Ahh, Mother’s Day. The flowers, cards, and weird handmade gifts you’ll find in a box someday.
This weekend we celebrate all things Mom. Here are 20 films that feature the good, the bad, and the ugly of Motherhood.
To Our Moms, and every mother figure out there… Thank you.
Love Always,
Reel News Daily (Liz, Melissa, Britni, & Sam)
The fear is inescapable in Emerson Moore’s horror-thriller about six strangers who suddenly awaken in a remote, endless cornfield. Stripped of their possessions, they are left with only six items: a gun with a single bullet, matches, a lantern, a knife, a compass, and a flask of water. As mysterious sirens blare in the distance and traps appear at every turn, the group realizes it’s been plunged into a cat-and-mouse game with an unseen evil, and survival depends upon solving a diabolical — and deadly — puzzle.
With reminiscent aspects of the cult favorite The Cube, Escape the Field is an intriguing foray into the escape room genre. A cornfield is our game board, making for an entirely different dynamic in a scenario we’ve seen for years. An eclectic group of people comprises this cast. Writer-director Emerson Moore, alongside screenwriter Joshua Dobkin and Sean Wathen, take a different approach, mixing ideas from past films to brand new and exciting elements. There’s a lot to chew on in Escape The Field.
Shane West plays Ryan with intimidation and alpha male toxicity. West ups the anty with emotional unpredictability elevated by a clever script device. Theo Rossi plays Tyler. If you haven’t been paying attention to indie cinema or mainstream television series, Rossi has become a familiar face and a damn fine actor. Escape the Field is no exception. Rossi has this undeniably accessible aura about him. Jordan Claire Robbins plays Sam, a doctor whose skills are pertinent to the group’s survival. Robbins’ neighborly energy brings trustworthiness and ease to the viewers. You’re rooting for her. I would be remiss if I didn’t mention Tahirah Sharif. Her presence drastically improves Escape The Field every second she’s onscreen.
The solutions to the puzzles evolve from difficult to unchallenging and back again. This inconsistency is forgivable from someone who is an avid winner of ‘Escape The Room’ experiences. (*Nerd alert) Escape The Field has all the raw elements of a spectacular franchise. I’d watch a prequel and a sequel, as long as the next film’s evolution takes notes from its incarnation. Make sure you stick around after the credits begin to roll. You don’t want to miss one final moment of goodness.
U.S. Release Date: In Select Theaters, On Digital and On Demand on May 6, 2022.
Cities: New York (Cinema Village), Los Angeles (Lumiere Cinema), and key cities nationwide.
Cast: Jordan Claire Robbins, Theo Rossi, Tahirah Sharif, Julian Feder, Elena Juatco, and Shane West
Directed by: Emerson Moore
Written by: Emerson Moore and Joshua Dobkin & Sean Wathen
Produced by: Andrew Davies Gans, Michael Philip, Jason Moring and Emerson Moore
Genre: Thriller
Rating: R
Running Time: 88 minutes
presents
In THE RAVINE, when an unspeakable crime rocks a peaceful community, family and friends are left to wonder if they overlooked the murderer among them or if there might be more to the story. Inspired by true events, this haunting thriller stars Eric Dane, Teri Polo, Peter Facinelli, and Leslie Uggams.
Based on a true story, The Ravine skillfully creates a tense atmosphere. The film opens to ominous phone messages, tight-knit relationships, and one pulse-pounding vignette. It’s a familiar panic for someone who has lost a friend in the prime of their life; the unanswered phone tag, the swirl of shock, and unadulterated, unfiltered emotion. Performances are heartbreaking from the children to the adults. They are raw and riveting. All these positive aspects cannot save the film from a failed ending.
Director Keoni Waxman writes the script based on Robert and Kelly Pascuzzi‘s novel of the same name. Its structure utilizes flashbacks and present-day fallout. Through police work, past regressions, and the unexpected introduction of a gifted and religious psychic, The Ravine takes a turn in genre and never fully recovers. The script leans on religious redemption in the end, but the audience does not expect the hard right turn in the narrative. As a choice in storytelling, regardless of how close these depictions are to true events, it doesn’t match with the repetitive scenes of violence. The final 20+ minutes of the moment-by-moment explanation felt rushed and overwhelming. For a film that begins like an episode of True Detective, The Ravine ends in a preachy manner. It soured the entire experience.
THE RAVINE was written and directed by Keoni Waxman (The Hard Way). It was co-written with Kelly Pascuzzi and Robert Pascuzzi whose book “THE RAVINE” is the basis for the film.
Antonio is a sorcerer from a powerful bloodline, trapped in an asylum against his will. After an omen informs him that his daughter will be sacrificed by an evil entity, he must use his magical skills to escape and save her.
Writer-director Fabián Forte brings the world premiere of his new film LEGIONS to Fantaspoa 2022. A family line of demon fighters is threatened by the one horror that got away. Institutionalized patriarch Antonio’s stories are written off as delusion. With the help of his fellow patients, he must escape, track down, and protect his estranged daughter, Elena, before it’s too late.
The film’s structure creates its engrossing narrative with flashbacks. Folklore and mysticism pull you into the characters’ backgrounds. Performances are spectacular. Antonio’s hospital crew will make you grin from ear to ear. Their energy is enchanting. Bravo, to each of them. Lorena Vega as Elena is everything we need her to be. Dripping with trauma, it’s a brilliant turn. German De Silva plays present-day Antonio with ferocious tenacity and innocent charm. I will watch him in anything.
The thoughtful score from Pablo Fuu strikes a perfect balance between playful and dread. The SFX from Marcos Berta Studios and visual effects from Andres Borghi is super cool (voodoo doll, I’m looking at you, buddy.) The script has everything occult, from protection spells to full-blown possession. The dual device of a stage play makes everything more fun, adding levity to the more intense aspects of the story. The unapologetic bits of camp mixed with phenomenal practical FX is a damn delight. Legions will be pure entertainment for Fantaspoa 2022 audiences.
LEGIONS screened as part of Fantaspoa 2022.
For more information on the festival, please visit www.fantaspoa.com.
