Addictions can have a detrimental effect not only on the individual, but also on the lives of their friends, family, and co-workers. It frequently leads to the end of marriages, the loss of friendships, and financial ruin, which in turn can lead to homelessness or incarceration. While alcohol, drugs, and sex are all powerful addictions, many experts argue that none compare to gambling in its ability to claim a person’s life.
Three-time Golden Globe winner, Colin Farrell (The Penguin), gives a compelling and captivating performance as Lord Doyle, who is in the midst of a downward spiral. Doyle is staying in an opulent hotel in Macau. He drinks expensive champagne, dines on lobster, and smokes cigars, all of which is being billed to his room, none of which he can afford. As he states at various times throughout the film, he needs just one big win. If he gets the victory he yearns for it will allow him to pay off his debts, and get his life back on track. Doyle’s game of choice is Baccarat.
Throughout his journey Doyle comes in contact with an assortment of interesting characters. Grandma (Deanie Ip), is a fellow Baccarat player, who is seemingly unbeatable. Adrian Lippett is a conman and high stakes gambler, played by BAFTA nominee, Alex Jennings (Unforgotten). He is the sort of person, who thinks nothing of rolling over on a friend, if it gets him out of trouble with the authorities. Blithe played by Oscar winner, Tilda Swinton (Michael Clayton), works for a private investigation firm. She is attempting to collect a large sum of money from Doyle that he owes to one of her firm’s clients. Dao Ming (Fala Chen), is a casino hostess and credit broker, who could possibly offer Doyle his last chance at redemption. Her character presents interesting ambiguity to the viewer. Is she a figment of Doyle’s imagination? Could she be a ghost that has the ability to interact with Doyle and steer him in the right direction? Perhaps Dao Ming is a real person, who against her better judgment is willing to take a chance on the validity of Doyle’s claim that he will do the right thing if he gets his one big win.
At its center, Ballad of a Small Player is a story of redemption. It is not, however, straight forward. Viewers will have to follow Doyle to the end of the film to find out what he decides to do based on whether or not he gets his big win. If he does win big, will he keep the money for himself, and forget his statements about paying back his debts and changing the course of his life? If he doesn’t win, will he move onto another location, where no one knows him, and once more amass huge hotel balances, and casino debt, in a pursuit of a monumental pay day which may never come? Those questions and more will be answered by the film’s conclusion.
Ballad of a Small Player was directed by four-time BAFTA winner, Edward Berger (All Quiet on the Western Front). The screenplay was written by BAFTA winner, Rowan Joffé (The Shooting of Thomas Hurndall), based on the novel of the same name written by Lawrence Osborne. On August 29, 2025 the film premiered at the Telluride Film Festival. Parts crime, drama, mystery, and thriller, the movie has a runtime of 101 minutes.
The cast as a whole was uniformly excellent, especially Farrell, who doesn’t allow the anxiety, degradation and desperation of his character to come across as cartoonish. The Macau setting is like another character in the film, and adds a layer of mystery that a commonly filmed local might lack. BAFTA and Oscar winner, Volker Bertelmann’s score effectively enhances what is transpiring on screen. Furthermore, Oscar winner James Friend’s (All Quiet on the Western Front) cinematography is oftentimes visually arresting and expertly captures the atmosphere and emotional tone of the film. As of the writing of this post Ballad of a Small Player is streaming on Netflix.
Given the title, you might be wondering why I didn’t post this in December. Simple reason is because I felt it was too somber, and I didn’t want to bring down anyone’s holiday merriment. Carol for Another Christmas is a take on Charles Dicken’s A Christmas Carol, but it is not a literal one. Viewers expecting the same redemptive story, which ends in a joyous, uplifting manner, when Scrooge repents his mean-spirited ways will be disappointed.
Daniel Grudge, portrayed by BAFTA nominee, Sterling Hayden (The Godfather) is a heart-broken, bitter, and angry man. He has never recovered from the loss of his twenty-two-year-old son, Marley, who was killed in battle during World War II, on Christmas Eve 1944. Grudge has taken an extreme isolationist position. He feels that any American involvement in foreign affairs, especially as it pertains to war, is something that should not be tolerated.
It is Christmas Eve, and Grudge is visited by his nephew, Fred, played by Emmy winner, Ben Gazzara (Run for your Life). Fred is not there for pleasantries or like in the Dicken’s classic to invite Grudge to his house for Christmas. Fred is upset with his uncle, for using his influence to cancel a cultural exchange program between the United States and Poland. It is a project that Fred’s university was sponsoring. The two get into a heated exchange. Fred exits the house, but not before offering his uncle a sarcastic Merry Christmas.
Throughout most of the remainder of the movie, Grudge is visited by three ghosts. The first is The Ghost of Christmas Past, a role acted by Emmy winner, Steve Lawrence (Steve and Eddy Celebrating Irving Berlin). The Ghost of Christmas Present (Pat Hingle) is next. Lastly, Oscar nominee, Robert Shaw (A Man for All Seasons) plays the Ghost of Christmas Future. The primary reason for the ghosts’ presence is not to confront Grudge about greed. They are there to bring to stark light the enumerable suffering that is caused to the victims of both the conflict of war, and what can happen when the collective good doesn’t intercede against those who seek to rule with an iron fist. Furthermore, the ghosts are in essence advocates for diplomacy. Even if the diplomacy starts with something like the cultural exchange program that Fred’s university wanted to implement.
