Among the sections I most look forward to each year at the Tribeca Film Festival are the comedy shorts. This year the lineup, titled collectively under “LOL” were presented online in lieu of the postponed festival. Here are my thoughts on this year’s program:

Personal Favorite: I Can Change!

Jim Jenkins’s plays with time travel creatively and with perfect deployment of brief special effects. John Hoogenakker stars as a groom who is gifted the ability to stop time and uses it ostensibly to “better” himself for his bride-to-bride. How? Well he freezes his bride and their friends in time at their wedding chapel while he disappears to the outside world for a blink of an eye and returns a whole new man having spent the time, for example, training to be a doctor. The simplistic way the “time travel” is achieved recalls some of the clever shortcuts something like Bill & Ted used–ie just stating their time travel intent means we immediately get to the consequences, sparing us the time trip. The pacing of the escalation in Hoogenakker’s jumps until the film taps into a big sci-fi finale is really fun.

Second Fave: Query

Jay and Alex spend nine minutes mulling over sexuality–both their own and its larger place in society–as they hang out. It’s nothing Earth shattering, but the natural rapport between the two leads (Justice Smith and Graham Patrick Martin) is really charming and it’s nice to see a pair of young guys just delving into their thoughts on the matter not in some overwrought or homophobic manner, but just chilling, and with enough friendly mocking to keep things funny. And to bolster this strong duo, you also get a brief run in with Call Me By Your Name’s Armie Hammer!

Overlong: John Bronco

Walton Goggins stars as a disgraced cowboy car pitchman John Bronco in a star-studded, but overlong mockumentary. I was excited for this one, generally always glad to see Goggins get to play over the top, but the film gets to the core of what the joke is with John Bronco relatively early and hammers on it over and over instead of advancing the plot. It’s 36 minute runtime could have been halved and achieve the same beats, though I understand why the filmmakers may have been reticent to cut any of the big cameos they got. Kudos for getting the MicroMachines pitchman (John Moschitta Jr) back on screen with his rapid-fire speech patterns though!

Additional program titles included the clever meet cute of One Last Heist–a romcom wrapped in a robbery from Canada, A Piece of Cake starring “Glow’s” Rich Sommer as a desperate dad and Egg which takes viewers from a simple diner and spirals it into a grand adventure.

Note: Though the 2020 Festival was officially postponed due to ongoing pandemic precautions, online screeners and the fest’s press library mean we can still offer coverage of this year’s selections while looking forward to getting back to the fest in the future!
Check out all our TFF 2020 coverage HERE

10-Day Digital Festival, Produced and Organized by Tribeca Enterprises and YouTube, will Feature Programming from Festivals including Berlin International Film Festival, Cannes Film Festival, and Venice Film Festival

Highlights Include Online Premiere of Ricky Powell featuring Natasha Lyonne and LL Cool J, Global Premiere of Third Eye Blind’s Motorcycle Drive By, Talks Including Francis Ford Coppola with Steven Soderbergh, Song Kang-ho with Bong Joon-ho, and Jackie Chan and a DJ set by Questlove

NEW YORK, NY– May 26, 2020 – Tribeca Enterprises and YouTube announced today the programming slate for We Are One: A Global Film Festival, which will feature over 100 films co-curated by 21 prolific festivals, hailing from 35 countries, in addition to talks, VR content and musical performances. The 10-day digital event will celebrate global voices, elevate films that have the power to create change and bring audiences from around the world together to create meaningful connections. Assembling some of the world’s most talented artists, storytellers and curators around a central effort to provide entertainment and offer relief in the form of supporting organizations responding to the COVID-19 pandemic, the festival will run exclusively on YouTube May 29 – June 7 at YouTube.com/WeAreOne.

We Are One: A Global Film Festival will give audiences an opportunity to experience different cultures through an artistic lens – each official selection was handpicked for inclusion to highlight the singularities of each participating festival, while also providing a voice to filmmakers on a global stage. Many of these titles will have significant debuts at the festival, with programming consisting of over 100 films, including 13 world premieres, 31 online premieres, and five international online premieres.

A truly international festival, the programming will represent over 35 countries and will include 23 narrative and eight documentary features, 57 narrative and 15 documentary short films, 15 archived talks along with four festival exclusives and five VR programming pieces. 

Notable film presentations will include Ricky Powell: The Individualist, a documentary about legendary street photographer Powell featuring interviews with Natasha Lyonne and LL Cool J; the online premiere of Eeb Allay Ooo!, a unique satire about professional “monkey repellers” and winner of the Mumbai Film Festival’s Golden Gateway Award; and the world premiere of Iron Hammer, a compelling documentary feature directed by Joan Chen about legendary Chinese Olympic volleyball star Jenny Lang Ping, a true trailblazer who forged connections across the globe. Audiences will have access to over 50 narrative and documentary shorts with exciting entries such as the world premiere of Japanese narrative short Yalta Conference Online [working title], created exclusively for the festival by Director Koji Fukada; the global premiere of the Third Eye Blind documentary short Motorcycle Drive By, as well as the first short pieces made by Dreamworks Animation, Bilby, Marooned and Bird Karma. Episodic programming features the world premiere of Losing Alice, an Israeli female-led neo-noir psychological TV thriller and And She Could Be Next, a two part documentary series on the experiences of women of color running for office, including Stacey Abrams and Rashida Tlaib.

