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‘In the Summers’ Review: A Quiet Debut Poetically Explores Forgiveness Between Parent and Child

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‘In the Summers’ Review: A Quiet Debut Poetically Explores Forgiveness Between Parent and Child

In the relationship between parents and children, memories can be ravaged battlefields. The validity of certain experiences is tested and accusations of wrongdoing are negotiated. It’s within this charged arena that Alessandra Lacorazza sets her quiet debut film, In the Summers. The feature is a visual poem, an enveloping four-stanza ode to experiences shared by a man and his daughters.

It starts in the summer when Violeta (Dreya Renae Castillo) and Eva (Luciana Quinonez) visit their father, Vincente (René Pérez Joglar) in Las Cruces, New Mexico. Their first encounter, in the parking lot of the tiny town airport, is thick with the stilted awkwardness of distance. Lacorazza, who also wrote the screenplay, avoids specifying why Vincente hasn’t seen his kids, but some information can be gleaned from their bilingual conversations. We know it’s been a minute — so long that Vincente can’t remember what year of school his kids have just finished, among other milestones.

In the Summers

The Bottom Line

An enveloping ode to fractious parent-child relationships.

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Venue: Sundance Film Festival (U.S. Dramatic Competition)
Cast: René Pérez Joglar, Sasha Calle, Lío Mehiel, Leslie Grace, Emma Ramos, Sharlene Cruz
Director-screenwriter: Alessandra Lacorazza

1 hour 38 minutes

But the children are forgiving, as children tend to be when they are young. As Vincente drives Violeta and Eva around New Mexico, he regales them with stories of his own youth. He’s inherited a house from his mother, a gorgeous Spanish Adobe-style home with a pool in the backyard. Inside are the ephemera of generations: worn photos preserved in inherited frames, furniture so old it has its own secrets, and various containers, each with a story. Lacorazza and DP Alejandro Mejía tour the home. The details are important because later they will serve as evidence. 

Of what, exactly, Lacorazza takes her time to reveal. In the Summer moves at the speed of a July afternoon or an August morning — an unhurried and languorous pace. Like last year’s Sundance stunner All Dirt Roads Taste of Salt, In the Summer sways to its own rhythm. The story unfolds slowly and depends on the impressive cast assembled. It’s the subtleties of their performances — nervous exchanges, slight moments when a body recoils — that clue us in to the latent danger of this vacation. 

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Vincente is a smart man who struggles to be a good father. He is an addict. His temper gets the best of him, and his thirst for thrill lands him in dangerous situations. Vincente wants to be better and, because of Joglar’s protective performance, you want that for him too. He buys the girls gifts, takes them stargazing and teaches them to play pool at his best friend Carmen’s bar. Played by Emma Ramos, Carmen becomes an immediate role model for Violeta, who can’t stop staring at her tapered cut. The next summer, when Violeta returns to New Mexico, she wears her own hair short. 

Lacorazza introduces each section of the film with a long take of ritual altars, filled with objects we’ll come to recognize. When Vincente challenges his daughters to a no-utensils pasta eating contest, we remember the mass of red sauce and noodles from the first chapter opener. 

The differences between Violeta and Eva become more apparent each summer, and there’s a charm to seeing the shot of the siblings waiting at the airport replicated every couple of years. Unlike Eva, Violeta doesn’t crave Vincente’s attention. She doesn’t even expect it. In this second summer, she’s preoccupied by Camila (Gabriella Elizabeth Surodjawan), the girl her father tutors for extra money. Violeta wonders if the curly haired New Mexico native has a boyfriend or if she has a real chance. Meanwhile, Eva pines for Vincente’s attention, which seems to be reserved for Violeta. At one point, he snarlingly demands why Eva can’t be smart like her sister.

Allison Salinas, who plays teenage Eva, captivates. After a traumatic incident during the second summer, her character comes to New Mexico alone for summer number three. These are a painful couple of months for Eva, who experiences the full heartbreak of unmet expectations from parents. Salinas communicates that pain with her eyes, which slightly tear up whenever Vincente directs his cruelty toward her.

