The Inheritance (2021)

The most enjoyable aspect of today’s indie-streaming films (they’d be direct-to-video back in the analog days of VHS and DVD) and indie distributor shingles like Uncork’d Entertainment is that U.S. audiences are treated with European films — this one from the Ukraine (in English) — that we would otherwise not see on U.S. theater screens and most likely miss on the shelves of our local, back-in-the-day Blockbuster Video.

As with most indie streamers, the budget on this haunted house horror is tight: $500,000. Unlike most indie streamers, the creative team behind it is not of the usual, inexperienced, first-timer variety not adept with the Canon Reds — or shooting on iPhones. As a producer, Chad Barager brought us The Woods (2013), Dark Harvest (2016), and Bitter Harvest (2017); here, Barager makes his feature film writing and directing debut. His co-director and writer, Kevin Speckmaier, has worked as an assistant director on TV’s syndicated Highlander (loved it), USA Network’s The Dead Zone (again, plus Anthony Micheal Hall is great in it), and numerous Lifetime and Hallmark movies (a couple of those cherished B&S About Movies X-Mas flicks). The Inheritance also serves as his feature film debut in the writing and directing chairs.

Latvian-born Natalia Ryumina is a multilingual British actress (including Latvian, Russian, and Ukrainian), who we’ve haven’t seen much on U.S. streaming shores, but amid her 20-so film and decade of credits, you may have seen her best known film, Soldiers of the Damned (2015). American (Indiana) born Nick Whittman made his business bones as a stuntman and transitioned as an actor with the National Geographic/FX series Mars (2016 – 2019); The Inheritance is his leading man debut. (Do you have Apple TV? You can watch Mars for free on that platform.)

So, with that front-of-and-behind-the-camera-pedigree, it’s not a surprise that The Inheritance walked away with a “Best Actress Award” for Natalia Ryumina at the 2020 Paris Art and Movie Awards: for an actor is only as good as the script, the film, and the other actors around them. It’s a tale about Sasha and Peter as they head off to Europe to collect on Sasha’s inheritance: a regal mansion. She soon comes to discover dark family secrets of the paranormal variety in her Ukraine family manor’s walls.

The Inheritance premiered at the Catalina Film Festival on September 18, 2020. You can watch The Inheritance On-Demand and DVD in North America on April 13, 2021 from Uncork’d Entertainment. Producer Firepower Entertainment also gave us the five-episode mini-series Chernobyl (2019) staring the always welcomed Jared Harris and the always great Stellan Skarsgard.

Disclaimer: We were provided a screener by the production company’s P.R firm. That has no bearing on our review.

About the Author: You can learn more about the writings of R.D Francis on Facebook. He also writes for B&S About Movies and publishes short stories and music reviews on Medium.

Embryo (2021)

We’ve been receiving a lot of great streamers from South America, as of late. The animated apocalypse of Lava and retro-apoc’in of Scavenger, both from Argentina, really impressed us with their up-against-the-budget class and style. Now we have this Chilean import, shot in Terman de Chillan , that we are grateful Uncork’d Entertainment imported without dubbing, leaving the Spanish intact (with English subtitles).

While The X-Files and The Blair Witch influences are obvious — as well as H.P Lovecraft (see Nicolas Cage’s Color Out of Space) — in this sci-fi horror tale, this latest offering from director Patricio Valladares (the 2011 actioner Toro Loco and the 2012 horror Hidden in the Woods; 2016’s Vlad’s Legacy and 2017’s Robert Englund-starring Nightworld) is not the least bit trope-ridden.

Sure, you’ll reflect on Alien, with its xenomorph impregnation, but since this is B&S About Movies, and this Chilean effort is a low-budgeter, we’re leaning to the sloppier-gooey Inseminoid as our comparison. And there’s a little bit of Cronenberg’s “body horror” flicks injected as well. Valladares efficiently pulls his tale together as a semi-film-cum-SOV camcorder “found footage” narrative that presents an alien abduction portmanteau of three alien-abduction tales. The creator behind Embryo is Barry Keating, a writer who gave us a pretty cool Euro-shot, Monty Markham sci-fi’er, The Rift (2016).

