Blood In The Snow (2021) review: ‘PEPPERGRASS’ is a compelling thriller.

During a pandemic, a pregnant restaurateur tries to rob a priceless truffle from a reclusive veteran.


Peppergrass is a slow-burn thriller that ultimately turns into a survival film. It builds a similar tension that Alone did. Not exactly the horror I was expecting from Blood in The Snow, but it is, nonetheless intriguing as hell. You must have patience for the first third is heavy character building. As our two protagonists botch their unusual robbery, the camera continues its handheld intimacy. Forced into the dark woods, Eula attempts to make it to the car in one piece. This becomes more complicated a task as the landscape is unkind to a pregnant person.

Chantelle Han gives it her all as Eula. As the plot roles out in a mostly real-time fashion, the audience watches her physically and emotionally tap out at certain points. But it is when she barrels through the cold, darkness, and imminent threat that makes her a total badass. Han is the driving force of Peppergrass.

At times, the score is this curious mix of ominous whimsy and borderline grating organ tones. It refuses to be ignored. Peppergrass is nothing like I expected. It places you inside the action because there is literally nowhere else to go. The danger and isolation are palpable. It’s a solid film.


For more info on BITS 2021 click here!


Review: ‘IDA RED’ – a family crime drama where performances rule all.

Crime boss Ida “Red” Walker (Oscar® winner Melissa Leo*) turns to her son, Wyatt (Josh Hartnett), to pull off one last heist to get out of prison. But with the FBI closing in, Wyatt must choose between family and freedom in this high-octane thriller.


IDA RED opens up with honest to goodness tense action. Come to find out, half of it is a whole lot of bait and switch. The script has plenty of surprising revelations. It is undeniably engaging, from the shocking violence to the keen character building.

Frank Grillo, as Dallas Walker, is as epic and as he is evil, with an IDGAF aura. It’s one hell of a performance. Melissa Leo is Ida. Her uncanny ability to own the screen with nothing but a look gets me every time. This crime family matriarch rules from prison with an iron fist and favoritism. And, damnit, the fact that it’s a woman makes my heart skip a beat. More of this, please.

Sofia Hublitz, who is fantastic on Ozark, plays Darla Walker. She’s the youngest troublemaker of this family unit. Hublitz walks the perfect line between innocence and passionate anger. Josh Hartnett, as Wyatt Walker, is the unwaveringly loyal son. Hartnett’s multiple-year hiatus from the big screen was noticed, especially by those of us who grew up alongside him in movies like The Faculty, Pearl Harbor, and Sin City. Whenever I do see him nowadays, I am reminded immediately of his immense talent. He’s got a coolness to him that you can’t teach. As Wyatt, his familial devotion is palpable, to a fault. IDA RED allows him to play the full spectrum of emotions. 

The soundtrack boasts some of the coolest (and strangest) choices. I was obsessed. IDA RED could have been a limited series. As it stands, it’s a solidly done family crime drama, possessing fully fleshed-out, massively flawed characters with incredible actors breathing life into them. I recommend a watch.


Watch the trailer:

Saban Films will release the action/crime/thriller IDA RED in Theaters, On Digital, and On Demand on November 5, 2021.


IDA RED is written and directed by John Swab (Body Brokers, Let Me Make You a Martyr) and stars Josh Hartnett (Wrath of Man, “Penny Dreadful”), Sofia Hublitz (“Ozark”), William Forsythe (The Devil’s Rejects, Raising Arizona), Deborah Ann Woll (“True Blood”), Frank Grillo (Boss Level, The Purge franchise), and Academy Award winning actress Melissa Leo (The Fighter, Prisoners, Frozen River).


 

Review: ‘DASHCAM’ makes your palms sweat in anticipation.

DASHCAM

DASHCAM is a psychological thriller following Jake—a timid video editor at a local news channel who fantasizes about becoming a reporter. While editing a piece on a routine traffic stop that resulted in the death of a police officer and a major political official, Jake is inadvertently sent dashcam video evidence that tells a completely different story. Working alone from his small apartment in NYC, Jake uses his skills as an editor to analyze the footage and figure out the truth behind what actually happened. Has Jake uncovered a conspiracy that he can break on the morning news? Or is he seeing things that aren’t really there?


The film’s release comes in the tumultuous aftermath of a bloody year between citizens and police. A large number of incidents were either recorded by bystanders or bodycam footage. Some kept from the public for too long. We’ve all seen these tapes by now. They were impossible to avoid. In writer-director Christian Nilsson’s DASHCAM, we watch a young, ambitious editor become an armchair detective in real-time. Jake is intrigued by the information accidentally sent via email. Could he have uncovered a larger story? Could this be his big break? 

Larry Fessenden plays Former Attorney General Dan Lieberman. He’s a legend, so it’s no surprise that what is essentially equivalent to a radio play for him is an outstanding performance. Zachary Booth, as Jake, has fearless energy and an intoxicating excitement that passes through the screen to the viewer. I would watch him in anything.

Your pulse will be pounding watching this mystery unfold through live, minute-to-minute editing. If you didn’t respect the process of editing before now, DASHCAM changes that. Bow down to these gods. You can thank Terence Krey for this particular film. Nilsson nails the conspiracy theory vibes. DASHCAM plays on our innate need to discover the truth, whatever that means to each of us as individuals. It’s nothing short of riveting.


Dashcam, written and directed by Christian Nilsson, is available On Digital October 19 from Kamikaze Dogfight and Gravitas Ventures.

Grimmfest (2021) capsule review: ‘Seagull’ captivates with deep trauma.

SEAGULL

After 8 years survival on a beach, Rose returns to her home town to settle unfinished business.


A portrait of mental health, gaslighting, and abuse, Seagull exposes one family’s dark secrets. The script is a slow-burn mystery with a creative, physical manifestation of grief and betrayal. Rose has exiled herself for eight years; her family disowned her. As the plot reveals itself, this dysfunctional family unit must confront its part. While I predicted the overall arc, this does not lessen the emotional impact of writer-director Peter Blach‘s choices. The best performances come from Gabrielle Sheppard as Rose and Adam Radcliffe as Geoff. Sheppard gives power to Rose. Her vulnerability and strength shine off the screen. With James Abbott and Blach’s script, Radcliffe is allowed to play the entire spectrum of emotions. He is terrifying. The cinematography by Rami Bartholdy is breathtaking. The film gets under your skin and lingers there. Seagull has an ending so satisfying, Grimmfest audiences will get their catharsis, and in true genre fashion.




