Ghost in the Cell (2026) hits digital Tuesday

Joko Anwar's horror comedy made me go "holy geeze..." out loud to no one in particular. I say that because this is the sort of film that is going to have you talking to the screen.

The plot of the film has a journalist being sent to prison for murdering his boss. The authorities think he did it in revenge for his story on corruption being nixed. The truth is the murder was the work of a ghost that attached itself to him when he was researching the story in Borneo. The ghost then begins to kill the inmates who have to find away to stop the ghost.

Wildly over the top, this film is an uneven mix of comedy and gore. While the film is tense, the tone is so light that there are no scares despite there being graphic killings and dismemberments. Its a film that is entertaining at every turn, even if it never gets the tone quite right.

I had a blast watching this. This film so so much ghoulish fun that I completely understand why this film has been winning awards at festivals across the globe- despite my quibbles it is that good.

If you don't mind extreme gore and like to laugh this is highly recommended

HONEYWELL (2026)

Young woman is killed and is give a chance to work he way into being sent back.

This is a solid little film that examines why we choose to live and why we go on. While this film itself isn't anything new, the discussions about life and death ring true and haunt you. When it was done I wanted to talk to someone about it.

Worth a look.

DEI (2026)

A bigoted man is cursed by a girl to swap bodies until he learns the errors of his ways.

This is a solid little film. While it isn't perfect, it does pack a punch.

Definitely one to keep an eye out for a festival near you.

GONDHAL (2025) is India's Oscar Entry

I want to state something up front since it will be key to how you feel about the film. Since this film takes place outside at night a lot of this film is dark. If you see this in a theater with weak projection something is going to be lost. I say that because it took me two go throughs to, I think, fully get everything that was going on.

Set in one night this is the story of what happens around the performing of  a ritual Gondhal, a ritual for a newly married couple. While most people attending the ceremony are there to be part of the happy evening, others have some other darker plans. This is not going to end happily.

This is a trip into the heart of darkness of some people who should know better. While that may not seem that way the first time through, knowing where this was all going to go made it seem so much darker... and a bit sadder. I'm not going to explain what happens since the fun of this film is being strapped to the sled and being carried along. 

For cinema junkies the film opens with a 25 minute continuous take.

I like the film. the fact that I saw it twice says a great deal. Currently in the mix for best International Feature at the upcoming Oscars, I'm not certain of it's chance. It looks great, but I know there are other films with a bigger budget for promotion, so it may not make the final nominations. Don't let that stop you from tracking it down because this is a solid film.

Recommended.

Reid Ramsey on Weird Kidz which hits VOD Tuesday

The Weird Kidz

Dir. Zach Passero

Every single frame of Zach Passero’s hand-drawn The Weird Kidz is an elaborate labor of love. But don’t misconstrue that, nothing at all about The Weird Kidz is laborious for the viewer. Passero spent eight years animating his hilarious coming-of-age horror flick that follows a group of preteens who go on a camping trip with one of their older brothers and his girlfriend. As they’re settling into their mysterious campground, they learn of a local mythic creature called the Night Child that comes out to haunt campers in this particular state park.

While it superficially has the setup of a slasher flick — and becomes much more of a conspiratorial horror movie — The Weird Kidz feels much more like Richard Linklater was tasked with creating an animated horror movie, and it absolutely delivers. The raunchy comedy and unflinching gore may be what is most noticeable, but at its heart, Passero is able to distill sincere wisdom about sibling relationships via his main character, Dug (Tess Passero), and his older brother Wyatt (Ellar Coltrane). This pair starts out as the typical teenage brother duo — nerdy younger brother and “cooler” older brother, although in this case cooler only means has a girlfriend. Over the course of the movie and the traumatic moments within, though, they deepen their understanding of one another and grow closer. 

As is often the case for horror movies, the trauma that takes place unveils a lot about the characters, but here, as humanity and empathy are stripped away right before their eyes, they realize not only how much they care for their friends but also how much they care for each other. Zach Passero’s labor of love is a film everyone should absolutely seek out.

Kung Fu Soccer (2023)

A girls soccer team plays in a tournament....

...and if you think I'm going to be able to tell you anything that happens you are mistaken since there is no real plot, nor characters, nor humor, nor performances. There really isn't much here execpt an attempt to ape the style of Stephen Chow in a series of shots that are so full of CGI as to make this film little more than a bad animated cartoon. 

