The title refers to the latest viral party craze, which sees teens gather around a volunteer who grabs a mysterious embalmed hand while uttering the phrase “talk to me.” It’s a short séance ritual that opens a direct line of communication to the dead, but those that play must abide by strict rules to maintain the boundary between the living and the dead.

Mia (Sophie Wilde) decides to test the game for herself at a party with close friend Jade (Alexandra Jensen) and Jade’s younger brother Riley (Joe Bird), hoping it distracts her on the anniversary of her mother’s death. It does, and then some; Mia finds herself increasingly haunted as she scrambles to undo the consequences of her actions.

The setup calls to mind familiar supernatural horror movies that warn teens of the dangers of dabbling with Ouija boards, seances, and occultism they don’t understand. From the opening sequence, however, the Philippou brothers establish high stakes and a startlingly violent, welcome departure from convention. This teen horror movie has sharp teeth, and the world beyond the living has never felt more dangerous or dire.

Working from a script co-written by Danny Philippou and Bill Hinzman, the Philippou brothers quickly ascertain the messiness of adolescence through Mia, Jade, and Riley. The emotional turbulence of teen hormones gets compounded in Mia, who’s assimilated into Jade’s family after her mother’s passing as a means of escapism from her lonely home life. It’s an effective means of adding complexity while engendering empathy. Where death is an entertaining parlor trick to capture on camera for most of her peers, Mia finds a unique thrill from the game. Wilde makes for the perfect lead to encapsulate Mia’s profound vulnerability and melancholy within the standard adolescence invincibility complex.

Because the young leads are so authentically rendered, it adds to the nail-biting tension. The filmmakers demonstrate a knack for stretching out the suspense as long as possible, only to release it through unexpected scares, gross-out gags, or visceral, wince-inducing violence. It’s not just the brutality that surprises but the filmmakers’ audacious visual interpretation of ghosts and the ghostly realm. The filmmakers create an exhilarating, chilling dichotomy between irreverent youth and the ghastly, surreal dead.

The more the boundaries between worlds blur, the less concise the narrative becomes, faltering slightly in the back half. It’s fitting, as it winds up mirroring Mia’s daunting journey. There’s an unflinching symmetry to her story that packs a potent punch right down to the final unforgettable frame. The Philippou brothers’ feature debut goes straight for the jugular, ensuring Talk to Me will stick with you. There’s a refreshing ruthlessness to this cautionary tale that plays like a surge of adrenaline; it makes for one hell of an introduction to Danny and Michael Philippou’s brand of horror.

A24 will release Talk to Me in theaters nationwide on July 28, 2023.

Editor’s Note: This Sundance review was originally published on January 22, 2023.

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The feature debut by Castel, which made its world premiere at the Sundance Film Festival, sees a teen outcast connect with and fall for a town newcomer, igniting a personal transformation. My Animal stars Bobbi Salvör Menuez, Amandla Stenberg, Stephen Mchattie, Heidi Von Palleske, Cory Lipman, and Joe Apollonio.

Bloody Disgusting spoke with Castel about her debut, the werewolf metaphor, and the symbolism behind her use of the color red.

Castel breaks down what attracted her to Matthews’ script and its approach to the werewolf metaphor, both as Otherness and Heather’s (Salvör Menuez) sexual discovery. 

“I’m connected to outsider stories,” Castle explains. “I’m interested in telling outsider stories and stories that exist on the fringes of society. That was something that attracted me to the story and to that werewolf element. There’s this duality, but it’s in a way that accepts that inner aspect of yourself, that inner animal. And embracing the elements that you’re maybe shameful of are actually the things that define you as an individual and are the things that make you unique and interesting.

“I love this idea of society telling you you’re not supposed to be this, this, and this. But actually, you can embrace those things and integrate them and transform yourself and your life by integrating those exact things you’re told to get rid of. I love that idea and concept and wanted to explore that as well in the film.”

That approach to the werewolf metaphor extends to Castel’s visual direction and her symbolic use of red. When asked about its purpose visually, the filmmaker explained, “Oh, it’s definitely purposeful. It was this ongoing joke on set that I’d always be like, ‘More red.’ But yeah, I was trying to weave this into the story of red, which was the color I wanted to use with Johnny (Stenberg) and Heather in their wardrobe choices, in Johnny’s hair. Johnny’s hair transforms throughout the movie. It’s really subtle, but she slowly has more and more pink extensions woven into her hair as she falls in love.

“I wanted there always to be this sense of this emotional component of the story being represented by the color red. You’ll see it, even if it’s a naturalistic scene like when they’re talking together in the car, you’ve got the brake lights that we made bright in the background between the two of them. That’s connecting them. I used that as something that would come in and out of the universe to symbolize this passion and this desire. I was always looking to reinforce that symbolism and put thought into the process all the way through and have a color story that was happening in the film itself. But it’s that desire, that passion, that thing within yourself that’s uncontrollable.”

My Animal has been acquired by Paramount, though no release date has been announced yet. Stay tuned.

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Taking place a few years after a hyper-intelligent alien race known as the Vuvv took over planet Earth, Landscape With Invisible Hand subverts expectations by informing us that they did so through soft economic power rather than brute force, bringing wondrous technology to Earth that only the wealthiest could afford. This technology rendered most jobs obsolete (neurosurgeons now work as highly-paid valets for the Vuvv, for example), leaving the rest of humanity to scrape together money in the tourism industry.

