- Published on
Under SciFiHistory.Net’s ‘Monsters Of A Sort’ category, I take a look at more conventional productions that kinda/sorta dabble in sensibilities very close to (if not downright demonstrative of) Film Noir and/or the silver screen mystery. Despite maintaining a heavy (and near constant) diet of genre projects, I’m not always satiated by just SciFi, Fantasy, and Horror; so I do like – from time-to-time – to add a little substance from these other realms. It helps widen my perspective. It helps cleanse my palate. It keeps me fresh … and a ‘fresh me’ is good for all of you, my faithful readers.
Today’s distraction is 1949’s Follow Me Quietly.
The film was directed by Richard Fleischer from a screenplay attributed to Lillie Hayward, Anthony Mann, and Francis Rosenwald. I’d come across Hayward’s name before in my reading on such genre entries as The Walking Dead (1936), The Undying Monster (1942), and The Shaggy Dog (1959); while I can’t say all that much else about her overall career, I can say a quick glance at her resume suggests she at some point developed a fondness for spinning yarns with animals featured prominently in them. Rosenwald shows attached (via IMDB.com) to such properties as an episode of Rocky Jones Space Ranger, The Magnetic Moon (1956), a few episodes of Men Into Space, and The Leech Woman (1960). Though Mann’s profile shows a few writing credits, his real background was in directing; and – unless I’m confused – he had a rather storied time bringing some of the better black-and-white crime B-Movies to life. Follow Me Quietly starred William Lundigan, Dorothy Patrick, Jeff Corey, Nestor Paiva, Charles D. Brown, and others.
As per my usual format, the film’s synopsis appears below. My two cents on its construction follows.
(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 obsessed cop tracks an elusive serial killer who strangles his victims on rainy nights.”
On the DVD slipcase for Follow Me Quietly, director Fleischer admits that this film – not his theatrical debut but definitely one of his earliest efforts – taught him the foundation of how to go about constructing screen stories. Having now watched it and knowing full well that his talent is associated with a great number of prominent genre flicks throughout storied time in the business, I’ve no doubt of the skills he tapped here. Follow moves with an incredible efficiency, some of which could be argued is owed to its lean and meaning running length (59 minutes). Montages are meaningful and brisk, and scenes capably focus on key players without ignoring that bit of flavor present in the background to give a location its required authenticity. Sequences flow organically one to the next throughout the picture, so much so that he likely saw little need to pack in anything that might’ve hijacked or slowed the venture.
Essentially, the sterling mecca of New York City, New York is being terrorized by a self-made serial killer who calls himself ‘The Judge.’ The only link between these various murders is the fact that The Judge apparently likes to conduct his nasty business on days when its raining, so the police – namely Lt. Harry Grant (played by William Lundigan) – has few leads. Crack reporter Ann Gorman (Dorothy Patrick) has been assigned by her magazine to shine a little light on the campaign of horror for the readers, so she finagles a way into Grant’s inner circle by eventually pointing out that the assassin might very well have a fondness for previously published pulp-style magazines and may be perusing them for prospective targets. In somewhat predictable fashion, this is the clue the officer has been searching for; and – before all is said and done – he’ll nab not only the guilty culprit but the heart of the comely journalist as well.
In case you missed it, Follow isn’t all that deep as screen stories go; and neither are any of its characters. The serial killer Charlie Roy (Edwin Max) elaborates upon no major manifesto as to why he’s taken it upon himself to clean up what he sees as New York’s dirty streets, nor do the police assigned to the case offer up any compelling theories as to why they believe the man may’ve descended into this campaign of bloody retribution (if that’s what it is). In typical whodunnit fashion, the cops discover a few ominous notes written with cut-out letters; but not even this amounts to much more than a gimmick put to respectable use. In fact, Grant and his fellow lawmen spend the bulk of the investigation without any usable description of the culprit, a fact that has them assembling a faceless, life-sized dummy to – ahem – use in line-ups and the like. It’s all a bit contrived – not in a good way – but it does give these LEOs something with which to fill their time waiting for the next big break.
That bit of lunacy aside, the only other thing missing from Follow are characters that stretch beyond stock players. Lundigan plays the prototypical hunky cop like a ladies’ man when it’s needed; and Gorman is obviously smitten with him as a prospective mate from the get-go. Their eventual pairing in the closing scenes is the kind of moment 1940’s features threw in to suggest love was written in the stars; and, yes, it mostly cheapens an otherwise pedestrian caper. Even actor Jeff Corey as Sergeant Art Collins never amounts to anything greater than the other half of an amiable ‘buddy cop’ feature, though the man manages to rather effortlessly rise above what little characterization the script affords.
Follow Me Quietly (1949) was produced by RKO Radio Pictures. DVD distribution (for this particular release) has been coordinated by the fine folks at the Warner Archive Collection. As for the technical specifications? While I’m no trained video expert, I can still assure readers that the provided sights and sounds are likely the best they’ll ever be; and, yes, Follow has some good visuals but what it gets pitch perfect is the effective seamlessly across the entire affair. Some older flicks are a bit choppily editing: this one isn’t, and it’s a fabulous demonstration of film editing done right. Lastly, if you’re looking for special features? Sigh. Well, there are a few theatrical shorts common to the era and the theatrical trailer, but that’s all there is. Disappointing.
Recommended.
As a Film Noir, Follow Me Quietly really only resonates in a few spots, with director Fleischer really choosing a more conventional cinematographically approach to the classic screen whodunnit. (Mind you: there’s no way to solve this while watching, so its mystery elements are also a bit light.) With a run-time of a mere 59 minutes (gasp!), one might question whether or not there’s enough story in here … and, yet, it actually all works quite swimmingly from start-to-finish. What’s missing – to any measurable degree – is any character development: the cast is basically ‘what you see is what you get,’ and – especially with Noirs – I do like a bit more. This one won’t be any favorites, but it’s still quite good.
In the interests of fairness, I’m pleased to disclose that the fine folks at the Warner Archive (via Allied Vaughn) provided me with a complimentary Blu-ray of Follow Me Quietly (1949) 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
Today’s distraction is 1949’s Follow Me Quietly.
The film was directed by Richard Fleischer from a screenplay attributed to Lillie Hayward, Anthony Mann, and Francis Rosenwald. I’d come across Hayward’s name before in my reading on such genre entries as The Walking Dead (1936), The Undying Monster (1942), and The Shaggy Dog (1959); while I can’t say all that much else about her overall career, I can say a quick glance at her resume suggests she at some point developed a fondness for spinning yarns with animals featured prominently in them. Rosenwald shows attached (via IMDB.com) to such properties as an episode of Rocky Jones Space Ranger, The Magnetic Moon (1956), a few episodes of Men Into Space, and The Leech Woman (1960). Though Mann’s profile shows a few writing credits, his real background was in directing; and – unless I’m confused – he had a rather storied time bringing some of the better black-and-white crime B-Movies to life. Follow Me Quietly starred William Lundigan, Dorothy Patrick, Jeff Corey, Nestor Paiva, Charles D. Brown, and others.
