Movies
[BD Review] ‘Do You Like My Basement?’ Needed A Better Contractor
Ever since Kickstarter, uh, kickstarted the “crowd funding” of various projects, it seemed like a no-brainer that indie filmmakers would be a perfect fit for the service. Rather than running around in the “old-school” way, trying to secure funding from investors, you now just post your project on Kickstarter for would-be investors to send money your way. One such project is Do You Like My Basement?, written and directed by Roger Sewhcomar, whose previous work up to this point includes a couple of shorts and a documentary.
Do You Like My Basement? centers around an aspiring filmmaker named Stanley Farmer, who from a young age has taken a liking to having a camcorder and filming people. Stanley’s goal is to create the ultimate reality horror film. In order to do so, he “rents” out an apartment and hosts interviews for actors in the apartment’s basement, which would double as the film’s set. Needless to say, Stanley has an “unorthodox” way of conducting the interviews, as well as showing a penchant for more than just filmmaking.
Shot almost entirely from the view of either Stanley’s handheld or cameras placed around the apartment, Do You Like My Basement? maintains a documentary-style shooting that gives the film a unique first-person feel. There’s no exaggerated nausea-inducing shakycam moments (which is a relief), and oftentimes the composition of shots through holes in plastic sheets or from the eye level of a cutting board as Stanley stuffs a chicken are pretty fun to see. The handheld shots also lead to some pretty creepy moments, particularly when Stanley is “moving around” or asking some of his unusual interview questions.
Speaking of Stanley, we never entirely see his face (as it’s always behind the camera), and are instead treated to only his voice, which when coupled with his British accent, makes it feel as if we’re being treated to a documentary by the BBC (albeit a sinister one). This again also helps with the creep factor in Stanley’s interviews, whose calm demeanor when asking the increasingly disturbing questions during interviews is unsettling. Great job by Charlie Floyd for that. As for the rest of the actors, they do a fairly good job, though some performances (such as Jessica Green’s unconvincing turn as one of the interviewees) are weaker than others.
Unfortunately, the film suffers in the writing department, which becomes very apparent as the film progresses. Apart from some rather big plotholes (such as what happened to the owners of the apartment?), the film doesn’t give anyone really to root for, since the actors auditioning for the film are for the most part unlikeable or are just plain stupid. Even Stanley isn’t given much of a background or anything really to endear him to the viewer, leaving you feeling lost in that respect. As well, we also get some clichéd movie moments that are seemingly pulled out of nowhere (where’d that red button come from?). The ending of the film feels slapped together and reminiscent of something of a Saw trap that is neither impressive nor executed particularly well, mixed in with a Bond-esque villain laugh from behind the a security camera. The “ha-ha” epilogues of the actors played at the end of the film only seem to make the ending worse, like someone covering up an embarrassing moment with a bad joke.
Do You Like My Basement? started out with promise, but ultimately started tripping itself up before crashing at the end. Some great performances by much of the cast are almost in the film being bogged down by its writing, which unfortunately happens a lot when indie filmmakers take on more than just directing. As it stands, this basement looked nice, but when it came to construction, needed a better contractor.
Movies
‘Corpus’ Review: A Seductive Slow-Burn Erotic Thriller With a Supernatural Twist [Fantasia 2026]
Director Corrin Evans‘ sweaty, immersive voyage back to the ’90s deftly bypasses nostalgic pastiche thanks to strong form and vision in his feature debut, Corpus. Evocative of 1998’s High Art in indie attitude, style, and themes, Corpus so effectively pulls you into its brooding vision of identity and intimacy that its supernatural elements become almost an afterthought in this slow-simmering psychological thriller.
Evans, who co-writes with Lily Cowles, opens Corpus with a discomforting attention grabber that sees a young woman, Wren (Yellowjackets‘ Nuha Jes Izman), put in an increasingly awkward, then disturbing position at a professional photo shoot. The scene abruptly cuts right at the cusp of sexual violence, setting in motion the overarching mystery that protagonist Sayo (Jeff Wahlberg) slowly discovers he’s been pulled into.
Corpus introduces Sayo as an aspiring photographer with an eye for composition, but one who scrapes by in New York City dealing drugs at nightclubs. His quiet routine gets upended with the return of Vince Marlowe (Brodie Townsend), a star on the rise and Sayo’s longtime crush. Vince convinces Sayo and their mutual pal Ross (Michael Vlamis) to accompany him to an exclusive party hosted by his affluent photographer friend Billie (Lily Cowles). Instead of a bustling gathering filled with prominent guests, though, Sayo is surprised to arrive at an isolated estate deep in the woods, with only Billie, Billie’s strange friend Cata (Ching Valdes-Aran), and Wren to greet them.
It’s the type of bait-and-switch that should set off warnings within Sayo, but his unresolved feelings for Vince override his sense of survival as the strange behaviors grow more sinister over the weekend.
Sayo’s loneliness becomes the epicenter for Evans’ sensual examination of modern relationships, intimacy, and gender norms. As such, Corpus favors slow simmering, sensual unease as Evans dials into the push and pull among its central relationships. More acutely, Sayo’s deep confusion takes center stage as he tries to navigate his perplexing dynamic with the object of his desire. Vince runs hot and cold. Flirtations and advances are sometimes encouraged, sometimes rejected. Not helping is the bizarre dynamic between Billie and her mysterious “friend” Cata. Or Wren’s new feral persona, a far cry from her timid opener.
Fixating so thoroughly on the intricacies of Sayo and Vince’s will-they-won’t-they adds meaty thematic depth, a haunting depiction of loneliness leaving someone vulnerable to different forms of manipulation. It’s here where Evans slowly, ever so slowly, layers in hints of horror. Sensuality and relationship drama take center stage, and while Evans’ strong grasp of form makes for a compelling watch that holds you firmly in its grip, its middle section is prone to pacing lulls.
So much so that by the time Corpus is ready to reveal its sinister horror surprise, it feels almost too little too late. The disorienting nature of desire and intimacy gives way to a full-throttle home invasion that lays all intentions bare and finally unmasks its horror, but it comes in a frenzied rush that can’t wait to conclude Sayo’s erstwhile romantic pursuits.
The restrained horror does frustrate in the wake of the film’s potent cold open, raising the expectation for a more energetic journey that never fully arrives, but what it lacks in supernatural scares it makes up for in style and atmosphere. Wahlberg makes for a complicated, sympathetic lead as the vulnerable romantic struggling to find his place in the world, let alone whether he’s destined for love or the friendship zone. The ’90s setting doesn’t just remove the pesky problem of smartphones when trouble arises; it lets Evans play with form and incorporate photography techniques that raise visual interest. Even the music adds rich texture. It all makes for a stylish debut with a strong voice at the helm, but it never pushes far enough into erotic thriller or horror territory to fully unsettle.
Corpus made its premiere at the 2026 Fantasia International Film Festival. Release info TBD.
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