​(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 citation:
“After a moment of total teenage angst, a young punk finds himself at odds with a psychedelic monster of his own creation.”
 
Ahem.
 
If I’m being perfectly honest, then I’ll admit it’s a bit difficult to talk openly about I Need You Dead without spoiling writer/director Rocko Zevenbergen’s storytelling ‘twist.’  As a reviewer, I’ve always taken just a little bit of pride out of the fact that I try to discuss all flicks respectfully and intelligently without divulging any central plot turns, but this one presents a unique challenge.  So … let me put it to you this way: those expecting to stay entirely with Dead’s opening story – a yarn presented as a kinda/sorta stoner comedy with a terrific monster angle – are likely to be disappointed.  Traditional Horror is really only the packaging used to explore the metaphor of making a film, and what folks really should expect here is a Psychological Horror.
 
Now, I don’t volunteer that information as a reflection of quality in any way.  It’s only a qualifier meant to give me – the reviewer – the proper context with which to discuss what the film has to offer of substance (and, in short, I think there’s plenty).
 
Using the framework of a film-in-progress within a film-in-progress, Zevenbergen and his band of pranksters have actually constructed something arguably darker than the conventional Horror movie tropes used to set-up the tale of Dood, Pal, and – well – that vile, bloodthirsty talking head with razor-sharp teeth.  After all, they’re little more than pawns on the filmmaker’s chessboard, leaving the true God Complex ripe for presentation on the main stage.  It’s there where the audience will be introduced – albeit quickly and with little pomp and circumstance – to the true movers and shakers of Dead, and rest assured that not everyone will get through this journey with their body and soul intact.
 
Once these narrative connections have been established, it becomes clear that Dead is one massively ‘meta’ multiverse in the mind of the storyteller, and the tale could easily be suggested to be a life-changing metaphor for … well … it could honestly be for a whole lot of things.  The struggle of making a film.  The task of seeing things through from start-to-finish.  The never-ending battle of staying true to one’s vision.  The Sisyphean challenge of keeping your head ‘in the game’ when life itself would pull you in a thousand directions.  So if there’s a downside to the road taken here it’s that it could all be a cautionary tale with number of morals.  That’s not a bad thing; it just leaves the work wide open for interpretation … and I’m a dude who prefers to do less ‘supposing’ and more ‘reacting’ as a critic.
 
But about that Dood …
​

Dead features a pretty solid ensemble – both within and outside – with extra kudos being offered for Estevan Munoz’s performance as Dood.  Though it’s a bit uneven in the film’s early stages, the actor shows incredible depth and range as both his fictional world and the mind of his narrator continues unspooling.  Caught up in the train wreck in fictional time, Munoz manages to appeal for the audience’s sympathy whilst his creator continues to descend into madness of his own creation, and the work is punctuated with plenty of great smaller moments that deserve a second viewing.
 
Lastly, I’d be a fool if I failed to mention that it’s flicks like I Need You Dead that over the years have made me become more and more a champion of the independent film scene.  This is the kind of story that couldn’t survive inside the studio system perhaps because it’s a bit raw for some and probably more than a bit cerebral for your average motion picture executive.  Sure, I could quibble with a particular scene’s edit – some go on a bit longer than necessary and maybe a sequence here or there re-establishes a point already made better elsewhere in the story – but those qualms are trivial.  What Dead lacks in money and marketing it more than makes up for in creativity and purposefulness.  While the end result may not be to everyone’s tastes (hell, even I didn’t think much of its first twenty minutes), I encourage everyone to give these fringe storytellers a chance … and you might just emerge very, very impressed.
 
I Need You Dead! (2020) is produced by Bad Taste Video.  According to a press citation I’m looking at from late 2021, the feature film is available for streaming on Vudu, YouTube, and Amazon Prime.  As for the technical specifications?  The flick has a fair amount of what I’d call ‘parlor trickery’ – more so in its second half – that’s meant to be an organic part of the story (it has thematic relevance), so just a bit of warning on that.  You’ll know it when you see it.
 
Recommended.

​No, no, and no: independent films are not for everyone, but anyone who likes stories that push boundaries artistically should definitely warm up to I Need You Dead!  It dabbles with creativity in so many clever ways that it deserves to be embraced by an audience that loves film and the endless possibilities that go hand-in-hand with the medium.  A few excellent performances and a solid ensemble might make you think about your own descent into the daily mountain of madness that is your own life, though you’ll hopeful emerge with a better conclusion than our budding auteur does here.
 
