Tribeca 2024 Wrap-Up

Tribeca puts out one of its most visually exciting, decadently rich years yet with varied films and extraordinary filmmakers taking center stage. Join Josh and Allison for a deep dive into everything 2024’s Tribeca Film Festival had on offer, just after the jump!

Films

THE A FRAME

Full review at the link.

#AMFAD: ALL MY FRIENDS ARE DEAD

From demented creator Marcus Dunstan—director of the insanely good The Collector duology and co-writer of countless Saw entries—comes a stylish slasher with its finger on the pulse of Gen Z. As the 20th anniversary of the horrible Karmapalooza Music Festival massacre approaches, the fest has been resurrected for a new event, hopefully this time free from the still-at-large machinations of the Seven Deadly Sins Killer (SDSK). VHS-style grainy footage gets us up to speed on the horrors before they unfold in real time. A group of young adult stereotypes ready to party their collective asses off blow a tire on their van, setting the gears into motion for one killer weekend. A local cop promises to have their van up and running by the morning, so they relocate to a kitschy Airbnb cabin in the woods to wait it out. One by one, the friends fall prey to a mysterious killer in a freaky digitally-rendered black mask that taunts them at every corner. Could it be a SDSK copycat, or perhaps the SDSK killer himself back for more? As usual, Dunstan injects his signature dark humor into flashy, creative murders framed after the sins that splatter the screen with gory practical effects. Twist after twist make sure the eventual killer reveal satisfies, and yes, they lean heavily into genre tropes. A slick, razor-edged slasher whodunnit, #AMFAD: All My Friends Are Dead stabs a gash through typical festival horror offerings with panache.

ADULT BEST FRIENDS

Full review at the link.

ALL THAT WE LOVE

We all grieve differently, an important thing to remember especially when the loss hits very close to home. In its opening moments, All That We Love plays on a duty so deeply human and upsetting that it has to carry a warning. Emma (Margaret Cho) must sit with her beloved dog, Tanner, in his final moments as he dies by her side. The rest of the film explores Emma as she figures out what her life means without Tanner. Where will she scatter his ashes? Emma’s daughter, Maggie (Alice Lee), also announces that she will be moving to Australia indefinitely with her new hubby, Nate (Devon Bostick), sending Emma into a nostalgic tailspin. I was hoping for a bit more of Emma interacting with dogs, trying to fill that hole left by Tanner in the only way she knows how. Instead, All That We Love opts to reconnect the estranged patriarch of the family, Andy (Kenneth Choi), freshly returned from Singapore. They even manage to find a way to waste Jesse Tyler Ferguson. When it works best, the narrative twists the knife of emotionality in a tear-jerking display of relatable sentiment. Having a cast this great and somehow still managing not to give each of them enough to do feels criminal. This should have been Margaret Cho’s Swan Song. Decent enough, less demanding viewers may connect more, especially those with an attachment to father/daughter stories.

BAD ACTOR: A HOLLYWOOD PONZI SCHEME

(Written by Allison Brown) The true crime genre is becoming an oversaturated wasteland, where filmmakers and showrunners profit off the suffering of others, nearly glamorizing criminals. Every week, streaming platforms seem to drop a new “earth-shattering” investigation. That said, most projects of this kind are incredibly compelling, as many feel utterly unbelievable, despite being fact. Sadly, Neon’s newest venture, Bad Actor: A Hollywood Ponzi Scheme, is a bit of a letdown. While of a very high quality in execution, the story at its core is not all that interesting. Given the documentary’s apparent release mid-festival with nearly zero marketing, why should we be surprised? Obviously co-writer/director Joslyn Jensen excels at her craft, but one can only go so far with meager subject matter. A meta reenactment angle casts Zach Avery alongside other key players, which displays a wholly effective effort on Jensen’s part. Weaved in movie clips and Avery’s film reels allow for further immersion. By the conclusion, it feels as if this were targeted solely for those working in the entertainment industry, and no one else. Perhaps that is why it landed in Tribeca, to appeal and garner positive buzz from those able to relate. Sadly, the general public will likely lose interest fast, despite the very high production quality.

BAD SHABBOS

(Written by Allison Brown) Although in the past quite rare, Judaism-centered films have become way more commonplace in recent media. Director Daniel Robbins throws his hat in the ring, offering up Bad Shabbos: a culturally accurate and relatable family cringe comedy that happens to feature an accidental death. Robbins is surely a fellow member of the tribe, as there are a wide variety of references that even surpassed my own level of Jewish education. A mezuzah is hung on a bedroom door; recognizable prayers and songs are recited in the most random of moments; yarmulkes are adorned; genetic digestive issues are a topic of discussion; a character considers joining the IDF; and even the Hebrew alphabet and Yiddish are recited. Sometimes funny, sometimes grating, there are very few laugh out loud moments. Chock-full of shoehorned-in religious remarks, it almost becomes too much. Character names are laughably cheesy in their commonality for Jewish men; of course, there has to be a Ben, an Adam, and a David. Decisions are bizarre as the family teams up to protect their abhorrent, incel teen. Although self-aware, some jokes go too far, such as a moment where a Black doorman, Jordan (Method Man), references conspiracy theories implying Jews control the banks and the media. Even more stereotypical, other races on screen are not treated with the same respect as Jewish people. Why is the Black man the only one who knows how to dispose of a body? An Eastern European doorman’s appearance and tone of voice oozes bias. All in all, Bad Shabbos tries too hard to reach a comedic niche, failing to make much of an impact, instead likely offending or annoying many.

BEACON

Sweeping in like a storm that ravage its waters, Beacon starts off interestingly enough, if mildly predictable. Emily (Julia Goldani Telles) has committed to a sixth month mission to circumnavigate the globe, sailing free of GPS or electrical systems of any kind. After hitting rough waters and monstrously bad weather, Emily awakens in a stranger’s home. Ismael (Demian Bichir) has taken Emily in, promising her that he has already contacted the authorities. Her ship has been destroyed, and somehow, Emily washed ashore next to a lighthouse considered one of the most inaccessible manmade structures in the world. Ismael’s story strangely keeps changing, as it becomes apparent that communications on this deserted island may be tricky. Can she trust this strange man, or would Emily be best left to her own devices? We follow Emily as she attempts to figure out the best route for survival to get off the island and never look back. While the acting is decent, the turns that the plot takes are obvious and silly. The lack of tension becomes exacerbated by a lack of action, drowning Emily in the monotony of a rinse and repeat structure. Only the first act engages, while the rest becomes more lost at sea than its central protagonist.

BLACK TABLE

Full review at the link.

BOYS GO TO JUPITER

Full review at the link.

