The Ugly Stepsister (2024) - Film Review

Casey Chong examines eight notable cult sci-fi films from 1985... The year 1985 was significant for the iconic sci-fi film Back to the Future, which grossed over $210 million in the U.S. alone. Directed by Robert Zemeckis, this time-travel classic remains a beloved cinematic landmark. Alongside it, several other sci-fi movies were released, some achieving success like Cocoon, while others, such as Enemy Mine and Explorers, were largely overlooked by audiences at the time. Below, we present our selections of the essential sci-fi films from 1985 beyond Back to the Future... Re-Animator Not for the faint of heart, Stuart Gordon fully embraces Lovecraftian horror with sci-fi elements in Re-Animator. The film features Jeffrey Combs in his memorable and eccentric role as Herbert West, a deranged medical student obsessed with resurrecting the dead using his experimental serum. Gordon’s direction captures the essence of a B-movie spirit, merging sci-fi horror with dark comedy. The film is exceptionally bloody and gory, showcasing impressive practical effects and maintaining a brisk pace without unnecessary distractions. The cult success of Re-Animator led to two sequels, Bride of Re-Animator and Beyond Re-Animator. Brazil Terry Gilliam’s often-misunderstood sci-fi masterpiece failed to draw large audiences upon its release but has since been recognized as a classic. Gilliam, who co-wrote the screenplay, presents a unique vision of a dystopian future rife with bureaucratic absurdities, focused on a low-level government employee, played by the empathetic Jonathan Pryce, as he navigates a landscape of daydreams and mundane reality. Beyond Gilliam’s stunning visuals and quirky humor, the film offers profound narrative depth, drawing on Orwellian themes of totalitarianism and oppression. Although its nearly 2 ½ hour runtime might deter some viewers, Gilliam’s intricate direction offers a distinctive cinematic experience worth witnessing. Enemy Mine Wolfgang Petersen, known for genre-defining works like Das Boot and Air Force One, directed the sadly underrated Enemy Mine, which came a year after the success of The NeverEnding Story. The film faced numerous behind-the-scenes challenges, including the firing of original director Richard Loncraine, who had already filmed some scenes. Rather than using Loncraine's footage, Petersen opted to start anew. Unfortunately, despite his efforts, Enemy Mine struggled at the box office, yet it deserves recognition for its effective exploration of themes such as harmony, unity, and empathy, adapted from Barry B. Longyear’s novella by Edward Khmara. Primarily centering on the conflict between human pilot Willis Davidge (Dennis Quaid) and a reptilian being named Jeriba Shigan (Louis Gossett Jr., in full prosthetic makeup), the film thrives on the chemistry between the two leads, elevating it beyond a simple survival story. The Quiet Earth This film from New Zealand presents a haunting “what if” scenario in which a global disaster nearly wipes out all humanity. Directed by Geoff Murphy, who later took on Hollywood projects like Young Guns II, The Quiet Earth opens with a captivating scene where a man (Bruno Lawrence) wakes up to find himself utterly alone in a city. The first 35 minutes focus on Lawrence’s character, Zac Hobson, as he copes with solitude, even resorting to donning a dress for entertainment. His performance is exceptional, capturing a blend of isolation, frustration, and odd joy. The narrative later introduces two additional characters: a young woman named Joanne (Alison Routledge) and a Maori man named Api (Pete Smith). Adapted from Craig Harrison’s novel, the film explores themes of human instinct, trust, and racial tension leading to a surreal and ambiguous conclusion. Cocoon Surprisingly, Robert Zemeckis was originally slated to direct Cocoon, but after Fox executives' negative reactions to an early cut of Romancing the Stone, Ron Howard took over. Howard’s deliberate direction proved perfect for Tom Benedek’s screenplay about seniors at a retirement home who discover a swimming pool with giant cocoons that rejuvenate them. The film thoughtfully examines aging and the rediscovery of youth through the experiences of its elderly characters, portrayed by Don Ameche, Wilford Brimley, and Hume Cronyn. Rather than merely invoking nostalgia, Howard elicits strong performances from this older cast. While the special effects, especially the glowing alien beings, may seem dated today, the film’s charm and positive portrayal of the creatures are undeniable. Cocoon became a significant hit that year, followed by a less successful sequel, Cocoon: The Return, released three years later. The Stuff The film's title refers to a mysterious, sweet, and addictive white goo, reminiscent of shaving cream. This substance quickly becomes a national obsession, capturing America’s attention. Writer-director Larry Cohen fully embraces the absurdity Casey Chong examines