Tag: Andrew Buckner

A Word of Dreams Presents: The 101 Greatest Films of the 21st Century (So Far)

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By Andrew Buckner

101. Persepolis (2007)
Directors: Vincent Paronnoud, Marjane Satrapi.
Genre: Animation, Biography, Drama.

100. The Hurt Locker (2008)
Director: Kathryn Bigelow.
Genre: Drama, History, Thriller.

99. Spotlight (2015)
Director: Tom McCarthy.
Genre: Crime, Drama, History.

98. Babel (2006)
Director: Alejandro Gonzalez Inarritu.
Genre: Drama.

97. Cameraperson (2016)
Director: Kirsten Johnson.
Genre: Documentary.

96. The Counterfeiters (2007)
Director: Stefan Ruzowitzky.
Genre: Crime, Drama, War.

95. Gasland (2010)
Director: Josh Fox.
Genre: Documentary.

94. The Lives of Others (2006)
Directors: Florian Henckel von Donnersmarck.
Genre: Drama, Thriller.

93. The Best of Youth (2003)
Director: Marco Tullio Giordana.
Genre: Drama.

92. Capturing the Friedmans (2003)
Director: Andrew Jarecki.
Genre: Documentary.

91. Manchester by the Sea (2016)
Director: Kenneth Lonergan.
Genre: Drama.

90. The Master (2012)
Director: Paul Thomas Anderson.
Genre: Drama.

89. A Prophet (2009)
Director: Jacques Audiard.
Genre: Crime, Drama.

88. The Grand Budapest Hotel (2014)
Director: Wes Anderson.
Genre: Adventure, Comedy, Drama.

87. The Secret in their Eyes (2009)
Director: Juan Jose Campenella.
Genre: Drama, Mystery, Romance.

86. Film Socialisme (2010)
Director: Jean-Luc Godard.
Genre: Drama.

85. Flags of our Fathers (2006)
Director: Clint Eastwood.
Genre: Drama, History, War.

84. Letters from Iwo Jima (2006)
Director: Clint Eastwood.
Genre: Drama, History, War.

83. The Dreamers (2003)
Director: Bernardo Bertolucci.
Genre: Drama, Romance.

82. I Am Not Your Negro (2016)
Director: Raoul Peck.
Genre: Documentary.

81. Stories We Tell (2013)
Director: Sarah Polley.
Genre: Documentary.

80. Love (2015)
Director: Gaspar Noe.
Genre: Drama, Romance.

79. Apocalypto (2006)
Director: Mel Gibson.
Genre: Action, Adventure, Drama.

78. Irreversible (2002)
Director: Gaspar Noe.
Genre: Crime, Drama, Mystery.

77. Notes on a Scandal (2006)
Director: Richard Eyre.
Genre: Crime, Drama, Romance.

76. Mystic River (2003)
Director: Clint Eastwood.
Genre: Crime, Drama, Mystery.

75. La Vie en Rose (2007)
Director: Olivier Dahan.
Genre: Biography, Drama, Musical.

74. Milk (2008)
Director: Gus Van Sant.
Genre: Biography, Drama, History.

73. The Departed (2006)
Director: Martin Scorsese.
Genre: Crime, Drama, Thriller.

72. Lion (2016)
Director: Garth Davis.
Genre: Biography, Drama.

71. Brokeback Mountain (2005)
Director: Ang Lee.
Genre: Drama, Romance.

70. Zodiac (2007)
Director: David Fincher.
Genre: Crime, Drama, Thriller.

69. Inland Empire (2006)
Director: David Lynch
Genre: Mystery, Thriller.

68. Django Unchained (2012)
Director: Quentin Tarantino.
Genre: Drama, Western.

67. Goodnight Mommy (2014)
Directors: Severin Fiala, Veronika Franz.
Genre: Horror, Thriller.

66. Amores Perros (2001)
Director: Alejandro Gonzalez Inarritu.
Genre: Drama, Thriller.

65. The Piano Teacher (2001)
Director: Michael Haneke.
Genre: Drama, Romance.

64. Room (2015)
Director: Lenny Abrahamson.
Genre: Drama.

63. Tanna (2015)
Directors: Martin Butler, Bentley Dean.
Genre: Drama, Romance.

62. Bad Education (2004)
Director: Pedro Almodovar.
Genre: Crime, Drama.

61. Elle (2016)
Director: Paul Verhoeven.
Genre: Crime, Drama, Thriller.

60. Monster (2003)
Director: Patty Jenkins.
Genre: Biography, Crime, Drama.

59. Million Dollar Baby (2004)
Director: Clint Eastwood.
Genre: Drama, Sports.

58. Pan’s Labyrinth (2006)
Director: Guillermo del Torro.
Genre: Fantasy, War.

57. The Black Swan (2010)
Director: Darren Aronofsky.
Genre: Drama, Thriller.

56. Anomalisa (2015)
Directors: Duke Johnson, Charlie Kaufman.
Genre: Animation, Comedy, Drama.

55. The Boy in the Striped Pajamas (2008)
Director: Mark Herman.
Genre: Drama, War.

54. Doubt (2008)
Director: John Patrick Shanley.
Genre: Mystery.

53. Lilith’s Awakening (2016)
Director: Monica Demes.
Genre: Horror, Thriller.

52. Nocturnal Animals (2016)
Director: Tom Ford.
Genre: Drama, Thriller.

51. Amelie (2001)
Director: Jean-Pierre Jeunet.
Genre: Comedy, Romance.

50. Enter the Void (2009)
Director: Gaspar Noe.
Genre: Drama, Fantasy.

49. A Separation (2011)
Director: Asghar Farhadi.
Genre: Drama, Mystery.

48. Kinsey (2004)
Director: Bill Condon.
Genre: Biography, Drama.

47. North Country (2005)
Director: Niki Caro.
Genre: Drama.

46. Revolutionary Road (2008)
Director: Sam Mendes.
Genre: Drama, Romance.

45. A Man Called Ove (2015)
Director: Hannes Holm.
Genre: Comedy, Drama.

43. The Salesman (2016)
Director: Asghar Farhadi.
Genre: Drama, Thriller.

