Dementer (2020) – Movie Review

By Andrew Buckner

Rating: ***** out of *****.

Dementer (2020), from writer-director Chad Crawford Kinkle, establishes an expertly crafted tone of sinister menace, most readily expressed in a perceptibly hand-drawn commencing credits segment, in its opening moments. This sense of uncomfortable, impending doom remains unbroken for every one of its eighty minutes. What also makes the masterful atmosphere that permeates the work so impressive is that it is infused with a similarly well-done air of mystery. This primarily stems from the motivations of the lead character, Katie (in a fantastic and compelling turn from Katie Groshong). It is a question that is playfully teased, with genuinely haunting bits of flashbacks which add to the enigma at hand, throughout the efficient and effective feature.

The plot revolves around Katie embarking on a job. It is one that has her taking care of individuals with special needs. She soon finds herself assisting a resident of her new occupation, Stephanie (Stephanie Kinkle). Yet, there are undertones of darkness to the kindness Katie shows Stephanie. As reoccurring memories of escaping a terrifying spectacle take hold of Katie, her increasingly unpredictable actions make this unspecified wickedness more palpable. What is worse is that they seem to be directing their control over Katie to put Stephanie in danger.

This engaging and superbly developed narrative leads to a conclusion that is as unnerving and unforgettable as the film constantly leads viewers to imagine it will be. It is a powerful punctuation point. Such is one that makes this ominous puzzle-box horror outing, filled with indelible and eye-popping imagery, evermore brilliant. This is especially when considering how sharply everything has been put together.

What I also admired was the documentary-like veneer of many of the scenes. This is especially noteworthy in the stretches where Katie is going about her daily life. For example, the instances early-on where she is being interviewed by her latest employer. This is also reflected just as noticeably when she is performing her duties in her current career. It blends beautifully with the surreal glimpses of intense fear which push us to the finale.

The screenplay from Kinkle is top-notch. Continually, his direction is slyly stylish. What is evermore worthy of appreciation is that this element is never so overdone that it takes away from the admirable foremost concentration on weaving the tale at hand. Moreover, the characters from Kinkle are sufficiently developed and organic. His dialogue is also incredibly authentic and natural sounding. These ingredients certainly help make Dementer an incredibly believable and immersive experience.

This convincing quality is also reflected in the casting. Larry Fessenden is terrific, as always, as the wicked Larry. Brandy Edmiston as Brandy and Stephanie Kinkle are also excellent in this regard. The visually and tonally appropriate cinematography from Jeff Wedding is equally astounding. The music from Sean Spillane is superb. Furthermore, the same said editing from Chad Crawford Kinkle heightens these remarkable values.

In turn, the most recent cinematic exercise from Chad Crawford Kinkle is dazzling, dark, disturbing, and confidently paced. It reminded me of The Blair Witch Project (1999). This is in the way it memorably designs an all-too real feeling of foreboding and increasing underlying suspense. The effort is a knockout. It is a wonderful accumulation of talent in front of and behind the camera. Dementer is destined to endure as one of the best pictures of the year.    

“A Distance from Avalon” (2021) By Mike Messier – Book Review

By Andrew Buckner

Rating: ***** out of *****.

A Distance from Avalon (2021), the debut novella from fellow filmmaker and critic Mike Messier, is a refreshingly subtle and philosophical take on the vampire saga. In a compact and complex ninety-seven pages, Messier weaves the tale of two educators, Joe Humble and a young music instructor by the name of Shadow. Pairing up to enjoy a late October Friday Night, the duo arrives at an ominous mansion entitled Avalon. From herein, the hosts seduce and separate the guests. Immediately afterward, the visitors willingly follow the mysterious figures to separate rooms. At a point near the central mark, the narrative crafts a superb balance of introspection and intrigue. It is one which lasts the remainder of the volume. This is as the leads and their partners for the night gradually unveil secret and sentimental elements of themselves.

