- 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:
“A ‘Man From the Future’ arrives at a diner in Los Angeles where he must recruit the precise combination of disgruntled patrons to join him on a one-night quest to save the world from the terminal threat of a rogue artificial intelligence.”
The sad truth of genre entertainment is that many of the truly best Science Fiction, Fantasy, and Horror pictures don’t quite get the recognition they’re owed in their proper time and place.
Productions like 1982’s Blade Runner failed to produce significant ticket sales when it was originally slotted into theater schedules; but now – decades later – the film is regarded as damn near a cornerstone of Science Fiction storytelling. The same could be said of John Carpenter’s The Thing, another 1982 release that failed to inspire much passion with its theatrical outing but continues to earn fans and accolades each and every time its discovered (or re-discovered) since. 1990’s Tremors – a flick often regarded as a personal favorite to a great many genre fans – largely came-and-went from the multiplexes, but it’s release on home video spawned an entire B-Movie franchise that chugs and chugs onward like the little engine that could. Granted, this doesn’t happen for every entry to bears a passing resemblance to these kinds of stories, but it happens often enough in the realms of the Fantastic that it deserves being mentioned when well-made entries escape tickling society’s collective fancy in the here and now.
Such might be the eventual outcome to 2025’s Good Luck, Have Fun, Don’t Die. Directed by the critically-acclaimed Gore Verbinski from a story by Matthew Robinson (the screenwriter behind 2020’s overlooked Love And Monsters), the film stars the always-watchable Sam Rockwell in the role of ‘The Man From The Future’ – we’ll call him FutureMan going forward – as a soldier sent back in time to the point wherein specialists determined the birth of Artificial Intelligence set our world into a decades-long death spiral. Needing to have a small army of soldiers to essentially aid him in getting from Point A (a diner) to Point B (a suburban home a few blocks away) so that he can insert a flash drive of appropriate safety measures into the system to save mankind from its worst technological impulses. (Nothing but nothing is going to stop us from inventing A.I., don’t you know?)
Thankfully, Good Luck explores everything – its ideas, its construct, and its characters – with a humorous and often satiric tone. Verbinski’s film depicts the current generation of youth as iPhones-obsessed zombies who can’t part themselves from their smartphones to save a life, and it’s here wherein Robinson’s script becomes immediately relatable, especially for folks who might now exactly buy-in to the whole SciFi/Fantasy premise. Juxtaposing fantastical and fringe science (like time travel) against technology of the day is a tactic that rather subversively reminds skeptics to not overthink their biases: after all, yesterday’s Star Trek communicator was little more than today’s iPhone, separated only by a few years, so it isn’t entirely implausible to suggest that the invention of social media is just the first step toward the zombification of an entire generation. This is the territory in which Good Luck excels – especially in its first half – though the tale turns a bit more conventional (and maybe even mildly bloated) once FutureMan and his few survivors come face-to-face with the phantom menace in the final reel. The world both is and isn’t saved – another noteworthy distinction between what Good Luck does with the idea of time travel – but there’s still a resolution that suggests the best is yet to come. Maybe.
To his credit, Rockwell shines in the role, carrying the weight of the world on his shoulders in each and every scene. Dare I say this is perhaps the part he was born to play? As an actor, the guy manages the kind of comic intensity rarely seen any longer on the silver screen; and, personally, I think it’s a crying shame we haven’t seen the guy in vastly more comedies than he’s headlined. Verbinski and Robinson were smart in surrounding him with a talented ensemble – each with some part in this trip toward redemption – but I’m hesitant to say much more because I’d rather not spoil those surprises best learned on their own. Suffice it to say, Haley Lu Richardson’s Ingrid (aka Princess) is another delight, proving she’s a talent still evolving into something special when the right material presents itself.
For what it’s worth, I’ve read an incessant amount of online commentary comparing Good Luck to 1993’s Groundhog Day, so much so that I feel the need to sound-off on the issue.
For those of you who haven’t had the pleasure, Groundhog Day takes the overtly self-centered weatherman Phil Connors (Bill Murray) and imprisons him in a time-loop that forces him to relive a twenty-four-hour period over and over (and over!) again until he finally lives a day ‘getting it right.’ The joy of the picture is experiencing this pervasiveness of Connors’ successes and failures as he tries to deduce precisely what combination of deeds – good or bad – that’ll inevitably release him from his existential prison sentence. It’s a sometimes manic, sometimes funny, sometimes heart-wrenching construct; and the experience was so highly regarded that in 2006 it was inducted into the U.S.’s National Film Registry, that organization that attempts to preserve stories that have demonstrated some ongoing artistic merit.
Now, Good Luck only circumstantially aligns with Groundhog Day and isn’t – as some have suggested – is a variation on that theme. Yes, the story posits that its unnamed time-traveler has found himself trapped in a time loop not unlike Murray’s famous weatherman; but we – as the audience – aren’t taken on any ‘road movie’ through those experiences. At best, there might be some occasional glimpse which surfaces as one of Rockwell’s memories of those efforts; but, otherwise, his encounter unfolds as an entirely original concern. Like Murray, Rockwell’s intent is to finally set things right; but even when Good Luck concludes that hasn’t quite taken place, giving the feature a vastly different feel – more sobering, in fact – than its 1993 predecessor.
That’s not a complaint. It’s only a clarification for those thinking the pictures are two sides of the same coin. I strongly disagree, and I felt it necessary to explain.
Good Luck, Have Fun, Don’t Die (2025) was produced by 3 Arts Entertainment, Blind Wink Productions, Constantin Film, Robert Kulzer Productions, and WAM Films. According to a quick search of Google.com, the film is presently in wide theatrical release across the U.S. As for the technical specifications? While I’m no trained video expert and I viewed this one via streaming, I can still assure readers that the provided sights and sounds are exceptional: not unlike a fair number of genre entries, a few of the effects sequences might not be exactly ILM-quality but that’s because there’s an inherent charm kinda/sorta ‘baked in’ to a few comic bits. (In other words, they’re somewhat tongue-in-cheek, given the subject matter. Don’t overthink it.) Lastly, if you’re looking for special features? Alas, I viewed this one entirely via streaming, so there were no special features under consideration.
Strongly Recommended, but …
While this may not come to pass, my humble and learned critical opinion is that Good Luck, Have Fun, Don’t Die (2025) will most likely join that growing list of Science Fiction and Fantasy films that will fail to find an audience in its original theatrical run but most deservedly might find long life amongst a growing cult crowd that finds it entirely on their own somewhere down the road. Chiefly, methinks this is because its general idea – that of mixing a kinda/sorta time travel Comedy with satirical social commentary – rarely translates well for mass consumption and needs to percolate across the movie-going generations to be truly appreciated for what it accomplishes. Quirky. Original. Relevant (especially for today’s social media driven youth). Definitely worth a view even though it’s a bit overlong.