Campers in the Chilean countryside woods of Snowdevil Mountain, known for its extra-terrestrial mysteries, run afoul of otherworldly beings; one of the beings abducts and impregnate Kevin’s girlfriend, Evelyn. As her “child” rapidly grows inside her, the need to satiate her lust for flesh and blood grows, in kind. When she attacks a doctor, Kevin takes Evelyn on the run — and tries to unravel the “found footage” mystery, with a cop investigating the disappearances and rapes on their trail — as they try to find someone to remove “the thing” that’s taking over her body and mind. Tentacles and alien semen caressing human bodies, and flashbacks from 2020, to 2008, to 2012, ensues — with Patricio Valladares accomplishing a lot on very little.

You’ll be able to stream Embryo as a VOD or purchase as a DVD and Blu-ray in North American via Uncork’d Entertainment on April 6, 2021.

Disclaimer: We were sent a screener by the distributor’s P.R firm. That has no bearing on our review.

About the Author: You can learn more about the writings of R.D Francis on Facebook. He also writes for B&S About Movies and publishes short stories and music reviews on Medium.

Dawn of the Beast (2021)

I think I can also speak for Sam that, when we were in college (remember those days, Sam), the last thing on our minds was going into the woods to look for aliens or hairy rugs of the Bigfoot variety. High School was a bitch for us both and college was a weekly proctological exam. So what in the hell is with the ne’er-do-well kids with all the free time to curiosity seek in the woods? Yeah, we know: their thesis paper, etc., bla, bla, and yada, yada. Which is why Sam and I leaned towards the artistic: both visual and written. No cramming on law journals or dissecting or field trips. It was art tables and typewriters and radio studios for us. For nature outside: bad. VCR movie-womb room (with turntables and vinyl): good. And thanks to those VCR binges, we know better: going to the woods in a cabin with friends for an isolated vacation, well, you just end up possessed. Or infected. Or dead. Or worse.

So here are. And it’s real.

We dig Bruce Wemple, who gave us a pretty cool pair of wooded-mystery steamers with Monstrous (a Bigfoot) and The Retreat (an Indian-myth Wendigo). And he’s giving us a double-dose in Dawn of the Beast. So, it’s sort of a sequel-trilogy. It’s like those ongoing Kaiju movies of old, with one film building onto another, with a creature from one film tag-teaming in the next, as the films keep getting bigger and better as they progress.

In the streaming-21st century — with the Canon Reds and other digital devices — it’s the slasher ’80s all over again. In either era: You’re a new-to-game filmmaker who wants to tell stories. You don’t have the budget to “go big” like the big studios, with fancy sets and props. So, you head off into the woods: the sets are cheap and bountiful. And Wemple uses those wooden environs to his advantage with a skill-set that always gives us an engaging story.

So, those students with their Bigfoot obsession head off into the Northeastern wood, known for its “strange creature sightings,” natch. And the “strange creatures” are double the terror: our Mystery Machine gang not only runs afoul of Bigfoot, but the spiritual Indian creature, a Wendigo. The ancient creature, wooden battle royale, with the kids caught in the middle, ensues.

As you can tell from the film stills, Bruce Wemple has really upped his game: the makeups and effects are against-the-budget stellar. Wendigos, Bigfoots, and Raimi demon possession. Oh, my! Auntie Em! Toto!

Good stuff, once again, Mr. Wemple. Keep ’em comin’!

While we didn’t officially review either for the site, be sure to also stream Wemple’s two previous, upper New York State-based indie-features, After Hours (2016) and Lake Artifact (2019). The welcomed and dependable Anna Shields, who starred in those two films, as well as Monstrous, stars — and pens Dawn of the Beast. Her co-star, Grant Schumacher, also returns from Lake Artifact, Monstrous, and The Retreat. Needless to say, they’re excellent, as always.

Uncork’d Entertainment will release Dawn of the Beast to digital platforms and DVD on April 6, 2021.

