Alas, I would've been too young to take in the R-rated Horror/Thriller Alice, Sweet Alice when it was originally released in the U.S. back in 1976.  IMDB.com indicates that the feature enjoyed its first theatrical presentation ever when it was unveiled for patrons of the Chicago International Film Festival on November 12th only to be launched across the fifty states in theaters the following day.  It's a film I've often heard about -- even read about a bit here and there in my research into Horror films of the 1970's -- but I've not had the good fortune to screen.  That's a deficiency I should now be able to correct as Arrow Films has slated the picture as part of its home video catalogue and will be available for mass consumption this upcoming February 11th.

​What I do know about the film is a bit slim -- it created some controversy over its depiction of Catholicism (a prominent element of the story), and I believe it may've even been banned in a foreign country or two.  Having not seen the picture myself, I can't speak to even a modest level of accuracy about the whole affair, so I guess I'll best leave it at that.

Here's the film's plot summary as provided by our friends at IMDB.com:

"Alice Spages is a withdrawn 12-year-old girl who lives with her younger sister Karen and their mother Catherine. Karen gets most of their mother's attention, and Alice is often left out. When Karen is found brutally murdered in a church before her First Holy Communion, Alice is thrust into the spotlight of suspicion, but is a 12-year-old girl really capable of such savagery? As more people die at the hands of a merciless killer, Alice's family and the police don't know what to believe."

I'm also aware that the film has a few different cuts, resulting I believe from the studio's attempts to refashion the story in modest ways in order to capitalize on growing interest in seeing it screened to the widest audience possible.  Interestingly enough, Arrow Films' press release highlights that their forthcoming edition will include the three different versions of the story that have evolved as a result of these edits.  That alone piques my interest, and I suspect that Horror fans might be tickled pink to get not one chiller to enjoy but three.

Have at it, folks!
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​On February 11, Arrow Video takes you to church with the cult classic Alice Sweet, Alice, which receives its global premiere on 4K UHD. Director Alfred Sole (Pandemonium) tapped a then-unknown Brooke Shields for her film debut in this bloody tale of religion and a dysfunctional family. The Limited Edition release features a brand new 4K restoration from the original camera negative in Dolby Vision (HDR10 compatible) and hours of special features.

The two Spages sisters are not getting along after their parents split. Karen (Brooke Shields, Pretty Baby) is the sweet younger sister who is always obedient for her recently divorced mother (Linda Miller, One Summer Love), and older sister Alice (Paula Sheppard, Liquid Sky) is not coping well in the aftermath of the divorce. She acts out by tormenting her younger sister, and scares Karen by wearing a yellow raincoat and a creepy translucent mask. The mother takes comfort in the nearby Catholic church and the guidance of Father Tom (Rudoph Willrich, 9 ½ Weeks). Right before Karen’s First Communion ceremony at the Catholic Church, something terrible happens. The suspect appears to be Alice in her raincoat and mask. Could she have done something this drastic to ruin her sister’s special day? 

The special features include presentations of not one but three different versions via seamless branching: Communion (original), Alice, Sweet Alice (theatrical) and Holy Terror (re-release); along with the following extras:
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• A new audio commentary with film historian Richard Harland Smith;
• A vintage audio commentary with co-writer/director Alfred Sole and editor M. Edward Salier;
• Video interviews with Alfred Sole, composer Stephen Lawrence and actor Niles McMaster;
• A tour of the locations from the movie;
• Deleted scenes;
• Image gallery;
• Reversible sleeve;
• Illustrated collector’s booklet;
• TV spot; and
• Theatrical trailer.

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Is there any doubt that amongst serious genre enthusiasts that a mention of the name of actress Fay Wray (1907-2004) immediately conjures up thoughts of her seminal screen performance, that of 1933's monster epic King Kong?
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Hailing originally from the Great White North (aka Canada), Wray came to Hollywood at a very young age, finding minor fame and fortune in the realm of silent pictures.  1923's Speed Bugs is credited as her first screen foray -- basic math suggests she would've been around 16 years of age at this point -- and IMDB.com reports that it only took a few years for her fastly increasing recognition to draw the attention of the Western Association of Motion Picture Advertisers: the organization selected Wray -- along with twelve other talents -- as most likely to succeed in motion pictures.  Her stint with Kong was still a few years away at this point; but something that's often overlooked by those examing her career was that by 1932 she was well on her way to being recognized as a force to be reckoned with in the Realms of the Fantastic.

In fact, a prescient mind might argue that her presence peaked with Kong and went a bit downhill -- albeit slowly -- from there.
​

From IMDB.com:
"A psychotic big game hunter deliberately strands a luxury yacht on a remote island, where he begins to hunt its passengers for sport."

​Back in my high school days, my literature teacher turned the entire class on to the short story -- "The Most Dangerous Game" written by Richard Connell.  It's a great little ditty that -- much like the shorter works of Rod Serling or Alfred Hitchcock -- truly revolves around its pretty solid ending.  Others describe the finale as a 'twist,' but that's not the case.  It's just good writing from an author who knew how to craft a last scene meaningfully, and it works entirely on that level.

Again pulling from memory, I do recall that she had mentioned this theatrical adaptation; and I was finally able to see it years later on DVD.  I believe it was shot almost simultaneously with King Kong (I've read that RKO Pictures made use of the Kong sets, locations, etc. for the required jungle island); and I can confirm that the film certainly benefits from the same milieu.  Also, it's more of an action thriller than it is a Horror though I've seen it billed as such because of the story's premise of hunting humans for sport.

Wray stars as "Eve," a lovely companion who spends her time on-the-run alongside actor Joel McCrea.  It's a great watch, and I might pull it out of my library (if I can find it) and do a review for the site.
​

From IMDB.com:
"When corpses drained of blood begin to show up in a European village, vampirism is suspected to be responsible."

​In case you missed it, Doctor X was the first screen pairing of Wray alongside actor Lionel Atwill; but their presence together is credited for making that flick a bit of a theatrical success.  So the makers of The Vampire Bat (1933) and even Mystery Of The Wax Museum (1933) sought to capitalize on that clout by putting them together for a few more attempts at box office gold.

​From what I've been able to uncover, it looks like The Vampire Bat was, largely, a respectively cheap production as it curtailed costs by reusing sets from 1931's Frankenstein and 1932's The Old Dark House.  Respectfully, it's good that they did that as Google.com reports that the feature failed to really ignite audiences in the way producers sought.  While its occasionally garnered some positive attention as a cult flick, The Vampire Bat remains an oddity amongst Wray's other works.
​

From IMDB.com:
"The disappearance of people and corpses leads a reporter to a wax museum and a sinister sculptor."

