Category Archives: Independent Feature

Independent Feature, Movie Reviews, Movies, Mystery, SXSW Film Festival, Thriller

SXSW REVIEW: “THE COW” (2022)

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Winona Ryder is truly at some of her best here in Eli Horowitz’s “THE COW“. Along with Dermot Mulroney in this rather fun “genetic” little mystery thriller, that twists along to an ending you’d never quite think of. While it’s not without it’s problems, it is still just simple fun.

With a film title has nothing to do with the animal it’s named after, the story follows Kath (Winona Ryder), and her boyfriend Max (John Gallagher Jr.), as they arrive at a remote cabin in the redwoods and mysteriously discover it already occupied by a younger couple, one Greta (Brianne Tju) and one Al (Owen Teague). The question of why is answered quickly as it’s clear the rental has already been double-booked, so neither couple has anywhere else to go, with Kath and Max being quickly invited to stay ‘just one night’.

And the mystery only deepens when she wakes up to find out Max just up and disappeared with Greta, and a broken up Al is the one to tell her the next day. Kath goes home, but randomly becomes obsessed with getting to the bottom of their sudden breakup – but will learning the truth be worse than she could ever imagine? Yes, yes it can. See what we end up finding out is the ever so important backstory. Kath is older than Max, by 10 to 15 years, as well, Kath is insecure about herself, and being in a relationship with a younger man has made her even more doubtful of her attractiveness, as we see her examining the wrinkles on her face.  On the other hand, Max isn’t very mature for his age, doesn’t even do the most basic of things like drive, and seems to be out of place at a dinner party with Kath’s friends. Turns out, the trip to the woods was an attempt by Max to keep Kath showing her he CAN be the guy for her, and for Kath to keep Max, showing him that she can be adventurous. Which speaks volumes about what is to happen later as she ends up meeting Nicholas (Dermot Mulroney), the man who actually owns the cabin, on her attempt to find out who Greta really is. While similar in age, and while he might be somewhat of a recluse, Nicholas clearly also has his life together, although as we soon find out, not in exactly the way we thought he did. 

While the film continues on with twists and turns, not all of them come off as one is not sure if this film is every going to go horror on them, or continue on the path it seems to be heading of everything relying on that one fateful night. Honestly, all the credit here goes to Ryder for pulling the bizarre middle and ending twist off, as without her, Tju and Teague, making those twists from left field that keep you engaged in this mystery ride along with Kath wouldn’t be anywhere near as enjoyable. That they can keep you on your toes guessing, even questioning her end-result intentions till the very last moment, is the point of all of it. Without them, this would not be the clever thriller that it is – even with it’s faults on display – they help pull it off.

Having just been picked up by Vertical Entertainment, the film is set to release later this year. Don’t miss it.

Grade: C+

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Campy, Comedy, Dark Comedy, Drama, Female Director, Independent Feature, Movie Reviews, Movies, SXSW Film Festival

SXSW REVIEW: “SERIOUSLY RED” (2022) Roadshow Films

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“It’s Hard to Be a Diamond in a Rhinestone World” – Dolly Parton

Director Gracie Otto makes a bold choice and opens her film “SERIOUSLY RED”, with a terrific and unorthodox lead into to her main character, Raylene or “Red” (Krew Boylan), as we come to know her. She captures her sitting in the bathtub while on a real estate client call, drinking a glass of wine with ice in it. The call reflects this perfectly, and it is as well, the perfect introduction to a character and story that will take us down so many different roads of life as we watch, often predicting what will happen before we see it.

The aptly named Red – due to the gorgeous red hair she was born with, has been fixated on one celebrity in particular her whole life – Dolly Parton. The obsession rolls to the point of going to her company awards banquet dressed as Dolly, which in turn leads to a karaoke performance one will not soon forget. But deep down, Red is a woman with low self-esteem, thanks in part sadly due to her mother Viv (Jean Kittson), with whom she can’t seem to please. Red has pursued this, that and the other, her whole life, with nothing being truly successful in any of them, and can now add Real Estate to that list of things, as she gets fired. But within this crazy evening Red has discovered the world of impersonators, in no thanks to a fantastic Elvis (Rose Byrne), and set’s off to pursue her dream of becoming a Dolly Parton impersonator.

