Maxxxine is a killer closer. Courtesy of writer-director Ti West, this sequel to X (2022) completes a marvelously macabre trilogy. Bathed in the best of Eighties panache, this is a B-movie with A-plus cinematic stylization. Maxxxine brings to conclusion a marvelous series of films which elevate horror without becoming pretentious.

The film follows Maxine Minx, an adult movie star haunted by a grim past. After landing a role in a proper Hollywood picture, years of hard work have finally set her on the yellow brick road to stardom. However, a ruthless killer is after this rising starlet. Brutally butchered bodies begin showing up around town, and though the exact connection to Maxine remains a mystery, she knows something sinister is closing in. With everything from her life to her dreams on the line, she’ll have to face the darkness coming at her. 

Thematically, Maxxxine carries on notions explored in the previous pictures Pearl (2022) and X. Each touches on the idea of cinematic stardom by examining different eras of filmmaking. X ventured into the gritty realm of 70s exploitation films, while Pearl took on the garish charm of classic Hollywood pictures. Maxxxine completes the trilogy by handling the neon saturated VHS era of 80s slasher flicks. These are movies about how films are made, while perhaps more importantly, why people make them. But besides cinematic stylization, the trilogy delves into themes of misogyny, loneliness, celebrity, and sexuality.

One thing that sets Maxxxine apart from most horror sequels, though, is the growth of the main character. Once again portrayed magnificently by Mia Goth, this isn’t any old school final girl. It risks spoilers even hinting at this, but Maxine is as dangerous as the killer stalking her, something made abundantly clear in gloriously gory detail. It shows the past having a real effect and Goth is more than capable of displaying the hardened edge her character has grown. Furthermore, it means Maxxxine isn’t simply rehashing old notes from the last bloodbath.

​In fact, there’s an intriguing lack of blood. Make no mistake, the slaughter in this flick is gruesomely effective. Yet, there’s a restraint, saving the worst for specific kills in order to emphasize the brutality of what occurs. Ti West never shies from pushing the boundaries, but each instance matters because they stand out instead of blending into a nonstop bloody collage. 

Although full of nostalgia nuggets, Maxxxine never induces nausea overindulging in them. They exist as excellent production elements highlighting the time period rather than nudging the audience towards unearned feelings. Still, as someone who remembers the 80s, there is an unmistakable delight seeing era appropriate cash, classic Coke cans, and Styrofoam fast-food containers. Yet, these elements are never the draw and Ti West wisely leaves them as background details enhancing the reality of the film rather than engaging nostalgia triggers.
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Any sentimentality is more likely derived from references to Hollywood history. However, even then, such easter eggs often tie into Ti’s trilogy as much as Tinseltown’s past. For instance, Theda Bara’s star on the walk of fame brings up a Silent Era celebrity, Hollywood’s first sex symbol, but also a favorite of Pearl, the dangerously unhinged villain in Pearl and X, who named her alligator after the actress. So much is tied into a momentary shot it’s easy to realize how much care has gone into the composition of Maxxxine.

Stellar needle drops not only fill the film with solid music from the 1980s, but expertly enhance moments in the movie. The use of “Prisoner of Your Eyes” by Judas Priest adds sadness to a demise, while “Bette Davis Eyes” by Kim Carnes bookends a movie that opens with a quote from the legendary actress. And that’s not even mentioning the phenomenal score composed by Tyler Bates. Maxxxine is another gem in a career that already includes pulse pounding compositions for the John Wick franchise as well as Guardians of the Galaxy and several Rob Zombie flicks. From synths to the guitarviol, Bates uses a variety of means to add a retrowave vibe that enhances the mood while cementing Maxxxine in 1985.
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Besides expertly setting up shots, Ti West reunites with cinematographer Eliot Rockett, who worked on the previous parts of the trilogy as well as The Innkeepers (2011) and The House of the Devil (2009). They often manage to capture the mercury vapor glow that distinguished the 80s. However, West also edited Maxxxine, allowing him to control the final outcome. Perhaps that’s why the pace is so perfect, especially during scenes that feature clever cinematic flair. This movie is almost an auteur’s vision while being a love letter to an era of horror. 

