HBO Documentary Films’ MURDER ON MIDDLE BEACH, a four-part documentary series directed by first-time filmmaker Madison Hamburg, presents Hamburg’s complicated journey as a young man determined to solve an unspeakable crime and absolve the people he loves, while looking for answers within his fractured family and community.
On March 3, 2010, single mother Barbara Hamburg was found violently murdered near her home in the upper-middle-class enclave of Madison, Connecticut. Investigators speculated her murder appeared to be a crime of passion, but without enough evidence, the case grew cold.
Over the course of 8 years, Barbara’s son, Madison Hamburg, interviewed his family members and many others, longing to learn more about his mother and gathering evidence in hopes of solving her murder, sending him into a deep web of buried familial secrets, connections to shadowy criminal figures, and the uncovering of years-old resentments in his deceptively serene hometown. While Madison wrestles with troubling revelations about his mother, the most unsettling conflict comes from Madison’s obligation to bring into question those inside his community and members of his own family.
Madison Hamburg wants to know what happened to his mother in 2010. Growing up in an affluent Connecticut town myself, I found it shocking that I had not heard about this case. Who would want to kill a stay at home mother? What are the motives for such a brutal act? The theories seem straight forward until you’re steered down another road due to lack of evidence. The things that went wrong in this initial investigation will frustrate you to no end. You have to give Madison credit for having the courage and, for lack of a more eloquent way of putting it, balls for putting his entire childhood and now adulthood on the line to solve this mystery and deal with his trauma.
Creative editing places you inside the family dynamic of the Hamburgs. Not just Madison’s odd relationship with his estranged father, but his aunt’s and uncles, grandparents, and his sister Barbara, the 4th of that namesake on his mother’s side. Madison uses home videos and still photography to invite you into the years he had with his Mom. Some of the most unique moments come in the form of vintage voiceovers from what seems like those creepy 1950s classroom movies. It is eerily effective. Intimate sit-down interviews play the largest part as the mystery grows. There are constant hints of family secrets but we only get a tease in the final moments of episode one. You’re so invested in this story, it’s frightening. There is no doubt Madison Hamburg wants the truth. I know I’ll be watching the final 3 episodes on HBO to find out if he gets it. Murder on Middle Beach will air episode 1 tonight at 10:00-11:00pm ET/PT.
Stream on HBO Max: http://itsh.bo/hbo-max
MURDER ON MIDDLE BEACH debuts on November 15 on HBO and will be available to stream on HBO Max.
With superb writing and slick editing, Echo Boomers is intoxicating. With Patrick Schwarzenegger’s voice-over narration the flow feels like a novel, and I do mean that as a compliment. This could easily be further developed into a long-running series. There is a lot to unpack in all the right ways. There’s a psychological subtext to each character that is carefully crafted. The cinematography is sharp, combined with the immersive score, you cannot help but love this crew.
Michael Shannon does what Michael Shannon does best. He lives and breathes every role. He is somehow terrifying and more approachable all at once. Patrick Schwarzenegger is amazing. He grabbed my attention in last year’s Daniel Isn’t Real. I recommend casting him in everything he has time for. He has the innate ability to connect with his castmates on a truly grounded level. He is comfortable in his own skin. You feel like you know him. He is undeniably magnetic. The nuanced dynamics in the screenplay let everyone have impactful moments. You can easily argue this is a true ensemble piece.
I cannot stress enough how fantastic the writing and directing is. This could have gone off the rails in a heartbeat or come off as an Ocean’s franchise ripoff but it holds its own and then some. It’s wildly entertaining. There’s something about Echo Boomers that makes it unique from any other film in 2020. It’s brimming with complexity, action, drama, suspense, and some unbelievable performances. The stakes keep getting higher and higher and even though you know it’s morally reprehensible, you’re all in. You can watch Echo Boomers now in Theaters, On Demand, and Digital from Saban Films.
Intimate and thoughtful cinematography makes 
The editing is sharp. Millisecond takes of words and paintings are cut into the chronological storytelling. It keeps you on your toes (no pun intended). Not only does BARE give you an up-close and personal look at the performance world, but it tackles issues of masculinity and preconceived notions of male dancers. Moments of pure levity come in the acceptance that performers are cheeky attention seekers all the time. When the men become fully aware of the ever-present cameras, they mug for them ceaselessly. Experimental exercises are something magical to behold. If you pause any moment during the film when dance occurs, it’s a breathtaking tableau of life and movement. BARE eases a viewer not familiar with dance into a world brimming with discovery, raw emotions, organic yet precise planning, sometimes fraught with injury, but always filled with surprise.
