Festival Reports Videos

When I was writing the short-lived Horror Virgin series for Horror Squad, I received a lot of messages asking me if I had Troll 2 scheduled as part of my education. I would constantly stress to them that the point was for me to watch good horror movies, not bad ones, but it didn't matter. Everyone still thought I should see Troll 2 right after Halloween or Friday the 13th. Well, I've seen it and I'm glad I waited to see it at a midnight showing with like-minded people instead of sitting at home with a copy. This is the kind of movie that needs to be seen with a crowd and with a couple of drinks in your system because it's really that bad. I don't know if it's the worst movie I've ever seen (the 1986 Trick or Treat comes awfully close, as does Frogs), but it certainly comes very close. There's not one redeeming thing to be found in acting, the directing, the story, the effects, or the soundtrack but it is absolutely hilarious in its madness. It's bewildering how a movie can be so bad, and the description cited in Best Worst Movie as "the kind of movie aliens would make if they came to Earth and tried to imitate human emotions and interaction" is spot on. Yet I'd have to argue that it's as though aliens had the end of seen one movie, and it was Stanley Kubrick's The Shining, and they tried to amend their failures with a homage. Bad move, aliens, as it suggested you should have known better. Filed under: Horror, Festival Reports, FandomContinue reading Denver Film Festival: I've Seen 'Troll 2' and Lived Permalink | Email this | Comments

It's always very strange to see actors out of costume, dropping character, and sitting in front of you for a Q&A. This is especially true of an actor like Ed Harris, who has such a distinctive voice and presence that it's pretty odd to see him begging Kleenex from the audience so he can remove the fingerprints off his latest award. The man who seems so cool and collected in front of the camera (think of A History of Violence, Nixon, Gone Baby Gone, or any film where he's been unflappably tough) admitted that he lacked social skills, and was dreading the dinner to follow because he never knows what to say. Well, for not knowing what to say, he still managed to be a very entertaining presence for an hour. When asked when he realized he was "pretty good" at acting, he cited an Oklahoma City production of Camelot which had him playing King Arthur. He had no memory of the performance, but has overwhelming memories of the "roar of sound" that occurred at the end. "You spend your whole life trying to get back to that," he admitted. But thanks to that enthusiastic crowd, he knew he was in for the long haul, and couldn't go back. Harris joked about how unlikely his career had been, since "I think my high school said I should be a forest ranger. And that'd be fun. I don't know how you go about becoming one." Filed under: Festival Reports, FandomContinue reading DFF: An Evening With Ed Harris Permalink | Email this | Comments

Denver may not be a city that attracts the amount of movie industry buzz that centers around our Western neighbors of Telluride, Sundance and Austin, but we do have a solid and fervent community of film lovers here. We don't have a ton of film events, but what we do have is cherished and obsessed over enough to rival the Alamo Drafthouse. One of these events is the Starz Denver Film Festival, which is going strong in its 32nd year. After partnering with Starz, over the years, we've played host to Crispin Glover, Frank Marshall and Kathleen Kennedy, Will Smith, Ang Lee, and enjoyed every on-the-cusp-of-Oscar movie of the past three seasons. This year is no exception as the festival kicks off this week with Precious, which was produced by the Denver-based Sarah Siegel Magness and Gary Magness. Denver will also get a chance to "meet" the film's buzzed about star, Gabourey Sidibe. Three legendary actors will be receiving the spotlight while enjoying our thin air: Ed Harris and his latest film, Touching Home will be the focus of a special evening, and will receive the Mayor's Achivement Award. Hal Holbrook will be receiving the Excellence in Acting Award, and be on hand with his new film, That Evening Sun. Last but not least, J.K. Simmons will be receiving the Cassavetes Award, and be presenting his new film, The Vicious Kind. But hey, that's the glitzy statuette stuff. If you're a Colorado native, you need to check out the impressive schedule which includes big films such as Leaves of Grass, Bad Lieutenant: Port of Call New Orleans, The Last Station, The Young Victoria, and Best Worst Movie with special screenings of its star, Troll 2. If you want to avoid the buzz, there's enough intriguing indies, documentaries, and foreign film selections to make your eyeballs fall out.Filed under: Festival ReportsContinue reading Looking Ahead to the 2009 Denver Film Festival Permalink | Email this | Comments

