"There is a fifth dimension beyond that which is known to man." With this sentence, Rod Serling first introduced The Twilight Zone to American viewers on October 2nd in 1959. The influential anthology TV series, which followed in the tradition of other shows such as Science Fiction Theatre and radio programs like Dimension X, blended fantasy, science fiction, and horror with morality tales to explore pressing socio-political issues. Over the past sixty years, The Twilight Zone has inspired countless storytellers, including Gene Roddenberry, Steven Spielberg, Stephen King, Chris Carter, M. Night Shyamalan, J.J. Abrams, Charlie Brooker, and Jordan Peele. The beloved show's latest progeny is the film The Vast of Night, the feature debut of director Andrew Patterson and also screenwriters James Montague and Craig W. Sanger.
Is there ever any good in vanity? Not really. But we never seem to learn our lesson, doomed to fall prey to the merciless grip of vanity and fame and glory and success. And it always leads us down dark paths towards dead ends, no matter what. Bad Education, directed by Cory Finley, recalls the true story of one tragic downfall of vanity. The beloved superintendent of Long Island's Roslyn school district, Frank Tassone, and some of his staff, have been grossly misusing funds provided to the public school district. Bad Education is the story of how their schemes and sneakiness was uncovered – by one intrepid student working for the school newspaper. The fictionalized feature is as outstanding as everyone has been saying since it premiered at the Toronto Film Festival last year. I'm glad to say that I loved this film, one of the best of the year so far.
Living in a small town is hard for a teenager. It's even harder if you live in rural Oklahoma in the 1960s, and you feel different than all of your peers. Director Martha Stephens captures the atmosphere of this small town (and small-minded people) in her period drama To the Stars, which originally premiered at the 2019 Sundance Film Festival. While Stephen's production is not an innovative film that bends the standards of cinema, it's certainly an eye-opening coming-of-age story. The drama first premiered at Sundance in black & white, but it was later reverted back to color. I watched the latter version for release (on digital April 24th), and although it was unquestionably satisfying, I'd still love to experience this story in the original format.
There is always something extra inviting when it comes to small villages located by the sea. Let's take one from Practical Magic. It makes you want to go there, meet all the people, it makes you feel free and happy. But it's the opposite feeling in Easter Cove, Maine presented in indie noir, Blow the Man Down. Directed and written by Bridget Savage Cole and Danielle Krudy, the film tells the story of Connolly sisters - Priscilla (Sophie Lowe), and Mary Beth (Morgan Saylor). After their mother's passing, the sisters have to figure out the way to save the house from bankruptcy and keep up with their store that Mary Margaret left them. Unfortunately, nothing goes as planned. After a run-in with a dangerous man (Ebon Moss-Bachrach), Mary Beth, with the help of Priscilla, tries to cover up his grim murder. Afterwards, both attempt to come back to their new normal; still, it's not easy, especially with the police asking questions and their mother's friends snooping around. One of them, Enid (Margo Martindale), is particularly interested in the sisters.
Sex worker, prostitute, escort. Never a woman, a sister, or a daughter. The headlines are always the same. The media, as well as law enforcement authorities, lack compassion and a genuine desire for rightful justice for women that provide sexual services. Lost Girls, directed by Academy Award-nominated filmmaker Liz Garbus (making her first narrative feature film after directing numerous documentaries including What Happened Miss Simone? and Bobby Fischer Against the World), returns to the painful, incredibly sad story of Shannan Gilbert and her mother, Mari (portrayed by Amy Ryan). The film revisits a series of unsolved murders and recreate the actions of the Gilbert family in their desperate search for answers and justice.
"The way he looks at people. It's like… he understands. He looks into your soul, and understands." Dogs, man, they're the best. I love dogs. I mean – I LOVE dogs. My favorite animal. Always the cuddliest. Always the cutest. Always your best friend. Always. We Don't Deserve Dogs is a new documentary film made by cinematographer / director Matthew Salleh; produced by Rose Tucker. It was set to premiere at the SXSW Film Festival this year, though it deserves to go well beyond just that festival. This film joins the pantheon of all-time great dog documentaries, including the likes of Los Reyes and the Netflix series Dogs. It is a huge breath of doggie heaven fresh air. I loved every last second of it, and can't wait to rewatch it whenever I need a boost. It's an extraordinary feel-good look at how amazing dogs are and how humans connect with them.
