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Almost thirty years ago, a Ridley Scott-directed, Arnold Schwarzenegger-starring adaptation of Richard Matheson’s seminal, post-apocalyptic, science-fiction/horror novel, I Am Legend, came tantalizing close to being greenlit by Warner Bros.’ executives. Due to rising production costs, faltering box-office prospects for Schwarzenegger’s action-star status and Scott’s brand as a go-to, A-list director, and, among other factors, clashing creative visions, it didn’t.

BUDDY Courtesy of Roadside Attractions and Saban Films Now, Buddy is a film I’ve been patiently waiting for since it premiered at Sundance earlier this year. I loved Casper Kelly’s segment in V/H/S Halloween, “Fun Size,” and this felt like a natural next step from that delightfully unhinged sensibility. More importantly, I’m fascinated by the premise that taps directly into the bizarre cultural hatred/love surrounding Barney’s meteoric rise from the early ’90s through the late aughts.

Queer cult classic is back and better than ever Stills courtesy of Altered Innocence. After Gypsy 83 premiered in 2001 at the New York Lesbian and Gay Film Festival, Todd Stephens’ film did not receive wide distribution, despite wonderful, lived-in performances from Sara Rue and Birkett Turton as a pair of misfit friends traveling from small-town Ohio to New York City to attend a Stevie Nicks tribute concert.

Review disc provided by Warner Bros. Home Video, images captured by reviewer and subject to copyright. Sandra Bullock and Nicole Kidman have never exactly stopped being stars, but it’s hard to overstate just how much of a supernova they could each be in their white-hot run during the ’90s. However, the prospect of their uniting to play sisters in a sumptuous adaptation of Alice Hoffman’s 1995 novel Practical Magic couldn’t turn the fantastical melodrama into a hit when it reached theaters.

“I tawt I taw…” Coyote vs. Acme, the latest of the decade’s attempts to breathe new life into the Looney Tunes gang, is sure to be a winner with audiences both young and old. The movie boasts a fantastic early setup full of intrigue that its makers sustain perfectly throughout. Of course, given that the marketing for the film has been minimal, that isn’t so hard.

As the film notes, you aren’t required to wear anti-alien googles to watch Scott Bateman’s new film, 5002 Space Aliens – but, if you choose to brave it, you’re accepting the consequences for yourself. The follow up to Bateman’s lauded 2023 animation joint 5000 Space Aliens, 5002 is the perfect companion to the first space alien endeavor. With little narrative to discuss, reviewing the film in any standard way has proven a difficult task.

Christopher Nolan’s The Odyssey may have already become a definitive cinematic epic, but it wasn’t the first stab at putting Homer on the big screen with the full 21st century blockbuster treatment. In 2004, Wolfgang Petersen (Das Boot, The Neverending Story, Air Force One) released a take on The Iliad that set out to retell the story of the Trojan War for the Gladiator crowd with a production as massive in scope as its story.

Revisiting Wolfgang Petersen’s TROY alongside THE ODYSSEY reveals how Hollywood reshapes ancient myths to reflect the audiences and values of its time. While too much has been made of the content and casting of Christopher Nolan’s more inclusive take on The Odyssey, there’s a much more interesting way to understand these competing interpretations: as windows into the eras in which they were made.

Long after we’re done and dusted, our bones liquefying into their constituent components over thousands of millennia into base fuel for a future, if as yet unevolved, post-human species, historians will note our singular obsession with the prehistoric creatures that lived, procreated, and, ultimately, perished millions of years before our mammalian ancestors arrived on the global scene, with skepticism bordering on baffled incredulity.

When the nostalgia hits you at the right time, it’s a hell of a thing. We all know this. We’re all susceptible to this. It hit me and got me real good while watching Nimrods, Lee Kirk’s coming of age/road trip comedy/ode to Green Day. Taken on their own, I like all three of those things, though my level of enjoyment has oscillated over the years. Here the triumvirate combines for a fun, if predictable, movie that knows what notes it needs to hit and does so in amusing fashion.