What is immediately striking about the tome is that Messier’s screenwriting roots are much intact. For example, the whole book is composed of brief chapters. These sections range mainly from one to two pages. They are so vividly written, yet efficient, that they could easily be scenes in a film. Additionally, every scrap of dialogue reads like a line of poetry: Beautiful, thoughtful, and as economical as the segments in which they are unified.

Messier’s characters, all of whom are terrifically formed and whose monikers greatly enhance the figurative essence of the effort, are equally captivating. They are all distinct, yet intelligent and credible. The individuals who dominate A Distance from Avalon are also enigmatic and insightful. They are well-established components that constantly elucidate the classic, sophisticated atmosphere of the project in spellbinding fashion. Messier uses them to discourse on religion, love, time, mankind, art, and a myriad of related subjects. This is in a way that is intellectually stimulating without appearing unnatural. It is also executed via a method that does not take away from the propulsion of the smoothly paced narrative.

I admired the manner with which Messier frequently avoids the tropes often attributed to such tales of bloodthirsty creatures. What is utilized of these bits is enough to establish a knowledge of the lore of these nocturnal entities. Instead of relying on this heavily, as an easy act of recognition hinging on events the audience has perused in other such exercises, Messier uses this foundation to forge his own path. In turn, this helps build a far more surprising and satisfying story.

In the work, Messier showcases a deft command of tying together all the fine details he has dispersed throughout the enterprise. This is most notable in the finale. In this climactic bit, Messier brings all the cumulative mystery, symbolism, and restraint that he exhibited throughout the endeavor to a compelling and appropriate punctuation point. It is one of the various signs ceaselessly at play of his knack for spinning an exemplary account.

There are also many sly references to the cinema of Messier expertly woven into the volume. The most obvious of these is his phenomenal forty-minute short documentary on the creative process, “Disregard the Vampire” (2017). His brief, and equally good, Fantasy tale, “The Nature of the Flame” (2014), are just as cleverly addressed. These winks at the reader are incredible. This is especially when considering how they organically derive from the attempt. They also operate just as significantly as world-building in the collective universe of Messier’s artistic ventures.

Graced by eye-popping and gorgeous cover art from Nazar Germanov, A Distance from Avalon is an all-around brilliant publication; a literary four-course meal. It is driven by a fantastic plot. Such is one that is given depth and dimension by Messier’s cerebral and refined writing abilities. The piece is intimate, open, ambitious, smartly structured, and perfectly told. Messier has constructed a sensational world of nuance and underlying fear. Masterful in all arenas, the power of this dignified beast is impossible to ignore.

A Distance from Avalon can be purchased in Kindle eBook or paperback format here.

“Making and Unmaking” (2020) – Movie Review

By Andrew Buckner

Rating: ***** out of *****.

In the opening scene of Making and Unmaking, a fantastic and fascinating 62-minute documentary from directors Shaun Rose and Andrea Stangle, Rose speaks of the aspects of his equally captivating debut feature, the “meant to be semi-autobiographical” Upstate Story (2018). He also conveys how the endeavor would become “more truth than fiction”. Herein, he also speaks of his worries of the 60-minute Drama failing. Furthermore, he communicates how this would reflect his own alleged shortcomings.

The honesty with which Rose addresses these feelings and ideas immediately spoke to me as a fellow filmmaker who, admittedly, has my own share of self-doubt in relation to my own work. It is this nature of personal reflection and frankness that is perceivable within every frame of this brilliant and heartfelt project. This is also a glimpse into the myriad reasons why this is essential viewing for any creative-minded individual. It is because a great number of the shortcomings in the artistic process Rose addresses throughout the undertaking, especially early-on, are universal. They will undoubtedly hit home, perhaps uncomfortably at times, for many. Such occurrences help make Rose a relatable and engaging figure throughout the entirety of the endeavor.

Making and Unmaking concerns the triumphs and downfalls, both personally and artistically, Rose experienced while preparing Upstate Story. It also recalls the ups and downs in offering the picture to the film festival circuit. The exercise also goes into intriguing detail on an unfinished film called “Dog Day” (2012-2013), which was stated to be about the technological swing in society. We also get several equally intriguing glimpses into other shorts Rose crafted before Upstate Story. These behind-the-scenes bits, which come largely in the first half of Making and Unmaking, are wonderful. They are quietly touching in their intimacy.

