Review: Character-driven zombie film ‘ALIVE’ is now available on Digital and VOD

ALIVE

Helen navigates a ravaged world with her boyfriend Kevin and her little brother Barney. Desperate to find help after Barney’s infection slowly turns him into a zombie, they come upon a house where lives Dan, a man harboring a heavy secret.

The film has a very BBC look to it. It is difficult, beyond the appearance of a smartphone, to tell what year the film occurs. A mix of religion, politics, and pure survival mode mix to keep the audience engaged in the narrative. The sound editing by Rob Pepper, especially the creepy sound of the virus progressively infecting young Barney, made my skin crawl.

Although the zombie makeup is not great, costumes and general makeup are thoughtfully aged and disheveled. Something that is usually a sticking point in low-budget apocalyptic films. I was equally impressed with the locations. It appears the filmmakers had a lot of options, and they used them to their advantage. Performances are strong all around. A large ancillary and featured extra cast makes for a more impressive final product.

While the drama is a touch overplayed, perhaps akin to a Lifetime drama hokeyness, that does not lessen the intriguing arc in a genre that is tricky to conquer with new ideas. So while we’ve seen the sentimental attachment aspect in the past, the surprising plot point surrounding the very badass Ellen Hillman was phenomenal. Alive‘s final reveal garnered an honest, approving nod from me. I applaud the passion and commitment of writer-director David Marantz. It undoubtedly has an audience.


THE INFECTION SPREADS ON JANUARY 31, 2023 ON DIGITAL AND ON DEMAND!

 

Review: Ric Maddox’s directorial debut ‘THE STALKING FIELDS’ arrives on VOD today.

A group of civilians runs for their freedom when they find themselves caught in the middle of a Black Ops program designed to cure PTSD.


First-time director Ric Maddox, alongside writers Sean Crampton and Jordan Wisely, brings the story of an elite ex-Navy seal with PTSD placed in a top-secret government rehabilitation program. Using criminal civilians as bait, can our soldier in question be saved? A twist on The Most Dangerous Game (1931) meets Universal Soldier (1992), THE STALKING FIELDS is an action-packed entry into a potential new franchise.

The dialogue has a uniquely poetic perspective at times but quickly becomes contrasted by innumerable F-bombs. I say this as a person who has a sailor’s mouth, and this felt excessive. The quick-take editing has all the horror genre elements. From the lighting to the angles, it is visually intriguing. I must applaud the creativity in location design. Besides the woods, the military behind the scenes could easily take place in a cleverly lit warehouse walled off entirely with plastic sheeting. That budget must have been astronomical. I have to hand it to the CG team for some legit graphics on each monitor. They had my eyes darting from screen to screen. Bravo for the detail.

Performances are solid as hell. Angela Nordang, Adam J. Harrington, and Rachel Markarian all impress. Jake Davidson plays an eager young soldier, Jason Rawlings Jr. He brings a firey spirit, and I wanted to see more. Michael King nails the role of Price. He is naturally alpha but has ceaselessly charming energy to his delivery. He is a true standout. I think Sean Crampton needed more dialogue. I’d love to see more of his backstory in a second film. Taylor Kalupa‘s delivery is solid, as well. I invite Crampton and Wisely to explore more of her past, as well. These two need a weightier redemption. I would be remiss if I didn’t mention William Gabriel Grier’s performance. I could not take my eyes off him. There is another story worth exploring in flashbacks or a spinoff. The final moments of the script have a classic franchise set up as there is not one twist but two. Overall, THE STALKING FIELDS has all the elements you look for in an action thriller; intrigue, fight sequences, guts, and glory.


Gravitas Ventures will release THE STALKING FIELDS on digital platforms on January 17, 2023.

 

The film has a running time of 90:27 minutes and will not be rated by the MPAA.

THE STALKING FIELDS was written by Sean Crampton and Jordan Wiseley and directed by first-time filmmaker and Army veteran Ric Maddox. The film stars Crampton in a breakthrough performance, as well as Taylor Kalupa, Adam J. Harrington, Rachael Markarian, Jordan Wiseley, and Richard O. Ryan.

Drawing from personal experience, both Crampton and Wisely grew up in military families and felt it was important to make a film about the ramifications of PTSD.


 

Review: From stage to screen, the verdict is in for ‘Who is Amos Otis?’

WHO IS AMOS OTIS?

SYNOPSIS

After assassinating the President, Amos Otis pleads self-defense and must convince the jury that America was not only under attack by its unhinged ruler – but that his actions saved the country and the world. The assassin’s provocative testimony and ingenious defense turns the proceedings upside down and puts our country on trial. 


A wow of a film, Who Is Amos Otis? is like a swift punch in the throat. Written, produced, and directed by Greg Newberry, the story has us follow the President’s assassin and his subsequent trial. If you think this is a mere courtroom drama, think again. You’re in for one of the year’s most surprising and controversial films. It’s a hell of a way to end the year. 

Rico Reid as Amos’ court-appointed attorney Jason, is confident and brave. He brings a levelheadedness that superbly matches the ever-evolving energy in the room. Josh Katawick, as Amos, has a presence reminiscent of the late great Phillip Seymour Hoffman. He’s three steps ahead of everyone. It is an incredibly nuanced performance.

The script possesses inklings of The Life of David Gail and The Terminator. The writing is whip-smart. It keeps you guessing, all while prodding you with a steady stream of information. The script is thick with wordplay, snark, and wit. It dares to ask the questions many of us have been thinking over the past five years. You immediately recognize the theatricality of Newberry’s dialogue. The project moves from stage to screen, with Reid and Katawick starring in their original roles. It explains the perfect chemistry between them. I would have loved to feel that live energy in which the audience was the jury during its 2019 run. I am formally requesting a New York run. Everyone I know would vie for a chance to be a jury member.

