*Get Murderabilia: A History of Crime in 100 Objects by Harold Schechter on Amazon here*
*Get Slaves to the Grind: A Complete History of Grindcore Music by Antoine Grand on Amazon here*
*Get "Natural Born Killers" on Amazon here*
*Get "Serial Killer Culture" on Amazon here*
*Get Social Media Homicide Confessions: Stories of Killers and Their Victims by Elizabeth Yardley on Amazon here*
Jonathan Doe leaves his emetophilia fetish films (if you don't know what that is, you're better off) to interview the infamous "Selfie Killer" in this compelling documentary.
Amanda was leading a troubled life when she married Rex Taylor. They bonded over grindcore music, "Natural Born Killers," and writing serial killers in prison. Amanda gave birth to two children, one was Rex's, and they tried to create a family as they suffered the throes of addiction. Rex eventually committed suicide, and Amanda tried to grieve without really knowing how. She blamed Rex's father Charles for Rex's death, and stabbed him thirty-one times, taking a selfie with the body and posting it online afterward. She then went on the run with her new boyfriend, shooting him too, before being arrested and thrown in prison for the rest of her life.
The entire film is the video call interview between Doe and Taylor, with some footage of the locations that the Taylors would be at, and the outside of the house where the murder took place. Doe is a very calm, complacent, almost monotone interviewer, and he lets Amanda tell her story with few interruptions- and what a story it is.
I empathized, but did not sympathize, with Amanda. This is a deeply troubled woman suffering from mental illness. To say that she blames everyone but herself for her crimes and problems would be an understatement. I felt bad for everyone involved in this situation, especially Amanda's two children, as well as the victims of her crimes. This is not a jazzy "Dateline" episode, the production is bare bones to the detriment of the viewer. Doe gives Amanda a platform to speak, and Amanda contradicts herself again and again- not factually, she admits what she did, but about her feelings and thoughts of what she put people through. Amanda is photogenic and it's easy to see why some men would be attracted to her, but it seems she had three strikes against her before she got a chance to start living her life.
The film bogs down a bit in the middle, I took three days to complete it since listening to Amanda's twisted outlook on her life would depress anyone. Hoping to see her late husband in hell is not a goal anyone should have. Regretting not shooting up a parade is also a regret no one else should have. I didn't pity or like Amanda, but letting her talk uninterrupted, and wondering how much of what she said was the same manipulation she learned to be an expert at in jail, took up most of my thinking process during the film.
I wish Doe had tightened up his film, and given some much needed background. Searching for Amanda Taylor online brings up dozens of videos and stories about what she did, she's almost turned her murder into a cottage industry. Once again, the killer becomes the celebrity and the victims are forgotten.
Stats:
(2025) 120 min. (7/10) out of five stars
-Directed by Jonathan Doe
-With Jonathan Doe, Amanda Taylor
-(US: NR)- Strong violence references, some explicit gore, very strong adult situations, strong drug and alcohol references
-Media Viewed: YouTube
Friday, October 31, 2025
Thursday, October 30, 2025
Film Review: "Come Deadly" (1973)
*Get Ordeal by Linda Lovelace with Mike McGrady on Amazon here*
*Get Exposed: How the Porn Industry Still Profits Off the Dead by Victoria Sterling on Amazon here*
*Get A Call to Purity: Living a Lifestyle of Purity by Richard and Brittni De La Mora on Amazon here*
*Get "Pornocracy" on Amazon here*
Years ago, I got a kick out of vintage porn, believing all the hype that these films were actually prime examples of guerilla underground film making, breaking all the rules, and getting into the face of The Man and The Establishment. Today, as a middle-aged man with two young daughters, I've changed my opinion. Adult films are sad, and no one is better off for watching them.
A theater production is terrorized by a masked killer who sexually assaults his female victims. A cop (Kirt Jones) goes undercover to catch the murderer, and get in on some sexual action himself...yes, this is as bad as it sounds.
This is a nightmare of ineptitude. I realize shooting this type of film was illegal back in the day, but I rarely saw an adult film that was a technical marvel. The killer is easily identifiable because you can see who it is through their thin mask. One female cast member is raped and strangled, but then pops up alive in the next scene after you assume she was killed. There really isn't much direction, storytelling and character arcs were not on the minds of the film makers back then. The cast is terrible across the board, many of them acting under pseudonyms and the film reaches the reprehensible conclusion that sexual assault can be enjoyed.
This was being pushed as a hardcore Giallo film, which sparked my interest. What do you know, film producers lied to get your hard-earned money. "Come Deadly" should go quietly.
Stats:
(1973) 60 min. (1/10) out of five stars
-Written and Directed by Gil Kenston
-Cast: Kirt Jones, Cindy Johnson, Keith Erickson, Nina Fause, Maggie Williams, Peter Puluva, Hoss Slocum
-(X)- Physical violence, explicit sexual violence, profanity, strong nudity, explicit sexual content, sexual references, strong adult situations, alcohol use
-Media Viewed: DVD
*Get Exposed: How the Porn Industry Still Profits Off the Dead by Victoria Sterling on Amazon here*
*Get A Call to Purity: Living a Lifestyle of Purity by Richard and Brittni De La Mora on Amazon here*
*Get "Pornocracy" on Amazon here*
Years ago, I got a kick out of vintage porn, believing all the hype that these films were actually prime examples of guerilla underground film making, breaking all the rules, and getting into the face of The Man and The Establishment. Today, as a middle-aged man with two young daughters, I've changed my opinion. Adult films are sad, and no one is better off for watching them.
A theater production is terrorized by a masked killer who sexually assaults his female victims. A cop (Kirt Jones) goes undercover to catch the murderer, and get in on some sexual action himself...yes, this is as bad as it sounds.
This is a nightmare of ineptitude. I realize shooting this type of film was illegal back in the day, but I rarely saw an adult film that was a technical marvel. The killer is easily identifiable because you can see who it is through their thin mask. One female cast member is raped and strangled, but then pops up alive in the next scene after you assume she was killed. There really isn't much direction, storytelling and character arcs were not on the minds of the film makers back then. The cast is terrible across the board, many of them acting under pseudonyms and the film reaches the reprehensible conclusion that sexual assault can be enjoyed.
This was being pushed as a hardcore Giallo film, which sparked my interest. What do you know, film producers lied to get your hard-earned money. "Come Deadly" should go quietly.
Stats:
(1973) 60 min. (1/10) out of five stars
-Written and Directed by Gil Kenston
-Cast: Kirt Jones, Cindy Johnson, Keith Erickson, Nina Fause, Maggie Williams, Peter Puluva, Hoss Slocum
-(X)- Physical violence, explicit sexual violence, profanity, strong nudity, explicit sexual content, sexual references, strong adult situations, alcohol use
-Media Viewed: DVD
Film Review: "WrestleMassacre" (2018)
*Get "WrestleMassacre" on Amazon here*
*Get Positively Unstoppable: The Art of Owning It by Diamond Dallas Page on Amazon here*
*Get DDP Yoga Fitness & Motivation app on Amazon here*
*Get My Life Outside the Ring: A Memoir by Hulk Hogan with Mark Dagostino on Amazon here*
"WrestleMassacre" seems like two different films, with the two main storylines coming together in the last hour.
Randy (Richie Acevedo) is a down-on-his-luck son of a former professional wrestler (Josip Peruzovic) who does landscaping for a living and pines after Becky (Rosanna Nelson). Becky is attached to Owen (Julio Bana Fernandez), who owes loan sharks thousands of dollars. Randy decides to better himself, and win Becky, by becoming a professional wrestler. Things don't work out as planned, as everyone around him dumps on his dreams. In the meantime, Becky's brother Shawn (Rene Dupree) has problems of his own as he watches Becky constantly drink in an effort to deal with odious Owen. Finally, thanks to some very odd dreams and hallucinations via cable television, Randy decides to take revenge on everyone who has wronged him in brutal and gory ways.
Leading man Acevedo certainly looks the part, a very uncommon casting decision for the lead. The entire cast is populated with professional wrestlers apparently (I don't follow that world- isn't that what Hulk Hogan did?), and the viewer gets a mix of performances from awful to campy fun. The gore effects are pretty fantastic, as Randy is able to rip limbs off of his helpless victims in a single pull. There is plenty of nudity here, but the story does lag from time to time as we wait for Randy to finally do his thing. Often, Owen's storyline was more interesting, I thought some tweaking and editing might help. I'm not sure what the opening segment meant, I'm never one to complain about Cayt Feinics onscreen, and she has a heck of an entrance. I think Randy might be able to appear in some sequels, if the film makers can get the money, and wrestling cameos, together.
Of the non-mainstream-screw-Hollywood films I have watched recently, "WrestleMassacre" is one of the strongest, despite its flaws. Also known by the two word title- "Wrestle Massacre."
Stats:
(2018) 100 min. (6/10)
-Directed by Brad Twigg
-Written by Alan B. McElroy
-Cast: Richie Acevedo, Rene Dupree, Nikolai Volkoff, Tony Atlas, Jimmy Valiant, Cayt Feinics, Josip Peruzovic, Rosanna Nelson, Julio Bana Fernandez
-(US: Unrated)- Very strong physical violence, some gun violence, mild sexual violence, very strong gore, strong profanity, female nudity, some sexual content, sexual references, strong adult situations, alcohol use
-Media Viewed: DVD
*Get Positively Unstoppable: The Art of Owning It by Diamond Dallas Page on Amazon here*
*Get DDP Yoga Fitness & Motivation app on Amazon here*
*Get My Life Outside the Ring: A Memoir by Hulk Hogan with Mark Dagostino on Amazon here*
"WrestleMassacre" seems like two different films, with the two main storylines coming together in the last hour.