Making and Unmaking benefits from its uniquely independent movie look and tone. This is reflected via the excellent and appropriate-for-the-endeavor cinematography from Rose and Stangle.  Moreover, the interviews and archive footage heighten the emotional intensity and compulsively watchable essence of the production. The script for the endeavor, credited to Bruce Rose Sr. as well as Shaun Rose and Stangle, is well-structured and penned. Continually, the direction from Rose and Stangle is equally deft.

Recorded in New York and made on a reported budget of a mere $500, Making and Unmaking is constantly admirable in the way it handles its complex entanglement of themes and sentiment. Additionally, it is efficient and nicely paced. The attempt evenly balances all that it offers audiences. In turn, the virtuoso effort is also a refreshing affirmation of encouragement. While portraying the numerous avenues of excitement and irritation a single fabrication of imagination can make an individual go through, it, ultimately, showcases the light of joy that radiates when the construction is given to the world and praised. In this respect, as well as all the other regards previously mentioned, Making and Unmaking is a masterpiece; a cinematic four-course meal. It is a must-see which every viewer can somehow grow from and utilize in their own lives. 

Andrew Buckner’s 101 Favorite Films

By Andrew Buckner

101. Tetsuo: The Iron Man (1989)

Director: Shin’ya Tsukamoto.

100. Network (1976)

Director: Sidney Lumet.

99. Mr. Smith Goes to Washington (1939)

Director: Frank Capra.

98. M (1931)

Director: Fritz Lang.

97. Deep Red (1975)

Director: Dario Argento.   

96. Porcile (1969)

Director: Pier Paolo Pasolini.

95. The Changeling (1980)

Director: Peter Medak.

94.  Saving Private Ryan (1998)

Director: Steven Spielberg.

93. The Deer Hunter (1978)

Director: Michael Cimino.

92. The Great Dictator (1940)

Director: Charlie Chaplin.

91. Norma Rae (1979)

Director: Martin Ritt.

90. Taxi Driver (1976)

Director: Martin Scorsese.

89. Clerks (1994)

Director: Kevin Smith.

88. Gone with the Wind (1939)

Directors: Victor Fleming.

87. Suspiria (1977)

Director: Dario Argento.

86. Q: Winged Serpent (1982)

Director: Larry Cohen.

85. The Good, The Bad, and the Ugly (1966)

Director: Sergio Leone.

84. Persepolis (2007)

Directors: Vincent Paronnaud, Marjane Satrapi.

83. Videodrome (1983)

Director: David Cronenberg.

82. At Midnight I’ll Take Your Soul (1964)

Director: Jose Mojica Marins.

81. Eyes Without a Face (1960)

Director: Georges Franju.

80. Kids (1995)

Director: Larry Clark.

79. Pan’s Labyrinth (2006)

Director: Guillermo del Toro.

78. The Lost World (1925)

Director: Harry O. Hoyt.

77. The Texas Chain Saw Massacre (1974)

Director: Tobe Hooper.

76. The Valley of the Gwangi (1969)

Director: James O’ Connolly.

75. The Beast from 20,000 Fathoms (1953)

Director: Eugene Lourie.

74. Fire in the Sky (1993)

Director: Robert Lieberman.

73. 8 Mile (2002)

Director: Curtis Hanson.

72. Contact (1997)

Director: Robert Zemeckis.

71. The House on Haunted Hill (1959)

Director: William Castle.

70. Creature from the Black Lagoon (1954)

Director: Jack Arnold.

69. The Thing from Another World (1951)

Directors: Christian Nyby, Howard Hawks.

68. The Day the Earth Stood Still (1951)

Director: Robert Wise.

67. The Muppet Movie (1979)

Director: James Frawley.

66. Born on the Fourth of July (1989)

Director: Oliver Stone.

65. The Fly (1986)

Director: David Cronenberg.

