Halloween Kills: Video Review
/My review of Halloween Kills on The Cinephile with Michael McCaffrey.
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©2021
- Benjamin Purcell Morris
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My review of Halloween Kills on The Cinephile with Michael McCaffrey.
Thanks for watching!
©2021
****THIS IS A SPOILER FREE REVIEW!! THIS REVIEW CONTAINS ZERO SPOILERS!!****
My Rating: 2 out of 5 stars
Popcorn Rating: 2.25 out of 5 stars
My Recommendation: SKIP IT. A visually and narratively muddled disappointment of a movie that tries to be everything and ends up being nothing.
Us, written and directed by Jordan Peele, is a horror film that tells the story of the Wilson family who are hunted by their shadow dopplegangers while on vacation in Santa Cruz. The film stars Lupita Nyong’o, Winston Duke, Shahadi Wright Joseph and Evan Alex.
Jordan Peele’s last film, 2017’s Get Out, was a horror/comedy that was also a social commentary on race and white liberal guilt that made a remarkable 255 million dollars off of a 4.5 million dollar budget. The film was a cultural phenomenon and critical darling that besides making gobs of money also garnered Best Picture and Best Director Oscar nominations and actually won the award for Best Original Screenplay.
The context in which Get Out became a “thing” is important to remember though, as the #OscarsSoWhite hysteria was at a fever pitch at the time and Hollywood and the media were desperate for any artist, actor or director of color to succeed. Jordan Peele was at the right place at the right time with the right type of movie to become a symbol for all of those hungry for a cinematic savior of color.
When I saw Get Out my response was, “what is all the fuss about?” I was entirely underwhelmed by the film and thought it was at best a pedestrian work with a clever premise and political perspective with which I actually agreed. I also thought that critics were, ironically considering the film’s spot-on theme of White liberal guilt, over-hyping the film and Peele’s filmmaking skill due to a “woke” agenda where all things related to diversity are wonderful. It seemed obvious to me that the incessant and exuberant critical love for Jordan Peele and Get Out was a function of grading on a diversity curve as opposed to on merit, which as a cinephile I find grating and frankly unethical.
Which brings us to…well..Us… Jordan Peele’s follow up to Get Out. It might come as a surprise to some that despite my misgivings about Get Out, I was actually really excited to see Us. The reason for my anticipation was that the trailer is absolutely fantastic. The trailer makes the film look super creepy, scary and bursting with thematic and symbolic potential and possibilities. Add in the fact that it dealt with dopplegangers, which I equated to the Jungian concept of the shadow (which intrigues me as an amateur Jungian), and I am all in for Us. As proof of my excitement for the film, I actually went and saw it at a 10:30 AM screening on the Friday it opened.
Then the movie started and my excitement dissipated and diminished with every passing second that the film played until I was left completely bored and uninterested for the final hour of the nearly two-hour film. I was not the only one who was bored, as in my screening there were only four people, me and three Black men in their twenties or so, who came in individually and sat by themselves. The “phone check index” with Us was very high, as every single one of those men checked their phones at least ten times times throughout the screening.
The biggest problem with Us is that for a horror movie, it isn’t even remotely scary. There are no legitimate thrills or chills in this movie and there is a startling lack of tension.
Another problem is, much like Get Out, it is poorly shot and not very well-made. There are a lot of shots of darkness in the film, which is to be expected in a “horror” movie, but they are poorly executed and end up being little more than just a murky, dark screen. I know that sounds bizarre to the uninitiated, but there is a difference between darkness and a lack of light. “Darkness” is created by using lighting techniques to create a crisp contrast where you enhance the mood but maintain visual clarity and with it interest. For an example of cinematographic “darkness:, go watch The Favourite from last year and see how well they shoot with just a single candle as the lighting. On the other hand, “lack of light” is simply a lack of a light source and brings with it little to no visual structure and fails to create or enhance mood but only diminishes visual clarity and capacity.
In addition, how is it that the filmmakers couldn’t figure out that you need to light people with darker skin tones differently from lighter toned people when you shoot them in low light? Besides being exquisitely beautiful, Lupita Nyong’o is very dark skinned, so why wasn’t there any subtle light used to reflect off of her in the shots with lower light? Lighting her properly would not only make her visible to viewers but highlight her powerful performance and accentuate her exquisite bone structure and features (like was done in the photo to the left). By not lighting her effectively in the film, Nyong’o gets washed out by the faux darkness/lack of light, and even in the light Peele’s camera often loses the detail of her striking features. Maybe I am simply going blind or maybe the projector at my theatre was sub-par (I saw it at the Arclight, a high end theatre here in Los Angeles) or maybe the cinematographer, like cosmetic companies, doesn’t realize you need to light differently and use a different color palate to accommodate different skin tones. Again…maybe this is an issue with my vision or with the poor condition of America’s projectors, both of which are very distinct possibilities, but then again so is cinematic malpractice.
And finally, another problem with the film is that while the trailer presented an intriguing premise, the film’s narrative ends up expanding too broadly and in doing so dilutes any potential tension. Instead of making a focused and intimate film about just one family and their personal/familial shadow, Peele expands his thesis and by doing so neuters the film of all its power. The trailer had me thinking this film was sort of a crazy combination of The Shining, Straw Dogs and Cape Fear or something like that…all of which show families/couples under extreme pressure from relentless evil foes.
In narrative, thematic, symbolic, mythical and even political terms, Us is ultimately kind of a mess of a movie that feigns both artistic and popular entertainment pretensions whilst spoon-feeding its political/social message with such unsubtle and cringeworthy lines as '“We are Americans.”
Us is everywhere and nowhere all at once, and tries to be everything and ends up being nothing at all. Is the film about capitalism? Racism? Collective guilt? Collective shame? America’s shadow? The film is sort of about all of those things all at once and thus ends up not really being about any of them. The film lacks narrative cohesion, thematic coherence and dramatic compulsion and it never commands your attention.
