You Can’t Run From the EVIL That Seeks Out the Competition. “Homewrecker” reviewed! (101 Films / Digital Screener)



Michelle is at the point in her life, struggling as a 30-something year old interior designer, where the urge to have children is strong.  When trying to conceive with her husband seems to be going downhill, she is befriended by an overly obsessive stranger, Linda, who has took an uncomfortably intense interest in her personal life.  An innocent enough invitation back to Linda’s house proves costly with Linda’s flickering infatuation for Michelle’s private business that turns quickly sour in a cat and mouse game of survival.  Trapped, Michelle must understand Linda’s madness in order to stay alive.

Ca-ra-zyyy!  That’s one of many ways to label Zach Gayne’s woman-on-woman scuffle in the comedy-horror “Homewrecker” that will surely turn many feminist heads at breakneck and contentious speeds with the better woman standing scenario.  Gayne’s freshman film tests the wills of two very different women and their counter mindsets while excavating a common core connection rooted subconsciously deep within them both.  A distinction that gives the 2020 riotous feature an edge is the two sole actresses, Alex Esso (“Starry Eyes,” “Doctor Sleep”) and Precious Chong (“Luba”), daughter of famed stoner comedian Tommy Chong, portraying Michelle and Linda are also “Homewreckers” cowriters alongside Gayne, equipping their characters with an authentic image by filling the roles themselves and getting out of the project exactly what’s desired.  The trio also produce the film in a coproduction with fellow producer Josh Mandel of Industry Standard Films and under the financials of Precious’s mother Shelby Chong, Chris Morsby, and Delaney Siren as executive producers.

Precious Chong, hands down, steals all the glory in “Homewrecker” with her wide-eyed, mentally unstable, zany, and stuck in the 80’s single white female that makes Glenn Close performance seem diminutive and more like an innocent and shy little crush in “Fatal Attraction.”  Linda epitomizes the very definition of crazy as a person unable to progress from an era of her peak youth being the most popular girl in school, judging by the VHS tapes, 80’s soundtrack, and outdated board games, I’d say Linda’s popular party girl inner nature hasn’t disembarked from the late 80’s to early 90’s train, and Chong delivers a singularity tweak of neurosis and delusion that frighteningly teeters from over exaggeration to real representation.  Unfortunately, Chong’s invasive, off-the-rocker performance overshadows Alex Esso’s more level-headed, amiable, and fight or flight Michelle and her unconventional responses and reactions to Linda’s incessant behavior in, perhaps, a more poorly written character.  Michelle is the too nice to the point where opportunities arise for escape or attack and she chooses the total opposite in trying to reason with an unreasonable person.  The motivation behind Michelle for even going to Linda’s house is rather slim so either something deep in her subconscious wills her to go (maybe Linda’s eagerness to lend an ear on a torrent of personal unloading) or she’s a just gullible to a fault.  Rounding out the cast is the man in the middle, Robert, played by Kris Siddiqi and the friendly neighbor Wilson, played by Tony Matthews (“The Craft: Legacy”), in a bit part that’s a clever homage to the Wilson character in Tim Allen sitcom, “Home Improvement,” as he peeps just over the fence to say hello as well as an contradictory play on the “Homewrecker” title.

Aforementioned, there is gray area in the character actions and rationales that thins much of the story’s harrowing affect and even seeps slightly into the more dark comedic moments.  Yelling (in my head) at the screen for Michelle to jump out the window (after lingering half out for clearly a minute) or taking advantage to overpower Linda (during a moment of long poignant embrace) was just a waste of my mental breath as the Michelle is frustratingly too timid, too nice, too afraid to cut the unseen bounds that holds her back from reinstalling balance in her upheaved life held in Linda’s unstable hands.  The pacing a bit of a drag as well by holding onto scenes, with various cuts, longer than necessary.  For a film slightly over an hour long, the conversing segments between the principle characters, Linda and Michelle, could last up to 20 minutes with more than most of the chat awry by Linda’s idiosyncrasies.   What works for “Homewrecker” is single day story set inside Linda’s home that really hones in and develops the snowballing turmoiled relationship between the two women. Being the film’s strong suit in unveiling the crux of the problem that’s not surface level crazy person versus sane person, the plot point revelation truly did blindside me and I was like, whoa.  Everything made sense without having to dig deeper into exposition to understand the minor details of what was happening exactly.  “Homewrecker” also has great brief climatic gore involving an emblematic sledgehammer and a pair of sharp scissors that, again, comes unexpectedly from a cat and mouse game that has been rather tame for most of the film.  Zach Gayne’s film pleasantly puts a blood red cherry on top of a deranged ice scream sundae dripping with fanaticism fudge in a scrumptious little fatal attraction.

Efficiently compact but just as aggressive as an overly jealous and overactive girlfriend plagued by psychosis, “Homewrecker” premiered it’s way digitally into UK homes by 101 Films back on May 24th.  The Toronto, Canada production is presented in a widescreen 2.39:1 aspect ratio with a lean runtime of 76 minutes.  Co-producer Delaney Siren serves as the cinematographer for “Homewrecker’s” regular split screen and multiple angle shots denoting a clear sense of where each character location is without the film feeling like a typical slasher while maintaining the focus on telling both women’s side.  “Homewrecker” marks Siren’s first feature film as a cinematography, but has multiple credits in the genre for macabre inspired music videos under the Toronto based music recording and film production company, “Reel Wolf Productions.”  For a film that has completely and satisfactory bookends, there are no bonus scenes during or after the credits.  Quirky and dark, “Homewrecker” is a read between the lines comedy-thriller about abduction, devotion questioning , delusional obsession, and honesty.

