'Steakout!' Review: Not So Smooth Criminals
A late-night surveillance mission turns into a comedy of errors in filmmaker Max Neace's short film, Steakout!. Neace explores the humorous side of the criminal underworld by leaning into the comically absurd. Similar in genre to the Bill Hader-starring dark comedy series Barry, Steakout! is a delightfully entertaining film that will have you both laughing and cringing at once.
A Misunderstood Mission Becomes Mission: Impossible
Patrick (Patrick Taft) and Sean (Sean O'Bryan) are on a stakeout, although they have different interpretations of what that means. Patrick is surveilling the scene for his ex-girlfriend, who owes him money. He enlists his friend to accompany him, with a plan to intimidate her by "roughing her up", to get his money back. Sean, on the other hand, takes things literally, believing they were just going out for a steak dinner. Sean's seemingly aloofness grows as does Patrick's frustration with Sean, who is turning out to be the world's worst wingman. Finally, the ex-girlfriend, Becky, appears, and Patrick sets his sights on her. He passes the binoculars to Sean, who is stunned to discover the identity of Patrick's target. Becky (Nihan Gur), it turns out, is actually Sean's daughter.
Sean reveals the connection to Patrick and tries to back out of the plan. However, this doesn't stop Patrick, who intends to continue his quest for revenge despite the awkward revelation. Clad in homemade robber's masks, Patrick and Sean eventually confront Becky on the sidewalk. She immediately notices her dad, who, unsurprisingly, has done a terrible job at disguising himself. When it becomes clear that Becky isn't buying their facade, the previously suspenseful music changes into an overtly romantic score. Patrick suddenly makes a complete 180 and begins confessing his love to Becky. This last-minute confession to save himself is met with the karma he deserves: mace to the face. It's clear that, unlike Patrick, Becky isn't playing around. Witnessing this, Sean can't help but be proud of his daughter.
A Good Old-Fashioned Bite-Sized Comedy
The success of Steakout! is due in large part to the excellent lead performances. Sean and Patrick, whose characters writer/director Max Neace named after themselves, nail each comedic beat with perfect timing. Their banter is sharp and brings riotous energy to this intimate indie. Running eight minutes long, Steakout! makes the most of its minimalist production output by delivering a high volume of laugh-out-loud moments. And don't skip out on the credits, as the film culminates with an end-credit surprise.
Director's Statement
"I've watched a lot of short films recently. I've watched shorts as a programmer, a friend, a bored internet surfer, and a reluctant invitee. I'm always surprised by how dramatic they are. Does no one have a sense of humor anymore? Horror or drama is all I can find. I want to rally against those tropes and bring comedy back."
Takeaway
Steakout! is an indie charmer and delightful watch that proves good things can come in small packages. The film will screen on April 15th at the 2026 Cleveland International Film Festival.
'Ash and Bone' Review: A Provocative Thriller that Doesn't Hold Back
A tranquil family getaway turns into an unspeakable nightmare in filmmaker Harley Wallen's indie horror film, Ash and Bone. Stacked with an incredible cast, including Wallen himself as the family patriarch, Ash and Bone blends high-stakes horror tropes with an equally strong visual aesthetic. Anything goes in the horror genre, and Ash and Bone certainly pushes the limits of reality. But Bret Miller's script and Wallen's direction give the film its necessary grounding to make this somewhat far-fetched story actually quite frightening.
The Vacation From Hell
Cassie (Angelina Danielle Cama), a rebellious teenager, dreads spending the next few days with her dad, Lucas (Harley Wallen), and new stepmom, Sarah (Kaiti Wallen). In an attempt to stop Cassie from causing more mischief at home, Lucas decides that a family vacation away from the city is the remedy. As they approach their lodging, the reality of their isolation is stunning. For Cassie, however, spending quality time with her parents is low on her priority list, and so she sneaks out to a local dive bar (which, yes, she legally shouldn't be allowed to enter). While there, she befriends a couple who eventually show her the town's most infamous haunted house: The McKinley house.