The incredibly sad thing is this isn't some hack copying Chow's style but Chow himself who seems to have lost the ability to tell a cinematic story since his last film a few years back.

Who thought this was a good idea?

There is no plot development. Things just happen. We are left with a series of shots/sequences that are supposed to be full of magic and humor and it all falls flat. The wicked images mean nothing when every shot is CGI constructed so that there is something "jaw dropping" in it.

This feels like this is the highlight reel of a three and a half hour film.

It's kind of like watching an old school cartoon brought to life without the weight and depth and stritched to almost two hours.

I may have issues with Shephen Chow's films in the past but I can not imagine that someone of his previous skill and stature made this. Its so bad that all I can think is something serious happened to him.

Not recommended.

POTOPA / FLOOD (2025) The Slovak entry for the Oscars

In a small town in Czechoslovakia a daughter and her father butt heads. She wants to get out of the town and away from the farm. Her father wants her to stay. Soon however the choice will be made for them as the government plans to flood their valley to make a reservoir.

Based on what happened to the Rusyn people when the Czech government moved the population of several small towns to make a Starina reservoir; FLOOD is a film that mixes your typical generational clash film with a look at what do you do when your home and the part of the world that makes you who you are is going to be wiped from the world. It’s a film that uses the real world situation to make the generational battles and the potential loss of the younger generation moving away really hit home.

This is a well-made film that uses its mix of experienced and first-time out actors to great effect. This frequently plays out less as a written narrative than as a documentary.

If the film has any real flaw it is the film’s pace is a tad slow. Sequences go on, and while that gives the film a lived in quality, it also makes the narrative seem to stall. Its not bad, but it make what should have been a great film  a very good one.

Quibble aside, FLOOD is recommended.

Nuns Vs The Vatican (2025)

This is the story of what happened in the wake of a nun named Gloria who wrote an open letter to the Vatican and the world saying that Marko Rupnik, a world renowned artist and priest, had been abusing and blackmailing her for 28 years. With the floodgates open many other sisters came forward and began to tell their stories. 

This is a very deliberate and slowly building tale with a hidden punch. The film begins in a manner that seems almost matter of fact, until it begins to add in details and your blood begins to boil. 

As someone mentions in the film this is the story about the other 50% of people being abused by priests. While everyone was focusing on the altar boys most people were ignoring the nuns. People kind of forget there are more nuns than altar boys. Things were happening even if no one wanted to say anything.

I really liked this film a great deal. I was especially surprised about how this story goes. If you don't know the story, which I didn't, this isn't a typical tale with a typical ending. 

I fully expect this film to get a lot of attention and end up at a theater near you. When it does, make an effort and go.

The Navigator (2026) Hawai‘i Film Festival

If you can see THE NAVIGATOR in a theater with bright projection do so. I am saying this up from because the film has some of the most amazing and most beautiful images you will see all year.  I mention the bright projection because some of the second half of the film concerns night sequences that if seen with the sort of bulb that many theaters try to save money on will cause the images to appear too dark when they are not. You need to know this at the top because you will want to see this film as big as humanly possible.

The film follows Nainoa Thompson whom in 1980, was the first Hawaiian in 600 years  to navigate a voyaging canoe from Hawai’i to Tahiti without modern instruments. Nearly 50 years later fields a new crew to make the trip one more time.

This is a visually overpowering film about the ability of us puny humans to do incredible things without modern technology. You would think that it would be impossible to sale across the ocean with out modern navigation methods but that isn’t the case. If you can read the stars and if you can read the ocean, you can get anywhere. I was laid low, in the best sort of way, by this film.

One of the great surprises of the year the film is a visceral experience of the best kind. It’s a glorious celebration of the human spirit and humanity’s ability to do the most amazing things.

I have no words- I only have the film’s mind blowing images in my head. In my 60 years of going to the cinema I have never quite seen images like the ones in this film. They are so emotional and so haunting that they actually put you on the boat in the middle of the pacific.

If you are a lover of grand adventure or if you are a lover of grand cinematic experiences you must see this film- preferably in a theater with a big screen and big sound.

Highly recommended.

THE NAVIGATOR opened the Hawaii Film Festival and will be one of the final films at DOC NYC

Happy Days (2026) Rome 2026

Claudia is a young woman who is trying to find her place in the world. She is hampered by her turning into a shaggy winged creature when she gets out of sorts.

Stay with me because I have a great deal to say about HAPPY DAYS. I say that because there is a lot to unpack concerning this film.  I also want to say that I absolutely love moments in this film and there are some things I question, however, over all I do like the film.

