New York Film Festival: Movies coming soon to a theater near you (or your favorite device)

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Of the 48 films screening at this year’s New York Film Festival (Main Slate, Spotlight on Documentary, Special Events) there are 17 that are either released or will be in the next 6 months. That used to mean they were just coming soon to a cinema screen, but now it could mean it will soon be available for you to watch on your favorite device. For those outside NY or LA, you might never get the opportunity to see these movies if it weren’t for streaming. It’s quite the world we’re living in.

One should note that sponsors of this year’s festival are HBO and Netflix.

Netflix had 3 films screening, The Irishman, releasing in select theaters and Netflix November 1st, Marriage Story, releasing December 6th in select theaters and Netflix and Atlantics: A Ghost Love Story whose release date is November 15th on Netflix.

HBO oddly only has one, the documentary, Bully. Coward. Victim. The Story of Roy Cohn – which I’m really looking forward to seeing. Release date is only for 2020 at this point.

  • Pain and Glory [Main Slate] Distributed by: Sony Pictures Classics, 10/14/19, in theaters
  • Parasite [Main Slate] Distributed by: NEON, 10/14/19, in theaters
  • Motherless Brooklyn [Closing Night] Distributed by: Warner Bros, 11/01/19
  • The Irishman [Opening Night] Distributed by: Netflix, 11/01/19
  • A Girl Missing [Main Slate] Distributed by: Film Movement, 11/15/19
  • Atlantics: A Ghost Love Story [Main Slate] Distributed by: Netflix, 11/15/19, on Netflix
  • Varda by Agnès [Main Slate] Distributed by: Janus Films, 11/22/19, at Film Forum & Film at Lincoln Center Nationwide Rollout to Follow
  • College Behind Bars [Spotlight on Documentary] Distributed by: PBS, 11/25/19
  • 63 Up [Spotlight on Documentary] Distributed by: BritBox, 11/27/19
  • Marriage Story [Centerpiece] Distributed by: Netflix, 12/06/19
  • Portrait of a Lady on Fire [Main Slate] Distributed by: NEON, 12/06/19
  • Cunningham 3D [Spotlight on Documentary] Distributed by: Magnolia Pictures, 12/13/19
  • The Traitor [Main Slate] Distributed by: Sony Pictures Classics, 01/03/20
  • I Was at Home, But… [Main Slate] Distributed by: Cinema Guild, February 2020
  • The Whistlers [Main Slate] Distributed by: Magnolia Pictures, 02/28/20
  • First Cow [Main Slate] Distributed by: A24, 03/06/20
  • Bully. Coward. Victim. The Story of Roy Cohn [Spotlight on Documentary] Distributed by: HBO Documentary Films, 2020

Review: Kevin McMullin’s ‘Low Tide’ is a successful teen noir.

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LOW TIDE

In the long days of summer in a beach town on the New Jersey shore, high schooler Alan (Keean Johnson) and his friends Red (Alex Neustaedter) and Smitty (Daniel Zolghadri) break into vacation homes to steal valuables, funding dates at the boardwalk and lunches at the burger stand. When Alan and his younger brother Peter (Jaeden Martell) find a bag of gold coins, they try to hide them from the others — but Red, suspicious and violently unpredictable, seems willing to do anything to get the money.

This teen thriller is so well written and acted that the foreboding behinds immediately and never lets up. Nothing good can come of white boy rage and resentment. But a whole lot of great can come from a brilliant young cast of this caliber. Jaeden Martell is captivating as younger boy scout brother Alan. There is something truly special about this young man’s ability to fill a frame with a powerful silence. Older, sort of ne’er do well brother played by Keean Johnson is a dynamic foil for Martell. Fueled by equal parts passion and pride, he inadvertently puts both boys’ lives in jeopardy. The other two young men that keep these brothers deeply mired in danger are complete opposites of one another. Daniel Zolghadri gives a phenomenal performance as Smitty, playing somewhere between a mob rat and a boy who is terrified to feel rejected. The fourth and certainly most brutal of the bunch is Red. Alex Neustaedter utilizes a physical and emotional volatility that is truly unsettling. You will keep one eye on him at all times because you know nothing good can come of his angry townie attitude. These four boys try to avoid getting caught robbing summer tourists but deceit leads the group down a deadly path. Writer-Director Kevin McMullin has crafted a real thriller. The cinematography is beautiful. Existing in a time driven by greed and favoring the elite, Low Tide proves that human nature reveals its flaws just as easily among children as it does adults. This film undoubtedly brings unsettling intrigue and true noir.

Written and Directed by: Kevin McMullin
Produced by: Brendan McHugh, Kevin Rowe, Richard Peete, Rian Cahill, and Brian Kavanaugh-Jones 
Starring: Keean Johnson, Jaeden Martell, Alex Neustaedter, Daniel Zolghadri, Kristine Froseth, Shea Whigham
Distributed by A24 and DIRECTV
Run Time: 86 Minutes
Rated R for language, some violence and teen drug use

 

New York Film Festival Review: ‘The Wild Goose Lake’

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The Wild Goose Lake

  • Diao Yinan
  • 2019
  • China/France
  • 113 minutes
  • Subtitled

U.S. Premiere · 

Small-time mob boss Zhou Zenong (the charismatic Hu Ge) is desperate to stay alive after he mistakenly kills a cop and a dead-or-alive reward is put on his head. Chinese director Diao Yinan deftly keeps multiple characters and chronologies spinning, all the while creating an atmosphere thick with eroticism and danger.