Intrigued by the lore, Cassie and her new friends enter the house. What they find is a torture chamber in the basement. They also stumble upon a camcorder with footage of a girl chained up, bloodied, and abused by her captors. It's at this moment that they realize they should have never entered the house. However, by this point, it's too late. Cassie, her family, and her new friends have now become the next targets of these cold-blooded killers.
This Indie Production Brings Big Thrills
Making the most of their presumably tight production budget, Wallen keeps the world of Ash and Bone relatively small. Only a handful of locations are used throughout the film, but these destinations are meticulously art-directed and staged. Adding to the "less is more" approach is the cinematography, which emphasizes the darkness of the criminal underbelly our protagonist accidentally enters. The color grade is moody and mysterious, a perfect compliment to the film's plot. A special mention also goes out to Angelina Danielle Cama, whose performance as the defiant Cassie is among the film's best. Her talent is, in a word, undeniable.
Takeaway
If you're looking for a provocative thriller that doesn't shy away from gore, Ash and Bone is the film for you. Traditional in genre yet elevated in performance and aesthetic, Ash and Bone is just the right amount of enjoyable and twisted. It's no surprise that the film is an 8x winner and 16x nominee at a variety of film festivals.
'The Gospel of Dating' Review: A Faith Based Comedy on Finding the (Chosen) One
The Bachelorette meets the Bible in filmmaker Khiray Richards' religious-set comedy, The Gospel of Dating. Combining the hijinks of a reality dating show with Christian values, Richards crafts a unique approach to promoting the Southern Baptist Church in the 21st Century. Backed by a strong lead performance from newcomer Michael Orlando Peters, The Gospel of Dating is a fun, faith-based watch that feels both playful and sincere.
The Chosen One... Literally
Bishop Shama Gresham (Michael Orlando Peters) finds himself at the mercy of a dwindling congregation due to recent COVID protocols. What was once a thriving place of worship has turned into a ghost town. Livestreaming the word of God doesn't have the same effect–both spiritually and monetarily–as preaching in person. Bishop Gresham knows he needs to shake things up. To keep his church funded, he applies for a grant that will save his congregation from further financial struggle. However, he realizes that he failed to read the fine print when the grant money arrives with strings attached. Turns out, he will only receive the money by hosting a Christian dating show called "Let the Church Say Yes".
The search for the church's bachelorette doesn't extend far after Gresham's loyal assistant, LaTanya (Nicole Pringle), volunteers her niece, Angela (Rachel Brooks). The young woman accepts, and production begins immediately. The contestants engage in various competitions to win over her heart, and Angela pretty quickly hones in on one man who piqued her interest. What should be an exciting time for all is overshadowed by Bishop Gresham's secret: a winner has already been arraigned, and it's not the man Angela is falling in love with. The Bishop intentionally cast one ideal contestant who exemplifies traditional Christian values. The grant agreement stipulates that if the pre-selected contestant doesn't win, the church will lose its grant.
Telling a Full-Bodied Story On a Modest Production Budget
If you're a fan of satirical religious comedies like Honk for Jesus, Save Your Soul, or HBO Max's hit series The Righteous Gemstones, you'll find a lot to love in The Gospel of Dating. This indie production, which has an estimated $5,000 budget according to IMDb, is clearly a passion project. It's impressive to see how director Khiray Richards utilizes this humble budget. No scene looks as if it is lacking resources, and the post-production work is clean. Making up for its overall minimalist aesthetic is the smartly written script, which includes many moments of witty banter. Monetary limitations notwithstanding, the film would have benefited from a more confident score that emphasizes the comedic moments.
Takeaway
You don't have to be a believer to enjoy The Gospel of Dating; however, those who are religious may find the humor resonates more deeply. A fun indie film with a faith-based message at its core, The Gospel of Dating is quite the accomplishment for all involved.
