Movie and TV Reviews

SXSW Film Festival Spotlight

Demi Lovato: Dancing With the Devil (Photo courtesy of OBB Media)
The Fallout (Photo by Kristen Correll)
Hysterical (Photo courtesy of FX)
Jakob’s Wife (Photo courtesy of RLJE Films and Shudder)
Tom Petty, Somewhere You Feel Free (Photo courtesy of Tom Petty Legacy, LLC/Warner Music Group)
Witch Hunt (Photo courtesy of Global Screen/Fearious)

Reviews for New Movies Released March 5 – April 16, 2021

The Affair (Photo courtesy of Vertical Entertainment)
The Arbors (Photo courtesy of Gravitas Ventures)
Boogie (Photo by David Giesbrecht/Focus Features)
City of Lies (Photo courtesy of Saban Films)
Come True (Photo courtesy of IFC Films/IFC Midnight)
Coming 2 America (Photo by Quantrell D. Colbert/Paramount Pictures/Amazon Prime Video)
The Courier (Photo by Liam Daniel/Lionsgate/Roadside Attractions)
Dark Web: Cicada 3301 (Photo courtesy of Lionsgate)
The Devil Below (Photo courtesy of Vertical Entertainment)
Enforcement (Photo courtesy of Magnet Releasing)
Enhanced (Photo courtesy of Vertical Entertainment)
Godzilla vs. Kong (Photo courtesy of Warner Bros. Pictures and Legendary Pictures)
Gunda (Photo courtesy of Neon)
Long Weekend (Photo courtesy of Sony Pictures)
Martha: A Picture Story (Photo by Michael Latham)
My Salinger Year (Photo by Philippe Bosse/IFC Films)
Nina Wu (Photo courtesy of Film Movement)
Nobody (Photo by Allen Fraser/Universal Pictures)
Quo Vadis, Aida? (Photo courtesy of Super LTD)
Raya and the Last Dragon (Image courtesy of Walt Disney Animation Studios)
The Seventh Day (Photo courtesy of Vertical Entertainment)
Six Minutes to Midnight (Photo courtesy of IFC Films)
The SpongeBob Movie: Sponge on the Run (Image courtesy of Paramount Animation)
Stray (Photo courtesy of Magnolia Pictures)
The Stylist (Photo courtesy of Method Media/Sixx Tape Productions)
The Truffle Hunters (Photo by Michael Dweck and Gregory Kershaw/Sony Pictures Classics)
Trust (Photo courtesy of Vertical Entertainment)
Voyagers (Photo courtesy of Lionsgate)
Wojnarowicz (Photo courtesy of Kino Lorber)
Zack Snyder’s Justice League (Photo courtesy of HBO Max/Warner Bros. Pictures)

