When it comes to vampire films, I’m not so much a fan of the romanticized fantasy depiction that we see in Ann Rice novels.  Personally, I like my monsters to be grounded in reality; films like Near Dark and Let Me In seem to have a more vicious bite to them. Why do I prefer these darker and more grim depictions? Well, I believe if vampires have had to kill to survive, whether it be for a month or generations, they should be handled as some scary bad guys, not pretty, sparkly, cuddle-bunnies.  When an indie film comes along like Aaron’s Blood and it decides to go the more ground with reality horror route, it gives me hope, and it’s something I’m actually looking forward to seeing. But does the film deliver the goods?

Aaron’s Blood isn’t really about Aaron’s blood in a literal sense, but instead it is about his son Tate (Trevor Stovall), a young boy who happens to be a hemophiliac. Aaron (James Martinez) is the dutiful single father who is struggling to take care of his son after the pair lose their wife/mother nearly a year before. At school Tate seems to be the target of violence from the school bully. It’s one of their interactions that sends Tate to the hospital, and by the time Aaron arrives to see his son, he’s already been moved to the ICU.  Following a chance meeting with a priest, Tate seems to be making a recovery, but we quickly see he’s making a transition into something else.

One of the reasons that I love reviewing movies is that it allows me the opportunity to see things that I wouldn’t normally watch. In most cases, it is a film that has been newly released, whether it be a theatrical release or a straight-to-DVD release. However, in other cases it is an older film that is being re-released. Such is the case for Cheech and Chong’s Next Movie. Though I have never seen any of the films, the names Cheech and Chong are synonymous with stoner comedy. Ideally, I would have liked to have seen the first film before diving into the middle of the franchise. Fortunately for me, I’ve been informed that there is no specific tie-in linking the films together, making it relatively easy to follow the storyline. It was only when I was introduced to space cocaine that things became a bit confusing.

The adventures continue with Cheech and Chong, although Cheech’s cousin Red books more screen time this time around than Cheech, as he and Chong find trouble at every pass. Whether it be at a brothel or in the far reaches of other space, these two are dangerous when they are together and even worse when they are apart. Such is the case for this story, as Chong is left on his own with Cheech’s relatives while Cheech tries to secure some alone time with his lady.

Weddings: outside of the picture-perfect day that is typically presented in television and movies, most of us understand the untold anxiety placed upon a bride and groom when families and friends amalgamate. Granted, some films depict this phenomenon accurately, but never solely focused on said anxieties properly. The Wedding Party is an independent feature written and directed by Thane Economou, and it showcases these anxieties up front and films them brilliantly, as the entire film is shot in one continuous take.

The story revolves around the complexities and confusion among the members of Paul and Margene’s wedding party. Paul constantly disappears throughout the night, Margene’s sister downs seven Xanax, Paul’s half-brother can’t let go of the bride’s ring, and the ones left over are whirling in a storm of anger and sex. However, two of the party members, Jim and Alex, come to represent the true “main characters” of the film. When Margene’s sister doses out of her duties as the wedding planner, Alex must take over, recruiting Jim to help. As the night progresses, the two reignite the crush they had in high school and navigate through their own anxieties and doubts.