BLACK EYED SUSAN (2024)

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Written & Directed By: Scooter McCrae

Cinematography: Anton Zion

Cast: Damian Maffei, Yvonne Emilie Thalker, Scott Fowler, Marc Romeo, Kate Kiddo, Vito Trigo

Desperate for work, Derek accepts a job replacing his recently-deceased friend at a tech startup. Continuing to develop the company’s innovative project means working intimately with Susan, a bleeding-edge BDSM sex doll meant to receive and appreciate punishment as an integral part of her evolving AI. Derek will soon test the limits of his own desires and explore the nature of man and woman, pleasure and pain, and life and death in a morally uncertain future world.

This is a tough film to talk about without spoilers

This is one of those films that almost dares you to describe it, because the moment you do, you risk ruining the very thing it’s built on: discomfort, surprise, and a slow, deliberate seduction of the viewer.

At first, it plays like something provocative for the sake of it teasing eroticism, brushing up against disgust, testing where your limits lie. But that tension feels intentional. The film isn’t just pushing buttons; it’s studying which ones you’re willing to let it press. Much like its title character, it lures you in with a kind of controlled intimacy, only to shift the ground beneath you when you think you understand the rules.

There’s a sneaky, almost anthology like quality to it, something that echoes the spirit of TALES FROM THE CRYPT mixed with THE TWILIGHT ZONE and throw in some BLACK MIRROR, but stripped of comfort and pushed further into psychological unease. It’s less interested in outright shock than in escalation. Every time it feels like the film might settle, it pivots. Every time you adjust, it sharpens.

Visually, it leans into its independent roots. There’s a rawness to the presentation that feels almost out of time reminiscent of early 2000s genre films, but the themes are distinctly modern, even uncomfortably so. The sci-fi elements are there, though used sparingly. When they do arrive, they land with purpose rather than spectacle.

What really anchors it, though, is the performance at its center. The actor behind Black Eyed Susan: Yvonne Emilie Thalker commits fully, there’s no visible safety net, no distance from the material. It’s the kind of performance that doesn’t just carry the film, it exposes it.

And make no mistake, this is not an easy watch. It’s meant to wear you down a little, to test your endurance as much as your curiosity. The film hits hard, pulls back just enough, then hits harder. Not always through violence, but through the creeping sense that it’s always one step ahead of your comfort.

The less you know going in, the better. Just understand that it’s a film built on provocation. One that invites conversation, maybe even confrontation, long after it ends.

Whether it’s worth the experience, that’s part of the question it leaves behind.

Grade: B 

SCARED SHITLESS (2024)

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Directed By: Viveno Caldinelli

Written By: Brandon Cohen 

Cinematography: Rudolf Blahacek

Editor: Christopher Minns 

Cast: Steven Ogg, Daniel Doheny, Chelsea Clark, Marcia Bennett, Mark McKinney, Brynn Godenir, Don Tripe, Lorna Wilson 

A plumber and his germophobic son are forced to get their hands dirty to save the residents of an apartment building, when a genetically engineered, blood-thirsty creature escapes into the plumbing system.

This film stayed constantly entertaining even if at times it is in bad taste, but that is half the fun of the film where sometimes, it just feels so wrong that it’s right.

The film isn’t exactly something you’ve never seen before. It’s your typical monster film. Only it happens to involve a creature that mainly stays in the sewage system in a building’s toilets.

This would’ve been the type of trauma would’ve definitely put out back in the day or the type of midnight movie you’d see on USA’s up all night. This is the tyoenyoynaccisentoy discover in a video store or on Late night cable. Under the influence and go with it’s Off kilter appeal 

Luckily, at only 75 minutes it never overstays its welcome and seems a perfect length for its story and premise. It has its fair share of laughs and scares with plenty of shock comedy as most of the victims tend to be elderly people.

It feels more classic old school with its practical special effects and creature design throughout, but doesn’t give much explanation of why but you enjoy nonetheless.

Not surprised that this film is Executive produced by Steven Kostanski (PSYCHO GOREMAN, THE VOID) especially considering the material. 

Luckily, not as gross as one might expect, although a little nasty and somewhat graphic when it comes to the violence. 

It never runs out of fuel though of course leave room for a sequel which one wouldn’t mind. 

