Saturday, September 19, 2026

He Had the Touch

I took a personal day off for the second anniversary of my dad’s death and, not knowing what to do with myself, I decided to look at the movie listings, which reminded me that Transformers: The Movie is back in theaters celebrating its 40th anniversary. Having correctly targeted me as the exact audience for this movie, the internet has been aggressively advertising it to me for months. But it wasn’t until today that I realized it was appropriate timing.

Back in 1986, my dad was nice enough to take me to see Transformers: The Movie at the Mac Tri Cinema in the little town where I grew up, McMinnville, Oregon. At the time I didn’t think twice about it: as my dad, it was part of his job to take me to movies I wanted to see, especially when my mom was busy. I’m not sure what my mom and sister were up to that day, but my memory is that my dad and I went, just the two of us, and even when we got home, it was an afternoon and evening we had to ourselves.

Now, I’m impressed he was willing to go to a movie that stood against basically everything he believed in. It was a loud, crassly commercial toy advertisement full of violence and explosions, light on plot and heavy on things going “pew, pew” and “boom.” A lesser man would have banned me from seeing it, just because he not only wasn’t interested, but was also probably morally opposed.

My dad was the chaplain at the local college, where he used his position to help fight for civil rights and bring big thinkers and liberal views into our sheltered little town. He was a pacifist who traveled the world in the name of spreading peace. None of that was on my mind as he sat next to me watching Autobots and Decepticons blow each other up for 90 minutes.

Transformers: The Movie is intertwined with the concept of death and loss for an entire generation because the toy manufacturers who bankrolled it saw fit to use it to very publicly kill off their most popular and revered character, Optimus Prime, who, although he was a sentient truck, was also a father figure, symbol of positive masculinity, and model leader for every boy my age.

This was a decision to retire old toys and sell new ones, but what the geniuses at Hasbro didn’t bargain for is the fact that Optimus Prime’s dramatic death at the hands of his arch nemesis, Megatron (a sentient gun), would be viewed by children as tantamount to the assassination of Santa Claus.

I wasn’t among them. Yes, I was shocked Optimus Prime died. But even at the age of five or six, I was thrilled by the dramatic storytelling. It was sad, but I loved how serious the stakes were compared to the cartoon show, where nothing of consequence ever happened. Characters died. The good guys lost. The stakes suddenly mattered in a way they never had on the TV show. It’s not great cinema, by any stretch, and is derivative of other superior hero’s journeys that had come before it, but I was enthralled.

Too enthralled to think much about Optimus Prime’s death. When I heard another kid from the audience come back from a bathroom break and whisper to his parents, “Did Optimus Prime come back to life, yet?” I just rolled my eyes and thought… we’ve got more important stuff to worry about now. He’s not coming back. Of course, Hasbro got cold feet, and Optimus Prime did come back in the next season of the TV show, but by then no one was really watching anymore.

Whenever I really liked a movie, I would get to work reenacting it in one way or another. Either with my action figures, or by jumping around and acting it out myself, or by drawing picture after picture of it. The afternoon we came home from Transformers: The Movie, I went to work setting up a reenactment of the movie in my bedroom and then called my dad in to watch it. It starred a little red plastic rake, for making sand castles, that I thought bore a passing resemblance to one of the spaceships in the movie. My dad patiently watched and when it was over remarked, “That was kind of like the movie we just saw, wasn’t it.” Busted.

The thing is, this guy, my dad, who had a lot more on his mind than nihilistic, violent, trashy cartoons, didn’t stop to lecture me. He didn’t make me feel dumb for liking it. He just put up with it. Because although world peace is important, I was five.

When I got a little older he’d let a little bemused attitude leak through. Like when we saw the Teenage Mutant Ninja Turtles movie together, and I said it was really about fathers and sons. He kind of chuckled and gave me a knowing look and said, “Suuure.” Just enough to let me know he was onto it — it’s just more violent trash. But nothing to make me feel any less than or stupid or wrong or bad.

Which, I think, is healthy. You don’t want your parents all in on your bullshit when you’re a kid, because then you grow up an entitled brat who thinks they can do no wrong. And you don’t want them totally against you and everything you believe in, either, because that comes with another whole host of problems. Both extremes lead to Dr. Phil and Judge Judy. My dad found the middle: I was allowed to be a dumb kid while being aware there was more to life than being a dumb kid.

