The 75 Best Feature Films of 2022 (So Far)

By Andrew Buckner

*All feature films included herein are based on the criteria of an official 2022 release date in the U.S.*

75. The Unbearable Weight of Massive Talent

Director: Tom Gormican

74. The Batman

Director: Matt Reeves

73. Watcher

Director: Chloe Okuno

72. Dashcam

Director: Rob Savage

71. Monstrous

Director: Chris Sivertson

70. Cyst

Director: Tyler Russell

69. Death Count

Director: Michael Su

68. Dead by Midnight (Y2Kill)

Directors: Davi Crimmins, Eric Davis, Hannah Fierman, Greg Garrison, Melissa Haas, Torey Haas, Jay Holloway, Jenna Kanell, Anissa Matlock, Tony Reames

67. Munich – The Edge of War

Director: Christian Schwochow

66. My Best Friend Anne Frank

Director: Ben Sombogaart

65. Fresh

Director: Mimi Cave

64. White Hot: The Rise & Fall of Abercrombie & Fitch

Director: Alison Klayman

63. Infinite Storm

Director: Malgorzata Szumowska

62. Hatching

Director: Hanna Bergholm

61. Men

Director: Alex Garland

60. Painted in Blood

Director: Aaron Mirtes

59. On the 3rd Day

Director: Daniel de la Vega

58. A Banquet

Director: Ruth Paxton

57. The Seed

Director: Sam Walker

56. The Wasteland

Director: David Casademunt

55. The Cursed

Director: Sean Ellis

54. Livid

Directors: Alexandre Bustillo, Julien Maury

53. No Exit

Director: Damien Power

52. Everything Everywhere All at Once

Directors: Daniel Kwan, Daniel Schienert

51. They Live in the Grey

Directors: Abel Vang, Burlee Vang

50. Deep Water

Director: Adrian Lyne

49. The Sadness

Director: Rob Jabbaz

48. You Are Not My Mother

Director: Kate Dolan

47. Godforsaken

Directors: Ali Akbar, Akbar Kamal

46. Ultrasound

Director: Rob Schroeder

45. Operation Mincemeat

Director: John Madden

44. The Last Thing Mary Saw

Director: Edoardo Vitaletti

43. Jackass Forever

Director: Jeff Tremaine

42. Straight to VHS

Director: Emilio Silva Torres

41. Studio 666

Director: BJ McDonnell

40. Scream

Directors: Matt Bettinelli-Olpin, Tyler Gillet

39. Hellbender

Directors: John Adams, Zelda Adams, Toby Poser

38. Flux Gourmet

Director: Peter Strickland

37. The Hurt We Share

Director: Vega Montanez

36. Nezura 1964

Director: Hiroto Yokokawa

35. Belle

Director: Mamoru Hosoda

34. RRR (Rise Roar Revolt)

Director: S.S. Rajamouli

33. We’re All Going to the World’s Fair

Director: Jane Shoenburn

32. You Won’t Be Alone

Director: Goran Stolevski

31. VHS Love: Cult Cinema Obsession

Director: Tony Newton

30. The Found Footage Phenomenon

Directors: Sarah Appleton, Phillip Escott

29. #Shakespeare’s Sh*tstorm

Director: Lloyd Kaufman

28. Beavis and Butt-Head Do the Universe

Director: Mike Judge

27. The Black Phone

Director: Scott Derrickson

26. Apollo 10 1/2: A Space Age Childhood

Director: Richard Linklater

25. Elvis

Director: Baz Luhrman

24. Strawberry Mansion

Directors: Kentucker Audley, Albert Birney

23. X

Director: Ti West

22 Cow

Director: Andrea Arnold

21. The Innocents

Director: Eskil Vogt

20. Crimes of the Future

Director: David Cronenberg

19. Lux Aeterna

Director: Gaspar Noe

18. Petite Maman

Director: Celine Sciamma

17. Uncle Sleazo’s Toxic & Terrifying TV Hour

Director: Lucky Cerruti

16. Nitram

Director: Justin Kurzel

15. The Outfit

Director: Graham Moore

14. Nocturna: Side A- The Great Old Man’s Night

Director: Gonzalo Calzada

13. Luci and Desi

Director: Amy Poehler

12. The Northman

Director: Robert Eggers

11. Happening

Director: Audrey Diwana

10. Mad God

Director: Phil Tippett

9. Disorienting Dick

Director: Richard Griffin

8. Downfall: The Case Against Boeing

Director: Rory Kennedy

7. The Worst Person in the World

Director: Joachim Trier

6. Lunana: A Yak in the Classroom

Director: Pawo Choyning Dorji

5. A Hero

Director: Asghar Farhadi

4. The House

Directors: Paloma Baeza, Emma De Swaef, Niki Lindroth von Bahr, Marc James Roels

3. Cyrano

Director: Joe Wright

2. Nocturna: Side B- Where the Elephants Go to Die

Director: Gonzalo Calzada

1. Jurassic World: Dominion

Director: Colin Trevorrow

DEATH COUNT (2022) – Movie Review

By Andrew Buckner

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

