Review: ‘SHATTERED’ mixes ‘Fatal Attraction’ and ‘Misery’ into a thriller for the tech era.

SHATTERED

In the tradition of Fatal Attraction and Basic Instinct comes this dazzling action-thriller starring Academy Award® nominee John Malkovich (RED) and Frank Grillo (Avengers: Endgame). After lonely tech millionaire Chris (Cameron Monaghan, “Shameless”) encounters charming, sexy Sky (Lilly Krug), passion grows between them – and when he’s injured, she quickly steps in as his nurse. But Sky’s odd behavior makes Chris suspect that she has more sinister intentions, especially when Sky’s roommate is found dead from mysterious causes.


Tale as old as time: Boy is lonely, boy meets girl, girl is bad for him. At first, that’s hot. Later, it’s not. Michael Douglass and Glenn Close taught us these dance moves in 1987’s Fatal Attraction. Prieto’s Shattered takes this formula, adds a helping of 1990’s Misery (James Cann plays an injured writer, and Kathy Bates is the nurse who happens to be an obsessed fan. Great movie – don’t watch if you’re squeamish about ankle torture) and gives it all a glossy high-tech setting.

Chris Decker (Shameless’ Cameron Monaghan) is our lonely boy this time around. Chris created and sold a high-tech security app while he was at MIT. Now’s he’s flush with cash, but he’s also peaked too early. That’s how he finds himself divorced, bored, and lonely in his massive Montana home. His only solace seems to be an impressive wine collection. During a late-night bottle run, he meets the mysterious and sexy Sky (Lilly Krug). She looks like trouble, but she needs a ride home, and she likes his taste in wine. What’s a guy to do?

Things get hot and heavy fast and then go wrong even faster. As in, deliriously bonkers fast. This movie is not interested in slow-burning anything – it turns the gas all the way up. Sky, of course, is not who she claims to be, and Chris finds himself in grave danger. Some films would tease this uncertainty out over many scenes, but Shattered stamps down on the gas pedal. This film burns through the plot faster than it can produce it. There’s probably another version of this film where Chris uses his own security app to slowly turn the tables on Sky – a nuanced vision of cat and mouse for the App generation. I would have also loved exploring more of the film’s snowy Montana setting.

But that film probably would have been a whole lot less visceral fun! Lilly Krug struggles a bit with the good-girl half of the film, but gamely brings Sky’s more psychopathic tendencies to life. Decker is dealt a tough hand here, his character reserved and introverted when he’s not being actively tortured. There are hints of past trauma and obsessive paranoia that I wish the film had spent more time drawing out. John Malkovich, playing a greedy landlord dressed exclusively in pastel ski jackets, chews scenery like he just finished a hunger strike.

Coming in at a tight 92 minutes, the pacing and pleasures of Shattered are more than enough to make up for any glitches in its application. You’ll double-check your password security after watching this one.


CHECK OUT THE RED BAND TRAILER: 

Lionsgate will release the thriller film SHATTERED in Select Theaters and On Demand on January 14th! Available on Blu-ray and DVD on February 22nd!

SHATTERED stars an ensemble cast of Academy Award® nominee John Malkovich (RED), Cameron Monaghan (Shameless), Frank Grillo (Avengers: Endgame)Sasha Luss (Anna), and Lilly Krug (Every Breath You Take). The film is directed by Luis Prieto (Kidnap) and was written by David Loughery (Fatale).


 

IFC Midnight trailer debut: ‘A BANQUET’ dishes out family and fear this February.

A BANQUET

Directed by Ruth Paxton
Starring Sienna Guillory, Jessica Alexander, Ruby Stokes,
and Lindsay Duncan

Synopsis
Widowed mother Holly (Sienna Guillory) is radically tested when her teenage daughter Betsey (Jessica Alexander) experiences a profound enlightenment and insists that her body is no longer her own, but in service to a higher power. Bound to her newfound faith, Betsey refuses to eat but loses no weight. In an agonizing dilemma, torn between love and fear, Holly is forced to confront the boundaries of her own beliefs.


Opens in Select Theaters, on Digital Platforms
and VOD on February 18th


About the Director
Ruth Paxton is a Scottish filmmaker who graduated in 2007 with an MA in Film and TV from Screen Academy Scotland having gained her honours degree at Edinburgh College of Art. Her award-winning shorts have been exhibited and nominated in competition at numerous international events and prominent film festivals. Winner of Best Woman Director at the 12th London Short Film Festival for her film PULSE, and nominated one of Canongate Books 40 Scottish Storytellers of The Future; artists anticipated to dominate the next 40 years of creative life in Scotland. In 2019 Screen Daily featured her as one of ‘Six emerging Scotland based Directors you need to know.’ A BANQUET is Ruth’s debut feature, a psychological horror produced by Tea Shop Productions and Riverstone Pictures. The film is represented by HanWay Films, and was recently acquired by IFC Films for North America. It was selected for the Great 8 showcase at Cannes Marche presented by BFI, BBC Films and the British Council, and will have its World Premiere at Toronto International Film Festival 2021, in the Discovery section.


Directed by: Ruth Paxton
Written by: Justin Bull
Produced by: Leonora Darby, Nik Bower, James Harris, Mark Lane, Laure Vaysse
Director of Photography: David Liddell
Edited by: Matyas Fekete
Starring: Sienna Guillory, Jessica Alexander, Ruby Stokes, Kaine Zajaz, Lindsay Duncan
Runtime: 97 mins


IFC MIDNIGHT
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Review: ‘You Mean Everything To Me’ is the personification of relationship red flags.

YOU MEAN EVERYTHING TO ME

Synopsis:

Still reeling from getting kicked out of her sister’s apartment, Cassandra (Morgan Saylor of HomelandWhite Girl and Blow the Man Down) falls hard and fast for Nathan, a local DJ (Ben Rosenfield of 6 Years, Boardwalk Empire, Mrs. America, Twin Peaks).  After a whirlwind romance, he convinces her to quit her job and enlists her to dance at his club. As his coercive control increases and his demands grow darker, Nathan soon isolates her from her friends and family. Confused and desperate, she must figure out how to save another from the same fate and decide what her own freedom is worth.


You Mean Everything to Me is a whirlwind of scary energy. Lost soul Cassandra gets quickly reeled into a relationship with a master manipulator named Nathan. Writer-director Bryan Wizemann brings to the screen a story that most women would categorize as their worst nightmare. Some of us might even say it’s less of a drama and more of a horror.  It’s a film that will take your breathe away.