Mystery Of The Wax Museum usually draws attention singly for the fact that it was the first Horror to utilize the backdrop of a wax museum populated by human subjects as a foundation.  There's a whole subset to the Horror genre that have explored such places, and yet it all began right here with Atwill and Wray.

Aside from launching its own niche, was it a commercial success?

Well, Google.com reports that Mystery indeed tackled an awful lot of green: it was the fifth-highest grossing motion picture in 1933, and that alone speaks volumes for what it delivers as a Horror property.  It also supports the theory that Atwill and Wray together might have been not only an unlikely duo but also viewers took notice and rewarded them for their good if not grisly works.
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From IMDB.com:
"A film crew goes to a tropical island for a location shoot, where they capture a colossal ape who takes a shine to their blonde starlet, and bring him back to New York City."
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​As you can see, Wray -- as a talent -- was well on the track to delivering genre goodness by the time that she got to King Kong, her best remembered work.  By my count, this makes her fifth appearance in genre entertainment: I suspect her experience with these previous entries helped fuel what she was doing as an actress, and perhaps that's why she's recalled by so many in what remains one of the seminal monster movies ever.

And -- speaking entirely frankly now -- one has to give the lady an incredible amount of credit?  Special effects of her screen era were extraordinarily limited in comparison to anything that gets accomplished today, but with little more around her than the best craftsmen of the 1930's could do she brought so much heart and soul to the screen while essentially interacting with nothing.  (For an example, just gander at the above picture.)  There was no life-sized Kong in the studio or on location with her, requiring for her to carry a good deal of the picture's emotion.  It works despite these challenges, and it does so chiefly because of her abilities. 

That's a testament to some solid acting, if ever there were.
​

From IMDB.com:
"Young girl escapes voodoo sacrifice of parents on tropical island. Years later, compelled to return with family. Locals revere her as voodoo goddess, driving her insane, leading to family's demise."
​
​Of course, it's at some point that actors and actresses naturally want to expand into scripts with somewhat different themes.  Inevitably, talented players want to pair with strong ideas; and I can't help but wonder if that's the direction Wray went.  While these last two appearances in like-minded fare are notable, they certainly appear at face value to veer toward greater seriousness and perhaps a bit less Fantasy.

​IMDB.com credits Black Moon as being the final Horror film of Wray's career but gives no further indication as to whether or not this was the actress' choice.  Their citation even credits the lady as being on the screen's first 'Scream Queens,' and I suppose that's true although I've never quite looked at her performances in the same way I would other Scream Queens.  But IMDB.com also indicates that the actress really had no significant recollections regarding making the picture: depending upon whenever that interview was conducted, I'm also not sure that's any major revelation, either.

Still, I do find it a bit curious that Black Moon was apparently only screened in the United States.  There's an indication that it was refused by censors outside of the 50 states, so perhaps I need to do a bit more digging on its background as it might be an old school gem.
​

From IMDB.com:
"A fake music-hall clairvoyant meets a woman, and suddenly his predictions seem to come true ..."
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To be fair, The Clairvoyant at best looks like it's far more of a conventional Mystery that utilizes the unconventional premise of prognostication as little more than a side element to give it some greater genre relevance.  There's certainly nothing wrong with that, and there's certainly even less wrong when you consider Wray paired up with the great Claude Rains for a bit of cinematic romance.

While I've not read a great deal on the picture (honestly, I haven't found a great deal written about it), I've can say that there's nothing truly horrific about the story.  It truly only loosely winds down Wray's genre credentials for the purposes of this summary, but I think it deserves mention nonetheless.

This certainly wasn't the end to the lady's professional career.  Her intense fliration with genre entertainment may've only lasted a few years, and yet she continued showing up on screens big and small all the way until 1980.  IMDB.com reports that she amassed an incredible 126 roles in her lifetime ... but I'll always remember her most for her time in the Realms of the Fantastic.

-- EZ 
​​

Ah … the quintessential short film …
 
Now – in fairness to all involved – I’ve generally avoided reviewing a great number of short films over the years mostly because of the bad experiences I’ve had with so many.  While a good portion of them have been exceptionally well made, I’ve still encountered more than a bit of difficulty in truly understanding what all of the fuss was about as far too many nebulous endings have left me scratching my head.  The concepts have been acceptable, but I’ve more often than not found myself lost in translation from what was conceived to what was ultimately delivered.  As such, I’ve accepted that they’re just not the kind of stories I – as a consumer – choose to invest my time in; and I’ve left it at that.
 
Still, I’ve kept my eyes open for something ‘a bit more than usual,’ and I’m glad to report that 2023’s To Fire You Come At Last really is deliciously exquisite.  While certainly not for everyone – it’s a bit talky and perhaps a bit more atmospheric than some might have patience for – this dastardly little haunt comes from the mind of writer/director Sean Hogan, offering up a slim cast of Mark Carlisle, Harry Roebuck, Richard Rowden, James Swanton, and Stephen Smith in roles.  Billed chiefly as a Folk Horror, the flick was passed on to me by the good people at Severin Films as part of the late-2024 release All The Haunts Be Ours: A Compendium Of Folk Horror Vol. 2, a massive collection I’ll be making my way through over the next few days and weeks.
 
Frankly, I’m surprised that Severin chose to open this new collection with a short film; and yet I also believe that speaks volumes to their trust in it.  Hogan’s tale is, ultimately, very lean, but I think it capably demonstrates what makes ‘folk’ such a unique spin on traditional Horror.  Like it or not, this subgenre is here to stay, just as are the many spirits that might be haunting that treacherous walking path through the forest late every night …
 
(NOTE: The following review will contain minor spoilers necessary solely for the discussion of plot and/or characters.  If you’re the type of reader who prefers a review entirely spoiler-free, then I’d encourage you to skip down to the last few paragraphs for the final assessment.  If, however, you’re accepting of a few modest hints at ‘things to come,’ then read on …)
 
From the short film’s IMDB.com page citation:
“In 17th-century England, men carry a coffin to a graveyard after dark, facing superstitions and unexpected revelations along the way. Squire Marlow, the deceased's father, offers double wages to motivate them to make the eerie journey.”
 
The general weakness of short films is that they generally have to maintain laser-sharp focus on one idea for the duration of their running time.
 