As per my usual format, the film’s synopsis appears below. My two cents on its construction follows.
(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 obsessed cop tracks an elusive serial killer who strangles his victims on rainy nights.”
On the DVD slipcase for Follow Me Quietly, director Fleischer admits that this film – not his theatrical debut but definitely one of his earliest efforts – taught him the foundation of how to go about constructing screen stories. Having now watched it and knowing full well that his talent is associated with a great number of prominent genre flicks throughout storied time in the business, I’ve no doubt of the skills he tapped here. Follow moves with an incredible efficiency, some of which could be argued is owed to its lean and meaning running length (59 minutes). Montages are meaningful and brisk, and scenes capably focus on key players without ignoring that bit of flavor present in the background to give a location its required authenticity. Sequences flow organically one to the next throughout the picture, so much so that he likely saw little need to pack in anything that might’ve hijacked or slowed the venture.
Essentially, the sterling mecca of New York City, New York is being terrorized by a self-made serial killer who calls himself ‘The Judge.’ The only link between these various murders is the fact that The Judge apparently likes to conduct his nasty business on days when its raining, so the police – namely Lt. Harry Grant (played by William Lundigan) – has few leads. Crack reporter Ann Gorman (Dorothy Patrick) has been assigned by her magazine to shine a little light on the campaign of horror for the readers, so she finagles a way into Grant’s inner circle by eventually pointing out that the assassin might very well have a fondness for previously published pulp-style magazines and may be perusing them for prospective targets. In somewhat predictable fashion, this is the clue the officer has been searching for; and – before all is said and done – he’ll nab not only the guilty culprit but the heart of the comely journalist as well.
In case you missed it, Follow isn’t all that deep as screen stories go; and neither are any of its characters. The serial killer Charlie Roy (Edwin Max) elaborates upon no major manifesto as to why he’s taken it upon himself to clean up what he sees as New York’s dirty streets, nor do the police assigned to the case offer up any compelling theories as to why they believe the man may’ve descended into this campaign of bloody retribution (if that’s what it is). In typical whodunnit fashion, the cops discover a few ominous notes written with cut-out letters; but not even this amounts to much more than a gimmick put to respectable use. In fact, Grant and his fellow lawmen spend the bulk of the investigation without any usable description of the culprit, a fact that has them assembling a faceless, life-sized dummy to – ahem – use in line-ups and the like. It’s all a bit contrived – not in a good way – but it does give these LEOs something with which to fill their time waiting for the next big break.
That bit of lunacy aside, the only other thing missing from Follow are characters that stretch beyond stock players. Lundigan plays the prototypical hunky cop like a ladies’ man when it’s needed; and Gorman is obviously smitten with him as a prospective mate from the get-go. Their eventual pairing in the closing scenes is the kind of moment 1940’s features threw in to suggest love was written in the stars; and, yes, it mostly cheapens an otherwise pedestrian caper. Even actor Jeff Corey as Sergeant Art Collins never amounts to anything greater than the other half of an amiable ‘buddy cop’ feature, though the man manages to rather effortlessly rise above what little characterization the script affords.
Follow Me Quietly (1949) was produced by RKO Radio Pictures. DVD distribution (for this particular release) has been coordinated by the fine folks at the Warner Archive Collection. As for the technical specifications? While I’m no trained video expert, I can still assure readers that the provided sights and sounds are likely the best they’ll ever be; and, yes, Follow has some good visuals but what it gets pitch perfect is the effective seamlessly across the entire affair. Some older flicks are a bit choppily editing: this one isn’t, and it’s a fabulous demonstration of film editing done right. Lastly, if you’re looking for special features? Sigh. Well, there are a few theatrical shorts common to the era and the theatrical trailer, but that’s all there is. Disappointing.
Recommended.
As a Film Noir, Follow Me Quietly really only resonates in a few spots, with director Fleischer really choosing a more conventional cinematographically approach to the classic screen whodunnit. (Mind you: there’s no way to solve this while watching, so its mystery elements are also a bit light.) With a run-time of a mere 59 minutes (gasp!), one might question whether or not there’s enough story in here … and, yet, it actually all works quite swimmingly from start-to-finish. What’s missing – to any measurable degree – is any character development: the cast is basically ‘what you see is what you get,’ and – especially with Noirs – I do like a bit more. This one won’t be any favorites, but it’s still quite good.
In the interests of fairness, I’m pleased to disclose that the fine folks at the Warner Archive (via Allied Vaughn) provided me with a complimentary Blu-ray of Follow Me Quietly (1949) 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 much to celebrate!!!
On this day in 2023 (in the U.S.), audiences in attendance of the Tribecca Film Festival were treated to the theatrical debut of Bad Things. Written and directed by Stewart Thorndike, the film starred Gayle Rankin, Hari Nef, Molly Ringwald, and others.
According to our friends at IMDB.com, here's the plot summary:
"A group of friends go to a hotel for a weekend getaway and soon discover that women do bad things here."
For the record:
To the film's credit, Bad Things earned a wee bit of praise from a screening on the film festival circuit.
-- EZ
According to our friends at IMDB.com, here's the plot summary:
"A group of friends go to a hotel for a weekend getaway and soon discover that women do bad things here."
For the record:
To the film's credit, Bad Things earned a wee bit of praise from a screening on the film festival circuit.
-- EZ
From Google.com:
Bad Things (2023) is a psychological horror film written and directed by Stewart Thorndike. It operates as a queer, female-led reinterpretation of The Shining, trading patriarchal madness for female rage and isolation. The movie is available to stream on Shudder and AMC+ . [1, 2, 3, 4]
Plot Overview
Ruthie inherits a nearly abandoned, eerie hotel from her grandmother. Hoping to get away, she reluctantly agrees to spend a weekend there with her girlfriend, Cal, and two friends. Almost immediately, the isolation, coupled with the friends' unresolved jealousies, anxieties, and hidden resentments, causes the group to fracture. Under the oppressive, sinister influence of the hotel, the polite facades break down, and the group begins doing "bad things" to each other. [1, 2, 3, 4]
Key Cast
Reception & Vibe
Critical reception for the film is heavily polarized. Many viewers and critics praise the movie for its refreshing diversity, unsettling single-location atmosphere, and its bold attempt to explore complex, unapologetic female rage. Conversely, others have criticized the execution, noting that the slow-burn pace, confusing climax, and budget limitations left the narrative feeling slightly disjointed. [5, 6, 7, 8, 9]
AI responses may include mistakes.
