The truly terrifying THE WAILING plays NYAFF on July 19

With THE WAILING playing NYAFF here is my review from when it hit theaters

The WAILING has vexed me since I saw it last week. I have been writing and rewriting the review in the hope of getting it to the point where I was happy with it. The question with the film is how much do I reveal.

To be honest it’s very easy to say that for 130 of its 156 minutes it’s one of the best horror films you’ll see all year, possibly ever.  The trouble how to I deal with the last 20 minutes of story, where something happens and well its a head scratcher? I suspect  by reviewing the film and talking about the end at the end.

The plot of the film has the residents of a small town going nutzy fagin and killing themselves and each other. The people seem to be insane and are covered in boils. Stories are rampant that it’s the doing of a weird Japanese guy living in the woods. Many people insist he is a ghost or worse. A local police officer is drawn deeper into the mystery when his daughter begins to change and seems possessed by something. When medicine fails a shaman is brought in and then things get weirder.

It’s just f-ed up visceral stuff and it gets your heart racing.

I loved most of THE WAILING. The film freaked me out, made me laugh, made me hide my eyes and it made me wish the film would break so I could get the hell out of the theater and the head space. It is most of its running time one of the best horror films I’ve ever seen.

It is a finely crafted film which gives us just enough detail to keep us connected and just enough uncertainty to make us deeply disturbed. For most of its running time it keeps us on the edge of dream logic where we know enough to go with it despite being bothered by what we are seeing not jibing with reality. We are trapped in our hero and the towns waking nightmare and there is no escape. It is the sort of ghoulish twisted delight where you want to run but at the same time you have to see what happens. Watching it I wanted to shut the film off and take a breather.

It’s just wrong in the best possible ways. It’s also frequently funny, in the right ways.

The trouble is that there is a point in the last twenty minutes where the spell is broken and soon after it seems like someone grafted the plot from another film into this one. Yes it remains tense, but the film goes to a dead stop in logic and reasoning - especially on its own terms. The ethereal dream logic is gone.

Nothing is as it was before… what we are told is the new situation in no way fits what with what before. This isn’t like a caper film where details are left out and we then see them from another POV later, this is whole scale reinvention of characters and situations. And while the film has no trouble coasting  to the end credits with enough good will that I still really love the film, my desire to let the world know how great the film was gone. I wanted to discuss the film not because its grand masterpiece but because I wanted to know what the hell went wrong with this one twist.

When I say that the twist is a problem I mean it’s a HUGE problem that several hours of discussion can’t explain away.

I telling you about the two hours of discussion because two days after I saw the film, friend and occasional Unseen Films contributor Alec Kubas-Meyer saw it. A texting conversation turned into a two hour discussion during which we hashed out everything that happened in the last twenty minutes. During the discussion I found most of the minor plot questions I had could be explained away depending on how you chose to view the film. Yea, they can be considered niggling problems but they are not catastrophic. Our discussion sorted out any problems pretty quickly but there was one thing that we can’t explain away.

The event I am talking about involves a twist in the plot that would work except that director Na Hong-Jin cut the film in such way as to make clear that the twist couldn’t or shouldn’t have occurred. It’s kind of like watching a one of the old movie serials that cheated. You know where the chapter ends with the hero heading for certain doom only when you come back the next week they escape using a means that was clearly not an option the week before. Hong-Jin gives a twist that by implication of the editing cannot possibly have happened. It’s so egregious an error that two hours of discussion can’t make it go away. (And know Alec and I tried to make it go away- as has everyone I know who has seen the film)

Don’t get me wrong I love THE WAILING, and it will almost certainly end up on my best of 2016 list because it’s such a f-ed up visceral punch but there is this one thing that keeps me from saying its one of the best horror films of all time. I’m hoping that repeated viewings and time will soften my disappointment and let me put the film where it belongs. For now I feel like I’ve seen the Mona Lisa but had to keep dancing around a woman with a big hat to see it.

Reservations aside- the film is a must see. A visceral kick in the gut that is very much its own thing.

THE WAILING  opens in theaters Friday

40 WATTS FROM NOWHERE opens July 17

Sue Carpenter started a pirate radio station in her living room in the late 1990's and changed the lives of everyone who heard it. 

This is the rise and fall of a two pirate radio stations KPBJ and KBLT which ran out of Carpenter's living room. The station had DJs who were members of various well known groups and it played the music that they wanted to hear. The station eventually ran afoul of the FCC but for a few years it made music and delighted fans.

