Until the Edge of the World (2019): Drama

Not understanding why her father lies unconscious in a hospital, a little girl’s vivid imagination places him on a journey to the moon.

Daniel Bertram’s writing (but also directing), Serhii Reznik’s and Billy Ray Schlag’s ambient music, Alicia Valencia Pollex’s acting, and Knut Adass’ dark cinematography promise, right off the bat, a tear-jerker; a drama that cannot end up well.

The restricted narrative though adds a mystery to it. The audience knows as much as Flo does, or as much as she understands, if you may. It approaches the tragedy from everyone’s perspective; Flo’s, the mother’s, but also the father’s and the restricted narrative affects them too, as no one knows each other’s thoughts or true feelings. In the case of Flo and her mother, they are even unable to understand each other. Interestingly, only the audience is able to experience the father’s inner world, turning us to omniscient viewers.

It definitely follows an unconventional way to tell the story but don’t cast any stones, yet. How do you experience tragedy? And how would you prepare a little kid for it? At the end of the day, is anyone really ever prepared? From an artistic point of view, scenes such as: the non-boiling milk, the rain during a starry night, the reflections, the mixture of colours turning into clouds, and the animated painting, spark our imagination, significantly reducing the situation’s cynical or orthological approach. For example, I’ve never thought of the moon, the Earth’s satellite, in such a poetic or existential way.

I very much recommend it to whoever is looking for a non-traditional / unconventional storytelling. Until the Edge of the World is quite depressing though and may not suit people who struggle in these difficult times.

Stay safe!

Kajillionaire (2020): Crime / Drama

Petty crime runs in the family so, when an attractive outsider joins them, everything goes.

Can something be funny and depressing at the same time? I was about to say other than Kajillionaire which is funny and depressing at the same time but it is not really funny. Or, is it? I am not entirely convinced how or if it was meant to be funny but I didn’t get it. In a way, and don’t quote me on that, it felt like it was borderline mocking mental illness. And whatever that was, the whole family had it!

Once that was established, it just dragged. I think in an attempt to switch genre? Or, maybe, in an attempt for the audience to experience Old Dolio having a change of heart? Whatever the reason might be, Kajillionaire fails to find meaning but, ultimately, piles up all the eccentricity it can get. For a crime/drama – as per IMDb anyway – the plot is less believable than Independence Day (1996). Other than the family’s mental state, there is no chance on Earth a girl like Melanie leaves the plane with such people and go along with their plans. Yes, she seemed like having a dead-end job, no friends or girlfriend, but, personally, I don’t know anyone who would leave that plane with them. But then, nothing really makes sense in the film so, I think that trying to rationalise surrealistic characters and situations is the wrong approach. Which begs the question, what is the right one?

Writer/Director Miranda July is a magnificent indie filmmaker but I cannot (also) understand how she approached so many producers, among others Brad Pitt, and A-List actors such as Richard Jenkins, Debra Winger, Evan Rachael Wood, and Gina Rodriguez and got them onboard. What was the selling point? For the actors, I guess, is to try something different that not too many people will watch and be as awkward as they want. For the producers? They know they will lose whatever penny they put in and they still do it. And the recognition is next to nothing.

Maybe it’s just me not getting it and you find it far better than I think it is. I didn’t know how to feel throughout the whole film even though all I wanted was for Old Dolio and Melanie to find the love they deserved. And that is, at least, the film’s payoff.

Stay safe!

1BR (2019): Drama / Horror/ Thriller

A young woman, new to Los Angeles, ends up renting a place in a block of flats where the neighbours are not what they seem.

Not knowing anyone from the cast or crew or anything about the film itself, I gave it a shot just for that. I love indies, especially when I know nothing about them and feels like I should have. 1BR was meant to be one of them…

What starts as too coincidental, convenient, and questionable, such as the single, good looking, and kind neighbour, is followed by an interesting first plot point and a second act that promises something extremely sinister. That promise will get your undivided attention… but will almost instantly let you down as it doesn’t live up to it. Here’s the tricky part, though. If you wanted, that promise to be kept, it means that, one way or another, you are into some torture porn or similar so, this film is not for you. If, on the other hand, you were glad that that promise was not kept, it means that even the idea of the concept appalls you so, this film is not for you either. So, who is this film for then? Maybe, you can find a third category.

