Behind The Lens

BTL Radio Show - 05/18/2026 with special guest writer/director JING AI NG discussing FORGE

This week on BEHIND THE LENS, we turn our attention to the Miami art world and first-time feature director Jing Ai Ng with her film FORGE.  I thoroughly enjoyed this film from a story perspective and from a directorial and production perspective.  As I’ve been seeing in quite a few films of late from first-time feature directors, once again, production values are high, but story and character are at the center of it all.  On seeing FORGE, I would never believe that this was Jing’s first feature directorial effort.  And she is the screenwriter, as well!
 
So, what is FORGE about?  Set in Miami, we meet the resourceful Zhang siblings—Raymond and Coco— who sell forged paintings to unsuspecting parties.  Coco is an artist whose own work is so beautiful that it should be hanging in galleries, something that continues to frustrate her and her dream.  Raymond, on the other hand, makes a buck by providing fake IDs, licenses, passports, and other documents, including those that attest to the provenance of works of art.  The Zhang family is unaware of what Coco and Raymond are doing, and happily own and run a family Chinese restaurant.  Despite their thriving underground operation, the siblings are still short on cash when they cross paths with disgraced millionaire Holden Beaumont. Sensing an opportunity to make a fortune, Holden convinces the Zhangs to forge long-lost masterpieces as a front for his family’s collection. Meanwhile, FBI Art Crimes agent Emily Lee moves from New York to Miami, discovering a plethora of forgeries cropping up in the South Florida art market. As Emily continues to investigate the Zhang siblings’ work, their lives converge to devastating effect in the Zhang family's dim sum restaurant
 
FORGE is written and directed by JING AI NG and stars Kelly Marie Tran, Andie Ju, Brandon Soo Hoo, and Edmund Donovan, among others.  Some fabulous artisans showcasing their talents on FORGE, including cinematographer Leo Purman, editor Briana Chmielewski, production designer Arielle Ness-Cohn, and composers Marco Carrion & Ian Chang.
 
The first thing that I took note of with FORGE is that it is very montage-heavy without droning on or being “too much.”  My favorite montage sequencing uses dissolves and superimposition as Coco ages canvas and paints while her brother Raymond forges paperwork for the provenance of each piece. At 1hr 13 minute mark, a tense montage shows Coco painting these masterpieces while Agent Lee is researching art crimes, and two minutes later, a quick follow-up montage shifts the film’s entire tone.  One of the most interesting things about FORGE is that the film focuses on the antagonists - Coco and Raymond and Holden - over the protagonists (the FBI).  We get to know and understand them, especially Coco, who is a fascinating character and wonderfully portrayed by Andie Ju.  At its core, the film is a character study of Coco, in particular.  She cherishes art and appreciates it, and is a talented artist of her own right who dreams of having a painting done by her hang in a gallery - even if it’s a forgery of someone else’s work.  Holden and Raymond are in it for money and greed.  All of the puzzle pieces start solidifying in the third act, thanks to Kelly Marie Tran’s character, FBI Agent Lee, as she puts all of the connections together within the Floridian Chinese community.   As tone shifts further late in the third act, the lighter, dreamy score motifs we’ve heard throughout the film shift to heavy bass piano while we see an interesting visual juxtaposition that speaks volumes.
 
In this exclusive conversation, Jing Ai Ng and I break it all down in this in-depth discussion.  What I love about Jing’s origin story of FORGE is that she drew inspiration from the infamous Knoedler Gallery art forgery scandal in New York, particularly focusing on the mysterious Chinese forger who was never apprehended and whose story has never been told.  Given that no one has ever heard his side of the Knoedler story, Jing had this fantastic blank canvas of creative freedom to craft a unique narrative centered on Coco, a complex character whose journey in the Miami art world blurs the lines between antagonist and protagonist. As you’ll hear, Jing emphasized how the film invests the audience emotionally in Coco and her family, making viewers care deeply about her motivations and struggles, despite her criminal actions.
 
The film’s visual style is a standout element, with Jing and cinematographer Leo Purman developing a consistent color palette influenced by Florida’s landscape artists. They collaborated with a local Miami painter to create original artworks for the film, ensuring authenticity and a strong sense of place. Production designer Arielle Ness-Cohn played a crucial role in distinguishing the film’s various worlds: the opulence of Holden Beaumont’s (Edmund Donovan) high-rise life, the warmth and intimacy of the Zhang family’s Chinese restaurant, and the shadowy, expansive warehouse where Coco works.  And then there's the work of editor Brianna Chmielewski, who used visual sequences to convey character development and shift the film’s tone without relying on excessive dialogue. The score, composed by Marco Carrion and Ian Chang, weaves Asian instrumentation with electronic elements, mirroring Coco’s dreamy, internal world and reinforcing the cultural identity of the story.  And, of course, we talk casting, particularly since the production did not have leads attached to it at the outset.
 
Make sure to check out FORGE this week and next!  It’s at the Landmark Nuart in Los Angeles right now and opens in NY at the Quad Cinema this Friday the 22nd, with a wider rollout thereafter.
 
BUT I'm not only talking about FORGE today, how about some DUTTON RANCH??  And yes, I did watch the first two episodes four times on Friday, starting at midnight on Paramount+  when it released, and then on linear television at 8pm Friday night on Paramount Network.  This is THE series to watch.  This is everything you love about "Yellowstone" and more.  Fingers crossed for a Season Two announcement sooner rather than later.
 
Because of the Memorial Day holiday next week, and because I may just be heading out for my 50th high school reunion next weekend, I won’t have a new show for you next Monday.  BUT keep checking the website as new stuff is going up all this week, and then starting next week, all of those FYC Emmy interviews I’ve been doing will start popping up.  PLUS, Dances With Films is just around the corner, and come June 1st, you’ll start seeing and hearing interviews on some of those films.
 
