Presents
MAX ROSE
In Theaters September 2nd
Starring: Jerry Lewis, Claire Bloom, Kevin Pollak, Kerry Bishé, Dean Stockwell, Mort Sahl, Illeana Douglas, Rance Howard, and Lee Weaver
Written and Directed by: Daniel Noah
Drawing on personal experiences tends to be a pretty successful way to tell a story. Raw emotion tends to translate from page to screen, especially if you have a legend bringing your words to life. Jerry Lewis makes Daniel Noah‘s new film a beautiful and heart-wrenching winner. MAX ROSE tells the story of a retired jazz pianist whose world is sent into a tailspin after he finds a letter given to his wife. Who is the mysterious author? This could change everything he’s ever known.
After the death of his beloved wife Eva, Max finds a relic from her past, along with a love letter from a man who is not him. Adjusting to a new life in which everything feels like a lie wreaks havoc on everyone connected to Max. His granddaughter Annie becomes his surrogate caretaker, while he pushes away any attempt from his son to help. Max is on a mission to find the truth while attempting to maintain any sense of self or fraction of happiness. Noah’s script is delicate and intense. There is possibly no other actor able to fill this role other than Lewis, who returns in his first live-action role since Funny Bones in 1995.
The cast is unreal. Kevin Pollak as Max’s son Christopher, is solid as ever. He plays a pragmatic man who yearns for the affection and approval of his Dad. The volatility between the two is so palpable on screen, it’s a joy to watch from any cinephile’s perspective. Kerry Bishe plays Annie. Soft and loving and seeking her own way in the world. Dean Stockwell‘s appearance, is surprising and welcome. Since Stockwell will forever be “Al” from Quantum Leap, seeing him as a much more emotionally stunted man on his death-bed was fantastic.
The entire film revolves around the ability of Jerry Lewis to be on his toes. He does not disappoint. This film is a reminder of how truly incredible this man is. It’s not easy to tell the story of an octogenarian in a new and interesting way. There are so few films that center around an elderly main character. Cocoon and Driving Miss Daisy (both starring Jessica Tandy), Nebraska, The Best Exotic Marigold Hotel, Amour, and Harold & Maude are a few wonderful examples, but even they must have a been a hard sell at some point. With Lewis as our main man, we happily sit up and take notice. Everything from tone to timbre is perfection. Noah should be proud of this exemplary sophomore film. MAX ROSE deals with many relevant issues, such as loss, life transition, and hope. No matter the age of the viewer, there will be an instant connection in both story and performance.
MAX ROSE comes to opens Friday, September 2nd
MAX ROSE, featuring the legendary Jerry Lewis in his first starring role in over two decades, is a deeply moving drama about a retired jazz musician whose beloved wife of nearly six decades has just passed away. Though his career wasn’t everything he hoped for, Max always felt like a success because his beautiful, elegant Eva was by his side. Then, while going through her effects, he discovers a love note from another man, a shocking revelation that leads him to believe his entire marriage, indeed, his entire life, was built on a lie. Following a period of anger and withdrawal, Max decides to confront the man who “stole” his wife in the hope that what he learns will provide the answers he so desperately needs. A film about reconciling the past, living in the present, and never stopping to plan for the future, MAX ROSE was written and directed by Daniel Noah, Rounding out the cast are Claire Bloom (as Eva), Kevin Pollack, Kerry Bishe, Mort Sahl, Dean Stockwell, Rance Howard, and Lee Weaver.
Presents
Ace The Case: Manhattan Mystery has more than meets the eye in story and fun. This film is a perfect family pick, something you might expect to see as a Disney Channel original movie. There is excitement and intrigue for kids and enough off the cuff jokes for Mom and Dad to enjoy. Thanks to the writing from director Kevin Kaufman and Executive Producing by one of New York’s most iconic homicide detectives, Rick Tirelli, the film is filled with twists and turns that will have everyone on their toes. This kidnapping plot is anything but straight forward when it goes from no one believing young Olivia, to too many hands in the pot. You’ve got hi jinx from the criminals, a mysterious goon-type toting a giant bunny, to the only person who took our young heroine seriously in the first place. Enter, Susan Sarandon.