BRATS

Still bitter over the 80s moniker of the “Brat Pack,” director Andrew McCarthy (who also penned a book on the topic) speaks with a wide array of interesting actors, agents, and pop culture experts to turn back the clock on one of the most exciting times for young adult cinema. The tidal wave of John Hughes made people realize the box office power of teenagers, who had never seen themselves depicted onscreen in such a way. Unfortunately, McCarthy’s documentary is less of a deep dive on this topic, and more of a repeat of the same people being asked the same questions. Take a shot every time someone says the word “brat,” and you won’t even make it to the end of the surprisingly lengthy runtime. Some of this works—the vintage interview footage provides fun context, whilst the sampling of movie clips including Risky Business, St. Elmo’s Fire, Footloose, The Breakfast Club, and so many more provide potent nostalgia. Demi Moore gives the best interview, speaking eloquently and with a level of maturity that others lack. Rob Lowe also gives the “brat pack” name credit for Glee and the torrential flood of young adult content we have today. I enjoyed a moment when McCarthy speaks with the director of Pretty in Pink about the disastrous test screenings, and the reshooting of the ending. More diversions such as these that provide actual insight would have been nice, without just repeating the same information about being sad they were collectively called brats. Focusing on the behind the scenes aspects of putting the documentary together to chat with its subjects does not need to be included, and simply feels like padding the runtime for the sake of it all. Many of those interviewed have similar sentiments about being annoyed at the moniker, while only McCarthy, it seems, was truly obsessed with what it meant for his own career. A random, less than five minute moment about the lack of diversity in these 80s movies just comes across as an afterthought. An eventual confrontation with the New York Magazine writer who coined the phrase the “brat pack” lacks the heft McCarthy was hoping for. While the period of time remains ample for dissection and nostalgia, BRATS fails to fully form its promise with a satisfying coherence.

COLOR BOOK

(Written by Intern, Sean Barry) Color Book displays a special kind of relationship not normally depicted on screen. After the death of his wife, Lucky (William Catlett) is left alone to care for his son with Down syndrome, Mason (Jeremiah Daniels). Lucky decides to bring Mason to see his first baseball game, but problems inevitably ensue. Throughout all the turmoil, they slowly begin to understand each other on a deeper and more personal level than either of them could have imagined. Despite his previous lack of leading roles, Catlett shines as a man silently coming to terms with new responsibilities. Similarly, Daniels accurately shows how Mason must feel mourning his mother and dealing with a father initially unable to parent a child with special needs. In his feature debut, writer/director David Fortune creates a beautiful environment, effectively weaving together themes that could have easily been lost in the hands of a lesser filmmaker. As part of the AT&T Untold Stories program, Fortune was given substantial funding and a yearlong mentorship for producing the film. Presented in gorgeous black and white cinematography, each image feels straight out of an art museum. Highly pensive music underscores much of the relatively mundane action, giving an ethereal air to the duo’s adventures. Although Mason’s mom is only in the very short opening scene, her presence is felt through the way each character behaves and subtly grieves her passing. However, due to her minimal screen time, we do not get much information about the family dynamic before she died. As a result, the bond between Lucky and Mason prior to the death is unknown. Regardless, Color Book succeeds in being a sensitive and engaging portrayal of the indescribable love felt between parent and child, which can turn even the worst circumstances into the best of days.

Come Closer

(Written by Allison Brown) Losing a loved one is never easy, but discovering a secret relationship they kept hidden is significantly more complicated to accept. Eden (Lia Elalouf) experiences this inner turmoil firsthand in Israeli drama Come Closer, as her world crumbles. An emotional rollercoaster for the viewer, Eden is a tough nut to crack. She orchestrates a fake kidnapping of her brother, Nati (Ido Tako), to drag him to a wild birthday celebration, which inadvertently leads to his death when he tries to escape to see his girlfriend, Maya (Daria Rosen). An egotistical, messy party girl with a mean streak, Eden easily ostracizes nearly everyone who gets close. Self-harm, an affair with a married man, violence, and becoming an outward bully all seem to be a result of her parents’ messy divorce and neglect. While she starts off almost completely unlikeable, her character development is impressive as she finally lets herself grieve. Elalouf and Rosen’s fervent chemistry when bonding over Nati, whom their characters love in different ways, is a joy to behold. Each woman pushes one another out of their comfort zones, making both better people. Small bouts of comedy add layers to an otherwise depressing story; one scene where Maya desperately pees in the street while hanging partially off a moving pickup truck is hilariously feral. While the material isn’t exactly novel, Come Closer’s realism and personal nature make it worth a watch.

DADDIO

(Written by Allison Brown) During the pandemic, one location films began to take precedent due to an ease of production with a small “covid friendly” team. Unfortunately audience burnout is inevitable when a style becomes repetitive. Thankfully, director Christy Hall manages to make Daddio compelling despite this obstacle. Dakota Johnson and Sean Penn have enough chemistry to carry the conversation narrative from the taxi’s airport exit to an arrival at her apartment. Penn’s New Yorker accent, while realistic, sounds so cheesy it becomes nearly satirical. One major downfall, however, is the tendency to storytell for the male gaze despite it being from the perspective of a female lead. Sexual content and language is far too expository and graphic, including a shot of an actual dick pic and breasts on a phone. Despite the major shortcoming of offering little respect for women, Daddio entertains enough to warrant a watch.

DARKEST MIRIAM

Full review at the link.

A DESERT

Rob Zombie called: he wants his aesthetic back. There is a reason what he does works so well, probably because he has the proper cast and a gritty polish to back it up. A Desert has no such luck. Attempting to blend a hillbilly style with the shock and awe of Hitchcock’s Psycho and the strangeness of David Lynch, the filmmakers cannot seem to commit to the story they are trying to tell. A noir, a disturbing blood-soaked extravaganza, a trippy road trip movie—A Desert attempts to be all of these things at once, and does none of them well. Landscape photographer Alex (Kai Lennox) makes a living from exploring abandoned locales and dilapidated buildings to take his eerie pictures. In its opening scene, an unnerving creepiness settles in as Alex explores an old movie theater to set up camera equipment when he hears a noise. Never again does A Desert achieve this level of atmosphere, instead offering a lengthy setup where Alex travels from one place to the next with virtually no dialogue whatsoever. Eventually, he meets greasy-looking Renny (Zachary Ray Sherman) and his sister, Susie Q (Ashley B. Smith), during a trashy motel stay. During a night of debauchery, Alex photographs and parties with this odd couple, and things get weird. Before long, Alex realizes neither may be good news. A Desert constantly jumps around tonally, contentedly rehashes large swathes of the movie ad-nauseam, and drags on so long it will make viewers feel as if they are trapped in the desert with its thin caricatures. Nonsensical moments, such as a long scene where Renny counts down from twenty-four, or a preposterously bad line delivery, made me want to leave and never return. A Desert is a new contender for the worst movie I have even seen in a theater, and I am honestly baffled that it even exists in the first place.

