DEAR DEAD DELILAH (1972) *

Luddy (Patricia Carmichael) gets out of a mental hospital after serving thirty years for killing her mother.  With nowhere to turn, Luddy is taken in by a wealthy family who feel sorry for her and offer her a job as a housekeeper.  The cranky matriarch Delilah (Agnes Moorehead) is a wheelchair bound shrew who constantly harps on everyone around her.  When she abruptly announces the family is effectively cut out of her will, they begin hatching a murder plot with Luddy making for a perfect scapegoat.

Dear Dead Delilah is an insufferable blend of southern fried gothic melodrama and an old-fashioned whodunit.  The fact that there’s an old woman’s name in the title may lead you to believe this is going to be one of those What Ever Happened to Baby Jane? types of horror flicks.  Really though, it plays kind of like a cross between Dementia 13 and Ten Little Indians. 

You can tell it was directed by a novelist (in this case, John Farris, who also wrote The Fury), as there are too many characters, huge chunks of exposition, and a lot of big speeches.  The characters are kind of the problem because none of them are remotely likeable as they are all greedy, alcoholics, druggies, or just plain despicable.  You know you’re in trouble when your axe murderer is the most sympathetic character. 

Since Farris isn’t really a director, he has no discernable style and no sense of pacing.  The movie just sort of ambles along from one scene to the next and it takes it an awfully long time to develop any sort of rhythm.  By the time the axe murders occur, it’s hard to care one way or another.  Farris does deliver one terrific decapitation however, but that isn’t nearly enough to justify Dear Dead Delilah’s dreary existence.  

YOU WON’T STOP SCREAMING (1998) * ½

You Won’t Stop Screaming is one of the most half-assed horror compilations I’ve ever seen.  Most of the time with these things, there’s a little bit of narration, text, or even a host to help you make sense of what is going on, or at least let you know what movies the clips are taken from.  This one offers you none of that as all the clips are strung together with no rhyme or reason. 

There are snippets from House by the Cemetery, Eaten Alive, The Alien Dead, Cathy’s Curse, The Hills Have Eyes, Simon, King of the Witches, Hatchet for the Honeymoon, The Final Terror, Picture Mommy Dead, The Alchemist, and Lucifer.  While there are a handful of classics in that line-up, most of the films featured don’t have enough highlights to even warrant showing.  House by the Cemetery and Eaten Alive are featured the most, with the entire climax of the former being shown at the very end. 

Terror in the Aisles it is not. 

As a die-hard fan of horror compilations, even I have to admit this one pretty much sucks.  It really needed some kind of framing device to make it all work.  Either that, or the clips should've followed some sort of theme.  Because it’s all been thrown together so haphazardly, it just feels like you’re watching a bunch of movies thrown in a blender.

Many of the movies featured are quite suspenseful, but you’d never know it while watching this.  Stripped of their proper context, they are way less effective when shown in this manner.  What’s worse is that most of the time, they don’t even use the best parts of the film.  The solarized still images from the old Fangoria’s Weekend of Horrors video and clips that play over top a haunted house while distorted “scary” sounds drone continuously on the soundtrack are annoying too.

You Won’t Stop Screaming?  You won’t even start!  Heck, you’ll probably start snoozing before the halfway mark.

THE SECT (2014) ** ½

Kali (Patricia Fishman) is a young woman who comes to Buenos Aires looking for work at a shady employment agency.  Before the interview is even over, she is drugged and kidnapped by the proprietors.  She soon wakes to discover she is being held captive by a mysterious cult leader who will pimp her out to rich clients who belong to “the fellowship”.  Eventually, Kali finds herself impregnated by the leader, which complicates her relationship with the employees. 

The cult leader is a rather cool customer.  For a long time, it’s hard to tell if it’s a real guy or just a mannequin who is wearing a Satanic robe and a mask that makes him look like the Aztec Mummy. Heck, he still remains an unsettling presence even after you know the score.

The Sect is a no-frills, low budget, Argentinian horror flick that works more often than not.  It’s not as exploitative as you might think given the subject matter as the nudity is brief and tastefully done.  (Fishman is filmed mostly from the back or from over the shoulder whenever she disrobes.)  Even though he was working with a low budget, director Ernesto Aguilar was able to make a slow burn type of horror film without making the audience wait forever for the resolution.  I will say that the ending is the weakest part of the whole thing, mostly because it’s kind of vague and unsatisfying.  However, Aguilar does quite a lot with his limited resources, and it’s pretty remarkable that it holds up as long as it does… until it doesn’t. 

In short, there’s nothing revolutionary here, but The Sect is reasonably effective and better than you’d probably expect.  It’s short (sixty-nine minutes) and wastes no time getting down to business, which is always appreciated.  It’s also surprisingly stylish in some stretches as the scenes that are bathed in pink and purple light almost feel like an Italian giallo.  While I can’t wholeheartedly recommend it due to the disappointing ending, it remains a solid little chiller all in all.

BEYOND DARKNESS (1992) **

Claudio Fragasso made this the same year he directed the legendary Troll 2.  (It just took two years to reach American video store shelves.)  It even stars that film’s juvenile hero Michael Stephenson, making his screen debut.  Naturally, it doesn’t quite live up to the lofty standards of that classic, but then again, what could?

Gene (Metamorphosis) LeBrock stars as a preacher who moves his family into a creepy old house.  Before long, strange occurrences start happening.  What do I mean by strange?  How about radios moving around on their own and broadcasting satanic messages before they blow up?  The family soon learns the house is haunted by the spirit of a child murdering witch.  When she kidnaps the preacher’s kid (Stephenson), our hero is forced to turn to an alcoholic street preacher (David Brandon) to perform an exorcism.

Coming from the same director as Troll 2 (and the same year, no less), it’s surprising to say that Beyond Darkness contains a couple of effective moments here and there.  I especially liked the imagery when the souls of the children appeared during the execution scene.  Fragasso delivers an atmospheric dream sequence as well.  Then again, when you film your movie in the same house from The Beyond, you’re bound to get a little bit more atmosphere than your typical haunted house flick.

Despite the fact that it is marginally competent, for the most part, Beyond Darkness is a sluggish bore.  On occasion, it threatens to come to life, but it almost immediately runs aground once it starts showing a little promise.  On the plus side, there’s a little something for everyone:  Haunted houses, exorcisms, zombies, witches, etc.  The witch herself is kind of like a mix of Freddy Krueger, Horace Pinker, and Max Jenke, and there are moments that also crib from The Beyond and House by the Cemetery.  However, it just never quite comes together in a satisfying way.  Still, as Italian genre exercises go, you can do a lot worse. 