It's not hard to like any movie that uses the Beach Boys' music, but Wes Anderson makes it especially easy. As Hollywood's foremost purveyor of hipster drama, his pedigree as a reliable selector of appropriately wistful, poignant and all-around unforgettable songs is virtually unrivaled, but Fantastic Mr. Fox exceeds even the work of his earlier films, using "Heroes and Villains," and later, "I Get Around" as populist punctuation that manages to be both specifically relevant and substantively rousing. As an animated opus, the film is by necessity his most controlled to date, a painstakingly-designed dollhouse where he no longer controls just the music, sets, and costumes, but the performers themselves. Ironically, however, it feels like his loosest as well - a gloriously unwieldy comedy of manners submerged in the minutiae of Anderson's madcap creativity. All of which makes Fantastic Mr. Fox a celebration both of its stop-motion medium and Anderson's aesthetic, while still managing to fully document the spectacular fun in original author Roald Dahl's daffy, distinctive imagination.Filed under: Animation, Comedy, Festival Reports, Fox Searchlight, George Clooney, Other FestivalsContinue reading AFI Review: Fantastic Mr. Fox Permalink | Email this | Comments

The Messenger opened the 12th Savannah Film Festival with a bang: a sellout crowd, international press, and Hollywood stars Woody Harrelson and Ben Foster in attendance to rub elbows all night. Even without the glitz, though, Savannah was a smart place to screen the Iraq drama. Oren Moverman's film is a character study about a soldier (Foster) dealing with the aftermath of war, but like Kathryn Bigelow's Iraq film The Hurt Locker, it's about the personal toll Iraq leaves on soldiers who survive and the families of those who don't; the politics of war are hardly an issue. And so, in a city that supports two military bases and the men and women who serve them, The Messenger played like gangbusters. Foster stars as William Montgomery, a recent Iraq returnee dealing with serious leftover issues and a new assignment to play out his final three months of service: informing families that their loved ones have been killed on duty. As Montgomery's partner, Harrelson provides moments of levity, but there were plenty of sniffles throughout the film just the same. While it was pretty easy to figure out what the general consensus was, there were three figures in particular I was watching for a reaction - the only three uniformed soldiers in attendance, who may or may not have been connected to the production. (The film has been screened for military personnel, and Harrelson and Foster personally met soldiers at Hunter Army Airfield prior to the night's screening.) When asked what military folk have thought of his film in the post-screening Q&A, director Moverman deferred to one of the officers in the audience to share his reaction with the crowd. What follows is the unnamed soldier's impromptu review of The Messenger.Filed under: Drama, New Releases, Festival Reports, Politics, Oscar Watch, Other Festivals, Cinematical Indie, WarContinue reading Soldier at Savannah Film Fest Rave-Reviews 'The Messenger' Permalink | Email this | Comments

The CMJ Festival ended Friday night with a whimper -- well, maybe that was me whimpering after I left a special screening of the spooky ooky alien thriller, The Fourth Kind. In case you haven't checked out the trailers and featurettes on the official site, I'll give you a quick breakdown -- the movie switches between "real" footage of director Olatunde Osunsanmi interviewing Dr. Abigail Tyler, a psychiatrist in Nome, Alaska, an area with an allegedly high rate of reported alien abductions, and Milla Jovovich playing Tyler as she struggles with the mysterious death of her husband and her patients' nightmares and mental breakdowns. Interestingly enough, the movie also sometimes intersperses Tyler's "real" footage of her sessions with clients with Jovovich acting them out using split screens. In any case, despite any questions as to the validity of the Tyler story and problems with the last third of the movie, I found it pretty damn scary. The Fourth Kind will be begin probing theatergoers on November 6th. (Note: It's unclear whether this was the final cut or not.)Filed under: Action, Drama, Independent, Sci-Fi & Fantasy, Thrillers, Universal, Festival Reports, DIY/Filmmaking, Cinematical Indie, WarContinue reading CMJ Dispatch: 'The Fourth Kind,' 'The Messenger,' and More Permalink | Email this | Comments

