (“Dynasty”). The film is directed by Yoko Okumura (“The Bold Type”) and written by Salvatore Cardoni (Gnomes & Trolls: The Secret Chamber) and Brian Rawlins. The film was executive produced by Alexander Kruener, Jeremy Gold, Chris McCumber and Jason Blum.
The film is part of the Blumhouse Television and MGM+ deal to produce eight original films together. MGM’s streaming service, EPIX, rebranded as MGM+ on January 15, 2023.
Building on Blumhouse Television’s success with the Welcome to the Blumhouse movies slate for Amazon and Into the Dark anthology series for Hulu, the deal is the first-of-its-kind for MGM+, which is adding films to its growing slate of premium original content.
The plot and narrative are an awkward fit for such an intriguing setting. Troubled young Finn (Hart Denton, toned down from his manic turn on Riverdale) drifts through the town. He’s obviously troubled. His relationship with his parents is strained, and we can tell there’s anger (or worse) bubbling under his quiet exterior. He connects with Eliza, a girl at his school. Eliza is troubled too, in her own quieter way: she lives with her alcoholic mother, the two of them living through a trial separation from her step-father and step-sister. As Finn and Eliza deepen their bond, it quickly becomes clear that he will bring great love or great danger into her life (perhaps both.)
I found much to love about American Cherry, but left confused surrounding its tone and intention. From a genre perspective, it somehow sits right at the intersection of romance and psychological thriller, but that ambiguity was confusing in ways that felt unintentional. Is this trying to be Fear for the zoomer generation? Good Will Hunting with more bite? I felt it needed to commit a little bit more firmly. By seeking such balance, it risks underdelivering on both counts.
Ashleigh Murray is Alex’s best friend, Grace. She gives us the perfect balance of sweet, supportive, and firey. She’s a foil for Beauchamp. Sherri Sheperd is outstanding as Alex’s AA sponsor Ronnie. This is a fantastic turn filled with grounded concern, loving energy, and wise words. Her calm demeanor balances the chaos beautifully. She is a thoughtfully curated character.
Jonny Beauchamp plays Alex. Writet-director Barry Jay‘s screenplay allows him to show his vast range as he assumes some of Shane’s personality traits as the story progresses. Beginning as a meek and mild, lost young man, Alex slowly becomes increasingly more aggressive. Mike C. Manning (Slapface) throws you off balance from the moment he appears onscreen. He oozes toxic masculinity, helped by his intense workout obsession and the score. Shane goes from subtle to overt manipulation quicker than I expected. He is downright scary. While Manning portrays the ultimate gaslighter, his character is more nuanced than at first glance.
Overall, the lighting is a bit dark for my taste, but the score is carefully crafted and smartly used. The script morphs into a sick and twisted revenge story I did not see coming. There is a complex moral ambiguity that is endlessly intriguing. The Way Out is an unexpected journey of self-discovery and one credible psychological thriller.
The film utilizes classic devices. Mirrors and reflection play a dual role. Reds and fuchsias feature prominently in the form of nail polish, shoes, a toothbrush, Kyoko’s blouse, a robe, and phone case, and most importantly, the scar. I can see why this was such a hit on the festival circuit. WOMAN OF THE PHOTOGRAPHS begs a larger conversation about image and self-worth as dictated by the internet and society.
Although the zombie makeup is not great, costumes and general makeup are thoughtfully aged and disheveled. Something that is usually a sticking point in low-budget apocalyptic films. I was equally impressed with the locations. It appears the filmmakers had a lot of options, and they used them to their advantage. Performances are strong all around. A large ancillary and featured extra cast makes for a more impressive final product.
While the drama is a touch overplayed, perhaps akin to a Lifetime drama hokeyness, that does not lessen the intriguing arc in a genre that is tricky to conquer with new ideas. So while we’ve seen the sentimental attachment aspect in the past, the surprising plot point surrounding the very badass Ellen Hillman was phenomenal. Alive‘s final reveal garnered an honest, approving nod from me. I applaud the passion and commitment of writer-director David Marantz. It undoubtedly has an audience.
The film begins with intriguing flashbacks of a cult murder, newspaper clippings, and a hauntingly saccharine song. The setup immediately captured my attention. A sudden shift in style and time reveals Karma and Sunny living in fear and relying on the kindness of former cult members for protection. Small crumbs of cult life are just enough to keep you invested in Karma’s fate.
Michael Madsen is vile. His iconic voice serves him well as Paul, giving him an effortless presence. He could have been made more menacing with a few tighter shots overall. Kimberly Alexander plays Sunny with extraordinary nuance. This roller coaster ride of a role spans every emotion; adoration, cruelty, and unadulterated honesty. Alexander goes for it.
