Rhea (Zosia Mamet) is the last in a long line of female mystics who have practiced their magical traditions in secret for centuries. She lives a quiet life in the company of her parents Abigail and John (Virginia Madsen, Aidan Quinn) and grandmother Rosemarie (Olympia Dukakis). Abigail and Rosemarie each have their own individual powers, but legend has it that a chosen one will inherit all the powers of the mystics and use them to fight evil. As Rhea becomes aware of her destiny and develops her considerable gifts, she is faced with the biggest decision of her young life.
n his “stunning” (Psychology Today) and “powerful” (San Francisco Chronicle) feature debut as writer/director, actor Leland Orser (“ER,” Taken) and Jeanne Tripplehorn (“Big Love,” “Criminal Minds”) star as a married couple reeling from the tragic death of their only child. For each of them, grief becomes a private torment that threatens to destroy their world. Driven apart by sorrow, they try to find their way back to each other and the chance to love again. Laura Linney (“The Big C,” John Adams), Elliott Gould (Contagion, “Ray Donovan”), Kyle Chandler (“Friday Night Lights,” Argo, Zero Dark Thirty) and Jason Ritter (“Parenthood”) co-star in this devastating but ultimately hopeful look at heartbreak, healing and the strength of the human spirit to defy darkness and embrace the light of MORNING.
From Eddy Spaghetti Productions, A small town loser and puppeteer finally finds the courage he’s lacked all his life when his dummy, Moxxy, starts speaking up for him and, eventually, begins murdering those who always pushed him around. Starring Dian Bachar, Danielle Lozeau, and Diamond Dallas Page.
It’s nazisploitation this time around, as one of the two new Grindhouse Collections from Full Moon now sets its sights on the infamous sub-sub-genre of Nazisploitaiton and its wicked devices. For folks that love the compilations from Full Moon that were rare for a long time until being given deluxe releases on DVD in 2012, Full Moon and Grindhouse Flix have now released a brand new compilation. And it’s about those swastika donning fiends we know as the Nazis.
Fine, Nikki Leigh. I’ll marry you. You don’t have to seduce me with your eyes. Surely, no one can replace Mistress Elvira, but Full Moon Grindhouse puts up a good argument for it, by bringing along Playboy Playmate Nikki Leigh to host their newest compilation. Now available for fans of Grindhouse and exploitation cinema, “Blood of 1,000 Virgins” is a fun and hilarious trailer compilation of some of the most iconic and dumbest films ever made. And they’re all about virgins, losing your virginity, and rape.
“FilmGore” is one of the many horror compilations grindhouse fans will get a kick out of, as it’s not only a compilation of the some of the most famous and obscure horror films of all time, but the presentation as a whole cuts through the droning dialogue and just zeroes in on the blood and grue. Basically it’s all one big cut together clip show from horror geeks and it shows. Dixon’s writing paired with the essence of Ackerman provides the film with a sense of charisma, in spite of the film basically being one big excuse to show off clips without much of a structure.
Upon first glance at the cover, it’s pretty obvious “The Monster Club” didn’t just take a bunch of images and pasted them together (seriously, take a look at the cover! It’s like a poster! The horror gods shine on you Kerry Gammill). And “Festival of Fright” is not just a pastiche of trailers to sell DVDs. “Festival of Fright” is in the tradition of trailer compilations of the VHS era that not only help us relive some of the best and worst horror films ever made, but also show us that film can still be fun because it invokes nostalgia, amusement, and lets us marvel at how film has evolved and devolved over decades.
Afro Promo” is a textured and rich compendium of Black Cinema trailers that speaks more of the depictions of African Americans on film than any documentary can really try to. There are no real interviews here, just a collection of trailers involving black actors, or starring an all African American cast. And as you’d expect we see the progression from blacks with white lips and bulging eyes, to lecherous and despicable heathens, to blaxploitation films where they were more empowered and able to decide how they wanted to be seen (they settled on “Boss Nigger”?). And every now and then we see the great Sidney Poitier, and Richard Pryor, James Earl Jones, and Pam Grier respectively.