In the interests of fairness, I’m pleased to disclose that the fine folks at Briarcliff Entertainment provided me with complimentary streaming access to Good Luck, Have Fun, Don’t Die (2025) 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:
“A ‘Man From the Future’ arrives at a diner in Los Angeles where he must recruit the precise combination of disgruntled patrons to join him on a one-night quest to save the world from the terminal threat of a rogue artificial intelligence.”
The sad truth of genre entertainment is that many of the truly best Science Fiction, Fantasy, and Horror pictures don’t quite get the recognition they’re owed in their proper time and place.
Productions like 1982’s Blade Runner failed to produce significant ticket sales when it was originally slotted into theater schedules; but now – decades later – the film is regarded as damn near a cornerstone of Science Fiction storytelling. The same could be said of John Carpenter’s The Thing, another 1982 release that failed to inspire much passion with its theatrical outing but continues to earn fans and accolades each and every time its discovered (or re-discovered) since. 1990’s Tremors – a flick often regarded as a personal favorite to a great many genre fans – largely came-and-went from the multiplexes, but it’s release on home video spawned an entire B-Movie franchise that chugs and chugs onward like the little engine that could. Granted, this doesn’t happen for every entry to bears a passing resemblance to these kinds of stories, but it happens often enough in the realms of the Fantastic that it deserves being mentioned when well-made entries escape tickling society’s collective fancy in the here and now.
Such might be the eventual outcome to 2025’s Good Luck, Have Fun, Don’t Die. Directed by the critically-acclaimed Gore Verbinski from a story by Matthew Robinson (the screenwriter behind 2020’s overlooked Love And Monsters), the film stars the always-watchable Sam Rockwell in the role of ‘The Man From The Future’ – we’ll call him FutureMan going forward – as a soldier sent back in time to the point wherein specialists determined the birth of Artificial Intelligence set our world into a decades-long death spiral. Needing to have a small army of soldiers to essentially aid him in getting from Point A (a diner) to Point B (a suburban home a few blocks away) so that he can insert a flash drive of appropriate safety measures into the system to save mankind from its worst technological impulses. (Nothing but nothing is going to stop us from inventing A.I., don’t you know?)
Thankfully, Good Luck explores everything – its ideas, its construct, and its characters – with a humorous and often satiric tone. Verbinski’s film depicts the current generation of youth as iPhones-obsessed zombies who can’t part themselves from their smartphones to save a life, and it’s here wherein Robinson’s script becomes immediately relatable, especially for folks who might now exactly buy-in to the whole SciFi/Fantasy premise. Juxtaposing fantastical and fringe science (like time travel) against technology of the day is a tactic that rather subversively reminds skeptics to not overthink their biases: after all, yesterday’s Star Trek communicator was little more than today’s iPhone, separated only by a few years, so it isn’t entirely implausible to suggest that the invention of social media is just the first step toward the zombification of an entire generation. This is the territory in which Good Luck excels – especially in its first half – though the tale turns a bit more conventional (and maybe even mildly bloated) once FutureMan and his few survivors come face-to-face with the phantom menace in the final reel. The world both is and isn’t saved – another noteworthy distinction between what Good Luck does with the idea of time travel – but there’s still a resolution that suggests the best is yet to come. Maybe.
To his credit, Rockwell shines in the role, carrying the weight of the world on his shoulders in each and every scene. Dare I say this is perhaps the part he was born to play? As an actor, the guy manages the kind of comic intensity rarely seen any longer on the silver screen; and, personally, I think it’s a crying shame we haven’t seen the guy in vastly more comedies than he’s headlined. Verbinski and Robinson were smart in surrounding him with a talented ensemble – each with some part in this trip toward redemption – but I’m hesitant to say much more because I’d rather not spoil those surprises best learned on their own. Suffice it to say, Haley Lu Richardson’s Ingrid (aka Princess) is another delight, proving she’s a talent still evolving into something special when the right material presents itself.
For what it’s worth, I’ve read an incessant amount of online commentary comparing Good Luck to 1993’s Groundhog Day, so much so that I feel the need to sound-off on the issue.
For those of you who haven’t had the pleasure, Groundhog Day takes the overtly self-centered weatherman Phil Connors (Bill Murray) and imprisons him in a time-loop that forces him to relive a twenty-four-hour period over and over (and over!) again until he finally lives a day ‘getting it right.’ The joy of the picture is experiencing this pervasiveness of Connors’ successes and failures as he tries to deduce precisely what combination of deeds – good or bad – that’ll inevitably release him from his existential prison sentence. It’s a sometimes manic, sometimes funny, sometimes heart-wrenching construct; and the experience was so highly regarded that in 2006 it was inducted into the U.S.’s National Film Registry, that organization that attempts to preserve stories that have demonstrated some ongoing artistic merit.
Now, Good Luck only circumstantially aligns with Groundhog Day and isn’t – as some have suggested – is a variation on that theme. Yes, the story posits that its unnamed time-traveler has found himself trapped in a time loop not unlike Murray’s famous weatherman; but we – as the audience – aren’t taken on any ‘road movie’ through those experiences. At best, there might be some occasional glimpse which surfaces as one of Rockwell’s memories of those efforts; but, otherwise, his encounter unfolds as an entirely original concern. Like Murray, Rockwell’s intent is to finally set things right; but even when Good Luck concludes that hasn’t quite taken place, giving the feature a vastly different feel – more sobering, in fact – than its 1993 predecessor.
That’s not a complaint. It’s only a clarification for those thinking the pictures are two sides of the same coin. I strongly disagree, and I felt it necessary to explain.
Good Luck, Have Fun, Don’t Die (2025) was produced by 3 Arts Entertainment, Blind Wink Productions, Constantin Film, Robert Kulzer Productions, and WAM Films. According to a quick search of Google.com, the film is presently in wide theatrical release across the U.S. As for the technical specifications? While I’m no trained video expert and I viewed this one via streaming, I can still assure readers that the provided sights and sounds are exceptional: not unlike a fair number of genre entries, a few of the effects sequences might not be exactly ILM-quality but that’s because there’s an inherent charm kinda/sorta ‘baked in’ to a few comic bits. (In other words, they’re somewhat tongue-in-cheek, given the subject matter. Don’t overthink it.) Lastly, if you’re looking for special features? Alas, I viewed this one entirely via streaming, so there were no special features under consideration.