In the interests of fairness, I’m pleased to disclose that the fine folks at Bad Taste Video provided me with a complimentary streaming link to I Need You Dead! (2021) by request for the expressed purposes of completing this review; and their contribution to me in no way, shape, or form influenced my opinion of it.

​-- EZ

Oh, it's awful getting old, peeps.  If you can avoid it, do so.

I honestly forget if I've talked about the Netflix series Into The Night in this space.  It seems to me that I may've penned a little something something about it at some point, but I could be mistaken.  There are so many things I've watched that I've always wanted to write something about that I do occasionally confuse an item here and there, but I never avoid mentioning something out of spite.

In any event, Into The Night is this pretty damn riveting French drama about an Extinction Level Event taking place after being triggered by our sun.  While it's a bit difficult to boil the premise down to a single sentence or two, the gist of it is that -- for reasons unknown -- the sun has begun to 'burn off' human beings from the face of the planet.  The main characters spend the first season trapped aboard a commercial aircraft flying 'into the night,' meaning they're desperately trying to avoid the sunlight for as long as possible.  Since that premise clearly has its limitations, the second season involves them being holed up in an underground bunker -- which also protects them from this phenomenon -- and the focus changes a bit as their goal becomes having the supplies to survive until whatever has gone wrong can be sufficiently 'righted.'

To my understanding (at least, this is as of the last time I looked), the producers were unaware as to whether or not Netflix intended to pick them up for a third season.  I know how folks are a bit dour about the show's future -- Netflix has been building a sad track record of dumping shows in the middle of their storylines -- but there may be a little light at the end of that tunnel as an all-new show titled Yakamoz S-245 has stepped up to the plate.

As best I understand the information thus far released, this show takes place in the same universe as Into The Night only it's focusing on an entirely different cast of characters trapped beneath the sea in a submarine (assuming that's the title).  Perhaps the growing list of players aboard Into The Night presented some cost issues for producers -- this spin-off appears to be from the same team -- so maybe they comprised with Netflix to continue the adventure this way?

At this point, who knows?

In the meantime, audiences can look for the world to end once more when the streaming giant sets this one out to sea on April 20th.  If it's half as good as Into The Night, then I'm signing aboard.

Trailer is below.

As always, thanks for reading ... and live long and prosper!

-- EZ
​

So after I finished with my six month dental checkup this morning, I swung by the trusty and reliable WalMart to pick up a few supplies needed around the house.  Lo and behold -- as I'm checking out the candy aisle just because I've got a hankering -- what do I find?!?!

Ooshies!

Yes, like so many of you, I'm an action figure nut.  I have way too many in my collection -- I really do need to think about scaling back sometime soon -- but there are some things I just can't pass up.  Mostly, it's the small items -- the kind of things that can rather easily set up shop damn near anywhere around the house or on a shelf.  A few years back, I discovered these DC Comics-inspired Ooshies; they're essentially meant to be pencil-toppers -- for those of you who know what those are -- but I have a whole assortment of them that I've lined up all over the house.  Yes, they're for kids ... but I like to think of my old self as still being young-at-heart.

Based on where the WalMart had them, I'm suspecting that their purchasing gurus decided that these would be ideal for Easter baskets and the like, but fans of superhero figures would be well to head on out to your local retail warehouse store to see if perhaps they've got a good supply on hand.  Alas, the DC ones were VERY picked over -- in fact, I only scored a single Ooshie because I wanted to leave some for the other kiddies -- but this true-blue Superman looks damn great, doesn't he?

My only complaint?

There are only 12 figures available in this collection.

Someday -- someday -- I'm hoping they go for the entire pantheon of DC Comics' characters.

That would require me a massive investment.

As always, thanks for reading ... and live long and prosper!

​-- EZ

Ach.  This one hurts, kids.  I'm not gonna lie.  This one hurts.

An entertainment icon -- Bruce Willis -- has issued a statement that he's retiring from acting.  The particulars clarify that he was recently given a clinical diagnosis of aphasia, a neurologic condition that affects one's ability to communicate with the spoken word and visual cues.  (Seriously, folks, I don't want to get into an argument over aphasia here: yes, I've read some stuff on the web this morning as I wanted to know more, and apparently there are a few 'schools of thought' on it.  Let's just leave it as is.)