The film is comprised mostly of footage from the 1960s, readings of court transcripts, and present-day sit-down interviews with almost all of the key players in this unprecedented case. But in truth, it’s the same old story; racist white men asserting control over the black population (and anyone that is their ally). In one particular interview with Lolis Eric Elie, son of famed civil rights lawyer Lolis Elie, he recalls never having “the talk” about how to handle being questioned by a police officer. “How often do you talk about humidity? Well, it’s always there.”
Performances are badass. Nathan Phillips gives a really grounded portrayal of Sinclair. As much as one can be discovering that a family of vamps are trying to kill you. Alyssa Sutherland, as a nurse who lost her daughter and husband in the war, is the sensible, even-keeled figure and voice of reason. She is fearless and kind and a nice foil for the boat’s majority of overly masculine residents. Ruby Isobel Hall is phenomenal in her timing and perceived innocence. It’s some truly nuanced work. For me, the star of this film is Alex Cooke. Frankly, I could have watched an entirely separate film of the history of his character (nudge, nudge, wink, wink, writer-director Justin Dix and writer Jordan Prosser!) His totally nonchalant epicness deserves more screen time. Cooke kills it in this role.
The most unusual aspect of Dix‘s and Prosser‘s screenplay is that I found myself questioning who the real villains are? A family is kidnapped for profit. Then said family is punished for defending itself. Our crew is merely intervening after a tragedy and gets caught in the middle. I found myself relating to the vampires as a mother, which is both weird and wonderful. While there are definitely a few telegraphed plot points, the majority of the script is super original and wild as hell. Blood Vessel could easily become a franchise based on a very satisfying ending. You’ll undoubtedly hunger for more.
As someone who had not one, but two traumatic birth experiences, Kindred spoke to me on an entirely different level. The innate fear you experience when you are growing a small human inside your body is enough without the opinions and actions from those who have ulterior motives. Tamara Lawrance embodies the visceral panic that occurs on the physical, emotional, mental plains of waiting for what a mother hopes will be an inevitably hopeful outcome. But the most evocative aspect of Kindred is the gaslighting pregnant women often endure. Your instinct is ignored constantly, questions deemed silly or paranoid. Doctors and perfect strangers are poking and prodding you with advice and sometimes, touching you without your permission. Pregnancy is a very invasive experience no matter how you look at it. Kindred tackles all this and so much more in an intelligent and terrifying way.
The camera work, colors, and music all create an ambiance that feels foreboding. You don’t even know how completely off-kilter you’ll be by the cinematography until it’s too late. You will question your own opinions about what is real and what is not due to the brilliant and carefully crafted script from writer-director Joe Marcantonio. His work with this cast is award-worthy. He is able to bounce your opinion about these characters like a ping pong ball as the plot rolls along. Perhaps with the exception of Fiona Shaw’s portrayal of Margaret. She is overbearing and loathsome throughout. Her backstory is a smartly written foil for Lawrance’s Charlotte. Jack Lowden performance as Thomas lies somewhere in between the two. Desperately needing to be useful and loved, his loyalty is fickle and all the more disturbing. Tamara Lawrance wins the day with her perfect portrayal of Charlotte. Grief-stricken, imprisoned, bedrest restricted woman, whose internal alarms are ringing ad nauseam, she is phenomenal and represents the confused and delirious viewer, as well. Kindred is dark and scary. It will get under your skin as it slowly drives you into your own madness.
I think sometimes people forget about the importance of sound and score. In horror, they are like an unseen character. In the opening of The Dark and the Wicked, sound and score put you on edge before the title appears on-screen. Christopher Duke, Joe Stockton, and Tom Schraeder, alongside writer-director Bryan Bertino carefully craft that feeling of uneasiness you want in a genre knockout. The premise is relatable enough, to begin with; a brother and sister return to their home as their father lay dying. Something is wrong with their mother. She tries to tell them but can’t quite express what’s invading her house. This plot gets more and more upsetting as clues are revealed. It made my skin crawl.
Stand out performances from Xander Berkeley, Tom Nowicki, Lynne Andrews, and Julie Oliver-Touchstone must be acknowledged. They are all key in the build-up to a shattering finale. Michael Abbott, Jr. is a great foil for Ireland. Their relationship feels very genuine. Marin Ireland is magnificent. The fear in her eyes is everything we feel. They portray the pull of family obligations to perfection. The Dark and the Wicked is one of the most atmospherically disturbing films of 2020. The colors and lighting scream bleak and ominous from the get-go. Smartly used tropes like spooked animals, doors opening themselves, and body horror mixed with ghostly visions let us know things are clearly not okay in this house. The practical fx are gruesome. The build-up is a bit reminiscent of Relic. Long lingering shots get under your skin. Alongside that keen sound is sharp scene editing. It creates small jump scares that have a massive overall impact on the mood. The film relies heavily (and brilliantly) on what you don’t see just as much as completely messed up, mind-bending imagery. The Dark and the Wicked succeeds in creating an unsafe space that is undeniably horrifying. This film literally made me shiver. It is a quick descent into spectacular terror.