Grimmfest (2021) review: ‘We’re All Going To The World’s Fair’ showcases the terror of living online.

WE’RE ALL GOING TO THE WORLD’S FAIR

I want to go to the World’s Fair. I want to go to the World’s Fair. I want to go to the World’s Fair.” Say it three times into your computer camera. Prick your finger, draw some blood and smear it on the screen. Now press play on the video. They say that once you’ve seen it, the changes begin… In a small town, a shy and isolated teenage girl becomes immersed in an online role-playing game.


Voyeuristic intimacy meets horror internet challenge We’re All Going To The World’s Fair speaks directly to the danger of the YouTube generation. Casey is a loner who seeks refuge online. When she takes an internet challenge, something that has had real-life, deadly consequences in recent years, her small world gets vastly stranger. We’re All Going To The World’s Fair tackles many weighty subjects; loneliness, depression, mental illness, identity, and gullibility. There’s the parent/child dynamic that, when present, is filled with fear and emotional abuse. 

Michael J Rogers plays JLB with majorly creepy vibes. From his voice to his subtle physicality, Rogers embodies a chilling persona. The viewer is left to interpret his intentions. It is a disturbing performance. Anna Cobb‘s feature debut is a powerhouse. What a fearless and natural performance. She exudes innocent charm. She’s a loner, clearly not by choice. Once the challenge creeps into her psyche, this becomes something altogether different. Wow does not even begin to describe the arc, both physically and emotionally. It’s a stunning turn.

Writer-director-editor Jane Schoenbrun paints a bleak picture of Casey’s hometown. Long takes, some through Casey’s laptop and others handheld give the film a gritty feel. The lengthy scenes put so much of the film’s success directly onto Anna Cobb’s shoulders. She has a massive responsibility to fill the screen, and she pulls it off like gangbusters. A bonus, the soundtrack is cool as hell. The ending is ambiguous. Something about it is perfectly unsettling. 


[Available October 16, 2021, 1:30 – 11:30 PM] Watch now online…


Review: Go home, ‘American Night’, you’re drunk.

AMERICAN NIGHT

Art and life collide in this stylish and wildly entertaining neo-noir thriller. When a highly coveted Andy Warhol painting suddenly surfaces, it triggers a chain reaction of danger-filled events for a colorful group of characters including: a forger turned art dealer (Jonathan Rhys Meyers); a mobster and painter (Emile Hirsch) with a penchant for scorpions; a seductive museum conservator (Paz Vega); and a stuntman and wannabe ninja (Jeremy Piven). Filled with daring double-crosses and surprising twists and turns, the race for the painting comes to an explosive conclusion…one American Night.


Playing like a graphic novel, with characters’ names scrawled next to their introduction, the gunfire is chaotic and aplenty. I watched this a 2-hour film a second time to make sure I wasn’t missing anything. I think I still am. Even after my second viewing, American Night remains confusing in its non-linear storytelling. Listen, I wanted to love this film. The potential is there.

Jonathan Rhys Meyers does his best to make American Night engaging. His character, John, attempts to make amends in love and begin an honest career. He’s strong as ever, in true neo-noir fashion. Though try as he might, he cannot hold up an uneven narrative that relies on cliché over concept. Jeremy Piven steals the show. The seriousness in which his character desires to be a ninja becomes the much-needed levity in all these convoluted shenanigans. I would happily watch an entire film about him. Emile Hirsch is the son of a New York City Mafia boss Michael Rubino, whose love of art plays above all else. That, and perhaps, his ego and an incredibly random love for scorpions. The performance goes from levelheaded to absurd based on the script. Hirsch takes it all in strive with 100% commitment.

Here’s what doesn’t work for me; it takes 1 hour and 25 minutes for the stories to finally overlap after living them from different perspectives. The runtime would benefit from a 20-minute shave. Some of the delivery from ancillary characters reads as hokey. Okay, a lot of the dialogue does. The film includes one of the most ridiculous sex scenes ever. It seems like a laughable excuse to have Paz Vega appear naked onscreen.

Here’s what’s great; the framing of scenes, the use of neon, and the main cast. The final reveal occurs 5 seconds before the credits. Oh, the credits. If the visual continuity of the rest of the film was as snappy as this, American Night would have made a slicker impact. This is the pop art-inspired, cool factor that could have punched up the film into cult status. It’s got a real Pulp Fiction energy, but a lot has to be done for this to be a cinematic work of art.


In Theaters, on VOD, and Digital October 1, 2021


Directed by: Alessio Della Valle

Written by: Alessio Della Valle

Starring: Jonathan Rhys Meyers, Emile Hirsch, Jeremy Piven, Paz Vega, Michael Madsen

Run Time: 123 minutes

Rating: R

Genre: Thriller, Action


 

Review: ‘SURGE’ is a portrait of human implosion and an awards vehicle for Ben Whishaw.

SURGE

Joseph (Ben Whishaw, PERFUME: THE STORY OF A MURDERER, the upcoming James Bond film NO TIME TO DIE) is trapped in a soulless job, living a life devoid of emotion and meaning. After an impulsive act of rebellion, Joseph unleashes a wilder version of himself. He is propelled on a reckless journey through London, ultimately experiencing what it feels like to be alive. Whishaw won the Special Jury Award for his role in the film at the 2020 Sundance Film Festival.


SURGE feels like watching a powder keg about to explode. For a film that might seem to begin with inane tasks, the simmering tension becomes consuming. Once that fuse is lit, SURGE is a relentless display of emotional pyrotechnics. The handheld camera work is dizzying, placing the audience in Joseph’s physical frenzy. There are entire scenes without cuts. This is what a master class in performance looks like. Director Aneil Karia, cinematographer Stuart Bentley, and Ben Whishaw had to have established absolute trust to pull this off.

There is underlying violence that feels inevitable as Joseph begins to break. There may be a suggestion of hidden trauma. Ben Whishaw plays every beat with his whole body. His minute idiosyncrasies create an entire backstory. Compounding micro-aggressions lead to ticks, and then ultimately, a total breakdown in civilized behavior. He becomes manic. This is the epitome of base instinct. Whishaw will have you teetering on the brink of terror and awe. He is sensational.

Your heart will be your throat, unable to comprehend how this film could get any more intense. And yet, the stakes just keep getting higher. It felt like a panic attack. The end of the film is only cathartic in the physical sense. A mysterious sadness still hangs over Joseph’s fate. It’s such a bold choice. The combination of this script, Ben Whishaw’s performance, and Karia’s direction make SURGE an unstoppable force.


