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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.

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.

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

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.

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

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.

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.

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.

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.

SWING SET: LIFE SPEEDS UP (REMASTER)

(BLACKBERRY WAY RECORDS; 2024)

Mad genius Michael Owens is at it again! He has remixed Swing Set’s 1986 debut, LIFE SPEEDS UP, and then traveled to Abbey Road Studios (yeah… THAT Abbey Road Studios!) to oversee Andy Walter’s remastering of the 10-track masterpiece. Now, for all to enjoy (and the faithful who owned the original, to reminisce over), the album is available from Blackberry Way Records in all of its “purdied-up” grandeur. And… it only took nearly 40 years!

SWING SET, circa 1985 (DAN PROZINSKI, MICK WIRTZ, RIC STUDER, DAVE NUSSBAUM, MIKE NILLES) (publicity photo)

The Twin Cities’ Swing Set – formed in 1983 – were singers/guitarists Mike Nilles and Dan Prozinski, singer/bassist Ric Studer, keyboardist Dave Nussbaum and drummer Mick Wirtz. By the time they recorded LIFE SPEEDS UP two years later, they were a well-oiled Rock ‘n’ Roll machine and upon the record’s 1986 release, the band found their way onto the Top 50 college charts. Clearly, Swing Set were a group on the rise. Unfortunately, the success was short-lived and, though they released two more albums, the quintet went their separate ways in 1993. In recent years, there has been a mini-resurgence with several tunes showing up on the soundtracks to such hit television fare as STRANGER THINGS and YOUNG SHELDON. So, to quote the cunning linguist Bugs Bunny, “What’s all the hubbub, Bub?” Well, I’ma tell ya, Mister Bunny.

The album kicks off with the atmospheric “Blackout,” a mid-tempo rocker with a memorable, jangly guitar riff, haunting piano and some of the smoothest vocal work (with leads by Nilles) this side of Motown. The track was used in the second episode of Season Two of STRANGER THINGS. On “Laying Low,” Wirtz punches up his delivery with a more forceful approach behind the kit and the guitars take on a Cure-like feel while maintaining a fresh charm that appears to be Swing Set’s signature sound. Studer continues to impress on bass and his lead vocals are equally as solid. The vocalist merry-go-round is completed on “Runaway” as Dan Prozinski takes over those duties here, which offers a rather tribal backbeat and minimalist – but quite effective – instrumentation. “Victim” is pure New Wave Power Pop, hitting on all cylinders with a throbbing bass line, a couple of nice guitar solos and an emotive Mike Nilles vocal. This is the first lyric on the album to actually connect with me. The first of two “bonus” tracks is Dan Prozinski’s “Knock Knock,” recorded in 1988 with bassist Kevin Foley (Kevin, who played in Tommy Stinson’s post -Replacements band, Bash and Pop, passed away in 2011). The song features one of the best lines I’ve ever heard: “Knock me down/I’ve seen that fist before/Knock knock/Comin’ back for more.” If you’re a fan of the show YOUNG SHELDON, “Knock Knock” may sound familiar, as it appeared on the soundtrack. “Walking In the Night” closed out the first side of the original vinyl. It’s another Nilles-authored tune, with his vocals riding along the chugging, percolating bottom end supplied by Mick Wirtz and Ric Studer. There’s an unspoken danger in the lyrics… more implied than any literal threat of violence. It seems that this Swing Set is intent to up the ante just a little more with each song.

SWING SET today (DAN PROZINSKI, MICK WIRTZ, RIC STUDER, DAVE NUSSBAUM, MIKE NILLES) (photo credit: HUTCH)

