As I mentioned in the JUNE 2024 ROUNDUP, things took a grim turn with the loss of my best friend. Still got one left, but they are not an easily renewed resource if ya catch my drift. Perhaps that’s why, rolling into July I tried to stay as busy as possible. This involved overdoing it on a variety of projects not to mention turning into a bit of an Irish cliché. Eleven articles, some short stories, and many bottles of booze later—burnout is real dear readers. Still, it was a wonderfully productive month.

Towards the end of June, I received a reviewer's copy of a book called Dissecting Cannibal Holocaust by Nathan Wardinski. It was a fascinating analysis of the infamous 1980s horror flick Cannibal Holocaust. Wardinski points out that there’s more than gore to this notorious fright film. He opines the movie is full of commentary on society, humanity, and nature. What’s more is he makes a compelling case for his opinions.

That said, smooth as the prose is, chugging through an academic analysis in a few days ain’t easy. Nathan’s not a bad writer, but Dissecting Cannibal Holocaust helped me remember why I stopped doing book reviews. I’ve never been much of a quick reader, so speeding through such heavy material felt like running a 5K after a month on the couch. After all, with a book like this, especially when reviewing, it’s important to hear out the arguments while maintaining potential skepticism in case a flaw presents itself. That can make even a good read exhausting.
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For more on what makes Dissecting Cannibal Holocaust intriguing check out the full review.

Dissecting Cannibal Holocaust: New Book Shows More than the Gore | Film Obsessive

Not long afterward, the author did me the kindness of sitting down to an interview. We chatted about the book, what it was like to write it, and why he’s the one to do it. There’s a transcript as well as a YouTube link in the interview article I wrote for Film Obsessive. Our conversation is pretty lengthy, but we touch on a lot of topics.

If I may add a tad of backstory. Nathan wanted to do the interview over. I told him he did a solid job, but this being his first book certain insecurities are hard to avoid. And I get it. I’ve been on one or two podcasts I wish I could do a second take. However, we talked about it, especially the fact some organic moments could never be replicated, then when all was said and done, he realized he did great. I only mention it because I had to redo the audio on this, and it never occurred to me he was at all nervous. It just goes to show you can’t tell what’s in a person’s head at any given moment.

Author Nathan Wardinski Talks Dissecting Cannibal Holocaust | Film Obsessive

Done with books for a second, I looked forward to a film. Unfortunately, my next assignment put me in the path of Despicable Me 4. This soulless, insulting cash grab pissed me off to no end. As such I wrote a review that I honestly feel is funnier than the whole movie. Despicable Me 4 is aimed at families desperate for something to entertain their kids, but is so devoid of purpose, it’s clearly bait for wallet rape. The only thing I will say in praise is that rage fueled one of the fastest written reviews I’ve ever done. It took roughly forty-five minutes to do this whole thing.
 
Despicable Me 4-get About It | Film Obsessive

Oddly enough, I’ve been lucky in a weird way reviewing films. Every bad movie I see tends to be followed by something good. Enter Exhuma.

This Korean folk horror fright flick is a supernatural delight. It involves a group of paranormal experts who’re hired to move a deceased loved one. Apparently, Korean custom holds that gravesites can be spoiled, unsettling the dead who then torment the living. However, it quickly becomes clear something darker is going on. The experts find themselves in over their heads, and nightmarish events unfold.

Exhuma dose a superb job of authentically recreating genuine rituals used by Korean shamans. This lends authenticity to an already creepy film. The atmosphere is genuinely unsettling throughout. Plus, there isn’t a bad performance in the picture. It was nice to see a good ghost story, especially as I watched this one alone at home with the lights off and headphones in. I won’t say it’s the scariest film I’ve ever seen. That’s a spectrum too subjective to really share. However, I did find it wonderfully creepy from start to finish. Exhuma has a horror vibe many movies never come close to establishing.

Exhuma Eerily Engages the Past | Film Obsessive

Afterward, I sat down to pen a retrospective for Film Obsessive about Bring Me the Head of Alfredo Garcia. One of the legendary Sam Peckinpah’s pictures, this movie is an attempt at a cinematic poem, perhaps an ode to all the failed outlaws. Though not highly praised or successful when released in 1974, the film has garnered a certain following over the years. I explore that, criticize some of the praise, and try to unravel what made Peckinpah a legend. His mix of violence, toxic masculinity, and casual misogyny may have been overshadowing a gentle truth about macho men broken by society’s expectations—kindness doesn’t flourish in a cruel world no matter how desperately it’s needed.
 
