AEW WrestleDream 2025 Preview & Predictions

It's almost Saturday and you know what that means....  I feel like I didn't do that right.  Anyway, it's time for AEW WrestleDream!

Oddly AEW decided not to return to the Seattle market this year and opted for St. Louis, which is apparently one of the worst AEW markets in terms of ticket sales.  Sales for this show finally crossed the 5000 mark over the last week but they're still well down from Dynasty 2024 in the same building.  Given that Darby Allin is in one of the top matches they'd almost certainly have fared better in Seattle.  Regardless, the lineup looks very good on paper - a lean eight-match card with a couple pre-show bouts on TBS (I'm sad FTR-JetSpeed isn't on the actual PPV, that match should slap).

Let's get after it....

Tornado Match: The Hurt Syndicate vs. The Demand

Not sure why we're getting this yet again.  I guess Lashley and Benjamin REALLY like working with Gates of Agony.  They just did a street fight on Dynamite so this will either be less chaotic than that or roughly the same.  Since GOA beat THS this week I imagine THS gets their win back again and hopefully that's the end of this feud.  THS have really limited their options by insisting on looking so dominant.

Pick: THS

Awesomely Shitty Movies: Ghost of Frankenstein (1942)

Sigh.....welcome to another edition of Awesomely Shitty Movies, here at Enuffa.com.  Today we look at the moment when Universal's Frankenstein franchise took a screeching 90-degree turn and went tumbling, ablaze, off a cliff into the night.  That moment when the studio ceased making top quality films about everyone's favorite flat-headed clod and transformed him into a mindless B-movie ghoul.  That's right, I'm talkin' about Ghost of Frankenstein....  (Click HERE if you missed Son of Frankenstein)

When Son of Frankenstein was another smash-hit, Universal realized there was still a ton of money in these movies and began churning them out at a rapid-fire pace, without paying attention to the annoying little details like story, characters, acting, or in this case visual style.  Ghost picks up the story shortly after the events of Son, where the villagers of Frankenstein are still angry and hysterical because the apparent death of the monster hasn't magically fixed all their woes (Kinda like with American politics).  They believe the monster might still be alive, not to mention Ygor (Good guess), and it's kept them under a curse.  The mayor eventually gives in to their badgering and greenlights their plan to destroy Frankenstein's castle (Because apparently the authority figures in this town are cool with rioting).  As they smash and burn the castle, Ygor stumbles onto the preserved monster, embedded in a block of solidified sulfur.  He breaks free and Ygor takes him to the village to find Wolf Frankenstein's brother Ludwig, also a scientist who might have the secret to restore the monster to his former glory.  Here we go again.....

So what worked and what didn't (Spoiler alert: Most of it didn't work)?  Let's take a look.....



The Awesome


Bela Lugosi

Bela's back as Ygor, and despite being directed to play the character completely differently than before, he gives another solid turn as the villainous hunchback, manipulating both the monster and the scientists to bend to his will.  No matter how cheesy and low-rent the movie, Lugosi's presence is always a welcome one.  Just ask Ed Wood.

"Hello young lady.... vant to see the inside of my van?"

Twist Ending

After a pretty tedious, meandering hour, it all comes down to Ludwig's decision to take out the monster's criminal brain (Remember that from the first movie?) and put in a healthy one.  Unfortunately though, Ygor has convinced his assistant Dr. Bohmer to substitute Ygor's brain, which will allow him to live in a strong, healthy body instead of his current mangled form.  Ludwig unwittingly puts Ygor's brain in the monster's head and revives him, and the monster begins triumphantly speaking in Ygor's voice.  But just then he discovers his eyesight is failing due to Ygor not having the same blood type as the monster.  Yeah this is all pretty goofy, but it's kind of a cool, disturbing plot twist for this series and I would've liked to see where they took this storyline.  Problem was, in Frankenstein Meets the Wolf Man the studio hated Lugosi's performance as the monster and cut all his dialogue, removing any references to this scene, including the monster's blindness.

Awesomely Shitty Movies: Son of Frankenstein (1939)

Welcome to the third Awesomely Shitty Movies piece dedicated to the Universal Studios Frankenstein series!  In case you missed part 2, check it out HERE.  Today we're talking about the third film in the franchise, Son of Frankenstein!

After the critical and commercial triumph that was Bride of Frankenstein, it seemed like another sequel would be a natural.  But Carl Laemmle Sr and Jr were soon forced out of the company due to their extravagant spending, and it seemed monster movies were off the table as well.  It was only due to an LA theater reviving Dracula and Frankenstein as a double feature, and the ensuing huge box office success, that the studio opted to jump back into that pool.  James Whale was not interested in returning however, and Rowland V. Lee was hired to direct the third film.  Son of Frankenstein was originally to be shot in color as well, but the monster's makeup didn't look quite right, so that plan was scrapped.

Son of Frankenstein was another box office success and helped pull Universal out of its financial slump.  Following this movie the studio began churning out cheesy Frankenstein sequels and crossovers, making Son the last serious entry in the series.

So what worked and what didn't?  Let's take a gander...



The Awesome


Visuals

This series thus far has been full of rich, expressionist lighting, off-putting Dutch angles, and an emphasis on intense lights and darks to plunge the viewer into this bizarre world.  Son of Frankenstein continues this trend and in some ways takes it a step further, with some of the sets including angular, surrealistic staircases that cast jagged shadows on the walls behind.  Almost every set in fact has bare, textureless walls so the shadows can come across more strongly.  More on that aspect a little later.  The Film Noir genre was just beginning to blossom at this point, and many of those films must've taken some visual cues from Son of Frankenstein, among others.