Grade: C+ 

CRIME WAVE (1985)

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Written, cinematography & Directed By: John Paizs 

Editor: John Paizs, Gerry Klym and John Coutts 

Cast: John Paizs, Eva Kovacs, Darrell Baran, Jeffrey Owen Madden, Tea Andrea Tanner, Mark Hunter, Neal Lawrie, Bob Cloutier 

A young director intent on making “the greatest color crime movie ever” can’t seem to finish his script–he has a beginning and an end, but he can’t quite figure out the middle. The daughter of his landlord, excited to have a real “movie person” living nearby, tries to help by putting him in touch with a man who wants to collaborate on a script–the strange “Dr. Jolly”.

Not to be confused with CRIMEWAVE directed By Sam Raimi and written with The Coen Brothers,  it bit are throwbacks with a kinetic comedic energy throughout that Involve crime stories. 

This movie is fast and loose. It’s silly and feels like a live action cartoon most of the time.

Crimewave feels like flipping through channels in the early days of NICKELODEON (the channel) that strange, electric moment in the 1980s when everything felt handmade, a little off, wildly imaginative, that was strange but you go it and anything was possible. As you were in on it and often the entertainment was Canadian. That comparison oddly fits, because while this is a Canadian production, it’s also brimming with a manic creativity and cartoon energy that is very much not for kids. This is playful cinema with sharp edges.

At its core, the film is a love letter to storytelling itself. It follows a director figure who seems to have at least one true believer in his talent, and through him we experience the flights of fancy that leap from his imagination into reality. The stories he dreams up, the characters he invents, and the worlds he escapes into all blur together, creating a film that feels actively alive—like it’s being written, revised, and reimagined in real time.

There’s an infectious enthusiasm to the way the film moves. We watch this creator live out adventures just as absurd and chaotic as the stories he’s writing, and the movie invites us to get lost alongside him. It’s propelled by voice, motion, and momentum, even when logic takes a backseat. That’s part of the charm and occasionally, part of the problem.

Halfway through, Crimewave reveals itself as a glorious oddity. It doesn’t quite know where it wants to go, and when it finally does arrive somewhere, it feels less like a traditional ending and more like an extended epilogue. The narrative thins out, but it does so in a way that feels intentional. Like the story is less interested in resolution than in wrapping its arms around its own madness.

Adding to the strangeness is the silent protagonist, who never speaks until the very end. Instead, everyone around him fills in the gaps, talking for him, about him, around him. Then turning the film into a chorus of voices orbiting a quiet center. It’s a bold choice, and one that reinforces the idea that this is a world shaped by imagination more than realism.

The film is more mad than you might know as the writer Director cinematographer also plays lead as the filmmaker. I guess that’s one way where you don’t have to worry about missing your lines so this might have been an extent of his imagination, placing himself in other situations or maybe it’s a confessional tale that means something bigger and is all about his writing

The score plays a crucial role in keeping everything suspended in an alternate realm, giving the film its dreamlike quality. Meanwhile, the ensemble cast jumps from character to character in a way that feels chaotic but connected, each performance feeding into the next like a chain reaction of eccentric personalities.

Ultimately, Crimewave is a fun, rare find. A movie that values invention over polish and energy over neatness. Even when it slows down to humanize its characters and ground itself emotionally, it remains entertaining, curious, and oddly endearing. It may not fully behave like a “proper” film, but that refusal is exactly what makes it worth watching.

Grade: B 

REFLECTIONS IN A DEAD DIAMOND (2025)

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Written & Directed By: Helene Cattet & Bruno Forzani

Cinematography: Maunuel Dacosse

Editor: Bernard Beets

Cast: Fabio Testi, Yannick Reiner, Koen De Bouw, Maria De Mediros, Celine Camara, Thi-Mai Nguyen, Kezia Quental, Herve Sogne 

A retired spy suspects his former adversaries have resurfaced when his intriguing neighbor vanishes.

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A new film by the directing team of Helene Cattet & Bruno Forzani is always going to be a strange yet original affair. This might actually be the film. That is the best entry for newcomers to discover the filmmakers work. As strangely this is their closest to mainstream film, that is still odd & avant-garde, but beautifully and miraculously filmed.