Stylized fight choreography and lush cinematography drive this film firmly into the crime noir genre. While the quick take editing lies somewhere between self-indulgence and brilliance, The Wild Goose Lake is altogether engrossing. An over the top take on territory grievances becomes a backstabbing story of survival and redemption. There is actually very little dialogue for s film of this length but this is another area where the film can shine. The almost immersive sound editing is a transitional heads up. The plot is chaos and greed-driven, inevitably leading to brutal violence. Lead performances are incredibly strong, especially Hu Ge . The Wild Goose Lake is worth the price of entry at this year’s NYFF. This is a film that deserves a top-quality viewing experience on a large screen if you can swing it.

https://www.filmlinc.org/nyff2019/films/the-wild-goose-lake/

NYFF 57 review: – Kelly Reichardt’s ‘First Cow’ is a film about male friendship in the early 19th century.

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First Cow

  • Kelly Reichardt
  • 2019
  • USA
  • 122 minutes

New York Premiere ·

Kelly Reichardt once again trains her perceptive and patient eye on the Pacific Northwest, this time evoking an authentically hardscrabble early 19th-century way of life for this tale of a taciturn loner and skilled cook (John Magaro) who has joined a group of fur trappers in Oregon Territory, but only finds true connection with a Chinese immigrant (Orion Lee) also seeking his fortune.

Kelly Reichardt has a style all her own. You can pick out a film of hers within the first five minutes of long drawn out, beautifully cinematic shots. First Cow is based on the novel “The Half-Life” by John Raymond who is also a longtime collaborator with Reichardt. The story follows a quiet man called Cookie who is making his way across the Oregan territory with a group of fur trappers. Stumbling upon a clearly educated Chinese immigrant named King Lu, the men become fast friends in uncertain times. This film is essentially about male bonding in a time and environment that is driven by greed and aggression. The kindness and sincerity of our two leads, John Magaro and Orion Lee, bounds off the screen. You believe in their earnest chemistry. With Reichardt’s usual use of natural light and sparse dialogue, we are fully entrenched in the almost uninhabitable world these two men live in. At moments, this feels like a buddy comedy and I do mean that as a complete compliment. Some of the greatest moments in the script occur within the conversations between Cookie and the cow, itself. It must be mentioned the sheer number of wonderfully acted ancillary characters is mind-boggling. Sweet and funny, and bursting with charm, First Cow is something special in its storytelling.

https://www.filmlinc.org/nyff2019/films/first-cow/

 

New York Film Festival Review: ‘Sybil’ is chaotic and anything but predictable

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What I really enjoyed about Justine Triet’s ‘Sybil’ is the layered stories that are told in real-time alongside flashbacks. The result leaves you with a feeling of unease. Was it happening now or was she remembering? I got a feeling of confusion that was intriguing and captivating.

Past and present collide in an increasingly complicated and highly entertaining fashion in Justine Triet’s intricate study of the professional and personal masks we wear as we perform our daily lives. Psychotherapist Sibyl (Virginie Efira) abruptly decides to leave her practice to restart her writing career—only to find herself increasingly embroiled in the life of a desperate new patient: Margot (Adèle Exarchopoulos), a movie star dealing with the aftermath of a traumatic affair with her costar, Igor (Gaspard Ulliel), while trying to finish a film shoot under the watchful eye of a demanding director (Toni Erdmann’s Sandra Hüller, splendidly high-strung), who happens to be Igor’s wife. Sybil, negotiating her own past demons, makes the fateful decision to use Margot’s experiences as inspiration for her book, as boundaries of propriety fall one after another. As she proved in her previous film In Bed with Victoria, which also starred the magnificently expressive Efira, Triet is a master at creating heroines of intense complexity, and of maintaining a tricky balance between volatile drama and sly comedy. A Music Box Films release.

There’s nothing simple about this dark comedy/drama, which is what gives it such rich complexity. It’s disorienting at first to figure out what is going on, which seems to mimic Sybil’s current status. Just when you think you know where it’s going, life happens. It’s unpredictable and fascinating.

There are a few tickets left for Saturday at noon, so if you’re looking for something to see that’s worth the ticket, this would be highly recommended. Being in French adds another level of fantastic. https://www.filmlinc.org/nyff2019/films/sibyl/

I just didn’t like this poster because I still think Sally Field when I hear Sybil, so it makes me think she has multiple personalities.

57th New York Film Festival begins with the world premiere of Scorsese’s ‘The Irishman’ arriving soon on Netflix & select theaters

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If you aren’t catching one of the few screenings of The Irishman at the New York Film Festival, it will come to Netflix on November 1st and will go do select theaters (major cities) on November 27th.

I’m so excited to see a Netflix movie premiere as the opening night film. What makes a movie? It’s not definable. You know when you see it. This is a movie.

Robert De Niro, Al Pacino and Joe Pesci star in Martin Scorsese’s THE IRISHMAN, an epic saga of organized crime in post-war America told through the eyes of World War II veteran Frank Sheeran, a hustler and hitman who worked alongside some of the most notorious figures of the 20th century. Spanning decades, the film chronicles one of the greatest unsolved mysteries in American history, the disappearance of legendary union boss Jimmy Hoffa, and offers a monumental journey through the hidden corridors of organized crime: its inner workings, rivalries and connections to mainstream politics.

 

Review: ‘Corporate Animals’ is an awesome ensemble comedy.

