Official Trailer debut: ‘ROBOTS’ finds Jack Whitehall & Shailene Woodley at odds with “themselves”
Category Archives: Woman Lead
Review: Sean Garrity’s ‘THE END OF SEX’ is a raunchy and relatable rom-com that keeps on giving.
THE END OF SEX
The End of Sex tells the story of a married couple (Hampshire and Chernick) who are feeling the pressures of parenting and adulthood. After they send their young kids to camp for the first time, they embark on a series of comic sexual adventures to reinvigorate their relationship.
Relentlessly hilarious, Sean Garrity‘s new film, THE END OF SEX, is the comedy married parents have been waiting for. Not since Judd Apatow’s This is 40 has a sex comedy nailed this age and stage in life so distinctly. Those are big shoes to fill, and Garrity and company step on up. Get ready to laugh and relate more than you ever planned.
Lily Gao is Josh’s co-worker Kelly. Her casually brazen suggestions to spice up their sex life feel straight out of a Millennial playbook. You cannot help but laugh at her confidence in this role. Melanie Scrofano plays Emma’s teaching partner and best friend, Wendy. She is a delight, matching energy with Hampshire like a pro. I’d watch a spin-off of their art classes in a heartbeat.
Screenwriter Jonas Chernick plays Josh as an everyman, nice guy. He is a solid foil for Hampshire’s breezy personality. Together they make an entertaining duo. Emily Hampshire is Emma. Her chameleonlike ability to live in the skin of any character is a dream to watch. She oozes charm and charisma, honesty and vulnerability. All the yes to her performance.
The script nails the unfiltered complexities of adult relationships, particularly co-parenting and the ebb and flow of physical attraction. It centers on communication and the dangers of giving up on ourselves to mollify our partners. Relationships are rarely 50/50. THE END OF SEX goes there and sometimes falls off the edge in the best way possible.
The quirky and overtly sexualized visuals on signs throughout the film become an over-the-top running joke. A brief but brilliant cameo from a comedy legend takes the script to another level. It is an unforgettable scene. THE END OF SEX celebrates kink rather than shaming. It permits viewers to explore fantasy while reflecting on intimacy. It’s a beginning of a conversation between partners, new and old, and a hell of a good time.
In Theaters This Friday
April 28th
*Official Selection – 2022 Toronto International Film Festival*
Directed by Sean Garrity (My Awkward Sexual Adventure)
Featuring:
Emily Hampshire (“Schitt’s Creek”)
Jonas Chernick (James vs. His Future Self), Gray Powell (“Sort Of”)
Lily Gao (“Letterkenny”), Melanie Scrofano (“Wynonna Earp”)
RT: 86 Minutes
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Review: ‘GRINGA’ is a breezy story of finding family and forgiveness.
GRINGA
After the sudden death of her mother, Marge seeks out the father who abandoned her. Crossing the border into Mexico in search of her soccer phenom and estranged Dad, Marge hopes to overcome childhood trauma and connect with the only person who understands her grief.
Once she finds Jackson, Marge discovers he has been spending his days surfing, coaching, and drinking himself into oblivion. He is in no shape to bring Marge into his life. Undeterred, Marge makes him pinky promise to do better. As they fumble toward reconciliation, Marge learns to be bolder, braver, and more self-accepting.
The women’s fútbol team overflows with cheeky personalities. These girls are great foils for Marge’s insecure nature. Jess Gabor is fantastic as Marge. She is natural, sarcastic, and vulnerable. Steve Zahn never disappoints. His comedic self-defense mechanisms pair well with the well-intended fatherly guidance. At the heart of it, Jackson is a damaged but kind soul. Zahn embraces his flaws, making him human and accessible. Together, they are easy to watch.
Waving the logistical fact that a minor would never be allowed to cross the border without a passport or note from their parents, GRINGA tells the story of two lost souls growing together. The script tackles body dysmorphia, eating disorders, culture, alcoholism, grief, and unresolved emotional trauma. In the end, GRINGA is a charming coming-of-age story for both father and daughter.
In theaters and on VOD on April 21st
Directed by:
EJ Foerster and Marny Eng
Written by:
Patrick Hasburgh
Starring:
Steve Zahn
Jess Gabor
Roselyn Sanchez
Judy Greer
Jorge A. Jimenez
Run time:
1hr 42 min
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Panic Fest 2023 review: Evan Marlowe’s ‘ABRUPTIO’ is mind-bending nightmare fuel.
ABRUPTIO
SYNOPSIS:
Les Hackel is a guy down on his luck who wakes to find an explosive device has been implanted in his neck.
Writer-director-producer-DP-and editor Evan Marlowe brings Panic Fest 2023 audiences, hands down one of the most twisted films in recent history with ABRUPTIO. A maniacally bizarre and wholly disturbing film, this story of coping mechanisms, humanity’s darkness, and unrelenting guilt will knock you off your feet.
If Genesis‘ 1986 music video ‘Land of Confusion’ and the Michael Douglas film The Game had a lovechild, you might begin to imagine the otherworldly visual experience of ABRUPTIO. Marlowe creates a killer script adding discomfort with his lead players in the form of life-sized puppets. The voice cast is out of this world. Christopher McDonald voices Police Chief Richter with the confident bravado that makes him an icon. His puppet bares a striking likeness to McDonald, and aside from Mom and Les, has the most realistic human appearance. Jordan Peele is Danny, Les’ smooth-talking best friend. He provides an awesomely creepy performance, in the quirkiest sense.