Our point of entry for this new reality is Adam (Asante Blackk, When They See Us), a teenage artist living with his mother Beth (Tiffany Haddish, who also serves as executive producer) and sister Natalie (Brooklynn MacKinzie). Adam makes a connection with his poverty-stricken classmate Chloe (Kylie Rogers, Yellowstone), who has been living in her family’s car under an overpass. After inviting her and her family to live in his family’s basement, Adam and Chloe begin livestreaming their courtship for the amusement of the coffee-table sized Vuvv, who find human love exotic and interesting and thus pay to view the livestream. However, when Adam and Chloe’s scheme goes sideways, Adam and his mother have to find their way out of an increasingly nightmarish alien bureaucracy.

If that sounds like a lot of information, well, it is. Based on M.T. Anderson’s novella of the same name, Landscape With Invisible Hand is essentially divided into chapters marked by various works of Adam’s art (courtesy of Atlanta-based artist William Downs). Unfortunately, Finley tries to cram far too much into Landscape‘s brief 94-minute runtime. The worldbuilding is effective, even for viewers unfamiliar with the source material, but the plot can be a bit scattershot, with the film struggling to find a central point of focus. Yes, the overall theme of human resilience is prevalent throughout, and yes, Adam is our main character, but there’s a lot of things to unpack in a film with too little real estate. Plot points in the first act resolve in order to make way for new ones, but Finley insists on keeping certain characters around that now feel superfluous to the plot. One could argue that these characters are necessary to the central themes, but while this may work on the page, it doesn’t always work on film.

The Vuvv themselves are a sight to behold. Cold, logical and incapable of love (love is a singularly human emotion, after all), the Vuvv are brought to life via CGI courtesy of Erik-Jan de Boer (Okja). They communicate by rubbing their flippers together, using voice boxes to translate on their behalf. It’s a unique design that absolutely deserves kudos, even if the CGI isn’t particularly convincing. Still, it’s a much more technically ambitious production than Finley’s prior feature effort Thoroughbreds, so that deserves a special mention.

Melancholy and bleak in tone, one can admire Landscape for not going the traditional Hollywood route with its extraterrestrial creatures. Try as our characters might, there is no journey of emotional discovery for the Vuvv. There is no light at the end of the tunnel in the hope for a better world. Our characters (and us by proxy) are stuck here and have to make the best of it. As for the performances, Blackk carries the emotional brunt of the film, delivering a quietly moving performance that elevates the picture. Haddish, uncharacteristically playing a more dramatic role, gives one of her best performances to date as a mother doing anything she can to help her family in the face of absolute hopelessness.

Landscape With Invisible Hand paints a portrait of a fascinating world that could have done with a longer runtime to help flesh out some of its ideas. The micro-level approach is fine, but there’s just too much here to fully absorb. Still, performances are strong and aid a so-so screenplay, making it difficult not to be captivated by this strangely engrossing new status quo.

Landscape With Invisible Hand had its world premiere at the 2023 Sundance Film Festival and will be released by MGM later this year.

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Variety notes, “The film fetched a figure in the high seven-figure range, according to sources.” The plan, they say, is to give the film a wide theatrical release this coming summer.

The film follows a group of teenage friends that takes up communion with the spirits as a party activity. Mia (Sophia Wilde) looks to connect with the supernatural following the death of her mother, but a séance gone wrong carries terrifying consequences for the group.

Sophia Wilde, Miranda Otto, Alexandra Jensen, Joe Bird, Otis Djanji and Zoe Terakes star.

Danny and Michael Philippou (YouTube’s RackaRacka) wrote and directed Talk to Me.

Meagan Navarro wrote in her Sundance review for BD, “Talk to Me delivers an intense, nightmarish horror movie that’ll leave you breathless.” The review continued, “There’s a refreshing ruthlessness to this cautionary tale that plays like a surge of adrenaline; it makes for one hell of an introduction to Danny and Michael Philippou’s brand of horror.”

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Set in an alternate universe (or a near future?), Divinity sees scientist Sterling Pierce (Scott Bakula, Quantum Leap) dedicate his life to the quest for immortality, slowly creating the building blocks of a groundbreaking serum named Divinity. Years later, his son Jaxxon Pierce (Stephen Dorff, Blade) now controls and manufactures the drug, resulting in a hedonistic planet that has been left 97% infertile, but immortal. Two alien brothers (Moises Arias and Jason Genao) arrive with a plan to abduct the mogul, only to be surprised by the sudden arrival of a sex worker named Nikita (Karrueche Tran, TNT’s Claws), who complicates their plans. Meanwhile, in another universe (or planet?) a female race led by Ziva (Bella Thorne, The Babysitter films) aims to undo the destruction caused by Divinity.

Divinity is fucking weird. There’s no way around it. Though it has a more linear narrative than your typical experimental film, its black-and-white, 16mm-shot assault on the senses is bound to divide viewers. Writer/director Eddie Alcazar, returning to the screen for the first time since 2018’s Perfect, gives us a unique vision that doesn’t offer much handholding for viewers. It’s best to just sit back and enjoy(?) the ride.

Though it’s aesthetically reminiscent of the lo-fi production of sci-fi television shows from the ’60s, the themes that Divinity grapples with apply to our modern world. Keying into society’s penchant for selfishness and self-preservation, especially in these post-pandemic times, Alcazar has more on his mind than a silly little sci-fi adventure.

Dorff may get top billing, but he does end up buried under a great deal of makeup for most of the film’s runtime, so the emotional core falls on Tran, Arias and Genao. Tran, especially, gives a mesmerizing and ethereal performance. It is through Nikita that the alien siblings gain a semblance of humanity, learning to understand what it means to be human and the detrimental effects Divinity has had on the race.

The worldbuilding is exquisite, so it’s no wonder that an industry titan like Steven Soderbergh opted to produce the film. Divinity is a vibe, but what the film lacks in commercial appeal it more than makes up for in a seemingly unending supply of creativity. Makeup effects on a continuously transforming Dorff impress, and a climactic battle filmed in stop motion dazzles. Jacob Flack and Mark A. Mangini‘s sound design is impeccable, adding an even more ominous layer to the proceedings.

