• Briefly, TV (27 November 2024)

    FROM (2022) s03e09 “Revelations: Chapter One” [2024] D: Jack Bender. S: Harold Perrineau, Catalina Sandino Moreno, Eion Bailey, David Alpay, Elizabeth Saunders, Scott McCord, Ricky He. Penultimate episode of the season and the cliffhanger reveal is something from last season, unaddressed until now. Or it’s new. It’s impossible to tell without paying too much attention… or binging. Everyone tries being extra nice to one another this episode, which is a vibe. Maybe if cartoonishly annoying Pegah Ghafoori weren’t the one in danger, it’d work better.

    FROM (2022) s03e10 “Revelations: Chapter Two” [2024] D: Jack Bender. S: Harold Perrineau, Catalina Sandino Moreno, Eion Bailey, David Alpay, Elizabeth Saunders, Scott McCord, Ricky He. They go all in on the mythology explanations–and whether or not Perrineau is going to (possibly pointlessly) sacrifice his humanity for Pegah Ghafoori. It’s probably Avery Konrad’s best performance in the entire series. While the reveals are quick, they also pretty much explain or imply everything to date, right before the season finale ends on a big “twist.”

    Silo (2023) s02e01 “The Engineer” [2024] D: Michael Dinner. S: Rebecca Ferguson, Harriet Walter, Amelie Child-Villiers. Eventually incredible tense season premiere sets up a second silo for Ferguson to explore. Since she’s mostly silent, there are lots of flashbacks to her childhood. Kid version Child-Villiers is fine, playing better off Walter than Ferguson usually did. Things get very good about halfway through then the cliffhanger is a little too basic.

    Silo (2023) s02e02 “Order” [2024] D: Michael Dinner. S: Common, Harriet Walter, Chinaza Uche, Avi Nash, Rick Gomez, Tim Robbins, Shane McRae. All last season it seemed weird judge Tanya Moodie didn’t figure in more. Now she’s figuring in, with Robbins going to her for help (see, should’ve been Susan Sarandon). The episode’s all about what happens in the regular SILO during last episode. Decent–some of Robbins best acting on the show, ditto Common and Walter.

    Silo (2023) s02e03 “Solo” [2024] D: Michael Dinner. S: Rebecca Ferguson, Common, Chinaza Uche, Tim Robbins, Shane McRae, Remmie Milner, Steve Zahn. Wait, is SILO finally going to deliver Steve Zahn his part? The episode’s often middling, too busy split between “back home” and Ferguson and Zahn bonding. There’s some real good acting (Tanya Moodie’s delivering), but some of it drags. Especially Robbins mulling and Common brooding. Then the finish sets Zahn up for something bigger… and I’m here for it?

    Star Trek: Lower Decks (2020) s05e03 “The Best Exotic Nanite Hotel” [2024] D: Brandon Williams. S: Tawny Newsome, Jack Quaid, Noël Wells, Eugene Cordero, Dawnn Lewis, Jerry O’Connell, Gabrielle Ruiz. Amusing but just okay episode about Newsome breaking up with thought-she-was-already-ex Lauren Lapkus. But it’s unnecessary character development. Meanwhile, Quaid is convinced O’Connell is going to get him maimed (intentionally) on an undercover mission. So lots of silliness for Quaid. Then the supporting cast, you know, supports. Nice plot reveals at the end.

    Star Trek: Lower Decks (2020) s05e04 “A Farewell to Farms” [2024] D: Megan Lloyd. S: Tawny Newsome, Jack Quaid, Noël Wells, Eugene Cordero, Dawnn Lewis, Jerry O’Connell, Jon Curry. Strange and good episode set on the Klingon homeworld with returning guest Curry. He’s a disgraced ex-captain, now booze farmer with his goofy brother. Until Newsome and Quaid show up with a proposition. Then back on the ship, there’s a standard, amusing subplot about snooty avian aliens being obnoxious to the crew. Klingon stuff’s real good.

    Tulsa King (2022) s02e09 “Triad” [2024] D: Craig Zisk. S: Sylvester Stallone, Martin Starr, Jay Will, Max Casella, Vincent Piazza, Annabella Sciorra, Dana Delany. KING takes care of business, GODFATHER-style, and… it’s no loss Stallone didn’t get to do GODFATHER TRE. (Well, maybe 3D). It’s a short episode, with some pseudo-big developments but also no more stakes because everyone’s all in on the diverse (not inclusive) mob. Then there’s a strange, earnest attempt at sincere empathy. But it’s still a miss.

