SYNOPSIS: Meet Kurt (Joe Keery), a 23-year-old rideshare driver for Spree, who is so desperate for social media attention that he’ll stop at nothing to go viral. He comes up with a plan to livestream a rampage as a shortcut to infamy – coining his evil scheme “#thelesson”, he installs a set of cameras in his car and begins streaming his rides. Wildly miscalculating the popularity that would come from his lethal scheme, Kurt’s desperation grows as he tries to find a way to overcome the plan’s flaws. In the middle of all this madness, a stand-up comedian (Sasheer Zamata) with her own viral agenda crosses Kurt’s path and becomes the only hope to put a stop to his misguided carnage.
Our favorite Stranger Things ex-boyfriend, Joe Kerry, is taking social media to the extreme. Eugene Kotlyarenko’s new film is what would happen if CAM had a baby with American Psycho. Spree is a found footage post Livestream extravaganza of crazy. It hilariously holds an unfiltered phone screen up to our faces and chokes us with our own carefully curated reality. Approximately 26 minutes in my mouth literally dropped open. It would not be the last time. Spree has incredibly fun kills. The editing is head-spinning. Extra points for the double entendre title.
Joe Keery is amazing. He is in almost every shot of this film. This would not be as successful without him. Cast him in everything from here on out. The nonchalance he has with this level of violence ups the anty. Stockholm syndrome because Keery’s portrayal of Kurt is something I fully endorse. Sasheer Zamata is the audience, the antagonist, and the protagonist. This is only something that will make sense when the credits roll. She is fierce from every angle. The script is so well developed it will blow you away with its sardonic wit. The setup is pure genius. The cast is superb. It’s a nonstop adrenaline ride of gore and laughs. Spree will kick you in the teeth with its irony. And now, the only way to end this… #thelesson #KurtsWorld96 #Spree #FiveStarRating
RED BAND YOUTUBE TRAILER:
SPREE is available in select theaters, drive-ins, on-demand and digital August 14th.
IN THEATERS: August 14, 2020
AVAILABLE ON DEMAND AND DIGITAL: August 14, 2020
DIRECTOR: Eugene Kotlyarenko
WRITER: Gene McHugh, Eugene Kotlyarenko
CAST: Joe Keery, Sasheer Zamata, Mischa Barton, John DeLuca, Josh Ovalle, Lala Kent, Frankie Grande with Kyle Mooney and David Arquette
RUN TIME: 92 min
RATING: NR
GENRE: Thriller
DISTRIBUTOR: RLJE Films
As a fan of Narcos and Cocaine Cowboys, I had incredibly high expectations for The Tax Collector. The slick editing in the beginning, that mixes voiceover and time-jumping violence immediately drew me in. Soto plays David with strength and a conscience. This felt like a fresh take on the typical gang genre. While there is a family angle that is different from the usual fare, it was the introduction of Shia LaBeouf‘s character Creeper that locked me into this particular narrative. He is an unexpected maniac. In reality, it should have come as no surprise because that’s LaBeouf’s schtick; he embodies any role with frightening ease. It was his role that kept me watching The Tax Collector because the idea of Creeper going nuts, simply based on a very brief intercut scene had me salivating for his character’s abilities to take shape. Then, it was a bit of bait and switch. While Bobby Soto was entertaining enough, and the rest of what feels like an ensemble cast is strong as well, LaBeouf’s character disappears and I lost most of my emotional investment. With the aspect of religion Vs religion used in a kind of silly way, I only watched until the end after some serious violence for violence’s sake occurs and thought, “Well, I’ve made it this far. How does this end now?” It’s pretty brutal (this is me warning you now) if you’re at all squeamish. After some truly senseless deaths, and ironically, one that not satisfying enough, the movie sort of just ends okay. That final shot though, come one now. Which is something I actually said out loud at the screen. Admittedly, I thought LaBeouf was the best part of this film. Show up for the genre, the music, the color choices, stay for Shia and The Tax Collector may just keep you in your seat.
