New Streaming Movies: November 2021

Edge of the World

In 1839, Brooke flees Victorian England to explore Borneo. After a pirate attack, Brooke allies with rival princes to seize a rebel fort. To save prisoners from beheading, Brooke agrees to be crowned Rajah. James begs the Royal Navy for a steamship to fight pirates, but the British want his kingdom as a colony. Makota’s pirates massacre Brooke’s capital, leaving James half-dead. To save his people, he must shed Englishness and embrace the jungle: “All of it, the beauty and the blood.”

Not Rated. Contains violence, disturbing images, language, and sexual content.

Description and score provided by Metacritic.

“Despite pacing issues, the film is a good look at imperialism and the mind of ‘the white Rajah.’ The beautiful locations give the film an ambiance of mystery and adventure.” – Josiah Teal, Film Threat

“Where Edge of the World distinguishes itself is in its evocative visuals of Borneo’s unspoiled beauty (courtesy of cinematographer Jaime Feliu-Torres) and the lived-in intensity of Meyers. If the film can’t help but feel like a relic from a bygone era, that’s ultimately part of its appeal – the sun may have finally set on the British Empire, but at least it hasn’t yet set on this mode of storytelling.” – Michael Nordine, Variety

“A historical epic that isn’t afraid to take its time, Edge of the World is held together by a fantastic central performance by Jonathan Rhys-Meyers and a beautifully brutal climax.” – Kat Hughes, THN


Sam (Colin Firth) and Tusker (Stanley Tucci), partners of twenty years, are traveling across England in their old camper van visiting friends, family and places from their past. Following a life-changing diagnosis, their time together has become more important than ever until secret plans test their love like never before.

Rated R for language.

Description and score provided by Metacritic.

“It’s rare to see a cinematic drama executed with such consistent care as Supernova, written and directed by Harry Macqueen and starring Colin Firth and Stanley Tucci. And here, that care pays off to devastating effect.” – Glenn Kenny, New York Times

“Tucci and Firth have never been better than they are here, and they earn every superlative that has been laid on them in early reviews.” – Michael O’Sullivan, Washington Post

Supernova is modest in every respect except its emotional impact. In the characters’ internal arcs, the title—the name for a stellar explosion—comes fully into perspective.” – Karen Han, Slate

Into the Darkness

Through a family and the relation between father and son, the film describes the dilemmas of the Danish population during World War II. Like the government, the farmers and the industry, the father, a successful owner of a big electronics factory, tries to make the best of the situation to keep the wheels rolling. However this leads him into a problematic collaboration with the Germans. His son, on the contrary, reacts against the increasing oppression and persecution of Jews and communists by joining the rising resistance movement.

Not Rated. Contains violence, sexual content, thematic elements, and mild language.

Description and score provided by Metacritic.

“The title De forbandede år [Into the Darkness] isn’t therefore solely about Hitler’s shadow absorbing Denmark into its empire. It’s about the insidiousness of white supremacy consuming those who believed themselves immune days earlier.” – Jared Mobarak, The Film Stage

“Refn and Flemming Quist Møller’s screenplay is very good at showing how a destructive belief system such as Nazism can slowly seep through institutions, thanks to nothing more sinister than ordinary people deciding not to rock the boat.” – Robbie Collin, The Telegraph

“How do you reconcile major differences, like party affiliations, within a family? Into the Darkness serves as a keen portrait of a deeply divided country, unsure of where its allegiance lies.” – Alex Saveliev, Film Threat


Quiet and demure Joseph (Ben Whishaw) leads a modest life in London, shuttling between his solo apartment and the airport where he forms part of the security team. His birthday goes unnoticed by his colleagues and only mildly celebrated by his irritable parents. Something seems to be simmering in Joseph just under the surface. It only takes a few strange incidents to unlock his impulse to go on a reckless, frantic, and unbelievable journey through the streets of the city as he determines that boundaries and niceties will no longer govern his life.

Not Rated. Contains strong language, violence, sexual content, and nudity.

Description and score provided by Metacritic.

“An intense and engaging film from its first shaky, shaky frames.” – Tim Cogshell, FilmWeek

“The intensity of Surge‘s scattered, myopic realism isn’t for naught. Even with its familiar visual and dramatic approach, the movie packs an odd little punch.” – K. Austin Collins, Rolling Stone

Surge is a thrilling first-person rush, one that takes us head-first into the chaotic state of mind of someone who’s finally reached their breaking point.” – Lisa Trifone, Third Coast Review

The God Committee

An organ transplant committee has one hour to decide which of three patients deserves a life-saving heart. Seven years later, the committee members struggle with the consequences of that fateful decision.