Complete List of Reviews

1BR — horror

2/1 — drama

2 Graves in the Desert — drama

2 Hearts — drama

2 Minutes of Fame — comedy

5 Years Apart — comedy

9to5: The Story of a Movement — documentary

12 Hour Shift — horror

17 Blocks — documentary

37 Seconds — drama

76 Days — documentary

The 420 Movie (2020) — comedy

2040 — documentary

7500 — drama

Aamis — drama

Abe — drama

Advocate — documentary

The Affair (2021) (formerly titled The Glass Room) — drama

After Class (formerly titled Safe Spaces) — comedy/drama

After Parkland — documentary

After Truth: Disinformation and the Cost of Fake News — documentary

AKA Jane Roe — documentary

Algorithm: Bliss — sci-fi/horror

All Day and a Night — drama

All I Can Say — documentary

All In: The Fight for Democracy — documentary

All My Life — drama

All Roads to Pearla (formerly titled Sleeping in Plastic) — drama

Almost Love (also titled Sell By) — comedy/drama

Alone (2020) (starring Jules Willcox) — horror

Alone (2020) (starring Tyler Posey) — horror

Amazing Grace — documentary

An American Pickle — comedy

American Street Kid — documentary

American Woman (2020) — drama

Ammonite — drama

Amulet — horror

And Then We Danced — drama

Antebellum — horror

Anthony — drama

Apocalypse ’45 — documentary

The Apollo — documentary

The Arbors — sci-fi/horror

The Argument — comedy

Artemis Fowl — fantasy

The Artist’s Wife — drama

Ask for Jane — drama

Ask No Questions — documentary

The Assistant — drama

At the Heart of Gold: Inside the USA Gymnastics Scandal — documentary

Athlete A — documentary

Attack of the Murder Hornets — documentary

Baby God — documentary

Babysplitters — comedy

Babyteeth — drama

Bacurau — drama

Bad Boys for Life — action

Bad Education (2020) — drama

Bad Therapy (formerly titled Judy Small) — comedy/drama

Banana Split — comedy

Banksy and the Rise of Outlaw Art — documentary

Barb & Star Go to Vista Del Mar — comedy

Beanpole — drama

Beastie Boys Story — documentary

Becoming — documentary

Behind You — horror

Beneath Us — horror

Big Time Adolescence — comedy/drama

The Big Ugly — drama

Billie (2020) — documentary

Bill & Ted Face the Music — sci-fi/comedy

The Binge — comedy

Birds of Prey (And the Fantabulous Emancipation of One Harley Quinn) — action

Black Bear — drama

Blackbird (2020) — drama

Black Box (2020) — horror

Black Is King — musical

Black Magic for White Boys — comedy

Blessed Child — documentary

Blithe Spirit (2021) — comedy

Blood and Money — drama

Blood on Her Name — drama

Bloodshot (2020) — sci-fi/action

Bloody Hell — horror

Blow the Man Down — drama

Blue Story — drama

Blumhouse’s Fantasy Island — horror

Body Cam — horror

Boogie — drama

The Booksellers — documentary

Borat Subsequent Moviefilm — comedy

The Boys (first episode) — action

Brahms: The Boy II — horror

Breaking Fast — comedy

Breaking News in Yuba County — comedy

Breslin and Hamill: Deadline Artists — documentary

The Broken Hearts Gallery — comedy

Brothers by Blood (formerly titled The Sound of Philadelphia) — drama

Browse — drama

Buffaloed — comedy

Bully. Coward. Victim. The Story of Roy Cohn — documentary

Burden (2020) — drama

Burning Cane — drama

Burn It All — drama

The Burnt Orange Heresy — drama

Cactus Jack — horror

Cagefighter — drama

Calendar Girl — documentary

The Call of the Wild (2020) — live-action/animation

A Call to Spy — drama

Call Your Mother — documentary

Cane River — drama

Capone — drama

Carmilla — drama

Castle in the Ground — drama

Centigrade — drama

Changing the Game — documentary

Chasing the Present — documentary

Chick Fight — comedy

Children of the Sea — animation

Chop Chop — horror

Circus of Books — documentary

City of Lies — drama

The Clearing (2020) — horror

Clementine — drama

The Climb (2020) — comedy/drama

Close Encounters of the Fifth Kind: Contact Has Begun — documentary

Clover — drama

Coachella: 20 Years in the Desert — documentary

CODA — comedy/drama

Coded Bias (formerly titled Code for Bias) — documentary

Coffee & Kareem — comedy

Collective — documentary

Color Out of Space — sci-fi/horror

Come as You Are (2020)  — comedy

Come Play — horror

Come to Daddy — horror

Come True — sci-fi/drama

Coming 2 America — comedy

Console Wars — documentary

The Cordillera of Dreams — documentary

Count Basie: Through His Own Eyes — documentary

The Courier (2021) (formerly titled Ironbark) — drama

The Craft: Legacy — horror

Created Equal: Clarence Thomas in His Own Words — documentary

Creem: America’s Only Rock’n’Roll Magazine — documentary

Crip Camp: A Disability Revolution — documentary

Crisis (2021) — drama

Critical Thinking — drama

Crock of Gold: A Few Rounds With Shane MacGowan — documentary

The Croods: A New Age — animation

Crown Vic — drama

CRSHD — comedy

The Curse of Audrey Earnshaw — horror

Cut Throat City — drama

Da 5 Bloods — drama

Daddy Issues (2020) — comedy

Dads — documentary

Dangerous Lies — drama

Dara of Jasenovac — drama

The Dark Divide — drama

Dark Web: Cicada 3301 — action/comedy

Dave Not Coming Back — documentary

A Day in the Life of America — documentary

Days of Rage: The Rolling Stones’ Road to Altamont — documentary

Days of the Whale — drama

A Deadly Legend — horror

Dear Santa — documentary

Decade of Fire — documentary

The Deeper You Dig — horror

The Delicacy — documentary

Demi Lovato: Dancing With the Devil — documentary

Denise Ho — Becoming the Song — documentary

Desolation Center — documentary

Desperados — comedy

The Devil Below (formerly titled Shookum Hills) — horror

Devil’s Night: Dawn of the Nain Rouge — horror

Devil’s Pie – D’Angelo — documentary

Diana Kennedy: Nothing Fancy — documentary

Disappearance at Clifton Hill — drama

Disclosure (2020) — documentary

Diving With Dolphins — documentary

The Dog Doc — documentary

Dolittle — live-action/animation

Dolphin Island — drama

Dolphin Reef — documentary

Do Not Reply — horror

Don’t Look Back (2020) (formerly titled Good Samaritan) — horror

The Doorman (2020) — action

Dosed — documentary

Downhill — comedy

Dreamland (2020) (starring Margot Robbie) — drama

Driven to Abstraction — documentary

Driveways — drama

Driving While Black: Race, Space and Mobility in America — documentary

Duty Free — documentary

Easy Does It — comedy

Elephant (2020) — documentary

Ella Fitzgerald: Just One of Those Things — documentary

Embattled — drama

Emma (2020) — comedy/drama

The Emoji Story (formerly titled Picture Character) — documentary

End of Sentence — drama

Enforcement (formerly titled Shorta) — drama

Enhanced (2021) (also titled Mutant Outcasts) — sci-fi/action

Enola Holmes —drama

Entwined (2020) — horror

Epicentro — documentary

The Etruscan Smile (also titled Rory’s Way) — drama

Eurovision Song Contest: The Story of Fire Saga — comedy

Evil Eye (2020) — horror

Exit Plan — drama

Extraction (2020) — action

Falling (2021) — drama

A Fall From Grace — drama

The Fallout — drama

Farewell Amor — drama

Fatal Affair (2020) — drama

Fatale — drama

The Father (2021) — drama

Fatima (2020) — drama

Fatman — comedy

Fear of Rain — horror

The Fight (2020) — documentary

First Cow — drama

Flipped (2020) — comedy

Force of Nature (2020) — action

For They Know Not What They Do — documentary

The Forty-Year-Old Version — comedy

Four Kids and It — fantasy

Framing John DeLorean — documentary

Freaky — horror

French Exit — comedy/drama

Friendsgiving — comedy

From the Vine — comedy/drama

Game of Death (2020) — horror

Ganden: A Joyful Land — documentary

The Garden Left Behind — drama

The Gasoline Thieves — drama

Gay Chorus Deep South — documentary

The Gentlemen — action

Get Duked! (formerly titled Boyz in the Wood) — comedy

Get Gone — horror

The Ghost of Peter Sellers — documentary

A Girl From Mogadishu — drama

A Girl Missing — drama

A Glitch in the Matrix — documentary

Godzilla vs. Kong — action

The Go-Go’s — documentary

Goldie — drama

Good Posture — comedy

Gordon Lightfoot: If You Could Read My Mind — documentary

Greed — comedy/drama

Greenland — sci-fi/action

Gretel & Hansel — horror

Greyhound — drama

The Grudge (2020) — horror

Guest of Honour — drama

Gunda — documentary

Half Brothers — comedy

The Half of It — comedy

Halloween Party (2020) — horror

Happiest Season — comedy

Have a Good Trip: Adventures in Psychedelics — documentary

Haymaker (2021) — drama

Healing From Hate: Battle for the Soul of a Nation — documentary

He Dreams of Giants — documentary

Helmut Newton: The Bad and the Beautiful — documentary

Herself — drama

The High Note — comedy/drama

His House — horror

Holly Slept Over — comedy

Honest Thief — action

Hooking Up (2020) — comedy

Hope Gap — drama

Horse Girl — sci-fi/drama

The Host (2020) — horror

Hosts — horror

House of Hummingbird — drama

How to Build a Girl — comedy

How to Fix a Primary — documentary

Human Capital — drama

Human Nature (2020) — documentary

The Hunt — horror

Hunter Hunter — horror

Hysterical (2021) — documentary

I Am Human — documentary

I Am Somebody’s Child: The Regina Louise Story — drama

I Am Vengeance: Retaliation — action

If I Can’t Have You: The Jodi Arias Story — documentary

I Hate New York — documentary

I Hate the Man in My Basement — drama

I’m Gonna Make You Love Me — documentary

Impractical Jokers: The Movie — comedy

I’m Thinking of Ending Things — drama

I’m Your Woman — drama

Incitement — drama

Infamous (2020) — drama

The Infiltrators — docudrama

The Informer (2020) — drama

Initials SG — drama

Inna De Yard: The Soul of Jamaica — documentary

Instaband — documentary

In the Footsteps of Elephant — documentary

The Invisible Man (2020) — horror

Iron Mask (formerly titled The Mystery of the Dragon Seal) — action

Irresistible (2020) — comedy

I Still Believe — drama

It Takes a Lunatic — documentary

I Used to Go Here — comedy/drama

I’ve Got Issues — comedy

I Want My MTV — documentary

I Will Make You Mine — drama

Jakob’s Wife — horror

Jay Myself — documentary

Jingle Jangle: A Christmas Journey — musical

John Henry — action

John Lewis: Good Trouble — documentary

JonBenét Ramsey: What Really Happened? — documentary

Judas and the Black Messiah (formerly titled Jesus Was My Homeboy) — drama

Judy & Punch — drama

Jungleland (2020) — drama

Kajillionaire — comedy/drama

Kat and the Band — comedy

Kaye Ballard: The Show Goes On! — documentary

Kill Chain: The Cyber War on America’s Elections — documentary

Killer Therapy — horror

The Kill Team (2019) — drama

Kill the Monsters — drama

The Kindness of Strangers — drama

Kindred — drama

The King of Staten Island — comedy/drama

La Llorona — horror

Land (2021) — drama

The Last Full Measure — drama

The Last Vermeer — drama

The Lawyer — drama

Leftover Women — documentary

Les Misérables (2019) — drama

Let Him Go — drama

The Lie (2020) — drama

Life in a Day 2020 — documentary

Like a Boss — comedy

Limerence — comedy

Linda Ronstadt: The Sound of My Voice — documentary

Lingua Franca — drama

Little Fish (2021) — sci-fi/drama

The Little Things (2021) — drama

The Lodge — horror

The Longest Wave — documentary

Long Weekend (2021) — sci-fi/drama

Lost Bayou — drama

Lost Girls — drama

Lost Transmissions — drama

Los Últimos Frikis — documentary

Love and Monsters — sci-fi/horror/action

The Lovebirds — comedy

Love Sarah — comedy/drama

Love Wedding Repeat — comedy

Low Tide — drama

Lucky Grandma — action

Luz: The Flower of Evil — horror

LX 2048 — sci-fi

Lydia Lunch: The War Is Never Over — documentary

Mai Khoi & the Dissidents — documentary

The Main Event (2020) — action

Making Waves: The Art of Cinematic Sound— documentary

Mallory (2021) — documentary

Mank — drama

Ma Rainey’s Black Bottom — drama

The Marksman (2021) — action

Martha: A Picture Story — documentary

Martin Margiela: In His Own Words — documentary

Mass (2021) — drama

Maurice Hines: Bring Them Back — documentary

The Mauritanian — drama

Mighty Ira — documentary

Mighty Oak — drama

Military Wives — comedy/drama

The Mimic (2021) — comedy

Minari — drama

The Mindfulness Movement — documentary

Misbehaviour — drama

Miss Americana — documentary

Miss Juneteenth — drama

MLK/FBI — documentary

Monster Hunter — sci-fi/action

Mortal — sci-fi/action

Most Dangerous Game — action

Most Wanted (formerly titled Target Number One) — drama

Mr. Soul! — documentary

Mucho Mucho Amor: The Legend of Walter Mercado — documentary

Mulan (2020) — action

Murder in the Front Row: The San Francisco Bay Area Thrash Metal Story — documentary

Murder to Mercy: The Cyntoia Brown Story — documentary

My Boyfriend’s Meds — comedy

My Dad’s Christmas Date — comedy/drama

My Darling Vivian — documentary

My Salinger Year — drama

My Spy — comedy

Mystify: Michael Hutchence — documentary

Natalie Wood: What Remains Behind — documentary

The Nest (2020) — drama

Never Rarely Sometimes Always — drama

Never Too Late (2020) — comedy

News of the World — drama

A Nice Girl Like You — comedy

The Night (2021) — horror

Night of the Kings — drama

Nina Wu — drama

Noah Land — drama

Nobody (2021) — action

Nocturne (2020) — horror

Nomad: In the Footsteps of Bruce Chatwin — documentary

Nomadland — drama

No Man’s Land (2021) — drama

No Small Matter — documentary

Notturno — documentary

The Old Guard — action

Olympia — documentary

Olympic Dreams — comedy/drama

Once Upon a River — drama

Once Were Brothers: Robbie Robertson and The Band — documentary

One Hour Outcall — drama

One Night in Bangkok — drama

One Night in Miami… — drama

Only — sci-fi/drama

On the Record — documentary

On the Rocks (2020) — drama

On the Trail: Inside the 2020 Primaries — documentary

Onward — animation

Open — drama

Ordinary Love — drama

Origin of the Species — documentary

Otherhood — comedy

The Other Lamb — drama

Other Music — documentary

Ottolenghi and the Cakes of Versailles — documentary

Our Friend (formerly titled The Friend) — drama

Our Time Machine — documentary

Out of Blue — drama

The Outpost — drama

Out Stealing Horses — drama

The Painter and the Thief — documentary

Palm Springs — comedy

Parallel (2020) — sci-fi/drama

Paranormal Prison — horror

Parkland Rising — documentary

A Patient Man — drama

The Personal History of David Copperfield — comedy/drama

The Photograph — drama

The Place of No Words — drama

The Planters — comedy

Plucked — documentary

Plus One (2019) — comedy

The Pollinators — documentary

Pornstar Pandemic: The Guys — documentary

Possessor Uncut — sci-fi/horror

Premature (2020) — drama

The Prey (2020) — action

The Price of Desire — drama

Project Power — sci-fi/action

Promising Young Woman — comedy/drama

Proxima — sci-fi/drama

P.S. Burn This Letter Please — documentary

Public Enemy Number One — documentary

PVT CHAT — drama

The Quiet One — documentary

Quo Vadis, Aida? — drama

The Racer — drama

Radioactive — drama

A Rainy Day in New York — comedy

Raising Buchanan — comedy

Raya and the Last Dragon — animation

Rebuilding Paradise — documentary

Recorder: The Marion Stokes Project — documentary

Red Penguins — documentary

Red Shoes and the Seven Dwarfs — animation

A Regular Woman — drama

Relic — horror

The Rental (2020) — horror

Rent-A-Pal — horror

The Rescue List — documentary

Resistance (2020) — drama

Retaliation (formerly titled Romans) — drama

Rewind — documentary

The Rhythm Section — action

The Ride (2020) — drama

Ride Like a Girl — drama

The Right One — comedy

Rita Moreno: Just a Girl Who Decided to Go For It — documentary

River City Drumbeat — documentary

Roald Dahl’s The Witches — horror/fantasy

Robert the Bruce — drama

Run (2020) — drama

Runner — documentary

Run With the Hunted — drama

Ruth: Justice Ginsburg in Her Own Words — documentary

Safer at Home — drama

Saint Frances — comedy/drama

Saint Maud — horror

Save Yourselves! — sci-fi/horror/comedy

The Scheme (2020) — documentary

Scheme Birds — documentary

Scoob! — animation

Scream, Queen! My Nightmare on Elm Street — documentary

Screened Out — documentary

Seahorse: The Dad Who Gave Birth (formerly titled Seahorse) — documentary

Seberg — drama

The Secret: Dare to Dream — drama

A Secret Love — documentary

The Secrets We Keep — drama

See Know Evil — documentary

See You Yesterday — sci-fi/drama

Selah and the Spades — drama

Sergio (2020) — drama

The Seventh Day (2021) — horror

Shadows of Freedom — documentary

She Dies Tomorrow — drama

She’s in Portland — drama

Shine Your Eyes — drama

Shirley — drama

Shithouse — drama

Shortcut — horror

The Short History of the Long Road — drama

Showbiz Kids — documentary

The Show’s the Thing: The Legendary Promoters of Rock — documentary

Silk Road (2021) — drama

A Simple Wedding — comedy

The Sinners (2021) (formerly titled The Color Rose) — horror

Six Minutes to Midnight — drama

Ski Bum: The Warren Miller Story — documentary

Skin Deep: The Battle Over Morgellons — documentary

Skin Walker — horror

Skyman — sci-fi/drama

Slay the Dragon — documentary

Smiley Face Killers — horror

Sno Babies — drama

Somebody Up There Likes Me (2020) — documentary

Some Kind of Heaven — documentary

Sometimes Always Never — comedy/drama

The Sonata — horror

Songbird — sci-fi/drama

Sonic the Hedgehog — live-action/animation

Sorry We Missed You — drama

Soul — animation

Sound of Metal — drama

Spaceship Earth — documentary

Spell (2020) — horror

Spelling the Dream (formerly titled Breaking the Bee) — documentary

The SpongeBob Movie: Sponge on the Run — live-action/animation

Spontaneous — sci-fi/horror/comedy

Sputnik — sci-fi/horror

Standing Up, Falling Down — comedy/drama

Stardust (2020) — drama

Starting at Zero — documentary

The State of Texas vs. Melissa — documentary

Stealing School — comedy/drama

Stevenson Lost & Found — documentary

Still Here (2020) — drama

The Story of Soaps — documentary

The Stranger (Quibi original) — drama

Stray (2021) — drama

Stray Dolls — drama

Street Survivors: The True Story of the Lynyrd Skynyrd Plane Crash — drama

The Stylist — horror

Sublime — documentary

Summerland — drama

The Sunlit Night — comedy/drama

Supernova (2021) — drama

The Surrogate — drama

Survive — drama

Swallow — drama

The Swerve — drama

The Swing of Things — comedy

Sylvie’s Love — drama

Synchronic — sci-fi/horror

Tape (2020) — drama

Tar — horror

A Taste of Sky — documentary

Ten Minutes to Midnight  — horror

Tesla  — drama

Then Came You (2020)  — comedy

They Call Me Dr. Miami — documentary

The Thing About Harry  — comedy

Think Like a Dog — comedy/drama

This Is Personal — documentary

This Is Stand-Up — documentary

A Thousand Cuts (2020) — documentary

A Thread of Deceit: The Hart Family Tragedy — documentary

Through the Night (2020) — documentary

Tijuana Jackson: Purpose Over Prison — comedy

Time (2020) — documentary

The Times of Bill Cunningham — documentary

Timmy Failure: Mistakes Were Made  — comedy

To Kid or Not to Kid — documentary

The Tobacconist — drama

Tom and Jerry — live-action/animation

Tommaso — drama

Tom of Your Life — sci-fi/comedy

Tom Petty, Somewhere You Feel Free — documentary

Totally Under Control — documentary

Trafficked: A Parent’s Worst Nightmare — drama

The Trial of the Chicago 7 — drama

The Trip to Greece — comedy

Trixie Mattel: Moving Parts — documentary

Trolls World Tour — animation

Troop Zero — comedy

The True Adventures of Wolfboy — drama

The Truffle Hunters — documentary

Trust (2021) — drama

The Truth — drama

The Turning (2020) — horror

The Twentieth Century — comedy

Two of Us (2021) — drama

Tyson — documentary

Unbelievable (premiere episode) — drama

Uncaged (also titled Prey) – horror

Uncorked — drama

Underwater — sci-fi/horror

Unhinged (2020) — action

The United States vs. Billie Holiday — drama

Up From the Streets: New Orleans: The City of Music — documentary

Ursula von Rydingsvard: Into Her Own — documentary

Valley Girl (2020) — musical

The Vanished (2020) (formerly titled Hour of Lead)— drama

The Vast of Night — sci-fi/drama

Vas-y Coupe! — documentary

The Very Excellent Mr. Dundee — comedy

The Vigil (2021) — horror

The Village in the Woods — horror

Viral: Antisemitism in Four Mutations — documentary

Vivarium — sci-fi/drama

Voyagers — sci-fi/drama

Waiting for the Barbarians — drama

Wander Darkly — drama

The War With Grandpa — comedy

Watson — documentary

The Way Back (2020) — drama

We Are Freestyle Love Supreme — documentary

We Are Little Zombies — comedy/drama

We Are Many — documentary

We Are the Radical Monarchs — documentary

Weathering With You — animation

Welcome to Chechnya — documentary

What’s My Name: Muhammad Ali — documentary

What We Found — drama

What Will Become of Us — documentary

When the Streetlights Go On — drama

The Whistlers — drama

A White, White Day — drama

Widow of Silence — drama

Wig — documentary

Wild Mountain Thyme — drama

The Windermere Children — drama

Witch Hunt (2021) — horror

Wojnarowicz — documentary

The Wolf House — animation

The Wolf of Snow Hollow — horror

A Woman’s Work: The NFL’s Cheerleader Problem — documentary

Wonder Woman 1984 — action

Woodstock: Three Days That Defined a Generation — documentary

Words on Bathroom Walls — drama

Work It — comedy/drama

The World to Come — drama

The Wretched — horror

A Writer’s Odyssey — fantasy/action

The Wrong Missy — comedy

XY Chelsea — documentary

Yellow Rose — drama

You Cannot Kill David Arquette — documentary

You Don’t Nomi — documentary

You Go to My Head — drama

You Should Have Left — horror

Yusuf Hawkins: Storm Over Brooklyn — documentary

Zack Snyder’s Justice League — action

Zappa — documentary

Zombi Child — horror

Review: ‘Jakob’s Wife,’ starring Barbara Crampton, Larry Fessenden and Bonnie Aarons

April 16, 2021

by Carla Hay

Barbara Crampton in “Jakob’s Wife” (Photo courtesy of RLJE Films and Shudder)

“Jakob’s Wife”

Directed by Travis Stevens

Culture Representation: Taking place in an unnamed U.S. city, the horror flick “Jakob’s Wife” features a predominantly white cast of characters (with some African Americans and one Latino) representing the middle-class.

