Normally, I’d want to offer some excuse as to why October’s roundup got a delayed release. I always seem to conjure something. However, maybe it’s time to simply embrace the fact the roundup release happens when it does. They do have a pattern of coming out mid- to late month anyhow.
Honestly, I thought I would get October done during the first few days of November. Then election madness boiled over, scalding the United States with its results. It seemed to be the only thing those of us living here could think about, and then the outcome knocked a lot of people into the sewers of depression. I can’t say I’m thrilled by who won, or the implications of the election autopsy. Still, as is often the case, life goes on with or without us. I’d rather be trudging along than left behind. After all, the future doesn’t have to look bright for it to end up being brilliant.
November has been a wonderfully productive time, though October wasn’t without its gems. That month’s first press screener, I got stuck in abominable traffic. Despite battling traffic to the best of my ability, hampered by complications from car trouble—almost two hours on what should have been a thirty-minute drive—I ended up missing the first half hour of the flick. No sense jumping in that late, I got in contact with the PR people, who were kind enough to inform me I wasn’t shit out of luck. Fortunately, the film distributors scheduled two screenings that day. I suspect they anticipated a blockbuster. So, I spent the day killing time around Chicagoland until I could plunk down and watch Joker: Folie à Deux.
Honestly, I thought I would get October done during the first few days of November. Then election madness boiled over, scalding the United States with its results. It seemed to be the only thing those of us living here could think about, and then the outcome knocked a lot of people into the sewers of depression. I can’t say I’m thrilled by who won, or the implications of the election autopsy. Still, as is often the case, life goes on with or without us. I’d rather be trudging along than left behind. After all, the future doesn’t have to look bright for it to end up being brilliant.
November has been a wonderfully productive time, though October wasn’t without its gems. That month’s first press screener, I got stuck in abominable traffic. Despite battling traffic to the best of my ability, hampered by complications from car trouble—almost two hours on what should have been a thirty-minute drive—I ended up missing the first half hour of the flick. No sense jumping in that late, I got in contact with the PR people, who were kind enough to inform me I wasn’t shit out of luck. Fortunately, the film distributors scheduled two screenings that day. I suspect they anticipated a blockbuster. So, I spent the day killing time around Chicagoland until I could plunk down and watch Joker: Folie à Deux.
Calling this movie a disappointment would be an understatement. I’m mixed on the first flick. Parts of it I enjoyed, while other aspects disappointed. It was like a delicious chunky soup where some of the ingredients didn’t taste right. Still, I remained curious how the sequel would continue the story. And though I can applaud some of the risks, the film never really came together.
The review can speak for itself. That said, more than anything, I’m opposed to this circulating idea Todd Phillips made this movie a dud specifically to piss off the incel losers who embraced Joker (2019). He has a track record of complaining about wokeness ruining comedy, and his history of films about overgrown man-children tend to lean towards edgelord adjacent themes. I think with Folie à Deux, he set out to rewrite history but wasn’t clever enough to retroactively change the meaning of the first film. In other words, even if he wanted to distance himself from the edgelord audience Joker acquired, he didn’t mean to make a bad movie. He simply failed to be as brilliant as box office success mislead him into believing he was.
Spoiler Warning: I say that because the end of the film holds a last message for the incel/edgelord audience. When Arthur Fleck is killed by another inmate of Arkham, essentially for not living up to the Joker persona, his killer then slices his face open into a smile, laughing as the screen fades to black. It leaves the distinct impression another, if not the real Joker, killed a poser. Because Arthur didn’t embrace his madness, he couldn’t be the real clown prince of crime; he denied his delusions were a road map he could follow. However, a true Joker never flinches—once you go over the line, keep going—embrace insanity all the way down.
Granted, films are art, and all art is open to interpretation. Folks may disagree with me. That’s fine. Whatever you think this movie is trying to say, I think we can all agree, it’s just boring which is the greatest sin any entertainment can commit.
