AUTHOR’S NOTE: Seeing as how so much of Austin Powers was influenced by this film, it seemed natural to bring back this review, originally posted on September 1, 2018. This is one of my favorite of the Eurospy-influenced movies. Enjoy! How do you avoid warfare in the future? The Big Hunt is the answer. It’s […]
Director: Joe Johnston Writer: Andrew Kevin Walker, David Self (Screenplay) Curt Siodmak (Original Screenplay) Starring: Anthony Hopkins, Emily Blunt, Benicio Del Toro, Rick Baker, Hugo Weaving, Simon Merrells, Gemma Whelan Plot: Upon his return to his ancestral homeland, an American man is bitten, and subsequently cursed by, a werewolf. Tagline – When the moon is […]
Marriage Story (2019)
Written and Directed by Noah Baumbach
Starring Alan Alda, Laura Dern, Adam Driver, Julie Hagerty, Scarlett Johansson, Ray Liotta, Wallace Shawn, and Merritt Wever
A Heyday Films, Netflix release
(All Marriage Story images courtesy Netflix/Wilson Webb)
To paraphrase Victor La Valle’s The Ballad of Black Tom, “To Noah Baumbach, with all my conflicted feelings.”
A special thanks to Brian Eggert’s Deep Focus Review. His look at Marriage Story was one of my first “discoveries” as I began this odyssey. His generous assistance regarding both grammar basics (still working on it!), and making sure my bile didn’t overwhelm any good points I was trying to make, have been invaluable. Thank You.
Where did my antipathy towards Marriage Story begin?
More importantly, Why?
Why did I dislike this praised-to-the-skies awards season favorite before I even watched it?
I blame the Marriage Story one-sheet. A sepia-toned portrait of a family’s happier days. Mother, Father, and Child. Smiling, golden, content. I’d see that image before; in 1979, advertising a movie that came out between my parents’ first and second divorce filings.
Kramer vs. Kramer (1979, Columbia Pictures) made $107 million in worldwide box office and won five Oscars, including Best Picture, Actor (Dustin Hoffman) Supporting Actress (Meryl Streep), Director, and Adapted Screenplay (both Robert Benton). For my GenX cohorts, Kramer became, by virtue of its popularity and acclaim, the go-to example of a Heartwarming Divorce Drama About The Way We Live Now.
Thousands of moviegoers go to see a film like Kramer or MS. By such exposure, it gains international recognition and viewership and achieves, through that reach, status as a broadly seen and appreciated artistic statement. No matter how specific the focus, or particular the story to a location or economic class, both films become, to some extent, an example, a shared experience about a process that touches thousands of families. Even if we don’t work as advertising executives in Manhattan (like Ted Kramer) or have never won a Macarthur Foundation “Genius” Grant (like Charlie Barber in MS), the emotional journeys of these characters hopefully strike a universal chord with viewers, whatever their situation in life.
For Gen X divorce kids, the whole divorce experience is totemic, as if it’s not just the worst thing that ever happened to you, but the only thing. Susan Gregory Thomas captured it perfectly in “The Divorce Generation” (Wall Street Journal, July 9, 2011) “For much of my generation – Generation X, born between 1965 and 1980 – there is only one question: “When did your parents get divorced?” Our lives have been framed by the answer. Ask us. We remember everything.”
When I told my younger brother I was heading to the courthouse to read our parent’s 1982-83 divorce file, he reacted with one word – “Why?” Maybe that’s the question. Why do I keep digging through this carcass? Will I finally find something to help me understand? Maybe I keep digging because every decision I’ve ever made has been in reaction to it. The course of my life has been shaped by it.
Fairly or not, in my mind, our parents were careless drivers who wrecked a car, then left their children stranded by the wreck as they drove off in their shiny new lives.
I’m not angry that the unhappy family in Marriage Story doesn’t more closely resemble my unhappy family (yes, I know, we’re each unhappy in our own way), but frustrated. For all the critical hosannas to MS’s realism and rawness, it comes nowhere near the particular realities my brother and I experienced before, during, and decades after our parent’s “high-conflict” divorce. One aricle I read described the process of a high-conflict divorce as one where “a marriage ends and the war begins” For us, the post-divorce landscape just moved the battle lines we’d lived with all our lives. The marriage ended but the war continued.
