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Out of the Rain (1991)
Still Haunts Me
I first saw this movie in the early '90s, probably on Cinemax, shortly after I turned 20 with dreams of becoming an actor. Everything about it hit me hard. I treasured it. On the strength of his performance in this and The Great Santini, I counted Michael O'Keefe among my acting idols at the time along with Mickey Rourke, Pacino, De Niro and Chris Walken. Yes, I thought he was that good. And Bridget Fonda stole my heart.
I was curious to see how it held up 30-plus years later. My feelings haven't changed. It rocked me again. It's a beautiful, poetic small-town noir, a more subdued Red Rock West, unusually melancholic in tone. And achingly personal. The dead-end town O'Keefe returns to is so real. We all know towns like that. Some of us grew up in one. And the resentment it engenders in O'Keefe's is so palpable.
Love the way O'Keefe carries himself throughout the film. As if to say, "Yeah. I'm here, but I'm not here. I escaped this hellhole. I'm here for my brother's funeral. And that's it." It's a sublimely restrained performance. You can tell he's burning up on the inside.
Fonda is phenomenal. Fragile like a bird and vulnerable yet full of charm. And secrets. Their chemistry is both touching and explosive. There's nothing forced about their relationship. We really pull for them to make it out of there. But we sense the town has too strong a hold on her.
Director Wynick, no longer with us, gets so much right here, but never more so than the unforgettable shot of a hard rain falling on O'Keefe's's dead brother's mini camper with Fonda inside, as the town's evil sheriff, and Fonda's tormentor, looks on with malice. It's iconic.
The incestuous sheriff is played well by John O'Keefe, who surprisingly only appeared in one other film. Is he related to Michael?
I incorrectly stated in my review from 30 years ago that the violent ending is at odds with the mostly quiet rest of the film. No, it's not. That violence has been bubbling beneath the surface the whole time. Once revealed, Fonda's secret is too big to end any other way. O'Keefe's final line "No!" rips your heart out.
I don't know what's more incredible, the film's low 4.7 score here, or how few votes it has. It's so obscure it almost seems to barely exist. If someone ever writes a book about Lost Films of the '90s, this needs to be in there.
Trapped in Paradise (1994)
Jaw Dropping
This is a jaw-dropping film, and not in a good way. So bad, it seems like writer/director George Gallo intended it to be bad. After all, the same guy wrote the great Midnight Run. And Nicolas Cage and Dana Carvey appear to have some private bet going who can create the most unforgettably awful characterization.
The movie begins with a wallet being dropped around Christmastime on a busy New York street. Scores of holiday shoppers kick the wallet all over the place - because we all know that's what you do when your foot hits something foreign: don't look down, don't try to see what it is, just keep walking. The wallet finds its way to Nicolas Cage's character down some subway steps. It's loaded with cash. He's torn about whether to keep the cash or return the wallet. So torn, he winds up going to confession.
So, Cage's character is a basically good person struggling with temptation, right? Nope. After constantly yelling at his ex-con brothers to stay out of trouble or else, he does a completely unmotivated 180 and becomes the vicious ringleader of the heist of a small-town bank in broad daylight.
The Cage character makes absolutely no sense. He dresses well and seems to be thriving in the big city. What is his motivation for stealing? There is none. Cage the actor comes off as aggressively hostile to the whole proceeding. So much so, he snuffs out any possibility of a love interest in his two early scenes with pretty Madchen Amick. She slinks off the screen both times like someone escaping a bad blind date. Cage does whatever the hell he wants in every scene. Characterization be damned. It makes an already bad film completely unwatchable.
Carvey is arguably worse. We first meet him at a parole board hearing where he is sucking on a giant jawbreaker for absolutely no reason. He's a kleptomaniac, you see. So, wherever he goes, he pilfers junk in some outrageously obvious way. In a convenience store, worthless pens from a bank, stupid trinkets in someone's home. Right after he's been released on parole too. It's numbingly unfunny. As is his imbecilic vocal delivery; it's possible he's parodying Mickey Rourke at his worst.
Only Jon Lovitz shows any sign of inner life, but the wretched script strangles any chance for him to really shine.
That script piles one ridiculously implausible contrivance onto the next until the whole thing collapses under the weight of its monumental stupidity. It's hard to put into words how consistently bad dialogue is. John Ashton plays a corrupt redneck cop who covets the money the three brothers stole, for God knows what reason. Why didn't he just rob the bank himself if he's so desperate for cash? After flubbing an attempt to grab the stolen money, he's trying to spin it to his superiors. "I'm sorry, I got a little over...anticipatory."
