Review: ‘We Have Always Lived In The Castle’ in theaters and VOD today.

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WE HAVE ALWAYS LIVED IN THE CASTLE 

A film by Stacie Passon
based on the book “We Have Always Lived in the Castle” by Shirley Jackson

Starring Taissa Farmiga, Alexandra Daddario, 
Sebastian Stan, and Crispin Glover

SYNOPSIS: Merricat lives with her sister Constance and her Uncle Julian. The trio are survivors of an arsenic poisoning that killed everyone else in the family five years prior. Merricat is bold and imaginative, and protects the property with “spells”. Despite being hated by the townspeople, the sisters live an idyllic life, until cousin Charles arrives. Charles offers to help around the house, and inquires about the family’s finances. Constance is charmed by Charles, and Merricat resents Charles’ intrusion. As Charles and Merricat battle for control, tragedy threatens to strike again.

There is a heavily literary feel to the structure, script, and performances. If you consider yourself a reader, these aspects will delight you. This all makes perfect sense since it’s based on Shirley Jackson‘s novel. Taissa Farmiga has given us a gorgeous portrayal of Mary Catherine. The specificity of her facial expressions, her physicality, and her tone is a master class in character acting. Sebastian Stan is entirely unlikable in his charm and clearly underlying intentions. His strong presence will make you squirm just as it does the other Blackwood family members. Alexandra Daddario is as elegant and she is uneasy with her plastered on smile. Obviously hiding true emotion on the outside, it’s the moments when the stare lingers a touch too long in which we are suspicious and fearful of her truth. Crispin Glover, who ages at a snail’s pace, is a complex, almost ancillary uncle character with what seems like bouts of early onset dementia. As the only other survivor of their dark tragedy, his idea of a memoir drives his protection of his nieces and the family legacy. This story is filled to the brim with mystery. There are so many assumptions and unanswered backstory questions, but that didn’t stop me in any way from enjoying the hell out of it. It’s the darkness that keeps your interest. The music, costumes, and sets are delicious. With elements of magic, superstition, and greed, We Have Always Lived In The Castle is stylistically engrossing.

In theaters and VOD on May 17 

Tribeca Film Festival 2019 Review: ‘Blow The Man Down’ is one of the year’s best films.

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Blow The Man Down

While grieving for the loss of their mother, the Connolly Sisters suddenly find they have a crime to cover up, leading them deep into the underbelly of their salty Maine fishing village.

Growing up in a small New England town, I have a full appreciation for the glorious specificity in Blow The Man Down. From the regional slang to the understanding that everyone knows everyone else’s business, this film is filled with surprises and its very own version of a Greek chorus in Maine fisherman form. A completely femme-centric story boasts magnificent performances from the entire ensemble cast. June Squib, Annette O’Toole, Marceline Hugo, Margot Martindale, Sophie Lowe, Morgan Saylor, and Gayle Rankin. Co-directors and screenwriters Bridget Savage Cole and Danielle Krudy have created a suspenseful, funny, incredibly dark murder mystery. It’s only after walking away from the screening did I realize the small clues that were sprinkled along the way and but honestly had no idea what would happen from moment to moment. It was refreshing. Martindale plays the dominant town matriarch with the skill we’ve come to expect from her. Squib, O’Toole, and Hugo are a smart trio. They cleverly play their hand close to the chest and become the saving grace of our two young leads. Sophie Lowe and Morgan Saylor are fantastic foils as sisters. Their chemistry is spot on. Gayle Rankin’s emotional journey is much larger than it might first appear. She continues to be one to watch. Blow The Man Down is in my Top 3 films from the festival this year.

Tribeca Film Festival 2019 Podcast Interview: Jeremy Gardner, Christian Stella, and Brea Grant share all the gory and gorgeous details of ‘AFTER MIDNIGHT’ (Something Else).

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AFTER MIDNIGHT (Something Else) Podcast

AFTER MIDNIGHT (formerly titled Something Else) was one of the most unique selections in this year’s festival. Both a monster movie and a love story, the film’s deliberate structure is a standout all on its own. The writing is fresh and funny and the use of light makes it a joy to watch. There are brilliantly theatrical moments. I believe this film would actually translate incredibly well onstage! When you see it, you’ll know what I mean. It’s a complete compliment. I sat down with co-directors Christian Stella and Jeremy Gardner (who also stars and wrote the script) and star Brea Grant to chat all things AFTER MIDNIGHT. How did the script come about? What in the world were they thinking with certain choices? What did Brea think the first time she read the script?  We talk favorite movie monsters, and how the filmmakers of one of my favorite films The Endless, Justin Benson and Aaron Moorhead, got on board. You can read my full review of AFTER MIDNIGHT here, but give a listen to the awesome time we all had together. Be warned, when I walked into the room, Christian, Jeremy, and Brea had all been in the super cool bathroom of our interview room at The Roxy Hotel taking a photo, and I’m disappointed in myself for not getting in on the selfie action on my way out the door. Also, when you hear us refer/talk to “Ted”, we’re actually talking to We Are Still Here and Mohawk filmmaker Ted Geoghegan who just so happened to be in our presence. No big deal. Anyhow, without further ado, here is our podcast talking all things Tribeca, monsters, and AFTER MIDNIGHT.

ABOUT THE DIRECTOR(S)

Jeremy Gardner and Christian Stella are the filmmakers behind the indie zombie film The Battery and survival comedy Tex Montana Will Survive! Lifelong friends, both directors were born and raised in Florida.

