“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”.

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“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.

Capsule Reviews: “All the Money in the World”, “The Devil’s Well”, “Ferdinand”, “The Foreigner” and “Slumber”

By Andrew Buckner

ALL THE MONEY IN THE WORLD

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

All the Money in the World is one of the best films of 2017. It is also another masterful exhibition of craft from the always interesting director Ridley Scott. The 132-minute thriller, which chronicles the true- life story of the abduction of 16-year-old John Paul Getty III, is riveting from start to finish. It is so engrossing that I barely stirred during my viewing of the picture. Further benefitting the affair is a performance from Christopher Plummer that is one of the finest to hit movie screens all year. Michelle Williams and Mark Wahlberg, who portray Gail Harris and Fletcher Chase respectively, issue deft, layered and gripping enactments. Additionally, Scott’s engrossing storytelling, confident pacing and distinguished behind the lens style makes this compelling and highly-cinematic work evermore accomplished. This is a must-see!

(R). Contains violence, language and adult themes.

In theaters now.

THE DEVIL’S WELL

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

The Devil’s Well (2017) is an always interesting, if routinely structured, faux documentary style horror picture. It is one that gleans its chilling nature in the manner of many of the most enduring installments in the previously stated sub-genre: through the power of the imagination. Whether describing fearful incidents in the past or present, the Kurtis Spieler penned and guided opus often wisely tells instead of directly showcasing its stabs at trepidation. This is excluding the engaging concluding 15 minutes of this 88-minute endeavor. Such a time-honored approach works beautifully. Spieler’s affair is no exception. In telling the simultaneously chilling and entertaining tale of Karla Marks (Anne-Marie Mueschke) and her disappearance into the notorious title place, Spieler crafts both relatable and believable characterizations, same said dialogue, situations and scares into a deft dose of low-budget chills. Recommended!

(Unrated).

On DVD 1/23/18 from Wild Eye Releasing.

FERDINAND

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

Though formulaic in structure and prone to a few moments that may be thematically too dark for some young children (especially in the finale), the beautifully animated Ferdinand (2017) sports a balance of genuinely funny humor and effective sentiment that is as admirable as it is infectious. Alongside John Cena and Kate McKinnon’s lively lead voice work, the always welcome message of embracing love in a world of violence that courses throughout the film is as timely as it is timeless. In turn, the slightly overlong 108-minute feature, based on Munro Leaf’s classic book about the adventures of a kind-hearted bull who is mistaken for a menace, proves to be both a wonderful surprise and robust family-friendly entertainment.

(PG). Contains some crude moments and situations.

In theaters now.

THE FOREIGNER

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

The Foreigner (2017) is a murky, dull, by-the-numbers mess of a movie. It fails as both a conspiracy thriller and as an action film. Worst of all, leading man Jackie Chan’s often jaw-dropping capacity for cinematic combat is wasted here. This is due to director Martin Campbell’s insistence on keeping such moments as brief and standard service as possible. This is a problem found throughout the relatively empty 112-minute runtime of the film. Moreover, the finale to this terrorist revenge tale is especially flat and unsatisfying. In turn, Campbell has crafted an all-around desperate, distant and forgettable venture. Skip it.

(R). Contains violence and adult themes.

Now available on digital.

SLUMBER

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

Slumber (2017) is a lean, well-mounted and genuinely effective sleep paralysis based horror outing. The story, which concerns a sleep doctor’s attempts to defend a family from a demon that torments them while they dream, is first-rate. The same can be said of Maggie Q’s central depiction of Alice Arnolds. Co-writer (with Richard Hobley) and director Jonathan Hopkins provides excellent work with his aforesaid contributions. The last 15 of this 84-minute production, though a shade predictable, are a perfect payoff to the immersive buildup beforehand.

(Unrated). Contains violence and terrifying situations.

Now available on digital and in select theaters.

The 60 Greatest Films of 2017

By Andrew Buckner

It has been another remarkable year for cinema. With this in mind, I gladly enclose my list of the sixty greatest films of 2017. The criteria I utilized when putting this composition together is that every picture had a U.S. release date in the aforementioned year. Please note that I have yet to see The Shape of Water and The Disaster Artist. Hence, the exclusion of these features from this article. Yet, make sure to return to this page. I will be adding to this piece once I have had the chance to view these pictures myself. Enjoy!