Death Count (2022), from director Michael Su and screenwriter Michael Merino (with revisions by Rolfe Kanefsky), is a lean, efficient, captivating, and grisly take on Saw (2004) style horror pictures. After a visually bravura and claustrophobic commencing acknowledgements segment, Su’s offering even begins in a related manner to James Wan’s previously stated masterpiece. Continually, there is an explicit mention of Saw, as well as the narratively similar Hostel (2005) from director Eli Roth, in one sly late first act sequence. It involves a montage of news reports. Aside from being an opportunity to address the oft-utilized theme of the operation, the sadistic underbelly of The Internet, this short episode is also a refreshing nod to the photoplays from which it evokes motivation. The presence of Costas Mandylor, who deftly enacted Detective Lieutenant Mark Hoffman in Saw III (2006) through Saw: The Final Chapter (2010) and just as capably depicts the wonderfully ominous Warden in Su’s latest effort, greatly enhances this correlation.

Michael Madsen, who magnificently portrays Detective Casey, delightfully offers his gruff, commanding charm to the material. His bits of dark humor also pepper the proceedings. Yet, none of these items are employed so frequently that they take away from the superbly fashioned and anxiety-fueled tone of the enterprise. The beautifully orchestrated mood of the article skillfully permeates the appropriately brisk 81-minute attempt from the initial frame to the last.

The story concerns a group of eight strangers who find themselves in a foreign environment. They are isolated in holding cells and cannot recall how they got to be in such a situation. Their conditions become even more dire when the frightful Warden announces that they are being forced to play a deadly game. It is one which involves getting the most “likes” on social media. This is achieved by partaking in violent escapades, all of which have a ten-second time limit per unwilling contestant, that revolve around self-harm.

It’s exactly the type of plot one would expect from a tale of this ilk. The characters are also familiar archetypes. The exposition and general development they are handed is satisfactorily dispersed yet garden variety. Even the inevitable climactic reveal of why these individuals were gathered and how they are connected follows suit. The dialogue the central figures are handed is sharper and more successful. Nonetheless, it still falls under the banner of what spectators foresee from such an outing.

Notwithstanding, the film is relentless in terms of its taut pacing and same said tension. The project expertly erects its setup in the initial ten minutes of the venture. From herein, it imaginatively crafts increasingly macabre ordeals for our leads to endure. The account is just as creative in its plentiful and exceptionally well done gory bits. A courtesy of the confident guidance of the vehicle from Su, the solid script, and the all-around high-caliber performances in the construction, the suspense rarely wavers. It is smoothly concocted from the engaging and enigmatic opening to the grimly gratifying conclusion. The latter cleverly hints at a potential sequel.

What is just as impressive is the fascinating way in which the affair combines numerical, literary, and sonic clues which may aid in the contributors’ survival in the second half of the fiction. The quickness and unpredictability with which most of the cast gets slaughtered in the mesmerizing first act is just as noteworthy. Such measures create a welcome balance to the more routine beats of the composition. It also makes the endeavor far more palpable in the nerve-shredding anticipation it brilliantly builds.

From a technical perspective, the work is equally stalwart. The cinematography from Su and music from Scott Glasgow is atmospheric and immersive. I especially enjoyed the incorporation of the fitting track from Psycho Synner, the Jeremy Spencer and Shawn McGee penned “The Torture Never Stops” (2021), during the enthralling end credits. Moreover, the editing from Jeremy Wanek, costume design by Joe Lujan, sound, makeup, stunts, and effects are all outstanding.

Also identified as Numbers, Death Count is a scrappy, in-your-face midnight movie. It isn’t as groundbreaking as the features from which it derives inspiration. Regardless, it will assuredly please those of us who are always frantically searching for a stellar dose of grueling cinematic terror. A Mahal Empire, Mezek Films, and Blaen-Y-Maes Bootleg Films production, Su’s exercise is twisted fun. It’s also one of the best genre undertakings of the year.

Death Count will be released in North America on July 19th, 2022.

The 35 Best Albums/EPs of 2022 (So Far)

By Andrew Buckner

*All albums and EPs included in this list are incorporated herein based on an original release date in 2022.

