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I would never write a review of a film so loved by fans and revered by film critics. Everyone know the its olit, even the dialogue and special effects. The truth of the matter, this film is enjoying a 2024 limited release -- and viewing it on the big screen really reminds ine that it's NOT ABOUT flesh eating dead people, it's dystopia!

Romero's has a visionary talent of putting a journalist, documentary styled to his American dystopian films. He did it with "The Night of the Living Dead" then with "The Crazies", a narrative of Americans fending for themselves or fighting over limited resources.

This is the same narratives/styles that influence at a world level with film genres from the apocalyptic exploitation cinema to low budget horror. It even can be seen with today's current releases from Alex Garland's "Civil War" to "A Quiet Place" film series.

Too bad, that the recent news coverage of this limited film release that they report of the "zombie" element that his specific usage of an American dystopia story. This plays on people's phobias from race to enconomy, forcing everyday people to show true unapologetic humanity under stress and despair.

This 2023 independent film, "The Long Game" released by Mucho Mas Media has Latinx star power of celebrity talent from Jay Hernandez to Cheech Marin set in 1950s Texas golf courses. It's directed by Cuban American director, Julian Quintana, born in Los Angeles but is based in Austin Texas.

This is a film adaption about a segregated golf course, surrounding Mexican American teens, who were caddies. Through their mentorship with an older Mexican American, San Felipe School Superintendent and WW II Marine JP Peña (played by Jay Hernandez) created the San Felipe Mustangs high school golf team.

Incidentally, there's a biographical book, "Mustang Miracle" (2012: Author's Press) by Humberto Garcia. The book documented this history that happened in Bordertown Del Rio, Texas (where he was born and raised). This film and Garcia's book chronicle these teens' discrimination in the late 1950s then became champions in teen golf tournaments.

The film also shows the harsh discrimination toward Mexican Americans in Texan borderland towns. Other actors like Dennis Quaid play Frank Mitchell, a white golfer supporter of the San Felipe Mustangs along with Cheech Marin playing as "Pollo", Del Rio golf course attendant. Amidst the younger cast of Latinx actors is Julian Works who brilliantly plays the role of young golfer Joe Trevino.

This 2016 film written and directed by Alice Lowe is an interesting story about motherhood and insanity. This film concerns a young expecting widow, Ruth (helmed by Alice Rowe) growing through mourning. The baby's father had passed away, appears in many flashbacks.

Through a series of murderous incidents, she regularly goes to her midwife (helmed very well by Jo Hartley) and baby check-ups. This film explores the mental health of the protagonist but the story loses gravity toward the third act.

The film's theme is quite hectic, sometimes reading like a black comedy, with segments with one character DJ Dan (Tom Davis) and Job interviewer, Ella (Mary Dickies) Then it moves quickly into a film about revenge with acting is quite steady but the clumsy dialogue can be a bit clique (at times tongue-in-cheek).

The violent scenes are met with mostly practical effects are gory and quite realistic. Especially the living room scene, yikes, so there's abit of shocks. The biggest surprise was the fact that the main actor, Alice Lowe was 8 months pregnant through the duration of filming!

The feel of this film was pretty much filled of transgression and obviously revenge. This film got a following as a "horror" film when it was available on Shudder.com (who distributed on media as well).

When viewing "Prevenge" its not hard to be reminded of the 1988 French film, "Baby Blood" (definitely is far more superior -- worth a look) especially segments of the communication between mother and the unborn.

But "Prevenge" does have some good moments, it's a good start for the director who's on with other projects who also a superb actor. Her talents would be well utilized for a future "VHS" anthology.

Mandico envisioning of hi couture meets 80s American pop culture and exploitative cinema. Not to mention that 80s Conanfilm series and "sword /fantasy" genre brought forth so many duplicate, "rip offs" of Barbaric schlock! From Italian film exploitation cinema to Hollywood low budget productions.

I'm sure that many viewers will probably not get the cultural art discourse, sprinkled throughout the film's violence and explicit gore. But it doesn't matter, so much visuals and physical action happening.

Any viewer with a short attention span, can probably get through it, but Mandico seems to be more interested with aesthetics tend viewers getting the story. The characters might be considered over the top, situations always in very "hi" fashioned settings.

If you like the visuals rather than linear storytelling, see this film. Many are already trying to force this flick into "cult" status. It may catch the eyes of some, but without any weight, will lose its lustre. This film is up for award nominees and has garnished some of them.

