DVD Review: Mystery Science Theater 3000 Volume XXXVII

These are frightening and absurd times. The idea of Donald Trump and his merry gang of racists actually taking over the White House is terrifying and sickening. Whenever Donald Trump is speaking on television, what is desperately needed is a running commentary at the bottom of the screen from Joel, Mike, Crow and Tom Servo. How can we make that happen? Please get on that, folks. In the meantime, to help us all deal with this bizarre and twisted reality, Shout! Factory has released a new volume of Mystery Science Theater 3000 episodes. Volume XXXVII contains “The Human Duplicators,” “Escape 2000,” “The Horror Of Party Beach” and “Invasion Of The Neptune Men,” none of which have been previously available on DVD. And there is plenty of bonus material as well.

Disc 1: The Human Duplicators

In this Joel episode from 1992, Gypsy would like another eye and a fin, while Tom Servo desires other, more complex improvements. And the robots are disappointed by Joel’s invention during the invention exchange. But soon they have something else to worry about: getting through The Human Duplicators. As always, they manage to do so by poking fun at everything they’re shown. As a blind girl leads the alien to her uncle’s laboratory, Crow comments, “It’s the blind leading the bland.” Later, when the screen inexplicably goes black for a moment, Crow says, “Oh, that must have been her point of view.” Another female character in the film has a voice more annoying than Fran Drescher’s, leading Tom Servo to ask, “Could you not talk?” When that character asks another what an android is, the answer is: “An android, dear, is a robot. Like a mechanical man.” Joel adds, “Like my acting.” When an android says, “We have no feelings,” Crow adds, “We’re Republicans.” This episode contains references to The Brady Bunch, Gilligan’s Island, Mork & Mindy, The Godfather, Beverly Hills Cop, Bullitt, The Wizard Of Oz and The World According To Garp.

As for bonus material, the first disc includes The Mystery Science Theater Hour introductions and signings off for this episode.

Disc 2: Escape 2000

In this Mike episode from 1996, Dr. Clayton Forrester puts his mother in a home while Crow sets fire to the Satellite of Love. And the movie the gang is forced to watch is one actually directed by Enzo Castellari, who has made some really good films. This one, however, is… well, it’s perfect for Mike and the robots to tear apart. Near the beginning Mike says, “See, this is the danger of expanding rock videos to full-length features.” And Tom Servo says about the film, “I think it was originally conceived as a still photograph.” Later, when there is an annoying beeping sound, the gang quips, “The movie’s backing up.” As one character rides his motorcycle into a building and down a flight of stairs, Crow comments, “He’s got kind of an inconvenient parking spot.” The gang jokes often about one woman’s resemblance to Nosferatu. Mike pokes fun at Enzo Castellari: “The director had a vision: make guys jump in slow motion.” This episode contains a lot of music references: Frankie Goes To Hollywood, Prince, Blondie, Dead Or Alive, Pink Floyd, and so on.

The bonus material contains an introduction by Mary Jo Pehl, in which she talks about why the movie was chosen for Mystery Science Theater 3000, and about her character on the show. Leave The Bronx: Making Escape 2000 is a look at the film and at the movies that influenced it. The theatrical trailer is also included, with the film’s original title, Escape From The Bronx.

Disc 3: The Horror Of Party Beach

This is a Mike episode from 1997, when Pearl is the one sending him and the robots the movies. The opening bit isn’t great, but once the movie starts, the gang jumps into gear. During the opening credits of the film, Crow comments: “Original soundtrack not available. You’ll thank us.” When a girl says to her boyfriend, “I never needed you, and I never will,” Tom Servo says, “They wrote their own vows.” As a character dumps radioactive waste into the ocean, the gang quips, “Oh, it’s an Exxon training film.” The Horror Of Party Beach is a particularly bad film (and a particularly good episode), and partway through a long scene of people dancing on a beach, Crow asks, “Mike, are we being punished for something?” And at another dull dance scene, Crow says, “There must be five car lengths between couples.” When a child shouts “Extra, extra, read all about it,” Crow adds, “Fifties extended indefinitely.” The headline on the paper is “Monsters Strike Again,” leading the gang to add, “President orders monsters back to work.” At the end of the episode the gang sings an original number about sodium. And remember, look Polish, everyone!