When it comes to this directing and writing team, you always know you’re gonna be taken on a rollercoaster. Yet never quite sure which direction it will take, but there will be plenty of unforgettable sights and sounds. though you can never say it will be boring and it will always be quite memorable

 The  film is more about the visuals than anything else, story or plot wise. As this film feels more of a theme that has a weakness for distractions and fetishes

It is espionage themed and very violent, though has more humor than the filmmakers usual films. It plays almost like a parody of spy films specifically from the 1960s, but with a little modern day, technology and charm, but definitely a throwback vintage style. 

The film is visually delicious and beautiful throughout. Though it has feel a bit like artistic exploitation.

As the film has its fair share of strong, beautiful women only to be slaughtered. While all the male characters are seen as heroic, no matter their behavior. 

This film is strange that as it goes along, you start to get into its rhythms. Where you question what is going on half the time but except what you are given.

The film almost feels like music video directing, only better. As you were given more of a visual feast in a thorough story that is like patchwork. As it’s more set in the 1960s espionage style and design, but could be modern. Where the production and costume design are pristine. As this is very different from the previous films made by the directing duo as this is more lighthearted and fun, but ultimately by the end, still a bit sad

Grade: A 

RUNNING TIME (1997)

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Directed By: Josh Becker

Written By: Josh Becker and Peter Choi

Story By: Peter Choi

Cinematography: Kurt Rauf 

Editor: Raymond Berthheaud and Kaye Davis

Cast: Bruce Campbell, Jeremy Roberts, Anita Barone, Stan Davis, Art LaFluer, Dana Craig, Gordon Jennison, Curtis Taylor, Bridget Hoffman 

Carl is released from jail after serving a 5-year term and immediately sets about executing his next heist. The plan is relatively simple but time is critical. However, he doesn’t factor in bad luck or the incompetence of his accomplices.

It is taking me a while to finally watch this film in full, which is surprising considering it’s barely over an hour though over the years I’ve always seem to catch it in the middle or way late into. It’s running time.

So it’s refreshing to finally watch the film from beginning to end as it is an experiment where the film takes place in real time and made to look like it’s one endless continuous take, and shot.

While giving the film kind of a bee movie plot and in black and white that makes it feel time looks like it could take place at any time this film could’ve been a minor Marvel if not for a few things that take away from the film.

The early homophobic language which feels more character based and acceptable in the time period in which this film is made and set don’t know if it’s was any original script or if it was an ab Lib it’s understandable, but also unneeded and comes out of nowhere.

Early in the film, you pretty much know where it’s gonna go as Bruce Campbell playing the lead in the man who’s getting out of prison with no nonsense plan already with his screwup of a best friend who seemed to cut corners here and there if you can tell a success is not in their future.

Not to mention how many times they keep bringing up their past that even after a while it feels like overkill as we get it we get the depths of their friendship and their relationship

Then even with a kind of positive ending, it feels unbelievable you want it for the characters but again it just feels so out of left field where you wondered did they not have enough money for a grand finale or was it always meant to be that simple?

If not for these negatives, this film could’ve been seen as an underrated classic it certainly not worthy, especially for what it pulls off and on such a low budget by director writer Josh Becker, who was part of Sam Raimi’s production team, which is obviously how we got Bruce Campbell involved, most likely.

Josh Becker actually sold a script to a studio for around $67,000. That still has yet to be made but he used that money to make this film as Mr. Becker is quite a director whose films are more cult titles such as THOU SHALT NOT KILL… EXCEPT and LUNATICS: A LOVE STORY. That showcase quite an imagination and creativity. I am in particular a fan of his films, though they are a little harder to find over the years.

Even if at time it feels like watching an off broadway play in a black box theater by a new playwrite. It somehow works and is admirable. 

The film was shot in 10 days, in order. So not in one continuous take. Bruce Campbell has said that his performance in this film and BUBBA HO-TEP are the one’s he is most proud of 

Though I also have to give the film credit for giving Jeremy Roberts, a well-known character actor, a decent part where he gets to play full supporting instead of just a henchman or a villain or just a general bad guy who doesn’t have much lines even though he’s a screwup you kind of like his character in this film.

Anita Barone in a supporting role as a hooker, and maybe love interest who has a past with the main character is certainly vivacious and eye catching, but she does make her mark in her limited screen time to make her an interesting character that you wish had more screen time in a chance to see how she got to where she was, but she certainly engaging.