60. Icarus
Director: Bryan Fogel

59. Marshall
Director: Reginald Hudlin.

58. Wind River
Director: Taylor Sheridan.

57. A**holes
Director: Peter Vack.

56. Land of Mine
Director: Martin Zandvliet.

55. 20th Century Women
Director: Mike Mills.

54. Night Job
Director: J. Antonio.

53. Columbus
Director: Kogonada.

52. 78/52: Hitchcock’s Shower Scene
Director: Alexandre O. Phillipe.

51. Unearthed & Untold: The Path to Pet Sematary
Directors: John Campopiano, Justin White.

50. The Meyerowitz Stories (New and Selected)
Director: Noah Baumbach.

49. Okja
Director: Bong Joon-ho.

48. Get Out
Director: Jordan Peele.

47. The Big Sick
Director: Michael Showalter.

46. Fairfield Follies
Director: Laura Pepper.

45. Second Nature
Director: Michael Cross.

44. Baby Driver
Director: Edgar Wright.

43. Gerald’s Game
Director: Mike Flanagan.

42. 1922
Director: Zak Hilditch.

41. A Dark Song
Director: Liam Gavin.

40. Blade Runner 2049
Director: Dennis Villeneuve.

39. After the Storm
Director: Hirokazu Koreeda

38. The Lost City of Z
Director: James Gray.

37. The Beguiled
Director: Sofia Coppola.

36. Personal Shopper
Director: Olivier Assayas.

35. Strapped for Danger
Director: Richard Griffin.

34. War for the Planet of the Apes
Director: Matt Reeves.

33. Alien: Covenant
Director: Ridley Scott.

32. Blade of the Immortal
Director: Takashi Miike.

31. Kuso
Director: Flying Lotus.

30. Anti Matter
Director: Keir Burrows.

29. The Transfiguration
Director: Michael O’ Shea.

28. Abacus: Small Enough to Jail
Director: Steve James.

27. We Are the Flesh
Director: Emiliano Rocha Minter.

26. Rat Film
Director: Theo Anthony.

25. An Inconvenient Sequel: Truth to Power
Directors: Bonni Cohen, Jon Shenk.

24.. The Lure
Director: Agnieszka Smoczynska.

23. Jim and Andy: The Great Beyond- Featuring a Very Special, Contractually Obligated Mention of Tony Clifton
Director: Chris Smith.

22. Mudbound
Director: Dee Rees.

21. A Cure for Wellness
Director: Gore Verbinski.

20. Colossal
Director: Nacho Vigalondo.

19. Spielberg
Director: Susan Lacy.

18. A Midsummer Night’s Dream
Director: Richard Griffin.

17. A Quiet Passion
Director: Terence Davies.

16. David Lynch: The Art Life
Directors: Jon Nguyen, Rick Barnes, Olivia Neergaard-Holm.

15. My Pet Dinosaur
Director: Matt Drummond.

14. Strong Island
Director: Yance Ford.

13. Leftovers
Director: Seth Hancock.

12. The Phantom Thread
Director: Paul Thomas Anderson.

11.Loving Vincent
Directors: Dorota Kobiela, Hugh Welchman.

10. Last Men in Aleppo
Directors: Firas Fayyad, Steen Johanessen, Hasan Kattan.

9. All the Money in the World
Director: Ridley Scott.

8. Long Night in a Dead City
Director: Richard Griffin.

7. Raw
Director: Julia Ducournau.

6. The Killing of a Sacred Deer
Director: Yorgos Lanthimos.

5. Endless Poetry
Director: Alejandro Jodorowsky.

4. Detroit
Director: Kathryn Bigelow.

3. A Ghost Story
Director: David Lowery.

2. The Post
Director: Steven Spielberg.

1. mother!
Director: Darren Aronofsky.