Strongly Recommended, but …
While this may not come to pass, my humble and learned critical opinion is that Good Luck, Have Fun, Don’t Die (2025) will most likely join that growing list of Science Fiction and Fantasy films that will fail to find an audience in its original theatrical run but most deservedly might find long life amongst a growing cult crowd that finds it entirely on their own somewhere down the road. Chiefly, methinks this is because its general idea – that of mixing a kinda/sorta time travel Comedy with satirical social commentary – rarely translates well for mass consumption and needs to percolate across the movie-going generations to be truly appreciated for what it accomplishes. Quirky. Original. Relevant (especially for today’s social media driven youth). Definitely worth a view even though it’s a bit overlong.
In the interests of fairness, I’m pleased to disclose that the fine folks at Briarcliff Entertainment provided me with complimentary streaming access to Good Luck, Have Fun, Don’t Die (2025) 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
site update
So many movies ... so little time ...
On this day in 1932 (in the U.S.), the big city of Middletown, New York played host for an exclusive theatrical premiere screening of Murders In The Rue Morgue. Directed by Robert Florey and based on the story from Egar Allan Poe, the film starred Bela Lugosi, Sidney Fox, Leon Ames, and others.
According to our friends at IMDB.com, here's the plot summary:
"A mad scientist seeks to mingle human blood with that of an ape, and resorts to kidnapping women for his experiments."
For the record:
-- EZ
On this day in 1932 (in the U.S.), the big city of Middletown, New York played host for an exclusive theatrical premiere screening of Murders In The Rue Morgue. Directed by Robert Florey and based on the story from Egar Allan Poe, the film starred Bela Lugosi, Sidney Fox, Leon Ames, and others.
According to our friends at IMDB.com, here's the plot summary:
"A mad scientist seeks to mingle human blood with that of an ape, and resorts to kidnapping women for his experiments."
For the record:
- At the 1932 Photoplay Awards (the industry citations that predated the Academy Awards), Murders In The Rue Morgue received praise in the category of 'Best Pictures Of The Month (for March).'
- At the 2006 Saturn Awards, Murders In The Rue Morgue took home top honors in the category of 'Best DVD Collection' when it was newly released as part of a set titled 'The Bela Lugosi Collection.'
-- EZ
- Published on
site update
So many movies ... so little time ...
On this day in 1992 (in the U.S.), The Eye Of Satan was first opened ... well ... opened as in 'opened' with its very first home video release. Directed by David Kent-Watson from a story by Cliff Twemlow, the film starred Twemlow alongside Ginette Gray, Max Beesley Snr, Brett Sinclair, and others.
According to our friends at IMDB.com, here's the plot summary:
"A hit-man is assigned to protect the daughter of a local gangster after her life is threatened by a rival organisation. When the hit-man is double-crossed by his employers he wreaks a violent supernatural revenge."
-- EZ
On this day in 1992 (in the U.S.), The Eye Of Satan was first opened ... well ... opened as in 'opened' with its very first home video release. Directed by David Kent-Watson from a story by Cliff Twemlow, the film starred Twemlow alongside Ginette Gray, Max Beesley Snr, Brett Sinclair, and others.
According to our friends at IMDB.com, here's the plot summary:
"A hit-man is assigned to protect the daughter of a local gangster after her life is threatened by a rival organisation. When the hit-man is double-crossed by his employers he wreaks a violent supernatural revenge."
-- EZ
- Published on
Believe it or not, the 1970’s were a strange and wondrous time for cinematic Science Fiction and Fantasy.
For those who missed it, the genre was evolving, almost at warp speed. The late 1960’s had shown the industry and its audience that there was a market for serious subjects within a category that had only years before been predicated on radioactively-enhanced insects, goofy spaceships soaring against obvious studio backdrops, and rubber-masked aliens invading Earth for whatever purpose. Gene Roddenberry’s Star Trek (1965-1968) showed that the classic morality play fit comfortably within the rubric of exploring strange new worlds. Stanley Kubrick’s 2001: A Space Odyssey (1968) proved that special effects and storytelling could be joined at the hip with big ideas and even bigger execution. And Twentieth Century Fox’s Planet Of The Apes (1968) served up themes both socially relevant and relatable in a construct that audiences readily embraced without being required to think too deeply about any of it.
It’s this foundation that pushed storytellers to wade even deeper into what would’ve only years earlier had been considered treacherous waters. 1971’s The Andromeda Strain melded meaty concepts – i.e. a spaceborne virus threatening mankind, cutting-edge science serving as our only potential salvation – into a picture that drew the attention of both the Academy Awards and the Hugo Awards, organizations that had previously only sparingly seen eye-to-eye. 1972’s Silent Running plumbed the depths of just how fragile our environment might be while examining the lengths one man might go to save it. And 1973’s Soylent Green became one of the bleakest Dystopian tales of theatrical record, pitting a lone New York City detective against a conspiracy covering up how far the global elite might go to maintain civil order.
It should come as no surprise that Michael Crichton’s Westworld (1973) came to life in this era blending science fact with reality. While some might suggest that the thriller is a bit of a narrative throwback to the days when SciFi and Fantasy resembled carnival rides more than they did college theses, there’s still no denying that writer/director Crichton had some serious things to say about our civilization’s growing dependency on technology while ignoring the fact that we, culturally, were also dragging our deep-seated weaknesses with us along for the ride. In the picture, he creates a veritable Disneyland where men and women could indulge in their sanest, sincerest, and sickest fantasies seemingly without consequence, only to have those ticket buyers eventually reminded that nothing (but nothing) in life ever comes for free. In fact, the price might be one’s mortal soul.
(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 robot malfunction creates havoc and terror for unsuspecting vacationers at a futuristic, adult-themed amusement park.”
Best buds Peter Martin (played by Richard Benjamin) and John Blane (James Brolin) are seeking an escape from their daily lives; and Westworld – a place where Blane has been before – certainly more than suffices. Instead of the usual diversions, Westworld – and its sister Delos environments of RomanWorld and MedievalWorld – grants vacationers the opportunity to indulge in pure Fantasy by transporting them – with new identities – to other times and other places. Once there, parkgoers have free reign to engage in whatever level of morality or debauchery they choose … with a bit of fun-spirited wickedness generally being allowed to rule the day. As gunslingers, Martin and Blane set their sights on gunplay, fisticuffs, and soiling more than a few of the lonesome doves who live and work upstairs in the city saloon.