Great use of lighting and angles

Awesomely Shitty Movies: Bride of Frankenstein (1935)

Welcome to the second installment in our Awesomely Shitty Movies series pertaining to Universal Studios' Frankenstein franchise!  (Part 1 can be seen HERE)

Today it's the Frankenstein sequel that is almost universally (heh, get it?) praised as being superior to the first film, Bride of Frankenstein!

After the monumental success of the 1931 adaptation, Universal Studios understandably pushed for a follow-up, but James Whale was initially skeptical, thinking there was nothing more that could be explored in the material.  Instead Whale directed another hit horror film, The Invisible Man, and the studio pushed even harder for a Frankenstein sequel.  Whale finally agreed on the condition that Universal would produce a film of his called One More River, and when directing Bride opted to swing for the fences.  It would be a much larger-scale production with garish surrealism and subversive undertones, blending monster horror with dark comedy.  On paper this movie should never have worked as well as it did.  Whale was allowed to inject so much of his own personality into the film and its characters, and thus it became a celebration of those who live outside the "norm."  With the expressionist influences of the first film turned way up for the second, and the drama ranging from horrific to funny to genuinely touching, Bride of Frankenstein is the pinnacle of the Universal monster films.


Now let's criticize it.....



The Awesome


Karloff Again

Boris reprised the role that made him a superstar, once again slipping on the giant boots and flat head.  This time the monster actually spoke, lending more depth to the character and making him even more sympathetic.  Indeed, Bride of Frankenstein is much more about the monster's character arc than Frankenstein's.  His driving motivation in this film, much like in the novel, is the search for a companion of some kind, and Karloff gives a largely quite tender, vulnerable performance that further solidifies the monster as a misunderstood brute.

Still the man

Elsa Lanchester

Despite very little actual screen time between her two roles (Seriously, it's maybe five minutes total), Elsa Lanchester brought to life one of the great movie monsters and gave a tremendously memorable turn.  Also notable is the disparity between her two characters; Mary Shelley is sweet-faced and proper, while the title character is wild-eyed and bird-like (Lanchester apparently based her head movements on those of a swan).  Her brief onscreen interaction with Karloff is bizarre and climactic; one of the great monster movie payoffs.

Makes sense her hair is standing up,
she did just get electrocuted technically

Awesomely Shitty Movies: Frankenstein (1931)

Welcome to a special Halloween-themed Awesomely Shitty Movies, where I dissect a beloved classic and ruin everybody's fun, like an unwashed neighborhood kid pissing in the community swimming pool.

Today's subject, and the first of a series of ASM articles, is the 1931 horror milestone Frankenstein, based on the legendary 1818 novel by Mary Shelley (of Mary Shelley's Frankenstein fame).

Now look, before you get upset that I'm referring to this film as "awesomely shitty," please understand I hold Frankenstein in very high regard.  I've been a fan of this film since I was about six years old and I make it a point to watch it (and its first sequel) once a year during Halloween season.  That said, there are quite a few flaws with the film and I'm here to point them out and probably piss a lotta people off.  But whatever....

Frankenstein first emerged as a novel after its author, her husband Percy, and their friend Lord Byron were rained in one night on vacation and decided to have a little ghost story contest.  Mary had a "monster" of a time (Get it? Eh??) coming up with a story idea, but it finally came to her one night in a dream - the vision of a medical student bringing life to a man he'd stitched together from parts of the dead.  Eventually the tale grew into a full-fledged novel, and a literary classic was born.

The visual aspect of the story instantly lent itself to theatrical interpretation, and nearly a century later as the film industry blossomed it found itself the subject of several cinematic attempts (the first being Thomas Edison's 1910 short).  But it was Universal Studios and producer Carl Laemmle jr. who would make the word "Frankenstein" a household one.  Coming off the heels of a tremendously successful Dracula adaptation, Laemmle hired director James Whale and veteran actor Boris Karloff to bring the story to life.  Frankenstein was a "monster" hit (I did it again, did you catch it??), spawning three direct sequels and four crossover films, and changing monster movies forever (No no, that time it wasn't a pun).

So what worked about this immortal film and what didn't?  Well, I'm here to set the record straight....



The Awesome


Makeup

In bringing Frankenstein's monster to life, makeup artist Jack Pierce and director James Whale collaborated to create one of the most instantly recognizable characters in cinema history.  The flat head, heavy brow and neck electrodes were all strokes of genius, as was Boris Karloff's added touch of mortician's wax on his eyelids to give him a half-awake zombie-like appearance.  This makeup immediately became iconic and it's still considered the definitive Frankenstein look, used extensively in Halloween decor and marketing.

Such a great look

Awesomely Shitty Movies: Death Proof

Welcome to another edition of Awesomely Shitty Movies, here at Enuffa.com, where I pick apart a guilty pleasure film, or a movie that has most or all of the ingredients to be great but can't quite get there.

Today's subject is a little of both.  It's the 70s exploitation/slasher film throwback, Death Proof, aka Quentin Tarantino's Worst Movie.  Originally released as half of the double-bill Grindhouse along with Robert Rodriguez's zombie pastiche Planet Terror (a bona fide ASM in its own right), Death Proof follows the slasher formula but with a crazed stunt driver committing vehicular homicide on groups of women.  Oddly split into two halves, the story begins with an Austin, TX radio DJ and her friends going out to celebrate her birthday.  Along the way they run afoul of Stuntman Mike, and it ends badly.  In the second half Mike has relocated to Tennessee, stalking a new group of women, two of whom happen to be stunt drivers themselves, and it ends badly again, this time for Mike.