Debuts September 24th In Theaters
On-Demand Everywhere October 25th

Director: Aneil Karia
Written by: Rita Kalnejais, Rupert Jones
Story by: Rita Kalnejais, Aneil Karia, Rupert Jones
Produced by: Julia Godzinskaya, Sophie Vickers
Co-Producer: Scott O’Donnell
Director of Photography: Stuart Bentley, B.S.C.
Editor: Amanda James
Genre: Thriller
TRT: 105 minutes


 

GRIMMFEST turns lucky 13 for this year’s hybrid addition. Here are some of the films we’re screaming about.

GRIMMFEST 2021

It’s no secret that the most buzz-worthy films come through only a handful of genre festivals. GRIMMFEST is on that shortlist. The festival turns a lucky 13 this year and it’s ready to rock audiences’ socks with a plethora of titles for every single viewer. After being completely virtual last year, a hybrid platform is back in action with a mix of in-person screenings from October 7th to 10th and online from October 14th to 17th. I can say that this year’s lineup is filled with everything from gore to absurdity, thrills to purest moments of wow. These are the films that will be on everyone’s lips. You can find out about tickets and schedules at https://grimmfest.com/

Do yourself a favor and mark your calendars now. There’s a lot to see.


THE BETA TEST

A Hollywood agent, engaged to be married in a few weeks, receives a mysterious letter inviting him for an anonymous sexual encounter and thus becomes ensnared in a sinister world of lying, infidelity, and digital data.

This genre-shattering film takes aim at Hollywood, toxic masculinity, horror, satire, all with co-writer-director Jim Cummings playing a sharp lead. His last film, The Wolf Of Snow Hollow, has a legit cult following now. Cummings has a distinct voice and I cannot wait to see if The Beta Test becomes another calling card on his resume.


THE RIGHTEOUS

A burdened man feels the wrath of a vengeful God after he and his wife are visited by a mysterious stranger…

There is something so striking about modern black & white cinematography. in The Righteous, writer-director Mark O’Brien also stars as the mysterious stranger in question. This horror film is filled with symbolism and will give any god-fearing viewer the vapers.


WHEN THE SCREAMING STARTS

When the Screaming Starts is a comedy-horror mockumentary about an inept, aspiring serial killer at the beginning of his “career” and a fledgling filmmaker willing to do anything to achieve his ambition.

A little bit of Vicious Fun meets Satanic Panic, I cannot wait to laugh and gag. Horror and comedy pair so well together and since everyone is a true-crime connoisseur who thinks they could commit the perfect murder, I am delighted to consume this one.


THE SPORE

The lives of ten strangers intersect through a terrifying chain of events as a mutating fungus begins to spread through a small town wiping out everyone that comes into contact with it.

Will this film be a little too close to home considering we’re still experiencing a global pandemic? I guess we’ll find out when we’re forced to look through the lens of writer-director D.M Cunningham.


HOTEL POSEIDON

Dave inherited the dingy and dilapidated Hotel Poseidon from his late father. He lives there and works as manager, and rarely seems to leave the place. The days and nights all bleed together. His existence is a hopeless one. When a young woman knocks at the hotel’s doors one night looking for a room, and his best friend shows up wanting to throw a party in the backroom, Dave’s world starts to spiral out of control, and his sense of reality starts to be shaken by recurring nightmares.

I have seen the title sequence for this film and it is hands down one of the coolest in all of cinematic history. I said what I said. If the rest of the film lives up to the initial visual, Hotel Poseidon will wow Grimmfest audiences.


ALONE WITH YOU

As a young woman painstakingly prepares a romantic homecoming for her girlfriend, their apartment begins to feel more like a tomb when voices, shadows, and hallucinations reveal a truth she has been unwilling to face.

Listen, you tell me Barbara Crampton is in a film and I’m watching it. Add on Emily Bennett who was fantastic in King Of Knives last year and I’m sold. Not only does she star, but she co-wrote and co-directed the film. Give me an all-female horror film every day of the year.



FULL VIRTUAL FESTIVAL LINE UP:

● FOR ROGER (Aaron Bartuska, USA)

● FATHER OF FLIES (Ben Charles-Edwards UK / USA)

● SLAPFACE (Jeremiah Kipp, USA)

● THE NIGHTS BELONG TO THE MONSTERS (Sebastian Perillo, Argentina)

● HAPPY TIMES (Michael Mayer, Israel / USA)

● NIGHT AT THE EAGLE INN (Erik Bloomquist, USA)

● VAL (Aaron Fradkin, USA, 77 min)

● THE SPORE (D.M. Cunningham, USA)

● THE PIZZAGATE MASSACRE (John Valley, USA)

● MOTHERLY (Craig David Wallace, Canada)

● SHOT IN THE DARK (Keene McRae, USA)

● NIGHT DRIVE (Brad Baruh, USA)

● MIDNIGHT (Oh-seung Kwon, South Korea)

● FACELESS (Marcel Sarmiento, USA)

● WE’RE ALL GOING TO THE WORLD’S FAIR (Jane Schoenbrun, USA)

● THE FREE FALL (Adam Stillwell, USA)

● ON THE THIRD DAY (Daniel de la Vega, Argentina)

● THE GUEST ROOM (Stefano Lodovichi, Italy)

● HOTEL POSEIDON (Stefan Lernous, Belgium)

● FORGIVENESS (Alex Kahuam, Mexico)

● TWO WITCHES (Pierre Tsigaridis, USA)

● KING KNIGHT (Richard Bates Jnr, USA)

● TARUMAMA / LLANTO MALDITO (Andres Beltran, Colombia)

● THE RIGHTEOUS (Mark O’Brien, Canada)


 

Passes and tickets can be purchased from www.grimmfest.com.

Review: ‘Small Engine Repair’ Explores Toxic Masculinity with Thrilling Effect.

SMALL ENGINE REPAIR

Frankie (John Pollono), Swaino (Jon Bernthal), and Packie (Shea Wigham) are lifelong friends who share a love of the Red Sox, rowdy bars, and Frankie’s teenaged daughter Crystal (Ciara Bravo). But when Frankie invites his pals to a whiskey-fueled evening and asks them to do a favor on behalf of the brash young woman they all adore, events spin wildly out of control. Based on Pollono’s award-winning play, Small Engine Repair is a pitch-black comedic drama with a wicked twist and a powerful exploration of brotherhood, class struggle, and toxic masculinity.