AKA:  House 5.  AKA:  Horror House 2.  AKA:  Ghosthouse 6.  AKA:  Evil Dead 5.

HINDSIGHT IS 2020: WW84 (2020) * ½

WW84 is one of the worst DC Comics movies of all time.  It’s not as aggressively bad and ugly to look at as Birds of Prey (And the Fantabulous Emancipation of One Harley Quinn).  It’s just maddeningly uneven, overlong, and unfocused.  The actual on-screen title is WW84 by the way, and not the promoted Wonder Woman 84.  I’m not sure why that is, but WW84 is a lot easier to type than Birds of Prey (And the Fantabulous Emancipation of One Harley Quinn), so it has that going for it.

Director Patty Jenkins (who also directed the much better first film) tries to juggle three main plots.  Any one of them on their own could’ve probably sustained a movie.  As it is, they’re all crammed together fighting for superiority.  The best of the plots finds Kristen Wiig as Barbara Minerva, a nerdy co-worker of Wonder Woman’s alter ego, Diana Prince (Gal Gadot).  She gets her hands on a wishing stone (it looks like a crystal dildo) and wishes to be more like Diana.  Naturally, she doesn’t realize Diana is Wonder Woman, so she winds up with a bunch of superpowers she didn’t count on, which she readily uses to get back at the male population.  Later on, she gets a second wish to be more predatory, which turns her into the catlike Cheetah.  Even though her character is a rehashing of Michelle Pfeiffer’s Catwoman and Jim Carrey’s Riddler (or Jamie Foxx’s Electro as they all play dorky characters who are obsessed with the hero), Wiig does a fine enough job with what she was given.  However, all bets are off once she takes on the Cheetah persona as she basically looks like a refugee from Cats.

The return of Wonder Woman’s boyfriend, Steve Trevor (once again played by Chris Pine) could’ve worked if it wasn’t all so goofy.  Instead of returning to life, his spirit just inhabits the body of some random dude.  Whenever Wonder Woman (and the audience) looks at him, all she sees is Steve.  This could’ve been a fun idea if they had gone for an ‘80s Body Swap kind of vibe, but the filmmakers do fuck-all with the concept. 

The villain, Maxwell Lord (The Mandalorian’s Pedro Pascal) could’ve been great.  He starts off as kind of a riff on those “Power of Positive Thinking” hucksters before he gets caught up in all the wishing stone nonsense.  That wishing stone, it must be said, is probably the stupidest plot device in a modern-day superhero movie.  You know you’re in trouble when the villain winds up being the fucking Wishmaster. 

Not only that, but the “be careful what you wish for” lesson is childishly oversimplified.  In the end, people learn they should never ever wish for anything ever.  It’s as if the movie is saying, “Never strive for anything.  Accept mediocrity”, which is fitting because the movie is as mediocre as you can get.   

There is some good stuff here.  It’s nice to see Gadot and Pine back together as their chemistry is as charming as ever.  You just wish the material was strong enough that you had a reason to care (leftover goodwill from the first movie notwithstanding).  

The action is a bit of a mixed bag overall, but the opening flashback sequence is leagues better than anything that follows it.  It’s so good you almost wish they just stuck with the Young Wonder Woman Chronicles for the rest of the movie.  The Commando-inspired mall fight that kicks off the 84 scenes is goofy, but kinda fun too. 

After that sequence though, the film takes a nosedive in quality.  Much of the problem has to do with the constant juggling of plotlines.  Some unnecessary scenes run on forever while a few, seemingly crucial scenes are cut short (or possibly left on the cutting room floor altogether).  Wiig is fine, but her character is so one note that she never really stood a chance to be a memorable villain.  Things continue to spiral when the movie begins to favor Pascal’s plotline.  Although he admirably overacts, his scenes are so relentlessly corny that they begin making the ‘70s TV show look downright gritty in comparison.  The ending is particularly lame.

At two-and-a-half hours, WW84 is a tough sit.  It’s tonally out of whack and has too many moving parts that don’t quite fit.  The biggest problem is that other than the opening montage (which plays like a tribute to Superman 3, and there’s absolutely nothing wrong with that), there’s no real attempt to make it feel like 1984.  Heck, if you came in twenty minutes late, you’d never know it was supposed to take place in the ‘80s.  I’m not saying they have to bombard you with nostalgia every minute, but even Diana outfits feel way too contemporary. 

I have a feeling I would’ve been even more underwhelmed had I seen this on the big screen in middle of the summer (if there wasn’t a pandemic, that is).  Seeing it at home on HBO Max kind of softened the blow.  You almost sense that Warner Brothers and DC knew they had a turkey on their hands and decided to shuffle it to HBO. Really, WW84 should’ve been 86’ed altogether. 

AKA:  Wonder Woman 1984.

HINDSIGHT IS 2020: CASTLE FREAK (2020) ***

This remake of the old Stuart Gordon flick begins in fine fashion with a sexy naked nun flagellating herself in an ancient castle.  Rebecca (Clair Catherine) receives word she’s inherited the castle, and she and her asshole boyfriend John (Jake Horowitz) go to check it out.  John just wants to sell it and get outta Dodge, but our blind heroine kinda digs it.  She soon finds out there is a misshapen thing lurking within the castle walls, but naturally, asshat doesn’t believe her.  Eventually, John’s friends (whose reckless behavior was a contributing factor in blinding Rebecca) come to the castle to party and it’s only a matter of time before our old freak crashes it.

The original had some pacing issues, but this one is even more extreme in regards to pace.  In fact, after the fun prologue, the next hour and fifteen minutes or so are pretty sluggish.  You also have to put up with a whole lot of overly annoying asshole characters.  Of course, they all wind up getting their just desserts, but it certainly does take a while.

The gratuitous nude and sex scenes that occasionally rear their head help to keep you watching throughout the draggy sections.  We are talking some heavy duty Skinamax stuff here.  I know this is a remake of a Charles Band film, but there are times when it feels closer to a Surrender Cinema flick than a Full Moon movie.  That, in case you were wondering, is a compliment. 

Things get progressively kinkier as it goes along too.  Not only do we have scenes involving the freak watching others participating in the sexual act, the freak itself even gets down and dirty with a freaky S & M sequence that is sure to make your jaw drop.  Yes folks, this remake puts just as much emphasis on “Freak” as it does “Castle,” if you know what I mean.

