- Published on
(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:
“In the wake of Pearl Harbor, a young lieutenant leaves his expectant wife to volunteer for a secret bombing mission which will take the war to the Japanese homeland.”
For the uninformed, it isn’t as if this daring World War II aerial raid conducted by Lt. Col. James Doolittle hasn’t had a fair amount of exposure in the modern era.
Michael Bay’s bid budget spectacle Pearl Harbor (2001) focused chiefly on the event that forced the United States of America into the war; and because the storyteller didn’t want to end on a sour note he kept going well after the Japanese destruction of the Pacific Fleet through the famous raid, essentially underscoring that the fight was really only beginning. Similarly, 2019’s Midway from director Roland Emmerich saw the bombing of Pearl Harbor and the Doolittle offensive as the opening catalyst to spin his web about the pivotal battle that would take place in the Pacific theater six months later. But as both films use the efforts of Doolittle and his men to kinda/sorta prop up thematically what they were saying about war, audiences might be best served to actually pick up a copy of Thirty Seconds Over Tokyo to get a more detailed and melodramatic accounting.
Directed by Mervyn LeRoy from a story by Dalton Trumbo, Ted W. Lawson, and Bob Considine, Thirty Seconds tells the story mostly through the eyes of the young captain Lawson (played by Van Johnson) who volunteers alongside other officers for the secret mission that evolves into the American first strike against the growing Japanese empire. The film goes to great lengths to capture the level of secrecy surrounding the whole affair – from pilot and aircraft selection, through training and preparation, and all the way through engagement and aftermath – packing in a great deal of drama into its 138-minute run time. While it’s easy to point out some sequences drag on a bit longer than necessary, there’s no denying the fact that Thirty Seconds tries to recapture the ambition of men and women answering the call to patriotic duty as well as the risks they faced – including life and limb – along the way. In the process, it’s sometimes sensational and occasionally grim, but there’s no denying that lives were changed in more ways than one.
Surprisingly, the film actually sets most of its players in motion with scenes that feel perhaps a bit too jovial. Clearly, war has broken out; and Washington D.C. tasks Lt. Col. Doolittle (Spencer Tracy) with assembling a small fleet with which to carry out his attack. When we’re slowly introduced to the cast of young bucks, there isn’t the same sense of dread and consternation over America’s fate that permeates so much of the aforementioned Pearl Harbor and Midway. In fact, these men are jokesters making merry at every turn; and there’s rarely a display of the gung-ho patriotism that seems requisite for so many other wartime pictures. If a viewer simply happened across one of the flick’s earliest sequences, then he or she might not even suspect that these fifty states were every in crisis. The only two who seems to take it all with the requisite seriousness are Doolittle and Lawson; and, tonally, I wasn’t all that enamored with the basic set-up and character introductions.
Thankfully, a lot of that ‘human interest’ stuff falls away once the picture gets down to the brass tacks. The training sequences are quite good – as is the delivery of our brave flyers and their crews into the Pacific – and the final third of Thirty Seconds explores the lengths to which the survivors had to go to protect themselves from capture in friendly Chinese territories. Director LeRoy definitely contrasts the ‘safe at home’ life of the first half with the ‘dangers abroad’ second; but there is a good deal of general romantic mushiness to fill in the gaps that could have been truncated just a bit. It’s a bit too smarmy and conventional – the kind of love movie censors allowed from those days – and I’m never a big fan of that.
Lastly, I think it’s deserving to mention that Thirty Seconds took home top honors at the 1945 Academy Awards in the category of ‘Best Special Effects.’ As one who spends a great deal of time studying films from the realms of the Fantastic, I can still see and appreciate what the technical experts accomplished in telling this dynamic aerial adventure the way they did, and I can’t think of another film from the bygone era of filmmaking whose visuals are as stunning as what director Mervyn LeRoy was blessed to assemble here. In fact, Thirty Seconds might be one of the better films of old to point folks to who argue that effects work just wasn’t all that important in storytelling back then as there’s no way this project could possibly exist without some incredible visual trickery.
Thirty Seconds Over Tokyo (1944) was produced by Loew’s Incorporated. DVD distribution (for this particular release) has been handled by the fine folks at the Warner Archive. As for the technical specifications? While I’m no trained video expert, I can still assure readers that this film both looks and sounds phenomenal: given the fact that it’s all based on a true story is yet one more reason to witness what gets rendered to full theatrical glory here as much of it is awe-inspiring. Lastly, if you’re looking for special features? Sadly, there’s really not anything film-specific on the disc, but there are some shorts drawn from the same historical era that make for suitable diversions.
Highly Recommended.
Though I mean this with no disrespect, Thirty Seconds Over Tokyo (1944) is one of those flicks that in my estimation falls just a bit short of theatrical perfection and this is only because its last third invests so much in the aftermath of these pilots and their crews downed in enemy territory … and, well, it just gets really depressing. Yes, it finds a way to wind everything up on an uplifting note – love conquers all, you know – but it’s still the kind of experience I’m personally less inclined to watch over and over and over the way I do a solid handful of classics. None of this dismisses the reality that it’s arguably one of the greatest war stories ever told; on that front, it deserves to be seen by all.
In the interests of fairness, I’m pleased to disclose that the fine folks at the Warner Archive (via Allied Vaughn) provided me with a complimentary Blu-ray of Thirty Seconds Over Tokyo (1944) 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
From the film’s IMDB.com page citation:
“In the wake of Pearl Harbor, a young lieutenant leaves his expectant wife to volunteer for a secret bombing mission which will take the war to the Japanese homeland.”
For the uninformed, it isn’t as if this daring World War II aerial raid conducted by Lt. Col. James Doolittle hasn’t had a fair amount of exposure in the modern era.