So until BTL Radio Show returns on June 1st, stay safe, have a wonderful holiday weekend, and.......May the Force of Grogu be with you....
 
 
 
 
 
 

BTL Radio Show - 05/11/2026 with guest writr/director JOHN MICHAEL KENNEDY discussing AN ENEMY WITHIN

What a terrific show I’ve got for you this week on BEHIND THE LENS as I get to introduce you to a wonderful British filmmaker, writer/director JOHN MICHAEL KENNEDY, who makes his narrative feature directorial debut with the mystery thriller, AN ENEMY WITHIN.  Not only is this John’s narrative feature directorial debut, but as I found out, this interview that you are about to hear was his very first interview, something I found surprising given the excellence of his short films.  So this is a real treat for all of you - and for me.
 
There is something deliciously venomous pulsing through AN ENEMY WITHIN, writer-director John Michael Kennedy’s tightly coiled debut narrative feature. Part Gothic chamber thriller, part psychological standoff, part family bloodsport, Kennedy constructs a sharply staged mystery where inherited privilege, buried resentment, emotional insecurity, and self-delusion become loaded weapons aimed squarely at everyone trapped inside a sprawling English estate.  And the beauty of Kennedy’s film lies in the fact that virtually nobody inside that house deserves our trust.
 
On his wedding night, Caleb Wingate (beautifully played by William Moseley) receives a chilling ultimatum: kill his wealthy father-in-law before midnight or his bride dies. And, of course, Caleb is marrying Julia, the youngest daughter of the Wingate’s business adversary, the Foresights.  As tensions escalate and a mysterious sniper known only as “The Wolf” closes in from outside the estate grounds, long-simmering family fractures erupt into manipulation, betrayal, shifting alliances, and increasingly dangerous revelations. But while the setup initially suggests a straightforward whodunit or contained thriller, Kennedy has far more ambitious ideas in mind.
 
At its core, AN ENEMY WITHIN is not about innocence corrupted. It is about people who have already compromised themselves emotionally, morally, or psychologically long before the first gun is ever raised.  Kennedy’s screenplay thrives on the understanding that every character sees themselves as justified. Nobody believes they are the villain of the story. Instead, they rationalize greed, cruelty, deceit, and selfishness as necessary pathways toward happiness, security, control, or survival. That moral grayness gives the film a far richer emotional texture than many modern ensemble thrillers that rely solely on mechanical twists.  And the twists here work because they feel inevitable rather than arbitrary.
 
Written & Directed By John Michael Kennedy, AN ENEMY WITHIN stars William Moseley, Patrick Baladi, Kim Spearman, Alexander Lincoln, Tristan Gemmill, Kate Isset, Toyin Omari-Kinch, Frances Wilding, Mollie Dorman, and Harrison Daniels.  The film’s cinematographer is Lorenzo Levrini, the editor is Gustav Lindquist, and the composer is Caleb Blood.
 
This is such a fun, twisting, turning mystery.  I love the detail and how all of the pieces come together.  And the character construct?  Excellent!  Plus, staying relatively contained within the study/bar with its heavy tapestried draperies and the dark woods with centuries of patina is a gorgeous metaphor for the walls closing in on the man behind the killer, for death, for claustrophobia.   Beautiful and telling visual grammar.  John and his DP Lorenzo Levrini avoid ECUs and they have minimal close-ups, staying in mid-shots or a mid-two shot but giving interesting angles such as eye level with the floor when gunshots come through the windows and folks are crawling on the floor, or on the couch with everyone standing around the fatally wounded and dying Foresight family patriarch Robert (great performance by Patrick Baladi) as if he’s already in the grave, or at least in the coffin.  And the ending is, quite literally, to die for!
 
In this exclusive interview, writer/director John Michael Kennedy provides an in-depth look at AN ENEMY WITHIN, focusing on its exploration of the Wingates and the Foresights, two dysfunctional, greedy families whose interactions are marked by betrayal and shifting alliances. Kennedy emphasizes that none of the characters are truly likable or innocent; instead, each is a puppet master at different points, manipulating events for their own perceived happiness, echoing themes from Shakespeare and Mary Shelley's "Frankenstein." The script is carefully structured so that every character's motives and actions are interconnected, creating a tapestry of suspicion and inevitable twists that feel earned rather than contrived.
 
Lorenzo Levrini’s camera work is dynamic, avoiding repetitive shots and instead offering new perspectives with each return to the central bar room, enhancing the feeling of a psychological standoff. The production design, despite budget constraints, is resourceful and effective, with careful attention to color palettes—greens, golds, reds, and blacks—to reflect the characters' emotional states and the story's escalating danger.
 
The film's editing maintains momentum and suspense, especially in scenes involving the mysterious "Wolf" character, whose surveillance adds another layer of intrigue. The sound design and score blend classical and modern elements, using motifs like a ticking clock to heighten the sense of urgency and reinforce the house as a character in its own right.
 
And John also discusses the significant challenges of low-budget filmmaking, particularly during the COVID-19 pandemic, as well as some of his upcoming projects that I, for one, cannot wait to see come to fruition.
So, take a listen as writer/director JOHN MICHAEL KENNEDY talks about AN ENEMY WITHIN.
 
A couple of other films I briefly want to mention to you today that are absolute “Must See” films.  First is THE SHEEP DETECTIVES, which is a tale that follows George Hardy (Hugh Jackman), a shepherd who loves to read murder mysteries to his sheep, never suspecting that they can understand him. When George is found dead under mysterious circumstances, the sheep decide to solve the crime themselves, even if it means leaving their meadow for the first time and facing the fact that the human world isn't as simple as it appears in books.  This is the most delightful film of the year!  It makes your heart smile!!  You laugh, you cry, and you fall in love with these fluffy balls of wool.   THE SHEEP DETECTIVES is in theatres now and is based on the 2005 mystery novel "Three Bags Full: A Sheep Detective Story" by Leonie Swann.  
 
