A "Diabolically Good" Tribute to a Horror Icon

Drew Pisarra is an extraordinarily talented author, poet and playwright whose previous works include Periodic Boyfriends, You’re Pretty Gay and Fassbinder: His Movies, My Poems. For his latest project, he turns his attention to the life and career of legendary horror star Vincent Price. Diabolically Good: The Movie Career and Afterlife of Horror Icon Vincent Price, features Drew’s fabulous radio play Price In Purgatory, as well as a marvelous guide to Price’s filmography, featuring Drew’s astute, witty and sharply observed thoughts and reviews on many of Price’s movies. If, like me, you’re a fan of Vincent Price (and of Drew and his work) you’ll really appreciate this loving, affectionate and humorous tribute to an iconic performer. Drew took some time out of his busy schedule to answer a few questions for me about the book, Vincent Price's cinematic legacy, and what Vincent and his work has meant to him.

Q: Price In Purgatory is an evocative, imaginative and introspective play. What inspired you to set the story in Purgatory, with Vincent on trial, competing against his younger self to earn a spot in Heaven? It’s an inspired idea, allowing for some delicious dialogue and irreverent humor. It’s also a fascinating look at the difference between Price’s public persona, how he sees himself, and how he’s perceived in the afterlife. It turns out even God is a Vincent Price fan!

A: To be perfectly honest, the setting was entirely pragmatic. Theater is so prohibitively expensive to produce nowadays that I decided to write a play with the lowest overhead I could imagine. And what could be more minimalist than Purgatory? I mean, what's there? Nothing but you and your sins. And it's such a great place for drama. The stakes are high. The internal conflict unavoidable. How long's it gonna take for our hero to work through his shit to get to Heaven? Well, since it's a play, I promise it'll be under 90 minutes.

Q: It’s pretty clear from Price In Purgatory, and the delightful journey through Vincent’s films featured in Diabolically Good: The Movie Career and Afterlife of Horror Icon Vincent Price, that you have a real love for classic cinema. The film guide is written with wit, style and obvious affection for Vincent and his work. It’s an enjoyable read, and a wonderful trip through his expansive filmography. Was he a hero of yours growing up?

 

A: He was definitely a source of fascination. He could be so effortlessly distinct, so strangely 19th century. By turns sly and sinister, silly and suave, he set off my gaydar before I knew what gaydar was. Ultimately, for me, Price registered as a man who wasn't afraid of being typecast and someone who knew that being bad could be fun. I think subliminally, he emerged as a kind of role model for how to exist in the world. Not the torture thine enemies part. More the embrace your eccentricities thing. Be your one-of-a-kind self!

Q:  I love that you singled out The Haunted Palace as the best of the Corman/Poe cycle (and noted the film’s H.P. Lovecraft connection), praised his enjoyably over the top performance in His Kind of Woman, and saluted his work in House on Haunted Hill, all of which are favorites of mine, as is The Baron of Arizona. Do you have any special favorites among Price’s films?

A: One new favorite initially proved to be quite difficult to find: Return of the Fly. But I eventually tracked it down in laser disc form at the Film Archives at Yale then spent a joyous afternoon in a booth watching it alone. Shot in black and white with a terrific noir score, this sequel to The Fly is B-movie perfection: A cautionary tale about teleportation in which a mad scientist's son ends up doomed to swap heads with an insect just like his dad. The sins of the father revisit the next generation! And as ridiculous as this sounds, I'm still haunted by that movie's image of a guinea pig who re-materializes with a pair of human hands. Dumb yes, but scary, too.

Q: What I also appreciated about the film guide in Diabolically Good is that you also take time to celebrate Price’s work in some of the lesser films among his oeuvre.  Can a movie with Vincent Price in it really be all bad? You also mentioned re-watching some of his movies while preparing the book. Did your opinion on any of those films change when you saw them again?

A: When revisiting his filmography, I was reminded that The Ten Commandments is a Vincent Price movie too. Price may not get star billing like Charlton Heston and Yul Brynner but in terms of villainy, he's the most twisted. Which is saying a lot. There's a reason that Heston's Moses bare-handedly strangles Price's character in a fit of rage. That movie also may have been when I realized that Price is a star no matter how he's billed and how many lines he's given. He's consistently memorable.  

Q: You honor and acknowledge the fact that Vincent has become something of a queer icon. He’s certainly a charismatic performer who appeals to a wide spectrum of fans. Do you think he would have embraced that status?

A: Price was ahead of his time in terms of LGBTQ+ rights. He toured an unapologetically gay-affirming one-man-show about Oscar Wilde internationally in the 1970s. He was an honorary board member of PFLAG. He made PSAs about AIDS when most of his peers were afraid to do so. So while he may not have been out as bisexual, he was fearless in many other ways that count.

Q:  Horror is a genre that has cycled in and out of popularity throughout the years. The fright films which are currently successful are, for the most part, quite a bit different than the ones that were released in Price’s heyday. Do you think we’ll ever see the style of films which featured iconic performers like Vincent Price, Christopher Lee or Boris Karloff again, or has the cinematic world of horror changed too much?

A: I wonder if what's changed is the medium. Marquee stars still headline horror if you consider TV. We've been blessed with Jessica Lange on American Horror Story, Winona Ryder in Stranger Things, and Sarah Paulson in Ratched. On the big screen, there's also been an unforgettable Glenn Close and Mo'Nique in the underrated The Deliverance. And may I remind you how many Price fright flicks have come back to haunt us in new versions: Cronenberg's brilliant The Fly, the star-studded remake of House on Haunted Hill, and two updates of The Last Man on Earth -- The Omega Man and I Am Legend. Vincent Price will never die.

 

Many thanks to Drew Pisarra for chatting with me about his latest project, Diabolically Good: The Movie Career and Afterlife of Horror Icon Vincent Price. This terrific book, which also includes thoughtful and well-written introductions by Sean Redlitz and Maitland McDonagh, is now available from Anxiety Press, and can be purchased from online retailers like Amazon.

"Anthology" Celebrates 30 Years of Monogroove

Monogroove is a California based rock and roll band, led by the immensely talented singer, songwriter and guitarist Rin Lennon. I’ve raved about their terrific albums like There’s Something Here, Into The Sun, and Popsicle Drivethru in previous posts on this blog. All of those discs, as well as the rest of Monogroove’s discography, are filled with terrific songs which are deeply infused with the sounds of pop, rock and punk, topped off with more than a dash of power pop thrown in for good measure. The band recently released Anthology, a career-spanning retrospective celebrating the group’s 30th anniversary. The 20 track collection is chock full of fabulous music, including song demos, rare tracks and early recordings, as well as a trio of awesome new songs, “Back To School,” “Autopilot” and “Betty Can't Come.,” recorded by the group’s current lineup. Rin Lennon recently took some time out of her busy schedule to answer a few questions for me about the band’s history, and the release of Anthology.

