THE SHADE

Filmmaker Tyler Chipman brings us the tale of a young man reeling in the aftermath of unresolved childhood trauma. THE SHADE is a slow spiral into darkness.
Ryan is the middle child and the man of the house since his father’s death. He is someone who tries and fails to hide all the pain. Upon the unscheduled return of his older brother into the house, Ryan must confront the demons lurking just beneath the surface or else.
It’s so nice to see Brendan Sexton III again. He is such a force of nature and a fantastic addition. Germain Arroyo is Ryan’s best friend, Nicholas. His energy is a much-needed break from the sullen overtone. He is a star.
Laura Benanti plays the family matriarch, Renee. She adds authentic warmth to every role. Even if her scenes are few and far between, she steals every single one. Dylan McTee plays the eldest brother, Jason. He exudes hurt with an overly aggressive demeanor that perfectly suits the role.
Chris Galust gives Ryan a wounded exhaustion that pours off him. Suffering from unspeakable childhood trauma all while trying to keep his chaotic family together, Galust delivers an emotional rollercoaster, panic attacks and all.
There are a few particularly memorable shots by cinematographer Tom Fitzgerald. Heather Benson and the makeup department give us startling work. They deserve all the applause.
The film is a slow burn with a tense low vibration under each beat. It is 45 minutes until the menace manifests outside the immense toxicity between the two eldest brothers. Ten minutes later, a chill goes down your spine.
What gets the pulse-pounding is undeniably well done. Chipman and cowriter David Purdy use dreams as a gateway to terror. Perry Blackshear‘s WHEN I CONSUME YOU would be a great companion watch for THE SHADE. Similar themes weave throughout both films. Come to think of it, add Jennifer Kent’s THE BABADOOK to that list.
Mental health, anguish, and horror combined to create a unique narrative approach. My advice to audiences is to be patient. Focus on the performances and the underlying metaphor. It is a powerful payoff.
The Shade Trailer:
THE SHADE
AVAILABLE ON DEMAND
11.22.24
127 MIN | THRILLER | HORROR | DRAMA | PSYCHOLOGICAL THRILLER | NR TV-14
MULTIPLE FESTIVAL AWARD WINNER!
WINNER Best Special Effects – Days of the Dead Film Festival
WINNER Best Directing – Days of the Dead Film Festival
WINNER Best First Time Filmmaker – Days of the Dead Film Festival
WINNER Jury Award Best Feature Film – Snowdance Independent Film Festival
WINNER Silver Audience Award – Brooklyn Horror Film Festival
WINNER Jury Prize Best Feature Film Director – FogFest
WINNER Jury Prize Best Actor in a Feature Film Chris Galust – FogFest
WINNER Jury Prize Best Feature Film – FogFest
NOMINATED Best Feature Film, Best Villain, Best in Show, Best Actor Chris Galust,
Best Stunts, Best Cinematography, Best Ensemble Cast, Best Production Design – Days of the Dead Film Festival
NOMINATED Best Writing – FogFest
Directed by
Tyler Chipman
Written by
Tyler Chipman and David Purdy
Produced by
David Purdy
Director of Photography
Acton Fitzgerald
Starring
Chris Galust, Laura Benanti, Dylan McTee, Mariel Molino, Germain Arroyo, Brendan Sexton III, Sam Duncan, Michael Boatman
SYNOPSIS
Ryan Beckman, a 20-year-old college student from a declining town in the northeast, struggles with a debilitating anxiety disorder following his father’s death. His older brother, Jason, returns home unexpectedly while battling his own demons. Together with his younger brother James, Ryan struggles to break the destructive cycle threatening their family as an ancient darkness closes in on them.
RATING: NR TV-PG
RUN-TIME: 127 minutes
THEATRICAL RELEASE: September 20th
DIGITAL RELEASE: November 22nd
STUDIO/DISTRIBUTOR: Level 33 Entertainment
GENRE: Drama, Thriller, Psychological Thriller, Horror



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Jason Isaacs takes a logical approach as Jay. The arc of Kranz’s writing allows Isaacs to break this role wide open. It was akin to watching a teapot slowly come to a boil. Ann Dowd plays Linda. She is gentle, hesitant, and genuine in her grief and guilt. It feels like she’s trying too hard to appease and remain compassionate. Dowd’s best moments are when she’s in tune with Reed Birney. As Richard, Birney counters Dowd’s apologetic energy. He is defensive at every turn, to the point of unlikability. It’s his survival mechanism. Birney wears an air of toxic masculinity like a badge of honor. Martha Plimpton plays Gail with thoroughly justifiable guarded anger. She is seeking ownership and responsibility from Linda and Richard. Her pointed line of questioning makes her intentions clear as day. Plimpton owns every glance, sigh, and raw syllable uttered in Mass. It’s an entire emotional journey right before our eyes. It’s a performance that captivates. The chemistry between these four actors is something so rare. They understood the assignment, as they say.
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They say you can never go home again. Maybe some of us should heed this advice depending on the skeletons in our closets. In Thomas Dekker‘s new film JACK GOES HOME, Rory Culkin finds himself playing the title character whose loss might be his greatest gain. Or maybe it’s the other way around.
I’ve see a horror film or two in my day, but I’ve never seen anything like Jack Goes Home. The story appears to be straight forward: Jack’s parents are in a car accident. His father dies and he goes home to take care of his mother, who has survived. When something goes bump in the night, he is compelled, by his father’s own words, to explore his childhood like never before. It doesn’t take too long before things get weird. Grief can make people act in funny ways, but this film takes it to a whole other level. Dekker’s script is off the hinges with scares both physically and emotionally. You’re never quite sure who is fooling whom.
With genre veteran Lin Shaye as Jack’s mother, you’re immediately thrown for a loop. Her presence is this insane mix of calming and unnerving. Each scene she appears in makes your skin crawl. Rory Culkin is more intense with each role he takes on. Following up on his fierce performance in 






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