After meeting a talent scout Teeth (Celeste Barber), who has a story about her own name that needs to be heard to be believed, the rest of story follows Red as she first discovers this whole new world of messy artist impersonators. She goes full tilt when meeting Wilson (Bobby Cannavale), who himself was once a Neil Diamond impersonator, and still looks it. Red hits it hard going from a fair, homemade karaoke singer to actually fully immersing herself into Dolly, and not just the big wig, heavy make-up, and frilly costumes, but to some darned fine singing as well. She takes it one step further and falls in love with a Kenny Rogers impersonator named, if you want to believe him, Kenny (Daniel Webber). Losing herself completely though is costly and not just for the implants she gets as well, but for the loss of one of her truest childhood friends, Francis (Thomas Campbell), as he begins to question her losing any identity of her actual self.

But oh this journey is fun at moments, it’s exciting, it’s hard, it’s sad and it’s so heartfelt as you really get a good look inside this entire world of impersonators. With it always being said celebrities have influence, you see just how it can be fun, but also how it can go completely overboard and overblown in someone’s life. The acting here is sublime by Boylan who hasn’t been seen much out of her home country of Australia and note is given here to the native lands and those whom live on them by her as well. As well as acting, Boylan wrote the screenplay, got Rose Byrne to do an amazing Elvis, and Bobby Cannavale, while being the only American in the film, belts out an “I Am.. I Said” as Neil Diamond that will have you up and singing along.

At the end, Red will also reflect on her own life choices, learn to trust herself, and find her way through her crazy journey of life. ‘Seriously Red’ is a story with heart and soul threading throughout it’s journey – it’s fun along with being an oh-so-charming of a watch. And remember to always ALWAYS: “Be Yourself Because Everyone is taken.” – Dolly Parton

Grade: B+

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Comedy, Dark Comedy, Family, Independent Feature, Movie Reviews, Movies, SXSW Film Festival

SXSW REVIEW: “I LOVE MY DAD” (2022)

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“The following actually happened. My Dad asked me to tell you it didn’t.”

One thing I can honestly tell you going into SXSW Film Festival is, I didn’t expect to utter the words, “Patton Oswalt is in the best film I’ve seen from the festival so far”. But alas, here I am with “I LOVE MY DAD”, from first time writer/director James Morosini – who picks up the co-lead role as well, which makes sense as it’s his story that is being told, though as noted by the opening credit quote, his dad says it never did. And away we go on one of the most entertaining road trip comedies to come along in some time.

The story opens with Franklin (James Morosini), leaving a mental health institution having gone through a treatment program after a suicide attempt, leaving his mother Diane (Amy Landecker), overtly concerned about his well-being. While in group therapy, Franklin decided to set some “emotional boundaries” for himself, with the very first one being with his father, Chuck (Patton Oswalt). Chuck has always been a distanced dad in Franklin’s life, one who calls or posts on his sons social media sites, but always missing the big moments from his life leaving Franklin to have always felt he doesn’t care. So Franklin does what we all do when we ‘break up’ with someone, he blocks his father on social media and his phone, which in turn, freaks his dad out once he realizes what has happened.

From there what takes place can only be believed if it is seen as Chuck, feeling left out of his sons life, becomes “Becca” played wonderfully by Claudia Sulewski, a local waitress from the diner in town. Setting up a in ‘real life’ relationship with his own son, knowing well before hand, it’s not going to end well. But before you know it, there he is, driving his son to Maine to meet his dream girl all the while digging himself into a deeper and deeper hole as the trip progresses. You might ask yourself what kind of person would do this – yet alone to their own son – well that is what makes the story here as if there ever was an award for ‘worst dad ever’, then we would have a strong candidate for the winner right here with Chuck.

Of course, there must be some liberties taken as Morosini handles the story with aplomb in the way he dictates the pace, taking it to various levels and making it all the more uncomfortable for his father character along the way. With the adding of catfish lies, the discomfort level raises both comedically adding a tense, crazy suspense, knowing the outcome here is going to be brutal. The weaving in of wonderfully filmed sequences wherein it’s like Becca and him are together, with the bringing text sequences to life, only adds to this.