Lyrically, “Lost Track” has a lot happening. With allusions and imagery of trains and railroads, the number also evokes a kind of mental anguish over a lost love (or love lost) and, maybe even a sense of hopelessness… or determination. Like I said, Dan’s lyrics, while powerful, are so (purposefully?) open-ended that the meaning may very well be dependent upon the listener’s mood. Or… you know, to paraphrase Freud, “Sometimes a train is just a train.” “The Dance,” with its odd, waltzy feel and pace, finds Ric back on lead vocal duties. Every instrument is played in exactly the proper way that a New Wave-Power Pop waltz should be played, from the understated (yet somehow powerful) stick-work of Mick Wirtz to Studer’s minimal approach to the bass, from the twin lead guitars of Prozinski and Nilles to Dave Nussbaum’s keyboard work underpinning it all before rising to the fore with a short, beautiful piano solo toward the tune’s end. Mixed only slightly louder than the instrumentation is Ric Studer’s voice, a virtual haunting from spirits past. The chorus adds to the forelorn, wispy feel: “And you know what I Know/And you see what I see/And I know what you know about me.” Next up is “I’m On Fire,” the hardest rocking number here; given that, it doesn’t abandon Swing Set’s Pop leaning. Mike’s vocals are not over-the-top aggressive, but Wirtz’s more adventurous drumming alongside Ric’s pumping bass lends that impression. And… was that an accordian back there somewhere in the mix or just a bit of Nussbaum keyboard trickery? Either way, it definitely works well within the confines of this track. “Sincerity” is the second and final bonus cut, with Dan on lead vocals and, once more, the late Kevin Foley on bass. It’s another hard-hitting rocker that somehow puts me in mind of U2, but without that annoying Bono guy (I must say, though, that I did like the stuff he did with Cher). The final Ric Studer vocal lead is “Rain On Our Parade,” a slow-simmering piece of Pop confection. While the tune evokes the feeling of a rainy Saturday, watching TV or playing games or… whatever one does to pass the time while waiting for the rain to stop and the sun to emerge from the clouds, it definitely is not the downer that the title implies. Last and certainly not least is “So Long.” The slowly-paced double entendre works, as any good double entendre should, on a couple of levels: “I’ve waited so long for you” or “So long, gonna miss you.” A fitting end to another solid release from Blackberry Way Records.

SWING SET, 2024 Abbey Road Studios mastering session (Michael Owens, Terri Owens, Andy Walter) (publicity photo)

The newly-remastered LIFE SPEEDS UP is available from Blackberry Way Records on CD or as a download.

CHILDREN OF THE PINES

(TOPBOX PRODUCTIONS/DAME MEDIA/MIDNIGHT JUSTICE FILMS/FREESTYLE DIGITAL MEDIA (92 minutes; Unrated); 2024)

If a title like CHILDREN OF THE PINES makes you anticipate a horror film about cherubic baddies along the lines of CHILDREN OF THE CORN or CHILDREN OF THE DAMNED, well, that’s understandable. Any cinematic outing that focuses on “Children of, well anywhere or ANYTHING,” is bound to be a less than wholesome look at youngsters that are probably up to no good. But writer/director Joshua Morgan’s nifty little thriller has far more substance than your average horror film, and while it DOES have some horror in it for sure, it’s more properly termed a “dark melodrama” than a straight horror film. And in both its pacing and the deliberate way its script unfolds, this is one cleverly made and genuinely unsettling little film. It kept me very interested, despite my initial low expectations, and that’s saying something.

CHILDREN OF THE PINES (DAVID RAIZOR, DONNA RAE ALLEN) (screenshot)

College girl Riley (Kelly Tappan) has been through some troubling issues with her parents Kathy (Danielle J. Bowman) and John (Richard Cohn-Lee), and is less than enthusiastic about visiting them on a winter break at their home in an unnamed mountain town. In a curious bit of voiceover narration, she tells us “Sadness will only ground you, in ways that happiness can only dream of doing.” Nicely open-ended, that. We quickly learn that the parents have a few secrets, one of which is that they’ve provided employment for Riley’s ex, Gordon (Vas Provatakis). That’s annoying enough for our heroine, who is trying to maintain cordial relations with her former beau. But when it becomes clear that the folks have called upon the services of a cult-like organization that uses, shall we say, “unconventional methods” to facilitate healing for this troubled family, things start to get weird. Especially when some creepy young children are suddenly in the mix, and Riley is supposed to welcome them with “mothering” arms. Where did they come from? And what in the world makes Kathy and John think Riley is gonna be okay with these odd young’uns, one of whom is clearly not quite right in the head? The film’s primary tension comes from how Riley tries to manage each new bit of information thrown at her, and figure out what in hell her parents are up to. And possibly the old beau as well. The film impressively takes its time setting the tableau for this series of events, and while most of us have seen enough disturbing horror films to expect certain lousy things to happen in a story such as this, Joshua Morgan reveals himself to be a thoughtful, psychologically tuned-in kinda filmmaker. Issues of alcoholism, domestic abuse and estrangement are brought up, but nothing is driven to extremes the way you might expect. This is a character drama, one in which you get to observe these folks’ behavior yourself, and try to figure shit out right along with Riley.

CHILDREN OF THE PINES (KELLY TAPPAN) (screenshot)

And let’s talk now about Kelly Tappan’s performance here. Some of the first notes I wrote down while watching this were “terrific acting” and “totally naturalistic scene in the diner,” that being a conversation between Riley and Gordon as they get reacquainted before some of the more disturbing stuff happens. Tappan manages to do something all too rare in movies these days: Convince you that this girl exists and is genuinely like people you might know in her reactions and comments. Without being shrill or over the top, she lets you know she is truly concerned about her family and is trying to figure out what to do. When the moment comes where she has “had enough,” you’re totally with her all the way. It’s a marvelous, nuanced performance by this young actress. Her mom, Bowman’s role, is also impressive although I often wonder WHY a seemingly intelligent, thoughtful woman like this would go along with some clearly deranged behavior from her hubby. But then we KNOW this kinda shit happens today, don’t we?

