What’s the Story, Wishbone? On PBS

The mid 1990s were a golden era for Jack Russell Terriers. There was Eddie (played by Moose) on Fraser and Milo (played by Max) in the movie The Max. However, Wishbone (played by Soccer) was the star of his own show. As a bonus, it was also educational. Frankly, it was exactly the sort of programing PBS was supposed to produce, but they mismanaged it. Nevertheless, Wishbone and the late, great Soccer remain beloved by cast, crew, and fans, who fondly remember the dog and his show in Joey Stewart’s documentary What’s the Story, Wishbone, which starts airing tomorrow on participating PBS stations.

Rick Duffield started with a vague notion to produce an educational TV program in the Dallas area that evolved into a pitch-kit that PBS greenlighted for a five-episode trial, much to everyone’s surprise. Yet, being a crew outside of LA, they could quickly adapt. Somehow, they started turning out their initial order, which were so well received, PBS came back with a full season order of 40 episodes. Again, they were shocked, but again, the cast and crew knuckled down and cranked out episodes.

It helped that everyone believed in the show and generally loved Wishbone/Soccer. In fact, it seems like there were almost no personality conflicts, judging from the extensive interviews Stewart incorporates throughout the film. Consequently, anyone hoping to learn about Wishbone’s dirty secrets will be bitterly disappointed.

Of course, everyone loves Wishbone. To prove the point, Stewart opens with tributes from Pres. George W. Bush and his sworn enemy, Dan Rather. It is easy to see why. Soccer was enormously photogenic and cinematic. He was also surprisingly easy to work with. According to the series cinematographer, Soccer consistently hit his marks (perhaps with better reliability than some human actors we could think of). The canine performer was also unusually cooperative when it came to wearing his period costumes.

Watching Stewart’s doc gives viewers a fuller understanding of the craftsmanship that went into each episode, including the special effects supervised by ILM alumnus Caris Palm Turpen. However, PBS was determined to “a strip it,” but that required a constant flow of new daily Monday-Friday episodes, which the economics of the show simply could not accommodate. However, Showtime helped finance the show’s big send-off, Wishbone’s Dog Days of the West.

Suzzanna: The Queen of Black Magic

As Suzanna Martha Frederika Van Osch embraced the horror genre, she added the additional “Z.” It was a shrewd decision, whereas opinions vary quite drastically regarding her second marriage. Regardless, “Suzzanna,” as she was affectionately known and billed (like Cher and Madonna) remains the face of 1980s Indonesia horror for fans both foreign and domestic. David Gregory chronicles her life and career in the documentary The Queen of Black Magic, which is included in the Severin Film Suzzanna boxset releasing tomorrow on BluRay.

Early in her career, Suzanna (with one “Z”) was practically Indonesia’s sweetheart. She appeared in sentimental dramas and even recorded sugary pop records with her first husband, fellow thesp and frequent co-star Dicky Suprapto. During the 1970s, she started making more exploitative genre movies for less formal “Layar Tancap” cinemas, often projected on bedsheets for neighborhoods without brick-and-mortar theaters. Of course, they loved her.

Suzzanna (with two Z’s) only made one horror in the 1970’s, but it became a sort of prototype for her 80’s output. In 1983, she also made an exploitation film about a mother’s lurid relationship with her estranged son, played by teenaged Clift Sangra, who in real-life became her second husband. Weirdly, he also portrayed her son in her final film.

To make things even more awkward, many of Suzzanna’s friends and family members clearly suspected him of complicity in her death. Some even accused him of trying to contract her murder. While Sangra sat for extensive interviews, he emerges as his own worst advocate. Sangra never legally compromises himself, but he just radiates bad vibes.

Marshals: Wolves at the Door

Tonight will be another example of heavily-armed cowboys working with the Reservation. Way back in the pilot, Kayce Dutton and his future-fellow Deputy Marshals protected Thomas Rainwater, the Chairman of Broken Rock Reservation, from a would-be assassin. Since then, they received little credit from Broken Rock residents, but tons of grief from locals supporting the rare earths mine Rainwater wants to block. Like everyone in the Yellowstone universe, Rainwater is not inclined to back down, which leads to more work for Dutton and his colleagues in “Wolves at the Door,” the season finale of Marshals, premiering tonight on CBS.