Michael Bay’s bid budget spectacle Pearl Harbor (2001) focused chiefly on the event that forced the United States of America into the war; and because the storyteller didn’t want to end on a sour note he kept going well after the Japanese destruction of the Pacific Fleet through the famous raid, essentially underscoring that the fight was really only beginning. Similarly, 2019’s Midway from director Roland Emmerich saw the bombing of Pearl Harbor and the Doolittle offensive as the opening catalyst to spin his web about the pivotal battle that would take place in the Pacific theater six months later. But as both films use the efforts of Doolittle and his men to kinda/sorta prop up thematically what they were saying about war, audiences might be best served to actually pick up a copy of Thirty Seconds Over Tokyo to get a more detailed and melodramatic accounting.
Directed by Mervyn LeRoy from a story by Dalton Trumbo, Ted W. Lawson, and Bob Considine, Thirty Seconds tells the story mostly through the eyes of the young captain Lawson (played by Van Johnson) who volunteers alongside other officers for the secret mission that evolves into the American first strike against the growing Japanese empire. The film goes to great lengths to capture the level of secrecy surrounding the whole affair – from pilot and aircraft selection, through training and preparation, and all the way through engagement and aftermath – packing in a great deal of drama into its 138-minute run time. While it’s easy to point out some sequences drag on a bit longer than necessary, there’s no denying the fact that Thirty Seconds tries to recapture the ambition of men and women answering the call to patriotic duty as well as the risks they faced – including life and limb – along the way. In the process, it’s sometimes sensational and occasionally grim, but there’s no denying that lives were changed in more ways than one.
Surprisingly, the film actually sets most of its players in motion with scenes that feel perhaps a bit too jovial. Clearly, war has broken out; and Washington D.C. tasks Lt. Col. Doolittle (Spencer Tracy) with assembling a small fleet with which to carry out his attack. When we’re slowly introduced to the cast of young bucks, there isn’t the same sense of dread and consternation over America’s fate that permeates so much of the aforementioned Pearl Harbor and Midway. In fact, these men are jokesters making merry at every turn; and there’s rarely a display of the gung-ho patriotism that seems requisite for so many other wartime pictures. If a viewer simply happened across one of the flick’s earliest sequences, then he or she might not even suspect that these fifty states were every in crisis. The only two who seems to take it all with the requisite seriousness are Doolittle and Lawson; and, tonally, I wasn’t all that enamored with the basic set-up and character introductions.
Thankfully, a lot of that ‘human interest’ stuff falls away once the picture gets down to the brass tacks. The training sequences are quite good – as is the delivery of our brave flyers and their crews into the Pacific – and the final third of Thirty Seconds explores the lengths to which the survivors had to go to protect themselves from capture in friendly Chinese territories. Director LeRoy definitely contrasts the ‘safe at home’ life of the first half with the ‘dangers abroad’ second; but there is a good deal of general romantic mushiness to fill in the gaps that could have been truncated just a bit. It’s a bit too smarmy and conventional – the kind of love movie censors allowed from those days – and I’m never a big fan of that.
Lastly, I think it’s deserving to mention that Thirty Seconds took home top honors at the 1945 Academy Awards in the category of ‘Best Special Effects.’ As one who spends a great deal of time studying films from the realms of the Fantastic, I can still see and appreciate what the technical experts accomplished in telling this dynamic aerial adventure the way they did, and I can’t think of another film from the bygone era of filmmaking whose visuals are as stunning as what director Mervyn LeRoy was blessed to assemble here. In fact, Thirty Seconds might be one of the better films of old to point folks to who argue that effects work just wasn’t all that important in storytelling back then as there’s no way this project could possibly exist without some incredible visual trickery.
Thirty Seconds Over Tokyo (1944) was produced by Loew’s Incorporated. DVD distribution (for this particular release) has been handled by the fine folks at the Warner Archive. As for the technical specifications? While I’m no trained video expert, I can still assure readers that this film both looks and sounds phenomenal: given the fact that it’s all based on a true story is yet one more reason to witness what gets rendered to full theatrical glory here as much of it is awe-inspiring. Lastly, if you’re looking for special features? Sadly, there’s really not anything film-specific on the disc, but there are some shorts drawn from the same historical era that make for suitable diversions.
Highly Recommended.
Though I mean this with no disrespect, Thirty Seconds Over Tokyo (1944) is one of those flicks that in my estimation falls just a bit short of theatrical perfection and this is only because its last third invests so much in the aftermath of these pilots and their crews downed in enemy territory … and, well, it just gets really depressing. Yes, it finds a way to wind everything up on an uplifting note – love conquers all, you know – but it’s still the kind of experience I’m personally less inclined to watch over and over and over the way I do a solid handful of classics. None of this dismisses the reality that it’s arguably one of the greatest war stories ever told; on that front, it deserves to be seen by all.
In the interests of fairness, I’m pleased to disclose that the fine folks at the Warner Archive (via Allied Vaughn) provided me with a complimentary Blu-ray of Thirty Seconds Over Tokyo (1944) 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
- Published on
in memoriam
Folks, word reached the World Wide Web this morning regarding the passing of actress Wai Ching Ho.
As I often point out, not all of these talents are household names, and fandom -- much like myself -- sometimes requires being pointed in the proper direction to recognize where they might know a face or two from. This actress first dipped into the realms of the Fantastic with a role aboard 2003's award-winning anthology film Robot Stories for Robot Stories Production. Other genre roles followed over the years, and the actress also turned in some fabulous work aboard Year Of The Fish (2007), New Amsterdam, 2B (2009), The Sorcerer's Apprentice (2010), Daredevil, Iron Fist, The Defenders, Two Sentence Horror Stories, and Lovely, Dark, And Deep (2023).
It's also worth mentioning that her work aboard Robot Stories garnered her two 'Best Actress' trophies from screenings on the film festival circuit.
Our warmest prayers are extended to the family, friends, and fans of Wai Ching Ho.
May she rest in peace ...