CHILDREN OF THE PINES (screenshot)

The behavior of the cult that Riley’s parents are being guided by has some serious resonance with stuff we know is going on today, and one of the cult’s reps, the energetically cracked Lorelei (Donna Rae Allen) is believable in a downright icky way. I consider it a small miracle that director Morgan shows so much restraint in this production when he could have cheerfully gone much more over the top. And let it be said that while there IS some shocking violence in the film’s final third, it does NOT go over the top or push the limits. Events stay just on the right side of plausibility, which is disturbing unto itself. And the acting is naturalistic to a fault. The whole cast here impressed me, honestly. And the mountain setting is memorable as well… the film is visually striking, and you absolutely can imagine that all these events are actually happening in this little town. When Riley is walking through a snow-covered pathway, trying not to slip in her little boots, you feel every second of her effort. And you ROOT for her with every step, no doubt about it. That’s testament to Tappan’s anchoring performance, which I won’t soon forget.

I could quibble about the ending, which I wasn’t that wild about, and I sometimes get personally worked up about dysfunctional family dramas, especially when the solutions bad parents seek are clearly bonkers. But there is something genuinely compelling about what writer/director Joshua Morgan has given us here. The degree of realism, the fine acting, and the disciplined script all indicate a filmmaker with loads of promise and the thoughtful nature to look at complex human dilemmas with plenty of empathy and curiosity. CHILDREN OF THE PINES ends up being clearly on the INTELLIGENT side of the horror genre, with a determination to avoid cliches and overused tropes as much as possible. I applaud it for that, and will be interested in whatever Mister Morgan does in the future. Not to mention the charming Ms Tappan.

IN PRAISE OF EPHEMERA’S MONOLOVE, A CLASSIC NORWEGIAN POP GEM ON ITS 20TH ANNIVERSARY

KEVIN RENICK REFLECTS ON MUSICAL PERFECTION

We live in a cynical world.” That famous line was uttered by Tom Cruise’s titular character in the movie JERRY MAGUIRE, and it pops into my head sometimes. There’s a lot of distrust, unhappiness and social division out there these days, and it’s hard to find your own personal “throughline” in a world that seems to be constantly struggling, with more and more individuals feeling trapped in some way, or just plain alienated.

EPHEMERA (Ingerlise Storksen, Christine Sandtorv, Jannicke Larsen Berglund) (photo credit BENT RENE SYNNEVAG)

Only chaos/Only empty days/Only thin skin/Only tension/Only make-no-sense,” sings Ingerlise Storksen of the divinely talented Norwegian girl trio Ephemera at the beginning of their fifth album MONOLOVE. The irony behind these seemingly gloomy lyrics, which are just as apt as ever 20 years after the album first came out, is that they are sung in an absolutely GORGEOUS and riveting pop song, “Chaos,” which opens with one of the most deleriously chiming keyboard flurries I’ve ever heard on a modern pop album. Sheer sonic beauty was already a hallmark of Ephemera’s career when MONOLOVE was released in late 2004; members Christine Sandtorv, Ingerlise Storksen and Jannicke (Larsen) Berglund had established themselves as supremely gifted songwriters and rapturous three-part harmony singers through the course of four previous discs, including successful outings like BALLOONS AND CHAMPAGNE in 2001 and AIR in 2003. But their winning formula only locked into place when they teamed up with producer Yngve Leidulv Saetre for an album called SUN in 2000. I will be upfront and say that this “formula” (an inadequate word to convey the lush and organic purity of this music) soon became one of my favorite sounds in the entire musical universe. And by the time I fully absorbed the depth, variety and spine-tingling perfection of the 13 tracks on MONOLOVE (an album that had a tendency to SLAY me on long road trips in my car), it managed to become my favorite album of all time. Yes, it’s THAT good and THAT personally significant to me.

It was a really fun album to record,” Jannicke told me via email correspondence this summer (I contacted all three women to get their feedback when I was planning this piece). “I loved all the songs that the other two had written at that time and it was very giving and exciting to record them. Harmonies and arrangements came easily and our producer (Yngve) understood really well what kind of sound we wanted to express.”

