Split Rock (Brooklyn Horror 2026): Cosmic horror

Posted on October 22, 2026 by Liz Whittemore — Leave a reply

Split Rock

Filmmaker Ryan Glover spins an unsettling cosmic horror tale at Brooklyn Horror Film Fest 2026. We follow two geologists and romantic partners, Lauren and Ben, as they conduct survey work in the remote Canadian Badlands. As Ben departs to gather the rest of their small team, Lauren notices an overwhelmingly bright reflection on the hillside. The spot hypnotizes her, causing blackouts, visions, and a mysterious pull she cannot explain. Once they uncover an unusual and highly magnetic rock just under the surface, things go very wrong.

Glover’s sophomore feature after The Strings serves another narrative dripping in atmospheric dread. Shot on 16mm, the film has an eeriness harkening back to The Texas Chain Saw Massacre. Nikolay Michaylov’s exquisitely framed cinematography during the opening credits establishes our protagonists’ isolation. The string-heavy score feels ripped straight from The Omen. It is relentless and ear-piercing.

Split Rock feels like an homage to a handful of classic genre films while staying original. With a touch of Stephen King‘s Deadlights canon and a shit ton of H.P. Lovecraft, trust its pace.

Olivia Luccardi is spectacular in everything. As team member Sarah, she infuses the film with the energy that the slow burn sucks out. It would be very different without her balance. She is my favorite character. Drew Ray Tanner‘s Ben is protective in all the right ways. Quiet and contemplative, he is undeniably compelling.

As Lauren, Clark Backo bears a huge burden. Being the main person our mysterious rock has a physical and mental stranglehold on, Backo must fill the frame for extended periods, and the audience has to place themselves in her mindset. She navigates the calculated deterioration like a pro.

Split Rock banks on your ability to wait and get a few genuine answers. If you can simmer in constant discomfort, this is your jam. Come for the genre promise, and STAY for the final 15 minutes filled with body horror and insane practical FX. Split Rock will premiere on Shudder on December 25th.

Directed and Written by RYAN GLOVER

Starring CLARK BACKO, DREW RAY TANNER, OLIVIA LUCCARDI, and GRAHAM VERCHERE

Produced by BRIAN ROBERTSON, JEFFERSON MONEO, and KRISTA DZIALOSZYNSKI

Executive Producers RYAN GLOVER, KATE MELVILLE, FABIOLA CARAZA, PATRICK HACKETT, and DANIEL FUTA

Synopsis:

While conducting survey work in the remote badlands, geologists and lovers Lauren (Backo) and Ben (Tanner) uncover a mysterious block of magnetic stone embedded in the earth. As their team investigates, their equipment begins to fail, and a violent unseen force emerges. Lauren becomes obsessed with the ancient block, convinced that an eternal consciousness is using her mind to reach the surface. When Ben attempts to stop it, the outcome leaves the duo and their team forever altered.

Horror | 98 minutes | 35mm | Canada | 2026

Content Warnings: Suicide, Self-Harm

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GRIND (Sitges 2026): Killer capitalism is a gas.

Posted on October 21, 2026 by Liz Whittemore — Leave a reply

GRIND

Filmmakers Brea Grant, Ed Dougherty, and Chelsea Stardust bring Sitges 2026 audiences a new horror-comedy anthology with twisted, tongue-in-cheek takes on capitalism, gig work, and hustle culture. GRIND begins in the aisles of an innocuous DRGN distribution center, when a worker must locate a black box marked for Special Delivery as punishment for not pulling product quickly enough. Chelsea Stardust tackles the corporate warehouse rumor head-on. And yeah, it really is like that. I know a floor manager.

Enter Brea Grant’s hilarious rip on the MLM Lula Roe; we follow a fledgling girl boss as she jumps into the cutthroat world of Lala Leggings. Selling your soul comes with fine print, and the consequences of not reading the contract are relentless and supernatural. Gotta make that money, honey, or else.

Barbara Crampton nails the perfectly coiffed Founder, with Jessika Vann playing the newbie and Courtney Pauroso as her pyramid scheme mentor. The chemistry and performances are outstanding. Sarah reaches her breaking point as the absurdity increases tenfold. It will have you doubled over.

Grant continues with gig-work giggles in the food delivery industry. Our protagonist, Benny, constantly takes abuse from customers only to come up short on shared rent. When one bizarre delivery request ramps up the tips, the awkward asks deem too tempting to stop. All Benny has to do is follow the customer’s instructions. Simple, right?

Vinny Thomas is outstanding as Benny. His infectious positive energy has you rooting for him to make that money, honey. The text bubbles and interactive instructions are genuinely cool. This sci-fi short is almost like playing a horror video game. Or maybe it’s the definition of insanity.

Ed Dougherty’s Content Moderation segment brings back the underlying concept of dopamine hits as an eager DRGN employee scores a trial period on the ground floor. It just so happens to be content moderation from the internet’s darkest dregs. Equal parts gory violence, stupidity, and hysterically funny, the audience gets a rapid sneak peek at it all.

The closer Joel gets to finishing his 6 million-plus videos, the more encouragement and pressure from his colleagues he feels to make it out. As the lines of reality start to blur, Joel’s modicum of sanity quickly wanes, or before he discovers something more sinister. We can hate all we want, but capitalism might kill us all.

Christopher Rodriguez Marquette, who I absolutely loved in Fear, Inc. (which deserved a damn franchise), is spectacular. Playing it straight, narrow, and mostly calm against Rob Huebel‘s elite nonchalance as Andy, a DRGN exec.

Dougherty’s second segment finds a small group of Neptulia Coffee employees as they initiate a lock-in to unionize. A knock at the door and the delivery of a monolithic black box throw this eclectic group into further chaos. Can differently minded co-workers band together? Buyer beware, this brand is killer. This hilarious ensemble cast hits every comedic beat. Huge shout to Ify Nwadiwe. Make his coffee always be hot, but not too hot.

Stardust finishes us off with one final surprise, wrapping GRIND up in a shiny red bow, or rather, one last black box. Chef’s kiss. Grant, Dougherty, and Stardust deliver seamless transitions from one story to another, while cleverly connecting to each other with either a visual, an actor, DRGN delivery trucks, or an overarching corporate monster (*pun intended).