    Tulsa King (2022) s02e10 “Reconstruction” [2024] D: Craig Zisk. S: Sylvester Stallone, Martin Starr, Jay Will, Max Casella, Annabella Sciorra, Domenick Lombardozzi, Garrett Hedlund. After a facile wrap of outstanding business with a series of bows (including a hilarious scene where Hedlund talks about not being able to act, which seems cruel), the show sets up next season. Apparently ripping off FAST AND THE FURIOUS (no joke). It’s a dismal, inglorious shark jumping (with Stallone getting a cowriting credit). A dismally bad program.

    What We Do in the Shadows (2019) s06e06 “Laszlo’s Father” [2024] D: Yana Gorskaya. S: Kayvan Novak, Matt Berry, Natasia Demetriou, Harvey Guillén, Mark Proksch, Kristen Schaal, Andy Assaf. Proksch goes to work with Guillén to help him establish an identity while Berry and Novak try to save neighbor Anthony Atamanuik from a demon. Of course, that demon happens to be March Madness (when do SHADOWS creators think these episode air). Lots of great laughs in both plot lines, with Demetriou getting a particularly great recurring bit.

    What We Do in the Shadows (2019) s06e07 “March Madness” [2024] D: Yana Gorskaya. S: Kayvan Novak, Matt Berry, Natasia Demetriou, Harvey Guillén, Mark Proksch, Anthony Atamanuik, Andy Assaf. Novak and Berry try to foil a police procedural shooting in front of the house while Proksch and Demetriou go to his friend’s house for an uncomfortable dinner. Zach Woods guest stars as the friend, and Kim Quindlen plays his wife. Kevin Pollak plays the TV detective (maybe uncredited?). It’s a weird, successful mashing of plots, often very funny.

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  • Briefly, Movies (27 November 2024)

    The Crazies (1973) D: George A. Romero. S: Lane Carroll, Will MacMillan, Harold Wayne Jones, Lynn Lowry, Lloyd Hollar, Richard Liberty, Richard France. Inventive low budget action thriller about a virus outbreak in a small town, specifically when the army arrives to clamp things down. Only a couple performances are, you know, good (Hollar and Harry Spillman as the officers), but many are “Romero good.” Jones, in particular. The first half has a great Vietnam commentary, which sadly slips in the second.

    The Fantastic Four (1994) D: Oley Sassone. S: Alex Hyde-White, Jay Underwood, Rebecca Staab, Michael Bailey Smith, Ian Trigger, Joseph Culp, Carl Ciarfalio. Creatively vapid, infamously unreleased Roger Corman-produced adaptation of Marvel Comics’s “First Family.” Way too low budget, with–at best–flat performances. At worst… Culp, who somehow manages to be beneath the material. The leads–Hyde-White, Staab, Smith, Underwood–each try in their own way. Smith’d be most successful if Ciarfalio weren’t atrocious as the rocky alter ego.

    House (1977) D: Nobuhiko Obayashi. S: Kimiko Ikegami, Kumiko Ohba, Ai Matsubara, Miki Jinbo, Eriko Tanaka, Masayo Miyako, Yôko Minamida. Incredibly weird horror film about seven high school girls going to the country to vacation with lead Ikegami’s aunt. Minamida plays the aunt, who has an identical cat to the one Ikegami finds in the first act. Bad things pick the girls off one by one; Matsubara and Jinbo (both amateur actors) give standout performances. Wild, wild stuff.

    Hundreds of Beavers (2024) D: Mike Cheslik. S: Ryland Brickson Cole Tews, Olivia Graves, Doug Mancheski, Wes Tank, Luis Rico. Exceptionally weird mix of cartoon absurdity, silent film homage, and (presumably) superlative technicals. Tews (who also co-wrote and co-produced) is a wilderness guy (in the past, not the present) who decides to become a trapper, partially to impress fetching Graves. If only the hundreds of (human-sized) beavers would be more accommodating… BEAVERS is a singular experience.

    Justice League: Crisis on Infinite Earths Part Three (2024) D: Jeff Wamester. S: Jensen Ackles, Darren Criss, Corey Stoll, Gideon Adlon, Troy Baker, Matt Bomer, Alexandra Daddario. So they bring in Stoll for the finale (as the Lex Luthor who’s going to betray humanity to the bad guy), and he’s a complete waste of a performance. Nothing goes right, starting with the atrocious animation. Also: good grief Daddario’s a terrible Lois Lane. Matt Ryan: say no next time; hashtag dignity. The “cameos” stink, too.