Culture Clash: A minister’s housewife, who’s bored with her marriage, becomes a vampire. 

Culture Audience: “Jakob’s Wife” will appeal primarily to people who are interested in horror movies that mix bloody gore with campy comedy.

Larry Fessenden in “Jakob’s Wife” (Photo courtesy of RLJE Films and Shudder)

“Jakob’s Wife” is a memorable vampire flick that serves up a hilariously enjoyable blend of campy horror and gruesome chills, with a dash of female empowerment. The movie isn’t for people who hate the sight of blood. (It’s a vampire movie for adults. What do you expect?) But for people who can handle all the over-the-top gory mayhem in the story, then “Jakob’s Wife” might be your bloody cup of tea.

There are many predictable routes that a vampire movie can take. “Jakob’s Wife” takes some of those routes (for example, the title character’s transformation into a vampire follows the usual conventions of blood lust), but then the movie takes some unexpected and wacky detours. “Jakob’s Wife” director Travis Stevens, who co-wrote the movie’s screenplay with Kathy Charles and Mark Steensland, revels in the movie’s low-budget aura and makes sure that viewers know that this movie is not taking itself seriously at all. “Jakob’s Wife” had its world premiere at the 2021 South by Southwest (SXSW) Film Festival.

The title character of “Jakob’s Wife” is Anne Fedder (played by Barbara Crampton), the dutiful spouse of a minister named Jakob Fedder (played by Larry Fessenden), her husband of about 30 years. Anne and Jakob, who do not have children, live in an unnamed small town in the United States. They are Christian, but their specific religion is not mentioned in the movie.

The movie’s opening scene takes place during a church service that Jakob is conducting. He tells the parishioners during his sermon that men should respect their wives because it’s a reflection of how husband feel about themselves. “He who loves his wife loves himself,” intones Jakob.

Jakob is not secretly a hypocrite who abuses his wife. He loves Anne and he treats her very well. Anne hasn’t fallen completely out of love with Jakob, but their marriage has become boring to her. It’s implied that their sexual intimacy has decreased significantly. Jakob is devoted to his work at the church, while Anne spends her days doing workout routines and gardening.

In the movie’s opening scene at the church service, one of the parishioners approaches Jakob and tells him, “It was a beautiful service.” Her name is Amelia (played by and she’s about 16 to 18 years old. Anne notices that Amelia’s mother Lucy, who is a regular churchgoer, is not with with Amelia.

Anne asks Amelia where her mother is, and Amelia says with some sadness and embarrassment that her mother couldn’t be there because Lucy started drinking again. Amelia adds, “I’m praying for her happiness.” Anne and Jakob express their sympathies.

While Amelia is walking home at night by herself, she’s startled to see some rats crawling around at her feet. She quickly walks away but not long after that, someone with vampire-type hands grans her from behind. It won’t be the last time that viewers see Amelia.

Not long afterward, Amelia is reported missing. Anne and Jakob have dinner at their house with Jakob’s brother Bob (played by Mark Kelly) and Bob’s wife Carol (played by Sarah Lind). The topic of Amelia’s disappearance comes up in the conversation.

Everyone except Anne seems to think that it’s likely that Amelia ran away. Anne is skeptical of that theory because she thinks Amelia was too close to her mother Lucy to suddenly abandon her. Of course, viewers who know that “Jakob’s Wife” is a vampire movie can easily predict what happened to Amelia.

Over this family dinner, the discussion also includes Anne’s involvement in a construction project that she thinks will be good for their town. She’s apparently part of the town’s Historical Society, which had to approve this project because it’s being built on historical land. The project will be an abandoned mill that is going to be turned into a retail space.

Anne comments that the Historical Society thinks the new retail space will provide tourism and jobs. Jakob is leery of the project because he doesn’t think that this anything commercial should be built on this historical land. But there’s probably another reason why Jakob is uneasy about this construction job.

It just so happens that the interior designer for the space is an ex-boyfriend of Anne’s named Tom Lewis (played by Robert Russler), and they haven’t seen each other in years. Jakob calls Tom an “old flame” of Anne’s, while she downplays the relationship that she had with Tom, by saying that they were “just kids” when she and Tom dated each other.

Anne and Tom have agreed to meet for dinner at a restaurant to discuss the construction project. Judging by the way Anne gets ready for the dinner, she wants to look very attractive for this meeting and she might have some unresolved has feelings for Tom. When Anne and Tom see each other again, they can’t help but notice they’ve still got chemistry with each other.

It soon becomes clear that Tom had a “bad boy” reputation when he dated Anne. She comments to him that he was “uncontrollable” in those days. Meanwhile, Tom says to Anne about how she’s changed since he last saw her.

“You a church mouse?” Tom declares with surprise. “What happened to the adventurous Anne who wanted to travel to exotic places?” Anne replies, “You make plans for things and then life happens. It was around the time that you left town that my mother died, and Jakob was there for me.”

Anne continues, “He offered me comfort—and so did the church. They were both steady when I needed support. Make no mistake—we have a food life. I’m happy.” Tom seems to accept that explanation.

But on another day, when Anne and Tom are at the abandoned mill where the new construction will take place, it’s revealed that this was also a place where Anne and Tom had romantic trysts when they were dating each other. Tom brings it up and Anne says she hasn’t forgotten. It should come as no surprise that Anne and Tom start kissing each other.

What happens next at this abandoned mill leads to Anne becoming a vampire. Will Anne have an extramarital affair with Tom? Will Jakob find out that she’s a vampire? And how will Anne satisfy her cravings for blood? All of those questions are answered in the movie.

Anne finds out early during her turning into a vampire that animal blood won’t work for her. There’s a comical scene of her going to the butcher section of a grocery store and asking the butcher (played by Skeeta Jenkins) if she could just buy the blood from the meat. When she gets home and drinks the blood like someone would drink wine or martinis, she discovers that the animal blood actually makes her sick. And yes, there’s a nauseating scene where she vomits up blood like a garden hose on full blast.

People who watch “Jakob’s Wife” should know that the movie is very enthusiastic about showing a lot of blood and bile gushing from bodies of humans and animals. This isn’t the type of vampire movie where a vampire gives neck bites with the minimum amount of blood drainage. No, in “Jakob’s Wife,” the people who get bitten by a vampire have enough blood spewing out of them to fill buckets.

The movie gets chillingly creative in a scene where Anne visits her dentist Dr. Meda (played by Monica L. Henry) for a routine checkup. The doctor notices that Anne has new teeth (that look like baby fangs) growing inside her back teeth. And when an automatic teeth-cleaning device is put on Anne’s mouth, it leads to one of the more horrifying yet intentionally hilarious scenes in the movie.

There’s a lot of crude dialogue that’s also meant to comedic. It’s enough to say that Anne isn’t the only vampire in the story. During an attack by one of the other vampires, this bloodsucker growls to the intended victim: “I’m going to tongue fuck a hole in your head until I puke blood!”

And later, a bratty neighborhood girl (played by Armani Desirae), who’s about 8 or 9 years old, sees Anne acting suspiciously in Anne’s front yard. The girl refuses to leave because she says she wants to learn a new curse word. Anne tells the girl, “Fuck off!” And the girl replies, “I already know that one!” It’s an example of some of the off-the-wall humor in the movie.

Early on in the movie, Jakob scolds two teenagers who are smoking a joint on the hood of his car that’s parked outside the church. One of the teens, whose name is Oscar (played by Omar Salazar) angrily talks back to Jakob, while Oscar’s female friend Eli (Angelie Simone, also known as Angelie Denizard) tries to calm him down and de-escalate the situation. Jakob ends up confiscating the marijuana joint, which shows up later in one of the movie’s comedic scenes.

Where there’s a vampire plague, there’s also a vampire leader. And in “Jakob’s Wife,” that leader is called The Master (played by Bonnie Aarons), who looks like an androgynous Nosferatu type of vampire. The way this creature looks isn’t fully revealed until a certain point in the movie. The Master keeps appearing near Anne and Jakob’s house and ends up having a big moment in the movie that’s one of the highlights of the film.

The cast members of “Jakob’s Wife” lean into their roles with gusto. All of the characters are well-cast, and Crampton’s performance sets the right level of tongue-in-cheek tone (or bite-in-neck tone, as it were) that makes the movie so entertaining to watch. (Crampton is one of the movie’s producers.) And even when there are some horror movie tropes, such as take-charge Sheriff Mike Hess (played Jay DeVon Johnson) and his bumbling Deputy Colton (played by C.M. Punk), there’s enough satire for viewers to know that everyone is in on the joke.

What also makes “Jakob’s Wife” better than the average horror film is that the movie’s characters aren’t complete stereotypes. Jakob isn’t as dull and uptight as people might think he is on first impression. Anne doesn’t become an evil vampire, because she’s someone who is struggles with having to adjust to this drastic change in her life.

The movie’s musical score by Tara Busch doesn’t conform to the expected norms of a horror movie that’s about a middle-aged woman who becomes a vampire. Normally, a movie like this would have the usual Gothic scary music or have soundtrack cues using songs that were popular during this middle-aged woman’s youth. Instead, “Jakob’s wife” is heavy with interludes of modern electronica music that sounds spooky at the same time. It’s almost as if to conjure up images that this minister’s wife could end up at an underground dance club now that she’s a vampire. It should come as no surprise that Anne’s lusty side is awakened, as she takes full control of her sexuality during her metamorphosis.

Underneath all the blood spatter and violent mayhem, “Jakob’s Wife” also has a message of finding one’s identity in the strangest of circumstances. Is it bizarre that a woman finally figures out how to be a strong and independent person only after she becomes a vampire? This movie doesn’t seem to think it’s so far-fetched, and in fact celebrates this transformation. And if the new Anne could change the title of the movie, she’d change it from “Jakob’s Wife” to “Anne the Vampire Warrior.”

RLJE Films and Shudder released “Jakob’s Wife” in select U.S. cinemas and on digital and VOD on April 16, 2021.

2021 Tribeca Film Festival: ‘In the Heights’ is the opening night film; festival will hold live, in-person events outdoors

April 16, 2021

by Carla Hay

Anthony Ramos and Melissa Barrera in “In the Heights” (Photo by Macall Polay/Warner Bros. Pictures)

The Tribeca Film Institute has announced that the Warner Bros. Pictures musical “In the Heights” will be the opening night film at the 20th annual Tribeca Film Festival, which will be held in New York City from June 9 to June 20, 2021. Directed by Jon M. Chu, “In the Heights” is based on Lin-Manuel Miranda’s Tony-winning musical of the same name. “In the Heights” tells the fictional story of a group of mostly Latino residents of New York City’s Washington Heights neighborhood The movie’s cast members include Anthony Ramos, Jimmy Smits, Leslie Grace, Corey Hawkins, Melissa Barrera, Olga Meridez and Daphne Rubin-Vega. Miranda has a small role in the film.

“In the Heights” will be released in U.S. theaters and on HBO Max on June 11, 2021. The movie was originally scheduled for release in 2020, but the release was delayed due to the COVID-19 pandemic. More movies and events for the 2021 Tribeca Film Festival are to be announced.

Miranda commented in a statement: “It is such an honor to open the 20th anniversary Tribeca Festival with In the Heights. We’re so excited to welcome them uptown! This will be an unforgettable night at the United Palace. We can’t wait to share this musical love letter to our community, with our community, in our community.”

The Tribeca Film Festival was one of numerous large-scale events in 2020 that were cancelled as an in-person event. However, a limited number of the festival’s movies were made available online to members of the media and entertainment industry. The festival also had jury-voted awards in 2020.

The Tribeca Film Festival participated with numerous other festivals in the inaugural We Are One: A Global Film Festival, which was held May 29 to June 7, 2020, as a YouTube showcase for festival films that couldn’t be screened by in-person audiences because of the COVID-19 pandemic. Most of these offerings were international films that were not in English but had subtitles.

The annual Tribeca Film Festival had been traditionally held from late April to early May. But because of the COVID-19 pandemic, the festival has moved to June in 2021. In March 2021, it was announced that screenings for the 2021 Tribeca Film Festival will be held in person at various venues (mostly outdoors), with social distancing, mask wearing and other safety protocols in place. The venues that will have Tribeca Film Festival screenings include Brookfield Place New York, Pier 57 Rooftop, The Battery, Hudson Yards (all in Manhattan); The MetroTech Commons (in Brooklyn); and Empire Outlets (in Staten Island).

Since the COVID-19 pandemic caused worldwide shutdowns in March 2020, most film festivals that weren’t cancelled have pivoted to becoming online-only/virtual events. It has not been announced if the Tribeca Film Festival will also offer movies online to audiences who can’t attend the festival in person.

The Tribeca TV Festival, which launched in 2017, was cancelled in 2020. It has not been announced if the Tribeca TV Festival will return in 2021.