Frankie (John Pollono), Swaino (Jon Bernthal), and Packie (Shea Whigham) are working-class men that share a friendship bond going back to childhood. That bond is strengthened further by their co-parenting of Frankie’s beloved daughter Crystal, who has spent a lifetime being raised by a loving– if raucous– male collective. This sets the scene for a fascinating character study of a group of men raised in a culture steeped in toxic masculinity who struggle to push back against it but often fall incredibly short. 

At first, Small Engine Repair seems like a dark family drama with a comedic edge. However, it is not until the second act that the viewer realizes that they are in the midst of a thriller. Complex performances by the entire cast gradually build tension through sharp looks, quick words, and complicated histories until the atmosphere on screen is so thick with menace that suddenly, every word and movement is a threat. It is hard to say more without giving away the shocking twists that a seemingly ordinary whiskey-fueled night in a garage would unleash. So instead, I will say that the tightly directed and brilliantly acted Small Engine Repair had me holding my breath through the finale.


In Theaters September 10, 2021


Written and Directed by

John Pollono

Starring: Jon Bernthal, Shea Whigham, Jordana Spiro, John Pollono, Ciara Bravo, Spencer House


Fantasia International Film Festival 2021 review: ‘COMING HOME IN THE DARK’ will disturb you to no end.

COMING HOME IN THE DARK

Director/co-writer James Ashcroft introduced Fantasia 2021 audiences to a gutwrenching neo-noir. As a family attempts to enjoy a road trip, they are suddenly accosted by two men with an evil agenda. The complexities of COMING HOME IN THE DARK go far beyond a random encounter. This film was created to make you shudder. Redemption, revenge, cruelty, and shock all play huge parts in this journey. This is a film that will have you on the edge of your seat. Ashcroft’s feature debut deals directly with NZ ineptitude in their state-run facilities. This particular aspect of the script could be applied to any country. The abuse of children becomes an ironic twist that comes to haunt the viewer in more ways than one. The intensity that builds in this screenplay is unrelenting. The brutality is unforgiving. With a large amount of dialogue and action occurring under duress, and inside a car, the claustrophobia is palpable. The ability to build fully fleshed-out characters under the circumstances is truly astounding. Performances from this small cast will captivate you. The cinematography is incredibly thoughtful. It isn’t too often that I stop taking notes while watching a film. I didn’t write a single thing down during my viewing experience. I could not take my eyes off the screen. I cannot fully express how my entire body was shaking as I watched this film. I do feel compelled to warn viewers of the level of violence. Coming Home In The Dark is a traumatizing experience.



CAST:

  • Daniel Gillies
  • Erik Thomson
  • Miriama McDowell
  • Matthias Luafutu

Review: ‘Eye Without A Face’ is a twisted psychological thriller.

Eye Without A Face

Henry, an agoraphobic and anxious young man living in Los Angeles, hacks into the webcams of various selected young women who inhabit the city. He watches over them in their daily lives, seeing himself as their guardian angel. When his new charming roommate Eric, a Youtuber and struggling actor pushes him to get out into the real world, he unknowingly puts Henry in danger. And as Henry starts to suspect one of the women he watches, Laura, of being a killer, everything starts to spiral out of control.

 


Luke Cook as Erik is the perfect foil for Shapiro’s Henry. He’s narcissistic and raunchy but also genuinely a good friend. I could not take my eyes off of him. I found myself cringing and doubled over at his antics. Cook provides the much-needed lightness to the dark of this film. Dakota Shapiro as Henry is simply astounding. He lives in the skin of a trauma victim. His idiosyncracies are spot on. Shapiro’s vulnerability is the backbone of Eye Without A Face. The cinematography from Tara Violet Niami is striking. Thoughtful use of color and lighting make for some extraordinary close-ups, especially of Adam’s eyes.


It’s clear to see the Rear Window inspiration in writer-director Ramin Niami‘s screenplay. The tiny flashes of Henry’s backstory heighten the tension. So does Charlie Clouser‘s score. If you think you know where this is going, think again. There is a reason we’re told to put tape over our laptop cameras. We love online these days, much to our own detriment. The key to Eye Without A Face is Henry’s largely unaddressed trauma. It is the complexity of his nature that makes this film so killer.


ON-DEMAND AND DVD AUGUST 10


Featuring stunning cinematography by Tara Violet Niami, and a mesmerizing score by Charlie Clouser, Eye Without A Face is written and directed by Ramin Niami, director of the acclaimed films Somewhere in the City, Babe’s & Rickey’s Inn and Shirin in Love.

Starring hot young actors Dakota Shapiro (“The Affair”), Luke Cook (“Chilling Adventures of Sabrina”, “Katy Keene”), and Vlada Verevko (“Beauty and the Beast”), Eye Without A Face will be available On Demand and Digital August 10 from Gravitas Ventures.


Bentonville Film Festival 21 review: ‘The Novice’ pushes past obsession.

THE NOVICE

An obsessive novice rower climbs the ranks of her college’s rowing team.


For me, Isabelle Fuhrman is someone synonymous with a certain horror franchise. Seeing her in a solely dramatic role in The Novice was a new and glorious territory. Determined to be the best novice rower there’s ever been, Alex does everything to excess. Goal-oriented isn’t a strong enough word for this character. The film challenges self-worth, ideals, and pressure to succeed. The complexities hiding inside The Novice will astound you.

Quick take editing alongside exaggerated and repetitive audio gives the film urgency, all while a string-heavy score plays underneath. The culmination of all these elements lands The Novice somewhere between tense and inspiring. Then there is Furhman’s performance. Her obsessive behavior pushes The Novice past genre definitions. Furhman brings a ferocious passion to the role. Writer-director Lauren Hadaway‘s script is ultimately not about rowing. It is about mental health. It keenly delves into privilege, relationship dynamics, competition, and self-harm. The energy of this film is extraordinary. Bentonville Film Festival audiences will be hypnotized by its greatness. It is a must-see.


About Bentonville

BFFoundation is a non-profit organization focused on promoting underrepresented voices of diverse storytellers. We champion female, non-binary, LGBTQIA+, black, indigenous, people of color, and people with disabilities’ voices in entertainment and media. We do this through research, education, and supporting the production and distribution of inclusive content.

The foundation believes that by taking real action with content creators, talent, influencers, advertisers, and content distributors, we can accurately reflect the gender balance and diversity of our country. Our goal is to create a seismic change in how media inspires young minds to do great things.