Susan Sarandon‘s portrayal of Detective Dottie Wheel is subtly hilarious. Her relationship with lead Ripley Sobo is endearing and gentle. Their scenes are the stuff these family films are made of. Playing older brother Miles is Aaron Sauter. The onscreen brother-sister chemistry is adorable and all too believable. I could have watched an entire film just between Miles and Olivia. And now we come to our star, Ripley Sobo. Ripley is an absolute gem. She is sweet, authentic and a real scene-stealer. Dealing with some content that might be a tad aggressive for her age, she handles it like a true pro. The highlight and added bonus is the original musical number at the end of the film, ” Aim High”. Smartly taking advantage of Ripley’s Broadway background, we are treated to a great, completely kid friendly song. I wish there were more numbers for Ripley spread throughout the film. This would have taken this movie to next level status. Perhaps Kaufman will take this into consideration when the sequel comes out- Ace The Case: Curse of the Deadly Diamond. Sobo deserves to shine as much as possible.
Written and directed by Joe Begos (Almost Human), The Mind’s Eye reunites him with his Almost Human film star Graham Skipper along with cast members Lauren Ashley Carter (Premium Rush, The Woman), John Speredakos (The House of the Devil), and Noah Segan (Some Kind of Hate, Looper). THE MIND’S EYE is undeniably an homage to David Cronenberg‘s Scanners. Low budget and over the top schlock are at it’s best and tailored for the midnight audience.
Nothing makes me happier while watching a film than thinking I’m watching one story and then getting hit with a proverbial 2×4 in plot. It’s a ballsy move that either pays off or loses the audience. In Ben Cresciman‘s sophomore feature as both writer and director, a young woman’s health and sanity are in serious question. With the watchful eye from her lifelong caretaker, can she conquer what lies deep down. Welcome to the oddity that is SUN CHOKE.
Robert and Harry are strangely pitted against one another for “father of the year” status, in an awkward competition of responsibility. Robert is not only navigating relationship normalcy but he is grasping to find happiness in general. Harry, in a sad attempt to outdo his son, uses demeaning words and actions to cut Robert down at every turn. Branciforte’s story is immensely compelling, offers moments of surprise and nothing but honesty. The performances all around are outstanding.
John Magaro‘s Robert battle self-loathing and confusion as he finds his way through career, life and love. This role for Magaro is proof that his natural talent is way more than enough. Chris McDonald‘s Harry is a self-righteous prick coming to terms with his own life long mistakes as father and husband. The performance is something I have to come expect from McDonald’s. There is a reason he has had such a long career. Dreama Walker, as Sara-beth, could have been a throwaway character. The ins and out of a quietly complex young woman were well played by Walker. As the film progresses, we become more and more invested in each role as Branciforte does a wonderful job developing everyone. To believe this story, this is absolutely necessary. With solid smaller roles filled by Britt Lower and Tom Lipinski, some of the film’s most shining moments come from Talia Balsam as Harry’s wife Miriam. The dynamic between Sara-beth and the woman betrayed is an unexpected one, but truly inspiring. Let me not forget to mention how fantastically darling Rainn Williams is as Mason, the young lady there is so much to do about. This little sweetheart is meant to be on the big screen. The chemistry between the entire cast combined with tight direction make this a winner.
DON’T WORRY BABY is ultimately about making amends. Coming to terms with what we’ve created emotionally is a huge task, and it’s one that this film dives into head first. You can catch Don’t Worry Baby in theaters and On Demand this Friday, July 22nd.
