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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.

HEY, MA! WATCH THIS Movies Streaming Video | Kasey Lehmkuhl | |   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.

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.

HEY, MA! WATCH THIS Movies Streaming Video | Moose | |   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

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 | |   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

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 | |   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;

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 | |   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

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.

HEY, MA! WATCH THIS Movies Streaming Video | Kasey Lehmkuhl | |   Comedy Coming-of-Age D'Pharaoh Woon-A-Tai Digital Download Digital On Demand Emily Hampshire FITTING IN Maddie Ziegler Movie Trailer Movies MRKH Syndrome Teen Drama

HERE FOR BLOOD

(SCREAMBOX ORIGINAL/PAGEMAN PRODUCTIONS/BLOODY DISGUSTING/CINEVERSE (101 minutes; Unrated); 2024)

This is a horror movie that is aptly named, as it indicates that if you watch horror movies in hopes of seeing a lot of blood, this one delivers. Throughout the film, there is spurting blood from stabbings, limbs getting cut off and even a couple of outrageously over the top head choppings. So I am saying all that upfront so you know that bloody violence is the order of the day in this’un. But since it is billed as a “horror/comedy,” the undertone of absurdity and satire helps alleviate any revulsion you may feel about the killings, although I have to say, the first two were really rather shocking… they happen in the film’s first 15 minutes. But what’s it ABOUT, you ask? Well, there’s this wrestler guy named Tom O’Bannon (Shawn Roberts) who makes less than a good living from cheap matches that a sleazy promoter stages for peanuts. Tom isn’t happy about his plight but hasn’t much choice in the matter. His attractive girlfriend Phoebe (Joelle Farrow) has an important test to cram for, and she asks Tom to fill in for just two hours for a babysitting job she agreed to do for friends, who have a young daughter named Grace (Maya Misaljevic). Tom is anything but thrilled about this but reluctantly agrees. Problem is, the house has been targeted for sinister reasons by a band of psycho cultists. When Tom orders a pizza for him and Grace, the pizza delivery guy is slaughtered in brutal fashion, and then it’s abundantly clear something horrible is taking place. And when Tom investigates a couple of weird sounds, the mayhem begins in earnest.

HERE FOR BLOOD (MAYA MISALJEVIC) (Screen Shot)

That’s the setup in a nutshell.

HERE FOR BLOOD (JOELLE FARROW, SHAWN ROBERTS) (Screen Shot)

I don’t really think, in a low-budget horror film such as this, that you need either a detailed plot synopsis or an analytical review of how successful the horror tropes are. Most people watch horror for the visceral kicks a film provides and the overall entertainment value. We’ve seen plenty of films about home invasions by masked psychos, which is the deal here, but this movie seems to delight in a level of excess that definitely makes an impression. One of the dimmer of the psycho cultists, apparently named “Bernie” (Jesse Buck) gets his face held to a red hot stove burner by Tom, screaming his head off; he also gets stabbed a bunch and has a hand cut off. The way Buck screams and pouts angrily throughout is the first sign you should NOT take this movie too seriously. Performance-wise, Buck is over the top but clearly understanding of the TONE that director Daniel Turres is going for. Which is a kind of high-energy schlock-carnage. “We are under attack by a gang of sex perverts!” Tom declares to Phoebe when she finally arrives after her studying is finished. “Everybody grab a knife,” he adds. There are tons of knives in this film, and an axe or two, all utilized regularly. “Just chop!” Tom tells Phoebe when she is wondering how they are going to subdue one of the killers. Phoebe is reluctant at first to do any killing and seems pathetically unhelpful, but when a killer calls her a bad name, she does some chopping all right, to such an extent that Tom has to tell her she can STOP now. Blood spurting in all directions is all the evidence needed that one of the baddies has been taken down. I laughed at that scene, honestly. And I laughed even more when Grace’s parents return home; this seemingly innocuous but neurotic couple, played with sitcom-like dopiness by Tara Spence-Nairn and Michael Therriault, provide some of the meant-for-relief laughter in the film’s final third. Considering the grim nature of the intruders and the detailed butchery we witness, the presence of these two quarreling knuckleheads will either help you relax or annoy the shit out of you. It sort of did BOTH for me.