Of course MANY groups might say such things about the process of making an album they are justifiably proud of, but some kind of transcendent magic had to be taking place in the studio to result in songs like “On the Surface” and “Thank You,” two exquisite Ingerlise Storksen compositions that send shivers up my spine whenever I play them. Ingerlise’s vocal approach on these songs is “blue diamond” stuff in my book… breathy, intimate and heartfelt. Add the delicate string arrangement on “Thank You,” the enthralling three-part “mm mm” harmonies and the haunting lyrics about a person in the singer’s life who helped guide her journey (“You left your footprints in the snow/A guideline for me so I will know/The day I get lost/Which way to go… ”), and you’ve got yourself a positively transcendent art song. The harmony interlude that follows that first chorus is literally one of the most beautiful things I’ve ever heard on any record. And it affects me the same every single time I hear it. THAT’s magic!

But one of the notable things about MONOLOVE is how all three of the band members contribute peak, spellbinding songs to the mix. Jannicke gives us two of her very finest, “City Lights” and “Paint Your Sky,” stunningly arranged soft rockers that always change my mood for the better the instant either begins. And a secret, underlying component here – something I bring up in a songwriting class I teach – I would characterize as “aesthetic vagueness.” That’s when the listener gets the imagery and overall feel a songwriter is aiming for without knowing all the specific details of what the song is truly about, so you can insert YOURSELF into it. “I can put up a show, so simple and lame/It’s far from the same/But the line is thin/Between failure and success/There’s either more or less/You’re either out or in/The line is thin… ” Plenty to relate to here, especially when Jannicke sings the lyrics in a clear, plaintive voice and is soon joined by her two cohorts on a deceptively simple chorus: “Under the city lights I fail/Under the city lights I’m pale.” I have been positively transfixed by that chorus since the first time I heard it, and I am profoundly MOVED by the sonic blend the group and their genius producer achieve here.

“‘City Lights’ is a song about the very unfair differences in our world,” Jannicke told me. “The background sounds and voices in the intro were recorded in Tokyo or Osaka when we were on tour in Japan. I like how it sets the atmosphere in the song, both quiet and chaotic at the same time. What I mean to express in the song is that no one is better or more worthy than the other. We are all equally small and unimportant in this big universe, or big and important in this small world. The point is that no one should put themselves above others. Be a fellow human being instead, if you have the chance… ”

Jannicke plays evocative keyboards on this and many other Ephemera songs; in video clips of the band’s performances, she’s almost always behind the keys, playing something distinctive and resonant. You’ll also notice, when you hear this album a few times, that just a simple percussion bit here and there or the way the bassline comes in at just the right moment, reveal an ensemble with exquisite taste and a unified sense of purpose. Everything sounds just so clear and right… The trio seem to be brimming with confidence throughout, apparently paying close attention to literally every detail of every song.

EPHEMERA, 2004 (Christine Sandtorv, Ingerlise Storksen, Jannicke Larsen Berglund) (photo credit BENT RENE SYNNEVAG)

This was a really busy time for Ephemera, with a lot of traveling abroad,” Ingerlise related. “So it was really nice to have a break from it all, and that we got to stay home for a couple of weeks recording MONOLOVE at Duper Studio. We were in a very creative and productive state, I remember – and we did a lot of live recording in the studio. Most of the songs were written on the road and in between, so many of the songs were quite fresh by the time we landed in the studio. This gave it all a new nerve and feel to the sessions. I remember it being like busy, calming and lovely, all at once.”

To read those descriptive words busy, calming and lovely all at once from one of the people who actually MADE this amazing music was enormously helpful to me, as I’ve struggled through the years to explain to the uninitiated why Ephemera are just so darn brilliant. While it’s always a subjective thing to evaluate pop music (or really ANY music) – as a songwriter myself and a guy who has been doing music journalism for nigh on 30 years now, I think I have a reasonably good idea of what constitutes “good” music. But very, very FEW things have transfixed me and soundtracked my very being the way Ephemera’s music has. And I’m certainly not alone.

EPHEMERA (Ingerlise Storksen, Jannicke Larsen Berglund, Christine Sandtorv) (uncredited photo)

Your music is what reaffirmed my belief in the possibility that people have souls,” posted one enthusiastic fan on the trio’s original web site, from which I extracted as many opinions as I could before it went defunct. He was probably responding to the same sincere vulnerability, compassion and unquestioning LOVE for the human condition that I find so compelling, and that these remarkable women inject into every song. Think of any movie scene that once gripped your emotions or any powerful moment in your life that still fills you with aching nostalgia, and that’s the sort of feeling you’ll find in almost every Ephemera composition. And MONOLOVE has more of those than usual. Christine Sandtorv, commonly the most prolific songwriter in the band, contributes six songs to the record, and they are mostly of a stylish piece, dealing with the uncertainties of relationships, the whole “trust versus love” dilemma and the simple challenge of being a vulnerable human being. Her songs feature delicate, often masterful acoustic guitar picking, tasteful string arrangements and conversational-style lyrics that anchor her songs. Even titles like “Do’s and Dont’s,” “Leave It At That,” and “Put-On-Smile” hint at the reflective approach these songs contain. That latter song contains one of MONOLOVE’s most telling verses: “I’m not in the sky/I’m not on solid ground/I cannot lie/But I know how to pretend/I’m not in the mood/Don’t feel like jumping for joy/Though I should be happier than medium okay.” Medium okay, wow! I know that condition, Christine! The primary musical element here is rather jaunty, with even Christine’s memorable vocal delivery sounding almost upbeat. But a strongly melancholy acoustic guitar arpeggio later in the song and some solemn but beautiful three-part harmony from the band nails down the real mood here for any attentive listeners.