In the end, the success of this entire film is brought down on it’s leads with a lot of us forgetting that Patton Oswalt is not just a stand up comedian, but can really act, including myself as told in the opening lines here, but then you remember ‘United States of Tara’ or ‘Justified’ and it all comes back to you. As for Morosini, he is gold here – not just doing double duty, but triple duty and it all comes to fruition. Add in a great supporting cast of Lil Rey Howery as Chuck’s friend Jimmy, who tries to tell him how wrong what he is doing really is, and his kinda girlfriend Erica, the always wonderful Rachel Dratch, and you’ve got yourself the Grand Jury Prize winner for Narrative Feature as SXSW Film Festival folks.

Grade: A-

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Biography, Crime, Drama, Independent Feature, Movie Reviews, Movies

REVIEW: “TED K” (2022) Super LTD

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One questions always arises as you begin to watch what might seem like another movie about a someone who did so much harm to so many. In essence, Ted Kaczynski was one of America’s first ‘domestic terrorists’. “TED K” is the latest in a slew of films based on one of America’s worst and longest active domestic terrorists. The film by co-writer/director Tony Stone’s biography of Ted Kaczynski, was known during the decades-long manhunt for him as “the Unabomber,” portrays him as a mathematical genius of a man whose idea that the outside world is encroaching on him and he has had enough, a self-perceived righteousness so to speak, to enable him to take action against everything and everyone who contributed to this.

‘Ted K’ begins with a prologue of basic details, most of what we already know – Kaczynski was a Harvard educated math genius who dropped out of society and moved to the Rocky Mountains in Lincoln, Montana, which as we know, is home to many of these nationalists groups and there has been found evidence that Montana was once selected “for the development of a white Aryan homeland to be used as a base of operation”. So it should come as no surprise this is where Ted picked to live off the grid. Following that, the opening sequence sets the stage as we see Kaczynski hiding in the forest while loggers tear down the forest around him, snow mobiles whiz by with vacationers on them – all feeding his imagination that modern technology, will be the end of humanity as it is and feels this is so wrong, that even though he wants no part of it, he finds himself bowing to it to carry out his ‘ideals’. All the while, trying to convince as many people as he can of the same philosophy.

That’s how the movie’s Ted Kaczynski, is played here by Sharlto Copley. But therein lies the danger here in doing this as Copley is actually so good at points, that the movie approaches the thin line of romanticizing not just the man, but in an odd way, what he stood for as well as you can’t deny some of his predictions ring with a bit of truth in today’s world. So instead of seeing him as the monster he was, you look at him as a flawed human being – when that is just not the case, but it is good acting. The showing of who this man is, how he holds grudges, erupts in rages to everyone from the phone company to verbally abusing his family, all the while begging them to send some money his way. For Ted it seems it was always someone else’s fault for what happens to him in life, and that, more than any of his crazy demands in his 25,000 word manifesto of which this film is based primarily upon, is what defines the man. The deluded thoughts of a man who considered modern technology to be evil and used a hit list to identify the targets for his homemade bombs – bombs by the way, that often injured unintended victims and not his intended targets.

And so it comes to the conclusion that we already know, but that still rings hard with the fact that under the threat bombing of another target, his manifesto makes it to the pages of the Washington Post, therein leading to his downfall after the longest manhunt in history, betrayed I’m sure in his own delusional mind, by his brother who recognized the writings. And so brings us to the end of this long chapter in life, sadly we were to see many more domestic terrorists come to fruition, and even just recently, almost lost our country to them – and maybe that is why it is important to sometimes still watch a film like this. Superbly acted, but also to keep us aware that all amongst us are not with us.

In the end, Ted was just a sexually frustrated misogynist who became a dysfunctional, delusional and dangerous man. Sadly, he won’t be the last.

