Movies – Zachary Mule

SALLYWOOD

(BUFFALO 8 PRODUCTIONS, SALLYWOOD FILMCO, SNEAK PREVIEW ENTERTAINMENT, WILD BLUEBERRY ENTERTAINMENT (89 minutes; Unrated); 2025)

I’ve been reviewing films for many years now, and as both a dedicated movie lover and someone involved in the arts on multiple levels, I think I am pretty well positioned to appreciate a wide variety of cinematic offerings, from the artsy-fartsy to the low-budget trifles. But it’s rare that a movie can grab my attention in as many different ways as SALLYWOOD did. And I mean very personally. I’m amazed that this film was made, and the timing of my viewing, corresponding with Sally Kirkland’s untimely death at the age of 84, is unbearably sad. It’s impossible to reflect on the film without that affecting every observation.

SALLYWOOD (TYLER STEELMAN, SALLY KIRKLAND) (screenshot)

The plot can be summed up pretty simply: A young writer named Zack (Tyler Steelman) is really inspired by the films of actress Sally Kirkland, especially the 1987 film ANNA, for which Kirkland won a Golden Globe and received her only Oscar nomination. After a bizarrely comical opening describing how a moose shattered the window of his neighborhood video store, Zack explains how Kirkland came to his attention, and he impulsively decides to travel to Hollywood in hopes of learning about her and perhaps meeting her. His parents Joann (an inspired Jennifer Tilly) and Dave (Lenny von Dohlen) would prefer he stay right there in Maine where they live and are perplexed by his ambition. But off the youngster goes on his quest, and it’s a fun thing here that he meets the real Sally Kirkland very quickly, and soon finds himself working for her. “In every humdrum life there is a muse,” Zack tells us in voiceover. “Someone who ignites inspiration.” He makes it clear that Sally is just that for him, and we’re OFF on the farcical and improbable adventures of the ageing actress in her twilight years and the young admirer who wants to help her revive her career any way he can. That’s the setup, and what follows is a bunch of things simultaneously: A riotous satire of what it might take to “make it” in Hollywood; a truly original look at how fleeting fame can be for even a star who was once in the Awards game; a personal story about Kirkland herself; and an imaginative (if exaggerated) tale of a fan getting swept up by one surprise/development after another in his pursuit of a showbiz dream.

This description can’t really convey the unpredictable scenes that unfold, starting with Zack somehow rooming with a studly Australian director named Tom (Tom Connolly, providing much of the comic heft here) who is shown hanging with two bimbos with dreams of their own named “Bibi” and “Poundcake.” When Zack tells Tom about his interest in Sally, Tom replies “Wasn’t she ‘Hot Lips’ in MASH?” “No, that was Sally Kellerman,” Zack tells him, in a recurring joke that is admittedly pretty funny. Sally Kirkland is in on the whole showbiz joke here and initially hires Zack to be an assistant, assigning him to write her obituary (this is just downright eerie, as though Kirkland was predicting she might not be around much longer). Zack’s first attempt at the assignment falls short and Kirkland nixes it. “Where is my life in all this?” she says. “The amazing men I slept with, my disastrous marriages, the two times I tried to kill myself? Did I mention that I slept with amazing men?” Kirkland tells Zack’s parents in a wildly funny phone call that she regards Zack as “a mystical child of light.” She is shown ruminating over her fading career often, and Zack hopes to perk her up by suggesting she take a part in his roommate’s new low-budget horror film, OUTER SPACE ZOMBIE CHICKS IN PRISON. The satire accelerates rapidly from this point on, but it always contrasts with Kirkland’s truthful asides about her past-her-prime career. “I’ve been in 200 films,” she says at one point. “But I’ve been completely erased.”

Along with the Zack and Sally storyline, the film intersperses bits of narration and “insight” from fictionalized versions of familiar Hollywood characters: Smug casting agent “Clem” (a never funnier Eric Roberts); divorced movie producers George Corrigan (Keith Carradine) and Kathryn Corrigan (Kay Lenz), all-business and always-busy producer Ned Levitt (an excellent Michael Lerner) and “Venetia Boyd,” a Latino literary agent always looking for an optimal new connection at lavish parties (Maria Conchito Alonso). Everyone is terrific and seems to be having a good time. And the satire always cuts two ways, not only playing on our knowledge of a thousand familiar showbiz tales and gossip columns, but depicting in a painfully honest way how ageing actresses find themselves struggling to land parts. “If you’re over 45, you’re DONE!” says Clem in one scene. Kirkland is a brave and admirable performer throughout, watching old reels of herself on talk shows (such as a notable Arsenio Hall clip showing her at her glamorous peak), trying to appeal to her former love George to help her out (in a memorable, believable scene with veteran actor Carradine), and developing a genuine, touching connection with young actor Steelman (thankfully avoiding any awkward romantic shenanigans). The film is directed by Xaque Gruber, whose real-life tale of meeting and working for Sally Kirkland, the script is mostly based on. Gruber has a sure hand throughout and hardly ever wastes a frame or an opportunity for comic shenanigans, even if the film is over the top at times. But the frequent laughs and original tone in examining Kirkland’s particular career trajectory (and the obvious reality of feeling like an over-the-hill actress despite still having her considerable chops, shown in a spontaneous “audition” scene near the end), can’t help but win you over. The result is a more than memorable look at the foibles of stardom and celebrity wannabe-ITIS.

SALLYWOOD (SALLY KIRKLAND, TYLER STEELMAN) (screenshot)

I said earlier that this movie was quite personal for me. In the late ‘80s and throughout the ‘90s, I ran a memorabilia business for a while and was more than a casual celebrity-watcher. It just happens that Jennifer Tilly, Keith Carradine and Kay Lenz were three second-tier stars I really liked; I was startled to see them here. I had 8”x10” stills of all. And I was also, for a time, an autograph collector and wrote to about 40 or 50 stars I admired hoping to get them to sign a photo for me. Guess who was one of them who DID sign a pic and send it to me? Sally Kirkland. I’ve included it in this piece. Kirkland cared about her fans very much, and though she never repeated the burst of acclaim she got with ANNA, her performance here has plenty to say about both what stars go through in fickle Hollywood and how fans perceive their idols, something I think about often.