Without spoiling anything, Who is Amos Otis? takes a sharp left turn roughly 45 minutes in, obliterating the genre you think you’re consuming. Compounding the political thriller are the hottest and most controversial topics front and center. It is a film that people will either love or hate, but the brightest viewers will respect it for its audacity and artistry. Who is Amos Otis? is a fearless and enthralling film. It’s not only a conversation starter. Who is Amos Otis? is a conversation igniter.


Official Trailer for Who is Amos Otis? on Vimeo.


WHO IS AMOS OTIS? a searing, mind-bending, SCI-FI political thriller based on the Pulitzer Prize nominated play from Cincinnati playwright and award-winning filmmaker GREG NEWBERRY (Beemer Baby, Homefree) will be released by Gravitas Ventures on Digital | VOD on December 28th.


Starring an ensemble cast of strong characters JOSH KATAWICK  (“Glengarry Glen Ross” “A Few Good Men”), RICO REID (ToleranceAll Wars),  MICHAEL G. BATH (Miles Ahead, Healing River, Notzilla)A.J. FORD (One Flew Over the Cuckoo’s Nest, Of Mice and Men, All The Way), CHRISTINE BRUNNER (The New Detectives, The Life Project), DEREK SNOW (The Shawshank Redemption, The Old Man & the Gun, Extremely Wicked, Shocking Evil and Vile), CHRISTINE JONES (Carol, Healing River, Promises to Keep)MIKE DENNIS (Carol, Miles Ahead, Surviving Compton), DONALD VOLPENHEIN (Gotti, “The Kill Point”), PEGGY ALLEN (Hourglass – A Smallville Story, Sphragida,  2 Mars), DENISE DAL VERA (Dark Waters, “Tell Me a Story”), CAROL BRAMMER (Hands Down).


Review: Catherine Keener and Charlie Heaton navigate the ripple effects of addiction in ‘No Future’.

NO FUTURE

After the tragic overdose of his estranged friend, Will, a recovering addict, returns home, where he is reunited with Claire, his friend’s grieving mother, with whom he begins a secret but volatile affair.


Grief is an unpredictable monster. It manifests in ways we will understand. In the new film No Future, writer-directors Andrew Irvine and Mark Smoot give us a study of human emotions. It is a film that will hit home for many families. Addiction and its wake of destruction is something we cannot seem to escape. No Future boasts brilliant performance and a ceaselessly engrossing screenplay. It is quietly devastating.

Catherine Keener is a mother mired in grief. As Claire, she looks for answers in Will, the only remaining connection to her son. The stages are all present in her weary tone of voice and mannerisms. The justifiable anger and emptiness become a shared experience through her. Charlie Heaton, as Will, sits on the fence of morality as a former addict wracked with survivor’s guilt. He carries the burden of past transgressions in his daily struggle to stay clean. Knowing that he’s hiding the truth from Claire eats at his soul. Heaton’s vulnerability will say shake you to your core. It’s award-worthy.

Keener and Heaton’s chemistry is palpable. Their connection lands somewhere in between conceivable and inappropriate. They are using one another to process hurt. No Future speaks to the daily challenges and ripple effects of addiction. Jon Natchez‘s score of heavy strings and synth adds an unsettling hum to the entire film. It’s beautifully powerful. The script does not tread lightly, and rightfully so. The explosive and inevitable final act is a catharsis for our leads and the audience. Or so we’re led to believe. Everyone must sit in contemplative mourning. No Future will break your heart.


NO FUTURE opens nationwide on Friday, October 22nd, 2021.

NO FUTURE is written and directed by Andrew Irvine and Mark Smoot and stars Catherine Keener, Charlie Heaton, Rosa Salazar, Jackie Earle Haley, Jefferson White, Austin Amelio, Heather Kafka, Jason Douglas, Kia Nicole Boyer, Mollie Milligan, Jasmine Shanise, and Marissa Woolf.


Review: ‘DASHCAM’ makes your palms sweat in anticipation.

DASHCAM

DASHCAM is a psychological thriller following Jake—a timid video editor at a local news channel who fantasizes about becoming a reporter. While editing a piece on a routine traffic stop that resulted in the death of a police officer and a major political official, Jake is inadvertently sent dashcam video evidence that tells a completely different story. Working alone from his small apartment in NYC, Jake uses his skills as an editor to analyze the footage and figure out the truth behind what actually happened. Has Jake uncovered a conspiracy that he can break on the morning news? Or is he seeing things that aren’t really there?


The film’s release comes in the tumultuous aftermath of a bloody year between citizens and police. A large number of incidents were either recorded by bystanders or bodycam footage. Some kept from the public for too long. We’ve all seen these tapes by now. They were impossible to avoid. In writer-director Christian Nilsson’s DASHCAM, we watch a young, ambitious editor become an armchair detective in real-time. Jake is intrigued by the information accidentally sent via email. Could he have uncovered a larger story? Could this be his big break? 

Larry Fessenden plays Former Attorney General Dan Lieberman. He’s a legend, so it’s no surprise that what is essentially equivalent to a radio play for him is an outstanding performance. Zachary Booth, as Jake, has fearless energy and an intoxicating excitement that passes through the screen to the viewer. I would watch him in anything.

Your pulse will be pounding watching this mystery unfold through live, minute-to-minute editing. If you didn’t respect the process of editing before now, DASHCAM changes that. Bow down to these gods. You can thank Terence Krey for this particular film. Nilsson nails the conspiracy theory vibes. DASHCAM plays on our innate need to discover the truth, whatever that means to each of us as individuals. It’s nothing short of riveting.


Dashcam, written and directed by Christian Nilsson, is available On Digital October 19 from Kamikaze Dogfight and Gravitas Ventures.

Review: ‘Eye Without A Face’ is a twisted psychological thriller.

Eye Without A Face

Henry, an agoraphobic and anxious young man living in Los Angeles, hacks into the webcams of various selected young women who inhabit the city. He watches over them in their daily lives, seeing himself as their guardian angel. When his new charming roommate Eric, a Youtuber and struggling actor pushes him to get out into the real world, he unknowingly puts Henry in danger. And as Henry starts to suspect one of the women he watches, Laura, of being a killer, everything starts to spiral out of control.

