★★★ Directed by #PhillipNoyce Written by #ChrisGerolmo Starring #EmiliaClarke #JackHuston Film Review by Hope Madden There are films that open with voiceover. Sometimes the voiceover is a character who is already dead. These films are rarely very good. It’s no spoiler. As Susan Smith (Emilia Clarke) waxes melancholic over the opening images of Phillip Noyce’s true crime thriller Above Suspicion, she’s straightforward with us. She’s dead, we’re watching her body being found, there sure are a lot of trees, and she has a lot of time now to think. Chris Gerolmo (Mississippi Burning) adapts Joe Sharkey’s book about the case, which was also the subject of Aphrodite Jones’s book The FBI Killer as well as at least one true crime TV series episode. Why all the fuss? Susan Smith’s case represented the first in history to see an FBI agent convicted of murder. Smith, a smalltown Kentucky addict with two kids, a live-in ex-husband for a dealer, took a shine to Mark Putnam (Jack Huston) the moment she saw him. The shiny new FBI agent, just two weeks on the force, had taken the gig to begin to build a career. He and his wife Kathy (Sophie Lowe) had a 5-year plan. Smith would alter that plan. Noyce’s movie looks good. It looks the part, plenty of dusty small towns, low rent lots, dive bars and trees. And he’s assembled a game cast. Clarke surprises as a hard and hard-headed woman looking for a way out. A cascade of odd ducks and smalltown curiosities give plenty of supporting actors the chance to add some layers to the Appalachian backdrop. Johnny Knoxville especially impresses as Smith’s low-key but dangerous ex. Huston’s take on Putnam is pretty forgiving. The performance feels indecisive. In his hands, Putnam is certainly too smart to fall into this situation, but is he naïve enough to do it? This is partly where the entire film falters. The voiceover lets us know whose story we’re hearing, and yet somehow we’re mainly on Mark’s side through most of this. Kudos to Noyce and Clarke for sidestepping noble victim cliches and giving Smith a backbone as strong as her head is wrong, but the film’s overall entire tone lacks conviction. It doesn’t help that you know where everything is going from the opening scene, since Smith tells us. There’s no real tension to build, and Noyce never takes advantage of his opportunity to give us an unreliable narrator. At least that would have given us something to think about. Lacking that, or any real insight and certainly no deep empathy for anyone involved, Above Suspicion can’t help but feel like a couple hours of wallowing in someone else’s pain. #HopeMadden

★★★ Directed by #AlexCahill Written by#BrigitteDodtloff Starring #RoxanaLupu Film Review by Christie Robb Alexis Cahill’s biopic is a sumptuous surface-level look at Queen Marie of Romania’s impact on the negotiations leading up to the Treaty of Versailles—which wrapped up the first World War in 1919. Promised by its allies to have all its disparate historical territories united at the conclusion of the war, Romania has been devastated by German occupation. Despite passionate pleas by the prime minister at the peace talks, none of the major players (Clemenceau of France, Lloyd George of the United Kingdom, and Wilson of the United States) can be bothered to lend an ear, much less lend some aid. So, Queen Marie (Roxana Lupu, a veteran of royal portrayal), granddaughter of Queen Victoria, hops the royal train to Paris to lobby on her country’s behalf. The attention to detail in the costumes, interiors, and settings is divine. It’s a joy to sit back and luxuriate in the opulence while historical personages debate national boundaries wearing haute couture in a variety of fancy reception rooms decorated by an almost ridiculous amount of freshly-cut flowers. But once the delight of the visual treat starts to get old, there’s not much here to hold the attention. We are frequently told of the sacrifices the Romanians made during the war and of the hardships they are currently suffering. But without grounding in the experience of a specific character, it’s a lot of tell with no show. (In fact, the film’s intro is several minutes of black and white footage with a voiceover summarizing Romania’s involvement in the war that’s more reminiscent of an early 2000s Biography Channel program than a feature film.) We don’t get why a united Romania has any meaning for the people. We just have to take the well-dressed lady at her sometimes wooden word. There’s also the issue that