The Wanting Mare
In the world of ANMAERE, north of the city of Whithren, wild horses run through the moorlands and up the coast.
These horses are the city’s most valuable export. They are are hunted and trapped, shipped and sold across the sea once a year.
In a small house just north of the city, a line of women pass a single dream through the generations. They inherit it from mother to daughter; a memory of a time where magic and myth were alive in the world.
This stunningly gorgeous sci-fi film has so much potential. What drags it down is the amount of information we’re missing. A lot of the backstory is buried inside writer/director Nicholas Ashe Bateman’s mind. It’s juicy, no doubt. Uniquely told. It would be glorious as a stage play. There’s enough intrigue in The Wanting Mare to indeed sustain a series of films, as is the intention. The audience has to commit themselves to what they are given. It’s a lot of trust to put in the viewer. What is abundantly clear is that there is a cyclical nature to the female characters and that these elusive tickets put a target on your back. This script is filled with people lying to each other, either to protect someone or keep them from leaving. It’s an interesting concept. The horses are treated similarly to unicorns in Legend. A commodity, yes, but also they must be protected at all costs.
Performances, across the board, are excellent. While there are a lot of characters to track, there is not a single actor who lets you down. Each beat is curated. This cast left it all on the screen. I want to know how these characters got here. What was it like in the constantly referenced “Before?” Frankly, I’m dying for a prequel. I think you need it. Having sat o the film for a day or two now, I think it would only benefit a potential Amnaere franchise. Visually, you are immersed in this mysterious land. Would I continue to watch films made in this universe? Yes. Do I think a general audience will stick with an entire series? That remains to be seen. The one thing I do know for sure, The Wanting Mare is breathtaking to look at. People will be talking about this film in one way or another.
Nicholas Ashe Bateman’s THE WANTING MARE, which opens in select cinemas and on video-on-demand Friday, February 5th, from Gravitas Ventures.
Written & Directed by: Nicholas Ashe Bateman
Director of Photography: David A. Ross
Production Design: Cassandra Louise Baker
Gaffer: Z. Scott Schaefer
Art Direction: Duncan Bindbeutel
This is a fearless film. There is nothing shy about it. Writer/director/editor/DP Ben Hozie has given us an unapologetic look at sexual impulse, gratification, and all the complex feelings that come along with it. It’s not often we see an actor do full-frontal nudity. Leading man Peter Vack is not just full-frontal but masturbates (a lot) in PVT CHAT. And so he should. His character Jack has zero stability in his life with the exception of his need to connect with other humans. This is mostly achieved through cam sessions. While sexual gratification is s short-term goal, he’s really looking for companionship. He’s a great online gambler, that’s how he survives monetarily. At the heart of it, he has fallen in love with a girl he doesn’t completely know is real. Vack is excellent. His vulnerability pours off the screen. His portrayal of a seriously flawed and real human being is stunning.
Rosie is trying to figure out who is responsible for the death of her sister, Amelia. A year afterward, she is obsessed with watching her old YouTube diaries for any sort of clue. The darkest side of the internet comes to light in this unapologetically raw indie. We live in a world where a single tweet can incite violence. But since the beginning of the internet and chat rooms, pedophiles have stalked kids, acted like peers, and lured them into unsafe situations. People don’t seem to grasp the permanence of posting online. The consequences can be life-altering. 
Marc Menchaca stars in another unsettling role, post 
#Like a great companion piece for 
Mimi is me as a kid; overly dramatic, kooky, aggressively brimming with sass. I played with all the boys, digging holes, making forts, playing with stick lightsabers. Am I obsessed with the fact that PG: Psycho Goreman is energized by a truculent little girl?! Hell yes. Do I love the fact that it’s over-the-top in every single way? You betcha. Is this one of the most fun viewing experiences I’ve had in lockdown? 100%. It’s a genre-bending romp of relentlessly violent, gore-filled, sci-fi weirdness and I am here for it all.
Essentially, if you’ve ever been a genre nerd, you’ll love this film. Think Peter Jackson‘s splatstick trilogy, add a pinch of The Gate, with a side of Saturday morning cartoon realness and you can begin to comprehend what this film is. The costume and creature builds are out of this world fun. Every single detail of Psycho Goreman screams an homage to fans. It feels like it was tailormade for my 40-year-old self, and I will continue to tell myself this lie.