eight notable cult sci-fi films from 1985... The year 1985 was significant for the iconic sci-fi film Back to the Future, which grossed over $210 million in the U.S. alone. Directed by Robert Zemeckis, this time-travel classic remains a beloved cinematic landmark. Alongside it, several other sci-fi movies were released, some achieving success like Cocoon, while others, such as Enemy Mine and Explorers, were largely overlooked by audiences at the time. Below, we present our selections of the essential sci-fi films from 1985 beyond Back to the Future... Re-Animator Not for the faint of heart, Stuart Gordon fully embraces Lovecraftian horror with sci-fi elements in Re-Animator. The film features Jeffrey Combs in his memorable and eccentric role as Herbert West, a deranged medical student obsessed with resurrecting the dead using his experimental serum. Gordon’s direction captures the essence of a B-movie spirit, merging sci-fi horror with dark comedy. The film is exceptionally bloody and gory, showcasing impressive practical effects and maintaining a brisk pace without unnecessary distractions. The cult success of Re-Animator led to two sequels, Bride of Re-Animator and Beyond Re-Animator. Brazil Terry Gilliam’s often-misunderstood sci-fi masterpiece failed to draw large audiences upon its release but has since been recognized as a classic. Gilliam, who co-wrote the screenplay, presents a unique vision of a dystopian future rife with bureaucratic absurdities, focused on a low-level government employee, played by the empathetic Jonathan Pryce, as he navigates a landscape of daydreams and mundane reality. Beyond Gilliam’s stunning visuals and quirky humor, the film offers profound narrative depth, drawing on Orwellian themes of totalitarianism and oppression. Although its nearly 2 ½ hour runtime might deter some viewers, Gilliam’s intricate direction offers a distinctive cinematic experience worth witnessing. Enemy Mine Wolfgang Petersen, known for genre-defining works like Das Boot and Air Force One, directed the sadly underrated Enemy Mine, which came a year after the success of The NeverEnding Story. The film faced numerous behind-the-scenes challenges, including the firing of original director Richard Loncraine, who had already filmed some scenes. Rather than using Loncraine's footage, Petersen opted to start anew. Unfortunately, despite his efforts, Enemy Mine struggled at the box office, yet it deserves recognition for its effective exploration of themes such as harmony, unity, and empathy, adapted from Barry B. Longyear’s novella by Edward Khmara. Primarily centering on the conflict between human pilot Willis Davidge (Dennis Quaid) and a reptilian being named Jeriba Shigan (Louis Gossett Jr., in full prosthetic makeup), the film thrives on the chemistry between the two leads, elevating it beyond a simple survival story. The Quiet Earth This film from New Zealand presents a haunting “what if” scenario in which a global disaster nearly wipes out all humanity. Directed by Geoff Murphy, who later took on Hollywood projects like Young Guns II, The Quiet Earth opens with a captivating scene where a man (Bruno Lawrence) wakes up to find himself utterly alone in a city. The first 35 minutes focus on Lawrence’s character, Zac Hobson, as he copes with solitude, even resorting to donning a dress for entertainment. His performance is exceptional, capturing a blend of isolation, frustration, and odd joy. The narrative later introduces two additional characters: a young woman named Joanne (Alison Routledge) and a Maori man named Api (Pete Smith). Adapted from Craig Harrison’s novel, the film explores themes of human instinct, trust, and racial tension leading to a surreal and ambiguous conclusion. Cocoon Surprisingly, Robert Zemeckis was originally slated to direct Cocoon, but after Fox executives' negative reactions to an early cut of Romancing the Stone, Ron Howard took over. Howard’s deliberate direction proved perfect for Tom Benedek’s screenplay about seniors at a retirement home who discover a swimming pool with giant cocoons that rejuvenate them. The film thoughtfully examines aging and the rediscovery of youth through the experiences of its elderly characters, portrayed by Don Ameche, Wilford Brimley, and Hume Cronyn. Rather than merely invoking nostalgia, Howard elicits strong performances from this older cast. While the special effects, especially the glowing alien beings, may seem dated today, the film’s charm and positive portrayal of the creatures are undeniable. Cocoon became a significant hit that year, followed by a less successful sequel, Cocoon: The Return, released three years later. The Stuff The film's title refers to a mysterious, sweet, and addictive white goo, reminiscent of shaving cream. This substance quickly becomes a national obsession, capturing America’s attention. Writer-director Larry Cohen fully embraces the absurdity