Ben Rosenfield plays the opposite of his last role in Mark, Mary, and Some Other People. As Nathan, he pours on the charm. Rosenfield is also keenly aggressive in a way that is so slick, the more experienced viewers take notice. What might seem like confidence is a divisive and dark power dynamic from the first breath. All of this further proves Rosenfield is a top-notch talent.

Morgan Saylor, as Cassandra, gives us a beautiful balance of naive and bold. I adored her in Blow The Man Down. I, You Mean Everything to Me, Saylor’s Cassandra is under Nathan’s spell. He sniffed out her insecurities in a heartbeat and pounced. You can see the wheels turning as she battles her instincts with immediate emotional gratification. It’s a heartbreaking performance and one you will not soon forget.

The writing is sharp and nuanced. The initially sly gaslighting is infuriating because it’s so familiar. You could throw a rock and hit any other woman who has experienced similar behavior. When the rush of oxytocin kicks in, all logic goes out the door. The plot moves like a freight train, and because of this, you feel just as trapped as Cassandra. You’ll want to rescue her. You’re on a rollercoaster ride of emotional terror. You Mean Everything to Me is challenging to sit through, but Rosenfield and Saylor compel you to keep going. The final third of the film is nothing short of heart pounding. I was shaking. You Mean Everything to Me is a must-watch.


The film is opening in NYC on December 17th at Cinema Village (with an in-person and virtual theatrical rollout in other cities)


Written and Directed by Bryan Wizemann
Produced by Matt Grady
Cinematography by Mark Schwartzbard
Edited by Michael Taylor

Cast: Morgan Saylor, Ben Rosenfield, Lindsay Burge, Tom Riis Farrell, Jacinto Taras Riddick, and Nicholas Webber


Review: Family sci-fi ‘PORTAL RUNNERS’ is now Streaming & On Demand worldwide.

When 15-year-old Nolan (Siegel) discovers a secreted family legacy and a portal that enables him to travel to parallel worlds, it’s a young boy’s dream come true … until it becomes a nightmare when he realizes he’s being pursued across the ages by an evil force. When he becomes stranded on Christmas in an alternate timeline with his quirky family and a rebellious and petulant older sister he’s never met before, he realizes Mae (Eberle) may be the key to defeating his adversary and must enlist her help fast … before it’s too late for them all.


Science fiction and Christmas are an odd pair (more Machine Gun Kelly / Megan Fox than Meg Ryan / Tom Hanks), but Cornelia Duryée’s Portal Runner is out to prove they can be a match made in movie heaven. If you were a child of the 90s, this film has everything that could possibly be on your Christmas list: multiple dimensions, a plucky young hero pursued by a shadowy evil force, a missing father figure, and booby traps (can I get a “Merry Christmas, ya filthy animal?”) There’s even sibling rivalry and some Y2K references for extra yuletide cheer. Mix it all together and you’ve got fun for the whole family.

Nolan (Sloane Morgan Siegel) is the Portal Runner, your average normal 15-year-old. Oh, except he can use mirrors to travel between dimensions. And he’s being chased by an otherworldly monster that murdered his whole family. Just in time for Christmas, Nolan finally finds what he believes to be a safe dimension. Only, in this dimension, Nolan suddenly has a sister (Elise Eberle).

At this point, you might be asking yourself… is this really a kid’s movie? Duryée wisely spoons out the action in small doses. Most of the narrative is wisely focused on Nolan adjusting to his new sibling dynamic with Eberle’s Mae. Their dynamic is fresh and easygoing, and by the end of the film, you believe the lengths they would go to protect each other.

The film also gets as much juice as possible out of its 1999 setting. I loved the infomercials playing in the background of many scenes, and the Y2K-fearing Uncle Boon (Brian Lewis) steals scene after scene. You’ll never take your dishwasher for granted again.

While moments of Portal Runner may indeed be too dark for younger children, its compelling themes of family and bravery make it well worth adding to your Christmas watching list.



  A nail-biting, action-packed, sci-fi adventure for the entire family, Portal Runner begins streaming and is available On Demand Dec. 10 from Kairos Productions and Terror Films.

Portal Runner can be seen worldwide on Prime Video, Apple TV, Google Play, Kings of Horror, TubiTV, Roku, Film Freaks, Microsoft Movies & TV, and Jungo+.

Starring Elise Eberle (Mae), Shameless, Salem, The Last Tycoon, Tiger Eyes, Lemonade Mouth, The Astronaut Farmer; Sloane Morgan Siegel (Nolan), Dwight in Shining Armor, The Call, Gortimer Gibbon’s Life on Normal Street, Partners and as the voice of Time Drake/Robin in the Gotham Knights video game; Carol Roscoe (Mom/Klara), Language Arts, If There’s a Hell Below, West of Redemption, The Dark Horse and Joanna in The Gamers trilogy; and Brian S. Lewis (Uncle Boon), The Gamers series, Dwight in Shining Armor, JourneyQuest.

Portal Runner was directed by Cornelia Duryée (Language Arts, West of Redemption, The Dark Horse, Camilla Dickinson) from a screenplay by Tallis Moore (JourneyQuest, The Gamers: Dorkness Rising), based on a story by J.D. Henning.


Short film review: ‘Shadow Bird (Sonsi)’ enchants from beginning to end.

SHADOW BIRD (SONSI)

Every morning, eight-year-old Nadi wanders somewhere between the conscious and the unconscious, to meet her dream-etched Shadow Bird. A second character unfailingly follows – the mysterious Timekeeper, who has a clock fitted inside his heart. Every day upon his arrival, the sleepy village would wake up. But one morning neither the Shadow Bird nor the Timekeeper arrive…and Nadi ventures alone into the deep, mysterious woods in search of them.


If you’re looking for something akin to the world of Guillermo Del Toro films, look no further than the Indian short film Shadow Bird (Sonsi). Boasting twenty-four minutes of extraordinary lighting, lush colors, and dazzling cinematic dynamics. These elements are carefully curated by writer/director/cinematographer Savita Singh. I was immediately consumed by Shadow Bird’s glorious sound editing from Ajit Singh Rathore and Anmol Bhave. The score from Tajdar Junaid tops off this elegant folklore tale. The cast is phenomenal. We’re plunged into this dreamlike world with the calming narration from Rasika Duggal. Young actress Aarohi Radhakrishnan portrays Nadi with the perfect amount of precociousness and innocence. Jameel Khan, as Time-Keeper, brings yet another magical element to Shadow Bird. There’s something so whimsical about his facial expressions and voice. What a stunning treatment for a feature. I could watch this over and over, it’s simply that enchanting. This is one of those films that reminds us of why we go to the cinema. It is art.


