Tag: Andrew Buckner

“Split” – (Capsule Movie Review)

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

Split (2017), a tale of three young women who find themselves kidnapped and imprisoned by a man who has twenty-three diverse personalities within him (though we only encounter nine of them), and is on the verge of unveiling his monstrous twenty-forth, is tense, tough and terrific. Though it incorporates several bits in its last act that come off as too convenient to get our heroine from point A to point B, betraying the organically built nature of the narrative, M. Night Shyamalan otherwise delivers. Much of this is courtesy of his superbly constructed, meditative, breakneck paced and character-oriented screenplay. It is one that grips us with Shyamalan’s seemingly effortless ability to generate suspense. This is even when issuing the most tried and true of thriller elements into this arrangement. Such is evident in a certainly attention-garnering, and beautifully executed, commencing sequence. This oversees the abduction of our female protagonists, who are waiting on the return of their adult driver, from the back and passenger seats of a car. Rarely in its one hundred and seventeen-minutes does this factor of unproblematic amusement waver.

To its further credit, the script is also undeniably clever. It is filled with believably authored dialogue. All of which is just as credibly administered by the players. Likewise, the penned piece is unafraid to go into a variety of surprisingly dark and genuinely shocking places. This is most noteworthy in its routinely dispensed back story. Such is especially praise-worthy when considering that this is a PG-13 rated venture.

Helping matters further is that Shyamalan incorporates into this Blinding Edge Pictures and Blumhouse Productions release a clearly Hitchcockian sensibility to his brilliantly tuned direction. It often stylistically and thematically holds a mirror to Alfred Hitchcock’s timeless adaptation of Robert Bloch’s novel, Psycho (1960). The impressively designed and imaginative opening and closing credits sequence is potent evidence of this trait. But, the exertion is much its own entity. It doesn’t rely solely on this imitative attribute to elucidate both quality and audience appeal. Such makes the film, along with the high intrigue of the deceptively straightforward sounding plot, increasingly more triumphant. It also makes the composition easier to admire. West Dylan Thordson’s sparse, but unnerving, score along with Mike Gioulakis’ handsome, brooding cinematography only augment this detail.Relatedly, Luke Franco Ciarrocchi’s editing and Kurt Wunder’s special effects are seamless and sharp. Such also proves the technical mastery clearly visible within the presentation.

Complimenting these attributes are the magnificent lead performances. This comes foremost from James McAvoy, as the dissociative identity disorder (DID) suffering antagonist, Kevin. McAvoy shows that he is phenomenal at balancing the many successfully comedic moments his on-screen persona frequently conveys. This is without ever ignoring his ominous and menacing disposition. Such makes for a certainly rounded, oddly likable and watchable villain. Correspondingly, Anya Taylor-Joy is unflinching in her portrayal of Casey. She is our introverted, but anything but vulnerable, central figure. Moreover, Betty Buckley (2008’s The Happening) as Kevin’s psychologist, Dr. Karen Fletcher, steals every scene she is in. Haley Lu Richardson as Claire Benoit, Brad William Henke as Uncle John, Sebastain Arcelus as Casey’s Father and Jessica Sula as Marcia are also excellent.

Yet, as undeniably entertaining as the effort is for most of the runtime, it gives way to a rather disappointing, disjointed final act. The sum of which is improved by a smirk-inducing alignment, which is more a sly reference than an all out twist, in its concluding section. Such will assuredly delight avid followers of Shyamalan’s prior work. This is while leaving casual viewers in the cold (much as it did with the theatregoers I saw it with). Shyamalan’s brief turn as the charismatic Jai is similarly enjoyable. The result is an excellent, highly recommended motion picture. It is one that, because of the previously stated shortcomings, falls just before the mark of greatness. Still, it is a journey that is well worth undergoing. With the rollercoaster ride that is Split, Shyamalan has proven that his cinematic capabilities are as stalwart and wildly unpredictable as ever.

