Tag: DRAMA

BLACK EYED SUSAN (2024)

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Written & Directed By: Scooter McCrae

Cinematography: Anton Zion

Cast: Damian Maffei, Yvonne Emilie Thalker, Scott Fowler, Marc Romeo, Kate Kiddo, Vito Trigo

Desperate for work, Derek accepts a job replacing his recently-deceased friend at a tech startup. Continuing to develop the company’s innovative project means working intimately with Susan, a bleeding-edge BDSM sex doll meant to receive and appreciate punishment as an integral part of her evolving AI. Derek will soon test the limits of his own desires and explore the nature of man and woman, pleasure and pain, and life and death in a morally uncertain future world.

This is a tough film to talk about without spoilers

This is one of those films that almost dares you to describe it, because the moment you do, you risk ruining the very thing it’s built on: discomfort, surprise, and a slow, deliberate seduction of the viewer.

At first, it plays like something provocative for the sake of it teasing eroticism, brushing up against disgust, testing where your limits lie. But that tension feels intentional. The film isn’t just pushing buttons; it’s studying which ones you’re willing to let it press. Much like its title character, it lures you in with a kind of controlled intimacy, only to shift the ground beneath you when you think you understand the rules.

There’s a sneaky, almost anthology like quality to it, something that echoes the spirit of TALES FROM THE CRYPT mixed with THE TWILIGHT ZONE and throw in some BLACK MIRROR, but stripped of comfort and pushed further into psychological unease. It’s less interested in outright shock than in escalation. Every time it feels like the film might settle, it pivots. Every time you adjust, it sharpens.

Visually, it leans into its independent roots. There’s a rawness to the presentation that feels almost out of time reminiscent of early 2000s genre films, but the themes are distinctly modern, even uncomfortably so. The sci-fi elements are there, though used sparingly. When they do arrive, they land with purpose rather than spectacle.

What really anchors it, though, is the performance at its center. The actor behind Black Eyed Susan: Yvonne Emilie Thalker commits fully, there’s no visible safety net, no distance from the material. It’s the kind of performance that doesn’t just carry the film, it exposes it.

And make no mistake, this is not an easy watch. It’s meant to wear you down a little, to test your endurance as much as your curiosity. The film hits hard, pulls back just enough, then hits harder. Not always through violence, but through the creeping sense that it’s always one step ahead of your comfort.

The less you know going in, the better. Just understand that it’s a film built on provocation. One that invites conversation, maybe even confrontation, long after it ends.

Whether it’s worth the experience, that’s part of the question it leaves behind.

Grade: B 

RUNNING TIME (1997)

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Directed By: Josh Becker

Written By: Josh Becker and Peter Choi

Story By: Peter Choi

Cinematography: Kurt Rauf 

Editor: Raymond Berthheaud and Kaye Davis

Cast: Bruce Campbell, Jeremy Roberts, Anita Barone, Stan Davis, Art LaFluer, Dana Craig, Gordon Jennison, Curtis Taylor, Bridget Hoffman 

Carl is released from jail after serving a 5-year term and immediately sets about executing his next heist. The plan is relatively simple but time is critical. However, he doesn’t factor in bad luck or the incompetence of his accomplices.

It is taking me a while to finally watch this film in full, which is surprising considering it’s barely over an hour though over the years I’ve always seem to catch it in the middle or way late into. It’s running time.

So it’s refreshing to finally watch the film from beginning to end as it is an experiment where the film takes place in real time and made to look like it’s one endless continuous take, and shot.

While giving the film kind of a bee movie plot and in black and white that makes it feel time looks like it could take place at any time this film could’ve been a minor Marvel if not for a few things that take away from the film.

The early homophobic language which feels more character based and acceptable in the time period in which this film is made and set don’t know if it’s was any original script or if it was an ab Lib it’s understandable, but also unneeded and comes out of nowhere.

Early in the film, you pretty much know where it’s gonna go as Bruce Campbell playing the lead in the man who’s getting out of prison with no nonsense plan already with his screwup of a best friend who seemed to cut corners here and there if you can tell a success is not in their future.

