Brian Levin’s debut feature, UNION BRIDGE, is very well shot and acted but feels painfully slow due to the lack of an engaging story.
Kemal Yildirim’s new feature film, WASTELANDS, displays his technical filmmaking prowess but has a little too much going on in terms of its story.
Hilary Brougher’s newest feature film, South Mountain, may focus on a crumbling marriage but it also promotes the everlasting tenderness of family.
Jordan Blady’s debut feature, Softness of Bodies, is a tale of a troubled young woman’s directionless life and her transition (or lack thereof) into adulthood.
Kirill Sokolov’s debut feature Why Don’t You Just Die! is a violent and bloody affair in the vein of Quentin Tarantino with plenty of black comedy strewn about in the chaos.
Michael Reich’s surreal comedy/horror/romance/whatever you want to call it is a spectacle you need to judge for yourself.
Pedro C. Alonso’s debut feature, Feedback, is a suspenseful and dramatic hostage story with great performances from its leads.
Vincent Soberano’s new martial arts flick, Blood Hunters: Rise of the Hybrids, is bold in scope but bites off a little more than it can chew.
Alex Magaña’s newest film, What Love Looks Like, is an anthology that maintains the writer/director’s playful tone but lacks an overall story and falls a little flat.
Tucia Lyman’s feature film debut, M.O.M. (Mothers of Monsters), is an effective psychological thriller with an intriguing story that somewhat peters out by the end.