Death's Review on Alive: Barely Alive "A Neglected Zombie Apocalypse Narrative Lacking Depth" Jan 31, 2024 2 Mins by Death Many films considered titans of the horror genre came from incredibly low-budget projects: Texas Chainsaw Massacre (1974), Evil Dead (1981), The Blair Witch Project (1999), and Paranormal Activity (2007) were all made on budgets that are dwarfed by most films today. In horror, a lack of funds does not necessarily mean a lack of quality. Of all the genres movies are known for, horror possesses a unique and powerful ability to establish a deep connection with its audience without having to do much. The reason that horror can make such a connection is in our biology and evolution. Over millions of years, humans evolved survival instincts to protect us from danger like animal predation. This instinct is driven by one universal emotion in all humans: fear. Fear is a cornerstone of our biology. No other emotion except fear can motivate us to form social groups, create new technologies, and even build civilizations. Fear is also the most accessible and reliable human emotion. Bad actors in the media, in politics, and consumer societies rely on fear to manipulate our thoughts, cast our votes, and buy their products. Horror filmmakers are exceptionally aware of (or, at least, they should be) how easy it is to access our fears. Legends of the genre, like John Carpenter, accessed our fears by obfuscating scenes to fire the audience's imagination and make them question the shadows. This is why low-budget independent horror films can be so compelling; the special effects in billion-dollar movie franchises can never invoke the fear of a terrifying story and a darkened corner shot the right way. Sadly, Alive (2022), written and directed by David Marantz , foregoes these fundamentals and ends up being a production that lacks value unrelated to the budget. Alive gives the viewer the impression that it came into being because a community theater troupe was spontaneously interested in making a zombie movie. The end result is a disjointed, unprofessional mess that hopefully was at least a fun weekend for some of the younger actors. Before covering the film's shortcomings, let's cover where it exhibited at least some value: writing and cinematography. Marantz demonstrates good narrative ideas, even if they are somewhat derivative. The film's story focuses on Helen ( Ellen Hillman ), a teenager caught in the zombie apocalypse, accompanied by her boyfriend, Kevin ( Kian Pritchard ), and her little brother, Barney ( Andrew and Daniel May-Gohrey ). Helen's primary motivation is ensuring the survival of Barney, who has been infected by the zombie. Alive's plot has heavy overtones of 28 Days Later (2002), I Am Legend ( 2007), Warm Bodies (2013), and The Walking Dead (2010). Marantz combines narrative tropes from these influences in a way that is as interesting but only slightly more than the source material. The film's opening introduces at least eight possible protagonists before Helen becomes the primary focus. If audiences can get through the frustrating start, they will feel invested in a mildly compelling story focused on Helen. The focus on Helen makes it easier to endure the film in the second act. Still, it finishes on a narrative low note that disposes of a pillar of the zombie genre and deflates much of the previous tension. The narrative proves to be the film's best part, even with these problems. Neil Sheffield and Ellen Hillman in Alive (2023), Court esy of Gravitas Ventures Cinematographer Tom Allen does his best to support Marantz's story with a washed color pallet rooted in dark greens and sepia undertones. These choices complement the emotion of the scenes, making Alive somewhat enjoyable to look at. Unfortunately, the camera work is inconsistent, especially in the later acts. Marantz uses noir shots with heavy shadows to save on backgrounds and avoid inflating the budget. This means that the audience must watch the actors in close-up static shots against black backgrounds, which is very noticeable. This use of obfuscation works in some scenes, but it quickly overstays its welcome and becomes overbearing. The camera angles multiply rapidly in the film's action scenes, making these scenes difficult to watch. As turbulent as the camera work is, the actor's performances are weak and lack emotion. The zombies are unbelievable, with many extras just walking like normal humans going to their cars to retrieve their phones. The actors display no confidence in their delivery or characterization. Gillian Broderick , as Lucy, delivers a few good moments, but these only stand out because she displays a basic competence missing in the performances around her. The director and cast needed to take more risks. There is more potential beyond the performances on display in Alive . Issues holding the movie back were more than just the performances. Alive’s technical production was amateur at best. The audio engineering was terrible. Towards the film's end, a microphone track is laid only for the left channel, which completely ruins the scene. There are disembodied heavy breathing sounds in other scenes, which could have been a zombie, only there were none on the screen. It can only be attributed to a sound boom operator unknowingly leaving a microphone on and neglecting his cardio at the gym. Some of these issues, especially the one-channel sound error, could have been fixed in post-production, but they weren't. It raises the question of whether the filmmakers even watched their own film. Alive is a film that lacks any charms audiences look for in low-budget horror projects like this. It just doesn't work, and the narrative potential, which one can only assume motivated this group to make this movie, remains safely locked away. Despite interesting cinematography, Alive lacks execution, motivation, and inexcusable neglect. Even the infamous Plan 9 from Outer Space (1957) was unintentionally entertaining at some points; Alive could only hope for such heights. Note: A previous version of this review appeared on slayawaywithus.com on 4 Apr 2023. Alive 2023 Share Send Send Send Send Track Name 00:00 / 01:04 Link Copied! Barely Alive A Neglected Zombie Apocalypse Narrative Lacking Depth Review

