(L-R) Justice Smith, Brigette Lundy-Paine Credit: Courtesy of A24.

I Saw the TV Glow is certainly a nightmare. Though in some respects it stabs at a particular organ, the broad stroke of its aim is a cut across the jugular. Alongside a narrative driven by emotion is an often visually compelling unsettling dream. Even its weakest parts are likely to make audience members speculate about various meanings and implications. However, it seems strange to call it a horror movie since I Saw the TV Glow induces more sadness than scares. Although, that’s the kind of debate that helps cult movies endure.
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The story centers on Owen (Justice Smith). Lost in suburbia, the seventh grader encounters a ninth grader named Maddy (Bridgette Ludy-Paine). The two bond over an increasing obsession with a late-night show called The Pink Opaque. This supernatural program for young adults soon cracks their sense of reality, and as the years go by, terrifying implications about what the show is really about affect the young fans in a way that is either freeing or fracturing their minds. 

Ice cream truck scene from I Saw the TV glow. ​Credit: Courtesy of A24

Part of the appeal watching I Saw the TV Glow is seeing where that mystery leads. As Owen and Maddy go deeper down the rabbit hole that is The Pink Opaque, they essentially end up exploring themselves. In that respect, the film says a lot about the pop culture people choose to consume. That in turn allows the narrative to also touch on nostalgia --- the way it warps things positively until the truth triggers crushing disappointment.

There’s a constant sense that nothing is how it’s remembered which makes a lot of the narrative seemingly unreliable. I Saw the TV Glow unfolds as a confessional, breaking the fourth wall as it hopscotches through time. Sometimes this helps summarize what’s happened offscreen in the years elapsed, but too often, it amounts to dumping information in the audience’s lap. Still, it begs the question whether the film depicts events as they occurred or as they’re remembered, tinted by time and madness.
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I Saw the TV Glow is an interesting example of cinematic stream of consciousness. There is an astonishingly superb scene featuring Owen walking down a high school hallway. Words and images appear on screen like doodles in a notebook. All at once the movie coherently conveys how alone Owen is at school, while simultaneously feeding intriguing tidbits about The Pink Opaque. So much is packed into the moment simply through visuals it’s a shame more of movie isn’t like this. 

Ian Foreman as young Owen. PHOTO Credit: By Spencer Pazer. Courtesy of A24.

For instance, there is a monologue at one point that starts to feel like listening to an audiobook. However, the details delivered may not be reliable, so perhaps it’s best nothing is ever shown. What I Saw the TV Glow chooses to show is often as important as what it doesn’t. Though the narrative can occasionally drag, the visuals are never at fault.
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Super saturated 35mm captures an eerie world driven by the dream logic of any David Lynch inspired flick. Meanwhile, fuzzy VHS tapes bring the 1990s back to life through delightfully cheesy clips of The Pink Opaque. Throughout I Saw the TV Glow an original soundtrack featuring tunes from Sloppy Jane, yeule, Bartees Strange, Phoebe Bridgers, King Woman, and Caroline Polachek set a distinct mood. This is a movie with a potent look, sound, and feel that helps drive home the experience. Consider it a multisensory tale of alienation.

What sells that experience best, though, is the emotion at the heart of the story. Writer-director Jane Schoenbrun already showed a marked ability to convey certain feelings with We’re All Going to the World’s Fair (2021). In many ways, I Saw the TV Glow builds on many of the elements that story explored, though here with a bigger budget and cast. After all, thematically, these are essentially the same movie, both building on notions Schoenbrun first touched on in A Self-Induced Hallucination (2018).

(​L-R) Brigette Lundy-Paine, Ian Foreman. Photo Credit: By Spencer Pazer. Courtesy of A24.

Justice Smith (Detective Pikachu) provides a heartbreaking display of someone dead inside longing to feel, not to mention connect. Bridgette Ludy-Paine (Bill & Ted Face the Music) is tragically eerie as a young person haunted by reality and untouchable escapism. And Fred Durst is in the movie for some reason, though his presence as well as performance is too minimal to really endanger the film’s quality. Frankly, I didn’t even know it was him until hearing Jane Schoenbrun talk about him at a Q&A after the film.
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Thematically, I Saw the TV Glow is a tale of transgender identity and self-realization. The movie’s multitude of themes and interpretations certainly orbit and come back to that main point, but I Saw the TV Glow is largely about the fictions individuals and societies develop, some of which we never outgrow, in order to “insulate ourselves from reality, to live lives dependent on fictions.” The reasons for which are existential dread, various forms of angst, social expectations, loneliness, isolation, and a profound embarrassment about what we’ve allowed our consciousness to be shackled to.  

 Justice Smith. Photo Credit: By Spencer Pazer. Courtesy of A24

Every few years some fresh filmmaker contemporizes the existential dilemma for audiences. It may not feel fresh to some folks, depending on their personal experiences and level of cynicism; there is a point, after all, when angst driven dramas no matter how well done aren’t stimulating to those who’ve lived through decades of similar cinema (books, music, etc.). However, there is something very vital about these new incarnations of old themes, especially when they inject relatively recent perspectives. I Saw the TV Glow is easy to dismiss as yet another tale of suburban ennui, but that misses the way it showcases pop culture as a modern opiate, and more significantly, how it shares the emotional side of gender dysphoria.
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I have a hard time classifying this film as horror. It isn’t frightening so much as tragic and depressing. Make no mistake, I Saw the TV Glow is an engaging, eerie drama for those willing to take this journey. The trek may be pointedly transgender, but it ably conveys complex emotions many can relate to. Sometimes it does so by outright stating feelings but that may be to ensure audiences get the point: life itself is a nightmare. Likely to join the ranks of Donnie Darko, this is a future cult classic.

March started with a trip to the Alamo Drafthouse in Wrigelyville. Although not my favorite part of Chicago—most of the people there are blackout drunks using baseball as an excuse to get obnoxiously intoxicated—it was nice to visit this theater for the first time. I will say it was one of the finest smelling parking garages I’ve ever been in, thanks in no small part to aromas pouring out of the Alamo Drafthouse kitchen. That’s left me wondering if the facility was designed with that in mind, pour the scent of fried food into the garage to start tempting customers the second they arrive. I swear, it smelled good enough to tempt the anorexic to eat.

In any case, I saw a curious indie film called Problemista. It’s a surreal comedy about a young immigrant trying to make it in New York City. Things don’t go smoothly, and desperate to avoid deportation he begins working for an art critic who can only be described as an eccentric curmudgeon. There’s some wonderful acting, clever imagery, and a sweetness to the story that made it worth watching. For more details on what works and what doesn’t in Problemista, check out the review below.

Problemista Is an Amusing Show of Potential | Film Obsessive

After that I got to see a fabulous horror flick called Out of Darkness. This came by way of a digital screening link, so I got to watch it in my apartment with the lights off and headphones in. Normally, I’m all about the full theater experience, but this really helped accentuate the feel of the film, especially the audio.

Out of Darkness is a primitive tale of terror featuring a stone age band struggling to survive in the wilderness. Whether they’re being picked off by actual animals or something more demonic is part of what captivates, but there’s so much more to this movie that I dare not risk spoiling anything. The review explains it best; however, I can’t recommend this one enough.

Out of Darkness Stabs at the Heart | Film Obsessive

In-between reviews, I penned a retrospective looking back at The Boondock Saints. Released 25 years ago, I found it interesting to discover this flick has not aged well. Not so much because of the content, though some problems exist there, but mainly, I found many people critical of it now simply because it belongs to the long list of Tarantino inspired films from that era. Contemporary critics, particularly those who weren’t even alive during the film’s release, bash the picture for its clumsy mimicry of other films. In my opinion they fail to take into account a number of things, all of which are laid out in the article.

