Sabrina’s work happens through a screen. Then a patient starts crossing boundaries. As compassion becomes a source of danger, the distance between her sessions and her private life begins to disappear.
Score: 7/10
Director / Writer:Sean O. McGuiness w. Joe Verrastro
She Listens Alone (2026) is a heady psychological thriller that will leave the audience considering which barriers to keep around ourselves and which to tear down.
Your Therapist’s Therapist
Alivia Levie as “Sabrina” for She Lives Alone
For a while I read the title of this film as “She Lives Alone” and it was apropos as a story about a young therapist whose practice and life have both become fairly isolated. I also rearranged the words of the title calling it “She Alone Listens” which is also fitting as we watch her intake information from her clients while never being able to deposit her own. She Listens Alone (2026) is a heady psychological thriller that will leave the audience considering which barriers to keep around ourselves and which to tear down.
Follows Raymund Gunn, the last human private detective, in a futuristic world inhabited by humans and aliens.
In Metropia, a gigantic city in an alternate future, private eye Raymond Gunn is drawn into a case involving aliens, murder, and a multimedia star named Venus Nova.
Score: 7.5/10
Director / Writer:Brad Bird
Starring:Sam Rockwell, Scarlett Johansson, Tom Waits, Alan Tudyk, Bobby Cannavale
Genre:animation
Runtime:119 min
Release:10/10/2026
Excerpt
Production-wise, the film is a marvel, though Bird is no stranger for his robust worlds. The fashion of Ray Gunn is impeccable; the music is perfection and the character design is fluid and compelling. The mix of retro ‘40s /‘50s style mixed with technology so modern it’s called “alien” is a really cool way to show how growth can be stunted without sharing knowledge.
When thinking about private investigators many times images of philandering spouses and hours long stakeouts come to mind. But what if you were an old school private eye in a universe that’s part The Fifth Element (1997), part The Adventures of Pluto Nash (2002) and involved aliens and corrupt corporations? Well, you’d have pretty much the same images only they would look amazing and the drama would be out of this world! Brad Bird’s foray into the world of adult animation has gifted us one of the best animated features of the year. Ray Gunn (2026) is on the case and he’s going to get the job done!
Of course Bird’s iconic run of animated films has made him a reliable source of inventive entertainment. From the retro-futurism of The Incredibles (2004) to the Parisian charm of Ratatouille (2007), Brad Bird has a unique style all of his own and he’s able to weave it in new and exciting ways. Ray Gunn follows private gumshoe Ray (Sam Rockwell who starred in another unlikely animated hit, The Bad Guys (2025)) and his assistant Eye-Ra Kadok (Tom Waits) who just happens to be an alien with impressive snooping skills and bioimaging (the ability to take photos using his body).
Private detecting is a dying art in this world where information is made available readily. Whether to be sold (with or without the owner’s permission), or to be leveraged for even greater gain, it’s harder than ever to keep a secret in Metropia. Ray is as down on his luck as it can get, having his personal possessions repossessed as many at a time as the movers can get away with. He’s got one last ditch effort – the idyllic cabin his parents left him – and he’ll do anything to not have to resort to selling it.
After a job gone wrong almost costs him everything, nightclub owner Arnold Dom (Bobby Cannavale) approaches him. Arnold also has the distinction of being Mr. Venus Nova. Venus Nova (Scarlett Johansson) the volatile singing diva whose personality is almost as big as her fame. She’s managed by Barry Vogel (Alan Tudyk) who hires Ray to look after Venus after an attempt on her life. Throughout the job we run into Francis Xavier aka Slugsy (Matthew Berry) a former thug turned club financier whose relationship to Venus is anyone’s guess. And we round out the main cast with Levity Love (Kether Donohue) who acts as Venus’s stand-in.
The film fires on all cylinders from the opening frame. The attention to world building is impeccable as we wiz by flying cars and rental jet packs. The dialogue is fresh and snappy and keeps the viewer interested throughout the runtime. In fact, the runtime is the only flaw which can often happen with animation over an hour and a half and Ray Gunn clocks in at 1:59. There are twists and turns but if you know anything of the genre, it’s pretty easy to figure it out early. When the audience knows the plot before the characters on screen, then the characters on screen need to make their discovery as interesting as possible. I think Ray Gunn succeeded in that with a myriad of fun chase and fight sequences. After a while though, we were just racing to the end waiting for the film to deliver on the final point. It’s a small gripe, and really didn’t hamper my enjoyment of the film.