Joker: Folie à Deux Is a Bit Off Key | Film Obsessive
The review can speak for itself. That said, more than anything, I’m opposed to this circulating idea Todd Phillips made this movie a dud specifically to piss off the incel losers who embraced Joker (2019). He has a track record of complaining about wokeness ruining comedy, and his history of films about overgrown man-children tend to lean towards edgelord adjacent themes. I think with Folie à Deux, he set out to rewrite history but wasn’t clever enough to retroactively change the meaning of the first film. In other words, even if he wanted to distance himself from the edgelord audience Joker acquired, he didn’t mean to make a bad movie. He simply failed to be as brilliant as box office success mislead him into believing he was.
Spoiler Warning: I say that because the end of the film holds a last message for the incel/edgelord audience. When Arthur Fleck is killed by another inmate of Arkham, essentially for not living up to the Joker persona, his killer then slices his face open into a smile, laughing as the screen fades to black. It leaves the distinct impression another, if not the real Joker, killed a poser. Because Arthur didn’t embrace his madness, he couldn’t be the real clown prince of crime; he denied his delusions were a road map he could follow. However, a true Joker never flinches—once you go over the line, keep going—embrace insanity all the way down.
Granted, films are art, and all art is open to interpretation. Folks may disagree with me. That’s fine. Whatever you think this movie is trying to say, I think we can all agree, it’s just boring which is the greatest sin any entertainment can commit.
Joker: Folie à Deux Is a Bit Off Key | Film Obsessive
Although I saw the next flick a little before September ended, the review didn’t post until October. Nevertheless, that doesn’t change how much I loved Kneecap. This is a rousing comedy from Ireland that features everything from laughter to social commentary. And the latter is the best kind because it isn’t preachy so much as inspiring. Kneecap is essentially an origin story regarding a real-life hip-hop group who rap in the Irish language. This put them at the center of controversy because the British government had basically made the native tongue illegal.
What really makes this movie shine is its smooth narrative. Several themes combine to tell an energetic tale that makes a person want to start a revolution. Music hasn’t seemed this rebellious in too long. All in all, Kneecap is a movie that has something to say, selling its point with charm and comedy alongside block rocking beats, all spiced up with just the right amount of drama. For more on what makes it a wonderful watch, follow the link below.
Kneecap Is a Mirthful, Mad Irish Rebellion | Film Obsessive
What really makes this movie shine is its smooth narrative. Several themes combine to tell an energetic tale that makes a person want to start a revolution. Music hasn’t seemed this rebellious in too long. All in all, Kneecap is a movie that has something to say, selling its point with charm and comedy alongside block rocking beats, all spiced up with just the right amount of drama. For more on what makes it a wonderful watch, follow the link below.
Kneecap Is a Mirthful, Mad Irish Rebellion | Film Obsessive
I want to begin by saying I enjoy the Terrifier franchise. It’s a gruesome, gory good time which is something only horror fans will understand. And though I don’t think Terrifier 3 is a bad entry, it isn’t the best either. Portions of it actually put me to sleep. There was a pack of edgelords who got pissed off by my genuine snoring inadvertently upstaging their exaggerated laughter. Fortunately, such fools are often loudmouth cowards. In any event, it is what it is: a gory dark comedy designed for a very specific audience. How satisfying it is in that respect… is just a click away.
Terrifier 3 Loses a Tick | Film Obsessive
Terrifier 3 Loses a Tick | Film Obsessive
Around about the middle of the month I wrote a retrospective about a little-known indie horror flick called Ice from the Sun. That title is gold, and I’ll fight anyone who says otherwise. However, that said, I will similarly slaughter anyone who claims Ice from the Sun is a good movie.