CMJ, the multi-pronged music network that offers both online and print info for fans, industry insiders, and professionals, is also famous for its music and film festival that has NYC hipsters, journalists, and reps looking for the Next Big Thing raring to go. The CMJ Festival starts today and ends Saturday, so expect dispatches on what I'm checking out on the film front. From super small docs on techo music, Elliott Smith, and Leonard Cohen to star-studden films like The Men Who Stare at Goats, The Messenger, and The Fourth Kind, CMJ has a cool mix of music-related films and more general fare. The festival also offers panels on everything from how to break into film scoring to what the film industry can learn from the music industry on the digital piracy front. While some of the films offer walk-up ticketing, you can also register for all-you-can-eat badges, and students get a discount. Visit CMJ's official festival website for the full film schedule. Cinematical's big daddy Moviefone will also be covering the festival, so be sure to check in there too!Filed under: Independent, Festival Reports, George Clooney, Cinematical Indie Permalink | Email this | Comments

The world as we know it has come to an end, and that's not much more of an inconvenience for Columbus (Jesse Eisenberg) than he was already used to. He's a Mountain Dew-chugging loser whose introverted ways have turned him into an ideal loner for the post-apocalyptic realm -- as paranoid, vigilante and neurotic as they come, beholden only to his own strict set of rules (cardio good, bathrooms bad, always shoot zombies twice, etc.). And so, while he doesn't want to become attached to the scruffy likes of Tallahassee (Woody Harrelson), their chance meeting provides as good an excuse as any for Columbus to try and recover whatever's left of his family in... well, Columbus. Oh, the names? Again, no one wants to get too attached once the infection hits the fan. That's just how one tends to roll as a resident of Zombieland. And before I make things out to sound so serious, director Ruben Fleischer and writers Rhett Reese and Paul Wernick make their tone perfectly evident from the start. A groom is tackled by his zombie bride; a mother is chased down by her undead honor student daughters. So on, so forth, and so long, status quo. For the survivors, though, there's a little fun to be had here and there. Any man, woman or child can nab themselves the title of Zombie Kill of the Week. A store-smashing spree can help let off a little steam. And who's to stop a young girl (Abigail Breslin) and her older sis (Emma Stone) from heading off to California in order to make the most of a deserted theme park? Read the rest over at Horror SquadFiled under: Horror, Theatrical Reviews, Festival Reports Permalink | Email this | Comments

Celeb Sightings: Natalie Portman was spotted about town a little too overdressed (it's not cold yet!) and talking about her love of obscene hip hop. The In-Style bash scaled back this year to only the bare minimum of lavish foods and gifts. At that amfAR benefit, Sarah Maclachlan performed and more than $700,000 CND was raked in. But best of all, the SxSW karaoke party that many film bloggers hit on Tuesday night had a surprise guest: Samantha Morton showed up and belted out Tears for Fears' "Everybody Wants to Rule the World." And did you know Jay Baruchel is Canadian? Not only that, but he refuses to give up his Montreal home. Our Coverage: There's one new review to hit the pages of Cinematical in the last 24 hours (but more are on the way!), and that's Todd Gilchrist's view of Michael Moore's Capitalism: A Love Story. He writes: "Capitalism: A Love Story redeems itself because it possesses the same quality that has inspired our country in the last year - hope. In his best moments, Moore is deeply passionate and relentlessly idealistic, but he's an advocate for positivity and redemption, if also for transparency and common decency." Deals, Tweets and More Blog News After the JumpFiled under: Festival Reports, Toronto International Film FestivalContinue reading Toronto in 60 Seconds: Thursday, September 17, 2009 Permalink | Email this | Comments

The name of the cinematic game is believing what happens on the big screen, and suspending belief when necessary. It's a particular and difficult game -- one that is, of course, pulled off with varying degrees of success. One person's perfectly natural action is another person's highly irregular one, and there's no set line for what will be stomached, accepted, and believed. In the case of Atom Egoyan's erotic thriller Chloe, Amanda Seyfried, Julianne Moore, Max Thieriot, and Liam Neeson toe the line of believability as they sail through the sticky waters of romantic discontent and mistrust. Seyfried is Chloe, a young prostitute well-versed in the finer points of subterfuge -- embodying everything her clients dream. And Moore is Catherine, a successful gynaecologist -- the established professional, mother, and aging woman desperately wishing for the lust-filled attentions that her husband David (Neeson) used to heap on her. After he avoids her on his birthday, "missing" a plane (and subsequently a surprise party), she becomes wary. And when he continues to flirt with every young woman he meets, Catherine becomes convinced that he is cheating. Filed under: Drama, Theatrical Reviews, Festival Reports, Exhibition, Toronto International Film FestivalContinue reading TIFF Review: Chloe Permalink | Email this | Comments