That's really all there is to the plot; like many horror films, particularly the slasher variety, it's all about style over substance.  Fortunately Quentin Tarantino is the quintessential expert on imbuing a film with style and immersing the viewer in his detailed little worlds.  There's a lot to like about this movie, and I find myself needing to rewatch it every few years to spend time with some interesting characters and see if there's more to this film than I remembered.  There isn't really, but it's still a fun little romp and a lovingly created crappy 70s drive-in flick.

So let's look at the pros and cons of Death Proof...



The Awesome


Kurt Russell

Kurt Russell has to be one of my favorite actors who's done very few films I like.  Sure there's The Thing, Backdraft, Tombstone, Guardians of the Galaxy 2, and three Tarantino outings, but he's also done a lotta crappy movies.  Regardless though, Russell improves every film he's in.  He oozes natural charisma and whether playing a hero or a villain you can't take your eyes off him.  That's most certainly true in Death Proof, where he starts out charming everyone in the bar and making Tarantino's quirky dialogue jump off the page, and then morphs into a murderous maniac.  Russell as Stuntman Mike is absolutely perfect casting.

Careful, or in his book you'll be filed under Chickenshit...

Jungle Julia

Speaking of "can't take your eyes off" someone, Sydney Tamiia Poiter as local DJ Jungle Julia absolutely commands the screen whenever she's on it.  As Mike himself observes, "she is a striking-looking woman."  Poiter is statuesque, effortlessly sexy, and bursting with sass.  Why Tarantino never cast her in anything else after this is beyond me; I could watch her all day long.

Sweet Jeezus....

NJPW King of Pro-Wrestling 2025 Preview & Predictions

Time to look at the other wrestling PPV coming up this weekend (I use that term loosely, the show is actually on Monday), NJPW's King of Pro-Wrestling 2025!

New Japan is still looking to find its footing again, and lineups like this one are a step in the right direction.  There are potentially major implications for WrestleKingdom 20 taking place on this show, so we'll see if it ends up being impactful or just another stop on the road to the Dome.  The main event in particular could have very significant ramifications.

As usual I'll only do picks for the major bouts on the show, which means skipping the two trios matches.

No DQ Match: Drilla Moloney vs. Sanada

I thought the whole War Dogs-House of Torture feud was finished but we're back to it here.  HoT matches are full of nonsense as it is, but since this match has no disqualifications I reckon it'll be dialed up even more.  Moloney is a future star, Sanada is past his prime, so that should tell you who I'd book to win this.  With HoT matches all bets are off, but I'll stick with logic.

Pick: Drilla

NJPW TV Championship: El Phantasmo vs. Hiroshi Tanahashi

Welp, Tana's retirement match on January 4th has led to the fastest 20,000 tickets sold maybe in Tokyo Dome history, so the guy clearly has to get some momentum before then to maximize interest.  Winning a midcard title in a match that can't go past 15 minutes will do nicely I think.  Then at the Dome he can put someone over, ideally.

Pick: Tanahashi

Awesomely Shitty Movies: Flatliners

At long last we're back with another edition of Awesomely Shitty Movies, here at Enuffa.com!  For those unfamiliar, I take a popular (or not so popular) film, pick it apart, separate the good stuff from the bad stuff, and more or less ruin it for everyone.  Sooo, let's get after it....

Today I'll be talking about the 1990 suspense thriller Flatliners, starring Kiefer Sutherland, Kevin Bacon and Julia Roberts, and directed by Joel Schumacher.  The premise involves a group of medical students who each decide to briefly experience death, hoping to prove once and for all what happens in the afterlife.  But each character unwittingly brings something back with them, and they all end up haunted by demons from their past.  Flatliners got mixed reviews but made a solid profit upon its release and later became a bit of a cult favorite.  Aaaand therefore Hollywood released a remake sequel several years back.  Just fuckin' shameless, those people.....

But does the film actually work?  Let's take a closer look.



The Awesome


Acting

The whole cast is quite good in this film, from Keifer Sutherland's turn as the tormented visionary and original "flatliner" Nelson Wright, to Kevin Bacon as the likable pragmatist David Labraccio, to Julia Roberts as the generous and gentle Rachel Manus, to Oliver Platt and William Baldwin as the sarcastic worrier Randy Steckle and the hopeless horndog Joe Hurley, respectively.  Each actor gets clear territory to explore, and each of them brings their character to life admirably.  The two standouts are Sutherland and Bacon, who begin the film as best friends and gradually become romantic rivals as the story progresses.  I especially like the scene when they all confront Nelson outside David's apartment and all the cards are laid on the table.  Solid work all around.

A fine cast.  And handsome too.  Except Platt.  Sorry, that was mean....

Cinematography

Schumacher and Director of Photography Jan de Bont fill the frame with a visual richness and atmosphere that lends itself to the material and the mood.  Chicago's Loyola University served as the bulk of the film's locations, giving everything a very old-world, gothic feel.  The breathtaking opening helicopter shot for example takes the viewer across Lake Michigan right up to Kiefer as he stands on West Devon Ave.  This is a fine-looking film.

One of the most striking zoom-in shots I can recall.

Concept

The whole idea of a med student voluntarily dying so he can be revived with the secrets of life and death is certainly intriguing and creative.  It's oddly relatable on some level - who wouldn't want to know what lies beyond and live to tell about it?  Not to mention it's ripe material for farming cinematic suspense.  After all, reviving someone who's clinically dead is no exact science and there's little room for error.  The film doesn't explore this theme nearly as effectively as it could have (more on that in a bit), but the initial story idea was pretty inspired.