Death's Review on Scare Package II: Rad Chad's Revenge: A Love Letter to Horror "A Satirical Critique and Love Letter to Horror" 3 Mins by Death [THIS REVIEW CONTAINS SPOILERS] On the surface, Scare Package II: Rad Chad’s Revenge (2020) is just another entry into the long line of horror anthologies that have proved popular in recent years. Viewers would be right to expect it to be what is typical of this kind of film: over-the-top characters, lots of screaming, and plenty of gore, garnered with a hearty serving of comedic suffering for our viewing pleasure. Yes, the film is all these things — for the most part. Unlike anthologies that came before, Scare Package II comes together to convey something greater than its individual parts can alone. Be it intentional or not, the film functions better as a nonsensical and satirical indictment of the horror genre than, as a horror-comedy, an anthology, or a sequel. Directed by Aaron B. Koontz , it is obvious from the outset, for better or worse that Koontz is obsessed with the horror genre. He does not spare the viewer the burden of his obsession either — the film is not for the horror uninitiated. There are so many references to horror canon and tropes that even the most seasoned fan may struggle to catch them all. It’s a film by horror fans for horror fans. Scare Package II opens in the aftermath of Scare Package (2019) at the funeral of titular ‘Rad’ Chad Buckley ( Jeremy King ), with several returning characters in attendance including Jessie Kapowski, the lone survivor of the Devil’s Lake Impaler’s recent killing spree. Things quickly descend into chaos as the attendees are captured by an unidentified foe and forced to play deadly games, à la the Saw franchise. This narrative encompasses most of the film, with the contributing segments acting as short intermissions to the pacing of it. Courtesy of Shudder, AMC Networks Featuring four segments, the shorts begin with Alexandra Barreto ’s Welcome to the 90s , starring Revealer ’s Shaina Schrooten is an examination of the transition of women in horror from needing punishment for embracing their sexuality during the 80s (Halloween, A Nightmare on Elm Street) to finding empowerment in that same sexuality in the 90s (Buffy the Vampire Slayer). The segment conveys its points effectively, if not in the most obvious manner, and sets the stage for additional meaningful critiques of horror tropes later in the film. Anthony Cousins directs The Night He Came Back Again! Part VI: The Night She Came Back , a sequel to a sequel inside of another sequel, which will probably get another sequel, because, as we are reminded, “Sequels are the lifeblood of the horror genre.” There’s a missed opportunity here to examine why a ‘horror sequel’ is almost contradictory, but Cousins wisely sidesteps the larger issues and effectively critiques the tired serialization that plagues so many horror franchises. Jed Shepherd , writer of the wildly popular Zoom horror film Host (2020) directs Special Edition , a segment that features the return of the Host cast and stars Jemma Moore . A group of women on the hunt for a ghost of a child who was killed by falling on swords on the set of Three Men and a Baby (1987) according to an urban legend that began circulating in August 1990. Shepherd’s effective use of light, obfuscation and CGI makes for the only segment in the entire film to stray from comedy into actual horror. More importantly, he asks the question we’ve all been wondering for decades, “Who the fuck is Ted Danson?” Courtesy of Shudder, AMC Networks Rachele Wiggins rounds out the selected offerings with We're So Dead , written by Koontz and Cameron Burns . It’s an ode to Stephen King film adaptations like Stand by Me (1986) and Pet Sematary (1989) with a side of The Fly (1986) and Re-Animator (1985). Of all the contributing segments, Wiggins most closely mimics the overarching absurdity and nonsense of the main narrative. The segment plays out in such a ridiculous fashion that makes one wonder if the kids on the set of these films are going to be okay or if they are going to keep weird things in their fish tanks years from now. There are some issues with Scare Package II’s execution: the pacing in some scenes drags and for every reference intended as a nod to horror fan solidarity, there is a dialogue that almost makes audiences want to go watch the films referenced instead. None of the characters evoke attachment or concern and many of the actors feel detached from the urgency of their predicament. The film is not entirely successful as a horror-comedy either. A lot of the jokes get lost in themselves or esoteric references. Koontz tries to rescue these moments with a gratuitous injection of gore and violence, but these seem like transparent attempts to make us forget how they were just laughing. There are a few humorous moments, but these are sparse and likely won’t land for some viewers if a horror film reference is missed. Scare Package II is more