If Stephen Norrington had only ever been a special effects guy he still would’ve made a mark. He worked under Dick Smith, Rick Baker, Stan Winston and Jim Henson. He did the Grand High Witch makeup in THE WITCHES, and designed creatures for Jim Henson’s The Storyteller. He played the Gump in RETURN TO OZ. He helped make the aliens in ALIENS and ALIEN 3, the robot in HARDWARE, the creature in SPLIT SECOND. I only know about him, though, because he later directed four movies, one of which was motherfuckin BLADE.
But the first one was DEATH MACHINE (1994), a low budget killer robot movie I watched once about a quarter of a century ago when I found out it was by the guy who did BLADE. I think I thought it was okay, but I retained no details in my memory, so now I have returned to it via the fancy-ass special edition blu-ray from Kino Lorber. I watched the director’s cut (which is 106 minutes, as opposed to the 100 minute U.S. version or 122 minute foreign version), which may or may not have been why it went over a little better this time. I don’t think it’s a great movie, but it’s an interesting one with a cool robot puppet, a cyberpunk world and a hell of a look for a ‘90s b-movie that went straight to video. Cinematographer John de Borman is the guy who did THE PASSION OF DARKLY NOON and THE FULL MONTY, but from the look of it I’d have assumed he was a music video guy, somebody that would’ve worked with the Scott Brothers or Russell Mulcahy or even David Fincher.
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THE WILD ROBOT is this year’s feature from DreamWorks Animation, and I’m not sure I would’ve guessed that without the logo. It’s a funny movie but not a smart alecky one, not a child of SHREK. Based on a 2016 young readers book by Peter Brown (first in a trilogy), it’s a simple, sweet tale with an elegant premise: a shipment of mass-manufactured helper robots crashes in the wilderness, one of them survives, accidentally imprints on an orphaned gosling runt and, since her programming requires her to complete all tasks, she becomes convinced that she must teach the goose to swim and fly before migration time in the winter. So there’s a goal to work toward and an inevitable sadness if it’s ever achieved. Good drama. 
Unless I’m forgetting something, Clint Eastwood only has two movies that could be classified as spy movies, and both involve a mission to a mountain in the Alps. One is 
102 years after F.W. Murnau’s illegal copyright violation classic, here’s writer/director Robert Eggers following up 
I’m not fully acquainted with the filmography of John Sayles, but I’m pretty sure THE BROTHER FROM ANOTHER PLANET is an outlier. It was 1984, so Sayles had already had his Roger Corman/exploitation beginnings (writing PIRANHA, 
RED ONE is not a prequel to THE BIG RED ONE or 
Like all modern horror movies, CARNAGE FOR CHRISTMAS – a 2024 indie that came to Shudder on the 15th – is about a true crime podcaster who experienced trauma. But it does not feel like it’s trying to be “about trauma,” and the true crime aspect works because the protagonist, Lola Darling (Jeremy Moineau) is treated as a straight up detective character like Nancy Drew, Jessica Fletcher or somebody there’d be a BBC mystery series about. She’s very self-possessed, observant and knowledgeable, has an interest in the morbid, sneaks around crime scenes with a flash light, brings her own latex gloves.
If you knew there was a new Hellboy movie this year – the fourth live action one – chances are you weren’t thrilled about that fact. For most people, it seems, 
DESPERATE LIVING (1977) is the fifth feature film from John Waters, the one he did before dipping his toe in the mainstream with POLYESTER. Its opening – not counting the credits sequence showing a fancy place setting where a (real) fried rat is served and (fake) eaten – introduces us to Baltimore socialite Peggy Gravel (Mink Stole, NEIGHBOR), returned early from the mental hospital. Her husband Bosley (George Stover, 
When I was slasher searching on Tubi in October I was surprised how many 