GRIND features a large and unbelievably talented group of artistic collaborators. Every detail is accounted for. The editing is truly fantastic. Production design is a hand-crafted delight. Camerawork is fun and immersive. Don’t move during the credits for some extra ear candy and laughs. My smartwatch clocked signs of distress while watching the film. If that’s not some diabolically honest, real-time feedback, I don’t know what is. Well done, Team. Grant, Dougherty, and Stardust never miss a satirical analogy. The filmmaker is to the critic as the worker is to the consumer. Money makes the world go round, but it might also kill you. GRIND is an instant classic.

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V/H/S/MIXTAPE (2026) Mayhem and music to my ears

Posted on October 14, 2026 by Liz Whittemore — Leave a reply

V/H/S/MIXTAPE

The unhinged horror anthology franchise is back with a delightfully disgusting vengeance. This time, Qwar hosts an MTV-style clip show of weirdness, debauchery, and terror all based around audio. These hysterically gagworthy transition pieces are, IMHO, the most cohesive upgrade. This departure from the previously heavy-handed mystery and more MST3K comedy stylings works like magic. Now let’s get into each new segment, shall we?

Tape One: Dance, Dance, Dance, Dance.

Directed by Renee Zhan, a bug-themed kids’ show opens by teaching young viewers about death. Barbara Crampton plays an exasperated network exec with a frightening authenticity. Time and time again, Crampton’s chameleon abilities to inhabit any role prove startling and celebratory. That’s why she never stops working.

Cut to present day, and the original puppets are set to be scanned, digitized, and documented for promotion. But puppet caretaker and forever-fan George is visibly resistant. When the team begins work, a seemingly odd glitch makes the cameraman wander. The secret is out when the puppets become sentient and murderous mayhem ensues.

The reboot joke is chef’s kiss if you’re a fan of the franchise. Practical FX are jaw-dropping. As a product of 1980s Sesame Street and a genre babe, this is my Christmas. It’s a felt, fur, and blood-covered house of horrors.

Tape Two: Another Cabin

Directed by franchise favorite Flying Lotus, this fairy-tale-inspired stop-motion short follows a young boy and his ungrateful elder who are attacked by a flesh-eating, shapeshifting monster from the woods. After years of abuse, the boy fights back by sacrificing her to the monster, but this is a horror short we’re talking about. The film looks incredible. Laika studio fans will dig this a little extra. Zero dialogue, but none is needed to convey the darkness.

Tape Three: Heartbeat

David Moreau follows YouTuber couple, Wes and Maya, as they journey through the woods to find an abandoned underground military facility. They discover an anechoic chamber, designed to shut out all outside noise. But there’s a reason they warn against staying longer than fifteen minutes.

The handheld camerawork comes from camcorders and GoPros. Julie Clergerie and Elie Kaempfen give incredible physical performances that look like theatre training. _’s augmented sound editing is hypnotizing and triggering even the calmest viewer. It is auditory torture.

Tape Four: The Music of Mr. Sze

Ernest Dickerson (Tales from the Crypt: Demon Knight *hell yes) gives us a story of a lonely but enthusiastic film student named Philip as he embarks on his day-in-the-life series in his new apartment. We briefly meet the other renters, but Philip is drawn to the sound of a violin emanating from another unit. Most of the footage (POV) comes from Philip’s brand-new camera glasses. As the music continues day and night, it profoundly affects Philip. He waits for Mr. Sze, offering to film his performances. But the offer backfires when Philip hums a song he should not have heard. Curiosity killed the cat, though in Philip’s case, it opens a portal to a Lovecraftian hellscape. Brilliant world-building and chaotic kills, this segment is a handcrafted throwback.

Tape Five: Premature Burial

Tobias Forge gives audiences a hardcore metal video. The story follows a twisted and satisfying revenge plot. You will be cheering with glee by the end of the song. Tee hee.

Tape Six: Death Tone

RZA dives into his world of music with a tale of a young woman’s attempts to connect with her deceased music producer father. Upon discovering a cassette with how-to instructions for creating a great track, Lydia records video diary entries to document her process and progress. When she connects most with a more visceral tone, she taps into her Patrick Bateman instincts to capture the perfect pitch. Video diaries and body cam footage get an immersive, artistic edit. Production design is moody and drenched in blood. The final moments put Johnny Depp‘s Nightmare on Elm Street demise to shame.

V/H/S/MIXTAPE is a GenX playground filled with old-school references, blood-spattered humor, and insane kills. It’s everything you want and then some. How each consecutive anthology tops the last is a mystery.

DANCE, DANCE, DANCE, DANCE: Directed by Renee Zhan

A studio attempts to reboot a long-cancelled puppet show with a mysterious past. Featuring work from Jim Henson’s Creature Shop.

HEARTBEAT: Directed by David Moreau

A pair of YouTube urbex influencers find themselves trapped in a decommissioned military facility used for sonic experimentation.

THE MUSIC OF MR. SZE: Directed by Ernest Dickerson

A college film student’s documentary project uncovers the reclusive life of a tormented musician.

DEATH TONE: Directed by RZA

A young sound engineer follows her late Dad’s instructions to create the ultimate track.

Wrap Segment

GWAR hosts skits and music videos in an MTV-style show from hell.

Featuring music videos directed by Tobias Forge and Flying Lotus.

Synopsis:
V/H/S/MIXTAPE cranks the franchise’s signature found-footage horror up to eleven with an electrifying new anthology where music and sound become the source of terror. United by a theme that explores the power of music, rhythm, and audio to haunt, possess, transform, and destroy, the film blends cosmic horror, psychological suspense, outrageous splatter, and groundbreaking practical effects into one unforgettable mixtape of nightmares.

Featuring all-new segments from legendary filmmaker Ernest Dickerson, hip-hop icon RZA, visionary director David Moreau, and acclaimed filmmaker Renee Zhan, the latest installment pushes the boundaries of found footage with four wildly original stories that each put a unique spin on the terrifying relationship between sound and fear.

