By Jason Osiason

It’s What’s Inside presents a comedic thriller that feels like a wild mix of Ready or Not, Freaky Friday, and Bodies Bodies Bodies. The film, while conceptually strong, ends up being one of the most overhyped movies of the festival. Its strong concept is overshadowed by writing, tone, and characters that come off as raucous and grating, leading to a stale execution. The narrative often feels overstretched and tonally inconsistent, struggling to maintain a coherent flow.

The story revolves around a pre-wedding party at an eccentric artist’s mansion where old college friends reunite, and the arrival of a mysterious briefcase sets off a series of chaotic events, revealing hidden facets of their personalities and relationships. Despite these challenges, the film does offer some standout moments of humor and suspense, providing a playful yet critical look at the genre’s conventions. There are a few instances where the film manages to hit the right notes, entertainingly blending horror and comedy. However, these moments are not enough to compensate for the overall inconsistency. It’s What’s Inside ultimately serves as an ambitious yet flawed attempt to merge genres, provoking thought while delivering a somewhat disjointed viewing experience. [C]

Stress Positions explores the chaotic aspects of queer and trans life with a humorous twist but ultimately falls short. The film centers around Terry, played by John Early, who is quarantined in his ex-husband’s Brooklyn apartment, managing a series of pandemic-induced crises with a diverse and often overwhelming group of characters. These include his outspoken best friend Karla and her wife Vanessa, whose complex and contentious relationships add to the chaotic atmosphere.

You have no idea how much I wanted to love Stress Positions! It delves into the messy, overlapping lives of its characters, who navigate food sensitivities, possible COVID-19 exposure, and the unexpected arrival of a mysterious model. While aiming to challenge societal norms and expectations, the narrative often feels meandering and self-indulgent, detracting from its impact. The film focuses excessively on an idealized version of queer and trans life that feels misplaced and underwhelming, resulting in a misuse of John Early’s talent. Despite its attempt at blending comedy with social commentary, the film’s overindulgence undermines its potential. [C+]

Thelma is a hijinks-filled adventure comedy starring June Squibb as a spirited senior on a mission to reclaim her money from a scammer. The film is crafted as a crowd-pleaser, complete with familiar tropes and comedic scenarios that play to the strengths of its veteran lead. After being swindled out of $10,000 by someone pretending to be her grandson, Thelma decides to take matters into her own hands. She sets off on a quest to recover her money, enlisting the help of her old friend Ben, portrayed by Richard Roundtree in his final role. Together, they navigate the streets of Los Angeles, confronting scammers and overcoming obstacles with humor and determination.

June Squibb, having the time of her life, embarks on high-energy, daring escapades to get her money back from a scammer. While the film is a decent crowd-pleaser, it falls short in originality, reiterating familiar, crowd-pleasing clichés and musical cues we’ve seen dozens of times. However, Thelma delivers enough charm, thanks largely to Squibb’s charismatic performance. The film serves as a fun and light-hearted escape, offering laughter and a spirited portrayal of an older protagonist defying expectations. The chemistry between Squibb and Roundtree is delightful, adding depth and warmth to their adventurous escapades.

This sweet, entertaining film highlights the resilience and independence of its elderly characters, making it a refreshing and enjoyable watch. [B-]

Krazy House is a genre-bending horror comedy that mixes satirical elements with outright horror to create a distinct cinematic experience. The film features Nick Frost as Bernie, a religious homemaker whose idyllic suburban life is upended by a group of Russian construction workers who turn out to be criminals in search of hidden loot. As the criminals take over the home, Bernie must summon his inner hero to protect his family, leading to a series of chaotic and comedic events.

A special kind of awful I didn’t totally mind, Krazy House swings cool conceptual ideas—transitioning from an Adult Swim multi-cam sitcom to satirical horror involving Russian handymen monsters and a Jesus freak patriarch played by Nick Frost. Despite its ambitious concept and some engaging moments, the film struggles with horrendous dialogue and coherence, making it a challenging watch. However, its bold approach and willingness to experiment with genre conventions make it a noteworthy entry, particularly for viewers with an appreciation for unconventional storytelling. [C]

Winner is a highly disgetible, yet ultimately flatly written and directed, comedic take on Reality Winner’s whistleblower story. Emilia Jones, in a performance that draws inevitable comparisons to Jennifer Lawrence, plays Reality Winner, a young NSA contractor who leaks a classified report about Russian interference in the 2016 U.S. presidential election. The film attempts to balance serious commentary and comedic relief, exploring themes of whistleblowing and personal integrity against a backdrop of governmental critique.

Despite Jones’ earnest portrayal, the film struggles with a script that often falls flat and direction that fails to elevate the material. The humor, while occasionally hitting the mark, mostly misses, resulting in an uneven tone and shallow characters. Jones’ best efforts can’t salvage the film’s inconsistent narrative, leaving the audience wanting more coherence and impact. Winner, while engaging, does not fully realize its potential, resulting in a film that feels uneven and somewhat forgettable. [C]

Freaky Tales is an action-packed thriller set in 1987 Oakland, ambitiously intertwining four distinct storylines into a single narrative. Drawing heavy inspiration from iconic films like Sin City The Raid and the films of Quentin Tarantino, the film features an eclectic array of characters, from punks defending their local venue against Nazi skinheads to aspiring rappers preparing for a high-stakes battle, and a debt collector seeking redemption. Pedro Pascal delivers standout performances in his arc, but the film’s attempt to blend these influences into a unique visual and narrative style results in a patchwork that feels both familiar and underwhelming.

While the mysterious green glow linking the stories adds a surreal element, the film struggles with coherence and depth. Its eclectic characters and notable cameos add intrigue but do little to enhance the overall narrative. Freaky Tales aims for meaningful social commentary but ultimately falls short, offering a spectacle that entertains without fully realizing its potential. The film’s nostalgic setting and energetic soundtrack create an immersive experience, yet the disjointed storytelling leaves it feeling uneven and somewhat fragmented. [D+]