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SIFF ‘23: Belgium Drama ‘WHEN IT MELTS’ a Painful Kick in the Feels

A feel-bad Belgium coming-of-age story, Veerle Baetens’ When It Melts focuses on increasingly predatory pubescent children as they learn the art of exploitation. Icky but powerful – and powerfully performed (young Rosa Marchant is outstanding) – this somber drama is incredibly uncomfortable but packs an emotional wallop. Though it becomes increasingly obvious where things are headed, it remains an entirely engrossing – and at times rather gross – watch. Ultimately, Baetens’ film is a poignant, seething indictment of parents who fail to protect the innocence of their children. Trigger warning indeed. (B+)

Capsule Review for Seattle International Film Festival 2023. 

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SXSW ’22: Punchy ‘BODIES BODIES BODIES’ Subverts Slasher Formula

Everyone’s always a suspect in any slasher movie worth its salt and that’s true up until the very last moments in Halina Reijn’s Bodies Bodies Bodies. The film, which stars a slew of established and rising talent in the form of Maria Bakalova, Lee Pace, Amandla Stenberg, Chase Sui Wonders, Peter Davidson, and a scene-stealing Rachel Sennott, cleverly subverts what we know of the genre trappings and what we – perhaps falsely? – assume to be true.  Read More

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SXSW ‘22: Yearning Homoerotic Thriller ‘IT IS IN US ALL’ 

When out-of-tower Hamish (Cosmo Jarvis) gets in a head-on-collision with Irish teenagers Callum and Evan (Rhys Mannion), only the later survives. Reeling from the fallout, the unscathed Evan and banged up Hamish wind up in a complicated dance, caught somewhere between trauma bonding and flirtation in a film that’s slow to reveal its hand. Their relationship becomes bizarrely intimate but undercut with a simmering level of foreboding in actress-turned-first-time-director Antonia Campbell Hughes introspective thriller It Is In Us All. Read More

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SXSW ‘22: ‘LINOLEUM’, A Life from Orbit 

Jim Gaffigan stars as astronomer and public television personality Cameron Edwin in Colin West’s science fiction-tinged festival dramedy Linoleum. A bodega-version Bill Nye, Cameron leads the failing daily children’s show ‘Above & Beyond’ which after years of existing in obscurity has been picked up by a major network. The rub? Cameron will be replaced as the show’s host by his straight-laced doppelgänger Kent Armstrong (also played by Gaffigan), a more successful, better looking version of himself whose arrival  signals a series of enigmatic occurrences. Not everything is as it seems. Read More

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SXSW ’22: Self-Help Influencer ‘SISSY’ Canceled in Satirical Psycho-Thriller

Bullied as a child, Sissy (Aisha Dee) thought she left behind her childhood name. She‘s Cecilia now and she’s a self-help influencer. Popular on social media under the handle “Sincerely Cecilia”, the trendy twenty-something shares glossy selfie videos about mindfulness and self-love, topics she actually knows nearly nothing about. Deep down, she’s a traumatized child; projecting security, suppressing scars. Her 200k followers see Sincerely Cecilia™ but they don’t see Cecilia sincerely. They don’t know the true Sissy who lurks beneath.  Read More

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Sundance ’22: Finnish Horror ‘HATCHING’ Gives Birth to Fowl Play

An ooey, gooey suburban creature feature about motherhood and maintaining the illusion of perfection, Hatching expertly blends the weirder side of horror with a deeper message. Motherhood – at any age – requires great sacrifice. It’s often nasty, inglorious business. Hatching is not elevated horror. Nor is it shlock. Instead, this Finnish import about a newly hatched bird-human hybrid pulls from E.T. and Troma films, utilizing great practical effects to pluck at ideas of puberty and motherhood.  Read More

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SUNDANCE ’22: Love and Lust Challenges High School Girls in Thoughtful ‘GIRL PICTURE’

Mimmi (Aamu Milonoff) and Rönkkö (Eleonoora Kauhanen) are Finnish High School students and ride-or-die best friends. In Alli Haapasalo’s Girl Picture, the inseparable duo attend school before working together at the mall where they hawk smoothies with names like “It Takes Two to Mango” or “Just Breathe”. On the clock, they dish about romantic trysts and the upcoming Friday’s party, sometimes to the chagrin of their customers. When Emma (Linnea Leino), their classmate and an obsessive figure skater who dreams of becoming the future European Champion, falls into Mimmi’s orbit, the pair flirt with first love. Meanwhile Rönkkö struggles through a series of unsatisfying romantic entanglements with a revolving door of expectant young men. Read More

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SUNDANCE ’22: The Hefty Cost of Righteousness in ‘GOD’S COUNTRY’

When a red truck is left parked on her property, a public speaking professor inadvertently begins an escalating feud with two townie hunters. Based on the short story “Winter Light” by James Lee Burke, God’s Country is a frosty thriller about bad blood in the Alaskan backcountry where an attempt to be reasonable breaks down into white hot confrontation. Led by a commanding turn from Thandiwe Newton, the debut film from Julian Higgins spotlights the spurned Sandra approaching a breaking point, as her better judgment is overtaken by frustration with a community that doesn’t see her as an equal or want to take her seriously. Read More

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Sundance ’22: ’Til Distance Do Us Part With ‘ALICE’

’Til distance do us part. Not death. These are the vows of the slave – or “domestic” – in Krystin Ver Linden’s Alice. But death may always interfere. And distance – through space and through time – proves to be but an illusion. Alice (Keke Palmer) is a slave. She wants for liberation, daring for escape from the Spanish moss-covered Georgian plantation where she was raised. Freedom, it turns out, is just beyond her front door. All she needs is distance. Read More

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Sundance ’22: ‘CHA CHA REAL SMOOTH’ Channels ‘The Graduate’ for Zoomer Generation

In life, one always has the option of just being nice. With the endearing SXSW Grand Jury Prize winner Shithouse – an overtly sensitive college-campus drama that riffs on the sub-genre of conversation-driven romance films like Before Midnight –  and now with Cha Cha Real Smooth, writer/director/star Cooper Raif has proven this to be his modus operadi. Raif’s second feature is an unironically nice film about a recent college grad who falls for the attractive – and engaged – mom of a middle schooler with autism. The kind-hearted temperament of Raif’s films are disarmingly genuine, if skirting the line with being almost – to put it in middle school terms – lame. But for those who can vibe on Raif’s decidedly kind wavelengths, Cha Cha Real Smooth is a feel-good crowdpleaser – with enough complications to keep things interesting. Read More