Welcome back to CineVibez Fanzine, where every movie has a vibe … even films featuring Ol’ Scratch himself. That’s right, I’m putting satanic vibez under the microscope today. It’s a subject near and dear to me, as subscribers to my old newsletter, Arch Nemesis, may recall. For everyone else, the following link should still work:

Once again, I’m enlisting my favorite troublemaker to kick off a new ongoing series (temporarily) titled CineVibez HQ Presents: The CineVibez Film Guide Series. Why Satan? Well, he’s kinda like Hollywood royalty. As Nicholas Schreck said in The Satanic Screen, “the Devil has always been a celebrated patron of the arts.” In fact, La Manoir due Diable (1896), one of the first narrative films ever made, included the Devil as a character. And, as you’ll soon see, that certainly wasn’t his last appearance.

But first, I need to take a few steps back to explain this series. Each month (or so), I’ll select a new topic and recommend applicable cinevibez-approved films. Cinevibez-approved films are the strangest, most obscure movies out there. It’s hard to come up with a singular definition, but as “Life of the Party” and Supreme Court Justice Potter Stewart once said about porno, “I know it when I see it.” By Vol. 3 or 4, you’ll know a cinevibez-approved film when you see it.

Cinevibez-approved films don’t include the classics or any totemic selections on the subject du-jour; so that means no Nosferatu, Faust, Rosemary’s Baby, nor The Exorcist. I’m not going to add anything special to what’s already out there.

To milk this idea for all its worth, I’ll break the topics down by subgenre. Here are the subgenres for volume 1.

I. Exorcism & Possession

II. Satanic Cults

III. Satan’s Minions

IV. Faustian Bargains

I’m thinking one newsletter will equal the recommendations from one subgenre, so volume 1: satanic vibez will come to you in four separate emails spread over a month. Sounds fun, right??

Next month, I’m republishing an expanded and reformatted edition of my body horror newsletter as volume 2 of this series. I have some ideas for volume 3; its narrowed down to the following topics:

• Hong Kong Black Magic

• Erotic Thrillers

• I Love New York (gritty New York stylized filmmaking - think Scorsese and anything playing on 42nd St)

• The City of Angels (the opposite of New York)

Let me know your favorite in the comments (it will have no impact on my decision)!

New Releases

First, three new releases!

Opus (2025) nearly passed me by, but I watched it late last week. I’m glad I did. If you don’t know, Opus stars Ayo Edebiri as a cub reporter at a magazine like The Rolling Stone. Under mysterious circumstances, Ayo receives an invitation to a reclusive pop star’s new album release party … or something. John Malkovich plays the pop star like a psychopathic David Bowie or Prince.

Dozens of people wearing the same blue jumpsuits greet Ayo and a bunch of other critics on Malkovich’s property. These little weirdos seem self-sustainable, happy, and healthy, but there is definitely something sinister afoot.

Ultimately, Opus shows us what Waco would’ve been like if Taylor Swift replaced David Koresh. It’s worth a watch.

Next, we’ve got:

Drop (2025) is a new Christopher Langdon (Happy Death Day) thriller produced by Blumhouse. We see the film through the eyes of Meghann Fahy’s Violet, a single mother on a dinner date with the homeless guy from This Ends with Us, now gainfully employed. As soon as they sit down, airdrops start dinging Violet’s phone. For the uninitiated, airdrops are ways to connect to nearby cell phones to pass around memes and pictures. That weird photo you got at the airport? That’s an airdrop.

The thing about airdrops is that they only reveal your username, which can be anything. Same with a profile picture. Anyway, Violet eventually reads these messages and learns that the airdropper’s pal is holding her son hostage at home. He threatens to kill the kid if Violet fails to follow his instructions.

The elevator pitch sounds pretty fun, right? Almost like a modern Hitchcock movie, but the overstuffed script’s reliance on the Blumhouse “trauma” trope is its downfall. That’s where a protagonist has unresolved general trauma - like domestic violence, child abuse, or whatever. Honestly, the specifics don’t matter because the movie won’t show you how the trauma affects the protagonist in any meaningful way. Instead, the trope sets up an easy resolution for the ending by making the protagonist confront the scary thing and grow as a result, like they finally overcame their trauma. Unfortunately, buzzwords in the DSM-V don’t create suspense. Meaningless dribble … skip Drop.

Finally, let’s talk about:

Warfare (2025) is Alex Garland’s second war film in a matter of months, but there’s not a reporter in sight this time. Instead, Garland pens a true story set in 2006 Iraq, relying on the memories of the soldiers who lived it. Ray Mendoza, one of the soldiers depicted in the movie, even co-directs with Garland. That creates an authenticity that reveals itself in the nuances in each actor’s performance. Every character feels fully developed, almost like you’ve known them for years. Small glances or an offhand joke tell you more about their experiences than exposition ever could.

Here’s the plot: Mendoza and his platoon commandeer an Iraqi apartment to stage some kind of operation. However, an enemy ambush quickly converts the operation into an escape and rescue mission. What follows are some of the most visceral, difficult-to-watch images I’ve seen on film.

The POV constantly jumps from character to character, but not necessarily to ensure you see all the different characters’ perspectives. On The Big Picture, Sean Fennessy suggested Garland & Mendoza frequently changed the POV for practical reasons since they’re only relying on the soldiers’ memories. Our brains tend to bury painful memories and disassociate us from a traumatic experience, and that’s no different for these guys. So, the POV shifts really reflect moments where one soldier’s memory replaces another because the latter blacked out or disassociated. Pretty wild to think about.

Warfare is a tough watch, a lot like Come and See (1985). Garland & Mendoza may even allude to the anti-war masterpiece in Warfare’s opening shot: a close-up of a retro workout video that would make Sue from The Substance blush. The camera pans out, revealing soldiers crowded around the laptop, hooting and hollering to the gyrating hips on the screen. It’s a stark reminder of their youth and social immaturity.

Garland & Mendoza constantly play with that idea - juxtaposing the soldiers’ youth with the grave responsibilities of their job. In the first act, a sniper named Frank watches an enemy target through his rifle lens. The target vanishes inside a building before Frank takes a shot. The other soldiers mock him like kids in a locker room, but the camera lingers a little longer on Frank’s face, and you see his eyes tremble. Frank knows that fuck-up will cost lives.

Please, go see Warfare; its one of the best movies of the year. To get in the mood, check out one of these VHS tapes from Workout Rewind Fanzine.

Your Satanic Vibez Guide

Below, you’ll find my curated list of movies prominently featuring the devil, demons, witches, satanic worshipers, and the occult. It spreads across multiple decades, countries, and genres, but I separate the movies into the four distinct categories I mentioned earlier. There’s obvious overlap, but I try to go with the category that is most prominent in the film. Rosemary’s Baby, for example, includes satanic cults and a Faustian bargain; it could go either way, so I’ll just make a judgment call there (I’d pick Faust). Same with Evil Dead II - that could be a possession movie, but I think its more so a demon movie for the Satan’s minion’s shelf.

My one rule - as always - requires me to ask whether the film before me deserves the cinevibez treatment, a fully subjective and narcissistic endeavor. Typically, a cinevibez-approved film is weird, offbeat, and obscure, but I don’t want to get boxed in. I think a defintion will naturally develop as we get through some of these early volumes. Finally, I include a short, spoiler-free capsule review for each film recommendation, along with the release year and director. I'll use that format across all volumes.

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Part I: Exorcism & Possession

The Devils (1971); d: Ken Russell: Ken Russell’s greatest film is set in 17th-century France, where Oliver Reed plays Father Grandier, an unorthodox priest who’s influence over a convent of horny nuns convinces higher-ups that Grandier’s influence may be the Devil’s work. Vanessa Redgrave as Sister Jeanne will leave you speechless.

The Possession of Joel Delaney (1972); d: Waris Hussein: A xenophobic slow burn that forces Shirley McClaine into the world of voodoo. The only reason I include this highly problematic film is for the scene where Shirley McClaine shoves a little girl’s face in cat food.

Lorna, the Exorcist (1974); d: Jesus Franco: Lorna is more of a succubus than an exorcist in Jess Franco’s fantastically surreal, sexy, and supernatural Lorna, the Exorcist. I should warn you, however, that Lorna’s seductive powers over women extend to the viewer.

Abby (1974); d: William Girdler: A very rude Nigerian demon possesses Abby, the wife of a preacher, which leads to all sorts of sleaze. Essentially The Exorcist with a blaxploitation twist.

The Devil’s Female (1974); d: Walter Boos: This German Exorcist ripoff also goes by Magdalena: The Devil Inside and Beyond the Darkness. It’s full of sleaze, nudity, and absolutely filthy language like “I want to take communion, not in my mouth - down here in my pussy.” Naturally, its my personal favorite The Exorcist knockoff.

Beyond the Door (1974); d: Ovidio G. Assonitis: Put all the other movies on this list in a blender, and Beyond the Door will pour out. A pregnant woman experiences possession-like symptoms during pregnancy, eventually realizing she’s carrying the Antichrist after those symptoms included levitation, disembodied wheezes, head twisting, and projectile vomiting.

Demon Witch Child (1975) d: Armando de Ossorio: Demon Witch Child is a Spanish mashup of The Exorcist and Hereditary, where witches take center stage to possess a young girl. The tone meanders from self-serious to campy a bit too much, hurting the pacing.

Nurse Sherri (1978); d: Al Adamson: When a religious fanatic dies on the operating table, his spirit possesses nearby Nurse Sherri. What follows is a sleazy, gory rampage where the demon possessing Sherri uses only her wits … plus meat cleavers, pitchforks, and the like.

Demons (1985); d: Lamberto Bava: Lamberto Bava’s Italian cult favorite Demons (produced by Argento!) takes place entirely inside a movie theater where a scary movie transforms the audience into bloodthirsty demons. Bobby Rhodes gives the performance of a lifetime.

Possession (1981); d: Andrzej Żuławski: The best movie on this list is required viewing. Isabelle Adjani’s subway tunnel performance is one for the ages. The plot - a disintegrating marriage stands in for pentagrams and green vomit, but the experience is no less terrifying. Rob Pattinson recently bought the rights to film a remake.

Amityville II: Possession (1982); d: Damiano Damiani: Many consider Dino De Laurentiis’ Amityville II: Possession the worst of the Amityville series; they’re probably right. However, the first Amityville sequel is still my personal favorite of an otherwise dreadfully boring franchise. A new family of four moves into the Amityville house; and a demon possesses the teenaged boy. Lots of weird, nonsensical stuff happens, but things go off the rails when the possessed teen hits on his sister … and she’s into it? Dino sure knew how to spend his money.

Mausoleum (1983); d: William Mesa: A young girl unleashes a demonic entity out of her family’s mausoleum. The ridiculous low-budget effects, gratuitous nudity, and plot holes keep this one interesting until the end.

Demons II (1986); d: Lamberto Bava: Replace the movie theater with a high-rise apartment and you’ve got Demons II.

Witchboard (1986); Kevin Tenney: A love triangle is further complicated by the arrival of David, a young dead boy who only speaks through a Ouija board. This response to Satanic Panic has tons of great 80s stereotypes.

Don’t Panic (1988); d: Ruben Galindo Jr.: Maybe the strangest movie on this list. It opens on Michael’s 17th birthday party, where he and his friends play with a Ouija board. Next thing you know, Michael’s eyes keep turning red and everyone around him seems possessed. Ridiculously wonderful special effects, makeup, and fascinating acting choices make this one required viewing.

Witchtrap (1989) d: Kevin Tenney: Witchtrap sets the stage for all those dumb paranormal ghost hunting shows on reality tv. Some parapsychologists attempt to exorcise demons from a haunted inn, in hopes of reopening it for business. The ghost living inside the home attempts to thwart their efforts by any means necessary, including possession. I think this is the first recommendation that includes warlocks.