​Helping to bring that vision to life is a captivating cast. Mia Goth owns the screen in every instant. Maxine is a troubled mix of fierce and fragile which Goth delivers in stunning displays. But what’s most impressive is how different her character seems from the portrayal in X, emphasizing how much the events of that film affected her. Elizabeth Debicki adeptly portrays Elizabeth Bender, a stoic yet intense director with high ideas for horror. Icy yet passionate, she conveys the best and worst of Hollywood. Meanwhile, Kevin Bacon is admirably odious as a sleazy private investigator whom the audience will love to hate. Musicians Moses Sumney and Halsey play Leon and Tabby Martin, friends of Maxine who really help humanize the character. Bobby Cannavale and Michelle Monoghan play a pair of humorous detectives who border on cliché but deliver the seriousness their roles require. Giancarlo Esposito is wonderful as Teddy Knight esq., a slick erotic entertainment agent who backs Maxine regardless of the buckets of blood spilled.
 
Sly humor and sanguine horror mix as this macabre mystery unfolds. Ti West captures the look alongside the feel of 80s slasher classics while sticking the landing on a trilogy that is as much critique as creep show. Even if it stood alone, Maxxxine is a marvelous nightmare. Blending the real past with Hollywood history, it creates a fictional world of frights that’re as tangible as they are gory. Sexy while criticizing the male gaze, a story of fragility that’s also empowering, and just an all-around fun mystery; Maxxxine is a killer fright flick.

By the by, if you’re one of the cocktail crowd, A24 offered up this signature drink at the screener I attended. Feel free to follow the recipe below and enjoy a Scream Queen while watching Maxxxine.
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SCREAM QUEEN:
Don Q ® Cristal Rum
Liber & Co. ® Pineapple Gum
Pressed lime juice

​It’s been a strange couple of weeks. One of my best friends died somewhat unexpectedly. Although he’d been terminally diagnosed things went a lot faster than expected and he zipped out of existence. It’s been said before, in more eloquent ways, but there’s no telling when death is coming. I’ve been dealing with that (helping with the funeral, being there for the family, etc.), however, eventually the living got to get back to life. Granted, with thoughts of mortality looming a lot of things seem trivial, yet we all need a distraction from such thoughts. Art may be in its most noble sense a look at society, dissecting what it is, what it values, and presenting either the ugly or ignored beauties of humanity’s inner being. But it’s also a way of not thinking about the end, especially as creativity creates a sense of leaving something behind. 

May kicked off with an absolutely phenomenal film. The Last Stop in Yuma County is the kind of movie that isn’t made on mass. That’s partly because it’s a product of several similar features, but navigating an established formula, writer-director Francis Galluppi crafts a tense thriller with a lightning pace. Clocking in at a smooth hour and a half, The Last Stop in Yuma County doesn’t waste a second delivering its clever take on a familiar premise. Events unfold so quickly even those sure they can predict the outcome will be shocked by the speed and violent outcomes which ensue. For more reasons why you should check out this flick, read the review linked below.

The Last Stop in Yuma County Is a Must See | Film Obsessive

Right before April ended, I got to review a supernatural flick called Winter Island. It told the story of a family disintegrating after the disappearance of the youngest daughter. In many ways it’s more drama than horror story, but there is a chilling gothic quality to the mental unraveling of the main characters.

In addition to reviewing the film, I was also privileged enough to get a chance to speak with the filmmakers behind the picture. Director Tony Doupé and writer-cinematographer Chris Taylor joined me for a Zoom chat. They were very generous with their time, allowing me the opportunity to ask them about making, not only this movie but feature films in general. Delve into that Q&A by following the link below.

