Category: Film Festival

Haunt-Tober Day 23, 2023: HORRORFEST International Film Festival: Glue Trap

Posted on by Kstrouse

A couple gets away to a friend’s cabin for the weekend to reconnect and spend some quality time together. Dan (Isaac Jay) and KJ (Brittany Bradford) have been having a rough time lately and they feel this may rekindle their relationship.

Not long after they arrive an uninvited guest Eliza (Gloria Bangiola) does too, putting a big crutch in their plans. She says that she was unaware it was inhabited and that she was also given the place for the weekend. Their initial skepticism is slowly put on hold as they are forced to be cordial and deal with the unexpected.

Out of kindness, and her general pushiness, they let her in, but for KJ it is especially difficult to hide her unease. Their new arrival has the kind of saccharine personality that grates but can’t really be faulted, putting them in a state of unnecessary and delicate dislocation.

source: HorrorFest International Film Festival

While never uproariously funny, Glue Trap does something even more impressive: it shows a steady hand of clever lines and subtle nods of hilarity. Justin Geldzahler’s writing is wry and engaging, and his dialogue is believable but not without a wink of cheeky goodness.

Much like Speak No Evil did previously, Glue Trap drives with discomfort first, getting under your skin with the fear of social graces and awkward conversations. Lingering, though, is another presence, that gut impression that something is not quite right here.

When it comes to the surface and motives are disclosed, there’s little time to escape.

Justin Geldzahler’s direction is confident and shows immense detail in little things, making this mostly one-location film feel bigger in scope.

I was surprised by the doses of heart that came, especially in the final act, amid horrifying circumstances and humorous musings. Some heady themes beneath the initial conceit and lovely moments of reflection made me choke up. It also captures the difficulties and dynamics in relationships, taking something familiar and placing it within an unfamiliar and horrifying premise.

To say this film grew on me as I watched it and showcased Justin Geldzahler’s excellent feature writing/directing debut would be an understatement. This doesn’t feel like a debut; it’s skillfully done with just the right pacing to make you feel the potential for survival as it slips away.

It is also a lot of fun, what you’d want and hope for when it comes to a horror/comedy. There’s an entertaining feel heightened by a wicked third-act turn.

Glue Trap is a masterful debut feature, showcasing a new and talented voice in horror.

It premiered at HorrorFest International Film Festival and will have its NYC premiere at the Big Apple Film Festival (Saturday Nov 4 at 5:30pm).

Today’s winner:

2023 KINO Short Film Fest

Posted on by Kstrouse

We’re so excited to share with WW&H Filmmakers & Film Lovers alike the 2023 KINO Short Film Fest. Proudly sponsored by Panavision & Final Draft. Applicants and filmmakers from all over the globe can submit short films in all genres.

The winning filmmakers will receive one of two top prizes:
The Judge’s Choice of $25,000
The People’s Choice of $5,000
Other prizes awarded:
Best Drama Short
Best Comedy Short
Best Experimental Short
Best Documentary Short
Best LGBT Short
Best Horror Short
Best Sci-Fi Short
Best Animated Short
Best Student Short

Films are also eligible for consideration for KINO (a film finance company) to collaborate with a filmmaker to make their feature film. No other film festival offers this. Each category will be adjudicated by a series of working professionals specializing in that genre (i.e. Animation = Pixar Animator. Horror = SAW Franchise Writer etc.) Winners will be announced live in Los Angeles on January 31st, 2024 at the historic Hollywood Legion Theater.

APPLICANTS CAN SUBMIT HERE.
Discount Code: ‘WW&H’ for one-time submission for WW&H Filmmakers.
OR a KINO Pro option at $12.99/mo (this one is great if filmmaker has more than one short as multiple submissions are included + industry workshops, events and more)
For more information, check out:
KINO Website
KINO Instagram

KINO PRO is a community and a network of filmmakers that collaborates and builds the future
of film together. We connect the right people to epic opportunities.
Part of KINO’s MISSION is to build a network of creatives while championing and supporting emerging filmmakers. Beyond submitting your short, you’ll be able to create a public profile and include each cast/crew that participated on your short film. This creates the opportunity to celebrate each role on a film set and get noticed for your work outside of this competition. KINO is creating the bridge from emerging to working filmmaker. We look forward to seeing how YOU tell stories.

