• This post is not horror related but it is related to horror. We are in for a major shake-up as the Ellisons have begun their takeover of Warner Bros./DC Studios/a ton of other properties and the job of folding them all under the Skydance label. Already James Gunn and Peter Safran have been removed in favor of a strong Christian conservative in Jeremy Latchman. This is not surprising. Both father and son have been very clear that they do not view “woke” politics (read: anti-MAGA, anti-Trump) in a favorable light. Gunn is a staunch enemy of the Far Right (Ellisons’ Ilk) and now he is out as a driving force of the DC cinematic universe, a universe that the Snyderbros and others have decried as ‘WOKE’ for the last handful of years.

    So the Ellisons are here and so is the age of far-right coded, Christian-Nationalist supporting, white-supremacist-dog-whistling cinema and television. It probably won’t be an immediate mandate at the new Skydance but slowly, within the next two years, the slate of films they produce and the television will be geared towards a very specific kind of white middle-aged man and white-middle aged woman. The Ellisons made a promise to release 30 movies a year, they did not state that they would be good and they did not state they would not promote the anti-woke, MAGA-loving worldview that Ellisons have purported since the early days of the rise of the Donald.

    Couple this MAGA-shift and the vacuum left behind by the collapse of the Weinstein Company and Miramax and it becomes obvious that the Ellisons are the new Weinsteins. They now have the control, the influence, and the money to reshape much of Hollywood and the entertainment and streaming landscapes into whatever conservative Leave-It-To-Beaver wonderland they see fit. The Weinsteins tapped into our need for sleaze. They loved blood and guts and horror and scantily clad women and so our cinemas were replete with that content throughout the 90s and 00s. Then came Marvel and the downfall of the Weinsteins first as kingmakers and then as humans when Harvey was exposed as a monster of the worst sort. With Marvel on the decline and Disney constantly under fire from the Trump Administrations and the MAGA-folk, the Ellisons have now ascended to the firmament of the entertainment universe and we are all unprepared. I love the people celebrating the “Blue Wave” and acting as if it is going to matter in the long run. What they don’t understand is that the future is being seeded by these conservative billionaires and they have already won.

    I am not crazy. They do in fact know what they are doing. While the left is engaged in a culture war, with affordability, with the rights of migrants and the LGBTQ community, with health care, and with a lack of civility; the right is shoring up its control of the major industries including communications, AI, and energy. Trump is installing oligarchs all over the place and has been since his first term. While Biden came in thinking that his predecessor was an idiot, he failed to see the series of traps that Trump had left for him. Health care was one. Immigration was another, as were massive gas prices. Trump’s economy cratered in what would have been his second term. Oh and let’s not forget the poison pill that was the withdrawal from Afghanistan. Trump made that promise and forced Biden to go through with it or extend a deeply unpopular ‘forever war.’ We now how that went. Time and again the left has underestimated or dismissed the right and the MAGA party and they have done so again here.

    The Ellisons are going to destroy entertainment and the media as we know it. There is nothing we can do about this. It is too late. We will be subject to the whims of hyper masculine, anti-woke, anti-metaphor, anti-intelligence middle-aged white billionaires for the foreseeable future.

    That is the reality of our situation.

    That is real horror.

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  • Resident Evil.

    Wow.

    Just wow.

    SLiTHER is my favorite horror movie. I love the balance of horror, comedy, character-development, and world-building that James Gunn brings to the film. Every time I watch the film (yearly, on my birthday!) I see some new detail or a line of dialogue hits different and I have a new appreciation for the film.

    Resident Evil is this generation’s SLiTHER but with a much bigger budget. It is a non-stop, action-packed, mayhem-fueled, gore-coated, creature feature. It is a film for fans of the film, and a film for anyone who just likes really, really, good movies.

    So Zac Cregger has been on a roll that would make the Juggernaut jealous, going three for three (I am including RE here) with original horror films. Someone I know said that it sucks that Cregger had to lose someone to become this horror movie maven and I concur but at the same time I am thrilled that Cregger has found his voice and vision and is pursuing it whole heartedly. This approach is working as evidenced by Resident Evil sitting at an absurd box office total as this is being written, and I expect it to continue growing as October decays away one rotten day at a time.