Q: Monogroove has been around for 30 years now. The band has created some phenomenal music, and achieved a significant amount of success. As the heart and soul of the band, are there any moments in Monogroove's history that stand out for you?

A: There are a few, but one festival we did back in 99 at Rio Grande's Bass Derby Festival was very entertaining to say the least, to us anyway. We road tripped it to Rio in a beat up VW bus van, affectionally known as “Janis.” We arrived in Rio and kind of rolled out of the back dragging ourselves to the hotel rooms. To this day, I wonder how that van made it there and back, it was so broken down and beat up. Anyway, we couldn’t help but giggle about the title of the event, which was “The Bass Derby.” They even had a contest for Miss Bass Derby wearing a wonky fish dress of some kind, and we went on about "what is this place and why is there a Queen Fish?” That was the big deal ya know. Our performance was fun, the stage was at least 20 feet high off the ground, and the only entrance to the stage was through the back. We played in front of 10,000 people. That was pretty cool, signing autographs afterwards and the like. They treated us as if we were some big famous band, we were grateful about that. 

Q: Monogroove is an incredible live band. It’s clear that you have a real passion for performing, and truly enjoy being on stage, doing what you love. Are there any venues that you really enjoyed playing at throughout the years?

A: I love playing events:  The Bass Derby, the LA County Fair, the OC County Fair, and the Del Norte County Fair. My favorite venues were "the Joint"  "Molly Malones” and "Rusty's Surf Ranch.” I guess its a nostalgia feeling with the venues I mentioned, as that was the original band line up: Rin, Dre, Hector, Scott and Mac Beth, I miss Hecky and Beth a lot, both have passed. 

Q: I'm a big fan of your music, and you’ve got an incredible catalog of songs. I hear a lot of influences in your songwriting and the band's sound, ranging from the 1960s to the present, including rock, pop, power pop and punk. Who were some of the artists that inspired you?

A: Oh man so many, my biggest influence is definitely The Beatles, I’ve loved their music since I was 4 years old. I also really dig The Pandoras, The Bangles, Slamdinistas, The Woggles, The Weeklings, and Teenage Fanclub; there far too many to name! I admire all musicians that write, sing and play because they love it. I believe they must feel like me; they play, sing write, etc. because its like breathing for them: THEY HAVE TO.

Q: With the release of Anthology, you're shining a light on 30 years of amazing music from Monogroove, including some early demos and live to DAT recordings, right on up to three fabulous new tracks, “Back To School,”  “Autopilot” and “Betty Can't Come.” Are there any tunes on the collection that you're especially excited for people to hear?

A: Hmm, there are a few, "When You Touch Me,” which is currently being played on Bill Kelly's Blackhole Bandstand, "No One Left To Play", 'Spanish Dancer" and "Punk.Com." I always thought that one was kinda different. 

Q: What’s coming up next for the band?

A: Well, we're behind on making videos for our last record, Popsicle Drivethru, so we need to get going on those, and I think one or 2 from the Anthology. Outside of that, we're mostly a recording band these days, playing out rarely. Monogroove is working with One King Entertainment and their CEO, John Mendoza. It’s a new company that is putting together events for "Original Bands" only, which is great. We participated in one last year. There were very few original bands in this area when I moved up here back in 2016, today there are more than 20 new original bands and more starting up every year.

Q: I think long-time fans of Monogroove will really dig Anthology. This superb collection will definitely gain you a lot of new ones as well. Anything you’d like to say to Monogroove’s fans, old and new?

A: Thank you to everyone that has come on this journey with us, and those that are just coming along now. Cheers to all!

Anthology by Monogroove is now available on disc exclusively from Kool Kat Music, https://www.koolkatmusik.com/ and as a digital download at Bandcamp, https://bandcamp.com/. This splendid album is highly recommended for fans of the band, and for for those who enjoy classic rock, pop, power pop and pop/punk. Congratulations to Rin and the band for 30 years of fantastic rock and roll!

Is This Offbeat Folk Horror Tale a "Keeper?"

The surreal, eerie film Keeper (2025), keenly illustrates why Osgood Perkins is one of the most talented and original directors currently working in the horror genre. His filmography includes distinctive and extraordinary films like The Blackcoat's Daughter (2015) and I Am the Pretty Thing That Lives in the House (2016), as well as offbeat spins on more traditional thrillers, such as Longlegs (2024) and The Monkey (2025). As Keeper (2025) opens, we think we're being treated to a traditional relationship drama, as Malcolm and Liz celebrate their one-year anniversary by spending the weekend at a secluded cabin in the woods.

Malcolm prepares a romantic dinner for Liz, and points out a cake left for the couple, supposedly by the cabin's caretaker. Their meal is interrupted by Malcolm's obnoxious cousin Darren and his girlfriend, who quickly wear out their welcome. That's when things start to go south, as Liz begins having strange visions, and hearing weird noises. Malcolm, who's a doctor, suddenly has to return to the city to help a patient. Liz's experiences become even more nightmarish when she's alone, as frightening apparitions appear in the house, and haunt and bedevil her. When Malcolm returns, dark secrets about his past are revealed, and Liz's life is changed forever. This is where the twist in screenwriter Nick Lepard's folk horror-inflected tale comes to the fore.

Keeper (2025) is truly haunting and atmospheric. As the supernatural aspects of the story deepen, it becomes obvious that this isn't a typical romantic drama, and Malcolm isn't the nice guy he appears to be on the surface. What really makes the film work is Perkin's assured direction. He provides a real sense of dread and unease to the story as it unfolds, and imbues the film with an almost dreamlike quality, thanks in no small measure to cinematographer Jeremy Cox's excellent work. The other thing that helps Keeper (2025) succeed is the strong performance of Tatiana Maslany as Liz. Maslany, who also worked with Perkins on The Monkey, and was memorable playing multiple roles on TV's Orphan Black, is terrific here, giving an emotional, three dimensional performance. She also plays well off Rossif Sutherland as Malcolm, who initially brings out the character's subtle weirdness, and ultimately reveals his true colors.

Osgood Perkins' oeuvre definitely stands out in the current horror genre, which has experienced a recent resurgence, with successful movies like Weapons (2025) and Sinners (2025) garnering critical acclaim and winning major awards. Like David Lynch, Perkins has a unique style all his own, and his films often transcend the genres he works in, with compelling and mesmerizing results. Keeper (2025) is a hypnotic and unsettling tale, and is worth adding to your watch list. Here's a link to the trailer: https://www.youtube.com/watch?v=L1EeA-OihKA.