THE DOG THIEF

(Written by Intern, Samantha Rodriguez) At the expense of introducing any thrilling conflict, The Dog Thief charms viewers with a heart-warming depiction of an unlikely friendship. The drama follows a young orphan named Martin Quispe (Franklin Aro Huasco), who works as a shoe shiner and is desperate to earn money. The boy decides to steal a dog from one of his best clients, Mr. Novoa (Alfredo Castro), to earn a lucrative reward for its return. As Quispe grows closer to the old tailor, he questions if the prize is worth the sacrifice. Wide shots portray the beauty of Bolivia, while closeups highlight how Martin feels separated from the paradise as he works in the slums. Huasvco sells the teen’s timid and anxious personality just from physical language alone. Castro’s presence commands the screen and evolves from comforting the audience to intimidating them. The seeds for a complex and captivating relationship are planted, but they get watered down by a tedious plot. Most of Martin’s devious plans are too easily executed, leaving barely a moment of tension for audiences to grasp. The juvenile’s connection to Mr. Novoa is never truly tested until the end, making the main conflict almost redundant. Additionally, supporting roles never derail Quispe’s schemes. The thief’s closest friends argue with him about his methods, but once he condemns their ideas, the debate ends. Supporting characters barely act on their goals or question Quispe’s behavior. Contrary to Martin, the elderly man is one-dimensional and lacks complexity. No details hint at why Mr. Novoa treats his pet like a child or provide an impactful explanation for his loneliness. Identifying him as someone who has lost his family and cares for the canine as his last relative would add layers to this flat mentor figure. Instead, overly passive characters bring what could have been a wholesome, yet riveting, ride to a halting stop.

DON’T YOU LET ME GO

(Written by Intern, Sean Barry) Don’t You Let Me Go fails to reach the full potential laid out by its strong start. After the death of her friend, Elena (Victoria Jorge), Adele (Chiara Hourcade) travels back in time to when the two of them spent time together, reading books, walking on the beach, and enjoying one another’s company. Adele is occasionally reminded of the fact that Elena is dead, but she endeavors to continue living in the fantasy as long as possible. Broken up into three parts, the first segment takes place at Elena’s funeral, where friends and family are mourning. The impressively crafted intro sequence successfully displays the devastating circumstances without ever becoming too expositional or outright saying what happened to Elena. We initially feel like voyeuristic outsiders to this tragic gathering, with shots that start off far away from the action. As more information is learned, the camera gets closer to our characters, allowing more audience connection. However, once the second part commences, these subtleties and interestingly crafted scenes seem to end. Almost immediately after Adele leaves the funeral, narration unexpectedly begins. It briefly illustrates a portrait of Adele and Elena’s past, but no other commentary is given at any other point. No voiceover was necessary to provide backstory in the first portion, and more consistent usage could have effectively added more subtext to Adele’s internal struggles. Additionally, once Adele spends time with Elena, most of their scenes together bear no connection to the events in part one. In fact, they feel as if they belong to a completely different movie. Don’t You Let Me Go leaves an uneven trail of ideas which is unfortunate considering its promising opening.

ETERNAL PLAYGROUND

(Written by Intern, Sean Barry) Eternal Playground stumbles greatly on its mission to become a contemplative message about community and grief. Gaspard (Andranic Manet) is preparing to celebrate his first birthday after the death of his twin sister Louise (Noee Abita). He works as a teacher at the school he grew up at, and he invites some of his friends to sneak in during summer to celebrate. As days are spent playing around and enjoying each other’s company, they also take time to reflect on Louise’s death and how much she meant to them. When truths are revealed and facades fall away, each person must reevaluate their connections to one other. Louise never appears onscreen, but her voice can occasionally be heard as a speaker in Gaspard’s mind. He imagines himself having conversations with her in futile attempts to resolve his despair. The haunting opening sequence of Gaspard standing alone on his birthday watching the fireworks from the roof sets the tone for his internal conflict. Manet skillfully portrays Gaspard’s pain, and shines in a moment later on in which he has a near breakdown. Alba Gaia Bellugi is comparably brilliant as the depressed woman Lou, one of Louise’s best friends who feels responsible for her death. Unfortunately, filmmakers Joseph Roze and Pablo Cotten do not forge a deep or intriguing environment for the plot’s events. They are unable to locate the proper balance between establishing the mood and telling a story, which leaves several scenes to seemingly meander without much purpose overall. Although there are certain moments that do bear emotional resonance, thematic material gets lost in the downtime between action. Towards the end, a few motifs do reach a resolution, but even the title’s meaning becomes a mystery. Had Eternal Playground created circumstances that were more somber and eventful, the final product could have been something truly magnificent.

THE EVERYTHING POT

In this curious comedy of errors, two couples are put to the ultimate test after a seemingly innocent early wedding gift creates concerning ripples in their respective relationships. Written and directed by Sherise Dorf in her feature film debut, The Everything Pot does deserve to be cut some slack on the back of its simplistic premise. Less concerned with being a laugh-out-loud marital riot, the unique feature opts to slowly build out the backstories between Rachel (Lisa Edelstein), a newly minted mother bear whose daughter leaves for college in the opening, and Charlie (James Wolk), Rachel’s former coworker about to tie the knot. After Charlie invites Rachel to his wedding, she becomes both the first person to RSVP, and the first to send them a gift: the everything pot on their registry. Does Rachel have a thing for Charlie, despite being married to Adam (Erik Griffin)? Does Claire (Delaney Rowe) have a leg to stand on in her jealousy over Charlie inviting another, much older woman to their tiny wedding? The answers to both of these questions may be a little underwhelming, especially if one is accustomed to flashy, bold sequences of increasingly preposterous scenarios. Still, the intimacy of the premise may appeal to those with misgivings about marriage, in all its complications.

