Thirty-five years ago, someone left an Etch-A-Sketch in the rain while the witch in the basement had the neighbor kid for dinner. Five days ago — and with his parent’s divorce looming large — Ben (John-Paul Howard) arrived in town to spend a little chastisement time with dad (Jamison Jones); breaking into a neighbor’s home in search of Vicodin resulted in a short cast from a long fall. Now, Ben’s still a second-story man, this time with a pair of field glasses. The alternative-fashioned MILF across the way asks her baby boy to hold mommy’s beer while she’s dressing the very roadkill in which the monster lurks. Come the dawn, she’s bedecked in fashionable summer attire, the kid nowhere in sight. The monster is gentle enough to kill with a whisper, yet so steeped in fetid fragrance that flowers wilt in its presence. It’s one thing to shoplift from Hitchcock, but if the pace and structure of the film is any indication, I’m guessing the closest the Pierce Brothers came to Rear Window was Disturbia. (2019) — Scott Marks
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