Not Rated. Contains strong language, graphic images, and thematic material.

Description and score provided by Metacritic.

“Squeezing every possible ounce out of the actors, script and sets, Stark delivers a thrilling medical drama that asks: what is the cost of living?” – Sarah Bea Milner, Screen Rant

The God Committee is the sort of solid drama you get when actors you think you know are gifted with a script they can sink their teeth into, and make the most of their moment to shine.” – Roger Moore, Movie Nation

“While The God Committee routinely resides on the precipice of preachiness, Stark’s script (via St. Germain’s source material) avoids one-note sermonizing and characterizations at most turns, instead maturely investigating the messy intersection of medicine, morality and commerce.” – Nick Schager, Variety

Anna and the Apocalypse

A zombie apocalypse threatens the sleepy town of Little Haven – at Christmas – forcing Anna and her friends to fight, slash and sing their way to survival, facing the undead in a desperate race to reach their loved ones. But they soon discover that no one is safe in this new world, and with civilization falling apart around them, the only people they can truly rely on are each other.

Rated R for zombie violence and gore, language, and some sexual material.

Description and score provided by Metacritic.

“Watching it is a cheer-along experience.” – Tasha Robinson, The Verge

“In the Christmas zombie teen musical Anna and the Apocalypse, a whole lot of genre is stuffed into one neat little package, and happily, giddily, it is perfectly executed, landing like a triumphant triple axel splattered in gore, and wrapped in tinsel.” – Katie Walsh, Los Angeles Times

Anna picks itself up, dusts itself off, and comes home with a finale that’s so satisfying and sincere, it’ll make some viewers misty-eyed.” – Richard Kuipers, Variety

The Wonderland

On the day before her birthday, young Akane meets the mysterious alchemist Hippocrates who brings her through a basement and into a fantastical world full of magic and color. He reveals that this world is in danger, and as the “Green Goddess” it is her destiny and responsibility to save this world. The only problem? Akane just wants to go home.

Not Rated. Contains mild language, rude humor, and smoking.

Description provided by Metacritic.

The Wonderland plays out as the kind of treat you’d be satisfied to get for your own birthday: fun, sweet and easily digestible, though unlikely to linger on your tongue for long.” – Hannah Collins, CBR

“It’s not nearly as texturally rich as the works of Miyazaki… But as a showcase for some incredible visuals, it’s a pretty impressive feat.” – Clint Worthington, The Spool

Great White

A blissful tourist trip turns into a nightmare when five seaplane passengers are stranded miles from shore. In a desperate bid for survival, the group try to make it to land before they either run out of supplies or are taken by a menacing terror lurking just beneath the surface.

Not Rated. Contains violence and strong language.

Description and score provided by Metacritic.

“The acting is good (Jakubenko and Bowden’s relationship feels especially real), the effects are great (moving above and below the waterline to show shark and lifeboat is a nice cinematic touch), and the suspense effectively earned my investment. This film might just surprise you too.” – Jared Mobarak, The Film Stage

“…it doesn’t reinvent the shark film, but it’s a good entry in a genre that seems to get a new one (or five) each summer.” – Emilie Black, Cinema Crazed

“What distinguishes Great White from numerous Jaws wannabes is that we do feel an emotional investment about who lives and who becomes chum. It’s a promising debut from Wilson.” – Randy Myers, San Jose Mercury News

Joan of Arc

In the 15th century, both France and England stake a blood claim for the French throne. Believing that God had chosen her, the young Joan (Lise Leplat Prudhomme) leads the army of the King of France. When she is captured, the Church sends her for trial on charges of heresy. Refusing to accept the accusations, the graceful Joan of Arc will stay true to her mission.

Not Rated. Contains mild violence and thematic material.

Description and score provided by Metacritic.