 

"Grey & Greene" Offer Up Some Vintage Grooves

The multi-talented Grey DeLisle has released a lot of incredible music in the last few years, including the fantastic records She’s An Angel (2023) and The Grey Album (2025). She was the executive producer and driving force behind last year’s all-star benefit album It’s All Her Fault: A Tribute To Cindy Walker. But if you thought the amazing Ms. DeLisle (who’s also a marvelous voice actress and stand-up comedian) was going to rest on her laurels after that, then you don’t know her very well. Her latest album, Grey & Greene, is a fabulous collaboration with soul singer Les Greene, who you might recognize from Baz Luhrmann’s 2022 film Elvis, in which he portrayed Little Richard, or from his work with his fabulous soul/rock band, Les Greene and The Swayzees.

Grey and Greene is a sensational record, which finds DeLisle and Greene deeply inhabiting some soulful tunes which are infused with the sounds of classic soul, country, pop, and rockabilly, though the driving force here is soul with a capital S. Greene offers spectacular vocal work on the R&B flavored “I’m Gonna Let You Call Me Baby” and “Back of Your Hand,” while alt-country heroine DeLisle indulges her inner soul sister on the lovely “Mariposa” and the gospel-infused “Mister.” The dynamic duo trade vocals on the rollicking “Go Go Go,” “Shake That Thing” and “Home Wrecker,” which is a Greene led re-working of the title track from DeLisle’s 2002 album.

The tunes on Grey and Greene have a timeless quality, which is one of the hallmarks of DeLisle’s songwriting. She penned most of the tunes on the album, collaborating on several tracks with producer James Intveld. These exceptional songs are filled with real emotion, and the performances by both singers are outstanding. Just listen to the stellar work from DeLisle on the heartfelt “The Pieces,” and Greene’s exceptional take on the heartbreaking ballad “That’s All.” Their voices meld perfectly throughout the record, including on the closing track, a delightful cover of the John Travolta and Olivia Newton-John hit “You’re The One That I Want.” Here's a link to the video: https://www.youtube.com/watch?v=t1Rm8nR_dto.

The disc also features some fabulous backing musicians, including DeLisle’s frequent collaborator, guitarist and singer Deke Dickerson. Grey & Greene is a compelling, groovy and exuberant record. The disc moves effortlessly between multiple genres, including Southern soul, pop, rockabilly and country, but maintains a truly soulful sound at its core, steeped in real heart and emotion. If you’re a fan of Grey DeLisle and Les Greene, or dig the vintage genres featured on the disc, then this album is a must have. It's one of the best records of the year. Check out these links for “I’m Gonna Let You Call Me Baby” https://www.youtube.com/watch?v=f7a0ev2pFcw and “The Pieces.” https://www.youtube.com/watch?v=EQs_D5qcnZs&list=RDEQs_D5qcnZs&start_radio=1.

The Monster and The Bride: Bonnie and Clyde?

Writer-director Maggie Gyllenhall's The Bride! is an inventive, kinetic and expressionistic re-imagining of the Frankenstein saga, focusing on the story of the Bride of Frankenstein. The bride of the monster was previously immortalized in the classic 1935 film helmed by James Whale. Gyllenhall's dazzling, creative and imaginative take on Mary Shelley's tale features an amazing performance by Jessie Buckley, who portrays both Shelley and The Bride, while Christian Bale portrays the Frankenstein Monster, and Annette Bening plays a brilliant doctor named Cornelia Euphronius.

The Bride! takes place in 1936 Chicago, where we meet Ida, a sort of gangster's moll who is possessed by the spirit of Mary Shelley, and begins blurting out the secrets of a gang boss named Lupino. Ida is killed while being pursued by Lupino's henchmen. Meanwhile, Frankenstein's Monster visits Dr. Cornelia Euphronius, who is experimenting with reanimating dead flesh. He begs her to create a companion for him. At first, she's reluctant, but ultimately she agrees, and it turns out the corpse they choose to work with is Ida's. The experiment is a success, but the revived Ida has no memory of her previous life.

That's the starting point for a wildly over the top tale that's partly a Bonnie and Clyde lovers on the run tale, mixed in with a female empowerment story, a classic 1930s style monster movie, and a little touch of an old fashioned gangster saga thrown in for good measure. Oh, and it's a moving love story as well! Guillermo Del Toro's fabulous 2025 film Frankenstein might be the more mythic "classic rock" version of Mary Shelley's tale, but Maggie Gyllenhall's The Bride! is most definitely it's irreverent punk rock cousin. This is a visually striking film, courtesy of cinematographer Lawrence Sher's and production designer Karen Murphy. And it's all shot in glorious black and white!

Gyllenhall's clever script combines elements of horror, comedy, and drama, with moments of real emotion and pathos, and her direction is nothing short of masterful. The cast is terrific, with Buckley and Bale doing superb work as The Bride and The Monster, while Bening shines as the somewhat mad doctor. The excellent supporting cast includes Penelope Cruz, Peter Sarsgaard and Jeannie Berlin. Maggie Gyllenhall and her talented cast and crew took some really big creative swings on this project, and I think they succeeded in producing a creative, unique, and visionary film experience. If you're looking for something truly different on your movie menu, The Bride! just might fit the bill.

Sam Raimi's Wildly Entertaining "Send Help"

Dylan O'Brien and Rachel McAdams

Sam Raimi has achieved considerable success as a director, and is probably best known to genre fans for his work on the original Evil Dead trilogy, Darkman, the Spider Man films from the 2000s which starred Tobey Maguire, the horror thriller Drag Me To Hell, as well as other high profile projects such as Oz the Great and Powerful, and Doctor Strange in the Multiverse of Madness. His latest film, Send Help, is a wild, enjoyable, and often surprising ride; the movie spins through a number of genres including thriller, horror, survival drama, and (very) black comedy.

Send Help is the story of Linda Liddle, who's an employee of Preston Strategic Solutions, While she's a smart, efficient  ans successful worker, she quickly is sidelined by Bradley, the company's new CEO, a frat boy, "bro" type dude who takes over the company after the death of his father. He marginalizes Linda, and denies her a promotion that was promised to her, citing what he views as her meek personality and socially awkward style.

The balance of power changes drastically when a plane traveling to a corporate meeting crashes, killing everyone onboard except Linda and Bradley, stranding them on a deserted island. Suddenly, the tables are turned. Bradley, who has no real world skills, must depend on Linda, who's clearly more effective in this type of crisis. Their desperate situation flips the established hierarchy. Bradley’s cocky confidence is useless, while Linda’s survival knowledge gives her the upper hand. She thrives on the island, providing food, water and shelter for herself and Bradley.

As Linda rises to the challenge and helps keep them alive, Bradley sees her in a different light. However, there might be a darker side to her personality, and she could be keeping secrets from him. As time goes on, Bradley suspects there may be something amiss in their idyllic island world. The central tension of the film comes from watching each of these characters refuse to fully surrender the upper hand. Who will be the last one standing in what ends up being a terrifying game of cat and mouse?

