Category Archives: SXSW Film Festival

Documentary, Movie Reviews, Movies, SXSW Film Festival

SXSW REVIEW: “NOTHING LASTS FOREVER” (2022) Showtime

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One of the most fascinating documentaries at SXSW was from director Jason Kohn, who takes on the diamond trade with “NOTHING LASTS FOREVER”. The documentary, takes a good, hard look at the world of diamond cartels and most importantly, of the difference between synthetic and real diamonds. Clue: you won’t know the difference and De Beers Diamond Corp. is of course, involved up to their eyeballs as per usual.

On the one hand, its completely fascinating and shows how diamond companies didn’t just sell a product, they sold an idea of what a diamond is, and what the fairy tale story of getting a diamond is comprised of. On the other hand, it delves deep into the synthetic diamond world with less-than-savoury characters like Martin Rapaport of the Rapaport Diamond group. Rapaport, might just be the true epitome of despicable elitist, as we watch him give a clown-car of a speech of why synthetic diamonds are “boogeyman under the bed”, to an audience of equally elitist people. It’s plainly obvious that anything that comes out of Rapaport’s mouth is said only to protect his financial interests.

Then you have De Beers Diamond EVP for brands and consumer markets, Stephen Lussier, prominently featured in this film. oh De Beers. Being Dutch, you grow up with the idea that De Beers is so good, and so wonderful as many Dutch South Afrikaans, were employed by the company that controlled almost the entire diamond trade from around 1889 thru the early 2000’s. Even in this docu at one point, they paint De Beers as saints that saved Botswana by building schools, highways, giving them medical care etc., but clearing up the idea in it’s own way by cutting to a lion doing some pretty graphic things, essentially letting you know that all that glitters is not real. We now know De Beers essentially used the Botswanian people as slaves to harness and keep the fantasy of a diamond signifying ‘eternal love’, alive. Essentially by telling the ever duped public, the bigger the diamond, the more you’re loved. For anyone who has ever seen “Blood Diamond”, just know that THAT is the more the true story of the diamond world.

Then we have Dusan Simic who simply tells it like it is. Simic is smart gemologist, sort of a madman-type personality, who seems to fall victim of his own creation. He tries desperately to develop technology to differentiate lab-grown diamonds from genuine product. While he lays it all on the line, his technology ideal fully collapses as we see him sadly end up as an Uber driver. While almost tragic to watch, he also ends the film with his new ideal of creating the perfect un-detectable perfect diamond in hand. Who knows if it’s real as we are just left wondering.

Lastly, and probably the most eye-opening and actually quite fun, is Aja Raden. She is woven throughout the film and totally blows the lid off here and is at the heart of Kohn’s diamond rip-off story. With a snarky-ness not usually seen in a documentary of this nature, Raden throws caution to the win and takes down every marketing myth ever created about diamonds. She offers up commentary clearly not the slightest bit concerned with the repercussions on her career it all might have nor her or the diamond industry as a whole, reputation. She is also the only female interviewed here as apparent early on that this is a male dominated industry, which should come as no surprise to anyone. At the end, she formulates probably the best summary of the entire industry: “they, (meaning De Beers) created an illusion so spectacular it turned into truth.” As well, noting “You don’t want people who question things. Those aren’t good consumers.” Facts.

If you’re like me, you stopped believing in the diamond fantasy years ago and seeing something like this let’s you this was the right thing. GIA certified means nothing, one thing is certain from now on, you can’t tell the real thing from a fake any longer. And that difference no longer matters to those making the billions of dollars by not just duping the every-(wo)man here, but the suppressing of billions of diamonds, as well. They are just held in warehouses around the world in order to make you think you are buying into a dream, yet a fake one at that.

Grade: A

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LOOK FOR “NOTHING LAST FOREVER” UPCOMING RELEASE ON SHOWTIME

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

REVIEW: “THE FALLOUT” (2021) SXSW FILM FESTIVAL

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Finishing up my last review of SXSW Film Festival with “THE FALLOUT”, which was hands down one of the best films of the festival. Rather than being just a film on gun control, instead the films takes us through the various reactions and interactions that each person affected by it has after such an horrific event as a school shooting.