Shadow Bird, the latest film by groundbreaking director Savita Singh has qualified for the 2022 Academy Awards and is in consideration for nomination in the ‘Best Short Film’ category.

This builds on the National Award the film received in India for Best Cinematography (Non-Feature Film), the highest recognition for cinema in India. ‘Shadow Bird’ qualified for the Oscars by virtue of winning the Bengaluru International Short Film Festival, the only Oscar-qualifying film festival in India. It also won ‘Best Short Film’ at the Lady Filmmakers Festival in Beverly Hills, CA.


WINNER: BEST FILM

Bengaluru International Short Film Festival 2021

WINNER: BEST CINEMATOGRAPHY

67th National Film Awards

WINNER: BEST SHORT FILM

Lady Filmmakers Festival 2021

 

NOMINEE: BEST SHORT FILM

NYIFF New York Indian Film Festival 2021

 

OFFICIAL SELECTION

Montecatini International Short Film Festival 2021

 

IFFSA Toronto 2021

Vancouver International South Asian Film Festival 2021

Dharamshala International Film Festival


Review: Survive holiday hell and hilarity in Camille Griffin’s ‘SILENT NIGHT’

SILENT NIGHT

 

SYNOPSIS: In true British fashion, (while the rest of the world faces impending doom), a group of old friends reunites to celebrate Christmas in the comfort of an idyllic country home. Burdened with the inconvenience of mankind’s imminent destruction, they adopt a stiff upper lip, crack open another bottle of prosecco and continue with their festivities. But no amount of stoicism can replace the courage needed for their last night on earth.


Writer/Director Camille Griffin gives audiences the gift of holiday hell and hilarity. Think The Big Chill meets Love Actually and sprinkles in Melancholia, as Silent Night finds us rocking around the Christmas tree for, perhaps, the last time. A group of friends makes a pact to spend their Christmas together, with one huge and horrifying caveat. The eclectic holiday soundtrack amps up the energy tenfold. But it’s all a bit of bait and switch. Therein lies the genius that is Silent Night. You think the film is one thing when suddenly BAM. This genre-destroying film will shock you.

Silent Night has an ensemble cast that’s to die for. Keira Knightley strikes the perfect balance of overly stressed host and mother, bringing that quirky charm we know so well. Lucy Punch has the innate ability to be funny without a single word and her talents are elevated by Griffin’s cheeky dialogue. Matthew Goode gives us the gambit of emotions. He’s a solid anchor amongst the spiraling chaos. A standout performance comes from Griffin’s real-life son, Roman Griffin Davis, as Art. After his incredible turn in JoJo Rabbit, it should come as no surprise that he knocks it out of the park here. His fearless honesty spills off the screen, and you will be unable to take your eyes off of him. He steals every scene. 

Even as these chic adults reminisce about what could have been, their children attempt to come to terms with impending doom. Every scene featuring a child is perfection. That is what kids are like, and thank you, Camille Griffin, for including these gems. If you didn’t know she was a parent beforehand, you would as you watched the film play out. The complexity of parenting lies within the overall arc of the film. In truth, this is one of the darkest films I’ve ever seen. If I said I wasn’t shaking from anxiety and crying in the end, I’d be lying. The writing is soaked in acerbic wit. It’s a punch to the face, over and over, all while it begs existential questions of privilege and morality. I could easily see a prequel, sequel, or series in which we follow other locations simultaneously. This is a formal request for such a creation.


AMC+ and RLJE Films will release the darkly comedic drama/horror SILENT NIGHT in Theaters and streaming exclusively on AMC+ on December 3, 2021.


Marking writer Camille Griffin’s feature directorial debut, SILENT NIGHT features an all-star ensemble cast including Keira Knightley (Pirates of the Caribbean Franchise), Matthew Goode (Downton Abbey), Roman Griffin Davis (Jojo Rabbit), Annabelle Wallis (“Peaky Blinders”), Lily Rose-Depp (Voyagers)Ṣọpé Dìrísù (“Gangs of London”), Kirby Howell-Baptiste (“The Good Place”), Lucy Punch (Into the Woods), Rufus Jones (”Flack”) and Trudie Styler (Filth, Moon).


Shudder original review: ‘THE ADVENT CALENDAR’ is the holiday horror gift that keeps on giving.

THE ADVENT CALENDAR

Eva (Eugénie Derouand, Paris Police 1900), an ex-dancer, is now using a wheelchair, unable to walk. When her friend Sophie (Honorine Magnier, Tomorrow is Ours) gives her an old wooden antique advent calendar before Christmas, she realizes each window contains a surprise that triggers repercussions in real life. Some of them are good, but most of them are bad, really bad. Now Eva will have to choose between getting rid of the calendar or walking again – even if it causes death and destruction to everyone she holds dear around her.


Writer/Director Patrick Ridremont gives Shudder audiences enough horror to rude into the holidays with The Advent Calendar. Think of it as a Christmas-themed Pandora’s box. Eva’s life is pretty sad. Isolated by the insensitivity of people who only see her wheelchair, combined with the declining health of her beloved father, Eva trudges through day-to-day life. When given a unique birthday gift, each day brings the unexpected. For better, and most certainly, for worse.

There’s an immediate and visceral Wow factor that occurs when the box first appears. The design is intricate. It’s simultaneously inviting and terrifying. It also allows for a brilliant screenplay structure as we know there are more surprises to come counting down the days with Eva. The Advent Calendar could have been an entire series on Shudder. 

Eugénie Derouand, as Eva, is outstanding. You can see the gears turning as her moral compass disintegrates. It’s an emotional rollercoaster. Derouand makes it look easy, and you cannot help but root for her. 

The practical fx and makeup are unsettling and grotesque. I found myself unable to look away, quite frankly. The tropes are consuming, and they’ll send a shiver down your spine. They are relentless. Overall, The Advent Calendar is a gift that keeps on giving, whether you like it or not. Add this one to your annual holiday horror lists immediately. 