Producers: Josh Goldbloom, Steven Schneider, Roy Lee, Michael Schreiber, Brad Miska

Writers: Zoe Cooper, David Moreau, Ernest Dickerson, RZA, Matt Landsman

Executive Producers: Ben Ross and Rami Yasin

Genre: Horror
Country: United States

Language: English

Runtime: 98 minutes

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Disforia (Grimmfest 2026): The commodity of terror

Posted on October 11, 2026 by Liz Whittemore — Leave a reply

Disforia

Christopher Cartagena‘s Grimmfest 2026 feature DISFORIA dives headfirst into darkness with a global rash of suicides beginning two years prior. The system is near collapse. Aided by cult-like groups claiming to assist in suicides, when in reality, they are filled with murderous psychopaths.

Tomás, Esther, and their young daughter Say have a plan: drive over the Pyrenees to reach Esther’s sister in an isolated area untouched by the sadness. The audience quickly learns that secrets complicate everyone’s agenda. When Act Two begins, any inkling of intuition disappears. Enter Vera, a woman who claims to be a buyer for the house, but we suspect something more sinister. Cartagena keeps you teetering on the brink of hyperventilating.

Cartagena and co-writers Joan-Pol Argenter and Imanol Ortiz deliver a deeply twisted screenplay. Esther’s relationship with Say is entirely dysfunctional. When she decides not to listen to her mother, Say dons a chimpanzee mask. The choice is incredibly unsettling. But it is the trying dynamic that throws a wrench in future survival. The bond must hold, or it might spell certain doom. The script slowly reveals the trigger of unresolved trauma and detachment, making every beat between mother and daughter all the more explosive.

The set looks like an authentically abandoned home, from the draped furniture to the boarded-up entry points. Camerawork feels immersive, particularly in Say’s POV shot from behind the mask. Introducing an interactive audience ramps up the perverse nature. Internet commentators inspire increased mayhem and award points for violence.

Essentially, DISFORIA is commodifying terror. The film comes at a particularly auspicious time for American audiences with the government’s announcement of a livestreamed execution. Performances are spectacular across the board. Ranging from manic to unhinged, every cast member deserves a slow clap and a standing ovation. Each consecutive moment tops the last. As the credits roll, DISFORIA leaves nothing in its path but frayed nerves and your heart in your throat.

Year:2025
Runtime:82 minutes
Language:Spanish
Country:Spain
Premiere:UK
Rating:15

Director:Christopher Cartagena
Screenwriter:Christopher Cartagena, Joan-Pol Argenter, Imanol Ortiz López
Producer:Isabel G. Peralta
Executive Producer:Raúl Cerezo, Silvia Melero
Cast:Claudia Salas, Fariba Sheikhan, Eloy Azorín
Cinematographer:Jorge Roig
Production Design:Irene Cogolludo

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Motherwitch (Grimmfest 2026) Magic and mourning

Posted on October 9, 2026 by Liz Whittemore — Leave a reply

Motherwitch

Minos Papac‘s Grimmfest 2026 feature Motherwitch is an engaging folk horror and gothic fantasy. Set in 1882 during the British occupation of Cyprus, the story follows Eleni (Margarita Zachariou), a grieving painter isolated from her village after losing her three children in a tragic accident. Consumed by grief and anger, Eleni performs an ancient ritual—using the blood of a lonely, abused local boy named Michalakis (Sifis Katsoulakis) in a magic portrait—to resurrect her children.

Eleni’s ritual brings unintended consequences; instead of her children returning, the Kalikantzari (mischievous, goblin-like chthonic creatures from Cypriot folklore associated with the 12 days of Christmas) plunge her isolated village into supernatural terror. Eleni must confront her unresolved trauma and save Michalakis to lift the curse.

margarita_zachariou_in_motherwitch_2_55651

Papac delivers a compelling duality in Eleni’s intentions. While using Michalakis for his blood, she simultaneously realizes the abuse he suffers at home and nurtures his gently inquisitive nature and artistic talent. As the chaos ensues, Eleni’s sorrow manifests into a female spirit that mirrors her grief. Only when she realizes that love, forgiveness, and acceptance conquer all does the curse break.

Young Sifis Katsoulakis is mesmerizing as Michalakis. He brings authentic moments of innocence and wonderment, easily stealing any scene he appears in. The loss of a child is an unimaginable premise for any parent. It is a depth of grief that haunts women daily as our instincts to protect remain on a constant high alert. Lead actress Margarita Zachariou explores sadness with visceral intensity. Her haunting turn will captivate you.

motherwitch_taksideei_sto_rterntam_pagksmia_premir_4

Eleni’s charcoal drawings cleverly serve as foreshadowing. The landscape is straight out of a fairy tale. Cinematographer Jack McDonald captures the glorious natural beauty of Cyprus’ countryside. Filmed in an abandoned 15th-century village, McDonald utilized natural light and firelight to their fullest. The Kalikantzari initially appear in a series of shadows, sudden, strong wind gusts, momentary, emaciated touches in which we see only a small hand, and in Michalakis’s glowing red eyes. Once visible to Eleni’s, the SFX work from Goran Ignjatovski reminds me of throwback fantasy films like Ridley Scott’s 1985 LEGEND.

Motherwitch is an exquisite exploration of the stages of grief through folklore and horror. Visually breathtaking, it’s a dazzling addition to this year’s schedule

Premiere status: UK
Length: 104 mins
Year: 2026
Rating: 15
Language:Greek/Cyprus
Director: Minos Papas
Writer: Evripidis Dikaios, Nikolas Kouroumtzis, Minos Papas
Producers: Constantinos Nikiforou
Cast: Margarita Zachariou, Miltos Yerolemou, Jason Hughes

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Ithaqua (Grimmfest 2026) Gothic Western Folklore Horror

Posted on October 9, 2026 by Liz Whittemore — Leave a reply

Ithaqua

Filmmaker Casey Walker‘s Grimmfest 2026 film Ithaqua begins in 1821 in the barren lands surrounding a Canadian fur-trading post and fort. Hope dwindles as a small enclave of settlers and natives nears starvation. An American mercenary and scout is tasked with finding the larger native population to ensure the eclectic group of foreign colonizers survives the winter. But something ancient and evil looms over their journey, and it is closer than they can ever imagine. Inspired by Native American wendigo lore and H. P. Lovecraft Cthulhu Mythos, Ithaqua is here to terrorize and tantalize genre fans.