As a child, I saw my mother as a voracious reader. Danielle Steel covered our bookshelves end to end in hardcover glory. When we used to summer in Cape Cod I noticed my mother’s books were so much larger than all the other Mom’s smaller paperbacks with covers that used to make me scrunch up my nose and squeal, “Ewwwwww”, as the muscular men with open shirts swept ladies in period clothing off their feet in an overly passionate embrace. It wasn’t until I was a tad bit older that I understood the popularity that was romance novels, once boys weren’t “icky” any longer and reading became a passion of my own. Oftentimes brushed off as airport and grocery store shelf fillers, Romance is a massively successful and moreover, a moneymaking machine. Welcome to the inside scoop with a new documentary titled LOVE BETWEEN THE COVERS. With so many vibrators to choose from, how do you know which vibrator is right for you? Whether you are a beginner vibrator user or an advanced sex toy user, here is a guide to help you choose the best vibrator for you. Start with clitoral stimulation with either a bullet vibe, a finger vibe, or an external vibrator. Why? 50-70% of women need clitoral stimulation to orgasm and are unable to have orgasms through sex alone. Therefore, a design with good clitoral stimulation is an excellent place to start. Keep in mind that although most vibrators can stimulate the clitoris, certain shapes are better than others. Smaller shapes like bullets and finger vibes focus directly on the clitoris. External vibratos are designed to conform to the curves of the body and make contact directly with the clitoris and vulva. Usually, they are more powerful and offer more speeds and/or patterns than a bullet vibrator. We are not human but energy and light. We all vibrate at different levels. We chose to come to earth to grow, learn, raise our vibration and evolve. Jesus is your brother. He vibrates at a higher level. Raising our vibration is our goal. You are your own creator. You create your world and collectively we create the world too. Everyone has always looked outside of themselves for help, for health, for world change, for money, relationships etc. not realizing that you are responsible for your own life. It’s time to break free from looking on the outside for your desires and blaming others for your problems. You can 
Knowing that the film is based on true events makes it that much more intriguing and upsetting. With gloriously elaborate sets and pristine period costuming, the look of Colonia perfectly sets the tone as the story rolls along. Starting with vibrant colors on the political revolutionaries in Chile and turning dark and monochromatic once we arrive at Colonia Dignidad. The script is comprised of vast research on the part of Director Florian Gallenberger. Perhaps what is most disturbing is the fact that I’ve never heard about this happening. You’d imagine something so awful would be much more in the limelight. This is a small but brilliant window into a terrible point in human history.
Emma Watson is simply a more grown up and matured star now. Tackling a role in which a woman rescues her boyfriend is brave and important and not often something we’re treated to these days. Her grace on screen is timeless. Daniel Brühl, who I had the pleasure of meeting during the 
Colonia is successful as a love story and a political thriller. The film is now available to view via the streaming platform 
Sometimes a film divides an audience right down the middle. Something so unique and deep that it either inspires a deluge of praise or a tirade of… well, let’s say “unkind words.” Writer/Producer/Director Ryan David‘s “relationship meets art” love story, Seattle Road has a great tagline:
It’s probably safe to say that every young man’s fantasy would be to have an affair with a hot older woman. The age gap alone could cause all sorts of problems… especially if she’s married. In Elizabeth Allen‘s new film, CAREFUL WHAT YOU WISH FOR, the innocent boy next door gets more than he bargains for.
Home for the summer holiday, brainiac Doug becomes entangled with the stunningly beautiful wife of his next door neighbor. Lena is in need of a rescue from a her controlling husband Elliot. Once drawn into a circle of deceit by from both husband and wife, Doug is determined to get her out from under Elliot’s thumb, all while indulging in a hot and heavy affair. Things go wrong pretty quickly. What’s a good kid to do when bad things find him?
Nick Jonas is one hot commodity. His on screen presence is so natural it’s a wonder it has taken this long for him to land such a leading role. Nick easily carries the entire film on his shoulders. He has true star potential. After his success in Ryan Murphy‘s Scream Queens, Nick is not slowing down in establishing himself in the acting industry. Forget the days of The Jonas Brothers sugar pop image. Those days are long gone. Isabel Lucas plays the haunted Lena. Massive sex appeal and an elegant air, you know there is more lurking behind those sad eyes. Dermot Mulroney is scary as Elliot. Usually a lead in a rom-com role, it was nice to see him stretch his very capable acting chops. 
Careful What You Wish For is a surefire noir. A total departure from director Elizabeth Allen‘s previous films. It’s in the same league at another Starz Digital fave of mine, 
The series centers on Michael Kenneth Williams as Rock Banyon, who becomes the prime suspect in the double murder of his occasional lover Fresno Foxglove (Maya Rudolph) who is found dead with another man. Panicked, Rock splits for Mexico where he reunites with his one-time big band singer Delores DeWinter (Kristen Wiig). With 72 hours to clear his name or fry in the electric chair, Rock and Delores embark on a dangerous quest for the truth that takes them into an abyss of sex, drugs, betrayal, and of course, jazz. While his world crumbles, Rock’s hard-charging manager Alistair St. Barnaby (Haley Joel Osment) pressures him to record a mainstream jazz album.
Funny Or Die can pretty much do no wrong in my opinion. Following up on the 2014 The Spoils of Babylon, The Spoils Before Dying is another total win. If you haven’t seen the first season in IFC, imagine a Sin City narrative combined with the Rodriguez/Tarantino Grindhouse schlock and add in the compressed timing of an SNL Digital Short (sort of, each episode is 30 minutes). Tough in our age of binge-watching, you can happily run through the entire series in the time it would take you to watch any other film, half as fun. The mock commercials stuck into the episodes are as completely tongue-in-cheek as the rest of the production. 