A Film Full of Character(s)
Slugsy and his cronies: l-r Gunser (Brad Bird), Xavier (Matt Berry), and Musker (Brad Bird) for Ray Gunn
Rockwell imbues Ray with a world weary sense of optimism. He knows things will work out because they have to. He accepts the world for what it is and tries to find his happiness within that. He cares for his friends yet he understands that if the world doesn’t, that just means he has to care more. Waits gives Eye-ra a lot of personality and makes him likable while giving him a hard scrabbled edge. Johansson gives a great performance though I admit to chuckling as she clearly does her own singing for the film. Some of you may remember when she hinted at a music career by releasing a cover of Tom Wait’s “Falling Down”. The reception was mixed, but soon after I started hearing less and less about her musically. She gives a great performance and her voice fits Venus Nova and many moods very well. Cannavale, Berry and Tudyk are all pitch perfect in their roles and it’s easy to get lost in their characters without the big names overshadowing the performances.
Production-wise, the film is a marvel, though Bird is no stranger for his robust worlds. The fashion of Ray Gunn is impeccable, especially the hats! The music is perfection and the character design is fluid and compelling. The mix of retro ‘40s and ‘50s style mixed with technology so modern it’s called “alien” is a really cool way to show how growth can be stunted without sharing knowledge.
Something to Say
Ray Gunn has a lot to say and it does it in a way that cleverly doesn’t draw too much focus from the main plot. In a planet inhabited by “aliens” (in this case, actual offworlders), the xenophobia is strong in many areas. There are hospitals that won’t cater to aliens and certain clubs aliens can’t breach. In the beginning one of the aliens comments about how they suppressed their other arms to only have two because it looks “more respectable, more human!” It’s not so subtle shade to the systems in control that force immigrants to assimilate with the undelivered promise of acceptance.
There’s also some very clever anti-AI commentary which is always a joy to see. One character chides, “you want art, without the artist!” and it’s a line that could be added to many modern situations. I mentioned Ray Gunn being an animated movie that’s made for adults. It even has a curse word! But it’s more that the themes are meant to make you think and be awed by the beautiful animation.
Overall, Ray Gunn is a fast-paced who-dunnit that will keep you engaged from start to finish. I highly recommend it.
Score: 7.5/10
Ray Gunn will premiere Sunday, 10/10 at the London Film Festival, then select theaters December 4th. It will stream on Netflix, December 18th.
In 1892 California, a woman contemplating adultery is forced to take refuge from a storm at the home of her first husband and his unstable wife, who claims to be haunted by their dead child.
A mark of a great film vs. a good film can be whether or not the people in your film are characters or caricatures. There are some roles where period pieces are played with tongue firmly in cheek. Each actor truly put in the work from sentence structure and cadence to understanding the relationship dynamics of the day. Kerr sought out to deliver a thriller and she worked hard to that goal and I think she succeeded.
Patriarchy is Projecting
Vivian Kerr, Jilon VanOver, Scottie Thompson, Connor Paolo for “Seance”
There’s a quote that says, “Patriarchy is projecting” and it’s the perfect description of Vivian Kerr’s Seance. The idea of men experiencing some facet of life that doesn’t fit into the hyper masculine boxes they’ve designed for themselves, so they blame women – specifically the influence of women – while eschewing any responsibility. It’s wildly interesting to me the horrors that have been lain on the backs of women to absorb and endure. There are long held myths about witches who lived in the woods in hemlock covered cottages, brewing demonic potions meant to bring malady to the general public. Come to find out, it was just lovely ladies running apothecaries trying to care for their loved ones. Is a witch truly the devil’s mistress or is she just an enthusiastic gardener?
Misfit high‑schooler Carrie White (Summer H. Howell) has spent her life hidden away inside the walls of her home with her fiercely protective mother, Margaret (Samantha Sloyan). After her father’s sudden, untimely death thrusts her into the unforgiving ecosystem of public high school, Carrie is forced to navigate a viral bullying scandal that tears through her community, the relentless pressure and casual cruelty of the social‑media age, and the awakening of mysterious telekinetic powers that rise alongside her adolescence.