Halfway through, the film takes a sharp genre turn from frontier survival drama to, well, I won’t spoil it. But holy hell, it’s a bold choice. Based on Walker’s story, with co-writing by Peter Scott Vicaire and Pascal Trottier, Ithaqua suddenly- the audience is not simply on edge; we are completely shocked and twice as engaged. They still manage to inject much-needed levity into the dialogue to break the tension when called for. It is a skillfully woven story, to say the least.

Ithaqua’s cast is phenomenal. Performances from Pamela Matthews, Peter Millard, and Aaron Poole deliver unforgettable performances. Michael Pitt plays the town’s power-hungry Magistrate. His smarmy attitude transfixes as it twists and turns into cinematic chaos. Kevin Durand is brilliant as the proud Lieutenant working under Pitt. His arc is simply delicious. Not quite enemies-to-lovers, but we’ll take it. Leenah Robinson is truly spectacular as Cole’s native partner, Ahnung. Likely the most grounded character, she is compelling as hell. Luke Hemsworth delivers a perfectly flawed hero archetype as Cole Franklin. You are genuinely rooting for him from beginning to end.

As soon as I saw Blitz/Berlin did the music, I got excited. They never let me down. Bryn McCashin‘s sweeping cinematography sets the stage for vast, cold isolation. Practical FX and make-up teams deserve all the accolades. From native folklore to cannibalism to terrifyingly curated, strategically placed flashbacks, ITHAQUA hypnotizes the viewer with canon breadcrumbs, dread, and dazzling performances. With world-building akin to Sinners, the script dives headlong into darkness and never leaves. I respect the hell out of that.

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The Restoration of Grayson Manor (2026): Queer Camp Horror Delights

Posted on October 8, 2026 by Liz Whittemore — Leave a reply

The Restoration of Grayson Manor

Glenn McQuaid brings us into the colorful (in every sense) world of legacy, sex, and monstrous overtone. Welcome to The Restoration of Grayson Manor, and all its double entendres for dysfunction, identity, and frivolity.

Matriarch Jacqueline’s obsession with son Boyd producing an heir comes with debasing strings attached, but disguised as a favor. Jacqueline poo-poos Boyd’s career as a pianist, which further strains their already thin bond with her disapproval of his sexuality. Following a one-night stand on the grounds, and an “oops, I forgot to change out of your nightie” to rub it in mummy’s face, a freak accident in which Boyd saves his mother from death ultimately severs Boyd’s hands at the wrists.

The Restoration at Grayson Manor_press 3 kit.docx - [www.dropbox.com]

To motivate Boyd to keep living, Jacqueline claims to bring in a world-renowned team of doctors and therapists, creating him a one-of-a-kind set of bionic hands. As Boyd slowly lets his guard down with nurse Lee, his connection with the bionic hands grows stronger. Boyd’s emotions begin to control the hands, but their actions play out his deepest, most vengeful desires.

The Restoration at Grayson Manor_press 2 kit.docx - [www.dropbox.com]

Gabriela Garcia Vargas plays Boyd’s therapist. Her unresolved trauma, triggered by drugs, creates another dramatic, over-the-top addition to this already wacky screenplay. Daniel Adegboyega is a treat, delivering a presence that wavers between Dr. Frankenstein and a sexy lap dog. Declan Reynolds is genuinely charming. I loved every single second of him. Reynolds is the only grounded character in the entire film. Alice Krige is a genre legend. If you haven’t seen her in She Will, how dare you. Chris Colfer is a snarky bitch, in the best way possible. Krige and Colfer have delicious chemistry. I could watch them ping-pong insults all day long.

The Restoration at Grayson Manor_press 1 kit.docx - [www.dropbox.com]

The film is the epitome of queer camp. The dialogue, by McQuaid and co-writer Clay McLeod Chapman, is searing vitriol. The costumes are vibrant; the production design mixes a crumbling mansion with light-saturated medical tech. The pace dips at points, but if you’re choosing a film like this, you’re not there for some profound life revelation. The script gets weirder and weirder, with all the kooky kills a genre fan could desire. The film has a perfect ending once you understand the bitchy mother-son dynamic. A touch of Misery, Edward Scissorhands, and every John Waters film ever made, The Restoration of Grayson Manor is ultimately a campy romp, and we, the audience, are just along for the ride. McQuaid never apologizes for style, nor should he have to. The queer camp horror catalogue has a new member. Act accordingly.

*What do you mean you’re dressing up as the bionic hands from The Restoration of Grayson Manor for gay Halloween?*

directed by: Glenn McQuaid
written by: Clay McLeod Chapman & Glenn McQuaid
starring: Chris Colfer, Alice Krige, Daniel Adegboyega, Declan Reynolds, Gabriela Garcia Vargas, Matthew McMahon, Issac Cairns, Dave Byrne
produced by: Brendan McCarthy, Deirdre Levins, Thomas Herberth, Florian Brüning, John McDonnell

runtime: 90 Minutes
language: English
country: Ireland

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SICK (Fantastic Fest 2026) Gagworthy sibling summer

Posted on September 18, 2026 by Liz Whittemore — Leave a reply

SICK

Agata Trzebuchowska’s Fantastic Fest 2026 film Sick is just that. The story follows sixteen-year-old Maks and his nineteen-year-old sister Emma as they spend an isolated summer with their ailing grandmother. Maks is stuck between a sexual awakening and childhood reminiscence. He grew up spending lazy days on the lake, exploring the forest trails, and playing with Emma alongside his doting grandmother.

Now, with Gran suffering from a mysterious illness and Emma creating an increasingly aggressive and inappropriate dynamic in the house, everyone’s behavior intensifies. Emma actively flirts with Maks, testing his self-control. Her power trip does not end with Maks. She treats Gran as a nonverbal prop to bait her brother into risky behavior.