Mathieu is a young and talented black box analyst on a mission to solve the reason behind the deadly crash of a brand new aircraft. Yet, when the case is closed by the authorities, Mathieu cannot help but sense there is something wrong with the evidence. As he listens to the tracks again, he starts detecting some seriously disturbing details. Could the tape have been modified? Going against his boss’ orders, Mathieu begins his own rogue investigation – an obsessional and dangerous quest for the truth that will quickly threaten far more than his career…
The first thing you’ll notice about Black Box is the sharp cinematography work. It’s unmissable as the film opens in one long take. The camera glides from inside the cockpit, down the aisles, into the rear of the aircraft, to land squarely on the titular object. It’s a stunning and terrifying beginning of a taut thriller. Mathieu is a gifted acoustic engineer tasked with transcribing the audio that leads up to the crash of Atrian 800, where 300 passengers and 16 crew members perished. When details begin to shift, Mathieu’s obsession with the truth spirals.
Paired with the Netflix documentary Downfall: The Case Against Boeing, Black Box is even more frightening. Aviation insider politics adds an additional layer of suspense. My heart was in my throat every second of this film. Writer-director Yann Gozlan, alongside screenwriter Nicolas Bouvet-Levrard, and collaborator Jérémie Guez (The Night Eats The World, one of my favorite films), cleverly compounds conspiracy theories and intertwine them with raw emotion.
Watching the physical process of removing the voice recording apparatus is fascinating. To understand that such a small piece of equipment contains the key to such pertinent knowledge astounds. But ultimately, it’s a human being that leads to a conclusion.
Pierre Niney as Matthieu gives a brilliant performance, luring you in with measured intensity. The nuance Niney presents hit differently for me as a mother of a neurodivergent child. Niney presents the physical aspects of an individual with Sensory Processing Disorder. Some people with neurotypical children don’t know that this can actually be a superpower. Ultra-sensitive auditory issues are both a blessing and a curse. Niney also brings emotional trauma, heightening Matthieu’s intention. Niney is, simply put, astonishing.
The recreations of the crash circumstances and recovered wreckage have a visceral effect. The editing is award-worthy. In a narrative where the audience believes they have the entire picture, tweaking that understanding jars the brain. This evolving monster of a mystery slowly and relentlessly squeezes the air out of your lungs. After watching Black Box, I don’t know when I’ll be comfortable flying again.
A famous novelist moves into a house near an isolated, strange village in an attempt to break his writers block. Soon, ideas emerge – as do strange sightings and mysterious pages, seemingly written by the former resident of the house
Attempting to ward off writer’s block, Max’s agent rents him a house in a small, isolated village. When Max finds his words in an old notebook inside the writing desk, it’s the beginning of pure chaos. Mystery compounds as the enigmatic yet cheerful townspeople come into contact with Max. Everyone in this town is slightly off-kilter. Writer-director Leo Falcão has done a splendid job keeping you on your toes, playing with language and magical realism.
Is Max experiencing madness like Jack Torrance in The Shining? Something strange haunts this town, and Max is the only one out of the loop. Performances across the board are wonderful. I felt as if I were attending a ping pong match as I watched these fully fleshed-out characters coexist with Max. I needed to solve the complexities of the story. Falcão understands how to hold the viewer in the palm of his hand.
The costumes are like eye candy. With colors that pop, they have a strategic effect akin to Beetlejuice. The cinematic framing draws you into the already engaging narrative. The camera leads you to clues placing you inside the mystery like a passerby on the street. It’s immersive and ceaselessly intriguing. With an ending I did not see coming, Fantaspoa 2022 audiences will find themselves scratching their heads but unable to take their eyes off the screen. SUBJECT completely enchanted me.
SUBJECT screened as part of Fantaspoa 2022.
For more information on the festival, please visit www.fantaspoa.com.
A bloodied architect regains consciousness inside a locked portable toilet and soon realizes that he needs to find a way out of there or he’ll be blown up within the hour.
Ingenuity and one hell of a plot make Fantaspoa 2022 selection Holy Shit! one of the most fun films this year. Frank is locked in an overturned porta-potty, his forearm pierced by a thin piece of rebar. With only his wits about him, Frank must escape within 30 minutes to escape certain death by explosives outside of the four small, grotesque walls he finds himself trapped inside. Grasping anything at his disposal, Frank must MacGyver his way to safety, all while recollecting how he got in this predicament in the first place.
The visceral tension created by writer-director Lukas Rinker is exacerbated by the superb performance of our leading man, Thomas Niehaus. He is nothing short of captivating. Together, they’ve made Holy Shit! a truly riveting story. You’ll yell at the screen in frustration, sweat as the minutes tick off, and cheer for the small victories along the way. Who would have thought a film about a man trapped inside a porta-potty would ignite that much emotion? It’s bizarrely brilliant.
HOLY SHIT! screened as part of Fantaspoa 2022.
For more information on the festival, please visit www.fantaspoa.com.
SYNOPSIS: Malin Akerman and Chris Messina star in the twisted journey of two women’s desperate flee to escape the clutches of Skylight, an insidious cult. Lured in by the promise of “freedom” in the isolated desert campus called “The Aviary”, Jillian (Akerman) and Blair (Lorenzo Izzo) join forces to escape in hopes of real freedom. Consumed by fear and paranoia, they can’t shake the feeling that they are being followed by the cult’s leader, Seth (Messina), a man as seductive as he is controlling. The more distance the pair gains from the cult, the more Seth holds control of their minds. With supplies dwindling and their senses failing, Jillian and Blair are faced with a horrifying question: how do you run from an enemy who lives inside your head?
Two women attempt to escape a cult by hiking through the desert. When plans go awry, deception, confusion, and brainwashing pit them against one another.
While we only see Chris Messina as cult leader Seth in brief moments, they are undoubtedly impactful. With his calm yet persuasive demeanor, it is easy to see why these characters fell under his spell from the very beginning. Lorenza Izzo plays Blair with unbridled, vibrating energy that is captivating. You clock every single beat in her eyes. Malin Akerman‘s confidence as Jillian makes her a perfect foil for Izzo. Akerman walks a fine line between vulnerable and secretive. She’s frighteningly good.
The screenplay’s wordplay, score, and scene blocking heightened every moment. There was never a dull moment. The endless mindfuckery rubbed my nerves raw. I found I had left fingernail impressions on my palms without realizing it. The paranoia and tension in the dialogue had my head spinning. Are these women gaslighting one another, is one of them a villain and is this even real? These are some of the questions I had while sorting through the madness that is The Aviary.
