Retro TV: Serling's Carol For Another Christmas

Rod Serling, the creator of The Twilight Zone, crafted a memorable holiday tale for that much revered show, as well as another for his later anthology series, Night Gallery. For The Twilight Zone, Serling wrote "The Night of the Meek," which starred Art Carney as a down on his luck department store Santa who gets a chance at redemption. On Night Gallery, Serling combined Christmas and Hanukkah in a thoughtful episode entitled "The Messiah on Mott Street," featuring Tony Roberts, Edward G. Robinson and Yaphet Kotto in a moving tale set in a low rent New York neighborhood, where a dying man (beautifully played by Robinson) has an encounter with an angelic figure (Kotto) who might be an angel, or a harbinger of death. Both episodes are essential viewing for Serling fans.

Serling scripted yet another Yuletide tale, Carol For Another Christmas, an updated version of Charles Dickens' A Christmas Carol, which aired on ABC as a holiday movie special in 1964. The film stars Peter Sellers, Ben Gazzara, Eva Marie Saint and Sterling Hayden, who plays Daniel Grudge, a powerful industrialist and weapons manufacturer who lost his son, Marley, in World War II. Grudge's nephew, Fred, visits and encourages him to use his wealth and power to effect positive change in the world, and to help the US engage in cultural exchanges with other countries. 

Peter Sellers in Carol For Another Christmas

Grudge feels the US should remain isolated, not get involved with other parts of the world, and also that we should build up our nuclear armaments in order to protect ourselves. Like Scrooge in the Dickens original, Grudge is taken on a mystical journey by three ghostly visitors on Christmas Eve, who show him what the past, present and future of our conflict-driven world has been, is currently, and could be like in the future, if the world continues on its current destructive and warlike path.


Sellers appears in the "Ghost of Christmas Future" segment, as the demagogue-like leader of a post-nuclear war society, who encourages violent conflict and an "us vs. them" philosophy. Also appearing in the film are Robert Shaw, Percy Rodriguez, Pat Hingle, James Shigeta, Steve Lawrence and Britt Ekland, who was married to Sellers at the time. Directed by Joseph L. Mankiewicz, with a score by Henry Mancini, the film received mixed reviews upon its original release, with some critics find it overly preachy and too didactic, while others praised the performances of the cast, including Sellers, Hingle and Lawrence.

Carol for Another Christmas was the first in a series of  TV specials initiated by the United Nations. The goal of the series was to educate viewers about the UN's work, in order to gain support for their missions around the world. Only four of the six proposed specials were produced. Carol for Another Christmas aired only once in 1964, and was not shown again until Turner Classic Movies rebroadcast it in 2012. It's since aired annually on TCM in December, though it has never been released on home video. While the film is a bit over the top in delivering its message, it's an interesting entry in Serling's oeuvre. Its offbeat twist on the Dickens original and somewhat downbeat themes set it apart from his more hopeful tales, and the all-star cast and solid direction by Mankiewicz make it worth seeking out.





Retro TV Christmas: A Bionic "Carol"

"A Bionic Christmas Carol"

Back in the 1970s, many TV series would showcase a special holiday themed episode during the Christmas season. The Six Million Dollar Man followed the tradition with "A Bionic Christmas Carol," which originally aired on December 12, 1976, during the show's penultimate season. If you're looking for an old school Yuletide tale filled with familiar TV faces, look no further, than "A Bionic Christmas Carol." The episode, written by Wilton Schiller, is, of course, the bionic adventure series version of A Christmas Carol, the classic story by Charles Dickens. Years before Lee Majors had a cameo in Scrooged, his Steve Austin character plays Santa to a Scrooge-like figure portrayed by Ray Walston, of Damn Yankees and My Favorite Martian fame.

Walston plays Horton Budge, the owner of a company providing parts to the government for a Mars mission vehicle. When Steve Austin, the bionic man, is sent to investigate a series of accidents at the contractor, he becomes involved with the family of Bob Crandall, Budge's nephew, who's being badly mistreated by his uncle for a past misdeed. The miserly owner is also forcing the company's staff to work through the holiday, and to cut corners on the government project, resulting in faulty equipment. It's up to Steve Austin to help Crandall's family, teach Budge the error of his ways (with a little inspiration from Charles Dickens) and make sure the company fulfills its contract properly, delivering equipment that's up to spec.

"A Bionic Christmas Carol," is a fun, if unspectacular, entry in the series. It's pretty typical of holiday themed TV from the 1970s. What makes it truly enjoyable for fans of classic television is the number of familiar faces appearing in the episode. In addition to series regulars Lee Majors as Steve Austin and Richard Anderson as his OSI boss Oscar Goldman, the cast includes the aforementioned Ray Walston, as well as Dick Sargent (Bewitched), Quinn Cummings (Family), Adam Rich (Eight Is Enough), Antoinette Bower (a frequent TV guest star who was featured in shows like Star Trek and Mission: Impossible) and even a cameo by Ann Dusenberry, who appeared in series like McCloud, Magnum, P.I. and Murder, She Wrote.

"A Bionic Christmas Carol," directed by Gerald Mayer, is a light, entertaining episode of The Six Million Dollar Man. There are no spies, aliens, or robots on hand in this fourth season entry, but it does allow you to see Steve Austin play Santa opposite Mr. Hand from Fast Times At Ridgemont High, so how bad can it be? And watch for the scene in the toy store, where you can actually see the Steve Austin action figures on the shelves! The episode is available on the DVD and Blu-ray releases of the series. You might want to make this a holiday viewing double feature with "Judgement In Heaven" a 1965 holiday themed episode of Majors' previous TV series, the western The Big Valley.

Nimoy's Directing Debut: "Death on a Barge"

Leonard Nimoy is well-known for portraying Mr. Spock in both the original Star Trek TV series as well as reprising the role in a number of Trek films, and on the spinoff Star Trek: The Next Generation. Nimoy was also a successful director, having helmed Star Trek III: The Search for Spock, Star Trek IV: The Voyage Home, as well as the hit comedy Three Men and a Baby. Nimoy actually began his career behind the camera way back in 1973, on an episode of Night Gallery. "Death on a Barge," a third season episode of the classic Rod Serling hosted anthology series, is an offbeat vampire tale featuring Lesley Ann Warren, who like Nimoy, had appeared on the Mission: Impossible TV series. "Death on a Barge," is based on a story by Everill Worrell, and was adapted for Night Gallery by Halsted Welles.

Nimoy had appeared in "She'll Be Company For You," an earlier third season episode of the series, and had talked with Night Gallery producer Jack Laird about directing for the show. Laird had already engaged other actors, including Jeff Corey, to direct for the series, and agreed to let Nimoy try his hand at helming an episode. "Death on a Barge" concerns a young man named Ron, who meets a mysterious woman named Hyacinth, who is confined to a barge that's anchored on a wharf. Ron is beguiled by the beautiful Hyacinth, who only appears during the evening hours. She explains to him that she can never leave the barge, and alludes to the fact that they can never really be together. Ron becomes obsessed with Hyacinth, and is determined to discover her secret, which he eventually learns, with tragic results.  

