Category: REVIEWS

Jeremy Gardener’s After Midnight is a horror film that’s perfect date night fodder. It fits being a creature feature, romantic drama and small-town thriller all in to a 90ish minute package. 

The film follows Hank (played by Gardner) and girlfriend Abby (Brea Grant) from the first throws of love, to a decade later where Hank finds a mysterious ‘be back some time’ note left by Abby. Their house is run down, surrounded by luscious swamp foliage typical to Florida. Which makes the fact that a creature tries to break into the house in Abby’s absence creepy yet predictable (in a good way). 

The trend for making horror films represent more (the likes of Babadook or It Comes At Night), has certainly soaked its way into this film. The horror element is almost an aside to the character-driven plot. Whilst a lot of times this leaves films with people googling afterwards ‘such and such film ending explained’, After Midnight’s punch is impactful. 

The performances are endearing, and whilst sometimes the script falls a bit off the rails, the relationships and communities are believable. As hybrid films go, this is a success. It will bring you joy one moment, fear the next, with a chucklesome finish. To top it all off, the cinematography is just gorgeous and the strong use of colour and creature design make this simple movie so much more.

This is a love story that’s accessible to your spouse who either has the Nightmare on Elm Street Boxset, or makes you watch The Notebook every darn Valentine’s Day. 

After Midnight is now available to stream on Arrow Video. 

In classic coming-of-age fashion indie flick “Crshd” follows the life of a college Freshman, Izzy (Isabelle Barbier,) entering her first summer break still being a, you guessed it, virgin. Izzy and her two friends Anuka (Deeksha Ketkar) and Fiona (Sadie Scott) attend a “Crshd” party at their college where everyone gets an invite by their name being submitted as a crush who was chosen by a classmate.

When Izzy finds out she is invited, her main goal ends up being to finally lose her virginity. Where Anuka and Fiona seem to have an easier time discovering their sexuality, Izzy struggles with endearing awkwardness. She has her eyes and heart set on her classmate Nolan (Abdul Seidu,) but ends up fumbling around making unsuccessful attempts at getting his attention when all Nolan really seems interested in is his music and DJ-ing. 

Writer and director Emily Cohn obviously took some notes from “Superbad” (2007) and “Booksmart” (2019) when constructing “Crshd” which is her first feature and a selection from the 2019 Tribeca Film Festival. The film follows the same general plot line as the aforementioned, a friendship trifecta and a virgin amongst them, and I even sensed a small hint of “Can’t Hardly Wait” (1998) mixed in. That being said, this piece really lacks in originality. As a viewer who enjoys teen movies and coming of age stories, and understands there is a certain formula they all follow, this one just doesn’t stick.

The characters are all pretty stereotypical, and there isn’t really any depth here. The actors are young and mostly miss the necessary gravitas to carry an actor driven piece, there wasn’t really a strong anchor that kept the film interesting to watch. The script could have used polish, and the plot fell especially limp in the middle. Izzy never reached an ultimate character arc or had a clear resolution or lesson her character learned, it ultimately left me with a what’s the point feeling.

Regardless, Cohn cleverly interlaces the use of dating app swiping and social media in “Crshd” which I found refreshing. All teens are plugged in in the modern age, and weaving in the fact that teens have their phones nearly glued to their hand at all times is usually distracting and difficult, but Cohn found a way to make it work.

That aspect and the bright neon color grade reminded me of the film “Nerve” (2016) where the phone worked as its own character against a Miami vice splashed palette. The cinematography from DP Saaniya Zaveri was a treat, it really fit the overall vibe of the film and gave it a fun feel.

Though Cohn has potential as a filmmaker and will hopefully have a superior sophomore venture, I’m not sure where “Crshd” can go from here. It could have hit a stride with the youth, but I think the lack of a unique actor, the muddled script, banality, and slow pacing will wither away the potential it had to reach them.

COVID-19’s wide-spread impact has imposed a temporary pause for the theatrical business model, with most 2020 releases reluctantly being pushed back (No Time to Die and Fast 9) or released via Video On Demand services (The King of Staten Island and Trolls: World Tour). Amidst these closures, indie stalwart IFC generated a welcomed surprise with their release of The Wretched, which morphed into a drive-in staple since its May debut (its earned 1.4 million at the US box office in addition to VOD sales). Fitting the midnight genre movie sensibility to a tee, this admirable writing/directorial return for Brett and Drew Pierce can’t quite convey an original, well-rounded experience.