Generally related to brain injury (of some sort), I've read an awful lot of armchair speculation about how his work in action movies has "possibly" produced this condition, but the truth of the matter -- at least, so far as I'm concerned -- is that the man is in his late 60's, and having spent a fair amount of time with seasoned folks myself conditions like this are not as rare nor unusual as one might think.

None of that matters now.  What truly matters is that those of us who pray should keep the Willis family in your thoughts and prayers.  Those of you who don't pray, do whatever it is you do to send the healing light of the universe Bruce's way.  I'm certain he could use whatever any of us have to offer in this time of need.

Honestly, the man's a screen legend, so far as I'm concerned.  The Die Hard films -- with an exception here and there -- have all been pretty entertaining; and his work in Science Fiction and Fantasy with roles in 12 Monkeys (1995), The Fifth Element (1997), and the oft-maligned Armageddon (1998) definitely proved he could stray outside Action and Drama to places where dreams and nightmares come true.  And the few films I've mentioned only touch on the man's greatness.  Though I've read he can be a holy terror behind-the-scenes, I've got nothing but fond memories of my time with him in shadows and light.

Here's hoping he gets the help he needs, and who knows?  Maybe he'll give us something more to look at in the years ahead.

​-- EZ

Over the next few days, I’ll be happily spending some time with Drive-In Classics, a collection of three 1950’s era Science Fiction and Fantasy films released on DVD by Corinth Films.  This set includes the seminal Rocketship X-M (1950), The Brain From Planet Arous (1958), and The Hideous Sun Demon (1959); and they’re all films I’ve seen before yet thrilled to partake of yet again.
 
(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 product packaging:
“An alien life-form arrives on Earth and crash lands in the California desert and takes refuge on Mystery Mountain.  Renowned nuclear scientist Steve March, who works nearby, notices a strange proliferation of radiation coming from the mountains and decides to investigate.  Little does he know the creature is a terrifying life-form from planet Arous determined to take over the Earth using subversive mind-control and has deliberately chosen Steve as its host!”
 
Huh.
 
Occasionally, I stumble across a film that – upon viewing – honestly leaves me with very little to say about it.  Sure, I give it the ol’ sailor’s try – I mull it over, try to put the story in some context – and still, in the end, I’m left with very little substance on the topic.  It’s rare, yes, but it does happen … and that’s the case with The Brain From Planet Arous (1957) from Marquette Productions, Ltd.  A quick review of their IMDB.com profile shows that they only produced a scant three films – all in 1957 – and not a one of them truly made any lasting impact … well, except for the old SciFi trope of giant floating space brains, that is, which I’m guessing might be directly traced back to this very picture.
 
So if that’s one’s heritage, is it a bad thing?
 
Because I always assume these older pictures were intended by storytellers to be taken seriously, I find it difficult to reconcile some of this Brain’s thinking.  For example, March (played with some surprising though campy range by John Agar) is introduced as one of the country’s premiere nuclear scientists, but the first thing he wants to do when he detects incredible waves of radiation coming from a nearby mountain is to run out there – with absolutely zero safety gear! – to investigate?  Not only that, but he wants to drag his best buddy Dan Murphy (Robert Fuller) along for the ride?  Have these two never heard about exposure?  If that doesn’t give you pause, then how about once they begin receiving radiation readings higher than ever before on their Geiger counter their first impulse is to run toward it?  That dangerous, deadly radiation?  Really?
 
It’s almost as if screenwriter Ray Buffum put absolutely no thought into the subject because what truly mattered here were the giant floating alien space brains; perhaps he concluded well in advance that if the audience will accept those then why bother with a little deadly exposure?  This was all set in the elusive Mystery Mountains – apparently near White Sands Proving Grounds in New Mexico – but as the film unspools we find that everyone and their mother’s uncle seems to know Mystery Mountains peaks and valleys intimately as no one has any trouble noticing the newly-formed cavern that – gasp! – wasn’t there last summer.  It would seem that this distant and hard-to-find place may not have been as distant nor as hard-to-find as written.
 
Because the flick was produced in a different time and a different era, I rarely raise any quibbles with the portrayed social norms that might be a tad out-of-step with contemporary audiences.  Certainly, we’ve evolved as a species, but men and women treated one another differently and behaved to different standards in the 1950’s; and these throwbacks are clearly a bit clunky seven (or so) decades later.  But Gor (the villainous alien brain) behaves in an uncharacteristically amorous way when finally given access to some ‘sins of the flesh,’ and – while inhabiting March’s body – he gets awfully close to violating Hollywood standards of the day.  Suffice it to say, Sally (Joyce Meadows) needed the luxury of a ‘safe space’ if ever a woman did!
 
