Film Fests
Brooklyn Horror Film Festival 2025: ‘New Group’ Review
Unlike the human pyramid at the center of New Group, the foundations of the film are much less stable. Bringing us J-Horror in the vein of Junji Ito, and more accurately the works of Sion Sono, director Yuta Shimotsu’s sophomore endeavor says goodbye to the moody atmosphere cultivated in Best Wishes To All in favor of a bombastic mix of sci-fi with horror underpinnings and comedy all over.
Like Best Wishes, they’re both horror films that explore human nature and the inequities of society, amplifying our worst traits to a supernatural level, with all the discomfort that should entail. But unlike Best Wishes, what New Group’s cinematography builds around that core idea feels like a house of cards rather than a powerful structure.
Ai is a high schooler drifting through life in a dreamlike state. Her home life feels like a parody. Her day in and day out going to school is monotonous. But when a human pyramid forming in the school courtyard begins to spiral out of control, that monotony is shattered and replaced with oddity. As her classmates are commanded by the teachers to join it, an odd display becomes an unrelenting killer force that Ai finds herself unable to escape.
What is New Group About? Trust Me, It Will Let You Know
This is one of the many flashes of brilliance the film has on offer: the idea of people being pulled by an alien force to form a human pyramid, completely entranced and acting bizarre, is a jumping off point that could have gone in any number of directions. The very idea of a cosmic horror coming of age story should have had me hooked from start to finish. But every time the film dazzles you with a genuinely fun concept, or a scene where the students make a newer, stranger formation than the last, you’re subsequently clubbed with the film’s ham-fisted writing.
If you were worried the film would be esoteric in any way, worry no more. From start to finish, the film reminds you in plain terms that it is about the modern structures of society and the state crushing individualism, and our need to fight back. The main characters discuss it, the talking heads on the news discuss it, and even the film’s villains have a truly off-the-wall sequence explaining it to the protagonists (in, what I admit, is the best scene of the film).
But it never goes anywhere with that train of thought, rather running on the same track over and over; our politicians don’t care about us, we’re taught to conform or die, and cruelty is easy in groups. The consolation prize is a movie that is funny and bizarre when it pulls off its dark humor, but not funny and bizarre enough to distract from the feet of clay the script stands on.
Great Performances, Weighed Down by Script and Score
There’s debate to be had on whether this is a comedy first and sci-fi horror second, but if it is, the score and script were not informed of that.
New Group doesn’t suffer from a lack of sincerity; the film gets unusually heavy at points, particularly with one reveal about Ai’s home life and the bullying at the school. The actors are quite good at portraying these moments, specifically our lead Anna Yamada, whose palpable physical reactions to the insanity unfolding around her are very compelling. And while these performances do contribute to the horror, it just ends up clashing with the situation presented; it should be sharp, but the film is a blunt edge, forcing the strange and funny scenario up against the emotional and unsettling facets of the story.
When the actors aren’t weighed down by the script, the film is most prominently undercut by its score and audio mixing. The levels are oppressive, and the composition is overbearing, choking out any organic creepiness that could have been generated. While the soundtrack itself is high quality, it doesn’t mesh with what’s being shown on screen; instead, it tries to lead the audience into a certain feeling. There are multiple scenes where no music would have been preferable, not because it was bad, but because it just didn’t click together.
Hard to Beat Directing From Yuta Shimotsu
The saving grace of this horror film is Shimotsu’s directing. For a film about the existential dread of existing in a society that sees you as a cog rather than a whole machine, the key is contrasting mundanity with insanity, and Shimotsu knows how to shoot scenes to evoke that juxtaposition perfectly.
The camera envelopes Ai and her love interest Yu as the whole world feels like it’s closing in around them, at first figuratively and then literally. The sense of everything being slightly off is captured wonderfully, as Shimotsu uses the blocking and camera angles to communicate the isolation of our characters.