Just last week, I coincidentally chose to rewatch Zodiac – David Fincher's thriller from 2007. The film about the unidentified serial killer, based on the book by Robert Graysmith, is about the search for the legendary murderer. Throughout the film, there is often a mention of The Most Dangerous Game – a 1924 short story written by Richard Connell. The infamous "Zodiac Killer" was supposedly inspired by it. The story's original plot is about a big-game hunter who is hunted [sic!] by a Russian aristocrat. It has been remade into many other film and TV projects over the years. Now The Most Dangerous Game gets another contemporary update – The Hunt, which addresses a modern society that thrives on dividing and misinforming people.
"'She is an enchantress!' cried Bertalda; 'a witch, that has intercourse with evil spirits. She acknowledges it herself.'" We can always trust in German filmmaker Christian Petzold to make an interesting film no matter what. Undine is his latest feature film, following his acclaimed film Transit from two years ago. It is indeed based on the classic fairy tale of the same name, originally a German novella written by Friedrich de la Motte Fouqué in the early 1800s. The story is about a water spirit named Undine, who marries a knight named Huldebrand in order to gain a soul. The classic romance has been updated in modern times (see: Colin Farrell in Ondine) about a water spirit who must return to the water at some point in her life, usually related to being in love. And in Christian Petzold's Undine, her story also involves a great deal of romance.
Doesn't matter if it's man or machine, you can fall in love with anything. And that's okay. Jumbo has one of those crazy weird concepts that either shouldn't work at all, or seemingly fits right in with the rest of The Asylum's ridiculous filmography. But, somehow, it works. Which ultimately is a testament to writer/director Zoé Wittock and her skills as a filmmaker. Jumbo originally premiered at the Sundance Film Festival this year, and also played at the Berlin Film Festival. And it damn well deserves to be in both of the fests because it's a uniquely original, surprisingly serious, and impressive feature about a French woman who falls in love with a theme park ride she calls "Jumbo". It's yet another new fresh twist on the classic 80s coming-of-age romance, with a few cliche moments that end up being fun because it's not any human partner she's chasing.
This is one of the most beautiful documentaries I have ever seen. Without a doubt. I need to start with that statement. Everyone's personal definition of what is "beautiful" is different, but I think this is one time we can all agree that this film is objectively beautiful. Little Girl is yet another festival film that I can't get out of my head, and will likely never forget, for a number of beguiling reasons. The way the filmmakers tell this story so sensitively, with so much care and with so much integrity and so much reassurance, is part of it. But it's also just a staggering film about one young girl who is beautiful inside and out. And the filmmakers are telling her story so that we can learn from her, so that we can push society forward by learning to evolve our compassion. And push us to step away from toxic stereotypes that have plagued this planet for far too long.
Actor and screenwriter Leigh Whannell and director James Wan changed the horror landscape when their low-budget sleeper hit Saw became a cultural phenomenon in 2004. After the massive success of their feature debut, the Australian filmmaking duo continued to collaborate on a series of horror films, including Dead Silence (2007), Insidious (2010), and Insidious: Chapter 2 (2013). In 2015, while Wan was behind the wheel of Furious 7, Whannell made his directorial debut with Insidious: Chapter 3, which he also wrote. His next feature, the kinetic cyberpunk sci-fi actioner Upgrade, ended up as my favorite movie of 2018. Now, the talented writer / filmmaker tackles his biggest project yet with a modern retelling of The Invisible Man, inspired originally by H.G. Wells' 1897 novel and James Whale's classic 1933 film of the same name.
"It's a sad and stupid thing to have to proclaim yourself a revolutionary just to be a decent man." What kind of world do we live in where being decent is an impossibility? That's the question this film answers. I had a good feeling about this beforehand, but it still exceeded my expectations in every possible way. I will never forget watching this at a packed press screening at 8 o'clock in the morning at the 2020 Berlin Film Festival. Burhan Qurbani's Berlin Alexanderplatz is an utterly phenomenal film, an astonishing work of profound cinema and empathetic storytelling that hit me deep in my gut. It is an epic saga in the life of one man, and one of the best examinations of modern Berlin and the way the city treats immigrants. It may be three hours long, but all of it is vital. There is not a single frame or any specific scene in this I would change.