 


Luke Cook as Erik is the perfect foil for Shapiro’s Henry. He’s narcissistic and raunchy but also genuinely a good friend. I could not take my eyes off of him. I found myself cringing and doubled over at his antics. Cook provides the much-needed lightness to the dark of this film. Dakota Shapiro as Henry is simply astounding. He lives in the skin of a trauma victim. His idiosyncracies are spot on. Shapiro’s vulnerability is the backbone of Eye Without A Face. The cinematography from Tara Violet Niami is striking. Thoughtful use of color and lighting make for some extraordinary close-ups, especially of Adam’s eyes.


It’s clear to see the Rear Window inspiration in writer-director Ramin Niami‘s screenplay. The tiny flashes of Henry’s backstory heighten the tension. So does Charlie Clouser‘s score. If you think you know where this is going, think again. There is a reason we’re told to put tape over our laptop cameras. We love online these days, much to our own detriment. The key to Eye Without A Face is Henry’s largely unaddressed trauma. It is the complexity of his nature that makes this film so killer.


ON-DEMAND AND DVD AUGUST 10


Featuring stunning cinematography by Tara Violet Niami, and a mesmerizing score by Charlie Clouser, Eye Without A Face is written and directed by Ramin Niami, director of the acclaimed films Somewhere in the City, Babe’s & Rickey’s Inn and Shirin in Love.

Starring hot young actors Dakota Shapiro (“The Affair”), Luke Cook (“Chilling Adventures of Sabrina”, “Katy Keene”), and Vlada Verevko (“Beauty and the Beast”), Eye Without A Face will be available On Demand and Digital August 10 from Gravitas Ventures.


Review: ‘DOWNEAST’ is wicked authentic.

Downeast dives into the often-ignored seedy underbelly of Maine, following Emma Maddox as she returns to her hometown, haunted by the mysterious death of her brother Mikey years ago. As she reconnects with his best friend Tommy, the two rekindle their flame and Emma begins to uncover the web of lies the town has been keeping. Will Emma get the closure she so desperately seeks, or fall victim to the town’s turbulent ways?

As a New Englander born and bred, I know where my loyalty lies. New England is comprised of small coastal town charm and great regional food. More importantly, it has an unmistakable attitude that lies somewhere between territorially standoffish and genuinely friendly. Like every small town, secrets can easily keep the locals at arm’s length or connected for life. DOWNEAST is a fantastic example of that very idea. While I grew up in Connecticut and now reside in NYC, Maine is in my blood on my father’s side. I’ve seen things, and as an adult, I understand more than I care to. DOWNEAST‘s success lies within its authenticity and smart writing. You can thank director Joe Raffa and lead actor Greg Finely for that. This crime drama has everything you want; murder, revenge, and redemption. The slow introduction of the history of each character makes for a beautiful build-up of suspense.

Performances are top-notch. Greg Finley as Tommy manages to be both powerful and sympathetic all at once. There is a familiarity to his entire being that puts the audience at ease. Dylan Silver as Emma has an inspired tenacity that makes her a gorgeous foil for Finley. DOWNEAST could almost be considered an ensemble film. While the entire cast is incredibly solid, I feel compelled to mention one actor in particular. Kirk Fox‘s performance as Marty provides the much-needed levity to a heavy-handed storyline. He’s a star.

Gravitas Ventures and APS Films have announced the Digital HD and cable VOD release of Joe Raffa’s DOWNEAST will be available July 13th on a number of digital and cable platforms, including iTunes, Amazon Video, Vudu, Comcast, Spectrum, and Cox.

Downeast was produced by APS Films and directed by Joe Raffa, who wrote a script based on a story by Maine native Greg Finley. Finley produced alongside Cory Pyke.  Edwin Pendleton Stevens served as executive producer.

Downeast had its world premiere at the Garden State Film Festival in March, kicking off a screening tour across North America. The film has taken home a number of awards including Best Director and Best Actor at Worldfest Houston and Best Film, Best Director and Best Actor at the Montreal Independent Film Festival. Downeast screened at the Beverly Hills Film Festival, the Phoenix Film Festival, and the Show Low Film Festival.

Review: ‘Too Late’ takes the appetite for success to the next level.

TOO LATE

This cozy horror comedy set in the Los Angeles indie comedy scene features Violet Fields who works a thankless job as the assistant to Bob Devore, famed comedian and host of the live variety show, Too Late. But what only Violet knows is that Bob is a monster both literally and figuratively. Resigned to her fate, Violet is caught by surprise when she meets aspiring comedian Jimmy Rhodes and sparks fly. But as her feelings for Jimmy grow and Bob starts to doubt her loyalty, she and Jimmy could end up as Bob’s next meal.
Violet toils away curating her smaller comedy show all while taking the abuse of her boss, Bob. Taking back control is the name of the game, but things get a bit messy along the way. Bob Devore, whose name (I’m assuming) is intentionally close to the word “devour,” is the accomplished late-night figurehead on the comedy scene in L.A. He’s a real monster of a boss. No, like, he’s an actual monster. Under his thumb and in the shadow of his longstanding career, Violet longs to cut ties and make her own way. When love unexpectedly arrives, she must navigate everyone’s appetite for success and take matters into her own hands.
Too Late really digs into the idea that Hollywood is an all-consuming industry. Alyssa Limperis as Violet has that “seasoned pilot actress just waiting to hit it big” kind of energy. She’s a damn natural and I want to see much more of her in the future. Her chemistry with Ron Lynch is sheer perfection. His smarmy, oftentimes flat-out gross, glad-handing demeanor catapults this entire narrative. One of the funniest things about Too Late is the fact that it could be a franchise based on Devore’s origin story. He cannot be the only monster lurking. You could do an entire riff on agents and vampires. That’s comedy gold. The possibilities are endless. On the condition that you bring Limperis back into the fray, of course. With stand-up not only as a major plot point but using actual sets to keep the laughs going, Too Late is a breezy, sometimes gross, definitely unique film. Also, anything with Fred Armisen gets my eyes on it.