The other film you must see, also based on a novel, is REMARKABLY BRIGHT CREATURES on Netflix, starring Sally Field as an older widow named Tova, whose life is changed by a friendship with a giant Pacific octopus named Marcellus, and Cameron, a new-in-town employee looking for his father, played by Lewis Pullman.  Sally and Lewis are the new pairing we didn’t know we needed!  Sally and Marcellus are the other new pairing we didn't know we needed!  Alfred Molina voices Marcellus and is so wonderful, so soothing, that I could listen to him all day as Marcellus.  Based on Shelby Van Pelt’s bestselling novel, as with THE SHEEP DETECTIVES, this is one of the rare instances where the film is better than the book, and both books are fantastic. 
 
If you still haven’t seen Renny Harlin’s DEEP WATER, get to the theatre now and kick off the start of summer right - with sharks and a plane crash.  Disaster and survival.  You can’t beat it!
 
And make sure to check out behindthelensonline.net, where I’ve got more new interviews and reviews, plus highlights of the 2026 TCM Classic Film Festival, including 15 red carpet interviews that are entertaining and insightful.  
 
Enjoy!
 

BTL Radio Show - 05/04/2026 with special guest RENNY HARLIN diving into DEEP WATER

I’m very excited about this week’s BEHIND THE LENS because I get to talk about RENNY HARLIN and his new film DEEP WATER! 
 
After 33 years of chatting with Renny and talking about his films, he truly is not only one of my favorite filmmakers, but one of my favorite people.  His intelligence, his skill, his dedication to the craft of moviemaking and storytelling, his directorial vision, and his kindness.  I adore him.  Chatting with Renny is always a joy and no matter how long we talk, it’s never long enough.  And that’s what happened last week when we sat down for an exclusive interview to discuss DEEP WATER.  Renny wanted an hour.  Publicists said no and offered 4 minutes.  I begged and got 15 minutes.  BUT, undeterred, when the formal interview (which ran 20 minutes) ended, Renny and I spent another 30 minutes together on our own, talking about the film, filmmaking, and other things. 
 
For those who aren’t familiar with the film as yet, DEEP WATER is the story of an airline flight from Los Angeles to Shanghai that goes down in the middle of the Pacific. After surviving the crash, the survivors soon discover they’re not alone, and they must survive the shark-infested waters. Simple right?  Not the way Renny Harlin tells it.
 
DEEP WATER is directed by Renny Harlin, written by Pete Bridges and John Kim, and stars, among others, Aaron Eckhart, Sir Ben Kingsley, Molly Belle Wright, Angus Sampson, Kelly Gale, Elijah Tamati, and Kate Fitzpatrick.  Cinematographer is D.J. Stipsen, with editing by Geoff Lamb, with Fernando Velazquez providing the score.
 
As usual, Renny was engaging and insightful.  Unfortunately, due to the limited interview time, we didn’t get to cover all the aspects of the making of DEEP WATER, including the physical production design that gives the film so much realism and immersion.  Did you know Renny built an entire plane that seated 300 passengers for this film?  And then broke it into three main sections - the cockpit, the fuselage, and the tail?  The tail was built vertically and then dropped 30 feet underwater, as when the plane crashes into the ocean and breaks apart, the tail lands on a coral reef - an unstable coral reef that the weight of the plane keeps crushing further.  Filling the plane with extras and strapping everyone in their seats, he then used stuntmen as those passengers sucked out of the plane when there are explosions and the plane breaks apart.  He also used stuntmen as the dead bodies in the plane and under water in submerged portions of the plane.  This is beyond realistic and immersive.
 
But what we did get to cover was Renny’s meticulous approach to filmmaking, particularly highlighting the film's exceptional sound design, score mix by Marc Blanes, DJ Stipsen’s cinematography, Fernando Velazquez's composition, noting the emotional impact of the single piano note motif that recurs throughout the film, and of course, Geoff Lamb’s editing.  As comes as no surprise in a film of Renny’s, the soundscape is crucial, including details like muffled underwater sounds, ticking clocks, and the sizzle of fire, all of which contribute to the film's tension and realism.
 
Renny dives into his extensive research and planning that went into the film, especially in creating authentic cockpit procedures and realistic character reactions during moments of crisis. He also explains his deliberate choices in sound and music, such as reducing audio in key moments to heighten emotional impact and focusing on melodic elements rather than traditional suspense cues.
 
Shifting to film's visual grammar, there’s plenty of praise for the cinematography by DJ Stipsen, noting the dynamic camera work that moves through different sections of the plane and into the water, creating a sense of immediacy and danger.   A key component of the film is Renny’s work not only with DJ in detailing how they planned lens choices, lighting, and camera placement to enhance the story, but also with editor Geoff Lamb. 
 
The film's character development is strong, as the narrative allows viewers to connect with multiple characters, something that is always important to Renny.  Standout, however, is the character of Becky, the grandmother, exquisitely played by Australian actress Kate Fitzpatrick, along with the children in the film, step-siblings Finn and Cora, beautifully played by Elijah Tamati and Molly Belle Wright, respectively, with Molly stealing every scene she’s in. And her chemistry with Aaron Eckhart is off the charts heartwarming.  You’ll hear Renny explain the challenge of balancing action with character moments, stressing that emotional investment in the characters is essential for the film's impact. And talk about a loving anecdote - he shares the story of casting Kate Fitzpatrick as Becky, describing her return to acting after a long hiatus and the emotional resonance she brought to the role. 
 
