There is a grand question being asked in the entertainment industry right now. Specifically, is it possible to add new franchises to an already crowded market where the big ones are already established? Because we live in a world where Star Trek, Star Wars and the Marvel Cinematic Universe rule the day, and where new chapters to old stories continue to come to life, and that does leave us unsure… if anything new can come to bear in this marketplace. But that isn’t stopping creatives from trying to answer that question in the affirmative. After all, Seth MacFarlane brought to life, The Orville, his own imagining of a universe not that far off from what Star Trek resembles and even writer/director Zack Snyder, a man who is no stranger to big franchises… has made his own push to start something new.
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For last year saw the debut of Rebel Moon – Part One: A Child of Fire. A grandiose story that took us to a different galaxy, far, far, away. For Mister Snyder was eager to bring a competitor to the Star Wars Universe to Netflix and well, it was met with mixed reviews. Wherein some cited concerns about elements that felt familiar, while others praised its structure and story, all of which… left that grand question mark standing next to that grand question. Because we simply were not sure if this new addition could in fact, bring a new franchise to bear and offer us something grand and sweeping and outright generational. So, to further explore that possibility, it only made sense to bring forth a sequel and flesh out this universe further.

Enter Rebel Moon – Part Two: The Scargiver. The first big time sequel in this new franchise and well, when all is said and done, this particular new chapter, which is available to stream on Netflix starting today… does indeed offer up an answer to that question. In that, yes, new, and epic franchises are a real possibility, provided of course they offer something for the audience to latch onto. Which is why this particular film is of note, for it picks up shortly after Part One, wherein Kora and her friends make their way to Veldt after what they believe was a grand victory over evil. Only to learn that the derided Noble survived his battle with Kora and is preparing to make his way to Veldt to enact revenge and well, that twist is where this movie begins to showcase how new franchises can be born in this era.

Because the wait for combat, for another showdown between Kora and her Noble, gives rise to downtime. Downtime that allows for character development and exploration to take place and that… brings about quite the fascinating first half of this film. For that helps to create something that is more than just a ‘knock-off’ or a grand attempt. It builds a real franchise, it offers depth and gravity, and moments that tie us to the characters. Which are huge elements that go into creating something special, something lasting and one does walk away from this sequence with a better understanding of who is part of this fight, and why they are so dedicated to it, and it does leave one rooting for these heroes to accomplish their goal.
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However, make no mistake about it, this is still a Zack Snyder film, and Zack remains a master of action and adventure and loves good spectacle moments. Which are also staples of big franchises and those are present here too. Because eventually, we do get the fight we desire, and it is as big and bombastic as one might expect. But also, emotional, and powerful, providing the audience with a payoff and well… all of those elements make for a true sci-fi epic. One that genuinely informs us that there is room for big franchises right now, and that they can tap into elements that make us love it so. Courtesy of that gentler, character driven touch that really does harbor connective tissue with the audience and that really does make this sequel feel different and as though it is building toward something even bigger than what we experience here.

Simply because, now we are getting an idea of what Zack and his team want to accomplish with this, and in many ways… we are seeing the birth of this universe in a manner similar to Star Wars. Because that’s a franchise that found its way through sequels and bold storytelling decisions and we get that here and that does make for an enjoyable ride. One that will wow you with its visuals, move you with its bigger moments and all around just offer a wonderful viewing experience and those are the true elements that go into making a grand franchise for the ages and hopefully Netflix gives Mister Snyder and his team what they need to finish the story. Because if the progress made here continues and Zack can stick the landing… that will give rise to a beloved franchise that creatives and audiences will explore for generations.  

It really is quite unfortunate how society views mental health, mental health issues and their respective treatments in this modern age. Because we live in a time where people are indeed ready to talk about the tough and lingering problems and concerns, that prior generations made efforts to bury and abandon out of the belief, they would fix themselves. But alas, despite being in an era this open-minded, and where there is new information coming out about mental health, and despite new treatments being developed to help those who wish to maintain or heal their mental health… we are still deathly afraid to point out that the mind isn’t always at its best, and that sometimes we need help in healing our ailing brains and in balancing its chemicals.
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In fact, this topic is so taboo, that even the creative world, a place that is a pioneer in discussing the topics that no one else wants to, tends to either shy away from exploring the truths about mental health in the twenty-first century, or offers up something that is glossy and inspirational regarding such matters. But thankfully it would seem, we are reaching a paradigm shift when it comes to the silence surrounding such important matters, and we have a bold new motion picture from an equally as bold creative individual to thank for that. For writer/director Dillon Tucker has opted to craft a story that shatters taboo and offers a comprehensive and powerful look at mental health and mental health struggles in Pure O.

