Lacking the dirsired jump scares and trust in itself, Our House is a film that will now be stuck in limbo, too tame for modern horror audiences and not emotionally satisfying enough for others.
A Kid Like Jake succeeds on behalf of Howard’s confident direction, Pearle’s sharp-witted and empathetic script, and two outstanding performances from Danes and Parsons.
After its premiere at the Queens Short Film Festival, Film Inquiry’s Samantha Celentano got to speak to the writer and lead actor of Oatmeal, Martha Frances Williams, as well as the director Alessia Gatti.
Director Adam MacDonald mostly succeeds with Pyewacket being a simple, heartfelt tale focusing on the disintegration of a mother/daughter bond, without too much background noise as a distraction.
Director Damien Leone’s horror introduces us to the terrifying Art the Clown – it’s just a shame the rest of the movie doesn’t live up to the terrifying promise of its central big bad.
Despite a premise which would beckon horror fans and cinephiles alike, Death House doesn’t deliver. Its many references and horror icons don’t contribute much to a story that is far too caught up in itself to be any fun.
With occasional heartfelt moments that catch you off guard and the laughter you expect from a comedy, When We First Met falls flat, lacking a fresh enough story to save it from feeling limp.
From box office cash-ins to long gestating labors of love, there are several different types of sequels. Zac Hestand explores which formulas make sequels worth the wait- and which leave you wishing the story would be over and done with.
In When We First Met, Noah spends the perfect first night with the girl of his dreams, but gets friend-zoned. He spends the next 3 years wondering what went wrong – until he gets the chance to travel back in time and alter that night – and his fate – over and over again.