As abstract as Divinity can be, it sometimes doesn’t trust its audience to fully understand what it’s trying to say, with Nikita even vocalizing the film’s central message about midway through the film. It offers little handholding for viewers, but when it does it pulls you out of the film. These moments are few and far between, but because of that it makes the moments that they do occur feel even more jarring.

Expect Divinity to perplex more viewers than it doesn’t (cries of “pretentious bullshit” will be inevitable), but for those that can appreciate the sheer ambition of the film’s scope, there’s a treat to be found within. Immortality is a constant talking point in the film, but what does that really mean? Is it merely that one body lives forever? Or is it something more than that? For those willing to meet Divinity halfway, they may find the answer.

Divinity had its world premiere at the 2023 Sundance Film Festival and is currently seeking a distributor.

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Twenty-year-old Margot (Emilia Jones) is a sophomore in college living away from home and working a part-time gig at the concession stand of a local theater that regularly plays repertory horror. There, she meets frequent patron Robert (Nicholas Braun) and strikes up an awkward flirtation over Red Vines. That uncomfortable flirtation becomes clear to outside observers that the much older Robert most likely isn’t a suitable match for Margot. Still, the young woman forges ahead, growing their romance through texts and uncomfortable meetups. The more the glaring divide between the pair becomes apparent, along with the red flags, the more Margot’s imagination runs wild, with her uncertainty about the relationship exposing her fears through vivid daydreams. The bid to uncover the truth of whether Robert bears ill intent or is misunderstood may derail more than just their romance but their very lives as well.

Director Susanna Fogel (co-writer of Booksmart) and screenwriter Michelle Ashford establish their protagonist’s hyperactive imagination early on with a nightmare sequence that sees a seemingly stray dog savagely rip apart her strict dorm RA. It’s a dream that comes hot on the heels of said RA refusing to let Margot bring the dog in from the rain, a means of letting us know Margot’s penchant for filling in blanks or desired outcomes with extremes.

It’s the extremes that underscore the disjointed vibe, as Cat Person toggles between awkward romantic comedy and nightmare dating horror movie so fast and frequently that it induces whiplash. The psychological horror doesn’t just stem from Margot’s daydreams but in the way she repeatedly ignores her inner monologue or the sound advice of her best friend Tamara (Geraldine Viswanathan) to force a relationship with a stranger over a decade her senior. The comedy gets pushed to extremes, too, with the cringe humor becoming so profoundly uncomfortable that the lines of comedy and horror vanish altogether in scenes. For the most part, though, Fogel cannot mesh the dramedy with the horror in a natural or even logical way. Though her feature does earn points for the most excruciating sex scene in recent memory.

Through no fault of her own, Jones struggles to engender sympathy for Margot’s plight due to a script that often prompts the character to ignore all reason and send indecisive mixed signals. Braun fares slightly better as the aloof, inexperienced romantic with massive temperament swings, effectively earning pity or ire when called for.

Cat Person highlights the hells of modern dating from the perspective of a young, rash woman, intending to work as a conversation starter. Except in trying to cover both sides of Atwood’s quote, what it’s trying to say gets lost in translation. Cat Person has a lot on its mind but lacks the cohesive clarity to communicate it all. Rare moments of charm, especially a supporting part by Isabella Rossellini, show potential, but mostly Cat Person amounts to a deeply disjointed work of cringe horror.

Cat Person premiered at the Sundance Film Festival, with a release TBD.

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When oddball Marcus J. Trillbury (Bowser) isn’t working his fast food gig or getting into fights with his mom’s (Barbara Crampton) boyfriend, he’s aspiring to master his craft as amateur occultist Onyx the Fortuitous. So much so that he jumps at the chance to prove himself to his idol Bartok the Great (Jeffrey Combs), answering an open call for fellow Satan worshippers to join the renowned dark master for a special ritual. To Marcus’s extreme delight, Bartok accepts his application and joins four others at Batok’s mansion. Bartok and his assistant Farrah (Olivia Taylor Dudley) waste no time subjecting the eclectic bunch to a series of tests to prepare for the ritual. It quickly becomes evident that they’ve got sinister intentions.

Onyx’s mettle will be tested as he bands with his new friends to save their souls.

Before getting into the occultist plot in proper, Bowser spends time getting uninitiated viewers acquainted with his endearing weirdo character and his world. Marcus retreats into his isolated world of toys, horror movies, and occultist persona as he’s misunderstood at home and work. Even fellow Satanists Mack (Rivkah Reyes), Mr. Duke (T.C. Carson), Jesminder (Melanie Chandra), and Shelley (Arden Myrin) aren’t sure what to make of his high-strung, loner persona. At least until Onyx accidentally uncovers part of Bartok’s nefarious plot and enlists Mr. Duke and Mack’s aid. It begins a personal growth journey filled with horror references and humor.

That means it can take a while for the horror part of the comedy-horror to kick into high gear. It’s not until Bartok’s plans are well underway and Onyx relives Meatloaf’s “I’d Do Anything for Love (But I Won’t Do That)” music video in epic dream sequence form that Bowser really hits his stride. It tips the scales from charming enough comedy into full-blown comedy horror with masterful creature designs and effects by KreatureKid.

Bowser brings a sense of magic to his feature that plays like Elvira: Mistress of the Dark meets Fright Night. He wears his influences on his sleeves and finds humorous ways to incorporate them. Even the hardened horror fan might have trouble wiping the grin off their face as Crampton’s character yells to another to “get a job at a sideshow!” The overt hat tips to Re-Animator and other familiar IP never upstage Onyx’s story, his budding friendships, or the delightful monsters.