Score: 8.5/10
Director / Writer:Mike Flanagan
Starring:Summer Howell, Alison Thornton, Amber MidThunder, Matthew Lilliard, Josie Totah
Genre:horror, tv series
Runtime:8 Episodes
Release:10/06/2026
Excerpt
I have equally high hopes for the reception of Carrie. Performances are strong and passionate and the story boasts multiple narratives that never lack coherency even when shrouded in mystery.
Enter the Flanaganverse
As a bonafide fan of the MFU – the Mike Flanagan Universe – I’ve been excited for his reimagining of the Stephen King classic novel. It’s been adapted 3 times into films – the 1976 originator starring Cissy Spacek, the 2002 TV film, and the 2013 film starring Chloe Moretz and Julianne Moore. What Flanagan adds in series form is more than an adaptation and instead is more of an evolution. And it works!
We all know the story of Carrie – a socially stunted girl is forced to go to high school where she gets bullied for just existing. The violence and trauma seem to activate Carrie’s underlying secret – a telekinetic power fueled by her rage. Throughout every version we have Carrie’s overbearing mother Margaret, the kind cool girl – Sue, and the bully couple of Chrissy and Billy. Flanagan takes these parts and weaves his special form of magic that intertwines grief, social issues and current affairs. Carrie turns from a story of a girl being bullied and reacting murderously and detrimentally to a story about grief, bullying and finding your true self in the midst of endless roadblocks.
It’s a well done series that appears to double as a proof-of-concept for something I’m sure Flanagan has been interested in for a while. I don’t recall hearing whether Carrie is a bonafide limited series, or if it’s something more seasons can be added on to. If and when it does well, Carrie has the opportunity to act as a sort of redemption for the lackluster reception to The Midnight Club (2022), but more on that in a minute.
When two rival spies are ordered to eliminate the enigmatic operative they both once loved, a dangerous mission forces them to confront buried betrayals, unresolved desire, and a shared past that threatens to blur the line between duty and the heart.
Genre:espionage thriller, thriller, indie, black film
Runtime:77
Release:11/2026
Excerpt
In a world of two-screening – the act of dumbing down scripts with repetitions and exposition because it’s assumed the viewer will also be on their phones while watching – it’s nice to have a film that believes in the role of the audience again. Make the audience question, make them put pieces of the puzzle together and then let them know they were right.
Secret Agent Man (and Women)
Vivian “Oshun” Evergreen (Shannyn Stallworth) & LaShay “Poison Pen” O’Neal (LaToya-Patrice Suber) for Feel the Burn
As exciting as independent film is, it can be a crapshoot when it comes to quality. Having to sift through trust fund passion projects and ego-ridden propaganda films can overshadow the gems. And let it be known, Frank Long’s Feel the Burn is a gem! Made for $20,000 over 7 days, Feel the Burn is an espionage thriller, assassination film and love triangle romance all in one. The story is layered and dense, but the twists and turns to get to the ending all pay off.
We open on two incredibly elegant lady spies as they go to the agency to learn about their new job. Vivian Evergreen – code name “Oshun” after the African goddess (Shannyn Stallworth) – arrives in a souped up Mercedes and impeccable couture. Then we meet LaShay O’Neal – code name “Poison Pen” (LaToya-Patrice Suber) – who is an expert markswoman with a blond asymmetrical bob. The two go to see Jade (Ciel Noir) who gives them the assignment of a lifetime.
A musician on a tropical vacation with his family meets an ancient mythical creature who falls in love with him and demands his love in return, or else he faces deadly consequences.
Score: 4/10
Director / Writer:Frank Merle
Starring:Jamie Kennedy, Ash Tsai, Jason Markoff
Genre:horror, indie
Runtime:92 min
Release:2026
Excerpt
I’m not against a movie being made to facilitate a vacation, but the final story should justify the trip. Frank Merle’s Namaka (2026) is a thriller with a lot of potential but sometimes loses track of its own plot.