I admire anybody who can put together a whole motion picture, especially someone who did it in 1999. Nowadays filming is relatively easy. Smart phones and tablets used to advertise they could assist any independent moviemaker by being as good as professional digital cameras. Though that may be a bit of an exaggeration, it isn’t entirely untrue. If nothing else, digital filming has cut out a large expense when it comes to making movies, and there’s no reason someone can’t make something interesting using, for lack of a better term, common cameras. But back in the day, one needed specific equipment not to mention the cost of film (i.e. celluloid to shoot on plus the price of developing it). So, I do have a certain respect for Ice from the Sun.
That’s the point I really wanted to make writing about this movie. Completing the project is more important than the success of the film. Writer-director Eric Stanze dreamed big. It didn’t lead to a blockbuster, but Ice from the Sun opened the door on a 25-year long career. He’s still making movies. That says something.
Ice from the Sun, Still Melting 25 Years On | Film Obsessive
I admire anybody who can put together a whole motion picture, especially someone who did it in 1999. Nowadays filming is relatively easy. Smart phones and tablets used to advertise they could assist any independent moviemaker by being as good as professional digital cameras. Though that may be a bit of an exaggeration, it isn’t entirely untrue. If nothing else, digital filming has cut out a large expense when it comes to making movies, and there’s no reason someone can’t make something interesting using, for lack of a better term, common cameras. But back in the day, one needed specific equipment not to mention the cost of film (i.e. celluloid to shoot on plus the price of developing it). So, I do have a certain respect for Ice from the Sun.
That’s the point I really wanted to make writing about this movie. Completing the project is more important than the success of the film. Writer-director Eric Stanze dreamed big. It didn’t lead to a blockbuster, but Ice from the Sun opened the door on a 25-year long career. He’s still making movies. That says something.
Ice from the Sun, Still Melting 25 Years On | Film Obsessive
Then I got back to reviewing feature films. I ended up seeing a flick called Nickel Boys. This was a haunting story about racism told in a way that was deeply effecting. The whole movie is shot so uniquely and the way certain events are presented stirs a person to thoughts they might not want to have. Call this a hot take, but I think films about racism too often tend to be made for white audiences—black people don’t need movies to remind them racism exists. Perhaps that’s why such films typically lack a certain degree of relatability, the point of those pictures is to highlight the problem rather than the people facing it. Nickel Boys has a potent display of humanity only the cold can ignore. For more on why it works so well, please read the review below.
Nickel Boys Shows How History Is Seen | Film Obsessive
Nickel Boys Shows How History Is Seen | Film Obsessive
October saw one of my fiction pieces get published. Hats off to Cowboy Jamboree Magazine for posting my crime fiction story “Blame it on the Blue Line”. This was a labor of love.
They put out a call for fiction inspired by the works of one Kinky Friedman. Unfamiliar with the fellow, I hustled over to the local library. There I checked out two books, The Mile High Club and The Prisoner of Vandam Street. Quick reads, I was done with both lickety-split. Kinky Friedman is a comedian, mystery writer, and a satirical country western singer. His music could be called comedy, but it often had a serious point. Now, a word of warning, some of the humor may be behind the times, to put it kindly, yet there’s an interesting mystery in both. The main thing I took away was a wonderful way of describing things alongside a tendency to – ahem – borrow the premise from famous thrillers. These two books for instance owe a heavy debt to Rear Window (1954) and The Lady Vanishes (1938). As such, I took a page from Strangers on a Train (1951).
This was the kind of short story that got me thinking maybe I ought to expand it into a novel. Part of me is still tempted. But we’ll see. For now, enjoy this tale of outlaw ennui and criminal complications only Chicago could tell.