I felt like I was living in a nightmare, and the language of Nightmare Cinema spoke my truth. I found, and still find, catharsis in the horror genre. In reading novels in which a panicked father deals with losing custody of his daughter while investigating a mysterious filmmaker whose movies drive people insane (Night Film by Marisha Pessl), in movies where a father and daughter repair their fractured post-divorce relationship while fighting off a swarm of VERY hungry alligators (Crawl, 2019) or a husband and wife mourn the death of their baby as they battle Lovecraftian Eldritch horrors (The Void, 2016).
My reaction to Kramer? David Cronenberg says it best. In Cronenberg on Cronenberg (1992, ed. By Chris Rodley), the Canadian director describes making his 1979 movie The Brood as a reaction to both his own divorce and Kramer. “I was really trying to get to the reality, with a capital R, which is why I have disdain for Kramer. I think its false, fake, candy. There are unbelievable, ridiculous moments in it that, to me, are emotionally completely false, if you’ve ever gone through anything like that.”
The Spring 1981 issue of Cinefantastique described The Brood’s birth pangs as follows. “Cronenberg wrote The Brood over a period of years, a tortuous time for him involving divorce from his first wife and a custody battle for his young daughter.” In the last of The Brood’s six on-screen murders, Frank Carveth (played by Art Hindle) kills his estranged wife, Nola (Samantha Eggar) to save their daughter from the murderous mutant dwarfs born of Nola’s rage. As Cronenberg told CFQ, “I can’t tell you how satisfying that scene is. I wanted to strangle my ex-wife.”
The Kramer v Kramer-ish image of Charlie, Nicole, and Henry Barber wrapped up in each other, lit in a hazy golden glow, may have set me off, but then came the cast and crew interviews, the articles and film festival statements designed to gin up awards season buzz. The Hollywood Reporter article, “Making of ‘Marriage Story’: How Noah Baumbach Crafted His “Love Story About Divorce,” particularly annoyed me. Baumbach’s Director’s Statement for the 2019 Venice Biennale made me grind my teeth. “I wanted to find the love story in the breakdown. Hope in the middle of courts and documents and rules. Movies are an antidote to divorce. A world not of division but of love.”
Is it wrong writer/director Noah Baumbach to use his life experience to craft a movie as an antidote to reality? No, but for me, this approach turned MS into a portrait of divorce so opposed to my life history that it became a wish-fulfillment fairy tale. If your own experience of divorce is more akin to a scorched earth campaign a “love story about divorce” just rings false.
Throughout MS, I envied Henry Barber (Azhy Robertson), the pampered only child of theatrical director Charlie (Adam Driver) and actress Nicole (Scarlett Johansson). If it were possible, I would’ve taken Henry’s bi-coastal life in a New York minute. Peacefully shuttling between Mom’s House and Dad’s efficiency apartment? Heavenly.
Despite my personal views, MS sits currently holds a 95% “Fresh” critic rating from critics at Rotten Tomatoes (with an 84% audience score) and holds steady at 93 on Metacritic. Despite the opacity of Netflix’s business model for measuring success, MS has been Hoovering up awards, especially for Adam Driver as Charlie. Johansson’s turn as actress Nicole may have netted her fewer awards, but she’s still collecting nominations a-plenty, including an Oscar nomination for Best Actress to go with Driver’s Best Actor nomination.
Well, how about all those critical plaudits? Alas, those critical raves set me up for disappointment to go along with my annoyance. Graham’s Detroit Daily News review hails MS as “a film that combines the humor and pain of his (Baumbach’s) previous works, with a deeply personal touch that feels raw and uncut. … it’s the best movie of the year,” and the Big Fight Scene ™ is “… the most jarring, emotionally charged scene in any film this year. It’s a stunner, unfolding with the intimacy of a stage play and hitting like a bitter gust of winter wind.”
According to Matt Thrift at Little White Lies, “It’s a film of devastating cumulative power, even-handed and empathetic in its approach to two characters whose relationship has broken down, but who still want the best for their child and each other.”
Even with an awards-bait advertising campaign modeled on a movie I loathe, these reviews indicated I’d find in MS less of a Hallmark Channel Story and more of a gritty, honest take at the worst experience of my life.
How could I criticize a movie for its poster, without watching it?
So I set aside an afternoon, grabbed a notebook, and watched Marriage Story.