Grade: C+

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Review Screening ~ Courtesy of Ginsberg/Libby PR

“TED K” premieres exclusively in theaters Friday, February 18, 2022

Drama, Foreign Film, Independent Feature, Movie Reviews, Movies, Romance

REVIEW: “A TASTE OF HUNGER” (2022) Magnolia Pictures

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Heading into Danish director Christoffer Boe’s latest film “A TASTE OF HUNGER”, I had more of a picture in my head of the 1990’s film ‘Big Night’ where the focus of the film was basically making food and making the audience drool over it, while having an almost comedic backstory to boot. This film came close in some ways, but not quite in the same manner.

Here in a different take on a chef’s story, Carsten (Nikoaj Coster-Waldau) has been working for 10 years to build up his small restaurant Malus, in Copenhagen with the only goal being that of earning the oh-so-rare and coveted Michelin star. His wife, Maggi (Katrine Gries-Rosenthal), is his partner in life as well as in business. We see how committed to the cause they are, and while they appear to have a solid marriage and are decent parents, it’s clear the kids and the family are not the priority in that as the quest for that rare restaurant star is. Maggi is at the point of looking outside her marriage for affection with another chef from a competing restaurant, which her young daughter Chloe (Flora Augusta) completely notices and their son August (August Vinkel), has an episode where he randomly wanders off and goes missing due to lack of attention from his parents.

A Movie by Hr. Boe Zentropa

All this deflects from the true story at hand here, again, obtaining the Michelin star, and we watch as Carsten goes through some true Ludo Lefebvre type rages that is seemingly popular amongst chefs to do. But instead of following that trend, we get taken into some really delicious and delicate food porn scenery. It’s beautiful to see such flair given here in the details with each dish being shown in it’s carefully arranged and perfectly cooked manner. The acting portrays the deep desire that every chef has to create a dish that the customer would never forget, as one can almost smell all of the delicious food, as if the scent of sautéed oyster, cooked octopus, and fermented lemons are wafting through the screen right into you. It also conveys what it really means to achieve this prized star for your restaurant as a whole. In essence, their entire life rides on it and while some might think it’s just food, it’s clear to not just Carsten and Maggi, but to their friends who join them while waiting to hear – one in particular Torben (Nicolas Bro), shows how important it is even to him.

While the story isn’t perfect here, it is the opening scenes that are truly the most beautiful to set the tone of the movie with the sequence of beautifully presented food and the music create an enthralling introduction to the movie. Yes, the mish-mash of back and forth flashbacks of the family’s decline into unhappiness might not be all that one wants to watch, but it does let you know why things are happening. As with all families, not everything is what it seems on the outside, but it does take away some from the true point of this film.

So while the food portion of this film will definitely cleanse your palette, the story as a whole might lead you straight into dessert, even with all ending as it does. But it’s definitely worth a taste.

Grade: C+

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Review Screening ~ Courtesy of Ginsberg/Libby PR

“A TASTE OF HUNGER” hits theaters and on demand Friday, January 28, 2022

Drama, Independent Feature, Movie Reviews, Movies

REVIEW: C’MON C’MON (2021) A24

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In “C’mon C’mon” we find Johnny (Joaquin Phoenix), a middle-aged, single man who works as a radio journalist based in New York. His job consists of him interviewing young kids from across the country, about their lives, families, their surroundings and most importantly, what they think about the future. Johnny also has a bit of a family problem as he hasn’t spoken to his sister Viv (Gaby Hoffman). since their mother passed away. Viv herself is in the midst of dealing with her ex-husband Paul (Scoot McNairy), who is in and out of mental institutions and she struggles to balance helping him out while taking care of their son Jesse (Woody Norman). Paul is in the middle of a bi-polar mental crisis and Viv asks Johnny if he can come care for Jesse, while she goes to help Paul, even though he really doesn’t know his nephew all that well.

This is where the story takes off as Johnny first comes out to Los Angeles to help, but then because he has to work he decides to take Jesse on a tour and have him help interview the kids. It seems a little far fetched because it is, but you can’t deny the bond that forms between Johnny and Jesse. Their relationship is what is central to the film and rolls from one conversation to another, sometimes about subjects that almost make Jesse seem annoying, but again, kids think and process differently than adults, so it comes across as more loving. As they travel across from New York to New Orleans, they both start discovering different sides to themselves, with Jesse clearly looking up to Johnny as fatherly, even though he loses him not once, but twice in crowds, and realizing parenting is not a simple thing. It helps them grow into better people and even changes their entire outlook on life.

