January 15, 2018
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Bloody Disgusting: ‘LIKE ME’ Images Are As Trippy As the Trailer

LIKE ME opens in select theaters January 26th

IFC Center  •  New York, NY  •  January 26 – February 1, 2018

Arena Cinelounge  •  Los Angeles, CA  •  January 26 – February 1, 2018

Alamo Drafthouse Yonkers  •  Yonkers, NY  •  February 2 – 3, 2018

Harkins Valley Art  •  Tempe, AZ  •  February 2 – 8, 2018

Alamo Drafthouse Omaha  •  Omaha, NE  •  February 7, 2018

Full article and images HERE
December 21, 2017
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LIKE ME by Robert Mockler — Coming to cinemas JAN & VOD FEB from Kino Lorber



April 28, 2017
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Screen Anarchy: LIKE ME “amply succeeds in terms of visual verve and strong performances.”

Screen Anarchy reviews LIKE ME which unspools at the Overlook Film Festival

“a poignant snapshot of the essential disconnect between people.

Persuasive performances across the board help keep our eyes glued to the screen. Genre favorite and indie legend Fessenden surprises by giving an offbeat character unusual emotional depth in a role that is far meatier than his recent string of cameo appearances in films like Darling, Carnage Park and The Transfiguration. Timlin, meanwhile, perfectly balances the tightrope of playing a wounded character at a loss, yearning for affection, yet always dangerously close to plummeting into the depths of full-blown narcissism that becomes a dangerous sociopath. Timlin’s mere presence carries Like Me through narrative lulls.

… Mockler arrives as a talent to watch. Like Me is a disorienting film that manages to pack a quiet punch on its own terms by the time the end credits roll.”

Read Full Review

March 27, 2017
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Tribeca Shortlist interviews team LIKE ME

From ‘Taxi Driver’ to Twitter, Tribeca Shortlist talks influences and inspirations with
Robert Mockler, Addison Timlin, Ian Nelson and Fessenden.

Read full interview…

March 20, 2017
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Daily Dead talks LIKE ME with writer/director Robert Mockler

A haunting, neon-soaked fever dream that tackles the dangers of viral media and loneliness, first-time director Robert Mockler’s drama, Like Me, was unlike anything else I saw during the 2017 SXSW Film Festival, and features brilliant performances from Addison Timlin as Kiya and indie filmmaking icon Larry Fessenden as a man she kidnaps on her crime-fueled journey.

While in Austin, Daily Dead spoke with Mockler about his approach to the story of Like Me, his experiences collaborating with Timlin, how Fessenden became a mentor to him throughout the process of making his debut feature, and more.



March 20, 2017
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We Got This Covered: LIKE ME “a bombastic feature debut”

“Like Me is a bombastic feature debut for Robert Mockler, benefitting heavily from visual artistry and Addison Timlin’s strong performance.” – We Got This Covered

Read Full Article… 

March 20, 2017
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SXSW Photo Round-Up!

SXSW comes to a close! We’ve gathered pics from throughout the festival, including the MOST BEAUTIFUL ISLAND and LIKE ME premieres and the GEP / Dogfish Pictures / Palomo Films party.

Check out the gallery here.

March 17, 2017
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Cut Print Film: LIKE ME “likely to be the most exciting debut you’ll see this year. Or maybe any.”

“What If There’s More To Tell?”
Film synopses are often misleading. To the point that I try not to read them. But when you’re sorting through festival screenings, synopses are usually ground zero. I gave the blurb for Robert Mockler’s Like Me little more than a casual glance and wrote it off as a tween ‘social media obsessed’ drama. Then I found a different movie to see in that time slot. But serendipity is beautiful thing. That other film’s screening was completely booked up. I   Continue Reading »

March 16, 2017
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The Iris: LIKE ME “one of the most refreshing indie debuts in a long time”


When I was nineteen I spent three straight days without sleeping. I had just moved to Tokyo and couldn’t cope with the light pollution or the sounds from the trains that ran behind my flat. I would spend the nights listening to relaxing music and watch films during the day. On the third morning at around 4AM I made an instant coffee and decided to put on Enter the Void.

The first thing I heard after listening to a recording of Enya’s Paint The Sky With Stars on repeat for some three hours, and not having slept through two slow nights, was the Thomas Bangalter scored opening credits. I’d never again feel as disorientated as I was in those two and a half minutes; but watching Robert Mockler’s Like Me, I came close.

Like Me marks the first time Robert Mockler has been credited as a director and writer of a feature length film. The film, which premiered at this year’s SXSW Film Festival in Austin Texas, is eighty minutes of visual portraits pieced together by tactile transitions, lucid VFX and a millennial journey.

Addison Timlin plays Kiya, a young girl who amasses a huge social following after posting a video of herself holding up a convenience store with a replica weapon. She takes her newfound popularity on the road and begins to film her encounters with a string of unusual characters, eventually taking a paedophile, ‘Marshall’ (Larry Fessenden), hostage, to mixed reactions from the online community. An antagonistic vlogger, Burt (Ian Nelson), begins to take Kiya’s videos apart, and her journey becomes visceral as Burt begins to impact both her content and her psyche.