Namaka’s Siren Song
Ash Tsai as Namaka
I’m not against a movie being made to facilitate a vacation, but the final story should justify the trip. Frank Merle’s Namaka (2026) is a thriller with a lot of potential but sometimes loses track of its own plot. Set on one of the picturesque Hawaiian islands, Namaka serves as a cautionary tale though the underlying message is a bit unclear.
We open with our resident conspiracy theorist podcast host Guy Torina (Jamie Kennedy) imploring us to take care with the mystic nature of the island. He takes calls from locals and listens to their supernatural encounters while also giving them advice with mortal realm implications. He’s a bit of a ham, but he doesn’t seem toxic or overly problematic and seems to be really passionate about the lore of the islands. He’s recounting a tale of a missing man on the island when we switch to Alex Cook (Jason Markoff) and his wife Erica (Erin Killean). They’re going on an extended family vacation traveling with over 5 other members. Erica is excited to reconnect with family while Alex is looking forward to making music. He even purchases a new ukulele and while playing in a secluded spot in the jungle, a young woman makes his acquaintance.
Alex is instantly enamoured and this may be where some of the issues started. The story of Namaka is a part of Polynesian mythology. Namaka is often seen alongside her sister Pele who lives in the volcano and controls lava and earth. Namaka is primarily the goddess of the seas and she and Pele are constantly at odds because of a stolen paramour.
Merle has reworked some of the plot and basically reduced Namaka (Ash Tsai) to a man-eating siren who – despite being immortal – doesn’t seem to have control over her whims. If the production would have just cast someone as Pele, you could have a really interesting story wherein Alex is caught in a tug of war. But as it stands, Namaka is a tale of nonconsent and ignored red flags.
This film is a redpiller’s dream! A manic pixie dream girl who used her wiles to seduce an innocent artist with a heart of gold. Once ensnared in her trap, if the artist tries to escape, she threatens to destroy his entire world. It’s her fault for the decisions he makes and he’s powerless to stop her. At one point Namaka tells Alex that the “decisions” he’s made are his own, but not much in the film shows that he had actual autonomy. The end of the film does present the audience with a “the moral of the story is…” moment, but it’s really of no consequence nor is it based on anything that happens in the film. It feels like Namaka tried to straddle the decency line with their main character, and in their vagueness just made the whole thing confusing.
Fumbled Hat Trick
Jamie Kennedy as Guy Torino in Namaka
You can’t leave sexual coercion as something for the audience to decide. And without this decision being made, it shrouds every scene in which Alex returns to Namaka with a heavy gray cloud.
Sadly, it just all feels very lazy. Namaka is a collection of tropes with a heist-like score underneath. We have Walter Notch (David Howard Thornton), a “crazy” unhoused man spouting words of wisdom presented as gibberish and ultimately mean little to the plot. There are two bumbling disbelieving detectives who wave off claims of a dead body. The long-suffering wife who gives Alex so many chances to explain his predicament. And the mysterious woman who can’t help but be drawn to Alex because of his music – which, I’m happy to suspend disbelief, but the music was not great and it was clear Markoff can’t play the ukulele. Also, when I mentioned earlier about this being shot to justify a vacation, I wasn’t kidding. There are several scenes where we take helicopter tours and go to the beach and mountain climbing! I’m not sure we ever learn the names or hear from any of the other family, but there are full scenes with them on vacation.
These scenes are even more notable because they are largely shot using a hat camera. And I think that’s my biggest problem with this film – it’s a hat camera. It’s supposed to be a fun indie horror that keeps the audience guessing, but it’s wildly obvious and lacks any finesse or nuance. Everyone who sees Alex’s hat camera knows immediately what it is and most are – at best – annoyed. What should have been a fun way to introduce “found footage” style filming again fell flat. Namaka is full of so many creative and interesting parts (David Howard Thornton is Art the Clown in the Terrifier (2016) films and delivered a great cameo, that amounted to little), but it just doesn’t work.
David Howard Thornton as Walter Notch in Namaka
There were some bright spots. Jamie Kennedy as podcaster Guy Torino was a pleasure from start to finish. Whether he was cutting to commercials or striking out with women at the bar, he gave an involved performance that he disappeared into really well. Markoff is good natured and has good timing which helped a lot of the comedic beats land. He and Tsai shared chemistry and made good use of their time on screen. Tsai has several credits to her name and put a lot into Namaka, even as one-dimensional as she was.