Meanwhile … behind the curtain …
Delos Parks’ supervisor (Alan Oppenheimer) and his fellow lab-coated science nerds find themselves in the midst of a quandary: the robots have slowly begun breaking out of their regularly scheduled programming, showing signs suggesting that some computer virus may have given these automatons much more free will than was ever intended. One by one, the system failures begin to mount. When a fetching palace servant Daphne (Anne Randall) suddenly resists the lecherous carnal advances of a paying customer, the supervisor realizes that these malfunctions pose greater risk than first theorized. However, before he can convince his counterparts that all systems should be taken offline, chaos ensues when Westworld’s resident gunslinger (Yul Brynner) decides he’s lost one too many shootouts and attempts to extract vengeance on the nebbish Martin.
To Crichton’s credit (and genius), Westworld is arguably one of the most relatable SciFi-themed catastrophes ever brought to film; and his construct of having creations turn on the creator is a proven formula that he revisits again – in book format – with his 1990 novel “Jurassic Park.” (Yes, it was rather famously been adapted for the screen by Steven Spielberg in 1993.) Biblical parallels aside, we – as a species – remain imperfect; as such, damn near anything we create is going to bring these imperfections along, especially when we give them human (much less dinosaur) shape. Essentially, audiences likely go in with full knowledge that these animatronic inventions are little more than ticking time bombs waiting to explode; so there’s plenty of understandable tension in waiting patiently for Hell to break loose. It does, and – despite the fact that everyone knew it was coming – the results are stark, nonetheless.
Furthermore, Crichton deserves praise for serving up characters whose personalities are equally easy to access. Benjamin’s Martin is that awkward fellow we’ve all known at some point in our lives, the kind endlessly befriended by others because he’s no threat nor wishes harm upon his fellow man. In contrast, Brolin’s macho Blane looks the part of the typical screen hero: he bears chiseled good looks, speaks few words but keeps them full of confidence, and likely paired up with Martin in the outside world because he’s clearly no threat to his own masculinity. Together, they make a likable pair, not quite the embodiment of epic cowboys though both appear willing to indulge in one of their earliest boy fantasies. Of the two, Martin is the least superficial; and yet even he finds himself wrapped up in the world of make believe to the point of surrendering his own moral code when the lovely Arlette (Linda Gaye Scott) wants nothing more than an inconsequential ‘roll in the hay.’
While Westworld remains incredible lean in its running time, Crichton debatably indulges himself in one too many pratfalls not long after the film’s midpoint: Martin and Blane’s last night in merriment descends into a hellacious bar fight, an event that frankly grinds the otherwise thoughtful story to a halt on behalf of chaotic lunacy. Thematically, perhaps the writer/director wanted to show just how far off kilter the pursuit of personal paradise might take any person who purchases a ticket. While that’s all well and good, there’s no escaping the fact that the sequence stretches on far longer than necessary: well after the point has been made, our two leads are still portrayed symbolically as boys swinging from the rafters when we were all well aware long ago that boys just wanna have fun.
Westworld (1973) was produced by Metro-Goldwyn-Mayer. DVD distribution (for this particular release) has been handled by the fine folks at Arrow Films. As for the technical specifications? While I’m no trained video expert, I can still assure readers that this film both looks and sounds absolutely incredible: it’s definitely an upgrade that makes the flick worth seeing, especially for those who may have never had the privilege. Lastly, if you’re looking for special features? The disc boasts a good audio commentary (frankly, it’s a bit too off-topic for my tastes, exploring more of the MGM studio history than relates directly to the film) along with interviews, a fabulous critical essay, the pilot for the Beyond Westworld TV series, and a few other items. It’s a wonderful assortment, as usual with Arrow Films.
Strongly Recommended.
As a tentpole SciFi film, Westworld (1973) suffers in small walls by allowing its characters to give in a bit too much to their most juvenile pursuits: the barfight (while a necessary Western trope) is far too comedic to be taken seriously, and Benjamin’s Peter Martin is bit too puritanical at times to be considered authentic. Still, director Crichton rather efficiently keeps the picture moving so deftly most of the time that there’s little to no room for any of its trivial deficiencies to take root. Though obviously imperfect, the theme park world – with its secret passages and hidden scientists playing God over their creations – still resonates as a cautionary warning decades after it was conceived. “Be careful what you wish for,” it reminds viewers constantly, “or it, indeed, will be the death of you.” Unlike what Kubrick did with 2001 or Schaffner achieved with Apes, Crichton quietly opens the door to tomorrow in order to prove such mass-produced pomp and circumstance is ultimately as empty and unfulfilling as it is dangerous.
In the interests of fairness, I’m pleased to disclose that the fine folks at Arrow Films provided me with a complimentary Blu-ray copy of Westworld (1973) 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
For those who missed it, the genre was evolving, almost at warp speed. The late 1960’s had shown the industry and its audience that there was a market for serious subjects within a category that had only years before been predicated on radioactively-enhanced insects, goofy spaceships soaring against obvious studio backdrops, and rubber-masked aliens invading Earth for whatever purpose. Gene Roddenberry’s Star Trek (1965-1968) showed that the classic morality play fit comfortably within the rubric of exploring strange new worlds. Stanley Kubrick’s 2001: A Space Odyssey (1968) proved that special effects and storytelling could be joined at the hip with big ideas and even bigger execution. And Twentieth Century Fox’s Planet Of The Apes (1968) served up themes both socially relevant and relatable in a construct that audiences readily embraced without being required to think too deeply about any of it.
It’s this foundation that pushed storytellers to wade even deeper into what would’ve only years earlier had been considered treacherous waters. 1971’s The Andromeda Strain melded meaty concepts – i.e. a spaceborne virus threatening mankind, cutting-edge science serving as our only potential salvation – into a picture that drew the attention of both the Academy Awards and the Hugo Awards, organizations that had previously only sparingly seen eye-to-eye. 1972’s Silent Running plumbed the depths of just how fragile our environment might be while examining the lengths one man might go to save it. And 1973’s Soylent Green became one of the bleakest Dystopian tales of theatrical record, pitting a lone New York City detective against a conspiracy covering up how far the global elite might go to maintain civil order.
It should come as no surprise that Michael Crichton’s Westworld (1973) came to life in this era blending science fact with reality. While some might suggest that the thriller is a bit of a narrative throwback to the days when SciFi and Fantasy resembled carnival rides more than they did college theses, there’s still no denying that writer/director Crichton had some serious things to say about our civilization’s growing dependency on technology while ignoring the fact that we, culturally, were also dragging our deep-seated weaknesses with us along for the ride. In the picture, he creates a veritable Disneyland where men and women could indulge in their sanest, sincerest, and sickest fantasies seemingly without consequence, only to have those ticket buyers eventually reminded that nothing (but nothing) in life ever comes for free. In fact, the price might be one’s mortal soul.