Lou Antonio, Brooke Bundy & Robert Pratt

"Death on a Barge" is an eerie, atmospheric tale, well directed by Nimoy. Lesley Ann Warren (then billing herself as Lesley Warren) is excellent as the alluring, sensual Hyacinth. She effectively conveys the loneliness and longing of the character. Robert Pratt does a decent job as Ron, and the supporting cast includes familiar faces Lou Antonio (who also went on to a career as a director) as Ron's brother, and Brooke Bundy as his girlfriend Phyllis, who Ron pushes to the background when he becomes smitten with Hyacinth. Nimoy does a fine job working with the actors, which was a hallmark of his later work as a director. Lesley Ann Warren noted in an interview featured on the commentary for the Night Gallery third season Blu-ray set that Nimoy was wonderful to work with, and that he spent time talking with the actors about their process, and their approach to the characters,

The look of "Death on a Barge" is slightly hurt by the fact that the crew, because of budgetary restrictions, had to shoot some sequences "day for night," a common practice in television production during this period. Despite this drawback, Nimoy and cinematographer Gerald Perry Finnerman (a veteran of Star Trek) manage to to imbue the episode with a haunting and romantic visual feel. It's a shame that the episode has a shorter running time (Night Gallery was been cut from an hour to a half hour in length for its third season) which doesn't allow the story room to breathe and develop a bit more. "Death on a Barge" is still an effective, mesmerizing tale of love, obsession and death. It's one of the better episodes of Night Gallery's final season, and excellent debut behind the camera by the multi-talented Leonard Nimoy. The episode is available as part of the Night Gallery Season 3 Blu-ray set, which was recently released by Kino Lorber Home Video.

Exploring the "The Sound of 007"

One of the most distinctive aspects of the James Bond films, aside from the spectacular stunts, exotic locales, beautiful women and of course, the different actors portraying Bond, is the music. The title songs and musical scores for the 007 series are often as memorable as the films themselves. Artists like Shirley Bassey, Paul McCartney & Wings, Chris Cornell and Adele have all contributed title songs to the series, and composers like John Barry, Marvin Hamlisch and David Arnold have composed scores to the movies. A new documentary, The Sound of 007, currently streaming on Amazon Prime, explores the history of 007 music through a series of new and archival interviews with Barry, Hamlisch, current Bond producers Michael G. Wilson and Barbara Broccoli, and artists like Billie Eilish, Tina Turner and Jack White.

The film is a comprehensive look at the history of music in the Bond franchise throughout its 60 year history, beginning with Dr. No (1962), the first entry in the series, right up until the most recent film, No Time To Die (2021). Along the way, there are insightful interviews and comments about the creation of the music for the films, including the now iconic 007 Theme. There are also some cool behind the scenes stories about the creation of the title songs in the Bond saga, including Goldfinger, Thunderball and Diamonds are Forever. Since the film was produced around the time of No Time To Die's release, there's a significant amount of behind the scenes coverage for the recording of the title tune for that film, and its score by Hans Zimmer, as well as a look at the songs for the rest of Daniel Craig's tenure as Bond. 

The James Bond franchise has been around for six decades now, and interesting to see how the films (and their music), have adapted to the changes in musical styles throughout the years. The Sound of 007 also includes some fantastic performance clips of artists like Shirley Bassey, Louis Armstrong and Paul McCartney performing their classic Bond theme songs. There are some title songs that are given surprisingly brief coverage, like Sheena Easton's "For Your Eyes Only," but with 60 years of Bond music to explore, it's understandable that some songs might get a bit less focus. The documentary does not cover the "unofficial" Bond films, the 1967 spoof Casino Royale, or Sean Connery's return to the role in 1983's Never Say Never Again, neither of which was released by Eon Productions, the producers of the official Bond series.

The Sound of 007 is a fascinating and insightful look behind the scenes of one of the most enduring series in cinema history. What you will discover while watching this engrossing documentary is just how integral the music is to the character of James Bond, and how it absolutely helps to define his onscreen persona. And you'll hear some great stories about some of the most enduring and memorable film music of the last six decades. The film, directed by Mat Whitecross, is a must see for 007 fans. There's a companion program, also streaming on Amazon Prime, The Sound of 007: Live From The Royal Albert Hall, featuring artists like Shirley Bassey and Paloma Faith performing some of the theme songs from the films in the series. The Sound of 007 is now available for viewing on Amazon Prime. Here's the trailer: https://www.youtube.com/watch?v=Tcs5icPCTnI.

Opening Up Guillermo Del Toro's "Cabinet"

Guillermo Del Toro (photo courtesy of Netflix)

Writer-director Guillermo Del Toro has enthralled us throughout his career with beautifully crafted films such as The Devil’s Backbone, Pan’s Labryinth, Crimson Peak, The Shape of Water and Nightmare Alley. His movies are deeply infused with his love for cinematic and literary genres like fantasy, horror and noir, and he often pays tribute to the artists who have strongly influenced his work, like directors Mario Bava and Alfred Hitchcock. For his Netflix series, Guillermo Del Toro's Cabinet of Curiosities, Del Toro takes a step back, acting as producer and host for an anthology of horror tales by eight acclaimed filmmakers including Catherine Hardwicke and Jennifer Kent. Del Toro introduces the episodes, a la Rod Serling, but Cabinet of Curiosities has more in common with Serling's 1970s horror-centric Night Gallery (a Del Toro favorite) than the fantasy-oriented The Twilight Zone.

The series runs the gamut from eccentric outings like director and co-writer Panos (Mandy) Cosmatos' visually striking "The Viewing" featuring Peter Weller, to the more visceral horrors of Keith Thomas' "Pickman's Model" starring Crispin Glover, one of two H.P. Lovecraft adaptations in the series, along with Catherine Hardwicke's version of "Dreams In The Witch House," with Rupert Grint. "Pickman's Model" was adapted for Night Gallery in 1971, directed by Jack Laird, while "Dreams In The Witch House" was previously filmed as a 2005 episode of Showtime's Masters of Horror by Stuart (Re-Animator) Gordon. There's also the satirical "The Outside," directed by Ana Lily Amirpour, who also helmed the offbeat vampire film A Girl Walks Home At Night. "The Outside" stars Kate Micucci as a bright young woman who becomes obsessed with looking more like her attractive but empty-headed co-workers, and uses a new beauty product with unexpected side effects.

The unsettling tales featured in Cabinet of Curiosities are somewhat bloody in nature, and there's quite a bit of dark humor in evidence as well, in the vein of Creepshow and the Tales From The Crypt television show, which is no surprise, since the original horror comics that influenced those projects are among Del Toro's own inspirations for the series. Cabinet of Curiosities also includes adaptations of two short stories by Del Toro; the creepy storage unit centered supernatural thriller "Lot 36" starring Tim Blake Nelson, and the ghost story "The Murmuring" directed by Jennifer Kent, who also made the excellent The Babadook. "The Murmuring" features Essie Davis, one of the stars of that compelling 2014 film, along with Andrew Lincoln of The Walking Dead. Both actors are excellent in this eerie tale of a very personal haunting.

Guillermo Del Toro's Cabinet of Curiosities will have major appeal for longtime horror fans. There's much to relish and enjoy in these eight films from a group of wonderful filmmakers, which truly celebrate the many shadings and variations of the horror genre. Each episode is truly centered in the personal style of its director, but these episodes also bear the influence of Del Toro as a guiding force. Cabinet of Curiosities comes across as a truly collaborative project, and a labor of love for everyone involved. Here's hoping the network will green light a second season of the series. Guillermo Del Toro's Cabinet of Curiosities is currently streaming on Netflix. Here's a look at the trailer: https://www.youtube.com/watch?v=E3E1URhCR60.

Never Surrender: The Story of Galaxy Quest

A group of actors from a beloved science-fiction television series make ends meet by appearing at sci-fi conventions. Some of the cast members are a little fed up with continually celebrating their long-ago cancelled series, while others get a charge out of the adulation of their adoring fans. Sound a little familiar? If you're thinking this sounds a lot like Star Trek, you're not too far off the mark. Galaxy Quest (1999), an entertaining science-fiction adventure film, takes the concept one step further. What if a group of actual aliens viewed transmissions of the television series Galaxy Quest, and think they're watching real-life adventures? These aliens want the heroic crew to help them defeat an interstellar villain threatening their race with extinction.