Tl;dr: Steeping this film in island mythology could have been really interesting. Namaka is a flawed indie film that should have stuck to its roots.
In the ruins of a burned-out church, a defeated and depressed musician debates existence with two irreverent puppet companions, while reliving the betrayal, artistic rejection, and failed romance that pushed him toward nihilism.
Score: 4/10
Director / Writer:Walter Santucci
Starring:Jack Grisham, Evelyn Vazquez, Tony Nittoli
Genre:experimental, short, indie, alternative
Runtime:66
Release:2026
Excerpt
I’m not sure that the viewer is supposed to see it as a metaphor of how depression can mess with memory and perspective. If I’m supposed to acknowledge the blinders Human has put around the situation, or am I supposed to believe him completely and be on his side. For a film so multilayered and unique production-wise, it feels like the same amount of care wasn’t paid to the story – if that’s what this actually is.
I Hate Myself and Want To Die
Human waxes
Puppeteering multihyphenate Walter Sanducci’s new film I’d Rather Be Turned Into Cat Food (2026) vacillates wildly between performance art, biopic, fever dream, therapy session and propaganda film. It’s unequal parts pleasure and pain wherein the pleasure of the film is the amazing soundtrack composed by Santucci, and artful editing, and the pain is… well first, let’s define pain. Sometimes sharp, sometimes dull, sometimes quick and other times lingering, pain is a universal feeling whose intensity and tolerance lies in the body of the beholder. This film is full of pain only it’s mistaken for self-awareness and introspection and the film may suffer because of it.
After receiving a devastating diagnosis, a severely depressed veteran who hides his pain through self-isolation and alcohol must accept the help of his famous cousin or risk becoming just another statistic.
Score: 6.5/10
Director / Writer:Ammie Masterson, Kevin Machate, Todd Rodgers
Starring:Kevin Machate, Beth Shea, Ammie Masterson, Barry Corbin, Gayland Williams
Genre:drama
Runtime:23
Release:2026
Excerpt
In a world plagued by social injustice, medical inequity and community initiatives that are less and less about actual community, movie watchers are learning towards escapism. So why is that Kevin Machate’s moody drama Worst Enemy (2026) works so well in a moment that’s made to resist it?
I’m a Hazard to Myself
Kevin Machate as “Shane” in Worst Enemy
In a world plagued by social injustice, medical inequity and community initiatives that are less and less about actual community, movie watchers are learning towards escapism. Many would rather ignore the harsh truths of life to settle into the blessed freedom of fantasy. So why is that Kevin Machate’s moody drama Worst Enemy (2026) works so well in a moment that’s made to resist it?
There are several possible reasons, but I’m inclined to believe it’s because at the end of the day, a story of truth and passion will always rise to the top. In Worst Enemy we follow Shane (Kevin Machate). There was a time when his maladies would have seemed excessive; his sweet dog has died, he’s broken up with his partner, his parents were abusive and his father still is, he lives in Waco, he’s an alcoholic war vet and he’s just been diagnosed with Major Depressive Disorder and Borderline Personality Disorder. The only bright spot is his cousin Ashley (Beth Shea), a successful Hollywood actress who he adores.
It’s… a lot. But sadly it’s no longer a possibility. When it rains it pours and it seems like every time Shane has found his bottom, the floor falls just a little deeper. He has the promise of a new job on the horizon and that’s the only thing getting him through. He has a confidant in Ashley, but as willing as Ashley is, she’s got call times and her own family to consider. When Shane reaches Ashley, she’s always ready with a kind and inspiring word, but most times when he reaches out he gets her voicemail.
Shane’s caseworker Dr. Tucker (played by director Ammie Masterson) tries to validate Shane’s experiences, but because of her association with the VA (and his growing drinking problem) he’s reluctant to confide in her. It’s just another way vices can stunt development. When Shane joins his dad Jim (Barry Corbin) and step-mother Gloria (Gayland Williams) for dinner, things go from tense to very bad.