aptly described as horror-nonsense or horror-satire if such sub-genres exist. It is so shameless in its self-awareness, so willing to break the fourth wall, and so absurd in its devices, that it ends up subverting its very subject matter. Which forces us to examine the irrationality of horror itself. At times, the film would have made even Lewis Carroll pause. Courtesy of Shudder, AMC Networks Throughout the film, Koontz concedes that horror is tired, predictable, and mostly rehashed from the glory days of the 70s and 80s but, at the same time, attempts to comfort weary horror fans by saying what we already know, “Yes, they could have just gotten in the car and drove away the whole time, and, yes, Laurie could have run out of the house instead up the stairs, but isn’t it just better that she didn’t? They may be idiots, but they are our idiots, right?” In the end, the film comes together to be something more than even the filmmakers intended. By unconditionally embracing the horror genre, faults and all, it manages to reinvigorate the audience’s suspended disbelief and remind them why they became fans in the first place. Scare Package II is an effective satirical critique of the horror genre that audiences are unlikely to have seen in a very long time. Note: A previous version of this review appeared on slayawaywithus.com on 22 Dec 2022. Scare Package II: Rad Chad's Revenge 2020 Share Send Send Send Send Track Name 00:00 / 01:04 Link Copied! A Love Letter to Horror A Satirical Critique and Love Letter to Horror Review

Death's Article on Steam Deck: A Steam Deck Revolution? "A Christmas Day Surprise Changes Death's After-life Forever" Sep 17, 2024 3 Mins by Death If you're like me, a North American semi-hardcore PC gamer with disposable income, no impulse control, and a fiber internet connection, you likely have a Steam library with hundreds of games that have sat unplayed for years. For those who don’t know, Steam is a PC gaming service from Valve Software, the makers of Portal (2007) and Half-Life (1998). Steam is a juggernaut of the online gaming industry and, in 2021, had 133.0 million active users, with 69.0 million daily active users. [1] In 2023, Steam had an estimated revenue of $8.5 billion, down from its 2021 high of 10.0 billion. [2] The Valve Steam Deck was released on 25 Feb 2022. One method Valve uses to create this much revenue is the seasonal Steam sale. Steam sales are an excellent opportunity for most gamers to get a discount on a game they have been waiting to play; for gamers such as myself, Steam sales drain my gamer wallet every time they happen. For almost every sale, I fall prey to the cute marketing art on the Steam store front page and those little green tabs advertising 75% or 80% off some critically acclaimed titles I have yet to try. Oh, you didn’t play Death Stranding ? It's weird, but good. Kojima, right? 50% off! Red Dead Redemption II was on PlayStation, and you didn’t get to play it? How about now for $20? Art for the 2023 Seasonal Steam Sales. Objectively, Steam Sales are, more or less, a pretty good deal. If you are interested in various games and genres, you can save a lot of money, which is good for the consumer. Typically, a good Steam sale will contain significant discounts on games that generally cost $70-80. These discounted games are suitable for gamers with finite resources and generate extra revenue for products nearing the end of their natural life cycle. The problem with Steam Sales is that they are almost too good sometimes. Oh, are they discounting an entire franchise this time? What do you mean by all Bethesda games being on sale? Skyrim , again? How can you not buy every game in the Resident Evil series for less than $15 each? It's one of the most incredible video game series of all time. You'd be losing money if you didn't. Capcom executives would be justified in showing up at your front door and guilt-tripping you on why you hate them so much. Did you want every Dark Souls game on PC and their corresponding DLCs you didn’t play for less than $50? Here you go. Have an excellent time repeatedly kicking yourself in the balls, gamer. And remember how much Our Lord and Savior Gaben loves you. Gaben, Our Heavenly Father. I have tried in the past to resist the temptation of these sales. Still, every year, I finance a no-small portion of Gabe's lavish island sex fortress hidden somewhere in the South Pacific with my hard-earned gamer dollars. (He's a billionaire. They all have them.) As sure as the tide comes in and out with the movement of our flat disc-shaped planet, I knowingly buy several games that I know I will not play. Steam sales have gotten to the point where there isn't much I can even buy anymore. For most sales now, see the blue "in-library" tag more than the green sale tag. Even during the vanilla weekly sales, if I filter out the garbage games with less than very positive reviews (I'm not playing a game with mixed reviews; I have some standards), I have to scroll far until I see something that interests me and is not already in my library. I often see the blue "in library" tags during Steam Sales. I am sure some of you are thinking, “This man has a massive spending problem, and his wife needs to disconnect some credit cards fast.” And, I agree... but not for the reasons you think. Yes, husbands left unsupervised with credit cards is never a good thing (There are plenty of reasons why my Amazon account should have parental controls enabled.), but buying games and not playing them is not bad because it wastes money. (We’re a double income and no kids couple. DINKS4LYFE, baby!) No, the real problem