In one particular powerful scene Grudge, and Lt. Gibson, the part of which is played by Oscar winner, Eva Marie Saint (On the Waterfront), are visiting the bombing site of Hiroshima. There they come across a field hospital run by an unnamed doctor, the character of whom is played by Golden Globe winner, James Shigeta (The Crimson Kimono). Grudge is touched when he hears female children singing. He asks the doctor if the girls’ children will suffer the effects of thermal radiation, but the doctor cuts him off. The doctor states that the girls’ faces were melted off because they looked up at the sky when the bomb detonated, and that they will never have children. If that weren’t sad enough Grudge gets to see the future, where a leader called the Imperial Me, portrayed by BAFTA and Golden Globe winner, Peter Sellers (Being There), rules over a portion of an apocalyptic world. It is a world where a person like Charles (Percy Rodrigues), attempts to advocate for diplomacy, understanding, and acting for the greater good with populations of other survivors only to be ignored and worse. Will the ghosts be able to sway Grudge’s heavy heart to see the errors of his ways in regard to isolationism?
Carol for Another Christmas was directed by Oscar winner, Joseph L. Mankiewicz (All About Eve). The teleplay was written by six-time Emmy winner, Rod Serling (The Twilight Zone), and, as aforementioned, inspired by Charles Dickens classic A Christmas Carol. It first aired on December 28, 1964 on ABC (American Broadcasting Company). Parts drama and fantasy the television movie has a runtime of 84 minutes.
Trivia buffs take note: Carol for Another Christmas was only intended to be shown once. In fact, after its original airing, it was not shown again until December 16, 2012, on TCM (Turner Classic Movies). Joseph L. Mankiewicz had never directed anything for television prior to the movie, and he never worked in television again after its completion. Two-time Golden Globe winner, Peter Fonda (Ulee’s Gold), who filmed scenes as Marley for the television movie, was edited out of the final production. Sterling Hayden was originally offered the role of Quint in Oscar winning director, Steven Spielberg’s Jaws. He had to turn the part down because of tax problems, which kept him from working in America at the time. The role went to his Carol for Another Christmas co-star Robert Shaw. Furthermore, Percy Rodrigues provided the voice-over narration for the original trailers to Jaws, Jaws 2, and Jaws 3-D.
This is the sort of television movie that can, and most likely will, cause mixed emotions. Certain viewers, probably many will find inspiration in the message that the ghosts are attempting to teach Drudge. There are other viewers, who while they might appreciate the message, might not like how it is delivered, feeling that the approach was too heavy-handed and dialogue driven. Unfortunately, regardless of how one might feel about the delivery of the message, the television movie is still relevant today, decades later.
I recommend this to those of you who like Serling’s work, especially fans of The Twilight Zone. As of the writing of this post, Carol for Another Christmas is streaming on HBO Max.
Miracle Mile is a film I came upon by happenstance. I had been watching several clips on YouTube, and left to go do something else. The next day, when I signed into YouTube, I came across the trailer for Miracle Mile in the homepage recommendations section of the website. Not only was it a film I had never seen, it was one that I had never heard about. I was surprised given the leads, both of whom I had watched in a number of other films and television series. Instead of checking each streaming service individually, I spoke the name of the film into the remote. Within seconds, it brought the title up on the screen, and I saw that it was available to watch on Tubi. I added it to my list, and this past Sunday afternoon, I watched it.
Harry Washello, portrayed by Emmy and Golden Globe winner, Anthony Edwards (ER) is a trombone player. When the film opens, he is spending the day at the La Brea Tar Pits. While there he spots a woman, Julie Peters, who he is immediately attracted to. The part of Julie is played by Oscar nominee, and Emmy winner, Mare Winningham (Georgia). Harry and Julie begin talking, and make plans to meet up later that evening. Unfortunately, Harry lays down to get some rest, and while sleeping there is a power outage, and his alarm never goes off. When he does eventually wake up, it is hours past the time he was supposed to meet up with Julie for their date. (As an aside: Thirty years after filming Miracle Mile, Edwards and Winningham, both divorced, began dating, and got married in 2021).
Having never gotten Julie’s phone number, Harry’s only option is to go to Johnie’s Coffee Shop, where she works. The Los Angeles diner is located at the corner of Wilshire Boulevard and Fairfax Avenue. Of course, Julie isn’t there, but there are a number of people who are. Viewers will more than likely recognize several of the patrons, such as Landa, the part of which is acted by Denise Crosby (Star Trek: The Next Generation). Furthermore, fans of the first three Terminator films, will know Earl Boen, who played Psychologist Dr. Peter Silberman. In addition, Robert DoQui, who acts the part of Fred the Cook, was Sgt. Reed in RoboCop. Although not a patron in the diner, fans of the Tarantino film Reservoir Dogs should get a kick out of Eddie Bunker, who portrayed Mr. Blue. In Miracle Mile he plays a gun toting, night watchman of a gas station that specializes in servicing taxis. (As an aside: Johnie’s Coffee Shop closed in 2000, but the location has been used for many other films, television shows, and music videos. For example, the movie Matchstick Men, and the television show Mad Men. On November 27, 2013, it was designated a historical landmark).
