- Published on
press release
Los Angeles, CA – July 22, 2026 - The Horror Collective and BloodStream will release Brendan Rudnicki's supernatural horror Evil Follows on Tuesday, August 4, with an exclusive premiere on BloodStream alongside its TVOD debut.
Written and directed by Brendan Rudnicki, Evil Follows is a chilling demonic-possession horror film steeped in folklore. A forgotten relic unleashes an ancient evil when Sarah opens a mysterious dybbuk box, inviting a relentless spirit into her life. As the possession grows more violent and reality begins to unravel, her husband races to uncover the box's cursed origins with the help of a renowned spiritualist. But defeating the entity will demand impossible sacrifices - and every moment brings Sarah closer to becoming its permanent vessel.
"After working with numerous distributors over the years, I continue coming back to Studio Dome and The Horror Collective," says filmmaker Brendan Rudnicki. "Their communication, transparency, and the insight they provide through the Studio Dome dashboard are unmatched. More importantly, they genuinely care about independent horror and the filmmakers behind it. It's always a pleasure working with Shaked and the entire team, and I'm excited to continue building our partnership with future releases."
"We’ve worked with Brendan on releasing a number of his previous films," says Shaked Berenson, CEO of BloodStream and The Horror Collective, "and we’re excited to continue to work with him on EVIL FOLLOWS. His films have everything that horror fans want; he’s the real deal."
The Horror Collective is a leading independent genre label dedicated to championing bold horror from emerging and established filmmakers around the world. BloodStream, the company's dedicated streaming platform, showcases a curated library of horror, cult cinema, thrillers, and exclusive premieres, connecting genre fans with the best in independent and mainstream horror.
Written and directed by Brendan Rudnicki, Evil Follows is a chilling demonic-possession horror film steeped in folklore. A forgotten relic unleashes an ancient evil when Sarah opens a mysterious dybbuk box, inviting a relentless spirit into her life. As the possession grows more violent and reality begins to unravel, her husband races to uncover the box's cursed origins with the help of a renowned spiritualist. But defeating the entity will demand impossible sacrifices - and every moment brings Sarah closer to becoming its permanent vessel.
"After working with numerous distributors over the years, I continue coming back to Studio Dome and The Horror Collective," says filmmaker Brendan Rudnicki. "Their communication, transparency, and the insight they provide through the Studio Dome dashboard are unmatched. More importantly, they genuinely care about independent horror and the filmmakers behind it. It's always a pleasure working with Shaked and the entire team, and I'm excited to continue building our partnership with future releases."
"We’ve worked with Brendan on releasing a number of his previous films," says Shaked Berenson, CEO of BloodStream and The Horror Collective, "and we’re excited to continue to work with him on EVIL FOLLOWS. His films have everything that horror fans want; he’s the real deal."
The Horror Collective is a leading independent genre label dedicated to championing bold horror from emerging and established filmmakers around the world. BloodStream, the company's dedicated streaming platform, showcases a curated library of horror, cult cinema, thrillers, and exclusive premieres, connecting genre fans with the best in independent and mainstream horror.
- Published on
in memoriam
As I've mentioned before, there are a great many actors and actresses whose names might not always come to the forefront of the gray matter; and yet we recognize them in a whole handful of projects from the days gone by. This isn't in any to diminish anyone's presence: rather, it's to demonstrate that -- for whatever reason -- we remember them more for what they did in film and on television as opposed to however he or she may have lived their private lives.
That said, I can remember the face of Michael Preston in a great deal of entertainment choices of my youth. While he hasn't done anything significant -- so far as entertainment is concerned -- in a few decades, the man was a force to be reckoned with for a good number of years, especially where genre projects are concerned.
Sadly, his IMDB.com bio is rather short. All it says about the man is that he was born in England, along with a few acting citations for which he's best known. Otherwise, it only mentions the name of his wife and his recent passing in Florida.
But how about those projects?
There are a few smaller, more conventional items to the beginning of his career; but it was in 1981 that he truly broke through the noise with a pretty significant role aboard The Road Warrior (aka Mad Max 2: The Road Warrior) for Kennedy Miller Productions. Not long after, he scored a guest appearance to the world of television's adventure series Bring 'Em Back Alive; and in 1983 he was set for a big villainous turn in Metalstorm: The Destruction Of Jared-Syn for genre director Charles Band. Work in other projects followed, and the list includes such prospects as Faerie Tale Theatre, The A-Team, Airwolf, Remington Steele, Shadow Chasers, Max Headroom, Something Is Out There, Superboy, Alien Nation, Super Force, Highlander, and Steel (1997).
Our warmest prayers are extended to the family, friends, and fans of Michael Preston.
May he rest in peace ...
-- EZ
That said, I can remember the face of Michael Preston in a great deal of entertainment choices of my youth. While he hasn't done anything significant -- so far as entertainment is concerned -- in a few decades, the man was a force to be reckoned with for a good number of years, especially where genre projects are concerned.
Sadly, his IMDB.com bio is rather short. All it says about the man is that he was born in England, along with a few acting citations for which he's best known. Otherwise, it only mentions the name of his wife and his recent passing in Florida.
But how about those projects?
There are a few smaller, more conventional items to the beginning of his career; but it was in 1981 that he truly broke through the noise with a pretty significant role aboard The Road Warrior (aka Mad Max 2: The Road Warrior) for Kennedy Miller Productions. Not long after, he scored a guest appearance to the world of television's adventure series Bring 'Em Back Alive; and in 1983 he was set for a big villainous turn in Metalstorm: The Destruction Of Jared-Syn for genre director Charles Band. Work in other projects followed, and the list includes such prospects as Faerie Tale Theatre, The A-Team, Airwolf, Remington Steele, Shadow Chasers, Max Headroom, Something Is Out There, Superboy, Alien Nation, Super Force, Highlander, and Steel (1997).
Our warmest prayers are extended to the family, friends, and fans of Michael Preston.
May he rest in peace ...
-- EZ
- 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:
“An astrophysicist's alien discovery forces him and his family to flee their home, chased by a mysterious pursuer. Their escape tests the limits between cosmic truth and paranoia.”
Mark my words, kids: none among us know exactly how this world of ours will end.
Oh, I know, I know. Religious zealots of all stripes insist that there is a celestial game plan already spelled out; but for the life of me I couldn’t tell you what that is, what with each and every faith seemingly having their own rendition of an end times. Our technological overlords insist that dangerous science will inevitably get the best of us; and that shocking development could take the guise of some catastrophic virus being released or possibly even the self-actualization of Artificial Intelligence. Regardless, I’ve always subscribed to the truth that whatever ultimately does us all in won’t be anything that the brainiacs have predicted; and we’ll collectively whatever the universe has in store for us if and when that bitter pill needs swallowing.