Shudder, AMC Networks’ streamer for horror, thrillers and the supernatural will premiere writer/director Patrick Ridremont’s ornate and elegant French horror fantasy The Advent Calendar exclusively on Tuesday, December 2nd. Combining Faustian themes and allusions with European folklore and tense, chilling terror, the Shudder Original film provides some highly original holiday season horror.

The Advent Calendar world premiered earlier this year at London’s Frightfest and was produced by Alain Benguigui, Virginie Ogouz, Jean-Yves Roubin, and Cassandre Warnauts.


HBO original documentary review: ‘ADRIENNE’ lets us peek inside the life of the immensely talented Adrienne Shelley.

ADRIENNE

As the muse of Hal Hartley’s indie classics and as writer/director of the critically acclaimed Waitress, Adrienne Shelly was a shining star in the indie film firmament.


Indie film darling, writer, and director Adrienne Shelley‘s tragic death in 2006 sparked immediate action by her husband, Andrew Ostray. His new documentary explores Shelley’s childhood, her artistic talents, and her legacy. What happened that fateful day? How would he explain everything to their then 2-year-old daughter? Andy sets out to let people into Adrienne’s world, her career, and to help his own family navigate their grief.

Adrienne’s rise to fame seemed written in the stars. Certainly in her diary entries. Her daughter Sophie, who bears a striking resemblance to her mother, reads passages from the diaries through the years. Andy talks to Adrienne’s childhood friends, co-stars, and former directors as they recall her talents and loyal friendship. He documented conversations he had with Sophie about Adrienne. Richard O’Connor creates beautiful line-drawn animation with Sophie and Andy’s voiceovers that become great transition moments. 

Adrienne was so self-aware. It’s inspiring to watch the interviews where she expresses her values. Her uniqueness and vision allowed her to make a space for herself in the entertainment industry and quickly. She was also making a doc herself about happiness. There is so much insightful footage of Adrienne being Adrienne. A repeating theme is a sadness that she carried with her for a great deal of her life. It’s a heaviness that hovers over the entirety of the film. But she and Andy’s love story is never diminished. It’s the reason we have Waitress; this glorious celebration of a woman breaking free and understanding unconditional love. 

The doc swells to the gut-wrenching moment when Andy confronts the man who murdered Adrienne. It is a powerful interaction that had me trembling. But, most likely, you’ve already wept while watching ADRIENNE. You cannot sit through Jessie Mueller’s rendition of “She Used To Be Mine” from Waitress: The Musical and not be a complete emotional wreck. It’s not physically possible. This film is partly a gift to his daughter and Adrienne’s fans. It’s undoubtedly a physical catharsis, leaving the human experience of how one single person can impact everyone around them. It’s a legacy of an extraordinary woman and her story. ADRIENNE will touch your soul. 



Director: Andy Ostroy
Executive Producer: Marc Levin, Nancy Abraham, Lisa Heller
Producer: Andy Ostroy; Co-Producer: Jillian A. Goldstein; Supervising Producer: Daphne Pinkerson
Cinematographer: Trish Govoni
Editor: Angela Gandini, Co-Editor: Kristen Nutile
Music: Andrew Hollander
Language: English, Spanish
Country: USA

Year: 2021


So many stories left to tell. Adrienne, an HBO original documentary about the life and legacy of actress, director, and screenwriter Adrienne Shelly, premieres December 1 at 8 pm on HBOMax.


DOC NYC (2021) review: Questlove Flawlessly Mixes Music + History in ‘SUMMER PF SOUL’

SUMMER OF SOUL

In his acclaimed debut as a filmmaker, Ahmir “Questlove” Thompson presents a powerful and transporting documentary—part music film, part historical record created around an epic event that celebrated Black history, culture and fashion. Over the course of six weeks in the summer of 1969, just one hundred miles south of Woodstock, The Harlem Cultural Festival was filmed in Mount Morris Park (now Marcus Garvey Park). The footage was largely forgotten–until now. SUMMER OF SOUL shines a light on the importance of history to our spiritual well-being and stands as a testament to the healing power of music during times of unrest, both past and present. The feature includes concert performances by Stevie Wonder, Nina Simone, Sly & the Family Stone, Gladys Knight & the Pips, Mahalia Jackson, B.B. King, The 5th Dimension and more.


Ahmir “Questlove” Thompson’s directorial debut is simply brilliant. It might almost be a given that as a world-famous and beloved D.J., every musical and visual choice in Summer of Soul masterfully cultivates a vibe and maintains that dazzling energy for the length of the entire film. In addition to showcasing a great party, Summer of Soul provides viewers with the essential historical and cultural context to fully appreciate what they are witnessing. Through passionate first-person narratives from attendees, the film balances what in less experienced hands might have become merely a history lesson with one hell of a show. 

 Piecing together recently discovered footage from the 1969 Harlem Cultural Festival, Summer of Soul is a celebration of black culture as it transitioned from the tumult of the 1960s into the black liberation movement of the 1970s. In a time of great uncertainty and political unrest, the concert series set in Mt. Morris Park was a time for black pride and celebration. The film includes never before seen live performances by a young Gladys Knight and the Pips, Stevie Wonder, Sly and the Family Stone, Mahalia Jackson, Nina Simone, and many more. Every shot is colorful, powerful, and tells a story. The music is phenomenal. The costumes are dazzling– maybe men should reconsider brightly colored ruffle shirts?– the Black Panthers provided security in full regalia, including the berets. Each shot is a wonder and a visual feast. 

 Summer of Soul is a vital inclusion to narratives around the Summer of Love and essential addition to understanding the complete history of the era.


SUMMER OF SOUL premiered at the Sundance Film Festival, where it won both the Grand Jury Prize and Audience Award. It is streaming on Hulu in conjunction with Disney General Entertainment’s Onyx Collective; Searchlight Pictures released it theatrically.


Review: ‘THE HUMANS’ is a living, breathing tableau of the American family.

THE HUMANS

Erik Blake gathers three generations of his Pennsylvania family to celebrate Thanksgiving at his daughter’s apartment in lower Manhattan. As darkness falls and eerie things go bump in the night, the group’s deepest fears are laid bare.