Vada Cavell (Jenna Ortega) is a 16 year old high school student who find herself in the school restroom when she hears gunfire starting up. We never see the shooter or the actual shooting itself, instead writer/director Megan Park starts the story from the point of view of Vada and Mia Reed (Maddie Ziegler), as they find themselves hiding in the bathroom stall together in sheer terror of what’s happening outside of the bathroom. While in the stall, a battered young student Quinton (Niles Fitch), runs in to escape the gunfire as well and joins them. It’s important to note that none of them are friends with one another, as it happens to be in most schools, they are in very different friendship circles. Mia is the ‘popular’ girl, and one that Vada and her best friend Will (Nick Ropp), would probably never be friends with, and would also be the ones to make snarky comments about behind her back – most likely something done vise versa with Mia and her friends as well.

Vada, Mia & Quinton form an unlikely bond after the shooting, as Vada’s and Will are having a hard time connecting afterwards. He has channeled what happened to him in a completely different manner than the other three and becomes an anti-gun activist and spokesperson. Vada’s parents, Carlos (John Ortiz) and Patricia (Julie Bowen), are at a loss of how to help their daughter deal with something that no parent should ever have to. Taking the brunt of Vada’s complete change of life is her younger sister Amelia (Lumi Pollack), with whom she was very close to and now has no idea how to even talk about the most basic things of daily life with. Vada and Mia both struggle with their emotions, and start to depend on each other, while Quinton has some serious fallout to deal with as his brother was a victim of the shooting. Not only does he have grief to deal with, but the impact and toll it has taken on him as well, though eventually he and Vada get closer, though not in the way she tries to be. Unable to talk to her parents or deal with her younger sister, Vada does end up seeing a Anna (Shailene Woodley), a therapist with whom she finds it hard to open up to as her life has been forever altered by this tragic event.

With these type of shootings happening weekly here before the pandemic and now once again as things slowly ‘return to normal’, it’s beyond painful to see what anyone has to deal with during such a horrific event, but it’s so much worse when it’s kids. Kids who simply went to school that morning and never make it home and those that survive, aren’t equipped yet to deal with such trauma. It’s no wonder that the films portrays coping mechanisms such as alcohol, sex, and smoking some joints in attempts at self-healing by Vada and her friends. The film also doesn’t shy away from the difficulties they face in returning to school – or returning to anything resembling normalcy after attending the numerous memorial services for their classmates. Again, the writing and direction that Park shows, allows us the audience, to experience every aspect of Vada’s recovery, the good, the bad and the ugly of it all. And then, when we are least expecting it, throws us a gut-punch of an ending that stuns you to the core of your being.

Performances are key here and keep a strong eye on Jenna Ortega as you won’t forget this performance anytime soon and are sure to be seeing a lot of her in the future. Add in the strong writing and direction from Grace Park, and this film is sure to be one to stick with you for a long time to come.

Grade: A+

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Review screening: Courtesy of Prodigy Public Relations

“THE FALLOUT” PREMIERED AT SOUTH BY SOUTHWEST FILM FESTIVAL – FULL RELEASE DATE TBA

Drama, Female Director, Independent Feature, Movie Reviews, SXSW Film Festival

REVIEW: “THE DROVERS WIFE” (2021) SXSW FILM FESTIVAL

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While having not read the short story on which the film is based, being a fan of Leah Purcell was enough to entice me to find out what a Drovers Wife was exactly. A NSW/Australian project, “THE DROVER’S WIFE”, is the full feature version based on Henry Lawson’s short story of the same name, and Purcell not only directs, but plays the lead Molly Johnson aka the Drovers Wife, as well.

Our story is beautifully set in the bleak harshness of the Australian outback and we see Molly give early aid to the new lawman come to town, Sergeant Klintoff (Sam Reid) and his London-born wife Louisa (Jessica De Gouw). Louisa’s goal is to publish a newspaper for women trying to empower them, her husband is set on not having this happen due to wanting to keep up the appearance of being a strong lawman. The film turns out to be somewhat of a message movie for women in mid 19th century Australia, and the world, to be free of fear of abuse from their husbands. We watch and we suffer with and through Molly’s marriage to a abusive alcoholic and unfaithful husband along with her struggles to raise her four children alone.