Regardless, storytellers will never stop trying to give audiences a glimpse of what our potential demise could look like, and that’s where writer/director William Woods enters the chat. His The Outer Threat (2026) posits not one but two ways in which mankind could find itself at the existential crossroads – one kinda/sorta of our doing and one not – but cleverly plays the two constructs against one another in a way to deliver a bit of modest melodrama for the great American family of – ahem – veritable geniuses. Like Temu avengers, they’ll assemble in the knick of time to save the day; and yet Woods allows the otherwise interesting thriller to expire without giving watchers an absolutely clear indication of what happens next.
Because unlike so many outlets I do make serious pains to avoid spoiling anything critical to your viewing enjoyment, I’m uncertain of how much to discuss. Essentially, independent astronomer and budding alarmist Daniel Ashford (played by Mark O’Brien) discovers that there very well may be life out there – and perhaps nearer than we have suspected – but he’s finding his bosses entirely unreceptive to hearing him out, mostly owed to an excess of personality quirks (we’re told, not shown). His life partner Michelle (Constance Wu) has the smarts to back up his discovery; but before they can do anything about it their home observatory is blasted to smithereens by government drones, and they – along with their equally brainiac children Francois (Isaac Smelcer-Zhang) and Maddie (Callista Crowe) – are forced on-the-run when it appears the United States has suddenly lapsed into some unexplained and unforeseen blackout.
Thankfully, they’re got somewhere to run: Michelle’s estranged father Ming (Oscar Hsu) also happens to have a massive intellect and – in their weirdest turn of events that could only happen in scripted dramas – he just happens to be near at the center of why these fruited plains find themselves in such dire straits. Naturally, he’ll be drawn into the rising conflict; and, together, this avenging family can do what must be done to save our big blue marble from potential extinction … or will they? For reasons I won’t spoil, it’s all left a bit nebulous in the final scene intentionally – we’re supposed to know figure out what it all means – and, apologies, but I’ve always – ALWAYS – hated those lazy endings.
To Threat’s credit, it’s an easy watch. Some could suggest that it has a passing similarity to flicks like A Quiet Place (2018) or The Silence (2019), and loosely that’s a fair comparison. There is the hint of life out there in the cosmos at one point being behind the chaos, but that gets explained away before the big finish. However, the question remains over what to do if and when we learn about the prospects of said ‘life out there’ coming here; and it’s on that point that Threat should’ve done more. Performances are fine across the board – even the kids have some modest charm though they’re a bit too easily imbued with super-intelligence because of their bright parents – and I’m usually more accustomed to players who have to earn their stripes, not be enamored with them right out of the womb.
After all, that is reality, for the most part.
The Outer Threat (2026) was produced by Obvious Allegory, Sara Frost Pictures, TimeLapse Pictures, Line 200, and Tip-Top Productions. According to the supplied press materials, the film is available for digital purchase or streaming on associated platforms effective July 10th, 2026. As for the technical specifications? While I’m no trained video expert, I can still assure readers that Threat both looks and sounds pretty solid: there aren’t any major effects sequences – a few small ones, along with a few pyrotechnics – and they all worked just fine for me. Lastly, if you’re looking for special features? As I viewed this one via streaming, there were no features under consideration.
Mildly Recommended.
It isn’t as if The Outer Threat (2026) has nothing to say, but I would argue that it might not have that much original to bargain with. While the premise about an emerging conflict between artificial intelligence, our own collective smarts, and another space-faring one that could be inevitably drawn into the kerfuffle, there just isn’t enough here to make me think nearly as deep as its players can. Since they’re super-intelligent, I’ll let them do the thinking for me … but I’m not inclined to revisit this one at any point in the foreseeable future. A reasonable effort but nothing else.
In the interests of fairness, I’m pleased to disclose that the fine folks at Quiver Distribution provided me with complimentary streaming access to The Outer Threat 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:
“An astrophysicist's alien discovery forces him and his family to flee their home, chased by a mysterious pursuer. Their escape tests the limits between cosmic truth and paranoia.”
Mark my words, kids: none among us know exactly how this world of ours will end.
Oh, I know, I know. Religious zealots of all stripes insist that there is a celestial game plan already spelled out; but for the life of me I couldn’t tell you what that is, what with each and every faith seemingly having their own rendition of an end times. Our technological overlords insist that dangerous science will inevitably get the best of us; and that shocking development could take the guise of some catastrophic virus being released or possibly even the self-actualization of Artificial Intelligence. Regardless, I’ve always subscribed to the truth that whatever ultimately does us all in won’t be anything that the brainiacs have predicted; and we’ll collectively whatever the universe has in store for us if and when that bitter pill needs swallowing.
Regardless, storytellers will never stop trying to give audiences a glimpse of what our potential demise could look like, and that’s where writer/director William Woods enters the chat. His The Outer Threat (2026) posits not one but two ways in which mankind could find itself at the existential crossroads – one kinda/sorta of our doing and one not – but cleverly plays the two constructs against one another in a way to deliver a bit of modest melodrama for the great American family of – ahem – veritable geniuses. Like Temu avengers, they’ll assemble in the knick of time to save the day; and yet Woods allows the otherwise interesting thriller to expire without giving watchers an absolutely clear indication of what happens next.
Because unlike so many outlets I do make serious pains to avoid spoiling anything critical to your viewing enjoyment, I’m uncertain of how much to discuss. Essentially, independent astronomer and budding alarmist Daniel Ashford (played by Mark O’Brien) discovers that there very well may be life out there – and perhaps nearer than we have suspected – but he’s finding his bosses entirely unreceptive to hearing him out, mostly owed to an excess of personality quirks (we’re told, not shown). His life partner Michelle (Constance Wu) has the smarts to back up his discovery; but before they can do anything about it their home observatory is blasted to smithereens by government drones, and they – along with their equally brainiac children Francois (Isaac Smelcer-Zhang) and Maddie (Callista Crowe) – are forced on-the-run when it appears the United States has suddenly lapsed into some unexplained and unforeseen blackout.
Thankfully, they’re got somewhere to run: Michelle’s estranged father Ming (Oscar Hsu) also happens to have a massive intellect and – in their weirdest turn of events that could only happen in scripted dramas – he just happens to be near at the center of why these fruited plains find themselves in such dire straits. Naturally, he’ll be drawn into the rising conflict; and, together, this avenging family can do what must be done to save our big blue marble from potential extinction … or will they? For reasons I won’t spoil, it’s all left a bit nebulous in the final scene intentionally – we’re supposed to know figure out what it all means – and, apologies, but I’ve always – ALWAYS – hated those lazy endings.
To Threat’s credit, it’s an easy watch. Some could suggest that it has a passing similarity to flicks like A Quiet Place (2018) or The Silence (2019), and loosely that’s a fair comparison. There is the hint of life out there in the cosmos at one point being behind the chaos, but that gets explained away before the big finish. However, the question remains over what to do if and when we learn about the prospects of said ‘life out there’ coming here; and it’s on that point that Threat should’ve done more. Performances are fine across the board – even the kids have some modest charm though they’re a bit too easily imbued with super-intelligence because of their bright parents – and I’m usually more accustomed to players who have to earn their stripes, not be enamored with them right out of the womb.