Given his suspension, Miles Kittle is too politically radioactive to testify in Washington. Fortunately, he wanted to change the Chairman’s mind, so he was there to help Mo Brings Plenty fend off a pair of killers. Dutton offers to secretly host the Chairman at East Camp while the Marshal Service investigates. That would be the same East Camp he suddenly decided not to sell industrialist-turned-rancher Tom Weaver.

Of course, it won’t be long before another larger hit squad launches a siege on East Camp. However, Chief Deputy Marshal Pete Calvin intends to ride in like the cavalry. He even restores Kittle’s badge, which might even endear him to his estranged daughter Maddie, assuming everyone survives the shootout.

Not surprisingly, this episode offers little sense of resolution. Instead, it clearly hopes to hook viewers for a second season (which presumably will be coming, given Marshals’ consistently strong ratings). Yet, it is also one of the episodes Yellowstone fans skeptical of the procedural format might appreciate, because the Dutton-Rainwater relationship takes center stage.

The Last Anniversary: Canadian Horror

You might assume that if we knew the date the world will end, we could do something to stop it, but apparently not. Apparently, to understand, you need to be an apocalyptologist like Abel Ferrara, who even identified the exact time the end would toll in 4:44 Last Day on Earth. At least his characters were only haunted by their own regrets. Aubrey and Tom’s friends will be haunted by an actual ghost. That is sort of the reason the couple invited them for a reckoning before the reckoning in Brothers Brett & Jason Butler’s The Last Anniversary, which is now playing in Toronto.

It turns out Aubrey and Tom did not select an auspicious date for their wedding. As fate would have it, their anniversary falls on Judgement Day. Their wedding night was also the last time they saw her sister Brenda, who mysteriously disappeared after the reception.

As the rest of the world hunkers down, the couple invited the surviving wedding party members to the very same mountain resort hotel (now abandoned), for a supposedly cathartic reunion. However, the couple has something more Old Testament in mind. Unbeknownst to them, Brenda has similar ideas. Her ghost still haunts the hotel, so she starts terrorizing the returning wedding guests, showing herself at dramatic moments and even physically choking them.

The Butler Brothers sustain a strange tone throughout the film, which either evokes the best of 1970s Eurohorror, or the worst. It also intentionally pays homage to The Shining, with its endless spooky corridors and the room everyone shuns like a cruise ship carrying the Hantavirus.

The results are just odd. Films that take big metaphysical swings risk falling flat on their face. To the Butlers’ estimable credit, that does not happen here. They also maintain enough horror business to preserve the film’s genre viability. Yet, there are frequent “what the heck” moments that will baffle conventional horror fans, but those parts are clearly what were most important to the Butlers.

Passenger, in Cinema Daily US

PASSENGER is deceptively simple but eerily potent, because its lore involving St. Christopher his demonic nemesis, and Depression-era Hobo culture carries such deep archetypal resonance.CINEMA DAILY US review up here.

Saccharine: Australian Body Horror

Hana's parasite is more dangerous than a tapeworm, because it is literally a hungry ghost. Ill-advisedly, she deliberately ingested it of her own free-will. Of course, she did not foresee the side effects. On the plus side, her weight loss is dramatic in director-screenwriter Natalie Erika James’ Saccharine, which opens today in New York.

Despite her medical studies, Hana suffers from low self-esteem, exacerbated by family issues. Therefore, she tries one of the diet pills given to her by a formerly obese childhood friend, who now looks unbelievably slim. It works, but the price per pill is prohibitively steep. Applying her training, Hana analyzes the substance, finding it identical to human ash. As “luck” would have it, Hana and her loyal friend Josie are dissecting a human cadaver this semester. Rather enterprisingly, Hana stays behind after class to pack a doggy bag of the remains they left for disposal.

Of course, her bootleg pills similarly work, to a shocking degree. Even her crush, Alanya, the trainer who overseeing her bootcamp-style fitness regimen, is impressed—and eventually concerned. Hana also starts to worry when realizes the cadaver’s ghost has been watching and menacing her. She only comes when Hana’s blood sugar falls below a certain level. Once the med student binges, the terrors subside. However, the pattern quickly grows disruptive and alarming to bystanders.

Larry Van Duynhoven’s prosthetic design work for the “before” Hana is remarkably convincing. However, Midori Francis must still sell Hana’s transformation, which indeed she does. Indeed, she delivers an unusually sensitive and emotionally complex performance, by conventional horror movie standards.