    So how did Cregger make a film using a video game IP and make it actually scary?

    CREgger defied gamers’ expectations:

    Man, I love the Internet. Full of folks who claim they want original concepts and stories but also gatekeep the ever-loving f*ck out of the IP they stan.

    These clowns said they’d boycott the film. That the film would make no money. That it would be a critical failure if it didn’t adhere to X storyline from the game series. And on and on and on and on and on, ad infinitum.

    So let’s take a look at how “big of a failure” the film is, were the RE fanboiz correct in their blind hatred? Was it the most reviled film of the year? The “wurst” in the franchise? Did their boycott of the film (because no Leon Kennedy!) cause the box office to wilt beneath their dead-eyed, irate gaze? Did the crunchy sound of their cum-crusted fingers whinging away at their keyboards at three in morning, posting rage bait and sending hate mail, cause Zach Cregger to want to stop working in film forever? The answers are below:

    1. The movie sits at 96% on Rotten Tomatoes. The next closest live-action Resident Evil film in the franchise is 2016’s also mostly unrelated to the video games film franchise at 39%. The animated films did better with the highest at 71%. On a different note, I have never understood the love for the Anderson/Jovovich series. The first film was fine, but again not related to the games at all, so I don’t know why the same video game fan boys mad at Cregger for not adding Chris Redfield so happy with a franchise of films that at best only ever played lip service to their beloved video games while making increasingly incoherent and stupid films with bigger budgets and bigger set pieces instead of higher quality writing and acting.
    2. The highest grossing film in the IP was again the final chapter in PT Anderson’s saga. It made $312 million with only $26 million or so coming from the domestic side of things. Those fan boys really showed up state side to support the film! BUT WAIT! WHAT’S THIS? THE ZACH CREGGER HELMED RESIDENT EVIL FILM IS ALREADY AT $320 MILLION ONLY FOUR WEEKS INTO ITS RUN? HOW IS THAT POSSIBLE? THE FAN BOYS ONLINE SAID IT WOULD BE AND IS A FLOP! But it is true.

      The movie has grossed $142 million state side and a whopping $183 million elsewhere around the world, proving conclusively that horror and comedy can sell the hell out of a theater. It will finish close to $500 million (or half a billion) if predicted estimates are correct. That is an insane number for a “flop”.
    3. It is in fact true. This will be our only taste of a high quality franchise film with a bespoke director looks like. Here’s why: gamers and Gamergaters were up in arms the moment that this film was announced as an original story set in the universe of Resident Evil, and that vitriol was so bad in fact that it was pretty much the reason that Cregger will not be returning to the IP despite the film’s incredible box office dominance during its run and the critical love being heaped upon the film.

    CREGGER GAVE US DLC

    While the gamer folk felt Cregger’s decision to avoid the main continuity/characters of the film was absolutely perfect. Not because it stuck it the fanbase or anything cynical like that. It was perfect because it made the film seem like it COULD actually be set within the universe of the game. It feels counterintuitive but it is true. The inclusion of characters from a franchise immediately creates expectations, none of which can be reasonably met. If the characters are not the baddest of asses, then the fans will be upset. If the characters do not say the thing from the game that you liked that one time, well fuck this movie. If you make a character no one likes likeable, you can go to hell. If Wolverine is not OP, go eat shit. And on and on and on.

    Cregger deftly avoids this trap with two tricks, the first is that our protagonist is a likeable, doofy, and relatable everyman kind of dude. He could be anyone and any one of us and that is why what he goes through feels so visceral and affecting. He also has stakes! He’s struggling to come to terms with some important news, news that everyone can sympathize with, and the audience wants him to live so that he can figure out if he wants to be a dad or not. He has no connection to the in-game universe, so we the audience can not begin to predict what his fate is going to be. This feeling of uncertainty put me on the edge of my seat the whole time. For the first chunk of the film I was waiting for Cregger to pull the rug and make the main character of the film the medical bag our protag was carrying. Hitchcock killed off his leading lady 20 minutes into Psycho, so you know that trick will work. More importantly, this approach led to the main character being put through the absolute ringer and the audience never knowing what his fate is going to be until the credits rolled. It was sublime, that feeling of uncertainty. I love films that give me that.