By no means a perfect film, I do still find The Boondock Saints an enjoyable movie. And revisiting it, while giving modern criticism a fair shake—maybe nostalgia changes our perspective, but I think I made a case for why the flick is still a decent watch. No, it isn’t for everyone, yet that’s what makes it a cult classic. If nothing else, it’s never a bad idea to have to defend a point of view every now and again—keep things sharp and sure.

Twenty-Five Years Later, The Boondock Saints Calls to Its Cult | Film Obsessive

Following the action classic, I visited a flick called Glitter & Doom. This romantic musical centered on a pair of lovers with the titular names, at the very least as stage personas. For those inclined to roll their eyes, I think the film makes the point that such noms de guerre are often indicative of a person’s inner identity. Still, theatrics aside, the movie is okay.

It’s a jukebox musical composed entirely of tunes from the Indigo Girls. I wouldn’t be surprised by younger folks having no idea who those folk singers are. And frankly, I thought they were more famous than history records. Seems I was just friends with a lot of their fans, so mistook the prominence of the band. Thing is, they’ve got some solid tunes well-worth a listen; however, the musical doesn’t quite capture what made the Indigo Girls special.

For a better sense of what I mean, check out the review.

Glitter & Doom Sparkles but Doesn't Shine | Film Obsessive

March saw the release of one anticipated sequel. I’m talking about Ghostbusters: Frozen Empire. At first, I didn’t exactly get assigned to this movie. Someone else beat me to the punch. Yet, my editor put me on deck as a backup in case something happened. On occasion, other reviewers have run into obstacles, personal and professional, which prevented them from turning in articles. For instance, working more than one job can make it hard to attend screeners or complete reviews on a deadline. That’s where backups come in.

If nothing else, I appreciated being able to attend the press screener. Numerous cosplay groups showed up including the South Shore Ghostbusters. Basically, every Chicagoland and greater Illinois Ghostbuster organization within driving distance arrived in full gear. These are great groups who do charity shows for various causes. Their enthusiasm was palpable and definitely made the experience more memorable.

Although I ultimately didn’t get to turn in a review, I wrote one anyway.  Posting it to my own site seemed the logical move, and I may start doing that on a regular basis. We’ll see. Although I mostly agreed with what my colleague at Film Obsessive put together, there’s no sense in me writing this stuff just to put it where no one can see.

REVIEW: Ghostbusters: Frozen Empire Falters but Doesn't Fall - Honesty Is Not Contagious

Jumping on an offer from my editor Don Shanahan, I checked out a movie called Paradise. One of the downsides to reviewing feature films is wading through a lot of garbage to find even a glimmer of gold. Paradise is a gem I could not recommend more. For all the details, read the review below… and if you’re the kind of person who enjoys an excellent movie, then please watch Paradise.

Plus, if I may toot my own horn, it seems the director of the flick enjoyed the review as well. It’s always nice to feel like we’re helping smaller films get noticed, or at the very least made aware they did a great job. As someone who has put work out there, it always sucks not knowing how people are reacting. Sure, bad reviews hurt but silence just allows for worse things to form in that part of the brain that says everything you do is a failure. I don’t want to seem egotistical, but if I can point folks towards a smaller film overshadowed by mediocre blockbusters, that makes the work worthwhile.

Paradise is a Terrific Tropical Western | Film Obsessive

Interviews are still a tricky part of the job. I like to do them and am hunting for more opportunities. However, I can’t deny my people skills need improvement. That’s why it was great to interview someone like Scarlett Moreno.

Besides having an impressive career to go over, she’s someone easy to chat with. We had a lovely discussion about her new award-winning short film Velma. We also got to go over her previous work on things like the television show “Rebel Without a Crew” as well as her numerous film projects. She has a definite visual style that I find alluring and the metaphors in her works are thought provoking. But it’s best to let her speak for herself, so check out the interview below.

Scarlet Moreno Talks to Us About Velma | Film Obsessive

Finally, I closed the month reviewing a foreign film entitled A Forgotten Man. It was a heavy period piece about a Swiss diplomat coming home after World War II. It seems that during the war, at the behest of his government he borderline helped the Nazis. Along the way, he also assisted several entrepreneurs who saw ways to profit off the Reich without getting too directly involved in the war effort. They basically held attitudes like, “I just sent them metal and chemicals. I didn’t know they built murder machines with them.”

It's a well put together flick based on a play. That much is obvious from some of the staging. The only drawback I see is that the message is so heavy it may put off casual viewers. What makes that a shame is the relevance of its key points nowadays. This is a movie about turning a blind eye to obvious evil for reasons that are terribly understandable. Besides greed, there’s also the idea that appeasing the wicked may mean avoiding greater bloodshed, and historically, Swiss complicity in the Nazis regime’s crimes has never been fully addressed, at least according to the filmmakers. A Forgotten Man isn’t meant to shame; it’s a chance to acknowledge a mistake in the hopes of never repeating it.

A Forgotten Man Is a Caution and Condemnation | Film Obsessive

And that does it for March. I promise the April roundup will come much sooner. The only thing left to do is a rush of articles at the start of May then the final mastering on Beerfinger “Lessens”. As far as I’m concerned, the album is done but it’s best to take a breath to see if any kinks stand out. Sometimes being too close to a project can obscure obvious flaws. That said, things have finally come together, so stay tuned for that.
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Otherwise, my best to you and yours. Remember to stay weird, remain safe, and never turn down a chance to chuck pudding at idiot kids while cruising by in a mean ride. Cheers!

The month kicked off with a Romancing the Stone knock-off called Argyle. I’ve never been so disappointed by a film. It should not only top many lists for the worst movie of 2024, and I think there’s a fair case for making Argyle one of the worst films ever made. Without hyperbole, I honestly felt physical pain watching portions of this picture. Worse, it’s not even comedically bad. Argyle is simply awful, but I will say that gave me fuel for a few choice sentences because at least the review should be entertaining.

Argylle Is Atrocious | Film Obsessive

Not long after, I got the privilege of interviewing a wonderful individual by the name of Nic Novicki. He’s a standup comedian, actor, writer, director, and we discussed the Easterseals Disability Film Challenge. This is a project he founded over a decade ago that involves giving filmmaking opportunities to differently abled individuals. Nic himself is a little person and well aware of how people with disabilities don’t often get a fair shot in Hollywood, he conceived the Disability Film Challenge.

The article has more details about the challenge itself. Suffice it to say, it’s a marvelous opportunity that’s more of a hand up than a handout. The video interview is also illuminating thanks to Nic. He’s been answering questions about it for so long he has a ready set of responses that’re concise, engaging, and informative. 

Nic Novicki Talks about the Easterseals Disability Film Challenge | Film Obsessive

Diving back into films I scored screeners for two horror flicks. I always like getting the indie fright films. Although there’s a high probability they won’t be good, the chance they might be means having an opportunity to tell others about a film they might not otherwise discover. To that end, I mostly enjoyed Gods of the Deep.

This horror movie wears its Lovecraftian influences loud and proud. Embracing a low budget, the script actually finds some smart workarounds to keep the film compelling. In many ways, I think a few clever alterations could turn Gods of the Deep into a captivating audio drama. As a film, though, it’s mostly for fans of Lovecraft stories. The ways in which it falls apart towards the end make the movie a bit ridiculous, yet it could also mean Gods of the Deep is ideal for a beer and a pizza movie night with friends.