Questions?
Don’t hesitate to reach out.
brit@kino.studio

TIFF 2023: Sleep

Posted on by Kstrouse

Sleep is a riveting, haunting, and thought-provoking delight. It’s one of my favorite films thus far during this year’s Toronto Film Festival and was quite a surprise.

I’m still thinking about it now, wondering what I believe truly occurred. The staying power alone makes me recommend this one to the masses.

Sleep follows the lives of Soo-jin (Jung Yu-mi) and Hyun-su (Lee Sun-kyun), a blissful couple awaiting the arrival of their first child.

Their serene life takes an eerie turn when Hyun-su, in the middle of the night, whispers the chilling phrase, “someone’s inside.” This sets the stage for a sequence of events, each escalating in intensity and creepiness.

Under the expert direction of Jason Yu, the film exudes an unnerving discomfort that is both immediate and relentless. The plot oscillates between Hyun-su’s perceived paranoia and the potential of a supernatural occurrence, suggesting that he might be possessed. However, as he begins to see a doctor and take medication, his condition shows signs of improvement, infusing the narrative with a gripping uncertainty.

This element of unpredictability fuels the intrigue of this psychological thriller, keeping viewers on the edge of their seats, eagerly awaiting a catharsis. It slowly irks toward the finale and while the ending may not pack the sort of punch one might hope for, it’s still effective.

The fragility of new parents, distrust of spouse, especially with a new mother potentially dealing with postpartum depression and the question of one’s own sanity, are powerful thematic elements.

While there are some terrific jump scares it is the additional inertia of certainty combined with an overwhelming desire for such answers, that makes this a potent psychological cocktail.

This feature debut exudes an undeniable prowess, leaving me eagerly anticipating future projects. The cinematic framing is executed with remarkable finesse, and the performances are nothing short of mesmerizing. I challenge anyone to identify another film from this year that demonstrates the same audaciousness and daring originality that this film so boldly exhibits.

The meticulously crafted screenplay, combined with the exceptional acting performances and the masterfully set mood, elevates Sleep as one of the best horror films of the year.

Sleep had its debut at the Toronto International Film Festival.

TIFF 2023: Humanist Vampire Seeking Consenting Suicidal Person

Posted on by Kstrouse

Under the direction of Ariane Louis-Seize, Humanist Vampire Seeking Consenting Suicidal Person interrogates a novel premise: What if a vampire harbors an inherent distaste for consuming human blood? This unique narrative is wonderfully woven with elements of compassion, humor, and ingenuity.

The narrative orbits around the adolescent vampire, Sasha (Sara Montpetit), who finds herself wrestling with the morbid expectations of her lineage. Her vampiric pedigree necessitates a diet of human blood, yet she finds herself at odds with this gruesome reality. Especially when it comes to taking a life.

From the first frame, I was instantly drawn in by the film’s quirky introduction. Sasha forms an unexpected emotional connection with a clown at her birthday party, oblivious to the fact that he was intended to be her inaugural feast, a tradition anticipated by her vampire kin.

The film deftly navigates the tumultuous waters of emotional trauma and compassion. Sasha’s father (Steve Laplante) exhibits empathy for her quandary, while her mother (Sophie Cadieux) insists on adherence to their vampiric tradition. Sasha’s refusal to succumb to her nature threatens her existence, leading her to find solace in meetings for individuals coping with depression. Upon crossing paths with the suicidal teenager, Paul (Félix-Antoine Bénard), Sasha perceives a potential resolution.