Our primary research partner is the Geena Davis Institute on Gender in Media. Together, we seek to support research that proves these systemic changes are not only the right thing to do—they are also commercially beneficial. The Geena Davis Institute on Gender in Media has also clearly shown that the media children consume has an overwhelming influence in shaping their view of the world and their place in it.

The foundation also partners with schools and community institutions, working with children to educate on the challenging effects of stereotyping, unconscious bias, and gender imbalance. We also utilize media-based tools and content to build positive association and equality-based learning models.

BFFoundation is focused on working with its partners to foster inclusivity in media and entertainment to produce a positive influence in the community at large.


SUPPORT

BFFoundation is an organization that provides year-round support for filmmakers who live the mission of highlighting underrepresented voices in media. If you are interested in getting involved with our foundation, please reach out to us at info@bentonvillefilmfestival.com.


Review: ‘John and The Hole’ is a dark look at adolescence and parenting.

In this enigmatic and unsettling meditation on adolescent angst, 13-year-old John (Charlie Shotwell) discovers an unfinished bunker while exploring the neighboring woods — a deep hole in the ground. Seemingly without provocation, he drugs his affluent parents (Michael C. Hall and Jennifer Ehle) and older sister (Taissa Farmiga), holding them captive within the bunker. As they anxiously wait for John to free them from the hole, the boy returns home, where he can finally enjoy and explore newfound independence.

As a former teacher and current parent, I am wondering if my reaction to John and The Hole is in any way different from my colleagues. This is a film I cannot shake. Brilliantly performed, tightly directed by Pascual Sisto, and with glorious cinematography, John and The Hole is not to be missed. Charlie Shotwell plays the psychopathic John. The performance falls somewhere between age-appropriate and terrifying. This role should make him a household name. Michael C. Hall plays John’s father. He’s doting in gifts and a touch too nonchalant in actual parenting. Jennifer Ehle is fantastic as Mom. The ability to reflect goes beyond motherly instinct. Taissa Farmiga‘s older sister role hits the nail on the head. Mostly minding her own business until John’s behavior annoys her is pretty synonymous with being an older sibling. She has some of the most profound moments in the film. The Children’s ISA helps parents to save money for their children so when they grow  they can use it for their studies or buying their first home.

Drugging his family and holding them captive in a bunker aside, toxic masculinity is smartly displayed throughout John’s journey. It appears in a spit fight, inappropriate conversations, and almost drowning a friend. The culmination of these moments keeps you tense and extremely uncomfortable. John and The Hole is unpredictable. I believe the most disturbing aspect of Nicolás Giacobone‘s screenplay is actually the final scene. Not wanting to spoil anything for the reader, I was horrified. The reasons are a complex mix of socioeconomics and Giacobone’s understanding our how the world functions. John and The Hole begs a larger conversation about aggression, pressure, and parenting. Do not miss this film.

IFC Films is pleased to present the psychological coming-of-age thriller JOHN AND THE HOLE, directed by visual artist Pascual Sisto — one of Variety’s “10 Directors to Watch” of 2021 — in his feature debut. A selection of the canceled 2020 Cannes Film Festival and featured in the 2021 Sundance Film Festival (in competition), JOHN AND THE HOLE will open on Friday, August 6 in select theaters and everywhere films are rented.

Review: ‘Till Death’ kills it with the ball and chain metaphor.


Presents

TILL DEATH

Emma (Megan Fox) is stuck in a stale marriage to Mark and is surprised when he whisks her away to their secluded lake house for a romantic evening on their 10th anniversary. But everything soon changes, and Emma finds herself trapped and isolated in the dead of winter, the target of a plan that gets more sinister at every turn.

Till Death is a creative story about abuse, control, and reclaiming your voice. The film stars Megan Fox as Emma. She has been held emotionally captive by her abusive and powerful husband for 11 years. Their marital turmoil reaches new heights when a weekend getaway develops into physical captivity, with a side of heist and murder. Fox is great. The small moments of both recoil and challenge establish their dynamic, making for an uncomfortable watch. The physicality of this role is only half the battle. You cannot help but watch and yell at the screen alongside her. I think, “Son of a bitch!” came out of my mouth a lot. If I can be picky for a moment, I don’t think Fox’s character is given enough time to transition from submissive to badass, but that doesn’t lessen how enjoyable Till Death ultimately is. She gives a visceral performance.

It’s a harrowing script. The tension is constantly being ratcheted up. I was not expecting such a cat and mouse game when it first began. It’s the ingenuity that grabs you. I was genuinely surprised by Jason Carvey‘s screenplay. It’s undeniably clever, gruesome, infuriating, and fun. Till Death is essentially the worst anniversary scavenger hunt ever. (Which is actually the best compliment.)

Available In Theaters And On Demand July 2

Starring Megan Fox (Jennifer’s Body)
Co-staring Callan Mulvey (Russo Brothers’ upcoming The Gray Man), Eoin Macken (George RR Martin’s Nightflyers), Aml Ameen (HBO’s “I May Destroy You”)
and Jack Roth (Medici)
Directed by S.K. Dale 
Screenplay by Jason Carvey 

Review: ‘The Knot’ is a battle between karma and pride.

THE KNOT

Shirish and Geeta, a middle-class couple, have a car accident one night. Their differing reactions to the fallout from the accident open up fissures in their relationship and puts to test their values and beliefs.

Before we were married, my husband and I lived in India for a year. We pretended to be married to avoid the social scrutiny. We purchased a scooter to get places on the weekends and took rickshaw rides as infrequently as possible because of Westerner price gouging. The streets were always overflowing with vehicles and people. Before I continue, I feel I must preface this review with the fact that my husband and I are white. We were born and raised on the east coast of the United States. Once we arrived in India, we dove headfirst into the culture, food, and local customs. It was all so new to us. We would be forever changed by our time there. The social structure in India is a caste system. The disparity between the upper class and the lower class is astounding. In the US, it’s easier to hide. There is a bit more visual nuance. In India, it’s much more black and white. In Ashish Pant‘s The Knot, a young, affluent couple is forced to confront that very social construct after a sudden accident. The foundation of their marriage begins to crack as the lies they tell one another and themselves will have dire consequences.