Nathan Juran directed this curious space-aged potboiler, and it’s a name I’ve definitely heard before.  A quick read of his IMDB.com profile shows that he definitely had a track record in genre, though this was one of his earlier pictures.  The same year he brought the fondly remembered 20,000 Million Miles To Earth to the silver screen, he also directed this … so I’m guessing that other property occupied the lion’s share of the man’s attentive prowess.  He’d go one to direct episodes of World Of Giants, Men Into Space, Voyage To The Bottom Of The Sea, The Time Tunnel, Lost In Space, and Land Of The Giants, a solid track record with SciFi and Fantasy’s a bit campier delights.
 
Otherwise … I’m still left with not much to make of the obviously dated effort.  It’s hard to take much of it seriously, but I’d be a fool if I failed to point out that Agar’s work here is surprisingly good.  He vacillates between good and evil with relative ease; and his handling of the mild-mannered scientist to the sex-crazed alien-infected potential overlord seethes enough menace to give just the right edge of a fellow in conflict.  Heck, he even ends up saving the day – well, with more than a little help from his gal pal – even when Vol (the good guy floating alien space brain) promised he’d do the deed when the time came.
 
Score one for the Earthling, peeps.
 
In the interests of fairness, I’m pleased to disclose that the fine folks at Corinth Films provided me with a complimentary DVD of The Brain From Planet Arous (by request) for the expressed purposes of completing this review; and their contribution to me in no way, shape, or form influenced my opinion of it.

​-- EZ

Regular readers of SciFiHistory.Net know that – typically – I do avoid penning reviews for slasher films.
 
It isn’t that I dislike them because – in all honesty – I have a fondness for damn near any kind of artistic bloodletting.  My issue with them so far as SciFiHistory.Net’s Horror coverage is that many of them are a bit too conventional, essentially bringing nothing fresh, new, or innovative to the table that merits a written discussion (or dissection).  Though I will pen articles for older releases finding new life on home video or streaming if there’s something to offer fans of genre entertainment, that list tends to be few and far between.  Naturally, I prefer leaving space available for things I enjoy, meaning that I hope you’ll share in my delight by checking these more unique titles out.
 
But I’m thrilled to say I spent the last eighty minutes chuckling my way through a little something something called Slashening: The Final Beginning (2020).

​Little did I know going into it that it’s a sequel – curse you, cinema gods! – but I can assure you that I had absolutely no knowledge of the first installment and caught onto this one’s action very quickly.  In fact, I’d argue that approaching this one with little to no awareness of the original may’ve caused this review to tap into the storyline and these characters with a bit more appreciation than others; I did a quick scan of reviews online, and – as par for the course – I enjoyed this indie comedy probably far more than others who blog.  Such is life.
 
So sue me.
 
(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 citation:
“Five years after ‘The Slashening,’ 22-year-old Madison Santangeli moves to Brooklyn to start a new life in the wake of her father’s suicide.”
 
Full disclosure: it helps going into The Final Beginning with full awareness that this is a micro-budgeted independent film comedy.  Not a lot of money was spent on this flick – for some of us who appreciate smaller films, that only increases its charm – and that means the cast and crew were required to put in a lot of extra sweat, blood, tears, and elbow grease to make it come to life.
 
The verdict?
 
I thought this one was near genius.

Writer/director Brandon Bassham grounds all of the silliness in good old-fashioned character comedy.  For the uninitiated, that doesn’t mean that you’ll be treated to men and women larger-than-life; rather, it means that each of them is his or her own unique construction – decidedly off-center but shackled with entirely relatable quirks – and, as loose archetypes, they could easily be picked up and deposited into any other story with relative ease.  Dare I say, we’ve all known people like those depicted here?  The ditzy rich girls who blissfully survive on no self-awareness?  The disempowered male counselor who exists only to please others?  The raging male narcissist who’ll embrace any ideology, just so long as he can use it to impress females?  And the squeaky-clean girl-next-door who’ll defy the odds just because that’s her lot in life?
 
Yes, we’ve seen them all before, either in life or on film; and because we can go into whatever circumstances the script deems necessary we almost know how they’re going to react.  Some of the humor is entirely predictable – other instances it’s gleefully demented – but that doesn’t make it any less funny.  Much like the films of Christopher Guest wherein backwater everyday types get their chance to bask in the limelight if only briefly, each of Bassham’s crew gets a moment uniquely his or her own … even if it’s to go out in a singular blaze of glory at the end of a knife … or a chainsaw … or a cleverly-placed bong.
 