“Cannibal Farm” – (Movie Review)

By Andrew Buckner

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

Cannibal Farm (2017), the second feature from writer-director Charlie Steeds, is dripping with obvious influence. This is most readily discrnible from the on-going Texas Chain Saw Massacre series. It is visible in its unflinchingly grim subject matter. Particularly, the taboo consumption stated outright in the title of Steeds’ endeavor. Such a similarity is also evident in the general appearance of the murderous madman glimpsed on the eye-catching cover art. This image is also slyly captured in myriad forms throughout the course of the 101-minute undertaking itself. Furthermore, Steeds’ construction shares the same grindhouse style and gritty artistry that graced Tobe Hooper’s groundbreaking initial installment of the afore-said succession, The Texas Chain Saw Massacre (1974). Moreover, the now traditional central location of the action in both films is an isolated farmhouse. Not to mention, once the tension begins in each picture there is simply no letup. This is until the relatively brief end credits roll. In the case of Steeds’ enterprise, this perpetual concentration commences at the half-hour mark. This is in a sequence that is as surprising as it is memorable.

These resemblances would’ve been enough to garner the interest of many genre enthusiasts. Regardless, Steeds doesn’t rely solely on this inspiration to propel his own material. Instead, he uses the strained relationships that are heavily focused on in the first act to culminate a concern for our protagonists that genuinely works. It also becomes the pulpit for an array of terrific lead performances. Chiefly, Barrington De La Roche as the notorious Hunt Hansen and Kate Marie Davies as our compelling heroine, Jessica Harver. Unlike various other terror-evoking showcases, these articles aren’t dropped as soon as our protagonists find themselves in a variety of potentially lethal encounters. Steeds never forgets these dramatic touches. They are addressed throughout the runtime to brilliant effect. This makes the intensity at hand evermore admirable, incessant and layered. It also gives way to the best twist in the entire fabrication. It arrives at the midway point. This bit is a masterclass in getting audience members to share the perspective of some of the leads.

Set in the British countryside, the story revolves around the Harver family. They begin the narrative in an effort at bonding and being able to overcome their past differences. This is through the time-honored cinematic tradition of a camping trip. After an unseen menace destroys the outdoors spot where the clan was hoping to stay for the night, they seek aid in a nearby homestead. Soon the tranquil ambitions of the Harvers are erected into an all-out nightmare. This is as they come face to face with Hansen (who receives his last name from the Icelandic-born actor that played Leatherface in Hooper’s masterpiece, Gunnar Hansen) and his deformed son.

This solid, if standard in retrospect, narrative foundation incorporates some interesting detachments from Hooper’s formula. For instance, the mobility of a variety of Steeds’ on-screen personas are limited to cages. This detail assists in making Cannibal Farm a taut, claustrophobic experience. Though this restraint in movement could’ve easily become repetitive in less imaginative hands, Steeds brings a string of uniquely dangerous situations for the encapsulated. Thus, the entertainment level of the piece never wavers. Steeds even sneaks in a few ideas in this arena that can be aligned to any of the eight Saw (2004-present) movies. One of the most haunting of these moments, which occurs in the last twenty minutes of the exertion, brilliantly calls to mind the iconic furnace scene in Saw II (2005).

Such an attribute is also a testament to the quality of Steeds’ character-oriented, brutal and inventive screenplay. The confidently paced and sharply structured script defies the stalk-and-slash expectations and clichés of the sub-category at nearly every turn. Such is most noteworthy in the execution of the unexpected and satisfying finale. This makes for an appropriate bookend to an exercise that commences with a jarring and assuredly attention-garnering (if too reliant on slow-motion shots) prologue. This configuration runs approximately five minutes.

Steeds’ behind the lens labors are just as potent. This can also be spoken of his editing. Furthermore, the cinematography from Michael Lloyd helps parallel the original Texas Chain Saw Massacre in another facet altogether. This is in its raw, yet technically magnificent, veneer. Correspondingly, Sam Benjafield’s music is marvelous and atmospheric.

Additionally, the previously undeclared enactments are deft. Sam Lane makes an incredible impression during his sparse turn as The Boy with The Melted Face. David Lenik as Toby and Rowena Bentley as Katherine Harver are equally enjoyable in their respective depictions. Toby-Wynn Davies is superb as Wesley Wallace. Peter Cosgrove is commanding as Everett Blackheart. Continuously, Joe Street’s representation of Kurt Daniels and Dylan Curtis’ embodiment of Sam Harver are involving and skillful.

Also known as Escape from Cannibal Farm, Steeds’ latest flick is a surefire triumph. The Dark Temple Motion Pictures production isn’t overly reliant on gore. Still, bystanders will leave the affair feeling as if they have seen an endless array of graphically violent arrangements. Such is a testament to the uncompromising effectiveness of Steeds’ craftsmanship. This is especially true of his capacity to fashion well-done and credible scares. It is also one of the more nuanced correlations to Hooper’s low-budget gem. Because of the above reasons, fans of boogeymen new and old will certainly want to check out this instant classic. It will be released on Video on Demand via High Octane Pictures on January 2nd, 2018.