On the bright side, the cast do the very best they can with the little they are given. Lupita Nyong’o, who plays the Winston family matriarch Adelaide, should be commended for picking the movie up and carrying it on her back. Nyong’o is a magnetic screen presence and it is impossible to take your eyes off of her, which is why it is so frustrating that she is so poorly shot and lit. Nyong’o gives her all but the film fails to live up to her strong work in it.
Winston Duke plays Adelaide’s husband Gabe, and is another top notch actor who is poorly served by the film. Duke is a charming presence but is terribly underused in Us, and his character often feels tonally out of place with the rest of the film.
The two younger actors, Shahadi Wright Joseph and Evan Alex, play the Wilson’s children Zora and Jason, give solid performances that get scuttled by the visual and narrative mess that is the movie.
In the lead up to Us’s release, the media has once again turned on the hype machine regarding Jordan Peele. There are some who are actually calling him the new Hitchcock, which is pretty stunning considering he’s only made two films and both of them are painfully mediocre. Trust me when I tell you that Jordan Peele is not the next Alfred Hitchcock…he isn’t even the next M. Night Shyamalan…at least not yet. Maybe Peele will grow into being a Hitchcock or will have a few more moderate hits then be exposed for being a cinematic fraud like Shyamalan…anything is possible…but the latter seems much more likely, especially after seeing Us.
The critical love for Us is transparently, blatantly and shamefully a result of a “woke” cultural agenda held by film critics which holds diversity and inclusion in much higher regard than it does the art of cinema. I get the excitement around Peele, I genuinely do, but at the end of the day there is simply no there there. Peele, much like his films Get Out and Us, is cinematic fool’s gold, and anyone holding him up as an a formidable auteur is going to be left looking very foolish…the ham-fisted attempts at making on-the-nose social statements in Us are proof of that.
I remember decades ago Nicholas Cage was revered as some sort of acting genius, like the second coming of Brando except funny. Well…I knew back then he was a fraud and no one listened…and history proved me right and exposed Mr. Cage’s artistic vacuity. I think the same will be true of Jordan Peele. And to be clear, I don’t dislike Jordan Peele and I don’t want him to fail, in fact he seems like a good guy and I wish him success because I want SOMEBODY…be it Peele or anybody else, to be the next Hitchcock or Kubrick or Altman or whomever because I love cinema and cinema needs great auteurs. I wish there were more great film makers in the world not less, but wishing doesn’t make it so, and all the film critics in the world wishing Peele’s movies were great doesn’t make them any better and it certainly doesn’t make him a great filmmaker.
The hype machine is doing Peele no favors either, at least not in the long run. Yes, it will drum up business…hell, the hype and the great trailer had me so excited to see Us I trudged out to the theatre on opening day and I was really hoping it was awesome. The problem though is that it wasn’t…and that is sort of a big problem. The critical hype around Peele can only last so long before audiences tune out or get angry. This is what happened to M. Night Shyamalan, whose early films were considerably more financially successful than Peele’s. Once the bloom came off the Shyamalan rose his career plummeted and he has been struggling for years to try and get his filmmaking head above Hollywood waters ever since.
On the review aggregator website Rotten Tomatoes, Us currently has a 95 critical score, which is extremely high. In contrast, the film has a 69 audience score, which in my eyes, and probably the eyes of the other audience members at my screening who would rather look at their phones than at Us, is a much more accurate assessment of the quality of the movie. It is striking that in the crazy world in which we now live, critics adore a supposedly crowd pleasing, populist piece of entertainment like Us much more than the crowd it is supposed to be pleasing. As previously stated, I think the critical love for this film and for Peele is mostly powered by the White liberal guilt of film critics, which means that while the film is not philosophically or politically insightful enough to be worthwhile viewing, the hype surrounding it and Jordan Peele is much more instructive and insightful about the world we live in than anything found in the film.
In conclusion, Us could have been a really fascinating movie, but it ends up being a terribly boring disappointment because it is so poorly written and executed. Us is too visually muddled, narratively incoherent and cinematically flaccid for me to recommend you see it in the theatre, but if you really do want to see it I say wait until it is on Netflix or cable and see it for free.
©2019
****THIS IS A SPOILER FREE REVIEW!! THIS REVIEW CONTAINS ZERO SPOILERS!!****
My Rating: 2.5 out of 5 stars Popcorn Curve Rating: 3.5 out of 5 stars
My Recommendation: SKIP IT/SEE IT. A decent but not great horror movie that boasts two strong performances. Worth seeing for free with MoviePass or on Netflix/cable if you have a chance but not worth paying full price at the theatre.
Hereditary, written and directed by Ari Aster, is the story of the Graham family who experience strange happenings in the wake of their reclusive grandmother's death. The film stars Toni Colette with supporting turns from Gabriel Byrne, Alex Wolff and Millie Shapiro.
Horror films are not usually my thing but the ones I find to be the best and the scariest, The Shining, The Exorcist and Rosemary's Baby all deal with existential threats from the spiritual/supernatural realm. Hereditary falls into the same type of horror film as those three classics, but while it is entertaining and has many quality elements, it fails to coalesce into a cinematic whole that lives up to the high standards of the unholy trinity of films mentioned above.
In execution, Hereditary falls short of being what I consider truly noteworthy cinema, but with that said, the subtext of the film is absolutely mesmerizing and for that reason alone I was glad I used my MoviePass to go see it. Hereditary, intentionally or unintentionally, is a metaphor for Trump's America (the lead character even says "I am the only one who can fix this") and an ominous warning for what lies ahead for us all…but more on that at another time.
Beyond the fascinating themes bubbling just under the surface of Hereditary, the film also boasts two exceptional horror film performances from Toni Colette and Alex Wolff.
Colette is stunning as Annie, the mother of the cursed Graham family. Watching her simultaneously be wrapped too tight yet also wildly unraveling is a disturbing pleasure. Colette's Annie is perpetually containing a deep and pulsating wound that at times manifests so powerfully it jumps out of her mouth and cruelly strikes the ones she loves. Colette's ability to vividly portray Annie's spiral downward and descent into shadow is a testament to her deft skill and enormous talent.
