Review by Amanda Gilmore

When Violet (Olivia Munn) was a child, she was free and happy. As she grew up, a negative “guiding voice” (Justin Theroux) began changing the way she lived. She now works at a film production company where she deals with a sexist, undermining boss. And spends her days biting her tongue trying to please others, even when that means causing herself pain. But things begin to change when Violet decides to do the opposite of what her “guiding voice” says.

Violet’s negative voice feels like it’s the manifestation of overpowering depression and crippling anxiety. It diminishes her self-esteem so that she becomes a doormat for others, changing to be what they want. And it tells her to submit, convincing her that’s the only way to get through life. Theroux provides powerful voiceover work that creates a convincing guiding voice.

Actress-Writer-Director Justine Bateman – yes, the same one from Family Ties – further visualizes Violet’s inner turmoil through transitions. Fade-outs are traditionally used by fading to black. However, Bateman fades to red. These fades happen when Violet finds herself overwhelmed by the negative voice and those around her. The immense pressure builds and transitions into anger that she buries within her, which is symbolized through the red. 

Although we are hearing the negative voice, we rarely hear Violet’s thoughts. Bateman incorporates Violet’s thoughts through quotes across the frame. Majority of the time these writings aide in exposing things we wouldn’t otherwise know. However, there are moments when these writings feel overused.

This is primarily caused because of Munn’s strong performance. Her talent in this role makes the added visual quotes seem redundant. We don’t need to read what is happening behind Violet’s eyes, because Munn shows us. She shines brightest in one particular scene when Violet confronts her sexist boss.

Violet screens at SXSW Thursday, March 18, 2021 at 5 PM ET.

By Amanda Gilmore

This Feature is a reimagining of the acclaimed play and Henry Lawson’s classic Short Story. The Film takes place in 1893, where Molly Johnson (Leah Purcell) struggles to raise her children while her husband is off droving sheep. When Aboriginal fugitive Yadaka (Rob Collins) lands on her doorstep a bond develops. When word breaks out that Molly’s husband is actually missing, a constable is sent to question Molly as a suspect. But things turn deadly between Molly, Yadaka and the constable which results in a tragic chain of events.

Purcell does double-duty by also directing this feature. Her landscape and close-up shots paint a picture of an unforgiving and harsh bushland setting that parallels those in charge during the period. Molly becomes a symbol for feminism and anti-racism through the plot and Purcell gives an outstanding performance. Although it drags in moments, particularly in the first act, it speeds up in the third — which is when the story delves into Molly’s revenge and the majority of the action takes place.

The Drover’s Wife: The Legend of Molly Johnson screens at SXSW: Thursday, March 18th 3PM ET.

Review by David Baldwin

Every Christmas, the Paranoid Dramatics Amateur Group made-up of Dorset Bus Drivers put on a pantomime of a classic story for charity. On one particular year however, they really think outside the box and instead decide to put on a serious adaptation of the Sci-Fi Horror masterpiece, Alien. They work tirelessly on the sets, costumes and props, and believe they have created something great. Sadly, the show ends up flopping. It does however, end up finding a few adoring fans who may inspire the group to try again in a theatre on London’s West End.

From the start, my major issue with ALIEN ON STAGE is how superficial it feels. The camera acts as the fly on the wall, watching everything play out in various stages of completion. While it is fun seeing the show come together (and even more fun to see it play out in front of a screaming crowd), what we are privy to offers no real sense of depth or deeper understanding to gleam from. We learn precious few details about the eclectic Cast of characters putting on the show, and even less about the fans who inspire their trip to London’s West End. I kept expecting some form of drama or infighting, or even just some real hitch that makes for some form of introspection to take place. None of that happens unfortunately, so we are left with a padded out documentary that makes us wait far too long for what we actually want to see.

That is not to say there is nothing to enjoy here. Much to the contrary, fans of Ridley Scott’s seminal work will have a blast and delight in seeing the project come together in ways you will never expect. The enthusiasm of the Cast bringing the show to life is positively infectious, and imbues the Film with a whimsical tone that never dissipates. This is a hardcore fan documentary that revels in showing the creativity and wonder this group of individuals brought together to make this stage adaptation. It is inspiring stuff to say the least, and it could have made for an even more compelling narrative had the film been further tweaked from its current state. While some of the fake bus in space shots are strange, the way the Film plays with Alien iconography in the transitions is quite lovely and creative to see. But the fact that the Filmmakers were able to secure footage from Scott’s actual film is worth a celebration all on its own.