A feat that this story accomplishes by introducing us to a man named Cooper who seems to be living quite the life. After all, he works a great job as a rehab counselor, giving him a chance to do good in the world. Not to mention, he has a loving fiancé named Emily; he has dreams to hit it big in Hollywood. So, life just seems to be coming up roses for Cooper. That is, save for the fact that Cooper is deeply scared. Because he’s having wild, violent thoughts, about imparting harm upon his beloved and in talking to a therapist about these thoughts, he is diagnosed with a form of OCD known as Pure Obsessional. Which will be difficult to treat and overcome. Because of the stigmas that exist and because of challenges that further shatter his idyllic life, prompting him to ponder deeply upon what he will really need… to get his mental health in order.

Which at first glance, appears to be more in line with the uplifting stuff we normally see from stories in this vein. Since there’s a setup there for Cooper to go on a brave and inspiring journey. But that is by design, to make us comfortable so that Dillon, can plunge us into the heart of one powerful story. One that deeply examines the nature of OCD and Pure Obsessional and how they are treated. Which gives rise to some stunning moments for certain. The kind that showcases how mental health issues are a real battle and require real work, and in the case of Pure Obsessional, can feature some scary and uncomfortable moments for those suffering through it. Since this film holds nothing back regarding the ideation that comes from this affliction, and truly… this gives us a shocking… but welcome perspective. Because this is the kind of stuff that starts a conversation and truly helps people to understand the realities of such matters.
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But while that makes it seem as though this film is deeply mired in heavy moments, make no mistake about it… this is a movie designed to educate, spark talks, and walk us through… how we heal. Because that’s what anyone in Cooper’s shoes wants, to feel better, to be better and to walk away stronger, and that aspect of the film, leads to some uplifting moments. Wherein it becomes clear that to conquer these moments, we must be willing to put in the work, and dedicate ourselves to healing. Not to mention, this film reminds us that we need a support network, of people who do care, who are willing to stand by us in those dark hours where it seems hopeless. Which is perhaps the most poignant aspect of this film. For the mantra surrounding mental health issues is that the fight against them must be done alone, and through sheer will. But it takes a village to help folks through that, to help anyone through dark times really, and to help them cope with the changes that come about when the dust settles.

For lives change when this kind of healing takes place, and well… all of these messages and explorations make for one revolutionary motion picture. One that truly showcases this taboo topic in an open and frank (and long overdue) manner, and this motion picture deserves a standing ovation for finally being the story to ‘go there’, and for also providing us… with a great story period. One that offers up some great performances since Daniel Dorr (Cooper) and Hope Lauren (Emily) truly sell the realism present here and move us often with their ability to translate the emotions one would feel in the midst of healing. Plus, this film has plenty to teach folks who might not be able to relate to the subject matter at hand, since it also explores the ups and downs of life and how we are never ready for the tough stuff it sends our way. All of which makes… for a powerful and perfect feature that will stay with you long after its ended. Courtesy of its intelligence, and its bravery.

During awards season, every artisan in the industry has their eyes on the grand prize. A nod, and hopeful win, from the Academy of Motion Picture Arts and Sciences – better known as the Oscars – is a dream come true for most. So much so, that virtually everyone worth their salt (*WINK*) seeks to be recognized by the Academy, many saying it’s an honor just to be nominated. Though we all know they secretly wish to win above all else. *DUH!!*
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Made up of everyone from directors and actors to executive producers and other industry giants, each category is voted upon by their respective members. That’s to say, directors vote for directors and so on, while a ranked choice voting system is used to decide Best Picture. Unfortunately, the Academy is fickle when it comes to paying attention to films that deviate too far from the norm. Saltburn (Warner Bros. Pictures; 2023) is no exception by far, but I believe the shock value turned folks away causing them to overlook the true beauty and intricacies this film has to offer. So now that the 2024 awards season has ended, I’d like to take a deeper look at this masterclass in filmmaking and discuss why…why was Saltburn snubbed at the Oscars?? Especially when Emerald Fennell (Writer/Director) won the 2021 award for Best Picture and Best Original Screenplay for her first feature-length outing for Promising Young Woman (Focus Features/Universal Pictures; 2020). *BAD ASS* I mean… she clearly has the chops… right? 