35. Sad Girl Blues (EP) by Lauren Brabson

34. Back in Black by Cypress hill

33. Dawn FM by The Weeknd

32. Ramona Park Broke My Heart by Vince Staples

31. Driplomatic Immunity by 183rd, Nym Lo, Smoke DZA

30. Get Well Soon by King ISO

29. It’s Almost Dry: Pharrell vs. Ye by Pusha T

28. The Brave by Tom MacDonald, Adam Calhoun

27. The Gospel According to Nikki Giovanni by Javon Jackson

26. Mood Swings (EP) by Real Bad Man, Smoke DZA

25. The Three Fantastic Supermen EPics (EP) by Killah Priest

24. SICK! by Earl Sweatshirt

23. Mr. Morale & the Big Steppers by Kendrick Lamar

22. Onyx versus Everybody by Onyx

21. Peter by Bizarre

20. Firestarter (Original Motion Picture Soundtrack) by John Carpenter, Daniel Davies, Cody Carpenter

19. Super Beast by Madchild

18. Skylar Grey by Skylar Grey

17. Continuance by Curren$y, The Alchemist 

16. Sometimes Y by Yelawolf, Shooter Jennings

15. Tana Talk 4 by Benny the Butcher

14. God Don’t Make Mistakes by Conway the Machine

13. Saturday Afternoon Kung-Fu Theater (EP) by Rza, DJ Scratch

12. No Fear of Time by Black Star

11. Medicine at Midnight by Foo Fighters

10. Zhigeist by Elzhi, Georgia Anne Muldrow

9. Detroit Life 2 by Swifty McVay

8. Renaissance Kings by The Snowgoons

7. Forever by Phife Dawg

6. 1993 by Onyx

5. Czarmageddon! by Czarface

4. Aethiopes by Billy Woods

3. Sentimental Ballad by Teagan Johnston

2. Horrah Scope by Killah Priest

1. I M A M C R U 1 2 by Krs-One

The 21 Best Books of 2022 (So Far)

By Andrew Buckner

*All the books included herein are incorporated into this list based on an original 2022 publication date.

21. City on Fire

By Don Winslow

20. Comedy Comedy Comedy Drama: A Memoir

By Bob Odenkirk

19. Child Zero: A Novel

By Chris Holm

18. Celest

By Sandy Robson

17. Quicksilver

By Dean Koontz

16. Diablo Mesa

By Douglas Preston, Lincoln Child

15. Finn

By Stephen King

14. Road of Bones

By Christopher Golden

13. Monstervsion: The Films of John and Mark Polonia

By Douglas Alan Waltz

12. The Girl Who Outgrew the World

By Zoje Stage

11. Fight or Play Basketball: every shot counts

By Mike Messier

10. Gwendy’s Final Task

By Stephen King, Richard Chizmar

9. Sundial

By Catriona Ward

8. Devil House

By John Darnielle

7. Bless the Daughter Raised by a Voice in Her Head: Poems

By Warsan Shire

6. Liarmouth: A Feel-Bad Romance

By John Waters

5. Sparring Partners

By John Grisham

4. All the Flowers Kneeling

By Paul Tran

3. The Kaiju Preservation Society

By John Scalzi

2. Feel Your Way Through: A Book of Poetry

By Kelsea Ballerini

1 The Rise and Reign of the Mammals: A New History, From the Shadow of the Dinosaurs to Us

By Steve Brusatte

“Fight or Play Basketball” (2022) by Mike Messier (Book Review)

By Andrew Buckner

Rating: ****1/2 out of *****.

Clocking in at a lean 158 pages, Fight or Play Basketball: every shot counts (2022) by filmmaker Mike Messier is a knockout novel. The 44-chapter project is a lot like the lead of the narrative, Jack Scratch. It’s authentic, scrappy, wide-eyed, ambitious, and filled with heart. Moreover, the exercise is elevated by the lively, clear, vivid, and to-the-point prose from Messier. Just as importantly, his paragraphs are never overwhelmed with unnecessary details or figures of speech. In short, his writing is perfect for a young adult audience. The pacing of the work is similarly brisk, efficient, and effective. There isn’t a single excessive or overlong sequence in the effort.

What also enhances the quality of both Messier’s auteurship and the piece overall are the sharply rendered central figures. For example, Scratch is a flawed yet likable and occasionally comedic high school senior that spectators of all ages should find relatable. Scratch’s energetic and defensive mother, Janet Trap, is a constant source of amusement in the fiction. The same can be said of the boxers which assist Scratch on his journey, Karl “Sweet Sugar” Brown and Paveli “Punch” Pangora. They offer elements of humor, inspiration, personality, and leadership to the material. There are even sparks of romance as the duo attempt to win over Trap. Scratch’s basketball coach, “Quick” Rick Steele, is comparatively more garden variety. Nonetheless, he is still a credible and wonderfully developed entity with a pivotal role in Scratch’s life. Such is the case with everyone in the undertaking. In so doing, Messier’s tapestry of realistic dialogue, situations, and characters, as well as their influence on one another, accentuates the richness of the design.

The plot revolves around Scratch: a player of immense skill on the North Providence Cougars basketball team. He has the potential to receive a scholarship from Providence College. There are even whispers that he may be chosen to become involved with the National Basketball Association. His daily muscle-building routines, such as riding his bike in the mornings through North Providence and shooting hoops in the nearby outdoors basketball court, have become a sturdy foundation for him. One morning, his single mother, Trap, is the victim of a failed robbery. The individuals who came to Trap’s rescue during this botched crime, Pangora and Brown, begin to assist Scratch with his boxing abilities at Sweet’s Sweat Box Gym, where they are prominent trainers. As Scratch fosters his abilities on the basketball court and in the boxing ring, he ponders if he should “fight or play basketball”.

Even if the article follows the familiar beats of related items, Messier does a brilliant job of reiterating Scratch’s title-referenced deliberation. Messier specifically addresses where this idea came from in the fascinating “About the Author” section at the end of the tome. Still, there is an intimacy to this inquiry, like all rulings that alter the course of our lives, that is universally relevant. What augments this thoughtful touch, which is so delicately composed throughout the entirety of the volume, is the organic manner with which Messier also taps into the inherent symbolism of this weighty choice.

