Shrimp Shakshuka. “Shakshuka” is a Tunisian term for “mixture” and it is one of our favourite brunch items! Fancy, ethnic name aside this dish is incredibly delicious, comforting and real easy to make. Soft-poached eggs in crushed tomatoes, peppers and onions. Topped with some Goat Cheese. And some bread to sop it all up! While this Israeli favourite doesn’t contain shrimp normally, we’re doing it!

Ingredients:
1 28 oz can of crushed San Marzano Tomatoes
12 large shrimp
4-6 eggs
3 Roma Tomatoes, chopped
1 sweet orange pepper, seeded and diced
1/2 red onion, diced
1/4 cup Goat Cheese, crumbled
5 cloves garlic, minced
3 tbsps Cilantro, minced
1 tsp Cumin
1 tsp Paprika
2 Bay Leaves
1/2 tsp Sea Salt
1/2 tsp Black Pepper
1/4 tsp Cayenne Pepper

Olive Oil
Brioche Bread or any bread of choice

Instructions:

1. In large cast iron skillet, sautée garlic and onions in olive oil on medium-high heat.
2. Add chopped tomatoes and peppers, cool for about 3 minutes medium-high heat or until vegetables start to wilt.
3. Add crushed tomatoes, salt, pepper, cumin, bay leaves, cayenne pepper and paprika.
4. Cover and simmer 20 minutes, stirring occasionally.
5. Preheat oven at 375°F.
6. Remove skillet from heat and add cracked eggs, spacing apart evenly.
7. Add-in shrimp. Only add eggs and shrimp right before you are placing skillet in oven.
8. Bake for about 10 minutes or till egg whites are no longer transparent. Yolk should still be soft and runny.
9. Using oven mitts, remove skillet from oven. Sprinkle top with cilantro and goat cheese. Serve Shakshuka with bread and tossed salad.

Gallery:

Review by Amanda Gilmore for Mr. Will Wong

Best friends Val (Jerrod Carmichael) and Kevin (Christopher Abbott) are having a tough go of it. Val is feeling out of control in his life being stuck at a job he hates and the fear of becoming a father. Kevin tried to kill himself three days ago and now sits in a psychiatric hospital attempting to convince the doctors he’s fine. When Val visits Kevin he decides to break him out. This leads to the two make a pact to end their lives by days end.

This darkly comedic debut feature from Director Jerrod Carmichael is about mental illness, a failed mental health system, the right to bear arms and a love letter to friendship. There are tonal shifts that happen within the script, written by Ari Katcher and Ryan Welch, but they work. These shifts happen while examining the past traumas of Kevin and Val and pivoting to their binding friendship. There is a brutal honesty that happens between best friends that’s often humorous. Additionally, there’s the ability to trust and confide your darkest truths in a best friend that’s impossible with anyone else. Katcher and Welch incorporate the reality of this relationship within the script and Carmichael controls the shifts on screen.

Not only does Carmichael steers this complex, layered film he also gives a strong performance. Of the two, Val is more level-headed and analytical. His decision to end his life comes from a place of recent depression and loss of control. Carmichael shows this in calculated doses, slowly exposing one layer of his character at a time. On the other hand, Kevin has had horrific trauma happen to him since childhood. A doctor who was supposed to help him, assaulted him. Whenever he has tried to get help, it hasn’t worked. This has made him feel that suicide is the only option. Abbott does a tremendous job of embodying the anguish Kevin carries and the weight of his choice. Further, he has impressive control of switching between a state of calm and unleashed anger.

Throughout, we are left wondering if the two will actually follow through with their pact. Without giving anything away, the ending leaves room for the suicide debate to be discussed. The same goes for the right to bear arms. Throughout this day-in-the-life story, Kevin references the negatives and positives of guns, which they intend to use for their pact. At moments within the script, we see the argument for guns when in a controlled setting, as in the scene at the shooting range. But we also witness the heartbreaking reality of what happens when a gun is in the hands of someone in an uncontrolled setting, this is shown multiple times throughout.