[1] https://neverthinkimpossible.com/2023/08/14/movie-review-bad-things-2023/
[2] https://www.rogerebert.com/reviews/bad-things-movie-review-2023
[3] https://www.youtube.com/watch?v=BUpY44K0Hos
[4] https://www.imdb.com/news/ni64046840/
[5] https://www.reddit.com/r/badMovies/comments/15zzkze/bad_things_2023_a_queer_take_on_the_shining_with/
[6] https://www.rottentomatoes.com/m/bad_things
[7] https://morbidlybeautiful.com/reel-review-bad-things/
[8] https://www.youtube.com/watch?v=bwV4DoUvH5I
[9] https://tucson.com/life-entertainment/nation-world/movies-tv/article_cb71ab36-e1ec-5e57-87d7-e1a6127c12e4.html
Bad Things (2023) is a psychological horror film written and directed by Stewart Thorndike. It operates as a queer, female-led reinterpretation of The Shining, trading patriarchal madness for female rage and isolation. The movie is available to stream on Shudder and AMC+ . [1, 2, 3, 4]
Plot Overview
Ruthie inherits a nearly abandoned, eerie hotel from her grandmother. Hoping to get away, she reluctantly agrees to spend a weekend there with her girlfriend, Cal, and two friends. Almost immediately, the isolation, coupled with the friends' unresolved jealousies, anxieties, and hidden resentments, causes the group to fracture. Under the oppressive, sinister influence of the hotel, the polite facades break down, and the group begins doing "bad things" to each other. [1, 2, 3, 4]
Key Cast
- Gayle Rankin as Ruthie (the troubled inheritor of the hotel)
- Hari Nef as Cal (Ruthie's girlfriend)
- Annabelle Dexter-Jones as Fran (the disruptive plus-one)
- Rad Pereira as Maddie (their amiable friend)
- Molly Ringwald as a mysterious and eerie local [1, 2, 3, 5]
Reception & Vibe
Critical reception for the film is heavily polarized. Many viewers and critics praise the movie for its refreshing diversity, unsettling single-location atmosphere, and its bold attempt to explore complex, unapologetic female rage. Conversely, others have criticized the execution, noting that the slow-burn pace, confusing climax, and budget limitations left the narrative feeling slightly disjointed. [5, 6, 7, 8, 9]
AI responses may include mistakes.
[1] https://neverthinkimpossible.com/2023/08/14/movie-review-bad-things-2023/
[2] https://www.rogerebert.com/reviews/bad-things-movie-review-2023
[3] https://www.youtube.com/watch?v=BUpY44K0Hos
[4] https://www.imdb.com/news/ni64046840/
[5] https://www.reddit.com/r/badMovies/comments/15zzkze/bad_things_2023_a_queer_take_on_the_shining_with/
[6] https://www.rottentomatoes.com/m/bad_things
[7] https://morbidlybeautiful.com/reel-review-bad-things/
[8] https://www.youtube.com/watch?v=bwV4DoUvH5I
[9] https://tucson.com/life-entertainment/nation-world/movies-tv/article_cb71ab36-e1ec-5e57-87d7-e1a6127c12e4.html
- Published on
press release
CLEOPATRA VENOM
ANNOUNCES THE RELEASE OF
THE WITHERING
[Digital Video]
7/28
Cleopatra Venom announces the July 28th release of the new horror film The Withering on Digital Video.
Judith, an embittered woman in her seventies facing a terminal cancer diagnosis, becomes obsessed with a strange amulet she acquires at an estate sale--an ancient artifact that rejuvenates her body by siphoning vitality from the surrounding town. As Judith grows younger, stronger, and more violent, the community around her rapidly deteriorates, with illness, decay, and death spreading among its youngest residents. Haley, Judith's compassionate caregiver, begins to suspect the truth just as she is cast aside and left alone in a dying town, her only ally her troubled sister who senses the amulet's dark pull. When Judith's hunger escalates from passive draining to brutal murder, Haley races to destroy the artifact before it consumes everyone.
Judith, an embittered woman in her seventies facing a terminal cancer diagnosis, becomes obsessed with a strange amulet she acquires at an estate sale--an ancient artifact that rejuvenates her body by siphoning vitality from the surrounding town. As Judith grows younger, stronger, and more violent, the community around her rapidly deteriorates, with illness, decay, and death spreading among its youngest residents. Haley, Judith's compassionate caregiver, begins to suspect the truth just as she is cast aside and left alone in a dying town, her only ally her troubled sister who senses the amulet's dark pull. When Judith's hunger escalates from passive draining to brutal murder, Haley races to destroy the artifact before it consumes everyone.
- Published on
site update
so many movies ... so much to celebrate!!!
On this day in 2021 (in a whole host of countries around the world), it was the end of the world as we know it yet again -- well, cinematically, that is -- when Awake was unleashed via the Information Superhighway. Written (in part) and directed by Mark Raso, the film starred Gina Rodriguez, Ariana Greenblatt, Jennifer Jason Leigh, and others.
According to our friends at IMDB.com, here's the plot summary:
"After a devastating global event wiped out all electronics and eliminated people's ability to sleep, a former soldier may have found a solution with her daughter."
-- EZ
According to our friends at IMDB.com, here's the plot summary:
"After a devastating global event wiped out all electronics and eliminated people's ability to sleep, a former soldier may have found a solution with her daughter."
-- EZ
From Google.com:
Awake is a 2021 apocalyptic sci-fi thriller on Netflix directed by Mark Raso, starring Gina Rodriguez. When a mysterious global event wipes out all electronics and strips humanity of its ability to sleep, society quickly devolves into chaos. A former soldier and mother races to protect her daughter, who holds the key to a cure. [1, 2, 3, 4]
Key Details
Plot Summary
Following a massive solar flare and an unprecedented electromagnetic event, the world's population suddenly loses the ability to fall asleep. Within 24 to 48 hours, mass hysteria breaks out as sleep-deprivation causes severe cognitive decline, hallucinations, and fatal organ failure. [2, 5, 6, 7]
Jill, a former Army medic with a troubled past, discovers that her young daughter, Matilda, is seemingly the only person on earth still capable of resting. As scientists and desperate, sleep-deprived citizens hunt for a cure, Jill and her family embark on a perilous journey to a military research base to figure out if Matilda's immunity can save humanity. [1, 2, 5]
The Ending Explained
Once they reach the research facility, Dr. Murphy attempts to run tests on Matilda to extract the cure. After seeing the ruthless lengths the scientists go to in their experiments, Jill rescues her daughter. In the film's climax, they discover a unique mechanic regarding the ability to sleep: humans and animals are able to fall asleep briefly after experiencing "clinical death" and being revived. By purposefully drowning and resuscitating Matilda—and eventually themselves—Jill and her surviving family members successfully restore their own ability to sleep. [5, 8, 9, 10, 11]
AI responses may include mistakes.