Over-anticipatory? Who talks like that? No one. Ever. Least of all an under-educated doofus in a small town.
God only knows what happened here, but Trapped in Paradise is a train wreck.
Dog Park (2017)
Perfect Date Movie
Dog Park has an irresistible concept. A guy and girl meet cute at dog park. But the twist is, the guy's dog is actually his (not so nice) girlfriend's. Will the new girlfriend find out, and when she does, how will she react?
It's as breezy and likable as it sounds, and funny too, appealing to romcom aficionados and dog lovers alike. And I suspect there's some overlap between those two groups.
Director Jade Jenise Dixon also stars and she has real chemistry with her male lead. As director, she generously lets other actors shine. My favorite was Sarah Carson, who plays an older woman who hangs around the dog park though she doesn't own an animal, because dog spelled backwards is God. She dispenses much spot-on wisdom that helps bring our sweethearts together.
Very enjoyable romantic comedy that will put a smile on the face of all but the most jaded cynic.
It Hits You When You Know It (2020)
Strong Comedy Drama
This starts off like a sitcom with fast-talking and jokes aplenty, and then settles into a soul-searching drama in the second half. It's a smooth transition because we see that the humor has been a cover for what's really meaningful in these characters' lives - as is often the case with ourselves.
The Big Chill style ensemble is excellent. I couldn't help wondering if there was extensive rehearsal time because the actors have wonderful chemistry and comedic timing. If there's a standout, it's Phylicia Wissa as the struggling writer and jilted ex-girlfriend, Nicole. She has a low opinion of herself, which is ironic because the actress playing her is a stunner.
Elisa Manzini's script is consistently sharp and funny, reminiscent of the classic sitcom Friends.
Set almost exclusively at a vacation home on the coast, it's never dull. Sparks, insults and trenchant observations are always flying. This is a finely tuned and ultimately moving comedic drama with a poignant ending.
How Deep Is the Ocean (2023)
Casts a Spell
This quiet, contemplative film takes a bit to hit its stride, but once it does, it casts a spell. It benefits from having a beautiful actress in the lead who is likely destined for big things, Olivia Fildes as the mysterious, mercurial Eleanor. She is well matched by her new flat mate, the alcoholic, unstable but affable comedian, Roy, played by Cris Cochrane. Their seemingly improvisational scenes pull the viewer in with the rhythm of everyday life.
Much of the movie plays out in long, uninterrupted takes. It is a testament to the writing and performances that they, mostly, hold the audience's attention. One early exception is when Eleanor commits an act of rebellion at a dead-end job. It unspools in desultory fashion, a missed opportunity for a bigger payoff.
But at its best, this reminded me of Greta Gerwig/Noah Baumbach collabs like Frances Ha. Poignant observations about life from a young person's point of view in an uncaring world with fleeting moments of grace. The closing piano theme is a fitting and beautiful note to fade out on.
Bang Bang Betty (2023)
Cool Indie Action Flick
At its best, this is like a low-budget Kill Bill. It has solid action and welcome touches of humor. The standout in the cast is Kakra Nunoo-Brown as the title character. She's strikingly beautiful but also warm and approachable - that is unless you get on her wrong side as her enemies soon discover. I wouldn't be surprised if her career took off and she became a household name.
Gerald Parrish is also good as her mentor/father figure Ray - though their bonding and subsequent training sequence is a bit rushed. Still, I enjoyed their playful banter.
Emily Rose Hernandez is the other cast standout, both tough and beautiful, though with a vulnerability that wins the audience over.
Good Tubi popcorn flick.
The Allnighter (2023)
Beautifully Offbeat
If you like being kept off balance and in a pleasant state of confusion with offbeat characters and unpredictable, almost attention-deficit-disorder story development, this is the movie for you. It has a David O Russell quality. The two leads are enigmatic but compelling. You may not like them at first, but they grow on you as they grow on each other. Populated with strong character actors like James Russo, David Koechner, Sylvia Kelegian (who almost steals the movie as a gambling addict mom) and Tom Lister Jr (whose character I didn't fully understand) this is a movie that defies easy categorization as indie films often do - which makes the best of them so refreshing. It ends on a beautiful grace note that allows it to continue on in the imagination.
The Batman (2022)
Lighten Up
The Batman isn't the movie I wanted, or expected. But it works. Kind of.