Two bizarre plotlines play out simultaneously: a brother-sister scenario that creeps you out and a grandmother transforming into something completely unknown. Somehow Trzebuchowska weaves the two together seamlessly. Gran’s health improves. Maks and Emma go deeper down the rabbit hole. Their health begins to deteriorate. Gran is acting weird… and leaving strange goo in her wake.

Tomasz Kajetan Naruszewicz’s editing is spectacular. The lighting is stunning. Maciej Edelman’s music and camerawork are jarring. Performances are mind-blowing. Katarzyna Łubik is enthralling as Emma. She has the audience in a chokehold. Nonrad Kąkol gives Maks a beautiful balance between innocent puppy dog and weak-willed hormone monster. It’s a gorgeous turn.

SICK is unrelenting. Fantastic Fest audiences are done for. Sick tells viewers that when you break the laws of nature, all bets are off. It’s a jaw-dropping film. It obliterates rational boundaries. Akin to a car crash. You cannot look away.

SICK
Feature Film (Poland)
(World Premiere, 2026, 90 mins, In Polish with English subtitles)
(Drama/ Horror)

Directed and written by: Agata Trzebuchowska
Producers: Patryk Sielecki, Adrianna Rędzia
Starring: Konrad Kąkol, Katarzyna Łubik, Monika Niemczyk, Julian Świeżewski, And Eliza Rycembel.

FANTASTIC FEST 2026 OFFICIAL SCREENINGS
Location: Alamo Drafthouse Lamar
Address: 1120 S Lamar Blvd, Austin, TX 78704

Friday, Sept 18 at 5:30PM (Theater 6)

Thursday, Sept 24 at 5:45PM (Theater 6)

Thursday, Sept 24 at 5:45PM (Theater 7)

For more Fantastic Fest coverage, click here!

GRIMMFEST 26- OPENING, CLOSING, + SHORTS. Oh, My!

Posted on September 9, 2026 by Liz Whittemore — Leave a reply

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GODHEAD (Fantasia 2026) A shocking sophomore feature

Posted on July 22, 2026 by Liz Whittemore — Leave a reply

GODHEAD

HIPPO filmmaker Mark H. Rapaport brings his shocking sophomore creation to Fantasia 2026 audiences. GODHEAD follows a small-town priest with a secret. When a mysterious pair of twins dressed in white tracksuits appear in the church, they task Father with deciding which of them is the Holy Spirit.

Al Warren plays Father with an even-keeled temperament that is unnerving. Warren’s performance subconsciously splits the audience’s attention with our understanding that our priest has villainous tendencies. Right outside the walls of the church, he is holding a young boy, once abandoned on the church’s doorstep, captive with tales of an apocalyptic outside world. Matthew exists in an environment entirely curated to keep him afraid and controlled. Locked in his room after hours of bible stories, forced to listen to cassette tapes of chaotic audio playing just beneath his window. But, in truth, his flaws could not be darker.

Sarah Coffey and Kimball Farley deliver jarring physical performances, leaning into the idea that they are otherworldly. As First Born, Coffey speaks with unwavering assuredness. Each moment is powerful and intense. Coffey’s appearance from the neck up is one of a 90s raver kid, making her all the more intriguing as it visually counters the messaging. As Second Born, Farley gives a neurodivergent presenting performance that is pure and immaculate chaos. As a parent of AuDHD children, it is a meticulously accurate portrayal. Both bless us with award-worthy turns.

The original score from Austin Feinstein and Kenny Kusiak wavers between unsettling and ethereal. As with HIPPO, the film is shot in crisp black-and-white by William Tracy Babcock. The camerawork matches the unpredictability of the script, melding closeups, odd angles, and powerful framing to subvert our expectations.

If you grew up in a household that sat along the line of Christianity, you would catch the immense impact of the iconography and actions surrounding the care (or lack thereof) in handling and depicting certain objects and events. 24 minutes into the film, the audience understands the narrative gravity in GODHEAD.

As what those still in the church would call a Lapsed Catholic, or as my mother jokingly refers to my siblings and me as heathens, experiencing this story unfold had me captivated. Regardless of religious affiliation, the debates in the film will undoubtedly have audiences talking. If this film does not burrow into your brain, you aren’t paying attention.

Rapaport challenges viewers to examine the construct of good and evil; to study the effects of indoctrination and fanaticism in a world existing between truth and fiction. GODHEAD is a wild ride, and inarguably one of the most brilliantly complex films of the year.

English language, 98 minutes

Dir. Mark H. Rapaport

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‘Never After Dark’ (SXSW 2026) One of the year’s best genre films.

Posted on March 20, 2026 by Liz Whittemore — Leave a reply

Never After Dark

Dave Boyle brings SXSW 2026 audiences one of the most surprising films of the entire year with Never After Dark. The film follows Airi, a medium whose latest job assisting a spirit to cross the veil feels darker than usual. Airi arrives at an inn awaiting renovation. The new owner has seen an apparition and heard that Airi was the best of the best. What should be a routine case for our protagonist begins to confound her, as circumstances from years past haunt her and her new clients.

The film’s opening shot is startling, setting the tone for the madness to come. Boyle uses a classic trope of what the audience assumes will be the film’s ending and works backward. But, Never After Dark uses time as a clever bait and switch in a script that boggles the mind and absolutely terrifies.

Airi’s ghostly sister playfully accompanies her, calmly popping in and out of reflective surfaces to have a chat and act as a sidekick of sorts. It’s such an intriguing device. Think of her presence as a friendlier version of The Sixth Sense. The editing is spectacular. The unnatural speed dynamics between Airi and her entity are immensely jarring.

Audio creates a lingering tension, but it is the anticipation of seeing that horrific face in focus that makes your jaw clench. Airi’s nonchalant demeanor perfectly counters that discomforting hum in her first encounter with the spirit. But as she gets deeper into her usual flow, something is heavier about this particular case. Moeka Hoshi gives a tour de force performance, bringing unresolved baggage, quietly destructive behavior, unhealthy coping mechanisms, and a lived-in complexity that is nothing less than award-worthy.