Rich Fulcher portrays Dummkopf with weaselly energy. It’s reminiscent of a Dick Tracy comic book character, and while brief, it is an unforgettable turn. Sid Haig plays dry comedian Sal Cheek. He is pitch-perfect in his final roles. Truly a master. He is already sorely missed. Hana Mae Lee is Chelsea, a family friend’s daughter visiting home. She brings a much-needed innocence to balance the absolute chaos.
Robert Englund plays Mr. Salk, an OCD accountant dressed entirely in white. A genius move on Marlowe’s part to include his vocal stylings. Darren Darnborough gives Clive a perfectly sinister intonation. I would happily watch a spinoff following his character’s shenanigans. BUFFY loves of my life James Marsters voices Les. He is outstanding. His subdued nature makes you all the more uncomfortable.
Horror homages arrive not only on the iconic voice casting but in echoes from films like Don’t Look Now, The Shining, Saw, and Beetlejuice, as the plot digs further into the freakishly weird. Lead puppet designer and fabricator Jeff Farley pulls us further into the story with his jarring creations. Part sex doll and all nightmare, our cast of life-sized puppets intrigues and terrifies to no end. The blinking might be the unsettling visual of all. Your brain is already trying to process what you are looking at, and then the puppets’ eyes close sporadically, and it is eerie as hell.
Disturbing and sadistic, ABRUPTIO is a real-time, mind-bending car crash fever dream of the fantastic. It’s a must-see for genre fans looking for something beyond what their imagination or nightmares could ever provide.
Abruptio trailer from Evan Marlowe on Vimeo.
After years in production, Abruptio is screening at festivals around the world. The film will next screen in a hybrid format at Panic Fest: in person on April 15 and streaming virtually from April 19 to April 23.
Festival details:
Panic Fest: https://panicfilmfest.com/
Abruptio screens at Fantaspoa on April 28 and April 30.
Fantaspoa: https://fantaspoa.com/filme/
Stars
James Marsters (voice)
Christopher McDonald (voice)
Hana Mae Lee (voice)
Jordan Peele (voice)
Robert Englund (voice)
Sid Haig (voice)
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Review: ‘ONE OF THESE DAYS’ provides an irresistible competition narrative.
ONE OF THESE DAYS
Bastian Günther’s One of These Days is a fascinating drama with an attention-grabbing core concept you can’t look away from. Based on real events, it centers on an annual Texas competition (Hands On) where contestants place their hands on a truck and then try to outlast the other hopefuls to bring the vehicle home. Contestants must maintain constant contact with the truck at all times, but they cannot lean on the vehicle or squat down. 5-minute breaks are given every hour, and 15-minute breaks are every 6 hours. The contest can last for days.
Despite the length of the contest, we learn very little about most of the contestants. This is the rare film I actually wished was a mini-series. Kyle (Joe Cole) serves as the audience’s main proxy in the competition. Before the competition details surrounding Kyle are mostly superficial. Kyle works at a local fast-food restaurant, has a deaf brother, and is motivated to win the truck to provide for his wife and baby. Kyle begins to unravel as the contest drags on from hours into days.
Cole is effective as Kyle, but the true star of the film is Carrie Preston’s Joan. Joan is not a contestant – she’s the marketing brains behind Hands On. A cheaper movie might paint Joan as an egomaniacal villain with an appetite as wide as Texas. Preston imbues Joan with equal parts sweet gusto, social cunning, and quiet sadness. Small details surrounding her family and personal life are given, but they nevertheless contribute to a richer understanding of her every action. Preston shines, but her brilliance also serves to highlight the lack of detail given to the other characters.
The atmosphere surrounding the contest itself is beautifully realized. The imagery surrounding the laying of hands on the gleaming metal car feels explicitly religious. As the contest progresses, certain elements of the plot do begin to strain credibility. Kyle faces many rivals within the contest, but none of the build-ups leads to a satisfying payoff. A twist surrounding one character seems particularly far-fetched. A final coda has rich details but feels like it arrives too late.
The competition at the core of the film is a strong enough hook to overcome the film’s shortcomings. The central themes of One of These Days are gripping and compelling. Ultimately, this was a film I didn’t regret taking for a test drive.
Directed by: Bastian Günther
Starring: Carrie Preston, Joe Cole, Carrie Hernandez
Distributor: Uncork’d Entertainment
In a small town in Texas, an annual endurance contest (Hands On) to win a pickup truck promises thrilling entertainment to spectators and the chance of a lifetime to participants but ends in real tragedy.
From writer/director Bastian Günther, and starring Carrie Preston (“True Blood”, “The Good Fight”), Callie Hernandez (Shotgun Wedding, “The Flight Attendant”), Joe Cole (“Gangs of London”, “Peaky Blinders”), and Cullen Moss (“Outer Banks”), ONE OF THESE DAYS will screen in select theaters and be available On Demand and Digital April 14, 2023 from Gravitas Ventures.
