In WHAT LIES BELOW, Liberty, a socially awkward 16-year-old, returns from two months at camp to a blindsided introduction of her Mother’s fiancé, John Smith, whose charm, intelligence, and beauty paint the picture of a man too perfect to be human.
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.
Mena Suvari plays Michelle, Liberty’s lovesick mother. She is an incredible foil for Ema Horvath. She plays a kinda lost, flaky mom with serious (albeit warranted) daddy issues. When she essentially chooses John over Liberty you cannot help but detest her. But, their dynamic is set from the very beginning and it is what drives Liberty until the end of the film. Trey Tucker strikes a great balance of charming, smart, slightly weird, and intense as hell. His performance and Horvath’s create the needed mystery and vibration that make What Lies Below such a success.
Ema Horvath is outstanding. Having just seen her in The Mortuary Collection, I was aware of her innate ability to slide into someone else’s skin (no pun intended), but this role fits her so well. She’s bright and self-aware and brings that careful insecurity to this performance. I, for one, cannot wait to see what she does next.There are subtle classic sci-fi references throughout, leading you to think you know where this is headed. The ending smacked me hard in the face. I was not expecting it and to Duemmler’s credit, I say “Bravo”. It’s a bold choice and I think genre fans will love it. Check out the trailer for a taste of What Lies Below.
Vertical Entertainment will release the supernatural thriller WHAT LIES BELOW on Demand and Digital on December 4, 2020.
Written by Braden R. Duemmler, who is also making his directorial feature debut, the film stars Ema Horvath (“Don’t Look Deeper”), Trey Tucker (The Space Between Us), Mena Suvari (American Beauty), and Haskiri Velazsquez (“Saved by the Bell”).
The energy that this film has from the get-go is outstanding. It’s dark and disturbing and throws your understanding of morality out of whack. But it’s the nonchalance of it all that will keep you watching. Unlike creepy couples like Mommy and Daddy from The People Under The Stairs or Mickey and Mallory in Natural Born Killers, Henry and Audrey are simply so casual about everything they are about to do it’s all the more bizarre. After they perform what they believe to be a soul transference, things really go off the rails. Something has gone awry. Their grandson is not the only thing to come into their home. The arrival of a gaggle of seriously disturbing ghosts throws all their confidence out the window. Things do not go well for Audrey and Henry going forward. The devil does not care to be used. The things that appear to everyone in the house are more and more terrifying as the fallout continues. It is ceaselessly upsetting.
Performances from our three leads are outstanding. Konstantina Mantelos as young mother Shannon is the final girl we need to balance out the insanity. Her ingenuity and believable vulnerability is sheer perfection. The terror she experiences is visceral. Helped along by the ghastly practical fx and brilliant performances by the actors playing these tortured souls. The contortionist stylings of one, in particular, gave me full-body chills. The chemistry between Sheila McCarthy and Julian Richings is simply magic. You believe they’ve been married for decades without a thought. They are charming in their sincerity even if their acts are atrocious.
The structure of the story roots you deep into the drama. You’re genuinely invested in everyone. Upon a second viewing, and as a Mom myself, I understand the lengths each character is going to protect their loved one. It makes the stakes so much higher. The writing and editing are top-notch. The complexity is unreal. This was a carefully crafted piece of work. If you can get me with a jump scare after 40 years of watching horror films, well done. Anything For Jackson got me… and held me down.
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.
If you are a cinephile with any sense of humor, The Twentieth Century will delight you to no end. It’s Monty Python meets golden era Hollywood musical mixed-media delicious. (It’s basically the most appropriate mouthful I can begin with… nudge, nudge, wink, wink) It’s the wackiest and most wonderful way to jump headlong into the holiday season in 2020. It’s easy to see why it won three Screen Canada Awards and jury accolades at TIFF and Berlin. Writer, director, and editor Matthew Rankin gifts us with one of the most unique and visually lush cinematic experiences. The attention to detail is flawless and the writing will bedazzle you. While I find the plot difficult to properly describe, that’s all the more reason to watch. I guarantee you have never seen anything akin to The Twentieth Century, ever.