the story is overloaded with potential conflicts and character arcs that don’t seem to go anywhere. There’s some sort of marital difficulties between the king and queen and a hint that Marie is having an affair. The heir seems to hate his mom and is conducting an affair with a woman who is unsuitable for reasons that are unclear. And more or less everyone tells Marie that she should probably just stay in her lane and focus on her clothes, children, and social engagements and stop with the politicking already. I imagine all of this plays better for a Romanian audience for whom the history, characters, and subject matter are familiar. As an American with a very tenuous grasp on WWI and Eastern Europe generally, I found the film to be a pleasant enough introduction to an interesting person, but one that would have benefitted by sacrificing breadth of coverage for depth of character development. #ChristieRobb

★★★ Directed by: #ChrisRourke Written by: #DanelParquor, #ChristopherRourke & #KyleStrang Starring: #NickAndrewHutchinson, #KyleStrang, #DiandraChiaffinoButts Short Film Review by Taryll Baker An 'Idealist' and a 'Revolutionary' gather for a summer BBQ and discuss the state of the world in 2020. 'The Richest Man In The World' stops by to address some accusations. This quirky short from Chris Rourke explores extreme opposites in a witty presentation of idealist and revolutionist views. Two old friends meet for the first time in a while, both representing a different aspect of our world today. One, the ‘idealist,’ works for Amazon and gets one day off every two weeks, can’t sleep on his lunch break and had to book this day off five months in advance, only to be called in to work anyway. The other, a ‘revolutionary,’ lives his life without much planning and bunks with several other people in his rented apartment. The two bash heads over their views, before another individual arrives; ‘the richest man in the world,’ an evil head of the Amazon machine who doesn’t recognise people for being… people. Oh Jeff! takes this pretty plain and boring concept and makes it somewhat entertaining, if only for its ridiculously OTT delivery and performances. Nick Andrew Hutchinson and Kyle Strang act against each other on a back porch (shot entirely during COVID lockdown, hence the location choice) with immense, feverish charm. As Oh Jeff! experiments with everything it has to say — which may or may not be very clear — the escalating tension rises as scenes become more and more ludicrous and strange. There’s a dream-like vision being toyed with here, and it’s so bizarrely intriguing. I only wish Parquor, Rourke & Strang’s ideas were more strongly cemented in the script. After the 20-minute mark, you sort of let go and just sit back to see where the film takes you next. The intensity in the music score further accelerates the freaky vibe Oh Jeff! gives off. But beyond the aforementioned feverish nature, it’s hard to find much enjoyment. Oh Jeff! is of course excelling in its goal to confuse and throw-off the audience. For that, it’s exceptionally well made. That said, it makes it a very messy ride that doesn’t seem to find its footing and it just becomes a stuffy film overflowing with crammed in visual tricks and snappy, nightmarish scenes, one after the other. An admirable directorial debut from Chris Rourke, there’s no doubt. But, a familiar ‘okayish’ vibe flushes over this freaky acid trip which puts it in the same pile as most short films that try a little too hard to be edgy and smart. It must be said that while it isn’t the most fascinating work, it was written and shot during this global pandemic we’re all facing and that makes it worthy of some praise. If only it had more to say, with more accuracy and strength in its aim and execution. Watch the trailer for Oh Jeff! below. - #TaryllBaker

