The Quiet ones

IMDb
A university professor and a team of students conduct an experiment on a young woman, uncovering terrifyingly dark, unexpected forces in the process.



Rotten Tomatoes
From the producer who brought you The Woman In Black and Let Me In comes the unnerving tale of The Quiet Ones. Tucked away in an estate outside of London, Professor Coupland along with a team of university students conduct an "experiment" on Jane Harper, a young girl who harbors unspeakable secrets. What dark forces they uncover are more terrifying than any of them expected. Inspired by true events, the film stars Jared Harris (Mad Men and Sherlock Homes: A Game of Shadows), Sam Claflin (The Hunger Games: Catching Fire), Olivia Cooke (Bates Motel), and is directed by John Pogue from a screenplay by Craig Rosenberg and Oren Moverman and John Pogue, and based on a screenplay by Tom de Ville. (c) Lionsgate


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GhostLine

IMDb
Life takes a terrifying and unpredictable turn for Tyler & Chelsea when they begin to receive menacing phone calls from a seemingly unstable woman who insists that Tyler's her ex-boyfriend.




HorrorSociety

San Diego-based D & J Films announces that the forthcoming horror feature “Ghostline” is officially in pre-production. The script was written by Dean Whitney, who will also direct.

“Ghostline” is the chilling tale of a young couple who are terrorized via a ghostline—a line from which one can make phone calls without having a specific number—by a deranged woman who mistakenly believes that Tyler’s her ex-boyfriend.

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Leather

IMDb
Birch, a young man living in the Catskill Mountains, reunites with his childhood friend from the city, Andrew.


TheMreporter

Review - Leather

Patrick McGuinn's film is one that values country living over city living. It values rugged, hairy manliness over soft, smooth effeminacy.

Broadway star Andrew Glaszek plays Andy, a ginger beefcake and NYU grad of indeterminate profession who essentially has to choose between his childhood friend, Birch, played by Chris Graham, and his current boyfriend, Kyle, played by Jeremy Neal.

Birch is a well-built, bearded, hirsute, mountain man who very much lives off the woods and who specializes in crafting things like leather sandals. He seems very much heterosexual. Kyle is a petite, hairless twink who is into fashion, and in a Truman Capote or James Bond villain-move, Kyle carries around his pet rabbit. Kyle is almost stereotypically gay. Yes, Kyle is girly, whereas Birch is butch. Kyle is a city girl, whereas Birch is a country boy.

The majority of the movie takes place in what might be a weekend. When Andy's father, Walter, dies, Andy and Kyle go to Walter's house in the woods to settle things and find that Birch has been living in the house for five years as Walter's caretaker. Andy's choice seems apparent. Yet, because the choice is a no-brainer and is the most predictable thing ever, screenwriter Greg Chandler doesn't make the love triangle the principal conflict. The principal conflict is that Walter was possibly homophobic and not a good father to Andy, but Birch continues to champion Walter as a changed person and a good man. Therefore, the tug of war is if Andy will accept Birch's claim about his father.

This conflict, however, is never truly resolved. We assume by the end that Andy simply accepts Birch's word, but McGuinn never gives Andy a moment to make peace with his father's memory.

Yes, we accept that Andy and Birch will hook up and of course McGuinn depicts their sex scene in true rustic glory, essentially two naked men rolling in the grass. It's accentuated by McGuinn's choice to shoot on actual 16mm film, giving the whole movie a grainy, rustic look.

Unfortunately, there is a confusion of what Birch truly feels for Andy. Andy clearly loves Birch and says as much, but what Birch feels remains a mystery. We don't know if Birch reciprocates Andy's feelings or if he's just going along with the situation. Birch's relationship with a woman at the beginning is so fleeting that one wonders how attached he is. Birch doesn't even identify as either gay or straight or bisexual. He's just whatever. Birch as a character just floats.

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The Wicked Within

IMDb

After a year passes since the sudden death of a child, a family gathering takes place whilst peculiar unexplainable events occur. Tension over peculiar circumstances cracks the veneer of cordiality and dark secrets emerge. Bethany (Sienna Guillory) becomes increasingly unhinged and seems Hell bent on tearing her family apart. Is she possessed or simply playing devils advocate? With the help of a priest and a psychic the family attempts to restore peace and sanity. But events which occur that night could never have been foreseen. Police psychologist Dr Woods (Eric Roberts) tries to exact fact from fiction of what really took place in the house in this gothic horror morality tale.