The performances are off the rails hilarious. Will Ferrell reprising his role as Eric Jonrosh is pure insanity. His oftentimes linear thinking combined with overindulgence and narcissism is pitch perfect. Michael Kenneth Williams is a breath of fresh air as he takes on his role with (almost) complete seriousness. We all knew Maya Rudolf has a set of pipes on her, but I had no idea that Kristen Wiig can sing. And when I say sing, I really mean SAAAANNNNNGGGG. The songs are unapologetically ridiculous AND maintain gorgeous melodies. I would be remiss if I didn’t mention Haley Joel Osment, who steals each scene he appears in with total commitment and one over-the-top accent. With appearances by Tim Robbins, Kate McKinnon, Molly Shannon, Michael Sheen, Chris Parnell, Tim Meadows, to name a few, you simply cannot go wrong with this series. The Spoils Before Dying is now available in DVD. Check out the trailer below!
The cinematography from Austria’s preeminent DP Martin Gschlacht (Goodnight Mommy, Oscar-nominated Revanch
Presents
I’ve said it before and I’ll say it again, anyone who thinks climate change is a manufactured idea, to me, is way off the rails. But, if by some chance you’re unconvinced, a new doc is resolved to change your mind. It seems like, with most threatening events in our lives, it is not until they directly affect our own families that we take the time to address them head on. It is much easier to sweep them under the rug or dismiss them as someone else’s problem. TIME TO CHOOSE may be your wake up call.
Will Allen‘s 22 years of footage appear, at first, to resemble a long-lost infomercial from the 80’s. It only takes a few minutes to realize that this is not VHS from our youth but the continuous documenting of a group of people seeking something different. What they ultimately find is a mysterious man who is nothing he claims to be. Utilizing intimate, present-day, sit down interviews with members of Buddhafield combined with Allen’s chronological documentation of the group’s daily activities, HOLY HELL is unlike anything we’ve seen before. To have such unguarded footage and insider knowledge is pretty unprecedented, especially for this length of time. From private therapy sessions to retreats, public outings and the eventual breakdown, each year is more shocking than the last. There are moments that will make you cringe, question your judgement, and certainly, times that will turn your stomach. HOLY HELL is as relevant today as it was when it began its seedling production. It will both open your eyes and terrify you.
Oliver Thompson‘s duel role as writer and director suits this indie gem to a T. Stylistically vibrant and charming, WELCOME TO HAPPINESS is something akin to ETERNAL SUNSHINE OF THE SPOTLESS MIND in look and quirk factor, but most assuredly has its very own unique voice. The colorful cinematography is a brilliant reflection of each character’s momentary mood. The plot has intrinsically intertwined story lines and is full of surprisingly insightful glee all while tackling the ghost of depression. Thompson has achieved quite the feat, no doubt. 
Almost entirely shot in the woods, our lead character Ann has only her vehicle and two small camps on a lake. Screenwriter David Ebeltoft’s immensely effective script, utilizes intermittent flashbacks to show us how Ann came to be on her own. Once traveling with her husband and infant daughter, the audience must allow themselves to be with Ann in the present in order to feel emotionally connected. She is smart and resilient. She has learned that practicality is the only way to survive. Her newly gained skills sometimes fumble, adding to the realism factor. The minute she allows her emotions to control her path, things are bound to go awry. When Ann stumbles upon Chris and his step-daughter Olivia, her motherly instinct may be her undoing. Two mindsets are at play; Stay put or keep moving. Which would you choose? Blackhurst’s use of nudity is never without purpose. There is no glamour factor here, which is much appreciated in the genre in general. Lucy Walters‘ lead performance is breathtaking. It’s not until the very end that we discover what happened to Ann’s daughter. That particular scene, which we know from the very beginning we’ve been building up to, is one of the most gut-wrenching I’ve seen on film. Maybe it’s the new Mommy hormones, maybe it’s Ebeltoft specifically crafted script, or maybe it’s the perfect storm of the two. I don’t think I have ever wept while watching a horror film until now. In a “what would you do?” scenario from hell, HERE ALONE tears your heart out and challenges how you think you’d react in a doomsday situation. When you’re down to your last bullet, it’s life or death.
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