10 Amazing Overlooked Treasures of the 1980s We explore ten excellent hidden treasures from the 1980s; how many of these have you watched…? The 1980s was a diverse era for films. Blockbusters and franchises were gaining prominence. The rise of home video also provided movies an opportunity to thrive beyond theaters. Movie enthusiasts have always gathered […]

Casey Chong examines eight notable cult sci-fi films from 1985... The year 1985 was significant for the iconic sci-fi film Back to the Future, which grossed over $210 million in the U.S. alone. Directed by Robert Zemeckis, this time-travel classic remains a beloved cinematic landmark. Alongside it, several other sci-fi movies were released, some achieving success like Cocoon, while others, such as Enemy Mine and Explorers, were largely overlooked by audiences at the time. Below, we present our selections of the essential sci-fi films from 1985 beyond Back to the Future... Re-Animator Not for the faint of heart, Stuart Gordon fully embraces Lovecraftian horror with sci-fi elements in Re-Animator. The film features Jeffrey Combs in his memorable and eccentric role as Herbert West, a deranged medical student obsessed with resurrecting the dead using his experimental serum. Gordon’s direction captures the essence of a B-movie spirit, merging sci-fi horror with dark comedy. The film is exceptionally bloody and gory, showcasing impressive practical effects and maintaining a brisk pace without unnecessary distractions. The cult success of Re-Animator led to two sequels, Bride of Re-Animator and Beyond Re-Animator. Brazil Terry Gilliam’s often-misunderstood sci-fi masterpiece failed to draw large audiences upon its release but has since been recognized as a classic. Gilliam, who co-wrote the screenplay, presents a unique vision of a dystopian future rife with bureaucratic absurdities, focused on a low-level government employee, played by the empathetic Jonathan Pryce, as he navigates a landscape of daydreams and mundane reality. Beyond Gilliam’s stunning visuals and quirky humor, the film offers profound narrative depth, drawing on Orwellian themes of totalitarianism and oppression. Although its nearly 2 ½ hour runtime might deter some viewers, Gilliam’s intricate direction offers a distinctive cinematic experience worth witnessing. Enemy Mine Wolfgang Petersen, known for genre-defining works like Das Boot and Air Force One, directed the sadly underrated Enemy Mine, which came a year after the success of The NeverEnding Story. The film faced numerous behind-the-scenes challenges, including the firing of original director Richard Loncraine, who had already filmed some scenes. Rather than using Loncraine's footage, Petersen opted to start anew. Unfortunately, despite his efforts, Enemy Mine struggled at the box office, yet it deserves recognition for its effective exploration of themes such as harmony, unity, and empathy, adapted from Barry B. Longyear’s novella by Edward Khmara. Primarily centering on the conflict between human pilot Willis Davidge (Dennis Quaid) and a reptilian being named Jeriba Shigan (Louis Gossett Jr., in full prosthetic makeup), the film thrives on the chemistry between the two leads, elevating it beyond a simple survival story. The Quiet Earth This film from New Zealand presents a haunting “what if” scenario in which a global disaster nearly wipes out all humanity. Directed by Geoff Murphy, who later took on Hollywood projects like Young Guns II, The Quiet Earth opens with a captivating scene where a man (Bruno Lawrence) wakes up to find himself utterly alone in a city. The first 35 minutes focus on Lawrence’s character, Zac Hobson, as he copes with solitude, even resorting to donning a dress for entertainment. His performance is exceptional, capturing a blend of isolation, frustration, and odd joy. The narrative later introduces two additional characters: a young woman named Joanne (Alison Routledge) and a Maori man named Api (Pete Smith). Adapted from Craig Harrison’s novel, the film explores themes of human instinct, trust, and racial tension leading to a surreal and ambiguous conclusion. Cocoon Surprisingly, Robert Zemeckis was originally slated to direct Cocoon, but after Fox executives' negative reactions to an early cut of Romancing the Stone, Ron Howard took over. Howard’s deliberate direction proved perfect for Tom Benedek’s screenplay about seniors at a retirement home who discover a swimming pool with giant cocoons that rejuvenate them. The film thoughtfully examines aging and the rediscovery of youth through the experiences of its elderly characters, portrayed by Don Ameche, Wilford Brimley, and Hume Cronyn. Rather than merely invoking nostalgia, Howard elicits strong performances from this older cast. While the special effects, especially the glowing alien beings, may seem dated today, the film’s charm and positive portrayal of the creatures are undeniable. Cocoon became a significant hit that year, followed by a less successful sequel, Cocoon: The Return, released three years later. The Stuff The film's title