​Gods of the Deep Lacks Depth | Film Obsessive

After that I watched something called There is a Monster. This is one of those instances where a solid idea falls apart because of the low budget. Instead of finding ways to shoot around the limitations, the filmmakers plowed forward. Consequently, terrible effects undermine a potentially powerful story. In addition, the point of the narrative is so obvious it begins to hammer viewers over the head. 

There is a Monster Yet No Terror | Film Obsessive

Around then I took a break from horror to visit an indie film called Bleeding Love. It stars Ewan McGregor and his daughter Clara. The story is old hat, especially by indie standards. In many ways this movie felt like a demo reel for Clara McGregor’s next audition. Still, I’m sure some angsty teens living sheltered lives in suburbia would absorb this as if gaining insight into something safely grim. That isn’t to say Bleeding Love is a bad movie, but it does nothing remarkable enough to make it stand out. 

Bleeding Love Is Nothing New | Film Obsessive

Time for another retrospective, I penned a piece about Mystery, Alaska. This hockey picture came out in 1999. Originally, I intended to do an article about how few hockey films there are. However, I quickly discovered way more than I imagined. There’s even a John Wayne movie where he plays a hockey star coming back to the game in order to make money for his chicken farm – Idol of the Crowds (1937). With my primary thesis proven wrong, I pivoted to simply exploring the film as is, a lighthearted drama containing a couple of laughs. That led me to the realization sports films are rarely about their sports. The games within become metaphorical tools for examining life. More than anything, Mystery, Alaska is the kind of flick we don’t see too often. And it faded from public consciousness so quickly back in 1999, I liked the idea of reminding people this lovely little village comedy exists.

​On a side note, trying not to spend money I don’t have, I tried to watch the movie online for free. However, the site I found it on turned out to be a Russian dubbed version, edited for time. This chopped up rendition actually amused me for a bit because I did rent the full flick from Amazon, but jumping between the two I noticed strange cuts. A lot of the traveling shots, characters motoring around town on snowmobiles, I get why those got sliced out. Yet, there’re these abrupt jumps between scenes that made me wonder how tight are the time constraints on Russian television? One millisecond over your allotted time and they make you drink Putin’s polonium tea.

Revisiting Mystery, Alaska: Where Hockey is All | Film Obsessive

Dune 2 finally arrived in theaters. I was fortunate enough to get a chance to review the next chapter in Denis Villeneuve’s epic space opera. Initially, the assignment slated me as a backup. Fortunately, free space in my schedule allowed me to see the film at a press screener ahead of the other reviewers at Film Obsessive. As such, editors decided to go with my review.

I found the film to be fabulous. However, I understand some complaints about the picture. The movie tends to blow through its main themes with a hurried bullet point delivery rather than an in-depth exploration. As far as I’m concerned, a melodramatic space opera can be forgiven for such things. Others disagree, but I cannot imagine we aren’t on the same page that Dune 2 looks absolutely amazing. Whatever complaints one has about the narrative, the movie is a stellar visual achievement.

Dune: Part 2 Delivers | Film Obsessive

February closed with a final horror film, The Omicron Killer. This movie is straight up garbage. I think it wants to be comedic, but the efforts are piss poor. Even when clever the horror and gore get repetitive to the point of dull. I hoped it might be good-bad, but such expectations died a quick death. I tried to be respectful of the filmmakers because I do think they made an honest effort. Still, the review has some sweet fiery lines burning this picture down.

The Omicron Killer Is No Lethal Variant | Film Obsessive

And that pretty much summarizes February. The only thing left to report is that the next Beerfinger album is roughly two songs from completion. Most of the tracks have been mastered. Doing so made me realize one tune needed adjusting; however, that quickly led to the fact the song wouldn’t work as is. Attempting to modify the music produced an entirely different tune. But things are progressing faster than I expected. Lessens is just around the corner so stay tuned. 

Dan Aykroyd and Kumail Nanjiani as Ray Stantz and Nadeem Razmaadi. © Sony Pictures. 

Apparently, everyone. There’s no shortage of potential protagonists in Ghostbusters: Frozen Empire. That wouldn’t be problematic if it didn’t take time away from storylines. The issue is that the cast is so bloated there’s barely time to understand why anyone is here. Peripheral characters, even those recurring from previous films, often seem tacked on with barely any purpose. Rather than cutting the cast, allowing the story to focus, Ghostbusters: Frozen Empire tries to include everyone which ultimately means telling no one’s story satisfactorily.

There’s almost no reason for Finn Wolfhard to be here. Celeste O’Connor returns as Lucky Domingo in split second scenes. James Acaster plays a new character named Pinfield who feels completely superfluous. And though none of these roles are poorly performed, they serve so little purpose the characters border on drive-by cameos and whatever the Ghostbuster equivalent of red shirts might be.

​Some of this stems from the clear desire to devote time to world building. Although Afterlife spent similar screentime expanding the lore, it did so in a way that served the story it was trying to tell. Frozen Empire, however, jams in expanded content fans may find engaging, but which doesn’t do much for the story. It’s like adding a detour to what could have been a straightforward trip. As such, Ghostbusters: Frozen Empire is a shotgun blast of themes. Some of which include but are not limited to joining a family as a stepparent, youth struggling to be taken seriously, and the old guard wanting to take up the cause again. Each gets little more than lip service, but they are there.

Mckenna Grace as Phoebe Spengler. © Sony Pictures.​

That said, Ghostbusters: Frozen Empire does have its charms. The film is comedic throughout. Several laugh-out-loud moments abound. Paul Rudd is a delight whenever onscreen, managing to be serious yet comical however the moment demands. There are plenty of instances that will have audiences chuckling enthusiastically. Yet, if one were to complain, it would be that every character is a quick wit quip artist. Ghostbuster: Frozen Empire can get a little dull comedically with every other line of dialogue featuring a sarcastic comeback. Still, much of the humor is amusing throughout, and I doubt many will leave without a smirk.

The opening, which takes place in the past, is fabulously creepy. Often Ghostbusters: Frozen Empire walks the fine line between horror and comedy as admirably as its predecessors. When it leans into horror it provides proper chills. Some scenes are guaranteed to add nightmare fuel. It’s just a shame there aren’t more.

​One thing that doesn’t work is a lot of the nostalgia bait. Afterlife featured similar instances, but managed to use them in ways that furthered the narrative. What occurs in Ghostbusters: Frozen Empire feels like serotonin triggers distracting from the film’s flaws rather than narrative expansion. Still, fans are likely to squeal with glee when they see things like the Ecto-C. And frankly, they should.

Scene from Ghostbusters: Frozen Empire. © Sony Pictures.

Most of the movie seems like it’s made for a specific audience. In an interesting way, Ghostbusters: Frozen Empire feels closer to The Real Ghostbusters animated series than the film franchise. And while that appeal is fair for devotees of the overall fictional universe, it may not translate to delight for general audiences. I suppose to put things in perspective, leaving the press screener I overheard an enthusiastic child who sounded over the moon having seen this film.

That joy is thanks in no small part to a fabulous cast. While the founding Ghostbusters return --- Ernie Hudson, Dan Aykroyd, and Bill Murray --- to do a solid job, the real stars are the newer roles. Mckenna Grace remains a lynchpin in the quality of this franchise. She delivers some of the most heartfelt moments in the movie. Kumail Nanjiani adds some charming quirkiness somewhat reminiscent of Rick Moranis, while Emily Alyn Lind provides a rarely seen friendly ghost that is relatably tragic.

However, even when well performed, some roles feel shallow. Bill Murray and Annie Potts seem like they did a day of shooting, and while I’m sure they did more, their parts border on those aforementioned drive-by cameos. Paul Rudd and Carrie Coon don’t get enough screen time to flesh out their situation, a shame considering how well they work together, and their plot potential.

