- Published on
site update
So many movies ... so little time ...
On this day in the United States of America all the way back in the year 1984, Iceman enjoyed its first release when it was screened exclusively for audiences of the USA Film Festival. (FYI: its full U.S. theatrical release would follow about two weeks later.)
Directed by Fred Schepisi, the script shows attributed to Chip Proser and John Drimmer. The film starred John Lone, Timothy Hutton, Lindsay Crouse, Josef Sommer, David Strathairn, Philip Akin, Danny Glover, Amelia Hall, Richard Monette, James Tolkan, and others.
According to our friends at IMDB.com, here's the plot summary:
"An anthropologist who is part of an arctic exploration team discovers the body of a prehistoric Neanderthal man who is subsequently resuscitated. The researcher must then decide what to do with the prehistoric man and he finds himself defending the man from those that want to dissect him in the name of science."
Interestingly enough, I do remember seeing this one back in the day; and I distinctly remember being quite moved by it. Lone's performance as the somewhat reanimated caveman was particularly impressive, and Hutton -- as the scientist who befriends the Neanderthal -- was also very solid. I can also recall being a bit disappointed by the somewhat predictable finale: it isn't as if there was a great deal they could do with the story -- ultimately one was to wonder how possible it would be to introduce a man of limited means to a whole new world of tomorrow, and that's pretty much where they went with it. Still, I'd argue that if a flick deserves to be rediscovered for modern audiences then Iceman is something deserving of another look.
-- EZ
On this day in the United States of America all the way back in the year 1984, Iceman enjoyed its first release when it was screened exclusively for audiences of the USA Film Festival. (FYI: its full U.S. theatrical release would follow about two weeks later.)
Directed by Fred Schepisi, the script shows attributed to Chip Proser and John Drimmer. The film starred John Lone, Timothy Hutton, Lindsay Crouse, Josef Sommer, David Strathairn, Philip Akin, Danny Glover, Amelia Hall, Richard Monette, James Tolkan, and others.
According to our friends at IMDB.com, here's the plot summary:
"An anthropologist who is part of an arctic exploration team discovers the body of a prehistoric Neanderthal man who is subsequently resuscitated. The researcher must then decide what to do with the prehistoric man and he finds himself defending the man from those that want to dissect him in the name of science."
Interestingly enough, I do remember seeing this one back in the day; and I distinctly remember being quite moved by it. Lone's performance as the somewhat reanimated caveman was particularly impressive, and Hutton -- as the scientist who befriends the Neanderthal -- was also very solid. I can also recall being a bit disappointed by the somewhat predictable finale: it isn't as if there was a great deal they could do with the story -- ultimately one was to wonder how possible it would be to introduce a man of limited means to a whole new world of tomorrow, and that's pretty much where they went with it. Still, I'd argue that if a flick deserves to be rediscovered for modern audiences then Iceman is something deserving of another look.
-- EZ
- Published on
site update
So many movies ... so little time ...
On this day in the United States of America all the way back in the year 1999, a little something-something titled Beowulf enjoyed a limited theatrical run domestically. I've no way of knowing just how far and wide this one played, but methinks it likely wasn't but a few theaters at best. That tends to happen with these smaller releases -- perhaps they had some contractual agreement to play on screens, and that's all that was accomplish -- but we'll have to take IMDB.com's word that it did his the multiplexes for a brief period.
Directed by Graham Baker (who also directed 1988's Cult/SciFi gem Alien Nation), the script shows attributed to "Anonymous," Mark Leahy, and David Chappe. (Like all of you, I'm assuming this all must tie-in with the Old English legend of the heroic warrior who slays beasts anyway.) Amongst its cast were such names of Christopher Lambert, Rhona Mitra, Oliver Cotton, Gotz Otto, Charles Robinson, Brent Jefferson Lowe, Patricia Velasquez, Roger Sloman, Layla Roberts, and others.
According to our friends at IMDB.com, here's the plot summary:
"This post-apocalyptic future story is based on the 8th century Saxon epic poem about the knight who battled a monster in a medieval castle. In this story, Beowulf is a wanderer who learns about a man-eating creature called Grendel which comes in the night to devour warriors trapped at the Outpost. The Outpost is ruled by Hrothgar. He has a daughter, whose husband may have been murdered by the Outpost's master of arms."
-- EZ
On this day in the United States of America all the way back in the year 1999, a little something-something titled Beowulf enjoyed a limited theatrical run domestically. I've no way of knowing just how far and wide this one played, but methinks it likely wasn't but a few theaters at best. That tends to happen with these smaller releases -- perhaps they had some contractual agreement to play on screens, and that's all that was accomplish -- but we'll have to take IMDB.com's word that it did his the multiplexes for a brief period.
Directed by Graham Baker (who also directed 1988's Cult/SciFi gem Alien Nation), the script shows attributed to "Anonymous," Mark Leahy, and David Chappe. (Like all of you, I'm assuming this all must tie-in with the Old English legend of the heroic warrior who slays beasts anyway.) Amongst its cast were such names of Christopher Lambert, Rhona Mitra, Oliver Cotton, Gotz Otto, Charles Robinson, Brent Jefferson Lowe, Patricia Velasquez, Roger Sloman, Layla Roberts, and others.
According to our friends at IMDB.com, here's the plot summary:
"This post-apocalyptic future story is based on the 8th century Saxon epic poem about the knight who battled a monster in a medieval castle. In this story, Beowulf is a wanderer who learns about a man-eating creature called Grendel which comes in the night to devour warriors trapped at the Outpost. The Outpost is ruled by Hrothgar. He has a daughter, whose husband may have been murdered by the Outpost's master of arms."
-- EZ
- Published on
in memoriam
Ach ... this one hurts, folks.
While he certainly hasn't been part of any major production in some time, Richard Chamberlain was the kind of talent that was all over the big and small screen in the days of my youth. Actually, I can remember quite a few of his TV appearances -- major miniseries from the 1970's and early 1980's -- and even a few of his guest stops. He was the epitome of the big star for that bygone era, knowing just how to handle himself in just about anything that came along, be it Drama, Action, and maybe even a bit of tongue-in-cheek comedy.
No, no, and no: he wasn't exactly what one might call a big genre star. Indeed, some of what he did falls squarely into the realms of the Fantastic -- with a bit of stretching on my part, which I'm apt to do for some of my favorites. Let me give you a rundown from my glance over at IMDB.com this afternoon.
Because I've always loved The Three Musketeers (the book and many adaptations), I'll give it the proper shout here. The 1973 incarnation from director Richard Lester is, arguably, one of the most celebrated; and Chamberlain definitely did the character of Aramis well. He returned for the sequel in 1974 -- The Four Musketeers: Milady's Revenge -- and that was all I really have to say about that.
In 1974, he ventured into the successful world of the big budget theatrical disaster series of films -- many of which were really finding their place in filmdom -- with a solid role aboard Irwin Allen's The Towering Inferno.