From where I stand, no half measure ever brought any decent results hence, no one likes them. You either go for it or you don’t. Any reservations on the script will be enormously amplified on the screen. To put it plainly, 1BR is not daring. It teases you with something that, eventually, does not offer. Nicole Brydon Bloom’s acting is more than decent but David Marmor’s script and directing fall into the half measure category. Two, respectively, “full measure” films that didn’t hold back were: The Invitation (2015) – review to follow, and Martyrs (2008): https://kgpfilmreviews.com/2020/11/24/martyrs-2008-horror/. While it could have been The Invitation meets Martyrs, it isn’t. Too many variables should have been different for that to happen.

We can’t really have it both ways in life, and the same applies to films. What also applies to both is that we are free to choose but not free of the consequences.

Stay safe!

Welcome the Stranger (2018): Drama / Mystery

The unexpected arrival of a young man’s sister in his mansion will make both siblings express feelings they have been suppressing for years.

I don’t know how many times I’ve heard people mistakenly calling experimental films or films with nontraditional narrative “artistic” as if traditional, formulaic narrative, namely Hollywood’s, isn’t. Narrative is narrative regardless of what you think of it or call it. Either way, it can be both effective and ineffective. And what might be ineffective for you can be really effective for someone else. Objectivity finds no application in art.

Welcome the Stranger follows, definitely, a nontraditional narrative where nothing is directly explicated (spoon-fed) but rather subliminally implied. In such storytelling, the director, who most of the times also happens to be the writer, is meant to explain their vision to the actors/actresses who, in their turn, are meant to transgress that vision and be part of something that will be, ultimately, interpreted in numerous ways. For example, see what happens at 00:31:50. Is there an explanation given? Is there an explanation needed?

Producer/writer/director Justin Kelly has created a performance-driven mystery/drama where the drama is caused by an unknown or unimportant to the viewer source hence, the mystery and the lack of our understanding regarding their paranoid acting. Abbey Lee, Caleb Landry Jones, and (also producer) Riley Keough play their parts extremely well, giving justice to Kelly’s vision and offering uneasy entertainment for the audience.

Trivial over-dramatization, unnoticed importance, involuntary(?) incestuous attraction, reality’s disillusionment, and oneiric time/space convolution are nothing but a few elements that, combined, they pay tribute to David Lynch’s legacy in the 21st century, and synthesise a nano fragment of our minds’ filmic projection.

Stay safe!

P.S. Abbey Lee and Riley Keough appeared in Mad Max: Road Fury (2015), and Caleb Landry Jones and Abbey Lee appeared the same year in To the Night (2018).

The Cured (2017): Drama / Horror / Sci-Fi

The once-infected world by a disease that was turning people into zombies has now been cured, but those who had turned face now society’s discrimination and wrath for all the things they did.

Reinstatement, remorse, forgiveness, redemption, tolerance, stigmatisation, and family are the exceptional qualities that separate The Cured from the mainstream Hollywood post-apocalyptic zombie outbreak calamity.

I have to thank my mate Gary for reminding me of this one, commenting on #Alive (2020) https://kgpfilmreviews.com/2020/12/12/alive-2020-action-drama-horror/. Acting as a social commentary and fragile post-postapocaliptic metaphor for the real world we currently live in, without getting into historical or sociological analyses, The Cured is indirectly associated with the Irish modern history but also the whole world’s rehabilitation system and the stigma one carries trying to reinstate.

Writer/director David Freyne has done a brilliant job behind the camera, and Sam Keeley gives the justice broken Senan deserves. Actor/producer Elliot Page has always been amazing in everything he’s been in and his acting is a force to be reckoned with.

The (North and South) Irish film school of horror is making huge steps over the last few years, rightfully earning its stripes in the industry. If you are not familiar with Sea Fever (2019) https://kgpfilmreviews.com/2020/04/19/sea-fever-2019-horror-sci-fi/ and A Good Woman is Hard to Find (2019) https://kgpfilmreviews.com/2020/09/24/a-good-woman-is-hard-to-find-2019-crime-drama-thriller/ make sure you spend some time to get around them.