64. Begotten (1989)

Director: E. Elias Merhige.

63. Gummo (1997)

Director: Harmony Korine.

62. Teorema (1968)

Director: Pier Paolo Pasolini.

61. mother! (2017)

Director: Darren Aronofsky.

60. Freaks (1932)

Director: Tod Browning.

59. The Birds (1963)

Director: Alfred Hitchcock.

58. Rosemary’s Baby (1968)

Director: Roman Polanski.

57. Phantasm (1979)

Director: Don Coscarelli.

56. Holy Mountain (1973)

Director: Alejandro Jodorowsky.

55. Onibaba (1964)

Director: Kaneto Shindo.

54. The Gospel According to St. Matthew (1964)

Director: Pier Paolo Pasolini.

53.  The Best of Youth (2003)

Director: Marco Tullio Giordana.

52. Pi (1998)

Director: Darren Aronofsky.

51. The Dark Crystal (1982)

Directors: Jim Henson, Frank Oz.

50. Enter the Void (2009)

Director: Gaspar Noe.

49. Dead Alive (1992)

Director: Peter Jackson.

48. The Evil Dead (1981)

Director: Sam Raimi.

47. Poltergeist (1982)

Director: Tobe Hooper.

46. Gremlins (1984)

Director: Joe Dante.

45. Ghostbusters (1984)

Director: Ivan Reitman.

44. The Omen (1976)

Director: Richard Donner.

43. Scenes from a Marriage (1974)

Director: Ingmar Bergman.

42. Amarcord (1973)

Director: Federico Fellini.

41. The Cabinet of Dr. Caligari (1920)

Director: Robert Wiene.

40. Nosferatu (1922)

Director: F.W. Murnau.

39. Night of the Living Dead (1968)

Director: George A. Romero.

38. Once Upon a Time…In Hollywood (2019)

Director: Quentin Tarantino.

37. The Dreamers (2003)

Director: Bernardo Bertolucci.

36. Antichrist (2009)

Director: Lars von Trier.  

35. 12 Years a Slave (2013)

Director: Steve McQueen.

34. Double Indemnity (1944)

Director: Billy Wilder.

33. Notorious (1946)

Director: Alfred Hitchcock.

32. La Dolce Vita (1960)

Director: Federico Fellini.

31. Fanny and Alexander (1982)

Director: Ingmar Bergman.

30. The Conformist (1970)

Director: Bernardo Bertolucci.

29. Blue is the Warmest Colour (2013)

Director: Abdellatif Kechiche.

28. Salo, or the 120 Days of Sodom (1975)

Director: Pier Paolo Pasolini.

27. Stalker (1979)

Director: Andrei Tarkovsky.

26. Weekend (1967)

Director: Jean-Luc Godard.

25. Persona (1966)

Director: Ingmar Bergman.

24. Haxan (1922)

Director: Benjamin Christensen.  

23. Amour (2012)

Director: Michael Haneke.

22. Away from Her (2006)

Director: Sarah Polley.

21. Fitzcarraldo (1982)

Director: Werner Herzog.

20. 8 ½ (1963)

Director: Federico Fellini.

19. Life Itself (2014)

Director: Steve James.

18. Life is Beautiful (1997)

Director: Roberto Benigni.

17. The Shining (1980)

Director: Stanley Kubrick.

16. Cinema Paradiso (1988)

Director: Giuseppe Tornatore.

15. Cries & Whispers (1972)

Director: Ingmar Bergman.

14. Seven Samurai (1954)

Director: Akira Kurosawa.

13. Eraserhead (1977)

Director: David Lynch.

12. Dekalog (1989)

Director: Krzysztof Kieslowski.

11. Shoah (1985)

Director: Claude Lanzmann.

10. The Tree of Life (2011)

Director: Terrence Malick.

9. The Seventh Seal (1957)

Director: Ingmar Bergman.

8. Metropolis (1927)

Director: Fritz Lang.

7. Alien (1979)

Director: Ridley Scott.

6. King Kong (1933)

Directors: Merian C. Cooper, Ernest B. Schoedsack.