In 1977, his first authentic Fantasy gig came a'knocking; and the actor headlined The Last Wave for acclaimed director Peter Weir. Honestly, I can't say much about this -- I believe I watched this on pay cable back in the day, but I don't recall the specifics -- and yet I do know that it was the kind of thing that racked up some awards mentions during that obligatory season.
In 1978, he teamed up again with writer/director Irwin Allen for a big part in the storyteller's Ecological Horror thriller The Swarm for Warner Bros. I'm not certain if this was the first motion picture to cast those dreaded killer bees as the central villain -- there were a few from this time frame that had insects turning on mankind -- but I can say it isn't exactly fondly remembered. A bit of a stinker, from what I've read.
The success of the Indiana Jones films -- chiefly Raiders Of The Lost Ark (1981) and Indiana Jones And The Temple Of Doom (1984) -- had major studios looking into what like-minded fare they could pony up for a chance at box office fortune and glory. So in 1985 the Cannon Group resurrected the character of Allan Quatermain for the silver screen -- from the H. Rider Haggard books -- and King Solomon's Mines gave Chamberlain the chance to play a somewhat suave action hero for audiences. While these were cheesier than the Raiders features, there was still enough box office to go around, and the sequel -- Allan Quatermain And The Lost City Of Gold -- was greenlit, though it performed poorly.
Alas, none of us lasts forever; and word reached the World Wide Web today of the much-praised actor's passing. As I've tried to be clear, you young folks likely haven't heard much of his name; but rest assured he was quite a sensation for your parents and grandparents in entertainment's past.
Our warmest prayers are extended to the family, friends, and fans of Richard Chamberlain.
May he rest in peace ...
-- EZ
While he certainly hasn't been part of any major production in some time, Richard Chamberlain was the kind of talent that was all over the big and small screen in the days of my youth. Actually, I can remember quite a few of his TV appearances -- major miniseries from the 1970's and early 1980's -- and even a few of his guest stops. He was the epitome of the big star for that bygone era, knowing just how to handle himself in just about anything that came along, be it Drama, Action, and maybe even a bit of tongue-in-cheek comedy.
No, no, and no: he wasn't exactly what one might call a big genre star. Indeed, some of what he did falls squarely into the realms of the Fantastic -- with a bit of stretching on my part, which I'm apt to do for some of my favorites. Let me give you a rundown from my glance over at IMDB.com this afternoon.
Because I've always loved The Three Musketeers (the book and many adaptations), I'll give it the proper shout here. The 1973 incarnation from director Richard Lester is, arguably, one of the most celebrated; and Chamberlain definitely did the character of Aramis well. He returned for the sequel in 1974 -- The Four Musketeers: Milady's Revenge -- and that was all I really have to say about that.
In 1974, he ventured into the successful world of the big budget theatrical disaster series of films -- many of which were really finding their place in filmdom -- with a solid role aboard Irwin Allen's The Towering Inferno.
In 1977, his first authentic Fantasy gig came a'knocking; and the actor headlined The Last Wave for acclaimed director Peter Weir. Honestly, I can't say much about this -- I believe I watched this on pay cable back in the day, but I don't recall the specifics -- and yet I do know that it was the kind of thing that racked up some awards mentions during that obligatory season.
In 1978, he teamed up again with writer/director Irwin Allen for a big part in the storyteller's Ecological Horror thriller The Swarm for Warner Bros. I'm not certain if this was the first motion picture to cast those dreaded killer bees as the central villain -- there were a few from this time frame that had insects turning on mankind -- but I can say it isn't exactly fondly remembered. A bit of a stinker, from what I've read.
The success of the Indiana Jones films -- chiefly Raiders Of The Lost Ark (1981) and Indiana Jones And The Temple Of Doom (1984) -- had major studios looking into what like-minded fare they could pony up for a chance at box office fortune and glory. So in 1985 the Cannon Group resurrected the character of Allan Quatermain for the silver screen -- from the H. Rider Haggard books -- and King Solomon's Mines gave Chamberlain the chance to play a somewhat suave action hero for audiences. While these were cheesier than the Raiders features, there was still enough box office to go around, and the sequel -- Allan Quatermain And The Lost City Of Gold -- was greenlit, though it performed poorly.
Alas, none of us lasts forever; and word reached the World Wide Web today of the much-praised actor's passing. As I've tried to be clear, you young folks likely haven't heard much of his name; but rest assured he was quite a sensation for your parents and grandparents in entertainment's past.
Our warmest prayers are extended to the family, friends, and fans of Richard Chamberlain.
May he rest in peace ...
-- EZ
- Published on
In memoriam
From IMDB.com (with minor edits):
A powerful screen presence, Richard Norton wins the applause of international audiences with his engaging ability to play either the hero or the heavy. Rare versatility and focused work ethic have enabled him to build an expanding library of almost 100 film and television titles. The disciplines that brought Norton success originated in his hometown of Croydon, Australia, and his early fascination with martial arts.
By age 17 he was a karate black belt working security for nightclubs and serving as chief instructor to 500 karate schools nationwide. He landed a job as bodyguard to The Rolling Stones during the band's Australian tour and experienced his first brush with the demands of global celebrity. Norton trained with Mick Jagger in 4:00 a.m. workouts after concerts.
His competency attracted a dazzling roster of other rock star clientèle including James Taylor, ABBA, Fleetwood Mac, David Bowie and Linda Ronstadt, who invited him to California as her bodyguard. Before Aussies invaded Hollywood in posses, Norton ventured there alone. A friendship with Chuck Norris brought him work in motion pictures. Norris cast Norton as the lethal Kyo, a masked ninja, in The Octagon (1980), and their grueling final combat endures as a classic cinematic fight scene. Director Robert Clouse chose Norton to be one of the ensemble heroes in Force: Five (1981), an international hit, and the young martial artist's career in movies took off. His reputation for stellar performances emerged largely from high-energy Hong Kong films directed by Sammo Kam-Bo Hung and starring Jackie Chan in the mid-'80s. Muscular charisma made Norton the perfect Anglo bad boy for Twinkle Twinkle Lucky Stars (1985) and Millionaires' Express (1986).
Taking the hits of his screen adversaries in those films earned Norton more Hong Kong work and, notably, Chan's abiding respect. Richard calls Jackie "the maestro of martial arts movies." Jackie has returned the compliment by recruiting Norton as one of just two Western actors to perform in several of his Hong Kong-based productions, including the comedic cult favorite Madam City Hunter (1993) and the darker Mr. Nice Guy (1997), directed by Hung. Hung encouraged Norton to play the "Guy" nemesis, a well-heeled gangster, with eccentric edginess. Norton embraced the direction and delivered one of the best co-starring performances in all of Chan's films.