HERE FOR BLOOD (JOELLE FARROW) (Screen Shot)

The killers are part of a cult, naturally, preparing for some kind of “ascension” that involves both a disemboweled talking head (voiced by Twisted Sister’s Dee Snider) that keeps saying “Feed me!” (a la the plant in LITTLE SHOP OF HORRORS), and the sacrifice of an attractive young woman, which is Phoebe’s intended role in all this and a point of attentive self-awareness and parody by the filmmakers, who score a point or so for that in terms of comedy. “We all knew the risks of joining a cult,” one of the homeowners casually declares. “But it’ll all be okay when we ASCEND.” Of course. That’s how it’s supposed to work! HERE FOR BLOOD is not a boring movie – it keeps things moving along at a good pace, and one or two setpieces of insane bloodletting, though winking at past films like THE EVIL DEAD and REANIMATOR, aren’t quite as deleriously funny as they’d like to be. The acting is not very good, for the most part, although the muscular Shawn Roberts tries to anchor things as best he can (and takes a thorough beating throughout). At one point, young Grace points to a bloody figure on the floor and asks “Is that guy DEAD?” “Yeah,” Tom replies. “Sucks, cause he was a fan of mine, too.” I laughed at that scene, and plenty of others. Clearly the intent was to have some fun with the genre by both the director and writer James Roberts. But it’s no classic, and much of the acting is just too stiff to be memorable. Still, it’s worth a watch for horror fans that like to be repulsed or startled by what they see. And I give the film an extra point or two by letting the good guys win despite going through hell. But many will perhaps NOT make it to the end of this one without a decisive response either yay or nay. But if you’re “here for blood” when you sit down to view this piece of self-aware horror carnage, chances are you will get what you came for.

HEY, MA! WATCH THIS Movies Streaming Video | Kevin Renick | |   Action Movie Comedy Daniel Turres Dee Snider HERE FOR BLOOD Horror James Roberts Jesse Buck Joelle Farrow Maya Misaljevic Movie Trailer Movies Screambox Shawn Roberts Slasher Movie Unrated Wrestling Movie

IN THE COURT OF THE CRIMSON KING: KING CRIMSON AT 50

(DISCIPLINE GLOBAL MOBILE (86 minutes; Unrated); 2023)

In the pantheon of so-called “progressive rock” groups, you’ll always find discussion of such bands as Yes, Genesis, ELP, Pink Floyd and a few other titans of technological trailblazing and trickery. Prog rock has generally been revered and reviled in equal percentages, but that’s no big deal… EVERYTHING is nowadays. Mention King Crimson, however, and I suspect there’ll often be a pause before the expected opinion is uttered. There’s always been something DIFFERENT, something hard to pin down about this Robert Fripp-led ensemble. You can’t just say ONE thing about them. Were they the makers of that outstanding classic rock platter IN THE COURT OF THE CRIMSON KING, the one with the cover of an enlarged mouth gone wild and the immensely pleasing vocals by Greg Lake? The unpredictable sonic architects of challenging platters like RED? The laboratory where some of today’s finest musicians, such as Bill Bruford, Tony Levin (looking cool as heck in his segments) and Adrian Belew went IN and came OUT as changed players forever? The often tyrannical experiment waged by mad overseer Robert Fripp who expected DISCIPLINE (pun intended), tireless dedication and an impossible sort of perfection from anyone he deemed worthy enough to be part of his ongoing alchemical adventure? The answer: YES. To all of that. And as the amazing documentary IN THE COURT OF THE CRIMSON KING: KING CRIMSON AT 50 makes clear, there was a lot of suffering taking place to make that art over a half-century’s duration..

“I came back from making some of that music and my hair had fallen out,” said guitarist extraordinaire Adrian Belew, whom most associate with one of the most fertile and memorable phases of the band, from 1981 to 2009. “It was so stressful to be under the microscope that way.”

“It could be a very bumpy… and lumpy ride,” Bill Bruford offered about his time in the band. “Some people handle being winded, and WOUNDED, better than others.”