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Lucy (Demi Moore) is the delusional CEO of a struggling startup aimed at millennials. In her infinite wisdom, Lucy leads her staff, including her long-suffering assistants Jess (Jessica Williams) and Freddie (Karan Soni), on a team building retreat in the caves of New Mexico led by an overeager guide (Ed Helms). When disaster strikes and the food runs out, mandatory office bonding becomes a lot more… appetizing.

Demi Moore plays a caricature of a “crunchy” CEO who takes her employees on a team-building excursion that goes awry. Trapped in a cave, already eccentric personalities are pushed to their limits. This script uses the “ripped from the headlines” and pop culture tactic to drive its tongue-in-cheek dialogue. It has a very Office feel to its co-worker chemistry dynamic. Demi Moore is authentically hilarious as an entitled phony nightmare. Ed Helms is never not funny. Jessica Williams and Karan Soni make an incredible team, SNL needs to take them both on immediately.  Each and every cast member has funny moment after funny moment. These are fully fleshed out characters which is a compliment to both the cast and the writer, Sam Bain.

Filmed almost entirely in the cave set, you can feel the claustrophobia of the cast. This is a “Lord of the Flies” daydream for anyone who hates their boss. The funniest moments revolve around hallucinations of all kinds. Corporate Animals doesn’t break any new ground but who cares. It’s still an undeniably fun time and a great comedic platform for both veteran and newcomer cast.

Screen Media will release the film in theaters and on demand September 20th.

Review: ‘Moonlight Sonata: Deafness in Three Movements’ is an ode to sound and silence.

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MOONLIGHT SONATA

DEAFNESS IN THREE MOVEMENTS

A Film by Irene Taylor Brodsky

 

Moonlight Sonata is a deeply personal memoir about a deaf boy growing up, his deaf grandfather growing old, and Ludwig van Beethoven the year he was blindsided by deafness and wrote his iconic sonata.
Their lives weave a story about what we discover when we push beyond loss.

Jonas inherited his deafness from his maternal grandmother and grandfather. We learn so much from watching him communicate with and without his cochlear implants. We learn by watching the interaction between him and his grandparents. Genetics determined that Jonas and his grandparents had a tiny “typo” in a specific gene causing them to be deaf. Music became another way to communicate and bridge the generational gap. Beethoven’s Moonlight Sonata was Jonas’ personal challenge he set for himself. His goal was to study for 7 months in order to perform it in a recital. The history of Beethoven’s own deafness weaved into this doc is stunning on every level. While rehearsing, Jonas’ music teacher explains the emotional impact of the piece not only to him but the audience. Moonlight Sonata: Deafness in Three Movements is an ode to sound and silence.

Utilizing home movies, truly immersive sound editing, sit-down interviews, and lush animation to express how deafness affects the world, Moonlight Sonata moves an audience. Jonas’ grandfather puts it’s so frankly, “You can’t understand the world through your ears.” The challenges are unfathomable for those of us who can hear in a typical fashion. Determination, pride, frustration, discipline, acceptance, and evolution all guide this film towards an emotionally high close. You feel the music and the joy. Be sure to watch through the credits to experience the full effect. Filmmaker Irene Taylor Brodsky has given us a true gift.

Opening in NY on September 13 at Landmark 57 and in Los Angeles on September 20 at Laemmle Royal

Directed by: Irene Taylor Brodsky
(Academy Award-nominee®, Peabody Award-winner®, Hear and Now, Beware the Slenderman)
Produced by: Irene Taylor Brodsky & Tahria Sheather

Review: ‘Depraved’ reminds us who the real monsters are.

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The legend of Frankenstein gets a provocative modern update in the stylishly disturbing new film from indie horror master Larry Fessenden. Suffering from PTSD following his stint as an army medic, Henry (David Call) now works feverishly in his Brooklyn laboratory to forget the death he witnessed overseas by creating life in the form of a man cobbled together from body parts. After procuring a brain from an unwitting victim, his creation—Adam (Alex Breaux)—is born. But it soon seems that giving life to Adam was the easy part; teaching him how to live in a dark and troubled world may be perilous. A complex, emotionally shattering tale about what it means to be human, Depraved brings Mary Shelley’s immortal fable fully into the 21st century.

 

Like Mary Shelley‘s novel, as you watch Depraved, you immediately realize that our Dr. Frankenstein character is the monster and not his creation. The emotional connection in this script is what engrosses you from the very beginning. It explores the good, the bad, and definitely the ugly of the human condition.

Performances are out of this world. David Call as Henry is exceedingly ambitious. He easily flips from hopeful excitement to an underlying irrational rage, fueled by military PTSD. As a mother, it’s like watching myself teaching my toddlers, especially when I’ve reached my mental and emotional limits. Joshua Leonard as Polidori is the diabolical shit starter that propels the insanity to the next level. Alex Breaux as Adam is captivating. His vulnerability is literally a head to toe performance. These men give us a complex dynamic that is undeniably intense and brilliant. Director Larry Fessenden has created something spectacular in every way. Depraved is easily one of my favorite films of 2019.

The overall editing of Depraved is a masterclass unto itself. Utilization of flashbacks fills in the backstory gaps. The visual overlays of synapses firing are truly effective. We become Adam. It is damn near perfect. The special effects make-up is striking. The sound editing is hypnotizing and the score is breathtaking. Fessenden has given us a complex character study that subtly shines a light on issues from big pharma to the treatment of our veterans and beyond. It is a story about moral corruptibility at its finest. You will be left in awe. Depraved is a modern-day, movie monster masterpiece.