Disclaimer: We were sent a screener by the distributor’s P.R firm. That has no bearing on our review.

About the Author: You can learn more about the writings of R.D Francis on Facebook. He also writes for B&S About Movies and publishes short stories and music reviews on Medium.

Godzilla vs. Kong (2021)

Every review keeps bringing up the same issue with this film: the human interaction scenes are boring.

Guess what? We watched about eighty kaiju movies in the last few weeks and can honestly tell you that every single one of those movies can claim just about the same thing, so the venerable Toho got smart and added aliens and ape humans from the future to those scenes, as well as miniature singing women who worship Mothra so that even the non-giant monster moments of their films are real strange.

To those of you not able to name the four different eras of Godzilla films — Showa, Heisei, Millennium and Reiwa — let me tell you, the human moments in this are in no way as bad as All Monsters Attack.

That said, you can literally remove Godzilla and every single human from this movie and you still pretty much could have the same story. This isn’t Godzilla vs. Kong as much as it’s another movie that we could call Kong: Inside the Hollow Earth. Actually, those moments, where Kong and a crew of good and bad scientists goes inside a gravity well to wind up in a Skartaris or Shangri-La or Savage Land inside our planet are some of the best parts of the movie, topped only by Godzilla somehow being able to blast nuclear fire from Hong Kong to the middle of Earth’s core without destroying the entire planet.

So, if we remove those moments of humanity, we really should also just forget the lame conspiracy theory plot with Milly Bobby Brown, Brian Tyree Henry and Julian Dennison from Hunt for the Wilderpeople that exists merely to give us exposition, show off some conspiracy theory under the world trains and explain who the big bad really is.

Yes, unlike every human bad guy who has ever gone up against a giant monster, it turns out that owning a big company like Apex Cybernetics and using scientific expeditions to make money never really pays off.

Director Adam Wingard made You’re Next and The Guest. If I hadn’t looked up that he directed this, I would have never known. It’s a writer’s room-made film, with the last creative team making rewrites so that everyone is in character. And it’s another part of the shared universe post-Marvel Cinematic Universe aesthetic, where every movie leads to the next, unlike the Toho films where fans were the ones to create a patchwork No-Prize narrative that barely connects them.

That said, you can just enjoy the huge set pieces here, like Kong and Godzilla battling on the deck of an aircraft carrier and the final battle in Hong Kong. It looks like paintings come to life, the kind of battle between giant monsters that I could only dream of as a child satisfied with foam suits and zipped-in actors.

Ishirô Honda, who directed the original King Kong vs. Godzilla and made a movie that satirized Japanese TV along the way, once said “The reason I showed the monster battle through the prism of a ratings war was to depict the reality of the times. When you think of King Kong just plain fighting Godzilla, it is stupid. But how you stage it, the times in which it takes place, that is the thought process of the filmmaker.”

So is this film dumb? Well, it was sold at some Carl’s Jr. restaurants with Godzilla hamburgers and Kong chicken sandwiches, the exact kind of commercialism that the Toho movie made fun of with Kong yaki noodles. But it is a big tentpole Hollywood movie in the weird second year of there not being a lot of places ready to show it.

But hey, it does have monsters named Titanus Warbats and Kong gets a radioactive axe, so I can’t be all huffy and say that I didn’t enjoy it. I still have an entire shelf full of much better kaiju films — ask me, I’ll recommend like twenty to you — to enjoy whenever I want, but today’s children need a movie like this to get them excited the same way I was back in 1976, going crazy for Kong in theaters and Godzilla on UHF monster host shows.

Drive All Night (2021)

I’m a Yutaka Takeuchi fan. You may know him for his work in several episodes of HBO’s True Blood and Netflix’s contribution to all things Marvel with The Defenders. He was also in Jason Cuadrado’s feature film debut portmanteau Tales from the Dead, and USS Indianapolis, a direct-to-DVD affair with Nicolas Cage (do read our “Nic Cage Bitch” featurette). So it’s great to see Takeuchi in a starring role carrying a feature film: as a swing-shift taxi driver — driving down a neo-noir spiral.