Blame It On The Blue Line - COWBOY JAMBOREE MAGAZINE & PRESS
They put out a call for fiction inspired by the works of one Kinky Friedman. Unfamiliar with the fellow, I hustled over to the local library. There I checked out two books, The Mile High Club and The Prisoner of Vandam Street. Quick reads, I was done with both lickety-split. Kinky Friedman is a comedian, mystery writer, and a satirical country western singer. His music could be called comedy, but it often had a serious point. Now, a word of warning, some of the humor may be behind the times, to put it kindly, yet there’s an interesting mystery in both. The main thing I took away was a wonderful way of describing things alongside a tendency to – ahem – borrow the premise from famous thrillers. These two books for instance owe a heavy debt to Rear Window (1954) and The Lady Vanishes (1938). As such, I took a page from Strangers on a Train (1951).
This was the kind of short story that got me thinking maybe I ought to expand it into a novel. Part of me is still tempted. But we’ll see. For now, enjoy this tale of outlaw ennui and criminal complications only Chicago could tell.
Blame It On The Blue Line - COWBOY JAMBOREE MAGAZINE & PRESS
Halloween being right around the corner, I got to take part in another Story Sessions Annual Campfire Tales. I’m always delighted to join the company of storytellers curated by Jill Howe. This year she gathered a wonderful ensemble of performers who brought to life several true stories which left the audience genuinely spooked.
For my own part, I basically did a presentation on my paranormal investigations. Specifically, I focused on the article I put together for Horror Obsessive about the Congress Plaza Hotel. Revisiting that piece tempted me to start writing about ghost hunting and the supernatural again. However, I don’t know if I can devote the time and resources necessary to do it justice. Still, the future remains too unclear to say it’ll never happen.
For my own part, I basically did a presentation on my paranormal investigations. Specifically, I focused on the article I put together for Horror Obsessive about the Congress Plaza Hotel. Revisiting that piece tempted me to start writing about ghost hunting and the supernatural again. However, I don’t know if I can devote the time and resources necessary to do it justice. Still, the future remains too unclear to say it’ll never happen.
I closed the month doing a quick blurb review for a fantastic collection of short stories Saturday Fright at the Movies: 13 Tales from the Multiplex. Written by Amanda Cecelia Lang, these amounted to an excellent assortment of fright fiction inspired by B-movies, VHS era horror, and all the shlock that’s fight to rock. Not only did I enjoy reading this book, but it reminded me why I like doing reviews.
This was another chance to get eyes on something that might be getting the most attention. I say that simply because, especially when it comes to genre fiction, a lot of stuff gets thrown out into the world. Publishing can be a sink or swim situation where the publishers aren’t doing much to help anybody float. If nothing else, the author appreciated it.
I Was a Teenage Featured Creature: Midwestern Horror Writers Share Recent Fictional Horrors | Third Coast Review
This was another chance to get eyes on something that might be getting the most attention. I say that simply because, especially when it comes to genre fiction, a lot of stuff gets thrown out into the world. Publishing can be a sink or swim situation where the publishers aren’t doing much to help anybody float. If nothing else, the author appreciated it.
I Was a Teenage Featured Creature: Midwestern Horror Writers Share Recent Fictional Horrors | Third Coast Review
And that is the roundup for October. Thank you for taking the time. November is almost over, and I’ve got some fiction in the fire. With any luck there will be good news down the line. Meanwhile, I’m trying to wrap up the lyrics on the upcoming Beerfinger E.P. Along the Winter River. I may need to step away from that one in order to come back at the proper angle.
For now, I wish you the best. National Christmas Kick-off Day is about to ensue. However, too many folks here abouts who celebrate don’t have much reason for joy. Personally, I’m hoping we can be each other’s silver lining this holiday season. The world is only a dark place if we keep the lights off, ya dig? Anyhow, stay safe, keep weird, and remember that too few people ask for kindness which is why you need to give it away constantly.
For now, I wish you the best. National Christmas Kick-off Day is about to ensue. However, too many folks here abouts who celebrate don’t have much reason for joy. Personally, I’m hoping we can be each other’s silver lining this holiday season. The world is only a dark place if we keep the lights off, ya dig? Anyhow, stay safe, keep weird, and remember that too few people ask for kindness which is why you need to give it away constantly.
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