The film’s title would have worked equally well as The Cur(s)ed.

Stay safe!

The Perks of Being a Wallflower (2012): Drama / Romance

A lonely freshman befriends two seniors and gets to experience life for what it really is.

The epitome of modern American indie cinema! Watching it again eight years later, I realised the film hasn’t aged a day. Logan Lerman, Emma Watson, and Ezra Miller make an incredible acting trio and their chemistry lies in the details. Just pay attention to the simplistic beauty when a “baked” Charlie unintentionally tells Sam about his best friend or when Patrick dances on Charlie’s lap during The Rocky Horror Picture Show scene. Even though not saying or doing much, Paul Rudd is inspiring and great addition to the cast.

Author of the book, screenwriter, and director Stephen Chbosky shocks his audience with his character-driven achievement. Each sequence amalgamates with the next and all of them masterfully compose an introvert teenager’s stepping into a life he once only dreamed of. If you’ve watched it, did you even notice that they have no cell phones or that they are not talking about social media? Did you wonder what the date is? Since the first time I watched it, I have learned how to “read” films in a more concise manner. Pay attention to the editing, for example. How much does it give away throughout the film about the ending? In the end, how much do you get to see and how much is left to your imagination during the shockingly culminating scene?

The Perks of Being a Wallflower could have been an entirely different film in the hands of the late John Hughes but, as it stands, it is a must-watch and a reminder that some times, less is more. Its powerful narrative does not try impress anyone. It just captivates everyone.

Stay safe!

P.S. Charlie is an older freshman. I totally missed it the first time as I haven’t read the book but pay attention to the cake’s candles and liaise it later on to the conversation he is having with his brother.

P.P.S My beloved Ioanna, you know this one goes out to you 🙂

Goddess of Love (2015): Drama / Horror / Mystery

Having found out that her boyfriend is cheating on her, a drug addict and mentally unstable woman starts losing sense of reality.

I find it intriguing when people ask me about films I am not aware of and then I wonder, “why don’t I know it”? Well, I don’t want to brag too much but, most of the times, there is a good goddamn reason. Of course, then, I have found myself being oblivious to films I should have known hence, I watch more or less, many of the films people suggest I should “definitely” watch.

Goddess of Love is a pseudo neo-noir that I should not definitely watch. Playing around with words, I could have said that it’s a film that I should definitely not watch. But I’m not gonna put it that way. I just found it awkward, meaningless, and boring. Admittedly, I don’t know anyone from the cast or crew so, I can’t comment on their past work. What I do know though for sure is that if I had a girlfriend like Alexis Kendra, I wouldn’t cheat on her (even with Elizabeth Sandy).

In all fairness, I have never cheated and if haven’t done it so far, I will most definitely not do it in the future. The film touches on infidelity, abandonment, mental illness, drug and alcohol abuse, and eroticism but doesn’t explore any of it, approaching seriously epidemically the human relationships, making every character unlikable, unrelatable, indifferent, pitiful, and I’ll dare to say hateable. Even Venus – not the cat, luv…

I know, there is a twist. But by that point, for the viewer, it is a bit too late. Just to finish on a positive note, Kendra and Sandy are playing their parts quite well.

A Ghost Story (2017): Drama / Fantasy / Romance

A white-sheeted, nostalgic ghost, permanently resides in its home and everything that, in the passage of time, becomes after that.

A friend of mine called me, laughing at IMDb’s reviews on this one. So, even though I don’t really look at reviews before I watch a film, I only read the titles. I’ve seen cases before where reviews are either 1 or 10 and nothing in between, and since the titles were entertaining, I decided to give it a shot.

Let me be clear from the beginning. A Ghost Story is not for everyone! What we are dealing with here is an interesting yet peculiar storytelling with protracted steady medium and long shots that initially make little sense. The narrative unfolds though and life, linearly or not, moves on with just a few edits. Be patient with these shots and think that your life does’t have cuts either. It would also help if you perceived the narration as omniscient – being everywhere simultaneously. During this journey, I couldn’t help but feel the ghost’s loneliness and entrapment. The ability to manoeuvre in time and the inability to do nothing about it. Imagine yourself seeing the world spinning, confined by your questionable existence. An existence that is unknown to everybody as much as it is to you. But still you wait for someone to finally acknowledge this questionable existence you have become. Admittedly, after the ghost’s free fall, the convolution becomes also questionable. But please remember what I said earlier about the non-linear.

