Sundance 2024 preview: A film for everyone at the festival’s 40th Edition.

Sundance Film Festival 2024 Color Logo
The Sundance Film Festival has launched the careers of indie film directors, writers, and actors now for 40 years. Back with in-person and online screening opportunities, this year’s iteration boasts new and bold storytelling from every genre. Here are a handful of films we’ll track in 2024.

 

For more information and tickets to Sundance 2024, click here! Be on the lookout for shared coverage with our good friend, Steve Kopian, at Unseen Films. To see all of his reviews and what he’s looking forward to this year, head over to his home base.

(World Cinema Dramatic Competition)
SUJO

S till from the Sundance film SUJO
When a cartel gunman is killed, he leaves behind Sujo, his beloved 4-year-old son. The shadow of violence surrounds Sujo during each stage of his life in the isolated Mexican countryside. As he grows into a man, Sujo finds that fulfilling his father’s destiny may be inescapable.

A movie about time and trauma, this beautifully acted and hauntingly written film from the directors of Identifying Features will be sure to captivate audiences. 

This film contains strobe effects.
Available in person. Also available online for the public (January 25–28)


40th Edition Celebration Screenings And Events

DIG! XX

DIG! XX tracks the tumultuous rise of two talented musicians, Anton Newcombe, leader of the Brian Jonestown Massacre, and Courtney Taylor, leader of the Dandy Warhols, and dissects their star-crossed friendship and bitter rivalry. Through their loves and obsessions, gigs and recordings, arrests and death threats, uppers and downers, and ultimately to their chance at a piece of the profit-driven music business, they stage a self-proclaimed revolution in the music industry.

DIG! premiered at the 2004 Sundance Film Festival in the U.S. Documentary Competition, where it ultimately won the Grand Jury Prize in the documentary category. DIG! XX, which will premiere at the upcoming Festival, is not only a digitally enhanced, remixed, and remastered version of DIG!, but also a special 20th anniversary new edit of the film culled from footage shot over seven years, and brought to you by the original sibling team, Ondi and David Timoner.

*Digitally enhanced and featuring new footage


(Premieres)

And So It Begins

Amidst the traditional pomp and circumstance of Filipino elections, a quirky people’s movement rises to defend the nation against deepening threats to truth and democracy. In a collective act of joy as a form of resistance, hope flickers against the backdrop of increasing autocracy.

Available in person. Also available online for the public (January 25–28)


(World Cinema Documentary Competition)

Eternal You

Startups are using AI to create avatars that allow relatives to talk with their loved ones after they have died. An exploration of a profound human desire and the consequences of turning the dream of immortality into a product.

“I wanted to see if he was okay,” explains Christi, one of the users of Project December. With this innovative software, users can communicate with a virtual version of the deceased through a chatbot that simulates the dead person’s conversation patterns. Hers was an attempt to check on her first love. Others may simply miss someone, seek permission to move on, or want to rid themselves of guilt.

At this point, I think we’ve all seen the app that turns photos into moving images. The idea feels equally sentimental and disturbing. Eternal You takes this tech further, begging the question, “How far are we willing to go to feel connected to those we’ve lost, and how might that affect our brains?” 

Available in person. Also available online for the public (January 25–28)


World Cinema Documentary Competition

A New Kind of Wilderness

In a forest in Norway, a family lives an isolated lifestyle in an attempt to be wild and free, but a tragic event changes everything, and they are forced to adjust to modern society.

Silje Evensmo Jacobsen mixes home movies and a carefully intimate approach to the Payne family, whose isolated existence gets shaken up quite suddenly. This beautiful portrait of connection and resilience in the face of grief will touch your heart.

Available in person. Also available online for the public (January 25–28)


(NEXT)

REALM OF SATAN

An experiential portrait depicting Satanists in both the every day and in the extraordinary as they fight to preserve their lifestyle: magic, mystery, and misanthropy.

Filmmaker Scott Cummings is no stranger to Sundance, having edited many highly acclaimed festival premieres over the past decade, including Never Rarely Sometimes Always, Monsters and Men, and Wendy.

When I tell you that you aren’t ready for this doc, I mean it in the best way possible. Created to ruffle feathers and dispel right-wing hypocrisy, Scott Cummings titillates with gorgeous framing and a touch of tongue-in-cheek magical realism. 

This film contains graphic sexual content. Audiences must be 18 or older.

Available in person. Also available online for the public (January 25–28)


(Premieres)

My Old Ass

Maisy Stella and Aubrey Plaza in Sundance film MY OLD ASS

Maisy Stella and Aubrey Plaza in the Sundance film MY OLD ASS

The summer before college, bright-yet-irreverent Elliott comes face-to-face with her older self during a mushroom trip. The encounter spurs a funny and heartfelt journey of self-discovery and first love as Elliott prepares to leave her childhood home.

The concept alone should get your butt into a seat, but filmmaker Megan Park casting Aubrey Plaza is chef’s kiss in indie cinema.


(Midnight)

I Saw the TV Glow

Justice Smith and Brigette Lundy-Paine  in I SAW THE TV GLOW

Justice Smith and Brigette Lundy-Paine in I SAW THE TV GLOW

Teenager Owen is just trying to make it through life in the suburbs when his classmate introduces him to a mysterious late-night TV show — a vision of a supernatural world beneath their own. In the pale glow of the television, Owen’s view of reality begins to crack.

Writer-director Jane Schoenbrun’s We’re All Going to the World’s Fair (2021 Sundance Film Festival) gave us one of the coolest genre-bending films with a breakout performance from star Anna Cobb. I cannot wait to see how this one twists my sanity and senses. 

This film contains violence and gore.

This film contains strobe effects.


Sundace Film Festival 2024 Black and White logoTo find out more information on all things Sundance 2024, head to https://festival.sundance.org/

 

Review: Growing a conscience is painful in Lola Blanc’s ‘PRUNING’- Premiering at Palm Springs Shortfest 2023

 

Shortfest 2023 logo

PRUNING

Madeline Brewer in PRUNING

Filmmaker Lola Blanc tackles the growing evil of Right-wing extremism in the short film PRUNING. Sami is an up-and-coming right-wing commentator. You know. The kind that lives to cause controversy by spewing “alternative facts” and plays the faux patriotism card. We know these bobbleheads all too well. They are dangerous. PRUNING is a manifestation of festering hatred.

Madeline Brewer in PRUNINGFollowing her rise to fame in shows like Orange is the New Black, The Handmaid’s Tale, and CAM, Madeline Brewer continues to prove herself a chameleon. Brewer’s Barbie doll platinum hair is perfect. You can see the wheels turning as the fruit of her labor causes chaos. Wrestling between fame and misfortune, the choice physically changes her. It’s a performance that should turn your stomach and give Brewer a standing ovation.

Madeine Brewer in short film PRUNINGThe main all-white set plays a dual role, subconsciously reminding you of white power and allowing your eye to focus on Brewer and the green plants she tends in her quiet time. The practical FX are gag-inducing. The score is ominous. It is easily one of the most affecting and unsettling things I’ve seen this year.

