'Stupid Games' Review: Love is a Losing Game in This Indie Horror
"Play stupid games, win stupid prizes" is a phrase often used as a warning that one should heed as cautionary. Co-directors Nicolas Wendl and Dani Abraham embody this infamous adage by creating cinematic suspense in the indie horror, Stupid Games. Equal parts psychological thriller and paranormal fright film, Stupid Games is a modest yet highly executed feature that thrives off of its tight-knit cast, well-balanced screenplay, and smart use of light and shadow.
Dinner Party From Hell
It's late one night as two friends, Jaxon (Saad Rolando) and Rex (Gage Robinson), make their way over to Celeste's (Alyssa Tortomasi) apartment, Jaxon's on-again, off-again hookup buddy. Jaxon and Celeste's relationship recently went through a rough patch after she ghosted him for weeks but now she seemingly wants to make amends by inviting him and his friends over for a dinner party. Celeste is adamant that Jaxon bring two, and only two, friends with him to balance the ratio for her two roommates. When the third friend cancels en route to the party, Jaxon and Rex get desperate. Not wanting to break their promise to the girls, the guys recruit Stanley (Grant Terzakis), a man they find in the apartment building, to accompany them to the dinner party.
Once the guys arrive, Celeste, her roommate Riley (Cass Huckabay), and their friend Mia (Ashwini Ganpule) greet them. The night starts innocent enough with couples pairing off organically. Just as the group gets into lively conversation over glasses of wine, the apartment loses power. The girls assure the guys that this happens frequently and suggest they stop dinner and play board games by candlelight until the electricity turns back on.
Darkness Brings The Demons
They settle on a game that seems innocent enough. However, the guys quickly start to notice strange, unexplainable glimpses of paranormal activity throughout the apartment. Then–like a record scratch–the girls' facade suddenly strips away, uncovering their ulterior motives as the night descends into madness and witchcraft. The only way to end the chaos and break the spell is to finish the game but the question of who will make it out alive remains to be seen.
Stupid Games, written by Tanner Adams, takes place predominantly in a single location over the course of one night. This intimate setting further adds to the foreboding claustrophobia of the evening's events. The composer behind the evocative and eerie score, Darren Wonnacott, crafts heightened tension, especially during the board game scene. The film's theme, a minor-note simple melody, is darkly unsettling and completely enjoyable. Cinematographer Christian Klein uses the film's themes of darkness to his advantage as he incorporates beautiful shadow work into nearly every scene. The orange hue from the street lamps to the wax candles surrounding the interior of the apartment clearly sets the tone that audiences are in for a nighttime nightmare.
Takeaway
Similar to classics like Jumanji and Practical Magic, Stupid Games shows how evil can lurk in unexpected places. It also stands as a cautionary tale to think twice before agreeing to participate in any stupid games, or a stupid prize may be the least of your worries.
'Rebel Country' Tribeca Review: Exploring Country Music's Evolution
From Lindsay Ell to Lil Nas X, country music has gone through one incredible makeover in recent years. The long-held stereotype that the genre has previously faced of being racist, bigoted, and politically right-leaning seems to, thankfully, now be a thing of the past. It's safe to say that the tides started changing in 2019 when Lil Nas X burst onto the scene with his hit Old Town Road. Who could have guessed that a queer, black rapper would have dominated the charts and changed the trajectory of country music forever? In Rebel Country, directed by Francis Whately (David Bowie: Five Years, Dolly Parton: Here I Am), a handful of culture changers and country music artists set the record straight on the exciting state of the genre today.