    Justice League: Crisis on Infinite Earths Part Two (2024) D: Jeff Wamester. S: Jensen Ackles, Darren Criss, Meg Donnelly, Stana Katic, Jonathan Adams, Geoffrey Arend, Aldis Hodge. The first half, recounting how Supergirl (Donnelly) figured into PART ONE, and setting up villain Arend, is surprisingly okay. Adams’s stodgy super-being is more fun playing foster dad. And Arend’s story seems like it’s building to something. No payoff here, however. The whole thing goes to pot once it remembers it’s CRISIS. Way too much Batman, too.

    Talk to Me (2023) D: Michael Philippou. S: Sophie Wilde, Alexandra Jensen, Joe Bird, Otis Dhanji, Miranda Otto, Zoe Terakes, Chris Alosio. Well-acted teen horror picture (though the teen stuff doesn’t end up mattering much) eventually collapses under its own obfuscation. And insipidness. Doesn’t help the directors are entirely one-note either. Sad Wilde discovers she might be able to commune with her dead mom, never thinking about the consequences. No character development for her! (Or anyone, for that matter).

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  • Briefly, TV (15 November 2024)

    FROM (2022) s03e06 “Scar Tissue” [2024] D: Alexandra La Roche. S: Harold Perrineau, Catalina Sandino Moreno, Eion Bailey, David Alpay, Scott McCord, Ricky He, Corteon Moore. It’s one of the better (if not best) FROM bridging episodes. Considering it’s an extension of last episode’s bridging episode… though this episode does have a couple solid reveals. It also has Moreno and Bailey arguing too much, Perrineau almost entirely in support of other subplots, and guest star Robert Joy apparently not betraying McCord (I’m still worried).

    FROM (2022) s03e07 “These Fragile Lives” [2024] D: Bruce McDonald. S: Harold Perrineau, Catalina Sandino Moreno, Eion Bailey, Scott McCord, Ricky He, Pegah Ghafoori, Corteon Moore. New regular Samantha Brown gets her big episode as she’s freaking out realizing she’s trapped in a nightmare. And she’s godawful. FROM’s bad acting has been improving, but Brown’s back at the “fire your agent” levels of miscasting. Or just inability. Hurts the episode a lot. Otherwise, lots of subplot water treading, presumably for two episodes from now.

    FROM (2022) s03e08 “Thresholds” [2024] D: Bruce McDonald. S: Harold Perrineau, Catalina Sandino Moreno, Eion Bailey, David Alpay, Elizabeth Saunders, Scott McCord, Pegah Ghafoori. Guest star Robert Joy has maybe the best line of the show ever: he asks Bailey why he just had to sit through a useless scene and why doesn’t Bailey do the right thing for once. Preach, brother. McCord has a bad (mythology) episode. Not his fault, rather the reveal. Otherwise, third treading water in a row?

    Only Murders in the Building (2021) s04e10 “My Best Friend’s Wedding” [2024] D: Jamie Babbit. S: Steve Martin, Martin Short, Selena Gomez, Meryl Streep, Zach Galifianakis, Eugene Levy, Eva Longoria. Good season finale sets up things for next time–with Short running around worried fiancée Streep will be the murder victim (he’s realized they always have a murder in the finale). There’s not much in the way of character development for anyone but Short and even then it ends up being slight. But he and Martin have some delightful moments.

    Star Trek: Lower Decks (2020) s05e01 “Dos Cerritos” [2024] D: Megan Lloyd. S: Tawny Newsome, Jack Quaid, Noël Wells, Eugene Cordero, Dawnn Lewis, Jerry O’Connell, Gabrielle Ruiz. As Wells tries keeping her (green, it’s important) Orion pirates in check–i.e. not killing but still plundering so Wells might get to go back to Starfleet–the gang recovers from her not being around. And then they run into an alternate reality version of themselves because of TREK science. Real good episode for Newsome in particular.

    Star Trek: Lower Decks (2020) s05e02 “Shades of Green” [2024] D: Bob Suarez. S: Tawny Newsome, Jack Quaid, Noël Wells, Eugene Cordero, Dawnn Lewis, Jerry O’Connell, Gabrielle Ruiz. The gang’s all keeping busy, paired off for their adventures (or intentional lack thereof). Except all the plots except Wells’s are slight. Well meaning and earnest but slight. Wells has a solar sail race to save her pirate empire. After promising big thrills… well, there aren’t many. And all the plots are just about people not communicating.