The cinematography here is top notch. You can tell the film is low budget so it’s not the prettiest, but it is well filmed and again at least while watching it you can see imagination and ideas at work as well as a bit of a throwback to maybe the films that might have inspired.

This is definitely a film. I think most film fans and independent filmmakers should see they don’t necessarily need to see but when they feel like they wanna watch something original and maybe a bit from the recent pass this is a foundation definitely check out. 

It’s a close, but no cigar, at least you’re gonna be smoking

Grade: B-

YOUR VICE IS A LOCKED ROOM AND ONLY I HAVE THE KEY (1972)

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Directed By: Sergio Martino

Written By: Sauro Scavolini, Ernesto Scavolini and Adriano Balzoni

Story By: Sauro Scavolini and Luciano Martino

Based On the story “THE BLACK CAT” By: Edgar Allan Poe 

Cinematography: Giancarlo Ferrando 

Editor: Attilio Vincioni

Cast: Edwige French, Anita Strinberg, Luigi Pistilli, Angela La Vorgna, Ivan Rassimov, Daniela Giordano, Ermelinda De Felice, Enrica Bonaccorti 

A string of murders are committed near the estate of a degenerate author, whose abusive relationship with his wife is further complicated by the arrival of his manipulative niece.

Always a fan of longer movie titles as they come across poetic and almost like the log line or heart of the film. Then again it could just be the translation of the title in English from Italy. When actually it’s based on a line from the film’s director Sergio Martino’s earlier and much better film THE STRANGE VICE OF MRS. VARDH 

This twisted erotic thriller that has giallo implications. Only other than the beautiful lead Anita Strinberg everything else comes across not glamorous and even ugly. Not as stylish as it seems to try to be. Though the film can be sexy at times and has at least one memorable seductive sex scene. The females amongst the cast are the only beauty this film ends up having other then maybe production design. 

One can see why the leading man played by Luigi Pistilli is mad throughout. He’s A suspect in a few murders of female companions and lusting after Edwige French’s character. Who is supposed to be his niece. She is not only ravishing but She seems to have sex with every other character except for him at least for most of the film

No, as the film and lead are so abusive and misogynistic it’s hard to see where exactly the movie is going or care about most of the characters.

Only one main character approaches any sympathy the only other decent characters are supporting or die way too soon

No, the film is abuse and violence as foreplay as the main couple have a dysfunctional, almost S&M relationship not that the fetish factor makes it dysfunctional as that can be normal. Their relationship has just too many problems throughout.

The lead characters, horrible teeth don’t exactly help sell them as likable or even handsome maybe in a rugged British or masculine manly way that was more in vogue at the time, but once the story does come back into focus and spells it out a little more and you feel the same

The film isn’t stylish enough to really impress or make an audience take notice. The soundtrack isn’t really that impressive either as it becomes more annoying at times as it goes along and even at a little over 90 minutes, this film could’ve been shorter, but that would take away from the films atmosphere that keeps trying to build

The inclusion of an African-American character only to be fetishized and brutalized quickly, but that is how the film treats most of the female characters, including random ones only one of them ever truly takes command to make sure she doesn’t stay that way well the other one tries

The ending makes up for it, but it takes so long to get to it to showcase and explain why certain actions needed to be taken and the relationships between certain characters

Ms. French is no slouch, but not as grand. Even as a moral conniver. If one has seen enough of these movies for all the twists and surprises the filmmakers try to give. You can figure out the ending pretty easily. As it reminds you of a TALES FROM THE CRYPT  episode that guy was on for too long and isn’t as fun though perfectly fits.

Though that is also where the film truly gets interesting while offering an Edgar Allan Poe type ending. Which upon research is what the film is based on. 

Grade: C 

IS GOD IS (2026)

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Written & Directed By: Aleshea Harris 

Cinematography: Alexander Dynan 

Editor: Jay Rabinowitz

Cast: Kara Young, Mallori Johnson, Vivica A. Fox, Erika Alexander, Sterling K. Brown, Mykelti Williamson, Janelle Monae, Josiah Cross 

Two sisters embark on an epic quest for revenge; confronting a charged family history that will push them to extraordinary lengths.

This is a revenge tale that we rarely ever see. Where it’s two African American women seeking revenge against all their oppressors all those who have wronged them on their path to their ultimate enemy.

