“The Killing of a Sacred Deer”: “Lobster” director plays again on our unspoken fantasies to build horror

The Killing of a Sacred Deer” opens with a beating heart, encased in a chest cracked open like “The Lobster” (May 22, 2016).  Then we see a surgeon take off his gloves and dispose of them.  We see his sleek hands (a line later used a few times in the script written with Efthymis Flippou), and that at least his forearms are still softly haired, as if the ultimate future of infection control were not yet in place.

I’m introducing the latest quirky horror comedy (or satire) from Yorgos Lanthimos, and it has a plot concept that feints of ephebophilia, and then plays on male fetish obsessions that have been frankly significant in my own life to build a plot and a rather horrific and tragic climax.

The music score, with Schubert, Bach, and especially Lygeti, underlines the urgency for the characters, but maybe it could have added Mahler’s Kindertotenlieder (“Songs of the Death of Children”).

Stephen Murphy (Colin Farrell) is the heart surgeon and cardiologist in a Cincinnati hospital. (The city looks sharp in the film, especially in multiple scenes across the Ohio river from Covington, KY.)  In his past, he once lost a patient at age 46 apparently during some routine bypass surgery. That deceased patient’s verbal teenage son, Martin (Barry Keoghan) starts showing up in Murphy’s life, mostly by self-invitation.

Murphy has built an impressive family in his palatial home, with wife Anna (Nicole Kidman) and gender fluid son Bob (Sonny Suljic) and teen daughter Kim (Raffey Cassidy). At first, the daughter teases Martin about his lack of body hair (some teens would normally have more) and Martin pretends to be ill and shows up at Murphy’s office for a physical. There is a scene with a stress test, with eight leads, where Martin asks what would happen if he were hairy, and Murphy admits he would have to be chest-shaved, and that it could take a little while to grow back.  Murphy even gets into mention of “hormones” (reminding me of my own Ft. Eustis days). Martin even asks to see Murphy’s chest.  There’s also, as I recall, an odd line about replacing a grabby metal wristwatch with leather. Martin acts as if he believed the world had some sort of fascist conspiracy to eliminate less desirable men (like the Nazis did) as if this could be eroticized. For a little while, the film has you wondering if indeed Murphy is falling into an illegal relationship with the teen boy.

But at midpoint, the film takes a surprising twist. Bob, and then Kim, develop a kind of guillain- barre syndrome, with intermittent and then persistent leg paralysis, when medical tests can find nothing wrong. In a particularly arresting scene Martin threatens Murphy by suggesting that he (Martin) is causing the syndrome with some supernatural curse.

I’m not sure that the conclusion, which involves some vengeful violence against Martin and then a lottery to find the “deer” is necessarily all that convincing.  Some critics will say that Stephen gets his wish, to play god again. That’s a problem with setting up an erotic premise like this:  it is hard to find somewhere to go.

Wiki picture of downtown Cincinnati.  My visits: 1992, 2012.

Wiki picture of a Holter Monitor on a young adult male, underscoring Martin’s concerns.

Picture: Mt Vernon, Ohio, 2012, my trip.

Somehow the title and tone of this film reminds me of “The Killing of Sister George” (1968, Palomar, dir. Robert Aldrich, with Beryl Reid.) I;m also reminded of Judd Apatow’s “The 40-Year-Old Virgin” (2005, Universal) with Steve Carell as hapless.

Name: The Killing of a Sacred Deer
Director, writer:  Yorgos Lanthimos, wr with Efthymis Flippou
Released:  2017/10/27
Format:  1.85:1
When and how viewed:  Angelika Mosaic, 2017/10/29 fair crowd
Length:  116
Rating:  R
Companies:  A24, Film4, Hanway
Link:  distributor

(Posted: Sunday, Oct. 29, 2017 at 8:30 PN EDT)

 

“Flatliners”: no, this doesn’t tell us what happens after death

I do vaguely remember the 1990 version of “Flatiners”, but I was curious enough to see the 2017 remake by Niles Arden Oplev based on Peter Fliardi’s short story.

I could say Ellen Page (“Juno”) as Courtney can do better than that. As a pesky medical resident, she concocts the idea of breaking into a mysterious equipment room in the basement of a Toronto hospital with her colleagues, doing death penalty drugs (including popofol) to create a near death experience, then recording the brain wave hologram to make a movie of the NDE. She gets gullible colleagues to go along, including the Brit-looking Jamie (James Norton) and Marlo (Nina Dobrev). The dashing Ray (Diego Luna) refuses at first but comes down to save them, and joins the group.