EPHEMERA onstage (Ingerlise Storksen, Christine Sandtorv, Jannicke Larsen Berglund) (photo credit TORE SAETRE)

I think a lot was on my mind at the time, as it often is when you are on your way to becoming an adult,” Christine told me. “It was probably a rather dark time for me. I was starting to get tired of traveling a lot. I like being close to family the most. You can see it thematically on many of my songs on this album.”

Christine related how the sparse, haunting album closer “Long” was played at the funeral of her father in 2007. “It became too difficult to play it live,” she said. “Even though it wasn’t written directly for him, I felt that a lot of emotions in the song fit.”

The existential sadness and uncertainty expressed in tunes like this helps explain why MONOLOVE steadily ascended to the very top of my list of favorite albums. Every song focuses on something relatable and timeless, something your heart was aching to hear… though perhaps you didn’t know it yet. I’d lost many loved ones myself and was constantly pondering the meaning of it all, something I tended to do a lot on long car trips. And I found that there was no better music to provide the soundtrack for such contemplation than Ephemera’s. And they truly outdid themselves in that regard with MONOLOVE. You get a real sense, song after song, of self-aware fellow human beings creating ultimate musical portraits of what it means to be a tuned-in, caring person in the “cynical world” of today. Take Jannicke’s anthemic song “Paint Your Sky,” a tune that absolutely bowled me over the first time I heard it. The subtly beautiful, lilting arrangement provides a bed for Jannicke’s clear, almost matter-of-fact vocal addressing the subject of self-doubt. The spellbinding chorus soon kicks in and I have quoted it often through the years. It plays rather continually in my head: “Those you rely on/They seem to be pretending/You’re in denial/Go out and hold your banner high/Painting your own sky… ” It’s unutterably lovely, creating one of the group’s most distinctive lyrical manifestos in those last three lines.

“‘Paint Your Sky’ is a song that shows the mood I was in at that time; happy, self-confident and ready to express myself, without being shy or afraid,” said Jannicke. “I was tired of compromising (myself), which is revealed as a layer of vulnerability in the song. I love the playful bass and the deep electric guitar, and the light, insistent mandolin.” She’s right about the arrangement; it positively dazzles. The group’s harmonies are luminous, and this is sure to be one of the songs that’ll stick in your head upon a first listen to MONOLOVE. But in a stroke of conceptual and sequencing brilliance, it’s followed by an even more unforgettable song, which doesn’t seem possible at this point. “Dead Against the Plan,” oh my lord. Absolutely unbelievable how good this song is. To this very day, after countless listens, I become positively awestruck listening to this Christine and Ingerlise collaboration. I thought about pressing them on how this track came to be, then decided I wanted it to stay somewhat mysterious. Not everything needs an explanation; it’s enough to say this is a stone CLASSIC. I’m not sure I can think of a better example offhand of a giddily inventive arrangement, peerless vocals both in the lead by Ingerlise and in the group harmonies, and the truest form of aesthetic vagueness thematically in the service of a song about something that has gone wrong in an unknown relationship. “Something happened/You could surely have done without” is about all the songwriters are going to clue you into here. There are three or four SEPARATE earworms in this track, and I’m on record already as saying the recording should be taught in music classes at universities as an example of getting every single aspect of a song just about perfect. You know those music-related queries in social media where they ask you, “If you could only listen to one song for the rest of your life, what would it be?” If I wasn’t allowed to cheat and pick the entire ambient album of my choice, I would probably say “Dead Against the Plan” by Ephemera. Inside, I am laughing and crying at the same time when I hear this truly BRILLIANT piece of music making.

EPHEMERA (Christine Sandtorv, Jannicke Larsen Berglund, Ingerlise Storksen) (photo credit BENT RENE SYNNEVAG)

So at this point, I MUST take my hat off to Yngve Leidulv Saetre, the George Martin-like producer of Ephemera, who has shepherded every album of theirs since SUN at the turn of the millennium. He’s produced many other acts as well, including DumDum Boys and Kaizers Orchestra, and he was the lead singer of Barbie Bones in the late ‘80s and early ‘90s. But I’m here to say that Mister Saetre helped this trio conjure absolute magic in the studio, and if I ever met him I’d give him a bottle of fine champagne or something to show my appreciation of his wizardry.