The Wretched follows Ben (John-Paul Howard) a troubled teenager spending the summer with his father (Jamison Jones) after his parent’s divorce. While encountering the familiarity of summer coming-of-age suburbia, Ben soon discovers all is not as it seems when a possessive witch commandeers his next-door neighbors.

Wearing its low-rent genre aspirations on its sleeve, Brett and Drew Pierce approach their familiar narrative framework with aplomb craftsmanship. Drawing inspirations from cult 80s horror pictures like Fright Night and The Thing, the two cleverly cast a cloud of unease from the first frame, with their precise and still framing oozing with tension. Devin Burrows’ orchestral score culminates the suspenseful build-up, playing into the horrific reveals with shock and exhilaration.

Making the most out of their shoestring budget, the Pierces devise some genuinely accomplished horror setpieces. It’s refreshing to see low-budget filmmakers rely more on creative designs and practical ingenuity than substandard CGI, holding their cards close to their chest while constructing a sense of intrigue. After offering mere glimpses at the witch’s design, the duo release a breathless onslaught of well-constructed scares with the third act, dumping buckets of bloodshed while creating a genuine sense of stakes.

The Wretched finds its comfort zone embracing macabre moments, but struggles mightily to find a rhythm outside its eerie set pieces. The unheralded cast hold their own (Piper Curda makes a strong impression as Ben’s bubbly friend), but the Pierces’ barebones script relies solely on familiar archetypes. The summer suburbia angle feels contrived in its schematic design, confusing its nostalgic pastiche for a sense of personality. The Pierces also waste a significant opportunity with their lackluster world-building, relying on a few skimpy asides to construct their central spiritual entity.

Perhaps most frustrating is The Wretched’s inability to engage with its thematically-promising set-up. A witch who makes people forget about their children/siblings could have cleverly portrayed a loss of innocence, acting as an ideal backdrop for Ben’s coming of age journey. However, there’s little interest in exploring the dark depths of this conceit, with offhand mentions at Ben’s drug usage and the fate of his neighbors merely serving as window dressing for the narrative

The Wretched‘s old-school approach should please genre enthusiasts, but its trope-heavy framework derails Brett and Drew Pierce’s promising low-budget craftsmanship.

By Alex Purnell. The Ghost Of Peter Sellers: Review – There’s something gripping about a shipwreck. 

Ghost in the Noonday Sun is an uncomplete 1973 film directed by Hungarian film director Peter Medak, starring un-arguably the biggest name in comedy at that time, Pink Panther and Dr. Strangelove star Peter Sellers. The film, written by Spike Milligan and Evan Jones, had a disastrous production, ill-fated from the get-go. The slapstick pirate comedy was to be filmed partly at sea though it was poorly produced, under-funded, under-scheduled and with the notoriously difficult Sellers as the lead, it was a behemoth of a project headed for a rocky-outcrop.

43 years on, director Peter Medak gives us a retrospective view of the infamous film.

Following how Ghost in the Noonday Sun’s production spanned out, The Ghost of Peter Sellers feels more like a disaster movie, with Medak at the helm for the documentary, it’s a long-form meta explanation of the events that occurred upon and off the shore of Cyprus in 1973 from the perspective of the productions struggling director.

Peter Medak’s therapeutic look at one of the darkest points in his career is a fascinating watch, not only for a historical viewpoint from that era of film but also as an insider perspective of the relationship between Peter Sellers, Spike Milligan and Peter Medak. Sellers, who sabotaged and mentally switched off during the production, is seen through the eyes of Medak not with hate, though. Despite Sellers consistently attempting to seemingly undermine and remove Medak from the production, Medak now instead embraces the late Sellers with care and admiration, taking into account his physical and mental wellbeing.

The doc is both parts humorous and sorrowful, Medak’s approach to re-visiting the film that very nearly ruined his career seems to come from a very genuine desire to heal from the ordeal that still haunts him to this day. The process the cast and crew reportedly went through was nothing less than traumatic, and Medak shares his mixed bag of emotions.

The back and forth of Peter vs. Peter seemed to go on forever, from Sellers reportedly faking a heart attack and returning home mid-shoot to go out partying and even Sellers attempting a coup on the production in an attempt to replace Medak. The two sat down after the film was done and reconciled over booze, with Sellers telling Medak how much he admired and loved him. This was the last time the two spoke, as Sellers died of a heart attack in 1980. 