5. Close Encounters of the Third Kind (1977)

Director: Steven Spielberg.

4. Psycho (1960)

Director: Alfred Hitchcock.

3. The Exorcist (1973)

Director: William Friedkin.

2. Schindler’s List (1993)

Director: Steven Spielberg.

1. Jurassic Park (1993)

Director: Steven Spielberg.

“VHS Forever? Psychotronic People” (2014)- Movie Review

By Andrew Buckner

Rating: ***** out of *****.

VHS Forever? Psychtronic People (2014) from writers and directors, Darren J. Perry and Mark Williams, is a remarkably fascinating, endlessly enjoyable, and compulsively watchable love letter to low-budget horror films, videos, video stores, and the myriad individuals who understood their endearing appeal. It is also a study in the ridiculous lengths the government, the Motion Picture Association of America, and related personages would go to conceal these daring types of art. The 110-minute documentary is filled with intriguing and intimate true life narratives that revel in the former and rightfully vilify the latter. Yet, it is just as much a riveting glimpse into what goes into the production of the title technology. It also operates just as well as a fantastic glimpse into some of the daily fears video buyers and store owners had during the days of the ‘Video Nasties’. A term coined in the United Kingdom in 1982, this refers to a list of often misunderstood terror and exploitation films, like Meir Zarchi’s I Spit on Your Grave (1978) and Sam Raimi’s The Evil Dead (1981), that were banned for their graphic nature. These previously stated brilliant and bold masterpieces are frequently discussed in the picture. This docket of controversial cinema, and the attraction the record had to collectors, is a subject the bulk of the feature unveils with tremendous depth and insight.

These bits give the project a magnificent symmetry and variety. This is as it expounds upon its core theme of the interest derived from VHS. Particularly, the “dangerous” cinematic wonders that may be held within each one. Yet, what functions just as well in Perry and Williams’ endeavor are the lively and charismatic interviews from the creative minds, many of whom are fellow writers and/or moviemakers, who discourse so passionately on the topic at hand. Their stories are infectiously relatable and always engaging. This is most noteworthy in the segments involving Troma Studios co-founder, Lloyd Kaufman. His consistently amusing conversations on the various releases, promotional methods, and censorship troubles of The Toxic Avenger (1984) are a constant highlight. Another section I vastly relished occurs around the fifteen-minute mark. It is an anecdote involving a VHS copy of Pier Paolo Pasolini’s essential and unforgettable swan song, Salo, or the 120 Days of Sodom (1975).

What also heightens my affection, as well as the sheer fun, radiating from the development is that there are even a few successful running gags throughout the venture. Among them is the wind being deemed “Psychotronic interference”. Moreover, the overall aesthetic of the exercise works perfectly in a similar regard. It calls to mind the look of early VHS. This is a dazzling touch. It is one which reiterates the distinct charm found in the cassettes so ardently touched upon in Perry and Williams’ undertaking.

In turn, VHS Forever? Psychotronic People is a must-see for anyone remotely concerned about film, its early home distribution forms, and its history. The labor has obvious esteem for its topic. Regardless, it does not shy away from stating some of the less desirable qualities of VHS with an underlying air of eager reverence. These hints make for an even more open, honest, and varied experience. This refreshing frankness helps make this gem worth seeking out with all the enthusiasm and merriment a collector would search for that one rare, elusive, uncut ‘Video Nasty’ on VHS. Perry and Williams’ feature is pure nostalgic joy.

You can purchase the Blu-ray and DVD of VHS Forever? at http://www.vipcoltd.com!