Before we begin, it’s apt to point out that this year’s Oscar season was quite stacked. So much so that predictions aside from Oppenheimer (Universal Pictures; 2023) were a little all over the place. Excellent films like American Fiction (Amazon MGM Studios; 2023), Killers of the Flower Moon (Paramount Pictures/Apple Studios; 2023), Poor Things (Starlight Pictures; 2023), Barbie (Warner Bros. Pictures; 2023) and more took second stage to Oppenheimer, and for good reason. However, I would be remiss if I didn’t point out that with all its popularity, I really wish some light could’ve been shed on the aftermath of the Trinity Test and how it changed, and continues to change lives, in such a negative way in New Mexico. Ah… but I digress!! For anyone interested, check out First We Bombed New Mexico (Lois Lipman) right here. Now… let’s move on!

Per the norm, several films were nominated in multiple categories. Thus, many have stated that the competition was just too stiff to include Saltburn. Thus, I argue that’s exactly why it should’ve been considered. Because it belonged there!! So… let’s take a look at four categories for thought – Original Screenplay, Cinematography, Direction and Acting.

Beginning with a visual of the bathtub scene (*STILL NOT OVER IT!!*) and the words: “I wasn’t in love with him,” Fennell poured over the Saltburn screenplay in secret for five years only sharing the final product when she felt it was ready. Her vision is insanely depraved and deliciously evil in multiple ways. Using a goth approach and heavy symbolism rooted in everything from Shakespeare to horror, Fennell explained to Entertainment Weekly that she likes to play with genres and specifically wanted to visit that: “Bottomless pit of want, and jealously, and need, and voyeurism” that we all have but don’t want to acknowledge. And boy does she deliver. *KAPOW* For some clarity on this vision, an excellent video breakdown, including all the scrumptious symbolism, can be found on ScreenCrush. And here are two videos from MsMojo titled: Top 10 things You Missed in Saltburn and Top 10 Behind the Scenes Facts about Saltburn. All of which add some extra contextual elements to the overall feel of the film. Thanks to both channels for such fun and detailed work! *HELLS YEAH!*

But hasn’t all this obsession business been done before?? Well… yes and… no!!
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For example, often compared to The Talented Mr. Ripley (Paramount Pictures; 1999), Saltburn doesn’t just show us fixation. It slaps us with our own desires in waves and levels wrapped inside unimaginable deviancy. It’s so much deeper than Mr. Ripley or films like it that it’s hard to know where to begin. Sure, the premise – poor kid idolizes rich kid – is the same. But quite honestly, that’s where the similarities end as Mr. Ripley is fairly one dimensional with regards to infatuation. Saltburn, on the other hand, looks at various aspects from almost every character and lays bare their own insecurities and fetishes. *RAISED EYEBROW!*

The film follows the lead, but also gives a window into everyone involved in a way that I’ve never really seen before. To add to this, Mr. Ripley culminates in some suspenseful action whereas Saltburn remains slow and cunning throughout. Even the buildup to the climax in the maze floats in like a bubble in the air on a hot summer day. Ever so lightly until it pops!! Plus, every uncomfortable scene plays with heavy menacing music, but a light, albeit often disturbing visual texture. Mixing horror and desire that delivers like a dance rather than any hyped up action sequence is no easy feat. It’s both familiar and completely new which is seriously intriguing in a very twisted way… LOL!!

Finally, Fennell goes out of her way to set the stage that is Saltburn. Including locations (University and the sprawling manor), specific period details for the early 2000’s, like eyebrow piercings, certain clothes, Live Strong bracelets (*YIKES… LOL!!*), and her traditional overall gothic feel. Not to mention, my personal favorite noted in her interview with Far Out. An homage to The Shining (Warner Bros; 1980) with the: “use of mazes and sweeping camera work that pulls you from room to room with a notably dizzying effect.” It’s literally mesmerizing! *OBSESSED!!* Which leads us to the additional fine touches that can only be accomplished with excellent camera work.