It takes a solid 25 mins to get to any action, but then it is pretty much maniacal from there on out. The plot gets more sick and twisted as we roll along, both physically and psychologically. WAKING KARMA shines brightest in the scenes between mother and daughter. The shockingly devastating dialogue by director Liz Fania Werner with co-director Carlos Montaner‘s DP work almost demands an in-depth 
First-time director Ric Maddox, alongside writers Sean Crampton and Jordan Wisely, brings the story of an elite ex-Navy seal with PTSD placed in a top-secret government rehabilitation program. Using criminal civilians as bait, can our soldier in question be saved? A twist on The Most Dangerous Game (1931) meets Universal Soldier (1992), THE STALKING FIELDS is an action-packed entry into a potential new franchise.
The dialogue has a uniquely poetic perspective at times but quickly becomes contrasted by innumerable F-bombs. I say this as a person who has a sailor’s mouth, and this felt excessive. The quick-take editing has all the horror genre elements. From the lighting to the angles, it is visually intriguing. I must applaud the creativity in location design. Besides the woods, the military behind the scenes could easily take place in a cleverly lit warehouse walled off entirely with plastic sheeting. That budget must have been astronomical. I have to hand it to the CG team for some legit graphics on each monitor. They had my eyes darting from screen to screen. Bravo for the detail.
Steve Balderson‘s films are rather distinctive. Their lush visual impact sticks in your brain. His newest film, Alchemy of the Spirit, is no exception. Possessing a dreamy, even otherworldly look, Balderson makes the mundane glow. The quiet becomes claustrophobic. As the film begins, the sound editing alongside the score creates an unsettling feeling. The audience resides inside the manic mind of a grieving man. At 23 mins and 10 seconds into the film, we get a shot that elicits every emotion tied to this film. The symmetry, artistic and of two souls as one, is breathtaking. You will not miss it. There is a Picasso-esque madness to it. Balderson thought about its impact as it is the current key art for the film. Very smart. That sense of panic eases once introduced to a languid score of Debussy, Bach, and other classical beauty. While the darkness lies just under the surface, the screenplay’s nuances extend beyond what I expected from the first third of the film.
Sarah Clarke, as Evelyn, is chilling and beautiful. Her voice, combined with soul-piercing imagery, is haunting. The grounded chemistry between Clarke and Xander Berkeley plays with a familiarity of real-life lovers, which makes sense as the two actors have been married since 2002. Berkeley, who I recently lauded in 
The idea of “the proper way to grieve” is front and center. How do we honor the dead? How do we mark the life we have? Oliver creates a literal death mask both as a means to stop time and keep Evelyn’s spirit alive. We get to explore the meaning of life through memory. The film easily could have been a stage play. It is dripping with theatricality. Alchemy of the Spirit is a genre-bending ode to art and romance. It’s a visual love poem.
“Ryan” takes an emotionally invested approach as JK’s publicist. He speaks in disguise, understanding the sensitive nature of everything he is about to reveal. Since Ryan has a sister with a painful genetic disease, his interest lies in protecting the children and JK’s bold innovation. Politics, science, government regulations, and public opinion clash as JK’s work is exposed before publication. The Chinese government rescinds its promise of protection.
Annet Mahendru gives Alice palpable manic desperation. Her ability to jump from one emotion to another in the same breath is impressive. It is one hell of a turn. Milo Gibson is Dave Hayes. His character arc almost feels like the audience is witnessing a slow-motion car crash. Gibson brings not-so-subtle anger and protective alpha energy. 
MANIFEST WEST addresses a myriad of current and alarming themes in America. The score is melancholy and ominous. Writer-directors Joe Dietsch and Louie Gibson use the girls’ history text as a smart foreshadowing device. Antigovernment sentiment compounds the simmering chaos. Add Alice’s deteriorating bipolar disorder, and you have a powder keg. Children learn from their parents, for better or for worse. MANIFEST WEST runs head-on with its relevance to a shocking conclusion.
The intimate nature of Bad Axe is visceral. The Siev family could be anyone’s neighbors. They are friendly, hardworking, and respectful members of their community. They bug each other as much as they love each other. They remind me of my holidays when all four siblings invade our childhood home with inside jokes, arguments, and an unconditional adoration for one another. 
I’ve been sitting on my thoughts about this film for two days now. If I’m being completely honest, I think PRESENCE plays like a rushed prequel to a horror franchise. All the elements are in place for some seriously scary storytelling. Yet somehow, I was left with more questions than answers.