Part of this lustre is having many characters, thankfully there's one just one can fixate on "Rainer", a dog-like "cerebus" humanoid creature. It kinda reminds of a mashup of Jackson's "Lord of the Rings" and Boorman's "Excalibur" films with gore effects.

This Austria-France produced documentary on Cuban life: vignettes of interviewed Habana thoughts on colonial and present political views from their 1898 independence to Trump Administration anti-immigration tactics.

It has an artistic quality with camera work, archival material along with a candid portrayal of an intergenerational Cuba! Featuring an array of personas: artists, working class, intellectual, etc..

Mostly shotted in the Habana urban area, also looks at the tourist anricst, from the night street life. Juxtaposition of the average Cuban urbanites along with the jet set tourist.

It posing alot of questions about Cuban politics, where's it at, where does fit in their knowledge of history.

This obscure 1981 Canadian film starring Sammy Synders is the child with some serious issues: Jamie Benjamin.

If this film made made for showing at local Drive INS, it was probably received with much confusion, it's story is jumbled. Synders's charm and uncanny presence, saves the day.

This low budget can function as an art house film, thougby accident. It features what could be two stories: his teddy bear and the brooding Trogs!

Soundtrack has some character and is quite humorous and off beat. Shotted entirely in Beaver Dam, Wisconsin! It feels very Midwestern with local talent looking more mature than their teen characters.

This is must see for people who like to be surprised with low production films, with plot twists. I gave it a decent rating, since there are some original ideas, following the Bad Eeed type of films.

This overlooked, nearly forgotten 1989 film that took an idea (could be influences from Alien/Aliens films and Cronenberg's Body Horror films) of gore and violence in childbearing, directed by Alain Robak, produced in France.

Its main character, Yanka played merciless by Emmanuelle Escourrou featuring a disembodied voice, being that of an unborn baby.

It's opening with stock footage of volcanic eruptions/ocean waves with an oral narrative on prehistoric/evolutionary thematic dialogue.

Then after opening credits it sets upon a present day circus community where Yanka works as a performer with the lion act and in an abusive relationship. A new feline creature arrives and imprints on her, later it mysteriously dies.

She soon discovered that there's a pregnancy, unborn and escapes the circus environment and becomes a nomad (with the unborn voice) speaking to her on what she needs to do.

Throughout a series of misadventures leading her to Paris, discovering that the unborn has an appetite for blood.

Yanka, becomes the unborn's slave by feeding on unsuspecting people, mostly men. She tries to see if she could find love, but nothing happens except murder.

The more unborn needs to feeds, more violent are Yanka's crimes. Advancing to the unnatural birthing, as the blood trail lengthens.

This film uses a tongue in cheek approach, making some scenes comedic, almost as innocent fun. 80s cultural antics are bright patterned fashions, etc.

"Baby Blood" is before contemporary Francophone horror, precedes 90s with it's psychological explanations with motherhood. It's way before French films like "Inside" (2007) and in 2008, a long awaited sequel, "Lady Blood" that didn't have the first film's originality.

This is worth a look, if your taste is obscure, but smart Euro-Horror styled cinema with practical special effects.

These actors' performances stand out, making this indie film gem looking at class, race, etc. By Dan Brown stand tall. Jessica Garza as Ana Marlene did wonderful, and is the scene stealer! Angus Cloud begin the story as a small time drug dealer, Sterling who happens to be present when a lottery winner get a "golden" ticket, looking at a jackpot over 100 million.

All of the film takes place at a Los Angeles corner store, owed by Amir played by Mousa Hussein Kaiser. Sterling tries to get the ticket from a winner, Mr. Laird played by Spencer Garrett when tragedy strikes as a cop accidentally shoots the wrong person. The tension is raised with other captives in this store hold up.

This film as an action thiller, evokes the tension from even John Carpenter's Assault on 13 th Percint. There are plot twists, in the midst of the story. The question of the haves and have nots, making this film to take unexpected turns.

This film was dedicated to Angus Cloud, who died recently in 2023. Remember if indie films that critique issues of racism and classism, are not your choice, this film maybe not for you.

Zalla's beautiful-photographed film, of borderlands looking at improverised youth and their education. Eugenio Derbez helms the role as a possible mentor and educator, Sergio Juarez Correa. He's a role model to students struggling economically and dealing with criminality, based on true events.

It's a slow narrative, but developing much of its characterizations within the on-screen relationship between educator (Derbez) and youth. Derbez shines within this film without any comedic antics, showing the struggle of education.