I think it’s very informative, especially for anyone making a move into indie filmmaking. Tony and Chris were quite candid about some of the decisions they made. For instance, they made it plain that they steered towards a horror flick because netting cash for such productions is easier than a straightforward drama. Similar candor can be heard throughout, so soak up what pearls of wisdom you can.

Chris Taylor and Tony Doupé Talk Winter Island | Film Obsessive

I was initially overjoyed to get to see a few premieres at the Chicago Critics Film Festival hosted by the Music Box Theater. First off, that’s one of my favorite venues in the city. So much so I gushed about it during my interview with the Winter Island filmmakers. (I thought that was where their film was premiering in Chicago, but later I discovered they were showing at Facets. Another fine facility, but I imagine it may’ve felt a step down after my ringing endorsement of the Music Box). Regardless, I have to say it was another instance of me feeling out of place among my fellow critics.

The first film I saw was a comedy dud called Babes. Directed by Pamela Adlon, it was an attempt at an irreverent comedy about pregnancy. However, the film fails on so many levels it feels like a shameless waste of a great opportunity. One of the problems is that, in an effort to be positive about pregnancy, they never highlight any of the pitfalls. Everything is so idealized the film ignores every opportunity for insightful comedy as well as drama. It shoehorns in moments that are resolved by monologues and blatantly ignores consequences that would result from certain decisions.

Yet, despite being a mediocre, infrequent smirk inducing waste of time, the theater full of wine drunk critics guffawed with the theatricality of classically trained performers. It was as if the audience felt if they forced themselves to laugh hard enough Pamela Adlon, who was there for a Q&A, would thank them personally. It was a room full of employees laughing at the boss’s bad jokes, and I know this for a fact because seated at the rear of the theater—the farther people were from Adlon, the less laughter I heard. In fact, people around me were whispering, “What are they laughing at? Was that supposed to funny?”

For more on why this film doesn’t work, follow the link.

Babes Is a Bouncing Baby Bust | Film Obsessive

Something similar happened with the second film I went to I Saw the TV Glow. Although Film Obsessive passed on my review, I still posted it on this site. First off, I think the movie is good. However, everyone else who attended seems to believe this is an unparalleled piece of cinema.

Let me be clear. I Saw the TV Glow manages to capture something David Lynch does that few other filmmakers come close to. The cinematic expression of a dreamlike world ruled by its own logic and emotion is there, and the film, thanks to its stellar cast, is quite adept at evoking the feelings it depicts on screen. However, I’ve seen so many reviews which bend over backward to pretend as if writer-director Jane Schoenbrun isn’t following the formula of filmmakers such as David Lynch and Terence Malik like a roadmap. And there’s nothing wrong with them (Jane) doing that. Tarantino does it all the time. But pretending this movie’s influences aren’t obviously on screen acts like the filmmaker has made something completely unique. I Saw the TV Glow is preciously rare, too few films have this ethereal, effecting potence, yet acting like it isn’t absolutely following the path of its predecessors gives it an odd praise. It’s like saying a building was designed using geometry while insinuating the architect made up all the geometry that they followed instead of pointing out which preexisting rules they obviously used, employing them better than others.

Again, I Saw the TV Glow is a good movie. And I detailed exactly why I think so in my review. However, my experience at the Chicago Critics Film Festival gave me the impression of people so desperate to be at the forefront of discovering the next new thing they’ll distort the view to fit the narrative rather than print the facts.

I also take umbrage with how one of the organizers Steven Prokopy introduced the film by talking about how much Paul Schrader, writer of Taxi Driver (1976), loved the film. He did a similar gushing over Babes before it screened as well. It just doesn’t sit right with me that he essentially opened the film by basically saying, “This movie is genius, so says an Academy award-winning Hollywood legend.” Well, if Paul Schrader liked it, I guess us peons ought to as well. But even if someone didn’t succumb to such sidewise influencing, the other shift could be as bad for I Saw the TV Glow. Imagine someone who hated Schrader hearing he loved the film then souring on this flick before it ever screened.