Their relationship evolves into an unconventional alliance, with Sasha striving to circumvent the necessity of ending his life. She posits the fulfillment of a final wish – to retaliate against his oppressor, Henry.

Despite some of the macabre elements, it exudes an endearing sweetness, effortlessly dismantling the barriers of societal norms. It encapsulates the essence of adolescent romanticism and life’s tribulations through a lens of humor and poignant commentary.

source: Toronto International Film Festival

The film’s subdued color palette aligns with its tonal subtleties, while the remarkable performances of the young leads imbue the narrative with a sense of depth.

This melancholic dark comedy breathes new life into the vampire subgenre and emerged as an unexpected gem at this year’s festival, which I found utterly captivating.

Christine Doyon‘s script is a triumphant display of wit and deadpan humor. Sophie Cadieu delivers a stellar performance, her stoic resolve gradually unveiling a captivating expressiveness.

Humanist Vampire Seeking Consenting Suicidal Person intertwines elements of romance and a profound exploration of humanity. The film is a heartwarming and inventive cinematic experience that offers a refreshing deviation from conventional vampire narratives, proving both enthralling and unforeseen.

Simultaneously presenting a tale of supernatural creatures and an exploration of the human psyche, it leaves a lasting impression.

With an artful blend of dark comedy, fantasy, romance, and humanistic exploration, it’s a beacon of inventive filmmaking and is certain to delight discerning viewers.

Let’s breathe new life into familiar tropes or rather… get some fresh blood.

Humanist Vampire Seeking Consenting Suicidal Person had its premiere at this year’s Toronto International Film Festival.

Tribeca Film Festival: One Night With Adela

Posted on by Kstrouse

The midnight section of the Tribeca Film Festival is always a place for adventure. It’s one I escape to fondly and with open arms as it frequently allows for some interesting creative dives, and showcases genre-bending curiosities.

It also gives first-time directors such as Hugo Ruíz, the opportunity to present a bold vision, as with his film on this year’s slate: One Night With Adela. It’s got bravado in its positioning and angered temperament that will prove to be wholly divisive among viewers.

Set in Madrid in real time and edited as one shot, we ride with street sweeper Adela (Laura Galán) as she releases a vengeful pursuit of the city. She calls into a nightly radio show as Ariel, where she admits to the host that she intends to inflict pain, but how and why is yet to be seen.

Her motives or backstory aren’t clear in the beginning, but her rage is palpable. What culminates is a mix of drugs, violence, and sex that tests the viewer’s patience and constitution.

Laura Galán is fantastic. Coming off of another similarly paced, (but much clearer in its intentions) film, Piggy, the actress again commits and truly embodies Adela. She captivates as much as she infuriates but she never lets her command of the camera falter.

“A Human Wreck.”

The choice to film Adela as one long shot over the course of a whirlwind of a night is a stylistic choice that mostly pays off. Aesthetically, the movie strives to match the woe of our lead with the backdrop of a sullen and desperate city in the throes of late night.

source: Tribeca Film Festival

There are some intriguing moments and clever vehicles for tension building such as a scene where the camera stays fixed on a television set while a nature show talks about cuckoo birds, and Adela moves around off-screen. Unsure of what she is up to, unease permeates.

Each encounter speaks a warning, and when a shocking reveal occurs it effectively lives in your stomach.

The final sequence becomes too much of a monologue and while it provides some insight that shows her actions aren’t random but premeditated, it removes some of the previous, slowly built agony that we join her for. It adds some distinction, but it doesn’t necessarily add a lot of depth. In a way, I preferred the uncertainty.

I felt conflicted throughout the movie, often wondering if I admired or admonished some of the choices. In the end, it was both. By no means a perfect film, laden with miscalculations, I couldn’t get Galán out of my mind. Something tells me that’s exactly what Adela would want.

An ambitious project and dizzying bewilderment of excess and impulsivity, One Night With Adela may not have an entirely winning hand, but it goes all in.

