FlixChatter Review – CENTIGRADE (2020)

The Merriam-Webster online dictionary defines centigrade as “relating to, conforming to, or having a thermometric scale on which the interval between the freezing point of water and the boiling point of water is divided into 100 degrees with 0° representing the freezing point and 100° the boiling point 10°.”

So this definition made sense when I clicked on the link to watch the new IFC Midnight movie Centigrade, directed by Brendan Walsh, who is making his feature directorial debut after working previously on numerous television series such as Nurse Jackie. Water, mostly at its freezing point, takes center stage in the movie, starring Vincent Piazza (Jersey Boys) and Genesis Rodriguez (Man On A Ledge). The survival thriller takes place in the year 2002, when a young American couple, Matthew and Naomi, travel to the arctic mountains of Norway.

Naomi is eight months pregnant and very moody, being in Norway to promote her book tour with her husband Matt. Just prior to the start of the movie, the couple is said to be driving back to their hotel, when they decide to pull over during a bad ice storm/snowstorm. The movie starts as Naomi wakes up the next morning and quickly realizes that she and Matt are trapped in their SUV, buried underneath layers of snow and ice. Matt quickly assesses that they only have a minimal amount of food and water, with a small survival pack in the SUV trunk, consisting of several candles and matches. Naomi also has a cellphone, but it doesn’t pick up a signal and is almost out of battery.

Both Matt and Naomi do their best to stay calm, but they occasionally have arguments, mostly related to Naomi’s pregnancy and their decision to pull over the side of the road to ride out the storm. But as time goes on, they also argue about their strategy to get out and what the best way to survive their situation is. One time Naomi forgets to tightly put on the cap of their only water bottle and some of it spills out, unleashing an outburst from Matt which quickly deescalates as both realize there is nothing to be gained from their argument. As Naomi’s pregnancy quickly turns into a “giving birth while trapped inside an SUV” situation, Matt does his best to comfort her and make sure she is nourished and warm as much as possible, while also taking a toll on his own personal well-being.

While I am not going to spoil what happens in this survival thriller, Centigrade does lead its audience to a logical outcome, while also briefly showing us some of the beautiful winter countryside and snow-covered mountains in Norway. Having been inspired by real events, the movie does pretty much rely on its two actors Vincent Piazza and Genesis Rodriguez to carry the movie, with the latter also responsible for the pregnancy/childbirth. Both do their best to showcase the strife and struggle to maintain composure while not completely freaking out by their unimaginable situation. The actors both seemed believable and fragile in their own way. The dialogue might not have had much going for it but it made sense for what they were experiencing. Director Brendan Walsh and Director of Photography Seamus Tierney both do a nice job making the audience feel trapped inside the SUV with Matt and Naomi.

Overall, Centigrade is a well-made survival thriller, but it doesn’t go much beyond that. Sometimes I felt as I was trapped myself, watching the couple argue for days inside the SUV. Having lived through many Minnesota snowstorms myself and very bad winter weather, I can relate to their predicament as when it’s safe to drive though a winter storm and when it’s not. That’s why it’s so important to have winter survival gear in your car for emergencies. As far as the movie’s ending, I would say that it goes as well as one could have predicted. So, I was satisfied that the movie didn’t take any strange or unnecessary twist and turns.

– Review by Vitali Gueron


Have you seen CENTIGRADE? Well, what did you think? 

TCFF 2014 Day 3 Reviews: These Hopeless Savages, 3 Nights in the Desert, The Well and House of Manson

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The festivities continues at Twin Cities Film Fest! Weekends are always super busy at the Showplace ICON Theatres at the West End, but even more so with all the hustle and bustle of the TCFF crowds. A bunch of Midwest Premieres took place last night, featuring Q&A following films such as These Hopeless Savages, Old Fashioned, BFFs, The Well, and a huge cast & crew in attendance for the first of two sold out screening of House of Manson.


The second screening of House of Manson on Monday night at 9:30pm is already SOLD OUT … but, no fret, TCFF will have a RUSH LINE available for every “sold out” screening. We typically are able to accommodate anyone waiting in line. So, before you decide not to come, please do consider the Rush Line! The Rush Line is located across from the TCFF Offices on the Main Level of the Shops at West End, right below the theater lobby.


Now here are the reviews from Day 3…

These Hopeless Savages

Similar to Alexander Payne’s Nebraska (2013), These Hopeless Savages is a road movie doubling as a relationship drama. In this case, the focus is on Shawn (co-director/co-producer/co-writer/star Sean Christopher Lewis) and Greg (co-writer/star Matt Delapina), childhood friends who have lost touch over the years. Shawn believes he’s won $50,000, which he can claim by traveling from New York to Iowa, and he wants Greg’s help. Though Greg doubts the money’s authenticity, he agrees, for personal reasons, and the two embark in Shawn’s sedan. These Hopeless Savages documents their cross-country journey, along which they encounter several eccentric characters.

In so doing, the film is often funny, particularly in scene’s including Greg’s girlfriend, Nicki (Mackenzi Meehan). Meehan’s deadpan delivery and her chemistry with Delapina are both striking, indeed so much so that she is the film’s greatest merit. Which is saying something, because the cast is universally strong. The picture’s visual style is impressive, as well; directors Kaitlyn Busbee and Lewis use minimalist camera movements and wide image frames to create a realistic tone, one which helps push forward the plot.

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Unfortunately, These Hopeless Savages stumbles at various points. First, we never understand why Shawn believes the $50,000 actually exists. Unlike Nebraska’s Woody, Shawn’s mental faculties are not deteriorating, so what gives him such confidence? It helps that Lewis and Delapina, as writers, hint, at various points, that the money isn’t Shawn’s actual motivation, but the idea is undercooked and then contradicted when the protagonists reach their destination. Moreover, neither of these characters change. They start emotionally damaged, and they end that way. They start with particular character flaws, and they end with the same. Their stories feel unfinished, even in a picture less about individuals than relationships.

