This is the fourth year I’ve participated in the F This Movie! month-long event.
For those of you new to Junesploitation, here’s how it works: each day of the month has its own theme, and you’re supposed to watch a movie that ties into that theme. How you interpret the connection is entirely up to you, which means if you have no interest in exploitation or genre movies that’s ok and you can still join in!
This is the third episode of three that will break down every movie that I watched. It’s a long one!
EDITOR’S NOTE: The Bad Seed was on the CBS Late Movie on March 29, May 10 and November 29, 1973.
John Waters, in his book Role Models, claimed that he wanted to be Rhoda Penmark, the titular antagonist of The Bad Seed. “I wanted to be Rhoda. I pretended I was her. Why? I wanted to strike fear in the hearts of my playmates.”
There’s really no other movie quite like this one. Sure, we’ve covered plenty of other kids in trouble and kids causing trouble movies over the last two weeks, but this is the ultimate.
Based upon the 1954 play of the same name by Maxwell Anderson — which is based upon William March’s 1954 novel — the entire movie revolves around one person: Rhoda (Patty McCormack). She’s doted on by her parents, but the truth is, she’s quite literally menace incarnate. Who else would be so upset about losing a penmanship contest that she’d be moved to murder?
How did she get that way? Is it because her mother (Nancy Kelly, who won a Tony on Broadway for the play and was nominated for an Oscar) is the daughter of a serial killer who was adopted by a kindly cop? Is it because her father (William Hopper, who was later Paul Drake on Perry Mason and is the son of Hedda Hopper) isn’t around? Is society to blame? Or are some people just plain evil?
In the novel and play, the mother dies and the bad seed survives. The Motion Picture Production Code could never allow crime to pay, so Christine’s life is saved and Rhoda is struck down by the only thing that can really stop her: the hand of God, tossing a bolt of lightning her way. To further keep the censors away, Warner Brothers added an “adults only” warning to the film’s advertising.
This film is packed with great performances. There’s Henry Jones as Leroy Jessup, the caretaker who snarls every line at Rhoda, sure that she’s committed some crime as he sleeps in a bed of excelsior. Or Eileen Heckart as Hortense Daigle, a woman whose grief has reduced to a spirit of sheer nothingness. Or Evelyn Varden as Monica Breedlove, an older woman who wants to desperately see the good in Rhoda (she’s equally amazing in The Night of the Hunter). Hey — there’s even Frank Cady here, who would go on to play Sam Drucker in several seventies hicksploitation sitcoms.
I also love the end of this movie, where the entire cast comes out as if they’re still on Broadway and doing their curtain call. After her credit is shown, Nancy Kelly puts Patty McCormack over her knee and gives her a spanking as they both laugh, trying to break the tension because Rhoda is so violently real, more villainous than any cartoon villain you’ll see in every single movie thereafter.
The Bad Seed has led to plenty of remakes and reimaginings. It was remade in 1985 as a TV movie that starred Carrie Welles, Blair Brown, Lynn Redgrave, David Carradine, Richard Kiley and Chad Allen. This version uses the original ending, but isn’t fondly remembered. There was another remake in 2018 that aired on Lifetime. It was directed by Rob Lowe and Patty McCormack even shows up in a cameo.
In 1995, McCormack would star in the first of two Mommy films that are kind of, sort of unofficial sequels. The Lifetime film House of Deadly Secrets, also starring McCormack, is another film that’s a spiritual second to this one. There’s also an off-Broadway musical adaption called Ruthless! and just about every bad kid movie that’s come after 1956 owes this one a debt.
EDITOR’S NOTE: The Black Scorpion was on the CBS Late Movie on March 21, 1973 and March 7 and August 1, 1975.
This movie has a good FX pedigree: Willis O’Brien, creator of the stop-motion animation effects for the original King Kong, was the special effects supervisor. There’s an urban legend that the spider pit creatures that were cut from that film show up here. While Ray Harryhausen’s An Animated Life would claim that many of O’Brien’s models were still in storage at RKO when this was made, many of them were pretty decayed by that point.
An earthquake happens in Mexico and a new volcano rises, along with someone who believes that a demon bull has come out of hell. If only it could be so simple. Instead, the beasts are gigantic prehistoric scorpions.
How do you kill a monstrous scorpion? You fill an arena with meat and then shoot it with a spear that’s attached to an electric cable, then spark that thing up. You have to admire that level of ingenuity.