Quality CGI provides some solid ghostbusting scenes. Unfortunately, none of the action carries much weight. Whatever stakes Ghostbusters: Frozen Empire builds it undercuts instantly to keep the story going without turbulence. It’s almost as if the filmmakers never want the audience to worry about the heroes.

​Director Gil Kenan does a decent job shooting the movie, but the lack of narrative tension keeps it from feeling compelling. Though a bit of horror and high-quality comedy occur throughout, the ultimate plot line is a mess that ends unsatisfactorily. Although fans may delight; Ghostbusters: Frozen Empire is, at best, a single viewing worth streaming once --- entertaining but no need to see in theaters.

The month opened with a scene analysis comparing moments in The Rainmaker (1997) with similar ones in The Verdict (1982). Not too long ago I was trying to find a film to watch for fun. I stumbled on The Verdict, and since Paul Newman is always a safe bet, I gave the picture a shot. It was a solid film, easy to see why it won as many awards as it did, especially the various Oscars. However, throughout the viewing I couldn’t help noticing serious similarities to The Rainmaker. In many ways, the two pictures are basically the same movie.

Now, I’m no big city lawyer attempting to try some plagiarism case, but I reckon its safe to say the one film definitely influenced the other. I’m tempted to even cast similar suspicions at The Rainmaker novel. And though I’ll concede, as I do in the article, legal dramas are constrained by the demands of courtroom protocol, the realities of the law, etc., plots can still be a little close for comfort. Still, I didn’t want to hurl accusations about carelessly, so instead leaned into how scenes can be almost exactly the same yet play out differently simply because of the way they’re shot.

This is an interesting piece about how camera angles influence the perception of events. Sometimes this is subtle. Other occasions affect audiences overtly. The point is that using angles effectively can vastly improve a simple scene.

Angles on The Verdict and The Rainmaker | Film Obsessive

Shortly thereafter I went to a press screener for Night Swim (2024). I had hopes for this horror flick to at least float. The premise of a haunted pool may be, to a degree, ridiculous, but it was something new. Fresh enough I hoped the filmmakers might mine that uniqueness for potential. Unfortunately, the movie sank like a stone. Perhaps in better hands Night Swim could’ve done well. I, for one, couldn’t stop envisioning the simple ways to improve, to effectively utilize the premise in a sequel. Though that said, I doubt I’ll ever get the chance, so such writing exercises aside the only thing left to say is what makes the movie bad is in the review.

Night Swim Sinks Like a Stone | Film Obsessive

Back around December (or maybe November, I can’t exactly remember which), a buddy of mine asked for help with a sketch. He needed performers, and him being a decent sort, I didn’t see any reason not to assist any way I could. We got together with a few folks then recorded an amusing little sketch he wrote called “Stan It or Ban It.” I sincerely think some of the jokes are solid. My only regret with my performance is that I got the shifty eye going so much I think folks might get the impression I’m reading a script instead of acting. That said, I’ve been told by a few it does come across as “weird” in a comedy way. 

Procrastination is a blessing and a curse. On the one hand, it results in the apartment being cleaner than average. On the other, it means ignoring projects in order to do menial tasks. Granted, there’s no small jobs when it comes to work over at Film Obsessive. But looking for something to do other than bang my face against the blank page, I agreed to do various announcement articles. Partly, I figured these could be good writing exercises. Think of it like being a carnival barker.

The first assignment I volunteered for involved the announcement of an Until Dawn film adaptation. I thoroughly enjoyed this video game when it came out years back. Granted, it’s more of an interactive movie, a Choose Your Own Adventure of sorts, but the story is solid and it has real replayability. No two playthroughs of Until Dawn are necessarily the same. Plus, players can have events unfold any which way they want.

The article breaks down what the game is as well as the reasons why fans of the series can be optimistic. There’s a chance a decent movie might be made. In addition, I truly believe video game adaptations may be the next big phase in Hollywood. With superhero fatigue setting in, the movie industry needs a new booming revenue stream. Good game movies have that potential, not to mention a plethora of built-in sequels. The success of the Super Marios Bros. adaptation proved such films can be made. And Until Dawn may be another step in the right direction.

Until Dawn Film Adaptation Advancing | Film Obsessive

Then I hopped on the chance to do a trailer of the week for the upcoming Road House remake. This isn’t the first time the cult classic has been aimed at. Back around 2016, Ronda Rousey was cast as the lead. Though that film never came to life, it seems to have seeded a desire for the remake. Flash forward to the present day, and Jake Gyllenhaal is stepping into Swayze’s shoes.

I’ve always been a fan of the original. It’s a cheesy guilty pleasure to be sure. Yet, I can’t help quoting its dumb lines. Not to mention the flick is a solid example of 80s action Americana. The debates I’ve had with folks over midnight cocktails dissecting what makes this movie a delight are pleasant memories to say the least. As such, I’ll for sure see the remake, but in the meanwhile, I enjoyed writing this article because it gave me a chance to see if I could sell it to the skeptical. 

Road House --- Same Town, New Story, huh, Pal? | Film Obsessive

Around the middle of the month, I had the privilege of attending the Windie Awards. These are given out by the Chicago Indie Critics, the group I’m affiliated with as a movie reviewer. It was a unique experience as I’ve never been to such a ceremony before. Awards have always been something on a screen which involves a certain inherent detachment from events.

While there I got to have a chat with one of the nominees, Natalie Shea Rose. She worked on hair and makeup for The Iron Claw (2023). A lovely lady quick to laugh with an infectious effusiveness I personally found charming. In addition, I had the honor and privilege of presenting the award for Best Score.

The Windies may seem like a minor award from a small group, but I think it’s important that folks understand people appreciate when their hard work is acknowledged. Partly because the CIC isn’t a large organization, it allows them to focus on features outside the myopic Hollywood gaze that tends to only see big budget productions. That said, a lot of big studio pics won that evening, yet many did feel obliged to send messages (some recorded, some written) thanking the organization for their awards. Still, the Chicago Indie Critics are able to award local talents for their various contributions to cinema.

Dennis Scott, for instance, is the organist for the Music Box Theater. His performances bring silent films to life in ways that can only be appreciated in person. He received a Windie for his work. 

Windie Awards – Chicago Indie Critics

Finally, I finished the month writing about the blaxploitation film Sugar Hill (1974). I’ll leave the details to the article. Suffice it to say this is a breakdown of why horror is an ideal genre for exploring issues unique to the black community. It also highlights how, although beloved by many, blaxploitation isn’t enjoyed by all. With any luck, reading it will help deepen your appreciation for these kinds of films. 

That said, this was one of those articles I could easily have turned into a twenty-page essay. There’s so much to say, and so much information to share. If nothing else, I was happy to make it an amalgamation of literary figures, horror, society, and film. 

Fifty Years Later, Still Visiting Sugar Hill | Film Obsessive

Otherwise, it’s been a month of fumbling with fiction. The next Beerfinger album is making solid progress. I need to rerecord a few vocals, but things are close to completion. So close in fact I should start working on album art.
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But that’s all for now. Remember to stay weird, keep safe, and treat yourself because no one else will. Cheers! 

December featured some fabulous assignments. One article I jokingly pitched to my editor revolved around Jaws IV: The Revenge. Easily the worst film in the franchise, this time the colossal shark killed its own line of films. On the one hand, that means studios stopped trying to capitalize on the name. Imagine for one horrifying moment if moviemakers were still cranking out straight-to-streaming knockoffs of the classic like cinematic cousins no one cares to see at the family reunion. Although I am a fan of bad horror movies, I don’t think Jaws 18: Bayou Bite would’ve been any better than a flick like Sewer Gators.