For all of that, These Hopeless Savages has enough humor, good acting and quality directing to make it immersive and entertaining. It is far from great, but it is also far from bad.   

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The Well

Though too predictable and too faithful to genre, The Well, is filled with enchanting cinematography and even more atmospheric intensity. The picture, which is written by Jacob Forman and director Thomas S. Hammock, depicts an apocalyptic world fatally short on water. Living in this world is Kendal (Haley Lu Richardson, excellent), who struggles to rebuild an airplane while simultaneously caring for her ill childhood friend, Dean (Booboo Stewart, even better than Richardson) and a youth named Alby (Max Charles, underused), whom she’s found living alone. She must also fend off many rivals, some of them in search of water, and some of them employees of a nefarious company.

In part because of the actor playing her, Kendal makes a compelling protagonist, but she is not the most interesting character here. That is the primary villain, Carson (played empathetically by Jon Gries), who is layered by love for his daughter, Brooke (Nicole Fox) and remorse. When Carson and Kendal finally speak to each other, it is a riveting scene, indeed, one that rewards the viewer with fascinating dialogue between two multi-dimensional characters.

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Hammock’s visuals are just as rewarding, as is his ability to create tension, both through audio and image frames. At times, The Well’s obviously low budget hurts the picture, especially when Hammock uses CGI to create blood or fire, but mostly the director overcomes financial limitations.

A handful of exposition-heavy scenes between Carson and Brooke prove bigger flaws. As does Brooke’s characterization. She is so underdeveloped as to be almost senseless. Finally, during what should be the film’s most impacting moments, Kendal successfully hides from her enemies, but only because Carson doesn’t follow previous patterns of behavior. In another should-be-impacting sequence Kendal behaves differently than she has before. These moments border on character breaking, and thereby disengage the viewer, at least for a time.

Still, The Well succeeds far more than it fails. It deserves a recommendation.

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Check out FlixChatter’s exclusive interview w/ Haley Lu Richardson as she discussed getting her part in her feature film debut, and the challenges of filming The Well.


3 Nights in the Desert 

A middling drama about old friends/bandmates reuniting after several years without contact, 3 Nights in the Desert neither impresses nor offends. It simply exists.

Tax attorney Barry (Vincent Piazza) and musician Anna (Amber Tamblyn) travel to the California desert, where their defunct band’s former guitarist, Travis (Wes Bentley), now lives. Ostensibly the three are fulfilling a long-ago promise to collectively celebrate their thirtieth birthdays, but Travis has a manipulative motive, Anna has personal issues never fully explained, and Barry doesn’t want to admit he pines for the past, even while he also rages at it.

All three actors do well with what they’re given, especially Tamblyn, who makes an underdeveloped character feel almost real. Unfortunately, writer Adam Chanzit and director Gabriel Cowan don’t give them much. First, the characters are sketches, not multi-dimensional figures. Second, the plot is boilerplate, offering a standard love-triangle, and equally standard reflection on idealism versus pragmatism. Some forced symbolism and a repeated metaphor (a supposedly mystical cave) don’t help either.

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Yet, 3 Nights in the Desert isn’t bad. Sure the opening voice over explains relationship dynamics Chanzit and Cowan would have been wise to show us, and sure nothing here surprises or enlightens, but the actors still capture attention, the occasional music is quite good, and the picture’s pacing (a run time just over eighty minutes) is crisp enough to ensure the narrative never grows stale. Plus, the director and his crew skillfully photograph some gorgeous California scenery.

In the end, do I recommend 3 Nights in the Desert? Not really. But it needn’t be avoided either.

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House of Manson 

House of Manson is a film that chronicles the life of Charles Manson and focuses in on the events leading up to and including the Sharon Tate murders of 1969. Unlike other Charles Manson biopics that focus in on the sex or the over the top nature of the Tate murder, this one focuses in Charles Manson’s influence and connection with his followers, the Manson family as they call themselves.

Charles Manson is portrayed by Minnesota born actor Ryan Kiser, who returns for the second year in a row to Twin Cities Film Fest. Last year Kiser co-starred in the horror film Truth or Dare and this year he brings the fest the world premiere of House of Manson. Kiser approached the character in a very serious tone and does a fantastic job conveying the crazy yet brilliant way Charles Manson was able to draw followers into his cult.

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Devanny Pinn co-stars as one of Manson’s followers Susan Atkins and gives a chilling performance as her screen presence is freaky. Pinn truly becomes Atkins on screen as the facial reactions make you think this women is completely off her rocker and has no moral compass at all.  An overall amazing performance by Pinn.

This film does suffer from some technical flaws as the sound isn’t completely smoothed and could use some more attention by a sound mixer. The filmmakers even admitted in a Q&A following the world premiere that some of the sound transitions were going to need to be looked at. The film also has a saturated look that doesn’t look completely intentional. The image doesn’t pop off the screen as some movies do that have a more crisp and sharp look to it.

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Overall, the film is a great portrayal of the events surrounding the infamous Charles Manson. It doesn’t get too crude or violent as previous films about the same subject matter, it takes the source material as it is and conveys the story in a very tasteful matter. With a great cast and direction by Brandon Slagle, House of Manson is definitely worth checking out when it later finds distribution.

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Stay tuned for reviews from Day 4!


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Individual tickets are on sale now at twincitiesfilmfest.org


Have you seen any of these films? What did you think?