October 1958 Playboy Playmate Mara Corday was probably used to this kind of thing by this point, having already dealt with Tarantula and The Giant Claw. I can see dealing with one giant monster, but three? Yeah. That’s being a magnet for kaiju.
An even bigger coincidence is that six of the actors in this movie — Carlos Rivas, Mario Navarro, Pascual García Peña, José Chávez, Roberto Contreras and Margarito Luna — all appear in another Willis O’Brien-animated giant monster movie, The Beast of Hollow Mountain.
EDITOR’S NOTE: Something Evil was on the CBS Late Movie on February 8 and August 17, 1973.
Steven Spielberg directed this Robert Clouse (the director of Enter the Dragon) written TV movie that originally aired on January 21, 1972. In fact, Spielberg even appears briefly in the film speaking to Carl Gottlieb (who would go on to co-write Jaws) at a party.
Marjorie (Sandy Dennis, God Told Me To) and Paul Worden (Darren McGavin, Carl Kolchak forever) have just moved to a Pennsylvania farmhouse with their children, Stevie (Johnny Whitaker, Jody from Family Affair) and Laurie. There are symbols all over the house, which no one seems to have any issues with.
Is there weirdness at the farm? You know there is. Their neighbor, Gehrmann, (Jeff Corey, Battle Beyond the Stars) kills chickens right in front of the kids. Marjorie keeps hearing the sound of crying children. Then there’s Harry (Ralph Bellamy, Coming to America, Pretty Woman), a local who believes in demons and says that the house is protected from them because of all the symbols.
Marjorie is convinced that the devil wants her and even slaps her son, which leads to her leaving the family, as she can’t even trust herself. But what if the devil was after her kids and not her? Hmm?
Spielberg would escape TV movies after this. It’s a low budget affair, but his style as a director transforms the material. It’s unsettling, filled with doom and gloom and dread. The 70s really seem like a dismal time to be alive if we only go by TV movies, huh?
Roadshow Rarities (June 30 – July 6) In the old days of theatrical releases some of the more lavish movies would be promoted by holding limited screenings in large cities. These roadshow releases would generate hype before the nationwide release and allow producers to tweak the film to the audience’s reaction. This model also worked for low budget productions that may have had no intention of a wide release. These explo roadshows traveled an informal circuit of theaters, churches, revival tents, high school auditoriums and anywhere else they could run a projector. They frequently promised more than they delivered and left town before the angry audience could catch up to them. Through the restoration efforts of SWV many of these movies have survived to piss audiences off to this very day!
Directed by W. Merle Connell (The Flesh Merchant) and written by Danny Arnold (who created Barney Miller) and Richard S. McMahan, this uses the same cast and crew as Test Tube Babies.
Actor Timothy Farrell made three low-budget exploitation movies in which he played the part of gym owner Umberto Scalli. These films are also all about women wrestlers, such as Racket Girls, Dance Hall Racket and this movie. Scalli may have died at the end of Racket Girls but he came back to life for the other movie.
Scalli is out of prison and has two new scams. One is a health spa where women can get dangerous diet drugs and the other one is to sell amphetamines to teenagers at parties. Judge Rosalind Ballentine (Lita Grey, the second wife of Charlie Chaplin) and Detective Sergeant Dave Kerrigan (William Thomason) try to stop him, but he has photos of the judge’s daughter Margie (Tracy Lynne) nude and drugged out at one of those parties.
“Today’s Moral MENACE ! Daring expose of the devil drug traffic in Bennies, Goofies and Phenos as it really exists.”
Oh it does. This movie was probably really scandalous in 1949 but today, it’s nearly quaint.
June 30: Junesploitation’s topic of the day — as suggested by F This Movie— is Slasher! This month, I tackled a different genre every day. This is the end.
Directed by Robert Hartford-Davis (The Black Torment, Gonks Go Beat, Black Gun, my beloved Corruption) and written by Brian Comport (Girly, The Asphyx), this starts with a baptism being juxtaposed with a pretty young girl being stripped, strangled and thrown in a river. Ah, British pre-slashers, you are never subtle.
Birdy Wemys (Ann Todd) has given most of her money and home to the Brethren, a fire and brimstone church that believes that the world is going to hell. All of the religion in the home and sermons of the minister (Patrick Magee) have made her withdrawn son Kenny (Tony Beckley) into a lunatic cleaning the streets of fallen women.