(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 robot malfunction creates havoc and terror for unsuspecting vacationers at a futuristic, adult-themed amusement park.”
Best buds Peter Martin (played by Richard Benjamin) and John Blane (James Brolin) are seeking an escape from their daily lives; and Westworld – a place where Blane has been before – certainly more than suffices. Instead of the usual diversions, Westworld – and its sister Delos environments of RomanWorld and MedievalWorld – grants vacationers the opportunity to indulge in pure Fantasy by transporting them – with new identities – to other times and other places. Once there, parkgoers have free reign to engage in whatever level of morality or debauchery they choose … with a bit of fun-spirited wickedness generally being allowed to rule the day. As gunslingers, Martin and Blane set their sights on gunplay, fisticuffs, and soiling more than a few of the lonesome doves who live and work upstairs in the city saloon.
Meanwhile … behind the curtain …
Delos Parks’ supervisor (Alan Oppenheimer) and his fellow lab-coated science nerds find themselves in the midst of a quandary: the robots have slowly begun breaking out of their regularly scheduled programming, showing signs suggesting that some computer virus may have given these automatons much more free will than was ever intended. One by one, the system failures begin to mount. When a fetching palace servant Daphne (Anne Randall) suddenly resists the lecherous carnal advances of a paying customer, the supervisor realizes that these malfunctions pose greater risk than first theorized. However, before he can convince his counterparts that all systems should be taken offline, chaos ensues when Westworld’s resident gunslinger (Yul Brynner) decides he’s lost one too many shootouts and attempts to extract vengeance on the nebbish Martin.
To Crichton’s credit (and genius), Westworld is arguably one of the most relatable SciFi-themed catastrophes ever brought to film; and his construct of having creations turn on the creator is a proven formula that he revisits again – in book format – with his 1990 novel “Jurassic Park.” (Yes, it was rather famously been adapted for the screen by Steven Spielberg in 1993.) Biblical parallels aside, we – as a species – remain imperfect; as such, damn near anything we create is going to bring these imperfections along, especially when we give them human (much less dinosaur) shape. Essentially, audiences likely go in with full knowledge that these animatronic inventions are little more than ticking time bombs waiting to explode; so there’s plenty of understandable tension in waiting patiently for Hell to break loose. It does, and – despite the fact that everyone knew it was coming – the results are stark, nonetheless.
Furthermore, Crichton deserves praise for serving up characters whose personalities are equally easy to access. Benjamin’s Martin is that awkward fellow we’ve all known at some point in our lives, the kind endlessly befriended by others because he’s no threat nor wishes harm upon his fellow man. In contrast, Brolin’s macho Blane looks the part of the typical screen hero: he bears chiseled good looks, speaks few words but keeps them full of confidence, and likely paired up with Martin in the outside world because he’s clearly no threat to his own masculinity. Together, they make a likable pair, not quite the embodiment of epic cowboys though both appear willing to indulge in one of their earliest boy fantasies. Of the two, Martin is the least superficial; and yet even he finds himself wrapped up in the world of make believe to the point of surrendering his own moral code when the lovely Arlette (Linda Gaye Scott) wants nothing more than an inconsequential ‘roll in the hay.’
While Westworld remains incredible lean in its running time, Crichton debatably indulges himself in one too many pratfalls not long after the film’s midpoint: Martin and Blane’s last night in merriment descends into a hellacious bar fight, an event that frankly grinds the otherwise thoughtful story to a halt on behalf of chaotic lunacy. Thematically, perhaps the writer/director wanted to show just how far off kilter the pursuit of personal paradise might take any person who purchases a ticket. While that’s all well and good, there’s no escaping the fact that the sequence stretches on far longer than necessary: well after the point has been made, our two leads are still portrayed symbolically as boys swinging from the rafters when we were all well aware long ago that boys just wanna have fun.
Westworld (1973) was produced by Metro-Goldwyn-Mayer. DVD distribution (for this particular release) has been handled by the fine folks at Arrow Films. As for the technical specifications? While I’m no trained video expert, I can still assure readers that this film both looks and sounds absolutely incredible: it’s definitely an upgrade that makes the flick worth seeing, especially for those who may have never had the privilege. Lastly, if you’re looking for special features? The disc boasts a good audio commentary (frankly, it’s a bit too off-topic for my tastes, exploring more of the MGM studio history than relates directly to the film) along with interviews, a fabulous critical essay, the pilot for the Beyond Westworld TV series, and a few other items. It’s a wonderful assortment, as usual with Arrow Films.
Strongly Recommended.
As a tentpole SciFi film, Westworld (1973) suffers in small walls by allowing its characters to give in a bit too much to their most juvenile pursuits: the barfight (while a necessary Western trope) is far too comedic to be taken seriously, and Benjamin’s Peter Martin is bit too puritanical at times to be considered authentic. Still, director Crichton rather efficiently keeps the picture moving so deftly most of the time that there’s little to no room for any of its trivial deficiencies to take root. Though obviously imperfect, the theme park world – with its secret passages and hidden scientists playing God over their creations – still resonates as a cautionary warning decades after it was conceived. “Be careful what you wish for,” it reminds viewers constantly, “or it, indeed, will be the death of you.” Unlike what Kubrick did with 2001 or Schaffner achieved with Apes, Crichton quietly opens the door to tomorrow in order to prove such mass-produced pomp and circumstance is ultimately as empty and unfulfilling as it is dangerous.
In the interests of fairness, I’m pleased to disclose that the fine folks at Arrow Films provided me with a complimentary Blu-ray copy of Westworld (1973) 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
Ach ... another one gone too soon.
I realize that to a great many readers -- especially newer and/or younger ones -- that a name like Tom Noonan's might not be all that recognizable. Certainly, the actor hasn't exactly been blazing a trail on screens big and small so far as work goes; but to those who might not know his name I'd encourage you to check out his full IMDB.com profile today. The guy was a bit of a legend in Science Fiction, Fantasy, and (especially) Horror with some hugely impressive work turned in almost every time he was called into service. And while you're there, make sure to check out his many award wins at festivals and the like as well. His work was special, to say the least, and here's hoping that the guy gets his due amongst fandom with news of his passing reaching the Information Superhighway today.