The chemistry between cast members is outstanding. The family dynamics are hilarious. I hope I talk to my kids that way when they get to be Mimi and Luke’s age. The dialogue is delivered with such commitment, it’s magical. The kids interacting with PG will force a grin that just won’t go away. Writer/director Steven Kostanski, who I already knew from his ABC’s of Death 2 segment, really gets it. You can tell from his extensive resume that he’s a fan that not only writes for an audience but for himself and I cannot wait to see what’s next. PG: Psycho Goreman is destined for cult classic status. If I don’t see this costume pop up at a future Comic-Con, I will be shocked.
Sir Walter Scott said it best in his poem “Marmion”, ‘Oh, what a tangled web we weave,/ When first we practice to deceive!’ The genius of this script is the storytelling structure. Minutes in you understand that our leading lady is caught in a web so large she cannot get out now. The relentless danger he allows herself to be in is astounding. The audience is constantly waiting for the other shoe to drop. Now that I have had time to sit on my viewing, I am actually aghast at the pace of the film. It barrels along in its deception and doesn’t let up for a minute. While there is clearly a backstory that predates the present timeline in White Lie, I found the lack of information all the more intriguing. I was forced to make assumptions thus leading to, perhaps, a completely different take than anyone sitting next to me. Bravo to writers/directors Yonah Lewis, Calvin Thomas for being bold enough to make such choices.
Kacey Rohl‘s performance as Katie makes the film as enthralling as it is. Her ability to make you loathe her and sympathize with her is uncanny. You understand that the complexity of this role is massive. She absolutely nails it. White Lie will have you uncomfortable from start to finish. It will be impossible to look away even though you’ll feel as entangled in the lies as Katie. It’s quite masterful.
Rarely do I stop a screening link every 5 to ten minutes and reiterate what is happening out loud to my husband. While viewing Alex Knapp‘s post-apocalyptic psychological thriller GO/DON’T GO, I did just that. I was so intrigued I had to share all of the subtle genius happening on screen from beat to beat, sometimes blink-and-you-miss-it imagery. The meticulous thought that went into this script is noteworthy. The breadcrumbs are laid out to entice your imagination with theories. Here is what I can glean from what I saw, stay with me; Agam and K are dating, an unknown world event happens, in a panic, they try to make their way to the mountains to better assess the situation. Something goes awry and K disappears, leaving Adam as the sole human left on Earth. What we and Adam are left with is to piece together disjointed information to try and escape what feels like a little bit of a purgatory-esque version of Memento. Yup. Until the final image, I wracked my brain as to the innumerable possibilities that this story presented me. Was Adam in hell? Was Adam in a parallel timeline? Was Adam insane? Is this an allegory for grief?
GO/DON’T GO could easily be developed into an entire series based on the flashes of information we receive in a 1 hour and 30-minute runtime. What’s with the lightbulb diary? How is all the food so fresh? Why is there still electricity at all? Where is his dog? *Silent scream* I want to know so much more, but completely respect the fact that a massive mystery still remains. If you want to run and tell people and/or ask them if they’ve seen this film while on the festival circuit, well I don’t know what a bigger compliment you could give a first-time filmmaker. Alex Knapp is not only captivating in the role of Adam, but he clearly understands how to effectively build suspense with his writing. He holds the viewer captive with questions and punctuates those moments with a superb soundtrack. The ever-changing lighting is haunting. GO/DON’T GO grabs you from the very first scene and keeps you guessing until the screen goes black. The thought that went into this film is palpable. While I still have so many things I want to know about the ending, I am a cheerleader for Knapp. Whatever’s coming next, I want it now.
The contentious relationship between Devon Sawa and Camille Sullivan is what makes the initial framework of this film so intriguing. With Anne longing for more traditional stability for her family, Joe thrives in the wilderness. Trapping is just not meeting their monetary needs any longer. With their daughter Renee to protect, they are in for a bigger surprise than running out of food and a rogue wolf on the prowl. Hunter Hunter goes to a place so dark, you won’t be able to get it out of your head.