After all, that is reality, for the most part.
The Outer Threat (2026) was produced by Obvious Allegory, Sara Frost Pictures, TimeLapse Pictures, Line 200, and Tip-Top Productions. According to the supplied press materials, the film is available for digital purchase or streaming on associated platforms effective July 10th, 2026. As for the technical specifications? While I’m no trained video expert, I can still assure readers that Threat both looks and sounds pretty solid: there aren’t any major effects sequences – a few small ones, along with a few pyrotechnics – and they all worked just fine for me. Lastly, if you’re looking for special features? As I viewed this one via streaming, there were no features under consideration.
Mildly Recommended.
It isn’t as if The Outer Threat (2026) has nothing to say, but I would argue that it might not have that much original to bargain with. While the premise about an emerging conflict between artificial intelligence, our own collective smarts, and another space-faring one that could be inevitably drawn into the kerfuffle, there just isn’t enough here to make me think nearly as deep as its players can. Since they’re super-intelligent, I’ll let them do the thinking for me … but I’m not inclined to revisit this one at any point in the foreseeable future. A reasonable effort but nothing else.
In the interests of fairness, I’m pleased to disclose that the fine folks at Quiver Distribution provided me with complimentary streaming access to The Outer Threat 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 2018 (in Canada), audiences in attendance of the Fantasia Film Festival were treated to the theatrical premiere of The Witch In The Window. Written and directed by Andy Mitton, the film starred Arija Bareikis, Alex Draper, Charlie Tacker, and others.
According to our friends at IMDB.com, here's the plot summary:
"When Simon brings his twelve-year-old son, Finn, to rural Vermont to help flip an old farmhouse, they encounter the malicious spirit of Lydia, a previous owner. And now with every repair they make, she's getting stronger."
For the record:
To the film's credit, The Witch In The Window earned a wee bit of praise from screenings on the film festival circuit.
According to our friends at IMDB.com, here's the plot summary:
"When Simon brings his twelve-year-old son, Finn, to rural Vermont to help flip an old farmhouse, they encounter the malicious spirit of Lydia, a previous owner. And now with every repair they make, she's getting stronger."
For the record:
To the film's credit, The Witch In The Window earned a wee bit of praise from screenings on the film festival circuit.
From Google.com:
The Witch in the Window (2018) is an indie supernatural horror film written and directed by Andy Mitton. You can stream or rent the movie using the Shudder or Prime Video platforms. It follows a father and son dealing with a malevolent ghost while flipping a rural Vermont farmhouse. [1, 2, 3, 4]
The film centers on Simon (played by Alex Draper) who brings his 12-year-old son Finn (Charlie Tacker) to a rural farmhouse in Vermont. Simon intends to renovate and flip the property as a fresh start, while also taking the opportunity to bond with his son away from city distractions. [1, 5, 6, 7]
Here is a breakdown of what makes the movie unique:
AI responses may include mistakes.
[1] https://www.imdb.com/title/tt5936492/
[2] https://en.wikipedia.org/wiki/The_Witch_in_the_Window
[3] https://www.instagram.com/reel/DRuFXifgYNK/
[4] https://www.rottentomatoes.com/m/witch_1966
[5] https://www.youtube.com/watch?v=0E1p0mBpLsU
[6] https://culturecrypt.com/movie-reviews/the-witch-in-the-window-2018
[7] https://screenanarchy.com/2018/07/fantasia-2018-review-the-witch-in-the-window-terrifies-and-surprises.html
[8] https://www.rottentomatoes.com/m/the_witch_in_the_window
[9] https://www.youtube.com/watch?v=vtc1MQQK50c
[10] https://scariesthings.com/2019/01/15/mikes-review-the-witch-in-the-window-2018/
[11] https://www.youtube.com/watch?v=33DLF7ZB-Eo
[12] https://wickergirl.com/2018/08/27/witch-in-the-window-review/
The Witch in the Window (2018) is an indie supernatural horror film written and directed by Andy Mitton. You can stream or rent the movie using the Shudder or Prime Video platforms. It follows a father and son dealing with a malevolent ghost while flipping a rural Vermont farmhouse. [1, 2, 3, 4]
The film centers on Simon (played by Alex Draper) who brings his 12-year-old son Finn (Charlie Tacker) to a rural farmhouse in Vermont. Simon intends to renovate and flip the property as a fresh start, while also taking the opportunity to bond with his son away from city distractions. [1, 5, 6, 7]
Here is a breakdown of what makes the movie unique:
- The Threat: Local electrician Louis (Greg Naughton) informs them about the home's previous owner, a woman named Lydia. Rumored to be a witch who caused the deaths of her husband and son, Lydia died in a chair while staring out of an upstairs window.
- The Mechanic: Simon soon discovers Lydia's spirit is attached to the home. A terrifying catch is introduced: every time Simon and Finn repair and improve the house, Lydia's ghost grows stronger and more tangible.
- Subtle, Psychological Horror: Instead of relying on loud jump scares, the film builds a quiet, creeping sense of dread. The ghost is often seen ominously staring at them from afar or lurking in corners, effectively forcing characters to make eye contact with her.
- The Twist: In a clever subversion of traditional ghost stories that demand the protagonists to "Get out!", Lydia's spirit actually gurgles the word "Stay!". Fearing for his son's safety, Simon sends Finn back to his estranged wife in New York, deciding to stay and battle the witch completely on his own.
- Underlying Themes: Beyond the horror elements, the film is essentially a grounded family drama. It heavily uses the haunting as a mirror for real-world anxieties about parenting, divorce, and the fear of neglecting one's children. [8, 10, 11, 12]
AI responses may include mistakes.
[1] https://www.imdb.com/title/tt5936492/
[2] https://en.wikipedia.org/wiki/The_Witch_in_the_Window
[3] https://www.instagram.com/reel/DRuFXifgYNK/
[4] https://www.rottentomatoes.com/m/witch_1966
[5] https://www.youtube.com/watch?v=0E1p0mBpLsU
[6] https://culturecrypt.com/movie-reviews/the-witch-in-the-window-2018
[7] https://screenanarchy.com/2018/07/fantasia-2018-review-the-witch-in-the-window-terrifies-and-surprises.html
[8] https://www.rottentomatoes.com/m/the_witch_in_the_window
[9] https://www.youtube.com/watch?v=vtc1MQQK50c
[10] https://scariesthings.com/2019/01/15/mikes-review-the-witch-in-the-window-2018/
[11] https://www.youtube.com/watch?v=33DLF7ZB-Eo
[12] https://wickergirl.com/2018/08/27/witch-in-the-window-review/
- Published on
site update
so many movies ... so little time ...