What makes Send Help so entertaining is that we're never quite sure what will happen next, and there are several twists to the tale. The film constantly shifts our allegiance between the lead characters. Bradley begins as an arrogant and sexist jerk, but the clever and resourceful Linda (who we are rooting for initially) ends up being the more terrifying of the two. The bravura performances of Rachel McAdams and Dylan O'Brien deftly illustrate the psychological tug-of-war between Linda and Bradley.

Sam Raimi's terrific direction really energizes the film, which is laced with black humor and features some unsettling, quirky and what the heck? moments, which will be no surprise to fans of director Raimi's earlier genre work. The score has a fabulous old school movie music vibe, thanks to the talents of Danny Elfman, and the clever, twisty screenplay for the film was written by Damian Shannon and Mark Swift. Send Help is well worth checking out for thriller fans, especially if you're a fan of vintage Raimi, like I am. Here's a look at the film's trailer: https://www.youtube.com/watch?v=R4wiXj9NmEE.

Presence: Family Drama, Supernatural Style

Chris Sullivan and Lucy Liu

Have you ever felt like there was an otherworldly spirit in your home? That's what happens to the Payne family in director Steven Soderbergh's compelling 2024 film Presence. Husband and wife Chris and Rebekah, and siblings Tyler and Chloe move into a new home after Chloe suffers the loss of a close friend from a drug overdose. Chris and Rebekah feel like the family needs a change, and hope a different location and neighborhood will provide them with a fresh start. But from the beginning, there's a ghostly presence in the house, which adds to the family's stress level. This spirit reveals itself several times, and its interest seems to be centered on Chloe.

While Chris and Rebekah deal with the cracks that have developed in their marriage, Tyler's new friend Ryan insinuates himself with both Tyler and Chloe. Ryan's something of a bad influence on Tyler, but he displays a more low-key, understanding side with Chloe....or does he? When Chris and Rebekah leave for a business trip, Ryan visits and parties with Tyler. He also appears to have sinister designs on Chloe. Can the mysterious supernatural force that's present in the house protect Chloe from danger?

Presence is a captivating film that's as much a powerful family drama as it is a ghost story. In fact, while much of the advertising for the movie played up its horror elements, it's the story of the Payne family, and their issues, that really drive the narrative. Chris Sullivan (who's perhaps best known for his role as Toby on the NBC series This Is Us) gives a superb, nuanced performance as Chris, the head of the Payne family, who's struggling with issues as both a husband and father. Lucy Liu as Rebekah, Callina Lang as Chloe, Eddy Maday as Tyler and West Mulholland as Ryan are all excellent in their roles as well.

What sets Presence apart is that the story is told from the perspective of the ghost, as it observes and interacts with the Payne family. Director Steven Soderbergh served as the cinematographer for the film, and he's credited under the pseudonym Peter Andrews. The movie features clever visuals, creative POV shots and longer scenic takes. Soderbergh and his camera are essentially a character in the story. He also edited the film, using another pseudonym, Mary Ann Bernard. The screenplay for Presence was written by David Koepp, who's penned the scripts for movies like Jurassic Park and Carlito's Way, based on an idea by Soderbergh.

Presence is a captivating film that's part family drama, part thriller and part ghost story. The family drama aspects of the story are emotional and powerful, and the thriller and horror components of the movie are gripping and spine-chilling. It's a unique tale that's worth seeing, even if you're not normally a horror film enthusiast. Soderbergh continues to experiment with different genres and styles in his work, as he has with other recent projects like 2022's action-oriented thriller Kimi and 2025's spy drama Black Bag. Presence is now available on Blu-ray and DVD, and is currently streaming on Hulu. Here's a look at the trailer: https://www.youtube.com/watch?v=XfSNmYhV8Xc.

Darkness and Death Invade the DC Universe

Cover Art for Issue #1

If you’re a fan of DC Comics “Elseworlds” stories, which feature alternate versions of DC’s most famous characters in storylines that couldn’t take place in the main DC Universe, you’ll likely enjoy DCeased, which is DC’s version of a zombie apocalypse tale. The storyline consists of several limited series and one shots, but the original (self-contained) miniseries was first published in 2019. In DCeased, the super-villain Darkseid manages to transform the fabled Anti-Life Equation into an organic techno-virus, which spreads across the Earth via our digital devices and technology, turning everyone infected into living dead, zombie-like carriers. The only purpose of the virus is to spread death across the entire world.

DC’s greatest heroes try to stop the virus, but several of our stalwart champions become infected, and must be stopped by the members of the Justice League, several other familiar DC heroes and even a couple of villains. What sets DCeased apart from similar “superheroes become zombies” tales is its focus on character. Writer Tom Taylor clearly understands the core concepts of these iconic heroes, especially the trinity of Superman, Batman, and Wonder Woman. He uses this apocalyptic story to test their strength and their mettle as their world crumbles around them. The result of the chaos caused by the virus is that our heroes are forced to make difficult choices, and in some cases even sacrifice themselves for the greater good.

Amid the darker moments of the story, DCeased features a bit of welcome humor based around the long-established personalities and interactions of these classic characters, which should make long-time fans smile. There are also some cool new twists on long-running characters. Wait until you see who becomes a Green Lantern during the course of the story. The artwork by Trevor Hairsine and Stefano Gaudiano complements Taylor's story, combining horror and superhero action, allowing the series to have the look and feel of a big-screen DC film.

DCeased is much more than DC’s answer to other terror tales like the long-running Marvel Zombies franchise. It's a truly compelling, character-driven tale steeped in tragedy which forces some of our favorite heroes to make some very difficult choices. In addition to the horror and superhero action elements of the story, there’s also a bit of sci-fi vibe as well. DCeased is essentially a self-contained story, though there have been some sequels and follow-up series. The saga has been published in various formats by DC. If you’re looking for something a little different than the usual superhero fare, check out DCeased.

An Emotional, Life-Affirming "Journey"

Colin Farrell & Margot Robbie

 A Big Bold Beautiful Journey is the kind of film that lingers in your mind after the credits roll. It's a story about the decisions we've made throughout our lives, and how those choices informed the person we turned out to be. The movie tells the story of David and Sarah, two strangers who meet at a wedding, though they don't "meet cute" or get together in tried and true romantic comedy fashion. Following the wedding, thanks to a mystical GPS (just go with it), and some car trouble for Sarah, the two end up taking an amazing journey together, which ends up changing their lives forever.

That otherworldly GPS takes David and Sarah on a "big, bold beautiful journey," guiding them through a series of magical doors, which allow them to relive important moments from their lives. Reliving these key episodes from their younger days inspires them to reconsider those pivotal moments, and think about the consequences of their choices. Can they move beyond their past experiences and find real love in their lives? The performances by Colin Farrell as David and Margot Robbie as Sarah are excellent. They subtly convey the sense that David and Sarah's lives are not just made up of memories, adding depth to their characters without needing a ton of overt exposition.