Exorcist III (1990); d: William Peter Blatty: What a great movie. Seriously, Exorcist III is better than the original - Fabio AND Patrick Ewing hanging out in heaven together? Sign me up! George C. Scott leads this film as a detective investigating a series of bizarre murders, leading him to a possessed serial killer. We need to reevaluate this one.

Teenage Exorcist (1991); d: Grant Austin Waldman: There is no teenage exorcist in this movie, but the pizza guy makes a sufficient replacement. Unfunny, but weird enough to make this list. I love the Lair of the White Worm references.

The Exorcism of Emily Rose (2005); d: Scott Derrickson: A PG-13 legal thriller that explores the conflict between exorcism and mental health. It makes the list for Jennifer Carpenter’s incredible performance during the exorcism.

Jennifer’s Body (2009); d: Karyn Kusama: One of the better modern possession films. The plot centers on a succubus who possesses Megan Fox, compelling her to eat her classmates. This is often cited as an excellent feminist text on body autonomy and the male gaze.

When Evil Lurks (2023); d: Demian Rugna: An international horror film out of Mexico captures our fears during the early stages of the pandemic. Here, possession is treated like an illness. Unfortunately, it also spreads like one. This is one of the more original selections on the list.

Talk to Me (2023); d: Michael & Danny Phillippou: YouTube directing brothers prove they have the chops to make a full feature in this terrifying indie horror film out of New Zealand. Kids play a party game where you allow a demon to possess you for 30 seconds. When someone ignores the game’s rules, a nightmarish pandora’s box is opened.

The Pope’s Exorcist (2023) d: Julius Avery: A surprisingly fun story elevated by Russell Crowe’s wonderfully campy performance. He’s having a blast, and you will too. Fun fact: I saw this in a movie theater while my wife was riding on a Vespa in Rome, almost like she was in the movie! Anyway, this movie depicts the adventures and exploits of the Pope’s personal exorcist and real person, Father Gabriele Amorth.

Shadow of God (2025); d: Michael Peterson: Just released last week, Shadow of God takes a different approach to possession movies. A priest who grew up in a strict fundamentalist household sees his dead dad all over town. Eventually, he learns he is not hallucinating. His dad is alive, but someone has control over him. Is it a demon or is it God with a capital G? Find out on Shudder!

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What’s Next?

CineVibez Fanzine remains free for all subscribers, but check out this little tip jar I’m adding to my newsletters. Anyone who wants to support my work is welcome to click the following button and send whatever you’d like. Whether it be a cup of coffee or my monthly mortgage payment, its greatly appreciated. And, of course, its never expected.

Tip Jar

And finally, keep an eye on your inbox for Part 2 of Vol. 1: Satanic Vibez, a list of cinevibez-approved films featuring satanic cults. There’s a lot of fun movies on the list. You’ll also get a review of Michael B. Jordan’s new vampire movie, Sinners. So, until then …

Happy Watching!

Murray

Welcome to CineVibez Fanzine, where every movie has a vibe … even an independent, emotionally charged drama about a foul-mouthed sex worker with nothing to her name but a pocket full of dreams. Now that Anora has been crowned the belle of the ball, I bet you think award season is over. Wrong. It’s time for the Third Annual Archie’s Awards.

This year is a little different than the Archie’s of years past. But it still celebrates films that stay true to the CineVibez Code. The categories are separated by psychotronic genre; that means science fiction, fantasy, horror, and exploitation or, in a nutshell, independent “B” and cult movies released in the prior year (2024). And to be frank, I don't know what a 2024 exploitation film even is anymore. Most intentionally flip the script to honor the antithesis of the past films - think Revenge or Driveaway Dolls.

And finally, the Archie’s Awards’ “Best Picture” equivalent is a very special award - The Vibey. The first ever Vibey winner will be revealed TONIGHT. It honors the movie of the year that exemplifies what CineVibez stands for. So sit back, relax, and be sure to check out all of 2024’s Archie Champions.

Science Fiction:

Best Prosthetics:Chris Hemsworth’s nose in Furiosa (runner up - the nipple that falls out of Elizabeth Sparkle’s nostril)

Best Heel Turn: Timmy Chalamet as Paul A. at the end of Dune II (especially when he tosses Zendaya aside for the Progressive lady)

Best Effort to Kill off IP: Alien Romulus (more like Alien Yawn-ulus)

Best Science Fiction Picture: I Saw the TV Glow

Fantasy:

Best Pleasant Surprise: My Old Ass

Best Comedic Performance in a Fantasy: Ariana (LOLed throughout)

Best Use of IP: Wicked

Best Fantasy Ensemble: Megalopolis

Best Death Scene: Jon Voight’s arrow boner killing Wow Platinum and Claudio Pulcher

Best IRL Fantasy: The Rock’s belief that he still has a career after Red One

Best Fantasy Picture: Megalopolis

Horror:

Worst Use of IP: Apartment 2A

Best Use of IP: The First Omen

Best Actor in a Horror: Josh Hartnett in Trap (watch his face … that whole performance is in his face)

Best Use of Fluid: Tie between the ending of The Substance and whatever came out of that bird in Cuckoo

Best Use of Nicholas Cage: Longlegs

Best Attempt to Bring Unexplained, Random Psychic Abilities Back to the Genre: Longlegs

Best Theatrical Experience in Horror: The Substance (overall “Best Theatrical Experience” goes to the A24 re-release of the Jonathon Demme masterpiece Stop Making Sense)

Best Horror Picture: The Substance

Exploitation (loose definition):

Best Callback to the Past: Maxine Minx’s Depalma-esque heel-stomp

Best Swing and a Miss: Y2K

Best B-Movie: Beekeeper

Best Exploitation Picture: Bikeriders

Finally, the Vibey goes to:

Sasquatch Sunset

Extra Features:

I saw Mickey 17 last week. It’s set into the not too distant future where we figured out cloning and use it to spit out expendable workers to perform dangerous jobs. Eventually the practice is outlawed, so corporations start using “expendables” in space - outside the world’s jurisdiction. This particular film focuses on the life of one of the last expendables - Mickey 17.

I don’t know how people will take it, but I had a blast during Mickey 17. It’s a wacky, satirical slapstick movie with Bong Joon-Ho’s signature take capitalism. Think Brazil or even Dr. Strangelove. Rob Pattinson is great as Mickey, but Mark Ruffalo’s Kenneth Marshall takes the cake here - that guy Ruffalo - he is on a roll lately, isn’t he. I think Mickey 17 comes out nationwide this weekend. Let me know what you think.

Next issue is nearly complete. We’re getting back to our roots and focusing on a specific vibe - this time its Satanic Vibez … ohhh spooky. The Exorcist traumatized me as a child so the prep for this issue has been a cathartic experience. Until then, stock up on holy water and keep a lookout for #12 in your inbox!

Happy Watching,

Murray

Welcome back to CineVibez Fanzine, where every movie has a vibe - even during dump month. Yes, dump month - the beloved tradition of tossing stinkers in the January abyss, never to see the light of day again. This year is no different, so I included a few wide releases in January to even things out.

Next week, you’ll find new segments on movie guides and awards season, including very exciting news concerning the Third Annual Archie Awards! I can’t believe it’s still going strong, three years later.

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Dump Month Disasters

Let’s start with Leigh Whannell’s Wolf Man. Christopher Abbott plays Blake, our titular wolf man, and Julia Garner is his wife, Charlotte - what a nice sounding name. Anyway, before the transformation takes place, we see Blake hunting with his dad by the family cabin. This scene sets the stage for the rest of the film: Not only do we learn lychans exist, but we also witness the trauma his father inflicted. This one had so much potential, but all the good ideas - like the visual transformation and the POV shots - are superficial and half-baked.

Even for CGI, the transformation looks fantastic; like a visual homage to Cronenberg’s The Fly. But Whannell never shows us anything close to Seth Brundel’s mental decline. The POV shots are pretty cool, too. As our wolf man transforms, he recognizes the fear in Charlotte’s eyes but she sounds like a teacher in Peanuts. On the flip-side, Charlotte only hears growls. Recognizing the daughter’s gesture brings the point home, but it could have been more compelling. The rest of the movie falls victim to the A24 effect, where a filmmaker connects the entire plot to generational trauma. If that’s your jam, there’s plenty of blatantly obvious symbolism you can connect to the DSM-V.

I can forgive all of the above, but I cannot ignore the most obvious omission: wolf man never howls at a full moon. We get a few indoor howls but they sound more like the result of AI audio-mixing like respeecher … a bit worrisome given the recent news about The Brutalist. I even caught a hint of Hungarian mixed in.

AI Digression

And, boy oh boy, bad timing for Brady Corbet’s The Brutalist. Not only did AI alter the Hungarian dialogue, but it also cobbled together the pics of Laszlo’s buildings used at the exhibition. I’m not suggesting AI ruined the movie, but it takes away from Corbet’s accomplishments. Especially since he's acting like VistaVision is the second coming. Maybe its time to add asterisks next to the names of Oscar winners relying on AI.

Proponents for AI want you to believe its integration into our world is inevitable. Come on. That’s just how they get you. In nine months, AI has gone from including a couple surreal images in Late Night with the Devil to altering the dialogue of the Oscar frontrunner for Best Actor. The Brutalist’s editor defends it because its “nothing that hasn’t been done before.” Setting logic fallacies aside, this way of thinking is concerning. I’d reference the slippery slope, but Hollywood already hit the bottom.

You’re Cordially Invited

Amazon invited me to an advance screening of You’re Cordially Invited, the Will Ferrell and Reese Witherspoon comedy coming to Prime tomorrow. Writer and director Nicholas Stoller isn’t my cup of tea, but going felt like a middle-finger to Amazon and it’s anti-cinema policies. Unfortunately, the joke was on me. This one is a stinker.

The stars phoned this one in - I expect that from Will Ferrell, but Reese? Ever since Reese debuted Hello Sunshine, her projects have lowered in quality. Maybe Reese isn’t the best curator. And I had no idea Amazon adopted Netflix’s new policy to to make actors continuously repeat the plot. You’re Cordially Invited is a reminder that streamers hate us and think we’re dumb.

Back in Action

I will not besmirch the anticipated return of my first crush (it was that red dress in The Mask). Cameron is just getting her feet wet and her performance was fine. The problem here is Netflix’s casual viewing category. Netflix claims casual viewing is for people folding laundry, but they really just think we’re dumb. Back in Action is a movie made with that philosophy in mind. You can skip it.

Bystanders

Bystanders is technically a 2024 release but it just got a nationwide release last week. It’s also very low-budget, so it needs some amplification. Low-budget horror is a subgenre unto itself. But before venturing into this world, you need to alter your expectations a bit. Independent low-budget horror sheds starpower and inflated budgets for a great idea. The right ones blow you away and forever change your criteria for a “good film.” Most are the wrong ones, but that’s part of the fun.

We’ve seen some interesting takes on rape-revenge movies as of late. For example, Coralie Fargeat’s Revenge modernized the subgenre by retooling tired, old tropes geared more toward titillating audiences than empowering the character. Bystanders continues subverting those long-established expectations; one being the path to revenge. Here, the typically hapless, innocent bystanders are anything but. I’ll stop there. The less you know the better. You can only get this one on VOD from Dread Central, but I’m sure Shudder will pick it up soon.

Traumnovelle

I saw this January stinker during SLIFF last November, but it finally released in theaters this month. It’s wild that this movie is based off the same source material as Eyes Wide Shut. Obviously the general narrative is the same, but that’s about it for similarities.

I couldn’t relate or even care about the couple in Traumnovelle. They were cold and lifeless. Also - I remember thinking Eyes Wide Shut needed remote-controlled vibrators and I’m glad someone finally listened.