Following Emerald’s vision. Not only are multiple expansive scenes in the film utterly beautiful. There are very specific angles giving rise to a voyeuristic perception. Much of it is taken from Oliver’s (Barry Keoghan) perspective as we watch him watch others. It’s secretive and seductive. Plus, though extremely subtle, yet subversive throughout, the shots themselves – 4x3 in nature - are hypnotic.  This aspect ratio adds a level of distortion whilst also bringing the film itself alive… as if from the shadows. Long distances, extended hallways, high ceilings and more all reveal tiny details of an illustrious, but fake exterior coupled with a well lived in, almost musty and overly lavish daft interior. This type of camera work emphasizes the characters while allowing the stage to linger about making the viewer want to peek into a bedroom, closet, or even just around the corner. All of which adds to the morbid feel of never really being alone. A chilling concept on its own!! *HECK YEAH IT IS!*
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Never letting the onlooker feel entrance you fully. Complete immersion is impossible, as the viewer is purposely made to feel uncomfortable multiple times across the film. This begins ever so slightly at University and slowly ramps up. Making you the observer feels positively horrific at times. *YEP!* Still, scenes like the Midsummer Night’s themed party appear magical even with its underlying dark tones and sadistic themes. The manor itself is massive and provides the perfect backdrop for the story to unfold. However, nooks and crannies in the mansion are nothing compared to those within the characters and the cinematography blends them beautifully. Topped off with excellent lighting effects and a haunting score, the entire film is visually stunning throughout!! But telling the tale has to come with supervision and Emerald Fennell has that in spades!!

Bringing together a vision wholly your own is a tough feat, but Fennell smashes through the task like a runner crossing a finish line made of cray paper. Uncompromising and pushing the fascination envelope at every turn, Fennell guided the cast to freedom of expression by encouraging them to grasp the space between. The sinister areas of our hearts and minds that as lay people, we often look away from. This is what she wants us to see!! Further, Fennell stated to IndieWire that: “It’s also about who’s watching, who’s being watched, when does that gaze slightly shift. It’s just an endless, thrilling, detailed conversation.” I find this captivating on many levels. Specifically because whether we want to admit it or not, we all watch to a certain extent. *INTERESTING!!*
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Adding to the sheer scope of obsession, Fennell wants the audience to squirm. In her interview with Time, when asked if in her mind, are lust and revulsion tied together? Fennell references the film Romance (Rézo Films; 1999) and says: “that sexual tension isn’t between two people, it’s between desire and revulsion.” *WOW* She goes on to say that Saltburn is: “about our relationship with the things we want and how sadomasochistic that can be.” All of which would inform how she would explain her endgame to the cast and crew. Said crew dived right in.