    Even better, Cregger found a willing participant in Austin Abrams, who gives us an absolutely gonzo performance. He will get all my votes for next year’s Chainsaw Awards! Seriously though, Abrams performance is reminiscent of Tim Balme in BRAIN DEAD (DEAD ALIVE). Just as poor Lionel is goes to work slaying his friends, neighbors and family after they are zombified, so too does Bryan go to mad cap, full physical comedy work trying to make his delivery and survive the night.

    Brilliant stuff to go with a brilliant script and brilliant direction, this film just shines.

    The second choice he made was to put the film in the snow. Gamers and film fans alike have not seen Raccoon City in the snow before. It was a bold choice that gave the film a unique texture and it made the setting as much an antagonist to our protagonist as any of the insane creatures on display, which in turn made the film feel exactly like a video game I would want to play.

    IN CLOSING

    RESIDENT EVIL is a rare horror experience that I would encourage people to experience in theaters, preferably a crowded one. Regardless, you should watch this one. I loved it, I will own it in several formats and I will revisit this one yearly as I do with SLiTHER and FROGMAN and RARE EXPORTS. More importantly this film has given me a clear way to define WHY I love horror. I need only point at it and say, “Go watch this, this is why I like horror.”

    That breathless feeling, that rush of uncertainty and anxiety, the non-stop, adrenaline-spiking whirl that is the journey that this film takes us on; that is why I love horror.

    I am so happy films like RESIDENT EVIL exist.

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  • In an earlier post I said that I was completely enamored with Widow’s Bay. I remain so and apparently I am one of the many as Widow’s Bay took home an eye-popping 14 trophies from the Emmys last night. From technical achievements, to the writing, to the acting Widow’s Bay was honored. Here is a run down of the awards:

    Technical Awards

    Outstanding Music Supervision

    Outstanding Production Design for Narrative Program

    Outstanding Sound Mixing for a Comedy or Drama Series

    Outstanding Music Composition for a Series

    Outstanding Picture Editing for a Single-Camera Comedy Series

    Outstanding Cinematography for a Series

    Outstanding Sound Editing For a Comedy or Drama

    Outstanding Directing for a Comedy Series

    Outstanding Casting for a Comedy Series

    Outstanding Writing for a Comedy Series

    Acting

    Outstanding Lead Actor in a Comedy Series

    Outstanding Supporting Actor in a Comedy Series

    Outstanding Supporting Actress in a Comedy Series

    Outstanding Guest Actress in a Comedy Series

    The love this show garnered was amazing! I am thrilled that the people who vote on such things got it absolutely right this year. Here’s to season 2 of Widow’s Bay!

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  • This week I give you a film you should have all watched but may haps have not yet watched because it went direct to YouTube. BUT! Before he directed Obsession Curry Barker gave us the found footage gem Milk and Serial. The less said the better with this one so go ahead and tuck in to the link below:

    Enjoy!!

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  • Buddy is a weird and special horror film.

    I went in absolutely cold to this film: I did not know who made it, who starred in it, or what it was about.

    I came out of the theater delighted. Buddy was an undeniably twisted, subversive, and high quality production; a film chock-a-block with hidden meanings, subtle themes, and outright horror. It also has an incredible cast and was created and directed by a certified whacked out genius. Before we go any further, you need to watch this video:

    
    
    
    
    

    Now that you are acquainted with the absolute genius that is Too Many Cooks. We need to talk about the creator, Casper Kelly. Kelly burst onto the scene with the viral video up above and then proceeded to absolutely rock Adult Swim with the series Your Pretty Face is Going to Hell. An Emmy-winning, hilarious work place comedy that takes place in the bowels of Hell.

    My favorite Casper clip comes from a favorite film of mine, Mandy. Casper is responsible for one of the greatest WTF moments in that film (and that is a hard thing to do in film stuffed with WTF moments). Casper’s creation is pictured below and if you know, you know. If you don’t, watch Mandy.