*** SHOWING AT THE FOLLOWING THEATERS
FROM THIS FRIDAY APRIL 14
AND AVAILABLE IN THE US AND CANADA ON DEMAND AND DIGITAL ***
CA – L.A/SAN FRAN
Arena Cinelounge (Hollywood, CA)
Cinelounge – Tiburon (Tiburon, CA)
New York
Kent Triplex (Brooklyn, NY)
Cleveland
Atlas Cinemas Diamond Center 16 (Mentor, OH)
Boston
Entertainment Cinemas Leominster 10 (Leominster, MA)
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Review: Get revved up for Indy Saini’s ‘Women in the Front Seat’
WOMEN IN THE FRONT SEAT
Filmmaker Indy Saini seeks out like-minded female motorcycle riders across the country. Women of all ages, races, and backgrounds share their reasons for the ride. This unexpected film overflows with depth and heart.
We meet riders and their bikes. Each possesses a unique personality. I loved discovering what each woman packs and what they consider road essentials. The attention to detail fascinates me but does not surprise me. Women are responsible for an incalculable amount of invisible labor. We have to keep track of so much information all the time. 
Saini interweaves her family history into her search. She films herself on long solo journeys from interview to interview and in the back of a pickup truck.
Every subject speaks to their fear of their first ride. You never hear men share those sentiments. The misogyny is pervasive. They thrive on breaking gender stereotypes, many inspired by the pushback they received from their mothers. “You can’t do this” became a rallying cry. Mack explains that she never asks for permission. 
These women are genuinely fearless and incredibly generous. Many groups attach charity to their rides. Many have been in life-threatening accidents and got tight back on a bike. These women thrive in a community. Their clear communication creates a sense of safety and care for each other.
The film is a quiet reclamation of power through motorcycles. It is a perfect metaphor for the everyday challenges and celebrations of womanhood. Women in the Front Seat is an unapologetic, fierce, hell yeah of a doc. Take the ride.
Indy Saini’s WOMEN IN THE FRONT SEAT
now streaming on Amazon
Director/Writer: Indy Saini
Producers: Indy Saini, R.K. Janmeja Singh
Editor: Esther Shubinski
Cinematographer: Indy Saini
Music: Catherine Joy
TRT: 74 min
Country: USA
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Review: ‘One True Loves’ is a complex love story written by The New York Times bestselling author Taylor Jenkins Reid.
ONE TRUE LOVES
SYNOPSIS: Simu Liu (Shang-Chi And The Legend Of The Ten Rings), Phillipa Soo (Hamilton), and Luke Bracey (Point Break) star in this modern twist on a classic love story from NY Times bestselling author Taylor Jenkins Reid. Emma and Jesse are living the perfect life together until Jesse disappears in a tragic helicopter crash on their first wedding anniversary. Four years later, Emma has found happiness again and is about to marry her best friend when Jesse resurfaces, turning her world upside down and leaving her torn between two great loves.
Emma faces an impossibly complex scenario. ONE TRUE LOVES puts the audience in the shoes of a woman torn in opposite directions through memory, loss, and love.
Luke Bracey plays Jesse, a photographer who returns with PTSD. His anger, bitterness, and assumptions sabotage a return to normalcy. Bracey takes us along on a journey that provokes real questions. Simu Liu is Sam. He is a high school orchestra teacher. His scenes are funny, charming, and self-deprecating. I would have happily watched an entire film about him and his students. I request a spin-off. Phillipa Soo plays Emma, a former travel writer. At the urging of her older sister, Emma uses books to heal. Soo is enchanting as she embraces change. She brings a timeless leading lady energy. You will fall in love with her sincerity.
The script would benefit from more scenes establishing the strength of Emma and Sam’s bond. The humor comes from Sam’s endearing and feisty conversations with his students. These scenes are genuine and hilarious. The film probably needs one or two at the beginning to establish Sam as a fully fleshed-out character, which only happens much later in the plot. Additionally, I would have loved to see Sam pining away for Emma as a kid. These nitpicky issues speak to the editing as a whole. The narrative is tricky as we jump in time. It could use a bit of reworking, in my opinion. I would watch this story as a series. There is so much to dig into.
ONE TRUE LOVES has all the makings of a Hallmark classic; a quaint New England town, a bookshop, grief, and a love triangle. It speaks to the nuance of relationships, not just romantic but familial. It addresses the concept of growing apart rather than together. In a world where divorce is statistically high, ONE TRUE LOVES dares to challenge the audience’s moral compass and sense of loyalty. It is a glorious springboard for Phillipa Soo, letting audiences experience her range from stage to screen.
ONE TRUE LOVES will be in theaters on April 7th and on digital April 14th.
IN THEATERS: April 7, 2023
ON DIGITAL: April 14, 2023
ON DEMAND: April 28, 2023
DIRECTOR: Andy Fickman
WRITERS: Taylor Jenkins Reid, Alex Jenkins Reid
CAST: Phillipa Soo, Simu Liu, Luke Bracey
RUN TIME: 100 minutes
RATING: PG-13
GENRE: Romance, Drama, Comedy
DISTRIBUTOR: The Avenue
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Review: The mysterious and heart-wrenching ‘PILGIMS’ comes to U.S. cinemas this Friday!
PILGRIMS
Paulius and Indre seek answers to a mystery that plagues them. PILGRIMS draws you in from the get-go as we follow our two leads down a path of emotional self-destruction and healing. They share a bond no one wants.
Giedrius Kiela and Gabija Bargailaite play Paulius and Indre, respectively. Each brings qualities of pain. Kiela’s aggression has the audience in a death grip. His volatility is frightening. Bargailaite is more subtle. Her unraveling happens in a finale that breaks you. They are hypnotizing. 