[1] https://en.wikipedia.org/wiki/Awake_(2021_film)
[2] https://www.imdb.com/title/tt10418662/
[3] https://www.rottentomatoes.com/m/awake_2021
[4] https://www.facebook.com/groups/movie.talk.club/posts/982209449220472/
[5] https://www.rogerebert.com/reviews/awake-movie-review-2021
[6] https://www.cnet.com/culture/entertainment/awake-on-netflix-the-ending-explained-and-all-your-questions-answered/
[7] https://www.reddit.com/r/horror/comments/o18brn/awake_2021_why_so_much_hate/
[8] https://www.youtube.com/watch?v=JvKlxJJFnhw
[9] https://www.facebook.com/groups/netflixmustmovies2025/posts/1865006161092010/
[10] https://moriareviews.com/sciencefiction/awake-2021.htm
[11] https://www.slantmagazine.com/film/awake-review-gina-rodriguez/
Awake is a 2021 apocalyptic sci-fi thriller on Netflix directed by Mark Raso, starring Gina Rodriguez. When a mysterious global event wipes out all electronics and strips humanity of its ability to sleep, society quickly devolves into chaos. A former soldier and mother races to protect her daughter, who holds the key to a cure. [1, 2, 3, 4]
Key Details
- Release Date: June 9, 2021
- Director: Mark Raso
- Cast: Gina Rodriguez (Jill), Ariana Greenblatt (Matilda), and Jennifer Jason Leigh (Dr. Murphy)
- Platform: Awake on Netflix [1, 3]
Plot Summary
Following a massive solar flare and an unprecedented electromagnetic event, the world's population suddenly loses the ability to fall asleep. Within 24 to 48 hours, mass hysteria breaks out as sleep-deprivation causes severe cognitive decline, hallucinations, and fatal organ failure. [2, 5, 6, 7]
Jill, a former Army medic with a troubled past, discovers that her young daughter, Matilda, is seemingly the only person on earth still capable of resting. As scientists and desperate, sleep-deprived citizens hunt for a cure, Jill and her family embark on a perilous journey to a military research base to figure out if Matilda's immunity can save humanity. [1, 2, 5]
The Ending Explained
Once they reach the research facility, Dr. Murphy attempts to run tests on Matilda to extract the cure. After seeing the ruthless lengths the scientists go to in their experiments, Jill rescues her daughter. In the film's climax, they discover a unique mechanic regarding the ability to sleep: humans and animals are able to fall asleep briefly after experiencing "clinical death" and being revived. By purposefully drowning and resuscitating Matilda—and eventually themselves—Jill and her surviving family members successfully restore their own ability to sleep. [5, 8, 9, 10, 11]
AI responses may include mistakes.
[1] https://en.wikipedia.org/wiki/Awake_(2021_film)
[2] https://www.imdb.com/title/tt10418662/
[3] https://www.rottentomatoes.com/m/awake_2021
[4] https://www.facebook.com/groups/movie.talk.club/posts/982209449220472/
[5] https://www.rogerebert.com/reviews/awake-movie-review-2021
[6] https://www.cnet.com/culture/entertainment/awake-on-netflix-the-ending-explained-and-all-your-questions-answered/
[7] https://www.reddit.com/r/horror/comments/o18brn/awake_2021_why_so_much_hate/
[8] https://www.youtube.com/watch?v=JvKlxJJFnhw
[9] https://www.facebook.com/groups/netflixmustmovies2025/posts/1865006161092010/
[10] https://moriareviews.com/sciencefiction/awake-2021.htm
[11] https://www.slantmagazine.com/film/awake-review-gina-rodriguez/
- Published on
site update
so many movies ... so much to celebrate!!!
On this day in 2012 (in the U.S.), audiences in attendance of the Seattle International Film Festival were treated to the theatrical debut of Easton's Article (aka Black Web). Written and directed by Tim Connery, the film starred Chad Meyer, Kristina Johnson, Dan Flannery, and others.
According to our friends at IMDB.com, here's the plot summary:
"After receiving his future obituary via a cryptic Internet file, Easton Denning is forced to confront his troubled past in order to prevent his predicted demise."
-- EZ
According to our friends at IMDB.com, here's the plot summary:
"After receiving his future obituary via a cryptic Internet file, Easton Denning is forced to confront his troubled past in order to prevent his predicted demise."
-- EZ
From Google.com:
Easton's Article (also known as Black Web) is a 2012 independent American sci-fi drama directed by Tim Connery, focusing on a computer engineer who discovers his own future obituary. The film, which explores themes of fate and past trauma, received mixed reviews for its low-budget execution but was noted for its unique, mystery-driven concept.
For a review of the film, see The Hollywood Reporter. [1, 2, 3, 4]
AI responses may include mistakes.
[1] https://www.rottentomatoes.com/m/black_web
[2] https://www.imdb.com/title/tt2091288/
[3] https://www.hollywoodreporter.com/movies/movie-reviews/eastons-article-film-review-tim-connery-chad-meyer-kristina-johnson-335606/
[4] https://letterboxd.com/film/eastons-article/reviews/
Easton's Article (also known as Black Web) is a 2012 independent American sci-fi drama directed by Tim Connery, focusing on a computer engineer who discovers his own future obituary. The film, which explores themes of fate and past trauma, received mixed reviews for its low-budget execution but was noted for its unique, mystery-driven concept.
For a review of the film, see The Hollywood Reporter. [1, 2, 3, 4]
AI responses may include mistakes.
[1] https://www.rottentomatoes.com/m/black_web
[2] https://www.imdb.com/title/tt2091288/
[3] https://www.hollywoodreporter.com/movies/movie-reviews/eastons-article-film-review-tim-connery-chad-meyer-kristina-johnson-335606/
[4] https://letterboxd.com/film/eastons-article/reviews/
- Published on
site update
so many movies ... so much to celebrate!!!
On this day in 1998 (in the U.S.), Feeders 2: Slay Bells rang in the holiday season with a general release on home video. Written and directed (in part) by Mark Polonia, the film starred Polonia alongside Maria Davis, Courtney Polonia, Anthony Polonia, and others.
According to our friends at IMDB.com, here's the plot summary:
"Aliens invade Earth over the Christmas holidays, and it's up to Santa Claus and his elves to save the world."
-- EZ
According to our friends at IMDB.com, here's the plot summary:
"Aliens invade Earth over the Christmas holidays, and it's up to Santa Claus and his elves to save the world."
-- EZ
From Google.com:
Feeders 2: Slay Bells is a 1998 direct-to-video, ultra-low-budget sci-fi horror-comedy directed by brothers John and Mark Polonia. The film follows a family's peaceful Christmas Eve that turns chaotic when aliens invade, ultimately forcing Santa Claus and his elves to save humanity. [1, 2, 3, 4]
Key Details & Trivia
AI responses may include mistakes.