    Now those in the know are going to ask why Yule Log hasn’t been mentioned yet. That’s on purpose. Before he directed Buddy, Casper directed a different featured length film. A few years ago, Adult Swim quietly put a Yule Log video on their channel and slapped an MA rating on it. The film starts off with a yule log and then turns into a home invasion, rape, and murder and then it turns into a supernatural tale. The yule log they are burning comes from a sacred tree, soaked with the blood of a generation or two of hanged me. The log burning releases a curse and all the awfulness that unfurls is a result of that released evil. It is a subtle and disturbing film, filled with slasher tropes and blood and horror and filmed with a single camera that during the first half of the film never leaves its single location. When the camera does move it does so with purpose, becoming the curse that haunts the vacationers. Meanwhile, a degenerate woman and her masked and murderous son lurk in the background and bring even more tension to the film. Instead the horror dances around the peripherals of the film until it absolutely goes off the rails. Check it out on Adult Swim, Hulu or YouTube. The full, free version on YouTube is not great quality, just as an FYI.

    Yule Log (aka The Fireplace) is a great film and watching it gives you an idea of the complexity that is the horror of Buddy. Yule Log is full of complex ideas and concepts that merge time and space and history into one surreal and disturbing film. Buddy is similar. The internet is now completely full of think pieces and hot takes about Buddy as a metaphor for Trump, for gaslighting, misogyny, and a host of other societal woes. All of those things are in the film, the hot takes are not wrong necessarily, but I feel that every viewer will take away a different set of ideas from this film and I don’t want to influence that. Instead I want to focus on the liminality of Buddy.

    Liminal horror is the hottest thing going this summer and it is one of my favorite subgenres of horror. It is about time that it is becoming more and more mainstream, and I am excited for the future of liminal horror. Earlier this summer we had Exit 8 and The Backrooms make a splash with critics and at the box office. These films both deal with similar approaches to liminal horror; the slip. In both films, the main characters slip into a liminal place by accident and then spend the remainder of the runtime exploring their new surroundings while either trying to go deeper or to get out. Buddy goes in a very different direction.

    In the film, we start out in a children’s television program, the world of which is a hyper-rich, and fully kinetic set full of odd ball characters and talking objects like a mailbox and a back pack. Here is where we meet Buddy, the man in the fur suit (or so we think) who hosts the show. At first it feels like a typical kids’ show, but slowly as the opening progresses the show becomes more and more sinister until we know for sure that SOMETHING IS NOT RIGHT here. The caps? Oh those were intentional, because that is how you feel watching the movie, you kind of want to scream as your skin starts to crawl.

    We quickly find out that the world these kids find themselves in is not make-believe at all. It is a pocket universe where these children have been snatched to by nefarious means. The whole set is a real world and there is more beyond the walls of Buddy’s compound.

    This liminal space tells us an interesting story, kids lured are lured here by an ad that runs on the television. A version of Buddy tells the child that it’s ok to feel alone and that he can make it all ok. Most times if the child takes Buddy’s invitation to take his hand, the child only touches glass. But sometimes Buddy is lurking behind the screen and when he is there, he reaches back. Pulled into the television studio from which Buddy (and his brothers?) broadcast, the child (or adult!) is then assimilated into the world. Buddy needs the connection so that he can continue to produce episodes of his show, giving him God like control over the world he exists in. As the kids are murdered, or choose to exit this world on their own terms, Buddy simply finds a replacement.

    There seems to have been some kind of internal struggle, during which Buddy overthrew and/or enslaved the others and became the head deity in charge. The most fascinating thing to me was the rules that Buddy had to abide by even though he controlled the space. The well is off limits to him, he needs living beings to end the show and reset the world, and the world beyond the set of the show is full of death and danger. It’s such a fully realized nightmare that I hope there are other connections to it in Casper’s next films and tv shows.

    I also want to touch on the effects of the liminal on the real, as the people taken by Buddy are forgotten (for the most part) as they are absorbed into the set. We are not given any idea of what happens when a child or adult escapes the set and makes it back to the real world.

    This is where I transition from stuff about the film to the film itself. The direction is excellent, the acting top notch, the effects are wonderful. All of this is true, it is also true that the way the film is cut together could have worked even better if they had allowed Casper to intersperse the real world storyline with episodes from Buddy’s world. I can see a world where there is a director’s cut to this effect. It would have made the film a little more disjointed but the real world stuff would have benefited from the chunking I think as it drags a bit in the middle.

    Overall Buddy is wonderful nightmare fuel and well worth a trip to the theaters this weekend. A solid 8/10 or 4/5 or six thumbs up or whatever the heck you want.