That said, I started out pitching an article in order to jokingly explore the Die Hard inspired logic of what constitutes a Christmas movie. After all, Jaws IV takes place at Giftmas, and the holiday is a motivating factor in certain character choices. However, I spun away from that to do a scene analysis of the opening. Basically, I breakdown how the opening to the film is pretty solid. Aspiring creature feature crafters would do well to take notes on setting up a monster without revealing too much. Plus, I personally find it absolutely horrifying. Though the other side of the coin is that the expectations it establishes make the quick downturn in quality all the more disappointing. 

Jaws: The Revenge Has One Redeemable Moment | Film Obsessive

Reviews got into gear straight away. December is usually a dead month for cinema. Due to the holidays, there isn’t a strong audience turnout, and studios tend to drop a lot of their award-oriented features. The blockbuster season is long over leaving few standout pictures they expect to draw big bucks. To an extent, the general public kind of understands this, so December becomes a weak month as far as films. That said, it wasn’t a nightmare going to the olde picture show.

I kicked off the month reviewing Chick Run: Dawn of the Nugget. A big fan of the first film—I looked forward to seeing the sequel. Though I can’t say the follow-up surpassed its predecessor, this turned out to be entertaining enough. One thing I didn’t mention in my proper review, though, is that insomnia was working me over pretty hard that week. Consequently, at one point, I slipped into unconsciousness for five minutes. Perhaps that says something negative about the movie, but I blame myself more. I ought to have caffeinated better beforehand. As such, I left out any mention for fear it would imply more boredom than I experienced.

Chick Run: Dawn of the Nugget is a good picture, especially for families. Kids will likely enjoy it, and parents won’t feel entirely unentertained. For a better breakdown of what worked and what didn’t, follow the link. 

Chicken Run: Dawn of the Nugget Is Underdone | Film Obsessive

Around then I benefitted from the “for your consideration” discs I started getting from studios. First off, still new to being a proper movie review, press affiliations and such, I didn’t know to expect these things. When they first began arriving in the mail, I initially got a bit paranoid. For instance, imagine receiving a medium size box without warning. You know you haven’t ordered anything online, and although it's possible one of your friends may have sent you a secret gift, there’s always that paranoid tickle worrying some bitter ex just sent a box of horseshit… maybe a glitter bomb with a touch of anthrax.
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Oddly enough, it’s when things start getting that ridiculous—despite storing the notion away for future fiction—you open the box. Inside is an assortment of discs in phenomenal packaging not meant for anyone but the critics who’ll see these for-your-consideration releases. And interestingly, some of the films inside aren’t available for viewing anywhere yet.

That’s how I got to see Ferrari before the film hit theaters, streaming, press screeners, etc. I just wish it’d been a better movie. Though there are a few solid pieces, Penelope Cruiz certainly being one, none of it adds up to a compelling whole. Ferrari is like someone got all the best parts for an engine but didn’t know how to assemble them into something stellar. 

Ferrari Slips a Gear | Film Obsessive

Aquaman and the Lost Kingdom offered the promise of comic book escapism. At the preview, I saw several people dressed in ways implying giddy anticipation. Some folks in attendance looked like comic con attendees wearing their best Aquaman apparel. No one came in full cosplay, but anyone uncertain what was screening would be able to venture a safe guess. This was one of those screeners where critics and the public comingled; the studio no doubt hoping the joyful crowd would influence reviewers. When it comes to horror movies and comedies, that tactic can work well.

Unfortunately, this lackluster last chapter in the DC cinematic universe closed the book quietly. The sad fan with slumped shoulders defeatedly dragging his modest trident out of the theaters says it all. I couldn’t shake the feeling all involved knew this was going nowhere, so instead of ending on a high note, cast and crew phoned it in for a fat paycheck—exit ocean right. Although not unwatchable, Aquaman and the Lost Kingdom is one of those movies that constantly suggests it could’ve been better. Like a lot of sequels, it also has the main character seem to learn nothing from either the previous film or over the course of this one. Perhaps that’s a personal pet peeve, but it annoys me as a storyteller when narratives that’re clearly following the hero’s journey don’t lead to any personal growth.

(Not every story needs to be a tale of personal growth. Sometimes exploring character flaws can be interesting. Several 70s flicks like Five Easy Pieces do just that. But comic book movies are about aspiring to be the best version of ourselves, so when characters don’t grow it seems like missing the point.)

Aquaman and the Lost Kingdom Swims in Satisfying Shallows | Film Obsessive

Reviewing for the month ended on a romcom. Normally, I don’t mind the subgenre. Watching Anyone but You almost changed my mind. While hardly the worst romcom I’ve ever seen, this movie is an insult to the intellect on a level that shocked me. Viewing it, I was shocked to realize it’s supposed to be based on Shakespeare’s Much Ado About Nothing. Something I put together while watching due to a blundered effort to make it somehow simultaneously subtle and overt.

​Before accusations of snobbery ensue, Shakespeare wrote a few uninteresting plays. I’m looking at you Henry VIII and Two Gentlemen of Verona. And anyone who isn’t a fan is welcome to the opinion. But this idiotic adaptation features neck breaking oscillations between juvenile humor and witless gags that constantly fall flat. Whatever charm the leads are able to squeeze out of the mediocre material isn’t enough to lift this drowning bird. What’s worse, it started out solidly which is the most frustrating kind of failure—the letdown that seemed like it could’ve been good.

Anyone but You: All Wits Go Halting Off | Film Obsessive

Finally, my Film Obsessive writing came to a close typing a retrospective about The Sting. This Best Picture winner from 1973 has always been one of my favorites. It’s in my assortment of films I watch once a year. No need for more than that. And at risk of admitting to a certain laziness, I was about to throw it on screen around then anyway. Might as well kill two birds with one stone as the old saying goes—watch a beloved film then write about it.

This retrospective covers plenty of ground regarding the production. Along the way are details about why the score uses ragtime despite that being historically inaccurate as well as how important it is to have a solid vision before production. The Sting is a classic for a reason, and with any luck, this article reminds folks why that’s the case and maybe, if you haven’t seen it yet, it’s time to give it a watch.

Fifty Years Later, The Sting Still Sticks | Film Obsessive

The biggest news in December for me was the publication of Dead Letters: Episodes of Epistolary Horror. I’ve been mentioning it for some time now. Well, the anthology is available on Amazon at last. Reviews have been good so far, and at one point we were #9 on some sort of horror sales list. This is an excellent collection of terrifying tales. My own chiller “Queen of this Carnival Creation” is one of those stories I loved writing. It took a while to find a home for this piece, but if it was going to live anywhere, I’m glad it’s here. 

​Amazon.com: Dead Letters: Episodes of Epistolary Horror eBook : Files, Gemma, Publishing, Crystal Lake, Barb, Patrick, Henriques, Sandra, Stewart, Gregg, Allec, Justin, Jiang, Ai, Rosenberg, Zachary, Miranda, G. Nicholas, Madden, T.T. , Hogan, Liam, B. White, Gordon, Ruth Verona, Emily, M. Blake, Amanda, Reiher, Nat, McCarthy, J.A.W. , Toucher, Kyle, Leonard, Colin, Lagoe, Red, Rohr, J., Wilder, Christina, Mohr, Jacob Steven: Kindle Store

​And that’s it for the December roundup. I hope the best or as close as possible is happening to you and yours. As the Norwegians might say, up and not crying. Meanwhile, stay safe, keep weird, and remember if you build a snowman around a fire hydrant it’s not your fault when some asshole breaks something trying to knock it down. Cheers!