FILM INFO
  • Section:
    Midnight
  • Year:
    2019
  • Length:
    83 minutes
  • Language:
    English
  • Country:
    USA
  • Premiere:
    World
  • Connect:
    Facebook, Twitter, Instagram
CAST & CREDITS
  • Director:
    Jeremy Gardner and Christian Stella
  • Producer:
    David Lawson Jr., Justin Benson, Aaron Moorhead, Arvind Harinath
  • Screenwriter:
    Jeremy Gardner
  • Cinematographer:
    Christian Stella
  • Editor:
    Christian Stella and Jeremy Gardner
  • Executive Producer:
    Venu Kunnappilly
  • Cast:
    Jeremy Gardner. Brea Grant, Henry Zebrowski, Justin Benson, Ashley Song, Nicola Masciotra

Tribeca Film Festival 2019 Review: ‘Bunker Burger’ and ‘The Neighbor’s Window’, two shorts that keep you watching.

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Bunker Burger

The members of an underground, post-apocalyptic bunker invite a psychologist from the radioactive and chaotic surface to audition for a place to live among them.

This short has everything you’re looking for in any film; suspense, distinct style, consuming plot, brilliant performances. There is not a hair out of place with this dark comedy. It is the perfect proof-of-concept piece. I am delighted to hear that writer/director Adam Yorke is developing it into a feature. I’m already there.

ABOUT THE DIRECTOR(S)

Adam Yorke is a writer/director/producer and head of development at Wildling Pictures, a ProdCo. in Toronto. He’s made two previous shorts and has had two feature scripts optioned. He’s currently writing the feature version of Bunker Burger.

The Neighbor’s Window

The Neighbors’ Window tells the true story of a middle aged woman (Maria Dizzia) with small children whose life is shaken up when two free-spirited twenty-somethings (Juliana Canfield and Bret Lada) move in across the street.

This film is absolute perfection for anyone thinking the grass is always greener. A married New York City couple watching the progression of a neighboring couples’ lives play out over the course of about a year is simply captivating. In the city, personal space lines are thinly drawn. It can feel as if no one here owns curtains. But we make too many assumptions and cannot fully appreciate what we have until tragedy strikes. The Neighbor’s Window is about people. With stunning performances, a lovely score, it’s pure and wonderful.

ABOUT THE DIRECTOR(S)

Marshall Curry is a three-time Academy Award® -nominated documentary filmmaker. Many of his films have premiered at Tribeca and include the Academy Award®- and Emmy® -nominated documentary Street Fight, as well as A Night At The Garden, Racing Dreams, Point And Shoot, and If A Tree Falls: A Story Of The Earth Liberation Front.

 

 

 

Tribeca Film Festival 2019 Review: ‘Charlie Says’ flips the script on the Manson girls.

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Charlie Says

Charlie Says, directed by masterful filmmaker Mary Harron and written by Guinevere Turner, tells the familiar story through fresh eyes—those of Manson’s most devoted girls, van Houten (Game of Thrones’ Hannah Murray), Patricia Krenwinkel (Sosie Bacon), and Susan Atkins (Marianne Rendón). Thanks to a devoted prison educator who slowly draws the women out from years of a madman’s mesmerizing and abusive spell (Matt Smith), the women’s story is told in eerily detailed flashbacks, forcing them to reflect on the path that leads them to such unforgivable crimes.

This is not a story about Charles Manson. This is a story about three women who were manipulated by a mentally ill man who convinced them they were loved. Patricia Krenwinkel, Susan Atkins, and Leslie Van Houten, all came to be followers of Charles Manson because they were lost and looking for someone to make them feel important. It’s the performance from Hannah Murray, Sosie Bacon, and Merritt Wever that catapult this story forward. Wever, in particular, is the heartbeat that guides these broken girls into reality. Bacon represents every girl that needed Manson (played by Matt Smith with a quiet but fiercely alarming power) to be their father figure. Murray, as Leslie, is the audience. You feel for these ladies through intercut flashbacks and prison scenes. Each like a peek behind the curtain and into the insanity of a man who thought the Beatles were speaking to him through the ‘White Album”. These women were brainwashed sex slaves. It wasn’t until a feminist teacher Karlene Faith, with enough empathy to teach these women, did anyone begin to realize that they too were victims alongside those murdered. The film is chilling. The structure is disturbingly effective. You end up caring about these women who history has taught us to loathe. Charlie Says is not about Charles Manson. I’ll say it again. Charlie Says is not about Charles Manson. It is about the victims he kept closest to him.

ABOUT THE DIRECTOR

Mary Harron is the writer and director of films including American Psycho, The Moth Diaries, I Shot Andy Warhol, and The Notorious Bettie Page. Her television credits include episodes of The L Word, Six Feet Under, Big Love, and Oz, and, most recently, The Following (FOX), Constantine (NBC), and Graceland (USA).

How to see the Tribeca Audience Award Winners & Runner-ups

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These films will be showing tomorrow on the last day of the Tribeca Film Festival or you can also catch them below. See You Yesterday is coming to Netflix!