You cannot ignore the comparisons with Scientology and Rajneeshees. The final 20 minutes had me on the edge of my seat. If you think you know where this story is going, think again. The Aviary is a whirlwind of manipulative tactics. It’s fantastic.
WRITTEN & DIRECTED BY: Chris Cullari & Jennifer Raite
STARRING: Malin Akerman, Lorenza Izzo, Chris Messina, Sandrine Holt
RUN TIME: 96 minutes
RATING: Rated R for language and some violent content.
GENRE: Thriller
OPENING THEATERS INCLUDE:
NEW YORK CITY – Cinema Village
LOS ANGELES – Lumiere Cinema
ATLANTA – Studio Movie Grill Marietta
CLEVELAND – Atlas Diamond Center
DETROIT – Emagine Royal Oak
HOUSTON – Studio Movie Grill Pearland
MINNEAPOLIS – Emagine Eagan
ORLANDO – Studio Movie Grill Sunset Walk
PHILADELPHIA – Westown Movies
TAMPA – Studio Movie Grill Seminole
A teenager becomes a renowned hairstylist with the help of an unexpected friend – a forest elf.
Inspired by Scottish legend, this feel-good comedy follows the antics of the solitary forest elf Ghillie Dhu who becomes friends with a girl lost in the woods. When she is unexpectedly whisked away by her mother, a forlorn Ghillie sets out on a quest to find his lost companion. Years later, in the city, Ghillie meets Jessie Macrae, a plucky teenager determined to win favor with her high-flying mother by becoming a renowned hairstylist. When Jessie discovers that Ghillie has a gift for hairstyling, they strike up a unique partnership which causes chaos for the manager of the chic hair salon and catapults Jessie to fame. Thanks to Ghillie, Jessie’s dreams are within reach, but will this meeting of two worlds be enough to overcome the deep hurts of broken relationships through the generations?
A spirited, family-friendly film with notes of Peter Pan whimsy, Jesse and the Elf Boy brings laughter and unexpected depth. The script is a sweet story of friendship, loyalty, family dynamics, and a bit of magic.
While perhaps a tad random, with the premise that Jesse is a hairstylist, the film has a similar vibe to Edward Scissorhands with a touch of Rumplestiltskin. Performances illicit genuinely laugh-out-loud moments. The script teems with kooky, larger-than-life characters that will make audiences, young and old, giggle. The score from David Shaw is lovely. The standout costume belongs to Ghillie Dhu. It perfectly evokes a childlike wonder, if not a bit noisy for the sound editing. Whittle dons it with an ease that makes it believable.
Julia Brown is phenomenally charming as Jesse. Her chemistry with Whittle makes for an easy watch. Speaking of our other titular character, Huck Whittle plays Ghillie with a darling innocence. Reminiscent of Jeremy Sumpter in Peter Pan (2003), Whittle is a star.
Getting to the main plot of a mother-daughter reconnection is a bit convoluted, as there are a handful of subplots. But, if you let that go, you’ll be completely charmed. The final reveal makes any inconsistencies worth the watch.
Who would have ever guessed that the discovery of paintings by an unknown Norwegian artist would cause such upheaval in the art world? When art collector Haakon Mehren was led to a barn filled with oversized canvases, his jaw immediately hit the floor. Who was this artist? After some sleuthing, Mehren introduces the world to Aksel Waldemar Johannessen, an unapologetic alcoholic who did the unthinkable. Johannessen painted the poor, often using his image mixed with dark and twisted imagery of inner turmoil.
Self-portrait painted by Aksel Waldemar Johannessen
Art is subjective, but there is undoubtedly a most elite shroud in curating. Norway’s most coveted paintings never before depicted the lower class. Their claim to fame was Edvard Munch. If you know even a sliver about art, you can immediately conjure the image of “The Scream.” The curatorial staff at the National Museum and gatekeepers of the Munch Museum immediately pushed back on adding the works to Norway’s collective narrative. Mehren made it his life’s mission to share Johannessen’s artistic contributions, scheduling exhibitions throughout Europe. The public’s reaction was overwhelmingly delightful. That only fueled the fire from Norway’s elite.
Director Nils Gaup uses a gorgeous score while repeatedly showcasing Johannessen’s paintings. This distinctive choice brings due awe to each piece. There’s no denying that some of the work is frightening, while others are simply breathtaking. The variety of subjects is astounding. You will find yourself lost in them. IMAGES OF A NORDIC DRAMA is the perfect addition to this year’s HOT DOCS 2022 lineup. If you weren’t an art lover before, get ready for your world is about to change.
The painting “Man on a diving board” by Aksel Waldemar Johannessen. This painting was exhibited at The Met.
HOT DOCS 2022 Link to buy tickets:
https://hotdocs.ca/whats-on/
@hotdocs #HotDocs22
HOT DOCS 2022 FESTIVAL SCREENINGS:
PUBLIC SCREENINGS:
Saturday, April 30 at 11:30 am
Location: Varsity 8 (55 Bloor Street West)
Thursday, May 5 at 8:45 pm
Location: Varsity 8 (55 Bloor Street West)
Running Time: 71 minutes
Language: English, German, Norwegian
Country: Norway, Germany (Feature Documentary)
Director Sylvia Caminer brings her new film Follow Her to Fantaspoa 2022. It features Dani Barker as social media up-and-comer Jess as she grinds away, posting live videos about her various paid gigs. When a glitch in her facial blur app causes an online frenzy, Jess must navigate not only a barrage of new followers and mixed comments but a new job offer. A meta revenge thriller, Follow Her, will have your heart in your throat.
Luke Cook plays Tom, the man who hires Jess to assist him in writing an erotic thriller. He’s effortless suave and ceaselessly witty. It is tricky to distinguish between written dialogue and what might be improved. The script allows him to play up the maniacal angle. You’re still rooting for him as a genre fan. Cook is exceptionally enigmatic, and Dani Barker keeps up with his energy.
Barker plays double duty as Jess and screenwriter. She bears a striking resemblance to Kate Hudson and Chloe Fineman and possesses the charm of both combined. Barker understands the complexities of social media and the myriad of baggage that can accompany the lifestyle. She’s given audiences a slick screenplay.