In its fifteen-minute runtime, PRUNING shines a white-hot spotlight on the damage of irresponsible lies. Words matter. There are real-life consequences for hate speech. If you feed the beast, why would it leave? With too much power, the soul rots, and something else grows in its place.


SHOWTIMES

 

8:00 PM, SATURDAY, JUNE 24, 2023

Director: Lola Blanc
Producers: Nick Paskhover, Chris Beyrooty, David Lawson, Justin Benson, Aaron Moorhead, Madeline Brewer (executive producer), Deric A. Hughes (executive producer), Elia Petridis (executive producer)
Screenwriter: Lola Blanc, Jeremy Radin
Cinematographers: Sonja Tsypin
Editor: Brian Mitchell, Ian Start
Music: AJ Nilles
Cast: Madeline Brewer, Peyton Kennedy, Jeremy Radin, Akilah Hughes, Ben Gleib, Betsy Zajko, Avital Ash
Country: USA
Language: in English
Year: 2023
Running Time: 14 minutes

To find out more about Palm Springs Shortfest, Click Here!!


RND Logo

There’s something in the air. No. Seriously. ‘KILLER KITES’ trailer causes mayhem and an early release!

KILLER KITES

Now available due to high demand!!


Directed by: Alan Dale, Austin Frosch

Starring: Manon Pages, Austin Naulty, Carter Simoneaux

Distributor : Film Hub


When Abby’s grandma dies, the only thing she inherits a stupid kite – after giving it to her brother; he is mysteriously killed and the kite disappears. While searching for the truth, she is tangled in a strange supernatural plot, where this killer kite continues to kill! Now, Abby must string together a way to stop the kite before it blows us all away. Kites may not be the scariest monster ever, but they’re up there.

Could KILLER KITES be the new Midnight Madness screening? Anything is possible. Check out the trailer below. 

AVAILABLE NOW TO HIGH DEMAND


 

Review: MGM+ and Blumhouse bring audiences Yoko Okumura’s ‘UNSEEN,’ a wild story of dual survival.

 

UNSEEN

SYNOPSIS: Two women form an unlikely connection when a depressed gas station clerk SAM (Purdy), receives a call from EMILY (Francis), a nearly blind woman who is running from her murderous ex in the woods. Emily must survive the ordeal with Sam being her eyes from afar using video call.


Emily wakes up disoriented and tied up in a remote cabin by her ex. After fleeing into the woods but breaking her much-needed glasses, she accidentally dials Sam, a meek gas station attendant. (*cue the My Girl fans) Emily cannot see without her glasses. Begging this anxious stranger to video call her to aid in her escape from the ever-looming Charlie. These unlikely partners team up in different locations, leading to freedom for both women.

Michael Patrick Lane is Emily’s captor and psycho ex, Charlie. Scary and somehow kooky, he is like the Michael Myers of ex-boyfriends. Missi Pyle plays Carole, and she’s a real asshole. Her performance is both caricature and authentically terrifying. Pyle gives us rich, tacky, gun-toting Karen energy. I mean, had station is in Tallahassee. Her character work is unreal.

Midori Francis is an absolute badass as Emily. Minutes in, I was yelling at the screen, cheering her on. Her shockingly calm demeanor is all the motivation Sam needs to help. Jolene Purdy plays Sam with zero self-esteem and a heart of hold. Her emotional arc in the film will leave you with a smirk. She and Francis have electric chemistry, especially considering they are never in the same space as one another. They are both stars.

Areal shots are stunning. The addition of out-of-focus camerawork puts you in Emily’s chaotic mindset. The splashy neon colors of the Gator Galore station contrast beautifully with Emily’s overcast forest landscape. Directed by Yoko Okumura and written by Salvatore Cardoni and Brian Rawlins, UNSEEN balances comic, over-the-top characters with nuanced ones and the plausible scenario of a woman’s abduction by her ex. The script is a commentary on class and one hell of a story of gender-based violence. It is undeniably entertaining. Some audiences might initially make comparisons with Shudder’s SEE FOR ME, but that would be a mistake. Unseen stands apart in its unexpected comedy, performances, and clever writing. The final reveal made me say, “Oh, shit.” Be sure to stick around for the credits.


Paramount Home Entertainment will release the horror thriller  film UNSEEN on Digital and On Demand on March 7, 2023 and on MGM+ on May 2023.

 UNSEEN stars an ensemble cast of Midori Francis (“Grey’s Anatomy”), Jolene Purdy (“Orange is the New Black”), Missi Pyle (Gone Girl) and Michael Patrick Lane (“Dynasty”). The film is directed by Yoko Okumura (“The Bold Type”) and written by Salvatore Cardoni (Gnomes & Trolls: The Secret Chamber) and Brian Rawlins. The film was executive produced by Alexander Kruener, Jeremy GoldChris McCumber and Jason Blum.

The film is part of the Blumhouse Television and MGM+ deal to produce eight original films together. MGM’s streaming service, EPIX, rebranded as MGM+ on January 15, 2023.

 Building on Blumhouse Television’s success with the Welcome to the Blumhouse movies slate for Amazon and Into the Dark anthology series for Hulu, the deal is the first-of-its-kind for MGM+, which is adding films to its growing slate of premium original content.


 

Shudder capsule review: ‘Attachment’ dazzles with its smart script.

ATTACHMENT

New couple Maja and Leah battle terror and tradition when they move back into the same house as Leah’s Hasidic mother, Chana. Jewish mysticism takes center stage in this unique entry for Tribeca 2022 Midnight section. Is Chana an overprotective parent, or is something more sinister happening? Enter writer-director Gabriel Bier Gislason‘s ATTACHMENT.

The writing is perfectly genius, as it disguises the mystery within the secretive nature of the religion. I watch a lot of horror. ATTACHMENT had me on the ropes. I had no idea where this script would land. The language barrier raises the stakes, as important revelations become lost in translation, literally. Performances are spectacular and nuanced. The emotional journeys are lush. Their pasts slowly revealed creating a genuine and curious bond. I could not take my eyes off the screen while watching Attachment, fearing I’d miss the smallest detail. Audiences will be hypnotized.


*STREAMING EXCLUSIVELY ON SHUDDER*
FEBRUARY 9th, 2023


FEATURE | DENMARK | 105 MINUTES | DANISH, ENGLISH | ENGLISH SUBTITLES
DIRECTOR
Gabriel Bier Gislason
PRODUCER
Thomas Heinesen
SCREENWRITER
Gabriel Bier Gislason
CINEMATOGRAPHER
Valdemar Winge Leisner
EDITOR
Nikoline Løgstrup
US DISTRIBUTOR
Shudder
CAST
Josephine Park, Ellie Kendrick, Sofie Gråbøl, David Dencik


 

October Programming on MUBI – thrills and chills for everyone.

October Programming on MUBI

Includes exclusive streaming premiere of Martine Syms’ art-school satire The African Desperate, Julie Ha and Eugene Yi’s rousing documentary Free Chol Soo Lee, Lucile Hadzihalilovic’s Lynchian horror, Earwig

Plus a month-long Halloween programming with George A. Romero, Michio Yamamato’s Bloodthirsty Trilogy, and more!