Onyx the Fortuitous seamlessly evolves the viral character for the big screen, with impressive production design and practical creature effects, while doubling as an endearing gateway horror film. It’s a loving ode to the video store-era monster kid and teases a larger demon-filled universe for Onyx and pals. His introductory feature film ensures that we’re ready to follow his horror-filled adventures to see his occultist dreams realized- as long as he gets to bring his Battle Katts toys.

Onyx the Fortuitous and the Talisman of Souls made its World Premiere at the Sundance Film Festival; release info TBD.

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Heather (Bobbi Salvör Menuez) struggles more than most teens her age in her small Northern town. The social outcast aspires to play goalie for the local hockey team, despite the coach’s harsh preference for male players and preferential treatment toward her younger brothers. Heather’s alcoholic mother (Heidi von Palleske) wreaks havoc on her home life thanks to her volatile mood swings. Then there’s the pesky problem that requires Heather to be shackled every full moon, inherited from dad (Stephen McHattie). Then she meets town newcomer Jonny (Amandla Stenberg), a rebellious figure skater. The chemistry between the pair escalates, giving Heather a reprieve from the oppressive forces in her life. It also forces her to reckon with her inner animal.

Director Jacqueline Castel and screenwriter Jae Matthews (The Runner) keep Heather’s emotional journey at the forefront; My Animal dabbles in horror but is much more interested in Heather’s self-discovery and growing pains. And Heather’s family strife and budding relationship with Jonny more than provide enough strife and uncertainty to fuel her inner conflicts.

Salvör Menuez nails Heather’s awkwardness and brings her internal struggles to the surface. It’s bolstered by Castel’s stylistic flourishes and how the filmmaker uses red to visualize Heather’s headspace. Heather silently accepts verbal abuse or public embarrassment from her mother. She tends to retreat within herself often, unsure how or what normalcy feels like. But the horror romance’s most vital asset is the sizzling chemistry between Salvör Menuez and Stenberg. Heather and Jonny’s attraction isn’t just a spark that ignites Heather’s desire for acceptance; it’s an entire bonfire.

Those hoping for a more conventional werewolf horror movie won’t find it here. The werewolf element informs everything about Heather and her life, but there’s a fascinating restraint in how Castel approaches it. My Animal posits that lycanthropy, like Heather’s sexuality, is inexorably linked to her human side. It’s the only part of Heather that feels entirely her own, save her connection with Jonny. Keeping that aspect of Heather so purposefully vague in mythology dampens the impact of her self-discovery, especially in the underdeveloped familial relationships that shape her entire identity. The evolutions within Heather can be almost too imperceptible until the third act. There’s a feeling that we never really knew Heather by the end, but then again, the point is arguable that neither did she.

My Animal defies easy categorization. The genre-bender combines horror, romance, and a strong emphasis on drama, culminating in a stylish, fascinating coming-of-age story. It operates on mood and emotion, using the werewolf mythos as a metaphor for Heather’s budding sexuality. That it’s unconventional means investment depends on how successfully Salvör Menuez, Stenberg, and Castel can draw you into this emotionally charged and occasionally bloody character study. It may not wow on the werewolf front, but My Animal’s ability to retool many of its classic tropes in a reality-based, contemporary way is commendable.

My Animal made its World Premiere at the Sundance Film Festival and will be released by Paramount in 2023.

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Set in the Philippines at the end of World War II, In My Mother’s Skin follows the story of Tala (Felicity Kyle Napuli), a 14-year-old daughter of a textile merchant who lives in a war-worn colonial house with her sickly mother Ligaya (Beauty Gonzalez) and younger brother Bayani (James Mavie Estrella). Under suspicion of stealing Japanese gold, Tala’s father mysteriously leaves to barter for his family’s freedom, and his family finds themselves left to their own devices. While exploring the forest one day, Tala crosses paths with a mysterious fairy (Jasmine Curtis-Smith) who offers her a chance to cure her mother with a magical insect. She offers a word of warning before handing over the bug, but desperate for her mother’s survival, Tala ignores the warning and gives her mother the cure. This leads to disastrous consequences for her and her family.

This is a personal project for Dagatan, whose grandfather was a guerilla soldier during the Second World War. Leaving his family behind in order to fight invading Japanese soldiers, his wife stayed home to care for their children, not knowing when or if he would return. Dagatan personifies that trauma into a flesh-eating fairy, crafting a creature reminiscent of a djinn in its methods but unique in its appearance.

In My Mother’s Skin has all of the right ingredients, technically speaking. The production design of the house, as well as the surrounding forest, is truly stunning. SiNg Wu‘s ominous score looms over every frame, foreshadowing the horrors yet to come. It is the sound design, however, beautifully orchestrated by Eddie Huang and Chen Yi Ling, that will get under your skin (not unlike the insect that literally gets under Ligaya’s skin).

There isn’t much in the way of costumes, save for the Virgin Mary-inspired look of the fairy, but it’s such a striking visage (Mary’s halo is made into a ring of fairy wings framing Curtis-Smith’s head) that it leaves the most lasting of impressions. One just wishes the creature had more of a presence in the film, appearing in fleeting moments to offer Tala a duplicitous wish before exiting the film until Tala’s desperation rears its ugly head once again.

But even with all of those strengths, In My Mother’s Skin struggles to hold one’s attention. Deliberately paced to a fault, the film could have used a firmer hand in the editing room. There were several walkouts in my screening, but whether that was due to the sluggish pace or the handful of upsettingly violent scenes involving children is up in the air. That being said, Skin does have some effectively gruesome moments, with the results of Ligaya’s possession calling to mind many J-horror tropes.