Follow Her would make a great triple feature evening with CAM and Spree. Overall, the meta aspect of the screenplay comes into focus at around the 38-minute mark. The innate anxiety of being a woman alone with a man is front and center. Follow Her had me in full panic mode at 45 minutes. Each consecutive beat skillfully ups the ante. It speaks to the dark side of the internet age, gigging, vulnerability, sexual control, greed, and the consequence-free world we see more and more. Barker cleverly utilizes horror tropes and acknowledges them directly. Fantaspoa 2022 audiences are in for a treat. Genre fans will go nuts for this killer film. I’d “like & subscribe” for franchise development.
FOLLOW HER screens as part of Fantaspoa 2022. For more information on the festival, please visit www.fantaspoa.com.
PLOT: Having launched a social media prank about a haunted building, three girls suddenly vanish. Rumors circulate that they were victims of The Ox-Head Village curse, triggering an investigation by two of their friends, desperate to find the truth about what has happened
Sick cinematography and a killer opening bring Fantaspoa 2022 audiences into the intensely scary world of Ox-Head Village. Finding out that this is director Takashi Shimizu‘s final film in his “Village Trilogy” makes me want to seek out Howling Village and Suicide Forest Village immediately. Japanese folklore surrounding a family curse brings this horror mystery to life. Kanon seeks answers as to why she resembles a missing girl from a failed prank video. As clues slowly come to light, Kanon must confront her family’s past mistakes to make way for her future. Loaded with haunting imagery, flashbacks, and macabre superstition, Ox-Head Village becomes the consequence of trying to outwit the curse. Performances across the board are solid. The colors are lush and the kills are brutal and disturbing. Elements akin to Ringu are unmissable. But, Ox-Head Village is undoubtedly unique. Make sure you don’t move once the credits begin to roll.
OX-HEAD VILLAGE screened as part of Fantaspoa 2022.
For more information on the festival, please visit www.fantaspoa.com.
CAST: Kôki, Riku Hagiwara, Keiko Horiuchi, Haruka Imô, Akaji Maro, Satoru Matsuo, Riko, Fumiya Takahashi, Naoki Tanaka, Rinka Ôtani
DIRECTOR: Takashi Shimizu
An exercise in the absurd, the hit indie STANLEYVILLE opens with Maria (Susanne Wuest) walking away from her life on a moment’s whim. Found lounging aimlessly on an airport chair, an odd man named Homunculus (the absolute legend Julian Richings) informs her of her selection to participate in an exclusive competition. The prize is an orange compact SUV.
Without hesitating, Maria arrives at an apartment alongside four other contestants. In a series of eight individual challenges, the first being balloon blowing, Maria, Felicia, Manny, Bofill, and Andrew battle to be the victor. The Master of ceremonies appears equal parts confused and confident in his role. As the stakes get higher and the games get weirder, chaos ensues. Five opposite archetypes collide in one of the most bizarre films I’ve ever witnessed.
STANLEYVILLE is so odd it works. The film’s pacing is intentionally erratic, and the personalities are strong. That is, all except Maria. She is content to play the game fairly and with an abundance of reverence. The performances of our six cast members are outstanding. This eclectic mix of actors pours their heart into a script that must have seemed outrageous when they first read it. Full disclosure, I’m not sure I walked away understanding what I watched either, but I’ll tell you this, I cannot stop thinking or talking about STANLEYVILLE.
The finale is equally enigmatic, occurring offscreen. It’s a keenly written full-circle moment that makes you think. STANLEYVILLE is like nothing you’ve seen before. Some will assume writer-director Maxwell McCabe-Lokos was making it all up as he went along. I cannot be the first to salivate at the idea of turning this into a stage play without intermission. The story is a conversation starter. What that conversation consists of is determined entirely by each viewer’s experience. It’s a one-of-a-kind film.
Oscilloscope Laboratories is proud to release STANLEYVILLE — the quirky, dark feature debut from writer/director Maxwell McCabe-Lokos that has won festival accolades across the globe — exclusively at New York City’s Metrograph on April 22nd, with a wider rollout to follow.
Color
English Language
88 minutes
Not Rated
The pitch-black comedy, which critics lovingly call “a strange movie for strange people” and “an episode of Survivor for sociopathic miscreants”, stars Susanne Wuest (GOODNIGHT MOMMY), Cara Ricketts (FOX’s The Resident), Christian Serritiello, George Tchortov (Amazon’s The Expanse), Adam Brown (Peter Jackson’s THE HOBBIT trilogy), and genre legend Julian Richings (CUBE).
A teenage delinquent (Miya Cech, ALWAYS BE MY MAYBE) befriends a surly magician (Rhea Perlman, “Cheers,” MATILDA) who helps her navigate her inner demons and dysfunctional family with sleight of hand magic. A coming-of-age comedy that touches on unlikely friendships, grief, and finding hope in the darkest moments.
After losing her mother, Sammy lashes out physically and emotionally. When her dad forces her to take a business class in summer school, she encounters a magician by happenstance. Under the guise of a final project, Sammy trades anger for magic.
The score heightens the film’s charm. Cartoon animation and black & white fantasy sequences create playful transitions whenever Sammy feels rage. The costumes are meaningful. Sammy is in black the entire film, while Margot dons lush colors adorned with embroidery or applique.
Rhea Perlman plays Margot, AKA The Marvelous. Perlman’s cheery disposition is a brilliant foil for Miya Cech‘s Sammy. She brings a motherly quality that Sammy so desperately needs. Cech is outstanding. She possesses a fierce attitude that’s relatable. Cech levels up the typical teenage angst with grounded sass and genuine vulnerability underneath. Together, their chemistry is like a warm hug. If I’m being honest, I would gladly watch an entire series about these two characters.
Marvelous and The Black Hole is nothing short of darling. This family-friendly flick is about navigating grief. Writer-director Kate Tsang gives audiences a sweet ode to storytelling and healing.
MARVELOUS AND THE BLACK HOLE
Opens in Select Theaters on April 22, 2022
Written + Directed by: Kate Tsang
Produced by: Carolyn Mao
Co-Producers: Allison Avery Jordan, Christa Boarini
Director of Photography: Nanu Segal, BSC
Production Designer: Yong Ok Lee
Edited by: Cyndi Trissel, Ryan Denmark
Costume Designer: Amanda Bujak
TRT: 81 minutes
Could we put together a cuddly list of family-friendly Easter films? Probably. But where’s the fun in that? Here is a list of films where a rabbit is featured in one way or another. Most are straightforward. A few, well, I guess you’ll have to watch them and figure out why they’re there. Happy Easter, and happy hunting for those pesky wabbits.