Be Careful of the Evil You Wish For! “Pyewacket” review!


In the wake of losing their father and husband, Leah and her mother struggle to cope and are at their wits ends with each other. Leah, an impressionable and angst-filled teen, embraces the occult lifestyle after her father’s untimely death despite her mother’s distaste for it. Leah’s mother also battles the everyday familiar feelings of her constant surroundings that remind her of her dear husband and the sensations compel her to move her and Leah more than an hour away, away from Leah’s only friends including a boy she’s become fond of, but the constant and languishing heated disagreements invoke Leah to act impulsively, gathering her ritual articles, and while in the woods, naively summon a witch, named Pyewacket, to kill her mother. Regretting her actions almost immediately and fearful of what’s to come, Leah is cautiously ever attentive to her surroundings as each passing night a presence makes itself known and is eager to not only harm Leah’s mother, but also intends to rise it’s wickedness toward Leah.

“Pyewacket” is a 2017 Canadian horror-thriller from writer-director Adam MacDonald. The Montreal born MacDonald constructs an impressive and suspense-riddled sophomore film that offers a beautifully bleak atmosphere while touching upon layered themes that are relatable to anyone who grew up with an overbearing parent. “Pyewacket” succeeds as a stark melodrama of a hurting mother and daughter who are looking for some kind of pain relief and a fresh start. MacDonald takes it to the next level, churning out a cautionary tale, by implementing the theme of being careful for what you wish for because you just might get it. Oh, and there’s spine-tingling moments involving a ghoulish witch with an appetite for deception and have you squinting yours eyes in fearful anticipation of when she’ll strike.

Another Canadian, the Vancouver born Nicole Muñoz stars as the disquieted Leah. Muñoz dark assets heighten her disdain and resentment she evokes out from her character toward her mother, played by the former “The Walking Dead’s” Laurie Holden. Tall and blond with a more verbose attitude in putting her feelings outward, one would have difficulties placing Muñoz and the “Silent Hill” star as daughter and mother on screen. Holden manages to be the glue that keeps the story moving as Leah rarely has much to the say and is only reactive instead of proactive about her situation, making the two actresses dynamically challenging that purposefully sparks uneasiness in every scene. Leah’s friends serve as her lifelines to the world outside her new country home that her mother has unfairly displaced her to. Her best friend Janice, the Toronto born Chloe Rose, whose alternative appearance and nonchalant, cocky persona encourages her to be Leah’s confidant. Rose seemingly enjoys the role that offers vibrantly colorful stripes of hair with lots of gothic makeup that comes complete with leather and plaid outerwear. I was a little disappointed with Leah’s love interest that was Aaron, shoed by the tall and thin Eric Osborne. Aaron really wasn’t showcased much though MacDonald’s script attempts at hinting more to the character, but unfortunately for Osborne, Aaron falls the ranks of a back burner boyfriend trope.

What might be the undoing of “Pyewacket” is simply the timeliness. Robert Eggers’ “The Witch” and André Øvredal’s “The Autopsy of Jane Doe” completely overshadow the JoBro Production & Film Finance (which is kind of funny because the same production company also did some funding for “The Witch” so in essence, “Pyewacket” is “The Witch’s” little cousin) with two already fantastic tales of non-broom riding and mind tampering witches that share the same intense ferocity of pure hatred and dark magic on a much bigger and grander scale when considering production value that relies on a viewer relatable story. A story involving a mother-daughter warfare is inarguably human to us all, but in competition with that, MacDonald seems to embrace that side of the story with slight favoritism as the director is light with a slow burn of the catalytic turn of events that evokes the titular character despite it being the most gripping portion of the film; instead, the focus is more honed in on Leah’s experience that intimately distances her from each of those that are closest to her: Janice, Aaron, her mother. Left in the wind is much of the witch’s background and how the witch becomes familiar to Leah which goes relatively unknown. And, also, not to forget to mention that the witch, or familiar spirit, is screened through shadows, long shots, and quick takes so to get a shape or a image around the appearance, all I can suggest is that Pyewacket resembles Samara from “The Ring” with stringy, filthy hair, slender figure, and moves around like a spider. Aside from a popular teeny-bop occult novelist, Rowan Dove played by “Bitten’s” James McGowan, the only facts touched upon about “Pyewacket” are that the spirit is extremely malevolent and can deceive the perception of people and events.

From Signature Entertainment, the DVD and Digital release of Adam MacDonald’s “Pyewacket” hits retail shelves April 23rd and digital retail shelves even earlier on April 16th. Since a digital screener was provided for this review, an in-depth critique of the video, audio, and bonus material will not be covered. Though clutching to the money-bagged coattails of bigger, better witch films from the last three years, “Pyewacket” is still a mighty story with complex characters complete with sheer dread from an obscure and grievously sorcery crone pure with black heart that will definitely elicit shortness of breath and rapid heart palpitations if watched alone in the dark.