  • Documentary Audience Award
  • Narrative Audience Award

Airbnb-produced Gay Chorus Deep South is making its way around the country on the festival circuit. Next stop will be Montclair, NJ followed by Greenville, SC. Check out the schedule here: https://www.gaychorusdeepsouth.com/seethefilm

Gay Chorus Deep South, directed by David Charles Rodrigues, written by David Charles Rodrigues, Jeff Gilbert. Produced by Bud Johnston, Jesse Moss. (USA) – World Premiere, Feature Documentary. To confront a resurgence of anti-LGBTQ laws, the San Francisco Gay Men’s Chorus embarks on an unprecedented bus tour through the Deep South, celebrating music, challenging intolerance, and confronting their own dark coming out stories. With The San Francisco Gay Men’s Chorus, Oakland Interfaith Gospel Choir, Dr. Tim Seelig, Ashlé, Jimmy White

https://www.youtube.com/watch?v=lOvZ3ve5m-U

Plus One is to be released June 14th, and I assume that means theatrically, although it is not clear.

Plus One, directed and written by Jeff Chan, Andrew Rhymer. Produced by Jeremy Reitz, Debbie Liebling, Ross Putman, Jeff Chan, Andrew Rhymer, Greg Beauchamp. (USA) – World Premiere. In order to survive a summer of wedding fever, longtime single friends Ben and Alice agree to be each other’s plus one at every goddamn wedding they’re invited to. With Maya Erskine, Jack Quaid, Ed Begley Jr., Rosalind Chao, Beck Bennett, Finn Wittrock.

You’ll find See You Yesterday on Netflix on May 17th.

See You Yesterday, directed by Stefon Bristol, written by Stefon Bristol & Fredrica Bailey. Produced by Spike Lee, Jason Sokoloff, Matt Myers. (USA) – World Premiere, Feature Narrative. Two Brooklyn teenage prodigies, C.J. Walker and Sebastian Thomas, build make-shift time machines to save C.J.’s brother, Calvin, from being wrongfully killed by a police officer.

Watson, directed by Lesley Chilcott. Producers: Louise Runge, Lesley Chilcott, Wolfgang Knöpfler. . (USA, Costa Rica, Tonga) – World Premiere. Co-founder of Greenpeace and founder of Sea Shepherd, Captain Paul Watson has spent 40 years fighting to end the destruction of the ocean’s wildlife and its habitat. Part pirate, part philosopher, Watson’s methods stop at nothing to protect what lies beneath.

Tribeca Film Festival 2019 Review: ‘ONLY’ in an emotional gut punch worth waiting for.

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ONLY

Will (Leslie Odom, Jr.) and Eva (Freida Pinto) seem destined for a storybook life together, so pure and supportive is their mutual love. But their alone time is suddenly interrupted when Eva’s roommate, Carolyn (Tia Hendricks), bursts through the door and collapses as torrents of mysterious ash fall from the sky. During a chaotic trip to the hospital, Will learns what he needs to do, quickly covering Eva in a hazmat suit, then rushing home with her and hermetically sealing the doors and windows. Weeks become months become years and, after Eva makes a desperate move, the couple is forced to run for their lives.

Only is a mysterious, dreamy post-apocalyptic love story told elegantly and in non-sequential order by director Takashi Doscher. Tony Award-winner Odom, Jr. (Hamilton) and Pinto (Slumdog Millionaire) play the doomed couple whose fear that their secret will be revealed unveils the layers of pain and longing between them. As Will and Eva struggle to reach a beloved waterfall from their past, the couple attempts to survive in a new world where she is a commodity of unparalleled worth.

While watching Only, I was furiously taking notes because I wanted to remember every little nuance I was experiencing. From the opening scene, the imagery is haunting and a sense of doom and urgency sit in the pit of your stomach. The phenomenally edited film builds its intensity through non-linear storytelling. While it can be a challenge to follow at times, it is an effective way to make sure you are paying full attention. At every turn in the script, I was surprised. Its dark premise will take you down a rabbit hole of needing to find answers. Once the puzzle is solved and all the pieces are in place, your stomach will drop and your soul will weep. The captivating performances from Frieda Pinto and Leslie Odom, Jr. help Only stand apart from Tribeca’s other selections this year. Their chemistry is electrifying. With subtly suggested elements of Handmaids Tale weaved into the narrative, this post-apocalyptic tale has an eerie patriarchal theme that makes it all the more upsetting. Only is easily one of the best of the fest this year.

Remaining screenings:
2:45 PM – SAT 5/4
VILLAGE EAST CINEMA-01Icon fg map

Review: ‘CLARA’ has an appeal that is written in the stars.

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Starring: Troian Bellisario (“Pretty Little Liars”) and Patrick J. Adams (“Suits”)
Written & Directed by Akash Sherman (The Rocket List)

CLARA tells the story of Isaac Bruno (Patrick J. Adams), an astronomer consumed by the search for life beyond Earth. Convinced that the universe is a dark and lonely place, Isaac meets Clara (Troian Bellisario), an artist who shares his fascination for the wonders of space. Their unlikely collaboration leads to a deep connection, and a profound astronomical discovery.”

The intellectual dialogue is so overwhelming intriguing from the very first scene, you cannot help but feel compelled to give your entire attention to Clara‘s unique premise. Can logic and love coexist? This is a film about loneliness and loss but also wonder and imagination, science, and faith. It’s a profound look at the universe as it pertains to intimate relationships. Seemingly an oxymoron, how could the vast beyond of space apply to two people? Clara delves into the idea of letting go to let the universe do its proverbial thing. Real-life husband and wife play astronomer and newly hired assistant attempting to find a new planet with life. Their backstories are incredibly nuanced. Patrick J. Adams is captivating in his sadness and determination. Seeing him outside of Suits in a completely different role further cements his strong presence and pull on-screen. The arch of Issac is something to behold. Troian Bellisario as Clara is simply magic. The full complexity of her character won’t be fully realized until the film’s final scenes. She owns this role.

