Tribeca Film Festival 2025
Reviews are separated based on festival category. Please check back as reviews will be posted throughout the festival along with exclusive interviews with the creative forces behind the films both feature and short!!!
*All films with images have been screened and reviews are currently embargoed.
Once embargo is lifted, images with ⭐️ ratings have reviews attached.
Gala
OPENING NIGHT
Billy Joel: And So It Goes
⭐️⭐️⭐️⭐️⭐️
Spotlight+
The Sixth Borough
⭐️⭐️⭐️⭐️
Escape from Tribeca
International Narrative Competition
Cuerpo Celeste
⭐️⭐️⭐️⭐️
Dragonfly
⭐️⭐️⭐️⭐️⭐️
Viewpoints
Dead Language
⭐️⭐️⭐️
Honeyjoon
⭐️⭐️⭐️
Our Hero, Balthazar
⭐️⭐️⭐️⭐️
Documentary Competition
An Eye For An Eye
⭐️⭐️⭐️⭐️
Natchez
⭐️⭐️⭐️⭐️⭐️
Spotlight Documentary
Long Live the State
⭐️⭐️⭐️⭐️⭐️
US Narrative Competition
Lemonade Blessing
⭐️⭐️⭐️⭐️
Ride or Die
⭐️⭐️⭐️
Spotlight Narrative Competition
The Best You Can
⭐️⭐️⭐️⭐️
Oh, Hi!
⭐️⭐️⭐️
Paradise Records
⭐️⭐️⭐️
Relay
⭐️⭐️⭐️⭐️
She Dances
⭐️⭐️⭐️⭐️⭐️
Twinless
⭐️⭐️⭐️
Selected Festival Shorts
Awaiting the Lightning Bolt
⭐️⭐️⭐️⭐️⭐️
Baby Tooth
God’s Lonely Magician
⭐️⭐️⭐️⭐️
The Hicks Happy Hour
⭐️⭐️⭐️⭐️
How I Learned to Die
⭐️⭐️⭐️⭐️
Terror Night
⭐️⭐️⭐️⭐️
Villa Encanto
⭐️⭐️⭐️⭐️⭐️
The Best You Can
⭐️⭐️⭐️⭐️
Production Companies: Fibonacci Films and Hanley Productions
Rating: NR / Run Time: 103 minutes
Language: English
Director: Michael J. Weithorn
Writer: Michael J. Weithorn
Starring: Kevin Bacon, Kyra Sedgwick, Judd Hirsch, Brittany O’Grady,
Meera Rohit Kumbhani, Olivia Luccardi and Heather Burns
“It’s OK. You’re doing the best you can.”
Stan Olszewski (Bacon) is a private security guard who spends his nights driving around Brooklyn, working for the Brooklyn Private Security Patrol. Single and scraping by, Stan is doing the best he can — both to support his aspiring musician daughter Sammi (O’Grady) and to make sense of his own path. He believes in her talent even when she doesn’t, and while he drifts through his own days — occasionally hooking up with a much younger grocery clerk, CJ (Luccardi) — he’s haunted by a lack of direction, and quite literally held hostage by an enlarged prostate that forces him to relieve himself in the bushes of the ritzy neighborhood he protects.
Cynthia Rand (Sedgwick) is a New York City based successful, if somewhat anxious, urologist balancing the pressures of her demanding career and the complexities of caring for her aging, two decades her senior, husband Warren (Hirsch), a former Watergate prosecutor now slipping into dementia. With home health aides like the gifted Pramila (Kumbhani), who has been brought in to pose an a writing assistant for Warren and her husband’s daughter Rosemary (Burns) pressing for more intensive care in Ohio, Cynthia’s carefully ordered life is on the brink of unraveling.
One fateful night, their worlds collide when Stan responds to a break-in at Cynthia’s house. After the culprit escapes, and Cynthia smacks Stan over the head, an awkward but oddly charming encounter (he desperately needs her bathroom, she recommends he book an appointment), Stan does just that. What begins as a routine doctor visit soon blossoms into late-night texts, irreverent humor, and shared vulnerabilities, which ultimately leads to a quiet romance neither of them expected. Their bond \forces them both to reconsider what they have, what they want, and how this possible love fits into their complicated lives.
Writer-director Weithorn reunites Bacon and Sedgwick on screen for the first time in two decades in this clever romantic dramedy. Though the premise can feel a bit contrived—it’s not every day your security guard meets his urologist—there’s an undeniable chemistry between the leads that carries the story effortlessly. Weithorn cleverly subverts some genre expectations, grounding the film in honest dialogue and performances that feel authentic and relatable. Bacon and Sedgwick bring warmth and depth to their roles, capturing the vulnerability and hope that come with middle age and new beginnings. The film also benefits from beautiful musical moments, especially from O’Grady as the struggling singer.
All in all, The Best You Can doesn’t revolutionize the genre, but that’s not the point. It’s a film about showing up for yourself and for others, even when your plans change, don’t despair, there is hope and promise in the best of intentions.
Review by Cinephile Mike
Billy Joel: And So It Goes
⭐️⭐️⭐️⭐️⭐️
Film Production Companies: HBO
Rating: NR / Run Time: 147 minutes
Language: English
Director(s): Susan Lacy and Jessica Levin
Starring: Billy Joel, Elizabeth Weber, Jon Small, Sean Weber-Small, Russell Javors,
Liberty DeVitto, Richie Cannata, Bruce Springsteen, John Cougar Mellencamp
and Paul McCartney
“Everything I’ve done, everything I’ve lived through has made it into my music.”
How can one begin to talk about the legend that is the Piano Man himself, Billy Joel? That is what directors Susan Lacy and Jessica Levin set out to answer in Billy Joel: And So It Goes, an epic two-part, five hour documentary chronicling one of the greatest and influential living artists today. The first part, which premiered at the Tribeca Film Festival, gave us roughly two and a half hours that trace Joel’s life from his early days on Long Island up to his 1980 album Glass Houses.
Joel, seated at a grand piano in one of those waterfront mega-mansions he once envied as a kid, offers honest insight into how he became the man he is. Raised in a lower-class household by a single mother after his parents divorced when he was eight, he was a voracious reader and a passionate piano player—even if school wasn’t exactly his thing. Did he play the way his parents wanted him to? Not necessarily. But hey, it comes down to reality—and that’s fine with him, because he let it slide. (Yes, expect a few lyrics to sneak in here). As he bounced from band to band, Joel started getting a taste of what his future could look like. In 1967, at just 18, he joined The Hassles and began a long-standing partnership with drummer Jon Small. The two later formed the heavy rock duo Attila in 1969—though the group only produced one album before life took an unexpected turn. After their split, Joel entered a dark period, culminating in not one but two suicide attempts before eventually finding a new path as a solo artist.
Following an eye-opening experience at a rehabilitation center, Joel would go on to sing a song, as he is our piano man, and release his first solo album, 1971’s Cold Spring Harbor with Just Sunshine records and producer Artie Ripp. It would be their only collaboration. He soon moved to Columbia Records under Clive Davis, where he released a string of iconic albums: Piano Man (1973), Streetlife Serenade (1974), Turnstiles (1976), The Stranger (1977), 52nd Street (1978), and Glass Houses (1980). Though this is where Part One ends, the first half doesn’t shy away from exploring both the triumphs and the struggles—including the lingering shadow of Ripp and other early choices that continued to impact his career.
Throughout this first chapter, we also get an intimate look at the first woman behind the man: Elizabeth Weber. If you’re unfamiliar with their history, I’ll leave some of the surprises unspoiled. But over their nearly twenty-year relationship, Weber—also his manager—stood by him through both the highs and the lows. The documentary explores not only their personal connection but also the challenges she faced navigating a male-dominated music industry, pushing Joel’s career forward to his first top 10 hit with the ballad “Just the Way You Are”—a song no one, including Joel, initially wanted released as a single. And So It Goes doesn’t shy away from the complexities and eventual unraveling of their relationship.
Directors Lacy and Levin offer a rich, layered portrait of the music icon. With a blend of home videos, photographs, concert footage, and interviews, they paint both the light and the dark with equal care. In addition to Joel’s own reflections, we hear from those closest to him—Weber, his bandmates (Small, Russell Javors, Liberty DeVitto, and Richie Cannata)—as well as the musical legends he’s inspired, like Bruce Springsteen, John Mellencamp, and Paul McCartney. Editors James Pilott, Steven Ross, and Kris Liem have woven together a fascinating, behind-the-scenes journey. One standout moment (among many) is a moving montage set to “New York State of Mind,” featuring nearly every artist under the sun performing the anthem—it just might have you singing along in your seat.
All in all, this love letter to Joel will have you singing in your seats and eagerly await what’s to come in Part 2.
*Note - Part 1 debuts on Max in July with Part 2 scheduled for later in the summer.
Review by Cinephile Mike
Cuerpo Celeste
⭐️⭐️⭐️⭐️
Film Production Companies: Planta, Horamágica, dispàrte, Oro Films
Rating: NR / Run Time: 97 minutes
Language: Spanish
Director: Nayra Ilic García
Writer: Nayra Ilic García
Starring: Helen Mrugalski, Daniela Ramírez, Néstor Cantillana, Mariana Loyola,
Nicolás Contreras, Clemente Rodríguez, Erto Pantoja, Claudio Troncoso
and Sara Becker
“That’s life though. Very dark.”
How do you rebuild what has fallen apart? That’s the central question for 15-year-old Celeste (Mrugalski) in this quietly devastating coming-of-age mystery set against the haunting beauty of the Atacama Desert. It’s New Year’s Eve, 1989. Celeste is on a remote Chilean beach with her family—her father Alonso (Cantillana), mother Consuelo (Ramírez), beloved Aunt Ema (Loyola), and others, including her crush Jano (Contreras). She’s full of teenage spirit: smoking, flirting, splashing in the sea, learning to drive. Her parents take her on desert expeditions, fascinated by whale bones and strange markings on the land—clues to something deeper, perhaps darker, but what? As fireworks erupt and a radio announces an upcoming speech by Pinochet, the mood shifts, but the revels carry on. The next morning, while playing paddleball, Alonso collapses and in this moment, Celese’s world will be forever shattered.