After my review published last week, Kate Fitzpatrick reached out to me about the film!  And had some wonderful things about the experience (which you'll hear in this show).  I can’t thank Kate enough for reaching out with her insight and behind-the-scenes fun!  She's an honorary stuntwoman now!  
 
And I also give you some pearls and fun takeaways from this weekend's TCM Classic Film Festival.
 
Go to the theatre.  See DEEP WATER and bask in the Dolby Atmos sound.  Go to behindthelensonline.net and check out all of my TCMFF red carpet interviews as well as more new movie reviews and interviews.
 
Enjoy!  
 
 
So strap yourselves in and take a listen as director RENNY HARLIN dives into DEEP WATER.
 

BTL Radio Show - 04/27/2026 with director DAVID MACKENZIE talking about the explosive FUZE

 
As promised, this week on BEHIND THE LENS is all about director DAVID MACKENZIE and his new explosive film, FUZE.  
 
Directed by David Mackenzie and written by Ben Hopkins, FUZE boasts an amazing cast - Aaron Taylor-Johnson, Theo James, Saffron Hocking, Gugu Mbatha-Raw, Elham Ehsas, and Sam Worthington.
 
Executed with razor-sharp precision, FUZE is a tightly coiled, high-wire heist thriller that unfolds like a cinematic shell game—constantly shifting perspective, redirecting attention, and daring audiences to keep up. Built around the discovery of an unexploded World War II bomb in London, the film uses its premise not just as a ticking clock, but as the perfect cover for a meticulously orchestrated crime.  As authorities race against time to contain the crisis, alliances blur and moral boundaries are crossed, the film deftly propels audiences through a series of calculated twists, delivering a wildly entertaining ride.
 
One of the real strong suits of FUZE is that the unexploded WWII ordnance is a very real thing in Europe and the UK.  As a matter of fact, just three days before David and I spoke last week, an unexploded bomb was found in Europe. 
 
So with a WWII bomb as a starting point, FUZE layers in a bank heist, so we’re watching two big events unfolding at the same time.  But then you have to look at all of the players - the military doing the defusing led by Aaron-Taylor Johnson as the bomb expert, the law enforcement led by a very strong Chief Inspector played by GuGu Mbatha-Raw, and then our criminals led by Theo James and Sam Worthington.   Performances are beyond reproach and the intensity that each of our main characters has is riveting - in addition to Mbatha-Raw, Johnson as Major Tranter, James as Karalis, and Worthington as “X”.  But not to be overlooked are the work from supporting players Alexander Arnold, Honor Swinton Byrne, and Elham Ehsas.  
 
The twists and turns, and seeing these three main story elements play out is like watching a shell game.  Just when you think you know which shell the pea is under, you discover it’s not there.  The hand is quicker than the eye.  And with FUZE, while you’re trying to watch all the shells, you’re not focusing on the young Corporal who finds it suspicious that the bomb is shiny where there should be 85 years of rust.  And what about the locals who are pressuring the police to let them back into their homes?  And just who are these criminals pulling off the bank job - and why in hell are they leaving the gold bars!
 
FUZE rises and falls on its editing, and David is working once again with editor Matt Mayer, who crafts a relentless rhythm that drives the film forward with near-surgical intensity. With over 300 scenes packed into just over 90 minutes, the editing is lean, jagged, and deliberately disorienting—in the best possible way. Cuts come just before you expect them, pushing the narrative forward while subtly denying the audience time to fully process what they’ve seen.
 
And then there’s the wonderful cinematography from Giles Nuttgens, who reunites with David to deliver a masterclass in controlled realism.  Tightly composed two-shots and close-ups keep audiences focused on the mechanics of the moment—bomb disposal procedures, vault breaches, tactical movements—while quietly obscuring the larger truth hiding in plain sight.
 
But then there’s the score courtesy of  Tony Doogan, who reteams with David for the fourth time, delivering music that builds like a tightening coil—minimalist, rhythmic, and relentless, pulsing beneath the action and amplifying tension.
 
And just when we think tension is ratcheted up as high as it can go, David Mackenzie zings us with a brilliant tonal shift and comedic release.
 
It is always a joy to speak with David.  He teased me a few months ago about FUZE when we were discussing “Relay”.  Everything he baited me with was an understatement once I saw FUZE.  So get ready, sit back, and take a listen as David Mackenzie and I discuss "FUZE," from the original story and its visual interpretation to its clarity, believability, and structured narrative, which builds tension through editing. And how about those 300+ scenes and a tight edit!  David talks about working with cinematographer Giles Nuttgens again and their organic shooting style, practical lighting, and the dynamic between characters, particularly the chief superintendent and her team. And we get into the score and specific performances, particularly from Theo James and Sam Worthington.
 
And as a reminder, TCM Film Festival starts this Thursday, April 30th, in Hollywood at the fabulous TCL Chinese Theatre with "home base" at the also legendary Hollywood Roosevelt.  I'll be on the red carpet Thursday night and bouncing around the fest through the weekend.  Tickets are still available, and I believe some passes are as well.  Go to tcm.com for all of your festival information! 
 
Enjoy! 

BTL Radio Show - 04/20/2026 with special guest writer/director ANTON SIGURDSSON discussing REFUGE

This week on BEHIND THE LENS, it’s all about tension and terror, blood and brutality with writer/director ANTON SIGURDSSON’s psychological thriller/mystery,  REFUGE.
 
Four estranged friends reunite on a fishing trip, but a missing child and a desperate father's accusation turn the reunion into a deadly reckoning.  Brutal, bloody.....lots of duct tape involved.  Terror-filled.  A twisted ending that will probably surprise most.
 
