★★★ Directed by #WyattRockefeller Written by #WyattRockefeller Starring #SofiaBoutella #BrooklynnPrince #IsmaelCruzCordova Film Review by George Wolf The settlement in writer/director Wyatt Rockefeller’s feature debut may be on Mars, but it’s his measured treatment of the colony’s constant dangers that allow the story to transcend any specific time and place. Ilsa (Sofia Boutella), Reza (Jonny Lee Miller) and young Remmy (The Florida Project’s Brooklynn Prince) appear to be the only family on a barren Martian settlement, but then they wake to a giant “LEAVE” written on their front window and the questions begin to stack up. Why is Jerry (Ismael Cruz Cordova) staking a claim to their place? What happened to all the other colonists, and how many others are out there lurking, maybe plotting to attack? And what caused them all to leave Earth in the first place? Rockefeller is not at all interested in easy answers, instead employing some first-rate performances and stellar production design to evoke a more universal statement on human nature, and more specifically, the often desperate and consistently overlooked role of women in nation building. It’s a theme given an effective horror treatment in The Wind three years ago, and while the science fiction elements in Settlers are well-played, they’re also subtle enough to never upstage the character studies at work. We see the first two acts of the film through young Remmy’s eyes, carefully observing the adults around her and making friends with a dog-like robot she calls “Steve.” Prince delivers a wonderfully tender performance, enabling us to feel Remmy sizing up her future choices with each passing day. The film’s final act jumps ahead ten years, when a now teenage Remmy (the awesomely named Nell Tiger Free from GoT) is nearing the day she’ll be forced to make those hard choices. Jerry has become an even bigger presence in her life, and Cordova flexes an impressive ability to keep you guessing about Jerry’s true nature until late in the game. If you lean toward tidy endings wrapped in unmistakable red bows, you’ll find none of those in Settlers. You will find an engrossing tale careful to leave plenty of opportunities for filling in the blank spaces. Follow where it leads, and you’ll glimpse a future that’s inviting you to rethink the past. And the present. #GeorgeWolf

★★★★ Directed by #QuentinDupieux Written by #QuentinDupieux Starring #GregoireLudig #DavidMarsais Film Review by Hope Madden The great thing about filmmaker Quentin Dupieux is that you always know what you’re in for and you definitely never know what you’re in for. The point of Mandibles, essentially, is that you can never rely on anyone to do a single, simple thing correctly. Manu (Grégoire Ludig, Keep an Eye Out) — homeless at the moment — promises to deliver a suitcase in the trunk of his car from Michel-Michel to Point B. He needs to get it there by noon. Can he be trusted to do that one thing? Of course he can! He cannot. There are the extenuating circumstances of the giant housefly that’s already in the trunk. We could get into what happens with the fly, but it’s not going to make any real sense, so why ruin it? Dupieux films work best when you just go with it. That’s what Manu does. He and best friend Jean-Gab (David Marsais) take opportunities as they come, remain open to possibilities, and just enjoy their friendship. And their new, giant housefly. The relatively streamlined plot delivers a fresh change of pace for the filmmaker—not that you could call any Dupieux film stale. But in pairing back the complications and convolutions, the writer/director has crafted maybe his most audience-friendly film to date. Mandibles certainly delivers the filmmaker’s most audience-friendly characters. Ludig frustrates and charms in equal measure as the doofus Manu, and he and Marsais share an easy chemistry that suggests a lot of miles on this friendship. Here is the filmmaker’s most delightful surprise—a lack of cynicism or existential dread that leaves just an airy, almost sweet, wildly ridiculous comedy. None of this has anything to do with a jawbone, but the title will become clear if you pay close attention. Or maybe it won’t. Quentin Dupieux, amiright? #HopeMadden