Randy (Richie Acevedo) is a down-on-his-luck son of a former professional wrestler (Josip Peruzovic) who does landscaping for a living and pines after Becky (Rosanna Nelson). Becky is attached to Owen (Julio Bana Fernandez), who owes loan sharks thousands of dollars. Randy decides to better himself, and win Becky, by becoming a professional wrestler. Things don't work out as planned, as everyone around him dumps on his dreams. In the meantime, Becky's brother Shawn (Rene Dupree) has problems of his own as he watches Becky constantly drink in an effort to deal with odious Owen. Finally, thanks to some very odd dreams and hallucinations via cable television, Randy decides to take revenge on everyone who has wronged him in brutal and gory ways.
Leading man Acevedo certainly looks the part, a very uncommon casting decision for the lead. The entire cast is populated with professional wrestlers apparently (I don't follow that world- isn't that what Hulk Hogan did?), and the viewer gets a mix of performances from awful to campy fun. The gore effects are pretty fantastic, as Randy is able to rip limbs off of his helpless victims in a single pull. There is plenty of nudity here, but the story does lag from time to time as we wait for Randy to finally do his thing. Often, Owen's storyline was more interesting, I thought some tweaking and editing might help. I'm not sure what the opening segment meant, I'm never one to complain about Cayt Feinics onscreen, and she has a heck of an entrance. I think Randy might be able to appear in some sequels, if the film makers can get the money, and wrestling cameos, together.
Of the non-mainstream-screw-Hollywood films I have watched recently, "WrestleMassacre" is one of the strongest, despite its flaws. Also known by the two word title- "Wrestle Massacre."
Stats:
(2018) 100 min. (6/10)
-Directed by Brad Twigg
-Written by Alan B. McElroy
-Cast: Richie Acevedo, Rene Dupree, Nikolai Volkoff, Tony Atlas, Jimmy Valiant, Cayt Feinics, Josip Peruzovic, Rosanna Nelson, Julio Bana Fernandez
-(US: Unrated)- Very strong physical violence, some gun violence, mild sexual violence, very strong gore, strong profanity, female nudity, some sexual content, sexual references, strong adult situations, alcohol use
-Media Viewed: DVD
Monday, October 27, 2025
Film Review: "Henry Miller: Prophet of Desire" (2017)
*Get "Henry Miller: Prophet of Desire" on Amazon here*
*Get The Books in My Life by Henry Miller on Amazon here*
*Get Tropic of Cancer by Henry Miller on Amazon here*
*Get Henry Miller: A Life by Robert Ferguson on Amazon here*
I've read one book written by Henry Miller- The Books in My Life, a rambling but interesting tome about Miller's literary influences and recommendations (I'm obsessed with other people's personal libraries). After watching this short documentary about Miller, I wished I had kept that book for insight into Miller's thinking- something this film does not accomplish.
Miller was the son of German immigrants, born in New York City in 1891. He had a difficult relationship with his parents, especially his mother, who rarely (if ever) showed Henry any parental affection. He began to rebel, and wanted to leave not only New York City, but the United States. He traveled to Paris, and lived an impoverished life, writing some scandalous novels that would eventually be banned in the United States and Great Britain.
Miller's writings were sexually explicit, but as the documentary illustrates, he was not a sexual deviant (in his friends' and family's eyes). He was married five times, always pursuing an ideal love that he never received from his mother. When he would find a woman he wanted, he put her on a pedestal, although these very human women would have flaws that would disappoint Miller, and he would move on to his next pursuit. He blamed his German heritage for staying the course in his early life, never straying from the path that he must take to get ahead in the world, despite a curiosity that would overwhelm him. He would eventually die in Los Angeles in 1980 at the age of 88.
Gero von Hoehm assembles a somewhat interesting piece that is maddeningly short. No quotations are taken from any of Miller's work, and the result feels like a filmed encyclopedia article. Footage is taken from earlier documentaries, and this made me want to seek those out instead. Henry Miller was a difficult man to get to "know" through the film medium, despite the interviews with his friends, biographer, and son- as well as some infamous film adaptations of his infamous novels and life ("Tropic of Cancer," "Quiet Days in Clichy," "Henry & June").
Much like his book on writing, I started to see parallels between Miller's life and my own. I am very private about my upbringing and family life, but Miller kicked the doors of propriety open and wrote what he wanted, when he wanted (in addition to his fiction, his correspondence and letters were literally voluminous). It takes a great writer to bring that out in a reader- a desire to be silenced no more now that familial censors are no longer with us, wondering "what will everyone think?", hence this blog. This documentary tries, but ends up middling. Also known as "Henry Miller."
Stats:
(2017) 53 min. (5/10)
-Written and Directed by Gero von Boehm
-With Henry Miller, Erica Jong, Tom Schiller, Georg Stefan Troller, Tony Miller, Arthur Hoyle, Brassai, Anais Nin, Barbara Kraft
-(US: NR)-(UK:15)- Strong profanity, strong nudity, some sexual content, strong sexual references, adult situations, alcohol and tobacco use
-Media Viewed: Amazon Prime Video Streaming
*Get The Books in My Life by Henry Miller on Amazon here*
*Get Tropic of Cancer by Henry Miller on Amazon here*
*Get Henry Miller: A Life by Robert Ferguson on Amazon here*
I've read one book written by Henry Miller- The Books in My Life, a rambling but interesting tome about Miller's literary influences and recommendations (I'm obsessed with other people's personal libraries). After watching this short documentary about Miller, I wished I had kept that book for insight into Miller's thinking- something this film does not accomplish.
Miller was the son of German immigrants, born in New York City in 1891. He had a difficult relationship with his parents, especially his mother, who rarely (if ever) showed Henry any parental affection. He began to rebel, and wanted to leave not only New York City, but the United States. He traveled to Paris, and lived an impoverished life, writing some scandalous novels that would eventually be banned in the United States and Great Britain.
Miller's writings were sexually explicit, but as the documentary illustrates, he was not a sexual deviant (in his friends' and family's eyes). He was married five times, always pursuing an ideal love that he never received from his mother. When he would find a woman he wanted, he put her on a pedestal, although these very human women would have flaws that would disappoint Miller, and he would move on to his next pursuit. He blamed his German heritage for staying the course in his early life, never straying from the path that he must take to get ahead in the world, despite a curiosity that would overwhelm him. He would eventually die in Los Angeles in 1980 at the age of 88.
Gero von Hoehm assembles a somewhat interesting piece that is maddeningly short. No quotations are taken from any of Miller's work, and the result feels like a filmed encyclopedia article. Footage is taken from earlier documentaries, and this made me want to seek those out instead. Henry Miller was a difficult man to get to "know" through the film medium, despite the interviews with his friends, biographer, and son- as well as some infamous film adaptations of his infamous novels and life ("Tropic of Cancer," "Quiet Days in Clichy," "Henry & June").
Much like his book on writing, I started to see parallels between Miller's life and my own. I am very private about my upbringing and family life, but Miller kicked the doors of propriety open and wrote what he wanted, when he wanted (in addition to his fiction, his correspondence and letters were literally voluminous). It takes a great writer to bring that out in a reader- a desire to be silenced no more now that familial censors are no longer with us, wondering "what will everyone think?", hence this blog. This documentary tries, but ends up middling. Also known as "Henry Miller."
Stats:
(2017) 53 min. (5/10)
-Written and Directed by Gero von Boehm
-With Henry Miller, Erica Jong, Tom Schiller, Georg Stefan Troller, Tony Miller, Arthur Hoyle, Brassai, Anais Nin, Barbara Kraft
-(US: NR)-(UK:15)- Strong profanity, strong nudity, some sexual content, strong sexual references, adult situations, alcohol and tobacco use
-Media Viewed: Amazon Prime Video Streaming
Film Review: "The Summer House" (2014)
*Get Broken Boys/Mending Men: Recovery from Childhood Sexual Abuse by Stephen D. Grubman-Black on Amazon here*
*Get The Wounded Heart: Hope for Adult Victims of Childhood Sexual Abuse by Dr. Dan B. Allender on Amazon here*
*Get The Body Keeps the Score: Brain, Mind, and Body in the Healing of Trauma by Bessel Van Der Kolk, MD on Amazon here*
*Get Healing the Sexually Wounded Heart: A Catholic Man's Guide to Lasting Love by Edward P. Martin on Amazon here*
This uncomfortable look at the disintegration of a modern German family is full of malaise and Bergmanesque ruminations on isolation. Peel away the frou-frou, and what you are left with is the story of reprehensible characters who get everything they deserve.
Markus (Sten Jacobs) works in construction with business partner Christopher (Stephan Burgi). I have read that they are architects, but the film doesn't really tell us what they do on projects. Christopher owes over 100,000 Euros thanks to some shady dealings, and Markus agrees to pay some of the tax bill, but not all of it. Christopher tells his son Johannes (Jaspar Fuld) to be nice to his schoolmate, Markus' daughter Elisabeth (Nina Splettstober), not realizing that the burgeoning friendship between the two twelve year olds isn't what Christopher should be worrying about. Markus is having an affair with another man, meeting up for a quickie while Elisabeth waits in the car. Markus' wife is Christine (Anna Altmann), a morose woman with a permanently pained facial expression who never seems to leave the apartment the family shares. Markus eyes Johannes, and invites him to their summer house, a small cottage surrounded by a claustrophobic garden on the outskirts of the city. Markus is grooming Johannes, and trying to juggle his marital problems with Christine. Elisabeth is the victim of Christine's increasingly suicidal nervous breakdown, and Burz forces us to watch the trio watch each other.