The third disc contains an introduction by Mary Jo Pehl, in which she talks about how at that time in the MST3K series, they were told which types of movies they had to do, and about the narrative arc in the other segments. Return To Party Beach is a look at the film and its director, Del Tenney. It features an interview with Tenney’s widow, Margot Hartman, who provides some really interesting anecdotes, like about the motorcycle gang used in the film. The film’s trailer is also included.

Disc 4: Invasion Of The Neptune Men

This is another Mike episode from 1997, where a war is waged in Mike Nelson’s eyelashes, while Pearl has troubles of her own in ancient Rome. The biggest problem, however, is Invasion Of The Neptune Men, clearly one of the worst movies of all time, and one that even our seasoned heroes have trouble dealing with. It’s a Japanese film, so the episode contains references to Mothra and Gamera. As the aliens retreat to their ship after the lamest fight sequence ever shown on screen, Crow says, “Come on, I want to jump around while you fall down more.” One character points out, “The clock’s running backwards.” Tom Servo adds, “That means that lunch won’t be until yesterday.” And when a record spins backwards, the gang adds, “Paul is a dead man.” This terrible film features a group of annoying children who keep showing up everywhere, leading Mike to comment, “Apparently the kids have level five security clearance.” As several characters get into a car, the gang jokes: “Let’s get out of this movie. Step on it!” Later, as people pile out of an old bus, Mike warns, “Ken Kesey’s got a gun!” The movie is incredibly dull, so when one character says “Hold it, something’s happened,” Mike responds, “Yeah, right.” But then shockingly this Japanese movie has a shot of a statue of Adolf Hitler. Oh my! This episode contains references to Lord Of The Flies, Lost In Space, M.A.S.H. and The Banana Splits Show.

The bonus material includes an introduction by Mary Jo Pehl, in which she talks about the movie and about the obnoxious children, as well as about the host segments. August On Neptune is a featurette on the film and its studio, featuring an interview with August Ragone. The original Japanese theatrical trailer is also included.

Mystery Science Theater 3000 Volume XXXVII was released on November 22, 2016 through Shout! Factory.

Blu-ray Review: The Return Of The Living Dead: Collector’s Edition

Yes, folks, it’s that time of the year when we start thinking about purchasing gifts for the holidays. For the horror fans among your family and friends, you might consider the Collector’s Edition Blu-ray two-disc set of The Return Of The Living Dead, released earlier this year. It is one of my favorite horror films of the 1980s, with just the right amount of humor, and a good cast that includes Clu Gulager, James Karen, Don Calfa, Thom Mathews, Linnea Quigley and Beverly Randolph. It does poke a bit of fun at the zombie genre, but also works as a frightening horror film.

Freddy (Thom Mathews) is a new employee at a medical supply warehouse, and he is unnerved by the fresh cadaver hanging in the freezer. “We’re expecting a shipment on Monday,” he’s told by his supervisor, Frank (James Karen). But you know they won’t have to wait that long. Unlike most zombie movies, this one makes direct reference to Night Of The Living Dead, incorporating its existence into the reality of its world. Frank asks Freddy, “Did you know that movie was based on a true case?” He adds that the bodies were shipped to that very warehouse by mistake, and takes him into the basement to show him the containers. To prove the containers won’t leak, Frank bangs on one of them. And guess what? Gas suddenly springs out of it, causing both Frank and Freddy to start coughing and then pass out. When they come to, they’re not feeling all that good. Plus, the containers are now empty, and they find the cadaver in the freezer is no longer entirely dead.