Love Me

Love Me is an experimental film starring Steve Yeun and Kristen Stewart in a love story about a satellite and ocean buoy. It sounds awesome on paper, but the end result was a mess. There’s even an extended scene inside the metaverse (add puke emoji here). Another stinker you can skip.

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Conclusion

Things will heat back up now that Dump Month closes in 24 hours. But if you need something good to watch tonight, go to a movie theater to see Nickel Boys. I can’t believe this isn’t talked about more for best picture. I thought about comparing the Nickel Boys POV shots with the Wolf Man POV shots but it felt like I was disrespecting Nickel Boys.

Another good one - Simon, King of the Witches (1971), has nothing to do with Dump Month, but I saw it last night and loved. It’s more a character study of a modern day warlock and his aquaintances. Very weird, very 70s. You’ll love it.

The film & tv substackers got together to do something special for subscribers this year. Scan or long-press the QR code in the Official CineVibez Fanzine Christmas Card (found below) to read our First (Annual?) Film & TV Substackers’ Holiday Movie Guide & Feast.

That’s right; our film guide includes food & drink pairings. I even made my recipe before sending this out:

Be sure to watch some of the movies in our guide this Holiday season. And don't forget to check out the newsletters from all our wonderful contributors!

Merry Christmas and Happy Holidays!

Murray

Welcome to CineVibez Magazine, where every movie has a vibe. I finished watching Apartment 7A, this new prequel to Rosemary’s Baby. Meh, I didn’t really like it. It takes an unoriginal, albeit kinda clever approach for a prequel: Remember Terry who met Rosemary in the laundry room before leaping to her death? The new movie is about her. Yes, her.

Terry’s story parallels Rosemary’s Baby so closely that it adds nothing to the western horror film canon. Your favorite side characters are back (even Dr. Sapirstein), but the new versions don’t really hold water In fact, Apartment 7A’s biggest flaw is its depiction of Minnie and Roman Castevet. The lack of personal boundaries scared me more than the devil rape, but Minnie and Roman are just sweet, helpful neighbors in this new movie.

Ultimately, Apartment 7A answers why Terry jumped out the window and little else.  If that’s been gnawing at you since 1968, see this movie. You will finally find peace. As for the rest of us, just watch Rosemary’s Baby again. I see something new on every rewatch. Or alternatively, check out The First Omen -another prequel made decades after the original with a better script.

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The New CineVibez Format:

In Zine Queenz #1, I revealed my vision for the future of the CineVibez HQ family of newsletters. CineVibez’s focus going forward will be recommending and highlighting little known, forgotten, and obscure films from yesteryear. We’re talking b-movies, grindhouse, psychotronic, cult, straight-to-video, sub-subgenres, etc. - all the good stuff.

If possible, I’ll try to link the recommendations to contemporary hits. Like today, I’ll write about the body horror pioneers who cleared the way for Coralie Fargeat’s The Substance. I’ll gloss over the heavy hitters like Cronenberg’s The Fly, Carpenter’s The Thing, and Death Becomes Her in favor of more interesting choices. For example, Fargeat took inspiration from 1982’s Basket Case, among other movies. Basket Case was one of the more mainstream 42nd Street regulars for a reason. Each scene looks so dirty that you might want a shower after watching. But boy oh boy Frank Henenlotter puts his characters in a delightfully sleazy New York. It also stars one of the all-time greats: Frankenhooker’s Beverly Bonner. She started to look a lot like my mother-in-law toward the end of her life. It makes holidays confusing. And btw, Frankenhooker is another great companion film for The Substance.

Anyway, you’ll mostly hear about The Fly and Death Becomes Her in the trades, but Basket Case was a fun reference from Fargeat. I keep seeing people mention John Carpenter’s The Thing alongside The Substance, but no, no, no. I don’t see it. Sure both have body horror, but The Thing focuses on an external dilemmas whereas The Substance’s struggles are more internalized (until they’re not). It’s a different vibe, man.

But none of you are here for recommendations you already know of or have seen. The good stuff is in the back. A week or so ago, I went idea fishing and realized CineVibez HQ was headed in the wrong direction (a direction already forged by others). Don’t worry - I course corrected. CineVibez HQ’s family of newsletters now has a new, innovative approach. I can’t explain the approach because its new, so stop asking. I can only give you the following mission statement:

I will obsessively research (and watch) psychotronic, cult, foreign, or lesser known movies to find recommendations that relate to contemporary hits my audience enjoyed. In doing so, I hope to show that people are better at recommending movies than algorithms and artificial “intelligence.”

I won’t rant about A.I. or social media in this newsletter unless its the topic of a film I watched; that’s the last topic I want to highlight. I just want to give you guys a living, breathing alternative to computer language-based recommendations. But maybe I should aim lower in the beginning - I just hope you guys like the new format more than reading Deadpool reviews.

Bodiez, Bodiez, Bodiez

Let’s get to the heart of the matter. Coralie Fargeat’s The Substance is a new body horror film that takes aim at modern beauty standards. You really should see this one in a theater, but it’s streaming on Mubi on Halloween if that isn’t reasonable for you.

Body horror films rule because they get so wild and unpredictable that it feels like you’re watching a feral animal try to escape a maze. The Substance is no exception. The plot follows Demi Moore’s Elizabeth Sparkle, an aging celebrity fitness instructor who gets pushed out of her job for a younger, hotter alternative. As she unravels, Elizabeth gets in a car accident and is rushed to the ER. Things get interesting after a nurse slips her the phone number for a new pharmaceutical injectable called the substance. It is neon green and claims to bring back your younger, hotter self. Just be sure to follow the instructions.

I won’t spoil too much, but Elizabeth obviously takes the substance and fails to follow the instructions, causing mayhem. What follows is a wonderfully insane allegory about self-hatred and illogical beauty norms. Elizabeth’s transformation comes with a mental breakdown that rivals that of Seth Brundle. That’s not the only reference to The Fly btw.

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Body Horror Mount Rushmore

Practical effects artist Pierre Olivier Persin who designed Elizabeth’s transformation said:

I was thinking of The Fly. At first, he [Jeff Goldblum] has hair on his back. He's losing one nail. It's a small decay. It's step by step. He's not suddenly gruesome. So it was trying to find the right balance. We didn't want one stage to be too much, so when we see where it's going, it's a surprise.

Fargeat honors a lot of body horror films, but The Fly’s DNA is all over this one. As I mentioned, you see it in the physical and mental transformations of the leads. The slow metamorphosis starts out subtle in both films, like skin discoloration or … I dunno, a witch finger. The mental decay starts to track the physical to drive the applicable themes home. I don’t really see The Thing’s DNA in The Substance though. Maybe its too difficult to imagine John Carpenter tackling the fashion industry (he didn’t really write The Eyes of Laura Mars). Anyway, Geena Davis’ head gets the first spot on Mt. Rushmore.

Death Becomes Her is another obvious inspiration. Like Elizabeth, Goldie Hawn and Meryl Streep’s characters take drastic measures to maintain their youthful bodies. They even have a magical potion like the substance injection! Let’s give this one to Goldie. She’s “head number 2.”

1931’s Dr. Jekyll and Mr. Hyde takes the third spot on Mt. Rushmore. Its hard to miss Fargeat’s in-your-face exploration of similar themes of duality and the id, ego, and superego. 1971’s Dr. Jekyll and Sister Hyde starred Martine Beswick, so lets put her on the third head. I’m not putting a man on The Substance’s Mt. Rushmore.

And finally, the fourth spot goes to Stanley Kubrick’s The Shining … or maybe just Stanley Kubrick. Fargeat impressively recreates The Shining’s eerie, uncomfortable vibes, but there’s a Kubrick reference around every corner. The studio’s rug is basically The Shining’s hallway carpeting. Shelley Duvall gets the last spot. So there you have it: The Substance Mount Rushmore.

CineVibezHQ Approved Recommendations:

The Substance’s box office return was just shy of $40,000,000, which is pretty darn good for a niche horror film that cost only $17,500,000 to make. Hopefully we’ll get more interesting body horror as a result. In the meantime, I have some treats for you. The following movies share DNA with The Substance (and every other movie mentioned today):

Society (1989)

In The Substance, Sue starts falling apart once she ignores the instructions. Things get so bad that she injects a partial dose into herself to create an even better version of herself. Unfortunately, what comes out looks more like the shunting in Society - one of my favorite 80s horror movies. Go in blind and stay until the end.

Looker (1981)

I wrote about Looker before, but I need to mention it here because its a great companion film for The Substance. Looker is a Michael Crichton directed movie that attacks the same beauty standards under assault in The Substance. Except this one sort of has an AI/ChatGPT twist. You see, the Looker Machine spits out data to help advertisers figure out what body types sell their products best. The actresses get plastic surgery to obtain the Looker Machine’s measurements before filming commercials. Fun fact - Looker correctly predicted that actors are going to be replaced by computer generated images of themselves.

Titane (2021)

I added Titane to include another body horror film from France. I bet a lot of you missed Titane because of the timing of its release. But you need to see it. Titane shares more than a subgenre title with The Substance. Both movies explore identity and, more specifically, the extreme measures we take to gain acceptance from others. Titane is beautifully shot and is a marvel to watch, which seems contrary to the subgenre of choice. But trust me, it works. As an added bonus, you will get to see one of my favorite movie scenes from 2021. You’ll know its coming if you hear Future Island’s Lighthouse.

Rejuvenatrix (1988)

Last but certainly not least is Rejuvenatrix, or The Rejuvenator. You may have seen the other movies I mentioned, but I bet you haven’t seen Rejuvenatrix. Take away $17,250,000 of The Substance’s budget and you’ve got Rejuvenatrix. It’s campy, insane and parallels Fargeat’s film in more ways than one.

Rejuvenatrix opens with a rich actress past her prime who hopes to restore her youthful beauty. She finances a scientist who is working on a formula for eternal youth. The formula isn’t ready, but the actress (her name is Elizabeth for heck’s sake) doesn’t care. The formula works at first, but Elizabeth eventually learns she needs brain fluid to maintain her new figure. Brain fluid is hard to get.

Body Melt (1992)

Finally, I need to recommend Body Melt, an early 90s subgenre of body horror known as melt movies. Body Melt, Rejuvenatrix, and The Substance are essentially the same movies stylized differently by their decades. This Aussie hit is all over the place and its guarnteed to offend you, but there’s still something charming about it. And the magical potion that reverses aging is just as neon green as the substance. This one isn’t for everyone, but its similarities to The Substance are uncanny.

Happy Halloween!

Some of these movies make great Halloween selections. And let me know in the comments if I left out any good, comparable body horror films!

Happy Watching,

Murray

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Welcome back to CineVibez Magazine, where every movie has a vibe … even It Ends with Us (hereafter IEWU). Just don’t ask me to explain the plot. Today, we’re going back to school with new segments on cinema’s greatest books & ‘zines. We’re even going to touch upon Chimp Crazy, a new docuseries streaming on Max. But first, movies!

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Gossip Corner: It Ends with Us Ends

I saw IEWU at the Alamo Drafthouse a week or so ago. I ordered my Alamo go-to: two Modelos with lime and a side of fries. The packed audience included a lot of newbies, which is great to see (you know they’re new if they have questions about ordering food & drinks).

I’m sure you already know about this one’s premise and the depictions of domestic violence. What’s interesting, though, is that the movie shows you two different interpretations of the abuse scenes. You see one in real time depict the scene as an accident. After the abuse revelation, however, we see differently shot scenes now showing Ryle’s intent to cause harm. It is literally two different scenes.

Lily’s line about being an unreliable narrator needs to do a lot of heavy lifting to make this movie work. That way, you can assume the early scene showing the domestic violence as an accident is from Lily’s POV. It’s subsequently shown differently once Lily recognizes what’s really happening. So, one way to look at this as an attempt to show how victims blur reality to protect themselves. I won’t say this movie is a success, but it's an interesting experiment.

