SYNOPSIS: Meet Kurt (Joe Keery), a 23-year-old rideshare driver for Spree, who is so desperate for social media attention that he’ll stop at nothing to go viral. He comes up with a plan to livestream a rampage as a shortcut to infamy – coining his evil scheme “#thelesson”, he installs a set of cameras in his car and begins streaming his rides. Wildly miscalculating the popularity that would come from his lethal scheme, Kurt’s desperation grows as he tries to find a way to overcome the plan’s flaws. In the middle of all this madness, a stand-up comedian (Sasheer Zamata) with her own viral agenda crosses Kurt’s path and becomes the only hope to put a stop to his misguided carnage.
Our favorite Stranger Things ex-boyfriend, Joe Kerry, is taking social media to the extreme. Eugene Kotlyarenko’s new film is what would happen if CAM had a baby with American Psycho. Spree is a found footage post Livestream extravaganza of crazy. It hilariously holds an unfiltered phone screen up to our faces and chokes us with our own carefully curated reality. Approximately 26 minutes in my mouth literally dropped open. It would not be the last time. Spree has incredibly fun kills. The editing is head-spinning. Extra points for the double entendre title.
Joe Keery is amazing. He is in almost every shot of this film. This would not be as successful without him. Cast him in everything from here on out. The nonchalance he has with this level of violence ups the anty. Stockholm syndrome because Keery’s portrayal of Kurt is something I fully endorse. Sasheer Zamata is the audience, the antagonist, and the protagonist. This is only something that will make sense when the credits roll. She is fierce from every angle. The script is so well developed it will blow you away with its sardonic wit. The setup is pure genius. The cast is superb. It’s a nonstop adrenaline ride of gore and laughs. Spree will kick you in the teeth with its irony. And now, the only way to end this… #thelesson #KurtsWorld96 #Spree #FiveStarRating
RED BAND YOUTUBE TRAILER:
SPREE is available in select theaters, drive-ins, on-demand and digital August 14th.
IN THEATERS: August 14, 2020
AVAILABLE ON DEMAND AND DIGITAL: August 14, 2020
DIRECTOR: Eugene Kotlyarenko
WRITER: Gene McHugh, Eugene Kotlyarenko
CAST: Joe Keery, Sasheer Zamata, Mischa Barton, John DeLuca, Josh Ovalle, Lala Kent, Frankie Grande with Kyle Mooney and David Arquette
RUN TIME: 92 min
RATING: NR
GENRE: Thriller
DISTRIBUTOR: RLJE Films
As a fan of Narcos and Cocaine Cowboys, I had incredibly high expectations for The Tax Collector. The slick editing in the beginning, that mixes voiceover and time-jumping violence immediately drew me in. Soto plays David with strength and a conscience. This felt like a fresh take on the typical gang genre. While there is a family angle that is different from the usual fare, it was the introduction of Shia LaBeouf‘s character Creeper that locked me into this particular narrative. He is an unexpected maniac. In reality, it should have come as no surprise because that’s LaBeouf’s schtick; he embodies any role with frightening ease. It was his role that kept me watching The Tax Collector because the idea of Creeper going nuts, simply based on a very brief intercut scene had me salivating for his character’s abilities to take shape. Then, it was a bit of bait and switch. While Bobby Soto was entertaining enough, and the rest of what feels like an ensemble cast is strong as well, LaBeouf’s character disappears and I lost most of my emotional investment. With the aspect of religion Vs religion used in a kind of silly way, I only watched until the end after some serious violence for violence’s sake occurs and thought, “Well, I’ve made it this far. How does this end now?” It’s pretty brutal (this is me warning you now) if you’re at all squeamish. After some truly senseless deaths, and ironically, one that not satisfying enough, the movie sort of just ends okay. That final shot though, come one now. Which is something I actually said out loud at the screen. Admittedly, I thought LaBeouf was the best part of this film. Show up for the genre, the music, the color choices, stay for Shia and The Tax Collector may just keep you in your seat.
Famke Janssen becomes more relevant as Jacob’s ex-wife Val in the second half. She is his eyes and ears on a lead back in the States. Her ever dark, brooding, and strong presence was the perfect casting choice. Denis O’Hare‘s startling appearance is awesome. He can essentially do no wrong and is one of the most sought after character actors working, just ask Ryan Murphy. Jeffery Dean Morgan, who I have adored since his Supernatural days, has superstar range. Not only does he have a booming voice but truly dashing good looks. He owns the entire screen whenever he appears. Here, he plays NYPD detective thrust into the honeymoon murder investigation of his own daughter and son-in-law in London. When the details seem familiar, he makes it his mission to find the killer on an international chase. Morgan has the ability to say very little but expresses so much simply through a glance. He is undeniably fantastic. I hope we see more big-screen appearances once The Walking Dead comes to an end.
Opening with some gruesome imagery, The Postcard Killings immediately captures your interest. The script is thoroughly engrossing. It has a bit of a Se7en feel with a body horror aspect. Just when you think you know what’s going on, think again. As bodies pile up, clues are revealed that will both intrigue and shock. You will place yourself in Jacob ‘s shoes. One hour in, you will be thrown so much information and the tonal shift will knock you down. You will never be bored. The international locations are stunning, mixed with the light orchestral score, The Postcard Killings is an entertaining thriller.