Carmichael makes an assured feature debut that tackles many controversial topics. Overall, On The Count of Three is a poignant look at mental health and the beautiful bond of friendship. It has genuine chemistry between Carmichael and Abbott. And Tiffany Haddish makes an impact with only one scene.

On The Count of Three screens at Sundance:

Live Premiere: January 29 at 9 PM (EST)

On-Demand (available for 24 hours): January 31 at 10 AM (EST)

Review by Amanda Gilmore for Mr. Will Wong

While flying his drone, 13-year-old John (Charlie Shotwell) discovers an unfinished bunker in the woods near his family’s isolated home. Without any provocation, he drugs his parents (Michael C. Hall and Jennifer Ehle) and older sister (Taissa Farmiga) and places their unconscious bodies into the bunker. While they are held captive, John heads to their home free to do what he wants.

Screenwriter Nicolás Giacobone excellently adapts his own Short Story. This haunting Psychological Thriller and coming-of-age fable is spellbinding. Giacobone examines the adolescent desire for responsibility and freedom that comes with adulthood. He shows this through John’s frightening act of holding his family hostage; while intelligently showing the immaturity of a teenage boy through impulsive spending, ignoring household tasks and testing his life through a drowning game with his friend. These often-dark scenes show there is a bigger disconnect between childhood and adulthood than responsibility.

The Script is seeping in ambiguity within scenes and characters, therefore, constantly leaving the story open for interpretation. One of Variety‘s Top Ten Directors to Watch, Pascual Sisto, makes his directorial debut with John and the Hole. Sisto heightens this ambiguity with his quiet, haunting atmosphere and grounds this unsettling tale. He creates a mood with the disorienting and sinister use of sound, designed by Nicolas Becker, that cuts right through you. Additionally, Sisto’s use of shallow-focus composition places John at the forefront of each image. This creates the necessary air of authority about this creepy adolescent.

Both Giacobone’s script and Sisto’s direction play with the concept of time. This is integral to the depravity of the act John is committing against his family. We wonder how much time has past since his family has been captive, and how long it’s been since he’s visited them. It’s in these visits, where we see him deliver food, water and clothes, where John’s compassion, or lack thereof, is examined. There are ample layers to John’s blank exterior which helps keep us intrigued and shocked throughout.

Shotwell, who we know from Captain Fantastic, is surrounded by powerhouse talent: Hall, Ehle and Farmiga. Each of them gives stunning performances that expose their privilege, compassion and fear. Yet, it’s Shotwell who is the star of John and the Hole. He gives a chilling, deep performance that has to be seen to be believed. He controls each emotion and power switch within the script and understands and visualizes John’s fixation on adulthood. He is one to watch.

Overall, John and the Hole is an eerie meditation on a child wanting to be an adult and the lengths he’ll go to experience it. It has an outstanding, breakout performance from Shotwell along with powerful performances from Hall, Ehle and Farmiga. It’s a film that will stay with viewers and be discussed for years to come.

John and the Hole screens at Sundance:

Live Premiere: January 29 at 6 PM (EST)

On-Demand (available for 24 hours): January 31 at 10 AM (EST)

Review by Amanda Gilmore for Mr. Will Wong

On the day an asteroid is set to obliterate the world, Liza (Zoe Lister-Jones) decides to head to a friend’s end of the world party. But before she gets there, she intends to right her regrets. With her metaphysical younger self (Cailee Spaeny) beside her, the two walk around the deserted LA Hills. Along the way, they run into strangers and friends seeing how they’re spending their last living day.

How It Ends has a funny premise and ample amounts of comedian cameos, such as Fred Armisen, Charlie Day, Nick Kroll and more. One of the greatest scenes involves Lister-Zones visiting her ‘psychic’ friend, played by Olivia Wilde. The two talk over one another in their attempt to make amends. Lister-Jones and Wilde have perfect comedic timing together and are delight to watch. However, this dramedy steers more often into drama territory rather than comedy. In these cameos there are laughs to be had. But when we are back in the central storyline there are dramatic topics discussed. 