The Ghost of Peter Sellers is a look back upon Medak’s most torturous production, a moment of clarity and healing, though it manages to look back at this time not only in a negative light but manages to manifest memories of happiness and laughter, lots and lots of laughter.

By Nasu Nguyen.

From the opening shots of Josiah, we are immediately introduced to Brandon, an actor who is  about to audition for the titular role of Josiah, an indentured servant during the end of the Civil War. As he practiced his lines through an audio recording on headphones, a producer calls him over for the audition and misinterprets him practicing his lines to him reenacting a rap video. That moment sparks the beginning of an emotionally nuanced film that dissects the racial tensions of the Hollywood industry. 

Written and directed by Kyle Laursen, he makes bold choices in both the writing and the shot composition. One stylistic choice that stood out was his use of the long take, which is prevalent for a good chunk of the runtime until it chose to break the take around the third act. However, the moment it chose to cut could not have been more appropriate as it showcases an unhinged version of Brandon, who is expressing the sheer anger for the character that he’s playing, yet realizing the correlations between this character and himself. Laursen utilizes the long take to his advantage. On one hand, he guides the audience along with Brandon, on the other hand, he chooses to divert the attention away from him and focuses on the other characters, but every shot feels meticulously crafted to serve each character. I couldn’t help but be reminded of Alejandro G. Inarritu’s Birdman, with it’s similar aesthetic and premise.

The aspect of the long take never felt like a gimmick as it served to match with the overall tone.  Laursen’s direction is visceral. There is this underlying tension that bubbles up throughout the entire film, and part of that is due to the restraint that many of these characters feel. In an industry that is highly strict and competitive, people feel obligated to stay silent to avoid any repercussions. Laursen does a fantastic job of capturing the intense level of suppression in this work environment. Additionally, he fortifies an atmosphere of awkwardness and unease that lingers with you far beyond the credits.  

Laursen’s script in this film is one of the strongest parts of this film. The density of the writing evokes more through the subtext. Laursen offers social commentary on Hollywood’s obsession with telling black stories that focused on the past and their excuses for underscoring the more insensitive aspects of black history. The film relies on ambiguity to drive the narrative, which means that audiences who expect more answers and deeper dives into certain character motivations may be disappointed.

Nevertheless, there is a ton to unpack as it’s a richly layered script that is benefitted from multiple viewings. Laursen shines a light on an issue that is often overlooked in film and television, which is plausible considering how much Hollywood enjoys films that glorify them. During a time where we are having one of the most prolific civil rights movements in history, this film could not be more relevant in its themes.  

The performances in this film are exceptional. It can be easy for someone to tackle a serious subject like this and play it out as melodramatic. Fortunately, that wasn’t the case for this film. Each character knew when to be nuanced and subtle. Kevin Dunn plays the director of this new pilot series and knows when to show authenticity. His character epitomes the good intentions that “White Hollywood” thinks they are doing when telling black stories, but are ultimately blinded by their own ignorance and superiority.

As Dunn’s character provides a rationale for his use of derogatory language, he subconsciously speaks on behalf of every black individual who actually suffered during and before the Reconstruction era of the United States. Luke Forbes is the true star here, delivering a raw and unfeigned portrayal of a black actor and his ambivalence with this role. The sense of containment he must show for this titular character is parallel to his own containment in the acting industry, but even when he releases some of the anguish building up from inside, it’s only in the context of delivering a second take for the audition. Forbes’ is most profound when he is saying no words. Instead, it’s his own facial expressions and mannerisms that speak volumes to his turmoil. 

Laursen’s short film is a pensive examination of how the entertainment industry is fixated on retellings of black history that highlights the oppression and dehumanization of black individuals. Josiah demands the audience to question the motivations of white individuals who spearhead these stories and how it is inherently a form of racism. There was a point in the film where Kevin Dunn’s character talked about how the Civil War may have freed the slaves but they were far from being free men, and the irony in that statement is indicative through the lack of freedom when it comes to how his character wants this story to be told.

The problem resides with the disenfranchised feeling voiceless. As much as it is imperative to showcase the blatant horrors of the black community, there are enough stories that get the message across. Now it’s time to tell original stories of black individuals who are not at the epicenter of slavery, aparheid, or any other facets of racism. The representation of black people being treated as unequal is far too emphasized in film and television and the black community who consume these medias don’t deserve being riddled with reminders of their torture. They deserve to have valuable roles where they aren’t defined as the oppressed. Unless we change these paradigms within society, they will never truly be free.