Although the first 4/5 of Castle Freak are slow and uneventful, hang in there because the last twenty minutes or so have to count as some of the wildest, sickest, twisted shit I have seen in a motion picture in some time.  Not only does the film find a way to put a fresh spin on the original during the third act, but the last scene is gloriously gross.  The final shot is so fiendishly fucked-up that it singlehandedly secured the flick a positive review, no matter how dawdling the first two acts were.  As bad as 2020 on the whole was, this scene alone is enough to give any jaded horror fan hope for the future.

In short, give this Castle Freak a shot and let your freak flag fly!

CORPSE EATERS (1974) **

Corpse Eaters is the first Canadian gore movie.  Even though it holds such an illustrious distinction, it isn’t very good.  Nor is it original as it blatantly rips off scenes from Night of the Living Dead, Children Shouldn’t Play with Dead Things, and the works of William Castle.  There’s even a long stretch that owes a debt to Ring of Terror as well.  It somehow winds up being less than a sum of its parts, but some of its parts are amusing. 

A surly funeral home director bosses his mortician into doing a rush job on a dead guy who was “mauled by a bear”.  Flashbacks reveal that he and his friends spent Friday the 13^th at a graveyard performing rituals that resulted in the resurrection of the dead, and it didn’t take long for them to become a hot lunch for the zombies.  If the mortician isn’t careful, he may find himself on the zombie menu as well.

Corpse Eaters is only fifty-six minutes long and it simultaneously feels way too long and not long enough.  There are long stretches where nothing happens and when you combine that with the droning soundtrack, you have a recipe for Snoozeville.  However, if you’re able to keep your resolve, you will be treated to some decent zombie attack scenes. 

You almost feel like this started off as a short, but then more scenes got added to bulk up the running time.  The bookending scenes with the funeral home director go on way too long and are pretty much only there as filler.  The confusing “It was only a dream” ending doesn’t help matters.  (There’s also another “It was only a dream” scene early in the film to further flesh out the running time.) 

Fortunately, the film has a great gimmick, which at the very least helps make it memorable.  In the opening scene we are shown a spinning hypnotist wheel and told we will be warned whenever a gory scene is about to happen.  The gore itself is pretty cheap as the guts look like raspberry jam, but the warning shots of a theater patron losing his lunch in the aisle are effective. 

The scene that basically sums up my feelings on this movie is the introductory sequence when we first meet our four ill-fated friends.  There is a LONG scene of them driving their boat around a lake that seemingly goes on forever.  Just when you’ve about lost your patience, the one guy pours beer all over his girl’s chest, rips her bikini top off, and the two proceed to bang for a LONG time right in front of their friends!  I guess what I’m saying is that if you are willing and able to sit through long sequences where nothing happens to get to a long sequence of sheer nuttiness, then you just may eat up Corpse Eaters.

HINDSIGHT IS 2020: COLOR OUT OF SPACE (2020) **

After being fired from the much-maligned Island of Dr. Moreau, Richard Stanley gets another crack at adapting a beloved work of horror fiction with this Nicolas Cage-starring sci-fi/horror flick based on a tale by H.P. Lovecraft.  The story was also the basis of the 1987 shitfest, The Curse.  While Color Out of Space is leagues better than that dung heap, it still never quite kicks into overdrive. 

Cage stars as a family man who lives on an alpaca farm with his wife and three kids.  One night, a meteor crash lands in their yard, and pretty soon things start getting mighty peculiar down on the farm.  Before long, the meteor shit gets into the water and it starts having strange effects on the family members.  Cage admirably tries to keep the family together, even when the family starts… uh… coming together.

Stanley takes his time unfurling the premise.  This would be okay if he was merely building suspense, but there are a few too many unnecessary characters and subplots that sort of prevent the film from really getting into gear.  The stuff with the water-testing scientist (Elliot Knight) and the hippie freeloader (Tommy Chong) causes the first act to stall.  As David Keith did with The Curse, Stanley overdoes it with all the close-ups of the glasses of water to hammer home the fact that the water is no bueno. 

Once the colors (mainly pink and purple) start lighting up the farmhouse, Color Out of Space starts to settle into a decent rhythm.  The briefly seen monster effects are reminiscent of both The Thing and In the Mouth of Madness, and there’s a gooey sequence that will probably remind you of The Fly 2 as well.  I know Stanley was trying to show restraint here, but he really should’ve cranked up the weird monster shit to balance out the slow beginning.

The same goes for Cage.  Whenever he’s the upstanding father and husband, he just acts like your average guy.  Once the meteor shit hits the fan, he occasionally will step on the gas and hightail it to Cageland.  However, there isn’t quite enough Caginess to salvage the picture.  Then again, only a guy like Cage could take a line like, “It’s time to milk the alpacas!” and turn it into poetry.

Just when it looks like it’s ramping up, the film fizzles out just before it reaches the homestretch.  The fact that it runs nearly two hours certainly didn’t do it any favors either.  The colors are spiffy and all, but the movie itself ain’t very bright.

HINDSIGHT IS 2020: YOU SHOULD HAVE LEFT (2020) **

Kevin Bacon stars as a rich dude with a shady past who needs to get away from it all.  He gets his much younger actress girlfriend (Amanda Seyfried) to book an airbnb in Wales, far away from prying eyes before she goes off to shoot her next movie.  Eventually he comes to realize the place has obvious plans for him, or as the creepy storekeeper in town says, “You don’t choose the house.  The house chooses you.”

You Should Have Left would’ve probably made a good Twilight Zone episode.  At ninety-three minutes, the premise is stretched out awfully thin.  In fact, it only starts to pick up steam in the third act, which is too little too late.  I mean, slow burn horror flicks can work if the script is strong.  This one isn’t bad.  It just doesn’t help matters when the first two acts test your patience and the finale is pretty much a foregone conclusion. 

The good performances help keep you invested throughout the picture, but honestly, writer-director David Koepp delivers more fizzle than sizzle, especially when it comes to the predictable ending.  I’m a huge fan of Bacon and Koepp’s previous collaboration, the unsung classic Stir of Echoes, and I was hoping this would be a reunion to remember.  However, the film hews closer to Koepp’s muddled Stephen King adaptation Secret Window in terms of quality.  You Should Have Left contains a lot of thematic elements that Koepp already mined rather thoroughly in those aforementioned films, and it’s a shame he couldn’t find something new to say.