At the risk of scaring some people away the title of the film is a direct reference to the Samuel Becket play Happy Days about a woman who is buried in sand  and unable to move. She remains happy because she choose to be. Claudia is seen in portions of the film in situations that mirror the play. This is because she is learning part of the play as her entry audition into a theatrical academy. While you don't need to know the play, it helps if you have some familiarity with it.

I absolutely loved the first third of this film.  The set up of Claudia and her life was spectacular. There are some great performances and some fantastic needle drops that drive the film forward at pace. It's a wonderful look at a woman who is trying to find her place in the world.

The problem with the film comes in the second half of the film. Much of the shading of the first half disappears and the story is reduced to Claudia wandering around in her shaggy skin, trying to get along, worrying that everyone is looking at her (They are not they just take her as she is or ignore her as people in crowds do.) Indeed the film essentially stops some where in the final third where not much happens and it feels like they were just waiting for 90 minutes to run so they could end the film. It's not bad, but it doesn't live up to the first part of the film.

Okay, yes, the film ends on one of the best needle drops of the year, but I wish there had been a tad more in the final bit so that I cried rather than just got misty.

While HAPPY DAYS is imperfect it has these wonderful moments and killer ending which make it worth trying when you get the chance.

The Gymnasts of Fisherman Colony (2023) Opens Friday

This was one of the hidden gems of Tribeca.

This is a small film about young women in Pakistan who decided to buck tradition and do gymnastics. It a look at sport, the women and the society they live in. It's a film that isn't what you think it is. Its a film that is juggling a good number of balls in such a perfect way that you will not be aware of wehat the film is doing until you get to the end. It a magic trick that is going to make you want to see the film a second time so you can see how things play out. And if you do see it a second time you are going to be richly rewarded.

The need to see the film a second time is something I know first hand. I had watched a chunk of the film at the Tribeca P&I screening before ducking out because there was something about the audio and my lack of sleep for the days before that was lulling me to sleep. The rhythms of the score was something similar to something I use to fall asleep to. Running into someone connected to the film outside the screening I asked for screener that I could watch at a later time. They obliged me and in my not so free time, I watched the film again. The film grew in my heart.

This is a special film. What I liked about the film the second time was that know where it's going and the arc of the young ladies involved you realize what a journey, they are making. There is a great deal more weight to the tale then you realize the first time through. You realize the odds that they are fighting. They aren't just young girls but things to be married off to young men. That they are allowed to compete is kind of a miracle. I was moved.

Finding films like this is why I wade heavily into Tribeca. It's a film that doesn't, on the face of it scream excitement, but ends up being way more moving and exciting then the big and loud films.

Highly recommended. See this film when you can.

SYDNEY CASH MAKES TOO MUCH ART (2026) Newport FIlm Festival

Sydney Cash Makes Too Much Art is a portrait of the artist by his son. The young Cash, a filmmaker who is struggling to make enough money to support his family doing commercial jobs is desperate to know how his father has been able to make art as his full-time gig for over 50 years.

This is a loving portrait of a father by his son. It’s a film that seeks to not only explore the work of artist who can’t stop creating but also looks to explore the changing face of art and what it takes to follow the creative life and still be able to afford groceries.

This is a solid little film. Despite following a more or less expected course the film engages us because the Cashs are compelling pair. Because they are so close the details of what we see are broader than if an outside had put the film together.

I liked the film and I found myself thinking about it during the films that I watched it afterward (That’s a rave folks)

A gem of a film Sydney Cash Makes Too Much Art is recommended.

Ariela Rubin on Wicker (2026) which opens Friday

Wicker takes place in a village during medieval times. Olivia Coleman plays a single fisherwoman who’s made fun of by the townspeople.

One day at a wedding, instead of a bouquet being thrown, an egg filled with dye is passed around. It accidentally falls at her feet, releasing purple smoke and implying she will be the next person in town to get married. Everyone snickers at the idea.

She decides to take matters into her own hands and asks the basket maker, played by Peter Dinklage, to make her a husband, and so he does. 

This begins an unconventional love story. I went into this knowing nothing about it, and I think that’s the best way to experience it. I will say the movie is very bizarre, but you just have to go with it. It’s a story about love, loneliness, town gossip, and jealousy.

One unique aspect is that no character has a name, they’re only referred to by their job, or by their spouse’s job. Olivia Colman is “the fisherwoman.”  She has no other name. The same goes for all the other characters.