WWE Crown Jewel 2025 Preview & Predictions

It's time once again for WWE to throw together another lackluster PPV and call it a classic.  Unlike most Crown Jewel shows though, this one is in Perth, Australia (a country that ISN'T run by an oppressive, murderous regime desperate to sports-wash away its abysmal reputation), so I can in good conscience provide my thoughts and predictions rather than just ignoring it entirely.

They brought back the champion vs. champion gimmick they used to do at Survivor Series, but now the winner gets a meaningless Crown Jewel Championship instead of just bragging rights.  One of those belts and some bragging rights'll get you.....well, bragging rights.  Elsewhere on the card we continue the John Cena's Greatest Hits Tour, where he half-assedly repeats much better matches he had a decade ago instead of using his final run to help make some new stars.  Because planning ahead is for pussies.

Let's take a look at the lineup (the second in a row with no black wrestlers).....

Australian Street Fight: Roman Reigns vs. Bronson Reed

It's another Roman Reigns Bells & Whistles special.  They'll have chairs, at least one table spot, probably some kendo sticks, and for sure a spear through the barricade.  Rinse, repeat.  Roman wins, they set up a WarGames match, Roman disappears from TV until Rumble time.

Pick: Roman

Awesomely Shitty Movies: Hannibal

Welcome to another edition of Awesomely Shitty Movies, here at Enuffa.com, where I examine a movie that I want so badly to fully enjoy, but like a crappy, unreliable boyfriend/girlfriend, it just won't get its shit together and commit.

Such a description is very fitting of the film Hannibal (2001), the much-anticipated sequel to the iconic Silence of the Lambs, which saw Anthony Hopkins return to the role that made him a gazillionaire, Hannibal Lecter.  Hannibal had been planned for several years, after Lambs author Thomas Harris announced he'd be writing a follow-up to his defining work.  Hopkins, Jodie Foster, and director Jonathan Demme jumped right on board, and the world waited patiently while the novel came to fruition.  Unfortunately by the time of its publication in 1998, Demme declined to participate due to the novel's lurid tone, and Foster had already decided to direct her own film and would not be available.  The scramble was on to replace two of the three integral pieces of the puzzle, and eventually Ridley Scott was attached to direct, with Julianne Moore replacing Foster as Clarice Starling.

So why does this movie qualify as Awesomely Shitty?  In short, I find Hannibal a pretty infuriating example of a movie I was absolutely pumped for and ready to love, but so many things about it were executed just plain wrong.  And a few of these things could've been fixed so easily, either with a quick rewrite or an edit.  Before I get to all that negative stuff though, let's talk about what worked.



The Awesome

Julianne Moore

Excuse me for a moment.....JULIANNE, I F*CKIN' LOVE YOU!!

If Clarice had to be recast (and she did), I can't think of a better actress to inherit this amazing character than Julianne Moore.  I've been a big Juli-fanne (TM pending) for a few decades now, and so despite my reservations about Jodie Foster not returning I was pretty stoked to see Moore take the part.  Julianne is one of the most versatile and consistently great actresses working today, who for years was undeservedly snubbed by Oscar until finally taking home the gold in 2015.  Where Foster's Clarice was young and idealistic, Moore's incarnation of the character has become cynical and untrusting after a decade of petty FBI politics and unsavory treatment at the hands of the Old Boy Network.  Over ten years she has earned the dubious honor of having more kills to her name than any other agent, and at the start of the film she is forced to shoot yet another suspect when the uncooperative DC police undermine her authority in a drug raid.  The Bureau uses this incident as an excuse to take her out of the field, and she's reassigned to the seemingly futile case of the long-disappeared Lecter.  Moore plays Clarice as a woman who once dreamed of being an FBI agent, only to later find that the Bureau doesn't share her virtuous nature and in many ways isn't worthy of having her.

Awesomely Shitty Movies: Starship Troopers

Welcome to another edition of Awesomely Shitty Movies, here at Enuffa.com, where I'll examine a movie I have mixed feelings about and separate what works from what doesn't.  Today's entry is the monstrously violent political satire from Paul Verhoeven called Starship Troopers!

The 1997 film was based on Robert Heinlein's 1959 militaristic, rather pro-fascist novel about a group of high schoolers who enroll in the military to wage war against an army of alien "bugs."  In the novel the main character Johnny Rico goes through a fairly triumphant arc, becoming a respected officer and leader as the war wages on.  The film however has a decidedly satirical thrust, mostly poking fun at the very subject matter on which it was based.  On the surface this movie seemed like the usual alien invasion sci-fi/action tripe, but as he did with Robocop, Verhoeven created something much more substantial and sociopolitical.  He got a lot of things right with this film, but while Robocop is basically perfect, Troopers unfortunately leaves some things to be desired.  So let's take a look at this Awesomely Shitty Movie....



The Awesome


Satire

The militaristic tone and pro-meritocracy slant (having to earn full citizens' rights) of the novel are cleverly satirized by director Paul Verhoeven in a way that rides the line between honoring and lampooning Robert Heinlein's work.  In fact Verhoeven found the novel unreadable and still managed to make a capable film adaptation.  The officer uniforms are also clearly inspired by those of Nazi officials, and the propaganda films shown throughout are flagrantly a riff on Nazi indoctrination such as Triumph of the Will.  Structurally this film is strikingly similar to All Quiet on the Western Front, following a group of high school kids (who in this case seem lifted right out of 90210) who get duped into enlisting and have horrible things happen to them.

Who designed these space suits, Michelin?

Ultra-violence

Like with Robocop, Verhoeven sprinkled (or more accurately slathered) this movie with over-the-top, graphic violence which becomes both disturbing and oddly amusing.  There are countless battle scenes with humans being stabbed through various body parts by the bugs' spear-like legs, and plenty of scenes depicting bugs being inefficiently blown to gooey pieces by the soldiers.  Plus there's the climactic scene where the brain bug sucks Zander Barcalow's brain out through his skull.  It's not for the squeamish, but man is it entertaining for us sick folk (fucks).