I wish I had seen Stephen Karam‘s stage version of The Humans. As a theatre major/lover, I could immediately feel the weight of the dialogue; subjects that feel mundane, long pauses fill the air, then the delicious, sharp back and forth. Karam developed his Tony-award-winning script for the screen and every single second of it is authentic. The most magical part of The Humans for a kid that grew up in the Connecticut burbs and then attended a theatre conservatory on the Upper West Side is the specificity to every detail of the sets and sound editing. Now 41, owning a co-op a block away from school, I realize how immune I’ve become to the sounds of a clanking and hissing radiator or the banging footsteps of the neighbors overhead. It is only when I visit home for the holidays that I notice the birds chirping or the silence of a neighborhood with picket fences. And yet, The Humans taps into a universality of the American family. There is something so familiar about the generational divides that appear around a dinner table; the brazen backtalk of the youngest adult, the words of wisdom, often misconstrued, from the parental units. Relationships are rubbed raw by alcohol or exhaustion. It’s a visceral discomfort that is highlighted brilliantly in this film. 

Karam’s use of sound, in particular, makes The Humans a genre-bending ride. Don’t be confused when your heart sounds and you think you’ve mistakenly turned on a horror film. The deliberate panic-inducing score and sound editing exacerbate buried secrets in The Humans. Karam’s carefully curated script is a masterclass in storytelling. He clearly understands the natural rhythm of familial banter. Each character experiences an arc over a few hours. The Humans plays in real-time. The blocking is coordinated chaos, and I mean that in the highest regard. The camera sits quietly, like an observer in an adjacent part of the apartment. Speaking of, in seeing photos of the two-story unit set from the Broadway run, I am even more impressed at the similarities in the film. With the cramped spaces down to the water stains on the walls, the production team deserves all the awards. 

The cast is superb. Amy Schumer stuns in the role of eldest daughter Aimee. The quiet anguish in her eyes and understanding tones of an adult kid attempting to maintain peace resonates immediately. Her performance has an authenticity that will make you take notice. Steven Yeun is a gentle pleaser as youngest daughter Brigid’s (Beanie Feldstein) boyfriend. He is attentive and honest, with perfectly played outsider energy. It should be no surprise to anyone paying attention to Yeun’s roles since leaving The Walking Dead. His talents are limitless. Dementia takes hold of matriarch Momo, played by the legendary June Squibb. While she technically has little dialogue, each syllable has weight. You’re fully aware of her importance. 

Beanie Feldstein as a musician and wide-eyed optimist, Brigid gives us the know-it-all baby of the family, please treat me as an adult vibe we need. You know her character. Feldstein’s delivery is chef’s kiss. Reprising her Tony Award-winning role as Deirdre is Jayne Houdyshell. The underlying pain is precisely masked by good humor and sass. This behavior comes with a breaking point. I could have sworn I was listening to my mother tell stories about her day. Houdyshell doesn’t take any shit. She’s loving but refuses to be a doormat.

Richard Jenkins‘s performance is immaculate. Karam tapped into the plight of the middle-class white man. From working the same job for decades, sending his kids to college, and entering the next phase of life feeling like the rug has been pulled from underneath him. What you aren’t expecting is the PTSD aspect to loom so large. As someone who experienced 9/11 in college and was downtown two days prior, that day hits differently, more so if you lived through it here in Manhattan. That trauma is key to who Erik has become. It is part of his very essence. Jenkins’s physicality is a story unto itself. He is outstanding. 

The Humans is the perfect film to watch with your family. Its nuance will bowl you over. The Humans is timeless and completely relatable. It’s a snapshot of what kitchen tables have looked like for years. Do not overlook this one. 


RELEASE DATE: In Theaters November 24 and on Showtime


From writer/director Stephen Karam and starring Richard Jenkins, Jayne Houdyshell, Amy Schumer, Beanie Feldstein, Steven Yeun, and June Squibb.


Blood In The Snow (2021) review: ‘Woodland Grey’ is a mesmerising tale.

WOODLAND GREY

A man living alone in the deep woods finds Emily, a hiker, unconscious and laying on the forest floor. He brings her back to his home and helps her get back to health so she can leave the forest and get home. After a few tense days coexisting, Emily makes a discovery. She finds a crudely built shed behind the man’s home. When she opens it, she unleashes something truly haunting. As Emily and the man come to terms with what has been released, they also attempt to find a way out of the forest which isn’t exactly what it seems.


Writer-director Adam Reider establishes isolation beautifully in the opening of Woodland Grey. With the sensory engulfing rustling of fall-colored trees, we watch William empty his trapped food and cook it over a campfire in front of his trailer. What appears to be a solitary existence is interrupted when he discovers Emily unconscious in his woods. His attempts to keep a dark secret and his controlled environment are about to go to hell.

The tension between actors Jenny Raven and Ryan Blakely is palpable. Reider, alongside writer Jesse Toufexis, gives these actors opposite personalities to the extreme. But this device keeps things interesting. Each brings a fire and nuanced perspective to the story. When you see it, you’ll understand how meaningful that becomes. They are truly spectacular.

The score helps to build a simmering unease from the very beginning. The structure of the script does not let you get comfortable. You cannot miss the references, directly and indirectly, to “Hansel and Gretel”. It’s all a bit maddening in the most brilliant ways. Could this film be a metaphor for purgatory? Completely possible. Could it be about the emotional stronghold of regret? Easily. I have so many questions and I don’t even care about the answers. I was too mesmerized to care. Woodland Grey is one of the most unique horror films of the year.


For more info on Blood In The Snow 2021 click here!


Blood In The Snow (2021) review: ‘The Chamber of Terror’ is half torture and half terrific.

THE CHAMBER OF TERROR

Nash Caruthers is on a deadly collision course with the people that tore his world apart…along with something unexpected. Something far more sinister.


If you’re going to call a film The Chamber of Terror, then you better be prepared to scare the hell out of people with insane torture devices. Instead, this Blood In The Snow film festival feature initially comes off as a half-baked schlocky mess. The room itself looks like a local haunted house, with red uplighting and blood spatter that could have been made by a giant spin art machine. The Chamber of Terror is not short on blood flow. Here’s a breakdown of the plot, sort of: Purposely getting captured by the crime family who killed his wife and daughter, Nash Caruthers has revenge on his mind. Things get weird. Time jumping, zombies, and a witch whose got her own agenda becomes a bit WTF. 