CHARLIE, NICOLE AND THEIR WORLD
During MS’s Climactic Big Court Scene (more on that later), Charlie’s high-priced attorney Jay Marotta (Ray Liotta) utters a line to opposing counsel Nora Fanshaw (Laura Dern) that encapsulates my reaction to MS as a whole. “Your account of this marriage takes place in an alternate reality.” Or, at least for me, a reality not shared by 99.9% of the spouses and children experiencing divorce. Who work 9-5 jobs with little flexibility, who aren’t protected, like Charlie and Nicole, by extraordinarily privileged lives shielding them from the worst consequences of their actions. A small, hermetically sealed world in where hearing the phrase “Winning your first Tony at age 27” at an after-work social gathering is a normal part of the conversation.
Matthew Dougherty’s IGN review identified the central dilemma in MS that prevented me from identifying with Charlie and Nicole, their son, or their trauma. “Marriage Story is a film desperate to be ordinary in its portrait of a difficult divorce, and it succeeds very often. But Charlie and Nicole are immediately established as extraordinary people.” The magazine covers bearing their likenesses, the babysitter who gushes, “You’re both so good looking”, Charlie dipping into his Genius grant money to pay Jay Marotta’s $25,000 retainer – all mark this family’s belonging in a rarefied stratum of society. Charlie and Nicole often seem blind to the realities of their situation because they can afford to be.
Watching a couple who inhabit a world so far removed from anything in my life that it may as well take place in another solar system was a bridge too far for me to suspend my disbelief over. At one point in MS, Charlie prepares dinner in his (serviceable, if sparsely furnished) LA apartment. Henry asks, “Why can’t you be here more?” Charlie responds, “I have to work. You know my play’s opening on Broadway.” A sentence you will never hear from 99.9 of non-custodial dads in America. I’m still wondering if I was supposed to find this line funny, instead of unbelievable.
Throughout MS, I appreciated the movie’s quality and craftsmanship, but I could not connect with its heart.
LEGAL FIREWORKS AND COURTROOM DRAMA
For all its fireworks, the essential point of The Big Court Scene illustrated a bit of high-priced legal theater, designed to settle scores instead of revealing ultimate truths, reminded me of an exchange between attorneys Jan Schlichtmann (John Travolta) and Jerome Facher (Robert Duvall) in A Civil Action (1998). After their case goes to the jury, Facher and Schlichtmann talk outside the courtroom.
Facher: What’s your take?
Jan Schlichtmann: They’ll see the truth.
Jerome Facher: The truth? I thought we were talking about a court of law. Come on; you’ve been around long enough to know that a courtroom isn’t a place to look for the truth.
As with most of the bad decisions made by Charlie and Nicole in their legal battle, Baumbach seems to shift the blame to the attorneys, with Charlie and Nicole roped along as hapless bystanders. According to Baumach’s Venice “Directors Statement”, “The legal system of divorce is set up to divide, necessarily. It divides people, family, property and time. It keeps everyone in their own narratives and obfuscates the other person’s point of view.” But in his desire to present Charlie and Nicole as sympathetic protagonists, I felt that Baumbach strips them of both agency as human beings and diminishes their personal responsibility for their choices.
The Court Fight Scene allows Charlie and Nicole’s high-priced attorneys a chance to chew up a lot of scenery, and the presiding judge a perceptive meta-comment regarding their grandstanding. Motioning to the people waiting for their cases to be heard, the judge remarks, “There are people who don’t have the resources your clients have.” It’s a brief nod to the reality lived by the crowd waiting behind our stars for their turn, couples who aren’t as privileged as Charlie and Nicole. I appreciated this comment; my parents were probably one of those couples in the back of the courtroom.
Of the three attorneys in MS, Alan Alda’s Bert Spitz is the only character I felt portrayed a family law attorney’s job in a compassionate, realistic way. While Dern’s Nora flatters and butters up her client and Liotta’s Jay Marotta veers into cartoony combativeness, Bert, in his modest, seemingly absentminded way, gets to the truth of a family attorney’s job: making the best of a bad situation.
ON TO THE BIG FIGHT SCENE!
For a scene that is supposed to lay bare the most buried unspoken truths about Charlie and Nicole’s life together, the Big Fight Scene, following the Big Court Fight ,features quite a lot of Telling that either contradicts what previously Seen in MS or refers to things we haven’t seen. For example, we learn next to nothing about Charlie’s family, we never see or hear from his parents;,we don’t know if he has any siblings. As a result, Nicole’s accusation that Charlie is “just like his father” meant nothing to me. We’re supposed to take her word for it.