I must say that the performance of Dave Davis is my favorite part of the film. Davis gives depth to the building mystery, in some moments with nothing but a panicked stare. His intensity immediately reeled me in, calming me during my desperation to make sense of the plot. I would watch an entire film about his journey with the Presence. That’s the story that hooked me instantly.
Performances from our five leads are exceptional. Dylan Schombing plays Kyle, a young webcam hacker essential to the audience following any trace of sense. Schombing’s eyes speak volumes. Kelcey Mawema is Court. She has a party-girl spirit with a drinking problem that hides an inferiority complex. Mawema gives us a solid performance, never letting herself become a third wheel as the story progresses. Peyton List plays Zooza. This role is a departure for List, even with her darker character of Cobra Kai. You cannot help but focus on her turmoil.
Brendan Meyer (who I loved in OA, and am still bitter we didn’t get our ending…) plays Rob with a trustworthy boy-next-door aura. But, Ober’s script allows him to explore a nuance that Meyer owns. Kaitlyn Santa Juana‘s turn as Cotton is enthralling. She is the thread we follow through the film as we unravel the game. There’s an “it” quality about her I cannot pin down, but I’m dying to see her in whatever she does next.
The script had me hanging on every word, every visual, and mind-ending twist. Writer Damien Ober and director Scooter Corkle hypnotize audiences with dizzying editing combined with slowly leaking reveals. It’s a ceaselessly engrossing marriage of devices. Add on the notable red/ blue lighting and jarring soundscape, and The Friendship Game holds you captive from the very first frame. It is emotional manipulation at its finest.
Diana’s integration into the family lands somewhere between awkward and essential. Husband Felix and young daughter Roberta (they call her Bobs) are caught in the middle, allowing for gaslighting from Felix and growing distrust from Bobs. Add in the class distinction with Christine and her family living in a lavish mansion, while Diana arrives with nothing but a single suitcase, mostly filled not with clothing. Writer-director Lorcan Finnegan utilizes flashbacks of Diana’s life to illustrate the glaring contrast. Little by little, the audience begins to piece things together, but not before being disturbed by the effects of Diana’s folk healing methods.
As the story progresses and the truth reveals itself, your view of each character shifts. Eva Green plays Chrissy with both a manic and ruthless angle. She is a master at living inside the skin of a character, and Christine is no exception. Chai Fonacier is Diana. This juicy role allows us to see Fonacier’s massive range. I would watch her in all the things, as they say.
*******SPOILER ALERT*******
The script is relentlessly chilling. Because the audience has more information than anyone else, it feels as though the characters are sitting ducks. We are right alongside Sara as she witnesses her tormentors thrown into the back of a serial killer’s van. She says nothing, both out of fear and perhaps relief. Those that have ever been on the receiving end of horrible words and despicable actions will undoubtedly wince throughout the film.
PIGGY also speaks to the weight of parental support. We find Sara’s mother to be a nagging, uncaring shrew, while her father pays attention to her with genuine love. Her woes are exacerbated by her parents owning the local butcher shop, leading vile peers to dub her “Piggy.” One of the girls, Claudia, has a deeper connection to Sara based on her delay tactics in teasing and a matching bracelet with Sara.
Natascha McElhone is elegant and effortlessly charming. CARMEN is essentially a later coming-of-age tale. McElhone’s wide-eyed exploration of life is enchanting, funny, and honest. Shot on the beautiful island of Malta, which if you’ve never been, I suggest you visit. The script’s structure utilizes flashbacks of Carmen’s elusive backstory. Writer-director Valerie Buhagiar brings unbridled joy and hidden complexity to audiences. CARMEN is a delight.
Lucas Neff, whom I loved in Fear, Inc, plays Jason, the target of Benny’s sting. His effortless performance had my palms sweating. Neff’s emotional highs and lows elicit a visceral reaction. Jake Dvorsky is Sam, and co-writer Hunter Milano plays Ryan. Both are Benny’s buddies and unwitting co-conspirators. Do not write either of these performances off as sidekicks because each gives a nuanced and enthralling performance. 
Benny’s deep-seated unresolved trauma motivates his revenge under the guise of heroism. Wes Dunlap‘s performance is mesmerizing. He displays alpha confidence accompanied by simmering hurt and fear. When things go haywire, Dunlap leaves it all on the screen. It’s one hell of a turn. 
A ping pong match of intensity, Low Life benefits from rapid and thoughtful editing. But it’s the script that continues to shock. At every turn, I had my head in my hands. My heart was constantly racing, waiting for the other shoe to drop. How Milano and Rotter craft a script that ramps up the severity of the situation blew me away. Twist after twist, Low Life is one of the year’s best screenplays.
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