Particular Mexican young actors shine alongside his acting, playing the students overcoming adversary. One student, Paloma helemd by Jennifer Trejo shows much passion toward math and science.

All these events are based on a true event for youth achieving the highest national testing, Paloma was celebrated as the Mexican student to has the highest score in the country back in 2011-12!

Austin Jennings creates a darkly romantic portrait of Serbian family dysfunction. It explores a couple's (Cass and Gav) travels while filming footage with vintage equipment.

The story follows them until meeting a stranger, Saint Peter. Then like with many cinematic tropes of the American tourists in a foreign country, things go array.

It's slow moving but if you are a film technie, this film is for you. The director explores Italian filmmaking, 70s Giallo and horror genres by using practical effects with a selection of cameras. Although Jennings really tried to produce something new, rather than mimicking.

The acting by Emily Sweet as Cass, the woman in peril, holds the storytelling with the performance of Bruno Veljanovski as Saint Peter. Location shots are well photographed and as well as interior shots of trains, apartments, etc.

This film was relatively entertaining, nothing really new, but the production value was good. David Dastmalchian's performance as Jack Delroy hold together the tired plot, felt like EC Tales from the Crypt, or the Creepshow series.

Nonetheless, this plot concerns a desperate TV celebrity trying to their program revelant, and in doing this conjures evil. Other actor's performance keep it together, with the formulaic of the skeptic and the occult culture. This film was supposed to be inspired by real life Canadian psychic debunker, James Randi.

There's a lot of detail paid attention to 70s US television and late nite celebrity fame. This is what's keeping the viewers interested who maybe didn't grow up with those TV antics, explored in this film.

The effects were good along with CGI and practical techniques (ecept there's been recent controversial usage of AI art by the film's directors). The soundtrack was great at inducing the 70s vibe.

Another lesser known film which parodies 80s live Halloween TV program with era commercials is 2013's "Halloween WNUF Special", worth of look!

Demián Rugna's 2023 film, *Cuando Acecha la Maldad (When Evil Lurks)", is a well paced story with strong acting leads. Esquivel Rodriguez's performance holds up well, using Latin American cinematic tropes to portray a desperate father.

It's originality lies with a refreshing the idea of demonic possession. In this film, the entity jumps around, maybe inspired from an assortment of genre films featuring multiple possession from 60s "Equinox", 80s "Evil Dead" and "Demons" to 2000s "Legion". But what makes the original idea is the "siete reglas" or the seven rules.

Rugna's tight correlation to the "siete reglas" carries out throughout the story. The idea of the demonic forces deceives and taunts the characters causes confusion and tragedy, keeping the pace going.

Location shots were done with a combination of aerial drone footage to pursuing shooted action scenes. Similar to even John Carpenter's remake of "The Thing", the entity can enter animals, keeping the suspense on point.

"Sorority Babes 2" was entertaining, deliciously directed by cult icon: Brinke Stevens and stayed within a vibe of 80s VHS Exploitation and paid cable "Sinema", the "Auntie" character's presence and dialogue kept both films together (along with the late 80s "Freestyle" inspired soundtrack).

Many are expecting to many "highs", forget what genre roots this had, for VHS home entertainment where many White teens and college aged males were the biggest consumer.

Its exploitative, considered "low" art and defined the end of the 80s, during the beginning of "Cultural Wars": conservative politics with the funding of the arts.

Congrats on Steven's directorial approach in redoing 80s "scream queen" celluloid camp "ala Band" productions.

This film, which used composite shot footage, which was humorously referencing video game strategies. This almost slapstick Buster Keaton like, or Bruce Campbell antics?) comedy, features "devilishly" stunts plus witty audio bits.

There's no spoken dialogue, mostly visual one may just say that this production crew was influenced by Wes Anderson, but has roots with the cinema of Absurdist Fiction or surreal humor meet Walt Disney.

This laborous effort shows brilliant gimmick, playing with the idea of the hunted and the hunter. This crew mainly of Wisconsin based talents showing up across the country with film festivals snapping up awards for special effects abd comedy.

The narrative follows a hunter played by Ryland Brickson trying get on the hunt, with interruptions by local animal and population living in the woods.

Carmen (2022) directed by Benjamin Millepied, retakes the original 1845 French novel plus references 1954 Carmen Jones film, and not the opera narrative. Dance forms becomes the centrepiece of an unsure love story.