★★ Directed by #RobertSchwentke Written by #EvanSpiliotopolous #JoeShrapnel #AnnaWaterhouse Starring #HenryGolding #AndrewKoji #EriIshida Film Review by Hope Madden Stay with me. Remember how bad Mortal Kombat was? Like, bad, but kind of so stick-to-your-guns bad, so full of head-bursting ridiculousness and terrible acting that it somehow felt right? Take that, neuter it completely so you don’t even see any blood regardless of the wall-to-wall swordplay, invest in great-looking scenery and one A-list actor, and you essentially have the new G.I. Joe movie, Snake Eyes. Henry Golding is that A-lister, an American with a questionable accent and some barely hidden rage issues. A dice game gone bad left him emotionally scarred (thought it did lend him that cool moniker) and now he fistfights his way from one town to the next. That is, until a shady Yakuza man offers him a chance at vengeance in return for some labor. The next thing you know, Snake Eyes is mixed up in ninja training, clan warfare and global domination, or some such nonsense. Director Robert Schwentke is pretty hamstrung with the PG-13 rating. His film is based on a children’s cartoon, after all. Sure, that cartoon promotes armed conflict in every single episode—as does this film—but you can’t show the result of any of that violence. How cool would this movie be if Takashi Miike directed it? And how NC-17? A girl can dream. But the reality is that Schwentke does about as well as he can within the limitations. The clanging swords are shiny, the motorcycles zip around like the ninjas they carry, and the hand-to-hand bouts stand out. The acting, well, you know. And writing. Yeesh. Indeed, the writing is weak enough that both Golding and the proven Samara Weaving nearly choke on it. Andrew Koki as clan heir apparent Tommy struggles mightily, his character at war with what is expected of him. It calls for a lot of inner conflict. It calls for a better script. Haruka Abe likewise wrestles to find a character within this loyal security chief who’s unemotional and yet so very emotional. And wearing really high heels for someone called on to run this often. Weaving at least seems to recognize that she is playing a cartoon character, and her performance is therefore reasonably cartoonish. Koki mopes, Abe whines. And Golding, well, he is very handsome. The sets look great—from a super cool-looking Tokyo to the secret Arashikage compound to the cement pits for bare-knuckle brawling. That’s not really reason enough to watch it, though. #HopeMadden

★★★ Directed by: Jan Miller Corran Written by: Jan Miller Corran Starring: Constance Brenneman, Cathy DeBuono, Roberta Hanlen, Monica Young Film Review by: Jason Knight While going through a divorce, a woman goes on a road trip with a friend and during the journey she learns more about life and herself. Mary Beth (Brenneman) is a mother with a teenage son and she is in the process of splitting up with her husband after many years together. Hoping to find some solace, she decides to take time off with her new friend Wanda (DeBuono) and go on a sort of holiday together in Wanda's motorhome, with the intention of travelling, having a good time and attending a photo contest, as Mary Beth used to be a professional photographer. Along the way the two friends find out more about each other, go camping and visit a meditation retreat and Wanda's friend Davina (Hanlen), who works as a world-famous psychic. This is an uplifting female buddy road movie comedy-drama, which explores themes of friendship, family and self-discovery. It tells the story about a woman whose marriage is over and is now entering a new chapter of her life, leading to better things both for her and her friend. The mood is generally cheerful, with the characters often in a good mood, supporting one another and looking at the bright side of life. There are also emotional moments, fortune-telling and a few awkward scenes, one of which involves the conversation between two people inside a bathtub. The main focus is the rapport that develops between Mary Beth and Wanda. At first, they know little about each other and as they spend more time together, they gradually build a strong relationship. The narrative explores Mary Beth's character rather intimately, revealing a past affair with a female model, suggesting that she is attracted to women as well as men. Mary Beth appears to accept that more and more throughout the film and embraces it. Brenneman is convincing as an intelligent, down-to-earth person who is going through a divorce and does not seem to know where her life is going to go from there. DeBuono is entertaining as her adventurous, optimistic friend, who is also a bit childish. The story takes place during the COVID-19 pandemic and characters often talk about it and there is of course social distancing and face masks. The movie includes an interesting storytelling technique that consists of Mary Beth breaking the fourth wall, looking into the camera and addressing the audience. By utilizing this technique, the filmmakers help the viewer sympathize with her and understand her better. Corran does a terrific job as director, creating wonderful aerial shots and beautiful shots of the sky. Kanoa Wolfe-Doblin delivers a score that is uplifting, creating a feel-good atmosphere. At certain points though, the music is appropriately dramatic. This feature is a light-hearted and emotional journey of self-discovery. It is about overcoming personal obstacles, learning about oneself and finding happiness. For its positivity and cheery perspective on life, it is a movie worth watching. #JasonKnight Trailer for Along Came Wanda:

★★★ Directed by: Mycle Scheuer Written by: Mycle Scheuer Starring: Eric Nascimento Film Review by: Jason Knight A man is in a room, putting his belongings inside boxes and comes across various objects that are special to him. A young man appears to be moving to another property. He has plenty of boxes, into which he is placing his stuff. While doing so, and listening to music through earphones, he finds items that have a significant emotional value to him, which include a yellow badge with a smiling face, a book, a toy soldier, a T-shirt with a chimpanzee figure on it and a birthday card. As he locates these objects one by one, he pauses at observes them, giving the impression that looking at them brings back memories. He puts the valuable findings together and carries on with the packing. This short turns a simple activity, sorting through one's stuff, into something special and emotional. Although it was shot in black-and-white, there are moments of colour. These moments occur every time one the personal objects is first shown and the objects alone have colour, while their surroundings remain in black-and-white. By utilizing this clever technique, the filmmakers make these belongings stand out, which is further highlighted as the man examines them with a thoughtful look on his face. The man is the only person seen and he does not say a word. Instead, what is heard is a song, presumably the one that he is listening to while wearing the headphones. The track is the title song, by musical artist Desvious Order and it is a joy listening to it. The lyrics are about looking into the past, making important adjustments and moving on, which is relatable to the video's narrative, about a person leaving a place they have been living in and deciding to hang on to the items that are dear to them. The song is played almost throughout the entire video and due to its lyrics, it creates a feeling of nostalgia. This three-and-a-half-minute long achievement provides an interesting. It depicts an individual going through an emotional personal journey, caused by the belongings he finds. With the addition of the wonderful song, it takes the viewer on a thought-provoking experience. #JasonKnight

★★★ Directed by #ReinaldoMarcusGreen Written by #DianaOssana #LarryMcMurtry Starring #MarkWahlberg #ReidMiller #ConnieBritton Film Review by Hope Madden In April of 2013, Joe Bell explained his walking trek from Le Grand, Oregon to New York City. He was doing something. Those who watch bullying and do nothing about it are as guilty as the bullies themselves. It makes sense, then, that Reinaldo Marcus Green’s film Joe Bell is more interested in what Joe did and did not do when confronted with his son’s bullying than it is in the bullying and victimization themselves. Because the truth is, this walk is as much a penance as anything. Mark Wahlberg plays Joe, volatile but loving husband and father just trying to fly under the radar and still accept, as best he can, his oldest son Jadin’s (Reid Miller) sexual orientation. Joe’s a blue-collar guy in a blue-collar town, and neither Wahlberg nor writers Diana Ossana and Larry McMurtry (both of Brokeback Mountain) let him completely off the hook for the misery Jadin faces. Wahlberg performs admirably as a man who’s trying and failing, but the breakout here is Miller. Warm, bright and brimming with life, Miller’s work the highlight of the film, although Green puts together a solid ensemble including a heartbreakingly understated Connie Britton. Though an early film contrivance threatens to sink things before they can even really swim, the film eventually finds its lonesome way, more or less. The examination here is culpability, and it’s uncomfortable, messy terrain. Wahlberg’s performance is raw and emotional. He lets the character struggle, sometimes sinking under the weight of loss and culpability, sometimes accepting the easy balm of celebrity in lieu of real change. His interactions with Britton offer the most complex and satisfying suggestions that Green and team recognize the wide and shattering reach of this kind of trauma. The film Green builds around Wahlberg never stoops toward easy epiphanies or patronizing catharsis. There is a simmering anger and barely checked pain beneath the surface of this narrative, and no cliched structure or manipulative storytelling gimmicks can entirely cage that. In the end, Joe Bell does break through the contrivance of familiar storytelling because this story doesn’t fit neatly or cheerily into that package. #HopeMadden

