42 COUNTS is the latest short film from director Jill Gevargizian, which screened this past weekend at the Toronto True Crime Film Festival. The film reunites Gevargizian with actress Najarra Townsend, who starred in Gevargizian's award-winning short The Stylist. 42 COUNTS also stars Sam Williamson (American Honey) and Andrea Dover (AIR: The Musical).
I really wasn’t quite sure what to expect when I showed up at Alamo’s Weird Wednesdays last night to see TO LOVE, PERHAPS TO DIE. I knew from reading the program literature that it was A Clockwork Orange rip-off directed by queer socialist filmmaker Eloy de Iglesia. The aforementioned Kubrick masterpiece wasn’t allowed to be seen in Spain at the time because of codes set forth under the regime of Fransisco Franco, so there was an easy opportunity to capitalize off of its success in an untapped market. The thing is, though, I wouldn’t call it a rip-off of A Clockwork Orange, per se; I’d refer to it as a spoof, homage, and a send-up. It’s very self-aware and tongue-in-cheek and really quite hilarious.
THE STRANGERS: PREY AT NIGHT is the latest film from horror director Johannes Roberts (The Other Side of the Door, 47 Meters Down), based on the screenplay from Bryan Bertino and Ben Ketai, and is a bold take on the long awaited sequel of the hit 2008 film, The Strangers. The film stars Christina Hendricks (“Mad Men”), Bailee Madison (Bridge to Terabithia), Martin Henderson (The Ring), and Lewis Pullman (Battle of the Sexes).
THE MIMIC, the latest film from writer/director Jung Huh (Hide and Seek), is a supernatural tale surrounding a creature that can mimic human voices to lure in its prey. The film stars Yum Jung-Ah (Tell Me Something), Park Hyuk-Kwon (A Taxi Driver), Shin Rin-Ah (Ode To My Father), Heo Jin (The Wailing), Kil Hae-Yeon (Missing) and Lee Yool (Hello Murderer).
THE MIDNIGHT MAN, the latest film from director Travis Zariwny (2016's Cabin Fever), is a play off an urban legend where a creature known as The Midnight Man appears after a specific game has been played. The film stars Gabrielle Haugh (The Institute), Grayson Gabriel (Dirk Gently's Holistic Detective Agency), along with horror legends Robert Englund (A Nightmare on Elm Street) and Lin Shaye (Insidious franchise).
Sometimes I truly love going into a film knowing nothing about it. It's fun, mysterious, and you have absolutely no idea what to expect. It's a different experience from all the mainstream films that are hyped up and you already know a good chunk about the characters and can even guess what may happen.
I'm not sure what I was expecting with a title like MAYBE IF IT WERE A NICE ROOM: something funny, maybe? Or something SAW-like. Honestly, I have no idea. What it was, however, was a short film with more weight and depth than most feature lengths out there. And with the world the way it is right now, every woman who watches this may get a shiver, a gag reflex, or an unwanted memory that floods them.
Last Wednesday I was already super pumped for my nightly jaunt down to Alamo Drafthouse NYC. FREAKED was the film being shown and I am absolutely in love with everything about it. First of all, I have watched both Bill & Ted's Excellent Adventure and Bill & Ted's Bogus Journey COUNTLESS times. I also sneaked around and watched The Idiot Box when I was around 8 (because I was strictly forbidden to watch MTV, which, sorry Dad but that's basically all I ever watched). The only reason I even said that is to let it be known that when I was a kid, and probably even more so now, Alex Winter has always been a paragon of coolness to me.
They say truth is stranger than fiction and that is certainly the case with the real life story of actress/writer Jan Broberg as told in the shocking documentary ABDUCTED IN PLAIN SIGHT, which premiered at the Toronto True Crime Film Festival June 8th. Through candid interviews with Jan, family members and family friends, director Skye Borgman tells the bizarre tale of Robert Berchtold, a neighbor of the Broberg family whose sick obsession with Jan began when she was a child in the seventies. This film serves as an intimate portrait of a family ripped apart by a man who stole their little girl's innocence in the most disgusting ways imaginable.