This is a pure nostalgia trip. Exploring not just the life of the station, the film delves into the why and hows that successful radio stations exist. Why do some stations have rabid fans and others don't? 

As a radio guy I found this film fascinating. I discovered so much I never knew and finally understood why certain things clicked with me. It made me realize that given the opportunity I and my friends might have stormed the airwaves ourselves. 

What an absolute delight.

Highly recommended.

Bird of Paradise (2025) NYAFF 2026

This was not what I expected.  This is a sweet little film that is not what you think it is. A serious comedy about a woman who decides to get out of the routine by taking a pole dancing class. In it she finds a part of herself she thought she lost.

There is no doubt this hits a lot of the expected notes but at the same time the film keeps the tone exactly right. Neither overtly silly nor deeply serious this is just a film about a woman trying to find her better self.

I was delighted.

To be honest this was not on my list of films to see for NYAFF, but since I was given access to it I figured I try it for a few minute. As the end credits started to roll I realized that I had lost track of time.

I love finding unexpected gems.

 Recommended.

Suzuki=Bakudan (2025) Japan Cuts 2026 Fantasia 2026 plays Saturday at the Japan Society

A seemingly drunk man is arrested for beating up a vending machine. As he is integrated by the cops he offers to trade his being released for information concerning a bombing that his psychic sense is telling him about. The cops think he’s nuts… until the bomb goes off. Thus begins a cat an mouse game as the police try to prevent additional bombs from going off.

Hands down this is one of the best thrillers you’ll see all year. Sure some of the stuff outside the police station is a bit standard compared to the rest, but for the most part his is a taut and compelling a film as you will see. Its one of the best films at Japan Cuts and probably one of the best films at Fantasia as well.

What makes this work is the cast. Everyone is fully engaged and everyone is at the top of the game. While we do get some scenes of the cops dealing with trying to find the bomb, the meat and potatoes of this film is the interrogation/game with the drunk guy. (I am being intentionally vague because I don’t want to say anything).  I can’t tell you how good these scenes are and I completely understand why the cast won so many awards.

I can not stress how great this film is.  If you can you need to go buy a ticket and go.

This will be on your end of the year list and one you will talk to your friends about for hours.

Brief thoughts on Horsegirls (2025)

As a mother  (Gretchen Mol) deals with a not very good medical diagnosis, she worries about what will happen to her autistic daughter (Lillian Carrier).  However there maybe hope as the young woman gets a job at a Halloween Store and joins competitive hobby horse dance team.

This is a nice little film. While the film hits many of the expected notes for a film like this the cast sells this. Both Mol and Carrier are delights and we will gladly follow them anywhere. The pair makes this a small gem of a film that is worth your time.

Recommended.

Shaolin Soccer play NYAFF on July 17

MY IMDB REVIEW FROM BEFORE IT PLAYED THE US

Good but not great

You either accept this movie as it is or you don't.

This is a very silly movie about a group of brothers who form a soccer team and find self respect in doing so. Its basically a kung fu movie done as a soccer film.

As I said, its very silly, for example the villain's soccer team is called Team Evil. The film is knowing and cute and sweet and funny...

...and I didn't care for it.

Don't get me wrong, I laughed and I smiled and I thought it was way too long and occasionally over done. Perhaps this plays better in the "short version" that Miramax was going to release in the US which was to be about 20 minutes shorter then its original, and apparently now restored running time. To me its an hour long story, not two.

What boggles my mind is that the film is going to get any sort of real release here. Granted the release date has been changed several times, which has caused the director and star to be on TV shows promoting a film that was now months away.But I can't help but wonder if someone really likes the film or if they think the combo of soccer and kung fu is going to play well in Peoria or at least to Peroria's help. Frankly its not that good and no better than any of several dozen comedies that Hong Kong film makers have produced over the years.

Then again I know this has been a big hit on the festival circuit and I've been reading about it for a while in articles by people who really like it, so what the hell do I know? If you like silly try it.

Who knows it may strike you as something wonderful, as for me I'm simply going to remain puzzled.

No I'm going to watch Bend it Like Beckham again.

Tha Rae-TheExorcist (2026) NYAFF 2026

Catholic priest teams up with spritual healer to take on a demon that has taken over a former priest. Of course there are complications.

