El Halcón (2023) [Cinequest 2024]

I appreciate what director Arlene Torres was going for with “El Halcón,” but her short drama is something I just couldn’t click in to. While there’s a lot of interesting potential in stories revolving around Latinos in lower class Los Angeles, “El Halcón” is tough to watch mainly because it’s so centered on trite story beats and over schmaltzy melodrama. I could never really empathize with or connect with any of the characters, as everything in “El Halcón” felt so disingenuous and forced. Everyone feels over rehearsed or struggling to build this friction that could enhance the narrative’s whole sense of tragedy.

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Bunny to the Moon (2023) [Cinequest 2024]

The team of Akira Maynard, Sammy Liu, and Justine Fong really do create something so unbelievable and special with “Bunny to the Moon.” It’s a classic tale about friendship, companionship, and the idea of sacrifice and learning to care for oneself before caring for others. Although the “Bunny to the Moon” does suffer from a run time that could have used at least ten more minutes, the short is beautifully animated and feels so much like a callback to films like “E.T.” or “My Neighbor Totoro.”

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The Reclaimers (2023)

I don’t know if “The Reclaimers” is a proof of concept short film or not, but if director Jason Sheedy is planning a bigger feature, count me in. “The Reclaimers” is a stellar horror scifi hybrid that watches like a mix of “I Am Legend” and “Bird Box.” It’s an interesting concept in a well worn concept that works very well thanks to the single performance by star Erin Ownbey. After her grandparents are killed by invisible creatures, a determined young woman seeks to avenge them with the help of her canine companion – the only one who can see the mysterious invaders.

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Trauma Bond (2022)

Director-Writer Jaina Cipriano’s dark drama is a wonderful master class not only in character study but in acting across the board. Cipriano really brings the best out of her small cast, all of whom help to enhance what is a very mesmerizing experience in explorations in trauma, hive minds, and the power of suggestion.

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Last Night at Terrace Lanes (2024)

Now Streaming on Amazon Prime Video.

An obvious but loving ode to “Assault on Precinct 13,” Jamie Nash’s horror survival comedy is probably one of the more entertaining indie films I’ve seen in a while. It’s a movie that is obviously small in budget, but makes the most out of a single setting horror film through the end. I was surprised by how much director Jamie Nash was able to pull out of this premise as they’re able to really justify why the film is confined to one place and is set during one night rather than multiple days. “Last Night at Terrace Lanes” is that classic siege horror film but with a dose of familial drama and coming of age.

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POV (2023)

Currently Screening in Various Festivals.

I believe it was Veruca Salt who said, and I paraphrase: I want a feature film version of “POV.” I want one, I don’t care how, but I want it now. “POV” is probably one of the very first horror based vigilante movies I’ve ever seen and it’s teeming with so much potential to build on this world and expand it in to something dark, twisted, and just downright bad ass. From director Brian K. Rosenthal (of “Marvel Zombies vs. Army of Darkness”), “POV” is such a great film that has a pretty excellent concept behind it.

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