In an odd way, this could almost be considered a ‘buddy’ movie with Joaquin Phoenix playing this role quite effortlessly and while everyone is giving him the kudos on acting, for me Woody Norman is the standout holding his own against the powerhouse of Phoenix’s acting prow-ness. Norman plays Jesse as a very insightful nine-year-old boy who acts as a perfect counterweight to his uncle Johnny, and deserves probably even more of a look-see that Phoenix does. Again, though this duo quite incredible together as it’s clear they have good chemistry, and succeed in making everything feel somewhat genuine and sincere. While Gaby Hoffman has to play 90% of her scenes talking into an iPhone, maybe writer/director Mike Mills is trying to make a point about how we communicate today and the lack on in person speaking anymore, even about important issues like what’s happening here.

Drawbacks that came to mind was the black and white style of filming does take away from it a bit as it makes all the cities seem alike in a way, which takes some away from the point of traveling and being in different ones. As well, on a different note for instance, when they are on the beach in Santa Monica – that exact scene was done in ‘HER’, replacing the phone girlfriend with a child, and It was strange to me. There were many lovely moments, but also hard to connect to moments for me as well as while the film shows a true slice of life, it was also somewhat repetitive in nature.

Wrapping up, there will be some who probably won’t relate to the film, but even if that’s the case, the film gives a lot to think about in so many different ways and the acting goes a long way into making it something more – especially the ending monologue from Phoenix.

Grade: C+

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Review Screening ~ Tuesday, November 16, 2021 Courtesy of Ginsberg/Libby PR

“C’MON C’MON” from A24 is in limited release in LA/NYC beginning on November 19, 2021

Biography, Drama, History, Independent Feature, Movie Reviews, Movies

REVIEW: “SPENCER” (2021) Neon Films

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Having high hopes going into director Pablo Larrain’s “SPENCER” considering how much I enjoyed ‘Jackie‘, I was surprised to find myself truly wondering what it was that I was watching and then remembering the word ‘fable’ being brought out at the beginning. And that is at least somewhat of an explanation for this sad tale of a film that I find myself having a hard time trying to describe how I felt about it. Two things I think I can justifiably say this film is a fictional thriller using factual characters, who apparently only speak in poems and riddles and it is definitely not a biography.

The set up is Christmas 1991, and Princess Diana (Kristen Stewart), is driving herself to Sandringham Castle in a Porsche convertible no less, through country roads speeding along casually, something that realistically would never happen, but again, it’s a fable so why not. She gets completely lost even though she acknowledges she’s been there so many times before, but not before stopping in a small diner-type country restaurant and pretending almost awkwardly that she is not just a Princess, but regular country folk like they are, all the while in her upscale Chanel clothing. After arriving late and after the Queen, a huge faux pas in the world of royalty, she is clearly targeted by the rest of the family at this point. And here is where it really goes off rails as we all know yes, there was a Diana vs. The Royal Family dynamic, but this film takes that to a whole different level. With visions belying her at every corner, including Anne Boleyn to what I’m guessing is supposed to be taken as a warning for Diana to not fall into a similar fate, as she is literally shown as being a whiney, complaining, consistently late for everything, and Larrain makes her out to be so unpleasant and self-centered, you almost wonder if you would want her as your dinner companion at all.

There is much to follow here as the film continues an almost odd over-the-top portrayal of Princess Diana, with only small bits of actual fact here and there. The bulimia we all know she suffered from is shown up front and personal, yet almost made fun of at other moments. There is an odd whole scenario of a scarecrow which follows us throughout the film, without ever really giving good reason except for the fact that she speaks and dresses it like a human, and a psychedelic dance sequence I’ve yet to figure out. I understand why some may like it, but it’s completely void of any relevance to the Princess Diana and Royal Family story that actually took place. I think my entire beef with this film is that they made her look whiney, weak and mental and I just don’t think Stewart did her justice for me. It wasn’t terrible mind you as Stewart is good, but by far not great and by just simply adding to her actual personality, having a blonde short haircut and a not so Diana English accent, she didn’t encapsulate who or what Princess Diana really was. It wasn’t terrible – but I just didn’t feel the way so many do as besides the haircut she didn’t fit Diana’s personality for me, it’s as though she was almost too distracting for me is how I can best say it. But maybe that was the point – not sure.