The survivalist and tracker methods ring true. Sawa, who has been churning out films the past few years, once again holds the audience captive with his presence. I’ve stated before that his talent is often overlooked. His commitment to a role is stellar and he’s a lovely human in real life. Here his portrayal of Joe is steadfast and loyal, with a side of heroic intention. His chemistry with Summer H. Howell as daughter Renee is a touch reminiscent of Ben Foster and Thomasin McKenzie in Leave No Trace. Howell gives a “raised off the grid”, tough as nails, but thoroughly innocent age-appropriate performance. It’s just right. Nick Stahl and Devon Sawa in one movie together, have made my schoolgirl fantasies a reality… in the most satisfying, genre nerd girl way. Stahl is downright scary. You can read the unspoken backstory he’s given himself in his posture and gaze. It’s startling.
Camille Sullivan has been written as a fully nuanced woman, forced to activate her Mother Bear instincts. The power she brings to this film is unmatched. This cast has to not only contend with a terrifying script but the elements of filming in the wilderness. I have so many questions since the credits rolled but the mystery that remains isn’t even relevant when the screen goes black. You are simply left in shock.
That sharp turn in the plot blows up everything you think you know about how this story will end. Your heart will be in your throat for the final 3rd. Writer/director Shawn Linden has given us one of the most disturbing films of 2020. The utter carnage, both emotional and physical, inflicted on this cast is brutal. The visceral horror of that befalls the viewer is skin-crawling and nausea-inducing. Hunter Hunter is complex and precisely crafted. Camille Sullivan‘s performance will go down as one of the most iconic final girls, ever.
After hitting indie badass status with 
The underlying social commentary cannot be missed. Social media monsters and drugs are the newest and loudest villains ( besides this effing pandemic) around presently. All that aside, the story itself is complex in the best way possible. It builds a narrative in which you’re constantly asking questions like, “Is he who he says he is?”, “Is this a mental illness?”, “Does it even matter?!”. The answers are actually beside the point when you’ve got great acting to back up the script. Joe Manganiello is perfection in this role. Once you realize that he’s half hero half megalomaniac your mind explodes. It is in the flaws of these characters where we fall in love with them in earnest. Skylan Brooks brings this “kid in a candy store vibe” that never gets old. I cannot wait to see more of him and Zolee Griggs. She has this mature presence that makes you care for her and understand what a badass she already is.
Archenemy has all the makings of a franchise. I hope we see more of this crew! Amy Seimetz, Glenn Howerton, and Paul Sheer level up this film. Every single cast member gives a nuanced performance. It’s dark and complex and nothing like you think it’s going to be. How often do we genuinely get to say that? You can check out Archenemy today!
Stay tuned to Reel News Daily for interviews with Adam Eqypt Mortimer and Skylan Brooks by our awesome colleague Matthew Schuchman! In the meantime, you can check out the trailer below:
Drew Barrymore gets to play two polar opposite roles. Candy Black is character number one. For sure a nod to Drew’s vast collection of lovable characters over the years but with a seriously jaded mean streak. And perhaps also a not-so-hidden, tongue-in-cheek riff on Melissa McCarthy, who gets named dropped immediately in the best way possible. For Barrymore’s character Candy, 5 years after a breakdown on set, she is another person. Her sadness has consumed her. She is a recluse who is court-ordered to go to rehab for 90 days. Frankly, she has other plans. Her second character is the titular role. Paula is seemingly lovely, sweet, and bright, but now also out of a job until she gets an auspicious call to get back on the horse for Candy. Both women get the opportunity to reshape who they are… for better or for worse. You think you know where this story is going, but you’re in for a big surprise.
When they play the same scenes it’s an excellent dynamic. Watching Drew commit to these two women is really fun. You’re constantly waiting for the other shoe to drop. It makes for a heightened watch. It becomes unexpectedly dark. Drew is actually scary to watch. The marketing is doing a disservice to the film. There is so much more to The Stand In than the trailer offers viewers. I hope they can appreciate what comes their way.
It is definitely an interesting commentary on fame and notoriety. There are innumerable moments that will make you cringe but you have to ride them out. The Stand In makes fun of itself in a thoughtful way. The cameos are aplenty and each person is given the opportunity to highlight the trappings of Hollywood with their dialogue. I think that’s what I appreciated most. The dark honesty is what sticks with me as the credits rolled. The entire success hangs on Barrymore’s ability to play two characters we’ve never seen from her before. Congratulations to director Jaime Babbitt for helping a film that’s much deeper than an audience is expecting.