Written and directed by Icelandic filmmaker ANTON SIGURDSSON, REFUGE boasts a wonderful cast of Adam Sinclair (Sam), Adam Dorsey (Mike), Donald Paul (Barry), and Christopher Dietrick (Jay).  Behind the lens, we have high storytelling production values thanks to cinematographer Gunnar Audum Johansson and editor Sharif M.Es. Ali, amazing production designer Jarrett Staaf, and a score by Yu Miyashita.
 
Shot in Lake Placid, the story is set outside Philadelphia, which you get from the film’s opening with a beautiful superimposed montage of multiple news reports that cover the disappearance and presumed murder of a little girl in the area.  Her father is Sam, one of the four friends who get together at this “cabin in the woods”.
 
There’s something deceptively simple about the premise of REFUGE. Four longtime friends gather at a remote cabin. One of them—Sam—has never recovered from the disappearance of his young daughter. Grief lingers. Questions fester. And before long, suspicion turns inward, accusations fly, and the walls—both literal and emotional—begin to close in.
 
But as Anton reveals, REFUGE is anything but simple. What unfolds on screen as a brutal, blood-soaked psychological thriller and mystery is, at its core, a meticulously engineered exercise in visual and sonic storytelling—one built under pressure, on the fly, and, in more ways than one, discovered in the moment.
 
As a single-location, four-hander that leans heavily into performance and character dynamics, this is a structure that could easily have translated to the stage. But for Anton, the challenge—and the opportunity—was to make it unmistakably cinematic.  That was achieved in a carefully calibrated visual grammar developed in close collaboration with cinematographer Gunnar Audum Johansson, a longtime creative partner who instinctively understands Anton's instincts as both a storyteller and visual architect.  Rather than relying on traditional coverage to build a scene in the edit, Anton and Gunnar construct tension within the frame, allowing shots to breathe, performances to unfold in real time, and camera movement to carry emotional weight.  It's a beautiful tonal visual dance.
 
So get ready, as writer/director Anton Sigurdsson discusses REFUGE,  highlighting its single-location, four-hander format and a character study of friendship. Inspired by personal experiences in Iceland, the film was shot in 11 days with a small crew and a budget-conscious approach. Emphasizing the importance of visual storytelling, Anton discusses working with his cinematographer, Gunnar Audum Johansson, and developing visual grammar through techniques such as extreme close-ups, camera Dutching, and slow motion.  We dive into the meticulously crafted sound design, which enhances the narrative, with a focus on ambient sounds, Yu Miyashita’s score, and a mix of old and new cinematic styles. And how about the tightly cut, tension-riddled editing from editor Sharif M. Es. Ali that includes some beautiful montages that serve as exposition.   Plus, duct tape.  We talk duct tape!   AND, we even get some tidbits about Anton’s next film, A BETTER PLACE, a crime thriller with Theo Rossi and Billy Campbell.
 
Enjoy!
 
And you can watch REFUGE right now on VOD!

BTL Radio Show - 04/13/2026 with guests BEN WHEATLEY talking NORMAL and ANEIL KARIA talking HAMLET

 
This week it’s all about “To See or Not To See”, and after hearing today’s exclusive interviews with BEN WHEATLEY discussing NORMAL and ANEIL KARIA talking all things HAMLET, I think you’ll agree that the answer will easily be - Must See.  Both of these films are fresh and fantastic, from story to performances to production values.  
 
First up today is director ANEIL KARIA talking about HAMLET starring Riz Ahmed.
 
It takes guts to handle Shakespeare and adapt and reimagine, but director Aneil Karia did an amazing job with HAMLET.  One of the most interesting aspects of the film comes courtesy of Michael Lesslie’s screenplay.  Michael did a wonderful job adapting “Macbeth” for director Justin Kurzel, and once again delivers an adaptation that is relatable and attainable for today’s audience with HAMLET.  
 
Shakespeare’s most enduring tragedy is reimagined in a bold, modern adaptation set within London’s elite South Asian community. When Hamlet returns home for his father’s funeral, he is stunned to discover his uncle Claudius is poised to marry his newly widowed mother. Visited by his father’s ghost, Hamlet learns of a brutal murder at Claudius’s hands—and spirals into a quest for vengeance that exposes the rot at the heart of the family’s empire while threatening his own sanity.
 
HAMLET boasts a standout cast that includes Riz Ahmed in the title role, along with Morfydd Clark, Joe Alwyn, Art Malik, Sheeba Chadha, and Timothy Spall.
 
In this exclusive interview with Aneil, we highlight the visual and emotional impact of the film. The script, stripped down by Michael Lesslie maintains Hamlet's POV throughout, enhancing immersion. Stuart Bentley's cinematography reflects Hamlet's mental state, from rigid formalism to turbulent handheld shots. The film's contemporary setting, including a vibrant wedding scene at the Meridian Grand, contrasts with the sterile environments of the crematorium and the family home. The score by Maxwell Sterling blends classical and contemporary elements, adding to the film's emotional depth. Working with editor Mikkel Eg Nelson, the editing process was challenging but successful in maintaining pace and depth. 
 
Switching gears and genres, we head to the small town of NORMAL with director BEN WHEATLEY. I love Ben Wheatley’s work, be it High Rise, Free Fire, Rebecca, Meg 2 or now, NORMAL.  Ben can tackle any genre and always delivers first-rate films with high production values, excellent performances, and, in many cases, go-for-broke action and intensity.  I think I have to put NORMAL in the latter category.
 
Directed by Ben Wheatley and written by the brilliant Derek Kolstad, and starring Bob Odenkirk, NORMAL is the latest collaboration from this powerhouse team.  Described as a kinetic neo-Western action film with Odenkirk as an unassuming substitute sheriff with a troubled past who, after moving to a quaint Midwestern town, responds to a bank robbery and unknowingly uncovers something far more explosive.  In addition to Odenkirk, NORMAL stars, among others, Henry Winkler, Lena Headey, Jess McLeod, Ryan Allen, and more.
 