42. Lincoln (2012)
Director: Steven Spielberg.
Genre: Biography, Drama, History.

41. Shame (2011)
Director: Steve McQueen.
Genre: Drama.

40. Her (2013)
Director: Spike Jonze.
Genre: Drama, Romance, Science-Fiction.

39. Capote (2005)
Director: Bennett Miller.
Genre: Biography, Crime, Drama.

38. Prisoners (2013)
Director: Dennis Villeneuve.
Genre: Crime, Drama, Thriller.

37. The Diving Bell and the Butterfly (2007)
Director: Julian Schnabel.
Genre: Biography, Drama.

36. Hotel Rwanda (2004)
Director: Terry George.
Genre: Biography, Drama, History.

35. Munich (2005)
Director: Steven Spielberg.
Genre: Crime, Drama, History.

34. Fruitvale Station (2013)
Director: Ryan Coogler.
Genre: Biography, Drama, Romance.

33. Ex Machina (2014)
Director: Alex Garland.
Genre: Science-Fiction.

32. Ida (2013)
Director: Pawel Pawlikowski.
Genre: Drama.

31. Under the Skin (2013)
Director: Jonathan Glazer.
Genre: Science-Fiction.

30. Mad Max: Fury Road (2015)
Director: George Miller.
Genre: Action, Science-Fiction.

29. The Revenant (2015)
Director: Alejandro Gonzalez Inarritu.
Genre: Adventure, Thriller.

28. Gangs of New York (2002)
Director: Martin Scorsese.
Genre: Crime, Drama.

27. Boyhood (2014)
Director: Richard Linklater.
Genre: Drama.

26. Fences (2016)
Director: Denzel Washington.
Genre: Drama.

25. A Serious Man (2009)
Directors: Ethan Coen, Joel Coen.
Genre: Comedy, Drama.

24. Antichrist (2009)
Director: Lars von Trier.
Genre: Horror.

23. Nymphomaniac Vol. 1-2 (2013)
Director: Lars von Trier.
Genre: Drama.

22. Away from Her (2006)
Director: Sarah Polley.
Genre: Drama.

21. The King’s Speech (2010)
Director: Tom Hooper.
Genre: Biography, Drama.

20. The Aviator (2004)
Director: Martin Scorsese.
Genre: Biography, Drama, History.

19. The Pianist (2002)
Director: Roman Polanski.
Genre: Biography, Drama, History.

18. The Wolf of Wall Street (2013)
Director: Martin Scorsese.
Genre: Biography, Comedy, Drama.

17. Hacksaw Ridge (2016)
Director: Mel Gibson.
Genre: Action, Drama, War.

16. Amour (2012)
Director: Michael Haneke.
Genre: Drama, Romance.

15. The White Ribbon (2009)
Director: Michael Haneke.
Genre: Drama, Mystery.

14. The Great Beauty (2013)
Director: Paolo Sorrentino.
Genre: Drama.

13. The Artist (2011)
Director: Michel Hazanavicius.
Genre: Comedy, Drama, Romance.

12. Moonlight (2016)
Director: Barry Jenkins.
Genre: Drama.

11. Silence (2016)
Director: Martin Scorsese.
Genre: Adventure, Drama, History.

10. Life Itself (2014)
Director: Steve James.
Genre: Biography, Documentary.

9. Blue is the Warmest Color (2013)
Director: Abdellatif Kechiche.
Genre: Drama, Romance.

8. Selma (2014)
Director: Ava DuVernay.
Genre: Biography, Drama, History.

7. Inside Llewyn Davis (2013)
Directors: Ethan Coen, Joel Coen.
Genre: Drama, Musical.

6. Downfall (2004)
Director: Oliver Hirschbiegel.
Genre: Biography, Drama, History.

5. 12 Years a Slave (2013)
Director: Steve McQueen.
Genre: Biography, Drama, History.

4. There Will Be Blood (2007)
Director: Paul Thomas Anderson.
Genre: Drama, History.

3. Nightcrawler (2014)
Director: Dan Gilroy.
Genre: Crime, Drama, Thriller.

2. No Country for Old Men (2007)
Directors: Ethan Coen, Joel Coen.
Genre: Action, Thriller.

1.The Tree of life (2011)
Director: Terrence Malick.
Genre: Drama.

Runners-Up (in alphabetical order):

A Life Not to Follow (2015)
Director: Christopher Di Nunzio.
Genre: Crime, Drama, Thriller.

Atonement (2007)
Director: Joe Wright.
Genre: Drama, Mystery, Romance.

The Babadook (2014)
Director: Jennifer Kent.
Genre: Horror.

Blood! Sugar! Sid! Ace! (2012)
Director: Mike Messier.
Genre: Comedy, Drama.

Casino Royale (2006)
Director: Sam Mendes.
Genre: Action, Adventure.

Chi-Raq (2015)
Director: Spike Lee.
Genre: Comedy, Crime, Drama.

The Cove (2009)
Director: Louie Psihoyos.
Genre: Documentary.

David Lynch: The Art Life (2016)
Directors: Jon Nguyen, Rick Barnes, Olivia Neergaard-Holm.
Genre: Drama, Documentary.

Elephant (2003)
Director: Gus Van Sant.
Genre: Crime, Drama, Thriller.

The Handmaiden (2016)
Director: Park Chan-wook.
Genre: Drama, Mystery, Romance.

House of Pleasures (2011)
Director: Bertrand Bonello.
Genre: Drama.

House of Sand and Fog (2003)
Director: Vadim Perelman.
Genre: Drama.

Little Children (2006)
Director: Todd Field.
Genre: Drama, Romance.

Long Night in a Dead City (2017)
Director: Richard Griffin.
Genre: Mystery.

Match Point (2005)
Director: Woody Allen.
Genre: Drama, Romance, Sports.

Mulholland Drive (2001)
Director: David Lynch.
Genre: Drama, Mystery, Thriller.

Nightmare Code (2014)
Director: Mark Netter.
Genre: Horror, Science-Fiction, Thriller.

The Passion of the Christ (2004)
Director: Mel Gibson.
Genre: Drama.