Galaxy Quest is a funny, action-filled and often touching tale that's become something of a cult classic in the years since its original release. While the movie resonates strongly with Star Trek fans, it's also garnered its own group of devoted followers, who celebrate the film's clever allusions to science-fiction fandom. Never Surrender: A Galaxy Quest Documentary (2019), takes an in-depth look at the making of the movie, and features interviews with the cast and crew, including actors Tim Allen, Sigourney Weaver, Enrico Colantoni, and Sam Rockwell, director Dean Parisot, screenwriter Robert Gordon, and producer Mark Johnson.

The making of Galaxy Quest is covered in detail, from early script concepts to the film's eventual release. The documentary features some fascinating stories about the production, including the fact that Harold Ramis was originally going to direct the film, which at the time was set to be even more brash and comedic in tone. There's also intriguing information and behind the scenes details regarding the film's casting, music and special effects. The cast and crew are quite candid about DreamWorks Pictures, whose post-production mandate was that the producers should tone down some of the film's language and content, thus making it more family friendly.

In addition to the comments from the cast and crew, there are some delightful interviews with famous fans of the film, such as Trek cast members Brent Spiner and Will Wheaton, and writer-producers Damon Lindelof (Lost) and Greg Berlanti (Arrow, The Flash). Many fans consider Galaxy Quest to be a sort of honorary Star Trek film, and in fact it's been voted "one of the best Trek movies" as part of many online fan surveys and polls. Several of the interviewees note that Galaxy Quest predates the explosion of "comic book, sci-fi and nerd culture" that now sees comic book and sci-fi films and television series appealing to a much wider audience. In a way, the movie really was ahead of its time.

Never Surrender also follows a group of Galaxy Quest fans who are attending a convention, and are participating in cosplay as the film's characters. They talk about their love for the film, and what its characters and themes have meant to them. Their heartfelt comments help to bring this delightful documentary full circle. Never Surrender: A Galaxy Quest Documentary (2019), is a loving and insightful tribute to a movie that has become a true cult favorite for science-fiction fans. Never Surrender is currently available for streaming on Amazon Prime, and is well worth your time. As a bonus, you'll get to see Brent Spiner's terrific Patrick Stewart impression! Here's a link to the film's trailer: https://www.youtube.com/watch?v=39cVvN28UXE.

 

Looking Back at "The 4:30 Movie"

If you grew up in the 1970s, well before the days of DVD, VHS, cable, and internet streaming, and long before almost every movie or TV show was a click away, you had to watch your favorite genre movies when they were shown on regular TV. For science-fiction and horror fans in the New York area, this meant viewing programs like Chiller Theater on WPIX and Creature Features on WNEW, but there was another place to catch films like the Planet of the Apes saga, The Omega Man, Godzilla vs. the Thing, and The Blob. It was a show where you could see one of these films each weekday after you got home from school! Of course, I’m talking about WABC’s The 4:30 Movie. This much beloved weekday afternoon movie showcase ran from 1968 until 1981. The 4:30 Movie began as a two-hour program, but about a year into its run, settled into its more famous 90 minute format.

The 4:30 Movie would often broadcast theme weeks dedicated to a particular actor, genre, or film series, so there would be a Jerry Lewis Week, Elvis Presley Week, John Wayne Week, Beach Party Week, or Secret Agent Week. But what really made The 4:30 Movie beloved by genre fans of a certain age were things like Planet of the Apes Week, Vincent Price Week, or the ever popular Monster Week. After doing your homework, you could plunk down in front of your TV, and see Charlton Heston in Soylent Green, Ray Harryhausen’s incredible stop-motion creations in Mysterious Island, or giant monsters terrorizing Japan while battling it out in Frankenstein Conquers The World. The local editions of TV Guide used to run a lot of clever and often humorous ads for the movies running during those theme weeks.

 

The 4:30 Movie was an essential component in my development as a film fan, and it helped shape and inform my love of movies. As a devotee of fantastic films, The 4:30 Movie was the place where I first got to see movies like the Roger Corman helmed Poe adaptations, such as The Pit and the Pendulum, the original The Fly, the Hammer thriller The Gorgon with Christopher Lee and Peter Cushing, and Journey To The Center of the Earth with James Mason, which like many films with longer running times, was split into two parts. Because of the 90 minute format of the program, most movies were edited to fit into that time frame. But if a film had an even longer running time, it would be split into two parts. The second part would begin the next day with an off screen narrator recapping the events of part one over the film's credits, and the movie would then start about fifteen minutes to half an hour from the close of the previous day’s installment.

The 4:30 Movie wasn’t just about sci-fi, fantasy and horror films. You could check out classics like The Great Escape, Ben-Hur, and indulge in other theme weeks, including Caper Week, Romance Week, Suspense Week and Western Week. The program also screened the TV movies compiled from the short-lived Planet of the Apes TV series, featuring new introductions filmed by Roddy McDowall, who had played Galen in the show, and had portrayed Cornelius and Caesar in the Apes films. That was worth planning your afternoon around! For a burgeoning film buff like myself, The 4:30 Movie was a go-to destination to see movies back in the day. It was a little sad to see the show end its run in 1981, when the expansion of local TV newscasts and the expanding cable and home video market took its toll on the broadcast of movies by local stations. You can watch the program’s memorable and iconic opening of The 4:30 Movie following this link: https://www.youtube.com/watch?v=2es-lfRSDOI.

Caught Up In "The Grip Of It"

Moving into a new house can be a daunting task, but its usually an exciting and positive event. In Jac Jemc's extraordinary and eerie novel, The Grip Of It, James and Julie, a young married couple, purchase a house in the country, in order to escape the big city, and put the problems caused by Jame's gambling addiction behind them. What they don't know is that the house contains a supernatural presence that will threaten their already tenuous relationship.

The chapters of the novel alternate between the points of view of Julie and James, who tell the story of the frightening events they experience from their own perspectives. Much like the locations in classic tales of terror like Shirley Jackson's The Haunting of Hill House, Richard Matheson's Hell House, and Stephen King's The Shining, their new home is alive, and the effect it has on the couple will shatter them both mentally and physically, particularly in Julie's case. She suffers from the appearance of mysterious bruises on her body that change in size and location, and has some severe hallucinations.

The house seems to have a mind of its own, with strange writing appearing on the walls, previously unseen rooms and pathways opening up, and there are odd noises which occur on a regular basis. Julie and James also both experience instances of lost time. When James begins to dig into the history of their new home, he finds out that its past is plagued with troubling incidents. As the strange and otherworldly occurrences begin to multiply in number and intensity, the couple begins to suspect one other of being behind them.

The Grip Of It is an unsettling thriller that builds up to a powerful climax. This isn't just a tale about a haunted house, it's a story of a haunted relationship. Jemc's superb prose effectively conveys the fractures between Julie and James. You can feel the severity of the stresses caused not only by the supernatural forces beset them, but from the cracks that already exist in their relationship. Could it be that the problems between them are the cause of this haunting, or is the house using the issues in their relationship against them? There are no easy answers in The Grip Of It, but if you're a fan of literate chillers and exceptionally told tales of the darkness lurking within, check out Jac Jem's terrifying novel.

Marc Platt's "Golden" Reflections

If you're a regular reader of this blog, you've no doubt come across my previous posts regarding the superb work of singer-songwriter Marc Platt. He's released some terrific albums in the last couple of years, including Dis Time It's Poisonal and Colors of The Universe. He's back with The Golden Ticket, the follow up to this past April's That Midlife Thing, and like that excellent record, this latest album finds him in a reflective mood. While That Midlife Thing featured Platt's ruminations on middle-aged men and the emotional territory we all navigate these days, The Golden Ticket widens its focus to take a look at the state of the world we live in, and how that world has changed in the last few years.