Harry gets Julie’s phone number from her co-worker (O-Lan Jones). With hope that is short lived, Harry calls to apologize and explain what happened. Julie doesn’t answer. About to walk away from the phone, it begins to ring. Harry picks it up. It’s not Julie, but instead it’s what at first seems like a rambling person. The man on the other end of the phone, who believes he has called his father, is warning about an imminent nuclear attack. The residents of Los Angles have approximately 70 minutes to evacuate before the missiles hit the city.
At first the people inside Johnie’s don’t believe Harry. But after Landa places a phone call that confirms the information, people begin to panic. Fred is headed for the airport, but not before loading his truck with canned goods. Anyone who wants to come with him, is welcome, but he’s not stopping for anyone. Harry can’t go with those from the diner, because it would mean leaving Julie behind. Compounding the problem is that Harry knows Julie won’t leave without her parents, Ivan (John Agar), and Lucy (Lou Hancock).
The remainder of the film becomes a race against time. Will Harry be able to get to Julie and leave Los Angeles, before the missiles hit, or will their potential love be reduced to one pleasant afternoon together?
Miracle Mile was written and directed by Steve De Jarnatt (The X-Files). It premiered at the Montréal World Film Festival on September 3, 1988. Theo van de Sande’s cinematography makes the Los Angeles neighborhood feel like another character in the film. He deftly captures the atmosphere of the night, which is awash with neon lights and shadows. Additionally, he focuses his lens on the architecture of the area’s buildings, highlighting the Art Deco style. Emmy nominee Paul Haslinger (Sleeper Cell) and Edgar Froese composed the score, which effortlessly imbues the perfect mood of each scene throughout the film. Part action, drama, and thriller, the movie has a runtime of 87 minutes.
The tension filled and suspenseful film never explains what instigated nuclear warfare. Most viewers probably won’t mind. The greater interest will pertain to if Harry and Julie survive.
Films like Miracle Mile are not often made these days. It’s subject matter was much more prevalent in the 1980s. I’m not sure if I’ll watch it again, but it held my interest for at least a one time viewing. I recommend the movie for fans of Edwards and Winningham.
There are certain films that I have watched over the years that I regularly revisit. That doesn’t mean I watch them every week, or month, but they’re films that I like having either a physical media copy of, or recorded on my DVR. For me, The Brothers McMullen is one of those movies. Perhaps it’s the family dynamic that I am attracted to. The obvious love the three brothers have for each other, without them being overly emotionally explicit. It could be the fact that it was filmed on Long Island, where I was born and raised. Regardless of the reason, I was pleased to learn, while listening to Ed Burns do media for his book A Kid from Marlboro Road, that a sequel to The Brothers McMullen was in production. On December 5, 2025, The Family McMullen began streaming on HBO Max.
Thanksgiving is a day that seemingly can bring families closer, or unfortunately tear them apart. Burns opts to concentrate his film on the former. Barry (Ed Burns) is hosting Thanksgiving dinner at his house in Brooklyn. His brother Patrick (Michael McGlone), due to marital difficulties that will be culminating in divorce, has moved in with him. Barry’s son Tommy (Pico Alexander) is in attendance. Arriving shortly will be Barry’s daughter Patty (Halston Sage), along with her boyfriend, Terrance Joseph (Bryan Fitzgerald). Molly portrayed by five-time Emmy nominee, Connie Britton (Friday Night Lights), Barry and Patrick’s sister-in-law, will also be attending.
Prior to the start of Thanksgiving dinner, Patty announces that she and Terrance Joseph are engaged. The news doesn’t sit well with Barry. Molly starts a topic of conversation which sets up the remainder of the film. She points out how young both Patty and Terrance Joseph are, and the fact that getting married that young, could lead to one partner cheating on the other. Molly is speaking from experience, because she and her husband Jack, got married young, and he did stray from the marriage.
Much to Patty’s surprise, Terrance Joseph proposes that he and Patty take a one month break in which they date other people. If at the conclusion of the month, they still feel the same about one another, then they will proceed with their plans. Patty is not enamored with the idea, but Terrance Joseph is insistent.
At its core The Family McMullen is about love. Love lost, love gained, second chances at what once was, or might have been had anything gone differently in the past. Tommy is adamant that he has never been in love, nor has he ever felt the butterflies that are associated with being with someone special. Could Karen (Juliana Canfield) change his mind? Does a chance encounter with his ex-girlfriend, Susan (Shari Albert), change the trajectory of Patrick’s gloomy outlook on life? How about Molly? Does the relationship she rekindles with a former co-worker, Walter, played by Grammy winner, Brian d’Arcy James (Into the Woods), lead her to where she should have been in the first place? Barry, through an unlikely coincidence also gets another shot at love with his ex, Nina, a role acted by Golden Globe winner, Tracee Ellis Ross (Black-ish). Will he make the most of it? And, what will happen with Patty and Terrance Joseph? Do they find their way back to one another, or go their separate ways? All of those questions will be answered by the conclusion of the film.
The Family McMullen was written and directed by Ed Burns. On October 15, 2025 the film was released in theaters for one day. As aforementioned, HBO Max released the film on December 5th. The drama has a runtime of 110 minutes.
For those of you reading this that were fans of The Brothers McMullen, then this should be a movie you thoroughly enjoy. In many ways, it recaptures the charm and heart of its predecessor. I also recommend this to viewers who have liked the majority of Ed Burns other films. Furthermore, I recommend this for fans of the cast, from relative newcomers like Halston Sage to veterans such as Connie Britton.