But what’s the vibe? The first 90 minutes is beat-for-beat a stereotypical romantic comedy. The domestic violence scenes initially look like lighthearted, poorly-landed jokes. The movie waits until the very last minute to reveal Ryle’s heel-turn. This movie is all over the place, but I consistently thought it would make a great Lifetime movie. Let’s go with Lifetime Movie vibez.

TBPH, the “behind-the-scenes” drama revealed on the press tour is more interesting than the movie. Speaking of which, 2024 has been a great year for press tours. Seriously, they are getting more attention then box office numbers post-Barbenheimer. We need a newsletter about press tours. The title “Press Tour Whores” is sitting right there! Topics could include Dakota Johnson, Sydney Sweeney, Cillian Murphy, and so much more! The idea is a no brainer, especially if you include links to puppy interviews. Actually …

The Press Tour Telegraph

Hey, how about these press tours? I'm looking forward to the Saturday Night press tour. A good PR firm will have the living SNL cast members interview the actors portraying them. And is Michael Keaton is prepping for a role in The Grudge 3 on the Beetlejuice Beetlejuice press tour?

Next week, we’ll look back at the Don’t Worry Darling press tour. In the meantime, enjoy more puppies!

Movie Vibes

Let's cut to the chase. I saw a lot of movies since Issue #7.

In addition to IEWU, I saw Cuckoo and Alien Romulus at Alamo Drafthouse. Cuckoo was a pretty mediocre mad scientist horror movie with eerie, sticky vibes. Hunter Schafer takes a beating the whole runtime, which lends to the sticky vibes. The German Alps help create the eerie vibes with all the darkness and whatnot.

Sadly, Alien Romulus consists of nothing more than nostalgia vibes. Cailee Spaeny was great as always, but this movie felt like a franchise greatest hits album. The blind facehuggers sequence is the only scene that felt fresh.

I also saw a lot of movies I discovered in old fanzines I found on Internet Archive. Psychotronic Video mentioned Crawlspace, a 1986 rip-off of the H.H. Holmes story with a little nazisploitation and 80s styling thrown into the mix. The movie stars Klaus Kinski and elicits claustrophobic and paranoid vibes because that’s how Klaus Kinski makes me feel.

Finally, I’d like to recommend a film that’s more insane than Crawlspace. That film is Pin (1988). Wow, Pin is something else. The acting stinks and it's not particularly well shot, but I promise your eyes will be glued to the screen for 90 minutes. What looks like a cheesy horror flick is really a fascinating character study of a kid who's either crazy or can talk to an anatomically correct medical dummy. Expect uncomfortable, mysterious vibes. This one is a rare treat.

Radio Recs

Welcome to Recommendation Station, where I recommend things. I’ve been a fan of Holiday Sidewinder since I saw her open for the Killers and Alex Cameron pre-pandemic. Check out her Kokomo remake here. Anywho, I just saw that she’s opening for Sophie Ellis-Bextor who you may remember from Saltburn’s final scene. Both musicians are phenomenal and you should go to their live show - check here to see if they’re coming to your town.

Back to School Vibez

I love reading about movies as much as I love watching them, so naturally I'm adding a books & ‘zines segment to CineVibez Magazine. Starting with Issue #9, I'm going to review an issue of a movie fanzine, movie guide, or book along with some of the movies referenced in them. I'm very excited about this idea.

I use Stremio to watch movies, which means I don't have the “benefit” of streaming algorithms. This led me to movie guided and fanzines. I have since found some really fun hidden gems and I have no doubt I'll find more. So I gotta share these rare finds with you guys.

And finally, today's book recommendation is Warped and Faded by Lars Nielsen and his friends. It's essentially a guide for Alamo Drafthouse’s Weird Wednesday movies. Weird Wednesday movies are the best.

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TV Funhouse

I try not to talk about tv here, but I need to mention Chimp Crazy, the new docuseries on Max. In the 90s, my mom hired Connie and Chimparty to come to my brothers birthday party at our house. Kirby the chimp came and played on our swing set for a few hours. I think he ate cake too. Anyway, this new doc is about Connie and Chimparty; it turns out that Kirby was abused and neglected - it's really sad.

Conclusion

I’m going to try to publish more often, but we'll see how successful I am. I'm pretty pumped about this fanzine idea - maybe that will motivate me. Until next time, happy watching!

Murray

Follow Me on Letterboxd!

Are Airpods Bad for Your Ears?

I had all these ideas percolating in my brain for Issue #7. I even titled this issue CineVibeX Magazine Issue #7 for a bit after watching MaXXXine. But, I dunno, sometimes four months pass and you don’t publish a single issue and you suddenly realize you just need to get something out there to get the rhythm back and to avoid losing every subscriber. So, welcome to CineVibez Magazine Issue #7, the aimless issue!

A lot has happened in 3-4 months. I turned 40 and now I need to reference my Letterboxd diary to remember what I’ve watched. It’s like I just woke up with memory loss. And I think I’m losing my hearing; these airpods are dangerous. I practice law from time-to-time when I’m not working my full-time job as a film critic. Maybe we could do a class action suit. Please let me know in the comments if you’re also suffering from hearing loss caused by airpods.

Anyway, I’m exaggerating the time between Issues 6 and 7; it was only like 2 months. Calm down.

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Catch-Up on Classics

My 40th year on this planet started with a movie people constantly recommend to me: Sorcerer. And yeah, everyone was right. It’s a fantastic movie and maybe even a masterpiece.

Sorcerer is a fitting start to my life over the hill because it marks a shift in my film-going journey comparable to its own journey. You see, I swore off Star Wars, DC and Marvel last year and got back in-touch with my true moving going self. Now, thank the maker (Star Wars reference), I’m watching classics like Devil Fetus and Ghost Nursing. I never would’ve found those movies if the Disney marketing machine still had my brain’s full attention. And, similarly, the world missed Sorcerer because Star Wars overshadowed it and every other movie released in 1977. Star Wars came out a month after Sorcerer so it never really had a chance to gain an audience.

As a somewhat symbolic gesture, I finally watched Sorcerer a few days after my birthday and wow what a picture. You don’t need magic wands when you’ve got Roy Schneider in a jungle driving trucks full of dynamite. The film’s tense and exotic vibe stays with you from beginning to end. And, most importantly, I’m happy that I am now one of the annoying guys who constantly recommends Sorcerer.

And guys, that’s not my only “classics first-watch” this month. I also watched Ms. 45, Henry: Portrait of a Serial Killer, Come and See, and The Long Goodbye. The first three are perfect watches for those days where you’re feeling hopeless and like the world is just a hot plate spinning in a microwave of death. But Long Goodbye is a totally different vibe! It’s cool, it’s fun, and you get a great performance out of Elliot Gould. He’s a PI who has to solve his friend’s wife’s murder before they pin it on him. He’s also looking for his cat. Gould seems to take acting notes from the cat as he works his way through the plot with a cool, chill demeanor. A similarly great Elliot Gould movie is The Silent Partner - you get Christopher Plummer in a Santa suit AND drag. What more could you ask for?

Catch-Up on Trash

Sure I love artistic expression and the like, but I also love trash. I wish The Bear season 3’s writers’ room loved trash as much as I do. If they did, they would’ve realized the smell of their farts was just that - the smell of their farts. How far did the plot progress in season 3? Ayo received a contract and pondered whether she should sign. Carmi thought about asking his ex-girlfriend out again. That’s it. That’s all that happened. The other 5 hours was just experimental cinematography. The Bear season 3 highlights why I love movies more than television. When you’re watching a movie, everything in the scene matters - intentional or not. When you’re watching tv, the show runner may squeeze in an additional season to get more advertisers.

A Pirate’s Life for Me

Anyway, I watch a lot of trash. My favorite trash movies this summer has to be The Muthers. The movie stars Jean Bell, a St. Louis native who makes stunt work look effortless. She leads a group of sexy pirates who have to free her sister from an outdoor South American prison. It’s a well-written, fun adventure that maintains a fun flow throughout. Some of the one-liners were just fantastic. I think I yelled “YES!” and fist-pumped when Jayne Kennedy shot a can of beans and said “dinner is served.” And for what it is, it’s really not that sleazy. Give it a watch if you’re seeking adventurous, fun, and sincere vibes.

Creature Features

Another great piece of trash is Mako: The Jaws of Death. Richard Jaeckel gave his serial killing shark lover some much needed heart and soul. It’s his eyes - those eyes did 90% of the acting. Expect grimy, hot, sticky sleaze with a dash of heart. BTW - those sharks were real!

1987’s Ozploitation film, Dark Age, is another dirty little piece of trash I love if you prefer your creatures on land. This is a B-movie with a capital B, but everyone involved is fully aware. If you’re seeking silly, down-under vibes, this one is hard to beat.

To close out our Creature Feature segment, let’s talk the Piranha Collection. Horrible movies. Not worth your time.

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Catch-Up on the Theatrical Experience

Let’s close out CineVibez Magazine Issue #7 with a quick vibe-dive on new releases. I saw Sasquatch Sunset, The Fall Guy, Furiosa, The First Omen, the Bikeriders, MaXXXine, Kinds of Kindness, In a Violent Nature, The Exorcism, Good One, and Longlegs since Issue #6.

Sasquatch Sunset quietly came and went without much fanfare, but it was a wild movie that had a lot of heart. It depicted the lives of a pod of sasquatches living their lives, including moments of intense emotional drama. I cried three times during this movie and it’s hard to watch at times. There’s a particular scene in the river that I’m getting choked up about as I type this. Sasquatch Sunset is not just a punchline to a joke. It’s a beautiful movie that tells you more about the human condition than The Marvels or The Acolyte. Expect serene, peaceful vibes with moments that remind you of the harsh, unfair and unexpected violence one is bound to encounter in nature. Surprisingly, In a Violent Nature and Good One strike similar vibes. All three depict nature as a peaceful sanctuary … until it isn’t.

The Fall Guy and the Bikeriders harken to days of old where these types of movies were more common. The Fall Guy is basically just a romcom and love letter to action films. It’s fun but not much more than that. The Bikeriders, however, is a real treat. I haven’t confirmed, but Jodie Comer apparently nails Kathy’s voice. Watch either flick if you’re seeking comforting vibes.

Everyone is talking about Furiosa and Kinds of Kindness (two great movies), so let’s instead focus on Satan. 2024 is the Devil’s Year, amiright? Think about it - you got The First Omen, Late Night with the Devil, MaXXXine, The Exorcism, Immaculate and Longlegs releasing the first half of 2024. I found Immaculate a little boring; I don’t know if Sidney Sweeney has the chops to maintain a strong Hollywood career. She doesn’t excite me when she’s onscreen. And The Exorcism is a real snooze. I think we’ve talked about Late Night with the Devil and The First Omen, so I’m going to focus on MaXXXine and Longlegs.

MaXXXine (2024) closes out Ti West’s X trilogy with a bang, a few stabs, and some squishing. It’s a fun movie that celebrates 80s decadence in the form of a b-movie De Palma giallo. I think West succeeded in weaving the three subgenres, but he failed to remove the shiny digital look that comes with most modern films. I didn’t feel it in X or Pearl, so I’m not sure where he went wrong here. Part of the movie is set in a video store, and the scrambled fuzzy VHS look is begging to be used. But the frequent and overt nods to Hollywood’s past let me look past the film’s visual flaws. I mean come on, a quarter of this movie is filmed at the Bates Motel. Expect campy, over-the-top gory vibes.

Speaking of Bates Motel, the final movie today is Oz Perkins’ Longlegs starring Maika Monroe, Nicholas Cage, and Alicia Witt. Perkins merges a 90s David Fincher aesthetic with the supernatural to create a really eerie, uncomfortable film. You know that feeling where something feels off? Like just before bed, you have a sudden urge to check behind the shower curtain or under the bed? That’s the superficial Longlegs vibe.