On this day in 1936 (in the United Kingdom), the big city of London, England played host for the exclusive theatrical premiere engagement of The Man Who Could Work Miracles. Directed by Lothar Mendes and Alexander Korda from a story by H.G. Wells and Lajos Biró, the film starred Roland Young, Ralph Richardson, Edward Chapman, and others.
According to our friends at IMDB.com, here's the plot summary:
"An ordinary man suddenly finds that anything he says comes true. Or at least, almost anything."
For the record:
To the film's credit, The Man Who Could Work Miracles eeked out a wee bit of praise from a screening on the film festival circuit.
According to our friends at IMDB.com, here's the plot summary:
"An ordinary man suddenly finds that anything he says comes true. Or at least, almost anything."
For the record:
To the film's credit, The Man Who Could Work Miracles eeked out a wee bit of praise from a screening on the film festival circuit.
From Google.com:
"The Man Who Could Work Miracles" (1936) is a British fantasy-comedy directed by Lothar Mendes and based on H.G. Wells's 1898 short story. It follows George Fotheringay, an unassuming draper's clerk who is granted limitless miraculous powers by a trio of bored deities to test humanity’s moral worthiness. [1, 2, 3]
The 82-minute film stars Roland Young as the well-meaning but overwhelmed Fotheringay. When a discussion among the gods—sporting figures of 'Indifference' (George Sanders), 'Divine Curiosity', and 'Common Sense'—leads to the wager, Fotheringay discovers that whatever he commands immediately comes true. [2, 4, 5, 6, 7]
What starts as harmless fun (summoning kittens and creating free drinks) quickly spirals. He accidentally sends a policeman to San Francisco and, under the influence of the town's clergyman (Ernest Thesiger), attempts to solve humanity's societal woes by miraculous reform. However, the local elites and military, led by Colonel Winstanley (Ralph Richardson), panic and try to stop him. [3, 4, 6, 8, 9]
H.G. Wells, who also wrote the screenplay, used the film's premise to express his socialist frustrations with the British upper class and the rising political tensions of the 1930s. The comedic climax features Fotheringay overwhelmed by the sheer arrogance and burden of ruling the world. He inadvertently makes a command that takes away his own free will, forcing the gods to debate if humanity is ultimately ready for god-like abilities. [1, 3, 7]
AI responses may include mistakes.
[1] https://en.wikipedia.org/wiki/The_Man_Who_Could_Work_Miracles
[2] https://tvtropes.org/pmwiki/pmwiki.php/Film/TheManWhoCouldWorkMiracles
[3] https://cinemacats.com/the-man-who-could-work-miracles-1936/
[4] https://moriareviews.com/fantasy/man-who-could-work-miracles-1937.htm
[5] https://www.imdb.com/title/tt0029201/fullcredits/
[6] https://www.imdb.com/title/tt0029201/plotsummary/
[7] https://baike.baidu.com/en/item/The%20Man%20Who%20Could%20Work%20Miracles/1981847
[8] https://www.imdb.com/title/tt0029201/
[9] https://www.rottentomatoes.com/m/the_man_who_could_work_miracles
"The Man Who Could Work Miracles" (1936) is a British fantasy-comedy directed by Lothar Mendes and based on H.G. Wells's 1898 short story. It follows George Fotheringay, an unassuming draper's clerk who is granted limitless miraculous powers by a trio of bored deities to test humanity’s moral worthiness. [1, 2, 3]
The 82-minute film stars Roland Young as the well-meaning but overwhelmed Fotheringay. When a discussion among the gods—sporting figures of 'Indifference' (George Sanders), 'Divine Curiosity', and 'Common Sense'—leads to the wager, Fotheringay discovers that whatever he commands immediately comes true. [2, 4, 5, 6, 7]
What starts as harmless fun (summoning kittens and creating free drinks) quickly spirals. He accidentally sends a policeman to San Francisco and, under the influence of the town's clergyman (Ernest Thesiger), attempts to solve humanity's societal woes by miraculous reform. However, the local elites and military, led by Colonel Winstanley (Ralph Richardson), panic and try to stop him. [3, 4, 6, 8, 9]
H.G. Wells, who also wrote the screenplay, used the film's premise to express his socialist frustrations with the British upper class and the rising political tensions of the 1930s. The comedic climax features Fotheringay overwhelmed by the sheer arrogance and burden of ruling the world. He inadvertently makes a command that takes away his own free will, forcing the gods to debate if humanity is ultimately ready for god-like abilities. [1, 3, 7]
AI responses may include mistakes.
[1] https://en.wikipedia.org/wiki/The_Man_Who_Could_Work_Miracles
[2] https://tvtropes.org/pmwiki/pmwiki.php/Film/TheManWhoCouldWorkMiracles
[3] https://cinemacats.com/the-man-who-could-work-miracles-1936/
[4] https://moriareviews.com/fantasy/man-who-could-work-miracles-1937.htm
[5] https://www.imdb.com/title/tt0029201/fullcredits/
[6] https://www.imdb.com/title/tt0029201/plotsummary/
[7] https://baike.baidu.com/en/item/The%20Man%20Who%20Could%20Work%20Miracles/1981847
[8] https://www.imdb.com/title/tt0029201/
[9] https://www.rottentomatoes.com/m/the_man_who_could_work_miracles
- Published on
site update
so many movies ... so little time ...
On this day in 2011 (in Canada), audiences in attendance of the Fantasia International Film Festival were treated to the big screen premiere of Monster Brawl. Written (in part) and directed by Jesse Thomas Cook, the film starred Dave Foley, Art Hindle, Lance Henriksen, and others.
According to our friends at IMDB.com, here's the plot summary:
"Eight classic monsters fight to the death in an explosive wrestling tournament set inside an abandoned and cursed graveyard."
For the record:
According to our friends at IMDB.com, here's the plot summary:
"Eight classic monsters fight to the death in an explosive wrestling tournament set inside an abandoned and cursed graveyard."
For the record:
- To the film's credit, Monster Brawl eeked out a wee bit of praise from a screening on the film festival circuit.
- At the 2013 Fangoria Chainsaw Awards, Monster Brawl received a nomination in the category of 'Best Makeup / Creature FX.'
From Google.com:
Monster Brawl (2011) is an independent Canadian horror-comedy directed by Jesse Thomas Cook. Staged like a live pay-per-view pro-wrestling broadcast, the film features eight classic monsters—including Frankenstein's monster, a werewolf, and a mummy—fighting to the death in a cursed graveyard. The film is available to stream on platforms like Tubi or Apple TV. [1, 2, 3, 4, 5]
The movie perfectly blends the bloody tropes of classic B-movie horror with over-the-top, wrestling-style pageantry. Here are the key details you need to know:
AI responses may include mistakes.