that keeps me awake at night, that burns in the core of my self-centered, oblivious to the pain of other, self-gratifying, entitled lizard-brained soul with the power of a thousand suns set on fire by even more suns, is that I am being deprived of the one thing that sustains the reason I exist, my very essence. Yes, dopamine. And not getting my dopamine is fucking unacceptable! To fix this problem, we first need to understand it. Specifically, I need to know how much time and money I spend on my gaming obsession and if any optimizations are possible. (‘Obsession’ is the right word here. This train passed ‘Hobby’ station about three decades ago and has not looked back. Full steam ahead!) Looking at my Steam summary for 2023, I played thirty-eight games and bought twenty-four new games. I played more games than I purchased, which is good. However, I spent 95% of my playtime on only two games: Hunt: Showdown and Baldur's Gate III. (I’ll argue that +700 hours last year on Hunt is justified because I main it for my content, and 500 hours on Baldur's Gate was because of… well... Shadowheart. If you know, you know.) While I have more fun (i.e., dopamine) per dollar spent on a few games, much more potential fun is locked away. In my mind, money spent on a game is justified if I get one hour of game time per dollar spent (I would love to say one hour of ‘fun’ per dollar spent, but given the current state of modern gaming, you can spend a lot of time having something I like to call ‘negative fun,’ but that’s a discussion for another time. Looking at you, Diablo IV.). Over the past thirteen years on Steam, I have spent $3,339 on games, which is all things considered (not bad). That equates to roughly $250 per year on gaming, which is quite reasonable. If I include microtransactions or in-game purchases as Steam lists them, the total comes to... $10,947. That’s $7,608 on microtransactions alone. (…I already deeply regret writing this article.) Moving quickly to any other topic, I have roughly 10,805 hours played on Steam. This makes my current dollar-per-hour-played ratio $1.013, or about a dollar an hour, which is on target, but since it is my duty to min/max everything, this could be much better. (It’s a gamer thing. If you know, you know.) Of the 417 games in my Steam library, 118 (or 28%) remain unplayed. About 50 or so other games with under an hour of playtime could be counted as unplayed. (I go where the ADHD tells me to, folks.) There are thousands of hours of quality gaming to be had without spending additional money. (In-game cosmetics aside, cause baby needs that drip in Guild Wars 2 . Again, if you know, you know.) So, there's a lot of room to drive down the dollar-per-hour-played ratio; the only real issue is how. How do I find a time-effective way to play all these unplayed games while maintaining my marriage, friendships, and work commitments? Guild Wars 2 shop outfits are absolutely worth my money. Thankfully, I found the solution on a quiet Christmas morning late last year. Or, more accurately, Mrs. Death did. “What is this solution?” you ask—first, a little context. Besides being amazingly sexy, super successful, and highly intelligent, Mrs. Death has another quality that sets her apart from every other woman: she is a gift-giving god. Mrs. Death has an uncanny ability to know what you want before you even know you want it. Being a literal Saint, Mrs. Death uses this superpower for good, specifically, spoiling her loving and adoring husband, who happens to be me. I will agree that her power is a little scary. I could be browsing Amazon, looking at some item that is tangentially related to something else I want, and, like magic, Mrs. Death will have that very same item months later when I least expect it. Sure, her ability to know you better than you know yourself is like living with an NSA agent who is constantly profiling you, and, yes, I should probably clear my browser history more often. But, even if my marriage is similar to living in a dystopian surveillance state, should I care if I receive the perfect present every 4 to 6 months for years on end? So, on a quiet and cozy Christmas morning last year in the Democratic People’s Republic of Marital Bliss, I was completely caught off guard as I unwrapped a brand new Valve-made Gaben-approved, nay Gaben-blessed, Steam Deck with a 1TB of internal storage and a state-of-the-art OLED screen. And when I say “off guard,” I had no idea. I still don’t know where she got the idea from. I think I mentioned in passing that the Steam Deck looked cool, but other than that, I have no idea. Putting aside that mystery, it was an extraordinary Christmas morning. That was until the initial surprise wore off, and I was sitting on the couch, new Steam Deck in hand, wondering, “What am I supposed to do with this thing?” The OLED version of the Steam Deck. - Serenkonata - stock.adobe.com As a PC gamer, I don’t equate handheld gaming with real gaming. (Sorry, not sorry, mobile gamers.) For me, the true peak of gaming is sitting in front of my 1440p 240 mhz ASUS ROG monitor, Logitech G502X mouse in one hand, and a Corsair k70 tenkeyless keyboard holding up the other, eagerly waiting to suck down all the juicy visuals that my GIGABYTE AERO 4090 can shoot all over my wanting face. By their nature, handhelds cannot deliver graphically intense experiences like a PC can. (Not to mention how awkward that would be in public.) I have always thought of handhelds as stand-ins for real gaming while traveling, the methadone to the real smack if you will. Handhelds are for disgruntled teenagers in the back of mom’s minivan who