Similar to the film itself but reversing the voyeur take, I’d like to begin with the supporting characters and work my way in. The strange family dynamic is perfection as the viewer is shown what beauty behind the closed doors of the nauseatingly rich looks like. Oddly enough, we hate them and want to hang with them at the same time. Aside from costumes – another potential Oscar snub (*YEP!!*) – the acting in Saltburn is nothing short of perfection. Watching Carey Mulligan take on the role of Poor Dear Pamela (seriously, that’s how she’s credited… LOL!!) is exactly what helps make this picture a dark comedy. She reeks of desperation though barely says a thing. When she does speak, it’s beyond telling but subtle enough to be missed by the casual viewer. Both funny and tragic, Pamela is an unfortunate plaything for the Catton family. None more than the matriarch, Elspeth Catton, portrayed expertly by Rosamund Pike. Fully immersing herself in the role, Pike told Today: “I kind of fell deeply into character,” as she actually lived at the manor and embraced every loathsome inch of a socialite who married way up! Extravagant and petty, the love/hate for this self-described boho sheik character is oddly satisfying and really a tale unto itself… no? Her husband on the other hand carries more of an eccentric billionaire vibe that’s equally fun to watch. Played by the immensely talented Richad E. Grant, Sir James Catton by far lives nowhere near the real world and cares nothing for the intricacies of the average human experience. He continually seems checked out and self-serving, yet Grant does such a good job that the viewer finds themselves feeling a bit sorry for his naiveite having fallen victim to the charms of Elspeth and lavish high society. Never mind he comes from old money and appears dumb as rocks… LOL!! He’s an absolute joy to watch save for his utter ignorance when it comes to his own children. Particularly his daughter Venetia Catton (Alison Oliver). Desperate for attention, Venetia plays the quintessential poor little rich girl with a melancholy air of trauma that’s hard to turn from. Particularly as her mother belittles her throughout. I mean… PUDDING FINGERS… really!?! Noted as her theatrical debut, Alison is positively excellent in the role. *BRAVO!!* And finally… rounding out the phenomenal supporting cast is the Catton family’s adopted token charity case Farleigh Start (Archie Madekwe). Who, for my money, stole the supporting show and above all the rest deserved some serious recognition. Playing both ruthless and vulnerable, Madekwe is brilliant!! Especially when viewing his dynamic with Oliver. He’s jealous and spiteful and along with all of the supporting cast, makes a devilishly scrumptious snack surrounding the main course – our two delicious leads – Ollie and Felix.  
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Oliver Quick (Barry Keoghan) and Felix Catton (Jacob Elordi) – have unbelievable chemistry and both equally share the screen when present. Constantly watching Oliver watch Felix is sexy and creepy in all the right ways. Felix comes off as genuinely kind hearted with good intentions, but ultimately reveals a seedier self-serving side to his charity and above all, his ego wins every time. Nonetheless, he’s so damn handsome, charismatic and alluring, the viewer cannot help but love him anyway. I mean… candles from all over were created in Elordi’s honor… LOL!! As for Oliver… I scarcely know where to start. Barry’s improv of the character alone (*HELLO GRAVEYARD SCENE*), is spectacular. But it’s so much more than that. How he carries himself. How he changes from a sympathetic mess or childlike demeanor to a calculating manipulator. I mean… in short, Keoghan is simply intoxicating to watch. From start to finish, he grabs this character and turns him inside out before our very eyes. We love him. We empathize with him. We want him and want to be him. It’s absolutely nuts that we might cheer for someone so vile. Yet, we have no idea how bad it is until it’s too late. We’re so focused on how messed up everyone else is that Ollie slips right past us for a time. It speaks volumes to just how utterly shitty AND captivating the other characters are… LOL!! By the end… I didn’t know whether to love or hate Ollie. I finally decided to stop trying to figure it out and just understand that I’m supposed to do both… LOL!! Accepting that Fennell did her due diligence when choosing Keoghan is something one should settle on from the get! If anything, Keoghan deserved Best Male Actor in a Leading Role, hands down!! *SIGH!*

Saltburn not only met all of the categories discussed above. It exceeded them in multiple ways. With 100 nominations and 13 wins from various projects, including the British Academy of Film and Television Arts (BAFTA), Critics Choice Awards (CCA), Golden Globes, People’s Choice Awards and many, many more, it’s clear the film itself struck a chord within the awards community. Not to mention, rarely, if ever, do big movies make the BAFTAs, CCA and the Globes and not get a single nomination by the Academy of Motion Picture Arts and Sciences. Still, here we are!! Completely snubbed from the Oscars. Why, you ask… ?? Well, it’s my personal opinion that the Academy truly didn’t know what to do with a film that unapologetically explores the wickedness of obsession with a muddy AND provocative eye. Yep… I said it!! The movie is too dirty for the Oscars. Strange since there is almost no nudity or even full on sex scenes. I mean… films like Poor Things which arguably exploited Emma Stone’s child-like character for the sake of a metaphor on breaking free from societal constraints (*Seriously??*), had graphic sex scenes and blatant misogyny throughout. Still, it became an Oscar darling even pushing Killers of the Flower Moon’s Lily Gladstone away for Best Actress in a Leading Role. Yeah, I was surprised too.
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Of course, a polarized audience certainly didn’t help matters. Saltburn rarely has a middle ground with viewers. You either love it or hate it. So much so, that I firmly believe that hating this film aligns with a xenophobic culture that Fennell beautifully exploits. Those who can’t make sense of it are repelled by the dingy themes of passion and desire. They want to immediately place it in a box. Either falsely comparing it to other films, giving it labels it doesn’t deserve, or simply dismissing it altogether. It’s gross and uncomfortable on purpose and the obsession in this film is disgustingly sexy. A term I’m sure Fennell would love and probably has even said herself in one form or another. To listen to her discuss the murky corners of Saltburn is fascinating and in a way, should really be offered as a compliment to the film itself. Unfortunately, Oscar voters likely aren’t scouring the internet (or the bathtub… LOL!!) for interviews to make up their mind. Same goes for critics. Especially those who say that Fennell’s vision is unclear or that her “Eat the Rich” message misses the mark. What they all fail to realize is the new and quite frankly rough avenues this film explores. Or that Fennell’s vision, with its classism backdrop is really focusing on calamitous desire, regardless of wealth. Hell, in my opinion, she’s not trying to Eat the Rich…at all!! It’s simply as I already stated…a backdrop. Besides, it's much easier to drape the scenery in riches when sliding into depravity. It’s captivating on its own and allows us to let our guard down only to be gobsmacked with the reality laid bare. For critics and viewers alike, to acknowledge this would shed light on the pitch black corners of our mind that none of us want to admit is there. And for that, I suspect Saltburn’s cult following coupled with deep analysis’ will continue to grow. All the while, remaining equally as polarizing to fresh eyes. Which, for me, tells me a lot more about the watcher than you think… *RAISED EYEBROW*