[1] https://www.imdb.com/title/tt0366436/
[2] https://en.wikipedia.org/wiki/Feeders_(film)
[3] https://letterboxd.com/film/feeders-2-slay-bells/
[4] https://www.gbhbl.com/horror-movie-review-feeders-2-slay-bells-1998/
[5] https://www.youtube.com/watch?v=JZ2zvYVp_H8
[6] https://www.reddit.com/r/badMovies/comments/1jouw8d/todays_tubi_treasure_is_feeders_2_slay_bells_1998/
Feeders 2: Slay Bells is a 1998 direct-to-video, ultra-low-budget sci-fi horror-comedy directed by brothers John and Mark Polonia. The film follows a family's peaceful Christmas Eve that turns chaotic when aliens invade, ultimately forcing Santa Claus and his elves to save humanity. [1, 2, 3, 4]
Key Details & Trivia
- The Production: Made on an incredibly small budget (famously rumored to be around $500), the movie features alien puppets that look like spray-painted styrofoam.
- Reused Footage: The Polonia brothers were notorious for padding out runtimes. About 15 minutes of this 68-minute movie consist of flashbacks and reused stock footage from their previous movie, Night Crawlers.
- The Story: Despite ending in total world destruction for the first Feeders, the sequel is entirely unconnected. The main character, Alan Parker (played by Mark Polonia), is fighting off a new invasion with his family while a survivor from the first film, Derek, endlessly recaps previous events from a mental hospital.
- The Verdict: Cult film fans typically view this as a prime "so bad it's good" movie. The acting is deeply amateurish, the kill scenes are famously campy, and the depiction of Santa Claus is one of the strangest in cinema history. [1, 4]
AI responses may include mistakes.
[1] https://www.imdb.com/title/tt0366436/
[2] https://en.wikipedia.org/wiki/Feeders_(film)
[3] https://letterboxd.com/film/feeders-2-slay-bells/
[4] https://www.gbhbl.com/horror-movie-review-feeders-2-slay-bells-1998/
[5] https://www.youtube.com/watch?v=JZ2zvYVp_H8
[6] https://www.reddit.com/r/badMovies/comments/1jouw8d/todays_tubi_treasure_is_feeders_2_slay_bells_1998/
- Published on
site update
so many movies ... so much to celebrate!!!
On this day in 2020 (in Japan), Beyond The Infinite Two Minutes delivered a single-camera take on the mindblowing possibilities of time travel. Directed by Yunta Yamaguchi from a story by Makoto Ueda, the film starred Kazunari Tosa, Riko Fujitani, Masashi Suwa, and others.
According to our friends at IMDB.com, here's the plot summary:
"A cafe owner discovers that the TV in his cafe suddenly shows images from the future, but only two minutes into the future."
For the record:
To the film's credit, Beyond The Infinite Two Minutes stirred up a good bit of praise from screenings on the film festival circuit.
ExtraExtra Alert:
In 2022, I was provided complimentary streaming access to Beyond The Infinite Two Minutes (2020) from a distributor in exchange for review coverage on SciFiHistory.Net. Interested readers can find my review right here.
-- EZ
According to our friends at IMDB.com, here's the plot summary:
"A cafe owner discovers that the TV in his cafe suddenly shows images from the future, but only two minutes into the future."
For the record:
To the film's credit, Beyond The Infinite Two Minutes stirred up a good bit of praise from screenings on the film festival circuit.
ExtraExtra Alert:
In 2022, I was provided complimentary streaming access to Beyond The Infinite Two Minutes (2020) from a distributor in exchange for review coverage on SciFiHistory.Net. Interested readers can find my review right here.
-- EZ
From Google.com:
Beyond the Infinite Two Minutes (2020) is a wildly clever, low-budget Japanese sci-fi comedy directed by Junta Yamaguchi. Shot to look like one continuous take, the film follows a Kyoto cafe owner who discovers that his computer monitor and TV are linked, allowing him and his friends to see exactly two minutes into the future.
AI responses may include mistakes.
[1] https://www.imdb.com/title/tt14500584/
[2] https://en.wikipedia.org/wiki/Beyond_the_Infinite_Two_Minutes
[3] https://warped-perspective.com/2022/01/beyond-the-infinite-two-minutes-2020/
[4] https://www.theguardian.com/film/2021/dec/03/time-travel-beyond-the-infinite-two-minutes-junta-yamaguchi
[5] https://tv.apple.com/ie/movie/beyond-the-infinite-two-minutes/umc.cmc.16qkxtfsmsihkb9knb9bl4fvy
[6] https://www.reddit.com/r/movies/comments/xm8zuj/beyond_the_infinite_two_minutes_2020_amazon_prime/
[7] https://www.youtube.com/watch?v=lNJ-d2chSDQ
[8] https://jffau.jpf.go.jp/film/beyond-the-infinite-two-minutes/
[9] https://medium.com/taclanese/beyond-the-two-infinite-minutes-18542fa36ba9
[10] https://shop.terracottadistribution.com/products/beyond-the-infinite-two-minutes-bluray
[11] https://grokipedia.com/page/Beyond_the_Infinite_Two_Minutes
[12] https://medium.com/taclanese/beyond-the-two-infinite-minutes-18542fa36ba9
[13] https://nitelifeexchange.com/faust-one-too-many-times/
[14] https://www.rottentomatoes.com/m/beyond_the_infinite_two_minutes
[15] https://letterboxd.com/harry72/film/beyond-the-infinite-two-minutes/
Beyond the Infinite Two Minutes (2020) is a wildly clever, low-budget Japanese sci-fi comedy directed by Junta Yamaguchi. Shot to look like one continuous take, the film follows a Kyoto cafe owner who discovers that his computer monitor and TV are linked, allowing him and his friends to see exactly two minutes into the future.
- The Premise: Café owner Kato heads to his apartment above the shop only to find his computer screen talking to him. It is himself, but from two minutes in the future. He is told to head downstairs, where the cafe's TV projects the past, creating a loop where the characters can interact with their past and future selves.
- The Droste Effect: Chaos ensues when Kato's friends discover this phenomenon and begin moving the monitors to face each other. This creates an infinite mirror-like reflection (the Droste effect) that allows them to gaze further and further into the future, which they quickly attempt to exploit for personal gain and romantic pursuits.
- Budget & Execution: Made on a micro-budget of around $20,000 to $27,000 (about 3 million JPY), the entire 70-minute movie relies on clever writing, pacing, and meticulous choreography rather than expensive CGI.
- Reception: It holds a 99% critical approval rating on Rotten Tomatoes. It was praised for being an endearing, playful, and inventive take on time-travel. [14, 15]
AI responses may include mistakes.