Boosted by superb cover art design from Nadine G. Messier, which nicely evokes the classically gritty atmosphere of the arrangement, Fight or Play Basketball proudly wears its Rocky (1976) inspiration on its sleeve. This is spied in many of the explicit and indirect references to director John G. Avildsen’s academy-award-winning masterpiece, as well as connected fare, that pleasantly permeate Messier’s opus. Lovingly peppered into the proceedings, these welcome bits align beautifully with the events of Scratch’s story. They also deeply pleased the rampant cinephile in me.

Opening, continuing, and closing in equally strong ways, the latest literary achievement from Messier is excellent on all fronts. True to the spirit of the greatest sports chronicles, it is incessantly entertaining and genuinely motivational. It has a tough edge. However, it is a kind, joyous, and immersive read. Likewise, it doesn’t fully give into the tropes which are anticipated in its finale. The flirtatious relationship between Mindy Kim and Scratch, who bond over their shared interest in athletics, punctuates the emotional accessibility of the venture. It also makes the thematically time-tested yet sturdy construction even more layered. In turn, Messier has crafted a magnificent and passionate coming-of-age drama. It’s one of the best books of the year.

You can purchase Fight or Play Basketball in eBook, hardcover, or paperback format at the following link: https://www.amazon.com/dp/B09VL87KC2/ref=dp-kindle-redirect?_encoding=UTF8&btkr=1.

The 15 Best Short Films of 2022 (So Far)

By Andrew Buckner

*The inclusion of the short films in this list is based on an official release date of 2022.

15. “Bros for Life”

Director: Leo Powell

14. “New Years”

Director: Kris Salvi

13. “Heart Shot”

Director: Marielle Woods

12. “Life’s Good”

Director: Jackson Tisi

11. “Erax”

Director: Hebru Brantley

10. “When the Daemon Takes Hold”

Director: Jackson Batchelor

9. “The Time Travelers”

Director: Killarney Traynor

8. “Not Waving but Drowning”

Director: Thara Popoola

7. “Briefcase Paranoia 2”

Director: Nicholas Hatch

6. “Wanna Play a Game”

Director: Brad Case

5. “Nightcap”

Director: Sam Mason-Bell

4. “A Christmas Card from a Hit Woman in Leominster”

Director: Kris Salvi

3. “Forgive Us Our Trespasses”

Director: Ashley Eakin

2. “Scribbles After Midnight”

Director: Jeremy Arruda

1.“The Blood of the Dinosaurs”

Director: Joe Badon

Runners-Up:

“Two Wrongs”

Director: Damien Nembhard

“Yo!”

Directors: Hamed & Mal

Disorienting Dick (2022) – Movie Review

By Andrew Buckner

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

Disorienting Dick (2022), from director Richard Griffin, functions brilliantly as a witty sex comedy, a political satire, and as a quietly charming and intimate cinematic journey. More specifically, one which concerns the time-tested theme of embracing your true self. It achieves a consummate symmetry of these previously stated elements. This is while being incredibly entertaining throughout its brisk 87-minute runtime. Just as importantly, it never wavers in its ability to make us laugh at the absurd rules and regulations society puts upon its citizens. This is also true of some policies certain parties flat-out ignore. A spectacular gag near the ten-minute mark which involves Covid-19 vaccinations, Republicans, and mask wearing hilariously displays the latter. With all that has been going-on in the world the past few years alone this is something that most will agree is welcome, cathartic, and desperately needed.

What is just as admirable is the pitch-perfect pacing of the project. There is not a single scene in the entire picture which doesn’t directly affect the plot and/or the motivations of the individuals unveiled in the undertaking. With the recent trend of bloated runtimes in Hollywood photoplays that are overstuffed with unnecessary sequences and thin characterizations, Griffin’s always trustworthy aptitude to keep the narrative going without any filler whatsoever while satisfactorily fleshing-out his leads is as refreshing as ever. This is as much a courtesy of the sharp editing and direction from Griffin as it is the smart, sensitive, and superbly structured script from Griffin, Robyn Guilford, and Daniel Martens (who also briefly and confidently plays Dream Pizza Boy/Plumber). Boosted by a remarkable flare for developing the on-screen personas in a way that is graceful and wholly natural, there are just the right amount of honest and tongue-in-cheek instances woven into the consistently clever dialogue. The capacity of this speech to pepper the proceedings with puns and sly meta moments only enhance this already stalwart quality.

Opening with an appealing section that is reminiscent of a 1950’s style educational reel that immediately introduces the delightfully campy and ultimately upbeat tone of the exercise, the plot revolves around Richard “Dick” Whiteman (Graham Stokes). When the identity he is trying to conceal from his Republican Rhode Island mayoral candidate mother, Maureen (Leslie Racine Vazquez), and girlfriend, Pat (Sarah Reed), comes into question he is abducted by the wicked Hyde Hippocampus Clinic. Through their use of extreme forms of mental therapy, they intend to transform “Dick” into a model of conservative ideals. The situation appears bleak for “Dick”. That is, until another group begins to repeatedly kidnap him. This collective is focused on bringing out the side of him which is often spied in the vivid fantasies that fuel his reveries throughout the production.  