The complete and total commitment from these actors is to be applauded. The laugh out loud absurdity of the dialogue fraught with overt sexual innuendo is pushed gleefully further with a large percentage of the cast being performers in drag. The scenery often consists of sharp-angled, backlit, triangular towers sometimes wrapped with black & white political iconography. I fully expected a Fred Astaire dance number but was too distracted by the fetish shaming and the nationalist propaganda. It simply goes from weird to completely batshit. Performances across the board are magic. Fun fact: The film is (loosely) based on a true story! What, what, what?! While I know zero about the dynamics of the Canadian government and identity, I can say that The Twentieth Century stands out from a line of great indie films that arrived on the scene this year. Even without the national connection, the story screams a global political familiarity in your face all while making you merrily cringe in fits of laughter. It’s one of a kind.
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.
Creative editing places you inside the family dynamic of the Hamburgs. Not just Madison’s odd relationship with his estranged father, but his aunt’s and uncles, grandparents, and his sister Barbara, the 4th of that namesake on his mother’s side. Madison uses home videos and still photography to invite you into the years he had with his Mom. Some of the most unique moments come in the form of vintage voiceovers from what seems like those creepy 1950s classroom movies. It is eerily effective. Intimate sit-down interviews play the largest part as the mystery grows. There are constant hints of family secrets but we only get a tease in the final moments of episode one. You’re so invested in this story, it’s frightening. There is no doubt Madison Hamburg wants the truth. I know I’ll be watching the final 3 episodes on HBO to find out if he gets it. Murder on Middle Beach will air episode 1 tonight at 10:00-11:00pm ET/PT.
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.
The film is comprised mostly of footage from the 1960s, readings of court transcripts, and present-day sit-down interviews with almost all of the key players in this unprecedented case. But in truth, it’s the same old story; racist white men asserting control over the black population (and anyone that is their ally). In one particular interview with Lolis Eric Elie, son of famed civil rights lawyer Lolis Elie, he recalls never having “the talk” about how to handle being questioned by a police officer. “How often do you talk about humidity? Well, it’s always there.”
Performances are badass. Nathan Phillips gives a really grounded portrayal of Sinclair. As much as one can be discovering that a family of vamps are trying to kill you. Alyssa Sutherland, as a nurse who lost her daughter and husband in the war, is the sensible, even-keeled figure and voice of reason. She is fearless and kind and a nice foil for the boat’s majority of overly masculine residents. Ruby Isobel Hall is phenomenal in her timing and perceived innocence. It’s some truly nuanced work. For me, the star of this film is Alex Cooke. Frankly, I could have watched an entirely separate film of the history of his character (nudge, nudge, wink, wink, writer-director Justin Dix and writer Jordan Prosser!) His totally nonchalant epicness deserves more screen time. Cooke kills it in this role.
The most unusual aspect of Dix‘s and Prosser‘s screenplay is that I found myself questioning who the real villains are? A family is kidnapped for profit. Then said family is punished for defending itself. Our crew is merely intervening after a tragedy and gets caught in the middle. I found myself relating to the vampires as a mother, which is both weird and wonderful. While there are definitely a few telegraphed plot points, the majority of the script is super original and wild as hell. Blood Vessel could easily become a franchise based on a very satisfying ending. You’ll undoubtedly hunger for more.
As someone who had not one, but two traumatic birth experiences, Kindred spoke to me on an entirely different level. The innate fear you experience when you are growing a small human inside your body is enough without the opinions and actions from those who have ulterior motives. Tamara Lawrance embodies the visceral panic that occurs on the physical, emotional, mental plains of waiting for what a mother hopes will be an inevitably hopeful outcome. But the most evocative aspect of Kindred is the gaslighting pregnant women often endure. Your instinct is ignored constantly, questions deemed silly or paranoid. Doctors and perfect strangers are poking and prodding you with advice and sometimes, touching you without your permission. Pregnancy is a very invasive experience no matter how you look at it. Kindred tackles all this and so much more in an intelligent and terrifying way.