Slick editing and long takes on a stationary camera make the audience an unwilling witness to Paulius and Indre’s plans. The script’s structure leaves much to the imagination as clues come slowly. My mind swirled as I watched Paulius walk Indre through the crime’s timeline. You feel compelled to keep watching. As someone whose close friend died under mysterious circumstances years ago, the unresolved pain and trauma are palpable. The need to understand and reason with the devil never fades, no matter how many years go by. PILGRIMS captures the very messy essence of grief.
PILGRIMS Arrives
in Cinemas this Friday!
Lithuania’s Official Submission to the 95th Academy Awards Lands in U.S. Cinemas on 4/7!
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Review: ‘The Strange Case of Jacky Caillou’ is a genre-defying tale.
The Strange Case of Jacky Caillou
When Jacky’s grandmother, a renowned healer, suddenly passes away and a particularly compelling young woman with a mysterious rash arrives on his doorstep, he has no choice but to stay and try to help. As her condition worsens, it becomes clear that she’s afflicted with no ordinary illness. She’s transforming into something dangerous before his eyes, but he’s already in too deep to abandon her.
Writer-director Lucas Delangle and co-writer Olivier Strauss place Jacky in an environment that might feel stifling for a young man with dreams outside his genetic talents. His grandmother nurtures his gift of healing, understanding that he must fully embrace himself before sharing his abilities with the masses. Jacky finds himself torn between love and the greater good. The Strange Case of Jacky Caillou is a surprising film that twists and turns in the most unexpected ways. It is rare to find something this unique.
Thomas Parigi‘s performance transfixes. His ability to hold the audience in the palm of his hands, quite literally in this case, has the viewer waiting with bated breath for his next move. Parigi is a musician. His Soundcloud is as mesmerizing as his performance in the film. This debut role should garner him the attention he deserves. Parigi pulls you into this one-of-a-kind folklore horror dealing with loss, love, self-confidence, and generational embracement. The Strange Case of Jacky Caillou is an undisputable gem.
IN THEATERS (LA, NY) APRIL 7
ON DVD AND DIGITAL APRIL 11
Director: Lucas Delangle
Cast: Thomas Parigi, Edwige Blondiau, Lou Lampros, Jean-Louise Coulloc’h
Screenplay: Lucas Delangle, Olivier Strauss
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Review: Starring Owen Wilson as a local PBS legend, ‘PAINT’ is not a stroke of genius.
PAINT
Carl Nargle is a Bob Ross-like local icon with an exceptional sexual pull for his viewers and staff, but his old-school misogyny and pride rub those close to him the wrong way. Newcomer Ambrosia takes the hour after Carl when he refuses to boost ratings by extending the show. Ambrosia’s popularity skyrockets with her quirky paintings. PAINT becomes a battle of personalities and a search for personal redemption. 
The cast makes PAINT watchable. Stephen Root and Wendi McLendon-Covey are ensemble highlights. Ciara Renée plays Ambrosia with cool confidence. She is a smart foil for Wilson. Michaela Watkins plays Katherine, Nargle’s producer and ex-lover. Watkins displays a down-to-earth vibe. Her warmth is endearing, and her coping mechanism for rejection is relatable and funny. Owen Wilson brings his iconic vocal stylings to Carl. The character is more complex than at first glance. Underneath the fame is a lack of SF esteem and regret. Wilson does his best to save the script.
The pace perfectly mirrors the setting of a PBS station in Burlington, Vermont. The dry humor will hit or miss with audiences. It plays like a Christopher Guest film without the mockumentary structure. It pokes fun at the art industry in a tangible and blunt way. In the end, PAINT is an unexpected love story. If you can rock with the vibe, good for you. If not, it’s a bit like watching paint dry.
Release date: April 7, 2023 (USA)
Director: Brit McAdams
Producers: Sam Maydew, Peter Brant
Distributed by: IFC Films
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Review: SCREAMBOX original documentary ‘LIVING WITH CHUCKY’ is killer family fun.
Screenwriter Don Mancini, writer-director Tom Holland, SFX artist Tony Gardner, and producer David Kirschner brought a possessed doll to life in 1988. In Kara Elise Gardner‘s new documentary, horror actors and CHILD’S PLAY creators comment on the horror industry and the franchise’s specific epicness. LIVING WITH CHUCKY celebrates the genre and its fans.
Brad Dourif plays Charles Lee Ray, aka Chucky. Dourif’s legendary voiceover work will go down in horror history, making ears perk up and fans smirk. He explains his adoration for Chucky but that his experience comes with the isolation of the recording booth. Thank goodness he never gave up on fans. Chucky would not be the same without his frightening and hilarious intonation.
Alex Vincent, the original Andy, speaks to his experience at ages six and seven. Everyone boasts of his maturity and the professionalism he displayed on set. Jennifer Tilly plays Tiffany, aka Bride of Chucky. When Tilly came into the franchise, it revitalized the humor as a straighter foil for Dourif’s maniacal Chucky. The creation of her character is cinematic genius involving the Bride of Frankenstein and a bathtub. Dourif raves about her ability to improvise.
SFX artist Tony Gardner explains the difficulty in reproducing Chucky, Tiffany, and creating Glen/Glenda for Seed of Chucky. Billy Boyd is Glen/Glenda. He remembers his favorite kill with a famous franchise fan and camp master, John Waters. Don Mancini brings in a wider queer audience with this film but also gets meta with the on-screen death of Gardner.