“Dumont turns the tale into a dialectical spectacle: he stages military musters like Busby Berkeley productions, seethes at the torturers’ rationalizations, delights in hearing his actors declaim the scholars’ sophistries, and thrills in the pugnacious simplicity of Joan’s defiant responses, which reduce her captors’ pride to ridicule.” – Richard Brody, The New Yorker

“Dumont regards history as a focal point for national identity, finding France’s leadership rooted in dry pontification and meandering religious fervor. He gives us a complex world so keen on taking itself seriously that it becomes parody, leaving only Joan’s stone-faced expression to point to a higher truth.” – Eric Kohn, IndieWire

“Not for everyone, but those seeking a battle against the English staged in the medium of horse choreography will not be disappointed.” – Tara Brady, Irish Times

I Used To Go Here

Following the lackluster launch of her debut novel, 35-year-old writer Kate Conklin (Gillian Jacobs) receives an invitation from her former professor and old crush (Jemaine Clement) to speak at her alma mater. With her book tour canceled and her ego deflated, Kate decides to take the trip, wondering if returning to her old college as a published author might give her the morale boost she sorely needs. Instead, she falls into a comical regression – from misadventures with eccentric twenty-year-olds to feelings of jealousy toward her former professor’s new favorite student. Striking the balance between bittersweet and hilarious, Kate takes a journey through her past to redefine her future.

Not Rated. Contains strong language, sexual material, drug use, and smoking.

Description and score provided by Metacritic.

“Armed with her funniest material to date and a winning performance from Gillian Jacobs, the filmmaker finds new dimensions for both her work and the millennial ennui that has always inspired it.” – Kate Erbland, IndieWire

“A smart, sweet gem of a comedy.” – Josh Larsen, Larsen On Film

“Throughout, the always likable Gillian Jacobs creates a memorable portrayal of a woman who’s a mess but still rather wonderful.” – Richard Roeper, Chicago Sun-Times

Love, Gilda

In her own words, comedienne Gilda Radner looks back and reflects on her life and career. Weaving together recently discovered audiotapes, interviews with her friends, rare home movies and diaries read by modern day comediennes, Love, Gilda offers a unique window into the honest and whimsical world of a beloved performer whose greatest role was sharing her story.

Not Rated. Contains language and thematic material.

Description and score provided by Metacritic.

“It’s hard to imagine anyone who enjoyed Radner’s performances in their lifetime not finding much to love about Love, Gilda… even as our hearts break a little at what might have been had she lived longer.” – Kim Hughes, Original Cin

“Thanks to Radner’s letters, diaries and autobiography, director Lisa D’Apolito is able to tell us, with great immediacy, what Radner’s thoughts were at the time. We come away with the portrait of someone who was never just going along for the ride, but who was always questioning and challenging herself, working toward professional excellence and hoping for an ideal romance.” – Mick LaSalle, San Francisco Chronicle

Love, Gilda is one of those documentaries that will make you laugh, touch your heart, and inspire to make the most of your life without fear.” – Alan Ng, Film Threat

Keep an Eye Out

Commissaire Buran (Benoît Poelvoorde) is a good, bad cop interrogating Fugain (Grégoire Ludig), an average Joe who discovered a dead body outside his apartment building. Fugain must, on an empty stomach, explain how and why he happened to leave home seven times in one night before coming across a corpse in a puddle of blood. Since he’s the investigation’s only suspect, Fugain’s anxiety is already sky-high when Buran leaves him alone with Philippe, a one-eyed rookie cop with bizarre speech patterns and a few minutes to live.

Not Rated. Contains thematic material and language.

Description and score provided by Metacritic.

“If you are unfamiliar with Dupieux’s cinema of meta shenanigans, Keep an Eye Out serves as a solid starting point. For those already indoctrinated, it’s another welcome dispatch from cinema’s premier purveyor of perplexing paradoxes.” – Josh Kupecki, Austin Chronicle

“The delightfully daft, dialogue-driven result makes for a languid farce that mischievously flips a funhouse mirror on jaded audiences to welcome, if fleeting, effect.” – Michael Rechtshaffen, Los Angeles Times

“Dupieux pulls off this bizarre procedural in a lean running time while hitting the notes of darkness and drollery just right.” – Kristen Yoonsoo Kim, New York Times

This Is Not a Movie

Yung Chang’s This Is Not a Movie captures Fisk in action—feet on the ground, notebook in hand, as he travels into landscapes devastated by war, ferreting out the facts and firing reports back home to reach an audience of millions. The process of translating raw experience into incisive and passionate dispatches requires the determination to see things first-hand and the tenacity to say what others won’t. In his relentless pursuit of the facts, Fisk has attracted his share of controversy. But in spite of the danger, he has continued to cover stories as they unfold, talking directly to the people involved. In an era of fake news, when journalists are dubbed “the enemies of the people,” Fisk’s resolve to document reality has become an obsessive war to speak the truth.