There’s something about horror in broad daylight that subverts your expectations of the genre. Never After Dark dives headfirst with its title and continuously, and quite successfully, delivers simmering discomfort. You may have to remind yourself to breathe. The tropes are so smartly utilized. Boyle ups the ante by the minute. The writing is simply excellent. Never After Dark would give The Shining a run for its money. Inarguably one of the best films of the year.

Never After Dark Trailer

Never After Dark

Director:Dave Boyle

Executive Producer:Todd Brown, Aram Tertzakian, Nate Bolotin, Maxime Cottray, Toshiyuki Suzuki

Producer:Dave Boyle, Kento Kaku, Kosuke Tsutsumi

Screenwriter:Dave Boyle

Cinematographer:Patrick Ouziel

Editor:Chieko Suzaki

Production Designer:Yuji Hayashida

Sound:Natsuko Inoue

Music:Jonathan Snipes

Cast:Moeka Hoshi, Kento Kaku, Kurumi Inagaki, Mutsuo Yoshioka, Bokuzo Masana, Tae Kimura

Crew:Lighting Director: Hidenori Nagata, Costume Designer: Arata Kobayashi, Supervising Sound Editor/Re-Recording Mixer: Carlos Sanches, C.A.S.

For all things SXSW 2026, click here!

‘IN OUR BLOOD’ (2025) A twisty thriller about more than family.

Posted on October 22, 2025 by Liz Whittemore — Leave a reply

IN OUR BLOOD

Pedro Kos‘ festival hit IN OUR BLOOD hits theaters this Friday. The story follows a young filmmaker named Emily, who hires a cinematographer to record her reunion with her estranged mother, Sam. When Sam suddenly disappears and her friends find themselves targeted, Emily and Danny go on a wild goose chase to find out why.

Alanna Ubach plays Emily’s mother, Sam. A former addict seeking redemption, Ubach is a pro, settling into a weighty role. For me, Ubach created some of the most memorable sidekick roles of the ’90s and early 2000s, carrying a Lili Taylor vibe with her comedic timing. It is a dramatic departure that is phenomenal.

Krisha Fairchild plays Ana with grounded confidence. This compelling performance is one you will not see coming. E.J. Bonilla brings a humble and powerful presence to Danny. Kos provides the character with an intriguing background that Bonilla uses to counter Emily’s guarded aura. He is the heart of the film.

Brittany O’Grady owns this role. Emily is in almost every shot, and O’Grady powers through unresolved trauma with ferocity. This fearless portrayal of a daughter dying for answers will pull you in. There is an undeniable gravity to this performance.

The mostly handheld camerawork subconsciously forces the audience to participate in the mystery and the emotional turmoil. Beyond the genre fare, IN OUR BLOOD also acts as a viewfinder for the vibrant yet desolate aspects of Las Cruces, New Mexico. Screenwriter Mallory Westfall provides clues, if you pay attention, so I suggest you do. Even with that said, the twists are absolutely clutch. Currently boasting a rare 100% Rotten Tomatoes score, IN OUR BLOOD is a gripping mix of horror and thriller. True crime fans will eat this up for dinner. I’m demanding a franchise from Kos and Westfall, ASAP.

IN OUR BLOOD WILL BE IN THEATERS NATIONWIDE OCTOBER 24, 2025

IMDb: Here

Synopsis: Nothing is as it seems when filmmaker Emily Wyland (Brittany O’Grady) teams up with cinematographer Danny (E. J. Bonilla) to shoot an intimate documentary about reuniting with Emily’s estranged mother after a decade apart. When her mother suddenly goes missing, possibly succumbing to the addictions that first tore her family apart, Emily and Danny must piece together increasingly sinister clues to find her before it’s too late.

Directed by Oscar-nominated documentary filmmaker Pedro Kos (Rebel Hearts, Lead Me Home) in his first narrative feature, IN OUR BLOOD masterfully blends psychological mystery with chilling horror. The film weaves a twisted tale of reconciling with the ghosts of our past and confronting the complicity we share in creating a world that preys on the most vulnerable

Genre: Thriller/Horror

Runtime: 88 minutes

Language: English

Country of Origin: United States

Year: 2025

Production Company: Firefly Theater and Films, Liberty Films, Aaron Kogan Management, Revelations

Director: Pedro Kos

Writer: Mallory Westfall

Producers: Aaron Kogan, Stuart Fenegan, Gary Lucchesi, Michael McKay, Steven Klein

Distributor: Utopia

Cast: Brittany O’Grady (Star, It’s What’s Inside), E. J. Bonilla (Gemini Man), Alanna Ubach (Euphoria), Krisha Fairchild (Penelope), Leo Marks, Bianca Comparato (3%), Steven Klein

For more thriller coverage, click here!

SILVER SCREAMERS (Fantastic Fest 2025): Debuts on Bloodstream, Nov 6th!

Posted on September 19, 2025 by Liz Whittemore — Leave a reply

SILVER SCREAMERS

Sean Cisterna brings his effortlessly charming documentary SILVER SCREAMERS to Fantastic Fest 2025. Cisterna introduces a logistically lofty goal to his local community: make a low-budget horror short with a cast and crew of seniors. A group of feisty go-getters learns new tricks, proving age is just a number. It’s a scary good time.This heartwarming doc has some amazing personalities. Audrey is Sound. Her infectious wonder is the epitome of SILVER SCREAMERS. David is Special Effects. With his puppeteering skills, the film’s villain comes alive. Diane is in charge of Makeup. Her theatre background is key to her role. Sonny is the Camera Operator. He is reactivating the dreams of his youth.

Bari-Lynne is the First AD. She discusses the nerves on the first day of shooting. Come to find out, she was on the set of Prom Night in a professional capacity, and she gives us a fantastic behind-the-scenes story about Jamie Lee Curtis. Lucia is the Art Director. The location is Ontario’s historical museum, The Hilary House. Rooms adorned with signs that read, “Please do not touch,” but Lucia couldn’t care less. She is in it for the perfect shot.The team takes on their jobs with a refreshing enthusiasm. Watching each one tackle their assignments is like a boot camp into the complexities of filmmaking. Editor Lee Walker delivers an incredibly engaging montage of their initial endeavors. The opening credits are integrated into the film’s storyboards. It’s a brilliant device.

