With RADIOACTIVE: THE WOMEN OF THREE MILE ISLAND, Heidi Hutner, a Stony Brook University professor, takes us on a narrative journey into the past, present, and future, exploring the tales of secrets that have been silenced for far too long. This stirring saga of resilience and bravery emerges after the Three Mile Island nuclear disaster. Hutner doesn't just present facts; she shows personal stories, scientific inquiry, and a flair for cinematic storytelling.

If you follow my socials or read enough of my reviews, you’ll know that Western and Martial Arts films are probably two of my least favorite genres. As the 1980s ended, a film emerged that infused the Western genre with a much-needed vitality. YOUNG GUNS, under the direction of Christopher Cain and written by John Fusco, took a bold stride in reinterpreting the infamous story of Billy The Kid and his gang. This film skillfully blends historical elements with a “modern” cinematic approach, creating a distinct and engaging experience that breathes new life into the classic Western narrative. The Western genre has continued to evolve partly due to this film, resulting in a wave of neo-Western cinema that I think are some of the best films of the year when released.

Examine the murky waters of the supernatural; BRING HER TO ME emerges as a unique title in Full Moon’s horror genre. Director Brooks Davis weaves an erotically charged narrative with a chilling, bizarre twist. The story tracks the journey of Mara, portrayed by Bec Doyle, as she's entangled in a web of demonic nightmares. Supporting characters Raziel (Kalond Irlanda) and Abigail (Roslyn Gentle) add depth to this murky tale, blurring the lines between dreams and reality, culminating in a climax that is as unexpected as gratifying.

Amid the heart of Los Angeles, BROTHERS IN ARMS examines a captivating narrative of two brothers, each taking a different path in the wake of a life-altering childhood event. The film, under Jordan Charles’ direction, captures the essence of their emotional journey, leading to an intense and inevitable reunion. As one brother upholds the law and the other delves into criminal activities, their story is a testament to the profound effects of life’s choices.

Let’s tour Dunder Mifflin through THE OFFICE: COMPLETE CHRISTMAS COLLECTION. I was immediately immersed in a holiday-themed comic spectacle. I’ve seen all of these episodes (multiple times), and it still felt magical and made me want to start rewatching the series again immediately. This seven-episode compilation seamlessly blends the absurdities of office life with the festive season’s cheer. From the chaotic gift exchanges in "Christmas Party" to the peculiar celebration in "Dwight Christmas," the collection serves as a humorous yet touching portrayal of the everyday life in this dysfunctional office.

THE FALL OF AKO CASTLE is a samurai narrative that breaks the mold. Kinji Fukasaku’s direction turns a historical tale into a riveting cinematic experience, blending deep ethical explorations with a visual treat for the eyes. This isn't just another samurai movie; it's a layered tapestry of loyalty, ethics, and survival.

Zac Locke’s SANTA ISN’T REAL is a holiday horror that flips the script on festive cheer, transforming the beloved Santa Claus into a figure of terror. From its opening scene to the climactic finale, it explores a Christmas nightmare a Santa gone wild brought to life. It’s a concoction of suspense and horror that veers sharply from the usual holiday film fare. This festive film follows Locke’s first feature film, FLOAT, which I enjoyed.

Walter Hill takes us on an urban adventure in THE WARRIORS, a film that plunges into the chaotic underground world of New York City. Here, the usual norms are flipped on their head, with gang factions reigning supreme. This high-octane narrative puts "The Warriors" in the spotlight, a group wrongfully accused and forced to navigate a dangerous cityscape. Hill delivers a story that constantly keeps viewers on their toes, blending dark undertones with surprising elements of humor and heart.

This may be my favorite new yearly Halloween watch! (yes I realize it’s December, but going forward!) Tuning into the HEBGB TV experience is like opening a treasure chest from the 80s/90s, filled with horror, whimsy, and nostalgia. Released in 2022, this film takes viewers on a journey far from the typical path of most horror anthologies. Directors Eric Griffin, Adam Lenhart, and Jake Mcclellan craft a delight that transforms an ordinary evening into an extraordinary one for two siblings. The opening news segment sets the tone, immersing viewers in a world reminiscent of vintage television but with a demonic twist.

Welcome to the Midwest (in my case, specifically Illinois); in WE LIVE HERE: THE MIDWEST, viewers embark on a journey that blends the preconceived ideas of what this part of the country looks like and explores the lives of LGBTQIA+ families in America's heartland. Director Melinda Maerker gathered a collection of stories that are as enlightening as they are heartwarming, marking a significant achievement in documentary filmmaking. This isn't just a tale of overcoming adversity; it's an ode to the enduring power of resilience and love.