Such is a simultaneously timely and timeless storyline that will prove relatable to many spectators. From the above summary alone, it is easy to ascertain how the two establishments that are fighting to take “Dick” down their path of orientation are his own personal struggles with finding himself. This subtle yet accessible symbolism, which is fluently threaded into the fiction, makes Griffin’s venture evermore fantastic. Moreover, the well-shot and elegant erotic segments, though occupied by nudity, are more suggestive than outright explicit. In turn, audiences are offered verified proof of the tasteful and vulnerable approach Griffin injects into what could’ve quickly become raunchy material.

Though many of the central figures, particularly those in antagonistic roles, are given intentionally stock traits in an endeavor to make the humor more palpable, everyone is marvelous. They are all finely cast in what are often purposefully over the top enactments. The sheer likability of the performers and those they depict, especially the protagonists, make this attribute even more perceptible. Stokes and Reed are commanding on this front. Terry Shea is wonderful as Dr. Hyde/Jekyll Hippocampus. Such is a dual representation which showcases opposing personalities.

Boosted by a pleasantly retro commencing and closing credits bit that is eye-popping in its use of black and blue colors, the effort is constantly beautiful and immersive. This is a courtesy of the clean, colorful, inventive, and incessantly striking cinematography from Griffin. It compliments every proficient frame of the affair. The sound design from Griffin is equally crisp and all-around excellent. In related terms, the music from Kissing Contest and Kraig Jordan is catchy and tonally appropriate for the article. The work is further strengthened by the great set construction from Ted Marr. The visual effects from Torey Haas are a standout. There are also some instantly iconic sock puppets created by Margaret Wolf that, like her costume creation in the attempt, elevates the merriment at hand.  

Benefitting from guffaws that elucidate from even the smallest of details, such as names and places and even the entendre-laden title of the outing itself, Disorienting Dick is the funniest movie I have seen all year. Ambitious and layered without being overdone, it is also one of the best features of 2022. It is loving, kind, and joyous. This is despite subject matter that could’ve pointed the arrangement in other directions. The composition is also a testament to the power of film as a source of discovery, expression, and freedom. Filled with Griffin’s distinct perspective and voice, it is endlessly rewatchable and enjoyable. It is a masterpiece of independent art and another unabashedly fun yet bold and thoughtful gem in Griffin’s impressive catalogue.

Writer-Director Lenny Schwartz and Actress Sheri Lee Discuss “The Haunted and the Hunted” (2022): An Interview

By Andrew Buckner

ANDREW BUCKNER: I have the distinct pleasure today of speaking with writer-director Lenny Schwartz and actress Sheri Lee. Welcome! Can you tell us a little about yourselves?

LENNY SCHWARTZ: I was born on the streets of Cranston, RI. For me, writing came at a time when I was considering joining a gang. I was a reckless, angry youth. One day after a family drive by, I started writing plays. That led into screenplays, and here we are! In all seriousness, I am just a lucky guy who has written a lot of plays. I am fortunate enough to be able to still do them. I am lucky to have written numerous screenplays and lucky to have them produced. Now I want to take all of that, and direct my first major feature film, which is something that I have never tried before.

SHERI LEE: I’m a NH based actress (and a mom of 4!) that loves all genres, but I excel in horror. I grew up on some of the greatest horror films. I’ve been dubbed New England’s scream Queen by a few directors now, haha! I’m ecstatic to be a part of Lenny’s film and always wake up feeling honored that he reached out to me that day.

LENNY: My god, it was four years ago I reached out to Sheri. I knew she was a “Scream Queen” and I wanted to deconstruct that.

Lenny, you are currently working on a script for a film you are set to direct, The Haunted and the Hunted (2022). What inspired this work?

LENNY: I always wanted to direct a feature that was unlike anything I had seen. I gave myself some parameters and huge obstacles to put myself into a really hard corner. I kept boiling the film down to essentials, and even took some of those away.

I also wanted to direct a film that was really unexpected for people who know me. I wrote plays which have a lot of dialogue. I didn’t want that. I wanted to take this to a place that is a purely cinematic experience. Something truly horrifying and beautiful.

So, what inspired me? The ambitious idea I had and the thought that this is going to be great.

Sheri, you have a role in The Haunted and the Hunted. What can you tell us about the role?

SHERI: The role in this film is seriously like no other I have taken on before. It is going to be the most challenging, the most emotional, and the most rewarding role to date. I can’t say much about her without giving some of the story away, but I can say that this character will have your attention throughout every second…. I hope I can pull that off.

Sheri, what are you doing to prepare yourself for the role?

Preparation for the role comes with really putting myself in her world. She has a lot of layers and so does the world that you’ll see in the film. Reading the script as much as I can really helps for me to dive right into the whirlwind of her beautiful chaos.