-- EZ
As I often point out, not all of these talents are household names, and fandom -- much like myself -- sometimes requires being pointed in the proper direction to recognize where they might know a face or two from. This actress first dipped into the realms of the Fantastic with a role aboard 2003's award-winning anthology film Robot Stories for Robot Stories Production. Other genre roles followed over the years, and the actress also turned in some fabulous work aboard Year Of The Fish (2007), New Amsterdam, 2B (2009), The Sorcerer's Apprentice (2010), Daredevil, Iron Fist, The Defenders, Two Sentence Horror Stories, and Lovely, Dark, And Deep (2023).
It's also worth mentioning that her work aboard Robot Stories garnered her two 'Best Actress' trophies from screenings on the film festival circuit.
Our warmest prayers are extended to the family, friends, and fans of Wai Ching Ho.
May she rest in peace ...
-- EZ
- Published on
site update
so many movies ... so little time ...
On July 23rd back in 2023 (in Canada), audiences in attendance of the Fantasia International Film Festival were treated to the silver screen debut of Lovely, Dark, And Deep. Written and directed by Teresa Sutherland, the film starred Georgina Campbell, Nick Blood, Wai Chingo Ho, and others.
According to our friends at IMDB.com, here's the plot summary:
"Lennon, a new back-country ranger, travels alone through the dangerous wilderness, hoping to uncover the origins of a tragedy that has haunted her since she was a child."
For the record:
To the film's credit, Lovely, Dark, And Deep earned a wee bit of attention from a screening on the film festival circuit.
-- EZ
According to our friends at IMDB.com, here's the plot summary:
"Lennon, a new back-country ranger, travels alone through the dangerous wilderness, hoping to uncover the origins of a tragedy that has haunted her since she was a child."
For the record:
To the film's credit, Lovely, Dark, And Deep earned a wee bit of attention from a screening on the film festival circuit.
-- EZ
From Google.com:
Lovely, Dark, and Deep (2023) is a psychological cosmic horror film written and directed by Teresa Sutherland. Starring Georgina Campbell, it follows a backcountry ranger who takes an isolated post in Arvores National Park to uncover the origins of a childhood tragedy, only to confront a sinister, reality-bending force. [1, 2, 3]
Psychological and Cosmic Themes
The title is a reference to Robert Frost's poem Stopping by Woods on a Snowy Evening. It isn't a traditional slasher, but rather a slow-burn, atmospheric mystery that blurs the lines between reality and illusion. The film tackles heavy internal themes of grief, regret, and the paralyzing sacrifices made when dealing with trauma. [4, 5, 6]
The Forest as the Monster
The film leans into the deeply unsettling concept of unsolved disappearances in vast, unmapped national parks. As the main character, Lennon, hikes alone, she listens to true crime podcasts that detail an epidemic of people vanishing without a trace. Instead of an easily identifiable monster, the forest itself acts as an unknowable, malicious entity that consumes people whole. [3, 7, 8, 9, 10]
Reception and Praise
Critics generally praised the film for its eerie atmosphere, stunning cinematography, and Campbell’s strong lead performance. It has a trippy, unsettling vibe that leaves room for mystery, relying on fear of the unknown rather than over-explaining the supernatural elements. [1, 5, 8, 11]
AI responses may include mistakes.
[1] https://en.wikipedia.org/wiki/Lovely,_Dark,_and_Deep_(film)
[2] https://www.rottentomatoes.com/m/lovely_dark_and_deep
[3] https://www.moviejawn.com/home/2024/2/21/lovely-dark-and-deep
[4] https://awfj.org/blog/2024/02/20/lovely-dark-and-deep-review-by-justina-walford/
[5] https://www.youtube.com/watch?v=X3D7SA6DKt8
[6] https://www.youtube.com/watch?v=h4uRLOLJ8aQ
[7] https://www.reddit.com/r/horror/comments/1b1u0jr/lovely_dark_and_deep_highly_recommend/
[8] https://www.filmsnobreviews.com/2024/03/review-lovely-dark-and-deep/
[9] https://insessionfilm.com/movie-review-lovely-dark-and-deep/
[10] https://www.youtube.com/watch?v=N4Bp17vtFxk
[11] https://screenagewasteland.com/lovely-dark-and-deep-2023-review/
Lovely, Dark, and Deep (2023) is a psychological cosmic horror film written and directed by Teresa Sutherland. Starring Georgina Campbell, it follows a backcountry ranger who takes an isolated post in Arvores National Park to uncover the origins of a childhood tragedy, only to confront a sinister, reality-bending force. [1, 2, 3]
Psychological and Cosmic Themes
The title is a reference to Robert Frost's poem Stopping by Woods on a Snowy Evening. It isn't a traditional slasher, but rather a slow-burn, atmospheric mystery that blurs the lines between reality and illusion. The film tackles heavy internal themes of grief, regret, and the paralyzing sacrifices made when dealing with trauma. [4, 5, 6]
The Forest as the Monster
The film leans into the deeply unsettling concept of unsolved disappearances in vast, unmapped national parks. As the main character, Lennon, hikes alone, she listens to true crime podcasts that detail an epidemic of people vanishing without a trace. Instead of an easily identifiable monster, the forest itself acts as an unknowable, malicious entity that consumes people whole. [3, 7, 8, 9, 10]
Reception and Praise
Critics generally praised the film for its eerie atmosphere, stunning cinematography, and Campbell’s strong lead performance. It has a trippy, unsettling vibe that leaves room for mystery, relying on fear of the unknown rather than over-explaining the supernatural elements. [1, 5, 8, 11]
AI responses may include mistakes.