One Night With Adela premiered at the 2023 Tribeca Film Festival.

Sundance Film Festival 2023: Talk to Me & My Animal

Posted on by Kstrouse

The Midnight section at Sundance Film Festival is always one of my favorites. As I have said before, horror allows for a lot of ways to diversify and surprise audiences. The first is a new take on the dangers of doing a seance, and the other is a coming-of-age werewolf story. Both of these films take something we have seen before but make it their own. Each of these features a young but bold female lead and marks feature film debuts which makes this even more exciting. I love new and emerging talent, and this year’s Midnight section had some bangers!

Talk to Me (Daniel and Michael Philippou)

Seances and communing with the dead are stories that have been in horror films for quite some time. The medium used to do so have varied and the consequences have changed, but it generally doesn’t work out well for those involved.

History repeats itself in Talk to Me, but in new and inventive ways, as it brings our present climate very much into play.

It’s become a viral sensation, of course, because does it really happen if it isn’t recorded? A group of friends takes turns gripping what looks like an ancient hand and repeating words to conjure a spirit. From there, they start a timer of 90 seconds to not be trapped for too long.

Mia (Sophie Wilde) is mourning the loss of her mother and around the anniversary, is restless. One night she suggests participating to her best friend Jade (Alexandra Jensen) and her brother Riley (Joe Bird), and she takes the plunge. It’s a rush and having seen the potential, it’s hard to stay away.

Terrifying but Thrilling

What occurs is a mix between the Exorcist and a scene from Ghost, but with a distinctly new fervor. A character is taken over by a spirit for a time, but who they are and what their intentions are, varies. Sometimes the response is comical, and others… dangerous. When the door is kept open too long, the spirit doesn’t return to where it came from.

This is the crux of this film where the characters should know better but don’t, and are then forced to correct things Riley suffers injury.

Miranda Otto has a supporting role as Jade and Riley’s mother, confounded when her son goes through an ordeal she can’t make sense of. Sophie Wilde portrays the lead confidently imbuing a sense of regret and determination that make her an actress to look out for. It’s a film that I wish would have dived more into the characters, but the short length time, they never felt one-note.

Hailing from Australia, directors Daniel and Michael Philippou capture a frenzied vision with a style that fuels the pulse-pounding moments, but occasionally feels off in the editing room. Talk to Me is terrifying in the way that it punishes with consequences fit for carelessness while also creating characters we can sympathize with. Mostly though it feels tight and tense, which is what you want from a potent 95 minutes of entertainment.

What works in Talk to Me is the vibrancy, the effects, and the creepiness that doesn’t rely on too many jump scares to make its mark. The script written by Danny Philippou and Bill Hinzman provides the energy for the young cast to feed off of. This feature debut may feel simplistic, but it’s bound to make the audience wriggle with an apt amount of style and spark. I can’t wait to see what comes next from these two.

This supernatural showing takes a new spin on an old concept making it both creative and creepy when needed. I was hooked. Maybe let’s not play with spirits?

My Animal (Jacqueline Castel)

Werewolves seem to be making a comeback in recent years and I am all for it. It’s been a subgenre that truly seemed to peak early on, and I feel it’s one that needs a fresh bite.

Enter My Animal, a coming-of-age romance about a young woman in a small town who falls for the new girl. But, she has a secret, one that forces her to cuff herself to her bed at night when the moon is full.

Heather (Bobbi Salvör Menuez) feels like an outsider. She wants to be a hockey goalie but is looked at as inferior because she is a girl, despite her talent, and she is forced to keep part of her identity hidden, all while dealing with an alcoholic mother and difficult family life.

When she meets newcomer Jonny (Amandla Stenberg) she’s enamored. Jonny is outgoing, a talented figure skater, and someone who brings out a side of Heather that she hasn’t shared before.

