Category: Andrew Buckner

“Hunting Grounds” – (Movie Review)

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By Andrew Buckner
Rating: **** out of *****.

Hunting Grounds (2015), the ninety-one-minute full-length debut feature from writer-director John Portanova, proves that there is still much cinematic life to be derived from the ever-audience alluring legend of Bigfoot. Originally titled Valley of the Sasquatch, Portanova has implemented a rugged, character-oriented thriller. It is one that seamlessly blends both modern and old-fashioned narrative ingredients. Such is crafted into a purely entertaining and largely credible blend. Best of all, it looks to its enigmatic antagonist with equal doses of awe and fear. The tribe of Northwest America based organisms at the core of Portanova’s labor do not merely function as the primal animals in which they are far too often portrayed. Instead they are demonstrated as noticably human. This is visible in both their general gestures and attitude. Such benefits the configuration spectacularly. To its continued credit, Portanova’s classically designed and meticulously paced screenplay is well-researched. It incorporates an obvious knowledge and affinity for its potentially truth based villain. This is slyly sprinkled into the dialogue. All of which is as cut from the everyday, unforced and operative as its rounded and smartly developed central figures.

Such distinctly separates Portanova’s installment from the hefty volume of thematically related tales. More specifically, the low-budget photoplays that have been curiously spiking in cinema over the last decade. Outside of the beasts which torment our protagonists, Portanova yearns to showcase the violent monster in mankind. This he brilliantly ties around the argumentative and money woe infused relationship between widower Roger Crew (in a highly effective performance from Jason Vail) and his introverted son, Michael (in a quietly poignant enactment from Miles Joris-Peyrafitte). Such adds an increasingly taunt level of emotional intensity to the enduring suspense already at hand. Moreover, the discussions of the relationship between Roger and his deceased wife that transpire early in the work form a wrenchingly sentimental angle. This splendidly showcases Portanova’s penchant for solidly delivered, engaging exposition. Simultaneously, it illuminates the damaged, father and child rapport between Roger and Michael.

Authentically administered arrangements such as these keep the heart of the undertaking much in check. Such makes the sum of the endeavor more well-rounded and harrowing. This is as it gets us to root for and understand our everyday heroes, which is pivotal. Especially before the tense life or death scenarios, which Portanova orchestrates just as masterfully as these establishing episodes, that befall them in the second and third acts. The best evidence of this rests in the last twenty-minutes. This section is especially well-made and unnerving. It oversees both the affectionate and more generally electrifying rudiments of the account simultaneously reaching a zenith. Such is made increasingly imposing as several truly unexpected twists take flight.

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Among such evidently wise decisions, is that the beasts herein are only partially glimpsed or, as is frequently the case, left in the shadows for nearly an hour into the runtime. Such calls to mind the tactic brought forth in films such as Ridley Scott’s groundbreaker Alien (1979) and Steven Spielberg’s same said Jaws (1975). Despite how often a device such as this has been issued, its effectiveness is again confirmed by Portanova as timeless. A slow reveal such as we see here, as well as the earlier stated masterpieces, is a proven path to success. It also makes the initial sight of the fiend in full even more astounding. Such is also established as triumphant in Portanova’s motion picture. For when it inevitably occurs, in a section which sees Mike waking up to a Sasquatch that is practically face to face with him, bystanders are given one of the most unforgettable and pulse-pounding segments in the movie.

Portanova sets these events up just as smartly. Such is incorporated with a five-minute opening sequence that is as ominous as it is perfectly mood-setting. After this memorably striking instant, Portanova sets up an engaging, if familiarly rooted, plot. In the fiction, Roger and Mike go to a secluded, family owned cabin in the woods. This is after their prior home was tragically destroyed. Two pals, Sergio Guerrero (in a stalwart depiction from David Saucedo) and Will Marx (in a riveting and sincere portrayal by D’Angelo Midili), soon arrive. They carry on alongside the duo. Shooting local game is the shared focus. This is until the group inexplicably arouses the sights of a community of ape-like brutes. All of which eerily resemble the indigenous Yeti. Soon those who went into the woods expecting to showcase their proposed dominance over nature find themselves symbolically on the other side of the rifle. This is as the gathering of simian-like brutes demonstrate that they will gladly kill to protect their homeland.

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Recorded in Snoqualmie Pass and Roslyn, Washington, this Uncork’d Entertainment distribution release boasts seamless and remarkable visual effects from David Phillips. This October People and Votiv Films production also benefits from John Bash’s haunting music. Furthermore, Jeremy Berg’s cinematography is as organic and darkly beautiful as the material demands. Phillips’ editing is skillful and deft. The make-up team, concocted of Doug Hudson and Sarah Prevo, offer terrific input. Correspondingly, the sound from Jens Larsen and the costumes and wardrobes from Audrey Frances Abeyta are sharp and impressive. The seven- person camera and electrical crew, as well as Jerry L. Buxbaum and Vail’s incredible stunts, enhance Portanova’s confident guidance of the project splendidly. Tim Keaty, Regan MacStravic, Madeline Sadowski and Montana Tippett form a powerhouse art department.

The secondary cast is just as strong. Connor Conrad exhibits that he is an undoubtedly imposing force. This is unveiled in his ruthless depiction of The Beast. Additionally, Jordan Neslund is phenomenal in her brief turn as Town Girl. Bill Oberst Jr. augments the plausible edge of all we encounter with his ever-watchable representation of Bauman.

The consequence of these wondrous technical aspects and smart storytelling moves is certainly deserving of acclaim. Having won the Best Feature Film Award at Boise’s 2015 Idaho Horror Film Festival, the narrative, which was also graced with myriad nominations in similar commemorations, is guaranteed to also be a knockout with general spectators. This is because Portanova is unafraid to present flawed, yet richly settled, on-screen personas. All of them will prove, in one way or another, to be relatable to onlookers. Even when triumphantly issued action bits are the focus of the piece, as is largely the case with the second half of the exertion, the effort never forgets the motivations and plight of the protagonists. Such makes for a bit of celluloid that soars as stalwartly as a drama as it does a survival yarn. Portanova has evoked a genre entry that is unflinching and gripping; a must-see. You can do so yourself when Hunting Grounds becomes available via video on demand February 7th, 2017.

