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Several couples take an experimental drug and argue about their relationships, and argue about their relationships, and argue about their relationships, and argue about their relationships, and argue about their relationships, and argue about their relationships...
Update: I came back a few days later and I had forgotten to close my browser, this was still queued to where I'd turned the TV off. So I watched the last half-hour. Spoiler alert: They spend the rest of the movie arguing about their relationships.
Now, this is a uniquely weird movie. A bizarre and gory tale of unseen forces manipulating humans to commit acts of extreme violence is told entirely with human-sized puppets, which are detailed enough to go straight down the uncanny valley: they blink, they appear to have nearly-real-looking human skin with stray hairs and razor stubble, although the facial expressions are largely unchanging. It helps that it's filmed in real locations.
At first it seems like someone knew they had a fair-to-middling-at-best horror sci-fi on their hands so they decided to make the best of it and elevate it into something truly strange, making suspension of disbelief much easier with the puppet-only production. But, boy, the trick kinda worked.
One critic said, "too damn strange to completely ignore", and I agree with that.
To give an idea of what's going on here, turns out some of the characters are…
An assassin uses mind-transfer technology to carry out assassinations with other people's bodies. Decent enough outing from Brandon Cronenberg, who's still got his dad's high-concept pretensions (in a good way) but seems to be getting better at his own execution. A bit slow moving, but fans of his contrived-seeming but reasonably interesting other feature "Antiviral" will be familiar with the pacing. Might not be for everybody, but I found it watchable enough.
Overly amateur production about a recoving alcoholic stressing out during the pandemic, which apparently consists of seeing "artsy" video montages and effects, plus way too many real-life clips of Donald Trump being a dick during the pandemic. I guess they thought we needed to be told he's an asshole.
I lasted over an hour, but with 30 minutes left to go, I gave up.
Well-made but irredeemably, genuinely horrible "Funny Games"*-type picture consisting of nothing but brutality as entertainment. Billed as a "black comedy", without a single bit of humor, unless you think violence is funny.
Two down-on-their-luck losers meet a rich couple in a bar who challenge them to an escalating series of repulsive, cruel, and brutally violent dares for massive sums of cash. And that's it, that's all there is. When someone finally wins the final dare, the movie ends with him returning home to his family with the money, and that's it. I supposed it's supposed to read as some sort of redemption that he's sicker than the other guy in how far he's willing to go to save his family's finances. I didn't really see it that way.
David Koechner in the role he was born to play—that's not a good thing—as the leering rich guy.
Elijah Wood, whom I always seem to like, goes to visit the father he's never known (Canadian character actor Stephen McHattie from Pontypool and a whole lot more) at his remote coastal Oregon cabin, and after somewhat of a slow start, what seems like it's going to be a horror movie turns into a low-grade but somewhat fun, twisted neo-noir in the post-Tarantino tradition. I liked it fine, no regrets about watching it. I believe neither Wood nor McHattie have yet let me down at this point.
Found-footage crap about a gorgeous mortician who works on the body of serial killer and is possessed by the entity that made him kill and spends the rest of the movie killing whoever shows up, as seen exclusivey through the funeral home's security cameras and the odd number of body cams that everyone in this movie seems to wear for some reason. Actually has one notable gore scene where she slowly enbalms a living person. Might have been a decent exploitation flick, as exploitation flicks go... if they had just bothered to hire a cameraman.
I think this is a softcore porno that somehow wound up on Tubi. Some sort of horror-themed nonsense about a ouija board summoning a 300-year-old witch is a pretext for showing a lot of unnaturally large tits and trashy people talking about screwing, in the lowest-possible home-movie production quality.
I mean, yeah, if you resurrected a busty 300-year-old witch with a ouija board, I'm sure the first thing she would do is stand in the shower caressing her own body, right? That's the level this thing operates on.
I lasted about 45 minutes before turning it off, but truthfully that was only because I was distracted for a lot of that time by looking up naked photos of one of the actresses on the internet.
Hokey C-grade but fun flick that plays like a forgotten vampire TV show pilot. A gorgeous ex-con, down on her luck, gets hired as a chef for private club catering to a clan of vampires and has episodic adventures in between making steak tartare for everyone in the whole damn place every night.
I dunno, I kinda found it entertaining. Not in a way I'd recommend, though.
This is one of the best awful movies I've ever seen. A jilted college student summons a succubus to get revenge on her ex-boyfriend, and then can't stop her from rampaging. An absolutely amateur, zero budget, probably student-run production. But—I liked it! The actors really commit, and it had odd moments of cheeky humor that worked in much the same way as your friend saying something cheeky might work.
And it stayed in its lane: tt didn't get overambitious, it seemed to know it wasn't working with much and did what it could with what little it had. The sum total was that it was kind of charming how bad it was.