In some ways, this is the kind of humor the Jim Abrahams, Jerry Zucker, and David Zucker brought to films in the 1980’s when their seminal Airplane literally destroyed its competition with laughs.  Part satire and part sheer lunacy, Airplane worked because audiences didn’t quite know what to expect, but they were willing to go back time-and-time again because – simply put – it was just so damn funny.  The Final Beginning mines similar territory but lampoons the slasher picture and its tropes much like the Scary Movies did in their better days (well, before they got a bit tired and started throwing anything at the screen).  Smart and prescient, the script manages to turn the tables (in more ways than one) on its characters – and maybe even its audience – in a last reel surprise that needs to be seen to be appreciated.
 
Now I’ll need to go back and check out the original just to see what I may’ve missed in the first outing.  Here’s hoping it doesn’t dampen my appreciation of the follow-up.
 
Slashening: The Final Beginning (2020) was produced by Annum Films and Troma.  The film is available for streaming via the Troma website.  As for the technical specifications?  I believe this one was shot on high-definition digital, and it looks and sounds fantastic from start-to-finish.
 
Highly recommended.  At 80 minutes, this lean and mean indie comedy might not be a crowd-pleaser, per se, but I found plenty to appreciate in its offbeat sensibilities.  While there were a sequence or two I’d suggest were a bit ‘beneath’ it stylistically (gross-out humor never was my thing), I was able to grin-and-bear my way through, and I’m glad I did.  While others may’ve been disappointed in its ending, I thought it all came to closure with exactly the same tone it began.
 
In the interests of fairness, I’m pleased to disclose that the fine folks at Troma Entertainment provided me with a complimentary streaming link of Slashening: The Final Beginning (2020) by request for the expressed purposes of completing this review; and their contribution to me in no way, shape, or form influenced my opinion of it.

​-- EZ

​Over the next few days, I’ll be happily spending some time with Drive-In Classics, a collection of three 1950’s era Science Fiction and Fantasy films released on DVD by Corinth Films.  This set includes the seminal Rocketship X-M (1950), The Brain From Planet Arous (1958), and The Hideous Sun Demon (1959); and they’re all films I’ve seen before yet thrilled to partake of yet again.
 
(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 product packaging:
“A crew of revered scientists blasts into space on mankind’s first expedition to the moon.  A sudden loss of power and freak accident sends their rocket hurtling out of control, and the crew suddenly finds themselves upon Mars.  They decide to take advantage to make landing and explore the Red Planet, only to discover evidence of a demolished civilization.  Convinced there are no survivors, they let their guard down just enough to learn otherwise.”
 
Rocketship X-M is one of those films that’s easy to lampoon.
 
Allegedly (from what I’ve read), the feature was rushed into production by Lippert Pictures just on the heels of George Pal’s announcement that he was bringing Destination Moon to life cinematically.  Hoping to capitalize on an impending moon craze and perhaps even a Space Race that was still a few years away, producers Murray Lerner and Kurt Neumann put their thinking caps on and came up with the concept.  The script is credited to Neumann along with contributions from Orville H. Hampton and Dalton Trumbo; and their effort managed to beat Pal’s film into theaters by a handful of weeks.
 
I’ve no way of knowing whether or not its script ended up being rushed (certainly one might assume as much given the curiously out-of-place screen romance as well as some curiously uninteresting ‘scientific’ exchanges), but the film certainly traffics in traditional melodrama of its era against the backdrop of boldly going where no one had gone before.  Col. Floyd Graham (played by Lloyd Bridges) woos Dr. Lisa Van Horn (Ona Massen) when they both should’ve been flying the ship, and at least one pair of their eyes remaining on the fuel gauge in the final reel might’ve averted the catastrophe awaiting them upon their return to Earth.  I guess that’s what you get when flying by women’s intuition!
 
Still, Rocketship X-M manages to squeeze more Science Fiction and Fantasy’s famous tropes into its lean 77 minutes than it needed.  There’s a pair of brainiacs (Massen and John Emery) competing for who’s grasp of space science is better.  (Hint: she’s a woman, so …)  At times, the story feels like little more than a twist on the conventional Western, with a space capsule standing in for the oater’s stagecoach.  When they arrive on Mars, there’s not only a plotline involving first contact but also hints to the Martian society’s flirtation with atomic energy leading to their demise.  And, yes, there’s more than a single sequence involving sound being made in the vast vacuum of outer space.
 