Kenny uses his job as at a public swimming pool to basically yell at girls who dress in skimpy bathing suits and then at night, he’s a security guard. Meanwhile, his mother’s health is failing and the minister won’t let any of his followers take medicine. Yet she still gets insulin for her diabetes and a state provider nurse, Brigitte (Madeleine Hinde), who tells her investigative reporter sister Paddy (Suzanna Leigh) about the ministry. As she’s been writing about cults, Paddy tries to sneak in, pretending that she’s an expectant mother.
Kenny starts killing women everywhere, from a nubile teen who goes topless at the pool to ladies of the evening, leaving them for people to find stripped of their clothing and dangling from meat hooks or hanging out of cement trucks. His mother grows closer to Paddy and the minister accuses them of being a lesbians and takes her medication. As Birdy starts to die, Paddy tries to save her but is locked in the basement by Kenny who finds out too late that the minister was wrong. As his mother dies, he confesses to the religious man that he’s the Nude Killer that’s been in the newspapers. Then he crucifies the minister in his own church.
Also known as The Fiend, this has some incredible music and a great theme. I have a weakness for early 70s sexploitation horrors from England. Richard Kerr and Tony Osborne created a great soundtrack and this church, while certifiable, knows how to rock it out with their music. Maxine Barrie sings “Wash Me In His Blood” as people start to come alive with the spirit and you know, I would never survive the 70s because I’d totally love to be in one of these movie cults.
Uschi Digard week (June 23 – 29) Digard is best known for her work with Russ Meyer but she became an SWV fan favorite for two gargantuan reasons, her charm and her prolific career. The Swiss actress fled to America in 1968 and began a long career filling the silver screen from corner to corner with her overflowing positive energy. Show the lady some respect and watch one of her movies.
A section 3 video nasty and a production of Harry Novak, this movie should come complete with soap so that you can clean yourself up after the way you feel post-watch. But hey, before we luxuriate in filth, let’s talk about Harry and Boxoffice International Pictures.
Just take a cursory scan through some of the films that Boxoffice brought to the eyes of maniacs like you and me: Kiss Me Quick! in which an alien comes to our planet in search of feminine breeding stock*, the spectacularly named mondo Suburban Pagans, the drinking suburban housewives and their pot-smoking daughters in The Muthers, Jean Rollin’s The Nude Vampire, the Gary Graver-directed Erika’s Hot Summer, redneck trash (a good thing) like Country Cuzzins and Sweet Georgia, the brutal and wonderful Toys Are Not for Children, The Sinful Dwarf, Frankenstein’s Castle of Freaks, Lisa, Rattlers, The Child and so many more. When I first started buying trailer collections, the Something Weird Extra Weird Sampler was where I first saw Harry’s signature swirl onto my screen and then blow my mind with the aberrant junk that he was fostering on the movie buying public.
The actual story of this movie isn’t really a story as much as it’s an opportunity to get single women one handing it and couplings two handing it. So yeah, Ralph has taken Donna to see his crazy uncle again, but first she has to see her man in the boat before putting on a scene before the somehow dead and yet able to speak from beyond the grave uncle. And then this movie makes me wonder, who is this for? Who wants to see fellatio interrupted by stabbing or Uschi Digard have sex with — not in — a bed** or a necrophilia scene that ends with a pitchfork murder? Someone, I guess. As Harry Novak himself once said, “When I was a kid, my Daddy told me, “There’s a buyer for everything.” And I lived to find out that he was right.”
But if you make it through all that freaky 70s not so sexy sex, well, you learn the truth. The fact that Donna is really the uncle who is really an alien who sells human brains as drugs on the planet Arkon and the gifts promised from the toy box are really death as we watch a whole bunch of hippies get trapped inside a death house.
Director and writer Ronald Víctor García started out as an electro-mechanical packaging designer for the Apollo Command Module, the Saturn Stage II Helium Purge System and the Polaris Atomic Submarine Launching Systems before making movies like this. And somehow, some way, he became the director of photography for Twin Peaks and One from the Heart. In fact, he’s still out there today, working as a cinematographer on The Good Fight.
I wouldn’t say that this movie was good, but I will say that I was pretty messed up in a good way by it. It has a great movie somewhere in there and I wished that they had found it.
*Harry had a thing for sexy aliens, producing one of my favorite named movies of all time, 1975’s Wham! Bam! Thank You, Spaceman!