Music for the Outcasts
Country music has always been a home for the outcasts, the rebels, and those who challenge the status quo. It is an outlet for creative storytelling through heartfelt lyrics and catchy chord progressions. Following in the footsteps of legendary crooner Johnny Cash, Rebel Country opens with CMT Music Award-winning musician Jelly Roll performing Folsom Prison Blues to a crowd of inmates in the prison where he used to be incarcerated. Going from criminal to celebrity is a humbling and hopeful trajectory that Jelly Roll reiterates, through his music, is possible. Not fitting into the mold is almost a requirement to be a successful country star. This sentiment is echoed by Jelly Roll, along with Blanco Brown, Breland, Lainey Wilson, Sam Williams, Lindsay Ell, and more as they share their stories of finding refuge in the country music community.
Whose Country is It?
There is no doubt that country music is far more diverse today than ever. However, that doesn't mean that the genre is free from criticism. An obvious example that the documentary explains in depth is Lil Nas X's debut Old Town Road, and how it was rescinded from appearing on the Country Billboard chart due to not being "country enough." Lil Nas X opened Pandora's box, showing that the future of country music didn't have to revolve around heterosexual, midwestern white men and women. His presence on the scene allowed Black and Mexican-American artists like Breland and Frank Ray to finally see themselves reflected in the community and feel confident pursuing their own musical ambitions.
Takeaway
Despite its progression, Rebel Country is quick to confirm that the genre's target audience is still the same. Country music still is–and always will be–music for the outsiders and misfits. After watching Rebel Country, which recently premiered in the Spotlight+ competition of the Tribeca Film Festival, it's easy to see why many believe country music is the future.
'AM I OK?' Review: Dakota Johnson Explores Her Sexuality
It's a full-circle moment for Tig Notaro and Stephanie Allynne. The real-life couple, who first met on the set of the 2013 Sundance selection In a World... return to the festival as evolved women: now married, and bringing their directorial feature debut, AM I OK?, with them.
Even if you aren't familiar with stand-up comic Tig Notaro & actor Stephanie's real-life love story, you'll find there is a lot to admire in their new film. Born out of the duo's personal vulnerabilities around self-discovery and acceptance, it's their authentic point of view that makes AM I OK? a satisfying film debut. Although a little simply conceived, AM I OK? is a tender and tonally-confidant first feature.
Finding Yourself at 32
Lucy (Dakota Johnson) and Jane (Sonoya Mizuno) are best friends. No one understands each others' lunch orders or inside jokes better than they do. The earliest hint of a strain in their relationship comes when Jane tells Lucy some unexpected news: her company has given her relocation orders and she'll be moving from Los Angeles to London in a few months.
Lucy is taken aback; she tries her best to be happy for her friend but deep down, she's terrified that their relationship will change forever. With time now ticking against them, Lucy also musters up the courage to share something she's never admitted before: she's gay.
Equally taken aback by this confession, Jane swiftly makes it her mission to help Lucy feel confident exploring her sexuality before she leaves for London. But Lucy is a bottle of anxiety, which causes her to overthink every interaction with her cute co-worker Brittany (Kiersey Clemons). Lucy is angry, frustrated, and sad. How, at 32 years old, is she just admitting this out loud now, she bemoans. Lucy's insecurities eventually take their toll on Jane, which causes a rift between the girls as the London countdown looms closer. The film ends on a slightly predictable note but the heartwarming sentiment is more than enough to have us invested up until the very end.
Shoutout to Silverlake
Sundance darling Dakota Johnson embodies the conflicted Lucy with such grace, that it's impossible not to sympathize with her struggles. Her typically quiet demeanor is stretched in unfamiliar ways, as we see her weeping in bathroom stalls and having explosive public arguments. Dakota proves that she can hit any note on the emotional spectrum. Sonoya Mizuno plays Jane with such loyalty and tough love, that we'd all be lucky to have a best friend like her.
Stylistically, notable moments include the spot-on soundtrack curated by music supervisors Randall Poster and Meghan Currier. Phoebe Bridgers' Motion Sickness and ROE's Etc Etc fit like missing puzzle pieces in its script. (It's also incredible to see many scenes take place at my favorite LA bar/restaurant, Edendale!)