While I would have liked to have had a sequel much sooner, as well as a few other entries pertaining to the McMullen family, the movie didn’t disappoint. I found it a pleasure to watch. Furthermore, I greatly appreciated that at no point did it veer off into any kind of messaging political or otherwise.
The Hart family wrestling dynasty had its catalyst in 1946. After serving honorably in the Royal Canadian Navy during World War II, Stu Hart the patriarch of the family, began his wrestling career in what was then the New York territory. Later on, he would establish Stampede Wrestling, an iconic promotion based out of Calgary, Alberta. Stu and his wife Helen, would go on to have twelve children. Amongst them, two outstanding wrestlers would emerge: Bret Hart, who won multiple championships during his illustrious career, is considered by many wrestling analysts and peers to be one of the best the business has ever seen. The youngest of the Hart’s children, Owen, was also incredibly talented. In addition to winning various titles, he deservedly received a great many accolades for his in-ring performances. Tragically, an accident ended Owen’s life at thirty-four.
Nattie’s mother, Elizabeth, one of four Hart daughters, met and married Jim Neidhart. Prior to Neidhart entering the wrestling business, he set a California high school record in shot put in 1973. The record stood for over a decade. After graduating from high school, Neidhart practiced and played preseason games for the Dallas Cowboys and Oakland Raiders. During his time in WWE, he teamed up with his brother-in-law, Bret and was one half of the dynamic Hart Foundation tag team, which won the WWE Tag Team Championship twice, and are considered one of the best teams in sports entertainment history.
Nattie Neidhart was one of three daughters born to Jim and Elizabeth Neidhart. Jennifer and Kristen, Nattie’s sisters had no interest in pursuing a career in wrestling. When Nattie was old enough to start training to become a professional wrestler and she told her father her plans, he was less than enthralled.
His exact words to her were: “Nobody in our family has ever beaten the house.”
He didn’t discourage Nattie from wrestling, but he wanted her to be the first in the Hart family to get out of the business before she was either broke financially or broken physically.
In brief, pertaining to Nattie’s career, she has been working in professional wrestling for almost two decades. Nattie was the first female to ever train in the Dungeon, the hardcore Hart wrestling training facility. She is also one of only two women, along with Jamie Henwood to graduate from the program. Nattie is a former WWE Divas Champion and a WWE SmackDown Women’s Champion. Furthermore, she is also a one-time WWE Women’s Tag Team Champion with Tamina; the daughter of WWE Hall of Famer Jimmy Snuka.
The Last Hart Beating provides the reader with an honest look at the triumphs and tragedies of Nattie’s personal and professional life. If it were merely a recounting of her time in WWE, while I would have read it, and more than likely enjoyed reading it, I wouldn’t have bothered to review it. The autobiography, however, is the antithesis of such a book. It does delve into her in-ring life, but what should compel the reader, and certainly compelled me to keep reading one more chapter, was the information pertaining to her family life, both growing up, and the journey she has taken with her longtime partner and husband, TJ Wilson, former wrestler Tyson Kidd.
The reader will learn about Nattie’s deep, abiding love for her father, and how much his addiction to pain pills and alcohol affected her. While not a substance abuser, Nattie struggled early on with self-doubt, which led to her developing an eating disorder. To her credit, even though she didn’t feel she measured up in attractiveness to the other ladies in her profession, especially when she first entered the business, she knew she could work with anyone. Nattie had a relentless drive and determination to succeed. Early on in her career, regardless of whatever she was asked to do in the name of entertainment, she was a loyal team player. She felt, and rightfully so, that the more she went along with the plans WWE had for her in the beginning of her career, the more goodwill she could build up for the future. Her strategy paid off and over time helped Nattie to achieve meaningful career success.
The Last Hart Beating: From the Dungeon to WWE was published by BenBella Books in October of 2025. It is both candid and inspirational. Wrestling fans, especially those who have followed Nattie’s career, or those of the Hart family, should particularly enjoy the book. Women, especially young female athletes, who may be struggling with thoughts regarding their value, could take inspiration from Nattie’s autobiography. She never gave up on her dreams, and she encourages others to embrace their inner strength and persevere, no matter the odds.
Aggie Wiggs, portrayed by three time Emmy winner, Claire Danes (Homeland), has a severe case of writer’s block. At the start of the miniseries The Beast in Me, she is working on a book about the friendship between Supreme Court justices Antonin Scalia and Ruth Bader Ginsburg. Her work is going nowhere, much to the chagrin of her editor, Carol, played by Emmy nominee, Deirdre O’Connell (The Penguin). In addition to her career troubles, a tragedy that claimed the life of her son Cooper (Leonard Gerome), also helped to facilitate the end of her marriage to her wife, Shelly (Natalie Morales). As luck would have it, the Oyster Bay neighborhood in which Aggie resides, is about to get a new resident.
The exceptionally wealthy and powerful, Nile Jarvis, a role acted by two time BAFTA nominee and Emmy winner, Matthew Rhys (The Americans), has moved from Manhattan to Long Island. He didn’t make the transition for a change of scenery. Nile moved with his wife Nina, played by Brittany Snow (American Dreams), to escape the scandal surrounding the mystery of his first wife, Madison (Leila George). Although, based on the evidence that was discovered, the police have ruled Madison’s death a suicide, her body was never recovered. It has led to speculation by many, including FBI agent Brian Abbott (David Lyons), to believe that Nile killed Madison, and either he, or someone in his inner circle, disposed of the body.