A Big Bold Beautiful Journey deftly illustrates what these characters discover about themselves on their journey, and how they are inexorably changed along the way. The movie is thoughtful, visually compelling, and deeply emotional. It takes some big swings thematically and plot-wise, and if it occasionally stumbles, it's still a journey well worth taking. The movie's solid direction is by Kogonada, the colorful cinematography is by Benjamin Loeb, and the insightful script is written by Seth Reiss.

While some critics and viewers have derided the film as too predictable and overly sentimental, I think the spiritual themes and emotional tone of the film are one of its strengths. We can all relate to David and Sarah's journey, and that's what makes the movie and its themes so compelling. A Big Bold Beautiful Journey is now available on disc, as well as for viewing on various digital platforms and streaming services. Here's a look at the trailer for the film: https://www.youtube.com/watch?v=7t9cPtA9St0.

Altered States: A Cosmic Love Story

Altered States (1980), directed by Ken Russell, isn't just a movie. It's a mind-blowing, universe-altering experience, blending elements of science-fiction, horror, cosmic philosophy, and mysticism. It's also a deeply powerful love story. Altered States is based on a 1978 novel by Paddy Chayefksy, the writer of such acclaimed films as Marty (1956), The Hospital (1972) and the beloved classic, Network (1977). The novel was inspired by the real-life experiments of Dr. John C. Lilly, who conducted research on sensory deprivation and how it alters human consciousness. Lily immersed himself and others in isolation tanks while under the influence of psychoactive drugs such as LSD, mescaline and ketamine, and recorded the experiences. 

Chayefsky designed a fictionalized version of these events, focusing on Dr. Edward Jessup, who is researching other states of consciousness as part of his work with schizophrenic patients. This leads Jessup to more intense experiments in sensory experience. Chayefsky intended the work to be a serious look at the research conducted by scientists like Lilly, integrated with man's spiritual search for truth. The film version of Altered States began pre-production at Warner Brothers with Arthur Penn (Bonnie and Clyde) as director, and Chayefsky receiving full creative control over the project. Penn resigned from the film after a dispute with Chayefsky, and Ken Russell (The Devils, Tommy) was brought in as a replacement. 

Russell's flamboyant visual style seemed to be a perfect fit for Chayefsky's imaginative story, but the two clashed frequently during production. Russell eventually disavowed the movie, and asked for his name to be taken off the film. The screenplay was credited to Chayefsky's pseudonym, Sidney Aaron. It's a shame that the conflicts with Russell soured Chayefsky on the project, because Altered States is a daring, one of a kind and awe-inspiring film. The top notch cast includes William Hurt, Blair Brown, Bob Balaban and Charles Haid, who perform Chayefsky's pseudo-scienctific and quasi-philosophical dialogue in a rapid fire, Howard Hawks-ian style, a choice which irritated Chayefsky but suits the characters perfectly.

Altered States tells the story of Dr. Edward Jessup, a scientist obsessed with exploring altered states of consciousness through sensory deprivation and hallucinogenic drugs. What begins as intellectual curiosity quickly spirals into something more primal, as his experiments unlock not just his mind, but an evolutionary memory embedded in our DNA. Jessup's anchor is Emily, an anthropologist he meets at a faculty party, and later marries. Their connection is intense, intimate and passionate, but Jessup's quest to unlock the secrets of the universe threatens to derail their relationship. Jessup's colleagues Arthur Rosenberg and Mason Parrish alternately support and hinder his efforts, but cannot stop him from conducting more dangerous and elaborate experiments. 

Jessup is brilliantly portrayed by William Hurt, and he's matched by a phenomenal supporting cast, including Blair Brown as Emily, Bob Balaban as Arthur and Charles Haid as Mason, Jessup's partners in his epic research into the origins of humanity. Emily, whose love for Jessup is fierce nd strong, will have to save him from the phantasmagorical transformations he suffers as a result of his experiments, and bring him back to reality from the brink of the ultimate trip into another plane of existence. In the end, can true love triumph over scientific obsession and the power of the universe? 

The film's brilliant special effects were designed by Bran Ferren, the amazing makeup was created by the legendary Dick Smith, and the stunning cinematography is by Jordan Cronenweth. The other worlds Eddie explores are visualized by surreal imagery: pulsating lights, religious iconography, and a psychedelic array of colors and sounds. His experiments also lead to some offbeat physical transformations. The hallucination sequences are the film’s centerpieces, and even by modern standards they retain a raw, disorienting power. There’s a tactile, almost grimy quality to the effects that make them feel more real and visceral than you'd likely experience via today's CGI creations. The movie also features a great score by composer John Corigliano.

Chayefsky's script grapples with big ideas like states of consciousness, religion, and evolution. At times, the sharp dialogue feels like an extended philosophical discussion, punctuated by Russell's fever-dream imagery, which illustrates Jessup's forays into other realities. The intensity of both the characters and Jessup's quest is what makes Altered States unique and memorable. Few films are willing to go all in on such wild concepts, while ultimately becoming the story of two characters united via a deep emotional bond. Altered States often feels less like a conventional narrative and more like a full-on sensory experience, but it's really a love story between two people whose passion creates a universe all their own.

Moonbase Alpha Encounters a "Black Sun"

Barry Morse and Martin Landau

Space: 1999 was one of the more ambitious science-fiction series of the mid-1970s. In those pre–Star Wars days, there were far less genre options on TV than there are in the current viewing landscape. The series was the brainchild of Gerry and Sylvia Anderson, who had found fame with puppet-based children's adventure shows such as Thunderbirds. Their first foray into live-action sci-fi was the 1969 film Journey to the Far Side of the Sun, which starred Roy Thinnes. That big-screen adventure was followed by UFO, an intriguing television series featuring Ed Bishop as Ed Straker, the head of a multi-national organization called SHADO, which protected our planet from villainous alien invaders.

UFO was a British production which aired in syndication here in the US. While it found some ratings success, it was not renewed for a 2nd year. Gerry Anderson retooled his concept for UFO’s second season, which would’ve centered on adventures on SHADO's base on the moon, into Space:1999. The concept of the series was that our moon is blown out of Earth's orbit by a nuclear explosion. The runaway moon (and the crew of Moonbase Alpha) wander thru space, encountering aliens and strange phenomena as they try to find a new home. The series starred Martin Landau and Barbara Bain, the husband-and-wife team who had previously found fame on Mission: Impossible, and Barry Morse, then best known for his role as Lt. Gerard on The Fugitive. 