refers to a mysterious, sweet, and addictive white goo, reminiscent of shaving cream. This substance quickly becomes a national obsession, capturing America’s attention. Writer-director Larry Cohen fully embraces the absurdity Casey Chong examines eight notable cult sci-fi films from 1985... The year 1985 was significant for the iconic sci-fi film Back to the Future, which grossed over $210 million in the U.S. alone. Directed by Robert Zemeckis, this time-travel classic remains a beloved cinematic landmark. Alongside it, several other sci-fi movies were released, some achieving success like Cocoon, while others, such as Enemy Mine and Explorers, were largely overlooked by audiences at the time. Below, we present our selections of the essential sci-fi films from 1985 beyond Back to the Future... Re-Animator Not for the faint of heart, Stuart Gordon fully embraces Lovecraftian horror with sci-fi elements in Re-Animator. The film features Jeffrey Combs in his memorable and eccentric role as Herbert West, a deranged medical student obsessed with resurrecting the dead using his experimental serum. Gordon’s direction captures the essence of a B-movie spirit, merging sci-fi horror with dark comedy. The film is exceptionally bloody and gory, showcasing impressive practical effects and maintaining a brisk pace without unnecessary distractions. The cult success of Re-Animator led to two sequels, Bride of Re-Animator and Beyond Re-Animator. Brazil Terry Gilliam’s often-misunderstood sci-fi masterpiece failed to draw large audiences upon its release but has since been recognized as a classic. Gilliam, who co-wrote the screenplay, presents a unique vision of a dystopian future rife with bureaucratic absurdities, focused on a low-level government employee, played by the empathetic Jonathan Pryce, as he navigates a landscape of daydreams and mundane reality. Beyond Gilliam’s stunning visuals and quirky humor, the film offers profound narrative depth, drawing on Orwellian themes of totalitarianism and oppression. Although its nearly 2 ½ hour runtime might deter some viewers, Gilliam’s intricate direction offers a distinctive cinematic experience worth witnessing. Enemy Mine Wolfgang Petersen, known for genre-defining works like Das Boot and Air Force One, directed the sadly underrated Enemy Mine, which came a year after the success of The NeverEnding Story. The film faced numerous behind-the-scenes challenges, including the firing of original director Richard Loncraine, who had already filmed some scenes. Rather than using Loncraine's footage, Petersen opted to start anew. Unfortunately, despite his efforts, Enemy Mine struggled at the box office, yet it deserves recognition for its effective exploration of themes such as harmony, unity, and empathy, adapted from Barry B. Longyear’s novella by Edward Khmara. Primarily centering on the conflict between human pilot Willis Davidge (Dennis Quaid) and a reptilian being named Jeriba Shigan (Louis Gossett Jr., in full prosthetic makeup), the film thrives on the chemistry between the two leads, elevating it beyond a simple survival story. The Quiet Earth This film from New Zealand presents a haunting “what if” scenario in which a global disaster nearly wipes out all humanity. Directed by Geoff Murphy, who later took on Hollywood projects like Young Guns II, The Quiet Earth opens with a captivating scene where a man (Bruno Lawrence) wakes up to find himself utterly alone in a city. The first 35 minutes focus on Lawrence’s character, Zac Hobson, as he copes with solitude, even resorting to donning a dress for entertainment. His performance is exceptional, capturing a blend of isolation, frustration, and odd joy. The narrative later introduces two additional characters: a young woman named Joanne (Alison Routledge) and a Maori man named Api (Pete Smith). Adapted from Craig Harrison’s novel, the film explores themes of human instinct, trust, and racial tension leading to a surreal and ambiguous conclusion. Cocoon Surprisingly, Robert Zemeckis was originally slated to direct Cocoon, but after Fox executives' negative reactions to an early cut of Romancing the Stone, Ron Howard took over. Howard’s deliberate direction proved perfect for Tom Benedek’s screenplay about seniors at a retirement home who discover a swimming pool with giant cocoons that rejuvenate them. The film thoughtfully examines aging and the rediscovery of youth through the experiences of its elderly characters, portrayed by Don Ameche, Wilford Brimley, and Hume Cronyn. Rather than merely invoking nostalgia, Howard elicits strong performances from this older cast. While the special effects, especially the glowing alien beings, may seem dated today, the film’s charm and positive portrayal of the creatures are undeniable. Cocoon became a significant hit that year, followed by a less successful sequel, Cocoon: The Return, released three years later. The Stuff The film's title refers to a mysterious, sweet, and addictive white goo, reminiscent of shaving cream. This substance quickly becomes a national obsession, capturing America’s attention. Writer-director Larry Cohen fully embraces the absurdity

