Tag Archives: Brandon Thomas

Nightmares Film Festival

Ride or Die

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Liv’s Last Ride

Screens Friday, October 16 at 10:30 pm at Nightmares Film Festival.

by Brandon Thomas

A secluded cabin in the woods is a benchmark in the horror genre. From The Evil Dead to Cabin Fever and The Cabin in the Woods, few settings offer such a surprisingly rich canvas for horror filmmakers. Liv’s Last Ride might not find itself in the upper echelon of cabin-based fright flicks, but it makes a strong case to be in the conversation.

After renting a cabin to celebrate the upcoming marriage of the titular Liv (Sutter Nolan), a group of friends finds themselves wrestling with old resentments, bargain-basement strippers, and some very unwelcome masked party crashers. As the bodies stack up, so do the questions behind the killers’ motivations. 

Liv’s Last Ride is the kind of film I’d call a “kitchen sink” movie. Namely, there’s something in it for everyone. The acting is top-notch. The cinematography looks like it belongs in a movie from a studio. The characters are interesting and well cast. And maybe most importantly: the movie doesn’t skimp on the kills. Director Thaddeus Armstrong (who also acts in the film!) has crafted a crowd-pleaser that manages to check a lot of boxes while not feeling like it’s trying to check boxes. 

The cast deserves special notice as so much of the film involves them bouncing off one another in a single setting. It’s an especially talky film, but enjoyably so given how much of the humor is character based and comes from their interactions. The black humor in Liv’s Last Ride isn’t necessarily from the violence, but more so from how easily—and without much thought—these characters drag each other down or end up turning on one another. 

Liv’s Last Ride is the kind of fun horror comedy that could easily become a sleepover classic. Even with the darkness at the film’s periphery, that ornery sense of fun stays front and center for the entire running time. 

Nightmares Film Festival

Cutting Up

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Friday the 69th

Screening Thursday, October 15 at 10pm at Nightmares Film Festival.

by Brandon Thomas

With a novel approach to a movie-within-a-movie, Friday the 69th scares up plenty of laughs with this comedic slasher.

A couple of down-on-their-luck adult filmmakers attempt to jump on the profitable slasher bandwagon by using their already established cast and crew. As they work their way through the first table read of the script, the filmmakers slowly realize that they might be in over their heads. 

Mimicry of the 70s & 80s film aesthetic reached a fever pitch after the release of Grindhouse in 2007. Although the film wasn’t a massive success, horror fans and filmmakers alike latched onto the deliberately beat-up look that defined so many exploitation horror flicks. While those original films had this look because of age, poor projection, and limited budgets, many homage films deliberately aimed for it, but they didn’t always hit the mark. Friday the 69th is one of those films that successfully manages to match that vintage aesthetic while also having a personality of its own. As someone who’s watched a lot of those early grindhouse-era films, Friday the 69th has all of the hallmarks: scratches and dirt, missing reels, overlit scenes, and very questionable acting.

Many of the jokes within Friday the 69th require a certain understanding of the horror genre, but the film doesn’t feel the need to constantly go “Get it?! Get it?!” You either get the joke, or you don’t. The jokes come so furiously that you’re liable to miss at least a handful each scene. And they’re good jokes too! Writer/Director Alex Montilla’s knack for infusing humor with his love and knowledge of horror cinema is on full display.

Despite covering a lot of the same well-trodden cinematic ground, Friday the 69th still offers up 91 minutes of solid gags and laughs.

New In Theaters

Solid Choice

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The History of Concrete

by Brandon Thomas

The mundane is probably the last thing that comes to mind when I think of the world of documentaries. Documentaries are meant to be serious business that deals with serious subject matter. Well, that and the slew of celebrity-focused films being released these days. It’s a balance, I guess.

Maybe that’s what makes John Wilson’s (HBO’s How to With John Wilson) The History of Concrete so fresh and appealing. There’s not an ounce of self-seriousness in Wilson’s film, yet by the time the end credits begin to roll, you still feel like you got a peek into what drives him, what he finds beautiful, and what frightens him about our changing world. 