Family Therapy

(Written by Allison Brown) Family Therapy amalgamates interesting ideas that never quite come together to form anything of substance. A unit of four, including perfectionist father Aleksander (Marko Mandic), shallow wife Olivia (Katarina Stegnar), daughter and Joey King’s European doppelgänger, Agata (Mila Bezjak), and estranged son Julien (Aliocha Schneider), drive past a stranded family standing adjacent to their car exuding flames on the way to a luxurious glass home. Despite entirely disregarding them on the side of the road, the tourists appear on their doorstep, with outsider Julien being the only one to treat them like human beings. This should set the stage for some kind of intertwined social class drama between the two juxtaposed bloodlines, but the other family is merely a footnote in the overlong two plus hour runtime. Nearly all the protagonists are unlikable and treat one another like trash, until they don’t for a few fleeting minutes. Writer/director Sonja Prosenc seems to be focused on displaying the cracks beneath the surface for a “perfect” (literally defined as such by making the shortlist for “a perfect trip for a perfect family” space contest) upper echelon family solely worried about appearances. An inclusion of actual cracking glass windows that eventually shatter as emotions rise to a boiling point is perhaps too on the nose of a metaphor. While it may not be necessarily boring, one will wonder why they invested the time to watch at all. None of the conflict seems to have a point as nary a takeaway is imparted. A final scene where a confused deer mysteriously ends up in the ravaged house becomes a physical manifestation of the audience’s state of utter puzzlement in Family Therapy’s final moments.

FIREBRAND

As if enough entertainment centered around King Henry VIII does not already exist, make room for director Karim Ainouz’s historical drama Firebrand, focused on the tyrannical ruler’s final months of life. Jude Law fills the fat suit and disgusting mannerisms of rapist Henry, fueled by anger and hatred for the love Henry’s sixth wife, Katherine Parr (Alicia Vikander), had been receiving in his absence as Regent. The costumes are gorgeous and the set design immaculate, yet the empty script from screenwriters Henrietta and Jessica Ashworth cannot escape its familiar feel. Vikander does what she can as Katherine, a clear standout amongst the stuffiness of the dialogue and atmosphere. Fueled by thoughts that Katherine may be pregnant with another man’s child rather than his own, Henry falls into a cycle of having fittingly childish outbursts and hunting for treasonous explanations behind a strong female’s obvious successes. The feminist angle is the one and only element Firebrand has going for it, but confusing tonal issues and a questionable narration from one of Henry’s children rather than Katherine makes little sense. That said, if pretty costumes and lengthy conversations about nothing sound appealing, prepare for a bland trip back to England’s Tudor period.

THE FRENCH ITALIAN

If you have lived in an apartment building before, no words in the English language can describe just how tumultuous it can be when stuck with a problematic, noisy neighbor. Such is the conceit of Rachel Wolther’s feature debut The French Italian, a meandering, often repetitive comedy that becomes increasingly ridiculous as it goes on. Somehow, cute couple Valerie (Cat Cohen) and Doug (Aristotle Athiras) have given up their rent-controlled brownstone deep in the heart of Manhattan after incessant noise from the folks downstairs begins to drive them mad. When their catty friends look up the wild girlfriend whose karaoke and screams caused so much turmoil, they discover that the mystery woman, Mary (Chloe Cherry), is an aspiring actress. In a drunken stupor, the couple draft up an email with enabler friend Wendy (Ruby McCollister) proposing an audition for a non-existent untitled play. The rest of The French Italian charts Valerie and Doug as they debate how far to take this revenge prank, from improv exercises to legitimately penning the script. A distinct style and constant movie references show promise for Wolther, though the jokes rarely stick. Cat Cohen and Aristotle Athiras have a chemistry and onscreen charisma good enough to ignore many of the various faults. Some of the occurrences in the final act are rather amusing (especially the eventual play itself, entitled The French Italian), but the plot’s machinations fail to satisfy a lengthy setup. There were several directions to take this story, so the one we ended up getting seems undercooked. Still, the double bitch slap that brings two characters onstage is genius, and there are enough subtle moments of comedy to appreciate them when they do work.

GRIFFIN IN SUMMER

Full review at the link.

HACKING HATE

(Written by Intern, Samantha Rodriguez) Hacking Hate masterfully dives into the underworld of white supremacist networks with thrilling reveals and eye-opening insight into the future of the internet. Renowned Swedish journalist My Vingren goes undercover online to unearth a radical organization and the spread of derogatory language. The reporter’s journey barely gives us a moment to breathe, as she traverses into dangerous territory. One’s perception of notable sites may be shaken by the offensive broadcasts and posts within. Interviews with digital researchers and executives expose how social networking companies worldwide profit from the vile ideologies they breed. Her investigation into supremacists exposes manipulative recruitment techniques that prey on the vulnerable. The recruiters’ backstories are shown, as their abhorrent psychology is broken down. Though interacting with these individuals with a fake profile ceases to faze the fearless newswoman, she never goes the extra mile to meet them face to face. Directly confronting the extremists with the atrocities committed by others as a result of their indoctrination would have delivered a more in-depth analysis. Closing too early, the underlying narrative lacks a formal response from its main subject, Vincent, in regards to his hypocritical behavior and trampling empire. Nonetheless, the question of whether legislation should continue to protect pernicious obscenities and hate speech will linger after the curtain call. Timelier than ever, one will now have a greater sense of media literacy in interpreting biased political advertisements. These figures feed on such resentment to persuade potential voters. Hacking Hate documents the evolution of internet forums with an engaging narrative that sheds light on the global hate epidemic.

HUNTERS ON A WHITE FIELD

Despite sitting with Hunters on a White Field for several hours, I continue to be baffled by what I have watched. Promising “the ultimate” hunting party, three men head out deep into the woods to set up shop. Many monotonous sequences of hunting chatter are broken up only by the strangeness of their scenario. An especially unnerving emphasis placed on toxic masculinity is exacerbated by several elements. If I could go without ever hearing a questionable straight man drone on about the three holes of a blow up doll, I would be content. The obsession with gutting and skinning animals to use them as trophies are called into question. One of their party kills a buck, and later they make assumptions that perhaps it may have been cursed or evil. Either of those scenarios would be inherently more interesting than whatever unfolds afterward. I can almost see what they were going for here, but none of it works. A shoddy character piece with excellent sound design and not much else, Hunters on a White Field is a total bore.

I’M YOUR VENUS

Full review at the link.

JAZZY

Full review at the link.