[1] https://en.wikipedia.org/wiki/Lovely,_Dark,_and_Deep_(film)
[2] https://www.rottentomatoes.com/m/lovely_dark_and_deep
[3] https://www.moviejawn.com/home/2024/2/21/lovely-dark-and-deep
[4] https://awfj.org/blog/2024/02/20/lovely-dark-and-deep-review-by-justina-walford/
[5] https://www.youtube.com/watch?v=X3D7SA6DKt8
[6] https://www.youtube.com/watch?v=h4uRLOLJ8aQ
[7] https://www.reddit.com/r/horror/comments/1b1u0jr/lovely_dark_and_deep_highly_recommend/
[8] https://www.filmsnobreviews.com/2024/03/review-lovely-dark-and-deep/
[9] https://insessionfilm.com/movie-review-lovely-dark-and-deep/
[10] https://www.youtube.com/watch?v=N4Bp17vtFxk
[11] https://screenagewasteland.com/lovely-dark-and-deep-2023-review/
- Published on
press release
Brit occult horror 'HARBINGER' introduces
fearsome new genre icon
starring Gary Webster, Jeanine Nerissa Sothcott, Peter Woodward & Carole Ann Ford
on US digital 11 August
Miracle Media and Shogun Films bring the doom and fear with Harbinger – a chilling supernatural British horror, where the malevolent past refuses to stay buried – set for release on digital this August.
Five years after surviving satanic serial killer Henry Decker (Woodward), Julia (Sothcott) is still haunted by the devastating horrors she endured. Plagued by PTSD and terrifying visions of her tormentor and living back with her mother (Ford), her whole life has been on hold, until now, with the maniacal murder dead maybe it’s time to move on…
But pure evil never dies and hidden within the house where Decker's killing spree ended and Julia narrowly escaped with her life lies the Harbinger, a sinister fortune-telling machine that holds all the cards.
When paranormal TV presenter Mike Craggs (Webster) invites Julia on his show to recount her harrowing ordeal with Decker, he makes her a life-changing offer she just cannot refuse, but things are about to take a shocking turn.
In the hope of finally confronting her past, Julia reluctantly joins the presenter, a team of ghost hunters, psychics, occult experts and television production crew, to record the show. But when they descend on the house of horrors, they accidentally stumble on the Harbinger, the malevolent machine that that predicts the grisly deaths awaiting each member of the group.
As the body count rises and escape becomes impossible, Julia discovers the horrifying truth, that Decker’s soul has been transferred into the machine…
Trapped in limbo, the killer needs six souls to walk the earth again. Can Julia and the team stop him before the Harbinger claims them all?
Filled with mythical mayhem, shocking kills and old-school gore, Harbinger is a blood-thirsty occult horror with a nod to Wishmaster, Big and classic British horror. Get ready to experience one wicked fairground attraction… it’s one hell of a ride.
Five years after surviving satanic serial killer Henry Decker (Woodward), Julia (Sothcott) is still haunted by the devastating horrors she endured. Plagued by PTSD and terrifying visions of her tormentor and living back with her mother (Ford), her whole life has been on hold, until now, with the maniacal murder dead maybe it’s time to move on…
But pure evil never dies and hidden within the house where Decker's killing spree ended and Julia narrowly escaped with her life lies the Harbinger, a sinister fortune-telling machine that holds all the cards.
When paranormal TV presenter Mike Craggs (Webster) invites Julia on his show to recount her harrowing ordeal with Decker, he makes her a life-changing offer she just cannot refuse, but things are about to take a shocking turn.
In the hope of finally confronting her past, Julia reluctantly joins the presenter, a team of ghost hunters, psychics, occult experts and television production crew, to record the show. But when they descend on the house of horrors, they accidentally stumble on the Harbinger, the malevolent machine that that predicts the grisly deaths awaiting each member of the group.
As the body count rises and escape becomes impossible, Julia discovers the horrifying truth, that Decker’s soul has been transferred into the machine…
Trapped in limbo, the killer needs six souls to walk the earth again. Can Julia and the team stop him before the Harbinger claims them all?
Filled with mythical mayhem, shocking kills and old-school gore, Harbinger is a blood-thirsty occult horror with a nod to Wishmaster, Big and classic British horror. Get ready to experience one wicked fairground attraction… it’s one hell of a ride.
- Published on
so many movies ... so little time ...
On this day in 2012 (in the U.S.), audiences in attendace of the Comic-Con Interntional Independent Film Festival were treated to the big screen premiere of Bad Kids Go To Hell. Written (in part) and directed by Matthew Spradlin, the film starred Cameron Deane Stewart, Ben Browder, Ali Faulkner, and others.
According to our friends at IMDB.com, here's the plot summary:
"On a stormy Saturday afternoon, six students from Crestview Academy begin to meet horrible fates as they serve out their detentions. Is a fellow student to blame, or perhaps Crestview's alleged ghosts are behind the terrible acts?"
-- EZ
According to our friends at IMDB.com, here's the plot summary:
"On a stormy Saturday afternoon, six students from Crestview Academy begin to meet horrible fates as they serve out their detentions. Is a fellow student to blame, or perhaps Crestview's alleged ghosts are behind the terrible acts?"
-- EZ
From Google.com:
Bad Kids Go to Hell is a 2012 dark comedy-thriller directed by Matthew Spradlin, based on the graphic novel he co-wrote with Barry Wernick. It is essentially a bloodier, twisted parody of The Breakfast Club where six wealthy prep school students face gruesome "accidents" while stuck in Saturday detention. [1, 2, 3]
Plot & Setting
Six students from the elite Crestview Academy are locked in a supposedly haunted library by school counselors for an 8-hour Saturday detention. During this time, they begin to die off one by one in grisly "accidents". The remaining students are left to figure out if one of them is secretly evening the social playing field, or if the ghost of an Apache Native American—whose land the library was built on—is taking revenge. [1, 4, 5, 6, 7]
Key Cast
Streaming & Availability
If you'd like to check out the movie, you can stream it for free on Amazon Prime Video, The Roku Channel, or PLEX. You can also rent it digitally on platforms like YouTube. [9, 10]
AI responses may include mistakes.