The success of Norton's Hong Kong work made him an established star in action films and a frequent cover subject for global martial arts and movie magazines. His collaborations with Cynthia Rothrock catapulted them to a level of fame that inspired a British magazine to deem them the Fred Astaire and Ginger Rogers of martial arts movies. The recurring partners produced two Rage and Honor (1992) movies, besides co-starring in China O'Brien (1990) and Lady Dragon (1992), among other titles. They reunited for Redemption (2002) with 'Don 'The Dragon' Wilson'. Norton nurtured his leading man status in crime dramas, MIA pictures and futuristic adventures that often featured his real-life training partners in supporting roles, such as Chuck Jeffreys in Rage (1993) and Benny Urquidez in The Fighter (1989). With standout performances in The Sword of Bushido (1990) and Under the Gun (1995), Norton displayed his attraction to heroes with dimensions, even flaws, that force them into action. H
is style of action incorporates the humor essential to humanizing a hero. It is the dark comedy in Mind Games (2003), directed by Adrian Carr, that enables Norton to triumph in another well-textured role as a suspicious Texan, demonstrating that he takes risks as an actor who ventures beyond action genres. Norton's credits behind the camera have become as diverse as his screen roles. Apart from acting and producing, he is a sought-after stunt/fight coordinator, choreographing action in films such as Nomad: The Warrior (2005), produced by Milos Forman, and Devil's Pond (2003), with Tara Reid and Kip Pardue. Despite a busy career, he continues to achieve black belts in the martial arts, always a motivating force for Norton's accomplishments
- IMDb Mini Biography By: William Gantt
A powerful screen presence, Richard Norton wins the applause of international audiences with his engaging ability to play either the hero or the heavy. Rare versatility and focused work ethic have enabled him to build an expanding library of almost 100 film and television titles. The disciplines that brought Norton success originated in his hometown of Croydon, Australia, and his early fascination with martial arts.
By age 17 he was a karate black belt working security for nightclubs and serving as chief instructor to 500 karate schools nationwide. He landed a job as bodyguard to The Rolling Stones during the band's Australian tour and experienced his first brush with the demands of global celebrity. Norton trained with Mick Jagger in 4:00 a.m. workouts after concerts.
His competency attracted a dazzling roster of other rock star clientèle including James Taylor, ABBA, Fleetwood Mac, David Bowie and Linda Ronstadt, who invited him to California as her bodyguard. Before Aussies invaded Hollywood in posses, Norton ventured there alone. A friendship with Chuck Norris brought him work in motion pictures. Norris cast Norton as the lethal Kyo, a masked ninja, in The Octagon (1980), and their grueling final combat endures as a classic cinematic fight scene. Director Robert Clouse chose Norton to be one of the ensemble heroes in Force: Five (1981), an international hit, and the young martial artist's career in movies took off. His reputation for stellar performances emerged largely from high-energy Hong Kong films directed by Sammo Kam-Bo Hung and starring Jackie Chan in the mid-'80s. Muscular charisma made Norton the perfect Anglo bad boy for Twinkle Twinkle Lucky Stars (1985) and Millionaires' Express (1986).
Taking the hits of his screen adversaries in those films earned Norton more Hong Kong work and, notably, Chan's abiding respect. Richard calls Jackie "the maestro of martial arts movies." Jackie has returned the compliment by recruiting Norton as one of just two Western actors to perform in several of his Hong Kong-based productions, including the comedic cult favorite Madam City Hunter (1993) and the darker Mr. Nice Guy (1997), directed by Hung. Hung encouraged Norton to play the "Guy" nemesis, a well-heeled gangster, with eccentric edginess. Norton embraced the direction and delivered one of the best co-starring performances in all of Chan's films.
The success of Norton's Hong Kong work made him an established star in action films and a frequent cover subject for global martial arts and movie magazines. His collaborations with Cynthia Rothrock catapulted them to a level of fame that inspired a British magazine to deem them the Fred Astaire and Ginger Rogers of martial arts movies. The recurring partners produced two Rage and Honor (1992) movies, besides co-starring in China O'Brien (1990) and Lady Dragon (1992), among other titles. They reunited for Redemption (2002) with 'Don 'The Dragon' Wilson'. Norton nurtured his leading man status in crime dramas, MIA pictures and futuristic adventures that often featured his real-life training partners in supporting roles, such as Chuck Jeffreys in Rage (1993) and Benny Urquidez in The Fighter (1989). With standout performances in The Sword of Bushido (1990) and Under the Gun (1995), Norton displayed his attraction to heroes with dimensions, even flaws, that force them into action. H
is style of action incorporates the humor essential to humanizing a hero. It is the dark comedy in Mind Games (2003), directed by Adrian Carr, that enables Norton to triumph in another well-textured role as a suspicious Texan, demonstrating that he takes risks as an actor who ventures beyond action genres. Norton's credits behind the camera have become as diverse as his screen roles. Apart from acting and producing, he is a sought-after stunt/fight coordinator, choreographing action in films such as Nomad: The Warrior (2005), produced by Milos Forman, and Devil's Pond (2003), with Tara Reid and Kip Pardue. Despite a busy career, he continues to achieve black belts in the martial arts, always a motivating force for Norton's accomplishments
- IMDb Mini Biography By: William Gantt
- Published on
site update
So many movies ... so little time ...
It was September 18th all the way back in the year 1976 and all the way across the seas in the great land of Hong Kong that the Shaw Brothers served up their own unique form of justice with the release of ... The Oily Maniac!
Directed by Meng-Hua Ho from a story by Lam Chua, the Superhero/Horror starred Danny Lee, Ping Chen, Lily Li, and others. According to our friends at IMDB.com, here's the plot summary:
"A cripple takes revenge on criminals by using a magic spell that transforms him into an oily monster/superhero."
Readers interested in checking out the citation directly can click on the below picture and be transported to the Daily Citation Page for September 18th.
It was September 18th all the way back in the year 1976 and all the way across the seas in the great land of Hong Kong that the Shaw Brothers served up their own unique form of justice with the release of ... The Oily Maniac!
Directed by Meng-Hua Ho from a story by Lam Chua, the Superhero/Horror starred Danny Lee, Ping Chen, Lily Li, and others. According to our friends at IMDB.com, here's the plot summary:
"A cripple takes revenge on criminals by using a magic spell that transforms him into an oily monster/superhero."
Readers interested in checking out the citation directly can click on the below picture and be transported to the Daily Citation Page for September 18th.
- Published on
site update
It was on March 11 in the year 1983 across the seas in Hong Kong that Shaw Brothers first released their Fantasy/Horror Portrait In Crystal to the masses-at-large; and now that event has been added to the appropriate Daily Citation Page of March 11th here on SciFiHistory.Net!
Directed by Shan Hua from a story by Wengui Chen, Nai-Pin Tsai, and Ying Wong, the Fantasy/Horror starred Jason Piao Pai, Yu-Po Liu, Jung Wang, and others. According to our friends at IMDB.com, here's the plot summary:
"Several mysterious killings take place in the underworld and a war fighter is trying to find the culprit behind these murders."