Maybe if this family had been semi-normal to begin with, then their eventual downfall would have been more effective. Markus and Christine are vile, exhibiting behavior that the viewer will find repulsive. I might have had some sympathy for Markus and Christine if they didn't engage in partner/sexual swapping with Christopher and his girlfriend Anne (Natascha Zimmermann), or Christine wouldn't put her head in a noose while her young daughter watched. Call it what you want, or excuse it how you want, but Markus is a sexual predator. You cannot hope things get better for him as he begins to cover his crimes thanks to Johannes popping into his life at the worst times. Despite the subject matter, the cast does very well with what they are given. Christine and Elisabeth speak English to each other, so Elisabeth can get into a good school, and their "secret language" is a nice touch, as is Markus' reaction to it. Even in the halting English scenes, Altmann and Splettstober score, and I thought their interaction worked better than anything else here. Burz did a lot of things- writing, directing, producing, editing; and the film is inexpensive but looks professional and fantastic. The cinematography is bright and beautiful (although the characters are dark and gloomy- yes, we get it), and the mournful Chopin-like piano score is appropriate. Burz introduces a thriller element too late in the film, it feels clumsy and added-on, and I feel like his screenplay isn't so much a study of a family in crisis as a study of a family doing things to make you squirm.
Burz doesn't try to shock like Larry Clark does, but he comes close. "The Summer House" is a misstep, and something I disliked the more I thought about it- feeling violated as a viewer.
Stats:
(2014) 95 min. (2/10)
-Written and Directed by Curtis Burz
-Cast: Sten Jacobs, Anna Altmann, Jaspar Fuld, Nina Splettstober, Stephan Burgi, Natascha Zimmermann, Felix Witzlau, Tobias Frieben, Leon Delor
-(US: Unrated)- Sexual violence, violence against children, profanity, nudity, sexual content, very strong adult situations
-Media Viewed: DVD
*Get The Wounded Heart: Hope for Adult Victims of Childhood Sexual Abuse by Dr. Dan B. Allender on Amazon here*
*Get The Body Keeps the Score: Brain, Mind, and Body in the Healing of Trauma by Bessel Van Der Kolk, MD on Amazon here*
*Get Healing the Sexually Wounded Heart: A Catholic Man's Guide to Lasting Love by Edward P. Martin on Amazon here*
This uncomfortable look at the disintegration of a modern German family is full of malaise and Bergmanesque ruminations on isolation. Peel away the frou-frou, and what you are left with is the story of reprehensible characters who get everything they deserve.
Markus (Sten Jacobs) works in construction with business partner Christopher (Stephan Burgi). I have read that they are architects, but the film doesn't really tell us what they do on projects. Christopher owes over 100,000 Euros thanks to some shady dealings, and Markus agrees to pay some of the tax bill, but not all of it. Christopher tells his son Johannes (Jaspar Fuld) to be nice to his schoolmate, Markus' daughter Elisabeth (Nina Splettstober), not realizing that the burgeoning friendship between the two twelve year olds isn't what Christopher should be worrying about. Markus is having an affair with another man, meeting up for a quickie while Elisabeth waits in the car. Markus' wife is Christine (Anna Altmann), a morose woman with a permanently pained facial expression who never seems to leave the apartment the family shares. Markus eyes Johannes, and invites him to their summer house, a small cottage surrounded by a claustrophobic garden on the outskirts of the city. Markus is grooming Johannes, and trying to juggle his marital problems with Christine. Elisabeth is the victim of Christine's increasingly suicidal nervous breakdown, and Burz forces us to watch the trio watch each other.
Maybe if this family had been semi-normal to begin with, then their eventual downfall would have been more effective. Markus and Christine are vile, exhibiting behavior that the viewer will find repulsive. I might have had some sympathy for Markus and Christine if they didn't engage in partner/sexual swapping with Christopher and his girlfriend Anne (Natascha Zimmermann), or Christine wouldn't put her head in a noose while her young daughter watched. Call it what you want, or excuse it how you want, but Markus is a sexual predator. You cannot hope things get better for him as he begins to cover his crimes thanks to Johannes popping into his life at the worst times. Despite the subject matter, the cast does very well with what they are given. Christine and Elisabeth speak English to each other, so Elisabeth can get into a good school, and their "secret language" is a nice touch, as is Markus' reaction to it. Even in the halting English scenes, Altmann and Splettstober score, and I thought their interaction worked better than anything else here. Burz did a lot of things- writing, directing, producing, editing; and the film is inexpensive but looks professional and fantastic. The cinematography is bright and beautiful (although the characters are dark and gloomy- yes, we get it), and the mournful Chopin-like piano score is appropriate. Burz introduces a thriller element too late in the film, it feels clumsy and added-on, and I feel like his screenplay isn't so much a study of a family in crisis as a study of a family doing things to make you squirm.
Burz doesn't try to shock like Larry Clark does, but he comes close. "The Summer House" is a misstep, and something I disliked the more I thought about it- feeling violated as a viewer.
Stats:
(2014) 95 min. (2/10)
-Written and Directed by Curtis Burz
-Cast: Sten Jacobs, Anna Altmann, Jaspar Fuld, Nina Splettstober, Stephan Burgi, Natascha Zimmermann, Felix Witzlau, Tobias Frieben, Leon Delor
-(US: Unrated)- Sexual violence, violence against children, profanity, nudity, sexual content, very strong adult situations
-Media Viewed: DVD
Film Review: "The Boss Baby" (2017)
A perfectly likable story with an energetic presentation, fun look, and great soundtrack, is undermined by an unreliable narrator and screenplay.
Seven year old Tim (voiced by Miles Bakshi, with Tobey Maguire providing adult Tim narration) is content as the only child of a couple (voiced by Jimmy Kimmel and Lisa Kudrow) who work at Puppyco, a pet company run by Francis Francis (voiced by Steve Buscemi). Tim's perfect existence is disrupted by an unnamed new baby brother (voiced by Alec Baldwin) who quickly takes over the family, and hoards all of their parents' love. The baby is actually on a secret mission from BabyCorp to discover what Francis is up to in the launch of a brand new product that might change babyhood forever.
Tim's overactive imagination is fun to watch, as is his reaction to the new creature in the house. Alec Baldwin is undeniably a talent- his voicing of the titular corporatethink baby, later named Ted, is perfection and had me laughing. Jimmy Kimmel and Lisa Kudrow are so bland in their roles, I forgot they were in the film- I haven't laughed at Kimmel in years so the streak continues. Buscemi is fun as Francis. Certain scenes stand out that I really enjoyed: the baby's corporate lifestyle and beliefs, Tim's need for his parents' undivided attention (we never see any of his own friends), pop culture references tailor-made for parents, a lovely musical score, fun action pieces, and so on. These great scenes don't meld together into a great film. Is the entire story a figment of Tim's imagination? Does the baby exist at all? Or Francis Francis? The mission the baby is sent on is an afterthought, never earning the same amount of time as Tim and the baby's relationship, so the menace and danger are lessened. The screenplay takes a lot of conveniences that tested my patience, and weren't answered in the inevitable sequel.
"The Baby Boss" was a good time for the kiddos, and I wasn't dreading putting it on the TV for the umpteenth time- at least not with the kind of dread reserved for "Raya and the Last Dragon" or the "Trolls" films. Followed by motion picture and television sequels.
Stats:
(2017) 96 min. (6/10)
-Directed by Tom McGrath
-Written by Michael McCullers based on the book by Marla Frazee
-Cast: Alec Baldwin, Miles Bakshi, Steve Buscemi, Tobey Maguire, Lisa Kudrow, Jimmy Kimmel, James McGrath, Conrad Vernon, ViviAnn Yee, Eric Bell Jr., David Soren, Edie Mirman, Walt Dohrn, James Ryan
-(US: PG)-(UK: U)-(Au: PG)- Physical violence, violence involving children, some animated nudity, very mild sexual references, mild adult situations
-Media Viewed: DVD
*Academy Awards*
-Best Animated Feature Film (lost to "Coco")
*Golden Globes*
-Best Motion Picture- Animated (lost to "Coco")
Seven year old Tim (voiced by Miles Bakshi, with Tobey Maguire providing adult Tim narration) is content as the only child of a couple (voiced by Jimmy Kimmel and Lisa Kudrow) who work at Puppyco, a pet company run by Francis Francis (voiced by Steve Buscemi). Tim's perfect existence is disrupted by an unnamed new baby brother (voiced by Alec Baldwin) who quickly takes over the family, and hoards all of their parents' love. The baby is actually on a secret mission from BabyCorp to discover what Francis is up to in the launch of a brand new product that might change babyhood forever.
Tim's overactive imagination is fun to watch, as is his reaction to the new creature in the house. Alec Baldwin is undeniably a talent- his voicing of the titular corporatethink baby, later named Ted, is perfection and had me laughing. Jimmy Kimmel and Lisa Kudrow are so bland in their roles, I forgot they were in the film- I haven't laughed at Kimmel in years so the streak continues. Buscemi is fun as Francis. Certain scenes stand out that I really enjoyed: the baby's corporate lifestyle and beliefs, Tim's need for his parents' undivided attention (we never see any of his own friends), pop culture references tailor-made for parents, a lovely musical score, fun action pieces, and so on. These great scenes don't meld together into a great film. Is the entire story a figment of Tim's imagination? Does the baby exist at all? Or Francis Francis? The mission the baby is sent on is an afterthought, never earning the same amount of time as Tim and the baby's relationship, so the menace and danger are lessened. The screenplay takes a lot of conveniences that tested my patience, and weren't answered in the inevitable sequel.
"The Baby Boss" was a good time for the kiddos, and I wasn't dreading putting it on the TV for the umpteenth time- at least not with the kind of dread reserved for "Raya and the Last Dragon" or the "Trolls" films. Followed by motion picture and television sequels.
