On this day in 2008 (in the U.S.), Baby Blues enjoyed its birth on home video.  Written and directed (in part) by Lars Jacobson, the film starred Colleen Porch, Aiden Kersh, Ridge Canipe, and others. 

​According to our friends at IMDB.com, here's the plot summary:

"On a secluded family farm, a mother suffers a psychotic break due to postpartum depression, forcing the eldest son to protect his siblings from the mother they have always known and loved."

​-- EZ
​

From Google.com:

​Baby Blues (also released as Cradle Will Fall) is a 2008 American psychological horror film directed by Lars Jacobson and Amar Kaleka. [1] Core Plot and PremiseThe movie takes place on a secluded family farm in rural Southern America. The story revolves around a mother of four who suffers a severe psychotic break triggered by postpartum depression and postpartum psychosis. [2, 3]
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When her truck-driver husband leaves for work, the mother begins targeted, violent attacks against her own children. Her 10-year-old eldest son, Jimmy, is forced to use his wits and knowledge of the farm to protect his three younger siblings (aged 7, 4, and 3 months) from the woman who raised them. [2, 3, 4]

Real-Life Inspiration

The screenplay was written by Lars Jacobson and is loosely based on the tragic real-life events of 2001 involving Andrea Yates, a Texas mother who drowned her five children in a bathtub while experiencing severe postpartum psychosis and schizophrenia. [1, 3, 5]

Key Cast and Crew
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• Mom: Played by Colleen Porch.
• Jimmy (Eldest Son): Played by Ridge Canipe.
• Dad: Played by Joel Bryant.
• Directors: Lars Jacobson and Amardeep Kaleka.
• Production Location: Filmed primarily in Savannah, Georgia. [6, 7, 8, 9]

Content and Tone

The film effectively converts a real-life medical and family tragedy into an intense, slasher-style psychological thriller. It is heavily noted by reviewers for its highly upsetting, brutal, and triggering content. It features explicit themes of violence against children, self-harm, animal death, and extreme psychological terror. [2, 3, 10]

[1] https://en.wikipedia.org
[2] https://www.youtube.com
[3] https://www.facebook.com
[4] https://www.imdb.com
[5] https://en.wikipedia.org
[6] https://www.imdb.com
[7] https://www.youtube.com
[8] https://letterboxd.com
[9] https://www.imdb.com
[10] https://www.imdb.com

The world's most powerful superhero returns in this exciting sequel to THE GUYVER. Sean Barker returns to settle some unfinished business with the evil human mutants, the Zoanoids. Drawn to an archeological dig in Utah, he discovers an alien ship filled with weapons capable of world destruction. With the fate of all mankind in his hands, The Guyver makes a final stand against the forces of evil.

Making its Blu-ray debut with a new master transferred from the best surviving film elements, this set contains two cuts of the film - the Original 1994 version of Guyver: Dark Heroand an Enhanced version, with new special effects. Directed by creature effects wizard Steve Wang (KUNG FU RASCALS, DRIVE).
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Bonus Materials
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• Three new audio commentaries including one with director Steve Wang
• NEW interviews with producer / director Steve Wang, actors David Hayter & Kathy Christopherson, screenwriter Nathan Long, composer Les Claypool III and other members of the cast and crew
• Behind-the-Scenes footage from the original shoot
• Archival Making of Guyer: Dark Hero
• Trailers
• Photo Galleries including sketches

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Press Quotes

"What Guyver: Dark Hero trades in to great success is brilliantly captured, agile, hard-hitting martial arts choreography which makes these... practical monster suits look awesome, allowing for 'man in suit' martial arts that are pretty much unrivaled"
     —Ed Travis, Cinapse

"Prepare for a jolt of pure action-packed entertainment."
     —Felix Vasquez Jr., Cinema Crazed

"More badass than the original... that suit is one of the greatest designs in all of fiction and more people need to know of its existence."
     --JoBlo Horror Originals

Good afternoon, gentle readers!

I know, I know, I know ... what do I think I am?  It's been a few days, and there's been no updates to SciFiHistory.Net's MainPage?  What gives?!

Well, the simple little truth to the matter is that I've been on vacation.