KNEECAP

Deep in the heart of Belfast, native Irish-language hip-hop was born from the most unlikely trio imaginable. Music schoolteacher JJ (Jj Ó Dochartaigh) gets pulled into the orbit of two drug dealing partiers, Liam Óg (Liam Óg Ó Hannaidh) and Naoise (Naoise Ó Cairealláin), with seemingly just one thing in common: their love of the native Irish language. Fast-paced narration and plenty of illicit drugs are thrown a mile a minute from the very first frame. Each of the core group has separate stories that eventually collide, including one posited as the central thesis. Michael Fassbender portrays Naoise’s father as a grizzled fugitive with little emotion—his insistence on the importance of speaking Irish clearly left its mark on both Naoise and Liam. The band’s eventual formation finds them at the center of political unrest, swirling around the rights movement for Ireland’s mother tongue. Music and lyrics are an obvious highlight, though the interludes do become jarring with the overuse of effects. I tend to wish subtitles were available for the entirety, due to the heavy accents. This unique retelling of the unlikely band’s formation and rise to popularity at a politically tense time works halfway as well as it does by virtue of the trio all playing themselves. JJ Ó Dochartaigh, Liam Óg Ó Hannaidh, and Naoise Ó Cairealláin are quite good and naturally charismatic. Rarely do films manage to capture the allure of their real-life subjects when filling the roles, but there are some notable exceptions. Writer/director Rich Peppiatt effortlessly taps into the group’s chemistry, yet fails to adequately convey precisely why their zippy lyrics and thundering beats spoke to so many people. Even just starting out, they don’t seem very rough around the edges. The lyrics may be edgy, but the vocals are crisp, and the live performances feel too choreographed rather than convincingly portraying the energy of a concert. Still, Kneecap stylishly dips into the vibrant drug-induced, hallucinatory highs of a band at their peak.

THE KNIFE

Full review at the link.

LAKE GEORGE

How exactly does one have a cast that includes Shea Whigham and Carrie Coon, yet still manage to waste them? Look no further than Lake George, a beautifully filmed but deeply hollow crime comedy that fails to reap more than a few chuckles here and there. Mixing those two genres cannot be easy, but the barebones script does them no favors. Freshly out of prison, Don (Whigham) has been tasked with murdering “dirty cunt” Phyllis (Coon), who knows too much about the shady operations of crime boss Armand (Glenn Fleshler) to be allowed to live. If Don fails, thug Harout (Max Casella) promises to “put his dick in a meat grinder.” However, Don is no killer. He cannot bring himself to carry out the execution, but Phyllis turns the tables and suggests they take down Armand together instead. Don and Phyllis team up as their situation becomes increasingly more complicated the deeper they dig their hole. Separately, Whigham and Coon are exceptionally good; together, something feels off about their chemistry. The whole affair seems more akin to a TV movie than a proper feature, lacks tension and suspense of any kind, and a minimal use of score leaves a limpness to the whole affair. There are still some bright spots—the acting is excellent overall, and the two best scenes manage to find the mix of dark comedy that I was hoping the entire film would possess. One of those involves a brief appearance from Glee‘s Ashley Fink as a vacuous cheater, and the other has Phyllis trying to school Don on taking a convincing photo of her “dead” body laying in a grave. While there are certainly worse films to be found at this year’s Tribeca, I expected Lake George to be one of the best.

MARS

Dedicated to their fallen leader, Trevor Moore, sketch comedy group Whitest Kids U’Know finally debut their crowd-funded animated romp, Mars. Feeling like a reject from Adult Swim and truly lacking in the animation polish department, to call the feature rough around the edges would be an understatement. A Willy Wonka style premise has a tantalizingly simple setup that should work better than it actually does: Elon Musk stand-in Elron Branson has privatized space travel, complete with space champagne. His grand voyage departs soon, and applications are being accepted. Four lucky citizens get chosen by raffle at random for the billionaire’s expedition, announced one by one on live television. Once selected, Kyle has a very serious choice on his hands. He can either marry his fiancé, Candace, for a life of predictable comfort, or he can embark on the Mars expedition to leave Candace behind on the day of their wedding. Obviously, Kyle departs with the rest of the crew, which includes a disinterested school teacher, a religious fanatic, and a strange woman who was kept in a basement by her parents and doesn’t understand how the real world works. The latter, Peggy, does and says enough ridiculous things to be the film’s standout character. Off-color humor relentlessly assaults the viewer, barely managing to stick long enough between the doll vagina licking to offensive gay jokes, fat jokes, and everything in between. After a ridiculous wrinkle in the plot strands the crew in Mars, they must work together to make it back to Earth in one piece. I chuckled mildly once or twice, but the “twist” ending felt like a desperate attempt for social relevance. Nasty, silly, and just plain stupid, Mars presents the worst Tribeca has on offer this year, despite noble intentions from the collective in their final project.

MCVEIGH

Timothy McVeigh, solely responsible for carrying out the devastating Oklahoma City bombing, has a mirror held against the planning stage of his attack in director Mike Ott’s McVeigh. Game of Thrones star Alfie Allen plays the titular role, shrouded in mystery and with heavily veiled emotions. Ashley Benson briefly appears as diner waitress Cindy, pulled into Tim’s orbit as a potential romantic interest. As Tim becomes ensnared in the bomb-making expertise of his greasy pal, Terry Nichols (Brett German), and a community of off-putting Neo-Nazi archetypes led by Frederick (Anthony Carrigan), a scheme begins to take formation in his mind. Mostly, we follow Tim on many drives down the highway to a dilapidated pay phone, chain smoking incessantly, and silently conspiring. Ott’s hollow drama makes the mistake of thinking we should care about McVeigh in any way—this did not need to be a dramatized for a movie. There is no narrative payoff to the languidly slow pacing, or depressing strokes of nothingness. It is mostly just nothing.

A MISTAKE

When one mistake can change everything, taking responsibility for our actions may be the only way forward. In the case of skilled head surgeon Elizabeth Taylor (Elizabeth Banks), guiding one of her much younger associates, Richard (Richard Crouchley), through a seemingly routine surgery involving advanced sepsis results in a complication neither of them could have foreseen. Poor Lisa dies shortly after her attempted procedure, leaving the parents heartbroken and desperate for someone to blame. Liz is convinced that she and Richard did nothing wrong, certain that Lisa would have died with or without the posterior tear that caused internal bleeding. Her asinine superior, Andrew (Simon McBurney), cares only about the hospital’s image and nothing else. Richard cannot come to terms with what he may have done to kill Lisa. This character study hovers over Liz’s increasingly depressing home life, embracing complicated questions about ethics and accountability. While the middle section becomes something of a slog, the climax manages to saddle our lead with one tragedy after another in a manner that tugs at one’s heartstrings. Certainly, Elizabeth Banks may not be winning any awards for her unconvincing version of an Aussie accent; yet, she manages capture the complex emotionality of Liz, and her flawed nature. A Mistake imperfectly dramatizes the intricacies of the medical field in New Zealand, accompanied by sharp direction from Christine Jeffs (Sunshine Cleaning) and an effective score.