Months later, Celeste is living with Aunt Ema. Her mother, unable to cope, sent her away after the tragedy—creating a painful rift. With the impending solar eclipse, Ema must return to work, and as a result, Celeste will have to return to her hometown. What was once familiar, now feels alien. In only seven months time, everyone has changed, and to her surprise, so has she. The bright-eyed girl in the bathing suit is gone; in her place is a teenager navigating grief, identity, and betrayal who finds comfort wrapped in her father’s old jacket. Celeste encounters old friends and unsettling truths—some about the people she trusted, others buried in her father’s belongings. As her understanding deepens, so does the distance between who she was and who she is becoming.
A kindred spirit to Debra Granik’s slow burn, 2010 Ozark thriller Winter’s Bone, García enthralls you into her own vast world of the beaches and deserts in Chile as we follow Celeste into a vast, textured world of emotional and physical landscapes that result in childhood innocence lost, in inner strength found. Newcomer Mrugalski is quietly remarkable. With subtle gestures and an expressive gaze, she conveys a young girl forcing herself to grow up too quickly, even if it may not be best for her. It’s a performance that recalls Jennifer Lawrence’s breakout: restrained, raw, and powerful. Contreras also impresses as Jano, the once-idealized crush whose presence now feels uncertain. Their awkward reunion underscores how time and trauma can redraw relationships. Meanwhile, the film’s evocative and haunting score by David Tarantino adds emotional depth, letting silences speak louder than words.
Sergio Armstrong’s cinematography is simply stunning. His shots of sand, sea, and sky aren’t just beautiful—they’re emotionally resonant, capturing the isolation between Celeste and her mother as much as the terrain itself. As the story crescendos toward the eclipse, the film poses a difficult question: can broken connections be repaired, or are some fissures too deep?
All in all, in just her second feature, Garcías voice presents a thought provoking, quiet mystery that shows the sometimes uncomfortable process of growing up.
Review by Cinephile Mike
Dead Language
⭐️⭐️⭐️
Film Production Companies: Common Pictures and Gusto Moving Pictures
Rating: NR / Run Time: 110
Language: English and Hebrew and Czech with English Subtitles
Director(s): Mihal Brezis, Oded Binnun
Writer(s): Mihal Brezis, Oded Binnun, Tom Shoval, Amital Stern
Starring: Sarah Adler, Ulrich Thomsen, Yehezkel Lazarov, Lars Eidinger
“Please, I would like to earn your trust.”
Every decision we make has a consequence—sometimes for the better, sometimes not—but a consequence all the same. That’s exactly what we’re confronted with right from the start of Dead Language. Aya (Adler) is waiting to pick up her husband Aviad (Lazarov) at the airport when a cab driver asks her to hold a sign for his arriving fare. The man in question is Esben Hallberg (Thomsen). For reasons even she can’t explain, Aya pretends to be his driver and leaves the airport with him. En route to the hotel, after a bonding moment at a local monastery, she confesses the truth: she isn’t his driver, just someone who impulsively went along with a strange opportunity she didn’t fully understand.
Esben, stuck in a foreign country, goes along with it. Their initial conversation is pleasant, and though he invites her to his room, Aya politely declines—only to change her mind later. She returns to his hotel the next night, after lying to her husband about where she’s going, and waits for Esben. He arrives and invites her up again. This time, they do go upstairs… but nothing happens. He instead asks her to come back the next night. But when she returns, he’s gone. She waits, falls asleep in his room, and wakes next to a stranger. Eventually, she learns Esben has returned home, leaving her both unsatisfied and more intrigued. Her curiosity—and her desire for something—leads her to track him down and reconnect, only for that conversation to take an unexpected turn. From there, Aya begins to spiral. She lies, she drifts, and she chases after experiences that hint at meaning but often leave her feeling emptier than before. And then Aviad doesn’t come home from a business trip. Believing she may have driven him away, Aya boards a flight to find him. What she discovers will have lasting consequences.
Directors Mihal Brezis, Oded Binnun, and Tom Shoval—along with co-writer Amital Stern—expand their Oscar-nominated short Aya into this full-length feature, bringing back both Adler and Thomsen (whose character is renamed here). The core of the film remains: a woman caught in the quiet ache of wanting more from her life, and not knowing how to ask for it. Adler’s performance is quietly stunning—Aya doesn’t rely on much dialogue, but Adler communicates volumes through stillness and restraint. Thomsen’s Esben hits the perfect balance between approachable and enigmatic, and Lazarov gives a subdued but warm performance as Aviad—a man who clearly loves his wife, even as she slips away from him emotionally.
The film’s title is tied to Aviad’s work as a professor and author who specializes in dead languages, and that metaphor extends neatly to their marriage. There’s familiarity, even affection—but is there life left in it? A sharp moment over dinner sees Aviad correctly identify the contents of Aya’s purse, revealing just how well he knows her—but knowledge and connection aren’t always the same thing.
Despite the rich setup, the film doesn’t dive as deep as it could. Aya’s internal unraveling is touched on, but never truly examined. The final act, which takes us to Prague, offers a potential shift in tone and tension (punctuated by a striking dance scene), but wraps up too easily. For a film about emotional risk and disconnection, it stays a little too on the surface.
All in all, Dead Language evokes meaningful questions about intimacy, identity, and what it means to chase after something just out of reach—but its answers remain a little too quiet to fully satisfy.
Review by Cinephile Mike
The Degenerate: The Life and Films of Andy Milligan
⭐️⭐️⭐️⭐️
Film Production Companies: Severin Films
Rating: NR / Run Time: 109 minutes
Language: English
Director(s): Grayson Tyler Johnson and Josh Johnson
Writer: Josh Johnson
Starring: Hope Stansbury, Gerald Jacuzzo, Jimmy McDonough, Stephen Thrower,
John Borske and Samuel M. Sherman
“Andy Milligan nearly killed me. I’ve made it.”
When you think of the gritty, up-and-coming filmmakers who emerged from 1970s New York City, names like Woody Allen or Martin Scorsese may come to mind. But Andy Milligan? Probably not—and that’s precisely the point. The Degenerate: The Life and Films of Andy Milligan, named after one of Milligan’s most infamous films, aims to restore the legacy of a man whose contributions to independent cinema and Off-Off-Broadway theatre were nothing short of foundational, even if underrecognized.
Born in Minnesota in 1929, Milligan realized early on he was different —expressive, artistic, and deeply misunderstood. His relationship with his parents left lasting scars: a cold, disapproving father and a mother whose influence instilled in him a lifelong hatred and mistrust of women. Fleeing home, he joined the Navy in the 1940s, only to be discharged with a Section 8 for being mentally unfit. He eventually landed in New York City and immersed himself in the downtown art scene—finding a home at the famed (and now landmarked) Caffe Cino, where he acted, directed, and did everything from sewing costumes to designing sets. His tenacity and boundary-pushing vision helped lay the groundwork for the Off-Off-Broadway movement. When Caffe Cino shuttered, its spirit lived on in what became the famed La MaMa Experimental Theatre Company.
Milligan soon turned to filmmaking, where he found his true voice—and his notoriety at the forefront of the genre and exploitation movements. While no direct reference, it is easy to see the influence in the pulpy works of artists today such as Quentin Tarantino, Eli Roth and Robert Rodriguez. As an out and proud gay man (who would tragically pass away in 1991 due to complications of the AIDS virus), Milligan never seemed to apologize for his actions. He wanted to make the films he wanted to make, and come hell or high water, he would hoist his Auricon camera up, and shoot on the fly. With no formal training, his experience was his film school and would give such forgotten classics as The Degenerates, The Ghastly Ones, Bloodthirsty Butchers, Torture Dungeon and The Rats Are Coming! The Werewolves Are Coming! It was saifd that his work boiled down to exploring the key ideals of homosexuality, his vision of women (not always great), attraction to violence and his desire to break the stereotype (and with one piece of archival footage featuring a theatre screening A Clockwork Orange, you can’t help but draw lines between Milligan and Anthony Burgess’ creation of Alexander DeLarge).
Directed by the Johnsons, this documentary weaves together archival footage, audio interviews with Milligan himself, and commentary from those who knew him. Among them: Hope Stansbury, one of the few women he trusted; Gerald Jacuzzo, his onetime partner and collaborator; his biographer and friend Jimmy McDonough; and genre marketer Samuel M. Sherman, who helped steer Milligan toward horror. Through these interviews intercut with the footage, no one shies away from the good, the bad or the ugly of Milligan. Much of his work was deemed inappropriate for its depictions of sexual activity and extreme violence, but Milligan was unapologetic. While this film praises his work, they also highlight the problems he had, and the problematic ways he handled certain situations. We learn that sometimes to get what he wanted, he would resort to extremes, hence, one of the subjects claiming that he made it because he survived with his life after making a Milligan film. However, there was always love for him.
All in all, The Degenerate is a must-watch for cinephiles and cult film enthusiasts alike. It’s a portrait of a flawed but visionary artist whose work may not be for everyone, but whose influence is impossible to ignore. If Milligan doesn’t live on in the mainstream, his “get up and do it yourself” spirit might just inspire the next wave of filmmakers to pick up a camera and go.
Review by Cinephile Mike
Dragonfly
⭐️⭐️⭐️⭐️⭐️
Film Production Companies: Giant Productions, Meraki Films and Screen Yorkshire
Rating: NR / Run Time: 98 minutes
Language: English
Director: Paul Andrew Williams
Writer: Paul Andrew Williams
Starring: Andrea Riseborough, Brenda Blethyn and Jason Watkins
“You know in all honesty John, she's really been there for me.”
On the quiet street of Lynmoore Avenue in England, rows of double houses stretch uniformly down the block. In one lives Elsie (Blethyn), an octogenarian widow who’s been on her own since her husband passed about a decade ago. After a recent fall, Elsie is left partially incapacitated and relies on a rotating crew of home health aides to help with bathing, washing, and general care. But despite her son John’s (Watkins) concerns—and her own admitted loneliness—Elsie isn’t ready to give up her independence or move in with him just yet. Next door is Colleen (Riseborough), a single woman of 35 (not 40—she insists), who lives alone with her only companion, a muscular bully-breed dog named Saber. She spends her days idly at home, observing the stream of caregivers coming and going.