EXCLUSIVELY ON MUBI

Tuesday, October 4

Invisible Demons, directed by Rahul Jain

[Viewfinders] A visually immersive exploration of the global threat of climate change, Invisible Demons (Cannes ‘21) is the stunning sophomore film from filmmaker Rahul Jain. Told through striking images and eye-opening accounts from everyday citizens, Jain delivers a visceral journey through the stories of just a few of Delhi’s 30 million inhabitants fighting to survive, as he offers a deeply experiential and new perspective on the clear and present climate reality. A MUBI Release.

 

Friday, October 7

Free Chol Soo Lee, directed by Julie Ha and Eugene Yi

[Viewfinder] A highlight of this year’s Sundance Film Festival, Free Chol Soo Lee finds award-winning journalists Julie Ha and Eugene Yi excavating the largely unknown yet essential history of the case of Chol Soo Lee, a 20-year-old Korean immigrant who, in the 1970s, was racially profiled and convicted of a Chinatown gang murder in San Francisco. A stirring testament to the power of local journalists and the collective political action, this breathtaking true story ignited an unprecedented push for social action that would unite Asian Americans and inspire a new generation of activists, and serves as an urgent reminder that his legacy is more relevant than ever. A MUBI Release. 

Wednesday, October 12

Rosa Rosae. A Spanish Civil War Elegy, directed by Carlos Saura

[Brief Encounters] Legendary Spanish filmmaker Carlos Saura (Cria Cuervos) recovers and manipulates more than thirty images, drawings and photographs to recreate the Spanish Civil War in his new animated short Rosa Rosae: A Spanish Civil War Elegy (2021). The montage of images set to the music of singer-songwriter José Antonio Labordeta pays tribute to those childhoods stolen by the Spanish Civil War, reflecting the horrors of universal warfare and resonating with the urgent topic of conflict in today’s world. A MUBI Release. 

 

Saturday, October 15

Earwig, directed by Lucile Hadzihalilovic

[MUBI Spotlight] Loosely adapted from Brian Catling’s novella of the same name, Lucile Hadžihalilović (EvolutionInnocence) conjures a surrealist Lynchian nightmare in her first English-language feature Earwig – a macabre tale of a young girl with melting teeth and her cadaverous caretaker who molds and refits her dentures each day. Sumptuously-produced and fitted with a hypnotic soundtrack by Augustin Viard (in collaboration with Nicolas Becker & Warren Ellis), Hadžihalilović’s latest beguilingly hermetic world captures the same elusive and hallucinatory fixations on isolation and the horrors of adolescence as her previous work.

 

Friday, October 21

The African Desperate, directed by Martine Syms

[Debuts] The electrifying feature debut from renowned artist Martine Syms, The African Desperate (2022) brings her razor-sharp satire and vivid aesthetic invention to a riotous coming-of-age comedy. Tracking one very long day for Palace Bryant (an expertly deadpan Diamond Stingily), a newly minted MFA grad whose final 24 hours in art school become a real trip, the result is a shocking original vision that becomes a hazy, hilarious, and hallucinatory night-long odyssey, stumbling from academic critiques to backseat hookups while revealing Martine as a major new voice in American independent filmmaking. A MUBI release. 

 

Wednesday, October 26

Spectre: Sanity, Madness and The Family, directed by Jean-Baptiste de Laubier

[Debuts] The debut feature from music producer and longtime Céline Sciamma collaborator Jean-Baptiste de Laubier (Para One), Spectre: Sanity, Madness and the Family (2021), is an intimate docudrama inspired by De Laubier’s own family history. Following the youngest son of a large family whose childhood was dominated by intense spiritual fervor, who receives a mysterious package from his sister that leads to the awakening of long dormant memories, this kaleidoscopic work mixes real and fictional archival footage with a mesmerizing electro soundtrack to reveal the power of buried personal histories. A MUBI Release. 

Thrills, Chills and Exquisite Horrors

This Halloween, MUBI presents Thrills, Chills and Exquisite Horrors, a new series covering the vast range of genre cinema, from classic films to recent arthouse sensations and everything in between. From gothic frights in James Whale’s essential classic The Old Dark House, to the matriarchal anxiety of Veronika Franz and Severin Fiala’s and Austrian sensation Goodnight Mommy, and the haunting technological paranoia of Japanese master Kiyoshi Kurosawa’s cult classic, Pulse, these gems provide an opportunity to come together and celebrate the autumnal ritual of coming together to enjoy the many thrills that the cinema can offer us.

Goodnight Mommy (Veronika Franz, Severin Fiala, 2014) – October 1

Pulse (Kiyoshi Kurosawa, 2001) – October 5

When a Stranger Calls (Fred Walton, 1979) – October 13

The Old Dark House (James Whale, 1932) – October 23

Deep Red (Dario Argento, 1975) – October 31

George A. Romero: Double of the Dead

Legendary horror master George A. Romero returns to MUBI with a gruesome double feature with a generous amount of blood, guts, and sociopolitical allegory to satisfy any zombie movie cravings. From the final two chapters of Romero’s epic five-decade long Dead series: the “found-footage” shot Diary of the Dead (2007) is riddled with media anxieties as a group of film students document their way through a zombie apocalypse, while Survival of the Dead (2009) chronicles two families warring over whether the dead and the living can coexist. 

Diary of the Dead (2007) – October 5 

Survival of the Dead (2009) – October 30

From the Land of Fire and Ice: An Icelandic Double Bill

This October, as the days grow shorter and the air grows colder, MUBI presents a double feature celebrating some of the very best of contemporary Icelandic cinema, which has recently experienced a resurgence of sorts in the international festival circuit. In Rams (Prix Un Certain Regard, Cannes ‘15), Grímur Hákonarson crafts a hilarious and heartbreaking portrait of two warring brothers whose lifelong animosity explodes when confronted with a new disease on their farm, while in Hlynur Palmason’s critically acclaimed A White, White Day, an off duty sheriff begins to suspect a local neighbor of having an affair with his recently deceased wife which spirals into obsession in this singular story of grief, revenge and unconditional love.

Rams (Grímur Háknarson, 2015) – October 9

A White, White Day (Hlynur Palmason, 2019) – October 10

Fears and Fangs in Japan: Michio Yamamoto’s Bloodthirsty Trilogy

To celebrate the Halloween spirit, this October MUBI presents Michio Yamanto’s aptly titled Bloodthirsty Trilogy. Presented here are three tails sure to delight, with The Vampire Doll, which follows a woman and her boyfriend in search of her missing brother in a creepy mansion with a dark history, Lake of Dracula, which finds a young woman’s adolescent nightmares revealing a hellish prophecy, and Evil of Dracula, which sees Yamamato relocating his vampiric frights into an all girls school. Inspired by the British and American gothic horror films of the 1960s, this series represents Toho’s answer to Hammer Studios, with an emphasis on atmospheric thrills and chills that help bridge the gap between gothic classics and Japanese genre cinema.