'Cuidadoras' Review: The Differences That Actually Unite Us
Non-judgmental human connection is key to a life well lived, as seen in the Spanish documentary Cuidadoras (The Care). Directed by Martina Matzkin & Gabriela Uassouf, Cuidadoras explores the similar yet varied perspectives from inside an Argentine nursing home. A summary of reflections from both the residents who live there and the caregivers who provide incredible service, Cuidadoras is a tender watch that will leave you full of gratitude.
The Differences That Actually Unite Us
Maia, Yenifer, and Luciana are new employees at Hogar Santa Ana, a public nursing home in Buenos Aires. All three being trans women, their employment came through an unconventional path. As former sex workers, Maia, Yenifer, and Luciana found an opportunity to leave the streets behind for a fresh start in the healthcare industry by becoming interns at the center. Trading a life of desperation for one of nursing and caretaking, the women find themselves comfortable in their new reality. The fact that their new profession is vastly different from their past life experience does not diminish their ability to succeed as caregivers. In fact, they connect with the residents so much more deeply than expected.
The caregivers engage in intimate talks with their older patients about love, loneliness, family dynamics, and acceptance. Yes, they are constantly misgendered by some of the older residents, but they accept this with grace. As they listen intently to the colorful stories of their residents' past, Maia, Yenifer, and Luciana take the opportunity to build meaningful relationships with people whom they would never have met otherwise. Their connections are the heartbeat of the film, the fundamental core that is equally engaging, affirming, and gratifying.
Directors Statement
"In 2018, we learned that the Psychology Department at the University of Buenos Aires (UBA) was helping trans women who were sex workers enroll in a Home Care Worker certification program. We immediately saw the significance: for trans women, imagining old age is an act of exercising a right that has historically been denied to them. Given that their life expectancy remains significantly lower than that of cisgender people, we were struck by the question: How does one care for an older person when reaching old age itself feels like a privilege? That question led us to observe more closely."
Takeaway
Cuidadoras beautifully portrays the poetic transcendence of prejudice that allows three trans women the opportunity for a fresh start. Beyond a successful film festival run in Buenos Aires, the film is screening for healthcare professionals, serving as a vital tool for discussion and reflection on public care. Next up, Cuidadoras will screen at the 2026 True/False Film Fest.
'Welcome to Tool Shed' Review: An Iconic Destination for Sex-Positivity
Palm Springs is not only known for its stunning mid-century architecture and beautiful weather but also for its thriving queer community. A staple of this scene is Tool Shed, a long-standing gay bar for the abundant LGBTQ+ crowd. Co-directors Daniel Talbott and Andrew Klaus-Vineyard explore the colorful history of this local hub in their short documentary Welcome to Tool Shed. With political tension continuing to threaten the safety of the gay community, Talbott and Klaus-Vineyard show that Tool Shed is more than just a local dive bar. It's a sanctuary.
Where the Queer Folk Congregate
If you walked into Tool Shed on any given day, you'd be met with a friendly face. Owner Robert Cole talks candidly about his journey buying the once run-down bar and transforming it from a dark and dirty dive to a bright and cheerful destination. The bar's customer base is diverse, ranging in age from early 20s to mid-70s. But there is one thing they all have in common: their sex-positive outlook. Cole describes that many regulars are some of the oldest survivors of the AIDS epidemic, as the film recounts harrowing moments from decades past, where the "gay plague" made headlines.
Given the large queer population in Palm Springs, Tool Shed is a home away from home for many who have struggled to find their community. In interviews, repeat customers describe how they've found their chosen family amid mounting national discrimination. The impact of President Trump's re-election has certainly not helped protect the queer community. Cole, visibly emotional, discusses the outsider threats to his livelihood and personal safety he receives as owner of the bar. Nonetheless, Tool Shed and its patrons have an undeniable warrior spirit, which shines bright throughout the film.