The acting, for the most part, is pretty cheesy. Although, the Giallo monologue is a genre treat. Two specific cast members understood the assignment. First, Robert Nolan, as the crime family patriarch, is batshit fantastic. I wanted to see more of his shenanigans. And finally, our machete-wielding, mustachioed antihero is the best part of this movie. Timothy Paul McCarthy, as Nash, is some brand of wild. He is the reason to watch The Chamber of Terror

Fifty minutes in, and we’re rolling into what the entire film should be; a tongue-in-cheek, laugh-out-loud gorefest. Now the film shines. Ultimately, if you can stick around until that point, you’ll enjoy the wackiness that is coming your way. Now, two final words on Nash Caruthers; Franchise potential.


For more info on Blood In The Snow 2021 click here!


Blood In The Snow (2021) review: ‘FLEE THE LIGHT’ understands the power of the past.

FLEE THE LIGHT

A mystical horror-thriller where reincarnation, demons and sorceresses intertwine to tell the story of a spiritual search gone wrong. A psychology student (Annie Tuma) delves into her sister’s (Ariana Marquis) psychosis, exposing herself to an ancient predator who hunts souls. Also stars Jane Siberry.


Blood in the Snow 2021 screened Flee The Light last night, a classicly structured folk horror where two sisters with a witchy lineage choose between good and evil. Delphi and Andra become consumed by visions that turn more sinister by the hour. Can they save one another from pure darkness? Flee The Light has an evolution that you won’t see coming. The Wicca research is clear, beautifully shot, and carefully intertwined. I would watch a prequel in a hot minute. Props to the set dressers and location scouts for doing their homework. There is an ethereal quality in certain scenes that grab your attention. 

Screenwriter Jennifer Mancini uses childhood flashbacks to establish the sisterly bond. These are precisely what the audience needed to feel emotionally invested in their relationship. Annie Tuma and Ariana Marquis give fully committed performances. You believe their chemistry. The final scene genuinely brings everything together. I would be remiss if I did not mention actress Jane Siberry for her beautiful turn. With glorious cadence changes, she knocks it out of the park. Flee The Light has a final shot that is a whole lot of Yes. Alexandra Senza gives us a solid B-movie. But the potential for Senza and Mancini to develop an entire franchise is magical.



For more info on Blood In The Snow 2021 click here!


Blood In The Snow (2021) review: ‘PEPPERGRASS’ is a compelling thriller.

During a pandemic, a pregnant restaurateur tries to rob a priceless truffle from a reclusive veteran.


Peppergrass is a slow-burn thriller that ultimately turns into a survival film. It builds a similar tension that Alone did. Not the horror I was expecting from Blood in The Snow, but it is, nonetheless, intriguing as hell. You must have patience during the first third is heavy character-building. While our two protagonists botch their unusual robbery, the camera continues its handheld intimacy. Forced into the dark woods, Eula attempts to make it to the car in one piece. This goal proves a more complicated task, as the landscape is unkind to a pregnant person.

Chantelle Han gives it her all as Eula. As the plot roles out, in a predominantly real-time fashion, the audience watches her physically and emotionally tap out at points. But it is when she barrels through the cold, darkness, and imminent threat that makes her a total badass. Han is the driving force of Peppergrass.

The score, at times, is this curious mix of ominous whimsy and borderline grating organ tones. It begs your attention. Peppergrass is nothing like I expected. It places you inside the action because there is literally nowhere else to go. The danger and isolation are palpable. It’s a solid film.


Coming to digital June 16 (US/Canada)

 

For more info on BITS 2021 click here!


Review: Marc Brener’s ‘The Rumperbutts’ is a musical comedy for the indie loving audience.

Selling Out… Isn’t all it’s cracked up to be.

A married couple and indie band duo, who never reached the success that they had always hoped, decides to stop pursuing their dream when a financial dreamed opportunity arises for them to trade fx with VT markets in the UK.

In spite of all the money and newfound success, the two of them are miserable and have spilt up. However, on one magical evening, a mysterious stranger comes into their lives and gives them a second chance.


Holy shit, it’s Mates of State starring in a musical rom-com! Filmed in 2013, 5 months after my husband and I left Yale, The Rumperbutts shot in downtown New Haven at the legendary Toad’s Place and the surrounding streets. The plot is amusing; married bandmates sell out to become the faces of a children’s show. They now fill arenas with children and parents dressed as the fictional creatures, The Rumperbutts. Also, they loathe each other. They are contractually stuck on a tour bus and jaded as hell. When a mysterious invitation appears, it offers to change their lives forever. 

Richie might be a modern-day, pot-smoking Puck/guardian angel? Josh Brenner‘s magical role is an in-your-face, witty character that will undoubtedly make you laugh out loud. His energy with Kori and Jason is wildly organic. I would watch a spinoff featuring Richie’s escapades in a hot minute. As for Kori Gardner and Jason Hammel, Mates of State are huge on the indie scene. Their marital and musical chemistry translates perfectly onto the big screen. Their comic timing is delightful. If you’re already a fan of the band, you’ll undoubtedly enjoy the stoner comedy mixed with marital and money woes. If you’re unfamiliar, this is a brilliant, tongue-in-cheek, introduction to their whole vibe.  

Where has The Rumperbutts been hiding all these years? Be still my heart. It’s essentially an album wrapped in a rom-com. Frankly, I’m a sucker for a solid musical, so this ended up being right up my alley. Writer-Director Marc Brener has no direct link to Yale. None that I could find via Google, at least. Toad’s Place is such an iconic venue, and for those of us watching with the local connection, the choice was an added warm hug. (Especially because I’ve performed there.) The Rumperbutts speaks to the lengths we’ll go to become famous and remain famous at the cost of our relationships. But, all the dramatic undertones aside, the film is a good time with friggin amazing tunes and comfort comedy. I’d watch it again, and I might even buy Rumperbutts merch for my kids. 


Writer/director Marc Brener’s hilarious new comedy The Rumperbutts, featuring “Blue Bloods” star Vanessa Ray and Josh Brenner from “Silicon Valley”, premieres on Digital November 19 from Global Digital Releasing.


Starring Kori Gardner, Jason Hammel, Josh Brener, Arian Moayed and Vanessa Ray, and featuring music by “Mates of State”

Review: ‘Black Friday’ a hilarious and gross entry into the holiday season.

On Thanksgiving night, a group of disgruntled toy store employees begrudgingly arrive for work to open the store at midnight for the busiest shopping day of the year. Meanwhile, an alien parasite crashes to Earth in a meteor. This group of misfits led by store manager Jonathan (Bruce Campbell) and longtime employee Ken (Devon Sawa) soon find themselves battling against hordes of holiday shoppers who have been turned into monstrous creatures hellbent on a murderous rampage on Black Friday.