NORMAL is weird, wacky, and wonderful, brimming with originality, spurting blood, fantastic action, great deadpan humor, and first-rate performances.  It is an absolute blast.  When was the last time you watched folks covering up dead bodies and bright red blood with snow, and be thankful for having had the blizzard??  
 
In this exclusive interview, director BEN WHEATLEY discusses NORMAL, highlighting the work of DP Armando Salles and in-camera practical effects, originality, and the importance of visual storytelling. He emphasizes the use of practical effects over CGI, the character development, and the metaphorical blizzard symbolizing the town's chaos.  Harry Gregson-Williams’ score, a mix of electronic and folk elements, complements the narrative.  We also dive into Bob Odenkirk's performance and the stunt team's dynamic work.   And who would have thought Odenkirk did most of his own stunts!  Working again with editor Jonathan Amos, Ben talks about focusing on maintaining pace and tension.   And of course, how can you not talk about casting The Fonz himself, Henry Winkler.
 
ENJOY!
 
 

BTL Radio Show - 04/06/2026 with special guest JOSHUA ENCK discussing A GREAT AWAKENING

As promised, this week on BEHIND THE LENS, we’re talking about the religious-themed, historical drama A GREAT AWAKENING.  
 
Brought to us by director/co-writer Joshua Enck and those terrific folks at Sight & Sound, A GREAT AWAKENING tells the true story of an unlikely friendship between Reverend George Whitefield and Benjamin Franklin that resulted in one of the most defining moments in American history - the American Revolution.  The film is enlightening, eye-opening, engrossing, and entertaining.  It is beyond immersive, visually and emotionally.  
 
With the colonies on the brink of collapse in 1739, the Reverend George Whitefield sparked the first Great Awakening, uniting an entire generation with his thundering proclamation of liberty in Christ.  In a miraculous turn of events, one of Whitefield’s closest friends and greatest promoters becomes none other than Benjamin Franklin.  With the nation’s freedom hanging in the balance, Franklin discovers true liberty cannot only be written into law - it must be awakened in the hearts of the people.
 
Directed by Joshua Enck and co-written by Enck, Jeff Bender, and Jonathan Blair, A GREAT AWAKENING stars Jonathan Blair as George Whitefield and John Paul Sneed as Benjamin Franklin.
 
Elegantly non-linear in its structure, the film is bookended with the summer of 1787 - an important time in our country’s history as the Continental Congress was deep in debate and argument, trying to hammer out our Constitution.   And in case you’ve forgotten your history, the Constitution was eventually written and signed on September 17, 1787.
 
As you're about to hear Joshua Enck discuss, we are treated to Whitefield’s journals and other writings, and letters between Franklin and Whitefield, with Ben and his grandson reading them and Ben reflecting on his friendship with Whitefield and the events of the colonies pre-Revolutionary War.  This very effectively serves as transitions between the past and present. 
 
But it’s the power of performance and the power of the spoken word that mesmerize and rivet you to the screen.  As George Whitfield, Jonathan Blair is spellbinding as he preaches Whitfield’s actual sermons.  You cannot look away when he is on the screen or when he is speaking.  I dare say he rivals Charlton Heston’s Moses and Burt Lancaster’s Elmer Gantry for powerful preaching.  Blair’s passion and conviction immerse him in the role and in the story being told.
 
Similarly, John Paul Sneed is a delight as Benjamin Franklin.  However, thanks to Howard Da Silva’s indelible, award-winning turn as Franklin on stage and on screen in the musical 1776,  Sneed faced the challenge of making this incarnation of Franklin his own.  He succeeds beautifully.  He brings a playfulness to scenes where he gets to show off his experiments with electricity  - yes, including flying a kite in a thunderstorm with a key - as well as being a concerned statesman in others or a loving grandfather in others.  Together, Blair and Sneed are magnetic. 
 
I spoke with director and co-writer JOSHUA ENCK last week and discussed the making of A GREAT AWAKENING with him.  Highlighting its historical authenticity and creative elements, Joshua goes into detail about that authenticity, including that 90% of the content is based on his original sermons and Whitefield's letters.  As you’ll hear, Joshua has great praise for his production team as they aimed for a cinematic experience, using anamorphic lenses at the insistence of cinematographer Steve Buckwalter, original blueprints and plans where possible, color selections, and a beautiful score from Chad Marriott, complete with choir and chorale elements. Jordan Graff's editing ensured seamless transitions with this non-linear story, maintaining audience engagement.  But for Joshua Enck, at the forefront of everything is the importance of faith and teamwork in the film's creation.
 
Enjoy!  
 
 

BTL Radio Show - 03/30/2026 with guest OSCAR BOYSON discussing OUR HERO, BALTHAZAR

Sorry that I missed all of you last week with BEHIND THE LENS, but I had no voice.  And you all know how catastrophic that is when I cannot talk and sound worse than a Budweiser bullfrog.  So my apologies.  But it’s a new week, and I’ve got a working voice and working internet, so let’s take a look at a film and filmmaker that just blew me away - OUR HERO, BALTHAZAR and its co-writer/director OSCAR BOYSON.
 
OUR HERO BALTHAZAR marks Oscar’s feature directorial debut, but it is certainly not his first time in the cinematic rodeo given his prior directing experience with some episodics and shorts, but also serving as a producer on films like UNCUT GEMS and FRANCES HA, as well as working his way through the various components of filmmaking, including sound recording, editing, production design, and more, giving him a nice grounding for a feature directorial experience.
 
OUR HERO, BALTHAZAR is a brilliant directorial calling card for Oscar. Co-written by Oscar with Ricky Camilleri, OUR HERO, BALTHAZAR stars Jaeden Martell and Asa Butterworth, along with Chris Bauer, Jennifer Ehle, Pippa Knowles, Avan Jogia, and more.  The film rises and falls on the performances of Jaeden and Asa, both of whom will knock your socks off.
 