“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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“Night Job” – (Movie Review)

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

The strength of writer-director J. Antonio’s eighty-five-minute debut feature, Night Job (2017), is built on the unpredictable. More specifically, the various encounters with a wide assortment of individuals our ever-likeable hero, James (in a charismatic and always watchable personification of a fictional persona by Jason Torres), encounters. For example, he faces, in one of the most unexpected and amusing flashes in the invention, a priest (in a terrific depiction from Robert Youngren). The man of God has been summoned to James’ building to perform an exorcism. Likewise, one of the climactic passages, which involves an accusatory homeless man (in a smirk-inducing and wonderfully eccentric performance from Brignel Camilien), works just as well in this respect. Along the way, James meets a psychic by the name of Josephine (in an excellent representation from Shanane Christine Harris), a con man (Adam P. Murphy, who is terrific) and an adult DVD Vendor (in an extraordinary presentation from Lester Greene). There is even a woman that incites in James a flirtatious rapport. Her moniker is Catherine (in an endearing and proficient turn from Stacey Weckstein). Such transpires late in the endeavor.

These sections are all beautifully done. Moreover, they make the demonstration layered, rich and full of life. Adding to the mix are equally well-timed and successfully uproarious sequences involving various partygoers, cops and relationship related spats. Yet, each accruing happenstance is so apparently random that it makes the sum of the picture consistently entertaining. It also mirrors a certain reality. This is one that folks in twenty-three-year old James’ situation, whose first night shift as a temporary doorman in a Manhattan high-rise apartment building is the unique focus of the composition, must constantly undergo. This is as one of the various unwritten demands of his current employer.

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But, what is just as pleasantly erratic is the tender sequences of heartfelt depth. These are seamlessly peppered among the many effectively humorous instances that run through the bulk of the composition. The most noteworthy of these items is a discussion with our central figure and a near blind woman, Stella (in a quietly powerful, consistently credible and charismatic performance from Bettina Skye). In this exceptionally harrowing bit, which comes right before the hour mark, we learn of James’ literary dreams. Stella makes this portion increasingly enchanting. This is with her shared life learned lessons and positive reinforcement of James’ ambitions. The segments involving Stella and James are the cornerstone of the movie. They tap into an emotional honesty that is natural, graceful and transcendent. These qualities enhance the variety. They also touch upon themes that will assuredly prove relatable to a widespread audience. The sole color configuration in the photoplay, which comes immediately after the portion involving James and Stella, is both smirk-inducing, eye-popping and heart-stirringly ambitious. Here James sees himself as the poised individual he could be. Such an image is conjured by Stella’s optimistic words. In this sense, Antonio seems to be balancing out the oddness of those James meets with an underlying message concerning the kindness and unexpectedly hope instilling measures of strangers. Such only adds to the sly profundity at hand.

Such a stalwart attribute is also a courtesy of Antonio’s smart, honest, confidently paced and surprisingly bold screenplay. His dialogue is perfect for the material. It elucidates the small talk and other commonplace discussions strangers engage in among one another splendidly. His characterizations are proudly born from this existence mirroring trait. Such details make it easy to understand the motivations and the frequent confusion James alternately embodies throughout the construction. The deliberate, meticulous pace of the script augments these physiognomies masterfully. The result, when combined with Antonio’s luminous and assured guidance of the project, is an endeavor that promotes a great new cinematic craftsman. Simultaneously, it summons the soaring charming inherent in the greatest independent films.

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Also, building upon this magnificent foundation is the herculean impact of the enactments. Besides those mentioned above, Timothy J. Cox is brilliant in his fleeting role of Mr. Jones. Brandon J. Shaw, credited here as “Apartment 718”, fares just as well. Greg Kritikos as Romeo, Una Petrovic as Charlene and Carmen Borla as Olivia are also remarkable. The same can be said for Laeticia De Valer as Kelly, Steven L. Coard as Mark and Jose Espinal as Eddie. It is a distinctively large cast for an exertion that feels so intimate. Everyone involved delivers spectacularly. In turn, the labor is amended another of its many superior charms.