A Tight Knit, Queercore Indie
"We made this one punk rock, guerrilla style, for almost no money at all," say the filmmakers. "What little we had all went to paying our small crew for their incredible work. It’s a film made with a ton of love and hard work." This humble documentary, running 22 minutes long, is a simple yet glowing portrait of a cherished establishment. The interviews are compelling and speak for themselves, highlighting the diversity of clientele. From leather vest-wearing middle-aged men to Hawaiian shirt-wearing thirty-somethings, inclusion is at the forefront.
Takeaway
Welcome to Tool Shed is more than just an exploration into the history of the beloved Palm Springs bar. It is an introspective look at the decades-long battle against oppression. The result is a passionate, loving human interest story and an overall celebration of queer history. Welcome to Tool Shed makes its premiere at the end of March at the American Documentary and Animation Film Festival (AmDocs).
'Pickup' Review: A Soviet-Style Quest for Love
Sometimes the best things come in small packages. So is true in director Viktoriia Lapushkina's micro short Pickup. Running just 3 minutes long, Pickup is a Russian dark comedy about gaining romantic attention through unexpected circumstances.
Testing the Formula for Love
The film begins in the middle of a lecture on femininity and attaining the male gaze. The speaker is a beautiful woman, confident and alluring. She makes direct contact with Di (Elizaveta Ishchenko), a shy girl who seems out of place in the hyper-sexualized environment. The professor continues with her lecture, reminding the women that they need to present themselves in a certain way if they want to attract a man. Some pointers include having good posture and flashing a "Mona Lisa smile" (also known as a sly grin with no teeth).
Putting these theories into practice, the women are given individual tasks; Di's assignment is to get a man to buy her a coffee. Sounds simple enough. However, during her attempt to complete this goal, she ends up on a rooftop where she finds a suicidal man about to jump. Unfazed, she blatantly asks him to buy her a coffee. He seems stunned. Doesn't she see that he is in the middle of ending his life? What follows is a twist that turns this otherwise awkward encounter into a hilarious ending.
Capturing a Soviet-Style Love Story
This indie short explores an interesting rising trend in Russia: courses that promise fast love. However, as seen in Pickup, many of these programs rely on psychological manipulation by exploiting people’s fears and insecurities. What could have been a more melancholic outlook is instead seen through a humorous lens. Filmmaker Viktoriia Lapushkina approaches this subject through satire rather than moral judgment. Her dedication to capturing the Soviet aesthetic brings another layer of authenticity to the film. By shooting with vintage Soviet lenses and using an old Soviet factory as the main location, we are transported into Lapushkina's carefully-crafted universe. Furthering the film's commanding presence is the performance by Elizaveta Ishchenko. Her charisma is transfixing, and her comedic timing is spot on.
Director's Statement
"Pickup began as a small comedic idea inspired by today’s constant informational noise. It quickly grew into a script that turned out to be more personal than I initially expected. That’s why it resonated so much with my team, cast, and, hopefully, the audience. Through this work, I want to convey a sense of loneliness and the fear of being an outsider – the feeling that you are the only one who can’t make it work. Pickup shows how endless instructions on what to do and say to be loved pull us away from what people actually fall for: ourselves."
Takeaway
This bite-sized dark comedy is the total package and has the makings of an excellent feature-length film. Pickup will have its World Premiere at the 2026 Slamdance Film Festival.
'Lay Lefty Down' Review: Turning Tragedy into a Dark Comedy
When confronted with the life-changing news that she had cancer, filmmaker Traven Rice decided to turn tragedy into dark comedy. The result is Lay Lefty Down, a charming short film about facing difficulty with a smile. As the co-writer/director, Rice embraces the discomfort that usually surrounds a cancer diagnosis and makes it ok to laugh at the circumstances. Lay Lefty Down is a heartwarming watch that aims to inspire people to face personal challenges with a sense of humor.