Lenny, you have a Kickstarter campaign for your upcoming film. Can you tell us about it? Also, can you please provide a link for the campaign for those of us who would like to be a part of the project?

LENNY: Yeah, we have a Kickstarter! It is at the link below. I ask that people donate or share it. If we don’t hit our goal, we will keep trying until we do. So, if you are friends with me on social media, pledge share or block me. You’re in it with us.

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Lenny and Sheri, how does The Haunted and the Hunted differ from other productions with which you’ve been involved?

LENNY: I have worked consistently with some of the best people in the business. I am very lucky and fortunate and always have been. I wouldn’t even attempt this without the lessons they imparted upon me and the friendships forged. This will be a very small production with the highest quality possible. I have no other plans to direct anything after this. This is the one.

While it does have horror elements of it, it isn’t just straight up horror. If anything, it’s a deconstruction of genres in a sense and it’s about the dissolution of the American family.

SHERI: This production differs from others mainly for the reason that I’ve been involved as a producer from the start. I love seeing the other side of productions and being a part of the growth.

The atmosphere that this film upholds is amazing and everyone will be in awe. I absolutely cannot wait to bring this to life and to entertain everyone with this extremely unique story.

Lenny, what are your plans for making the film?

LENNY: The plans for making the film will be to raise the most money possible to make the best possible film. I have also been assembling the best possible team for each aspect of this film. Only then, we will make it. But this year for sure.

Lenny, you have an interesting and unique approach to the dialogue and characters in the movie which should really help the work standout from related titles. Can you tell us about these aspects?

LENNY: I don’t want to give away too much except to say that I hear those things a lot. They are my crutches. For writers and directors and even performers, good or bad, we all have our crutches. I was interested in taking those crutches away. That’s all I can say.

Lenny, you’ve directed the brilliant and endlessly relatable political drama Vote M*********** (2020) and co-directed such terrific pictures as Comic Book Junkies (2020), which I have a speaking role in, and Far from Perfect: Life Inside a Global Pandemic (2020). How will the directorial style of The Haunted and the Hunted differ from these other ventures you’ve directed? What unique challenges will the director’s chair bring forth this time around?

LENNY: Thank you for the kind words about the other projects. I think the biggest thing for me on this one is that I will be able to be on an actual, physical set for these as all of those were filmed remotely on cell phones by the performers due to pandemic. It’s going to be nice to work physically with people! But it will be a safe set, both for creating and for the pandemic we are in.

The unique challenge is that I have a clear vision for what I want to see and then realizing it the closest I can to that vision.

Lenny, what has the process of writing the script for the movie been like so far? Do you have a routine for writing you utilize when working on the screenplay?

LENNY: It’s been weird. I finished the first draft in 2015…and now coming back to it again and again over many years has been great. I never get sick of the script and it is always on my mind.

I also reached out to my female friends a ton writing this script as there are feminist themes inherent in this script. I leaned a lot onto Sheri for that as well.

This also has the most action and tension I have ever put in a script. It’s like an anxiety attack that never lets up.

That sounds terrific. I can’t wait to see it.

Lenny and Sheri, is there anything else you would like to discuss that I haven’t asked about yet?

SHERI: I want to thank everyone that has donated so far and encourage others to do so if they can.

Don’t miss out on being part of bringing a truly unique werewolf film like this to life.

LENNY: Thank you to everyone who supported us thus far. The best is yet to come.

Thank you for your time.  I appreciate it. I also wish you all the best of luck on your project.

*The poster art featured above is the work of Mark Michaelson.

The 135 Best Feature Films of 2021

By Andrew Buckner

*The criteria utilized for the inclusion of the feature films in this list is an original 2021 release date in the U.S.*

Please note: This article is a work in progress. Please check back often, as I will be adding more films to the list from the year once I have a chance to view them.

135. Parallel Mothers

Director: Pedro Almodovar

134. Acting

Director: Sam Mason-Bell

133. Red Rocket

Director: Sean Baker

132. Flee

Director: Jonas Poher Rasmussen

131. The Year of the Everlasting Storm

Directors: Anthony Chen, David Lowery, Jafar Panahi, Laura Poitras, Malik Vitthal, Apitchatong Weerasethakul, Dominga Sotomayor Castillo.