Bring Me the Head of Alfredo Garcia: A Neo-Western Ode to Every Failed Outlaw | Film Obsessive

I say this a lot because it often bears repeating; movies are lightning in a bottle. All the ingredients can be there, yet nothing happens. The strange alchemy that makes something entertaining never manifests. That’s how I felt watching Fly Me to the Moon.

This is a film that has so much going for it the fact it never takes off is astonishing. Channing Tatum and Scarlett Johansson should be a charming duo in a romcom. At times they are, but other times bad writing derails the sense of an organic relationship. Fly Me to the Moon is constantly fumbling an easy win. The grand backdrop of the space race does nothing. The star power never shines as bright as it should. The comedy feels like rough draft humor, settling for a placeholder punchline nobody zhuzhed up later. Still, it isn’t the worst thing out there.

​For more of what works, what doesn’t, and why a bottle of wine might make this one watchable—full review linked below.
 
Fly Me to the Moon Never Lifts Off | Film Obsessive

Around mid-July I got to view a documentary called Paul & Trish: The Art of Fluidity. It’s about Paul Whitehead, a British artist whose been successful since the Sixties. He’s done numerous albumcovers for bands such as Genesis and sold many paintings over the years. Paul is transgender, and his female aspect, Trisha Van Cleef, is an effusive individual with an art style all her own. The film is a fascinating look into the life of an excellent artist, while simultaneously providing the perspective of someone finding their entire identity during decades where that truthful journey, sadly, needed to be hidden.
 
Paul & Trisha: The Art of Fluidity Aims at Humanity | Film Obsessive

July almost started to seem like interview month. I say that because shortly after reviewing Paul & Trish: The Art of Fluidity, I got a chance to chat with the person who pulled it together, Fia Perera. We had a lovely conversation about filmmaking, the LGBTQ struggle, and how cinema can help inform people of the humanity behind that struggle. The article linked below elaborates on Fia’s accomplishments before providing a YouTube link to our discussion.

​She was a delight to talk to. Fia definitely knows how to play the press game, and I’m still learning certain ropes. This felt more like a casual conversation than an interview which made for a nice flow.
 
Fia Perera Talks The Art of Fluidity | Film Obsessive

One of the joys of doing film reviews is finding a flick you might not have chosen on your own. Like randomly discovering a song that sings to your soul—the best joys are often the ones unearthed by accident. It’s almost like happiness can be found without looking for it.

Touch is a remarkably moving film. Based on a book by Ólafur Jóhann Ólafsson, it’s about an elderly Icelandic man who sets out to find his lost love. The movie pinballs back and forth between the present and the past. This nonlinear nature helps relate how the two are entwined. In the past audiences meet a shy young man who gets a job at a Japanese restaurant in London run by immigrants. The film’s present shows a widower wondering what could have been. It’s a beautifully shot love story about the importance of human connection in all its forms.

For more reasons to see this movie, check out the link below.

Touch Revives Hope in Connection | Film Obsessive

At the press screener for Twisters, they gave us bottle openers. That seems to say it all. This is a big dumb action flick no one should take seriously. However, it has an odd coding to it I couldn’t shake. Film Obsessive had already suggested they wouldn’t go with my review, so it ended up here on Honesty is Not Contagious. Personally, I think that’s for the best. It gave me more freedom to write a sarcastic exploration of this curiously themed flick.
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While it is an entertaining big dumb fun movie, Twisters is aimed at a very specific audience. Mainly those folks who don’t believe in scientists, and who feel the rural U.S. is the heartland of America—the only decent people come from there. But let’s not waste words here. I’d just be repeating what I said in my review.

REVIEW: Twisters Stirs Up Strange Themes - Honesty Is Not Contagious

Crumb Catcher caught my attention because of its involvement with Larry Fessenden. He’s a bit of a horror auteur known for his unique look, not to mention intriguing filmography. Through the production company Glass Eye Pix he’s produced some noteworthy horror movies. Even when they aren’t the best, they feature original ideas or cinematic style. So, I gave Crumb Catcher a chance.

It involves newlyweds headed off on a honeymoon that’ll likely end in divorce. During their getaway, an annoying waiter from the wedding reception shows up where they’re staying. He insists on pitching his idea to them. Looking for investors, he shows them his crumb catcher invention. As it becomes increasingly obvious that he won’t take no for an answer, things spiral into darker territory as a hostage situation ensues.