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  • Can we please stop calling them horror films?

    We’re All Going to the World’s Fair was Schoenbrun’s debut effort and it is a great film. The digital film fest I saw it at—Nightstream, maybe?—touted it as a visceral and raw horror film unlike anything, blah, blah, blah…and when I watched it I was severely disappointed it was not as advertised. My disappointment was short lived as I was however completely enthralled with what I did see.

    I Saw the TV Glow was also touted as “the best horror film this year” and “shocking” and ” twisted” and it was none of those things. Despite what everyone I spoke to about the film, I could not fit my mind around what I saw and what people were telling me it was. It was, again, not a horror film. (It was however a very moving indie drama dripping with magical realism. I dig it through that lens.)

    Teenage Sex and Death at Camp Miasma is the newest film by Schoenbrun and it too is not a horror film, though it does stray close at times. It is however being touted and marketed as the “best” “strongest” and “intense” horror movie of the year and I do not know what the f*ck people are on about.

    Obsession is a horror film, The Backrooms is a horror film, Hokum (which is my favorite film of the year so far) is both a fantastic meta commentary on writing, ghosts, and a horror film. So what is Camp Miasma?

    Starring Hannah Einbinder as a Sundance Wunderkind named Kris and Gillian Anderson as the Norma Desmond of a failed slasher franchise, a one time scream queen named Billy, it is a brilliant, beautiful, and rather stunning indie art film that plays in a multitude of genres without ever committing to one and remaining true to its metacommentary of horror genre tropes, film analysis, and sexuality. It has horror elements sure, but to call it a horror film feels restrictive. Going in to the film thinking it is a horror film will lead to disappointment, going in knowing it is a hodgepodge film will lead to a much better experience.

    I had that experience with I Saw the TV Glow. I went to see it with my girlfriend at the time and we had both seen the marketing calling IStTG a horror classic and such. When we left the film we were bitterly disappointed. Almost nothing happened until the unzippering scene at the end that could be considered “horror.” I was pissed at the bait and switch. In preparation for Camp Miasma I rewatched IStTG again and this time I did so with the expectation that I was watching a coming-of-age indie drama and you know what? With that set of expectations, the film is brilliant. It speaks to Schoenburn’s struggles as a person and is relatable to most viewers. The uncertainty of your place in life, finding that thing that connects you to another person, fandom as lifeline, etc. It is all there, and it’s done with style. I loved it as the film it is and not the film that critics and folks tried to sell me on. That film does not exist.

    The same holds true for World’s Fair. It is also very much not a horror film, but it is a fascinating and powerful piece of drama.

    Knowing that, I went into Camp Miasma with the same attitude. I was expecting a film that was ABOUT horror and the fans and everything in between, but I was not hopeful that the narrative messages would be delivered in a meta-horror film ala Scream. I was hopeful, instead, that Schoenburn would do exactly as they did. Now there is a horror movie here, but it is a film within the film and it mostly serves to highlight the main narrative, which is a fun way to approach the way the horror genre is treated by studios and executives and fans while we watch the relationship between our leads grow.

    What I found particularly interesting was the cuts from the meta-film-within-a-film. At one point Einbinder interjects that a scene is now considered transphobic and problematic. I think that the response that Schoenburn wrote for Anderson to reply with is especially telling. Anderson’s response is simply, “Shhhh.” It feels like Schoenburn is telling fans and folks to let old media be old media—warts and all. They are using the film medium to explore their own journey, every one of Schoenburn’s films has a character that has direct parallel to their own journey. In this case both Anderson and Einbinder are a split version of Schoenburn’s psyche. One part is very, very online and analyzing and trying to find ways to be outraged and to subvert the society around them and the other part is the Anderson part, the part that recognizes that sometimes things are as they are and should be appreciated as such. She is the Danny Butterman to Einbinder’s Nicolas Angel and is encouraging the hyper critical part of the brain to simply allow these things to happen without over analyzing, to actually live. This plays out in the romance that stylishly blossoms between the two leads as the film advances. Culminating in a scene that depicts sex as something messy and confusing and mentally confounding and…totally relatable, not matter your orientation. Dipping sauces indeed. That the romance and seduction plays out like a horror movie meet cute only made the film better to me.