In theory, New Group is a film with a lot to love, but in practice, it loses steam quickly. While both of Shimotsu’s films thus far have proven him an exceptional director, it’s clear that all of his and his actors’ strengths are not enough to push a film through on concept alone. New Group is entertaining, but in the complex gymnastics of filmmaking, one person can’t keep the whole structure standing.
Author’s Note: When this article was initially published, I had stated Weekend at the End of the World used AI. After an email from the film’s publicist and producer, I am updating that portion as we have been told they did not use AI in the creation of this film. Horror Press takes a hardline stance against the use of AI, generative or otherwise, and we will remain diligent on calling out its potential use and update where needed. We thank the crew behind this project for taking the time and clarifying how certain effects were created. It’s never our intention to punch down, but we owe it to our readers to be transparent and call out AI when we think we see it. However, this was not the case, and no AI was used in Weekend at the End of the World.
There is nothing wrong with a film festival that takes chances on films. Programming festivals seem like an incredibly tedious job that will always leave people underwhelmed, no matter how great the programming is. There are two films I screened at Another Hole In The Head that left me wanting more and questioning their inclusion within the festival. I’m sure these films worked for whoever picked them, but for me, they fell completely flat. And one of them was my most anticipated film from the festival.
Kombucha Review
Luke (Terrence Carey) is a down-on-his-luck musician who is stuck on the edge of recognition and nothing. His partner, Elyse (Paige Bourne), begs him to get a “real job” after his ex-band member, Andy (Jesse Kendall), mysteriously resurfaces with a too-good-to-be-true job offer. After taking this new job, Luke finds himself happy with the influx of money, but void of personal growth. His new boss, Kelsey (Claire McFadden), forces Luke to drink their company’s trademark kombucha, or else he’s out of a job. It turns out this mystery drink may just turn Luke into a shell of a man. Literally.
Kombucha was my most anticipated film screening at Another Hole In The Head. I was stimulated by the film’s description, which was described as Office Space meets Cronenberg. From that descriptor, I was expecting some pretty out-there comedic moments mixed with gnarly grossout scenes. Kombucha failed on both of those aspects. The film’s handful of jokes were fart and poop jokes that felt beyond out of place. (And this is coming from someone who loves fart and poop jokes.) On top of that, the film’s “Cronenberg” moments were few and far between.
Flat Visual Style Undercuts Kombucha’s Strong Concept
Co-writers Geoff Bakken and Jake Myers, and directed by Jake Myers, have an excellent concept on their hands. Even the film’s commentary hits perfectly. But the film’s bland writing takes the oompf out of the overall effect. I wanted much more from this film, visually. Matt Brown’s cinematography isn’t bad…it’s competent enough. At its core, this film just feels very by-the-college-textbook; dead-center framing with After-Effects-like handheld plugins make this film feel flat beyond belief. Some of the practical effects look good; unfortunately, I was checked out by that point.
Weekend at the End of the World Review
Karl (Clay Elliott) is reeling from his ex-girlfriend’s proposal denial. His best friend, Miles (Cameron Fife), decides to take him to his deceased grandmother’s cabin for a best friends’ weekend. Once at the cabin, Karl and Miles find themselves in a world of trouble when they open a portal to another dimension. These two friends, along with their nosy neighbor, Hank (Thomas Lennon), must travel through strange worlds in order to save their own.
Thomas Lennon is Weekend at the End of the World’s Biggest Missed Opportunity
One of my favorite things about actors like Michael Madsen (RIP) and Thomas Lennon is how they use/used their fame and time to bring independent horror films into the limelight. While that trajectory made a bit more sense for Madsen’s career, it has been a delight to see Lennon pop up here and there throughout the past decade in horror. Most horror fans delight in seeing a big-name actor take the time and star in a film that helps bring credence to a genre that was once looked upon with disgrace.
One of the two great things about Weekend at the End of the World was Thomas Lennon…and then they silenced him. Co-writers Clay Elliott, Gille Klabin, and Spencer McCurnin filled a script with teen-brained fart jokes in a way that feels lazy and cheap. Thomas Lennon’s ill-written character, who is nothing more than a punching bag for two characters who lack a single ounce of comedy or character, is (figuratively) castrated shortly into the film, and any sense of self the film had is then gone. While his character was flat, Lennon brought a sense of something to this empty film.