 In Theaters September 13

Directed and Written by Larry Fessenden (The Last Winter, Until Dawn, Habit)
Starring David Call (“The Sinner”), Joshua Leonard (The Blair Witch Project), Alex Breaux (“When They See Us”), Addison Timlin (Odd Thomas, Fallen), Maria Dizzia (“Orange Is The New Black,” “13 Reasons Why”)

Review: Indie gem ‘CHAINED FOR LIFE’ is finally in theaters today.

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Presents
The widely acclaimed festival hit! Currently 100% fresh on Rotten Tomatoes…

CHAINED FOR LIFE

Directed by Aaron Schimberg

Building on the promise of his hallucinogenic debut Go Down Death, filmmaker Aaron Schimberg delivers another brilliantly oddball, acerbically funny foray into gonzo surrealism. In a deft tragicomic performance, Jess Weixler (Teeth) plays Mabel, a movie star “slumming it” in an outré art-horror film being shot in a semi-abandoned hospital. Cast opposite her is Rosenthal (Under the Skin’s Adam Pearson), a gentle-natured young man with a severe facial deformity. As their relationship evolves both on and offscreen, Schimberg raises provocative questions about cinematic notions of beauty, representation, and exploitation. Tod Browning crossed with Robert Altman crossed with David Lynch only begins to describe something this startlingly original and deeply felt.

There is something so extraordinary about this film. Not only does it ooze charm, but it’s a comment about representation in Hollywood. The dialogue is equal parts tongue in cheek as it is completely serious. It has a very indie cinematography style, as well. The script is completely engrossing, start to finish. Each film homage tucked inside Aaron Schimberg’s film is carefully crafted. A film within a film within a film, there are moments that feel mind-blowingly meta. The lines between fantasy and reality are often blurred creating an effect on the audience that is hypnotizing.
Jess Weixler easily represents us as the audience. Her sincerity and ability to relate on an emotional level are super refreshing. Her performance feels natural and grounded.  Chained for Life also sees the return of Charlie Korsmo ( a childhood crush since Dick Tracy) as the eccentric Director. The level of commitment to this character makes me miss him on-screen all the more. And now we come to our leading man, Adam Pearson. I am completely obsessed with this man. He is phenomenal. I cannot remember the last time a performance felt less like a performance and just simply a documentary. He is mesmerizing and I implore more writers and directors to seek him out and create content for him. The world needs it. Giving voice to those who are almost always exploited for their unique appearance, Chained For Life is a special opportunity to explore inclusiveness, not just in film, but every day.

 

OPENS WED, SEP 11 at IFC CENTER (NYC)
& FRI, SEP 13 at LANDMARK NUART (LA)
(followed by national rollout)
**World Premiere: BAM cinemaFEST 2018**
**Fantasia Film Festival 2018**
**BFI London Film Festival 2019**
**Sarasota Film Festival 2019**
**Chicago Underground Film Festival 2019**
**Fantastic Fest 2019**

 

Review: ‘Satanic Panic’ reaches (oc)cult classic status.

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presents

SATANIC PANIC

SYNOPSIS:

Sam’s first day as a pizza delivery driver is not going according to plan. At the end of a long day and not enough tips, her last delivery turns out to be for a group of Satanists looking for someone to sacrifice. Now in a fight for her life, Sam must fend off witches, evil spells and demonic creatures, all while trying to keep her body – and soul – intact.

Poor Satanists, just trying to sacrifice a virgin to bring a hell beast to walk the earth. But that darn virgin keeps getting away! Satanic Panic has practical effects that are an awesome combination of mildly silly and completely, on-point disgusting. The sets and costumes absolutely rock. But, it’s the performances and writing that kick major ass. Rebecca Romijn is goddamn spectacular. Her commitment to physical comedy is pure genius and her timelessly gorgeous face is a delight to watch on-screen. Ruby Modine gets the best, rapid-fire dialogue in the film. She’s so nonchalant you’ll be fully immersed into the wacky plot- which actually has this unexpected emotionally redemptive element involved. It is classic occult set up at its finest with extra surprising moments sprinkles in. Haley Griffith as our ingenue Sam is refreshingly innocent. She is the representation of loyalty and street smarts. Seamlessly mixed into entertaining genre goodness, the film also takes aim at generational headbutting and classism. Director Chelsea Stardust guides Satanic Panic into the cult genre with humor and a bit of magic storytelling from Grady Hendrix and Ted Geoghegan.

RLJE Films will release the horror film SATANIC PANIC in Theaters, On Demand and Digital on September 6, 2019.

SATANIC PANIC stars Hayley Griffith (“The Loudest Voice”, “The Mysteries of Laura”), Ruby Modine (“Shameless”, Happy Death Day franchise), Rebecca Romijn (X-Men franchise, “Star Trek: Discovery”), Arden Myrin (“Insatiable”, “Shameless”) and Jerry O’Connell (Stand By Me, “Billions”). The film was written by popular horror author Grady Hendrix (“We Sold Our Souls,”  “My Best Friend’s Exorcism”) and directed by up-and-coming director Chelsea Stardust (“Into The Dark”, Seeing Green).

World Premiere at the 2019 Overlook Film Festival 

Official Selection of 2019 Fantasia Film Festival 

Review: ‘BURN’ will knock you for a loop.