John Turturro as Mr. Silk is a masterclass. Like every one of his roles, he is a chameleon. He is slyly one of the evilest characters we’ve seen in quite some time. It’s the nuance that makes this performance so incredible. He is a representation of all that is negative and manipulative about the real world. Chris Messina as Paul’s father is a beautiful anchor. His care for this role is evident from the very beginning. Eve Hewson is a firecracker. Her shocking energy makes you smile wider than you thought possible. Sophie Giannamore is a wonder. She is the very person Paul needed to meet for innumerable reasons. Her chemistry with Jaeden Martell is electric. The ease with which she handles the dramatic and lovely nature of her character is perfection. Jaeden Martell is Paul. His quiet strength and vulnerable nature let us live in his shoes. I’ve seen every one of his roles and he is a star. His ability to breathe life into Paul allows the audience to sit back and let Martell take their anxiety and run with it. He represents the outsider we all felt like we were in some form or another.
It’s visually splendid, from the circus colors, the lush costumes, each character having a stand out color pop. And then, there are the chapter illustrations. They are gasp-worthy gorgeous. The brilliant combination of Olivia Dufault’s screenplay, DP Andrew Droz Palermo‘s camera work, Aaron Osborne’s production design, Donna Zakowska‘s thoughtful costumes, and director Martin Krejcí overall vision make for a stunning and important lesson in 2020. Not only does it serve as a lesson, but it endlessly entertaining. The True Adventures of Wolfboy is a film we can all get behind right now.
At this point, all I really need to see to get excited is “A Moorhead and Benson Film” on my screen. You literally never know what you’re going to get except that it will most likely make you question your own reality. Synchronic is yet another visual and storytelling mindfuck. After the success of Spring and 
When a movie opens with a silent conversation with a stuffed animal, you’ve got me. Alex hates college, so, so much. Admittedly, it’s awkward as hell. Sharing bathrooms, still eating in a cafeteria, living with weird roommates. Leaving home for the first time can be really hard. The college experience is not for everyone.
Dylan Gelula, as Maggie, has a whole lot more under her cool girl facade. Her performance feels grounded and sincere. She brings confidence that few can convey with such ease and was an awesome casting choice for Maggie. Writer/director/star Cooper Raiff is someone to watch for all the reasons I mentioned above. He is responsible for a film that feels like it could be any one of our stories from college. He takes real care with Alex. This is a character we need to see more of. He allows him to be sensitive, honest, confused, hopeful, vulnerable. Frankly, he’s one of the most brilliantly written characters this year. S#!%HOUSE shines in its authenticity.
The song “Yellow Cotton Dress” as performed by lead actor MacLeod Andrews is something I would listen to on loop. I was blown away by his comic timing as well as his ability to make me weep. A great deal of the film is just Andrews doing his thing. You will be enamored with him. After the film ended, I actually watched a 12-minute video of him recording a chapter from an audiobook. It was outstanding. It was a completely different side to the loveable and vulnerable character of Jack we get in this film. I’m suggesting you cast him in all the things, pronto. Natalie Walker clearly has a handle on comedy as well, taking a seemingly serious angle to Muriel. Her commitment to tone is spot on. MacLeod and Walker as a team are spectacular. Their chemistry just works.
The ending swings from genuinely devastating and to simply beautiful. It speaks volumes about the things we don’t talk enough about to one another. Sometimes all we need is for someone to listen. Sometimes we just need some help. This is one of the most unique scripts of the year. Director Adam Stovall co-wrote the script with Andrews and they’ve given us an entirely different perspective on horror and mental health. A Ghost Waits will undoubtedly surprise Screamfest audiences long after the credits roll. It’s a bit of a genre-bending wonder.
The action is relentless. The editing is pure awesome. The bizarre clues left along the way like breadcrumbs are genius. Ben O’Toole as Rex is outstanding. He gets to play multiple roles in this fast-paced, post heist thrill ride. We get a peek of what’s inside his head as his inner thoughts manifest as an entirely different side of his personality. It’s a brilliant, award-worthy performance.
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