As someone who’d never seen an episode of Wilson’s previous work, the bait-and-switch of the film’s title is a bit of a delightful surprise. Yes, The History of Concrete isn’t really about the history of concrete. Concrete is ever-present in the film’s periphery, but the real meat comes from Wilson’s side quests, if you will. The runners who run the same lap around an NYC block for 52 days, a concrete salesman who moonlights as an actor (or is that the other way around?), and the oldest concrete road in America. These are just a few of the detours Wilson takes, and they are certainly not the strangest. 

It might sound like I’m giving Wilson too much credit for knowing exactly what this film would be about and how he was going to approach it. Fortunately, the film itself doesn’t even do this. From a long prologue where Wilson attends a seminar on writing a Hallmark movie, to various Zoom calls where the filmmaker struggles to even describe the film he wants to make to potential investors, the “fly by the seat of your pants” aspect of the first third of the film is thrilling and ultimately a necessary part of Wilson’s organic approach.

In a world where even documentaries are playing it safe, The History of Concrete is a fantastic cinematic breath of fresh air.

New In Theaters

There’s Gold in Them There Hills

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The Isolate Thief

by Brandon Thomas

To the casual viewer, the classic Western has its tried and true tropes: the dusty landscape, the haggard hero, and maybe the damsel in distress. However, those days are mostly long gone, and the few Westerns that find their way to the screen tend to offer up something a little more left of center. While not fully embracing the neo-Western moniker, The Isolate Thief still delivers a film a little bit more unique than its classical brethren.

Young Ada (MacKenzie Foy, The Conjuring) is the sole occupant of a remote outpost during the Civil War. After stumbling upon a cache of stolen gold, Ada finds herself up against a violent crew of outlaws led by the cunning Fiddler (Sean Bean, National Treasure). As the gang’s patience wears thin, Ada struggles to navigate their growing frustration as well as keep the gold secret. 

The Isolate Thief has the traditional Western shootouts, but the real excitement comes from the tension director John Suits creates. More akin to a thriller at times, Thief uses the threat of violence to greater effect than violence itself. Still, when all hell breaks loose, Suits doesn’t shy away from the carnage inflicted by gunshots, stabbings, and beatings. This approach is especially effective given the film’s chamber piece approach – essentially taking place only at the outpost and the woods directly surrounding it. 

The aforementioned violence is often directed at Ada and the lone female member of the outlaws, Emily (Odeya Rush, Lady Bird), who isn’t there by choice. There’s an interesting – and purposeful – juxtaposition between these two women. Ada is the younger, more naive of the two, and the one willing to try and outwit these vicious men. Emily’s world-weariness straddles the line between cynical and pragmatic – often within the same scene and conversation. Her tragic backstory comes to light, but the true horror of her ordeal is seen only in the character’s eyes.

Bean is at his most sinister as the revolting Fiddler. Most will think of Bean as the redemptive Boromir from The Lord of the Rings or the gone-too-soon Ned Stark on Game of Thrones. Those of us who have been around long enough can remember when Bean cut his teeth on villain roles in Patriot Games and as a foil for 007 in Goldeneye. As Fiddler, Bean injects his natural charm into a character whose only love language is violence. We know what Fiddler is capable of long before Ada does, and it only ratchets up the tension as the film moves towards its brutal climax. 

The Isolate Thief is a thrilling and well-acted entry in the Western genre. While maybe not the next Hateful Eight, it will still satisfy most die-hard fans of this kind of rootin’, shootin’ film.

Outtakes

Shock without the Jock

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Screams from the Tower

by Brandon Thomas

When was the last time a teen comedy made a sizeable impact? Where’s Gen Z’s The Breakfast Club? Their American Pie? Their Superbad? Is Screams from the Tower the next teen classic? Well, no, but it is a sweet, charming entry into the genre.

Best friends Julien (Richie Fusco) and Cary (David Bloom) share a love of radio and a similar dream: to get their own show on the high school radio station. When that dream becomes a reality, the boys bring together friends both new and old and begin to challenge the limits of what two high school seniors can get away with on a high school radio station.