We Are One: A Global Film Festival will host a number of specially-curated talks, both archived from past festivals and brand new discussions, that will offer viewers a chance to revisit important moments in film. Talks will feature Francis Ford Coppola with Steven Soderbergh, Song Kang-ho and Bong Joon-ho, Guillermo del Toro, Jane Campion and Claire Denis. 360 VR selections will feature Emmy-nominated documentary Traveling While Black and Alteration, asci-fi narrative starring Bill Skarsgard, as well as additional titles with notable talent including John Legend, Oprah Winfrey and Lupita Nyong’o. There will also be special musical performances, including a 30 minute DJ set by Questlove.

“We are so excited to share the combined efforts of our festival partners and YouTube with the world this week,” said Tribeca Enterprises and Tribeca Film Festival Co-Founder and CEO Jane Rosenthal. “Together, we were able to curate a compelling slate of programming that succinctly reflects the subtle variations in style that make each festival so special. We Are One: A Global Film Festival will offer audiences an opportunity to not only celebrate the art of film, but the unique qualities that make each story we watch so memorable.”

“One of the beautiful things about films and other visual content is the ability to tell stories and bring people together, no matter where they live or where they’re from. This is a phenomenon we’ve seen at YouTube throughout the years but especially today, as people look to connect and be entertained,” said Robert Kyncl, Chief Business Officer, YouTube. “The programming coordinated by Tribeca Enterprises for We Are One: A Global Film Festival has that magical ability to transport viewers from all around the world to a special moment in time, through the unique lens that our esteemed festival partners bring.”

The global festival will include programming curated by and unique to the identity of all participating festival partners, including: Annecy International Animation Film Festival, Berlin International Film Festival, BFI London Film Festival, Cannes Film Festival, Guadalajara International Film Festival, International Film Festival & Awards Macao (IFFAM), International Film Festival Rotterdam (IFFR), Jerusalem Film Festival, Mumbai Film Festival (MAMI), Karlovy Vary International Film Festival, Locarno Film Festival, Marrakech International Film Festival, New York Film Festival, San Sebastian International Film Festival, Sarajevo Film Festival, Sundance Film Festival, Sydney Film Festival, Tokyo International Film Festival, Toronto International Film Festival, Tribeca Film Festival, and Venice Film Festival.

“Cinema is not only a collective work, but also a shared experience. In these times of social distancing, the spirit of cooperation and a sense of community are needed more than ever before. Therefore, we are happy to participate in the We Are One initiative. We wish all those wonderful artists that their audiences will be able to see their work on the big screen again soon,” said the Berlinale Director Duo Mariette Rissenbeek and Carlo Chatrian.

“We are honored and happy to join We Are One, as a sign of friendship and solidarity for our friends of Tribeca, at the same time offering to the worldwide audience a taste of what we do in Venice in order to support new filmmakers concretely,” added Venice Film Festival Director Alberto Barbera.

True to its mission, We Are One: A Global Film Festival will seek to bring artists, creators and curators together around an international event that celebrates the exquisite art of storytelling. In doing so, it will aim to provide not only solace and entertainment for audiences during a time when it’s needed most, but also opportunities for these individuals to give back through donations to the World Health Organization (WHO), UNICEF, UNHCR, Save the Children, Doctors Without Borders, Leket Israel, GO Foundation and Give2Asia, among others. Audiences will be able to donate to COVID-19 relief efforts through a donate button or link on every film page.

The full festival schedule is available at www.weareoneglobalfestival.com.

About Tribeca Enterprises
Tribeca Enterprises is a multi-platform storytelling company, established in 2003 by Robert De Niro and Jane Rosenthal. Tribeca provides artists with unique platforms to expand the audience for their work and broadens consumer access to experience storytelling, independent film, and media. The company operates a network of entertainment businesses including the Tribeca Film Festival; the Tribeca TV Festival; and its branded entertainment production arm, Tribeca Studios.

About YouTube 
Launched in May 2005, YouTube allows billions of people to discover, watch, and share originally-created videos. YouTube provides a forum for people to connect, inform, and inspire others across the globe and acts as a distribution platform for original content creators and advertisers large and small. YouTube is a Google company.

About We Are One
The global festival will include programming curated by and unique to the identity of all participating festival partners, including: Annecy International Animation Film Festival, Berlin International Film Festival, BFI London Film Festival, Cannes Film Festival, Guadalajara International Film Festival, International Film Festival & Awards Macao (IFFAM), International Film Festival Rotterdam, Jerusalem Film Festival, Mumbai Film Festival (MAMI), Karlovy Vary International Film Festival, Locarno Film Festival, Marrakech International Film Festival, New York Film Festival, San Sebastián International Film Festival, Sarajevo Film Festival, Sundance Film Festival, Sydney Film Festival, Tokyo International Film Festival, Toronto International Film Festival, Tribeca Film Festival, and Venice Film Festival.