On a deeper level, Longlegs is a lot of fun! In an interview, Perkins said one of his goals was to point out the absurdity and silliness of serial killer movies. He wanted to make a serial killer who is similar to those in real life - just a really gross loser whose singular life goal is to get off. The vibes get much sillier when you see the film through that lens. Either way, it’s a great movie that is worth your time.

What’s even more exciting is that you get to see a rare Nic Cage performance where his unhinged behavior is controlled (or as controlled as a Nic Cage performance can be). He doesn’t improvise anywhere. Every line he uttered came from the script. Longlegs should stand right next to Pig in this - the most recent Cage Renaissance.

While Cage is getting all the attention, I’d be remiss to ignore Alicia Witt’s performance. She was so creepy!

The Ending

You’re all caught up. Maybe you’ll get Issue #8 in 2024.

I turned 40 today and the onslaught of emails from corporations in possession of my personally identifiable information started early. Crumbl Cookie got in first with a free cookie offer last week. Sports Clips sent me a coupon for a free haircut this month around the same time. But my fave was 5% off from Target - literally just a discount on taxes.

Anywho, I thought it could be fun to discuss any Hollywood/movie themed corporate birthday wishes I receive.

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Birthday Good Boys of Hollywood

As a AAA24 member, I get to pick a gift from a curated list of items in the gift shop. I got the Zola score on vinyl last year - the cover had cool original artwork and I love the soundtrack’s dreamlike vibes. This year, I got to choose from the following items:

I went with the Euphoria Fashion coffee table book, mostly because it will look cool on my coffee table. I also just read an interesting article on Zendaya’s fashion assistant, so Gen Z Hollywood' fashion is at the forefront of my mind. I suspect the pages are oozing with vibe juice.

Some of you may be wondering what AAA24 is. Well, it’s A24’s fanclub … yes a fan club for a film studio. It’s typical to see fan clubs for corporations this far down the late-stage capitalism timeline. For 60 bucks, you get monthly-ish magazines on topics related to recent A24 releases. They’re usually curated by actors and filmmakers. You also get access to special features on the A24 app - its akin to the DVD extras for A24 movies. The app includes some BTS footage of Greta filming Ladybird, Mia Goth in the makeup chair for Pearl, etc. Look, I hate giving my money to corporate entities, especially when that money simply lines the fat cats’ pockets. But, AAA24 is pretty fun.

Comics are indirectly related to the movie industry, right? Well, Midtown Comics in Times Square offered me 25% off any item in store. I just need to book a flight to New York by 3:00pm today.

I also got $4.00 off a ticket from Fandango. Weird choice on the dollar amount. Just give me a free matinee ticket for a dollar more, guys.

I started this idea before checking how many birthday emails I received. Unfortunately, that’s everything, so let’s talk about who DIDN’T send me a birthday gift … the theater chains.

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Birthday Bad Boys of Hollywood

As a Top Brass Season Pass holder, I expected more from Alamo Drafthouse. Maybe a free dessert or cocktail? Something from the merch corner? Instead, I got the sound of crickets. Do better, Alamo.

I have entry level memberships to AMC and Marcus Theaters. I’d expect a free popcorn at the very least. In fact, I’m pretty sure AMC used to do that. I know Wehrenberg Theaters, the greatest theater chain of all time, did before their closure brought Greg Marcus the assclown to my town. I just can’t remember what it was. Movies and birthdays go together like milk and cookies so birthday surprises seem like a no-brainer.

It’s only 12:50pm here, so the corporations listed above have a chance to redeem themselves. I’ll edit in/out anyone who does so. You know who probably won’t redeem himself? That assclown Greg Marcus. I heard he gives everyone a blanket with his face on it for their bdays. Take a look:

Here’s some more photos of Greg Marcus being a jackass. Pay close attention to the full frontal crotch photo where Greg is sitting down:

Birthday Picks

Every year, I watch at least one movie on my birthday. I haven’t selected my pick yet, but we can talk about what I watched this weekend.

First, I saw The Ministry of Ungentlemanly Warfare (2024) on Friday. I enjoyed this average to slightly above average war movie. It had a pretty tight premise, although I felt the story wander at times. Alan Ritchson stood out among the other cast members. There was something very satisfying about the way he sliced and diced his way through Nazis. Cavill’s comedic efforts worked well here, too. My favorite scenes were between those two guys. Expect fast-paced, fun, lighthearted vibes. My biggest complaint is that Rory Kinnear reminded me more of Rob Ford than Winston Churchill. I love Rory Kinnear, but I don’t think he was used well. It’s worth a watch, even for Guy Ritchie haters.

Next, I saw The Girl in the Basement (2020), starring Judd Nelson and Stefanie Scott. I cannot recommend this movie in good conscience. This movie is about a girl who’s father locks her in a basement and makes her his sex slave. Yet, it lacks any depth. There’s really nothing there other than surface level, underdeveloped characters and a poorly written script. That being said, Stefanie Scott did an excellent job portraying the abused daughter. It’s a shame the rest of the cast and crew didn’t support her efforts. Skip this movie, but keep an eye out for Stefanie Scott.

I finally got around to seeing Abigail (2024). This movie was a fine heist/kidnapping film that takes a major genre shift in the third act. At this point, you probably know that the kidnapped girl is secretly a vampire. The third act consists of this discovery and its immediate consequences. I know how the studio could have improved this film: DON’T TELL US THE GIRL IS A VAMPIRE IN THE TRAILER! I’m going to pledge to all of you a commitment to stop watching movie trailers. They spoil too much.

Finally, I saw The Teachers’ Lounge (2023) on Friday. The acting was phenomenal. Leonie Benesch gave a really impressive, nuanced performance. I want to watch again just to watch her facial expressions and body language. This movie is about how quickly a narrative can spiral out of control. I highly recommend it.

Conclusion

In summary, I still need to pick my birthday movie for today (it’s my 40th). Feel free to make recommendations in the comment section, but not This is 40. And as a birthday gift to me, forward this email to a movie loving friend who may want to subscribe (for free!).

Happy Watching!

Murray

2024’s new release lineup is really just starting to heat up, although that hasn’t stopped me from CineVibin’ my way through Quarter 1, 2024. And boy, oh boy, what an adventure it has been. I saw some good movies and some bad ones. Michael Crichton’s Looker (1981) stood out the most because it accurately predicted last summer’s SAG/WGA strikes. Let’s start there.

Did Michael Crichton know of the existential threat artificial intelligence would bring to SAG-AFTRA and WGA in the summer of 2023 or have we been destined to replace ourselves from the beginning? Time travel isn’t real, so its the latter.

In Looker, models and commercial actors keep scheduling appointments with our protagonist, a sleazy plastic surgeon played by Albert Finney. Each girl comes equipped with very specific body measurements they want. One needed 0.03 mm shaved off the tip of her nose. Another needed her left eye raised 1.23 mm and right eye raised 1.24 mm. I don’t remember if these specific measurements were referenced, but you guys get the idea. These ladies had very specific “goals” to hit.

It doesn’t take long for the bodies to start stacking up. All but one of the models died under mysterious circumstances, and our 55 year-old, out of shape, plastic surgeon decides he needs to keep that last remaining model nearby. But how could a schlubby old surgeon convince this super model to stay at his place? It’s simple - just invite her over for sex … the magic of cinema!

It turns out that Hollywood hired tech companies to fine tune shows and commercials in a way to persuade and manipulate consumers. This involves making actors get plastic surgery to fit the needs of the commercials. If the actors fail after “enhancements,” they go in this thing called the Looker Machine. The Looker Machine uploads your digital likeness to be used in future programming. The actors get a one-time $800 fee. The movie’s overarching conflict arises out of some of the Looker Machine’s unwanted side-effects.

This is a cheesy sci-fi movie, but it explores bodily autonomy, fair wages, and digital privacy/rights. There’s really no difference between this film’s villain and Disney and Apple.

Looker is also a well-made film. The first shot ever of Arnold’s Terminator is ripped directly from a gorgeous shot of Susan Dey being lowered into the Looker Machine. And you know what? Crichton did it better. If that doesn’t convince you to see this movie, check out Albert Finney’s cool shades.

Looker has cool, slick vibes. The film opens with colorful pink bedrooms with lingerie clad models, beach-side rendezvouses, and the rich and famous rubbing elbows at art galleries. As the nefarious plot is revealed, the film gets colder and more futuristic. Like Alien and Terminator, our characters end up in a dark room full of metal lit only by the red glare of exit signs. I’d file this one under “cool, slick, scifi vibes.”

Another great movie that was ahead of its time is Black Sunday (1977). Bruce Dern (who was just on Apple+’s Palm Royale this week) is a war vet who goes off the deep end, joins an international terrorist group, and hijacks the Goodyear Blimp at the Super Bowl. Robert Shaw plays an Israeli spy who tries to thwart the terrorist plot. It’s a lot of fun to listen to Shaw complain about dumb American traditions.

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And speaking of shitty tech people, I watched The Social Network (2010) a few days ago. It is so close to being a masterpiece, but Rashida Jones’ second year associate breaks up the no-hitter. I have always found her character somewhat unnecessary; but the character is also an idiot. She said she “specializes in voir dire.” That’s like a doctor saying he specializes in wearing scrubs. A dear friend recently mentioned that he didn’t like Jones’ final line, “You’re not an asshole, Mark. You’re just trying so hard to be.” From anyone else, that line could be a good snarky insult. But, Jones delivered it with empathy, giving Zuck an out. That twerp doesn’t deserve an out.

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I also watched Omen 1-3 in one day so I could see this new prequel (which I haven’t seen yet). The movies are fine, but nothing really exciting. Honestly, I’m surprised by the films’ longevity. The final battle with the Nazarene in Omen 3 was funny, though. The Omen movies generate pretty chill vibes. The murders are mostly accidents or bird-related. It’s mostly just a lot of ominous shots with spooky music. Great for a rainy day.

New Release Vibes:

Love Lies Bleeding (2024): LLB is my favorite movie of 2024 so far, but I’m always a fan of Kristen Stewart genre movies. It has dark, neo-noir vibes wrapped in a queer love story. I saw a lot of people online call it a “vibes movie.” I think that means there are elements of surrealism in the film. I guess gen-z needs its own vocabulary. But the surreal ending will put a big smile on your face.

Dune, Part 2 (2024): I didn’t know about that heel turn, so Dune 2 was a really fun surprise. Beautifully shot with epic, desert scenes, but the core of the film gives off raw, yet manipulative, power-hungry vibes.

Civil War (2024): Civil War was a serious, gritty, movie that gave me Call of Duty vibes. I watched with a friend who was riveted by the film’s immersive feel. To me - the third act was essentially just a multiplayer session of COD, but maybe less desensitized people will have a different experience. The story also felt a little hollow, but I really struggled to connect to it.

Ricky Stanicky (2024): Ricky Stanicky reminded me of a 90s Farrelly Brothers movie. I laughed out loud dozens of times. Great premise too. This movie is 100% hijinks vibes.

The Beekeeper (2024): Dramatic, manly, no-nonsense vibes with a touch of sensitivity. The Beekeeper is bad, but its also a lot of fun. The story is totally nonsensical and full of annoying characters. Most of the villains are crypto-tech bros. I’m sure the writer thought Jason Statham killing tech bros would be a sure winner, but we still have to spend time with the tech bros.

Argyle (2024): I couldn’t finish it. Embarrassingly bad CGI. Lazy script. Apple Film Studios (or whatever its called) absolutely sucks. Every movie looks so digital; almost like the whole thing is fake CGI. And frankly, I wouldn’t doubt it if it was. I’ve said it before - Jon Hamm and Jen Aniston did not film a single scene together in The Morning Show. Don’t give Apple money to see this.