Celeb Sightings: The Edmonton Sun threw up some lovely red carpet pictures ranging from Julianne Moore to Atom Egoyan, but nothing beats the stunners from Daily Dose of Imagery. That guy gets drool-worthy pics every year that'll beat the miniscule and blurry pics festgoers get from the back row. Meanwhile, the George Clooney quest for politeness turns out to be a hoax, ohnotheydidn't goes wild for Cillian Murphy, and Jane Fonda re-thinks her signature on the TIFF protest letter. Our Coverage: Scott Weinberg gave us the low-down on Cleanflix -- the documentary showcasing how much the Mormons love to clean up our favorite Hollywood movies. He said that it's "a film that attempts to tell the whole tale from beginning to end (and mostly does a fine job of it), but also manages to wander way off-track before all is said and done." William Goss wrote about the woes of Creation -- the film that just about everyone seems to be bored with. We got to throw up some exclusive images from Bad Lieutenant, and Eugene Novikov says of Nic Cage: "It's a completely absurd performance -- and, God willing, a way for the actor to let off steam and return to the more nuanced, settled acting he used to do." And I threw in some female flavor with a Girls on Film discussing just how many female directors and femme-centric films are at the fest. After the jump, Willem Dafoe talks death and more! Filed under: Deals, Festival Reports, Toronto International Film FestivalContinue reading Toronto in 60 Seconds: Tuesday. September 15, 2009 Permalink | Email this | Comments

There's an interesting phenomenon going on at the Toronto International Film Festival this year. Female filmmakers were a big part of the festival's opening weekend. (The fest might be 9 days long, but that first weekend is the time that packs the punch -- the time when the stars descend, the parties commence, and the big films have their premieres.) But this isn't only relevant to festival goers. These fests showcase tomorrow's films, so in some ways, TIFF is a peek into the future. And it's one where women defy what's expected of them. At the moment, I'm calling it the Anna Kendrick effect. While she might be one of the youngest Tony Award nominees ever, this actress shot into the public eye with a supporting role in that incessant, sparkly piece called Twilight. Her performance was fine, but she really wasn't given enough for a large buzz to commence, especially while under the shadow of Kristen Stewart and Robert Pattinson. But now she's got a co-starring role in Jason Reitman's new Up in the Air -- a role where she must hold her own against George Clooney and Vera Farmiga. And she does. In fact, she's so good that her performance has been getting a lot of buzz up here in Toronto -- and it's proved one thing: We might see women and blow them off as nothing more than the crazy jealous friend, but there can be a lot of other talent in there if given a solid role to prove it. Filed under: Festival Reports, Fandom, Exhibition, Toronto International Film Festival, Girls on FilmContinue reading Girls on Film: Women, TIFF, and the Future Permalink | Email this | Comments

After the last few years, we've grown quite accustomed to Clive Owen as the headlining, slick star, whether that be chowing down carrots and shooting people up, living black and white and dangerous as Dwight, or dealing with a world that no longer has children. What's easy to forget in all of his fame, however, is that the man has more than an irresistible delivery and on-screen charm. He's an actor with subtlety, one whose very presence can change. In films like Closer, that meant a fresh layer of smarminess and sleaze. In The Boys Are Back, it means showing the familial heart underneath the macho exterior. Based on Simon Carr's novel, Owen stars as Joe Warr - a sports reporter in Australia who is the classic father figure, the loving but slightly absent provider. But when his wife suddenly falls ill and passes away, Joe is forced to take on a new role as the sole parental figure. He still must provide security, but now that means a lot more than just money. He is the caretaker to his young son Artie (Nicholas McAnulty), and must not only provide for him, but also help the young boy deal with the loss of his mother, and give the boy the emotional comfort he needs to heal.Filed under: Comedy, Drama, Theatrical Reviews, Festival Reports, Toronto International Film FestivalContinue reading TIFF Review: The Boys Are Back Permalink | Email this | Comments