Tracks like "The Fighting Americans" and "Banana Republic" deftly examine the current political and ethical landscape. We are living in a much different world right now, and the insightful commentary contained in these observational songs really hits home. Whatever side of the fence you're on, you can't deny the feelings these tracks will stir up in you. It's refreshing to see an artist as accomplished as Platt put himself out there on songs like these, which aren't the last bit preachy, but definitely get their point across.

While Platt takes a look at some weighty issues on The Golden Ticket, he hasn't forgotten about the type of music that's his forte. The album also includes several of the thoughtful songs about love and relationships that are the hallmarks of his best work. Give a listen to exquisite selections such as "All My Life," and "When Love Has Gone Wrong." Those tracks, and the evocative "Extraordinary" and "Watching You Sleep," are expressive, powerful songs that deftly examine the complex nature of modern relationships. These poignant songs will touch your heart and infuse themselves into your spirit. For Marc Platt, there's always a ray of light, even in the darkest moments.

 

The Golden Ticket closes with the Dylan-esque, folk-inflected "God Owes Us Nothin," which in my opinion, is one of the best songs Platt has written to date. Like many of the tunes in his oeuvre, it has a definite 1960's vibe, but still manages to sound fresh and up to date. As usual, Platt's vocals and guitar work are top notch, and he's also done a masterful job producing the album. The Golden Ticket is a great record, and like Marc Platt's previous work, absolutely deserves your time and attention. Check out the tracks on the album at https://marcplatt.bandcamp.com/. Here's a link to the video for "Dark Side," the opening track of the album: https://www.youtube.com/watch?v=iXaf2pDqBno.

The Night House: A Tale of Love & Death

Do we really know everything our spouses? As director David Bruckner's The Night House opens, Beth is grieving after her husband Owen suddenly commits suicide. There seems to be no reason for his actions, and she's lost her moorings, drinking heavily, poring over pictures and going through his things, trying to find an explanation. Strange things begin to happen in the house they shared, which Owen built for them. Beth begins to suspect these events are supernatural in origin, and may be tied to a near death experience from her past.
 
Beth finds evidence that Owen may have had a secret life, and discovers an odd, reversed floor plan of their house among his things. Was Owen really the man she thought he was? As the layers of the story are unraveled, we learn things about both Beth and Owen which shed a different light on their relationship, and the haunting events that are plaguing Beth. Is Owen returning from beyond death to warn her about something, or are there other forces at work here? What is the real truth of Beth and Owen's relationship?

 
The Night House is a compelling thriller, written by Ben Collins and Luke Piotrowski. It's a thoughtful and intriguing look at the bond between couples, intertwined with an eerie tale of the supernatural. It's a powerful story that's as much about the intensity of the relationship between Beth and Owen as it is about deeply scary moments. The film mostly takes a more reserved approach than some modern horror fare, though there are some jump scares and a couple of frightening set pieces. The movie also has a great visual style, thanks to director Bruckner and cinematographer Elisha Christian.


The cast in The Night House is first-rate. Sarah Goldberg and Vondie Curtis Hall as Beth's friends and Evan Jonigkeit as Owen are excellent, but this film belongs to Rebecca Hall. Hall, who's been terrific in movies like The Town, is superb here, anchoring the film with her dedication to the central role. You can feel the intensity of every emotion that Beth feels, see it in her face and in the way she moves, and hear it in the way she speaks. It's a bravura performance, and if there was any justice, Hall would have won several trophies for it, though most awards shows don't give out accolades for genre films.

 
The Night House is an atmospheric thriller that's well worth seeking out for horror and suspense fans looking for something a bit different on movie night. Director David Bruckner also helmed the upcoming re-imagining of Clive Barker's Hellraiser, so if you want to see some of his earlier work, you can start here. If you enjoy movies like The Sixth Sense and The Others, or well-produced tales of ghostly happenings, eerie occurrences, complex relationships, and love after death, then seek out this film. The movie is currently streaming on HBO Max, and is also available on Blu-ray and DVD. Here's a link to the trailer for The Night House: https://www.youtube.com/watch?v=2Tshycci2ZA.

Last Night In Soho: Darkness in 1960s London

Sometimes viewing the past through the haze of a romantic prism leads to a harsh dose of reality. That’s just what happens to aspiring fashion designer Eloise “Ellie” Turner in director Edgar Wright’s thriller, Last Night In Soho (2021). Ellie has an idealized view of London’s fashion and culture, thanks to her grandmother, Peggy, who raised her after Ellie’s mother died when she was just seven years old. Peggy has told Ellie stories of the old days in the “swinging London” of the 1960s, and Ellie loves playing her grandmother’s old records, listening to the likes of Dusty Springfield, Cilla Black, and The Walker Brothers. When Ellie journeys to London to study at the city’s prestigious College of Fashion, she expects to have a great adventure and become a star designer. Instead, she becomes embroiled in a terrifying mystery that has its roots in the past times that she loves so much.

When her living situation at the dorm proves to be less than ideal, Ellie rents a upstairs room in a flat owned by an elderly lady named Ms. Collins. She begins to have vivid dreams of London in the 1960s, in which she shares the experiences of a young singer name Sandie, who’s trying to break into the music business. Sandie becomes enthralled, and later manipulated, by a calculating man named Jack, who isn’t quite the helpful guy he seems at first glance. As Ellie’s dreams get more frightening and intense, her life and Sandies start to intertwine. Her dream world spills over into her real life, and Ellie realizes that Sandie may have been murdered in the past. But how can she convince her friend John or the police that her experiences are real? Since her late mother had a history of mental illness, will everyone assume that Ellie’s going mad? 

Last Night In Soho is an intense, stylish thriller that is worlds apart from director Wright’s previous works, which include Shaun of the Dead, Scott Pilgrim vs. the World and the hyperkinetic action thriller Baby Driver. Last Night In Soho is a visually dazzling film, thanks to Wright’s excellent direction and the superb work of cinematographer Chung-soon Chung. There are several striking sequences in this compelling mix of murder mystery and ghost story, including a scene where Sandie descends a staircase in a club, and Ellie is reflected in the mirror along the stairs. Much of the story deals with the duality of images and the harsh truths behind what you see in the mirror, as even Ellie begins to question what she's really seeing in her lucid dreams.

The costume design is excellent, and the recreation of 1960s era London is very well done. As with Wright's previous work, the soundtrack is fantastic. He and his crew have carefully selected songs that evoke the era, including music from Dusty Springfield, The Searchers and The Kinks. The cast is fantastic, with Thomasin McKenzie doing a fine job conveying Ellie's wide-eyed vulnerability, and Matt Smith offering a chilling portrait of the manipulative Jack. Anya Taylor-Joy, who was so good in The Witch and the Netflix series The Queen’s Gambit, is a revelation as Sandie. Not only does she fully embody the part of a 1960s ingenue with dreams of pop stardom, she even sings in the film, performing the Petula Clark classic “Downtown.” As an enjoyable bonus for fans, a trio of British actors who rose to fame in the 1960s are featured in the film; Terence Stamp, Rita Tushingham and the late Dame Diana Rigg, who plays Ms. Collins.

Last Night In Soho is an eerie, thrilling tale of psychological terror. While it celebrates the pop art world of 1960s London, the film also effectively conveys the darker, misogynistic streak beneath the glitter and flash of the era. Wright pays homage to several directors, including Alfred Hitchcock, Roman Polanski, Brian DePalma, and Mario Bava and his use of rich colors in his giallo films. There are also nods to classic tales of terror like The Innocents, Carnival of Souls, and Suspiria, and 1960s era British dramas like A Taste of Honey and Beat Girl. While it falters a bit in its final act, Last Night In Soho is an absorbing film, and worth checking out for thriller fans and cinephiles. The movie is now streaming on HBO Max, and is also available on Blu-ray and DVD. Here’s a look at the trailer for the film: https://www.youtube.com/watch?v=AcVnFrxjPjI.

