Stowaway, Co-Starring Frank Grillo

The Bella is not as big as those Russian oligarchs’ yachts with helicopter ports and bowling alleys, but it is still more boat than most people could handle or afford. It therefore comes as quite a surprise to Bella Denton when she inherits it from her estranged father and even more of a shock when it is hijacked with her aboard in Declan Whitebloom’s Stowaway (a.k.a. The Yacht), which is now playing in New York.

Denton has lived a hard punky life, but apparently her late father wanted to make up for it. According to his dodgy business partner, Ed Meeser, Bella is now the owner of the Bella—or at least she will be in the morning, once certain maritime probate issues are cleared. Therefore, she is not allowed to crash there overnight, but she does so anyway when she picks up free-spirited Michael at the marina bar.

Of course, it all comes down to a cat-and-mouse game between Denton and the mercenary brothers who hijacked the luxury yacht. However, she might have an ally in Lawson, her father’s loyal captain, whom the hijackers forced to assist their scheme.

Ruby Rose is becoming a specialist in direct-to-VOD action movies, with mixed results. The Doorman is a lot of fun and SAS: Red Notice also has its merits, but Vanquish is almost unwatchable. Unfortunately, Stowaway is closer in quality to the latter than the former two. Perhaps most problematically, Denton is not established as any kind of credibly trained action protag, just a former delinquent, who picked up a few moves in juvy.

Ian Hayden’s screenplay also takes way too long to get going and it lacks a big, satisfying action centerpiece. The key-art clearly implies Meeser is a bad guy, but even if viewers haven’t seen it, the small cast of characters makes it blindingly obvious. Plus, it is rather tiresome to see the Coast Guard portrayed as totally unintuitive incompetents.

My Life as a Rolling Stone, in the Epoch Times

Epix's MY LIFE AS A ROLLING STONE starts a little weak, but it ends strong, with the great Charlie Watts (largely focusing on his love of jazz). EPOCH TIMES exclusive review up here.

Fantasia ’22: Cult Hero

Despite Canada's reputation for politeness, it turns out many of their satanic cults are quite inconsiderate. Their nemesis, one-time reality TV star and self-appointed cult-buster Dale Domazar can even be downright rude. He is also a total idiot, but Domazar means well, mostly. Regardless, he has a chance to redeem himself after the People’s Temple-like incident that ended his TV career in Jesse T. Cook’s Cult Hero, which received the Silver Award for Best Canadian Feature at the 2022 Fantasia International Film Festival.

Technically, Domazar was right about Theoren the Shepherd, but as we see in the prologue, he handled the situation badly. “Karen”-ish realtor Kallie Jones will give him a chance anyway, because he is the first cult deprogrammer she finds on a Craigslist-like site, but she is a demanding customer. In fact, her husband Brad was eager to stay at Master Jagori’s not-so-innocent New Age spa, to get away from her nagging.

Unfortunately, Jagori has some sort of body-part harvesting operation going on, as Brad comes to suspect. Yet, he still appreciates the peace and quiet. That is something his wife and Domazar will have little of, as they hide out in the creepy old Gothic Victorian house she has been unable to sell.

The initial sequences of Cult Hero appear as the VHS recordings of his reality show, but fear not. The rest of the film is presented as a proper movie. This is not a deliberately distressed-looking retro-grindhouse flick that tries to make a virtue of its minimal production values. Granted, Cult Hero is often meatheaded, but it is no Ninja Badass. In fact, under all the manic acting out, there is a sly sense of humor at work.

Faith: Cloistered with the Techno Warriors of Light

The Warriors of Light are an Italian Catholic splinter-group that leads a rigorous cloistered life, adapted from Shaolin monasticism. Yet, this immersive documentary looks like it could have been shot by a fashion photographer from the school of Herb Ritts or Bruce Weber. There is little bodily shame or body fat. The latter logically follows when you train for an ultimate battle against the forces of evil. They might be a cult, but physically they are chiseled and runway-ready, as captured by the lens of the late documentarian Valentina Pedicini in Faith, which starts streaming today on Film Movement Plus.

The doc starts with a ritual that looks more like a rave. The Master of this “monastery” tucked away in the picturesque Italian hills is often shirtless, contributing to the general vibe of sexuality that openly fuels their community. However, not all is well. One disciple is writing a detailed “confession” that promises to be considerably longer and juicier than St. Augustine’s. Regardless, the Master pushes his recruits to the absolute breaking point, with techno blaring from his smart phone that would not sound out of place during a Mortal Kombat training montage.

Amid this super-charged setting, the Master’s partner raises their young children. Happily, it is not nearly as intense an experience for them. Just the regular head-shaving, before foraging for roots and herbs with their mother.

When Pedicini was on-site with the Warriors of Light, the anticipation of apocalyptic tidings might have seen incomprehensibly alien. Since then, there has been a worldwide pandemic, Russia’s invasion of Ukraine, and China ringing Taiwan with warships. Maybe let’s not scoff too heartily. Nevertheless, the harrowing scenes in which the Master breaks down his acolytes, pushing them beyond their limits, is textbook cult indoctrination—and it is painful to watch.

Prey, on Hulu

You'd think by now, the Predator planet would have issued a travel advisory for planet Earth. As our moralizing commentators keep telling us, we are a violent people. We have a tendency to give the galactic hunters quite a fight. Maybe that is part of the appeal for them. It’s a challenge, like climbing Everest. Even 300 years ago, a Predator will have his hands full dealing with a teenaged warrior of the Comanche Nation in Dan Trachtenberg’s Prey, which premieres today on Hulu.

Naru picks up on signs something is wrong in the woods, but her brother Taabe and the other young warriors are not paying attention, because she is a girl. At least Taabe respects her tracking skills, but he doubts her killer instinct. Nevertheless, she senses a threat and sets out to hunt it. Unfortunately, it is not the only danger out there. A party of cruel and wasteful French fur trappers is also on the prowl. Obviously, Trachtenberg and screenwriter Patrick Aison are suggesting the Predator is more sporting about it, which is probably a fair point.