★★★ Directed by #AlexandreBustillo #JulienMaury Written by #AlexandreBustillo #JulienMaury Starring #MathildeLamusse #SuzyBemba #SamarcandeSaadi Film Review by George Wolf Early on, plenty in the Shudder original Kandisha is going to remind you of Candyman. The filmmakers wisely address this early as well, and then move right along with a brisk and bloody realization of a Moroccan vendetta born from centuries-old roots. On summer break from school, teen best friends Amélie (Mathilde Lamusse), Bintou (Suzy Bemba) and Morjana (Samarcande Saadi) are busy practicing their graffiti art in a dilapidated building. Peeling back some rotting drywall, Amélie spots a spray-painted tag of “Kandisha,” and Morjana recounts the legend. In 16th century Morocco, Kandisha fought the Portuguese occupation that took her husband’s life. She even managed to kill six enemy occupiers before being caught, tortured, and killed. Now, she roams the netherworld as a half-beast walking upright on hooves, waiting for a summons that will require her to slay six men before returning to her eternal unrest. And how do you summon Kandisha? You look in the mirror and say her name five times. “Like in the movies?” Yes, girls, just like in the movies. Writers/directors Alexandre Bustillo and Julien Maury (the unforgettable Inside) are smart enough to take what we’re thinking and make it organic. We instantly relate to the girls’ scoffing, which helps make us feel connected to the journey that will make them believers. Once Amélie conjures Kandisha to avenge an assault, it’s a trip that doesn’t waste much time getting down to business. There’s no trace of the silly humor Bustillo and Maury added to Inside, but their penchant for grandiose bloodletting is front and center as Kandisha begins counting to six. The girls turn to an Imam for help reversing the curse, a narrative thread that ultimately provides more than just monstrous thrills. It’s also the chance for international audiences – especially in America – to see Islam depicted as a source for salvation instead of the stereotypical terrorist breeding ground. If you’re going back to the well of Bloody Mary and Candyman, the water gets finer via each original filter. Kandisha adds a fresh cultural and female-specific lens to a bloody, take-no-prisoners approach that does much to overcome the tale’s familiar building blocks. #GeorgeWolf

★★ Directed by #YavorPetkov Written by #YavvorPetkov Starring #DimoAlexiev #KateNichols Film Review by Rachel Willis With a title like Danny. Legend. God. you might expect a movie that’s, well, legendary. Unfortunately, writer/director Yavor Petkov delivers something far more banal with his first feature film. A film crew follows city councilor, Danny (Dimo Alexiev), for a documentary series about money laundering. However, Danny lets them know they won’t be following any kind of script; they’re making “big cinema.” The three-person team gets more than they bargained for as Danny takes them deeper into his shady world. Danny is a big fish in a little pond, and along with his heavy, Tanko (Emil Kamenov), spends a lot of his time finding ways to impress his importance upon the film crew. Danny’s godson (Borislav Markovski) tags along for a few of his exploits, and it’s a credit to young Markovski that he’s one of the most interesting characters to watch despite having zero lines of dialogue. But this points to the film’s biggest problem – the lead. For Danny, you need a character who is both repulsive, yet irresistible. Alexiev’s Danny is repulsive, but there is nothing about him – or the film – that compels you to watch. Too much here feels like we’re waiting for something to happen. There are several scenes in the car that attempt to heighten the tension of being trapped with someone like Danny, but it doesn’t work. No one wants to be in the car with Danny – not the film crew nor the audience. We’re not watching a car crash, but a traffic jam. There are a few side characters who turn up for a scene or two that help move the film along. Danny’s irritated wife, the documentary producer, and an old flame play off Alexiev with conviction. Seeing Danny from their points of view help sell him as someone dangerous. As Danny’s more sinister nature begins to reveal itself, the documentary soundman (James Ryan Babson) becomes more uncomfortable with the things they record. He insists “we’re complicit!” but within the context of the film, it’s either an overreaction or a heavy-handed commentary on our societal tendency to sit back and watch while our politicians play fast and loose with the rules. The movie wants us to wake up and find ourselves uncomfortable with those we put into office, but in the context of the real world, Danny isn’t nearly as disturbing as some of the actual people holding power right now. #RachelWillis