It’s pretty predictable.  The NDE’s are typical enough, but then ghosts from each doctor’s life comes back to haunt each one, based one each one’s karma.  Marlo especially has a problem with falsifying the record of a patient who had died because of her mistake.

The basement reminds me of the secret dorm cellar room at William and Mary in 1961 where freshman tribunal hazings were held.  I skipped out on them, which may have contributed to the anti-gay rumors and my expulsion. In the rituals, supposedly “they” shaved the boys legs in order to convey the idea of sacrificing individuality to join the group (“take one for the team”).  That idea may be more relevant to the afterlife than what happens in this film.

Kiefer Sutherland is strict enough as Dr. Wolfson, who harasses the residents with their daily oral exams. Maybe he can ask them what a Weiss Ring is.  I don’t think Jack Andraka’s medical school will be anything like this.  I’d like to see a movie of “Breakthrough”.

Toronto at night doesn’t seem as effective a backdrop as NYC.

Nathan Barr’s chamber music score is effective, but the piano playing of Debussy’s “Clair de Lune” by a ghost is a little trite. A Danzi quartet is also quoted.

Toronto Wiki of “Annex” houses similar to movie.

Name:  “Flatliners”
Director, writer:  Niles Arden Oplev (DGC), Peter Filardi
Released:  2017 (remake of 1990)
Format:  2.35:1
When and how viewed:  Regal Ballston Quarter 2017/9/30, fair crowd
Length:  104
Rating:  PG-13
Companies:  Sony Columbia Pictures
Link:  official

(Posted: Sunday, Oct. 1, 2017 at 7:45 PM EDT)

“To the Bone”: somewhat predictable drama about a young woman with anorexia

To the Bone”, written and directed by Marti Noxon, is a tough-to-watch and somewhat gratuitous drama about a young woman with anorexia nervosa.

Ellen (Lilly Collins) is referred to a therapist Dr. Beckham (Keanu Reeves) to an in-patient facility where, well, there are rules to make sure she eats and gains weight.  That’s not until Bechkam has made an odd remark about the lanugo hair growing on her forearms as she tries to keep warm (as if women shouldn’t have that).  At the dorm-like residence, there are rules.  Bathrooms are locked for thirty minutes after meals (bulimia).  Residents get points that allow them passes.  Sounds like the Army.  Or maybe being an inpatient at NIH in 1962 (when I was 19).  But patients get around it with vomit bags hidden under their bags.

But Ellen starts developing a budding puppy live romance with dance student Luke (young British actor Alex Sharp) who seems far too intact to need to be in a place like this.  He looks fine (he could use some more hair on his legs), and is quite sharp-tongued, with all his little metaphors.

But then, the movie needs to take us through her crash.  A person like this needs to hit bottom to want to live at all.  The film sets up a climax in the California desert where she camps out in a yurt and has a near-death experience with Luke.

The film sets up some camera shots of her back, where she is made to look like skin and bone.  All unpleasant.

Name:  “To the Bone
Director, writer:  Marti Noxon
Released:  2017
Format:  1.85:1
When and how viewed:  Netflix instant play, 2017/8/19
Length:  107
Rating:  R
Companies:  Netflix
Link:  official

(Posted: Sunday, Aug. 20, 2017 at 12:30 PM EDT)

“The Transfiguration” of a teen who believes he is a vampire

The Transfiguration”, written and directed by Michael O’Shea, is by no means a glorification of an role model person.  It is by no means the return of a youth, now a grown man, in summer shorts at a church service.  It does not happen on a mountaintop.

No, it is an internal fantasy (maybe schizophrenia) of a character Milo (Eric Ruffin) who believes he is a vampire. He seems to have a compulsion to cut or attack people, and then vomit afterwards. He sees a therapist who says she cannot help him anymore.  The therapy scene rather reminded me of James Holmes seeing his therapist before his 2012 rampage in Colorado.

The use of the same first name as provocateur Milo Yiannopoulos seems to be a total coincidence, even if unfortunate and maybe ironic.  The character here is African-American, which seems to have been a casting choice out of desire for casting diversity. Otherwise it might even come across as pandering to racist stereotypes.