Just when you think the script couldn’t get any better, it does. The film is hauntingly scored and beautifully edited. The stakes are high and the emotional hold Clara has on you is undeniable. It has an ending that is otherworldly. Human connection is one of the most important things on this planet. Clara explores ideas we all contemplate as we gaze into the night sky and pushes them over the edge.

In Theaters and On Demand This Friday!

New York Theater: Cinema Village
Los Angeles Theater: Arena Cinelounge

RT: 105 Minutes

*2018 Toronto International Film Festival*
*Narrative Feature Jury Award – 2018 Austin Film Festival*
*2019 Canada Now*

Tribeca Film Festival 2019 Review: SHORTS: WTF

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SHORTS: WTF

These films were curated especially for late-night.

Playing in this program:
Twist

No choice but to walk home alone, Hannah (Helena Howard) sees an opportunity for a ride, but others see an opportunity in her.

With a well-built tension familiar to any young woman, Twist leaves much to the terrifying imagination, making it all the more frightening. Beautiful performances bring fear to life.

Whiteout

When a young couple (Sarah Tihany and David Call) encounters a strange old man (Patrick M. Walsh Jr.) wandering in a snowstorm, they must decide if he needs help, or if he has more sinister intentions.

A real “What would you do?” scenario set in the middle of the road on a snowy night. It begs the question, “Who’s the real monster?”

His Hands

Two men (Arron Blake and Philip Brisebois) of different ages meet for the strangest encounter of their lives.

While I’m not completely sure what was actually happening in this film, I know I was damn uncomfortable as a viewer. Performances are striking and I need to know more.

Momster

When notorious bank robber, the Momster (Amanda Plummer), catches her daughter Angel (Brianna Hildebrand) mid-gunfight, Angel thinks she’s being rescued… until she realizes she has to do the saving.

This short has a Robert Rodriguez/ QuentinTarantino Grindhouse feel with its quippy dialogue, vivid pops of color, and effective narration.

Hunting Season

Callie (Hannah Levien), a small town gas station attendant, has an unexpected encounter which will change the course of her life forever.

This short begins by utilizing the major trope of failing electricity to build up suspense. The sparse dialogue is meaningful enough to create an entire backstory and the perfect amount of dread, culminating in a magical ending no one will see coming.

11:50

In the pouring rain, a junkie (Jerry Chih-Wei Huang) takes the hotel key of a man that his car has accidentally killed. As he walks into the hotel and finds that room, he has to face a mysterious journey that will never have an end.

This cinematic little masterpiece is a proof of concept from heaven. Not only visually delicious but one hell of a reveal that will keep you wanting more.

Snaggletooth

An unusual girl (Jolie Ledford) needs to get her teeth fixed at midnight.

The 50’s era sets, costumes, and lighting lead up to a visual shock that is both scary and delightful.

FILM INFO
  • Section:
    Shorts Program
  • Year:
    2019
  • Length:
    75 minutes
  • Premiere:
    New York

Tribeca Film Festival 2019 Review: ‘Picture Character’ #therealemojimovie

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PICTURE CHARACTER

Spotlight Documentary, World Premiere – Directed by Martha Shane and Ian Cheney

As silly as you may think the topic, you can’t deny that emojis are everywhere. After all, a picture is worth a thousand words, right? The story of the creation/inception of emojis is interspersed with three stories of the quest to get new emojis added – hijab emoji, mate and menstruation (blood).

While following these stories, something is revealed that is is far more interesting. Remember when emojis weren’t the same on iOS vs Android? Then, miraculously, they became universal? Welcome to the Unicode Consortium. A non-profit organization that unifies character sets.

Suddenly, there are a lot of questions. The film gives enough information about Unicode without overwhelming the audience and changing the course of the story, but for me, it was such a large elephant in the room that I couldn’t stop wondering about it.

Whether you just send the occasional smiley face or you carry on conversations via emoji, you’ll enjoy seeing the behind the curtain.

List of universal emojis: https://unicode.org/emoji/charts/emoji-list.html

Tribeca Film Festival 2019 Review: ‘For They Know Not What They Do’ and this is the problem

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FOR THEY KNOW NOT WHAT THEY DO

Documentary Competition, World Premiere – Directed by Daniel Karslake

More maddening than enlighting, For They Know Not What They Do follows four families that facing challenges and did their best. It’s heartbreaking, frustrating and exactly what happens when people are not empathetic with each other.

I liked the structure with switching back and forth between each story, as it made the progression much more interesting. However, it felt at some points that the audience was somehow meant to forgive these people of their ignorance and lack of compassion.

There’s always value in hearing the stories of others, but I left the theater shaking my head rather than feeling like I learned something.

When the Supreme Court legalized marriage equality across the nation in 2015, many assumed that the fight for LGBTQ rights was won. But politicians and religious conservatives launched a state-by-state campaign to retract the human rights of America’s LGBTQ citizens under the guise of religious freedom. Introducing four American families caught in the crosshairs of scripture, sexuality, and identity, this documentary weaves together clips from the national news and the church pulpit, alongside family photos and intimate testimonies to show the undeniable connection between the personal and the political.