All programming will be screened globally on YouTube at no cost. Audiences will be able to follow along via scheduling listed on official We Are One channels with a full festival schedule at www.weareoneglobalfestival.com.

D.J. MacHale is a writer, director, executive producer and creator of several popular television series, including Nickelodeon’s “Are You Afraid of the Dark?”.  As an author, his ten-volume book series:  Pendragon:  Journal of an Adventure Through Time and Space became a New York Times #1 bestseller.

Other notable television writing credits include the ABC Afterschool Specials, the pilot for the long-running PBS/CBS series Ghostwriter; and the HBO series Encyclopedia Brown, Boy Detective for which he received a CableAce nomination for writing.

Media Mikes had a chance to chat with D.J. about “Are You Afraid of the Dark?”, “Ghostwriter” and “Pendragon” via Zoom and the video is posted below! Please enjoy and leave comments below of your favorite episodes of “Are You Afraid of the Dark?”.

DIrected by: Leigh Whannell
Starring:  Elisabeth Moss, Oliver Jackson-Cohen
Distributed by: Universal Home Video
Running time: 124 minutes

• Film: 4 out of 5 stars
• A/V: 5 out of 5 stars
• Extras: 3 out of 5 stars

There’s a great joke I first heard in the eighth grade that deals with a mishap involving Superman, Wonder Woman and the Invisible Man.  I can’t relate it hear but believe me, the punchline is killer.  So is the latest incarnation of the Invisible Man.

We open on a couple in bed.  As Adrian (Jackson-Cohen) sleeps, Cecilia (Moss) gets up, gathers some things and makes her way quietly out of the state of the art house.  Doing her best to avoid cameras and not set off alarms, she makes her way to the road, where a ride is waiting.  But she will soon find out that you can’t run away from some things, no matter how hard you try.

Genuinely terrifying, with a tour-de-force performance by Ms. Moss, “The Invisible Man” starts off slowly and clumsy.  20-minutes in I resigned myself to the fact that I was going to see a rehash of “Sleeping with the Enemy,” only with a Patrick Bergin that I couldn’t see.  But just as that thought came into my head, writer/director Whannell flipped the switch, taking the film into directions I never would have imagined.

There have been many attempts at filming H.G. Wells’ story of a man with the power of invisibility, from the 1933 Universal Horror Classic “The Invisible Man” starring Claude Rains to the 2000 Kevin Bacon-starrer “Hollow Man.”  Heck, even Kurt Russell and Chevy Chase have taken comedic shots at the story.  But here, the main theme is terror, especially to an audience who is on the edge of their seats, intently staring at the screen and looking for the slightest hint the bad guy is there.

Moss is a revelation here.  Best known for her television and streaming work (“Mad Men,” “The Handmaids Tale”) and a strong supporting turn in last year’s Jordan Peele horror masterpiece, “Us,” she has the unenviable job of basically interacting with a character that the audience never sees.  Whether arguing, pleading or physically fighting with our villain, it’s just her on the screen, yet you feel her terror, especially when she is violently struggling with an entity that she (nor the audience) can see.  Mr. Whannell, no stranger to horror thanks to his involvement in the “Saw” and “Insidious” film series, keeps the pace moving (after the first half-hour) and uses his camera as an almost additional character.  The musical score, by Benjamin Wallfisch (“IT,” “Bladerunner: 2049), helps set the mood as well.  The result is the most terrifying film since the aforementioned “Us.”  If you’re a fan of horror, you definitely need this one in your collection.

THE TRIP TO GREECE
Directed By: Michael Winterbottom
Starring: Rob Brydon, Steve Coogan
Runtime: 103 mins.
IFC Films

Through no fault of its own, The Trip to Greece is arriving on VOD today with some extra baggage. Seeing as this release comes at a time when the world doesn’t know how and when we might resume the kind of care free international tourism that stars Steve Coogan and Rob Brydon enjoy, it’s hard to judge how this film might hit you. Is armchair tourism at this juncture escapism or masochism? At this point in the series, given this is the fourth time around with this specific formula, that might be the only factor in your decision making. As with their first three trips–starting in England the duo then hit Italy and Spain–the vistas are gorgeous, the food looks delicious and the impressions are plentiful. What sets this one apart, fittingly for ancient Greece, is the injection of some tragedy within the film’s “plot” separate from the context of its release. The result of this turn is a film that is more an admirable finale than the hilarious joyrides that its predecessors were.

The setup is slim, as always, with the comedians ostensibly working on some article while retracing the trail covered in The Odyssey from modern day Turkey to Ithaca. Ten years of Odyssey condensed into six days of jet setting. The structure sets their agenda but then Brydon and Coogan’s conversations go off the rails as needed. This time around, Coogan has recently received dramatic accolades for his portrayal of Stan Laurel in Stan & Ollie and a lot of their comedic tension comes from Coogan trying to emphasize his newly minted dramatic chops while Brydon firmly still categorizes his buddy as a comedian. If there were an Olympics for negging, these two would surely medal. The guys are hilarious at oneupmanship whether it’s picking up on a Mick Jagger impression and doing their own take or attempting to turn the the mundanity of a restaurant check into a game show round. In these sequences this series always hits its stride and credit must go to director Michael Winterbottom and his editor Marc Ricardson for often wringing another laugh out of a moment by just cutting on the right beat.