I laughed outloud so much, and I really loved this film. This was my 6th film of the Sundance Film Festival, and so far by far my favorite.

Revisiting the “Wes Craven Presents” Movies

There was a brief period from the mid-’90s to the early 2000s where it seemed like on any given trip to the local video store you might stumble across a horror movie sporting the words “Wes Craven Presents” across the cover. It was a smart business move. Craven was already one of the genre’s most recognizable and respected figures. You know the titles: The Last House on the Left, A Nightmare on Elm Street, and, of course, Vampire in Brooklyn. Um, okay, maybe let’s scratch the last one. Everything changed in 1996 with the release of Scream, whose massive success transformed Wes Craven from acclaimed filmmaker into a marketable brand—and the subject of this article.

Now, that’s not to say his name didn’t already carry weight. The man created one of horror’s most iconic villains in Freddy Krueger and launched one of the genre’s biggest franchises. But films like The People Under the Stairs and Shocker weren’t exactly household names. Post-Scream was a different animal. Suddenly, Craven was “relevant” again—either rediscovered by audiences who had drifted away from his later work or embraced by an entirely new generation of fans. Honestly, both can be true.

Let’s dive into it, and we have to start with the precursor to all of this.

Mind Ripper (1995)

Technically, Wes Craven Presents Mind Ripper. Or, if you prefer, Wes Craven Presents The Hills Have Eyes III: Mind Ripper. Hell, it’s even called The Outpost in some markets. Yeah, it’s one of those. 

Originally, this was conceived as another sequel to The Hills Have Eyes. One of Craven’s earliest films—and one of his best. He also directed the follow-up, though it’s probably best remembered for featuring a flashback sequence from the first film’s dog. The dog. Anyway, what makes this one different is that it was produced and co-written by Wes’s son, Jonathan Craven. Certainly no one can blame you for having your dad’s name as an executive producer credit to help generate interest.

Unlike the films that would follow, Mind Ripper debuted on HBO. As for the plot, it follows a group of medical researchers whose experiment creates a mutated killer that begins stalking everyone inside a remote underground laboratory. In other words, not exactly The Hills Have Eyes. It stars Lance Henriksen and marks the film debut of Giovanni Ribisi, which might be the most interesting thing about all this. As for the mutant, well, take one look and you can determine if you ever want to watch this. My guess is no. 

See, it has to be pointed out that Craven didn’t direct Mind Ripper—or any of the films we’re about to get into. In that case, he was helping out his son, which makes perfect sense. The rest was more along the lines of, “Oh, you want to use my name to help sell this? Okay, sure. Just add another zero to that check!”

Wishmaster (1997)

An evil Djinn is unleashed after a priceless gemstone is discovered, granting wishes in the worst ways imaginable.

First off, Wishmaster never felt like it was part of this group. And maybe that’s speaking in hindsight. Yes, it was marketed as Wes Craven Presents Wishmaster, and this was the first theatrical film to earn that after the release of Scream. But it was—and still is—considered an entertaining and fun horror flick. It caught on with fans right from the jump, even spawning its own franchise. That was enough for it to distance itself from the pack. I can only speak for myself, but when I saw this in ‘97, after already watching Mind Ripper, I thought, “Woah, that’s infinitely better.” Then you witness what came after this, and it’s really like, “Okay, yeah. You don’t need to sit at the table with those other people.”

Another film we’re about to get to also had its own series, though the reception was considerably colder.

Carnival of Souls (1998)

Craven was initially approached to direct the film, but passed while developing Scream. Nice move. Instead, he remained on as executive producer, with Trimark Pictures paying to put “Wes Craven Presents” in the title. As for the movie itself, it follows a woman plagued by strange visions after surviving a car accident. Despite the name, don’t expect a faithful remake of the original.

It never captures what made the 1962 film so memorable. Instead of the eerie, dreamlike atmosphere that made that a cult classic, this newer version feels like a standard late-’90s supernatural thriller. It’s poorly directed. It looks amateurish and lacks any style at all. No, you know what. I feel like that’s putting it too lightly, so let’s just say this movie is downright terrible and move on. Toss it.

Don’t Look Down (1998)

Later on in ’98 came a made-for-television movie that centered around a woman overcoming her fear of heights while mysterious deaths begin piling up around her. More importantly, it was meant to launch an annual “Wes Craven Presents” Halloween movie series on ABC. It failed to attract much interest, and that was the beginning—and the end—of that idea. And if you ever watch it, you’ll know why. Utterly forgettable. But it did get a DVD release in the early 2000’s. 