By now we understand that Vincente is an alcoholic, frustrated by his inability to find work and anxious about proving himself. Eva also understands this, and spends most of her third summer wandering Las Crucas alone or helping her father’s new wife (Leslie Grace) care for their newborn. Against these disappointments, the house, so full of promise that first summer, falls into disrepair. With each reunion between father and children, Lacorazza gently guides our attention to the pool, clogged with leaves and dirt, the cluttered porch or the beer bottles accumulating on each surface. 

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In the Summers closes with a fourth chapter that, despite its stirring moments and brisker pacing, feels less assured than the previous three. Violeta (Mutt star Lio Mehiel) and Eva (Sasha Calle) are adults when they return to New Mexico. Violeta has transitioned, and will be starting graduate school in the fall. Eva’s fate is more obscure, but from the sunglasses she refuses to take off, you can sense the pain of that lonely summer hasn’t left her. Vincente is also different; his changes are marked by no alcohol in the house, a revived pool and an endearing shyness around his kids. 

As Vincente tries to atone through insistent invitations, Violeta and Eva maintain firm boundaries with their father. They rent a place instead of staying at his house and a strained politeness blights their interactions with him. The presence of Vincente’s other child, Natalia (Indigo Montez), reveals the chasm between who Vincente was and who he is now. Some plotlines in this section — like the one between adult Violeta and Camila (now played by Sharlene Cruz) — are dogged by a lack of resolution.

But when Lacorazza focuses on the relationship between Violeta, Eva and Vincente, In the Summers feels steadier. In this space, Lacorazza considers the realities of forgiveness and wonders if healing is more about moving forward than it is about letting go. 

Full credits

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Venue: Sundance Film Festival (U.S. Narrative Competition)
Production companies: Lexicon, Bluestone Entertainment, Exile Content Studio, Assembly Line Entertainment, 1868 Studios, Arci Films, Cinema Maquina, Luz Films
Cast: René Pérez Joglar, Sasha Calle, Lío Mehiel, Leslie Grace, Emma Ramos, Sharlene Cruz
Director-screenwriter: Alessandra Lacorazza
Producers: Alexander Dinelaris, Rob Quadrino, Fernando Rodriguez-Vila, Jan Suter, Daniel Tantalean, Janek Ambros, Lynette Coll, Sergio Alberto Lira, Cristóbal Güell, Cynthia Fernandez De La Cruz, Slava Vladimirov, Stephanie Yankwitt
Executive producers: Isaac Lee, Henry R. Muñoz III, Jules Buenabenta, Richard Saperstein, Brooke Saperstein, Erick Douat, Arturo Sampson, Alexandra Mishaan, Bradley Feig, Justin Brown
Director of photography: Alejandro Mejía, A.M.C.
Production designer: Estefania Larrain De La Cerda
Costume designer: Fernando A. Rodriguez
Editor: Adam Dicterow
Music: Eduardo Cabra
Casting director: Stephanie Yankwitt, C.S.A.
Sales: CAA, XYZ
In English, Spanish

1 hour 38 minutes

Movie Reviews

Movie reviews reveal 2026’s best Certified Fresh films are arriving in March – Art Threat

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Movie Reviews reveal 2026’s best Certified Fresh films are arriving this month with stellar critical acclaim. March 2026 brings an extraordinary lineup of top-rated releases. Critics and audiences are celebrating these exceptional films together.

🔥 Quick Facts

  • Project Hail Mary: 95% Tomatometer, 96% audience score, released March 20, 2026
  • Certified Fresh Status: 75% critic rating or higher with 5+ Top Critics reviews required
  • March Releases: Hoppers (94%), GOAT (84%), Send Help (93%) all certified fresh
  • Streaming Options: Multiple platforms including Netflix, Peacock with exclusive March releases

Project Hail Mary Dominates with 95% Critical Acclaim

Project Hail Mary opened March 20, 2026, becoming the standout theatrical certif fresh hit of the month. Ryan Gosling stars as science teacher Ryland Grace, waking up light-years from home with no memory. The sci-fi epic, directed by Phil Lord and Chris Miller, earned 95% from critics and 96% audience approval. Cinephiles praise its visual splendor and emotional depth.

According to reviews, the film balances spectacular space sequences with genuine human moments that resonate deeply. Amazon MGM Studios released this 156-minute masterpiece based on Andy Weir’s beloved novel. Early box office numbers exceed expectations significantly.