This is truly an African American film as there are no Caucasian or other race characters. So the film stays within the community and culture.

The film exposes monsters even those who are victims can be. As they were made that way eventually.

The film has stylistic flourishes once in awhile that enchant and remind you of what the film could have been. As most of the time before the film gets lost or ahead of itself. It reminds you of the reality the characters are in.  One of them expert fighters or killers. Just determined to do whatever it takes. 

Which is why the actions scenes might not be awesome inspiring like one of it’s obvious influences KILL BILL, but it manages to work by it’s own rules in it’s own worlds 

As mixed in within is a kind of road trip film where in their journey they meet quite a few supporting characters to help them find their father. Each one is so full of life and played by a scene stealing actor. (Erika Alexander, Vivica A. Fox, Mykelti Williamson) That you wish there was more of them in the film. Though you realize they are just big pieces in this puzzle. 

Kara Young steals the film as one of the most strong willed characters of the film. She practically walks away with it as one of the leads. You want to see more of her or for there to be sequels just to see her character. She is the more vicious and angry compared to her sister played by Mallori Johnson who is more scarred, practical and forgiving. 

The film isn’t quite like the trailers made it look like an updated blaxplotiation film full of action with some spiritualism and southern charm. Though appreciate it for being it’s own creation that has more depth then expected. As the film isn’t paced like an action film or thriller and takes it’s time letting us get to know our protagonists. Not to surprised this started out as a play. Whose writer makes their directorial debut here Aleshea Harris 

It’s an original and securely worth seeing and being exposed to this cinematic worlds 

The final act of the film is the most cruel, yet also the most exciting. That feels a little biblical. Even once we meet the ultimate villain played by Sterling K. Brown. He nor the film disappoints.

Though it’s definitely worth seeing

Grade: B 

PRETTY LETHAL (2026)

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Directed By: Vicky Jewson 

Written By: Kate Freund

Cinematography: Bridger Nielson 

Editor: Richard Smither 

Cast: Uma Thurman, Maddie Ziegler, Avantika, Millicent Simmonds, Iris Apatow, Lydia Leonard, Julian Krenn 

It follows a group of ballerinas as they try to escape from a remote inn after their bus breaks down on the way to a dance competition.

The film is predictable from beginning to end. It seems like it might be more for teenage girls. As far as courting an audience. As it offers rebellious and bad ass young women coming together to support an help each other to survive and realizing they have more in common than what separates them. As the film does have a female empowerment message with a very violent resolution. 

The film offers no real tension and plays pretty basic. Except for the fight scenes. Where the film finally comes to life. Luckily the film is quick under 90 minutes and gets to the point pretty quickly. 

Other then The ballet troupe every other character is despicable or unlikable. Am

Nothing here really stands out, even with a crazy bananas third act. That seems random and ridiculous a kind of overkill. Where the film finally comes and tries to go balls to the wall.

As we keep hearing how dangerous a villain is throughout and then when he finally appears. The film never lets him do anything as far as showcasing skills or danger. The guy who hides bodies is more of a menace.

Uma Thurman is one of the only recognizable actors in the film. Unless you follow the yo g actresses who star careers. Though you may recognize them from other movies. So that shows you the talent involved. 

As of late Una Thurman’s roles and the material she appears in has been disappointing. Even if she is giving it her all 

GRADE: D+

FALL (2022)

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Directed By: Scott Mann

Written By: Scott Mann And Jonathan Frank

Cinematography: Mac Gregor 

Editor: Robert Hall

Cast: Grace Caroline Currey, Virginia Gardner, Mason Gooding, Jeffrey Dean Morgan, Jasper Cole, Darrell Dennis 

Fifty-one painful weeks after surviving a life-altering incident, Becky, an emotionally fragile rock climber drowning in a sea of grief, reluctantly picks up where she left off to confront her fears. As a thrill-seeking friend re-enters Becky’s ruined life, the two experienced climbers embark on a high-risk adventure to the top of the abandoned B67 TV tower. Now, two mortals seek to conquer the anxiety-inducing, vertigo-inspiring, 2,000-foot construction of weather-beaten metal and rattling rivets in the middle of the Mojave desert. But out there, even the slightest mistake can spell trouble. When the risky climb doesn’t go as planned, the two women must summon every last ounce of courage and strength to devise a plan for a safe return home–or die trying.