Napuli serves as the film’s emotional core and gives a strong performance, but despite Tala’s youthful naïveté there is a certain frustration to her choices, with her realization of the fairy’s treachery coming a bit too late into the film. This frustration makes it difficult to make an emotional connection with her character. Similarly, Dagatan’s script falls into an episodic nature, with the fairy approaching Tala with a solution to her problems that will inevitably turn sour. Wash, rinse, and repeat.

While the individual pieces of In My Mother’s Skin are there, it doesn’t quite come together by the time the credits roll. It’s a technically ambitious effort from Dagatan, and while one can appreciate the personal nature of the film, it doesn’t quite translate to a superior final product.

In My Mother’s Skin had its world premiere at the 2023 Sundance Film Festival and will stream on Prime Video later this year.

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James Foster (Alexander Skarsgård) hopes to find inspiration for his second novel at the all-inclusive resort in Li Tolqa with his wife Em (Cleopatra Coleman). Instead of jump-starting his writer’s block, the couple winds up lazing around the pool and enjoying the comforts of the resort nestled in a country dangerous for tourists. That is until he meets Gabi (Mia Goth), a massive fan of James’ sole novel. Gabi and her husband Alban (Jalil Lespert) entice James and Em on a day trip beyond the barbed wire fences of the compound, resulting in a tragic accident that leaves James at the mercy of the authorities. Punishment is swift and severe, but the loophole that allows James’ freedom begins a cycle of violence and debauchery.

Straightaway, Brandon Cronenberg instills an off-kilter, satirical vibe with his fictional setting. Aside from the heavily guarded walls of the resort, its hosts regale guests with local customs while donning masks of twisted, deformed flesh. Then there’s the enigmatic Gabi, a charismatic seductress that knows just the right things to say to appeal to James’ vanity and ego.

It begins the constant push and pull of tension like an infinite loop of increasing madness. The suspenseful encounter with the locals’ harsh laws is only merely a catalyst for the trippy erosion of James’ ego, vanity, and privilege. Emphasis on trippy; whether through sci-fi means or drug-induced orgies, Cronenberg merges body horror and sexuality in increasingly bizarre, hallucinatory ways that push the boundaries of the film’s R-rating.

It’s not just the shocking escalation or Cronenberg’s approach that keeps Infinity Pool so engaging and occasionally repulsive, but the committed performances by Skarsgård and Goth. The increasingly complex layers added to James and Gabi reveal there’s far more to Infinity Pool than simply the rich eating the rich. Skarsgård toggles between extreme vulnerability and primal rage. At the same time, Goth progresses her character’s devious machinations with a scene-stealing level of unhinged glee that might give Pearl a run for her money. The scene-stealer showcases her comedic chops that make her feel all the more dangerous. Together, the pair take their characters to places that never fail to leave your jaw on the floor- again and again.

On a surface level, Infinity Pool feels like Brandon Cronenberg’s version of The Aristocrats, a long-running, taboo-defying joke told by various comedians. It’s as starkly funny as it is shocking. But it’s much more incisive than a wild depiction of the badly behaved upper class. As its title suggests, the longer James gets caught up in the madness, the more his edges and identity blur. That means the movie is almost certain to be polarizing. But Cronenberg’s sense of style, paired with an unrelenting sense of dread and tension and two utterly captivating, depraved leads ensure these provocative waters are well worth wading into.

Infinity Pool made its world premiere at the Sundance Film Festival and releases in theaters on January 27, 2023.

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Daina Reid‘s Run Rabbit Run is the latest addition to this sub-genre but, despite a committed lead performance from Sarah Snook (HBO’s Succession), it succumbs to predictable genre tropes and offers a severe lack of narrative momentum.

On the day of her daughter Mia’s (Lily LaTorre) seventh birthday, Sarah (Snook) comes home to find a rabbit on their front porch. This triggers strange behavior in Mia, who begins acting out in more and more alarming ways. From saying that she misses her grandmother, a person she has never met before, to claiming to be someone named Alice, Mia becomes increasingly not herself. Sarah must then delve back into her past to confront some long-withheld demons in order to save her daughter before it’s too late.

Comparisons to The Babadook are apt. Other than being another Australian horror offering, we’ve got a mother still reeling from a traumatic incident, a child so misbehaved that you’ll want to scream and hints of a specter representing (you guessed it) the mother’s guilt and trauma. Run Rabbit Run goes through all of these familiar beats with little to distinguish them from other, better films. These beats will be so familiar, in fact, that if you’re even moderately savvy you will be five steps ahead of Run Rabbit Run for its entire duration. Made even worse are the tropey hallucinations that Sarah endures as the film progresses. Is she going mad? Or are these visions the result of a ghostly presence? Unfortunately, you’re not likely to care since you’ve seen all of this done before and done better.

This wouldn’t be as much of a problem if there was a distinct sense of style present, but while there are some hauntingly gorgeous shots of the Australian landscape (courtesy of cinematographer Bonnie Elliott), Reid fails to instill any sense of dread or create any kind of atmosphere in her shot composition. Everything is static, making it difficult to connect emotionally with Sarah and the increasingly unsettling proceedings.

Reid, along with editors Nick Meyers and Sean Lahiff, make several questionable choices. Many scenes are seemingly cut short, making for a frequently perplexing viewing experience. One scene, in particular, sees Sarah witness a cabinet open on its own. She approaches the cabinet and as soon as she exits the frame, we hear the cabinet door shut. We then immediately cut to a scene of Sarah walking through the hallway of the house, as if nothing has happened. It’s jarring and undercuts any kind of tension Reid is trying to build. One has to wonder if the film could have done with a single editor instead of a pair of them. What makes this all the more frustrating is that the film drags. It seems contradictory to say that a film is too long while also lamenting the fact that several scenes are cut too short, but such is the case with Run Rabbit Run.