This is Not a Test, on Shudder

This will sort of be like The Breakfast Club for Sloane Price and some of her classmates, except instead of learning to understand each other’s differences, they will simply try to avoid getting bit by zombies. Admittedly, their high school is a good place to set up barricades, but the Gen Z’er’s definitely lack the survival instincts of Gen X’er’s in Adam MacDonald’s This is Not a Test, which premieres tomorrow on Shudder.

Considering how relentlessly Price father abuses her and her older sister Lily, the zombies probably don’t look so bad to her. Seriously, why does every father have to be an abusive pedophile in horror movies? It is like Stphen King’s weird, deep-seated resentments were contagious. Indeed, this is the first example of how This is not a Test looks and feels an awful lot like an awful lot of other movies.

Regardless, one fateful morning, the zombie hordes descend on Price’s street like locusts. Amid the mayhem, she connects with cocky jock Cary Chen, the popular Casper twins (Trace and Grace, seriously), and Rhys Moreno, who always carried a torch for her. Somehow, they manage to reach and secure their high school—but probably not to a sufficiently safe degree. Of course, there is considerable friction in the group, as well as sexual tension, to undermine their concentration and team-work.

Star Wars: The Mandalorian and Grogu

Just like the U.S. Defense Department had their playing cards identifying Saddam’s fellow Socialist Baath Party war criminals in Iraq, the New Republic has their own deck of wanted high-ranking Imperials. Of course, each fugitive comes with a bounty. Needless to say, a resourceful Mandalorian bounty hunter like Din Djarin (a.k.a. “Mando”) would be interested in that business. In fact, they are the only gigs the newly respectable bounty hunter now accepts in Jon Favreau’s Star Wars: The Mandalorian and Grogu, which opens this Friday in theaters.

As the title promises, this is the same Mando and Grogu fans know and love from the streaming series. Mando presents himself as a hardnosed adventurer for hire, he is really a sentimental do-gooder, especially when it comes to his adopted son-apprentice Grogu (a.k.a. “Baby Yoda”), who matures at a much slower rate than mere mortals, but already wields considerable command of the Force.

Despite his innocence and small stature, Grogu’s power makes him handy to have around when Mando collects bounties. Judging from the extended prologue, he and Mando can just barely handle an entire regiment of stormtroopers, between the two of them. Taking down the first Imperial warlord gets messy. Their next assignment gets even messier.

Col. Ward orders/hires/bribes Mando to “rescue” Rotta the Hutt, Jabba’s estranged and reformed son, from a Bladerunner-like world and return him to his not-so loving uncle and aunt, in return for information on the mysterious Janu, the one of the highest-ranking cards left in the deck. Weirdly though, Rotta seems like a heck of a nice whatever he is—and he doesn’t want to leave.

The most frequent complaint leveled at M & G is that it plays like three new episodes of the streaming series, filmed in IMAX with somewhat more elaborate special effects. Basically, that is true, but seriously, isn’t that what fans want? More of the same. This is the same Mando and the same Grogu. Favreau doesn’t need to “put his stamp” on the characters, because he created them in the first place.

In fact, Favreau and co-screenwriters Dave Filoni and Noah Kloor seem to have learned from the franchise’s past mistakes. They never indulge in identity politics or virtue-signaling, but maintain strict character consistency with the series. Essentially, it is all action, all the time. We should all be so lucky to have a quarter for every stormtrooper who gets blasted to his eternal rewards in this film. The alien worlds also look fantastic in IMAX, particularly the mountain vistas of the prologue and the Hutts’ planet, distinguished by its giant toadstool landscape. However, some of the CGI is awkwardly iffy, especially the dragon-snake.

Shrewdly, the subplot involving the Hutts provides an apostolic link to the original trilogy. It deepens and enriches fans understanding of Jabba’s empire, without changing his character one iota. As a considerable bonus, Jeremy Allen White contributes one of the best voiceover performances of the year, making Rotta sound bizarrely soulful.

Reckless, Starring Scott Adkins

Maybe it isn’t such a good idea to double-cross an accomplice, because they will have ample time to work out in the prison gym. Devon clearly spent much of the last five and a half years pumping iron and studying martial arts. He also strenuously insists nothing happened in the showers, to the point of being creepy. Frankly, Devon is a bit slow-witted, so instead of seeking revenge, he simply asks for his cut. However, instead of money, he gets payback, often through sheer dumb luck in Elliott Montello’s Reckless, which releases on digital this Friday.