**To be fair, I am a red-blooded male and I am willing to watch Uschi Digard do pretty much whatever she wants to do.
June 29: Junesploitation’s topic of the day — as suggested by F This Movie— is New Horizons! We’re excited to tackle a different genre every day, so check back and see what’s next.
Directed by Randy Cheveldave, who mainly worked as a producer, and written by Blain Brown, who directed and wrote Web of Seduction and I’m Watching You, Death Game is also known as Mortal Challenge.
This starts with Los Angeles in the year 2023. You know, last year. The City of Angels has been split in two by an earthquake. The rich and powerful live on a new island while the poor survive in the old L.A. Detective Jack (Timothy Bottoms) has been hired to find Tori (Jody Thompson), the daughter of one of the elite, Mr. Barrington (Brent Fidler). She and their gardener, Coz (Lauro David Chartrand-Del Valle) have fallen in love and she keeps sneaking into the ruined city to see him after her father forces them to split.
Tori has been taken by the Centurions, the rulers of an underground arena, just like Hawk (Nicholas Hill), the gang leader Jack has just fought. Our detective protagonist teams up with the gang’s tech geek, Freeze (Alfonso Quijada), and start looking for where this battleground is.
The arena is run by Malius (David McCallum), who is so obsessed with Rome that he’s turned this part of the City of Flowers and Sunshine into a coliseum, complete with a gladiator named Rogius (Richard Faraci) and a cyborg called Grepp (Evan Lurie, who was also Hologram Man).
McCallum was Illya Kuryakin on The Man from U.N.C.L.E., Simon Carter on Colditz, Steel on Sapphire & Steel and Dr. Donald “Ducky” Mallard on NCIS. That’s a great run but with every joy comes some pain and he’s the man who lost Jill Ireland to Charles Bronson. He recovered just fine and was married to fashion model and Katherine Carpenter for 58 years.
In the audience of rich kids watching these fights is Alex (Vince Murdocco), the man Tori left because she was afraid of how much he loved watching these fights. Oh yeah — so is a very young Michael Buble, watching and voting thumbs up or thumbs down.
All of these post-apocalyptic gladiator movies need a femme fatale, so this has Felicia (Korrine St. Onge, who was one of the vampires in Bordello of Blood). She’s nearly orgasmic over all this to the death man on man action.
Just take a listen to this theme song and think, someone’s mom rented this instead of Mortal Kombat when they got confused.
Join CFF as we take a journey into the longer side of short cinema. One of the many joys of presenting our festival in a hybrid format is that it allows us to include so many amazing films that our time limitations during our in-person days wouldn’t allow, and it also gives us the freedom to program more short work with running times 15 minutes and above. It can be challenging for festivals to make longer short films work when space in blocks is limited, and we’re grateful that our two-volume Fun Size Epics block gives us a chance to share an exceptional group of films that pack more world-building and storytelling in their run times than some features can manage.
Dark Mommy (2023): Based on an episode of the Please Leave podcast, this is all about Ben, the only night shift 911 operator in his small town, which mainly means that he deals with prank callers and drunks. However, this is the night that Dark Mommy has arrived and has plans for everyone in town. It all starts with a frightening phone call and gets even more intense.
Directed by Courtney Eck, who wrote this film with James Gannon, this looks stellar. My main issue was the end, as it seems like it jumps from the night of the Dark Mommy rising and then jumps right to the aftermath. It moves so quickly that I had to go back a few times as I was sure I missed something.
Madame Hattori’s Izakaya (2022): Directed and written by Shanna Fujii, this thriller is about a chef and those who are permitted to attend her very private dinners. Shot in Arizona, this film was a collaboration between restaurants, chefs, filmmakers and the Asian community. Featuring food made by chefs Nobuo Fukuda, Paulo Im, Justin Park, Kevin Rosales and Tyka Chheng and shot at Nanaya Japanese Kitchen, this also has nails from Slain Studios and was sponsored by Sapporo and Crescent Crown Distributing.
Fujii had over thirty artists all collaborating on this film and all of the info above wouldn’t mean much if it wasn’t so interesting. And it is. It answers an intriguing question: How can a chef become so well known when she has never eaten food in her life?
The Garden of Edette (2023): In this Creole Southern gothic, Edette (Gwendolyn Fuller Mukes) may be an elderly woman, but she will live forever as long she keeps luring in victims for her flesh-eating garden. Her next victim will be a young girl named Perri (Mandysa Brock), except that Edette finds herself growing closer to her, feeling a kinship. Now, she must choose between betraying her friend and dying alongside her garden. Directed by Guinevere Fey Thomas, who wrote it with Chiara Campelli and Melisande McLaughlin, this looks incredible and tells a unique story that you don’t find all that often in horror. You can learn more at the official site.