Director: Leah Purcell as Molly Johnson

It is also a strong statement about racial acceptance as the movie progresses, as we learn from an Aborgine man whom she aids that that Molly herself, might be the child of an mixed marriage. It is especially rough when we see there is a legal effort from neighbors to take the children away from Molly, because they are “octaroons” and is heart-wrenching to watch is when her young son Danny (Malachi Dover-Robbins), overhearing the conversation, and asks his mom what an “octaroon” is. He also witnesses so much more that happens to his mother that no child should ever see.

Molly is among the toughest women portrayed in any western— Australian or otherwise, as she is a crack shot with a rifle and, in the course of the film, dispatches at least 5 people for various justifiable reasons. And the acting throughout is decent, it’s just almost sad that it just starts slow, jumps around a bit too much and you lose the sense of the story at times as some of it just isn’t clear due to those jumps, turning it on it’s dull side. Purcell though, is a remarkably strong female lead in this otherwise bleak tale. It is a tough watch at times but demonstrates the power of one woman’s voice to make changes.

Grade: C+

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Review Screening: Courtesy of k2 Publicity and SXSW Film Festival

Drama, Independent Feature, Movie Reviews, Movies, SXSW Film Festival

REVIEW: “THE END OF US” SXSW Film Festival (2021)

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Ali Vingiano is Leah and Ben Coleman is Nick in co-writer & directors Steven Kanter and Henry Loevner‘s “THE END OF US”. This is a fun jaunty little look at what happens when a four year relationship ends abruptly just as the pandemic is setting in and because of the stay-at-home orders that are kicking in everywhere, we get to go on a very different journey of what would usually happen at the end of a relationship. What happens? You end up being forced to continue to live together. Why the breakup? Well, it seems Leah is the grounded one who holds a real, actual paying job and is just done with carrying the load of the relationship in regards to basic things like rent, food, and bills. While Nick, well Nick lives in a dream world of wanting to writing a screenplay and trying to get the few acting auditions that might be available. So it’s easy to connect the dots when Leah says ‘enough’.

The whole situation is unusual, yet the film makes it all work focusing on the issues the two still had to deal with while living under the same roof as it presented its own challenges. With Nick taking a turn sleeping on the couch as the two come to terms with the fact that they are together more now than…well..when they were actually together. The tension and stress is as prevalent as they confide in Zoom meetings with friends Tim (Derrick Joseph DeBlasis), Lois (Kate Peterman) and Hector (Gadiel Del Orbe), that are sometimes overheard by one another and factors in some of the petty emotions that come into play, as do the real ones as well. Apologies and half-apologies are constant, but we see both Leah and Nick change and grow despite the all the challenges presented to them. The ‘will they’ or ‘won’t they’ of getting back together is freshly done and keeps it compelling enough to watch.

Both lead actors are solid and made it work as their chemistry was great throughout and kept it fun. Along with that, the script is fresh and spot on and made the film work as a whole. There are some ‘moments’ but relatability is the key here. Nice work from all involved here as this one would work whether in a pandemic or not.

Grade: B

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Review Screening: Courtesy of 42West and SXSW Film Festival

Fun note: The End of Us sent me this!!

Documentary, Movie Reviews, SXSW Film Festival

REVIEW: “THE OXY KINGPINS”(2021) SXSW FILM FESTIVAL

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Opened SXSW with this powerful documentary with “The Oxy Kingpins” which gives us an inside look at who is really behind this whole culture of pharmaceuticals and who actually is responsible for the deaths of thousands of Americans from all walks of life..and it’s not the dealers.