The real star is the house.  Filled with long ominous hallways, a foreboding atmosphere, and an ever-changing geography, it certainly is one of the more original looking haunted houses in recent horror films.  Even though the two leads give solid performances, it’s the house who steals the show.  Too bad the lights are on, but no one’s home. 

HINDSIGHT IS 2020: NOTZILLA (2020) * ½

I’m a huge Godzilla fan.  I also like a good spoof as much as anybody.  The G-Man and the entire kaiju genre is certainly ripe for parody, given their low budgets, cheesy special effects, and shoddy dubbing.  Because of that, I was kind of looking forward to Notzilla.  Unfortunately, the film is just flat-out unfunny.  It’s a shame when the straight-up Godzilla movies offer more laughs. 

A Japanese scientist (Frederic Eng-Li) accidentally loses a dinosaur egg down an airplane toilet.  It lands in the Ohio River where it is found by a blowhard scientist named… uh… Dr. Blowheart (Tim Bensch).  One night, he gets drunk in his lab and decides to pour beer on the egg.  Much to his surprise, the egg hatches, and a baby dinosaur emerges.  The cute critter soon develops a taste for alcohol, and drinks more beer, which causes him to grow to enormous proportions.  Before long, the monster begins to wreak havoc on Cincinnati, and it’s up to the bumbling scientists to stop him. 

The set-up is promising as the badly dubbed (on purpose) Japan-set scenes are kind of funny.  Too bad things fall apart once the action switches over to America.  The gags are frequently unfunny and the ones that cause an occasional smirk are repeated way too often and/or are immediately run into the ground. 

Like most kaiju movies, the stuff with the monster is more entertaining that the human scenes, albeit only slightly in this case.  The creature is cute and all, but the filmmakers try way too hard to make him funny.  It would’ve made for a better movie had the creature been menacing in some way, and not an out-and-out goofball. 

The use of obvious toys and models during the monster mashing scenes is a nice touch.  The best gag comes when the jets are called in to stop Notzilla and he takes them out by simply cutting the strings that are holding the model planes up.  The movie really needed more of these fun touches if it was going to work though.

Overall, Notzilla might’ve been a good three-or-four-minute fake trailer, but at seventy-eight minutes it’s something of a chore to get through.  You would think that seventy-eight minutes would be just the right length for this sort of thing.  However, the gags are just too spread out to cut it as a feature.  

Bambi Meets Godzilla was more entertaining. 

SANTA VISITS THE MAGIC LAND OF MOTHER GOOSE (1967) * ½

If you thought Barry Mahon’s Christmas-themed kid’s movies were bad, wait till you get a load of Herschell Gordon Lewis’s Santa Visits the Magic Land of Mother Goose!  Lewis basically sat a camera down and filmed a children’s stage, fantasy, and magic show and called it a movie.  That “film” was released as The Magic Land of Mother Goose, but when Christmas rolled around, Lewis added bookend scenes of Santa in there to sucker the kids into seeing it again.  

Santa reads a book of Mother Goose nursery rhymes and falls asleep.  He then dreams about a high school-level stage production where Mother Goose’s characters come out of a giant book.  First, Old King Cole struts out.  He has a bit of trouble with the uncooperative Raggedy Ann and calls on his buddy Merlin to perform a series of magic tricks to set her ass straight.  More and more characters float in and out until the Wicked Witch bursts onto the scene and freezes everyone.  Except for Merlin, who puts her in a box and, in the film’s lone badass scene, burns her alive on stage!  Eventually, Mother Goose appears to wrangle the characters back into the book. 

The magic tricks are standard stuff, save for the great burning witch gag (which includes a close-up of her skeleton’s smoldering crotch).  The scenes of Merlin making a handkerchief dance, levitating Sleeping Beauty, and cutting Jack Sprat in half eat up a lot of screen time.  At least they’re more tolerable than the amateur hour high school theater-level performances by the storybook characters.  (The magic trick sequences also serve as kind of a warm-up to Lewis’s classic, The Wizard of Gore.)

Lewis is mostly known for his gore films, but he also did biker, sexploitation, and hicksploitation movies too.  Incredibly enough, as bad as Santa Visits the Magic Land of Mother Goose is, it’s far from his worst.  The burning witch scene alone saves it from being a One Star flick.  Also, the stuff with the freaky bargain bin Raggedy Ann doll is pure nightmare fuel.  So, if you are a Lewis completist, have a soft spot for chintzy ‘60s kid’s movies, or like to see vintage filmed magic acts, you might want to pay a visit to this magic land too.

AKA:  The Magic Land of Mother Goose.

HINDSIGHT IS 2020: SURVIVE THE NIGHT (2020) ***

Survive the Night is another one of those DTV movies Bruce Willis made for Emmett/Furla.  I watched it hot on the heels of their other 2020 collaboration, Hard Kill.  After sitting through that thoroughly forgettable actioner, I had my expectations way low for this one, seeing as it was also from the same director (Matt Eskandari).  That was for the best too, because as it turns out, it is one of Willis’ best latter-day DTV efforts.  It also happens (by default) to be one of the best movies of the year.  Hey, in 2020, you take what you can get.

Chad Michael (One Tree Hill) Murray stars as a disgraced doctor who is forced to move his family back in with his folks.  His grumpy father (Willis) is upset with the way he’s conducted himself lately and the two are barely on speaking terms.  When a thief (Tyler Jon Olson, who’s also in Hard Kill) is wounded during a liquor store robbery, his hotheaded brother (Shea Buckner) is desperate to get him medical attention.  They follow Murray home from his new job at a walk-in clinic, break into the house, hold everyone hostage, and force him to perform emergency surgery at gunpoint. 

Survive the Night is a bit of a throwback movie.  The Desperate Hours-type scenario has been around for ages.  The use of one primary location also helps to disguise the low budget.  Contrast the dark house in the middle of nowhere to Hard Kill’s ugly abandoned factory setting.  It’s a much more organic and believable situation.  It also isn’t as noticeable that the filmmakers are trying to conveniently shoot around Bruce’s schedule this time out, which helps a bit too. 

While it feels more like a real movie than many of Willis’ cobbled-together efforts, it is still far from perfect.  The set-up is slow to build momentum and there is a LOT of exposition regarding Murray’s shady past.  It also gets a little repetitive as it comes down the home stretch as there are probably one too many escape-recapture-escape sequences. 