It's a full blown homage to David Fincher's Se7en, about a hunt for a diabolical serial killer who always seems to be one step ahead of the detectives. Only instead of Morgan Freeman and Brad Pitt, it's Commissioner Gordon and Bruce Wayne/Batman investigating.
Joker was inspired by Taxi Driver but emerged as a great film on its own. It seemed like the right movie at the right time. The Batman suffers from copycat syndrome. It's intermittently gripping with jaw-dropping scenes in a cathedral and Madison Square Garden and thrilling stunts, but it doesn't resonate the way Joker does. It's a tribute band. Joker is the real deal. The Rolling Stones.
At three hours, it's at least a half hour too long. There's a point in the middle where I remember thinking, "Boy, this is really dragging." It gets sidetracked by mafia shenanigans and is overcrowded with three big villains The Penguin, The Riddler and Falcone, and quasi-adversary Catwoman.
Robert Pattinson has become a fine actor. He was the best thing about the impenetrable Tenet, and he was excellent in The Lighthouse. In this movie, he broods. For three hours. And is stingier with syllables than Ebenezer Scrooge. Two-hour movie, that might have been okay. Three, it's monotonous. I need more dimension from my lead character in an epic-length film. His relationship with Catwoman falls flat. It's hard to have chemistry with someone who wears a mask, barely talks and never smiles.
Colin Farrell is unrecognizable as sleazy underworld figure Oz/The Penguin, modeled on Robert De Niro's Al Capone from The Untouchables. It's a showoff-y, inorganic performance that doesn't mesh with the rest of the film.
Villains should be equal parts menacing and entertaining in material based on comic books/graphic novels. But Paul Dano dials up the skin-crawling creepiness to the absolute max as The Riddler and forgets to be fun. SPOILERS! His motivations are muddled. He knows Bruce Wayne's secret, that he's Batman, and wants the son to pay for his billionaire father's perceived connection to organized crime decades ago. But he also idolizes Batman and is inspired to take vengeance on criminals because of him. Okay, the character is insane, but it has to be one or the other. You can't have both.
Jeffrey Wright is rock solid as the incorruptible Commissioner Gordon. John Turturro slips into the role of mafia kingpin Falcone with sly, oily charm. He's the most interesting of Batman's three chief rivals by coming in low. It's like he's in the Batman movie I wanted to see. Dano and Farrell's scenery chewing histrionics are in another movie.
Ever play around with filters In Photoshop and make something as dark as it can be just to see what it looks like, and then realize, "No. That's too dark. I need to lighten that up a few notches"? The Batman is oppressively dark, both visually and narratively. It's hard to see, much less appreciate, through the murkiness. It seriously needs to lighten up a few notches.
Better Watch Out (2016)
A Demoralizing Slog (SPOILERS)
I had been watching this movie for what seemed a long while and, knowing its running time was about 90 minutes, I figured I mercifully only had about 10 minutes to go. I was shocked to discover 25 minutes remained! That's the kind of slog Better Watch Out is. It's been a great while since I've hated a movie this much, or been motivated to leave a comment. When it ended, I felt incredibly depressed and dehumanized.
MAJOR SPOILERS AHEAD
I see people on here raving about the early twist and asserting that those who don't appreciate it aren't hip. I would argue it's the other way around. Too many viewers drool over unexpected plot turns without taking into consideration whether they actually, you know, make the slightest bit of sense.
That twist - the 12-year-old boy obsessed with his pretty 17-year-old babysitter staging a Home Alone-style break-in to impress her, then remorselessly torturing, humiliating and murdering her, along with others - betrays its central premise, isn't grounded in truth, and leaves the story with nowhere interesting to go.
Olivia DeJonge is wonderful as Ashley, the babysitter. She's warm and real and kind and compassionate. Even a troubled, obsessive 12-year-old kid would melt in the presence of someone like that. He may fantasize about possessing her in some improper way, but he would never actually go through with torturing and murdering her. It's an idiotic story choice completely divorced from reality. Yes, unexpected, the same way it's unexpected for a car to have square-shaped wheels or a restaurant to intentionally poison its customers.
The movie might have worked if it had clearly been a pitch black comedy or a stylized John Waters celebration of bad taste. But it's neither of those things. It sets itself up as a soulful coming-of-age holiday suspenser where the boy and the babysitter become a team working together to survive a home break-in. Yes, they can argue and have bitter misunderstandings, but ultimately, they need to fight the evil as one in order for it to be satisfying.
