5 New Poems: “When All Has Been Done to Tend to Dreams”, “To Compose a Thesis on Affection”, “Home”, “Empty Safety Nets” and “Brain Strikes”

By Andrew Buckner

“When All Has Been Done to Tend to Dreams”

When all has been done to tend to dreams
And feet, interests remain stagnant:
One must remember that the most plentiful streams
Often begin with a single willful fragment.

“To Compose a Thesis on Affection”

To compose a thesis on affection
Without knowledge of the subject;
To score a film on rejection
Without awareness of images abject;
To tread in the shoes of a master
Without first grasping the sole of the essentials:
Is to become one with the pace of life, ever-faster-
To divide potential with the consequential.

“Home (Haiku)”

Soft baby fingers
Of home remove the callous
Cracks of the real world.

“Empty Safety Nets (Haiku)”

Empty safety nets
Lead to fearful valleys of
Exhilaration.

“Brain Strikes (Haiku)”

Brain strikes like lightning
Rods in self-serving song storms-
Idle conductor.

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25 Underrated Films of the Past 25 Years

By Andrew Buckner

Whether the film received generally negative reactions from critics and audiences upon its initial release or simply didn’t get the proper attention the feature deserved, the past twenty-five years have been filled with underrated gems. With this in mind, I have prepared a list of twenty-five movies from the aforementioned time frame that deserve a second look. They are included below in alphabetical order. Enjoy!

The BFG (2016)
Director: Steven Spielberg.

Bubble (2006)
Director: Steven Soderbergh.

Cosmopolis (2012)
Director: David Cronenberg.

Film Socialisme (2011)
Director: Jean-Luc Godard.

Fire in the Sky (1993)
Director: Robert Lieberman.

The Fountain (2006)
Director: Darren Aronofsky.

The Fourth Kind (2009)
Director: Olatunde Osunsanmi.

Gummo (1997)
Director: Harmony Korine

The Haunted World of El Superbeasto (2009)
Director: Rob Zombie.

Julien Donkey-Boy (1999)
Director: Harmony Korine.

Kuso (2017)
Director: Flying Lotus.

Love (2015)
Director: Gaspar Noe.

Machete Kills (2013)
Director: Robert Rodriguez.

Matinee (1993)
Director: Joe Dante.

Miracle at St. Anna (2008)
Director: Spike Lee.

mother! (2017)
Director: Darren Aronofsky.

Natural Born Killers (1994)
Director: Oliver Stone.

Prometheus (2012)
Director: Ridley Scott.

Red State (2011)
Director: Kevin Smith.

Silence (2016)
Director: Martin Scorsese.

Storytelling (2002)
Director: Todd Solondz.

The Strange Color of Your Body’s Tears (2014)
Directors: Helene Cattet, Bruno Forzani.

Tideland (2005)
Director: Terry Gilliam.

What Dreams May Come (1998)
Director: Vincent Ward.

The Words (2012)
Directors: Brian Klugman, Lee Sternthal.

A Word of Dreams’ 21 Favorite Films of 2018 (So Far)

By Andrew Buckner

*Please note that the films included are based on a 2018 U.S. release date.

21. Incident in a Ghostland
(Director: Pascal Laugier)

20. They Remain
(Director: Philip Gelatt)

19. The Endless
(Directors: Justin Benson, Aaron Moorhead)

18. Upgrade
(Director: Leigh Whannell)

17. Unsane
(Director: Steven Soderbergh)

16. My Hero’s Shadow
(Director: Justin Young)

15. Ready Player One
(Director: Steven Spielberg)

14. Thoroughbreds
(Director: Cory Finley)

13. Revenge
(Director: Coralie Fargeat)

12. The Insult
(Director: Ziad Doueiri)

11. The Death of Stalin
(Director: Armando Iannucci)

10. Annihilation
(Director: Alex Garland)

9. A Quiet Place
(Director: John Krasinski)

8. Isle of Dogs
(Director: Wes Anderson)

7. The Tale
(Director: Jennifer Fox)

6. Tully
(Director: Jason Reitman)

5.You Were Never Really Here
(Director: Lynne Ramsay)

4. Loveless
(Director: Andrey Zvyagintsev)

3. King Cohen
(Director: Steve Mitchell)

2.Hereditary
(Director: Ari Aster)

1.Jurassic World: Fallen Kingdom
(Director:J.A. Bayona)

“The Love Children: A Tale in Seven Pantoum Poems” By Andrew Buckner

THE LOVE CHILDREN:
A TALE IN SEVEN PANTOUM POEMS

By Andrew Buckner

I.