Still, it’s hard to dismiss the film’s true staying power when it comes to serving as one of the most effective examples of SciFi for the 1950’s.  It features a crew required to pilot the spaceship into the void.  While perhaps not earth-shattering, the film’s special effects hold up well as an example of what studios found possible in that day and age.  Though I could be wrong, I believe the ship may’ve actually been one of the first featured onscreen that portrayed the stages of a rocket required to both launch and achieve escape velocity.  Though the flick only flirts with ideas like G-forces and zero gravity, the script never loses sight of the fact that breaching the heavens was a dangerous endeavor … one that would likely involve balancing the risks and rewards of going ‘out there.’
 
On its own, the film could easily be dismissed as a product of a bygone era.  Compared with like-minded entries from that decade, I think it remains one worth a look even by today’s film students and scholars.
 
Rocketship X-M (1950) was produced by Lippert Pictures.  DVD distribution (for this particular release) is being coordinated via Corinth Pictures.  As for the technical specifications?  The picture looks and sounds probably as good as it ever has.  Sadly, this bare-bones release offers not a single special feature for audiences to enjoy.
 
Recommended.  Let me be perfectly blunt: Rocketship X-M (1950) is not a particular good film.  Though there’s a set of circumstances the crew must rise together and face, there’s no central conflict to the story … and that’s something required to truly distinguish the good from the bad when it comes to space exploration yarns.  While the performances all work, they’re grounded in the mindset and mentality of a certain era, one where men were men, and women were largely regarded as being defined by their women’s intuition.  Still, it’s an almost near-perfect snapshot of what Science Fiction and Fantasy was like for much of the 1950’s – perhaps big on ideas but small on relatable specifics.  Lastly, a thin sense of optimism salvages an otherwise downbeat finish where all of the crew go up in smoke, not so much as a blaze of glory.
 
In the interests of fairness, I’m pleased to disclose that the fine folks at Corinth Films provided me with a complimentary DVD of Drive-In Retro Classics by request for the expressed purposes of completing this review; and their contribution to me in no way, shape, or form influenced my opinion of it.

​-- EZ

​Through a very curious set of circumstances I wouldn’t wish on my worst enemy, I got involved in the video retail business in the late 1980’s.  It’s a field I was involved with for only a year and one-half; and – although I learned quite a bit about the industry from a very, very, very low lung on the corporate ladder – I think it’s safe to say that there are folks better skilled for such business than I.  It was a stepping stone to something else that I had a better skill set for, and – what can I say? – I’m still happy for having had the experience.
 
One thing that job did teach me, however, was what an incredible library of films there were out there waiting to be discovered.
 
In college, I pretty much fashioned my own degree in Film Criticism (in an institute that didn’t have a Film Studies program), and I became fairly well versed in the classics and some contemporary flicks.  I’ve forgotten more than any person should ever have to learn about such picture as Citizen Kane, Rear Window, and Platoon; so you can imagine how a stint in the business of home video opened the door for me into a world populated by such titles as Re-Animator, Critters, and Killer Klowns From Outer Space.  In all honesty, there was a whole universe out there that lived and died by these somewhat obtuse and obscure storytellers, so it was a fascinating time to find yourself with a VHS player, a couple of bucks, and in your corner video store.
 
These were, largely, Troma’s breakout days as viewers hungry for something just a little bit different were perfectly OK with taking a chance on a 99 cent rental as opposed to plunking down $50 at the cineplex for four tickets, sodas, and popcorn.  And – dare I say? – at 99 cents most of those early efforts delivered more lines and laughs than any flick should’ve, certainly enough to put that ‘little engine that could’ on the map in the consciousness of America.  Sure, they may’ve courted a bit of controversy, but who really cared about that stuff when all viewers really wanted was to be entertained?
 
(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 citation:
“Meanwhile in Tromaville, three women warriors find themselves on the run and kicking in the teeth of every misogynist that dares to cross their path.”
 
For the record, folks: as I always warn, art comes in all shapes and sizes.
 