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Housekeeping:

Expect monthly issues of CineVibez going forward. I’m going to roll the other newsletters into CineVibez and spend more time on each issue. I have some fun new ideas for next issue, so keep your eyes peeled on your inbox!

intro:

Welcome back to CineVibez Magazine, where every movie has a vibe. I have 22 movies under my belt this year, but I have only seen American Fiction at the theater so far. I’m seeing All of Us Strangers and The Zone of Interest this Thursday and Friday, so that’s exciting. After that, I can officially start Archie’s nominations. Expect them on Sunday under HQ’s Behind the Curtain banner.

And, of course, the start of the award season means the start of the festival season. Sundance is already in full swing. I got the online package again, so I’ll send out another Sundance retrospective soon.

sundance:

My Sundance Film Festival schedule is set. I’m seeing the following films:

• A Real Pain: Jesse Eisenberg’s sophomore effort stars the director and Emmy Award winner, Kieran Culkin. However, cinematographer Michael Dymek is why I want to see this movie. His work in Sweat and EO looked great (find both streaming on Mubi).

  

• Between the Temples: A stellar cast includes Jason Schwartzman, Carol Kane, Robert Smigel, and the great Dolly de Leon.

• Good One: I don’t know much about this one, but the synopsis reminds me of Aftersun a bit - basically, a daughter’s observations of her dad and his friend on a trip.

• Handling the Undead: Fans of The Worst Person in the World will be excited to see Renate Reinsve and Anders Danielsen Lie reunite in this Norwegian take on the zombie genre.

• Realm of Satan: I’m excited for this doc. The Church of Satan and the misconceptions surrounding it fascinate me. Acclaimed editor Scott Cummings directs.

• Stress Positions: Theda Hammel directs John Early in this film set during quarantine in the thick of the pandemic. There’s a lot of buzz surrounding this one.

• Lolla - The Story of Lollapalooza: Director Michael John Warren is no stranger to the music industry. He’s filmed numerous concert films, including Oh, Hello! On Broadway (I saw it in Chicago, and omg), Nicki Minaj and Jay-Z. He also did the recent Hillsong Church documentary.

• Love Me: Sam and Andy Zuchero direct Kristen Stewart and Emmy winner Steven Yeun in this year’s Alfred P. Sloan Feature Film winner at Sundance. The Alfred P. Sloan selection goes to films that engage our relationships with technology. I’m just excited for K-Stew and Yeun.

I also have tickets to for the US Dramatic Grand Jury Prize Winner, the NEXT Audience Award Winner, the US Dramatic Audience Award Winner, and the US Dramatic Directing Award Winner. Expect my Sundance Special issue to reach your inbox in late January/early February.

what i’m watching:

American Fiction (2023 - Alamo Drafthouse): I really liked Sterling K. Brown’s performance in this movie. His performance brought Cliff to life. I really think he would’ve been a forgettable side character had another actor taken on the role. Unfortunately, this is a tough year at the Oscars.

Anywho, I think American Fiction will do well with broad audiences. It’s a poignant story about being true to yourself. Deep down, I don’t think this movie is really about race as much as it is about the dualism in each of us - whether it be our public versus private persona or something a little more unique like Monk’s situation. It’s also very funny. Expect introspective, warm vibes with a dash of laughter.

Unclenching the Fist (2021-Mubi Paris): Unclenching the Fist is streaming on Mubi. The world Kira Kovalenko shows us almost becomes a second character - I know how that sounds, but this time is for real. This is a hard watch, but you want to learn more about the community and its customs. The familial relationships border on incest, yet you still see Ada’s strong bonds with her brothers, and at times, her father. The film is full of such contradictions, which says more about the characters’ circumstances than the script. Expect uncomfortable, dark, and defeated vibes.

The Elderly (2022 - Shudder): The Elderly is a Spanish film about old people snapping. When we open, a storm moving toward the city brings eerie changes to the elderly with it. Grandmas are jumping out windows. Grandpas are chewing on our heads. Man, there are some wild images in this movie. Check it out on Shudder. And if you do, expect violent, scary vibes.

Wonka (2023 - Alamo Drafthouse): I saw Wonka in mid-December and forgot to include it in Issue No. 3. Wonka is a different vibe from Charlie and the Chocolate Factory (1971). The menacing undertone in Gene Wilder’s film is nonexistent here. Instead, you get a charming, family-friendly musical. Take the kids. Expect joyful, heartwarming vibes.

Escape from L.A. (1996 - Max): Up next is another tonally different sequel. Escape from L.A. consists of the three “C’s”: camp, cheap, & crap. It feels like Carpenter wanted to remake Escape from New York to parody Hollywood, but he doesn’t quite get there. Tonally, this is more like Carpenter’s Big Trouble in Little China than Escape from New York. If only it was half as good. Expect campy, cheesy vibes.

Evil Dead Trap (1988-Arrow Video): Combine J-Horror with Giallo, and you get Evil Dead Trap, a spooky snuff film mystery. I usually don’t like shiny modern giallo movies like Malignant, but Evil Dead Trap is special. It’s one of those movies that would resolve itself if the lead stopped digging. Expect urban, grimy, dark vibes.

The Royal Hotel (2023 - Amazon): Set in the Australian outback, The Royal Hotel is a fish-out-of-water thriller. However, the stakes are so low that it feels more like a melodrama. Expect rough, gritty vibes.

1990: The Bronx Warriors (1982-Criterion Channel): Wow, what a unique movie. Mark Gregory plays Trash, our protagonist. I’m including 1990: The Bronx Warriors this issue because it makes a great companion piece with Escape from L.A. If you ask me, Escape from LA shares more with 1990: The Bronx Warrior than Escape from New York. Expect campy, melodramatic vibes.

Night Swim (2024-Amazon): I saw Night Swim last night. It’s just a dumbed-down J-Horror film for Americans. Drink every time you hear someone say, “There’s something wrong with the pool.” But seriously, you can skip this movie. If you ignore my advice, expect cheesy, campy vibes.

big vibez: the films of ken russell

I don’t want to make CineVibez a filmography newsletter, but I’m about to talk about one director’s filmography. I recently saw - for the first time - five movies from Ken Russell: The Devils (1971), The Lair of the White Worm (1988), Altered States (1980), Gothic (1986), and Mahler (1974). You can catch each of these films on Criterion Channel right now. And boy, oh boy - you should.

Ken Russell’s films are bold and provocative, sure. But they’re also really funny. Oliver Reed’s Father Grandier has a ton of witty lines in The Devils. You could categorize The Lair of the White Worm as a comedy.

Most focus on the religious blasphemy and negative depictions of Christianity, but people rarely talk about the camp and humor in Russell’s work. In Gothic, we’re basically watching a bunch of famous authors get fucked up on game night. And don’t forget Russell’s Mahler, who is presented as a joke of a human being.

I’m not sure how long Criterion will keep the Ken Russell collection, so watch it now before it’s too late. But watch The Devils here. Criterion doesn’t have the extended cut; nor does it have all those extras. For any Ken Russell movie, expect over-the-top, campy, and provocative vibes with a dash of laughter.

conclusion:

What do you guys think of the lowercase titles? I thought it looked interesting, so I’m keeping it that way.

The 2024 box office looks pretty bleak, but we will have plenty to talk about. You see - I learned a little trick that expanded what’s available to me. There’s a website called What’s on Mubi - it lists Mubi’s current selections in each country. Once you find what you want, simply turn on a VPN and set it for whatever country has the movie you selected. For example, Mubi U.S. doesn’t have Aftersun but Mubi UK sure does. Just set your VPN to London and open the Mubi app. Want to see Monster (2023) from Japan? Just pick Turkey on your VPN. Make matters even easier by adding a VPN to your streaming stick. I use Surfshark on my Google TV Chromecast. I should note that I don’t know if this is necessarily “legal” - whatever that means. Anyway, happy watching!

Until next time,

Murray

Welcome back to CineVibez Magazine! I’ve seen enough this year to start working on the Archie’s Awards nominations, but we’re going to stretch the surprises out over a few months. In CineVibez Magazine Issue #4, I’ll announce the categories and nominees for the Second Annual Archie Awards. There may be a few issues covering 2024 movies, recent watches, the Oscars, and other award ceremonies between the nominations and the winner’s issue, but expect the results sometime in February or March, 2024.

I saw a lot of movies between now and last issue, so let’s get started. This issue, we’re going to talk about Haunting Vibes, Hopeful Vibes, and Influential Vibes.

Haunted Vibes:

Personal Shopper (2016 - Mubi):

I watched Personal Shopper on Mubi this week. It’s one of my favorite Kristen Stewart performances. Here’s the basic plot:

Kristen Stewart plays Maureen, a woman who recently lost her twin brother, Lewis, to a congenital heart disease; it is a diagnosis she shares with Lewis. And by the way, the twins dabbled in the dark arts as spiritual mediums. In that regard, they agreed that the first one to die will communicate with the surviving twin about the other side. This leaves Maureen stuck in Paris (where Lewis died) waiting for Lewis’ otherwordly message. While she waits, Maureen makes ends meet as a personal shopper for a rich Parisian socialite.

I liked this movie, but mostly as a showcase for Kristen’s acting chops. The editing was a little sloppy. The script could have been tighter; although it felt too rushed at the same time. I think the source of the problem was a failure to clearly explain the mystery of who’s texting. The ambiguity may be intentional, but remove the CGI ghosts if that’s the goal.

Vibe-wise, this movie is a treat! I know in my heart that Maureen would subscribe to CineVibez HQ. Here’s how she describes her job as a medium:

“Being a medium is a vibe, like an intuition, a feeling … it’s seeing the door ajar.”

Ripped straight from a thesaurus, this line says so little; nor does it make much sense. Anyway, more importantly, Kristen mentioned vibes! I appreciate the endorsement.

Personal Shopper conjures up Haunted Vibes (Letterboxd list coming soon). We learn about Maureen’s side job as a medium early on in the movie. And we see a real ghost! It’s clear Maureen is being haunted in a literal sense and ghosts are probably real in this world, but she’s also haunted by her grief, her own mortality, and an inability to start moving forward. Maureen avoids real-world interactions by focusing on communicating with her dead brother. It’s not like she has nobody, either. Her boyfriend begs her to visit, but Maureen “has to see this through.” And her sister-in-law’s patience with Maureen’s obsession is wearing thin.

I selected Haunted Vibes over Spooky Vibes because I felt more disconnected from reality than scared. I attribute that feeling to Kristen Stewart’s acting. Hey body language screams disgust with everyone around her. I think she says two words in French … in France.

Maureen buries herself in her phone researching the afterlife and texting with her dead brother or a horny pervert - no one really explains. Or did I miss that? Did the movie confirm it was the brother? Automatic Door ghosting is a real thing; there have been lawsuits about it. So that one scene you’re thinking about doesn’t mean anything.

Maureen’s job is perfect because it lets her manage another person’s life while she ignores her own. She even takes it to looney tune levels when she raid’s her boss’s closet to try on luxury clothes and lingerie. In case you didn’t get the analogy, we get hit over the head with a fun masturbation scene.

The Haunted Vibes arise out of the way grief is shown, along with a dark, slow but restless aesthetic that really sets the mood. This is a great movie for a rainy day.

This movie shows texting in the old-school way, which was hit or miss. But, I really liked the tension created by using airplane mode on your cell. I won’t spoil the scene, but it’s effective and a lot of fun. Personally, I prefer showing the actual gadgets over weird, goofy CGI images on screen. Decision to Leave may be the best depiction of how we interact with our gadgets, but Personal Shopper isn’t bad. “Read receipts” broke my suspension of disbelief for a bit because come on, who does that? Every Frame a Painting has an excellent summary of texting on film here.

Hopeful Vibes:

Godzilla Minus One (2023 - Marcus Theaters)

I’m merging Godzilla Minus One and The Boy and the Heron because the core message of both films is that life is worth living. Both films are powerfully moving and inspirational; like a light shining on darkness.