Not-as-bad-as-it-should be little indie horror with a fairly original premise: with no explanation, just a statement that it is so, a shapeshifting serial killer must repeatedly kill people and assuming their forms and memories, leaving their desiccated bodies hidden at a remote farm. He falls in love with a young woman and repeatedly tries to insinuate himself into her life, dealing the whole time with the rate at which the bodies he assumes decay.
Not terrible, for what it is. Not that good, but I'll call it "watchable" because it really should have been so much worse.
It's a Marvel superhero movie.That generally says it all, in my experience.
Somehow these big Marvel superhero movies remind me of Michael Jackson's adult career: get a bunch of big-name luminaries together with a big budget to expertly craft something that screams "blockbuster", and yet still, somehow, manages to be less than the sum of its parts—the writing just isn't exceptional, it's formula dressed up with big names and glitzy production. . And everybody for some reason thinks it's great, except me.
Basically watchable, for a special-effects superhero action blockbuster. But for as much talent was involved in making this movie, that's a crime.
This is not a very good movie, but, I will say, it's about ten times better than I expected it to be. I never like Kevin James nor the track record of Adam Sandler's production company, that made this, but rather than being the truly stupid pile of garbage I expected, it's actually—once it gets going, which takes quite a while—a moderately watchable B-grade action comedy, if you don't go into it expecting more than that.
I'm really surprised. Never imagined I'd think anywhere nearly that highly of it.
Decent drama about the politics behind a morning news show and the network that puts it on. It's not top-flight entertainment like "The Larry Sanders Show", nor is it a classic behind-the-scenes drama series with memorable characters like "Mad Men" or "The Sopranos"—and it sure isn't even anywhere near in the same league as "Network"—but the acting is good, and the writing is fairly gripping, every time a season ended I wanted it to go on.
Truly harrowing story about the buildup to and aftermath of a nuclear strike on Sheffield, England, following the intertwined lives of several people caught in the attack. This unflinchingly grim take on the short, medium, and eventual long-term personal and social toll of a nuclear strike was, incredibly, originally a TV movie. Like "Testament", another movie on a similar theme that I often mention in the same breath, it is absolutely unsparing. It's a very rough watch but an undeniable classic, and order of magnitude better movie than the contrived, soap-operatic pseudo-relevant "The Day After".
I'm writing this quite some time after last having seen it as I've just realized I somehow have never reviewed it. This movie is a pretty big favorite of mine. I'm not sure I can put it up with my very biggest favorites, but it's damn close.
Kind of an offbeat British/American comedy about an eclectic assortment of characters who become involved with each other in the days before humanity is due to be wiped out by a comet. Jenne Fischer, Rob Lowe, Diana Rigg. I enjoyed it, it was more clever and entertaining than it should have been, and I was disappointed when the first season ended on a cliffhanger and it wasn't picked up for a second.
Alright sci-fi action thriller about a spectacularly gorgeous model (Grace Van Dien, great-granddaughter of Robert Mitchum) who ingests an experimental drug, intended to protect humanity from the increasingly toxic atmosphere, that causes her to undergo strange mutations. Soon the scientists are after her. There's guys with guns, lots of running and jumping.
Surprisingly not bad. Visually well-done, high production values without going too far over the top, and adequate acting to pull it off. Deserves better than the 4.7 stars it has on IMDB, at any rate.
A programmer living in isolation invents an artificially intelligent and thoroughly fake-looking but oddly expressive (thanks to some skilled puppetry) head, and charges it to learn to humanize itself. It then spends the movie slowly going insane. Was actually kind of decent for the first half given the conceit, with some decent takes on familiar "What is human, anyway" tropes—the head wakes him up thinking it saw a face in the closet, which he explains is due to its having successfully inherited the human cognitive ability to recognize faces, even when there isn't really one, a neat idea—although by the second half it kind of runs out of steam and feels kind of perfunctory by the conclusion. Ultimately I can't say I liked it it, which is disappointing, because for a while it was definitely heading that way (no pun intended).
Weirdly OK sci fi flick. In pandemic times, a scientist wakes up imprisoned in a life support unit, and spends the movie wandering a medical-facility-cum-military-installation, uncovering the truth about what's happening to her. Little dialogue and almost no plot, but, visually well done enough to be sort of interesting, I guess, and with touches of fairly disturbing body horror. I didn't hate it, and might actually watch it again at some point to pay a little closer attention.
I really wanted to like this movie. This was recommended to me by a few people in Indieweb when it was October '25 movie of the month for their Indieweb Movie Club blog carnival, hosted by the estimable Benji.
So, it is with some degree of disappointment that I found, not being a child of the '90s and having no sentimental attachment to the excesses of that era (I have the '70s for that, thank you, although I generally don't steer unwitting friends of other generations towards it with any promise that the cheese I happen to love is going to hold any reward for them) that I found this to be an vapid and unredeemable pile of glossy Hollywood garbage.