There is definitely violence and chaos but it is stoked by yearning and angst. It makes for the ideal sort of struggle with human and animalistic urges while grappling with familial struggles. As a vessel for loneliness, lycanthropy can be a powerful folklore guide. When it’s powered by sexual longing and the pressures a young queer woman could face it is especially impactful. Some of the plot points, especially when it comes to the hollow bullying side characters and the family performances (though Stephen McHattie provides an interesting turn as the father) aren’t as strong and feel more cliche.

Regardless, this is Bobbi Salvör Menuez‘s movie and she is especially compelling as Heather. When she finds her strength by the film’s end it culminates in an explosive fashion.

The film occasionally threatened to waver, but my attention did not. With a haunting moody feel and an innovative premise, My Animal keeps the bloody werewolf genre fresh and alive.

A coming-of-age queer werewolf story? I’m here for it.

SXSW Film Festival 2022: The Cellar

Posted on by Kstrouse

When it comes to horror, I’m always rooting for a win. As with any film, of any genre, I go into it hoping to be elated, engaged, and by its end, proud.

With The Cellar, the film started by intriguing me right away. A family moves into a new, obviously creepy house, and there are haunted vibes that are hard to ignore. Yet, somehow, they do. Keira (Elisha Cuthbert) and her husband and co-worker Brian (Eoin Macken), daughter Ellie (Abby Fitz), and son Steven (Dylan Fitzmaurice Brady), check out the strange home, including the ominous cellar. Ellie seems to be the only one noticing the glaringly obvious TURN BACK signs, including strange mathematical symbols above the doors.

For me, the beginning and the end are really what works (with a middle section that tries way too hard to be a combination of horror tropes). There is a very creepy scene with Elisha Cuthbert on the phone with her daughter who is terrified as she has to go to the cellar when the power goes out. As she steps down she counts (which is her mom’s suggestion to combat fear, but it also ironically ties into the narrative too? HMM…). It’s a suspenseful sequence as her voice changes, almost stilled, soulless, eerie. I felt like this was going somewhere intriguing. Then it halted that impulse with a regression that reminded me of more successful, past horrors.

When her daughter then disappears, it’s clear that this new home the family got at a steal (shocker) isn’t so inviting. At first, everyone seems to think she’s run away, but her mother knows something more sinister is at play. Their relationship is clearly fractured early on (partly because of her parent’s job with social media and influencers, and her own struggles there) but it’s something that isn’t fully developed.

In fact, there are several moments that invoke a sense of a chilled, endless space, with visuals that stick with you. There’s a scene where the stairs to the cellar seem to go on forever, and you’re left wondering… where does it go? What kind of hellish arrival will await this family? If only they had leaned into that creepy impulse, this film may have gone another way.

Brendan Muldowney writes and directs, and while The Cellar was disappointing to me, and I truly wanted to love it, I’m still curious to see what he does next because there is some value to take away. One of the other biggest gripes with the film was the lighting, at times it was like we were completely in the dark, and it didn’t infer fear, just frustration.

source: SXSW Film Festival

Then the film pivots, leaning into its slow-burn too much. The insistence on horror tropes makes the movie fumble in its middle section, and even the last stretch, which shows some great promise, doesn’t make up for its downfalls. There are some interesting elements involving math (personally scary to me- HA) and folklore, but it doesn’t feel fully delivered. In some ways, its choice to go into “other dimensions” feels underdeveloped, and out there just for the sake of being “out there.”

Cuthbert is terrific, empowering as a mother trusting her maternal instincts that something is wrong and not giving up on her daughter. It was great to see her return to horror, but the movie doesn’t fully capitalize on an interesting idea. Instead, it lingers too much on its weak points, and refurbished brands, while losing the overall scope of what made it fascinating, to begin with. I can’t help but wonder what it could have been. This is what makes the film so disappointing to me: a premise that doesn’t take.

The Cellar premiered at SXSW Film Festival 2022

SXSW Film Festival 2022: Jethica

Posted on by Kstrouse

When originality seems so rare these days, it’s refreshing to feel inspired after seeing a film, especially when it’s a strange, surprisingly standout ghost story.