The film does do that shift for the dramatic though by adding in ominous black and white dream sequences rooted in Greek myth for Coogan and introducing a family health crisis as well. I haven’t been able to suss out if that part was based on something in Coogan’s actual life or entirely fabricated for the film but if the latter, it seems an odd choice. At one point they also take a detour to a refugee camp after coming across a former colleague of Coogan’s who’s based there. While it is, as I said above, admirable that this series of extreme-first-world tourism actually takes a moment to observe the realities of a host country, it comes off more as momentary lip service rather than genuine reflection. Eventually the back home problem for Coogan split the comedic duo apart for the remainder of the film much to its detriment. Where the pair end up does have the air of finality, which this installment supposedly is, so I understand the choice. Overall I enjoyed Brydon and Coogan’s competitive company as I always have, just wish that this finale could have focused more on the series’ strengths as it headed off into the sunset.

Note: The Trip To Greece was due to make its North American premiere as part of the 2020 Tribeca Film Festival’s “Spotlight Narrative” slate. Though the 2020 Festival was officially postponed due to ongoing pandemic precautions, online screeners and the fest’s press library mean we can still offer coverage of this year’s selections while looking forward to getting back to the fest in the future!

Note: Inheritance was due to make its world premiere as part of the 2020 Tribeca Film Festival’s “Spotlight Narrative” slate. Though the 2020 Festival was officially postponed due to ongoing pandemic precautions, online screeners and the fest’s press library mean we can still offer coverage of this year’s selections while looking forward to getting back to the fest in the future!

INHERITANCE
Starring: Lily Collins, Simon Pegg, Chace Crawford, Connie Nielson, Patrick Warburton
Directed by: Vaughn Stein
Runtime: 111 mins.
Vertical Entertainment
Not Rated

Early on in Inheritance, the will of deceased banker Archer Monroe (Patrick Warburton) is read out to his district attorney daughter Lauren (Lily Collins) and her congressman brother William (Chace Crawford). While the campaigning son takes a massive twenty million dollars, his sister “only” gets one million. If you think that’s the main source of strife in this family then oh boy, strap in because that difference barely scratches the surface of Lauren’s problems. Director Vaughn Stein’s new thriller releasing on VOD this week after having been a 2020 Tribeca Film Festival selection, takes a hard turn into its potential-horror setup but doesn’t fully embrace it with leads who can’t sell it.

The monetary discrepancy between Lauren and her brother quickly gives way to Lauren receiving her actual inheritance in the form of a mysterious key and a video from her late father urging her to keep the truth buried. Not to be too cynical but it’s pretty expected that a wealthy family like these Monroes–populated with bankers, lawyers and politicians–is going to have its share of skeletons in its closet. Stein’s film does this cliché one better by Archer leaving his daughter a full grown man chained up in a bunker. Thanks, dad. The bunker man is named Morgan (Simon Pegg) and seems to know everything about Lauren who desperately wants to know the whys and hows of Morgan’s disgusting situation. More than that, Lauren must face a crisis of conscious whether to heed her father’s will, especially in the middle of her brother’s re-election or release the bedraggled, pitiable Morgan with his trove of family secrets.

Simon Pegg has long been one of my favorite actors, whether in leading the “Cornetto trilogy” or popping up in larger fare like Star Trek or even better the Mission: Impossible series, but saddled in this film with the heavy wig and grime of Morgan’s imprisonment and, worse, a ropey American accent, and he is utterly wasted. The main tension in Inheritance should come from whether Lauren can muster enough pity for Morgan to release him or Pegg can be sufficiently menacing in his blackmail of the Monroes to achieve his ends. But in their contained scenes, the dynamic never coalesces into real tension. Where you’re expecting someone to actually strike, they just keep talking in circles. And I can’t underscore enough how badly Pegg’s US accent hobbles how threatening his character could have been. There are later parts in the film where I imagine Pegg was really having fun with it, but too much of the runtime for his character is leaden stuff. Collins, 31, for her part as a DA in Manhattan is much too young to hold such a role and comes off as someone playing dress up. It was hard to take either of them seriously in these parts.

For a movie where the crux of the problem is a man chained up in a basement, Inheritance is just overall way too bland. Outside of Pegg and Collins, the Monroe family and their posse come off as stock soap opera characters. Chace Crawford, so good on “The Boys,” is as ridiculous as a hot-shot congressman as Collins is as the DA. Ultimately their rich people problems–and secrets–aren’t as shocking as the film wants them to be.

Inheritance is available on DirectTV and releases on VOD on May 22nd

If you passed Robert Bronzi on the street you would definitely do a double take thinking that you have just passed the late actor Charles Bronson. Bronzi has taken Hollywood by storm recently and has starred in films like “Death Kiss”, Once Upon a Time in Deadwood” and most recently the horror film “Cry Havoc”. Media Mikes had a chance to chat with the Bronson doppelganger to discuss his films and likeness to Charles Bronson.