130. Slumber Party Massacre

Director: Danishka Esterhazy

129. Come True

Director: Anthony Scott Burns

128. Fear Street Part One: 1994

Director: Leigh Janiak

127. A Journal for Jordan

Director: Denzel Washington

126. The Lost Daughter

Director: Maggie Gyllenhaal

125. Bergman Island

Director: Mia Hansen-Love

124. Werewolves Within

Director: Josh Ruben

123. Don’t Look Up

Director: Adam McKay

122. The Spine of Night

Director: Philip Gelatt

121. Being the Ricardos

Director: Aaron Sorkin

120. The Last Matinee

Director: Maximiliano Contenti

119. Last Night in Soho

Director: Edgar Wright

118. King Richard

Director: Reinaldo Marcus Green

117. Earwig and the Witch

Director: Goro Miyazaki

116. Lamb

Director: Valdimir Johannsson

115. My Heart Can’t Beat Unless You Tell It To

Director: Jonathan Cuartas

114. Agnes

Director: Mickey Reece

113. Extraordinary: The Revelations

Director: Jon Sumple

112. Zeros and Ones

Director: Abel Ferrara

111. Benny Loves You

Director: Karl Holt

110. Red 11

Director: Robert Rodriguez

109. The Night

Director: Kourosh Ahari

108. Siberia

Director: Abel Ferrara

107. Saint Maud

Director: Rose Glass

106. Unknown Dimension: The Story of Paranormal Activity

Director: Joe Bandelli

105. Attica

Directors: Traci Curry, Stanley Nelson

104. The Hand of God

Director: Paolo Sorrentino

103. The Great and Terrible Day of the Lord

Directors: Jared Jay Mason, Clark Runciman

102. The Courier

Director: Dominic Cooke

101. Jakob’s Wife

Director: Travis Stevens

100. The Mitchells vs. the Machines

Directors: Mike Rianda, Jeff Rowe

99. Raya and the Last Dragon

Directors: Carlos Lopez Estrada, Don Hall, Paul Briggs, John Ripa

98. Psycho Goreman

Director: Steven Kostanski

97. Honeydew

Director: Devereux Milburn

96. The Night House

Director: David Bruckner

95. Godzilla vs. Kong

Director: Adam Wingard

94. Nightbooks

Director: David Yarovesky

93. Copshop

Director: Joe Carnahan

92. Nobody

Director: Ilya Naishuller

91. The Voyeurs

Director: Michael Mohan

90. Stillwater

Director: Tom McCarthy

89. Oxygen

Director: Alexandre Aja

88. The Feast

Director: Lee Haven Jones

87. Respect

Director: Liesl Tommy

86. V/H/S/94

Directors: Simon Barrett, Chloe Okuno, Ryan Prows, Jennifer Reeder, Timo Tjahjanto