The camera work, colors, and music all create an ambiance that feels foreboding. You don’t even know how completely off-kilter you’ll be by the cinematography until it’s too late. You will question your own opinions about what is real and what is not due to the brilliant and carefully crafted script from writer-director Joe Marcantonio. His work with this cast is award-worthy. He is able to bounce your opinion about these characters like a ping pong ball as the plot rolls along. Perhaps with the exception of Fiona Shaw’s portrayal of Margaret. She is overbearing and loathsome throughout. Her backstory is a smartly written foil for Lawrance’s Charlotte. Jack Lowden performance as Thomas lies somewhere in between the two. Desperately needing to be useful and loved, his loyalty is fickle and all the more disturbing. Tamara Lawrance wins the day with her perfect portrayal of Charlotte. Grief-stricken, imprisoned, bedrest restricted woman, whose internal alarms are ringing ad nauseam, she is phenomenal and represents the confused and delirious viewer, as well. Kindred is dark and scary. It will get under your skin as it slowly drives you into your own madness.
I think sometimes people forget about the importance of sound and score. In horror, they are like an unseen character. In the opening of The Dark and the Wicked, sound and score put you on edge before the title appears on-screen. Christopher Duke, Joe Stockton, and Tom Schraeder, alongside writer-director Bryan Bertino carefully craft that feeling of uneasiness you want in a genre knockout. The premise is relatable enough, to begin with; a brother and sister return to their home as their father lay dying. Something is wrong with their mother. She tries to tell them but can’t quite express what’s invading her house. This plot gets more and more upsetting as clues are revealed. It made my skin crawl.
Stand out performances from Xander Berkeley, Tom Nowicki, Lynne Andrews, and Julie Oliver-Touchstone must be acknowledged. They are all key in the build-up to a shattering finale. Michael Abbott, Jr. is a great foil for Ireland. Their relationship feels very genuine. Marin Ireland is magnificent. The fear in her eyes is everything we feel. They portray the pull of family obligations to perfection. The Dark and the Wicked is one of the most atmospherically disturbing films of 2020. The colors and lighting scream bleak and ominous from the get-go. Smartly used tropes like spooked animals, doors opening themselves, and body horror mixed with ghostly visions let us know things are clearly not okay in this house. The practical fx are gruesome. The build-up is a bit reminiscent of Relic. Long lingering shots get under your skin. Alongside that keen sound is sharp scene editing. It creates small jump scares that have a massive overall impact on the mood. The film relies heavily (and brilliantly) on what you don’t see just as much as completely messed up, mind-bending imagery. The Dark and the Wicked succeeds in creating an unsafe space that is undeniably horrifying. This film literally made me shiver. It is a quick descent into spectacular terror.
John Turturro as Mr. Silk is a masterclass. Like every one of his roles, he is a chameleon. He is slyly one of the evilest characters we’ve seen in quite some time. It’s the nuance that makes this performance so incredible. He is a representation of all that is negative and manipulative about the real world. Chris Messina as Paul’s father is a beautiful anchor. His care for this role is evident from the very beginning. Eve Hewson is a firecracker. Her shocking energy makes you smile wider than you thought possible. Sophie Giannamore is a wonder. She is the very person Paul needed to meet for innumerable reasons. Her chemistry with Jaeden Martell is electric. The ease with which she handles the dramatic and lovely nature of her character is perfection. Jaeden Martell is Paul. His quiet strength and vulnerable nature let us live in his shoes. I’ve seen every one of his roles and he is a star. His ability to breathe life into Paul allows the audience to sit back and let Martell take their anxiety and run with it. He represents the outsider we all felt like we were in some form or another.
It’s visually splendid, from the circus colors, the lush costumes, each character having a stand out color pop. And then, there are the chapter illustrations. They are gasp-worthy gorgeous. The brilliant combination of Olivia Dufault’s screenplay, DP Andrew Droz Palermo‘s camera work, Aaron Osborne’s production design, Donna Zakowska‘s thoughtful costumes, and director Martin Krejcí overall vision make for a stunning and important lesson in 2020. Not only does it serve as a lesson, but it endlessly entertaining. The True Adventures of Wolfboy is a film we can all get behind right now.
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