Yngve is the fourth member of Ephemera,” Ingerlise declared. “From early on, with our debut album GLUE (which he mixed and mastered), he understood what we were working on. Where we wanted to go with our music. Yngve is a very creative producer, creative in the same sense as the three of us in Ephemera. We think the same (at least most of the time), and he understands and catches the depth and the sense, as well as how he challenges us. With MONOLOVE we worked quite productive and fast, because we had such a busy schedule (in between touring). This was not an issue, because we were already on the same page, and knew where we wanted this album to go.”

The famed producer was tough for me to reach; I had tried twice before, most recently with Ephemera’s 2020 comeback album SEASONS, and wasn’t successful. But I got ahold of him this time and he spoke very highly of Ephemera, calling their previous collaborations “open, playful and inspired.” While mostly in sync with the group’s intentions, Saetre said that MONOLOVE posed a particular challenge overall. “It was in many ways a very ambitious project,” he said. “There were different ambitions from many angles, also from outside the trio. It was hard to try to unite all this into the wonderful tripod balance that to me is Ephemera.”

EPHEMERA (producer Yngve Leidulv Saetre) (photo credit CHRISTINE SANDTORV)

Certainly at this point in the trio’s career, pressure was coming from not only within as to what should happen next, but from the industry as well. The discussions must have been rather lively in the studio, but whatever tension may have occurred pushed the group to their highest creative levels yet. You don’t get a masterpiece like MONOLOVE without many, many factors coming together to influence the result. Other musicians have contributed to Ephemera albums in the past, but the sometimes more complex arrangements on their fifth full-length feature contributions from well-known Norwegian players Thomas Dahl and Julian Berntsen (for whom Ingerlise recorded a duet called “The Park 1920”), among others; both are credited on some of the lush strings that the album features, though it is difficult to read the tiny credits on the CD sleeve. My favorite credit reads “Bits and pieces of sound on just about every track,” which is how one of Yngve Saetre’s credits reads. And we also learn that “Long” was recorded live at the producer’s apartment, which helps explain the ambient birdsong and other outside sounds that effectively adorn that song, ending the album with a particularly evocative flourish. Not to mention revealing what a hands-on producer Yngve clearly was. Without making this article longer than it already is, I can only declare straight up that Yngve surely has something to do with the particularly evocative details in many of Ephemera’s catalog entries, two of my personal favorites being “Maple Tree” and “Bye.” To be able to listen to certain songs over and over and ALWAYS get lost in their beauty, takes a secret ingredient in the production, and as both Jannicke and Ingerlise pointed out earlier, Yngve simply has an intuitive understanding of what their songs are aiming for, and how a detail here and there can make them even more rapturous. I can’t know what “bits and pieces” throughout MONOLOVE were his doing, but I bet Yngve had something to do with the three-tiered descending harmonies on “Leave It At That,” or how in the next to concluding song “End,” in the lyric “I see us leaving hand in hand,” penned by Christine, the word hand is memorably repeated a few times in the last minute. And in songs that achieve actual perfection like “Thank You,” “Paint Your Sky” and “Dead Against the Plan,” the producer deserves some kind of award for sonic dazzling. I doubt that George Martin ever heard this album when he was alive, but had he done so, I bet he would have nodded and smiled.

I’m happy to hear you appreciate this album so much,” Yngve told me. “It’s always a good feeling to hear from somebody who found something of value in something one contributed to. Music has this direct connection to your feelings and you can’t argue with it. When you listen to something, you immediately recognize the way you felt when you got to know it the first time. I have it like this with a couple of other albums that were hard to make.”

I got the sense that Yngve is a modest chap, with an obviously strong work ethic. I wish I could have told him about the many, many transcendent moments on Ephemera recordings that I know he was at least partially responsible for. And to just THANK him for serving the trio so well… “Yngve always has good thoughts behind the work he does,” Christine related. “He allows us to be creative and try things out, while at the same time managing it all in a steady manner. We have never wanted to collaborate with any other producer, because we think Yngve is the best both as a producer and as a person. He understands us in a respectful way, which may have been extra important as an all-girl band.”