ALIEN ON STAGE screens Thursday, March 18, 2021 starting at 1 PM.

Review by David Baldwin

Pat Pitsenbarger (legendary character actor Udo Kier) used to be a popular hairdresser in Sandusky, Ohio. Now he lives his remaining years in a nursing home, folding napkins and sneaking a smoke or two when the nurses are not looking. When Pat discovers that one of his former clients has died and that her dying wish was for him to style her hair for the funeral, he escapes the home and sets his sights on rediscovering his roots.

SWAN SONG was one of my most anticipated films going into SXSW, and I was sadly left disappointed after watching it. Writer/Director Todd Stephens has constructed an intensely personal film about a larger than life character (based on a real person), and tells his story through a dream-like haze of memories, grief and regret. His intentions making the film are sincere, but it never feels like he is sure of himself or the story he wants to tell. Instead, he lets the Film meander from scene to scene completely disconnected from each other, bringing in new characters to interact with Pat and add very little to the plot that we cannot already surmise on our own from the things he tells them. Some of the more ghostly characters add a bit of depth to the proceedings, though it never seems clear what Stephens is getting at by adding them into the mix. With the way he stages the Film, perhaps it would have worked better as a Documentary about the real life Pat interspersed with dramatizations? At the very least, it would have made the Film feel more structurally sound.

All of those issues aside, it is still a great delight to see Kier in a rare leading role. He pours his heart and soul into his performance as Pat and has an uncanny knack for ensuring the camera stays focused squarely on him. His character is a little unconventional and a little bit of a caricature of stereotypical gay men. It is borderline offensive in some instances, and so pure and devastating in others. Kier’s weathered facial expressions say so much about Pat that the film around him simply cannot. The Supporting Cast do what they can –Jennifer Coolidge and Ira Hawkins are the two standouts – but no one comes even close to matching the Kier’s strength. His work here is beautiful and it deserved a much better film to house around it.

SWAN SONG screens Thursday, March 18, 2021 starting at 1 PM.

Review by David Baldwin

Adam (Mark Duplass) longs to become fluent in Spanish again. He is apprehensive when he discovers that his husband paid for online Spanish lessons with teacher Cariño (Natalie Morales). Once they get to chatting however, Adam finds a friendship he did not expect – and one that will become even more important as their weekly lessons progress.

LANGUAGE LESSONS is a sweet slice of life tale about two wayward souls connecting over Zoom calls. While some may scoff at the Film taking place entirely over the video chat service and on video messaging taken with an iPhone, it makes what happens to this friendship between two characters all the more poignant and raw. So many of these scenes are uncut, making the extended conversations between Duplass and Morales feel all the more authentic and revealing. There is an honesty here in having each scene so focused on the characters’ faces and expressions that simply cannot be replicated if it were a traditionally made picture with both Actors in the same room. While some moments feel a bit too drawn out, I appreciated how it never felt flashy or overly-elaborate but always managed to feel special.

Duplass is as great as you expect, maybe even better. He has a knack for really honing in on the vulnerability of his character Adam and develops his personality quite beautifully over the course of the 92-minute running time. He shines in every moment, especially in the Film’s most emotional scenes. Morales is enjoyable and more than holds her own against Duplass. She is slightly more enigmatic and does not go nearly as deep as he does, but is still rather wonderful in all of her scenes. LANGUAGE LESSONS is her feature directorial debut and I am very intrigued to see what she does next.

LANGUAGE LESSONS screens at SXSW Wednesday March 17, 2021 starting at 3 PM.

Review by David Baldwin

Kevin Smith was working as a clerk at a convenience store when he released Clerks way back in 1994. Director Malcolm Ingram’s Documentary about the iconic Director takes its title from this life altering moment in Smith’s life, and then presents a chronicle of the director’s work from that Film through to Jay and Silent Bob Reboot and everything that happened in between.

CLERK is a delight for fans of Smith and all things View Askew. Ingram packs in interviews with almost everyone you can think of (Jason Lee is suspiciously missing as is Clerks’ Jeff Anderson) to talk about their relationships with the fan-favourite director. Ingram was even able to include interview clips with the late Stan Lee prior to his death. While some of these moments are self-congratulatory, others are more candid and honest. The treasure trove of behind the scenes footage and stills is impressive to say the least, and it is quite moving to see Smith be reduced to tears multiple times by some questions (specifically in regards to his heart attack back in 2018).