Tangerine (2015)
Director: Sean Baker.
Genre: Comedy, Crime, Drama.

Trespassing Bergman (2013)
Directors: Jane Magnusson, Hynek Pallas.
Genre: Documentary.

Trinity (2016)
Director: Skip Shea.
Genre: Drama, Horror.

20th Century Women (2016)
Director: Mike Mills.
Genre: Comedy, Drama.

A Brief Word on New Releases: “All Eyez on Me”, “The Belko Experiment”, “Darkness Rising”, “Dead Awake”, “Personal Shopper” and “Pool Party Massacre”

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By Andrew Buckner

All Eyez On Me

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

All Eyez On Me (2017) is a near perfect biopic. This massive achievement is courtesy of debut actor Demetrius Shipp Jr. He is largely convincing as the iconic and controversial rapper, poet, political activist and actor Tupac Shakur. Danai Gurira is just as triumphant as Shakur’s revolutionary-minded mother, Afeni.

Though liberties have been taken with Shakur’s naturally riveting life story, the effort still stands as one of the best pictures of the year. Correspondingly, director Benny Boom’s structure and guidance of the venture is uniquely exhilarating. Likewise, Boom captures the many sides of his complex central figure masterfully. The outcome of these high-caliber traits is a film of unflinching engagement and power. It is one further punctuated by Shakur’s own brilliant and timeless music.

Released in theaters on June 16th, 2017.

Runtime: 139 minutes.

(R). Contains violence, adult language, adult themes, scenes of sexuality and nudity.

The Belko Experiment

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

Director Greg McLean’s The Belko Experiment (2016) has enough moments of wit, gore, laughter, intensity and intrigue to pose as serviceable entertainment. Still, this is exactly what you’d expect from a cinematic presentation with the Saw (2004) in the workplace set-up that this movie demonstrates. Additionally, the central figures, story arc and central themes are just as commonplace. Though the last act is grim and action-packed, it all leads to a rote finale. Even with its efficient 89-minute runtime and quick pace added into the equation, this is a mixed bag at best.

(R). Contains graphic violence and adult language.

Darkness Rising

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

Darkness Rising (2017), from IFC Midnight, is lean, fast-paced and chock full of time-tested haunted house scares. Austin Reading’s direction is atmospheric. Additionally, the portrayals and special effects are deft. The result is familiar, especially when considering the personas on-screen and general plot, B-movie fun.

Released in select theaters and Video on Demand on June 30th, 2017.

Runtime: 81 minutes.

(Unrated). Contains violence, terror, adult themes and adult language.

Dead Awake

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

Dead Awake (2016) turns the naturally unsettling topic of sleep paralysis into horror cliché. Phillip Guzman’s direction is taut and proficient. Moreover, the performers do the best they can with their one-dimensional characters. Still, the poor effects, routine scripting from Jeffrey Reddick and pained attempts to align the production to The Ring (2002) hinder the project. The result is forgettable; a missed opportunity all-around.

Runtime: 99 minutes.

(Unrated). Contains violence and adult language.

Released on May 12th, 2017 in select theaters and on Video on Demand.

Personal Shopper

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

Writer-director Olivier Assayas’ Personal Shopper (2017) is one of the most cerebral, satisfying and uniquely riveting ghost stories I’ve seen in years. Assayas’ latest endeavor is a layered, deftly constructed masterpiece. The 105-minute affair unravels its multi-genre tale gradually, seamlessly and with meticulous care and craftsmanship. Simultaneously a drama, thriller and mystery, the picture is also noteworthy for Kristen Stewart’s ingeniously haunting portrayal of our heroine, Maureen Cartwright. Utilizing successfully spine-tingling bits early on and ending with an equally remarkable episode of emotion and intrigue, this tale of a woman seeking to contact her deceased twin brother is as Hitchcockian as it is highly unpredictable.

(R). Contains scenes of terror, sexuality, adult language, mild violence and adult content.

Available now at Amazon.

Pool Party Massacre

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

Writer-director and co-star Drew Marvick’s Pool Party Massacre (2017) is pure fun; a delightfully tongue-in-cheek 1980’s style slasher opus that orchestrates both laughter and gore galore. The straight-forward plot, which concerns a murderous individual slaughtering a gathering of opulent young women one by one, is a terrific pulpit for an independent feature of this ilk. In the tradition of the best entries in this sub-genre, the kills are imaginative and high in number. Furthermore, the depictions, as well as the opening credits sequence, capture the tone of the piece brilliantly. The result is as much a consistently engaging midnight movie as it is a display of Marvick’s talent behind the lens.

Runtime: 81 minutes.

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

Available now at Amazon.

“The Silent Corner: A Novel of Suspense” – (Book Review)

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By Andrew Buckner

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

Hindered by a repetition of ideas and scenarios in its midsection, Dean Koontz’s latest work, The Silent Corner: A Novel of Suspense (2017), is at least fifty pages overlong. Likewise, it is oddly fashioned. For example, many of the sequences, especially in the second half, seem unnecessarily drawn-out. Correspondingly, the pace seems to stop and go as it pleases. In turn, the chain of events never becomes as fully encapsulating as one would hope. Furthermore, the characters, though fully realized, are archetypical to tales of this genus. This attribute also encompasses our twenty-seven-year-old heroine, Jane Hawk. Though she is painted with a plethora of engaging personality traits and is designed to make audiences cheer her along, she holds too rigorously to the worn “FBI agent on leave turned rogue” formula. The same can be said of the general story arc.

Yet, Koontz’s rich, musical prose is strikingly beautiful. It is filled with the consistent insights that audiences have come to expect from the best-selling author. Additionally, Koontz successfully keeps the sense of brooding menace, intensity and intrigue cranked up on high through most of the volume. Even when the narrative drags, Koontz does his best to keep the adrenaline-pumping. This admirable act extends to the vividly penned, if relatively underwhelming, finale.