The Surfer, 2025. Directed by Lorcan Finnegan. Featuring Nicolas Cage, Julian McMahon, Justin Rosniak, Alexander Bertrand, Rahel Romahn, Nicholas Cassim, Finn Little, Charlotte Maggi, Nina Young, James Bingham, Miranda Tapsell, Radek Jonak, Rory O’Keeffe, Talon Hopper, Sally Clune, Gautier de Fontaine, Jake Fryer-Hornsby, Adam Leeuwenhart, Dean McAskil, Tobiasz Rodney, Adam Sollis, Oliver Webb, Daniel Williamson, and Austen Wilmot. SYNOPSIS: A man revisits the blissful beach of his youth to surf with his son. After facing humiliation at the hands of some locals, he finds himself embroiled in an escalating conflict that tests his limits. On a drive to an Australian beach with his son, Nicolas Cage's character, credited as The Surfer, gives a speech about embracing life's waves (essentially), which he frames as a metaphor for life’s ups and downs. It’s a humorous, tongue-in-cheek moment, but as the simplistic premise of Lorcan Finnegan’s direction and Thomas Martin’s writing unfolds, the film quickly becomes excruciating to endure, particularly as the central message is heavily reiterated by the 30-minute mark. In retrospect, the filmmakers appear to declare right away, “this is all we have” in their take on Wake in Fright, a renowned Australian film exploring themes of toxic masculinity that has gained renewed significance in the realm of psychological horror over recent years. Having shared a love for surfing with his late father before that tragic loss, attributed to his mother relocating the family to Los Angeles (a clever means of sidestepping the potential accent issues of Australian-born Nicolas Cage), The Surfer seeks to reconnect with his teenage son, Finn Little, credited as The Kid. However, it soon becomes clear that this presumably affluent businessman is under the delusion that purchasing his childhood home will remedy his midlife crisis, which includes his wife leaving him and his subsequent involvement with another man. The Kid is unenthusiastic about spending Christmas with his father and generally seems uninterested in engaging. That proves to be the least of The Surfer's challenges; upon arriving at his childhood beach, he discovers it is now controlled by a trust-fund psychopathic cult leader named Scally (Julian McMahon), who indoctrinates the local beachgoers into believing that suffering is essential to achieving a transcendental freedom and fulfilling one's dreams. This realization means that he and the surrounding locals are determined to psychologically torment The Surfer in every conceivable way. This manipulation plays out like a 4-D chess game, resulting in The Surfer losing everything—from his surfboard to the opportunity to buy back his childhood home, his treasured watch passed down from his father, his car, wallet, and phone. Why stop there? He also suffers physical assaults on multiple occasions and ultimately finds himself with nothing to drink except foul-tasting bathroom water. The silver lining is that Nicolas Cage doesn't go for the over-the-top portrayal; instead, he delivers a more subtle, pitiable mental breakdown, aligning with the cult’s slow and steady psychological manipulation. Throughout this surreal spiral into madness, various questions arise, such as why the police seem to allow the chaos (the cult violently attacks anyone who isn’t local) and whether it holds significance that his only ally is an elderly bearded man who also has a vendetta against these crazies and looks uncannily like a heavily made-up Nicolas Cage. None of these questions receive answers. Kudos go to cinematographer Radek Ladczuk for capturing the intense heat of Christmas-time Australia by the beach, at times leaving viewers unsure whether Nicolas Cage appears sunburned or bruised. Regardless, he consistently looks like a disheveled, sweaty, red-faced mess throughout his unending nightmare. There’s also a hazy, dreamlike score from composer François Tétaz that enhances the mood. The film’s surreal and absurd tone is reminiscent of Lorcan Finnegan’s earlier psychological thriller, Vivarium, which also dealt with a subversion of suburban life (more focused on the horrors of parenting). However, that film seemed more striking in its style and horror, knowing what message it aimed to convey and how to effectively deliver it. In contrast, The Surfer proves to be increasingly frustrating as viewers await Nicolas Cage to take action against his circumstances. Meanwhile, the cult comes off as an afterthought, with characterization reduced to a clichéd take on toxic masculinity. These are waves that aren’t worth riding; wiping out and drowning would likely be more entertaining and eventful. Flickering Myth Rating – Film: ★ ★ / Movie: ★ ★ Robert Kojder is a member of the Chicago Film Critics Association, Critics Choice Association, The Surfer, 