Space:1999 featured spectacular special effects from Brian Johnson, who had worked on 2001: A Space Odyssey. The series contained elements of science-fiction entwined with horror and fantasy, and often dealt with powerful concepts about humanity and our place in the universe, for which no easy answers or neat resolutions were provided by the end of the story. Episodes such as "Another Time, Another Place" and "The Testament of Arkadia" prominently featured this heady mix of science-fiction and philosophy. One of the best examples of the show's "spiritual sci-fi" entries is "Black Sun," an episode from the series first season which originally aired on November 6, 1975.

In “Black Sun,” the moon encounters a "black sun" (aka a black hole) which threatens the existence of Moonbase Alpha. The black sun is wreaking havoc with the base’s power systems, and Commander Koenig (played by Landau) is worried the moon may not survive the trip through the anomaly, because of its tremendous gravitational forces. Koenig and Dr. Victor Bergman (portrayed by Morse) hatch an idea to shield Alpha from the black sun’s destructive power. As a backup plan, Koenig prepares to send an Eagle transport ship into space, with several crew members aboard, which will ensure that some members of the crew will survive if the moon is destroyed.

The episode showcases a philosophical discussion between Koenig and Bergman on how they’ve survived thus far, and if there’s some kind of otherworldly force guiding the moon’s journey through space. As their fateful journey through the black sun begins, the two men have a mystical experience with a powerful entity. Is this being who has protected the Alphans….God? This 2001 style sequence, with strong mystical undertones, deftly illustrates what some fans love about the show, and also what detractors of the series point to as one of its flaws. I think “Black Sun,” is one of the best episodes of the series, featuring great work from the cast, as well as excellent music and special effects. There’s also a fine script by David Weir and solid direction from Lee H. Katzin. 

The thoughtful approach of the first season appealed to some fans but turned off other viewers. The series was revamped for its second and final season, with producer Fred Freiberger (Star Trek, The Wild Wild West) coming on board to guide the show. Barry Morse departed, and several other members of the supporting cast weren’t asked to return. Catherine Schell was added to the show as Maya, an alien shape-changer who could transform into any person or animal. Tony Anholt also joined the cast as security chief Tony Verdeschi. The sets were re-designed, and the somber mood of the first season was abandoned in favor of more action-oriented stories. Fans of the series are quite passionate about which season they prefer, with many favoring Year One's more serious approach, while others enjoy Year Two’s faster-paced entries, which also included more humor than the first season.

Whatever iteration of the series you prefer, Space:1999 is available for viewing on various streaming services. The series has been also been released on Blu-ray and DVD. Space: 1999 is worth revisiting if you haven’t seen it in a while, and worth checking out if you're a newcomer to the show. The first season is better than it’s reputation suggests, and there are several solid outings in the much-maligned second season. Here’s a trailer for a Blu-ray release of the series, featuring Barry Gray’s iconic them from Year One: https://www.youtube.com/watch?v=C_nciw0ALw0\. 

This post is part of the 12th Annul Favourite TV Episode Blogathon, hosted by Terence, a fellow blogger over at A Shroud of Thoughts. For more information and to view the rest of the entries in the blogathon, head over to https://mercurie.blogspot.com/2026/03/the-12th-annual-favourite-tv-show.html.

Marc Platt Goes "Looking For America"

If you're a regular reader of this blog, you probably realize that I often write about and review the wonderful music created by Marc Platt, a supremely talented California based singer-songwriter. His albums often feature introspective, very personal songs about life, love and the world we live in. His latest release, Looking For America, is no exception. This time, Marc's got America on his mind, and he's got questions. Just what does America mean now, and what's happened to us as a country?

Looking For America features compelling, masterfully composed, and powerful songs such as the title track, "Our Silent Ways," and "A Call To Action." These songs deftly examine the state of America, and encourage us to think about our nation, and how we can be agents of change in a world that's badly in need of a large amount of kindness and decency. Songs like "Turnaround" and "Change Is Now," (as well as the entire record) should be required listening for everyone with open minds and loving hearts.

I'm a big fan of Marc's work, and his superbly crafted songs regularly examine life, love and relationships in a deeply personal and heartfelt fashion. There's a touch of Marc's emotional style of music on this record on heartfelt songs like "Flying Too Close To The Sun" and "That's How It Goes." Marc also has bigger thematic fish to fry on this marvelous album, which he also produced. 

On Looking For America, Marc's working with a larger canvas. Just listen to tracks like "When Worlds Collide" and "Boggles My Mind." These songs are no less candid or powerful than the rest of Marc's ouevre, they're just talking about the thorny issues we're all facing in the world right now. If you're a fan of Marc's intimate folk-rock style, and are wondering where America is and where it might be going, take a listen to Looking For America. Check it out here: https://marcplatt.bandcamp.com/album/looking-for-america.

Westworld: A Dream Vacation Gone Wrong

The late Michael Crichton is widely celebrated as an author and filmmaker, having written books like The Great Train Robbery, Sphere, Congo, Rising Sun and Disclosure, all of which were adapted into movies. Of course, he's probably best remembered for his novel Jurassic Park, which was turned into a wildly successful film franchise. But that tale of cloned dinosaurs running amok in an amusement park wasn't the first time that Crichton imagined a story about a technologically advanced theme park where things go horribly wrong.

 

That honor belongs to Westworld, a 1973 film written and directed by Crichton, which tells the story of Delos, an adult amusement complex featuring three separate parks: Westworld, Roman World, and Medieval World. Guests live out their fantasies in these meticulously crafted, simulated worlds, which are populated entirely by sophisticated robots. You can become a gunfighter, a roman lord, or even a knight. in highly realistic scenarios that allow you to become the hero of your own story.

 

Westworld centers on two friends, John Blane and Peter Martin, played by James Brolin and Richard Benjamin, who visit Delos for a vacation. At first, they enjoy their time in the Old West scenario, engaging in bar fights, spending time with beautiful ladies, and triumphing in shootouts with a villainous black clad gunman. What begins as a playful lark quickly spirals into a deadly battle for survival when the robots begin to malfunction, and start wounding, and even murdering the guests throughout the parks. Spoiler Alert: John is killed, and Peter ends up in a relentless battle with the mysterious gunfighter android, chillingly portrayed by Yul Brynner.

 

The film feels remarkably prescient in its celebration of advanced technology being accepted as infallible, then taken a bit too far, too fast, purely for the purposes of profit and entertainment. The robots are marvelous creations, but when they malfunction due to the effects of what appears to be a computer virus, the scientists and staff members of Delos are completely unprepared to deal with the situation. This results in Peter's dream vacation turning into an absolute nightmare. Can he defeat the unstoppable gunslinger? Will anyone survive the robot rampage at Delos?