You've heard of it, right?  It's that little bit of time-out each of us needs semi-regularly in order to function in a civilized society.  The wifey and I dropped off the radar for a few days of rest and relaxation, and I didn't haul my laptop along to the Great Outdoors.  Actually, the damn thing has been acting up a bit lately anyway, so I needed a bit of time away from it.  Now that I'm back at it I can assure you that tomorrow morning things will mostly be back to usual at the Z-House.  But it has been great decompressing from the trials of ordinary living by checking out just a bit. 

I know, I know, I know.  You've missed me.

I guess -- maybe in some small way -- I've missed some of you, too.

In the meantime ... thanks for reading, thanks for sharing, thanks for being a fan ... and live long and prosper!

​-- EZ

(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:
“Reformed parolee Steve Lacey is caught in the middle when a wounded former cellmate seeks him out for shelter.”
 
Now, one might show up to a film named Crime Wave (1953) expecting there to be a great deal of illegal shenanigans going down; but that isn’t quite the case here.
 
Essentially, the film opens with the biggest bit of skullduggery – your average gas station attendant takes the beating of his life and loses the contents of his safe to the three burglars of Gat Morgan (played by Nedrick Young), ‘Doc’ Penny (Ted de Corsia), and Ben Hastings (Charles Bronson) – and then morphs into mostly traditional silver screen police procedural of the era.  Detective Lieutenant Sims (Sterling Hayden) leads the city’s finest in tracking down the scum, and the now straight-laced ex-con Steve Lacey (Gene Nelson) and his wife Ellen (Phyllis Kirk) getting curled up in the action when the hubby’s fellow inmate buddies come to them for assistance in getting away.  Well, there’s one last job Penny wants to pull before fleeing the country, but you get the idea: this is life on the wild side, and the faint of heart need not apply.
 
After the high stakes opening, Crime Wave passes the reins to the police force for a good portion of time.  Audiences are taken through the steps officers and beat cops went back in the day, and director André De Toth rather capable stages what feels like all of the scenes in real locations spread out through greater Los Angeles and Glendale.  Necessarily, Wave – like other pictures did – earns stripes more for being a kinda/sorta travelogue presentation – albeit somewhat dry in places – to the geography of the 1950’s big city.  While this alone might draw scholars of Film Noir to the production, I found a great deal of it nice but … meh.  De Toth’s almost matter-of-fact cinematography just left me feeling empty at too many points.
 
What worked better, however, was the director’s grasp of character and space. 
 
There’s rarely time to catch a breath in this brisk moving crime, and each and every actor and the sole actress expend exactly as much effort necessary to convey the message.  There isn’t a bit of fluff in the 75-minute running time, and that, too, makes Wave acceptable for what it is even if some of the players feel more like they’ve been plucked from any acceptable dime novel and forced onscreen.  Even Hayden wasn’t allowed much scenery to chew as he was always pictured chomping on the toothpick in his mouth (his doctor made him give up smoking).  A few scenes are framed wonderfully – two hands reaching out for a ringing phone, Hayden always being shot at some extreme up-angles, etc. – so kudos to De Toth for, minimally, sweating the small stuff when other directors might’ve cared less.
 
That said, the flick has an uncharacteristically upbeat closing scene, one that honestly had me chuckling at the naivety.  When many noirs choose to go out on a kinda/sorta whimper instead of a bang, Crane Wilbur’s screenplay tries to give our two lovebirds hope that a semblance of normalcy was right around the corner; and I can’t help but wonder if a cagey District Attorney would’ve thrown the man behind bars for what he did while letting his squeeze off with a benevolent probation.  Either way, it winds Wave down to the point of incredulity even though I’ve no doubt everyone’s intentions were in the right place.
 
Lastly, a young Charles Bronson makes an impressive appearance in the picture as one of the central thugs.  The film might be worth seeing just for that alone – I’ve always been a fan of his work – because he probably does more with some expressiveness here than one sees in his later projects.  Still, he’s got that steely gaze down perfectly, and it shows when given the chance.
 