2025. Directed by Lorcan Finnegan. Featuring Nicolas Cage, Julian McMahon, Justin Rosniak, Alexander Bertrand, Rahel Romahn, Nicholas Cassim, Finn Little, Charlotte Maggi, Nina Young, James Bingham, Miranda Tapsell, Radek Jonak, Rory O’Keeffe, Talon Hopper, Sally Clune, Gautier de Fontaine, Jake Fryer-Hornsby, Adam Leeuwenhart, Dean McAskil, Tobiasz Rodney, Adam Sollis, Oliver Webb, Daniel Williamson, and Austen Wilmot. SYNOPSIS: A man revisits the blissful beach of his youth to surf with his son. After facing humiliation at the hands of some locals, he finds himself embroiled in an escalating conflict that tests his limits. On a drive to an Australian beach with his son, Nicolas Cage's character, credited as The Surfer, gives a speech about embracing life's waves (essentially), which he frames as a metaphor for life’s ups and downs. It’s a humorous, tongue-in-cheek moment, but as the simplistic premise of Lorcan Finnegan’s direction and Thomas Martin’s writing unfolds, the film quickly becomes excruciating to endure, particularly as the central message is heavily reiterated by the 30-minute mark. In retrospect, the filmmakers appear to declare right away, “this is all we have” in their take on Wake in Fright, a renowned Australian film exploring themes of toxic masculinity that has gained renewed significance in the realm of psychological horror over recent years. Having shared a love for surfing with his late father before that tragic loss, attributed to his mother relocating the family to Los Angeles (a clever means of sidestepping the potential accent issues of Australian-born Nicolas Cage), The Surfer seeks to reconnect with his teenage son, Finn Little, credited as The Kid. However, it soon becomes clear that this presumably affluent businessman is under the delusion that purchasing his childhood home will remedy his midlife crisis, which includes his wife leaving him and his subsequent involvement with another man. The Kid is unenthusiastic about spending Christmas with his father and generally seems uninterested in engaging. That proves to be the least of The Surfer's challenges; upon arriving at his childhood beach, he discovers it is now controlled by a trust-fund psychopathic cult leader named Scally (Julian McMahon), who indoctrinates the local beachgoers into believing that suffering is essential to achieving a transcendental freedom and fulfilling one's dreams. This realization means that he and the surrounding locals are determined to psychologically torment The Surfer in every conceivable way. This manipulation plays out like a 4-D chess game, resulting in The Surfer losing everything—from his surfboard to the opportunity to buy back his childhood home, his treasured watch passed down from his father, his car, wallet, and phone. Why stop there? He also suffers physical assaults on multiple occasions and ultimately finds himself with nothing to drink except foul-tasting bathroom water. The silver lining is that Nicolas Cage doesn't go for the over-the-top portrayal; instead, he delivers a more subtle, pitiable mental breakdown, aligning with the cult’s slow and steady psychological manipulation. Throughout this surreal spiral into madness, various questions arise, such as why the police seem to allow the chaos (the cult violently attacks anyone who isn’t local) and whether it holds significance that his only ally is an elderly bearded man who also has a vendetta against these crazies and looks uncannily like a heavily made-up Nicolas Cage. None of these questions receive answers. Kudos go to cinematographer Radek Ladczuk for capturing the intense heat of Christmas-time Australia by the beach, at times leaving viewers unsure whether Nicolas Cage appears sunburned or bruised. Regardless, he consistently looks like a disheveled, sweaty, red-faced mess throughout his unending nightmare. There’s also a hazy, dreamlike score from composer François Tétaz that enhances the mood. The film’s surreal and absurd tone is reminiscent of Lorcan Finnegan’s earlier psychological thriller, Vivarium, which also dealt with a subversion of suburban life (more focused on the horrors of parenting). However, that film seemed more striking in its style and horror, knowing what message it aimed to convey and how to effectively deliver it. In contrast, The Surfer proves to be increasingly frustrating as viewers await Nicolas Cage to take action against his circumstances. Meanwhile, the cult comes off as an afterthought, with characterization reduced to a clichéd take on toxic masculinity. These are waves that aren’t worth riding; wiping out and drowning would likely be more entertaining and eventful. Flickering Myth Rating – Film: ★ ★ / Movie: ★ ★ Robert Kojder is a member of the Chicago Film Critics Association, Critics Choice Association,

Nora Director Anna Campbell Discusses Transforming the Contemporary Musical Anna Campbell is an actress, producer, and director originally from Portland, Oregon. Following her graduation with honors from Vassar College, she pursued a career as an actress, where