[1] https://en.wikipedia.org/wiki/Monster_Brawl
[2] https://www.rottentomatoes.com/m/monster_brawl_2011
[3] https://headhuntershorrorhouse.fandom.com/wiki/Monster_Brawl
[4] https://swampflix.com/2020/10/01/movie-of-the-month-monster-brawl-2011/
[5] https://www.imdb.com/title/tt4126424/
[6] https://moriareviews.com/horror/monster-brawl-2011.htm
[7] https://www.imdb.com/title/tt1716753/fullcredits/
[8] https://mlmillerwrites.com/2023/06/24/monster-brawl-2011-retro-review/
[9] https://louisvillehalloween.com/monster-brawl-2011/
Monster Brawl (2011) is an independent Canadian horror-comedy directed by Jesse Thomas Cook. Staged like a live pay-per-view pro-wrestling broadcast, the film features eight classic monsters—including Frankenstein's monster, a werewolf, and a mummy—fighting to the death in a cursed graveyard. The film is available to stream on platforms like Tubi or Apple TV. [1, 2, 3, 4, 5]
The movie perfectly blends the bloody tropes of classic B-movie horror with over-the-top, wrestling-style pageantry. Here are the key details you need to know:
- The Concept: Eight iconic monsters (Cyclops, Swamp Gut, Witch Bitch, Lady Vampire, Zombie Man, Mummy, Werewolf, and Frankenstein’s Monster) compete in an elimination tournament called the "Monster Brawl" to crown the Most Powerful Ghoul of All Time.
- The Announcers: Comedian Dave Foley (as Buzz Chambers) and genre veteran Art Hindle (as Sasquatch Sid Tucker) provide the play-by-play commentary, while WWE legend Kevin Nash portrays the tournament overseer, Colonel Crookshanks.
- Standout Talent: Former pro wrestler and actor Robert Maillet (who also appeared in 300 and Sherlock Holmes) stars as Frankenstein's Monster. The entire broadcast is narrated by the iconic Lance Henriksen (from Aliens) as "God". [7, 8, 9]
AI responses may include mistakes.
[1] https://en.wikipedia.org/wiki/Monster_Brawl
[2] https://www.rottentomatoes.com/m/monster_brawl_2011
[3] https://headhuntershorrorhouse.fandom.com/wiki/Monster_Brawl
[4] https://swampflix.com/2020/10/01/movie-of-the-month-monster-brawl-2011/
[5] https://www.imdb.com/title/tt4126424/
[6] https://moriareviews.com/horror/monster-brawl-2011.htm
[7] https://www.imdb.com/title/tt1716753/fullcredits/
[8] https://mlmillerwrites.com/2023/06/24/monster-brawl-2011-retro-review/
[9] https://louisvillehalloween.com/monster-brawl-2011/
- 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:
“An unexploded WWII bomb is discovered on a busy construction site in the centre of London. Chaos ensues as the military and police begin a mass evacuation against a ticking clock.”
How do you waste an absolute firecracker premise with a complete tonal misfire?
Look no further than Fuze (2025), a well-directed but weak heist thriller brought to the screen by David Mackenzie and screenwriter Ben Hopkins. They set the stage rather brilliantly – a London excavation crew unearth an unexploded World War II bomb, an event used as a distraction to a crack team of bank robbers who could pull off the heist of their careers – and manage to build some palpable tension; and yet it all kinda/sorta falls apart over the simple yet unconscionable fact that the audience is never asked (in the slightest) to give a damn about any of them. Oh, there’s a coda tacked onto the final reel which tries very hard to suggest a plausible emotional foundation for why they did what they did; but anyone watching closely needn’t be all that cynical to see it’s little more than a cheap escape to ‘screw the system’ and get out (with ample cash) while the getting’s good. That’s disappointing, and the fact that Hopkins thought some tacked-on screen texts shedding light on the destiny of his vague creations mostly proves the point … namely “Why give a damn?”
Criminal capers – especially the quintessential heist flick – work best when there is some central baddie whose simple existence practically motivates our kind-hearted thieves to act against him or her. That whole Robin Hood mystique of robbing from the rich to give to the poor – not necessarily oneself – has fueled a great many pictures; and, frankly, it succeeds far more often than I’ve ever seen it fail. Fuze attempts to tap into that proposition very late in the process, crafting a Mideastern crime boss from which Karalis (played by Theo James) is trying to pull a gotcha. Again, the chief problem herein is that we’ve never been swept off our feet to believe that Karalis is ‘one of us’ from the outset; and this means that very little of what ‘his uncle’ does might in terms of punishing his nephew might very well be deserved for all we know. This emptiness of motivation persists on every layer across Fuze, and it keeps everything under a bit of suspicion. About the time when the only relatable burglar goes down – X (played by Sam Worthington) – I realized that the fugue around these people was the design, so I needn’t shed a tear over anyone’s loss.
What works in the film is the fabulous set-up and execution of the whole heist. These few blocks of London are brought to a veritable standstill shortly after the ordinance is discovered, and crack military officer Will (Aaron Taylor-Johnson) is dispatched to serve Queen and country in the attempt to defuse the entire situation (in more ways than one). Director Mackenzie cuts back and forth between the action of the military under Will’s command and Karalis and his team rather quickly getting beneath and inside the bank, occasionally even throwing a bit of light upon how police captain Zuzana (Gugu Mbatha-Raw in an underused role) and her forces monitor the situation from nearby. All of this is delivered exceptionally, pushing the story along nicely; but it isn’t until you realize you’ve zero investment it wants happens to any of them that you’re likely wishing Fuze was lit a bit earlier.
As an aside, I did laugh at one sequence, and I’m quite certain it wasn’t intended. There’s a bit that takes place in the police station with Zuzana trying to do the whole captain thing, ordering around a group of officers in a pivotal moment. Well, the laugh comes when one notices how deliberate Mackenzie and the casting department goes to show practically anyone but an ordinary white male anywhere on the police force … except for the physically-challenged one in an electronic wheelchair. Proving that DEI is alive and well shouldn’t come at a laugh, but I couldn’t help myself.
Fuze (2025) was produced by Anton, Sigma Films, and Sky Original Films. DVD distribution (for this particular release) has been handled by the fine folks at Saban Films. As for the technical specifications? While I’m no trained video expert, I can still assure readers that the provided sights and sounds are exceptional throughout: while the cinematography never tries to accomplish anything all that grand, it’s still the kind of treatment the genre requires and deserves here. Lastly, if you’re looking for special features? Alas, this is a bare bones release, meaning that you’re going to have to look elsewhere for that kind of content. Sad … but it is what it is.
Recommended.
Tonally empty, Fuze (2025) – while a technically proficient film – gives audiences absolutely no reason to care about any of its characters. It’s rare for me to finish a film and feel entirely indifferent to the plight of the principles here, but … what can I say? Without any reasonable investment in their fates and what they kinda/sorta endured for what weak payback there is in the premise, I just couldn’t care for any of them. The occasionally flashy visuals and the dynamic pace can only carry any “thriller” so far, and this one just missed the mark for me with the exception of capably passing the time.