Particularly the main lesson which is learning to love yourself. This beautiful message is touchingly brought to the forefront with the sweet performances from Lister-Jones and Spaeny. The two have amazing chemistry that perfectly resembles the intimate, frustrating and funny understanding we have with ourselves. It’s Spaeny who’s the true scene-stealer as the younger, free-spirited Liza who encourages her adult-version to love and care for herself.

How It Ends is at its best while walking around the streets of LA and randomly running into strangers and friends. We witness how everyone’s idea of a perfect last day is different. Some want to do drugs, others clean and garden, some seek retribution and others perform their craft. The one thing never experimented with is the complete fear of knowing today is the day they’re going to die. Each character is in a state of calm because they knew and planned for this. But it might’ve been funny to see someone losing their minds.

Overall, How It Ends is loaded with comedic cameos and has charming performances from its co-leads.

How It Ends screens at Sundance:

Live Premiere: January 29 at 6 PM (EST)

On-Demand (available for 24 hours): January 31 at 10 AM (EST)

Review by Amanda Gilmore for Mr. Will Wong

Military brat turned Veterinarian Lauren (Lake Bell) helps Joan (Grace Zabriskie) take care of hidden mythical creatures called Cryptids at Joan’s Cryptozoo. The two dream of one day opening the zoo to create an understanding of these creatures. Lauren’s made it her mission to search for the Baku, a dream-eating Cryptid, that saved her from her tormented dreams as a child. When they find out the US Government might have captured the Baku with the intent to use her as a weapon against the counter-culture, Lauren sets out on a quest to save her.

Cryptozoo is a psychedelic animated journey that’s never been experienced before. The Film’s made for adult audiences, which is what makes the hand-drawn animation, by animation director Jane Samborski, more impactful. It creates nostalgia for an era of animation cinema and television that seems to be kept in the past. Additionally, it adds to the trippy vibe of the Film.

Director-Writer Dash Shaw has something to say about idealism, utopian dreams, and the effects of holding creatures captive within a zoo. Idealistic Lauren and Joan aim for the Cryptozoo to be a utopia for these magical beasts while being a place the public can learn they shouldn’t fear them. This thinking mimics the zoos we see that enclose animals today. If we draw parallels between the creatures and our animals, we see the inhumanity in zoos. Further, during the climactic scene, we understand that utopia shouldn’t be sought because it can rarely be achieved.

The voice work from its Ensemble Cast is great. Bell expresses Lauren grappling with the reality that these mystical creatures don’t want to be in cages. In the beginning, we get a trippy scene involving Amber and Matthew (Louisa Krause and Michael Cera). Although Cera is only in that one scene his comedic voice talents are memorable. While Krause commands an empathy along with anger in her voice.

Cryptozoo is a rare idiosyncratic film that’s a marvel to watch. At times it’s dark and funny while always being magical. And it comes with a reminder to stop fearing the things we don’t know or understand.

Cryptozoo screens at Sundance:

Live Premiere: January 29 at 3 PM (EST)

On-Demand (available for 24 hours): January 31 at 10 AM (EST)

Review by Amanda Gilmore for Mr. Will Wong

During their hunt for food, dimwitted brothers Issachar and Zabulon (Maxi Delmelle and Harpo Guit) lose their mother’s beloved dog, January Jack. To punish her sons, she kicks them out of their family apartment until they bring her dog back. While on the quest to retrieve January Jack, the brothers get into bizarre situations while running around Brussels.

Mother Schmuckers has unique humour, crazy situations, and outlandish characters that only work in this type of genre film. Filmmaking and Brother Duo Lenny and Harpo Guit have borrowed from many filmmakers who’ve come before them, however, they’ve created a style that is distinctly their own. This includes their use of innovative shots that immerse us into this wild day-in-the-life narrative.