When the holiday season rolls around, there's nothing like settling in with a new holiday-themed film. You know the drill—cozy, heartwarming, and often a tad predictable. But now and then, a holiday movie adds a dash of spice to the traditional recipe. Enter CHRISTMAS WITH JERKS, a holiday rom-com that's a little more than meets the eye. Writer/Director and lead Leanna Adams makes this her project; get ready for a cinematic sleigh ride filled with humor, unexpected twists, and just the correct dose of holiday fun.

In indie cinema, ALWAYS, LOLA emerges as a gem, not just for its poignant narrative but for the way it deftly navigates the intricate interplay of friendship and grief. Directed by Jeffrey Crane Graham, this film draws us into its world with a blend of raw emotion and remarkable performances, all achieved within the confines of a modest budget. I was immediately immersed in a story that felt both intensely personal and universally resonant. I can’t quite describe the emotions this film made me feel, but you know I’ll do my best!

In CANDY CANE LANE, Eddie Murphy plays Chris Carver, a suburban father whose main holiday focus is to reign supreme in the local Christmas decoration contest. However, his journey veers into the world of the extraordinary when a deal with Pepper (Jillian Bell), a crafty elf, unleashes a series of magical “events” straight out of the "12 Days of Christmas." This enchantment not only upends this quiet town but also thrusts Chris, his wife Carol (Tracee Ellis Ross), and their children into a spirited quest to undo the magic and restore their cherished holiday traditions.

Writer/Director F.C. Rabbath concocts a unique blend of comedy, drama, and supernatural elements in THE WAITING, stepping away from the usual ghost story conventions. The film chronicles Eric (Nick Leali,) a heartbroken man whose life takes an unexpected turn when he begins working at The Lodge and becomes fascinated with the enigmatic room 101. This narrative intertwines various genres, keeping viewers engrossed and guessing at every turn. To be entirely fair, we’ve seen this story before, but Rabbath takes the story and adds a unique zest to it that I wasn’t expecting.

When you enter the world of RAGING GRACE, you embark on a journey that is as much about horror as the human spirit. Writer/Director Paris Zarcilla crafts a narrative that is more than just a simple scare; it explores survival through the lens of an immigrant experience in the UK. The story, exploring the turbulent lives of Joy (Max Eigenmann) and her daughter Grace (Jaeden Paige Boadilla,) is an emotional rollercoaster that grips your heart and doesn't let go.

Step back in time with THE LAST TYCOON, Elia Kazan's loving tribute to Hollywood's golden era. Anchored by Robert De Niro's dynamic portrayal of Monroe Stahr, a studio chief inspired by the legendary Irving Thalberg of MGM, this film is a cinematic excursion through the highs and lows of movie-making. Drama, romance, and political intrigue intertwine, offering a rare peek behind Hollywood's glitzy façade.

WHITE RIVER feels like entering a realm where the essence of erotic drama merges with the intricacies of art-house filmmaking. Set against the global pandemic, the film transports us to Yanjiao, a locale mere moments away from Beijing. The story zooms in on Yang Fan, played by Yuan Tian, who portrays a compelling mix of stoicism and charisma. What begins as a narrative steeped in everyday life swiftly transforms into a saga rich in emotional and sexual complexities.

Authenticity and emotional grounding are what create the world of HOW I LEARNED TO FLY. In your introduction to the film, you're in for a narrative that's as much about the heart as it is about the art of cinema. It's a film that looks deep into the soul, exploring the lives of Daniel (Marcus Scribner) and Eli Davis (Lonnie Chavis) with performances that make every scene resonate with emotion. Director Simon Steuri brings a personal touch that adds depth, making this film a viewing experience and a journey.

Linda Olte's SISTERS is a heart-wrenching exploration of resilience and belonging against Latvia's war-torn backdrop. This compelling drama pulls us into the lives of Anastasija (Emma Skirmante) and Diana (Gerda Aljena,) two sisters on the brink of life-altering moments. Olte weaves a narrative that's both deeply personal and resonant with universal themes, making SISTERS a film that doesn't just tug at your heartstrings but also stirs your soul. This is one of those films that even if you didn’t read the subtitles or understand Latvian, you could still understand and appreciate the story you’re seeing; it’s a visual journey as much as anything.

VALMONT, directed by Miloš Forman, is like opening a book of lavish illustrations, each page revealing a deeper layer of narrative complexity and character depth. This film isn't just a journey through the corridors of power in 18th-century France; it's a sophisticated exploration of the human psyche, draped in the finery of a period drama but pulsing with contemporary resonance. The film is meant to make you uncomfortable and does so in stunning fashion.