    Tulsa King (2022) s02e07 “Life Support” [2024] D: Kevin Dowling. S: Sylvester Stallone, Martin Starr, Jay Will, Max Casella, Vincent Piazza, Garrett Hedlund, Dana Delany. After immediately swerving from last episode’s cliffhanger, the show finally literizes Will’s idolatry of Stallone. But doesn’t really do anything with it. Will gets his toughest acting assignment and comes up short. Meanwhile, Stallone’s better than he has been the rest of the season. Something’s happened. This show could probably get another two episodes off one explosion.

    Tulsa King (2022) s02e08 “Under New Management” [2024] D: Kevin Dowling. S: Sylvester Stallone, Martin Starr, Jay Will, Max Casella, Domenick Lombardozzi, Garrett Hedlund, Dana Delany. Casella has hit his breaking point with things falling apart around him, which gives him his biggest episode ever. And he’s terrible at it. The episode keeps trying various genre standards and coming up short. Frank Grillo’s really good, though. He’s speaking nothing words and he’s still good. Ditto Lombardozzi. Stallone looks strangely put out half the time, too.

    What We Do in the Shadows (2019) s06e03 “Sleep Hypnosis” [2024] D: Yana Gorskaya. S: Kayvan Novak, Matt Berry, Natasia Demetriou, Harvey Guillén, Mark Proksch, Kristen Schaal, Doug Jones. The season rights itself with a done-in-one about the housemates fighting over Guillén’s old living quarters. Proksch discovers you can sleep hypnotize people, leading to hijinks. None of the other season plots come into play, which would be more concerning if the episode weren’t so funny. Nice guest spot from Jones. Also a good Novak showcase.

    What We Do in the Shadows (2019) s06e04 “The Railroad” [2024] D: Kyle Newacheck. S: Kayvan Novak, Matt Berry, Natasia Demetriou, Harvey Guillén, Mark Proksch, Anthony Atamanuik, Andy Assaf. The Monster (Assaf) returns, this time figuring into both Berry and Proksch’s storyline again. They’ve got to convince neighbor Atamanuik they work at a railroad. Meanwhile, it’s office politics for Guillén, Demetriou, and Novak. Guillén’s supposed to fire Novak, Demetriou’s sick of being unappreciated. The best “season plotlines” episode of the season so far.

    What We Do in the Shadows (2019) s06e05 “Nandor’s Army” [2024] D: Yana Gorskaya. S: Kayvan Novak, Matt Berry, Natasia Demetriou, Harvey Guillén, Mark Proksch, Doug Jones. Hilarious homage to APOCALYPSE NOW (because why not) has Novak going full Brando. It only gets better once Proksch realizes what’s going on and gets in on it, too. Lots and lots of deep cuts (not just to war movies, either). Then Berry and Demetriou get to bond and bicker. Guillén’s arc still feels soft, but the episode’s killer.

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  • Night of the Blood Beast (1958, Bernard L. Kowalski)

    Not to be overly pedantic, but the title should be Nights of the Blood Beast. While the “Blood Beast” part is a little complicated, the film does take place over a couple nights. Two Nights and Four Days of the Blood Beast. The Beast is a space monster. Maybe. It’s definitely a space creature, but it’s unclear if it’s a monster. It might just be misunderstood while having a very discomforting physical presence around the homo sapiens. The Blood Beast looks a little like a giant scab, like a protruding one–with claws and (presumably) red eyes.
    Even with the rather obvious budgetary limitations on the costume, it’s not a nice-looking space creature.

    Blood Beast is a space movie, like a NASA space movie. Pilot Michael Emmet rides up in a satellite (off-screen), then rockets back to Earth. Emmet has to crashland, and the team assembles to get to the crash site. Who are the team? There’s Ed Nelson and John Baer (interchangeable, sturdy, not-too-smart sort of military guys), then there’s boss scientist Tyler McVey, and let’s not forget the ladies. Georgianna Carter is the team photographer and technically the hardest-working actor in the picture. Angela Greene is the other doctor, who McVey berates and bosses around; Greene’s also engaged to Emmet.
    One might think that engagement would lead to some significant drama in the film, but it does not. Greene doesn’t give one of the film’s better performances, but she also has the worst part. She isn’t xenophobic, so Nelson and Baer don’t want to talk to her, and McVey’s performance can best be characterized as “patriarchal hack.” So she’s not getting much in those scenes.

    For the first half or so, Carter makes the most impression, usually because of where she’s standing. Also because she’s constantly fiddling with her cameras while everyone else hangs in space if they’re not talking; maybe it’s because Carter’s never talking.