Alex Wolff also gives a powerful performance as the families teenage son Peter. There is a sequence, which is pivotal to the film, where the camera stays in close up on Wolff's face without cutting away for a very extended period of time. Wolff absolutely crushes this very difficult sequence, never once hitting the slightest of false notes. Director Avi Aster obviously knew the gem he had in Wolff, for he effectively uses him in numerous extended dramatic close ups and Wolff is seamless every time. Wolff is an impressive actor and his future is bright indeed.
Gabriel Byrne is one of my favorite actors and he plays Steve, the Graham family father. Years ago I had a transcendent experience sitting in the front row for Byrne's performance on Broadway in Eugene O'Neill's Moon for the Misbegotten. The staging of the play left Byrne about four feet from me for almost the entire second half of the production, and as he sat there weeping and wailing and emotionally contorting himself in all sorts of ungodly O'Neill-ian ways, I felt as if he was bringing to life my own tortured Irish sub-conscious. Byrne is an under appreciated actor and sadly, in Hereditary, Byrne is criminally underused, and for the life of me I cannot figure out why, as the film suffers because of it.
Milly Shapiro plays the Graham's odd daughter Charlie. There is something wrong with Charlie, she may be autistic, or mildly retarded or something along those lines. Shapiro does well to embody Charlie's discomfort with being in the world in the state she is in. Shapiro is also pretty fearless as she let's the filmmakers make her look as distorted and odd as possible, which benefits the film a great deal but couldn't have been easy.
Director Ari Aster and cinematographer Pawel Pogorzelski do solid work in using the camera to heighten tension and fear. Pogorzelski's use of shadow is particularly effective in raising the creepy factor throughout the film, and he also pulls off some unconventional camera maneuvers that work surprisingly well.
Pogorzelski's cinematography combined with Colin Stetson's music and the film's sound effectively set a very creepy mood and tone to the film. Stetson's music is particularly unsettling as just like the film's foreboding sub-text, it dramatically haunts from just below the viewers conscious attention.
Ari Aster is a much more polished director than he is a writer. I felt Aster, much like his lead character Annie, was unable to keep control of the film for the duration. As the story expands and becomes more unwieldy, Aster loses his grip on it and the film loses much of its power. But to Aster's credit, even though the ending feels a bit out of place in the context of the rest of the film, I did find it well conceived and executed.
As for the sub-textual themes that I found so engrossing and insightful for our time and for what lies ahead...I will write a separate piece about that this coming week because it would be much too difficult to get into it here without giving some spoilers away.
In conclusion, Hereditary is a decent horror movie but it falls well short of being a great film. While I was glad to see it, I was even happier that thanks to the joys of MoviePass, I didn't technically pay full price to see it. If you like horror films in general, definitely see Hereditary in the theatre, as you will most likely love it. If you are lukewarm on horror films (and don't have MoviePass), then you can wait to see it on cable of Netflix and not be any worse for wear.
©2018
Acting Coach & Teacher Westside Los Angeles
FILM
Dune: Part Two directed by Denis Villeneuve
The Zone of Interest directed by Jonathan Glazer
American Fiction directed by Cord Jefferson
Poor Things directed by Yorgos Lanthimos
The Holdovers directed by Alexander Payne
Anatomy of a Fall directed by Justine Trier
Ferrari directed by Michael Mann
The Boy and the Heron directed by Hiyao Miyazaki
Godzilla Minus One directed by Takashi Yamazaki
The Killer directed by David Fincher
The Roald Dahl Short Film Collection directed by Wes Anderson
No One Will Save You directed by Brian Duffield
Oppenheimer directed by Christopher Nolan
Spider-Man: Across the Spider-Verse
TV
Succession (HBO)
American Conspiracy: The Octopus Murders (TV)
Barbie (pod)
Killers of the Flower Moon (pod)
Monarch: Legacy of Monsters (pod)
Wes Anderson Roald Dahl Short Film Collection (pod)
Wes Anderson Roald Dahl Short Film Collection
Mission: Impossible - Dead Reckoning Part One (pod)
Mission: Impossible - Dead Reckoning Part One
Indiana Jones and the Dial of Destiny (pod)
Indiana Jones and the Dial of Destiny
Spider-Man: Across the Spider-Verse (pod)
Spider-Man: Across the Spider-Verse
The Mandalorian Season Three (TV)
TV Round Up - White Lotus/Black Bird/Slow Horses/Succession/The Mandalorian
History of the World Part II (tv)
Black Panther: Wakanda Forever (pod)
The Banshees of Inisherin (pod)
Black Panther: Wakanda Forever
Bardo, False Chronicle of a Handful of Truths
Glass Onion: A Knives Out Mystery (spoilers)
Glass Onion: A Knives Out Mystery (spoiler free)