[1] https://www.imdb.com/title/tt1865573/
[2] https://en.wikipedia.org/wiki/Bad_Kids_Go_to_Hell
[3] https://www.hollywoodreporter.com/movies/movie-reviews/bad-kids-go-hell-film-399626/
[4] https://bloodandgutsforgrownups.wordpress.com/2014/03/18/rewind-review-2012s-bad-kids-go-to-hell/
[5] https://www.metacritic.com/movie/bad-kids-go-to-hell/
[6] https://moriareviews.com/horror/bad-kids-go-to-hell-2012.htm
[7] https://total-movies.fandom.com/wiki/Bad_Kids_Go_to_Hell
[8] https://www.horrordna.com/movies/bad-kids-go-to-hell-movie-review
[9] https://total-movies.fandom.com/wiki/Bad_Kids_Go_to_Hell
[10] https://support.google.com/knowledgepanel/answer/9787176
Bad Kids Go to Hell is a 2012 dark comedy-thriller directed by Matthew Spradlin, based on the graphic novel he co-wrote with Barry Wernick. It is essentially a bloodier, twisted parody of The Breakfast Club where six wealthy prep school students face gruesome "accidents" while stuck in Saturday detention. [1, 2, 3]
Plot & Setting
Six students from the elite Crestview Academy are locked in a supposedly haunted library by school counselors for an 8-hour Saturday detention. During this time, they begin to die off one by one in grisly "accidents". The remaining students are left to figure out if one of them is secretly evening the social playing field, or if the ghost of an Apache Native American—whose land the library was built on—is taking revenge. [1, 4, 5, 6, 7]
Key Cast
- Judd Nelson as Headmaster Nash
- Ben Browder as Max
- Cameron Deane Stewart as Matt Clark
- Augie Duke as Veronica Harmon
- Ali Faulkner as Tricia Wilkes [8]
Streaming & Availability
If you'd like to check out the movie, you can stream it for free on Amazon Prime Video, The Roku Channel, or PLEX. You can also rent it digitally on platforms like YouTube. [9, 10]
AI responses may include mistakes.
[1] https://www.imdb.com/title/tt1865573/
[2] https://en.wikipedia.org/wiki/Bad_Kids_Go_to_Hell
[3] https://www.hollywoodreporter.com/movies/movie-reviews/bad-kids-go-hell-film-399626/
[4] https://bloodandgutsforgrownups.wordpress.com/2014/03/18/rewind-review-2012s-bad-kids-go-to-hell/
[5] https://www.metacritic.com/movie/bad-kids-go-to-hell/
[6] https://moriareviews.com/horror/bad-kids-go-to-hell-2012.htm
[7] https://total-movies.fandom.com/wiki/Bad_Kids_Go_to_Hell
[8] https://www.horrordna.com/movies/bad-kids-go-to-hell-movie-review
[9] https://total-movies.fandom.com/wiki/Bad_Kids_Go_to_Hell
[10] https://support.google.com/knowledgepanel/answer/9787176
- Published on
in memoriam
When it comes to versatility in acting, Sam Neill was about as good as it gets.
From what I've seen of his skills, the man could be in just about anything and give it some air of authenticity. Whether it be Comedy or Drama, the guy knew more than enough about showing up, hitting his marks, and giving the role something special. I suppose its this technical flexibility that landed him the lion's share of his screen roles, and one can only hope that audiences will see others follow in his wake so that the craftsmanship of the Thespian life won't fall by the wayside.
Frankly, I found the announcement of his passing a bit perplexing. I'd followed the developments of his life's journey a bit more closely when -- a few years back -- it was said that he'd been stricken with some rare blood cancer. I recall reading not all that long ago that he'd actually beaten than normally terminal condition; so when this news surfaced overnight I went into a bout of Googling to see if there were any more information. All I've found is that the family has said it was an sudden onset of whatever took him, and then there are the somewhat usual sentiments of it all coming unexpectedly. How very sad.
Still, Neill was a talent always worth watching. There are far too many credits for me to cite which I think are deserving of mention -- the guy leaves a legacy of over 150 screen gigs with even a few more yet to come -- but I can't help but mention the original Jurassic Park (1993) and The Dish (2000), an inspired character comedy that will make you look at the American moon landing in an all-new light. While I'm sure others who do what I do can wax on and wax off about the actor's whole library, those two will remain my favorites; so I'll simply leave it at that. Oh, and I will add that I enjoyed his somewhat gleeful turn into the early villain aboard the BBC's Peaky Blinders as well. For those of you who haven't discovered that Crime/Drama, it's well past time.
Our warmest prayers are extended to the family, friends, and fans of Sam Neill.
May he rest in peace.
-- EZ
From what I've seen of his skills, the man could be in just about anything and give it some air of authenticity. Whether it be Comedy or Drama, the guy knew more than enough about showing up, hitting his marks, and giving the role something special. I suppose its this technical flexibility that landed him the lion's share of his screen roles, and one can only hope that audiences will see others follow in his wake so that the craftsmanship of the Thespian life won't fall by the wayside.
Frankly, I found the announcement of his passing a bit perplexing. I'd followed the developments of his life's journey a bit more closely when -- a few years back -- it was said that he'd been stricken with some rare blood cancer. I recall reading not all that long ago that he'd actually beaten than normally terminal condition; so when this news surfaced overnight I went into a bout of Googling to see if there were any more information. All I've found is that the family has said it was an sudden onset of whatever took him, and then there are the somewhat usual sentiments of it all coming unexpectedly. How very sad.
Still, Neill was a talent always worth watching. There are far too many credits for me to cite which I think are deserving of mention -- the guy leaves a legacy of over 150 screen gigs with even a few more yet to come -- but I can't help but mention the original Jurassic Park (1993) and The Dish (2000), an inspired character comedy that will make you look at the American moon landing in an all-new light. While I'm sure others who do what I do can wax on and wax off about the actor's whole library, those two will remain my favorites; so I'll simply leave it at that. Oh, and I will add that I enjoyed his somewhat gleeful turn into the early villain aboard the BBC's Peaky Blinders as well. For those of you who haven't discovered that Crime/Drama, it's well past time.