These individual experiences of rejection and validation, tragedy and triumph include Ryan Robertson, who was encouraged by his Christian family to attend conversion therapy; Sarah McBride, the transgender student body president who went on to work at the White House; Vico Báez Febo, whose Catholic grandmother locked him out of the house when a neighbor outed him; and Elliot Porcher, a young trans man who endured self-harm before his parents’ acceptance enabled him to come to terms with his gender. An emotionally impactful follow-up to the award-winning For The Bible Tells Me So, this powerful examination of the intersection of religion, sexual orientation, and gender identity offers much-needed healing, clarity, and understanding.

—Lucy Mukerjee

Tribeca Film Festival 2019 Review: ‘RECORDER: The Marion Stokes Project’ – how one woman gave us 33 years of recorded television history

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RECORDER: THE MARION STOKES PROJECT

Documentary Competition – World Premiere, Directed by Matt Wolf

In 1979 during the Iranian hostage crisis, Marion Stokes started recording the news on VHS tapes on different channels on different televisions. 24 hours a day. The recording didn’t stop for 33 years when she passed away on December 12, 2012, the day of the Sandy Hook tragedy.

The film is structured chronologically and I would have liked to have seen Marion Stokes’ story told in the juxtaposition of the process to digitize the over 70,000 VHS tapes. They used the closed captioning to index! How cool is that? I want to know more. Instead, the story unfolds in a traditional method of speaking with those closest to her and focusing on the woman behind this astounding asset to humanity. It’s good, but not nearly as compelling.

Even with its flaws, I thoroughly enjoyed the story and it’s sparked many interesting conversations.

There’s 1 more screening left and it’s also coming to other film festivals.

Tribeca Film Festival
World Premiere
April 25, 26, 27, May 4

HotDocs, Toronto
International Premiere
May 1, 2, 5

Montclair Film Festival
May 8, 12

Maryland Film Festival
May 9, 10

More Screenings Soon

Long before our current era of “fake news,” Marion Stokes was amassing an incredible archive in an effort to protect and tell the truth. Beginning with the Iranian Hostage Crisis in 1979 and ending in 2012 with the massacre at Sandy Hook, Stokes archived and preserved the television that others were not. She recorded an incredible 70,000 VHS tapes capturing wars, triumphs, catastrophes, and more. The archive reveals the past and how it shaped television and the present moment.

Matt Wolf goes deep inside this captured history of television, providing insight into Stokes as keeper of the archive, while also showing the world that she wanted humanity to see. Taking on the aura of a mystery, Recorder delves into the curious world of a Communist radical and genius recluse who dedicated her life to a seemingly crazy mission, which in the end, is a glorious gift to the world.

—Deborah Rudolph

 

 

Tribeca Film Festival 2019 Review: ‘Something Else’ is aptly named.

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SOMETHING ELSE

The Midnight section at this year’s Tribeca Film Festival gives us Something Else. A story about Hank, whose longtime girlfriend Abby abruptly leaves him, but with a lot of extra flair in the plot. The editing is spectacular. Crisp still camera images set against a bleakly lit Hank, make for a perfect early jump scare. Then you catch on that’s it’s a repeated theme. Abby equals brightness. No Abby equals darkness… and a monster at the front door. The music has a heavily Gen X quality. The daytime dialogue (once Abby is absent) feels reminiscent of early Kevin Smith, particularly from everyone around Hank. This gives teeth to the naturalistic performances from a small cast. Classic tropes weave into the darker scenes and then the film becomes something altogether different. Something Else is exactly that. It’s like two films in one. It’s a monster movie and a serious relationship drama which incidentally includes a 15-minute single camera take of dialogue. Something Else is aptly named and unexpected on all fronts.

SOMETHING ELSE

For small-town bar owner Hank (Jeremy Gardner), his 10-year relationship with Abby (Brea Grant) has been storybook-quality. Abby, however, wants more: marriage, to be exact, which Hank doesn’t seem ready to initiate anytime soon. As a result, she leaves him without so much as a note or any subsequent communication. Hank is crushed. Even worse, Abby’s departure seemingly triggers the arrival of an unseen monster that claws at Hank’s front door at night. As the nocturnal threat intensifies, Hank must figure out how to not only save his relationship but also himself.

Here’s how to watch the 20 movies of the Marvel Cinematic Universe

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It’s hard to believe there are have been 20 movies since Iron Man started it all in 2008. Crazy, right? Why not revise your favorites? All are available to rent or buy, but here’s where they can also be found with subscriptions:

amazon Prime & hulu & EPIX

  • Iron Man 2 (2010)

FX (FXNOW app with a subscription from your service provider)

Warning: commercials

  • Iron Man 3 (2013)

Syfy (Syfy app with a subscription from your service provider)

Warning: commercials

  • Avengers: Age of Ultron (2015)
  • Ant-Man (2015)

STARZ

  • Spider-Man: Homecoming (2017)

Netflix

  • Guardians of the Galaxy Vol. 2 (2017)
  • Thor: Ragnorok (2017)
  • Black Panther (2018)
  • Avengers: Infinity War (2018)
  • Ant-Man and the Wasp (2018)

The rest are Rent or Buy only – find pretty much anywhere you want to rent

  • Iron Man (2008)
  • The Incredible Hulk (2008)
  • Thor (2011)
  • Captain America: The First Avenger (2011)
  • The Avengers (2012)
  • Thor: The Dark World (2013)
  • Captain America: The Winter Soldier (2014)
  • Guardians of the Galaxy (2014)
  • Captain America: Civil War (2016)
  • Doctor Strange (2016)

Prefer to see them in order? Of release date, that is. There is debate on the actual chronological order.