NUKED

Stop me if you’ve heard this one before. A bunch of vapid people get together for a party, they discover it could be the end of the world as they know it, and they are faced with existential questions and secrets rising to the surface. From director Deena Kashper (who also co-wrote the script with Danny Kashper), Nuked follows these extremely familiar beats, while attempting an infusion of drugs to up the ante. In a semi-twist on the usual formula, marriage podcaster Gill (Anna Camp) and her husband, Jack (Justin Bartha) are jointly celebrating their 40th birthdays in style. They have invited their closest friends to a day of technology-free fun, accompanied by full courses of curated edibles, as freshly made by Chef Sasha (Natasha Leggero). Along the way, Penelope (Lucy Punch) remains the only sober person at the party, constantly worried about her baby at home. Once the others are adequately stoned, Penelope sneaks away to check her phone, only to realize in horror that an emergency alert has been sounded indicating a missile strike is inbound. No other information seems immediately accessible, and naturally, the partygoers all believe Penelope just wants to mess with them. As the reality of the scenario sets in, each couple must face the music–and their messy personal lives. While some aspects of Nuked worked for me, the narrative never gets off the ground properly, or pushed to satisfying extremes. The characters are sketched thoroughly, yet lack any type of closure to their stories to have full or satisfying arcs. While its far from being a misfire, Nuked cannot escape feeling slightly unfinished.

OUTSTANDING: A COMEDY REVOLUTION

Full review at the link.

RENT FREE

Full review at the link.

Restless

(Written by Allison Brown) Have you ever had an unbearable neighbor? Nicky (Lyndsey Marshal) sure can relate in anxiety-inducing selection, Restless. Despite being overworked as a nurse at a senior center and losing sleep from ceaseless partying next door, she is initially optimistic, deciding to look for the best in Deano (Aston McAuley). Several nights pass before Nicky decides to knock on his door and point out the issue at hand. While at first cheerful and pleasantly agreeing to tone it down, his agreeable nature soon appears to be a farce. When conflict escalates, it truly builds to levels outside the realm of normalcy. Breaking and entering, destroying property, wielding weapons for solace, hallucinations, verbal threats, and yes, even animal abuse (a necessary trigger warning), result in exponentially rising and intensifying stakes. Writer/director Jed Hart impresses with his debut feature, as he skillfully manipulates light and sound to put one in the headspace of our rapidly crumbling lead. Classical music weaves in and out effortlessly to juxtapose Nicky’s moments of peaceful comfort with pulse throbbing techno seeping through the walls. As a single mother with a son away at college, she is left to her own devices to handle the discomfort and find solutions. Even Hart knows how useless the police and local government are, as they refuse to intervene in any meaningful way and suggest meditation rather than stepping in. The peace Nicky finds in baking provides stunning cinematography paired with an evolving score. Symphonies effectively set the mood in variable swells, crescendos, and restraint, ranging from Beethoven to seamlessly ending with Debussy’s notable “Clair de Lune” in depicting her ultimate serenity in the denouement. Marshal gives an incredible performance as her character gives in to the mania, spiraling into paranoia and breaking any and all boundaries. The comeuppance she enjoys in revenge in the final few moments is utterly delicious. If Hart continues in the vein of Restless in future projects, I am genuinely thrilled to see what he does next!

SABBATH QUEEN

(Written by Intern, Sean Barry) Sabbath Queen is the exact wake-up call everyone needs right now. Following the life of real life Rabbi Amichai Lau-Lavie, it takes an in depth look at Judaism and conflicting belief systems in the 21st century. Amichai, who comes from thirty eight generations of Rabbis, developed a disconnect within his family and faith upon the realization that he was homosexual. Despite becoming a drag queen and finding a new community, he still strives to be attached to his heritage. He uses numerous tactics to teach proper Jewish verses and morals so they can be understood today. However, his methods are constantly met with criticism. Director Sandi Simcha Dubowski deserves high praise for showcasing such a bold and contentious figure in an age when so much of society is divided. The image of queer individuals happily worshiping the stories of the Torah is likely not something many orthodox Jews would be happy to see. Nonetheless, as Amichai suggests, this is the direction modern congregations should be taking. Intricately edited sequences effectively juxtapose harsh patriarchal temple services with newer and far more accepting masses led by Amichai. When he is consecrating the marriage of two men from different religions, the happy moments of their wedding are intercut with articles chastising Amichai and his values. It is especially prevalent now with the conflict in the Middle East. As displayed on screen, these issues have been ongoing for decades, and nothing new is being done to assist the problems. Amichai grows noticeably exhausted battling for vital rights year after year. Even though it will be undoubtedly controversial in many circles, Sabbath Queen is essential viewing for anyone trying to live in peace with those around them.

SACRAMENTO

Ever the divisive character in the comedy genre, Michael Cera returns to a proper leading role after an extended hiatus in Michael Angarano’s Sacramento. When Ricky (Angarano) gets kicked out of his grief recovery group for being a little too hands-on during the sessions, he goes crawling back to bestie Glenn (Cera). Unbeknownst to Ricky, Glenn’s wife, Rosie (Kristen Stewart), is pregnant, with their baby due very soon. Already beginning to crack under the pressure of impending fatherhood, Glenn blacks out when trying to test the crick in a wobbly wooden crib. Under the guise of scattering his father’s ashes in Sacramento, Ricky manages to pull Glenn along as emotional support. What follows may test audience patience, as the free-flowing narrative keeps coming up with more ways to strand the duo on Sacramento for longer than intended. The driving around grows stale quickly, though there is definitely some artistry to be found in a fighting sequence set in a gym’s boxing ring. An anxiety angle feels entirely too half baked to work, and another puzzling addition involving ashes makes an earlier scene appear to be inconsequential. Much of the exploits come off as bad improv; the handful of funny scenes almost make it worthy of recommending. Maya Erskine (Obi-Wan Kenobi, PEN15) steals the show as Ricky’s former flame, Tallie, in limited but effective screen time. Stewart’s Rosie exists just to take phone calls in between her husband’s manic episodes. Glenn is more palatable than Ricky, but only just so—neither have enough definition to feel genuine. Essentially a road trip/therapy session with its eye on the bonds of friendship and fatherhood, misguided dramedy Sacramento has trouble picking a lane.