Dammit Paul, I wanted to see what happened to the cow!

Awesomely Shitty Movies: Alien Resurrection

Welcome to another edition of Awesomely Shitty Movies, here at Enuffa.com!

Since I examined the gorgeously shot suckfest that was Alien 3 last week, I thought I'd move on to its sequel, 1997's Alien Resurrection.

As I mentioned last time, the third Alien film was a massive disappointment for me, as I'd been led to believe (through no fault of my own, mind you - d'ya need to see that teaser again?) that we'd get a true continuation of Aliens, wherein there'd be some sort of battle between xenomorphs and humans taking place on Earth.  Instead we got a languid, uninspired retread of the first movie, with one alien killing off humans in a confined location, Ten Little Indians-style.  Then Ripley dies.  I hated it.  I hated it all.  The franchise that should really have ended after two films got a completely unnecessary, tacked-on third installment just so Ripley could be killed off.

Fast-forward five years, and suddenly the series was resurrected (I see what they did there...), with a Ripley clone having been created 200 years after her death, on a military/scientific vessel that has begun experimenting with the aliens.  As part of the breeding process the scientists on board have illegally purchased cryo-frozen humans for use as hosts.  A mercenary ship arrives, delivering said hosts, but before long the aliens escape captivity and all hell breaks loose.  That's about all there is to the plot of this film, though I guess that's about twice as long as the premise of the third film.

My hope going into this was that it would really be something different and maybe even right the ship.  We'd finally see something in line with my expectations for Alien 3, or so I thought.  As it turned out Resurrection was just as poorly received as 3 (if not moreso), and the possibility of ever seeing another truly good Alien film again was all but gone.

Still, Resurrection did have some intriguing elements, some amusing horror-action, and plenty of gooey xenomorphs.  Let's take a closer look at this awesomely shitty movie....

(Note: I think if I were making a fourth film around this time I'd have simply revealed at the outset that Alien 3 was a dream, and have Ripley wake up from cryosleep to find Newt and Hicks still slumbering in their pods.  Then the story would adhere closer to the original Alien III script, where the xenos end up on Earth and the company actually intends on exploiting them for their Weapons division.  But that's just me.)




The Awesome


Something Different

After the dull, lazy retread that was Alien 3, it was nice to see the franchise go in a different direction with this film.  Ripley is back, but as a clone of the original character, and with a bit of xenomorph DNA which gives her some superhuman abilities.  It's corny, it's a bit comic booky, but hey, at least they tried something new with this film.  Setting it 200 years after Alien 3 also adds an element of the dystopian future, where the infrastructure is breaking down and mercenaries like the Betty crew have become commonplace.




Sigourno-morph

Sigourney Weaver clearly has a lot of fun with this new incarnation of Ripley, getting a chance to show off her newfound skills but also to convey the conflict arising from her longtime arch-nemesis now being a part of her.  This creature that has ruined her life is now ingrained in her biology.  A smarter, more thoughtful script would've done a lot more with this, but it's a start.  That theme comes into play later in the film when the alien queen seems to treat her almost as a loved one and the alien/human hybrid regards her as its mother.  Joss Whedon's script introduces some novel concepts for this franchise, and it's refreshing to see that at least. 

Oh, Ripley 8 will fuck you ups....

Awesomely Shitty Movies: Alien 3

Welcome to another Awesomely Shitty Movies, here at Enuffa.com, where I complain about someone else's hard work!

Today I'll be talking about one of my least favorite sequels ever, Alien 3!  Yup, it's gonna be a struggle to come up with many positives about this film, as I hate it.  HATE. IT.  But I wouldn't be telling the truth if I failed to talk about its good qualities.  Directed by the great David Fincher, Alien 3 is a stylish, exceedingly bleak sequel to the mega-popular thrill ride that was James Cameron's Aliens.  Picking up where that film left off, Alien 3 finds Ripley stranded on a penal planet populated by the worst criminals in the galaxy, when a stray alien breaks loose and starts butchering people by the dozen.  Ripley and the others must find a way, sans weapons, to kill the alien before a Weylan-Yutani supply ship arrives to bring the specimen back to Earth.  And, well, that's about it.  Nothing terribly complicated about this story, and the film was such a troubled production for the first-time director that Fincher long ago disowned the movie.  The studio began shooting without a completed script and questioned Fincher on nearly every creative idea, to the point that his intended cut was very different from the theatrical version (The "Assembly Cut" as it's called is widely considered superior to the latter, but I still don't like it).

But before I begin shredding this movie, let's take a look at what did work.....



The Awesome


Acting

Sigourney Weaver is back as Ellen Ripley of course, and she once again brings a sense of both empowerment and vulnerability to the role that made her famous.  She doesn't have quite the emotional arc here as she did in Aliens, but considering what she's given to work with she excels as always.  This film has a number of strong supporting performances as well, the two biggest standouts being the dignified and understated Charles Dance as Dr. Clemens, and Charles S. Dutton as the reformed murderer and spiritual leader of the prison, Dillon.  Add accomplished character actors such as Pete Postlethwaite and Brian Glover, and there's no shortage of convincing work on the acting front.

There are some fine thespians in this tripe movie.

Visuals

As with all of his films, Fincher lent Alien 3 a distintive, stylish look, with filthy, gothic sets and a muted color pallette of yellows and browns.  The one area where this film surpasses Aliens for me is its unique visual style.  This is a gorgeously photographed movie from a young director already demonstrating his superior skill.  'Tis a shame the story didn't have more going on, as it's akin to a beautifully painted but mostly empty landscape.