The Knot is a morality tale and a relationship movie. Geeta and Shirish are forced to confront their own flaws and the power dynamics in their marriage. Shirish’s obsession with status comes to a head with Geeta’s attempts to dissolve her guilt. Performances across the board are wonderful and the look of the film is lush. The Knot makes a point to show the realities of the country. This authenticity is key to the film’s success. The traffic is a chaotic free-for-all. We lived in Hyderabad. Drivers didn’t use their turn signals, instead, they would honk their horns. From the audio in the film, it sounds as if little has changed since 2009. It’s indescribably dangerous. We often wondered how many hit-and-run deaths were hidden due to the normalized practice of bribery. The film slyly grapples with the hierarchy at its worst. Pant uses subtle shifts in language, music, and dialect to illustrate caste. It’s such an intelligent and daring screenplay. The Knot boasts an explosive finale. The very last pan of the camera and the breaking of the fourth wall is chilling. Bravo to Ashish Pant for making such a fearless debut film.

THE KNOT WORLD PREMIERED ON MARCH 31, 2021 AT THE SANTA BARBARA INTERNATIONAL FILM FESTIVAL

Review: ‘The Toll’ plays upon familiar fears.

 

THE TOLL

Synopsis: Supernatural terror and spine-tingling suspense highlight this gripping journey into fear. When Cami orders a taxi service to take her to her father’s country home, she’s hoping for a quiet and uneventful ride. But a wrong turn by Spencer, her chatty driver, results in the car stalling on a dark and remote road. After several threatening and inexplicable occurrences, Cami and Spencer realize they are being watched—by an unseen presence that sees them as trespassers, and is ready to exact a deadly toll.
Writer-director Michael Nader sets up The Toll in a marvelous way. It plays upon the very real fears of ride-sharing. My heart was already in my throat minutes in. The writing is sharp and relatable. A woman alone in a car with a male driver, perhaps a tad too chatty for the hour and length of the drive. The pitch-black atmosphere, barely illuminated by headlights and dashboard glow adds to the fear factor. Ramp up the terror with a backwoods legend and this film settles into one extremely unsettling watch. Do your eyes a favor and watch it in the dark.
The first half and the finale of The Toll are hugely successful. My misgivings arrive in the middle of the film with a sudden tonal shift. It feels like Nader took a handful of horror DVDs, tossed them into the air, and used the plots/visuals from whichever films landed inside a circle on the ground. The trauma and the gaslighting aspect are the most intriguing. Credit where credit is due, the final twist is brilliant. While The Toll has a lot to explore with solid performances and a genuinely scary emotional build-up, I’m not sure if it works as a whole.
Saban Films’ THE TOLL opens In Theaters, On Demand, and Digital on Friday, March 26.
Writer/Director: Michael Nader
Cast: Jordan Hayes, Max Topplin, James McGowan, Rosemary Dunsmore
Producers: Max Topplin, Jordan Hayes, William Day Frank
Genre: Horror, Thriller
Run Time: 80 mins
Rating: R for Language Throughout and Some Violence
Distributor: Saban Films

SXSW 2021 review: ‘Broadcast Signal Intrusion’ and ‘Alien On Stage’

BROADCAST SIGNAL INTRUSION

In the late 90s, a video archivist unearths a series of sinister pirate broadcasts and becomes obsessed with uncovering the dark conspiracy behind them.

Harry Shum Jr was one of the most underutilized actors on GLEE. With a true leading man role in Broadcast Signal Intrusion in the Midnighters section, he was up against genre fans’ huge expectations. I think he definitely delivered. He gave us brooding vulnerability and a badass attitude that played well against the jarring imagery of the tapes. They were truly skin crawling. The film’s score has a throwback feel. It’s pure noir thriller deliciousness. The cinematography is certainly noteworthy. There is no denying the inspiration from Brian De Palma‘s ‘Blow Out.’ Gentry’s finale leaves a lot of unanswered questions but Shum holds his own in an inspired by true events screenplay. I was fully invested as he went down the rabbit hole of mystery and obsession. Please cast him in more roles with the complexity of Broadcast Signal Intrusion. A few things that stuck out like a sore thumb; James’ newly acquired detective skills get him further than any FBI agent, and the mystery of his stalker breaks late then peters out to less of an impact. Aside from a few script tweaks, this is a solid entry from this year’s lineup and well worth being disturbed by.


ALIEN ON STAGE

Alien On Stage is a Documentary about a unique crew of Dorset Bus Drivers whose amateur dramatics group decides to ditch doing another pantomime and try something different. Having never done anything like it before, they spent a year creating a serious adaptation of the sci-fi, horror film, Alien; finding ingenious homemade solutions to pay homage to the original film. The show is a crushing flop but fate gives them a second chance to find their audience. Whilst still adjusting to the idea that their serious show is actually a comedy, the group finds out they’re suddenly being whisked from their village hall to a London West End theatre to perform this accidental masterpiece for one night only.

This charming doc is the perfect family watch. More specifically, it is theatre nerd deliciousness. It’s Waiting For Guffman in real life. The rehearsals are almost painful to watch. I felt director Dave’s anxiety as his cast muddled through forgotten lines, missed cues, and disastrous blocking. You’re just rooting for it all to come together in the end. Each actor has a genuine love for the show. Most of them are completely clueless about dialogue delivery, making it a laugh riot for a hyped-up, tuned-in, sold-out audience. The amount of work these bus drivers and their family and friends put into this stage production of Alien is astounding. Every set piece, prop, and costume is made by hand with more love than a Broadway play. You will absolutely fall in love with them all. You’ll be cheering along with their live audience. Bravo to directors Lucy Harvey and Danielle Kummer for having the foresight to nurture this local charity production and turn cameras on them. Everyone involved in Alien On Stage deserves a standing ovation.

Review: ‘#LIKE ‘ will shock you to your core.

Synopsis
Woodstock teen Rosie (Sarah Rich) is mourning the first anniversary of her younger sister Amelia’s death, when she discovers that the mysterious man (Marc Menchaca, ALONE, “The Outsider”) who sexploited and bullied her sister into committing suicide, is back online trolling for new victims. After the authorities refuse to get involved, Rosie discovers a darker side she never knew she had as she takes justice into her own hands.
Rosie is trying to figure out who is responsible for the death of her sister, Amelia. A year afterward, she is obsessed with watching her old YouTube diaries for any sort of clue. The darkest side of the internet comes to light in this unapologetically raw indie. We live in a world where a single tweet can incite violence. But since the beginning of the internet and chat rooms, pedophiles have stalked kids, acted like peers, and lured them into unsafe situations. People don’t seem to grasp the permanence of posting online. The consequences can be life-altering. #Like delves into all these things and in the #MeToo era. Writer/director Sarah Pirozek gives us a revenge thriller that will punch you in the gut.