Takeaway
AM I OK? is a love story about female friendship and the strength it takes to be honest with yourself. As Lucy learns through her highs and lows of self-discovery, fear shouldn't dictate the choices you make. Yes, it's scary to face rejection or disappointment but it's even more terrifying to look back on life and realize you've missed out on what you truly wanted.
This review originally ran on January 25, 2022 during the Sundance Film Festival.
'Robot Dreams' Review: When "Best Friends Forever" Has an Ending
Director Pablo Berger's Robot Dreams may be an animated film but its ability to tug at your heartstrings should not be underestimated. After a long awards campaign, which included an Academy Award nomination in 2023 for Best Animated Feature Film, Robot Dreams is finally coming to theaters in Los Angeles on June 6th. Adapted from the graphic novel Robot Dreams by Sara Varo, this beautiful cinematic interpretation is a poignant portrayal of friendship, growing up, and moving on.
From BFFs to Just a Memory
It's another typical day in 1980's New York City. Dog sits down on his couch and unboxes a TV dinner while flippantly surfing through the channels on his TV. Basking in the dim glow from the screen, Dog suddenly feels lonely. He wants–no, needs–a companion in his life. That night, he orders Robot. After a quick assembly on his living room floor, Robot comes to life, and the two misfits immediately become best friends.
There is a newfound pep in Dog's step as he walks the streets of NYC with Robot. This happiness culminates in an epic dance montage where Dog, Robot, and a posse of animal civilians dance to Earth Wind & Fire's "September." The song is reprised as a piano instrumental when the duo takes a trip to the beach, and it evokes the quintessential feeling of summer. The sun is shining, the breeze is blowing, and Dog has never been happier. That is, until Robot realizes that the salty ocean water has rusted his robotic parts in place, rendering him paralyzed. Dog is determined to get his friend off of the beach but the hurdles he faces prove to be anything but smooth sailing.
Things don't fare well for Robot either. Stuck on the beach, he is at the mercy of strangers, some of which are not so kind. Both Dog and Robot are heartbroken at their separation. As time passes, their once-solid friendship inevitably weakens. What was once a beautiful relationship starts to become a distant memory.
A Film Without Dialogue
Music is the driving force behind Robot Dreams, as there is no dialogue throughout the entire film. In addition to being a strong creative choice–that works extremely well–this also allows universal accessibility for audiences. A film without dialogue removes the barrier to entry and allows any age to connect with the material.
On one hand, Robot Dreams is a film for children. The flat-look animation is easy on the eyes with continuous clean lines, flat colors, and limited shadows. On the surface, it is fun, light-hearted fare. On the other hand, it can be argued that only adults can truly absorb the film's emotional subtleties. Robot Dreams is ultimately a meditation on being alone, together, a sentiment that empaths will have a hard time getting through the ending with dry eyes.
Takeaway
Fans of Past Lives and La La Land will feel a similar emotional connection to Robot Dreams. It is a fantasy, a whimsical animated tale, and also a surprisingly emotive story of reflection and friendship.
'Invisible Nation' Review: Taiwan's Battle for Self-Identity
It's fitting that Invisible Nation, a documentary about perseverance, is directed by someone who carries the surname “Hope.” As if intuition led her to make this project, filmmaker Vanessa Hope crafts an empathetic and eye-opening statement that sheds light on Taiwan's struggle for self-identity and acknowledgment. Invisible Nation closely follows Tsai Ing-wen, Taiwan's first female president, as she fights for the future of Taiwan's democracy at a pivotal moment that puts her country's freedom at risk of authoritarianism.
The Political Struggle: ROC vs PRC
"China does not want the world to hear the story of Taiwan," says Tsai Ing-wen as a camera intimately captures the quiet stoicism that covers her face. It's this stark, matter-of-fact sentiment that is the catalyst for Tsai Ing-wen's political motivation to preserve Taiwan's autonomy. For decades, China has considered Taiwan part of the People's Republic of China (PRC) however, Taiwan believes itself to be an independent nation and therefore considers itself the Republic of China (ROC). The film goes deeper into the history of the division by explaining the genesis of the divide and the present-day discourse it elicits within China and Taiwan.