Of course, the rest of the warriors are ineffective and the French are even worse than the Predator, but Naru can rely on her brother and her trusty dog, Sarii. In fact, Sarii, played by an American Dingo named Coco, is the true star of the film. Yes, even in R-rated science fiction action movies, W.C. Fields’ warning holds true.

Frankly, the Predator franchise has had a whole lot of ups and downs. Some of the Alien vs. Predators films even suggested the Predators weren’t all that bad, because they acted as a check on the Xenomorphs. Prey doesn’t seem to see it that way. Regardless, Trachtenberg and Aison earn credit for taking a fresh approach to a mature property. The setting is interesting and the Eighteenth-Century level of weaponry (at best) adds a considerable degree of difficulty for the titular prey.

Red Election, in the Epoch Times

Ovation's RED ELECTION will change way you think about the Scottish independence movement. It is also has plenty of intrigue, courtesy of the Russian bad guys, to keep viewers hooked. EPOCH TIMES exclusive review up here.

The Most Dangerous Game—Again, but More Traditional

Richard Connell was a highly successful writer during his lifetime, but he looks like a one-hit wonder today, because his only work still widely read is his famous man-hunting-man short story. It has been modernized, riffed-on, and ripped-off dozens of times by genre and exploitation filmmakers. For that reason, screenwriter-director Justin Lee earns some points for staying relatively faithful to Connell’s story for a new, period adaptation of The Most Dangerous Game, which opens tomorrow in theaters.

Big-game hunter Marcus Rainsford has dragged his son Sanger along on his latest hunt, as an ill-conceived attempt to treat his PTSD stemming from the younger man’s service as a WWII sniper. Unfortunately, their steamer crashes on the reef off Baron von Wolf’s private island reserve, with the help of one of his mines.

Initially, the Baron is thrilled to host an esteemed hunter like Rainsford’s father, but when he refuses to participate in von Wolf’s literal man-hunt, the mad man kills him in front of his son’s eyes. Then Rainsford fils is forced to become the prey, along with a pair of brother-sister captives. For Rainsford, von Wolf is especially repellent, because he is a senior German military, who disappeared after the war.

Although Connell’s original story was set in the 1920s, the post-WWII era is still somewhat traditional, matching that of the second film adaptation, Robert Wise’s A Game of Death. Despite the frequent revamps and reboots, the story still works better in a period setting, when transcontinental travel necessarily resulting in long periods without outside communication.

Unlike possibly every other film adaptation, Lee’s screenplay reverts to Connell’s original name for his protagonist: “Sanger.” Some changes have been made to the hunting action, but Sanger Rainsford’s method of escape in the story is instead used to explain the presence of a survivor, living guerilla-style in the jungle, so the film still feels consistent to its roots.

Luck, on Apple TV+

They say luck favors the prepared mind, but not in Sam Greenfield’s case. She learns bad luck is supposed to be random. Yet, bad luck attracts more bad luck, so once she had it, she couldn’t shake it. She gets this first-hand lesson in luck when she plays Dorothy or Alice (your preference) after falling into the land it comes from in Peggy Holmes’ Luck, produced by Skydance Animation, which premieres tomorrow on Apple TV+.

Greenfield is finally getting her own place, because she aged-out of the orphanage. The young woman just always had bad luck with her family visits. She accepts her lot, but does not want the same unlucky fate to befall Hazel, the young fellow orphan she took under her klutzy wing. After splitting a panini with a black cat, Greenfield discovers a lucky penny that seems to turn her fortunes around. She is sure it will do the same for Hazel, but true to form, she accidentally flushes it down the toilet. That rather distresses Bob the cat, who comes back looking for it.

It turns out, he was issued that penny in the Land of Luck, where Greenfield ends up too, after following him through the portal. Reluctantly, Bob agrees to help her locate another penny for Hazel to use on her next family visit, before he uses it to replace the one he lost. Of course, the grown-up sized Greenfield stands out in the land of leprechauns, rabbits, and unicorns. It should be noted Bob claims black cats are lucky in Scotland, which a quick googling seems to bear out. Unfortunately, Bob’s bossy boss, The Captain soon discovers somebody passed off a button as a lucky penny—and she would be delighted to blame him.

Luck has a good deal of charm and the colorful Land of Good Luck is quite snazzy looking. It is sort of like a fantastical Rube Goldberg-esque Metropolis. Like in Fritz Lang’s dystopia, the privileged lucky live in the skies above, while the proletarian Goblins and Roots live below in the Land of Bad Luck. There is definitely an Oz-like aspect to the story, but the hard luck blue collar monsters turn out to be more fun.

Eva Noblezada brings a lot of energy and warmth to Greenfield’s voice, but the character is so virtuous, she gets a little dull. However, Bob is entertainingly roguish character, with a smartly conceived backstory and appropriately cat-like foibles. Simon Pegg is the perfect vocal match for him, crisply landing all his snarky lines.

Bodies Bodies Bodies: Gen Z Piles Up the Corpses

The idea of a hurricane party on its own sounds rife with bad karma, but generating ill will is what these twenty-nothings do best. The bad news is viewers will instantly dislike all of these Gen Z/Millennial characters. (The film leans into that, even casting Pete “veteran’s eye patch joke” Davidson.) However, the good news is most of them will be murdered thanks to the And Then There Were None-style premise. You can watch them die without dignity in Halina Reijn’s Bodies Bodies Bodies, which opens this Friday in New York.

Everyone is uncomfortable around Sophie, because she went to rehab. She also showed up unannounced at the hurricane party with her new girlfriend, the socially awkward Bee. She is not the only outsider at rich but ineffectual David’s bacchanalia. Alice also brought along forty-year-old himbo, Greg. The rest of the group does not like him, because they think he is a military veteran—this ugly prejudice gets a bit of skewering in the film.