One day, Colleen, airing a bit of neighborly concern, asks one of the caregivers how Elsie is doing. After a flippant response, she challenges the disconnected care being provided, and when the caregiver goes to confront Colleen, Saber bears their teeth while Colleen smirks and the caregiver runs to their car. Not long after, Colleen knocks on Elsie’s door and offers to pick something up from the market. From there, she begins performing small acts of kindness—preparing meals, doing some laundry, and stopping by for regular visits. Part of this may stem from guilt—Saber did dig up Elsie’s garden—but there’s also genuine warmth in the way their bond begins to grow.
Slowly, these two lonely souls find each other. And despite John’s concerns, Elsie decides she’s had enough of the revolving door of strangers. When Colleen offers to take over some of the caregiving—for no pay, it’s what neighbors do, care for one another—Elsie is delighted. But when John comes by for a visit and meets Colleen, he’s instantly suspicious. She acts a bit strangely, and he’s unsettled by Saber. Having heard about the dog and Colleen from his mother, he’s not convinced this is a safe or healthy arrangement. He leaves—but then makes a decision that will have immediate consequences for everyone involved. It’s here that the film takes a stark and unexpected turn.
With his first feature film in over a decade, Williams has crafted a powerful story about two people who seem like total opposites but are really just two souls looking for companionship in whatever form it may take. Elsie is a widow who longs for more frequent visits from her son, and Colleen, through self-destructive habits and quiet isolation, reveals the emotional scars left by a traumatic past—unfolded slowly and cleverly over the course of the film. As intended, both women represent individuals who have been abandoned by the support systems they should be able to rely on. As a result of this, each character behaves in ways that may appear to have ulterior motives—but whether or not they do is left entirely up to the viewer. That ambiguity is part of what makes this dialogue-driven two-hander between Riseborough and Blethyn so compelling.
These two Academy Award-nominated actors are absolutely flawless in their performances. There’s a quiet subtlety to both, and as the film shifts and the characters are pushed to behave differently, you remain completely invested in their journeys. The tonal shift in the final third may feel jarring at first—but then again, so is life. Riseborough plays Colleen with such layered complexity that, as her actions evolve, you’re never quite sure whether you’re watching a well-meaning misfit or a manipulative operator taking advantage of a vulnerable woman. Blethyn’s quiet, reserved performance is equally precise, and when the harrowing third act unfolds, even she becomes a question mark in the viewer’s mind.
All in all, this is a fascinating character study about isolation and the deep human need for connection—one that will continue to subvert your expectations until one of the final, jaw-dropping frames.
Review by Cinephile Mike
Everything’s Going to Be Great
⭐️⭐️⭐️
Film Production Companies: Lionsgate, Amaze Film + Television and Astute Films
Rating: R / Run Time: 95 minutes
Language: English
Director: Jon S. Baird
Writer: Steven Rogers
Starring: Allison Janney, Bryan Cranston, Benjamin Evan Ainsworth,
Jack Champion, Simon Rex and Chris Cooper
“This is the turning point for our family.”
Meet the Smart Family, patriarch Buddy (Cranston), matriarch Macy (Janney) and their two children, 16-year-old Derrick (Champion) and 13-year-old Lester, or, Les (Ainsworth). They're a performing arts family…well, mostly. Buddy is a regional theatre producer, while Macy, the more grounded of the two, handles the finances. Over the years, they’ve moved from town to town chasing gigs, never staying in one place for too long. Les is obsessed with the stage—so much so that he can’t resist walking into scenes he doesn’t belong in. Derrick, on the other hand, wants out. He’s tired of the vagabond lifestyle and dreams of playing football and living like a “normal” teen. In spring 1989, Buddy announces a new opportunity: leaving Ohio and managing a New Jersey theater for big-time owner Ed Monroe. If the summer season goes well, they’ll score a five-year contract to run Monroe’s Milwaukee venue—finally, some stability.
The family packs up (despite Derrick’s protests) and heads east, relying on real estate favors to squat in empty homes as there is no income, a constant complaint by Macy. After some hiccups—and questionable decisions from Buddy—they wrap a decent season and look ahead to Milwaukee. However, tragedy strikes. Macy abruptly moves the family to her estranged brother Walter’s (Cooper) farmhouse in Kansas, a place she left behind long ago. Kansas brings new tensions. Derrick thrives in the structure, but Les is lost without the stage. As the family navigates grief, past actions haunt current relationships, past resentments bubble up—and everyone must decide what comes next.
On paper, this film had the makings of a compelling story about rebuilding after tragedy. But it struggles with tone. Sharp one-liners and family digs bring laughs, yet the dramatic turns often feel jarring and undercooked. The film flirts with magical realism—Les regularly converses with theatre icons like Noël Coward, Ruth Gordon, and Tallulah Bankhead—but never fully commits. Derrick, who supposedly wants out of showbiz, still joins the family in a Pirates of Penzance singalong. Cooper's character arrives with potential for deeper exploration, but his storyline gets lost in the shuffle.
The film tries to channel the quirky-heartfelt vibe of Little Miss Sunshine or Captain Fantastic, but can’t quite find its rhythm. Still, there are bright spots—especially Ainsworth, who brings a young Chris Colfer (Glee) energy. His performance is sincere, funny, and layered as he presents the frame of, once an artist, always an artist despite what you say. He shares lovely moments with Cranston and delivers some of the film’s best lines. Cranston and Janney are solid, though their dynamic doesn’t always click. And yes, seeing Janney and Cooper share an awkward dinner scene can’t help but conjure memories of American Beauty.
However, despite these issues there is a little bit to enjoy in this thanks to some of the performances. Ainsworth is the one who seems to manage to tell the story and his is the most engaging of the several plots that are established. He evokes a charming, early Glee Chris Colfer energy as he just strives to make everyone understand that the performer’s life is all there is and can be the be all end all. He has some touching scenes with Cranston and provides some of the film’s sharpest laughs. Cranston and Janney are fine, but again, their approaches seem a bit disconnected. Also, it was hard not to feel a bit odd seeing Janney’s Macy and Cooper’s Walter share a scene at the table without evoking awkward dinners we saw between them in 1999’s American Beauty.
All in all, Everything’s Going to Be Great is more “mildly enjoyable” than “great.” There's heart here, and a few standout moments, but it never fully comes together, and may leave you wishing for a little bit more.
Review by Cinephile Mike
An Eye For An Eye
⭐️⭐️⭐️⭐️
Film Production Companies: Unchained Productions, SeeTô Productions,
Closer Media, Elk Films, Pumpernickel Films
Rating: NR / Run Time: 84 minutes
Language: Farsi with English Subtitles
Director(s): Tanaz Eshaghian and Farzad Jafari
Starring: Tahereh, Mohsen, Miss Jafarzadeghan, Bashir, Saeed and Ms. Adibi
“The worst punishment wasn’t prison.”
After serving 14 years in prison for murdering her husband, Tahereh awaits her retribution sentence. Now living with her son Mohsen, she must wait for a decision from her late husband Hossein’s family. Years earlier, after enduring prolonged physical and emotional abuse, Tahereh—alongside her two daughters—strangled and buried Hossein in the home they shared. Five years later, she was arrested. Under Iranian Sharia law, her fate lies in the hands of Bashir, Hossein’s brother, who must decide whether she will be executed, or spared in exchange for blood money paid to the family.
Bashir, himself struggling financially, is being pressured by his grieving mother, Ms. Adibi, to demand execution. She believes fully in the Quranic notion of an eye for an eye. However, after speaking with anti-execution advocate Ms. Jafarzadeghan, Bashir sets a price: 1.5 billion toman (approximately $36,000). If paid, Tahereh will walk free.
However, Tahereh and Mohsen are barely scraping by. A smaller sum is eventually agreed upon—but before the new deal can be notarized by the Iranian courts, more tragedy will befall Bashir’s family, and negotiations will begin again, and this time, less mercy. Tahereh remains defiant. She doesn’t deny the killing and even publicly claims she doesn’t regret it, complicating public sympathy and the fundraising efforts needed to save her life. Even Ms. Jafarzadeghan’s organization, while supportive, must weigh which cases can garner public backing—and Tahereh’s isn’t easy to champion.
Directors Eshaghian and Jafari cover the years of this casebuilding incredible suspense through hidden camera footage, and intimate interviews with the various subjects on both sides of the case and the intermediaries. Editors Soren B. Ebbe and Hayedeh Safiyari construct a thriller-like momentum, punctuated by a haunting score from Kristian Eidnes Andersen. The film plays like a ticking-clock drama, making you forget at times that it’s a documentary—you’re never quite sure how it will end.
The film not only highlights the struggles of these two families, but also the inequality of genders in the society. More than once it is referenced that Tahereh’s actions were only taken after several attempts to divorce her husband were ignored and glossed over. We hear from some of the intermediaries that in Iran, a man can divorce his wife on a whim if he loses even the slightest bit of interest, but there is no cause for the other way around. The film doesn't shy away from exploring the ripple effects of trauma either, showing how fractured both families have become—Hossein’s children and Bashir’s son speak to a pain and moral conflict that seems impossible to reconcile.
All in all, An Eye for an Eye is a gripping and emotionally complex documentary that tackles injustice, grief, and survival in a society where justice often depends on your gender—and your money.
Review by Cinephile Mike
Honeyjoon
⭐️⭐️⭐️
Production Companies: Wonder Maria Filmes and Bärli Films
Rating: NR / Run Time: 80 minutes
Language: English and Portuguese with English subtitles
Director: Lilian T. Mehrel
Writer: Lilian T. Mehrel
Starring: Ayden Mayeri, Amira Casar, José Condessa and Teresa Faria
“Do you think we can ever be truly happy or is it an illusion?”