For Curse of Chucky, Brad’s daughter Fiona Dourif played the film’s final girl, Nica. The script returns to a scarier horror, swinging away from the camp of Bride and Seed. Nica was in a wheelchair, a representation that remains rare on film. Cult of Chucky brings back Alex Vincent and a handful of familiar faces over the years. This film is a full-circle moment for the entire Child’s Play franchise.
Brad and Fiona Dourif, Boyd, Vincent, John Waters, Abigail Breslin, Lin Shaye, Marlon Wayans, Christine Elise, and Elle Lorraine discuss the grounded reaction of working with practical fx. We get to see the technical wonder of iconic scenes through behind-the-scenes footage and storytelling from those on set.
As a Child’s Play fan, transition scenes show you every minute detail of creating a single Chucky doll, and popping in each physical piece of media one at a time is fascinating. Everyone comments on the difficulty of movie-making and maintaining family life. The franchise structure is a unique chance to reconnect with people from year to year. They become your support system while away from your biological crew. Director Kyra Elise Gardner brings her second family into the limelight. LIVING WITH CHUCKY allows fans to celebrate one of their horror legends and those responsible for his status. It’s killer fun.
US VOD PLATFORMS (April 4)
Amazon, Apple, Google Play, VUDU, Hoopla, Xbox, SCREAMBOX, and more.
(SCREAMBOX is available to stream on iOS, Android, Prime Video, YouTube TV, Comcast, Cox, and screambox.com)
CANADA VOD PLATFORMS (April 4)
Apple, Google Play, Xbox, and more.
The LIVING WITH CHUCKY Collector’s Edition Blu-ray will also be released on April 18 and available in the US & Canada.
Special features include: Exclusive artwork by Creepy Duck, Candid Conversations, Favorite Death Scenes, Strange Families and Director’s Commentary.
SCREAMBOX, which is powered by Bloody Disgusting, features a broad mix of content for casual and die-hard horror fans alike. The service is refreshed monthly with content from the Company’s extensive genre library with films and episodes delivering every type of terror imaginable — Supernatural, Slashers, Zombies and more. SCREAMBOX currently features classic horror films like Slumber Party Massacre and the original House on Haunted Hill, the blockbuster indie horror films The Outwaters and Terrifier 2 as well as horror series such as “The Island” and “Master of Horror.” Documentaries Pennywise: The Story of It & Unearthed & Untold: The Path to Pet Sematary are also currently available. SCREAMBOX is available to stream on iOS, Android, Prime Video, YouTube TV, Comcast, Cox and screambox.com
ABOUT CINEDIGM
For more than 20 years, Cinedigm (NASDAQ: CIDM) has led the digital transformation of the entertainment industry. Today, Cinedigm entertains consumers around the globe by providing premium feature film and television series, enthusiast streaming channels and technology services to the world’s largest media, retail and technology companies. As a leader in the rapidly evolving streaming ecosystem, Cinedigm continues its legacy as an innovator through its adoption of next-generation technologies, such as artificial intelligence and machine learning, through its proprietary, highly-scalable Matchpoint™ technology platform. For more information, visit cinedigm.com.
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Review: Horror comedy ‘SUMMONING SYLVIA’ has heart and hilarity to spare.
SUMMONING SYLVIA
Written and directed by Wesley Taylor and Alex Wyse, the horror comedy SUMMONING SYLVIA is ridiculous and absolutely fabulous. Three friends kidnap their engaged bestie Larry for a bachelor weekend in a haunted house. The property’s history, and a witchy book of spells, call for a seance. Duh. The group summons the former owner and her son to find out what happened to them. Things get extra spooky when the groom-to-be’s future military brother-in-law shows up. It’s not just the spirits causing trouble. (pun intended)
Magnificent editing from Sara Corrigan keeps the audience on its toes. We jump through time in a single pan of the camera. Bravo to the choreography in these particular scenes. Makeup and costumes from both eras are fantastic. The dialogue is so quippy. It’s fun, heartfelt, and surprisingly deep.
The cast’s chemistry is spectacular. Michael Urie is Jamie, Larry’s fiance. He’s the most down-to-earth of the bunch, with the better part of his screen time in sequences over the phone. Urie can do no wrong in my book. Veanne Cox is Sylvia. Her performance is frightening and downright brilliant. I would watch a stand-alone film on her character.
Noah J. Ricketts is Kevin, the dimmest bulb in the group. His relentlessly horny energy is a fun addition. Opposites attract in this friend group. Troy Iwata is Reggie, the type A of the group. Reggie’s meticulously planned itinerary gets wrecked with the appearance of the very straight Harrison. Iwata’s annoyed bitchy attitude (and rightfully so) made me love him even more. 
Nicholas Logan plays Harrison. His overtly masculine energy, physical discomfort, and aggressive nature are a perfect foil for our four friends. His aura forces the audience to take stock of microaggressions and outright bigotry. Logan handles the distasteful behavior like a champ, and Harrison’s arch is a nuanced breath of fresh air.
Frankie Grande as Nico and Travis Coles as Larry are hysterical. Grande’s every beat is delicious. I found my eye seeking him in each frame, and he did not disappoint. He fills every possible moment with specificity, I guffawed. Coles brings mother energy and fierceness like no other. I wanted to have drinks and karaoke with him immediately. I am requesting a Grande-Coles buddy comedy asap.