- Written by Writer.





Rotten Tomatoes
When a little girl dies, her family gathers to mourn the loss. Yet the pain is not forgotten and a vengeful demon spirit takes possession of a vulnerable family member tearing at the ties that bind them all together. One by one, it forces each family member to confess to his or her buried lies and face the morbid consequences of their sins.



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The Green Inferno

RogerEbert

Controversial filmmaker Eli Roth ("Hostel," "Cabin Fever") has finally made a film with squirm-inducing skills that match its provocative payload. Roth's homage to notorious Italian films like "Cannibal Holocaust" is a nasty piece of work with a mean spirit that is tempered by believable sympathy with naive protagonist Justine (Lorenza Izzo), a college freshman who travels to Peru with a student activist group after she becomes traumatized by a college lecture on female genital mutilation. Because Roth is an existential misanthrope, Justine faces the worst nightmare of any privileged white protagonist with unexamined racism in their hearts: an inhuman tribe of flesh-eating cannibals who behead, gouge, impale, drug and devour any outsiders unfortunate enough to cross their paths. "The Green Inferno" is, in that sense, not so much a knock against Occupy Wall-Street-style slacktivists (though it is also that) so much as it's an accomplished, mean-spirited horror film about a heroine who is too young to understand the motives for her do-gooder idealism.

From the start, Justine is asked—by her even-tempered diplomat father Charles (Richard Burgi) and bitchy romantic rival Kara (Ignacia Allamand)—why she's joining a mission to stop the destruction of an indigenous Peruvian tribe's ancestral home. Justine has immediately superficial reasons: she's attracted to student leader Alejandro (Ariel Levy), a dickishly self-serious leader who initially asks Justine to leave his group when she mockingly raises doubts about his methods' efficacy. Still, Justine makes her way back into Alejandro's good graces in a scene that complicates her horny-for-teacher motives: Justine challenges Alejandro, and says that maybe his group might have a greater impact if he were more inclusive. 

That call to inclusivity is ironic given that this is an Eli Roth film. Roth mocks Justine's peers before circumstantial peril humanizes them (mostly; more on this in a moment). These kids want to smoke weed, they lead with their alternative lifestyle (Veganism is wacky!), and are deeply hormonal. They are, in other words, the perfect examples of the American exceptionalism that Roth mocked in "Hostel," only this time they're too young, dumb and full of bad ideas to be treated like real bad guys. Still, there is an element of you-get-what-you-give moralism to the blood-soaked massacre that ensues after Alejandro's group's plane experiences engine failure and crash-lands in the midst of a people-eating Peruvian tribe.

The violence in these scenes is intense. It's technically not gratuitous however because the extreme nature of Roth's film is its primary reason to exist. Still, with that in mind, it's interesting to see how Roth's fanboyish impulse to top "Cannibal Holocaust" director Ruggero Deodato and his Italian contemporaries winds up inadvertently revealing the relatively humanizing aspects of "The Green Inferno" as a cultural critique. If you buy into Roth's film, these cannibals are the worst nightmare of girls like Justine, a character who stubbornly has to convince herself that she knows what she's doing when she follows her impulse to translate her revulsion with genital mutilation into progressive political action. 

But as with the protagonists of any halfway decent post-"Texas Chainsaw Massacre" horror film, the humanity of Justine's peers kick in along with their survival instinct. They cannot reason with a seemingly uncivilized third world group whose physical appearance—bones through their noses, red dye covering their skin, and loin cloths over their extremities—immediately broadcasts their alien nature. So it stands to reason that violence is extreme, and copious throughout "The Green Inferno." Roth defines his characters based on what he knows they're not: smart or introspective enough to be wise beyond their years, and certainly not emotionally hardy enough to know how their bodies react under extreme stress. So, because selfishness and naiveté are universal constants in Roth's cynical world, the natives of "The Green Inferno" must be lopsidedly sadistic.