This is the story of a headlong race through a world where success can be measured in engagement and tragedy has become content, following two neglected teens thrown together by a chance online encounter. Privileged yet lonely New Yorker Balthy Malone  (Jaeden Martell) dreams of becoming a hero, while struggling Texan Solomon Jackson (Asa Butterfield) seeks recognition by posting violent threats. When Balthy, in an act of misguided heroism, travels to Texas in an attempt to befriend Solomon and avert a possible tragedy, he is drawn into a dangerous and thrilling new world. Despite their differences, both find refuge from their crushing loneliness in each other’s company, but for all Balthy’s good intentions, his decisions are driving them close to the precipice of disaster.
 
These performances are unlike anything you’ve seen from Jaeden and Asa over the course of their careers.  Many of you may know Jaeden from his early work in ST. VINCENT or THE CONFIRMATION or later work like with KNIVES OUT, IT, MR. HARRIGAN’S PHONE, or the chilling mini-series DEFENDING JACOB.  While Asa stole our hearts in THE BOY IN THE STRIPED PAJAMAS (and if you still haven’t seen it since release in 2008, I encourage you to do so), HUGO, NANNY McPHEE RETURNS, plus turns in ENDER’S GAME and the TV series SEX EDUCATION.  But for his blue eyes, Asa is physically unrecognizable in OUR HERO, BALTHAZAR.  
 
In what can only be described as some of the most surprising but inspiring casting, Jaeden Martell delivers a career-defining performance as Balthy, a young man whose wealth and upbringing have positioned him to “do something meaningful,” yet left him emotionally adrift.  Opposite him, Asa Butterfield is nothing short of revelatory as Solomon. Stripped of the warmth audiences often associate with him, Butterfield leans fully into a frenetic, volatile energy that feels both unpredictable and painfully grounded.   Their chemistry is electric.
 
What is interesting is that Oscar never sensationalizes the film’s subject matter. While the premise touches on issues of gun violence and online threats, the film never exploits these elements for shock value. Instead, it focuses on the emotional and psychological pathways that lead to those moments.
 
As you'll hear in this interview, Oscar breaks it all down and explains that that at the center of it all are two transformative performances from Jaeden Martell and Asa Butterfield—roles that push both actors far beyond anything audiences have seen from them before.  And that was entirely his point.  Martell’s Balthazar is a study in contradiction, while Butterfield’s Solomon is a frenetic, volatile young man whose rapid-fire energy masks a deeper emotional fracture.
 
Digging deep, Oscar discusses the impetus for this story and the multiple themes tackled;  and of course, executing and reinforcing those themes through a carefully constructed visual grammar developed with cinematographer Chris Messina, and most particularly by allowing the camera to move fluidly within a scene, capturing performances in real time and thus capturing the rawness of the characters’ emotional states.  It’s fascinating and immersively dynamic to watch.  We also dive into Emily Constantino’s costume design and Steven Phelps production design, and more.
 
This is a fascinating and insightful interview with co-director/writer OSCAR BOYSON!  Enjoy!
 
If you’re in NY, you’ve already had a chance to see the film in theatres as it opened on Friday.  If you are in LA, the film opens this Friday and then expands across the United States throughout April.  
 
You do not want to miss this film!  And you can find my full review and a written interview with Oscar on my website at www.behindthelensonline.net.

BTL Radio Show - 03/16/2026 with guests DAVID KOEPP talking COLD STORAGE and MARC KLASFELD talking DO NOT ENTER

It’s post-Oscar Monday on BEHIND THE LENS, and most of Hollywood is probably still recuperating from a night of celebration.  Some big winners last evening, notably ONE BATTLE AFTER ANOTHER, SINNERS, and KPOP DEMON HUNTERS, and you'll hear me talk about the evening with the good, the bad, and, to borrow from Sigourney Weaver, the adorable.  
 
But beyond Oscars, this week we're looking ahead with films that could be in contention for the 99th Academy Awards next year, namely COLD STORAGE and screenwriter DAVID KOEPP, and DO NOT ENTER and director MARC KLASFELD.
 
First up is screenwriter - and now author - David Koepp talking about his sci-fi thriller COLD STORAGE.  You all know who David is.  He’s the screenwriter behind Jurassic Park, Stir of Echoes, the Mummy, several Indiana Jones movies, Zathura, Death Becomes Her, Carlito’s Way, and so many more.  Some are original scripts.  Many are adaptations of books or novellas from authors like Michael Crichton and Stephen King.  But now, with COLD STORAGE, David is adapting his own book!
 
I love COLD STORAGE and every deliriously pulpy, smartly crafted minute of it. This is the kind of sci-fi thriller that knows exactly what it is, leans into its genre DNA with confidence, and still takes the time to honor craft, character, and clarity. It’s funny, tense, occasionally campy in the best way, and relentlessly entertaining.
 
Directed by Jonny Campbell and adapted by David Koepp from his own novel, the film drops us into a self-storage facility built atop an old U.S. military base—always a good idea—where a parasitic fungus sealed away decades earlier decides it’s time to stretch its spores. What follows is a breathless, darkly humorous ride that balances body-bursting horror, clean science exposition, and character-forward storytelling without ever losing momentum.  
 
The film stars Liam Neeson, Lesley Manville, Joe Keery, Georgina Campbell, and Vanessa Redgrave.
 