★★★ Directed by #Arvi Written by #Arvi #GaryDHouk Starring #JamesRusso #ChristianJames Film Review by Brandon Thomas Every filmmaker dipping a toe into the science fiction genre is looking for that singular hook that will drive audiences wild. Think The Matrix with its kung-fu fighting in a simulated reality. Or Christopher Nolan’s Inception with its grounded look at dream invasion. Co-writer/director Arvi’s Cerebrum may not reach the heights of either of those movies, but it certainly seeks to have a hook of its own. Tom (Christian James) has returned home at the behest of his father, Kirk (James Russo, Django Unchained and My Own Private Idaho). The two men are barely on speaking terms, but Kirk has asked his son to help him on a project that could have a significant impact on retaining the memories in dementia patients. The project becomes much more complicated when corporate espionage, murder, and body-swapping come into the picture. Cerebrum doesn’t have the desire, or the budget, to go big like The Matrix or the movies of Chris Nolan. It’s not a film built around pushing technological limits or grand action sequences. This is a film that wisely knows its limits. Instead of a watered-down wannabe action-palooza, Cerebrum has more in common with a classic murder mystery. There’s even a pinch of neo-noir thrown in for taste. Still, there’s an inherent cheapness to the film that’s hard to shake. The memory loading tech never goes beyond looking like anything more than a dollar store brand smartwatch. The movie would’ve benefited greatly from a better visualization of the technology and how the implementation of memories works. Dual roles come into play in a big way during the latter half of the film, and James as Tom/Kirk does a commendable job swapping between the two. Sure, sometimes it’s as easy as throwing in a southern accent for Kirk, but James manages to get the interesting tics and mannerisms that Russo has as an actor. And speaking of Russo, the veteran character actor makes an impression with the limited screen time he has. I’ll admit, it’s a bit of a stretch to see Russo as a renowned scientist, but it’s not Denise Richards as a nuclear physicist Bond girl kind of a stretch. Cerebrum lacks the “oohs” and “aahs” of a lot of modern sci-fi, but it still manages to tell an intriguing and economical story that’s worth a look. #BrandonThomas

★★★ Directed by: #MattGreen Written by: #JamesFroment Starring: #BenHanley, #MaxSandiford, #SophiaTalbot Film review by William Hemingway Joel (Hanley) is dealing with the loss of his mum. Joel's dad (Sandiford) is trying to deal with the loss too, but they are both doing it in very different ways. Joel's dad has become withdrawn as well as bitter and angry; Joel has taken to wearing make-up. There is no communication left in the household and Grandma (Talbot) has had to step in as a keeper of the peace. Times are dark in Joel's life and the acceptance and love that he used to feel just isn't there any more. He needs a way to remember and to express the loss that he feels. In writer James Froment and director Matt Green's short film we see in intimate scenes how the fall-out from his mother's death has affected Joel and his family. The entire six minutes of the film is taken up by close encounters in enclosed spaces where tensions run high and nobody can hide, or escape, from each other. Joel gets no affection or understanding from his father but luckily has Grandma there to fight his corner and show him that he is still loved. However, the entire scenario feels and plays out like it is only a snapshot from a bigger picture; a small piece of a far more encompassing puzzle that we never get to see or guess at, and that is the film's downfall. There is no hint at the wider story involved here. We, as viewers, are woefully left out of the loop when it comes to family history, character motivation or the contextualisation of scenario; we don't even find out how Joel's mother died. This lack of detail and story background transfers to a lack of investment from the viewer and severely limits how much one can take away from the film. That's not to say that what's there isn't any good, just that it doesn't reach beyond the confines of its own six minutes and therefore doesn't offer any real statement, drive or intent behind what is shown on the screen. The film itself is quite well made, with well lit scenes, assured direction and emotive acting, although the sound editing on the dialogue is set at far too low a volume level. It is quite an accomplished short film that highlights the talents of the film-makers and the cast but sadly doesn't go anywhere beyond that. Joel's story (or at least this part of it) is one that must resonate with numerous others who have gone through similar situations and who can empathise with the events and decisions he faces, but there is nothing to explain or explore in this film that hasn't been said a thousand times before and therefore Joel has nothing to stand it out from the rest of the pack. It feels like there is so much more to tell in Joel's story but in the end what we are left with just feels like a missed opportunity.