As a more character-focused film, Screams from the Tower isn’t interested in gross-out gags to keep the audience invested. There aren’t any larger-than-life set pieces that will have people rolling in the aisles (or on their living room floors). While writer-director Cory Wexler Grant does lean into a few instances of broader comedy, the majority of the laughs come from character interactions and relationships. 

Despite being sold as a dual lead film, the focus ultimately lands on Fusco’s Julien. At first glance, Julien comes off as a dime-a-dozen smartass slacker. As the film moves along, the layers of Julien’s character are peeled away, we see that this isn’t true at all. Sure, Julien is crass and abrasive, but he’s also sensitive and loyal. Fusco walks a delicate line – never allowing Julien to become the target of the audience’s ire while also not letting him off the hook for his behavior. 

At the same time, the film really sings when the ensemble – or parts of it anyway – are together, bringing the radio show to life. Grant is clearly inspired by the heyday of radio shockjocks from the ‘80s and ‘90s – most notably Howard Stern and Don Imus. The characters don’t go where Stern and Imus did with their schtick, but they certainly dabble in their own high school-level controversy. It’s also a hoot to see the boys and their show have a foil in the radio station’s overseeing teacher (Sara Sevigny). While a high school teacher might not wield the same power as the FCC, it does give the movie a sizeable jolt of drama 

Screams from the Tower may not bring the same level of notoriety or impact as a Hughes or Apatow film, but it does operate in its own lane of sweetness and charm.

Outtakes

What a Snooze

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Sleepwalker

by Brandon Thomas

Horror has always used trauma as a foundation for some of the best of the genre. Films like The Changeling or Don’t Look Now wouldn’t be what they are without the emotional trauma haunting their characters. However, these films also had outstanding scripts, a top-notch cast, and directors who knew how to bring it all together. How does Sleepwalker fare as a new entry into Trauma Horror? Unfortunately, like a bad dream. 

Acclaimed artist Sarah (Hayden Panettiere of Scream 4 & 6, TV’s Heroes) is still in the throes of grief after the loss of her daughter in a car accident. This same accident left her estranged and abusive husband, Michael (Justin Chatwin of War of the Worlds), in a coma. As Sarah’s grief begins to manifest itself in sleepwalking, her grip on reality begins to loosen, putting those around her at risk.

Director Brandon Auman attempts to craft a psychological tale that works equally well as a dark drama as it does as a horror film. Think Ari Aster’s Hereditary. However, Auman’s script lacks the nuance, depth, and frankly, the scares, of Aster’s film. The very real topics of PTSD, domestic abuse, and grief get skimmed over with broad strokes instead of being given the attention and finesse needed to be effective. 

When Sleepwalker shifts into horror mode, it’s never really able to escape reliance on the dreaded jump scare and a score that telegraphs said jump scares a mile away. There’s a lack of visual flair during these scenes that robs the film of any kind of mood or atmosphere and ultimately hobbles Sleepwalker from the get-go.

Instead of being given a complex, nuanced character to play, Panettiere’s Sarah spends the entire film bouncing through a cornucopia of emotions. Her entire role boils down to “gaslit character”. Chatwin fares even worse. His Michael is a walking, talking (actually, yelling) stereotype. Having your two lead characters be such empty vessels keeps Sleepwalker from finding any kind of emotional traction. 

There are lofty goals to be found within Sleepwalker, but unfortunately, the film is ultimately DOA due to a poor script, uninspired direction, and a complete lack of scares.

Nightmares Film Festival

A Hill to Die On

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Pig Hill

by Brandon Thomas

Using the word “Pig” in the title of your film automatically conjures up a disgusting mix of imagery before you’ve seen even one frame of film. As Sam Jackson’s Jules says in Pulp Fiction, “Pigs are filthy animals.” That they may be, but director Kevin Lewis sets up a nice curveball with Pig Hill, one that delivers a more psychologically disgusting film than a visual one. 