Glass Onion: A Knives Out Mystery (pod)
Guillermo del Toro’s Pinocchio(pod)
Guillermo del Toro’s Pinocchio
All Quiet on the Western Front (pod)
All Quiet on the Western Front (2022)
Moment of Contact - Documentary
House of the Dragon - Current Fantasy TV Champion of the World
The Greatest Beer Run Ever (pod)
The Rings of Power Season One: Final Analysis
She-Hulk: Attorney at Law Season One - Final Analysis
TV Round Up: House of the Dragon, Rings of Power, She-Hulk and Andor
Thor: Love and Thunder and the State of the MCU(pod)
Obi-Wan Kenobi(TV)(first 3 eps)(final 3 eps)
Jurassic World: Dominion(review)/(Pod)
Dr. Strange in the Multiverse of Madness
Everything Everywhere All at Once
The Lost Daughter(pod)
Pam and Tommy(TV)
Peacemaker (Ep.1-3)/Peacemaker(finale)(TV)
Nightmare Alley(pod)
Everything’s Gonna Be All White(TV)
Ozark(TV)
Finch(pod)
Hawkeye(TV)
JFK Revisited: Through the Looking Glass
Succession(TV)
Dopesick(TV)
Ted Lasso Season Two(TV-pod)
Convergence: Courage in a Crisis
Y: The Last Man(TV)
Harry and Meghan: Escaping the Palace(TV)
Obama: In Pursuit of a More Perfect Union(TV)
The Prince(TV)
What If?(TV)
CODA(pod)
WandaVision/Winter Soldier/Loki(TV-pod)
No Sudden Move(pod)
We the People(TV)
Bo Burnham: Inside(pod)
Tenet(pod)
Exterminate All the Brutes (TV)
Coded Bias (TV)
Coming 2 America(pod)
Ted Lasso(TV-pod)
Crack: Cocaine, Corruption and Conspiracy
Recipe for Seduction(pod)
The Queen’s Gambit(TV-pod)
The Crown(TV)
Hope Frozen: A Quest to Live Twice
Spitting Image(TV)
Cursed(TV)
Monty Python’s The Life of Brian
Lance(TV)
The Last Samurai(pod)
The Social Network(pod)
Inception(pod)
John McTiernan Films(pod)
There Will Be Blood(pod)
Tinker Tailor Soldier Spy(pod)
Hell or High Water(pod)
Zodiac(pod)
Ex Machina(pod)
Contagion(pod)
Space Force(TV)
The Last Dance(TV)
Fleabag(TV)
The Amazing Jonathan Documentary
Once Upon a Time…in. Hollywood
The Last Black Man in San Francisco
Godzilla: King of the Monsters
The Inventor: Out for Blood in Silicon Valley
Spider-Man: Into the Spider-Verse
Don't Worry, He Won't Get Far on Foot
Jurassic World: Fallen Kingdom
Three Billboards Outside Ebbing, Missouri
War for the Planet of the Apes
Jason Bourne, Projecting the Shadow and the Technological Hunter : A Review and Commentary
Batman v. Superman : Dawn of Justice
A Very Pleasant Awakening : Thoughts on a Galaxy Far, Far Away
Birdman or (The Unexpected Virtue of Ignorance)
Derek & Orange is the New Black
W.A.P.O.G. Collection: Lee Daniel's The Butler
W.A.P.O.G. Collection: August: Osage County
LIVE MUSIC REVIEWS
La La Land : An Analysis - Political Subtext
Jason Bourne, Projecting the Shadow and the Technological Hunter : A Review and Commentary
The Big Short : A Review, a Diagnosis and a Warning
Sicario: A Review and Reports From Down the Rabbit Hole of the Drug War
Citizenfour : A Review and Random Thoughts
Knight of Cups : A Review and Dispatches From the Great Malick Civil War
The Birth of a Nation : A Review and Commentary
ACTING TECHNIQUE AND THEORY
Marlon Brando, The Big Bang and the Birth of Modern Acting
Stillness: Lessons from Redford, DeNiro and Penn
Al Pacino : Top 5 performances
Requiem for a Heavyweight: James Gandolfini
On Grief and Acting: Revelations from Hamlet in the April of my Discontent
Ethan Saylor and a Lack of Empathy Part One
St. Patrick's Day : The Five Best Irish Films
AWARDS NONSENSE
1st Annual Mickey Awards (2014)
2nd Annual Mickey Awards (2015)
3rd Annual Mickey Awards (2016)
4th Annual Mickey Awards (2017)
5th Annual Mickey Awards (2018)
6th Annual Mickey Awards (2019)
7th Annual Mickey Awards (2020)
8th Annual Mickey Awards (2021)
9th Annual Mickey Awards (2022)
10th Annual Mickey Awards (2023)
1st Slip-Me-A-Mickey Awards (2014)
2nd Slip-Me-A-Mickey Awards(2015)
3rd Slip-Me-A-Mickey Awards (2016)
4th Slip-Me-A-Mickey Awards (2017)
5th Slip-Me-A-Mickey Awards (2018)
6th Slip-Me-A-Mickey Awards (2019)
7th Slip-Me-A-Mickey Awards (2020)
8th Slip-Me-A-Mickey Awards (2021)
9th Slip-Me-A-Mickey Awards (2022)
10th Slip-Me-A-Mickey Awards (2023)
Must-See Documentaries
Can’t Get You Out of My Head directed by Adam Curtis
HyperNormalisation directed by Adam Curtis
Century of the Self directed by Adam Curtis
The Power of Nightmares directed by Adam Curtis
LOOKING CALIFORNIA AND FEELING MINNESOTA PODCAST
Season 1 - 2020
Ep. 2 - Marriage Story
Ep. 8 - Once Upon a Time in Hollywood
Ep. 9 - Portrait of a Lady on Fire
Ep. 11 - Coronavirus and Contagion
Ep. 14 - Hell or High Water
Ep. 15 - Tinker Tailor Soldier Spy
Season 2 - 2021
Ep. 35 - Promising Young Woman
Ep. 40 - Tenet and Nolan Films
Ep. 41 - Top 5 Alien/UFO Films
Ep. 42 - No Sudden Move and Top 5 Heist Movies
Ep. 43 - WandaVision/Falcon and Winter Soldier/Loki
Ep. 44 - Bo Burnham: Inside & The State of the Comedy Union
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Ep. 47 - Movie Streaming Recommendations
Ep. 50 - Eternals
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Season 3 - 2022
Ep. 57 - Spider-Man: No Way Home
Ep. 67 - Ozark Season 4 Part 2
Ep. 68 - Dr. Strange in the Mutiverse of Madness