Everyone can tell Devon’s so-called “mates” set him up, even Kimber and she just met him—under very trying circumstances. She just killed one of the crooks who did him wrong, in self-defense, just as he barged into the lowlife’s office. Having her own reasons to distrust the cops, Kimber invites herself to join Devon as his new fugitive-buddy.

One by one, Devon visits members of the crew, asking for the Warren Zevon trilogy, but instead they try to kill him. The brawling gets brutal, but somehow Kimber usually strikes the fatal blow. Nevertheless, the trail of bodies starts to concern Trent, the big boss, who also happens to be a sitting member of the House of Lords. Eventually, his lieutenant recruits Bishop, the neanderthal prison shower predator, to kill Devon before he works his way up to Trent.

For Scott Adkins fans, Reckless could be described as Avengement-lite. It has similarly relentless fight sequences, but it also strives for an Elmore Leonard-esque comedic tone, somewhat in the tradition of The Debt Collector. Unforutnately, the jokes in this movie do not land with reliable frequency.

Regardless, the action is first-rate. Arguably, there is a greater sense of jeopardy in Reckless, because Devon’s martial arts chops remain a work in progress. Adkins also projects the right likable loser charisma for the lunkheaded Devon. Vinnie Jones strives for Ray Winstone-ish menace as Trent, but his villainy still better suits street level thuggery.

No Man’s Land, Graphic Novel

This investigation will start much like that of the Scandinavian series The Bridge and its American remake, except the span between Aleutian Islands will soon melt. One of them is under American jurisdiction, while the other is dominated by the Soviets. Right smack in the middle of the so-called “Ice Curtain” a young woman was savagely murdered. It will be a difficult case for FBI Special Agent Kevin Collins, because of the physical circumstances and the politics in artist-writer Syzmon Kudranski’s Now Man’s Land, which releases today in a trade-paper bind-up.

In 1963, the Cold War was warming up, but not yet scalding. Collins, a veteran of WWII counter-intelligence assumed he would be retiring. Instead, the director assigns him a highly sensitive case. He doesn’t really have any choice, but his long-neglected wife finally leaves him anyway.

Once he arrives at the remote Diomede Islands, Collins decides the most practical course of action would be to work with KGB agent Sonia Fiodrow, rather than against her. As Collins learns her backstory, he realizes they both probably received this assignment, because they are expendable. He is old and broken down, while she is the daughter of samizdat-publishing dissidents.

Regardless, they will work well together. Siodow is more familiar with the indigenous people, while he better understands the killer’s Biblical allusions. However, their unknown sub is not a fanatical Christian—more like the exact opposite.

No Man’s Land starts slow, but it is loaded with interesting ideas. The nature of the murderer is strange and complex—in ways befitting classic Russian literature. Siodow’s family history also powerfully indicts the oppressive Socialist system, but not in the way you might expect.

World War Bigfoot: It is What it Sounds Like

For the men of the U.S.S. Indianapolis, sharks were deadlier than the Japanese torpedoes. Allied Prisoner of War in the Pacific also faced a similarly non-human threat from malaria-carrying mosquitos. However, in this fictionalized Ardennes, American troops had to contend with sasquatch-like creatures, as well as the Germans. Yes, this is one of those movies. There is plenty of hair, but, sadly, the fun is less plentiful in director-screenwriter Jason Mills’ World War Bigfoot, which releases tomorrow on VOD.

Given the campfire prologue, “Doc” obviously lives to tell his grandchildren this war story, thereby further reducing the potential suspense. Frankly, it is not exactly clear his small detachment was heading into the Ardennes. Regardless, it is a forested area along the front lines. Their objective is also vague. In fact, they have no idea what they mission is, but “Sarge” assures them it is top secret.

Inevitably, they clash with Nazi troops, whose commanding officer came for the same reason. He is equally obsessed with the Bigfoot-like creatures after seeing one first-hand. Apparently, during the late stage of the War, American sergeants and German junior lieutenants could just cut their own orders and requisition men, with no questions asked.

Indeed, their Bigfoot sightings drove both to psychosis. Doc even witnesses Sarge murdering one of his own men, who threatened to expose his madness. So much for the “Greatest Generation.” Mills prefers to depict the men who fought and died to save democracy as sadistic cutthroats—excepting of course, the conscientious objector medic, who quickly forms an alliance with his similarly enlightened German counterpart.