Don’t Let Me Get Me
Gayland Williams as “Gloria”, Barry Corbin as “Jim” and Kevin Machate as “Shane” in Worst Enemy
The encounter only adds fuel to the fire of Shane’s depression and the hope at the entrance of the pit he’s stuck in gets further and further away. Worst Enemy feels like a reference to Pink’s song. “I’m a hazard to myself, don’t let me get me. I am my own worst enemy.” and it’s something that Machate displays beautifully in Shane. You can see the stress, the sadness, the reluctance in his eyes. Even when he’s trying to bask in the few moments of happiness, he carries a sadness that surrounds him like an aura.
Situations like this make you want to find an enemy, but when something is everyone else’s fault – all of the people who failed you and shaped you into this shell of your own potential – then you really have no one to blame but yourself. At least that’s how depression can make it seem and the script shows this in a succinct yet hard-hitting way.
Worst Enemy makes you wonder not only about the people in your life who could use more support, but also about yourself. In a 23 minute film, Machate and Masterson were able to craft a film that spoke volumes, but directly. Shane’s story is not so obscene that it couldn’t happen to us or someone we love.
Technically, it’s a great effort for an indie film. The cinematography and sound are top notch and it was fun seeing an uncredited cameo of Keegan Michael Key as a member of Ashley’s acting project. Though the script is heavy there are a couple of tension relieving moments of humor and they work well and don’t distract from the film.
Overall I applaud Masterson and Machate on this film and would certainly recommend it.
When Patricia approaches Ashley with a tailor-made project and is rejected, she gets a gun. Patricia breaks into Ashley’s home and takes her hostage. What ensues is a psychological cat-and-mouse game that culminates in a surprising and bloody climax.
Score: 7.5/10
Director / Writer:Ryan Moore
Starring:Cheyenne Perez, Grace Kaufman, Emily Hall, David Lengel
Genre:indie, psychological thriller
Runtime:84
Release:2023
Excerpt
At one point Ashley says, "You can’t just put a gun to someone’s head and force them to give up social media!" and while I laughed, I found myself feeling genuine concern. Her posting schedule is going to be really behind!
Why Don’t You Love Me?
“Grace Kaufman stars as Ashley in Ryan Moore’s Influence“
It’s unusual to have Béla Tarr’s 7.5 hour Criterion Collection epic Sátántangó feature as a set piece in an abduction thriller, but Ryan Moore’s Influence (2023) said, hold my beer! It’s a bold move from the young director, and one that has interesting dividends.
We follow writer/director Patricia (Cheyenne Perez) as she tries to sell her script in Hollywood. She’s hit with lovely rejection letters and promises of nothing. By day she edits footage for her boss – a jaded wellness ambassador named Melissa (Emily Hall), and by night she doom scrolls wellness influencers on Instagram. It’s a vicious cycle of faux inspiration and toxic positivity that sends Ashley even further into a depressive spiral.
One influencer catches her eye. A young woman named Ashley (Grace Kaufman) who has 4M dollars and what seems to be a more measured view on depression . She’s all about embracing the bad feelings and taking time to sit with yourself. This resonates with Patricia, particularly when they run into each other in a chance encounter.
The interaction between them sets the stage for the film. Patricia starts following Ashley around town trying to initiate meet-cutes. She’s trying to entice Ashley to work with her, she gets a gun, she holds Ashley hostage. As one does. As a thinly veiled metaphor for how creatives and companies butt heads, Influence is smartly done. Instead of waving away or dismissing the more extraordinary parts of the plot, the viewer simply files Patricia’s actions (and Ashley’s acquiescence) under “It’s Possible!”.
When I Make Me
“Cheyenne Perez stars as Patricia in Ryan Moore’s Influence, but now she’s got a piece.”
In a world where discussion of mental health is rampant, it can be seen as okay to root for a person who eschews social graces (like, not holding someone in their own home) in favor of self determination. At the end of the day who is the real villain? The person lying on social media to sell $40 lip balms and $120 face masks, or the person who abducts them until they agree to live in their truth?
It’s the abductor, they’re the villain. But since this is also our protagonist, Moore creates an atmosphere where we try to understand Patricia’s motivations. And the wild part is that we do. Any audience can understand the pressure Patricia is under to make her mark in a fast-paced industry. Every person in LA understands that the rent must be paid. It’s easy to understand why, when powerless, Patricia wants a gun. When filled with self-doubt she decides to accomplish her goals regardless of the consequences. It’s all perfectly understandable with the key difference being… but we don’t do it.