Enlisting the help of their boss, Burt (Clu Gulager, who turns in one of the film’s best performances), and Burt’s friend Ernie (Don Calfa), they try to dispose of the problem. But things go from bad to worse when they burn the cadavers, and a rain brings the chemical right back down to the nearby cemetery, where Freddy’s friends are killing time. And soon there are many more zombies to deal with. And these zombies, unlike in other films, can actually think and strategize. One of them gets on the ambulance radio and says, “Send more paramedics.” Later another gets on the police car radio and says, “Send more cops.” It’s like ordering a pizza.

The film includes lots of little jokes in the set dressing, from the name of the warehouse – Uneeda Medical Supply – to the eye chart in the office, to the sign above the chapel which reads, “Beyond this fleeting day, the rest from which no man wakes.” And yes, some of the acting is a little over the top. But, as I mentioned, there are truly scary moments. And when the female zombie says, “I can feel myself rot,” it gives me chills every time.

Disc 1 Special Features

The first disc contains four separate commentary tracks. The first is by Gary Smart and Chris Griffiths. The second is with Thom Mathews, John Philbin and Tony Gardner. The third is with Dan O’Bannon and William Stout. And the fourth features William Stout, Don Calfa, Linnea Quigley, Brian Peck, Beverly Randolph and Allan Trautman.

The Decade Of Darkness is featurette on 1980s horror films, featuring interviews with Joe Dante, John Landis, Tom Holland, Catherine Hicks, Dee Wallace and others. They talk about how comedy began being inserted into the horror genre in this decade. Movies discussed include Motel Hell, The Texas Chainsaw Massacre 2, Child’s Play and The Howling. The Decade Of Darkness is approximately twenty-three minutes.

The first disc also includes five trailers for the film, as well as ten television spots and two still galleries. This disc also provides Zombie Subtitles, a silly feature which basically just includes subtitles when the zombies grunt and moan. And there is another silly subtitles feature, In Their Own Words – Zombies Speak, which provides lines when the zombies are just grunting. Like when one zombie bites into a person’s head, the subtitle reads: “Yum-yum. Oh, that’s so good.”

Disc 2 Special Features

The second disc is all bonus material. More Brains: A Return To The Living Dead is a two-hour documentary on the film, narrated by cast member Brian Peck, and featuring interviews with production designer William Stout, cinematographer Jules Brenner, casting director Stanzi Stokes, and other crew members. Also interviewed are cast members Linnea Quigley, Thom Mathews, James Karen, Clu Gulager, Beverly Randolph, John Philbin, Allan Trautman, Jewel Shepard, Brian Peck and Miquel A. Nunez, Jr. Beverly Randolph’s story about going to Dan O’Bannon’s house is funny. Also funny is the story of Linnea being shaved for the nude scene. And it’s interesting that the great scene of Frank’s demise was actually James Karen’s idea. It’s one of the film’s best moments. James A. Russo, who co-wrote Night Of The Living Dead, talks about how Return Of The Living Dead actually did stem from the Romero film, and about the original idea for the film. It’s interesting that the cast had a two-week rehearsal period for this movie. This documentary includes some storyboards and concept art.

The FX Of The Return Of The Living Dead is, obviously, a featurette on the makeup and visual effects of the film, and includes interviews with William Stout, Bill Munns, Kenny Myers, Craig Caton, Tony Gardner, Gene Warren Jr. and Bret Mixon, as well as with Brian Peck, an actor who ended up playing several zombies too. There are some interesting anecdotes, like that extras were paid another five dollars if they’d eat real animal brains. This is approximately thirty-three minutes.

Party Time: The Music Of The Return Of The Living Dead is a half-hour piece on the soundtrack and its use of punk music, featuring interviews with Dinah Cancer, Budd Carr, Greg Hetson, Steve Pross, Joe Wood, Karl Moet (who explains the band name SSQ), Roky Erickson, Chris D., John Sox, and Mark Robertson.