Casey Chong examines eight notable cult sci-fi films from 1985... The year 1985 was significant for the iconic sci-fi film Back to the Future, which grossed over $210 million in the U.S. alone. Directed by Robert Zemeckis, this time-travel classic remains a beloved cinematic landmark. Alongside it, several other sci-fi movies were released, some achieving success like Cocoon, while others, such as Enemy Mine and Explorers, were largely overlooked by audiences at the time. Below, we present our selections of the essential sci-fi films from 1985 beyond Back to the Future... Re-Animator Not for the faint of heart, Stuart Gordon fully embraces Lovecraftian horror with sci-fi elements in Re-Animator. The film features Jeffrey Combs in his memorable and eccentric role as Herbert West, a deranged medical student obsessed with resurrecting the dead using his experimental serum. Gordon’s direction captures the essence of a B-movie spirit, merging sci-fi horror with dark comedy. The film is exceptionally bloody and gory, showcasing impressive practical effects and maintaining a brisk pace without unnecessary distractions. The cult success of Re-Animator led to two sequels, Bride of Re-Animator and Beyond Re-Animator. Brazil Terry Gilliam’s often-misunderstood sci-fi masterpiece failed to draw large audiences upon its release but has since been recognized as a classic. Gilliam, who co-wrote the screenplay, presents a unique vision of a dystopian future rife with bureaucratic absurdities, focused on a low-level government employee, played by the empathetic Jonathan Pryce, as he navigates a landscape of daydreams and mundane reality. Beyond Gilliam’s stunning visuals and quirky humor, the film offers profound narrative depth, drawing on Orwellian themes of totalitarianism and oppression. Although its nearly 2 ½ hour runtime might deter some viewers, Gilliam’s intricate direction offers a distinctive cinematic experience worth witnessing. Enemy Mine Wolfgang Petersen, known for genre-defining works like Das Boot and Air Force One, directed the sadly underrated Enemy Mine, which came a year after the success of The NeverEnding Story. The film faced numerous behind-the-scenes challenges, including the firing of original director Richard Loncraine, who had already filmed some scenes. Rather than using Loncraine's footage, Petersen opted to start anew. Unfortunately, despite his efforts, Enemy Mine struggled at the box office, yet it deserves recognition for its effective exploration of themes such as harmony, unity, and empathy, adapted from Barry B. Longyear’s novella by Edward Khmara. Primarily centering on the conflict between human pilot Willis Davidge (Dennis Quaid) and a reptilian being named Jeriba Shigan (Louis Gossett Jr., in full prosthetic makeup), the film thrives on the chemistry between the two leads, elevating it beyond a simple survival story. The Quiet Earth This film from New Zealand presents a haunting “what if” scenario in which a global disaster nearly wipes out all humanity. Directed by Geoff Murphy, who later took on Hollywood projects like Young Guns II, The Quiet Earth opens with a captivating scene where a man (Bruno Lawrence) wakes up to find himself utterly alone in a city. The first 35 minutes focus on Lawrence’s character, Zac Hobson, as he copes with solitude, even resorting to donning a dress for entertainment. His performance is exceptional, capturing a blend of isolation, frustration, and odd joy. The narrative later introduces two additional characters: a young woman named Joanne (Alison Routledge) and a Maori man named Api (Pete Smith). Adapted from Craig Harrison’s novel, the film explores themes of human instinct, trust, and racial tension leading to a surreal and ambiguous conclusion. Cocoon Surprisingly, Robert Zemeckis was originally slated to direct Cocoon, but after Fox executives' negative reactions to an early cut of Romancing the Stone, Ron Howard took over. Howard’s deliberate direction proved perfect for Tom Benedek’s screenplay about seniors at a retirement home who discover a swimming pool with giant cocoons that rejuvenate them. The film thoughtfully examines aging and the rediscovery of youth through the experiences of its elderly characters, portrayed by Don Ameche, Wilford Brimley, and Hume Cronyn. Rather than merely invoking nostalgia, Howard elicits strong performances from this older cast. While the special effects, especially the glowing alien beings, may seem dated today, the film’s charm and positive portrayal of the creatures are undeniable. Cocoon became a significant hit that year, followed by a less successful sequel, Cocoon: The Return, released three years later. The Stuff The film's title refers to a mysterious, sweet, and addictive white goo, reminiscent of shaving cream. This substance quickly becomes a national obsession, capturing America’s attention. Writer-director Larry Cohen fully embraces the