All the old resentments immediately erupt, but they still decide to play “Bodies Bodies Bodies,” a cross between hide-and-seek and Clue, which inherently stokes distrust and paranoia within the group. Inevitably, a body actually turns up dead, which sets off the first round of finger-pointing and recriminations. It won’t be the last.

Bodies x 3 is often darkly humorous and not infrequently violent, but it is never truly scary, so it is a mistake to bill it as a horror movie. It is more of a hipster riff on Agatha Christie’s incredibly durable formula. It definitely entertains, if you accept it for what it really is, but it never frightens.

Bring Him Back Dead: Louis Mandylor Hunts Gary Daniels

Miss Manners should have had a column explaining how rude it is to keep your gang waiting a long time for their split of the loot. It might have helped mean old Trent. Instead, he keeps his band of armed robbers impatiently holed-up in his cabin while one of them slowly bleeds all over the couch. That allows too much time for complications in Mark Savage’s Bring Him Back Dead, which releases today on VOD.

It was supposed to be an easy score, but the erratic Killian started shooting the guards. Alex nearly killed him himself when they reached the cabin—and Trent sort of regrets stopping him when he arrived. Poor Geoff took a slug in the gut, but he might just be immortal considering how long he keeps moaning on death’s door. Of course, his condition puts everyone on edge when Trent tells them they all have to chill for a few hours, until his buyer arrives.

Alex has other ideas. He knocks everyone out with drugged whiskey, so he can take off with all the loot (he has a more pressing need for it). However, he did not count on Trent’s ex-junkie daughter Lisa coming with him, as a somewhat reluctant accomplice. Of course, he did not knock them out for long, so the hunt is soon on.

BHBD is a grungy but efficient caper-gone-bad movie, but if it had been released in the early 1990s, some critics probably would have hailed it as an indie landmark (not that anyone is saying it is). The best thing going for it is Gary Daniels, who is still in terrific shape. Frankly, it is hard to believe Louis Mandylor’s Trent could go toe-to-toe with him, when you compare their respective physiques, even given Alex’s serious bow-and-arrow wound.

Pennyworth, Battling the Soviets

At this point, Alfred Pennyworth is probably the world’s most famous fictional gentleman’s gentleman, eclipsing even Jeeves. Unlike the superheroes he served, the villains Pennyworth fought during his MI6 service were definitely based in reality. Conceived as a sequel to the TV show, all seven volumes of Scott Bryan Wilson’s limited series (with art by Juan Gedeon and colors by John Rauch) are now collected in Pennyworth (Vol. 1), which goes on-sale today.

In the HBO Max/Epix series Pennyworth battled an Oswald Mosley style fascist, who tried to stage a coup to overthrow the British government. In Wilson’s comic, he is fighting Soviet agents who are pretty believable, if you don’t count their comic book-worthy experimental technology. Pennyworth thought he and his partner, childhood friend Shirley Penrose, would be snooping around a Siberian nuclear facility. It turns out they are actually working on a super-soldier-like project, but the results are far more monstrous.

Unfortunately, we know the assignment went down badly, because modern day Pennyworth suspects it might be the cause of his recent kidnapping. He has crossed paths with super-villains before, but this feels different—more personal. To survive, he will flashback in his mind’s eye to his arctic misadventure and the lessons his butler father taught him, which turned out to apply equally well to work in the secret service as they did to a career in service. In fact, that was his father’s whole point.

Wilson manages his three primary timelines quite skillfully, clearly establishing their relevance to each other. He also tells a largely stand-alone Bond-style Cold War narrative, while including sufficient ties to the Batman mythos to satisfy fans. Master Bruce never appears, but he is certainly referenced. Eventually, Pennyworth must also face one of Batman’s old nemeses, whose presence makes logical sense in this context.

Frankly, Wilson’s Pennyworth does not seem entirely consistent with the early episodes of the first TV season, but the liberties he might have taken are all great improvements. Pennyworth’s relationships with his father and Penrose particularly deepen and enrich the story. It also has the virtue of making Communists the bad guys, in a way that is consistent with the Kim Philby and Anthony Blunt scandals.

Game of Spy, from Japan, on Prime

If agents of the Public Security Intelligence Agency’s secret Global Operations Service (GOS) fail, they will be disavowed. If that sounds familiar, wait till you hear the theme music. However, their impossible mission unfolds in a much more sophisticated and realistic geopolitical context. Yes, the main terrorist group hoping to destroy Tokyo is entirely fictional, but guess who is trying to exploit the situation for their own gain? Why that would be our friends in the CCP. Therefore, the scruffy band of GOS agents must always watch their backs in the first season of the Japanese series Game of Spy, which premieres today on Prime.

Takeru Hashiba is a bit absent-minded, but he fights like a bulldog. Masaharu Katsuki is the conservative family man, who is getting too old for this kind of service. They have both transferred from the general PSIA, but glamorous Rei Hiyama is a freelancer attached to their team. They meet in the secret basement of Shigenobu Kugayama’s fancy-dress costume store, where ex-hacker Atsuhiko Natsume provides the online support for their mission. They thought they had just finished their most recent assignment by foiling an attack on the Tokyo Skytree. Unfortunately, it was just a feint in a larger terrorist operation dubbed “Deus Gate.”

Technically, the attack will be carried out by Mundo, a radical terror cult headed by the messianic “Vince.” In two days, the plan to release a kaiju-sized strain of smallpox that would devastate Tokyo. However, the Chinese might have some relevant intel. They would be happy to trade it to the dirtbag Prime Minister, in exchange for all he knows about American embassy personnel in Japan and the scheduled movements of our Naval vessels. Yet, everything they dangle in front of the politicians, the GOS team can sleuth out on its own. Acting on it will be a different question, because of suspected betrayals from within.

Initially, the conflicting personalities of Hashiba and Katsuki make GOS look like it will be much more comedic than it turns out to be. They might grouse at each other, but their fights with the terrorists get decidedly brutal and bloody. Also, the portrayals of the politicians and senior government bureaucrats are cuttingly cynical. In addition to the sleazy PM, viewers will have reason at various times to question the loyalties of some top security personnel.