Mike Gencarelli: How does it feel to be called “The Hungarian Charles Bronson”?

Robert Bronzi: In my home town people know me as Robert or Bronzi because that is my stage name. Also, when I’m traveling in the country a lot of people want to take a photo with me, they congratulate me and wish me luck. I have to say it’s a very good feeling.

MG: When did you first get confronted about your likeness to Charles Bronson?

RB: As young man, pretty much  my whole life. So I cut my hair and moustache like Bronson. Many years ago in Hungary I worked as a horse breeder and horse trainer. At the horse breeding center we had a lot of   visitors every day, people told me “hey boy ! you know you look like Charles Bronson? ” I worked with my very good friend Peter, he would always say that I looked like him and he began  to call me Bronzi. So he gave me my nick name . After that everyone called me Bronzi and it became my artist name.

MG: Give us some background on your life before you started making movies in Hollywood?

RB: I’m an actor, musician and stuntman. I have done a lot of different and interesting things in my life. I worked in Hungary as a horse breeder and horse trainer. I performed at western shows in Hungary and Spain in different pieces. I’m an accordionist, I played music in bars, at festivals, weddings and private parties.

MG: Tell us what was it like filming in Western Leone, near Almeria, Spain, which was the site of much of the filming of the famous Sergio Leone/Charles Bronson western ONCE UPON A TIME IN THE WEST?

RB: Well, I really enjoyed filming in Almeria as I worked there for quite a few years in the western village of TEXAS HOLLYWOOD TABERNAS as a stunt performer. There I met some of my acquaintances, my old colleagues, and a few of them are also featured in the film, and my acting partners are also wonderful and talented people. Every time I go to Almeria I feel like if I am going home. I really like that place and Spain too.

MG: How was it going from a revenge western to a horror movie like CRY HAVOC?

RB: My first western style movie was shot some years ago, also with Rene Perez . The name of the film was From Hell To The Wild West .This is a western movie with horror elements. CRY HAVOC is a horror and action movie without western elements. For me that was a new challenge, a new role what I tried to do with my best ability as an actor.

MG: You have worked with director Rene Perez on four films now; tell us about how this collaboration started?

RB: Rene Perez saw my photo on the Saloon wall in Spain in the western village where I worked as a stunt performer. He thought it was a photo of Charles Bronson years  ago hand asked the owner about the photo. When Rene found out it wasn’t Bronson, it was me, he told the owner, “I want to meet this guy”.

MG: I read you train in judo and Muay Thai; tell us about how you keep in shape?

RB: I work hard to keep my body in shape. In Hungary I have some good friends that help me get ready for the movies. They teach me martial arts such as judo and Thai boxing, and three times a week I visit the gym.

MG: What do you do when you are not acting?

RB: I have got some preferred hobbies. For example: Riding, archery, fishing, playing on my accordion and walking in the forest. I would also like to mention that I ‘m a member of a traditional preservation team in Hungary. When I have time I go with them to attend the traditional festivals where I use my sword, my replica firearms and of course my bow in the live show. Also I have different costumes from the very old times.

MG: What films do you have planned upcoming after CRY HAVOC?

RB: Currently I’m working on a few new projects. I can’t say much but in the near future you will see a lot of Bronzi action films .

Giant Pictures has acquired the U.S. rights to the sci-fi/thriller VOLITION. The film will be released in theaters, on Apple TV, Prime Video and other Digital Platforms on July 10, 2020. 

VOLITION is the feature directorial debut for Tony Dean Smith (Rakka), who co-wrote the script with his brother and producing partner Ryan W. Smith (Next Gen).  The film stars Adrian Glynn McMorran (The Revenant), Magda Apanowicz (You), John Cassini (The Possession), Frank Cassini (Watchmen), Aleks Paunovic (War for the Planet of the Apes), and Bill Marchant (Godzilla).  It was produced in association with Paly Productions and Smith Brothers Film Company.

“A great debut for the Smith Brothers, VOLITION is sure to deliver thrills and a mind-bending experience to sci-fans everywhere,” said Courtney Cox, Manager of Content Acquisitions & Marketing at Giant Pictures.  “We are thrilled to be bringing it to digital platforms.”

VOLITION is a time-bending cerebral science-fiction thriller where a man afflicted with clairvoyance tries to change his fate when a series of events leads to a vision of his own imminent murder. Awarded as best feature at the Philip K. Dick Film Festival, among a slew of other awards and critical acclaim, VOLITION is a tightly-wound puzzle of a ride.  

The deal was negotiated by Courtney Cox, Manager of Content Acquisitions & Marketing from Giant Pictures, and Smith Brothers Film Company and Paly Productions on behalf of the filmmakers.

ABOUT GIANT PICTURES:

Giant Pictures is a boutique digital distributor based in NYC and Los Angeles, which is dedicated to elevating the digital experience. We work directly with filmmakers and rights owners to distribute movies and TV shows to VOD & OTT platforms in North America and worldwide. Giant is a division of Giant Interactive, an award-winning digital media and technology services company. Giant is an iTunes Preferred aggregator and encoding house. Recent movie and documentary releases include: ‘Love, Antosha’ (Dir. Garret Price, Sundance 2019), ‘Matangi/Maya/M.I.A.’ (Dir. Steve Loveridge, Sundance 2018), ‘In Reality’ (Dir. Ann Lupo, LAFF 2018, Austin FF 2018). Visit us at: www.giant.pictures

ABOUT PALY PRODUCTIONS:

Paly Productions, Inc. is a U.S.-based investment fund, focused on high-quality artistic projects for the world market.