Koontz constructs a uniquely alluring and hypnotic plot. It concerns the gun-toting and recently widowed Hawk exploring a rash of inexplicable suicides. This is after her Military Colonel husband, Nick, suffers the same fate. What is strange about these deaths is that they are all caused without any of the obvious triggers. The victims seem to be happy and well-adjusted individuals. Such a search leads Hawk down a darkening path. It is one where the timely theme of the rich using the less privileged as servants for their own whims and benefit is ever-present. The easily manipulative nature of technology is also effectively explored. Bound by her own impression of righteous duty, Hawk’s discoveries throughout Koontz’s tome are remarkable.

The four-hundred and fifty-four-page opus, published by Bantam Books on June 20th, 2017, is noteworthy for utilizing each detail and observation, however minute, Koontz administers along the way. Evidence of this is seen in how many of the tidbits mentioned early on, even fleetingly, are again addressed in an intriguing latter-presented form. Such is a wonderful display of both Koontz’s meticulous craftsmanship and attentive eye for specificity. Koontz’s effort also immerses itself in a barrage of clever, pop-culture related plot points. The references to Bill Condon’s literary political-thriller The Manchurian Candidate (1959) and John Frankenheimer’s 1962 film of the same name are among the most astute. Such results in a flawed, but challenging and rewarding, read. Ultimately, the missteps of Koontz’s chronicle are well-worth enduring. This is for the numerous passages of awe and humanity Koontz issues throughout the project.

Hawk will return in The Whispering Room (2017). It is scheduled for a November 21st, 2017 release.

“The Loudest Sound” – (Movie Review)

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By Andrew Buckner

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

The Loudest Sound (2015), the feature debut from Boston-based writer-director Jason Miller, is a quintessential illustration of what makes independent filmmaking such a singular and uniquely rewarding experience. Emotionally rich and challenging, the one hundred and nineteen-minute drama is also unapologetically open and relatable. Such factors combine to spellbinding consequence with an often painful, yet assuredly cathartic, intimacy. This is visible from the powerful commencing bit, which is made far more jarring by the snapshot-like collection of occurrences that arrive in quick succession directly beforehand, until the gloriously melancholy finale. There is also a high-functioning artistry to the proceedings. For example, the presentation is hypnotically painted with a mixture of alternating color and black and white sequences. This is with the more defining instances of the relationships which are conveyed on-screen frequently framed in the latter quality. When combined with the unpredictable and often unpronounced transitions in time that transpire through the endeavor, which is marked by eight title card triggered sections, Miller effortlessly evokes an impression akin to sifting through memories.

These, we quickly reveal, are the recollections of our conflicted and twentysomething protagonist, Michael (in a brilliant and achingly genuine representation from Michael Reardon). This is as he inwardly ruminates on his ardent affiliations with Alice (in a wonderful depiction from Johanna Gorton), who is sent to rehab for substance abuse in the early stretches, and Nancy (in a layered and transcendent portrayal by Hillary Coughlin). She is a neighbor to Michael. More specifically, one who soon takes the place of affection the now absent Alice once held in Michael’s heart. Yet, there is an unannounced surprise Michael finds shortly after Alice turns to therapy. It is a bind to Alice that will constantly bring into question his feelings for both her and Nancy. Such a sentimental tug-of-war is the crux in which the picture triumphantly stands. The connection to Alice, a pregnancy, augments the immediacy of Michael’s plight. Such results in an underlying intensity that, when intertwined with the episodes of love and grief which compose the bulk of the undertaking, make this beautifully constructed masterpiece as moving as it is fascinating. The result is an unblemished tone poem. It is one which is full of quiet insight and haunting life lessons.

This is undoubtedly a courtesy of Miller’s mature, lyrical scripting and same said guidance of the project. As a matter of fact, the handling of the material is so strong, especially in terms of credible dialogue and characterizations, that one can naturally draw a parallel to Ingmar Bergman’s groundbreaking Swedish Television mini-series Scenes from a Marriage (1973). The focus on how the passage of eras change the leads of each respective opus (with Miller’s labor spanning three years and Bergman’s tour de force encompassing a decade) are where this comparison most rigorously stems. The unflinching concern invested in our flawed and deeply human central figures increases the correspondence between these two photoplays. There is also a deliberate, methodical pace to each orchestration. Such makes this alignment complete.

The technical aspects of Miller’s affair are just as accomplished. Nolan Yee’s consistently impressive cinematography is as immersive and alluring as the harrowing subject matter demands. The music from composer Matthew Whiteside poignantly punctuates every arrangement it is utilized within. Likewise, Emma Freter and Matthew Watkins’ editing is seamless and superb.

Additionally, the previously unmentioned performers are deft in their individual enactments. Vladimyr B. Mondelus is terrific as Michael’s confidant, Nathaniel. Rob Healey is mesmerizing in his role as Alice’s Dad. Danielle Shaina as Jennifer, Ellen Soderberg as Bride and John Weeks as Jeremy are especially good.

Reality doesn’t always sway toward easy inquiries. Nor does it offer simple solutions. Miller’s stunning fabrication, a Patricia Films presentation, is well-aware of this struggle. It can be perceived as a thesis statement for the exertion. Such a realization shouts from the most silent corners of Miller’s narrative. It illuminates the many one-on-one, domestic arguments which ensue between Michael and Nancy or Alice within the confines of the story. This can also be unveiled in the pensive air that floods through Michael’s endless introspection and soul-searching. Not only is this riveting, and worthy of recommending the undertaking on the strength of this merit alone, but it further enhances the authenticity and kinship between audience and fictional persona. Such surges unbounded throughout the duration.

What also helps matters is that alongside the bold themes explored, there is an understanding of the complex affiliations of mortal world with one another that is universal. It is delivered with an observant, yet non-judgmental, eye; evidence of Miller’s raw talent and craftsmanship. In an era where stories of passion are largely burdened by cliché and unnecessary heavy comedy, Miller’s attempt avoids these accessible trappings. Because of this, The Loudest Sound, which is currently being submitted to a variety of related festivals, towers above its peers. Consequentially, Miller’s account is a thought-provoking and wrenching wonder; an insurmountable reflection of cinema as a beacon of existence itself.

(Unrated). Contains adult language and sexuality.

The Facebook page for the film can be found here.