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“Bornless Ones” – (Movie Review)

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By Andrew Buckner
Rating: ***1/2 out of *****.

Bornless Ones (2016), the eighty-minute full-length feature debut from writer-director Alexander Babaev, summons the spirit of Sam Raimi’s seminal horror classic, The Evil Dead (1981), spectacularly well. Respecting the foundation laid down by Raimi, Babaev has crafted a rollercoaster ride of gore. It is one which is propelled by increasingly ghastly coincidences. Furthering this parallel is that these fearful events revolve around a batch of ruthless demons. All of whom are summoned to a secluded cabin the woods. Additionally, Babaev’s structure and general build-up of the presentation, alongside the previously stated mechanisms of the tried and true plot, are also reminiscent of Raimi’s tale. This is with the first half of the endeavor being more character-oriented. To its further favor, it is also noticeably well-mounted. In this early section, Babaev, whose direction is taunt and quietly stylish throughout, successfully executes a continuous sense of ominous dread. Once the runtime passes the halfway mark, the film tilts into full gear. From herein, it hits a momentous creative stride of claustrophobic, apprehension-inducing sequences that never wavers.

Likewise, Babaev fills each frame with inventive images and scenarios to brilliant consequence. They, in turn, make the unfolding chaos ever-present ever more tense and palpable. A memorably macabre moment at forty-two minutes in, which involves the torturous sight of a deceased child in a bath tub, is definitive proof of such a statement. It is also a testament to the largely convincing nature of Artem Miroshin’s accomplished visual effects. The idea Babaev conceives of “demons who heal”, as it is described by an individual in the effort itself, is especially novel. It further showcases the inventive spin Babaev puts into the standard mechanisms of such a rigorously held terror formula. In so doing, Babaev incorporates an even balance of promise and pay-off. Such works as well in Babaev’s narrative as it did when Raimi incorporated such a manner of account telling stability thirty-six years prior. Yet, the sum of Babaev’s affair isn’t entirely reliant on these imitative attributes to establish its high-quality. As a matter of fact, Babaev’s deft screenplay is decidedly fashioned more from the modern cinematic approach to the genre. This is in regards to the fact that it delves deeper into the brooding and often pained backstories of its leads. Such is in comparison to the previously stated Raimi authored groundbreaker. Yet, the configuration as a whole is, ultimately, hindered by occasionally tiresome dialogue. This is most visible when such celluloid derived speech lapses too often into the repeated question of “What’s wrong with you?”. This is projected as a go-to reaction to the revulsion-laced happenstances our central figures undergo in the later stretches.

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Babaev’s routinely erected on-screen personas, none of whom may prove as iconic as Raimi’s hero from The Evil Dead, Ash (Bruce Campbell), are united by a variety of past tragedies. This is both openly articulated among some and with others initially kept secret. Such issues a perfect pulpit to develop ever-enigmatic personalities. All of whom constantly keep audiences intrigued. Simultaneously, this gives Babaev an opportunity to erect several genuinely surprising dramatic twists. These are positioned throughout the undertaking. Such authentically gasp-worthy instances beautifully compliment the unnerving tone of the construction. Moreover, they bring a human allegory to the frightful fiends that dominate the fiction. These elements assist the exertion in showcasing that it is much its own entity. Such transpires to great consequence. This is while keeping its obvious inspirations much in check. It makes for a well-rounded, delightfully entertaining exercise in dread. Such is one which is capped off by an ingenious final scene. In this brief bit, Babaev issues a clever and sinisterly smirk-inducing change in roles and perspective. Such represents a deliberate turn from the expected. Though Babaev can never completely liberate himself from such trappings, the sum of the exhibition remains potently engaging because of such unique components.

After a tense, gorgeously realized and attention-garnering opening section, Babaev focuses in on Emily (in a credible and charismatic performance from Margaret Judson). She has been left to care for her cerebral palsy afflicted brother, Zach (in a depiction by Michael Johnston that is towering and powerful; the emotive driving force of the labor). We follow her and group of her friends. This is as they help Zach, Emily and her boyfriend, Jesse (in a stalwart enactment from Devin Goodsell) settle down in their new abode. Yet, almost immediately the group uncovers strange symbols and handwritten notes. Making matters worse is the discovery of a satanic mural. All of which are strewn throughout the edifice. These are signposts related to the catastrophic circumstances, unknown to Emily and her confidants, which were inflicted upon those who owned the house previously. All the while, Zach seems to be undergoing sudden, miraculous improvements in regards to his condition. Yet, once an effort is made to remove these bizarre markings seven so-called “guardians”, ominous defensive entities, begin to gather outside. Such is another emblem. It is one personifying the chaos that is about to be unleashed.

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Relatedly, this Uncork’d Entertainment distribution and Black Drone Media production, mostly shot in California’s Pine Mountain Club, is a triumph in the performance arena. It is graced with a hilariously energetic portrayal from David Banks. He plays the quirky, eccentric real estate agent, Richard Alonzo Jr. III. Mark Furze as Woodrow, Bobby T. as Michele and Victoria Clare as Christina are all wonderful in their portrayals. Gwen Holloway is particularly striking in her brief turn as Emily’s mother. Nick Saso as Dennis, Rob Tepper as Dr. Weisenberg and Svetlana Titova as Dolores are terrific. Pony Wave as Sarah and Greg Travis as Billy all bring distinctly remarkable life to the personas they embody.

From a technical standpoint, it is just as accomplished. The music by Paul Hartwig is compellingly constructed and masterfully moody. Correspondingly, the cinematography from Egor Povolotskiy is phenomenally proficient. Babaev’s editing is seamless. The camera and electrical department, make-up crew and sound team all deliver impeccibly in their specific categories. Augmenting this appeal is Catelin Dziuba’s fresh and exciting costume design. Similarly, Carlos Cortez’s art direction is eye-popping.