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SYNOPSIS: BURN follows a lonely, unstable gas station attendant Melinda (Tilda Cobham-Hervey), tired of being overshadowed by her more confident, outgoing co-worker Sheila (Suki Waterhouse).   When the gas station is held at gunpoint by Billy (Josh Hutcherson), a desperate man in need of quick cash, Melinda finds an opportunity to make a connection with the robber, regardless of who gets hurt.

The young cast has fiery energy, pardon the pun. Suki Waterhouse is a fantastic, atypical pretty girl with a bitch streak. Harry Shum, Jr. is charming as the local newbie cop. Josh Hutcherson, who I cannot help but picture in his now-iconic Hunger Games role, is undeniably strong. The emotional highs and lows of his situation are striking. The real star is our leading lady, Melinda. Tilda Cobham-Hervey is haunting in both her physicality and nuance. She keeps you on the edge of your seat all while tapping into that lonely place we all have inside ourselves. The film begs the question, who is the real villain in this story? It tackles self-harm, isolation, and flips the classic power structure on its head in truly shocking ways. The plot is unique and it will go places you are not expecting. BURN will cause you internal struggle and that is what makes it pretty damn spectacular.

Momentum Pictures will release the thriller BURN in Theaters, On Demand and Digital on August 23, 2019.

Written and directed by Mike Gan (No Evil) who is making his feature directorial debut, the film stars Josh Hutcherson (The Hunger Games Films), Suki Waterhouse (Insurgent), Tilda Cobham-Hervey (Hotel Mumbai), Harry Shum Jr. (Crazy Rich Asians) and Shiloh Fernandez (Evil Dead).

See 4 Tarantino movies (and randomly the first ‘IT’) at Regal Theaters August 30 – September 4

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I”m scratching my head as to the reasoning behind this lineup, but whatever the case, it’s pretty awesome having the opportunity to see three of these films on the big screen again. Although, now that I think about it, I didn’t see Pulp Fiction in the theater. I was working at a local video store and since I was an employee, I could take the movies the night before they were rented to the public, Tuesdays. Oh, the perks.

Regal New Classic Series

Anyway, I came across this and just didn’t like the layout of the information, so thought I’d repost with it presented a little differently. I created a google map of the Regal locations participating. It’s below the table.

Friday, August 30, 2019
1st Matinee Kill Bill Vol. 1
2nd Matinee Kill Bill Vol. 2
1st Evening Once Upon a Time in Hollywood
2nd Evening Pulp Fiction
Saturday, August 31, 2019
1st Matinee Kill Bill Vol. 1
2nd Matinee Kill Bill Vol. 2
1st Evening Pulp Fiction
2nd Evening Once Upon a Time in Hollywood
Sunday, September 1, 2019
1st Matinee Once Upon a Time in Hollywood
2nd Matinee Pulp Fiction
1st Evening Kill Bill Vol. 1
2nd Evening Kill Bill Vol. 2
Monday, September 2, 2019
1st Matinee Pulp Fiction
2nd Matinee Kill Bill Vol. 1
1st Evening Kill Bill Vol. 2
2nd Evening Once Upon a Time in Hollywood
Tuesday, September 3, 2019
1st Matinee Kill Bill Vol. 1
2nd Matinee Kill Bill Vol. 2
1st Evening Once Upon a Time in Hollywood
2nd Evening Pulp Fiction
Wednesday, September 4, 2019
1st Matinee Once Upon a Time in Hollywood
2nd Matinee Pulp Fiction
1st Evening IT Chapter One
2nd Evening IT Chapter One

Review: ‘TONE-DEAF’ kills it in these brutal times.

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After losing her job and imploding her latest dysfunctional relationship, Olive (Amanda Crew) flees the city for the weekend, escaping to the countryside for some peace and self-reflection.  She rents an ornate country house from an eccentric widower named Harvey (Robert Patrick).  Soon two generations collide with terrifying results as Olive awakens Harvey’s homicidal tendencies and is plunged into a blood-soaked fight for her life.  More than your average slasher film, TONE-DEAF provides a dark critique of the bizarre cultural and political climate that currently exists.

This spectacularly weird and wonderful film has some of the most biting humor and solid scares. Tone-Deaf is left vs. right, generational romp through madness. The music is in your face and perfect. The script is frankly, shocking. I did not see many of the twists coming and damn, is that refreshing. The hyper Millenial stereotypes show up as modern art fever dreams for our terrifying antagonist, Harvey. Elaborate sets and repeat framing create the illusion that you will be able to predict certain tropes, but you’re dead wrong.

Amanda Crew as Olive is absolutely hilarious in her sense of entitlement and charm. She delivers this dialogue like one who has had to sit through brunch surrounded by girls whose Instagram is life. She is fabulous. Robert Patrick, who always brings to mind a bit of evil from his iconic T2 role, is balls to the wall amazing as the Baby Boomer off his proverbial rocker. As much blood as we see in this film, honest to God, the most startling thing is when Patrick’s character breaks the fourth wall. I was unsure at first if I was seeing what I was seeing, but the monologue lasts long enough for you to realize your perception as a viewer has been skewered. I was genuinely uncomfortable and dammit, I’m a Gen Xer. Writer/Director Richard Bates, Jr. has not only nailed the eccentricities of these two generations but lights a fire under the ass of the audience with quippy dialogue and carefully placed gore (yes, that’s a thing).  Tone-Deaf is undeniably fun and fresh.

Saban Films will release TONE-DEAF in theaters and On Demand on August 23, 2019.