This is one wild film. The opening scene has something that I never would see in a Catholic exorcism, namely a Catholic priest killing the possessed because if they go longer than three days they can't be turned back. That was a new twist I never expected.

To be honest I'm mixed on this film.  It's not the plot  or the sequences (there are some great things here) rather it's the two leads. The two young men don't have and gravitas. They have no weight what so ever. I never believed that they were on screen for any reason to look good. I would love to see them in a comedy, but in a drama or a horror film they seemed in over their head. They were never a match for the evil despite that it was written that way.

While not bad, this isn't what it should have been.

A disappointment.

Brightest Sun (2025) NYAFF 2026

Tetsuya Nakashima's latest film is a bleak murder mystery/ meditation on parenting, particularly parenting a special needs child.

The story begins at a funeral for a private detective no one liked. As the narration says he was a guy who would be better off dead. The man was murdered and as courtesy his boss puts one of his men on the job of looking into it. He's told to take a trainee with him, a single mom hoping for better life. As the film progresses the link to a young man with spina bifida dorces the pair to cosider their lives and their track record as parents.

This is a dark little film where life is bleak and people don't magically change. Hidetoshi Nishijima's detective never really lightens up he just shifts his pain around. It's a unique portrayal  of a man whose soul is crushed by life.  He is operating in a dark world (everything is often tinged with blue) where no one is really good and everyone is sarcastic to hide the pain. He just drinks and glares and radiates all the pain in the world. He isn't hard boiled so much as hard burnt.

The plot, having to do with a kidnapping years before, is a bit convoluted, especially at first when the film is introducing everyone. It settles down and we are dragged along by the tail, though if you're like me you are going to want a second viewing in order to really put it together.

I really liked this film a great deal. 

One of the best films at this year's NYAFF, it is one of the few that feels like a solid meal. 

Highly recommended

Deep Quiet Room (2025) nyaff 2026

In DEEP QUIET ROOM a man tries to come to terms with the suicide of his pregnant wife. Devastated at the loss he tries to figure out what drove her to take her life and the life of their unborn daughter.

The film is a documentary like low key look at grief and the things unsaid. Watching the film the first time I was rocked by the film and its expression of grief. The fact that the film is carefully modulated and that there are no explosive expression of grief or rage or pain is somehow deeply disturbing. 

When the film ended, I sat staring at the screen pondering what I had just seen and pondering if I wanted to do the scheduled interview for the film since the film exists in such a painful place.

And then I pondered the film again.

And I pondered the film some more… and I started to like the film less.

Yes, the filmmaking creates a definite mood everytime you watch it, but the narrative doesn’t quite work. Indeed, the film kind of cooks the books.

The biggest problem with the film is that the wife is almost entirely a cipher. We only get to see here from the point of view of the husband and what we see is limited. She doesn’t say much beyond hitting certain notes. She does react to things, but it isn’t always clear to why she is reacting as she is because there is too much un said for us to tryuly know her. Of course, it’s hard to understand since we are seeing it from his perspective and he doesn’t know what he doesn't know (or what we as an audience need). The bigger problem is we never quite see why they are together. What attracted them to each other? Why did they fall in love. Why does he care other than she is his wife? The opening sequence of their meeting in a library says almost nothing other than it shows their meeting.

A bigger problem is the film tries to give clues to things that we don’t need to know. For example, and the moment that I realized that something seemed off, is the scene where the husband is given a passage in a book to read. In the scene he is told about how working on the book and that passage in particular triggered repressed memories. The discussion goes on to explain that the wife had tried to commit suicide as a teen and had received a brain injury that not only injured her memory but made it so things could be confused. The exchanged bothered me when I saw the film but the film was so strong it pulled me back in. The trouble is the exchange haunted me after I saw the film and made me re-evaluate the. Something seemed off. It wasn’t so much the earlier suicide attempt or the repressed feelings but the memory loss and confusion. We don’t need to know that. There is something about that, especially coming so late in the film, that bothered the hell out of me. Why is it there? maybe to give him an out, that perhaps the suicide was the result of confusion?

It bothered me so much that I went back and started to watch the film again with an eye toward the construction of the narrative and I was not as in love with the film as I had been. Its not so much that things are not said, which is fine, after all we don’t say everything to our friends who don’t need explanation, rather, I noticed that we were not told about things we should have been told about – like why these two are together. Where the characters and their interactions are mostly fine, there should be clues about details of their life together – like what they saw in each other- I say that because most of what we see are tense moments. We only see things that effect the narrative and nothing that would bleed out as a real moment in life would. Even while we are seeing things from on POV  we never see the happy. We never see a random moment only something that ultimately figures into the story. And on the second viewing it is very clear how much of a cipher she is.  Watching it play out a second time I realized exactly how cherry picked the moments were.