Such results in a flawed, but certainly admirable and worthwhile attempt. Many of the story beats ring with a sense of deja vu. For example, the anticipated episode early on where the team arrives at a rundown gas station. Such is a time-tested trademark often spied in motion pictures such as these. But, Babaev proves unafraid to boldly touch upon sobering subjects etched from real life fears and atrocities. Such illuminates and gives purpose to our protagonists. It makes us care for them even more because of this decision. We understand their motivations. Because of this, we feel the intensity of their plight. This is as they combat the otherworldly wickedness at hand. Such makes the suspense Babaev generates so ceaselessly here more profound and nail-biting. The pedigree of invention Babaev registers further elevates the material. Moreover, there are other slyly positioned winks to other entries in The Evil Dead series outside of the original. There is one especially smirk-inducing moment involving the tongue of the possessed and a pair of open scissors seen in the last act of Babaev’s latest. Such calls to mind Fede Alvarez’s 2013 remake of Raimi’s masterpiece. The voices of the overtaken in the oddly titled Bornless Ones, though not wholly believable and shakily dispensed, also seem to mirror such a trait in the three film (or four if you count Alvarez’s previously addressed reboot) series. Such adds an extra undercurrent of fun, especially for fellow cinephiles, to the proceedings. Because of such measures Babaev proves all that can be done with a familiar plot and set-up. The culmination of these minutiae is certainly worth seeing for yourself. You can do so when the movie arrives in select theatres and is simultaneously released on video on demand on February 10th, 2017.

The Facebook page for the photoplay can be found here.

The Twitter page for the flick can be found here.

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“The Covenant” – (Movie Review)

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By Andrew Buckner
Rating: **** out of *****.

The Covenant (2017), an eighty-seven-minute full-length film from co-writer and director Robert Conway (2016’s Krampus Unleashed), is a moody and effective take on the frequently utilized demonic possession tale. It establishes its captivating grip on its audience as well as its impeccably honed atmosphere of ever accruing dread instantaneously. This is with a handsomely fashioned and somber opening bit. Such is as devastatingly emotive and haunting as it is surprising and well-made. From herein, Conway and fellow scripters Owen Conway and Christopher L. Smith relentlessly build on this palpable sense of mounting dread spectacularly. This is with a deft balance of the familial slant between our two leads. As is expected with narratives such as these, it is also demonstrated with an ongoing theme of personal religious faith. All of which propel and richly convey an incredible impression of meditation and genuine concern for our central figures. This is while, as is most obviously illustrated in the last thirty-five-minutes, fascinatingly enlightening us about informatory details of prior cases of diabolical control. These formerly stated attributes endure stalwartly in the duration of the fiction. This is without ever ignoring the imaginatively issued and taunt string of supernatural events that unravel throughout the exertion. This makes for a fun, petrifying and incredibly well-rounded genre composition. The FunHouse Features production and Uncork’d Entertainment distribution proudly towers over most entries of its ilk. This is through its victorious poise of account driven elements alone.

Yet, this is far from the sole selling point of the endeavor. The screenplay is intelligent, luminously erected and confidently paced. Correspondingly, it is filled with credible dialogue that is just as believably delivered. Moreover, the material often breaks out of the general arc of related horror items. Such transpires with groundbreaking results. This factor presents to bystanders a work of celluloid that proves to go into courageous, yet genuinely chilling and disturbing, avenues on its own accord. A wonderfully unexpected and terrifyingly conceived twist early in the second half, which drastically changes the stakes and potential outcome of the chronicle, more than prove the victoriously operative nature of this distinguishing factor. Such leads to a nail-biting, potent resolution. The final twenty-minutes, though generally rooted in the situations we have come to expect from such an affair, are more than satisfying. This is from a character-oriented perspective. It is also true of its victorious execution of the various happenstances of unholy phenomena that are brought to life herein. The last sequence is especially unnerving and brilliant. Such is most evident when considering how it turns what would be an otherwise wholesome situation quietly into a shudder-inducing nightmare.

The plot is equally intriguing. Conway focuses on our lead, Sarah Doyle (in a terrific, harrowing enactment by Monica Engesser). Suffering and vulnerable from the drowning death of her Leukemia afflicted daughter, Elizabeth (in a turn by Amelia Habberman that showcases a range far beyond her young years), as well as her husband, Adam (in a riveting interpretation by Chris Mascarelli), Sarah moves into the home of her youth. Accompanying her is Sarah’s brother, Richard (in an absorbing and marvelously wrought depiction from Owen Conway). Almost immediately upon her arrival, she begins to hear voices. Most menacing of all, she repeatedly sees her deceased child swinging and singing the traditional kid’s tune “London Bridge is Falling Down” before her incredulous gaze. A segment in the first act, where Sarah looks out her window onto such an ethereal view, is gorgeously crafted. It makes unsettling use of such a happenstance. As the runtime endures, odd acting townspeople seem drawn to Sarah. They also feel the need to warn her brother of impending danger. These proceedings become increasingly more bizarre and violent. This is as the “hellish creature”, as it is described late in the photoplay, takes hold. Upon doing so, it incites within Sarah an outlandish fixation with her own death. It is a dark obsession that could well give way to the demise of those around her.

The Globe, Arizona recorded venture also boasts exceptional representations from the entire cast. Clint James is stellar as Father Francis Campbell. His persona often calls to mind Jason Miller’s iconic treatment of Father Karras in William Friedkin’s immortal adaptation of William Peter Blatty’s best-seller, The Exorcist (1973). Likewise, Sanford Gibbons is just as sensational in his unflinching illustration of Father James Burk. Maria Olsen as Holly Manning, Shawn Saavedra as Gerry and Richard Lippert as Man in Black are equally enthralling. The same can be said for Greg Lutz’s embodiment of Detective. Sedona Feretto as Lilith and Josh Schultz as Nurse are memorably transformative in their brief secondary roles.

The technical details are just as masterful. Gian Marco Castro’s music is perfect for the material. Travis Amery’s cinematography is illustrious and foreboding. It reiterates the often hopeless tone of the labor splendidly. Justin L. Anderson and Robert and Owen Conway issue editing that is sharp and proficient. The make-up department, formed by Cat Bernier and Cory VanDenBos, is exceptional. This trait is most obvious in the conclusion. In this stage, our heroine is at her most overtaken by the savage monstrosity inside her. Jessica MBah enhances the potency at hand during these sections as well. This is with visual effects that are seamless and spellbinding. Furthermore, Benson Farris and Kenny Mitchell deliver an amazing issuance of sound. The costume and wardrobe design from Lore Haberman augments the everyday authenticity we encounter spectacularly.