In the back alleys of Dave Sivo’s clinic
The illegal human reassignment surgery was performed.
It was advertised as a cure for the sick
That had become for mankind the norm.

The illegal human reassignment surgery was performed-
It transformed men into pythons, women into gill-fish goddesses.
That had become for mankind the norm-
It started in hopes to relieve their stress.

It transformed men into pythons, women into gill-fish goddesses.
It was advertised as a cure for the sick.
It started in hopes to relieve their stress.
In the back alleys of Dave Sivo’s Clinic…

II.

As the years passed, the alteration succeeded
Thousands of times, the masses
Saw it as an escape, a second chance, from the disease which bled
All goodness, kindness from the human classes.

Thousands of times, the masses
Which were rehabilitated became harder to ignore.
All goodness, kindness from the human classes
Remained in the DNA of the different, while all else declared war.

Which were rehabilitated became harder to ignore-
Saw it as an escape, a second chance, from the disease which bled-
Remained in the DNA of the different, while all else declared war-
As the years passed, the alteration succeeded…

III.

…It expanded and new sexes, species were born.
All of them were from the patron’s imagination.
Some wanted to be beautiful, others purposefully torn;
Deformed in face, with exposed body pimples, indignations.

All of them were from the patron’s imagination
For they soon knew that such sights
Deformed in face, with exposed body pimples, indignations
Were part of Earth’s betterment; a way to embrace surface imperfections, fright.

For they soon knew that such sights-
Some wanted to be beautiful, others purposefully torn-
Were part of Earth’s betterment; a way to embrace surface imperfections, fright…
…It expanded and new sexes, species were born.

IV.

They called themselves “The Love Children”.
They knew that their mere existence
Was enough to mirror the potential of the most backwards of men.
They embraced all that was said to be ugly (True luster, in a sense).

And they knew that their mere existence
Was more impactful than the fateful bullet; hate’s repugnant song-
They embraced all that was said to be ugly (True luster, in a sense).
And by never firing a gun, flailing a knife or speaking ill they echoed that throng.

Was more impactful than the fateful bullet; hate’s repugnant song-
Was enough to mirror the potential of the most backwards of men-
And by never firing a gun, flailing a knife or speaking ill they echoed that throng-
They called themselves “The Love Children”.

V.

In so doing, those that held onto their anger gradually diminished-
No one can possibly live healthily in such a continuously deflated state-
And quickly the number of those that came to Dave Sivo’s Clinic with the same wish
Did exponentially inflate.

No one can possibly live healthily in such a continuously deflated state-
And when unrealized ambitions, images became reality;
Did exponentially inflate-
Violence, aggression lost its primitive appeal to some; peace was Earth’s gravity.

And when unrealized ambitions, images became reality
And quickly the number of those that came to Dave Sivo’s Clinic with the same wish-
Violence, aggression lost its primitive appeal to some; peace was Earth’s gravity-
In so doing, those that held onto their anger gradually diminished.

VI.

As the faces, overall appearance of everyone, became wildly different
Conformity became the target of criticism.
Though civilization once pondered a new name for humanity, the intent
Remained to remember our flaws, but never return to such a shallow prism.

Conformity became the target of criticism.
Thus, once proudly erected walls of materialism were left standing.
Remained to remember our flaws, but never return to such a shallow prism-
The currency was kindness. The retired lifting of backbreaking jobs was outstanding.

Thus, once proudly erected walls of materialism were left standing.
Though civilization once pondered a new name for humanity, the intent-
The currency was kindness. The retired lifting of backbreaking jobs was outstanding.
As the faces, overall appearance of everyone, became wildly different…

VII.