Marc Menchaca stars in another unsettling role, post ALONE. Here, he is allowed to explore the nuances of his own fear. He is captivating to watch. Sarah Rich is outstanding. You are rooting for her every step of the way. You live in her anger and grief. She gives a fearless performance.

#Like a great companion piece for Promising Young Woman and Hard Candy. The writing is fantastic. The complexity of this screenplay will blow any expectations you have out of the water. The scenes with her closest friends allow them to discuss toxic masculinity in an approachable way. Rosie is balancing teenage life with a vigilante life. She does the police work that the adults have stopped doing. We follow along with her investigation and remain on pins and needles as she digs deeper. Her boldness steers the emotional journey of the viewer. You will not see the twists coming. And that spotlighted song choice? Let’s just say it perfection in its skin-crawling nature. #Like is shocking and brilliant. You’ll walk away slightly traumatized. People will be talking about this film for a long time.

#LIKE will be available on TVOD January 26, 2021 on iTunes,
Amazon Prime, Vudu, FandangoNow, and Microsoft Store
Running Time: 95 min
Country: USA
Language: English

Interview: Writer/director Dean Kapsalis and star Azura Skye for ‘THE SWERVE’ – now available on Digital and VOD!

Holly seems to have it all: two kids, a nice house, a good job as a teacher, and a husband with his career on the way up. But there are troubling signs that all is not right in her world. The insomnia. The medication for the insomnia. The dreams from the medication for the insomnia. The arrival of her estranged sister and a mouse invading her home doesn’t help either. Add the weight of a dark secret, and her already delicate balance collapses, sending her spiraling out of control.

Last year’s Brooklyn Horror Film Festival brought a movie into my world that still haunts me. The Swerve is a film that, in many ways, made me feel seen. You can read my review here. This week, The Swerve finally comes to audiences nationwide. I was lucky enough to chat with writer/director Dean Kapsalis and star Azura Skye this week. When I say this film will stick with you longer than it should, I am not exaggerating one bit. It is unpredictable, it gets under your skin, and Skye is remarkable. Pay attention to this carefully crafted script. There is foreshadowing everywhere, the classroom especially. These are deliberate choices made by Kapsalis. They are genius.

Here is my interview with Dean and Azura…

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Firstly, congratulations to you both on an extraordinary film. There is so much amazing material to talk about in The Swerve, so let’s dive right in!

Dean, what or who inspired this script?

 

Dean – I was raised by and around strong women.  Over time, I witnessed the weight of living manifest in them as mental illnesses.  My experiences and observations became lodged somewhere deep in my psyche and coincided with (or perhaps fueled?) my appreciation for Gothic literature, Greek tragedies, Shakespeare, etc.  

 

Azura, what was the first thing in this script that made you think, “I have to tell this woman’s story.”

 

Azura – When I first read the script, I immediately recognized Holly as the role of a lifetime.  As an actor, you can only hope that you’re given something this juicy, and layered, to work with — but it’s rare. This is without a doubt the most challenging role I’ve ever tackled, but given the opportunity, how could I say no? I knew it was something I had to do, as daunting, and intimidating as it was.

 

Dean and Azura, Moms are so often pushed aside in narratives. This script highlights the weight of motherhood in such a real way. The isolation, the stress, the pressure to be everyone’s caretaker. What were you hoping the take away would be for an audience? I imagine it might be different, perhaps based on gender? 

 

Dean – My hope is that audiences feel something from it.  The reign of patriarchy over women is as powerful and relevant now as it was during the era of Shakespeare.  Different, modern pressures, surely, but it hasn’t changed much on an emotional level.  I think that’s why the characters and themes in Shakespeare are still so identifiable.

 

Azura – A big part of Holly is her silent suffering. She puts on a smile, and a brave face as she seems to adeptly juggle the various roles of wife, mother, sister, daughter, teacher — but inside she’s nearing a breaking point, as she struggles to keep it together. She’s right at that tenuous edge, where something as small as a mouse can be the tipping point that sends her spiraling downward. The straw that breaks the camel’s back, if you will.

One thing I hope audiences of all genders take from this movie is a reminder that you never know what’s going on with the person next to you at the grocery store. You have no idea what kind of day they’ve had. Maybe they’ve just lost a loved one, or are dealing with any number of possible traumas or tragedies.  Everyone’s having to cope with a lot, some more than others — especially now. I hope this film is a reminder not to assume that you know what’s going on in someone else’s life, or in someone else’s head. Often times, we don’t even know what’s really going on with our closest friends and family. Or even our partners, for that matter. Everyone suffers, in ways we often never know, so let’s try to be kind and careful with one another.

 

As a 40-year-old mom of two toddlers who used to teach high school, this obviously hit me in a personal way. The character of Paul is so impactful. Even with the inappropriate power dynamic, you understand why his presence is so consequential to Holly’s entire journey. Dean, can you talk about the decision to use him as a catalyst? And for Azura, what was your reaction to Holly’s choice to go along with such an affair? 

 

Dean – I never thought of it as an affair, but as a need for Holly to express and connect.  But there is no joy in it.  Paul has a kindness to him.  He sees Holly in a different way than the other male characters in the film, but it is absolutely an adolescent’s fantasy and is no less dangerous.  

 

Azura – Holly feels invisible most of the time. Especially at home, where she feels taken for granted, unappreciated; unseen. Paul is so pivotal because here’s someone who really sees her — and thinks she’s amazing. Thinks she’s beautiful. With Paul, Holly feels recognized, and appreciated, for the first time in far too long.

When I first read the script, this particular storyline was so interesting to me, because it was written in such a way that even though this woman is clearly behaving in an abhorrent, and inexcusably inappropriate way, I did not see her as a monster. It just made me really sad. This thread of the story is also one of my favorite parts of the film. Zack Rand, who plays Paul, was so brilliantly cast, and he gives a phenomenal performance.

 

Let’s talk about the score. It really makes the mundane feel important. The grocery shopping in the beginning, for example. It’s a melancholy that puts you into Holly’s state of mind. 

 

Dean – I noticed mothers, my own included, that seemed to take grocery shopping not as a chore, but as a respite from other activities.  However, the aura of the past and the outside world is inescapable.  It was important that the score reflect that.

 

Dean, Paul’s sketchbook is stunning. Who did the illustrations? 

 

Dean – The artist is Jocelyn Henry.  She was a recent fine arts graduate and I took a shine to her work.  Her initial sketches were a little too polished and I had her scale them back so that they were more reflective of the hand of a developing high school student.