More than anything, the effort is reimbursed in quality by the noteworthy chemistry between those who portray Sarah and Richard. Consequently, there is not a second we are not engrossed. There is a conviction that pulsates through the arrangement. It stems from the magnitude of concern we invest in this aforesaid duo. It is just as unmistakable in Conway’s remarkable and stylish, without ever being distractingly so, guidance of the project. The plentiful set-pieces of trepidation are also cleverly administered. Best of all, Conway keeps them coming within the first few minutes. From this point on, he sustains such a dispersal of ghoulish measures at a fervent clip. Yet, it never feels as if he is sacrificing storytelling for such plentiful pulse-pounding manifestations. Instead they are organically taken from the circumstances Conway conceives in the yarn itself. Even the more tried and true scares, such as an instance within the first half hour where a door moves by itself, come off as vigorous and fresh. This is without the undertaking ever resorting to cheap jolts or unnecessary red herrings to heighten the impact of the presentation. Such is a true testament to Conway’s storytelling skills. It is also an unspoken testimony to the high-value of this alluringly built exercise in apprehension. The Covenant is an instant classic. You can experience the terror for yourself when the movie hits video on demand on February 7th, 2017.

“Leftovers” – (Short Film Review)

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By Andrew Buckner
Rating: ***** out of *****.

“Leftovers” (2017), an utterly absorbing twelve-minute and forty second short film from director and co-writer Tofiq Rzayev, is sobering, heart-wrenching and undeniably powerful. It brings into account a meditation on the hellfire and purgatory one must endure for atrocious actions. Namely the rape and murder of an eight-year old girl. But, it is as adamant at addressing how such measures of wickedness immediately affects those who are closely tied to the situation. This is in both a familial and occupational sense. Much in the manner Rzayev issued with his previous entries from 2016, “Nihan: The Last Page”, “In a Time for Sleep” and his dazzling debut invention with Fidan Jafarova, “Araf”, the affair focuses on grief. Yet, this is without such primary agony ever becoming the sole selling point of the composition.

We note this most evidently in the method in which Rzayev, utilizing a bold and intelligently arranged screenplay he crafted with prior literary collaborators Alsen Buse Aydin and Mehmet Faith Guven, develops the personalities of the fiction magnificently. Such transpires via their reactions and mannerisms over the horror they encounter. This now trademark Rzayev storytelling device is spellbinding. It immerses viewers in the emotion overflowing from those on-screen to captivating effect. This is while simultaneously respecting the perpetually solemn tone Rzayev has so beautifully and carefully constructed. In turn, the harrowing impression of watching real life unfold never wavers. As a matter of fact, these wise narrative choices only amplify these attributes. The result is a mesmerizing masterpiece; a harrowing cinematic glimpse into the oft gloomy mechanisms of the human spirit.

Set in the Turkish Mountains, this Angry Student Films Production concerns two civil police (in fantastic portrayals by Ismail Mermer and Erhan Sancar that further etch the rugged authenticity at hand). They are in the process of taking a highly troubled and distressed person, credited here as The Individual (in a genuinely moving and emotionally riveting performance by Gokberk Kozan), to identify a body at a crime scene. Upon stopping to allow their passenger to collect himself, a series of foreboding turns enter the narrative. From herein, sentiments, motivations and judgments take hold. This is as the drama hits a brooding zenith. Such sets the stage for a second half that unflinchingly focuses on the reactions to the abovementioned tragedy. This is with anger and heartache almost always at the forefront. The ardor-laden intensity in this section is made progressively palpable. Such transpires alongside Rzayev’s decision to keep the entirety of these measures in the confines of an isolated location.

Originally titled “Geride Kalanlar”, Rzayev weaves an increasingly gripping, brilliantly paced and executed chronicle. It begins strikingly. This is with an incredibly done shot from the backseat of a moving vehicle. Such suggests that we, the audience, are a silent passenger to the alternately poignant and unnerving circumstances which are about to occur. An immediate interest such as this only grows as the scant runtime unfolds. It is pushed to an undeniably haunting, open-ended concluding sequence. This is a perfect departure for a composition such as Rzayev’s latest creation. Such is so because it forces bystanders to become ever-involved in what is being depicted. This is a courageous, evocative choice. It is one that also pays off handsomely. In turn, the overall success of the endeavor is even more vivid and astonishing.

From a technical angle, the opus is just as mesmerizing. Rzayev, who also produced, issues masterfully constructed editing. His brooding cinematography is exceptional. It holds a mirror to the life imitating qualities of both the tone and the account itself spectacularly well. This can also be spoken of the clean, quiet, phenomenally arranged and fitfully reverential concluding credits segment. Likewise, Zahit Battal Sari demonstrates a compelling presence as the voice of The Commissioner. Additionally, the script audibly rings with ruggedly poetic dialogue that is filled with sly introspection and keen observations. All of which are cut from the everyday. These remarkable details are all perpetual evidence of the sheer craftsmanship which pulsates hypnotically throughout the exertion.

More than anything, Rzayev’s guidance of the project is utterly triumphant. “Leftovers” continues to carry on an undeniable parallel to Swedish moviemaking auteur Ingmar Bergman. Such an awe-inspiring comparison helped make his sixteen prior efforts so memorable. Yet, his style remains distinctly his own. At a mere twenty-two years of age, Rzayev has already cemented himself as a modern maestro of the moving picture form. His material is consistently central figure-oriented, meditative and unafraid to peer into the most unpleasant of social issues. Rzayev’s material, a reflection of his own personal reservations, engraves a certain wide-spread intimacy because of this factor. It is a detail that visibly resonates through one of his undertakings. He speaks to the humanity in us all. This is while simultaneously articulating to the mind. Rzayev’s most current tour de force is no exception. This is unquestionably one of the best efforts of its type of the year.

