Review: Impetigore

Fresh off the giddiness of the superhero film “Gundala” (2019), Indonesian writer/director Joko Anwar strikes again with another genre entry “Impetigore” (2020); where he goes back to his horror roots after “Satan’s Slaves” (2017). When it premiered at Sundance earlier this year, it had received a positive reception and this reviewer hopes it will live up to the stellar standards of his filmography. Continue reading Review: Impetigore

Review: “Yes God Yes”

“Yes, God, Yes” is Karen Maine’s semi-autobiographical debut feature film, Maine is best known for being the co-writer of “Obvious Child”. She certainly likes to tackle taboo subject matters and blend them within the comedy genre. In “Yes, God, Yes” Maine explores the story of Sixteen-year-old Alice (Natalia Dyer) who is a devout Catholic. But when an AOL chat turns racy, she discovers masturbation and becomes guilt-ridden. Seeking redemption, she attends a mysterious religious retreat to try and suppress her urges, easier said than done. Things become heated when she meets the very cute Chris (Wolfgang Novogratz) who starts flirting with her. Over the course of four days all kinds of hijacks arise, which sees Alice discovering new secrets that she must fight to keep. Continue reading Review: “Yes God Yes”

Review: The Old Guard

Charlize Theron is the somewhat kinder-hearted real-life Vinnelle for us in films. She gazes down the lens; controlling every angle of power in “Hancock” (2008), “Atomic Blonde” (2017) and now “The Old Guard”(2020). Directed by a notable filmmaker – creator of “Love and Basketball” (2000) and “The Secret Life of Bees” (2008) – Gina Prince-Bythewood opens up Gregory Rucka’s comic book and spray paints her brilliance across the epic myth. Continue reading Review: The Old Guard

Review: Relic

“Relic” argues that the winter of one’s life isn’t just sad and lonely; it’s absolutely fucking terrifying. Not just for the person in question, of course, but for everyone around them. Watching one’s parent age is both an honor, and a great source of stress; a reminder of how lucky you are to continue seeing them, and just how finite life ultimately is. In this directorial debut, Natalia Erika James presents a horror film which centers around this particular sentiment. I just wish she’d dedicated a bit more time to sustaining the pace and, ultimately, the scares. Continue reading Review: Relic

Review: Babyteeth

The best way to describe Shannon Murphy’s engrossing and visually stunning “Babyteeth” is to imagine if Andrea Arnold directed “The Fault in Our Stars”. If this hasn’t piqued your interest already, then bear with me because there’s plenty of more wonderful things to say about this delight of a film.

Based on screenwriter Rita Kalnejais’ play of the same name, “Babyteeth” marks the arrival of an exciting fresh and innovative female filmmaker. Murphy gets extra points from us for selecting an all-female production and direction team, and for tackling the ‘cancer’ rom-com subgenre in a way that doesn’t feel over sentimental or contrived. Continue reading Review: Babyteeth

Review: The High Note

“The High Note” is a film that just bursts onto the screen with the explosive firepower of an atomic bomb. This is a film I can confidently say I am absolutely in love with; a film that I am grateful for because of the mere fact of its existence; a film that both took me by surprise and shifted my thoughts and feelings away from the disdainful situation the world is in. A film so comfy, but significant nonetheless–one that feeds the starved appetite of the tired, worn out soul. Continue reading Review: The High Note

Review: Proximity

What if you were abducted by aliens and no one believed you?  But then, in your attempt for redemption and for others to believe, you find that you may not be alone after all.  That is the premise for the indie sci-fi thriller “Proximity” (2020).

Isaac (Ryan Mason), a NASA scientist, is working on two projects: one for tracking signals of satellites and the other is himself.  Encouraged by his therapist, Isaac starts keeping a video diary.  One day, while out merely filming in nature, Isaac sees a commotion and follows it.  The commotion turns out to be extraterrestrials. Continue reading Review: Proximity

Review: We Summon the Darkness

The best kind of horror film is the one that involves all the trappings of a cliché. Though it might be tempting to posit that those that leave us the most on our toes are ones that are full of novelty and turn the genre on its head, that is surprisingly not always the case. Some of the best horror films are those that readily boast everything we might expect. There is something about being lulled into a false sense of security that is far more compelling than being presented with something so unique that strangeness ceases to be strange. Presented by Signature Entertainment and Frightfest, “We Summon the Darkness” pairs longstanding trademarks of the genre with a contemporary twist, resulting in a brilliant contrast. While it may be filled with scenes we recognize, it certainly makes for a refreshing take. Continue reading Review: We Summon the Darkness

Review: The Shed

When a vampire hides out in the shed, your premise teeters on the brink of ludicrous rather than serious. Frank Sabatella’s “The Shed” (2019) though has serious chomps to take out of the social paradigm of bullying, abuse, and snap judgements, it’s just a shame this all gets wrapped up in the wrong delivery. Stan is a young man (though seven years too old for a high-schooler) who grows up under the vigilant ‘boomer’ antics of his Grandfather, a crotchety, one-note character who seems determined to berate Stan despite the traumatic deaths of his parents. Continue reading Review: The Shed