This script does an excellent job of presenting something that feels familiar but layering it with the lust of a teenage girl. Braden R. Duemmler gives us a nuanced look at relationship dynamics wrapped in an enigma of anxiety and fear. We get a fantastic balance of a real-life scenario with the understanding that something is indeed very off about John Smith. The cringeworthy moments are aplenty and that’s a compliment. The character of Liberty is fully fleshed out. I was that girl, in many ways, at 16. While my passion was writing and theatre, I understood the awkward encounters and the sensation of excitement at the thought of an attractive older man having an understanding of the things I liked. Liberty ends up being a badass through her terror and she is a hero in my book. That’s the kind of female protagonist we need.
Ema Horvath is outstanding. Having just seen her in 
The eclectic personalities represented in 18 To Party put me right back in 8th grade. I knew or was all of these kids at one point or another. This ensemble cast is unreal. There is an incredible mix of nonchalance, awkwardness, boldness, and fear. All the hormones and adolescent rage are there in its purest form. It is impossible not to think of Richard Linklater‘s films. Writer/director Jeff Roda‘s dialogue touches on nothing and everything all at once and it is delicious. The pacing is brilliant. You’re fully into these kids and all that’s occurring in their small town circle. I remember when every little thing had the weight of the world because my world was only so large. 18 To Party has a familiarity that lets the viewer live in the film. It’s on real stand out in 2020. Any fellow Gen Xer will be fully in flashback mode, nodding and smiling and cringing along with these kids. It’s totally awesome but in an understated cool way. Wait until you hear the soundtrack. So yeah, Jeff Roda nails it. Watch it with your kids. Their reaction might surprise you. Catch 18 To Party on VOD platforms today.
Family is complicated. Every generation trying to make life better for the next but ultimately failing in one way or another. You cannot do it all perfectly, that’s not a thing. It is in the mistakes and flaws we accept where we grow as individuals and as one family unit. King Of Knives is a raw and undeniably funny look at regret. It shines in its honesty. It allows its characters to feel relatable with great dialogue and effective editing as the full plot is revealed. It’s a beautifully balanced screenplay, allowing each of the four family members to come to terms with where they fit in and how that might affect the others.
The performances are really great. I have to call out the comic timing from everyone. It’s a natural back and forth I have with my family, like it or not. While we all think everyone is so very different, I reality we’re all just as messed up as the next person in line. Gene Pope, Mel Harris, Roxi Pope, and Emily Bennett do a fantastic job making you believe they are related. There is just enough connection and disconnection for you to buy it completely. They are coated in trauma they ignore and facing it one year later will finally break open family secrets and revelations that will change everyone. Lindsay Joy‘s script feels real from my perspective; the first of four (now adult) kids that all did different things and pretend to be too cool for school most of the time. But we know, deep down, we’re all floundering in one way or another. We’re still better together. King Of Knives hits home for any viewer. Sometimes you have to break it down to build it back up. It’s a “Go call you Dad” kind of film. It’s the perfect holiday film, once you watch it you’ll understand why. It releases today on VOD and Digital platforms. Get a taste from the trailer below.
Werewolf is incredible from the very first frame. The fear is visceral in the visual presentation but especially in the performances from a cast of children. This is a new version of Lord Of The Flies as a group of Holocaust survivors lies in wait as they are stalked by attack dogs, and even one of their own. Hormones, trauma, hunger, and anger, all drive this riveting plot forward. It is easy to root for these kids. As a Mom, it made my heart race at every turn. I was sweating watching their ingenuity. Survival is not guaranteed especially when the threat comes from within. It was profound watching these young actors, at times, become as wild as the dogs they feared. Other scenes momentarily allowed them to be children again. This ensemble casts’ chemistry will blow you away. Adrian Panek has given us a thrilling gem. The writing is intelligent and enthralling. Your heart will be in your throat from beginning to end.
75% of this film is Melissa McCarthy speaking directly into the camera and it’s brilliant. The social commentary is what grabs you. It’s presented in an accessible, funny, and genuine way. The script is straight-up hilarious. I mean ceaselessly laugh out loud hysterical. The timing of the release is frankly just what we needed in this dumpster fire of a year. McCarthy plays a woman who left big tech to do better. She is simply living her life when it is interrupted by an AI that doesn’t grasp the totality of humanity. And can you blame it? These days? Technology has caused a lot of drama, heartache, hatred, and sadness over the past few years in particular. Superintelligence tackles it all but makes it funny.