SUMMONING SYLVIA is one of the funniest queer films of the year. As a theatre girl, I was in my element. I knew these characters. The film’s climax has a dual purpose that beautifully mirrors life and the afterlife. The finale is celebratory. Do not miss this hell of a good time.
Summoning Sylvia Opens in Theaters March 31, 2023
Broadway Stalwarts Wesley Taylor & Alex Wyse
Make Feature Directorial Debut with LGBTQ Horror Comedy
Starring Michael Urie, Veanne Cox, and Frankie Grande
Opens in Los Angeles at the Laemmle Glendale
Also Opens in New York City and Other Major Markets
Available on Cable VOD and Digital HD
Starting April 7 from The Horror Collective
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Review: Agnieszka Smoczyńska’s complex film ‘FUGUE’ comes to U.S. cinemas.
FUGUE
Agnieszka Smoczyńska‘s sophomore feature, FUGUE, centers around memory loss and gender expectations. The film opens with a disheveled woman emerging from the subway tracks, clearly traumatized and unaware of her surroundings. In a quick jump forward two years, the same woman, now sporting short dark hair and just as confused, surrounded by medical experts. Her memory comprised only the past two years in Warsaw, and calling herself Alicja, doctors parade her on a talk show in a last-ditch effort to uncover her identity. A viewer calls in to claim the woman is his daughter. Reintroduced into a traditional household as a wife and mother of a young son, Alicja/Kinga struggles to integrate into a life she does not remember while being grilled about her disappearance. 
Sporadic blue-tinged purgatory-like flashbacks of the woman in her heels, mussed blonde hair, and filthy trench coat give us little to go on. These sequences are undeniably unsettling. For most of the film, we draw our own conclusions based on the apparent hollowness of their marriage and a suggestion of an affair. Jakub Kijowski‘s bleak, but ravishing, cinematography sets the tone. Alicja stands apart from most of the action, furthering the feeling of isolation in an already stark environment. 
Iwo Rajski plays Daniel with a natural fierceness that suggests he is starring in a documentary rather than a narrative. He is fantastic. Gabriela Muskala pens the screenplay and plays Alicja/Kinga. Her ability to reel you into her turmoil feels effortless. She is magnetic.
FUGUE is a far cry from The Lure and closer to the darkness and mystery of The Silent Twins. It begs the question of maternal instinct and gender roles. It touches on deep unresolved trauma and the unrealistic expectations of women to keep moving headlong. The heartbreaking finale sticks with you long after the credits roll.
Poland, Czech Republic, Sweden • 2018
Directed by: Agnieszka Smoczyńska
Written by: Gabriela Muskala
Starring: Gabriela Muskala, Lukasz Simlat, Iwo Rajski
Run time: 102 minutes
Language: Polish, English
Subtitles: English
Color: Color
Format: 2.35:1
Sound: 5.1
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Review: Based on a true story, Marvin Samel’s very personal ‘iMordecai’ boasts compelling performances from Judd Hirsch, Carol Kane, and Sean Astin.
iMordecai
80-year-old Holocaust survivor Mordecai Samel is a man who works with his hands. When his son insists on replacing his taped-covered flip phone with an iPhone, his world opens up to new possibilities. Writer-director Marvin Samel brings his life and that of his family to the big screen with iMordecai. We must first learn from the past to better understand our future. This personal film will capture your heart.
Azia Dinea Hale plays Nina, a young phone tech who gives private lessons to Mordecai. Dealing with an unexpected family secret, Nina pushes onward to assure Mordecai that he can take his future into his hands and heal through experience and art. Hale is as sweet and patient as we need her to be.
Carol Kane is Mordecai’s wife, Fela. This witty, opinionated Polish woman is diagnosed with dementia. Mordecai’s secrets exacerbate her anxiety-ridden personality. Kane is a legend and compelling as ever in this role. We witness her moment-to-moment decisions, sometimes with nothing but a look in her eye. She is fantastic.
Sean Astin is Marvin, Mordecai’s son. Marvin’s confident facade begins to crack under the pressure of his cigar business, Fela’s diagnosis, and unresolved feelings with his father. Astin leaves his heart on the screen. Marvin is a complex person doing his best to keep his head above water. Astin takes each beat with thoughtfulness. It is a carefully crafted character study.
Judd Hirsch plays Mordecai with delicious chutzpah. He is proud, excitable, and dealing with deep seeded trauma. His journey is a reclamation of his youth. Hirsch is a treat to watch. Handpicked by Samel, he is funny, headstrong, and perfectly cast.
The film features beautifully animated sequences illustrating Mordecai’s childhood and hilarious flashback reenactments of his shenanigans as an adult. iModecai embraces the faults, chaos, and growing pains of our families. Samel’s script addresses everything, from intergenerational trauma to ageism, parenting, and embracing our truth. It oozes charm. Stick around for the credits to see footage of Samel’s twin daughters, the real-life Mordecai, and his art. iMordecai is a sentimental ode to survivors, culture, and unconditional love.
IN THEATERS FEBRUARY 10. ON AMAZON & APPLE TV APRIL 11.