SATISFIED

(Written by Intern, Sean Barry) Satisfied is a touching and deeply moving documentary showcasing the often felt dichotomy between work and personal life. Nearly a decade ago, anyone who had even a passing interest in the arts saw the meteoric rise of the musical, Hamilton. One most noteworthy aspect was the Tony Award winning performance of Renée Elise Goldsberry as Angelica Schuyler. Filmmakers Chris Bolan and Melissa Haizlip take an in-depth look into Goldsberry’s life during her years with the Hamilton cast. She discusses her struggles with having children, followed by attempts to balance performing onstage and being with her family. Goldsberry’s saintly husband, Alexis Johnson, provides insight into how much work is required to exist in both worlds to a proper extent. Editor M. Watanabe Milmore utilizes clips from countless different sources, from news footage, to professional stage recordings, and even a large collection of videos from Goldsberry’s own phone. Some instances, like segments showing early workshops of Hamilton, will surely encourage one to sing or hum along to the iconic songs. During a key point when faced with a life-changing decision, a wide array of clips are edited together at breakneck pace to present the actress’s conflicted mental state. In one heartbreaking moment, Goldsberry breaks down because she recognizes that her son is overly eager to spend time with her, and realizes that her children should not feel privileged to see their mother. She says that time with one’s mother should always be taken for granted, which is a strong message from someone constantly grappling with being a good parent. They display conditions and aspirations likely shared by many other celebrities who cannot properly share their stories as effectively. A light is shined on the internal battle felt by many who love their job, but have to sacrifice so much for their own happiness and for those around them. Many working in show business today look up to Renée Elise Goldsberry, but Satisfied will inspire numerous others through her admirable morals and amazing story.

THE SHALLOW TALE OF A WRITER WHO DECIDED TO WRITE ABOUT A SERIAL KILLER

Full review at the link.

SHELF LIFE

(Written by Intern, Samantha Rodriguez) Food experts explain how understanding cheese may be the key to deciphering existence in Shelf Life. Existential themes and hunger-inducing shots show the delicacy is more than meets the eye. International artisans examine the treat from conception to decomposition, comparing every step to the human life cycle. As a Welsh judge from a national competition awards a young slice as the greatest, a librarian from Switzerland flaunts his cellar of century-old wheels. It never declares a best age, letting us metaphorically determine what is life’s peak. Elders follow family traditions to craft and preserve the perfect barrel, showing how with age comes wisdom and indescribable taste. A cheesemaker considers the dairy product to be milk’s immortality, with an archaeologist later describing ancient Egypt’s mummification and the conservation steps to be identical. Intellectual interpretations add to its bizarre juxtapositions between mold and wrinkles from maturity. A wide range of connoisseurs provide similar input into whether aging is to be feared. However, some scenes become redundant with repetitive, but pleasing, sights of stretchy mozzarella and developing curds. This becomes filler to combat a shortage of unique expert commentary, relying on images to ingrain its message into our philosophy. While an exploration of a household staple may sound lackluster, intriguing specialists and cinematography make the snack relevant to mankind. Shelf Life eloquently teaches us legacies are made when we realize our best years are always the present.

SWIMMING HOME

In what has to be the strangest movie out of this year’s Tribeca, Swimming Home catalogues one couple’s seriously rocky villa vacation. Introverted poet Josef (Christopher Abbott) and his war correspondent wife, Isabel (Mackenzie Davis), already have their fair share of issues well before the arrival of a mysterious stranger. A fully nude woman named Kitti (Ariane Labed) lounging in the pool just happens to set off this discontent like a match. Claiming to know their driver (and pool boy), Kitti gets invited to stay with the couple and their curious fifteen-year-old daughter, Nina (Freya Hannan-Mills), courtesy of Isabel’s kind nature. Also joining: their guest, Laurel (Nadine Labaki), who has flown in for the occasion and is none-too-happy at the introduction of another temptation for notorious cheater Josef. Based on the novel from Deborah Levy, the film constantly stumbles over seemingly disconnected imagery and overt attempts to overstimulate the audience. This includes an overbearing score composed of clicks and crackles with the sounds of wooden bloods, presenting Swimming Home as more of a horror film than a dark drama. Luca Guadagnino’s Suspiria remake previously accomplished some of the weird ballet-esque imagery better than anything here. This includes an omnipresent group of dancers, sometimes in the nude, doing exercises or, in the case of one man, rotating in a circle while pointing. All of this is without mentioning how obnoxiously annoying Kitti comes across in her obsession with Josef. A late-in-the-game twist attempts to justify the randomness of the imagery and give context to the title, but never manages to justify why we should care in the first place. Be prepared for plenty of wallowing and pretentious metaphorical subtext—mostly, Swimming Home has beautiful shots to spare, with practically no payoff whatsoever.

THEY’RE HERE

(Written by Intern, Samantha Rodriguez) They’re Here invites viewers to explore the lives of alien believers and those abducted by them, highlighting the humanity of those most consider delusional, asking us to listen to their stories with an open mind and heart. Directors Daniel Claridge and Pacho Velez use intimate closeups in black and white footage to mimic found footage of UFOs. Those expecting to watch paranoid conspiracy theorists may be surprised by their ability to relate to these enthusiasts’ struggles with loneliness and self-discovery. Special effects allow emotional manifestations of these supernatural experiences, letting the audience perceive the world from their perspective. Anecdotes from those who witnessed an intergalactic spacecraft are discredited as evidence is provided to counter their claims. They quickly condemn the information and blame bureaucratic organizations for halting the path toward progress, showing their hard-headed nature. They seem to protect their views from factuality so their world does not come crashing down as a defensive mechanism. Outspoken figures, like Blink-182’s Tom Delonge and ex-intelligence officer David Grusch, have staunchly defended the existence of life outside Earth for many years. As the United States’ hearing on unidentified aerial phenomena last year proved them right, it looks like they will not be deserting their principles any time soon. Their unshaken trust is embodied by twinkling stars that symbolize their hope for the existence of extraterrestrial life that seeks a reply from mankind. Each moment demonstrates the power of faith and its ability to comfort as the abductees come together to feel whole and hope for a greater tomorrow. They’re Here uses personal cinematography and symbolism to capitalize on how the search for answers about reality is infinite, but so is humankind’s ability to unite and discover them together.

THE THINKING GAME

(Written by Allison Brown) Part corporate marketing part sales pitch selling the pros of artificial intelligence, The Thinking Game is a mixed bag of stylistic quandary. Director Greg Kohs must have some kind of personal connection to DeepMind co-founder Demis Hassabis, given the overwhelmingly positive study on his character. Described as a child prodigy, some comes off as hyperbole, such as a laughably large offer to continue working for a company rather than attending Cambridge for college. He essentially implies that Hassabis is a world-changing genius, even going so far as to compare him to Oppenheimer. At least half of the focus remains fixed on employees interviewed from the company, as they share projects currently in progress. In this way, it feels as if the audience is being convinced to work for DeepMind, or may perhaps be watching this as an introduction video on their first day. Presentations applying the software are compelling and often comedic, but A.I.’s frightening implications are barely touched upon. Animation is utilized quite well in re-enacting experiences and educating the viewer; one section in particular matches a quality not dissimilar visually from Disney. However, styles are not cohesive or uniform in standard, as it appears a different illustrator was used for each segment. Protein folding absorbs much of the runtime, and personally, fully grasping the concept can be challenging. To transition from A.I. mastering classic games to assisting with complex scientific discovery reaches too much for the average audience. Most will soon lose interest. While there is some good here, the detriments sadly overtake the content.