The femme fatale triggering the spiral is Lexy Hammonds, a relatively new actress to the game with over a dozen roles in indie shorts, features, and cable series (2016’s Crazy Love). Also look for Sarah Dumont, as Morgan, from Scouts Guide to the Zombie Apocalypse in the cast. The remainder of the unknown and local, shot around San Jose, California, cast are each effective in their roles. There’s none of that indie-streamer thespian boondoggling to be found in the frames: frames shot for $160,000 — but look much more expensive.

The art department oozing with the noir.

Cara (Hammonds), a mysterious woman with a retro arcade games fetish, jumps into Dave’s (Takeuchi) taxi — and pays out his meter for the night. Dave soon discovers the “random” errands, aka adventures, Cara takes him on — getting drinks, playing arcade games, duffel bag pick ups, and breaking into a theater, have a deeper meaning. And the “deep” turns of that “meaning” is Lenny (Johnny Gilligan from the series Blackthorne): a crime syndicate hit-man on Cara’s trail. And Lenny’s a little, shall we say, “tweaked.”

Drive All Night isn’t your typical film noir, as it emphasizes the “neo.” Sure, you’ll reflect on Michael Mann’s neo-noir Collateral (2004) starring Tom Cruise’s ne’er-do-well assassin — but that was, as is the case with Mann (Thief), an action thriller. No, this feature film writing and directing debut from Peter Hsieh leans more towards Nicolas Winding Refn’s (The Neon Demon, Only God Forgives) Drive (2011), which itself is closer to Walter Hill’s (The Warriors, Streets of Fire) existential, Easy Rider-esque stunt driver-cum-criminal romp The Driver (1978).

And that’s what’s absorbed (as least moi) from the frames: a surreal cross between Mann’s Thief (one of my all-time favorites) and The Driver (another all-timer) — with one of the eyes of Mann, and another eye from Hill, plugged into Winding Refn’s brain. The neo-noir spiral here, while certainly inspired by it, isn’t the cut-and-dry mystery, twisty black and white of the Double Indemnity variety (another all-timer): Drive All Night is much more surreal in its layered, dream-like non-reality. And since Lenny, our mob enforcer is having his own surreal breakdown — and since I just watched Takashi Miike’s Gozu this week (another all-time fave) — I see a little bit of that film’s reality-stressed yakuza in the frames (only not as WTF’d as a Miike Joint: and what film ever is or will be).

You’ll be able to watch Drive All Night all the usual streaming platforms you visit often as of March 20, 2021.

Disclaimer: We were sent a screener by the distributor’s P.R firm. That has no bearing on our review.

About the Author: You can learn more about the writings of R.D Francis on Facebook. He also writes for B&S About Movies and publishes short stories and music reviews on Medium.

Witness Infection (2021)

Two rival mob families — the Serrellis and the Miolas — in the Witness Protection Program have been sent to the same city to hide. So life is about to change for Carlo Serrelli (Robert Belushi, the son of Jim) whose father had kept him out of the family business while his brother Dominic (Bret Ernst) does the actual blood  money-earning work.

Everything soon changes.

To make the peace, Carlo has to marry Patricia Miola (Erinn Hayes, Elizabeth from the third Bill and Ted movie), the daughter of mob boss Mr. Miola (Maurice LaMarche, The Brain from Pinky and the Brain), and seal a covenant between the two families.

Dominic can’t do it. All the steroids have made him sterile. So finally, Carlo has to be part of the family.

Carlo is already in love with his co-worker Gina (Jill-Michele Melean*, Reno 911). She and his friend Vince decide to help him get out of town, but then tainted sausages turn everyone in town into the living dead.

What I really liked about this movie is that plenty of voice actors — beyond LeMarche, of course — get the chance to be in front of the camera. Tara Strong, who has provided the animated voices for Harley Quinn, Batgirl and some of the My Little Pony characters shows up, as do Carlos Alazraqui (Bane from the recent Batman cartoons) and Gary Anthony Williams (Rick and Morty).