The Tribeca Film Festival was founded in 2011 by Robert De Niro, Jane Rosenthal and Craig Hatkoff in to revitalize lower Manhattan after the 9/11 attacks on the World Trade Center. The first Tribeca Film Festival took place in 2002. The festival’s screenings initially took place exclusively in lower Manhattan, but over the years the festival has expanded to venues across New York City. In 2020, the Tribeca Film Festival announced that it would, for the first time, hold some its programming in New Jersey (in the city of Hoboken), but the festival was cancelled as an in-person event before that could happen.

Review: ‘Six Minutes to Midnight,’ starring Eddie Izzard and Judi Dench

April 15, 2021

by Carla Hay

Eddie Izzard and Judi Dench in “Six Minutes to Midnight” (Photo courtesy of IFC Films)

“Six Minutes to Midnight”

Directed by Andy Goddard

Culture Representation: Taking place in England in 1939, the spy drama “Six Minutes to Midnight” features an all-white cast of characters representing the middle-class and various government officials.

Culture Clash: On the brink of World War II, a German British spy poses as an English teacher at a boarding school in England for daughters of powerful German Nazis.

Culture Audience: “Six Minutes to Midnight” will appeal primarily to people interested in stories about spies who target Nazis, but the movie ineptly bungles what are supposed to be the most suspenseful parts of the story.

Carla Juri and Judi Dench in “Six Minutes to Midnight” (Photo courtesy of IFC Films)

Eddie Izzard and Judi Dench star in a movie about a spy who infiltrates a boarding school for Nazi teenage girls. What could possibly go wrong? In the case of the woefully misguided “Six Minutes to Midnight”: Everything. The story’s “mystery villain” is revealed about halfway through the film, and the rest of the story consists of far-fetched chase scenes and shootouts.

The only realistic thing about “Six Minutes to Midnight” is that the story was inspired by the real-life Augusta-Victoria College, a prestigious independent boarding school for mostly teenage girls in the coastal town of Bexhill-on-Seas, England, which is Izzard’s hometown. Augusta-Victoria College existed from 1932 to 1939, and it enrolled German female students ranging in ages from 16 to 21. It was a school intended to foster good will between British and German cultures. The school’s students weren’t just any students though: They were the daughters of high-ranking Nazis.

According to the “Six Minutes to Midnight” production notes, Izzard was so intrigued by the history of Augusta-Victoria College, it inspired Izzard to want to do a movie about it. Andrew Goddard directed “Six Minutes to Midnight” from a screenplay that he wrote with Izzard and Celyn Jones. Izzard is also one of the producers of “Six Minutes to Midnight,” which comes across as a bit of a vanity project where Izzard wants to be a spy character who’s an action star, without the suave flair and dazzling stunts of James Bond.

Fair enough, but it’s unfortunate that Izzard was a major creator for this clumsily constructed movie. “Six Minutes to Midnight” also shamefully glosses over the horrors of Nazi evil and is instead more concerned with whether or not Augusta-Victoria College’s lonely spinster headmistress will be separated from her students, as war appears inevitable between Great Britain and Nazi Germany. By the end of the movie, viewers will learn almost next to nothing about Izzard’s Thomas Miller character, except that he sure likes to use the beach a lot as a hiding place.

“Six Minutes to Midnight,” which takes place over a period of less than a month, begins on August 15, 1939, in Bexhill-on-Sea. A middle-aged man who goes by the name of Wheatley (played by Nigel Lindsay) is in a classroom, as he frantically looks for something that’s in a hidden space behind one of the room’s book shelves. He takes out a small box and is visibly upset when he finds out that what he’s looking for isn’t there.

Viewers find out a short time later that this classroom is at Augusta-Victoria College, which is sprawled out on a large property near the beach. As a distraught Wheatley quickly rides off on a bicycle, he is being watched through an upper-room window by the school’s headmistress/principal Miss Rocholl (played by Dench), who’s got that hard-nosed “Don’t try to mess with me” look that Dench has for most of the characters she tends to play. Wheatley goes to a phone booth, where he makes a panicky phone call to an unidentified man.

“It’s missing!” Wheatley shouts. “Don’t you understand? They’ve taken it!” The man on the other line can be heard saying something about duty. Wheatley responds, “They know they’re being watched! I can’t go back!”

So now that it’s been established that Wheatley has been caught spying on Augusta-Victoria College, it’s kind of a no-brainer to figure out who sent him there. The person on the other line was guilt-tripping Wheatley about “duty.” And that just screams “service to the government.”

The fact that Wheatley is a government spy isn’t the mystery. The mystery is what happened to Wheatley, who is shown sitting at a table on a pier’s wooden deck after making his upsetting phone call. And then, the next thing you know, all that’s seen is that Wheatley is missing from the deck and his bowler hat is flying off in the wind. Did he disappear? Is he dead? Did he give his two weeks’ notice? Does anyone care?

Izzard’s Thomas Miller character comes into the picture soon afterward, when he interviews at Augusta-Victoria College, as a replacement for Wheatley. The school found Wheatley and Thomas through the same employment agency. Thomas is greeted in a friendly and upbeat manner by schoolteacher Ilse Keller (played by Carla Juri), who is Miss Rocholl’s trusted right-hand person.

What’s somewhat laughable about this badly made film is that even though there are only 20 students currently at this school, Ilse and Miss Rocholl are the only faculty members seen at Augusta-Victoria College. Where are the other employees? There isn’t even a janitor or caretaker in sight for this sizeable property.

Augusta-Victoria College is portrayed in the movie as a high-level finishing school for girls (they practice things such as poise and balance by walking with books on their heads), but there no servants shown on the premises of this boarding school. After all, how can these Hitler youth practice a bigoted Nazi sense of superiority without “lowly” staffers to boss around? The main indication that the students are in a cult-like environment is when Ilse frequently takes the students to the nearby beach, where the students stand in military-like formations and move when she commands them to, like good little Stepford Nazis.

Thomas predictably gets hired at the school, so he’s technically the third faculty member shown in the movie. However, he doesn’t become a permanent staffer, because Miss Rocholl tells Thomas when she hires him that she wants to test him out on a trial basis first. In other words, he’s a temporary employee. This job interview takes place on August 21, 1939, which is six days after Wheatley has disappeared. By the time that the end of the story happens on September 3, 1939, Thomas will be long gone from his employment at Augusta-Victoria College.

In his job interview with Miss Rocholl, she is stern and judgmental. She asks Thomas about his personal life and finds out that he’s a bachelor with no children . When she asks him, “What sort of Englishman would accept a post teaching Herr Hitler’s legal German girls?” Thomas tells her that his father is German. And it’s convenient that he’s bilingual because Thomas has been hired as the school’s English teacher.

Miss Rocholl admits to Thomas that the school needed to hire someone on short notice because Thomas’ predecessor turned out to be “unreliable.” She adds, “My girls need order. Next week, we present them to the Anglo-German fellowship.” Thomas doesn’t bother to ask her what happened to his predecessor, because he already knows that Wheatley has disappeared. Thomas and the rest of the school will eventually find out what happened to Wheatley.

“Six Minutes to Midnight” has some filler and predictable scenes that always seem to be in movies where one of the main locations is a school for teenagers. There’s the stereotypical “mean girl”/queen bee student, whose name is Astrid (played Maria Dragus). And there’s the socially awkward outcast student, whose name is Gretel (played by Tijan Marei). The rest of the students are written with indistinguishable personalities. And most of the students do not have any speaking lines in the movie.

Astrid and Gretel are written as such extreme opposites that their characters are almost caricatures. Astrid is the outgoing popular student who excels in athletics and academics. Gretel is the shy misfit who’s smart but she doesn’t know how to swim, which is the main physical sport that the students have at the school. Gretel often spends time by herself while the other students participate in athletic and social activities.

Astrid is the type of person who will smile in someone’s face and then make insulting remarks behind that person’s back. That’s what she does to Thomas on his first day on the job at Augusta-Victoria College. Astrid is the first student to welcome him in the class, but later on, Thomas overhears Astrid telling another student with a smirk that Thomas wouldn’t be considered “man enough” for the Fuhrer, in other words, Adolf Hitler.

Meanwhile, Thomas establishes a bit of a rapport with bashful and sensitive Gretel, because he can relate to feeling like an outsider in this stuffy and elitist environment. He notices that Gretel is frequently shunned by her classmates, so he occasionally gives her little pep talks. But Thomas’ interactions with the students are not shown very much because he’s got an ulterior motive for being at this school. It isn’t long before Thomas is snooping around because he was sent to Augusta-Victoria College to find out what happened to Wheatley.

The movie makes subtle and not-so-subtle references to Augusta-Victoria College being a school that taught Nazi propaganda. Thomas finds an Augusta-Victoria College school crest embroidered on a patch, which has a lion flanked by the United Kingdom flag on one side and a Nazi swastika on the other. (This movie uses the real-life Augusta-Victoria College crest.)

One day, Thomas walks by a classroom and sees Miss Rocholl and the students listening to a Hitler speech on the radio. To his surprise, Miss Rocholl joins the students in a Nazi salute while they chant “Sieg Heil!” At that moment, Miss Rocholl and Thomas make eye contact, and she can sense his disgust.

Later, in a private meeting between Miss Rocholl and Thomas, she tries to justify her apparent allegiance to the Nazis. Miss Rocholl has this to say about joining in on the “Sieg Heil” chant: “It means ‘Hail Victory.’ That’s all … Why should we criticize a country that strives to be great?”

Miss Rocholl then tries to appeal to Thomas’ empathetic side by telling him: “These girls are my life. They give me hope. And that’s why I join in when they say, ‘Hail Victory.'” In another part of the story, Miss Rocholl also says to Thomas that she wants to keep the girls as sheltered as possible from the outside world. Can you say “Nazi brainwashing school?”

And if it isn’t made clear enough that Augusta-Victoria College is a training ground for Hitler’s Nazi youth, there’s another scene where Thomas (who lurks quite a bit in the school hallways) walks by a classroom and sees Ilse pivoting a discussion with the students into an anti-Semitic lecture. Ilse starts off talking about how it’s hard to tell from appearances if someone is good or evil. Then she asks the students for examples of how to spot the differences between animals of the same species. And then she turns it into a discussion about how to find out the differences between Jews and Gentiles. The movie stops short of showing her going into details about how to identify Jewish people.

And what about Thomas’ spy mission? There are the predictable scenes of him hiding in places to eavesdrop on conversations. And don’t forget the formulaic scene of Thomas rifling through desk drawers and secretly photographing certain documents with a miniature camera that’s the same size as a modern-day flash drive.

The title of “Six Minutes to Midnight” comes from Thomas using the code 1154 (as in, 11:54 p.m.) to identify himself when he calls into spy headquarters. Technically, if he were using government time codes to signify “six minutes to midnight.” he should have used the digits 2354. But that’s the least of this movie’s problems with logic.

There’s also a fairly ludicrous scene of Thomas having a tension-filled meeting with his supervisor Colonel Smith (played David Schofield) at, of all places, a live comedy show. Let’s see: You’re an undercover spy who’s supposed to be having a secret conversation with your boss about a clandestine mission. And you think the best place to have this confidential conversation is in the audience of a show where you have to raise your voice in order to be heard because someone’s performing on stage while you’re talking. And you’re surrounded by people who could hear what you’re talking about in a theater that’s fairly dark, so you don’t really know who could be eavesdropping. Somewhere, James Bond is laughing.

The very talented Jim Broadbent is in the cast of “Six Minutes to Midnight,” but he’s barely in the movie. His scenes last for less than 10 minutes, thereby squandering Broadbent’s talent. It’s another reason why “Six Minutes to Midnight” is foolish and annoying. Broadbent portrays a friendly man named Charlie, the owner of a private bus service called Charlie Bus Hire. It’s a small business that seems to have only one bus, and Charlie is the driver.

Thomas and Charlie cross paths a few times in the movie when Thomas needs a bus ride to wherever he needs to go. The government didn’t provide a car for Thomas while he was undercover for this assignment, presumably to make his teacher impersonation more believable. A low-paid teacher wasn’t supposed to be able to afford a car in those days.

Charlie is the type of small role that should have gone to a lesser renowned actor. An actor of Broadbent’s caliber should have been showcased more in this movie. It’s disappointing to see Broadbent, who is capable of better and more substantial work, in such a poorly written role that reduces him to some wisecracking jokes that don’t land well at all.

“Six Minutes to Midnight” really falls off the rails when Thomas goes on the run after being accused of a murder he didn’t commit. One of the characters ends up getting shot in front of Thomas one rainy night. Viewers get to see who the shooter is, but Thomas doesn’t see the killer because it was raining so hard and he was in a car when it happened.

After the murder, the shooter ran away and dropped the gun, with the intent to frame Thomas for the murder. And sure enough, Thomas ran out of the car and picked up the gun, right at the same moment that a police officer arrived to see Thomas with blood on his clothes and holding the murder weapon. What a coincidence.

James D’Arcy has the role of Captain Drey, the law enforcement officer who’s in charge of investigating the murder. Captain Drey doesn’t believe Thomas’ proclamations of innocence. Thomas and Captain Drey have the expected personality clashes. And you easily can predict how this murder is going to affect Thomas’ ability to stay undercover as a spy.