Each participant gets an interview package, further reeling the audience into their emotional sphere. The storyboards return as transitional storytelling pieces, alongside personal pictures. The connections made in real-time with our seniors and their professional mentors are pure magic.SILVER SCREAMERS acts as an advocacy pitch for art therapy at every age. Wait until you hear the ADR session. It’s a riot. The horror homage final scene is the cherry on top. Fantastic Fest audiences are in for a real treat.

The cameras have rolled, the fake blood has flowed, and the retirement community is about to slay the big screen with Silver Screamers, a heartwarming and spine-tingling documentary following a spirited crew of retirees as they swap knitting needles for camera lenses to make their very own horror short – The RugSilver Screamers had its world premiere in Austin, Texas, at Fantastic Fest.

For more on Fantastic Fest, click here!

‘DANGEROUS ANIMALS’ (2025) Shark-obsessed serial killer reels in a fighter.

Posted on June 5, 2025 by Liz Whittemore — 1 Comment ↓

DANGEROUS ANIMALS

Sean Byrne earns an honest-to-goodness “Fuck Yeah,” with the opening of his latest film, DANGEROUS ANIMALS. The plot centers around a shark-obsessed serial killer and the ritualistic murder of tourists. What he doesn’t count on is surfer Zephyr and her survival instincts.

The cinematography is stunning. The score is epic. The soundtrack is perfect. Writer Nick Lepard skillfully navigates tongue-in-cheek jokes, social graces, survival tactics, and one crazy motherfucker. Location is key. Zephyr is trapped.

Josh Heuston is Moses. Relentlessly charming and earnest, Moses tries his damnedest to find Zephyr, but his fate may be closer to any of the boy toys in the SCREAM franchise. Heuston is much more than a vapid heartthrob. He is an admirable scene partner, and you want more of him.

Jai Courtney is diabolical. He is equal parts terrifying and mesmerizing. This is Buffalo Bill-style fuckery, and holy shit, does Courtney deserve all the applause and recognition. I would watch prequels centered on Tucker, but only if Courtney reprises the role.

Hassie Harrison is a childhood trauma-fueled badass. Harrison commands your attention and takes risks. She could carry any film. She is Final Girl heaven.

DANGEROUS ANIMALS is my actual worst nightmare. I still think a shark will somehow come through a pool drain and eat me. So, obviously, it had me from the get-go. The film is as sadistic as HOSTEL. Think the opening scene of JAWS on steroids. The violence ramps up as the film rolls on, and Zephyr’s escape plans keep us on the hook. DANGEROUS ANIMALS is undeniably one of the year’s most intense films.

Dangerous Animals Trailer:

Directed by Sean Byrne (THE DEVIL’S CANDY, THE LOVED ONES)

Starring Jai Courtney (SUICIDE SQUAD), Hassie Harrison (YELLOWSTONE), Josh Heuston (DUNE: PROPHECY)

Trapped on a killer’s boat with hungry sharks circling below, a surfer must outwit a predator more dangerous than the ocean itself—will she escape, or become the next offering to the deep? Sean Byrne returns with his third visceral feature, DANGEROUS ANIMALS, exclusively in theaters June 6, 2025.

For more horror coverage, click here!

‘BACKCOUNTRY’ (2015) will scare the shit out of you. Don’t plan on camping ever again. Liz chats with writer-director Adam MacDonald.

Posted on August 14, 2024 by Liz Whittemore — Leave a reply

BACKCOUNTRY

In Connecticut, where I grew up, we bungee cord our trash cans closed. In truth, it does not do a damn thing when Black Bears come into the yard and rip those suckers open like they’re peeling back foil on a yogurt cup. I once had a very close encounter when I almost hit a baby bear while pulling into the driveway. And we all know what baby bears mean, right? Mama is not far behind. Although I now live in Manhattan, I have not fully left behind the days of hiking and camping in a tent. None of this fancy RV business for my family. We had a tent, built legit fires, and funded the new wing of the L.L. Bean flagship store as any respectable New Englander should. By no means do I consider myself any sort of expert on the outdoors, but damnit, I was a campfire girl. I earned badges. Watching Adam MacDonald‘s new film BACKCOUNTRY kinda ruined all those blissful memories for me. To be clear, I mean that in the best way possible. Jenn and Alex take a few days off from their city life to go hiking in a state park where Alex had spent time as a youngster. Insistent that he knows where they are heading sans map, Jenn musters up the confidence to trust her boyfriend’s experience, although she’s no dummy. Jenn is armed with bear spray and a flare, just for comfort. Along the way, they encounter an odd fellow named Brad. Brad is a backcountry tour guide who instantly challenges Alex’s manhood. It’s not long before the audience senses the dread on Alex’s face. We know as soon as he does, they are lost. In the middle of the woods, no map, no other people anywhere is screaming distance, can these two survive long enough to make it back to civilization? Certain doom.

Missy Peregrym is a force as Jenn. Her vulnerability is only matched by her wit and strength, as she claws her way through this nightmare. Jeff Roop plays Alex. He’s a well-meaning guy, if not a tad emasculated via circumstance. You completely buy that these two are a couple. Their chemistry is palpable and wholeheartedly relatable. You feel for them as you fear for them. Eric Balfour plays creepy man, Brad. He is great in every role. There is something just off enough about his demeanor to keep you on your toes. Balfour is that guy you never want to meet in this scenario. The uncomfortable factor hits a high note once he steps onto the screen. Massive high five to Adam MacDonald for injecting elements of truth into the script. Even if you aren’t an avid outdoors person, this film will still freak you out. Nature is not something to be trifled with. You need to respect it. you’re in its house out there. The film has a fantastic sense of peril from the get-go. A cute couple, venturing off in the wilderness, unaccompanied, already equals “bad shit is most definitely going down”, all attributed to MacDonald‘s brilliant sense of realism. The sound editing is exquisite and the handheld camera work makes you feel like you’re right with Jenn and Alex, even if you wish you weren’t. With a 15-day shooting schedule, the quality of practical effects in Backcountry is huge. These guys should teach a masterclass based solely on one scene in the film. Combined with the genius use of soft focus probably saves the audience from actually vomiting while watching. (Again, a total compliment.)