SALLYWOOD (SALLY KIRKLAND) (signed publicity photo from the collection of KEVIN RENICK)

“Just because the rest of the world forgot about you doesn’t mean I ever would,” Zack tells Sally in a poignant scene near the end. I could list half a dozen stars I myself could say that to, if I looked at the whole of my own celebrity watching/collecting days and imagined myself in a Zack type situation. But that notion aside, I heartily recommend SALLYWOOD as a truly funny, surprising and brisk watch for anyone who thinks about show business and fandom on more than a casual level. It ends up being quite a love letter (and sadly, an EPITAPH) for the gifted Ms Kirkland, who does something in this film very few actors have ever done. Whatever little flaws the film has, its virtues far outweigh them, and I bet most of you will find this film very worthwhile.

CHAIN REACTIONS

(DARK SKY FILMS/EXURBIA FILMS/EXHIBIT A PICTURES/LIGHT BULB FILM DISTRIBUTION (102 minutes; Unrated); 2025)

I’ve always had a fascination with “behind the scenes” stuff about films I like. I’m one of those guys who would pay more for a DVD release if it had interviews with the directors and stars and special “making of” features. In optimal cases, you get fresh insights on favorite movies and it will enhance future viewings. In that light, the full-length documentary CHAIN REACTIONS, about the cultural impact of the horror film THE TEXAS CHAINSAW MASSACRE, was absolutely revelatory to me. I’ve only seen the film twice in my life – once in the theater and once on an old VHS tape. This doc made me want to see it again as soon as possible, and I will have a million new things to “keep an eye out for” whenever that happens. The film, written and directed by Alexandre O’Philippe, does something I can’t recall seeing with any other similar doc; it’s divided into five chapters in which five artists/directors give detailed analysis of how TTCM personally affected them, and what its enduring cultural significance is. It’s kind of mind-blowing, honestly. “We are witnessing the young artist Tobe Hooper looking into the future of America,” says filmmaker Karyn Kusama, one of the chapter narrators. “Hooper is saying, ‘I’m not optimistic about America. But I believe beauty still has a place.’”

If you’re one of those who have an “ICK” reaction at the mere mention of the famed horror film about the chainsaw wielding Leatherface and his demented family, or simply can’t imagine how this grungy, low-budget ‘70s flick could POSSIBLY warrant “serious” cinematic discussion, well, this film may or may not be for you. But I found it to be absolutely riveting in every way, one of the most thorough analyses of a classic horror film ever conceived. You really DON’T have to be a hardcore fan of the movie to appreciate the commentary and insights contained in this doc.

CHAIN REACTIONS (PATTON OSWALT) (screenshot)

Rather unpredictably, the first chapter is a detailed account by comedian/comic actor Patton Oswalt, a no-holds-barred admirer of TTCM, who begins by telling us his first lasting movie memory was one of “terror” after seeing the original NOSFERATU in a theater. We see a clip from one of Oswalt’s stand-up routines in which he talks about the importance of a “good title” for a movie. He says that THE TEXAS CHAINSAW MASSACRE was the “greatest movie title ever,” letting you know EXACTLY what you’re in for. Oswalt says that the film struck him, visually, as a series of “crime scene photographs,” and addresses how the dumbstruck early audiences were unable to avert their eyes from the carnage on screen. “There is poetry in you not blinking as you watch,” he relates. Oswalt has unabashed admiration for the ways compelling shots accumulate in Hooper’s film and his singular vision for the plot. “There was no negotiating with this family,” he says with regard to the murderous clan who prey on some unfortunate young hippies who wander onto their property by mistake. “The camera is simply observing what happens.” The incongruity of a famous comedian sharing his passion for one of the most disturbing horror films ever made was one of the first things that grabbed me about CHAIN REACTIONS.

CHAIN REACTIONS (TAKASHI MIIKE) (screenshot)

Next up we have the famed Japanese director, Takashi Miike, maker of over a hundred films including the legendary disturbers AUDITION and ICHI THE KILLER. He states with absolute sincerity that TTCM was the first film that made him want to be a director. He goes on at considerable length about the movie’s mesmerizing visuals, boundary-crushing norms and the willingness of director Hooper to explore his dark side. “Up until that point, movies had been somewhat SAFE,” said Miike. But things changed with the story of Leatherface and company. “I think of it as a role model,” the obviously reverent filmmaker says. If you saw TTCM back in the ‘70s, when it created something of an uproar, chances are you’ve tried to forget about ghastly scenes like the character of “Pam” being violently thrust onto a large metal meathook in Leatherface’s slaughterhouse, a wheelchair-bound young man being chainsawed to death (even when we DON’T see any actual blood, something astounding, really), and most notably the prolonged dinner table scene with a bound, repeatedly tormented Marilyn Burns, playing the first “final girl,” Sally Hardesty, in one of the most distinguished and unforgettably convincing SCREAMING roles ever put on film. It is seriously amazing even to this day; I wish I’d had the opportunity to interview her about the nightmarish role (Ms Burns sadly passed away in 2014 at the age of 65). These scenes are discussed often in CHAIN REACTIONS, along with way more detailed analysis of moments of real “beauty” in the film, and the opposing “family dynamics” of the cannibal clan, on the one hand, and the freedom-loving but overly curious and naive hippies on the other hand.

CHAIN REACTIONS (ALEXANDRA HELLER-NICHOLAS) (screenshot)

“I find it very hard to be objective about THE TEXAS CHAINSAW MASSACRE,” says filmmaker Alexandra Heller-Nicholas, an Australian artist and the first of two women to be interviewed for this doc. “It’s a film that you FEEL before you think about it. It’s a very smart film.” Another unabashed admirer, Heller-Nicholas gives a nice summation of the Australian film scene in the ‘70s, talking about how PICNIC AT HANGING ROCK affected her powerfully. We see footage of that noted geographical feature and a few key scenes from Weir’s memorable film. AHN adds some pretty mind-blowing insights at this point, talking about how TTCM is a “home invasion film” from Leatherface’s point of view. “He’s stressed,” she emphasizes. “It’s a very Buster Keaton thing, the way he moves and is fussing over things.”