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The 20 Best Short Films of 2016

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By Andrew Buckner

It has been a breakout year for both up-and-coming as well as established talent. This is especially true in the medium of the short film. From heart-wrenching and experimental dramas, to mind-bending multi-genre tales, horrifying chronicles of fear and uproarious comedies, here is the list of my twenty favorite related works in this field from 2016. Please note that the name of the director of the piece is provided after the title of the production. Enjoy!

1. “Maya” (Veemsen Lama)
2. “Araf” (Fidan Jafarova, Tofiq Rzayev)
3. “Strawberry Lane” (Jeremy Arruda, Aaron Babcock)
4. “Chyanti” (Veemsen Lama)
5. “Kinnari” (Christopher Di Nunzio)
6. “Nihan: The Last Page” (Tofiq Rzayev)
7. “Numb” (Penelope Lawson)
8. “Dirty Books” (Zachary Lapierre)
9. “Here Lies Joe” (Mark Battle)
10. “The Deja Vuers” (Chris Esper)
11. “Tastes Like Medicine” (Steven Alexander Russell)
12. “Come Together: H&M” (Wes Anderson)
13. “In a Time for Sleep” (Tofiq Rzayev)
14. “Sisyphus” (David Graziano)
15. “Trouser Snake” (Alex DiVencenzo)
16. “Mail Time” (Sebastian Carrasco)
17. “Hell-Bent” (Foster Vernon)
18. “Hand in Hand” (Haley McHatton)
19. “Menu” (Matt Shaw)
20. “Last Night” (Tal Bohbot)

“The Deja Vuers”- (Short Film Review)

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By Andrew Buckner
Rating: ****1/2 out of *****.

“The Deja Vuers” (2016), an eight-minute short picture from director Chris Esper and screenwriter Jason K. Allen, is a charming, frequently funny and endlessly engaging experience. It is ingenious in the way it takes a commonplace set-up, a man approaching a woman on a park bench, to comically absurd levels. This is without it ever becoming too over the top. Simultaneously, Esper and Allen inject trademark components of fantasy and science-fiction, time travel and dreams, into an undertaking that is consistently fresh and exciting. This is while maintaining its commonplace relatability. Likewise, it never once utilizes humor that isn’t naturally born from the unfolding circumstances of the plot itself. With these un-related items, a balance of the mundane and the fantastic is seamlessly created. It is one that is built on dialogue. The articulations heard throughout are rich in everyday observations, exchanges and quiet insights. Furthermore, Allen’s penned characterizations are accessible. This is without coming across as archetypical or lacking in dimension. Such is certainly a tremendous feat unto itself.

The attribute apparent in the writing of the protagonists is amplified by the herculean strength of the lead performers we follow on-screen. Christie Devine is outstanding in her enactment as Morgan. Kris Salvi is phenomenal in his portrayal of Chuck. Yet, even the comparatively smaller roles, such as Craig Capone as Elias and J.P. Valenti as “Repairman”, offer well-rounded and memorable depictions. Adam Miller as “Teenager” fares just as well.

The potency of these qualities is vastly a courtesy of Esper’s masterful administrative hand. It is just as evident in Allen’s sharply designed and intelligent authorship of the material. The duo immediately establishes, via their respective contributions, a quietly whimsical tone for the piece. It is propelled in the opening moments by the smoothly upbeat music of Steven Lanning- Cafaro. This can also be said for Evan Schneider’s sumptuous, vibrant and suitably cheery cinematography. Schneider’s influence also benefits from taking full advantage of the natural beauty of its budding fall backdrop. The result is a smartly penned and honed, effortlessly enjoyable production. It is one that visibly triumphs from both a technical and narrative stand-point.

Esper, who also produced, and Allen chronicle Chuck coming across Morgan in a chance assembly. He has never met her before. Yet, a reverie Chuck had from the night before, where Morgan is sitting in the precise location she is at that initial instant and with an identical expression of the confused look that overtakes her countenance, makes him come up to Morgan and address her in conversation. While the explanation of such an act itself could easily be perceived as a pick-up line, it is immediately conveyed that Chuck and Morgan both find each other “repulsive”. But, Chuck states, in one of the many efficaciously guffaw-inducing bits herein, that the mutual unattraction between the two doesn’t mean they shouldn’t be intimate. This is just on the off case that a bizarre fate is bringing them together. Soon after this smirk-inducing gag is administered, a chain of circumstances, often built around loose connections and clever ironies, amusingly unfurls. This begins with something as small as a container of fruit cocktail. Soon it evolves into an assortment of individuals from bygone eras and lives. Included in the mix is a personality who could well be conjured from a vision induced through slumber itself. It isn’t far into these episodes before Morgan and Chuck realize that there may be more to this sense of de ja vu than a vague sense of familiarity. It is than a portal unveils. Such an incidence threatens to pull Chuck and Morgan apart from their moment together. In so doing, it promises to bring them to a place and time more matched to their personal desires.

This Stories in Motion production, budgeted for $2,000 and shot in Attleboro, Massachusetts, further benefits from this truly original plot. The single position found in the piece is also impeccable for a celluloid invention such as this. Moreover, it activates intriguingly and ends much in an equivalent fashion. This is on a wildly satisfactory note of paradoxical enigma. This stretch is also striking in that it seems to express the general outlooks of the personalities viewed in this pre-closing acknowledgments succession. This is through decision over exposition. Best of all, it incorporates this without being obvious about its intentions. The construction is just as confident in its pacing as it is in its sly execution of such happenstances. Such an affair issues a commencing and concluding credits segment that is as quaint, stimulating to the eye and proficient as the sequences these portions bookend. Correspondingly, Esper’s editing as well as the optical effects from Robert L. Lopez are outstanding. Andrew P. Marsden provides deftly issued sound. Danielle Schneider’s make-up is expertly fashioned. These ingredients are eye-catching on their own. When combined, these details illuminate and augment splendidly the effortlessly admirable appeal of all we encounter herein.