Guitarist/vocalist Trey Gunn, part of the band from 1994-2003, provides an even more memorable quote about the KC experience. He compared being in Crimson to having a low-grade infection. “You’re not really sick, but you don’t feel well, either.”

IN THE COURT OF THE CRIMSON KING (JAMIE MUIR) (screen shot)

Much has been written about King Crimson over the course of their volatile journey, and this documentary does a good job of trying to provide perspective on a fascinating musical story. A common element in any attempt to discuss the band is coming to terms with the uncompromising vision of guitarist/leader Fripp, who, as one of the most innovative guitarists of all time, had the right to pursue his musical goals and listen to what his ego commanded. But that was not always pleasant for the players, to say the least, and Fripp himself has often said he’s not always the nicest guy in pursuit of his musical ambition. Some contributors, such as percussionist Jamie Muir, didn’t last long; his work was mostly confined to the 1973 album LARKS’ TONGUES IN ASPIC.

“It’s a maelstrom of electricity,” he said in a clip from the film. “You’re in the middle of a storm, and you’ve got to stand in the middle of this storm and coherently play music. And a roaring, bellowing, regal animal tries to emerge out of something.”

IN THE COURT OF THE CRIMSON KING (ROBERT FRIPP AND “THE GREAT SILENCE”) (screen shot)

There are plenty of clips of performances in the doc, although maybe not as many as you might want from the early days. But it’s the honest interviews with the many fabled musicians that make the biggest impression. Some, such as drummer Bill Rieflin, are not around anymore despite a prominent presence in the movie (Rieflin died in 2020 at the age of 59). There are quite a few segments that feature Rieflin, and he’s one of the more affable commentators we see. “Urgency is one of the main characteristics of Crimson music,” he relates. We see that powerful vibe in clip after clip, and Rieflin is among those who apparently thought the relentless challenge of it all was worth it, despite the “constant pain” he was in during his last couple of years. Rieflin was quite a storied musician already, having contributed his talents to bands such as Ministry, Pigface, REM and Swans among others. He was passionate about what Crimson was doing and said he was “made for it” when asked why he stayed when it was clearly so tough. “Music can restore grace, if only for a moment, in a person’s life,” the drummer related. He could have been referring to both the players and the fans. The doc shows us numerous crowd scenes of Crimson fans, clearly enraptured, bobbing their heads or staring at the band in awe. There’s a substantial segment featuring a nun, of all people, expressing her rabid enthusiasm for the band. “It goes over most peoples’ heads,” one pundit declares. “It is quasi scientific. If you get it, you really get it. Something like magic happens. But the conditions have to be so perfect. To get there… it’s so fragile.”

IN THE COURT OF THE CRIMSON KING (ROBERT FRIPP) (screen shot)

The film does not shy away from showing how bull-headed Robert Fripp often was. He was often quick to get angry, dismissive of early incarnations of the band, and actually somewhat insulting to director Toby Amies. A long and painful moment near the end of the doc shows the director waiting eternally for Fripp to answer a reasonable question. I had to check my screen a couple of times to make sure the image hadn’t frozen… but no, it was just a long, long closeup of Fripp thinking, composing some sort of response. And one of the last scenes is a direct insult, with Fripp obviously NOT quite appreciating the inherent uncertainty of what Amies was trying to do… putting together a sprawling and ambitious doc about one of the most singular and unpredictable bands in the history of rock music. Amies makes a wise decision to feature so many players in KC’s revolving door talking about their experiences… a sense of the genuinely personal and honest comes through, from pride to abject misery at times. “I just started to hate what I was hearing,” admits Ian McDonald, a KC member only in their first incarnation. “The really dark things. I hated inflicting it on the audience.”

IN THE COURT OF THE CRIMSON KING (KING CRIMSON LIVE AT ROYAL ALBERT HALL) (photo credit: TONY LEVIN)

But as the passing of time (and the countless changes) have shown, King Crimson has a dedicated fan base, who LIKE the “dark things” and the less easily accessible elements of this wild and weird music. Fripp always has an intense look on his face in the doc, like he KNOWS that attaining musical transcendence is possible, no matter the hardships for the rest of the band (and, to be fair, HIMSELF) in trying to get there. KING CRIMSON AT 50 serves the fan base well and does a remarkably balanced job at portraying the tireless pursuit of aiming for the sonic UNKNOWN by a truly ambitious innovator and his band of (mostly) sympathetic comrades. Whatever your opinion of any phase of Crimson’s long career, this well-paced documentary is absolutely worth seeking out.