THE TEXAS CHAINSAW MASSACRE (MARILYN BURNS) (screenshot)

Next up is the horror master himself, Stephen King, the biggest name to be included here. King states that he didn’t see TTCM when it first came out; for him, the experience came later, when he was a hard-working writer in the early ‘80s. Shots of Kubrick’s THE SHINING are shown; it came out in 1980, and though King was notoriously NOT very pleased with Stanley Kubrick’s cinematic version of his novel, he allows that he loved true horror and that this popular novel was one of the first times he really tried to explore it. And he LOVED what Tobe Hooper did to capture an unprecedented sense of absolute horror onscreen. “It looked fucking REAL,” King declares. He stated that it was an example of a film where “you can’t tell where fact ends and fiction begins.” In a true bit of high praise, he compared Hooper’s opus to the work of Cormac McCarthy in works such as BLOOD MERIDIAN and NO COUNTRY FOR OLD MEN. He also cited the experience of watching THE BLAIR WITCH PROJECT while recovering from a serious injury, at the prompting of his son. That “found footage” classic had elements that truly unnerved King, as the whole of TTCM did. “Both films were made on low budgets with small casts,” he said. “You don’t see too much. It’s all violins.” King made a point of explaining how in horror films, especially, there is often interference from producers before a film comes out. That can water down the impact of a potentially impactful film. “Too many producers wanna give you notes!” he explained. “I HATE the goddamn notes. Tobe Hooper didn’t have to worry about that… He never thought about ‘taste’ and ‘conscience.’” On the matter of whether certain films in this realm can be accused of going too far, King said, “You’re SUPPOSED to go too far! TTCM puts us all in touch with our primal fears. You can’t ever get comfortable watching it. I admire this movie so much!”

CHAIN REACTIONS (KARYN KUSAMA) (screenshot)

By this point in the documentary, you’re somewhat overwhelmed by all the praise, all the flashbacks that are shown (including the memorable shot at the end of TTCM where Leatherface is waving his chainsaw around in unhinged despair as Sally escapes in a pickup truck half-crazed from her nightmare and laughing with relief, a scene the final narrator, Karyn Kusama, calls one of the many “indelible images” in the film. Kusama’s fascination with the movie is perhaps the most impactful of all. She calls the dinner scene with Sally “the scariest, saddest depiction of masculinity that might exist on film… it’s a broken masculinity.” The director repeatedly places TTCM in a broader context, and makes you think, even more than the previous commentators, that the cultural significance of the horror classic has to be acknowledged and appreciated. “I can’t look at Leatherface and feel that he’s simply a monster,” she says. “He’s a part of US.” It’s incredible to see sophisticated filmmakers expressing sympathy for a chainsaw-wielding maniac and his depraved family; Kusama was NOT the only one here to do so. But TTCM’s place in the horror pantheon and all that has occurred since its release in the mid ‘70s have altered the perception of many towards this film, and it now routinely makes the top of many lists of greatest horror films of all time. Kusama calls it “an enduring masterpiece” which states that “America is a madness.”

I couldn’t have imagined when I began watching CHAIN REACTIONS that I would end up placing it in a context that includes the paralyzing division and violence that mark the era we’re all suffering through right now. But that’s the cumulative effect of all the commentary, analysis and deeply felt reactions we’ve just seen in this truly remarkable documentary. Without a doubt it makes you see TTCM in a new light, and how Tobe Hooper’s once controversial cinematic creation can now be seen as the singular, hugely influential piece of celluloid that it is, probably never to be matched again. Director O’Philippe has made a remarkable documentary, one overflowing with insights and the way that art resonates in far-reaching ways that one can never predict. I was stunned by this film, and I’ll be thinking of revelations from it for a long, long time.

DVD/Blu-Ray HEY, MA! WATCH THIS Movies | Kevin Renick | November 5, 2025 | 1970s Alexandra Heller-Nicholas Alexandre O’Philippe CHAIN REACTIONS Digital On Demand Documentary DVD/Blu-Ray Horror Movies Karyn Kusama Leatherface Marilyn Burns Patton Oswalt Sally Hardesty Stephen King Takashi Miike THE TEXAS CHAINSAW MASSACRE Tobe Hooper Unrated

DON’T SAY IT

(WHAT EXIT FILMS/DON’T SAY IT MOVIE, LLC/FILMPOOL FILMS (96 minutes; Unrated); 2024)

Some movies whisk you away with grand gestures and fairy-tale romances. DON’T SAY IT does the opposite – it sits you down at a wobbly diner booth, pours you a cup of coffee, and reminds you that love is just as beautiful in the small, imperfect moments of everyday life.

DON’T SAY IT (RICH GROSSO, JOE PACHECO, PJ MARINO, VICTORIA KELLEHER) (publicity still)

Directed by Stephen Ward, this 2024 romantic dramedy isn’t about dazzling meet-cutes or sweeping declarations. Instead, it follows Pat Leone (Rich Grosso) and Lara Doyle (Victoria Kelleher) – two middle-aged, battle-worn souls trying to navigate life after disappointment. Pat, once a dreamer with ambitions of running his own restaurant, now slings sandwiches at his brother’s deli. Lara, a sharp-witted waitress, has long since traded romance for routine. They meet, they hesitate, they laugh, and – ever so cautiously – they begin to hope.

Love, Served with Extra Cheese.

DON’T SAY IT (RICH GROSSO, VICTORIA KELLEHER) (publicity still)

What makes DON’T SAY IT special is its affection for the messy, unpolished side of romance. Pat woos Lara not with flowers or poetry, but with his signature Italian chicken dish, a secret recipe that somehow tastes better when shared. Their dates aren’t candlelit affairs – they’re impromptu karaoke nights where off-key renditions of ‘80s love songs become the soundtrack of something real. And that’s where the magic lies. This film doesn’t chase perfection; it embraces the awkward, endearing, and deeply human ways people find each other.

DON’T SAY IT (RICH GROSSO) (publicity still)

The supporting cast adds richness without ever stealing the spotlight. Joe Pacheco plays Pat’s no-nonsense brother, embodying the kind of tough love that comes with decades of shared history. Tony Denison as Doctor Michael Bernardi offers sage advice with just enough mischief to keep things interesting. These aren’t just side characters – they feel like people you know, voices from the past nudging Pat and Lara toward happiness.