…Everyone reverted to calling themselves “Human”
For the initial factor of our genus, hope, had been restored.
The lessons learned became a new brand of evolution.
In so doing, we grew gills and guts instead of spilling gore.

For the initial factor of our genus, hope, had been restored-
It was the goal that every child from therein would not loose stride.
In so doing, they grew gills and guts instead of spilling gore
And, in turn, flesh and country again became a thing of pride.

It was the goal that every child from therein would not loose stride-
For the initial factor of our genus, hope, had been restored.
And, in turn, flesh and country again became a thing of pride
…Everyone reverted to calling themselves “Human”.

“My Hero’s Shadow” – (Movie Review)

By Andrew Buckner

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

My Hero’s Shadow (2018), the debut feature from writer-director Justin Young, is a fascinating, intimate and in-depth documentary. It explores the themes of family, forgiveness, judgment and perspective to masterful effect. Utilizing one-on-one discussions and a quietly poignant style that works wonderfully for the endeavor, Young crafts an arrangement that is as thoughtful as it is absorbing. There is also a distinct message of unyielding love, and that no one is purely noble or nefarious, at the heart of the piece. Such welcome notions make the exercise evermore timely and resonant.

Young’s configuration is a meditation on the man who struck Nancy Kerrigan with a baton in 1994, Shane Stant. His private accounts, especially when addressing what led him to engage in such an action, are certainly eye-opening. Yet, the brilliance of the film emerges from the story being reflected through the compassionate viewpoint of Shane’s sister, Maile. She was only three years old when the incident took place. In so doing, her memory of her brother is shaped from who Shane became after the previously stated occurrence. The foundation of the undertaking is erected when Maile meets with Shane 20 years after the attack. This is to openly converse on what transpired that day at Cobo Arena.

Such is an undoubtedly gripping topic. It is one which Young handles in a manner that finds poetry in simple sights and communions. For instance, there is a memorable sequence where Maile speaks of an individual who found growth and tranquility in watching a sun rise for 142 days in a row. The glimpses into Shane and Maile’s childhoods that course throughout the project are just as harrowing. Such insights allow audiences to leave the 78-minute venture with a well-rounded sense of who these two people are personally. The bits that go into Shane’s public perception are just as well-done.

With its economical length, efficient pace and technically skillful construction, Young’s exertion is a surefire triumph. Its alternately melancholy and inspiring tones deepen the picture of Maile and Shane that Young thoroughly paints. This is also true of those who have impacted the lives of the duo. In turn, Young formulates an incredibly illuminating composition; a tour de force that compels viewers to see the humanity in others. My Hero’s Shadow, which is currently seeking distribution, is a must-see!

(Unrated).

“Hide in the Light” – (Movie Review)

By Andrew Buckner

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

Hide in the Light (2018), the debut feature from co-writer and director Mikey McGregor, is moody, spectacular supernatural horror. The efficient and well-mounted 80-minute film effectively utilizes the time-honored device of the sinister being lurking unseen in the darkness. This is most noteworthy in the tense and exciting second half of the arrangement. Yet, the feature is so well-made, paced and tense that it never ceases to feel fresh and exciting. Richard Albert’s wonderfully creepy music, McGregor’s brilliant behind the lens work and Gonzalo Digenio’s rich cinematography only make the production evermore haunting and memorable. These qualities are enhanced by the stunning performances present throughout the endeavor. For example, Eric Roberts offers a phenomenal depiction as Father Wes. Additionally, Jesse James is terrific as Todd. The same can be said of Lindsay Lamb’s engaging depiction of Becca.

McGregor’s movie tells the tale of a group of thrill-seeking friends. They break into the fictional Saint Petersberg Orphanage in hopes of exploration. In so doing, they find themselves being stalked by paranormal forces. Eventually the credibly etched and relatable protagonists on-screen unveil that they can only find safety by doing as the title suggests. The symbolism of such an act, especially in a religious sense, is applied intriguingly to the project. This is without the notion ever being overdone.