(EDITOR’S NOTE: As an aside for readers in the Saint Louis area, if you miss Crimson’s “live actions” or just want to see a really good band playing some very challenging music, there is a great tribute band called THRAK performing locally for your listening and dancing pleasure. Check out their Facebook page when you need to scratch that Crimson itch.)

DO THE ARCHITECTURAL WATUSI HEY, MA! WATCH THIS Movies Music Reviews Streaming Video | Kevin Renick | |   Adrian Belew Avant-Garde Music Bill Bruford Bill Rieflin Classic Rock Documentary Hard Rock Ian McDonald IN THE COURT OF THE CRIMSON KING: KING CRIMSON AT 50 Instrumental Music Jamie Muir King Crimson Live Music Movie Trailer Movies Music Music Documentary Progressive Rock Robert Fripp Rock and Roll Toby Amies Tony Levin Trey Gunn

NARRATIVES OF MODERN GENOCIDE

(PASSION RIVER FILMS/TEXAS TECH PUBLIC MEDIA (62 minutes; Unrated); 2021)

The worst action humanity has proven itself capable of is surely what we call genocide. That’s the systematic destruction of a particular group of people usually by government decree, and it’s generally incomprehensible to most of us. The new documentary NARRATIVES OF MODERN GENOCIDE doesn’t add that much new to our understanding of this vile policy, but it’s important nonetheless, especially by focusing primarily on two examples outside the “Holocaust,” which we already have countless films about. Here, director Paul Allen Hunton looks at the Khmer Rouge’s horrifying actions in the latter half of the 1970s, and the massacre of mostly children in Burundi in the early ‘80s. Key survivors of each atrocity are interviewed, and it’s hard to believe they are even here to tell their stories. Sichan Siv, a United States ambassador to the UN in the early 2000s and an author whose books include GOLDEN BONES: AN EXTRAORDINARY JOURNEY FROM HELL IN CAMBODIA TO A NEW LIFE IN AMERICA, guides us through a harrowing look back at the “Killing Fields” he escaped from. He lost 15 members of his family, including his mother, in the horror show that commenced after the Vietnam War ended and a bombing campaign in neighboring Cambodia illegally undertaken by Richard Nixon, gave the rebel group known as the Khmer Rouge an excuse to start organizing their plans.

“We were in a situation where you could not really think straight because nobody has ever seen this kind of happening before,” Siv tells us. “Not anywhere in human history. A society that killed their own people!”

NARRATIVES OF MODERN GENOCIDE (SICHAN SIV) (publicity still)

Through simple but effective animations, and even more effective filming done at Tuol Sleng, the infamous and preserved torture prison in Phnom Penh (complete with countless skulls and photos of the actual prisoners killed there), Siv relates, with remarkable calm, how Pol Pot and his well-trained underlings proceeded to wipe out essentially a third of “Kampuchea’s” then population of eight million people. It’s almost impossible to comprehend unless you have the opportunity to visit the sites in Cambodia where the atrocities happened, something that American student Josh Kiser was able to do.

“When a lot of people think of genocide, they think of NUMBERS, not the thought process behind the killing,” Kiser relates. “It doesn’t matter if it’s 50,000 people or two million people. If it’s the systematic killing of people… for whatever reason, that’s a genocide.”

We get some useful history of how the end of the Vietnam War gave birth to these nightmarish events, and how the Khmer Rouge wanted to form “an agrarian community… to get rid of all the powerful elites and… take things back to ZERO.” Some of the most powerful insights are provided by Doctor Ron Milam, Director of the Institute for Peace and Conflict Studies at Texas Tech University. He has studied these matters in depth, and almost matter of factly describes how important it is for the reality of genocide to be taught in schools.