Around the start of November, I had the good fortune to get cast in a Murder Mystery Dinner. Now, I’ve done such shows before; however, this occasion meant being part of a weekend long performance. Myself and five other fabulous folks trekked from Chicago to the uppermost end of Michigan. There we brought to life a mystery involving philandering spouses, blackmail, assassins, and murder most foul. All taking place at one of the most picturesque locations I’ve ever been, the Hotel Walloon. It seriously looks like something out of an episode of Murder, She Wrote.

The only downside is that due to a scheduling conflict, I had to break from events at one point in order to do an interview for Film Obsessive. (On the plus side, my absence helped misdirect speculations about my involvement with the murder.) I was supposed to have a Zoom chat with Robin Bain the writer-director of Girls on Film before doing the weekend long show. Life being chaos, conflicts arouse unexpectedly forcing us to shift things. Fortunately, having to reschedule meant the stars of her movie, Dare Taylor and Willow Grey, could join us. I had a wonderful time chatting with these effusive people, who were more than willing to give me plenty of their time as well as in-depth answers to various questions. To check out our chat, follow the link. Besides the video, there’s an article elaborating on the film and backgrounds of everyone involved. 

Robin Bain, Dare Taylor, and Willow Grey Talk Girls on Film | Film Obsessive

Documentaries are a hard sell. Common Ground is no different, and I do mean sell. This movie looks at the prospect of regenerative farming. And it honestly makes a solid case for the concept. The only downside is that the documentary is basically preaching to the choir, and overall feels like a lengthy pitch to venture capitalists. It’s full of celebrity cameos which don’t always add much to the core point, but they do help provide that star power attention grabbing gimmick. For a full rundown of the film’s pros and cons, click the link to see my review.

Common Ground Preaches to the Choir | Film Obsessive

Finally, I closed the month by writing a retrospective on a cult classic. The Holy Mountain by director Alejandro Jodorowsky is something of a legend. It’s a fabulous example of psychedelic cinema by a controversial filmmaker. What it is and why it continues to influence others since its release in 1973 are all explored in the article. That said, I didn’t write a fawning look back. There are reasons not to enjoy the movie as well as valid criticisms of Jodorowsky. And the film itself seems to be a rejection of the idea fiction can lead to enlightenment. Basically, The Holy Mountain makes it possible to think it’s a surreal criticism of several issues while also admitting it may be a pretentious load of shit. Either way, it’s a piece of cinema history well-worth exploring. 

Fifty Years On, What Lies Atop the Holy Mountain? | Film Obsessive

That’s all for now. The new year is almost upon us. Here’s hoping things will go great, though I’d settle for okay. Meanwhile, keep safe, stay weird, and never let your doppelgänger know you saw them – strike first!

Cheers!

I kicked off spooky season by reviewing an Argentinian fright flick called When Evil Lurks. It’s a creepy movie that has a fresh take on possession. Although the middle crawls a tad, I think it’s well-worth watching. If nothing else, it’s nice to see a new narrative at least being attempted, and the film really wins by creating a scenario then mostly observing how characters react to it. 

When Evil Lurks, It Wins | Film Obsessive

After that I had a curious experience trying to review The Exorcist: Believer. The press screening took place in a part of Chicago I’ve personally never been to. Along Roosevelt Road is an area called Delano Court. It’s basically the unholy offspring of a cul-de-sac and a shopping mall. Overpriced, dubiously acclaimed restaurants and idiotic boutiques crowd the narrow slip cars idle through with a hair’s breadth between them and scrapping street-parked vehicles. The underground parking lot feels like something out of a dystopian nightmare. I kept thinking I was down in a bunker while the street sounds reverberating below conjured impressions of some sci-fi assault above ground.

From this madness I surfaced to wait with the other critics and some people from the public to watch The Exorcist: Believer. Watch is the key word since the film initially featured no sound. At first, I wondered if the movie started silently, but it soon became clear something was amiss. Three false starts later, the audio continued malfunctioning. What ensued was a grim reminder of how terrible humanity can be.

There is something viscerally nauseating about cinema nerds loudly breathlessly berating the poor PR people forced to endure their haughty tongue lashings. Indignant reviewers acting as if the time of gods had been wasted gruffly grumbling aloud for all to hear about how ridiculous it is that a technical malfunction could possibly occur as if the whole error were some planned insult purposefully wasting their precious seconds. And don’t get me started on the cries of the public demanding free tickets because they didn’t get to see a film. Never have I wanted a loaded shotgun more than at that moment, at the very least to fire into the ceiling in hopes of reminding these people of how petty they were all being—this inconvenience is not deathly.

Later that same day the PR company invited me back, and I saw no reason not to give them a second chance. The next afternoon, queuing up in line for the press admission, I noted I was the only person to thank them and at least make eye contact with the young lady ushering us in. The rest all took their passes with a scornful snort before demanding an explanation. Anyone preparing to play an aristocrat during the French Revolution would’ve done well to hear their tone, an odd combination of entitlement unwittingly asking for the guillotine.

Seems the sounds system simply broke—nothing anyone could predict let alone correct yesterday. Regardless, this made seeing The Exorcist: Believer more memorable as an experience than the film is. Although not terrible, it suffers in comparison to its source material. Furthermore, it does nothing new with the concept. For more details, check out the full review at the link below. 

The Exorcist: Believer Pales in Imitation | Film Obsessive

Following that, I sat down to pen some thoughts on The Faculty. This retrospective article gave me a chance to look back at a flick that’s been an A-plus piece of evidence in many friendly debates I’ve had about horror. Mainly, the ways in which the fear genre, whatever its form, is best when it applies to some metaphor. Granted, some of the symbolism and metaphorical implications have become codified over the years, resulting in formulaic designs. Fortunately, movies like The Faculty do a marvelous job subverting expectations by providing interesting twists on such conventions. It’s a concept my buddy Bryan Miller first brought to my attention in college, and it’s served me well as a conversation piece as well as a reminder for the fiction I write.

Lessons from The Faculty, 25 Years Later | Film Obsessive

Afterward, I returned to the online press screeners. I enjoyed most of a movie called The Goldsmith. This Italian horror flick relied on psychological elements more than gore. Again, I liked that it didn’t fall into predictable patterns. What could easily have become a Saw knockoff, torture porn strived for something more clever. If that makes you curious about The Goldsmith, please read the review.
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The Goldsmith Is Tarnished but Watchable | Film Obsessive

Earlier in the month I volunteered to review a documentary called Anselm. This intriguing film ended up playing at the recent Chicago International Film Festival. Prior to that, I got invited to attend a screening at The Logan Center for the Arts. Part of the University of Chicago, this required a trip from where I live down to the Southside. As such, I hit the road around 7 a.m. to have ample time to get there for the 9 a.m. screening.

Without hyperbole, I can attest to getting stuck in the worst traffic of my life. At one point, cars simply stopped obeying any semblance of traffic laws. Vehicles poured down lanes in a chaotic clusterfuck regardless of the supposed direction some should be going in. Inching through miles of road construction, random stoppage as cars double parked without warning, and the molasses pace of typical rush hour slowed to a torturous crawl by an anarchic motorist free-for-all; I made it to the screening with two minutes to spare. Suffice it to say, I am very glad the film did not suck.

This surreal documentary is shot in 3D. From director Wim Wenders, it details the strange works of German artist Anselm Kiefer. I highly recommend it to anyone interested in something that ought to get the creative juices flowing. It also raises some thought-provoking questions about the nature of art and the utilization of history, especially the horrific, for creative expression. More on all that can be found in the full review. 

