Talent and Temptation Clash in Showbiz Satire

Read Time:5 Minute, 16 Second

MOVIE REVIEW
Psychic Murder
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Genre: Surreal Drama, Dark Comedy
Year Released: 2017
Runtime: 10m
Director(s): Brandon Block
Writer(s): Brandon Block, Maxwell Gontarek
Cast: Will Bernish, Timothy J. Cox, Tatiana Ford, Matt Moores
Where to Watch: available to watch now, here: www.youtube.com

RAVING REVIEW: PSYCHIC MURDER may only run ten minutes, but it crams in a surprising amount of tension, satire, and complexity into those frames. Directed and co-written by Brandon Block, the film tells the story of Billy (Will Bernish), a struggling young stand-up comic born with a three-fingered hand. Early on, Billy can’t quite find his voice on stage. His jokes lack confidence, and his physical differences are something he avoids fully embracing. The breakthrough comes when he begins folding his own disability into his material, using humor as a way to claim ownership over his body and his story. It’s a moment that feels both triumphant and slightly uneasy, as the film wisely doesn’t present self-deprecating humor as an uncomplicated solution.

Enter Mickey Goldsmith, played with charm by Timothy J. Cox. Mickey is a talent agent who seems to appear out of nowhere with an offer to help Billy’s career. On the surface, it’s the classic Hollywood narrative: a rising performer gets “discovered” by an industry veteran. But the way Cox plays Mickey suggests something more predatory. His grin is a little too wide, his praise a little too rehearsed. The film plants doubt about whether Mickey truly sees potential in Billy or whether he views him as a novelty act to exploit.

Block describes the film as a surreal drama, but it’s equally fair to call it a dark comedy. Much of the discomfort comes from the contrast between Billy’s growing self-assurance and Mickey’s dubious mentorship. The premise of a performer using personal pain for laughs isn’t new, but PSYCHIC MURDER makes it feel different by exploring the tension between self-acceptance and external validation. Is Billy’s comedy empowering, or is he being pushed into a box that keeps the audience laughing at him rather than with him?

Bernish delivers a strong performance as Billy. His early awkwardness on stage feels authentic; when he finally finds his rhythm, there’s a palpable shift in his energy. He doesn’t overplay the character’s impairment or use it as a crutch. Instead, the performance conveys that Billy is still figuring out how much of himself he wants to share. Cox, a familiar face in the indie short film world, once again proves why he’s so frequently cast. His Mickey is the kind of character who can make you laugh while simultaneously making you want to keep your distance.

Stylistically, PSYCHIC MURDER has a slightly heightened tone that justifies its description as “surreal.” The visuals aren’t overtly strange, but there’s an off-kilter energy to the way scenes are staged and cut. It feels a little dreamlike, as if events could tip into something nightmarish at any moment. The score and sound design complement this, giving the film a slightly sinister undertone even in scenes that appear calm on the surface. This ambiguity reinforces the film’s commentary on the entertainment industry: what seems to be an opportunity can quickly turn into exploitation.

While the film’s brevity works to its advantage, there are moments where you wish Block had a little more room to explore the themes he introduces. Mickey’s intentions remain deliberately ambiguous, which is effective, but there could have been more time spent exploring Billy’s internal battles. At just under ten minutes, the film functions as a commentary rather than a fully developed narrative. That’s not necessarily a flaw—short films often work best when they suggest more than they show—but viewers may leave wanting to spend more time with these characters.

The title, PSYCHIC MURDER, hints at a metaphorical kind of destruction—the killing of one’s spirit rather than physical harm. Whether Mickey will make Billy’s career or ruin his life is left unresolved, but the film suggests that even well-meaning offers can carry hidden costs.

This is a concise yet potent short film that combines perceptive performances with pointed commentary. For a ten-minute film, it packs an impressive punch. Block and Gontarek’s script raises questions about art, commerce, and self-worth that linger beyond the runtime. And Cox, as always, proves magnetic, grounding the story with a performance that’s equal parts charismatic and unsettling.

For audiences interested in the darker side of show business or the intersection of humor and pain, PSYCHIC MURDER is well worth seeking out. It doesn’t offer easy answers, but it does offer a story that feels uncomfortably true. In an industry where the line between opportunity and exploitation is often razor-thin, this short film serves as a cautionary tale wrapped in a surreal, darkly comedic package.

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[photo courtesy of BRANDON BLOCK PRODUCTIONS]

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