Not to mention how many times they keep bringing up their past that even after a while it feels like overkill as we get it we get the depths of their friendship and their relationship

Then even with a kind of positive ending, it feels unbelievable you want it for the characters but again it just feels so out of left field where you wondered did they not have enough money for a grand finale or was it always meant to be that simple?

If not for these negatives, this film could’ve been seen as an underrated classic it certainly not worthy, especially for what it pulls off and on such a low budget by director writer Josh Becker, who was part of Sam Raimi’s production team, which is obviously how we got Bruce Campbell involved, most likely.

Josh Becker actually sold a script to a studio for around $67,000. That still has yet to be made but he used that money to make this film as Mr. Becker is quite a director whose films are more cult titles such as THOU SHALT NOT KILL… EXCEPT and LUNATICS: A LOVE STORY. That showcase quite an imagination and creativity. I am in particular a fan of his films, though they are a little harder to find over the years.

Even if at time it feels like watching an off broadway play in a black box theater by a new playwrite. It somehow works and is admirable. 

The film was shot in 10 days, in order. So not in one continuous take. Bruce Campbell has said that his performance in this film and BUBBA HO-TEP are the one’s he is most proud of 

Though I also have to give the film credit for giving Jeremy Roberts, a well-known character actor, a decent part where he gets to play full supporting instead of just a henchman or a villain or just a general bad guy who doesn’t have much lines even though he’s a screwup you kind of like his character in this film.

Anita Barone in a supporting role as a hooker, and maybe love interest who has a past with the main character is certainly vivacious and eye catching, but she does make her mark in her limited screen time to make her an interesting character that you wish had more screen time in a chance to see how she got to where she was, but she certainly engaging.

The cinematography here is top notch. You can tell the film is low budget so it’s not the prettiest, but it is well filmed and again at least while watching it you can see imagination and ideas at work as well as a bit of a throwback to maybe the films that might have inspired.

This is definitely a film. I think most film fans and independent filmmakers should see they don’t necessarily need to see but when they feel like they wanna watch something original and maybe a bit from the recent pass this is a foundation definitely check out. 

It’s a close, but no cigar, at least you’re gonna be smoking

Grade: B-

IS GOD IS (2026)

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Written & Directed By: Aleshea Harris 

Cinematography: Alexander Dynan 

Editor: Jay Rabinowitz

Cast: Kara Young, Mallori Johnson, Vivica A. Fox, Erika Alexander, Sterling K. Brown, Mykelti Williamson, Janelle Monae, Josiah Cross 

Two sisters embark on an epic quest for revenge; confronting a charged family history that will push them to extraordinary lengths.

This is a revenge tale that we rarely ever see. Where it’s two African American women seeking revenge against all their oppressors all those who have wronged them on their path to their ultimate enemy.

This is truly an African American film as there are no Caucasian or other race characters. So the film stays within the community and culture.

The film exposes monsters even those who are victims can be. As they were made that way eventually.

The film has stylistic flourishes once in awhile that enchant and remind you of what the film could have been. As most of the time before the film gets lost or ahead of itself. It reminds you of the reality the characters are in.  One of them expert fighters or killers. Just determined to do whatever it takes. 

Which is why the actions scenes might not be awesome inspiring like one of it’s obvious influences KILL BILL, but it manages to work by it’s own rules in it’s own worlds 

As mixed in within is a kind of road trip film where in their journey they meet quite a few supporting characters to help them find their father. Each one is so full of life and played by a scene stealing actor. (Erika Alexander, Vivica A. Fox, Mykelti Williamson) That you wish there was more of them in the film. Though you realize they are just big pieces in this puzzle. 

Kara Young steals the film as one of the most strong willed characters of the film. She practically walks away with it as one of the leads. You want to see more of her or for there to be sequels just to see her character. She is the more vicious and angry compared to her sister played by Mallori Johnson who is more scarred, practical and forgiving. 

The film isn’t quite like the trailers made it look like an updated blaxplotiation film full of action with some spiritualism and southern charm. Though appreciate it for being it’s own creation that has more depth then expected. As the film isn’t paced like an action film or thriller and takes it’s time letting us get to know our protagonists. Not to surprised this started out as a play. Whose writer makes their directorial debut here Aleshea Harris 

It’s an original and securely worth seeing and being exposed to this cinematic worlds 

The final act of the film is the most cruel, yet also the most exciting. That feels a little biblical. Even once we meet the ultimate villain played by Sterling K. Brown. He nor the film disappoints.