Directors Brendan Fitzgerald and Nick August-Perna take to task here interviewing some of the street distributors that ending up spending time in prison for their role in dealing oxycontin, and the startling reveal shows how little the part they actually played in this big scheme of things. ‘Kingpins’ also gives the viewer an up close look at how personally dangerous it can be to try to get information of this dangerous criminal network can be, adding a consequence to making the film engaging and informative. But the narrative is straightforward, not only noting, but giving it the feeling of just how pressing and urgently this problem needs to be dealt with efficiently.

Fitzgerald and August-Pernas’ motive is clear from the get-go in bringing to the forefront the team of lawyers that is fighting to bring the real criminals of this epidemic, the ones that should be held accountable for their actions, to justice. This helps the documentary in its quest to provides a sense of urgency that the audience can easily relate to. One of the biggest assets of this documentary, is that it stays simple in its structure and avoids big courtroom drama as well as any dense or hard to understand terminology around its theme. It specifically addresses its viewers with only the necessary information to understand that this is a matter that has long been treated lightly and nothing was done in the meantime to bring these millionaire CEOs to face justice for their greed. The brave act of exposing the damming behavior of these companies and informing the public of the numbers of victims they leave behind in their trail, is surely one that deserves recognition.

Also noticeable is the sense of delivering more than just unnecessary points of view, but instead showing us actual human stories from the addicted themselves, the dealers, and from those who have lost loved ones to due to it given to them in any quantity requested — well over the amount of what one singular human being could even take. Some towns with populations of a couple of thousand residents at best, is given millions upon millions of doses of Oxycodone and the complicity of the small town doctors and pharmacists who set up ‘pain management clinics’ is also brought to the fore front. This isn’t a film that was created out of a personal vendetta or some type ulterior motive, but it’s an all out exposure of the many entitled companies that use power to hide their footprint under the premise of providing drugs to those who supposedly need them. The fact that The Oxy Kingpins is made with straight up accurate facts and a straightforward delivery of them, gives this story true it’s power. The result is a difficult, deep cutting piece that allows the audience to see the full scope on how pharmaceutical corporations truly operate and is constantly reminding us of the many who lost their lives or were used as pawns in a larger scheme to fill the pockets of these greedy businessmen and the companies they worked for.

Rarely do I get personal in a review – but this affected me personally as someone who has had numerous surgeries I can well attest how at one point in the early 2000’s, they were trying to give it out like Good n Plenty candy and how many doctors tried to give me Oxycontin, as in pushed and pushed it on me. When I finally did try it – thankfully the small amount taken was enough to make me say NOPE! Sadly many people didn’t say no and lost their lives, their families, homes, and included people from all walks of life.

It’s an eye opening look at how those responsible walked away with millions, and those not so responsible ended up in jail or lost their lives.

Grade: B+


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Review Screening: Courtesy of Betsy Ruddnick PR and SXSW Film Festival

Fantasy, Female Director, Horror, Independent Feature, Movie Reviews, Movies, SXSW Film Festival, Thriller

REVIEW: “WITCH HUNT” (2021) SXSW Film Festival

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There isn’t anything better than a good modern day witch story — the kind where you contemplate not only how you would react if they do exist, but if they just randomly turned up in society. Questions would arise to be sure. How would we treat them? How would we make or shift laws for example, to accommodate these ‘magic beings’ and their powers. Luckily we have “WITCH HUNT” from director Elle Callahan to guide us through what those challenges entail.

The film centers on Claire (Gideon Adlon), a young woman whose mother Martha (Elizabeth Mitchell), offers a way station of sorts in Southern California for fugitive witches on the run. It’s essentially a safe haven for witches as they wait to be smuggled out of the country by an Underground Railroad network of sympathizers lead by Jacob (Treva Etienne). With an opening scene of men with rifles presiding over a pale, young red-haired woman being burned at the stake that continually flashes throughout the film as it’s part of the nightmares Claire deals with nightly. We quickly learn from this that witchcraft has been outlawed in the US and a ‘Bureau of Witchcraft Investigations’ not only exists, but it’s agents are officially charged with rounding up offenders and shipping them off to detainment camps. And one such agent of this bureau is Hawthorne (Christian Camargo), and he has no qualms about handling things in the old Salem way. Having witches constantly in and out of her home bends Claire the wrong way and she starts to despise the process. It’s not until Fiona (Abigail Cowen) and her younger sister Shae (Echo Campbell) arrive, Claire reconsiders her prejudice of ideas, and discovers a big secret about herself in the process.

