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    Hometown Pride

    Dallas independent film receives big-screen treatment in limited run

    Julia Bunch
    Dec 1, 2016 | 11:56 am
    Dallas independent film receives big-screen treatment in limited run
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    A film hitting theaters on December 2 has deep Dallas ties. Called Three Days in August, it was written, directed, produced, and edited by locals, and it has a special limited run at Studio Movie Grill for one week only.

    From many of the minds that created Occupy, Texas, Three Days in August is inspired by the life of Texas painter Shannon Kincaid. It tells the story of an adopted Irish American artist who has always wanted to paint a family portrait of her birth mother (Meg Foster), stepfather (Edward James Hyland), and adoptive parents (Mariette Hartley and Barry Bostwick). Shannon (Mollie Milligan) secretly invites her biological and adoptive family to a weekend retreat at a ranch in Mineral Wells, and chaos ensues.

    “She’s painting this family portrait as a metaphor for putting all the pieces of her life together,” says Ubiquimedia’s Johnathan Brownlee, who director, produced, and co-wrote the film. His other producer credits include Decoding Annie Parker, starring Helen Hunt and Samantha Morgan.

    Along with a slew of Texas actors, producers, and writers, the film was edited at Lucky Post in Oak Lawn. It also includes many Dallas and Texas culture references; try to spot all the Four Corners Brewing Co. beers when you watch. But it isn’t just the Texas roots that make the movie special.

    When Kincaid first came to Brownlee with the idea for the film (the two met when Brownlee shot Occupy, Texas at Kincaid’s house in Dallas), Brownlee suggested they turn the idea into a part creative, part business venture. So they created the Sionna Project — along with David Kiger, who would go on to co-produce the film — a contest package in which a winning script would get resources, funds, and connections to produce a full-length film in less than a year.

    Dallas natives Chad Berry and David Langlinais won the script-writing contest and hit the ground running with producers Brownlee, Kiger, Kincaid, Allen Stringer, Adam Donaghey, James Tumminia, and Jeff Berlin. By the time the film premiered at the Dallas International Film Festival in April 2016, a theatrical release with Studio Movie Grill and deals with iTunes, VOD, and Netflix were already in the works.

    “We couldn’t have done this film in any other city but Dallas,” Brownlee says. “All of these different aspects of the film just came together, and it’s been a labor of love.”

    Three Days in August runs through December 8 at 18 Studio Movie Grills nationwide — including the locations on Northwest Highway and Spring Valley and in Lewisville, The Colony, and Plano. Tickets can be purchased on the movie theater’s website.

    If you miss it in theaters, the film releases on iTunes on December 20.

    Dallasite Johnathan Brownlee co-wrote, produced, and directed the film.

    Three Days in August - Johnathan Brownlee
    Photo courtesy of Jeff Berlin
    Dallasite Johnathan Brownlee co-wrote, produced, and directed the film.
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    Movie Review

    Podcaster lets creepy noises get under her skin in Undertone

    Alex Bentley
    Mar 13, 2026 | 10:30 am
    Nina Kiri in Undertone
    Photo courtsy of A24
    Nina Kiri in Undertone.

    While the horror genre is still capable of producing some innovative filmmaking, most of the output tends to fall back on jump scares and other tropes to deliver their terror. So when a film like the new Undertone tries something different, it should be applauded for the effort, even if it’s not as successful in its execution.

    Evy (Nina Kiri) is a podcaster who co-hosts a show called Undertone, which focuses on paranormal videos and sounds they find on the internet. Her co-host, Justin (Adam DiMarco), lives in London, so - for kind of contrived reasons - in order to make the time difference between them work, Evy records at around 3 am her time. Evy - who lives at home with her bedridden, dying mother - is the skeptic of the two, consistently debunking clips that Justin presents to her.

    Her doubts are tested when Justin brings in a series of 10 audio clips that purport to be about a boyfriend recording his girlfriend as she talks in her sleep. The audio begins in a lighthearted manner and quickly turns creepy and then sinister as unexplained things start happening. Evy senses that what she’s hearing is bleeding into her own world, especially when inexplicable actions take place in her mother’s bedroom.

    Written and directed by first-time feature filmmaker Ian Tuason, the film is effective early on when it introduces the story concept. Making great use of sound design, Tuason essentially puts the audience inside Evy’s head, where every little sound is heightened. Setting the podcast sessions in the middle of the night ups the anxiety level for both her and the audience.

    However, as the film goes along it gets a little tedious watching Evy listen to the audio, even as Tuason attempts to keep the film dynamic by moving the camera around her. The premise of the story - progressively going through 10 clips - and Tuason’s framing of shots that focus as much on the background as they do on Evy seem to promise more interesting results than actually transpire.

    What ultimately holds the film down more than anything is its lack of different viewpoints. The only other person who’s actually seen is Evy’s mother, who is unable to speak. Evy speaks to Justin, another friend, and a doctor over the course of the story, and while each broadens our understanding of Evy somewhat, none of them make her a truly three-dimensional person. Getting a little more information about her history might have helped the story work better.

    Kiri does her level best to vary her acting in the various podcast scenes, and even when they start to get repetitive, she remains compelling and watchable. It’s difficult to judge the other actors based on audio alone, but knowing that DiMarco also starred in season 2 of The White Lotus helps to visualize him and his acting style.

    Undertone does well in creating a spine-chilling mood, but it needed something beyond that to become a truly great horror movie. Tuason shows some promise as a filmmaker, especially in the way he uses the camera to create tension, but a more complete story will serve him better the next time around.

    ---

    Undertone is now playing in theaters,

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