EPHEMERA, 2020 (Christine Sandtorv, Ingerlise Storksen, Jannicke Larsen Berglund) (photo credit: MAGNE FONN HAFSKOR)

We always put a lot of work, all our hearts and minds into the recording of an album,” said Ingerlise. “The devil and the angel are always in the details, and all three of us really love working with the minor details, the tiny twists and turns, sounds and feelings. I think we were all very happy with how MONOLOVE came out in the end.” She added that she thought it was “more mature than some of the other recordings. A more balanced album, from low and ‘heart hurt’ things to the more uptempo and feel good songs. We like it like that, some down, some up. And some songs in between. Like LIFE… ”

As a very dedicated fan of this amazing trio, I have often mused about their working process, i.e. how could they consistently come up with such beautiful music? Their ear for melody, the often subtle sonic detours in the songs, and, I must point out, the rather intoxicating precision of their singing in English… pure musical catnip for yours truly. It’s understood that most Scandinavian artists speak English rather fluently and can make music in that language as well as their own, depending on the audience. I absolutely ADORE hearing Christine, Ingerlise and Jannicke singing perfect words and well-constructed phrases in their soft, beguiling voices. There are many reasons why Ephemera’s music affects me like few other artists, and at least one ingredient is surely their natural, intimate vocal style, which is warm and comforting, eternally. I absolutely BELIEVE everything these ladies sing; there is never a false note of any kind. Listening to “Thank You,” “Do’s and Don’ts,” “Call Me Home,” “Long” or any other tune here is like having a special friend share something important and meaningful with you. Your ears perk up, constantly. The fact that the sentiments are couched in glistening, resonant pop tunes only makes the experience more potent. It’s easy to forget that human beings with their own personal issues and separate ambitions had to perhaps struggle a bit to record this stuff.

It was a challenging recording,” Christine acknowledged. “I remember a bit of frustration, with different opinions about where we should end up, together with a very strong desire to make something really good. Not too poppy and not too quirky. In retrospect, I think the album turned out really well.”

EPHEMERA, 2024 (Ingerlise Storksen, Jannicke Larsen Berglund, Christine Sandtorv) (uncredited photo)

Speaking for myself as a listener, I’m often fascinated by what the intentions were of the artists I like. It has not always been the case with “Artist X or Y” that their enthusiasm in public statements about their work correlated with my own level of appreciation. In the case of Ephemera and their sublime MONOLOVE disc, I soon came to the conclusion that I probably loved every single thing about this album more than they did! The platter contains timeless melodies, remarkably economical lyrics couched in rich, sparkling arrangements, gorgeous vocals both in leads and textured harmonies (sometimes occurring lower in the mix waiting to be discovered upon the umpteenth listen), and moments of such unforgettable emotional intimacy that I sometimes ended a listening session wanting to just say “thank you” to the universe and this band for, well, the SONG “Thank You” and all twelve other gems on this masterpiece. After any full listen to MONOLOVE, I end up feeling changed, and grateful. I hold the CD in my hands like it is a piece of jewelry or something, gazing at the cover photo of the three lovely musicians posing in a triangle-configured closeup of their heads, and leafing through the minimally adorned but classy booklet, soaking up every detail. And as an aside here, I want to say I still bemoan the devaluing of the CD and the “artistic presentation” in recent years. Yes, yes, I KNOW that downloading and streaming are the way most people listen to stuff, and people just don’t want to pay for physical “product” anymore. Phooey! To me, you simply CANNOT get the full experience of an album like this with a few digital downloads. Or, God forbid, “sampling” it on a YouTube video. I’d say the same about other artists I love like Joni Mitchell, Paul Simon, Talking Heads and more. All of whom, by the way, are also featured in my “Top 10 list of all time.” A really good album/CD is a work of art, something to be savored, something to immerse yourself in.

And that is what I do with MONOLOVE, every time. I’m aware it represented the culmination of everything this Norwegian trio were striving for. They and their crack producer worked their butts off on this thing. They were all at a peak of inspiration, coming off a major burst of attention and ambition, and they gave the world this gem. But it was to be the end of an era. No more new music appeared for 15 years from Ephemera, and while 2020’s SEASONS was a welcome return for sure, and featured the genuinely surprising classic “When the Best Ones Are Gone,” which accidentally became a pandemic-era soundtrack, plenty had changed, including their own career trajectory. On a simple level, all three ladies were just involved in growing families and their regular careers. Is that anything to be sad about? But shucks, in my “dream alternative universe,” there would be a “20th anniversary reissue” of MONOLOVE the way so many bands today reissue deluxe editions of classic albums. There’d be a stunning new booklet with unseen before photos, alternate takes of album cuts and some rarities, and perhaps even a delightful live album of an Ephemera concert, all housed in a handsome, shiny box. What a great treasure that would be in my alternative universe!