DON’T SAY IT (VICTORIA KELLEHER) (publicity still)

Music plays a quiet but essential role in DON’T SAY IT. The karaoke scenes aren’t just for laughs; they’re symbolic of the film’s entire message – sometimes, you have to make a fool of yourself to find joy again. And when Lara finally joins in, singing just a little too loudly, you can’t help but root for them both. This film is more than a love story. It’s a reminder that life doesn’t end at 40, 50, or beyond – that dreams can be resurrected, that laughter and love can still surprise you, and that sometimes, the best thing you can do is take the microphone and sing off-key.

DON’T SAY IT (RICH GOSSO, VICTORIA KELLEHER) (publicity still)

If you’re looking for something loud and flashy, this isn’t your movie. But if you want a film that feels like an old friend, warms you from the inside out, and leaves you believing in second chances, then grab a plate of Italian chicken and press play.

HEY, MA! WATCH THIS Movies Streaming Video | Kasey Lehmkuhl | February 17, 2025 | Digital On Demand DON'T SAY IT Joe Pacheco Movie Trailer Movies PJ Marino Rich Grosso Romantic Comedy Stephen Ward Tony Denison Victoria Kelleher

SUNRAY: FALLEN SOLDIER

(VERTIGO RELEASING/SUNRISE FILMS/FILM SEEKERS/SUNRAY PRODUCTIONS (116 minutes; Unrated); 2025)

Welcome back to another rousing movie review!

SUNRAY: FALLEN SOLDIER (TIP CULLEN) (promotional still)

Today we will be looking at a British film, SUNRAY: FALLEN SOLDIER, written by James Clarke and Sam Seely and directed by James Clark and Daniel Shepard. Both Clark and Seely are retired British Royal Marines and draw upon their experiences in Afghanistan to lay the groundwork for this thrilling action drama.

SUNRAY: FALLEN SOLDIER (ADAM HARLEY) (promotional still)

Our protagonist, Andy (Irish actor Tip Cullen), has dedicated his life to the military. Upon returning home he attempts to assimilate to civilian life. His marriage has tanked but he still maintains a relationship with his ex-wife and daughter. His days consist of punching a clock as an assistant manager at a small hardware store and visits to his therapist to work through the fog of war. Through a series of unfortunate events, Andy’s beautiful daughter Rachal (Saskia Rose) overdoses on a bad batch of heroin, – not that there is ever a good batch, but you get my drift. The heroin in question is supplied by her boyfriend, Cassius (Daniel Davids), compliments of his super wealthy drug dealing father, Lucian (Kevin Golding.)

SUNRAY: FALLEN SOLDIER (DANIEL DAVIDS) (promotional still)

The movie starts well enough, with Andy and his fellow Royal Marines Smudge, Sledge, Harper, Whiskey 5, and Tango (played by Tom Leigh, Luke Solomon, Steven Blades, Will Bowden, and Nicholas Clark, respectively) dispatching baddies with extreme prejudice while disrupting a major drug deal and searching for those responsible for Rachel’s death. After the opening scene, I expected to watch the stereotypical rage-fueled vengeance movie and truth be, told it did not disappoint. The plot line was fairly predictable with empathetic feelings for our antihero Andy, and his struggles with PTSD. A similar device was used in the classic movie RAMBO. But this movie also brings to light the struggles that many veterans must cope with after returning home from combat, coupled with the lack of mental health services to help them deal with the terror and violence they witnessed.

SUNRAY: FALLEN SOLDIER (TOM LEIGH) (promotional still)

The movie gives you lots of action but also allows you time to catch your breath for a few moments. And those moments are poignant, as Andy reminisces on his failed marriage and his dead daughter and visits his therapist to work through his PTSD. His sessions with the therapist reminded me a lot of Tony Sopranos visits with Doctor Melfi in the HBO series, THE SOPRANOS. (If you haven’t had the pleasure of watching THE SOPRANOS, what are you waiting for? It’s a pretty good series. I mean, what’s not to like? Organized crime violence and a mob boss who is seeing a therapist. You may be disappointed with the ending, but them’s the breaks). Basically SUNRAY… is RAMBO meets THE SOPRANOS with a dash of M Night Shyamalan thrown in.

This flick is a bit more than your stereotypical revenge-fueled movie. The ending is completely unexpected. With my first viewing, I was a bit confused and unimpressed, as I didn’t pick up on the subtle clues the writers and directors leave the viewer. On a scale of one-to-ten, my first viewing of SUNRAY: FALLEN SOLDIER was a four. It was entertaining with plenty of action and the common action movie tropes: War heroes coming together to help their captain avenge his daughter’s death, explosions, gunfights, car chases, ambushes and, of course, redemption.

Upon a second watch I realized there were clues… very subtle clues. And did I mention a surprise ending? If only they could have captivated me on my first viewing. It’s unfortunate that I had to watch the movie a second time to pick up on some of the subtleties. Some of those subtleties seemed like gaps in the plot or just poorly written scenes; they were not – they were actually clues! Keep that in mind when you view this movie. If I tell you more, I will ruin it for you. Stick with it. If you’re observant, you won’t have to watch it a second time. I give this movie a solid 6½ out of 10. It would have been a little higher had I not felt I needed to watch the movie a second time to realize it was not plot gaps and clunky scenes.

SUNRAY: FALLEN SOLDIER is available now on YouTube TV.

HEY, MA! WATCH THIS Movies Streaming Video | Moose | February 12, 2025 | Action Movie British Royal Marines Daniel Davids Daniel Shepard Extreme Violence James Clark Kevin Golding Luke Solomon Movie Movie Trailer Nicholas Clark Post-Traumatic Stress Syndrome PTSD Awareness Revenge Sam Seely Steven Blades SUNRAY: FALLEN SOLDIER Tip Cullen Tom Leigh Unrated Will Bowden YouTube Channel

THE DAMNED

(VERTICAL ENTERTAINMENT/LEY LINE ENTERTAINMENT/FIS EIREANN/SCREEN IRELAND/PROTAGONIST PICTURES (89 minutes; Rated R);2024)

“We should not be here,” says Miss Eva (Odessa Young) as the men respectfully call her, in a brief voice-over to start this very grim, unsettling tale of members of a remote Icelandic fishing village struggling with the elements in a hellish late 19th-century seascape. She ain’t a-kidding; only a group of hardy, tougher-than-nails Nordic types could endure the relentless cold and darkness, the isolation and the variable fishing results of being here in this environment. “It was a place of opportunity if you could enjoy the cold,” we’re calmly told, but skepticism would be the healthy response to that upon seeing the dark gloomy skies, the bundled-up participants and the need to drink heavily and crack manly jokes that the bearded dudes here routinely engage in. As eerily beautiful as the cinematography (by Eli Arenoson) is, there’s an atmosphere of doom and ill portent soon after you are immersed in this striking North Sea setting, which the dramatically somber music (wonderfully scored by Stephen McKeon, who serves this tale remarkably well with his sonic choices) enhances at every turn. The only other female member of this crew, Helga (Siobhan Finneran), tells a spooky story by firelight early on, broken up by laughter at the end… but the camera lingers on Eva’s face effectively as she listens to the dark atmospheric tale. You get the sense that things could go on in this manner on almost a daily basis, with an obvious intimacy and mutual dependency anchoring the lives of these villagers.