Those wondering where they can find the information need look no further than clicking on the picture link right here:
Directed by Shan Hua from a story by Wengui Chen, Nai-Pin Tsai, and Ying Wong, the Fantasy/Horror starred Jason Piao Pai, Yu-Po Liu, Jung Wang, and others. According to our friends at IMDB.com, here's the plot summary:
"Several mysterious killings take place in the underworld and a war fighter is trying to find the culprit behind these murders."
Those wondering where they can find the information need look no further than clicking on the picture link right here:
promotional information
Interestingly enough, I was just alerted to the fact that our good friends at Imprint Films have an all-new home video release of Portrait In Crystal, a limited edition release that will be unveiled on May 28, 2025. Readers who might be interested in securing a copy for their very of physical media collection can simply click on the above picture and be transported over to the company's portal where pre-orders are already up for commerce. You'll also find the advanced publicity information posted below for posterity's sake.
-- EZ
-- EZ
press release
The master of the modern day crime thriller lends his directing skills to this amazing kung-fu crime fantasy. Hua Shan impressed audiences with such films as The Criminals trilogy, then dazzled them in an entirely different way by helming the superheroic Super Inframan and Flying Guillotine 2.
He combines those two genres in this adventure of a mystical mass murderer loose in the underworld. Pai Piao, long the favorite “go-to guy” for most of Shaw Brothers’ best kung-fu filmmakers, shines as the star in this unusual and popular epic.
A noble martial artist discovers that a living statue trained in the art of assassination is responsible for a series of killings in the underworld, and that more murderous statues are on their way if he doesn’t stop them.
1500 copies only.
Special Features & Technical Specs:
He combines those two genres in this adventure of a mystical mass murderer loose in the underworld. Pai Piao, long the favorite “go-to guy” for most of Shaw Brothers’ best kung-fu filmmakers, shines as the star in this unusual and popular epic.
A noble martial artist discovers that a living statue trained in the art of assassination is responsible for a series of killings in the underworld, and that more murderous statues are on their way if he doesn’t stop them.
1500 copies only.
Special Features & Technical Specs:
- 1080p High-definition presentation on Blu-ray
- NEW Audio Commentary by critic / filmmaker Justin Decloux
- NEW Critic James Mudge on ‘Portrait in Crystal’
- Aspect Ratio 2.35:1
- Audio: LPCM 2.0 Mono
- Optional English Subtitles
- Limited Edition Slipcase with unique artwork
- Published on
Greetings from Ignite!
Scout Tafoya, Editor-in-Chief at Ignite Films, traveled to Boston this past weekend to attend the Boston Underground Film Festival, where the brand-new 40th anniversary 4K restoration of Stuart Gordon’s Re-Animator screened to a sold-out crowd at the historic Brattle Theatre in Harvard Square.
Among a vibrant lineup of genre films, Ignite and Eagle Rock’s sparkling new restoration earned howls of laughter and gasps of delight from a packed and enthusiastic audience. Horror icon Barbara Crampton was in attendance, introducing the film and joining a lively Q&A with legendary horror journalist Michael Gingold. Crampton shared behind-the-scenes stories from the making of Re-Animator, insights from the set, and reflections on her enduring career in genre cinema.
Audience reactions spoke volumes:
“I thought it looked fantastic. I really liked it. Excellent. Everything I could have hoped for as a fan of the movie.”
“The restoration looked absolutely incredible. Those greens, those reds, I want to say I’ve never seen it look better.”
“It looked fantastic. From the beginning, all very clear, very sharp.”
“That beautiful film grain was present in every single frame.”
Adding to the BUFF chaos: a spontaneous dance contest (yes, really) where lucky winners took home the new 4K set, complete with the collectible Dr. Hill Bobblehead.
Scout reunited with Brattle tech director Alex Kittle before the screening, soaking in the nostalgia of one of Boston’s most cherished cinemas. “You can measure a life at the movies,” Scout noted, “and I’ve done a lot of living at The Brattle.”
The new Re-Animator 4K restoration is now touring select cities. Catch it on the big screen if you can!
To read Scout's full recap of the event, check out his piece in The Maze.
Scout Tafoya, Editor-in-Chief at Ignite Films, traveled to Boston this past weekend to attend the Boston Underground Film Festival, where the brand-new 40th anniversary 4K restoration of Stuart Gordon’s Re-Animator screened to a sold-out crowd at the historic Brattle Theatre in Harvard Square.
Among a vibrant lineup of genre films, Ignite and Eagle Rock’s sparkling new restoration earned howls of laughter and gasps of delight from a packed and enthusiastic audience. Horror icon Barbara Crampton was in attendance, introducing the film and joining a lively Q&A with legendary horror journalist Michael Gingold. Crampton shared behind-the-scenes stories from the making of Re-Animator, insights from the set, and reflections on her enduring career in genre cinema.
Audience reactions spoke volumes:
“I thought it looked fantastic. I really liked it. Excellent. Everything I could have hoped for as a fan of the movie.”
“The restoration looked absolutely incredible. Those greens, those reds, I want to say I’ve never seen it look better.”
“It looked fantastic. From the beginning, all very clear, very sharp.”
“That beautiful film grain was present in every single frame.”
Adding to the BUFF chaos: a spontaneous dance contest (yes, really) where lucky winners took home the new 4K set, complete with the collectible Dr. Hill Bobblehead.
Scout reunited with Brattle tech director Alex Kittle before the screening, soaking in the nostalgia of one of Boston’s most cherished cinemas. “You can measure a life at the movies,” Scout noted, “and I’ve done a lot of living at The Brattle.”
The new Re-Animator 4K restoration is now touring select cities. Catch it on the big screen if you can!
To read Scout's full recap of the event, check out his piece in The Maze.
Pre-order the 40th Anniversary 4K UHD of Re-Animator!
Own a piece of horror history, packed with plenty of extras.
Eagle Rock Pictures - 3756 West Ave. 40, Suite K #402, Los Angeles, CA 90065, USA
Own a piece of horror history, packed with plenty of extras.
Eagle Rock Pictures - 3756 West Ave. 40, Suite K #402, Los Angeles, CA 90065, USA
- Published on
for immediate RELEASE
Watch the Official Trailer for
WATCH THE SKIES
releasing exclusively in AMC Theatres
on May 9th!
Get ready to experience a thrilling sci-fi adventure that evokes the nostalgia of classics such as E.T. and CLOSE ENCOUNTERS OF THE THIRD KIND! From XYZ Films and Flawless comes WATCH THE SKIES, the world's first theatrical full-length feature to use AI for immersive dubbing.
How Flawless is enhancing voice over dubs without replacing human creativity:
AI Done Right
Synopsis: A rebellious teenage woman’s father went missing years ago and she believes that he didn’t run away, but was abducted by aliens. She joins forces with a funky UFO club made up of a lovable group of weirdos and rejects. Together, they embark on an adventure that takes them far beyond the boundaries of the law and ultimately, our world.