Kiya guides us through her journey. She tests the humanity of the characters she meets, finding that a vagabond doesn’t want much more than pancakes from a diner, or that a painter who believes there is no age of consent had lost his own daughter at a young age. Kiya studies these characters and presents them to us; but often she seems to be neither a part of the film nor the viewership. She’s more like the kid holding a magnifying glass over an anthill.

Addison Timlin is perfect as Kiya, even if the character is not a strictly formed one with laborious dialogue. She has again shown her ability to completely comprehend the characters she’s becoming. Like her performance in Little Sister, she brings a sense of palpability to the role and becomes so natural as Kiya that the film, in moments, feels kind of like an Addison Timlin vlog, like she’s simply playing herself (with exception of the scenes where she’s forcing food into Marshall’s throat and telling him, “you’re going to eat or you’re going to bleed”).

What makes Like Me so mystifying to the senses is the intense cinematography and editing. Every shot is beautiful. Every background, shadow and light setting progresses the film like a series of paintings, ushering the narrative from frame to frame as if it were an exhibition across a gallery wall. The lighting and colours filter the film in two schemes, the afternoon pink skies and radiant neon signs to moments of moonlight blue and shadow. Both ethereal and at every shot, meticulously thought out.

The experimentation behind the lens continues through to the cutting room floor with disorientating and innovative shots that mess with the audience and remove any limits to the camera’s function. Shots will revolve around rooms and bury through the floor, while actors become stuck in a glitch-like trance, moving in two-second motions, back and forth on loop.

It’s these scenes that make Like Me feel like one long hallucinogenic journey. Although not directing the film, drugs play a part in Kiya’s internal narrative and are managed in a tacitly accurate sense. Ketamine is blue and calm, and doesn’t make a lot of sense, MDMA is sense-altering and intense, where mushrooms give the film its ‘baby on the ceiling’ moment, as a snake slides from Marshall’s bullet wound and into the alternate dimension that has surrounded Kiya.

At times the film does get lost in its own eccentricity, sacrificing the plot beneath the layers of art. The balance between progressing the narrative while constantly combing it to assure its uniform in style throughout, tips slightly through the second half of the film. Scenes like Kiya chasing Burt through the streets of a sunny city before inexplicably arriving at a foggy beachfront leave viewers with a decision to make about the symbolism of each moment, and what’s been done just because it looked good.

The film is still one of the most refreshing indie debuts in a long time. It is an experiment in style and as well shot as any box office film released this decade. While the plot at times fades into its own aestheticism, the acting and the unique style excel the film into rare territory for contemporary cinema.


Read article…

March 15, 2017
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Nightmarish Conjurings: LIKE ME a “visually stunning journey of self-discovery”

Writer/Director Robert Mockler’s feature LIKE ME calls for a bit of a different review.  After all, this film is all about a girl who buys into social media so much that she completely forgets how to connect with people.  Given that this causes her to kidnap someone and go on a weird spree, I think anyone watching this would agree that a traditional review just will not do this justice. 

As such, let us go a different route.  First of all, do me one favor, DO NOT CLICK LIKE ON THIS REVIEW.  Let’s not perpetuate this reliance on social media.  I will very quickly know who actually bothered to read this just by whether or not they clicked like (ooh, social experiment!). 

I know, this is weird, but it is very much in the spirit of this movie. 

How, one might ask? 

Well, you see, this piece is all about obsessing over social media.  The thrust of our action is an artist who posts a video online and suddenly has a lot of people reacting to the footage.  When someone calls her out, in a way that hits too close to home, she decides she must somehow connect with an actual person. 

While this may seem like the stuff of a cerebral, introspective drama, they never quite take events in that direction.  Instead, we are offered a kidnap movie where she slowly befriends the older man she has ensnared.  Their time together is a highlight of this piece as their relationship is constantly switching from touching to combative.  The performance given by Larry Fessenden is one of the best I have ever seen him give and fans of his should run to check this out. 

Addison Timlin is no slouch herself as she perfectly embodies a young, obsessive woman who is trying to figure out her place in life.  The first portion of the feature has her trying to listen more than talk, making her facial expressions our only window into her thought process.  As she begins to come out of her shell more, her range reveals itself through her vulnerability and uncertainty with human connection. 

All the while, she continues her artistic and online endeavors which allows for some truly stunning visuals.  In all honesty, the look of this alone makes it worth a watch as there are so many amazing lighting features, camera shots, and color schemes at work that it really feels like a moving work of art in and of itself.  From the crazy paintings in the room to the psychedelic drugged up sequences later in the film, this is a visual feast for the eyes that is sure to captivate.  

In a few recent reviews I have commented upon music, so I feel I must give just a moment’s notice to the score.  This was an odd and engrossing soundtrack that drew me in right from the get-go.  Like walking through an art museum, the score tried on many different styles to varying degrees of success.  Some I am still hearing one day later, others, though, I don’t recall as clearly, but either way I respect the approach taken as doing something wholly different is in short supply these days. 

Listen, this is a movie that has a little something for everyone so I recommend all to give it a view. It is beautiful and heartbreaking at the same time with equal measures given to style and character development.  The performers are also at the top of their game bringing a lot of weight to this visually stunning journey of self-discovery. 

Once again, I want to stress, please DO NOT CLICK LIKE.  Instead see this movie and talk with someone about what it meant to you.  Create a connection, get out there, be with people and experience art at the same time. 

Nighty Nightmares,
The Creeping Craig