tomdmorganti

To say this short film freaked me out would be an understatement. It sounds kinky by the tagline but it's just truly weird, like The Lighthouse was weird. I saw it at the Lovecraft convention in Providence and it was a long walk back to the hotel. The use of sinister music and absolutely bizarre situations made this one the gem of the festival, a real melatonin killer.

Honestly, I thought it was hilarious. Some good retro porn there.

So many ways out. They've got highways a quarter mile away, cars, ATVs, people within walking distance, helicopters, yet they still can't get out. No one seems to be too upset that they're being slowly picked off by this reject from the Transformers (too small, not tough enough) and literally sucked dry of their precious bodily fluids. Everyone in the movie is pretty nonchalant, in fact, with time to be jokey, have fist fights, develop romantic relationships. There's little to recommend this one except the scene with the chopper.

I hated this album when it first came out because I was a member of the "old camp" Floyd fans, i.e. "Meddle". I confess to avoiding the movie treatment for 35 years. Until today. What a glorious way of celebrating the solstice. This movie is what Tommy tried to be but failed at miserably. Quadrophenia meets Fantastic Planet, and, no, you need not be stoned or tripping to appreciate it. You might even miss a lot if you are incapacitated. Wow, what can I say? I wasn't even a follower of the Boomtown Rats, but Bob Geldorf's got the pipes for it, for sure. The only thing that would have made it better is the Syd Barrett input, but it is an amazing film nonetheless with a message that resonates today, at least in America

Tim Hutton does an amazing job in the role of the deadbeat dad. After the first couple of episodes it dawned on me that this was an ABC production and what a miracle it was that it ever saw the light of day at all. It's an important show, particularly in these days of ISIL and Ferguson, and it treats these explosive topics with intelligence and, for the most part, a fair hand. My only criticism with the show is the overuse of the opposing shoulder shot. Two out of three scenes are shot from the point of view of the person being talked to, over the shoulder. At first it was interesting, although Alfred Hitchcock made a career out of such shots in another generation. In American Crime it's done to death. Also irritating are the time jumps, back, forth, back, forth. An hour of it is like watching an hour of Riverdance. But the content and the acting saves it a thousand times over,