A year ago, June’s (Mayeri) father passed away after a long battle with illness. One of his greatest memories was visiting the Azores islands in Portugal — stories he shared with his daughter, the Persian-American June and his wife, Persian-Kurdish Lela (Casar). Now, June takes her mother on a trip to honor his memory. Upon arrival, they quickly realize the resort is a popular honeymoon destination, meaning they must share not just a room but a bed, which proves uncomfortable for June given how close a mother and daughter really need to be.
While June wants to enjoy the trip and have fun, Lela remains engrossed in Iran’s political and societal issues. Constantly consuming videos and articles, she frequently admonishes June to cover up, wear a coat, cover your shoulders — reflecting a conservative mindset that clashes with June’s more free-spirited, expressive nature. To shift the mood, June arranges a private tour of the islands with João (Condessa), a sweet and philosophical guide. As they travel, June and Lela begin to open up, but never fully express their true feelings directly to one another. Instead, they confide in João separately, asking him not to reveal what they share. Through a series of events, João is able to help them locate a beach where June’s father was photographed.
The next day, June and Lela visit the beach. Walking through a village funeral procession, feelings rise in both of them, culminating in a joint experience at the shore that leads to an important conversation, a shared almost baptismal moment, and a start to some measure of understanding.
In her first feature film, writer-director Mehrel packs a lot into a brisk 80 minutes. While the ambition is admirable, the film tries to tackle too many themes—grief and communication, cultural clashes, and self-discovery—that feel somewhat jumbled. There is some sharp dialogue and comedic moments, but the central narrative about mourning the father, which is the main one worth exploring, the film leans into political commentary through Lela’s perspective, and the focus becomes muddled, and the emotional payoff feels unearned.
Honeyjoon evokes a little of Richard Linklater’s Before trilogy with its beautiful, slow-paced conversations and scenic walking tours. (Also, I would be remiss if I didn’t reference Inés Gowland’s gorgeous cinematography that has me wanting to pack my bags and jump on a plane). However, unlike Linklater’s films that revolve around a clear central idea, Mehrel’s work struggles to reach full emotional depth as it builds to its conclusion. Mayeri and Casar share believable, sweet chemistry as mother and daughter, but the script lacks the depth to fully deliver on the film’s ambitions.
The film almost evokes a little of Richard Linklater’s Before trilogy. We have a pair that spends a lot of time walking in a picture perfect postcard setting (the Azores look absolutely stunning, and the film is an excellent advertisement for destination travel) and talking. However, while some of those roundabout conversations in those films revolve around a main idea, here we never get the full depth we need and as the film builds towards its conclusion, it seems unearned. Mayeri and Casar have a sweet enough chemistry and believability as mother and daughter, but the script lacks the depth needed to deliver its message.
All in all, Honeyjoon, while visually stunning and a worthy travelogue for the Azores, risks being somewhat forgettable due to its scattered focus and unresolved themes.
Review by Cinephile Mike
Kerouac’s Road: The Beat of a Nation
dis. Universal Pictures
Rating: NR / Run Time: 89 minutes
Director: Ebs Burnough
Writer: Eliza Hindmarch
Starring: Michael Imperioli, W. Kamau Bell, Josh Brolin, Matt Dillon, Natalie Merchant,
Ann Charters, David Amram, Jay McInerney, Kim Jones, Jean-Christophe Cloutier,
Joyce Johnson, Diana Langley, Tenaj Melendras, Faustino Melendras, Amir Staten,
Angel Staten and Karlynne Staten
“My subject is America, and I must know everything about it.”
Review by Cinephile Mike
Lemonade Blessing
⭐️⭐️⭐️⭐️
Rating: NR / Run Time: 100 minutes
Language: English
Director: Chris Merola
Writer: Chris Merola
Starring: Jake Ryan, Skye Alyssa Friedman, Jeanine Serralles, Michael Oloyede,
Todd Gearhart, Miles J. Harvey, Alexander Jameson, James Freedson-Jackson
and Barbara Rosenblat
“Is there anything you’d like to thank God for?”
John (Ryan) is about to begin every adolescent’s nightmare: a new high school. Not just any school, but a rigid Catholic one, handpicked by his holier-than-thou mother, Mary (Serralles). A child of divorce, John is pulled between his mother’s strict religious worldview—where everything is sinful (she even waits outside the bathroom to make sure he isn’t tempted to sin while bathing)—and his father Pete’s (Gearhart) more relaxed, woo-woo weekends filled with meditation and affirmations. Making sure his hair is combed just right and his shirt tucked in to avoid judgment, John heads off.
Within five minutes of arriving—and meeting the principal Mrs. Groff (Rosenblat), who could give Severus Snape a run for his money—he sees Lilith (Friedman), and he’s instantly hooked. Thanks to her, he lands in detention on his very first day, where he meets Angelo (Harvey), busted for watching inappropriate videos, and Gary (Freedson-Jackson), who’s there for sleeping (a recurring theme—this kid would probably snooze through a first date). Together with Connor (Jameson), they form the usual crew of curious, hormone-driven teenage boys. But John wants more than just shared videos and lunch-table jokes—he wants Lilith.
Through a series of events, he finally gets the chance to talk to her again and asks her out. As their relationship develops, John finds Lilith both captivating and deeply challenging. While he’s eager to be with her, she begins to ask him to perform a series of increasingly bizarre and blasphemous acts, supposedly in the name of “love.” Without spoiling anything, each one pushes boundaries, and with each act, John loses a little more of himself. He wants to do the right thing—but instead of continuing his Eucharistic Minister studies under the kind guidance of Brother Phil (Oloyede), he plunges further into his entanglement with Lilith. He enjoys it, even relishes the envy from his friends who see him getting what they aren’t. But sweetness turns sour, and soon John is forced to question everything—his beliefs, his identity, and his place in the world.
In his debut feature, writer/director Merola nails the emotional rollercoaster of teenage angst—from awkward first dates to the messy, confusing beginnings of physical intimacy. The interactions between Ryan and Friedman are so adorably uncomfortable at times, you might find yourself looking away. Merola has crafted two characters who are at once innocently naïve and emotionally bruised by the dynamics of their parents, making them both perfectly and disastrously matched. His script is sharply satirical, especially in how it skewers religious dogma through clever dialogue and subtext. Ryan and Friedman deliver lived-in, honest performances, with awkward chemistry that feels authentic. Despite being slightly older than their characters, they embody the spirit of these teens with remarkable accuracy.
In the vein of Brian Dannelly’s Saved! (2004), Merola explores what happens when young people are forced to reevaluate everything they’ve been taught—especially when belief systems start to crumble under pressure. With this kind of honest, insightful filmmaking, Merola proves himself a fresh voice worth paying attention to.
All in all, Merola offers a sharp, sincere take on the innocence—and chaos—of youth.
Review by Cinephile Mike
Long Live the State
⭐️⭐️⭐️⭐️⭐️
Production Company: Diorama
Rating: NR / Run Time: 110 minutes
Language: English
Director: Matthew Perniciaro
Starring: Kevin Allison, Michael Ian Black, Todd Holoubeck, Robert Ben Garant,
Michael Patrick Jann, Kerri Kenney-Silver, Thomas Lennon, Joe Lo Truglio,
Ken Marino, Michael Showalter and David Wain
“It was a hive mind made up of individuals.”
In 1988, a group of students at New York University arrived in the city of dreams—despite it being one of the most unsafe places to be—and many found their way into the Sterile Yak Sketch Comedy group. Performing regularly, the group attracted hopefuls who wanted to “dip [their] balls in it,” a now-infamous catchphrase from the show we are here to celebrate, capturing the show’s offbeat spirit. From this scene, Todd Holoubek formed a different ensemble called The New Group, which included several Sterile Yak members and others. This collective of 11 would go on to create The State, a sketch comedy show that burst onto MTV in the mid-90s. Though it lasted only 25 episodes over a year and a half, The State left a lasting legacy — one that Matthew Perniciaro’s Long Live the State looks back on with affection and deep insight.
During the 2023 strike, 8 of the original 11 members reunited for a national tour, performing their most popular sketches live to enthusiastic crowds. Why not all 11? Well, you have to watch to find out (but fear not, all are alive and well). The documentary uses a series of talking-head interviews to introduce each member, revealing how they met, their time at NYU, and the journey to their eventual success both in the show and even up to present day. Perniciaro skillfully balances screen time to give a full, nuanced picture of the group’s dynamics, something that many argue the original show didn’t always do—allowing space for playful rivalries and mutual respect alike. They don’t shy away from the challenges fame brought: the pressures, the fallouts, and the healing that took place over three decades.
Fans of The State will be completely enthralled by stories of the show’s rocky start—initially dismissed as awful comedy by critics—before finding its unique voice. The cast reflects on their rise alongside cultural milestones like Beavis and Butt-Head and The Real World, their MTV success, and the ill-fated move to CBS (which won’t be spoiled here). Archival footage and photos intersperse the interviews, providing glimpses into their college days and classic sketches, many of which delivered sharp social commentary with meta humor. Try not to be enthusiastic with Ken Marino’s Louie as he exclaims, “I wanna dip my balls in it,” or quote along to Michael Showalter’s Doug as he repeatedly states, “I’m outta heeeeeeeere.” I challenge you - bet you can’t.
Those who aren’t familiar with the original show are almost sure to find connection with the cast when they see the work that would go on to come from this group in the intervening years. Did you know that without this talented group, we may never have had Drop Dead Gorgeous, the Night at the Museum franchise, the beloved Reno 911! or most importantly, one of my personal favorites, the cult classic Wet Hot American Summer and its subsequent Netflix series revivals. It is worth noting, some of the creative clashes and fallouts within the group were catalysts for these beloved projects. Despite past hurts, the documentary shows the deep love and respect that endures among these artists—something that shone brightly during their recent reunion tour. It warms the heart to see the audience shout and cheer with their favorite characters.
All in all, this is an excellent, and well-crafted documentary that tells the story of the little show that tried to make good and hopefully will introduce a whole new audience to the show.
Click here to see an exclusive interview with director and producer Matthew Perniciaro.
