PRESENTS
SEATTLE ROAD
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:
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Now that’s a film I can get behind. It sounds intriguing, with loads of potential. Unfortunately, for me, the tagline was far more clever than the film itself. If you’re going to tout a film with the word paradox, frankly I’m going to expect something wildly fantastic. What I got was some sort of millennial truth-telling, ridiculousness. Seattle Road bears resemblance to a student film with dialogue that is some of the most pretentious and eye roll inducing I’ve heard in a while. The heightened audio smacks just as false, combined with the disjointed time jumps. The film comes off as trying too hard rather than genuine. Julia Voth‘s portrayal of Eve is fickle and unlikable at every angle. I felt not a single ounce of empathy for the fact that her estranged father had passed away, or cared that she was shacking up with a guy she hardly knows in a house that doesn’t actually belong to her, all while crying “woe is me” and bitching about her self-importance. The ending literally caused me to say, “Are you kidding me?” at the screen.
The only saving graces for Seattle Road lies in three things: Moments in editing, the music, and our leading man, Maximillian Roeg. Even with the editing being a point a contention for me, there are moments in the film that might as well be mini music videos from the late 80’s to the early 90’s. These are, without a doubt, the most visually interesting, only enhanced by the Music Supervision of Tracy McKnight. Great soundtrack. Finally, our Adam. Roeg is a strong presence in his timidity. As a commune raised artist trying to navigate a seemingly doomed relationship with his own personal demons, he has a quiet strength and I am very much looking forward to seeing him in future projects. If nothing else comes from Seattle Road, please let it be a platform for Maximillian Roeg to shine.
I do appreciate what Seattle Road was trying to do. It’s not a boring film by any means. It went out on a limb and tried something different. For me, the limb was awkward and weak. If you’re intrigued or feel the need to be contrarian, I invite you to watch Seattle Road this week and let me know what you think. For all I know, you may love it.
Available on Demand on all VOD platforms starting – June 24, 2016
| Written & Directed by: | Ryan David |
| Produced by: | David Zonshine, Cynthia Graner, Ryan David |
| Cinematography by: | Sandra Valde-Hansen |
| Edited by: | Matthew Johnston |
| Music by:
Cast: |
Dhani Harrison and Paul Hicks
Julia Voth (Supernatural, Bitch Slap), Maximillian Roeg (Dream Boy, Maneater), Kelly Lynch (Charlie’s Angels, Road House, Drugstore Cowboy), Daniel Abeles, Alan Nozick |
| Distributed by: | Gravitas Ventures |
| Release Date: | June 24, 2016 |
| Running Time: | 82 Minutes / NR |
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 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.
Presents
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.
Everyday, I have the urge to block friends on Facebook. The vitriolic political rhetoric being thrown around in both “article” and meme form is more over the top than it has ever been. Thank the internet gods for 
On the heels of his beautiful script for Nebraska, writer/director Bob Nelson brings heart and levity to what might otherwise seem to be a mundane scenario. The estrangement of an alcoholic father and his young son is nothing new, but by adding a religious element to the mix, it makes for a funny and honest look into the innocence of a child’s mind. Clive Owen‘s portrayal of Walt is raw and real. You empathize with his struggle to do right by his son. Speaking of Anthony, St. Vincent prodigy Jaeden Lieberher is, once again, a star. His purity in presence and intention glow as a young boy thrust into religion by his Mother. Caught in between parents of opposite end spectrum, he is an old soul, yet is constantly discovering when it is okay to push social boundaries. Owen and Lieberher are a perfect pairing. Nelson’s script allows both actors to take the reins as the story progresses. Each character has the opportunity to emotionally care for the other in a truly lovely dynamic.
The subtlety of the film is what makes it so successful. In an era of overblown CGI fare, Bob Nelson gives us an honest to goodness family story. The Confirmation is a joy.
Directed by and starring Robert Carlyle (The Full Monty, Trainspotting, 
Robert Carlyle is a real winner in his directorial debut. His portrayal of Barney is a wonderful mixture of neurotic, depressed, and pathetic Mama’s boy. A far cry from his Once Upon A Time role as Mr Gold. His skill as a director is plain to see. Barney Thomson has an upbeat and fun vibe. If you combined Baz Lurhmann‘s Strictly Ballroom, Richard Shepard’s Dom Hemingway, with a twist of Tarantino, you’ve got the eclectic style of Barney Thomson. Casting Emma Thompson as his mother, Cemolina, was pure genius. Their chemistry is unmatched. Wait until you see the prosthetics on Emma. The slightly overdone (and orange) nature of the makeup, creates the perfect backdrop for this larger than life character.
The dialogue from Richard Cowan and Colin McLaren is quippy and hilarious. Utilizing the a beautifully absurd storyline combined with rapid fire Scottish rhetoric makes for the perfect combination in style and comedy. The soundtrack is incredible and Fabian Wagner‘s cinematography is stunning. It’s clear that Carlyle knows his stuff and I, for one, look forward to any future endeavors. Barney Thomson is a hit.
Mother Nature is not one to be trifled with. The Earth is going to do as it sees fit, no matter what our plans may be as humans. THE WAVE is based on a very real “what-if” scenario. Not all too different from the horrors that will most certainly be coming our way in the future, if we don’t get out proverbial shit together. And very much like The Wave, this is not a matter of if, but when. 
The film centers around geologist, Kristian and his family. Leaving his current position as safety gatekeeper for the village, Kristian has a tough time letting go on his final day on the job, and for good reason. Testing fate is not something that comes easily when an entire population is at stake. When the alarms sound and the what-if becomes a reality, Kristian will do whatever it takes to save anyone he can from impending doom.
presents
We know it’s New Year’s Eve, but we’re getting pumped for Valentine’s Day already. Why? Well, that night is the midseason return of walkers, Rick, some really incompetent Alexandrians, and a new villain, Negan. Check out the trailer for the return on The Walking Dead!
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