It takes liberty to reinterpret the original setting to the U. S./Mexico border, supposed to be set in the Northern Mexican states. Actually it's Oz, the Australian landscape passing for Mexican desert scenery.

Although the film's intent to depict borderlands culture via Oz's landscape, there's odd cultural references like a repeated image of the Chilean Virgin Mary (Lady of Grace), in place of the Mexican Virgen de Guadalupe icon.

Carmen, helmed by Mexican actor, Melissa Barrera and Aidan helmed by Irish actor, Paul Mescal meet under certain circumstances: undocumented crossings (Carmen entering the U. S.) and paramilitary border patrolling (Aidan, retired Marine as a patrol volunteer). Their climatic interaction begins there as they flee together to "ciudad de los angeles" (L. A.).

Many scenes can suggest magical realism or surreal situations. There's some weak writing, with a contribution by Broadway's Alexander Dinelaris, but its strength is the dancing.

Millepied's background as a dancer, support the beautiful choreography that's a lot superior than the noted film, "La La Land". Unlike the prior, Carmen references the social reality of U. S. immigration policies and urban decay.

Dance scenes are breathtaking and employ Iberian and Latin American traditions from Flamenco to Tango. There's even a nod to L. A. contemporary urban dance forms like "Crumping".

The presence of Rossy de Palma, from Spanish cinematic royalty, cements a mystical creature as Carmen's aunt. She is a storyteller, recording Carmen's struggles as well as her love for Aidan.

At the end of the film, viewers navigate through muddled, slow burning action but it's worth it for the dancing and de Palma's acting. Its soundtrack has original compositions by Mexican musicians like Julieta Venegas and historic borderland ballads by Lydia Mendoza!

This 2022 film by Jalmari Helander leaves a striking look on the Nazi Occupation in Northern Europe, blending the rural Lapland area, violence and gore with such patische. Jorma Tommila as Atami Corpi stealing the first 15 minutes with out and dialogue where we're introduced to this gold miner.

The rest of the film is nonstop with ultra violence and gore, reminiscent of the early 90s film aesthetics of Roberto Rodriguez and Quentin Tarantino. Again, the wonderful thing of this film that hardly much dialoque from Jorman, just facial expressions and body language.

The soundtrack really helps the narrative to go deeper into more fantastic action scenes. Other characters are pretty much antagonist personalities. The climatic scene at the end is met with such visual details and sequence of action similar to Zack Snyder style.

Hermanus poignant re-encounter with Japanese 1952 film, Ikiru. The pitch perfect performance by veteran, Bill Nighy is award worthy and good study for inspiring actors.

It takes on a look on cultural repression in urban work culture, similar to the 1952's look into Japanese 50s work and repression culture.

Nighy steals every scene, incorporating his own style, in equal, maybe surpassed the original film as inspiration. This period piece by Hermanus captures a 50s London's Pickadilly scene superbly.

It's hard to find any flaws with this reinvention of Kurosawa's film. This film has already gathered soany film awards and nominations.

Beginning with Kyle Ball's 25 min. Short, "Heck" which has been view online for awhile, it begins a full film, "Skinamarink$. This film has upset many genre film goers as being seen as an art house approach or "self indulgent" that said yes yes, it's a slow burner. Interesting thing, this film went viral online due to a film festival glitch, or maybe it's was a marketing gimmick.

Nonetheless, though in it's primal look -- it has great possibilities, mixing different sources, like creepy pasta, it also has potential references like 80s films like "Don't go in the House". Yes, jump scares are utilized in a fun way. They work as a series of online short episodes rather than a traditional horror movie format.

Also it can suggest the idea of a recent populu notions of "back rooms" or even liminal, interdimension spaces. It's soundtrack is minimal met with sound bits of hinting low resolution playback, such as VHS recordings.

This is the film that will audiences in a split: adore it or loathe it. Leone's has truly outdid himself any 80s tribute tropes, a second time around. With surprised minor parts by 80s iconic cult stars and a heavy techno synthesiser soundtrack co-composed by Paul Riley

This film is for the extreme sense of violence -- it's horror, unapologetically bringing it back to NY/NJ area, echoing Lucio Fulci (New York Ripper), William Lusting (Maniac) and Frank Henenlotter (Basketcase) sensibility of NY's 80s gritty filming aesthetics.

There's better improvement with it's characters and plot twists. It's more character driven, like Sienna helmed by Lauren LaVera. With fun nuances like minor characters by Felissa Rose! What's interesting that its put NY/NJ in a gritty, urban landscaping and it's ecology.

