Save the Farm (NR)
After watching the anger-inducing documentary Save the Farm, I tweeted "The future is here, and it is dystopic." In so many post-apocalyptic movies, we find the poor in society crushed by billionaires and corporations who can do whatever they want, to whomever they want, creating a living hell. But, as Farm proves, we no longer need the movies, we can just look out our front door. It chronicles the efforts of a group of South Central L.A. residents to create a sustainable, volunteer farm meant to connect the community, which is ultimately destroyed by the city and a developer in a back-room deal. To see images of bulldozers tearing down six football fields' worth of crops while jackbooted LAPD thugs beat the citizen farmers with nightsticks, well, sorry folks, but this is our world. This is not the future, this is the present. And it is a nightmare, and it's not getting better anytime soon. — Louis Fowler
Warm Bodies (PG-13)
He's a brooding vinyl enthusiast with soulful eyes who reverts to weak grunts and non-committal shrugs whenever his dream girl is around. She's a cynic whose father doesn't approve of her new boyfriend. Together, the boy known as "R" (Nicholas Hoult) and the girl, Julie (Teresa Palmer), will battle society's prejudices with love. Oh, and he's a zombie. That caveat is the concept behind this wildly entertaining, absorbing zom-rom-com from Jonathan Levine, who has already established himself as a bold new voice with his last two outings, The Wackness and 50/50. Told mostly in voiceover, Warm Bodies, to the dismay of zombie purists, runs its emotional arc in reverse: Whereas most apocalyptic stories begin idealistically and end in despair, this one finagles its way toward redemptive humanism. It's one of the best films of the year, and certainly one of the most surprising. — Justin Strout
Wild Eye Releasing
The cover for Mold promises an awesome, post-apocalyptic thriller, with a tattered, biohazard-suited wanderer standing among the ruins of a destroyed civilization, possibly due to the titular mold. But this kind of scene doesn't unfold anywhere in this film, and it's kind of a letdown. Instead, we get a small cast stuck in a top-secret experimental-weapons research lab. A group of scientists has developed a new biological weapon for the military: a fast-growing mold that eats away anything it touches in seconds. This, of course, leads to a lot of super-gooey special effects and some very creative deaths, but the characters wear thin fast, mostly via the typical personality clashes. Stretched out to 86 minutes, Neil Meschino's full-length debut starts to get a little painful. Mold has a promising premise, but, sadly, neither the budget nor initiative to do anything with it. — Louis Fowler
The costumes were amazing and added to the brilliant production.
The striking colors and textures are reminiscent of Southern Colorado and New Mexico. Lovely work.