But things are about to get MUCH worse. In the distance, we see another group of fisherfolks struggling mightily with their own craft, obviously in distress. The humane thing to do would be to go help them, right? But the serious danger in this situation puts Eva and company in agreement that “helping those men would put YOUR lives at risk.” When they think things have calmed a bit, they all row out in their barely suitable rowboat to see if they can salvage some supplies. It’s an absolutely striking scene, reminiscent of scenes from Robert Eggers’ THE NORTHMAN, and as visually and emotionally dark a scene as you could imagine, creepy as hell. Speaking of which, all actual hell breaks loose when some of those desperate villagers, clinging to some large rocks, start trying to reach Eva’s crew and fight for a spot on their still-functioning boat. It’s a chaotic, terrifying and surprising violent scene that will have you questioning the complex morality of the situation and how YOU might behave in this scenario. It’s simply a no-win situation, and the filming by director Thordur Palsson is stunning here – unforgettable, in fact. Again, the many closeups of Odessa Young’s traumatized expressions and barely controlled fear, are memorable. But Helga and company think an evil force of some kind has been unleashed, and who could disagree? Especially after the body count mounts, and a disgusting scene sort of reminiscent of an iconic scene in ALIEN, is the last straw for some of our “heroes.” “The long winters here play tricks on your mind,” a worried Daniel (Joe Cole) says to Eva as he teaches her how to hold and shoot a rifle, in a scene that hints of a possible romantic vibe. That’s followed by a highly energetic scene, very cinematic and reminiscent of the drunken dancing and singing by Merry and Pippin in a memorable LORD OF THE RINGS sequence, when our villagers are in the mood to celebrate a particularly good catch. But that’s the last such moment of positivity anyone will enjoy. Shadowy entities, hallucinations, a shocking suicide and Eva’s understandable declaration that “we have to get RID of this thing,” dominate the film’s final third. If you like seeing characters trying to find HOPE in a reality of hopelessness, this tale should keep you mostly riveted.

THE DAMNED is a lean 90 minutes or so long, and all the characters are absolutely believable, looking and sounding like tormented Icelanders although some dialogue is a bit hard to follow. The setting pulls you right in, and while there are a few horrifying moments, it’s not in any way an “over-the-top” horror movie. It’s more an atmospheric character study of tormented people stuck in a desperate situation, with Odessa Young anchoring the tale in a genuinely credible performance. The ending is not gonna be to everyone’s taste, and clearly was NOT if you go by the “user reviews” on the IMDB page. And this kind of “slow burn” piece of cinema will be too dark or even boring for some. But I found THE DAMNED to be rather hypnotic, immersive, darkly beautiful and rather original in its overall script, direction and focus on exactly where it was going. Admittedly, I tend to be a fan of “grim wary tales,” as you might call this, and I watched it with full attention throughout, struck by how well all the haunting components worked together to keep you hooked like the doomed fish our villagers devote their livelihoods to catching.

HEY, MA! WATCH THIS Movies | Kevin Renick | January 12, 2025 | Desolation Eli Arenoson Horror Iceland Joe Cole Movie Nordic Horror Norse Mythology North Sea Odessa Young Psychological Thriller Rated R Shipwreck Siobhan Finneran Stephen McKeon The Damned Theatrical Release Thordur Palsson

GEORGE A ROMERO’S RESIDENT EVIL (TRAILER)

(DARK STAR PICTURES/UNCORK’D ENTERTAINMENT/KEY 13 FILMS/POINT FIVE FILMS/CYFUNO VENTURES (2 minutes; Unrated); 2025)

In 1998, Constantin Film approached legendary director George A Romero to bring the gory, zombie-infested video game RESIDENT EVIL to the big screen. Despite the best efforts of everyone involved, the proposed adaptation never materialized. The story behind the project and what happened has gained mythical status in 25-plus years since its inception. Now, director Brandon Salisbury’s new documentary, GEORGE A ROMERO’S RESIDENT EVIL reveals the hidden history of one of the greatest “what could have been” stories in cinematic horror. The documentary is currently available on digital and On Demand. We hope to have a full review soon, but until then, check out the trailer below.

HEY, MA! WATCH THIS Movies Streaming Video | Darren Tracy | January 9, 2025 | Brandon Salisbury Digital On Demand Documentary GEORGE A ROMERO'S RESIDENT EVIL George Romero Horror Movies Movie Trailer RESIDENT EVIL Streaming Video Video Game Adaptation Zombies

A COMPLETE UNKNOWN

(SEARCHLIGHT PICTURES/WALT DISNEY STUDIOS/TSG ENTERTAINMENT/VERITAS ENTERTAINMENT/WHITE WATER/RANGE MEDIA PARTNERS/THE PICTURE COMPANY/TURNPIKE FILMS(141 minutes; Rated R); 2024)

Biopics are always fraught with possible problems, among them an army of fans and pundits waiting to pounce on every historical inaccuracy and to analyze the actors playing the key figures, judging whether or not they did an authentic enough job portraying those figures… an especially opinionated exercise when it comes to MUSICAL biopics. Sometimes there is general agreement that the film did a good job (recent biopics on Ray Charles, Elton John and Queen, for example). And sometimes a film in this category flames out so quickly, hardly anyone even bothers to see it (anyone remember that Bowie film a couple of years ago that couldn’t even get the rights to use most of Bowie’s music?). James Mangold, the director of the superb new Bob Dylan biopic A COMPLETE UNKNOWN, is clearly aware of the burden placed on him to credibly tell the story of a true musical icon… he’s braved these waters before with his Johnny Cash film, WALK THE LINE, which mostly won audiences and critics over, despite some liberties taken here and there with facts. Mangold had his two main stars in that film do their own singing, a challenging task for Joaquin Phoenix, who played the man in black, and Reese Witherspoon, who delivered an Oscar-winning performance as June Carter. But Mangold did an impressive job selecting the parts of that story he wanted audiences to see, and using the enduring collaboration and initially iffy romance between Cash and Carter as his cinematic throughline, an artistic decision that worked quite well.