Bye Bye, Boobie
Abby (Alexandra Seal), a middle-aged woman, vapes in her car as she works up the nerve to go inside her Aunt Eudora’s (Tovah Feldshuh) house. Little does she know that she is walking into a surprise party celebrating her recent mastectomy. A "Boob Funeral," Aunt Eudora calls it, as Abby stares at the unexpected party guests in disbelief. The party favors don't disappoint either. Boob cupcakes and cookies line the tables, as do pizzas with pepperoni nipples. This celebration of life for "Lefty," aka her left boob, has everyone reminiscing about her former physical asset, including her old college roommate and estranged husband.
Horrified, Abby tries her best to avoid participating in the mock funeral; however, Aunt Eudora eventually finds her. In a moment of vulnerability between them, Aunt Eudora opens up about her own previous relationship with cancer. She explains that she, too, had breast cancer and a double mastectomy. This gives Abby the courage to face her fears and tell her story. In doing so, she also acknowledges the cultural taboos about breast cancer that surround her.
Using Humor to Face Life's Challenges
For a film about reconciling with cancer, Lay Lefty Down is a hoot. A real gem of an indie comedy, Traven Rice portrays serious subject matter in an authentic and easily digestible way. The performances are the anchors of the film; both Alexandra Seal and Tovah Feldshuh are phenomenal. They have the presence of big-screen talent, which catapults the film as a whole. Their comedic timing is spot on, and their ability to transition into a deeper emotional state is quite effective.
Director's Statement
"This is a story about the importance of talking about hard things, and especially laughing about hard things... I found going through the process of breast cancer treatment to be an isolating and scary experience. Quickly, I learned it wasn’t a topic people felt comfortable talking about or even asking me about, even though it’s known as one of the more common types of cancer to be diagnosed with. I believe laughter leads to healing. So one of the first things I did after diagnosis was ask for jokes because if you can’t laugh... (you’d stab your eyes out)."
Takeaway
A perfect blend of humor and heart, Lay Lefty Down is a great achievement by all involved. The film makes its World Premiere at the 2026 Oxford Film Festival.
'After That' Review: Visual Poetry Dedicated to a Life That Was
Poignant memories of one man's past are examined in filmmakers Xinhao Lu & Mufeng Han's short drama, After That (在那之後). An affirming story expressed in a lyrical fashion, After That feels like a time capsule from decades prior. Prepare to get swept away in the film's gorgeous, moody aesthetic and retrospective narration. Even at a swift 11 minutes long, the film's expansiveness is deeply felt.
A Reflection on a Former Life
Set in the future, an older man named Xinhao (Jim Lau) wanders through his now uninhabited homeland. As he travels through the city and the suburbs, he reminisces about his former life. He visits the park, the riverbank location of the Third World War, the space center, and the ocean. He reflects on his past, one that was full of love and life. Now, he is surrounded only by the ghosts of his memory. After this mental journey, Xinhao lies motionless and sheds a single tear. Eventually, he melts into his bed and says goodbye to the world, disappearing from this life forever.
Visual Poetry Dedicated to a Life That Was
Produced by Savory Liu, After That details the nuances of one man's anxiety about the future. Through minimalist and simplistic production design, the film is propelled by a strong voiceover narration by the protagonist and sharp sound design. From a craft perspective, After That shows how a film's impact doesn't require a large production budget. Jim Lau gives a strong and convincing performance as a lonely, melancholic man. We sympathize with his sadness and can't help but see ourselves reflected in his pain.
Directors' Statement
"I want to use Super 8mm film—a video format from the past that feels like a private video diary—to tell the story of a future version of myself, Xinhao, on the last day of his life. Through this short film, I want to express my anxiety about the past depicted in the film (which is, in fact, the present), as well as my lost imaginings of the future. Ultimately, I want to use moving images to write a testament from the future."
Takeaway
The decision to shoot on film feels symbolic; just as celluloid fades over time, so do memories. After That is a lyrical and meditative viewing experience that will awaken the spirit inside you. The film makes its World Premiere at the 2026 Slamdance Film Festival.