Since I’m a fan of the home invasion thriller subgenre, I was probably a bit more forgiving of Survive the Night’s shortcomings.  Those shortcomings are small potatoes compared to many of Willis’ recent outings though.  The film is surprisingly effective, reasonably efficient, and solidly entertaining.  Heck, it almost seems like Die Hard next to the completely underwhelming Hard Kill.

Murray does a better than anticipated job in the hero role, and he and Willis make for a fairly solid team.  Willis nicely plays a character a bit older than he is, and imbues him with a sliver bit more grizzled swagger than I was expecting.  This is the kind of “Old Man” role Robert Duvall used to play.  It will be interesting to see if Willis is able to turn a corner in his career if and when he eventually embraces his age and takes on more of these types of roles.  If anything, Survive the Night certainly proves there’s a bit more life in him than many give him credit for.  

HINDSIGHT IS 2020: HARD KILL (2020) * ½

During the opening credits, there are glimpses of our hero Derek (Jesse Metcalfe) having flashbacks to fighting in the Middle East.  As we all know, this is action movie shorthand for Hero Who Has Seen Some Shit.  Hard Kill is the kind of movie that doesn’t trust its audience to accept the obvious.  Because of that, after the opening credits, we see our hero having MORE war flashbacks, PLUS close-ups of his back tattoos AND back scars… all of which suggest… you guessed it… Hero Who Has Seen Some Shit.  It’s one thing to state the obvious.  It’s another thing to beat a dead horse for the first five minutes of the flick.

Anyway, Derek steps into the limo of his new employer, a billionaire named Chalmers (Bruce Willis) who hires him and his military team to serve as protection.  It seems Derek’s old nemesis, a terrorist known as “The Pardoner” (Sergio Rizzuto) has stolen Chalmer’s new A.I. technology AND kidnapped his daughter (Lala Kent).  To make matters worse, the place he agreed to make the exchange is a crumbling old factory that is almost impossible for Derek’s team to fortify.

Bruce Willis makes these Emmett/Furla movies on a weekly basis it seems.  He makes so many of them that you have to wonder if the early scenes with Bruce in the limo were filmed while he was on his way to the set of another Emmett/Furla movie.  Like many of these Willis/Emmett/Furla ventures, he isn’t really the star.  Instead, the heavy lifting this time out goes to Jesse Metcalfe.  In previous Emmett/Furla productions, Willis was paired with the likes of Thomas Jane, Frank Grillo, Michael Chiklis, and Christopher Meloni.  Not bad co-stars if you can get them.  However, most times he plays alongside co-stars such as Cole Hauser, Kellan Lutz, Chad Michael Murray, and Mark-Paul Gosselaar. 

Guess which category Jesse Metcalfe belongs to.

Hard Kill (which was probably titled to trick older folk with memory problems into thinking it was Die Hard) is a joyless, uneventful, and dull slog.  It mostly takes place in one ugly location, the supporting cast are all forgettable, and the villain (who looks like a Bradley Cooper stunt double) is blander than bland.  The action suffers from too much slow motion (again, to remind the audience that our Hero Has Seen Some Shit) and the various shootouts are rudimentary at best.

Willis doesn’t exactly phone it in, but he seems itching to use the speed dial.  The problem is, he isn’t given much to work with and he usually has a sidekick around to handle the exposition-heavy stuff while he stands around looking glum.  The way they get around overworking Willis is pretty funny though as Metcalfe and his team lock him in a room and forget about him for a good twenty minutes of screen time. 

In short, Hard Kill is hard to watch.

HINDSIGHT IS 2020: AVA (2020) **

Ava is a perfectly acceptable, instantly forgettable variation on the hitman genre.  Instead, you know, this time it’s a hitwoman.  The good news is, it’s not one of those “One Last Job” plotlines.  The bad news is, we’d be better off if it was one of those “One Last Job” plotlines. 

Jessica Chastain stars as the titular hitwoman.  Lately, she’s been having a bad habit of talking to the targets in an effort to see if they really “deserve” what’s coming to them.  When her latest hit goes south, Ava’s boss, Duke (John Malkovich) suggests she take a leave of absence.  Ava then returns home to patch things up with her estranged family and former flame (Common).  Meanwhile, Simon (Colin Farrell), Duke’s top protégée and eventual successor, deems Ava a liability and becomes determined to take her out himself. 

The hitwoman plot works well enough.  The various shootouts and fight scenes are adequately handled by director Tate Taylor (who also directed Chastain in The Help).  There aren’t any particular action beats that will wow you, but at least the quick-cutting and shaky-cam stuff is kept to an absolute minimum.   

The performances help to give the movie a boost too.  Chastain makes for a likeable lead and she has a lot of chemistry with Malkovich, who delivers an eccentric performance in what otherwise could’ve been a thankless role.  Farrell also does a lot with a limited role and screen time.  I especially liked the way he always seemed a bit hurt and jealous of Malkovich’s affection for Chastain. 

The problem is the movie more or less grinds to a halt during the second act when Ava returns home to Boston to sort out her family shit.  Other than a catty performance by Geena Davis as Ava’s mother, these scenes fall flat with a sometimes-painful thud.  The love triangle stuff between Ava, her sister, and her ex-boyfriend just feels like it belongs in a different film altogether.  Some may appreciate that fact, but things get awfully clunky during the subplot with her ex getting in deep to a local underworld figure.  While I’m glad to see Joan Chen with a decent-sized role again, it’s kind of disheartening to see her playing what is essentially a softened spin on the stereotypical dragon lady character. 

Had Ava (the character) put her past fully behind her from the get-go, Ava (the movie) might’ve clicked.  I’m not saying it would’ve been a classic or anything, but it certainly would’ve improved things dramatically.  Because of the unnecessary subplots and family drama, it winds up missing the mark.

HINDSIGHT IS 2020: AMITYVILLE ISLAND (2020) ½ *

Seems like the closest you can get to going to a video store and scanning the shelves for hilarious/stupid VHS boxes these days is opening up Tubi and mindlessly scrolling through all the thumbnails in the Horror Section.  I have to admit that when I saw the title Amityville Island along with the terrific artwork, I laughed for a good twenty seconds.  I got more enjoyment out of looking at that picture for twenty seconds than I did watching seventy minutes of the movie.

The artwork seems to suggest it’s going to be an Amityville Meets Jaws kind of thing.  That makes sense, especially if you know the old wives’ tale about being able to spot the Amityville Horror house in Jaws.  I mean, it’s not too much of a stretch as Jaws takes place on “Amity Island” after all.  So, this at the very least SEEMED like it could work. 