The 40 Best Albums of 2020

By Andrew Buckner

40. ADHD by Joyner Lucas

39. Detroit 2 by Big Sean

38. Evolution by Joyner Lucas

37. The Devil Hates Sundays by J’L

36. Molocular Meditation by Jan St. Werner

35. Versus (EP) by Jonezen

34. After Hours by The Weeknd

33. Mystic by Mackenzie Nicole

32. Ceremony by Phantogram

31. Closer Than They Appear by Lyric Jones

30. Cut Throat City Soundtrack (EP) by Various Artists

29. My Brother’s Keeper by Kuniva & Swifty McVay

28. The Allegory by Royce Da 5’9

27. EnterFear by Tech N9ne

26. Fear Exodus (EP) by Tech N9ne

25. Guided Meditations (EP) by RZA

24. Pray For Paris by Westside Gunn

23. Who Made the Sunshine by Westside Gunn

22. The Food Villain by The Alchemist

21. Picture Perfect by Rittz

20. Your Birthday’s Cancelled by Iron Wigs

19. RTJ4 Run The Jewels

18. Gorilla Twins by Ill Bill & Nems

17. Alfredo by Freddie Gibbs & The Alchemist

16. No Hermano by Sean Strange

15. Loud Is Not Enough by Public Enemy

14. Felt 4 U by Felt

13. Detroit Life by Swifty McVay

12. Alpha Underdog by Kuniva

11. Extinction Level Event 2: The Wrath of God by Busta Rhymes

10. Seven Times Down, Eight Times Up by Elzhi

9. What You Gonna Do When the Grid Goes Down? by Public Enemy

8. From King to a God by Conway the Machine

7. Summer of Sam by Serial Killers (Xzibit, B-Real, Demrick)

6. Flag by Kxng Crooked

5. Streams of Thought, Volume 3: Cane and Abel by Black Thought

4. King’s Disease by Nas

3. All My Heroes Are Dead by R.A. the Rugged Man

2. A Beautiful Revolution (Pt.1) by Common

  1. Music to Be Murdered By and Music to be Murdered By: Side B by Eminem

The Ten Best Books of 2020

By Andrew Buckner

10. Crooked River
     By Douglas Preston, Lincoln Child.

9. Survivor Song
    By Paul Tremblay.

8. Wonderland
    By Zoje Stage. 

7. Devoted
    By Dean Koontz.

6. The Living Dead
    By George Romero, Daniel Kraus.

5. Ready Player Two
    By Ernest Cline.

4. Home Sweet Home
    By Riley Sager.

3. Chasing the Light
    By Oliver Stone.

2. A Time for Mercy
    By John Grisham.

1. If It Bleeds
    By Stephen King

Runners-Up:

Camino Winds
   By John Grisham

Elsewhere
   By Dean Koontz

The 21 Best Short Films of 2020

By Andrew Buckner

*The inclusion of the short films on this list is based on the criteria of an initial 2020 U.S. release date.

21. “For Milo”
Director: Matthew Gilpin.

20. “Rotten Magnolia”
Director: Tracy Huerta.

19. “Hollow”
Director: Max Buttrill.

18. “Private”
Director: Steve Blackwood.

17. “The Nurturing”
Director: Alex DiVincenzo.

16. “A Rock Feels No Pain”
Directors: Gabrielle Rosson, Kris Salvi.

15. “The Never Was”
Director: Mike Messier.

14. “Exeter at Midnight”
Director: Christopher Di Nunzio.

13. “Waffle”
Director: Carlyn Hudson.

12. “Dear Guest”
Director: Megan Freels Johnston.

11. “Thankless”
Director: Mark Maille.

10. “Wives of the Skies”
Director: Honey Lauren.

9. “Stuck”
Director: Steve Blackwood.

8. “The Dirty Burg”
Director: John Papp.

7. “Being Kris Salvi”
Director: Gabrielle Rosson.

6. “Voices from the Invisible”
Director: Miriam Revesz.

5. “Salvation”
Director: Gabrielle Rosson.

4. “Priest Hunter”
Director: Skip Shea.

3. “Fire (Pozar)”
Director: David Lynch.

2. “Gay as the Sun”
Director: Richard Griffin.

1. “Yesteryear”
Director: Chris Esper.

Andrew Buckner’s 100 Favorite Feature Films of 2020

By Andrew Buckner

*This list is dedicated to the many theaters that were closed or permanently shutdown this year due to the COVID-19 pandemic. Without your ever-comforting presence a pivotal part of the one-of-a-kind artistry, understanding, and universal joy inherent in the cinematic experience will be forever erased.