★★★★ Directed by #JeremyElkin Written by #DanaBrown #JeremyElkin Starring #Rosariodawson #LeoFitzpatrick #Moby Film Review by Christie Robb Jeremy Elkin and Dana Brown’s documentary explores the origins of what is now a mainstream aesthetic born from two distinct 90s New York City subcultures—graffiti artists/skateboarders and hip hop. Tracing the ancestry, briefly, to NYC artists Andy Warhol and Jean-Michel Basquiat, the film credits the convergence of the movements to the prescience of the club management department at Club Mars, a multistory nightclub in the Meatpacking District. In the early 90s, Mars had a weekly hip hop party that started in the basement and attracted a broad swath of NYC street culture. The bouncers let the skate kids in, even if they were all gross and sweaty and not dressed up. Their streetstyle was cool. And the cross-pollination began. Out of this came: Phat Farm, the first hip hop clothing line Zoo York, the first skateboard brand out of New York The Stretch Armstrong and Bobbito Show, an underground hip hop radio show that introduced Biggie Smalls, Jay Z, Busta Rhymes, and the Wu-Tang Clan (among many others) The independent movie KIDS, featuring the debut performances of Leo Fitzpatrick, Chloe Sevigny, and Rosario Dawson The Supreme skateboarding lifestyle brand The Zoo Mixtape video, with a hip hop soundtrack As the film reminds us, skateboarding is now an Olympic event and a $2 billion per year industry and hip hop surpassed rock recently as the dominant music genre. Elkin and Brown stuff their documentary full of interviews from the people who were part of the scene in the 90s like Kid Capri, Stretch Armstrong, Bobbito Garcia, and Mike Carroll. Archival footage was supplied by Eli Morgan Gesner, who had the presence of mind to shoot video of the skateboarders doing tricks and the rappers trying out rhymes. This grounds the film in the visual aesthetic of the period while the original score by hip hop producer Large Professor provides the aural vibe. It all comes to resemble video scrapbook of the baby years of what’s become a mainstream aesthetic. And, while I’d prefer more coverage of the gradual gentrification of the aesthetic from an outsider scene to a branded “lifestyle,” that’s not really the project here. As a nonfiction narrative looking back on all the individuals and circumstances who mixed together in 90s downtown NYC, All the Streets Are Silent is pretty fly. #ChristieRobb

★★★★ Directed by #TingPoo #LeoScott Written by #TingPoo #LeoScott Starring #ValKilmer #JackKilmer Film Review by Hope Madden Raise your hand if you’ve ever had a crush on Val Kilmer. I can’t be the only one. Eighties heartthrob turned Hollywood prick turned reliable character actor turned working actor turned Mark Twain, Kilmer has seen his ups and downs. The thing is, he recorded all of them, too. And now directors Ting Poo and Leo Scott—both primarily known as editors—piece together material from the thousands of hours of video Kilmer has compiled in his 40-odd years in the industry. The result oscillates between self-indulgence and raw nerve, but it’s never less than intriguing. Yes, there are behind-the-scenes moments from Top Gun, pieces from the contentious Island of Dr. Moreau set, Batman Forever clips and bits of Doors footage. But the film is most relevant when Kilmer interacts with his son Jack, who also narrates from pages written by his dad. Kilmer can’t do his own voiceover because of his fight with throat cancer, which left him with a tracheostomy that makes speech difficult. The battle has taken a lot out of him physically in much the way different battles throughout his career has taken a lot out of him financially. Poo, Scott and Kilmer never hide those battle scars, and yet their film never feels exploitative or reality TV-esque. Much of that has to do with Kilmer’s indominable spirit and generous nature. Though a costly divorce and what amounts to fraud perpetrated by his own father left Kilmer strapped for cash, his outlook on both his ex-wife and his dad are entirely positive. And what he has to say about selling autographs to pay his bills becomes perhaps the most moving moment in a fairly emotional film. At just under two hours the film seems a tad long. There are times when Val feels self-indulgent, but how could it not? We’re here to watch the actor come back then come back again then, dressed as Mark Twain for his shockingly successful one-man show Citizen Twain, make yet another comeback. In Val, Jack Kilmer quotes his father quoting Twain: Don’t part with your illusions. When they are gone you may still exist, but you have ceased to live. It’s an apt metaphor for a documentary about life and acting, and a springboard for another surprising comeback. #HopeMadden