Between Vince narrating the zombie attacks as if they were a film and a bartender at his Mexican place named Rose (Monique Coleman) who kicks ass like a 70’s blacksploitation heroine, this is a movie that fans of horror and comedy will find moments to enjoy.

Director Andy Palmer (Camp Cold BrookThe Funhouse Massacre) does a great job here building the tension, which works for both horror and comedy.

Zombie movies are a genre where seemingly everything has been done before, but Witness Infection tries to mix the mob film and comedy in to a pretty fair degree of success.

*Melean and Alazraqui also were the writers of this movie.

Witness Infection is now streaming. You can learn more on the official Facebook page and official site.

Summer Daydream (2021)

The art of film is to not just toss images on the screen — as so many aspiring indie filmmakers do. The craft of film is to embed your soul on the screen; to allow the audience to connect with your heart. Clark, the young filmmaker of Summer Daydream, comes to learn that lesson: he may not have ended up making the film that he wanted, but he made his film exactly the way it needed to be done. And Mitch Hudson and Stephen Dean, two local Lynchburg, Virginia, filmmakers opted to share their own youthful, filmmaking ambitions with their joint feature film debut — and made their film exactly the way it needed to be done.

As with any young boy, Clark’s greatly influenced by his father; a dad who infused Clark with the love of film courtesy of the purchase of a digital camera. And as any kid with a camera, Clark spends his summers making horror movies with his friends. Upon the loss of his father, and the financial strains that come with such a loss, it’s compounded by his mother recent job loss — that will uproot the family. To save his family’s home, he recruits his two best friends and a couple of first time amateur actors to enter a film contest with a $15,000 cash prize.

Mitch Hudson and Stephen Dean composed an insightful, calculated script; one free of the expected plot tropes. Sure, I could rat-a-tat-tat the story and plot spoil everything. What I will tell you is that I expected “dad” to reappear with helpful advice; he did not. I expected for Clark to discover his first summer crush; he didn’t. And that’s only two of the story’s “change up” examples; two that display the extra though put into the script that’s rises Summer Daydream above the horizons of a neat-little-bow feel-good Hallmark movie or other family-oriented tales. Mitch Hudson and Stephen Dean’s feature film debut is a film that’s impossible to give a bad review. Everything about their film is sheer perfection; from script, to its cast of solid teen and adult actors, to directing, to its cinematography: everything works. I challenge another critic — if they’re foolish enough to try — to find a flaw in it.

As I watched the valiant attempt by Clark and his friends to save his family’s home, as well as the retaining the memories of his father held within the walls of that home, my own heart drifted back to my own summers of youth as I watched the teen-oriented movies of the ’70s that aired weekly via ABC-TV’s Afterschool Special, CBS-TV’s Schoolbreak Special, and NBC-TV’s Special Treat. If you’ve read my reviews for the cream of the crop of those youth-oriented TV movies, such as The Amazing Cosmic Awareness of Duffy Moon, Blind Sunday, Hewitt’s Just Different, New York City Too Far from Tampa Blues, and Portrait of a Teenage Shoplifter then you know how I feel about those films. And that’s the same feeling — of simpler, non-Internet stressed happier times — I had watching Summer Daydream.

I love this movie. It’s a movie that elicits nothing but respect.

Livin’ the daydream: We are the film crew.

Completed in 2018, Summer Daydream, then known as Technicolour Daydream (copyright issues over the use of “Technicolor,” even with the British-version of the word), traveled the usual festival rounds that all indie filmmakers journey. And the journey was a fruitful one, as Mitch Hudson and Stephen Dean’s feature film debut earned fifteen wins and ten nominations, such as winning the “Grand Jury Prize for Best Feature Film” at the 2019 Southern City Film Festival, “Best Screenplay in a Feature Film” at the 2019 World Music and Independent Film Festival, the “Saints Award for Best Feature” at the 2018 Saints and Sinners Film Festival, and “Best Feature” at the 2018 Southern States Indie Film Fest. Courtesy of Summer Hill Entertainment, U.S. and Canadian audiences finally got to enjoy this touching coming-of-age-story on DVD, Blu-ray, and across all major streaming services in the winter of 2020.