 

OPENING IN SELECT THEATERS & ON DIGITAL PLATFORMS ON JUNE 25
STARRING ALYSSA LIMPERIS, RON LYNCH, WILL WELDON, MARY LYNN RAJSKUB, & FRED ARMISEN
TOO LATE is the debut feature film from director D.W. Thomas and writer Tom Becker. It stars Alyssa Limperis (Aunty Donna’s Big Ol’ House of Fun), Ron Lynch (Bob’s Burgers, Adventure Time), Will Weldon (Comedy Central’s This Isn’t Happening), Mary Lynn Rajskub (24, It’s Always Sunny in Philadelphia), Fred Armisen (SNL, Portlandia), Jenny Zigrino (Bad Santa 2, 50 Shades of Black), Jack De Sena (Avatar: The Last Airbender), and Brooks Wheelan (SNL).
TOO LATE has a running time of 80 minutes and will not be rated by the MPAA. Gravitas Ventures will release TOO LATE in select theaters and on digital platforms including iTunes, Google Play, Fandango Now, and all major cable/satellite platforms on June 25.

Review: ‘IN ACTION’ is indie ingenuity at its finest.

IN ACTION

Sean and Eric, two aspiring screenwriters with a contentious friendship, are mistaken for terrorists when their email correspondence containing ideas and “research” for an action movie script leads the government to believe they’re plotting a real terrorist threat. They’re kidnapped by the NSA and uncover a shocking conspiracy; rogue agents want to use the screenplay’s plot for an actual attack and frame the two. Trapped and tortured in an underground lair, Sean and Eric must fight to escape, while coming to terms with their checkered past, to save their families and the fate of the free world.

Action movie tropes soon follow, but there’s a twist. IN ACTION only features two actors, was shot in two locations on a purposefully micro-budget, and uses a mix of live-action, animation, hand-drawn sketches, toys (yup…we said toys) for a comedic spin on the action genre. All told through a modern lens while acknowledging its fond nostalgia for the genre’s 80s & 90s-era roots.

Low-budget creative genius. All hail Sean Kenealy and Eric Silvera, writers, directors, producers, and stars of IN ACTION. The dialogue is quippy and the chemistry is electric. The look of the film is truly impressive. Anything too elaborate to shoot is filled with super fun animation by Richard Walsh, close-ups, great sound effects, and sometimes just rudimentary home-movie style silliness. The overall setup of a sit-down interview is a fantastic premise. What essentially becomes a mixed media project forces you to not only pay attention but keep you completely engaged. Its sharp back and forth between visuals and over-the-top new dad/bro vibe is insane. Bravo to editor Billy Nawrocki. I cannot begin to imagine how long this film took to piece together. While this will hit harder with viewers of a certain age and stage for sure, it will undoubtedly tickle any film fan. The references on Eric and Sean’s t-shirts tell you everything you need to know about their baseline inspiration. These guys have no shame. Which, if we’re being honest, makes for great performances. The continuous gag about using foul language is laugh-out-loud funny. It’s not all dick jokes and movie clichés, we also get a nice takedown of toxic masculinity within the South Park-esque perverseness. It’s their commitment to every single moment of In Action that makes it relentlessly fun. Don’t get comfortable because 26 minutes in the script gets flipped. Can you imagine what this group of creatives could do with a large budget? As for In Action, it’s meta mayhem, movie magic. This is a labor of love made by honest-to-goodness fans. It’s an ode to indie filmmaking. Oh, makes sure you stay for the credits for some insider information. It’s worth it.

Gravitas Ventures will release IN ACTION on digital platforms including iTunes, Google Play, Fandango Now, and all major cable/satellite platforms on May 11.

IN ACTION was written, directed, and stars Eric Silvera and Sean Kenealy.

Review: ‘The Wanting Mare’- more than just a pretty face?

The Wanting Mare

In the world of ANMAERE, north of the city of Whithren, wild horses run through the moorlands and up the coast.

These horses are the city’s most valuable export. They are are hunted and trapped, shipped and sold across the sea once a year.

In a small house just north of the city, a line of women pass a single dream through the generations. They inherit it from mother to daughter; a memory of a time where magic and myth were alive in the world.

This stunningly gorgeous sci-fi film has so much potential. What drags it down is the amount of information we’re missing. A lot of the backstory is buried inside writer/director Nicholas Ashe Bateman’s mind. It’s juicy, no doubt. Uniquely told. It would be glorious as a stage play. There’s enough intrigue in The Wanting Mare to indeed sustain a series of films, as is the intention. The audience has to commit themselves to what they are given. It’s a lot of trust to put in the viewer. What is abundantly clear is that there is a cyclical nature to the female characters and that these elusive tickets put a target on your back. This script is filled with people lying to each other, either to protect someone or keep them from leaving. It’s an interesting concept. The horses are treated similarly to unicorns in Legend. A commodity, yes, but also they must be protected at all costs.

Performances, across the board, are excellent. While there are a lot of characters to track, there is not a single actor who lets you down. Each beat is curated. This cast left it all on the screen. I want to know how these characters got here. What was it like in the constantly referenced “Before?” Frankly, I’m dying for a prequel. I think you need it. Having sat o the film for a day or two now, I think it would only benefit a potential Amnaere franchise. Visually, you are immersed in this mysterious land.  Would I continue to watch films made in this universe? Yes. Do I think a general audience will stick with an entire series? That remains to be seen. The one thing I do know for sure, The Wanting Mare is breathtaking to look at. People will be talking about this film in one way or another.

Nicholas Ashe Bateman’s THE WANTING MARE, which opens in select cinemas and on video-on-demand Friday, February 5th, from Gravitas Ventures.