Our warmest prayers are extended to the family, friends, and fans of Sam Neill.
May he rest in peace.
-- EZ
- Published on
in memoriam
Alas, folks, I'm reading that another one of the great character actresses from our earlier years has left us as word reached the Information Superhighway regarding the loss of Antoinette Bower.
As happens with a great many of these posts, hers was likely not a name a good degree of fans of today recognized, but she made the kind of contributions I remember from the days of my youth. Her contributions might not have been groundbreaking or franchise-building; and yet she still managed to evoke a strong sense of presence in even the smallest of roles.
Genre fans might know her best from such enterprises as The Telltale Heart (a 1958 telefilm based on the Edgar Allan Poe story was her professional debut); Alfred Hitchcock Presents (two episodes); Thriller (two episodes); The Twilight Zone; The Man From U.N.C.L.E.; The Wild Wild West; I Spy; The Invaders; Star Trek (the somewhat maligned "Catspaw" episode); Tarzan; Get Smart; Mission: Impossible (four episodes); Superbeast (1972); Search; The Starlost; The Six Million Dollar Man; Die Sister Die (1978); Prom Night (1980); Bring 'Em Back Alive; and Time Walker (1982).
Our warmest prayers are extended to the family, friends, and fans of Antoinette Bower.
May she rest in peace ...
-- EZ
As happens with a great many of these posts, hers was likely not a name a good degree of fans of today recognized, but she made the kind of contributions I remember from the days of my youth. Her contributions might not have been groundbreaking or franchise-building; and yet she still managed to evoke a strong sense of presence in even the smallest of roles.
Genre fans might know her best from such enterprises as The Telltale Heart (a 1958 telefilm based on the Edgar Allan Poe story was her professional debut); Alfred Hitchcock Presents (two episodes); Thriller (two episodes); The Twilight Zone; The Man From U.N.C.L.E.; The Wild Wild West; I Spy; The Invaders; Star Trek (the somewhat maligned "Catspaw" episode); Tarzan; Get Smart; Mission: Impossible (four episodes); Superbeast (1972); Search; The Starlost; The Six Million Dollar Man; Die Sister Die (1978); Prom Night (1980); Bring 'Em Back Alive; and Time Walker (1982).
Our warmest prayers are extended to the family, friends, and fans of Antoinette Bower.
May she rest in peace ...
-- EZ
- Published on
site update
so many movies ... so little time ...
On this day in 2025 (in Ireland), audiences in attendance of the Galway Film Fleadh were treated to the big screen premiere of The Morrigan. Written and directed for the screen by Colum Eastwood, the film starred Saffron Burrows, James Cosmo, Emily Flain, and others.
According to our friends at IMDB.com, here's the plot summary:
"Follows an archaeologist who travels to Ireland to uncover a long-dead tomb. A threat is released and she will have to fight to keep her teenage daughter from falling under the control of The Morrigan, a vengeful "Pagan War Goddess.""
-- EZ
According to our friends at IMDB.com, here's the plot summary:
"Follows an archaeologist who travels to Ireland to uncover a long-dead tomb. A threat is released and she will have to fight to keep her teenage daughter from falling under the control of The Morrigan, a vengeful "Pagan War Goddess.""
-- EZ
From Google.com:
The Morrigan (2025) is an Irish folk-horror film written and directed by Colum Eastwood. It follows archaeologist Dr. Fiona Scott (Saffron Burrows) who travels to an Irish island for a dig and must battle to save her teenage daughter (Emily Flain) from spiritual possession by an ancient, vengeful Pagan war goddess. [1, 2, 3, 4, 5]
The film had its world premiere at the Tallinn Black Nights Film Festival before debuting on VOD and streaming platforms. It is an expansion of Eastwood's 2015 short film of the same name. [4, 6, 7, 8, 9]
Plot Overview
Fiona, striving for tenure, travels with her teenage daughter, Lily, and an unsavory expedition leader to a remote island off the coast of Ireland. They uncover an ancient burial casket containing the mummified corpse of the Morrigan, a Celtic goddess of death and war. During an unsupervised moment, Lily opens the tomb, unleashing the goddess's spirit. Lily becomes possessed, developing glowing eyes and supernatural abilities, and begins a bloody rampage. Fiona is then forced into a desperate fight to protect her daughter and survive the island's isolation. [2, 4, 5, 10]
Cast and Themes
Alongside Saffron Burrows and Emily Flain, the movie features a cast including James Cosmo, Toby Stevens, Art Parkinson, and Jonathan Forbes. The film uses ancient Irish mythology and dark cave diving as a backdrop. While acting as a straight possession and creature-feature horror, it explores deeper thematic layers like the challenges women face in the scientific community and the generational rifts between mother and daughter. [1, 2, 5, 11]
Critical Reception
Critics had mixed feelings about the film. Many praised the moody production design, the authentic Irish locations, and the genuinely creepy makeup effects for the goddess. However, some reviews criticized the execution, noting that the CGI special effects occasionally felt low-budget and that the pacing of the script could be uneven. [1, 2, 6]
AI responses may include mistakes.