As for me? Well, the guy's always been on my radar, all the way back since the days when I remember kinda/sorta discovering what he could do with such a small role aboard an otherwise passable episode of the rarely-celebrated Tales From The Darkside (1983-1988) anthology show. He went on to have a good number of gigs in such celebrated projects as The Monster Squad (1987), RoboCop 2 (1990), and The Last Action Hero (1993), but -- for whatever cruel reason -- he never truly found any major breakout success amongst audiences. Alas, some actors are just that way -- they show up, do big things, and yet notoriety kinda/sorta slips away -- but the guy continued hitting a stride when the cameras were rolling.
As I recall, he did turn in some equally impressive work aboard Syfy's 12 Monkeys during its run on the network; and -- as even IMDB.com asserts -- that was probably his last truly big thing. I know I hadn't seen him in anything since, but his bio on the site suggests that perhaps he turned away from the camera and instead invested his time in stage plays. There's an indication that he also toiled away at fiction, something I'd never known about or come across before. Perhaps he wanted to spend what time he felt he had left leaving behind some indications about what he thought about the world at large, as some talented folks have been known to do once they realize that there are fewer days ahead than there are behind.
Our warmest prayers are extended to the family, friends, and fans of Tom Noonan.
May he rest in peace.
-- EZ
I realize that to a great many readers -- especially newer and/or younger ones -- that a name like Tom Noonan's might not be all that recognizable. Certainly, the actor hasn't exactly been blazing a trail on screens big and small so far as work goes; but to those who might not know his name I'd encourage you to check out his full IMDB.com profile today. The guy was a bit of a legend in Science Fiction, Fantasy, and (especially) Horror with some hugely impressive work turned in almost every time he was called into service. And while you're there, make sure to check out his many award wins at festivals and the like as well. His work was special, to say the least, and here's hoping that the guy gets his due amongst fandom with news of his passing reaching the Information Superhighway today.
As for me? Well, the guy's always been on my radar, all the way back since the days when I remember kinda/sorta discovering what he could do with such a small role aboard an otherwise passable episode of the rarely-celebrated Tales From The Darkside (1983-1988) anthology show. He went on to have a good number of gigs in such celebrated projects as The Monster Squad (1987), RoboCop 2 (1990), and The Last Action Hero (1993), but -- for whatever cruel reason -- he never truly found any major breakout success amongst audiences. Alas, some actors are just that way -- they show up, do big things, and yet notoriety kinda/sorta slips away -- but the guy continued hitting a stride when the cameras were rolling.
As I recall, he did turn in some equally impressive work aboard Syfy's 12 Monkeys during its run on the network; and -- as even IMDB.com asserts -- that was probably his last truly big thing. I know I hadn't seen him in anything since, but his bio on the site suggests that perhaps he turned away from the camera and instead invested his time in stage plays. There's an indication that he also toiled away at fiction, something I'd never known about or come across before. Perhaps he wanted to spend what time he felt he had left leaving behind some indications about what he thought about the world at large, as some talented folks have been known to do once they realize that there are fewer days ahead than there are behind.
Our warmest prayers are extended to the family, friends, and fans of Tom Noonan.
May he rest in peace.
-- EZ
- Published on
press release
Jeremy Schuetze Goes to a Cabin in the Woods
with Found Footage Nightmare
Anacoreta
Starring Schuetze, Antonia Thomas, & Matt Visser
Streaming on Digital HD February 24th
Los Angeles, CA -Filmhub has announced the official US digital release of Jeremy Schuetze's found footage feature Anacoreta. Following a festival run and debut in Canada, Anacoreta debuts on digital platforms February 24 in the US. Anacoreta screened at the Heartland International Film Festival, where it won Best Horror, and the Manchester Film Festival, where the team took home Best International Feature.
Anacoreta stars Antonia Thomas (The Good Doctor, Lovesick), Jeremy Schuetze (The Man in the High Castle, Jennifer's Body), co-writer Matt Visser (Fellow Travelers, Woman of the Hour), and Jesse Stanley (Van Helsing).
Beginning February 24, audiences across the US will be able to rent or own Anacoreta on Digital HD, including Apple TV, Prime Video, and Fandango at Home.
Longtime fans of the genre, Schuetze and Visser leaned into the tropes of found footage and isolation in the woods, with their self-named characters headed into the wilderness to make a single-camera film, only to find chaos and death.
A group of friends travel for a weekend away to an isolated cabin in the woods to shoot an experimental horror movie. Slowly the film begins to unravel, and we see the true monster appear from the shadows.
Anacoreta stars Antonia Thomas (The Good Doctor, Lovesick), Jeremy Schuetze (The Man in the High Castle, Jennifer's Body), co-writer Matt Visser (Fellow Travelers, Woman of the Hour), and Jesse Stanley (Van Helsing).
Beginning February 24, audiences across the US will be able to rent or own Anacoreta on Digital HD, including Apple TV, Prime Video, and Fandango at Home.
Longtime fans of the genre, Schuetze and Visser leaned into the tropes of found footage and isolation in the woods, with their self-named characters headed into the wilderness to make a single-camera film, only to find chaos and death.
A group of friends travel for a weekend away to an isolated cabin in the woods to shoot an experimental horror movie. Slowly the film begins to unravel, and we see the true monster appear from the shadows.
- Published on
(NOTE: The following review will contain minor spoilers necessary solely for the discussion of plot and/or characters. If you’re the kind 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 series of mysterious and savage murders plague an area of remote wilderness known for its insidious past.”
With that plot description, therein lies the problem.
2024’s The Stickman’s Hollow joins that unfortunately growing list of feature films that clearly had more going for it behind-the-scenes – perhaps even directly on the drawing board – than writer/director Jack Cox was able to squeeze into his otherwise efficient 85-minute running time. While that isn’t a complaint directly, it’s still the confession of a frustration I have with flicks that subtly hint at more backstory – to characters, to places, to situations, etc. – than producers are able to fit up on the silver screen. There’s no way anyone watching can miss the reality that Stickman’s Hollow – this only modestly scenic backwoods locale that attracts fisherman, campers, and hikers alike – is supposed to be suffused with some dark, dangerous, and maybe even strangely transcendental local legend … but we’re never quite told what it is.
Now, some could argue that this is entirely by design.
After all, why give the audience everything they need to know in order to appreciate the atmosphere of heightening malevolence when what really matters are the characters we take us on the twisting journey into what might be one of our greater nightmares, that of getting lost in the woods and being hunted? If I remember correctly, the writers behind ABC TV’s popular conspiracy serial Lost (2004-2010) tried to erect the same defense when so many in their audience announced displeasure over the way all of the show’s mysteries were left unsolved in its final season. According to them (and I’m paraphrasing), “the mysteries never mattered as the people who confronted them.” While I can understand and appreciate those sentiments, I’ve always been of the mindset that puzzle boxes must have a solution – good, bad, or ugly – because otherwise they serve no purpose. Similarly, Hollow needed a bit more substance if Cox and company wanted it to be taken as something greater than just a scary picture. (Yes, it is scary, so kudos for getting that right!)