 

The Vampire Doll (1970) – October 11

The Lake of Dracula (1971) – October 20

Evil of Dracula (1974) – October 27

Artist Focus: Morgan Quaintance

British experimental artist, critic, and writer Morgan Quaintance explores cinema as collective memory. Through his texturally rich short films, Quaintance focuses on hidden or forgotten history through the reconstruction of archival materials, moving image, photographs, written text and disconnected sounds. This month MUBI presents a double bill of his most recent work: Surviving You, Always (2020), contrasting the proposed metaphysical highs of psychedelic drugs versus the harsh actualities of concrete metropolitan life in 1990s London, and A Human Certainty (2021), playfully following the neurotic ramblings of a death-obsessed romantic in the throes of post-breakup blues.

 

A Human Certainty (2021) – October 24

Surviving You, Always (2020) – October 25

Glitch Zone: Films by Martine Syms

To celebrate the release of The African Desperate, Martine Syms’ acclaimed feature debut, this month MUBI spotlights two essential shorts from one of the most exciting new voices in filmmaking. Part of her ongoing series She MadBitch Zone takes us to an empowerment program for teenage girls founded by supermodel and business mogul Tyra Banks, while Soliloquy finds the artist delivering a scathing anti-capitalist manifesto that touches on questions the possibility of change in a society dominated by social media.

She Mad: Bitch Zone (2020) – October 17

Soliloquy (2021) – October 19 

The African Desperate (2022) – October 21

I Don’t Like You Either: A Pialat Retrospective

This month, MUBI continues its ongoing retrospective of misunderstood French master Maurice Pialat with Van Gogh, his bruising and deeply felt portrait of the esteemed Dutch painter. Pialat’s work is marked by a sense of realism that locates them somewhere between his compatriot, Jean Renoir, and the working-class naturalism of Ken Loach, which lends a sense of authenticity to this singular portrait of an artist that emphasizes the everyday labor of the craftsman over the final work. 

Van Gogh (1991) – October 2

Now streaming

Loulou (1980) – September 10 

The Mouth Agape (1974) – September 21

Under the Sun of Satan (1987) – September 27

 Complete list of films premiering on MUBI this month:

October 1 – Goodnight Mommy, directed by Severin Fiala, Veronika Franz | Thrills, Chills and Exquisite Horrors

October 2 – Van Gogh, directed by Maurice Pialat | I Don’t Like You Either: A Maurice Pialat Retrospective

October 3 – The Great Buster: A Celebration, directed by Peter Bogdanovich | Portrait of the Artist

October 4 – Invisible Demons, directed by Rahul Jain | Viewfinders

October 5 – Pulse, directed by Kiyoshi Kurosawa | Thrills, Chills and Exquisite Horrors

October 6 – Diary of the Dead, directed by George A. Romero | George A. Romero: Double of the Dead

October 7 – Free Chol Soo Lee, directed by Eugene Yi, Julie Ha | Viewfinder

October 8 – Tucker & Dale vs Evil, directed by Eli Craig

October 9 – Rams, directed by Grímur Hákonarson | From the Land of Fire and Ice: An Icelandic Double Bill

October 10 – A White, White Day, directed by Hlynur Palmason | From the Land of Fire and Ice: An Icelandic Double Bill

October 11 – The Vampire Doll, directed by Michio Yamamoto | Fears and Fangs in Japan: Michio Yamamoto’s Bloodthirsty Trilogy

October 12 – Rosa Rosae. A Spanish Civil War Elegy, directed by Carlos Saura | Brief Encounters

October 13 – When a Stranger Calls, directed by Fred Walton | Thrills, Chills and Exquisite Horrors

October 14 – Center Stage, directed by Stanley Kwan

October 15 – Earwig, directed by Lucile Hadzihalilovic | MUBI Spotlight

October 17 – She Mad: Bitch Zone, directed by Martine Syms | Martine Syms: Short Films

October 18 – The Gold-Laden Sheep & the Sacred Mountain, directed by Ridham Janve

October 19 – Soliloquy, directed by Martine Syms | Martine Syms: Short Films

October 20 – Lake of Dracula, directed by Michio Yamamoto | Fears and Fangs in Japan: Michio Yamamoto’s Bloodthirsty Trilogy

October 21 – The African Desperate, directed by Martine Syms | Debuts

October 23 – The Old Dark House, directed by James Whale | Thrills, Chills and Exquisite Horrors

October 24 – A Human Certainty, directed by Morgan Quaintance | Artist Focus: Morgan Quaintance

October 25 – Surviving You, Always, directed by Morgan Quaintance | Artist Focus: Morgan Quaintance

October 26 – Spectre: Sanity, Madness and The Family, directed by Jean-Baptiste de Laubier | Debuts

October 27 – Evil of Dracula, directed by Michio Yamamoto | Fears and Fangs in Japan: Michio Yamamoto’s Bloodthirsty Trilogy

October 28 – The Commune, directed by Thomas Vinterberg

October 29 – Dear Diary, directed by Nanni Moretti

October 30 – Survival of the Dead, directed by George A. Romero | George A. Romero: Double of the Dead

October 31 – Deep Red, directed by Dario Argento | Thrills, Chills and Exquisite Horrors


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Fantasia 2022 review: ‘Moloch’ brings unique folklore horror to viewers.

MOLOCH

A sinister score from Ella Van Der Woude and sweeping cinematography by Emo Weemhoff immediately let us know we’re in for something truly frightening. Perhaps cyclical in nature, unresolved trauma rears its ugly head in the form of a supernatural creature and a celebrated legend. Moloch is a keenly written and beautifully performed horror.

Sallie Harmsen plays Betriek with an unbridled nuance. Existing in a caretaker role for her mother and young daughter, we are privy to childhood trauma that everyone in town seems to know more about than Betriek. Harmsen is raw and determined. She encapsulates a woman mired in distress.

It’s not an exaggeration to say my mouth was agape at the final reveal. So many seemingly minute details in the script came rushing into my brain. Writer-director Nico Van Den Brink and writer Daan Bakker have given Fantasia 2022 audiences a moody, atmospheric folklore horror. Lucky for Shudder fans, Moloch is now available to stream.


38-year-old Betriek lives at the edge of a peat bog in the North of the Netherlands. When she and her family are attacked by a random stranger one night, Betriek sets out to find an explanation. The more she digs, the more she becomes convinced that she is being hunted by something ancient.

Premieres July 21 on Shudder


Click here for more info on Fantasia 2022!


Fantasia 2022 review: The brutality of ‘Megalomaniac’ is burned into my brain.

MEGALOMANIAC

Offspring of the most notorious and elusive serial killer in Belgium’s history, Martha must navigate her brother taking up the family mantle, working a job where she is the victim of sexual abuse, and the fragility of her sanity. Writer-director Karim Ouelhaj gives Fantasia 2022 audiences one of the most brutal and brilliant films of the year.

The sumptuous score from Gary Moonboots and Simon Fransquet is a push and pull between heaven and hell. The production design and camera work will haunt your nightmares. Simultaneously hideous and magnificent, the vast family mansion Felix and Martha reside in has cracking plaster walls, carved mahogany structures, and a plethora of aggressively posed taxidermy creatures. It’s Dracula’s wet dream.