Not Rated. Contains language, violent images, and thematic material.

Description and score provided by Metacritic.

“However one ultimately feels about Fisk’s reportorial compass, This Is Not a Movie presents a necessary, thought-provoking portrait of a dedicated truth-seeker.” – Robert Abele, Los Angeles Times

“What sets Robert Fisk apart from the rest is he’s on the ground and in the middle of the action. He is amazingly able to travel (sometimes) to both sides of a conflict and personally eyewitness the event from both perspectives. This is the heart of This is Not a Movie.” – Alan Ng, Film Threat

“A no-nonsense, soft-spoken chronicler of conflict, especially from the point of view of the victims, Fisk is the centerpiece of a film that can sometimes feel more laudatory than necessary, but provides a comprehensive portrait of a man who has become essential reading.” – Jordan Mintzer, Hollywood Reporter


Materna follows the journeys of four New York women who are isolated by city life, separated by class, politics, race and religion, and yet bound by a shared hunger for identity and connection. With their futures at stake, the characters’ lives are upended by a fateful encounter underground, where their stories of personal transformation become a battle for survival.

Not Rated. Contains language, nudity, sexual content, violence, and thematic material.

Description and score provided by Metacritic.

“A thought-provoking debut.” – Jourdain Searles, Hollywood Reporter

“The stories of four women are told separately, yet they’re intertwined to cumulatively powerful effect.” – Todd Jorgenson, Cinemalogue

“They’re each riveting little short stories in and of themselves, with their own purposes that feed into the larger whole… Every piece here builds on the others.” – Jason Adams, My New Plaid Pants

Falls Around Her

A world-famous Anishinaabe musician returns to the reserve to rest and refresh herself but finds that her fame and the outside world intrude.

Not Rated. Contains sexual content, language, and thematic material.

Description provided by Rotten Tomatoes.

Falls Around Her is legendary Cree and Métis actor Tantoo Cardinal’s first lead role in a feature film – and she’s enthralling in it.” – Samantha Edwards, NOW Toronto

“With minimal dialogue, Naponse and Cardinal give us a portrait of a complex and sexual woman with desires and interests, a sad rarity in cinema.” – Alex Heeney, Seventh Row

“Anchored by Tantoo Cardinal’s captivating performance, Falls Around Her is a nuanced and empowering story of a woman reclaiming control of her life and land.” – Courtney Small, Cinema Axis

After the Murder of Albert Lima

After 13 years of failing to bring his father’s killer to justice through the legal system, a young man sets out to find, capture, and deliver him to the federal prison once and for all.

Not Rated. Contains language, violent images, and thematic material.

Description provided by Metacritic.

After the Murder of Albert Lima is a truly singular experience, stuck somewhere between laughter and tears.” – Rob Aldam, Back Seat Media

“At the end of the day, ordinary people trying to get justice or revenge or closure on their own, or providing that as a paid service that they’re ill-equipped to deliver, is damned funny.” – Roger Moore, Movie Nation

“More than once I had to hit pause to investigate if what I was seeing actually happened, but it ended up winning me over with its absurd and equally emotional and healing story.” – Jorge Rivera Rubio, QiiBO

Tales of Halloween

Ten stories from horror’s top directors. Ghosts, ghouls, monsters, and the devil delight in terrorizing unsuspecting residents of a suburban neighborhood on Halloween night. This creepy anthology combines classic Halloween tales with the stuff of nightmares.

Rated R for strong bloody horror violence throughout, language, and brief drug use.

Description and score provided by Metacritic.

“Anthology films are known for being inconsistent, and after the wild mood swings of recent horror anthologies like the V/H/S and ABCs Of Death movies, it’s a relief to report that despite consisting of 10 segments directed by 11 people, Tales Of Halloween is remarkably cohesive.” – Katie Rife, AV Club

“The overall tone is more tongue-in-cheek than terrifying. Though some of the directors involved — like Lucky McKee (May) and Neil Marshall (The Descent) — have a hard horror pedigree, the emphasis here is on slickness.” – Noel Murray, Los Angeles Times

“There’s much to like here, and ample scares for your brains.” – Pete Vonder Haar, Village Voice


Twelve-year-old Abe (Noah Schnapp) is an aspiring chef who wants his cooking to bring people together–but his half-Israeli, half-Palestinian family has never had a meal that didn’t end in a fight. Ditching his traditional summer camp, Abe begins working with Chico (Seu Jorge), an adventurous street chef who encourages him to think outside his old cuisines. But when Abe’s deceit is uncovered, he must grapple with his family, his background, and his passions, and whether even the most lovingly-cooked family dinner can heal old wounds.