Below are a few video interviews with Emerald Fennell. All well worth the watch if your infatuation runs as deep as mine.

1.Letterboxd: Emerald Fennell Reads Your Saltburn Reviews
2.Vanity Fair: ‘Saltburn’ Director Emerald Fennell Breaks Down the Arrival Scene
3.Esquire UK: Emerald Fennell Breaks Down ‘Saltburn’ and Defends Jacob Elordi’s Eyebrow Piercing
4.Reign With Josh Smith: Emerald Fennell Interview on Saltburn’s most controversial scenes with Barry Keoghan and Jacob Elordi
5.Grazia UK: Emerald Fennell on ‘Saltburn’ Final Dance Sequence and Easter Eggs

Until next time.

One particular film that we’ve made mention of often over the past few months, is the independent feature, Re: Uniting, and well… there’s good reason it’s been on our minds a lot. Simply because, this is an amazing independent feature. One that truly captures some important moments we will all go through, while also having a powerful discussion on a topic we still harbor hesitation in discussing. Plus, the acting is sublime, it sucks you in and never let’s go, because it’s just a magnificent movie through and through.
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One that thankfully, everyone in the United States and Canada will soon be able to enjoy. For earlier today it was announced that Re: Uniting will be arriving on digital this month in Canada and later this year in the United States. Giving everyone the opportunity to sit back and enjoy the wonder and the power of this moving and transformational feature and well, to properly provide this news the justice it deserves, here are all the details on this upcoming release.  

‘Flat Head Films is pleased to announce that BC-based writer/director Laura Adkin’s feature film debut Re: Uniting will be available on video-on-demand starting April 30th, 2024 in Canada (Vortex Media) and in the US on digital and cable on demand on June 4th, 2024 (Gravitas Ventures). The film stars Jesse L Martin (Law & Order, The Irrational), Michelle Harrison (The Flash), Roger Cross (War For the Planet of the Apes), David James Lewis (Child’s Play), Carmen Moore (Nancy Drew) and Bronwen Smith (Firefly Lane) as six best friends from college who reconnect for their 25 year reunion. 

Filmed on Bowen Island, BC, Re: Uniting had a successful Canadian theatrical release on March 15th, 2024. The film was held over in Cineplex theatres in Toronto for two weeks and in Vancouver for more than three weeks and will close on April 9th with a special event screening. A limited theatrical release in select cities in the U.S. and the digital launch on June 4th, will be the first time a wider audience across the U.S. will be able to screen the film. Re: Uniting had a successful world premiere at the Austin Film Festival in October and was a Special Presentation at the Whistler Film Festival in December and has been received well by critics and audiences alike. 

When Rachel, played by Michelle Harrison, receives life-changing news, she secretly grapples with her mortality while playing host to her friends who have grown up and gone their separate ways since college. Carrie, a mother of 3, Natalie, a workaholic neurosurgeon, former football star turned sportscaster Collin, and playboy man-child Danny join Rachel and her husband at their picturesque home on the beautiful and secluded Bowen Island. As soon as they are all together it’s like no time has passed; they laugh, drink and dance the night away. Rachel’s nostalgia is echoed by the group as they realize how much time has gone by, and how much they have all changed. As secrets are revealed, they are forced to change the way they look at their futures.