Stats:
(2017) 96 min. (6/10)
-Directed by Tom McGrath
-Written by Michael McCullers based on the book by Marla Frazee
-Cast: Alec Baldwin, Miles Bakshi, Steve Buscemi, Tobey Maguire, Lisa Kudrow, Jimmy Kimmel, James McGrath, Conrad Vernon, ViviAnn Yee, Eric Bell Jr., David Soren, Edie Mirman, Walt Dohrn, James Ryan
-(US: PG)-(UK: U)-(Au: PG)- Physical violence, violence involving children, some animated nudity, very mild sexual references, mild adult situations
-Media Viewed: DVD
*Academy Awards*
-Best Animated Feature Film (lost to "Coco")
*Golden Globes*
-Best Motion Picture- Animated (lost to "Coco")
Saturday, October 25, 2025
Film Review: "The Comeback" (1978)
*Get "The Comeback" on Amazon here*
*Get The Varnished Untruth: My Story by Pamela Stephenson on Amazon here*
*Get "Greatest Hits" by Jack Jones on Amazon here*
*Get Director Pete Walker: Ecstasy of Terror by Simon Fitzjohn on Amazon here*
I hadn't seen this film in decades, but a rewatch showed it still packed an over-the-top punch.
Jack Jones is pop singer Nick Cooper, who has been on a six year hiatus from recording at the insistence of his wife Gail (Holly Palance). The couple has just divorced, and Nick decides to go back to recording for music executive Webster (David Doyle). Gail? Oh, Gail is savagely murdered in the estranged couple's London penthouse by a killer with a small scythe and sporting an old woman mask, and no one is around to find her body. Nick is put up in an English country house where the servants Mr. and Mrs. B (Bill Owen and Pete Walker regular Sheila Keith) are taking care of the estate while it's owners are on a year-long cruise. The Bs are an odd couple, but Nick takes to the house's isolation and starts recording. Nick also takes to Linda (Pamela Stephenson), Webster's secretary. The two begin seeing each other, as Gail's body decomposes in the penthouse, almost getting discovered on a couple of occasions. Red herring suspects in the murder increase with the introduction of Harry (Peter Turner), Nick's creepy go-fer. Nick begins having nightmares, and the hallucinations turn real as someone wants to either drive him insane, or kill him off themselves.
Although I had not seen this in many years, some scenes still stuck with me: the murders are gory, a surprising cast member's character is a cross-dresser, and there is an instance of tree vandalism. What I didn't remember is how good a job Jones does despite some convenient filmmaking cheats. When Nick sees a gory sight, he runs away from it or hides, giving the body or body part a chance to disappear. Jones plays his role well, sporting a nice delivery whether singing or reacting to the craziness around him. Stephenson, Doyle, and Johnson provide ample support. Sheila Keith is always good in these roles, but I dare you to shake her similarity to Robin Williams' Mrs. Doubtfire. Now that I have mentioned it, that is going to be all you think about when she is onscreen. Walker is known for his crazed exploitation (I saw "House of Whipcord"), and he is given ample opportunity here. The description I have read about the film, that Nick's ex-wife haunts him, isn't really true, although there is a supernatural element tossed into this glossy slasher flick, which will remind you of everything from "Curtains" to any other slasher film of the late 1970's and early 1980's. The story does drag a bit in the third act, and I probably would have figured out, and remembered, the climax if I had thought about it a little more. Horror fans will want to seek it out, some parts of this have to be seen to be believed.
Stats:
(1978) 100 min. (8/10)
-Directed by Pete Walker
-Screenplay by Murray Smith, Additional Script Material by Michael Sloan
-Cast: Jack Jones, Pamela Stephenson, David Doyle, Bill Owen, Sheila Keith, Holly Palance, Peter Turner, Richard Johnson, Patrick Brock, June Chadwick, Penny Irving, Jeff Silk
-(US: R)-(UK: 18)-(Aus: M)- Strong physical violence, gore, some profanity, brief nudity, some sexual content, sexual references, some adult situations, alcohol and tobacco use
-Media Viewed: Theatrical, DVD
*Get The Varnished Untruth: My Story by Pamela Stephenson on Amazon here*
*Get "Greatest Hits" by Jack Jones on Amazon here*
*Get Director Pete Walker: Ecstasy of Terror by Simon Fitzjohn on Amazon here*
I hadn't seen this film in decades, but a rewatch showed it still packed an over-the-top punch.
Jack Jones is pop singer Nick Cooper, who has been on a six year hiatus from recording at the insistence of his wife Gail (Holly Palance). The couple has just divorced, and Nick decides to go back to recording for music executive Webster (David Doyle). Gail? Oh, Gail is savagely murdered in the estranged couple's London penthouse by a killer with a small scythe and sporting an old woman mask, and no one is around to find her body. Nick is put up in an English country house where the servants Mr. and Mrs. B (Bill Owen and Pete Walker regular Sheila Keith) are taking care of the estate while it's owners are on a year-long cruise. The Bs are an odd couple, but Nick takes to the house's isolation and starts recording. Nick also takes to Linda (Pamela Stephenson), Webster's secretary. The two begin seeing each other, as Gail's body decomposes in the penthouse, almost getting discovered on a couple of occasions. Red herring suspects in the murder increase with the introduction of Harry (Peter Turner), Nick's creepy go-fer. Nick begins having nightmares, and the hallucinations turn real as someone wants to either drive him insane, or kill him off themselves.
Although I had not seen this in many years, some scenes still stuck with me: the murders are gory, a surprising cast member's character is a cross-dresser, and there is an instance of tree vandalism. What I didn't remember is how good a job Jones does despite some convenient filmmaking cheats. When Nick sees a gory sight, he runs away from it or hides, giving the body or body part a chance to disappear. Jones plays his role well, sporting a nice delivery whether singing or reacting to the craziness around him. Stephenson, Doyle, and Johnson provide ample support. Sheila Keith is always good in these roles, but I dare you to shake her similarity to Robin Williams' Mrs. Doubtfire. Now that I have mentioned it, that is going to be all you think about when she is onscreen. Walker is known for his crazed exploitation (I saw "House of Whipcord"), and he is given ample opportunity here. The description I have read about the film, that Nick's ex-wife haunts him, isn't really true, although there is a supernatural element tossed into this glossy slasher flick, which will remind you of everything from "Curtains" to any other slasher film of the late 1970's and early 1980's. The story does drag a bit in the third act, and I probably would have figured out, and remembered, the climax if I had thought about it a little more. Horror fans will want to seek it out, some parts of this have to be seen to be believed.
Stats:
(1978) 100 min. (8/10)
-Directed by Pete Walker
-Screenplay by Murray Smith, Additional Script Material by Michael Sloan
-Cast: Jack Jones, Pamela Stephenson, David Doyle, Bill Owen, Sheila Keith, Holly Palance, Peter Turner, Richard Johnson, Patrick Brock, June Chadwick, Penny Irving, Jeff Silk
-(US: R)-(UK: 18)-(Aus: M)- Strong physical violence, gore, some profanity, brief nudity, some sexual content, sexual references, some adult situations, alcohol and tobacco use
-Media Viewed: Theatrical, DVD
Film Review: "The Bride of Frankenstein" (1935)
*Get "The Bride of Frankenstein" on Amazon here*
*Get Frankenstein by Mary Shelley on Amazon here*
*Get Bride of Frankenstein: The Definitive History of the Horror Classic by Christopher Lock on Amazon here*
*Get Romantic Outlaws: The Extraordinary Lives of Mary Wollstonecraft & Mary Shelley by Charlotte Gordon on Amazon here*
This sequel to the classic "Frankenstein" proves that some films are timeless, even when looking at them for the first time.
Elsa Lanchester is Mary Shelley, recounting what happened after the events of the first film, on a dark and stormy night with her famous husband (Douglas Walton) and Lord Byron (Gavin Gordon). The film makers wisely recap the highlights of the first film, reminding the audience of the basic plot.
While better than the original "Frankenstein," this film is still not technically perfect. There are quite a few editing gaffes, where someone is doing something in one shot, but not another. Whale's direction really does not come alive until the last creation scene, which has wonderful off-center and shadowed shots. Even Karloff's monster makeup appears softened compared to the first film. On the positives, however, the black & white atmosphere works well here. Sets or not, the high ceilings and creepy Euro look are chilling. The special effects also rival modern films, they are excellent and not cheesy in the slightest. While Karloff is good, Lanchester is excellent in her too brief role as the bride. Una O'Connor is a scream (literally) as the cowardly housekeeper who always seems to meet up with the Monster at the wrong time. Dwight Frye is underused as a lab assistant. Colin Clive is kept in the background as Frankenstein. He seems ill at ease, and the actor died a few years later as a result of alcoholism. By the way, the book and film "Gods and Monsters" got their title from this film, and a toast made by Pretorious (Ernest Thesiger).
While this film has garnered a nearly flawless reputation in the last seven decades, it does deserve accolades. "The Bride of Frankenstein" may not terrify you like it did audiences of the past, but it is interesting to see the inspiration behind almost every monster movie made afterward. Also known as "Bride of Frankenstein."
Stats:
(1935) 75 min. (8/10)
-Directed by James Whale
-Screenplay by William Hurlbut, Adapted by William Hurlbut and John L. Balderston, Suggested by the original story written by Mary Shelley
-Cast: Boris Karloff, Elsa Lanchester, Ernest Thesiger, Colin Clive, Douglas Walton, Gavin Gordon, Dwight Frye, Una O'Connor, Valerie Hobson, E.E. Clive, John Carradine, Lucien Prival, O.P. Heggie, Reginald Barlow, Mary Gordon
-(Amazon Prime Video: 13+)-(UK: PG)-(Aus: PG)- Physical violence, mild gore, some adult situations, alcohol and tobacco use
-Media Viewed: VHS, Amazon Prime Video Streaming
*Academy Awards*
-Best Sound Recording (lost to "Naughty Marietta")
*Get Frankenstein by Mary Shelley on Amazon here*
*Get Bride of Frankenstein: The Definitive History of the Horror Classic by Christopher Lock on Amazon here*
*Get Romantic Outlaws: The Extraordinary Lives of Mary Wollstonecraft & Mary Shelley by Charlotte Gordon on Amazon here*
This sequel to the classic "Frankenstein" proves that some films are timeless, even when looking at them for the first time.