Swackhammer (Danny DeVito), an evil alien theme park owner, needs a new attraction at Moron Mountain. When his gang, the Nerdlucks, heads to Earth to kidnap Bugs Bunny (Billy West) and the Looney Tunes, Bugs challenges them to a basketball game to determine their fate. The aliens agree, but they steal the powers of NBA basketball players, including Larry Bird (Larry Bird) and Charles Barkley (Charles Barkley) — so Bugs gets some help from superstar Michael Jordan (Michael Jordan).
After 12 years of bucolic bliss, Mr. Fox (George Clooney) breaks a promise to his wife (Meryl Streep) and raids the farms of their human neighbors, Boggis, Bunce and Bean. Giving in to his animal instincts endangers not only his marriage but also the lives of his family and their animal friends. When the farmers force Mr. Fox and company deep underground, he has to resort to his natural craftiness to rise above the opposition.
Neo (Keanu Reeves) believes that Morpheus (Laurence Fishburne), an elusive figure considered to be the most dangerous man alive, can answer his question — What is the Matrix? Neo is contacted by Trinity (Carrie-Anne Moss), a beautiful stranger who leads him into an underworld where he meets Morpheus. They fight a brutal battle for their lives against a cadre of viciously intelligent secret agents. It is a truth that could cost Neo something more precious than his life.
Accompanied by her husband, son and daughter, Adelaide Wilson returns to the beachfront home where she grew up as a child. Haunted by a traumatic experience from the past, Adelaide grows increasingly concerned that something bad is going to happen. Her worst fears soon become a reality when four masked strangers descend upon the house, forcing the Wilsons into a fight for survival. When the masks come off, the family is horrified to learn that each attacker takes the appearance of one of them.
Peter Rabbit and his three sisters — Flopsy, Mopsy and Cotton-Tail — enjoy spending their days in Mr. McGregor’s vegetable garden. When one of McGregor’s relatives suddenly moves in, he’s less than thrilled to discover a family of rabbits in his new home. A battle of wills soon breaks out as the new owner hatches scheme after scheme to get rid of Peter — a resourceful rabbit who proves to be a worthy and wily opponent.
When a young rabbit named Fiver (Richard Briers) has a prophetic vision that the end of his warren is near, he persuades seven other rabbits to leave with him in search of a new home. Several obstacles impede their progress, including predators, a rat-filled cemetery, and a speeding river. Upon arriving at their final destination, a hill dubbed Watership Down, the rabbits find that their journey is still far from over. Realistically drawn, this British animated film carries an emotional weight.
During the presidential election of 1988, a teenager named Donnie Darko sleepwalks out of his house one night and sees a giant, demonic-looking rabbit named Frank, who tells him the world will end in 28 days. When Donnie returns home, he finds that a jet engine has crashed into his bedroom. Is Donnie living in a parallel universe, is he suffering from mental illness – or will the world really end?
Based on the life of early 20th-century author Beatrix Potter, creator of Peter Rabbit. As a young woman Potter rails against her parents’ wishes for her to marry and settle down. Instead, she continues to write about and draw the animals she has adored since childhood. Her early attempts to find a publisher for her children’s stories are unsuccessful, but an offer from a small firm will turn her into a literary phenomenon.
Arizona rancher Cole Hillman (Rory Calhoun), dealing with massive rabbit overpopulation on his land, calls on a local college president, Elgin Clark (DeForest Kelley), to help him. In order to humanely resolve the matter, Elgin brings in researchers Roy (Stuart Whitman) and Gerry Bennett (Janet Leigh), who inject the rabbits with chemicals. However, they fail to anticipate the consequences of their actions. A breed of giant mutant rabbits emerges and starts killing every human in sight.
Elwood P. Dowd (James Stewart) is a wealthy drunk who starts having visions of a giant rabbit named Harvey. Elwood lives with his sister Veta (Josephine Hull) and her daughter (Victoria Horne), and Veta worries that Elwood has gone insane. In the process of trying to have him committed, Veta admits that she occasionally sees Harvey herself. The director of the mental home, Dr. Chumley (Cecil Kellaway), tries to reconcile his duty to help Elwood with his own growing experiences with Harvey.
From the largest elephant to the smallest shrew, the city of Zootopia is a mammal metropolis where various animals live and thrive. When Judy Hopps (Ginnifer Goodwin) becomes the first rabbit to join the police force, she quickly learns how tough it is to enforce the law. Determined to prove herself, Judy jumps at the opportunity to solve a mysterious case. Unfortunately, that means working with Nick Wilde (Jason Bateman), a wily fox who makes her job even harder.
For Dan Gallagher (Michael Douglas), life is good. He is on the rise at his New York law firm, is happily married to his wife, Beth (Anne Archer), and has a loving daughter. But, after a casual fling with a sultry book editor named Alex (Glenn Close), everything changes. Jilted by Dan, Alex becomes unstable, her behavior escalating from aggressive pursuit to obsessive stalking. Dan realizes that his main problem is not hiding his affair, but rather saving himself and his family.
Down-on-his-luck private eye Eddie Valiant (Bob Hoskins) gets hired by cartoon producer R.K. Maroon (Alan Tilvern) to investigate an adultery scandal involving Jessica Rabbit (Kathleen Turner), the sultry wife of Maroon’s biggest star, Roger Rabbit (Charles Fleischer). But when Marvin Acme (Stubby Kaye), Jessica’s alleged paramour and the owner of Toontown, is found murdered, the villainous Judge Doom (Christopher Lloyd) vows to catch and destroy Roger.
The plucky characters from a series of animated shorts, Wallace (Peter Sallis) and his dog, Gromit, make their feature debut here. After starting a pest control business just like this exterminator in Orlando, the duo soon lands a job from the alluring Lady Tottington (Helena Bonham Carter) to stop a giant rabbit from destroying the town‘s crops. Both Wallace and the stuffy Victor (Ralph Fiennes) vie for the lady’s affections. If Wallace wants to please his pretty client, and best Victor, he needs to capture that pesky bunny.
In the early 18th century, England is at war with the French. Nevertheless, duck racing and pineapple eating are thriving. A frail Queen Anne occupies the throne, and her close friend, Lady Sarah, governs the country in her stead while tending to Anne’s ill health and mercurial temper. When a new servant, Abigail, arrives, her charm endears her to Sarah. Sarah takes Abigail under her wing, and Abigail sees a chance to return to her aristocratic roots.