In the interests of fairness, I’m pleased to disclose that the fine folks at Saban Films (via Allied Vaughn) provided me with a complimentary Blu-ray of Fuze (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:
“An unexploded WWII bomb is discovered on a busy construction site in the centre of London. Chaos ensues as the military and police begin a mass evacuation against a ticking clock.”
How do you waste an absolute firecracker premise with a complete tonal misfire?
Look no further than Fuze (2025), a well-directed but weak heist thriller brought to the screen by David Mackenzie and screenwriter Ben Hopkins. They set the stage rather brilliantly – a London excavation crew unearth an unexploded World War II bomb, an event used as a distraction to a crack team of bank robbers who could pull off the heist of their careers – and manage to build some palpable tension; and yet it all kinda/sorta falls apart over the simple yet unconscionable fact that the audience is never asked (in the slightest) to give a damn about any of them. Oh, there’s a coda tacked onto the final reel which tries very hard to suggest a plausible emotional foundation for why they did what they did; but anyone watching closely needn’t be all that cynical to see it’s little more than a cheap escape to ‘screw the system’ and get out (with ample cash) while the getting’s good. That’s disappointing, and the fact that Hopkins thought some tacked-on screen texts shedding light on the destiny of his vague creations mostly proves the point … namely “Why give a damn?”
Criminal capers – especially the quintessential heist flick – work best when there is some central baddie whose simple existence practically motivates our kind-hearted thieves to act against him or her. That whole Robin Hood mystique of robbing from the rich to give to the poor – not necessarily oneself – has fueled a great many pictures; and, frankly, it succeeds far more often than I’ve ever seen it fail. Fuze attempts to tap into that proposition very late in the process, crafting a Mideastern crime boss from which Karalis (played by Theo James) is trying to pull a gotcha. Again, the chief problem herein is that we’ve never been swept off our feet to believe that Karalis is ‘one of us’ from the outset; and this means that very little of what ‘his uncle’ does might in terms of punishing his nephew might very well be deserved for all we know. This emptiness of motivation persists on every layer across Fuze, and it keeps everything under a bit of suspicion. About the time when the only relatable burglar goes down – X (played by Sam Worthington) – I realized that the fugue around these people was the design, so I needn’t shed a tear over anyone’s loss.
What works in the film is the fabulous set-up and execution of the whole heist. These few blocks of London are brought to a veritable standstill shortly after the ordinance is discovered, and crack military officer Will (Aaron Taylor-Johnson) is dispatched to serve Queen and country in the attempt to defuse the entire situation (in more ways than one). Director Mackenzie cuts back and forth between the action of the military under Will’s command and Karalis and his team rather quickly getting beneath and inside the bank, occasionally even throwing a bit of light upon how police captain Zuzana (Gugu Mbatha-Raw in an underused role) and her forces monitor the situation from nearby. All of this is delivered exceptionally, pushing the story along nicely; but it isn’t until you realize you’ve zero investment it wants happens to any of them that you’re likely wishing Fuze was lit a bit earlier.
As an aside, I did laugh at one sequence, and I’m quite certain it wasn’t intended. There’s a bit that takes place in the police station with Zuzana trying to do the whole captain thing, ordering around a group of officers in a pivotal moment. Well, the laugh comes when one notices how deliberate Mackenzie and the casting department goes to show practically anyone but an ordinary white male anywhere on the police force … except for the physically-challenged one in an electronic wheelchair. Proving that DEI is alive and well shouldn’t come at a laugh, but I couldn’t help myself.
Fuze (2025) was produced by Anton, Sigma Films, and Sky Original Films. DVD distribution (for this particular release) has been handled by the fine folks at Saban Films. As for the technical specifications? While I’m no trained video expert, I can still assure readers that the provided sights and sounds are exceptional throughout: while the cinematography never tries to accomplish anything all that grand, it’s still the kind of treatment the genre requires and deserves here. Lastly, if you’re looking for special features? Alas, this is a bare bones release, meaning that you’re going to have to look elsewhere for that kind of content. Sad … but it is what it is.
Recommended.
Tonally empty, Fuze (2025) – while a technically proficient film – gives audiences absolutely no reason to care about any of its characters. It’s rare for me to finish a film and feel entirely indifferent to the plight of the principles here, but … what can I say? Without any reasonable investment in their fates and what they kinda/sorta endured for what weak payback there is in the premise, I just couldn’t care for any of them. The occasionally flashy visuals and the dynamic pace can only carry any “thriller” so far, and this one just missed the mark for me with the exception of capably passing the time.
In the interests of fairness, I’m pleased to disclose that the fine folks at Saban Films (via Allied Vaughn) provided me with a complimentary Blu-ray of Fuze (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
press release
click the picture above to pre-order!!!
The sword-and-sorcery classic Red Sonja comes to 4K UHD and Blu-ray, a revenge-driven fantasy based on the fearless Marvel comic book character, with Brigitte Nielsen as the titular heroine alongside Arnold Schwarzenegger.
The peaceful life of Sonja is shattered when her parents are murdered by Queen Gedren, who rules by terror and carries a talisman with which she can annihilate the planet. Sonja sets out to avenge her parents' death and is granted extraordinary powers by a mysterious vision. But she must vow never to fall in love with a man unless he is stronger than her. On her way to find Queen Gedren, she meets Kalidor - a stranger gifted with unusual strength…
Also starring Sandahl Bergman, Paul Smith and Ronald Lacey, Red Sonja is a must-see slice of 80s fantasy, sporting a rousing score by Ennio Morricone and extraordinary production design by Danilo Donati (Fellini Satyricon).
2-disc 4K UHD + Blu-ray SteelBook + folded 449 x 665mm poster, both housed in a 3D Lenticular Hardcase, strictly limited to 1500 copies only.
Special Features & Technical Specs:
Disc One: 4K UHD
Disc Two: Blu-ray
The peaceful life of Sonja is shattered when her parents are murdered by Queen Gedren, who rules by terror and carries a talisman with which she can annihilate the planet. Sonja sets out to avenge her parents' death and is granted extraordinary powers by a mysterious vision. But she must vow never to fall in love with a man unless he is stronger than her. On her way to find Queen Gedren, she meets Kalidor - a stranger gifted with unusual strength…
Also starring Sandahl Bergman, Paul Smith and Ronald Lacey, Red Sonja is a must-see slice of 80s fantasy, sporting a rousing score by Ennio Morricone and extraordinary production design by Danilo Donati (Fellini Satyricon).
2-disc 4K UHD + Blu-ray SteelBook + folded 449 x 665mm poster, both housed in a 3D Lenticular Hardcase, strictly limited to 1500 copies only.