Elsa Lanchester is Mary Shelley, recounting what happened after the events of the first film, on a dark and stormy night with her famous husband (Douglas Walton) and Lord Byron (Gavin Gordon). The film makers wisely recap the highlights of the first film, reminding the audience of the basic plot.
While better than the original "Frankenstein," this film is still not technically perfect. There are quite a few editing gaffes, where someone is doing something in one shot, but not another. Whale's direction really does not come alive until the last creation scene, which has wonderful off-center and shadowed shots. Even Karloff's monster makeup appears softened compared to the first film. On the positives, however, the black & white atmosphere works well here. Sets or not, the high ceilings and creepy Euro look are chilling. The special effects also rival modern films, they are excellent and not cheesy in the slightest. While Karloff is good, Lanchester is excellent in her too brief role as the bride. Una O'Connor is a scream (literally) as the cowardly housekeeper who always seems to meet up with the Monster at the wrong time. Dwight Frye is underused as a lab assistant. Colin Clive is kept in the background as Frankenstein. He seems ill at ease, and the actor died a few years later as a result of alcoholism. By the way, the book and film "Gods and Monsters" got their title from this film, and a toast made by Pretorious (Ernest Thesiger).
While this film has garnered a nearly flawless reputation in the last seven decades, it does deserve accolades. "The Bride of Frankenstein" may not terrify you like it did audiences of the past, but it is interesting to see the inspiration behind almost every monster movie made afterward. Also known as "Bride of Frankenstein."
Stats:
(1935) 75 min. (8/10)
-Directed by James Whale
-Screenplay by William Hurlbut, Adapted by William Hurlbut and John L. Balderston, Suggested by the original story written by Mary Shelley
-Cast: Boris Karloff, Elsa Lanchester, Ernest Thesiger, Colin Clive, Douglas Walton, Gavin Gordon, Dwight Frye, Una O'Connor, Valerie Hobson, E.E. Clive, John Carradine, Lucien Prival, O.P. Heggie, Reginald Barlow, Mary Gordon
-(Amazon Prime Video: 13+)-(UK: PG)-(Aus: PG)- Physical violence, mild gore, some adult situations, alcohol and tobacco use
-Media Viewed: VHS, Amazon Prime Video Streaming
*Academy Awards*
-Best Sound Recording (lost to "Naughty Marietta")
Film Review: "Lucky Bastard" (2014)
*Get "Lucky Bastard" on Amazon here*
*Get Exposed: How the Porn Industry Still Profits Off the Dead by Victoria Sterling on Amazon here*
*Get A Call to Purity: Living a Lifestyle of Purity by Richard and Brittni De La Mora on Amazon here*
*Get "Pornocracy" on Amazon here*
This low budget thriller is hampered by its own subgenre, as "found footage" takes another casualty.
Mike (Don McManus) runs the porn website "Lucky Bastard," where he dabbles in fake sexual assault scenes for his subscribers. He decides to do his infamous "regular guy gets to sleep with a porn star on camera" scene with a hesitant Ashley (Betsy Rue). The logistics are in motion, his crew is set, and "nice" David (Jay Paulson) is chosen. David begins messing up right away, offending cast and crew with his naivete and nerves. Mike tries to make it work and salvage his production fee until David snaps.
The germ of an excellent thriller is here. There's a sense of foreboding as the opening footage is of first responders finding bodies at the house the video was to be shot at- a convenient reality show setting with a bunch of cameras spread around the rented home and grounds. The film has Wonderland/Manson murders vibes, and most of the camera angles seem natural. The dialogue seems to be scripted, so there are no awkward improvised dialogue scenes, although the stabs at characterization are sometimes shallow. The editing and sound are fantastic. This isn't a "porno" by definition, but it deserves its (NC-17) rating- this is the kind of film the rating was invented for.
If the film had been a scripted look at a porno set descend into murderous chaos, it might have worked. There is no real suspense, but seeing the victims begging for their lives instead of wandering around alone and experiencing a jump scare or two is almost refreshing. I've seen some of the cast in other projects (Rue was hilarious as a spoiled pop star in an episode of "iCarly" years ago), and they all do well here. Around Ashley's third walk-off of a set, I started checking the running time. I can't stand "confessing villains" in films, but even a little more about David would have helped. The characters must hold back because this is all being shot for online use, an omnipresent camera would have given the viewer more emotion, insight, and empathy. Finally, we have yet another "in-house editing" team of law enforcement officers putting the hours of footage together, which makes no sense at all. If you watch the Wonderland Murders police walk-through video from the 1980s, it's really boring despite the gruesome footage. The LAPD doesn't edit the video together to make it run quicker. Start asking yourself in the found footage cinematic universe, why would any law enforcement entity be doing this in the first place, much less releasing the footage that has nothing to do with the crimes itself?
I had heard about "Lucky Bastard" for a while, and it proved to be the disappointment I was expecting.
Stats:
(2014) 94 min. (2/10)
-Directed by Robert Nathan
-Written by Lukas Kendall and Robert Nathan
-Cast: Don McManus, Jay Paulson, Betsy Rue, Catherine Annette, Lee Kholafai, Lanny Joon, Clint Brink, Deborah Zoe, Angela Shin, Krystall Ellsworth, Mark Heenehan, Marissa Labog, Chase Woolner
-(US: NC-17)- Physical violence, gun violence, sexual violence, some gore, strong profanity, very strong nudity, very strong sexual content, very strong sexual references, strong adult situations, tobacco use
-Media Viewed: Amazon Prime Video Streaming
*Get Exposed: How the Porn Industry Still Profits Off the Dead by Victoria Sterling on Amazon here*
*Get A Call to Purity: Living a Lifestyle of Purity by Richard and Brittni De La Mora on Amazon here*
*Get "Pornocracy" on Amazon here*
This low budget thriller is hampered by its own subgenre, as "found footage" takes another casualty.
Mike (Don McManus) runs the porn website "Lucky Bastard," where he dabbles in fake sexual assault scenes for his subscribers. He decides to do his infamous "regular guy gets to sleep with a porn star on camera" scene with a hesitant Ashley (Betsy Rue). The logistics are in motion, his crew is set, and "nice" David (Jay Paulson) is chosen. David begins messing up right away, offending cast and crew with his naivete and nerves. Mike tries to make it work and salvage his production fee until David snaps.
The germ of an excellent thriller is here. There's a sense of foreboding as the opening footage is of first responders finding bodies at the house the video was to be shot at- a convenient reality show setting with a bunch of cameras spread around the rented home and grounds. The film has Wonderland/Manson murders vibes, and most of the camera angles seem natural. The dialogue seems to be scripted, so there are no awkward improvised dialogue scenes, although the stabs at characterization are sometimes shallow. The editing and sound are fantastic. This isn't a "porno" by definition, but it deserves its (NC-17) rating- this is the kind of film the rating was invented for.
If the film had been a scripted look at a porno set descend into murderous chaos, it might have worked. There is no real suspense, but seeing the victims begging for their lives instead of wandering around alone and experiencing a jump scare or two is almost refreshing. I've seen some of the cast in other projects (Rue was hilarious as a spoiled pop star in an episode of "iCarly" years ago), and they all do well here. Around Ashley's third walk-off of a set, I started checking the running time. I can't stand "confessing villains" in films, but even a little more about David would have helped. The characters must hold back because this is all being shot for online use, an omnipresent camera would have given the viewer more emotion, insight, and empathy. Finally, we have yet another "in-house editing" team of law enforcement officers putting the hours of footage together, which makes no sense at all. If you watch the Wonderland Murders police walk-through video from the 1980s, it's really boring despite the gruesome footage. The LAPD doesn't edit the video together to make it run quicker. Start asking yourself in the found footage cinematic universe, why would any law enforcement entity be doing this in the first place, much less releasing the footage that has nothing to do with the crimes itself?
I had heard about "Lucky Bastard" for a while, and it proved to be the disappointment I was expecting.
Stats:
(2014) 94 min. (2/10)
-Directed by Robert Nathan
-Written by Lukas Kendall and Robert Nathan
-Cast: Don McManus, Jay Paulson, Betsy Rue, Catherine Annette, Lee Kholafai, Lanny Joon, Clint Brink, Deborah Zoe, Angela Shin, Krystall Ellsworth, Mark Heenehan, Marissa Labog, Chase Woolner
-(US: NC-17)- Physical violence, gun violence, sexual violence, some gore, strong profanity, very strong nudity, very strong sexual content, very strong sexual references, strong adult situations, tobacco use
-Media Viewed: Amazon Prime Video Streaming
Film Review: "Attack of the Doc!" (2023)
This documentary covers the cult show "Attack of the Show!" on the old G4 cable television channel. After watching the film, and doing a little reading online, the internet troll vitriol was sometimes more entertaining than the film.