Milo deals with a brother who can no longer protect him (no bird, bro) and develops a relationship with another lost soul, Sofie (Chloe Levine), who is white. He lets her crash at his place, as if he had earned enough social capital to offer such informality.

The mid part of the film presents a gang execution shooting of a white teen that is particularly nasty.

The ending is a non-event, but it reminds me of how Nick Fallon went down on “Days of our Lives”.  I thought that real vampires and their “victims” resurrect and live forever.  Remember Neil Jordan’s “Interview with a Vampire: The Vampire Chronicles” (1992, Geffen Pictures, Warner Brothers), based on the book by Ann Rice, with the love story between Brad Pitt and Tom Cruise’s immortal characters (it starts with a trick) and Christian Slater.

The film appears to be shot in Queens in NYC.

When I was as undergraduate at GW in the early 1960s, a friend (and teammate on the chess team) wrote his mandatory freshman English term paper on vampires.

As for the real Milo, I wonder if we will see a documentary film of “Dangerous“.  Maybe I’d be interested.

Name:  “The Transfiguration
Director, writer:  Michael O’Shea
Released:  2017
Format:  2.35:1
When and how viewed:  Complimentary Vimeo screener 2017/8/3; DVD available for sale 2017/8/8
Length:  98
Rating:  R
Companies:  Strand Releasing
Link:  press sheet

(Posted: Friday, August 4, 2017 at 11:30 AM)

“Memories of a Penitent Heart”: a filmmaker looks into the life of an uncle who died of AIDS in the 1980s

Memories of an Penitent Heart” aired on Monday, July 31, 2017 on PBS Independent Cuts, slightly abridged from 69 minutes to about 55.

Filmmaker Cecilia Alarondo looks at the life story of her gay uncle Miguel, born in Puerto Rico, who would die of AIDS early in the 1980s.

Miguel would change his name to Michael and live a double life in New York City.  For a while he stayed with a priest, who was OK with his being gay but who didn’t want to allow guests.

Miguel developed Kaposi’s Sarcoma, apparently conspicuously. Some doctors were afraid to treat him. The documentary does cover the attitudes during the early days of AIDS, where it was first called “Gay Related Immune Deficiency” (GRID) and even Wrath of God syndrome. Some people wanted all infected people or even all gay men quarantined.  I remember those days of panic.

The film could be compared to the much larger film, “The Normal Heart”, from HBO, of Larry Kramer’s play, aired in 2014.

Puerto Rico scene.

Toward the end Cecilia travels on a riverboat through canals in what looks like Louisiana.

Name: Memories of a Penitent Heart
Director, writer:  Cecilia Alarondo
Released:  2016
Format:  1.85:1
When and how viewed: PBS Independent Cuts, 2017/7/31
Length:  69/55
Rating:  NA
Companies: PBS
Link:  PBS

(Posted: Tuesday, August 1, 2017 at 2:15 PM EDT)

“Case 39” is indeed a “Bad Seed”

Case 39”, directed by Christian Alvart and written by Ray Wright (apparently submitted by) turns out to be rather exploitive horror built on mental illness.

In Portland OR, social worker Emily Jenkins (Renee Zellweger) visits the home of misbehaving Lilith (Jodelle ferland) for Child Protective Services, and believes she is abused. In the follow-up, the parents try to lock her into an oven (there is feint scene like that in M. Night Shyamalan’s “The Visit” (2015).  Lilith is taken into protective custody and the parents are sent to mental institutions.  They used to sau “nothing to be ashamed of” in my own NIH days in 1962.

Emily takes care for Lilith and offers to raise her in her own home.  That soon turns catastrophic. It seems that everyone with anything to do with Lilith develops schizophrenia and winds up fighting phantoms.  There is a scene were therapist Doug (Bradley Cooper) believes he is chased by hornets and commits suicide, but not until we see Bradley’s manly chest.

I’m reminded of some other films, like the classic “Lilith” (1964) where a young Warren Beatty is gradually disrobed by an underage mental patient, as well as “The Bad Seed” (1956).  I also recall Michaelangelo Antonioni’s “Zabriske Point”, where Daria Halprin gradually disrobes Mark Frechette.  I saw that film twice, one of the few that I have.

The DVD has extras on the makeup for the horror film, which involved putting gel on the arms of an actress and setting her on fire. (“Turn up the Heat on the Chill Factor”).  Other extras include “Inside the Hornet’s Nest” and “File Under Evil, Inside the 39”.