Unfortunately, even as far as no-budget, unrelated Amityville movies go, Amityville Island is unrelentingly bad in just about every way imaginable. 

A mom (Jamie Morgan) buys a bunch of stuff from a yard sale at the Amityville Horror house and soon becomes possessed by an evil doll.  She promptly slaughters her family (off screen) and goes to prison.  After fighting with another inmate (Danielle Donahue), they are sent to an island laboratory where a mad doctor is performing fertility experiments on female patients. 

The gimmick of having the spirit hopping out of our heroine’s body to briefly possess animals who kill people could have worked.  Too bad all we get is one cheap bear attack and, of course, the shitty CGI shark scene.  Both times, the animals’ eyes glow red before they go on a rampage.  If the film kept up this style of lunacy at a steady rate, it might’ve been at the very least, watchable.  However, the stuff with the mad doctor brings things to a crashing halt every time he shows up.

Even though it’s only seventy minutes, Amityville Island feels longer than watching a marathon of the original official Amityville movies.  All the pointless flashbacks help to further keep the pacing firmly stuck in the mud.  While I respect the attempt to weirdly graft a women in prison subplot in there, ultimately, this is a lame hodgepodge of half-baked ideas and cheap special effects strung together on a shoestring budget with amateurish actors.

Honestly, it’s nothing that two, maybe three more shark attacks couldn’t have cleared up.  If you come to the party expecting another diverting Shitty CGI Shark movie, don’t be fooled like me.  That shark in the picture is just there to lure you in.  Don’t fall for the bait, chum.

HINDSIGHT IS 2020: WELCOME TO SUDDEN DEATH (2020) * ½

Welcome to Sudden Death is the sequel to the Jean-Claude Van Damme action flick, Sudden Death.  That movie was a Die Hard rip-off that took place at a hockey game.  The game in question actually went into sudden death overtime, thereby justifying the title.  The terrorist attack in Welcome to Sudden Death happens during a basketball game.  You know… a sport that doesn’t have sudden death overtime.  

That’s just the first tip-off (HA!  See I can make puns that are actually relevant to the sport at hand!) you are in trouble. 

Look, when I started this Hindsight is 2020 column, I may or may not have chosen to review bad movies on purpose to highlight what a bad year 2020 was.  However, this is one of the films I was legitimately excited for and genuinely wanted to see.  It’s a shame too because I like Michael Jai White and he deserves much better than an inane DTV Van Damme sequel. 

I usually grade DTV action movies (especially DTV sequels to twenty-five-year-old action movies) on a curve.  Welcome to Sudden Death flattened the curve.  Sadly, that was the only curve that was flattened in 2020.

First, let’s talk about the look of this thing.  Much of Welcome to Sudden Death resembles a Disney Channel movie with its bright colors and bland camerawork.  Director of Photography Mark Irwin has done everything from Cronenberg’s The Fly to Disney’s Air Bud spin-off, Super Buddies.  This looks like it could almost take place in the Air Bud franchise as everything is bright, sunny, and fake looking.  You know, everything a gritty DTV actioner should not be.  (It is the polar opposite to the smoky, dingy look that Peter Hyams gave the original.)  In fact, the first act kind of plays like a Disney Channel show, what with the comic domestic scenes of White trying to please his wife and putting up with his mouthy kids.  (If you excuse the obligatory military flashback, that is.)

The action is just as bad.  I don’t know if they just didn’t have enough planning time, but the fights feel overly choreographed.  Most of the time, it looks like a filmed rehearsal (or maybe a martial arts demonstration) and not a realistic fight.  White does get one good fight against his wife, Gillian, and even then, it’s over way too fast.  There’s a funny bit during a locker room brawl too.  However, that’s not nearly enough to sustain a Die Hard rip-off.

We do get one novel touch has the henchmen get around the security by 3D printing their guns after they’ve entered the building.  The main baddie is no Powers Boothe, but since it is impossible to hold him to that standard, I will instead say that he is far from the worst thing about the movie.  Unfortunately, he’s saddled with a annoying rapper who’s held hostage in the owner’s box throughout the film.  Speaking of annoying, White also gets saddled with a stupid fat sidekick who will get on your nerves and wear on them from the moment he appears on screen. 

I love Die Hard rip-offs as much as the next guy.  Even as a fan of the subgenre and Michael Jai White, I have to say this belongs on the lowest rungs of their respective ladders.  In short, Welcome to Sudden Death is dead on arrival. 

HINDSIGHT IS 2020: FINAL KILL (2020) *

Mickey (Ed Morrone) is a neurotic bodyguard working for an illicit security company who desperately wants to retire.  His boss (Billy Zane) convinces him to accept one last job protecting an accountant, who along with his wife, just stole eight million from the Mob.  Predictably, Mickey is double-crossed by the company, who also want the couple dead.  It’s then up to Mickey to see that no harm comes to the couple before getting revenge for himself.

The casting director deserved some kind of award for getting this cast together.  In addition to Billy Zane (who, with his bald head and hangdog expression kind of looks like the love child of Michael Ironside and Jon Polito), we have Randy Couture as… a guy who works for Zane, Johnny Messner as… another guy who works for Zane, Danny Trejo as a hitman (he’s in it for about thirty seconds), James Russo as a bad guy who gets killed early on (I’m sure he was grateful for that), and fucking Dr. Drew as Morrone’s shrink!  Then again, the casting director probably should’ve had his award promptly taken away from him for casting Morrone, a guy I have never heard of, in the lead.

I’m not saying every role has to be played by a character actor, former MMA fighter, or reality show host.  I’m saying they should at least have some credibility in front of the camera.  Morrone plays one of the most unlikeable, grating, annoying assholes I’ve seen in a movie in some time.  It would be okay if he looked like an action star, but he looks and sounds like the night manager at a grimy pizzeria.  Even then, he doesn’t really pull that off.  Imagine Charlie Day imitating Joe Manganiello, and that should give you an idea of what we’re dealing with.  He’s so bad that he manages to make Dr. Drew seem Academy Award-worthy in their scene together. 

The craftsmanship is real shoddy too, and the action sequences are brief.  In fact, there’s so little action that Morrone has to flashback to other unrelated action bits that have nothing to do with the couple in jeopardy plotline.  It’s weird because while the action sequences seem abrupt, many of the dialogue scenes start and end with extraneous dead space.  A lot of times, you could audibly count “1… 2… 3…” before someone enters or exits the frame.  I think the reason for this was because the movie was only eighty minutes long as it is, and the editor had to leave those nonessential bits in there to get the film to a contractually obligated running time.  Even if those bits were left on the cutting room floor, Final Kill would’ve still felt way too long. 