Like most small towns in America, Meadville, Pennsylvania has its own local legend: that of the pig people of Pig Hill. Everyone has their own theory about the pig people, but the one true throughline from all is that they are some ghastly mix of human beings and pigs. Carrie (Rainey Qualley) and her brother Chris (Shiloh Fernandez, Evil Dead) have lived in Meadville their entire lives, and the pig people story has always loomed large. As recent personal struggles bring both siblings to emotional low points, the prospect of writing a book about Pig Hill gives Carrie a potential ticket out of Meadville. As Carrie’s investigation into pig hill deepens, so does the mystery surrounding a growing number of women who have been going missing. 

Pig Hill is a cornucopia of a film. There’s a dash of Texas Chain Saw Massacre mixed with a pinch of The Silence of The Lambs, and finally a bit of The Hills Have Eyes for taste. Story and tone aren’t a problem as Lewis (Willy’s Wonderland) weaves his influences together into a satisfying and cohesive whole. As someone who clearly knows the horror genre inside and out, Lewis wickedly plays with audience expectations until the very end.

Outside of a pretty standard open, Pig Hill isn’t the stalk n’ slash fest you might expect. When the film gets down and dirty – it does so with gusto and never forgets that there are characters experiencing the horror around them. The cast ends up doing the bulk of the heavy lifting as it’s a surprisingly dialogue-heavy film that takes the time to flesh out characters. While the cast may not rival that latest P.T. Anderson flick, they all work well for the film. Qualley and Fernandez bounce off one another well, and former teen heartthrob Shane West (A Walk to Remember, League of Extraordinary Gentlemen) brings some name recognition as the film’s romantic lead and pseudo-hero. 

Lewis takes a big swing toward the end of the film that might seem too telegraphed, but it still doesn’t lessen the impact once the layers get pulled back more and more. It lets Pig Hill end on  a horrific emotionally charged note instead of one covered in blood and guts.

Outtakes

Time to Be Funny

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Time Travel Is Dangerous

by Brandon Thomas

Mockumentaries may not have enjoyed the same rise in popularity as found footage did – at least in the feature film world – but this subgenre still holds a special place in the hearts of many filmgoers. Comedy is where the mockumentary especially took hold. Films like Borat, This is Spinal Tap, What We Do in the Shadows, and the groundbreaking oeuvre of Christopher Guest not only rank as some of the best mockumentaries ever made, they are also seen as some of the best comedies ever made. While Time Travel is Dangerous doesn’t meet the level of these particular films, it is a quirky and fun addition to the genre. 

Best friends Ruth and Megan run a relatively successful vintage shop in the London suburb of Muswell Hill. After finding a time machine near a dumpster, the two begin using it to travel into the past to find items to sell in their shop. Unaware of the “rules” of time travel, their journeys to the past begin to unravel space and time. 

Time Travel is Dangerous isn’t the ornery variety of comedy, like Borat or What We Do in the Shadows. There’s a sweet silliness to the film that wraps you in a warm blanket but also doesn’t treat the audience like a group of blockheads. The science behind Time Travel is Dangerous isn’t the most important aspect of the film, but director Chris Reading isn’t interested in pushing it aside to make the film more digestible either. Unlike many time-travel-related films, viewers won’t need a diagram to follow along. I’m looking at you Primer.

Instead of falling headfirst into a complicated plot, Time Travel is Dangerous puts the characters front and center. Actors Ruth Syratt and Megan Stevenson bring the identically named characters to life with a world-weary familiarity. Their decision to use the time machine to travel into the past to collect merchandise for their store is exactly the dumb thing most people would do with such power. Ain’t no one going back to stop the assassination of JFK or see Dinosaurs. 

Reading wisely doesn’t let the film get too “big” for its budget or the winky tone. The mix of practical effects and CGI keeps with the overall silliness of the film without just looking cheap. If you can’t do a great-looking flying DeLorean, then a modestly looking flying van will have to do.

Time Travel is Dangerous isn’t full of belly laughs or tear-inducing howls. What it does do, though, is keep a smile on your face for a full 99 minutes.