Director: Crazy Pictures
Writers: Jimmy Nivrén Olsson, Crazy Pictures
Producer: Crazy Pictures
Starring: Inez Dahl Torhaug, Jesper Barkselius, Sara Shirpey, Eva Melander, Håkan Ehn, Isabelle Kyed, Mathias Lithner, Niklas Kvarnbo Jönsson
Runtime: 116
Rating: Not Yet Rated
Genre: Sci-Fi/Adventure
Country of origin: Sweden
Language: English
How Flawless is enhancing voice over dubs without replacing human creativity:
AI Done Right
- Filmmaker-Friendly – Collaborated with original filmmakers and cast for the English dub.
- Immersive Visual Translation – Vubbing tech adds perfectly synced lip movements to traditional dubs—no synthetic audio used.
- SAG-Aligned & VO-Artist Friendly – Supporting union talent and protecting voiceover jobs.
- Global Accessibility – Breaking language barriers to bring great films to wider audiences.
- Go behind the scenes to see how Flawless' technology seamlessly integrates the voices of the dubbing actors into the film and makes the characters appear to be speaking English, even though the original film was shot in Swedish
- Hear from the filmmakers and original actors on how the technology helped bring their vision to life for English speaking audiences
- Hear from early test audiences who were amazed to discover that the film was originally presented in Swedish with English subtitles.
- Check out to the BTS featurette HERE
Synopsis: A rebellious teenage woman’s father went missing years ago and she believes that he didn’t run away, but was abducted by aliens. She joins forces with a funky UFO club made up of a lovable group of weirdos and rejects. Together, they embark on an adventure that takes them far beyond the boundaries of the law and ultimately, our world.
Director: Crazy Pictures
Writers: Jimmy Nivrén Olsson, Crazy Pictures
Producer: Crazy Pictures
Starring: Inez Dahl Torhaug, Jesper Barkselius, Sara Shirpey, Eva Melander, Håkan Ehn, Isabelle Kyed, Mathias Lithner, Niklas Kvarnbo Jönsson
Runtime: 116
Rating: Not Yet Rated
Genre: Sci-Fi/Adventure
Country of origin: Sweden
Language: English
- Published on
Once more, I remind readers: found footage films are – most definitely – not for everyone.
As I’ve often said, these pictures are not always seamless experiences. From a narrative perspective, they start in one place and may have to travel miles upon miles in order to get where the storyteller intends; and – along the way – viewers are often subjected to some of the wildest, shakiest, least visible cinematography of record. As that isn’t always the case – meaning that there have been some features I’ve seen assembled with fewer visual bumps and hiccups – it’s still important to approach each and every one of these knowing full well that Dramamine helps to put all of the headaches behind you once it’s over, though I’ve yet to find a suitable substance to alleviate plot holes or poor performances.
2025’s Livestream isn’t exactly the first picture of its type I’ve seen to try to tackle the modern world of … well … live-streaming; but – minimally – I will admit up front that I had more fun with its second half than I did its rather laborious first. For reasons I can’t begin to fathom, writer/director Victor Soares felt it necessary to take a great deal of screen time setting the stage for what evolves to be a relatively simple pay-off – a persevering, no-nonsense Horror/Slasher outcome that’s, meh, predictable here and there but still effectively executed and performed once we get to the nitty gritty. A bit of restraint in the opening 40-minutes would’ve given this one a better chance to stand shoulder-to-shoulder with similar offerings. As it stands, it’s uneven even what little twists it tries.
(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:
“As a team of livestreamers embark on a haunted house challenge, they quickly realize that the scares may be more real than they anticipated. With each twist and turn, they must navigate through the terror and fight to survive the night.”
I know, I know, I know. I hear all of you crying out in unison. Found footage? Not another Found footage film? But – as I always say – I like ‘em, and so long as I’m calling the shots, I’ll probably have something to say about them.
As I’ve often said, these pictures are not always seamless experiences. From a narrative perspective, they start in one place and may have to travel miles upon miles in order to get where the storyteller intends; and – along the way – viewers are often subjected to some of the wildest, shakiest, least visible cinematography of record. As that isn’t always the case – meaning that there have been some features I’ve seen assembled with fewer visual bumps and hiccups – it’s still important to approach each and every one of these knowing full well that Dramamine helps to put all of the headaches behind you once it’s over, though I’ve yet to find a suitable substance to alleviate plot holes or poor performances.
2025’s Livestream isn’t exactly the first picture of its type I’ve seen to try to tackle the modern world of … well … live-streaming; but – minimally – I will admit up front that I had more fun with its second half than I did its rather laborious first. For reasons I can’t begin to fathom, writer/director Victor Soares felt it necessary to take a great deal of screen time setting the stage for what evolves to be a relatively simple pay-off – a persevering, no-nonsense Horror/Slasher outcome that’s, meh, predictable here and there but still effectively executed and performed once we get to the nitty gritty. A bit of restraint in the opening 40-minutes would’ve given this one a better chance to stand shoulder-to-shoulder with similar offerings. As it stands, it’s uneven even what little twists it tries.
(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:
“As a team of livestreamers embark on a haunted house challenge, they quickly realize that the scares may be more real than they anticipated. With each twist and turn, they must navigate through the terror and fight to survive the night.”
I know, I know, I know. I hear all of you crying out in unison. Found footage? Not another Found footage film? But – as I always say – I like ‘em, and so long as I’m calling the shots, I’ll probably have something to say about them.
Thankfully, Livestream both is and isn’t the usual found footage. Under Soares’ direction, it really only employs the usual visual antics common to the downsides of found footage sparingly; and he inserts – to my surprise and delight – a few longer sequences that play out more like conventional Horror/Drama even though the pacing might be slowed down as a consequence of only having one single narrative perspective. Of course, it helps when the cast is as gifted as this bunch is, even though there might be a big mistake in the second half that kills the momentum the ensemble so effectively built.
Mia (Sarah Molinski) is not only living her best life but also she’s living it almost entirely online. With a growing audience delivering untold fortune and fame, she’s begun thinking outside the box in ways to continue providing bold, new content via her streams; so when a travel agency offers her the chance to experience a premium airBNB in the sticks (aka extremely rural destination) she can’t help but load up her online crew and head off for parts unknown.
But this is Horror, and – ahem – everyone with a brain knows full well that that which awaits us far from town is rarely free of the peculiar. One happy family – the Chapmans, momma Lindsay (Nika Khitrova), daddy Anthony (Anthony Moore), and daughter Liza (Savannah Schakett) – greets them at the front door of this impressive cabin; and their plastered-on smiles alone should’ve been the first sign that things are not what they seem in this part of the woods. Lo and behold, young Liza – looking like she likely lands somewhere on the dubious end of the Autism spectrum – insists that she’s Mia’s fan; and – ahem – would it be too much trouble if she joined these young internet pioneers for an evening of fun?
