ALL TOGETHER NOW
Maximus Jenkins delivers a twisted tale in the indie horror ALL TOGETHER NOW. A clever bait-and-switch, the film opens in a very meta way, with aspiring filmmaker Lincoln hitting it big following a festival screening. Real-world success gets complicated when the lines between his creation and trauma quickly blur. 
This is the epitome of great indie filmmaking. Every aspect is genuinely impressive. Kaleb Manske‘s editing is jarring as hell, earning honest-to-goodness jump scares. The dynamic focus is incredibly effective. The soundtrack is fantastic. I’m obsessed with the repeated use of the “Always Forever ” track.
Alex Nimrod has a presence that reminds me of a cross between a young Matthew Broderick and bonafide Scream King, Justin Long. The camera loves him. He gives Lincoln charming discomfort at first. Nimrod has the chance to show his acting chops through through the subtle building of creepiness throughout the film. Lincoln’s perception of reality is thoroughly warped, sending the audience into a tailspin alongside him. Nimrod, who also pens the screenplay, goes there and never hesitates. A particular bathroom scene, one that would give any script supervisor a heart attack, is award-worthy. 
ALL ALONE TOGETHER is a physical manifestation of unresolved trauma and suicidal ideation. The film is an undeniably slick piece of psychological horror. While it’s a deliberately dark journey down the rabbit hole and straight into hell, it’s also a sharp commentary about art as therapy.
All Alone Together Teaser Trailer:
ALL ALONE TOGETHER is now on VOD from Ethos Releasing
ALL ALONE TOGETHER is the debut feature film from 4085 Productions, a student-run production company that began during the COVID-19 pandemic when four Los Angeles college students decided to combat their isolation through the art of filmmaking.
Their first film made waves at Panic Fest, Popcorn Frights, and the Chicago Horror Film Festival, with Morbidly Beautiful raving, “Creative, engrossing, smartly scripted, and masterfully executed on a shoestring budget, ALL ALONE TOGETHER is meta-movie magic at its best.”
As a tormented filmmaker reaches new levels of success, the horrors of his film start to creep into his life. This shocking creepfest is at once a harrowing psychodrama of a broken man spiraling into paranoia, trauma, and guilt – all of which manifests as a monstrous entity – while also presenting a fascinating reflection on the cathartic power of filmmaking itself.
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**Closing Night Film – Sarasota Film Festival 2019**
Happiness is the ever elusive prize in life. Depression is a monster. As one man’s seemingly perfect life comes to an end, another attempts to find out why in question of his own mortality. PHIL is a story of the pursuit of happiness and what that even means.
Greg Kinnear, playing both the film’s director and titular character, is a man on the literal edge. After becoming enamored with the joy of one of his patients, he resorts to following the man until he discovers him hanging in the middle of the forest. Why would someone who has it all end his life? Phil is obsessed with answers. Kinnear, as always, is charming and grounded. There is something in this man’s eyes that makes you want to listen to him, to care for him, to experience what he experiences. Alongside an enormously talented ensemble, including Emily Mortimer, Jay Duplass, Luke Wilson, and more, PHIL explores the things in life that make us connect with one another; Stories, memories, new and old, family and friendship. Learning to not live vicariously through others is a lesson we can all take to heart. PHIL has an unexpected script and it is pure delight. This film is about growth and the exploration of self. It’s a real gem and all involved should be proud to share this story.
Sometimes movies are anchored in the minds of those who watch them, so much so that they become a permanent part of the landscape of when they were watched or released. I first saw The Big Chill when it hit home video back in 1984, but I had already soaked in an integral part of the film as my parents played the soundtrack (on vinyl of course) at home on a regular rotation (and usually at parties they threw). I was immersed in the film and although its subject matter was rather advanced (suicide) for someone of 9-years old, I truly think it is a film that had a profound effect on me without me really realizing it. So when I had the chance to review Jesse Zwick‘s 
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