A COMPLETE UNKNOWN (MONICA BARBARO, TIMOTHEE CHALAMET) (screenshot)

All of this is to say that Mangold had an even loftier task bringing the story of the legendary Bob Dylan to life; Dylan is one of the most important and influential singer/songwriters of all time, and every music fan in the world over a certain age knows SOMETHING about the performer and has impressions (and favorite periods) developed over more than a half century of pop culture evolution. How could you make a worthy film about a musician who meant so much to so many, and still does? Well, two key decisions pointed the way: one was to focus entirely on Dylan’s first five years, when he made the biggest splash as the Greenwich Village “folkie” inconoclast who changed the rules and forced a debate about Folk music versus Rock and Roll to come to the surface, most notably at the infamous Newport Folk Festival. The second decision was to find the right actor to play Mister Zimmerman (Timothee Chalamet, simply superb) and have a good part of the script deal with two key women in Dylan’s first phase: Joan Baez (played here by Monica Barbaro) and Sylvie Russo (a character based on the real-life Suze Rotolo, an artist and activist Dylan was romantically involved with for a while and is pictured with him on the cover of his debut, THE FREEWHEELIN’ BOB DYLAN). Elle Fanning plays that role in the film with charm and often heartbreaking vulnerability. Anyway, A COMPLETE UNKNOWN does an effective job alternating scenes of Dylan singing his powerhouse and emotive songs and building an awestruck following in the process, with scenes showing his interactions with the already established Joan Baez (who inevitably falls for him after seeing his charisma and obvious talent) and the slightly more angsty young artist who shares his bed. It’s hard to just concisely sum up how well this movie delivers on these things. Chalamet is an absolute marvel, able to capture enough of Dylan’s early originality and relentless drive to convince you that you’re really in the presence of this legendary (and often prickly) performer, who simply will NOT reveal all his secrets or willingly be told what to do. I was frankly in AWE much of the time of Chalamet’s singing and successful portrayal of the inscrutable personality quirks that history has shown Dylan to always have had. You get whole songs sometimes and partial performances at other times, but it ALWAYS sounds authentic, with a handful of moments truly standing out musically, among them “Song for Woody” (a tune Dylan wrote for Woody Guthrie, who is seen ailing in a hospital bed early on when the young Bob visits and encounters Woody and fellow folk icon Pete Seeger (Edward Norton), “Girl From the North Country,” “Blowin’ In the Wind,” “The Times They Are A-Changin’,” and at least the first portion of “Highway 61 Revisted,” which is killer and I wish the film HAD given us the full song. I was personally absolutely riveted by every single scene showing Dylan interacting with Joan Baez, as I have some knowledge of that part of the story, and Baez was an early favorite of my late brother. Baez tires of Dylan’s abrasiveness and self-centered manner, flatly stating in one scene, “You’re kind of an asshole, Bob.” It’s absolutely not in the cards for these two very serious musicians to truly gel romantically, but they can’t avoid or ignore each other during this period. When they duet on an absolutely stunning live performance of Dylan’s song “It Ain’t Me Babe” at Newport, the way it is filmed and the subtext of the lyrics results in one of the most singular and memorable musical performances ever put on film. Seriously, I got chills from this scene, and the way Barbaro looks at Chalamet’s Dylan with a combination of respect for his immense talent and knowing sadness that he is ultimately sort of “unreachable,” is cinema magic. I loved Barbaro’s performance, and I loved the script, truthfully. There are so MANY moments that felt right to me as both a musician myself and a longtime observer of pop culture and the ever-changing music industry. You get plenty of scenes dealing with the industry’s attempt to capitalize on Dylan’s talent, by the way, and to reign in his sometimes unruly ways, culminating in the widely known controversy when Dylan “went electric” at the Newport Festival. It’s all engrossing stuff. And I can’t leave out Edward Norton’s solid performance as Pete Seeger… he’s our guide to the role that folk music was playing in the culture in the early ‘60s, an admirer (and mentor at times) of the stunning young talent who quickly starts changing the musical landscape Seeger has been a part of for so long, and the wise veteran who knows how songs can unite people in uncertain times (made clear by scenes showing the nuclear confrontation between the US and Soviet Union and growing civil unrest, something the Sylvie character addresses), but is concerned that Dylan may DIVIDE, rather than unite the audience.

A COMPLETE UNKNOWN (CHARLIE TAHAN, TIMOTHEE CHALAMET, ELI BROWN ) (screenshot)

That actually DID happen for a short time, but it’s quite clear that Dylan was simply ahead of the curve, and was too important and effective a songwriting voice to be held back by ANYONE… whether established peers like Baez and Seeger, his manager Albert Grossman (Dan Fogler) and other industry types invested in him, or an audience sometimes not willing to initially go along with the “new sounds” and aesthetic that Dylan was determined to explore. The film ends with Dylan heading off down the road on his trusty motorcycle, and we all know that the musician was soon to have a serious accident that would lay him up for a significant period and result in significant changes in his music. But I absolutely found myself feeling that A COMPLETE UNKNOWN had made almost all the right decisions: WHEN to begin the story (there is nothing about Dylan’s childhood, for example, something I’ve read a bit of grumbling about), when to end it, and how his music – and personality – significantly affected both those around him and those in his audience. You’re plunked down, as a viewer, into the middle of a vibrant Greenwich Village scene, and you’re given enough of a legendary artist’s music, impact and mysteriously insular nature, to gain fresh insight into how Dylan changed things, as well as to feel like you’ve time traveled a bit. I was consistently riveted by A COMPLETE UNKNOWN, and truly emotionally stirred by most of its scenes. Yes, it’s a terrific musical biopic. But even more, it’s a significant piece of cinema and possibly the best film James Mangold has directed (kudos also to his co-screenwriter Jay Cocks). Offhand, I can’t think of a better and more significant cinematic tale of how a musician came to change the world and remained mysterious and unpredictable throughout. Look for some Oscar nominations and plenty of revived interest in this Dylan fellow… I hear he is still around and doing things that people still argue about to this day.