In this exclusive interview, David discusses adapting his novel "Cold Storage" into a film, highlighting the challenges of preserving the book's humor and snark while simplifying complex scientific concepts. He also emphasized the importance of character-driven storytelling, noting the difficulty of cutting favorite parts from his own work.  And being so science-heavy, he detailed his research process, which involved collecting relevant articles and consulting a microbiologist. He also touched on the balance between visual explicitness in screenwriting and maintaining reader engagement.  It’s a fun, energetic interview, so take a listen!
 
Then we go from sci-fi thriller with snark and humor to a straight-up terror-filled tale from director MARC KLASFELD  - DO NOT ENTER.  And I’ll tell you all right now, if you’re from Philly or Jersey and have fond memories of going down the shore or all those stories and rumors about haunted places, horrid creatures like the Jersey Devil, or mobsters galore, then this is definitely the film for you.
 
Directed by Marc with script by Dikega Hadnot, Spencer Mandel, and David Morrell, DO NOT ENTER is the story of The Creepers, thrill-seeking urban explorers who love pushing things to the edge, and their latest stunt – livestreaming from New Jersey’s abandoned Paragon Hotel – is their biggest yet. With its mobster past, supposed ghosts, and rumored stash of $300 million, the Paragon is catnip to the Creepers, a surefire way to increase their fanbase. But fear has other plans. Daring to enter the Paragon, not heeding the warnings, the Creepers fend off deadly rivals while supernatural creatures stalk them from the shadows, testing their endurance, sanity, and willingness to pay fame’s heavy price.
 
Marc discusses the film's production, including the use of a massive abandoned building in Bulgaria for the Paragon, and the collaboration with cinematographer Yon Thomas. He highlights the importance of sound design, particularly the echo in empty spaces, and the casting process, which involved extensive rehearsals. And how about shooting in Bulgaria as a stand-in for the Jersey shore??  Marc also reveals his next project, a hardcore horror movie, and reflects on the challenges and lessons learned from directing DO NOT ENTER.
 
This is Marc’s second feature film after his debut narrative feature directorial in 2005 - the flawlessly funny L.A. Riot Spectacular.  Yes, 2005.  He’s spent the last 20 years directing music videos.  Marc and I spoke back then, so it was wonderful to reconnect with him the other day and discuss DO NOT ENTER.  Enjoy!
 
Join me again next week when I’ll have more films to discuss and more filmmakers to chat with.  In the meantime, make sure to check out behindthelensonline.net, where I have plenty of new interviews and reviews already out for you!
 

BTL Radio Show - 03/09/2026 with writer/director PAUL BOYD talking about SCARED TO DEATH

I love this week’s BEHIND THE LENS (and hope you will, too), and my interview with writer/director PAUL BOYD talking about his new film SCARED TO DEATH.  But first, how about a bit of MONARCH: LEGACY OF MONSTERS and a new era of YELLOWSTONE with MARSHALS!
Moving into PAUL BOYD and SCARED TO DEATH, let me say at the outset, Paul is fantastic. He knows his craft, and he knows how to tell a story. He spent about 30 years directing music videos, including 10+ for Shania Twain on her biggest hits, as well as videos for INXS, Tina Turner, Lenny Kravitz, Bryan Adams, the Backstreet Boys, and more, before moving into feature films. Paul has a very distinguished and skilled pedigree. And now, he brings us SCARED TO DEATH.  And I'll be honest, I had so much fun watching this film.
A simple premise that melds worlds as we meet Jasper, a young filmmaker working as a PA to a bitch for a boss director named Max, who seizes a chance to direct when his cast and crew attend a seance in a haunted abandoned orphanage; a seance Jasper put together. Trapped inside, they're haunted by ghostly orphans and a sinister force.
A film within a film always bodes for fun, as do haunted houses and a terrific cast. And here we have a cast led by the one and only Lin Shaye (as the bad bitch boss director Max), along with Kurt Deimer as one of the actors known as “The Grog”, Bill Moseley as the weasely realtor/seance medium Felix, Olivier Paris as Jasper, BJ Minor as actor Johnny and Victoria Konefal as “well known actor” Lena.
In this exclusive conversation, Paul dives deep into the making of his horror-comedy SCARED TO DEATH, a self-described “love letter to horror movies” that blends satire, absurdity, and genuine genre reverence. We explore the film's genesis and how the film uses a haunted-house movie-within-a-movie setup to examine belief, fear, masks people wear, and the absurdities of Hollywood itself. Paul details the personal inspirations behind the story (including buying a supposedly haunted house once owned by Charlie Chaplin), the joyful collaboration with his cast and crew, and the deliberate balance of scares, humor, and emotional undercurrents. The interview also unpacks the film’s visual and sonic language—from its iconic house location and master-shot staging to its rhythmic editing and on-point sound design—before landing on what Boyd ultimately discovered about trusting his instincts and letting a film evolve beyond what’s written on the page.
As you’ll hear, we break down the visual grammar and Paul’s work with cinematographer Steven Poster, whose work all of you are well familiar with - DONNIE DARKO, SOUTHLAND TALES, LIFE STINKS, ROCKY V, NEXT OF KIN, REVENGE OF KITTY GALORE, and more, and how they developed a color palette, lenses used, dutching, angles, POV, etc. And how about Paul’s work with editor Ed Shiers who just happens to also be a drummer with an incredible sense of rhythm, something that comes in handy with editing? Plus, Misha Segal’s score AND Kurt Diemer’s end credit song “Scared to Death”, which is fantastic. And you’ll hear Paul talk about the location house in Altadena where the film was shot. The first home ever built in Altadena, and one of the only homes to survive the Altadena fires last year, and you’ll find out how it lucked out.
And yes, Paul gets the entire show today. That’s how much cinematic exploration we did in this interview, not to mention, he’s a terrific guy, and I love his film! So take a listen, and enjoy, as PAUL BOYD discusses SCARED TO DEATH.
SCARED TO DEATH is in theatres on Friday, March 13, 2026!