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Ep. 72 - Thor: Love and Thunder and the State of the MCU
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Ep. 82 - All Quiet on the Western Front (2022)
Ep. 88 Guillermo del Toro’s Pinocchio
Ep. 89 - Glass Onion: A Knives Out Mystery
Season 4 - 2023
Ep. 94 - The Banshees of Inisherin
Ep. 95 - Oscars Wrap Up and Black Panther : Wakanda Forever
Ep. 98 - Ghosted
Ep. 99 - Air (pod)
Ep. 100 Part One - Streaming Movie Recommendations
Ep. 100 Part Two - Streaming Movie Recommendations
Ep. 101 - Spider-Man: Across the Spider-Verse
Ep. 103 - Indiana Jones and the Dial of Destiny
Ep. 104 - Mission: Impossible - Dead Reckoning Part One
Ep. 106 Ted lasso Season Three
Ep. 107 - No One Will Save You
Ep. 108 - Wes Anderson’s Roald Dahl Short Films
Ep. 109 - Monarch: Legacy of Monsters
Ep. 115 - Killers of the Flower Moon
CULTURAL CRITICISM
Truth, Justice and the Curious Case of Chris Kyle
Russiagate: Puzzlements and Lost Causes
The Tragedy of Charlottesville and the Age of Identity
John Oliver - Shameless Establishment Shill
Election 2016 : Random Dispatches From the Shitshow
Election 2016 Post-Mortem : Crossing the Rubicon and Chickens Coming Home to Roost
Election 2016 Aftermath : A Practical Handbook to Survive and Thrive in the Era of Trump
PROPAGANDA WATCH
November 2023 Propaganda Report - More 60 Minutes
Propaganda Watch: Ireland Edition
This Week in Propaganda: 60 Minutes Edition
BLOG POSTS
2024
10th Annual Slip-Me-A-Mickey Awards
Revisiting Killers of the Flower Moon
2023
This Week in Propaganda: 60 Minutes Edition
Wes Anderson’s Roald Dahl Short Film Collection
Ahsoka (TV)
Encounters (TV) - UFO Documentary
Winning Time (TV)
Jury Duty (TV)
Mission: Impossible - Dead Reckoning Part One
Indiana Jones and the Dial of Destiny
Spider-Man: Across the Spider-Verse
Barry (TV)
Succession (TV)
Adventures in Idiocy - Dylan Mulvaney, Max and Monty Python
The Mandalorian - Season Three (TV)
TV Round Up (White Lotus/Black Bird/Slow Horses/Succession/The Mandalorian)
The Last of Us (TV)
Mel Brooks’ History of the World Part II
9th Annual Slip-Me-A-Mickey Awards
Black Panther: Wakanda Forever
Bardo, False Chronicle of a Handful of Truths
2022
Guillermo del Toro’s Pinocchio
All Quiet on the Western Front (2022) - Review and Commentary
House of the Dragon Season One - Final Analysis
The Rings of Power Season One: Final Analysis
She-Hulk: Attorney at Law Season One - Final Analysis
The Greatest Beer Run Ever - Review and Commentary
TV Round Up: House of the Dragon, Rings of Power, She-Hulk and Andor
The Rings of Power: Amazon’s Weaponization of Tolkien and Tokens
The Last Movie Stars documentary
House of the Dragon - Episode One
She-Hulk: Attorney at Law - Episode One
Obi-Wan Kenobi: The Final Verdict
Dr. Strange in the Multiverse of Madness
Everything Everywhere All at Once
Come and See (1985) and the War in Ukraine
Everything’s Gonna Be All White
The Book of Boba Fett and the Future of Star Wars
2021
Out of the Shadows: The Man Behind the Steele Dossier
Convergence: Courage in a Crisis
The Russians are Coming…to Space!
Harry and Meghan Lifetime Movie
The Woke Wet Dream of ‘What If…?’
Numbnuts Chris Evans Goes Full Captain America
Obama: In Pursuit of a More Perfect Union
They Are Us and the Tragedy Trap
Tarantino’s Pact with the Weinstein Devil
Pentagon UFO Report Viewer’s Guide
In the Heights Box Office Bomb
Riz Ahmed and Muslim Under-Representation
Anne Boleyn and Color Conscious Casting
The Father and the MSM’s Dementia Simulation Machine
A Decaying Culture Diminishes the Value of Life
Harry, Meghan and the Royal Reality TV Show
China’s Rules for Performers are a perfect Fit for Hollywood
Keira, Knightley, Sex Scenes and the Male Gaze
Biden Inauguration Performances
Crack: Cocaine, Corruption and Conspiracy
2020
Top Ten Virtue Signalers of 2020
Midnight Sky is the End of George Clooney’s World
Chadwick Boseman and Ma Rainey’s Black Bottom
The Woke War on Parents and Family
Mank is a Tale of Old Hollywood - and of our Corrupted Modern Age
The Media Lie…Even About Peppa Pig
Hillbilly Elegy and the Culture War Clash
The Crown is a Mirror of American Politics
Biden Has Defeated Trump - Meet the New Boss…Same as the Old Boss
Trump’s Minority Support Sends the Woke Over the Edge
Chris Pratt in Cancel Culture Crosshairs
Disney’s New Content Warning and the Woke Slippery Slope
Jessica Chastain, The 355 and the CIA-Hollywood Alliance
Critical Race Theory in Kindergarten
UNpregnant - Review and Commentary
Cuties - Review and Commentary
Academy Awards Diversity and Inclusion Rules
Sexual taboos on tv are crumbling just as new taboos around speech are being erected
Spitting Image, BoJo’s Penis and Fear of a Black Puppet
The Crown just cast an Australian to play Princess Diana!
The Pentagon and China’s Propaganda Wars
Cursed, Netflix’s Girl Power Infused Re-Telling of the King Arthur Legend
The Woke Philistines taking Over Hollywood Hate White Men More Than They Love Cinema
A Not-So-Expert Opinion on our Future With the Coronavirus
Horny Women of the World Unite! Don’t Let Woke Puritans Cancel the Steamy Netflix Movie 365 Days!