That said, such attention can be a bit exhausting.  Storytellers (in the modern era) aren’t exactly adept at wringing excessive content while exploring a single direction; as such, the narrative might wind up feeling more like a narrator banging on a drum instead of creating a noteworthy piece of music enjoyed by wider audiences.  Also, it isn’t as if there are a great many actors and actresses in which to hide greater thematic nuance: the casts of these independent shorts tends to be very, very, very small, making it doubly important that anything and everything said, shot, and shown serve some purpose.  Such attention to detail can be off-putting for both the makers and the watchers, and the market for such output remains understandably small.
 
To Fire You Come At Last is a rare exception.
 
Squire Marlow (played by Mark Carlisle) wishes to see his deceased son Aldis (Stephen Smith) laid to rest in the proper cemetery; and he’s conscripted Holt (Harry Roebuck), Pike (Richard Rowden), and Ransley (James Swanton) to join him as pallbearers.  Rather late in the day, the four set out on their short journey, one that grows increasingly longer as the road less traveled on foot turns out to offer spectral haunts that plague them at every turn.  What each of them thought to be local superstition turns out to be a grim reality.
​

Thematically, there isn’t all that much to say about To Fire You Come At Last.  In many ways, one might liken it to an Uber-ride-along – one with ghosts and demons, perhaps – wherein the need for casual chitchat unintentionally exposes the good, bad, and ugly of small-town gossip.  Though not every man has direct ties to the deceased, they’ve all crossed paths in ways that turn out to be central to the story as it unfolds; as a cautionary tale, To Fire beckons us to be mindful of what we do with the days we are given because even the smallest decision might produce consequences with tendrils that stretch deep into the lives of our friends, neighbors, and countrymen.
 
Artistically, To Fire might be one of the better short films I’ve ever seen.  Captured in stark black-and-white, it at times feels like a throwback to the days when features were built on the bones of good writing, both in circumstance and character.  Not long after the late afternoon opening, the audience accompanies the four men and their coffin – their burden, as it were – into the twilight; and before long all of us are plunged into complete and utter darkness of the 17th century.  Quite literally, nothing can be seen beyond the light of a lantern; and this ambiance not only twists the focus visually back on these respective players but also has them and us questioning what might be waiting for them beyond the decreasing field of light.
 
To accomplish this, Hogan filmed this in relative close-ups, cleverly amplifying the sense of claustrophobia as the night wears on, eventually evoking a layer of madness to the procedure that infects his cast of characters one by one.  Despite the loss of sight, it becomes increasingly clear that secrets are being disclosed – at first by casual chatter but then by a written deathbed confession – and there’s little doubt that these four men were perhaps doomed from the very first step they took in unison.  It’s a grim affair, but Hogan tells it rather vividly for those of us who appreciate the written word when grafted onto true character actors.
 
“What about this makes it Folk Horror?” you might ask.
 
From what I’ve learned (in a modest bit of research), back in the day it wasn’t uncommon for cemeteries to be set on the outskirts of towns and villages.  In lieu of hosting services in a church or at the gravesites, families would often use their own home, offering the opportunity for friends and other members of the community to show their respects in the dwelling where they knew the deceased best.  Afterwards, the coffin would necessarily be carted out by pallbearers to the final resting place; and – as you can imagine – it wasn’t long before tales suggesting the spirits of the departed walking in communion with the living sprang up involving these storied paths.  This is the backdrop for a good deal of To Fire’s primary action; and, thus, that’s about a Folk Horror as one could get.
 
To Fire You Come At Last (2023) was produced by Severin Films.  DVD distribution (for this particular release) has also been coordinated by Severin.  As for the technical specifications?  While I’m no trained video expert, I can assure you that the sights and sounds to the production are fabulous: I’ve rarely seen so much effective nighttime cinematography, and this one looks great at all points.  Lastly, if you’re looking for special features?  The disc boasts an audio commentary (it’s very good, but it’s occasionally hard to hear a third person who was seated a bit back from the microphone), a short film, and a few other niceties that do make for an entertaining evening.  Well done here, folks.
 
Highly Recommended.
 
Shorts films have their own challenges, and a limited focus of ideas sometimes hamstrings even a good effort, with talented mythmakers never knowing how to best tread lightly when what works best are the reliable standbys of characters coming to life organically.  To Fire You Come At Last works, chiefly, because Hogan and company know where they began and never lose sight on where they’re heading even in darkness.  What remains is a great little ditty that reminds us life sometimes comes with a price attached: if you’re not careful, then you’ll be asked to settle your tab … even at the cost of your mortal soul.
 
In the interests of fairness, I’m pleased to disclose that the fine folks at Severin Films provided me with a complimentary copy of To Fire You Come At Last (2023) – as part of their All The Haunts Be Ours: A Compendium Of Folk Horror Vol. 2 – by request for the expressed purpose of completing this review.  Their contribution to me in no way, shape, or form influenced my opinion of it.

-- EZ
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Alas, dear readers, I know very little about the origins or the ongoing saga of Ultraman.

For clarity's sake, I do believe I purchased a copy of what might very well have been the original TV series of Ultraman for my collection.  In fairness, I suspect it was one of those really great priced Amazon.com deals that even I couldn't pass up; and I succumbed.  It was a show which I also think I caught a few episodes of in my youth, and perhaps I just wanted to see if I was correct.  Whatever the case was, I haven't quite gone back to it ... but that may have to change as Mill Creek Entertainment is arguably making it hard to pass up on a multi-box saga collection under the name of Ultraman Ultra Galaxy Fight that is hitting retailers just this week.  The company alerted me to their January 7th release date -- yes, it's up for ordering on the aforementioned Amazon.com right here -- and it is indeed a very, very, very nice price for several hours worth of genre-heavy nerdy goodness.

Again, folks, I'm only passing along the information here.  This post is no review, so consider this one of those 'Buyer Beware' situations ... but can you really go wrong at that price?

As always, thanks for reading ... thanks for sharing ... thanks for being a fan ... and live long and prosper!

-- EZ 
​

Ultra Galaxy Fight Series 1-3 + Ultraman Regulos/First Mission [Blu-Ray]

Ultra Galaxy Fight: New Generation Heroes

A demon of darkness who goes by the name, Ultra Dark-Killer has the power to create evil copies of Ultra warriors. Ultraman Zero and Ultrawoman Grigio fell into the hand of this archenemy! To deal with the crisis, Ultraman Taro calls in the “New Generation Heroes”, Ultraman Ginga, Ultraman Victory, Ultraman X, Ultraman Orb, Ultraman Geed, Ultraman Rosso, Ultraman Blu and also Ultraman Ribut from the Galaxy Rescue Force as a cover. Battle between the “New Generation Heroes” and the “League of Darkness” shall begin!