The film offers a solid performance from Snook, who does what she can with some admittedly slim material. Parent viewers might be more empathetic toward Sarah’s plight, but others will find themselves frustrated with nearly every decision Sarah makes whenever Mia acts out. Snook isn’t given much to work with other than to act frantically at every little red flag that Mia’s behavior raises, but she gives a nuanced enough performance to override some of the script’s failures.

Ultimately, Run Rabbit Run will play all too familiar to anyone who has seen any of the trauma-based horror films that have been released in the past decade. There are nuggets of a better film here, but what we have is an undercooked mystery with little atmosphere, leaving us with a final product that is, quite frankly, just plain boring.

Run Rabbit Run had its world premiere at the 2023 Sundance Film Festival and will stream on Netflix later this year.

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After the sudden death of her 6-year-old daughter Lila (A.J. Lister), maternity nurse Celie (Judy Reyes, Smile) is overcome with grief until she crosses paths with pathologist Rose (Marin Ireland), a cold, calculated woman who is far more interested in the corpses she examines than the living people in her life. After discovering a secret Rose keeps in her apartment, the two women join forces in an attempt to bring Celie’s daughter back to life.

birth/rebirth offers a motherly twist on the Frankenstein tale, though Moss and O’Brien are much more interested in the mad scientists themselves than they are the eponymous creature, making birth/rebirth more of a dramatic character study than an outright horror film. Yes, it delves deeper into the genre’s tropes as it moves into its third act, but its focus on the relationship between these two women is what sets it apart from other versions of this oft-old tale. Similarly, it’s Celie’s emotional connection to the creature itself that adds a new wrinkle to the formula. birth/rebirth dares to ask the question: how far will a mother go to ensure her daughter’s survival?

It cannot be understated how vital Reyes and Ireland are to the success of birth/rebirth. Any shortcomings in Moss and O’Brien’s script are overcome by these two outstanding performances. Reyes, reliable ever since her days on Scrubs, is the emotional core of the film. She grounds the more outlandish elements of the plot, her grief and desperation palpable. But as great as Reyes is (and she is great), it’s Ireland who runs away with the film. Already having proven herself in recent horror offerings like The Dark and the Wicked and The Empty Man, birth/rebirth offers yet another display of her talents.

There’s a surprising amount of humor to be found in birth/rebirth, with Ireland’s deadpan delivery juxtaposed with Reyes’ emotionality providing many of the film’s laughs. Rose seems to be coded as neurodiverse, and birth/rebirth mines a lot of humor out of her interactions with the people around her. It’s a welcome reprieve from the doom and gloom of the proceedings, but thankfully the humor never undercuts the drama.

Despite the occasional burst of humor, don’t expect birth/rebirth to pull any punches when it comes to the grisliness of the premise. After opening with a particularly gruesome overhead shot of an autopsy, it gifts us with several disturbingly gory scenes over the course of its runtime that will make any person shudder (a shot of Rose pulling a placenta out of a pregnant corpse’s belly is particularly upsetting). Mothers beware: this is a rough watch.

birth/rebirth does overstay its welcome a bit, with Moss struggling to maintain narrative momentum as the film shifts further into genre territory. This is not to say the film’s gory offerings don’t satisfy, it’s just that the relationship between Rose and Celie is so captivating that you wish the film would just stick with them, rather than barrel toward its inevitable conclusion.

Despite all of that, birth/rebirth remains a success. It’s a solid feature directorial debut for Moss, but mostly stands as a stellar showcase for these two actresses. Keep this one on your radar, folks.

birth/rebirth had its world premiere at the 2023 Sundance Film Festival and will stream on Shudder later this year.

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Ahead of the Sundance premiere, check out the retro poster below.

Eddie Alcazar wrote and directed Divinity. Here’s the plot synopsis…

Set in an otherworldly human existence, scientist Sterling Pierce (Scott Bakula) dedicated his life to the quest for immortality, slowly creating the building blocks of a groundbreaking serum named “Divinity.” Jaxxon Pierce (Stephen Dorff), his son, now controls and manufactures his father’s once-benevolent dream.

Society on this barren planet has been entirely perverted by the supremacy of the drug, whose true origins are shrouded in mystery. Two mysterious brothers (Moises Arias and Jason Genao) arrive with a plan to abduct the mogul, and with the help of a seductive woman named Nikita (Karrueche Tran), they will be set on a path hurtling toward true immortality.

Bella Thorne also stars in the film, featuring music by DJ Muggs and Dean Hurley.

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From XYZ Films and Carver Films, expect Run Rabbit Run to premiere later this year.

The Australian horror movie “follows fertility doctor Sarah (Snook). She firmly believes in life and death. However, after noticing the strange behavior of her young daughter, she must challenge her own values and confront a ghost from her past.”

Daina Reid directed the film, written by Hannah Kent (The Good People, Devotion).

Run Rabbit Run‘s cast also includes Lily LaTorre, Damon Herriman (Thai Cave Rescue, The Serpent, Once Upon a Time in Hollywood) and Greta Scacchi (Darby & Joan, The Shepherd).

Producers are Sarah Shaw and Anna McLeish (Relic, Partisan, Snowtown). EPs are Nate Bolotin, Maxime Cottray, Nick Spicer and Aram Tertzakian of XYZ Films, Deanne Weir, Olivia Humphrey, Jack Christian, D.J. McPherson, Daina Reid, Sarah Snook, Jake Carter and Katie Anderson.