DO THE ARCHITECTURAL WATUSI HEY, MA! WATCH THIS Movies | Kevin Renick | January 8, 2025 | A COMPLETE UNKNOWN Albert Grossman Biopic Blues Rock Bob Dylan Classic Rock Dan Fogler Edward Norton Elle Fanning Folk Music Greenwich Village James Mangold Jay Cocks Joan Baez Monica Barbaro Movie Music Newport Folk Festival Pete Seeger Rated R Rock and Roll Theatrical Release Timothee Chalamet Woody Guthrie

TRAILER PARK BOYS PRESENT STANDING ON THE SHOULDERS OF KITTIES: THE BUBBLES AND THE SHITROCKERS STORY

(BLUE FOX ENTERTAINMENT/BATS FILM-GRAND BATS LIMITED/SWEARNET PICTURES (112 minutes; Rated R); 2024)

Here’s the premise of Trailer Park Boys (henceforth referred to as TPB) in a nutshell: Julian (John Paul Tremblay), Ricky (Rob Wells) and Bubbles (Mike Smith) are dim witted petty criminals who drink, smoke weed, and are constantly scheming their next big score. TPB are surrounded by an equally odd cast of characters, including Jim Lahey, the drunken trailer park manager (one of my favorite characters in the show, played by the late John Dunsworth), and his bumbling romantic partner and always shirtless, Randy. And who could forget the Moron twins, Cory and Trevor… if you know, you know.

TRAILER PARK BOYS PRESENT STANDING ON THE SHOULDER OF KITTIES: THE BUBBLES AND THE SHITROCKERS STORY (MIKE SMITH, ROB WELLS, JOHN PAUL TREMBLAY) (uncredited publicity photo)

The TV show quickly garnered a large cult following, with guest appearances from Snoop Dogg, Jimmy Kimmel, Alex Lifeson, Doug Benson, Sebastian Bach and Tom Arnold. TPB even hits the road occasionally with a touring stage show (two shows are available on Netflix: LIVE IN FUCKIN’ DUBLIN and DRUNK, HIGH AND UNEMPLOYED: LIVE FROM AUSTIN, TEXAS). And did I mention movies? Three, to be exact: TPB – THE MOVIE, COUNTDOWN TO LIQUOR DAY and DON’T LEGALIZE IT.We can now add one more with the release of TPB PRESENT STANDING ON THE SHOULDERS OF KITTIES: THE BUBBLES AND THE SHITROCKERS STORY. The latest installment of the wildly popular series, SOTSOK: TBATSS was written by Smith, directed by Charlie Lightening and filmed in the traditional TPB “mockumentary” style.

TRAILER PARK BOYS PRESENT STANDING ON THE SHOULDER OF KITTIES: THE BUBBLES AND THE SHITROCKERS STORY (MIKE SMITH) (screenshot)

STANDING ON THE SHOULDERS OF KITTIES will not disappoint true fans. The film’s crude, sophomoric, swear-y humor will play to its fan base. I genuinely liked the movie, however, Julian and Ricky play a much smaller role in this project and some of the gags and tropes have become stale. The bumbling Bubbles and shirtless Randy could not sustain the film with their shtick sometimes falling flat. Don’t get me wrong… I love Bubbles and Randy; they are huge part of the TPB canon. However, they can not carry an entire (nearly two-hour) movie. In my opinion – and it is only my opinion – I believe the TPB are the sum of “all” of its parts. The four main characters have, for years, been together in the TV show and feature films. The four together make the comedy magic work. It’s akin the Three Stooges minus Moe with Curly taking a back seat, leaving Larry and Shemp to carry the torch.

TRAILER PARK BOYS PRESENT STANDING ON THE SHOULDER OF KITTIES: THE BUBBLES AND THE SHITROCKERS STORY (PATRICK ROACH, MIKE SMITH) (photo credit: COREY J ISENOR)

All in all, I liked THE BUBBLES AND THE SHITROCKERS STORY. However, like so many movie franchises you can only go to the well so many times before it’s empty. For example: Austin Powers. INTERNATIONAL MAN OF MYSTERY was hilarious; THE SPY WHO SHAGGED ME was pretty good; GOLDMEMBER was… okay (and I’m being kind by saying it’s okay). The narrow plot left the creators nowhere to go. And, when you include too many common tropes, coupled with diminished roles of major characters and recycled set ups and jokes, the end result is sub-par movie. I would have liked the movie so much more if Julie and Ricky playing a larger role. But, alas, the movie title is TPB PRESENT STANDING ON THE SHOULDERS OF KITTIES: THE BUBBLES AND THE SHITROCKERS STORY. The Devil, as they say, is in the details.

TRAILER PARK BOYS PRESENT STANDING ON THE SHOULDER OF KITTIES: THE BUBBLES AND THE SHITROCKERS STORY (BILLY BOB THORNTON, MIKE SMITH, RON WOOD) (photo credit: DAN REID)

On a positive note, STANDING ON THE SHOULDERS OF KITTIES is packed with cameos from Rock and Roll royalty: Ronnie Wood (The Rolling Stones), Eric Burdon (Front man for the Animals and War), Rick Nielsen(Cheap Trick) and, last but not least, Duff McKagan (Guns ‘n’ Roses). The final scene takes place in the iconic, legendary Apple Studios in London. The film also features Billy Bob Thorton playing himself and his legit band, the Boxmasters, who, by the way, has an extremely entertaining live show. But… that is a different topic for a different article.

For those of you who may be hearing about TPB for the first time, I would like to extend a word of caution: TPB are extremely vulgar, childish, and dumb. I would advise you start with the television show; its available to stream on Netflix. If you are an adult with a 14 year old sense of humor (editor’s note: aren’t we all?), you will probably love – or at least, like the show. If you are not into extreme vulgarity, childish humor, people committing audaciously stupid crimes, or you are easily offended, you may wanna skip the TPB.