Summer Daydream now makes its March 2021 free-with-ads streaming debut on Tubi. You can learn more about the film on their official Facebook page. Other Summer Hill Entertainment releases we’ve recently enjoyed include Baby Frankenstein, Cicada, and Exorcism at 60,000 Feet.

Disclaimer: We did not receive a screener or a review request from the director or the distributor. We discovered this film on our own and truly enjoyed the movie.

About the Author: You can read the music, film reviews and short stories of R.D Francis on Medium and learn more about his work on Facebook. He also writes for B&S About Movies.

Me Me Lai Bites Back (2021)

It’s great to see DVD supplementarian Naomi Holwill releasing her works from their DVD addendums as standalone films to online streaming platforms. We previously enjoyed her genre insights with Fascism on a Thread: The Strange Story of Nazisploitation Cinema (2020), which was included on the DVD and Blu-ray restoration for The Beast in Heat. Now Holwill offers us her documentary supplement — the first documentary to do so — on the all-too-short career of seventies sex symbol Me Me Lai, one of the very first British-Asian pin-ups, which is included on the DVD restoration of Umberto Lenzi’s 1972 cannibal exploitation genre-inspirer Man From Deep River, aka Sacrifice!, aka Deep River Savages.

Sure, Lai made her feature film debut in the British sex comedy Passion Potion (1971), as well as working alongside Mike Raven in Ted Hooker’s lone writing and director credit Crucible of Terror (1971) and appearing in another Brit sex-comedy the Au Pair Girls, aka The Young Playmates (1972). But it was her work with Umberto Lenzi in Man from Deep River (1972) and Eaten Alive! (1980) and Ruggero Deodato in Jungle Holocaust (1977) that forever forged Lai in our gooey, horror-loving hearts as the Queen of Italian cannibal films. Then, after her final film, The Element of the Crime (1984) — her others were Blake Edwards’s Revenge of the Pink Panther (1978) and Undercover Lover (1979) — Lai vanished from the business.

Then along came some contraption called “the Internet,” to which Lai’s daughter uploaded a wealth of photos from her mother’s modeling, TV, and cinematic glory days. And it was those social media posts that inspired and enabled film historian Calum Waddell to local Me Me Lai for this document, not only on her career, but on an offensive genre that shouldn’t have existed*, but made our youthful, teen-Midnight Movie days of the ’80s all the more sweeter . . . and gooier.

The highlight of the documentary is that we hear it all from the source herself and not just a bunch of talking head genre experts. And where else can you hear someone who has worked with both and can tell us the pros and cons of working with the zombie-cannibal maestros of Lenzi and Deodato? Are we at all shocked to learn that Lenzi was the raving lunatic and Deodato was the more chill of the two? And is there too much Eli Roth in the frames — who, depending on opinion, is to horror docs what Metallica’s Lars Ulrich is to metal documentaries? Well, it depends on what you think of Roth and how you receive his films, such as Hostel and his own cannibal exploitation homage, The Green Inferno. As for myself: I bow to Roth’s passion and how he serves as the prefect fodder for Naomi Holwill and Calum Waddell’s passions: to give ’70s genre films their rightful preservation in cinematic history.

You can also enjoy Me Me Lai’s insights as part of Naomi Holwill’s High Rising Productions partner Calum Waddell’s Eaten Alive! The Rise and Fall of the Italian Cannibal Film (2015), which is featured on the Grindhouse Releasing Blu-ray for Cannibal Ferox in the U.S. and the U.K. Blu-ray for Zombi Holocaust by 88 Films. Our much adored Umberto Lenzi, Ruggero Deodato, Sergio Martino also offer their genre insights in that documentary.