Now, part of the fun in taking this kind of thrill ride is that we, the audience, do get to see things that the characters may or may not. This private insight is what helps put us on edge, knowing full well that taking an out-of-touch child under our wing – even for only a single evening – is the kind of set-up for potential destruction that fuels our nightmares. Though it takes some time before the first domino (body) falls, Livestream manages to properly ratchet up some tension once these influencers start to turn on one another, casting Joss (Mao Sun) – Mia’s kinda/sorta boytoy – as perhaps the would-be serial killer whose been hanging silently-in-wait for his chance to draw first blood all along.
To his credit, Soares – as the writer and director – clearly knows what he wants to do once Livestream turns bloody; and that is the story’s greatest strength. Though it’s a slim body count, he rather effectively bobs and weaves his plot through its paces; and I’ll always applaud respectable craftsmanship when I see it. It may be derivative. It may be predictable. But it still works. Also, Soares gets some great mileage out of a young cast, allowing even secondary characters like Pedro (Soares himself!) and budding songstress Cindy Hope (Tiffany Dennis) the chance to score some kinder, gentler emotional ‘beats’ before putting them through their paces. Yes, it’s reasonably expected here and there, but – as one who relishes good screen work when he sees it – I had fun watching Mia and her friends spiral conspiratorially into and out of communion here. Sadly, the first 30-40 minutes feels a bit unanchored by comparison; so there’s a great deal of set-up that never quite achieves anything other than … well … screen filler.
Mia (Sarah Molinski) is not only living her best life but also she’s living it almost entirely online. With a growing audience delivering untold fortune and fame, she’s begun thinking outside the box in ways to continue providing bold, new content via her streams; so when a travel agency offers her the chance to experience a premium airBNB in the sticks (aka extremely rural destination) she can’t help but load up her online crew and head off for parts unknown.
But this is Horror, and – ahem – everyone with a brain knows full well that that which awaits us far from town is rarely free of the peculiar. One happy family – the Chapmans, momma Lindsay (Nika Khitrova), daddy Anthony (Anthony Moore), and daughter Liza (Savannah Schakett) – greets them at the front door of this impressive cabin; and their plastered-on smiles alone should’ve been the first sign that things are not what they seem in this part of the woods. Lo and behold, young Liza – looking like she likely lands somewhere on the dubious end of the Autism spectrum – insists that she’s Mia’s fan; and – ahem – would it be too much trouble if she joined these young internet pioneers for an evening of fun?
Now, part of the fun in taking this kind of thrill ride is that we, the audience, do get to see things that the characters may or may not. This private insight is what helps put us on edge, knowing full well that taking an out-of-touch child under our wing – even for only a single evening – is the kind of set-up for potential destruction that fuels our nightmares. Though it takes some time before the first domino (body) falls, Livestream manages to properly ratchet up some tension once these influencers start to turn on one another, casting Joss (Mao Sun) – Mia’s kinda/sorta boytoy – as perhaps the would-be serial killer whose been hanging silently-in-wait for his chance to draw first blood all along.
To his credit, Soares – as the writer and director – clearly knows what he wants to do once Livestream turns bloody; and that is the story’s greatest strength. Though it’s a slim body count, he rather effectively bobs and weaves his plot through its paces; and I’ll always applaud respectable craftsmanship when I see it. It may be derivative. It may be predictable. But it still works. Also, Soares gets some great mileage out of a young cast, allowing even secondary characters like Pedro (Soares himself!) and budding songstress Cindy Hope (Tiffany Dennis) the chance to score some kinder, gentler emotional ‘beats’ before putting them through their paces. Yes, it’s reasonably expected here and there, but – as one who relishes good screen work when he sees it – I had fun watching Mia and her friends spiral conspiratorially into and out of communion here. Sadly, the first 30-40 minutes feels a bit unanchored by comparison; so there’s a great deal of set-up that never quite achieves anything other than … well … screen filler.
Lastly, Livestream’s second half – while vastly better than the first – still curiously drops the gang’s suspicions of Joss even after there’s another body found (won’t spoil it, sorry, but it’s a solid twist) that should’ve even further cast aspersions on his more-than-capable shoulders. Why? Weren’t we led to believe that of everyone here he had the single greatest motivation to commit the big nasty? Why out of nowhere was the possible culprit granted a reprieve by those in the dark of the developments regarding Mia and young Liza? Just … because? Meh. Not good enough … and I, for one, would’ve kept running away from the cabin as opposed to doubling back for no narrative reason.
I guess that’s why I’m not a victim in Horror but, thankfully, just a consumer of it.
Livestream (2025) was produced by Acting Famous Productions and JustThink Entertainment. A quick Google.com search indicates that the film is available for purchase or rental online via such platforms as AppleTV, Google Play, and YouTube.com. As for the technical specifications? While I’m no trained video expert, I feel it incumbent upon me to remind readers that – once again – this is a ‘found footage format’ production; and it helps knowing very much that these films do involve a bit of herky-jerky camerawork from start-to-finish. Some sequences are understandably better than others, but I didn’t find the distractions all that troublesome. Lastly, if you’re looking for special features? Alas, as I viewed this flick via a stream, there were no special features under consideration.
Recommended.
SciFiHistory.Net has always been friendly to the world of found footage films; and that’s why I’m always happy to take in projects like Livestream (2025). Knowing full well what’s in store, I’m able to set aside some of the usual preconceptions and view the story as it was intended – an organic experience that brings with it some minor flaws as part and parcel for what one signs up for. That said, Livestream still emerges as a solid contender that proves not all is dead with found footage. While the script has a blemish here and there, the totality of the carnival ride reigns supreme. The Horror is a tad conventional … but it’s still an effort that shows what’s possible with a bit of creativity.
In the interests of fairness, I’m pleased to disclose that the fine folks at Studio Dome Press provided me with complimentary streaming access to Livestream (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
I guess that’s why I’m not a victim in Horror but, thankfully, just a consumer of it.
Livestream (2025) was produced by Acting Famous Productions and JustThink Entertainment. A quick Google.com search indicates that the film is available for purchase or rental online via such platforms as AppleTV, Google Play, and YouTube.com. As for the technical specifications? While I’m no trained video expert, I feel it incumbent upon me to remind readers that – once again – this is a ‘found footage format’ production; and it helps knowing very much that these films do involve a bit of herky-jerky camerawork from start-to-finish. Some sequences are understandably better than others, but I didn’t find the distractions all that troublesome. Lastly, if you’re looking for special features? Alas, as I viewed this flick via a stream, there were no special features under consideration.
Recommended.
SciFiHistory.Net has always been friendly to the world of found footage films; and that’s why I’m always happy to take in projects like Livestream (2025). Knowing full well what’s in store, I’m able to set aside some of the usual preconceptions and view the story as it was intended – an organic experience that brings with it some minor flaws as part and parcel for what one signs up for. That said, Livestream still emerges as a solid contender that proves not all is dead with found footage. While the script has a blemish here and there, the totality of the carnival ride reigns supreme. The Horror is a tad conventional … but it’s still an effort that shows what’s possible with a bit of creativity.
