In Theaters and On-Demand May 17, 2019
Directed by: Kevin and Michael Goetz (A Scenic Route)
In a quiet midwestern town, Norman Young (Brenton Thwaites) is faced with an impossible decision; arrest his older brother Ray (Ben Robson) for murder or help him cover it up. Norman chooses family. As the ensuing investigation withers, neither of the brothers are prepared for the weight of their guilt or how that guilt will strain their loyalty to those closest to them.
Brenton Thwaites is the one thing that truly shines in this film. His emotional journey is a tad more interesting, but not by much. That is a reflection of the writing and not his abilities. He does the best he can and should be commended for it. While the cinematography is lovely, this script ends up feeling really anticlimactic and frankly pretty dull. I can see what it was trying to do but there was very little in the way of character development outside of the first 20 minutes. Even then, it was small-town cliche. Alycia Debnam-Carey is vastly underutilized and her character is overly simplistic. You knew exactly where this was going from the very beginning and the final scene between brothers was telegraphed from a mile away. The investigation (the driving force of the plot) was not very thorough which led to little to no intrigue. A Violent Separation needed more meat on the bones for my taste.
Starring:
Brenton Thwaites (“Titans,” The Giver)
Ben Robson (“Animal Kingdom,” “Vikings”)
Alycia Debnam-Carey (“Fear the Walking Dead,” “The 100”)
Claire Holt (“The Vampire Diaries,” “Pretty Little Liars”)
Ted Levine (Silence of the Lambs, “Monk”)
Francesca Eastwood (Outlaws and Angels, M.F.A.)
Gerald McRaney (“This Is Us,” “Promised Land”)
Peter Michael Goetz (Father of the Bride Part II, My Girl)
Kevin and Michael Goetz’s film explores how far we will go to protect the ones we love. Screen Media will release A VIOLENT SEPARATION in theaters and on-demand May 17, 2019.
There is a heavily literary feel to the structure, script, and performances. If you consider yourself a reader, these aspects will delight you. This all makes perfect sense since it’s based on Shirley Jackson‘s novel. Taissa Farmiga has given us a gorgeous portrayal of Mary Catherine. The specificity of her facial expressions, her physicality, and her tone is a master class in character acting. Sebastian Stan is entirely unlikable in his charm and clearly underlying intentions. His strong presence will make you squirm just as it does the other Blackwood family members. Alexandra Daddario is as elegant and she is uneasy with her plastered on smile. Obviously hiding true emotion on the outside, it’s the moments when the stare lingers a touch too long in which we are suspicious and fearful of her truth. Crispin Glover, who ages at a snail’s pace, is a complex, almost ancillary uncle character with what seems like bouts of early onset dementia. As the only other survivor of their dark tragedy, his idea of a memoir drives his protection of his nieces and the family legacy. This story is filled to the brim with mystery. There are so many assumptions and unanswered backstory questions, but that didn’t stop me in any way from enjoying the hell out of it. It’s the darkness that keeps your interest. The music, costumes, and sets are delicious. With elements of magic, superstition, and greed, We Have Always Lived In The Castle is stylistically engrossing.
While watching Only, I was furiously taking notes because I wanted to remember every little nuance I was experiencing. From the opening scene, the imagery is haunting and a sense of doom and urgency sit in the pit of your stomach. The phenomenally edited film builds its intensity through non-linear storytelling. While it can be a challenge to follow at times, it is an effective way to make sure you are paying full attention. At every turn in the script, I was surprised. Its dark premise will take you down a rabbit hole of needing to find answers. Once the puzzle is solved and all the pieces are in place, your stomach will drop and your soul will weep. The captivating performances from Frieda Pinto and Leslie Odom, Jr. help Only stand apart from Tribeca’s other selections this year. Their chemistry is electrifying. With subtly suggested elements of Handmaids Tale weaved into the narrative, this post-apocalyptic tale has an eerie patriarchal theme that makes it all the more upsetting. Only is easily one of the best of the fest this year.
Starring: Troian Bellisario (“Pretty Little Liars”) and Patrick J. Adams (“Suits”)
The intellectual dialogue is so overwhelming intriguing from the very first scene, you cannot help but feel compelled to give your entire attention to Clara‘s unique premise. Can logic and love coexist? This is a film about loneliness and loss but also wonder and imagination, science, and faith. It’s a profound look at the universe as it pertains to intimate relationships. Seemingly an oxymoron, how could the vast beyond of space apply to two people? Clara delves into the idea of letting go to let the universe do its proverbial thing. Real-life husband and wife play astronomer and newly hired assistant attempting to find a new planet with life. Their backstories are incredibly nuanced. Patrick J. Adams is captivating in his sadness and determination. Seeing him outside of Suits in a completely different role further cements his strong presence and pull on-screen. The arch of Issac is something to behold. Troian Bellisario as Clara is simply magic. The full complexity of her character won’t be fully realized until the film’s final scenes. She owns this role.