CIFF2023: Wim Wenders' Anselm Is Immersive, Alluring | Film Obsessive

Following that I did a scene analysis on one of my favorite horror films, The Lords of Salem. The movie is from writer-director Rob Zombie, and frankly, I don’t think it gets as much love as it deserves. I’ll always remember the first time I saw it. My good friend and I went to the Rosemont Theater, and in an almost vacant cinema we watched this haunting head fuck unfold. In many ways, it’s unlike anything else Rob Zombie has done, yet fits right into his cinematic accomplishments. For more on what I think works as well as the scene I dissect, not to mention how that fits into film history, click the article. 

Simple Scares Enrich The Lords of Salem | Film Obsessive

Around then I started down a new path at Film Obsessive. Lately, I’ve been creeping into interviews. The last one I did was for Horror Obsessive way back when the Gwar documentary came out. Now, I’m feeling a desire to head down that road again. I enjoy doing the research to prep, trying to figure out questions interviewees haven’t been asked a million times, and there’s something exciting about talking to real people about the films they’re making.

As such, I got the chance to interview Lindsey Anderson Beer. She’s the writer-director behind the latest flick inspired by Stephen King, Pet Sematary: Bloodlines. I can’t say the movie has been well reviewed. Regardless of your feelings about the film, I recommend giving her a chance to elaborate about what the movie is meant to be. Although I doubt that may change any negative opinions – believe me, I’ve had that conversation with one or two folks already – but I do think knowing the intentions behind a piece of creative expression can alter the way a person might come at their own project. There are lessons for anyone willing to learn. 

Writer-Director Lindsey Anderson Beer Makes Halloween More Frightening | Film Obsessive

Finally, I closed the month sitting at home watching Suitable Flesh. Initially, I got an invite to the London press screening. I had to politely decline since being in Chicago without millions on hand or access to a private jet—it was unfeasible for me to attend. The PR rep and I had a few emailed laughs about that, and they were then kind enough to send me a screener link.

​Inspired by the short story “The Thing on the Doorstep” by H. P. Lovecraft, it’s a tale of psychic body theft starring Heather Graham. The movie oscillates wildly striving to be somewhat comical while also erotic and gory. Nailing down the intention of this film is like trying to catch jelly on a wall by flinging an ax.

Still, that said, film adaptations of Lovecraft have left a low bar to clear. In many ways, Suitable Flesh does. In others, it falls short. Mostly, I could never tell if this movie wanted to be made fun of. It kept feeling like something striving for an intentional good-bad production. Yet, occasionally, I got the sense the filmmakers wanted to be taken seriously. I recommend reading the review, and seeing the movie, though doing the latter with the assistance of several adult beverages. 

Suitable Flesh Can Be a Rotten Delight | Film Obsessive

In any event, that sums up October for the most part. Stay tuned for more Beerfinger updates! I just recorded the instruments for two new songs. Yes, it’s high time I focused on the lyrics and vocals like I said I would, but when inspiration hits it can be hard to concentrate on anything else. And as much as I’d like to be someone who can do four things at once, my attention is unidirectional. But the time is fast approaching for the new album to be fully complete.

Additionally, Dead Letters: Episodes of Epistolary Horror is on the horizon! It’ll be released on December 1st. Preorders are currently being taken and last I checked, that put the anthology in the top ten for Amazon’s top selling horror books. I can’t wait for folks to read the numerous nightmares in here especially my own, “Queen of This Carnival Creation.”

Until next time… stay safe and keep being weird… cheers!

​Theater Camp is a delightful film that follows in the mockumentary styling of flicks like This is Spinal Tap (1984). It wonderfully yet lovingly skewers the antics of a particular niche. In this instance, theater folks are the target. And frankly, when I sat down to watch I worried the movie would be too much inside baseball. Fortunately, that wasn’t the case. Although I do think some jokes hit harder for folks who have even the most peripheral theater experiences, anyone can get into this flick. For more on why, check out the review below. 

Honestly, I was not in a great mood when I first sat down for this movie. For various reasons, I had to watch it 2 a.m. then compose a review for the next day. It was basically watching the premiere on HULU then going straight into writing so the article could go up that morning. Full disclose, some of that pressure was a personal choice. I’m sure if I asked my editor for time, it would’ve been allowed, but let’s be honest here. No one cares about a review the day after something comes out. So we at Film Obsessive need to get reviews done day of, or days before a release. My bad mood really being just too many things going on at once and having to stay up late like this really fucked with my scheduling. But my overall point is that Theater Camp ended up being such a joy, my sourness evaporated. 

Theater Camp Takes Center Stage | Film Obsessive

After that assignment, I found myself happily tasked with seeing Stop Making Sense. This concert film from 1984, directed by Jonathan Demme and featuring The Talking Heads, has long been considered the best music movie ever. The 4K restoration and rerelease promised to be nothing short of extraordinary.

Not particularly familiar with the film, I looked forward to seeing it for the first time. However, I could not imagine the joy of watching this concert. The rumors of it tempting people to start dancing in the aisles are a hundred percent true. At the very least, I felt the impulse to get up and groove. The only thing holding me back, a complete lack of physical coordination necessary to imply dancing. In other words, I didn’t want to worry any of the other press in attendance by seeming to have a seizure during “Girlfriend is Better”… which, by the by, has lately become a routine jukebox play of mine.

It might seem like a decades old concert movie isn’t worth the admission. Yet, I contend in my review, this is the kind of feature which could save theaters, far more so than blockbuster action CGI extravaganzas. The immersive potential of cinemas is what Stop Making Sense embraces. But I won’t go on about that here. Follow the link.

Stop Making Sense Is Best in Theaters | Film Obsessive

I felt so bad earlier in September. I misread a colleague’s post in our Discord and thought they were asking if anyone wanted to cover a certain documentary. Truth is Alix Turner was simply sharing their excitement about the potential review. We chatted, and I apologized profusely. However, a little while later, they messaged me saying that their coverage of a film festival was eating up too much time. As such, Alix asked if I’d take over the documentary assignment. That’s how I ended up getting to cover the nearly five-hour film that is Robodoc: The Creation of Robocop.

Now, I am a fan of Robocop. But here’s the deal. We got word the PR company wanted a review before the release which meant I needed to binge watch this whole thing in basically a day. Then turn around and fire the afterburners so to speak in order to get the review out on time. This is the kind of thing that’s hard to express to folks. It doesn’t seem difficult to simply sit, watching something for five hours, but it is. No matter how entertaining, pressure and directed attention fatigue can kick a brain around.

Fortunately, Robodoc: The Creation of Robocop is an engaging film. Though I caution against binge watching, it is immensely informative. The documentary basically breaks down the movie scene by scene, getting input from every person conceivably involved with each moment. That means interviewing performers, crew, extras… it sets a new standard for behind-the-scenes documentaries going forward. 

Robodoc Lovingly Shares the Good and the Bad | Film Obsessive

What made this assignment even harder is that the same PR firm kicked another film my way. Turns out, the filmmakers behind Robodoc made another documentary called Hollywood Dreams and Nightmares: The Robert Englund Story. That movie was scheduled to come out around the same time, so they asked if we could kindly finish a review beforehand as well. That added another two hours to the watch list. So, essentially seven hours later, I sat down to pen a review of two very different documentaries.

The upside is that both are wonderful. However, Hollywood Dreams and Nightmares is more the story of one performer. The best part about it is that the movie doesn’t focus too much on Robert Englund’s time as Freddy. Of course, it needs to spend time there. The character is what he’s best known for, but there’s nothing new to offer in that department. What captivates are the stories about a person aspiring to have a career then getting comfortable, frankly, confined in a role. For more reasons this movie is wonderful, follow the link. 