And the hard, hard truth about art is that it isn’t always meant to ‘impress.’  Some art carries with it messages – warnings about our culture, metaphors for how one’s live can be lived, loved, or ruined – but if you’re looking for a good time then maybe you need to make a stop in Tromaville, a place where dreams may not come true but asses will be kicked (if not bared), humor might be tasteless (if not tasty), and trash might be tokenism.
​

In the narrator’s set-up for Divide & Conquer, one might draw the sense that our three leading ladies – Athena (Knotty Peach), Lilith (Irie Divine), and Toxie (Mercedes The Muse) – might, in fact, be Greek goddesses.  (Their names are drawn from mythology, Toxie's less so, except in Troma's circle.)  It’s clear that they possess smarts stronger than your average bear, and they’ll stop at nothing to use their delightful feminine wiles to pursue their own particular brand of justice when the trio uncovers a dastardly plot involving tattooed white supremacists tamping down a decidedly American way of life.

​It’s all a bit farcical to be sure, but that doesn’t mean there won’t be a lesson for the uniformed along the way.
 
As can happen in your standard Troma fare, there’s an almost inhuman fascination with bodily functions – the studio makes its bones off of somewhat shocking exploitation – but I’ve long argued it isn’t so much done in bad taste as it is to kinda/sorta flash the Establishment the middle finger.  How else does one reconcile moments of revenge porn also delivering female empowerment messages such as is the case when are trio of bad-asses descend on ‘Harvey Weinstein’ with a well-placed mop?  Think what you may of producer Lloyd Kaufman and his band of pranksters, but they still have enough respect for their audience to make ‘The Knights Of White’ and an aging Adolf Hitler to be the film’s central source of evil.  Plus the girls manage to turn the tables against their Socialist-loving Uber driver … or should I say ‘Uber Alles?’
 
Again, it’s all meant to be taken with not so much as a grain of salt as it is a full handful; and – in the proper context – it’s occasionally entertaining.  Peach, Divine, and Mercedes make for a heroic trio – the film ends with a warning that they’re still out there – and they look great together, too.  Set aside your fixation of taboos.  Believe again in the magic that is the female body.  With the right motivation, you can teach a dog new tricks.

And maybe someone can explain to me why when Frank Miller dresses women like this (in comic books) it’s considered art … but when Troma does it it’s called trash?
 
Divide & Conquer (2021) was produced by Troma Entertainment.  Troma’s film library is available for streaming on the Troma Now website.  As for the technical specifications?  The film is actually shot on some very high def digital (I’m assuming), and it looks quite good, though there are some issues of dubbing in post that have sounds levels going up and down.  Also, there’s a fair amount of post-production special effects trickery one can expect.
 
Recommended but … well, to know Troma is to love Troma … or to know Troma is to hate Troma (depending upon your tastes) but dare I say you’ve never seen anything like Troma anywhere else?  Divide & Conquer (2021) is clearly not going to be to everyone’s sensibilities.  There are some – ahem – darkly inappropriate jokes in there; but if you’re willing to endure one hour of subversiveness just to get to its thirty minutes of substance then you might find a few nuggets of truth spaced throughout.  No, I’m not fond of potty humor (there’s plenty of Number 1 and Number 2, folks), but any film that denounces white supremacy, Nazi Socialism, and the still-breathing corpse of Adolf Hitler can’t be all that bad, can it?
 
In the interests of fairness, I’m pleased to disclose that the fine folks at Troma Entertainment provided me with a complimentary streaming link of Divide & Conquer (2021) by request for the expressed purposes of completing this review; and their contribution to me in no way, shape, or form influenced my opinion of it.

​-- EZ

It's the end of the world as we know it ... and has there ever been another culture so enamored with visions of our own doom?

I think it's a question worth asking as we continue our collective fascination with all things doom-like.  Mind you: I'm hardly complaining as I'm thrilled to have yet one more film to add to SciFiHistory.Net's growing library of 'End Times.'  But our explorations of zombiehood seems to be a creative fire that can't be extinguished.  Not that there's anything wrong with that ... per se.

In any event, there's another one set to ramp up the blood, guts, and glory, this one a sequel (of sorts) from an original property that's completely escaped me (though I'll be doing some research on it later today, if time permits).  Wyrmwood: Apocalypse takes the pursuit of the undead down under, and I'll be copying and pasting the promotional materials I've found elsewhere on the World Wide Web just this morning.

But how about a trailer, you ask?  Happy to provide!
​

​The latest explosively gory feature from Kiah Roache-Turner and Tristan Roache-Turner, the filmmaking duo behind the 2015 breakout sensation WYRMWOOD: ROAD OF THE DEAD and the 2018 TIFF Midnight Madness hit NEKROTRONIC.
 