The film was distributed by Paramount Vantage.  Paramount (like Warner Brothers) abandoned separately branding most of its independent films a few years ago.

Portland OR skyline (Wiki).  Indoor scenes were shot in British Columbia.

Name:  “Case 39
Director, writer:  Christian Alvart (DGC)
Released:  2009
Format:  2.35:1
When and how viewed:  Netflix DVD, 2017/7/30
Length:  109
Rating:  R
Companies:  Paramount Vantage
Link:  Official

(Posted: Monday, July 31, 2017 at 12:30 AM EDT

“The Book of Henry”: the legacy of a gifted child who was grown at 12

The Book of Henry”, directed by Colin Trevorrow and written by Gregg Hurwitz, is layered, in the sense that the plot is partially driven by the contents of a handwritten notebook authored by the charismatic Henry (think “Nocturnal Animals”) and it is also Biblical, in that the 12 year old Henry (Jaeden Lieberher) is almost like a Christ figure (think Danny in “Judas Kiss”) who really could save us, so his book is like a Gospel.

Unfortunately, Henry has an unusual, opportunistic brain tumor.  It starts with headaches, and a seizure, and he dies in his mother’s arms, looking at the sky. It’s a horrific tragedy. It is sudden, like Lee Atwater’s in 1989. Why would this happen.  Was he born with HIV?  His single mom (Naomi Watts) also has a younger son Peter (Jacob Tremblay, from “Room”) whom we also hope will grow up to be a genius.

Henry and Peter have built a tree house with all kinds of perpetual motion gadgets. Mom likes to play video games on TV, but the movie has the look of the early 90s (in upstate New York).  Mom (Susan) works in a diner as a waitress even though it’s not clear  she has to. (The source of the money is not quite clear.)  She often covers for goofball comedian Sheila (Sarah Silverman).

There are twelve year old’s who understand the adult world.  I’ve met a few in my life, as a substitute teacher, and at local churches.  It’s gratifying to see the same 12 year old a decade ago at 22 today out of college.  (Maybe the Washington Nationals could use him as a closer, but I’ll stop there.)  But Henry won’t go to M.I.T., Stanford, or UNC.  His days are numbered, and he knows it, and he has to take care of his family.

Henry talks fast, often in rich metaphors (“our legacy is not how many commas we have after our name”).

Henry has Jesus’s moral sense.  Before his illness, he gets after his mom not intervening in an abusive situation in a supermarket.  He says that if everybody minded just their own business, people who can’t take care of themselves would be left to die.  Remember the parable of the Rich Young Ruler, who has too much to lose?

Henry, playing “Rear Window”, has spotted the possible abuse of a female classmate by her stepfather, a politically powerful police chief, through the window, in the next door house.  He wants mom to intervene but he figures out that politically Child Protective Services won’t help.  So his authored book provides the blueprint for what mom must do to stop the stepdad once Henry is gone.

Susan (the mom) puts her comic plan into action to trap the police chief while Sheila leads a talent show at the school.  At the end, she burns the Book and the 80s-style minitapes.  But the DVD for this movie will need to include a PDF of the Book, with all of Henry’s Da Vinci-like drawings.  The Book itself needs ti be published.

The style of the movie is almost that of comedy, despite its tragic middle. The look of it reminds me of “Moonrise Kingdom”.

There is a NatGeo film “The Gospel of Judas” (2006).

Name: “The Book of Henry”
Director, writer:  Colin Trevorrow, Gregg Hurwitz
Released:  2017
Format: 2.00:1
When and how viewed:  Cinema Arts, Fairfax, 2017/6/20
Length:  106
Rating:  PG-13
Companies:  Sidney Kimmel, Focus Features
Link:  official

(Posted on Wednesday, June 21, 2017 at 11 PM EDT)

“The Life and Death of ACT UP/LA” by Benita Roth, recalling the internals of AIDS activism a couple decades ago

The detailed analytical chronology “The Life and Death of ACT UP/LA: Anti-AIDS Activism in Los Angeles from the 1980s to the 2000s” certainly brings to my own mind the political struggles in Dallas, where I was living in the 1980s, as the epidemic reached my southern conservative city about a year or two after it had started to burn in New York, San Francisco and Los Angeles.