In the interests of fairness, I’m pleased to disclose that the fine folks at Studio Dome Press provided me with complimentary streaming access to Livestream (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
Sigh.
We just don’t laugh enough anymore.
I’m just as guilty as the next bloke for failing to insert a bit of humor into the game of life. Though I do try as often as possible to both look for and promote a silver lining in all that do, I’ll still concur that – if laughter truly is the best medicine – I just don’t chuckle enough. Of course, some of this is owed to the fact that, collectively, audiences have kinda/sorta turned away from Comedy, what with comedians being held to ridiculously high standards these days wherein a simple joke might offend someone’s delicate sensibilities. Still, I’ve learned to never miss the opportunity to increase my own endorphins, and I’ll keep my fingers crossed in hopes that laughter will somehow make a much-deserved comeback.
For better or worse, Swede Caroline (2024) makes about as good an attempt as I’ve seen to resurrect Comedy from its near comatose state. Screenwriter Brook Driver – who co-directs with Finn Bruce – have taken a page out of what works exceedingly well with the mockumentary format and delivered a charming character laugher exposing the nefarious skullduggery lurking in the world of the competitive giant-growing vegetable community. While what emerges may not quite be the joke-a-minute treatise that could pull mankind from its perpetual slumber, the flick should still draw attention from those of us who might this kind of schtick as funny as it is charming. I’ve always found these looks at ‘lovable nitwits’ wholesome in their own way, and Caroline takes root in good company.
(NOTE: The following review will contain minor spoilers necessary solely for the discussion of plot and/or characters. If you’re the kid 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 this British Mockumentary, the competitive giant vegetable growing world is rocked by scandal when up-and-coming prospect Caroline has her prized marrow plants stolen.”
We just don’t laugh enough anymore.
I’m just as guilty as the next bloke for failing to insert a bit of humor into the game of life. Though I do try as often as possible to both look for and promote a silver lining in all that do, I’ll still concur that – if laughter truly is the best medicine – I just don’t chuckle enough. Of course, some of this is owed to the fact that, collectively, audiences have kinda/sorta turned away from Comedy, what with comedians being held to ridiculously high standards these days wherein a simple joke might offend someone’s delicate sensibilities. Still, I’ve learned to never miss the opportunity to increase my own endorphins, and I’ll keep my fingers crossed in hopes that laughter will somehow make a much-deserved comeback.
For better or worse, Swede Caroline (2024) makes about as good an attempt as I’ve seen to resurrect Comedy from its near comatose state. Screenwriter Brook Driver – who co-directs with Finn Bruce – have taken a page out of what works exceedingly well with the mockumentary format and delivered a charming character laugher exposing the nefarious skullduggery lurking in the world of the competitive giant-growing vegetable community. While what emerges may not quite be the joke-a-minute treatise that could pull mankind from its perpetual slumber, the flick should still draw attention from those of us who might this kind of schtick as funny as it is charming. I’ve always found these looks at ‘lovable nitwits’ wholesome in their own way, and Caroline takes root in good company.
(NOTE: The following review will contain minor spoilers necessary solely for the discussion of plot and/or characters. If you’re the kid 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 this British Mockumentary, the competitive giant vegetable growing world is rocked by scandal when up-and-coming prospect Caroline has her prized marrow plants stolen.”
Back in 1996, I was one of the few (and the proud) to discover in cinema the universe of Christopher Guest’s wonderful Waiting For Guffman. This exposé into the politics and personal lives of a community theater group staging an original musical production celebrating the town’s anniversary truly became a sensation once it dawned on home video, being the kind of flick buoyed by some incredible word-of-mouth. Indeed, it was popular enough for Guest and his band of merrymakers to do it again not once, not twice, but thrice – Best In Show (2000), A Mighty Wind (2003), and For Your Consideration (2006) – to what was arguably even greater effect.
Each of these enterprises uniquely pulled back the curtain on very specific communities – dog pageants, folk music, and Hollywood awards shows, respectively – but what unites them is that each kinda/sorta revolves around characters who are let’s say just outside of normal. They aren’t sick. They aren’t depraved. But they are somewhat blissfully unaware of how they might look to others on the outside looking in. Their quirks are captured not viciously or mockingly but in an almost celebratory way, and even some among us might conclude that these strange yet relatable folks are somehow living their best lives blissfully unaware of how simple-minded they might be seen by others.
Well, the dirty little secret is that, yes, these amiable men and women are living their best lives; and there’s absolutely nothing wrong with that!
The off-the-beaten-path village of Shepton Mallet might be entirely unheard-of outside Glastonbury, and yet it has its own reason to celebrate. Annually, the quaint little spot hosts a competitive vegetable growing fair wherein the biggest leeks, gourds, and whatnot get their growers crowned to the delight of millions … well … thousands … well … hundreds … well … dozens. Dozens, at best. To the delight of dozens of onlookers from the local community.
In a rather dark twist of fate, Caroline (played by Jo Hartley) is shocked when her prized marrow gets disqualified for a thin fissure – which apparently only a single judge can see – and is summarily disgraced. Such public embarrassment catches the eye of Kirsty (Rebekah Murrell), a budding documentarian, who decides that she and her film crew are going to spend the next year documenting both the aftermath of Caroline’s fall from grace as well as her attempts to return to next year’s competition with a winning specimen. Granted, a year is a long time, but directors Driver and Bruce shouldn’t be faulted for plotting out an ambitious course of action for their lovable knuckleheads to abide.
Yet, herein lies part of Swede Caroline’s problem …
Each of these enterprises uniquely pulled back the curtain on very specific communities – dog pageants, folk music, and Hollywood awards shows, respectively – but what unites them is that each kinda/sorta revolves around characters who are let’s say just outside of normal. They aren’t sick. They aren’t depraved. But they are somewhat blissfully unaware of how they might look to others on the outside looking in. Their quirks are captured not viciously or mockingly but in an almost celebratory way, and even some among us might conclude that these strange yet relatable folks are somehow living their best lives blissfully unaware of how simple-minded they might be seen by others.
Well, the dirty little secret is that, yes, these amiable men and women are living their best lives; and there’s absolutely nothing wrong with that!
The off-the-beaten-path village of Shepton Mallet might be entirely unheard-of outside Glastonbury, and yet it has its own reason to celebrate. Annually, the quaint little spot hosts a competitive vegetable growing fair wherein the biggest leeks, gourds, and whatnot get their growers crowned to the delight of millions … well … thousands … well … hundreds … well … dozens. Dozens, at best. To the delight of dozens of onlookers from the local community.