Now, I’m not saying Steven Prokopy did this on purpose. He struck me the same as any overly enthusiastic film nerd, so delighted to be there, sharing the stage with moviemakers, he may have lost a touch of objectivity; he simply wanted to emphasize how much he hoped all would have a good time. But you could hear the room murmuring in drunk excitement the second he mentioned Schrader’s praise—hipsters hopped up on IPAs anxious to see the latest avant-garde evolution and be among the first to declare, “I have seen what he saw!”

Anyway… there’s a lot of good reasons to see I Saw the TV Glow, and if you’re curious, check out the link.

REVIEW: I Saw the TV Glow Lights Up a Nightmare - Honesty Is Not Contagious

After that I spent some time composing an article on the history of cinéma verité and how it connects to mockumentary films. I did this specifically by focusing on the short film Trailer Park Boys (1999). This film would eventually serve as the pilot that spawned the wildly popular tv series of the same name. Tracking down a version of the original film proved a powerful pain in the ass. The first one I came across was subtitled in some Eastern European language – good comedy knows no borders – but fortunately, I found a better copy online to grab some pics. And by better, I mean clearer images.

In many ways, this retrospective also explored Trailer Park Boys as a fantastic piece of indie cinema. It was made on pennies lining a shoestring and proved that quality storytelling alongside intriguing characters will make up for low budget limitations.

With that in mind, to learn more about cinéma verité as well as how to use it to get around cash restrictions, check out the link below.

The Cinéma Vérité of Trailer Park Boys | Film Obsessive

Coming in on the close of the month, I checked out a Disney documentary about the Beach Boys. This was an interesting look at their music more then the members of the band. A lot of similar docs tend to get sidetracked focusing on Brian Wilson. His drug addiction, mental health issues, and him being the creative force behind the band, often pushing them to innovate when the other musicians wanted to stay in the riskless familiar makes for easy narrative drama. However, this exploration of the iconic group almost goes out of its way to avoid discussing anything unpleasant.

On the one hand that leaves an incomplete portrait of these pioneers of surf rock. On the other, it makes the documentary more of a primer on their music than a look at the legends. For those unfamiliar with the Beach Boys that may be a good thing since other docs do a better job of delving into the grime. For more on what worked and what didn’t, click the link below.

The Beach Boys Shines by Avoiding Grime | Film Obsessive

Finally, May ended with In a Violent Nature. Filmmakers were kind enough to send me a screener link for this experimental horror flick. At first glance, it seems like any other slasher film with heavy influences from films like Hatchet and Friday the 13th. Yet, the innovative way its shot sets In a Violent Nature apart. Though the feature isn’t as excellent as it could have been, the minor flaws seem more like an invitation for someone to take this stylization and do something better with it. In other words, I sincerely hope In a Violent Nature inspires future horror films. Cinematic experimentation is the key to making old ideas feel fresh.

REVIEW: In a Violent Nature is a Bloody Meditation - Honesty Is Not Contagious

That’ll do it for this round up. Obviously, the other big news is that May saw the release of LESSENS the fifth album by my BEERFINGER music project. However, I really want to sit down to write a full article about that on its own. There’s a lot I want to say about this album as well as what it means for future music projects going forward. Until then, stay safe, keep weird, and if you’re accused of murder don’t rat out the crows. Cheers!

Welp, I clearly failed to do the monthly roundup in a timely fashion. While I typically have some excuse that usually orbits claims of being too busy, this time I have nothing to say except pure distraction. Work is one thing, but life is another animal entirely. Though it didn’t bite me too severely, some folks I know are having a tough go. Helping them out when I can hasn’t eaten up too much of my time, but it has made me contemplate a lot of things which drew my focus away from certain tasks. Let’s just say sometimes you have to get lost in order to be found. 