Let’s explore the alternate reality world of EMMAGEDDON, directed by Ryan Moore; the film is like embarking on a journey that reshapes the superhero genre. At the core of this cinematic odyssey is Emily, embodied by Bre Mueck, who navigates the day-to-day routine of her coffee shop job while pursuing her screenwriting passion. The story unfolds with Emily crafting a character, Emma, whose life closely mirrors her own, yet with a twist – her secret life as the superhero Emmageddon. This multi-dimensional narrative is as thought-provoking as it is entertaining, blending real-life dilemmas with fantastical elements.

Andrea Eckerbom's TEDDY'S CHRISTMAS, a journey into a snow-kissed, quaint town, unfolds like a classic Christmas card come to life. It's a visual and emotional exploration that blends the simplicity of a bygone era's Christmas with the deep-seated essence of family connections. The film, steeped in a festive atmosphere, brings the old-world charm of traditional markets, classic fashion, and heartfelt gifting to the fore.

David Hebrero’s EVERYONE WILL BURN takes us on a trip to the small village of Leon, Spain, where the grief of a mother, María José, played by Macarena Gómez, intertwines with the mysterious and supernatural. This setting is further enriched by the arrival of Lucia, portrayed by Sofía García. The movie is rich in mystery and intrigue and promises a captivating exploration of loss and the unknown. The film's visuals make for one of its most vital elements, sometimes carrying the movie as the audience becomes immersed in the world on screen.

Tyler MacIntyre's IT’S A WONDERFUL KNIFE blends the cozy, twinkling lights of the holiday season with the on-the-edge-of-your-seat suspense of a horror. The film revolves around Winnie Carruthers, a character whose depth and complexity are masterfully portrayed by Jane Widdop. Winnie's life takes a turn after a Christmas Eve incident with a murderer, plunging her into a whirlwind year that ends with a desperate wish. This wish sends her spiraling into an alternate reality, upending not just her life but the lives of those around her.

In LOOP TRACK, Tom Sainsbury takes us on a suspense-filled journey into New Zealand's majestic Waitākere Ranges. This isn't your average walk in the woods – it's a gripping tale in which we get to join Ian, played by Sainsbury, whose search for tranquility turns into a fight for survival. The film intertwines psychological thriller elements with the adrenaline-pumping suspense of a slasher, making each scene a thrilling escalation in a story as unpredictable as it is engaging. I found the entire experience very genuine; the time taken to build up the world these characters inhibit was well worth the payoff!

Welcome to the realm of horror through a childhood lens; my initial viewing of this film was as a rental of a local video store shelf on VHS. This early exposure piqued my love for this film, which would stay with me for decades. THE MONSTER SQUAD is a film that mixes the innocence of youth with the charisma of horror classics, creating a memorable imprint on my movie-watching experience. Maybe it's partial nostalgia, but this is the best I’ve ever seen this film; this transfer is beautiful; it feels like you’re watching an actual film for its entire run.

Prepare yourself when you get thrown into the world of SILENT NIGHT; it is a genuinely emotional ride. I was ready for an adrenaline-pumping experience, and the film didn’t disappoint. John Woo has crafted a narrative that's action-packed and uniquely examines a heartbreaking story. Joel Kinnaman, known for his intense roles, slips into the character of a devastated father with a vengeance at his core, delivering a performance that’s as physically commanding as it is emotionally charged.

THE CARPETBAGGERS, an adaptation of Harold Robbins' novel, transports us to another period of thrills and decadence. At the forefront is the ambitious Jonas Cord Jr., a character George Peppard embodies with depth. Cord Jr. inherits a business empire and a complex past following his father's demise. The film is more than a historical narrative; it’s an emotional saga of power, ambition, and the personal costs of success.

SALVATION! is a vibrant journey back to the pulsating heart of the 1980s, a decade known for its exuberance and excesses. Under Beth B’s bold direction, the film emerges as a vivid satire that cleverly critiques the era while celebrating its unique style. With a backdrop of eclectic music and cultural motifs, it's like a dance through time with a critical eye. Satire connects with me at such a core level, especially when it's done with such a straight face like this. I don’t think I had ever seen a film by Beth B before this year, and I’ve now seen quite a few thanks to various restoration projects. These films, while almost all unique, all have such powerful messages.