The second disc also includes an episode of Horror’s Hallowed Grounds about the locations used in The Return Of The Living Dead, as well an interview with Dan O’Bannon (his final interview, actually). He mentions how he did his best to stay off Romero’s turf with the film, and how he made the decision to address that film in the first scene of the movie. He also talks about his guns, and why he changed his attitude toward them, and about how Clu’s problems with the film came about. The bit about the skeletons is interesting. This interview is nearly a half hour.

The Origins Of The Return Of The Living Dead is an interview with John A. Russo, who co-wrote Night Of The Living Dead and was one of the story writers for The Return Of The Living Dead. He talks about some of his original ideas for this film. This interview is approximately fifteen minutes. The Return Of The Living Dead: The Dead Have Risen is a featurette on the film, featuring interviews with Clu Gulager, James Karen, Don Calfa, Brian Peck, Thom Mathews, Beverly Randolph, Linnea Quigley and Allan Trautman. This is from 2007, and is approximately twenty-one minutes. Designing The Dead is another featurette on the film, featuring an interview with Dan O’Bannon, in which he talks about how the film came about. It also includes an interview with William Stout, as well as some of the concept artwork for the film. It is approximately fourteen minutes.

In addition to all of that, the second disc includes a work print of The Return Of The Living Dead. Sure, the picture quality isn’t great, but it is a treat to have this all the same. There is plenty to keep the horror fan on your holiday gift list busy and happy.

This 2-disc edition of The Return Of The Living Dead was released on July 19, 2016 through Scream Factory, a division of Shout! Factory.

DVD Review: Hot Type: 150 Years Of The Nation

The Nation is the country’s oldest published weekly magazine, having been founded in 1865. The film Hot Type: 150 Years Of The Nation documents the current state of the publication, with an eye both on its past and its future. The film takes us inside the magazine’s offices, as well as to the locations of current stories the reporters are tackling, focusing on the folks who keep the magazine running and their reasons for doing so, particularly in regards to the new media landscape.

There is some interesting information on the editors and writers, especially the relation between the current editor and publisher, Katrina vanden Heuvel, and the previous editor, Victor Navasky, who still holds a position in the magazine. Several editors and writers are interviewed, and these are not strictly straight, traditional interviews, but rather glimpses of them at work talking about what it is they are doing. A common thread is their passion not only for journalism, but for The Nation specifically. Katrina says, “We believe success means treating journalism as a public good, holding the powerful accountable and making sure that light is shed on those who are committing abuse wherever, and that is our mission.” It is a mission that everyone involved in the publication seems to take quite seriously.

The film takes us into the field as reporters pursue several stories. Contributing writer Sasha Abramsky pursues a story in Texas about troubled farms and climate change. He says, “The common theme here is big issues hitting ordinary people.” What I also like about the way this documentary approaches these current stories is that it relates them to stories from earlier issues of the magazine, in this case from a 1935 issue. This doesn’t just illustrate the importance of the magazine, but the continuing importance of these issues to us as a people.

Some history of the magazine is provided, such as that it emerged from the Civil War, and that it was during the 1930s that it really took off. Portions of old articles are presented in voice over by folks like Sam Waterston. And the list of famous, respected authors that have written for The Nation is astounding. Folks like Kurt Vonnegut, Upton Sinclair, Arthur Miller, D.H. Lawrence, Theodore Dreiser and Alice Walker all contributed to the magazine. Another area that I found intriguing is the magazine’s internship program. It’s striking just how many of the publication’s editors began as interns. And we’re introduced to those hoping to become interns, and then those who are chosen.

Though this documentary celebrates the history of the magazine, it’s really not as much a look back as a look at the present with an eye on the future.

Special Features

The DVD contains three bonus scenes. The first is of Katrina and her father talking about the perception of The Nation. In the second, advertising and marketing designer George Lois creates a campaign for celebrating the 150th anniversary of the magazine. The third is of graphic designer Milton Glaser designing a cover for the magazine.

Hot Type: 150 Years Of The Nation was directed by Barbara Kopple, and was released on DVD on October 4, 2016 through First Run Features.