EPHEMERA (Jannicke Larsen Berglund, Ingerlise Storksen, Christine Sandtorv) (photo credit: BENT RENE SYNNEVAG)

But back here in reality… I am writing these words not knowing if there will EVER be any new Ephemera music again (hope I’m wrong), knowing that most music fans have never heard of them (unfortunately there is a Swedish heavy metal band with the same name, making any casual search for “Ephemera songs” a problematic exercise), and knowing I am probably the only writer in the WORLD, at least in America, saluting the 20th anniversary of an album you can’t even GET as a physical product anymore except from sellers on Discogs (and I highly suggest you old schoolers who are intrigued by what I wrote here to get the original album that way). I’ll finish by saying I did not want to casually just share some “top 10” list in social media or elsewhere with the Ephemera entry at the top, and then have some people scratching their heads over my entry. “He’s putting this obscure group above the Beatles and Joni Mitchell? What’s up with this dude?” Well, it was a simple evolution over time, that’s all… an emotional connection deep and enduring and truly personal. Because yes, MONOLOVE, by the Norwegian trio EPHEMERA, is indeed my very favorite album of all time, I am proud to say that. And I salute it, for all it means to me, and for the potent and enduring quality of its contents. I’ll let Jannicke (Larsen) Berglund have the last word.

Music brings us all together. And I love it… ”

For more about Ephemera, here are links to their social media: https://www.facebook.com/ephemeragirls, https://www.ephemera.no/

FITTING IN

(THE MOVIE PARTNERSHIP/ELEVATION PICTURES/BLUE FOX ENTERTAINMENT/TELEFILM CANADA/WONDALAND PICTURES (106 minutes; Rated R) 2024)

FITTING IN is a coming-of-age comedy-drama that dives into the sensitive yet under-explored topic of reproductive health, sexuality, and self-discovery. The film centers around Lindy, a teenage girl whose world is turned upside down when she’s diagnosed with a reproductive condition (Mayer Rokitansky Küster Hauser or MRKH syndrome) that derails her expectations of what a normal sex life could be. This diagnosis forces Lindy to confront her identity and pushes her to explore unconventional methods to understand her body and desires.

FITTING IN (D’PHARAOH WOON-A-TAI, MADDIE ZIEGLER) (screenshot)

What sets FITTING IN apart is its brave and open approach to topics often considered taboo. Lindy’s journey is one that many might find unfamiliar in cinema, yet it’s handled with both humor and empathy, making the subject matter approachable and relatable. The film skillfully balances moments of comedic relief with deeply emotional scenes as Lindy grapples with her diagnosis and the impact it has on her sense of self-worth and future relationships. The heart of the movie lies in Lindy’s quest for empowerment. Rather than succumbing to societal expectations or limitations imposed by her condition, she embarks on an exploration of her own body and desires, seeking to redefine what a fulfilling life looks like for her. It’s a bold and often humorous look at the lengths we go to understand ourselves, even when faced with obstacles that seem insurmountable.

FITTING IN (EMILY HAMPSHIRE) (screenshot)

Maddie Ziegler shines in the role of Lindy, delivering a performance that captures both the confusion and courage of a young girl navigating unfamiliar terrain. Her portrayal is both vulnerable and strong, making Lindy’s journey feel authentic and deeply human. FITTING IN is not just about a medical condition—it’s about growing up, challenging norms, and redefining what it means to be in control of your own body and choices. It’s a thought-provoking, emotional, and, at times, funny film that will resonate with anyone who has ever felt like they didn’t fit in or had to rewrite their own narrative.

STAR ZERO: EVERLASTING LOVE

(SELF-RELEASED SINGLE; 2024)

Star Zero is new band formed by five seasoned veterans from San Clemente, California. They have recently released several singles of what has been termed “Nu-Grunge” or “post-Grunge,” which is a not-unappealing melding of Grunge (generally exemplified by artists such as Soundgarden and Pearl Jam) and Nu-Metal (down-tuned-guitar based Metal acts such as (hed) PE, Deftones and Chevelle). The group, channeling the more melodic side of heavy music (Stone Temple Pilots and Alice In Chains immediately come to mind), features Josh Paskowitz, former vocalist for the Flys (1998’s “Got You (Where I Want You)”) alongside guitarists James O’Brien and Billy Murphy, bassist Jeff “Poppy” Poppenhagen and drummer Bernie Sanchez; they are augmented live and in the studio by keyboard player Reggie King.

“Everlasting Love” is Star Zero’s latest single. The quintet continues working with producer Cameron Webb (who has helmed projects by Linkin Park and Motorhead, among others) on a full-length album. The video, as you can see, is an artful, mind-bendingly trippy ode to the Old West; the music is stunningly melodic with gargantuan, beefy guitar and Paskowitz’ incredible vocals, evoking the memories of both Layne Staley and Chris Cornell (with a little Scott Weiland thrown in for good measure). This song, along with “You” and “King Saul,” has me excited for a full-length release! Make it so, gentlemen!