In a rather dark twist of fate, Caroline (played by Jo Hartley) is shocked when her prized marrow gets disqualified for a thin fissure – which apparently only a single judge can see – and is summarily disgraced. Such public embarrassment catches the eye of Kirsty (Rebekah Murrell), a budding documentarian, who decides that she and her film crew are going to spend the next year documenting both the aftermath of Caroline’s fall from grace as well as her attempts to return to next year’s competition with a winning specimen. Granted, a year is a long time, but directors Driver and Bruce shouldn’t be faulted for plotting out an ambitious course of action for their lovable knuckleheads to abide.
Yet, herein lies part of Swede Caroline’s problem …
Given that there really isn’t a great deal of watchability surrounding watching a vegetable grow, the script has to invest far more time in its various characters, requiring a subplot or two or three that presents them with suitable opportunities to both define who they are and keep the audience’s interest. When they stick near and dear to the business with the farming – Caroline’s set-up, her techniques, her support system and best friends Willy (Celyn Jones) and Paul (Richard Lumsden), etc. – the picture works quite well. Once our leading lady prized new crop gets absconded by what looks to be competitors who won’t stand for a lady squeezing her way onto the podium at the Shepton Mallet, the story truly hits its stride, giving each of its comic players a chance to show why they’re uniquely necessary for this journey as well as what they mean to one another. It’s a wonderfully funny ride.
However, a year is a rather long, long, long time. As such, there are other plotlines threaded into the trip which, sadly, just don’t work as well. For example, Caroline’s side hustle – a girl’s gotta eat and have a job – involves her doing some cash-under-the-table research for a town’s resident private investigators (who also sponsor the community’s sex parties). Even though their participation eventually ties into the main premise, there’s an awful lot of material that feels more like a slog while we’re waiting for the payoff to what appears like a few throwaway jokes. Furthermore, there’s a bit of a dark turn to the Comedy when Caroline’s ex-husband essentially shows up for no other reason than to pass away from testicular cancer, a curiously somber bit that never quite feels organic. Though it does offer Caroline a chance to show her humanity, hadn’t she already shown enough for us to see she was at heart a good and decent person?
Also, this extra narrative padding never quite meshes strongly enough with Caroline’s central task – both growing and winning the big prize – and, thus, gives the picture a bit of bloat. Because Driver and Bruce turns their mockumentary into much more of a traditional comic caper in the second half, the feature as a whole loses that specialness that makes these faux documentaries unique. All of a sudden, the picture involves more camera angles, more supporting extras, and more dimensions, only to see it dialed back to norm again for the closing sequences. The mock stuff winds up being little more than bookends to a vastly more normal picture in the middle; and that makes this particular harvest a bit underwhelming.
However, a year is a rather long, long, long time. As such, there are other plotlines threaded into the trip which, sadly, just don’t work as well. For example, Caroline’s side hustle – a girl’s gotta eat and have a job – involves her doing some cash-under-the-table research for a town’s resident private investigators (who also sponsor the community’s sex parties). Even though their participation eventually ties into the main premise, there’s an awful lot of material that feels more like a slog while we’re waiting for the payoff to what appears like a few throwaway jokes. Furthermore, there’s a bit of a dark turn to the Comedy when Caroline’s ex-husband essentially shows up for no other reason than to pass away from testicular cancer, a curiously somber bit that never quite feels organic. Though it does offer Caroline a chance to show her humanity, hadn’t she already shown enough for us to see she was at heart a good and decent person?
Also, this extra narrative padding never quite meshes strongly enough with Caroline’s central task – both growing and winning the big prize – and, thus, gives the picture a bit of bloat. Because Driver and Bruce turns their mockumentary into much more of a traditional comic caper in the second half, the feature as a whole loses that specialness that makes these faux documentaries unique. All of a sudden, the picture involves more camera angles, more supporting extras, and more dimensions, only to see it dialed back to norm again for the closing sequences. The mock stuff winds up being little more than bookends to a vastly more normal picture in the middle; and that makes this particular harvest a bit underwhelming.
None of this is to say that audiences will be disappointed with all of Swede Caroline. It loses one of its best bits – Willy simply can’t stop staring as if transfixed directly into the camera lens in those fantastic early sequences – but it still manages to hold back a few important surprises as its many subplots unfurl. When it adheres to that tried-and-true formula perfected by Guest and others, it is pretty damn good. Having too much ground too cover is a detriment to farming as well as it is to storytelling, and a little bit of gardening could’ve given this one the ability to bear fruit … erm … vegetables, that is … for seasons to come.
Swede Caroline (2024) was produced by Belstone Pictures, Deadbeat Films, and Picnik Entertainment. DVD distribution (for this particular release) has been coordinated by the fine folks at Warner Archive and Allien Vaughn. As for the technical specifications? While I’m no trained video expert, I found the provided sights-and-sounds to be exceptional from start-to-finish: while this uses the documentary format effectively throughout most of the picture, there comes a point wherein it resembles far more a traditional flick than a true doc. Lastly, if you’re looking for special features? Alas … sad to report that there’s not a single one.
Recommended.
More cute than clever, Swede Caroline (2024) sprouts from the same fertile ground as produced the famed Christopher Guest mockumentaries, but – somewhere along the way – it morphed into a far more conventional mystery. Frankly, the script feels so uneven in the way it handled both parts – the faux doc and the kidnapping plot – I have to wonder if it might’ve been better as a conventional story instead of mashing two styles together. Yes, that might be a minor quibble as all involved certainly appear ready, willing, and able to deliver the laughs required of a respectable character comedy; but it lacks the rewatchability potential that makes the Guest efforts so endearing.
In the interests of fairness, I’m pleased to disclose that the fine folks at Warner Archive (via Allied Vaughn) provided me with a complimentary Blu-ray of Swede Caroline (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
Swede Caroline (2024) was produced by Belstone Pictures, Deadbeat Films, and Picnik Entertainment. DVD distribution (for this particular release) has been coordinated by the fine folks at Warner Archive and Allien Vaughn. As for the technical specifications? While I’m no trained video expert, I found the provided sights-and-sounds to be exceptional from start-to-finish: while this uses the documentary format effectively throughout most of the picture, there comes a point wherein it resembles far more a traditional flick than a true doc. Lastly, if you’re looking for special features? Alas … sad to report that there’s not a single one.
Recommended.
More cute than clever, Swede Caroline (2024) sprouts from the same fertile ground as produced the famed Christopher Guest mockumentaries, but – somewhere along the way – it morphed into a far more conventional mystery. Frankly, the script feels so uneven in the way it handled both parts – the faux doc and the kidnapping plot – I have to wonder if it might’ve been better as a conventional story instead of mashing two styles together. Yes, that might be a minor quibble as all involved certainly appear ready, willing, and able to deliver the laughs required of a respectable character comedy; but it lacks the rewatchability potential that makes the Guest efforts so endearing.
In the interests of fairness, I’m pleased to disclose that the fine folks at Warner Archive (via Allied Vaughn) provided me with a complimentary Blu-ray of Swede Caroline (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