Though it’s definitely worth seeing

Grade: B 

URCHIN (2025)

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Written & Directed By: Harris Dickinson 

Cinematography: Josee Deshaies

Editor: Rafael Torres Calderon

Cast: Frank Dillane, Harris Dickinson, Megan Northam, Karyna Khymchuk, Shonagh Marie, Amr Waked, Diane Axford, Okezie Morro

A young addict living on the streets of London is given a shot at redemption, but his road to recovery soon curdles into a strange odyssey from which he may never escape.

At first, I didn’t know what to expect from this film, but it proves to be a harrowing character study. Of someone going through their hardships and who, despite even their mistakes and bad judgments you still root for. No matter how bad it or they get.

The film is constantly surprising and filled with plenty of joy and hope, but also just as much dread that hangs over it at times.

Which has an audience member might be what you appreciate the most about the film as it gives a realistic presentation that isn’t necessarily uplifting, but isn’t doom and gloom either.

As the film shows homelessness, but it also shows rehabilitation for better or worse seemingly it is what you make of it, but there are plenty of challenges to it, and it depends on the individual and the strength of their character. As there is always temptation in the film. Also choose the show the many ways in which it can go wrong.

The only thing that might be a bit annoying about the film is the visual metaphor of nature and Woodlands the wonders of it that seems to represent the main character’s mental state at times or used to show the passage of time

This film is the directorial debut of Harris Dickinson and it’s quite impressive as he doesn’t make it a showcase for a new role for himself to show range. He does eappear in the film, but in a smaller supporting role. He wrote, directed it and the great. Frank Dillane is amazing in the film, but it also chooses to show the public about the hardships of a certain lifestyle that many and it can’t help. 

had I seen it last year that’s definitely would’ve made my top 20

Grade: A 

BIRDEATER (2023)

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Written & Directed By: Jack Clark & Jim Weir 

Cinematography: Roger Stonehouse

Editor: Ben Anderson 

Cast: Shabana Azeez, Mackenzie Fearnley, Ben Hunter, Jack Bannister, Clementine Anderson, Alfie Gledhill, Harley Wilson, Caroline McQuade 

A bride-to-be is invited to her fiancé’s bachelor party, but when uncomfortable details of their relationship are exposed, the night takes a feral turn.

This Australian film is a hard film to explain or exactly describe that as it builds itself a horror film, though it’s not quite that though throughout there are plenty of shocks and a lot of uncomfortable scenes.

This is a film best to go into blind and discover for yourself. So hopefully you watch it before reading the review. As I will try not to spoil it.

Though the film focuses more on friendships and relationships and the traumas, they can cause or being in one while trying to get over trauma

The pain and torture we cause the ones we care about in love as well as our ourselves for the people we love.

As this filmmore explores the horrors of relationship post traumatic stress, and the realization that the longer you spend with each other, there is a depth, but it also leads you to start drifting away from one another, and the fear that might cause. 

this is a film more for the audience to discover as this is definitely an Avant Garde presentation  and everyone will have a different reaction to the film or get something out of it differently than another person as it is that audacious. It tries to answer most of the questions but leaves some more ambiguous.

It also tries while dealing with these issues and subjects to be a character study for each member of the ensemble. As we wonder what fuels them and at times they’re blatant cruelty towards one another.

One will admit there are many times when I was confused as to what exactly was going on. As the film sets up some mysteries that are explained in others that aren’t quite though leads you on the path to some kind of answer. It’s that type of film.

Well, just as when we think we have figured it out or we have gotten all the answers we get another point of view on a character or a relationship that totally changes our initial opinions.

Ben Hunter who plays Dylan comes across the strongest here, but it might be because his character is also written as the biggest in the loudest, but you can tell there’s a vulnerability underneath all his bravado.