After the second viewing the disturbing viewing experience was there but it was tempered by realizing how much we were being manipulated. I didn't like it. I was no longer watching life but a kind of polemic.

I went from really liking the film to thinking its just okay.

While the film is a disturbing ride, and it's well acted and well made, I’m not sure if its good  or not. I’m leaning toward not so much.

BURN (2025) Japan Cuts 2026

A young woman escapes her family and religious cult where she was regularly beaten into a life on the street where she is abused.

This is a dark memory play, with flashes of magical realism, related to us by the young woman at the center. This is a kind of feel bad film with a few rays of hope thrown in. I winced regularly. 

One of the best films I've seen at this year's Japan Cuts BURN makes taking a trip to the darkside something you want to do. Sure you don't want to live the life seen here, but the tale is so brilliantly told that you will not mind spending a couple of hours being there. I say this because I saw this with in quick succession of other down beat films playing at Cuts and NYAFF. I should have wanted to flee into the night, but BURN is so perfectly told that I kind of wanted to go again when it was done. (I'm a glutton for punishment)

If you want to take a walk on the dark side see this film.

Ichi the Killer is playing NYAFF on July 18

This is my IMDB review- which was written whe I had only seen a couple Miike films:  

What am I watching?

I've only watched a couple of Takashi Miike's films and I'm not sure what to make of them. They are technically well made but rather haphazard in most other areas. I tend to walk out wondering what it was all about.

Ichi is about a missing crime boss and the money that went with him. The story centers on the search for him by a man who will do anything to find him.

While I can admire what I was watching on a technical level, I can't really say that I really cared about anything that was going on. I think my attitude is best explained by my admiring all of the pieces, but not caring about the whole. I liked the look of things, say the unique way they have for questioning a rival gang boss, but I can't really say that the sequence really served any purpose, well not in the way it seemed to degenerate into an exercise in, some what funny, cruelty.

The film is nasty and graphic and funny, often in the "should I be laughing at this?" sort of way. Its far from for all tastes, but I would hope that people are not coming upon this unaware.

5 out of 10.

brief thoughts on Rescued (2026) Dances with Films

This is a film about a homeless man (played by writer/director DJ Hale)  as he hooks up with a doberman and and finds a to get off the street.

This is a solid and well acted film. While it doesn't have any new bells or whistles it has a great cast which sell the story and make us want to take this trip.

If the film has any real issues it's that the film runs over two hours which is probably a bit too long for this. Still I stayed engaged, and I was given access to an alternate cut of the film with a different ending, which I watched. That says a great deal about the film since I watched it twice back to back. (I have no idea which is the better ending) 

Worth a look

4 Tigers(2025) NYAFF 2026

 

Three men and a woman with special talents try to get their hands on Japanese gold.

If you like off Hollywood films then buy a ticket and take a ride because this is as off Hollywood as you can get. A mix of action, war time intrigue, comedy, Thai Nationalism, musical, spaghetti western, a behind the scenes of the making of a movie tale and like 15 other genres. This is a film that just does whatever it thinks will work at that moment. The result is a film that will leave you staring and slack jawed at the insanity on the screen.

Is it perfect?

Probably not. It is however unlike anything you’re likely to see anywhere outside of Thailand.

This film is most definitely a blast – and a throw back to the early days of the New York Asian Film Festival.

As I said above- buy a ticket and take a ride.

Nightflower (2025) Japan Cuts 2026

A mother on the run from debt meets up with a woman who kick boxes and forms a family that tries to be normal by day while dealing drugs at night.

A dark drama about finding the people you need while dealing with the darker side of life. This is a beautifully acted and perfectly made film that keeps us on edge for the characters while making us fall in love with the people on the screen.

 This film is an absolute gem. This is exactly the sort of film I started Unseen FIlms to highlight, a film that is so much better than its write up would suggest. This is absolutely a film you need to see at Japan Cuts because it is going to haunt you long after other bigger films have faded.

Just be prepared to be put through the ringer.