Izzard seems to be trying earnestly to be an action hero, but it’s just not believable in the context of how ridiculously many of the scenes are staged. The shootout scenes lack credibility because “Six Minutes to Midnight” is one of those movies where people spend more time talking while they’re aiming their guns than actually shooting their targets. And get used to aerial shots of Izzard running away on a beach, because there’s plenty of that repetition in the movie.

As for Dench and Juri, they’ve played the same types of characters in other movies before: Dench as the no-nonsense taskmaster, Juri as the helpful assistant/sidekick. The acting from the cast members isn’t terrible, but there’s nothing extraordinary or noteworthy about it either. The character of Thomas is very hollow and uninteresting. It’s kind of mind-boggling that Izzard (one of the screenplay co-writers) couldn’t come up with a better character for this starring role.

“Six Minutes to Midnight” director/co-writer Goddard puts some effort into making the scenes try to look artistic. The big showdown at the end of the movie takes place on a beach at night. Some flare guns are used in this scene, to visually stunning results. But those are just superficial effects. The actual confrontation with weapons in this scene ends up being very dull and anti-climactic.

“Six Minutes to Midnight” has an almost flippant and dismissive attitude about the disturbing genocide and other mayhem caused by Nazis. The movie only wants to address the Nazis’ destruction in vague, abstract terms. The characters in the movie don’t really talk about why the United Kingdom is headed toward war with Nazi Germany. Instead, it becomes all about whether or not Thomas can prove his innocence in the murder case and what’s going to happen to the Augusta-Victoria College students.

This movie didn’t have to be a history lesson, but it’s very off-putting that all these characters in “Six Minutes to Midnight” who work for the British government won’t even acknowledge the suffering of the people who are the targets of Nazi hate. It might have been the filmmakers’ way of showing how people were in denial or willing to enable Nazi atrocities. But it’s a weak excuse when most of the main characters in the story are not ignorant citizens and they know exactly why Great Britain is going to war with Nazi Germany.

Simply put: “Six Minutes to Midnight” gives a much higher priority in trying to make viewers care about the comfort and well-being of Nazi youth and their British teachers than it does in trying to make viewers care about the people whose lives were destroyed by Nazis. It’s a completely tone-deaf movie that couldn’t even deliver a suspenseful mystery story. And in the end, “Six Minutes to Midnight” is a time-wasting film where the main characters don’t seem to have any emotional growth because they’re all so emotionally barren from the start.

Review: ‘Voyagers,’ starring Tye Sheridan, Lily-Rose Depp, Fionn Whitehead and Colin Farrell

April 14, 2021

by Carla Hay

Lily-Rose Depp and Tye Sheridan in “Voyagers” (Photo courtesy of Lionsgate)

“Voyagers”

Directed by Neil Burger

Culture Representation: Taking place primarily in a spaceship from Earth, the sci-fi drama “Voyagers” features a predominantly white cast of characters (with some black people, Asians and Latinos) who portray American scientists and crew members involved in exploring a new planet where human beings can possibly live.

Culture Clash: A power struggle erupts among the crew members, and it turns deadly.

Culture Audience: “Voyagers” will appeal primarily to people who don’t mind watching derivative sci-fi movies that borrow heavily from dystopian young-adult novels with “survival of the fittest” themes.

Quintessa Swindell, Reda Elazouar, Fionn Whitehead, Archie Madekwe and Lou Llobel in “Voyagers” (Photo courtesy of Lionsgate)

“Voyagers” is a disappointing space travel movie that’s the equivalent of being stuck on a pointless road trip with bickering 20-somethings from a bad soap opera. “Voyagers” is not an adventure story about exploring a new planet. The movie is really about a group of young people isolated on a spaceship in a bland ripoff of “Lord of the Flies.” The cast members’ overall serviceable performances can’t quite save “Voyagers” from the movie’s annoying “bait and switch” in its story, which has too many plot holes and not enough originality for it to be a truly enjoyable film.

Written and directed by Neil Burger, “Voyagers” begins with a captioned intro that explains why this space voyage is taking place: “As the Earth grows hotter, and drought and disease ravage the population, scientists look for a new planet—one that can support human life. In 2063, they find it. The human voyage to the planet will take 86 years.” Although the movie never says which government is spearheading this voyage, viewers can assume it’s the United States because all of the people involved have American accents.

Leading this experimental voyage is a scientist named Richard (played by Colin Farrell), who tells people in a meeting that the plan is to have 30 qualified crew members—all who were born and bred to live on a spaceship. These crew members (who were born from artificial insemination) will have a pre-determined number of children and grandchildren during this 86-year journey in outer space. During this time, these voyagers and their descendants are supposed to learn enough about this new planet to return to Earth and bring back this knowledge so that other humans from Earth can possibly start relocating to this new planet.

From the start, there are some major problems with the story. Richard is the only person who’s shown interacting with and educating the children who were selected to be born and and bred for this program. He has been involved in raising them since birth. The movie should have had more scientists and government officials involved in this training. Just because “Voyagers” is a low-budget independent film is no excuse for this lack of credibility. If you can afford Colin Farrell to be in your movie, you can afford to hire some more cast members to portray the people training the children.

The children, who are in the same age group, are first seen as 4-year-olds in a sterile spaceship simulation environment where they are solving puzzles on computers. Richard interacts with them while wearing a hazmat suit. He is kind and patient with the kids, who have deliberately been raised indoors their entire life. The reason for always keeping the children indoors is because if the kids knew what it was like to be outdoors on Earth, it could have negative effects on their mental health if they knew what they were missing on Earth.

There’s a scene early in the movie that completely contradicts what happens later in the story. During a teaching session, all of the kids are happy to see Richard when he enters the room. Most of the kids run up to him and hug him, and he hugs them back. But later in the story, when the children begin the voyage when they’re 24 years old, they act as if they’ve never expressed public displays of affection before. It doesn’t ring true at all, but it’s the basis for a huge turning point in the movie.

Richard, who is a bachelor with no kids of his own, has grown attached to these children. He’s so attached that he wants to go with them on this voyage. His supervisor Marianne Sancar (played by Veronica Falcón) is very reluctant to allow it. However, Richard tells her that he really won’t miss living on Earth at all. And the next thing you know, Richard is the only adult over the age of 30 who’s with the crew members who were bred for this voyage. Once Richard and the crew members live on the spaceship, he no longer has to wear a hazmat suit when he’s around them.

Here’s another problematic part of the story: No government would realistically allow a bunch of 24-year-olds who don’t have any life experience outside of a spaceship environment to be on their own to explore a new planet. It’s what would have happened if Richard had not insisted on going on this voyage too. Any scientific exploration like this one would require people who would know what it’s like to live on Earth (indoors and outdoors), to make informed decisions on whether or not a new planet could be inhabitable by human beings whose biology was wired to live on Earth through centuries of evolution. It’s basic science for any scientific exploration to have that comparison point.

The “bait” part of “Voyagers” starts off misleading viewers into thinking that these young people, who’ve been trained specifically to explore this new planet, will get to do this exploring in the movie. But no, here comes the “switch” part of the movie: “Voyagers” has absolutely zero screen time of these so-called explorers doing any exploring. It’s not really spoiler information to reveal this fact about “Voyagers.” It’s a fair warning to viewers that this so-called “new planet” is never seen in the movie. Instead, “Voyagers” is essentially a predictable and often-dull soap opera on a spaceship.

Out of the 30 young people who are the crew members, three are the main focus of the story. It’s telegraphed early on that these three are the main characters, in a scene with the future voyagers as 4-year-olds. They are the only three characters Richard is shown tucking into bed and calling them by their names when he says good night to them.

The three main characters at 24 years old are:

  • Christopher (played by Tye Sheridan), who is even-tempered and analytical.
  • Sela (played by Lily-Rose Depp), who is the group’s assertive and intelligent chief medical officer.
  • Zac (played by Fionn Whitehead), who is the group’s rebellious chief surveillance officer.

And because “Voyagers” is really a soap opera in space, you know what that means: love triangle. There are some other crew members whose personalities are given some notable screen time. They include:

  • Kai (played by Archie Madekwe), a mischief maker who likes breaking the rules.
  • Julie (played by Quintessa Swindell), a flirtatious engineer who has a mutual attraction to Kai.
  • Peter (played by Viveik Kalra), who becomes a rival to Kai for Julie’s affections.
  • Phoebe (played by Chanté Adams), who is the group member most likely to stick to the rules and protocol.
  • Edward (played by Isaac Hempstead Wright), a nerdy control room officer who’s the most “book smart” one in the group.
  • Anda (played by Madison Hu), a level-headed type who is good at negotiating.

All of the crew members except Richard are given a blue liquid called (unimaginatively) The Blue as part of their dining routine. Christopher finds out through some computer hacking that The Blue is really a drug that dulls human senses. It contains a toxin called T56j, which makes people docile and eliminates sexual desire and other sensual urges.

Zac is with Christopher when this information is discovered. Christopher then confronts Richard about it. Richard admits that The Blue is a medication that was given to the crew members to make them less likely to rebel or get distracted.

It’s also explained in the movie that the outer-space program doesn’t want the crew members to conceive children naturally. All conceptions are supposed to be by artificial insemination. It’s been pre-determined how many children and grandchildren each voyager will have, in order to prevent over-population.

Not surprisingly, it doesn’t sit too well with Christopher and Zac to find out that their lives have been strictly controlled and manipulated by being given The Blue drug without their knowledge and consent. They decide to stop taking The Blue. And eventually, Christopher and Zac tell some other crew members that The Blue is really a drug to keep them complacent. And, of course, the word gets out to everyone else, and they also stop drinking The Blue.

Remember that scene of the cute and cuddly kids running up to Richard and hugging him? Well, the filmmakers of “Voyagers” want people to forget that scene, because (plot hole alert) they want viewers to think that these kids have now grown up to be people who don’t know what it’s like to express affection. It’s unclear how long the voyagers were taking The Blue, but it doesn’t matter because it’s not a drug that causes amnesia where they would forget childhood memories.

There’s a scene on the spaceship where Christopher sees Richard and Sela talking, and Richard has his hand affectionately on Sela’s shoulder, like a father would for a daughter. Christopher gets a little freaked out and acts as if Richard is one step away from being a sexual predator because Christopher can’t believe that someone is actually touching Sela. It’s all just sloppy and contradictory screenwriting.

Keep in mind, these voyagers are the same people who, when they were children, were jumping up and hugging Richard and letting him tuck them into bed. It’s quite an unrealistic stretch that Christopher, now in his 20s, would suddenly act like he’s never seen Richard touch Sela in a fatherly way before, when Richard was essentially the only father these kids had ever known. By the way, this movie never shows the young voyagers being curious about who their biological parents are, even though Christopher mentions in a conversation that they’ve inherited physical and personality traits from their unknown parents.

After certain characters in “Voyagers” stop taking The Blue, the movie makes a big deal of showing them acting out their inhibitions. For Zac, that means a touch can’t just be a touch. When he touches Sela’s face affectionately, it quickly turns into fondling her breasts without consent. Zac and Christopher suddenly get the urge to wrestle each other a lot. And there are multiple scenes of the crew members running playfully through hallways, as if they’ve never done it before in their lives.

Through a series of circumstances, the voyagers also learn about violence. And the rest of the movie plays out as predictably as you think it would. Christopher and Zac go from being friends to being bitter enemies. And in true “Lord of the Flies” fashion, people take sides, and there’s a battle over who’s going to be in power.

And what about the mission to explore this new planet? That gets lost in the arguing and fights that take up almost all of the last third of the movie. And there’s some nonsense about a possible alien that’s invaded the ship, which is a fear that Zac uses to manipulate people to do what he wants.

While all of this childish drama is going on, no one seems to be operating the spaceship. It must be on auto-pilot, just like this formulaic, substandard sci-fi flick is on auto-pilot for almost its entire duration. Out of all the actors portraying the young voyagers, Whitehead seems to be the one having the most fun (probably because he’s playing a villain role), and he smirks it up to the hilt.

Unfortunately, the scenes in the movie where the voyagers have been taking The Blue drug require them to talk in almost-robotic monotones. And so, there are long stretches of “Voyagers” that are quite boring because the actors are supposed to be portraying “numb” people. Richard is the only character on the spaceship who maintains a strong sense of lucid humanity, but the power structure ends up changing on the spaceship, so Richard isn’t in the movie as much as some viewers might think he would be.

The cinematography and visual effects for “Voyagers” aren’t terrible but they’re not outstanding either. The movie’s production design for the spaceship isn’t entirely convincing. The interior rooms often just look like a shiny, sterile cafeteria, office building, or lounge space. There aren’t many exterior scenes in the movie because the voyagers spend more time quarreling or goofing off inside than actually working outside.

You know that “Voyagers” is a terrible sci-fi movie because it cares so little about this mission to explore a new planet. Not once do any of the voyagers talk about any hopes or fears that they have about what they might find on this new planet. You’d think that people who were raised to be these pioneering explorers would be curious. But no, not in this movie. “Voyagers,” just like the space mission in the movie, was badly conceived from the start and should have been aborted.