★★★★ Directed by: #PauricBrennan Written by: #MarkHampton Starring: #AndyYule, #MarkAgar, #LiadhBlake, Film Review by: Emily Davison After lonesome Joe (Yule) has his car hijacked by a drug addicted couple, the trio embark on a dangerous journey up north to escape the local crime lord seeking his stolen cash and revenge. Don’t Sell Me A Dog (2021) is an Irish crime film, directed by Pauric Brennan and produced by Bren Enterprises. The unique title refers to Victorian slang for ‘don’t tell me lies’, a phrase which is embodied in the screenplay and the small cast of distinct characters. This gritty crime drama is grounded in reality, from the immersive direction to the rural Irish countryside setting, everything feels down to earth and very real. Brennan directs with a clear vision, combining smooth long takes for the many driving sequences and shaky handheld camera for intense violence to engross viewers into his world. The visual style has minimal quirks by relying on the setting and character interactions to carry the film, but its charm comes from the realism Brennan authentically captures. Mark Hampton’s gripping screenplay is character driven and dialogue heavy, allowing the performers to simply sink into their respective roles. Although the trio are at first presented as recognisable stereotypes, with CD (Agar) and Adele (Blake) acting the typical young couple caught up in the crime world and Joe the old widower, it soon becomes clear that not all is as it seems. The film mostly takes place inside a car for its hour and thirty minutes running time, resulting in plenty of scenes to develop its small cast and the lines between who we should trust and who we should not are gradually blurred. This is a narrative with morally grey characters until an immensely satisfying final twist leaves you with an entirely different perspective on the film’s proceedings. Despite the tough exterior of a gritty crime flick, there is a surprising amount of good comedy and heartfelt moments scattered throughout, which offers a welcome relief from the bizarre situation. One great scene has CD, the foul mouthed thug who has hijacked an old man’s car, ask Joe to turn up his traditional Irish folk music. The film does utilise a group of wonderful actors who are able to carry the heavy dialogue well. Although a good time, the slow pace does hinger the overall entertainment factor and viewing experience, but this does not detract from all of the talent on display here. Don’t Sell Me A Dog is a not a perfect film, but it doesn’t need to be. It tells a self-contained, small scale story which immerses you in the realistic setting, alongside complex characters. It is a low budget crime drama done right, with great performances and a perfect final twist – definitely worth a look! #EmilyDavison

★★★★ Directed by: #Pei-Ju Hsieh Written by: #Pei-Ju Hsieh Starring: #Jia-Yin Tsai #Yao-Jen Chang #Samantha Shu-Chin Ko Film Review by: Max White Heavy Craving, or ‘Da a’ meaning big in Mandarin, is a helping of heart-warming drama with just enough of the tough stuff. Balancing entertainment with social commentary isn’t easy, but Taiwanese director/writer Pei-Ju Hsieh blends both tastefully. Jiang Ying-Juan (Jia-Yin Tsai) is an overweight young woman working at her family's school. Her passion’s food but her love for it only staves off her mum’s pleas for her to lose weight. The name calling is unpleasant but mostly Jiang seems okay with how she looks. It’s everyone else who’s hellbent on her becoming this so-called better version of herself. When she meets once-fat delivery man Wu (Yao-Jen Chang) she becomes empowered to make a change. What follows is an often funny and occasionally on the nose story about self-image in a world that’s forever holding a mirror up at us. Scenes involving the slimming camp and glowing images of lithe young people exercising and generally just being health itself (physically, if not mentally) channel certain Black Mirror episodes. And things do get weird. At one point Jiang has a fist fight with an imaginary fitness freak inside her own stomach. Mostly though this is a film that has something to say, and the jokes and the hallucinatory stuff are all the entertainment that puts the bums on seats and that gets you to listen to the message. The sugar that makes the medicine go down. It’s about eating disorders and overweightness, yes, but a young boy’s cross-dressing character arc make it clear it's more accurate to describe the story as being about self-image and how (un)willing the world is to accept us for what we are, what we look like. What you get from this film will depend on what you bring to it. If you’re someone who’s particularly conscious of your body image or know someone who is, the bullying and the family pressures will cut much closer to the bone. If you don’t fall into that camp, you’ll come away feeling sympathetic for those that are. Cinematographer Hao-jan Chang’s work is razor sharp and gorgeous, while Jia-Yin Tsai shines in a role that’s perfect for her, and that probably doesn’t come around very often. She and director Pei-Ju Hsieh have made themselves exciting new talents with this debut. #MaxWhite