When Mordecai, a Holocaust survivor, portrayed by Academy Award Nominee Judd Hirsch (The Fabelmans, Ordinary People) is given a new iPhone, an unexpected series of events upends his world. A heartwarming Miami-set comedy based on a true story. Co-starring Sean Astin (The Lord of the Rings trilogy, The Goonies) and Academy Award Nominee Carol Kane (Unbreakable Kimmy Schmidt, Hester Street).
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BUFF23 capsule review: ‘THE ANGRY BLACK GIRL AND HER MONSTER’ is a brutal and biting social commentary.
THE ANGRY BLACK GIRL AND HER MONSTER
Desensitized to death by gang violence in her neighborhood and her family, Vicaria chooses science as her savior. “If death is a disease. Then there’s a cure.” In this modern take on Frankenstein, writer-director Bomani J Story brings BUFF 2023 audiences a bold reclamation of power.
Laya DeLeon Hayes is magnificent as Vicaria. Love and success are her motivators. She battles microaggression and blatant racism from every direction. Hayes owns every frame.
The practical fx and special effects makeup are as visceral as they should be. Hayes fearlessly handles the material with glee. The writing is unflinching. It’s a gutsy, hell yes script, socially and psychologically, tackling police violence on black bodies, socioeconomic pain, and family. The Angry Black Girl and Her Monster is a brutal but brilliant watch.
RLJE will release the film in theaters this summer.
Shudder and ALLBLK will follow with streaming debuts later in 2023.
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Make Believe Seattle 2023 closing night film: Onur Tukel’s ‘POUNDCAKE’ is perfectly ripe for pearl-clutching.
POUNDCAKE
I’ve been a fan of filmmaker Onur Tukel‘s weird and wild sense of humor since Applesauce premiered in 2015. In his latest film, POUNDCAKE, straight white men are in danger in NYC. A serial killer is brutally murdering them, and the people have thoughts. This bold and totally Tukel project (which, sidenote, would be a great podcast name) is an unusual ode to the queer community and the eclectic opinions and personalities of the city. Be warned. You are not ready for these shenanigans. 
If the internet comments section became a brilliant satirical dialogue, you might have an inkling of how smirk-inducing POUNDCAKE is. With every conspiracy theory, controversial subject matter, and offensive conversation you can think of, Tukel pushes the envelope. Simultaneously hilarious and politically on point, the film makes fun of us all.
POUNDCAKE tackles racism, faux outrage, misogyny, religion, me too, homophobia, cancel culture, privilege, and toxic positivity. There is a sex scene that manages to be erotic, offensive, and hysterical. No one is safe, especially straight white guys. Yes, it is a horror film but a dialogue-driven one. Tukel has his actors say things that are cringe-worthy, hurtful, honest, and wrong, so very wrong. It’s an audacious film, and it’s what he does best. One line perfectly sums up the fearless writing, “Just don’t take it personally, okay?”
Make Believe Seattle 2023
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BUFF 2023 review: It’s the battle of the narcissists in Kristoffer Borgli’s ‘SICK OF MYSELF’
SICK OF MYSELF
Not to be outdone by her narcissistic boyfriend, Signe manufactures drama to remain in the spotlight. The couple is absolute fraud who will do anything for attention. Their toxicity is contagious, figuratively speaking. When Signe finds that she receives less attention, she goes to drastic lengths to reclaim it.
The line between fantasy and reality blurs often enough to keep you guessing. This unhinged story of mental illness is undeniably shocking. Even more surprising is the message of disability treatment. Writer-director Kristoffer Borgli manages to weave this aspect into the story, if only briefly, before returning to the root of Signe’s narcissism. The special effects makeup team gives audiences a progressively evolving visual of Signe’s condition. It is eye-catching work. Costumes and color schemes noticeably pop, reminding us that this is a comedy.
Kristine Kujath Thorp is magnificent as Signe. Her ability to cry on cue serves the character at any given moment. Her self-absorption knows no bounds, and Thorp leans into obsessive and damaging behavior like a pro. Her performance feels effortless.
SICK OF MYSELF becomes a girl who cried wolf story. Through her self-mutilating plot, Signe is her worst enemy. But an addict only has two choices; feed the need or get better. A scathing takedown of self-aggrandizing behavior, this film is a must-see at BUFF 2023.
Boston Underground Film Festival 2023
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Review: Based on the true events, ‘The Lost King’ is a charming story of one woman’s mission to correct history.
THE LOST KING
*World Premiere – TORONTO INTERNATIONAL FILM FESTIVAL 2022*
Underappreciated and taken for granted, Phillipa Langley gets a bee in her bonnet when she sees a production of King Richard III. Something compels her to start reading about the lost king. In a deluge of research, she falls down the rabbit hole, only to make one of the most astounding discoveries in history.
Two dominant themes in The Lost King are disability visibility and gender bias. Phillipa feels a kinship with Richard, angered he has been deemed a monster due to his severe scoliosis. It seems Shakespeare had a hand in demonizing his appearance for these years. The historical digging that happens in the film is eye-opening. She is whipsmart and undeterred in her mission to clear King Richard’s sullied reputation. We feel the frustration as Philiipa comes up against men taking credit for her work. Cheering her on when she stands up for herself, choosing to spread a strong feminist message to young girls rather than chase the fame regaled onto male archeologists on her dig.