Lewis Carroll’s beloved fantasy tale is brought to life in this Disney animated classic. When Alice (Kathryn Beaumont), a restless young British girl, falls down a rabbit hole, she enters a magical world. There she encounters an odd assortment of characters, including the grinning Cheshire Cat (Sterling Holloway) and the goofy Mad Hatter (Ed Wynn). When Alice ends up in the court of the tyrannical Queen of Hearts (Verna Felton), she must stay on the ruler’s good side — or risk losing her head.
Jojo is a lonely German boy who discovers that his single mother is hiding a Jewish girl in their attic. Aided only by his imaginary friend — Adolf Hitler — Jojo must confront his blind nationalism as World War II continues to rage on.
A desperate drifter suffering from partial memory loss agrees to look after his landlord’s psychologically troubled niece in an isolated island mansion.
Beneath Easter Island, in a giant factory that manufactures the world’s Easter candy, the popular rabbit is preparing to pass the mantle to his son, E.B. (Russell Brand). But E.B. has no interest in the job and would rather be a drummer. He runs away to Los Angeles, where an unemployed slacker named Fred O’Hare (James Marsden) accidentally runs into him. Feigning injury, E.B. tricks Fred into giving him shelter, but an oversized chick is planning a coup back on Easter Island.
A comedic send-up of the grim circumstances of the Middle Ages as told through the story of King Arthur and framed by a modern-day murder investigation. When the mythical king of the Britons leads his knights on a quest for the Holy Grail, they face a wide array of horrors, including a persistent Black Knight, a three-headed giant, a cadre of shrubbery-challenged knights, the perilous Castle Anthrax, a killer rabbit, a house of virgins, and a handful of rude Frenchmen.
(Don’t argue with me, this film 100% falls under this odd list. In fact, it’s the second film with a hideous bunny suit.)
Based on the humorous writings of author Jean Shepherd, this beloved holiday movie follows the wintry exploits of youngster Ralphie Parker (Peter Billingsley), who spends most of his time dodging a bully (Zack Ward) and dreaming of his ideal Christmas gift, a “Red Ryder air rifle.” Frequently at odds with his cranky dad (Darren McGavin) but comforted by his doting mother (Melinda Dillon), Ralphie struggles to make it to Christmas Day with his glasses and his hopes intact.
DECEIT Official Synopsis:
Five months on from the brutal murder of Rachel Nickell on Wimbledon Common and the Met Police are still no closer to capturing the man they’re convinced is responsible. First identified through a television appeal, the evidence is stacked against Colin Stagg. The media feed a national obsession, covering every detail of the case and demanding justice. The police are determined to catch the man who, in their eyes, is guilty before he kills again. In desperation, the relatively young detective inspector leading the case, engages the nation’s most famous criminal profiler to devise a bold undercover operation which will see an attractive, young female officer start a relationship with Colin Stagg.
As each episode begins, the filmmakers behind the miniseries DECEIT make it abundantly clear that the show involved a plethora of research. In 1992, a woman named Rachel Nickell was brutally murdered in front of her two-year-old son. Police believed they found the guilty party based on an expert forensic profiler. After bringing top undercover officer Sadie Byrne into the mix, they devise an elaborate operation to obtain a confession.
The series’ four episodes appear to jump in time as Sadie studies Colin’s interrogation tapes. She draws him into her web first with letters, then phone calls. DECEIT’s intrigue is relentless. It’s a fresh perspective from the typical detective plotlines involving female officers. The danger feels heightened.
Eddie Marsan plays profiler Paul Britton with an unsettling intensity. His scenes with Algar are tense. Sion Young is Colin Stagg. He is both frightening and pathetic, creating a skin-crawling effect.
Niamh Algar is captivating as a fictionalized version of a real-life undercover officer. It’s like meta method acting, watching her prepare for a role within a role. The deeper she gets into the character of Lizzie, the further she spirals. Her anxiety and fear are palpable. It’s a hell of a performance.
DECEIT’s lighting has a heavyhanded neo-noir effect, especially when Algar plays “Lizzie.” The editing keeps your mind sharp. The story draws you in, and the characters hold your emotional attention. I appreciated the updates on our players during the finale. Separating truth from fiction reminded me that innumerable lives were ruined. It’s a final nail in the reality coffin for the viewer. DECEIT is a unique entry amongst the true-crime fare.
The 4-part miniseries DECEIT, streaming exclusively on Topic beginning April 14.
Based on a true story, this UK crime thriller follows Lizzie James, a female detective employed to obtain evidence against Collin Stagg, the prime suspect in the brutal murder of Rachel Nickell, which occurred in broad daylight in London’s Wimbledon Common. The case went on to become one of the most infamous entrapment cases in British law enforcement history.
Directed by Niall MacCormick and starring Niamh Algar (Raised by Wolves, Topic’s The Virtues), Eddie Marsan (Deadpool 2, Ray Donovan), and Harry Treadaway (Star Trek: Picard, The Crown), DECEIT has been hailed in the UK, with The Telegraph calling it “a gripping portrait of a real-life undercover operation,” and The Evening Standard declaring that the series “stand[s] out from the usual true crime fare.”
About TOPIC
Topic is the boundary-pushing streaming service from First Look Entertainment for thrillers, mysteries, dramas and documentaries from around the world, serving viewers who crave entertainment beyond the mainstream. Whether it’s a Nordic-noir crime thriller (The Killing), an Italian supernatural political drama (The Miracle), or a haunting true crime docu-series from the UK (The Missing Children), Topic expands your view of the world.
Featuring North American premieres, exclusive TV series and film, and programming from more than 40 countries, Topic showcases an unparalleled collection of creators, perspectives and experiences. Complemented by our Topic Originals, we prioritize bold storytelling and champion underrepresented voices. Topic Originals and exclusives include Oscar® nominee The Letter Room (starring Oscar Isaac), Lambs of God (starring Ann Dowd), BAFTA® nominee The Virtues (starring Stephen Graham), Emmy® nominee The Accidental Wolf (starring Kelli O’Hara), Dark Woods, Gotham Award winning Philly D.A., and Soul City (directed by Coodie & Chike).
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Synopsis: Rhys lives in the zombie-infested wasteland. His job is to capture civilians and deliver them to what’s left of the military. When Rhys captures a half-zombie-half-human named Grace, he comes to believe she is the key to ending the apocalypse.