Gus Moreno's Unsettling "Thing Between Us"

In the best tales of horror and the supernatural, the most frightening demons are the ones that manifest inside ourselves. In Gus Moreno’s offbeat debut novel This Thing Between Us, the nightmare begins when Thiago and Vera, a married couple in Chicago, move into a new condo. They hear odd noises at night, which could be caused by their inconsiderate neighbors, but they also experience a number of other strange occurrences. Sometimes, the couple hears scratching in the walls. They believe they might have rats, but an exterminator doesn’t find anything. At first, these disturbances seem fairly innocuous. Then, their Alexa-like smart speaker, Itza,  starts talking to someone who isn’t there, ordering things they never bought from online retailers, and playing music at all hours of the night. When the couple looks into the history of their home, they discover that the previous tenant was a mysterious old woman, who just might have performed occult rituals there.

Tragedy strikes when Vera dies after being knocked down some stairs by a thief fleeing a crime scene at a subway station. A grief-stricken Thiago decides to leave Chicago and move into a remote cabin in Colorado. As you might imagine, this turns out to be a very bad decision. The supernatural forces which have taken hold of Thiago aren’t ready to let go, and his sanity begins to crack. His downward spiral continues, and the deep sense of loss he feels allows whatever entity is haunting him to gain a deeper hold. As things escalate, and darker and bloodier events occur, Thiago wonders if his own actions are the real cause of all the tragedy that he’s experienced. What is real, and what is imagined? Will he become a prisoner of the darkness inside his own mind? Will the cost be his soul, as well as his sanity?

This Thing Between Us is an eerie and unsettling tale, told by Thiago as he relates the story of the harrowing events that befell Vera and himself. It’s a powerful portrait of a marriage shattered by tragedy, and how loss can fracture our sense of self. Moreno also brings a cultural dimension to the story, as the criminal that causes Vera’s death is an illegal immigrant, and Thiago’s own family history has ties to the experience of being a stranger from across the border. The novel also raises the issue of just how intimately entwined we are with technology and social media these days, and how being so connected  to it can be both a blessing and a curse. There are some truly terrifying sequences in the Colorado portion of the story. Fans of Stephen King, H.P. Lovecraft and Arthur C. Clarke’s 2001: A Space Odyssey will notice some very clever homages to their work. The dark terrors experienced by Thiago have a deeply Lovecraftian element.

Moreno’s fine writing deftly escalates the sense psychological unease and impending doom felt by Thiago. While he’s the most well drawn figure in the book, it’s interesting to note how he relates to (and views) the other characters, especially Vera, and his mother in law, who becomes important  in the second half of the story. Is what we experience of the other characters less trustworthy because we view them through Thiago’s eyes? As a reader, you do feel a deep sense of sympathy for, and empathy with, Thiago. But could he be an unreliable narrator? Is the darkness calling to him, or was it within him all along? Once you finish this intense, disturbing and emotionally shattering novel, you’ll have to make up your own mind. One thing is for certain. Once you finish this chilling tale, you’ll never look at your Alexa the same way again.

Ken Sharp’s "I'll Remember The Laughter"

Ken Sharp is the gifted musician behind such excellent albums as Miniatures and 1301 Highland Avenue, and the author of a number of fine books about rock and roll, including Starting Over: The Making of John Lennon and Yoko Ono’s Double Fantasy and the Play On! Power Pop Heroes series. His latest record, I’ll Remember The Laughter, may just be his best work yet. The album features 50 tracks, which touch upon a number of musical styles, including power pop, glam rock, classic soul, 1960s style pop, 1970s rock and even a touch of folk.
 The songs feature a kaleidoscope of emotions, from joy, sadness, and the wistfulness of remembering times gone by, to loves lost (and found again) and the lasting power of true friendship.

The record kicks off with the marvelous “Maybe Next Summer,” which wouldn’t sound out of place on a classic Beach Boys record. The first disc also features the swirling, power pop-inspired “There Goes My Sanity” and “Lady Godiva” which sounds like a lost tune from Bread or America, circa early to mid 1970s, right down to the effervescent guitar work. Then there’s the gorgeous “Cracking This Heart Of Stone,” one of several tracks on the album where Sharp indulges his inner soul man. I think it’s one of the best songs he's ever written, and it’s a high water mark on an album that’s filled with brilliant tunes.

I’ll Remember The Laughter is bursting at the seams with a host of marvelous songs, including the 1960s garage rock style “Sock It To Me,” the gentle pop/rock swing of “42nd Street,” and the lovely, 1960s pop-infused “Baby It’s Just A Matter Of Time.” From the Raspberries-style power pop of “It Pays To Be A Rock and Roll Star,” to the guitar-oriented rock sound of “No More Silver Linings” and “Shut Out The Lights,” there are few pop, rock and soul genres that Sharp doesn’t masterfully (and successfully) tackle throughout the album’s expansive track list. There's even a tribute to the late Dennis Wilson of The Beach Boys on the sublime "Dennis."

I challenge you to listen to fantastic selections such as the joyously soulful “Philly Get Back,” the shimmering “Great Big Memphis Sky,” the California rock vibes of "Somewhere South of San Diego" and the awesome 1970s infused anthem “Wrote a Song For You,” without reaching for the replay button. In addition to the dazzling original compositions on the album, there are also several covers featured on I’ll Remember The Laughter, including a pop-tastic version of The Who’s classic “The Kids Are Alright,” an enchanting rendition of Davy Jones’ “Girl” and an outstanding interpretation of “Mr. Make Believe,” a track from Gene Simmons’ 1978 self-titled solo disc.

If that’s not enough to grab your attention, the disc also features Sharp taking on a pair of tunes from Rick Springfield’s 1973 disc Comic Book Heroes, the title track and “I’m Your Superman,” with Springfield himself providing backing vocals. Other guests on the album include Roger Manning of Jellyfish, as well as Rob Bonfiglio and Probyn Gregory, both of whom have toured with Brian Wilson. Co-produced by Sharp and Fernando Perdomo (who also appears on the disc), I’ll Remember The Laughter is a magnificent record that will bring great pleasure to rock, pop and soul fans with eclectic tastes and discerning eardrums.

You can find out more about this excellent album and sample the tracks over at https://kensharp.bandcamp.com/album/ill-remember-the-laughter. Here’s a link to the video for “Philly Get Back,” https://www.youtube.com/watch?v=U0ob1hHl9HA. I’ll Remember The Laughter is filled with splendid music, composed and performed from the heart. Ken Sharp’s deep love of rock, pop and soul is evident in every note on this superb record.

"The Pallbearers Club" is Heartbreaking Horror

 Paul Tremblay is one of the most versatile and talented  writers currently working in the horror genre. He’s written several outstanding novels (and some chilling and original short stories) over the last decade. His fans include the Master of Horror himself, Stephen King. Tremblay’s novel A Head Full of Ghosts is a terrifying (and startling) take on demonic possession, and his dark, emotionally devastating apocalyptic thriller Cabin at the End of the World is currently being adapted for the big screen by M. Night Shamalyan. Tremblay’s latest novel, The Pallbearers Club, is a unique variation on a vampire tale. The book is presented as the memoir of Art Barbara. Art is something of a nerd/outsider at school, and also suffers from some serious health issues. He decides to start a club whose members will appear at funerals when no friends or family members are present to mourn the person who has passed away. This “Pallbearers Club” brings Art into contact with a mysterious woman named Mercy. She becomes a central figure in Art’s life, and he becomes intrigued by the tale of a historical “vampire” who shares Mercy’s name, and may be her ancestor.