 

Written & Directed by: Nicholas Ashe Bateman

Director of Photography: David A. Ross

Production Design: Cassandra Louise Baker

Gaffer: Z. Scott Schaefer

Art Direction: Duncan Bindbeutel

Review: ‘Go/Don’t Go’ consumes you with mystery.

GO/DON’T GO

Caught between a lost love story and inescapable paranoia, “Go / Don’t Go” is a genre-bending slow burn thriller that follows Adam, a wallflower who happens to be the last person left alive-or so he thinks.

Rarely do I stop a screening link every 5 to ten minutes and reiterate what is happening out loud to my husband. While viewing Alex Knapp‘s post-apocalyptic psychological thriller GO/DON’T GO, I did just that. I was so intrigued I had to share all of the subtle genius happening on screen from beat to beat, sometimes blink-and-you-miss-it imagery. The meticulous thought that went into this script is noteworthy. The breadcrumbs are laid out to entice your imagination with theories. Here is what I can glean from what I saw, stay with me; Agam and K are dating, an unknown world event happens, in a panic, they try to make their way to the mountains to better assess the situation. Something goes awry and K disappears, leaving Adam as the sole human left on Earth. What we and Adam are left with is to piece together disjointed information to try and escape what feels like a little bit of a purgatory-esque version of Memento. Yup. Until the final image, I wracked my brain as to the innumerable possibilities that this story presented me. Was Adam in hell? Was Adam in a parallel timeline? Was Adam insane? Is this an allegory for grief?

GO/DON’T GO could easily be developed into an entire series based on the flashes of information we receive in a 1 hour and 30-minute runtime. What’s with the lightbulb diary? How is all the food so fresh? Why is there still electricity at all? Where is his dog? *Silent scream* I want to know so much more, but completely respect the fact that a massive mystery still remains. If you want to run and tell people and/or ask them if they’ve seen this film while on the festival circuit, well I don’t know what a bigger compliment you could give a first-time filmmaker. Alex Knapp is not only captivating in the role of Adam, but he clearly understands how to effectively build suspense with his writing. He holds the viewer captive with questions and punctuates those moments with a superb soundtrack. The ever-changing lighting is haunting. GO/DON’T GO grabs you from the very first scene and keeps you guessing until the screen goes black. The thought that went into this film is palpable. While I still have so many things I want to know about the ending, I am a cheerleader for Knapp. Whatever’s coming next, I want it now.

GO/DON’T GO, from writer/director Alex Knapp, releases via Gravitas Ventures TUESDAY, January 12, 2021.

ON DEMAND AND DIGITAL
iTunes, Amazon, Google Play, Xbox, Vudu,  Direct TV, Dish Network, and all major cable providers.

[my_mοvie_db id=669644]

Review: ‘King Of Knives’ shines light on the dark side of family dynamics.

KING OF KNIVES

ONE BIG CRAPPY FAMILY

KING OF KNIVES tells the story of Frank and Kathy who are baby boomer parents and Sadie & Kaitlin, their millennial daughters. Frank is screaming towards a mid-life crisis. Kathy pretends she’s happy and doesn’t drink that much wine. Sadie is the good child; convinced her first and only boyfriend is the one to marry. Kaitlin is the rebel, the entertainer; the truth-teller who will not filter how she’s feeling.

Over three days, with much drama and humor, this crap-happy family careens and skids straight towards a fateful anniversary. On the way, they realize they are more alike than they know.

Family is complicated. Every generation trying to make life better for the next but ultimately failing in one way or another. You cannot do it all perfectly, that’s not a thing. It is in the mistakes and flaws we accept where we grow as individuals and as one family unit. King Of Knives is a raw and undeniably funny look at regret. It shines in its honesty. It allows its characters to feel relatable with great dialogue and effective editing as the full plot is revealed. It’s a beautifully balanced screenplay, allowing each of the four family members to come to terms with where they fit in and how that might affect the others.

The performances are really great. I have to call out the comic timing from everyone. It’s a natural back and forth I have with my family, like it or not. While we all think everyone is so very different, I reality we’re all just as messed up as the next person in line. Gene Pope, Mel Harris, Roxi Pope, and Emily Bennett do a fantastic job making you believe they are related. There is just enough connection and disconnection for you to buy it completely. They are coated in trauma they ignore and facing it one year later will finally break open family secrets and revelations that will change everyone. Lindsay Joy‘s script feels real from my perspective; the first of four (now adult) kids that all did different things and pretend to be too cool for school most of the time. But we know, deep down, we’re all floundering in one way or another. We’re still better together. King Of Knives hits home for any viewer. Sometimes you have to break it down to build it back up. It’s a “Go call you Dad” kind of film. It’s the perfect holiday film, once you watch it you’ll understand why. It releases today on VOD and Digital platforms. Get a taste from the trailer below.

This refreshing comedy is written by Lindsay Joy with story by Gene Pope and directed by Jon Delgado.  The film stars Gene Pope, Mel Harris, Roxi Pope, and Emily Bennett.  It was produced by Gene Pope, Daniel Sollinger, and Jenn Gomez. The film has a running time of 94 minutes and will not be rated by the MPAA.  Gravitas Ventures will release KING OF KNIVES on VOD and Digital platforms including iTunes, Amazon, Apple TV, Google Play, Fandango Now and all major cable/satellite platforms on Tuesday, December 1.

Review: ‘The Dark End Of The Street’ will capture your attention.

Set in an idyllic, suburban community where someone is killing other residents’ pets, The Dark End of the Street focuses on several characters over the course of one long night: a lonely woman mourning her dog, the culprit committing the violent acts, an overly concerned family man, and restless teenagers. And over this night, their worlds will intertwine in ways none of them ever could have expected.