Have you ever wondered what the origins of déjà vu are? Cinema is a form of expression. That’s why it’s art. The aforementioned protracted shots make sense somewhere halfway through the film while understanding the narrative and David Lowery’s subjective perception of time and space. Let the mise-en-scène inaudibly “speak” when the silence is deafening. You may be wondering where is she? Has she become a ghost too? Has she gone to a final destination? Is there a final destination? But then think of something that you can, potentially, answer. Who is waiting for you?

Stay safe!

P.S. A few days after I watched it, it came to light that one of the producers was accused of raping one of the film’s young girls. Hollywood’s depravity spreads like pestilence!

Primer (2004): Drama / Sci-Fi / Thriller

Four friends, in an attempt to be innovative, invent something beyond their wildest dreams.

I remember watching Primer coming out of the army. As much as I was into films, I couldn’t “read” them the way I do now and, of course, the physics behind it meant nothing to me then and, respectively, without asking much, I accept it now. Consequently, I cannot comment on it, but I can speak of the filmmaking itself.

The voice over indicates that what we are watching has already happened and, for some reason, their story is worth telling, even though the first act indicates the opposite. So far, it looks like a mockumentary on a bunch of guys who are working on something that even they don’t know what it is. Much less the viewer.

Half an hour into it, the first plot point comes in strong. Both the main characters but also the viewer are now aware that they have invented a time machine. Narrative-wise, I will not reveal anything else. What has already been established is that composer / actor / sound designer / editor / producer / writer / director Shane Carruth, since the opening sequence, has remained meticulous with his writing on both character and story development. By the way, I have never seen anyone taking on so many different roles. Anyway…

What would you do if you knew you could travel in time? What would your thoughts be? What would you be afraid of? What would your reservations be? How far back would you go? Would you acknowledge causality’s dangers? Carruth does an amazing job perplexing even further his low budget’s sci-fi narrative and, at the same time, he maintains the dialogue more realistic than any of could develop it.

I do not understand certain people’s choices. Why isn’t Carruth a household name? Why show so much talent and then let go? Just do another film ten years later and that’s it? I know he struggled but the guy managed to make Primer with… $7,000. This is the most impressive and tiniest nano-budget mind-bending feature ever existed.

Ultimately, I am convinced that the film itself is greater achievement than its invention.

The Wolf of Snow Hollow (2020): Comedy / Horror / Thriller

Brutally savaged bodies pile up in a small mountain town during full moon and an alcoholic sheriff must solve the crimes, keep the town in order, and his estranged daughter safe.

Comedy/horror… How does one put the two opposites successfully together? I don’t know if there is a universal answer but, in this instance, it’s how actor/writer/director Jim Cummings puts them together. The comedic acting contrasts the dark and haunting photography and the soundtrack either adapts to the tone or interestingly causes antithesis. My round of applause though goes to the editing team not for the impressive flash forwards during the killings but for balancing Cummings’ vision on how to find humour in dramatic but also horrific situations.

I’ll deliberately keep this one shorter than usual. Turn the lights off and give it a go. Films such as The Wolf of Snow Hollow can be the escape we need against the depressing and abhorrent reality we currently live in even though we have to return to it eventually.

Last but definitely not least, rest in peace Robert Forster. You will always be remembered.

12 Hour Shift (2020): Comedy / Horror / Thriller

In a local hospital, a drug-addict nurse and her small organ trafficking business “partners” find themselves in dire straights when a transaction goes awry.