From the outset, Art is an unreliable narrator. He tells us almost immediately that “Art Barbara” is not his real name, and that the events of the novel are only told from his perspective, and that his memory may be faulty. The relationship between Art and Mercy is a symphony of emotional highs and lows, fueled by dark secrets. What’s brilliant about the way Tremblay tells this story is that Mercy’s comments and observations regarding Art’s memoir, which she continually refers to as a work of fiction, are written in the margins of the text. She underlines and emphasizes her frank opinions throughout the book. Mercy’s recollection of events doesn’t always line up with Art’s, and she tells a somewhat different version of their story with her commentary.

The book will also have appeal for devotees of 1980s and 1990s alternative rock. One thing that draws Art and Mercy together is music, particularly the albums of Husker Du, and the solo work of that band’s co-founder, Bob Mould. Mercy is something of a musical muse and mentor to Art, who becomes a musician during the course of the story. Music is a defining aspect of their friendship, as is Mercy’s hobby of using an old school Polaroid camera to take pictures. Mercy’s photography is a window to the things Art thinks he sees in her photos, and what they reveal about both Mercy and himself. Art’s fascination with Mercy’s photos, and his obsession with her true nature, fractures their friendship, and leads to some startling revelations by the end of the story.

The Pallbearers Club is part coming of age story, part vampire novel, and most of all, a moving and effective story of a deep and unusual friendship. While it’s not as overtly frightening as some of Tremblay’s other books, it does feature some eerie and unsettling scenes. What works best is the story's strong emotional core, which will touch (and maybe even break) your heart, especially in its finale. If you’ve enjoyed his other work, including A Head Full of Ghosts, Survivor Song, and the outstanding short story collection Growing Things, you'll find much to enjoy in this enthralling novel. The Pallbearers Club is one of Tremblay's best, and is worth adding to your "must read" list.

 

Retro TV: Revisiting the "Night Gallery"

Rod Serling is perhaps best known these days for creating, writing the lion’s share of scripts for, and hosting The Twilight Zone. Serling was involved with another series that showcased tales of horror, science-fiction and fantasy, which is fondly remembered by many genre TV fans. Night Gallery ran for three seasons on NBC in the early 1970s, following a pilot film which aired in 1969. The Night Gallery TV movie featured three tales of terror, all penned by Serling. The second segment of the pilot, entitled “Eyes,” starred Joan Crawford and Tom Bosley, and was the directorial debut of a young man named Steven Spielberg. The pilot was well-received, and during the 1970-71 TV season, Night Gallery premiered as part of a rotating group of shows called Four In One. Night Gallery’s hour-long episodes contained several segments of varying lengths. Serling hosted the series, standing in an art gallery, where he would refer to paintings (beautifully crafted by artist Tom Wright) which tied into the stories which aired that evening. In addition to the uncanny paintings rendered by Wright, the eerie theme music by Gil Melle helped add to the otherworldly atmosphere of the series. In its freshman year, Night Gallery offered episodes featuring Twilight Zone veterans Burgess Meredith, Agnes Moorehead and William Windom in memorable roles, and also also included appearances by Larry Hagman, Joanna Pettet, Diane Keaton, Phyllis Diller and John Colicos. 

Night Gallery generally leaned more into the horror and fantasy genres than science-fiction, and many of its best-remembered episodes were the ones that were genuinely eerie. These frightening entries included “The Doll,” an adaptation of a short story by Algernon Blackwood, and “Camera Obscura,” based on a story by Basil Copper. Serling wrote a number of original episodes for the series throughout its run, such as “Lone Survivor” and “Class of ‘99” and also contributed adaptations of classic tales by H.P. Lovecraft and Davis Grubb. A number of talented directors worked on the show, including John Badham, Jeannot Szwarc and John Newland. During its second season, Night Gallery, now airing as a standalone series, began including brief segments sandwiched between the longer stories. These “blackout” vignettes were often comedic in tone, and were the brainchild of producer Jack Laird. Serling clashed with Laird over them, as the writer-host felt their often lowbrow humor didn’t fit the overall style of the show. However, Serling didn’t have the kind of creative control on Night Gallery that he’d enjoyed on The Twilight Zone, so he had little say in the matter. For its third and final season, the series was cut to a half hour in length, though it still managed to offer some solid episodes, including “The Girl With The Hungry Eyes” based on the classic story by Fritz Lieber.
 
When Night Gallery entered syndication, the content of the show was drastically altered. The series was syndicated in a half hour format, so the longer segments from the first two seasons were cut to fit thirty minutes including commercials, while the shorter ones were expanded by adding unrelated stock footage, or by repeating shots and sequences, thus padding them out to the necessary length. Night Gallery only aired 43 episodes during its run, so in order to create the number of entries required to sell the series for syndication, Universal added episodes of the short-lived, hour long series The Sixth Sense, starring Gary Collins as an investigator of psychic phenomena, to the syndication package. The Sixth Sense episodes were severely edited to fit the half hour format, and Serling was brought in to film new introductions for them. For many years, Night Gallery could only be seen in these re-edited and re-worked versions, which diluted the impact of the best episodes of the series.
 
In a move that should delight fans of the show, Kino Lorber video is now issuing the series on Blu-ray. The first season set (which includes the pilot film) was made available last year, and the second season has just been released. These beautifully remastered editions feature insightful and compelling commentaries on every episode by genre experts like Tim Lucas, Kim Newman, and Amanda Reyes as well as filmmakers such as Guillermo Del Toro. There are also featurettes included which explain how the series was altered for syndication, a look at the paintings showcased in the show, and a retrospective on the series featuring interviews with guest stars and crew members. If you remember watching Night Gallery on TV in the 1970’s, and are a devoted fan of the series, as I am, these terrific Blu-ray sets will warm (or is that chill?) your heart. They’re highly recommended. Here’s a promo created for the series when it aired on the cable channel Mystery: https://www.youtube.com/watch?v=PtM3jBTOnO0.

"Ride The Pink Horse" Into Noir Territory

Robert Montgomery, Wanda Hendrix and Thomas Gomez

Robert Montgomery was a talented actor who was as adept at dramatic parts as he was at the comedic roles that initially made him a star. He also had a strong interest in working behind the scenes in films. Montgomery made his debut behind the camera with Lady in the Lake (1947) an adaptation of Raymond Chandler's novel. The movie was unique for its time, telling the story via the perspective of the lead character, detective Philip Marlowe (played by Montgomery) who is never seen on screen, except for a couple of brief sequences. His second directorial effort, Ride The Pink Horse (1947), is an intriguing, offbeat, and very effective noir tale. The story begins when a disillusioned WWII veteran named Gagin (portrayed by Montgomery) shows up in San Pablo, a small New Mexico town. He's looking for a mobster named Frank Hugo. Gagin is seeking revenge for a friend's murder, and has a plan that involves blackmailing Hugo.

Gagin has arrived during the town's annual fiesta. He's having trouble finding a hotel room until a local girl named Pila helps him locate one. As he hatches his scheme to take down Hugo, he's befriended by Pila and also the ebullient Pancho, who operates the town's carousel. But as often happens in the noir world, things spiral in ways that he doesn't expect. He crosses paths with a Federal agent named Retz, who's also after Hugo, and warns Gagin to stay away from the gangster. Gagin also meets Marjorie, Hugo's girlfriend, who entices him to alter his plan to include her. Gagin then has to contend with both Hugo and Marjorie, who in true femme fatale fashion, isn't all she seems to be. Is Hugo one step ahead of Gagin? Just whose side is Retz on? Is Gagin out to get justice for his friend, or obtain himself a big payday via his blackmail scheme? Will Pilar and Pancho help him escape this web of deceit and double crosses? 