Additional cast members include six-time Emmy nominee, Jonathan Banks (Better Call Saul), as Martin Jarvis. He is the patriarch of the Jarvis family, and a man who will go to great lengths to protect what he desires to be his enduring legacy. Tim Guinee plays Martin’s brother Rick. His actions are primarily motivated by his love for Martin, and ensuring that Martin’s legacy is safeguarded against scandal. Teddy Fenig (Bubba Weiler), is the person whom Aggie directs her wrath towards. She blames him for Cooper’s death. Councilwoman Olivia Benitez (Aleyse Shannon), is attempting to thwart Martin and Nile’s plans of the construction of Jarvis Yards. She is a staunch advocate for the land they are building on, to be used instead for the construction of affordable housing.
On the verge of being terminated by her publishing house, Aggie pitches the idea of writing a book about Nile Jarvis. Although the relationship was contentious in the beginning, on Aggies end, she thinks that she can get him to talk. Carol is euphoric about the idea. No one has gotten Nile Jarvis to issue more than a few sound bites proclaiming his innocence in regard to Madison. While the thought of a book doesn’t make his father happy, Nile couldn’t care less. A fan of Maggie’s previous work, he agrees to let her write the book.
What, if any, price will Aggie ultimately have to pay for such an opportunity? Who, if anyone else, will get hurt along the way? Was Madison’s death a suicide? If Nile is innocent, was someone attempting to frame him for her murder? All of those questions and more will be answered by the conclusion of the miniseries.
The Beast in Me was created by Gabe Rotter (The X-Files: I Want to Believe). Antonio Campos (The Staircase), directed four of the episodes, two episodes each were directed byLila Neugebauer (Sirens) and Tyne Rafaeli (Summer Breeze). Erika Sheffer (Little America), Mike Skerrett (Accused), three time Emmy winner Howard Gordon (Homeland), C.A. Johnson (The Passage), and Ali Liebegott (Love Life), are credited with contributing to the writing of the miniseries. Gabe Rotter and Daniel Pearle (American Crime Story), wrote the teleplays. Netflix released The Beast in Me on November 13, 2025. Parts drama, mystery and thriller, the episodes run between 41 and 54 minutes each.
From the start of the first episode to its conclusion I was invested. As others I have read have stated, I was also glad to see Claire Danes, who was excellent on Homeland, back in a role worthy of her talent. Furthermore, it was also good to see Matthew Rhys. I haven’t seen him in much since the final episode of The Americans. Jonathan Banks as always brings believability to his work.
For the most part viewers will be able to piece together exactly what happened. There were no shocking reveals, but I still found the miniseries as a whole entertaining to watch. I recommend it especially for fans of the cast.
There may be some of you who are reading this that might be wondering the following: Why didn’t I post this in October? The simple answer is that Halloween is never mentioned once during the animated special. It is only in the title. For those of you who are fans of the iconic How the Grinch Stole Christmas, please be aware, that Halloween is Grinch Night is not a sequel to the 1966 holiday favorite.
It is autumn in Whoville, and a sour-sweet wind is blowing. Josiah Who, voiced by Hal Smith (The Andy Griffith Show), is keenly aware of the wind, and wants his family to get indoors for the evening. The wind is a sign that Grinch Night is about to commence. On Mount Crumpit, the Grinch, voiced by Grammy nominee, Hans Conried (The Hobbit), is planning on paying a visit to Whoville to get up to mischief. The Grinch hitches his Paraphernalia Wagon to his dog Max, voiced by two-time Golden Globe nominee, Henry Gibson (Nashville). Unlike How the Grinch Stole Christmas, Max is not happy to be complicit in his master’s plans.
The Grinch Alarm Warden for Whoville, Sergeant Samuel McPherson, voiced by Jack DeLeon, is the last line of defense for Whoville. Throughout the night, he will keep the residents apprised of where the Grinch is. Despite the impending danger, Josiah’s grandson, Euchariah, voiced by Gary Shapiro, needs to use the bathroom. It is located in another building outside of the main house. Euchariah is told to come right back, but the sour sweet wind has other plans for him. The wind carries him away from Whoville to Mount Crumpet. The Grinch and Euchariah cross paths. The young Who, in an effort to save Whoville, attempts to stand up to the Grinch. In fact, he challenges the Grinch to scare him. At first dismissive of Euchariah, the Grinch accepts the challenge, and opens a door atop the Paraphernalia Wagon. Once inside, Euchariah enters a world where he encounters all sorts of monsters, many of whom have a distinctly psychedelic appearance. Will Euchariah be able to stop the Grinch and save Whoville?
Halloween is Grinch Night was directed by two-time Emmy winner, Gerard Baldwin (The Smurfs). Two-time Emmy winner, Dr. Seuss (How the Grinch Stole Christmas) wrote the animated special for television. On October 29, 1977, the special premiered on ABC (American Broadcasting Company). Parts comedy, family, fantasy, and musical, it has a runtime of twenty-five minutes.
Trivia buffs take note: Halloween is Grinch Night is the only ABC television special that was produced by Dr. Seuss Enterprises. The Howling Hackencracks make their first appearance in the animated special. Seuss would later use them again in the book Oh, the Places You’ll Go! In the Rankin / Bass animated version of The Hobbit, which was released the same year, actors Hans Conried and Jack DeLeon worked together. (As an aside: On a personal note, I can never hear Hans Conried’s voice and not think of Thorin from the 1977 animated film The Hobbit).
