A CREATURE WAS STIRRING
Damien LeVeck gives audiences a clever and nasty addition to the holiday horror subgenre with A CREATURE WAS STIRRING. It’s the Christmas season and a typical evening at home until a home invasion interrupts the care of Faith’s daughter. The undo stress causes her past to rear its ugly head. Those complicated secrets are killer.
Scout Taylor-Compton is Liz, a religious fanatic drifter. Alongside Connor Paolo playing her brother Kory, they seek shelter by breaking into Faith and Charm’s house. These two deliver solid chemistry and provide a weighty anchor that completely counters the energy of Metz and Basso. You will love to hate them for vastly different reasons, but it’s much deeper than you can imagine.
Annalise Basso is Charm. An isolated and soulful take on the role, Basso takes late teen angst and manifests it into a physical performance that wows. Chrissy Metz confidently tackles the role of Faith, a nurse, and mother of a daughter who has a deadly condition. A former addict, her nuanced navigation of an impossible scenario is astonishing. Riddled with guilt and endless determination, Metz brings a fearlessly badass Mama to life. 
The lighting and camera work are fantastic. The film’s opening shot pacts an emotional punch. The dialogue is slick and dripping with innuendo. The volley between religion and science intertwined with comic book and horror canon. Don’t even attempt to guess where Shannon Wells‘ script is going because it is increasingly batshit by the minute. The practical FX made me audibly yelp over and over. When you see it, you won’t be able to remain silent. With quick homages to IT and POLTERGEIST, this creature feature meets addiction metaphor boasts a twisted ending darker than you are ready for.
IN SELECT THEATERS DECEMBER 8, 2023
RELEASING ON VOD DECEMBER 12, 2023
SYNOPSIS:
Faith (Chrissy Metz) keeps her troubled teenage daughter (Annalise Basso) on a tightly controlled regimen of experimental drugs, their only means of fending off a mysterious, terrifying affliction. But after two burglars (Scout Taylor-Compton, Connor Paolo) attempt to rob the home on Christmas, they stumble upon a long-kept family secret—with monstrous consequences.
DIRECTOR:
Damien LeVeck
WRITER:
Shannon Wells
PRODUCERS:
Natalie Leveck & Aaron B. Koontz
CAST:
Chrissy Metz
Annalise Basso
Scout Taylor-Compton
Connor Paolo
RUNNING TIME:
100 Minutes
Lila Schmitz brings audiences the magic of West Ireland through the melodies of the locals and the emotional pull of a tune. THE JOB OF SONGS is a toe-tapping, viscerally joyous film. 
Filmmaker Henya Brodbeker turns the camera on her, her husband, and their young autistic son, Ari. Through years of filming, we witness the evolution of relationships in her Orthodox community, her marriage, and with herself. This is one family’s story about belonging. 
Anyone who follows my career as a film journalist knows I’m a Mom of a young autistic son. I talk about his diagnosis and navigating the complexities of existing in a primarily neurotypical environment. We are lucky in the grand scheme of ASD possibilities. Our son’s cognitive abilities are off the charts. He is loving, funny, friendly, and would not hurt a fly. Dealing with public meltdowns, particularly if those around you do not know or understand, can be a crushing, demoralizing, tear-filled experience. Nothing is easy. It’s undeniably isolating. It’s the outside world we fear most. THE THREE OF US is irrefutable proof of how equal opportunity changes the lives of families. 
Smalltown divorcee and farmgirl Jane is in the midst of planning the final events of her BFF/ex-husband Mark’s upcoming wedding. When he and his fiancee Heather get stranded by snow, Jane steps in with the wedding planner, triggering chaos. A HOLIDAY I DO is a charming cup of cheer for these festive months ahead.
The ensemble cast is delightful. Kayden Bryce, Marsha Warfield, Colette Hahn, Mandy Logsdon, Cameron Judd, and Dale Dobbs make you laugh and smile the entire film.
India Chappell gives Heather the precise amount of jealousy and meltable iciness, countering Mark’s (Joe Piazza) boy next-door aura. Jill Larson is Jane’s mother, Mary Ellen. Unbeknownst to the family, the farm is on the verge of bankruptcy. Larson is like a warm hug. She is an uplifting presence and an ideal mother figure.
Rivkah Reyes plays Sue with approachable sophistication. Her warm smile invites you in. Lindsay Hicks plays Jane with a brightness that mirrors the film itself. Her charming awkwardness is spot on. Hicks masters the art of romcom slapstick. The relationship between Jane and Sue develops naturally. Reyes and Hicks’ chemistry is endearing.
The score by Phil Tipping and Kanoa Wolfe-Doblin perfectly matches the light-hearted, breezy premise. Its sweet simplicity lulls the viewer into a calm state. The dialogue is cute and accessible, especially for families with younger LBGTQ members. A HOLIDAY I DO is an excellent addition to the Hallmark-esque holiday films on Tello.
2nd Annual Dances With Films – NYC 
The score possesses a moving, almost visceral effect on the viewer. The information Rolnick discovers through her years of research will shock you. Their stories remain ever-evolving living entities. The film reinforces the tried and true Churchill adage, “Those that fail to learn from history are doomed to repeat it.” 