Ryan’s Babe (2000)

With Christopher Nolan’s latest, The Odyssey, on the horizon, I wanted to revisit another epic journey. One filled with strange encounters, unexpected detours, and a protagonist who spends most of his adventure looking utterly confused. And don’t worry, whether you’ve seen it or not, you’ll be just as perplexed. 

It’s not Homer’s Odyssey. It’s Ryan’s Babe. Courtesy of our good friends up north in Canada. 

How does one even begin to explain Ryan's Babe? Over the years, it's become a talking point among bloggers, critics, and YouTube reviewers alike, all seemingly attempting to answer the same question: what the hell is going on?

Released in 2000, Ryan’s Babe was written and directed by Ray Ramayya and filmed in Saskatchewan, Canada. The film largely disappeared after its initial release, only to be resurrected years later by cult movie fans who stumbled upon it and collectively decided that the rest of us needed to experience this too.

Let’s get into the plot. Or, rather, a series of things that happen. Because that’s exactly what this movie is. It’s literally a collection of scenes strung together with little to no connection between them. Lather, rinse, repeat.

Our main character, Ryan, is trying to get home. Home from where? Who cares? We never learn that. He just wants to see his babe, or more accurately, a woman who can’t seem to shake her feelings for Ryan despite him spending their entire shared history showing little interest in her.

Things only get more confusing from there. This movie goes into Inception levels of flashbacks. You’ll get a flashback within a flashback, followed by a transition that makes you think you’ve finally returned to the present day. Nope, wrong. You’re still in another flashback. WHAT?!

As if that wasn’t enough, this entire movie is ADR’d to all hell. To the point where there’s a scene in which a character appears to have two completely different actors’ voices coming out of his mouth.

We meet new characters, they disappear. More new characters show up, they disappear too. There are so many different storylines packed into this that it feels like someone accidentally condensed an entire season of television drama into a 90-minute movie.

Oh, did I say drama? Because judging by the movie poster, you’d think this was some goofy road-trip boner comedy where Ryan takes a zany wrong turn, somehow ends up in Las Vegas, and Snoop Dogg randomly appears halfway through to dispense life advice.

I’m completely making this up, and yet it somehow feels no less plausible than anything that actually happens in Ryan’s Babe.

Things that happen to our main character:

• He trades his car with a couple stranded on the side of the road. The wife complains that she hates the shade of her husband’s green car. It’s blue. Not green. Blue.

• He gets kidnapped and drugged by a group of cheerleaders because they’re convinced he’s the man who attacked their friend.

• He befriends a bartender by quoting Homer. The bartender immediately decides Ryan should work with him at a strip club so they can meet women. Ryan then hooks up with an older widow who becomes interested in him because he reminds her of her late football-player husband. After they sleep together, she dies. Ryan leaves.

These are just a few examples, because why spoil the entire thing? This is a movie that needs to be seen, then talked about, then probably seen again because you’ll have no idea what you just witnessed.

Oh, and because subtlety was apparently never on the table, in an early scene Ryan is literally reading from Homer’s Odyssey.

While Ryan’s Babe won’t be allowed in the No Homers Club—because we let Homer Glumplich in, and we’re only allowed to have one—it does earn a special place on the Mount Rushmore of all-time head-scratching, bizarre films.

Bravo, Canada.

Brief thoughts on Undertaker 2 (2025)

When a grandmother is struck by lightning, dies and then returns from the dead,  it forces everyone is a small town to ponder existence.

This film did not work for me. Yes, I know this and the previous films were mega hits, but this film didn't do anything for me.  I was told that I didn't need to have seen the first film to have this make sense but at the same time I kept feeling I was missing something.

Yes the meditation on life and death and everything in between is interesting but there was something about the tone of the film that never clicked so I never fully pondered what the film was trying to say.

No, it isn't bad, but it never grabbed me.

Fantasia Starts this week- The contractually obligated curtain raiser (no- really its true- they won't let me cover if I don't post this)

 

The always lovely Fantasia start this week, and the world is a better place.

One of the best festivals in the world it is a fest that while it focuses on mainly genre films and those not from Canada, it also makes damn sure that great films that might get overlooked will get their due. I say that because this year there is a killer film called TIGHT LETTUCE that is about a son trying to help his addict father. While the film has very serious subject and is heart breaking at times, it is also wickedly funny to the point that I think the big “important” festivals will be frightened by it.  Fantasia fears nothing (not even a papercut and lemon juice)

I love this festival. Almost two decades ago film director Ted Geoghagen pulled me aside and told me I had to cover the festival. It is a piece of advice that I will never be able to repay him for.