Elena (Callie Hernandez) runs into a friend she hasn’t seen for some time, Jessica (Ashley Denise Robinson), while looking after her grandmother’s home. The two head back to catch up, and she finds out that Jessica is trying to get away from her very insistent, relentless stalker Kevin (Will Madden). Elena, sharing some details with a person we only hear, after an intimate encounter, tells the story. A lot of what really happens is shrouded in mystery for a while, but it is clear both of these women are running from their own sort of demons.

There is an abundance of black humor worked within that makes this 70 minutes soar by. There are times when I was laughing out loud, and by its end, I was audibly saying, “aww.” I don’t want to give away too much, but within this property, there’s an underlying (and not fully explained) magical presence that traps ghosts in its midst. So, basically, if your body is brought to the property, you’ll be stuck there (though there are three ways to get rid of ghosts, as we soon learn).

Pete Ohs directs and also co-writes with Andy Faulkner, Callie Hernandez, Will Madden and Ashley Denise Robinson (talk about a collaboration). It’s a character-driven take on ghost stories, giving us a personal and yet entertaining foray. At times chilling, at times ethereal, Jethica hits some key, ghoulish notes.

source: SXSW Film Festival

The environment of New Mexico is not only utilized but also used to enhance the sensation of these characters’ isolation. It’s beautifully filmed, with some terrific long shots.

There’s a lot to unpack with Jethica, more than you may even realize until the credits roll. It wields its humor with a sharpness that never feels forced but still manages to make you feel.

It simultaneously seems ominous and yet hopeful. It mixes genres, and with strong lead performances, the film keeps us wondering what exactly will happen. Even as the movie came towards its close I wasn’t sure, and I was worried it would be anti-climatic. But, by its finish, I was happy with its decisions and it felt warranted. I can imagine others handling this differently, but its sensitive end felt more in tandem with the story being told.

This shows how a low-budget, minimalist approach can be effective, especially when the characters and themes loom so large. The supernatural, the dangers of stalkers, and the sense of connection and contentment all play a role in this intriguing mix. There’s clearly love put into this picture. It portrays stalking in a real way, while also expressing vast amounts of humanity and charm.

Quirky, hilarious, and somehow cathartic, this movie perfects just the right amount of earnest charm. It maximizes on its dry humor while honing it’s bittersweet mentality and terrific performances, all residing within an unique ghost story. Ultimately compelling and wholly original, I loved Jethica. So far, this festival’s standout!

Sundance Film Festival 2022: Resurrection

Posted on by Kstrouse

Resurrection had me scratching my head in ponderous turmoil more than any other film at this year’s fest. On one hand, I was applauding Rebecca Hall’s spectacular performance (when doesn’t she though, really?) On the opposite side of things, I found that the film struggles with the fatigue it puts on the characters, and subsequently the audience, by credits end.

And its ending goes really hard, kind of emulating Titane but without the tenderness. The final scenes feel harsh and shocking, heavy on ambivalence. That’s not to say this doesn’t have it, it certainly does. I’m actually grateful for its final shots because it seemed like the director made a choice and decided to just go there. Not to mention that it is worth it alone to see Rebecca Hall give such a tour de force.

Margaret (Rebecca Hall) and her daughter seem to live a fairly safe, fruitful life, but as we often see when her daughter Abbie (Grace Kaufman) – who is on the cusp of leaving for college – leaves or does anything reckless, she is very worried. It’s normal for mothers to be concerned, but as Resurrection gives us tidbits of explanations for what happened to Margaret in the past it becomes painfully clear that it was something very bad. Not just bad, but bizarre, horrifying. Some of the storytelling is aimed unevenly, making aspects harder to take in.

source: Sundance Film Festival

Enter the menacing Tim Roth as David. The first time she sees him she has a panic attack and that fear and hold he has over her is only magnified as we scrape away the armor she’s built up to protect herself from this, well…monster. I won’t go into the details, but he’s quite creepy, and incredibly manipulative. It is one of the most effective portrayals of emotional manipulation I have seen, and it’s truly terrifying to see the grip he exhibits over her, even now, and when she finally gives us the excruciatingly disturbing monologue (to a coworker not quite equipped for it) of their past, it shakes you.