AKA:  The Protector.  AKA:  Assassination Island.

HINDSIGHT IS 2020: THE WRETCHED (2020) *

Boy, talk about truth in advertising!  Finally, here’s a movie that lives up to its name!   

The Wretched was one of the biggest box office hits of 2020, topping the charts for six straight weeks!  That of course was because there was a pandemic going on and barely any movies were being released, but that just gives you an idea of what a shitty year it was for Hollywood, and the movies in general.  Even during a pandemic, I can’t imagine anyone venturing out and risking their lives to see this in a theater.  Heck, I saw it in the safety of my own home, and it was still hazardous to my health. 

A witch hitches a ride inside a deer carcass (?) and crawls out to find a new home living inside a woman (Zarah Mahler) who is renting a summer house.  Meanwhile, next door, a teenager named Ben (John-Paul Howard) is spending the summer with his recently divorced dad.  When his neighbor’s son comes to him for help, stating he no longer trusts his mom, Ben does what he can to protect him.  When the brat disappears, the witch comes after Ben.  Naturally, he tries to convince everyone she’s a witch and of course, no one believes him. 

The Wretched is a slow and disjointed movie filled with confounding “rules” and even worse logic.  The idea of a witch using a human host as a husk is intriguing.  However, the filmmakers drop the ball at every conceivable juncture. 

The big problem is the structure.  The scenes with Ben are basically a rip-off of Fright Night, right down to the scenes of him spying on his neighbor.  Even using that sturdy template, the directors, Brett and Drew T. Pierce manage to botch things.  It just highlights how well that classic was constructed and how lousy this one is put together.  Things plunge deeper into the toilet in the third act when the witch starts hopping from body to body.  I guess they were trying for vibe close to The Hidden, but in terms of quality it hews much closer to The Hidden 2.

The stuff with the neighbor lady being overtaken by the witch could’ve worked, and yet the film spends so much time on Ben’s shady past, girlfriend woes, etc. that she (nor the witch) have a chance to become a real character.  Instead, she’s merely a plot device.  Imagine if we actually cared about what happened to her.  It might not have saved the movie, but it might’ve given it a little weight.

It also doesn’t help that Howard makes for a thoroughly unlikeable lead.  He grates on your nerves so much that you actually start rooting for the witch.  Mahler isn’t bad as the witchy neighbor, but again, we don’t see enough of her to make much of a difference.  Even with the changes I suggested, there probably was no saving this one.  It’s just as wretched as the title implies.

HINDSIGHT IS 2020: VHYES (2020) * ½

The idea is kind of irresistible.  A kid gets a camcorder for Christmas and uses it to tape a bunch of oddball TV shows.  These segments are basically parodies of the sort of stuff you’d see on late-night cable and/or public access in the ‘80s, making it sort of a spiritual successor in some ways to Amazon Women on the Moon.  It started out with some promise, and although I wasn’t expecting another Amazon Women on the Moon (and quite frankly, what could be?), I was at least hoping this would be as funny as the unfairly maligned Movie 43.  As it turns out, VHYes deserved to be erased.

The big problem isn’t exactly with the segments, although they aren’t particularly funny.  It has more to do with the structure.  Since the kid is basically channel surfing, it cuts from one show to the other at random.  In doing so, none of the segments ever get a chance to build up any real comedic momentum.  The way they try to tie everything together in the finale is pretty dumb too. 

There are a handful of good set-ups.  I liked the Antiques Roadshow-style show starring Mark (the What We Do in the Shadows TV show) Proksch.  The Home Shopping Network bits with Thomas Lennon had potential as well.  There’s also a true crime show that would’ve made a funny SNL sketch if it hadn’t hopped around so much. 

The film was directed by Jack Henry Robbins, son of Tim Robbins and Susan Sarandon.  They both have cameos, although neither of them are really funny.  Even the usually great Kerri Kenney fails to generate laughs as a Bob Ross-inspired painter.

Robbins tries to recapture the ‘80s video aesthetic, with mixed results.  While it looks the part most of the time, some of the errors are so glaring that it completely takes you out of the sketch.  The biggest gaffe comes when Kenney paints a picture of herself in a compromising position with Dennis Rodman, who is depicted with green hair and wearing a Bulls jersey.  This would be okay ordinarily, but it’s supposed to take place in ’87 and Rodman didn’t go to the Bulls until the ‘90s.  Was the entire continuity department asleep at the wheel?  I don’t blame them.  With very few laughs spread about, you’ll probably fall asleep on this one too.

HINDSIGHT IS 2020: UNDERWATER (2020) *

Kristen Stewart stars in this underwater Alien rip-off, which I guess makes it… Deep Stew Six?

Anyway, there’s an accident in an underwater mining facility that floods the installation.  Stewart and the reminding survivors put on their deep-sea scuba suits and proceed to make it to a nearby outpost and call for help.  Along the way, they are picked off one by one by hungry squid-faced sea creatures who have an appetite for human flesh. 

Underwater not only rips off the Alien rip-offs of the ‘80s, there’s also a little bit of a Descent vibe in there as the last chunk of the film plays out like that movie.  Only instead of women in spelunking helmets evading slimy monsters in a cave, it’s women in bulky diving suits evading slimy monsters on the ocean floor.  Mostly though, it’s a big, soggy bore.

The first half is like a disaster movie, with K-Stew finding survivors in the rubble, assembling a team, and forming a game plan.  Halfway through, it switches gears and goes into full-on Alien rip-off territory.  I guess it wouldn’t have been so bad if you could see and hear what was going on.  Much of the underwater scenes are murky and thanks to the crappy cinematography, the creature attacks are pretty much a wash.  Couple that with the garbled dialogue and sleepy performances, and it only helps to make this one sink fast. 

After spending much of her post-Twilight years making indie movies, I guess Stewart was trying to appeal to a broader audience by starring in popcorn-friendly material like this and Charlie’s Angels.  She had the right idea, but the execution on this one is just plain shoddy.  (It’s definitely no Charlie’s Angels.)  Too bad they forgot to give her a character to play.  The rest of the cast run the gamut from dull (Vincent Cassel as the boring captain) to annoying (T.J. Miller as the unfunny comic relief).

