First off, I hope that everyone has a Merry Christmas, a happy holiday season and an excellent New Year. I hope that you have enjoyed my site thus far and that you will check back next week for more great reviews.

Every once in a while, an action movie comes out of nowhere and blows people away. John Wick is one of those movies.

The closing picture of the St. Lawrence International Film Festival was G.J. Echternkamp’s Frank and Cindy; and it may have one of the more unusual pre-production tales to come out of Hollywood in recent history.

As I sat in the dark theatre waiting for the projector to light up the New York State premiere of The Break-In, a Swedish film written and directed by Marcus Ovnell, I had two things running through my mind . . . and both related to my high hopes for the film. The first was that I had attended a panel discussion featuring Ovnell and Nathan Jacobs (writer/director of Killing Poe) on the continuing influence of Edgar Allen Poe on the world of film. The panel provided a nuanced discussion on the two movies (while also making sure to provide no spoilers of the upcoming showing of either film) and being that I am a gargantuan Poe fan, this had me enthused for the premiere. The second was that I have yet to see a poor film or television show come out of Scandinavia over the past several years (whether it is the Girl With the Dragon Tattoo trilogy, Jo Nesbo’s Headhunters or television series such as Wallander and Borgen, to name of few).

Sometimes the opening credits of a film can signal the type of experience you are in for and this is clearly the case with Gary Gardner’s The Nymphets. The credits are large, bold and frantically paced, which, along with the similarly themed musical score, highlights that we are in for quite the ride.