The babysitter is so warm and patient towards the mixed up kid in those early scenes, it's clear he has a shot to be with her someday when he's, say, 19, and she's 24. Thus, it's wildly illogical that he is hell bent on killing her. Anybody that psychopathic would have set off alarm bells long ago. It's not remotely believable that it all just erupts this Christmas Eve out of the blue.
I lost count of the implausible howlers.
The kid freaking out over his best bud smoking dope or messing up the carpet in his parents' immaculate house when he's staging bloody murders in that very same house that he will pin on the babysitter's boyfriend and ex-boyfriend. Why wouldn't he pin the marijuana and the carpet on the boyfriends too? (No, this isn't played for laughs)
The lazy script relying on characters tripping and falling down at crucial times instead of escaping.
The kid's spineless pal ludicrously going along with violent crime and murder by repeatedly whining "But I'm his best friend." (Again, played totally straight, not for laughs).
The kid blowing away the best friend with two shotgun blasts for the "crime" of touching the babysitter that he's already planning to kill. (This killing in particular is designed to demoralize the viewer. The best friend is terrified of dying in a very real way at odds with the cutesy, lighthearted tone of the kid trying to stage everything just right before his clueless parents get home. The filmmakers have no grasp of tone.)
The biggest oops was this junior criminal mastermind somehow forgetting about the pencil on the doorknob. It never occurs to him that he won't be able to balance it on the outside doorknob and then close the door from the inside without it falling? Come on. He's either a genius or he's not, and if he can't remember this crucial detail, then he's not and his whole nefarious plan falls apart. But then, the demonic kid benefits from a staggering level of luck throughout the entire night that only the poorest of screenwriters could contrive.
The big problem with the movie is that the kid turns out to be Satan. He has no redeeming qualities. He is pure evil. Once we discover this about 30 minutes in, the filmmakers delight in showing how wicked he is. Watching a 12-year-old boy torture, sexually assault and murder his lovely young babysitter is not entertainment. It's a sick film made by people who need psychiatric help. The only saving grace is that the name of the director, Peckover, is so uncommon, it will be easy to remember so I can steer well clear of his work in the future.
Macabre Manor (2017)
Channels the Spirit of SCTV
You never know what you're going to get with indie productions. So I went into this with pretty low expectations. Much to my pleasant surprise, Macabre Manor is a affectionate and consistently funny send-up of low-budget horror programming. The script is sharp and witty. The lead actors seem theater-trained and handle the surprisingly sophisticated dialogue with aplomb. Much care and thought seems to have been put into script, casting, costuming and set design. Particularly good are Jennifer Andrada and Katie Maloney with their rapid fire exchanges and flair for comedy, but everyone hits their comic beats. It also feels like everybody involved had a blast making it, and that wink wink nudge nudge feeling is transmitted to the viewer. It's perfect late night popcorn, have-friends-over entertainment. This never goes in quite the direction I think it's going to go, which is a big part of the fun. It keeps the viewer guessing. What zany off-the-wall gag are they going to try next? I'd love to see it catch on. In fact, it reminded me of the early days of SCTV.
Sweet Sunshine (2020)
Heartwarming Tale
Just what I needed to beat the quarantine blues. Warm, inspiring story with a nice easygoing vibe, great music and agreeable leads. Heartwarming and soul-nourishing. Enjoyed every minute of it.
Loners (2019)
Super Funny Stuff
Had to add my two cents that this is an uproariously funny satire that I can't believe didn't attract A list Hollywood stars to be in it. Always great to see the great Stephen Tobolowsky - from Groundhog Day - and he is part of a fantastic ensemble here. A real hidden gem genuinely funnier than most Hollywood comedies.
The Back Pages (2017)
Cool Twilight Zone homage
Not sure I understand some of the low ratings here. The cool, moody opening visuals really pull you into a dark, unsettling world where reality gets turned upside down. The first segment is smart, creepy, darkly funny and well-acted by the lead with effectively disgusting sfx. It ends with a haunting gut punch twist. I found this to be a very worthy homage to The Twilight Zone. Low budget, yes, but so was Twilight Zone. Its resourcefulness is part of its charm.