    The first Night is the best. Alexander Laszlo’s weird score is threatening more than foreboding (except when it’s bad, which happens only a couple times but, wow, does it happen). John M. Nickolaus Jr.’s black-and-white cinematography is fantastic. The film knows how to get mileage out of the shadows and the fullness of the black. There aren’t any miracles, however; the day-for-night shooting is still fairly bad. Though brief, like they knew they were ruining the mood.

    The mood is McVey and Greene inexplicably being able to nurse Emmet back to health. He came in without a heartbeat and started–seemingly–improving. The tension of this weird medical phenomenon is caused, no doubt, by gamma rays off Alpha Centauri while they’re cut off from communicating. It works. It’s an engaging science thriller.

    Lots of the third act hinge on Emmet’s performance. Given he’s playing a medical condition of one sort or the other, he does okay. But he never really transcends the material to take it higher. He does all right. On par, in the end, with Baer and Nelson, who eventually team up and become even less distinct.
    Beast runs just over sixty minutes, but director Kowalski knows how to keep things moving and how to slow them down. There are a few lengthy shots of the nature hike they take on the second day of their plight.

    It could be a whole lot worse.


  • Attack of the Giant Leeches (1959, Bernard L. Kowalski)

    Attack of the Giant Leeches stops more than ends. Some plot elements seem to go unresolved, but since the film never actually explains those stakes, maybe they don’t. Director Kowalski likes long lingering shots implying giant leech attacks, except there’s little distinction between ominous shots with leeches and those without. Since the characters never pay attention to the ominous spots, just the camera… no one, human or leech, can say.

    The film opens with redneck George Cisar shooting at one of the giant leeches. Does Cisar kill it? Never resolved. What are Cisar’s later motivations, which put him in the same vicinity as wayward wife Vickers? Never resolved. Yvette Vickers isn’t Cisar’s wayward wife, but rather Bruno VeSota’s.

    Approximately a sixth of the film are fat-shaming comments directed at VeSota. He owns the only general store in the swamps, so the locals hang out there. And lust after Vickers, who finds VeSota an unpleasant and undesirable life partner.

    Given the second half of the film usually involves Vickers being bled by the giant leeches, one forgets the character flaws and defaults toward empathy. Though Kowalski makes sure everyone remembers even if Vickers is in mortal peril and bloody, we can still ogle her gams.

    See, Vickers is carrying on with Michael Emmet, the best-looking swamp fella. Emmet’s performance proves wanting. He does okay enough with the accent–they’re all going for one redneck exploitation trope or another–but there’s nothing else to the performance. Emmet kind of gets the accent; nothing else matters.

    Top-billed Ken Clark is from out of town and isn’t asked to attempt an accent. He’s the federal game warden, and if there are giant leeches, he ought to know about them. He teams up with girlfriend Jan Shepard’s dad, played by Tyler McVey, to investigate mysterious goings on. Most of the film’s hour and change runtime–at least when Clark does show–has Shepard getting mad at Clark disagreeing with McVey, then not being able to react authentically because… what’s she going to do, not make the men sandwiches? Come on, now.

    So even though Shepard tags along with Clark during the boat rides, she doesn’t get anything to do. Possibly because she’s not all about the gams.

    Now, Leeches could be a “hide the monster and have them hunt,” but the filmmakers apparently thought the audiences wouldn’t stand (or stay seated) if they didn’t show off the monsters. The Giant Leeches are (visibly) trash bags with accruement. And then, obviously, the giant sucking mouth thing. Except the leeches don’t really look like anything–a giant star-shaped trash bag covered in flaccid teeth. Leeches goes all in on the blood to compensate for the fakery. All of the victims are covered in open sores where the giant leeches feed. And the victims spend lots of their time screaming in agony. It’s a bizarre vibe at times.

    While Vickers’s abject terror is often the best acting, otherwise, the most reliable is Gene Roth as the sheriff who thinks Clark’s falling for the ramblings of drunken swamp folk. Roth never gets any pay-off (no one does, except maybe Emmet and pay-off’s a stretch); he maintains a consistency the other actors cannot.

    Technically, Giant Leeches actually impresses. Sadly, only because they manage to make the Los Angeles County Arboretum and Botanic Garden look like wherever in the coastal South it’s taking place. Overall, John M. Nickolaus Jr.’s photography is no great shakes (there’s so much day-for-night, and none of it’s good). Still, he and Kowalski make the botanic garden in California look unlike a botanic garden in California.

    If the ending had landed at all, the garbage bag monsters would’ve been fine.