Playing in this program:
Then Came You manages to bypass the usual rom-com tropes and fleshes out a story about kids navigating a real emotional journey. Asa Butterfield has a naturally emo kid look about him but has the sincere chops to shine in every role that’s thrown his way. He appears genuinely grounded on screen and that makes him easy to watch. If you’re not crying at the end of this film you may have no soul. There is more than meets the eye Butterfield’s backstory which makes for an honest to goodness tug at the heartstrings in the end. The shining star of the film is undoubtedly Maisie Williams. Her comic timing and natural snark own you from the very first scene. I need her to be cast in all the things from here on out. Our two leads have a wonderful chemistry that builds organically. It reminds me of the dynamic of Anna Chlumsky and Macaulay Culkin in My Girl, which is clearly a compliment. Then Came You is simply a lovely film that can be enjoyed by a wide audience.
A premeditated murder plays out in an elaborate rehearsal, sound effects and all. A 
With PTSD and survivors guilt, hero Kristian is back in the town of Geiranger (Norway) attempting to come to terms with the disaster that was The Wave. He knows Mother Nature has no plans to be kind and that it is only a matter of time before all hell breaks loose again. The signs are all there, you cannot ignore history or hard data. Now he must do everything in his power to save his family and the people of Oslo from the biggest earthquake in its history.
The film explores not only the decision but the potential for that regret. It also addresses the fears that all women have about losing their identity. As someone who is a SAHM to two kids under three, 15months apart, there are many days I feel like “I’m just Mom.” I yearn for adult conversation and most definitely experience postpartum anxiety. Thankfully, the film also addresses these emotions. It doesn’t skirt the conversation about getting pregnant and the potential difficulties involved. Motherhood is endless judgment. But so is the opposite. A woman cannot win either way. We don’t judge men in the same way, but I suppose that’s no surprise. Women’s rights are once again under scrutiny. Be it the government, doctors, the economy, the societal pressure to reproduce is unreal when you break it down by dollars and cents. Director Maxine Trump speaks with women from all backgrounds and life choices to see where they’re coming from as she tries to find her own truth about wanting to have kids with her husband. It’s an incredibly thoughtful film that made me feel more normal, frankly. TO KID OR NOT TO KID is wonderfully relevant in a time when women feel like they finally have more of a voice. The world is changing and women’s honesty will make the world a better place. We need to hold one another up not tear each other down. There are too many forces at hand already trying their best to divide us.
This doc explores the boundaries we push for love and acceptance. Amit is a husband, a father, and business owner. She is also transgender. This story is about her transition and how it affects the family and friends that surround her. It’s a timely film here in the US as the government is attempting to legally discredit transgender identity by legally defining gender as a biological, immutable condition determined by genitalia at birth. Amit has four children with her wife Galit. Daughter Agam is beyond wise for her years and the most vocal about their unique family dynamics. She understands that people’s ignorance is not her problem. She chooses to surround herself with open-minded peers. The emotional toll of transitioning seems endless. It has the highest highs and lowest lows. How does a marriage survive when circumstance completely changes? What happens after she goes to Thailand for gender reassignment surgery for a month? It’s not a glamorous film. It’s real, it’s honest. It’s exactly what people need to see. Family in Transition is a story of unconditional love and the ultimate sacrifices we make to become whole from the inside out.
This new take on a zombie film is actually about protection. Mina is a girl who haunts the woods. She longs for the taste of flesh and is extremely efficient at murder. But the murders serve a higher purpose other than sustenance. She is safeguarding her secret and looking after a kidnapped boy named Alex. She struggles with anger, self loathing, and caring for someone other than herself. Alex suffers from ongoing PTSD, in reality, they are not so different. The payoff of Mina’s backstory is disturbing but meaningful. The trust she builds with Alex is clearly something she never felt while she was alive. She has become a “living” urban legend. The film is driven solely by our two leads. They feel grounded in their backstories and the chemistry is the perfect amount of touch and go, at arm’s length. The film is certainly explores redemption and dabbles further into fantasy with a pretty ambiguous ending. The lack of score, with exception of “Mina’s Theme” that we hear perhaps three times in the film’s duration, adds to the heightened sense of eventual doom and sadness. The Dark is not your typical zombie fare and deserves your full attention
OPENS IN THEATERS TODAY!
Synopsis:
Just when I think Ben Foster can’t get better, well, I should know better by now. His fearless choices in roles continue in the new film Galveston. A man double-crossed and doing a good deed for a captive young girl (played spectacularly by Elle Tanning), Foster once again transforms voice, physicality, and persona to become a hero. His powerful on-screen presence is undeniable and one day, sooner rather than later, we will see him with a much deserved Oscar in his hands. His chemistry with Fanning is delicate and honest as the reality of their dilemma unfolds. The film is a tour de force of intensity from the get-go. It only becomes darker as the story rolls on. Galveston is as heartbreaking as it is triumphant.
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