Should ever anything happen to you and you end up in the hospital, that is the nurse you need… NOT! And that applies to the rest of the staff, police, family, patients, villains, and every other caricature that decides to appear on screen and lower the IQ to the extreme. But don’t cast any stones yet…

Writer/director Brea Grant spent every penny she had in her pocket, and it wasn’t that many, very wisely. She knew exactly the kind of film she wanted to make and she did. 12 Hour Shift is (almost) as funny as it intended to be, maintaining the horror level to the point that it doesn’t overshadow the main genre – comedy. The editing is the first indicator of this, effectively controlling the pace and rhythm, and keeping the story’s development very tight. Angela Bettis, David Arquette (also the main producer), Chloe Farnworth (who you wouldn’t believe she’s British), Nikea Gamby-Turner, but also the rest of the cast, are meant to be funny and they most certainly are. Amazing chemistry between the actors that will make you, at times, laugh out loud.

Now… I will say that producer/cinematographer/composer Matt Glass knew what he was doing while composing the film’s score. I can see how the soundtrack could potentially come across as annoying, accompanying every sequence of the film but it is there to serve a purpose. And that is none other than to exaggerate on something that it is far-fetched already. The story’s level of implausibility is sky-high, the plotholes are lurking in every corner, and the acting is over the top… DELIBERATELY!

I really do recommend you to watch it. We live in abhorrent times where death is first news. 12 Hour Shift is a horror that will make you laugh, and certainly, for just less than an hour and a half, will make you forget about what’s happening out there. Grant’s intentions are noble and I for one admire her for making such a film.

Stay safe!

Open 24 Hours (2018): Horror

Having just been released from prison for setting her deranged boyfriend on fire, a young woman gets a night job at a petrol station, where her past catches up with her.

Promising opening shots that become too explanatory, too soon. The type of shots that fully increase the plot’s predictability. Keep watching and you’ll see that they also become repetitive too so, even if you spot a good one, chances are that you’ll watch it again (and again) minutes later and it will lose its authenticity. Do not be alarmed though because as you’ll keep watching, you’ll realise that the film is inundated with clichés that are the outcome of the aforementioned shots. Unfortunately, it all starts with the script which just borrowed parts from loving horrors of the 80s and 90s and stitched them, unnecessarily, together. I have the utmost respect for indie films as they do their absolute best for the tiny money they have managed to procure. And here, the film’s budget is not the issue.

The issue is that writer/director Padraig Raynolds decided not to leave a trademark on his film. Other than the above mentioned copies and pastes, the composer shouldn’t have tried to copy Psycho‘s (1960) staccato and the Raynolds shouldn’t have used music throughout the whole film. The power of the diegetic sound is immense, especially in narration, and it should have been used a lot more. Unfortunately, Raynolds raised the implausibility levels sky-high.

Full disclosure: I found Vanessa Grasse, who I first noticed in Leatherface (2017), very attractive so I’m a bit biased. I believe she has a lot to learn about acting and with the right guidance she’ll do really great. I for one, look forward to seeing her in more projects and I hope her natural beauty doesn’t get in the way of her promising career.

To cut the long story short, the story is original but its development screams all the cliches Scream (1996) is on about. Only “virgin horror eyes” will fall for these jump-scares and not even them won’t bother asking (more than they can count), “how the f@!$ did that happen?!” On the flipside, me counting the innumerable gimmicks, momentarily, forgot all about real life’s miseries so what the hell…

Stay safe!

Alone (2020): Thriller

A woman who has suffered a personal tragedy decides to leave everything and everyone behind but a man with sinister intentions will turn her life into a living nightmare.

My stomach was tight and I could hear my heartbeat throughout all three acts and every chapter. If that film title referred to a drama, I would be depressed in advance just by speculating what it is about. In a thriller though, that I admittedly knew nothing about, I had no idea what to expect. It was tempting to cheat and read the logline but I didn’t.

The nonverbal opening sequence speaks volumes; when there’s nothing to say, say nothing. The sequence with the heroine trying to overtake the SUV is defining as it is the inciting incident that marks the way director John Hyams builds up suspense. From then on, it is like a heart attack waiting to happen. The moment Marc Menchaca knocks Jules Willcox’s window, you know that everything is gonna go tits up. I will not give you any spoilers but pay attention to the protracted shot at the pit stop, the close-up in the basement, and Menchaca’s monologue. These are but a few examples of sequences that indicate high quality level of pre-production, and meticulous execution during the production, and consequently, the post-production stage. Needless to say, excellent chemistry between Menchaca and Willcox.