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Kenneth Dagatan directed the film, which premieres this Friday at Sundance.

Prime Video has acquired global rights.

Deadline notes, “A Q4 drop date in several countries is currently scheduled.”

“Set in 1945 Philippines, at the tail end of World War II, the pic follows the story of Tala, a 14-year-old daughter of a Philippines textile merchant who lives in a war-worn colonial house with her sickly mother Ligaya and younger brother Bayani. When Tala’s father mysteriously leaves once more to barter for his family’s freedom with the Japanese, his family finds themselves alone in their isolated forest mansion, awaiting his return.

“With Ligaya’s condition rapidly deteriorating, Tala seeks out a mysterious fairy who has promised to protect her. Happy to oblige, the fairy gifts Tala a magical insect to cure her dying mother. This initially provides Ligaya with relief, but later leads to disastrous consequences that forces Tala to make a distressing decision.”

Beauty Gonzalez, Felicity Kyle Napuli, Jasmine Curtis-Smith, James Mavie Estrella, and Angeli Bayani star in In My Mother’s Skin, which was written and directed by Dagatan.

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Bowser will star alongside Olivia Taylor Dudley (“The Magicians”), Rivkah Reyes (School of Rock), Jeffrey Combs (Re-Animator, The Frighteners), Ralph Ineson (The Witch, The Green Knight), Arden Myrin (“Insatiable,” “Mad TV”), Melanie Chandra (“Code Black”), and T.C. Carson (Final Destination 2).

But there’s one more important cast member to announce.

Bloody Disgusting can exclusively reveal that horror stalwart Barbara Crampton (You’re Next, Re-Animator) also stars in the upcoming horror-comedy! Onyx the Fortuitous and the Talisman of Souls reunites Crampton and Combs, who previously starred together in Stuart Gordon’s Re-Animator, From Beyond, and Castle Freak.

Check out the behind-the-scenes image of Crampton, Combs, and Bowser and an exclusive reveal of the monster-filled poster below.

Bowser’s film is described as “a mix of 80’s influenced-horror with the colorful, gothic feel of Beetlejuice and the lovably quirky characters of Napoleon Dynamite. The titular character, Onyx, originated from a series of viral videos created by Andrew over the past decade, many of which have received millions of views on YouTube, and an Onyx TikTok with over 1 million followers.”

The official plot: “Amateur occultist Marcus J. Trillbury, aka Onyx The Fortuitous, is struggling. He’s misunderstood at home and work, but his dreams for a new life seem to be answered when he lands a coveted invitation to the mansion of his idol Bartok the Great for a ritual to raise the spirit of an ancient demon. He excitedly joins Bartok and his fellow eclectic group of devotees as they prepare for the ceremony, but pretty quickly, it becomes apparent everything is not as it seems. As Onyx and his new friends fight to keep their souls, he must decide what he’s willing to truly sacrifice in order to meet his destiny.”

Head over to Sundance for details on Onyx the Fortuitous and the Talisman of Souls’ premiere screenings, and stay tuned for our coverage out of the fest.

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Today they announced the comprehensive slate of independent films selected from the fest that will take place January 19–29, 2023, in person in Park City, Salt Lake City, and the Sundance Resort, along with a selection of films available online across the country January 24–29, 2023.

Bloody Disgusting combed through the entire program this afternoon and pulled out all of the genre films of note, with first-look images and information where available.

What are you most excited to see at Sundance next year?

MIDNIGHT: From horror and comedy to works that defy genre classification, these films will keep you wide awake, even at the most arduous hour. Films that have premiered in this category in recent years include FRESH, Hereditary, Mandy, Relic, Assassination Nation, and The Babadook.

birth/rebirth / U.S.A. (Director and Screenwriter: Laura Moss, Screenwriter: Brendan J. O’Brien, Producers: Mali Elfman, David Grove Churchill Viste) — A single mother and a childless morgue technician are bound together by their relationship to a little girl they have reanimated from the dead. Cast: Marin Ireland, Judy Reyes, A.J. Lister, Breeda Wool. World Premiere. Fiction. DAY ONE

In My Mother’s Skin / Philippines (Director and Screenwriter: Kenneth Dagatan, Producers: Bradley Liew, Bianca Balbuena, Huang Junxiang, Stefano Centini) — Stranded in the Philippines during World War II, a young girl finds that her duty to protect her dying mother is complicated by her misplaced trust in a beguiling, flesh-eating fairy. Cast: Beauty Gonzalez, Felicity Kyle Napuli, Jasmine Curtis-Smith, James Mavie Estrella, Angeli Bayani. World Premiere. Fiction. Available online.

Infinity Pool / Canada (Director and Screenwriter: Brandon Cronenberg, Producers: Karen Harnisch, Andrew Cividino, Christian Piovesan, Noah Segal, Rob Cotterill, Anita Juka) — James and Em are enjoying an all-inclusive beach vacation when a fatal accident exposes the resort’s perverse subculture of hedonistic tourism, reckless violence, and surreal horrors. Cast: Alexander Skarsgård, Mia Goth, Cleopatra Coleman. World Premiere. Fiction. 

My Animal / Canada (Director: Jacqueline Castel, Screenwriter: Jae Matthews, Producers: Andrew Bronfman, Michael Solomon) — Heather, an outcast teenage goalie in a small northern town, falls for newcomer Jonny, an alluring but tormented figure skater. As their relationship deepens, Heather’s growing desires clash with her darkest secret, forcing her to control the animal within. Cast: Bobbi Salvör Menuez, Amandla Stenberg, Stephen McHattie, Heidi von Palleske, Cory Lipman, Joe Apollonio. World Premiere. Fiction. 