want to be anywhere else or for sedating iPad kids on airplanes who have no clue what the hell they are doing in Super Mario Bros. Wonder . (How is this 8-year-old kid going to survive life if he can’t even hit the first Goomba?) Or better yet, they are for introverting in the corner of your in-law's living room as your wife tries to justify her marriage to your mother-in-law, who openly ponders whether or not you are on the spectrum somewhere. (I may not make eye contact, but I have ears, Susan.) Honestly, as someone who has not ventured beyond the end of the driveway in over two months, why would I want any handheld, let alone something that could make me spend more money on Steam? For a while, I thought this gift, like all those games in my Steam library, would be a colossal waste of money. But, I could not have been more wrong after using the Steam Deck for over a month. Steam Deck 2022 Share Send Send Send Send Track Name 00:00 / 01:04 Link Copied! A Steam Deck Revolution? A Christmas Day Surprise Changes Death's After-life Forever Article

Death's Review on Pearl: Pearl is a Powerhouse Film "An Exploration of Sexual Rebellion and Cultural Legacies that Resonate beyond its Setting" Sep 17, 2024 2 Mins by Death Note: A previous version of this review appeared on slayawaywithus.com on 26 Jan 2023. Pearl , a prequel to the acclaimed X (2022) and the second movie in the X film trilogy, opens on a beautiful and idyllic Texas farm reminiscent of Hollywood’s silver screen era pictures like Gone with the Wind (1939) and The Wizard of Oz (1939). Director Ti West uses technicolor saturation levels, sprawling camera angles, and a sweeping soundtrack to evoke a sense of grandeur typical for depictions of rural life on film in this period. West co-wrote the script with star Mia Goth . Out of this pastoral paradise, Pearl (Goth) appears as an innocent farm girl with ambitions beyond the confines of her family’s property. She preens privately in her room, sneaks off to see forbidden ‘moving pictures’ in town, and dreams of dancing on stage to adoring audiences, all out of the eyesight of her domineering German mother, Ruth ( Tandi Wright ). However, her dreams encounter opposition as the realities of her life come into view. Beyond the usual demands that one would expect living on a farm, Pearl is also responsible for helping her mother care for her ailing father ( Matthew Sunderland ). Goth and West skillfully build sympathy for Pearl in the opening stages. However, this sympathy is tested when Pearl’s capacity for violence emerges, and the carnage begins. Pearl's violence is terrifying because of how her femininity is portrayed. She is childlike and dependent on the love of those around her, which aligns with traditional agrarian values. Unfortunately for Pearl, she only experiences love when her actions align with the expectations of others. She is loved for the utility of her gender and only in the way that others choose to recognize it. When she attempts to use her sexuality to fulfill her desires, she finds punishment or abandonment. As frustration mounts, Pearl states, “… you have no idea what I’m capable of.” This foreshadowing exceeds all expectations as Pearl descends into cruelty and malice. Her eventual brutality exceeds even the worst that Lizzie Borden was only accused of. Like Borden, Pearl’s violence resonates that much more, not only because of a natural distaste for murder but because it rejects an entire value system, one based upon her fertility and expected female roles. Serving as backdrops to Pearl’s sexual rebellion are the influenza pandemic of 1918-1919 and the First World War. Both events combined killed millions of Americans and fomented widespread anti-German sentiments. Germans, historically one of the largest immigration groups to the United States, were accused of being spies for the ‘Vaterland,’ intentionally spreading the pandemic, and were frequently attacked violently. German families who did leave took measures to hide their heritage by changing their family names, claiming another acceptable European ancestry, and refraining from speaking German in public. Mia Goth makes the dichotomy of Pearl's innocence and brutality look easy. Given this backdrop, Goth and West are not just writing about denied female agency but also reflecting on contemporary reactions to the recent COVID pandemic. If sympathy exists for Pearl and her forbidden dreams, then compassion should also exist for Asian Americans who recently experienced the same discrimination. In a way, Pearl is an ethnic anti-hero struggling against the world’s injustice due to no fault of her own. She is a prisoner not only to her gender but her ethnic heritage as well. Goth navigates Pearl’s predicaments and skillfully transitions her from dutiful daughter to merciless killer in an authentic and nuanced performance. She conveys Pearl’s sexuality and rage equally, making these characteristics equally impactful. She makes Pearl feel sympathetic, even while carrying out her heinous crimes. Right up to the closing shot, it is evident that Goth has poured all she has into Pearl. In all, Goth’s performance deserves recognition at the highest levels. West supports Goth’s performance with outstanding direction, cinematography, and storytelling. The tempo of the film never fails to engage the viewer’s attention. West’s framing of each scene effectively builds tension, even if no pitchforks are flying at a given moment. West’s use of red is worthy of special mention; red features prominently in almost every scene and is unusually visible due to the heightened saturation levels. Like his use of animals as emblems for violence, fertility, and decay in other parts of the film, red visually embodies the power struggle between characters on screen. West’s skill as a storyteller is on full display and is a pleasure to watch as the film unfolds. Pearl is an outstanding and masterfully crafted horror film. Goth’s performance shines simultaneously with sympathy and brutality. She delivers one of the best performances of the past year, and not just in horror. Note: A previous version of this review appeared on slayawaywithus.com on 26 Jan 2023. Pearl 2022 Share Send Send Send Send Track Name 00:00 / 01:04 Link Copied! Pearl is a Powerhouse Film An Exploration of Sexual Rebellion and Cultural Legacies that Resonate beyond its Setting Review