Review by Cinephile Mike
Natchez
⭐️⭐️⭐️⭐️⭐️
Production Companies: Common Pictures and Gusto Moving Pictures
Rating: NR / Run Time: 86
Language: English
Director: Suzannah Herbert
Writer: Susannah Herbert and Pablo Proenza
Starring: Tracy “Rev” Collins, Tracy McCartney, David Garner, Deborah Cosey,
Kathleen Bond, Barney Schoby, Mayor Dan Gibson, Ser Boxley
“This is the history of Americans. Are we really not going to tell that story?”
It’s no secret that America has a dark history. Some people ignore it. Some celebrate it. Others shine a light on it—acknowledging the pain while showing how beauty and progress can still emerge from it. When we visit the town of Natchez, Mississippi, we meet the latter.
Welcome to Natchez, a town famed for its bi-annual pilgrimage of historic home tours and its deep, complicated legacy—namely, being the site of the second-largest domestic slave market in U.S. history. In the 1800s, Natchez thrived as one of the major cotton producers of this country. But when the boll weevil (cotton feeding beetles) infestation of the 1930s decimated crops and crippled the economy, the town had to pivot. According to local legend, it was the women of the Garden Clubs—tasked with maintaining their homes and grounds—who saved the day. Their idea? Open their gardens to tourists for a fee. But when torrential rains ruined the gardens, they turned to the one thing still standing: the homes themselves. These antebellum houses—rich in architecture and romanticized history—became the centerpiece of the tours for those who wanted that taste of what life was like during the Civil War. That tradition continues today with the bi-annual Pilgrimage, when homeowners open their doors to visitors looking to step back in time.
But that’s not the whole story—and this film makes sure you don’t forget that. Another stop on the pilgrimage is the Forks of the Road, the former slave market. Though today it’s just a street flanked by businesses, plans are underway to partner with the National Park Service and establish a museum on the site. The film makes it clear: while pain still lingers, the citizens—Black and white—aren’t running from it. They’re embracing the truth, telling it in full, and making space for healing.
While we meet many people throughout the documentary, we hone in on four individuals. One of these is Tracy McCartney, a white woman with her own tragic backstory, who takes great pride in putting on the massive hoop skirt and helping with the tours of a family home. The next is friendly tour guide, and local pastor, Reverend Tracy Collins, a black man, who proudly drives the tour bus giving the history of the town and much of his footage is centered around visiting the Forks of the Road, and sadly still dealing with unfortunate commentary by the locals. Then we have David Garner, one of the most revered hosts on Pilgrimage who owns the famed Choctaw Hall. He is an interesting subject who blends past and present because while he is an out and proud gay man who maintains Choctaw Hall with his partner Lee Glover, some of the words out of his mouth still display some of the attitudes that Natchez wants to correct. And finally, Deborah Cosey, a proud individual who was the first Black woman to be invited to join a Garden Club, and whose home was once slave quarters, is now another prominent stop on the mansion tour.
As we encounter these individuals and others through a merging of spy footage, talking head interviews and archival photos, we get a fully fleshed out story of the little town that could. Cinematographer Noah Collier fills the screen with gorgeous sweeping shots of the landscapes and vibrant shots of the interiors of the homes that could be freeze framed as postcards. Editor Pablo Proenza cuts all of this footage deftly to allow for the film to move at a pace akin to its subjects, yet still moves to keep you engrossed in this story that shows a town trying to educate and overcome the challenges of some of the residents. The film doesn’t shy away from discussing the dark side of the history, made even more prominent when the mayor of the town, Dan Gibson, at a Garden Club meeting holds up the hands of a white woman and a black woman and reminds us that this union is what Natchez should be.
All in all, Herbert’s visually rich and emotionally layered documentary may just have you Googling Pilgrimage dates and wondering if it’s time to experience Natchez for yourself.
Review by Cinephile Mike
Oh, Hi!
⭐️⭐️⭐️
dis. Sony Pictures Classics
Production Companies: Cliffbrook Films, QWGmire and Watermark Media
Rating: R / Run Time: 94 minutes
Language: English
Director: Sophie Brooks
Writer(s): Sophie Brooks and Molly Gordon
Starring: Logan Lerman, Molly Gordon, Geraldine Viswanathan,
John Reynolds and David Cross
“You’re being kind of crazy right now.”
Issac (Lerman) and Isis (Gordon) are off for a romantic weekend in High Falls (or is it Ohigh Falls?). En route, they take in all the county has, the fresh produce and jam being sold by the side of the road, the large rooms in their rented farmhouse with the chairs hung on the wall in traditional Shaker fashion, the peaceful lake with a floating dock, the nosy, creepy neighbor Steve (Cross) who pops up out of nowhere and of course, the locked closet full of cuffs, chains and a ball gag. To say these two enjoy the nature of their surroundings, is an understatement.
After a romantic dinner of scallops over pasta cooked by Isaac, and some vulnerable talk about past heartbreaks, they retire upstairs to enjoy their “accommodations.” Wanting to spice things up, Iris agrees to be tied up, but backs out — and Isaac offers to take her place. Once the fun ends, the truth slips out. When Iris shares her deeper feelings, Isaac reveals he doesn’t want a relationship. This throws Iris: he planned a weekend getaway, cooked dinner... and doesn't want to be exclusive? There are other women? There are two ways this conversation could go, and perhaps a calmer discussion could have happened, had Isaac waited to be released from his bondage before his revelation. She refuses to release him, insisting they belong together. She vows to prove it — in 12 hours. Thus begins a strange, tense, and at times absurd day. When Isaac threatens action, Iris panics and calls her best friend Max (Viswanathan), who rushes over… with her boyfriend Kenny (Reynolds) in tow. Thus begins a chaotic night of planning what to do now that they have all seen Isaac chained up, and he's seen them. Our trio will resort to some extremes to get the events of the night to be altered. Yes, you read that correctly.
Brooks and Gordon have crafted a delicious black comedy that takes two deeply flawed individuals in the middle of nowhere. As we watch, the film doesn’t offer an easy villain. Instead, it reveals information in small, sharp moments, making even the more absurd actions feel—at least in this heightened world—oddly justified. Gordon is delightfully unhinged as a woman who just wants to be loved. Even as her actions spiral, they come from a place of desperate care. Her performance could have gone off the rails, but she reins it in just enough to keep us engaged. Lerman balances her chaos with understated angst and quiet tension, grounding the film’s more frantic turns.
That said, while the performances and premise shine, the film loses momentum in the middle and leans a little too far into parody by the third act. What begins as a smart, satirical millennial riff on Misery loses some edge as it pushes further into the absurd. Brooks and Gordon’s script sets up more than it sticks the landing for — but the ride is still wildly entertaining.
All in all, Gordon and Lerman deliver strong chemistry and comedic chops, and despite the hiccups, there is enough madness to enjoy the trip.
Review by Cinephile Mike
Our Hero, Balthazar
⭐️⭐️⭐️⭐️
Production Companies: Spacemaker Productions, Curious Gremlin,
Roosevelt Film Lab, Hypothesis, Giant Leap Media
Rating: NR / Run Time: 91 minutes
Language: English
Director: Oscar Boyson
Writer(s): Oscar Boyson and Ricky Camilleri
Starring: Jaeden Martell, Asa Butterfield, Chris Bauer, Pippa A. Knowles,
Becky Ann Baker, Anna Baryshnikov, Avan Jogia, Noah Centineo and Jennifer Ehle
“The loneliness is killing me. Is it killing you too?”
Balthazar (Martell)—or “Balthy”—is an over-privileged, socially stunted New York City teen who spends his time posting performative, emotionally manipulative YouTube videos in an attempt to connect with the world around him. His socialite mother, Nicole (Jennifer Ehle), floats through life with a smile and willful blindness, too focused on supporting her politician boyfriend to notice her son slipping away. His life coach, Antony (Noah Centineo), offers vague motivational jargon, but nothing sticks.
Following news of a tragic school shooting in Arkansas, Balthy posts a faux-emotional video mourning the loss. It's hollow, but he’s good at tears—they come on command. In response, he receives a comment from “deathdealer_16,” a self-identified would-be school shooter. Sensing an opportunity to do something real, which may get him into the good graces of his crush Eleanor (Knowles) story, Balthy reaches out, even creating a fake AI-generated girl to lure him into conversation. He convinces himself he’s doing something good. Then he boards a plane to Texas.
In Texas, Solomon (Butterfield) is a lost soul who lives in a trailer with his grandmother (Baker) and is desperately trying to bond with his estranged father (Bauer) by joining his pyramid scheme to sell Thursh protein powders. Solomon is “deathdealer_16”—but he’s more sad than dangerous, a lonely incel ignored by the convenience store clerk he pines after, Taylor (Baryshnikov). When Balthy’s AI persona reaches out, Solomon thinks he might finally have a shot at love. The truth, when it comes, is devastating. Yet, he clings to the real friendship he’s found with Balthy.
As their bond develops, the film sharpens its contrast: Balthy is a wealthy voyeur exploiting online tragedy for content; Solomon is a desperate outsider who doesn’t yet understand how much danger he poses to himself and others. When Solomon places a gun in Balthy’s hand, the consequences of their digital games become terrifyingly real. As Solomon faces the hopelessness of his existence, the film builds toward a climax that questions whether any of these characters truly understand the power of their actions—or their words.
First-time feature director Boyson, co-writing with Camilleri, crafts a fantastic satire that seamlessly merges absurdist comedy with gut-punch tragedy. Every character is operating under a veil of self-deception. Every motivation is murky. It’s a film about perception, performance, and the disconnect between intention and consequence in the social media age. Martell, who also serves as a producer on the film, is excellent as Balthy. He portrays this character as a teen suspended between boyhood and manhood, sincerity and self-interest. Butterfield is nearly unrecognizable as Solomon, trading his clean-cut past and youthful Hugo energy for bleached hair, a southern drawl, and a quiet menace that simmers just beneath the surface.
Equal parts tragedy and satire, Boyson is able to navigate the uncomfortable worlds that these two young men strive to find meaning in. Coming of age in a generation that is so easily manipulated by something as small as a chat feature on YouTube, there is a fear that we need to question everything and Boyson, along with co-writer Camilleri, remind us of this in a sharp, provocative tail that will leave your jaw dropped by the end as we determine if lessons are ever truly learned, despite dire circumstances.