I previously wrote about Godzilla Minus One (2023) in the context of blockbuster films here. But, more importantly, this is a film about hopefulness and choosing life. The movie rewrites the ending to Godzilla (1954) where Serizawa, the inventor of the weapon that takes down Godzilla, unnecessarily sacrifices himself for the greater good. The filmmakers assumed audiences would find his sacrifice admirable, but was it necessary? No - it definitely was not necessary. He totally could’ve survived. I won’t describe how Godzilla Minus One changes the ending, but it chooses life over pride and honor. For that reason alone, it’s soaked in Hopeful Vibes.

The Boy and the Heron (2023 - Alamo Drafthouse, dubs)

Similarly, the highly anticipated The Boy and the Heron (2023) had a hopeful message. This issue’s recurring concepts of grief, loss, and feeling untethered from your life shine brightly The Boy and the Heron, a story about mortality and living life fearlessly and accepting things as they are. More practically speaking, the plot is about a boy struggling to move forward after losing his mother. However, its Hayao Miyazaki - so you’ll also get a taking heron voiced by Rob Pattinson who will guide you on a magical journey inside a tower to see your dead mother.

I selected hopeful vibes for this movie because it gives you hope in having the strength to endure and live the life in front of you. It also warns you not to get trapped by nostalgia and the past. The movie doesn’t represent hope that your dreams will come true, but it does represent a hopefulness that you have what it takes to embrace the life in front of you.

Influential Vibes:

Ferrari (2023 - Alamo Drafthouse)

Ferrari, Maestro, The Iron Claw, and Eileen display Influential Vibes by focusing on the raw, charismatic power of four individuals: Enzo Ferrari, Leonard Bernstein, Fritz Von Erich, and Rebecca Saint John.

Ferrari’s influential vibes come from Adam Driver’s depiction of Enzo Ferrari. He plays Enzo as a somewhat dopey, out-of-touch dad with tunnel vision. Half his dialogue is corny jokes, but that’s part of what pulls others into his orbit. He makes you feel safe and motivated as long as you’re willing to ignore reality. I think that’s partially why Mann showed Enzo’s most vulnerable moments around his kids. They’re the least likely to judge or question him. Those scenes also helped create a light, almost easy-going vibe early in the film - which is a film about race cars by the way. But it really felt like a classic gangster movie where all the wise guys are hanging out on the sidewalk. Only later do you realize everyone is just taking a cue from the all-powerful Enzo.

We see what happens when powerful men remain unchecked by the end of the movie. The Mille Miglia crash is violent and in-your-face - a prominent contrast from the rest of the film. Filmmakers can depict power and influence a lot of different ways, but I really like how Michael Mann shows Enzo Ferrari’s power. He is already established as a man so powerful that he has little to no worries; I suspect this is why Enzo gives his pals noogies and says they smell like skunks (I don’t know if that’s really from the movie). He knows he is invincible, so he exudes this cool, calm confidence. But the dad jokes still work because he’s an out-of-touch rich guy.

Maestro (2023 - Netflix)

Next, Maestro (2023) gives us another out-of-touch rich guy. The film opens with an elderly Leonard Bernstein reflecting on his marriage to his deceased wife, Felicia Montealegre. The camera subsequently cuts to the past - a black-and-white shot of a young “Lenny” in his bed when he receives a call to conduct his first symphony. The very next scene cuts the symphony hall and the pace only picks up from there.

Going forward, the pacing is almost melodic in the black-and-white scenes. I like to think that’s because the sequence represents Lenny’s romanticized memories of his time with Felicia. However, it also aptly represents Lenny’s need to experience everything and everyone. His life goes a mile-a-minute, and like Enzo, anyone caught in his orbit gets sucked in. Where Enzo uses dumb jokes, Lenny uses a shimmering wink, wit, and an ability to suck the life out of everyone in a room but himself. Frequently, the camera focuses on Felicia walking away from Lenny, off to the side of Lenny, or literally in Lenny’s shadow. I think all four Influential Vibes movies share this: orbiting “greatness” is not worth the price.

You’re going to get caught up in Lenny’s influential vibes even as a member of the viewing audience. Cooper’s face-paced, rhythmic shots, coupled with the awe-inspiring Bernstein music catalogue, kept you loving every minute of the movie. I felt pure joy throughout this film … especially during the Elys Cathedral performance. So, yes, this film has strong influential vibes, but it also made me feel inspired, hopeful, and joyful; I was moved to tears more than once.

The Iron Claw (2023 - Alamo Drafthouse)

The Iron Claw (2023) is a hidden gem this award season. I’m shocked that its not getting more attention than it is. This A24 indie melodrama tells the story of the Von Erich Family Curse. The Von Erichs are a multigenerational family of professional wrestlers - many of whom met untimely, unnatural demises. The story focuses on the curse’s impact on Kevin Von Erich, one of the few survivors.

The film does an excellent job of showing us the story instead of telling us the story. There is rarely any exposition, but you know exactly what Kevin is dealing with. You also know what - or who - is the true cause of the “family curse.” Fritz Von Erich captures people in his orbit with charisma and charm, obviously. He’s a pro wrestler who excited crowds regularly. But he also used fear, violence, and neglect to keep control over his sons. He also relied on a twisted concept of familial pride to ensure his sons did what he never could - become a world champion.

The Iron Claw is a very emotional film. It has sad, melancholy vibes and may even go well with Past Lives and Passages. But there’s also this beautiful sense of hopefulness and genuine pride - not the b.s. pride Fritz peddled - you feel for Kevin by the end of the movie. That doesn’t happen without Zac Efron. I am so glad he is playing Kevin - there’s something so sad about Zac Efron that really works. Maybe its his eyes - he’s got those Brendan Fraser eyes. But, there’s also a weird, almost pathetic form of sincerity in his face. You want to root for the guy so badly.

I’m labeling The Iron Claw under Influential Vibes because of the father’s influence and control over his family. That’s what drove the plot. Kevin’s story wrestles with our relationship and response to that kind of power. The Iron Claw is one of the best movies of the year.

Eileen (2023 - Alamo Drafthouse)

Finally, I’m including Eileen in the Influential Vibes list. The film shows us what can happen to the people who get caught in a powerful person’s orbit. Thomasin McKenzie plays the titular Eileen, a secretary at the local prison. She spends most her days masturbating in holding cells and waiting rooms until the new prison psychiatrist - Rebecca Saint John played by Anne Hathaway - enters her life. Saint John has a fast-paced, over-the-top lifestyle just like the three powerful men discussed above. She quickly drags Eileen into her life with seduction and attention. And, also like the three men above, Saint John wields her charm over Eileen as long as its advancing her interests.

Here, the vibes are a bit more fun and seductive than the other three movies. I think the best way to describe the movie is as a neo-noir dark comedy psychological thriller. It’s set in the 1960s around a small Massachusetts town where Hathaway’s Saint John sticks out like a sore thumb. Eileen is probably the weakest of the four Influential Vibe movies, but it’s good for the end of a rough day.

Cult Recommendation:

I Drink Your Blood (1970 - Arrow)

I recently watched I Drink Your Blood on Arrow’s streaming service. I think it may have been Christmas morning, which is a little odd. This is a fun, crazy movie. Basically, these poser Satanists get stuck in a small town and cause mischief. A little kid takes revenge by giving the Satanists meat pies laced with rabies. It turns into your standard zombie infection movie, but it’s thick with sleaze and camp. You could even argue that the pandemic elevates this movie a little. It certainly captures our collective fears in April of 2020. Watch it if you’re looking for sleazy, campy vibes.

Conclusion:

I’ll start Letterboxd Lists for Haunted, Hopeful, and Powerful Vibes this weekend. I need to get better with that. And before wrapping a bow on 2023, I need to see American Fiction and The Zone of Interest. American Fiction is showing nearby next week, so I should see it soon. I still don’t know when I’ll be able to see The Zone of Interest. Lips sealed if you send me a screener.

Expect the return of my annual Sundance Film Festival issue sometime in late January or early February. Our Sundance issues were well-received last year, so I’m very excited to bring it back. I got the 10 film online package, so let me know you have any recommendations for the movies showing online.

CineVibez HQ is growing rapidly, so expect lots of fun and exciting surprising in 2024!

See you next year,

Murray

Welcome back to CineVibez Magazine, where every movie has a vibe. I published Issue #1 in August or September … it’s been a bit. I have a day job that takes up too much of my time, but I think I found a solution:

You’re looking at the newest, state-of-the-art filmgoing experience presented by the good folks at XReal. The sunglasses project a 100-300 inch screen in front of me to simulate the silver screen. Most people just plug phones into their glasses and rely on apps, but I wanted to take it a step further. I purchased a big-ass battery and an HDMI to USB-C adapter to connect the glasses to an Amazon Firestick. Now, I have a television inside my glasses without all the added bloat that comes with phones.

My current setup has two serious flaws: 1) I can’t bring this to the airport for obvious reasons, and 2) I need to rely on my phone’s wifi hotspot during dog walks. Otherwise, it’s a great setup. Not only does this allow me to watch more movies, but the immersive experience it provides is a great way to watch movies uninterrupted.

FYI: This isn’t a paid advertisement, but it should be. If the folks at XReal read this, please pay me money. Thank you.

Since its been a bit, I’ll catch you up on what I’ve been watching lately.

The Holdovers (2023 - Amazon and Apple TV):

I’m a big Alexander Payne fan, and I just recently learned that he did a stretch in softcore porn. Inside Out III, in particular, looks like a fun watch. The quadrilogy’s tagline is “… where The Twilight Zone meets the erogenous zone,” and the posters are works of art:

Somehow, I missed the Inside Out series, so please let me know if it is any good. Payne also directed an episode of Hung - the HBO show about a guy with a big dick. Anyway, I discovered him a few years later when I saw 1999’s Election. What a picture … I still don’t understand why people find Tracy Flick annoying. It makes no sense. And, come on, Reese’s performance was incredible. The scene where Tracy tears down the himbo’s posters compares to the Possession subway scene.

BOOB TOOB TIME (2020-present Apple TV Plus): Currently, Witherspoon is one of the leading ladies on Apple TV Plus’s The Morning Show. This season’s storyline has Reese channeling her character in 1996’s Freeway as the FBI closes in on her for her involvement in January 6. Yes, that’s right. Imagine an Aaron Sorkin script interpreted by Tommy Wiseau, and you have The Morning Show. It’s so good.

Back to Alexander Payne: The Holdovers, his newest movie, lacks some of Election’s satirical edge, but that’s okay. This movie is still very funny, but it’s more sincere than Election. I think that’s because Payne genuinely cared for these characters. The snowy New England setting certainly set the right vibes as well.

The movie focuses on three misfits who get left behind for Christmas break - a professor, a cook, and a student played by Paul Giamatti, Da’Vine Joy Randolph, and Dominic Sessa - respectively. And holy cow - all three took me on separate yet equally wonderful emotional rollercoaster rides. Paul Giamatti had me laughing one minute and in tears the next.

This movie will probably join my annual Christmas movie rotation. It’s out on demand now, but go see it in the theater! The cinematography is beautiful on the big screen.

Quiz Lady (2023 - Hulu):

Speaking of Alexander Payne, his ex-wife, Sandra Oh, stars in Hulu’s Quiz Lady with Awkwafina and Will Ferrell. Awkwafina and Ferrell showed incredible restraint (for them) in their performances, allowing Sandra Oh to shine. It’s a solid, easy comedy to throw on when you’re looking for a distraction.

Burial Ground (1981 - Arrow Video):

Burial Ground is my Fall 2023 cult movie pick. It’s my favorite Italian grindhouse zombie movie (it’s more competitive than you’d think) for reasons unrelated to zombies. You see, there is a much more interesting B-story about a mother and her 8-year-old son. Naturally, a 25-year-old man plays the son and, like any 25-year-old, he really wants to have sex with his mom. I can’t describe the feelings I felt during this film because I had never experienced them before. Let’s just say it’s unique.