DVD Review: Tales Of Poe

Tales Of Poe is a horror anthology of three works by Edgar Allan Poe: The Tell-Tale Heart, The Cask Of Amontillado and Dreams. The film is directed by Bart Mastronardi and Alan Rowe Kelly, who present their own original takes on these familiar tales, in many cases changing the gender of the characters from male to female and stacking the film with actors known and loved for their work within the horror genre. Among the film’s cast are Adrienne King (Friday The 13th, Friday The 13th Part 2), Amy Steel (Friday The 13th Part 2, April Fool’s Day), Debbie Rochon (Rage Of The Werewolf, Fort Doom), Caroline Williams (The Texas Chainsaw Massacre 2, Stepfather 2), Desiree Gould (Sleepaway Camp), Lesleh Donaldson (Happy Birthday To Me, Curtains), Alan Rowe Kelly (Skinned Alive, Gallery Of Fear), Randy Jones (Bleeding Hearts), and Bette Cassatt (V/H/S/2, Model Hunger).

The film is divided into three chapters, the first chapter being “The Tell Tale Heart,” which stars Debbie Rochon as the Narrator who tries to convince Evelyn (Lesleh Donaldson) of her sanity while describing the murder she committed. Interestingly, the Narrator is locked in an asylum, and we’ve already seen her splattered with blood, so there is little question right from the beginning of her lunacy. When Evelyn, another inmate, asks her why she’s there and tells her, “I bet you haven’t done half as much as what I’ve done,” the Narrator begins to tell her story. And the film takes us to the home of the old man from Poe’s short story, here an old woman (though played by a man, Alan Rowe Kelly). And though the film shows us the story, we still get voice over from the Narrator. There are some great shots in this segment, as when the bell sounds from upstairs and the Narrator stops polishing and simply turns her head toward the stairs. The look on Debbie Rochon’s face is fantastic – dark, calculating, creepy. Because the Narrator is female in this telling, the interaction with the policeman who shows up at the door takes on a different tone. There is a vomit scene I could do without (it caught me by surprise, the way the vomit scene in Fear And Loathing In Las Vegas always does). Though obviously the filmmakers have a love for Poe, here they allow the other patient to laugh and poke fun at the tale, perhaps providing a voice for those who find the story unbelievable. “The cop didn’t smell her dead body?” she says. “That is a pathetic, sad story.”

The Cask Of Amontillado, here titled simply “The Cask,” is the second chapter of the film, and is somewhat different from the short story. Here it is Fortunato’s new bride that turns on him, with the help of a male friend, rather than just a male friend. Also, interestingly, Fortunato (Randy Jones) appears to be a gay man who has somewhat unexpectedly decided to marry a woman (though that woman is played by Alan Rowe Kelly), and the wedding party pokes fun at this union. The exposition about the cask of priceless wine is awkwardly introduced – a wedding guest says, “Fortunato, tell us more about amontillado.” And then moments later she again says, “Fortunato, tell us more.” Bad writing, and poor delivery. But this segment does get better. Fortunato leads the wedding party into his own vault, where he says he has a surprise for his bride. But she has a bigger surprise in store for him. I love when she says, “This is the best part.” Delicious.

The third chapter, “Dreams,” is based on one of Edgar Allan Poe’s poems. It begins with a close-up of a hand, and we hear the sounds of hospital equipment before we see another pair of hands grasp that hand. The woman on the hospital bed then begins to recite the poem in voice over: “Oh, that my young life were a lasting dream…” This one is full of strange, creepy imagery, and the entire thing has a dream-like atmosphere, with very little dialogue. It’s more of a mood piece, the mood often being dark, with different faces of death. It employs those dreadful feelings of isolation and vulnerability one has when in a hospital bed, but also has moments of peace and beauty. Some of the actors from the previous chapters appear in this story too, which furthers the eerie dreamlike quality of the film. Though toward the end, when a woman points and opens her mouth to let out a creepy scream, it’s right out of the end of the 1978 remake of Invasion Of The Body Snatchers.