Esper’s latest accomplishes an incredible amount in its brief run time. It efficaciously juggles a multitude of genres and ideas. All of which are difficult enough to pull off individually. Yet, with all these various foundations at play: there is an undeniable air of gentle romanticism to the proceedings. This is fitting and welcome. The composition is much like Esper’s “Please Punish Me” (2015) in this respect. This is also accurate when pondering its ability to explore human interactions and regressed passions. Such occurs in a package that operates equally well as both an unexpectedly cerebral character study and as a witty comedy. In turn, “The Deja Vuers” is a wonderful display of talent and wise storytelling moves all around. It continually exhibits Esper’s as a craftsman of the photoplay at every turn. The work also serves as perpetual evidence of the equally deft capabilities of his cast and crew. More than anything, the exertion reminds us of the illimitability and experimental nature inherent in arrangements such as these. Because of this, Esper and company have erected a must-see; another fantastic addition to his increasingly spellbinding filmography.

The Top 20 Albums of 2016

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By Andrew Buckner

From time-proven legends to up-and-coming independent artists, here is A Word of Dreams’ list of the twenty best albums of 2016!

1. We Got it From Here…Thank You 4 Your Service – A Tribe Called Quest

2. Black America Again – Common

3. 1992 – The Game

4. Everything is Nah Bro -Sean Strange

5. Everything in Between – Ugly Heroes

6. Beautiful Disaster – Jonezen

7. Instinctive Drowning – Red Pill

8. The Storm – Tech N9ne

9. Good Versus Evil – Kxng
Crooked

10. MartyrLoserKing – Saul Williams

11. A Fistful of Peril – Czarface

12.  And the Anonymous Nobody…- De La Soul

13. Anything But Words – Banks and Steelz

14. Top of the Line – Rittz

15. The Blank Face LP – Schoolboy Q

16. Malibu – Anderson .Paak

17. Natural Causes – Skylar Grey

18. The Easy Truth – Apollo Brown & Skyzoo

19. The Healing Component – Mick Jenkins

20. Go – Krizz Kaliko

“Do You Dream in Color?” – (Movie Review)

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By Andrew Buckner
Rating: ***** out of *****.

Directors Abigail Fuller and Sarah Ivy have crafted a genuinely uplifting and moving masterpiece with their seventy-six-minute documentary, Do You Dream in Color? (2015). The Final Cut production and Uncork’d Entertainment distribution release is a brilliantly and briskly paced, always engaging and meditative manufacture. Concerning the lengths four blind teens will go about to achieve their ambitions, Fuller and Ivy have presented audiences with an immediately intriguing and gripping focus. It is one which is made more so as we follow the varied, likable and charismatic lead personalities on-screen. This is as they endure the alternately inspiring and heart-wrenching circumstances they encounter. Such transpires as they attempt to bring their hopes to fruition.

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In the demonstration, Sarah Wright imagines traveling the world. Her initial step on this venture is the reverie of going to Portugal, Spain during her senior year in high school. Carina Orozco wants to achieve the honor of being the first individual in her family to graduate from the previously stated institution. Connor Head yearns to be a skateboarder. His plight is finding a sponsor for his desired activity. Nick Helms, who has his own alternative band, wants to make it as rock n’ roll musician. With the interconnecting of these accounts, Fuller and Ivy invoke a colorful, lively and compassionate group; a celluloid palette conceived of charismatic souls. They are easily relatable. Such makes it effortless for patrons to become swept up in their happenstances. This is true from the opening frame to the last. The result is an endeavor that is as emotional and harrowing as it is consistently entertaining and enlightening.

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What is just as fascinating and powerful is the denouncement of the public education system found herein. This is a massive obstacle for several of our protagonists. Some of the most riveting and poignant instances in the affair are derived from the fight several of these youth wage. This is to get more relevant resources for the unsighted into their own personal learning assembly. The labor than becomes as much about their ability to shatter the faux notion of limitation. They all yearn, regardless of their drive, to be perceived as every bit as capable of understanding and obtaining knowledge as their collective peers. This is the cause of the most captivating illustrations in the second half of the arrangement. In this section, those inflicted with this predicament try to do the best they can with the limited resources their scholarly place administers. Yet, Fuller and Ivy are not set to outright vilify. This specific area is presented with the same respect and dignity that the rest of the non-fiction projects onto all its various subjects. It yearns to make a change. This it succeeds monumentally at doing. All the while, it exudes the same reverence and bravery our central figures confidently carry. This is also a testament to Fuller and Ivy’s mature, appropriate, proficient and intelligent handling of the material. With this a quietly compelling tone is concocted. It illuminates all we come across. In turn, the spectators become an unbroken link to the singular viewpoints of those who deftly articulate their tales and experience in this sharply honed effort.

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Much in the manner of similar exertions, the chronicle is complete with its sporadic implementation of pictures of Sarah, Carina, Nick and Connor in their prior days. It also contains other related documents of our chief characters. There are also narrative voice-overs from our heroes and heroines themselves. Such heightens the intimacy stemming unbridled from the attempt itself. We are given stories about our main characters from the relatives who witnessed such occurrences firsthand. This effectively ties in to the plethora of perspectives and vibrant voices which flesh out Fuller and Ivy’s well-rounded, gripping tour de force. Many of these expository instances, especially those that dominate the first half hour, are undeniably touching. The various recounts of the birth, and the instant the kin who is articulating the anecdote found out their son or daughter could not see, are especially stalwart. But, there are quieter bits sprinkled about that are just as stirring. For instance, there is a segment that fits in this early framework. It showcases Sarah and her brother, Sam, going through a well-kept album of photographs. He describes who and what he is seeing to Sarah. Her smiling face often showcases the delight we all feel when pondering beloved memories of the past. Near the hour mark, there is a scene involving Carina searching for a dress with the assistance of those around her. These episodes are reminders of the brute influence of simplicity. It also exposes the beauty such a component derives when untouched. Such a quality resonates fiercely throughout the exhibition. Additionally, a near climactic portion displays Nick writing his own lyrics and explaining their therapeutic value and importance. This is in preparation for a show inside a Hot Topic location where he will debut the track. These are equally mesmerizing. This is for much the same modest reason as that stated above. Such also makes the movie about another permanently vital issue. This is the supreme healing nature of art.