★★★★ Directed by #RyanKruger Written by #RyanKruger Starring #GaryGreen Film Review by Hope Madden So, Fried Barry then. Four years ago, South African writer/director Ryan Kruger made the 28th short film of his young career, a quick and experimental one-man meth attack starring Gary Green called Fried Barry. On the merits of Kruger’s vision for harrowing realism underlying a scifi vibe, as well as the startling central figure (Green is quite something to gaze upon), the short film made a big impact. It’s also a single scene of a profound reaction to a drug. Not a lot to build on, and yet that’s just what Kruger does in his feature of the same name, streaming this week on Shudder. Green returns as a Cape Town low life whose latest high is complicated due to an alien abduction. Or is he just really, really, really high? Kruger maintains an experimental feel, although his feature takes on more of a traditional cinematic structure. This primarily consists of Green—looking as disheveled, lean and imposing as ever—wandering wide-eyed and silent through Cape Town. Oh, the adventures he finds! Most of them involve different women who are curiously interested in having sex with this obvious junkie. He must just smell so rank! Suspend disbelief. The movie is nuts. It’s not entirely unique, though, as it continuously calls to mind Rolf de Heer’s notorious 1993 film Bad Boy Bubby—another Huck Finn style adventure about a man-child and the curiosities he stumbles into. And to be honest, de Veer’s film is far more of a mind f*ck. Fried Barry also conjures Terry Gilliam and Panos Cosmatos (top-notch purveyors of drug-fueled mayhem), and maybe even an especially high-octane Lynch. Which is to say, the film offers insanity to spare. Kruger’s episodic fever dream blends frenetic editing and a charged soundtrack into something harsher and harder than a psychedelic trip, but the film lives and dies with Green. It isn’t as if the actor performs alone. He stumbles into and upon a slew of wild, weird and sometimes insane (literally) characters. But it’s Green you cannot take your eyes off of. Dude is fried. #HopeMadden

★★★ Directed by: John Huddles Written by: John Huddles Starring: James D'Arcy, Sophie Lowe, Rhys Wakefield Film Review by: Vikas Yadav The Philosophers (or After the Dark) is brimming with philosophical ideas. Writer-director John Huddles projects his thoughts on the celluloid and takes us into his world through a session inside a classroom. The teacher is Mr. Zimit (James D'Arcy), and his twenty students include Petra (Sophie Lowe) and her boyfriend James (Rhys Wakefield), Chips (Daryl Sabara), Jack (Freddie Stroma), Bonnie (Katie Findlay), Georgina (Bonnie Wright giving a major Harry Potter-nostalgia rush), etc. It’s the last day of school, and Zimit decides to send the students off with a bitter taste via a series of fictional apocalyptic cases. All the scenarios have a bunker with limited capacity, so the ineffectual individuals are filtered out from the group - survival of the fittest, or you could also say shelter for the fittest. It’s curious how the “invented” world in The Philosophers looks more real and lived-in than the actual one. Huddles chooses to tint the real world with yellowish color, which makes the sunshine fall like magical rays, painting it like something out of a fairy tale. Maybe the fact that all the grittiness happens in the “other” world might be the reason behind this stylistic choice. While the role of every student is openly disclosed, Zimit’s part is hidden from the students and the viewers. Though if you are one of those people who pay close attention to whatever is happening on the screen, you might be able to unmask the twists before they are eventually revealed. In one of the scenes, the camera confirmed my suspicion regarding one of the romances by just pointing itself toward one of the characters in the film. And this was supposed to be a surprise for the end, I think. That’s the thing about The Philosophers. You don’t need to be a philosophy expert to figure out what’s going on inside the minds of the people or the film. Everything floats on the surface. Every trick falls out of the sleeves provided you know where to look on the screen. That does not mean that the film is bad or boring. I liked the unfolding of all the hypothetical scenes. But I also wondered how more effective the film could have been if it had solely focused on the apocalyptic setting and used the survival of the fittest element to delve into human psychology. Because, in the end, the hard decisions the students (or rather one or two of them) make don’t accumulate or change their views on their surroundings. The exercise seems fun and challenging, but it never becomes cerebral or emotional, for that matter. But then, I suspect The Philosophers was not meant to be mentally stimulating, the evidence of which can be traced back to the opening shot of the film. The very first frame shows James and Petra kissing. This might very well be the film’s way of indicating that what you are about to receive deals with the matter of heart, not the brain. In that case, a title like The Lovers seems more logical than the one it has been given (it should be noted that the title The Philosophers is at least closer to the story than its alternative After the Dark). You go in with a sharp brain; you come out with a beating heart. Whether it’s a fair deal or not is something I will leave for you to determine. On digital 24 May 2021