Ethan Hawke is someone I can easily describe as versatile and earnest. The man works so often I think we really take him for granted. His resume is profoundly eclectic. His latest work in Adopt A Highway is no exception.
The most surprising is that Adopt A Highway is produced by Jason Blum. This is not a film I would have expected to be in Blum’s wheelhouse as I have become so accustomed to his brilliant horror fare. I am very glad he took a chance on this. The cinematography has an intimacy that feels childlike and joyful. It is reflective of both rediscovery and the harsh realities of re-entering society. The pacing is wonderful. The script is much more nuanced than at first glance. It is ultimately about love. Adopt A Highway is a well acted, thoughtfully crafted debut film. It deserves your attention.
Awesomely jarring nightmares, a killer soundtrack, combined with insanely good performances by the entire cast makes for a fantastic indie horror. There is more than face value to The Shed. Yes, there is a sick monster and buckets of blood, but all that aside the film speaks to much bigger issues. Our lead Stan has all the makings of a kid that’s about to lose it on society. He lost his parents, he’s in the custody of an abusive grandfather, he gets bullied at school. Stan and best friend Dommer are just trying to survive high school.
One summer I went to 6 weddings. It was equal parts fun, exhausting, and expensive. We learned who had gotten engaged, married, broken up, and gotten divorced since seeing some of the regulars at these blessed events. Some were shocking while frankly others we silently cheered their wreckage within the confines of our clique. Plus One explores these exact evolutions of so many relationships in our late 20s early 30s. Its honest charm and genuinely witty banter are just the tip of the iceberg of this film. The framework of the film is literally dated around each specific wedding weekend our duo attends. Don’t brush this film off as millennial drivel. Who hasn’t been stuck at the singles table or judged the food and speeches at a wedding? Hell, we still do it 8 years after our own wedding. Sorry, everyone. But the truth is funnier than fiction and PLus One nails these cliches on the head without being obnoxious. Jack Quaid is a nice foil for Maya Erskine. She is the best friend we all wish we had. Her natural ability to be funny and raw makes Plus One as wonderful as it is. The soundtrack, both the score by Leo Birenberg and original songs by Real Estate is outstanding. The dialogue has an amazing vulnerability with a side of raunch. The plot is universally relatable. You should save the date for Plus One without hesitation.
Sam Elliot is a legend of the silver screen, and at the age of 74 it’s always wonderful seeing him in new films. So it’s no surprise that he shines in The Man Who Killed Hitler and Then The Bigfoot. The story has a tongue-in-cheek fairy tale quality to it. It’s unique and phenomenally engrossing. Elliot’s character, Calvin Barr, has done more than most men in history, combined. Now he has come to the point in his life where he thinks he’s done all he’d care to. With so much accomplished on paper, a long lost love is the one thing haunts him most. But the government is not done with him just yet. They have one last mission in mind. He’s essentially the greatest, most badass, action hero you’ve never heard of. His nonchalant nature is the perfect balance to the over the top nature of the storytelling. Elliot is this character, somehow. He embodies a quiet strength even as he hurtles through the bizarre. The parallel between the target and Elliot’s character is almost poetic. This film is weird, wonderful, and pretty unbelievable in every sense of the word. Though I’m positive that is the point entirely.
RLJE Films will release THE MAN WHO KILLED HITLER AND THEN THE BIGFOOT in theaters and on VOD and Digital HD on Feb. 8, 2019.
Just when I think Ben Foster can’t get better, well, I should know better by now. His fearless choices in roles continue in the new film Galveston. A man double-crossed and doing a good deed for a captive young girl (played spectacularly by Elle Tanning), Foster once again transforms voice, physicality, and persona to become a hero. His powerful on-screen presence is undeniable and one day, sooner rather than later, we will see him with a much deserved Oscar in his hands. His chemistry with Fanning is delicate and honest as the reality of their dilemma unfolds. The film is a tour de force of intensity from the get-go. It only becomes darker as the story rolls on. Galveston is as heartbreaking as it is triumphant.
We all know Steven Yeun as our beloved (may he rest in peace) Glen, but in Mayhem, he does such a fantastic job that you completely forget about his Walking Dead persona. Mayhem is literally laugh out loud funny all while having some of the coolest fight choreography and blood gushing effects. Screenwriter Matias Caruso might have hit the jackpot with the plotline because this is the most imaginative way to utilize “The F-word” in a script possible. I would go back and watch to count the number of times it’s used and not a single time is it superfluous, it’s genius. Yeun’s training with zombies made him the perfect pick for this role. He is the embodiment of everyone who has ever felt oppressed by the BS hierarchy of corporate. Samara Weaving gives a borderline Harley Quinn inspired performance as a woman who was wronged by Yeun’s character. Her effortless delivery and comic timing, down to specific idiosyncracies she displays are spot on brilliant. In reality, this is an ensemble piece of pitch-perfect character work. You cannot help but get revved up watching Mayhem. It has to be one of my favorites of 2017. You can catch MAYHEM in theaters and available On Demand / Digital HD 
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