"The Green Inferno" is accordingly at its best when it's a horror film that thinks it's a satire, and not a satire that acts like a horror film. There are a couple of notable missteps, particularly in the scene where blonde vegan Amy (Kirby Bliss Blanton) has diarrhea. The scene is presented as an unnerving, even surreal moment in an already unbelievable, intolerable situation. But the sound effects guy was clearly instructed to go to town, and he winds up giving short shrift to one of the film's most believably pathetic characters. Thankfully, while one might wonder what value a horror film that uses savage tribesmen stereotypes, Roth's film does represent anti-heroic Justine and her peers through a lens that is both critical and human enough. "The Green Inferno" is not exactly a feel-good film, but it gets a very particular job done. 

Rotten Tomatoes

From acclaimed horror director, Eli Roth, THE GREEN INFERNO follows a group of student activists who travel from New York City to the Amazon to save the rainforest. However, once they arrive in this vast green landscape, they soon discover that they are not alone... and that no good deed goes unpunished. (C) Submarine

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Gremlins

IMDb
A boy inadvertantly breaks 3 important rules concerning his new pet and unleashes a horde of malevolently mischievous monsters on a small town.



RogerEbert
"Gremlins" is a confrontation between Norman Rockwell's vision of Christmas and Hollywood's vision of the blood-sucking monkeys of voodoo island. It's fun. On the one hand, you have an idyllic American small town, with Burger Kings and Sears stores clustered merrily around the village square, and on the other hand you have a plague of reprehensible little beasties who behave like a rodent road company of Marlon Brando's motorcycle gang in "The Wild One."

The whole movie is a sly series of send-ups, inspired by movie scenes so basic they reside permanently in our subconscious. The opening scene, for example, involves a visit to your basic Mysterious Little Shop in Chinatown, where, as we all know, the ordinary rules of the visible universe cease to operate and magic is a reality. Later on, after a kid's father buys him a cute little gremlin in Chinatown, we have a new version of your basic Puppy for Christmas Scene. Then there are such basic movie characters as the Zany Inventor, the Blustering Sheriff, the Clean-Cut Kid, the Cute Girlfriend, and, of course, the Old Bag.

The first half of the movie is the best. That's when we meet the little gremlins, which are unbearably cute and look like a cross between a Pekingese, Yoda from "The Empire Strikes Back," the Ewoks from "Return of the Jedi," and kittens. They have impossibly big eyes, they're cuddly and friendly, and they would make ideal pets except for the fact that they hate bright lights, should not be allowed to get wet, and must never be fed after midnight. Well, of course, it's always after midnight; that's the tip-off that this isn't a retread of "E.T. The Extra-Terrestrial" but comes from an older tradition, the fairy tale or magic story. And in the second half of the movie, after the gremlins have gotten wet, been fed after midnight, etc., they turn into truly hateful creatures that look like the monster in "Alien."

The movie exploits every trick in the monster-movie book. We have scenes where monsters pop up in the foreground, and others where they stalk us in the background, and others when they drop into the frame and scare the Shinola out of everybody. And the movie itself turns nasty, especially in a scene involving a monster that gets slammed in a microwave oven, and another one where a wide-eyed teenage girl (Phoebe Cates) explains why she hates Christmas. Her story is in the great tradition of 1950s sick jokes, and as for the microwave scene, I had a queasy feeling that before long we'd be reading newspaper stories about kids who went home and tried the same thing with the family cat.

"Gremlins" was hailed as another "E.T." It's not. It's in a different tradition. At the level of Serious Film Criticism, it's a meditation on the myths in our movies: Christmas, families, monsters, retail stores, movies, boogeymen. At the level of Pop Movie-going, it's a sophisticated, witty B movie, in which the monsters are devouring not only the defenseless town, but decades of defenseless clichés. But don't go if you still believe in Santa Claus

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StraightMan

IMDb
After being dumped by their girlfriends, best friends Jack and David decide to move in together. David looks forward to their shared bachelor life, but their lives start to change when Jack works up the courage to come out of the closet.




Rotten Tomatoes
In this earnest coming-out-of-the-closet drama, David (Ben Berkowitz) and Jack (Ben Redgrave) are buddies whose relationship gingerly evolves into something more intimate. David is a womanizing slob who runs a Chicago comedy club, while his roommate, Jack, a beefy construction worker, grows bored with his female companion. This film, which was written and directed by its starring actors, was screened at the 2000 L.A. Independent Film Festival.

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