NARRATIVES OF MODERN GENOCIDE (publicity still)

“It will happen again some place, that’s the point,” Milam says. “We need people to know that it can go this way, that there can be a genocide. Unless you’re taught that, you could fall back into that comfortable way of thinking, that people ‘can’t do this to each other.’ It HAS to be taught. My calculation was always roughly that two percent of the population is psychopathic. Then there are fifteen to twenty percent who are just rascals. They don’t believe in genocide and are not driven by racial hatred. But they see it as a way to make money and be in power. Those people surround the psychopaths and will support them.”

This is obviously tough stuff to watch, and it won’t make viewers comfortable about the state of humanity, especially as we know that smaller genocides are still taking place around the globe. Gilbert Tuhabonye was a popular athlete in Burundi in 1993 when the genocide in neighboring Rwanda (with Hutus targeting their perceived rivals, the Tutsi) spilled over into the smaller country and caused many to be exterminated in cruel ways such as fire, including school children. Tuhabonye himself was tortured and marked for death; he relates that he did NOT think he’d survive, recounting in detail his harrowing escape from murderous pursuers. He is shown at a couple of meetings where he is to speak, being introduced and earning enthusiastic applause, before we learn how lucky he was to even get to this point. And he founded an important entity, the Gazelle Foundation, a non-profit that funds and builds clean water projects in his native Burundi. The sheer hate and determination of groups that are often government-sanctioned (and often the government itself), the underlying reality here, will have you shaking your head. It’s a little too resonant even today, in places like Yemen, Myanmar and parts of Africa. How can humanity hope to understand such a level of hatred?

NARRATIVES OF MODERN GENOCIDE (GILBERT TUHABONYE) (publicity still)

“One of the things that genocide requires is the dehumanization of a people,” says Aliza Wong, an Associate Dean at Texas Tech University. “There is a… brainwashing that renders the aggressors to be firm in their commitment that their victims are not human.”

Humans killing other humans en masse, and for the flimsiest of excuses at times, has been going on since early in our history. When you can see exhibits on the subject, as with the Holocaust Museum or the evidence preserved at Tuol Sleng, or hear from survivors who lost loved ones, such as the subjects of this film, the effect is sobering. Though Hunton’s film is barely over an hour in length, and arguably could have provided more background, especially in the Burundi segment, it does a good job of zeroing right in on the primary horrors of its subject, and how escape from genocide appears to be an almost random and unlikely thing due to the thorough efforts of the organized killers. That Siv and Tuhabonye are alive to tell their stories is miraculous, and that they can do so in a tone of voice almost like simply having a hard time finding a parking spot at a crowded store, is just unreal. Sure, one moves on from personal trauma, but THAT level of trauma? Let’s hope none of us are ever in the position to find out what it’s like. This documentary is definitely worth the short time it takes to watch it, and though it won’t put you in a great mood, it’s essential that we all know what politics and war can lead to. Some history we definitely do NOT want to repeat.

NARRATIVES OF MODERN GENOCIDE is available now on DVD and On Demand

HEY, MA! WATCH THIS Movies Streaming Video | Kevin Renick | |   Aliza Wong Burundi Cambodia Digital On Demand Doctor Ron Milam Documentary DVD/Blu-Ray Gazelle Foundation Gilbert Tuhabonye Holocaust Museum Josh Kiser Khmer Rouge Movie Trailer Movies NARRATIVES OF MODERN GENOCIDE Paul Allen Hunton Phnom Penh Pol Pot Rwanda Sichan Siv Streaming Video Texas Tech University The Holocaust Tuol Sleng Unrated Vietnam War

PARADISE COVE

(QUIVER DISTRIBUTION/VOLTAGE PICTURES/CRASHING WAVE PRODUCTIONS/SUNSET PICTURES/THUNDER STUDIOS (144 minutes; Unrated); 2021)

I don’t know, sometimes it’s not that complicated. Despite the fact I’ve been watching more movies than usual in the pandemic era and have in general been predisposed to like most of them, I still require an engaging plot and some kind of cinematic ZIP to push my thumb to the UP position. And the little sucker is resisting efforts to do so when it comes to PARADISE COVE, a new Malibu-set thriller directed by Martin Guigui. The only known star in this thing is Mena Suvari, whom I haven’t seen on screen for a long while. It was good to have a new appearance by her as kind of a guide, and she’s decent here as the restless, aching-to-get-pregnant wife of a guy who just took possession of the shell of his late mother’s beach house in Malibu, which needs – let’s just say – a ton of work. The setting is lovely enough, and our young couple, Knox Bannett (Todd Grinnell) and Tracey (Suvari) are shown admiring the view, playing with their tiny dog, and clinking wine glasses together as they discuss how much they want to have a child and Tracey’s apparent difficulty getting pregnant. Knox doesn’t seem too bothered by anything, and assures his wife that everything’s going to work out fine.