The crew is just as indispensable in creating the high-quality art that proudly radiates through every frame on-screen. T.J. Wilkins’ jazzy music is tone-setting and undoubtedly appropriate for the material. We notice this in the opening moments, which when combined with Valentin Farkasch’s immersive black and white cinematography, is guaranteed to generate nostalgia in fellow cinephiles. This is as an undeniable alignment to an old-fashioned noir from the 1930’s or 1940’s becomes evident. Such an impression is lifted throughout this comedy-drama. This is even when modern components which seem to dictate otherwise meet the bystanders’ gaze. Such an atmosphere is riveting and endlessly admirable. The seamless and sharp editing from Sam Druckerman makes this allusion complete. Correspondingly, Magda Suriel’s make-up is top-notch. Jennifer Humala and Luis Inestroza offer a crisp issuance of sound. Kyle Brown’s visual effects are a marvel. Unlike many modern mainstream undertakings, they do not take you out of what is occurring. Instead they vastly enhance the viewer absorption. Jonathan Alvarez’s camera department contribution is just as deft, capable and exciting.

Antonio has crafted a memorable masterpiece of movement and interaction. It calls to mind Kevin Smith’s ground-breaking debut, Clerks (1994). Not only is this noteworthy in its general focus on the inner-workings of a young man (or men as in Smith’s case), but it is true in the way it effortlessly develops its protagonists. This is while simultaneously diverting spectators via purportedly routine occupational dealings. Enhancing this comparison, is that in neither venture do any of the happenstances feel forced or inorganic. There is a low-key beauty to both, especially in its clever banter-oriented emphasis, that will keep cinema patrons repeatedly returning to the narrative. Such makes Antonio a promising talent. He has arranged an affair that is victoriously witty, graceful, funny and inspiring; a tour de force that onlookers will delight in seeing. Night Job, a Sacred 9 Films production, is scheduled to be released in November of 2017.

The Facebook page for the flick can be found here.

The Twitter page for Sacred 9 Films can be found here.

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“VooDoo” – (Movie Review)

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

VooDoo (2017), the eighty-four-minute full-length feature debut from writer-director Tom Costabile, is a surreal, delightfully disturbing and triumphantly terrifying midnight movie. It is also wickedly entertaining. Likewise, the HyperCube Films production hits a stride in its second half. This is with a relentless unveiling of gothic horror events. All of which perpetually calls to mind Sam Raimi’s masterpiece The Evil Dead (1981). Additionally, there is a midway instance that showcases a door slamming shut by itself. We are also given a dark entity with red eyes in this section. Such adds to the sheer cinephile delight on-screen. This is as such tried and true genre tropes, all of which are well-done and are presented in a manner that feels consistently fresh and new, draw a distinct parallel to Stuart Rosenberg’s classic adaptation of Jay Anson’s iconic best-seller, The Amityville Horror (1979). Yet, the last half hour is full of haunting, jarring, claustrophobic scenarios and images. All of which seem immediately pulled from the zenith of brimstone and hellfire that is Dante Aligheri’s epic poem, The Divine Comedy (circa 1308-1320). Such makes this assuredly entertaining release increasingly enjoyable. Best of all, Costabile, through his dazzling and taunt guidance of the project, mounts these sequences brilliantly. In the tradition of the greatest endeavors into celluloid fear, the scares begin with a fun, but effective, approach. Yet, as they go on they become far more unnerving. This is with each proceeding fright becoming more unsettling and memorable than the one which we encountered previously. It ends on a note that, though respectful to the foundation laid down by countless other found footage style flicks such as this one beforehand, is perfectly eerie. In turn, Costabile finds a punctuation point to his terrific endeavor that is hauntingly constructed. Moreover, it is guaranteed to leave audiences with a lingering sense of unrest long afterwards.

Costabile wraps these beautifully executed occurrences around an intriguing, if familiar, plot. The narrative concerns Dani Lamb (in a credible performance by Samantha Stewart that vibrantly captures the personality of her innocent, southern girl lead). She imparts on a vacation to Los Angeles. Here she stays with her cousin, Stacy Cole (in a depiction by Ruth Reynolds that is every bit as charismatic and well-wrought as the portrayal exhibited by Stewart). While exploring the city, a sinister link from Dani’s past finds them. Soon Dani finds herself in an apprehensive situation that quickly spirals out of control. After her daylong journey through “The City of Dreams”, Dani returns to Stacy’s quaint home. This is to be greeted by a black magic fueled nightmare.