When Evil Lurks (2023 - Shudder):

When Evil Lurks is a really clever, unique spin on possession movies. In this universe, possessions become an everyday experience the townspeople just deal with. It’s been happening for so long that there are established rules for how to handle possessed people. But like real life, an incompetent bureaucracy ignores the rules in favor of quick, poorly thought-out solutions. It’s impossible to ignore the parallels to how governments handled Covid-19, but it’s still a fascinating take you likely haven’t seen before.

You’re going to get grossed out and scared, but it’s a fun ride. I highly recommend When Evil Lurks.

Stop Making Sense (1984 - Remastered in 2023 by A24):

I saw the A24 Stop Making Sense IMAX Experience in September or October, and wow! What an experience! My face hurt by the end because I was grinning the whole time. If it’s still showing in a theater near you, go see it now and prepare for a euphoric, joyful evening.

Priscilla (2023 - A24):

I did not enjoy Baz Luhrmann’s Elvis (2022) because it felt bloated and incomprehensible. And Tom Hanks’ performance was …. umm … shitty. But Priscilla is a real treat. The superficial beauty will pull you in, yet you’re still constantly reminded of the layers underneath that Tiffany blue aesthetic. Once you pull back the layers, you get an honest, sincere depiction of a difficult marriage. I felt sad and angry throughout the film, and I suspect you will too.

FYI: This movie has a lot of funny scenes! Don’t be scared to laugh.

May December (2023 - Netflix):

May December is my favorite movie released in 2023. Where to begin with Julianne Moore? I love the lisp, and she delivered her lines so well. Plus - watching Natalie Portman absorb Julianne’s character felt so satisfying. You can’t beat the script, either. The dialogue is smart in a multi-layered way and oh-so funny. The camp is turned all the way to 11.

You’ll be having a blast up until Todd Haynes finally lets Charles Melton loose. Throughout the movie, he dances this fine line between an adult man and a traumatized child. It all comes to a head near the end of the movie when Melton’s character tries to understand what happened to him. This scene will break you, and you’ll feel horribly insensitive for laughing. It’s a brilliant performance.

Oh, and the score! The dramatic piano bars are expertly timed. I love it when a score moves the narrative forward (ie Halloween and Jaws).

CineVibez Magazine Issue #3 will dive into the awards race, but I’ll call it now - May December deserves Best Picture. Charles Melton deserves Best Supporting Actor.

Saltburn (2023 - Prime this December):

Saltburn really, really wants to shock you. Emerald Fennell goes to great lengths to upset pearl clutchers, but to what end? I don’t really understand what she intended to say. My best guess is she was going for an anti-Eat the Rich message (quite literally in some scenes), but rich, aristocratic families aren’t the most sympathetic protagonists.

Promising Young Woman was missing an edge, but Fennell overcorrected in her sophomore outing. If you must watch, you’ll likely feel disoriented and horny, followed by long stretches of uncomfortableness. The final dance sequence is a treat, though.

Dr. Sleep (2018 - MAX):

Mike Flanagan loves adapting other peoples’ work. He kind of reminds me of David Gordon Green in that way. The problem here is that Dr. Sleep is a great Stephen King movie adaptation, but it's a terrible sequel to Stanley Kubrick’s The Shining. Don’t get me wrong - it’s a gutsy move I respect, but it didn’t work. You just can’t go from the greatest film of all time to bohemian CGI-soul suckers. Flanagan should have adapted the book or made it a sequel to the Mick Garris TV movie that is tonally more like King than Kubrick.

By the end of the movie, I felt satisfied in a way I feel satisfied by a TV show that reveals some season-long secrets. You’ll receive a lot of information that you can think about and process, but that’s really it. You’re not going to learn much about yourself after watching Dr. Sleep. I certainly don’t think it will get the Room 237 treatment.

What’s Next?

I’m already hard at work on CineVibez Magazine Issue #3. I’m going to explore the vibes of (almost) all the award contenders. Keep your eyes peeled for it sometime around late December. Until then, check out my Letterboxd to see what I’m watching in real time.

Happy Watching,

Murray

Introduction:

Today, I want to focus on two new relationship dramas (that happen to be two of the best films of 2023): Past Lives and Passages. The former shows us a healthy couple navigating deep-rooted, complex emotions with respect and empathy, whereas the latter … well, the latter does not. Yet, despite their differences, you will leave both films feeling at peace and satisfied - but also a little like you reawakened something you’re nostalgic for. You might feel sad after both movies, but there’s a new, wiser perspective you gain that softens that sadness just a little bit. Hollywood hunk Jake Gyllenhaal has the perfect word for today’s vibe:

The Aesthetic:

Both films have scenes depicting what I call “the David Gray aesthetic.” Here are two David Gray videos for reference:

Please Forgive Me, David Gray

Babylon, David Gray

The David Gray aesthetic means you’ll probably see some people walking in the rain. There will be reflections in puddles. You may see someone aimlessly cycling down a city street at night. There will be lots of goodbyes.*

I’m not suggesting that these movies lack substance. It’s very much the opposite. During and after both films, I experienced multilayered emotions. But having said that, I’m a little shocked that neither Ira Sachs nor Celine Song chose a David Gray song for their soundtracks.

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Deep Dive:

Normies just need an aesthetic and a one-word vibe to decide whether to see a movie. But you guys … you guys aren’t most people. CineVibez subscribers (a subscription is free, so get one) are obvi cinephiles through and through. You guys want more. Well I’ve got more, baby:

Past Lives (2023), Celine Song

Celine Song’s standout debut, Past Lives, follows Na Young, a South Korean girl who emigrates with her family to the United States. After moving, Na Young’s mother changed Na Young’s name to Nora to assimilate. Unfortunately, Nora left Hae Sung, her girlhood crush, behind as Na Young. It takes decades, but Hae Sung eventually finds Nora on Facebook. They briefly reunite on Skype, but Hae Sung’s time with Nora always seems short-lived. Years later, the two must confront their complicated feelings when Hae Sung visits Nora in New York.

You guys, this movie is so good. As Na Young/Nora, Greta Lee nails some tough, intimate scenes with John Magaro, who plays her husband Arthur. And in turn, Magaro’s Arthur handles the delicate parts of Nora’s relationship with Hae Sung so well that it makes you want to be a better person. But his pain, oh man, I felt every inch of his pain. The acting was incredible. And Hae Sung’s uncomfortableness around Arthur was so good. Every character’s perspective was given the attention and respect they deserved; Celine Song deserves a lot of credit for that.

Anywho, In the most general of ways, I’ve been in Nora’s position. I’ve been in Arthur’s position. I’ve been in Hae Sung’s position. I think we all have.

In fact, universal vibes are great side vibes you may feel during Past Lives. Side vibes are potential vibes. Some may feel these vibes, others may not. Anyway, you may feel more connected to the universe and all living beings after seeing Past Lives. And I call this a universal vibe. It’s all about feeling connected.

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Is In-Yun a Vibe?

There is a great scene where Nora woos her husband with a story she says Koreans tell to seduce others. The story is about “in-yun,” a Korean word without an English equivalent. Celine Song curated a really cool issue of A24’s magazine about the idea of “in-yun.”

Song likens “in-yun” to the Western concept of “destiny,” although the two words have different meanings rooted in their respective cultural value systems. Western ideals see ”destiny” as something you need to reach out and grab. You make your own “destiny.” But “in-yun” is something that happens to you. You cannot stop it, and the only thing you can do is accept it and figure out how to get through it.

Another way to define “in-yun” is to think of it as how the universe puts two people in the same space and time, against all odds, whether they like it or not.  For example, I have a deep “in-yun” with my wife, but my “in-yun” with someone I bump into on the street is much lighter. Song wrote that “in-yun” is spoken regularly in South Korea, like “wow we’re totally in-yun.”

Greta Lee, a.k.a. Nora, calls “in-yun” a pre-ordained bond that tethers two souls together with an invaluable thread that permeates all space and time.  That’s some heavy stuff, so let’s go with something less intense.

I like Grace Yun’s definition the best. Yun, the Past Lives production designer, said “in-yun” is a person or a thing that makes me feel past, present, and future all in one moment. Now that is most definitely a vibe. And here’s the craziest part: I felt past events almost simultaneously after the movie, most certainly triggered by watching Past Lives. And, as always, a flood of memories comes with a high probability of melancholy.

My fave Letterboxd review of Past Lives comes from The Bear’s Ayo Edebiri:

“You know when a movie is directly made for you to feel ripped apart into 1 million pieces but that feeling alone makes you feel like a complete person and then you get to drive alone home and cry to Radiohead? Yeah :) yeah one of those ones for lil ol’ Edebiri (me!)”

Past Lives is a great title, by the way. Not only does it reference how we change over time, but it also speaks to past relationships. And you know that feeling when you combine friend groups or your girlfriend meets your parents for the first time? You may feel those vibes, too.

Passages (2023), Ira Sachs

Past Lives is about personalities fated to intertwine, whereas Ira Sachs’ Passages is about one personality everyone avoids. Despite that distinguishing factor, both movies have similar vibes: you still feel longing, sadness, and melancholy. You’re even going to get a little “in-yun.”

In the A24 ‘zine, Celine Song distinguished “in-yun” from the Western concept of “destiny.” You make your own “destiny.” But “in-yun” is something that happens to you. Passages is a great representation of the Western idea of “in-yun” or “destiny” by showing Franz Rogowski’s Tomas selfishly force himself in and out of two relationships.

When the movie starts, we are thrown into the middle of the marriage between Tomas and Martin (played by Ben Wishaw). Using no tact, Tomas tells Martin that he recently slept with a woman. But this isn’t really a confession. Instead, Tomas sounds like Donald Trump bragging to Extra’s Billy Bush.

As the marriage falls apart, Tomas spends more and more time with Adèle Exarchopoulos’ Agathe, the aforementioned woman. When her patience grows thin, Tomas goes back to Martin. The cycle continues, leaving pain and destruction in Tomas’ wake.

Tomas shows us a messed up version of Western “in-yun” when he’s yo-yo-ing between Martin and Agathe. And this isn’t something that simply happens. Tomas forces his way back into both relationships for attention and personal gain. His drive distinguishes this film from Past Lives: fate is no longer part of the equation.

But the melancholy vibes are still there, almost solely due to Ben Wishaw’s incredible performance. You see the longing for the past in his eyes. Each facial expression reveals exhaustion and defeat, but a desire for what once was.

Post-Script:

If you want to feel a little melancholy or reminisce about the past or “what-ifs,” check out Past Lives and Passages. They’re both great movies.

FYI: It’s been over a month since my last newsletter. I’ve been really busy! But anyway, I’m going to shoot for weekly posts going forward. I’m also removing all paywalls from my premium content. So, Mom, you should be getting a refund soon.

FYII: I’ve been enjoying R-Rated Comedies this summer. No Hard Feelings, Joy Ride, and Strays were really fun movies. They did average to a little below average at the box office, but I think they’ll find audiences on streaming.

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Welcome to CineVibez HQ, the landing page for my weekly-ish newsletters about movies. CineVibez, my flagship newsletter, has a simple premise: I write about the vibes I get from recently watched movies.

Why Vibes?

The world is tough right now. But, I’m starting CineVibez to help make your life a little easier. I truly believe that movies, more than any other art form, have the power to alter our emotional states. If you’re anxious about a big presentation, scroll through CineVibez to find a relaxing, chill movie to calm your nerves. Or, maybe you’re feeling aimless and untethered to the world. Just check out CineVibez and, eventually, you’ll find a movie recommendation that will ground and motivate you. The possibilities are endless, just like the endless onslaught of emotions we deal with on a daily basis. But, whenever you need a vibe shift, CineVibez has you covered.

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