Additionally, I’ll give the film kudos for clearly trying to be more than the sum of its parts.
Hollow unfolds cleverly over the course of four distinct chapters told in a chronology that adds depth to what appeared to be little more than your garden variety ‘lost in the woods’ yarn. Initially, viewers follow the typical American family on a weekender in the forest – mom and dad are teaching their son Oliver (Alexander Brophy) how to live off the land – only to be constantly plagued with suggestions that these deep groves are … well … troubled. It doesn’t take too long for the narrative to shift – a priest is on a mission to perform an unexplainable exorcism, something that mysteriously links to his own distant past – and we realize that there’s far more here than just what meets the eye. Like any good Folk Horror, Hollow sets up just enough pieces to put everything into motion; but as the supporting chapters slowly suggest this little grim potboiler might be nothing more than a bout of demonic possession gone about as wrong as was humanly possible. That plot element alone kinda/sorta spoils (or, at least, softens) some of what Cox’s story established earlier – what with some the enigmatic sounds, the ominous warning from a grizzled townie, the veritable maze of fallen trees and twisting branches, etc. – leaving hungry viewers perhaps a bit confused over what truly went down in this neck of the country and why. And how.
Still, I’d be remiss if I failed to point out that – as a ‘found footage film’ (which I know a great portion of society loathes) – Hollow is about as efficiently and expertly assembled as any low-budget chiller could be. At times, Cox manages to squeeze each and every location into the proper shape: his woodlands open rather plainly – so much so that I wondered myself what all the fuss could possibly be about – only then to evolve into this nightmare labyrinth in the last chapter wherein Alice (Ely Jackson) and Curtis (Thomas Cadrot) find themselves separated and ultimately trapped by some spectral entity that has lured them to their potential downfall. Everything builds vividly across the whole story – especially the stakes – even though it all comes to a bald head (snicker snicker) with an awful lot of questions unanswered.
The Stickman’s Hollow (2024) was produced by Illusion Lake Entertainment. DVD distribution (for this particular release) has been coordinated by the fine folks at Black Mandala and Leomark Studios. As for the technical specifications? While I’m no trained video expert, I can still assure readers that the film boasts some high-quality sights and sounds, though I’ll also point out that the post-production audio trickery enhancing the possession victim’s voice could’ve used some fine-tuning. Lastly, if you’re looking for special features? Alas, this is a bare bones release (snicker snicker), and there isn’t a one on here. A big miss as I would’ve loved knowing a bit more about the production.
Recommended, but …
I know, I know, I know: I’m one of the last internet hold-outs as a critic who enjoys the occasional ‘found footage flick,’ and – on that level – I’ll admit to having a good deal of fun with The Stickman’s Hollow. Thankfully, writer/director Cox avoided a great deal of the usual herky-jerky camera work – there’s some but it’s very minor – and instead allows these interconnected separate chapters to spin a modestly elaborate web. Now, it isn’t without it’s frustrations – the script alludes to more background than we ever get with the Hollow, stripping it to some degree of its true Folk Horror potential in favor of creepiness and jump scares – but, nonetheless, it’s far more well made than so many other ‘found footage,’ so I find it easy to give it a solid thumbs up.
In the interests of fairness, I’m pleased to disclose that the fine folks at Black Mandala (via Allied Vaughn) provided me with a complimentary Blu-ray of The Stickman’s Hollow (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
From the film’s IMDB.com page citation:
“A series of mysterious and savage murders plague an area of remote wilderness known for its insidious past.”
With that plot description, therein lies the problem.
2024’s The Stickman’s Hollow joins that unfortunately growing list of feature films that clearly had more going for it behind-the-scenes – perhaps even directly on the drawing board – than writer/director Jack Cox was able to squeeze into his otherwise efficient 85-minute running time. While that isn’t a complaint directly, it’s still the confession of a frustration I have with flicks that subtly hint at more backstory – to characters, to places, to situations, etc. – than producers are able to fit up on the silver screen. There’s no way anyone watching can miss the reality that Stickman’s Hollow – this only modestly scenic backwoods locale that attracts fisherman, campers, and hikers alike – is supposed to be suffused with some dark, dangerous, and maybe even strangely transcendental local legend … but we’re never quite told what it is.
Now, some could argue that this is entirely by design.
After all, why give the audience everything they need to know in order to appreciate the atmosphere of heightening malevolence when what really matters are the characters we take us on the twisting journey into what might be one of our greater nightmares, that of getting lost in the woods and being hunted? If I remember correctly, the writers behind ABC TV’s popular conspiracy serial Lost (2004-2010) tried to erect the same defense when so many in their audience announced displeasure over the way all of the show’s mysteries were left unsolved in its final season. According to them (and I’m paraphrasing), “the mysteries never mattered as the people who confronted them.” While I can understand and appreciate those sentiments, I’ve always been of the mindset that puzzle boxes must have a solution – good, bad, or ugly – because otherwise they serve no purpose. Similarly, Hollow needed a bit more substance if Cox and company wanted it to be taken as something greater than just a scary picture. (Yes, it is scary, so kudos for getting that right!)
Additionally, I’ll give the film kudos for clearly trying to be more than the sum of its parts.
Hollow unfolds cleverly over the course of four distinct chapters told in a chronology that adds depth to what appeared to be little more than your garden variety ‘lost in the woods’ yarn. Initially, viewers follow the typical American family on a weekender in the forest – mom and dad are teaching their son Oliver (Alexander Brophy) how to live off the land – only to be constantly plagued with suggestions that these deep groves are … well … troubled. It doesn’t take too long for the narrative to shift – a priest is on a mission to perform an unexplainable exorcism, something that mysteriously links to his own distant past – and we realize that there’s far more here than just what meets the eye. Like any good Folk Horror, Hollow sets up just enough pieces to put everything into motion; but as the supporting chapters slowly suggest this little grim potboiler might be nothing more than a bout of demonic possession gone about as wrong as was humanly possible. That plot element alone kinda/sorta spoils (or, at least, softens) some of what Cox’s story established earlier – what with some the enigmatic sounds, the ominous warning from a grizzled townie, the veritable maze of fallen trees and twisting branches, etc. – leaving hungry viewers perhaps a bit confused over what truly went down in this neck of the country and why. And how.