*Please note that the inclusion of the films in this list are based on an initial 2020 U.S. release date.

100. Cadaver
Director: Jarand Herdal.

99. Nobody Sleeps in the Woods Tonight
Director: Bartosz M. Kowalski.

98. Vampires vs. the Bronx
Director: Osmany Rodriguez.

97. Unhinged
Director: Derrick Borte.

96. Nocturne
Director: Zu Quirke.

95. Have a Good Trip: Adventures in Psychedelics
Director: Donick Cary.

94. His House
Director: Remi Weekes.

93. The Phenomenon
Director: James Fox.

92. Notzilla
Director: Mitch Teemley.

91. May the Devil Take You Too
Director: Timo Tjahjanto.

90. Impetigore
Director: Joko Anwar.

89. Relic
Director: Natalie Erika James.

88. The Rental
Director: Dave Franco.

87. Dead Life: Wormwood’s End
Director: William Victor Schotten.

86. Antebellum
Directors: Gerard Bush, Christopher Renz.

85. Host
Director: Rob Savage.

84. The Mortuary Collection
Director: Ryan Spindell.

83. The Honeymoon Phase
Director: Phillip G. Carroll Jr.

82. Skyman
Director: Daniel Myrick.

81. Bill & Ted Face the Music
Director: Dean Parisot.

80. Tesla
Director: Michael Almereyda.

79. Porno
Director: Keola Racela.

78. Save Yourselves!
Directors: Alex Huston Fischer, Eleanor Wilson.

77. Cut Throat City
Director: RZA.

76. Alone
Director: John Hyams.

75. Elephant
Directors: Mark Linfield, Vanessa Berlowitz, Alastair Fothergill.

74. Close Encounters of the Fifth Kind: Contact Has Begun
Director: Michael Mazzola.

73. Why Don’t You Just Die!
Director: Kirill Sokolov.

72. An English Haunting
Director: Charlie Steeds.

71. The Gentlemen
Director: Guy Ritchie.

70. VFW
Director: Joe Begos.

69. First Love
Director: Takashi Miike.

68. Extra Ordinary
Directors: Mike Ahern, Enda Loughman.

67. Bit
Director: Brad Michael Elmore.

66. Gretel & Hansel
Director: Oz Perkins.

65. #Alive
Director: II Cho.

64. The Invisible Man
Director: Leigh Whannell.

63. Come to Daddy
Director: Ant Timpson.

62. Snatchers
Directors: Stephen Cedars, Benji Kleiman.

61. We Summon the Darkness
Director: Marc Meyers.

60. 1BR
Director: David Marmor.

59. The Lodge
Directors: Severin Fiala, Veronika Franz.

58. Time Warp: The Greatest Cult Films of All-Time Volume 1 Midnight Madness
Director: Danny Wolf.

57. Comic Book Junkies
Directors: Lenny Schwartz, Nathan Suher.

56. Sputnik
Director: Egor Abramenko.

55. Tigertail
Director: Alan Yang

54. A Secret Love
Director: Chris Boln.

53. Far from Perfect: Life Inside a Global Pandemic
Directors: Lenny Schwartz, Nathan Suher.

52. Blow the Man Down
Directors: Bridget Savage Cole, Danielle Krudy.

51. Uncle Peckerhead
Director: Matthew John Lawrence.

50. Rent-A-Pal
Director: Jon Stevenson.

49. The Platform
Director: Galder Gaztelu-Urrutia.

48. Scare Package
Directors: Courtney Andujar, Hillary Andujar, Anthony Cousins, Emily Hagins, Aaron B. Koontz, Chris McInroy, Noah Segan, Baron Vaughn.