There are also some fine visuals.

Effects (mostly)

Most of the special effects in Alien 3 still hold up, from the grotesquely sloppy chestburster scene to the amazingly lifelike Bishop head/torso, to the frightening closeups of the full-size alien.  The blood n' guts look first-rate, and aside from terrible compositing of the rod puppet used in wide shots (The puppet looks great, the blue screening looks like garbage), any xenophile should be satisfied with the effects.

And a boss-looking alien.

Movie Review: One Battle After Another (2025)

Plugging away at what's shaping up to be a busy fall movie season, it's time to review the latest from Paul Thomas Anderson, One Battle After Another!

Based on the 1990 Thomas Pynchon novel Vineland, PTA's tenth film stars Leonardo DiCaprio, Sean Penn, Benicio Del Toro, Teyana Taylor and newcomer Chase Infiniti.  Leo and Teyana are Pat Calhoun and Perfidia Beverly Hills, members of a far-left revolutionary group called the French 75, who run rescue operations for incarcerated undocumented immigrants, rob banks, and conduct after-hours bombings of financial and political offices.  The couple has a child together but Perfidia is arrested during a botched bank heist, and Pat and their daughter Charlene are forced to go into hiding.  Sixteen years later their past catches up with them when a military squad begins hunting down the remaining French 75 members.

I won't divulge more plot than that, as the trailer leaves vague all but what I mentioned above; this film is better experienced without knowing much.  Suffice to say PTA has loosely adapted this Reagan-era story for the 2020s and created a powderkeg of a film, a blend of piano-wire-taut suspense, absurdist comedy, and biting political satire.  

AEW All Out 2025 Review: Stat Is the New Champ, Kyle Is In Fact Ready...

AEW All Out 2025 is in the books and as expected it was a helluva show, with a slew of good-to-great matches, a ton of variety, some surprise returns, and an epic main event that cemented its challenger as a new top star.

Despite WWE's best efforts to cockblock AEW again, All Out was a creative and commercial success, pulling in around 13,000 live fans for a $1 million-plus gate, and apparently drawing a strong PPV buyrate (exact numbers aren't in yet but at the post-show media scrum Tony Khan made it clear he was happy with the early metrics).  Last year's 105k is the number to beat, as it would mark the first time since 2021 that three consecutive AEW PPVs outdrew their counterparts from the previous year.

The show opened with the much-hyped Adam Copeland-Christian Cage homecoming, as the two longtime friends teamed up to face FTR.  The match was a good solid tag bout with a lot of false finishes, wherein Cope paid tribute to John Cena with a Five Knuckle Shuffle/AA combination.  Late in the match Cope hit a Killswitch on one FTR member while Cage hit a spear on the other.  Stokely Hathaway pulled the referee out of the ring, which prompted the surprise involvement of Beth Phoenix Copeland.  Beth speared Hathaway and carried him to the back.  Cope kicked out of a spike piledriver and Shatter Machine before hitting a very sudden spear (too sudden I thought) to win the match.  Beth came back down to celebrate but Nick Wayne and Kip Sabian ran down and laid out Cage before handcuffing Cope to the ropes.  Beth, knowing she was outnumbered, kissed Cope before attacking FTR, but they got her up for a spike piledriver and ran away.  Very good match, excellent angle afterward.  This feud is clearly not over.  ***3/4

AEW All Out 2025 Preview & Predictions

The other half of this Saturday's wrestling PPV double-shot is AEW's All Out!  While there are arguments to be made both ways about Tony Khan's decision to move this show to the afternoon and avoid WWE's cockblock, I'd say it was overall the right move.  Had WWE tried to counterprogram a lineup as big as All In with a main roster show, that's an easier gamble to take.  But All Out, while a loaded show in terms of wrestling quality, doesn't have the company's biggest possible marquee bouts (not to mention Will Ospreay, Swerve Strickland and Kenny Omega are all on the shelf).  Still, as I said in my Wrestlepalooza picks, I think All Out would've drawn around 100k buys even head-to-head.  With the 3pm start time I'll predict 120k.  But we'll see....

Anyway, this show has several potential Match of the Night candidates, perhaps too many multi-man bouts, and a big Toronto reunion, plus they're building for the future by putting 26-year-old Kyle Fletcher in the main event.  Let's take a look.....

The Hurt Syndicate vs. Ricochet & Gates of Agony

Lashley, Benjamin and MVP have fully turned babyface and are now feuding with Ric's crew.  The two singles matches from this feud featured on the last couple Dynamites have been very good and amazingly Lashley actually sold for Toa Liona!  I could see MVP eating the pin here but back-to-back PPV losses for THS seems unlikely.

Pick: The Hurt Syndicate

WWE Wrestlepalooza 2025 Preview & Predictions

It's a head-to-head (sorta) weekend in the wrestling business on Saturday, with both WWE and AEW putting on PPV events.  Of course AEW had this date booked months in advance and WWE decided to try and cockblock them because their product doesn't have the momentum it had 18 months ago.  Thus they threw together this little number out of nowhere and even half-assedly resurrected the name Wrestlepalooza from a now-defunct promotion they bought during the first year of the Dubya administration.  Hey guys?  The whole "palooza" thing isn't relevant anymore.  Hasn't been in decades.  'Course if you've taken a look at this lineup it does feel a bit like a late 90s WCW show.  