Streaming Certified Fresh Titles Light Up March

March 24, 2026 delivered major streaming victories. GOAT (Greatest of All Time) hit platforms with 84% critic score and 93% audience approval. This animated sports comedy features Caleb McLaughlin as an anthropomorphic goat chasing championship glory. Send Help arrived simultaneously, earning 93% critical praise with 87% viewer satisfaction. Both titles capture hearts through humor and heart.

Streaming platforms flooded March with 69 new movies and shows total. Critics celebrated the diverse quality spanning cult classics, acclaimed dramas, and blockbuster franchises all at once.

Beyond the Blockbusters: Other Standout Certified Fresh March Releases

Title Tomatometer Score Release Date Status
Hoppers 94% March 6, 2026 Theaters
Ready or Not 2 73% March 20, 2026 Theaters
Late Shift 96% March 20, 2026 Theaters
Two Prosecutors 97% March 20, 2026 Theaters

“Visually, it is strong and immersive, but the real strength of Project Hail Mary is not spectacle alone. It is the sense of wonder and humanity running through the entire experience. The film knows when to be exciting, when to be funny, and when to slow down and let the emotional moments land.”

IMDb Critics, Film Review Community

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What Makes a Film Certified Fresh on Rotten Tomatoes

Certified Fresh status represents the industry’s gold standard for quality filmmaking. A movie earning this distinction must achieve at least 75% rating from professional critics. Additionally, films require 5 or more Top Critics reviews for certification. Recent updates tightened these standards to ensure only genuinely excellent films qualify.

This rigorous process explains why March’s nine certified fresh titles matter significantly. Critics spent hours analyzing each film thoroughly before adding their names. The combined critical weight behind these movies suggests spring viewing will be exceptional.

Plan Your March Movie Marathon Now – Which Film Will You Watch First?

Theater-goers should prioritize Project Hail Mary before it leaves cinemas. The 156-minute runtime demands a big screen experience. Meanwhile, streaming subscribers face delightful choices between GOAT’s comedy charm and Send Help’s heartfelt drama. Ready or Not 2 and Late Shift round out theatrical options perfectly.

New releases continue flowing through March 27, 2026, keeping entertainment options fresh. Kiki’s Delivery Service rereleased March 13, while Stand by Me returned March 27 with new appreciation. Which certified fresh film matches your mood this weekend?

Sources

  • Rotten Tomatoes – Official certification database and critical scoring system
  • Variety – Best movies streaming in March 2026 coverage
  • The Wrap – Most anticipated films arriving in March analysis

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MOVIE REVIEW: “THE KINDERHOOK CREATURE” is a fantastic deep dive into one of cryptozoology’s lesser-known mysteries – Rue Morgue

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MOVIE REVIEW: “THE KINDERHOOK CREATURE” is a fantastic deep dive into one of cryptozoology’s lesser-known mysteries – Rue Morgue

By BREANNA WHIPPLE

Starring Bruce G. Hallenbeck, Martha Hallenbeck and Paul Bartholomew
Directed by Seth Breedlove
Small Town Monsters

Whether you are a skeptic or a believer, it cannot be denied that certain pockets of our planet are hotspots for unusual activity. You’d be hard-pressed to find a person unfamiliar with the mysterious disappearances in the Bermuda Triangle, for example. Furthermore, places like Skinwalker Ranch in Utah have been documented extensively after multitudes of reports of various phenomena – UFOs, ghosts, cryptids, ancient shapeshifting elemental spirits that consume human flesh… it has it all. The Pacific Northwest is another location of intrigue with phenomena ranging from UFOs and cryptids to ghosts and sea monsters. 

More often than not, all that is supernatural seems to flow collectively. It’s not at all uncommon for grey aliens to come with a side of poltergeists and shapeshifters. Evidently, where there is smoke, there is fire. And Kinderhook, New York, is one such place ablaze with the high strangeness.

Nestled in the Hudson Valley, Kinderhook is an old town with even older legends. Despite being over 100km from the village of Sleepy Hollow, Kinderhook was the inspiration for Washington Irving’s The Legend of Sleepy Hollow. (Ichabod Crane was modelled after a Kinderhook schoolmaster; plaques honour this fact in the small community.) At a glance, one can sense an otherworldly ether in this place where the veil is seemingly especially thin.

