What are you watching? - 2025

Let’s Scare Jessica to Death (1971) - dir. John D. Hancock

Jessica has come with her husband Duncan, an upright bass player for the New York Philharmonic, and their hippie friend Woody to an apple farm upstate. Jessica, we learn, has recently left a mental health facility where she was for some unspecified reason, and they have left the city hopeful that the quiet of the country will help. But the locals seem pretty hostile when they arrive in Woody’s hearse with peace slogans painted on it. And there’s a young drifter, Emily, that they find squatting in the farmhouse.

Despite some rather clunky voice over narration from Jessica, the film maintains an air of mystery and unease. The question of Jessica’s sanity comes up frequently, so we are left in the hands of an unreliable narrator. The goings on in the house, and the town, are somewhat sketchy, and there’s a lot left for the viewer to puzzle out for themselves, or not. It definitely has more in common with, say, 1963’s The Haunting or 1962’s Carnival of Souls than Night of the Living Dead or Rosemary’s Baby.

This was a showing from the Blu-ray of the new 4K restoration. So the film looks great, but has not lost any of the grainy, lived in quality of films of that era. Zorha Lampert as Jessica looks like every mom I saw at every school function back in the 70’s. Indeed, most of the cast, even the obviously beautiful Mariclaire Costello as Emily, have de-glammed as much as possible. The people on screen look… ordinary. This contrasts with the escalating odd behavior, giving us a real sense of having overturned an ordinary log to see the rot and decay beneath the surface.

3.5 out of 5 rude old men who wouldn’t piss on a hippie if he was on fire.

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Also, Ntare Guma Mbaho Mwine is absolutely incredible. He steals the show and deserves any award the show might get.

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This short film is delightful:

I’m currently at 10lbs dumbbells in each hand for Romanian deadlifts, so this is inspiring!

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I carefully avoided reading even a single sentence of your review before catching the movie last night, which we enjoyed greatly. The humorous moments were def a welcome break, but I guess I didn’t think the main themes of alcoholism and neglect were hammered home too hard (which is rather funny in light of my own family history).

We greatly enjoyed it, and I am highly tempted to approach any group of friends with airplane arms from hereon in… just to see if they’ve seen it :smile:

Coming home from Weapons, we watched the first two epis of Alien: Earth, which gives several nods to the original movie — the dining scene in particular. Promising, but I’m bummed that each new episodes drops weekly. No binging! :frowning:

We also caught the latest Resident Alien episode. S4 is so much better than S3.

Body Double (1984) - dir. Brian DePalma

For most of his career, DePalma has looked back to one inspiration over and over: Hitchcock. Following fights with the ratings board after Dressed to Kill (his riff on Psycho) and Scarface over sex and violence, he resolved to make Body Double even MORE sexy and violent. This time taking inspiration from Rear Window, and most pointedly, Vertigo, we get a tale of Hollywood actor Jake (Craig Wasson), an actor whose claustrophobia costs him a part in a vampire horror movie, and returns home early to find his wife in bed with another man. At an audition, he’s offered a chance to house sit a super fancy modernist home in the hills by another actor and gladly accepts. Even better, there’s a lady across the canyon that engages in exhibitionism, and there’s a telescope all set up. Thus he gets drawn into a murder plot that ends up intersecting with the adult film world and star Holly Body (Melanie Griffith).

DePalma is really firing on all cylinders here. As the film opens, it appears to be a horror movie, complete with the blood-dripping font you’d see on every haunted house advertisement each fall. It’s gradually revealed that this is, in fact, part of a film within Body Double, and as the opening credits continue, they gradually fade from the goofy horror movie font to a more staid, authoritative font more appropriate to a psychological thriller or police procedural. DePalma tells the audience immediately “Do not believe what you see. Artifice is everywhere.” Later in the film, we get a transition to a ‘porn’ shoot (well, as ‘porn’ as you could manage for an ‘R’ rating in 1984) where it once again isn’t initially clear if this is part of the film or another ‘film within the film.’ It’s a long, unbroken take set to “Relax” by Frankie Goes To Hollywood, and is so much fun that it was used (with slight edits) as a music video for the song on MTV for years afterwards. DePalma also uses old Hitchcockian tricks like rear-projection for various driving scenes, emphasizing their obvious artificiality.

The performances are great, especially from Griffith. She makes what could have been a ‘bimbo’ role into a funny performance of a smart, confidant person who is constantly unerestimated by those around her. Wasson is quite good as Jake as well, but I couldn’t help but notice that he bears an unfortunate resemblance to Bill Mahr, a “comedian” whose smug, lazy ‘edginess’ makes him more obnoxious than Joe Rogan. That’s hardly Wasson’s fault, though.

This is a fun, sexy thriller that pulls off the trick of trying to be clever and actually succeeding. All the little details line up just so to give you 114 minutes of voyeurism, paranoia, and switchbacks all wrapped up in a delightful 80’s package.

4.5 out of 5 iconic L.A. locations including Tail o’ the Pup and Tower Records (RIP), and the Chemosphere house.

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I’m thrilled this gets another season to finish it off. It HAS been confirmed that this will be the last. I’ll have to wait 'til the end, I suspect, for it join the rest on Netflix. As a show, it’s fine enough, but Alan Tudyk is a joy to watch in just about anything.

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Joseph Rosendo is on a canal tour in Ottawa. It looks like a nice place!

We finally watched this yesterday (despite my reluctance — I had a pref for Magpie, which I guess is up next) & enjoyed it. Fun trickery indeed, and the Bernthal appearance was truly random.

Also finally got to watching the first two epis of Too Much, which I know peeps here are divided about, and which I expected to dislike.

I did not. Au contraire: I found the writing and dialog engaging, funny & smart. It’s evident Lena Dunham wrote the show, but then I also greatly enjoyed Girls — despite (or because?) its loathsome protagonists :woman_shrugging:t2:

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Cliches, bad dialog, lacklustre acting. I was bored and disappointed. Great special effects, but terrible storytelling. And (yes, I’m starting a sentence with and) that super scary predator dino at the end was possibly one of the derpiest and laughable monsters I’ve seen in a while.

I’d rather put up with the heat. 1 yawning star for the special effects. -5 for the rest of the movie.

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Netflix knew this one had my name all over it!

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I just finished watching the excellent 6 part series, Butterfly, with Daniel Dae Kim, on Amazon Prime. I was a little bummed about the ending though. They set it up for a second season, although it hasn’t been renewed.

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Shogun (FX) - really enjoying this!

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Hmmm. 3rd epi was testing my patience.

Chatty. Maybe a bit too chatty.

Finished Smoke. Looking forward to the next season.

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That was a batshit crazy finale :slightly_smiling_face:
I wasn’t crazy about the first few episodes, but it got better towards the end, thanks to great acting by Taron Egerton and Jurnee Smollett, as well as Ntare Mwine (who seems to be everywhere; Dexter, Washington Black, The Chi).

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He was incredible.

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My husband and I loved watching that Ed Sullivan documentary. In my opinion, the material would have fared better in the hands of a different filmmaker—the plodding pace didn’t do justice to the topic—but very interesting still.

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Cub Camp. Hulu. So good.