By the end, the film definitely gives the audience something to think about which it also offers throughout the film while also throwing them off base and leaving them to wander and think throughout

Grade: B- 

L’ARGENT (1983)

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Written & Directed By: Robert Bresson

Based on the story “FAUX BILLET” By: Leo Tolstoy

Cinematography: Pasqualino Desantis and Emmanuel Machuel

Editor: Jean-Francois Naudon 

Cast: Christian Patey, Vincent Risterucci, Caroline Lang, Sylvie Vanden Elsen, Michael Briguet, Marc Ernest Fourneau, Jean-Frederic Ducasse 

A counterfeit bill that starts off as a schoolboy prank leads to incarceration and violence.

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Now will admit at first I thought this was going to be a kind of anthology like TWENTY BUCKS (1993) where a counterfeit bill is passed amongst many different people and we see the different experiences an adventures that come with this bill and passing it along if you haven’t seen that film I highly recommend it 

Here I would say that the first third of that of this film plays like that were a fraudulent counterfeit bill is past amongst many other others, though here it seems that after passing through a few people and us seeing their various adventures with the bill it seems to the fate of one particular character throughout 

As because of this bill in a few others that come into his possession that he has no idea our counterfeit it starts a down slide for him of losing his job going to jail his wife, leaving him all because of things that he can’t control and fats of chance

Where he does run into characters who also have experience with this bill, though he doesn’t know that they have as we see some characters further adventures because of the bill, not necessarily with the bill so they all seem to circle back, and it seems throughout while most of the characters are kind of crooked, not surely evil just morally challenged him as the most honest out of them seems to be punished the most

Most of the actors throughout this film are not professionally trained actors, which helps give the film a realism. What also makes the film so memorable is not that so much. It’s a moral film, but it’s a third act which just seems cruel and tragic. 

That goes for realism and reminds us that the world isn’t fair nor is it a fairytale where there are happy endings for everyone.

This is why me of those films that might seem rough but managed convey so much with so little. The map of the human soul and how society can be so cruel to some. When individuals try to cut corners or push the blame onto someone else rather then admit to their own mistakes.

This film is a French film, classic for a reason. It is definitely hard hitting, especially when you don’t expect it to. It has assertive charm and polished to it, but it also stays melancholy and matter fact throughout. Most of the cast are non-professional actors which helps it all feel more real and was Director Robert Bresson’s style. This was also his last film and truly feels like a loss by the end and only adds to the sting of the ending. 

it also seems to move briskly, smooth and gets straight to the point. Though it still leaves you devastated. 

Grade: A-

ELLA MCCAY (2025)

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Written & Directed By: James L. Brooks

Cinematography: Robert Elswit

Editor: Tracy Wadmore-Smith 

Cast: Ella Mackey, Woody Harrelson, Jamie Lee Curtis, Albert Brooks, Julie Kavner, Ayo Edebiri, Kumail Nanijani, Jack Lowden, Spike Fearn, Rebecca Hall, 

An idealistic young woman juggles her family and work life in a comedy about the people you love and how to survive them.

I really wanted to enjoy this film. As I have grown up watching James L. Brooks films or productions, not to mention Emma Mackey in one of her first big screen leading roles after making such an impact on the series SEX EDUCATION

but this was a film that was hard to take.

It might be as it is so idealistic. It would have worked in the 1950’s or before, but in today’s political climate. It comes across as more of a dream. A high concept movie that might have come along or been passable in the 1980’s but feels grating and off rhythm in today’s cinema. 

While it’s nice to watch a film that is idealistic and not so cynical in today’s climate. It can still be interesting, which unfortunately this film isn’t. It lacks an ingredient even though it has plenty of energy .  

The film feels overwritten. As one of the characters says in the movie “You don’t have to articulate everything” one wishes the movie had taken its own advice.  

As the film plays like more of a theatrical piece for the stage, especially with the characters saying their feelings out loud to one another. Theme there are so many plot threads that luckily revolve around the main character. So that they lead into one another. 

It ends up feeling way too scripted an never natural. So that the characters have all these neurosis. Though they never Come across as natural or believable. They are slaves to the directions of the screenplay

One can understand Writer/Director Brooks is doing what he does best and aiming for an old school classic dramatic comedy that is more grounded and adult. Like the One’s he might have grown up with. Which is similar to his last big screen film HOW DO YOU KNOW. Though as that film was star studded but a bomb. This is truly worse than that film. As it is questionable what he saw in this story or film.