The animation for Halloween is Grinch Night has a good technical quality to it, especially given the time period in which it was released. The standout sequence as mentioned earlier was when Euchariah steps inside the Paraphernalia Wagon to be scared. Oscar nominee, and two-time Emmy winner, Joe Raposo (Sesame Street) wrote the songs and score for the special in collaboration with Dr. Seuss. The songs, per usual for a Dr. Seuess production are silly, but fun nonetheless, especially for children, and those young at heart. However, unlike How the Grinch Stole Christmas the songs in Halloween is Grinch Night don’t lend themselves to the same lasting impact.
The special should appeal to fans of Dr. Seuess. As of the writing of this post, Halloween is Grinch Night is available to stream on YouTube.
The teenager awakens from a fevered dream. He wipes the sweat off the brow of his forehead, and scans the surroundings of his bedroom, as he looks for familiar comforting sights. A second later, he places his hand over his chest to listen to the rapid beating of his heart. At least that’s how I envision it. Don Coscarelli was at that point several years away from directing his first film, Jim, the World’s Greatest (1976), but in that nightmare he had been given a gift; the germ of the idea for his third, and most enduring movie, Phantasm.
Would Phantasm ever have been made ifCoscarelli had never dreamt of running down endless marble corridors pursued by a deadly head hunter? He wasn’t being chased by a human. It was an otherworldly being whose weapon of choice was a sphere that had internal, retractable blades and a drill and moved through the air with speed. For horror fans the world over, the aforementioned question can remain speculative. In January of 1979 at the Avoriaz Fantastic Film Festival in France, Coscarelli’s film born of a nightmare had its premier.
According to an interview Coscarelli gave at the Big Bear Horror Film Festival in Big Bear Lake, California, he had the following to say as to why he wanted to make a movie that dealt with Phantasm’s themes:
“I had compunction to try to do something in the horror genre and I started thinking about how our culture handles death; it’s different than in other societies. We have this central figure of a mortician. He dresses in dark clothing, he lurks behind doors, they do procedures on the bodies we don’t know about. The whole embalming thing, if you ever do any research on it, is pretty freaky. It all culminates in this grand funerary service production. It’s strange stuff. It just seemed like it would be a great area in which to make a film.”
Coscarelli isolated himself for several weeks in a cabin at the mountains outside of Los Angeles while he worked on the script. His self-imposed isolation took place years before cell phones, laptops, iPads and other means of instant communication. It was just him and his notes and a typewriter. I can picture him sitting and staring at the front door to the cabin, morbid thoughts running through his mind. Did his contemplations encompass not only the afterlife and what, if anything, happens, but the various earthly materials of death that stare those of us who are still living in the face as we say our goodbyes to loved ones and friends? Did he think about the coffin that houses the body of the departed; the funeral parlor where remembrances are spoken and religious services are carried out; the pall bearers that lift the casket and carry it out to the hearse; the graveyard where the hearse stops to drop off the coffin? While he sat there and worked through his scenes both in his mind and on paper, did his brain play tricks on him? Did he sense a dangerous presence lurking in the nearby woods headed toward where he was? Did his own prolific imagination give way to the thought that at any second the door to the cabin would fly off of its hinges, revealing an alien undertaker from another world standing on the other side who had come to take him? Regardless, the end result was the production of an atmospheric horror film, replete with bizarre images, that also offers three dimensional characters, exudes foreboding, and provides an enigmatic antagonist in the character of the Tall Man, the part of which is completely embodied by Angus Scrimm (Phantasm II).
Debuting in America on March 28, 1979, the eighty-nine-minute horror and Sci-Fi film was made for an estimated $300,000 and went on to gross more than twelve million. Languidly dreamlike and poignantly haunting, the film is seen through the eyes of Michael (A. Michael Baldwin). He is a heartbroken and lonely adolescent. Instead of confronting the reality of the situation regarding the death of his parents, he re-directs his grief onto a mortuary worker, known as the Tall Man.
The Tall Man is not of our world, but a place where slave labor is the norm. His mission is to ensnare young men with the help of an enticing vixen (Kathy Lester) who lures men with the promise of sex, but ultimately is the catalyst which leads them to their demise. Death, however, is not the end of the torment; what comes after they die, is much worse. The victims, known as Lurkers, are crushed down to half their original size (never shown on screen), and given brown hooded robes to wear that make them look like the Jawas from the Star Wars universe. They are forced to work for the Tall Man, in an arid, hot, and rocky desert like dimension known as the Red Planet.
For an adult, a coffin, a graveyard, a mortician, all of the elements that comprise the industry of death, are taken as givens, no matter how much we may grieve. For Michael those things transcend their basic meanings. They serve as constant symbols of the loss of his parents at an age where he is not yet ready to face adult responsibilities. Instead of viewing them as regular objects and people, which serve a purpose or do a job, he sees them as a collective whole, as cogs in a battle between good and evil; a battle which he intends to win in order to right the wrong of the tragedy that, thanks to the nefarious master plan of the Tall Man, struck his family.