Patricia asks out loud if she’s crazy and I believe the fact she’s planted on the reality side of the fantasy line points to yes. Even Patricia’s search for truth is done from a commode. There exists an artifice that if Patricia could really see it, it may change the trajectory of her life.
Each minute of the film becomes more and more rife with delusion. And it all climaxes in an enjoyably predictable way. The seriousness of the situation is often undercut by something that would only make sense in Los Angeles. At one point Ashley says, “You can’t just put a gun to someone’s head and force them to give up social media!” and while I laughed, I found myself feeling genuine concern. Her posting schedule is going to be really behind!
So Easy to Love
“Cheyenne Perez stars as Patricia in Ryan Moore’s Influence“
Perez is a wonderful actor who you may recognize from her stint as Jo in HBO’s The Sex Lives of College Girls (2021). She’s well matched with Kaufman whose longest stint was as Kate Burns in Matt LeBlanc’s Man with a Plan (2016). Both actresses have appeared in many roles since then, and always have time for an indie film. Despite the lower budget, both women give their all delivering tense and thrilling performances.
Another notable mention goes to Emily Hall whose vapid, outtouch influencer (and also Patricia’s sleep paralysis demon) manages to play someone truly awful yet completely recognizable. Again, it makes sense when Patricia is coaxed into this world of bad because it seems as though the bad people are rewarded. The difference is that Melissa knows she’s terrible. She accepts her own selfishness which removes the blinders blocking her consequences. Patricia on the other hand, tries to imbue morality in a situation that is anything but, and in crafting that lie, expends the energy needed to see the truth.
The role of Taylor (KT Kent) – Ashley’s manager- is especially important as it’s only on the phone but Kent’s performance makes Nicole a huge part of the narrative. She’s also not beholden to morality. And while she acknowledges her selfishness, she’s also great at her job, and that job is caring about Ashley.
There are lots of thought pieces presented in the film in a way where it’s clear they are for introspection later. The film doesn’t leave loose ends necessarily, it simply draws this “day in the life” bon mot to its logical conclusion. Indie films are getting more and more creative with the look of their films and director Moore along with cinematographer Alice Miller deserve all of the recognition. The film looks great, it’s shot and acted well and leaves the audience with plenty to sit with as the credits roll.
A cultured woman living in an isolated home hires a housemaid to live with her and tend to the house. Their days begin with politeness and casual conversation, but as time passes, their differences begin to drive them to conflict.
Score: 5.5/10
Director / Writer:Albert Goya
Starring:Lucia Goya-Betts
Genre:psychological thriller, indie
Runtime:94 minutes
Release:2026
Excerpt
Artist is a fresh faced, put together young woman with voluminous blond hair and piercing blue eyes. Conversely, Karen has a haggard aura that’s accentuated by old lady makeup lines, an ogre-like attitude and way too much energy for her age.
Noblestone (2026) is the second indie feature by British-Spanish director Albert Goya. The film was made with zero budget and took two years to complete. It’s a two-hander deftly handled by Goya’s sister, Lucia Goya-Betts. It’s a surreal and visceral story that is part Fight Club (1999), part The Talented Mr. Ripley (1999) and part What About Buck? (1991). If that sounds like a heady combination, rest assured that it is. But somehow this elevated piece of “crack treated seriously” works.
Noblestone is director Albert Goya’s second feature following The Lady Governess (2023). The film was produced under Goya’s stage name “Tito Wiley”. Goya created The Lady Governess at 16 and completed Noblestone at 19. The young artist wrote, directed, edited and composed the film. It’s a valiant effort that shows a lot of promise for his unique style of storytelling. Noblestone follows the path of The Lady Governess in fundamental ways. We have our unnamed main character – a self-absorbed artist in Noblestone – and Karen (Lucia Goya-Betts). Karen is a force of nature who is both entirely herself and completely inscrutable.
In The Lady Governess, our main character is a lonely widow who hires Karen to keep house and keep her company. Noblestone serves as kind of a spiritual sequel to Goya’s first work and this is an important motif to keep in mind while watching. Both of our lead women have no name, but are defined and stricken by loneliness.
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