TONE-DEAF is written and directed by Richard Bates, Jr. (Trash Fire, Suburban Gothic), and stars Robert Patrick (“Scorpion,” Terminator 2: Judgment Day), Amanda Crew (“Silicon Valley,” The Age of Adaline), Kim Delaney (“Chicago Fire,” “NYPD Blue”), AnnaLynne McCord (Fired Up!, “90210”), Keisha Castle-Hughes (“Game of Thrones,” Whale Rider), Hayley Marie Norman (I Am the Night, “Lonely and Horny”), and Ray Wise (“Fresh Off the Boat,” “Twin Peaks”).

Review: Scary Movies XII’s Opening Night Film ‘VILLAINS’ is terrifyingly good.

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presents

Scary Movies XII’s Opening Film

VILLAINS

Opening In Theaters Nationwide This Fall

Two hilariously small-time millennial robbers break into the wrong house. Something is clearly amiss when Jules and Mickey are confronted by the owners. In an attempt to do the right thing, they are faced with challenges no one will see coming. Evil comes in many forms.

The film has fantastic framing and awesome camera work. Beautifully sprinkled horror homages keep genre fans in a state of pure delight. This is already a crowd-pleaser less than 15 minutes into its 89 minute run-time. The animation under the final credits is like a drug induced plot recap. I am obsessed. The script is quirky is wonderful. With stylistic elements that reminded me of The People Under The Stairs, it’s a film you’ll have to go back and watch to catch all the little details.
Bill Skarsgård and Maika Monroe are young balls of energy. Both quickly becoming genre icons in their own right, these two make a stunning pair. Their chemistry feels super organic and appropriately playful. By the end you will be genuinely invested in their survival. Homeowners Kyra Sedgwick and Jeffrey Donovan are total creeps. Sedgwick, in particular, will blow you away with a complex performance. They are a perfect foil for Jules and Mickey. It’s scary what we’ll do for love.

You’ll be totally enamored with Villains from start to finish. It’s funny and bizarre as hell. It has a classic feel but somehow completely fresh all at once. From the acting to the cinematography to the smart script, directors Dan Berk & Robert Olsen have a real winner on their hands.

Written & Directed by | Dan Berk & Robert Olsen

Starring | Bill Skarsgård, Maika Monroe, Jeffrey Donovan & Kyra Sedgwick

Co-Produced by | BRON Studios, Star Thrower Entertainment, Creative Wealth Media Finance & The Realm Films

Review: ‘Driven’ is a great vehicle to showcase Jason Sudeikis’ talents

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When you think of Back To The Future, you cannot help but see one of the most iconic cars of all time in your mind is: The DeLorean. But does anyone know a single thing about the creator of this movie legend? Few names in the tech industry evoke an immediate portrait of that person: Steve Jobs, Bill Gates, and perhaps now Elizabeth Holmes for better or for worse. I certainly had no clue about the tangled and complex story behind the man who would lend his name to cinematic history. Driven goes behind the proverbial curtain and sheds light on an unbelievable true tale of corruption and image through the eyes of someone who befriended this enigmatic figure. Con man to con man, takes one to know one.

Lee Pace as John DeLorean in Universal Pictures Content Group’s crime thriller comedy DRIVEN. Photo courtesy of Universal Pictures Content Group.
(L-R) Lee Pace as John DeLorean and Jason Sudeikis as Jim Hoffman in Universal Pictures Content Group’s crime-thriller comedy DRIVEN. Photo courtesy of Universal Pictures Content Group.
Jason Sudeikis as Jim Hoffman in Universal Pictures Content Group’s crime thriller comedy DRIVEN. Photo courtesy of Universal Pictures Content Group.
(L-R) Corey Stoll as Special Agent Benedict Tisa and Jason Sudeikis as Jim Hoffman in Universal Pictures Content Group’s crime thriller comedy DRIVEN. Photo courtesy of Universal Pictures Content Group.
Lee Pace as John DeLorean in Universal Pictures Content Group’s crime thriller comedy DRIVEN. Photo courtesy of Universal Pictures Content Group.
(B-F) Lee Pace as John DeLorean and Jason Sudeikis as Jim Hoffman in Universal Pictures Content Group’s crime-thriller comedy DRIVEN. Photo courtesy of Universal Pictures Content Group.
(L-R) Judy Greer as Ellen Hoffman and Isabel Arraiza as Cristina DeLorean in Universal Pictures Content Group’s crime thriller comedy DRIVEN. Photo courtesy of Universal Pictures Content Group.
Jason Sudeikis as Jim Hoffman in Universal Pictures Content Group’s crime-thriller comedy DRIVEN. Photo courtesy of Universal Pictures Content Group.
(L-R) Jason Sudeikis as Jim Hoffman and Judy Greer as Ellen Hoffman in Universal Pictures Content Group’s crime thriller comedy DRIVEN. Photo courtesy of Universal Pictures Content Group.
Lee Pace as John DeLorean in Universal Pictures Content Group’s crime thriller comedy DRIVEN. Photo courtesy of Universal Pictures Content Group.
(L-R) Jason Sudeikis as Jim Hoffman and Lee Pace as John DeLorean in Universal Pictures Content Group’s crime thriller comedy DRIVEN. Photo courtesy of Universal Pictures Content Group.
(L-R) Michael Cudlitz as Morgan Hetrick and Jason Sudeikis as Jim Hoffman in Universal Pictures Content Group’s crime thriller comedy DRIVEN. Photo courtesy of Universal Pictures Content Group.
(L-R) Jason Sudeikis as Jim Hoffman and Corey Stoll as Special Agent Benedict Tisa in Universal Pictures Content Group’s crime thriller comedy DRIVEN. Photo courtesy of Universal Pictures Content Group.
(L-R) Justin Bartha as Howard Weitzman and Lee Pace as John DeLorean in Universal Pictures Content Group’s crime thriller comedy DRIVEN. Photo courtesy of Universal Pictures Content Group.
Justin Bartha as Howard Weitzman in Universal Pictures Content Group’s crime thriller comedy DRIVEN. Photo courtesy of Universal Pictures Content Group.