Special Features & Technical Specs:
Disc One: 4K UHD
- 2160p Ultra-high-definition presentation on 4K UHD (Dolby Vision / HDR10)
- Theatrical Trailer
- Restoration Trailer
- Aspect Ratio 2.35:1
- Audio: English DTS-HD 5.1 Surround + LPCM 2.0 Mono
- Optional English HOH Subtitles
Disc Two: Blu-ray
- 1080p High-definition presentation on Blu-ray of the 4K restoration
- Arnold Schwarzenegger: The Man Who Raised Hollywood – featurette
- Red Sonja vs Kalidor: The Making of a Misunderstanding – featurette
- Renato Casaro: The Last Movie Painter – featurette
- Richard Fleischer: Souvenirs (Memories) – featurette
- Gallery: Renato Casaro Artwork
- Theatrical Trailer
- Restoration Trailer
- Aspect Ratio 2.35:1
- Audio: English DTS-HD 5.1 Surround + LPCM 2.0 Mono
- Optional English HOH Subtitles
- Published on
press release
click the picture above to pre-order!!!
The sword-and-sorcery medieval fantasy series Deathstalker joins the Imprint collection, which includes the 1983 original, the 1987 sequel, and the 2025 remake, all on 4K UHD and Blu-ray, in a Limited Edition SteelBook and 3D Lenticular Hardcase!
Packed with extraordinary combat and vicious monsters, these three fiery escapades are ready to drag you into the battlefield:
The three 4K UHD discs are housed in the SteelBook, with the three Blu-ray discs in a separate Blu-ray case. Together with three folded 449 x 665mm posters, these are all housed inside a 3D Lenticular Hardcase, strictly limited to 1500 copies only.
Deathstalker (1983) - Imprint Collection #663
Produced by B-movie legend Roger Corman, Deathstalker marked the beginning of a ten-film collaboration between Corman and Argentinian studio Aries Cinematográfica, making millions at the box office in the peak sword-and-sorcery era.
The warrior Deathstalker is tasked by an old witch lady to obtain and unite the three powers of creation - a chalice, an amulet, and a sword - lest the evil magician Munkar get them and use them for nefarious purposes. After obtaining the sword, Deathstalker joins with other travellers going to the Big Tournament to determine the strongest warrior. The false king holds the true princess in captivity and plots to have Deathstalker killed, and Deathstalker must fight to free the princess.
Journey back to where the Deathstalker franchise first began with the epic, violent, and steamy fantasy starring Rick Hill, Barbi Benton, Richard Brooker, Lana Clarkson, and Bernard Erhard.
Special Features and Technical Specs:
Disc One: 4K UHD
Disc Two: Blu-ray
_____________________________________________________________________
Deathstalker II (1987) - Imprint Collection #664
Starring John Terlesky as the titular Deathstalker, producer Roger Corman returned for a second bite of the franchise, and his final entry of a ten-film co-production run with Argentinian studio Aries Cinematográfica.
Deathstalker helps Reena the Seer out of a few jams, and she solicits his help for a bigger task. She reveals that she is actually Princess Evie, but the evil sorcerer had her abducted and cloned in order to seize control of the kingdom. Together they travel to the evil sorcerer’s stronghold to restore the princess to her rightful position, encountering challenges along the way both from the sorcerer’s goons and the fierce Amazon women.
Special Features and Technical Specs:
Disc Three: 4K UHD
Disc Four: Blu-ray
_____________________________________________________________________
Deathstalker (2025) - Imprint Collection #665
After a lengthy hiatus, Deathstalker returned to the big screen in 2025 with a brand new take on the classic franchise from writer/director Steven Kostanski (The Void), starring Daniel Bernhardt (John Wick), Christina Orjalo, Paul Lazenby (Deadpool), and Patton Oswalt (Magnolia).
A powerful swordsman known as Deathstalker recovers a cursed amulet from a corpse-strewn battlefield. Marked by dark magic and hunted by monstrous assassins, he must face the rising evil and break the curse.
Special Features and Technical Specs:
Disc Five: 4K UHD
Disc Six: Blu-ray
Packed with extraordinary combat and vicious monsters, these three fiery escapades are ready to drag you into the battlefield:
- Deathstalker (1983)
- Deathstalker II (1987)
- Deathstalker (2025)
The three 4K UHD discs are housed in the SteelBook, with the three Blu-ray discs in a separate Blu-ray case. Together with three folded 449 x 665mm posters, these are all housed inside a 3D Lenticular Hardcase, strictly limited to 1500 copies only.
Deathstalker (1983) - Imprint Collection #663
Produced by B-movie legend Roger Corman, Deathstalker marked the beginning of a ten-film collaboration between Corman and Argentinian studio Aries Cinematográfica, making millions at the box office in the peak sword-and-sorcery era.
The warrior Deathstalker is tasked by an old witch lady to obtain and unite the three powers of creation - a chalice, an amulet, and a sword - lest the evil magician Munkar get them and use them for nefarious purposes. After obtaining the sword, Deathstalker joins with other travellers going to the Big Tournament to determine the strongest warrior. The false king holds the true princess in captivity and plots to have Deathstalker killed, and Deathstalker must fight to free the princess.
Journey back to where the Deathstalker franchise first began with the epic, violent, and steamy fantasy starring Rick Hill, Barbi Benton, Richard Brooker, Lana Clarkson, and Bernard Erhard.
Special Features and Technical Specs:
Disc One: 4K UHD
- 2160p Ultra-high-definition presentation on 4K UHD (Dolby Vision / HDR10)
- Audio commentary by director James Sbardellati, makeup effects artist John Carl Buechler, and actor Richard Brooker
- Theatrical Trailer
- Aspect Ratio 1.85:1
- Audio: English LPCM 2.0 Mono
- Optional English HOH Subtitles
Disc Two: Blu-ray
- 1080p High-definition presentation on Blu-ray of the 4K restoration
- Audio commentary by director James Sbardellati, makeup effects artist John Carl Buechler, and actor Richard Brooker
- Theatrical Trailer
- Photo Gallery
- Aspect Ratio 1.85:1
- Audio: English LPCM 2.0 Mono
- Optional English HOH Subtitles
_____________________________________________________________________
Deathstalker II (1987) - Imprint Collection #664
Starring John Terlesky as the titular Deathstalker, producer Roger Corman returned for a second bite of the franchise, and his final entry of a ten-film co-production run with Argentinian studio Aries Cinematográfica.
Deathstalker helps Reena the Seer out of a few jams, and she solicits his help for a bigger task. She reveals that she is actually Princess Evie, but the evil sorcerer had her abducted and cloned in order to seize control of the kingdom. Together they travel to the evil sorcerer’s stronghold to restore the princess to her rightful position, encountering challenges along the way both from the sorcerer’s goons and the fierce Amazon women.