“Locked Up (2017)” – (Movie Review)

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By Andrew Buckner

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

Locked Up (2017), writer-director Jared Cohn’s brilliantly realized take on the women in prison sub-genre of exploitation film, is gritty, unflinching, no-nonsense entertainment. Boosted by a stellar, star-in-the-making portrayal from Kelly McCart as our ruggedly endearing heroine, Mallory, the eighty-six-minute picture is spectacularly well-made on all accounts. For example, the pace is pitch-perfect. The various turns in the chronicle are seamless. Even from a technical standpoint Cohn’s application, produced through The Asylum, is just as spellbinding. Proof of this can be unveiled in Josh Maas’ immersive and brooding cinematography. Maas’ influence compliments the gorgeously dark tone of the manufacture masterfully. The same can be said of the stirring and vastly cinematic music from Christopher Cano and Chris Ridenhour. Rob Pallatina’s editing is just as triumphant. The camera and electrical team is similarly phenomenal. Furthermore, the affair is an exemplary showcase for Cohn’s deft characterizations. Relatedly, it is filled with his trademark ear for rich, credible dialogue. This Thailand recorded endeavor also rises as a bravura demonstration of Cohn’s magnificent ability to instantly transport viewers into the quietly wounded, repressed and aggressive mind-state of his protagonist.

Such is established in an equally jarring and captivating five-minute opening sequence. It takes place in Mallory’s soon to be ex-school in Southeast Asia. The succession concerns Cohn’s lead violently attacking a peer out of vengeance and frustration. This is after the continual taunts of a group of young women become too much for our lead to bare. Such an act gets Mallory sentenced to two years in a reformatory. Yet, there is a horrific underbelly writhing beneath the sanitized veneer Mallory’s uncle, Tommy (in a terrific and charismatic turn from Cohn), whom Mallory is currently residing with, spies. This is as he explores the area Mallory will be staying to pay her debt to society alongside the soon-to-be inmate. What Mallory has yet to discover is that there is a sadistic side to the institution. It is one where the guards rape and abuse Cohn’s central figure. She is also forced to fight fellow detainees. When the promise of her freedom is introduced by a malicious higher-up in the third act, Mallory’s stakes and necessity to win increase dramatically. But, is this reward simply a ruse to get her to become more brutal and relentless in her combat? Or is this nefarious keeper simply providing another in her long line of lies to see a genuine showcase of Mallory’s conflict-oriented skill? These inquiries only add to the nail-biting attention Cohn fluently generates throughout this top-notch invention.

As can be ascertained from the plot description above, Cohn weaves an intriguing plot. It is one that revolves around the expected tropes from similar tales. Regardless, the fiction hardly comes across as anything less than groundbreaking. This is because Cohn’s execution of the piece, particularly in his mesmerizing scripting and behind the lens contributions, pushes audiences immediately into Mallory’s corner. Throughout the labor we find ourselves cheering her on to rise above her overwhelmingly grim surroundings. This as we glimpse the extent of her victimhood. Correspondingly, we impress upon ourselves her intensity and passion to do so. Such occurs via the physically and emotionally compelling components of the narrative. All of which are proportionately balanced. Likewise, the riveting incidents of hand-to-hand combat, from which every action scene in the flick is composed, ring with a teeth-gnashing authenticity. Such factors build up an ever-accruing wall of fascination. It is a captivating allure that effortlessly pulls bystanders through the runtime. It also makes the tremendously fashioned concluding twenty-minutes especially thrilling.

Further assisting matters are the electrifying performances. Katrina Grey is exceptional as Mallory’s trainer and eventual love interest, Kat. Christiana Chaiwanna as Nenita and Anastasia Maslova as Mallory’s final opponent, Riza, are terrific. Maythavee Weiss is incredible, memorable and enthrallingly nefarious as The Warden.

Packed with a relentless barrage of moments so explicit they call to mind frequently banned, cult classic features such as Ilsa, She Wolf of the SS (1975), Cohn’s creation is harrowing even in its bleakest segments. A midway arrangement which details an attempted suicide in the shower is proof of the effectiveness of such elements. Yet, there is a layered artistry to the fabrication. Such makes the undergoing much more than an assembly of engagingly nerve-frying and fist-flying flashes. This is because Cohn administers a concern for Mallory. It pulsates resplendently from the first frame to the last. He also augments an always in bloom curiosity as to her plight. This extends to those who fill the screen with her. Such prevalent attributes are as noticeable in the quiet instances as they are in its rowdier episodes.

In a year that has repeatedly showcased Cohn as one of the most talented and exciting figures in independent cinema, Locked Up stands among his best work to date. The labor is uncompromising, ever-serious and powerful. Best of all, it doesn’t give into the tongue-in-cheek trappings of far too many related entries in this storytelling genus. The result of these forever welcome qualities is a superbly accomplished, adrenaline-pumping masterpiece. Cohn has crafted a must-see for fellow B-movie admirers and sincere cinephiles alike.

(Unrated). Contains graphic violence, nudity and scenes of sexuality.

Available now on FlixFling, Netflix and Vudu.

“Bonejangles” – (Movie Review)

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By Andrew Buckner

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

Bonejangles (2016), the second full-length feature from director Brett DeJager, is the perfect midnight movie. It is campy, creepy, uproarious and outrageously entertaining. The affair is also lightning paced and energetic from the get-go. The script, from Keith Melcher, vastly enhances the lean seventy-seven-minute project. This is with clever, tongue-in-cheek dialogue. Melcher also incorporates an abundance of equally witty parallels to time-tested slasher franchises. The most notable of these involves Bonejangles’ father, Edgar Sr. (in a phenomenal turn from Reggie Bannister). It is glimpsed solely in flashback. This early bit oversees Edgar Sr. motivating our engagingly engineered antagonist to kill. The primary reason to do so is one repeated, memorably hilarious line. Such a segment easily calls to mind the legendary slasher, Jason Voorhees, being similarly roused by his mother, Pamela (Betsy Palmer), in the Friday the 13th series. Such winks at the audience only amplify the fun factor DeJager’s triumphant horror/comedy produces immeasurably.