I never identified with the legions of nerds my age on the internet who swear up and down the death of Optimus Prime destroyed them. I never felt like it was a total betrayal, either. To me, it was just good storytelling. It was sad, but it was life. For most of my life, fictional deaths were some of my main reference points for the real thing. Optimus Prime was one. Spock was another. By a strange coincidence, I saw The Wrath of Khan on the big screen the night my dad went back into the hospital for the last time.

You could say this is just a sign of how little tragedy I’ve suffered in my life. And you’d be right.

Then my dad died. He’s been dead for two years now. As I was lying on the couch this morning, thinking about his death and what I was supposed to do to remember him, I saw that Transformers was back in theaters.

I didn’t go. But on the way home from the grocery store, I blasted the heroic hair-metal anthem “The Touch” from the Transformers soundtrack. It wasn’t a particularly fitting memorial for my dad, but it made me feel better for a few minutes.


Thursday, October 30, 2025

Horrorfest 2025: Rumpelstiltskin

Rumpelstiltskin
Written by Mark Jones and Joe Ruby
Directed by Mark Jones
Starring Kim Johnston Ulrich, Tommy Blaze, Allyce Beasley and Max Grodénchik
USA, 1995

RUMPELSTILTSKIN tells a somewhat bastardized version of the famous fairy tale, as a hunchbacked imp (Max Grodénchik) with magical powers and a penchant for stealing babies is frozen in a statue by angry villagers in the 1400s only to be sold at an antique store and unfrozen in “present day” (1995) Los Angeles!

He sets his sights on the baby of a grieving widow (Kim Johnston Ulrich) who is recovering from the recent loss of her cop husband in a botched carjacking. Much time is spent on this set up but it has little bearing on the rest of the movie. It’s that kind of movie.

Anyway, Rumpelstiltskin feels entitled to her baby even though he didn’t really make any deals with her or spin any straw into gold, or anything like that, and so the movie becomes one long chase scene after another. Along the way, the widow hooks up with gross-out/shock-jock TV personality (Tommy Blaze) who reluctantly helps her out. This guy’s so un-funny he becomes funny, which I guess is also a good way to describe the rest of this movie.

The best thing in it, aside from the big explosions, is the central villain performance by Max Grodénchik, aided along by his makeup and costume. This has been a theme of Horrorfest this year: every FRONT ROOM has a Kathryn Hunter, every WISHMASTER has an Andrew Divoff and every BLOOD FOR DRACULA has an Udo Kier.

Speaking of Horrorfest, that’s it for this year! 31 horror movies in the 31 days of October. Happy Halloween!

 

Horrorfest 2025: Shelby Oaks

Shelby Oaks
Written and directed by Chris Stuckmann
Starring Camille Sullivan, Brendan Sexton III, Keith David, Robin Bartlett and Michael Beach
USA, 2025

Though I’ve seen his name around, I’m not very familiar with internet film critic Christ Stuckmann’s work on a firsthand basis. I was interested to find out, though, he has a big enough following from his YouTube videos to be able to write and direct a feature length movie with a nationwide release. So, I figured it was worth watching if only for that.

Unfortunately, that’s about all it has going for it.

The story unfolds first as mockumentary, then as straightforward narrative, telling the tale of a group of YouTube personalities who hosted a paranormal investigation channel only to suddenly disappear. Three of their bodies are found, but one is still missing and her sister is dedicated to finding her. Sort of incidentally, a film crew is making a doc about all of this, which we see part of at the start, but that framing device is abandoned early on.

I’m not sure why it’s there, other than to give us an excuse to peer deeply into grainy images trying to see ghostly figures. But, there’s any number of ways that could be achieved without the doc subplot, so I’m still left scratching my head.

Anyway, things go downhill once this framing device is abandoned and the sister (Camille Sullivan) goes on her search. Of course I won’t tell you what she finds except to say to the movie’s credit she does actually find something, which is more than can be said of some of these types of movies. Whether or not that something is worth the watch is up to you, I guess (it’s not).