Corey Stoll is probably the most believable version of a fed up FBI agent there could be. His genuinely flabbergasted attitude is the perfect foil for Sudeikis’ sardonic wit. Judy Greer, my beautiful girlcrush, is honest and spitfire as ever. One particularly climactic scene between her and Sudeikis (unmistakable once you see it) is pretty much a masterclass in scene partnering. Lee Pace is immensely unsettling and about as big of a dickhead as you need DeLorean to be. His bullshit is thick and perfect. Now, let’s get to the man of the hour. Jason Sudeikis, since I saw him in Tumbledown, is as surprising as ever. He has honest to God acting chops outside of his charming funny guy routine. More roles like this please and thank you. Bravo, once again, good sir.

The film’s pacing works well with the backdrop of Hoffman’s testimony. This is one hell of an intriguing story. You’ll need to know how it ends. Driven is about the deadly mixture of ingenuity and pride. It will take you for a ride.

Review: For ‘Them That Follow’ it’s devotion until death

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Deep religious beliefs permeate an extremely small and isolated Appalachian community.  Pastor’s daughter Mara is trapped between her feelings and the expectations put upon her by her father and his followers. She is secretly pregnant. She is rightfully petrified to be found out. Blind faith and reality might just split her in two.

Olivia Colman is completely unexpected as a matron in this community. Her American accent is frighteningly good. She is nothing like you expect her character to be. She ever so slightly and quietly teeters on the brink of questioning what’s right. Jim Gaffigan plays her husband Zeke. You almost wouldn’t know he was there. He is vastly underutilized. What he does get to emote is strong. Walton Goggins as Pastor Lemuel makes your skin crawl with his piercing stare. Alice Englert as Mara is vulnerable and raw. She owns each scene she’s in and goes toe to toe with the presence of Colman and Goggins.

The film has such an ominous sense that it keeps you engrossed and totally uncomfortable as you watch.The film is shot in darkness, whether at night or overcast skies, costumes and sets are all in winter and fall browns and jewel tones. This is a story of not only religious zealots it is also quietly about the sexual awakening of a repressed young woman. Misogyny and passion clash and a sheer impending terror has a palpable effect on the audience. Something wicked this way comes.

Review: ‘AFTER THE WEDDING’ proves life never goes as planned.

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presents

Directed by: Bart Freundlich 
Starring: Michelle Williams, Julianne Moore, Billy Crudup, and Abby Quinn

** Opening Night Film 2019 Sundance Film Festival **

As if driven by an inescapable force, Isabel (Michelle Williams) has devoted her life to running an orphanage in a Calcutta slum. With funds running dry, a potential donor, who requires she travel from India to New York, to deliver a presentation in-person, contacts Isabel. During travel first you should book the hotel to stay, You can get help from Hotel blog. At first, balking at the demand of an uncommitted philanthropist, she relents and travels to a city she deliberately hasn’t returned to in over two decades. After visiting on Absolute Back Packers you will get all details about traveling and packaging.

Once in New York, Isabel lands uncomfortably in the sightline of the orphanage’s possible benefactor, Theresa Young (Julianne Moore), a multi-millionaire media mogul accustomed to getting what she wants. From the glittering skyscraper where she runs her successful business, to the glorious Oyster Bay estate, where she lives happily with her artist husband, Oscar Carlson (Billy Crudup), 21-year-old daughter, Grace (Abby Quinn), and eight-year-old twins, Theo and Otto, Theresa’s life couldn’t appear to be more perfect and different from Isabel’s. But appearances are only skin deep and the two women have more in common than meets the eye.

While Isabel thinks she’ll soon be returning to her beloved orphanage, Theresa has other plans. She insists Isabel attend Grace’s wedding at the family’s estate using the wedding tent hire sunshine coast services. The joyful event becomes a catalyst for a revelation that upends the lives of both women, and the people who love them most.

This script is as beautifully complex as real life is. You can make all the plans in the world but life has a funny way of doing whatever it wants. A wedding is a huge event, not just for the bride and groom but their entire family. It comes with as much stress as it does joy. When key communication breaks down because there are secrets, all hell can break loose. There are so many secrets in AFTER THE WEDDING each character has the emotional right to spin out, be irrational, and even grieve what might have been. Steven Fleming also was known as “The Celebrant Guy” is one of the popular names in the wedding industry for being one of the few young, energetic and humorous list of wedding celebrants in Melbourne. As stated by a real bride, Rohanna, “It is easy to work with Steven. He is wonderful from the very beginning until our wedding day. He made sure that we understand everything in the process even the smallest details. He is friendly, and we had good communication with him on what we want for our ceremony.” If you book with Steven Fleming this 2018 through Easy Weddings, a 10% discount awaits you! Hi, I’m Steven Fleming and I am a registered Civil Celebrant in Australia. Originally from Brisbane, I moved to Melbourne around 10 years ago. I have a beautiful Kelpie named Phoenix, and am an incredibly open minded, outgoing and creative person.  Other than this, I don’t know what else to tell you, as I don’t want this to end up looking like a dating profile. So how about I just tell you how I began this journey, and a few things I have learned along the way.