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The Call of the Wild

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Folktales

by Brandon Thomas

Roger Ebert was once quoted as saying, “No movie featuring either Harry Dean Stanton or M. Emmett Walsh in a supporting role can be altogether bad.” I don’t have a particular actor or two for whom this rule applies, but I am a tad biased when a film features a slew of good boi doggos and Folktales has them in spades.

Folktales tells the story of Norway’s Pasvik Folk High School. This school caters to young adults in a “gap year,” teaching them survival skills in the rugged Arctic region of Northern Norway while also relying on them to help train sled dogs. The film focuses on three specific students: Hege, Romain, and Bjorn. Each of them has their emotional reason for coming to Pasvik for the year, yet despite their desire to experience something truly new, each one struggles with the baggage they carry into the wilderness.

Filmmakers Heidi Ewing and Rachel Grady have already shown their prowess in documenting young people’s journeys away from home with The Boys of Baraka and Jesus Camp. While not quite dealing with the same heavy topics as those two films, Folktales still delves into the lives of young people at a crossroads. The obvious stakes may not seem high, but to them, this year in rural Norway is a last-ditch effort to regain – or find for the first time – some sort of normalcy. 

Rarely relying on typical talking heads, Ewing and Grady instead allow the camera’s observations to do most of the talking. There’s a calm and stillness to Folktales that echoes the quiet winter air. The beauty of the film’s cinematography is matched only by the beauty of the changes the audience gets to witness in the three students. None of them leave Pasvik with their trauma and struggles behind them, but what they do gain is the notion that things can get better and that they can be the catalyst for said change. 

Did I mention the dogs? The way the film – and the school – use the dogs to unlock something within students is a thing of beauty. These gorgeous animals are there to work, and they often sense the unease and insecurity of the students. The steely blue gaze of a Siberian Husky is ominous and beautiful all at the same time – something Ewing and Grady’s camera never forgets. That mix of visual metaphor and real-life struggle of young people pays off as we see the students earn the trust of these animals and find comfort in their presence. 

Folktales doesn’t strive to stir up unnecessary drama or strife in its subjects. Instead, the film revels in the beauty found all around us as we try to recapture happiness, catharsis, and confidence.

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Master of Puppets

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Shari & Lamb Chop

by Brandon Thomas

Documentaries based on beloved children’s entertainers have become quite the trend in the last 10 or so years. Both Mr. Rogers and Jim Henson were the subject of wonderful films that chronicled their lives and the impact they both had on children’s entertainment, education, and culture. With Shari & Lamb Chop, renowned ventriloquist and magician Shari Lewis gets her own time to shine.

No stranger to crafting a documentary on an entertainment icon, director Lisa D’Apolito (Love, Gilda) dives into Lewis’s personal and professional history through enlightening interviews with living family members, those who worked for and with her, and industry professionals. While the bulk of the film is spent showering Lewis with praise, it also doesn’t completely shy away from her darker periods: a failed first marriage, a years-long career slump, and an affair that nearly derailed her second marriage. D’Apolito strikes a balance between transparency and understanding that her primary audience is likely Lamb Chop die-hards.

It would’ve been easy for Shari & Lamb Chop to completely focus on the Lamb Chop character and how it essentially propelled Lewis’s overall career. While Lamb Chop plays a major role in the doc (the name is in the title, right?), D’Apolito instead puts the spotlight on Lewis and the professional drive that made her a beloved figure in children’s entertainment. The film comes alive when it touches on Lewis’s talent at magic acts, or her experience as a dancer, and how she put that to great use on a variety show. 

Shari & Lamb Chop comes to a close with a poignant look at Lewis’s final days and how her terminal illness allowed her to make one more professional statement while simultaneously acting as a goodbye to her loved ones. D’Apolito’s use of behind-the-scenes footage from this final show brings us all into that emotional moment. It’s a beautiful period on a life and career that brought so much joy and love to people around the world. 

Despite taking the same “Greatest Hits” approach that many similar docs have done with famous subjects, Shari & Lamb Chop still soars thanks to a steady filmmaking hand and the engrossing life of the film’s titular focus.