This will be the first WWE PPV broadcast via ESPN+ and supposedly if you have cable or YouTubeTV you get to watch it for free, but apparently that part hasn't been sorted out yet.  I can't wait to hear about all the pissed-off cable viewers who either didn't get to see it or had to pay the thirty bucks.  For the record I will not be going back to spending $30 to watch a WWE PPV.  Not now, not ever.  There are some potentially good matches on this card but the main event isn't one of them.  More on that in a bit...

Side note: Zero black wrestlers on this show.

Women's World Championship: IYO Sky vs. Stephanie Vaquer

Welp, that whole Naomi push went up in smoke in a big hurry, didn't it?  Naomi announced a few weeks ago that she's pregnant, so they had to cancel her scheduled match with Stephanie and vacate the title.  This should easily be the best thing on this show, like by a lot.  Both of these women are far too talented to wrestle for a promotion that doesn't value good wrestling.

Pick: I think Steph wins her first main roster gold, and then she probably won't be seen again on PPV until the Rumble.  Nor will IYO.

Top Ten (Eleven) Things: Spinal Tap Songs

Welcome to the only edition of Top Ten Things that goes to eleven!  Today we're ranking the songs of everyone's favorite fictional heavy metal band, Spinal Tap!

Made famous of course by the 1984 Rob Reiner "mockumentary," Spinal Tap's three core members are David St. Hubbins (Michael McKean), Nigel Tufnel (Christopher Guest), and Derek Smalls (Harry Shearer).  The largely improvisational masterpiece This is Spinal Tap lampooned the world of hard rock n' roll, taking no comedic prisoners and delivering some of the all-time great metal-related, "too close to home" comedy bits.  Who can forget Nigel's wireless unit picking up the control tower at the Air Force base?  Or Derek setting off the airport metal detector with the foil-wrapped cucumber stuffed down his pants?  Or undoubtedly the most famous bit, Nigel's custom Marshall head whose dials all go to 11?  The film is an absolutely hysterical satire of the rock industry, featuring totally authentic performances from the entire cast and a flawless script.  It's simply one of the most quotable films ever made.

But what sets This is Spinal Tap apart from other fake documentaries is the legitimacy of the musicians.  McKean, Guest, Shearer, and the rest of the band played their own instruments, and along with Rob Reiner, wrote all the songs.  And despite the lyrics being mostly tongue-in-cheek (and brilliantly funny), this band put out some pretty great hard rock tunes, including a full album's worth featured in the film, and a follow-up eight years later (which in my opinion is the better of the two records).  McKean and company are all great comedic actors but I'll be damned if they aren't accomplished rock n' rollers too.

So here are the best songs ever recorded by England's loudest band.......This list goes to eleven.... 

11. Christmas With the Devil

A title that dates back to the production of the film, "Christmas With the Devil" is exactly the type of song its moniker implies; a Satanic Christmas carol complete with jingle bell accompaniment and morbidly descriptive lyrics.  "The elves are dressed in leather and the angels are in chains," intones David to kick off this Sabbath-esque dirge.  Featured on the second album Break Like the Wind, this might be the most purely "metal" sounding of all their tracks.  Notice also the word "Hallelujah" sung backwards in the bridge.  Hilarious.

10. Rainy Day Sun

Another song from BLTW, "Rainy Day Sun" is meant to be one of the band's late 60s recordings, from when Spinal Tap were a psychedelic hippie band.  With heavy Beatles influences including some backtracked vocals and snaky string accompaniment, this song captures the spirit of the era, lending some tangible depth to the band's fictional backstory.

9. Just Begin Again

A power ballad duet from BLTW, "Just Begin Again" features a guest appearance by Cher and makes use of deliberately trite love song lyrics like "Life is just a meal/And you never say when," and "Life is just a show/Go reload your gun."  And despite the silliness of the words, this song is actually poignant and powerful, led by two strong vocal performances.

8. Rock n' Roll Creation

In the context of the film this tune is from the "pretentious, ponderous collection of religious rock psalms" known as The Gospel According to Spinal Tap.  Melding biblical elements with hard rock tropes, "RNR Creation" has one of the more evil-sounding main riffs in the catalog, mixed with simple but memorable vocal harmonies.  This song was featured in the unforgettable movie scene where Derek gets trapped in his "body snatcher" pod for the duration of the tune.

Movie Review: Spinal Tap II - The End Continues (2025)

Taking a break from reviewing films of Oscars past to review a current film in theaters now!

After forty-one long years the follow-up to the iconic rockumentary This Is Spinal Tap has finally dropped, in the form of Spinal Tap II: The End Continues!  Documentarian Marty DiBergi (Rob Reiner) is back to catch us all up on what's been happening with our favorite fictional heavy metal band.  Not seen together in public since their Back From the Dead tour in 2009, the members of Spinal Tap have seemingly had a falling out and gone their very separate ways.  

We learn Nigel Tufnil (Christopher Guest) now runs a Northern England cheese and guitar shop, whose store policy includes trading used guitars for fine cheeses, and vice versa.  He's finally found love in Moira (Nina Conti), a customer-turned-co-owner.  On the other side of the Atlantic, David St. Hubbins (Michael McKean) lives alone in Morro Bay, California (His former partner Jeanine left him years ago for a surprising new career), and now composes music for podcasts and telephone on-hold lines.  Derek Smalls (Harry Shearer) runs a London glue museum, having chosen this line of work because he's always seen himself as "the glue" that held Spinal Tap together.

Oscar Film Journal: Broadway Melody of 1936 (1935)

And now it's time for yet another Oscar Film Journal entry, here at Enuffa.com!

We're time-traveling back to the 1930s again, for what I guess could be considered the first pseudo-sequel to earn a Best Picture nomination, Broadway Melody of 1936.  Narratively unrelated to the original 1929 Broadway Melody, and actually released in September of 1935 (not sure why it was called 1936 then), this follow-up is another song and dance vehicle held together by a shoestring plot.  