HOMICIDE HILLS effortlessly examines a narrative that's as much about solving crimes as it is about finding laughter in the least expected places, the perfect mix of comedy, crime, and satire all come together. Caroline Peters shines as Sophie Haas, whose journey from urban detective to rural problem-solver engages and allows the series to be just as relatable. With its light-hearted humor seamlessly integrated into suspenseful plotlines, the series offers a refreshing deviation from the typical crime drama.

DARK WINDS embarks on a narrative journey that is both enlightening and engaging. Set in Monument Valley's stark yet beautiful landscapes in 1971, this series invites us into the lives of two Navajo police officers, Joe Leaphorn (Zahn McClarnon) and Jim Chee (Kiowa Gordon.) Their path through a complex labyrinth of crimes interweaves past and present, creating a storyline that is as rich in cultural insights as it is in suspense. Crafted by Graham Roland and supported by visionaries like Robert Redford and George R. R. Martin, DARK WINDS is a bold step forward in television storytelling, blending the intrigue of a crime drama with profound cultural narratives.

BARBARELLA is more than just a flashback to the past; it's a voyage through a visionary realm directed by Roger Vadim. This gem from 1968, featuring the inimitable Jane Fonda as the eponymous heroine, is an exhilarating exploration of self-discovery set against the backdrop of a future where Earth symbolizes peace. The journey that unfolds is a vibrant tapestry of the 1960s' counterculture and sexual liberation, presented in a way that's both visually stunning and narratively engaging.

It's rare to encounter a piece of cinema that genuinely reshapes an actor's career trajectory. LE COMBAT DANS L'ILE does just that for Romy Schneider, marking a definitive turn from her German roots to the French cinematic landscape. Alain Cavalier's 1961 film is a carefully crafted narrative that weaves together the intricate threads of personal and political drama, striking a harmonious balance between the two.

As we explore the eerie depths of the horror genre, SCREAM QUEEN offers up a surprise starring role of the icon herself, Linnea Quigley, a beacon in the horror genre. Resurrected by Visual Vengeance, this film offers both long-time enthusiasts and new viewers a chance to experience Quigley's dramatic prowess. A well-known name in the world of horror, Quigley takes on the role of Malicia Tombs as we follow her story through a maze of on-set conflicts and sinister twists; SCREAM QUEEN is as much an ode to horror nostalgia as it is a showcase of thrills. The meta aspect of the film shines bright as this sub-genre horror film style has become even more popular in the present day.

In THE WRONG DOOR, Ted Farrell, a sound design student, finds his ordinary life upended by a series of eerie and unexpected events. Donning a jester costume for a part-time job, Ted inadvertently becomes entangled in a sinister murder mystery. This fusion of everyday life with a dark, twisting plot sets the stage for a film as captivating as it is unpredictable. This is what indie horror filmmaking is all about; this film planted so many seeds that inspired some modern-day horror films. Sure, it’s rough around the edges, but it's fun, original, and entertaining. It's another hit for Visual Vengeance!

In TREMORS II: AFTERSHOCKS, the essence of the original is still there, albeit with a twist in theme and execution. Directed by S.S. Wilson and supported by the original creative duo, Ron Underwood and Brent Maddock, the sequel brings us back to the dangerous realm of Graboids, but with an evolutionary curveball. This challenges returning characters and introduces us to new faces in this monster-laden adventure.

SHERYL emerges as a bold narrative that blends the harsh realities of modern society with the allure of a dark fantasy. This film, written and directed by Justin Best, steps away from conventional horror-thriller tropes, presenting a thought-provoking and visually striking journey. It explores the life of Sheryl (Anthea Neri Best,) a character caught in the relentless pursuit of physical perfection, leading her down an increasingly bloody path. This exploration of beauty standards and self-identity marks a significant departure from traditional horror narratives, delving into the realm of dark comedy with a purpose. It's a cinematic journey that challenges the viewer to question the lengths one might go in the quest for perfection.

In PIANOFORTE, director Jakub Piątek shifts gears from his previous works of fiction to the gripping reality of the International Chopin Piano Competition. Set against the historical backdrop of Warsaw, the film transcends a mere technical showcase of skill, delving deep into the emotional and psychological experiences of the participating pianists. It's an insightful journey into their quest for excellence, filled with personal highs and lows, showcasing their musical prowess and human vulnerabilities. As a sports fan, this was right up there with any sporting competition I could imagine; the anticipation and anxiety were incredible.