All in all, this is a powerful film with solid performances anchoring the journey of two lost souls trying to find who they are in a world that tells them how they should be versus who they may want to be.
Click here to see an exclusive interview with editors Erin DeWitt and Nate DeYoung.
Review by Cinephile Mike
Paradise Records
⭐️⭐️⭐️
Production Companies: BobbyBoy Productions
Rating: R / Run Time: 106 minutes
Language: English
Director: Logic
Writer: Logic
Starring: Logic, Tremayne Hudson, Reed Northrup and Mary Elizabeth Kelly
“If I had done that any sooner, we’d be dead right now.”
Cooper (Logic) is at a crossroads. His dream of making Paradise Records a success is slipping away. After weathering the pandemic and paying full-time salaries to his loyal staff, the bills are mounting, and the end feels near. Now living in the back office, Cooper clings to the only life he knows, alongside his misfit team: his cousin and aspiring fashion designer T-Man (Hudson), the Lord of the Rings-obsessed nerd Tables (Northrup), and the grounded Melanie (Kelly). Their rapport is easy, their banter sharp — they live for this job, even as it falls apart around them.
As Cooper faces what might be one of his final days in business, we meet a rotating cast of eccentric customers: resident stoner Slaybo (a scene-stealing Tony Revolori), a couple of loan sharks (played by Kevin Corrigan and David Krumholtz), his money challenged Uncle Tony (also played by Logic) and his newest fling Candelabra (Pauline Dorsey) and the hilariously named Mike Hawk (Starr), giving a sense of the offbeat humor that permeates the film — which eventually takes a wild turn with an out-of-nowhere bank robbery plotline with two inept individuals (played by Nolan North and Oliver Tree).
Two time Grammy nominated rapper Logic wears multiple hats here — writer, director, star, and composer — and crafts an energetic, reference-rich ode to indie slacker films. The record store setting and ensemble dynamic recall Empire Records; the punchy, rapid-fire dialogue echoes High Fidelity; the profanity-laced, hangout vibe channels Friday; and the whole thing proudly wears Clerks-style DNA on its sleeve. These influences aren’t just surface-level — they’re baked into the soul of the film, (see the “If you plan to shoplift, let us know,” sign proudly displayed on the counter) and for fans of that era and style, it’s a nostalgic treat (right from the opening phone scene). Kevin Smith, who executive produced and edited the film, even works with Logic to craft a cheeky scene with some fun cameos that suggests Paradise Records might live somewhere in the Askewniverse.
While Logic successfully builds a world that pays tribute to these cult classics, some aspects don’t fully land. Supporting characters are thinly drawn, the abrupt third-act genre shift feels jarring, and the humor leans heavily on racially provocative jokes (including Logic’s self-described “incognegro” identity) that may alienate some audiences. Side plots also pop in and out without resolution. Still, there's something endearing about Paradise Records. It wears its influences proudly and delivers enough absurdity and heart to keep fans of the genre entertained. It’s not awards bait — but it knows that, and that’s part of the charm.
All in all, Paradise Records may prove divisive, but its passion for indie cinema is undeniable. Turn your brain off, cue up the soundtrack, and enjoy the ride.
Review by Cinephile Mike
Relay
⭐️⭐️⭐️⭐️
dis. Bleecker Street
Production Companies: Black Bear, Sigma Films and Thunder Road Pictures
Rating: R / Run Time: 112 minutes
Language: English
Director: David Mackenzie
Writer: Justin Piasecki
Starring: Riz Ahmed, Lily James, Willa Fitzgerald, Matthew Maher, Eisa Davis
and Sam Worthington
“They call you back, or they don’t.”
When a whistleblower has second thoughts, what can they do? Well, they can call Ash (Ahmed). Ash works as an intermediary between corporate whistleblowers and the companies they work for, ensuring both sides are safe and protected. After closing one case with a client, another quickly reveals itself. Sarah (James) a doctor working for a major biotech company, has uncovered a document detailing the dangerous toxicity of an agricultural product. She took a rather extensive report, and it’s landed her in a harrowing situation—she’s being followed, tapped, and harassed by a group led by Dawson (Worthington). There’s always a van outside her window. She constantly feels eyes on her. She’s referred to Ash. He engages with clients only through the Tri-State Relay Service, a phone system used to connect with the hearing impaired—allowing him to maintain total disconnection from the people he helps.
Taking on Sarah’s case, he secures copies of the documents, arranges a meetup with Sarah’s company, throw Worthington’s lackeys off course. In all his previous cases, Ash keeps a strict distance—never speaking directly with clients, always operating behind layers. But something about Sarah begins to change his usual behavior. A man with his own complicated past, Ash chooses to live in the shadows—aside from the occasional AA meeting, hinting at deeper demons. But as he gets deeper into Sarah’s case, he realizes this situation isn’t like the others. And maybe some of his past cases weren’t as resolved as he once believed. Set against the fast-paced hum of New York City, Ash must do whatever it takes to protect Sarah—even if it means stepping out from the shadows he so carefully hides behind.
In the grand tradition of Hitchcockian thrillers, Justin Piasecki’s script keeps you guessing until the final frame. He understands the power of a good redirection, crafting characters who at first seem superfluous but reveal unexpected purpose. The film also finds a strong moral center in the ambiguity of its premise: whistleblowers aim to expose wrongdoing—but Ash, in protecting both clients and corporations, helps bury that same wrongdoing. At what point does that shift from service to complicity? There are moments where the film might benefit from some restraint—especially as the narrative winds down—but it maintains enough momentum to keep you enthralled. David Mackenzie draws solid performances across the board, with Ahmed standing out. In a role that is nearly silent, his gravitas shines through. He speaks only when necessary, letting his expressive eyes and presence do the heavy lifting—a choice that becomes another clever misdirect.
All in all, this is a satisfying, tightly wound thriller that will grip you until the final moment—and leave you wondering if that’s really all there is.
Review by Cinephile Mike
Ride or Die
⭐️⭐️⭐️
Production Companies: Foxxhole Productions and Twice Told Films
Rating: NR / Run Time: 85
Language: English
Director: Josalynn Smith
Writer: Josalynn Smith and Alicia Louzoun-Heisler
Starring: Brianna Middleton, Stella Everett, Seth Gilliam, Cody Kostro,
Eisa Davis, Guinevere Turner and Ella Jay Bosco
“That’s why people like you need people like me.”
In the grand tradition of female-led road trip films like Thelma & Louise and Boys on the Side, first-time feature director Josalynn Smith expands her 2019 short into a dark, fast-moving feature. Paula (Middleton) returns from New York to her Midwestern hometown, unsure of what’s next—except that she wants to head west and pursue her dream of becoming a filmmaker. While browsing a thrift store, she bumps into Sloane (Everett), a former high school classmate and long-held crush, working behind the counter. Their reunion is pleasant… until it gets Sloane fired. Still, the two reconnect, hang out, and share an intimate moment.
After tensions with her parents boil over, Paula decides she can’t stay home. Sloane suggests they leave together and head to L.A.—Paula can make films, and Sloane can star in them. What starts as an impulsive plan quickly turns dangerous. When their car breaks down in the middle of nowhere, a simple-minded tow truck driver (Michael Kostro) demands more than just payment. Angst ensues, drugs are used, and one accidental gun discharge later, the trip becomes a runaway spiral. Hoping to stay ahead of trouble, Sloane insists that if they can just make it to Arizona, someone there owes her money. But each stop brings more chaos, and when they do arrive in Arizona, the situation only escalates—with immediate and lasting consequences.
It’s hard not to think of recent titles like Love Lies Bleeding—two women caught in desperate circumstances, clinging to each other and to the idea of escape. Smith and co-writer Louzoun-Heisler clearly have ideas they want to explore—love, desperation, trauma—but the film’s brief runtime doesn’t give enough room for the characters to truly develop. We get hints at deeper backstories, especially regarding home life, for both of our protagonists, but they remain just that: hints. Instead, we’re rushed from one harrowing situation to the next. Middleton and Everett both give strong performances (with Everett leaving the stronger impression), but their chemistry occasionally feels more functional than emotional. We’re told there’s a deep bond here, but we rarely get to feel it in a meaningful way and this is frustrating for what could have been.
Visually, the film has an edge. Arlene Muller’s cinematography leans into claustrophobia with tight close-ups inside the car, capturing the pressure-cooker feel of the road trip gone wrong. Additionally, we can see every emotion strained across the faces as there is impressive use of close-ups as well. Underscoring all of this is the increasingly intense score by Freya Berkhout. Berkhout effectively heightens the tension, growing more insistent as their circumstances unravel. Smith doesn’t shy away from the darker edges of humanity, and there’s promise in her voice—though hopefully, in future work, she’ll allow more space to build characters we can truly root for.
All in all, Ride or Die plays with familiar road trip tropes—fugitives, friendship, fleeting love—but thanks to committed performances and a tightly wound style, it still manages to make its own mark. It may not break new ground, but at around 80 minutes, it’s a ride worth taking.
Review by Cinephile Mike
She Dances
⭐️⭐️⭐️⭐️⭐️
Production Companies: Macaroni Art Productions and Wavelength
Rating: NR / Run Time: 93 minutes
Language: English
Director: Rick Gomez
Writer: Rick Gomez and Steve Zahn
Starring: Steve Zahn, Audrey Zahn, Mackenzie Ziegler, Rosemarie DeWitt,
Sonequa Martin-Green and Ethan Hawke
“That’s all you have to do, just be there for her.”
Jason (Steve Zahn) is at a loss. After the death of their son Jack, his marriage to Deb (Rosemarie DeWitt) has fallen apart, and his daughter Claire (Audrey Zahn), now living with Deb, wants nothing to do with him. Jason and his friend/partner Brian (Ethan Hawke) are preparing to sell their distillery business when he gets a call: Deb’s mother has had an accident, and Deb needs Jason to chaperone Claire to her final high school dance competition—a competition Claire has spent years preparing for. Jason is the last person Claire wants involved, but with no other option, she reluctantly agrees. Initially hesitant himself, Jason is eventually pushed into going by Deb and Brian.