What also assists matters is that the movie ingeniously finds a way to respect the clichés of its sub-genre. This is while giving us a plot that is assuredly amusing and strikingly original; a perfect pulpit for a film of this ilk. It concerns a gathering of police officers. They are transporting our title villain to an asylum. Upon doing so, they find themselves in a town that is simultaneously cursed and being taken over by the living dead. Quickly hatching a plan to rid said municipality of their zombie problem, the cops unleash their once captive madman onto the surrounding area. This results in a wildly enjoyable ride; a side-splitting, in all senses of the word, tour de force.

Lesser efforts would’ve used this intriguing evil vs. evil concept to craft a parade of violence that runs the entirety of the picture. Though DeJager’s effort will assuredly please those who like to indulge in cinematic bloodshed, the labor one-ups this excellent narrative backdrop by going in several wholly unpredictable places. This is most evident in the second and third acts. More specifically, when a certain ominous, plot-serving character is introduced. The aforesaid section also proves the captivating and inventive means of exposition DeJager’s photoplay conjures. This is when dealing with a situation as that which was previously addressed.

Besides opening with one of the most terrifying and attention-garnering instances in the picture and concluding on an equally well-done note, DeJager’s undertaking is graced with incredible performances. Everyone involved takes the wide range of serious to comic on-screen personalities to entertaining extremes. Elissa Dowling is especially good as the no-nonsense Rowena. Additionally, the cinematography from Shaun O’ Connell is illustrious. It amplifies the seamless mood of the exertion beautifully. Ben Gersch’s special effects make-up and DeJager’s wardrobe work are just as spectacular. When combined with imaginative bouts of slaughter and central figures that rise above their deliberate familiarity through sheer prowess and charisma, BoneJangles emerges as an a uniquely effective B-movie. DeJager has crafted an all-around winner.

Bonejangles will be unleashed on Video on Demand July 18th, 2017 through Wild Eye Releasing.

(Unrated). Contains graphic violence, adult language and nudity.

“Bad Frank” – (Capsule Movie Review)

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By Andrew Buckner

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

Fierce in attitude and execution, co-writer-director Tony Germinario’s Bad Frank (2017) is an all-around exceptional thriller. Germinario chronicles the manner our central figure, Frank Pierce (in a spellbinding and aggressive enactment from the Robert Pastorelli Rising Star Award-winning actor Kevin Interdonato), distributes his own brand of revenge. This is after the kidnapping of his wife, Gina (in a layered and harrowing depiction from Amanda Clayton). The source of such a horrific happenstance is a mysteriously fashioned individual with which Frank shares an equally cryptic history.

Germinario rigorously holds onto the formula of prior entries in this sub-genre. Yet, the production is so masterfully fashioned at every turn that such criticisms hardly register. This is until long after the carefully paced one-hundred and two-minute runtime has passed. The feature is also brilliant in the credible and often physically expressed fashion in which the internal struggles and initially same said aggression Frank is undergoing throughout the account is conveyed.

This is especially evident in the opening forty-five minutes. In this section, Germinario, via his deft guidance and collaborative scripting with performers on the project Russ Russo and Interdonato, potently focuses on the damaged association between Frank and Gina. Such makes Frank’s plight endlessly dramatic, powerful, compelling and intense. These aspects are augmented as he violently attempts to retrieve Gina in the later stretches of the piece.

The result of such smartly honed moves is a picture that is as primal, raw and stirring as it is memorable. We find ourselves cheering as well as relating to the visibly flawed, yet uncompromisingly human and relatable, character of Frank. This is even when his actions are at their most reprehensible. These attributes are made ever-more envy-inducing. This is as Germinario utilizes our invested sentiments in his lead to hone a riveting finale. The most interesting aspect of this conclusive bit is how it cleverly reconfigures an especially common narrative element to feel inspired and new.

In turn, audiences are delivered an electric experience. This is a brawny, bold and brutal cinematic exercise. It is one that simultaneously embraces and rises above its categorical trappings. This is without ever becoming overblown. When combined with Tom Sizemore’s incredible depiction of Mickey Duro and Mike Hechanova’s gorgeously gritty cinematography, the effort is ever-more encapsulating. Such qualities augment the spectacular nature of Bad Frank. Germinario is assuredly a talent to be watched.

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

Releases on Video on Demand in the United States on July 4th. The movie will be available worldwide in the previously stated platform on  July 7th.

A Gravitas Ventures release.

 

“The Answer” – (Capsule Movie Review)

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By Andrew Buckner

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

The Answer (2015), the debut feature from writer-director Iqbal Ahmed, is a successful genre crossbreed. Merging elements of romance, mystery, thriller and science-fiction, Ahmed weaves an engaging, if familiar, tale. The fiction concerns a man, Bridd Cole (in a solid performance from Austin Hebert), who sets out to unveil his identity after an unexpected attack. This is with the utilization of a series of cryptic clues left behind by his deceased parents.

Iqbal’s picture opens with an assuredly attention-garnering bit. It is as well-made as it is unnerving. From herein, this quick-paced and efficient, eighty-two-minute film is further strengthened by the chemistry laden relationship between Cole and his co-worker turned girlfriend, Charlotte Parker (in a knockout portrayal from Alexis Carra). But, the most notable component is the way Ahmed keeps this human focus at the center. This is while introducing a variety of alternately enigmatic and cerebral notions into the plot. Such makes this beautifully shot production consistently gripping.

Regardless, much of the second act, which intimately develops the ever-budding rapport between our protagonists, ultimately offers nothing new in terms of character development. Still, the satisfying and grounded finale, as well as the general can-do attitude of the affair, more than makes up for this slight storytelling hiccup. All-in-all, this is a strong work of independent cinema. Erick DeVore’s spellbinding music, as well as the sparsely used special effects of the effort, back this statement magnificently. Though the sum of the labor never exceeds its many intriguing parts, audiences of all interests will assuredly be hypnotized by the cinematic web Ahmed weaves.

(Unrated). Contains violence and some terrifying moments.

A High Octane Pictures release.

Premieres on Video on Demand on July 11th, 2017.