Fantasia ’22: My Grandfather’s Demons

Whittling in wood is definitely a grandpa kind of thing to do, but Rosa’s grandfather was a little different. He carved demons. It turns out, they represented the sins and regrets of his life. After his death, Rosa returns to his village, where she must exorcize his old demons, most metaphorically, in Nuno Beato’s My Grandfather’s Demons, Portugal’s first stop-motion animated feature, which screened at the 2022 Fantasia International FilmFestival.

It is quite a shock to Rosa when she learns her grandfather was the mean old man nobody liked. She had lost touch with him after she moved apartments, because she was consumed by her work. As a result, she was already carrying a load of guilt when she arrived. Then she learned his village blamed him for its misfortunes. At first, she dismisses their peasant superstitions, but her dreams are plagued by visions of the demonic figurines he carved.

Beato starts the film in the mode of traditional cell animation, but transitions to stop-motion when Rosa arrives at her grandfather’s farmhouse. The former is kind of quirky, but the clay-based animation creates a richly realized world, informed by local lore. Screenwriters Possidonio Cachapa and Cristina Pinheiro flirt with the fantastical, while maintaining an evocative sense of the mysterious. Of course, Rosa is definitely haunted, but in how many senses of the word?

Regardless, Rosa has a richer character development arc than most live action characters. Her struggles to come to terms with her grandfather’s legacy and atone for his mistakes is some pretty heavy, archetypal stuff. Plus, the music is lovely and the clay landscape looks ruggedly beautiful. It is hard to believe this is Beato’s first feature or Portugal’s first full-length stop-motion film, because it is so impressively realized.

Fantasia ’22: VRDLK Family of Vurdulak

Aleksey Tolstoy died in 1875, but he is on a roll right now. Recently, his novella The Vampire has inspired a feature film, an excellent graphic novel, and now an animated short. As vampire experts know, the Vurdulak (or Vourdalak, spellings vary) is particularly sinister, because it specifically preys on its former family members and loved ones. Fortunately, the traveling Marquis is hard to love, but it is still dangerous for him to encounter one in Sam Chou’s animated short, VRDLK: Family of Vurdulak, which screened at this year’s Fantasia International Film Festival.

While in route to a diplomatic confab in Budapest, the Marquis D’Urfe gets lost in the woods somewhere in Serbia. This is Vurdulak country, so everyone warns him to get off the road after sundown, but, of course, he will not listen. Eventually, the horny braggart winds up at the cottage of old man Gorcha, where he is quite taken with the absent man’s daughter Zdenka. He arrived just before dark, so is shocked when the family refuses to let the freezing Gorcha in.

VRDLK’s throwback style of animation has its quirky charms, but it gets even more humor from the sarcastic frat boy attitude of D’Urfe. Hammer-style horror derived from classical European sources is usually pretty serious, so it is entertaining to watch Chou and screenwriter Ellery Vandooyeweert mine some humor from Tolstoy’s vampire tale, especially considering how angsty and tragic it is. Yet, they still stay pretty faithful to the original story.

Fantasia ’22: A Girl Meets a Boy and a Robot (short)

How many interlocking stories can there be in a nearly post-human dystopian future? Apparently, there are at least four, but the one most anime fans will really what to see is the tale contributed by the animator of the Cowboy Bebop and Macross Plus franchises. Conveniently, Shinichiro Watanabe’s A Girl Meets a Boy and a Robot screened on its lonesome during the 2022 Fantasia International Film Festival.

Somehow, the girl managed to stay alive in a desert wasteland, without any companionship. One day, a robot with amnesia falls out of an automated supply train. He sort of resembles the Taika Waititi droid from The Mandalorian, but is less annoying, and has more personality. With his help, they hitch a train hobo-style to the nearest big city. It is empty too, except for a young man, who gives her a crash course in evading the robotic tank that outlived its programmers. He also introduces her to some lore that does not sound very science fiction-ish, but will motivate the grandly tragic third act.

At first, Girl Meets appears like a deceptively familiar post-apocalyptic world, but it takes on big, cosmic dimensions. Watanabe handles the slow blossoming quite dexterously and many of his visuals are quite compelling, While the character designs are not wildly original, they definitely resonate with viewers.

Clearlly, anyone who appreciates the major anime series (especially those of Watanabe) should enjoy Girl Meets. Maybe it is even richer when viewed together with the other stories of Taisu, but as a Chinese production, there is a good chance the Chinese contributions are compromised from a propaganda standpoint. After all, the Mainland film industry is closely aligned with the oppressive CCP. Therefore, seeing Watanabe’s contribution separately at festivals is probably the most ethical strategy for his fans to watch it. Recommended under these circumstances, A Girl Meets a Boy and a Robot had its Canadian premiere at this year’s Fantasia.

Fantasia ’22: Mighty Robo V (short)

Waste, corruption, and mismanagement all hallmarks of every government program known to man. Why would we expect anything different from a mecha-kaiju defense initiative? It turns out the Philippine Giant Monster Defense Institute (PGMDI) is just as dysfunctional as any other state-run enterprise. A documentary camera crew exposes the truth in Miko Livelo & Mihk Vergara’s short film, Mighty Robo V, which screened during the 2022 Fantasia Film Festival.

The cameramen will actually be following the crew of Mighty Robo V 2, because their predecessors just got killed by a kaiju. Unfortunately, Dr. Rody Rodriguez has been using the PGMDI’s budget to cover his online cock-fighting gambling losses, so he has solicited sponsors for each of the giant mecha-robot’s weapon systems. To rebuild public support, he has recruited a team of online influencers to be the new crew. Frankly, his corruption has driven his competent deputy, Laser Panganiban to drink—heavily.

Mighty Robo is a razor-sharp satire that persuasively applies James Buchanan’s Public Choice Theory to Ultraman-style bureaucrats. This film has bite, especially the unhinged diatribes of the country’s president, whose growling tone very much resembles that of Duterte (who was still in office at the time of the film’s production). Regardless, it makes one thing clear. Government employees will always put their own interests first, even when giant monsters are rising out of the Pacific Rim. By the way, the PGMDI can’t call them “kaiju” anymore, because that term is deemed an offensive slur.