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The Dallas International Film Festival and Big Sky Documentary Film Festival award-winner is as much a technical triumph as it is a transcendent, victorious summoning of the human spirit. Robert Lam delivers cinematography that is crisp and eye-popping. Simultaneously, this visual angle compliments the authentic veneer Fuller and Ivy provide spectacularly well within the recording. Sarah Devorkin and Mary Manhardt’s editing is phenomenally and seamlessly orchestrated. Arthur Baum, Michael Carmona, Gabe Salo and Wilson Stiner form a tremendous sound department. Their contribution consistently shines throughout the construction. Alice Gu, J. Christopher Miller, Christian Moldes and Arthur Yee incorporate hypnotic and proficient camera and electrical work. Furthermore, the music from Andrew Barkan is mesmerizing. It is the perfect soundtrack for the fearless folks at the heart of this breathtaking, real life opus.

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Though the year has just begun, I have no problem stating that Do You Dream in Color? is one of the best features of 2017. This is because I can’t imagine a movie accomplishing as much as Fuller and Ivy have here. Such a proclamation is especially accurate given the brief runtime of the endeavor. The depiction, which arrives on video on demand February 10th and hits select theaters afterwards, compels addressees to examine themselves and their own ambitions. More than that, it urges them to peer past any obstacles placed in their path that they deem “too daunting”. In so doing, it encourages them to move forward with their goals. It is a rarity nowadays that an arrangement of cinema contains such motivational control. Such is especially true when considering the overwhelming positivity this affair leaves audiences feeling. This is long after its terrifically satisfying, yet suitably open-ended, conclusion. Yet, the photoplay is expertly designed and thoughtful at every stage. There is genuine substance to the proceedings and the general impression it conveys. Fuller and Ivy want to alter, not only the broken system of edification and how those with disabilities are perceived, but how we look at ourselves. Because of this, Fuller and Ivy have created a must-see; a benchmark for honesty in cinema. This is the brand of drama that watchers of all ages and in all phases of life can benefit from witnessing for themselves. With all the negativity brimming in the world today, we desperately need more optimistic, rousing, message-minded and all-inclusive films like this one.

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The Best and Worst Films of 2016

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By Andrew Buckner

From war themed presentations, to awe-inspiring documentaries, horror pictures and magical family enactments, it has been a good year for movies. But, as we know, not every motion picture can be a gem. That is why A Word of Dreams is here to present my list of the thirty best feature films of 2016. I have also included the ten least enjoyed cinematic works from the past three hundred and sixty-five days. Please note that each feature is accompanied by the name of the director of the piece. Enjoy!

THE THIRTY BEST FILMS OF 2015

1. HACKSAW RIDGE (MEL GIBSON)
2. SILENCE (MARTIN SCORSESE)
3. ARRIVAL (DENNIS VILLENEUVE)
4. A MIDSUMMER NIGHT’S DREAM (RICHARD GRIFFIN)
5. THE NEON DEMON (NICOLAS WINDING REFN)
6. THE EYES OF MY MOTHER (NICOLAS PESCE)
7. NUTS! (PENNY LANE)
8. THE B.F.G. (STEVEN SPIELBERG)
9. DELUSION (CHRISTOPHER DI NUNZIO)
10. TRINITY (SKIP SHEA)
11. LILITH’S AWAKENING (MONICA DEMES)
12. TOUCH GLOVES (FELIPE JORGE)
13. HELL OR HIGH WATER (DAVID MACKENZIE)
14. SNOWDEN (OLIVER STONE)
15. LO AND BEHOLD, REVERIES OF THE CONNECTED WORLD (WERNER HERZOG)
16. INTO THE INFERNO (WERNER HERZOG)
17. MIDNIGHT SPECIAL (JEFF NICHOLS)
18. BEFORE THE FLOOD (FISHER STEVENS)
19. THE WITCH (ROBERT EGGERS)
20. THE CONJURING 2 (JAMES WAN)
21. UNEARTHED & UNTOLD: THE PATH TO PET SEMATARY (JOHN CAMPOPIANO, JUSTIN WHITE)
22. KRISHA (TREY EDWARD SCHULTS)
23. A MAN CALLED OVE (HANNES HOLM)
24. KNIGHT OF CUPS (TERRENCE MALICK)
25. DON’T BREATHE (FEDE ALVAREZ)
26. SULLY (CLINT EASTWOOD)
27. SING STREET (JOHN CARNEY)
28.LA LA LAND (DAMIEN CHAZELLE)
29.THE AUTOPSY OF JANE DOE (ANDRE OVERDAL)
30.THE NEON DEAD (TOREY HAAS)

RUNNERS-UP:

THE HANDMAIDEN (CHAN-WOOK PARK)

UNDER THE SHADOW (BABAK ANVARI)

MY 10 LEAST FAVORITE MOVIES OF 2016

1. GODS OF EGYPT (ALEX PROYAS)
2. MOTHER’S DAY (GARRY MARSHALL)
3. PRIDE AND PREJUDICE AND ZOMBIES (BURR STEERS)
4. AMITYVILLE: VANISHING POINT (DYLAN GREENBERG)
5. MORGAN (LUKE SCOTT)
6. THE FOREST (JASON ZADA)
7. YOGA HOSERS (KEVIN SMITH)
8. THE SEA OF TREES (GUS VAN SANT)
9. THE BROTHERS GRIMSBY (LOUIS LETTERIER)
10. 13 HOURS: THE SECRET SOLDIERS OF BENGHAZI (MICHAEL BAY)

RUNNERS-UP:

LIGHTS OUT (DAVID F. SANDBERG)

MECHANIC: RESURRECTION (DENNIS GANSEL)

“Pitchfork” – (Movie Review)

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By Andrew Buckner
Rating: **** out of *****.

In Pitchfork (2017), the ninety-four-minute full-length feature debut from director and co-writer Glenn Douglas Packard, great strides are taken to align the title entity to the notorious razor gloved killer from Wes Craven’s seminal classic Nightmare on Elm Street (1984), Freddy Krueger. This is most evident in a beautifully realized moment near the half hour mark. Here Packard’s antagonist pauses, visibly relishing the adrenaline rush of hunting his next victim, at the top of a flight of basement steps. His shadowy frame is unmistakably reminiscent of that of Craven’s creation. The parallel is further complete as Packard’s fiend holds the murderous farm tool of his moniker to his right side. This is much as Krueger did when stalking uncountable teens in the aforementioned series. There is also a third act instant where Packard’s uniquely designed antagonist splays his instrument of death against a set of boards as he slowly walks by. Such a measure causes sparks to fly from the place of impact. This was another common Krueger taunting action. Such an instant happened several times throughout the eight (or nine if you count the inane 2010 remake) exertions in the Craven commenced franchise.