85. Shang-Chi and the Legend of the Ten Rings

Director: Destin Daniel Cretton

84. Wrath of Man

Director: Guy Ritchie

83. We Need to Do Something

Director: Sean King O’Grady

82. Candyman

Director: Nia DaCosta

81. The Girl Who Got Away

Director: Michael Morrissey

80. Hail to the Deadites

Director: Steve Villeneuve

79. Clerk.

Director: Malcolm Ingram

78. Dune

Director: Denis Villeneuve

77. The Novice

Director: Lauren Hadaway

76. Malignant

Director: James Wan

75. The Eyes of Tammy Faye

Director: Michael Showalter

74. Bob Ross: Happy Accidents, Betrayal and Greed

Director: Joshua Rofe

73. Lapsis

Director: Noah Hutton

72. The Card Counter

Director: Paul Schrader

71. No Time to Die

Director: Cary Joji Fukunaga

70. Enemies of the State

Director: Sonia Kennebeck

69. In the Earth

Director: Ben Wheatley

68. Violation

Directors: Dusty Mancinelli, Madeline Sims-Fewer

67. In the Heights

Director: Jon M. Chu

66. The Medium

Director: Banjong Pisanthanakun

65. Antlers

Director: Scott Cooper

64. Identifying Features

Director: Fernanda Valadez

63. Tina

Directors: Daniel Lindsay, T.J. Martin

62. Seaspiracy

Director: Ali Tabrizi

61. No Sudden Move

Director: Steven Soderbergh

60. House of Gucci

Director: Ridley Scott

59. Summer of Soul (…Or, When the Revolution Could Not Be Televised)

Director: Questlove

58. Malcolm and Marie

Director: Sam Levinson

57. I Blame Society

Director: Gillian Wallace Horvat

56. Passing

Director: Rebecca Hall

55. 17 Blocks

Director: Davy Rothbart

54. Falling

Director: Viggo Mortensen

53. The Dig

Director: Simon Stone

52. One Night in Miami

Director: Regina King

51. Test Pattern

Director: Shatara Michelle Ford

50. Slalom

Director: Charlene Favier

49. Spoor

Directors: Agnieszka Holland, Kasia Adamik

48. Roadrunner: A Film About Anthony Bourdain

Director: Morgan Neville

47. Boris Karloff: The Man Behind the Monster

Director: Thomas Hamilton

46. M.C. Escher: Journey to Infinity

Director: Robin Lutz

45. About Endlessness

Director: Roy Andersson

44. The Man Who Sold His Skin

Director: Kaouther Ben Hania

43. Sator

Director: Jordan Graham

42. Climate of the Hunter

Director: Mickey Reece

41. Dementer

Director: Chad Crawford Kinkle

40. A Quiet Place II

Director: John Krasinski

39. The Boy Behind the Door

Directors: David Charbonier, Justin Powell

38. C’mon C’mon

Director: MIke Mills

37. Censor

Director: Prano Bailey-Bond

36. The Archivist

Director: Eric Hand

35. Jumbo

Director: Zoe Wittock

34. The Mauritanian

Director: Kevin Macdonald

33. Street Gang: How We Got to Sesame Street

Director: Marilyn Agrelo

32. In Search of Darkness: Part 2

Director: David A. Weiner

31. The Power of the Dog

Director: Jane Campion

30. The Last Duel

Director: Ridley Scott

29. Belfast

Director: Kenneth Branagh

28. The Green Knight

Director: David Lowery

27. Licorice Pizza

Director: Paul Thomas Anderson

26. The Mad Women’s Ball

Director: Melanie Laurent

25. Benedetta

Director: Paul Verhoeven

24. Woodlands Dark and Days Bewitched: A History of Folk Horror

Director: Kier-La Janisse

23. Titane

Director: Julia Ducournau

22. The Meaning of Hitler

Directors: Petra Epperlein, Michael Tucker

21. Judas and the Black Messiah

Director: Shaka King

20. MLK/ FBI

Director: Sam Pollard

19. Nomadland

Director: Chloe Zhao

18. In the Same Breath

Director: Nanfu Wang

17. Gunda

Director: Viktor Kossakovsky

16. A Choice of Weapons: Inspired by Gordon Parks

Director: John Maggio

15. Wojnarowicz

Director: Chris McKim

14. A Glitch in the Matrix

Director: Rodney Ascher

13. West Side Story

Director: Steven Spielberg

12. Spencer

Director: Pablo Larrain

11. Nightmare Alley

Director: Guillermo del Toro

10. Bring it Home

Director: Carl Kriss

9. The Father

Director: Florian Zeller

8. Quo Vadis, Aida?

Director: Jasmila Zbanic

7. Acasa, My Home

Director: Radu Ciorniciuc

6. Minari

Director: Lee Isaac Chung

5. 4 Hours at the Capitol

Director: Jamie Roberts

4. The French Dispatch

Director: Wes Anderson

3. This Is Not a Burial, It’s a Resurrection

Director: Lemohang Jeremiah Mosese

2. The Amusement Park

Director: George A. Romero

1. Ghostbusters: Afterlife

Director: Jason Reitman

The 55 Best Albums/ EPs of 2021

By Andrew Buckner

 *The recordings featured in this list are included based on an official 2021 release date.*

55. 30 by Adele

54. Keys by Alicia Keys

53. Cycles (Original Score) by The Alchemist

52. Blacklight by Apollo Brown, Stalley

51. Collapsed in Sunbeams by Arlo Parks

50. Yellow River Blue by Yu Su

49. Bizarre of D-12 Presents Starvin’ Artists (Mixtape) by Various Artists

48. S.O.S (EP) by Rittz

47. Turquoise Tornado by Yelawolf, Riff Raff

46. Bushido by Mello Music Group

45. Imaginary Everything by L’Orange, Namir Blade

44. If It Bleeds It Can Be Killed by Conway the Machine, Big Ghost Ltd

43. Wasteland: What Ails Our People is Clear by Lice

42. Slumafia (EP) by Yelawolf, DJ Paul

41. Squirrel Tape Instrumentals, Vol. 1 by Evidence

40. Mouse on Mars by AA1

39. Mile Zero by Yelawolf, DJ Muggs

38. Shane by Madchild

37. Gary Bartz JID006 by Gary Bartz, Adrian Younge, Ali Shaheed Muhammad

36. Maquishta by Patricia Brennan

35. The American Negro by Adrian Younge

34. Milestones (EP) by Skyzoo

33. The Plugs I Met 2 (EP) by Benny the Butcher, Harry Fraud

32. Haram by Armand Hammer, The Alchemist

31. Throw Aways 96 by Goblin

30. Sound Ancestors by Madlib

29. Season of the Se7en by Bronze Nazareth, Recognize Ali          

28. La Maquina by Conway the Machine

27. Word? by Atmosphere

26. An Evening with Silk Sonic by Silk Sonic

25. Shane 2 by Madchild

24. The Blue of Distance by Elori Saxl

23. Lovesick by Apollo Brown, Raheem DeVaughn

22. Onyx 4 Life by Onyx

21. Ghostbusters: Afterlife: Original Motion Picture Soundtrack by Rob Simonsen

20. Dumpster Juice by Bizarre

19. Exodus by DMX

18. All the Brilliant Things by Skyzoo

17. Autograph by Joell Ortiz

16. The Lost Themes III: Alive After Death by John Carpenter

15. The Last Ride by HRSMN

14. The Lunar Injection Kool Aid Eclipse Conspiracy by Rob Zombie

13. Doe or Die II by AZ

12. Big Sleepover by Big Boi, Sleepy Brown

11. Long Story Longer by Swifty McVay, Ras Kass, Yukmouth, MRK SX

10. Mudmouth by Yelawolf

9. Unlearning Vol. 1 by Evidence

8. Gotham by Talib Kweli, Diamond D

7. Super What? by Czarface, MF DOOM

6. Asin9ne by Tech N9ne

5. Call Me If You Get Lost by Tyler, The Creator

4. Summer End Café by Killah Priest

3. A Beautiful Revolution, Pt. 2 by Common

2. King’s Disease II by Nas

1. Remedy Meets Wu-Tang by Remedy, Wu-Tang Clan