Laura Adkin, born and raised in Vancouver, BC, began her career in the film and television industry almost 20 years ago. She started as an actor then moved behind the camera as a producer, writer and director. As a filmmaker, Laura has produced numerous films that have played in film festivals around the world. Diversity and inclusivity on set and behind the camera is one of Laura’s most important mandates as a filmmaker. Laura was handpicked for a female directors initiative through Disney and was selected for the Women In the Directors Chair Career Advancement Module. Laura served on the board of Women in Film Vancouver and currently teaches at Vancouver Acting School.

Re: Uniting is written and directed by Laura Adkin, produced by Krista Rand (Grand Unified Theory) and Stirling Bancroft (Sniper: Assassin’s End) serves as director of photography. Josh Epstein (Adventures in Public School) is an Executive Producer. Re: Uniting is the first feature film in the world to be colored with the Barco HDR Lightsteering projector; a state-of-the-art technology sweeping the cinematic world from international tech company Barco. 

In Canada, Re: Uniting is available on Apple Pre Order and will be available to rent or buy on most streaming platforms including Apple, Cineplex and Google Play and for cable providers who have a VOD service, including TELUS, Rogers, Shaw and Cogeco starting on April 30th. Gravitas Ventures, an Anthem Sports & Entertainment Company, has acquired U.S. rights to Re: Uniting and will release the film on digital and cable on demand on June 4, 2024. More details about the U.S. theatrical will be announced soon. Re: Uniting is also set for its Alberta theatrical premiere in Grand Prairie, AB starting April 19th with Adkin and Grand Prairie producer Erin Neil in attendance for a special event screening and Q&A.

The film was made possible with Telefilm "partner's in production", William F. White International and UBCP/ACTRA.’

There was a time, where the cozy mystery was nothing more than an afterthought in the world of television. Because murder, and any crime really, happened to be serious business, and the thought of offering a story that featured more lighthearted moments as it was solved, just seemed disrespectful. But as the years rolled on, and audiences expected a little more from their crime stories, the cozy mystery began to become a staple. Because they are true escapism from the horrors of the world and they feature justice and so much more and just like that, they began to grow and one particular character that helped bring them into the mainstream is Hannah Swensen.
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For Joanna Fluke’s books were adapted into a fine series of cozy mysteries for the small screen on the Hallmark Mystery Channel, and well… audiences loved them. Since they did indeed offer up the escape they promised and these stood out, because they featured lovely acting, and care, and stories that were more than just crowd pleasers, but solid mysteries that captivated and engaged. If anything, the wonder of the cozy mystery and the wonder of Hannah Swensen, are top of mind today, simply because Hannah returned to the airwaves last night, to bring us her finest mystery to date. One that surprised in a lot of ways.

Which are feats that One Bad Apple: A Hannah Swensen Mystery accomplishes by having Hannah, take on quite the crime amid a new chapter in her life. For when we catch up with her, here, she’s teaching at the local school and going about her business. When of course… odd occurrences and seeming attempts on another professor’s life come to fruition. Giving rise to real stakes when the professor in question is found dead with a knife from Hannah’s kitchen sticking out of him. Because that surprise puts her on the suspect list and prompts her to work harder than ever to solve this crime in record time. For if she cannot uncover the killer’s true identity by the end of the quarter… they will never be found, and she may be held responsible.

Which is a plot that really is the most refreshing one to date for the saga. In large part, because there is a lot of growth here. With Hannah extending her career into new territory as a teacher of culinary arts at the local school and with her friends and family getting into new roles as well. Including of course, a change at the police station since Mike is no longer part of the picture. But there are new players in the legal world that captivate and intrigue, including the electric interaction between Chad Norton, a prosecutor, and Hannah. Which may take us to new romantic places down the line. But what matters more, is that growth, and that understanding that this little universe of mysteries is becoming more and so are its characters and that outright excites us and engages us. 
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But of course, we are here to solve a mystery, and that… is no simple task for Hannah in this tale. In fact, this particular hunt for justice, one written by Alison Sweeney, makes use of misdirection often. So, just when it seems as though Hannah has a solid lead and justice will be served, a curveball is sent our way. Which keeps us guessing, keeps us playing along and it eventually brings about, one juicy finale that is pretty darn epic in nature. One that answers our burning questions and of course… leaves us satisfied. Because that’s what cozy mysteries do, but it is quite nice and quite lovely that this particular tale shakes up the mythos a bit and really tasks the characters like never before and offers up some fun surprises along the way to really take the audience on quite the ride.