Dracula 2000 (2000)… no shit

When we reached the new millennium, the “Wes Craven Presents” banner finally made its way back to theaters. Dracula 2000 is basically, “What if we took Bram Stoker’s legendary vampire and gave him a Matrix makeover?” This time around, a group of thieves accidentally unleash Dracula while robbing what they think is just another high-security vault. As expected, vampires start multiplying, and the whole thing eventually builds toward one of the strangest twists ever attached to the Count.

Well, it’s very much of its time. It’s overly stylish with a nu-metal soundtrack. It does have the best cast, by far. Christopher Plummer, Gerard Butler… I mean, it’s certainly respectable. As expected, there’s outdated CGI, but to its credit, it also uses some practical effects. It’s all just very silly in a way that will either work for you, or it won’t. I remember the reception upon its release being fairly negative. Maybe it still is, but I think it’s found its audience over the years. Personally, not a fan, but yeah, sure, it’s more memorable than the last two movies I referenced. It even spawned a pair of direct-to-video sequels. So, suck on that, Carnival of Souls.

They (2002)

They was the next and last of the theatrical releases. And I can attest that it was released in theaters, cause that’s where I saw it. Me and a whole empty room. What a way to go out. This one follows a group of friends haunted by shadowy creatures they encountered as children, only to discover those nightmares were real all along.

I really don’t mind the premise here. But it never lives up to its full potential. The fear of the dark is something just about everyone can relate to, and the creatures themselves…well, you never really see them. They’re constantly obscured by the shadows, which is the whole point. I get that. It’s just kinda average, though. That said, I’ll still take it any day over several that were mentioned.

About those aforementioned vampire sequels. 2003 saw the release of Dracula II: Ascension. And in 2005 is where this decade-long “Presents” run ended its reign of, well, whatever it was, with Dracula III: Legacy. Good call dropping the “2000” title, because, yeah, that would’ve been pretty stupid. Btw, I’ve never seen either of those, so whether they’re good or bad, I don’t know. But apparently Rutger Hauer plays Dracula in the latter. Which seems incredibly fitting eight films into this.

By 2005, Craven had spent years dealing with the production nightmare that became his werewolf feature, Cursed. Much like the later "Presents" movies, it was released through Dimension Films/Miramax. Meaning, he had to work with the worst person you know, and human waste, Harvey Weinstein. Whether that had anything to do with the branding disappearing or it had simply run its course, this experiment quietly faded away.

And speaking of fading away, and Harvey Weinstein… well, that joke just writes itself. 

Steel: The Blood of Us (2026)

Portrait of the English city of Port Talbot in their final year of making steel in the traditional way. The film is a chronicle of the people and places in the city.

This is a solid little documentary. This will be best viewed on the big screen where the images will pop and where you will truly get a sense of place as the images fill your sight lines. Watching the film on a small screen I constantly wished I was sitting in one of the bigger theaters here in New York.

One part elegy for a changing way of life and one part celebration for a town and people that is still standing, STEEL:THE BLOOD OF US is a film that is full of life and nostalgia. The past is not as far away as we might think.

I was moved.

Recommended.

One Last Order (2026)Woodstock 2026

Portrait of a woman Sighle, on her last day working at Florida drive thru restaurant. She had worked there for 37 years and over all those years she knew the names and orders of everyone who came to eat... and everyone of them decides to show up and say good bye.

This is a lovely film. Its beautiful portrait of a woman who touched the lives of all of everyone she met for the better. Its a film made with the love that Sighle created - which apparently is infinite.

I loved this film. When It was done I was emailing my friends who are willing to cover shorts and told them to see it.

What a joy.

Highly recommended.

THE ROSES OF MARRAKECH (2026) Rome

In Marrakech, Leila, the house keeper and friend of the the dying Madame Isabelle, keeps her house running. She flirts with with the gardner and generally just gets along. When her sister arrives to ask for money her life is upended.

This film absolutely delighted me. An absolute unexpected joy, I went into the film knowing nothing about it other than the title. It became one of the few films of the fall festival season where I fell under its power and never looked at my watch, and was saddened when it ended.