Lionsgate released “Voyagers” in U.S. cinemas on April 9, 2021.

Review: ‘Gunda,’ a documentary about farm life from the perspectives of animals

April 13, 2021

by Carla Hay

Gunda and one of her piglets in “Gunda” (Photo courtesy of Neon)

“Gunda”

Directed by Victor Kosakovsky

Culture Representation: Taking place on a farm in an unnamed Norwegian city, the documentary film “Gunda” focuses on a sow (female pig) named Gunda, her piglets, a flock of chickens and a herd of cows.

Culture Clash: Farm life can be precarious for animals that are bred as meat for humans.

Culture Audience: “Gunda” will appeal primarily to people who are interested in watching a minimalist animal documentary, with no voiceover narration, captions or music.

Two of Gunda’s piglets in “Gunda” (Photo courtesy of Neon)

Neither brilliant nor mindless, the documentary film “Gunda” is a minimalist chronicle of animal life on a Norwegian farm in an unnamed city, from the perspectives of some of the animals. The movie was filmed in black and white, so it looks artsier than it really is. “Gunda is best enjoyed by people who are inclined to like animal documentaries.

Directed by Victor Kosakovsky, “Gunda” stands out from most other animal documentaries because it has no voiceover narration, captions or music. Therefore, whatever viewers get out of the movie will be exactly what’s shown on screen, not because the filmmakers are interpreting or explaining the animals’ actions. Any humans who are briefly shown in the documentary (to transport animals) do not speak in the movie.

A female pig named Gunda gets most of the screen time because it shows her from the moment she gives birth to a litter of about 11 pigs. (The documentary’s other animals don’t have names in the movie.) The first scene in the movie is of Gunda giving birth to this litter. Not long after she gives birth, Gunda accidentally steps on one of the piglets, which screams out in pain but is unharmed.

In addition to the pigs, the movie shows two cows and some chickens, with particular focus on a one-legged chicken. An example of a scene involving the chickens is when a chicken tentatively steps out of a cage, where it was confined with other chickens. There are closeups of the chicken’s feet as it steps on the grass. A visually striking scene with the cows is when at least 25 cows run outside of a barn, and this gallop is shown in slow-motion. The cows are also shown outside while it’s raining.

Viewers of “Gunda,” which was filmed for less than a year, get to see the piglets grow older. There are multiple scenes of Gunda nursing them. There’s a scene where the piglets go in an open field to play and rough house with each other. And there’s the inevitable scene of Gunda wallowing and resting in mud.

Because this movie takes place on a farm, not an animal sanctuary, these animals are being raised for one main reason: as meat for humans. One of the exceptions is an elderly female cow that’s shown in the documentary. Because there are no humans talking in the movie, it’s never explained why this female cow was lucky enough to survive and wasn’t killed for meat.

“Gunda” director Kosakovsky was inspired to make the film because of an experience he had in his childhood. He describes it in his director’s statement in the “Gunda” production notes: “Growing up I was very much a city kid, but at the age of 4, I spent a few months in a village in the countryside, where I met my best friend Vasya. He was much younger than me—just a few weeks old when we met—but over time he became my dearest friend and the times we spent together are some of the most cherished memories from my childhood. One day, when we were still young, Vasya was killed and served as pork cutlets for a New Year’s Eve dinner. I was devastated and immediately became (probably) the first vegetarian kid in the Soviet Union.”

It should be noted that Oscar-winning actor Joaquin Phoenix, who is a well-known vegan and animal rights activist, is an executive producer of “Gunda.” Is the movie a vegetarian/vegan propaganda film? No, because it doesn’t preach about how these animals should be treated. It just shows a “slice of life” view of what it was like for these particular animals on this particular farm.

In that sense, “Gunda” is like any other documentary about farm animals that will give people more thought about animals that are killed for human consumption. Almost every up-close documentary about animals will show that animals have emotions and form family bonds with each other. It’s not revelatory to anyone who’s seen a lot of animal documentaries or has experienced living with domesticated animals.

“Gunda” is at its best when it shows the relationship that Gunda has with her piglets. The cinematography brings an intimacy to how this relationship evolves as the piglets become more independent. The ending of the movie is not surprising, but it will still tug at people’s heartstrings.

If “Gunda” could be described in terms of independent cinema, it’s the type of movie that’s like a mumblecore documentary for farm animals. There’s no specific, exciting narrative, because viewers are basically watching farm animals live their lives. It’s the type of movie best appreciated if viewers have no distractions and can see the movie on the largest screen possible. It’s hard to imagine “Gunda” holding people’s interest for very long if they watch the movie on a phone.

“Gunda” also isn’t recommended for people who get irritated by constant sounds of pigs grunting and squealing. It’s sounds obvious that you’ll hear these noises when watching this movie, but without any music to drown out the animal sounds or to manipulate emotions, the sounds of pig grunts and squeals become even more pronounced. People will either tolerate it or be turned off by it.

As a technical feat, “Gunda” isn’t very mindblowing, but it gets the job done in all the right places. This is a movie that might bore people who prefer animal documentaries that were filmed in exotic and difficult-to-film locations. But for people who want an intimate look at the common ground between the emotions in animals and humans, “Gunda” offers an immersive experience that requires patience to watch the entire movie.

Neon released “Gunda” in select U.S. virtual cinemas on December 11, 2020. The movie goes into wider release on April 16, 2021.

Review: ‘Enhanced’ (2021), starring Alanna Bale, George Tchortov, Chris Mark and Adrian Holmes

April 12, 2021

by Carla Hay

Alanna Bale in “Enhanced” (Photo courtesy of Vertical Entertainment)

“Enhanced” (2021)

Directed by James Mark

Culture Representation: Taking place in an unnamed Canadian city, the sci-fi action film “Enhanced” features a predominantly white cast of characters (with a few Asians and Africans) portraying mutants and humans.

Culture Clash: An elite military squad is tasked with rounding up and imprisoning mutants who have deadly powers, while a “super mutant” is looking for more mutants to absorb their energy so he can take over the world.

Culture Audience: “Enhanced″ will appeal primarily to people who don’t mind watching derivative and forgettable sci-fi movies.

Patrick Sabongui, George Tchortov and Eric Hicks in “Enhanced” (Photo courtesy of Vertical Entertainment)

The filmmakers of “Enhanced” should have titled this movie “Flimsy X-Men Ripoff” if they wanted more truth in advertising. It’s a formulaic and mindless flick about mutants being hunted by humans. The visual effects are weak, most of the acting is mediocre-to-terrible, and the action scenes are just filler as one scene clumsily lumbers to the next.

Directed by James Mark, “Enhanced” has almost no suspense because it’s obvious which characters will survive in this “humans versus mutants” war that is going on in an unnamed city in Canada. How do viewers know who’s going to survive until the end of the movie? Time and time again, there are two characters in the movie who could easily be killed when they’re cornered by the “enemy,” but these two characters inexplicably are allowed to get away. It’s all so that movie can drag along to its very predictable conclusion.

“Enhanced” (which has the title “Mutant Outcasts” in Germany) was written by “Enhanced” director Mark, Matthew Nayman and Peter Van Horne. And having three writers for this lackluster and unimaginative screenplay just makes “Enhanced” look worse, because three minds were clearly not better than one in this case. There’s almost nothing that’s original in this movie, which recycles ideas from other, much-better movies about persecuted mutants. By the way, the humans in this movie have a very bland name for the mutants: The mutants are called “subjects.”

“Enhanced” begins with an elite military squad hunting down a mutant named Joseph or Joe (played by Patrick Sabongui), who works as a janitor in an office building. Leading this squad into action is George Shepherd (played by George Tchortov), who is the type of generic “alpha male” who’s supposed to be the story’s hero. George’s closest sidekick in the squad is Scott Cromwell (played by Eric Hicks), who is more laid-back than “take charge” George. Scott, George and some other members of the squad ambush Joseph while he’s doing some janitorial work when the office is closed for the night.

This is the type of bad dialogue in the film. George tells Joseph that they know his real name isn’t Joseph, and that Joseph’s number is 78-934BRAVO. Apparently, he’s escaped from a secret prison that the government has for mutants. Joseph, or whatever his name really is, shouts to the squad: “I’m not going back there! I haven’t hurt anyone!”

Joseph’s eyes turn a glowing blue (it’s how the movie shows the mutants unleashing their powers) and replies in desperation, “You don’t understand! They did this to me!” George says, “Joseph, this is your last chance.” Joseph answers, “No, this is your last chance!”

Joseph runs away and ends up using his mutant powers to burst onto the rooftop of the building. But the squad is right behind him, and Joseph is cornered and captured. He’s taken back to the secret prison, which is is shown later on to be just a space with several glass-enclosed rooms. It looks more like a modern office building than a prison.

Usually in movies like this, the mutants would be held captive so that the government can do secret research on them. But no, not in this dimwitted movie. These mutants are just being held captive until the government can figure out what to do with them. Taxpayer money down the drain.

Meanwhile, there’s a mutant named Anna (played by Alanna Bale) in her late teens or early 20s who ends up being one of the hunted. She works as a mechanic in an auto body shop owned by her boss Danny (played by Jeffrey R. Smith), who doesn’t know that she’s a mutant. For example, he doesn’t notice when Anna uses her mutant superpowers to do things like unscrew major auto parts with her bare hands when it would take tools and a lot of human strength to do it.

Danny is targeted for extortion by some local thugs, who gang up and assault him one day at the auto shop while Anna is there too. You know what happens next. Anna uses her mutant superpowers to kill the thugs, but it’s not enough to protect Danny, who has been shot during this brawl. Anna makes a phone call for emergency help. As Danny lies seriously injured on the floor, he asks Anna, “What are you?” She doesn’t give an answer because she’s already out the door as a fugitive on her bicycle.

During her time on the run, Anna meets a guy named Eli (played by Michael Joseph Delaney), who’s a stereotypical nerdy researcher who always seems to be in movies like this one. The researcher fulfills the role of explaining all the “secrets” that they’ve uncovered in their research. When Eli first meets Anna, he already knows that she’s a mutant. However, Anna doesn’t trust Eli at first because she think he’s another human who wants her to be locked up.

Eli has found out that there’s a “super mutant” on the loose who’s been killing other mutants to absorb their energy. This “super mutant” can sense other mutants’ presence and track them down like he’s got some inner mutant GPS system or psychic ability or some other nonsense that’s explained in the movie. And guess who finds out about the secret prison filled with mutants?

This “super mutant” has the very unremarkable name of David (played by Chris Mark), and he’s an extremely dull villain with no personality. Glaring into the camera doesn’t count as having a personality. Chris Mark’s performance as David is so lifeless that you almost wonder if he thought he was playing a zombie, not a mutant. The actor shouldn’t get all the blame because the director didn’t cast this movie very well and should have given better direction to the cast members.

Meanwhile, George clashes with his supervisor Captain Williams (played by Adrian Holmes) over something, so George ends up going “rogue.” It’s not a spoiler to reveal this information, because how else would it explain why George and Anna work together when they inevitably cross each other’s paths? And let’s not forget about Eli, who has to play the role of the “computer/technology expert” so that someone can conveniently tap into secret computer networks when needed.

Bale gives the best performance in the cast, but that’s not saying much when her Anna character, just like everyone else in the movie, is as two-dimensional as a cartoon character. Don’t expect any of this movie’s characters to have interesting stories about their lives. And the fight scenes aren’t very impressive when you consider that certain people could be easily killed during certain fights, but they aren’t killed because the movie obviously wants these characters to survive.

Mutant villain David has the ability to regenerate when he’s wounded, but the movie isn’t consistent in showing this ability in some of David’s fight scenes. This movie is called “Enhanced” because the mutants have enhanced physical powers. But the movie is so woefully lacking in originality that the quality of the movie is diminished to being creatively bankrupt.

Vertical Entertainment released “Enhanced” in the U.S. on digital and VOD on March 26, 2021. The movie was released in Brazil in 2019.

True Crime Entertainment: What’s New This Week

The following content is generally available worldwide, except where otherwise noted. All TV shows listed are for networks and streaming services based in the United States. All movies listed are those released in U.S. cinemas. This schedule is for content and events premiering this week and does not include content that has already been made available.

Monday, April 12 – Sunday, April 18

TV/Streaming Services

All times listed are Eastern Time/Pacific Time, unless otherwise noted.

Starz’s limited series “Confronting a Serial Killer” premieres on Sunday, April 18, at 9 p.m. ET/PT.