Mr. Jones is a Timely Reminder of the Cowardice of Our Current Press
Just When You Thought Celebrities Couldn’t Get Any Worse, the ‘I Take Responsibility’ Video Comes Out
Racism is Now Gone With the Wind
Comedians Must never Apologize if Comedy is to Survive in the Age of Cancel Culture
Space Force Crashes on the Comedy Launch Pad, but Still Manages to Accomplish its Propaganda Mission
‘Hoaxed’ Exposes the Mainstream Media’s Bias…and Its Own
Mike Tyson’s Comeback is a Perfect Example of America’s Delusional Culture
Be Like Mike? Unlike Michael Jordan, The Last Dance is Anything but Great
Covid-19 is Deadly, but it Will never Kill the Relentless Stupidity of Wokeness
UFC 249 is Cancelled. Can We Now Direct Our Bloodlust at the Elites Who Deserve It?
What to Watch: TV Suggestions to Pass the Time
Coronavirus: Thoughts and Musings
Lost Opportunities and Dastardly Deeds in the Age of Coronavirus
Coronavirus Will Eventually Get Better But America Never Will
Hollywood and the Economic Time Bomb of Coronavirus
The Official Coronavirus Quarantine Viewer’s Guide
Good Riddance to Harvey Weinstein, A Repugnant Pig Who Brutalized Both Women and Cinema
Trump, Parasite and the 2020 Election
La Resistance est Mort! The Cesars, L’affaire Polanski and the #MeToo Virus
Birds of Prey Hates Men, but Wants Their Money - No Wonder It’s Bombing at the Box Office
Do You Believe in Miracles? Parasite Wins Best Picture
The Super Bowl Halftime Shitstravaganza
You’re Welcome World! Academy Awards Courageously Save Earth From Global Warming
It’s a Miracle…Hollywood Finds Religion!
Hollywood’s Arrogant and Ignorant Pandering to Chinese Audiences
Formula Still Works: Jojo Rabbit and the Holocaust
The Tedious Woke Outrage Over Oscar Nominations
1917 Dazzles the Eye but Fails to Stir the Soul
Feminist Fleabag and Woke Critics
2019
Knives Out Sharpens the Blade of Anti-White Racism
Woke Hollywood Gets Burned By Charlie’s Angels Box Office Bomb
Martin Scorsese Top Five Films
Game of Thrones Predicted the Zealotry of Extinction Rebellion Eco-Fanatics
Patron Saint of Incels? Woke Outrage Over Joker is a Bad Joke
Anecdotal Observations on Elizabeth Warren
Thoughts and Musings: Featuring Fredo, Bed Bug, Lady Kicker and More
Celebriphilia Epidemic Sweeps US: We Look Now to the Stars for Guidance
Angry Americans, Shark Attacks and Synchronicity II
Quentin Tarantino Films Ranked Worst to First
Propaganda and the Delusion of Wokeness
Women’s Soccer, pay Equality and Pandering
Movie Subscription Services and Box Office Booms and Busts
Meathead Beats the Dead Horse of Collusion
The Emotionalist Buffoonery of Charles Blow
Brief Thoughts Before the End of Game of Thrones
Undead Army of the Woke Will Make Sure Game of Thrones is the Last Show of Its Kind
Game of Thrones: The Battle of Winterfell and the Fog of War
United Sheep of America: Assange, Fascism and Liberal Hypocrisy
Russiagate: Puzzlements and Lost Causes
Jussie Smollett’s Hate Crime Hoax Exposes America’s Shocking Skepticism Shortage
Toxic Femininity: ‘Badass’ US Women Demand Right to Torture and Kill for Empire…Just Like Men
Beating the Dead Horse of Grammy Award’s Racism
2018
Bush, Bertolucci and a Requiem for Truth
2018 Mid-Terms: The Good, The Bad, The Ugly
Serena Williams and Her Basket of Deplorables
Burt Reynolds and the End of the Movie Star
The Existential Catholic Crisis
The Awful File: Oscars, Millennials, Brie Larson and More
Thar He Blows: Charles Blow Has a Question...I have an Answer
Shots Fired - James Gunn Part Two
Disturbing Dispatches From "Real America"
American Animals, Anthony Bourdain and Late Stage American Empire
Song of Experience in A Quiet Place
The Farcical Fury Over the White House Correspondence Dinner
Morgan Freeman and the #MeToo Whispers
Next Stop - Speculation Station: Syria and Scott Pruitt Edition
I Told You So: Conor Lamb Edition
A Wrinkle in Time, Film Criticism and White Liberal Paternalism
Thoughts on the Academy Awards
#MeToo: It's Not Broke, but You Can See the Cracks
Queen Oprah: Pope of the Cult of Personality
A Week of Holes: A$$holes, Sh*tholes and Rabbit Holes
Some Brief Thoughts on the Golden Globes
2017
Perversion and the Religion of Self
He Who Laughs Last - Edward S. Herman Edition
The Death of Edward S. Herman and the Death Knell for Liberalism in America
Sex Scandals and the Phases of a Panic
While We Were Sleeping...The Dogs of War Awoke
JFK and the Media: The House Always Wins
JFK and the Conspiracy Conundrum
The Media Hates Conspiracy Theories…Except When They Don't
Eternal Darkness of the Artist's Mind
Mayweather, McGregor and the Heart of Darkness
Deconstructing Criticism of Oliver Stone's "The Putin Interviews"
The Whitewashing Controversy Part Two: A Response
Caesar Americanus : Trump, Shakespeare and the American Illiterati
Greg Gianforte, Punching Nazis and the Absence of Moral Authority
JOE McCARTHY WAS RIGHT!! Shocking Revelations From a Manchurian Op-Ed Writer
Curious George and the Banana Republic
Through the Looking Glass : Truth and Lies in Week One of 2017
Theatre of the Absurd : Road to Damascus Edition
Meryl Streep, Character and Moral Authority
TWIB : This Week in Bullshit (Feb 17- 24)
President Trump : A Viewer's Guide
Raping Truth : Brando, Butter and Last Tango in Paris
#OscarsSoWhite: Don't Believe the Hype?