ABOUT SMITH BROTHERS FILM COMPANY

Smith Brothers Film Company is the creative partnership of brothers Tony Dean Smith & Ryan W. Smith.  As an independent film company, it produces high-quality, character- and story-driven film and television content for the global market.

Available in Theaters and On Digital Platforms on July 10, 2020

Who knew that we needed a remake of the 1983 Nicolas Cage starred cult classic “Valley Girl”, let alone a musical remake of it…but very glad we did. This long delayed film which was originally scheduled to be released in 2018 finally gets a release date available in select Drive-Ins and on Digital on May 8, 2020. Packed with 80’s nostalgia, great songs and a solid cast, this film definitely did not disappoint.

Official Premise: Julie (Jessica Rothe) is the ultimate ’80s Valley Girl. A creative free spirit; Julie’s time is spent with her best friends shopping at the Galleria mall and making plans for senior prom. That is, until she falls hard for Randy (Joshua Whitehouse), a Sunset Strip punk rocker, who challenges everything the Valley and Julie stand for. Despite push-back from friends and family, Julie must break out of the safety of her world to follow her heart and discover what it really means to be a Valley Girl.  

Jessica Rothe, known best for the “Happy Death Day” horror franchise, stars in this musical remake. She does have musical experience after co-starring in “La La Land” and definitely can sing. Also co-starring singer/actress Chloe Bennett (“Marvel’s Agent of S.H.I.E.L.D.”) and even Alicia Silverstone (“Clueless”) makes an appearance in a “Princess Bride” story-telling role. Wrapping up the cast, Judy Greer (“Jurassic World”) and Rob Huebel (“Children’s Hospital”) play Julie’s parents.

The songs in the film include Queen “Under Pressure”, a-ha “Take on Me”, The Go-Go’s “We Got The Beat” and Cyndi Lauper “Girls Just Want to Have Fun” just to name a few. They are backed by fun all-out dance sequences with choreography by none other than Mandy Moore (“This is Us”, “Tangled”). The music is so fun, fresh and gets you re-living the 80’s.

Starring: Sonya Walger, Otmara Marrero and Sydney Sweeney
Directed by: Lara Gallagher
Rated: NR
Running Time: 90 minutes
Oscilloscope

Very rarely am I tempted to turn off a movie, but unable to because I’m curious as to what is happening and what will happen. “Clementine” opens on Karen (Marrero) getting a good morning wake-up call from her lover named D (Walger). The bliss is incredibly short-lived as the film smash cuts to the aftermath of a bad break-up, which D initiated. A heartbroken Karen then heads to D’s lakeside house, breaks in, and temporarily sets up shop.

The film dug its hooks into me from the very beginning and I couldn’t let go, as much as I wanted to. That’s because at times the film is very meandering, the dialogue is often mumbled and I honestly am not invested in Karen. But just as soon as I pull out one of the film’s hooks, the movie introduces Lana (Sweeney), a peculiar, sweet, potential seductress that talks with Karen. But unlike Karen, she’s not necessarily confident in her own sexual identity, seemingly turned off and turned on by the prospect of a steamy lakeside fling or relationship.

Every time I inched closer to turning the movie off, another curveball would come at me and pretty soon, I was determined to see what was going to happen between Karen and Lana, even if I didn’t enjoy the outcome. So once the credits rolled, I didn’t feel like I got a satisfying payoff, but some part of me felt something positive. It’s an emotion I’ve grappled with for a few days now because I’m still unsure as to what I’m supposed to take away from the movie. I can conclude to some extent that “Clementine” is a deeply personal LGBTQ movie with elements of #MeToo in it. I think. 

The movie isn’t very direct. It’s not a mainstream film like “Love, Simon,” even though that movie and “Clementine” are similar because of their coming-of-age theme and relationship dynamics. “Clementine” is just a lot more subdued and I’m not sure if some of the lapses in storytelling are intentional or just amateurish. I believe they’re intentional because a lot of other pieces of this film are expertly done. The soundtrack is ripe with tension, the cinematography and settings are absolutely gorgeous and the acting (when I can hear it) is magnificent. It’s just hard for me to make a recommendation because I don’t think I’m qualified to.

Yes I’m a film critic, but I also understand that some movies speak to certain demographics and they’re not meant for mass consumption. I can assume things, but I also don’t want to say that that’s what “Clementine” is aiming for because I don’t have a spot in which to claim knowledge. I also don’t want to spoil the movie. I guess what I’m trying to say is, I enjoyed this movie that I found boring. Which ultimately is a contradiction on the surface level.