Is there a more perfect analogy for Black Friday shoppers than crazed zombie-like beings looking to consume? If you’ve never worked retail for the holidays, you have no idea what it’s like to deal with monsters. It honestly prepares you for any weird or crazy behavior from people the other 11 months of the year. Black Friday writer Andy Greskoviak must know a little something about the experience. His script is hilarious, tongue-in-cheek, and wholeheartedly captures the love-hate relationship between co-workers. Director Casey Tebo has given audiences a gory yuletide gift.

Bruce Motherf*cking Campbell, ladies, and gentlemen. Like Sawa, you tell me Campbell is to appear in a film, give it to me, you don’t have to ask. This guy is the poster boy for horror-comedy. He is a legend. As store manager Jonathan, he nails every beat. Stephen Peck gives life to Floor Manager Brian. He is the embodiment of second-tier management and the power that comes with that role. His shitty attitude makes the dynamic between the workers laugh out loud funny.  Ivana Baquero is a nice foil for all the masculine energy. She’s sweet and caring and unafraid to keep up with the boys club. Her presence is a necessary grounding. Michael Jai White is the hero we all want him to be. If you’re not rooting for this man, shame on you. I wanted much more of him.

Ryan Lee, as Chris, is just as impeccable as Sawa and the rest. A germaphobe whose anxiety looms large, Lee gets the opportunity to shine here. I did not realize this is the same kid from Super 8 and Goosebumps! More of him, please, and thank you. Devon Sawa is a bonafide horror icon. Seeing him alongside Bruce Campbell feels right. Sawa never fails to bring the comedy. He’s so damn natural. I am so stoked to see him working nonstop in genre films over the past few years. Black Friday is yet another role for him to kick some ass. In truth, Black Friday is an ensemble piece. The chemistry is incredible.

If I’m being picky, there are minute pacing issues as some innocuous shots felt long. On the upside, the use of the swipe transition is a throwback I wasn’t expecting. The practical FX are cool as hell. The special fx makeup progresses with the plot, and the intricate creature design becomes creepier and more visceral. Slow clap for SFX master Robert Kurtzman and his entire team. Black Friday is a little Color Out of Space meets Dawn of the Dead. Am I obsessed with the ending? You know it. Do yourself a favor, sit back, relax, and enjoy this film until the real-life stress of the holiday season eats you alive. 


Available In Theaters November 19th
& On Demand November 23rd


Directed by Casey Tebo
Written by Andy Greskoviak
Music by Patrick Stump (Fall Out Boy)
Starring Devon Sawa, Ivana Baquero, Ryan Lee, Stephen Peck, Michael Jai White, and Bruce Campbell


 

DOC NYC (2021) review: ‘GO HEAL YOURSELF’ takes a deep dive into alternative medicine.

GO HEAL YOURSELF

Against the wishes of her family, Yasmin sets out to find a treatment for her
epilepsy via alternative medicine. Meeting inspiring people all around the
world, she learns that this route is not as easy as simply taking a pill.


My aunt has always used homeopathic remedies. She’s beaten breast cancer twice. As someone with chronic pain from a neck injury caused by a car accident, anxiety since childhood, severe dance injuries, and phantom pain and diastasis recti from two C-sections, I would love to find ways to heal myself juts like I found the CBD oil for anxiety which allows me to cope with my mind. You hear testimonials constantly on the internet or get messages on social media from women in health and wellness, aka the newest pyramid scheme. In Go Heal Yourself, filmmaker Yasmin C. Rams goes on a mission to explore alternative medicine for her epilepsy and her father’s Parkinson’s. It is a journey fraught with emotion. 

The argument of western vs. eastern medicine will never fade. Alternative medicine is a rare topic in my house. We believe in science, but that never discounts the science we aren’t familiar with yet. Although, my neck injury was so painful that I did my first and only session of acupuncture. It did not move the needle (pun intended) on my pain scale. I’ve since watched two aunts go through breast cancer treatments. Neither of their stories is the norm. While one used homeopathic medicine and CBD treatments (find the Exhale Wellness Delta 8 joint here), the other did chemotherapy but never got sick. I’ve never heard of that before. 

In Go Heal Yourself, Yasmin’s father is skeptical. Her attempts to change his diet or convince him that his medication isn’t helping fall of deaf ears. Her epilepsy seems to reach a point of no return as CBD and herbal supplements become too expensive. In her search for answers, Rams reaches out to those individuals across the globe who claim their sickness wained due to a drastic lifestyle change and not medication. You cannot help but become emotionally attached to the people featured in Go Heal Yourself. You’d be hardpressed not to know someone in your life that isn’t afflicted similarly. While some of them heal, others struggle. Each believes that holistic medicine will lessen their ailments in the end. It’s the mental aspect that seems the most powerful. With mindfulness becoming more mainstream, those who practice may feel vindication from this doc.

We are fully invested in Yasmin’s journey. It’s a personal, oftentimes dark, diary of sorts. Undoubtedly, we’re hoping to find our miracle cure as we watch. Go Heal Yourself is going to rattle people, and there’s no getting around it. But if it causes us to stop and think for a moment about what our health means in our souls, then it has succeeded wholeheartedly. At the very least it opens up the dialogue.


Online Dates

Sunday, November 14 – Sunday, November 28, 2021


Director: Yasmin C. Rams
Producer: Yasmin C. Rams, Rodney Charles
Cinematographer: Vita Spiess, Nic Smith
Editor: Kirsten Kieninger
Music: Patrick Puszko
Language: English, German, Spanish, Mandarin
Country: Germany

Year: 2021


Review: ‘The Pebble and the Boy’ is a sweet coming-of-age road movie.

THE PEBBLE AND THE BOY

Written and directed by Chris Green, The Pebble and the Boy is the story of a son attempting to honor his recently passed father. Riding from Manchester on his dad’s scooter to Mod mecca of Brighton, John gets more than he bargains for in his attempt to scatter his father’s ashes. The film is structured like a walk down memory lane for Phil’s mates and a history lesson for John. Ultimately, The Pebble and the Boy morphs into a way to navigate grief and regret.