Later, Nicole yells at Charlie, “You put me through hell during our marriage.” Hold on; when do we see anyone put anyone through hell in Marriage Story? By the standards of marital hell I witnessed we don’t. Marriage Story’s beginning depicts an ostensibly loving, involved family going about their daily lives. After their separation, Charlie and Nicole’s relationship becomes clipped and distant. But we see nothing that in any way resembles “hell.” Marriage Story is one of the most civil divorces I’ve ever seen on screen.
Another reason the Big Fight Scene felt like no big deal for me? My brother and I were eyes and ear witness to years of similar blow-ups. We were either in the same room, could hear it from whatever room we were hiding in, or pretendeding to play in the backyard while ignoring the muffled roaring from inside the house. I even got to try and play Marriage Counselor once; I sat Mom and Dad on the couch to explain why they were angry at each other. It didn’t work.
If this scene to be relatively mild as verbal blow-ups go, it is to Charlie and Nicole’s credit that it occurs outside of Henry’s presence. If their child doesn’t have to see or hear it, I could care less about what these two adults shriek at each other.
Finally, I must address the Letter Scene. At Marriage Story’s end, Charlie moves to Los Angeles, accepts a teaching position, and accepts his reduced role in Henry’s life. Nicole is now a director-actress and appears much happier with her new boyfriend. Throughout the movie, Henry’s needed help with his reading homework; now this theme helps deliver a heartwarming conclusion to this domestic drama. A letter Nicole wrote for the separation mediation at the movie’s beginning, ( we hear her narrating over the heartwarming family scenes mentioned earlier, but which she refused to read to Charlie at the counseling session), has traveled with her and Henry to California. Henry somehow finds it in time to ask Charlie to help him read it aloud as Nicole happens to overhear. Hearts are warmed, tears are shed, and narrative threads knit themselves together for a bittersweet movie ending.
But for me, watching this scene showed the distance between these characters’ reality and the reality I knew, a yawning gap that kept me from identifying with their particular situation, a chasm preventing me from just accepting that this setup is their reality and I should just stop bitching about it.
Like Henry, I also found a letter written by my mom about my dad. Except she wrote it to five-year-old me in 1973, two years before my dad first served her with divorce papers. Like Nicole, my mom bared her heart. “I want you also to know that I love your father even though I fight with him. I do love him, and he loves us. Ann, I never really had a father; you do, so please always love him.”
But unlike MS’s feel-good, provide a sense of closure ending, this letter didn’t help draw my family together. Like Nicole, my mom refused to read these words aloud when they would’ve done some good. I found this letter in 2012, after her death, crammed into a corner of a bookcase secretary desk. A piece of furniture that we’d carted from house to house through forty years of moving, from Wisconsin to Seattle and back.
I found it too late.
All I could do was read it and try, once again, to understand.
A heavy dose of Father Gore’s favourite films released in 2019
2019 has been one of the best years for horror, I have found myself enjoying most of the horrors this year, this is just going to be the ones I enjoyed the most in no particular order. There will be a few films missing off this list, first The Lighthouse, which hasn’t been released in […]
Season Two, Episode Ten, “7:01am”
Written by Krystal Houghton Ziv & Nick Zigler
Directed by Tim Andrew
[All images courtesy Alfonso Bresciani/USA Network]
Now, we continue the NFFA sanctioned All-American Carnage with The Purge Season Two Finale, Episode Ten, “7:01am”!
Be sure to visit Father Son Holy Gore for The Purge episode recaps, and follow FSHG for tons of in-depth TV and movie recaps, analysis, and reviews!
Plot Threads of the Dammed
*Ben (Joel Allen), Marcus (Derek Luke) and Michelle’s (Rochelle Aytes) storylines collide in gruesome fashion at the Triage Center.
*The Ryan Grant (Max Martini) Robbery Crew splits up after their last successful heist, and Ryan joins Esme’s quixotic quest to expose the truth about the Purge.
*The “Previously on The Purge” recap is a bit misleading. Ryan Grant (Max Martini) said “Let’s get our boy” at the end of Episode Eight, “Before the Sirens“, not “Let’s get our money.”
“1 Week Until First Annual Purge”
In a secret room at the NFFA Surveillance Center in New Orleans, an anonymous “CCTV Manager” (Jody Thompson) meets with an equally anonymous “NFFA Official” (Brett Backer) in a secure communications room.
*While the siren tests freaked a few people out, most citizens think it’s some kind of stunt.