I can’t make a recommendation for “Clementine,” but I do know certain people who will enjoy this more than me. People who’ve been in a vicious emotional cycle, been in a manipulative relationship and those of the LGBTQ community will understand this movie better than I. I can relate on a generic level, but this film is a bit too esoteric for me to sink my teeth into. Maybe over time I will have a better grasp of what “Clementine” means, but for right now, I’m content with simply stating that “Clementine” exists and if anything in this review peaked your interest, by all means seek it out.

SOUTH MOUNTAIN
Starring: Talia Balsam, Scott Cohen, Andrus Nichols
Directed by: Hilary Brougher
Runtime: 85 mins.
Breaking Glass Pictures

Behind the stillness of a home in the rural Catskills is a wealth of roiling emotion beautifully realized in writer-director Hilary Brougher’s South Mountain. The feature, which debuts on DVD and VOD today stars Talia Balsam who gives an achingly vulnerable central performance.

On a summer evening, Lila (Balsam) is having a cookout with her family and friends as she preps for her daughters to leave her with an empty nest. And if there’s a subtle tension between Lila and her husband, Edgar (Scott Cohen), well that may be because Edgar is sneaking off within this very household to video call a mistress actively giving birth to his child under the guise of a “work call.” Yikes.

What’s remarkable about Brougher’s film is the situation has all the potential to wade into overwrought melodrama but it never does. Instead, Balsam plays Lila with a fragility that occasionally tips over into flashes of rage but remains thoroughly grounded. Cohen too, whose philandering intro really gives him an uphill battle with the viewers, manages to wrangle sympathy as Edgar in the sensitivity he brings to the more fraught scenes with Balsam. Their dynamic of him knowing it is over versus her not quite ready to let go is compelling.

The lovely performances are all given solid support from Brougher’s production and sound design which really evoke both the encroaching summer and Lila’s isolation. The lush greenery and rustic house are their own character which composer Herdis Stefansdottir subtly accents with a sparse musical score that knows when to take a backseat to the chorus of birds, insects and rumbling clouds. Ultimately, Brougher’s film achieves a beautiful balance between the permanence of Lila’s place in the mountain and the ever shifting circumstances of her life and most intimate relationships.

THE OTHER LAMB
Starring: Raffey Cassidy, Michiel Huisman
Directed by: Malgorzata Szumowska
Rated: Unrated
Running Time: 1 hr 37 mins
IFC Films 

Officially, it is listed as a “drama/horror” film. However, “The Other Lamb,” currently streaming on-demand, is neither dramatic nor horrific. While it does have an interesting concept involving a mysterious cult leader and his all-female flock, “The Other Lamb” misfires on nearly every single level imaginable. In a remote section of forest dwells a small commune of women, ranging in approximate age from eight to thirty-somethings, who are held together by a man only referred to as the Shepherd (Michiel Huisman, “The Age of Adaline”). While doing his best to resemble the Caucasian version of Jesus Christ, the Shepherd exudes an inexplicable magnetism that his multiple wives are captivated by. 

There is a noticeable “Handmaids Tale” look to it all with the stark contrast of red and blue uniforms the Shepherd’s wives and daughters are forced wear against the often bleak, natural landscape around them. Unfortunately, “The Other Lamb” does not provide any background for the female characters other than the hint that they were once all “broken” women. Only his daughter, Selah (Raffey Cassidy, “The Killing of a Sacred Deer”) and a wife, Sarah (Denise Gough, “’71”) who has become disillusioned with the Shepherd, are given anything resembling depth. It is akin to looking at a coloring book without any colors filled in.

 We also never glean much about the Shepherd either, whether it be his past or how he can wield such control over the women. As a result, there is a psychological dynamic that is missing. All we see is him standing around looking stoic and telling the women how if they behave, they will have his grace, which they scream hysterically over like he was Elvis Presley.

 The director, Malgorzata Szumowska (“Mug”) inserts symbolic imagery throughout the film to explain what is going on in Selah’s head as she begins to spiral down into her own rabbit hole. Some of the images are intended as an allusion to Selah becoming a woman, yet, it often comes across as a boring, gimmicky acid trip. 

There is a bit of a mystery as to what happens to baby boys born in the Shepherd’s flock, something that is eventually answered in a memorable way as they trek to find a new home in the wilderness. It is also a turning point for Selah as she becomes increasingly revolted by the Shepherd whose actions turn more heinous, including incest. 

Overall, “The Other Lamb” is a rambling mess that wanders aimlessly across the screen until it reaches a conclusion that is meant to be unsettling but is unsatisfying.

“Infinity Train” is a new show created by Owen Dennis (former writer and storyboard artist from “Regular Show”) which aired on Cartoon Network. The show was split into two books, the first book will take you on a journey will all 10 episodes from the first season. Also included with Book One is an hour of epic bonus features including commentaries, documentaries, animatics, and more! I love the animation style from this show, it is simple yet extremely complex. The colors are so vibrant. I can’t wait to see what season two will bring as each episode literally draws you in deeper and deeper into the mystery of the show.

Official Premise: Join Tulip on a mind-bending journey aboard the mysterious Infinity Train, alongside her companions Atticus, the canine king of Corginia, and One-One, a robot with dueling personalities. With puzzles and perils awaiting them in every car and the relentless Steward on their trail, will Tulip ever find a way off the train and return home?