    Now earlier I said the film is a film about a horror movie and not a horror movie itself, but there IS a horror movie (albeit a short one) and it is a fun slasher concept with a variety of fun kills presented in a madcap, almost music video montage. If you heard the title of the film and showed for a summer camp slasher, then here it is. And if Schoenburn decided to release a series of films that match the Miasma history presented in the film, I think we’d have a truly fun series on our hands. The energy and camp that they brought to the screen in the short film we get would be fantastic as a series.

    The end of the film could have gone full horror film, but it would have felt disingenuous. Instead, Schoenburn chooses magical realism as their characters fall more deeply in love—feeling something approaching “real” and “connected” for maybe the first time ever—as the film slips into full magical realism. From here the slasher trope becomes a metaphor for connection, sex, kink and —finally—orgasmic release as our two star crossed lovers embrace their shared desire-fueled madness and Einbinder’s Kris cuts loose from the (dead) weights holding her back as she embraces her new life with Anderson’s Billy. It is a wonderful and earned ending to a film that is less slasher than psycho-sexual magical surrealism with the beating heart of a cult classic.

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  • Found Footage Friday is back and this week we have an absolute favorite of mine with Frogman. This cryptid flick has everything you want: Frogman has a wand! Frogman is psychic! Frogman FUCKS!!!

    All of these are true.

    Also true is that Frogman creator Anthony Cousins (also the director) and John Karsko took a page out of one of the best horror flicks of all time when it came to the opening of their film. The film? Night of the Demon or Curse of the Demon (depending on which side of the Pond you live on). The page? Night of the Demon shows us the demon within the first five minutes of the film. There is no, “Is it real?” drama in the film. The audience is asked to take the creature as fact and then the rest of the film, filled with witchcraft and sorceries, seems far more plausible. Frogman also shows us the signature cryptid within the first five minutes and that allows what follows to really shine and develop. Yes, Jaws is still a masterwork of storytelling, but there is something to be said for NOT hiding the monster or antagonist of your film. It changes the pace of the journey and allows for a deeper dive into what the Frogman actually is, and does it ever! 

    Watch the trailer above and then click THIS LINK TO VIEW THE FILM ON TUBI.

    More information about the film and its sequel as well as merchandise (including Frogman F*cks t-shirts) can be found here: https://rottingpress.com/

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  • Today will bring a double feature of fascinating found footage. As I posted yesterday, I meant to post this one last week but I messed up the scheduling and it was never posted. So to make up for that you all get two for one today. 

    So there are lots of different kinds of found footage films. We have the found tape, the video diary, and the documentary (either too radical to air, or recovered or what have you). A lot of the films I pick for these posts will be in the latter camp. And to note: there are indeed many additional types of found footage that we have yet to explore and I promise I will endeavor to touch on a lot of them and provide solid examples worth your eyes and your time.

    Up first we have a favorite of mine, The Taking of Deborah Logan. It is presented as a documentary about the terrible deterioration that comes with Alzheimer’s disease and the toll it takes on the caretaker and takes a hard left turn almost immediately at the start of the film. What follows is a tale of cosmic horror and personal terror as the filmmakers discover what is going on and rush to put an end to a tragedy long in the planning. Here is the film, via Tubi but it is available on other streamers as well:

    (Here is the link in case the video above does not work!)

    Next I bring you another favorite, this time one that is action packed. Whereas The Taking of Debiorah Logan is certainly a slow burn, no can make the same accusations about Frankenstein’s Army. Filmed in large single take, POV shots Frankenstein’s Army  is, according to Tubi, about: “An alternate history of World War II that finds a squad of Russian soldiers lured to a secret German laboratory to fight mechanized war monsters”. 

    I redacted the last bit on purpose, we have to have a little mystery in our lives if we are to enjoy ourselves and I would hate for you to be spoiled by a description that does no justice to the insanity on display in this truly fun film. Check it out here:

    (And HERE is the link to Frankenstein’s Army if it doesn’t work above.)

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  • Widow’s Bay is amazing. 

    I could just let that be my entire review of the series. It won’t be, but it really could be. 

    More importantly, this is not hyperbole. I am not a shill for Apple TV (+ if ya nasty), but I am happy to recommend the service. It is one of the few I am happy to do so with, but in the few months I have elected to pay for it I have found a lot to love in their offerings. 