Starring: Takuya Negishi, Kiyotaka Uji, Kensuke Takahashi, Hideo Ishiguro, Tatsuomi Hamada, Yuya Hirata, Ryosuke Koike, Arisa Sonohara, Mamoru Miyano, Wataru Komada, Hiroya Ishimaru, Tomokazu Sugita, Tatsuhisa Suzuki, Koichi Toshima, Yuma Uchida

Ultra Galaxy Fight: The Absolute Conspiracy

Mysterious aliens and evil monsters that shouldn’t exist are attacking! Zero, Ribut, Taiga, Z, 80, Max, Mebius, Great, Powered, Grigio, and many more Ultra Heroes fight together to solve this mysterious case, which could end up affecting the whole universe. However, this is only the beginning! A conspiracy is underway – and stories are intersecting. What is the aim of the golden giant working in the shadows?! A new history of Ultra begins!

Starring: Mamoru Miyano, Wataru Komada, Yuki Ono, Yuma Uchida, Takuma Terashima, Satoshi Hino, Shota Hayama, Tasuku Hatanaka, Kazuya Nakai, Hiroya Ishimaru, Showtaro Morikubo, Jun Fukuyama, Shunsuke Takeuchi, Keiichi Nanba, Hajime Iijima, Suzuko Mimori, Haruka Tomatsu, Nobuaki Kanemitsu, Tomokazu Seki, Toshiyuki Morikawa, Ryuya Yazuka

Ultra Galaxy Fight: The Destined Crossroad

The heroes of the Ultra League, together with the Inter Galactic Defense Force and the Galaxy Rescue Force, embark on separate missions to save Yullian. Meanwhile, the expansion of The Kingdom intensifies as Absolute Diavolo and Absolute Titan join the army led by Absolute Tartarus. With the universe in danger, the New Generation Heroes gather once again! And just who is the mysterious warrior, Ultraman Regulos?! The decisive battle draws near!

Starring: Mamoru Miyano, Wataru Komada, Shugo Nakamura, Shunsuke Takeuchi, Takahiro Sakurai, Hiroki Touchi, Shin-ichiro Miki, Tomokazu Seki, Showtaro Morikubo, Yoshimasa Hosoya, Takahiro Mizushima, Jun Fukuyama, Keiichi Nanba, Toru Furuya, Masaki Terasoma, Asami Seto, Taiyo Sugiura, Megumi Han, Nobuaki Kanemitsu, Kenta Matsumoto, Ryota Iwasaki

Ultraman Regulos

On the mysterious planet D60, the birthplace of the legendary space martial art, Cosmo Beast Style, which harnesses the power of contracted guardians of this planet, the Cosmo Beasts. Under the guidance of the grandmaster, Master Alude, Cosmo Beast Style fighters trained rigorously. One day, a young man named Ultraman Regulos washed up on the shore of D60, having lost all memories except for his name. Recognizing his talent, Master Alude took Regulos under his wing and began to teach him the legendary Cosmo Beast Style, said to be the strongest martial art in the universe… This is the story of his fierce battles.

Starring: Shugo Nakamura, Miku Ito, Kenjiro Tsuda, Toshiyuki Morikawa, Toshiki Masuda, Tomoaki Maeno, Akira Ishida, Akio Otsuka

Ultraman Regulos: First Mission

After the fierce battle against the Absolutians, the Galaxy Rescue Force detects irregular signals emanating from Planet Maijii. With Ultraman Ribut missing, Sora heads to investigate the signals alone, but she’s put in danger… On hearing the news, Ultraman Regulos departs on a rescue mission, determined to live up to the true meaning of the Cosmo Beast Emblems engraved on his arms!

Starring: Shugo Nakamura, Toru Furuya, Wataru Komada, Masaki Terasoma, Megumi Han, Asami Seto, Tomohiro Yamaguchi, Kei Shindo, Tomokazu Seki, Toshiyuki Morikawa, Shunsuke Takeuchi, Takahiro Sakurai, Shin-ichiro Miki, Hajime Iijima, Suzuko Mimori, Masaya Kamikura, Harii Kaneko

Here’s the thing, folks: it’s been ages since I’ve read a Star Trek novel worth giving a thumbs up.
 
Please don’t misunderstand my position on All Things Star Trek: like many across fandom who grew up watching the original Star Trek and Star Trek: The Next Generation amongst the other iterations, I long ago accepted the reality that Trek – as a commodity – had become a dying brand.  While this doesn’t mean that its central ideas and cultural prospects were losing steam, it was pretty clear that all of Trek – from the comics to the novels to the JJ Abrams’ films to the Alex Kurtzman TV shows – had been hijacked by creators who didn’t quite have the franchise’s best interests at heart.  Gone were the days when heroes boldly went where no one had gone before; and – in its place – we were given a cast of emo-driven wannabes who wouldn’t sit back and allow for their pronouns to be misused.  While I shed a tear privately in coming to terms that I’d have to rely on reliving past films in order to be properly satiated, the character of Michael Burnham wouldn’t stop shedding tears at every opportunity despite being the – ahem – strongest and most competent character ever to command a starship.
 
Ugh.  Good grief.
 
Again, for those who don’t understand my position: I don’t say any of this with any animus.  I’ve always (ALWAYS) said that there comes a time in every franchise when there’s a passing of the torch to a new cadre of fans.  That sadly is part of the human experience – as we grow up our minds also grow outward in search of other fascinations – so our needs and desires as do our tastes; and what amounts for Trek today is a far cry from what it was a decade ago, two decades ago, three decades ago, and etc.  What Kurtzman and crew think entertainment’s responsibilities are just don’t jive with mine; so I’ve turned elsewhere, and that’s ok.  While it may not exactly “be dead, Jim,” nuTrek is arguably dead to me; and I’ve made my peace with that.
 
However, I bring all of this up today because an internet fellow recently encouraged me to pick up a Trek novel and give it a spin, wishing to know my thoughts on it.
 
From what I’ve learned, Greg Cox’s “Lost To Eternity” was first published in July, 2024; and it’s certainly racked up a great deal of favor amongst readers on Amazon.com.  At present, the novel has an impressive 4.5 (out of 5.0) stars with just over 250 different reviews.  Having read a few of Cox’s earlier works, I can say that while I wasn’t exactly a fan of his prose he did have an excellent grasp on Trek’s major characters, meaning that I thought he wrote them very well despite what I’d describe as a general looseness to his concepts and narrative structure.  But at the recommendation, I picked up a copy from the local Barnes & Noble (I had a gift card), and I wanted to offer up a few thoughts.
 