The Film is loaded with comedy that has stooge-like characters become involved in gross situations. Some of these situations are funny but at times become ridiculous. Such as the opening scene, which immediately places the audience in the Film’s atmosphere. As it progresses, each scene becomes more chaotic and bizarre until the final frame. Some of the scenes are humorous, however, there are scenes containing animal and sexual abuse that are not funny but uncomfortable and at times disgusting. This might be the Guit Brothers’ intention, and if so, they have succeeded.

Overall, Mother Schmuckers is a film that is not for everyone but might become a cult hit. It also has two committed performances from Delmelle and Harpo Guit.

Mother Schmuckers screens at Sundance:

Live Premiere: January 30 at 12 AM (EST)

On-demand (available for 24 hours): January 31 at 10 AM (EST)

Toronto + Vancouver! We’ve got your chance to win Advance Virtual Screening Passes to see TO ALL THE BOYS: ALWAYS AND FOREVER! The Screening will feature interactive experiences and offer you a chance to unlock exclusive content.

Date: Monday February 8 (Vancouver) & Tuesday February 9th (Toronto)

Time: 8:00pm EST / 5:00pm PST

*Attendees will have 24 hours to watch the film. Note you will not need a Netflix account to participate.

See the Trailer:

To enter to win, click “like” on this Post at MR. WILL ON FACEBOOK. Re-Tweet this Contest Tweet below for an extra chance. You must be following.

Rules and regulations here.

Netflix release TO ALL THE BOYS: ALWAYS AND FOREVER Friday, February 12, 2021.

(Photo/video credit: Netflix)

Review by Amanda Gilmore for Mr. Will Wong

Homeroom follows the 2019-2020 graduating class of Oakland High School, as the Student Board Directors fight for change within their school system.

As the school year begins, these students are fighting against budget cuts and pleading to remove the presence of police officers in their schools. This action would save the school budget of $2.5 million. The students because this is money could be allocated into programs to aid in ending the school to prison pipeline. Although they face many challenges in completing their goals, this Documentary proves the power and resilience of youth. 

We watch as they pivot but continue to fight for their causes when faced with the pandemic. The Student Directors never stop Zoom meetings to hear from their student body. They keep on speaking to the Board of Directors and Mayor of Oakland asking for the removal of the police. Director Peter Nicks goes further, showing the emotional impacts the police killing of George Floyd had on the students. And the effect it had on the School Board’s decision of police within high schools.

Homeroom screens at Sundance:

Live Premiere: January 29 at 12 PM (EST)

On-Demand (available for 24 hours): January 31 at 10 AM (EST)

Review by Amanda Gilmore for Mr. Will Wong

This engrossing Documentary tells the story of an Afghan refugees, known as the pseudonym Amin, journey from Kabul to Copenhagen.

Director Jonas Poher Rasmussen creates filmmaking ingenuity by mixing animation and archive footage. The animation is used, along with pseudonyms, to keep the identity of Amin protected. Additionally, the animation puts audiences into the experience of being an adolescent fleeing multiple countries in search of safety. The archive footage amplifies the risks Amin and his family encountered staying in Kabul and on their multiple passages.

Rasmussen’s personal relationship to Amin aids this Documentary. Amin opens up about his family, his frightening journey, his identity and more. Through one man’s honest and heartbreaking story we learn about the sacrifices refugees make in the search for a safer home. Further, it explores the PTSD refugees experience decades following their harrowing passages. Such as the psychological impact of how one loves and trusts within their relationships.

Flee screens at Sundance:

Live Premiere: January 28 at 10 PM (EST)

On-Demand (available for 24 hours): January 30 at 10 AM (EST)

Written by Clean Bandit, Guest Vocalist iann dior and Bastille’s Dan Smith, a new video has surfaced for today for the track, HIGHER. Grammy-winning Clean Bandit just recently scored their 10th UK Top 10 hit with the Track Tick Tock (ft. Mabel)!

Check out HIGHER and TICK TOCK below:

(Photo/video credit: Warner Music)