The film feels endless and boring after awhile. Where you get to the point where you don’t care what happens, you just want the film to end. 

There Also seems to be some scenes missing as it sets up a romance for two characters. Which is obvious, but we never actually see them pursue it or watch it grow to show their chemistry. It’s implied and then in the end even them being a couple is presented in the same way. Was it controversial as it would be interracial? It’s just strange especially in a film that fees the need to over explain Everything else. That it gets modest there or leaves the audience to figure it out. As maybe the filmmaker feels he has been there way too many times before.

It plays like a romantic comedy but then tries to present itself as a comedic character study?

It’s ultimately like the film isn’t sure in which direction it should be or even wants to go. 

Though luckily it fits into James L. Brooks filmography pedigree. Just not up to the quality of his previous works. 

Grade: D

THE LUCKIEST MAN IN AMERICA (2024)

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Directed By: Samir Oliveros 

Written By: Samir Oliveros and Maggie Briggs 

Story By: Amanda Freedman 

Cinematography: Pablo Lozano 

Editor: Sebastian Hernandez 

Cast: Paul Walter Hauser, Walton Goggins, Maise Williams, David Straitharn, Shamier Anderson, Johnny Knoxville, Brian Geraghty, Shaunte Renne Wilson, Damien Young, Patti Harrison, Haley Bennett, Genesis Rodriguez 

May 1984. An unemployed ice cream truck driver steps onto the game show Press Your Luck harboring a secret: the key to endless money. But his winning streak is threatened when the bewildered executives uncover his real motivations.

I know most of the story just from articles and watching the short documentary on the case and the character on Netflix. BIG BUCKS: THE PRESS YOUR LUCK SCANDAL. The only truth it seems to keep is the memorizing of the patterns of the game board to win.

The story that this film tells has been in development hell since 2000. When bill murray was attached to the film, before aging out and dropping interest in it. 

The film of course didn’t have enough time nor the budget to tell the whole story in multiple events and days that this actually happened during hand on different shows so instead condenses it mostly all into one day and the film taking place in one studio do more to probably the production constraints

The film has a very impressive cast of actors all likable they hear they seem thrown into this production that means well, but ultimately comes across like a TV movie on the subject only with foul language allowed in.

As the film keeps going along at first you wonder is this supposed to be more of a character piece or what is his motivation truly and what it all about while the film shows the slippery politics have not only show business but also production as we see the reaction to his winning from the exact to the behind the scenes production staff to the other contestants, the host and partly the audience, and finally where the film really gets emotional at its heart is in the final 10 to 15 minutes of the film

It’s great to see Paul Walter Hauser have another leading man role as a kind of lovable misfit out there who has tons of get rich, quick schemes, and this one finally might actually pay off that he believes will help solve everything, but only seems to help rip it apart even more.

You only wish the actors had a better film or were given a better script overall or at least a slightly bigger production to be in

It’s a satisfying story, especially if you’ve never heard it before and will induce you to do your own research more into the story but other than that, it’s one of these stories that you feel should’ve been done better or been at least illustrated a little bit better. it’s none of the actor‘s fault who all rise in the occasion. It’s just that by the end it doesn’t quite feel as satisfying as it should, though by the end, it does hit an emotional level. That is unexpected.

Grade: C+ 

SWEET DREAMS (2024)

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Written & Directed By: Lije Sarki

Story By: Eric Gross

Cinematography: Sing Howe Yam

Editor: Ken O’Keefe

Cast: Johnny Knoxville, Mohammed Amer, Gata, Bobby Lee, Brian Van Holt, Theo Von, Jay Mohr, Kate Upton, Beth Grant, Jon Park, Anderson Paak 

The film Follows Morris, who must coach a misfit softball team of his fellow housemates during his mandatory stay at Sweet Dreams sober living in order to get his life back on track.

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This is one of those films where you love the message and the characters more than the film or the filmmaking 

There isn’t much to this film. It’s pretty straightforward. It’s a film about a man was reach the end of his rope who has gone to rehab many times before and this is truly his last chance. The only difference is that the character is played by Johnny Knoxville (which truth be told is what attracted me to watching this film as I do have a soft spot for him as an actor and otherwise) 

Meanwhile, this film is a comedy drama. This is so far the most dramatic. I have seen him in a film and he is believable.