Death's Review on V/H/S/99: The End of the 90s Zeitgeist "V/H/S/99 loses the 90s nostalgia in translation at times, but is still a fun collection of frights." Sep 17, 2024 2 Mins by Death Note: A previous version of this review appeared on slayawaywithus.com on 21 Oct 2022. V/H/S/99 is the fifth installment in the V/H/S anthology series and platform for myriad horror filmmakers since the original was released in 2012. Like previous installments, it features five segments from various directors of different styles within the found footage subgenre. For its own efforts, the collection does not stray from the formulaic structure the series is known for and delivers a predominantly successful entry, although it may grossly misinterpret the late 1990s in many ways. I don't know if we were as cool as we thought we were in the 90s. Courtesy of Brooklyn Horror Film Festival. The collection opens with Shredding, written and directed by Maggie Levin , a segment that seeks to capture the 90s punk era’s Zeitgeist. It features a band of misfits trying to aspire to the greatness of their now-dead (or undead) rock idols. The music is ostensibly inspired by the early 90s grrl punk rock trend, but with heavy corporate pop punk undertones, despite the fervent claim to the contrary. The music definitely isn’t punk if one actually experienced the west coast 90s punk era firsthand, but it works for the story’s setting. (Also, mosh pits were not about violence; they only looked that way. Guess you had to be there.) Levin is guilty of telegraphing some gags, which is bound to annoy the audience, but she delivers in setting a ghoulish tone. I was as confused as they look watching this segment. Courtesy of Brooklyn Horror Film Festival. Second in the line-up (and first in how to commit involuntary manslaughter) is Suicide Bid, written and directed by Johannes Roberts . The story follows a young college student making an all-or-nothing play to join her dream sorority. The one-dimensional cruelty of the antagonists is the worst thing about this short. The over-the-top and overused mean girl trope only serves the audience’s desire to see pretty girls getting killed by monsters. There are some strong The Craft (1996) and Mean Girls (2004) vibes at certain moments, which gives audiences hope initially, but it quickly devolves into confusing and inexplicable plot jumps, resulting in the weakest segment of V/H/S/99 . Steven Ogg will always be GTA V's lovable meth head Trevor to me. Courtesy of Brooklyn Horror Film Festival. Thankfully, despite its shaky start, V/H/S/99 offers some solid storylines and scares worth watching. Ozzy’s Dungeon, co-written and directed by Flying Lotus and Zoe Cooper , harkens back to cable television hell that was the Nickelodeon game shows when parents were all too willing to have their child risk life and limb for a slim chance at fame on clearly unsafe obstacle courses. Strong performances from Steven Ogg and Sonya Eddy carry the story, and Flying Lotus comes the closest of any of the filmmakers to saying something profound. There is a moment when the exploitation of these shows collides with racial wealth disparity in an attempt to say something much bigger than focusing on the OSHA health and safety violations on display. However, it is lost when the segment plunges into cynicism and the need to complete its horror movie checklist. This kind of video streaming was just not possible in the 90s. Courtesy of Brooklyn Horror Film Festival. The Gawkers, co-written and directed by Tyler MacIntyre with Chris Lee Hill , provides the interlude for V/H/S/99 and delivers some potent scares when it finally comes into the foreground in the fourth act. Of all the other segments, it feels most anachronistic, belonging to the 20s rather than the 90s (the internet could barely handle text-based communication in 1999, let alone high-resolution video, CRT monitor or not, let’s be honest here). This segment may look like the late 90s in fashion and style, but it reads like YouTubers found a box in their parent’s garage marked ‘90s stuff’ and decided to make a horror film with the contents. MacIntyre salvages the segment by employing some very nice special effects to tell a hormone-soaked peer-pressure story about adolescent boys, this amazing new invention called ‘the internet,’ and the hot girls next door. Admittantly, some Y2K New Year's Eve parties did get kinda crazy. Courtesy of Brooklyn Horror Film Festival. To Hell and Back, co-written and co-directed by Vanessa Winter and Joseph Winter , closes out V/H/S/99 with the most intentionally hilarious segment on offer. Clearly influenced by films like Army of Darkness (1992), the Winters skillfully deliver a Raimiesque whirlwind of peril, guts, and comedy—pulling together summoning demons and the fear of Y2K to greater effect. The banter between characters and matter-of-fact