A sci-fi road trip steeped unevenly in grief, “We’re All Gonna Die” introduces its concept in exciting fashion before pushing it far into the background. Its lead performances are occasionally powerful, but writer-directors Freddie Wong and Matthew Arnold — of web-based studio RocketJump — struggle to keep their subject matter sincere, resulting in tonal oddities.
An enormous alien “spike” crashes down on Earth and begins teleporting between locations, a premise the movie establishes deftly through news and social media clips. Twelve years and nearly 1500 “jumps” later — setting the movie somewhere in 2036, though technology has seemingly come to a standstill — mass death and casualty have run so rampant that they’ve become entirely commonplace.
As beekeeper Thalia (Ashly Burch) goes about her day, her parents and in-laws gather to mourn her departed husband and daughter, a loss she seems to ignore, letting the weeds around their tombstones run wild with neglect. As the...
An enormous alien “spike” crashes down on Earth and begins teleporting between locations, a premise the movie establishes deftly through news and social media clips. Twelve years and nearly 1500 “jumps” later — setting the movie somewhere in 2036, though technology has seemingly come to a standstill — mass death and casualty have run so rampant that they’ve become entirely commonplace.
As beekeeper Thalia (Ashly Burch) goes about her day, her parents and in-laws gather to mourn her departed husband and daughter, a loss she seems to ignore, letting the weeds around their tombstones run wild with neglect. As the...
- 3/10/2024
- by Siddhant Adlakha
- Variety Film + TV
The current controversy over Georgia’s restrictive new abortion laws, and resulting calls to withdraw Hollywood coin from that state, have underlined the political-shuffleboard nature of U.S. location shoots. Coincidentally arriving at the same time is “All Creatures Here Below,” the first feature to take advantage of Kansas City, Mo.’s filmmaker tax incentive, which is unusual in that it’s a strictly municipal rather than statewide ordinance.
That fiscal footnote may wind up being the most memorable thing about this sophomore feature by director Collin Schiffli, whose debut, “Animals,” was also a collaboration with scenarist-star David Dastmalchian. It’s a decently acted and crafted drama that nonetheless seems built on a foundation of phony pathos, revolving around doomed lovers whose fate seems more a matter of contrived miserabilism than authenticity. Goldwyn is opening the indie at 10 theaters across the nation on May 17, simultaneous with VOD launch.
Ruby (Karen Gillan...
That fiscal footnote may wind up being the most memorable thing about this sophomore feature by director Collin Schiffli, whose debut, “Animals,” was also a collaboration with scenarist-star David Dastmalchian. It’s a decently acted and crafted drama that nonetheless seems built on a foundation of phony pathos, revolving around doomed lovers whose fate seems more a matter of contrived miserabilism than authenticity. Goldwyn is opening the indie at 10 theaters across the nation on May 17, simultaneous with VOD launch.
Ruby (Karen Gillan...
- 5/17/2019
- by Dennis Harvey
- Variety Film + TV
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