While at times a bit clunky, Callahan still manages to not only give us a good story, good acting, she also incorporates many well-known superstitions about witchcraft. The most pertinent includes the “sink test,” where a woman suspected of practicing witchcraft is bound to a chair, thrown into a body of water and if she surfaces rather than sinking, well then she’s definitely a witch. That Witch Hunt shows this ‘test’ being given by government agents to a group of teenage girls feels especially disturbing. It’s effectively comparing the singling out of one group of people, in this case, white, red-haired woman, in a sneaky and very effective way of noting modern day immigration realities that many are experiencing at this moment — being shown through one of the best modes of political storytelling – the horror movie.

Grade: B-

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Review screening : Courtesy of Falco Ink. PR and SXSW Film Festival

Comedy, Female Director, Independent Feature, Movie Reviews, Movies, SXSW Film Festival, Woman Director

REVIEW: “HOW IT ENDS” (2021) SXSW Online Film Festival

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Shot entirely during the pandemic, “HOW IT ENDS” takes on a delightfully quirky look of a one young woman’s journey of her last day on earth. While it was a bit chilling to note was how the streets of LA were essentially a ghost town, it definitely ended up playing in the movie’s favour. Being that the movie was very minimalistic due to pandemic restrictions, directors Zoe Lister-Jones and Daryl Wein use this to their advantage as it aptly adds to the general aesthetic of the idea that it’s all about to end.  

With the jist of the story being that an armageddon-type meteor is speeding towards a collision course with Earth and will extinguish all life as we know it. Liza (Zoe Lister-Jones), and her younger metaphysical version of herself (Cailee Spaeny), charmingly referred to as “YS,” take to the streets of Los Angeles on a journey to find one last party and instead find themselves on a journey of self-discovery as well. Initially, Liza has no interest whatsoever in attending this party and just wants to hang out by herself and get stoned, eat a pile of pancakes, drink some wine and let it all go. Liza’s only problem is well, Young Liza, who pressures her(self) to attend the Apocalypse Party being thrown by Mandy (Whitney Cummings).

‘How It Ends’ is an interesting and hilarious concept. Some of what makes this film so charming is the realization that until she set out on this journey, no one could see or knew about her ‘YS’, or so she thought. Running into an eclectic cast of characters along the way is all part of the fun and delight here. From a reconciliation with her mom (Helen Hunt), or realizing she wants to tell her ex-boyfriend Nate (Logan Marshall Green), that she really does love him — to hashing out a long overdue grudge with her friend Ali (Olivia Wilde), or stopping by her dad’s (Bradley Whitford), it’s all in a days work when it’s the last day on earth. By using characters and having a metaphysical younger version of themselves works hugely in the film stories favour as it turns out they meet others with the same along the way, only adds to the delight.

While Lister-Jones might be doing triple duty here as a writer/director and lead of the film, its truly Cailee Spaeny that carries us up and off, elevating the entire movie and delivering an impressive performance that I just couldn’t take my eyes off. Truly they are brilliant together, forming an aura of pure enjoyment and putting a smile on every viewers’ face. Keep an eye out for the standout cameos as well as so you don’t miss the appearances by: Finn Wolfhard, Logan Marshall-Green, Fred Armisen, Bradley Whitford, Sharon Van Etten, Olivia Wilde, Lamorne Morris, Helen Hunt, and Colin Hanks.

Honestly, if it ever comes down to the time where all life is about to end, and earth itself is about to cease to exist… you realize you’re left with nothing but yourself, and all the unfinished business you’ll need to deal with so you can die in peace. Doing something that you might regret later is an inevitability of life, but making amends with it shouldn’t be left to an extreme chance or to the very last moment when everything is about to end… and this is a message I can get behind.

Grade: B

@pegsatthemovies

Review screening : Courtesy of 42 West PR and SXSW Film Festival