I never saw "Attack of the Show!" or anything else on the G4 network. My first marriage had ended four days before the 9/11 attacks, and I was too busy sulking in a basement apartment or renting a spare bedroom from my best friend to sit down and watch cable television much, when I could afford basic cable at all. I was not a gamer anyway, getting that out of my system back in high school thanks to popping quarters into arcade machines or suffering through the Intellivision system at home. I didn't know AOTS was a thing, and I'm not even sure if G4 was on my system. One thing I was familiar with, however, was Chris Gore. I used to frequent a rundown little gas station in my then-hometown because they carried Film Threat magazine for some ungodly reason that I never figured out. I read and re-read every issue I could get my hands on, along with the Film Threat Video Guide, before loaning my collection to a friend and never seeing them again. I was going to be a film maker back then, carrying around well-worn issues of FT, Entertainment Weekly, Movieline, Premiere, and reading Variety and Film Comment at my alma mater university library. I wrote and directed one music video of a friend's song, graduated from college with a degree in Broadcasting (no, everyone in my life, it's not "the same thing" as film making), and never pursued my "chosen career." Writing about film, on the other hand...
When I was in elementary school in the late 1970's and early 1980's (I'm the epitome of Generation X), I used to flip through Leonard Maltin's TV and Movie Guide. I started writing capsule reviews on 3x5 inch index cards, and put them in a little recipe file box. It was stuffed full by the time I got to high school, but it eventually disappeared during one of the many moves in my life as an Air Force Brat. Once I discovered the internet, all bets were off. I wrote reviews for Epinions, and then eFilmCritic/HollywoodBitchslap- those sites are long gone now. I had 10,000 TV and film rankings on IMDb, which consistently crashed my local library's computer. I'm now on Letterboxd, where I have over 6,600 films ranked, and I have almost a thousand old reviews there, as well as spread out on an archive blog, IMDb, TMDB, Amazon, and Rotten Tomatoes. All told, I've made approximately $1.75 from my decades of online film criticism.
I've been watching and reading Chris Gore since he had dark hair, and I had any hair. I don't have time to do entire podcasts, I'm a stay-at-home Dad and recovering victim of three decades in the Corporatethink/Big Box Retail field, but I enjoy Film Threat's clips on YouTube and Rumble, and reading the written reviews on their website. Gore pops up on Film Courage's YouTube channel as well, and his long interviews have me nodding in agreement consistently. I found a kindred spirit in Chris Gore and his Film Threat sidekicks, as well as Heath Holland at Cereal at Midnight, The Critical Drinker, Ryan George at Pitch Meeting, and Jeremy Jahns, and they're among my must-watches. I don't necessarily agree with them all of the time, but I like hearing their views on film, television, and physical media collecting- I own almost a thousand shiny discs and about as many books.
But what about the film?! Sorry, I'm talking about the film maker more than the film- something most of the reviews I read online are guilty of, too. "Attack of the Doc!" is a fun, nostalgic trip down memory lane for a show I had no memory of. Gore couldn't get interviews with the most famous hosts (Kevin Pereira and Olivia Munn), and I don't know why. He covers it well, though, with plenty of old footage from the show as well as voiceover interviews with people involved in the production. Gore himself appeared on over eighty episodes, according to IMDb, and he appears onscreen in recently shot footage. I was never bored, the show seemed like something I could have watched in between episodes of "The State," "Mystery Science Theater 3000," "The Whitest Kids U'Know," "The Kids in the Hall," and all the other subversive comedy I absorbed, if I had known the show existed.
The trolls lambast Gore for an anti-woke section of the film. From my reading, I expected an hours-long diatribe, and was laughing out loud at the very few sentences I heard. They really couldn't do a lot of the material found on AOTS today, and it was funny to read about how "alt-right" Gore is: "A biased Gore inserts himself into the documentary on a show he was barely on and made it all about himself!" I'm hard pressed to think of a documentary that is unbiased, and when it comes to a film maker putting himself into a documentary, have the names Michael Moore or Nick Broomfield, as well as almost every "reality show," been completely forgotten? I wouldn't call eighty episodes "barely on" the show. Gore is criticized more for his honest takes about current pop culture, which is something I appreciate in the left-leaning world of Hollywood and film criticism. Sometimes I just want to read a writer's thoughts on a film without detrimental comparisons to the latest Trump rally, which has nothing to do with the film being reviewed in the first place. This is why I also frequently read John Nolte, Armond White, Bret Easton Ellis, and Christian Toto, and old material from Pauline Kael, Roger Ebert, and Gene Siskel. I don't agree with any of them all the time, but I'm not insulted for being a Middle America Conservative either.
So yes, if you were a G4 fan back in the day, you'll like this film. If you are like me and had no idea what the show or network were about, I think you'll still like this film. Chris Gore is still "doing the work" as Gary Vaynerchuk preaches, and I appreciate that.
Stats:
(2023) 87 min. (7/10)
-Written and Directed by Chris Gore
-With Chris Gore, Kevin Pereira, Olivia Munn, Candace Bailey, Sara Jean Underwood, Morgan Webb, Eric Andre, James Cameron, John Cena, Jimmy Fallon, Alison Haislip, Tom Green, Chris Hardwick, Tony Hawk, Stan Lee
-(Amazon Prime Video: 16+)- Physical violence, some gun violence, some gore, profanity, sexual references, adult situations
-Media Viewed: Amazon Prime Video Streaming
I never saw "Attack of the Show!" or anything else on the G4 network. My first marriage had ended four days before the 9/11 attacks, and I was too busy sulking in a basement apartment or renting a spare bedroom from my best friend to sit down and watch cable television much, when I could afford basic cable at all. I was not a gamer anyway, getting that out of my system back in high school thanks to popping quarters into arcade machines or suffering through the Intellivision system at home. I didn't know AOTS was a thing, and I'm not even sure if G4 was on my system. One thing I was familiar with, however, was Chris Gore. I used to frequent a rundown little gas station in my then-hometown because they carried Film Threat magazine for some ungodly reason that I never figured out. I read and re-read every issue I could get my hands on, along with the Film Threat Video Guide, before loaning my collection to a friend and never seeing them again. I was going to be a film maker back then, carrying around well-worn issues of FT, Entertainment Weekly, Movieline, Premiere, and reading Variety and Film Comment at my alma mater university library. I wrote and directed one music video of a friend's song, graduated from college with a degree in Broadcasting (no, everyone in my life, it's not "the same thing" as film making), and never pursued my "chosen career." Writing about film, on the other hand...
When I was in elementary school in the late 1970's and early 1980's (I'm the epitome of Generation X), I used to flip through Leonard Maltin's TV and Movie Guide. I started writing capsule reviews on 3x5 inch index cards, and put them in a little recipe file box. It was stuffed full by the time I got to high school, but it eventually disappeared during one of the many moves in my life as an Air Force Brat. Once I discovered the internet, all bets were off. I wrote reviews for Epinions, and then eFilmCritic/HollywoodBitchslap- those sites are long gone now. I had 10,000 TV and film rankings on IMDb, which consistently crashed my local library's computer. I'm now on Letterboxd, where I have over 6,600 films ranked, and I have almost a thousand old reviews there, as well as spread out on an archive blog, IMDb, TMDB, Amazon, and Rotten Tomatoes. All told, I've made approximately $1.75 from my decades of online film criticism.
I've been watching and reading Chris Gore since he had dark hair, and I had any hair. I don't have time to do entire podcasts, I'm a stay-at-home Dad and recovering victim of three decades in the Corporatethink/Big Box Retail field, but I enjoy Film Threat's clips on YouTube and Rumble, and reading the written reviews on their website. Gore pops up on Film Courage's YouTube channel as well, and his long interviews have me nodding in agreement consistently. I found a kindred spirit in Chris Gore and his Film Threat sidekicks, as well as Heath Holland at Cereal at Midnight, The Critical Drinker, Ryan George at Pitch Meeting, and Jeremy Jahns, and they're among my must-watches. I don't necessarily agree with them all of the time, but I like hearing their views on film, television, and physical media collecting- I own almost a thousand shiny discs and about as many books.
But what about the film?! Sorry, I'm talking about the film maker more than the film- something most of the reviews I read online are guilty of, too. "Attack of the Doc!" is a fun, nostalgic trip down memory lane for a show I had no memory of. Gore couldn't get interviews with the most famous hosts (Kevin Pereira and Olivia Munn), and I don't know why. He covers it well, though, with plenty of old footage from the show as well as voiceover interviews with people involved in the production. Gore himself appeared on over eighty episodes, according to IMDb, and he appears onscreen in recently shot footage. I was never bored, the show seemed like something I could have watched in between episodes of "The State," "Mystery Science Theater 3000," "The Whitest Kids U'Know," "The Kids in the Hall," and all the other subversive comedy I absorbed, if I had known the show existed.
The trolls lambast Gore for an anti-woke section of the film. From my reading, I expected an hours-long diatribe, and was laughing out loud at the very few sentences I heard. They really couldn't do a lot of the material found on AOTS today, and it was funny to read about how "alt-right" Gore is: "A biased Gore inserts himself into the documentary on a show he was barely on and made it all about himself!" I'm hard pressed to think of a documentary that is unbiased, and when it comes to a film maker putting himself into a documentary, have the names Michael Moore or Nick Broomfield, as well as almost every "reality show," been completely forgotten? I wouldn't call eighty episodes "barely on" the show. Gore is criticized more for his honest takes about current pop culture, which is something I appreciate in the left-leaning world of Hollywood and film criticism. Sometimes I just want to read a writer's thoughts on a film without detrimental comparisons to the latest Trump rally, which has nothing to do with the film being reviewed in the first place. This is why I also frequently read John Nolte, Armond White, Bret Easton Ellis, and Christian Toto, and old material from Pauline Kael, Roger Ebert, and Gene Siskel. I don't agree with any of them all the time, but I'm not insulted for being a Middle America Conservative either.
So yes, if you were a G4 fan back in the day, you'll like this film. If you are like me and had no idea what the show or network were about, I think you'll still like this film. Chris Gore is still "doing the work" as Gary Vaynerchuk preaches, and I appreciate that.