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Episodes such as these only enhance the consistently high amusement value of Packard’s Clare and Houghton Lake, Michigan recorded construction. Likewise, Packard and accompanying co-producer Darryl F. Gariglio deliver a solidly wrought screenplay. It is structured, characterized and paced much in the manner of the pantheon of prior efforts in the slasher sub-genre. Furthermore, Gariglio captures every one of the various tropes established in these cinematic undertakings. Given that this is a source of pride for fellow fanatics of these types of tales, this trait comes off as knowing and respectful to the foundation laid down by these past horror entries. This also adds to the lively, playful fun inherent in the first hour. When the picture takes on an ever darker, almost sadistic tone in the concluding section, it seems to be sending-up an entirely different classification of terror opus. This is that of the so called “torture porn” productions. These were given mainstream popularity in the early 2000’s. Such occurred with the arrival of James Wan’s genre-redefining Saw (2004) and Eli Roth’s imitative Hostel (2005).

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Still, this late segment succeeds just as well as what came beforehand. This is because it provides Packard plenty of opportunities to showcase his aptitude for providing extended sequences of prolonged intensity. For example, the events encapsulating the final twenty minutes are a masterclass in this arena. Packard wrings claustrophobia from a situation that is as tried and true as much of what came prior. This is as much a testament to the caliber and commitment of the performances as it is Packard’s own work. For example, Daniel Wilkinson is terrific as the murderous antagonist (also referred to as Ben Holister Jr.). His portrayal is, common to the modern fright film, based more on movement and demeanor than articulation. This is a long proven and effective means of conveying the antihero in these types of undertakings. It also makes the proceedings more enjoyable. This is as it calls to mind another iconic terror show entity: Jason Voorhees. Similarly, the rest of the cast is just as captivating. Brian Raetz as our lead, Hunter Killian, Lindsey Nicole as Clare, Ryan Moore as Matt and Celina Beach as Lenox deliver vibrant, watchable enactments. The same can be said for Nicole Dambro as Flo, Keith Wabb as Rocky, Sheila Leason as Janelle and Vibhu Raghave as Gordon. Rachel Carter as Judy Holister (or “Ma”) and Andrew Dawe Collins as Ben Holister Sr. (or “Pa”) present gritty, unflinching portrayals in their respective turns. Like the rest of the players, Carter and Collins are relishing their depictions. The evident fun these two are with their particularly ravenous illustrations only magnifies that illuminated on-screen.

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Packard chronicles Hunter facing his parents for the first time after telling them a long held personal secret. Nervous about such an encounter after divulging such highly personal information, he organizes a group of close friends. Their mission is to arise from New York to the farm where he was raised. Seeing this as a chance to party, Hunter’s close accomplices turn his mother and father’s barn into a celebration of music and conversation. But, this happiness soon fades. What our thrill seeking, care free spirits didn’t count on is the fiend connected to the bygone days of our central youngsters. He has come to turn the laughter and joy into bloodshed.

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The plot is kept deliberately straight-forward and simple. Yet, it is perfect for a vehicle such as what Packard has expertly crafted here. The dialogue retains this same attribute. The collection of scenes that erect the get-together in the outbuilding are undeniably well-done. They project the merriment our protagonists are elucidating ingeniously. A dance number which transpires herein is where this radiant joy is most significant. But, Pitchfork succeeds in a category pivotal to this specific brand of photoplay. This is in its plethora of imaginative kills. Best of all, they do not need a heavy reliance on gore to be considered striking. A double slaughter near the halfway point is especially creative. It also stunningly balances its alternately playful and brutal tone. The opening five-minute segment is especially attention-garnering. Not only does it start things off brilliantly, but it also is a tremendous showcase of Rey Gutierrez’s moody, gloriously fashioned cinematography. A riveting, intimate shot which seems as if the camera is quickly moving through the fields in this early section is definitive proof of such a statement. Additionally, Gutierrez and Kristin Gerhart issue editing that is sharp and stalwart. Christie Beau’s original music is phenomenal. It is atmospheric and haunting in equal measure. J. Cullen Humphreys’ set decoration and Veronica Porras’ wardrobe department contribution adds to the everyday authenticity apparent throughout the labor. Danielle Montini, Timothy Montoya, Cassie Packard, David Root, Emily Sigler and Carrie Stalk create a camera and electrical team whose wonderful, proficient input guides every frame. Tim Alward, Patrick Busby, Michael Capuano, Evan Menak and Harryson Thevenin evoke masterful sound. Moreover, Joshua Romeo’s various stunts are proficiently and credibly executed. The result is easy to admire endeavor. It is one that is as naturally likable as the personalities we follow in the affair.

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Distributed through Uncork’d Entertainment, Pitchfork ascribes to be among the ranks of the Nightmare on Elm Street and Friday the 13th series. In so doing, it proves itself as more than worthy. Though it holds a bit too closely to the traditions of former offerings of its ilk to be a true groundbreaker, the enjoyment inherent throughout never wavers. This is a decidedly old-fashioned voyage into fear. It is one that is devoid of much of the gimmicks or unyielding seriousness present in far too many modern attempts at trepidation. This factor alone makes the application recommendation worthy. But, it is remarkable on both a technical level. Everyone involved does spectacularly with their individual tasks. Likewise, it ends with a smirk-inducing note. It is one which cryptically hints at all the details of the tale left to be told. This is while simultaneously forcing us to reanalyze everything we thought we knew previously. It is a perfect set-up for a sequel; an unspoken promise I hope Packard and crew make good upon. As it is, this is a fantastic inauguration to a franchise that promises to be described in the same manner. This stands as an incredible reminder of what made me initially admire celluloid shock. More than anything, it gloriously exhibits the timelessness of these items. In turn, it also validates how they retain their enduring appeal. Packard has unleashed an instant classic; an outstanding new boogeyman to haunt the dreams of a generation.

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