The Way of the Gun: Meditations on America and Guns
OP-EDS
2022
Everything’s Gonna Be All White
The Book of Boba Fett and the Future of Star Wars
2021
Out of the Shadows: The Man Behind the Steele Dossier
Convergence: Courage in a Crisis
The Russians are Coming…to Space!
Harry and Meghan - Lifetime Movie
The Woke Wet Dream of ‘What If…?’
In the Same Breath Docdumentary
Numbnuts Chris Evans Goes Full Captain America
Obama: In Pursuit of a More Perfect Union
They Are Us and the Tragedy Trap
Tarantino’s Pact with the Weinstein Devil
Pentagon UFO Report Viewer’s Guide
In the Heights Box Office Bomb
In the Heights and the Woke Albatross
Riz Ahmed and Muslim Under-Representation
Anne Boleyn and Color Conscious Casting
The Father and the MSM’s Dementia Simulation Machine
A Decaying Culture Diminishes the Culture of Life
Harry, Meghan and the Royal Reality TV Show
China’s Rules for Performers are a Perfect Fit for Hollywood
Keira Knightley, Sex Scenes and the Male Gaze
Biden Inauguration Performances
Crack: Cocaine, Corruption and Conspiracy
2020
Top Ten Virtue Signalers of 2020
Midnight Sky is the End of George Clooney’s World
Chadwick Boseman and Ma Rainey’s Black Bottom
The Woke War on Parents and Family
Mank is a Tale of Old Hollywood - and of our Corrupted Modern Age
The Media Lie…Even About Peppa Pig
Hillbilly Elegy and the Culture War Clash
The Crown is a Mirror of American Politics
Biden Defeats Trump - Meet the New Boss…Same as the Old Boss
Trump’s Minority Support Sends Woke Poseurs Over the Edge
What Killed Michael Brown? Review
Chris Pratt in Cancel Culture Crosshairs
Disney’s New Content Warning and the Woke Slippery Slope
Jessica Chastain, The 355 and the CIA-Hollywood Alliance
Critical Race Theory in Kindergarten
UNpregnant - Review and Commentary
Cuties - Review and Commentary
Academy Awards Diversity and Inclusion Rules
Sexual taboos on tv crumble just as taboos around speech are erected
Spitting Image, BoJo’s Penis and Fear of a Black Puppet
The Crown just cast an Australian to play Princess Diana!
The Pentagon and China’s Propaganda Wars
Cursed, Netflix’s Girl Power Infused Re-Telling of the King Arthur Legend
The Woke Philistines taking Over Hollywood Hate White Men More Than They Love Cinema
Horny Women of the World Unite! Don’t Let Woke Puritans Cancel the Steamy Netflix Movie 365 Days!
Mr. Jones is a Timely Reminder of the Cowardice of Our Current Press
Just When You Thought Celebrities Couldn’t Get Any Worse, the ‘I Take Responsibility’ Video Comes Out
Racism is Now Gone With the Wind
Comedians Must never Apologize if Comedy is to Survive in the Age of Cancel Culture
Space Force Crashes on the Comedy Launch Pad, but Still Manages to Accomplish its Propaganda Mission
‘Hoaxed’ Exposes the Mainstream Media’s Bias…and Its Own
Mike Tyson’s Comeback is a Perfect Example of America’s Delusional Culture
Be Like Mike? Unlike Michael Jordan, The Last Dance is Anything but Great
Covid-19 is Deadly, but it Will Never Kill the Relentless Stupidity of Wokeness
UFC 249 is Cancelled. Can We Now Direct Our Bloodlust at the Elites Who Deserve It?
Coronavirus Will Eventually Get Better But America Never Will
Hollywood and the Economic Time Bomb of Coronavirus
The Official Coronavirus Quarantine Viewer’s Guide
Good Riddance to Harvey Weinstein, A Repugnant Pig Who Brutalized Both Women and Cinema
Trump, Parasite and the 2020 Election
La Resistance est Mort! The Cesars, L’affaire Polanski and the #MeToo Virus
Birds of Prey Hates Men, but Wants Their Money - No Wonder It’s Bombing at the Box Office
Do You Believe in Miracles? Parasite Wins Best Picture
You’re Welcome World! Academy Awards Courageously Save Earth From Global Warming
It’s a Miracle…Hollywood Finds Religion!
Hollywood’s Arrogant and Ignorant Pandering to Chinese Audiences
Formula Still Works: Jojo Rabbit and the Holocaust
The Tedious Woke Outrage Over Oscar Nominations
1917 Dazzles the Eye but Fails to Stir the Soul
Feminist Fleabag and Woke Critics
2019
Knives Out Sharpens the Blade of Anti-White Racism
Woke Hollywood Gets Burned By Charlie’s Angels Box Office Bomb
Game of Thrones Predicted the Zealotry of Extinction Rebellion Eco-Fanatics
Patron Saint of Incels? Woke Outrage Over Joker is a Bad Joke
Celebriphilia Epidemic Sweeps US: We Look Now to the Stars for Guidance
Meathead Beats the Dead Horse of Collusion
Undead Army of the Woke Will Make Sure Game of Thrones is the Last Show of Its Kind
Jussie Smollett’s Hate Crime Hoax Exposes America’s Shocking Skepticism Shortage
Toxic Femininity: ‘Badass’ US Women Demand Right to Torture and Kill for Empire…Just Like Men
2018
A Curious Case of Mystery Attacks, Microwave Weapons and Media Manipulation
In a Fit of Anti-Trump Pique, Liberals Shamelessly Embrace 'Deep State' Criminals
Guardians of the Galaxy Defeated by the Most Fearsome Super-Villain of All...Political Correctness
Captain America v Trump in Battle of the Useful Idiots
Hollywood's Self=Serving and Misguided Immigration Protests
Trump is Deadpool and We're All Doomed
Kanye Tweets He Loves Trump, Civilization on Brink
Hollywood's Malicious Propaganda Dehumanizes All Russians
The Pentagon and Hollywood's Successful and Deadly Propaganda Alliance
Profiles in PC Courage: Brave Millennials Attack 'Friends'
Echoes of Totalitarianism in #MeToo and Russia-Gate
2017
#MeToo Wildfire Rages Out of Control
Has Fear of Putin Seized Hollywood?