Fantasia ’22: Call and Response (short)

It is a good name for a jazz club, because it implies musical dialogue. According to posters, Chet Baker and the fictional jazz musician “Singleton” will perform there. An aspiring guitar and a competing piano player also want to play there, but first they will have to pass an audition in the animation collective Morgane Duprat’s short film Call and Response, which screened during the 2022 Fantasia Film Festival.

Call and Response really is a short short, but it is loaded with style. Basically, the busking guitar player and a piano stylist stuck in a depressing bartending gig audition for a chance to play on a bill with Singleton. They start out interrupting each other, but they find a groove when they start playing together.

The musicians, including Raphael Faigenbaum on piano and Paul de Robillard on guitar, give us some swinging up-tempo bop that sound very 1960s-era appropriate. When they come together, the film explodes in color, but somewhat ironically, the early noirish black-and-white sequences look cooler and jazzier.

Regardless, any film that proclaims a love of jazz deserves a call-out, no matter how short, especially when the animation has so much flair. Recommended for jazz and animation fans, Call and Response screened at this year’s Fantasia.

Fantasia ’22: Demigod, the Legend Begins

Instead of wire-fu, this martial arts epic uses glove-fu and CGI animation. The art of Budaixi, Chinese glove puppetry, is alive and well in Taiwan, where Pili Puppetry has been a television hit since the mid-1980s. It turns out some of the world’s best wuxia comes from the independent nation of Taiwan. Su Huan-jen is one of its great heroes. Fans get his stand-alone origin story in Huang Wen-Chang’s Demigod: The Legends, which screened during the 2022 Fantasia International Film Festival.

As the film opens, Su Huan-jen is still young and slightly irresponsible. Yet, he still manages to help a big Wookie-like animist god win his battle against his more reptilian rival. Su is already deeply in debt to library, so he jumps at the chance to heal its patron, the Lord of Globe Castle. Unfortunately, this provides a perfect opportunity to frame the young apprentice for the Lord’s murder.

The Lord’s adopted son knows Su didn’t do it. The Princess isn’t so sure, but the Lord’s sinister brother is thrilled to finally have access to the book of cosmic knowledge Su had been searching for. All the chaos is an open invitation for rival Lord of the Evil Kingdom to invade, so Su will have a real war on his hands.

Huang really is one of the best martial arts filmmakers working today. He just works with puppets rather people. Screenwriters Huang Liang-hsun and He Yuan-yu give us a story worthy of vintage Shaw Brothers, if they could have afforded the giant kaiju special effects. Demigod even manages to surprise us with a couple twists. The sets, costumes, and design work are spectacular, especially the library. Of course, the puppetry martial arts are totally cool. That’s what the Huang family does best.

Paper Girls, on Prime

Remember how great the future looked in 1988? The music and movies were consistently fun and George H.W. Bush was poised to be elected president in a veritable landslide. So, how did the 2010s and 2020s turn out so badly? Maybe four newspaper deliverers will find out. They are about to be swept into a time-war in Stephany Folsom’s 8-episode Paper Girls, based on Brian K. Vaughan’s comics, which premieres today on Prime Video.

It is the morning after Halloween (but not for long), when many of the drunken teenaged troublemakers are still roaming the streets. Erin Tieng picked a heck of a first day to start her paper route. Tiffany Quilkin, a savvier paper girl helps show her the ropes. Soon, they meet up with tough-talking Mac Coyle and preppy-ish KJ Brandman, forming a temporary alliance to finish their deliveries together. However, the drunken bullies are not the only ones prowling around their suburban Cleveland neighborhood.

Fatefully, the four girls are caught up in a skirmish between future time-traveling revolutionaries, the STF (Standard Time Fighters), who want to prevent all the bad things from happening, and the “Old Watch,” the reactionaries fighting to protect their privileged positions (and maybe the integrity of the whole space-time continuum dealio). Disoriented after traveling through a worm-hole, the girls decide to hide out at Tieng’s home. They find she is still living there, but she did not turn out how the twelve-year-old would have hoped. As they navigate the future, other girls learn revelations about themselves from family members and in some cases, their future selves.

Folsom’s adaptation of Vaughan’s comics features some pretty intriguing time-travel twists. It is somewhat unusual to hear the old arguments against altering history so casually dismissed, but let’s be honest. The truth is the real, old-school Doctor Who would probably agree with the Old Watch. Nevertheless, the 1980s nostalgia always works and despite some themes of sexuality (brought on by observations of the girls future’s selves), Paper Girls is not annoyingly woke. In fact, the way Ronald Reagan acts as a sort of spirit guide for Tieng is kind of clever.

The battery of four directors (all veterans of episodic drama) keep action rolling along at a brisk pace. The generally shorter episode length (mostly around forty minutes) makes Paper Girls highly bingeable. However, it might be a mistake to end the first season without a greater sense of resolution. After all, it could suffer the same fate as Prime’s cancelled Night Sky (which is also a pretty good show, but we’ll never know its ultimate secrets).

Fantasia ’22: Inu-Oh

How does some heavy biwa sound to you? To the Shogun, it sounds disruptive and dangerous. He is also not very appreciative of the “new” stories from the Tales of the Heike that have made two itinerant performers a sensation in divided Muromachi-era Japan. Art and authority do not mix well in Masaaki Yuasa’s future cult-classic, Inu-Oh, which screened at this year’s Fantasia International Film Festival.

As is often the case in Japanese history, the Heike clan lost their war with the Genji, but they got all the glory (albeit tragic glory). Supposedly, you can still hear the voices of their samurai murmuring from the river where their fleet drowned. Tomona is the kind of sensitive artist who can pick-up their whispers.

