(LAMBERTVILLE, NJ) -- ACME Screening Room, the independent arthouse cinema anchoring Lambertville's historic Union Street, announces submissions are open for the fifth annual Lambertville Halloween Film Festival (LHFF), the judged short film competition that kicks off the town's celebrated Halloween season. Official deadline for submissions is July 25, 2026.
Do you remember your childhood? I mean really remember it? Some people are able to recall every last detail of the past, but most of us merely retain memories of a few standout moments. They could be moments of joy, or of trauma, but often they're completely random. When I try to conjure memories of my childhood I tend not to think of specific incidents but rather senses: the smell of my dad's aftershave, my mother's perfume, or the sweaty socks I pulled off after a summer's day of play. I can't recall the faces of any of my childhood friends or my teachers, but I could probably tell you what my favourite song was in any given month of the '80s. My childhood exists now as an aural and sensual collage rather than a reliable recollection of key events.
(NEW BRUNSWICK, NJ) -- The 45th Bi-Annual New Jersey Film Festival will be taking place between September 4 - October 4, 2026. As they have been doing the last few years, the festival will be presented as a hybrid with select in-person screenings at Rutgers University and most of the films available virtually via Video on Demand for 24 hours on their show date. The festival also be offering an Audio-Visual Concert featuring the bands Lawns and Hanging Coats as well as two FREE Filmmaking Workshops.
With his 2021 film Dinner in America, director Adam Carter Rehmeier revived the career of actor Kyle Gallner, who has since caught the eye of cinemagoers with his roles in the Smile series and Strange Darling. Rehmeier and Gallner reunite for Carolina Caroline, and once again the latter plays a charming sociopath who sweeps a restless young woman off her feet. The tone is less comic this time, and Carolina Caroline is a lot more maudlin than the post-Tarantino vibes of its trailer might suggest.
Horror movies centred on demonic possession and exorcisms generally feature a possessed young woman and a male religious figure battling a crisis of faith as they attempt to save the possessed victim. The Voices of Our Mother, actor Mark O'Brien's second feature as writer/director, strays from convention in this regard. Here the possession victim is an elderly woman, while her potential saviour is a young nun.
Do you remember your childhood? I mean really remember it? Some people are able to recall every last detail of the past, but most of us merely retain memories of a few standout moments. They could be moments of joy, or of trauma, but often they're completely random. When I try to conjure memories of my childhood I tend not to think of specific incidents but rather senses: the smell of my dad's aftershave, my mother's perfume, or the sweaty socks I pulled off after a summer's day of play. I can't recall the faces of any of my childhood friends or my teachers, but I could probably tell you what my favourite song was in any given month of the '80s. My childhood exists now as an aural and sensual collage rather than a reliable recollection of key events.
With his 2021 film Dinner in America, director Adam Carter Rehmeier revived the career of actor Kyle Gallner, who has since caught the eye of cinemagoers with his roles in the Smile series and Strange Darling. Rehmeier and Gallner reunite for Carolina Caroline, and once again the latter plays a charming sociopath who sweeps a restless young woman off her feet. The tone is less comic this time, and Carolina Caroline is a lot more maudlin than the post-Tarantino vibes of its trailer might suggest.
Horror movies centred on demonic possession and exorcisms generally feature a possessed young woman and a male religious figure battling a crisis of faith as they attempt to save the possessed victim. The Voices of Our Mother, actor Mark O'Brien's second feature as writer/director, strays from convention in this regard. Here the possession victim is an elderly woman, while her potential saviour is a young nun.
It's ironic that Steven Spielberg's best movie of the 21st century is his adaptation of HG Wells' War of the Worlds. That film takes a dim view of alien visitors that is contradictory to Spielberg's optimism regarding extra-terrestrial life. Elsewhere in the director's body of work, aliens are portrayed as benevolent beings; we are more of a threat to them than they are to us.
Biopics of musicians tend to be more interested in the musician than the music. Two of the best movies about music - Bertrand Tavernier's Round Midnight and Michael Winterbottom's 24 Hour Party People - are ironically less interested in the people who create music and more in those who promote it. Tavernier's film focusses on a jazz-loving Parisian who becomes determined to restore a faded American saxophonist to his former glory. Winterbottom's tells the story of how one man revitalised the city of Manchester by recognising and promoting its wealth of diverse musical talent.