Actress Eline Schumacher leaves her soul on the screen. The slow, deliberate fracturing of the human psyche is breathtaking. It’s a brave, emotionally wrought, and award-worthy performance.

It’s an understatement to say that the imagery in Megalomaniac made my blood run cold. I winced as I witnessed unapologetic violence on women’s bodies. The fear Martha experiences had a visceral effect on me. The film examines the patriarchal power structure in a heartbreaking and infuriating way. Ouelhaj nails it. The term “triggering” is not one I use often, but Megalomaniac encompasses that word from start to finish. The cyclical nature of evil cannot be denied.


To find out more about Fantasia 2022 click here!


SXSW 2022 review: ‘SOFT & QUIET’ and infuriating and terrifying and brilliant.

SOFT & QUIET

Playing out in real time, SOFT & QUIET is a runaway train that follows a single afternoon in the life of Emily, an elementary school teacher. Emily organizes the inaugural club mixer of like-minded women, and she indoctrinates them into her sisterhood. When they all decide to move the meeting to Emily’s house, they stop at the local store to pick up refreshments, where an altercation breaks out between two sisters and the club that spirals into a volatile chain of events.


Having a film run in real-time is already bold. In Soft & Quiet, that is the tip of the iceberg. Essentially, a group of Karens sharing their super racist views embrace each other at their first official group meeting. The dialogue takes every offensive, cliché, and horrifying thing spewed over the internet, heard on cell phone footage, and in national rallies, especially since Obama was running for office. Government suspicion, recruiting, homeschooling, The Constitution, traditional family, you name it, the subject appears in this script. It’s like reading through the comments section on Facebook or 8chan. It’s terrifying. 

Handheld camerawork immerses the viewer inside the film, moving from speaker to speaker, moving with the action. The amount of rehearsal this must have required is mind-boggling. The subtle digs are clever. Leslie’s jacket reads “Lieben Zu Hassen” which translates from German to English as “Love To Hate.” I have to hand it to this cast. It is the nonchalance that kills you. To say vitriolic things and act in such a vile manner, you have to trust your director and your fellow cast members. The hidden humor of these women traveling in a minivan is unmissable.

As you awkwardly cringe at the horror of it all, your level of anticipation simmers wildly. It’s so uncomfortable your palms will sweat. The film is sliced right down the middle. The first half respects the title, and the second half goes off the rails. As the terror increases, your heart will be in your throat. Soft & Quiet is a powder keg. It is pure rage-fueled, technically coordinated, chaos. This film deserves a hard and loud standing ovation for writer-director Beth de Araújo. This is a thrilling masterpiece. 


Director:

Beth de Araújo

Executive Producer:

Robina Riccitiello

Producer:

Josh Peters, Saba Zerehi, Joshua Beirne-Golden, Beth de Araújo

Screenwriter:

Beth de Araújo

Cinematographer:

Greta Zozula

Editor:

Lindsay Armstrong

Production Designer:

Tom Castronovo

Sound Designer:

William Tabanou

Music:

Miles Ross

Principal Cast:

Stefanie Estes, Olivia Luccardi, Eleanore Pienta, Dana Millican, Melissa Paulo, Jon Beavers, Cissy Ly

Additional Credits:

Jon Cooper: First Assistant Camera, Matt Hadley: Gaffer, Elodie Ichter: Colorist, Bridget Bruce: Costume Designer, Jillian Johns: Costume Designer, Music Supervisor: Ella Sahlman


To learn more about SXSW22 click here!


SXSW 2022 review: Living your best life is triggering in ‘SISSY.’

SISSY

Synopsis: Cecilia and Emma were tween-age BFFs who were going to grow old together and never let anything come between them until Alex arrived on the scene. Twelve years later, Cecilia is a successful social media influencer living the dream of an independent, modern millennial woman… until she runs into Emma for the first time in over a decade. Emma invites Cecilia away on her bachelorette weekend at a remote cabin in the mountains, where Alex proceeds to make Cecilia’s weekend a living hell. #triggered


Catty, protective, territorial; girls can be the worst. Mean girls made my life a living hell for years. Everyone I know has a story involving them. SXSW22 Midnighters world premiere SISSY addresses them head-on. 

Slow clap for the editing in SISSY. It is clever and engaging from the beginning. The tension in the script is a deliberate build, sort of like ascending a rollercoaster, knowing that that first drop is coming and will be one many. But there are moments of silliness that cut through the anticipation. Overall a slick structure that never lets up. Trust me when I say you will not see where this leads. The practical FX are so tight I exclaimed, “Oh, F*ck,” at one point. There is no better an endorsement than that. 

The chemistry between Aisha Dee and Hannah Barlow (who co-writes and directs with Kane Senes) is magic. You believe they were best friends when they were twelve. Fast forward 15 years or so, and things look very different in their relationship. But, best friends never really lose their groove. That is until someone comes between them. Aisha Dee is our true leading lady, and she friggin kills it. SISSY obliterates your moral compass. 

SISSY tackles unresolved childhood trauma most darkly. Combined with the influencer angle is pure genius. SXSW22 audiences are going to love this. You root for all the wrong things, and therein lies the brilliance.


SISSY – Midnighters (**World Premiere**)
Writers/Directors: Hannah Barlow, Kane Senes
Cast: Aisha Dee, Hannah Barlow, Emily De Margheriti, Daniel Monks, Yerin Ha, Lucy Barrett


To find out more about SXSW22 click here!


IFC Midnight trailer debut: ‘A BANQUET’ dishes out family and fear this February.

A BANQUET

Directed by Ruth Paxton
Starring Sienna Guillory, Jessica Alexander, Ruby Stokes,
and Lindsay Duncan

Synopsis
Widowed mother Holly (Sienna Guillory) is radically tested when her teenage daughter Betsey (Jessica Alexander) experiences a profound enlightenment and insists that her body is no longer her own, but in service to a higher power. Bound to her newfound faith, Betsey refuses to eat but loses no weight. In an agonizing dilemma, torn between love and fear, Holly is forced to confront the boundaries of her own beliefs.


Opens in Select Theaters, on Digital Platforms
and VOD on February 18th


About the Director
Ruth Paxton is a Scottish filmmaker who graduated in 2007 with an MA in Film and TV from Screen Academy Scotland having gained her honours degree at Edinburgh College of Art. Her award-winning shorts have been exhibited and nominated in competition at numerous international events and prominent film festivals. Winner of Best Woman Director at the 12th London Short Film Festival for her film PULSE, and nominated one of Canongate Books 40 Scottish Storytellers of The Future; artists anticipated to dominate the next 40 years of creative life in Scotland. In 2019 Screen Daily featured her as one of ‘Six emerging Scotland based Directors you need to know.’ A BANQUET is Ruth’s debut feature, a psychological horror produced by Tea Shop Productions and Riverstone Pictures. The film is represented by HanWay Films, and was recently acquired by IFC Films for North America. It was selected for the Great 8 showcase at Cannes Marche presented by BFI, BBC Films and the British Council, and will have its World Premiere at Toronto International Film Festival 2021, in the Discovery section.