Watch the Invisible Nation trailer here.
At the heart of the film's urgency is the PRC's desire to eventually "unify" Taiwan with China, relinquishing Tsai Ing-wen's control as President and removing the nationality of over 23 million people who call Taiwan home. Throughout interviews with political leaders and notable figures, many project that a major political and geographical upheaval will take place in 2025. Looking at a similar fate in the war between Ukraine and Russia, President Tsai Ing-wen is doing everything in her power to keep what's happening in Ukraine from happening in Taiwan.
Keeping Taiwan in the Headlines
Invisible Nation is equal parts educational and cinematic. The storied history and uncertain future of Taiwan are captivating. Stand-out moments include the erasure that took place on the global stage. As it still stands today, Taiwan is the only member of the International Olympic Committee who is banned from using their name, singing their country's anthem, or flying their country's flag due to the People’s Republic of China's communist rule. Mainland China continues to make concerted efforts to reduce the international personality and exposure of Taiwan, which further hurts Taiwan's global and social status.
Takeaway
President Tsai Ing-wen doesn't shy away from the fact that fighting against the People's Republic of China is an uphill battle, but she knows it's a fight worth engaging in. Invisible Nation is a battle cry and powerful act of defiance that mirrors the threat of democracy everywhere. It's an urgent and necessary viewing for all.
'War and Justice': The Verité Documentary Exposing Global Crimes
Thirteen years in the making, filmmakers Marcus Vetter and Michele Gentile are finally ready to share their new documentary, War and Justice, with the world. Set to screen at the Munich International Film Festival this summer, War and Justice is a politically charged exploration of the International Criminal Court (ICC) and its importance in keeping order in an increasingly disordered world. Billed as the "first and only true-life verité thriller" about this organization, War and Justice offers unparalleled access to the inner workings of the ICC and key players on the inside.
Established in 2002, the International Criminal Court investigates and tries individuals charged with the most horrific crimes impacting the international community. Located in The Hague, Netherlands, the ICC is somewhat of a last resort, only called upon when states belonging to the Nuremberg Legacy fail to act in their own best interest. Similar to the United Nations, the ICC is a non-partisan, humanity-first organization. The crimes the ICC oversees are some of the worst offenses, including genocide, war crimes, crimes against humanity, and crimes of aggression.
War and Justice follows three key people who have helped shape the future of the ICC: Benjamin Ferencz (prosecuting attorney of the Nuremberg Trials), Luis Moreno-Ocampo (ICC’s first prosecutor), and Karim Khan (its current prosecutor). Interviews with other notable figures, including Angelina Jolie and Julian Assange, further illustrate the worldwide support the ICC receives for their valiant work.
The film itself is a very matter-of-fact documentary, there are no bells and whistles. The archival footage of speeches from some of the most violent dictators, including Gadaffi and Putin, is horrific enough. While never exploitive for shock value, there are moments in the film that are hard to absorb. The most unsettling moment comes from Luis Moreno-Ocampo's prosecution of the Congo's unethical practices of recruiting child soldiers for their military. Harrowing footage shows militia stripping naked a young boy, who looks no older than ten, and forcing him into their vehicle. His cries are deafening and his powerlessness is heartbreaking.
War and Justice affirms that the biggest threat to our existence is "aggressive war." While the ICC cannot keep all conflicts from escalating, the documentary shows the institution's invaluable importance in keeping some semblance of worldwide order. Can justice replace war as a mechanism for resolving conflict? This is the question the film sets out to answer. And while there is no quick solution, the positive impact the ICC continues to make is a silver lining in the fight for an equitable and safer world.