THE KINDERHOOK CREATURE is a companion piece to The Kinderhook Creature & Beyond: A Personal Reminiscence by Bruce G. Hallenbeck. Naturally, Hallenbeck guides the unfolding events chronicled in the doc. Growing up under the care of his beloved late grandmother, Martha Hallenbeck, in a home surrounded by dense woods, he has memories that read like a choose-your-own-adventure novel. An unseen, incomprehensible, supernatural threat to shock and astound lurks around every corner. Martha was once quoted as saying, “I’d love to live in a haunted house!” Bruce’s apt response was, “Grandma, I think you do.” 

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“Haunted” feels like an inappropriate description.  What happens in Kinderhook is so fantastical that it is difficult to fit under a single umbrella. White, bloblike apparitions are only the tip of the iceberg. A sargantuan beast with red eyes, the doc’s eponymous creature, has been seen stalking nearby. Strange noises emanate from the woods, UFOs have been spotted, objects have levitated and strange dreams have been had… Something is very different in Kinderhook. 

To call THE KINDERHOOK CREATURE a wild-ride would be a gross understatement – the film is so full of so many unexpected twists, turns and encounters that it is a curious wonder why the area hasn’t been more widely acknowledged in cryptozoological circles until now. Again, director Seth Breedlove and the Small Monsters team have shone their spotlight on a tiny, strange corner of the world. On top of fantastic interview content, the documentary is chock-full of archival footage. Masterfully edited, THE KINDERHOOK CREATURE is made with love and attentive care, which is much deserved for a field of interest that isn’t always taken very seriously.

Of course, mystery is the source of the allure. As a species, we simply cannot know everything. Not every mystery can be solved, regardless of how advanced we become. Apelike humanoid sightings have been reported for as long as Indigenous people have been recording history with hide and stone. Theorists pore over speculations of time-travelling advanced beings, primitive species, protectors of the forest… It all sounds outrageous to those who have yet to open their mind to the possibility that there are forces at work that we simply cannot comprehend. One can easily write off the Patterson-Gimlin film as a hoax, but how can one explain the similarities in sightings from around the globe, again, for decades, if not centuries? One of the tales told in THE KINDERHOOK CREATURE mentions a sighting of a family of the Bigfoot-like cryptid. A similar occurrence is documented in the 1956 book The Long Walk by Sławomir Rawicz – a dramatic, first-hand account of a group of Gulag escapees in the 1940s that encountered a family of Yeti-like creatures in the Himalayas after fleeing Siberia on foot.

Even in the specific cases presented in THE KINDERHOOK CREATURE, there are curious synchronicities spanning a century. A woman speaks of an instance in 1981 when she and a friend skipped school to pick apples. While biking down a dirt road flanked by corn fields on both sides, they encountered a massive creature that towered above the stalks. Its gait was so wide that it was able to jump across the road with ease, its apelike arms swinging. What the girls likely did not know was that 100 years earlier, in 1881, livestock regularly went missing in the area. Locals eventually found a cave with piles of bones lying outside the entrance. Upon this discovery, they encountered a similar beast. They shot at it, nearly missing it. However, it left a mysterious lock of brown hair behind.

Breedlove has proved time and time again that Small Town Monsters is the reigning champion of quality cryptozoological documentaries. Aside from the obvious fun that naturally comes with investigating strange phenomena, much of the film focuses on Hallenbeck’s relationship with his grandmother. The bond they shared was beyond unique. They seemed to share an abundance of love, joy, fun and an appreciation for the mysterious. 

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We can learn a lot from these stories, exploring history, fear and curiosity. With THE KINDERHOOK CREATURE, Small Town Monsters again proves that cryptids and the legends that surround them will never get boring.

THE KINDERHOOK CREATURE: IN THE SHADOW OF SASQUATCH is available now on digital platforms. 

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Ron Brown’s movie reviews: ‘Project Hail Mary’ and more

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Ron Brown’s movie reviews: ‘Project Hail Mary’ and more

Lisa Dent

Weekdays 2-6pm

A native of Rockford, Lisa Dent, heard 2 pm to 6 pm weekdays, began her radio career in Fort Atkinson, Wisconsin in 1981. She has worked at stations in Minneapolis, San Diego, Seattle, and Houston. Dent returned to Chicago in 2002. (Click for more.)

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