As a boy, his father died and he was blinded when the Shogun retained their diving services to retrieve a politically sensitive relic from the river. Having little conventional prospects, the now-sightless teen apprenticed to become a biwa troubadour-priest, but he rejected the traditional shaved head and monks’ robes, in favor of a rock & roll style. That appeals to Inu-Oh’s sensibilities. The frustrated actor and dancer was disowned by his father, a celebrated Noh performer, because of his physical and facial deformities. Even while bizarrely masked, Inu-Oh is a crowd-pleasing performer, especially when he teams up with Tomona. Inevitably, their popularity stirs the jealous ire of the Shogun and Inu-Oh’s arrogant father.

Tomona follows in a long line of sight-challenged Biwa players in  films, starting with Hoichi in the classic Kwaidan and continuing with the one-eyed Kubo in Kubo and the Two Strings. Neither of them played like Tomona. Jethro Tull fans in particular should really dig the fusion of hard rock with traditional (almost pastoral) instrumentation. The musical sequences are extensive, to the point of defining the film’s character and vibe, rather than incidental or episodic. You just can’t miss Tomona wailing on his biwa, like Pete Townsend in his prime.

Resurrection

When films treat us like psychoanalysts, openly asking us to differentiate their characters’ delusions from reality, we should start charging them an hourly rate. Margaret is definitely that kind of unreliable protagonist. Her daughter understandably begs her to seek help, but viewers are the ones who have to judge whether her stalker crisis is legit in Andrews Semans’ Resurrection, which opens tomorrow in New York.

Initially, Margaret is so together, she can give the intern empowerment lessons without sounding condescending (not really, but the intern acts like she can). However, the wheels come off shockingly quickly when she spies David Moore, a man from her secret past. As we learn, Moore trapped her in an appallingly abusive and manipulating relationship.

Apparently, Moore is smart-stalking her, appearing in public places, acting like the picture of mild-mannered innocence. Of course, Margaret knows better and Moore will not wait too long to justify her fear. Unfortunately, Margaret is not merely apprehensive. She downshifts into such unhinged mania, Rebecca Hall’s performance has earned comparisons to Isabelle Adjani’s freakout in Possession.

We are told (and come to believe) Moore’s behavior was not just violent and controlling. He took viciousness to macabre extremes. That would still be believable, until Semans ratchets it up to borderline fantastical levels. Yet, that wrinkle is the only interesting angle of an otherwise wildly overwrought stalker thriller, better suited to the Lifetime network than arthouse cinemas.

Fantasia ’22: Punta Sinistra

The high-flying Miami Vice-style partying of the 1980s crashed back down to earth during the far-less-fun 1990s. That was especially true for French Canadian bush pilot and drug-runner Luc Langelier, who fatally wrecked while flying his regular Colombia-to-Montreal run. Neither his body or his cargo were ever recovered, but not for a lack of looking (at least for the drugs). A burned-out journalist (is there any other kind) starts investigating his cold case in Renaud Gauthier’s Punta Sinistra, which screened at the 2022 Fantasia International Film Festival.

As a fellow French Canadian, Marcotte feels an affinity with the picaresque Langelier, or so he claims. Regardless, the boozy wash-out certainly fits the hazy, debauched atmosphere of Punta Sinistra. Supposedly, he is writing a book on Langelier, but nobody wants to talk to him, least of all the mysterious Claudine, who regularly swims the surf around Langelier’s crash site. Marcotte must also contend with bad tarot readings and frequent beatings from a gang of surfer-thugs. Fortunately, the shaggy journalist is used to waking up in pain.

Although it uses genre elements, Gauthier’s film has a trippy, experimental heart, very much akin to Ossange’s 9 Fingers. It is a druggy, sun-drenched mood piece and exploration of Marcotte’s psyche—but there isn’t much to the latter to delve into. There are some clever moments (especially when the soundtrack “pays homage” to Jan Hammer’s Miami Vice themes), but long, deliberately baffling scenes of tarot readings and incomprehensible telephone calls really start to drag, which is a real problem for a film barely longer than an hour.

Fantasia ’22: The Breach

This will be John Hawkins’ final case as Lone Crow’s chief of police, so you know it will be a rough one. It is also a pretty interesting one too. Things get pretty wild along the Porcupine River, an offshoot of the Yukon that eventually empties into Alaska, but Hawkins usually expects earthly dangers rather than the uncanny and eldritch that await him in Rodrigo Gudiño’s The Breach, which screened at the 2022 Fantasia International Film Festival.

The body that washed downriver aboard a canoe is about as grizzly as they get. It even shuts up coroner Jacob Redgrave. Typically, he has a lot to say to Hawkins, knowing the police chief was his ex-girlfriend’s rebound. Since then, Hawkins broke up with Meg Fulbright, the local charter-boat tour guide. Super-awkwardly, Hawkins will have to travel with both of them up to the remote cabin where the extremely-late Dr. Cole Parsons was staying.

The cabin looks considerably more decrepit and distressed than Fulbright remembers from ferrying Parsons up a few months ago. It definitely looks like the physicist was conducting some very strange experiments, under less than pristine laboratory conditions. However, it is hard for Hawkins to get a full picture, because a mysterious force is clearly toying with them. It also quickly keys-in on Redgrave.

The Breach is based on an audio-original novel written by Nick Cutter (an open pen-name of Craig Davidson), which might make it something of a cousin to podcast adaptations, like Homecoming. Its audio roots make sense, in a good way, given Breach’s atmospheric setting and intriguing slow-build. Davidson and co-screenwriter Ian Weir keep revealing eerie genre elements at a steady pace, thoroughly hooking and creeping out viewers.

King Bibi, on Chai Flicks

From the standpoint of his nation’s security, Benjamin “Bibi” Netanyahu is probably the most successful world leader of the 21^st Century, so far. During his recent tenure, the so-called “Iranian Nuclear Deal” was nullified, the US finally moved our embay to Jerusalem, and several Arab states formally recognized the State of Israel through the Abraham Accords. Arguably, the last comparable Israeli Prime Minister would be Menachem Begin. Yet, throughout his non-consecutive terms in office, Netanyahu contended with a highly critical press corps. Dan Shadur chronicles Netanyahu’s life and political career in King Bibi, which premieres today on Chai Flicks.