April came in with a horror movie I was excited to see The First Omen. I knew nothing about this going in which is always the best way to see films. That keeps expectations low, and nothing has spoiled what’s about to hit the screen. In a lot of ways, The First Omen is a solid horror movie, but its connection to the prequel is more shackle than building block. Personally, I think it could’ve done better on its own. The movie is also one jarring metaphor about birth and reproductive rights. For more details on what works, what doesn’t, and why it might be worth one streaming – if you haven’t seen it, it’s new to you – follow the link to my review.

The First Omen Is a Ghastly Allegory | Film Obsessive

After that I got the privilege of attending the press screener for Monkey Man. Initially, I got assigned the job as a backup. The main reviewer passed the assignment on to me when they couldn’t finish the writeup on time. One thing I like to think I excel at is speedy production. It harkens back to my days writing for BYOT. I’ve always enjoyed the pressure of penning a piece while the door is closing, throwing the pages under the stone barricade about to shut forever. However, I may be getting a reputation for being the guy who can get it done with three hours left. Speedily produced quality articles may make someone a valuable writer but the pressure of such situations can hasten burnout, so I’ve been more cautious lately about accepting similar assignments.

In any case, Dev Patel is a solid performer whom I’ve enjoyed in films such as The Green Knight (2021) and The Personal History of David Copperfield (2019). This step as writer-director into an action role is just another excellent moment in what continues to be a stellar career. Monkey Man has a wonderful energy, slick cinematic presentation, and brutal action. However, it manages to have heart utilizing minimalist storytelling techniques employed by the first John Wick film. In essence, Monkey Man is part of an elevated breed of action films that don’t sacrifice character, knowing that emotions, even if simple, connect the audience and make every moment more impactful.

Monkey Man Mixes Brutal Violence with Emotion | Film Obsessive

After that began a run of documentaries. Fortunately, they were all entertaining. It probably didn’t hurt that all involved the entertainment industry.

The first was Lost Angel: The Genius of Judee Sill. This looked at the tragically brief life and career of a ‘70s singer-songwriter. To say she’s a force of one would be an understatement. This flick is worth watching simply for the anecdotes about her as a youth. This is a person who knew what they wanted out of life and pursued that path without compromise even when it led to ruin. If nothing else, Lost Angel: The Genius of Judee Sill may introduce folks to music that’s always been around yet missing from their lives.

Lost Angel: The Genius of Judee Sill Sings Her Praises | Film Obsessive

Following those flicks I took a moment to put together a retrospective on Bring Out the Dead. It’s not necessarily one of Martin Scorsese ’s best known films, however, I think it’s an underappreciated picture. For one thing, it doesn’t look like any other movie the acclaimed director has done. For one thing, there’s an artistic stretch cinematically. Furthermore, this continues the notion of Scorsese’s tendency to make movies that border on being confessions from broken people. But the details are best consumed in the article as a whole.

Resuscitating Bringing Out the Dead | Film Obsessive

Finally, I closed out the month by getting to review Boy Kills World. This ludicrous action film inspired by side scrolling street brawler video games is a gem. The absolute insanity of the action here is top tier. Narratively, some bits get a tad old. However, the jokes land often enough to keep the chuckles coming between cringes at the shockingly brutal violence throughout. This may be a movie I revisit in the future, exploring the implications of its borderline satirical take on action. And though that risks being pretentious, freelance writers need to pitch articles to earn their pennies. Regardless of what tomorrow holds, Boy Kills World is an action movie well worth seeing. For all the reasons why, follow the link.

Boy Kills World Is Absurdly Brutal Escapism | Film Obsessive

​Ry Barrett as “Johnny” in Chris Nash’s IN A VIOLENT NATURE. Courtesy of Pierce Derks. An IFC Films & Shudder Release. 