Directed by: Ruth Paxton
Written by: Justin Bull
Produced by: Leonora Darby, Nik Bower, James Harris, Mark Lane, Laure Vaysse
Director of Photography: David Liddell
Edited by: Matyas Fekete
Starring: Sienna Guillory, Jessica Alexander, Ruby Stokes, Kaine Zajaz, Lindsay Duncan
Runtime: 97 mins


IFC MIDNIGHT
Official Site | Twitter | Facebook | Instagram
#ifcmidnight


Blood In the Snow (2021) Shorts reviews from Super Channel weekend.

Here are some of the short films showing on Super Channel this weekend at  BITS 2021…


Giant Bear (*shown alongside Don’t Say Its Name)
Gorgeous animation of the desolate and snowy tundra. One man comes face to face with a legend. The Inuit vocal track will consume you. This one left me with a lot of emotions.


The Death Doula
A man’s past interferes with his ability to usher a client into the afterlife. This nuanced story presents questions of morality and anguish. Beautiful and costumes sets help ease the viewer into a lulled sense of safety. It is incredibly unique.


Watershed
The world’s water supply is poison. A soul survivor stumbles across a young Mandarin girl who may have figured out how to create clean water. Danger lurks off of every overhanging eve. With powerful visuals, Watershed is an awesome treatment for a feature or series. I need to know what happens next.


Part of A Series of Web Bites:

Creepy Bits- Chapter 1- “Baby Face”
Is a young Mom seeing things on the baby monitor? This is still a fear for me. Are those dust particles or spirits gliding across my screen?! This one goes much further. It’s unsettling.


Narcoleap: S2
Thanks to a “previously on Narcoleap” recap, we get the concept of the show, immediately. And it’s cool. Director Kate Green, who also created the series, gives us drama, complexity, and a ton of great characters. As you keep watching, the show gives you a genuine Quantum Leap feel, but you also catch a Dollhouse vibe through its humor and sci-fi aspects. This is a full-on production. How has this not been picked up by Syfy or CW already? This is my formal push. It deserves a wider audience.


GHOST- A Primitive Evolution
Radio signals connect two post-apocalyptic survivors. This is both a short film and a music video. I have to say, this song rocks. Loved the bridge. I would watch this in longer form. There are solid concepts here and a very cool final shot.


Midnight Lunch Break
Becka is a mouthy shock jock radio host who gets an in-studio visit from a masked listener on Halloween. This one is laugh-out-loud hilarious. At 5 minutes, it’s such a tease, I wanted to see more!


The Revenge of the Snowflakes
A woman’s success is spoiled by online trolls. She takes her boyfriend along in a tongue-in-cheek revenge moment turned violet. This short was great but it was clear there is so much more to the story that we don’t get to see. I wanted a feature to back up the 5 minutes… Which is a great thing.


We All Dream (*being shown with Motherly at 9 pm this evening)
A young girl’s apparent sleepwalking poses a constant danger to her family. All is not what it seems. This is wildly fun and creepy. It produced a slow grin I couldn’t wipe off. Give me more of this story ASAP.


Disquietude (screening with Tin Can Sunday night at 11:30 pm.)
Grab your headphones or crank up the audio for this one featuring a musician. It’s vital to the plot. Trapped inside an anechoic chamber with only her music and thoughts, each infinitesimal sound becomes exacerbated to the nth degree. This would drive anyone mad. It’s perfectly panic-inducing.


You can check out the second half of BLOOD IN THE SNOW (2021) in person

November 18-23 at The Royale Theatre

Tickets are on sale now!


Grimmfest (2021) review: ‘We’re All Going To The World’s Fair’ showcases the terror of living online.

WE’RE ALL GOING TO THE WORLD’S FAIR

I want to go to the World’s Fair. I want to go to the World’s Fair. I want to go to the World’s Fair.” Say it three times into your computer camera. Prick your finger, draw some blood and smear it on the screen. Now press play on the video. They say that once you’ve seen it, the changes begin… In a small town, a shy and isolated teenage girl becomes immersed in an online role-playing game.


Voyeuristic intimacy meets horror internet challenge We’re All Going To The World’s Fair speaks directly to the danger of the YouTube generation. Casey is a loner who seeks refuge online. When she takes an internet challenge, something that has had real-life, deadly consequences in recent years, her small world gets vastly stranger. We’re All Going To The World’s Fair tackles many weighty subjects; loneliness, depression, mental illness, identity, and gullibility. There’s the parent/child dynamic that, when present, is filled with fear and emotional abuse. 

Michael J Rogers plays JLB with majorly creepy vibes. From his voice to his subtle physicality, Rogers embodies a chilling persona. The viewer is left to interpret his intentions. It is a disturbing performanceAnna Cobb‘s feature debut is a powerhouse. What a fearless and natural performance. She exudes innocent charm. She’s a loner, clearly not by choice. Once the challenge creeps into her psyche, this becomes something altogether different. Wow, cannot even begin to describe the arc, both physically and emotionally. It’s a stunning turn.

Writer-director-editor Jane Schoenbrun paints a bleak picture of Casey’s hometown. Long takes, some through Casey’s laptop and others handheld, give the film a gritty feel. The lengthy scenes put so much of the film’s success directly onto Anna Cobb’s shoulders. She has a massive responsibility to fill the screen, and she pulls it off like gangbusters. A bonus, the soundtrack is cool as hell. The ending is ambiguous. Something about it is perfectly unsettling. 


[Available October 16, 2021, 1:30 – 11:30 PM] Watch now online…


Review: ‘APARTMENT 413’ is a horror-filled heartbreaker.

APARTMENT 413


Marco spends his days applying for jobs online and waiting for Dana, his pregnant girlfriend, to get home. Strange post-it notes mysteriously appear around the apartment with cryptic warnings. A mechanic texts and calls him with menacing messages from an old non-functioning cell phone. The walls close in and tensions build between Marco and Dana’s relationship until all sense of safety dwindles as the lines between imagined and reality blur for both Marco and the audience. When Marco discovers the root of it all, his real problems begin.


Right as the screen faded to black, I realized how smart this script is. Apartment 413 starts with a bang. Slowly, we are introduced to the dynamic between the apartment’s newest tenants, Dana and Marco. With a baby on the way, Marco is desperately trying to find a job. Dana is gone all day, at work herself, but comes home with loving arms and encouragement for the future. As Marco continually fails to get interviews, strange notes begin to show up on their front door. A mysterious cellphone rings incessantly, sending Marco vile texts. No matter what he does, he cannot seem to escape the things he’s seeing or feeling. Can he keep his family and sanity intact?