The film’s magical realism adds a beautiful element to Phillipa’s journey. It highlights the emotional pull to finish her search. Not to mention how charming actor Harry Lloyd is as Richard. Steve Coogan plays Phillipa’s ex-husband John, a man going through a mid-life crisis who grows to respect Phillipa’s passion for her subject. Coogan is an icon and is no less intriguing in this role. Sally Hawkins plays Phillipa. Her ability to live in a character’s skin is magnificent. Her physicality dazzles. She can do no wrong in my book. Her enthusiasm is contagious.
EXCLUSIVELY IN OVER 750 THEATERS ON MARCH 24, 2023
In the archaeological find of a century, the remains of King Richard III — presumed scattered over 500 years ago — were discovered under a parking lot in Leicester in 2012. The search was spearheaded by amateur historian Philippa Langley, whose passion and unrelenting research were met with skepticism by the academic establishment. Directed by two-time Oscar® nominee Stephen Frears (The Queen, “A Very English Scandal”) and starring two-time Oscar nominee Sally Hawkins (The Shape of Water, Spencer) as Langley, The Lost King is the inspiring true story of a woman who refused to be ignored and took on Britain’s most eminent historians, forcing them to rethink the legacy of one of the most controversial rulers in English history. A tale of discovery, obsession, and stolen glory (both then and now), The Lost King is a magical adventure illuminated by one woman’s awakened sense of purpose.
CAST: Sally Hawkins, Steve Coogan, Harry Lloyd
DIRECTED BY: Stephen Frears
WRITTEN BY: Steve Coogan and Jeff Pope
PRODUCED BY: Christine Langan, Dan Winch and Steve Coogan
EXECUTIVE PRODUCED BY: Jeff Pope
Run Time: 108 minutes
Distributor: IFC Films
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Review: ‘SCRAP hides unresolved trauma behind bad behavior.
Beth (Vivian Kerr) has recently been laid off and struggles to maintain the appearance of a successful middle-class lifestyle as she bounces around Los Angeles. Hoping to land a new job and change her situation before her estranged older brother Ben (Anthony Rapp) finds out, Beth must confront her own pride in order to reconnect with him and provide for her young daughter Birdy. Meanwhile, Ben and his wife Stacy (Lana Parrilla) consider a third round of IVF and Stacy, a successful attorney, must re-evaluate her own conflicted relationship with motherhood.
Writer-director Vivien Kerr brings a story of estranged siblings Beth and Ben. One thrived, while the other faltered after the death of their parents. Beth lives in her car, spending beyond her means and shirking parenting responsibilities of her 5-year-old daughter, while Ben is a successful fantasy novelist whose wife is going through IVF.
Beth is not a likable character. She is a selfish mess. Underneath is deep unresolved trauma that manifests in habits like spending money as a coping mechanism, endless lying, and terrible decision-making. Kerr lives in the role. You will grapple with supporting her self-destructive behavior. Anthony Rapp plays Ben with a gentle tone. He carries palpable guilt for things beyond his control. Rapp is excellent. He effortlessly embodies a man in a quiet emotional crisis.
I feel like SCRAP would do well as a series. Kerr gives us just enough backstory to reel us in, and there is a complexity that drives Beth and Ben. I would love to see more of their childhood. SCRAP allows for a redemption story and one of healing. I feel compelled to ask Kerr for more of this family. The film speaks to a vast number of Americans struggling to stay afloat. It is unimaginably relatable.
SCRAP was written, directed, and produced by Vivian Kerr and was produced by Rachel Stander. The film has a running time of 105 minutes and is available for sale in all territories.
The film had its World Premiere at Deauville International Film and is currently screening as part of Cinequest where it recently had its US Premiere.
SCRAP WILL SCREEN AT THE PHOENIX FILM FESTIVAL AT THE FOLLOWING TIMES:
Friday, March 31st, 2023 – 2:25pm
Saturday, April 1st, 2023 – 4:35pm
Sunday, April 2nd, 2023 – 4:40pm
(Harkins Scottsdale 101 Theater)
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Review: ‘THE WORST ONES (Les Pires)’- art imitates life in this beautifully moving film.
Set in the suburbs of Boulogne-Sur-Mer in northern France, The Worst Ones captures a film within a film as it follows the production of a feature whose director turns to the local Cité Picasso housing project for casting. Eager to capture performances of gritty authenticity, the director selects four working class teenagers to act in the film to the surprise and consternation of the local community, who question the director’s choice of “the worst ones.” As the director and crew audition, rehearse, film, and interact with their hand-picked cast, jealousies are stoked, lines are crossed, and ethical questions arise, with thought-provoking and at times darkly funny results. Winner of the top prize in the Un Certain Regard section of the 2022 Cannes Film Festival, The Worst Ones announces directors Lise Akoka and Romane Gueret as exciting new voices in French cinema.
THE WORST ONES is a meta-narrative that succeeds in conveying hope through hardship. Not only does the film shine in its storytelling, embracing heartbreak and socioeconomic trauma, but the performances also by our four young actors will hypnotize the viewer. Check out the clip below for a taste:
Timéo Mahaut and Mallory Wanecque play the theatrical brother and sister duo, Lily and Ryan. Each pulling from the script an element of abandonment and aggression. This recurring theme is “permission to feel,” The screenplay skillfully taps into the idea that these children struggle to experience a traditional childhood when food, parents, stability, and peace seem out of reach. Their casting becomes the ultimate healing outlet. THE WORST ONES boasts a compelling film-within-a-film structure with an ending that leaves an impression on your soul.
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