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, 
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 
Don’t Tell Larry
Dot-Marie Jones and Ed Begley Jr. serve up pro performances that most certainly elevate DON’T TELL LARRY. Kiel Kennedy has a genuine Will Ferrell energy. His portrayal of Larry is cringe, uncomfortable, and entirely unhinged. It’s wild and wonderful. I won’t say more because seeing is believing. Kennedy gives Larry a larger-than-life persona, mastering the comedy and terror. 
Kenneth Mosley is Patrick, Susan’s work bestie and equally fabulous sidekick. Do yourself a favor. Watch Mosley’s reel on IMDB. You will wonder why he isn’t on every screen in your home. His performance as Patrick immediately catches you off guard in the best way. He’s magnetic. Patty Guggenheim is unforgettable as the hyper-ambitious Susan. Guggenheim is a star. She has a similar energy to Julia Louis-Dreyfus. Her comic timing and charisma pull you in. Her chemistry with Mosely makes me want a sequel/spin-off/whatever!
The performances swing widely. The score, while fine on its own, doesn’t match the over-the-top portrayals of everyone beyond Penny and Albie. Even Timothy Haug and Christine Griffin give us lackluster chemistry.
The plot is glaringly apparent to everyone but Albie and Penny. Once revealed an hour and ten minutes into the runtime, the fact that our invaders have to explain and then begin to bicker while the score ramps up its intensity, things get increasingly eye-roll-inducing. I think there is supposed to be some overarching social commentary, but the film lost me, somehow flipping from thriller to comedy, and I wasn’t sure if that was the film’s intent.
The look of the film is dreamy. Moody indoor shots juxtaposed with lush Swiss landscapes create a visually sumptuous experience. 
Emilia Jones plays Margot, a college student and movie theatre concession girl who goes on a date with an older patron who may or may not be a murderer. Based on Kristen Roupenian‘s 2017 viral short story in The New Yorker, director Susanna Fogel skillfully weaves a dark tale that every woman has lived.
Emilia Jones (
The script also comedically highlights how far women go to remain appealing, how we placate for acceptance, the self-deprecating behavior, and the blatant shunning of red flags. There is a sex scene that is truly something to behold. It is the most cringeworthy, amusing, icky, relatable thing any woman can watch. It accurately captures the constant fear of existing as a woman. The relentless anxiety, the people pleasing, and the patriarchal pressure from every direction, CAT PERSON nails each aspect with humor and truth in fiction.
MOSQUITO LADY
Phillipino folklore Manananggal meets Catholic guilt in Kristine Gerolaga‘s short film, MOSQUITO LADY. When a young woman can no longer hide her pregnancy from her devout parents, she resorts to a legendary monster to assist her. The practical and Special FX are exquisitely gag-worthy. What a frightening jab at religious righteousness and an exploration of culture. 
A little girl who lost her sight tries to convince her mother that an old woman haunts her. ALICIA is a standout short in story, production, and performance. The score is a perfect combination of high-intensity strings. The film hinges on the spectacular young lead, Naia Las Heras, as the titular character. There’s nothing more unsettling than experiencing the genuine fear of a child. Director Tony Morales and writer Cekis Casanova give us enough information to grow an entire franchise. I could see studios from Blumhouse to IFC Midnight snapping this up for development.
Cole is a new online content monitor for the FBI. Upon discovering the final message of his predecessor, he finds a new meaning of “images seared into your brain.” Michael Rich‘s THE QUEUE is the physical manifestation of PTSD from vile online videos.
In EMPIRE V, the two primary notions of Vampirism are Glamour and Discourse. They essentially break down to look and influence. Blood holds all the memories of the human it comes from and arrives differently than we’ve become accustomed to. 
The CGI transition pieces serve as history lessons and sexy vampire propaganda. I’ve never seen anything like it outside of high-tech, immersive video games. Even the closing credits have an elegance and visual splendor akin only to Netflix’s The Crown. 
The fight choreography is Matrixlike. The entire film echoes Neo’s training. It holds equal complexities, no doubt captivating a similar audience. If I didn’t know any better, EMPIRE V would fit perfectly into the list of films featured in the new doc 
Lewi Dawson plays Spencer, Sophie’s best friend and colleague. They are undeniably fantastic in this role. Stanley Browning is Adam, blind date and lead carrier of the infected alien hate worm. Etcetera Etcetera is our hostess with the mostess and hypnotizes with her spooky charm. Lauren Last gives us everything we need to feel grounded, permitting us to laugh at the premise. I would love to see her in more stories. I would welcome a sequel about Spencer and Sophie’s forthcoming shenanigans. 
2023 has been a step in the right direction for trans, queer, and nonbinary representation with films like 
Various animation styles change from scene to scene, from hand-drawn to greenscreen, live-action to stop motion layer and mesmerize, forcing the audience to sit up and pay attention. QUANTUM COWBOYS‘ narrative timeline loops and shifts to give our protagonists a chance at redemption. Butterfly effects cling to each of them as “Memory” plays the storyteller and provides second chances disguised as a mysterious stone arc. This clever device keeps the audience enthralled, wondering how this might end. 
The cast boasts faces familiar and iconic. Kiowa Gordon and John Way shine alongside David Arquette and Lily Gladstone ( a near-future Oscar winner IMHO). This one-of-a-kind film will undoubtedly delight with its wacky and meta climax. QUANTUM COWBOYS is an ambitious film that, while currently planned as a trilogy, could easily transition to a series at a major studio. Marslett gives audiences a choose-your-own-adventure-style story whose possibilities are endless.
You must be logged in to post a comment.