Michael begins to investigate the strange occurrences taking place at Morningside Funeral Home. To make matters worse, he tries in vain to convince his older brother, Jody (Bill Thornbury), of his findings, but is greeted only with skepticism. Jody is tired of being thrust into the role of parental guardian. He’s a young guy and is looking to leave town. The thought of yet more abandonment is terrifying to Michael. For example, in one scene, Michael is running in the background of the frame, chasing after Jody who is on a bike and from all appearances not that far away, certainly in calling distance. But instead of yelling out to his brother, Michael stops running and watches as Jody continues to get further away until he is completely gone. Is Coscarelli attempting to convey to the viewer that no matter how hard we try to hold onto the way things are, that change is inevitable. (As an aside, the actual mortuary used in the movie is located in Oakland, California and is a Victorian mansion known as the Dunsmuir-Hellman House which was built by Alexander Dunsmuir in 1899 as a wedding gift for his wife Josephine. In addition to the mortuary scenes, filming also took place in other locations of Southern California. A small scene was shot in Julian and the majority of the principal photography took place in the San Fernando Valley in Chatsworth during nights and weekends for approximately one year).
Throughout the film, I kept asking myself, is what I am seeing supposed to be real or a coping mechanism for Baldwin’s character? Michael is undeniably obsessed with the subject of death and it is understandable considering he just lost his parents. But is it his fears we are watching unfold from scene to scene or a genuine threat to society that has invaded small town America, in the presence of the Tall Man?
Michael risks his life, and is able to get proof which convinces Jody that real danger exists. In that moment, his fears are assuaged because he knows his older brother will not leave him, but instead stay to help. There is evil to vanquish and only together, along with help from their ice cream vending friend Reggie, played by Reggie Bannister, can they cause the destruction of the Tall Man. Regardless of the outcome, does Michael finally accept his life as it truly is?
Another aspect of the film that is noteworthy is the effective score. Composed by Fred Myrow and Malcolm Seagrave, it repeats throughout and serves to compliment what is transpiring on the screen. It is reminiscent, in a stylistic way, of John Carpenter’s composition for the original Halloween. The music is the blending of several instruments which provide a textured, multi-dimensional sound that lends a tone of foreboding to the movie.
Trivia buffs take note: Phantasm’s Turkish title Manyak, translates into the same name as the classic Alfred Hitchcock film Psycho. Standing at 6 feet 4 inches, actor Angus Scrimm lived up to his on-screen moniker, the Tall Man; yet to add to his persona, not only did he wear suits that were several times smaller to make him appear larger, but he also put on boots with lifts inside that added an additional three inches to his already imposing height. The film made Bravo’s list of the 100 Scariest Movie Moments, coming in at number twenty-five on the countdown. Five of the actors involved with Phantasm had appeared in one of Don Coscarelli’s previous two films: Jim, the World’s Greatest, and “Kenny & Company, (1976). One of the actors who Don Coscarelli worked with on his first film was Angus Scrimm, but at the time he went by the name of Rory Guy.
In closing, this is what Don Coscarelli had to say at the SXSW Film Festival about the possibility of a Phantasm remake:
“I am a Phantasm fan myself because after all these years, I now see these movies through the eyes of the fans, so it would be wonderful if we lived in a perfect world that a Phantasm remake would happen like that. But we just don’t, so the powers that be would just get whatever flavor of the month director they could to direct a Phantasm remake and then cast it with a bunch of kids from the CW network, and that’s just not the right approach. It’s a real slippery slope, which is why a remake hasn’t happened yet, but I think if the right opportunity arose, I’d be absolutely up for it.”
Last evening, I watched Good Boy. Indy is the canine protagonist of the film. I feel, at this year’s Academy Awards, he deserves to receive a special Oscar. I had read other reviewers express similar sentiments, which I didn’t know if I would agree with. Of course, I needed to first see the film, and now that I have, I completely agree with those who feel Indy should be recognized for his work. (As an aside: After the trailer for the film went viral, internet searches spiked. People wanted to know if something bad happens to Indy in the film. It got to the point, where the filmmakers had to issue a statement that Indy lives).
Indy is a Nova Scotia Duck Tolling Retriever. At the start of the atmospheric and suspenseful Good Boy, his owner Todd (Shane Jensen), is having a severe medical episode. Simultaneously, Indy sees a dark, figure in the apartment where they live, which causes him to become upset. Vera (Arielle Friedman), has been trying to reach Todd on his cell. She is Todd’s sister, and is very concerned about his health. Unable to reach Todd, she arrives at his apartment, in enough time to call an ambulance. Next, the scene shifts to a montage of Indy from the time he was a puppy. It shows how close he and Todd have become over the years. Wherever Todd is, that is where Indy wants to be. (As an aside: Good Boy took four hundred days over a three-year period to film).
When Todd returns home from the hospital, he decides that he needs a change. On a stormy evening, he packs up his things, and drives to his grandfather’s (Larry Fessenden), house that is located deep in the woods. Todd’s only neighbor, is Richard (Stuart Rudin). He warns Todd to keep Indy away from his property, because he has set up fox traps.
Vera is not happy to learn that Todd has moved into their grandfather’s house. She considers the place haunted. It might be an accurate statement. From the moment Todd and Indy move in strange things begin to occur. Todd’s behavior begins to go through a transformation, primarily because his medical condition does not seem to be improving. Indy not only sees a mysterious being lurking in the house, but also has visions of trauma that took place in the past involving Todd’s grandfather, and his dog, Bandit. (As an aside: The faces of the human actors were not shown until the final minutes of the film).
Good Boy is Ben Leonberg’s feature film directorial debut. The screenplay was written by Leonberg and Alex Cannon (Natural Causes). On March 8, 2025, the film premiered at the SXSW Film Festival. Parts horror and thriller, the movie has a runtime of 72 minutes. (As an aside: Indy is Leonberg’s dog).