“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).

“It Comes at Night” – (Capsule Review)

By Andrew Buckner

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

It Comes at Night (2017) is claustrophobic, ominous, well-acted and beautifully made. Additionally, writer-director Trey Edward Shults successfully builds an unsettling atmosphere. This he wonderfully institutes alongside a slow-burn pace that works terrifically from the first frame to the last. The problem the 91-minute horror outing faces is that the story, which concerns a man who is attempting to protect his family from an enigmatic sickness which wiped out most of the world, has become routine in recent post-apocalyptic genre offerings. This is also true of the general chain of events found in the narrative. Such tired ingredients greatly dilute the overall interest and effectiveness of this otherwise solid, character-oriented film.

(R).

Available to buy now at Amazon.

“Death Waits for No Man” – (Movie Review)

By Andrew Buckner

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

Death Waits for No Man (2017) is riveting in concept and execution. Additionally, writer-director Armin Siljkovic’s debut feature is an unpredictable, taut, stylish and endlessly intense thriller. Clocking in at a lean 77 minutes, the slow-burn picture is effective and efficient. Though the work is essentially a three-person tale, audience care and understanding is equally distributed among our leads. Such is a courtesy of the way Siljkovic slyly makes these individuals look like protagonists and antagonists of the venture. This is at differing moments throughout the effort.

The plot itself is a masterclass in storytelling. Siljkovic commences the affair on a deceptively simple note. It concerns a woman, Lily (in a layered and commanding portrayal from Angelique Pretorius), asking a man, Uzal (in an excellent enactment from Bradley Snedeker), to kill her husband, Sinclair (in a gripping depiction from Corey Rieger). To say anymore would be to give away the sheer delight of watching Siljkovic build on this idea. This is with one credible, ever-darkening twist after another. Best of all, the tale ends just as well as the rest of the largely one-room movie deserves.

This is a courtesy of Siljkovic’s sharply honed contributions to the project. His authorship of the material is every bit as skillful and harrowing as his general guidance of the endeavor. Siljkovic’s characters are initially enigmatic. This works to further erect bystander intrigue in the early passages. When the exercise concludes, the on-screen personalities arise as suitably developed. Such an attribute is even more evidence of how well Siljkovic handles the material.

Furthermore, Joseph ‘Sloe’ Slawinski offers brooding, hypnotic and emotionally resonant music. Ted Hayash’s cinematography is moody and immersive. Isabel Mandujano’s costume design is superb. The make-up and sound fare just as magnificently. The result of all these afore-mentioned components is a full-throttle masterpiece; an absolute bulls-eye.

Death Waits For no Man is scheduled for release in fall of 2017.

 

“Annabelle: Creation” – (Movie Review)

By Andrew Buckner

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

Annabelle: Creation (2017) is a skillfully executed bag of time-tested horror tricks. It is also carefully structured and paced. Likewise, the New Line Cinema and Atomic Monster release is character-driven and fun. This latter stated attribute is especially true of the climactic last half hour. This is when all hell breaks loose.

Director David F. Sandberg and screenwriter Gary Dauberman tell the origin story of the demonically manipulated title plaything. The aforesaid object spends most of the 1950’s set film terrorizing a group of children who have recently relocated from an orphanage. These young girls are now residing in a home owned by a dollmaker, Samuel Mullins (Anthony LaPaglia), and his bed-ridden wife, Esther (Miranda Otto). With this noticeably thin plot, Sandberg and Dauberman fashion an ambitious spinoff of the Conjuring series. Though their respective contributions are certainly a case of style over substance, it works well for the material.

Correspondingly, Lulu Wilson’s turn as Linda, Talitha Bateman’s depiction of Janice and Stephanie Sigman’s embodiment of Sister Charlotte are extraordinary. They help make their lead personas unique, memorable and layered. The effects, animation and sound are just as impressive. Furthermore, Maxime Alexandre’s cinematography is moody and beautiful. When combined with Benjamin Wallfisch’s same said music, Sandberg’s atmosphere becomes increasingly unnerving, palpable and hypnotic.