Bobby Cannavale is charming as ever. His chemistry with Melissa is enchanting. Jean Smart, clearly modeled after Hillary Clinton, is obviously incredible. Brian Tyree Henry as Dennis is magic. His comic timing is something a director dreams about. He is a delight. James Corden’s smart-alecky demeanor is the perfect foil for Melissa McCarthy. He pushes her buttons and her limits allowing the plot to barrel forward. As for McCarthy…You cannot help but adore the character of Carol. You will instantly connect with her. She is down-to-earth, anxiety-ridden, and sincere. All of Melissa McCarthy‘s positive energy shines off the screen. She embodies all that is good. McCarthy proves, once again, she is a comic genius. But outside the laughs is a very human character that hits home, reminding us what a well-rounded actor she truly is.
At first glance, the script appears to focus on technology. At the heart of it, the story is about just the opposite. Superintelligence breaks down the human experience from the superficial to the profound. The small moments that become monumental in the grand scheme of life. It chooses kindness and self-sacrifice over hatred and selfishness. It will make you smile from ear to ear. It’s one of the year’s best family films. Superintelligence reminds us all of what we should be grateful for.
Starting off with a bang (literally, zero puns intended) this story about two people desperate to connect is enchanting. Encompassed by the worst hotel staff you’ll ever come across, Luke and Abby are marooned with their sadness and stories and one another. Until some unexpected high school friends reenter the scene. This small town is filled with secrets and some insanely intense locals. It’s completely unexpected and a total delight.
The film takes you on an emotional rollercoaster. It’s at times quite melancholy, undeniably laugh out loud hilarious, and completely breathtaking. You get a slice of everything in this screenplay spectacularly written and directed by Joan Carr-Wiggin. It’s about loss and regret. It’s about kindness and feeling seen by another person. It’s about taking one crazy chance on happiness again.
Vicky Knight as Jade is a revelation. Her expression of physical and emotional pain in all its nuance makes Dirty God as successful as it is. She just wants a bit of normalcy. From the fear her own daughter displays, to the reaction of peers, to confronting her ex and attacker in court, to feel loved, the daily battle screams from the screen. One of the most impactful scenes comes when she purchases a burka. Hiding the majority of her body gives her the confidence to act with freedom. It’s an exhilarating scene to experience with her. The emotional scars are as relevant as the physical ones. Knight, who was burnt as a child in real life, can represent the undercounted number of women that have been attacked in this manner.
Jade attempts to connect with others online. Those scenes are incredibly profound in the grand scheme of her arch. The most difficult thing is watching people treat Jade in a subhuman manner. It’s positively atrocious. The entire conversation around the importance of appearance in society, ableist behavior, and kindness, in general, is one for the ages. Dirty God is inspired and important viewing where the human divide and vitriol are so wide and prevalent. It’s an awesome statement on bullying and an even bigger one for self-esteem.
With superb writing and slick editing, Echo Boomers is intoxicating. With Patrick Schwarzenegger’s voice-over narration the flow feels like a novel, and I do mean that as a compliment. This could easily be further developed into a long-running series. There is a lot to unpack in all the right ways. There’s a psychological subtext to each character that is carefully crafted. The cinematography is sharp, combined with the immersive score, you cannot help but love this crew.
Michael Shannon does what Michael Shannon does best. He lives and breathes every role. He is somehow terrifying and more approachable all at once. Patrick Schwarzenegger is amazing. He grabbed my attention in last year’s Daniel Isn’t Real. I recommend casting him in everything he has time for. He has the innate ability to connect with his castmates on a truly grounded level. He is comfortable in his own skin. You feel like you know him. He is undeniably magnetic. The nuanced dynamics in the screenplay let everyone have impactful moments. You can easily argue this is a true ensemble piece.
I cannot stress enough how fantastic the writing and directing is. This could have gone off the rails in a heartbeat or come off as an Ocean’s franchise ripoff but it holds its own and then some. It’s wildly entertaining. There’s something about Echo Boomers that makes it unique from any other film in 2020. It’s brimming with complexity, action, drama, suspense, and some unbelievable performances. The stakes keep getting higher and higher and even though you know it’s morally reprehensible, you’re all in. You can watch Echo Boomers now in Theaters, On Demand, and Digital from Saban Films.
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