I won’t repeat that saying about why critics can’t make art, because I hate it, but I will say I was surprised to see unforced errors that caused unintentional laughs. Just as an example, near the beginning of the movie there’s an unexpected suicide and blood splatters on our heroine. We cut away to some other stuff, then cut to later that night and she’s STILL sitting there with blood on her face. Even if she’s traumatized, you’d think an EMT or her husband would have wiped her face off. So, that’s already funny, then the husband goes, “You okay?” Which is hilarious to ask your wife who has been covered in suicide blood for, like, half a day. And she goes, “Yeah,” and then he just gets up and leaves the room. It’s as if an alien wrote it. Or maybe it was…. AI?!?!??!?!?!

For its modest budget, this movie looks good. So if the problems are in the script, maybe Chris Stuckmann has a career ahead of him directing stuff he DIDN’T write?


Horrorfest 2025: Frankenstein (2025)

Frankenstein (2025)
Written and directed by Guillermo del Toro
Based on the novel by Mary Shelley
Starring Oscar Isaac, Jaco Elordi, Mia Goth and Christoph Waltz
USA, 2025

I was pretty excited for this most recent adaptation of FRANKENSTEIN, the much-adapted o.g. of sci-fi horror about the man who dared to create life and the tragic consequences that followed. Not only do I love the story, I (usually) love Guillermo del Toro – especially when he’s doing his horror thing. Plus, Mia Goth, Oscar Isaac and Christoph Waltz are all recent faves of mine. I’m jealous del Toro beat me to casting Waltz in a monster movie, but glad he didn’t give him his rightful role: Van Helsing.

Instead, Waltz plays a character concocted just for this movie, who finances Frankenstein’s (Oscar Isaac) experiments for secretive, personal reasons. He’s also this movie’s Elizabeth’s (Mia Goth) father. He’s quickly dispatched, however, and it was one of many added details that had me wondering what the point was.

In this way del Toro’s FRANKENSTEIN is sort of like Peter Jackson’s KING KONG, and not just because they’re both chubby nerds with beards. It seems a lesson took from successfully adapting LORD OF THE RINGS was that no detail is small enough to go unexplored, so he filled KING KONG with so much world-building he started to bury the point of the movie. Del Toro’s not that bad, here, but you get the feeling his fleshing out all these details and filling in little cracks with stuff that doesn’t even really need to be there to get right down to the point.

This is most evident in scenes dealing with Frankenstein’s childhood, in which Mia Goth doubles as his mom, oddly enough. I guess del Toro’s going Oedipal here but there’s enough going on in FRANKENSTEIN without the need for that. Meanwhile, when we follow the creature’s (Jacob Elrodi) narrative, it sort of gets rushed through, which is strange, for a two-and-a-half hour movie.

As with most del Toro productions, the movie is beautiful to look at. The images are striking. Everything’s operatic and over-the-top, which suits FRANKENSTEIN, I think. The performances are all good, including Elrodi, who has the hardest job here. How do you pull off Mary Shelley’s version of the creature? Boris Karloff didn’t have to and made the role his own. Robert DeNiro tried and failed. How can modern audiences take an emo monster seriously? Elrodi comes the closest I’ve seen of anyone of getting it right.

What of the other characterizations? The only other major one featured is Frankenstein himself, played by Oscar Isaac, who is great, but the mad doctor might be just a little too mad a little too soon. Let’s see the stuff that goes on throughout the movie push him over the edge, instead of him starting out already over it. That would have been nice.

I’m complaining a lot, but it’s still a fairly solid movie. Just not the movie I was hoping for.

 

Horrorfest 2025: Bone Tomahawk

Bone Tomahawk
Written and directed by S. Craig Zahler
Starring Kurt Russell, Patrick Wilson, Matthew Fox, Lili Simmons, Richard Jenkins, Evan Jonigkeit, Kathryn Morris, Sid Haig, David Arquette and Fred Melamed
USA, 2015

The horror western BONE TOMAHAWK has been on my list for years and it keeps getting bumped because I keep seeing it’s slightly over two hours long and also get grossed out about the cannibalism. But, I’ve finally gotten around to it, and I’m glad I have, because it reminded me that I like westerns, so it doesn’t matter if they’re over two hours long and have cannibals in them.