This is a film that seems more designed for theatrical watching in 4D or maybe even IMAX as it feels like almost a theme park ride or attraction more than a film it last 90 minutes and it does have a story but it seems more interested in being immersive almost POV like an adult movie.

As most of the film is watching these two characters stranded and trying to save themselves as well as working through some particular drama. As this one would definitely fail the BECHDEL test. As half of what they speak about is guys relationships, even when stranded though that seems to be the core of their drama and revelations.

The film does have a twist around the end of the second act, which doesn’t feel earned, but is understandable, but also feels a little manipulative to the audience, though fetch in with the unpredictable nature of the film, as it seems to be female versus nature or human versus nature, in wild nature should prevail, humans feel that they must conquer for some reason.

The film tries to presented as catharsis vote. It’s really just ego. The film does manage to keep your interest throughout, though. Don’t know if you would really ever need to watch it again. Was kind of hoping for maybe a moral story or a kind of tales from the crypt type ending or facets of the story becoming that line the film though plays mostly straightforward.

Though it is invented in finding ways to broad the story, so it’s not just the audience stuck with the two characters all the way up at the top of this tower. We do get quite a few scenes and characters away from the tower.

Director and Co-writer Scott Mann makes the film tension filled and is a Good calling card to show what he can do with a high concept idea and enough of a budget. As the film has that little engine that could energy. 

Though it just feels like the film drop more high octane what would you do and facing your greatest fears type of film, which is fine and another reason why the Medium of cinema and motion pictures were made just didn’t necessarily when me over completely. I managed to be entertaining enough.

Grade: C

MIKE & NICK & NICK & ALICE (2026)

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Written & Directed By: BenDavid Grabinski 

Cinematography: Larry Fong 

Editor: Tim Squyres 

Cast: Vince Vaughn, Eliza Gonzalez, James Marsden, Keith David, Jimmy Tatro, Stephen Root, Dolph Lungdren, Arturo Castro, Ben Schwartz, Emily Hampshire

Two friends navigate the dangerous world of organized crime, testing their loyalty and survival skills as they get deeper into the criminal underworld.

I really wanted to enjoy the film. As what it does have going for it there’s a lot of colorful characters that analyze the underworld that you wish they all had their own movie to star in

Instead of this time, travel mildly science fiction film that decides to pepper those ideas in with your typical b-movie crime film.

That has a good percentage of comedy, but then chooses to sprinkle in some harder or more. I wouldn’t say emotional but serious moments even though half the time it reminds one of one of those 90s post Tarantino pulp fiction type films.

It also has a good soundtrack that helps save the film with a lot of music from the 90s in 2000s era so that there are plenty of needle drops that work certain magic of nostalgia on the audience of a certain age who this film is made for, especially with many of the pop culture references. 

As this film has it stride and when it does, it’s actually entertaining and funny, but there seem to be so many distractions and disturbances that it can’t play a straight tune harmoniously. You have to wait for those moments and hope it will play through and see how long it can last that way.

As the film has all the ingredients, great cast, surprising cameos, a dynamite, gorgeous leading lady who still deserves more screen time better roles played by Eliza Gonzalez 

In Vince Vaughn, in a double roll has the smoothness and comfort to play these types of roles, though his character from the future is far more in his wheelhouse than his more uptight version in the modern, though he does manage to make them to distinctly different characters. Though he can do this type of role in his sleep. It’s not very challenging. 

James Marsden is good in his role as kind of the straight man playing up his looks but gives him a chance to prove himself as he definitely manages to keep up with Vince Vaughn. Though nice to see him in this type of film. 

The rest of the cast in their small and supporting roles are really what help make this film, more pleasurable and one really wishes they could give this film more or a higher rating but while it’ll probably be entertaining for most specially Vince Vaughn fans it just never quite worked. It’s magic for me and couldn’t wait for it to reach its conclusion and and I guess you could call it a perfectly fine time waster but it’s not a film. I would rush back to ever see you again.

As throughout watching the film, I just kept wondering what’s this all about? Why why is this happening and it never quite answer that question so that by the end I was just happy it ended.

It’s not terrible, but maybe it’s just too average a project that one would expect from streaming at least it has its moments of good

Grade: C