I don’t know about you, but I cross my fingers in the hope that From Rollerball to Rome (2020) — Holwill’s document to Norman Jewison’s influential post-apoc film — becomes an independent online stream. I also hope for an eventual DVD/Blu-ray box set restoration of the films of Mark “Trash” Gregory** — including a subsequent Rising High Productions documentary on our beloved post-apoc warrior. And while you’re at it, Naomi, can we have a documentary supplement on Michael “Parsifal” Sopkiw? Of course, the team at Grindhouse Releasing and 88 Films needs to get off their collective duffs and give us a Micheal Sopkiw** four-pack DVD/Blu-ray restoration blowout.

You can enjoy Me Me Lai Bites Back on Tubi. Watch it. Great stuff.

* We dedicated an entire week to cannibal films with our “Mangiati Vivi” featurette. In the coming months, we’re hosting an “SOV Week” and “Video Nasties Week” that will catch us up on the Italian zombie and cannibal flicks we didn’t get to in our “Mangiati Vivi Week.” Bookmark us!

** Hey, we love Mike and Mark around the B&S About Movies cubicles, as you can tell by our review of 2019: After the Fall of New York, which includes an overview of Michael’s films. And don’t get us started on Mark Gregory, as we dedicated an entire week of reviews to honor his career with our “Who Is Mark Gregory and why is there an entire week all about him?” featurette.

About the Author: You can learn more about the writings of R.D Francis on Facebook. He also writes for B&S About Movies and publishes short stories based on his screenplays, as well as music reviews, on Medium.

Crop Circle Realities (2021)

The phenomenon of crop circles may have started in England in 1963, but they now are found all over the globe — nearly a thousand have been seen and the first actual incident stretches back even further.

While some tricksters have taken responsibility for the creation of some crop circles, Crop Circle Realities seeks out the most incredible crop circle designs and attempts to discover if there was an extraterrestrial connection.

Crop circle expert Gary King — one of the leaders in the field of crop circle research, who witnessed a crop circle formed in the East Field site on July 7, 2007 — and UFO activist Stephen Bassett appear in this film to discuss the implications of these crop circles and the messages that they may hold for mankind.

If you have the slightest interest in crop circles, consider this film a must watch. Basset is the kind of expert to be listened to and trust and I love hearing his opinions on these matters.

Want more information?

You can follow Darcy Weir on Facebook, Twitter and YouTube.

For more about Stephen Basset and his quest to end the truth embargo, visit Paradigm Research Group and listen to his new podcast The Disclosure Wire. That new show also has a Facebook page that has even more info.

You can read an interview we conducted with both of them as part of the release of their last film, Volcanic UFO Mysteries.

Gary King’s site is Crop Circle Reporter, which has several video blogs that are a fantastic resource for those interested in crop circle research.

Crop Circle Realities has been released by Uncork’d Entertainment and is available on digital platforms as iTunes, Amazon, Google Play, YouTube, Xbox, Vudu, Fandango Now, Direct TV, Dish Network, Comcast/Xfinity, Spectrum, Cox and Verizon Fios, as well as through local cable providers.

Dolphin Island (2021)

After losing her parents, fourteen-year-old Annabel has moved in with her grandfather a fisherman, on a Caribbean Island where her best friend is a dolphin named Mitzy. However, her maternal grandparents don’t see this as a suitable life for a young girl and come to take her away.

We don’t often watch family films here, but this is a cute story about finding the family that you want, not the one you are necessarily born into. Peter Woodward (who was in The Patriot) is really good in this as the grandfather. It’s a nice film for young audiences who are animal lovers and may not have seen many coming of age movies.

Mike Disa, who directed this, comes from the animation world, having directed films like Dante’s Inferno and Dead Space — based on the video games — and kids movies like Space Dogs: Adventure to the MoonPostman Pat: The Movie and Hoodwinked Too! There’s a horror connection as well, as writer Shaked Berenson produced TurbokidJeruZalemSlaxxTales of Halloween and The Man Who Killed Hitler and Then the Bigfoot.

Dolphin Island is now available wherever you watch streaming on demand movies. You can learn more on the official site.