Rated TV-PG for language.

Description and score provided by Metacritic.

“A great measure of Abe’s success is that it made me hungry. More than that, it’s the first movie in quite some time to make me smile.” – Ty Burr, Boston Globe

“The blend of coming-of-age and coming-together in director Fernando Grostein Andrade’s film is a poignant one, regardless. The lessons Abe learns about life through Chico and his inventive cooking are made all the more beautiful by how tasty and colorful the food looks. And with Schnapp’s work in the title role, I found myself believing that a 12-year-old Brooklyn boy just might be able to solve the world’s thorniest conflict with an appetizer.” – Johnny Oleksinski, New York Post

“Andrade serves up an enticing dramedy that wholeheartedly celebrates the potential for multicultural cuisine to unite people from distinctly different traditions, even in the face of determined opposition.” – Justin Lowe, Hollywood Reporter

Foster Boy

Michael Trainer (Matthew Modine) is a high-powered corporate lawyer, estranged from his family and his humanity; Jamal Randolph (Shane Paul McGhie) is an angry young man who has been imprisoned after enduring years of abuse in the corrupt foster care system. If Michael and Jamal can overcome their differences, they may find justice for Jamal and expose the immorality of for-profit foster care.

Not Rated. Contains strong language, sexual content, thematic material, and violence.

Description provided by Metacritic.

Foster Boy certainly follows the legal thriller blueprint, sometimes to credulity-stretching limits — but this is a solid and important story about systematic abuse within the foster care system, featuring an outstanding cast including a half-dozen seasoned veterans who know how to sell even the most melodramatic moments.” – Richard Roeper, Chicago Sun-Times

“If you want to see a film with great performances that talks about important issues while incorporating them into a compelling drama, watch this film if given the chance.” – Trent Neely, Battle Royale with Cheese

“Even if the storytelling is oddly timid and obvious, and occasionally implausible, what emerges still manages to carry an enormous emotional punch. And it shines a light on an endemic problem.” – Rich Cline, Shadows on the Wall


Pedro, a 70-year-old gay nurse, is taking care of Daniela, his ailing transgender friend. In order to find her a vacant hospital bed, he decides to help an arrested and wounded criminal to escape.

Not Rated. Contains nudity, language, sexual content, and thematic material.

Description provided by IMDb.

Greta is a wonderful film and a true original worth checking out if you get the chance.” – Brandon Topp, Battle Royale with Cheese

“Is this a story about the emptiness of being alone? Or maybe the life-altering effects of finding love in an unexpected place? Either way, it definitely gets under the skin.” – Rich Cline, Shadows on the Wall

“This is a thematically ambitious but narratively very intimate and compassionate story of human relationships.” – Boyd van Hoeij, Hollywood Reporter


Social warfare erupts when three high school clique queens battle for supremacy: drama diva Caprice (Xosha Roquemore), Mormon princess ‘Shley (Andrea Bowen) and blonde fashionista Fawcett (Sasha Pieterse). When unassuming Tanner (Michael J. Willet) is outted, he finds himself cast as the hottest new teen-girl accessory: The Gay Best Friend. The clique queens immediately pounce and makeover Tanner into their ideal arm candy, forcing him to choose between popularity and the true friends — including his own B.F.F. Brent (Paul Iacono) — that he’s leaving behind.

Rated R for sexual references.

Description and score provided by Metacritic.

G.B.F. has been unfairly slapped with an R rating, but the film is about as scandalous as a Glee episode. It’s suitable for young teenage girls, who apparently are far more at ease with the times than the homophobic folks at the MPAA. Don’t let their rating fool you: The movie may be thoroughly modern, yet it’s old-fashioned, too.” – David Lewis, San Francisco Chronicle

“It’s cheery but still has a bit of a bite, makes a point without ever being too preachy and features a litany of quotable lines with a cleverness not seen since Heathers.” – Misha Davenport, Chicago Sun-Times

“The film, lensed in appealing candy-striped colors, has so much fun exploding stereotypes and radiates with such infectious comic gusto and genuine good nature, that it would be almost churlish to resist its charms.” – Andrew Schenker, Slant

Uppity: The Willy T. Ribbs Story

An in-depth profile of the life and career of Willy T. Ribbs – the controversial Black driver who shattered the color barrier of professional auto-racing and became the first Black qualifier in the storied history of the Indy 500.