"If you choose to do nothing, though, you will continue to do the same thing over and over again." Hypatia (Rachel Weisz), Agora To some, the name Alejandro Amen bar sparks instant interest. But if it does not, let me refresh your memory. In 1997, he wrote (with Mateo Gil) and directed the Spanish film Open Your Eyes -- which North American audiences know better by its ultra-strange U.S. remake Vanilla Sky. 2001 marked his English film premiere, the eerie Nicole Kidman thriller The Others (the only feature Gil hasn't co-written). And then in 2004, he went back to Spanish filmmaking with the Javier Bardem-starring Oscar winner The Sea Inside. Now he's grabbed the likes of Rachel Weisz, Max Minghella, and Oscar Isaac for a film that doesn't journey through facial reconstruction, ghosts, or euthanasia. It's a gorgeous, thought-provoking Roman epic called Agora. The film focuses on one of the most impressive female figures in history - Hypatia, a leading thinker in the Rome-governed Alexandria, considered to be the first notable woman of mathematics. She studied philosophy and astronomy, and both pagan and Christian students from far and wide came together to study under her. "For all men on account of her extraordinary dignity and virtue admired her the more."Filed under: Drama, Theatrical Reviews, Festival Reports, Exhibition, ReligiousContinue reading TIFF Review: Agora Permalink | Email this | Comments

Key Screenings. And away we go! The Toronto International Film Festival got underway on Thursday, as official opener Creation landed with a painful thud. Reaction was more positive for Lars von Trier's Antichrist (except for the guy who vomited on fellow attendees during the screening) and Pedro Almodovar's Broken Embraces, according to Eugene Hernandez at indieWIRE, who also noted that Paul Bettany, Jennifer Connelly, Willem Dafoe, and Penelope Cruz (plus the lovely Amanda Seyfried, above) appeared in support of their wide-ranging films, not to mention scantily-clad men and women at different functions. The first full day of screenings found Anne Thompson gushing over the Coen Brothers' A Serious Man ("Utterly assured, personal, serious, sad and very funny"). George Clooney (staring, above) and Jeff Bridges received ovations for The Men Who Stare at Goats, tweeted a Twitter user; however, Karina Longworth recoiled: "Its vacuity actually seems offensive" compared to Lu Chuan's City of Life and Death, dealing with the tragedy in Nanking, China in 1937. Our Coverage. As our writers on the ground scramble to hit all the choicest press and public screenings, and somehow find time to write in between dashing from one theater to the next, reviews have begun to filter in. Written by Diablo Cody and starring Megan Fox, Jennifer's Body "substitutes hipster credibility for emotional currency," says Todd Gilchrist. Directed by Jason Reitman and starring George Clooney, Up in the Air is "brisk, funny, and not enslaved to genre conventions," declares Eugene Novikov. And Erik Davis presented a TIFF Exclusive: the poster for indie flick Kirot, with Olga Kurylenko as a gun-toting mother / assassin. News about a deal and more highlights from the Information Superhighway -- after the jump!Filed under: Independent, Deals, Festival Reports, George Clooney, Toronto International Film Festival, Cinematical IndieContinue reading Toronto in 60 Seconds: Friday, September 11, 2009 Permalink | Email this | Comments

This is the dark comedy that Joel and Ethan Coen have been working towards. A Serious Man is the culmination of their lives, reminiscent both of their own suburban childhoods in the '60s, and of their cinematic successes over the last twenty-five years. It grabs the magic of local flavor and charm we saw in Fargo with a cast widely filled with unknown names (that pack as much of a cinematic punch as any star-studded roster you can think of), to the rapidly escalating drama of Burn After Reading. A Serious Man is cohesive and slick from stem to stern. It's serious about the craft of storytelling, both in form and function, with a dedication to characterization, pitch-perfect performances, and a cinematic backdrop that is both severely nostalgic and completely immersive. In many ways, A Serious Man is a modern-day Candide. But rather than a hapless hero who is continually undaunted by the neverending drama that plagues him, the Coens' hero isn't a ray of sunshine. Larry Gopnik (perfectly embodied by renowned stage actor Michael Stuhlbarg) is a man utterly at a loss to explain his life's severe turn for the worse; he is a man desperate for answers. The classic Candide optimism shines down in the form of the rabbis he consults with as he tries to make sense of things. But rather than sage advice, they deliver wholly inadequate responses to life's trauma that don't speak at all to the nature of Larry's life. Filed under: Comedy, Theatrical Reviews, Festival Reports, Toronto International Film FestivalContinue reading TIFF Review: A Serious Man Permalink | Email this | Comments