Onyx the Fortuitous and the Talisman of Souls / U.S.A. (Director, Screenwriter, and Producer: Andrew Bowser, Producers: Clark Baker, Michael Mobley, Olivia Taylor Dudley) — Onyx joins a group of fellow occultists to attend a dark ritual at the mansion of their idol, Bartok. Suspecting Bartok’s nefarious intentions, Onyx is suddenly immersed in a world of monsters, mystery, and mayhem. Cast: Andrew Bowser, Olivia Taylor Dudley, Jeffrey Combs, Ralph Ineson, Rivkah Reyes, T.C. Carson. World Premiere. Fiction. Available online.

Polite Society / U.K. (Director and Screenwriter: Nida Manzoor, Producers: Tim Bevan, Eric Fellner, Olivier Kaempfer, John Pocock) — Aspiring martial artist Ria Khan believes she must save her older sister, Lena, from her impending marriage. With the help of her friends, Ria attempts to pull off the most ambitious of all wedding heists in the name of independence and sisterhood. Cast: Priya Kansara, Ritu Arya, Nimra Bucha, Akshay Khanna, Seraphina Beh, Ella Bruccoleri. World Premiere. Fiction.

Run Rabbit Run / Australia (Director: Daina Reid, Screenwriter: Hannah Kent, Producers: Sarah Shaw, Anna McLeish) — As a fertility doctor, Sarah has a firm understanding of the cycle of life. However, when she is forced to make sense of the increasingly strange behavior of her young daughter, Sarah must challenge her own beliefs and confront a ghost from her past. Cast: Sarah Snook, Lily LaTorre, Damon Herriman, Greta Scacchi. World Premiere. Fiction. Available online. DAY ONE

Talk to Me / Australia (Director and Screenwriter: Danny Philippou, Director: Michael Philippou, Screenwriter: Bill Hinzman, Producers: Samantha Jennings, Kristina Ceyton) — When a group of friends discover how to conjure spirits using an ancient embalmed hand, they become hooked on the new thrill. Until one of them goes too far and opens the door to the spirit world. Cast: Sophie Wilde, Miranda Otto, Alexandra Jensen, Joe Bird, Zoe Terakes, Otis Dhanji. International Premiere. Fiction. 

NEXT: Visionary works distinguished by an innovative, forward-thinking approach to storytelling populate this program. Films that have premiered in this category in recent years include A Love Song, RIOTSVILLE, USA, The Infiltrators, Searching, Skate Kitchen, A Ghost Story, and Tangerine. NEXT is presented by Adobe.

Divinity / U.S.A. (Director, Screenwriter, and Producer: Eddie Alcazar, Producer: Steven Soderbergh) — Two mysterious brothers abduct a mogul during his quest for immortality. Meanwhile, a seductive woman helps them launch a journey of self-discovery. Cast: Stephen Dorff, Moises Arias, Jason Genao, Karrueche Tran, Bella Thorne, Scott Bakula. World Premiere. Fiction. Available online.

WORLD CINEMA DRAMATIC COMPETITION
Fiction projects from emerging artists around the world offer fresh perspectives and inventive styles. Films that have premiered in this category in recent years include Brian and Charles, Hive, Luzzu, The Souvenir, The Guilty, Monos, Yardie, The Nile Hilton Incident, and Second Mother. 

Mami Wata / Nigeria (Director and Screenwriter: C.J. “Fiery” Obasi, Producer: Oge Obasi) — When the harmony in a village is threatened by outside elements, two sisters must fight to save their people and restore the glory of a mermaid goddess to the land. Cast: Evelyne Ily, Uzoamaka Aniunoh, Kelechi Udegbe, Emeka Amakeze, Rita Edochie, Tough Bone. World Premiere. Available online.

Sorcery / Chile, Mexico, Germany (Director and Screenwriter: Christopher Murray, Screenwriter: Pablo Paredes, Producers: Juan de Dios Larraín, Pablo Larraín, Rocío Jadue, Nicolás Celis) — On the remote island of Chiloé in the late 19th century, an Indigenous girl named Rosa lives and works with her father on a farm. When the foreman brutally turns on Rosa’s father, she sets out for justice, seeking help from the king of a powerful organization of sorcerers. Cast: Valentina Véliz, Daniel Antivilo, Sebastian Hulk, Daniel Muñoz. World Premiere. Available online.

PREMIERES
A showcase of world premieres of some of the most highly anticipated fiction and documentary films of the coming year. Fiction films that have screened in Premieres include Good Luck to You, Leo Grande, Promising Young Woman, Kajillionaire,The Report, Late Night, and The Big Sick. Past documentary films include The Dissident, Lucy and Desi, On the Record, and Miss Americana.

Landscape With Invisible Hand / U.S.A (Director and Screenwriter: Cory Finley, Producers: Dede Gardner, Jeremy Kleiner) — When Earth is taken over by aliens who control the economy, a pair of teenagers come up with a plan to save their family. Cast: Tiffany Haddish, Asante Blackk, Kylie Rogers, Josh Hamilton, Michael Gandolfini, William Jackson Harper. World Premiere. Fiction.

The Pod Generation / Belgium, France, U.K (Director and Screenwriter: Sophie Barthes, Producers: Geneviève Lemal, Yann Zenou, Nadia Kamlichi, Martin Metz) — In a not-so-distant future, amid a society madly in love with technology, tech giant Pegazus offers couples the opportunity to share their pregnancies via detachable artificial wombs or pods. And so begins Rachel and Alvy’s wild ride to parenthood in this brave new world. Cast: Emilia Clarke, Chiwetel Ejiofor, Rosalie Craig, Vinette Robinson, Jean-Marc Barr. World Premiere. Fiction. DAY ONE

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