Gossip columnist Bert Keeler (Jack Benny) is ordered by his editor to find an eye-catching story and he stumbles onto a juicy piece about Broadway producer Bob Gordon (Robert Taylor) and wealthy socialite Lillian Brent (June Knight), who's agreed to finance Gordon's latest play.  Gordon's high school sweetheart Irene Foster (Eleanor Powell) arrives in town hoping to land a part in the show, but Bob at first doesn't even recognize her and later tells her to go back to Albany and avoid getting mixed up in the Broadway racket.  Gordon and Keeler develop a heated feud over Keeler's gossip articles (complete with multiple physical altercations), so Keeler tries to sabotage the play by talking Bob into signing a French dancer (who in actuality doesn't exist).  When Irene catches wind of this plot she decides to take up the persona of the Frenchwoman to get Bob's attention.  It's a very complicated case, lotta ins, lotta outs, lotta what-have-yous....

Oscar Film Journal: MASH (1970)

Welcome to another Oscar Film Journal entry, here at Enuffa.com!

Alright, I'm almost done with the nominees for 1970, having now seen four out of the five (Only Love Story remains, god help me).  Number four is the wartime comedy MASH, directed by Robert Altman and starring Donald Sutherland, Elliott Gould, Tom Skerritt, Robert Duvall, and Sally Kellerman.  Based on the semi-autobiographical novel by Richard Hooker, MASH follows the day-in-the-life screwball misadventures of two prodigious military surgeons during the Korean War, Captains "Hawkeye" Pierce and "Trapper John" McIntyre.  Both doctors and their gaggle of debaucherous colleagues are virulent anti-authority mischief-makers/party animals, but they get away with repeated insubordination, hazing, pranks and scams due to their unrivaled skill in the operating room, and the inherent chaos of being stationed near the front line.  This anarchic romp paved the way for cinematic progeny such as Stripes and Animal House, but also seems influenced by the work of The Marx Brothers (There's even a throwaway reference to Groucho's game show You Bet Your Life).  And of course it was the inspiration for the landmark TV series.

Top Ten Things: Billy Joel Songs

Welcome to another song-related Top Ten Things, here at Enuffa.com!

I recently watched And So It Goes, the new HBO documentary on the life and career of the legendary Billy Joel!  So why not do a list of his greatest compositions?

I first became aware of Billy Joel at age seven or eight, around the time of An Innocent Man, Joel's 1983 homage to the music of the 1950s and 60s, with which he had grown up.  Each song is a pastiche of a particular artist or style from that era, and even as a young boy Joel's songs immediately stood out from other early 80s radio fare.  Though I couldn't have put it into words at the time, I was drawn in right away by Joel's relatable, working-class approach to songwriting; these were instantly memorable tunes with universal lyrical themes and more often than not a rock-solid groove (Billy's longtime drummer Liberty Devitto was a monster behind the kit).  Over my subsequent childhood and adolescent years I was exposed to many more of Billy's hits, and by the time his final pop album came out in 1993 he'd racked up no fewer than 25 timeless radio standards, no small feat for a 12-album career.

Joel's discography has covered so many genres and influences (probably the most prevalent of which is The Beatles; Joel has cited them as a major inspiration on many occasions and to this day incorporates a few of their songs into his live set), giving each album its own sound and feel, and demonstrating his consummate skill in crafting robust pop-rock songs that the radio simply adores.  His live performances over the years have been wildly energetic and entertaining, but he also shows genuine humility onstage and gives each of his backup musicians ample moments to shine.

Joel decided to stop making pop-rock albums at the age of 44, after River of Dreams, but his expansive catalog of evergreen songs continues to inspire and delight new generations.

Here is a list of his finest tunes....


HM: The Entertainer

Billy's satirical take on the cynicism of the music industry and the fickleness of its audience has a peppy, upbeat sound but lyrical content bordering on resentment, with lines like "It was a beautiful song, but it ran too long/If you're gonna have a hit, you gotta make it fit/So they cut it down to 3:05."  "The Entertainer" chronicled Billy's refusal to simply churn out homogenized product to stay atop the charts, and his desire to always push himself artistically.



HM: Movin' Out (Anthony's Song)

One of Joel's working-class anthems, "Movin' Out" explores the struggles of the New York 9-to-5 crowd, spending all their energy to achieve a higher status in life rather than attaining happiness.  In the end material wealth is not a substitute for inner contentment.  "If that's movin' up, then I'm movin' out."



HM: My Life

I first became aware of this song as the intro theme to the Tom Hanks/Peter Scolari sitcom Bosom Buddies, but its late 70s keyboard groove still gets the ol' toes tappin'.  "My Life" is an ode to individuality, doing things your own way regardless what others think.  Another easily relatable song from Mr. Joel.



HM: Goodnight Saigon

Joel's seven-minute opus from The Nylon Curtain is a tribute to the soldiers of Vietnam, its lyrics covering the details of what it was like for them, their sacrifice, their fears, their comraderie, rather than taking a stance on the war itself.  It is a poignant consideration of the Vietnam experience and a touching acknowledgement to all soldiers, living and dead.



HM: We Didn't Start the Fire

Maybe the ultimate guilty pleasure song, this iconic list song chronicling major news events throughout Joel's 40 years up to that point is undeniably catchy but also undeniably silly.  Joel himself has never been all that proud of it from a musical standpoint ("The melody is like a dentist's drill"), but it put him right back into heavy radio and MTV rotation after The Bridge's somewhat lackluster reception.  Also I can't hear this song anymore without thinking of this:

Okay, now for the Top 10...