By Elisabeth Vincentelli
‘The Missing’
For Eric (Carlo Aquino) to express himself, he resorts to writing: texts on his phone or notes on a dry-erase board he always has by his side. How can he converse? His mouth area is obscured — a haunting visual effect beautifully depicted in Carl Joseph Papa’s animated feature, which employs rotoscoping to superimpose drawings over live-action footage. Strangely, no one seems to notice that something is off with Eric’s appearance, not even his mother, Rosalinda (Dolly De Leon, a Golden Globe nominee for “Triangle of Sadness”), or his charming co-worker Carlo (Gio Gahol), who may harbor feelings for him. Through childlike sketches in flashbacks, we witness Eric’s abduction by aliens, who emerge as more curious than threatening. Although he escapes, their presence lingers in his memories and likely contributes to his silence.
Science fiction has a long-standing tradition of utilizing aliens and various beings as symbolic representations — a striking example being the monster from the Id in “Forbidden Planet,” from 1956. “The Missing,” which represented the Philippines at the 2023 Academy Awards, operates within this thematic landscape. This stunning film is occasionally heartbreaking, yet it ultimately conveys a message of love and hope. (Available for streaming on Netflix.)
‘The Present’
A communication-challenged character also takes center stage in Christian Ditter’s skillfully crafted family film. Taylor (Easton Rocket Sweda) is a neurodivergent child who predominantly spends his time experimenting in his workshop. Upon discovering that an antique grandfather clock can reverse time by up to 12 hours, he resolves to relive the same day (or sometimes just a few minutes for do-overs) repeatedly in hopes of salvaging his parents’ crumbling relationship. “The Present” brings a fresh take to the classic “Parent Trap” storyline with elements of time travel and shifting perspectives. The film depicts the critical moments leading up to the dinner where mom and dad (Isla Fisher and Greg Kinnear) plan to reveal their separation, shown from both the adults’ and kids’ viewpoints, including Taylor’s older siblings, Emma (Shay Rudolph) and Max (Mason Shea Joyce). Beyond being free of excessive sweetness—an uncommon trait in this genre—“The Present” offers a heartfelt, humorous depiction of a boy who is unique yet accepted and cherished by his family. (Stream it on Hulu.)
‘Die Alone’
Carrie-Anne Moss delivers a standout performance in this post-apocalyptic film, making it a must-see for fans of this often underutilized actress. However, “Die Alone” offers much more, culminating in an incredible plot twist and a deeply impactful conclusion that feels justified.
Moss portrays the rugged Mae, who has successfully navigated a world ravaged by a virus that transformed people into ravenous plant-like zombies (reminiscent of the DC Comics character Swamp Thing). These beings are referred to as “the reclaimed,” based on a theory suggesting that nature retaliated against humanity’s long history of mistreatment.
The protagonist is an amnesiac named Ethan (Douglas Smith), who only recalls needing to reunite with his girlfriend, Emma (Kimberly Sue-Murray), from whom he was separated during the chaos. He pieces together the events from fleeting memories that gradually merge into a disturbing reality.
Mae welcomes Ethan to her secluded farm, where she finds solace in listening to the 1968 classic “Crimson and Clover” on vinyl. Writer-director Lowell Dean effectively integrates the song into the narrative, casting an eerie shadow over the film’s conclusion. I’m still processing it. (Available for rent or purchase on most major platforms; free on Hoopla.)
‘Darla in Space’
Numerous films feature characters in urgent need of a quick cash influx. However, it’s rare to find one that involves a “sentient orgasm-granting yeast mass” as a means to raise funds. When Darla (Alex E. Harris) faces $349,000.22 in back taxes, she is at her wit’s end, and her struggling business of custom cat caskets won’t suffice. While substituting for her mother (Constance Shulman) cleaning for the enigmatic Arnot Pickens (Thomas Jay Ryan), Darla stumbles upon a plastic container filled with a peculiar rubbery disc identified as the culture of yeast and bacteria typically used for kombucha. Except this one doesn’t brew kombucha; it’s an extraterrestrial entity that can provide intense orgasms. What’s more, it can talk (voiced by JS Oliver), expressing a desire to venture into space. Darla agrees to assist in exchange for leveraging the creature’s remarkable abilities to settle her tax bill.
Eric Laplante and Susie Moon’s deadpan debut feature extracts humor from its bizarre premise while continuously adding layers, including insights regarding Pickens’ true nature and the objectives of Mother, the name given to the pleasure-generating entity. If you embrace its quirky ambiance, this is indie comedy at its peak. (Available for rent or purchase on most major platforms; free on Hoopla.)
‘Alien Country’
Whenever someone states, “nothing ever happens in this town,” it’s a sure sign that chaos is about to ensue. And that’s precisely the case in “Alien Country,” a whimsical film seemingly crafted for fans of the Kevin Bacon-vs.-giant worms cult classic “Tremors” (1990) that tends to air randomly. Here, those pivotal words are spoken by aspiring singer Everly (Renny Grames, who co-wrote the film with director Boston McConnaughey), who finds herself languishing in her desolate desert town, beautifully shot in Utah. Her dim-witted boyfriend, Jimmy (K.C. Clyde), works as a mechanic and takes part in demolition derbies. When the couple inadvertently discovers a mysterious portal, they venture through it with little thought to the repercussions. Unfortunately, they fail to notice the menacing creatures that slip out behind them.
However, they do encounter Ben (Charan Prabhakar), a friendly alien who has adopted a human guise and arrives to assist them.
The film refrains from showcasing the malevolent visitors from another realm extensively; they are discussed more than depicted, which works in its favor as “Alien Country” excels when indulging in side stories (a memorable exchange concerning the spelling of a local’s name, Bo, played by Austin Archer) or casually injecting humorous tidbits (like vacuuming spores). Achieving this subtlety is often trickier than relying on special effects. (Available for rent or purchase on most major platforms.)