He hopes it might be a chance to reconnect with Claire—only to discover he’s not just chaperoning her, but also her dance partner Cat (Maddie Ziegler). That makes any personal father-daughter bonding take a backseat. At the competition, Jason tries—awkwardly—to support his daughter, but keeps falling short and quickly becomes the butt of jokes. Meanwhile, Claire and Cat stay laser-focused on their goal, guided by their teacher Jamie (a warm and funny Sonequa Martin-Green). When Cat suffers an injury and has to head home, Jason and Claire are left alone to finish out the week. And slowly, through small shared moments and a growing mutual vulnerability, the two begin to do what they haven’t in years: talk.
Here’s the thing—on paper, this may sound like a familiar story: tragedy creates emotional distance, communication breaks down, and a final act brings reconciliation. But what sets this film apart is its gentleness. Co-written by Zahn and director Rick Gomez, the script is quietly affecting, wisely staying focused on the central relationship instead of getting lost in side plots. A key element here is the real-life chemistry between Steve Zahn and his daughter Audrey. There’s an intimacy and honesty in their scenes that can’t be faked. Their quiet moments feel lived-in and earned.
Zahn delivers a subtle, deeply moving performance—you want to reach into the screen and hug him. And Audrey Zahn, in her film debut, more than holds her own. She captures Claire’s pain and frustration with remarkable nuance, and as a trained dancer, her stage sequences are genuinely beautiful. The third act routine, especially, is a heart-stirring payoff. While the supporting cast—DeWitt, Ziegler, and Martin-Green—add warmth and balance, this is clearly the Zahn show. At a tight 93 minutes, the film knows exactly where to focus: on the fractured family unit and the delicate, unspoken work of healing.
All in all, this is a tender portrait of grief, growth, and connection—set against the unlikely backdrop of a dance competition—and a reminder that even the smallest gestures can leave lasting marks.
Review by Cinephile Mike
The Sixth Borough
⭐️⭐️⭐️⭐️
Production Company: Sweet Relief Productions
Rating: NR / Run Time: 70
Language: English
Director: Jason Pollard
Writer: Ben Sozanski
Starring: Parrish Smith, Rakim, Chuck D, Method Man, Bill Stephney, Keith Shockley
and Prince Paul
“This is Long Island, a place where things have happened, are happening, are going to happen.”
As a proud resident of the sixth borough myself, Jason Pollard’s new documentary The Sixth Borough presents a side of my hometown I had some knowledge of—but no idea just how influential it really was. Long Island, New York—the unofficial addition to the classic five of Manhattan, Brooklyn, the Bronx, Queens, and Staten Island—was a vital incubator of hip hop music in the 1980s and 1990s.
In the 1970s, many Black families left more troubled parts of the city and moved into predominantly white, supposedly unsegregated Long Island suburbs. It wasn’t a utopia, as one subject puts it, but it offered more space to explore and be creative—and that’s exactly what happened. One interviewee even likens the shift in Hempstead’s population to the character Sticks from Happy Days. From towns like Amityville, Hempstead, and Freeport, friendships were forged in local high schools and later at Adelphi University, home to WBAU—the default Black music radio station on Long Island. Out of these connections came the likes of Public Enemy, De La Soul, Method Man, Rakim and EPMD. From humble beginnings in DJ collectives to explosive group and solo careers, Pollard explores their highs—and some lows.
Working with writer and editor Sozanski, Pollard mixes archival material, rare performance footage, and intimate interviews, some conducted while walking the halls of the very schools these legends once roamed. It gives the film a grounded, cinematic feel, and moments like watching De La Soul’s POS and Maseo walk through Amityville High School are especially affecting. Their reflections—on their bond, their beginnings, even how they had to push against cultural biases just to get a name like De La Soul taken seriously—add unexpected emotional weight. There’s a tenderness beneath the swagger.
While everyone gets a turn to share their story, a few artists naturally dominate, and at a brief 70 minutes, you can’t help but feel there's more to be told. The Sixth Borough is a fascinating, overdue look at a piece of hip hop history often overlooked—and it left me both informed and wishing for more.
All in all, hip hop fans will dig the deep cuts, my fellow Long Island natives may swell with pride, and newcomers to hip hop might just find themselves diving into a new Spotify playlist by the time the credits roll.
Review by Cinephile Mike
Twinless
⭐️⭐️⭐️
Production Companies: Permut Presentations and Three Point Capital
Rating: NR / Run Time: 100 minutes
Language: English
Director: James Sweeney
Writer: James Sweeney
Starring: Dylan O’Brien, James Sweeney, Aisling Franciosi
“I guess that means you and I get to be grocery buddies.”
Roman (O’Brien) and Dennis (Sweeney) meet at a group counseling session for people who have lost a twin. They’re opposites in many ways: Roman is straight, soft-spoken, and self-deprecating — “not the brightest tool in the shed,” by his own admission. His late brother Rocky, also played by O’Brien, was the bold, outgoing half, and openly gay. Dennis, meanwhile, is sharp-tongued and flamboyant, mourning the loss of his straight, more charismatic twin Dean. Despite their differences, the two bond quickly and form a co-dependent friendship — going to hockey games, grocery shopping, and trying to help each other manage their grief.
Roman shares that the tragedy has deepened a longstanding rift with his mother Lisa (an underused Graham), while Dennis insists he understands. The friendship blossoms, and their lives begin to entwine to the point of necessity while each finds a calmness in the other. However, nothing good here can last. Cracks start to form. Roman begins dating Dennis’ co-worker Marcie (Franciosi), and it turns out she knows more about Dennis — and his connection to Rocky — than he initially let on.
Without spoiling too much, it becomes clear that Dennis hasn’t been entirely honest. Flashbacks reveal a prior encounter between Dennis and Rocky, which complicates the seemingly chance connection he shares with Roman. As secrets surface and relationships fray, Roman — already overwhelmed by loss — makes one thing clear: if he ever found out who was with Rocky when he died, there would be consequences. That possibility hangs over the latter half of the film like a storm cloud, heightening the tension between the new friends until some truths become known.
O’Brien delivers a standout performance, fully inhabiting two distinct characters in Rocky and Roman. His transformation — physically and emotionally — between the two is subtle yet striking, making the illusion of twins entirely believable. Lauren Graham, best known as Lorelai Gilmore, gets a rare chance to play against that mom who’d rather be your best friend. While her screen time is limited, she sheds the fast-talking charm for something heavier, bringing a stern and grounded presence that lingers even when she’s not on screen, making you wish she was there more.
The film is a tightrope walk between emotional drama and something far darker — almost sociological thriller territory. Some may find echoes of Dear Evan Hansen in its portrayal of grief and deception, particularly in how Dennis weaponizes vulnerability. Still, Sweeney (following up his 2019 debut Straight Up) shows a flair for writing complex, fast-talking characters, even when their actions veer into uncomfortable territory. His commitment to the messiness of grief and identity gives the film its sting, though Dennis’ manipulations may be too much for some audiences.
All in all, Twinless is an emotionally sharp and sometimes unsettling look at loss, identity, and the lies we tell to feel connected. It won’t be for everyone, but for fans of dark humor, complicated grief stories, and strong performances, there’s a lot to unpack here.
Review by Cinephile Mike
The Wolf, the Fox and the Leopard
⭐️⭐️⭐️
Production Companies: Deal Productions and Lemming Film
Rating: NR / Run Time: 124 minutes
Language: English and Japanese with English Subtitles
Director: David Verbeek
Writer: David Verbeek
Starring: Jessica Reynolds, Nicholas Pinnock, Marie Jung, Naomi Kawase
and Lucas Lynggaard Tønnesen
“She was, perhaps for the first time, not alone.”
Set in a not-so-distant future, The Wolf, the Fox and the Leopard opens deep in the woods. Dylan (Tønnesen), a solitary hiker in search of meaning, is violently attacked by a group of wolves. In his final moments, he sees something bewildering—a woman (Reynolds), naked, covered in mud, and crawling on all fours like an animal. A search party is dispatched, and the woman—later referred to as Wolf—is captured and brought to a medical facility. Seemingly raised by wolves, she doesn’t speak, only growls, and moves with animalistic behavior.
Under the guidance of Dr. Hana (Kawase), some initial communication is established. But just as progress begins, two masked individuals—Fox (Jung) and Leopard (Pinnock)—break into the facility and abduct her. They take her to their off-shore hideout, a derelict oil rig referred to by our narrator as the Sea Palace. The two are doomsayers, climate cultists convinced the world onshore is doomed. They believe Wolf can lead them into a new era and rename her “One,” inducting her into their apocalyptic worldview. As One adapts to her new environment, she encounters a captive who challenges the beliefs she's been taught. Eventually, through a bizarre sequence of events, she returns to civilization—the so-called dead world. There, renamed once more, she begins to forge a new identity. However, what she thought she left behind resurfaces, forcing her to determine who she truly is.
Themes of nature versus nurture are at the forefront of this intriguing film by writer/director David Verbeek. From the outset, he subverts expectations with a bold narrative structure, dividing the film into chapters—Prologue, Epilogue, and three central chapters—all titled after his protagonist in her different phases. This framing allows Kneecap breakout Jessica Reynolds to deliver a striking, almost wordless performance. Through physicality and subtle expression, she shapes a character in constant transformation.
Visually, the film is stunning. Cinematographer Frank van den Eeden lends each environment its own mood and texture—from the rawness of the forest to the eerie industrial decay of the Sea Palace, and the hyper-saturation of city life. Each setting reflects the shifting states of the character, drawing the viewer deeper into her evolving identity. Verbeek’s film is ultimately about reinvention—how much of who we are is learned, inherited, or chosen.
All in all, while it runs a bit long in stretches and leaves some narrative gaps that may frustrate some viewers, it’s a thought-provoking exploration of identity in a crumbling world that will besure to spark conversation.