Crime Wave (1953) was produced by Warner Bros.  DVD distribution (for this particular release) has been coordinated by the fine folks at the Warner Archive.  As for the technical specifications?  While I’m no trained video expert, I can still assure readers that the film looks and sounds exceptional.  Lastly, if you’re looking for special features?  Well, to the WB’s credit, there are a few supplementals that look at the film and its production here, along with some other fodder from the era.  There’s also a commentary track from celebrated author James Ellroy and Film Noir expect Eddie Muller that honestly was a bit disappointing: Ellroy kept ‘aping it up’ at bit, at times, and his puerile was more distracting than it was funny.  A bit of a miss for me.
 
Mildly Recommended.
 
Here’s the thing about Film Noir: because purists debate what authentically does and does not make for one, I suppose it’s acceptable to tag Crime Wave (1953) as a suitable entrée.  For my take, it lacks some of the cinematographical grittiness other efforts have shown; but what there’s missing in visuals is mostly made up (in spades) with the usual cast of characters.  While the ensemble is pretty good, the only memorable performance is Hayden: his toothpick-chewing, wisdom-spewing Detective Sims is the kind of creation who either works or doesn’t for audiences (personally, I love this stuff), but there’s no denying the entire story wouldn’t work with his absence.  Kirk is also pitch perfect as the gal caught between normal, peaceful living and existence-on-the-edge; and she, too, makes every scene she’s in better by her presence.
 
In the interest of fairness, I’m pleased to disclose that the fine folks at Warner Archive (via Allied Vaughn) provided me with a complimentary Blu-ray of Crime Wave (1953) 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

(NOTE: The following review will contain minor spoilers necessary solely for the discussion of plot and/or characters.  If you’re the type of reader who prefers a review entirely spoiler-free, then I’d encourage you to skip down to the last few paragraphs for the final assessment.  If, however, you’re accepting of a few modest hints at ‘things to come,’ then read on …)
 
From the film’s IMDB.com page citation:
“A mother and her son hideout in an abandoned farm, on the run from an abusive husband. Taking place during the 2019 bushfires, as emergency service struggle to track down the missing family, Dai begins to uncover not all is as it seems.”
 
There are a great many pictures which have already explored what a mother will do for the love of her son; and – though I’m not complaining – audiences can now add Cruel Hands (2026) to that catalogue.  A conventional melodrama with very modest psychological Horror overtones, the film from writer/director Al Kalyk functions more so as a mainstream melodrama, one wherein a few scary set pieces do add a bit of spice to a mostly predictable yarn about one woman and her son on the run from an abusive spouse.  While perhaps you haven’t seen one against the backdrop of forest fires before, this one still is far too predictable to whip up a little more smoke from the flames.
 
Sadly, we’re given very little background for why Jason (played by Josh McConville, looking very much like an angry, young Phil Collins) woke up and chose violence across every facet of his life.  Clearly, the script kinda/sorta hints that his anger issues might be genetic – his fleeing son Dai (Diesel La Torraca) has begun demonstrating some Conduct Disorder, the kind that would have him privately torturing bugs up to the point of their deaths – but that’s the lion’s share of the real substance given to define his person.  After spending the bulk of her spousal relationship apparently locked in a room, Maria (Mavournee Hazel) seizes her child and leaves, knowing full well that they’ll need to essentially disappear into the ether once the roads open up from the encroaching brushfires.
 
Narratively, Kaylk could’ve done a bit more to use the fires as a rather obvious (if not lazy) metaphor for the disaster closing in around mother and son.  While they’re mentioned a few times and hinted at once (a wonderful sequence of ash floating through the air, suggesting that danger is never far away), the flames might have been showcased more consistently throughout in order substantiate just how close they were.  Given the casual treatment of them until the last reel, I honestly questioned whether or not they would make their big screen entrance.  Once they do – in the same fatal moment that Jason stumbles onto his wife and son – they make for a great addition.  Too bad they couldn’t have had a bit more screen presence earlier on to qualify just how treacherous the situation had grown.
 
