Scott Hillman’s Baby Cat is one of those movies you can’t quite categorize. At 88 minutes, it’s a curious blend of surreal comedy, experimental drama, and a dash of vigilante-thriller — anchored by a premise so out-there you can’t help but be intrigued. Dana moves to Los Angeles after a breakup and finds herself in a strange new apartment complex.
Read MoreDead Again (2017)
Having been on a Korean film bender lately, I went into Dead Again expecting something in line with the layered storytelling and inventive genre blending that’s made South Korean cinema so exciting in recent years. What surprised me right off the bat, however, was discovering that this supposed Korean mystery-thriller was in fact written and directed by an American, Dave Silberman, who had only a handful of shorts under his belt before jumping into this feature project. That’s not a flaw in itself—cinema is global, after all—but unfortunately, the film doesn’t quite measure up to the high bar set by its Korean contemporaries.
Read MoreDeadly Western (2023)
Gregory Hatanaka and Geno McGahee’s Deadly Western is a low-budget genre oddity that’s hard to pin down. On paper, the premise has plenty of promise: a sheriff in a dusty frontier town confronts a deadly gang and uncovers a secret that could change everything. The concept even flirts with sci-fi themes—Hatanaka seems interested in using the western setting as a sort of moral rehabilitation experiment, a place where memory, identity, and justice collide.
Read MoreFatal Justice (2023)
Geno McGahee’s Fatal Justice sets up a provocative premise: what happens when a grieving family decides to take the law into their own hands? After the murder of their daughter, the Murphy family reels from a justice system that lets the prime suspect walk free. In a rash move, hot-headed Uncle Phil kidnaps the accused man, Dennis, and drags him into a family gathering.
Read MoreDivorced (2025)
Jamie Grefe’s Divorced is not just a film about the unraveling of a marriage—it’s an intimate plunge into the fragility of human connection and the chaos that follows when love slips away. Written, directed, and starring Grefe himself as Peter, the film places viewers directly inside the fractured psyche of a man grappling with the loss of stability, intimacy, and identity. The story follows Peter and Nancy, a couple confronting the brutal reality of their impending separation.
Read MoreAmityville La Llorona (2025)
Cinema Epoch’s Amityville La Llorona is the latest entry in the sprawling and often chaotic “Amityville” cinematic universe, and it dares to fuse two infamous horror traditions: the haunted Amityville house and the folkloric specter of La Llorona. Directed, written, and co-starring Jamie Grefe, this one-hour supernatural feature sets out to explore the toll of grief on a fragile marriage—only to be overshadowed by its own limitations. The film follows Tom Masters, still reeling from the loss of his father, and his wife Jules as they attempt to regroup in a rental home that, of course, holds dark secrets.
Read MoreKamasutra Cowgirl (2025)
Jamie Grefe’s Kamasutra Cowgirl is one of those rare indie features that straddles the line between surreal allegory and earnest melodrama. Marketed as a “suspense motivational drama,” the film embraces this dual identity, delivering a story that is as eccentric as it is strangely uplifting. At its core, the film follows Roger, a weary mortician whose life spirals into turmoil after he becomes entangled with his mistress Lacy, a wheelchair-bound wife, Isabella, and a mysterious miracle worker known only as “The Horse”.
Read MoreA Man is Dead (2024)
Gregory Hatanaka’s A Man Is Dead is an indie crime drama that refuses to play by traditional rules. On paper, it’s about a man pushed to the brink by betrayal and violence, leading him down a path of vengeance. But in execution, it’s far more than a genre exercise—it’s a restless, experimental meditation on guilt, regret, and the role of the artist in confronting mortality.
Read MoreBigfoot: Primal Encounter (2025)
Directed by Jamie Grefe, produced by Gregory Hatanaka, and shot with gritty intensity by Kevin Stevenson, Bigfoot: Primal Encounter is not your average creature feature. While its title teases cryptozoological thrills, what emerges is a strange and engrossing hybrid of backwoods thriller, gothic melodrama, and grindhouse-inspired horror. The film centers on Steve Walker, a hapless journalist better known for writing an advice column than breaking hard news.
Read MoreShadow Death (2025)
Chris Spinelli’s Shadow Death is a brooding, atmospheric horror feature that blends small-town paranoia with a surreal dive into medical experimentation and criminal underworld intrigue. What begins as a standard slasher premise—an unknown killer dragging victims into the void of shadows—quickly spirals into something more ambitious, weaving threads of science gone wrong, drug trafficking, and supernatural menace. The story centers on Detective Taylor, who, alongside Detective Solace, finds himself unraveling a mystery that is far bigger than the string of disappearances terrorizing Emerson.
Read MoreBoiling Point (2024)
Gregory Hatanaka’s Boiling Point, co-written with Jamie Grefe, is a searing indie crime thriller that brings both grit and chaos to the screen. Starring Gio Drasconi as Michael, a desperate bar owner fighting to keep his livelihood, and Luca Toumadi as Sidney, his closest ally turned potential liability, the film immerses viewers in a world where mob pressures, paranoia, and betrayal intersect. At its core, the story is simple yet effective: Michael’s bar is barely surviving, and when the mob decides it wants control, his life spirals into a storm of threats, shifting loyalties, and violent ultimatums.
Read MoreDreams for Lease (2025)
Rob Roy’s Dreams for Lease arrives as a chilling blend of sci-fi and horror, a film that is as unsettling for its ideas as it is for its imagery. At its heart, the movie asks a provocative question: what if even our most private refuge—sleep—was no longer our own? The story follows Maya, a woman plagued by relentless nightmares.
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