Patrick McNamee as John is everything we need him to be; vulnerable and a little lost. I must give mention to John’s would-be sidekick, Nicki. Sacha Parkinson is funny, brash, and fills the screen with her vibrant presence. As the script progresses, the one character we never physically hear from becomes the most intriguing. Phil is an enigma for John. Unraveling the mystery of the man takes center stage and is undoubtedly the most successful aspect of the script. Filled with surprises, The Pebble and the Boy is like a warm hug. It’s a breezy, coming-of-age road movie with one hell of a soundtrack.


Inspired by Mod-culture, The Pebble And The Boy will be released on digital in the US and Canada on November 16.


The film was written and directed by Chris Green (Me, Myself and Di) and stars Patrick McNamee (Our Girl), Sacha Parkinson (Coronation Street), Max Boast (Sex Education), Patsy Kensit (Lethal Weapon 2, Shelter Island), Ricci Harnett (Rise of the Footsoldier) and Jesse Birdsall (Hollyoaks).


The film features tracks from Paul Weller, The Jam, The Style Council, Secret Affair, and The Chords. The title of the film is taken from the final track on Weller’s eighth studio album, As Is Now.


 

Review: Terrifying tots take aim at Mommy’s new boyfriend in ‘Ankle Biters’.

ANKLE BITERS

Sean, a pro hockey enforcer, has fallen in love with Laura, a widowed mother of four young daughters. When Laura’s children mistake an act of lovemaking as an attack, they plot to protect their mother at all costs and with horrific results.


Are you fighting DUI charges in Wyoming and want a bit of crime and comedy on screen? Well, here is one. Poor Sean and Laura just wanted a little bit of rough sex, but his soon-to-be stepkids are seriously killing the vibe. Thinking the bruises on their mother’s body are from abuse, four menacing little monsters take matters into their own hands.  Ankle Biters, a new Canadian horror-comedy, lands somewhere between The Bad Seed (1956) and The Crush (1993). “What are little girls made of? Sugar and spice, and everything nice; That’s what little girls are made of.” Maybe, not so much. 

Sean was an extremely violent hockey player, so perhaps this is merely a case of karma by kids? Zion Forrest Lee plays Sean with an overly friendly stepdad vibe. It falls somewhere between sweet and super creepy. The appearance from Colin Mochrie, as Detective Morton, made me laugh out loud. It makes the last third of the film brilliant.

Genre fans, let me introduce Rosalee, Violet, Lily Gail, and Dahlia Reid. These sinister sisters are bonafide stars. Their genetically boosted chemistry is the stuff of movie magic. They are downright frightening, giving us four fearless performances. They scared me, and I’m a mom and former teacher! Sheer perfection. 

The camera work often hovers on the girls’ level. Panning closeups in slow motion add to the eerie feeling you get from this gruesome foursome. It’s a carefully thought-out choice. While the pacing drags a touch, overall, it’s a dark and wild ride. The climax boasts some of the most gagworthy FX. I even screamed out loud at the same time as Sean. The final scenes completely caught me off guard. Well played, Ankle Biters. Well played. 


ON DEMAND/DVD NOVEMBER 16


Director: Bennet De Brabandere

Cast: Zion Forrest Lee, Marianthi Evans, Lily Gail Reid, Violet Reid, Rosalee Reid, Dahlia Reid


 

DOC NYC (2021) review: ‘JAGGED’ is everything you oughta know about Alanis Morissette and Jagged Little Pill.

JAGGED

JAGGED, directed by Alison Klayman, takes viewers to 1995 when a 21-year-old Alanis Morissette burst onto the music scene with the first single off her ground-breaking album, “Jagged Little Pill.” With a rawness and emotional honesty that resonated with millions, and despite a commercial landscape that preferred its rock stars to be male, she took radio and MTV by storm and the album went on to sell 33 million copies. Featuring an in-depth interview with Alanis, as well as never-before-seen archival material, JAGGED explores her beginnings as a young Canadian pop star, the rocky path she faced navigating the male-dominated music industry, and the glass ceiling she shattered on her journey to becoming the international icon and empowered artist she is today.


I went to rehearsal one night only to have my Mom hit play on the kitchen cd player to find my Jagged Little Pill album spinning. She’s cooking dinner and suddenly hears the lyrics, “Would she go down on you in a theatre?” That was an interesting conversation when I got home, mainly because I’m not even sure I knew what that meant at that point in my high school life. I was a pretty sheltered kid. Maybe that’s the reason Alanis’ music spoke to me. It was raw and emotional. JAGGED is Alison Klayman‘s new doc about one of my first feminist heroes, Alanis Morissette. As soon as the film begins, so do my goosebumps and unadulterated, joyful belting. That album gave me the confidence to be unabashedly me. I’ll be eternally grateful. 

JAGGED is a mix of sit-downs with industry greats, behind-the-scenes footage, and concert performances. The concert footage is so crisp you’d think it was filmed yesterday. As Alanis’s handwritten lyrics crawl across the screen in real-time, it remains clear that her writing is brilliant and forever relevant. The sit-down interviews with Morissette are insightful. Like her lyrics, she’s brutally honest, fearless, and funny. Alanis has a great laugh. It’s genuine and from the diaphragm. Watching her tell her own story feels incredibly relatable. In some ways, it adds more weight to Jagged Little Pill‘s lyrics. Twenty-five years later, screaming these songs with the knowledge of the emotion and experiences behind them, I love them even more. How could you not?

The juxtaposition of the bullshit from critics is glorious and pointed. Morissette flashes a middle finger to every single one of them. At the height of her fame, empowerment was not welcome. Certain critics don’t enjoy female artists talking about their love lives. It becomes misogynistic fodder. Ask Taylor Swift, who gets featured in the film. Isn’t it ironic? Don’t you think? Jagged Little Pill was, and continues to be, an anthem for so many women. Her audience spans generations. Because of her, women continue to cultivate and hold female artists in high esteem because their music represents the masses. Alanis a goddamn icon. Anyone who claims differently is wrong. I’ll die on this hill. 


For tickets to JAGGED click here!


Executive Producer: Bill Simmons, Jody Gerson, Marc Cimino; Co-Executive Producer: Geoff Chow, Sean Fennessy, Noah Malale
Producer: Jaye Callahan, Alison Klayman, Kyle Martin
Cinematographer: Julia Liu
Editor: Brian Goetz
Music: Ilan Isakov, Tom Deis
Language: English
Country: USA

Year: 2021


#JaggedHBO, the second film in the #MusicBoxHBO series premieres November 18 at 8 PM on HBO Max.