DO THE ARCHITECTURAL WATUSI HEY, MA! WATCH THIS Movies Streaming Video | Moose | January 8, 2025 | Billy Bob Thornton Comedy John Paul Tremblay Mike Smith Mockumentary Movie Trailer Netflix Patrick Roach Rataed R Rob Wells Ron Wood STANDING ON THE SHOULDERS OF KITTIES: THE BUBBLES AND THE SHITROCKERS STORY; The Shitrockers Streaming Video Television Series The Boxmasters Theatrical Release Trailer Park Boys;

THE BEAST INSIDE

(SEE YOU NEXT TUESDAY FILMS/UNCORK’D ENTERTAINMENT (85 minutes; Unrated); 2024)

THE BEAST INSIDE (also known as THE POSSESSION OF ANNE), directed by Jim Towns, is a chilling exploration of isolation, faith, and the human spirit’s resilience in the face of unrelenting evil. The film follows Anne (producer and Towns’ co-writer Sadie Katz), a woman whose life spirals into a nightmare when she becomes possessed by a demonic entity. As her behavior grows increasingly erratic, those around her, including her boyfriend, Daniel (Anthony Preston), dismiss her pleas for help, leaving Anne to confront the malevolent force alone. Anne’s isolation is compounded by her failed attempts to seek help from traditional and alternative sources. Her visit to Jasmine (Denise Milfort), a Reiki healer, adds an intriguing layer to the narrative, introducing a clash between spiritual healing practices and the undeniable darkness consuming her. Jasmine’s inability to combat the demon highlights Anne’s dire situation and sets the stage for the film’s gripping climax.

THE BEAST INSIDE (SADIE KATZ) (screenshot)

Father Geoffrey (Vernon Wells), a weary priest, becomes a pivotal character as Anne seeks his help. His initial skepticism reflects a broader theme of disbelief that runs through the film, adding a psychological dimension to the horror. Geoffrey’s journey from doubt to belief mirrors Anne’s own struggle, creating a nuanced dynamic that enriches the story. The horror in THE BEAST INSIDE is both psychological and visceral. The film masterfully builds tension through its atmospheric cinematography, which uses shadows, dim lighting, and tight framing to create a sense of claustrophobia and unease. The house where much of the film takes place becomes a foreboding presence, its dark hallways and creaking floors amplifying Anne’s terror. The possession scenes are a standout, blending physical contortions with intense emotional distress. Anne’s self-exorcism is the film’s most harrowing sequence, a raw and brutal confrontation between human and demon. The scene is both physically and emotionally taxing, showcasing Sadie Katz’s powerful performance as she navigates the fine line between fear and determination.

THE BEAST INSIDE (VERNON WELLS) (screenshot)

Horror fans will be pleased with THE BEAST INSIDE’s commitment to delivering genuine scares and a compelling narrative. The film doesn’t rely on cheap jump scares; instead, it builds a slow-burning tension that culminates in a terrifying climax. The use of practical effects enhances the realism of the horror, making the supernatural elements feel immediate and threatening. Moreover, the film pays homage to classic possession horror while injecting fresh twists that keep the story engaging. The exploration of belief, faith, and personal strength adds depth to the horror, making it more than just a tale of demonic possession. It’s a story about a woman fighting to reclaim her agency in a world that refuses to believe her struggle.

In conclusion, THE BEAST INSIDE is a haunting and well-crafted horror film that offers both scares and substance. With its strong performances, atmospheric direction, and intense climax, it’s a must-watch for horror enthusiasts. Jim Towns has crafted a film that lingers in the mind long after the credits roll, making this movie a standout in the genre.

HEY, MA! WATCH THIS Movies | Kasey Lehmkuhl | January 7, 2025 | Anthony Preston Demon Possession Denise Milfort Digital On Demand Exorcism Horror Jim Towns Sadie Katz THE BEAST INSIDE THE POSSESSION OF ANNE Unrated Vernon Wells

STREET TRASH

(SCREAMBOX ORIGINAL; NOT THE FUNERAL HOME; CINEVERSE; BLOODY DISGUSTING; VINEGAR SYNDROME; ENIGMA ACE FILMS; PROTAGONIST STUDIOS; STAGE FIVE FILMS(85 minutes; Unrated); 2024)

STREET TRASH, directed by Ryan Kruger (FRIED BARRY), reimagines the 1987 cult classic as a dystopian horror set in a futuristic Cape Town. The story centers on a group of homeless misfits who discover a sinister plan by corrupt Mayor Mostert (Warrick Grier) to eliminate the city’s homeless population using a toxic chemical called “Viper.”

STREET TRASH ( SHURAIGH MEYER, LLOYD MARTINEZ NEWKIRK, JOE VAZ, SEAN CAMERON MICHAEL, DONNA CORMACK-THOMSON, GARY GREEN) (publicity photo)

The film follows Ronald (Sean Cameron Michael), a hardened thief struggling with addiction; Alex (Donna Cormack-Thomson), a resilient street teen; and 2-Bit (Gary Green), whose constant companion is a crude, talking puppet named Sockle. Together, they rise against the oppressive forces threatening their survival. Visually, STREET TRASH delivers a unique blend of neon-soaked aesthetics and grotesque practical effects. Its over-the-top body horror, including melting bodies and gruesome deaths, is both shocking and creatively executed. The chaotic action and wild set pieces add to its midnight-movie charm.

The film’s tone swings between dark satire and outrageous humor, making it an unpredictable ride. While the crude jokes and relentless gore won’t appeal to everyone, fans of splatter horror and cult cinema will likely enjoy its anarchic energy and unapologetic weirdness. Overall, STREET TRASH is a bold, grotesque, and polarizing experience. If you’re into bizarre, gore-filled horror-comedies that push boundaries, this movie delivers a wild, unforgettable ride. STREET TRASH is streaming now on Screambox.

HEY, MA! WATCH THIS Movies Streaming Video | Kasey Lehmkuhl | December 16, 2024 | Body Horror Comedy Donna Cormack-Thomson Gary Green Horror Movies Movie Trailer Remake Ryan Kruger Screambox Sean Cameron Michael Streaming Video STREET TRASH Unrated Warrick Grier

WHAT’S INSIDE