Such a solid narrative foundation calls to mind David F. Sandberg’s Lights Out (2016) in its concept. Yet, McGregor’s fabrication is comparable to James Wan’s modern haunted house masterpiece The Conjuring (2013) in its ability to unnerve. This is evident in the chilling five-minute prologue of the endeavor. It is set in 1966. In turn, McGregor and his fellow scripters Cynthia Bravo (who deftly plays Karen) and Digenio craft a tale that is as scary as it is entertaining. Hide in the Light is imaginative and harrowing; an instant genre classic! It will be released by High Octane Pictures later in the year.

(Unrated).

“Hell’s Kitty” – (Movie Review)

By Andrew Buckner

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

Hell’s Kitty (2016), the 98-minute sophomore feature from writer-director Nicholas Tana, is an affectionate and wildly hilarious sendup of the ardent bond between owner and pet. It also successfully operates as a loving parody of the horror genre. Particularly, the compositions of literary maestro Stephen King. Additionally, sly references to classic films rooted in this genre abound. Nods to Ghostbusters (1984), Poltergeist (1982), Killer Klowns from Outer Space (1988), Halloween (1978), the Friday the 13th franchise (1980-present), The Fog (1980) and The Omen (1976) are all cleverly woven into the fabric of the narrative. Yet, the most brilliant of these bits is a black and white lampooning of the iconic shower scene in Alfred Hitchcock’s masterpiece, Psycho (1960). It occurs near the one-hour mark. Heightening the enjoyment of this factor is an all-star cast of categorically related cinematic veterans. All of whom have small roles throughout the picture. They are also frequently named after personas from the opuses of terror mentioned above. Nina Kate’s amusing representation of Dr. Laurie Strodes is a wonderful example. Similarly, Doug Jones (2017’s stunning The Shape of Water) is terrific as Father Damien. Dale Midkiff (1989’s Pet Sematary) is engaging as Rosemary Carrie. Continually, Lynn Lowry is a delight to watch as The Medium. Courtney Gains is exceptional as Mordicia. A late sequence that kids the original adaptation of King’s Children of the Corn (1984), which Gains appeared in as the antagonistic Malachi, is another memorable highlight of the exercise.

Based on both the web series and the comic book of the same name, the production is inspired by Tana’s own personal experiences with his cat, Angel. Such is a moniker shared by the feline cited in the title of Tana’s tale. In the affair, Nick (in a lively and charismatic depiction from Tana), is a Hollywood screenwriter. He is one whose attempts at romantic entanglements are constantly cut short. This is by Angel’s violent outbursts when women are around him. As these murderous eruptions increase in number, Nick believes his cat has been possessed by a demon. Seeking help from a variety of individuals, Nick attempts to stop the body count by getting his beloved companion exorcised.

Such is a fun and inventive concept. It also works tremendously well. This is especially evident when combined with the proudly tongue-in-cheek execution of the exertion. Tana’s witty, heartfelt and skillfully paced script makes the most of this idea. The arrangement is complete with felicitous humor and dialogue. Correspondingly, the characters are just as smartly crafted and relatable. Furthermore, the sharp storytelling abilities in Tana’s screenplay are made increasingly alluring. This is via Tana’s charming and stylish guidance of the project.

Assisting matters is the visually impressive opening and closing credits. Richard Albert’s music, with supplementary material from Wolfgang Lackner, is certainly tone-fitting. The most memorable and side-splitting of these selections is a number that sounds like a moggy-driven rendition of Jerry Goldsmith’s “Ave Satani” (1976). The playful effects, striking cinematography, excellent sound and proficient editing enhance the immersive pleasure derived from the undertaking.

Produced by Denise Acosta, Hell’s Kitty is grand, 1980’s influenced entertainment. The intermittent sequences of gore are effectively constructed. Still, the labor is never overly reliant on these instances. This can also be said of the spirited scares Tana compiles throughout the endeavor. In so doing, Tana erects an impeccable atmosphere that mixes laughter with the paranormal. It is one that never wavers from commencement to conclusion. Highly reminiscent of Tim Burton’s timeless Beetlejuice (1988) and Peter Jackson’s The Frighteners (1996) in both quality and sheer rewatchability, Tana’s configuration is destined to be a cult classic! I recommend checking it out when it arrives on video on demand on March 13th, 2018.