What is just as admirable is the restraint that hurtles the 109-minute project forward. Such a factor also lends a wonderfully old-fashioned feel to the proceedings. Continually, the middle and post-credits bits implement supplementary smirks from the audience. In the end, what Sandberg’s picture lacks in imagination, it makes up for in sheer craft.

(R). Contains adult content and violence.

Annabelle: Creation is now showing exclusively in theaters.

“Anti Matter”- (Movie Review)

By Andrew Buckner

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

Writer-director Keir Burrows’ Anti Matter (2016) is smart, credible and entertaining science based fiction. It is the type of tale those of us with a lifelong admiration for such literary masters as Ray Bradbury, Michael Chrichton and Jules Verne always find an absolute joy to sit through. This is because Burrows’ meticulously paced and structured, 106-minute project feels as if it could’ve been the brainchild of any one of these prior stated legends. This is true of both its bold, theoretical themes and its captivating execution. Such a comparison also derives from Burrows’ existence-mirroring and suitably developed characterizations. There is also a related respect Burrows has for the intelligence of his audience. This is a courtesy of Burrows’ intriguing plot. Continued thanks in this arena is also due to his sharp, layered screenplay. It is full of insightful dialogue. Praise is also mandated to his hypnotic guidance of the exercise.

Burrows’ presentation concerns Ana Carter (in a gripping portrayal by Yaiza Figueroa). She is a PhD student at Oxford University. As the saga unfolds, she finds memories impossible to erect. This is after a procedure to build and go through a wormhole. After a well-done setup, the last two acts of this Uncork’d Entertainment distribution release showcase Ana’s frantic cracks at understanding what transpired while conducting the experiment. Adding to the sudden stress is a lingering impression that something terrible is slowly surrounding her. Such attributes institute a ticking clock motif to the endeavor. This makes the underlying suspense evermore palpable.

Previously titled Worm, Burrows’ production is initially a bit conventional. This is in its incorporation of Ana’s inexplicable amnesia. Though Burrows works other traditional elements into the narrative afterwards, this criticism quickly diminishes. This is as Burrows goes beyond the standard employment of this oft-exploited trope. In so doing, Burrows immerses bystanders in Ana’s newfound fascination with dreams. This interest also extends to making sense of the noticeably off world around her. Best of all, Burrows provides a rousing finale. It is one that deserts the multi-million-dollar mayhem so commonly equated with far too many climaxes in this chronicle-oriented genus. This is to bring us a culmination that is harrowing, not because of explosions or endless gunfire, but because of the ideas it offers. Not to mention, the resolution beautifully ties up the details of Ana’s circumstance. The cause of which is as riveting as it is illuminating.

From a cast and crew standpoint, the feature is just as triumphant. Edwin Sykes’ regularly low-key music is terrific. The cinematography from Gerry Vasbenter is gritty and proficient. Such is perfectly fitting to Burrows’ brilliantly executed, same said tone. The editing by Rhys Barter is seamless. Correspondingly, the make-up, sound and costume design are top-notch. The formerly undeclared representations are also strong. For example, Phillipa Carson is excellent as Liv. Tom-Barber Duffy as Nate and Noah Maxwell Clarke as Stovington are just as successful.

Though not as deceptively intricate or emotionally resonant as Denis Villeneuve’s recent film, Arrival (2016), Burrows has crafted a movie that is just as unforgettable. The subject matter alone draws alignments to Bradbury’s short story, “A Sound of Thunder” (1952), and Chrichton’s novel, Timeline (1999). This primarily stems from its application of connections in space-time. Likewise, the ability to get through them into other regions. Yet, Burrows’ exertion abandons the exploration of what may hypothetically be on the other side of such a construction. This is to focus in on how such travel may immediately affect the universe we call our own. It is an engaging notion; one that is marvelously put together. Simultaneously, the manner that the opening and conclusion play off one another is just as smirk-inducing. There are also some felicitous topics, such as vivisection, Burrows instills into the episode. This comes in the form of the peer protests that surround Ana. These tidbits also lend perpetual authenticity to her landscape. Such relatively quiet touches also further the depth of the venture immeasurably. The result of these qualities is the best film of its ilk I’ve seen this year.

(Unrated). Contains adult content and profanity.

Anti Matter will be available in select theaters and on Video on Demand September 8th.