★★★★ Directed by: David Graziano Written by: Christopher Di Nunzio, Bryan Casey Starring: Jami Tennille, Diana Porter Film Review by: Jason Knight Two women friends meet at a coffee shop and discuss their friendship and marriage issues. These women are Greta (Tennille) and Marlene (Porter) and Greta announces to her friend that she is divorcing her husband. Marelene has news of her own: she decided that it would be better to end their friendship. A year later, Marlene asks Greta to meet again at the same coffee shop, explaining that she misses her and appears to want to rekindle their friendship. This short, emotional story is Graziano's directorial debut follows the personal struggles that two divorced women go through and explores themes of marriage, divorce and friendship. The two heroines have experienced failed marriages, with partners who did not appreciate them. It is indicated that the bond they have between them is stronger than their marriages. However, they seem to be unable to make connections with each other and remain friends. Both leads deliver outstanding performances. They are very convincing and emotional as individuals who have gone through unhappy times and can only find solace when they are with each other. The cinematography by Nolan Yee looks great and the filmmakers make effective use of voice-over, fast motion and jump cuts. The score consists of gentle guitar music by Steven Lanning-Cafaro, who also has a cameo as a guitar player. There is a rather interesting and moving sequence that should be mentioned, which involves two long takes. One after the other, both leads break the fourth wall and speak to the audience about how their marriages deteriorated and why they believe that their friend is the strongest bond they have. As they talk, their words and faces are full of emotion, making this part rather dramatic. The film also appears to suggest that mobile phones are a communication problem. It shows people interacting with their devices inside the coffee shop, not talking to those around them. Even a conversation between Greta and Marlene is interrupted by a call. All this indicates that although mobile phones are utilized for communication, at the same time they actually keep people apart. This drama looks into the struggles of marriage and relationships. Remarkably acted, with beautiful cinematography and a sentimental score, this achievement deserves a great deal of praise. #JasonKnight Trailer:

★★★★ Directed by: #EthanJahan Written by: #GhaziRabihavi Starring: #AntoineBalabane, #MarounCherfane, #YannDelage, #MohammadKarra, #PaulSleiman, #TarekYaacoub Short Film Review by Taryll Baker People can react unexpectedly to extreme beliefs and misread information, whereby relating to circumstances in which objective facts are less influential in shaping public opinion than appeals to emotion and personal belief. This is known as post-truth concept. The Oak Tree is a film that’s relevant today in a world where information can be heavily distorted. The Oak Tree is a stunningly crafted short film, with a great blend of interesting yet simple concepts and a lush colour palette that brushes the screen ever so gently. Amongst its dirty nature is a subtle existence of true beauty; the trees, the landscapes, the wind blowing through chimes, the well-walked paths and backstreets. Following an older man who seemingly crafts goods from wood, he is in need of the perfect branch and after a trek into the plains, he finds just what he’s looking for. Except that branch is attached to a holy tree that the townsfolk worship as a religious symbol. As the film ticks along at its graceful pace, the man fights with faith and finds more than just a branch; something lies deeper in its roots. This cast is sublime. Even though there isn’t a huge amount of verbal material for these characters, the emotions are struck well and the “feeling” which of course seems to be the focus in Jahan’s work is exceptional. A fluent splash through a man’s biggest decision yet. He must choose between trade and faith, in a wonderfully executed performance by Paul Sleiman. Fadel is seen watering his plant at home towards the beginning of the film, and by the end it is withering away without his presence. His attention is drawn away from simple things