Stats:
(2023) 87 min. (7/10)
-Written and Directed by Chris Gore
-With Chris Gore, Kevin Pereira, Olivia Munn, Candace Bailey, Sara Jean Underwood, Morgan Webb, Eric Andre, James Cameron, John Cena, Jimmy Fallon, Alison Haislip, Tom Green, Chris Hardwick, Tony Hawk, Stan Lee
-(Amazon Prime Video: 16+)- Physical violence, some gun violence, some gore, profanity, sexual references, adult situations
-Media Viewed: Amazon Prime Video Streaming
Reading in 2025
-BOOKS:
5. John D. Rockefeller on Making Money by John D. Rockefeller (Compilation)
4. Paradoxia: A Predator's Diary by Lydia Lunch
3. Scenes with My Son: Love and Grief in the Wake of Suicide by Robert Hubbard
2. Thoughts in Solitude by Thomas Merton
1. Monasticism: A Very Short Introduction by Stephen J. Davis
-PERIODICALS and ZINES:
-Fangoria-
"Fangoria," Mubi's The Twin Peaks Issue
-Imprimis-
"Imprimis," March/April 2025, Volume 54, Number 3/4
"Imprimis," June 2025, Volume 54, Number 6
"Imprimis," July/August 2025, Volume 54, Number 7/8
"Imprimis," September 2025, Volume 54, Number 9
-The Voice of the Martyrs-
"The Voice of the Martyrs," April 2025, Volume 59, Number 4
"The Voice of the Martyrs," May 2025, Volume 59, Number 5
"The Voice of the Martyrs," June 2025, Volume 59, Number 6
"The Voice of the Martyrs," July 2025, Volume 59, Number 7
(Updated September 26, 2025)
5. John D. Rockefeller on Making Money by John D. Rockefeller (Compilation)
4. Paradoxia: A Predator's Diary by Lydia Lunch
3. Scenes with My Son: Love and Grief in the Wake of Suicide by Robert Hubbard
2. Thoughts in Solitude by Thomas Merton
1. Monasticism: A Very Short Introduction by Stephen J. Davis
-PERIODICALS and ZINES:
-Fangoria-
"Fangoria," Mubi's The Twin Peaks Issue
-Imprimis-
"Imprimis," March/April 2025, Volume 54, Number 3/4
"Imprimis," June 2025, Volume 54, Number 6
"Imprimis," July/August 2025, Volume 54, Number 7/8
"Imprimis," September 2025, Volume 54, Number 9
-The Voice of the Martyrs-
"The Voice of the Martyrs," April 2025, Volume 59, Number 4
"The Voice of the Martyrs," May 2025, Volume 59, Number 5
"The Voice of the Martyrs," June 2025, Volume 59, Number 6
"The Voice of the Martyrs," July 2025, Volume 59, Number 7
(Updated September 26, 2025)
Film Review: "This Is the Tom Green Documentary" (2025)
*Watch "This Is the Tom Green Documentary" on Amazon Prime Video here*
*Get "Freddie Got Fingered" on Amazon here*
*Watch "Tom Green: I Got a Mule!" on Amazon Prime Video here*
*Watch "Tom Green Country" on Amazon Prime Video here*
This is a surprisingly straightforward documentary on the subversive comedian Tom Green, who seemed to be everywhere in the 1990s and early 2000s before receiving a cancer diagnosis that derailed his career.
Green was from Canada, born in 1971. He was into skateboard culture, formed a locally successful rap group, and then started getting involved in making comedy videos that would emulate the man-on-the-street comedy that David Letterman was doing on his show at the time. The videos and material took off, Green was brought to the States and replicated his cult cable access show on MTV, and he and his friends started to rise in the entertainment industry.
Green directs the film and interviews his parents, who were the targets of many famous bits on his show. They seemed genuinely upset and put out by their son's shenanigans, unlike what passes as "reality" entertainment today. They were not privy to what their son was doing for TV (repainting the house plaid, waking them at 3am to listen to Bon Jovi), but they don't seem very angry about it today. Green goes through his career with friends and co-on air personalities Phil Giroux and Glenn Humplik (Humplik is the greatest name in the history of talk show sidekicks), his assorted films, his marriage to star Drew Barrymore, and his eventual testicular cancer scare that still shakes him and his family. I remember his cancer special, and talking about this taboo subject to millions of fans his age, like myself. He gives behind-the-scenes looks at how much pain he was going through in those times, the surgeries, the show cancellation, and we realized that we weren't immortal or enduring in this age. He tried to kickstart his career here and there, realizing the potential that the internet held, and now he's on the comeback trail with this documentary, a reality series, a stand-up special, and more.
Watching the old clips from his television show, I was having major nostalgia for the turn of the century when anything possible was in my future. Green is three years younger than me, firmly planted in our Generation X, and I felt a connection to him. He is more thoughtful and humble now, he doesn't try any zany stunts on his older parents in the documentary (thank god) because he's not that same guy. The film is well cut between crazed video bits from the good old days, and nice interviews with his subjects today. It's fun to see clips from the show and wonder where these people are now after having a huge impact on popular culture back in the day- Craig Kilborn, Flavor Flav, Janeane Garofalo, Monica Lewinsky, Dennis Miller, etc.
As I fast approach my late fifties, and friends and family start leaving us at an alarming rate (in the past year, I've discovered college classmates and coworkers have passed away and I had no idea until well after the fact), it's comforting to see I'm not the only one who is taking a step back and reflecting on the future. Green keeps his eye on his eventful past, but is doing the work instead of becoming frozen-in-place creatively, rising above internet-age rage and tumult. This is a very good film.
Stats:
(2025) 97 min. (8/10)
-Directed by Tom Green
-With Tom Green, Mary Jane Green, Richard Green, Glenn Humplik, Phil Giroux, Chris Mullington, Merilyn Read, Jackie Stearn, David Letterman, Drew Barrymore, Eric Andre, Joe Rogan, Monica Lewinsky
-(Amazon Prime Video: 16+)-(UK: 15)-(Aus: MA15+)- Some physical violence, gore, profanity, strong adult situations
-Media Viewed: Amazon Prime Video Streaming
*Get "Freddie Got Fingered" on Amazon here*
*Watch "Tom Green: I Got a Mule!" on Amazon Prime Video here*
*Watch "Tom Green Country" on Amazon Prime Video here*
This is a surprisingly straightforward documentary on the subversive comedian Tom Green, who seemed to be everywhere in the 1990s and early 2000s before receiving a cancer diagnosis that derailed his career.
Green was from Canada, born in 1971. He was into skateboard culture, formed a locally successful rap group, and then started getting involved in making comedy videos that would emulate the man-on-the-street comedy that David Letterman was doing on his show at the time. The videos and material took off, Green was brought to the States and replicated his cult cable access show on MTV, and he and his friends started to rise in the entertainment industry.
Green directs the film and interviews his parents, who were the targets of many famous bits on his show. They seemed genuinely upset and put out by their son's shenanigans, unlike what passes as "reality" entertainment today. They were not privy to what their son was doing for TV (repainting the house plaid, waking them at 3am to listen to Bon Jovi), but they don't seem very angry about it today. Green goes through his career with friends and co-on air personalities Phil Giroux and Glenn Humplik (Humplik is the greatest name in the history of talk show sidekicks), his assorted films, his marriage to star Drew Barrymore, and his eventual testicular cancer scare that still shakes him and his family. I remember his cancer special, and talking about this taboo subject to millions of fans his age, like myself. He gives behind-the-scenes looks at how much pain he was going through in those times, the surgeries, the show cancellation, and we realized that we weren't immortal or enduring in this age. He tried to kickstart his career here and there, realizing the potential that the internet held, and now he's on the comeback trail with this documentary, a reality series, a stand-up special, and more.
Watching the old clips from his television show, I was having major nostalgia for the turn of the century when anything possible was in my future. Green is three years younger than me, firmly planted in our Generation X, and I felt a connection to him. He is more thoughtful and humble now, he doesn't try any zany stunts on his older parents in the documentary (thank god) because he's not that same guy. The film is well cut between crazed video bits from the good old days, and nice interviews with his subjects today. It's fun to see clips from the show and wonder where these people are now after having a huge impact on popular culture back in the day- Craig Kilborn, Flavor Flav, Janeane Garofalo, Monica Lewinsky, Dennis Miller, etc.
As I fast approach my late fifties, and friends and family start leaving us at an alarming rate (in the past year, I've discovered college classmates and coworkers have passed away and I had no idea until well after the fact), it's comforting to see I'm not the only one who is taking a step back and reflecting on the future. Green keeps his eye on his eventful past, but is doing the work instead of becoming frozen-in-place creatively, rising above internet-age rage and tumult. This is a very good film.
Stats:
(2025) 97 min. (8/10)
-Directed by Tom Green
-With Tom Green, Mary Jane Green, Richard Green, Glenn Humplik, Phil Giroux, Chris Mullington, Merilyn Read, Jackie Stearn, David Letterman, Drew Barrymore, Eric Andre, Joe Rogan, Monica Lewinsky
-(Amazon Prime Video: 16+)-(UK: 15)-(Aus: MA15+)- Some physical violence, gore, profanity, strong adult situations
-Media Viewed: Amazon Prime Video Streaming
Friday, October 24, 2025
Film Review: "Lizzie" (2018)
*Get "Lizzie" on Amazon here*
*Get "Lizzie" Original Motion Picture Soundtrack on Amazon here*
*Get Blood in Fall River: The Complete Biography of Lizzie Borden by John M. Woodward on Amazon here*
*Get The Borden Murders: Lizzie Borden and the Trial of the Century by Sarah Miller on Amazon here*
Chloe Sevigny shines as the infamous Lizzie Borden in a film that reminded me of "The Assassination of Jesse James by the Coward Robert Ford."