Mattias Olsson, who wrote the original Swedish film Gone (2011), pens the script for the adaptation too, giving it the justice it deserves for the American audience. Well done to all cast and crew who seem to have worked under quite unfavourable weather conditions. My round of applause will go to the department of sound this time for their thorough work on the diegetic sounds. Keep your eyes peeled and your ears wide open for the last Oskar-level shot.

Alone is a spine-chilling thriller about loss and acceptance, and how catharsis can come as wolf in a sheep’s clothing. My challenge for you is to try and find what the villain wants… but also what the villain needs…

Stay safe!

A Good Woman is Hard to Find (2019): Crime / Drama / Thriller

Having recently lost her husband, a young mother is trying to protect her children from poverty and her little town’s underworld.

Goddamn poverty! Goddamn misery! Goddamn drugs! Regardless which triggers which and in what order, the defining opening shot somehow is immediately understood by the shots that follow it. Or is it?

Writer/director of Road Games (2015), Abner Pastoll, directs a gritty Irish thriller with a realistic plague, a surrealist villain, and a down to Earth heroine that has to put up with both while protecting her children. And what a heroine’s journey that is…

Pastoll creates a dark for the audience yet healthy for the actors environment to showcase their chemistry and shine in front of the camera. Sarah Bolger, Edward Hogg, and Andrew Simpson lead the way but the rest of the cast follows and supports them as they should to create this thrilling crime/drama. Much respect for the whole crew that managed to bring this low budget, indie film to life.

Now… I cannot not comment on the dildo… probably the weirdest use(s) I’ve seen outside comedy. One is, unintentionally funny. Or dramatically funny – is there such a thing? Stealing your kids’ batteries from their toys to put them in your vibrator because you are a recently widowed young mum with urges isn’t funny… just funnily portrayed. Come on, I mean, I am sure they knew the mixed reactions the scene would stimulate. On the other hand, stabbing someone’s eye with the same vibrator you satisfy yourself to save yourself from rape is nothing but ironic (but relieving nonetheless).

Despite your feelings towards it, at least, you’ll witness a security system that uses VHS, and you’ll learn what a metaphor is…

Stay safe!

The Deeper You Dig (2019): Drama / Horror

A terrible accident haunts the man who caused it and blurs the line between the living and the dead.

This is why I love indie films. No major studio busting the cast’s and crew’s balls… only the director’s creative decisions… narrative that doesn’t have to abide by conventional rules… You know what I mean? If not, watch The Deeper You Dig and you’ll find out.

The tight script, shot and edited in an experimental American style, will get your attention from the opening shot. The music and the sound department get credits aplenty for truly understanding the writers’ and directors’ vision and creating an eerie and at the same time awkward atmosphere. For that awkwardness though and the weird dissonance there are two more people responsible: the two leading actors, John Adams and Toby Poser, who guess what? They are also the writers, directors but also the producers, editors, and composers. To top it up, they are also husband and wife in real life, and the daughter in the film, Zelda Adams, is their actual daughter as well. A family affair indeed. You wouldn’t believe how their production company is called… Adams Family!

Kudos to all three of them, they’ve done a brilliant job in every department. I wouldn’t call it a horror but definitely an interesting thriller. I will admit that past the… deep supernatural information (no spoilers), the convolution got me to scratch my beard more than once and the ending is nothing like I expected. This merely means that it’s a good or a bad thing but that’s how the creators envisaged it, that’s how they executed it, and I take it as it comes. Extra kudos to the photography and editing. That means, the quirks with the foibles. I hope you do the same.

Stay safe!

Silence (2017): Short / Drama

Silence

The impending apocalypse finds a mother and her autistic daughter spending their last moments together.

Silence is one of these short films that you watch and the first question that comes to your mind is: “What is happening?”. Upon establishing that, the question that follows is: “Why is this happening?” The answer to that lies in the hands of the filmmakers and their effort to get the funding they need to turn it into a feature. Official selection at the Los Angeles Film Festival, so I keep my fingers crossed to be seen by the right people who can add a solid setup and confrontation. Something along the lines of Knowing (2009)?