Performances across the board are outstanding. Michelle Williams is stunning as she is forced to relive heartbreaking choices. Billy Crudup must come to grips with the lies he has perpetrated for love. Julianne Moore has to let go of the control she’s always not so secretly had. Abby Quinn has a vulnerability of a much more experienced actress. I look forward to seeing her (and hearing her sing) again soon. The entire cast gives truly nuanced performances that are vulnerable and raw.

The rich colors in the film wrap themselves around the viewer. The gorgeous opening and closing drone shots make a brilliant cyclical statement about life in general. AFTER THE WEDDING reminds us all that life is complicated and never neat. Take advantage of the time you have with the people you love the most.

Review: Go head over heels for ‘Ode to Joy.’

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Martin Freeman sports an American accent in this film based on a story from This American Life. Charlie has a rare disorder that causes him to pass out when he experiences strong emotions but especially joy. This makes life and dating especially difficult. With odd coping mechanisms that keep him in a constant state of depression and boredom, he meets Francesca, a woman that challenges his sense of dull stability. When their first date goes awry, Charlie insists on setting her up with his very different younger brother, Cooper. Francesca must overcome her own fears while Charlie comes to grips with his disorder and stop making excuses. How does he really want to live his life?
The entire cast is a delight. Jake Lacy as Cooper is an amazing foil for Freeman. Young and hungry for more than a good time, he’s funny and a very relatable character, for better or for worse. Jane Curtin as Francesca’s ailing Aunt Sylvia is as lovable and sarcastic as Jane Curtin always is. Melissa Rauch as Charlie’s interim love interest is hilarious in her serious love of anything and everything tedious. Morena Baccarin is honest and grounded with an exuberant spirit. My girl-crush since her Firefly days, she’s also clearly a secret Timelord, but let’s not confuse fandoms. Martin Freeman is ridiculously charming. I cannot help but get wrapped up in each role he plays. He’s simply wonderful.
The rom-com is alive and well, people. Ode to Joy is a unique indie that’s sure to be a knockout this summer. It opens in theaters, on digital and On Demand this Friday. Check out the trailer below!

TITLE: ODE TO JOY

IN THEATERS: August 9, 2019

ON DIGITAL AND ON DEMAND: August 9, 2019

DIRECTOR: Jason Winer

WRITER: Max Werner

CAST: Martin Freeman, Morena Baccarin, Melissa Rauch, Jake Lacy, Jane Curtin, Shannon Woodward, Adam Shapiro

SYNOPSIS:  Martin Freeman (The Hobbit) has fallen in love and can’t get up. A man’s fervent attempts at subverting happiness once it begins to cause him bouts of narcolepsy are put to the ultimate test when he falls in love.

GENRE: Comedy

RUN TIME:  97 Mins

RATING: R

DISTRIBUTOR: IFC Films

‘Long Gone By’ premiering at HBO’s New York Latino Film Festival

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LONG GONE BY tells the tale of Ana Alvarez, a single mother from Nicaragua living in Warsaw, Indiana with her teenage daughter, Izzy. When a routine check in leads to a deportation order, life as Ana knows it ends. The timing could not be worse as Izzy has just been accepted to Indiana University, a dream that becomes a nightmare when she discovers that because of her immigration status she will not qualify for the needed scholarships or federal aid. Faced with an impossible reality of a lifetime away from her daughter, Ana decides to risk everything in a last chance effort to leave Izzy’s tuition paid before her time runs out. An intimately unnerving portrait of a woman willing to sacrifice everything to give her daughter the chance at a life she never had.

Said director, Andrew Morgan, “There is nothing in my life that comes close to relating to what we witness Ana and Izzy go through in this film. The prospect of facing a lifetime away from my children is a nightmare I have never had to imagine. For me that reality, as I listened to the stories of families being torn apart gave me the motivation to do something in my own way to shine a light on these issues and ideas.” Said lead Erica Muñoz, “I’ve seen people forced into impossible situations. Parents having to make unthinkable decisions in order to try to give their children a better life. Since we shot the film, the horrors are only amplified.” These issues are what drove the cast and crew to create LONG GONE BY, and the effect of the film is palpable.
The film was set and shot on location in Warsaw, Indiana. Morgan wanted to portray the classic small town America through the eyes of an outsider. He said “I absolutely loved working there, the entire community was so helpful and it gave the film a look and feel that I really love.”
“Andrew is focused, driven, kind, incredibly patient, and ridiculously talented.  Working with him was, without question, the most rewarding professional experience of my life,” said lead and Associate Producer, Erica Muñoz. “The rest of the team – in particular, Emily Morgan, his wife and producing partner, created an environment where everyone felt so supported in every conceivable way.”
The filmmakers responsible for LONG GONE BY are very excited to be premiering at the 16th year of HBO’s New York Latino Film Festival. Muñoz has been following the festival since its inception. She says “the spotlight on Latinx creatives has created opportunities for so many filmmakers like myself. It’s by passing the gate keepers and opening the door for unknown talent to be seen.”
LONG GONE BY premieres at HBO’s New York Latino Film Festival August 17, 2019 at 2pm at AMC Times Square. Tickets can be purchased here.