    Widow’s Bay is the best of these offerings. So I have a theory, a sort of unifying theory of television and film, if someone who was involved with Parks and Rec is involved with a project, then the show or film will be worth my time. So when I saw that Katie Dippold was the creator, I immediately had some high expectations. After finishing the first season, I am happy to report that I could have set those expectations as high as I wanted to and this show would have easily exceeded them. 

    For those not yet in the know, Widow’s Bay is the “next Martha’s Vineyard and definitely not cursed.” Just ask Google if you don’t believe me! Go ahead, google Widow’s Bay and see what Google then suggests! Fun, reality-based, Easter egg aside, Widow’s Bay is a small island community off the coast of New England. The opening episode introduces us to a mayor who very much wants to level up his community and is willfully ignorant of the many, many red flags that the town and island are waving in the face of his attempts. From an unnatural fog bank, to haunted hotels, to generational curses, Widow’s Bay has it all and even more is hinted at. This town is the town that Stephen King writes over and over, but even more so. Matters are made even worse when the mayor’s attempts to increase tourism come to fruition, putting even more people at risk. 

    I enjoyed the series immensely and I cannot wait for season two. Dippold and crew weave a fascinating tapestry of terrors, some immediate and some ancestral, to make up the town’s history and more importantly they keep us guessing at all times as to the true nature of the town’s reality. Is it a cursed bloodline? Is it a demonic presence? What is it? All I can say for sure is that it feels to me that there is a truly mind melting cosmic horror heading our way next season, though what that will look like through the lens of Widow’s Bay is anyone’s guess. The show spent its run building up the current story while matter-of-factly establishing the horrors that make up the island’s history, and every paving stone on main street seems to have a tale of terror attached. As do the lakes, trees, and caves of the island. Everywhere you step, the town and island can tell you of tragedy. This gives Dippold and co. an infinite amount of threads to pull on storywise and I am thrilled. We can do eras and decades in Widow’s Bay, there can be spinoff shows, and there will always be interest by viewers to check out the history of the town even as we spend time with Tom, Whit, Patricia, Evan and Ruth.   

    I won’t say more about the show now, so please go and check it out. If you don’t have Apple TV available to you, there is always the free trial! (Or find it wherever you stream your shows in a way that is almost illegal.) 

    I’ll give you a few weeks and then, perhaps, I will return to break down the ten episodes on offer and give you the reader’s digest highlights of each episode (SPOILERS!!!!). In the meantime, please come back tomorrow for the next installments in Found Footage Friday. (An aside, I didn’t realize until yesterday that last week’s posts did not go up as I scheduled them to. Not sure what I did wrong but tomorrow will bring two separate posts to make up for it for those who have been reading along.)

    Anyway, watch Widow’s Bay. It’s one of the best shows out this year.

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  • Today is Friday and that means only one thing: FOUND FOOTAGE! 

    For this installment we will be keeping focus not only on Japan but on the same filmmaker. Kōji Shiraishi is an incredibly talented and creative director, writer, and part-time actor who has brought us a wide range of films from Occult to tonight’s choice to Carved: The Slit Mouth Woman (Which he featured again in Senritsu Kaki File Kowasugi! File 01: Capture the Slit Mouth Woman). My favorite thing about this creator is that he does not over complicate things, the world just accommodates the weirdness in his films. In Occult the main character does not question that he has been touched by the divine, and the film is focused on what the divine could want and what it means to follow a divine order…even if that order causes mass casualties. 

    Tonight’s film is Noroi: The Curse and it follows the last investigation of a famed paranormal investigator before he disappeared. Before you watch it’s important to understand that the world you’ll enter with Noroi is one where ghosts, psychics, demons, and game shows involving telepathy are all very real and commonplace. This makes the stakes in the film much greater as the mystery unravels itself, revealing a horrifying truth at its center and the film’s conclusion. So take a look below and enjoy:

    (If you do not like the Youtube link, the film is available on Shudder.)

    And as an added bonus, here is Senritsu Kaki File Kowasugi! File 01: Capture the Slit Mouth Woman which is an anthology series by different directors sending the same team after different urban legends and ghost stories.

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