Enjoy Robert Englund's Hollywood Dreams & Nightmares | Film Obsessive

Finally, I got to visit a little-known cult classic called Six-String Samurai (1998). This is one of those obscure gems few people have heard of, let alone seen. There’s a grainy, fuzzy version for free on YouTube, but instead of burning my eyes out of my skull, I opted to throw down for the recently released Blu-ray. Honestly, that’s the only way to really appreciate the cinematography of this indie jewel.

This was one of those movies I heard about in high school. Flipping through film magazines back then there would be an article and set pics—the plot intrigued me most of all. In an alternative history, the U.S. got nuked by Russian, and Elvis became literal king of the only city left standing, Lost Vegas, but with his death, guitar plucking, sword swinging rockers are headed across the wasteland to take the throne. Unfortunately, it never made it to any theaters around me. Or if it did, Six-String Samurai didn’t stick around long enough for me to catch it. Sometime around college, I remember seeing half the movie late-night on a cable channel. Cut up by commercial breaks, it failed to impress. Watching it three times for this article, though, gave me a better impression why the few fans who know are devoted to this movie.

And I’ll be the first to admit there are flaws. Six-String Samurai isn’t some lost diamond. Still, it’s a testament to audacious folks being too young and unscarred to stop themselves. That’s a quality too many, myself included, tend to lose over the years. That willingness to dive after a dream regardless of the wreckage that will ensue.

Six-String Samurai: Rocking the Wasteland for 25 Years | Film Obsessive 

Anyhow, most of September ended up being devoted to fiction. I’ve put several stories in the pipeline. If they don’t sell at one publisher or another, well, at least they exist. Having finished some projects is the point, and selling them, although a headache, is part of the business. It's just nice to be finishing fiction again. Though that all said other things are very much in motion.

Dead Letters: Episodes of Epistolary Horror is due to come out December 1st. That date is fast approaching. And I can’t wait to share “Queen of this Carnival Creation” with all y’all. Meanwhile, stay weird, keep safe, and never forget to polish your knives so them fools can see their eyes getting carved out. Cheers!

Recently, I got to review a romcom from Netflix called Happiness for Beginners. It has its charms, though is quite predictable. The supporting cast is wonderful, but unfortunately are never really given enough to do. That’s always a shame because peripheral performances can really add to a feature like this. Still, Happiness for Beginners has its moments for those wanting some lowkey comedy with a touch of optimistic romance. For more reasons why it might be up your alley, check out the review!

Happiness for Beginners Charms without Surprises | Film Obsessive

Around the same time, I got to check out an Icelandic suspense film called Operation Napoleon. It’s a wonderful throwback to lazy Sunday flicks. It’s easy to imagine idling through an overcast afternoon, watching this adventure take place while sneaking a fourth or fifth beer. Dark twists and turns abound as the film unfolds. Although its World War II Nazis oriented plot may seem to have an obvious conclusion, I assure you the movie doesn’t go the way you think it will. There’s enough subterfuge to keep the ending uncertain. Yet, there are a few bumps in the road keeping it from being perfect. Fortunately, such criticism hasn’t stopped the filmmakers from including a snippet from my review on the packaging for physical media. For more, follow the link!

Operation Napoleon Offers Mild Suspense | Film Obsessive

Intrigued by the title, I picked up a screener for a flick called Wendigo. Always a sucker for found footage, I gave this horror movie an honest chance. In some ways it showed potential. In others, it painfully did not. I do congratulate the optimism of the filmmakers, though, since the movie ends on a note implying a definite idea for some kind of expanded universe. They have sequels in mind. That kind of ambitious optimism is inspiring, and as I mention in the review, I do wish them the best.

This is, as far as I know, their first feature length film. Few folks get it entirely right the first time out, and low-budget always causes hiccups. Perhaps I’m being too kind in that respect, however, there’s a soft spot in my heart for the no-budget horror people who seem to be making movies simply for love of the genre. Is it good enough for a beer and a pizza evening? Well, read the review... and yeah, believe it or not, that title leads to a review where I'm trying to be kind.

The Wendigo Will Waste Your Time | Film Obsessive

Speaking of horror, I got to review a wonderful documentary called King on Screen. It’s about the many movies adapted from the works of iconic author Stephen King. Throughout are interviews with filmmakers elaborating on why they chose certain stories as well as why they love the author's work.

This is the kind of documentary that is definitely biased in favor of its subject, although I think that’s okay on this occasion. Love letters shouldn’t be objective. The only annoying part is that the film largely becomes an evening with Frank Darabont at one point. Still, his insights into movie making are wellworth hearing. If you are a fan of Stephen King, especially the films, then I highly recommend King on Screen. Should you need further reasons, and there are plenty, then read the review.

​King on Screen Is a Pleasure for Fans | Film Obsessive

Flashing back to childhood, I got to see the latest version of the Teenage Mutant Ninja Turtles. I won’t lie. Part of me didn’t expect a goddamn thing from this film. Although I try to go into every screening with the least amount of expectations possible – they can only fuck up the perspective – this movie was a fun ride. It’s a joy from start to finish, and even better doesn’t solely rely on nostalgia to appeal to audiences. The movie stands on its own. More than anything, it was just fun. Not to mention, one of the few times I’ve ever thought 3D actually added anything to a movie. For more on what makes Teenage Mutant Ninja Turtles: Mutant Mayhem a delightful flick, follow the link.

Teenage Mutant Ninja Turtles: Mutant Mayhem Is Marvelous | Film Obsessive

Speaking of nostalgia, I took a look back at Blade. Released 25 years ago, this movie is still stellar. Granted, it may not be a subtle work in any respect, but I think there’s more to the movie than some give it credit for. Exploitation roots provide a framework for a film that is engagingly gory, over the top in all the right ways, and sparked the comic book cinematic era we now found ourselves. Feel free to disagree, but the proof is in my article. 

On a side note, I ordered a Blu-ray copy of Blade. This came with all three films in the franchise. Granted, I have no desire to really watch Blade: Trinity ever again – once in the theater was too much. However, I found it interesting that particular disc is buried under Blade II. You have to remove one CD to get at the other. It made me chuckle because I couldn’t stop imagining some package designer being like, “Fuck this movie. You don’t even get your own slot, disappointing piece of shit.”

Blade Is Still Sharp, 25 Years Later | Film Obsessive

Following that note of disappointment, I saw The Meg 2: The Trench. This is an absolutely terrible movie. Nothing about it is in any redeemable. And that hurts my teeth because this could have been a wonderfully fun, dumb film. Oddly enough, my contempt for this movie resulted in one of the fastest I’ve ever written a review. The hate just poured out of me onto the page. In a certain way, it was fun to write and I encourage you to read it for some of the snarky comments. My only regret is that I didn’t include this observation.

Some will be tempted to see this film for ironic reasons. Others may be inclined because it can’t possibly be that bad; curiosity compelling them to see for themselves. Don’t do that. Don’t do either. The Meg 2 is not entertainingly awful, it’s just awful. And any dollars it makes will simply inspire filmmakers to inflict another on us because it doesn’t matter why people see a movie so long as they pay. 

The Meg 2: The Trench is a Beached Whale | Film Obsessive

Finally, circling back to fiction, I recently finished my edits on the anthology Dead Letters: Episodes of Epistolary Horror. Editor did a fabulous job leaving little work for me. Still, it’s nice to know that one is off to the printers. Should be coming out December 1st, and I’ll keep all y’all appraised in the meanwhile.

Otherwise, there’s not much else to report. The next Beerfinger album is inching towards completion. Might have finished sooner if I hadn’t got a notion going on one more song to add. Part of me thinks I added another just to procrastinate since it can’t fail while still being made. Regardless, keep an ear open for that on the horizon. And meanwhile, as always, stay weird, keep on keeping on, and be safe out in this mad world. Cheers!