Furthermore, there are a few vignettes delivered as either dream memories or simple story flashbacks.  These bits do highlight some of what’s come before as well as accentuate the growing tension (will they be found, will they escape the flames, etc.).  Generally, these are nice additions, but one big problem is that they’re dropped rather unceremoniously into the footage and not framed in any way as to let you know that you’re no longer in present time.  Sadly, these wind up being a bit confusing when you experience them ‘as is,’ and Kalyk would’ve been better served to more strongly suggest these are moments from the past.  Even a change of wardrobe would’ve helped, but I guess that just wasn’t in the budget, either.  
 
Otherwise, Cruel Hands feels much more like a bloated television chiller than it does any big screen effort.  Kalyk’s camerawork only occasionally offers up some visions compelling enough to support the whole psychological affair.  La Torraca does an affable job given that he’s mostly by himself in scenes; and Hazel could’ve used a bit more mania to highlight the fear her son says that she’s feeling.  McConville plays an admirable thug/husband, but even he never delivers anything audiences likely haven’t seen before.
 
Cruel Hands (2026) was produced by Belmore Pictures and ACM Films.  A quick search of Google.com assures me that the film can be purchased or rented on such digital platforms as Prime Video, Fandango At Home, or Apple TV.  As for the technical specifications?  While I’m no trained video expert, I can still assure readers that the provided sights and sounds are mostly solid: there are a few sequences meant to evoke a greater sense of intimacy wherein the sound levels were a bit too low (for my tastes), so be prepared to adjust the volume if capturing every word is important.  Lastly, if you’re looking for special features?  As I viewed this one via streaming, there were no special features to consider.
 
Alas … only Mildly Recommended.
 
My chief interest in Cruel Hands (2026) relied on the film being advertised as a Horror feature, but nothing could be further from the truth.  Even the picture’s stalking moments are fairly tame, making me wonder if perhaps some of Maria’s angst might’ve been the product of her own perception – not imagination – and making it less instrumental.  When the villain never appears villainous until the midpoint (or so), then perhaps a bit more could’ve been put onscreen, especially when the chief problem – a really gnarly black eye – went mostly unexplained (did I miss it?).  Fortunately, this one is little more than an hour’s running time, so perhaps it’s best to be thankful for small favors.
 
In the interest of fairness, I’m pleased to disclose that the fine folks at Belmore Pictures provided me with complimentary streaming access to Cruel Hands 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

BLOOD SHINE

Directed by: Emily Bennett & Justin Brooks
Written by: Emily Bennett & Justin Brooks
Produced by: Alexander Schepsman, Zeus Kontoyannis, Garrett Fennelly, Aaron Koontz,
Ashleigh Snead
Starring: Emily Bennett (Shelby Oaks, Alone With You, The Mortuary Assistant), David Call (Insidious: The Red Door, The Magicians, Depraved), Brendan Saxton III (Russian Doll, Poker Face), Larry Fessenden (MaXXXine, Good Boy, The Good Mother), Toby Poser (Hellbender, Where the Devil Roams, Mother of Flies), Kyle Minshew (Canoe Dig It?), Maurice P. Kerry (Beyond the Gates, Store Run)
Genre: Folk Horror, Psychological Thriller
Distributor: Dark Sky Films 
Run Time: 91 minutes 
​​

One of the all-time greats of science-fiction cinema, Forbidden Planet elevated the genre to a whole new level, transposing Shakespeare's The Tempest into deepest space and breaking new ground with its iconic designs, elaborate sets, and pioneering electronic score.

In the 23rd century, a United Planets starship is dispatched to the distant planet of Altair IV to determine the fate of an earlier expedition. Warned not to land, Commander John Adams (Leslie Nielsen) does so anyway and discovers Dr. Edward Morbius (Walter Pidgeon), his daughter Altaira (Anne Francis), and a robot named Robby; the only survivors of the former crew, all of whom perished at the hands of an unseen force that also destroyed their ship. Now that unseen force is moving again, but what is it? Where does it come from? And how is it connected to the long dead civilization that once inhabited Altair IV?
​
For the very first time, Forbidden Planet is presented in its original Cinemascope aspect ratio of 2.55:1 with its theatrical "Perspecta" stereo soundtrack in an eye-popping brand new 4K restoration that is out of this world!
​