As a minimally-budgeted genre mashup, World War Bigfoot had two promising options. Go all in with outrageous gore and over-the-top comedy, or play it straight while inviting the audience to cheer for the American soldiers, against all enemies, foreign or cryptid. Instead, we get the worst of both options, a slow-moving, agonizingly self-serious film that openly posits a moral equivalency between the American and German Armies.

The best work comes from makeup artist-suit designer Anna Fox and fellow suit designer Robert M. Bravo. Their creatures look surprisingly great, despite the severe budget constraints. Honestly, this film does not deserve their inventiveness.

In Remembrance of Newspaper Strips: Star Wars

For deecades, licensed original Star Wars novels and comic books generated story development work that came fan-tested and fan-approved. Yet, Lucas Films ignored it all. The Mandalorian and Grogu will probably successfully apply a torniquet to the bleeding franchise, but it is ironic how scrupulously the Lucas licensing team maintained quality control and character consistency, only to have Lucas Films blow it all up with a parade of disappointing streaming series. Here is a prediction: the market for out-of-print tie-in novels and comics is going to explode, because fans can trust them not to “reinvent” their beloved franchises. The Star Wars newspaper comic strip is a perfect case in point. If you read them before the Mandalorian movie opens, they will take you back to the era of peak Star Wars fandom.

Indeed, this is the Luke Skywalker you grew up with. It is not the bitter Skywalker of the sequel trilogy. It is not even the Skywalker of Empire Strikes Back. This Luke still has a crush on Princess Leia Organa. Yes, the second film revealed they were siblings, but until it released, everyone assumed there could be romance between them, because of the kiss “for luck” on the Death Star and the wink during the honors ceremony. The newspaper strip takes us back to that more innocent time.

Even after Empire released, the strip remained in the same in-between timeframe. In fact, roughly the final year of storylines chronicled the Rebellion forging an alliance with Mon Calamari (they sound like French squid, but they are the aliens represented by Admiral Akbar), its search for a safer base, and the hasty evacuation of Yavin’s moon, the perilous journey to icy planet Hoth.

Although the main characters remain entirely untouched (just as fans want them to be), the storylines had considerable implications for minor characters. In “Princess Leia, Imperial Servant,” Organa is forced to work incognito as a handmaid on the prison planet administered by the Grand Moff Tarkin’s widow. Since Tarkin was played by Peter Cushing, it is quite appropriate that his wife somewhat resembles Elsa Lanchester’s Bride in Bride of Frankenstein.

Also quite notable is the appearance of Gen. Dodonna (who gave the Death Star briefing when Skywalker says: “that’s not impossible. I used to bullseye womp rats in my T-16 back home”). Unfortunately, Luke discovers Dodonna’s son Vrad is a coward, who might take a treasonous turn to save himself.

Originally, the licensing team approved a separate Sunday storyline, but they requested it feature different characters, so readers wouldn’t be confused. At that point, many consumers might have been unfamiliar with this longstanding convention of continuity strips, so it was not a bad idea. Consequently, several Sundays depict C-3PO (not so reluctantly) supplying oral histories of Skywalker’s exploits to Mistress Mnemos, a giant, multi-story Rebel super-computer. Unfortunately, the Sundays evolved into a weekly recap, which makes them repetitive when read chronologically with the dailies, even though some of the color art is incredibly cool (especially in IDW’s restored collections).

Marshals: The Devil at Home

Usually, Kayce Dutton is the Deputy Marshal most likely to go rogue. This time it will be Miles Kittle. Ironically, he will go “off the reservation,” by going onto the reservation. Learning belatedly of a friend’s fentanyl death, Kittle wants to administer some frontier justice, but Chief Deputy Gifford insists on differing to the DEA. Dutton keeps busy, but he largely gets a week off from his usual angsty brooding in “The Devil at Home,” the latest episode of creator Spencer Hudnut’s Marshals, premiering tonight on CBS.

Having been hyped as a hero after the standoff with the Cleggs, Deputy Cruz’s next assignment will be schmoozing political bigwigs with Gifford. However, she has to admit the “whisper-quiet” combination helicopter-airplane, displayed at the conference by real-life Archer Aviation founder Adam Goldstein (playing himself), is really cool and potentially super useful. Maybe they can take it for a test spin in next week’s season finale.

Chairman Rainwater wants to use Kittle in a similar fashion to stop the adjacent mining project. However, the news of his friend’s death quickly ends his effectiveness schmoozing. Of course, the Marshals are all for taking down fentanyl traffickers, but the DEA claims jurisdiction. Kittle just cannot accept the stand-down order. In fact, his girlfriend Maddie Calvin grows so concerned, she calls her semi-estranged father, Deputy Pete Calvin, for a status check.