Sometimes it seems like one of Hollywood's main goals is to make people without spouses and children feel really bad about themselves. If that sort of thing bothers you, I would recommend passing on Up in the Air, which is as strident about the notion that a life without a family is worthless as any movie I've ever seen. Fortunately, it is also brisk, funny, and not enslaved to genre conventions. Parts of the film, in fact, approach comic brilliance. The reason that the film's message-mongering doesn't grate, I think, is that we really do feel sorry for the protagonist - an obsessive frequent flier who begins to realize that his life is an empty, lonely shell of rationalizations and self-delusions. In some respects, Ryan Bingham (George Clooney) approaches caricature: not only is he wifeless, childless and practically homeless - he has a barren studio in Omaha and spends 320 days a year on the road - but he fires people for a living and occasionally gives motivational speeches urging people to "empty their backpacks" and rid themselves of commitment. But there's a kernel of truth to him, in the sense that there is something compelling, almost romantic about transience. His world of luxury hotels and airline perks - and a hot frequent flier girlfriend (Vera Farmiga) with whom he sleeps with when their paths cross but who asks for nothing more - actually seems kind of cool. Filed under: Comedy, Drama, Telluride, Theatrical Reviews, Festival Reports, Toronto International Film FestivalContinue reading TIFF Review: Up in the Air Permalink | Email this | Comments

Stop me if you've heard this one before. A womanizing cad doesn't believe in true love, even though he makes his living writing novels about it. He sleeps with one beautiful woman after another, never getting attached, always pleased when the women leave before he wakes up in the morning. But his whole world is turned upside-down when, out of nowhere, he actually falls in love with one of them. Yes, it's the ol' "education of a douchebag" story, going by the title Mercy this time around and starring Scott Caan, who also wrote the screenplay. (It's actually his third script; he directed the other two himself, and the first, Dallas 362, won the jury prize at CineVegas in 2003.) One is tempted to find autobiographical elements in Caan's swaggering character, especially since his real-life father, James Caan, plays his dad in the movie, but I don't know if that's accurate. But it might be the more charitable interpretation, since without a personal connection there's no reason to tell a story this generic. It's at the release party for his third novel that Johnny Ryan (Scott Caan) meets Mercy (Wendy Glenn), a gorgeous, slender brunette who, unlike most heterosexual women (or so we're led to understand), is not instantly bowled over by Johnny's smooth cocky charm. Nor, it turns out, does she like his writing. This wouldn't normally bother Johnny -- he prefers women who can barely read anyway -- but in this case it's troubling because she's a New York Times book critic. Now with two reasons to pursue her (the usual one, and her negative opinion of his work), Johnny redoubles his efforts to get close to her.Filed under: Drama, Independent, New Releases, Theatrical Reviews, Festival Reports, CineVegasContinue reading CineVegas Review: Mercy Permalink | Email this | Comments

Redland is an art film in the most literal and complimentary sense. Every frame of it looks like an Impressionist painting or an exquisite photograph, and the dialogue is overheard in snippets, the way you half-hear conversations when you're drifting to sleep. The story is non-linear and dreamlike. The film's substance, its actual content, is good, but its style is nothing short of astonishing. The setting is a rural, isolated mountain home during the Great Depression. These are not the Waltons, though. The unnamed family is dirt-poor, living in a ramshackle house and barely staying ahead of starvation. They subsist on the few chickens and other animals kept on their property. You know the old clich about how we were poor but we didn't know it, because we were happy? Not these people. These people are poor and miserable. Worse, the teenage daughter, Mary-Ann (Lucy Adden), has been having a sexual affair with Charlie Mills (Toben Seymour), a neighbor boy her age ("neighbor" means he lives a few miles away), and has been trying desperately to keep it hidden from her father (Mark Aaron) and mother (Bernadette Murray). Father suspects something is wrong with his daughter and asks her brothers -- older Job (Sean Thomas) and younger Paul (Kathan Fors) -- if they've noticed any visitors lurking around, but they say they haven't. When the family's plight becomes truly life-threatening, with Mother on the brink of death from malnutrition, Father and Job set off on a dangerous trek across the river in search of wild game. Charlie Mills is invited to accompany them, though Father has already grown suspicious of him. (When you live in desolate isolation, the list of possible secret boyfriends for your daughter is short.) Filed under: Drama, Independent, New Releases, Theatrical Reviews, Festival Reports, CineVegasContinue reading CineVegas Review: Redland Permalink | Email this | Comments