 

Westworld is an entertaining, thought-provoking film, featuring solid performances by Benjamin, Brolin and Brynner, who deftly channels his Magnificent Seven persona as the gunslinger. You'll also spot familiar faces like Alan Oppenheimer, Dick Van Patten and Majel Barrett in supporting roles. One of the film's technical innovations is that it features one of the earliest cinematic uses of digital image processing to represent the pixelated point-of-view of Brynner's deadly gunslinger robot. The film is also an early example of the techno-thriller, a genre which Crichton re-visited several times throughout his career, in films like Looker and Runaway.

 

The film spawned a sequel, Futureworld (1976), starring Peter Fonda and Blythe Danner as reporters investigating mysterious goings on at a re-opened Delos. Futureworld is an entertaining film, which expanded upon the themes of the original and added a conspiracy thriller angle to the storyline. Neither Futureworld, or a short-lived 1980 TV series on CBS entitled Beyond Westworld included any involvement from Michael Crichton. In 2016, HBO launched a new Westworld  television adaptation of the film, created by Jonathan Nolan and Lisa Joy, re-imagining Crichton's original concept, and updating it for the 21st century. That well-received series, featuring Ed Harris and Evan Rachel Wood, ended its run in 2022.

 

Westworld feels less like old school sci-fi and more like one of the origin points for modern speculative fiction, which includes cautionary tales about the misuse of technology. Crichton didn’t just make a memorable, riveting thriller, he issued a warning about the unbridled acceptance of technology, a message which still resonates today. Westworld was recently issued on 4K and  Blu-ray by Arrow Video, in an extras-packed special edition. Here's a trailer for Arrow's release of the movie: https://www.youtube.com/watch?v=_vezkZIMm74/.

A Different Kind of "Knight's" Tale

George R. R. Martin's Game of Thrones novels gained a whole new legion of fans when they were adapted for television by HBO. The series redefined genre television with its cinematic scope, epic storytelling and larger than life characters. The recent prequel series, House of the Dragon, has largely retained the style of the original, but the latest entry in the franchise has a smaller scale, more personal focus in mind.  

A Knight of the Seven Kingdoms, based on Martin's Tales of Dunk and Egg, tells the story of Ser Duncan the Tall, a "hedge knight" from a lowborn background who's a far cry from the larger than life Targaryens and Starks we're used to seeing in the previous iterations of Game of Thrones. After his mentor dies, "Dunk" travels to a tournament where he hopes to prove himself as a knight. Along the way, he encounters Egg, a young boy who offers to be his squire. The two unlikely heroes become friends, but there are challenges ahead that will test not only Duncan's mettle, but their friendship as well.

Set decades before Game of Thrones, this series trades continent-shaking wars, dragon fire and political machinations for something more intimate and emotional: at its heart, the show is a character study. Ser Duncan, who's earnest, kind, and often out of his depth, anchors the narrative as a decent man trying to live up to a knightly ideal in a less than chivalrous world. His companion and squire, the quick-witted Egg, provides both support and wise beyond his years counsel. Their growing friendship and respect for one another is at the heart of this entertaining series.

Despite the fact that, like its sister shows, some of the high born characters in A Knight of the Seven Kingdoms are unlikable and often downright villainous, there are people like Dunk and Egg who illustrate that decency and kindness still matter, even in an indecent world. The visual style of the series is a bit different from what we've seen before, as the show leans into providing a street-level view of the Game of Thrones universe. Taverns and tents are dirty and dusty, people are unkempt, and often revel in small pleasures like wild dancing, and singing colorful songs about loose women. There's definitely a more irreverent tone on display here than was featured in Game of Thrones, but it works well within the context of the series.

Peter Claffey as Dunk and Dexter Sol Ansell as Egg have strong chemistry, and they lead a fine ensemble which also includes Daniel Ings as Lyonel Baratheon and Shaun Thomas as Raymon Fossoway. The series was created by Ira Parker and George R.R. Martin, and the directors for the six-episode first season are Owen Harris and Sarah Adina Smith. A Knight of the Seven Kingdoms is now streaming on HBO Max, and this well-produced, well-acted, character driven tale is worth a look for Game of Thrones fans. The show also might be a good entry point to those new to the franchise. Here's a look at the trailer for the series: https://www.youtube.com/watch?v=sItUCKJQLTU.

Ponies: Cold War Spies and 70s Rock & Roll

Haley Lu Richardson and Emilia Clarke

Ponies (Persons Of No Interest) is a well-crafted espionage series now airing on Peacock. It's part Cold War thriller, part character drama, and part buddy comedy. Ponies tells the story of Bea and Twila, two women whose husbands are CIA agents based in Moscow. When their husbands are killed under mysterious circumstances, Bea and Twila convince Dane, the CIA station chief, to let them investigate their husbands deaths by working as undercover agents. The women are both given jobs  as secretaries at the American embassy, where they work with Dane to figure out what the KGB is up to, and uncover the truth behind their husbands deaths.

Bea (played by Emilia Clarke) is  a college-educated, Russian-speaking child of Soviet immigrants, while Twila (portrayed by Haley Lu Richardson) is a sharp-tongued small-town girl with a fearless streak who often flies by the seat of her pants in difficult situations. The two women begin a rocky friendship as they go on increasingly dangerous missions for Dane. The show is sharp, stylish and visually striking. The series features excellent period detail (the show is set in 1977) and a fine supporting cast, including Adrian Lester and Harriet Walter. 

What really sets the show apart are the fabulous needle drops. All of the episodes in the first season are named after famous 1970s tunes, and each episode features several classic tracks, including songs from artists like Fleetwood Mac, Tom Rush, J. Geils Band, Blondie, J.J. Cale and Vicki Lawrence. The excellent soundtrack features the expected marquee names, such as Todd Rundgren and Heart, but also spotlights more obscure artists like folk rockers Goldberg and selections from beloved cult bands like Love and Fanny. The music choices feel very intentional, as the music is often used to underscore and comment on the action, adding depth and color to important scenes, which turns the show's strong moments into memorable ones.

Ponies is an entertaining spy series featuring excellent performances from Emilia Clarke and Haley Lu Richardson, who exhibit solid chemistry as Bea and Twila. The entire first season is now available for streaming on Peacock. The show should appeal to fans of 1970s era spy thrillers, and the killer soundtrack will bring back a lot of memories for classic rock fans. Here's a link to the trailer for the show: https://www.youtube.com/watch?v=-DlukUWtoCU.

 

 

The "Monsters" Aren't From Outer Space

The Monsters Are Due On Maple Street

Recently, I've been doing a re-watch of some of my favorite episodes of the original Twilight Zone series. Rod Serling's groundbreaking television show thrilled and fascinated us with memorable tales of science-fiction, fantasy and horror. The Twilight Zone also taught us some important lessons about the human condition, and commented on the state of the world we live in through its fictional lens. "The Monsters Are Due On Maple Street” is one of the most powerful and enduring episodes of the series, and its central message remains relevant, especially in these troubling and uncertain times.