[1] https://www.imdb.com/title/tt14500584/
[2] https://en.wikipedia.org/wiki/Beyond_the_Infinite_Two_Minutes
[3] https://warped-perspective.com/2022/01/beyond-the-infinite-two-minutes-2020/
[4] https://www.theguardian.com/film/2021/dec/03/time-travel-beyond-the-infinite-two-minutes-junta-yamaguchi
[5] https://tv.apple.com/ie/movie/beyond-the-infinite-two-minutes/umc.cmc.16qkxtfsmsihkb9knb9bl4fvy
[6] https://www.reddit.com/r/movies/comments/xm8zuj/beyond_the_infinite_two_minutes_2020_amazon_prime/
[7] https://www.youtube.com/watch?v=lNJ-d2chSDQ
[8] https://jffau.jpf.go.jp/film/beyond-the-infinite-two-minutes/
[9] https://medium.com/taclanese/beyond-the-two-infinite-minutes-18542fa36ba9
[10] https://shop.terracottadistribution.com/products/beyond-the-infinite-two-minutes-bluray
[11] https://grokipedia.com/page/Beyond_the_Infinite_Two_Minutes
[12] https://medium.com/taclanese/beyond-the-two-infinite-minutes-18542fa36ba9
[13] https://nitelifeexchange.com/faust-one-too-many-times/
[14] https://www.rottentomatoes.com/m/beyond_the_infinite_two_minutes
[15] https://letterboxd.com/harry72/film/beyond-the-infinite-two-minutes/
- Published on
in memoriam
In my stewardship here at SciFiHistory.Net of trying to keep my fingers on the pulse of All Things Genre, I've often said that I watch waaaaaaay too much television.
Still, the trouble I have personally -- which I do work hard to keep out of the influence of these pages -- is that -- ahem -- I don't like a great deal of television. I don't dislike so many of the shows that come down the pike (as they say), but the truth is that I need to be somehow engaged in order to fully appreciate what a program's central idea, themes, or messages might be. Whether you like to admit it or not, every show has some basic foundation; and -- if I'm not drawn to it -- I'll tune out something that fails to resonate an intrinsic level. Some of this is owed to the fact that I've always maintained that life is too short for dramas which don't move me: even though I might not invest much in some of these yarns, I still try to draw attention to them in hopes that others might find something they like in them.
Now, one of programs I truly struggled with was Buffy The Vampire Slayer. As many of you might recall, fandom truly wrapped its arms appreciably around this one; and -- for the life of me -- I just couldn't understand why. It could've been my age. It could've been the fact that I just didn't see it doing anything particularly novel (or not novel enough to maintain my interest). Or it could simply be that I tend to gravitate away from projects that require a long-term investment. Rarely has long-form storytelling won me over; and Buffy seemed like a show that rewarded folks to staying around.
But I always loved what I saw its cast doing, and that's what brings me here this morning: I just saw word reaching the World Wide Web of actor Anthony Head's passing. For those who don't know, Head played 'Rupert Giles' aboard the show, serving chiefly as a revered mentor for the young slayer herself. This was a role that the actor spoke very favorably about over the years; and I can always appreciate how such praise for this individual universe tickles the fancy of Buffy fans around the world.
The guy was a phenomenal talent, the kind who showed up all over the genre map and always -- ALWAYS -- delivered something worth watching. No matter the size of the role, Head insured that he gave it and his audience this all; and that's a trait everyone appreciates.
Our warmest prayers are extended to the family, friends, and fans of Anthony Head.
May he rest in peace ...
-- EZ
Still, the trouble I have personally -- which I do work hard to keep out of the influence of these pages -- is that -- ahem -- I don't like a great deal of television. I don't dislike so many of the shows that come down the pike (as they say), but the truth is that I need to be somehow engaged in order to fully appreciate what a program's central idea, themes, or messages might be. Whether you like to admit it or not, every show has some basic foundation; and -- if I'm not drawn to it -- I'll tune out something that fails to resonate an intrinsic level. Some of this is owed to the fact that I've always maintained that life is too short for dramas which don't move me: even though I might not invest much in some of these yarns, I still try to draw attention to them in hopes that others might find something they like in them.
Now, one of programs I truly struggled with was Buffy The Vampire Slayer. As many of you might recall, fandom truly wrapped its arms appreciably around this one; and -- for the life of me -- I just couldn't understand why. It could've been my age. It could've been the fact that I just didn't see it doing anything particularly novel (or not novel enough to maintain my interest). Or it could simply be that I tend to gravitate away from projects that require a long-term investment. Rarely has long-form storytelling won me over; and Buffy seemed like a show that rewarded folks to staying around.
But I always loved what I saw its cast doing, and that's what brings me here this morning: I just saw word reaching the World Wide Web of actor Anthony Head's passing. For those who don't know, Head played 'Rupert Giles' aboard the show, serving chiefly as a revered mentor for the young slayer herself. This was a role that the actor spoke very favorably about over the years; and I can always appreciate how such praise for this individual universe tickles the fancy of Buffy fans around the world.
The guy was a phenomenal talent, the kind who showed up all over the genre map and always -- ALWAYS -- delivered something worth watching. No matter the size of the role, Head insured that he gave it and his audience this all; and that's a trait everyone appreciates.
Our warmest prayers are extended to the family, friends, and fans of Anthony Head.
May he rest in peace ...
-- EZ
- Published on
site update
so many movies ... so much to celebrate!!!
On this day in 1978 (in the U.S.), the big city of Chicago, Illinois played host for an advance premiere theatrical engagement of Damien: Omen II. (FYI: The film would enjoy its full U.S. theatrical launch on June 9th.) Directed by Don Taylor and Mike Hodges from a story credited to Hodges, Stanley Mann, David Seltzer, and Harvey Bernhard, the film starred William Holden, Lee Grant, Jonathan Scott-Taylor, and others.
According to our friends at IMDB.com, here's the plot summary:
"Damien the Antichrist, now about to turn thirteen years old, finally learns of his destiny under the guidance of an unholy disciple of Satan. Meanwhile dark forces begin to eliminate all those who suspect the child's true identity."
For the record:
At the 1979 Saturn Awards, Damien: Omen II received a nomination in the category of 'Best Special Effects.'
-- EZ
According to our friends at IMDB.com, here's the plot summary:
"Damien the Antichrist, now about to turn thirteen years old, finally learns of his destiny under the guidance of an unholy disciple of Satan. Meanwhile dark forces begin to eliminate all those who suspect the child's true identity."
For the record:
At the 1979 Saturn Awards, Damien: Omen II received a nomination in the category of 'Best Special Effects.'
-- EZ
From Google.com:
Damien: Omen II (1978) is the direct, supernatural horror sequel to the 1976 classic The Omen. Directed by Don Taylor, the film follows a 13-year-old Damien Thorn (Jonathan Scott-Taylor) as he discovers his infernal destiny as the Antichrist while under the care of his industrialist uncle in Chicago. [1, 2, 3, 4]
Plot Summary
The movie picks up seven years after the original film. Damien is living a life of luxury alongside his Uncle Richard (William Holden) and Aunt Ann (Lee Grant). While attending a military academy with his cousin Mark (Lucas Donat), Damien begins to exhibit mysterious powers. As dark forces systematically eliminate anyone who discovers his true identity, Damien must choose whether to accept or fight his prophesied role as the Devil's son. [1, 2, 4, 5, 6, 7, 8]
Key Details & Production
AI responses may include mistakes.