The voice cast is also very impressive Ashley Johnson aka Chrissy Seaver in “Growing Pains” and tons of other voice over projects including “Teen Titans” and the video game “The Last of Us”. Also included is Ernie Hudson aka Winston Zeddemore in the Ghostbusters film series. Reocurring characters include Kate Mulgrew aka Captain Kathryn Janeway on Star Trek: Voyager, Lena Headey aka Cersei Lannister on Game of Thrones and Dee Bradley Baker from Phineas and Ferb, SpongeBob SquarePants and 100’s of other shows.

Infinity Train: Book One is available to own on Digital. Digital purchase allows consumers to instantly stream and download all episodes to watch anywhere and anytime on their favorite devices. Digital movies and TV shows are available from various digital retailers including Amazon Video, iTunes, Google Play, Vudu and others.

SPECIAL FEATURES

• Animatics
• Infinity Train Gallery
• Commentary
• The Mix of the Final Episode
• The Train Documentaries

10 EPISODES

1. The Grid Car
2. The Beach Car
3. The Corgi Car
4. The Crystal Car
5. The Cat’s Car
6. The Unfinished Car
7. The Chrome Car
8. The Ball Pit Car
9. The Past Car
10. The Engine

On September 22, 1994 the first episode of Friends aired on NBC, and since then the series, characters and its infamous taglines have become a global phenomenon. After 236 episodes and its ten season run on-air, the beloved series went into syndication episodes on a number of networks, and in 2015 Netflix acquired the exclusive rights to stream the original broadcast episodes; eventually becoming one of most watched shows on the platform, until the close of 2019!

So where have your “Friends” been, now that its 2020? According to Ross and Rachel, “We Were On A BREAK!” from streaming – but have no fear, you can still get all of your favorite original episodes commercial free on Digital, Blu-ray and DVD today! All individual seasons and compilation sets of Friends are available to purchase here: www.OwnFriendsTV.com.  All seasons are also available to own at all major digital retailers; including iTunes, VUDU, Amazon Prime, and Google. DVD and Blu-ray sets can be purchased from all major retailers – including Amazon, Target and Walmart.

If it hasn’t been your day, your week, your month…or even your year…we are here for you with an amazing offer for you or your readers! In honor of the iconic series, and our #OwnFriendsTV campaign – we wanted to offer you or a lucky reader of choice a Blu-ray set of Friends: The Complete Series. This collector’s set is for the ultimate fan, and features over 110 hours of content – including all 236 original broadcast episodes, plus 20 hours of special features. All 10 seasons have been completely remastered in stunning 1080p high definition video with a 16×9 widescreen format and 5.1 audio.  The Friends:  The Complete Series Blu-ray box set is presented in highly collectible packaging consisting of a lenticular box cover, a hard-cover book that holds 21 Blu-ray discs, plus a 32-page episode guide!

The only way to get Friends: The Complete Series commercial free is on Digital, Blu-ray and DVD today! All individual seasons and compilation sets of Friends are available to purchase here: www.OwnFriendsTV.com.  All seasons are also available to own at all major digital retailers; including iTunes, VUDU, Amazon Prime, and Google. DVD and Blu-ray sets can be purchased from all major retailers – including Amazon, Target and Walmart.

You can never get enough of Friends! Own them today – own them forever!

Impractical Jokers: The Movie
Starring: James “Murr” Murray, Brian “Q” Quinn, Joe Gatto, and Sal Vulvano
Directed by: Chris Henchy
Running time: 92 mins.
Rating: PG-13
truTV

I have been fan of Impractical Joker since Season 1 but this movie falls flat and doesn’t really bring the laughs that I expected. If you aren’t familiar with Impractical Jokers, the TV show has been airing for years and stars real-life friends, James “Murr” Murray, Brian “Q” Quinn, Joe Gatto, and Sal Vulvano, that make each other play pranks with hidden camera challenges and whoever “loses” has to take a punishment. It’s a very funny TV series but the film fails to capture any of the shows magic.

With the fan base of the show as big as it is I was hoping for something on a much bigger scale. Instead the film feels like they threw a cheap narrative together mixed with the show’s practical jokes and punishments. It just doesn’t fit together. I also expected to see some bigger cameos from other celebrities, who we got instead are Paula Abdul, Jaden Smith, and Joey Fatone (for about 3 seconds at the end). I would have loved to seen the films narrative mixed in better with the hidden camera challenges.

Official Premise: Impractical Jokers: The Movie stars James “Murr” Murray, Brian “Q” Quinn, Joe Gatto, and Sal Vulvano, also known as the comedy troupe The Tenderloins, playing themselves in a fictional story of a humiliating high school mishap from the early nineties. Featuring appearances from Paula Abdul, Jaden Smith, and Joey Fatone, the movie combines the fictional narrative with real life footage of over-the-top punishments and callbacks to classic moments from the series. Once the Impractical Jokers hit the road, they compete in hidden camera challenges for the chance to turn back the clock and find redemption.

If you are interested to check out this film, it is available now on all VOD sites including VUDU.