treatment of the subject matter really works as short-form content. It is a refreshingly comedic end to an otherwise serious and cynical outing for the rest of the anthology. The only issue with the short is that there isn’t more of the film to enjoy. (Extra points are awarded for keeping the party hat on the entire time.) While some stories falter in V/H/S/99 , the rest pick up the slack and make a serviceable, if not innovative, addition to the V/H/S series. The collection doesn’t exploit the greater potential of some of the displayed themes but mostly accomplishes what it sets out to do. Even though it loses the 90s zeitgeist in translation in some places (something every generation is guilty of when reflecting on the previous one—don’t fret too much, Zoomers), the shorts make up a fun collection of scary stories in time for Halloween. V/H/S/99 premiered on the East Coast at the Brooklyn Horror Film Festival on October 14, 2022 , before its exclusive streaming premiere on Shudder on October 20, 2022 . Note: A previous version of this review appeared on slayawaywithus.com on 21 Oct 2022. V/H/S/99 2022 Share Send Send Send Send Track Name 00:00 / 01:04 Link Copied! The End of the 90s Zeitgeist V/H/S/99 loses the 90s nostalgia in translation at times, but is still a fun collection of frights. Review

Short Anime Reviews and Watchlist from Death Himself Reviews Watched On Deck Score 5/5 Directed by Saitou Keiichirou Available on Crunchyroll Frieren: Beyond Journey's End (2024) - Season 1 "All we have to decide is what to do with the time that is given us." Elves have always served a special role in fantasy. Fantasy authors, going back as far as Tolkien's The Lord of the Rings (1954), have juxtaposed elves with humans to great narrative effect. Elven wisdom, stoicism, and longevity have always served as a subconscious reminder that human actions have consequences that reach far beyond the short term. Elves represent the living embodiment of memory, history, and legacy, things that humans seeking fame and glory value the most. For better or worse, they are witnesses to our triumphs and atrocities, valued companions of the noble, and reviled by the forces of darkness. Given just how ubiquitous elves are in fantasy literature, movies, games, and film, there are few works that try to understand the elven experience to any real depth. Frieren: Beyond Journey's End 葬送のフリーレン (2024) is a refreshing attempt to remedy this neglected perspective by telling the story of Frieren, an elven mage who was a part of a group of heroes who defeated the Demon King and brought peace to the land. While the other members of her party—Himmel the Hero, Heiter the Priest, and Eisen the Warrior—wither to time and find contentment in their accomplished lives, Frieren is left behind to carry on their legacy. Even as her status as a living legend is increasingly forgotten by the descendants of those she saved many years ago, Frieren continues to seek new companions, perfect her magic, and come to terms with her own life and those she has lost. The series is beautifully animated, and Director Saitou Tomohiro's pacing is deliberate, conveying Frieren's elven perspective of time (i.e., she experiences years as weeks), while sprinkling in just enough action to maintain the viewer's interest. The score, by Evan Call, is epic and emotional, invoking action, appreciation, and nostalgia in equal measure. Frieren: Beyond Journey's End is an exceptional anime, one that is almost immediately legendary. It is an endearing celebration of life, full of appreciation for the meaning finality and death bring. It bravely explores issues that are rarely seen in fantasy or other genres, for that matter. If you don't break down in tears at least once while watching it, there's truly something wrong with you. Season 2 is due in 2026. Score 4.5/5 Directed by Yamashiro Fuuga Available on Crunchyroll Dan Da Dan (2024) - Season 1 Is this even... allowed? If Dan Da Dan (ダンダダン) were the only thing you knew about anime, you'd probably be a very messed up person. This cacophony of differing visual styles, musical themes, and genres is as fast-paced as it is unapologetic for its raunchy kick-in-the-balls humor and hotter-than-they-should-be grandmothers. (Yes, she's that hot.) Summarizing Dan Da Dan in just a few sentences is challenging due to its complexity. It covers all the usual elements of a coming-of-age high school anime, but also incorporates supernatural horror, aliens that steal genitals, and profound character development. This depth is maintained even as the plot frequently attempts to strip characters of their clothing. Dan Da Dan draws inspiration from Eastern classics such as The Ring (2002), The Grudge (2004), and Kung Fu Hustle (2004), as well as American 80s favorites like Close Encounters of the Third Kind (1977) and Weird Science (1985). This is all complemented by a dynamic hip-hop influenced soundtrack by オトノケ (Otonoke) and Kensuke Ushio. The creators of Dan Da Dan have taken significant risks, and they have truly paid off. Despite the many elements packed into it, this anime succeeds brilliantly. Season 2 is set to release in July 2025. Score 5/5 Directed by Ootomo Katsuhiro Available on Crunchyroll Akira (1988) Apocalyptic Perfection in Motion Akira (アキラ) is perhaps as close as any animation, or any form of art, can get to being perfect considering the technology and resources available at the time. I recently revisited this masterpiece nearly 25 years after my first viewing, and it still stands as one of the most visually impressive animations ever made. The incredible level of detail