*The room WiFi and Cell phone systems are, according to anonymous NFFA Guy, “our only way of communicating with the public on Purge Night.” Pay Attention To This Plot Point!
*The outer and inner rooms are secured by end-to-end rotating keycard encryption.
*Only only operators and managers have access to either room. Pay Attention To This Plot Point!
*When CCTV Guy’s key card won’t open the inner door, NFFA Guy threatens him. His threat that the NFFA will “take measures to replace you”, reminiscent of the consequences of failure in the old Soviet Union or today’s North Korea.
*CCTV Guy calls his contact at Sandlin Security. It’s none other than James Sandlin (Ethan Hawke) himself, who channels every annoying IT Tech support guy ever to suggest operator error.
*Considering how ineffective it was in the first Purge movie, Sandlin’s claim that “this is the same system I use to protect my family. You’ve got nothing to worry about” isn’t very reassuring.
Marcus, Michelle, and Ben Stagger Into the Medical Triage Center …
*Andre drives past some unfortunate people trapped in a wire cage set in the bed of a pickup truck. Reminds me of the Cowboy from Season One transporting victims to the Carnival of Flesh in Episode Five, “Rise Up“.
*The banner draped outside the Triage Center bears the Staff of Caduceus, familiar as a symbol of the medical profession.
*As the volunteers tend to Ben(Joel Allen), we see that Clint’s Big Pickup Truck is a Chevy Denali.
*The Center is in a current, or former, house of worship; Ben wakes up below a statue of Jesus. And then sees a small scalpel within his reach.
*Marcus readies Michelle for an emergency Theracostomy.
*This week’s gross-out moment – a double above-the-knee amputation!
*Marcus searches for Dr. Jason (Bill Martin Williams), only to find him, and several other volunteers (including the student who helped Marcus) dead in a supply closet.
*Ben closes door behind Marcus and starts monologuing. He murdered the doctors, nurses, and volunteers because they were “perverting the purpose of Purge Night, playing God … depriving Purgers of their rightful kills.” But Ben is God – or at least the God of Purge Night.
*Marcus manages to tranquilize Ben. He holds to his vow not to kill on Purge Night, choosing to dump Ben’s unconscious body outside the center.
Ryan Grant Says Farewell to the Robbery Crew
The messages displayed on Ryan’s phone include –
- Avoid Canal (Boulevard) and Metarie (Road)
- Reports of Class 5 Weapons (which at least at Wikipedia, includes “explosive devices such as grenades, rocket launchers, bazookas, etc., weapons of mass destruction, and viral/biological and chemical agents) in Washington Square
- Super Dome Explosion
- Illegal vehicle moving towards the river
- Explosion at Super Dome
*Forced by road blockages, the Jackals (and the bank haul) are taking the Parkway.
*After trapping the Jackals’ truck, Ryan attaches some kind plastic explosive to the truck’s undercarriage.
*Why does the crew blow open the truck’s back doors instead of just driving it, and the entire haul, away?
*One of the “rando” Pugeres who attack the crew includes one wearing the LGBTQ-themed mask seen in the teaser for Episode Seven, “Should I Stay or Should I Go“.
*As the gang loads safe boxes onto a small boat, Ryan’s Purge app reports that Esme Carmona has been sighted at the “Dist. 2 Command Center Zones 3-11, Grid E7Q Camera 116“.
*Ryan leaves to join Esme at the NFFA Surveillance Center.
Esme’s Last Stand at the NFFA Surveillance Center
*Inside the Surveillance Center, Esme accesses the video log for Mail Truck 453 (timestamp 1:29:40:22).
*How courteous of the assassination squad to enter Olvia Hughes’s home in full tactical gear.
*Esme’s menu options for the mail truck footage – “Transfer File” “Archive” “Broadcast”.
*Why is this particular “File Not Transferable Outside System”? Wouldn’t Esme suspect or already know that a file this sensitive might be restricted?
*Esme tries and fails to film the computer monitor with her cell phone.
*The Rube Goldberg-ish/Plot Contrivance setup of the Surveillance Center system forces Esme to transfer the file to the Broadcast Room we saw in the trailer.
*Vivian (Charlotte Schweiger) agrees to swipe Curtis’s (Conner Trinneer) key card to get Esme in the Broadcast Room, even though they both know Esme will the be a “sitting duck” for the security teams.
*Vivian’s unconvincing Thank You speech to her fellow employees is odd – she thanks everyone for helping her make it through her first Purge – didn’t we see her last year (in Episode One)?