One of my favorite scream queen-writer-directors, Brea Grant, plays Dana. Because of the ever-evolving nature of Marco’s predicament, Grant is allowed to play the entire emotional spectrum. Her nonchalant chemistry with Saenz is astounding. Nicholas Saenz is impeccably engaging. The film’s success hinges on his likability. Much like the script, his performance has more of an impact once the credits roll. The film takes place almost exclusively inside the small apartment. This set is a tight squeeze that the audience feels just as much as Marco. Saenz gives us his all. It’s a dizzying and heartbreaking performance. Screenwriter Ron Meade gives us all the breadcrumbs along the way. They’re so slyly distributed. Along with anxiety of job searching, feelings of inadequacy, and isolation, Apartment 413 is a slow burn psychological horror that punches you in the gut. As that final puzzle piece falls into place, it turns out this is one of the most disturbing films I’ve seen in a while.


Trailer
Terror Films presents APARTMENT 413 on Digital Download September 17

Nicholas Saenz (“American Crime”), Brea Grant (“Beyond the Gates”), and Dave Buckner star in Matt Patterson’s unnerving APARTMENT 413, premiering On Digital this September from Terror Films.


GRIMMFEST turns lucky 13 for this year’s hybrid addition. Here are some of the films we’re screaming about.

GRIMMFEST 2021

It’s no secret that the most buzz-worthy films come through only a handful of genre festivals. GRIMMFEST is on that shortlist. The festival turns a lucky 13 this year and it’s ready to rock audiences’ socks with a plethora of titles for every single viewer. After being completely virtual last year, a hybrid platform is back in action with a mix of in-person screenings from October 7th to 10th and online from October 14th to 17th. I can say that this year’s lineup is filled with everything from gore to absurdity, thrills to purest moments of wow. These are the films that will be on everyone’s lips. You can find out about tickets and schedules at https://grimmfest.com/

Do yourself a favor and mark your calendars now. There’s a lot to see.


THE BETA TEST

A Hollywood agent, engaged to be married in a few weeks, receives a mysterious letter inviting him for an anonymous sexual encounter and thus becomes ensnared in a sinister world of lying, infidelity, and digital data.

This genre-shattering film takes aim at Hollywood, toxic masculinity, horror, satire, all with co-writer-director Jim Cummings playing a sharp lead. His last film, The Wolf Of Snow Hollow, has a legit cult following now. Cummings has a distinct voice and I cannot wait to see if The Beta Test becomes another calling card on his resume.


THE RIGHTEOUS

A burdened man feels the wrath of a vengeful God after he and his wife are visited by a mysterious stranger…

There is something so striking about modern black & white cinematography. in The Righteous, writer-director Mark O’Brien also stars as the mysterious stranger in question. This horror film is filled with symbolism and will give any god-fearing viewer the vapers.


WHEN THE SCREAMING STARTS

When the Screaming Starts is a comedy-horror mockumentary about an inept, aspiring serial killer at the beginning of his “career” and a fledgling filmmaker willing to do anything to achieve his ambition.

A little bit of Vicious Fun meets Satanic Panic, I cannot wait to laugh and gag. Horror and comedy pair so well together and since everyone is a true-crime connoisseur who thinks they could commit the perfect murder, I am delighted to consume this one.


THE SPORE

The lives of ten strangers intersect through a terrifying chain of events as a mutating fungus begins to spread through a small town wiping out everyone that comes into contact with it.

Will this film be a little too close to home considering we’re still experiencing a global pandemic? I guess we’ll find out when we’re forced to look through the lens of writer-director D.M Cunningham.


HOTEL POSEIDON

Dave inherited the dingy and dilapidated Hotel Poseidon from his late father. He lives there and works as manager, and rarely seems to leave the place. The days and nights all bleed together. His existence is a hopeless one. When a young woman knocks at the hotel’s doors one night looking for a room, and his best friend shows up wanting to throw a party in the backroom, Dave’s world starts to spiral out of control, and his sense of reality starts to be shaken by recurring nightmares.

I have seen the title sequence for this film and it is hands down one of the coolest in all of cinematic history. I said what I said. If the rest of the film lives up to the initial visual, Hotel Poseidon will wow Grimmfest audiences.


ALONE WITH YOU

As a young woman painstakingly prepares a romantic homecoming for her girlfriend, their apartment begins to feel more like a tomb when voices, shadows, and hallucinations reveal a truth she has been unwilling to face.

Listen, you tell me Barbara Crampton is in a film and I’m watching it. Add on Emily Bennett who was fantastic in King Of Knives last year and I’m sold. Not only does she star, but she co-wrote and co-directed the film. Give me an all-female horror film every day of the year.



FULL VIRTUAL FESTIVAL LINE UP:

● FOR ROGER (Aaron Bartuska, USA)

● FATHER OF FLIES (Ben Charles-Edwards UK / USA)

● SLAPFACE (Jeremiah Kipp, USA)

● THE NIGHTS BELONG TO THE MONSTERS (Sebastian Perillo, Argentina)

● HAPPY TIMES (Michael Mayer, Israel / USA)

● NIGHT AT THE EAGLE INN (Erik Bloomquist, USA)

● VAL (Aaron Fradkin, USA, 77 min)

● THE SPORE (D.M. Cunningham, USA)

● THE PIZZAGATE MASSACRE (John Valley, USA)

● MOTHERLY (Craig David Wallace, Canada)

● SHOT IN THE DARK (Keene McRae, USA)

● NIGHT DRIVE (Brad Baruh, USA)

● MIDNIGHT (Oh-seung Kwon, South Korea)

● FACELESS (Marcel Sarmiento, USA)

● WE’RE ALL GOING TO THE WORLD’S FAIR (Jane Schoenbrun, USA)

● THE FREE FALL (Adam Stillwell, USA)

● ON THE THIRD DAY (Daniel de la Vega, Argentina)

● THE GUEST ROOM (Stefano Lodovichi, Italy)

● HOTEL POSEIDON (Stefan Lernous, Belgium)

● FORGIVENESS (Alex Kahuam, Mexico)

● TWO WITCHES (Pierre Tsigaridis, USA)

● KING KNIGHT (Richard Bates Jnr, USA)

● TARUMAMA / LLANTO MALDITO (Andres Beltran, Colombia)

● THE RIGHTEOUS (Mark O’Brien, Canada)


 

Passes and tickets can be purchased from www.grimmfest.com.

Fantasia International Film Festival 2021 review: ‘COMING HOME IN THE DARK’ will disturb you to no end.

COMING HOME IN THE DARK

Director/co-writer James Ashcroft introduced Fantasia 2021 audiences to a gutwrenching neo-noir. As a family attempts to enjoy a road trip, they are suddenly accosted by two men with an evil agenda. The complexities of COMING HOME IN THE DARK go far beyond a random encounter. This film was created to make you shudder. Redemption, revenge, cruelty, and shock all play huge parts in this journey. This is a film that will have you on the edge of your seat. Ashcroft’s feature debut deals directly with NZ ineptitude in their state-run facilities. This particular aspect of the script could be applied to any country. The abuse of children becomes an ironic twist that comes to haunt the viewer in more ways than one. The intensity that builds in this screenplay is unrelenting. The brutality is unforgiving. With a large amount of dialogue and action occurring under duress, and inside a car, the claustrophobia is palpable. The ability to build fully fleshed-out characters under the circumstances is truly astounding. Performances from this small cast will captivate you. The cinematography is incredibly thoughtful. It isn’t too often that I stop taking notes while watching a film. I didn’t write a single thing down during my viewing experience. I could not take my eyes off the screen. I cannot fully express how my entire body was shaking as I watched this film. I do feel compelled to warn viewers of the level of violence. Coming Home In The Dark is a traumatizing experience.