Though most of the rest of the cast that seem to be his roommates at this halfway house, rehab are mostly played by stand-up comedians in podcasts who have very few dramatic moments and are more there to lean into the quirks of their characters that makes them lovable losers.

It feels like a film that was made with a bunch of friends on weekends and trying to tackle a serious subject with humor and more of a homespun philosophy. As the cast seems more made up by someone signing onto the film and slowly recruiting comedians and their friends to appear in the film.While filming at what looks to be the same house, they filmed the television show 6 FEET UNDER in. 

The film is predictable yet. It’s fun. He tries to take a hard look at addiction and really, the aftermath the high, the lows the pains of recovery, especially freshly recovered. Also shows you that it’s a small world. We’re all trying to get over something. There is no ultimate answer . All you can do is just like in life take a day by day. See you where it takes you and deal with it as it comes.

The only difference here with this film is that as an activity they all focus on a softball tournament that will give them prize money that will of course help save the house so while the story rings of convenience, it is an interesting character study as far as the lead goes It has a 3 act structure is kind of a crowd pleaser and more focuses on the lead.

It’s watchable and it’s fun and affecting while you’re watching it. It’s not great filmmaking but it’s table filmmaking and it’s a cute little film. No, it’s not anything you haven’t seen before. It’s worth a watch, though. I can’t really say there’s anything special about it. 

Grade: C

100 YEN LOVE (2014)

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Directed By: Masaharu Take

Written By: Shin Adachi

Cinematography: Hiromitsu Nishimura

Editor: Chieko Suzaki

Cast: Sakura Ando, Hirofumi Arai, Yozaburo Ito, Miyoko Inagawa, Saori, Yuki Okita, Kaito Yoshimura, Shohei Uno 

32-year-old Ichiko lives at home with her parents, passing the days in self-indulgent grunginess. Ichiko’s recently divorced younger sister Fumiko has moved back home with her young son. One day, after a particularly heated argument, Ichiko charges out of the house for good. With few employment options to support herself, Ichiko works the night shift at a 100 yen shop (dollar store). On her way home each day she passes a boxing gym where she watches Yuji Kano silently practice, developing a crush on him. The pair starts seeing each other and things change for Ichiko… At last, the bell rings and longtime loser Ichiko’s rematch with life begins!

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This is a coming-of-age tale that comes later in life for our lead character. Who simply has not only dropped out of college, but seems to have dropped out of life as all she seems to do is smoke play video games eat badly and take up space rather than actually do anything that helps anyone else or might even help herself.

Once she is thrown out, she has to grow up and little by little she does at first it seems like it’s gonna go easily, but along the way it gets tougher and things never quite work out the way you expect

The film also shows how hard it is to be a woman in society at times. as even a scene of sexual assault in the aftermath isn’t sensationalized it’s dealt with matter fact, but more low-key than anything. This is also a movie about motivation. We watch this characters and it can be infectious for the audience also as a kind of feel good film that is a bit more realistic, and therefore identify.

Throughout the film, she’s disrespected by her coworkers, even by her boyfriend, but as she gains more confidence in herself and learns to take care of herself, she also gains more respect .

The film Isn’t sentimental.

Not going to lie. This is a slow burn of a movie so if you’re looking for something more fast paced and more of a conventional comedy you’ve come to the wrong place. As this film more goes along with kind of a dead pan vibe whereas at times. It’s more comedic and other times it plays more dramatic and even at times it’s even over the top. No it does manage to keep surprising you for the better and more realistic. Though it is awkward throughout. 

That what keeps you going is to watch the main characters journey and her adventures. 

As you wanna see her conqueror and duo, especially as we have witnessed so many loads, she has had to go through just to re-bottom and finally start fighting for herself.

as this is essentially more of a hangout movie and that moves a little more often than those films do and deals with more locations.

This Japanese movie even ended up being remade in China to a much bigger box office. I haven’t seen the remake but just from the trailer. It looks a little more conventional and motivational than this film, which comes across more as an independent comedy drama.

Grade: B-