*Let me begin their review by stating that I have not seen the original Wyrmwood. I can only comment on Wyrmwood: Apocalypse as a stand-alone film.*
I was immediately drawn into the film hearing Nick Cave and The Bad Seeds‘ track “Red Right Hand,” alongside the quick-cut editing. Equal parts quirky and cool, I was committed. The costumes and sets are elaborate eye candy. The special effects makeup and practical FX are deliciously gruesome. The score, combined with the red lighting, makes for the perfect touch of camp. Wyrmwood: Apocalypse has legit legs for a franchise reboot.
This cast is gold. The commitment to these characters is commendable. The fight sequences and choreography are damn entertaining. These actors go hard into the action. Bravo, to Luke McKensie, Shantae Barnes-Cowan, Jake Ryan, Bianca Brady, Tasia Zalar, Jay Gallagher, and Nick Boshier for their phenomenal chemistry.
The plot possesses a similar concept as Zydrate from one of my all-time favorite films, Repo! The Genetic Opera. There’s revenge, cognisant zombies, mind control, harvesting, and family dynamics. You name it, and it’s in Wyrmwood: Apocalypse. There’s enough meat in this storyline to justify a series development. I could easily see this doing well on the SyFy network. It has to be from writer-director Kiah Roache-Turner and co-writer Tristan Roache-Turner. Consistency is key to maintaining a fandom. The bottom line is Wyrmwood: Apocalypse is a new beginning.
Zombie Action-Horror WYRMWOOD: APOCALYPSE — OUT DIGITALLY IN THE U.S. APRIL 14!
Genre: Horror
Country: Australia
Runtime: 90 mins
Year: 2022
Language: English
Rated: NA
Bryan Russell is the first person in the world with Down syndrome to ever run for public office. CANDIDATO 34 is a documentary short chronicling Bryan’s extraordinary story in the days before the 2020 congressional election in Peru, as he attempts to convince a reluctant public that he is capable of being a congressman, and an important voice for change. Candidato 34 will make its World Premiere in the FilmSlam-Spanish Language Cinema Shorts Program starting March 31st at the 2022 Cleveland International Film Festival.
As the first person in the world with Down Syndrome to run for public office, Bryan Russell represents so many marginalized groups everywhere. Bryan’s team, including his parents, pour their hearts into his campaign, supporting his dreams and ideas. Let me clarify something immediately; his parents are present as cheerleaders and coordinators. Bryan is an accomplished young man. He is charming, eloquent, raw, and relentlessly determined. These characteristics become abundantly clear in his ability to campaign like any other candidate. As someone who has worked on political campaigns in the US, Bryan does it with more honesty and savvy than many career politicians. He has an understanding and perspective of often ignored individuals. Win or lose, Bryan Russell is a passionate catalyst for change in Peru and throughout the world.
As a Mother of a neurodivergent son, Bryan is a hero. My most prevalent anxiety as a parent is the future. Bryan possesses the confidence and self-awareness I wish for my child. In 38 minutes, Candidato 34 filled me with hope and possibility. This little film speaks volumes about representation, kindness, and perseverance. Bryan Russell is an inspiration to my family. I hope this film spreads far and wide. There are a lot of people that would benefit from the experience.
CANDIDATO 34 – TRAILER from Ryan Marley on Vimeo.
About the Filmmakers:
Ryan Marley (Director) is a filmmaker and television director best known for his work in documentary, factual and kids TV. He has been nominated for 3 Canadian Screen Awards and has directed over 25 series and documentaries. He most recently directed all 4 seasons of the groundbreaking documentary series “Employable Me” which tells the stories of job seekers who prove that having a physical disability or neurological condition shouldn’t make them unemployable. They might only need help in undergoing the proper training such as Reskilling. The series won the Diversify TV Excellence Award at MIPCOM 2017 & 2020, a 2018, 2019 & 2020 Rockie Award, an NYTVF Award and was nominated for four Canadian Screen Awards. His documentary “Sitting Tall: The Patrick Anderson Story” examines the background and career of Patrick Anderson, arguably the greatest wheelchair basketball player of all time, as he prepares for the Paralympic Games in Tokyo. It was featured at the 2021 Awareness Film Festival and The 2021 New York Shorts International Film Festival where it won Best Documentary. Ryan splits his time between Toronto and Los Angeles.
Katie Lafferty (Executive Producer/Producer) has been chasing character-driven stories since graduating from Carleton University with a Journalism degree in 2002. Since then, she has produced some of Canada’s biggest shows including sports documentary series “Tessa & Scott,” and the groundbreaking series “Employable Me,” which tells the stories of job seekers who prove that having a physical disability or neurological condition shouldn’t make them unemployable. The series won the Diversify TV Excellence Award at MIPCOM 2017 & 2020, a 2018, 2019 & 2020 Rockie Award, an NYTVF Award and was nominated for four Canadian Screen Awards. Her latest feature-length documentary Candidato 34 is being produced in association with Lionsgate’s unscripted division, Pilgrim Media Group.
About Hitch Films:
Hitch Films is a creative team with extensive experience telling compelling stories about people around the world. We are a passionate team of award-winning documentary filmmakers bringing to light the amazing stories and struggles of incredible people with disabilities, and from marginalized communities, who are fighting prejudice and perception to gain independence and respect.
Credits
Ryan Marley – Director
Katie Lafferty – Executive Producer/Producer
Craig Piligian – Producer
Gretchen Stockdale – Executive Producer
Paul Boynett – Executive Producer/Writer
George Wright – Executive Producer/Editor
Michelle Asgarali – Associate Producer
37 minutes, Canada, 2021
DCP Image: 1.85:1, 4K, Color, Sound: 5.1 mix
Centering around intimate new interviews with Tony Hawk himself, the film is an all-encompassing look at the skateboarder’s life, legendary career, and relationship with the sport with which he’s been synonymous for decades. Hawk, a pioneer of modern vertical skating who is still pushing his limits at the age of 53, remains one of the most influential skateboarders of all time.
Tony Hawk kicks off his big HBO documentary by falling down. A lot. Like, 5 solid minutes of eating it all over the ramp. It’s a bold, remarkably human way to start a documentary about a 53-year-old icon who many in the non-skating community would still consider the most famous skateboarder of all time (this reviewer raises his hand). Heck, my wife knows more about Tony Hawk than I do.