Crumb Catcher is a weird, suspenseful look at the American Dream. The way it warps people into nightmarishly desperate individuals is on full display. Solid performances alongside some smart cinematic moves pull it together. However, sometimes the film loses the tension necessary to make such a thriller truly captivating. Yet, it’s an original idea worth giving a chance.
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For more on why, follow this link.

Crumb Catcher Can't Keep Up the Pace | Film Obsessive

July closed with a viewing of Deadpool & Wolverine. If you haven’t seen the movie yet, then check out my spoiler free review below. Everything I have to say is there. The good, the bad, and the ugly… pooling into one pleasing picture.
 
REVIEW: Deadpool & Wolverine Will Rim Your Cinnamon Ring - Honesty Is Not Contagious

As I said earlier, the burnout is real. Preparing for a short story I’m writing, I read two books by Kinky Friedman. Although they were the kind of read that only took six days, it still sucks something out of a being. Meanwhile, I wrote these eleven articles, and I’m not trying to brag. I tried to stay busy to keep my mind occupied. But when August rolled around, I realized July felt like it lasted three years.

​Don’t get me wrong. I don’t mind hard work. However, there’s a difference between working and working yourself to distraction. One gets the job done, while the other runs you into the ground. As such, I’ve decided August is going to be a lighter month. I’ve already turned in my retrospective on The Straight Story, and my scheduled reviews are currently just four films – Lore, Borderlands, Alien: Romulus, and The Crow.

But who knows? The second I stop moving is usually when I feel the need to start running. On that note, remember to stay safe, always praise the defiance of gravity, and keep weird. Cheers!

One of the things about these delayed roundups is that it’s a chance to reflect, gain a sense of accomplishment. That can be good for avoiding those occasional downward spirals. It’s also an opportunity for readers to get reminded of things they either missed out on or what slipped by. With content flooding onto streaming services, it’s easy to lose track of certain releases, even the things that we want to watch. So, let’s catch up on a few things that have happened.

June began with a retrospective on a cult classic called Phantom of the Paradise. This is a rock opera from director Brian de Palma inspired by various works. Obviously, The Phantom of the Opera is in there but so is Goethe’s Faust, and allusions to Edgar Allan Poe as well as The Count of Monte Cristo. It’s a strange movie that shows the beginning of a director’s stylistic inclinations, cinematically and narratively. The visual choices that define de Palma’s career mesh with thematic elements which will flavor his many films. However, for all the potential on display, it failed miserably. Yet, there’s a beauty to this mess if one is willing to see it.

Phantom of the Paradise Sings of Glorious Failure | Film Obsessive

After that I got two movies to review which couldn’t have come at a worse time. In June one of my best friend’s passed away, so I didn’t exactly look forward to watching movies centered around death. Despite that, perhaps hoping the films might be therapeutic, I gave them an honest watch. The thing is, I agreed to see them before my buddy died, so it seemed wrong to hold their themes against the movies. Still, mood certainly has a powerful effect on the way we feel about art, and I put off watching these flicks for a tick or two because I didn’t want my crooked emotions ruining the odds of a fair evaluation. In that regard, I was very fortunate for the kindness of the PR people who sent me digital screeners when funeral demands meant I couldn’t attend the press viewings.

The first film is a kind of modern fairy tale about mortality called Tuesday. It was nice to see something based on an original idea if nothing else. The general premise is that Julia Louis-Dreyfus is mother to a dying teenager. Death arrives in the form of a mystical macaw. I think most people can guess the rest, but there is a strange catharsis provided by the movie. What helps is that the picture is never cheesy. It handles its material with seriousness and good humor rather than snark cynical sarcasm, and that honesty allows the movie to touch on the difficulty of letting go as well as the necessity of mortality. It isn’t an easy film to watch even if you haven’t just watched a friend die, but Tuesday tells a tale that needs retelling every so often.

Tuesday Makes Mortality Palatable | Film Obsessive

Still, as well put together as that movie was, the material weighed rather heavily. Anyone intending to watch that should line up a palate cleanser of some sort for afterward. My plan involved throwing in a kind of coming-of-age comedy called Queen Tut. Little did I know this would be about death as well.