Special Features

The DVD contains several special features, including ten minutes of behind-the-scenes footage and outtakes. There are also nine deleted and extended scenes, including the old woman reading her fan mail in “The Tell Tale Heart,” a shot of Debbie Rochon outside ignoring the woman’s bell, and more of the wedding reception scene from “The Cask.” Most of the deleted footage, however, is from “Dreams,” including scenes with Amy Steel watching home movies, and a strange scene where the Dreamer is led to touch a wall and disappear into it.

The special features also include an interview with Bart Mastronardi from the New York City Horror Film Festival. He talks about their strategy for getting people interested in the film, particularly their use of social media. The interview is audio, during which we see still photos from the production. This is approximately six minutes. The film’s trailer and Kickstarter promotional spot are also included.

Tales Of Poe was released on DVD on October 11, 2016 through Wild Eye Releasing.

DVD Review: One Nation Under Trump

One Nation Under Trump pretends to be a documentary on presidential candidate Donald Trump, but something should be clear from the very beginning. This is not a documentary. It is a puff piece. Interestingly, it was written by BC Furtney, who was responsible for writing such other horror fare as Werewolf Rising and New Terminal Hotel, as well as a segment of Fangoria: Blood Drive II.

Sections of One Nation Under Trump are narrated. At the beginning, the narrator tells us, “His campaign slogan was clear and concise, striking a chord with many throughout a deeply divided land: Make America Great Again.” What the narrator fails to mention is that this slogan was lifted from the campaign of another nut, Ronald Reagan. Though the DVD case promises this movie to be “the first comprehensive feature documentary” on Trump, we are given a very small amount of biographical information, and all of it harmless, such as the fact that Trump co-produced a play that flopped (Paris Is Out!). The narrator does mention the beauty pageants: “For nearly twenty years Trump was the owner or partial owner of the Miss Universe, Miss USA and Miss Teen USA beauty pageants.” But he says nothing about the controversy surrounding Trump’s questionable behavior regarding the contestants and his showing up in their changing rooms. Comprehensive? The movie is only an hour, including credits. Most of it is focuses on Trump’s presidential campaign.

Though sections of this movie are narrated, a large part of the film is just footage of Trump’s political speeches, offered without commentary. In one of his speeches, Trump says: “We tell it like it is. We tell the truth.” The narrator does not offer any of the overwhelming evidence to the contrary. The narrator does tell us, “From the outset, Trump stayed true to his rebellious reputation, making himself available to mainstream and fringe media outlets alike.” Sure, until they published anything he didn’t appreciate, at which point he banned them from his events. The film includes footage of him ripping on the press. “They are the most dishonest people,” he says. “They are the worst,” he says. “The press is so totally dishonest,” he says.

The problem, of course, is by including his speeches at any length, the film cannot help but show what a complete asshole Donald Trump is, even to a woman working for FOX News. And for a film that promises to be a “comprehensive feature documentary,” there is absolutely nothing about his much-documented criminal behavior. There is nothing about his alleged rape of a thirteen-year-old girl, nothing about his fake universities and the resulting lawsuits, nothing about his possible mob ties, nothing even about how he somewhat casually urged the assassination of Hillary Clinton.

But there is footage of him boasting about his position in the polls and so on. “I get by far the biggest crowds,” he says. He also boasts to his supporters that if he’s elected, “You people are going to be so rich so quickly.” And there is footage of him urging security to remove a protestor, indicating that protestors are the problem with this country. Yes, why can’t everyone just get in line and support everything Trump says, lies and all? Check out those kids with “Trump Wall” T-shirts, using the cover of the Pink Floyd record for inspiration. They chant “Trump, Trump, Trump.” It’s frightening. But again, this movie was written by a horror movie writer.

The film’s title is unintentionally very telling regarding Trump’s outlook. One Nation Under Trump indicates that Trump considers himself to be God, or at least on equal footing with God. If you watch several of his speeches, he does seem to suffer from that kind of delusion. At one point he goes on and on about how he’s won the votes of men and woman, rich and poor, white and black, educated and uneducated. It’s bizarre.