ALIEN OUTLAW (see THE DARK POWER KINO CULT #3 for his first film) is a daring venture into uncharted cinematic territory. Director Phil Smoot crafts an indie film that deftly blends crew members into on-screen roles, creating a unique fusion of behind-the-scenes and on-camera talent. Front and center is Jesse Jamison (Kari Anderson,) whose seamless transition from the world of dance to the rugged terrain of acting is a feat in itself. The film further enriches its narrative by including Western film legends Lash La Rue and Sunset Carson, melding traditional Western charm with a new, unexplored dimension.

In his directorial debut, Phil Smoot introduces us to THE DARK POWER (see ALIEN OUTLAW KINO CULT #2 for his follow-up film,) a unique fusion of horror and absurdity with a distinct twist. The film, set against some unsettling backdrop, combines the story of college students, a cryptic Toltec curse, and a series of spine-tingling events. Smoot's blend of supernatural occurrences and insightful social commentary offers an intriguing, albeit somewhat uneven, viewing experience.

So, full transparency, I’ve been a Rolling Stones fan for most of my life; this fandom was handed down to me by my dad, who I’ve gone with four times to see the Stones perform live in concert. When I tell you that this documentary offers something for everyone, I mean it. I watched it with my dad, and we both learned things. We both consider ourselves pretty big fans. While we both knew of Brian Jones and his legacy with The Stones, there was so much more that we only had surface-level knowledge of. With THE STONES AND BRIAN JONES, Nick Broomfield does more than chronicle a musical era; he breathes life into it. This film is an intricate exploration of the 60s music scene, anchored by the story of Brian Jones, who was pivotal in elevating the Rolling Stones to legendary status. It's not just a retrospective; it's a journey into the very heartbeat of rock history.

So, how do you rate or criticize a film that is so self-aware of itself that it’s named BAD CGI GATOR? That was my challenge today, and then some. When starting this film, we are immediately struck by the film's unique blend of humor and the raw, unrefined charm of B-movies. Full Moon Features takes us on a journey to the swamps of Georgia during Spring Break, where a group of college graduates unwittingly give life to a menacing CGI alligator in their pursuit of internet fame. This film stands out for celebrating its imperfections, transforming them into a treasure trove of entertainment.

The first time I watched COOL HAND LUKE, it was on VHS on a 25-inch tube TV yesterday; I got to revisit it on a 55-inch 4k TV, and wow! I remember watching it for the first time all those years ago, and I anticipated a typical prison drama but was swept into a more profound narrative. Paul Newman, as Luke, didn't just act; he transformed, embodying a spirit of defiance that's rare on screen. With his visionary direction, Stuart Rosenberg blurred the lines between a mere escape story and a profound exploration of human resilience. The film wasn't just a watch; it was an experience resonating with a harmony of themes that entertained and deeply moved me. Yesterday’s experience was like watching it again for the first time.

In THE MALTESE FALCON, you're instantly caught in the web of Humphrey Bogart's enthralling portrayal of Samuel Spade. This film is a masterclass in film noir, skillfully directed by John Huston in his first major outing. Dashiell Hammett's literary masterpiece is brought to life, painting a world where moral ambiguities abound and a tale of greed, ethical dilemmas, and convoluted romance unfurls around a mysterious falcon statuette.

REBEL WITHOUT A CAUSE explores the soul of 1950s youth, masterfully crafted by director Nicholas Ray. It's a movie that navigates the turbulent waters of adolescence, revealing the raw emotions and conflicts that define a generation in flux. With James Dean's standout performance as Jim Stark (in what I would consider Dean’s second-best performance; see EAST OF EDEN,) the film becomes an anthem of teenage defiance, challenging the norms of its era and redefining the narrative of youthful rebellion for audiences.

AIR takes us through one of the most crucial times in the sports industry; arguably, this defined sports for generations to come, highlighting when Nike struggled to maintain its presence in the basketball shoe sector (I promise it’s more exciting than it sounds.) This film has a narrative rich with corporate strategies, risky gambles, and relentless ambition. Ben Affleck's, combined with Matt Damon's powerful portrayal of Nike's marketing maverick Sonny Vaccaro, turns AIR into an electrifying exploration of the highs and lows in the sports business world.

Welcome to a journey where a fight for innocence meets the gritty streets of Chicago. In this tale, renowned surgeon Dr. Richard Kimble, portrayed by Harrison Ford, is plunged into a vortex of chaos. His world, once a bastion of peace, is violently upended in the wake of an unforeseen horror. Thus begins an extraordinary saga, weaving an intricate narrative far beyond typical stories. Kimble’s residence suddenly becomes a surreal battleground, trapping him in a web of false accusations. We are swiftly ushered into a high-octane narrative of fraud and evasion, where he becomes the unwitting protagonist.