  • Iron Man (2008) Rent/Buy only
  • The Incredible Hulk (2008) Rent/Buy only
  • Iron Man 2 (2010) Prime Video, hulu, EPIX
  • Thor (2011) Rent/Buy only
  • Captain America: The First Avenger (2011) Rent/Buy only
  • The Avengers (2012) Rent/Buy only
  • Iron Man 3 (2013) FXNOW (commercials)
  • Thor: The Dark World (2013) Rent/Buy only
  • Captain America: The Winter Soldier (2014) Rent/Buy only
  • Guardians of the Galaxy (2014) Rent/Buy only
  • Avengers: Age of Ultron (2015) SyFy (commercials)
  • Ant-Man (2015) SyFy (commercials)
  • Captain America: Civil War (2016) Rent/Buy only
  • Doctor Strange (2016) Rent/Buy only
  • Guardians of the Galaxy Vol. 2 (2017) Netflix
  • Spider-Man: Homecoming (2017) STARZ
  • Thor: Ragnorok (2017) Netflix
  • Black Panther (2018) Netflix
  • Avengers: Infinity War (2018) Netflix
  • Ant-Man and the Wasp (2018) Netflix

Tribeca Film Festival 2019 Review: ‘Aamis’ serves up a shocking treat.

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AAMIS (RAVENING)

Food and romance seem to go hand in hand. Think about the traditional date. It usually revolves around dinner or coffee. Food is the ultimate form of aphrodisiac. Though, both food and love can spoil quickly. In Aamis, Tribeca’s only Indian feature film this year,  married doctor Niri meets Sumon, a Ph.D. student studying regional meat-eating traditions in India. As their relationship moves swiftly past friendship, the idea of experiencing “forbidden” meat cuisine progresses into an infatuation beyond imagination. Set in the colorful backdrop of North Eastern India, the natural scenery combined with the rich prepared dishes gives the film a gorgeous visual pop. The actual act of eating in scenes is very sensual. No surprise seeing as how the senses are sparked when tasting something delicious and when falling in love. Food and sense memories are created throughout our lives. I can still remember meals based on specific dates with my husband, spanning the 14 years we’ve been together. Not to mention we actually lived in Southern India for a year in the very early years of our relationship. Experiencing new flavors and adventures with someone you care deeply for is invigorating. All that being said, this film takes it to an entirely new level; an intimacy that will either intrigue or distress you. The performances from our two leads are fantastic. It’s a tricky dynamic to navigate given the circumstances but their chemistry is very grounded and reads completely natural. The age difference is another added bit of fire. Aamis, the first film for Tribeca to feature the Assamese language, is an outstanding representation of emerging Indian cinema outside the realm of your typical Bollywood fare. It is bold and dark. I may go as far as to call it a tasty, genre-bending surprise. The things we do for love.
Married Niri (Lima Das) shares a forbidden passion with Sumon (Arghadeep Baruah), who introduces her to a world of fresh, wild, meat-based delicacies. But as their unconsummated desire mounts, the two are pushed inexorably towards transgression and taboo. A daring, intense drama that veers into very dark territory, Aamis is Tribeca 2019’s only Indian film, and the festival’s first-ever Assamese language film.

Tribeca Film Festival 2019 Review: ‘The Gasoline Thieves’

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THE GASOLINE THIEVES

Poverty and puberty are a dangerous mix for young Lalo. Feeling overwhelming monetary pressure from family and ultimately to impress a girl at school, our young lead dives head first into the deadly game of gas siphoning for cash. Among the chaos of gas price protests and violence, Lalo has no idea the kind of shady dealings surround what he’s signed up for. This is a coming of age story set against extreme poverty and soaked in cartel-like chaos and vengeance. The handheld camera work is sheer perfection that heightens the intensity of Lalito’s plight. You can feel the pit of your stomach wrenching as the story progresses. Edgar Nito‘s direction is phenomenal, performances (especially Eduardo Banda) outstanding, and the film is amplified by its great soundtrack. The Gasoline Thieves does not pull any punches. It’s a solid piece of filmmaking and a captivating story.

THE GASOLINE THIEVES

Living with his mother and working as a farmhand in his hometown, fourteen-year-old Lalo (Eduardo Banda) sees buying a smartphone for his high-school crush the only surefire way into her heart. When his mother is forced to use his savings in order to pay for medical bills, Lalo decides to approach the local huachicoleros for help, who quickly enlist his aid in their business of illegally siphoning gas in order to take advantage of the country’s shortage and re-sell on the black market. As Lalo naively becomes more involved with the huachicoleros’ work, an uneasy air of violence begins to overtake the world around him, while investigators narrow their search for those responsible.

FILM INFO

 

Tribeca Film Festival 2019 Review: ‘Come To Daddy’ is everything you’d want an Ant Timpson film to be.

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COME TO DADDY

Elijah Wood plays an emotionally overwhelmed uber hipster attempting to reconnect with his estranged father. Summoned to a secluded home via a mysterious letter from his dad, he finds himself in an unexpected situation. Wood, as always, is vulnerable and funny. I’ll buy anything he’s selling. His body of work is so eclectic and wonderfully bizarre, what’s not to love? Now let’s talk about Ant Timpson‘s amazing directing. As a producer, The ABC’s Of Death is off the wall fun and don’t even get me started on the insanity that is The Greasy Strangler. Come To Daddy, Timpson’s directorial debut is a genre-bending funhouse. Tribeca’s Midnight section is the perfect slot for Timpson’s work and I do mean that as a compliment. This film takes a sharp turn at 30 minutes in, then hurtles from mysterious to funny, unsettling to WTF, and it is a delight. The camera work is top-notch. There is mayhem for days. Wonderfully timed plot treats fall into our laps like a busted piñata. I simply cannot express how damn fun this film is. You will not have any clue where this is going.