Sure, the ‘80s underwater horror movie cycle were mostly bad, but at least we can look back on them with a bit of nostalgia.  I’m certain they spent more on the catering budget on this than the entire budgets of Deep Star Six and Lords of the Deep combined.  However, Underwater is just as bad, if not worse than those turkeys.  We do get one decent imploding human gag, although that’s not nearly enough to justify sitting through it.  Despite that one scene, Underwater deserves to be left at the bottom of the ocean. 

HINDSIGHT IS 2020: THE BEE GEES: HOW CAN YOU MEND A BROKEN HEART (2020) *** ½

From Frank Marshall, the director of Arachnophobia and Congo comes… uh… a documentary on The Bee Gees?  Wait, where’s Frank Marshall been lately?  (Pardon me a moment while I check IMDb.)  Holy shit!  It seems like the last movie he directed was fucking Eight Below fourteen years ago.  Man, this might be the comeback of the year!

I guess it makes sense he would make this documentary as The Bee Gees were no stranger to comebacks themselves.

The Bee Gees:  How Can You Mend a Broken Heart is one of the best documentaries of the year.  It’s the engaging and absorbing story of one of the hottest bands to ever grace the music scene.  It follows the brothers Gibb; Barry, Maurice, and Robin through their early career as a family band before finding success in England and America.  Tensions between the brothers cause them to break-up, but after some time apart, they reunite to conquer the world with their iconic contributions to the Saturday Night Fever soundtrack. 

Not only do we share in their successes, but we are also right there with them when they are at their lowest.  Of course, I’m referring to the “Disco Sucks” backlash that whirled up to prematurely short circuit their careers.  Ever the survivors, they branch out and begin writing songs for other artists.

If there is a fault to the movie, it’s that it more or less chooses to end their story here with them back on top (for the most part).  However, I wish Marshall had spent more time on the band’s ‘80s stuff.  For all the talk about Saturday Night Fever, there’s no mention of the Sylvester Stallone-directed sequel, Stayin’ Alive.  I would’ve also liked to have seen them delve a bit more into their brother Andy’s death.  Then again, he probably deserves a documentary all his own. 

Those are but a few qualms.  Even if it stops short of being the definitive look at the band, The Bee Gees:  How Can You Mend a Broken Heart is nevertheless an enormously entertaining overview of their career.  If you ever imitated John Travolta while blaring “Stayin’ Alive” alone in your room (Lord knows I have), you will certainly enjoy it.

HINDSIGHT IS 2020: CORONA ZOMBIES (2020) **

 

A lot of people were up in arms when Full Moon’s Charles Band released this horror-comedy in the midst of the pandemic.  It was derided as being poorly timed and having even poorer taste.  I won’t argue those points.  I will say, that as far as cobbled-together cash-ins of global disasters go, you can do a lot worse.

Basically, what we have here is a modern-day equivalent of What’s Up, Tiger Lily? (or Kung Pow:  Enter the Fist for you younglings).  Instead of inserting a new, humorous dialogue track into a Bond rip-off or a cheap Kung Fu movie, we have a redubbed version of Bruno Mattei’s already pretty entertaining Night of the Zombies (AKA:  Hell of the Living Dead).  Not content to just steal from Night of the Zombies, we also get scenes from Zombies vs. Strippers that appears as part of a “Breaking News” bulletin.  Along with that is some cheap linking footage of two bimbos talking to each other on the phone about what to do during the pandemic.

Some of this is already dated, if you can believe it.  (Do people still advise you not to touch your face anymore?)  Much of it is tasteless.  Even more of it is just plain dumb.  Some of it, God help me, is actually kind of funny. 

The footage from Night of the Zombies is repurposed so that the viral outbreaks occurs at “Scramble’s Soup Factory” (or “Scamble’s” if you read the news ticker).  “The Corona Squad” is deployed to take out a warlord who’s hoarding toilet paper.  Eventually, they come face to face with the dreaded Corona Zombies.

Many of the gags are sophomoric.  A lot of them are sub-sophomoric.  (Is “freshmantic” even a word?)  I can honestly say that about half of the jokes are in poor taste, obvious, or downright crude.  There are jokes about social distancing, hand washing, and the Me Too movement.  No low-hanging fruit goes unpicked.  However, some of the non-virus-related throwaway lines are funny.

That said, the laughs kind of dry up by the end, and the new scenes with the two bimbos get stupider as they go along.  (What the hell is with the shower scene in which the bimbo is completely clothed?)  Thankfully, it’s only an hour long.  If only 2020 came and went just as fast.

One of the bimbos gets the best line of the movie after her friend tells her to turn on the news and she replies, “News?  Ewws!”

HINDSIGHT IS 2020: A LOOK BACK

Usually around this time, I start getting ready for the year-end Video Vacuum Awards show.  Even though the nominations don’t come out until the end of January, I start trying to watch as many Oscar-bait films as I can while playing catch-up on the movies I missed over the summer.  As I was compiling my Top Ten Films of the Year (So Far) list, I was astounded to learn that I only legitimately liked SEVEN of those films on that list.  I then started looking at my movie-watching list for the year and was shocked to discover I had only watched NINETEEN movies from 2020 all year.  (For comparison purposes, I watched forty-four 2019 releases during 2019.)  I was stunned when I learned I had only watched TWO movies in the theater all year (not counting the Fathom Events rerelease of King Kong).  You want to know the last time I only saw two theatrical movies in a calendar year?  1982!  When I was FOUR YEARS OLD!  You want to know what those two movies were?  E.T. and Rocky 3!  You want to know what the two movies I saw in the theater this year were?  Birds of fucking Prey and The Invisible fucking Man!  How can that even be possible?

Oh yeah.  Global pandemic.  That’s right.

Folks, I was almost ready to scrap the whole awards show.  Instead, I was going to do a mini-wrap-up of the 2019 movies I had seen in 2020 and call it a day. 

However, I decided that if I did that, I’d be letting the virus win.  I refuse to let a shitshow of a year ruin such a momentous occasion as The 14^th Annual Video Vacuum Awards.  Instead, I am going to plow forward and watch as many 2020 movies as I can until I beef up those movie-watching numbers, or at least have enough fodder to create actual award categories. 

Time will tell how many new releases I will watch, but one thing is for sure:  I will do my best to find films that showcase the best, brightest, and most talented performers, technicians, and filmmakers that are working in the business today; not only as a tribute to them, but to the artform to which they tireless sacrifice.  

And with that, I am proud to proclaim the first film I will be watching under the new Hindsight is 2020 column will be… uh…