In Cold Light

Hellbent on backsliding into her old ways, Ava’s tough exterior hides a chasm of wounds. As her brother softens to her requests for drug connections, all hell breaks loose when she becomes a target and scapegoat for murder. Now, with the innocent lives of her family members in harm’s way, Ava must decide who she can trust and how far she will go to bargain for their safety.
Oscar winner Troy Kotsur (CODA) plays Ava’s father with deep hurt and contempt for Ava’s very existence. His all-encompassing presence is utterly mesmerizing. Maika Monroe consistently proves she is a brilliant chameleon. From her breakout role in It Follows (2014) to the underrated Villains (2019), Watcher (20220 to 100 Nights of Hero (2025), she bares her soul in every frame. Monroe’s martyrdom arc is equal parts infuriating and resigned. She is so watchable. Despite her lithe stature, she commands your attention. Kotsur is the only one strong enough to match her energy. The two share a scene halfway through the film that is not only spectacularly written but also becomes the emotional backbone of the entire film. It is perfection.
While the “why” takes longer to get to than I would have liked, and feels somewhat disjointed, In Cold Light is a definitive, gritty crime thriller. Helen Hunt briefly appears, and introducing her sooner would change everything. Both the editing and handheld camerawork are hypnotic. But it’s the visceral father-daughter dynamic that gets under your skin and stays there. Screenwriter Patrick Whistler delivers unresolved trauma on an astonishing level. Monroe and Kotsur make an undeniably compelling duo. I would love to see them back together, doing anything literally.
In Cold Light Trailer:

ALL TOGETHER NOW
This is the epitome of great indie filmmaking. Every aspect is genuinely impressive. Kaleb Manske‘s editing is jarring as hell, earning honest-to-goodness jump scares. The dynamic focus is incredibly effective. The soundtrack is fantastic. I’m obsessed with the repeated use of the “Always Forever ” track.
Alex Nimrod has a presence that reminds me of a cross between a young Matthew Broderick and bonafide Scream King, Justin Long. The camera loves him. He gives Lincoln charming discomfort at first. Nimrod has the chance to show his acting chops through through the subtle building of creepiness throughout the film. Lincoln’s perception of reality is thoroughly warped, sending the audience into a tailspin alongside him. Nimrod, who also pens the screenplay, goes there and never hesitates. A particular bathroom scene, one that would give any script supervisor a heart attack, is award-worthy.
ALL ALONE TOGETHER is a physical manifestation of unresolved trauma and suicidal ideation. The film is an undeniably slick piece of psychological horror. While it’s a deliberately dark journey down the rabbit hole and straight into hell, it’s also a sharp commentary about art as therapy.
EVERY LITTLE THING
Worthy of a National Geographic seal of approval, Sally Aitken‘s EVERY LITTLE THING boasts stunning cinematography by Ann Johnson Prum. Alongside Caitlin Yeo’s lovely score, it is a captivating viewing experience.
We meet several birds by name. One particularly injured little one named Cactus captures our hearts. Juxtaposed with the deep trauma from her childhood, Terry explains how selfishness affects the rehabilitation process.
The film makes it effortless to root for these tiny birds. Terry’s relentless determination and patience, her ability to be so in tune with these creatures, is mesmerizing. It’s incredibly powerful.
There is an overall sweetness to the film that can only be felt upon viewing. It is simultaneously heartbreaking and joyful. A meditation on grief and healing, EVERY LITTLE THING is a light in the darkness and the example of compassion we all need at this moment in time.

One of the most extraordinary and exciting cinematic experiences of the year, GRIMMFEST 2023 audiences got a taste of the uniqueness of Moon Garden. A five-year-old girl’s trauma manifests as bizarre and visceral images as she sits in a coma. The audience hears the real-time action as the doctors and her parents navigate their tumultuous relationship. Guided by her parents’ voices, Emma attempts to escape her mysterious prison world, wading through creatures of good and evil. Moon Garden is an industrial steampunk fairy tale that is relentlessly haunting and undeniably riveting.
Moon Garden is character and world-building at its best. Fascinating and terrifying all at once, we are right alongside Emma in this frightening in-between existence. A bit of Return To Oz with a touch of Pan’s Labyrinth, the magic of Moon Garden grows with each passing second. The editing is stunning. In addition to the monstrous action, writer-director Ryan Stevens Harris incorporates memories, giving Emma the tools to survive in her strange surroundings. It’s a beguiling screenplay tackling love and fear. 

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