It's a bit difficult to summarize the premise of the novel in only a few words, mostly because the plot expands across three different timeframes which are conceptually linked by a central villain.  To say too much more on that front would spoil some of the action, so I’m doing my best to tread lightly here, folks.  Essentially, Cox has bookended his adventure in the era of the movies chronologically before the events of Star Trek VI: The Undiscovered Country wherein Kirk remains in command of the Starship Enterprise with Spock, Uhura, Chekov, Scotty, McCoy, and Lieutenant Saavik rounding out his command crew.  When a mysterious alien species known as the Osori seek to establish relations with the galaxy at large, the Federation – along with representatives of the Romulan and Klingon Empires – agree to a sit-down at Nimbus III (from Star Trek V: The Final Frontier) with hope of establishing diplomatic relations.
 
As typically happens with novels of this nature, something goes horribly wrong en route to the planned peace meeting; and it’s this catalyst that narratively propels Cox’s story into the past not once but twice … in surprising and actually very fulfilling ways.
 
Firstly, readers learn of a terrorist act along with what looks like a kidnapping happened during the time period of the Star Trek television series (roughly, I believe, in what would’ve been its third season).  Starfleet orders Captain Kirk and company to both investigate and recover the kidnapped geneticist, Dr. Taya Hamparian (an Andorian/Human hybrid), from the clutches of a madman.  With the crew of the Enterprise on the case, the audience can rest assured that the good doctor will be found … but whether or not she will turnout to be who she claims she is suddenly comes under suspicion.
 
Secondly, Cox sets another parallel storyline in 2024: hot on the heels of her first successful audio series, podcaster Melinda Silver begins looking into the mysterious mid-1980’s disappearance of Dr. Gillian Taylor (first brought to life so vividly in Star Trek IV: The Voyage Home) who seemingly vanished without a trace after her humpback whales were released from the safe confines of the Cecatean Institute in San Francisco, California.  Step by step, Silver contacts anyone who may’ve had any contact with the missing woman; and slowly her investigation evolves to touch upon a few of the related incidents from Golden Gate Park (where Taylor’s truck was found abandoned) and Mercy General Hospital (where she was seen with a few unidentified men).
 
It's always been my policy to avoid spoiling any major reveals, so I really don’t want to go into any greater detail about the events except to say that, yes, there are a few solid hooks that Cox uses to structure the bulk of the action.  While (frankly) the Trek movie era bits remain almost exclusively the prospect of the novel’s set-up and conclusion, an argument could be made that – with some clever editing and rewriting – they could be eliminated entirely, though I’m not suggesting that would make for a better overall story.  The point is that, yes, there’s a bit of excess in only that framework, chiefly because even after reading the tale I’m not entirely convinced the Osori’s initial motivation about disclosing themselves to the Federation and others really had much predicate.  They’re here – and they are tied into the villain’s premise – but their motivation to come clean with the universe should’ve been more greatly justified.
 
Otherwise, I’d suggest that this is, by far, one of the better works by Cox I’ve had the good fortune to read.  The stuff set in 2024 – while being a bit over-the-top and still a bit simplistic in a few spots – is handled very well; and Silver doesn’t emerge so much as a compelling individual voice as she does a character who inadvertently finds herself swept up in the intrigue.  She does occasionally get written as a bit of a girl-boss – sorry, not a fan of such trappings – but it never grows to the point of becoming irritating, nor does anything she does ever hijack the narrative on behalf of some contemporary politicking (that ruins far too many acceptable yarns).  While Cox’s dialogue for the various Trek characters is convincing, he still throws in the ill-timed barb that might have long-time fans asking, “Would Kirk really say that?”  (Or McCoy.  Or Spock.)  Thankfully, a good deal of those asides are forgettable; and the momentum keeps moving forward each era’s respective mysteries in entertaining fashion.
 
I’d certainly stop short of christening Lost To Eternity as a great Star Trek novel. 
 
It’s very, very, very good – maybe even great in a few spots – and that’s good enough.
 
What’s most admirable about Cox’s work here is that each timeframe he clearly punctuates with ideas and images and dialogue that feels authentic.  Some of the franchise’s authors stray a bit into what I’ll dub ‘highbrow material’ hoping to bestow perhaps stronger literary credibility on the books; and – sorry, folks – that just doesn’t interest me.  If you want to compete with mainstream Science Fiction authors in that arena of ideas, then more power to you: go and do it.  Stop trying to take Star Trek and turn it into, say, hard Science Fiction because that just doesn’t work so well.  Unlike so many others, Cox knows his audiences, and he writes both to and for them: that alone deserves an affectionate nod.
 
Much in the way that some of us old time Trekkers are willing to accept some moments of pure cringe in order to enjoy Star Trek V: The Final Frontier, even the weak passages of Eternity work well enough to be embraced.  It’s definitely one of the better ones I’ve read in quite some time, and that bodes well enough to have me looking into other reasonably recent releases in order to keep the classic Trek heart beating for fans who prefer the original.

Recommended.

-- EZ
​

Good morning, gentle readers, and welcome to January 6, 2025!

Why ... it's a great day -- and an even greater year -- to be alive, don't you think?

​Folks, one of the promises I've made ever since beginning to explore the realms of the Fantastic is to share with all of you whenever I find a bit of fan-made and/or fan-based content that rises to the level of being passed along and shared as widely as possible.  Now, this isn't an easy task, to be perfectly honest.  What with the continued explosion of new content across a variety of platforms -- why, it seems there's a new outlet for fan interaction almost every season -- I've lost track of the ability to keep my thumb on the pulse of All Things SciFi, making the limitations of any one-man-shop a reality more and more every day.  Still, I persevere -- not so much for me as I do for all of you -- and I keep fighting that good fight, heading forever uphill hoping that I can still do some good even at my advanced age.

That said, can I give a proper SciFi ShoutOut to the massively talented Danielle 'Dani' Soncasie?

​Instagram link
Twitter link
YouTube.com link

The truth is that I'd been following this author, thinker, speaker, and all-around-great-lady for a while on the Twitterverse, not knowing what an incredible author, thinker, speaker, and Super Nerd she was.  Sure, sure, sure ... we'd swapped a Tweet or two, but then she gave me a heads up to her video essay -- The Secret Mission Of Science Fiction -- and with a title like that how could yours truly not check it out?  So I did just evening, and it's a great listen that explores where Science Fiction came from, how it evolved, and what goal it might be secretly doing service to on behalf of all mankind.  While I'll leave it up to each of you to listen at your leisure and make up your own mind about it -- such is my perspective -- I'm giving it a strong SciFi ShoutOut this morning, encouraging readers and thinkers alike to check it out.