The story takes place on Maple Street, a quiet suburban neighborhood, where strange events, such as power outages and malfunctioning electronics, occur after the residents witness a flash of light and hear a loud noise in the sky. The people of the town believe an alien invasion is imminent, and suspect that there are aliens in disguise living among them. Suspicion, fear and paranoia begin to grip the neighborhood, leading to the residents accusing one another of collaborating with the aliens, turning against their friends, and ultimately ending in violence and death.

 

"The Monsters Are Due On Maple Street” illustrates how fear can turn ordinary people into their own worst enemies, and how negative emotions bring out the worst aspects of humanity. By the end of the story, the audience learns that the real “monsters” aren't the aliens, but the residents of Maple Street themselves. Spoiler Alert: The twist in the tale is that there really are aliens hiding outside of the town, manipulating events to show just how simple it is to turn human beings against one another, thus making our planet an easy target for conquest.

 

Written by Rod Serling and directed by Ronald Winston, the episode features a strong cast of familiar faces, including Jack Weston, Barry Atwater, Claude Akins and Mary Gregory. A re-imagined version of the story, entitled "The Monsters Are On Maple Street" was produced for the 2002 revival of The Twilight Zone, and starred Andrew McCarthy. "The Monsters Are Due On Maple Street” is widely acclaimed as one of the best episodes of the original series, and is certainly one of Serling's best efforts.

One of the episode’s greatest strengths is its powerful commentary on fear and mob mentality. Serling's fine script shows just how quickly kindness and empathy disappear when people feel threatened and paranoia reigns. The townspeople abandon logic and reason in favor of pointing the finger at their friends and neighbors, choosing fear over understanding. "The Monsters Are Due on Maple Street,” which originally aired in 1960, is a bold and bracing commentary on the social and political situations of the Cold War era, but the themes present in this thought-provoking tale still feel very pertinent today.

The Cynz Rock Our World With "Confess"

The Cynz, the dynamic New Jersey rockers whose terrific version of David Bowie’s “Can’t Help Thinking About Me” was a highlight of last year’s JEM Records Celebrates David Bowie tribute disc, are about to blow your mind (and your speakers) with Confess, their fantastic new album, which will be released by JEM Records on January 24. If you’re not already a fan of this amazing band, you’re about to become one.

Confess includes ten tracks highlighted by hard-driving riffs, knockout vocals, shimmering melodies, and skillfully layered arrangements. Take a listen to the kinetic single “Love’s So Lovely” and the sharp-edged “My Father’s Gun” to see just what I mean. Cyndi Dawson’s evocative lead vocals and Henry Seiz’s masterful guitar work are the heart and soul of this incredible band, and they help bring tunes like the modern-rock flavored “Impossible Ending” and “Watching You” brilliantly to life.

What stands out on Confess is how the songs balance the band’s raw rock and roll energy with a real emotional core. The album includes a mix of gritty rockers like “Woman Child” and heartfelt tunes such as “Don’t Give Up.”  I also dig the picturesque “Ghost Rider” and the expressive “Light The Sky.” There’s also a knockout version of Tom Petty’s “You Wreck Me” which fits in nicely with the rest of the tracks on the disc, and has quickly become one of my favorite Petty covers.

The success of the album is firmly rooted in The Cynz’s deep commitment to their music, and their unparalleled talents, especially Cyndi Dawson’s passionate vocals and Henry Seiz’s powerhouse guitar. The excellent production work on Confess is by the one and only Kurt Reil of The Grip Weeds, and the disc features guest appearances by Reil, Tony Shanahan of The Patti Smith Group and Arno Hecht of The Uptown Horns.

Confess is definitely a statement of purpose by this exceptional group. The album is filled with heart, grit, and top notch songcraft. Whether you’re a longtime fan or are discovering The Cynz for the first time, Confess is a must listen and a must have. Here’s a link to check out “Love’s So Lovely,” https://www.youtube.com/watch?v=W38G8XULMXU.

The Top Ten Posts: 2026 Edition

Happy New Year! Here's a list of the most visited posts from Eclectic Avenue for the last 12 months. There are some new entries and old favorites:

1. Dizzyfish: My review of a terrific concert by the amazing local band Dizzyfish is still in the top spot: https://jveclectic.blogspot.com/2024/06/dizzyfish-rocks-with-best-of-1970s.html.

2. Marvin Etzioni: My look at Marvin Etzioni's excellent 2020 release, What's The Mood of the Country Now? holds onto the number two spot: https://jveclectic.blogspot.com/2020/11/etzonis-whats-mood-is-exceptional.html.

3. The Tearaways: My review of a wonderful album by The Tearaways moves into the number three spot: https://jveclectic.blogspot.com/2023/03/a-fabulous-trick-from-tearaways.html.

4. Escape In The Fog: My look back at the 1945 thriller Escape In The Fog makes its debut in the top ten at number 4: https://jveclectic.blogspot.com/2018/12/will-otto-kruger-escape-in-fog.html.

5. The Magnificent Seven: A long-time resident of the top ten, this look at the 1960 Western classic takes the number five spot on the list once again this year: https://jveclectic.blogspot.com/2017/04/eli-wallach-vs-magnificent-seven.html.

6. Jacques Tourneur: A look at the work of a celebrated film director moves into the number six slot: https://jveclectic.blogspot.com/2017/05/jacques-tourneurs-world-of-shadows.html.

7. Nick Piunti: My review of Nick Piunti & The Complicated Men's 2024 disc, Up and Out of It, takes the number seven spot: https://jveclectic.blogspot.com/2024/10/piuntis-latest-shines-with-power-pop.html.

8. Miracle Mile: A retrospective review of the 1988 film Miracle Mile makes its debut at the number eight spot on the list: https://jveclectic.blogspot.com/2020/06/miracle-mile-fate-love-apocalypse.html.

 9. The Invisible Ray: Another debut in the top ten is my retrospective review on the Boris Karloff and Bela Lugosi thriler, The Invisible Ray: https://jveclectic.blogspot.com/2017/09/what-is-secret-of-invisible-ray.html.

 10. The Pit and the Pendulum: The fourth post to make its debut in the Top Ten is this review of the classic Roger Corman directed thriller, The Pit and The Pendulum, starring Vincent Price: https://jveclectic.blogspot.com/2020/04/price-poe-and-pit-and-pendulum.html.

This past year, the list of most visited posts leaned a little bit more towards movies, and also towards older posts as well. Bubbling just outside the Top Ten were my review of Popsicle Drivethru, a fabulous album by Monogroove, a concert review of a terrific live show from Early Elton, and a look at the classic Burt Lancaster film The Crimson Pirate. Thanks for reading, as always!