Fools (2016)
Takes you on an emotional journey
A long time ago I fell in love with a girl I met on the subway. So it can happen. But nothing could have prepared me for how deeply this movie would affect me. It's about two difficult, prickly, desperately lonely people who whose hands brush against each other on a train. They're so odd and idiosyncratic, their behavior may put off some viewers who were expecting lighter fare. But stick with it. There are good reasons why they turned out this way and the movie deftly reveals the secrets that haunt them. Speaking of haunted, Mary Cross is amazing as wounded, disturbed Susan with her soulful eyes and sad mask face. She would be magnificent in a horror movie. Michael Szeles is equally good as her tormented suitor. The whole cast is first rate, but the real standout is Janet Ulrich Brooks as an attractive 50-something mother with a shady past. She has a scene towards the end that will rip your heart out. The dialogue throughout is very terse and sharp, reminiscent of David Mamet. Fools is a moody, deeply felt romantic drama about people with rough edges longing to make connections that reminded me of films like As Good As It Gets and The Station Agent.
Donald Cried (2016)
Another great cold weather film
What this movie is really about is the joy of performing. Wakeman and Avedisian play off each other as beautifully as Peter Falk and Alan Arkin in The In-Laws, Mickey Rourke and Eric Roberts in Pope of Greenwich Village and Thomas Haden Church and Paul Giamatti in Sideways. Two polar opposites are forced together for 24 hours, Avedisian presses Wakeman's buttons and the suspense is when Wakeman is going to blow. Wakeman, much like Arkin, is a great slow burner. And Avedisian pulls off the trick of being one of the biggest losers in the history of film but still remain strangely sympathetic. It's amazing to see that they've done so little else because they seem like seasoned pros at acting for the camera. What's also amazing is that they were able to film in such large quantities of snow with no continuity issues. What in the world would they have done if the temps shot up to 50 degrees and all the snow melted? In any event, somehow the snow adds something. The movie has a real lived in feel and made me laugh out loud at least a dozen times. Maybe it's just me but movies set in cold weather always seem to turn out well. Would make a great double feature with the gentler, but no less idiosyncratic or entertaining, indie flick Cold Weather.
Independent Dreams (2017)
Absorbing and Honest
Absorbing, unflinchingly honest, clear-eyed and bittersweet look at a couple of independent filmmakers who join forces to ambitiously, perhaps over-ambitiously, make their dream movies, one called Storm Warrior, the other Dream Finder. Strangely comforting to know that the same stumbling blocks exist across the pond: difficulty acquiring funding and always seeming to be running out of time. The chasm between dream and reality is like the Grand Canyon. It's always interesting to hear about the backgrounds of other filmmakers. They truly do come from all walks of life; here, one is an I.T. professional, the other is ex Air Force. It's almost a sickness that afflicts a growing number of people on both sides of the Atlantic, the desire to bring their visions to life, often sacrificing family and careers in the process. The movie argues you really do have to be nutty to even try. They're like the mad inventors of previous eras. The tragedy of it is, for all the investment of time and money, most small budget movies fail. As Storm Warrior's producer says, "Passion doesn't put food on the table." Tens, perhaps hundreds, of thousands of wannabe or never-were filmmakers end up lost in the wreckage of their dreams. But if you can find just one other true believer to go on your journey, it lessens the sting of failure.
Ice Breaker (2017)
Weird Isn't Enough
Loose, improvisational, often unfocused movie that still surprisingly works because it's so damn amiable and supporting characters like the guy who rides around in a bike taxi cracking wise are pretty funny. It's nominally about a dorky loser from Lubbock who moves to hipster Austin to launch his icebreaker app, a way to break the ice with pretty girls, but keeps getting sidetracked into various awkward encounters. There were several scenes where Kevin's weird behavior seemed completely unmotivated and confusing. And it's never clear why not one but two drop dead gorgeous women are attracted to him. But if you're in the mood for loopy stoner cinema it's a pleasant way to pass the time. Best line of the movie: "We're embarrassing ourselves as we speak."
Texas Heart (2016)
A movie that believes in fate
Might be what you'd get if Bill Forsythe's Local Hero ventured into John Grisham territory about a city slicker lawyer who finds his true purpose and redemption in a small Texas town. Heartfelt, soulful, gripping and gut-wrenching, Texas Heart grabs you with a tense, rapid fire opening courtroom scene and never lets go. It works so well because, as other reviewers have said, the script, acting, editing and overall production values (other than a tad underpopulated final courtroom scene) are all first rate. The dialogue really crackles. Favorite line: "That's what you get for messin' with Texas!" Great to see John Savage in a meatier role than his cameo in Return to Twin Peaks. Lin Shaye is a terrific, take-no-prisoners villain. The movie has a wonderful feel for small town life and great affection for its denizens, even the losers. It's like sinking into a great novel. The denouement is pretty damn unlikely but undeniably satisfying. Hey, it's a movie that believes in fate. And its heart, its great big Texas heart, is always in the right place.