MeeMaw’s Practical Effects Are a Highlight
The film’s other standout moment is the practical effects used on MeeMaw. So much has been done in horror, and creating a new viscerally icky character is hard to do. MeeMaw’s character (creature?) design is delightfully awful to look at. She could have easily become the film’s star and propelled this film to be something if it had been more interesting. But this film’s story is bland and recycled from other stories.
I have so little to say about this film because it exists as an hour and a half of attempted flash, with little to nothing to add to the genre. The story is bland, the characters are flat, and the jokes will make a teenager laugh (before they inevitably go back to scrolling on TikTok). Full of D-grade visual effects that aren’t even fit for the year 2015, Weekend at the End of the World is an overall forgettable experience; it’s an apocalypse of entertainment…an exercise in futility. Not even Thomas Lennon or MeeMaw’s well-thought-out (and achieved) character design could save us from this…experience.
When you watch films for a living, you sometimes feel like you’ve seen it all. It’s hard to be surprised by films when you’ve seen everything from Salo to Inside to Slaughtered Vomit Dolls. For those looking for the next “big thing” in horror, the festival circuit is the best place to look. When I pressed play on Hoagie, I had no clue I was about to watch my favorite film of the year.
A Gooey Goblin and an Everyman Hero
An average family man, Brendan Bean (Ryan Morley), is left home alone while his family heads out for the weekend. While home alone, Brendan finds himself in the company of a homunculus zygote named Hoagie. Hoagie is a devilishly cute little goblin man that sprang to life from an alien egg and is about to give Brendan much more than he bargained for. When a right-wing militia attempts to get Hoagie back, Brendan and Hoagie find themselves in a fight for survival. Can this everyman save his new best friend? Or will these weekend warriors succeed in stealing this goopy goblin?
Hoagie toes the line between low-budget schlock satire and a genuinely great film. From the start, my reaction was nothing more than, “Ah, this film knows what it is.” As the minutes ticked by, I couldn’t help but notice how honestly incredible it was. Co-writers Matt Hewitt and Ryan Morley, under Matt Hewitt’s direction, have an incredibly heartfelt story of love and compassion that is wrapped up in a sinewy bow. I’ve said time and time again that horror comedy doesn’t typically work for me. Hoagie’s schtick never gets old for a singular second. Whether it’s poking fun at right-wing nazis who spend their weekends getting shirtless and “training” together, or literal poop jokes, Hoagie does not fail to deliver laughs and tears.
A Third-Act Bloodbath That Proves Hoagie Goes Hard
Just when you think the film has run out of tricks, you get hit with a third-act tour de force of blood, carnage, and mayhem. I’ve come across many festival films that I think could be used as wonderful teaching tools in film school…Hoagie could be used as a master class. This film demonstrates how filmmakers can effectively stretch a budget. They lean into the lo-fi aesthetic but never use it as a crutch. From the film’s unique and odd acting to its purposefully quirky, stilted dialogue, Hoagie is a film that does not fail to entertain all of the senses.
Hoagie Is One of the Best Indie Horror Films of the Year
I could go on, waxing poetic to hit a word count or get a pull quote. But Hoagie taught me that sometimes minimalism is best. It’s important to learn when to say too much and when to say enough. I’m stunned by how impressive a feature Hoagie is. This gooey little goblin gets at your heartstrings and refuses to let go. If you’re a fan of well-done, fully realized practical effects that have substance and style, then Hoagie is the fix you’ll find yourself chasing for years to come. Oh, and there are enough dong shots to make another full frontal ranking list.
If you get the chance to catch Hoagie, I cannot recommend enough that you do so. Humanity is not ready for these forces to be unleashed onto this world. You’ll laugh, you’ll cringe, you’ll squirm, but, most importantly, you’ll feel. Hoagie is more delicious than a fatty patty six-stack (with the beans).
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