Monday, April 12

“Forensic Factor”
“The Colchester Rapist”
Monday, April 12, 10 a.m., A&E

“Forensic Factor”
“Atomic Dog”
Monday, April 12, 11 a.m., A&E

“Forensic Factor”
“Eclectic Matter”
Monday, April 12, 12 p.m., A&E

“Forensic Factor”
“Dead Man’s Hallow”
Monday, April 12, 1 p.m., A&E

“Forensic Factor”
“To Catch a Killer”
Monday, April 12, 2 p.m., A&E

“The Mark of a Killer”
“The I-40 Killer”
Monday, April 12, 8 p.m., Oxygen

“America’s Most Wanted”
“Maurice Nesbitt, Josephine Overaker and Frederick Arias” (Episode 2605) **Season Finale**
Monday, April 12, 9 p.m., Fox

“Pray, Obey, Kill”
“Where Truth Lies” (Episode 101) 
Monday, April 12, 9 p.m., HBO

“Fatal Attraction”
“Double Devastation” (Episode 1104) 
Monday, April 12, 9 p.m., TV One

“American Greed: Bonus Edition”
“The Playboy of Indiana”
Monday, April 12, 9 p.m., CNBC

“Pray, Obey, Kill”
“Dying Is Not So Bad” (Episode 102) 
Monday, April 12, 9 p.m., HBO

“People Magazine Investigates”
“The Delphi Killer” (Episode 504)
Monday, April 12, 10 p.m., Investigation Discovery

Tuesday, April 13

“The Mark of a Killer”
“The I-95 Killer”
Monday, April 13, 8 p.m., Oxygen

Wednesday, April 14

“Why Did You Kill Me?” (Documentary Film)
Wednesday, April 14, 3 a.m. ET/12 a.m. PT, Netflix

“Mark of a Killer”
“The Charmer” (Episode 303)
Wednesday, April 14, 8 p.m., Oxygen

“Living With a Serial Killer”
“The Black Widow’s Web: Joanne Dennehy” (Episode 101) **Season Premiere**
Wednesday, April 14, 9 p.m., Oxygen

“Court Cam”
(Episode 329)
Wednesday, April 14, 9 p.m., A&E

“Court Cam”
“Top Five Outrageous Escapes 2”
Wednesday, April 14, 9:30 p.m., A&E

“I Survived a Crime”
Episode 117
Wednesday, April 14, 10 p.m., A&E

“I Survived a Crime”
Episode 120
Wednesday, April 14, 10:30 p.m., A&E

Thursday, April 15

“The Deadly Type With Candice DeLong”
“The Survivor” (Episode 109)
Thursday, April 15, 3 a.m. ET/12 a.m. PT, Discovery+

“Mark of a Killer”
“The Englewood Killer” (Episode 304)
Thursday, April 15, 8 p.m., Oxygen

“Living With a Serial Killer”
“Scotland’s Worst Predator: Peter Tobin”
Thursday, April 15, 9 p.m., Oxygen

“The First 48”
“The Bad Cinderella” (Episode 448)
Thursday, April 15, 9 p.m., A&E

“For My Man”
“Unholy Matrimony (Shavonne Carter)” (Episode 617)
Thursday, April 15, 9 p.m., TV One

“A Time to Kill”
“What Happened to Lauren?” (Episode 207)
Thursday, April 15, 9 p.m., Investigation Discovery

Friday, April 16

“Mark of a Killer”
“Classified to Kill” (Episode 305) **Season Finale**
Friday, April 16, 8 p.m., Oxygen

“Living With a Serial Killer”
“The Suffolk Strangler: Steve Wright” **Season Finale**
Friday, April 16, 9 p.m., Oxygen

“Dateline”
“The Phone Call”
Friday, April 16, 9 p.m., NBC

“20/20”
“Mark Winger and Rebecca Simic”
Friday, April 16, 10 p.m., ABC

Saturday, April 17

“Murders at the Boarding House”
Part One **Series Premiere**
Saturday, April 16, 7 p.m., Oxygen

“Accident, Suicide or Murder?”
“Dark Echoes” (Episode 301) **Season Premiere**
Saturday, April 16, 8:30 p.m., Oxygen

“48 Hours”
TBA
Saturday, April 17, 10 p.m., CBS

Sunday, April 18

“Evil Lives Here: Shadows of Death”
“The Bathtub” (Episode 202)
Sunday, April 18, 3 a.m. ET/12 a.m. PT, Discovery+

“Snapped”
“Gail Gash” (Episode 2903)
Sunday, April 18, 6 p.m., Oxygen

“Murders at the Boarding House”
Part Two **Series Finale**
Sunday, April 18, 7 p.m., Oxygen

“Mastermind of Murder”
“Victims Wanted” **Series Premiere**
Sunday, April 18, 8:30 p.m., Oxygen

“Confronting a Serial Killer”
“Getting Away With Murders” (Episode 101) **Series Premiere**
Sunday, April 18, 9 p.m., Starz

“How It Really Happened With Hill Harper”
“The Jenny Jones Show: Fatal Attraction” (Episode 609) **Season Finale**
Sunday, April 18, 9 p.m., HLN

“The People v. The Klan”
“Hate on Trial” (Episode 103)
Sunday, April 18, 9 p.m., CNN

“The People v. The Klan”
“It Takes a Mother” (Episode 104) **Series Finale**
Sunday, April 18, 10 p.m., CNN

“On the Case With Paula Zahn”
“A Blue Raincoat” (Episode 2203)
Sunday, April 18, 10 p.m., Investigation Discovery

Movie Theaters and Home Video

Due to the coronavirus pandemic, some movie theaters in the U.S. are closed until further notice. Some independent movie theaters that are physically closed are showing new movies online, as part of a “virtual cinema” program. 

No true crime movies premiering in theaters and home video this week.

Radio/Podcasts

Killer Role

Premiere date: Tuesday, April 13

Description from NBC:

“Dateline NBC” correspondent Keith Morrison will host Killer Role, an all-new true-crime “Dateline” podcast debuting Tuesday, April 13. The six-episode series features Morrison’s years-long reporting on the story of Wyn Reed, an Oregon actress cast as a killer in a small-budget horror film. When filming wraps, a real-life plot twist reveals Wyn’s real name is Tucker – and she has been charged in the killing of her uncle. Both the filmmakers and the detectives find themselves wondering where performance ends and reality begins.      

The first two episodes of Killer Role, produced by “Dateline” and NBC News in partnership with Neon Hum, will be available for download and streaming on any podcast platform on April 13, with the following four episodes debuting over the next three weeks.

Killer Role is produced by “Dateline” and NBC News. At “Dateline,” Vincent Sturla is the producer, Linda Zhang is the associate producer. Susan Nalle oversees digital programming, Joe Delmonico is the senior producer and Adam Gorfain is the co-executive producer. Liz Cole is the executive producer and David Corvo is the senior executive producer. From Neon Hum, Samantha Allison is the supervising producer, Chrystal Genesis and Alex Schuman are producers. Liz Sanchez and Evan Jacoby are associate producers. Jonathan Hirsch is the executive producer. Mixing and sound design from Scott Sommerville. Theme music by Andrew Eapen.

Events

Events listed here are not considered endorsements by this website. All ticket buyers with questions or concerns about the event should contact the event promoter or ticket seller directly.

All start times listed are local time, unless otherwise noted.

Due to the coronavirus pandemic, many in-person events in the U.S. have been cancelled or postponed if the event was expecting at least 50 people in the year 2021. Many events that would normally be in-person are now being held as virtual/online events.

No new true crime events this week.

2021 BAFTA Film Awards: ‘Nomadland’ is the top winner

April 11, 2021

by Carla Hay

Frances McDormand in “Nomadland” (Photo courtesy of Searchlight Pictures)

With four prizes, including Best Film, the dramatic film “Nomadland” was the top winner at the 74th Annual EE British Academy of Film and Television Arts (BAFTA) Awards. Because of the coronavirus pandemic, the show was a virtual ceremony held at Royal Albert Hall in London. The show was also split between two broadcasts on April 10 and April 11, 2021. BBC televised the show in the United Kingdom, and BBC America televised the show in the United States. Edith Bowman and Dermot O’Leary hosted the ceremony.

The April 10 broadcast (on BBC Two in the U.K.) was for technical categories, such as editing and production design. The April 11 broadcast (on BBC One in the U.K.) was for the more high-profile categories, such as all the actor/actresses categories, Best Director, Best Film and Outstanding British Film. Eligible films were those released in the United Kingdom in 2020 or January and February 2021.

Searchlight Pictures’ “Nomadland” is about an American widow named Fern (played by Frances McDormand), who lives in her van and travels to look for work. The movie also won BAFTAs for director Chloé Zhao (Best Director), McDormand (Best Leading Actress) and Best Cinematography. “Nomadland” went into the ceremony with seven nominations. Daniel Kaluuya of “Judas and the Black Messiah” won the prize for Best Supporting Actor, while Yuh-Jung Youn of “Minari” received the award for Best Supporting Actress. Ang Lee received the BAFTA Fellowship Award, which is for non-competitive prize for career achievement.

Other movies that won multiple awards, with two each, were Sony Pictures Classics’ drama “The Father,” Focus Features’ dark comedy/drama “Promising Young Woman,” Netflix’s drama “Ma Rainey’s Black Bottom,” Amazon Studios’ “Sound of Metal” and Pixar Animation Studios’ “Soul.”

“The Father” star Anthony Hopkins received the prize for Best Leading Actor, while screenwriter Florian Zeller (who also directed the movie) won the award for Best Adapted Screenplay. “Promising Young Woman” was named Best British Film, while screenwriter Emerald Fennell (who also directed the movie) got the prize for Best Original Screenplay. “Ma Rainey’s “Black Bottom” won for Best Costume Design and Best Make Up and Hair. “Sound of Metal” took the prizes for Best Editing and Best Sound. “Soul” won the awards for Best Animated Film and Best Original Score.

Altitude Film Entertainment’s “Rocks” (directed by Sarah Gavron and staring Bukky Bakray) also had seven nominations going into the ceremony, but only won one: Best Casting. Bakray won the EE Rising Star Award, which is the only BAFTA film award voted for by the public, and the prize is for an individual’s career achievement, not a specific movie.

Here is the complete list of winners and nominations for the 2021 BAFTA Film Awards:

*=winner

Best Film

“The Father”
“The Mauritanian”
“Nomadland”*
“Promising Young Woman”
“The Trial of the Chicago 7”

Outstanding British Film

“Calm With Horses”
“The Dig”
“The Father”
“His House”
“Limbo”
“The Mauritanian”
“Mogul Mowgli”
“Promising Young Woman”*
“Rocks”
“Saint Maud”

Best Director

Lee Isaac Chung (“Minari”)
Sarah Gavron (“Rocks”)
Shannon Murphy (“Babyteeth”)
Thomas Vinterberg (“Another Round”)
Jasmila Žbanić (“Quo Vadis, Aida?”)
Chloé Zhao (“Nomadland”)*

Leading Actor

Riz Ahmed (“Sound of Metal”)
Chadwick Boseman (“Ma Rainey’s Black Bottom”)
Adarsh Gourav (“The White Tiger”)
Anthony Hopkins (“The Father”)*
Mads Mikkelsen (“Another Round”)
Tahar Rahim (“The Mauritanian”)

Leading Actress

Bukky Bakray (“Rocks”)
Radha Blank (“The Forty-Year-Old Version”)
Frances McDormand (“Nomadland”)*
Vanessa Kirby (“Pieces of a Woman”)
Wunmi Mosaku (“His House”)
Alfre Woodard (“Clemency”)

Supporting Actor

Daniel Kaluuya (“Judas and the Black Messiah”)*
Barry Keoghan (“Calm With Horses”)
Alan Kim (“Minari”)
Leslie Odom Jr. (“One Night In Miami…”)
Clarke Peters (“Da 5 Bloods”)
Paul Raci (“Sound of Metal”)

Supporting Actress

Niamh Algar (“Calm With Horses”)
Kosar Ali (“Rocks”)
Maria Bakalova (“Borat Subsequent Moviefilm”)
Dominique Fishback (“Judas and the Black Messiah”)
Ashley Madekwe (“County Lines”)
Yuh-Jung Youn (“Minari”)*

Adapted Screenplay

Moira Buffini (“The Dig”)
Christopher Hampton, Florian Zeller (“The Father”)
Rory Haines, Sohrab Noshirvani, M.B. Traven (“The Mauritanian”)
Chloé Zhao (“Nomadland”)*
Ramin Bahrani (“The White Tiger”)

Original Screenplay

Tobias Lindholm and Thomas Vinterberg (“Another Round”)
Jack Fincher (“Mank”)
Emerald Fennell (“Promising Young Woman”)*
Theresa Ikoko and Claire Wilson (“Rocks”)
Aaron Sorkin (“The Trial of the Chicago 7”)

Outstanding Debut by a British Writer, Director or Producer

Remi Weekes (“His House”)*
Ben Sharrock, Irune Gurtubai (“Limbo”)
Jack Sidey (“Moffie”)
Theresa Ikoko, Claire Wilson (“Rocks”)
Rose Glass, Oliver Kassman (“Saint Maud”)

Original Score

Trent Reznor, Atticus Ross (“Mank”)
Emile Mosseri (“Minari”)
James Newton Howard (“News of the World”)
Anthony Willis (“Promising Young Woman”)
Jon Batiste, Trent Reznor, Atticus Ross (“Soul”)*

Cinematography

Sean Bobbitt (“Judas and the Black Messiah”)
Erik Messerschmidt (“Mank”)
Alwin H. Küchler (“The Mauritanian”)
Dariusz Wolski (“News of the World”)
Joshua James Richards (“Nomadland”)*

Film Not in the English Language

Thomas Vinterberg, Sisse Graum Jørgensen (“Another Round”)*
Andrei Konchalovsky, Alisher Usmanov (“Dear Comrades!”)
Ladj Ly (“Les Misérables”)
Lee Isaac Chung, Christina Oh (“Minari”)
Jasmila Žbanić, Damir Ibrahimovich (“Quo Vadis, Aida?”)