It is undoubtedly beautiful to look at, the score is immediately captivating, as well as the costumes, production design + cinematography are the standouts as is her supporting cast of Timothy Spall as Major Alistar Gregory, who comes off as ‘foe’ at first, but might actually be ‘friend’ instead, as well as Sally Hawkins playing her maid en confidante’ Maggie. We barely see Jack Farthing as Prince Charles, and as well The Queen either played by Stella Gonet. The way they portray her is a choice a very unsympathetic and annoying ‘choice’ that was certainly very off putting but the standout part is it did show her love for her sons as I don’t think any film could ever deny that. Again, I realize I’m in the minority here on this one, but one can’t help or deny how one feels about a film as it is truly something each person puts in perspective on their own. But in essence for me, Diana was a strong independent woman who was roped into a lie, and dealt with it better than most, while crashing at times, I wanted them to show the part of how she used it all that and made it her strengths versus weakness.

Grade: C

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Review Screening ~ Courtesy of Ginsberg/Libby PR

“SPENCER” FROM NEON FILMS – IS OUT IN THEATERS NOW 

1960's, Drama, Horror, Independent Feature, Movie Reviews, Movies, Mystery

REVIEW: “LAST NIGHT IN SOHO” (2021) Focus Features

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Nostalgia can be a beautiful thing and “LAST NIGHT IN SOHO” takes us back to the Swinging 60’s of the scene in the famous entertainment district in London’s stylish West End in way I was completely not prepared for. The film however is also meant to be in the present tense and it’s the vivid intersecting of these two periods, that definitely take you on a ride that you just might not be ready for. What started out completely amazing for its first 2 acts-only switched gears to a different tone in the final act. Not necessarily a bad one, just maybe a gear or two off from what you expected or wanted.

As we see Eloise (Thomasin McKenzie), open the film in present day by dancing around her 60’s styled room, in a self-designed dress made of all things – newspaper. We soon learn she’s an orphan raised by her supportive grandmother (Rita Tushingham) and dreams of being a fashion designer. So she is thrilled when her acceptance letter arrives from the London School of Fashion. But it’s here we find out that Ellie also has visions of sorts and this should be kept in mind as she moves herself to London to carry out these dreams.

Once Ellie arrives in London, she is overwhelmed with the big city so to speak, and she immediately becomes the target of ‘mean girls’ and fellow student Jocasta (Synnove Karlsen). Rather than subject herself to the abuse, Ellie sublets an attic room from an kindly elderly landlord named Mrs. Collins (Diana Rigg). Ellie loves the room and her independence, but her dreams act as a portal back to those swinging 60’s of which she’s so fond. But that’s only the beginning. It’s here where she follows/becomes Sandie (Anya Taylor-Joy), and the mirror effects are truly other-worldly. Sandie is everything that Ellie wishes she was herself – confident, radiant, ambitious, and beautiful. This dream state allows Ellie to live vicariously through Sandie. At least initially.

Her dreams quickly become reality, as Eloise keeps magically getting transported back to 60s London, where she is mysteriously linked to the life of Sandie. These nighttime adventures allow Eloise to live the life she’s always wanted. But the honeymoon period doesn’t last for long, as these dreams gradually devolve into nightmares. The question of what is reality and what is dream begins to get muddled, as the glamorous white lights begin to fade and run into other worldly areas that take the movie out of the context it was in. It’s almost as it in three different parts, with parts one and two being the most creative and stylishly fun, and the third coming in to take it over as a different type of film altogether, and while not making it bad, there was a moment in between those parts where I thought I might be seeing what could’ve been my favourite film of the year had it not changed gears so completely.