and thrown into a spin of new concepts and ideals. Like a sheep, his interest is piqued as he follows the herd. Featuring a luscious music score by Louai Alhenawi and Benjamin Ellin, paired with the vibrant visuals, this is truly one of the most well made short films in recent years. Jahan’s direction alongside Rabihavi’s writing is a real treat. Though it’s a very easy film by most standards, the structuring of scenes and the effortless camerawork by Yiannis Manolopoulos makes for a pleasing watch. The Oak Tree spends most of its time with the old man as he decides on which path to follow, and the climax is left fairly unclear, though satisfying and open to thought. The Oak Tree does everything well, in all honesty. Though you may not be a religious person, you should find enjoyment at least in the craft, and there’s a fine amount of detail within it to be sure. Jahan is a striking filmmaker and it will be very interesting to see what comes up next for him. In some ways his style is reminiscent of Malick, so that’s a niche that will most definitely find its audience. Watch the trailer for The Oak Tree here. - #TaryllBaker

★★★ Directed by #QuocBaoTran Written by #QuocBaoTran Starring #AlainUy #RonYuan #MykelShannonJenkins Film Review by Hope Madden “You look like a fat, Asian Mr. Rogers.” That’s not how any middle-aged man wants to be described, least of all a man who was once one of The Paper Tigers. When Danny (Alain Uy), Jim (Mykel Shannon Jenkins) and Hing (Ron Yuan, Mulan) were in their prime, they were disciples of Chinatown’s great kung fu master Sifu Cheung (Roger Yuan, veteran of martial arts films). They couldn’t be stopped—certainly not by that poseur Carter (played with relish as an adult by Matthew Page). But that was then. It takes a murder mystery to convince the trio to a) talk to each other again, and b) fight. But first, they will really need to embarrass themselves. Writer/director Quoc Bao Tran makes his feature debut with this family-friendly coming-of-middle-age comedy. Though the story itself is stridently formulaic, solid instincts for lensing physical comedy, as well as charming performances, elevate the film. Uy offers a reliable center for the story. A relatable everyman, Danny’s lost focus on what matters, and Uy’s understated performance creates a nice counterbalance for some of the zanier moments in the film. Page and Ron Yuan—whether together or separately—shoulder responsibility for most of those moments of lunacy. Yuan delivers an underdog you’re happy to cheer on, while Page’s comic foil is an embarrassing, irritating joy to behold. The writing is sometimes suspect. Formula makes up for a tight structure—you know where things are headed, even if not every step in the journey makes a lot of sense. But The Paper Tigers makes up for those missteps, mainly with affability and good nature. This is a hard film to root against. #HopeMadden

★★★ Stars Directed by: #ShariSpringerBerman, #RobertPulcini Written by: #ShariSpringerBerman, #RobertPulcini Starring: #AmandaSeyfried, #JamesNorton, #RheaSeehorn, #AlexNeustaedter, #EmilyDorsch Film Review by: Alicia Moore An artist relocates to the Hudson Valley and begins to suspect that her marriage has a sinister darkness, one that rivals her new home's history. Based on the novel ‘All Things Cease to Appear’ by Elizabeth Brundage, Things Heard and Seen brings new light - and darkness - to the meaning of supernatural horror, also mixing and brilliantly balancing this genre with that of a crime thriller. Amanda Seyfried (Catherine) and James Norton (George) lead the philosophical plot basis as it is driven by the theories of Emanuel Swedenborg and paintings by George Inness which are very much inspired by Swedenborg’s work themselves. You may already be able to piece this together as I briefly describe the film’s context that there are many different elements intertwined throughout the two hour experience, but don’t let that pull you away from giving it a chance. Simply put, and attempting to keep as much of the main plot as possible somewhat of a mystery, Swedenborg suggested that everything within this natural world of ours has an equivalent in the spiritual world. Through this, death can be viewed as a new beginning rather than an end. It is explained in the film when made appropriate that evil spirits are attracted to evil people in the natural world, with the same applying to the good of the spiritual and natural settings. This is where Things Heard and Seen introduces an aspect that I personally haven’t seen much of before; where individuals are ‘haunted’ by spirits but not in a way where they want to harm them. They want to protect them from harm in both of the stated worlds instead. It gives the film quite a special sense of bonding, especially when the main characters severely struggle in their marriage even before entering an environment that carries