If you are in Montreal and love movies you have to go. (Someday I will)

As it stands now, I am waiting to wade into the festival’s goodness. I am planning on covering as much as humanly possible so keep reading.

Because the festival is not just premieres, I’ve already seen a typical person’s festival worth of titles. Below are links to what I’ve seen:

BAGWORM

BLADES OF THE GAURDIANS

BLAISE

COLONY 

GOZU - I am having issues finding my review of this. That said this is a must see from Takashi Miike since it's WTF nature made me fall in love with him as a filmmaker

IMPRINT

HONG KONG GODFATHER

KUNG FU is also playing this year's NYAFF after the screening at Fantasia (it plays the 16th). It is a knowing send up of martial arts cliches that demands to be seen with an audience. It smashes every cliche with glee. My review will run closer to the NYAFF screening - until then just buy a ticket and go.

PAPAYA

PONTY POOL

RECLUSE

REDLINE- I saw this ages ago in NYC at the Village Cinema and when I came out many of the guys who would become the Unseen Film Family were going in. That tells you this insane animated film is a must see- more so on the big screen where the films can blow your mind

SUSUKI = BAKUDAN look for a review this week tied to the Japan Cuts screening. This is one of the best thrillers you'll see all year as the police go head-to-head with a bomber. This is an absolute must see film

UNIDENTIFIED MURDER is playing NYAFF. This is a UFO-tinged puzzle box mystery with an all over the place tone.

WE ARE NOTHING is playing NYAFF soon. Herman Yau gives us his best film and his most soap opera like. The police investigate a bus bombing (no lie this part is some of the best filmmaking you'll see all year) while we are treated to the lives of the victims (pure pot boiling soap opera that will make you roll your eyes). The police procedural is why this is a must see.

And I need to put ATTACK ON PARADISE on your radar. I need to see this again because... well it kicks ass. The plot has a man coming home from prison and just wanting to be left alone and take care of his mom. But the gangs have taken over the apartment block and the police want to storm it... and what is a guy who loves his mom going to do? A review when the embargo drops but until then buy a ticket and bring a seat belt.

The festival opens Thursday and runs into August. Ticket and slate information can be found here.

And please keep reading because the reviews will start hitting when the embargos drop.

Mr Hero (2026) NYAFF 2026

 

A mega hit in Vietnam, MR HERO didn't work for me. 

The film is the story of a taxi cab driver who needs money badly. His daughter is sick and without a transplant she is going to die. In desperation he stages a fake rescue, hoping to get money from people on the internet. But the lies complicate everything.

A mix of social commentary (it's a brutal commentary on the health care system & the internet), comedy, soap opera and feel good family films, the film is tonally all over the place. What am I supposed to feel? I'm not sure. Its not that there is problem mixing tones when they are blended correctly. The problem here is its not always blended and I frequently felt out of sorts.

Worth a look if you're curious, but it didn't work for me.

Montreal, My Beautiful(2026) NYAFF 2026

Joan Chen stars as a Chinese immigrant to Canada who is trapped in a bad marriageand unhappy home life. When she meets a younger woman from Canada it begins a friendship that becomes something more.

This is a good, if very by the numbers tale. We've been here before in other stories and as a result we can more or less guess how this is going to play out. While Chen and the cast pull us in and keep us interested (even if some look the wrong age for their roles) so we will happily travel down this familiar road again.

Don't get me wrong I enjoyed the ride, I just wish it had more weight.

Worth a look.

Brief thoughts on Mockbuster (2026)

This is the story of Anthony Frith, who talks his way into directing features for Asylum Films despite not having any past in making features. 

For those who don't know Asylum is studio that makes homage (aka ripoff films) that piggy back blockbusters (New Toy Story, Alien Disclosure Day, Master of the Universe, Immortal Combat). They partly assume that the films people will pick their film by mistake, but mostly they know that their fanbase will try to watch the films because they will go witth the fun and perhaps so bqad its fun element and enjoy the movie. 

This is a wonderful look at Frith's journey to make his film and the story of the studio. Its a film about people who are in love with the art form and the art they make. (yes Asylum's films are art-they are so much fun). Its a film that makes us smile  because everyone is having a good time doing what they are doing.

This film is an absolute delight.

High recommended.

MOCKBUSTER is currently in select theaters and is on VOD.