Documentary

Alexander Nanau (“Collective”)
Alastair Fothergill, Jonnie Hughes, Keith Scholey (“David Attenborough: A Life on Our Planet”)
Bryan Fogel, Thor Halvorssen (“The Dissident”)
Pippa Ehrlich, James Reed, Craig Foster (“My Octopus Teacher”)*
Jeff Orlowski, Larissa Rhodes (“The Social Dilemma”)

Animated Film

Dan Scanlon, Kori Rae (“Onward”)
Pete Docter, Dana Murray (“Soul”)*
Tomm Moore, Ross Stewart, Paul Young (“Wolfwalkers”)

Casting

Shaheen Baig (“Calm with Horses”)
Alexa L. Fogel (“Judas and the Black Messiah”)
Julia Kim (“Minari”)
Lindsay Graham Ahanonu, Mary Vernieu (“Promising Young Woman”)
Lucy Pardee (“Rocks”)*

Production Design

Maria Djurkovic, Tatiana Macdonald (“The Dig”)
Peter Francis, Cathy Featherstone (“The Father”)
Donald Graham Burt, Jan Pascale (“Mank”)*
David Crank, Elizabeth Keenan (“News of the World”)
Sarah Greenwood, Katie Spencer (“Rebecca”)

Make Up and Hair

Jenny Shircore (“The Dig”)
Patricia Dehaney, Eryn Krueger Mekash, Matthew Mungle (“Hillbilly Elegy”)
Matiki Anoff, Larry M. Cherry, Sergio Lopez-Rivera, Mia Neal (“Ma Rainey’s Black Bottom”)*
Kimberley Spiteri, Gigi Williams (“Mank”)
Mark Coulier (“Pinocchio”)

Editing

Yorgos Lamprinos (“The Father”)
Chloé Zhao (“Nomadland”)
Frédéric Thoraval (“Promising Young Woman”)
Mikkel E.G. Nielsen (“Sound of Metal”)*
Alan Baumgarten (“The Trial of the Chicago 7”)

Sound

Beau Borders, Christian P. Minkler, Michael Minkler, Warren Shaw, David Wyman (“Greyhound”)
Michael Fentum, William Miller, Mike Prestwood Smith, John Pritchett, Oliver Tarney (“News of the World”) Sergio Diaz, Zach Seivers, M. Wolf Snyder (“Nomadland”)
Coya Elliott, Ren Klyce, David Parker (“Soul”)
Jaime Baksht, Nicolas Becker, Phillip Bladh, Carlos Cortés, Michelle Couttolenc (“Sound of Metal”)*

Visual Effects

Pete Bebb, Nathan McGuinness, Sebastian von Overheidt (“Greyhound”)
Matt Kasmir, Chris Lawrence, David Watkins (“The Midnight Sky”)
Sean Faden, Steve Ingram, Anders Langlands, Seth Maury (“Mulan”)
Santiago Colomo Martinez, Nick Davis, Greg Fisher (“The One and Only Ivan”)
Scott Fisher, Andrew Jackson, Andrew Lockley (“Tenet”)*

British Short Animation

Renaldho Pelle, Yanling Wang, Kerry Jade Kolbe (“The Fire Next Time”)
Mole Hill, Laura Duncalf (“The Owl and the Pussycat”)*
Daniel Quirke, Jamie MacDonald, Brid Arnstein (“The Song of a Lost Boy”)

British Short Film

Jesse Lewis Reece, Ike Newman (“Eyelash”)
Akinola Davies, Rachel Dargavel, Wale Davies (“Lizard”)
John Addis, Rami Sarras Pantoja (“Lucky Break”)
Ghada Eldemellawy (“Miss Curvy”)
Farah Nabulsi (“The Present”)*

EE Rising Star Award (public vote)

Bukky Bakray*
Kingsley Ben-Adir
Morfydd Clark
Ṣọpẹ Dìrísù
Conrad Khan

Review: ‘Mallory’ (2021), starring Dianne Grossman and Seth Grossman

April 11, 2021

by Carla Hay

A family photo of Dianne Grossman, Seth Grossman and Mallory Grossman in “Mallory” (Photo courtesy of Gravitas Ventures)

“Mallory” (2021)

Directed by Ash Patiño

Culture Representation: Taking place in New Jersey, the documentary film “Mallory” features a predominantly white group of people (with a few African Americans) discussing the life and legacy of 12-year-old Mallory Grossman, who committed suicide in 2017, after being bullied some students at her school.

Culture Clash: Mallory’s parents (Dianne and Seth Grossman) have sued the school district for not doing more to stop the bullying, while the bullying students were not punished.

Culture Audience: “Mallory″ will appeal primarily to people want to learn more about what to do to help with protection from and prevention of childhood bullying and suicide.

Dianne Grossman In “Mallory” (Photo courtesy of Gravitas Ventures)

The documentary film “Mallory” should be essential viewing for anyone who cares about helping prevent bullying that can lead to suicides. It’s not an easy film to watch for people who are triggered by these issues. And the documentary doesn’t pretend to have all of the answers. But “Mallory” is a raw and very personal look at how one family experienced tragedy from these issues and is doing their best to that heal through educating people on what to do before it’s too late.

Directed by Ash Patiño, “Mallory” tells the story of 12-year-old Mallory Grossman, who committed suicide on June 14, 2017, by hanging herself in her bedroom closet at her home in Rockaway Township, New Jersey. Her suicide came after several months of Mallory experiencing vicious bullying at school. She wasn’t getting physically assaulted. She was being verbally harassed and cyberbullied by some female students at her school. And on at least one occasion, one of the bullies told Mallory that she should kill herself.

On the surface, Mallory seemed to have an idyllic childhood. Her parents Dianne Grossman and Seth Grossman were happily married. They lived with Mallory and their older daughter Carlee in a comfortable, upper-middle-class home in a safe neighborhood. Carlee is not interviewed in the documentary, but she is seen in footage at events for Mallory’s Army, the non-profit anti-bullying organization that Dianne and Seth Grossman founded in 2018, in Mallory’s honor. Mallory excelled in gymnastics. And for a time, Mallory was also a cheerleader.

Several people who knew Mallory—including family members, schoolmates, teachers and other kids’ parents—describe her in the documentary as a happy-go-lucky, compassionate child who always knew how to make other people smile. Mallory’s mother Dianne also says, “Mallory connected with nature.” The documentary includes several clips of Mallory in home videos where she appears to be a well-adjusted, happy kid.

Sounds perfect, right? Well, perfect isn’t reality. As Mallory’s parents say in the documentary, Mallory seemed to be a happy child to many people. But the happiness was often a façade that hid her inner turmoil, especially in the last several months of her life.

Mallory had a best friend named Bianca Marchese, who is interviewed in the documentary. Bianca and her mother Katee Petro speak highly of Mallory and share a lot of fond memories of her. Some of the home video clips include Bianca and Mallory goofing off together. And yet, Mallory would often complain to her mother that she had “no friends” at Copeland Middle School, where she had transferred in the new school year.

Why was Mallory being targeted by these bullies? (Mallory’s alleged bullies and their parents are not interviewed for the documentary.) Dianne says she believes that the bullies were jealous of Mallory because they perceived her to be a privileged rich girl even though the Grossman family isn’t wealthy. Mallory was also bullied over her gymnastics accomplishments, and the harassment got so bad that Mallory quit her gymnastics team.

Bullying doesn’t just come in the form of insulting people or assaulting them. It can also come in the form of making people feel like an outcast by refusing to let them sit next to you and excluding them from social gatherings where they should be included. It happened to Mallory a lot at school, according to what she told her parents. Students and teachers at the school witnessed Mallory being mistreated in this way, according to several people in the documentary. And still, nothing was done to help Mallory by anyone at her school.

It’s one thing to have social cliques. It’s another thing to cruelly go out of your way to let everyone know why someone is being excluded from a group, to gang up on someone to maintain the exclusion, and to pressure other people to exclude that person too. Some people handle bullying better than others. For those who are mentally or emotionally fragile, it can be too much and can lead to self-harm.

Dianne comments in the documentary about the deep emotional pain that Mallory hid from her family. On the day of the suicide, “All she said was, ‘Hey, I had a bad day. When are you coming home?’ The sadness must’ve been overwhelming.” Seth adds of Mallory’s tragically short life: “We’re definitely lucky we got 12 years … There was a special uniqueness about her, from when she was a year old.”

In some parts of the documentary, Seth and Dianne are interviewed in Mallory’s room. And in one heartbreaking scene, they describe the day that Mallory died. Seth found her non-responsive in the closet. Dianne was in New York City with Carlee that day to see the Broadway show “Waitress,” but they rushed home when they heard that Mallory had hurt herself. It wasn’t until Dianne and Carlee saw the emergency medics and police at their house that they knew how bad it was.

In the months before Mallory’s death, Dianne and Seth Grossman repeatedly brought their concerns about the bullying to school officials and to the parents of the bullies. And the Grossmans say that nothing was done by the school or the parents. Dianne and Seth also say that although they noticed Mallory was sometimes sad about the way she was treated in school, they had no idea that she could be suicidal.

And that’s why the Grossmans filed a lawsuit against the Rockaway Township Board of Education, Rockaway Township and employees of Copeland Middle School, who are all accused of failing to protect Mallory from the excessive bullying. The Grossmans have received a lot of national media attention for this lawsuit, which has not yet been resolved, as of this writing. Any of the defendants who publicly responded have denied the allegations, but they are not interviewed in this documentary.

After the lawsuit was filed, Greg McGann resigned as Rockaway Township school district superintendent. The documentary includes commentary from a teacher (and obvious friend of the Grossman family) named Karin Kasper, who was not an employee of Copeland Middle School. However, she has this opinion of what happened in how the school handled the bullying of Mallory: “The school made it look like it was Mallory’s fault. There’s a huge amount of victim blaming going on in how they treated her.”

Since Mallory’s death, Dianne has made speaking appearances at many schools to educate people about bullying and suicide prevention. The documentary includes some emotionally powerful clips of her speaking at schools and sharing her personal story about what happened to Mallory. Dianne sums up one of the main messages that she wants to get across in her speaking engagements and with her Mallory’s Army work: “If this can happen to Mallory Grossman, it can happen to any one of our kids.” After one of these speaking appearances, Dianne comments in a documentary interview that the students who tend to cry the most at her speaking appearances are the bullies and the students who are being bullied.

The documentary also includes footage of several Mallory’s Army charity events, including a 5K running marathon, a hockey game, and a motorcycle ride. There’s also footage of student workshops where students act out scenarios of how they can prevent bullying and how to protect other students who are being bullied. It’s repeated several times in the documentary that bullying realistically won’t go away, but schools, parents and students need to be held more accountable in how bullying is handled.

Several people are interviewed in this film, but the documentary isn’t too overstuffed with talking heads. The interviewees include Dianne Grossman’s sister Angela Piazza; Diane Grossman’s mother Teresa Toella, and family friends Heather Gallagher and Meredith Lutz, whose son David Lutz was a friend of Mallory’s who says that he if had been able to see the bullying himself at the school, he would have tried to protect her.

Also interviewed are North Star gymnastic coaches Melissa Jones and Christian Campitiello, who have high praise for Mallory; Grossman family attorneys Diane Sammons and Bruce Nagel, who are partners at Nagel Rice Law Firm; licensed professional counselor Emily Ryzuk; Mallory’s Army member Jenn Stillwell; Inez Barbiero of Core Growth Strategies, which helps small businesses; and Teresa Reuter and Todd Schobel, co-directors of anti-bullying for STOPit Solutions, a Holmdel, New Jersey-based tech group aimed at stopping cyberbullying. There are some people (children and adults) interviewed who have experienced childhood bullying, including Daniel Mendoza, Keisha Johnson and Briana Beuselinck.

The Grossmans don’t just want change in the Rockaway school system through their lawsuit. They also want legislative change that can better protect school children from being bullied, even if they’re not in the Rockaway school system. Because the public educational system in the U.S. is controlled by individual states, the Grossmans are starting with their home state of New Jersey.

The documentary shows Dianne meeting with New Jersey state senator Joe Pennacchio of District 26 to talk about passing a New Jersey law to hold the state’s schools and parents of bullies more accountable for bullying that takes place in these schools. In the meeting, Pennacchio expresses his support for a possible bill proposal that parents of bullies have to go to court if their children who are accused of bullying. As of this writing, nothing has been changed in New Jersey laws about bullying in New Jersey schools since Mallory’s death.

The “Mallory” documentary has some minor post-production flaws that don’t take away from the movie’s overall message. Some of the editing in “Mallory” could have been fine-tuned better. And the sound mixing is very uneven at times. However, most people who watch this documentary would agree that the movie is very effective in its intention and that watching this film is both heartbreaking and inspiring.

Gravitas Ventures released “Mallory” digital, VOD, Blu-ray and DVD on February 23, 2021.