Eyes Like Yours (2023): A hospice nurse remembers her long dead mother when she sees the eyes of one of her patients. She becomes devoted to the patient and starts to use her to recreate her mother, at least in her own mind. Directed and written by Gabrielle Chapman, this has excellent acting by Penelope Grover as Dawn, Lex Helgerson as Alison, Lynnsey Lewis as Isla and Ashlee Weber as the idealized version of the mother that the film keeps returning to. So many of the films that I watched this week at CFF dealt with the loss of a parent or trying to recapture their love. Each went in their own direction and this one has an intriguing physical direction.
Volition (2023): After getting kidnapped and taken to a sex trafficking house, Emma (writer Emily James) brings together all the victims of the house, as well as past people who lives have been harmed, to create an escape plan and get revenge. Directed by Ashley George, this film’s villain Christoph (Zachary Grant) is the kind of horrible human being that you can’t wait to see get what they deserve. Good news. This is a short so you don’t have to wait long. For the budget and the running time, this pulls off tension and action well.
INKED (2023): Directed and written by Kelsey Bollig — who also made another short I enjoyed, Kickstart My Heart — INKED is about Dylan (Kaikane, Night of the Bastard), whose father has just died in prison. His friends were angry that she didn’t have a priest at the funeral, but from what she knew of him, she figured he wouldn’t want that. Instead. she honors him with a new tattoo from her friend Bruno (Chris Cortez) using his ashes. Yet that ink sears into her skin, keeping her awake at night and asleep during the day, bathing her dreams in violent red hues and letting something evil loose. The end of this comes suddenly, but I loved this short and it would make for an even better long form feature.
Floater (2023): When their abusive father (Jeffrey Nordling) dies in the bathroom, Phillip (Jacob Wysocki) and Melanie (Darcy Rose Byrnes) both deal with the loss in very different ways. While his sister and mother (Christine Elliott) do their best to deal with their grief, he preserves the last thing that he has of his father, his last bowel movement which is able to speak to him, telling him that he wants to fix things. Phillip locks himself into the bathroom and refuses to allow anyone else in. The first project by director and writer D.M. Harring, this may have some disgusting moments, but its heart understands the pain of grief.
You’ll probably never see another movie where a son builds a memorial to his father and creates a doll out of his feces. That may not sound like a strong review, but it is. This has real emotion inside every second.
Mort (2023): A mortician named Mr. Underwood (Andy Farmer) and his timid new assistant Lane (Josh Bernstein) have to stop the Lancasters, a family that nearly everyone hates and for good reason, from freaking out when their patriarch Mort (Les Lannom) becomes a zombie and walks away. From Pastor Tim (T Brown) farting in people’s faces to the way the entire family behaves, this feels like my hometown. Except for the zombies, but I did grow up next to Evans City Cemetery where Barbara had them coming to get her. Directed and written by Charlie Queen, this is a fun take on the zombie film. Mort even knows how to do the neck bite from Dawn of the Dead.
Up On the Housetop (2023): The Holloway kids — Olivia (Kayla Anderson), Dylan (Samantha Holland), Donnie (Michael Fischer) and Todd (Dakota Millett) — weren’t looking forward to the holidays after the death of their parents. They’re going to hate the season even more now because — spoiler warning — they accidentally murder Santa Claus on Christmas Eve, thinking that he’s a robber. Now, they’re going to be lucky if they survive this Silent Night with deadly reindeer demanding revenge.
Directed by Dakota Millett and Michael Fischer, who wrote it with Laura Herring, this really does have it all. By all, I mean killer reindeer POV camera, baseball bats covered with holiday lights, a Mario Bava-esque image of a roof filled with reindeer and…this really needs to be a full length film. I don’t think I can ask Santa for that.
Robbie Ain’t Right No More (2023): Sarah (Madeleine McGraw, The Black Phone) used to be close to her brother Robbie (Jadon Cal, Last of the Grads). Over dinner and dealing with the loudmouth Andy (Walker Trull), he reveals the scars all over his body from warfare. What no one can see are the scars that exist in his psyche.