One Nation Under Trump was directed by Jim Gufferson, and is scheduled to be released on DVD on October 25, 2016 through MVD Visual (who should be embarrassed to have any part in it). The DVD contains no special features. By the way, an instrumental rendition of the National Anthem plays on the DVD menu screen. Oh boy.

Blu-ray/DVD Review: My Little Pony Equestria Girls: Legend Of Everfree

My Little Pony Equestria Girls: Legend Of Everfree is the new feature-length My Little Pony offering, taking us once again to the land of the ponies’ human counterparts. In this movie, Twilight Sparkle (Tara Strong) and the other girls are going on a field trip with their classmates to Camp Everfree. It’s a chance to get away from the magic and get back to nature, but of course it isn’t long before strange things begin happening. It is presented as a two-disc set, Blu-ray and DVD in the same package, along with a code for a digital download, so however you want to view it, this set has you covered. It also includes a patch to put on your jean jacket.

When the movie opens, Twilight falls asleep on the bus on the way to camp and has a nightmare about the return of Midnight Sparkle, the darker side of herself. Pinkie Pie (Andrea Libman) is adorable as ever, and of course excited about the trip. “We’re going to roast marshmallows, and eat marshmallows and sleep on marshmallow pillows.” When Rainbow Dash (Ashleigh Ball) expresses doubt about that last item, Pinkie Pie holds up her pillow, a giant plastic bag of marshmallows.

The camp sounds perfect, with the students deciding which activities they’d like to do, while the camp director, Gloriosa Daisy (Enid Raye Adams), says yes to everything. Of course, the theme of friendship comes into play, as Gloriosa describes one important activity, creating a gift for future campers. “Every year campers work together to create something useful, a gift for future campers. Working toward this common goal is key to forming the strong bonds that will last well beyond your time at camp.” However, there is some tension between Gloriosa and her brother, Timber Spruce (Brian Doe), as well as a mysterious, creepy man named Filthy Rich who threatens the continuing existence of the camp.

Twilight has her own personal troubles. She suddenly uses magic, but isn’t sure how it happened, and so it frightens her. And there is a question about whether she’s really doing it at all. Timber tells the campers a scary story about the origins of the camp, describing a magical creature that swore to return to reclaim her lands. Could it be this creature that is behind the strange magical occurrences?

Legend Of Everfree might be the best Equestria Girls movie so far. It certainly has some of the best songs. “The Legend Of Everfree,” the song during the opening credits, is particularly good, with a delightful, joyful folk vibe and lines like, “Will your story be told or remain a mystery.” And Twilight has a good number about battling her own darkness. Sunset Shimmer also gets a good song, this one about how the magic could be embraced as a positive thing. But perhaps my favorite is Gloriosa’s song about keeping the camp.

There are plenty of funny moments, like when Sunset Shimmer (Rebecca Shoichet) realizes she’ll actually have to bend down and pick up the tube of sunblock when magic fails to levitate it. Also funny is when Rarity (Tabitha St. Germain) tells her own special brand of scary story. And when the girls decide to replace the deteriorating dock as their gift to future campers, Pinkie Pie exclaims, “Yay, adult supervision!” But my favorite moment by far is when Sunset Shimmer uses her magic to read Pinkie Pie’s thoughts, and we’re given a glimpse inside Pinkie’s mind. After watching the film, I went back and watched that part a few more times. Hilarious!

Twilight learns a Luke Skywalker lesson, that size doesn’t matter when levitating objects. And be sure to watch the closing credits, as there’s an extra scene at the end.

Special Features

This set contains some special features, including a commentary track by Meghan McCarthy, Ishi Rudell, Katrina Hadley, Jeremy Tin and Daniel Ingram. There is also a section of “bloopers,” but of course as this is an animated film, these “bloopers” are all intentional little jokes. Or perhaps some of them were bloopers in the audio recording, which then the animators ran with. Either way, they’re kind of cute, and run just over two minutes. The special features include three sing-alongs: “The Legend Of Everfree,” “The Midnight In Me” and “The Legend You Are Meant To Be.” The lyrics are presented at the bottom of the screen.