TREASURE

Attempting a new spin on the horrific aftershocks from the worst genocide in human history, Treasure examines how a father and daughter manage the everlasting trauma left behind. Girls breakout star Lena Dunham plays journalist Ruth, whilst seasoned pro Stephen Fry (Gosford Park, V For Vendetta) fills the shoes of Ruth’s eccentric father, Edek. Inspired by a true story, we follow this oddball pairing as Ruth aims to visit touchstone childhood locales with Edek. This will not be a simple road trip, however—being a survivor of the most deadly concentration camp, Auschwitz, comes with its own set of horrors. Ruth desperately tries to wring even a semblance of emotion from Edek, even as he maintains a cold distance from every locale they frequent. Jumping from whimsical to cloyingly emotionally manipulative, Treasure has trouble picking a consistent tone. Misplaced humor filters difficult subject matter in a puzzling way. Ruth has frustratingly minimal character development. How does she manage to have enough free time to read through innumerable texts during this trip? In almost every scene, she is reading another book on the Jewish experience. The disconnect with the material does not end there either; one cannot shake the feeling that the script remains surface level throughout, and resists any attempts to dig deeper. Perhaps the presence of actual flashbacks would help give context, or add missing emotional resonance. Still, there are a couple moments that are touching, mainly thanks to a masterfully reserved performance from Fry. A scene as simple as hugging a jacket becomes a tear-jerking spectacle in Fry’s hands. As manipulative as it is frustrating, Treasure simply did not work for me despite best intentions.

Under the Grey Sky

(Written by Allison Brown) Despite a wealth of compelling subject matter from the real detainment of Belsat television journalist Katsiaryna Andreyeva following an anti-government broadcast, Under the Grey Sky offers one of the most tedious retellings in recent memory. While Lena Antonava is designated as an inspiration rather than an exact match for Andreyeva, writer/director Mara Tamkovich’s efforts to recreate authentic recordings make her endeavor to replicate indirectly evident. The choice to focus more on husband Ilya’s experience over Lena’s reduces an empowering feminist story to that of a trivial man beside her. Minimal dialogue and lingering shots so long that they feel like a pause makes watching a chore. All of this is a shame given the abundance of personality in just a short clip of the real-life activist. Although there is a section that shot for shot matches recorded news footage, Aliaksandra Vaitsekhovich fails to capture even an ounce of her counterpart’s nature. Far too much time is spent filming our characters getting dressed, drinking, or sitting down to ponder in silence. As a result, mundane slice of life material dulls the stakes, overtaking what could have been a pulsing political thriller. There is barely any tension or heartfelt emotion offered in performances, as the danger compounds with each extending prison sentence. Dialogue exists in a matter-of-fact manner without much tonality. Only one scene truly gives Vaitsekhovich a chance to shine when being coerced into spreading propaganda, but by this point, it is too little too late; the audience is likely to already be disengaged. Perhaps in the hands of a better filmmaking team, Andreyeva’s courageous battle to spread truth would have a chance to inspire a greater audience. Sadly, this flat execution may not make it much further than the walls of Tribeca.

THE WASP

Childhood trauma can bubble to the surface in the most unexpected of ways, hanging over its marks like a constant dark cloud. What happens when that cloud simply never goes away? Heather (Naomie Harris) seemingly has a perfect life, with a hot husband and a huge home to call their own. The reality is not the paradise it appears to be. An incessant buzzing of wasps have haunted her for days, ending in Heather trapping them under glasses and crushing them dead. Her obsession rises to a crescendo during an important party for Simon (Dominic Allburn), smashing open part of their kitchen ceiling with a hammer. A massive wasp nest explodes out of it, and the entire swarm disperses. What does that opening mean, and how does it relate to the rest of the film? Switching gears to Carla (Natalie Dormer), she can barely afford to pay rent, and is deeply pregnant with her fifth child. The two former grade school besties must now reunite to carry out a task that will change the course of their lives forever. To reveal any more would give away the element of surprise that supercharges the rest of the runtime. Adapting material from a play requires a tricky balancing act to keep the movie from appearing too heavy on dialogue, and unfortunately, The Wasp falls prey to this obstacle multiple times over. Yet, when Guillem Morales’ thriller clicks into place, the twists and turns are strong enough to soldier through its flaws. Natalie Dormer in particular soars, whilst Naomie Harris may be guilty of overacting at times. Nevertheless, the two women are captivating to watch, and the final act should be experienced completely free of spoilers.

THE WEEKEND

(Written by Intern, Samantha Rodriguez) The Weekend uses cheap effects and repetitive dialogue in an attempt to seemingly emulate Jordan Peele’s Get Out, and unfortunately, fails to match its quality. Orphan Nikya (Uzoamaka Aniunoh) pleads with her fiance, Luke Chezeta (Bucci Franklin), to visit his estranged family, as they begin to plan one of their own. He hesitantly plans a trip to his native village and comes face to face with the horrors that made him leave in the first place. An enticing opening sets up a chilling adventure that tests their relationship and reignites childhood trauma. The protagonists’ motives are well established, but their awkward delivery and body language make conversations mundane. We finally get a look at what is supposed to be a stomach-churning thriller when they overact. Though it seems like Luke will be the main character, his wife-to-be abruptly takes center stage. Her initial interaction with her in-laws is practically identical to how the villains in 2017’s Get Out meet their future prey. It essentially mimics the aforementioned’s mysterious house attendants and overbearing mothers. Yet, his mom, Omicha (Gloria Anozie-Young), lacks the spine-tingling creepiness and haunting presence of Catherine Keener’s Missy Armitage. The only originality stems from a misuse of background music, as well as cheesy antagonists. When his sister, Kama (Meg Otanwa), kindly introduces herself to Nikya, she is berated by her misogynistic boyfriend, Zeido (James Timothy Gardner). The one-dimensional narcissist attacks her with corny insults and a nonsensical catchphrase seemingly unprovoked. The same relatives that terrify their son watch the miscreant publicly disrespect and shame his seemingly innocent sibling without interfering, characterizing the big bads as weak. They never reach a level of mystery or cruelty that hints at their malignant plans until the climax. Fight scenes ruin one’s immersion in the narrative as bogus red blood pours out of corpses and weapon strikes sound artificial. Extreme violence never embodies a poignant theme or universal message. Instead, poor performances and amateur editing turn it into a death fest not worth a second watch.