To understand Netanyahu, you rather logically need to start with his family. His father was a conservative scholar who was essentially forced to seek employment in America, by Israel’s socialist establishment. His brother Yoni was the heroic IDF commander, who died during the successful rescue mission in Entebbe. His brother’s death was the catalyst for his leadership in the study of terrorism prevention, which also brought him to prominence in America too.

Yet, Netanyahu still endured long periods of Churchillian wilderness-style political ostracism. His peace-through-strength policies were definitely out of step during the euphoria of the Oslo Accords. However, he was ready when reality set in, even if the traditional Israeli was not.

Paid in Blood, Korean Gangsters Do What They Do Best

Chairman Oh will not allow his criminal syndicate to participate in the illicit drug trade. Lee Min-seok is technically retired from organized crime, but his debt-collection agency is not much different from the loan sharks’ leg breakers. The business everyone really wants to be in is, of course, real estate development, especially the grand spa-casino the Chairman is building. That kind of money is easily worth killing for in Yoon Young-bin’s Paid in Blood (a.k.a. Tomb of the River—that was a wise title change), which releases today on digital VOD.

The views from the Chairman’s coastal Gangneung resort will be spectacular for those who live long enough to see it. His steely, middle-aged Eastwood-ish lieutenant Kim Gil-suk assumed it wasn’t any of his business, since it technically sits in his syndicate rival Lee Chung-sub’s territory. However, Oh reassigns the project to Kim, partly to punish Lee for a drug-related incident in one of his karaoke parlors. The calmer, shrewder Kim also has a better temperament for this kind of project, involving investments from not-so-friendly competing outfits.

Inconveniently, Lee Min-seok will kill his old boss to take possession of his shares in the development. Kim tries to finesse Lee when he attempts to muscle his way into the project management, because the Chairman is philosophically opposed to violence. However, Lee has no such scruples, especially since he has a large supply of debtors willing to take the fall for him.

South Korean cinema has given us some terrific gangsters movies. Paid in Blood is not quite at the level of Nameless Gangster, but it is a solid example, executed with muscle and vinegary cynicism. Yoon definitely takes a hard look at next generation corporatist gangsters, who are more than a little put-off my reckless throwbacks like Lee.

Creeping, the Graphic Novel

Petro could always get serious about studying, raise his grades, and hopefully land a good job after college. However, he thinks the payoff will be better if he becomes internet-famous live-streaming his urban explorations of supposedly haunted places, while dragging along his reluctant friends. In hopes of finally scoring his big viral moment, Petro convinces his fellow-Creepers to attempt the Mount Everest of Creeps. Of course, it is in Romania. Horror fans know this trip is a bad idea and so do most of his friends, but they go anyway in Zack Keller’s graphic novel Creeping, with story by Mike Richardson and art by Doug Wheatley, which goes on-sale today.

Kiara is serious about her medical studies, because that is what her parents want. In contrast, JJ failed out of school, but he has not bothered to tell his wealthy ever-absent father. Izzy is really just going to be with JJ, even though they haven’t revealed their relationship to their friends yet. The attraction between Petro and Kiara is somewhat out and open, but neither is really sure where it is headed. Unfortunately, this will not be a trip for romance.

With the help of JJ’s private jet (technically, his father’s), the Creeping gang plan to live-stream their trek through the ruins of Draghici Asylum. It was once a hospital for the criminal insane, but it was reportedly shutdown because of the unspeakable experiments conducted there. They cover story claimed natural gas deposits drove everyone nuts, so it definitely sounds like a fun spot. At least, they will have the aloof and disdainful Mihaela to guide them to the crumbling castle.

There have been a lot of films about would-be live-streamers or reality TV camera crews meeting their horrific doom in haunted houses. However, Creeping is a little different than the likes of The Deep House, because it has actual cool-looking “somethings” that would be difficult to do justice in a low-budget horror movie. Wheatley’s designs for the whatever-they-might-be (we can’t say because it would be spoilery) are definitely one of the highlights of the graphic novel.

Keller also nicely humanizes the characters and gives a bit more complexity to their relationships than we usually get in horror films. They are mostly dumb kids, but they are believably human dumb kids.

Fantasia ’22: Summer Ghost

It is a lot more intense growing up in Japan. Think of it this way: how many of your friends went to cram school? In Japan, it would have been 100% of those whose parents could afford it. Tomoya Sugisaki is definitely one of them, but he hates every minute of it. He and two other frustrated teens seek out a perspective from beyond the grave in Loundraw’s Summer Ghost, which screened during the 2022 Fantasia International Film Festival.

According to urban legend, the ghost of a beautiful young woman appears when the curious set off fireworks on a summer evening. Although he is a loner, Sugisaki connected online with two other teens who share his fascination with the so-called “Summer Ghost.” An abandoned airstrip looks like the perfect place to summon her, which indeed it turns out to be.

The girl was Ayane Sato. Contrary to popular belief, she did not commit suicide. Instead, she was killed in a hit-and-run, by a driver who subsequently dumped her body in an unknown location to cover-up the crime. Sato explains it is not just fireworks that are necessary to see her. Seekers also need to be mentally closer to death. Indeed, Sugisaki and the bullied Aoi Harukawa are having distressingly dark thoughts, while Ryo Kobayashi is dealing (badly) with a fatal diagnosis.

Sato is definitely a ghost in the tradition of When Marnie was There, rather than a horror-style apparition. It is enormously sad and tragic, but also ultimately humanistic and life-affirming. The teens’ drama is totally grounded and true-to-life, while the ghost business is quite tragic, in a lovely kind of way.