Even though made on a micro-budget, talent looms large in The Dark End of the Street. In a cool 70 minutes, this film tackles paranoia, generational differences, hard life choices, typical suburban teen life, family dynamics, all against the backdrop of an unknown neighborhood sociopath. The screenplay feels reminiscent of other great vignette films like Playing By Heart and GO. Performances, a few from faces you will recognize from various projects big and small, are all wonderful. There is a beautiful level of intimacy woven into the scenes. You are instantly drawn into the lives of each character. These are conversations, or some form of them, that we’ve experienced. They discuss safety, the longing for recaptured youth, boredom, impending parenthood, and the death of a life once lived.  Despite the implicated (never actually shown) violence, The Dark End Of The Street is universally relatable. Coupled with interesting cinematography that shows an eye for detail, Kevin Tran’s little indie drama is incredibly impactful.

Gravitas Venture is releasing The Dark End of the Street nationwide on VOD today, August 11th.

The Dark End of the Street stars Scott Friend, Lindsay Burdge, Brooke Bloom, Jim Parrack, Michael Cyril Creighton, Jennifer Kim, Daniel K. Isaac, Anthony Chisholm, and Rod Luzzi.
It is written and directed by Kevin TRAN.
Color
English Language
70 minutes
Not Rated

Review: ‘International Falls’ explores the fine line between comedy and tragedy.

A woman stuck in a small, snowbound border town has dreams of doing comedy when she meets a washed-up, burned-out comedian with dreams of doing anything else.

International Falls is funny from the very first scene. The jokes are witty and rapid-fire. But you can feel a sense of sadness lingering over the comedy. Rachael Harris and Rob Huebel experience feelings of remorse and betrayal, all while making jokes. This script is a nuanced look into depression, ambition, and longing. It’s about choices, both right and wrong. The cool, sometimes awkward, sometimes heartwarming chemistry is awesome to see. I don’t know how much if any, of the dialogue was improvised but Harris and Huebel were perfect casting choices. The location adds to the plot in a massive way. The snow-covered and isolated, smalltown feel, impacts not only the characters and audience. Whether directly or indirectly, the viewer feels as trapped by International Falls as our two leads. There are essentially three main sets, the hotel (predominantly the room), the quaint downtown exteriors, and the stage. The later is intercut throughout the film with Tim’s stand up routines. The combination of Amber McGinnis’ directorial debut and writer Thomas Ward’s screenplay makes for an insightful, laugh-out-loud, dramedy.  There is so much more than meets the eye with this film. Its authenticity will stick with you.

INTERNATIONAL FALLS stars Rachel Harris (Lucifer, Suits), Rob Huebel (Children’s Hospital, Transparent), and Kevin Nealon (Man with a Plan, Weeds)

The film has been an official selection at 22 film festivals across the country and has won multiple awards, including the Grand Jury Prize at 5 different festivals. The film festivals giving the film their highest honor, include the Ashland Independent Film Festival, the Naples International Film Festival, the New York No Limits Film Series, the Seattle International Film Festival, and the Tallgrass International Film Festival in Wichita.

The award-winning film opens Friday, March 20 in Austin,
Boston, Dallas/Ft. Worth, Denver, Detroit, Houston,
Los Angeles, Minneapolis, Philadelphia, Seattle

 

Review: ‘After Class’ pits generational activism against itself with thoughtful writing and a lot of laughs.

Synopsis:
AFTER CLASS follows a New York City professor (Long) as he spends a week reconnecting with his family while defending his reputation over controversial behavior at his college.

After Class is one hell of a film. Lead by Justin Long as an adjunct professor of creative writing, the plot revolves around a moment in class that triggers his students. While the script deals head-on with the MeToo movement, it’s complexity must be experienced first hand. It’s about loyalty and family and standing up for what you believe in with some goddamn conviction. While Long leads the way, this feels like an ensemble cast because of the amount of talent stacked up. There is not a loose thread in this film. I’ve never seen Fran Drescher in a role so opposite her iconic days on The Nanny. Cast this fabulous lady in all the things. Richard Schiff is excellent in his attempt to keep the peace with families old and new. Watching him keep it together (or not) is a delight. Kate Berlant is perfection as Long’s feisty sister. She feels like she’s been doing this for ages. She easily steals the attention in every scene she’s in. And now to Long. As far as I’m concerned, Juston Long can do no wrong. His eclectic body of work always catches me off guard. While we get to see his quirky comedy, we also get some serious drama and vulnerability I didn’t know would affect me as much as it did. I was particularly amused by the fact the Berlant’s character has a podcast since Long’s newest venture (and fun as hell to listen to I might add) is a podcast with his brother titled Life Is Short. Drescher appeared on an episode I have not listened to yet and now I know why. He is undeniably charming as ever in After Class, but incredibly nuanced making it easy to remember how he is able to helm so many films. The script is constantly challenging your thought process, perhaps even making you roll your eyes, depending on what generation you relate most to. That’s kind of the beauty of this film. It’s got a lot going on in all the best ways possible. Congrats to the cast as well as a big round of applause for writer-director Daniel Schechter for a sincerely heartfelt indie. Everyone should be proud.

**Official Selection – Tribeca Film Festival**
**Official Selection – Rome Film Festival**
**Official Selection – Traverse City Film Festival**
**Official Selection – Fort Lauderdale Film Festival**
**Official Selection – Greenwich Film Festival**
**Official Selection – San Francisco Jewish Film Festival**
**Official Selection – Boston Film Festival**
**Official Selection – Nantucket Film Festival**

—————————————–

Gravitas Ventures is set to release Daniel Schechter’s smart comedy/drama AFTER CLASS (formerly SAFE SPACES) in theaters and on VOD beginning December 6, 2019. The film stars Justin Long, Fran Drescher, Richard Schiff, and Kate Berlant.

The film is a compelling study of a well-intentioned millennial-aged teacher overstepping the line in class in the MeToo era and dealing with the repercussions. This comes in the middle of a family emergency when his grandmother requires hospice care, and family chaos begins to consume his life. The film provides raw moments of emotional turmoil that switches between loss, comedy, and drama, providing glimpses of beautiful and awkward moments that happen in life.