Review by Cinephile Mike
Awaiting the Lightning Bolt
⭐️⭐️⭐️⭐️⭐️
Production Company: Aardman Academy
Rating: NR / Run Time: 4 minutes
Director: Marco Russo
Writer: Marco Russo
Starring: Lupo Misrach and Lorenzo Ferrero
In early Renaissance Italy, an elderly man sets out on a singular, almost mythical quest—to catch lightning in a jar. He has planned carefully, with intention and urgency. The title plate hints at a deeper mystery: the lightning is destined for a jar, and the jar for a heart. But whose heart? And why? As we follow him, he will combine imagination and science as we have seen with the likes of DaVinci and Benjamin Franklin as he relentlessly sets off and faces each hardship along the way. In his second short film, Marco Russo manages to take the viewer on a surprisingly rich emotional journey in just four minutes, from highs to lows and back again. Given that this piece was produced while studying at the Aardman Academy, it is no surprise that it borrows from the style of Shaun the Sheep and his small cast of characters will endear themselves to your heart as quick as Shaun, the Framer and Bitzer did. Composer Matt Loveridge’s score enhances the emotional depth of the film, perfectly syncing with Russo’s narrative beats. Together, this creative team subverts expectations in delightful ways. All in all, if you are a stop-motion fan, especially in the Aardman tradition, you will enjoy this short and be inspired to run out and catch your own lightning bolt.
Click here to see an exclusive interview with creator Marco Russo.
Review by Cinephile Mike
God’s Lonely Magician
⭐️⭐️⭐️⭐️
Production Companies: Deli Flower Films, Eight Flow Studio and REDINS
Rating: NR / Run Time: 14 minutes
Language: English
Director: Walker Higgins
Writer(s): Walker Higgins
Starring: Becca Blackwell, Ben Groh, Janice Amaya, Ana Stan, Matthew Christian, and Zach Scott
“The only thing I like about clowns is that they make me feel a little less pathetic.”
Paul (Blackwell) is not your run of the mill magician. He actually has the magic in him. His hands are magical. When he was younger, he begged God to be special, and his wish was granted. Are you going to be his volunteer? Maybe he'll pull the ring your grandmother was buried with from behind your ear. it’ll be a never-ending ribbon to wrap around a dozen oak trees. From kid party to kid party, it's always the same. While the kids are being entertained, the dads stand outside swigging beers and complaining about their kids while the moms numb the pain with glass after glass of wine. Although sometimes - sometimes - Paul is able to get more than just a little tip from his patrons, regardless of who they are. He’s searching. For a replacement for his lost love. For a spot of meaning in a troubling world. Who could that be? Higgins structures an fascinating short film that subverts expectations as we watch Paul drift through a series of surreal, touching, and strange interactions at just one party. Blackwell presents a heartfelt variant of the Everyperson that you can't help but root for. Equal parts laugh-out loud funny and bizarrely cringe-worthy, Higgins keeps you guessing right up to the final frame what Paul’s hands will do next. All in all, this absurdist comedy casts its spell and leaves you believing that things can, maybe, get better.
Review by Cinephile Mike
The Hicks Happy Hour
⭐️⭐️⭐️⭐️
Production Company: American Film Institute
Rating: NR / Run Time: 16 minutes
Language: English
Director: Kate McCarthy
Writer(s): Michael Kefeyalew and Kate McCarthy
Starring: Phoebe Kuhlman, Ella Victoria, Charley Rowan McCain, Tristan Wilder Hallett, David Zaugh, Andre Hotchko and Adam H. Marchand
“Without dad, we are the ICKS.”
In the spirit of 1960s and ’70s variety shows—think The Sonny and Cher Show, The Monkees, or even the religiously charged PTL Club with Jim and Tammy Faye Bakker—we now have (the fictional) The Hicks Happy Hour. This wholesome, weekly family showcase features parents Jill (Kuhlman) and Richard (Marchand), along with their children Susan (Victoria), Val (McCain), and Davey (Hallett), as they bring smiles to audiences with heartfelt family harmonies. But today, something’s off—Richard is missing. With his absence threatening everything from merchandising deals to the renewal of a second season, the family scrambles to hold it all together under the watchful eye of their boss George (Hotchko).Jill, doing her best to salvage the show, invites guest star Gene Camden (Zaugh) onstage for a duet—hinting that there may be more going on behind the scenes than anyone realizes. As the stage lights shine bright, it becomes clear they’re masking something far darker in the wings. Will Richard return? And what toll does this televised fantasy take on the family behind it? McCarthy and Kefeyalew deliver a fantastic glimpse into authentic early 1970s style of TV programming capturing its kitschy charm while also exposing its undercurrents of misogyny and emotional strain. A fast paced 16 minutes, we see the self-destructive narrative of what fame can do to a family. Ariano Treviño Angelone’s cinematography playfully contrasts the modern widescreen look of behind-the-scenes drama with the nostalgic, rounded edges of 4:3 TV during musical numbers, evoking the sweet innocence of the era. All in all, a delightful, if too brief (I would have liked to seen what happened next), look at the behind the scenes of must see TV.
Click here to see an exclusive interview with co-writer and director Kate McCarthy.
Review by Cinephile Mike
How I Learned to Die
⭐️⭐️⭐️⭐️
Language: English
Rating: NR / Run Time: 19 minutes
Director: Manya Glassman
Writer: Manya Glassman
Starring: Lola Darling, Rebecca Gibel, John Hillner, Aijia Tang and James Wert
“Let me provide some context.”
If you had a 60% chance of dying within four days, what would you do? This is the question on Iris' (Darling) mind. As a result of a crippling tumor on her third vertebra, she spends her days in a neck brace, pondering what her teenage self should accomplish. She keeps a list in her notebook. Among those things: first kiss, get drunk, drive a car without a license...all honest firsts for a teenager looking towards the end. As she tries to check items off, new ones keep getting added as they come to her. Providing comfort, and a list assist, is her best friend Kara (Tang), who, for a fellow teen, asks some surprisingly deep, reflective questions. There’s also her friend Drew (Wert), who helps turn a few of those list items into reality. Not providing quite as much (at least in Iris’ eyes) are her mother, Rachel (Gibel) and father, Sam (Hillner), who are finding different ways to process what is happening to their daughter. In the midst of all this, Glassman's script is a pleasant, if somewhat mixed bag. It opens with a great break-the-fourth-wall moment, and closes with a satisfying ending — well, as satisfying as it can be given the circumstances. The pacing in the middle wobbles a bit, but for a twenty-minute short, it rights itself when it counts. The standout here is Darling. Her energy is infectious, grounding the performance with warmth and heart. In her acting debut, she brings a bubbly presence that wouldn’t feel out of place in a primetime sitcom. All in all, this is a touching dramedy with real heart and reminds us that despite our age, while we all process life’s challenges differently, we still need to live.
Review by Cinephile Mike
Terror Night
⭐️⭐️⭐️⭐️
Production Company: Lampray
Rating: NR / Run Time: 13 minutes
Language: Swedish
Director: Jakob Arevärn
Writer: Jakob Arevärn
Starring: Edith Vallo, Toft Svedjeland and Sven Björklund
“If she can’t sleep, I can’t sleep either.”
In a small Swedish town, there’s a major complaint about the "kids" and and the loud music blaring from their A-traktors. It’s keeping residents up at night, and despite police involvement, nothing seems to change. This is the news report we are provided as we meet Josefine (Vallo) who is upgrading her own jalopy A-traktor to having some of the best bass in the area. Once completed, she goes for a ride with her friend and while hanging out, she spots Billy (Svedjeland), her crush. In a fun twist, she picks him up and takes him for a ride that’s all about that bass - especially after he’s blown away by her speaker work. They head into the countryside and land at a secluded spot to have some fun. But just as things are heating up, a strange light flashes into the car. It seems to vanish… until it comes back. It seems to vanish, and Josefine and Billy pick up where they left off…until it comes back and out of nowhere appears Hägglund (Björklund), who warns them that neither he nor his wife can sleep, and demands they turn the music down. Neglecting the warning, Josefine shrugs him off, despite Billy’s warning, and keeps the music going. Then all hell breaks loose. Terror Night cleverly plays with classic horror tropes to build a unique and entertaining duo at its center. It subverts a few expectations, delivering a pulpy love letter to the horror flicks of a bygone era. If there’s a flaw, it’s that a few lingering questions never quite get answered, which may leave some viewers a little disoriented. All in all, this is a fun little horrific romp in the woods that would benefit from a fuller, more expanded story.
Review by Cinephile Mike
Villa Encanto
⭐️⭐️⭐️⭐️⭐️
PProduction Companies: Wizard Cat and Driven Equation
Rating: NR / Run Time: 16 minutes
Director: Joel Perez
Writer(s): Joel Perez and Sol Marina Crespo
Starring: Josh Segarra, Adriana Medina Santiago and Sol Marina Crespo
“There’s nothing for us there anymore, not without her.”
Standing on stage, preparing for her big debut, Teresa (Santiago) is a bundle of nerves as she hopes to fill her mother’s shoes and fill the dance hall of the Villa Encanto with her voice. Her father Pablo (Segarra), the bandleader, is pushing her—and she can’t take it. Storming off and reflecting on the summer she was supposed to have, she confides in the no-nonsense but compassionate Lela (Crespo), the owner of Villa Encanto, who shares her own background and challenges Teresa to think about why she’s here and what truly drives her. Teresa must decide: be the teenager she wants to be, or the young woman her family needs her to be. In its brief 16 minutes, Pérez delivers an emotionally resonant look at a family navigating grief and how it can redirect our life’s plans. The father-daughter chemistry between Segarra and Santiago is grounded with a wonderful realism that earns every emotion played across the screen. Set in the 1960s, the film serves as a love letter to the historic Puerto Rican villa resorts that once filled the Catskills. Perez’s production team—production designer Diggle and costume designer Laura Cristina Ortiz—lean into their theatre backgrounds to fill the screen with rich, authentic imagery that beautifully evokes the era. With its tenderly crafted script, the vibe of the time is perfectly captured through joyful musical numbers composed by Jaime Lozano with lyrics co-written with Perez. The story is so inviting that when the credits roll, you’ll wish you had just a little more time with these characters. All in all, this vibrant short leaves you both moved and dancing along to its joyful score.
Click here to see an exclusive interview with co-writer and director Joel Perez.
Review by Cinephile Mike