Andrew Semans writes and directs this feature that shows trauma astutely, emphasizing psychological horror in an intriguing way, that borders on incredulous. Even in its extremes though, it ultimately is conveyed believably due to his lead star.

We all have our pushing points, and Margaret begins to unravel; a complete opposite of what we see in the beginning of the film: disciplined, put together. Her past comes back to unnerve her, but she’s strong and won’t give up without a fight.

Resurrection isn’t perfectly done but it brings such an intensity that it’s difficult to ignore. The performances alone are electric. It’s outrageousness will either impress or disgust (maybe both) but you won’t forget it. It bewildered me some.

Sundance Film Festival 2022: Dual

Posted on by Kstrouse

When Sarah (Karen Gillan) finds out she has an incurable disease that will take her life, her next step, obviously – is to choose whether or not she wants to get a clone of herself made. Because, of course, in Dual‘s reality, that’s not only an option, but it is encouraged. It allows you to prepare your loved ones for your demise, and make it easier when you’re gone, because, well, a version of you will remain.

There isn’t a whole lot of consideration, but an hour later and we’ve got two Sarahs.

When she receives the good news that she is no longer dying, she is told her clone is set to be recommissioned. Unless, the double wants a life for herself, then she can request a duel to the death. For there can only be one Sarah.

Not only that, but after some time, the loves ones in her life seem to prefer the replacement. Overall, Dual‘s future and Sarah’s apathy towards existence is pretty damn bleak. By its close, I can’t say that aspect has changed much, but it’ll leave you thinking, and hopefully laughing along the way.

In one of her best performances, Karen Gillan nails the dry deadpan, bouncing between intentionally stoic and yet infallibly human. Before this happened she was in an unhappy relationship, brimming with loneliness and complacency for life. When she finds out she’s sick it strikes as more inconvenient than tragic, but by the film’s end, she displays a ferocity that makes her rootable.

This isn’t a film teaming with likable characters, and everything is given to us in a matter-of-fact way that’s both awkward and strange, yet delivered in a way that makes the audience feel like the odd ones. It pulls some inspiration from Yorgos Lanthimos’ The Lobster.

That’s also part of the charm. Stearns’ subverts expectations throughout the movie, making it hard to know exactly where things will go next. It’s tragic, and it is cynical so it’s bound to be divisive among viewers. The purposely stiff performances and mashup of tones and genres may make some woozy.

I like my science fiction film to have an element of the strange with a clever bite. Dual most certainly has that and there is more to appreciate than snicker at. Its bold ideas kept me intrigued, and was not at all what I was expecting, proving that Riley Stearns has a signature style that can really entertain. Aaron Paul plays Trent her trainer for the dual, and he is also hilarious. Some of their scenes are my favorite within the film, including an unexpected dance lesson and a slow-motion fight training session. For the most part though, this is Gillan’s film, and she manages to hold it the whole way through.

source: Sundance Film Festival

I found myself consistently engaged, curious where things would end up. But we didn’t need a dog to die, (just saying) and preparing anyone who needs to know it prior to going in.

Little flourishes, especially when it comes to the comedy, really sold me on the film. The narrative leans on humor more than the intellectual, which doesn’t always pay off. Did it astound? No. But, it took its swings, and finished with a bold finale.

With absurdity in troves, Dual takes an introspective approach and consideration for the will to live and claim your life. The dark comedy sci-fi has a lot to appreciate, especially the deadpan delivery and quirky storytelling choices (love the dialogue). Karen Gillan & Aaron Paul are pitch-perfect.

Bottom line: Don’t get a clone.