With there being no true central villain to this story, as Sandie’s pimp and abuser, Jack (Matt Smith), is one of them, and plays his role with relish but the idea is truly that there are hundreds of villains and for a while, the villains are the ghoulish spirits of controlling men. But the main high points of this film is how it is loaded with so many great hits from the 60s, the score was haunting, beautiful, eerie, and pair that with the cinematography and you have a nice chef’s kiss of fun. And not to be remiss, but the costuming and designing here along with hair is absolute perfection when it comes to what they are trying to tell you with the story. Put all of it together and you will be apt to agree the film just looks phenomenal, from the way it’s filmed to the use of colors, it nails that aesthetic of 60s London, and makes you feel like you’re on the most mesmerizing trip.

Thomasin McKenzie and Anya Taylor-Joy were very good as honestly, Taylor-Joy lights up any screen she is on and gave the perfect amount of seductiveness needed in her time traveling role. McKenzie gives an equally good performance in the lead role as she brings that sweet sense of naivety and adorable cuteness, and lighthearted feel amongst the very dark and disturbing nature of many of the film’s elements, and moments where the film slowed down to focus on her character was never boring because she had such an energetic vibe to her and was quite entertaining to watch. Ellie’s admirer John (Michael Ajao), is a fellow student that also hasn’t seemed to fit in and seems to be the only genuine person at this university, offering friendship to Ellie, which nobody else there offers her, but their relationship almost seems more clumsy than real.

The finale twists up somewhat as just where you though you knew where the plot was headed once everything started to wrap up (or so it seemed), then make way as you’re hit with something game-changing for the story and while again, it totally veered into left field from what the beginning of the film started off – it still is a stylish mystery-type horror thriller that has it’s highlights and is worth the Halloween watch.

Grade: B-

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Review Screening ~ Courtesy of Film Independent

“LAST NIGHT IN SOHO” IS OUT IN THEATERS NOW

Drama, Independent Feature, Movie Reviews, Movies

REVIEW: “MASS” (2021) Bleeker Street

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Stepping away from acting and putting on a directors hat instead, Fran Kranz gives us a truly heart wrenching movie that is so well written from start to finish and carrying along with it, an almost gut wrenching amount of weight within it’s dialogue in “MASS”.

The film begins perfectly with a sense of something equal to tense energy and yet some awkwardness at the same time. It opens with church volunteers Judy (Breeda Wool), and Anthony (Kagen Albright), along with Kendra (Michelle N Carter), who is in charge of making this all happen. These three are are preparing an private room for what is clearly a high-stakes meeting. The four guests arrive, and it’s two couples – four people – all looking uneasy and unsure about the meeting. As we watch the initial small talk we start to realize what is happening and why they are here. This meeting is taking place six years after a devastating tragedy, and the parents have gathered in the room of a church to come to terms with the events of that time. We finally learn Evan, the son of Gail (Martha Plimpton), and Jay (Jason Isaacs), was shot by Hayden, the son of Linda (Ann Dowd) and Richard (Reed Birney). It’s been six years since the school shooting and both couples are seeking closure to the immense grief they’ve carried. There is also the overwhelming burden of guilt and the weight of blame, finger pointing, and as to be expected, real emotional chaos at times. Some of the issues being discussed reminded me of the documentary ‘American Tragedy‘ wherein the mother of one of the Columbine shooters tries to speak from her POV. But this gives us the difference of having both sides speaking to each other. Here all four leads brings something something different to the table, but put it all together as director Kranz did, and you have yourself one very good film that will stick with you for some time.

To put it quite bluntly, ‘Mass‘ is an acting masterpiece. Martha Plimpton’s performance is like time bomb that devastatingly yet also politely explodes at the finish. Ann Dowd shows someone who is truly drained, but is trying her best to put herself back together while expressing the complicated emotions being held within her. Jason Isaacs takes on the role of a devastated father with the energy of a broken man full of anger all while trying to hold back his hurt. Everyone it seems gets their huge powerful moment except for Reed Birney who is quiet and calm throughout. We only get a peek at his heartbreak, regret and horror, and at times it feels like he gives off such insolence as though he almost just doesn’t care.

Every once in a while you come across a film that doesn’t need any bells and whistles or a Marvel superhero in it, just actors giving raw, heartfelt performances. One that I have rarely seen in this form and one that will stay with you for a very long time. It tells a tragic story that will break you in many different ways. Their ability to convey a wide range of emotions will absolutely tear you apart, taking you on a roller coaster of a ride until arriving at a stop where you are satisfyingly put back together. While not for everyone, it does leave you better for having watched.