The simple wonders of experiencing something for the first time is essentially the purest form of comedy in An American Pickle. Seth Rogen plays two distinctly different versions of “himself”. Having met Seth in real life, his Ben character feels very much like him. Down-to-earth, genuinely sweet, and very funny. As Herschel, he is truly astounding. The magic in his eyes, the reverent and tender respect for history and his family. I fear Rogen gets lumped into a certain category when you mention his name. While I love all his films, An American Pickle is different in a good way for him. It’s an engaging script with a funny concept. But really, the film is about family loyalty and pride. The jokes are whipsmart and insanely relevant to the absurdity of social influence and 2020 in general. This film lives and dies by the performances from Rogen. He needs more opportunities to show his acting chops in earnest. While the film has a lot of hilarious moments, as a whole it’s a little meandering for its roughly hour and a half runtime. Come to think of it, it might have fared better as a serial sitcom. Nonetheless, I think it’s worth your time. If you’re a Seth Rogen fan you will not be disappointed. An American Pickle premieres tomorrow exclusively on HBO Max.
Alex MacNicoll as our leading man is charming and down to Earth. He’s totally believable as a brave and gentlemanly boy next door. The mystery girl next door is played by Genevieve Hannelius. She has an authentic Taissa Farmiga vibe ala American Horror Story, season 1. One of the most entertaining parts of the film is J.T. Palmer as Colton’s best friend, Michael. He is the audience. I loved his commentary.
This film oozes with charm, from the storyline to the cast. Based on loyalty in more than one way, Fisherman’s Friends is uncompromisingly heartfelt. 10 fishermen who love to sing; they are crass and down-to-earth and it makes them all the more loveable. Their nonchalance helps make this a real rags-to-riches story. Watching a group of men represent a time and place that are the complete opposite of London’s modernized hustle and bustle is essential for understanding why Danny makes the decisions he does as the film progresses. The idea of family and tradition play heavily and to the film’s ultimate success. The music is both uplifting and haunting. Sea shanties, some you will recognize and others that will be altogether new to your ears, envelope the viewer. I adored just how many numbers were performed during the film.
The cast is just lovely. Truly an ensemble piece when it comes down to it, each actor is integral in telling this unique story. They are protective of each other, telling the history of the town and its residents through song, stories, and a pint. James Purefoy nails the rough around the edges, unofficial leader of the group. You fully buy his gruff yet protective nature. Daniel Mays as Danny strikes a perfect balance of genuine gentleman and hustler. Tuppence Middleton as Alwyn is a joy to watch. The chemistry between each member of this cast is superb. You’d think they weren’t actually actors at all, especially knowing the Fisherman’s Friends is a true story. Director Chris Foggins has given us a real gem of a film in a time we all need reminding how beautiful staying put can be. Sit back, relax, and enjoy the sounds of the ocean and some melodic voices that are sure to capture your heart.
My husband happens to have an Airbnb listing. Dave Franco just made our lives a whole lot more difficult and I’m not even mad about it. With one hell of a cast at his behest, he dives headfirst into the feature-length game with The Rental. The script is juicy and unafraid. Dan Stevens, Alison Brie, Sheila Band, and Jeremy Allen White leave you enmeshed in their emotional baggage. From the very first scene, you feel a subconscious bait and switch in the blocking. As someone who has always had close colleagues of the opposite sex, boundaries are constantly an issue regardless of relationship status. Two couples silently pitted against one another but the dynamics are not what you’d expect. It’s the secrets and lies that drive this plot forward. Add in a more sinister element and you’ve got a storyline that you will not see coming. Alongside Franco in the screenwriting seat in Joe Swanberg, who you can always count on for some true to life complexities. This was a great pairing.
Dan Stevens, whose star has been steadily rising since his departure from Downton Abbey, is strong as ever. We know by now he’s a full-blown Hollywood star. Sheila Vand, who just so happens to be the star of one of my very favorite films of all time, (
Boasting moments of Shaun of the Dead-like physical comedy, this film is beyond hilarious. Outstanding editing and cinematography add to the overall greatness. The filmmakers did not cut corners in storyboarding. The quick takes are all part of the film’s success. I’ve never found a zombie film more charming. A score that is reminiscent of anything composed by Danny Elfman for a Tim Burton movie, Zombie For Sale has more elements of genre fun than you thought you’d need in a single film.
Our zombie friend has a higher than usual self-awareness, as his ability to understand love, fear, and pain feature prominently in the storyline. He is being used for a “get rich quick” scheme and your empathy is with him. I’ve never wanted to put a zombie in my pocket before, and yet here we are. This absurdity makes it all the funnier. When our clueless family looks up a clip from Train to Busan, I literally guffawed. Each member has a distinctly different personality, besides being con artists. It’s safe to say that our two female leads wield the most power in this screenplay. Outside of the typical “final girl” scenarios, this was refreshing as hell. This is a true ensemble cast. You will not know what’s coming next. It’s safe to call this a genre-bending film. It is a zombie apocalypse redemption rom-com. These performances are laugh out loud funny from start to finish. Zombie For Sale is colorful and zany and it’s one of my favorite zombie films of the year.