My only issue with CLERK is with its pacing. Ingram covers every single one of Smith’s 13 films, placing a sliding scale of emphasis on each one (not to mention his podcasting work, his pioneering style of fan interactions and talks, his relationship with his family and longtime Producer Scott Mosier, and the heart attack). I can appreciate the scope Ingram places on the project, but it gets to be too much and becomes rather unwieldly all too quickly. And where I was hoping for more depth on certain sections, Ingram ended up cutting to something else entirely. Why not just emphasize the most important achievements and merely reference the others? It would have made for a more concise Film and still left room for those immense waves of nostalgia that course through its veins.

CLERK screens at SXSW Wednesday March 17, 2021 starting at 1 PM.

Jamie Foxx stars in and produces new Netflix Sit-Com, DAD STOP EMBARRASSING ME! See the new Trailer!

Trailer:

Stills:

Netflix release DAD STOP EMBARRASSING ME! Wednesday, April 14, 20201.

(Photo/video credit: Netflix)

Review by David Baldwin

A wealthy family is gathering for a dinner party at their luxurious home in the Welsh mountains. They have made a tremendous amount of money selling-off portions of their land to be stripped for mineral mining, and intend to convince a neighbouring couple to do the same over dinner with their business partner. Matriarch Glenda (Nia Roberts) is a little frazzled preparing for the meal, so she is overjoyed when their hired hostess Cadi (Annes Elwy) arrives to help her with setting up. But something is off about Cadi, and as day becomes night, strange things start happening to the family.

I am still unsettled days after watching THE FEAST and the hairs on my arms are sticking up just thinking about it. The way it methodically ratchets up the tension is a thing of beauty, and the way it unleashes the atrocities it inflicts on its cast members is downright disturbing. My jaw hit the floor more than once, equally shocked and repulsed by some of the imagery on display here. The makeup and gore is astounding and the Film’s allegorical nature burrows down deeper than I ever imagined. Even the appearance of the house itself (which I am almost certain is the same house as Kevin Bacon’s vacation rental in last summer’s You Should Have Left) is terrifying. There is so much going on within THE FEAST and I am afraid I am not doing it justice by chipping away at the surface. For gorehounds and supernatural Horror fans alike, this is a must-see.

The Cast is excellent across the board, each not wasting any moment of the Film’s 92-minute running time. The Film unpacks and deconstructs every single one of them, taking the utmost glee at letting them be totally oblivious to what may or may not be happening to them. The clear standout is Elwy, who is an absolute revelation as Cadi. She has very few lines, but says so much with her silence and curious body language. It does not matter how enigmatic her character is – she makes an indelible impression on every scene that will have you questioning everything you see. Oh, and what she does with that shard of glass? Absolute nightmare fuel.

The only way I would have liked THE FEAST more would be if I were able to see it with a screaming Midnighters crowd. It is the kind of experience Festivals are made for, and it is unfortunate that it will not be experienced that way in-person.

THE FEAST screens at SXSW Wednesday, March 17, 2021 starting at 9 PM.

By Amanda Gilmore

Set in present-day America where witches are real and witchcraft is illegal, Claire (Gideon Adlon) and her family help two young witches avoid law enforcement and cross the border for asylum in Mexico. Writer-Director Elle Callahan has created a fun witch tale with a strong cast of young up-and-coming talent. 

Films about witches have been done time and time again. However, Callahan has given it a fresh take by setting them in the present day. She heightens the stakes for her witch characters by making witchcraft illegal. Therefore, causing the witches to seek refuge, which adds a survival element to her story.

Callahan has also interwoven a teen coming-of-age story into the character of Claire. We watch her journey into self-discovery through her blossoming friendship with Fiona (Abigail Cowen), the older sister witch. It’s through this that we see Claire realize her true herself and learn about her heritage.

Overall, Witch Hunt is an inventive take on witches and Callahan balances the darker aspects of her script with fun moments filled with magic.

Witch Hunt screens at SXSW: Wednesday, March 17 at 9PM ET.

By Amanda Gilmore

This Midnighter tells the story of Marie (Jocelin Donahue) who, after receiving a mysterious letter about her mother’s vandalized grave, travels to a desolate island town and soon becomes trapped in a nightmare. 

Writer-Director Mickey Keating creates a mythical Horror film that delivers on suspense. From the moment Marie gets onto the island there is an eerie atmosphere with the use of his production, lighting and sound design. As the story progresses, the more prominent the unsettling atmosphere becomes. The scares are rooted in this setting but are amplified through the use of lighting and sound. However, the scares don’t always fright. Donahue gives a strong performance as the strong-willed yet unsettled Marie.

Offseason screens at SXSW: Wednesday, March 17 at 9PM ET.