(Unrated).

“Curse of the Witch’s Doll” – (Movie Review)

By Andrew Buckner

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

Curse of the Witch’s Doll (2018), the debut feature from writer-director Lawrence Fowler, is an ambitious and frequently surprising 98-minute horror film. It is one which largely defies the stalk-and-slash expectations of the killer toy sub-genre. Still, what is just as noteworthy is how often Fowler changes the setting and categorization of the piece. For instance, the presentation commences with a quick, but gripping, bit that takes place in 1660. Afterwards, Fowler fast-forwards to the year where the bulk of the action in Fowler’s endeavor resides: 1942. The early sequences in this time frame beautifully flesh-out the bond between our heroine, Adeline Gray (in an always compelling turn from Helen Crevel), and her daughter, Chloe (in a mesmerizing enactment from Layla Watts). They are attempting to escape the bombing in their home town. This discharge leads them to an ominous mansion in the woods. Taking refuge in the domicile, the movie effectively plays like a gothic haunted house work for the first half of the presentation. Paired along with this strong element is the air of a missing person narrative. Such occurs as Chloe suddenly vanishes near the 20-minute mark. Eventually, the grief-stricken Adeline comes to believe that this disappearance was caused by the creepy title object.

Fowler handles this initial portion of the affair aptly. There is an atmosphere of mystery to the manner the proceedings found in this segment unfold that is both tense and interesting. Such an approach makes the alluring plot of the production evermore captivating. But, the exercise loses some momentum when the location of the action shifts after this stage. From herein, the new position for the chronicle becomes a time-honored cliché. This is disheartening after the earlier arrangement. Despite this previously stated disappointment, and the fact that some of the sequences in this latter phase can be a bit too dialogue-heavy, the undertaking still endures as focused and absorbing. Strengthening this aspect is that the project ends with a satisfying nod to the found footage technique. It is rooted in the present day.

What is just as enjoyable in Fowler’s presentation is the minimal use of its skillful effects. Such a decision adds a classic demeanor to the entirety. It is one that splendidly compliments the chill-inducing tone of the exertion. Helping matters is co-producer Geoff Fowler’s stunning doll design. Liz Fowler’s costume work is similarly stellar. The same can also be said of Lawrence Fowler’s seamless editing. His writing is sharp, character-driven and smartly paced. Likewise, his guidance of the project is claustrophobic, stylish and superb. The cinematography, make-up and sound contributions are masterful. Furthermore, Claire Carreno is excellent as The Witch. Philip Ridout’s depiction of Arthur Harper is brilliant. Neil Hobbs’ representation of Detective Nolan is terrific.

Spanning over 450 years, Curse of the Witch’s Doll is a success. Though it suffers at times in its later phases, the High Octane Pictures release remains admirable. This is especially true when considering the variety instilled in how Fowler tells his tale. There is a finely tuned sense of menace throughout that is addictive. Furthermore, the on-screen personas are relatable. Fowler’s stalwart concentration on Adeline’s plight heightens both the dramatic sensibilities and the underlying suspense of the project. Audiences are with Fowler’s lead through every painful step in her journey. Because of this, the Northampton, England recorded exertion fluently balances both emotional and physical terrors. The result of these high-functioning qualities is a well-crafted cinematic excursion. It is one that is unafraid to take risks and proudly surpasses presumptions. I highly recommend seeking out Fowler’s latest arrangement. It will arrive on VOD on February 2nd and on DVD March 6th, 2018.

(Unrated). Contains violence and adult themes.