A Brief Word On New/ Upcoming Releases: “Alien Convergence”, “Death Pool”, “Dragon Teeth”, “Full Wolf Moon”, “Gremlin”,”Gwendy’s Button Box”, “Karate Kill”, “Leftovers”

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By Andrew Buckner

Alien Convergence

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

Alien Convergence (2017), from director Rob Pallatina, is a fun, if familiar, creature feature. The light echoes of the Godzilla films only help matters. Nonetheless, the chronicle itself, which revolves around a crew of jet fighter pilots banding together to fight a reptilian monster which is terrorizing the surrounding area, is thin. Continually, the special effects leave much to be desired. Moreover, the leads and their relationships aren’t developed in any new way. Yet, the project has an antiquated sensibility towards entertainment. Such a quality is sure to prove endearing for those of us who grew up on similar cinematic experiences. This factor, combined with its quick pace and efficient eighty-seven-minute length, is more than strong enough for us to forget its shortcomings. Now available on Video on Demand from The Asylum.

(Unrated). Contains violence.

Death Pool

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

Death Pool (2016) is another knockout thriller from writer-director Jared Cohn; tense, tough, well-made and endlessly entertaining. Randy Wayne is terrific as Johnny Taylor: a young man who evolves into a serial killer, and later a pop-culture icon in Los Angeles, after drowning his babysitter as a child. Cohn keeps the suspense hard-boiled and the stride pitch-perfect. The dialogue is also crisp and believable. He also keeps the eighty-nine-minute affair from becoming repetitive. This is by finding new ways to utilize Taylor’s obsession with murder via water. This is while avoiding many of the clichés common in related slasher fare. The result is consistently seductive and intriguing throughout the entirety. Furthermore, Josh Maas’ cinematography is gorgeous. Chase Kuker’s music punctuates the piece powerfully. Reportedly based on a true event. Releases on Video on Demand and DVD on June 20th from MTI Home Video.

(Unrated). Contains graphic violence, nudity and sexuality.

 

Dragon Teeth

By Michael Chrichton

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

Dragon Teeth (2017) is Michael Chrichton in top form; an irresistibly entertaining, perfectly paced and vividly written mixture of Paleontology and the Old West. It is also every bit as inventive and intellectually stimulating as you would expect from a work by Chrichton. This twist and adventure filled wonder, which concerns a thousand-dollar bet turning into a test of how far one young man will go to save a batch of recently uncovered dinosaur fossils, is an ingenious showcase for Chrichton’s cerebral and compulsively enthralling writing. This instant classic is undoubtedly one of the year’s best novels!

Length: 295 pages.

The volume was published by Harper Collins on May 23, 2017.

 

Full Wolf Moon

By Lee Child

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

Lee Child’s fifth Jeremy Logan novel, Full Wolf Moon (2017), adds nothing new to the supernatural murder mystery sub-genre. Still, it is a briskly paced, entertaining and well-written horror tale. Additionally, Logan is as likable and engaging as ever. The plot, which concerns Logan going to a wooded retreat to finish a paper and becoming entangled in a potentially werewolf related series of killings, becomes tedious in the mid-section. Regardless, there is an old-fashioned sensibility pulsating beneath the surface, common with tales from Child, that makes it easy to overlook these flaws. Such makes this detailed and character-oriented work altogether charming. Fans of Child’s prior works should certainly be satisfied.

Length: 258 pages.

The volume was published May 16th, 2017 via Doubleday Books.

Gremlin

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

Boosted by an interesting concept and some sly nods to a similarly titled Joe Dante venture from 1984, director and co-scripter Ryan Bellgardt’s Gremlin (2017) is a thoroughly engaging mini-monster movie. The moral dilemma brought forth by those who are in possession of the title creature-in-a-box, who terrorizes one family until it is passed off onto someone said kin admires in a ceaseless cycle, is especially interesting. Still, the protagonist-oriented, eighty-eight-minute photoplay is held back by less than stellar effects. It also suffers from a talkative second act and an all-too-abrupt finale. Releases July 11th, 2017 on Video on Demand.

(Unrated). Contains violence.

 

Gwendy’s Button Box

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

Gwendy’s Button Box (2017), a novella from Stephen King and Richard Chizmar, is brilliantly told. It is an engaging, inventive concept that is rich in moral message and power struggle symbolism. King and Chizmar chronicle our title heroine becoming in power of an odd contraption that is gifted to her by an unusual gentleman at an early age. At first, it seems to help her get her life on track. This is through its production of an unusually savory chocolate. This helps her diet and gain the popularity she desires. The item also disperses coins which will assist her financially as time passes. Yet, the switches, which are representative of different counties, give the object a shadowy persona. It is a means of responsibility that Gwendy only comprehends the significance of as she gets older.

Such begins a genuinely gripping narrative. It is one that is told in an unmistakably masterful manner. This is as only King and Chizmar could weave. As can also be ascertained from these two authors’ prior literary contributions, the personas found within the fiction are credible. Likewise, they are likably fashioned. The outcome is thoughtful and haunting; a must-read!

Released via Cemetery Dance Publications on May 16th, 2017.
Length: 180 pages.

Karate Kill

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

Writer-director Kurando Mitsutake’s Karate Kill (2016), which will be released in the United States on July 18th via Video on Demand and DVD/Blu-ray, isn’t quite as outrageous as its intriguing cover art and obvious grindhouse roots may suggest. Furthermore, its endless barrage of fist-flying action scenes, though accomplished, are never as jaw-dropping as one might expect. Additionally, the villains are one-dimensional archetypes. They are also underwhelming and not entirely memorable. Not to mention, the story arc and exposition are all delivered in an all-too-familiar manner. The plot is also not entirely novel. It involves our ruggedly charismatic and engaging hero, Kenji (Hayate), trying to save his kidnapped sister, Mayumi (Mana Sakura), from a cult of snuff filmmakers in Los Angeles. Still, the flick delivers just what fans of B-movie martial arts pictures demand in spades: bloody, brutal, fast-paced and occasionally hilarious fun. All of this is incorporated in a relatively brief, eighty-nine-minute runtime. Such is more than enough to make up for its former addressed shortcomings. The result is a genre entry that will assuredly please fans of similar works.