This movie appears to have been written by a screenwriter who read an article about "hacking" in Newsweek…
Scientist invents a machine that lets him see extradimensional creatures, and it turns out, let them see him. Another cheezy attempt at Lovecraft, this time with way more '80s fashions than any other I've seen, and the requisite over-the-top latex monster applicances. I always feel affection for these because these low-budget Lovecraft efforts always seem to try harder than anybody else to rise to the material, even if they fail. At least they're aiming high.
As hackneyed and unfunny as a sitcom can be. Chris D'Elia, who, despite whatever else may be said about him, is at least often a funny actor, is absolutely wasted in this. Turned it off during the third episode. I'm not sitting through 9 more episodes of this.
Gritty fantasy show based on a Nail Gaiman about ancient gods fighting it out in modern-day American with the "new gods" of commercialism and technology. A very strong start to this Bryan Fuller adaptation, including a smattering of topnotch actors and some really well-cast cameos, disappointingly doesn't pan out as the season wears on. Never worse than good, the show nonetheless loses the first few episodes' tight plotting and gritty tone, gets talkier and more meandering, as what I hoped would be a tight miniseries turns out to be an ongoing series and kind of loses momentum. Tubi's run frustratingly only includes season 1 for now, ending on a cliffhanger, and worse, I understand Bryan Fuller left after that season and subsequent seasons aren't as positively reviewed. Color me all around kind of disappointed. It started really strong. If this had been a solid 6 or maybe 8 episodes of…
Gritty (for Hollywood) tale of a day in the life of speed freaks. I suppose this movie is alright. Despite being cast full of actors I don't like much (Jason Schwartzman, John Leguizamo, Brittany Murphy, Mickey Rourke) it pretty much catches them all at their relative best, doing a pretty good job at bringing full lives to the kind of sketchy characters we've all seen out of the corner of our eyes once in a while, and mostly avoided interacting with. The Hollywood attempt at "gritty" is better than most such. Also, short cameos from the always disturbing Peter Stormare and Debby Harry as a tough-as-nails lesbian liven things up.
I watched this once before, long ago, and recalled liking it, and though it's up and down I came out of it once again thinking I kinda liked it.
Another in a long line of "first contact" films that owe a debt to "2001: A Space Odyssey", but a decent entry in the arena. A lone astronaut on a 10-year-mission to find what's been broadcasting mysterious signals from Neptune. Not bad, it was an alright watch even if conceptually a touch derivative.
Amusingly, "Neptune" appears to have been filmed at Pyramid Lake.
Odd, fun little sci-fi/light comedy about an alien landing in an old man's flower garden in Pennsyvania. Ben Kingsley, Jane Curtin, and Harriet Sansom Harris, still a heavy hitter in sci-fi over 30 years after she freaked us out on the X-Files episode "Eve", play a bunch of old coots who nobody listens to, caring for a space visitor who doesn't talk but manages to express some strange things he needs to get his craft off the ground again. Pretty well done, pleasantly quirky, and a fun watch. I liked it.
A talky, overlong mocumentary about a "haunted object" research team that encounters a strange wooden effigy that seems to possess supernatural powers. I feel bad slagging it off, because it's not terrible, but it's a whole "horror" movie of nothing people talking about a scary thing, rather than showing scary things. At 90 minutes, it feels like about 3 hours long.
A montage of late-night channel surfing slowly reveals a story involving aliens, a horror filmmaker's mysterious unfinished film, a haunted videotape, and a local outbreak of violence. Told entirely as clips of flipping though channels in a fairly convincing recreation of flipping through late night broadcast TV channels, but the execution doesn't really work in an engaging way. Felissa Rose is in this, if that tells you anything.
A phallic/fecal-looking parasite that causes uncontrollable, violent sexual urges spreads throughout an exclusive apartment complex. How's that for an opener?
I just can't be objective about early David Cronenberg. I've always had a lot of affection for Cronenberg as a director, and although the low production values and camp story here play like early John Waters directing a gore film, or like George Romero making a movie about horny urbanites instead of zombies... I'm not going to say anything worse than that about it. And, you know, early John Waters has its points, too.
And, I think, to me, even though this isn't the best of Cronenberg's early films (cf. "The Brood", which unfathomably isn't on Tubi), you can still see occasional signs of talent. There's some disturbing imagery to be seen here, and that's what we come to horror movies for, right?
This unnecessary but not-completely-dreadful sequel keeps a lot of the visual style of "30 Days Of Night"—a movie I'm pretty fond of—so it scores points by me for that. This moves the action first to a gritty, dark Los Angeles, and then onto a gritty, dark vampire-filled ship bound for another hapless small town in Alaska, as the vampires have spread nationwide and a small band of gorgeous, tough-as-nails humans fights a losing battle to kill as many of them as they can.
Whereas the original leaned horror, this is more of an action movie, although with heavy duty supernatural elements. This is basically a "horror movie" in the same way "Predator" is a "science fiction" movie. IE, it's not, it's just dressed up like one, although the costume is pretty good.
But, you know, it's fairly well directed, even if there's not a whole lot to the story…
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