[1] https://en.wikipedia.org/wiki/Damien_%E2%80%93_Omen_II
[2] https://www.imdb.com/title/tt0077394/
[3] https://www.facebook.com/joblomovienetwork/posts/a-deep-dive-into-damien-the-omen-ii-from-director-walkouts-and-cut-roles-to-outr/1317309143757463/
[4] https://www.rottentomatoes.com/m/damien_omen_ii
[5] https://omen.fandom.com/wiki/Damien_-_Omen_II
[6] https://absolutehorror.fandom.com/wiki/Damien:_Omen_II
[7] https://offscreen.com/view/damien-omen-ii-don-taylor1978
[8] https://www.imdb.com/title/tt0077394/plotsummary/
[9] https://www.franksmovielog.com/reviews/damien-omen-ii-1978/
[10] https://www.imdb.com/title/tt0077394/trivia/
[11] https://www.joblo.com/damien-omen-2-what-happened/
[12] https://www.youtube.com/watch?v=64PBea5UTLA
[13] https://theultimaterabbit.com/tag/jonathan-scott-taylor/
Damien: Omen II (1978) is the direct, supernatural horror sequel to the 1976 classic The Omen. Directed by Don Taylor, the film follows a 13-year-old Damien Thorn (Jonathan Scott-Taylor) as he discovers his infernal destiny as the Antichrist while under the care of his industrialist uncle in Chicago. [1, 2, 3, 4]
Plot Summary
The movie picks up seven years after the original film. Damien is living a life of luxury alongside his Uncle Richard (William Holden) and Aunt Ann (Lee Grant). While attending a military academy with his cousin Mark (Lucas Donat), Damien begins to exhibit mysterious powers. As dark forces systematically eliminate anyone who discovers his true identity, Damien must choose whether to accept or fight his prophesied role as the Devil's son. [1, 2, 4, 5, 6, 7, 8]
Key Details & Production
- Director Shift: The film originally had Mike Hodges directing, but he was fired early in production due to creative differences. Don Taylor was brought in to finish the movie.
- Filming Locations: Unlike the first film which shot in England and Italy, the sequel moved production to Chicago, Wisconsin, and Israel.
- Cast: Features a strong ensemble including acting legends William Holden, Lee Grant, and Lance Henriksen.
- Box Office: Despite receiving mixed reviews from critics, the movie was a commercial success, grossing over $26 million on a $6.8 million budget.
- Legacy: The film is celebrated by horror fans for its grisly, elaborate kill scenes and its escalating, old-fashioned gothic tone. [11, 12, 13]
AI responses may include mistakes.
[1] https://en.wikipedia.org/wiki/Damien_%E2%80%93_Omen_II
[2] https://www.imdb.com/title/tt0077394/
[3] https://www.facebook.com/joblomovienetwork/posts/a-deep-dive-into-damien-the-omen-ii-from-director-walkouts-and-cut-roles-to-outr/1317309143757463/
[4] https://www.rottentomatoes.com/m/damien_omen_ii
[5] https://omen.fandom.com/wiki/Damien_-_Omen_II
[6] https://absolutehorror.fandom.com/wiki/Damien:_Omen_II
[7] https://offscreen.com/view/damien-omen-ii-don-taylor1978
[8] https://www.imdb.com/title/tt0077394/plotsummary/
[9] https://www.franksmovielog.com/reviews/damien-omen-ii-1978/
[10] https://www.imdb.com/title/tt0077394/trivia/
[11] https://www.joblo.com/damien-omen-2-what-happened/
[12] https://www.youtube.com/watch?v=64PBea5UTLA
[13] https://theultimaterabbit.com/tag/jonathan-scott-taylor/
- 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:
“When a fame hungry couple moves to an ideal LA home, their new dream life spirals into nightmare as an ancient scarecrow begins stalking them - feeding on their lies, testing truth, and turning their fandom into witnesses of its judgment.”
As I often opine when I’m tasked with reviewing another one of those ‘found footage films,’ I admit to being one of the last hold-outs who still finds these things somewhat enjoyable, mostly in that old-school creepy odd way. Granted, a great many of them aren’t, in fact, legitimate ‘found footage’ – which is the case here with Strawstalker (2026) – but that’s okay. It only uses the construct in modern ways, but it’s clearly been edited together. But … so long as the cast and crew show up and actually try to do something interesting with the format I’m generally accepting of it. Writer/director George Henry Horton really pushed me to my limits here. What few good ideas are tossed in here, frankly, get obscured by the fact that this footage winds up being a bland presentation which only circumstantial explains what the Hell all the fuss is about.
Again: I like found footage. Just wanna be clear.
Now, Henry and Haley are a pair of young influencers who’ve moved into what one might assume is their first ‘dream home’ (or maybe it’s only a ‘dream home away from home,’ as it’s never quite clear). This quaint suburban California nest comes completely furnished, even with an elaborate tiki bar in the backyard and what looks to be a modified lap pool ready and willing to sweep all of their cares away. But it would seem that the house and its neighbors hold a dark secret, one involving the lifeless body of an ugly scarecrow the lovebirds find nesting between the trees. As scarecrows go, this one is pretty anemic – a Spirit Halloween knock-off, if ever there were such a thing – but viewers eventually learn that the critter is a kinda/sorta demon who demands a sacrifice.
What for?
Well, there’s something said by someone along the way who would seem to be the community organizer for Evil (maybe the president of the HOA?) that implies an abhorrence of technology. But why would a scarecrow – even one manifested from pure hatred – be opposed to, say, even a fax machine? Apologies, but I’m not following …
In any event …
Storyteller Horton and the gang give it an admirable whirl, though I’m not sure even Scooby and the gang would have much great to say about this. Chiefly, my issues with Scarestalker is that more often than not the streaming celebrity lifestyle – that’s the framework for their ‘found footage’ here mostly – never quite amounts to more than the usual herky-jerky cinematography with a handful of patently predictable jump scares. About the time that two beat cops show up for no reason other than to warn these fame-seekers that they need to be careful about what they do in this neighborhood (???), I’d lost interest in even trying to figure out what ol’ Big Bad ScareFace and his vile homeowners association were all hoping would come to pass. It would seem that a sacrifice isn’t going to be enough this time, and I’ll be damned if I could explain why.