“Butcher the Bakers” – (Movie Review)

By Andrew Buckner

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

Butcher the Bakers (2017), the third full-length feature from writer-director Tyler Amm, is a uniquely entertaining and spectacularly inventive medley of humor and horror. Part contract killer tale, part buddy comedy and part slasher saga, the 94-minute arrangement is pure fun. Much of this endless enjoyment derives from Amm and Virginia Campbell’s sharp and briskly-paced script. Filled with well-timed gags, smirk-inducing dialogue and retro (primarily 1980’s influenced) terror elements, Amm and Campbell’s previously stated contribution also winks at audiences with a few genuinely inspired self-referential moments. One of these is a nod to Amm’s debut picture, River City Panic (2015). There are also subtle alignments to numerous big screen classics wisely placed throughout the affair. John McTiernan’s action masterpiece Die Hard (1988) and Steven Spielberg’s timeless science-fiction epic E.T. the Extra-Terrestrial (1982) are the most easily perceptible of these allusions. There is also a frenetic and infectious energy the likable cast radiates throughout the undertaking. When unified by the stellar performances that only continue to reflect these terms, the rousing success of Amm’s latest genre crossbreed is increasingly distinguishable.

Amm chronicles Dragomir ‘Drag’ the Reaper (in a stupendous turn from Mike Behrens that drips old-fashioned macabre). Having recently lost his job, Drag begins the arduous process of killing members of a small town. The reason for his behavior is to collect souls. Why he needs to amass these internal mechanisms is an answer that Drag keeps to himself. Soon bakery shop laborers Sam and Martin (Sean Walsh and Ryan Mathew Ziegler respectively) are hired to permanently disrupt Drag’s massacre. Because of this, the lead villain of Amm’s effort finds it progressively difficult to keep his plans and reasoning for his wicked measures to himself.

It’s a great set-up. Such is one that is molded with crowd-pleasing flare from its commercial-like opening, which is spliced with flashes of tense brutality, until the satisfying conclusion of the exertion. The narrative is given further life by Amm’s stylish and efficient guidance of the project. His editing is just as proficient. Adding to these qualities is Zach Shaw’s alternately rich and appropriately gritty cinematography. Billy Niebuhr’s music beautifully echoes the offbeat, grim and gut-busting tone of the piece. The camera work is exceptional. Moreover, the special and visual effects enhance the joy of the enterprise. This is with their decidedly antiquated veneer. Nicholas Swartz’s costume design is terrific. The sound department work is top-notch. Relatedly, Lisa Wojcik is remarkable in her portrayal of Pat. The post-credits sequence is hilarious. It brilliantly expands upon the commencement of the story.

Co-executive produced by P.J. Starks (2015’s Volumes of Blood), Amm’s exercise has its share of exceptionally crafted instances of gore. Yet, it is never overblown. The same can be said for the sum of Butcher the Bakers. Amm’s endeavor is daring, delightful and unabashedly tongue-in-cheek. Still, it hardly ever feels excessive. Such is a fine balancing act. It is one of the various essentials of Amm’s opus that I admired throughout its trim runtime. Another constant source of esteem would be Amm and his filmmaking participants’ palpable chemistry. It resonates through every merry frame of his most current outing. These high-functioning components combine to form a wonderful B-movie. Such is especially evident when considering the several smartly done twists which encompass the labor. Recorded in Ottawa, Illinois, this Petri Entertainment distribution release is brimming with the glorious, can-do spirit of independent cinema. I highly recommend seeking out Amm’s cleverly titled flick. It will be unleashed on select digital platforms in the U.S. on January 16th, 2018.

(Unrated). Contains scenes of graphic violence, adult language and adult themes.

“Cold Moon” – (Movie Review)

By Andrew Buckner

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

Cold Moon (2016), from co-writer-director Griff Furst, is an absolute joy to sit through and contemplate. This is for both the avid cinephile and fellow thriller fanatic. Based on Michael McDowell’s novel Cold Moon Over Babylon (1980), the eighty-eighty-minute venture has a delightfully unyielding, bleak atmosphere. It also exploits a simultaneously ominous and elegiac veneer. Such a look is much in the vein of a skillfully polished, yet appropriately gritty, piece of celluloid from the 1970’s–early 80’s. Additionally, there are subtle Hitchcockian touches delicately placed throughout the affair. Hitchcock’s immortal adaptation of Robert Bloch’s Psycho (1960), my personal favorite work from the master of suspense, frequently came to mind. Furthermore, there is a tremendously executed sequence of death in the first ten minutes. It is so visually stunning and mesmerizing that one cannot help but draw comparisons to Italian horror maestro Dario Argento. This sentiment is held onto and echoed in many other similar moments throughout the arrangement. Likewise, the supernatural episodes that occur later in the configuration are handled just as deftly and effectively. A hypnotic scene in a graveyard near the one hour mark is surefire evidence of such an assessment. This previously mentioned bit also slyly brings forth a snake-like creature. This entity is reminiscent of an otherworldly beast spied in another ethereal masterpiece McDowell co-authored. Such is the Tim Burton helmed Beetlejuice (1988).