both death and peace, however in unequal measurements. Being able to transfer such writing into visual representation proved difficult at times from a viewing perspective, although no one could expect a plot like this to carry through totally smoothly from start to finish. The last act appears quite sparse in regards to impact despite actually having an incredible climax; this section of the story feels partially hurried as well. The characters are running out of time to cover up their lies and horrid deeds, so some may see this approach as valid, but it alternatively felt more as if the film itself was running out of time. Like trying to meet a deadline before the clock strikes twelve rather than working through the process with elegance and planning. Nevertheless, I loudly applaud Shari Springer Berman and Robert Pulcini for their writing work on this elaborate plot. The cinematography (Larry Smith) is very encapsulating, and dare I say quite enchanting even though Things Heard and Seen‘s content is the complete opposite. The natural positioning of the camera and smooth movements in expansive scenes compliment the complex plot – rather than overloading the film with a lot more extravagant techniques through cinematography, this more settled and serene approach to camera movement and direction rather enhances the steps of storytelling. Amanda Seyfried never seems to disappoint with her presence on screen, and definitely never disappoints when she is playing a character with a convoluted emotional structure. Seyfried carries most of the emotional weight as the film progresses, showcasing her exceptional talent. It was her performance in particular that stood out from everyone else in my eyes. Her expression and progression of character is almost jaw-dropping here which runs beautifully alongside such an in depth plot line. Things Heard and Seen, now streaming on Netflix, is a film I do recommend if you feel interested in spending an afternoon pondering over philosophical meanings and filling your brain with some enticing matching visuals. Audience members have said that it is completely forgettable but trust me when I say a lot of events that unfold will stick in your mind for a while after viewing. It might not be the five star must-see that one would hope for, yet it is still widely enjoyable in its comparative uniqueness.

★★★★ Directed by: Brad Helmink, John Rauschelbach Written by: Brad Helmink, John Rauschelbach Starring: Bruce Davison, Holly Taylor, Rita Volk, Arianne Zucker, Dallas Hart, Xavier Watson, Frankie Wolf Film Review by: Jason Knight We Still Say Grace Movie Review Three unfortunate young men stumble across a rather unconventional family, leading to devastating consequences. Harold (Davison) and his wife Betty (Zucker) live in an isolated farmhouse in the countryside. They have two daughters named Maggie (Taylor) and Sarah (Volk) and the family is deeply religious. They follow strict rules, constantly say their prayers, have crucifixes on the walls and wear cross necklaces and old-fashioned clothing. They do not have a phone or a car. One day, three passing youths arrive at the family's property after their car breaks down. They are welcomed into their home and Harold helps them repair their vehicle. It soon becomes clear that there is more to this family than meets the eye and as the boys repeatedly disrespect Harold and his household, things get tense and deadly. This psychological thriller catches the viewer's attention from the disturbing opening scene, which shows just how abnormal the family is. As the plot deals with religious individuals, there is a great deal of religion in this film, whether it involves quotes from the Bible or crucifixes here and there. As the story progresses, the suspense and tension rise dramatically and so does the body count. Davison delivers a vivid performance as the head of the unusual household. He controls his family with an iron fist and to him, religion is the most important thing. He can be very friendly or very fierce and is arguably the most intriguing character. Taylor is sympathetic as the sensitive daughter, who does not completely share the same beliefs as her family. She goes through significant character development as she begins to question her father and develop a rapport with Fisher (Hart), one of the travelling youths. One of the movie's strongest aspects is the score by Mel Elias. It is tense and sinister, creating a feeling of dread, which goes very well with the scenes' atmosphere. This thriller is a story filled with religion, murder, secrets and betrayal. Partially, it is also a love story and a coming-of-age film. The acting is great, the characters are interesting, the narrative is suspenseful and contains dramatic plot twists. It is certainly worth viewing. #JasonKnight We Still Say Grace releases on digital 3 May 2021 Watch the film trailer.