That the film works is due to the cast, headed by Nisrin Erradi and Fanny Ardant. There is an ease and a love between the women that makes you feel that there is a long history between them. You understand how they can lean into each other, Leila about the son she was force to give up and Isabelle about her illness and the daughter with whom she  can't commincate.  There are oceans of feelings between them and its all on the screen pulling us deeper into the story.

For me the film is nearly perfect. I took almost no notes while watching it. My only quibble is that Leila's sister shows up about five minutes into the film to ask for money. There is nothing wrong with it as such, but it is much too early in the film since we don't really know the characters yet so we have no idea how or why its up setting. While we get up to speed later in the film, it would have has a bigger impact if it happened  a few minutes later.

But that is a quibble, since this film is joyous and lovely and one of the most wonderful cinematic experiences I've had this year.

Highly recommended, this small cinematic gem will live in your heart.

What Lives in Room 214? (2026)

 

An actor trending upward finds himself stuck in a motel with some odd people, unable to leave.

This short feature film is going to leave you pondering what the hell this is all about. Thats both a good thing and a bad thing. 

The bad thing is that as a straight on thriller the film doesn't completely hold together. The problem is the film wants to be obtuse at times and perhaps mine the off kilter territory of David Lynch. However where lynch had a knack for making us by the weirdness by bending reality, writer director Brandon Rice makes a misstep by keeping the film a bit too close to reality. 

This not to imply that the film is bad, more that it plays better as an allegory. If you step away from what is actually happening on screen as literal fact, the film suddenly pops into docus. We no longer need every thing to line up. Rice actually makes a better allegory than Lynch because the over lay of reality to what he is saying results in a connection to reality Lynch doesn't always have. Rice's effort ponder how we end up being trapped by success or fame or something else in our lives hits home. We understand how sometimes we can't leave.

The cast headed by Adam Joseph Turner and almost unrecognizable Timothy Cox is first rate, with the exchanges between the two men being wonders to be hold.

While probably not for all audiences, I think it may frustrate some people, those willing to work with and take the ride it wants to give will come away delighted

Heat of Madness(2026) Stiges 2026

A crook with a tentative hold on reality is hoping to for one big score. However, his plans go horribly wrong endangering not only his life but the life of his wife and unborn child.

Karim Ouelhaj returns with mean and nasty film that is like an unending march into hell on the road to redemption where no one and nothing is safe. While not as bleak as his previous film, MEGALOMANIAC which was about the children of a serial killer, HEAT OF MADNESS is almost as trying a visual experience. Karim Ouelhaj seems to want to punish his audience just as much as his characters and I suspect that he will soon have people not  wanting to see his films because they are so deeply affecting.

While I liked Ouelhaj‘s previous film it didn’t quite work for me as a whole. It seemed to be more about effect than narrative. With this film however Ouelhaj is still going for the jugular but he has a tighter grasp on the narrative and focus. It isn’t all about great shots, but about one man unraveling. What I loved about this film is that Ouelhaj amps up his visual style, the opening sequence is ethereal and dream like in some ways with images I wish I had seen on a truly huge screen.

Not for the weak of heart HEAT OF MADNESS is a killer film. It’s a kind merging of noir and horror into something truly uncomfortable.

Recommended.

Natural State (2026) Woodstock 2026

This is a look at the time Julie Thayer spent with"anti"guru U.G. Krishnamurti. Krishnamurti said their was no such thing as enlightenment. That he wasn't to be followed. He challeneged everything you were and thought. He either broke people or sent them away enlightened.

 Full disclosure, because of my late friend Lou I had run across UG  many years ago. We had long discussions about the man and his thoughts. Lou was facinated. I knew that his way wasn't my way and I was cerain he was someone taking money  from people who didn't realize that they could chart their own lives. This would lead into days or weeks long discussions of philosophy and religon which largely ended up with the end point that the number of the paths to god is as many as their are living beings. There is no great truth just an observation that so two people go the same way even if they walk side by side.

But I digress.

The film is made from hundreds of hours shot by Thayer who documented everything about master, from roundtable discussions to trips to K Mart. Its a warts and all look at a man, his followers and his vidographer. I say that because the film is very much about Thayer as anyone else. Its a trip into her life with the man who would shape who she became.

And at this point I leave you to decide if you want to see the film or not. I say that because twenty years of discussion about the man and his philosophy most certainly plays into how I feel about the film. I can not in good graces begin to know what you will think of the film or the people at the center. For me it was an interesting ride that kicked up a lot of the past for me.

Is it worth trying? Yes, especially if you are interesting in atypical ways of seeing life.