COME TO DADDY

Norval’s (Elijah Wood) life has been, to put it lightly, difficult. Currently living home with his mother, the troubled young man is coming off alcohol-related struggles. So when he receives an unexpected letter from his estranged father requesting a visit, Norval catches a bus up to his dad’s secluded and scenic waterfront home. Maybe reconnecting with his father will give Norval the emotional fulfillment he’s been lacking. Before long, though, he notices something off about his dad, an uneasy feeling triggered by inappropriate comments and a possible over-dependence on booze. Norval quickly realizes that his hope of father/son bonding is doomed. Instead of a family reunion, he finds himself in waking nightmare.
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Review: ‘The Man Who Killed Don Quixote’ is Terry Gilliam’s fantastic passion project.

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The Man Who Killed Don Quixote 

Toby (Driver), a cynical advertising director, finds himself trapped in the outrageous delusions of an old Spanish shoe-maker (Pryce) who believes himself to be Don Quixote. In the course of their comic and increasingly surreal adventures, Toby is forced to confront the tragic repercussions of a film he made in his idealistic youth – a film that changed the hopes and dreams of a small Spanish village forever. Can Toby make amends and regain his humanity? Can Don Quixote survive his madness and imminent death? Or will love conquer all?

Decades in the making, The Man Who Killed Don Quixote is finally coming to the big screen. It was worth the wait. Adam Driver plays a young director taking on his own passion project under the financial thumb of studio execs, locals, and his own ego. No doubt is the film about as metaphorical as you can get for the wild ups and downs the legendary Terry Gilliam has endured in bringing this film to fruition. Poking fun at itself and the industry at every turn, it must have been truly cathartic for Gilliam to shoot. The visuals and writing are all so satisfying you’ll want to applaud at the twists and turns along the way. Though admittedly, you’ll most likely be just as confused as both Driver and “Don Quixote” himself, Jonathan Pryce. One of the film’s best moments perfectly sums up the controlled chaos that is this epic story. “Try to keep up with the plot.’ To which Adam Driver‘s Toby replies, “There’s a plot?!”

Having watched, there is no way these roles would have been better served by other actors. Pryce walks the perfect line between madness and sadness. His commitment from beat to beat is the glue that keeps the story moving along its absurdist pace. But it is Driver who had me belly laughing every time a “FUCK” was spewed with genuine intention. I’ll have to go back and watch again if only to count the number of “F” words, each precisely placed and completely warranted. It’s sheer perfection. There is no doubt that Toby is Terry… and Don Quixote. The love that is so obviously infused within the film will be evident to anyone familiar with Gilliam and his fantastic passion project. It’s a combination of hilarity and insanity. The Man Who Killed Don Quixote and filmmakers like Terry Gilliam are the reasons we go to the movies.

Screen Media will then give the film a theatrical run starting April 19th.

The Man Who Killed Don Quixote stars Adam Driver, Jonathan Pryce, Stellan Skarsgard, Olga Kurylenko and Jordi Molla.

8 movies from 2018 Tribeca Film Festival Available on Netflix, hulu, HBO or Showtime

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Just 1 year later, there are so many movies that are now available to stream from last year’s Tribeca Film Festival. There’s something for everyone in here whether it be the young women who dreamed up Frankenstein or a desperate man stopping at nothing to save his child.

All About Nina (2018)
Nina Geld’s passion and talent have made her a rising star in the comedy scene, but she’s an emotional mess offstage. When a new professional opportunity coincides with a romantic one, she is forced to reckon with the intersection of her life and her art
[Streaming: Netflix] [Rent or Buy]

Cargo (2018)
In the aftermath of a global pandemic, Andy (Martin Freeman) is focused on keeping his wife and their infant daughter alive as they travel across the Australian Outback. A terrible accident, however, forces him to set off on foot: A zombie bite has given Andy a mere 48 hours before he, too, is undead. Andy struggles to both find a refuge for his child and stave off the disease as the clock runs out on his humanity. On his journey, Andy crosses paths with an indigenous youngster, Thoomi (Simone Landers), who brings him into her Aboriginal community and offers a much-needed bit of hope: Her people may have a cure for the sickness.

Filmmakers Ben Howling and Yolanda Ramke defy genre fans’ zombie-based expectations with their co-directing debut. Cargo pulls no punches in its intensity, yet the duo’s thoughtful film offers a deep, emotional meditation on intimate issues, like a parent’s love, as well as larger themes, like environmental protection and cultural strife. Injecting fresh life into zombie cinema’s often cold bloodstream, Cargo is tailor-made for sophisticated horror fans.–Matt Barone

[Streaming: Netflix]
Review by: Melissa Hanson

Duck Butter (2018)
When Naima (Alia Shawkat) and Sergio (Laia Costa) meet at a club, they hit it off instantly, connecting over their disdain for the dishonesty they have experienced in their respective romantic relationships. High on their fast chemistry, the two women concoct a romantic experiment: They plan to spend the next 24 hours together, having sex on the hour. Above all, they commit to perfect honesty with each other, a theoretical remedy to the deceit they believe to be an element of modern relationships. But their relationship in a vacuum doesn’t go as planned, and soon the weight of their commitment begins to close in, threatening the ideals of the daylong experiment and their chances for a romantic future tomorrow.