Still, I’d be remiss if I failed to point out that – as a ‘found footage film’ (which I know a great portion of society loathes) – Hollow is about as efficiently and expertly assembled as any low-budget chiller could be. At times, Cox manages to squeeze each and every location into the proper shape: his woodlands open rather plainly – so much so that I wondered myself what all the fuss could possibly be about – only then to evolve into this nightmare labyrinth in the last chapter wherein Alice (Ely Jackson) and Curtis (Thomas Cadrot) find themselves separated and ultimately trapped by some spectral entity that has lured them to their potential downfall. Everything builds vividly across the whole story – especially the stakes – even though it all comes to a bald head (snicker snicker) with an awful lot of questions unanswered.
The Stickman’s Hollow (2024) was produced by Illusion Lake Entertainment. DVD distribution (for this particular release) has been coordinated by the fine folks at Black Mandala and Leomark Studios. As for the technical specifications? While I’m no trained video expert, I can still assure readers that the film boasts some high-quality sights and sounds, though I’ll also point out that the post-production audio trickery enhancing the possession victim’s voice could’ve used some fine-tuning. Lastly, if you’re looking for special features? Alas, this is a bare bones release (snicker snicker), and there isn’t a one on here. A big miss as I would’ve loved knowing a bit more about the production.
Recommended, but …
I know, I know, I know: I’m one of the last internet hold-outs as a critic who enjoys the occasional ‘found footage flick,’ and – on that level – I’ll admit to having a good deal of fun with The Stickman’s Hollow. Thankfully, writer/director Cox avoided a great deal of the usual herky-jerky camera work – there’s some but it’s very minor – and instead allows these interconnected separate chapters to spin a modestly elaborate web. Now, it isn’t without it’s frustrations – the script alludes to more background than we ever get with the Hollow, stripping it to some degree of its true Folk Horror potential in favor of creepiness and jump scares – but, nonetheless, it’s far more well made than so many other ‘found footage,’ so I find it easy to give it a solid thumbs up.
In the interests of fairness, I’m pleased to disclose that the fine folks at Black Mandala (via Allied Vaughn) provided me with a complimentary Blu-ray of The Stickman’s Hollow (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
- Published on
site update
So many movies ... so little time ...
On this day in 2024 (in Germany), audiences in attendance of the Berlin International Film Festival were treated to the theatrical premiere of Meanwhile On Earth. Written and directed by Jérémy Clapin, the film starred Megan Northam, Dimitri Doré, Sébastien Pouderoux, and others.
According to our friends at IMDB.com, here's the plot summary:
"A 23-year-old girl is contacted by an unknown life form claiming to be able to bring her older brother, who disappeared during a space mission, safely back to Earth."
For the record:
To the film's credit, Meanwhile On Earth earned a wee bit of praise from screenings on the film festival circuit.
ExtraExtra Alert:
In late 2024, I received complimentary streaming access to Meanwhile On Earth (2024) from a distributor in exchange for review coverage on SciFiHistory.Net. Interested readers can find my review right here.
-- EZ
On this day in 2024 (in Germany), audiences in attendance of the Berlin International Film Festival were treated to the theatrical premiere of Meanwhile On Earth. Written and directed by Jérémy Clapin, the film starred Megan Northam, Dimitri Doré, Sébastien Pouderoux, and others.
According to our friends at IMDB.com, here's the plot summary:
"A 23-year-old girl is contacted by an unknown life form claiming to be able to bring her older brother, who disappeared during a space mission, safely back to Earth."
For the record:
To the film's credit, Meanwhile On Earth earned a wee bit of praise from screenings on the film festival circuit.
ExtraExtra Alert:
In late 2024, I received complimentary streaming access to Meanwhile On Earth (2024) from a distributor in exchange for review coverage on SciFiHistory.Net. Interested readers can find my review right here.
-- EZ
- Published on
site update
So many movies ... so little time ...
On this day in 1999 (in Germany), audiences in attendance of the Berlin International Film Festival were treated to the big screen theatrical debut of Existenz. Written and directed by David Cronenberg, the film starred Jude Law, Jennifer Jason Leigh, Ian Holm, and others.
According to our friends at IMDB.com, here's the plot summary:
"A game designer on the run from assassins must play her latest virtual reality creation with a marketing trainee to determine if the game has been damaged."
For the record:
-- EZ
On this day in 1999 (in Germany), audiences in attendance of the Berlin International Film Festival were treated to the big screen theatrical debut of Existenz. Written and directed by David Cronenberg, the film starred Jude Law, Jennifer Jason Leigh, Ian Holm, and others.
According to our friends at IMDB.com, here's the plot summary:
"A game designer on the run from assassins must play her latest virtual reality creation with a marketing trainee to determine if the game has been damaged."
For the record:
- At the 2000 Saturn Awards, Existenz received a nomination in the category of 'Best Science Fiction Film.'
- At the 2000 Fangoria Chainsaw Awards, the film received nominations in the categories of 'Best Make-Up / Creature FX,' 'Best Score,' 'Best Screenplay,' 'Best Actress,' and 'Best Wide Release Film.'
-- EZ
- Published on
site update
So many movies ... so little time ...
On this day in 2024 (in Germany), audiences in attendance of the Berlin International Film Festival were treated to the theatrical launch of Exhuma. Written and directed by Jang Jae-hyun, the film starred Choi Min-sik, Kim Go-eun, Yoo Hae-jin, and others.
According to our friends at IMDB.com, here's the plot summary:
"The process of excavating an ominous grave unleashes dreadful consequences buried underneath."
For the record:
To the film's credit, Exhuma earned a good amount of praise from screenings on the film festival circuit.
ExtraExtra Alert:
In late 2024, I received a complimentary Blu-ray of Exhuma (2024) from a distributor in exchange for review coverage on SciFiHistory.Net. Interested readers can find my review right here.
-- EZ
On this day in 2024 (in Germany), audiences in attendance of the Berlin International Film Festival were treated to the theatrical launch of Exhuma. Written and directed by Jang Jae-hyun, the film starred Choi Min-sik, Kim Go-eun, Yoo Hae-jin, and others.
According to our friends at IMDB.com, here's the plot summary:
"The process of excavating an ominous grave unleashes dreadful consequences buried underneath."
For the record:
To the film's credit, Exhuma earned a good amount of praise from screenings on the film festival circuit.
ExtraExtra Alert:
In late 2024, I received a complimentary Blu-ray of Exhuma (2024) from a distributor in exchange for review coverage on SciFiHistory.Net. Interested readers can find my review right here.
-- EZ