Additionally, Strawstalker suffers from its celebrity construct by having the live-streamers constantly making sure they’re recording even when their respective lives are at stake. Being as old as I am – and having watched enough Horror to choke an exorcist – I know good and well that when Jason or Freddy or Michael or whoever is coming at me that it’s go time, whether I’ve the proper running shoes on or not. But this generation? Why, I was honestly expecting them to stop to ascertain whether they had the best angle showing or even the right filters engaged for their audiences: do their mortal souls really mean nothing to them any longer? Ah, kids these days …
Regardless, here’s the damndest thing …
Because I both like Horror and like ‘found footage’ I managed to suppress a yawn here and there in order to finish Strawstalker. Whether this matters or not, I’d like to add that even though it fails to reach the bar for what’s acceptable in this sub-genre that there’s still enough background in it to make for a purely conventional delivery. In other words: lose the ‘found footage’ – or minimize it to a great degree – and actually tell the story of these two as people instead of celebrities fawning over one another in pursuit of fortune. They could still be influencers (or whatever it is they are as, again, it’s a bit unclear), but with that found footage perspective constrained a bit there would’ve been a greater chance to learn who they are (especially when the cameras are off) and what predicament they’ve found themselves in. That may’ve been interesting. This? Not so much.
Strawstalker (2026) was produced by Dark Atlantic. A quick search of Google.com indicates that the flick is presently available for streaming on Prime Video. As for the technical specifications? While I’m no trained video expert, I can still assure readers that the provided sights and sounds are good. Lastly, if you’re looking for special features? As I viewed this presentation via streaming, there were no special features to consider.
Alas … only Mildly Recommended.
It’s not really ‘found footage,’ not in the classic definition of the sub-genre. It’s more of an expose on the California Society Of Maniacal Streamers, cobbled together from several different cameras. In fact, the story is hacked so much together that, maybe, it would’ve been more entertaining entirely as some kind of traditional yarn, something not using the ‘found footage’ or, instead, sparingly inserting it, kinda/sorta in a way that Woody Allen broke the fourth wall back in the days of Annie Hall. It has that aesthetic – the narrator keeps hijacking the footage to offer his perspective on things; and Strawstalker might’ve been a vivid Allenesque twist had the screenwriter gone another way.
In the interests of fairness, I’m pleased to disclose that the fine folks at Dark Atlantic provided me with complimentary streaming access to Strawstalker (2026) 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:
“When a fame hungry couple moves to an ideal LA home, their new dream life spirals into nightmare as an ancient scarecrow begins stalking them - feeding on their lies, testing truth, and turning their fandom into witnesses of its judgment.”
As I often opine when I’m tasked with reviewing another one of those ‘found footage films,’ I admit to being one of the last hold-outs who still finds these things somewhat enjoyable, mostly in that old-school creepy odd way. Granted, a great many of them aren’t, in fact, legitimate ‘found footage’ – which is the case here with Strawstalker (2026) – but that’s okay. It only uses the construct in modern ways, but it’s clearly been edited together. But … so long as the cast and crew show up and actually try to do something interesting with the format I’m generally accepting of it. Writer/director George Henry Horton really pushed me to my limits here. What few good ideas are tossed in here, frankly, get obscured by the fact that this footage winds up being a bland presentation which only circumstantial explains what the Hell all the fuss is about.
Again: I like found footage. Just wanna be clear.
Now, Henry and Haley are a pair of young influencers who’ve moved into what one might assume is their first ‘dream home’ (or maybe it’s only a ‘dream home away from home,’ as it’s never quite clear). This quaint suburban California nest comes completely furnished, even with an elaborate tiki bar in the backyard and what looks to be a modified lap pool ready and willing to sweep all of their cares away. But it would seem that the house and its neighbors hold a dark secret, one involving the lifeless body of an ugly scarecrow the lovebirds find nesting between the trees. As scarecrows go, this one is pretty anemic – a Spirit Halloween knock-off, if ever there were such a thing – but viewers eventually learn that the critter is a kinda/sorta demon who demands a sacrifice.
What for?
Well, there’s something said by someone along the way who would seem to be the community organizer for Evil (maybe the president of the HOA?) that implies an abhorrence of technology. But why would a scarecrow – even one manifested from pure hatred – be opposed to, say, even a fax machine? Apologies, but I’m not following …
In any event …
Storyteller Horton and the gang give it an admirable whirl, though I’m not sure even Scooby and the gang would have much great to say about this. Chiefly, my issues with Scarestalker is that more often than not the streaming celebrity lifestyle – that’s the framework for their ‘found footage’ here mostly – never quite amounts to more than the usual herky-jerky cinematography with a handful of patently predictable jump scares. About the time that two beat cops show up for no reason other than to warn these fame-seekers that they need to be careful about what they do in this neighborhood (???), I’d lost interest in even trying to figure out what ol’ Big Bad ScareFace and his vile homeowners association were all hoping would come to pass. It would seem that a sacrifice isn’t going to be enough this time, and I’ll be damned if I could explain why.
Additionally, Strawstalker suffers from its celebrity construct by having the live-streamers constantly making sure they’re recording even when their respective lives are at stake. Being as old as I am – and having watched enough Horror to choke an exorcist – I know good and well that when Jason or Freddy or Michael or whoever is coming at me that it’s go time, whether I’ve the proper running shoes on or not. But this generation? Why, I was honestly expecting them to stop to ascertain whether they had the best angle showing or even the right filters engaged for their audiences: do their mortal souls really mean nothing to them any longer? Ah, kids these days …
Regardless, here’s the damndest thing …
Because I both like Horror and like ‘found footage’ I managed to suppress a yawn here and there in order to finish Strawstalker. Whether this matters or not, I’d like to add that even though it fails to reach the bar for what’s acceptable in this sub-genre that there’s still enough background in it to make for a purely conventional delivery. In other words: lose the ‘found footage’ – or minimize it to a great degree – and actually tell the story of these two as people instead of celebrities fawning over one another in pursuit of fortune. They could still be influencers (or whatever it is they are as, again, it’s a bit unclear), but with that found footage perspective constrained a bit there would’ve been a greater chance to learn who they are (especially when the cameras are off) and what predicament they’ve found themselves in. That may’ve been interesting. This? Not so much.
Strawstalker (2026) was produced by Dark Atlantic. A quick search of Google.com indicates that the flick is presently available for streaming on Prime Video. As for the technical specifications? While I’m no trained video expert, I can still assure readers that the provided sights and sounds are good. Lastly, if you’re looking for special features? As I viewed this presentation via streaming, there were no special features to consider.
Alas … only Mildly Recommended.
It’s not really ‘found footage,’ not in the classic definition of the sub-genre. It’s more of an expose on the California Society Of Maniacal Streamers, cobbled together from several different cameras. In fact, the story is hacked so much together that, maybe, it would’ve been more entertaining entirely as some kind of traditional yarn, something not using the ‘found footage’ or, instead, sparingly inserting it, kinda/sorta in a way that Woody Allen broke the fourth wall back in the days of Annie Hall. It has that aesthetic – the narrator keeps hijacking the footage to offer his perspective on things; and Strawstalker might’ve been a vivid Allenesque twist had the screenwriter gone another way.
In the interests of fairness, I’m pleased to disclose that the fine folks at Dark Atlantic provided me with complimentary streaming access to Strawstalker (2026) 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