I got to have an awesome conversation with Adam. I’m pretty sure we’re friends now in some weird, fellow camper, bear scare induced, land. The following is our chat. We delve into some pretty spoilery questions about the film, talk about the subway, women in film, and pretty much everything in between. And, don’t worry, that moment of silence in there is when Adam was pulling up a picture that Missy sent him on his phone, so hang in there. It continues to be pretty great.

BACKCOUNTRY will be available in theaters and on VOD on Friday, March 20th.

For more horror films, click here!

‘HUMANE’ (2024) is unhinged, vicious fun.

Posted on April 26, 2024 by Liz Whittemore — Leave a reply

HUMANE

DIRECTED BY CAITLIN CRONENBERG

WRITTEN & PRODUCED BY MICHAEL SPARAGA
STARRING JAY BARUCHEL, EMILY HAMPSHIRE, PETER GALLAGHER

In Caitlin Cronenberg‘s HUMANE, the only way for Earth’s population to survive under environmental collapse is to have people “enlist” or volunteer for scheduled and compensated euthanasia. When the program hits too close to home for one family, secrets come to light, and motives change everything.

Peter Gallagher is the York family patriarch, Charles. While he is a supportive and gentle soul, owning his absenteeism in parenting, his flaws are the catalyst for the entire plot.

Alanna Bale is an aspiring actress and the youngest family member, Ashley. Her selfishness and loose lips cause nothing but chaos. Sebastian Chacon plays Noah York, adopted son, recovering alcoholic, and piano prodigy. Chacon is sensational, bringing a humanity that stands out among the ensemble cast.

Enrico Colantoni gives a haunting performance as Bob, the government’s executioner. His morbid comedy gifts the audience with much-needed breaks in tension.

Emily Hampshire, whose film cred has exploded since the Schitt’s Creek finale, is the eldest York daughter, Rachel. She is abrasive, unfiltered, and fearless. Hampshire owns every moment of screen time.

Jay Baruchel plays Jared, a government spokesperson for this extreme population mitigation and the eldest York son. He is a flashy know-it-all whose racist tendencies allow him to excuse the program and target certain family members.

The set is stunning, a stone mansion with deep jewel-toned walls and carved mahogany. The use of solar-lined umbrellas in the brief periods exposed to the sun and the implementation of solar film on the windows make a massive impact. The characters each comment on the ingredients their stepmother has procured, suggesting the food chain has affected every socioeconomic corner. It is all very carefully curated, and undeniably brilliant.

Michael Sparaga‘s script tackles racism, elitism, conspiracy theories, real-world parallels, and self-preservation. The characters are loathsome. Will you feel wrong rooting for villains? Absolutely, Yes, and absolutely, No. One final scene is the cherry on top of this unhinged sundae. HUMANE is deliciously complex and viscous fun.

IFC Films and Shudder, AMC Networks’ premium streaming service for horror, thriller and the supernatural, are proud to present HUMANE, a chilling dystopian satire from Caitlin Cronenberg, making her highly anticipated feature directorial debut. The film will open exclusively in theaters, including the Alamo Drafthouse Lower Manhattan and Alamo Drafthouse Downtown LA, on Friday, April 26th and will stream on Shudder starting July 26th.

SYNOPSIS – HUMANE takes place over a single day, mere months after a global ecological collapse has forced world leaders to take extreme measures to reduce the earth’s population. In a wealthy enclave, a recently retired newsman has invited his grown children to dinner to announce his intentions to enlist in the nation’s new euthanasia program. But when the father’s plan goes horribly awry, tensions flare and chaos erupts among his children.

ABOUT THE FILMMAKER

Director Caitlin Cronenberg grew up on the sets of Canada’s most iconic filmmaker to become a supremely gifted visual storyteller in her own right. As an in-demand celebrity portraitist, Caitlin’s work has been featured in top global publications including Vogue Italia, Marie Claire, Esquire, Harper’s Bazaar, The New York Times, The Washington Post, W Magazine and Variety. A proud Torontonian, she shot the cover and album art for Drake’s four-time platinum, Grammy nominated record Views. Caitlin’s move into the directing chair started with music videos and short films including The Endings (2018) based on her best-selling, celebrity charged photo book of the same name, and The Death of David Cronenberg (2021). Humane marks Caitlin’s feature directorial debut and will be released in theaters and digitally courtesy of IFC Films and Shudder.

For more IFC film reviews, click here!

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

Posted on January 17, 2024 by Liz Whittemore — Leave a reply

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

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 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

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.

To 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

Posted on June 21, 2023 by Liz Whittemore — Leave a reply

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.

Following 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.

The 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

Camelot Theatres (PS Cultural Center)

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!!

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

Posted on May 4, 2023 by Liz Whittemore — Leave a reply

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.

Posted on March 7, 2023 by Liz Whittemore — Leave a reply

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 Gold, Chris 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.

Split Rock

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GRIND

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V/H/S/MIXTAPE

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Disforia

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Motherwitch

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The Restoration of Grayson Manor

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SICK

SICKFeature Film (Poland)(World Premiere, 2026, 90 mins, In Polish with English subtitles)(Drama/ Horror)

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GODHEAD

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IN OUR BLOOD

IN OUR BLOOD WILL BE IN THEATERS NATIONWIDE OCTOBER 24, 2025

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DANGEROUS ANIMALS

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BACKCOUNTRY

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HUMANE

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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

40th Edition Celebration Screenings And Events

(Premieres)

And So It Begins

(World Cinema Documentary Competition)

Eternal You

A New Kind of Wilderness

(NEXT)

REALM OF SATAN

(Premieres)

My Old Ass

(Midnight)

I Saw the TV Glow

To find out more information on all things Sundance 2024, head to https://festival.sundance.org/

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Feature Film (Poland)
(World Premiere, 2026, 90 mins, In Polish with English subtitles)
(Drama/ Horror)

(World Cinema Dramatic Competition)
SUJO