*Esme asks Curtis “What if the laws are wrong?”
*Curtis may have enough doubts to let them pass by, but not enough let them into the room. Vivian puts herself in harm’s way, gets gutshot for her bravery, and gives the key card to Esme while apparently bleeding out.
*Ryan is temporarily deafened as a shotgun fires right by his ear. This noise was highlighted earlier when the Robbery Crew covering their kids’ ears before blasting open one of the lockboxes loaded on to their boat.
*Ryan accepts that he’s not making it out of the Surveillance Center alive. He asks Esme for the key card, then leaves the room and crumples it up. Ryan will give Esme enough time to make her broadcast, then make sure she’s alive after 7 am., to be arrested instead of shot. “People need to know the truth, and you need to tell them. I’m right where I need to be.”
*Esme begins broadcasting at 6:45 am. Like an Amber Alert or Severe Weather Warning, the Olivia Huges video is pushed out to every cell phone in range.
*Esme relates the saga of Professor Adams, the Purge Night murders of Adams and the study participants and the off-purge murder of Olivia Hughes, last surviving study participant.
“The Purge doesn’t take away our anger, our hatred, our fears. It fuels them. Our system is corrupt. Start asking questions” blares over the Purge PA system; a bloodied Turner (Matt Shively) hears the broadcast.
*In a beautifully poetic scene, Ryan stops firing at the oncoming police as the sirens blare and turns to face Esme. He places his hand on the glass and locks eyes with her as his body is riddled with bullets.
*The clock turns to 7 am. Esme tells her sister Sofia “if you can hear me, I love you” in Spanish.
*SWAT team members escort Esme out of the broadcast room. The leader (Steve Mokate) speaks into his collar mic.“Sir, we’re post 7 am” “The order stands”. The SWAT leader shoots Emse between the eyes; she falls onto Ryan’s body.
*The door to the broadcast room is still open; was that exchange also broadcast? If so, is that the basis for the Resist movement built around Esme’s off-Purge murder?
Two Months After Purge Night
*Sara, Tommy, and Doug meet at the Cafe Avenida (Avenue).
*Tommy asks Sara and Doug if they agree with his proposal for Ryan’s share. All look at his empty chair and agree it’s what he would’ve wanted.
*We find out what that proposal is in the next scene. In a New Orleans loft/factory space type setup, we see people milling about, and lots of anti-Purge flyers, buttons, and other such materials. A large banner against one wall blazes the word RESIST above a Che Guevara-like portrait of Esme Carmona.
*Vivian survived her stomach wound, and on crutches, works with a Foundation hacker on getting the protocols they need to keep their backdoor access to the NFFA mainframe open.
*Darren (Denzel Whitaker) informs Vivian that Ryan’s friends have made a wire transfer (the first of many) to fund their anti-Purge outreach to rural communities and more.
*Per Darren, the NFFA is dismissing reports of Esme’s post-Purge murder as “fake news”.
*Marcus and Michelle, along with Tonya and Andre, watch Darren speak. Sofia (Marialy Tejada) heard her sister’s final message and is also part of this new “Resistance“.
*Darren -“No amount of thought, prayers, or Grief Boxes will ever be enough! Our country deserves better!”
*As Darren rallies the anti-Purge activists, we see Ben. He’s returned to the place where his true self was born on a previous Purge Night, sharpening a blade. If the final scene between Esme and Ryan was a rare moment of high romance from The Purge, Ben in his womb is a high point of dread, at least for me.
The Purge hasn’t yet been renewed for a third season on USA.
Official USA network images, articles, and other Purge related goodies can be found here.
My deep dives into Bates Motel, The Exorcist, and Seasons 1 & 2 of Channel Zero reside at SciFi4Me; Fang and Saucer is home to my deep dives into Season One of The Purge TV, and Channel Zero Seasons 3 & 4.
Until next week citizens, “Just remember all the good The Purge does.”
New in select theaters, digital download, and On Demand from Magnolia Pictures! LITTLE JOE (2019) Directed by Jessica Hausner Written by Géraldine Bajard, Jessica Hausner Starring Emily Beecham, Ben Whishaw, Kerry Fox, Kit Connor, Phénix Brossard, Leanne Best, Andrew Rajan, David Wilmot, Goran Kostic, Yana Yanezic, Sebastian Hülk, Jessie Mae Alonzo, Phoebe Austen, Lindsay Duncan […]