The Yeti, Co-Starring William Sadler & Cobin Bernsen

Honestly, it is far better when a film calls that mythical snow-beast a yeti rather than an “abominable snowman.” The former is much quicker to type and easier to pronounce, so this film already has points in its favor. In the late 1940s, Alaska wasn’t even a state yet. Largely seen as a wild and snowy frontier, there could have been anything up there, as far as most Americans were concerned—and in this film, they weren’t wrong. Oil man Merriell Sunday Sr. went there looking for oil, but he found something else instead. Cartographer Ellie Bannister agrees to guide the search party looking for him and her explorer father, Hollis Bannister, in director-screenwriters Gene Gallerano & William Pisciotta’s The Yeti, which releases this coming Tuesday on DVD and BluRay.

Supposedly old man Sunday was scouting for oil, but Bannister knows her eccentric old man wouldn’t waste his time on that, no matter how much money the tycoon offered. Nevertheless, they have been out of contact for far too long, so she agrees to join the rescue operation organized by Merriell Sunday Jr. (who definitely displays deep-seated father issues).

Somehow, they land in the middle of a massive storm that even interferes with Bannister’s compass. Consequntly, they get lost, quickly and badly. Viewers definitely wouldn’t enjoy getting lost with the entitled Junior Sunday or the abrasive good old boy demolition specialist Daniel “Dynamite” Hewitt—and neither does Bannister. However, comms specialist Booker (who was the Enola Gay’s radio man) is a good guy and scarred war hero Leander Coates has her back too, despite his mildly psychotic tendencies. Of course, when the yeti (or yetis) attack, all bets are off.

Gallerano & Pisciotta serve up several hat-tips to the Indiana Jones movies that are rather endearing. However, some of the deliberately retro practical effects are a little too successful, looking more like genuine cheesiness rather than loving homages. Frankly, the film shows symptoms of an identity crisis, because the blood-spurting gore clashes with the nostalgia.

However, the two old pros, William Sadler and Corbin Bernsen, elevate all their scenes as Hollis Bannister and Sunday Senior, respectively. They are both entertainingly flinty and grizzled. Playing against his usual over-the-top type, Jim Cummings is a surprisingly steadying presence as salt-of-the-earth Booker. Plus, Linc Hand delivers truly withering death stares as brooding Coates.

An Enemy Within

This movie wedding could get as bad as Game of Throne’s “Red Wedding,” but viewers don’t have much time to invest in the characters, who generally consist of stereotypical rich jerks. The Foresights might sound like Galsworthy’s literary clan, but they are considerably harder and meaner. Nevertheless, reasonably well-heeled Caleb Wingate expected to continue rising in the Foresight family business, after marrying his boss’s daughter, until a terrorist gives him an ultimatum: kill his new father-in-law by midnight or his newlywed wife dies. It is not exactly a “Sophie’s Choice,” but it is still a super-awkward buzz-kill in director-screenwriter John Michael Kennedy’s An Enemy Within, which releases today on VOD.

Wingate’ father made no secret of his disappointment when his son went to work for the rival Foresights. However, Robert Foresight was more of a shark, especially when it comes to doing natural resources deals in Africa. Unfortunately, he did not live up to his name when he crossed “The Wolf,” a notorious assassin the Foresight company used to employ.

The Wolf delivered the ultimatum, but a mystery client is calling the sniper’s shots. Regardless, Wingate must kill the Foresight patriarch by the mandated deadline and he cannot allow any guests to leave in the meantime. That causes some seemingly erratic behavior, greatly straining his hours-old marriage. However, an old pro like the senior Foresight recognizes trouble. However, as more family members become privy to the standoff, the recriminations really start to fly.

This film definitely exhibits a pronounced degree of class resentment, but there is also a kind of grudging admiration for the elitist characters’ ruthless survival drives. Despite his increasingly dire situation (including a non-fatal gun-shot wound), steely middle-aged Robert Foresight is definitely the sort of fellow you want on your side during a time of crisis.

Wizard of the Kremlin, in Cinema Daily US

Jude Law is chillingly, image-shattringly good as Putin in WIZARD OF THE KREMLIN, Assayas's big, sprawling, more-truth-than-fiction chronicle of Russia's slide back into totalitarianism, as witnessed first hand, by a key Kremlin power-broker. CINEMA DAILY US review up here.