The author is Benita Roth, Professor of Sociology, History and Women’s Studies at Binghamton University (New York State).

I had moved to Dallas from New York City at the start of 1979 to start a new job, and the relocation may have saved my life. But by early 1983, after sensational media reports (like Geraldo Rivera’s on ABC 20.20), the right wing was proposing draconian extensions to the Texas sodomy law, HR2138, trying to ban gays from almost all occupations. There was a particularly vitriolic group, Dallas Doctors Against AIDS. The Dallas Gay Alliance (in the days of Bill Nelson and Terry Tebedo and the Crossroads Market on Cedar Springs) managed to keep the bill dying in committee. This is history that has been forgotten.

There was, in the national debate, over whether AIDS was primarily about “personal responsibility” and “behavior”, or whether it was about belonging to a marginalized group. Of course, it was both. But Dr. Roth’s book certainly focuses on left wing activism, based on solidarity and “intersectionality”.

I’m reminded of a sign in the recent Equality March for Pride and Unity in Washington DC. “Intersectional Resistance and Collective Liberation”. Intersectionality refers to the coming together of different groups (the “rainbow coalition” of the 90s, maybe) and the tensions that can occur about the nuances and priorities of the groups. For example, rural or inner-city African Americans (“people of color”), sometimes infected by needles and often heterosexually (especially male to female), don’t have the same perspective as urban white and economically independent cis gay males. Intersectionality is a big issue in the gay community today, as the role of not just transgender but “gender fluidity” seems emotionally disruptive to the values of the white cis gay males.

The author writes in meta mode, often telling the reader what she is going to cover, and what she has covered, as if she were teaching a course or graduate school seminar. She gives an almost biblical chronicle of ACT/UP in Los Angeles, the internal conflicts (which are a big deal for almost any activist), the role of women, the group disciplines (intersectionality and loyalty), the sometimes disastrous challenges to the power structures, then the winding down, as activists moved into other areas. She correlates it to a lot of other LA history, such as the Rodney King riots, and governor Pete Wilson’s often duplicitous behavior. She does discuss Ronald Reagan’s unwillingness to discuss AIDS at first, but I didn’t see that she covers Reagan’s previous opposition to the Briggs Initiative (concerning gay teachers) in 1978 when he was governor.

Benita emphasizes that HIV has affected women at a higher rate than most people realize, and the percentage of patients who are female and infected heterosexually continues to rise. It still seems to be a mystery today if this was completely the case in Africa in the early 1980s, although the presence of other STD’s would facilitate heterosexual transmission. She does discuss protease inhibitors and PrEP, but seems to assume that normal health insurance should always cover them. With the GOP rewriting health care now, this coverage for many gay men (MSM) would seem to be at grave risk. She also notes that the use of PrEP might have the unintended effect of making men complacent about condom use.

She makes the interesting observation that in the 1980s people tended to look at volunteering to help PWA’s as a kind of “activism”. I encountered that view in a 1986 visit to Robert Schuler’s Crystal Cathedral in Anaheim. People would move in and out of volunteering and paid jobs in caregiving, as at hospices, as if that were political behavior.

The author sometimes does cover the existential political threat that AIDS seemed to create to the male gay community. I remember the night in 1984 that “they closed the baths in San Francisco.” But the effort to close them in Los Angeles was met with resistance, a fear that they could lead to closing of bars and any meeting places (like in Nigeria today).

Her discussion of the blowup at the 1992 GOP convention reminds me of Barbara Bush’s speech on family values.  “You don’t have to be married,” she said, “but if you have children, they have to become the first priority in your life.”  But in practice, the right wing wants to make a moral case against childlessness, citing population demographics.

She also discusses “CNN” (“Clean Needles Now”). I’m reminded of now VP Mike Pence’s idea in 2000 that you could control AIDS with conversion therapy.

Author: Benita Roth
Title, Subtitle: “The Life and Death of ACT UP/LA; Anti-AIDS Activism in Los Angeles from the 1980s to the 2000s”
publication date 2017
ISBN 978-1-107-51417-1
Publication: Cambridge University Press, 249 pages, paper, indexed, appendix; 7 chapters; detailed TOC;  complimentary paper copy provided to me for review
Link: Author

(Posted: Tuesday, June 13, 2017 at 9:45 PM EDT)

“The Messengers”: Volunteers serve homeless men with HIV at a house in Washington DC

The Messengers“, directed by Lucian Perkins, shows us the life of two committed volunteers at Joseph’s House, a hospice for homeless men with HIV and AIDS, in Washington DC, in Adams-Morgan.  The film showed at Filmfest DC on Sunday afternoon at Landmark E Street.