Special Features and Technical Specs:
Disc Three: 4K UHD
- 2160p Ultra-high-definition presentation on 4K UHD (Dolby Vision / HDR10)
- Audio commentary by director Jim Wynorski and actors John Terlesky and Toni Naples
- Theatrical Trailer
- Aspect Ratio 1.85:1
- Audio: English LPCM 2.0 Mono
- Optional English HOH Subtitles
Disc Four: Blu-ray
- 1080p High-definition presentation on Blu-ray of the 4K restoration
- Audio commentary by director Jim Wynorski and actors John Terlesky and Toni Naples
- Theatrical Trailer
- Aspect Ratio 1.85:1
- Audio: English LPCM 2.0 Mono
- Optional English HOH Subtitles
_____________________________________________________________________
Deathstalker (2025) - Imprint Collection #665
After a lengthy hiatus, Deathstalker returned to the big screen in 2025 with a brand new take on the classic franchise from writer/director Steven Kostanski (The Void), starring Daniel Bernhardt (John Wick), Christina Orjalo, Paul Lazenby (Deadpool), and Patton Oswalt (Magnolia).
A powerful swordsman known as Deathstalker recovers a cursed amulet from a corpse-strewn battlefield. Marked by dark magic and hunted by monstrous assassins, he must face the rising evil and break the curse.
Special Features and Technical Specs:
Disc Five: 4K UHD
- 2160p Ultra-high-definition presentation on 4K UHD (Dolby Vision / HDR10)
- Audio commentary by writer / director Steven Kostanski and actor Daniel Bernhardt
- Audio commentary by writer / director Steven Kostanski, director of photography Andrew Appelle, and editor Robert Hyland
- Trailer
- Aspect Ratio 1.85:1
- Audio: English DTS-HD 5.1 Surround + LPCM 2.0 Stereo
- Optional English HOH Subtitles
Disc Six: Blu-ray
- 1080p High-definition presentation on Blu-ray
- Audio commentary by writer / director Steven Kostanski and actor Daniel Bernhardt
- Audio commentary by writer / director Steven Kostanski, director of photography Andrew Appelle, and editor Robert Hyland
- Interview with writer / director Steven Kostanski and actor Daniel Bernhardt by actor Todd Stashwick
- Interview with visual effects supervisor Cody Kennedy, and visual effects artists Matthew Satchwill & Adarsh Bora by writer / director Steven Kostanski
- Animating Stop-Motion Skeletons – featurette
- Music video
- Trailer
- Aspect Ratio 1.85:1
- Audio: English DTS-HD 5.1 Surround + LPCM 2.0 Stereo
- Optional English HOH Subtitles
- Published on
site update
so many movies ... so little time ...
On this day in 2023 (in Canada), audiences in attendance of the Fantasia Film Festival were treated to the theatrical premiere of The Becomers. Written and directed for the screen by Zach Clark, the film starred Russell Mael, Isabel Alamin, Molly Plunk, and others.
According to our friends at IMDB.com, here's the plot summary:
"A body-snatching alien comes to Earth, reconnects with their partner, and tries to find their way in modern America."
ExtraExtra Alert:
In 2024, I received complimentary streaming access to The Becomers (2023) from a distributor in exchange for review coverage on SciFiHistory.Net. Interested readers can find my review right here.
According to our friends at IMDB.com, here's the plot summary:
"A body-snatching alien comes to Earth, reconnects with their partner, and tries to find their way in modern America."
ExtraExtra Alert:
In 2024, I received complimentary streaming access to The Becomers (2023) from a distributor in exchange for review coverage on SciFiHistory.Net. Interested readers can find my review right here.
From Google.com:
The Becomers is a 2023 absurdist sci-fi comedy-drama directed by Zach Clark. It follows an alien body-snatcher that migrates to Earth, reconnects with its long-lost partner, and tries to assimilate into modern America amidst pandemics, cults, and political paranoia. [1, 2, 3, 4, 5, 6]
The film flips the traditional body-snatcher trope, centering the story on the aliens’ perspective rather than the humans. After an unwilling host is taken, the main alien, named Francesca, searches for her lost love across the Midwest. Once they reunite, the two aliens must continuously jump into new human hosts—a conceit that leads to various actors playing the couple as they attempt to blend in. [4, 5, 7, 8, 9]
Told with narration by Russell Mael of the band Sparks, the micro-budget film is an offbeat mix of goopy body horror and tender romance. Critics noted it functions as a dark, hilarious satire of contemporary American loneliness, modern absurdities, and the isolating feelings of the 2020 and 2021 pandemic era. [3, 5, 8, 10, 11, 12]
AI responses may include mistakes.
[1] https://www.imdb.com/title/tt27796095/
[2] https://en.wikipedia.org/wiki/The_Becomers
[3] https://mashable.com/article/the-becomers-review
[4] https://filmfestivaltoday.com/film-reviews/absurdity-and-romance-shine-in-the-becomers
[5] https://www.flixist.com/review-the-becomers/
[6] https://pophorror.com/body-snatching-the-midwest-the-becomers-2023-movie-review/
[7] https://www.rottentomatoes.com/m/the_becomers
[8] https://morbidlybeautiful.com/reel-review-the-becomers-2024/
[9] https://collider.com/the-becomers-review/
[10] https://www.rogerebert.com/reviews/the-becomers-film-review-2024
[11] https://www.youtube.com/watch?v=CyFKUL-9ggY
[12] https://inreviewonline.com/2024/08/20/the-becomers/
[13] https://vinegarsyndrome.com/products/the-becomers
The Becomers is a 2023 absurdist sci-fi comedy-drama directed by Zach Clark. It follows an alien body-snatcher that migrates to Earth, reconnects with its long-lost partner, and tries to assimilate into modern America amidst pandemics, cults, and political paranoia. [1, 2, 3, 4, 5, 6]
The film flips the traditional body-snatcher trope, centering the story on the aliens’ perspective rather than the humans. After an unwilling host is taken, the main alien, named Francesca, searches for her lost love across the Midwest. Once they reunite, the two aliens must continuously jump into new human hosts—a conceit that leads to various actors playing the couple as they attempt to blend in. [4, 5, 7, 8, 9]
Told with narration by Russell Mael of the band Sparks, the micro-budget film is an offbeat mix of goopy body horror and tender romance. Critics noted it functions as a dark, hilarious satire of contemporary American loneliness, modern absurdities, and the isolating feelings of the 2020 and 2021 pandemic era. [3, 5, 8, 10, 11, 12]
AI responses may include mistakes.
[1] https://www.imdb.com/title/tt27796095/
[2] https://en.wikipedia.org/wiki/The_Becomers
[3] https://mashable.com/article/the-becomers-review
[4] https://filmfestivaltoday.com/film-reviews/absurdity-and-romance-shine-in-the-becomers
[5] https://www.flixist.com/review-the-becomers/
[6] https://pophorror.com/body-snatching-the-midwest-the-becomers-2023-movie-review/
[7] https://www.rottentomatoes.com/m/the_becomers
[8] https://morbidlybeautiful.com/reel-review-the-becomers-2024/
[9] https://collider.com/the-becomers-review/
[10] https://www.rogerebert.com/reviews/the-becomers-film-review-2024
[11] https://www.youtube.com/watch?v=CyFKUL-9ggY
[12] https://inreviewonline.com/2024/08/20/the-becomers/
[13] https://vinegarsyndrome.com/products/the-becomers