While discontinuous editing has proved to be innovative and effective in the past – see Breathless (1960) – in Silence this is not the case. I believe though that the strong message, the impressive photography (observe the changes as the doom is nearing), and the great performances by both Louise Rhian Poole and Riann Mutlow will win the impressions and writer Rachael Howard, director Lee Burgess, and producer John Ninnis will come out of the festival with a signed deal that will answer the “why”. You can watch it here: https://www.youtube.com/watch?v=16Gwlb2-gw0

Stay safe!

Mohamed (2001): Short / Drama

Mohamed

In an attempt to save his life, a man enters an apartment building only to realise that his problems will only get worse.

First critical success for the – back then – young student, and writer/director Sergi Rubió who, despite the film’s little flaws, manages to clearly convey his message. It could be an excellent third act about a young man who has struggled his whole life because… he just looks different than the majority of the people around him. About a man who has so much love to give and no one to give it to. Unfortunately, there is so much hatred to get and everyone to get it from. You can watch it here: https://www.reelhouse.org/tropicanofilms/mohamed/4743014

Because some look like you or sound like you or have the same religion as you, it doesn’t mean that everyone else will or has to. No one can claim this world. We might be part of it, but it’s not ours. All of us can equally be a scourge on this planet or a blessing. Choose the latter. Mohamed did.

Stay safe!

Krisha (2015): Drama

Krisha

Having seen her family in years, Krisha returns for Thanksgiving to a seemingly idyllic reunion that couldn’t be more fragile.

Krisha is perception through the legacy of the lens that Hitchcock left behind. Directing, editing, acting, music, and sound mixing split the screen in half and let you into Krisha’s internal world. You will omnisciently follow her into the house, “hack” her cerebral cortex and see and listen through her what lies beneath the surface. Feature debut for actor, writer, editor, and director Trey Edward Shults who successfully pitched his concept to Kickstarter and adapted his own homonymous short Krisha (2014). Ever since the wheels have been set in motion and It Comes at Night (2017) – https://atomic-temporary-153424946.wpcomstaging.com/2019/02/02/it-comes-at-night-2017-horror-mystery – and Waves (2019) (review to follow) have become exceptional additions to the American independent cinema.

In the first act, from the opening shot (be it past or future) the tone is set. The protracted shots and the sound mixing add extra depth to the already relatable story and characters. The second act’s gradual escalation will patiently prepare the ground for what’s coming, and that is none other than an Aronofsky-esque confrontation and act three’s denouement. Watch it and make up your own mind as to what eventually happened. You can’t choose your family, they say…

Fun fact: In both the short and feature version of Krisha, Shults gathered his family members (and a couple of actors) and shot the films in his mother’s house. Yes, most of the people you see on screen are actually related.

Stay safe!

Hush (2016): Horror / Thriller

Hush.jpg

Real-life couple writer/editor/director Mike Flanagan and writer/actress Kate Siegel, beautifully collaborate for a second time making “Hush”. An indie, low budget, home invasion, one location horror with a simple premise that cuts to the chase: A deaf woman needs to survive a masked intruder’s invasion.

“Hush” stands tall amongst giants of the genre such as “The Strangers”, “The Last House on the Left”, “When A Stranger Calls” and more. Flawed, yet effective, proves undoubtedly that jump scares and unnecessary screaming are not horror’s obligatory elements for success. With Flanagan’s enthralling perspective and Siegel’s and Gallagher Jr.’s extremely engaging performances, a well-paced, thrilling hour and twenty minutes will fly-by.

You can find it here: https://amzn.to/2rAkqYo

Wind River (2017): Crime / Drama / Mystery

Wind River.jpg

Underrated “Sons of Anarchy” actor Taylor Sheridan became the writer-director of “Wind River”, an American modern, indie masterpiece.

From the sheer will for survival to the against-all-odds rediscovery of the heroes’ inner, rigid strength, to the subject matter’s tragic truth, “Wind River” gives prominence to the animals’ humanity and the humans’ animality.

I salute all actors who poured their souls into their roles, and Taylor Sheridan who, receiving a lengthy 8′ standing ovation at the Cannes, he deservedly won the Un Certain Regard – Best Director.

You can find it here: https://amzn.to/2StsVQ0