The terror begins from the very first scene. Blink and you’ll miss the clues laid out from the getgo. Relic crawls under your skin and chills you to the bone. The script is skillfully crafted. Not only are you inside a haunted house story but you’re also tangled up in family trauma and dementia. As someone whose grandmother passed this spring, as someone who watched her mental and physical deterioration for years from Alzheimer’s, this film felt personal and all the more upsetting. For those who have had a relative with the disease, you’re constantly asking yourself, “Do I see traces of it in my Mother? My Father? Will I feel just as helpless in the future?” Relic is an allegory that builds upon fear, much 
Emily Mortimer, Bella Heathcote, and Robyn Nevin are phenomenal. Three generations of women expose themselves to give us some of the most epic horror performances since Toni Collette in Hereditary, Lupita Nyong’o in Us, and Riley Keough in The Lodge. The specificity to age and stage development is obviously there but it the reaction to trauma both unlying and on the surface that is played with precision. This story, outside of the horror aspect, will resonate with so many, regardless of generation. The cinematographer coupled with the story leaves so many things unanswered. I actually would love a sequel… or even a prequel. Director-writer Natalie Erika James and co-writer Christian White, they have given the viewing audience an exceptionally frightening masterpiece. Very few films still cause me to cover my eyes. Though I wished I had, I could not pull my attention from the screen. Brilliant performances, dark and lush cinematography, and alarmingly visceral storytelling make Relic completely hypnotic. It will, no doubt, paralyze you with fears beyond your understanding.
Ethics and emotion and two versions of one memory; a complex father/daughter relationship is told through time jumps. The new film by Academy Award-Nominated director & writer Atom Egoyan, The Guest of Honour is about questionable decisions and power dynamics. It is complicated in the most engrossing way. David Thewlis and Laysla De Oliveira make a compelling pair. Their chemistry has the perfect balance of volatility and authenticity. Each is afforded the opportunity to play contrasting traits of their characters. Luke Wilson plays a priest, but also a mediator and confession soundboard. He is a key player in the larger scope of the narrative.
Memories can be as delicate as the feelings that come with them. This script is driven by guilt and supposition. While, oftentimes, time jumps can muddle a story, but here the editing becomes another character driving the beats and mystery forward. The Guest of Honour is a nuanced and intriguing film about the intricacies of family, reclaiming power, and learning to let go.
The storyboarding that had to occur for this to succeed must have been painstakingly detailed. Think Looper meets 12 Monkeys. Do not blink while watching this film. The writing is on the wall (literally in some cases.) Volition is an incredibly high octane, sci-fi thriller. It challenges fate and consequences. It’s a never-ending stream of entertaining moments that build and build. The editors deserve a major high five.
Clearly written with some serious precision, Tony Dean Smith, who also directs, and Ryan W. Smith has given us a time-warped mindbender. Our leading man, Adrian Glynn McMorran is phenomenal. Beat to beat he nails the emotional uphill battle this script becomes. Speaking of which, the pacing is really a feat. The complexity will keep you glued to your seat. Volition is aptly named not only for its plot but for everyone involved in making the film as successful as it is. Check out the trailer below for a sneak peek!
With Volumes 1 & 2, as with this third installment, these docs are like the YouTube rabbit hole we all fall into. Hours of different behind the scenes clips and stories all in one glorious place. You cannot go wrong with these films. You’ve seen more of them than you’ll realize. Feel a little cooler and a whole lot more informed after viewing. Then tell a friend so they can tell a friend and so on. All three docs are now available to stream.
Episode 2:
Episode 7:
DEAR… also showcases the lives and letters of Spike Lee, Aly Raisman, Misty Copeland, Oprah Winfrey, Yara Shahidi, Jane Goodall, Stevie Wonder, and Gloria Steinem. The beautiful juxtaposition of the authors’ letters dramatized while reading them is stunning. You’ll have chills. The show is hopeful and real. It’s incredibly well done. It’s a series we need right now, in this moment of history. DEAR… can be seen beginning June 5th in its entirety on Apple TV+.
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