Of course, it is mission accomplished when it comes to that for this special. Because from beginning to end, we are captivated by this tale. Courtesy of change, humor, a top-tier mystery and of course, the warmth and fun and humor that we’ve grown to love about this franchise. Much of which stems from Hannah’s mother, humor wise, thanks to her career change and from the awkward moments from everyday life that have been injected into this story. Which makes this, a must-see cozy mystery. One that really does whisk us away, pun intended, to a world where a pure hero does their best to make sure justice is served to ne’er do wells, and you simply cannot go wrong with another chapter in this grand and sweeping story that continues to the lead the way in providing the world with wondrous cozy mysteries.

We are taught from a very early age, that we should always ignore the mean words that people are going to send our way in this life, for a bevy of reasons. One of which relates to the fact that those who are speaking to us in a sour manner, likely have a sour disposition. So, what they say comes from a place of darkness, one not worth giving agency to. Plus, they’re just words after all, and those should never carry any weight in this life. Because words don’t matter, according to our parents, unless we let them matter, and so we hold to that advice through and through as we grow. Only to learn… that this particular lesson is wholly incorrect. 

Because words do matter, and they do indeed have great impact upon us in a positive and negative manner. And the negative stuff, really does nag at us, especially when its malicious in nature. To the point where those words can make us second guess ourselves, bring down our self-esteem and our spirits and they can in fact, wound deeply. Which is why we need to give words more credit in this life and handle things differently when the nasty ones come our way. Because words are always spoken with intent and purpose, and understanding that, could go a long way in life. If anything, the power of words, the gravity we should give them, and what that would do for all of us is top of mind, because that’s all explored in the most unique way possible in the brand-new feature film, Wicked Little Letters.
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A feat that this story accomplishes, by taking us back in time to the 1920s, to Littlehampton, England specifically, where this simple community finds itself rocked by quite the scandal. In that, someone has been writing the most vulgar letters possible to Edith Swan. A simple woman that lives a simple life with her family and she cannot understand such abuse, and it becomes so out of hand… that the police become involved and firmly believe, it is Edith’s rowdy neighbor, Rose Gooding, that is responsible. For she has no filter and tends to use the language present in those very letters. Giving rise to legal troubles for Rose that are only amplified when the letters begin to appear in other mailboxes around town. For with no other suspect present, and decency laws being what they are… she’s in danger of having the book thrown at her, unless someone can reveal who is truly writing these wicked little letters, since Rose makes it clear… it most certainly is not her.

Which is the perfect way to explore the power of words, and how it is impossible to be ignorant of them and impossible to deny them agency. Because nasty words are nasty words and they do get under our skin, and that power is seen here in a perfect manner. Since the letters basically wear people down and make them think deeply upon themselves and their lives, and they hurt because of the malicious nature of them and that truly does hammer home that central theme and allows for the story to do more than just examine the impact of nasty words upon our psyche, it also gives rise to a grand exploration about what motivates someone to go that route and choose to cause harm with their words over anything.
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That in turn brings forth a fascinating opportunity to really ponder upon the root causes of such matters and how to use that to approach people that use the negative power of words. To reach them and help them understand the consequences of their actions and to start a healthy dialogue at last. Which provides us with a complete journey regarding such matters and it also helps the viewer to understand the nature of communication as a whole. Which is something we can always use a refresher on because the moment can lead us to grunt instead of speak, or not allow for us to really think about the right words at the right time and this story really does affirm how much that matters, and how to maintain it, and what’s wild… is that it still has more to offer beyond those powerful lessons.

For at its core, this story, one grounded in elements from a scandal of this nature from that era… is a comedy. Which is the perfect way to deliver its messages and musings because then the material is never overwhelming, and we can find a little joy in a story that also echoes 2024. Since battles of words are everywhere to be found today, and all of these elements bring forth, one delightful motion picture. One that features amazing acting to boot, since every actor here sells the wonder of this story through and through and this is a movie that also harbors a lot of heart. Since it really does task us to think before we speak and use the right words at the right time, so there is never doubt about how we feel or what we want, and that really is a critical message to hear right now.