My Little Pony Equestria Girls: Legend Of Everfree is scheduled to be released on November 1, 2016 through Shout! Factory.

Movie Review: She Who Must Burn

She Who Must Burn is a tense horror film about a woman named Angela who counsels other women regarding health issues in a very backwards town that seems to be run by a religious kook and his band of lunatics, people who soon come to see Angela as the enemy.

When the film opens, a man in a doctor’s office spouts some biblical passage (hey, isn’t that the same bit that Mace Windu recites in Pulp Fiction?), then shoots the doctor in the head (hey, isn’t that what Mace Windu does in Pulp Fiction after reciting that passage?) before then giving us a fairly poor rendition of “Amazing Grace.” We soon learn that this murdered doctor performed abortions, and that’s what caused the religious nut to go completely sideways.

The film introduces us to Mac (Andrew Moxham) and Angela (Sarah Smyth), an unmarried couple living in a small town. He is a deputy sheriff, and she works at a clinic providing counseling to women. Funding for the clinic has been pulled, but she is determined to keep helping these people, even though the sheriff tells Mac it’s a bad idea. Another bad idea is having the camera constantly jolting around. Hold still! Please, directors and cinematographers, don’t have your cameras constantly in jerky motion, as it’s really irritating.

Some anti-abortion folks picket outside their home, and after a while we learn that Angela actually runs her clinic from their house, which seems like an incredibly bad idea. Who would do that? Anyway, we see Angela at work, and she immediately strikes us as very compassionate and competent. That puts her in great contrast to Jeremiah (Shane Twerdun, who also co-wrote the screenplay), the town’s minister who forbids a woman from getting an abortion even though following through on the pregnancy will certainly mean her death, and then in another scene watches on without any compassion as a woman gives birth to a stillborn child. Oddly, the effect on Jeremiah of seeing this dead baby is to turn him on, and he goes home to his wife, telling her he’s had a vision that they should conceive a child. And though she tells him she’s not in the mood, he takes her anyway. And after she reveals she’s on the pill, so no child will result from this rape, he savagely beats her.

Jeremiah’s wife then commits one of the film’s few rational, understandable and laudable actions, and leaves her husband. By the way, Jewel Staite is quite good in this supporting role as Margaret, Jeremiah’s wife. Of course, it is Angela who arranges for someone to take Margaret to a safe place, which further raises the ire of the unstable preacher. Though Margaret has taken only one suitcase, Jeremiah says, “Everything in the house is gone, her clothes are gone.” That is one magic suitcase. Or perhaps they didn’t own very much. Either way, rather than taking responsibility for his own actions, the religious freak blames Angela for his wife’s absence, and Jeremiah begins threatening her, demanding to know where his wife is.

Even though her boyfriend is in law enforcement, Angela does not call the police. She does not call a lawyer to get a restraining order. She does nothing. She doesn’t even want Mac to put any pressure on the religious nuts. And that’s hard for me to swallow. Angela would have had some training, in which she would have learned to take all threats seriously, to document them, and to let the law protect her. And even after a murder occurs, one with an eye witness, the sheriff makes no arrests. I don’t buy that either. Even if he’s somehow sympathetic to the religious cause, even if he’s nervous about the power of the religious right, as soon as there is a murder, I think his professional side would take over because he has an important job to perform. But he too does nothing. And that is what is so frustrating about this film.  I don’t believe that he wouldn’t perform his duty, or at least defer to others to do it, calling the state police or something if he didn’t want to start the investigation himself.

Rebecca, one of the religious weirdos, hears a voice that tells her that they should burn Angela. And who is there to stop them? There are some good performances here, particularly by Sarah Smyth as Angela, but this film left me in a foul mood. Perhaps that’s the point.

She Who Must Burn was directed by Larry Kent, and is now available on Video On Demand.