As I've always said, fandom of this type doesn't come along every day; and it deserves to be celebrated when we see it.  While any Tom, Dick, Harry, C-3PO, RD, and Gort can watch and review a movie, it takes a serious mind to put all of the pieces together in such a way that we recognize how all of these various influences converge in The Matrix that we've all living and sharing; and her kind of observations are exactly the stuff that makes entertainment worthy of a wider critical examination.  We may not always agree -- such is life -- but various voices deserve to be heard; and here's hoping fandom takes notice.

As always, thanks for reading ... thanks for sharing ... thanks for being a fan ... and live long and prosper!

-- EZ
​

My closest friends and family will tell you that I’m really not a big fan of the whole holiday film genre.
 
Oh, now before I land on the Naughty List, let me clarify.  Of course, there are a number of holiday films that I enjoy regularly each silly season; and I do stay faithful to that handful.  My point is that – in a general sense – I tend to avoid such pictures because I find them far too formulaic for my personal tastes.  I don’t begrudge their success, nor do I think they shouldn’t have been made.  Those that I do enjoy I have specific reasons to return to them seasonally – a specific performance, a certain actor or actress, or that inevitable heartwarming ending strikes a chord with me stronger than others – and, much like you, I know what I like.  Still, I’m rarely on the lookout for a new title to add to that slim roster.  Far too many of them cover the same territory, and that just isn’t for me.
 
Now, this is not to say that I avoid all of them.  When I see a coming attraction that looks inviting and hints that perhaps there will be a bit something more than what these features provide traditionally, I can be coaxed easily into giving something fresh a spin.  This was the case when Synapse Films offered me the opportunity screen at my leisure the animated Infinite Santa 8000, a reasonably dark and oft times bloody diversion that sprang from the minds of Michael Neel and Greg Ansin.  As I understand it, this was a personal project of theirs that evolved from a web series originally; and, yes, I’m gonna admit right up front that it occasionally looks and feels like it was birthed in some other format.  But I don’t say that disparagingly at all as this Santa might just have the goods necessary to establish itself as a holiday classic for those who truly like something vastly different in their wintry entertainment diet.
 
It's bold.  It’s bloody.  It’s brash.  While it may clumsily get from start-to-finish, there’s still no denying its desire to shoot to kill – when shooting’s an option – and establish perhaps the highest body count of any feature ever to explore what good ol’ jolly Saint Nick might be up to after the fall of man.
 
(NOTE: The following review will contain minor spoilers necessary for the discussion of plot and/or characters.  If you’re the type of reader who prefers a review entirely spoiler-free, then I’d encourage you to skip down to the last few paragraphs for the final assessment.  If, however, you’re accepting of a few modest hints at ‘things to come,’ then read on …)
 
From the film’s IMDB.com page citation:
“In a post-apocalyptic world 1000 years after war, famine and greed ended humanity, mutants, scum and robo-people fight to survive. Santa is now a killer.”
 
It’s the future, see, and civilization has collapsed.  Rising up in its wake are what’s left of the human race, which takes the shape of robotized humans – few and far between – augmented with technology for the sole purpose really of keeping them alive.  Furthermore, the resulting wasteland is populated with creatures, each a bit more grotesque than the last, such as oversized carnivorous rabbits and those dreaded lizardfolk who’ll make a meal out of anything they can get their hands on.  Yes, it isn’t so much ‘the best of times’ as it is ‘the worst of times,’ a place where good versus evil really has no foothold as every single thing left exists merely to survive.
​

This is the setting for Infinite Santa 8000, an animated menagerie wherein only a cyborg Santa holds out hope for even a modest return to society.  After all, it’s been only Santa all along who truly served mankind regardless of color or creed; and – if memory serves – his only requirement was that his bestowed beneficence was reserved for those who were ‘nice’ as opposed to ‘nefarious.’  Into this Apocalypse, he’s largely adapted for what remains, no longer answering the call to serve as an example of our first, best instincts.  Instead, he’s embraced the chaos and uses his magical and mechanical skills to make what remains of our world into a smaller more self-obsessed paradise: in lieu of gifts, presents, and goodwill, he dispatches justice to those who’d wrong him or those he chooses to surround himself with.
 
So … no, there really isn’t any cohesive story to Infinite Santa 8000.  Yes, things happen, but they’re really events strung together loosely around the idea of this Saint Nick saving the remains of the day in the ‘nick’ of time.  In his rocket-powered sleigh still hauled by mechanically enhanced reindeer, he soars across the sky and into the distant horizon, chasing whatever evil doer he can gets his calloused hands on and sending them straight to Hell … well, that other Hell and not what’s left of Earth.  The best creators Neel and Ansin can provide is loose narrative structure with just enough coherence and explanation to make it all palatable.  Bloody, too.  Really bloody.  But palatable.
 
Now, none of that should be interpreted as an insult because this Santa rocks both with and without its pounding heavy metal soundtrack.  Much in the same way Cartoon Network’s spectacular Samurai Jack made headway by transporting a Feudal Era swordsman with honor from the past into the distant, distant future, 8000 is packed to the rafters with a winning assortment of oddball ideas and downright surreal circumstances, be it the Godzilla-sized man-eating Easter Bunny, its army of cybernetic little girls in search of a positive role model, or its villainous Dr. Shackleton, a mad doctor committed to stealing Kris Kringle’s magical DNA and thus achieving both cosmic immortality and invulnerability.  Somehow … against all odds … when not everything crammed into its opening and closing scenes shouldn’t work, this one still does … and it’s nothing short of a Christmas miracle for those who embrace cult lunacy.
 
But if you take one thing away from this review, then it should be this: this Santa really isn’t for kids.  Older ones – tweens and such – will quite possibly marvel at the madness.  The bloodshed and carnage is clearly a bit tongue-in-cheek in places, so much so that the more mature (yet impishly childish) minds will have absolutely no problem accepting it for what it is.  The youngest among us shouldn’t partake of this no matter what you might think in passing: while it might be over-the-top violence, it’s still the beloved Santa Claus – with a cybernetic eye and blazing sidearms – and there’s no need to spoil the mystery with something intended as hyperbolic satire.
 
Infinite Santa 8000 (2013) was produced by Burnt Reindeer Films.  DVD distribution (for this particular release) has been coordinated by the fine folks at Synapse Films.  As for the technical specifications?  While I’m no trained video expert, I found the provided sights-and-sounds to be exceptional across the film’s 102-minute running time: this transfer, seriously, looks damn fabulous, and I’m not the kind of person who normally notices such detail.  Lastly, if you’re looking for special features?  The disc boasts not only the completed film but also the original 13-part web series (both available with commentary tracks) along with interviews with the cast and crew, some promotional trailers, and two affiliated music videos.  It’s a solid collection for fans of – ahem – something different.  Well done.
 