[1] https://www.imdb.com/title/tt29423057/
[2] https://www.youtube.com/watch?v=LIv_pVYVSAU
[3] https://thedarksidemagazine.com/the-morrigan-2025-review-by-steve-kirkham/
[4] https://www.firstshowing.net/2026/pagan-war-goddess-irish-horror-thriller-the-morrigan-official-trailer/
[5] https://moviehooker.com/article/the-morrigan-movie/
[6] https://sarahgvincentviews.com/movies/the-morrigan/
[7] https://projectedfigures.com/2025/11/22/the-morrigan-2025/
[8] https://www.facebook.com/MovieHooker/posts/new-irish-folklore-horror-the-morrigan-the-official-synopsis-is-as-follows-an-ar/1484286350368289/
[9] https://www.upcominghorrormovies.com/movie/morrigan
[10] https://www.youtube.com/watch?v=JQFGET4Dnks&vl=en
[11] https://www.youtube.com/watch?v=Qn790pejY5U
The Morrigan (2025) is an Irish folk-horror film written and directed by Colum Eastwood. It follows archaeologist Dr. Fiona Scott (Saffron Burrows) who travels to an Irish island for a dig and must battle to save her teenage daughter (Emily Flain) from spiritual possession by an ancient, vengeful Pagan war goddess. [1, 2, 3, 4, 5]
The film had its world premiere at the Tallinn Black Nights Film Festival before debuting on VOD and streaming platforms. It is an expansion of Eastwood's 2015 short film of the same name. [4, 6, 7, 8, 9]
Plot Overview
Fiona, striving for tenure, travels with her teenage daughter, Lily, and an unsavory expedition leader to a remote island off the coast of Ireland. They uncover an ancient burial casket containing the mummified corpse of the Morrigan, a Celtic goddess of death and war. During an unsupervised moment, Lily opens the tomb, unleashing the goddess's spirit. Lily becomes possessed, developing glowing eyes and supernatural abilities, and begins a bloody rampage. Fiona is then forced into a desperate fight to protect her daughter and survive the island's isolation. [2, 4, 5, 10]
Cast and Themes
Alongside Saffron Burrows and Emily Flain, the movie features a cast including James Cosmo, Toby Stevens, Art Parkinson, and Jonathan Forbes. The film uses ancient Irish mythology and dark cave diving as a backdrop. While acting as a straight possession and creature-feature horror, it explores deeper thematic layers like the challenges women face in the scientific community and the generational rifts between mother and daughter. [1, 2, 5, 11]
Critical Reception
Critics had mixed feelings about the film. Many praised the moody production design, the authentic Irish locations, and the genuinely creepy makeup effects for the goddess. However, some reviews criticized the execution, noting that the CGI special effects occasionally felt low-budget and that the pacing of the script could be uneven. [1, 2, 6]
AI responses may include mistakes.
[1] https://www.imdb.com/title/tt29423057/
[2] https://www.youtube.com/watch?v=LIv_pVYVSAU
[3] https://thedarksidemagazine.com/the-morrigan-2025-review-by-steve-kirkham/
[4] https://www.firstshowing.net/2026/pagan-war-goddess-irish-horror-thriller-the-morrigan-official-trailer/
[5] https://moviehooker.com/article/the-morrigan-movie/
[6] https://sarahgvincentviews.com/movies/the-morrigan/
[7] https://projectedfigures.com/2025/11/22/the-morrigan-2025/
[8] https://www.facebook.com/MovieHooker/posts/new-irish-folklore-horror-the-morrigan-the-official-synopsis-is-as-follows-an-ar/1484286350368289/
[9] https://www.upcominghorrormovies.com/movie/morrigan
[10] https://www.youtube.com/watch?v=JQFGET4Dnks&vl=en
[11] https://www.youtube.com/watch?v=Qn790pejY5U
- Published on
site update
so many movies ... so little time ...
On this day in 2010 (in the U.S.), audiences in attendance of the Another Hole In The Head Film Festival were treated to the theatrical premiere of Satan Hates You. Written and directed for the screen by James Felix McKenney, the film starred Don Wood, Angus Scrimm, Larry Fessenden, and others.
According to our friends at IMDB.com, here's the plot summary:
"Inspired from the golden age of religious cinema, Satan Hates You is a graphic horror film that tells the stories of a brother and sister and their personal struggles with the ultimate evil: Lucifer himself!"
-- EZ
According to our friends at IMDB.com, here's the plot summary:
"Inspired from the golden age of religious cinema, Satan Hates You is a graphic horror film that tells the stories of a brother and sister and their personal struggles with the ultimate evil: Lucifer himself!"
-- EZ
From Google.com:
Satan Hates You is a 2010 independent horror film written and directed by James Felix McKenney. It serves as a stylized, subversive homage to 1970s Christian scare and religious exploitation films, following the parallel lives of a homicidal maniac and a reckless, partying young woman whose souls are fought over by demons and missionaries. [1, 2, 3]
The film tracks Marc (Don Wood), an unstable man driven by violent inner demons, and his estranged sister Wendy (Christine Spencer), who lives a life of heavy partying and drug use. As their lives careen out of control, various demonic forces and heavenly missionaries attempt to guide them toward salvation or the highway to hell. Ultimately, their paths cross in a chaotic and unexpected climax. [2, 3, 4]
Produced by frequent collaborator Larry Fessenden, the movie is well-known in cult horror circles for featuring an ensemble cast of beloved genre veterans. It stars:
Reflections on Satan Hates You
Fans and reviewers appreciate the movie's quirky approach to replicating the exact tone of vintage religious cinema, rather than just mocking it. [8]
AI responses may include mistakes.