Not Rated. Contains language including racial slurs and violence.

Description provided by IMDb.

“The story of Willy T. Ribbs is incredible.” – Kellen Beck, Mashable

“Adam Carolla’s documentary captures glory, guts of auto racing’s ‘Jackie Robinson’.” – Christian Toto, Hollywood In Toto

“What was perceived as arrogance by fans, media and some drivers was really confidence manifested in someone with a skin tone that supposedly didn’t belong. But Ribbs belonged – and he’ll tell you exactly why…” – Jason Clinkscales, Decider

I Blame Society

A struggling filmmaker realizes that the skill set to make a movie is the same to commit the perfect murder.

Not Rated. Contains strong bloody violence, language, sexual content, and thematic material.

Description and score provided by Metacritic.

“Aside from all its other virtues, this film is a truly inspiring example of committing to the bit.” – Jessica Kiang, Variety

“The eventual twists might shock, but Horvat lands it all with a bruiser of an ending, as funny and scary as anything Hollywood itself has churned out in recent years. If this is do-it-yourself cinema, more filmmakers would benefit from being as laser-focused as Horvat is on making something that truly has something to say.” – Kate Erbland, IndieWire

“Made within the communities it satirises, I Blame Society thrives on its own crotchety energy.” – Donald Clarke, The Irish Times

Suburban Birds

Hao (Mason Lee) is part of a team of young engineers called in to investigate a series of craters that have opened up on the edge of the city. As he and his team survey the subsiding area, another story is taking place in the same suburban landscape. A younger boy, also named Hao, spends long afternoons playing with friends and making mischief until one-by-one, his playmates start to disappear. As these parallel stories unfold, the connections between them proliferate and grow stranger.

Not Rated.

Description and score provided by Metacritic.

“The spectacular feature-directing debut of Qiu Sheng.” – Glenn Kenny, New York Times

“It’s the kind of movie you sit on, but then can’t wait to revisit. Suburban Birds is a rewarding and revelatory first feature from a fresh artistic voice.” – Andrew Bundy, The Playlist

“Enigmatic but oddly entrancing feature debut.” – Leslie Felperin, Hollywood Reporter

I Am Cuba

A study in contrasts set in and around Havana that explores Cuba’s 1959 revolution. A young woman’s fascination with the excess of an American-owned casino leads to her downfall in the eyes of her street vendor boyfriend. A tenant farmer revolts the only way he knows how, attacking the land he works. University students gain first-hand knowledge of political upheaval. And, in the hills outside the city, the members of a poor peasant family are patriotically swept up into the burgeoning revolt.

Not Rated. Contains mild violence, sexual content, brief nudity, and language.

Description provided by Rotten Tomatoes.

“Some of the most exhilarating camera movements and most luscious black-and-white cinematography you’ll ever see inhabit this singular, delirious 141-minute communist propaganda epic.” – Jonathan Rosenbaum, Chicago Reader

“It is one of the most visually hypnotic films ever — and that’s not hyperbole.” – G. Allen Johnson, San Franicsco Chronicle

“The resulting assault is so epicly impassioned it’s less about Cuba per se than the fusillade of movement, shadow, light, vertigo, and landscape on the viewer’s tender optic nerves.” – Michael Atkinson, Village Voice

Fulci for Fake

The first biopic about Lucio Fulci. With never seen before footage, photos and interviews.

Not Rated. Contains language and violent images.

Description provided by IMDb.

“Regardless of whether or not you know Lucio Fulci, if you love horror this documentary is a comprehensive and very interesting look at the life of an artist that will leave you wanting to see all of his films.” – Rafael Rosales Santos, Konexión

“As the film comes to a close, you’re still left with plenty of questions, but you do have more of an understanding to just what made him tick and what drove and inspired him.” – Dan Tabor, Cinapse

“For Fulci diehards wanting a long form breakdown of his most famous works, Fulci For Fake focuses more on how interpretations of his films by the people closest to him help reveal the man behind the curtain.” – Drew Tinnin, Dread Central

A Christmas Village

To save her reputation, Piper agrees to work for the owner of a failing Santa’s Village and discovers just how magical Christmas is after all.

Rated G.

Description provided by YouTube.

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