The latest feature from Australian filmmaking brother duo Kiah Roache-Turner and Tristan Roache-Turner, whose previous collaborations include their breakout feature debut WYRMWOOD: ROAD OF THE DEAD, which premiered at the 2014 Fantastic Fest and put them on the map internationally for their creative use of low-budget gore and highly effective horrific story, and the 2018 TIFF Midnight Madness premiere NEKROTRONIC. The two share co-writing credits while Kiah handles direction with energetic ease and Tristan produces. 
 
With a mix of new and familiar faces from the creative worlds of the Roache-Turner brothers , WYRMWOOD: APOCALYPSE stars Luke McKenzie (Wentworth, WYRMWOOD: ROAD OF THE DEAD), Bianca Bradey (WYRMWOOD: ROAD OF THE DEAD), Shantae Barnes-Cowan (Total Control), Tasia Zalar (Mystery Road), Jay Gallagher (WYRMWOOD: ROAD OF THE DEAD, NEKROTRONIC), and Nicholas Boshier (Soul Mates).
 
Blake Northfield (STREAMLINE) produced alongside Tristan Roache-Turner, and Todd Brown and Maxime Cottray executive produced for XYZ Films. 

Those of you who read this space regularly know that I do try very hard to keep politics and culture and ideology out of this space as much as I can.  Still, every now and then, I'll come across a topic or an event that -- for whatever reason -- practically cries out for me to insert myself (by choice) into the controversy ... and I'm feeling the itch this morning.

At last night's Academy Awards ceremony, actor Will Smith took it upon himself to assault actor Chris Rock on live television over a joke in poor taste.  (I'm not gonna get into the particulars because they're really not all that relevant -- so far as I'm concerned -- to what the real central issue is here -- again, so far as I'm concerned -- so haters be damned.)  Yes, it was assault; and yes I think the joke was in poor taste.  That's what I think everyone needs to understand in order to begin a conversation.

Erm ...

In any event, I've read a lot of 'commentary' on the Information Superhighway this morning about how some folks believed Chris had it coming, that Will was in the right, and whatnot.  While there are some who have come to the comedian's defense, there are still others who are kinda/sorta saying that -- ahem -- this is the consequence of having a free society, that if you truly want to have free speech then you must be ready, willing, and able to suffer the consequences of being assaulted publicly by others who disagree with you.

So the short skinny here is: what version of civics were any of you taught?

There is absolutely no tenet of our social structure that could, should, or would condone violence against another person; and I've grown very sick of folks suggesting that X had it coming because -- in a historical context -- these are the very same people who not all that long ago were saying idiotic things like, "Well, the lady had it coming because she dressed for sex, and the guy just took it."  Trust me when I suggest that I could go on with a wealth of other phrases that have come and gone from the public discourse, but let me leave it at this: they've all been banished to the trash heap of history precisely BECAUSE they were flawed thinking from tiny minds.

Nothing condones Will Smith's casual violence.

But those of you who want to keep insisting that this is just the way things are in a society that allows free speech, let me encourage you to go out, find an event that has as much armed security as does the Academy Awards, and then insert yourself into the proceedings in such a way as to assault a host, a presenter, of any other person directly involved in the festivities.  Go on.  Go out and do it.  After you've done it, then let me know if you haven't been arrested and charged for your public conduct.

Now, I'm not suggesting that Chris Rock is the better person for agreeing to not charge Will Smith with assault.  Each of us has to decide what we'd do in similar circumstances.  Again -- as I've said -- I think Rock's joke was in poor taste; but if you watch closely Will was laughing at it, too, all the way until he saw his wife's reaction to being involved with it (that's when Will decided he was going to defend her honor).  But I'll give Will a pass on that: it was a public setting, and he really had to decide which way to go.

Again, trust me when I saw I could go on with this subject for hours -- that's just the way my mind is wired when it comes to cultural issues -- but I won't.  The point here is that there's clearly a double standard for justice in this world when the Harvey Weinsteins and Bill Cosbys and Alec Baldwins of the world can sit in judgment of folks like you and I -- the ones who actually suffer real-world consequences for things they get passes on.

But those of you trying to suggest that Will's behavior is somehow appropriate because we embrace free speech?

Had Will simply shouted and given Rock a warning?  Yes.  That would be the case.

When we're trying to teach kids and even adults that violence is never the answer, then we need to stop condoning it when it's right in front of our face.

'Nuff said.

As always, thanks for reading ... and live long and prosper.

​-- EZ