Recommended.
 
Mind you, a winning endorsement of such a film like Infinite Santa 8000 isn’t in any way to suggest that its bloody goodness will be for everyone searching for a holiday nugget to put on to keep the kiddies occupied whilst you’re off wrapping presents.  Ahem.  Despite the fact that not everything in here gets fully explained, there’s just enough background and subtext – it’s well after the Apocalypse, after all – to make it palatable for adult viewers who are still young-at-heart … but this is most definitely not one for the kiddies.  Seriously.  Don’t do it.  Really.  Truly.  Don’t.  Unless you want them to grow up as borderline psychotics or something.  Don’t.  Just … don’t.
 
In the interests of fairness, I’m pleased to disclose that the fine folks at Synapse Films provided me with a complimentary Blu-ray of Infinite Santa 8000 (2013) by request for the expressed purpose of completing this review.  Their contribution to me in no way, shape, or form influenced my opinion of it.

-- EZ
​

Okay, hear me out ...

Now, I'm of the mindset that almost everything that appears in any major motion picture has a purpose.  Every scene -- whether we know the subtext or not -- has its own reason to exist.  Nothing ever gets chucked into one of these major productions without it having some core fundamental necessity.  Everything ends up serving some goal, after all, and you don't waste any space when what matters most is great storytelling.

I think the original Star Wars -- yes, the one now known more widely as Star Wars: Episode IV - A New Hope -- was such a flick.  George Lucas and his willing co-conspirators knew everything that was going to be chucked in here needed to have meaning; and I think it goes without saying that Star Wars has most definitely gone on to have a life entirely of its own.  This, of course, isn't meant to suggest in any way possible that Lucas and company intended a scene or two to have the wider subtext it went on to possess: each of us gets to define 'art' for what it is to us, and that's mostly what I'm trying to get at in this post as respectfully as possible.

It's for this reason that I always thought that -- ahem -- there may've been more to the relationship between Princess Leia and Gold Leader Jon 'Dutch' Vander in that first film.

As I said above: hear me out, folks ...

In the picture above, it clearly looked to me -- back in the day -- and even today when I reconsider it that this young, brash leader of the Rebellion was throwing Dutch a glance over her shoulder.  You know?  One of those suggestive looks that says a bit more than a quick look about the room?  And even he -- as played by actor Angus MacIness -- seems to be aware of her peering in his general direction, lowering his eyes as if to meet hers and say, "Yes, I'm here."

Now, I realize that to many of you that might come off as sounding as if I'm implying that there was some kind of romantic entanglement between the two of them.  While I won't deny that thought crossed my mind as well, I'm far more inclined to think that it was quite possibly more of a friendship ... something a bit beyond just a regular acquaintance and perhaps they served on a mission of mercy together, grown a bit close as friends to one another in the heat of a battle or something ... and here, now that the Death Star was closing in for a potential kill shot she was thinking -- albeit briefly -- of the man's safety since he was heading out with other pilots to hold the Empire at bay for as long as was humanly possible.

Look at that picture ... go back and watch it unspool on film ... and tell me it doesn't look like it may've been something?

I know, I know, I know.  That's crazy.  But that's just how I'm wired as a film-watcher.

In any event, this comes up today because I read of MacInnes' passing; and I wanted to get up this brief memorial.  It's always sad to lose folks during the silly season, and here's hoping he was surrounded by family during his final hours.

Our warmest prayers are extended to the family, friends, and fans of Angus MacInnes.

May he rest in peace.

-- EZ
​

(NOTE: The following review will contain minor spoilers necessary solely for the discussion of plot and/or characters.  If you’re the type of reader who prefers a review entirely spoiler-free, then I’d encourage you to skip down to the last few paragraphs for the final assessment.  If, however, you’re accepting of a few modest hints at ‘things to come,’ then read on …)
 
From the film’s IMDB.com page citation:
“A depressed has-been child actor and owner of a dingy laundromat, becomes powerfully vengeful when his collection of lone socks transforms into a protective, cute, murderous monster named Crust.”
 
I’ve read a great deal of online commentary suggesting that Crust – a wild little chiller written by (in part), starring, and directed by the ubiquitous Sean Whalen – is a monster movie; and – to a very small degree – I’d concur.  Certainly, it has a creature – Crust is what happens when you mix a laundromat’s mountain of unpaired, lost socks with the (somehow magical) tears of a former child actor now living in basic obscurity in the back of a big city laundromat.  And, yes, that seminal monster behaves in ways characteristically attributed to things that go bump in the night.  Still, Crust – the thing and the movie – stop well shy of adopting the core tenet of the traditional monster movie, that being audiences grant the critter a great sense of sympathy for its ostracization from society at large and eventually care more about it than (typically) they do the film’s protagonist.
 
(Well, that’s my two cents, anyway, and I’m sticking with it.)
 
Vegas (played by character actor Sean Whalen) has indeed fallen on hard times.  In the 1990’s, he had the world as his oyster: as one of the many children headlining the popular family sitcom – Baker’s Dozen – he found fame, fortune, and celebrity.  As so often happens when these youngsters transition into adulthood, they lose that childlike appeal and resort to – ahem – social questionable behaviors.  As Fate would have it, he’s one of the only cast left employable; so when a Hollywood trend of exploring and exploiting reboots shines a bit of spotlight his way again, Vegas outwardly struggles with the question of whether or not he would want to be the next riches-to-rags-to-riches celebrity.  But when a lowly TikToker broadcasts Vegas masturbating in the backroom of his laundromat/home to the world, Vegas realizes notoriety still clings to him whether he likes it or not, causing Fate to intervene and spawn him a creation – Crust – that might once again grant him access to levelling the playing field against his perceived enemies.
 
Conceptually, Crust has a solid foundation.  Oh, yes, it’s more than a bit fanciful – what with the fallen man’s tears and sperm somehow breathing life into a pile of discarded laundry – but you accept a bit of sugar any time you approach the realms of the Fantastic.  As a monster movie, it sticks mostly to such lighthearted territory, never truly succumbing to the endless parade of blood, guts, and brains that typifies what the worst creators think audiences seek to revel in.  As other critics have pointed out, Crust requires a beating heart for both its whimsy and treachery to work in concert the way they do; and a great degree of that is owed to Whalen who obviously oversaw every layer of the production from conception to execution.  This is the kind of feature that, hopefully, will open doors for him to pursue even bigger dreams; and yet I’ll hope he stays true to stories that resonate like this one does as opposed to visions that ‘trepidate’ like more salacious outings.
 