Fantasia ’22: Deiji Meets Girl

Maise Higa feels like a towny working in her parents Okinawa resort hotel, but a lot of teenagers would probably consider it a pretty cool summer job, especially when attractive Ichiro Suzuki checks in. He is not the baseball player, but Higa is sure he is famous from somewhere. Regardless, she is definitely interested in him, despite the weird events that start happening around him in Ushio Taizawa’s 13-mini-episode micro-series, which screened in its entirety during the 2022 Fantasia International Film Festival.

Higa is embarrassed by her family (except her grandmother), because she is a teenager. She can’t help noticing Suzuki has that brooding James Dean thing going on, but she just can’t place him. Nevertheless, she must respond to some unusual room service calls when the hotel first floods like a fish bowl and then becomes entwined in a giant Jack-and-the-beanstalk-like tree. In both cases, she traces the fantastical source back to his room.

Fortunately, these incidents never disrupt the hotel’s service for long. They must have some fantastic insurance. Higa also starts developing ambiguous feelings for Suzuki, even though he seems to be somehow causing all the hassle. Something about his melancholy touch her.

Fantasia ’22: Shin Ultraman

Ultraman was the king of “tokusatsu” superhero television universes, years before either Marvel or DC had enough shows to claim such a title. There have literally been dozens of series about Ultraman, his colleagues, and the kaiju they battle. Often, they culminated with a theatrical feature film capstone, so Ultraman on the big screen is nothing new. The filmmakers behind Shin Godzilla got a rare opportunity to reboot the franchise outside the ongoing continuity. Wisely, director Shinji Higuchi and screenwriter Hideaki Anno still respected everything that made fans embrace the series through Shin Ultraman, which screens during the 2022 Fantasia International Film Festival.

Mysteriously, giant kaiju have been wreaking havoc on Japan (and only Japan), so logically the government formed the S-Class Species Suppression Protocol (SSSP) to hopefully figure out a way to stop them. Shinji Kaminaga was one of their officers, until he was accidentally killed by a friendly alien superhero, who arrived just in time to defeat an invisible, electricity-consuming monster. The giant red and silver humanoid code-named “Ultraman” fuses his consciousness with that of the late Kaminaga, bringing him back to life and continuing his work at SSSP.

Of course, his partner, Hiroki Asami, quickly grows suspicious of the way Kaminaga disappears like Clark Kent during times of crisis. Unfortunately, more dangerous and hostile alien entities are also on to Kaminaga’s secret identity.

Somewhat like what they did in Shin Godzilla, Higuchi and Anno spend a lot of time skewering the counter-productive infighting of Japan’s governmental bureaucracy. The kaiju always reach perilously close to the outskirts of Tokyo, by the time SSSP files the proper reports in triplicate. However, Shin Ultraman is not quite as incisive and it is much more episodic.

Fortunately, you will not hear accusations of “toxic fandom” with respects to Shin Godzilla, because Higuchi and Anno stay true to the classic spirit of Ultraman and employ a great deal of the traditional elements and motifs. This Ultraman looks exactly like the Ultraman fans have known since 1966. He is just a little shinier. Ultraman has similar crazy moves and the kaiju are as outlandish as ever.

New Gold Mountain, in the Epoch Times

It is a tale of intrigue in the colonial Australian goldfields, involving corrupt officials and self-serving "community organizers." For its DVD release, my review of NEW GOLD MOUNTAIN is now up at THE EPOCH TIMES here.

Fantasia ’22: Next Door

Don't worry about Chan-woo’s rear window. It is the dividing wall separating him from his noisy, disruptive neighbor that concerns him. He does not know Ko-hyun, but he certainly hears her and her boyfriend. It therefore comes as quite a shock when he wakes up in her flat, beside a lifeless body in Yeom Ji-ho’s Next Door, which screened at the 2022 Fantasia International Film Festival.

After several failed attempts, Chan-woo is studying for what will probably be his last chance to pass the police academy entrance exam. Unfortunately, he is scuffling so badly, he needs to borrow the ten-dollar registration fee. The poor guy is forced to hit up an old drinking buddy for the meager loan. Of course, he first drags Chan-woo out for a quick round of drinks, which turns into a messy, sloppy night.

The next morning, Chan-woo comes to next to what he assumes to be the corpse of Ko-hyun’s boyfriend. He has no idea how he got there or what happened, but as soon as he leaves, he realizes he must get back in, to clean up the evidence of his presence.

Naturally, everything that can go wrong for Chan-woo is absolutely sure to go wrong. Yeom makes clever use of the spartan, claustrophobic sets (aside from the brief drinking scene, the entire film unfolds in the two apartments or the hall and ledge outside). The film also keeps one darned thing coming after another, at a pretty good clip.

Blackwood, Where the Wendigo Roams

You can dismiss Bigfoot, because footage like the Patterson/Gimlin video just looks staged, but don’t scoff at the Wendigo. The latter is an ancient Native legend that probably wasn’t handed down for no reason. Regardless, going into dak, shunned woods is a dangerous proposition. Of course, you can’t tell that to a bunch of outlaws (especially the racist ones), who are determined to blunder through the creature’s stomping grounds in search of gold. They are sure to find something in Chris Canfield’s Blackwood, which opens today in New York.

Dutch Wilder’s gang just pulled off a sensitive job for Sally Pickerton, not even knowing she is a woman. They are even more annoyed when she “offers” to bring them into a claim-jumping caper rather than pay for their services. Believing there is indeed gold in those hills, they reluctantly agree to her scheme. The problem is the hills in question are in the Blackwood Forest, which has a reputation for evil supernatural business with the local native population.

Nevertheless, Dowanhowee feels herself drawn there. She is the last of her tribe. As it happens, she recognizes one of Wilder’s thugs from his participation in the massacre of her people, so she takes advantage of the opportunity for some vengeance. As she flees the Wilder gang, she leads them directly into Wendigo territory.

And that’s about it. Blackwood definitely would have worked better if Canfield had a better command of mood. It is a pretty straightforward, hurtling-towards-the-inevitable narrative, without much foreboding or tension. As a further drawback, the wendigo creature design often does not look nearly as imposing as it should.