The complete list of things I knew about Tony Hawk before watching this documentary:
And yet, I left Sam Jones’ Tony Hawk: Until the Wheels Fall Off feeling pretty invested in skateboarding. Jones’ documentary benefits not only from extensive access to Hawk and his skating peers but also from a wealth of archival footage and clips that help these interview recollections resonate. Sure, you learn about Hawk’s upbringing in San Diego, and his dynamic with his strict father – but what really resonates is the sense of purpose uniting these passionate young skateboarders. You really get the spirit of the community. Tricks and success in this sport, which may be similar to the one that can be watched on the best stadiums for tourists, are the product of individual inspiration, yes, but also due to watching and learning from both your rivals and teammates. Hawks’ contemporaries are real unique characters, too. I particularly loved hearing from Rodney Mullen, who applies the principles of Nietzsche to the act of launching yourself off a skate ramp without a hint of irony.
I also appreciated the documentary’s balanced romanticism surrounding skateboarding. There are the obligatory skating montages, but there’s also a blunt assessment of the risks (and honestly, the near foolishness) of Hawk refusing to set aside his board at 53 years old. We’re talking about guys for whom broken bones and near-constant concussions seem to always be part of the deal – it takes a lot to make these folks nervous. Hawks’ peers speak frankly and graphically about the risks he’s taking on. Given Hawks’ prominent association with this documentary, I was surprised he didn’t push to edit some of those comments out of the final product. I appreciated that Jones included them.
Ultimately, this feels to be an honest portrait of a complicated legend who became a pro athlete before he had his learner’s permit. It strives to connect viewers to the deep connection skaters have with their art, it clues you in on Tony Hawk’s countless contributions to the sport, and acknowledges that most guys in their 50s shouldn’t be on fast-moving, narrow objects.
You see Tony Hawk falling down a lot. But he also executes tricks that seem to scratch the surface of immortality. Unless you’ve skated a mile in his shoes, can you really pass judgment? One thing’s for sure – after seeing this documentary, I’ll be firing up my wife’s copy of Pro Skater.
Debuts Tuesday, April 5 on HBO and will be available
to stream on HBO Max
Director: Sam Jones
Executive Producers: Mel Eslyn, Jay Duplass, and Mark Duplass
ABOUT SAM JONES
Sam Jones is a director of documentary films and narrative television. He most recently directed an episode of “Ted Lasso” and a film in post-production: “Running With Our Eyes Closed, A Film about Jason Isbell,” which is being co-produced by the Duplass Brothers and Jones.
Jones is the creator and host of the documentary series “Off Camera with Sam Jones,” which had a 219 episode run on DirecTV’s Audience Network from 2013-2020. Jones is also an acclaimed commercial director and recently wrote and directed a series of commercials for OnePlus featuring Robert Downey Jr. He directed the Showtime series “Roadies,” created by Cameron Crowe, and also directed and produced the feature-length Showtime documentary “Lost Songs: The Basement Tapes Continued,” a film that reexamines Bob Dylan’s “The Basement Tapes.” In 2002, Jones started his documentary career with “I Am Trying To Break Your Heart,” which chronicles beloved indie-rock band Wilco’s tumultuous recording of their acclaimed fourth album, “Yankee Hotel Foxtrot.” Rolling Stone named “I Am Trying To Break Your Heart” one of the best rock films of all time.
Jones began his career as a photographer and quickly gained acclaim for his seminal portraits of cultural icons. His work has appeared on the covers of Vanity Fair, Rolling Stone, Esquire, GQ, Time, and many others, and he has had several books published. Jones lives in Los Angeles with his daughters and still loves to skateboard.
At 27, Kelsey Peterson dove into Lake Superior, off the shores of Wisconsin, and emerged paralyzed. Now, the former dancer struggles to redefine who she is while adapting to life with a disability. At the intersection of acceptance and hope, Kelsey unexpectedly finds herself facing an opportunity to dance again, showing her a new path toward acceptance, all the while grappling with a decision to participate in a cutting-edge clinical trial that could bring her much-desired change — forcing her to evaluate the possibilities of her recovery, body, and spirit.
In Move Me, a first-time filmmaker with a disability simultaneously takes the reins behind the scenes, while revealing her inner revolution through raw storytelling onscreen.
Dancer and choreographer Kelsey Peterson was paralyzed from the chest down after diving into shallow waters. In conjunction with a friend injured in the same manner, Kelsey decides to dance for the first time since her accident by creating a unique piece of choreography. Her documentary feature MOVE ME is a portrait of a woman attempting to reclaim her identity.
The combination of home movies, rehearsals, and scenes from her daily life create a raw picture of Kelsey’s existence. Kelsey explains that after the accident, she realized that the world does not accommodate her current state. This singular statement makes MOVE ME so much more profound for able-body viewers. When you see the rehearsal restroom, the irony is exhausting.
MOVE ME doesn’t simply tell the tale of a single dance. Kelsey navigates her father’s declining health while simultaneously researching the possibility of joining an experimental trial. She speaks with other participants, discovering that it’s not all positive outcomes. Uncertainty looms large as Kelsey weighs her options. She holds nothing back, tackling everything from bowel function to sexual sensation.
“A Cripple’s Dance” bases pieces of its choreography on Kelsey and Gabe’s moments of impact and what followed in the water. The intimacy of the camera work is visceral. Gabe’s lyrics are profoundly beautiful and hit you in the heart like a dagger. The result will give you chills.
This film was personal for me. I began dancing at the age of three. Since then, I have competed, choreographed, and expressed myself through movement. When I lost some of my abilities from an emergency appendectomy and then years later, a neck injury, I was devastated. I remember the grief of losing those lifelong skills, talents that came without thought as they were muscle memory. Let me be clear I am able-bodied. You would not know I was in pain by the way I move through the day. I cannot begin to fathom the strength Kelsey Peterson possesses daily. Her positive outlook and relentless optimism drive her film. To me, she’s fearless. She’s sort of my hero. MOVE ME makes me appreciate my body’s movement tenfold.
Co-Directors: Kelsey Peterson, Daniel Klein
Producers: Kelsey Peterson, Daniel Klein, Madeline Brown
Executive Producers: Lois Vossen, Sally Jo Fifer, Joanna Rudnick
Cinematographer: Brennan Vance
Editor: Nico Bovat
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