In a Violent Nature is an oddly contemplative horror movie. Few films of this kind really offer an opportunity to reflect on the grim events unfolding. For all the ferocity of a Fred Krueger or Vorhees, the kills are quick even when extreme. Here the horror is the time an audience is allowed to wonder just what it feels like to be so thoroughly brutalized. Unfortunately, this meditative aspect is often its undoing.
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The story is a tale almost as old as time. Ry Barret portrays an unstoppable homicidal juggernaut who rises to slaughter teens in the woods. This mute, unflinching force of one kills with extreme brutality. However, the motive is hard to pin down. Regardless of how much this latest slasher variant is moved by campfire origin stories, the reason for the bloodshed seems secondary. 

In a Violent Nature describes itself as an “ambient slasher” flick. Playing off the predictable nature of such storylines, writer-director Chris Nash focuses on the cinematic effort to present events from the brute’s perspective. This results in minimalist storytelling, counting on audiences to be so well versed in slasher clichés there’s no need for narrative. That expectation permits a cinematic experiment in horror moviemaking that hits as often as it misses.

On the one hand, In a Violent Nature does a remarkable job of making viewers think about its villainous protagonist. The movie is essentially a ride along sitting shotgun during a killing spree. It’s a borderline documentary simply presenting grim events. There’s also a strange way the film shows how close humans are to danger, especially when it comes to nature. Often it seems like people are inviting their own demise by having loud boorish conversations, turning on lights in the dark woods, etc. As such, there’s a minimization of humanity, represented brilliantly when a dead body is kicked down a ridge. The camera is so far back the corpse is easy to lose among woodland debris, and it looks insignificantly small in comparison to the surrounding forest. It sparks the unsettling question if these deaths have any meaning at all.
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Yet, In a Violent Nature can be a bit of a drag. Following the relentless brute powerwalking around the woods can get old. Initially it’s interesting, especially how the film sets up why the slasher chooses one route or another. The quiet forest allows for campfire banter to catch attention and the dark night almost accentuates a small flame in the distance. However, the cleverness falls away after one or two scenes, and any point being made is simply repeated. 

Furthermore, the minimalist story telling loses its luster now and again when In a Violent Nature attempts to establish lore. Granted, the film does an interesting job of leaving the urban legend slightly open-ended. Just because characters express what they think is happening isn’t necessarily the case. I’m sure certain audience members will love speculating on which bits are the real truth. The downside is that these moments become cinematic slogs as one character or another exposition dumps in a monologue. The film is already a crawl, creepy as it may be, but these moments become a legless person with one arm trying to drag themselves across the forest floor.

Of course, no slasher flick is complete without kills. In that respect, In a Violent Nature has some fantastically brutal scenes guaranteed to go down in horror history. Describing any of them would deprive viewers of the singular experience of seeing them for the first time. While the movie is never a bloodbath, there’s an eerie cruelty and savagery rivaled only by the likes of Terrifier 2 (2022).
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Comparisons to other fright flicks such as the Friday the 13th franchise or Hatchet films are inevitable. However, they may miss the point. In a Violent Nature isn’t trying to tread new narrative territory so much as carve out a fresh perspective. In certain ways it echoes the novel Grendel by John Gardner, though the movie wisely never makes its murderer sympathetic. But it does lean into a postmodern appreciation for the tragedy of such an individual: doomed to endless Sisyphean slaughter. 

Still, genre exploration is no excuse for certain imperfections. The dialogue of In a Violent Nature is clichéd to put it kindly. Although that may be arguably intentional it doesn’t improve the quality. And once audiences know the words don’t matter—these are standard slasher conversations moving a parallel plot forward—it just makes what people are saying meaningless to the point of being boring. Worse, most of these conversations occur at a distance so are nearly impossible to hear. Anyone watching this flick on streaming will have to turn their volume to max or employ closed captions. It’s truly frustrating straining to hear dialogue only to realize it’s formulaic to the point of meaningless.

