Professional sound nerd. Shameless schlock addict.
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The Willies 1990
Some moments of fun 90’s “gateway horror” nostalgia and cool rubber monsters, but otherwise unbearably long and slow. Sean Astin and James Karen do what they can to liven things up. Definitely doesn’t live up to its rad looking poster.
Also, realized this director went on to become the Nickelodeon pedophile, so this is an overall definite skip..
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Ash 2025
This was uneven, but has some great highlights. It’s full of inventive sci-fi design, frequently beautiful imagery and has a killer synth score. Glad I got to see it on a big screen.
It strains against it’s budget throughout, but what they do pull off is still pretty impressive. Both the digital and practical FX look excellent. It finally gets fun once things go off the rails in the finale and Flylo’s trademark gonzo splatter and humor erupt. That part…
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Salem's Lot 2024
Happy for everyone who worked on this, that it’s finally seeing the light of day, but to quote another King story: “Sometimes, dead is better.”
Tough start to Beyond Fest ‘24. This edit feels absolutely hacked to bits. The glowing crosses (The Fog!), plus the treehouse and drive-in finale setpieces, are all cool moments, but otherwise, woof. Bless Bill Camp for providing all the gravitas he can, while having to deliver 90% of the exposition. Wild that the-made-for-tv miniseries was able to conjure vastly more atmosphere and scares 20 years ago, even while airing on TNT..
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The Keep 1983
A beautiful looking, enthralling mess, set to one of Tangerine Dream’s most epic scores. Love a good “Nazi’s awaken ancient evil and proceed to have their faces melted” flick.
My first ever screening at the New Beverly, it ruled. The original 35mm theatrical print looked incredible compared to whatever shitty transfer I had watched before. Prochnow is incredible in this, he and pure evil Byrne are much more interesting than any of the other main characters. There’s a point about…Translated from by