Grade: A

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“MASS” from Bleeker Street Films – is playing in theaters now – look for VOD release dates upcoming

Independent Feature, Movie Reviews, Movies

NASHVILLE FILM FESTIVAL 2021 RECAP REVIEWS

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Thrilled, honoured and excited to be able to cover Nashville Film Festival in it’s 52nd year, which ran from September 30 – October 6 and had some lovely films, sadly a few I didn’t get to, some weren’t available virtually, and a few I might be hesitant to recommend. I always find a gem or two though!

That all being said – this was my first time covering this lovely festival in the vibrant city of Nashville – although yes, I did it virtually – though at times I felt I could taste the great food, and feel the vibrancy of the city itself while watching!  While I’ve had some great films to choose from, I am only human and can only review so much – and I will not be doing my usual ‘grading’ system as honestly, while some of these Independent Films might be better than others, they ALL deserve respect for just getting themselves made and created jobs for those doing so. Giving someone 200 million dollars for a film deserves getting rated, giving someone who made a film on a shoestring budget while barely making rent/bills, just out of the sheer love of wanting to put in their heart and soul – just deserves accolades period. And with that being said… here we go!

PORCUPINE

In this drama from writer/director M. Cahill, we find Audrey (Jena Malone), a seemingly hard working young woman that is just getting fired from her collection agency job. She is also overdue on rent, had her electricity cut off, doesn’t have any friends, and to top it off, a boyfriend who tells her he’s ‘not coming over anymore’. While she doesn’t seem like a screw up, she has lived in 4 different places and had 7 jobs all in a short time period. We aren’t really sure why she doesn’t talk to her parents anymore, but it’s clear this is mutual decision is mostly because as we can see she beats to the sound of her own drum, something we can clearly tell through the one phone call we hear. Basically she went left when they wanted her to go right.

And Audrey does what many end up doing everyday to keep themselves occupied, she watches endless YouTube videos. On one of them she sees an ad for adult adoption and decides to look into it, eventually being matched up with Sunny (Emily Kuroda) and her gruff German husband Otto (Robert Hunger-Bühler) who have their own odd relationship issues already. While the relationship with the three is tentative at first, they do end up warming up to each other.  The way Cahill wrote this story – which is based on a true one – makes it relatable on so many levels and what Malone brings to the character of Audrey makes it feel even more personal.

THE MURDER PODCAST

This decently fun, very campy little horror indie directed by William Bagely is about two guys, Chad (Andrew McDermott), and Eddie (Cooper Bucha), who are wanting to become amateur podcasters. Crazily enough a murder happens in their small hometown and they start investigating it, clearly very badly, and of course become wrapped up in a full on terrifying adventure full of paranormal activity while people keep getting killed. Upon the investigation, we find out this has all happened before.

This movie falls off the rails in parts, but has it’s comical and gory moments and generally, it’s a pretty good watch considering what month we are in.

GREEN SEA

As noted, I always find a few gems and ‘Green Sea’ was just that for me. Set in a small Greek fishing village, we find Anna (Angeliki Papoulia), who has lost her memory completely and finds herself working in a small tavern ran by Roula (Yannis Tsortekis). It seems that Roula has gone through quite a few terrible cooks, and the regulars think it will be more of the same with Anna. But to everyone’s surprise, including her own, she is a fantastic cook and her meals become experiences that bring memories flooding back of lives lived to each of the regulars, making a bond between herself and them become close. Roula and a few of the wives of these men, aren’t liking it much and while she has flashes here and there of memories, and once the wives see Anna and taste the food, things are better.

There is a lot of story in here and it digs deep into each character lives and most especially Roula’s, which as we find out is not always so pleasant. When Anna has a memory flash and it leads her to a book Roula was reading, is where the complete picture of all her amnesia comes into frame. To give this away would be depriving you of not only a great performance by Papoulia, but an excellent ending to this seaside tale – one that I would highly recommend you take the time to see if possible.

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All virtual screenings courtesy of Nashville Film Festival and their affiliates