That said, writer-director Chris Nash has paved a new path full of potential for horror movies. Where it leads or how many will follow is a question that only time can answer. In a Violent Nature isn’t perfect, but it feels fresh despite the familiar territory it treads. This revitalization is great, and exactly what every genre needs when things get stale. There’s nothing wrong with plain garlic bread, but that doesn’t mean a bit of gochujang can’t spice things up making the old seem new.

However, those looking for a gory bloodbath full of one kill after the other should measure their expectations. The deaths in this are gruesome, however In a Violent Nature hardly has the body count of films like Halloween Kills with its 31 slaughters or The Summer of Massacre (2011) with a world record 155 kills. The upside, though, is that besides being bloody, brutal nightmare fuel each demise is memorable.

In a Violent Nature can be admired for trying something different. Horror fans will certainly enjoy giving it a go at least once. And with any luck, besides bad dreams, it’ll inspire future filmmakers to follow this trail. 

(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.

Recently I decided it was high time I started shopping around the manuscript for Killing Lake Michigan. Imagine my surprise when I discovered several flaws on the first page. I thought I’d thoroughly revised the whole novel, but after desperately searching for a polished version, I was left with the task of editing the full 535 pages again. As such, April slipped away from me, but that doesn’t mean other projects didn’t get finished. It’s just been the kind of stretch where I wake, work, and slip out of consciousness again. That said, March featured a few fabulous moments, so let’s get that roundup done before moving on to other details.
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As usual, the main work output focused on movie reviews and film articles for Film Obsessive. It was nice to find out recently that the site is registering roughly 62,000 visitors a month. Here’s hoping a few of them found flicks worth watching courtesy of yours truly not to mention the other phenomenal writers keeping the site fresh and full.

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!

​February went by so fast I sped through most of March before slowing down. Pausing to catch a breath, seems time to compile another round up of releases. Although fiction remains in production not much has made it to print. That said, past pieces found in anthologies such as Dead Letters, Thicker than Water, and No Trouble at All are still readily available for purchase. As for other writings, the film work dominates a lot of my attention, though I’ve nothing to complain about for the most part. So, let’s dive into the pile. 

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. 

Ghostbusters: Frozen Empire is ideal for fans of the franchise. Anyone outside that circle, however, may not be as forgiving. Though the film features several solid moments, it juggles a Koosh ball of plot threads. Despite ample comedic moments throughout, Ghostbusters: Frozen Empire never solidifies into a tight narrative. In many ways, it feels like a sketch show more concerned with fan service, nostalgia bait, and world building than telling a story.

​Events take place a few years following Ghostbusters: Afterlife. The Spengler family is now settled in New York, taking up residence in the old familiar firehouse, and fervently keeping ghostbusting alive. Aided in that endeavor is the generous assistance, fiscal and informational, of founding members --- Winston, Ray, and Venkman. Bureaucratic nemesis Walter Pecker, now mayor of the city, is looking for any excuse to shutdown the operation, and simply doing their job is unfortunately offering reason enough. However, an ancient evil is rising that threatens the world. With the apocalypse looming --- who you gonna call?

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.

Although January closed with a Machine Head concert, the month still ended kind of quietly. Metal shows can be cathartic since they allow a person to rage. At the same time, there’s a definite joy in being able to move around without chronic pain. Granted, I can’t flail around like old times, but I can still headbang a bit. And it’s a reminder that I’m getting over the afflictions that have stymied so many projects this past year.
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Still, plenty got done all the same. Last month I tried to focus on getting more fiction done and we’ll see how that pans out in the months ahead. I got a good feeling a few pieces will sell. Still, movie articles needed to be written. Reviews, analysis, retrospectives, and something a little different – let’s dive in. 

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! 

​Lotta of great news from last month. Diving in seems the best way to get to the bottom of things. However, the foggy fright fest outside the window is so tempting, and I haven’t been away from the keyboard in too long… eh, one last round won’t hurt. Silent Hill: Chicago can wait. 

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!