Directed and written by Kyle Perritt, who served as a Marine, this soon has the family discussing what’s wrong with Robbie, from his father Vernon (Jason Davis) saying that his son isn’t right no more and his mother Peggy (Emily Deal) feels useless. As for Robbie, he tells his sister that he feels like someone else is driving him now.
This feels like Deathdream and The Guest, which are high compliments. While this short seems to tell the complete story, this has enough power to be its own full-length film. Perritt has plenty of talent and I can’t wait to see what’s next.
I did see some reviews of this that criticized the short for starting in the middle of the story and not explaining what Robbie was like before. To me, that’s what’s thrilling here. We’re thrust in the middle of the story and must figure it out just as Sarah must.
Good Girls Get Fed (2023): Rose (Kelly Lou Dennis), Daffodil (Kayla Klein) and Iris (Paula Velasquez) are trapped inside a windowless room, given silent commands that are written on a wall. If they answer these challenges, they get the food that they need to survive.
The time in captivity may feel like it’s driven them against one another, but they know that if they work together, they can escape. Yet is there something even worse waiting?
Directed by Kelly Lou Dennis, who wrote this short with Kayla Klein and Sarah Rebottaro, this finds whoever is giving the commands to often just be fixated on the male gaze. At other times, it is using what the women have the most trauma with and playing it against them. Even how they’re dressed is a man’s fantasy.
I don’t want to spoil this but the end is total nihilism. Wow.
Lost Boys Pizza (2023): On Halloween, two theater kids head off to dance. As you can tell by the title, they find vampires there. One, a turned enemy from high school distracted with a bloody tampon and then Dracula himself on the dance floor. Directed by Cassie Llanas and written by Tatjana Vujovic, this looks beautiful and would probably be a ton of fun to watch with an audience. As it was, I can only dance so much in my living room before the neighbors start to notice.
The Kindness of Strangers (2023): Stacy (Nell Nakkan) and Anna (Angela Jaymes) are out driving around on a night back home from college. A woman (Tammie Baird) seems to be in shock and they agreed to take her to a hospital. Yet there’s something horribly wrong with her that will change this night for both of them. It’ll also make you question if there is such a thing as a helpful person. Directed by Stu Silverman, who wrote this short with Kathryn Douglas, this is a mean movie that refuses to protect its characters. Well worth watching.
Vespa (2023): When Luiza comes to visit her mother Celia at her new home, something immediately seems off. Could it be V, the new caretaker, the woman who Celia now believes is her daughter? Does it upset Luiza that her mother has always been so cold to her and yet now is so loving to a stranger? Or could V be quite literally be planting seeds that will keep Luiza trapped at home forever and always under loving care that she never wanted? Directed and written by Olívia Ramos, this was an intriguing watch with gorgeous tones and visuals.
The Lonely Portrait (2023): This is a perfect short. An AirBnB guest (Andrew Weir, who wrote the script with director Marc Marashi) guest finds a blank spot on the wall that he soon fills with a strange painting. Every time he steps away, that portrait changes and begins to take things from our world. It’s a gorgeous creation, as it’s a digital painting that was motion tracked into each scene. This is filled with some incredible angles, including one inside the world of the painting. You know where it’s going each step of the way yet when it gets there, it’s so well made that you’ll want to cheer. A triumph.
Carnivora (2024): Ana (Gigi Zumbado) comes home to take care of her grandmother Yaya (Julia Vera), along with Maribel (Carmela Zumbado), who never leaves home and is her caregiver. This leads to the natural argument over Ana being a prodigal sibling or Mari being a martyr for remaining. Their mother has disappeared and no one knows what happened. And that’s because — spoiler warning — Yaya eats people whole and keeps them alive inside her. I feel this movie more than I would like to admit and director Felipe Vargas has created an amazing way to reflect what it’s like to watch a loved one disappear.
Too Slow (2023): An insecure man has fallen for the oldest trick in the book: up high, down low, too slow. This sends him off the deep end, obsessed with getting an apology. Instead, he gets fooled again with the stain on your shirt scam. That’s too much. Now, he loses everything he had and starts becoming the man he hates, buying a Tesla, wearing a wool suit and acting like a complete cryptobro. Everything comes to a head at a birthday party and blood will be spilled. Danielle McRae Spisso and Stephen Vanderpool have crafted something amazing here, a story that we may have all lived yet in a place that goes further than we expect.
You can watch so many of the films at CFF by buying a pass on their website. I’ll be be posting reviews and articles over the next few days, as well as updating my Letterboxd list of watches.
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