Correspondingly, Furst toys with gothic genre sensibilities in a manner that is worthy of an alignment to a Hammer Film Productions release from the 1960’s. The characters, most of whom are small-town archetypes, are wonderfully realized and credible. Jack Snyder, Furst and McDowell’s highly-intelligent, gorgeously mounted and impressively structured script, which is full of life-mirroring dialogue, remembers the cardinal rule of the most enduring scary stories. In so doing, Furst keeps the personalities on-screen at the forefront. All of this is worthy of top-tier praise and recommendation. Regardless, one of the most striking components on display is how our villain, when revealed, isn’t shone exclusively in a wholly loathsome light. This is an error far too many features highlight and proudly display in their protagonist. This is again another telltale aspect of Furst’s ability to allow audiences to understand the motivations and inner-mechanisms of even the most sinister of those who dominate the narrative.

Recorded in Louisiana, Furst chronicles a fatal tragedy in a southern municipality. It is one which interrupts the daily goings-on of the Larkins. While local law enforcement attempts to solve this murder, the victim returns as a ghostly presence. Albeit, one that is bent on serving up her own sense of post-death vengeance. This is to the individual responsible for her demise.

It’s a naturally intriguing concept. Such is one that Furst makes increasingly terrific. This is with his enigmatic and quietly unnerving treatment of the material. Even if the plot is familiar in hindsight, Furst avoids traditional trappings of dread at nearly every avenue. As the picture plays, it becomes gradually darker. Nonetheless, it also amplifies its inventiveness. But, it never loses its genre-mashing style and boldness.

Relatedly, Furst’s opus never becomes desperate to augment or cheaply punctuate its scares with unnecessary jumps. Because of this, Furst establishes a perfect symmetry of plot and organically erected instances of fear. The endeavor could easily have become overblown. This is especially true of the finale. Instead, the exercise utilizes this aforesaid balance to grand consequence. This is until the eye-popping imagery which commences the concluding credits is spied. The saga also ends on a perfect note. It is one that brings about as many questions as it does answers.

What also adds to the sheer brilliance of the demonstration is the all-around exceptional performances. Christopher Lloyd steals the show as the wheelchair-bound James Redfield. Candy Clark as Evelyn and Chester Rushing as Jerry Larkin are both captivating. They fit comfortably into their roles. This is while making them distinct. Madison Wolfe as Mandy, Josh Stewart as Nathan Redfield and Laura Cayouette as Ginny Darrish are also magnificent.

The movie also benefits from Thomas L. Callaway’s astonishing, mood-laced cinematography. Furst’s editing is seamless. His overall guidance of the project is inspired. It is also refined and mature. This can also be said of Nathan Furst’s haunting, proficient and remarkable original music. The effects, make-up and sound are spectacular. Jayme Bohn’s costume design is superb.

Furst has crafted a brilliant effort. It is an astonishing exhibition of the strongest attributes of both the categories of crime, drama and paranormal revenge. The no-nonsense excursion is also layered, full of dimension and insight. It wraps bystanders up in its mysteries and memorable terrors from the first frame to the last. Having not read McDowell’s source literature, I cannot state if it is faithful to the original telling of the Florida-set endeavor. Yet, I can declare with complete certainty that the labor stands triumphantly on its own merits as one of the best white-knuckle shockers I’ve witnessed all year. I highly recommend checking out Cold Moon. It will be distributed in theaters and on video on demand October 6th, 2017 through Uncork’d Entertainment.

(Unrated).