(Unrated). Contains graphic violence and nudity.

Leftovers

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

Writer-director Seth Hancock’s Leftovers (2017) is an undeniably powerful, ever-fascinating and insightful eighty-minute documentary. It boldly addresses a potent and timely subject: hunger and food insecurity among senior citizens. The movie is just as much about the necessity of the Meals on Wheels program. What assists matters is that Hancock’s style and voice-over is appropriately straight-forward. As this is incorporated with a series of poignant interviews and reinstated with effective information to back up its thesis statement, the sheer impact of this unforgettable endeavor is undeniable. The result is tightly paced and endlessly moving; one of the best accounts of its type I have witnessed all year! Do yourself a favor and seek this one out! Hancock’s picture releases on Video on Demand on July 11th. It will be available on DVD on August 29th.

(Unrated). Appropriate (and recommended) for family viewing.

“Fairfield Follies” – (Movie Review)

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By Andrew Buckner

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

Fairfield Follies (2017), the debut feature from writer-director Laura Pepper, is a sharp, charming and frequently funny comedy. Yet, the one-hundred-minute picture succeeds most masterfully in its humorous tackling of stereotypes. Nearly everyone we encounter in Pepper’s effort falls prey to such typecasting in one manner or another. This latter declared quality could’ve easily created overly aggressive and unlikable characterizations. Yet, Pepper reveals a child-like incredulousness in those we encounter on-screen. Such an influence shields them from such harsh criticisms. Still, it never makes any excuses for their hateful actions. Likewise, there is also an everyday value to the blemished personalities our leads exude. Such makes our resident protagonists, as well as the film itself, more mirror-like to our contemporary world. The result is a highly satisfying and memorable example of the profound depth that laughter can convey.

Pepper, via her quietly biting and brilliant screenplay and deft guidance of the project, centers the entertainingly plotted narrative around the traditional title Christmas pageant. It commences with Ms. Evans (in a stellar turn from Susanne Colle), a woman who is prone to spontaneous sickness and blackouts, taking over as administrator of the undertaking. This is in place of the elderly Mrs. Whitelove (in a bulls-eye enactment from Mary DeBerry). The latter is the most biased of those in Pepper’s affair. This detail is smartly woven in an uproarious commencing arrangement which is upbeat and joyful. That is until Mrs. Whitelove whispers a slew of derogatory terms into Ms. Evans’ ear. From herein, Ms. Evan’s idealistic notion of turning the annual sketch-driven play she is tasked with putting together into an all-inclusive holiday gala gets skewed. This is by the politically incorrect cast and crew. In so doing, Ms. Evans’ goodhearted concept is shaped into an unintentionally offensive exercise in jaw-dropping chaos.

There is a consistently breezy demeanor Pepper instills into the proceedings. It impeccably befits the well-paced material. When combined with the behind the scenes action that endures until the hour mark and the unfolding of Ms. Evans’ program in the closing forty minutes, the movie itself is ever-intriguing. It also seems to contain a wisely theatrical quality. This is much in line with the show our heroine is frantically trying to erect. It is also reflected in the deliberately straight-forward, but nonetheless effective, cinematography of Jill Poisson. This clever parallel is also spied in the often-enigmatic individuals Pepper implements in her tale. Such an aspect is also transported in the manner Pepper moves the account forward. This is with many of the passages throughout the entirety becoming itself a singular skit tied around a larger plot thread. For example, one of my favorite moments involves Max (in a standout performance from David Ryan Kopcych) practicing his dramatic, almost musical reading of the Chinese takeout menu. Such a segment transpires at around the half hour mark. This becomes a running gag which is utilized throughout the duration of the runtime. Yet, the witty section in which this initially arises has an intimate actor and audience sensibility. This certainly evokes a stagy impression. Even the smirk-inducing post-credit bit, which encompasses Pepper appearing to address unseen spectators, splendidly reinstates this factor. Such also immediately expunges the inconclusive sensation that stems from the quick final episode. This is spied before these cunningly constructed acknowledgments roll.

The two-location project, which alternates between Ms. Evans’ home and the interior of the building where the play is being honed, is also graced with skillful and endearing performances all-around. Anna Rizzo is terrific as the cellphone obsessed Kelly. The same can be said for Johnny Sederquist’s turn as Jeremy. Rosemary Pacheco is charismatic and captivating as Melissa. Correspondingly, Dan Greenleaf is especially amusing as the drunken Santa Claus of the project, Paul.

From a technical standpoint, Pepper’s editing is superb. Phillip Martin’s music is innovative and lively. It captures the spirit of the story masterfully. Pepper’s animation and Poisson’s digital effects are similarly excellent. The camera and electrical contributions, as well as Anna Goodchild’s costume design, are all magnificent. Relatedly, the sound department delivers a largely proficiently to the overall prowess of the piece. This is even if some of the songs in Ms. Evans’ fabrication come off as indecipherable because of such an attribute.

There are several loose ends in this Peppered Productions release. For instance, Ms. Evans’ mysterious ailment is never satisfactorily resolved. Though this holds the photoplay back from perfection, it is overshadowed by the sheer variety, inventiveness and consistent successfulness of the guffaws on hand. But, Pepper also works just as well with the notion that most of the individuals in her fiction are themselves archetypes. For hordes of cinematic craftsmen, this would be a flaw too glaring for patrons to overlook. Yet, Pepper has intentionally instilled these traits in our leads. This is to punctuate the pigeonholed categorizations that these beings often verbalize via Pepper’s ingeniously penned dialogue. It gives bystanders a method to study the theme of this tour de force from both within and without. Best of all, Pepper finds a stupendous balance between the heady subtleties of her flick and the light-hearted spirit that pulsates on the surface. Such creates a labor that is as quietly meditative as it is quirky and fun. Ultimately, Pepper doesn’t weigh down her plot in her finger-waving and lesson learning. But, such practices still illuminate the presentation. Such is just one of the numerous items which make Pepper’s effort so special. With Fairfield Follies, Pepper has given us one of the best genre concoctions of the year. I highly recommend seeking it out.