absurdity Casey Chong examines eight notable cult sci-fi films from 1985... The year 1985 was significant for the iconic sci-fi film Back to the Future, which grossed over $210 million in the U.S. alone. Directed by Robert Zemeckis, this time-travel classic remains a beloved cinematic landmark. Alongside it, several other sci-fi movies were released, some achieving success like Cocoon, while others, such as Enemy Mine and Explorers, were largely overlooked by audiences at the time. Below, we present our selections of the essential sci-fi films from 1985 beyond Back to the Future... Re-Animator Not for the faint of heart, Stuart Gordon fully embraces Lovecraftian horror with sci-fi elements in Re-Animator. The film features Jeffrey Combs in his memorable and eccentric role as Herbert West, a deranged medical student obsessed with resurrecting the dead using his experimental serum. Gordon’s direction captures the essence of a B-movie spirit, merging sci-fi horror with dark comedy. The film is exceptionally bloody and gory, showcasing impressive practical effects and maintaining a brisk pace without unnecessary distractions. The cult success of Re-Animator led to two sequels, Bride of Re-Animator and Beyond Re-Animator. Brazil Terry Gilliam’s often-misunderstood sci-fi masterpiece failed to draw large audiences upon its release but has since been recognized as a classic. Gilliam, who co-wrote the screenplay, presents a unique vision of a dystopian future rife with bureaucratic absurdities, focused on a low-level government employee, played by the empathetic Jonathan Pryce, as he navigates a landscape of daydreams and mundane reality. Beyond Gilliam’s stunning visuals and quirky humor, the film offers profound narrative depth, drawing on Orwellian themes of totalitarianism and oppression. Although its nearly 2 ½ hour runtime might deter some viewers, Gilliam’s intricate direction offers a distinctive cinematic experience worth witnessing. Enemy Mine Wolfgang Petersen, known for genre-defining works like Das Boot and Air Force One, directed the sadly underrated Enemy Mine, which came a year after the success of The NeverEnding Story. The film faced numerous behind-the-scenes challenges, including the firing of original director Richard Loncraine, who had already filmed some scenes. Rather than using Loncraine's footage, Petersen opted to start anew. Unfortunately, despite his efforts, Enemy Mine struggled at the box office, yet it deserves recognition for its effective exploration of themes such as harmony, unity, and empathy, adapted from Barry B. Longyear’s novella by Edward Khmara. Primarily centering on the conflict between human pilot Willis Davidge (Dennis Quaid) and a reptilian being named Jeriba Shigan (Louis Gossett Jr., in full prosthetic makeup), the film thrives on the chemistry between the two leads, elevating it beyond a simple survival story. The Quiet Earth This film from New Zealand presents a haunting “what if” scenario in which a global disaster nearly wipes out all humanity. Directed by Geoff Murphy, who later took on Hollywood projects like Young Guns II, The Quiet Earth opens with a captivating scene where a man (Bruno Lawrence) wakes up to find himself utterly alone in a city. The first 35 minutes focus on Lawrence’s character, Zac Hobson, as he copes with solitude, even resorting to donning a dress for entertainment. His performance is exceptional, capturing a blend of isolation, frustration, and odd joy. The narrative later introduces two additional characters: a young woman named Joanne (Alison Routledge) and a Maori man named Api (Pete Smith). Adapted from Craig Harrison’s novel, the film explores themes of human instinct, trust, and racial tension leading to a surreal and ambiguous conclusion. Cocoon Surprisingly, Robert Zemeckis was originally slated to direct Cocoon, but after Fox executives' negative reactions to an early cut of Romancing the Stone, Ron Howard took over. Howard’s deliberate direction proved perfect for Tom Benedek’s screenplay about seniors at a retirement home who discover a swimming pool with giant cocoons that rejuvenate them. The film thoughtfully examines aging and the rediscovery of youth through the experiences of its elderly characters, portrayed by Don Ameche, Wilford Brimley, and Hume Cronyn. Rather than merely invoking nostalgia, Howard elicits strong performances from this older cast. While the special effects, especially the glowing alien beings, may seem dated today, the film’s charm and positive portrayal of the creatures are undeniable. Cocoon became a significant hit that year, followed by a less successful sequel, Cocoon: The Return, released three years later. The Stuff The film's title refers to a mysterious, sweet, and addictive white goo, reminiscent of shaving cream. This substance quickly becomes a national obsession, capturing America’s attention. Writer-director Larry Cohen fully embraces the absurdity

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