PARADISE COVE (TODD GRINNELL) (publicity still)

It’s a jolt, then, to discover that they have a mysterious squatter living below their abode-in-progress. That would be Bree (Kristen Bauer van Straten), a shifty, wild-eyed woman who looks older than her twenty-something age and is more than well-known to the locals, including a bar maid who telegraphs that something may be amiss with this gal, and to Sheriff Garcia (Ruben Garfias), who sees her mostly as a harmless nuisance. Ah, but Bree is more than just a danger in paradise. She is clearly unhinged, manipulative and not receptive in the least to Knox’s efforts to get her to relocate. A bit of background is provided about a tragedy she endured with a young son, and Knox tries to be sympathetic to her. But she’s not the sort to “work out a deal” with him or anything. And she quickly gets on the bad side of Tracey, too, who hardly wants to set aside her preoccupations with pregnancy and finances to deal with this crazy lady. Sparks are gonna fly, you might say. And sharp knives, hammers and coldly barbed insults are also gonna be utilized. That kinda stuff can definitely impinge on the aesthetic beauty of crashing waves and crying seagulls outside the window. A scene of Bree sneaking into the shower with Knox is downright ludicrous, and it’s sort of where I began losing patience with this film. Although Bree is reasonably attractive, I simply did NOT believe Knox would react as he did in this scene, not after what had already happened. In fact, Knox’s less-than-smart decisions throughout the movie detract from the sympathy he might have earned as the central character. He’s not all that bright, slow at putting the big picture together, and less than a truly reassuring husband for poor Tracey. As an actor, Grinnell LOOKS the part of an in-over-his-head husband, and he fits nicely with Suvari’s mostly plaintive, concerned wife. But he’s missing something in the charisma department, and his performance is simply too low-key in these proceedings. By the time a big confrontation occurs, there has not been enough energy built up to give this “thriller” an actual thrill. You just sort of want to get it over with.

PARADISE COVE (MENA SUVARI, TODD GRINNELL) (publicity still)

I will say that the premise is a reasonably interesting one – the list of movies about deranged homeless females in Malibu is a short one, as far as I know. And Bauer van Straten’s is the notable performance here. She’s a character who is not overtly psychopathic… more someone who gets under your skin by being rude and insensitive, and then starts doing increasingly nasty things without warning until you and your new place are in BIG trouble. The character has some compelling moments, and yeah, she’ll likely creep you out plenty. There’s a bit of “Fatal Attraction-lite” about Bree and her doings here.

PARADISE COVE (KRISTIN BAUER VAN STRATEN, TODD GRINNELL) (publicity still)

But ultimately this movie is somewhat of a tiresome watch, despite the scenic setting. Nobody is genuinely likable, the plot pushes at the limits of credibility a bit too often, and Knox and Tracey, while you basically ROOT for them, are kind of a bland, unromantic couple. The film lacks any big or genuinely impactful scenes that would make you invest more deeply in these characters. And as a so-called “thriller,” there’s a paucity in that regard, also, except for one or two sudden moments. Mena Suvari fans might enjoy seeing her in a sizable role like this, and some may find the film an okay diversion. But my stomach felt empty at the end of the movie and so did my brain. Not exactly “Paradise,” in other words, for my cinema-loving self.

PARADISE COVE is available now On Demand.

HEY, MA! WATCH THIS Movies Streaming Video | Kevin Renick | |   Digital On Demand Kristen Bauer van Straten Martin Guigui Mena Suvari Movie Trailer Movies PARADISE COVE Psychological Thriller Ruben Garfias Streaming Video Thriller Todd Grinnell Unrated