is even more astonishing when reflecting on it now, knowing it was crafted by hand without today's computer assistance. While adult themes were common in Japanese animated works at the time, Akira 's dark, violent, and post-apocalyptic cyberpunk vision was unprecedented in Western animation. Only animated cult films like Heavy Metal (1981) and The Last Unicorn (1982) even came close. If you haven't yet explored this essential piece of anime, or more broadly, the art of film, you owe it to yourself to do so. Akira continues to be the benchmark against which all other anime should be judged. Score 5/5 Directed by Oshii Mamoru Available on Netflix Ghost in the Shell (1996) Deus Ex Laponia Ghost in the Shell (GHOST IN THE SHELL/攻殻機動隊) is a generation-defining anime that every fan of the medium has a responsibility to see. Ghost in the Shell is based on legendary artist Shirow Masamune's manga of the same name. The visual techniques employed by director Oshii Mamoru are still impactful 30 years later. Even to this day, there are very few works that can match the technical artistry of Ghost in the Shell ; the cybernetics, weapons, and even the bullet impacts were revolutionary then and are still imitated today. Ghost in the Shell 's plot is a complex, intrigue-laden spy thriller exploring the meaning of human existence in a world overtaken by corporations, information technology, and artificial intelligence (seems familiar). The film's protagonist, Major Kusanagi, remains a legendary femme fatale icon. (Batou is kinda cool too, I guess.) Its legacy lives on in movies and games like The Matrix (1999), Deus Ex (2000), and Cyberpunk 2077 (2020), even as follow-on sequels have not lived up to the original's accomplishments. These are all the anime I have watched, but no yet reviewed with their tentative scores. Solo Leveling (2024) - 4.5 Kaiju No. 8 (2024) - 4 Demon Slayer: Kimetsu no Yaiba (2019) - 4.5 The Apothecary Diaries (2023) - 4.5 Attack on Titan (2023) - 4.5 Chainsaw Man (2022) - 4.5 Death Note (2006) - 5 Neon Genesis Evangelion (1995) - 4.5 Cowboy Bebop (1998) - 3.5 Suzume (2022) - 3.5 Your Name (2016) - 4 Fullmetal Alchemist: Brotherhood (2009) - 3.5 86 (2021) - 3 NieR:Automata Ver1.1a (2023) - 4.5 Cyberpunk: Edgerunners (2022) - 4 Spirited Away (2001) - 4.5 Princess Mononoke (1997) - 4 My Neighbor Totoro (1988) - 5 These are all the anime that chat has recommended to me with the viewer who recommemded it, in no particular order... Gantz (2004) - Monto Ghost Hunt (2006) - Sunflower King of Thorn (2009) - Monto Outlaw Star (1998) - Pharl Baki the Grappler (2001) - Nicragomi One Punch Man (2015) - Nicragomi Appleseed (2004) - GameswithDeath Berserk (2016) - FatalExodus Ghost in the Shell: Stand Alone Complex (2002) - GameswithDeath Sakamoto Days (2025) - Mrs. Death Lazarus (2025) - AverageCrafts Code Geass (2006) - Werthy Violet Evergarden (2018) - Werthy Mushi-Shi (2006) - chiisaiinu From the New World (2012) - chiisaiinu HUNTERxHUNTER (2011) - YourPlatapus Revolutionary Girl Utena (1997) - Trillbina My Hero Academia (2016) - Trillbina Soul Eater (2008) - Trillbina That Time I Got Reincarnated as a Slime - Mat My Neighbor Totoro (1988) - Crafts Tokyo Ghoul (2014) - CullisGate Ghost Stories (2000) - Pharl To Your Eternity (2021) - Sunflower Higurashi: When They Cry Gou (2020) - Monto Devilman Crybaby (2018) - Monto Deadman Wonderland (2011) - Monto Jujutsu Kaisen (2020) - CullisGate Hellsing (2006) - Monto Trigun (1998) - Sunflower Claymore (2007) - Monto

Everything about GameswithDeath Who is Death? Death, the Grim Reaper himself, (also known as @GameswithDeath on all platforms) is death incarnate. When not guiding souls to the afterlife, Death writes, edits, and streams, offering his unique, irreverent opinion on all things gaming. You can find Death (@GameswithDeath) on YouTube, Twitch, Twitter, TikTok and this site, GameswithDeath.com. What kind of games does Death play? Death is mainly focused on extraction shooters like ARC Raiders, Hunt: Showdown, and Escape from Tarkov. He also enjoys other genres like ARPGs and Souls-likes. I like numbers. Okay. Death is in the Top 0.34% of all streams on Twitch. He also has +1.1M hours watched and +100 CCV average on Twitch. He has+5.0M views on TikTok and has a combined +100K followers across all platforms. Who has Death worked with? Death has done sponsored content for Techland, Crytek, Evasion, Next Studios, Sharkmob, and The Night Library. What else has Death done? Death created Monday Night Hunts and the Bayou Bowl , the largest and most prestigious esports competition for Hunt: Showdown . Death is partnered with Twitch and Crytek. Death has been honored in Hunt: Showdown with an official weapon skin, Death's Levy and helped design the Mountie hunter skin. He has also raised over +$6,500 for various charities. Why did Death take [INSERT DEAD CELEBRITY NAME HERE] from us? Death does NOT make the decision to take a soul. His job is to lead them to the afterlife. Certainly, [DEAD CELEBRITY] was a very special, unique, one-of-a-kind person. There was just no one who could stand-in or be a placeholder for [DEAD CELEBRITY]. They will be missed. Is Death, Grim from that Billy and Mandy show? No. Death is a completely original entity. He has no idea who those people are, but assumes that they are very nice. Stop asking about them. If I sub/support, do I get to live longer? Yes, you will live longer if you sub/support Death. You will live much longer. 100% guaranteed. If you die sooner than you would have, just ask for a refund. "Are there any questions?"

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