That said, Queen Tut centers around moving on and how memories of loved ones can fuel us to rise above. The world is a grim place but there’s no need to drown in the darkness. The story follows a young person named Nabil who moves to Canada after their mother’s death. Adrift in a strange land, he encounters Malibu, a grand dame of the drag scene who has also recently lost a loved one. The two heal one another, especially as Nabil realizes the drag star shining inside. It’s a wonderful film full of charming comedy and moving moments. 

Queen Tut Slays Beautifully | Film Obsessive

Shortly after I received the screener for the directorial debut of Jennifer Esposito. Fresh Kills is about women trapped in the mafia life by unspoken rules imposed by society and criminality. It centers on the two daughters of a rising mob boss and the very different paths they take. Fresh Kills is a strong debut for writer-director Jennifer Esposito who also plays the young ladies’ mother. The movie may not be perfect. However, it does tell a familiar story from a fresh point of view. Furthermore, the performance by Emily Bader as Rose, the main daughter the film follows, is outstanding.
 
Fresh Kills Leaves the Heart Beating | Film Obsessive

Literally the day of my friend’s burial, I had to go to a press screener for Ultraman: Rising. Rather than stick around for backyard beers with his brother and other buddies, I jumped downtown to catch this mediocre installment of a long running franchise. Though some tidbits shined, the overall story and presentation felt lacking. Ultraman: Rising offered nothing new or compelling, yet on the drive home I started overthinking whether or not I disliked the movie or if my mood might be affecting the appraisal.

Consequently, this review ended up taking way too long to write as I oscillated between degrees of displeasure. Eventually, though, I settled on calling the movie mediocre. My full review does a better job articulating the flaws as well as pointing out the flecks of gold.

Ultraman: Rising Doesn't Get Very High | Film Obsessive

After that, I somehow ended up with another movie about death. Apparently, it was the inescapable theme of June of 2024. That said, this was a comedy, so the lighthearted look at the grave hit a homerun.

From writer-director David Duchovny (The X-Files), based on his book “F*ck Bucky Dent”, comes a charming story called Reverse the Curse. The movie is basically about an estranged father and son reconciling as the old man dies. That may be a familiar plot, but the delight here are some blunt one liners about life. It’s a movie about admitting failure in order to find forgiveness. Meanwhile, an absurd plot about faking wins for the Boston Red Sox unfolds. Reverse the Curse really knows when to switch gears, only turning serious when the material needs it.

Reverse the Curse Hits A Double | Film Obsessive

The month closed out with a trip to the Alamo Drafthouse in Chicago. There to see a screener for Maxxxine. This final part of the trilogy that director Ty West started with X was something I looked forward to seeing. And it was one of those press screeners where they pulled out, if not all, a handful of stops. Signature Maxxxine cocktails on the house, free t-shirts, sparklers—they really wanted us to have a good time. Although I have yet to really understand the movie themed star-shaped sparklers. The packaging says something about how she’s gonna shine, but fuck-all if it made sense at a glance.

Personally, I think the film is fantastic. X, Pearl, and Maxxxine all feed together into one fantastic experience. While I have seen a few negative reviews, any criticism of Maxxxine tends to be from people whom I strongly doubt are familiar with the aesthetic not to mention the time period. That’s because nostalgia bait for the 1980s hasn’t focused on the grittier aspects of the decade. Maxxxine marvelously evokes not only the feel of 80s slasher cinema, neon-soaked VHS dripping blood, but it also reminds of the decade’s darker side. One critic complained Maxine showed no character growth between her appearance in X and this film which is utter horseshit. Maxxxine is one of the few horror films to show a marked difference in character behavior between sequels, that sharpened final girl more prevalent in modern fright flick follow ups.

For more on why I think the movie is fabulous check out the full review below. This is another one that ended up here, and I’m partly hoping that could become more regular. It all depends on how much PR companies acknowledge this site. I can’t blame them for thinking there’s no point in wasting a seat on someone without a lot of viewers. As such, I’m trying to get in the social media game a bit more.

REVIEW: MAXXXINE is Marvelous - Honesty Is Not Contagious

And that was June, for the most part. My personal life took a bad hit with the loss of my friend. Then for some reason every movie I reviewed tended to be about death, loss, mortality, and grief. I would’ve preferred more comedy in all regards. Whatever the case, June is in the past. Time to move forward.

Remember to stay safe, always test unfamiliar firearms before using them, and keep weird.

​Cheers!