'Not Him' Explores the Underbelly of Toxic Relationships
Never ignore a woman's intuition because doing so can result in serious consequences, as seen in filmmaker Sarah Young's short film Not Him. Set in a small New York apartment, a young woman finds herself in an increasingly toxic relationship with her husband and must decide whether or not to stand up for herself. Domestic violence can hide in plain sight and Not Him highlights this all-too-prevalent situation through an empathetic lens.
Michelle (Tori Ernst) has noticed that her husband John (Charlie McElveen) has been acting differently lately. One night, she wakes up in a cold sweat after she has a nightmare that her husband became possessed. However, we soon discover that her night terrors and her reality aren't that different. Michelle is convinced that there is an imposter who body-snatched her once-affectionate and caring husband. The man she sees in front of her now is a volatile and abusive menace who likes to watch Michelle suffer. It isn't until their mutual friends, Kim (Katharine Chin) and Joe (Ryan Nicholas Cooper), come over for an impromptu dinner party that Michelle works up the courage to finally leave him, once and for all.
There is a Jordan Peele similarity to Not Him, be it the uneasy tension or surreal disposition. Writer/director Sarah Young knows how to craft these "pins and needles" moments with finesse. She keeps the audience on their toes right up to the very end. Aiding in the film's suspenseful tone is the strong, surreal music by composer Luke Lotardo. Reminiscent of Philip Glass, there is a familiarity to the sound that grounds Michelle's situation, reminding the audience just how prevalent domestic violence is. The film's third act suffers from the absence of a concrete resolution, the cliffhanger feels more incomplete than an intentional "choose your own adventure" ending. However, as it stands today, Not Him would make a great spec film to aid in a subsequent feature development.
For those who are sensitive to the topic of domestic violence, Not Him can be a triggering watch. Never feeling exploitive or without an empathetic touch, Not Him explores the underbelly of the often secretive trauma that can occur within toxic relationships. Sarah Young stares this difficult topic in the face and the result is an empowering, albeit slightly unfulfilling, story about conviction and self-preservation.
'Gunfighter Paradise' Review: God, Guns, and the American South
Emmy-winning filmmaker Jethro Waters brings his semi-autobiographical dark comedy to life in Gunfighter Paradise, a micro indie film with big ambition. Inspired by his childhood as the son of an Army veteran father and a free-spirited educator mother, Jethro was raised by a very contrarian couple. From this experience, he crafts a tight-knit, experimental film about God, guns, and the American South. Gunfighter Paradise was recently selected into the 2024 RiverRun Film Festival with more screenings taking place this weekend in North Carolina.
Starring Braz Cubas as Stoner, a camouflage-flanked hunter who never removes his face paint, the film begins just as Stoner returns home to North Carolina following the death of his mother. As he settles back into the familiar surroundings of family, he begins to have surreal dissociations, some of which include intense and erotic flashbacks and conversations with God. As he attempts to make sense of the nonsense, Stoner is also forced to deal with another unexpected turn of events: a mysterious green suitcase left to him by his Uncle, containing roughly seven million dollars. Once Stoner discovers that his mother left him hand-written riddles to decipher after her death, he becomes fixated on piecing the clues together. But he doesn't go on this unholy journey alone. Strange visitors, including a cable guy, a mummified cat, and a stone-cold killer threaten to further impact his already fragile state of mind.
Making his narrative feature film debut, Jethro Waters' Gunfighter Paradise is a poetic, trippy passage through the religious South. Baked in a strong visual style set to luscious and poetic descriptions of guns and ammo–something I never thought was possible until now–Gunfighter Paradise is gothic comedy done right. Intentionally dry dialogue delivery and an impressive score feel reminiscent of both Jim Cummings and David Lynch, two filmmakers with extremely specific and highly admirable cinematic canons.
Written, directed, shot, edited, and co-composed by Jethro Waters, Gunfighter Paradise is an equally beautiful and disturbing portrait of spiritual insanity. It offers a unique viewing experience into American psychosis and will no doubt leave a lasting impression on those who resonate with a religious upbringing.