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The Costabile penned screenplay for this tale is structured, paced and characterized routinely. Yet, it is so tremendously put together that these attributes do little to tarnish the overall quality of the exertion. For example, after a genuinely chilling opening portion which depicts the abduction and ritualistic slaying of a young child, the affair provides exposition in the expected manner. This is as Dani and Stacy merrily discourse among one another as they discreetly drink Bloody Marys, sunbathe and immerse themselves in the sights of local California. The often jovial banter among the duo is also rooted among commonplace grounds. Much of the first forty minutes of the endeavor goes about in this fashion. Yet, these moments work. This is because there is an organic chemistry of friendship and likability to Dani and Stacy. When combined with the natural allure of the views the two partake in, the effort is breezily engaging. Because of this, Costabile’s motion picture rises where many similar entries fail. This is in getting us to genuinely become enraptured in the plight and care for our central figures. Given how gorgeously conceived the apprehensive components of this presentation is, such makes the balance between terror and real-life drama even more impressive and well-rounded.

Both the upbeat and seriously dread-inducing segments of the opus are masterfully erected. This is via David M. Brewer’s suitably gritty, yet consistently impressive, cinematography. Costabile and Alec Justin Henderson (who also takes on the role of “Sunset Playboy” nicely here) administer editing that is terrific. It is at times deliberately ragged. This is most evidently perceived in the aforestated commencing bit. Such a finely honed detail adds a sense of mounting intensity. This is built upon the confusion of the unexpected. It is what both potential victim of the account as well as patrons may be undertaking when witnessing such a scene unfold.

Furthermore, Christian Alexander, Albert Adams Polinsky, Adam Rettino and Seth Thomas exhibit incredible set decoration. Dean Guilotis, Bo Howe, Lior Molcho and Frank Synowicz distribute hallucinogenic, top-notch visual effects. The eight-person sound department, the camera and electrical as well as the make-up team all offer proficient turns. Melanie Macugoski’s costumes are rich and authentic. Composers Michael Dino Boito and Nathan Kwan reinforce the ominous atmosphere of the release magnificently. This is with a score that is sparse, but surely operative. It has such an instantly legendary impression that you can almost imagine Dracula himself playing the tune on a creaky, old piano.

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Correspondingly, Dominic Matteuci is phenomenal in his representation of Spencer Boyd. Daniel Kozul as Trey Neil, Richard Krey as Bum and Constance Strickland as Serafine L’Amour are solid in their respective arrangements. Timothy Patrick O’Neill is exceptional as Uncle Jake. A cameo where Ron Jeremy plays himself, spied at sixteen and nineteen-minutes in, is smirk-inducing; a pleasant wink to the audience. The gathering of those who bring the assorted demons, minions and nefarious figures unveiled herein to life are all responsible for wonderful enactments. They vastly enhance the grim tone the photoplay gives way to in its later stretches.

The result is an undergoing that is sure to delight both budding and seasoned aficionados of nail-biting, supernatural cinema. With this excellent composition, Costabile has established a command of mood and buildup. This can also be attributed to the seemingly unproblematic fashion in which he develops his on-screen personas. Such makes it easy to state that Costabile is a director to be watched. His cast and crew prove themselves just as capable. He has evoked a heart-pounding rollercoaster ride of a movie. To its further benefit, it has a plethora of ghastly circumstances and ideas. But, it never falls into the trappings of being excessively graphic to illuminate these notions for maximum impact. Such is one of a variety of wise moves in a labor filled with such smart decisions. It all comes together to generate a wonderful exercise in cinematic anxiety. Such is one addressees will undoubtedly want to return to repeatedly. VooDoo hits select theaters across America on February 24th, 2017.

The Facebook page for the film can be found here.

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“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 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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