In Good Boy, more often than not, events are implied or happen off screen. The film does, however, contain a few jump scares, some disturbing imagery, and moments of genuine tension. If you’re a person who has experienced the love of a dog, the movie will more than likely speak to you on a deeper level. The American humorist, Josh Billings, in his 1874 work, Everybody’s Friend, or; Josh Billing’s Encyclopedia and Proverbial Philosophy of Wit and Humor, coined the phrase “A dog is the only thing on earth that loves you more than he loves himself.” Indy certainly proves that statement out with the actions that he takes in the film. No matter what danger he has to face, nor obstacles that are put in his way, Indy is determined to see Todd through his exceptionally difficult time.
Good Boy utilizes a clever gimmick by having everything shown from Indy’s perspective. Given the film’s lean runtime, the gimmick doesn’t get tiresome. In particular, the film will appeal to animal lovers, especially people who love dogs. In Indy, you will find a brave, loyal dog, who you will root for.
Eddie Weinbauer, played by Marc Price (Family Ties), lives with his single, mother Angie (Elaine Joyce). He attends Lakeridge High School. The antithesis of popular, Eddie has only one friend, Roger (Glen Morgan). He isn’t a bad guy, nor is he strange, Eddie merely loves heavy metal music. It is something that doesn’t sit well with the school bullies, led by Tim, a role acted by Doug Savant (Desperate Housewives). Tim and his friend’s antics toward Eddie go beyond the usual taunts and teasing and encompass things that are both mortifying and dangerous.
The walls of Eddie’s bedroom are adorned with posters from various metal bands. His absolute favorite is Sammi Curr (Tony Fields). Eddie feels a special bond to Sammi, because he was a former student at Lakeridge. Like Eddie, Sammi was also considered an outcast during the time he was there. Sadly, for Eddie, a short while into the movie, he learns while watching the news, that Sammi has died in a fire.
Distraught, Eddie goes to the rock radio station he spends a good deal of time at. He is there to see Nuke portrayed by Rock and Roll Hall of Fame inductee, KISS co-founding member, bassist, Gene Simmons. Nuke, is aware of the love Eddie had for Sammi. He gives him a one-of-a-kind gift, the last record recorded by Sammi. (As an aside: Simmons isn’t the only rock star to appear in the film. Five-time Grammy winner, the late Ozzy Osbourne (I Don’t Want to Change the World), makes a cameo appearance as the Reverend Aaron Gilstrom).
Seemingly from the moment Eddie gets the record, strange things begin to occur. Eddie gains a new found sense of confidence, and for the first time, he begins to fight back against his tormentors. Furthermore, Leslie (Lisa Orgolini), a popular girl, tired of the way her friends have been treating Eddie, befriends him. Eddie believes that Sammi has embedded hidden messages in the record that Nuke gave him. The messages can be heard when Eddie plays the record backwards. At first Eddie revels in the feeling of empowerment he gets from his revenge against the bullies. When things begin to escalate to the point where he feels Leslie is in danger of becoming a victim, that is when Eddie decides it is time to stop listening to the record. Is Eddie’s grief getting the best of him causing him to have delusions, or is Sammi Curr, the deceased rock star contacting him from the beyond?
BAFTA nominee, Charles Martin Smith (Stone of Destiny), made his directorial debut with Trick or Treat. The screenplay was co-written by Michael S. Murphy (A Nightmare on Elm Street 2: Freddy’s Revenge), Joel Soisson (Feast), and Rhet Topham (Space Command), based on a story written by Topham. Well executed special effects, especially given the year the film came out, were created by BAFTA nominee, Kevin Yeagher (Sleepy Hollow). On October 24, 1986, the film was released to theaters in the United States. The horror movie has a runtime of 98 minutes.
Trivia buffs take note: Blackie Lawless, the lead singer of W.A.S.P., was offered the part of Sammi Curr, but opted to pass, because he didn’t like the script. The film is the only acting work that two-time Emmy nominee, Glen Morgan ever did. He went on to write fifteen episodes of The X-Files, as well as, create the Final Destination franchise along with six-time Emmy nominee, James Wong (American Horror Story), and valuable help from Jeffrey Reddick (Tamara). The band Fastway, which consisted of Motorhead guitarist Eddie Clarke, Pete Way of UFO, Dave King of Flogging Molly, and session drummer Jerry Shirley, wrote all of the songs heard in the film. Gene Simmons was offered the role of Sammi Curr, but turned it down. His agent, thinking Simmons was interested in the script, informed the filmmakers that Simmons would play the part of the disc jokey. Growing up Simmons idolized Wolfman Jack. Simmons decided to play the part as a tribute to the iconic radio disc jockey.
For those of you who are fans of 1980s horror and heavy metal, the film should hold your interest, at least for one-time viewing. Viewers of a certain age, who are fans of metal music will more than likely get a nostalgic flashback to the days of the PMRC (Parents Music Resource Center). The group was formed in 1985. Its primary function was to put warning labels on music to inform parents that the music was not appropriate for children. While it didn’t have much success at the box office, Trick or Treat has garnered a loyal following, since its release on VHS. On March 11, 2025, Synapse Films released a standard edition of the movie on 4K. In addition, on October 27, 2024, a limited edition was put out by the same company. As of the writing of this post, Trick or Treat is streaming on Screambox.
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