“And it was going so good too.” That’s my initial reaction to the third act of “Ghost Stories” which feels like one gigantic cop out of a finale. You can reason that the creators wanted to introduce these esoteric ideas that come colliding, but I felt like “Ghost Stories” just ran out of ideas and just stopped trying. I’m also not a fan of the underlying message about how lack of belief is linked to being some kind of bitter individual with a horrible life. Either way I imagine the finale to “Ghost Stories” will be a very polarizing element in the horror movie world in 2018. I think some horror fans will defend its radical approach while others will lambast it for trying way too hard. I’m in the latter category. I didn’t buy its self important morality play.
It’s not so much the journey of getting the shoes but what they ultimately represent to a lot of people. Eventually the mission of young Brandon to get his Jordans back from a vicious neighborhood psycho becomes a lot more than re-claiming a piece of goods. It becomes about re-claiming a part of himself, and perhaps taking a chance on something that could either mean his doom or prove that he’s capable of going very far in his life, and perhaps farther than anyone figured.
Ted Geoghegan’s “Mohawk” is stellar and a very timely commentary on colonialism, manifest destiny, and the last gasp of what would become a slain race in the middle of a pointless war in 1814. “Mohawk” has a very unusual aesthetic to it, approaching audiences with a unique score, some great digital photography, and a tone that’s right down the line between horror and action. It has a lot to say about the unfair and cruel destruction of the Native American race, with an enemy we all have learned about but still known very little thanks to revisionist history.
BOOTLEG FILES 635: “The Honeymooners – The REALLY Lost Debut Episodes” (1993 television special).
LAST SEEN: On YouTube.
AMERICAN HOME VIDEO: None.
REASON FOR BOOTLEG STATUS: The program was never re-released to home entertainment channels.
CHANCES OF SEEING A COMMERCIAL DVD RELEASE: Unlikely.
In 1993, fans of “The Honeymooners” were shocked to learn that some of the earliest episodes of the classic comedy were rediscovered after being presumed lost for more than 40 years. These episodes, which consisted of eight- to twelve-minute sketches performed on the “Cavalcade of Stars” variety program broadcast on the DuMont network, were presented during the spring at special screenings at the Museum of Television and Radio in New York and the Los Angeles County Museum of Art. On October 30, 1993, six of the sketches were gathered into a Disney Channel special called “The Honeymooners – The REALLY Lost Debut Episodes.”
Rowdy Herrington’s “Road House” exists in that line of the late eighties and early nineties where honky tonk trailer trash chic was in vogue. This is the re-emergence of rowdy bars in that whole period of “Black Velvet,” “Black Betty,” Stevie Ray Vaughn, and Billy Ray Cyrus. It permeates with that exact odor but with Patrick Swayze playing basically your normal everyday enigmatic superhero known as Dalton. Only Dalton. He is so bad ass he has one name, carries a thick reputation, and spends his off time stitching his own wounds in bar room bathrooms.
“Hell to Pay” is chapter two in what is one of the more under appreciated animated DC series currently in stores. While DC mainly focuses on Batman and Superman, we’re given a second shot with “Suicide Squad” who DC is thankfully not above sharing for the home entertainment audiences. After the very good “Assault on Arkham,” the team known as Task Force X return with a premise that—let’s just say it—should have been the premise for the live action movie. It’s a small covert team, they should do small covert operations that involve the DC Universe, for crying out loud.
A father and scientist desperate to save his son and daughter from a deadly genetic disease they have inherited from their mother. To do so, he uses his knowledge, intelligence, and a few questionable research techniques.