One young woman comes up for a year of service from North Carolina before finishing college, but now she has finished her Masters in social work at Columbia.

The film also traces the experiences of some of the patients, such as one who was told he had only two months to live but survived ten.  At one point Elijah actually looks forward to the possibility of his own place again, as sometimes people get better and can live on their own.  The experience here is more variable than at large “commercial” hospices where people die of old age and usually enter only when they have a few days to live. But this house is very much a home for the patients as is.

Emotionally the experience is very intense, with volunteers sitting with patients for very long periods. During the QA, it was said that the House only accepts volunteers who can make extensive minimum time commitments.  This is not an experience that benefits from large numbers for short times.

The film showed a cat and dog, and one wonders how well they understand what is happening.

In understanding the title of the film, it is well to remember that angels are messengers.

QA

1

2

3 Comment that only long-term volunteers are needed

Name: “The Messengers”
Director, writer:  Lucian Perkins
Released:  2017
Format:  digital video
When and how viewed:  Filmfest DC, Landmark E Street, 2017/4/23, large auditorium nearly sold out
Length:  52
Rating:  NA
Companies:  NA  (hope to see on PBS Independent Lens?)
Link:  Facebook, Filmfest DC

(Posted: Sunday, April 23, 2017 at 11:45 PM EDT)

“The Disappointments Room”: genre horror, with a nasty social commentary underneath

The Disappointments Room” (2016), directed by D. J. Caruso, at 85 minutes, seems to be a minimalist genre horror film, but it has big money behind it –Fox, Relativity Media, and “I am Rogue”. (This last company supposedly sponsored a horror screenwriting contest a few years ago.)

And the plot reminds me of some older, better movies:  the British thriller “The Shuttered Room” (1967), “Burnt Offerings” (Marasco’s novel, 1976, with the great line “I know what I do” and the self-healing house) and the similarly conceived “The Sentinel” (1977), set in a brownstone in Brooklyn Heights.

In this new version of the tale, the haunted house is in the North Carolina Piedmont, off the busy I-85 corridor, far from the glitz or intellect of Raleigh-Durham-UNC, and Charlotte, out in the country, where nobody thinks about gerrymandering or bathroom bills.

David (Mel Raido) and his architect wife Dana (Kate Beckinsale) buy the old fixer-upper (quite a mansion) as a way to repair their marriage after Dana lost a baby, and they have the Asperger’s son Lucas, who immediately befriends a friendly feral cat who seems to want to claim him.  But there are other critters on the property, and soon Dana finds it has serious structural problems, like floors that could fall through because of roof leaks.  She incurs the services of a handsome local carpenter Ben, a very smooth and polished Lucas Till  (“Crush”, 2013, as well as X-men).

But she also makes a horrifying discovery, a small room in the attic that causes her to have delusions and nightmares.  Soon, a local soothsayer (or realtor) tells her that old family estates like these kept their hideously disabled children (as if from inbreeding) locked away forever (in “disappointment rooms” indeed), covering up a potential source of shame, from an era that actually believed in eugenics.  The movie reminds us that valuing the disabled is a relatively modern social virtue, compared to how things were even when I was growing up in the 1950s.

Then the old man of the estate (Charles Carrow) appears, perhaps as a phantom, still trying to do away with his hideous child, who appears to have neurofibromatosis.  Dana has to protect her own son from these ghosts who may or may not be real, and keep this from her husband.

The closing credits (rather long) feature a complete three-movement symphony by composer Brian Tyler, with a furious and dissonant disco dance finale that reminds me of the music of British symphonist Havergal Brian.

Name: “The Disappointments Room”
Director, writer:  D. J. Caruso
Released:  2016
Format:  2.35:1
When and how viewed:  Netflix DVD, 2017/4/3
Length:  86
Rating:  PG-13
Companies:  Rogue, Relativity Media, Fox Home Entertainment
Link:  review

(Picture: near Hickory, NC, or maybe Morganton, my 2016 trip)

(Posted: Tuesday, April 4, 2017 at 10:30 AM EDT)