Release Date:                     December 6, 2019 – In the theaters below and on digital/VOD nationwide:
Los Angeles – Arena Cinelounge and Galaxy Mission Grove
Orlando – Old Mill Playhouse
Cleveland – Tower City Cinemas
Boston – Entertainment Cinemas Leominster
Minneapolis – Emagine Rogers 18, East Bethel 10 and Lakeville
Seattle – Galaxy Monroe
Dallas – La Gran Plaza 8
Reno – Galaxy Victorian
Las Vegas – Galaxy Theaters Luxury and Galaxy Cannery
San Francisco – 4 Star Theater
Santa Barbara – Galaxy Colony Square
Directed by:                        Daniel Schechter
Written by:                          Daniel Schechter 
Cast:                                    Justin LongKate BerlantLynn CohenBecky Ann BakerFran Drescher &
Richard Schiff
Genre:                                 Comedy, Drama
Specs:                                 93 min
Distributor:                         Gravitas Ventures

Review: Award-winning documentary ‘The Push’ now available on VOD platforms.

The Push


Grant Korgan is a scientist and a professional athlete. Grant Korgan should not be able to do the things he does. After sustaining a spinal cord injury that left him paralyzed from the belly button down, his entire spirit was deflated. Until he discovered other disabled athletes were training to continue their sports and beyond. Along comes an opportunity of a lifetime; go to The South Pole, and not just go, traverse 100 miles across the polar plateau of Antarctica using only his arms to pull himself on a sled. It had never been done by someone like Grant. His entire journey, from the accident on is documented. He literally had a camera on his person as he hit the ground and, unbeknownst to him, became paralyzed. Not only does he have a camera, but his best friends and extreme sports buddies are also filming him from the bottom of the mountain. The Korgans have a camera running for all the good, the bad, the ugly of recovery and training. The Push is a story of the human spirit and the determination of Grant, his wife Shawna, and Tal, Grant’s trekking partner, and ultimate caretaker on the ice. The bond forged between these two people is unreal. Teamwork doesn’t accurately define their relationship. Tal essentially becomes the lifeguard that Shawna had been. Now she’s not there and Tal has to make decisions for the both of them. Things do not go as planned. It’s impossible to predict how Mother Nature will treat you. Faith is a real driving force in this story. Not the religious kind of faith but the belief that anything can be achieved if you just persist hard enough, long enough. The Push will make you root for these guys to succeed. Challenge after challenge will they make it to the South Pole?  And at the point of real-life danger and all the odds against them, and after all they’ve already achieved, does it even matter? Not only do we experience Grant’s South Pole excursion, but the aftermath. This is where it comes back to the human spirit, once again. There is a lot of soul searching and as Grant says, ” there is a beauty in being broken” and how you choose to view your circumstances. If you’re not crying at the end of this film I don’t even know if you’re a human being. The Push is inspiring and a film that should be shared far and wide for anyone struggling. It’s truly uplifting.

A Gravitas Ventures release, the film has just landed on Amazon and Netflix and other VOD platforms.

THE PUSH

Winner of “Best Documentary” at AmDocs Palm Springs, Flickers’ Rhode Island International Film Festival, The Impact DOCS Awards, Long Beach International Film Festival, Santa Barbara International Film Festival, Sonoma International Film Festival, and the Vero Beach Wine & Film Festival.

Review: ‘Changeland’ travels well.

CHANGLEAND

Need to get away? Seth Green‘s directorial debut, Changeland, might be just the ticket. The film stars a gaggle of actors that first made a name for themselves in some of my favorite films and television shows; Clueless, Can’t Hardly Wait, Home Alone, and Buffy The Vampire Slayer. Guys, Macaulay Culkin is in this. And he’s sheer perfection. So let’s break it down. Brandon (Seth Green) hops a flight for a vacation to Thailand, meeting up with a longtime friend, Dan (Breckin Meyer). It was supposed to be a wedding anniversary trip, but that’s not the plan now. Honest confessions, lingering regrets, tested intimacy, and it all feels 100% authentic. It’s that thing that occurs in even the closest of friendships. You get older, life happens. Dynamics, jobs, marital status, all change. But what better place to mend fences and mull over the future than a tropical oasis?  These guys grew up together and it shows. The natural pace of dialogue is fantastic. It’s actually easy to forget the iconic roles that I usually associate them with, and I do mean that as a compliment. Oh, and the soundtrack is amazing.
But it’s also an advertisement for Phuket, Thailand. It has gorgeous sweeping shots of mangrove forests, caves, resort restaurants, pristine beaches. It does not suck to look at. Green explores ideas of growth and insight without a hint of pretentiousness. It simply works. The perfect cast meeting an exemplary script. Changeland is not grandiose. It’s fun, charming, honest, and funny in both genuine and weird ways. For those of us who grew up with this cast on their favorite films and television shows of the 90s, this all the more age and stage relateable. Bravo, to Green and the entire cast for a wonderful film.

Gravitas Ventures will release CHANGELAND in theaters and VOD on June 7, 2019. Seth Green (“Family Guy,” “Robot Chicken”) makes his screenwriting and directorial debut with the buddy comedy-drama and stars alongside Breckin Meyer (“Robot Chicken,” Clueless).

Shot in Thailand, the movie centers on Brandon (Green), an unexceptional guy who prepaid for an exotic second honeymoon to save his failing marriage. On the eve of his anniversary, he discovers his wife’s long affair and runs away with his best friend Dan (Meyer) to avoid conflict and figure out what comes next. As they share breathtaking, once-in-a-lifetime experiences meant for a happy couple, their friendship is exposed as potentially strained as Brandon’s marriage. The characters they encounter will impact Brandon’s life forever.

Review: ‘American Relapse’ -The profitability of addiction.