CAST:

  • Daniel Gillies
  • Erik Thomson
  • Miriama McDowell
  • Matthias Luafutu

Fantasia International Film Festival 2021 review: ‘When I Consume You’ is a haunting allegory.

WHEN I CONSUME YOU

A woman and her brother seek revenge against a mysterious stalker.


When I Consume You is a unique horror film that pulls you into the lives of Daphne and Wilson Shaw. Their past will not let them go. For better or for worse, we’re on their twisted journey for justice. The darkness of this story is palpable from the very beginning. Quite frankly, it never lets up. MacLeod Andrews, who most recently blew me away in A Ghost Waits, does it again. His energy swings from manic to terrifying. Libby Ewing, as Daphne, is both lead and narrator. Her voiceovers are soothing through the chaos. The chemistry with Dumouchel feels tangible. Evan Dumouchel playing Wilson is the real soul of this film. His emotional journey spills off the screen in a way that hypnotizes the viewer. I was captivated by every single one of his scenes, which are the majority of When I Consume You. This cast was perfect.

Perry Blackshear is the man with all the hats taking on directing, writing, cinematography, and producing. One of the best goosebumps-inducing moments occurs in the form of actress Libby Ewing’s hand appearing from nowhere. There is something so startling about this simple action. Its impact speaks volumes. There is a nice connection between the physical and metaphorical. The fight training scenes are a great representation of emotional preparedness. And without spoiling anything, the devil you know is sometimes a safer bet than the devil you don’t.  When I Consume You is an addiction allegory. Whether that is drugs or depression, the weight of trauma never quite leaves you. While the pacing of the film had some static moments, overall this is a fresh take on a haunting premise.


 

Fantasia International Film Festival 2021 review: ‘THE SADNESS’ is ultra-violent, bloody mayhem.

Perhaps more aptly named The Madness, The Sadness is a tongue-in-cheek take on the insanity that the pandemic has reigned upon the globe. Rather than a variant that makes you sicker more quickly, this is a rage variant. The infected want to inflict as much pain as possible. The sexual violence is particularly egregious and repetitive… and that’s the point. If you are easily offended, this is not a film for your eyeballs. The simple premise of two lovers attempting to reunite among the chaos plays like a dream. Unlike similar films, say 28 Weeks, The Sadness is not a zombie movie. The infected are fully cognoscente of their behavior. It’s a psychotic switch that gets flipped, and what ensues is mind-blowing.

Performances are filled with greatness. What might only be a highlighted extra role in any other genre film turn into a slew of memorable ones. It’s that well written and performed. Seeped in genuine incel energy, social commentary, and over-the-top gore and violence create a shocking watch. The amount of movie blood that must have been involved in this production is unfathomable. I’ve watched a lot of horror, (like, a lot a lot) and The Sadness is not fucking around. One hour in, there is a moment so offensive, even I gagged. Fantasia International Film Festival 2021 audiences were treated to one of the most insanely disturbing films in the festival’s 25-year run. If you can watch and hold in your lunch, bravo. Director Rob Jabbaz, much respect to you, sir.



Review: ‘The Last Matinee’ is a bloodsoaked love letter to genre fans

The Last Matinee

SYNOPSIS: The audience attending the last showing of a horror film in a small downtown cinema are terrorized by a murderer who begins to pick them off, one by one. The only person to notice that something strange is going on is the projectionist’s daughter.


I had to Google the film while watching to make sure it wasn’t a restoration. Every single aspect, from the costumes to the sets, to the audio editing screams a genuine 80s slasher. The Last Matinee is created as the perfect piece of genre nostalgia. Horror fans should keep their eyes peeled for Easter eggs and cinematic homages. The kills get progressively more gruesome. I’m particularly fond of #2. Undoubtedly Giallo inspired from the black gloves, the faceless killer, to the candy-red lighting and gore, The Last Matinee is a goddamn bloody treat. Don’t get too attached to anyone. No one is safe. The practical FX are so good, I almost lost my lunch. That rarely happens to me. I’ve watched so much horror that I’ve become a bit numb. This got me looking away wondering if I need to press pause just in case. The synopsis pretty much tells you everything you need to know, so do yourself a solid with this one. Turn off your brain and turn on your love of horror. Make some popcorn and settle in for the night. I hope you survive.


The Uruguay-Argentinian horror film THE LAST MATINEE is available TODAY on VOD, Digital, and DVD courtesy of Dark Star Pictures and Bloody Disgusting.


Directed by Maxi Contenti (Muñeco viviente VNeptunia) from a script by Manuel Facal (High Five, Fiesta Nibiru) and Contenti, the film stars Luciana Grasso (El Secreto de Julia), Ricardo Islas (El Que No Corre VuelaBailiwick), Julieta SpinelliFranco Duran and Pedro Duarte.


Review: ‘BEHEMOTH’ is a visual stunner that would make Faust proud.

BEHEMOTH

In Peter Sefchik‘s directorial debut, BEHEMOTH, we find Josh in dire straights. A whistleblower for his former chemical company, he is convinced the corporation has made his daughter critically ill. In a last-ditch effort to make them come clean, he kidnaps his former boss in hopes that he’ll admit to wrongdoing. The plan quickly spirals out of control when Josh gets shot and begins to see things that may or may not be drug-induced. What happens when you sell your soul to the highest bidder? Josh is about to find out.

Sefchik’s visual work is nothing short of stunning. This should come as no surprise given his extensive career as a digital artist with the likes of George Lucas and James Cameron. The details are immaculate. While the performances from our dedicated cast veer into the amateur lane at times, their brightest moments come when interacting with what isn’t actually there. That’s more impressive than it sounds. Sefchik also co-wrote the script with producer Derrick Ligas. Social commentary is smartly placed inside a horror film. Themes of environmental destruction, media, and capitalism soak this story in realism. Using personal fears to goad our players into darkness is a brilliant touch. When greed rules, evil prevails. The fact that this entire film was made for $65,000 is mindblowing. Any indie filmmaker can attest to that. BEHEMOTH is a win in its script and most certainly in Sefchik’s mesmerizing VFX. If this is his first foray into feature storytelling, I cannot wait to see, quite literally, what comes next.


BEHEMOTH opens on digital platforms next Friday, August 27th.


BEHEMOTH is the stunning, VFX-heavy directorial debut of digital artist Peter Sefchik, whose lengthy career began at George Lucas‘ legendary Skywalker Ranch. His most notable past projects include AVATAR and the HARRY POTTER, SHREK, and STAR WARS franchises. He also serves as BEHEMOTH‘s Co-writer, Producer, and VFX Supervisor. The film’s cast includes Josh Eisenberg, Paul Statman, Jennifer Churchich, Richard Wagner, and Whitney Nielsen.

Color
English Language
88 minutes
Not Rated