Mobile Suit Gundam Hathaway: The Sorcery of Nymph Circe

The Earth can’t seem to catch a break. The Earth Federation defeated the authoritarian-inclined Principality of Zeon in the Gundam franchise’s Universal Century continuity, but then the victorious Federation became increasingly corrupt and oppressive. Hathaway Noa emerged as an important leader of the MAFTY rebellion. He hopes to launch a major attack on the Federation, but the greatest variable complicating his plan happens to be a self-described “courtesan.” She might also be a spy, but it is unclear which side she favors in Shuko Murase’s anime feature Mobile Suit Gundam Hathaway: The Sorcery of Nymph Circe, which opens tomorrow in theaters.

In the new GQuuuuuux alternate storyline, Zeon won the war, but Nymph Circe returns fans to the more familiar timeline. The Hathaway narrative branch takes place many years after the mothership anime series, but Noa represents an important apostolic link, because he is the son of Amuro Ray’s commanding officer, Bright Noa. With that in mind, you should be able to follow the broad strokes of the new Hathaway feature, but many of the particulars will be baffling.

Regardless, the junior Noa is almost entirely focused on the rebellion. Only Gigi Andalusia has the power to distract him. Inconveniently, her sugar daddy-patron happens to be Col. Kenneth Sleg, the chief of Federation counter-insurgency. It is his job to catch Noa.

So far, Andalusia has mostly aided Sleg. Convinced that her “spider-sense” provided lifesaving forewarning, many of Sleg’s men consider her a good luck charm. Yet, restless Andalusia appears preoccupied with Noa. Regardless, before they can reunite, Noa must survive some spectacular mecha battles.

Indeed, Nymph Circe arguably boasts some of the most striking visuals of all the recent Gundam features. The combination aerial and naval battles really are something. For the teenaged boy market, the film also delivers considerably more “fan service” than its recent predecessors, through its strategically framed shots of Andalusia and Julia Suga, Noa’s torch-carrying Gundam mechanic, who usually works in a pair of overalls and not much else.

Again, this is some of the slickest Gundam animation yet. However, Yasuyuki Muto’s screenplay, based on franchise creator Yoshiyuki Tomino’s original novel, makes no concessions to newcomers. Even viewers casually familiar with the original series and several subsequent features will have some trouble finding their sea legs.

Furthermore, critics who rightly called out the appalling lack of military discipline in Star Trek: Starflight Academy should also be put off by Brinks Wedge, the captain of a MAFTY recon ship, who regularly takes the con shirtless. Frankly, both he and Trek’s Nahla Ake are appallingly unprofessional and uncommanding.

Is God Is: Revenge of the Twins

Movie twins tend to be creepy, like in The Shining and Dead Ringers. That wasn’t previously true for Racine, “the Rough One,” and Anaia, “the Quiet One.” However, their new unyielding sense purpose is a little unnerving. The twins’ long-absent mother wants them to kill their father, who also happens to be the same “Man” responsible for the disfiguring burns all three women suffered—and they aim to oblige in Aleshea Harris’s Is God Is, adapted from her own play, which opens Friday in theaters.

Racine’s burns are largely confined to her arms, but the fire cruelly left its scars across Anaia’s face. Whether in schools or foster homes, Racine has always been quick to pick a fight, to defend her sister from mockery or bullying. Even in adulthood, her behavior pattern remains the same. They always assumed their mother had abandoned them, but when Ruby, (whom they jokingly refer to as “God,” since she “created” them), summons them to her death bed, they reluctantly comply.

Since she also clearly suffered greatly, the twins essentially forgive Ruby, especially after she explains how they were all torched by their father. She demands vengeance in blood, so she can die in peace. Racine immediately agrees, but Alaia is not so sure. Nevertheless, they start following the trail back to Ruby’s former “Man,” inevitably leaving bodies in their wake.

Based on Harris’s Obie Award winning play, Is God Is has been generally pitched as a prestige film, but it plays more like a payback grindhouse release, which is frankly good news for viewers. Indeed, Alaia explores themes of inherited trauma and family dysfunction with a sweaty, feverish Old Testament sensibility, while staging bloody mayhem with a deft touch.