Best Feature Documentary, Rhode Island International Film Festival

Best Feature Documentary, Alexandria Film Fest

MINT Spirit Award (Top Festival Prize), Montana International Film Festival

Best Feature Documentary, Laughlin International Film Festival

Best Feature Documentary, Mammoth Film Festival

Best Feature Documentary, Other Venice Film Festival

Social Awareness Award, Orlando Film Festival

Recovering addicts Frankie and Allie spend their lives helping other addicts, but can they stay clean themselves?

The profitability of the addicted. American Relapse is a creatively composed documentary about how it’s better business to keep addicts addicted than to help them. The film follows two former addicts turned advocates over a weekend in their lives and jobs. They fight their own urges while helping others in South Florida. The film explores how the system fails Americans. It’s a lovely balance of hope and despair with interviews from former and current victims. How does rehab help, if at all. Allie and Frankie do their research because they have been there. The editing, and this will sound strange, is super sexy. With infographics intercut with one hell of a soundtrack, it makes the film visually very appealing. The reality of where we are in terms of curing people is bleak. There is a 90% relapse rate in South Florida and that’s how the industry likes it. What is a Junkie Hunter? You’ll find out. The sicker people remain, the more money everyone earns… except the addicted individual. American Relapse is not sugar-coated and that’s the point.

AMERICAN RELAPSE tells the story of two people fighting to make a difference against the devastating heroin epidemic that’s spawning a billion-dollar treatment industry.  Against the odds, in an “Us vs. the World” mentality, two recovering addicts spend their lives pulling needles out of the arms of addicts and assist in placing them in reputable treatment facilities.  The film features Frankie and Allie who live and work in Delray Beach, Florida, the Rehab Capital of America, now referred to by some as the Relapse Capital of America. They allowed the film crew all access for one weekend. What transpires over 72 hours is not only captivating and raw, but a heartbreaking rollercoaster ride.

Frankie is 38 and has relapsed multiple times but continues to operate his F*ck Heroin Foundation with his mother. Allie is 28 and has been clean and sober for 10 years. While they are at different points on the recovery spectrum, they both share a deep belief in the 12th step: helping others. These unlikely and imperfect heroes opened their lives for the world to see, hoping to shine a light anywhere and any way they can. In the process, they show viewers and addicts alike that despite seemingly impossible odds and devastating damage, empathy and hope can restore a little bit of humanity to those who struggle and can sometimes save their lives.

AMERICAN RELAPSE is directed by Pat McGee and Adam Linkenhelt, and is produced by Pat McGee Pictures in association with Sorted Pictures and Next Up Productions.  Executive producers include Pat McGee and Stacy McPeak for Pat McGee Pictures, Ian and Jaime Manheimer of Next Up Productions and producers Terry Hahin and Adam Linkenhelt for sorted Pictures.  The film has a running time of 105 minutes and will not be rated by the MPAA.

Pat McGee Pictures will release the film in Los Angeles and New York exclusively for one week beginning March 29.  The film will screen at the Laemmle Monica Film Center in Los Angeles and Cinema Village in New York City.

Gravitas Ventures will distribute the film on VOD beginning April 2nd. Among the many platforms include iTunes, Google Play, Vimeo, and Amazon. https://itunes.apple.com/us/movie/american-relapse/id1451031005

For more information, go to: www.americanrelapse.com

 

Review: ‘EGG’ one of our Top 5 from Tribeca 2018 (hatches) in theaters today.

In provocateur Marianna Palka’s sharp and unflinching satire, two couples and a surrogate lay bare the complications, contradictions, heartbreak, and absurdities implicit in how we think about motherhood.

Mariana Palka’s follow-up to last year’s Bitch, is just as powerful in delving into “the phases of a woman’s life”, to use a phrase directly from EGG. With an incredibly theatrical feel, as if it could play in an Off-Broadway theater with a unit set, EGG confronts art, politics, and the patriarchal structure that surround the idea of having a baby. The entire ensemble cast is phenomenal, each playing their role in a game of vapid versus broken. The writing is good, honest, and brave. There are no filters on these characters making them completely loathsome and fantastic all at once.

Egg
Feature Narrative
Country: USA
Director: Marianna Palka
Writer: Risa Mickenberg
Starring: Gbenga Akinnagbe, David Alan Basche, Alysia Reiner, Anna Camp, Christina Hendricks

Review: ‘Against The Night” has one big winner…

presents

AGAINST THE NIGHT

AGAINST THE NIGHT is a psychological thriller that tests the boundaries of trust as nine friends sneak into an abandoned prison to film a ghost hunting video. When their friend, Hank, disappears, everyone is pointing fingers and placing blame until they realize they may not be alone.

Against the Night has a plot we’ve seen before… until it doesn’t. I have to admit, this film tries really hard to be unique but ultimately ends up being totally convoluted. There are moments in the script that are so far out in left field I literally said, “What?!” out loud as I watched. The practical effects don’t help, and the majority of the acting is pretty blah and even ventures into the downright atrocious. Oftentimes, the cast’s reactions, (mostly the girls) are completely unbelievable and frankly, don’t lend you to care about them. The chemistry is humming along one moment and nonexistent the next. The tropes seem forced and cobbled together without any flow to the story. While I did enjoy the opening setup and the use of multiple camera styles, Against the Night just didn’t work for me as a whole. The one saving grace in this film is actor Josh Cahn. Playing what feels akin to Jaimie Kennedy‘s role in SCREAM, Cahn is funny, likeable, and I wanted more of him on screen. I would watch an entire stand alone film with him as the lead, any day. This kid is a gem. If you do catch the film, he and the appearance of Frank Whaley as Detective Ramsey are worth their short amount of screen time. Check out the trailer below. As always, we want to know what you think, so those of you heading to the theater this weekend, tell us how Against the Night played out for you!

AGAINST THE NIGHT will be released theatrically in LA, NY and additional select markets on September 15.  The film has a running time of 86 minutes and will not be rated by the MPAA.