Stephen Colbert Heads For Russia Looking For Laughs; He'd Find Better Material at Home
What's Eating Gilbert Grape? Trump, That's What!
Trump - Griffin Scandal Underscores American Celebrity-Obsessed Culture
Suffering Children as Propaganda and the Jimmy Kimmel Story
Colbert Attacks Trump, Was it Homophobic? Hysterical? Or Both?
Oscars and Grammy Racism : Perception or Reality?
La La Land is Hollywood's Version of "Make America great Again"
Buzz Lightyear Claims Hollywood is Nazi Germany, Captain America to the Rescue?
John Oliver - Shameless Establishment Shill
Snoop Dogg Barks Up The Wrong Tree
Express Yourself? Madonna Don't Preach!!
Goodbye Ringling Brothers, Hello Cirque du Trump and Media Clownshow
JOHN OLIVER
The John Oliver Twist 1 : Court Jester as Propaganda Tool
The John Oliver Twist 2 : The Drumpf Affair and Little Bill Maher's Power Fetish
The John Oliver Twist 3 : Waxing Brazilian and Waning Credibility
The John Oliver Twist 4 : Out Trumping Trump on the Great Wall of Trump
John Oliver Twist 5 : Things Said and Unsaid
GENERAL
Irishness, Cultural Memory and the Curse of St. Patrick's Day
BOOKS
1984 by George Orwell
Animal Farm by George Orwell
Dreamland by Sam Quinones
Dopesick: Dealers, Doctors, and the Drug Company that Addicted America by Beth Macy
Pain Killer: An Empire of Deceit and the Origin of America’s Opioid Epidemic by Barry Meier
American Overdose: The Opioid Tragedy in Three Acts by Chris McGreal
Dignity: Seeking Respect in Back Row America by Chris Arnade
Hillbilly Elegy by JD Vance
Chaos: Charles Manson, the CIA and the Secret History of the 60’s by Tom O’Neill
War and Peace by Leo Tolstoy
Fathers and Sons by Ivan Turgenev
Diary of a Superfluous Man by Ivan Turgenev
Laurus by Eugene Vodolazkin
The Duel by Anton Chekhov
Ward No. 6 by Anton Chekhov
The Bishop by Anton Chekhov
The Black Monk by Anton Chekhov
The Overcoat by Nikolai Gogol
Dead Souls by Nikolai Gogol
Projecting the Shadow : The Cyborg Hero in American Film by Janice Hocker Rushing and Thomas S. Frentz
Re-Membering Frankenstein : Healing the Monster in Every Man by G.H. Ellis
Man and His Symbols edited by C.G. Jung
Modern Man in Search of a Soul by C.G. Jung
Under Saturn's Shadow : The Wounding and Healing of Men by James Hollis
Open Veins of Latin America by Eduardo Galeano
Kill the Messenger by Nick Schou
Dark Alliance : The CIA, The Contras, and the Crack Cocaine Explosion by Gary Webb
Whiteout : The CIA, Drugs and the Press by Alexander Cockburn & Jeffrey St. Clair
Boundaries of the Soul by June Singer
Jungian Psychology Unplugged: My Life as an Elephant by Daryl Sharp
Merton's Palace of Nowhere by James Finley
SHE: Understanding Feminine Psychology by Robert A. Johnson
HE: Understanding Masculine Psychology by Robert A. Johnson
The Problem of the Puer Aeternus by Marie-Louis Von Franz
Ego and Archetype by Edward Edinger
Scapegoat Complex: Toward a Mythology of Shadow and Guilt by Sylvia Brinton Perera
The Death of Ivan Ilyich by Leo Tolstoy
MUSIC
Centennial Collection by Robert Johnson
The Anthology, 1947-1972 by Muddy Waters
L.A. Woman by the Doors
Hendrix in the West by The Jimi Hendrix Experience
Born Under a Bad Sign by Albert King
Burglar by Freddie King
Indianola Mississippi Seeds by B.B. King
Rhythm & Blues by Buddy Guy
The Complete Recordings by Mississippi John Hurt
Trouble in Mind by Big Bill Broonzy
His Best : The Chess 50th Anniversary Collection by Howlin' Wolf
Traveler by Chris Stapleton
The Nashville Sound by Jason Isbell and the 400 Unit
A Sailor’s Guide to Earth by Sturgill Simpson
A/B by Kaleo
Blue Train by John Coltrane
Yardbird Suite: The Ultimate Charlie Parker by Charlie Parker
Body and Soul by Coleman Hawkins
Go! by Dexter Gordon
Beauty is a Rare Thing : The Complete Atlantic Recordings by Ornette Coleman
Incesticide by Nirvana
Purple by Stone Temple Pilots
Mingus Ah Um by Charlie Mingus
Rearviewmirror by Pearl Jam
Badmotorfinger by Soundgarden
Dirt by Alice in Chains
Brown and Roach by Clifford Brown and Max Roach
Moanin' by Art Blakey and the Jazz Messengers
Somethin' Else by Cannonball Adderley
Superfly (Deluxe Edition) by Curtis Mayfield
Astral Weeks by Van Morrison
Sea Change by Beck
Signs by Tedeschi Trucks Band
Walking the Line: The Legendary Sun Recordings by Johnny Cash
Misterioso by Thelonious Monk
Tenor Madness by Sonny Rollins
The Sky is Crying by Stevie Ray Vaughan and Double Trouble
Me and Mr. Johnson by Eric Clapton
The Story of Sonny Boy Slim by Gary Clark Jr.
Bootleg Series Vol. 8 : Tell Tale Signs by Bob Dylan
Sketches For My Sweetheart The Drunk by Jeff Buckley
Harvest by Neil Young
Email: mpmacting@yahoo.com