Big Apple 26: Treasure of the Lost Reel

It is hard to tell whether Boffo is a mouse or a cat, but that probably reflects the fact he was inspired by Mickey and Felix, in equal measure. However, in the world of this film, he was directly “inspired by,” or ripped off from Biffo, the creation of a pioneering black animator. However, his heir probably can’t prove it without the long-lost short Heck (short for Hector) Burrows tacks down. Keeping it will be even trickier, because the company Boffo built, which bears absolutely no resemblance to Disney, will do anything to make it disappear in Nate Neal’s Treasure of the Lost Reel, premiering tonight at the 2026 Big Apple Film Festival.

Pinnacle so litigiously protects its Boffo trademark, it recently sued a daycare center over an unauthorized screening (fortunately, Disney would never do anything like that, right?). It also has gun-wielding enforcers like Mr. Fix-It on the payroll. He makes the company’s embarrassing past disappear. In two months, early Boffo cartoons will enter the public domain. That is not good for Pinnacle, but the last surviving Biffo print could undermine their fundamental trademark of Biffo.

Burrows’s ex, now a late-night TCM-esque host, hopes to find the Biffo print, to parlay it into a Pinnacle+ streaming show. Of course, she didn’t reveal her true ambitions to Bellamy Barker, the rightful Biffo heir, but Burrows immediately suspects something of the kind. As a result, it will be a mad scramble to find the lost reel and it will be even trickier holding onto it.

The vintage-style animation created by Neal and Erim “Xolo” Cetinel perfectly fuses early Disney with classic Fleischer. Biffo and Boffo look era-appropriate and they both have the appropriate pinched, high-pitched voices. The antique Boffo merch also represents a triumph of great art direction on a budget. Furthermore, filming on old school 16mm stock nicely reinforces Neal’s nostalgic aesthetic.

Hammer: Heroes, Legends and Monsters

Its first IP deals were relatively modest, licensing British radio shows like Dick Barton and The Man in Black for extremely B-level movie treatments. However, it most famously relaunched popular franchises with the very same monsters that made Universal the home for horror in the 1930s and 1940s. Despite periods of decline and dormancy, the Hammer name still means something to fans. Director Benjamin Field and an all-star cast of genre filmmakers chronicle the studio’s history and celebrate its eccentricities in Hammer: Heroes, Legends and Monsters (oddly, no Oxford comma), which releases today on BluRay from UK specialty retailers.

Will Hinds (who performed vaudeville under his stage name, Hammer) and Enriques Carreras founded Hammer Film Productions, but they never really got filmmaking the way their sons, Tony Hinds and Michael Carreras, did. For the record, most of the oddball genre detours were Michael’s doing (fault). However, the elder Carreras definitely understood business, negotiating better American deals than were available for more prestigious British productions.

Hammer’s big opportunity came in licensing a film version of The Quatermass Experiment, which had been a surprise hit for the BBC. They were subsequently pitched a Frankenstein screenplay that probably would have prompted a lawsuit from Universal, but they liked the idea enough to commission The Curse of Frankenstein, which was a huge hit, making stars of Peter Cushing and Chriostopher Lee. They followed it up with Horror of Dracula, featuring the same co-stars, garnering the same box office success.

Unlike many cinema history docs, Heroes, Legends and Monsters focuses more on the behind-the-scenes business trends and the contributions of below-the-line contributors, like makeup artist Phil Leakey and art director Bernard Robinson, who had a thrifty knack for reusing and repurposing old props and sets. Thanks to Robinson, Hammer could really stretch their budget, while maintaining their signature lush, gothic look.

Of course, most of the great stars of Hammer, such as Cushing, Lee, Andre Morrell, Shane Briant, and Oliver Reed are no longer with us. However, Martine Beswick (One Million Years B.C.), Caroline Munro (Dracula AD 1972), and Madeline Smith (The Vampire Lovers) discuss their work at Hammer (and the degree of nudity that was expected of them, during the late period of decline).

Indeed, the collected experts convincingly argue the turn towards cultural permissiveness was Hammer’s undoing, because they had developed such a knack for arguing, negotiating, and generally sneaking in suggestive material, which suddenly appeared tame compared to the genuinely explicit releases from their competitors.

The understanding of the economics of Hammer’s decisions helps differentiate Heroes, Legends and Monsters from its many predecessors. It also features many experts with serious genre cred, including John Carpenter, Tim Burton, John Landis, and Joe Dante (the latter two seem to mostly work as documentary talking heads these days, which is sort of a shame, but their enthusiasm for Hammer sounds genuine).