[1] https://www.imdb.com/title/tt0462516/
[2] https://en.wikipedia.org/wiki/Satan_Hates_You
[3] https://vinegarsyndrome.com/products/satan-hates-you
[4] https://www.themoviedb.org/movie/27492-satan-hates-you
[5] https://www.imdb.com/video/vi2187199769/
[6] https://www.shockcinemamagazine.com/satan.html
[7] https://www.fangoria.com/review-satan-hates-you/
[8] https://www.shockcinemamagazine.com/satan.html
Satan Hates You is a 2010 independent horror film written and directed by James Felix McKenney. It serves as a stylized, subversive homage to 1970s Christian scare and religious exploitation films, following the parallel lives of a homicidal maniac and a reckless, partying young woman whose souls are fought over by demons and missionaries. [1, 2, 3]
The film tracks Marc (Don Wood), an unstable man driven by violent inner demons, and his estranged sister Wendy (Christine Spencer), who lives a life of heavy partying and drug use. As their lives careen out of control, various demonic forces and heavenly missionaries attempt to guide them toward salvation or the highway to hell. Ultimately, their paths cross in a chaotic and unexpected climax. [2, 3, 4]
Produced by frequent collaborator Larry Fessenden, the movie is well-known in cult horror circles for featuring an ensemble cast of beloved genre veterans. It stars:
- Angus Scrimm (from the Phantasm series) as a proselytizing televangelist
- Reggie Bannister (also from Phantasm) as a supportive bar-owner pal
- Michael Berryman (The Hills Have Eyes) as a judgmental hotel clerk
- Debbie Rochon as a reformed "bad girl" [3, 5, 6, 7]
Reflections on Satan Hates You
Fans and reviewers appreciate the movie's quirky approach to replicating the exact tone of vintage religious cinema, rather than just mocking it. [8]
AI responses may include mistakes.
[1] https://www.imdb.com/title/tt0462516/
[2] https://en.wikipedia.org/wiki/Satan_Hates_You
[3] https://vinegarsyndrome.com/products/satan-hates-you
[4] https://www.themoviedb.org/movie/27492-satan-hates-you
[5] https://www.imdb.com/video/vi2187199769/
[6] https://www.shockcinemamagazine.com/satan.html
[7] https://www.fangoria.com/review-satan-hates-you/
[8] https://www.shockcinemamagazine.com/satan.html
- Published on
site update
so many movies ... so little time ...
On this day in 1999 (in Spain), Goomer enjoyed its time in the theatrical spotlight. Directed by José Luis Feito and Carlos Varela from a story by Ricardo, Nacho, Gregorio Muro, and Pedro Rivero, the animated film featured the voice talents of Jordi Estadella, José Mota, Roger Pera, and others.
According to our friends at IMDB.com, here's the plot summary:
"Goomer is an intergalactic space trucker who lands in an unknown planet and finds it impossible to leave. After a long intergalactic trip his robot assistant wakes Goomer - they are approaching a planet that shows signs of life. Goomer sees the possibility of making business and rapidly getting rich since nobody there knows his reputation. Goomer hopes to become a celebrity as the first human to landed on this planet. But nobody really cares for him - at first."
-- EZ
According to our friends at IMDB.com, here's the plot summary:
"Goomer is an intergalactic space trucker who lands in an unknown planet and finds it impossible to leave. After a long intergalactic trip his robot assistant wakes Goomer - they are approaching a planet that shows signs of life. Goomer sees the possibility of making business and rapidly getting rich since nobody there knows his reputation. Goomer hopes to become a celebrity as the first human to landed on this planet. But nobody really cares for him - at first."
-- EZ
From Google.com:
Goomer is a 1999 Spanish animated science-fiction comedy about an arrogant intergalactic space trucker who gets stranded on a remote alien planet. Directed by José Luis Feito and Carlos Varela, the film won the prestigious Goya Award for Best Animated Film. [1, 2, 3]
Plot and Character Background
Adapted from a popular Spanish comic strip created by Ricardo Martínez and Nacho Moreno, the movie follows Goomer, a boastful and cunning space trucker. After a long voyage, his robot assistant wakes him as they approach a planet showing signs of life. [1, 4]
Goomer sees a golden opportunity to make a fortune and become a celebrity, as the locals do not know his reputation. However, his plans are quickly thwarted when he realizes the aliens don't really care for him, and he finds it impossible to leave the planet. Forced to adapt to his strange new home, Goomer discovers that his Earthling tricks are entirely useless in this bizarre alien ecosystem. [1, 5]
Accolades and Production
The film was highly celebrated in the Spanish animation industry, taking home the 1999 Goya Award for Best Animated Film. This success eventually led to a spin-off television series consisting of 26 episodes released in the early 2000s. [3, 5]
AI responses may include mistakes.
[1] https://www.imdb.com/title/tt0208997/
[2] https://www.themoviedb.org/movie/98991-goomer
[3] https://en.wikipedia.org/wiki/Goomer
[4] https://heykidscomics.fandom.com/wiki/Goomer
[5] https://dubdb.fandom.com/wiki/Goomer_(2002)
Goomer is a 1999 Spanish animated science-fiction comedy about an arrogant intergalactic space trucker who gets stranded on a remote alien planet. Directed by José Luis Feito and Carlos Varela, the film won the prestigious Goya Award for Best Animated Film. [1, 2, 3]
Plot and Character Background
Adapted from a popular Spanish comic strip created by Ricardo Martínez and Nacho Moreno, the movie follows Goomer, a boastful and cunning space trucker. After a long voyage, his robot assistant wakes him as they approach a planet showing signs of life. [1, 4]
Goomer sees a golden opportunity to make a fortune and become a celebrity, as the locals do not know his reputation. However, his plans are quickly thwarted when he realizes the aliens don't really care for him, and he finds it impossible to leave the planet. Forced to adapt to his strange new home, Goomer discovers that his Earthling tricks are entirely useless in this bizarre alien ecosystem. [1, 5]
Accolades and Production
The film was highly celebrated in the Spanish animation industry, taking home the 1999 Goya Award for Best Animated Film. This success eventually led to a spin-off television series consisting of 26 episodes released in the early 2000s. [3, 5]
AI responses may include mistakes.
[1] https://www.imdb.com/title/tt0208997/
[2] https://www.themoviedb.org/movie/98991-goomer
[3] https://en.wikipedia.org/wiki/Goomer
[4] https://heykidscomics.fandom.com/wiki/Goomer
[5] https://dubdb.fandom.com/wiki/Goomer_(2002)