Enough of this pointless critique, it's a film for "gore hounds" which doesn't lack. Each violent scene, is matched with the next scene, claiming certain regional theater communities to cause visual nausea. It's popularity amongst cinema screenings, via "word of mouth" via social media.

Its has been presented at recent horror convention programs as an interactive presentations, engaging viewers where they sprayed with water and thrown red balloons simultaneously with the film's ultra violence.

This first film by John Isberg, is a good start but had conflictions in providing innovation or something fresh with 80s college teen slasher movies.

Considering its limitations of the story, it offers good night scenes, that are watchable which can be technically difficult to film. The actors deliver evotive reactions to the terror uleashed to them.

PTSD is a theme carried throughout the film, providing and giving some good dialogue. Its "final girl" trope is not strong, but her acting is good. Its chase scenes has suspense, but it lacks the tension provided with 80s slasher.

One interesting aspect that it was shot in rural Illinois's woods, has strong natural landscape locations. It one makes for a good start for Isberg, there is an interesting closing credits, hopefully to make more horror genre paths for this first directorial debut!

Chandler Thistle is the director, writer and editor of this film but also behind 2019's "Acid King", inspired by the "Satanic Panic" era teen murderer, Ricky Kasso. This film continues those idea, in a more lyrical and spoof reminiscent of 60's LSD, drug films.

Visuals are completely psychedelic, accompanied Metal soundtrack, and of course slot of violence. This films has been celebrated by metal fans and purveyors of drug related films.

End credits featured what looks like scenes from the Templars dead Knights, from the "Tombs of the Blind Dead". Overall, it has an entertaining value, although it has weak spots in the script.

This film is problematic for some, but the truth is that Rich Cummings was perfect for the main character! This was his criticism on Hollywood and social media. It worth a look if you are into how mainstream views Hollywood figures.

Carlos López Estrada, director of "Summertme" (color and 95 minutes long) was filmed between July and August of 2019 but mostly in L. A.'s Korean Town area. It features great poetry written by emerging poets and inspired by Get Lit: Words Ignite, a literary and writing program for urban youth. Photographed with nice visuals from L. A.'s street murals plus a fantasy-like dance choreographed number amongst the "City of Angels" diverse landscape.

It brilliantly features young and emerging spoken word poets and musicians, discussing a range of issues from LGBTIA+, racism, urban gentrification, etc. With outstanding performances by emerging poets like Marquesha Babers amongst many others. Estrada's collaborative effort makes for a creative but cultural and an urban portrayal of "So-Cal" or "Angeleno" life.

This 1995 film by Ash (Ashley Baron-Cohen related to the comedic actor, Sacha Baron-Cohen) was pioneering in light of today's climate of police accountability. This filmic production almost unseen by the mainstream media since it before social media hyping and as an indie film.

The film was bold, although it used art house tropes it definitely flips the perspective on LA cops. It indirectly looks at LA's gender, race and gang divisions. The pace and humor of story was before full-feature films by his contemporary peer, Guy Ricthie and later films like 2006's "Crank".

It's film that runs on speed and the power of this film relies on having non stars that make characters credible. It earned a 1998 Independent Spirit Award for the main debut actor: Darling Narita but also the film has an early appeareance by then unknown, Lucy Liu! Peter Greene is also a small but supporting character.

It should be said that this came before the critically acclaimed "Traffic". This film which may be hard to find, it a hidden gem if you are into indie styled stories of urban culture!

Highly recommended!

This comedy (directed by Josh Ruben, written by Mishna Wolf based on a VR game) blends activism (environmental rights, "pipeline" reference), greed and the werewolf's curse. As a comedy, the film's dialogue can be seen as off-beat humor, fun for particular viewers (and for some not so funny).

But what it importantly lacks (of what would have been a great opportunity to secure a horror film fan base) is comedic references to werewolf folklore and popular cultural representation (classic films like "The Wolfman").

This could have serve great potential, could made this filmic production a following. A formula that has worked well, in the case of horror/comedy or "hormedy" references like Edgar Wright's "Shaun of the Dead" with the "Zombie" cinematic genre.

The diverse cast was funny, featuring and spotlighting the comedic talents of Sam Richardson, George Basil and Catherine Curtin. Its production value and plot schematics worked well plus special effects were modestly good (earning it a second-look again).

This film ain't no John Landis's "American Werewolf in London" or Joe Dante's "The Howling" (both 80s films incorporated humorous, but classic lycanthropy references) but this filmic production gets B-.