The movie features exquisite cinematography by Russell Metty, who worked on two well-regarded Orson Welles films, The Stranger and Touch of Evil. There's a particularly striking sequence late in the movie when a wounded and disoriented Gagin wanders around the fiesta, trying to get his bearings. The performances are strong; Montgomery deftly conveys Gagin's sense of weariness and isolation, and his struggle to understand the different world in which he finds himself after the war. Wanda Hendrix is wonderful as Pila. The character isn't portrayed as the typical "young girl in love with an older man" part found in many stories of this type. She becomes a friend and guardian angel to Gagin. Pila's optimism and faith is nicely contrasted against Gagin's cynicism. Thomas Gomez (who was nominated for a Best Supporting Actor Oscar) also moves past stereotype and portrays Pancho as a three dimensional character. Fred Clark is appropriately oily as Frank Hugo. Art Smith as Retz and Andrea King as the double-crossing Marjorie are also quite good in their roles.

The film was produced by Joan Harrison, who is best known for her work with Alfred Hitchcock, both for the big screen and on television. The screenplay is by Ben Hecht and Charles Lederer, based on a book by Dorothy Hughes. Hughes also wrote the novel which served as the basis for the classic Humphrey Bogart noir, In a Lonely Place, directed by Nicholas Ray. Ride The Pink Horse is often screened on Turner Classic Movies and other cable movie channels. There is also a fantastic Blu-ray edition of the film released in 2015 by the Criterion Collection, which includes an insightful audio commentary by noir experts by Alain Silver and James Ursini. Ride The Pink Horse features a compelling story in an unusual setting, great cinematography, and some fine performances, all anchored by excellent direction from star Robert Montgomery. It's one of my favorite noir films, an opinion shared by rocker Steven Van Zandt, who gave a shout out to the movie when he profiled Montgomery on a recent edition of his Sirius XM series, Little Steven's Underground Garage. Here's a link to the trailer for the film: https://www.youtube.com/watch?v=nVcdFIWT6zA.

Strange New Worlds: A Valentine For Trek Fans

Anson Mount as Captain Pike

Back in May, I wrote about Star Trek: Strange New Worlds, the Paramount+ series that's a prequel to the original Star Trek. At the time of my original post, only two episodes of the show had aired. Based on what I'd seen, I expressed the opinion that the show could turn out to be one of the best Star Trek series since Deep Space Nine. The season finale of the show was made available for streaming last week, and I definitely stand by my assessment. Across ten episodes, Star Trek: Strange New Worlds has become my favorite of the current crop of Trek shows, and I believe it will go on to be considered one of the best of the spinoff series. Over the course its first season, Strange New Worlds has treated us to a variety of marvelous stories, including a delightful body-swap tale centered on Mr. Spock, a classic spaceship battle, a dark and eerie horror-themed episode, and even a comedic entry where the cast got to act out of character in a fantasy-oriented tale featuring wizards and warriors.

Star Trek: Strange New Worlds strongly evokes the essence of the original series, and continually offers compelling and thought-provoking stories. Like the best of Classic Trek, the style and tone of the episodes may vary, but they're always entertaining, and provide us with some neat twists on the formula. Since the series is more episodic in nature than some of the other recent Trek outings, it allows for broader (and often hugely entertaining) strokes in the storytelling, while still offering intriguing ongoing arcs for the characters. The season finale, "A Quality of Mercy" is a brilliant re-imagining of "Balance of Terror," one of the best episodes of the original series.

No major spoilers here, but "A Quality of Mercy" features the Strange New Worlds version of a character from Trek's classic years who's much beloved by fans, and offers a ton of Easter eggs and visual callbacks to "Balance of Terror." It's also a time-travel tale, which is another hallmark of some of Trek's strongest episodes throughout its history. "A Quality of Mercy" uses the framework of the original episode to tell a captivating alternate version of the story, which nicely builds on the ongoing arc for the central character of Captain Pike, played by Anson Mount. "A Quality of Mercy" is one of the best entries of the season, and it will definitely go on to be considered one of the best episodes of all of the modern Trek series. The episode also sets up some intriguing ideas to explore in Season 2 of the show, which is scheduled to arrive in 2023.

Star Trek: Strange New Worlds is a valentine for Classic Trek fans. The show is clearly being created with a lot of love, care and respect by people who have a deep love and affection for classic Trek. The cast is nothing short of superb. In addition to Anson Mount's excellent work as Pike, Ethan Peck as Spock, Jess Bush as Nurse Chapel, Celia Rose Gooding as Uhura, Babs Olusanmokun as Dr. M'Benga and Rebecca Romjin as Number One have all been outstanding, while Melissa Navia and Bruce Horak have become fan favorites as Ortegas and Hemmer, characters new to the franchise. The first season of this series has been one of the strongest of any Trek iteration since the original. If you're a Star Trek fan, and you're not watching this show, you're missing out on some of the best (and most enjoyable) Trek stories we've seen in a long time. Star Trek: Strange New Worlds airs on Paramount+. Here's a (spoiler-filled) look at the finale: https://www.youtube.com/watch?v=tliWxURB2OM.

Watch Out! Evil Brains From Outer Space!

John Agar & Joyce Meadows

Depending on when you first viewed them, there are some films which are much more than simple “B Movies.” These movies transcend the term “guilty pleasure” and tend to permanently lodge themselves into your psyche. They’re not necessarily considered classics of their genre, but they’re often the most fun to watch. I’m thinking of films like House on Haunted Hill with Vincent Price, which I first saw (and loved) on Creature Features as a young fan of macabre cinema. Many of us who are of a certain age caught movies like this for the first time on our local stations, often presented by “horror hosts” like The Creep and Zacherle, on programs like Chiller Theatre or Fright Night. One of my favorite films of this type is The Brain From Planet Arous, a 1957 sci-fi thriller starring John Agar and Joyce Meadows. It’s the story of a scientist named Steve March, who becomes possessed by an evil floating brain from outer space. Yes, you read that correctly, our hero is taken over by Gor, a megalomaniacal alien brain who plans to conquer the world using his superior intellect. Oh, and since Gor’s controlling Steve’s mind and body, he also figures he can enjoy a dalliance with his fiancé, Sally. Gor is definitely bad news.



Who can save us from this vile villain? Well, maybe Vol can! Before you ask, Vol is another floating brain from Arous, and he’s here to apprehend Gor, who’s a wanted criminal on their home world. Vol decides to inhabit Sally’s dog, and work with her to stop Gor, in order to curtail his plans for world domination. Will they stop him in time? You’ll have to watch the movie to find out! The Brain From Planet Arous is a lot of fun, and it’s a prime example of 1950s low-budget sci-fi film-making. The movie was produced by Jacques Marquette, who also served as the cinematographer for the film. Marquette was behind the camera for another fondly remembered 1950s sci-fi flick, Attack of the 50 Foot Woman. The Brain From Planet Arous was written by Ray Buffum, and it shares some thematic similarities with science-fiction writer Hal Clement’s 1949 novel Needle, about an alien policeman sent to Earth to capture an evil villain. The central idea of heroic and villainous body-possessing aliens would also be explored in the 1987 film The Hidden, starring Kyle MacLachlan.



John Agar, best known for his work in films like Sands of Iwo Jima and Fort Apache (where he co-starred with John Wayne) as well as several other 1950’s sci-fi movies, including Revenge of the Creature and Invisible Invaders, plays Steve. Agar essentially chews up every bit of scenery that’s not nailed down in his performance as the alien-possessed scientist. Joyce Meadows is good as Steve’s fiancé Sally, and there’s fine support from Robert Fuller (in a brief role as Steve’s fellow scientist), and character actor Thomas Browne Henry (a familiar face from genre films like 20 Million Miles To Earth) as Sally’s father. The film was directed by Nathan Juran, who also helmed The Seventh Voyage of Sinbad and First Men in the Moon. When he wasn’t happy with the final results of a film, as was the case with The Brain From Planet Arous as well as Attack of the 50 Foot Woman, he used the pseudonym Nathan Hertz for his director credit.