The Academy (2015)
Eye opening documentary like approach
Authentic, unflinching, documentary-like look at a young police officer recruit's arduous experience getting through boot camp. The training scenes are raw and convincing and help overcome the weaknesses of the cliched but brief domestic moments. The primary drill instructor is really good, not unlike Lou Gossett Jr in Office and a Gentleman. He gives a powerful monologue late in the film on the reason why officers need to take pride in their appearance. The Academy climaxes with a wildly improbable but tense finale. And the officer's creed is an eloquently placed coda that packs an emotional punch. The young actors who play the cadets have a nice, believable rapport. At its best the movie is a taut and compelling tribute to the men and women in blue.
Spent (2017)
Strangely moving dark comedy
A real curio worth a look for those with a taste for something off the beaten path. Blends dark comedy and sentimentality with mixed results. The dialogue is generally witty and literate (feels like it might have its origins as a stage production) but several scenes play out longer than necessary. Clocking in at 100 minutes, the film would have benefited from trimming about 15. But one is most willing to forgive the over length in scenes involving lead Connie Lamothe who excels as the scheming widow-wannabe, giving the character shades of humanity and regret. She isn't a caricature or a total monster as she easily could have been. The movie takes some stylistic risks, with black and white footage (that seems a bit self conscious) and a spot-on Double Indemnity spoof. For me Spent works best when it goes for warmth, particularly in a mid-movie montage that beautifully conveys the passage of time as well as the possible softening of hearts. There's a very moving payoff at the end involving fireworks. The vintage production design, cinematography and music score are all strengths. Pacing is a weakness. It lacks the bite of the best black comedies, but I enjoyed the filmmaker's love of language and fresh take on the material.
Carving a Life (2017)
Beautiful
Heartfelt film pulls the viewer in immediately with alluring visuals, likable leads with good on screen chemistry, a strong soundtrack and a feel for how relationships begin, develop and evolve over time. It shows how addiction issues can creep up on a couple and are often not quickly or easily resolved. It somehow pulls off the neat trick of being tightly constructed despite unfolding over several years. The middle section showing the husband's frequent drunken episodes is a bit repetitive, but this is an issue that dogs most movies about addiction. Overall it is a moving story of a loving couple grapping with a serious problem. The two leads are quite good. You will find yourself rooting for them.
Accordions Rising (2015)
Delightful
Neatly accomplishes everything a documentary is supposed to accomplish. Takes a subject that some might think of as obscure and presents it in such a way that the viewer understands what makes it so special. Too often dismissed as an outdated novelty, Accordions Rising reveals the truth that the accordion is a unique and fascinating instrument with a rich history. The passion and excitement it brings out in the wide variety of people who have devoted a lifetime to mastering it is a wonder to behold. Filled with absorbing interviews and evocative clips you will never think of accordions in quite the same way again.
The Idea Thief (2011)
Winning metaphysical detective story
Mix the philosophical comedy of David O. Russell with the reality bending of Charlie Kaufman, add in some Kevin Smith raunchiness and you might come up with something like Jon Skocik's The Idea Thief. On a much smaller budget of course, but this metaphysical detective story has an intelligent script, amiable cast, several funny sight gags and a hilarious film within a film called Dawn of the Ed that make it an indie winner. It has a lot to say about the struggle to reconcile the creative impulse with commercial and personal demands, not to mention conspiracy theories and "phantom selves". Artists in particular will relate to the core theme as expressed in a key line in the film: "What if the one thing you want most is the one thing you cannot have?"
Horror Hotel: The Movie (2016)
Sexy Spoof
Campy horror hoot that makes ingenious use of its title location. Kind of The Twilight Zone meets Four Rooms. Acting, lighting, music score and scripting are all first-rate. An added bonus that it provides so many strong roles for women, several of whom appear in multiple segments. Six-part anthology starts off with a bang with the sexy send- up Aliens Stole My Boyfriend and closes with personal favorite Life After Men featuring a standout performance by a beautiful, expressive actress named Erin Ownbey. All the segments have their moments. Looking forward to watching more of the web series.
Beyond the Spectrum (2017)
Eye Opening
I'm not an astronomer but I'm often skeptical of NASA's reflexively prosaic explanations of what appear to be anomalous objects captured by NASA's cameras in space. This probing documentary presents some alternative theories from independent thinkers and lets viewers decide whether they are truly pieces of plastic and ice or (gasp!) alien spacecrafts. It has some very interesting interview subjects you don't often see on mainstream television who deserve to be heard.