Bonus Materials
​

• 4K ULTRA HD LIMITED EDITION CONTENTS
• Brand new 4K restoration from the original 35mm negative by Arrow Films in the original 2.55:1 aspect ratio
• Reversible sleeve featuring original artwork options
• Double-sided fold-out poster
• Reversible sleeve featuring two original artwork options
• Collectors’ booklet containing new writing by critics Frank Collins and Johnny Mains, plus select archival material
• DISC 1 - FEATURE (4K ULTRA HD BLU-RAY)
• 4K (2160p) Ultra HD Blu-ray presentation in Dolby Vision (HDR10 compatible)
• Restored original lossless mono, restored original Perspecta stereo, and DTS-HD MA 5.1 audio options
• Optional English subtitles for the hard of hearing
• Brand new audio commentary by film historians Kim Newman and Barry Forshaw
• DISC 2 - EXTRAS (BLU-RAY)
• Unearthly Aura, a newly filmed appreciation of Bebe & Louis Barron’s pioneering electronic score by historian and composer Neil Brand
• Watch the Skies!: Science Fiction, The 1950s and Us, an archival documentary
• Amazing!: Exploring the Far Reaches of Forbidden Planet, an archival documentary
• Robby the Robot: Engineering a Sci-FiIcon, an archival featurette
• Deleted Scenes
• Lost Footage
• The Invisible Boy, a bonus movie featuring Robby the Robot in his second feature film
• “Robot Client,” an episode of The Thin Man TV series featuring Robby the Robot
• Two excerpts from MGM Parade
• Original Shooting Script
• Theatrical trailer
• Image galleries

PHILADELPHIA, PA – Breaking Glass Pictures is proud to announce the AVOD release of the outrageous horror-comedy Jesus I Was Evil, beginning August 16, 2026, with the film arriving on Tubi that day and expanding across additional AVOD platforms.

Written and directed by Calvin Morie McCarthy (Pillow Party Massacre, Beware the Boogeyman, Exorcism in Utero), Jesus I Was Evil is a wildly irreverent blend of horror, satire, and pitch-black comedy that follows two seemingly ordinary female missionaries whose crusade to "clean up the streets" quickly descends into a blood-soaked campaign of murder and mayhem.

Amber and Martha appear to be devoted women of faith, but behind their wholesome façade lies a pair of ruthless killers targeting anyone they deem unworthy of salvation. After taking a hostage during their latest mission, their deadly partnership begins to unravel when Martha develops an unexpected obsession with an agnostic young man named Christian, threatening to derail their fanatical quest.

Starring Airisa Durand (Amityville Poltergeist, A Haunting In Ravenwood), Melissa Crossland (Road To Bob, Stolen Season), and Cameron Lee Price (1923, Chicago P.D, Wardriver), the film delivers outrageous violence, sharp satire, and over-the-top performances that horror fans will appreciate. Mixing splatter effects with dark humor, Jesus I Was Evil is a bold independent genre film that will appeal to fans of outrageous, boundary-pushing horror that blends shocking violence with dark, irreverent humor.

"Jesus I Was Evil is exactly the kind of fearless independent filmmaking that horror fans love to discover," said Richard Wolff, CEO of Breaking Glass Pictures. "Its outrageous premise, dark sense of humor, and unapologetic style make it a memorable addition to our AVOD lineup. We can't wait for horror fans to discover it."

With equal parts gore, satire, and offbeat comedy, Jesus I Was Evil offers an unforgettable ride through faith gone horribly—and hilariously—wrong.

Jesus I Was Evil begins rolling out across AVOD platforms on August 16, 2026, with its debut on Tubi.

• Production Year: 2019
• Genre: Horror, Comedy
• Language: English
• Production Country: US
• Production Company: 7th Street Productions
• Runtime: 83 Min.

​

About Breaking Glass Pictures:

Founded in 2009 and based in Philadelphia, Breaking Glass Pictures is a leading independent film distribution company dedicated to bringing compelling and diverse cinema to audiences across North America and beyond. With an extensive catalog spanning award-winning dramas, documentaries, horror, LGBTQ+ cinema, and international films, Breaking Glass Pictures continues to champion bold voices and unforgettable storytelling.