 

Azura, had you seen the drawings prior to filming?

 

Dean – I showed them to Azura, but explained little or nothing.  I guided her to the reactions needed for the scene.

 

Azura – I don’t think I saw the illustrations until the day of filming. I definitely had a visceral reaction to the ones of myself. There’s something quite intimate and slightly jarring about it. There were a couple that I actually wanted to keep, but sadly I was denied. I was told they were done by an artist in New York, but I’ve always secretly suspected that perhaps Dean himself is the artist. I’m curious to see how he answers this question.

 

Holly’s very buttoned-up, very conservatively presented. Can you tell me how her wardrobe affected your physicality?


Azura – It affected me very much. As wardrobe always does. In some ways, I don’t really know who a character is until I put on their clothes, and it was no different with Holly. I didn’t meet the costume designer (Eric Hall) until a few days before we started filming, and as soon as I started putting on the wardrobe I started to get a really strong sense of who Holly was. She really started to make sense, and take shape, quite literally. I thought her clothes were a little sad, sometimes even a little silly. Someone who’s really making an effort, but doesn’t always get it quite right. There was a vulnerability and a self-conscious quality to the way she put herself together. I found the buttoned-up rigidity to be very informative, and it was helpful in that it was a constant reminder as to the way Holly held herself. It very much affected the way I moved. In her restrained, buttoned-up attire, she herself is contained, and restrained; even slightly holding her breath.

 

You’re really rooting for Holly when she stands up for herself but the emotional abuse from her family is endless. They are incredibly manipulative. But Dean’s script and your performance are so strong that I began to wonder if I was seeing things along with her. Azura, did you ever think that what Holly was seeing and experiencing wasn’t real? 

 

Azura – Of course I thought about it, and that was something I discussed with Dean. I like that certain parts of Holly’s experience are open to interpretation, but for me the actor, I had to play it as if it were all 100% real, because for the character it is.

 

Let’s talk about the mouse. Is the mouse Holly? 

 

Dean – It could be.  Or was it a warning?  A guardian?  Was it ever even there?  It’s more important how the viewer feels about it.  And I never discussed meaning with the cast or crew.

 

The final chapter of this film is nothing short of devastating. As a mother, as a human, it has stayed with me since I saw the film last year. It’s truly haunting. It’s a bold choice that is not only a beautiful recall to the story in the beginning but one hell of a gut-punch to the viewer. Did you both hope the audience would sympathize with Holly as the credits rolled? 

 

Dean – Yes.  Prior to the pandemic, abuse, mental illness, and suicide were on the rise across genders, and since it’s only increased.  My hope is that audiences feel something and can relate in some way to her plight.  We’re all human.  We’re all in this together.

 

Azura – It is a harrowing and haunting final act. One that in large part made me want to do the film. I think I was probably far too consumed with the task at hand to really think about how an audience might interpret it.

 

Mental illness is a hot button issue. Do you think people are now more comfortable talking about it openly? 

 

Dean – Social media is a two-edged sword, but people seem to be more open about sharing their experiences.  The world can be so overwhelming.  They want to connect.  They want to heal.  

Azura – It does seem like we’ve started to talk about it a lot more in recent years, which is so great. You have people like Michael Phelps doing commercials encouraging people to seek help, and so many other public figures speaking candidly about their struggles, which makes it so much more accessible, and perhaps even acceptable. It definitely seems like something we’re discussing more and discussing more openly.

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Massive thanks to Dean and Azura for their very generous time with this interview. THE SWERVE is now available on Digital and VOD

 

THE SWERVE celebrated its world premiere at the 2019 Cinepocalypse Film Festival, and screened at the 2019 Panic Film Festival; winning both awards for Best Actress for Azura Skye. The film will be releasing on major VOD/Digital platforms beginning Tuesday, September 22, 2020.

Review: There is ‘No Escape’ from your own demons.

SYNOPSIS: A social media star travels with his friends to Moscow to capture new content for his successful VLOG. Always pushing the limits and catering to a growing audience, he and his friends enter a cold world of mystery, excess, and danger. As the line between real life and social media is blurred, the group must fight to escape and survive.

NO ESCAPE puts a modern, social media-driven twist on the ultimate adventure seeker. Think Hostel (2005) meets The Game (1997) as Youtube influencer Cole (Keegan Allen) and his friends fly to Moscow to experience what they think is a one-of-a-kind escape room. Once they arrive, they’re wined and dined by a local rich kid before being led to their final destination. But not all is what it seems. As an avid watcher of all things horror, the setup rightfully lulls you into a false sense of fun with its club scene music, lighting, and awesome camera work. Then the other shoe drops, calling out Cole’s obsession with his stats over his own reality. His cocky persona is knocked down several pegs when he realizes his friends’ lives are in actual danger.

The film is written and directed by Will Wernick (Escape Room, which was fantastic), will easily tap into the younger generation who has literally grown up with social media. At 40, I was around for the birth of chat rooms in 8th grade. As someone who is at the mercy of social media in my work now, I understand the importance and the danger of such platforms. The internet is a weird place. One of the most effective pieces of the script is the ever-rolling comment section of Cole’s videos. It’s a fantastic insight into an audience “in real-time.” While the entire cast does a great job and has believable chemistry, Keegan Allen’s performance leads this film to success. Having been a fan since Pretty Little Liars, then watching his award-worthy skills in King Cobra, No Escape highlights his ability to change from beat to beat. The over-the-top influencer voice throughout much of the film falls away when fear takes hold. The ending of this film relies completely on his reaction, and it is warranted. No Escape, while hitting some familiar notes, is still a solidly acted, practical fx gorefest for genre fans. The emotional trauma goes both ways and it’s one hell of social commentary. Hot Tip: Keep watching once the credits start to roll.

Vertical Entertainment will release the horror/thriller film NO ESCAPE on Digital and On Demand on September 18, 2020. 

NO ESCAPE stars the ensemble cast of Keegan Allen (“Pretty Little Liars,” Palo Alto), Holland Roden (“Teen Wolf”, “Channel Zero”), Denzel Whitaker (“The Purge”, Black Panther), Ronen Rubinstein (“911: Lone Star” Some Kind of Hate)Pasha Lychnikoff (“Deadwood”,”Shameless”, A Good Day to Die Hard), George Janko (“NCIS: Los Angeles,” Millennial Mafia) and Siya (The First Purge). The film is written and directed by Will Wernick (Escape Room).