The latest film from Miguel Arteta, the director behind Beatriz at Dinner and The Good Girl, Duck Butter is a blistering look at intimacy in a pressure cooker. Co-written by Shawkat and executive produced by the Duplass Brothers, the film offers a searing interrogation of modern romance, with all its dizzying highs and heartbreaking betrayals, all packed into an intense 24 hours.—Cara Cusumano

[Streaming: Netflix] [Rent or Buy]
TFF Award: Best Actress, Alia Shawkat

In a Relationship (2018)
Long-term couple Owen and Hallie are breaking up—or maybe not?—and just as their relationship reaches a turning point, Matt and Willa embark on a romance of their own. A funny and deeply felt chronicle of one summer in the lives of two couples in Los Angeles.
[Streaming: hulu, hoopla] [Rent or Buy]

Mapplethorpe (2018)
In the late 1960s, art-school dropout Robert Mapplethorpe moves into the Chelsea Hotel with dreams of stardom. He quickly becomes the enfant terrible of the photography world as the downtown counterculture of 1970s New York reaches its zenith.
[Streaming: HBO, kanopy] [Rent or Buy]
TFF Award: Narrative Second Place

https://youtu.be/rkovbpVipM0

Mary Shelley (2018)
Raised by her kindly bookseller father and tormented by a villainous stepmother, young Mary Wollstonecraft (Elle Fanning) longs for a life bigger than her sheltered upbringing. As she embarks on a whirlwind romance with the charismatic but mercurial poet Percy Bysshe Shelley (Douglas Booth), Mary’s dreams of a sophisticated life among the intellectual elite seem to be within her grasp at last—but this fantasy quickly dissipates when she realizes the harsh reality of her new husband’s moody and dissolute ways. That is, until one stormy night, when a friendly challenge among a rained-in cadre of Romantic writers leads her to invent one of the most iconic horror stories of all time, before she’s even 20 years old.

Saudi female filmmaker Haifaa al-Mansour (Wadjda) returns to Tribeca with this lush portrait of the author of one of Gothic literature’s most influential stories. Frankenstein, Mary Shelley’s enduring work, has remained a seminal story of creation and destruction, but al-Mansour’s film goes deeper, to depict the fraught tale of a teenage girl’s shattered romantic dreams that brought a monster to life. —Liza Domnitz

[Streaming: Showtime] [Rent or Buy]

O.G. (2018)
An inmate entering the final weeks of a twenty-plus-year sentence must navigate between old loyalties and a new protégé, while he also grapples with the looming uncertainty of his return to life outside bars.
[Streaming: HBO]
TFF Award: Best Actor, Jeffrey Wright

The Party’s Just Beginning (2018)
Lucy is a sharp-witted, foul-mouthed, heavy-drinking twenty-something who is still reeling from a recent loss. This surreal coming-of-age tale is a love letter to Gillan’s hometown in the Scottish Highlands.

It’s dark, it’s tragic. It’s fantastic.
[Streaming: hulu] [Rent or Buy]

12 Tribeca Film Festival movies already picked up

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The apollo

HBO has already snagged two documentaries: The Apollo (Opening Night), about the legendary Harlem theater, and At the Heart of Gold: Inside the USA Gymnastics Scandal, which is pretty much self-explanatory. Introducing younger audiences to the delightful Dr. Ruth Westheimer will be Ask Dr. Ruth acquired by hulu. At 90 years old, she’s still leaving her mark on the world. IFC Films will release Charlie Says from director, Mary Harron. I’m just glad they waited to make a movie until after his death. Same goes for the Ted Bundy story starring Zac Efron, Extremely Wicked, Shockingly Evil and Vile, which Netflix picked up at Sundance.

After premiering at the Berlin Film Festival, Goldie looks to be a promising tale of the pursuit of happiness. The latest Halston documentary seems to be less talking heads than Ultrasuede: In Search of Halston, which played at the 2011 Tribeca Film Festival. Dan Krauss won best documentary at the Tribeca Film Festival in 2013 for The Kill Team and has now made a narrative of the same with Nat Wolff and Alexander Skarsgård from A24.

In the documentary, Leftover Women, the story surrounds the effects of the gender imbalance of the “one child” policy in China. A24’s second release is the summertime drama, Low Tide. The documentary acquired by Sony Pictures Classics, Maiden, tells of an all-female crew in 1989 who competed in a prestigious yacht race. And last but not least, is The Quiet One from Sundance Selects, telling the story of Bill Wyman a founding member of The Rolling Stones that walked away from it all to be his own legend.

  1. The Apollo (HBO)
  2. Ask Dr Ruth (hulu)
  3. At the Heart of Gold: Inside the USA Gymnastics Scandal (HBO)
  4. Charlie Says (IFC Films)
  5. Extremely Wicked, Shockingly Evil and Vile (Netflix)
  6. Goldie (Vice Media, Fox)
  7. Halston (The Orchard, CNN Films)
  8. The Kill Team (A24)
  9. Leftover Women (MetFilm Sales)
  10. Low Tide (A24)
  11. Maiden (Sony Pictures Classics)
  12. The Quiet One (Sundance Selects)