However, what I appreciated even more about the film is the fact that Whalen framed it entirely as a loose social satire somewhat similar to the tone of 1987’s RoboCop from director Paul Verhoeven.
 
Across a good portion of Crust’s running time, screenwriter Whalen punctuated his various plot points by utilizing a pair of talking heads from the world of an ‘Entertainment Tonight’ style news program.  These two ‘plastic people’ are played very tongue-in-cheek, delivering their respective headlines with the level of aplomb and vacuousness that goes hand-in-hand with granting Hollywood lifestyles with the legitimacy many feel it deserves – think of the Kardashians hosting an evening hard-hitting diatribe on CNN or MSNBC, and you get the idea – and this gives the greater story a level of social commentary not often found in Horror.  Having an added layer of cultural analysis makes Crust as much about us – as a society – as it is about how and why these celebrities might ultimately do what they do; and it’s this kind of dynamic that truly separates the wheat from the chaff, making Whalen ‘one to watch’ in perhaps the same way his signature browbeaten Vegas emerges despite his stated preference to leave celebrity all behind.
​

The truth as audiences discover in the last reel when the otherwise black-and-white cinematography morphs into bold color is that neither Vegas nor Whalen were ever as simple as either/or.  As living, breathing, thinking beings, we’re vastly more complex than simply being defined as this or that.  Even though one might walk away from Crust believing that remains the central message from the script I’d argue that this is the goal of truly worthwhile satire: hide a thoughtful lesson beneath the ridiculousness, and you’ve crafted a story worth being told.  If it’s just the outrageousness you show up for?  Well, then you have that, too.  Simpleton.
 
Thankfully, Whalen surrounds himself with an incredible pool of actors and actresses who – like him – have spent a good amount of time toiling away and stealing scenes while perhaps never being christened with the marquee fame their work deserves.  The reliable Daniel Roebuck plays Vegas’ beer-swigging laundromat wingman Russ in such a way that viewers might want to take up day drinking just to hang out with him at the occasional AA meeting.  As the only other surviving member of the Baker’s Dozen cast, Alan Ruck weasels his way – just as only he could – back into his co-star Vegas’s life with hopes of exploiting their relationship into a solo gig at rebound fame.  Hell, I gave up hope that the bigger powers that be would finally grant actress Felissa Rose the star status she deserves: she’s only in a handful of scenes here, but she damn well steals every one of them as Vegas’ bitter ex-girlfriend who seemingly wants nothing more than to continue being Vegas’ bitter ex-girlfriend.
 
And … oh my God … can we take a minute to talk about Rebekah Kennedy?
 
How this young actress hasn’t found break-out fame remains a mystery to me.  I believe I first discovered her aboard 2021’s Two Witches – a bizarre little Horror indie that felt a bit incomplete when I streamed it as part of its promotional push – and I’ve watched her pop up here and there.  Though Two Witches felt inadequate to me, I distinctly recall praising the lady’s work, feeling that she gave about as inspired take on subversive villainy as I’ve seen anywhere.  While outwardly she has this somewhat mousy girl-next-door appeal, she knows how to dial her craft up to eleven – even in small moments – and I think she’s made everything I’ve seen her in vastly more inviting.  She’s the wallflower at the dance that you’ll find yourself smitten with once you give her the chance to show you what she’s made of, and – even though I appreciate a good creature feature – I think I’ll remember her more than I will the kindhearted Crust … but, hey, call me old-fashioned.  Maybe that’s just how I feel about cum and socks. 
 
Crust (2024) was produced by Crustsocks Productions, Mezek Films, Moonless Media & Entertainment, Stag Mountain Films, and Wicked Monkey Pictures.  DVD distribution (for this particular release) has been coordinated by the fine folks at MVD Visual Entertainment.  As for the technical specifications?  While I’m no trained video expert, I’ll admit that this low-budget independent-style Thriller looks very solid from start-to-finish.  Mind you: these are (mostly) practically, in-camera special effects, so you’ve got to embrace some simple lunacy in order for all of it to work stylistically, which I think it does.  Lastly, if you’re looking for special features?  The disc boasts an audio commentary from Whalen along with a few short films and a Q&A: while some might find that slim, I can assure you that it’s far more than most indies get, so fans should enjoy the ride while it’s in operation.
 
Recommended.
 
While I’ll admit that Crust isn’t going to be for everyone, it still has ‘cult’ written all over it in the best possible penmanship.  Whalen’s time in the entertainment industry hasn’t been wasted, and he’s packed his project full of moments – big and small – that give this beast the teeth something made all out of socks obviously lacks.  It might overstay its welcome – the 102-minute running time feels a bit bloated in a few spots as a handful of scenes seem to only reinforce what we already knew – but maybe we can chalk that up to a writer, actor, and director not wanting to sacrifice anything he’d committed to on film.  Let’s just hope that – like Vegas – Whalen can transcend the Hollywood curse of being a one-hit-wonder.
 
In the interests of fairness, I’m pleased to disclose that the fine folks at MVD Visual Entertainment provided me with a complimentary Blu-ray of Crust (2024) by request for the expressed purpose of completing this review.  Their contribution to me in no way, shape, or form influenced my opinion of it.

-- EZ
​

There are actors who get recognized for their work in a single picture.  That a small degree, I think that's very sad because a great many of them might be around Hollywood for decades, and they put in just as much work as the next Tom, Dick, or Harry trying to make it big in a town that really has so few spots open for business.  But there's also that part of me who appreciates a face that somehow manages to defy the odds and get seen if even for only one big picture.

​Now, I'm not saying that's particularly good or bad for actor John Capodice.  I've been told by many that acting -- as a professional -- is a brutal phenomenon that defies logic; and I've no reason to think that untrue.  While I think it's grand that his face will always be known for something, I'll concede that -- ahem -- yeah, it might be a bit dubious being known for being on the receiving end of Jim Carrey's comic antics aboard Ace Ventura: Pet Detective (1994).

I'm not complaining because -- as goofy comedies go -- Pet Detective is one of my closet favorites.  (I'm almost always a fan when zaniness goes all in, especially when performances get bigger than life.)  Capodice no doubt had a great career, and he likely enjoyed some distinguished work here and there, a great deal I'm just not honestly aware of.  I do recognize him from some genre stuff; and I'm thankful that he got the chance to dabble in the realms of the Fantastic.  I wish that for every Tom, Dick, or Harry to be honest, so good for him.

Our warmest prayers are extended to the family, friends, and fans of John Capodice.

May he forever rest in peace.

-- EZ
​