Lizzie (Chloe Sevigny), her sister Emma (Kim Dickens), and their father Andrew (Jamie Sheridan) and stepmother Abby (Fiona Shaw) live in a small house in Fall River, Massachusetts. They hire on Irish housemaid Bridget (Kristen Stewart), who the parents insist on calling Maggie. The household is in a constant state of tension, as Andrew tries to keep order but Lizzie often acts out like a repressed teenager. She and Bridget grow closer, despite Andrew's nighttime visits to Bridget's small room, and soon the new couple are pushed too far by the overbearing parental figures.
Knowing the basics of the Lizzie Borden case, the film contains many historical inaccuracies and the Savannah, Georgia location filming is all wrong. The strength of the film lies in its performances and direction. While Stewart's accent comes and goes as many times as Bridget meekly enters a room, Sevigny anchors the film with her strong performance. Her Lizzie puts up a strong facade that is easily shattered when confronted. The house is a prison of sorts to Lizzie and Emma, who are both trapped in societal expectations, expectations that may have contributed to Lizzie's not guilty verdict when she was tried on the charges of double murder. I've loved Shaw since "Mountains of the Moon," and she does a lot with her character. Although second billed, Stewart doesn't try to hog the film from Sevigny, and the two have a very halting chemistry just like their characters do. Sheridan is good as Andrew, if not a little to modern looking- I would have liked to see a full beard just like the original Andrew Borden had. Denis O'Hare is menacing as the women's ne'er-do-well uncle.
One piece of sound design/set decoration is the constantly creaking floors of the Borden house. No one can "sneak" around anywhere without being heard or overheard, and there are many quiet scenes where all you can listen to is creaking. Director Macneill also frames his film differently. There are many obscured shots, as panes of glass are opaque and distort what is being seen. I would have liked to see more background on Bridget, and a few scenes ring false, but I enjoyed the underwhelming sense of dread (I mean that in a good way) that develops without the use of jump scares or obvious foreshadowing. The violence in the film is brutal, the murders have become the thing of jokes today. Other reviews I read highlighted the nudity and sexual relationship between Lizzie and Bridget, forgetting that two people being bludgeoned to death with a hatchet isn't exactly fun. Kudos to Jeff Russo's careful score and the natural but unpretty cinematography.
Lizzie Borden's maybe-murders will probably never be solved. Over a century has passed, and there isn't any cold case DNA testing to do. Instead, we get quite a few dramatizations and murder mystery parties at the site of the original murders, which is now a bed and breakfast. "Lizzie" is one of the better, serious efforts to tell the stories of the murders, once Kristen Stewart fans get past her presence onscreen; the film isn't called "Bridget," after all.
Stats:
-(2018) 105 min. (8/10)
-Directed by Craig William Macneill
-Written by Bryce Kass
-Cast: Chloe Sevigny, Kristen Stewart, Jamie Sheridan, Fiona Shaw, Kim Dickens, Denis O'Hare, Jeff Perry, Tara Ochs, Daniel Wachs, Jody Matzer, Don Henderson Baker, Jay Huguley, Roscoe Sandlin
-(US: R)-(UK: 15)-(Aus: MA15+)- Physical violence, some sexual violence, strong gore, some profanity, nudity, some sexual content, mild sexual references, strong adult situations
-Media Viewed: Amazon Prime Video Streaming
*Get "Lizzie" Original Motion Picture Soundtrack on Amazon here*
*Get Blood in Fall River: The Complete Biography of Lizzie Borden by John M. Woodward on Amazon here*
*Get The Borden Murders: Lizzie Borden and the Trial of the Century by Sarah Miller on Amazon here*
Chloe Sevigny shines as the infamous Lizzie Borden in a film that reminded me of "The Assassination of Jesse James by the Coward Robert Ford."
Lizzie (Chloe Sevigny), her sister Emma (Kim Dickens), and their father Andrew (Jamie Sheridan) and stepmother Abby (Fiona Shaw) live in a small house in Fall River, Massachusetts. They hire on Irish housemaid Bridget (Kristen Stewart), who the parents insist on calling Maggie. The household is in a constant state of tension, as Andrew tries to keep order but Lizzie often acts out like a repressed teenager. She and Bridget grow closer, despite Andrew's nighttime visits to Bridget's small room, and soon the new couple are pushed too far by the overbearing parental figures.
Knowing the basics of the Lizzie Borden case, the film contains many historical inaccuracies and the Savannah, Georgia location filming is all wrong. The strength of the film lies in its performances and direction. While Stewart's accent comes and goes as many times as Bridget meekly enters a room, Sevigny anchors the film with her strong performance. Her Lizzie puts up a strong facade that is easily shattered when confronted. The house is a prison of sorts to Lizzie and Emma, who are both trapped in societal expectations, expectations that may have contributed to Lizzie's not guilty verdict when she was tried on the charges of double murder. I've loved Shaw since "Mountains of the Moon," and she does a lot with her character. Although second billed, Stewart doesn't try to hog the film from Sevigny, and the two have a very halting chemistry just like their characters do. Sheridan is good as Andrew, if not a little to modern looking- I would have liked to see a full beard just like the original Andrew Borden had. Denis O'Hare is menacing as the women's ne'er-do-well uncle.
One piece of sound design/set decoration is the constantly creaking floors of the Borden house. No one can "sneak" around anywhere without being heard or overheard, and there are many quiet scenes where all you can listen to is creaking. Director Macneill also frames his film differently. There are many obscured shots, as panes of glass are opaque and distort what is being seen. I would have liked to see more background on Bridget, and a few scenes ring false, but I enjoyed the underwhelming sense of dread (I mean that in a good way) that develops without the use of jump scares or obvious foreshadowing. The violence in the film is brutal, the murders have become the thing of jokes today. Other reviews I read highlighted the nudity and sexual relationship between Lizzie and Bridget, forgetting that two people being bludgeoned to death with a hatchet isn't exactly fun. Kudos to Jeff Russo's careful score and the natural but unpretty cinematography.
Lizzie Borden's maybe-murders will probably never be solved. Over a century has passed, and there isn't any cold case DNA testing to do. Instead, we get quite a few dramatizations and murder mystery parties at the site of the original murders, which is now a bed and breakfast. "Lizzie" is one of the better, serious efforts to tell the stories of the murders, once Kristen Stewart fans get past her presence onscreen; the film isn't called "Bridget," after all.
Stats:
-(2018) 105 min. (8/10)
-Directed by Craig William Macneill
-Written by Bryce Kass
-Cast: Chloe Sevigny, Kristen Stewart, Jamie Sheridan, Fiona Shaw, Kim Dickens, Denis O'Hare, Jeff Perry, Tara Ochs, Daniel Wachs, Jody Matzer, Don Henderson Baker, Jay Huguley, Roscoe Sandlin
-(US: R)-(UK: 15)-(Aus: MA15+)- Physical violence, some sexual violence, strong gore, some profanity, nudity, some sexual content, mild sexual references, strong adult situations
-Media Viewed: Amazon Prime Video Streaming
FILM & TELEVISION REVIEW INDEX
A
Amanda Taylor: The Selfie Killer in Her Own Words (2025)
American Guinea Pig: Bouquet of Guts and Gore (2014)
Attack of the Doc! (2023)
B
Blood Tide (1982)
The Boss Baby (2017)
The Bride of Frankenstein (1935)
C
Captivity (2007)
Come Deadly (1973)
The Comeback (1978)
Conversations with a Killer: The Jeffrey Dahmer Tapes (2022)
Conversations with a Killer: The John Wayne Gacy Tapes (2022)
D
The Dead Zone (1983)
Drop (2025)
E
Erotic Point of View (1973)
F
Forgiven (2016)
H
Henry Miller: Prophet of Desire (2017)
L
Lizzie (2018)
Lucky Bastard (2014)
M
Meteor (1979)
N
Nico, 1988 (2017)
O
Objects (2021)
Q
Queen Crab (2015)
S
Seth (2015)
The Summer House (2014)
T
This Is the Tom Green Documentary (2025)
W
WrestleMassacre (2018)
Wrong Turn (2003)
Amanda Taylor: The Selfie Killer in Her Own Words (2025)
American Guinea Pig: Bouquet of Guts and Gore (2014)
Attack of the Doc! (2023)
B
Blood Tide (1982)
The Boss Baby (2017)
The Bride of Frankenstein (1935)
C
Captivity (2007)
Come Deadly (1973)
The Comeback (1978)
Conversations with a Killer: The Jeffrey Dahmer Tapes (2022)
Conversations with a Killer: The John Wayne Gacy Tapes (2022)
D
The Dead Zone (1983)
Drop (2025)
E
Erotic Point of View (1973)
F
Forgiven (2016)
H
Henry Miller: Prophet of Desire (2017)
L
Lizzie (2018)
Lucky Bastard (2014)
M
Meteor (1979)
N
Nico, 1988 (2017)
O
Objects (2021)
Q
Queen Crab (2015)
S
Seth (2015)
The Summer House (2014)
T
This Is the Tom Green Documentary (2025)
W
WrestleMassacre (2018)
Wrong Turn (2003)
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Film Review: "Puzzle" (1974)
This Italian film tells the story of a man with amnesia who he may not have been a perfect angel in his former life. It's a reliable tro...
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I appreciated so many aspects of this tight thriller that I'm disappointed that I was disappointed in the final product. Widow Violet,...
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A Amanda Taylor: The Selfie Killer in Her Own Words (2025) American Guinea Pig: Bouquet of Guts and Gore (2014) Attack of the Doc! (2023)...
-
* Get "Lizzie" on Amazon here * * Get "Lizzie" Original Motion Picture Soundtrack on Amazon here * * Get Blood in Fall...