Kurt Russell leads a well-cast posse (Patrick Wilson, Matthew Fox and Richard Jenkins) on a quest to follow the trail of a group of cannibals who have kidnapped one of the parties’ wife (Lili Simmons). After a brief horror interlude starring David Arquette and Sid Haig, the bulk of the movie is made up of this journey and an examination of the relationship dynamics between these guys. Who’s right, who’s wrong, who’s going to change, who isn’t. One of them starts out injured, so it also becomes a bit of a survival story as he pushes himself to continue.

I guess it’s a testament to the perceived unmarketability of westerns that this otherwise straightforward Hollywood crowd pleaser should take the form of a low budget indie production. It didn’t make waves when it came out, because no one saw it, but time has been kind, and now it regularly pops up on best-of lists, which makes me happy.

 

Horrorfest 2025: Nightbitch

Nightbitch
Written and directed by Marielle Heller
Based on the novel by Rachel Yoder
Starring Amy Adams, Scoot McNairy, Arleigh Snowden, Emmett Snowden, Zoë Chao, Mary Holland and Jessica Harper
USA, 2024

New mother Amy Adams deals with post-partum depression by transforming into a werewolf. Or does she? Who knows? Etc.

After THE FRONT ROOM and THE WOMAN IN THE YARD, I’d about had it with pissed off moms, but NIGHTBITCH is interesting in the way that it clearly articulates all of the Adams’ character’s conflicted feelings about her new position in life as a mother while also showing that she can still be a good mother at the same time. She never takes it out on her kid. Which is nice.

She does take it out on others, though, as she tries to figure out how to reconcile the perceived death of her former life as an artist and her new life as a stay-at-home mom. This is exacerbated by the fact that her husband (Scoot McNairy) travels for work, so it’s not just that he’s gone all day, he’s gone for days at a time.

In some ways Adams’ complaints are stuff I feel like I can indentify with and I’m not even a mom. Like, I also get annoyed by other people’s children. I also sometimes get sad I spend all day devoting my life to something other than my dreams. I also would not want to be friends with other moms just cuz I’m a mom.

About the wolf stuff – it’s supposed to be allegorical or metaphorical, and it is interesting how it underlines the fact that we need to be reminded sometimes that we’re all just animals, but it’s also sort of ancillary to everything else. It’s supposed to be the movie’s thesis statement, but like a few other movies this month, it left me wondering what the movie might have been like without it? Would it be better? Worse? I dunno. At least it’s an interesting point of view, I guess.

Also, you should probably know that you would not consider this a horror movie, so if you’re concerned about that, don’t bother watching it.

Extra points for a great title, though.


Horrorfest 2025: Return of the Fly

Return of the Fly
Written and directed by Edward Bernds
Based on the short story by George Langelaan
Starring Vincent Price and Brett Halsey
USA, 1959

It has taken me 16 years but I have finally followed up my Horrorfest viewing of THE FLY with its sequel, RETURN OF THE FLY. To be honest, all these years, I thought I’d already seen it and written about. Turns out I was wrong! So that makes two Vincent Price movies this year. I’m not complaining.

Brett Halsey stars as the now-grown son of the scientist in the original movie, and I must congratulate the filmmakers for refraining from calling this thing SON OF THE FLY. He’s also a scientist, hell bent on recreating and perfecting his father’s teleportation experiments, with the reluctant help of his uncle (Vincent Price, reprising his role from the first movie).

There’s an industrial espionage subplot, but the real point of this flick is to get straight to the fly action casual viewers may have complained the first one lacked. The first movie uses a lot of restraint, positioning itself as a mystery, limiting how much you see The Fly, focusing more on the horror of the situation than The Fly as a monster. It’s also in beautiful color and widescreen. This sequel is scaled down in budget, black and white, and focuses on The Fly as a monster going on a killing spree, once our main character makes the same blunder in his experiments that his father did.

So, the flick pales in comparison to the original, but it does benefit from Vincent Price’s presence in the way that I guess any movie would and if you’re looking for scenes of a man with a fly’s head killing people, you’ll be satisfied.