I really dug this movie when I first saw it in my younger years, and I’ve always found it enjoyable when re-watching it as an adult. Those floating brains are pretty creepy, and what self-respecting kid (of any age) doesn’t enjoy it when a dog (albeit an alien-possessed one) gets to help out with the heroics in the story? The Brain From Planet Arous has just been released on DVD and Blu-ray by the fine folks at The Film Detective. The disc includes a new short film with Joyce Meadows, a pair of featurettes on the career of Nathan Juran, and a commentary track featuring noted film historians Tom Weaver, Larry Blamire and David Schecter, as well as co-star Meadows. You have a choice of viewing the film in either 1.33 or 1.85 aspect ratios. The movie runs about an hour and 10 minutes so it’s a perfect candidate for half of a cool 1950s sci-fi double feature on movie night. Perhaps you can pair it with Attack of the 50 Foot Woman, Invasion of the Saucer Men or Tarantula, which also stars John Agar. Here’s a link to The Film Detective website: https://www.thefilmdetective.com/, and a link to the film’s trailer: https://www.youtube.com/watch?v=tcHuR7Cir50.

Bob Burger's Superb "The Domino Effect"

Bob Burger is a founding member of New Jersey’s fabulous Beatles-inspired band, The Weeklings, a group in which he plays rhythm guitar as Zeek Weekling. He’s also a gifted songwriter who has penned tunes for artists including Styx, Kasim Sulton, and Donnie Iris. Burger has issued several marvelous solo discs, and his latest, The Domino Effect, is currently streaming online, and will be released on CD July 1 from JEM Records. The album features eleven top-notch songs that will definitely appeal to fans of 1970s and 1980s rock, power pop and new wave. The record kicks off with “The Suicide King,” a tale about a guy who “does what he wants,” even though he might be making some bad life decisions. That tongue in cheek opening number is followed by “Impression,” a fantastic, new wave-infused song which sounds like it's a lost track from Squeeze.

The Domino Effect aptly displays the breadth of Burger’s talent for writing terrific tunes, often laced with wry lyrics and a subtle touch of humor. The songs on the album evoke a number of styles, from pop-rock ballads like the lovely “Only A Way” and “Merely Beautiful” to straight ahead rockers such as the Tom Petty-esque “The One-Eyed Jack” and the alternative-flavored “Pain In The Ass." There’s a definite Crowded House feel to the excellent “Two Bodies,” and a dash of country on the wonderful “I’m Free,” and the sublime “Even If You Don’t.” The record closes with the superb “Rock & Roll Band.”  

The album is a treasure trove of outstanding songs, featuring heavenly harmonies, crackling guitars and taut, solid drum work in the classic rock and roll style. In addition to the masterful lead guitar work and extraordinary vocals from Burger, the album includes a magnificent group of backing musicians, including Jimmy Leahey and John Merjave on guitar, Jerry Gaskill on drums, Lisa Sherman on background vocals, and Arne Wendt and Plink Giglio on keyboards. The exceptional production work by Burger gives the album a sparkling pop-rock sheen that’s perfect for these exquisite songs.

The Domino Effect effectively celebrates Burger’s musical influences, which include artists like Tom Petty, Elvis Costello and The Beatles, while offering his own spin on the pop, rock and alternative genres. These are songs that will absolutely get stuck in your head, and touch your heart. This is a splendid album that deserves repeat spins on your music device of choice, and it should absolutely be part of the soundtrack of your summer. The Domino Effect is now available for streaming and will be released July 1 on CD on JEM Records.

An Epic "Northman" From Robert Eggers

Ana Taylor-Joy and Alexander Skarsgard

Robert Eggers is a talented filmmaker with a unique visual style. His first two films, The Witch and The Lighthouse, are dark, unsettling and atmospheric tales of psychological terror. The Witch is a dread-laden spin on folk horror and religion, and The Lighthouse is a slow burn study of two men’s descent into madness. Eggers most recent project, The Northman, is a Viking action story, hallucinogenic hero’s journey, and a revenge tale, all rolled into one. As the film opens, King Aurvandill is killed by his brother, Fjolnir, who then takes possession of Aurvandill’s wife, Gudrun, as well as his kingdom. Aurvandill’s young son, Amleth, escapes, and vows to return one day, avenge his father’s murder, and rescue his mother. If some of this sounds familiar, the story owes more than a bit to Hamlet. The Norse legend of Amleth was actually one of Shakespeare’s primary inspirations when he wrote his celebrated tale of the brooding prince from Denmark.

In The Northman, Amleth’s path to revenge is filled with violence and destruction. He’s adopted by a band of wandering Vikings, and grows up to be a fierce warrior. He helps the marauders to raid villages, and take the survivors prisoner as slave labor. A chance encounter during one of these raids enables him to learn of Fjolnir’s current location. Amleth joins a group of slaves destined for Fjolnir’s camp, and begins a tentative relationship with Olga, a Slavic woman who is believed to be a witch by the others in the group. He also encounters an eerie magician who guides him into experiencing a vision of Draugr, the sword that will be the instrument of his final revenge. He battles an undead warrior to obtain the sword. Amleth ingratiates himself into Fjlonir’s camp by saving the life of the man’s young son, and is given preferred status among the servants. As he attempts to achieve his long-simmering desire for revenge, Amleth discovers the reality of what happened to his father years ago may be different than his perception of the actual events. Will he forsake his quest for revenge, and escape to live happily ever after with Olga? Or is it Amleth’s fate to meet Fjolnir in battle?

The Northman, like The Witch and The Lighthouse, is a hypnotic and visually stunning film. There are some brilliantly directed sequences, including the attack on a village early in the story, and the hallucinogenic images experienced by Amleth throughout the tale. There’s also a masterfully staged battle scene at the crater of a volcano during the climax of the film, which is awash in fiery colors. Eggers and his crew have done a wonderful job visualizing the violent nature of the world in which Amleth and the other characters exist, balanced with their deeply spiritual essence. Destiny looms large in these people’s beliefs, and a certainty about inescapable fate is part of their worldview. In addition to the legend of Amleth, director Robert Eggers and his co-writer, Icelandic poet and novelist Sjon, weave elements of other Norse myths into the story. Alexander Skarsgard (who stars as Amleth) had actually been trying to develop his own Viking adventure film for a while, and Eggers became interested in doing a similar project when he traveled to Iceland with his wife, and became fascinated by the area’s history. When the two men met to discuss an unrelated project, they started discussing ideas for what eventually became The Northman.

The cast is superb. A muscular Skarsgard does a fine job as the haunted, revenge-driven Amleth. Nicole Kidman is terrific as Gudrun, and Claes Bang is fantastic as Fjolnir, with both actors giving the roles their all. Ana Taylor-Joy and Willem Dafoe, veterans of previous Eggers films, are excellent in their supporting roles. Singer Bjork has a cameo as an eerie sorceress. The cinematography by Jarin Blascke (who shot Eggers’ The Witch and The Lighthouse) is outstanding, and the film’s locations in Iceland and Northern Ireland give the film an authentic look, and act almost as a character in the story. The evocative score is by Robin Carolan and Sebastian Gainsborough. If you’re looking for an epic, powerful, deeply spiritual, visually striking action-adventure tale (and you’ve enjoyed Robert Egger’s previous work) check out The Northman, which is currently streaming on Peacock. Here’s a look at the trailer for the movie: https://www.youtube.com/watch?v=oMSdFM12hOw.