47. Bacurau
Directors: Juliano Dornelles, Kleber Mendonca Filho.

46. Scare Me
Director: Josh Ruben.

45. The Hunt
Director: Craig Zobel.

44. Da 5 Bloods
Director: Spike Lee.

43. Possessor Uncut
Director: Brandon Cronenberg.

42. Time
Director: Garrett Bradley.

41. The Vast of Night
Director: Andrew Patterson.

40. Frank & Zed
Director: Jesse Blanchard.

39. The Swerve
Director: Dean Kapsalis.

38. The Trial of the Chicago 7
Director: Aaron Sorkin.

37. First Cow
Director: Kelly Reichardt.

36. The Social Dilemma
Director: Jeff Orlowski.

35. The Assistant
Director: Kitty Green

34. Vivarium
Director: Lorcan Finnegan.

33. Emma.
Director: Autumn de Wilde.

32. Strapped for Danger II: Undercover Vice
Director: Richard Griffin.

31. Family Romance, LLC.
Director: Werner Herzog.

30. The Assassination of Western Civilization
Director: Nathan Suher.

29. Seeds
Director: Skip Shea.

28. Before the Night is Over
Director: Richard Griffin.

27. Rewind
Director: Sasha Joseph Neulinger.

26. The Other Lamb
Director: Malgorzata Szumowska.

25. Color Out of Space
Director: Richard Stanley.

24. Planet of the Humans
Director: Jeff Gibbs.

23. Totally Under Control
Directors: Alex Gibney, Ophelia Harutyunyan, Suzanne Hillinger.

22. Shirley
Director: Josephine Decker.

21. Vote Motherf***er
Director: Lenny Schwartz.

20. Swallow
Director: Carlo Mirabella-Davis.

19. Beastie Boys Story
Director: Spike Jonze.

18. Fulci For Fake
Director: Simone Scafidi.

17. Gremlins: A Puppet Story
Director: Chris Walas.

16. Circus of Books
Director: Rachel Mason.

15. Happy Happy Joy Joy: The Ren & Stimpy Story
Directors: Ron Cicero, Kimo Easterwood.

14. Cleaning up the Town: Remembering Ghostbusters
Director: Anthony Bueno.

13. Borat Subsequent Moviefilm
Director: Jason Woliner.

12. Hamilton
Director: Thomas Kail.

11. Crip Camp: A Disability Revolution
Directors: James Lebrecht, Nicole Newnham.

10. Spaceship Earth
Director: Matt Wolf.

9. Luz: The Flower of Evil
Director: Juan Diego Escobar Alzate.

8. I’m Thinking of Ending Things
Director: Charlie Kaufman.

7. Tommaso
Director: Abel Ferrara.

6. Slay the Dragon
Directors: Chris Durrance, Barak Goodman.

5. Never Rarely Sometimes Always
Director: Eliza Hittman.

4. Beanpole
Director: Kantemir Balagov.

3. Sister Tempest
Director: Joe Badon.

2. The Painted Bird
Director: Vaclav Marhoul.

1. Portrait of a Lady on Fire
Director: Celine Sciamma.

The Andrew Buckner/ AWordofDreams Fall 2020 Short Film Festival- Film #13: “Root of All Evil” (2016)

By Andrew Buckner

The Andrew Buckner/ AWordofDreams Fall 2020 Short Film Festival concludes with its thirteenth short project: “Root of All Evil” (2016). Smartly written and stylishly directed by Alex DiVincenzo, the seven-minute and thirty-four second work is inventive, entertaining and well-acted. The effort also wonderfully personifies the fun and ominous spirit of the Halloween season, when the narrative takes place, in both atmosphere and in the general chain of events which craft the exercise. Winner of Best Film, Best Ensemble Cast, Best Costumes, Best Use of Prop, Best Special Effects and Most Lifelike Severed Part at the 48 Hour Film Project, the masterful exercise is a perfect cinematic treat for fellow horror aficionados.

SYNOPSIS:

After disrespecting an ancient tradition, a Halloween gala featuring a group of friends takes a terrifying and fatal turn.

LINK FOR THE IMDB PAGE FOR THE FILM:

https://www.imdb.com/title/tt6692292/

YOUTUBE LINK FOR THE FILM IN FULL:

* All films shown in this festival are used with the kind permission of the filmmakers themselves.