Redux Redux (2025, Kevin & Matthew McManus)

A great concept turned into an unfortunately bad movie with boring music. I watched on fast-forward.

The Block Island Sound directors cast their sister as a multidimensional force of vengance, hopping parallel universes in search of a world where her murdered daughter is still alive, taking out serial killer Jeremy Holm each time before moving on, until she picks up one of his survivors Stella Marcus and they get to repeatedly save each other.

with Jim Cummings of Snow Hollow as her hookup:


How to Shoot a Ghost (2025, Charlie Kaufman)

Earned this half-hour movie with the time saved from fast-forwarding Redux. This one has some good words and some good images, making it better than the last Kaufman short I saw (from the same writer). The whole emotional journal of being a ghost in Greece doesn’t come together, but Kaufman and Jessie Buckley deserve a belated victory lap after I’m Thinking of Ending Things.

After Alone, why not watch another girl get kidnapped by a serial killer and try to escape her fate. This time things are more complicated – we see other victims, there’s an attempted rescue, and the maniac is a boater who feeds captured surfers to sharks while filming them on VHS.

Surfer Zephyr (of Southbound) has a lovely time with new friend Moses, then she drives to the beach, gets kidnapped by a maniac and locked on his boat with fellow victim Heather. Really Good Guy Moses keeps searching for her, connects the clues, and arrives only to be kidnapped himself, then Z chews off her own thumb to escape from the cuffs Saw-style. Byrne is two for two, now I’ve gotta catch The Loved Ones. Everyone else who watches this already knows who villain Jai Courtney is – I’ve only seen him in Edward Furlong cosplay as a lead-in to Yoga Hosers.

Kathleen Turner and Sam Waterston and Ricki Lake and Matthew Lillard are the perfect family, except mom has started making dirty anonymous phone calls to her supposed friend Mink Stole, then she escalates her naughty behavior by murdering her kid’s teacher with her car, and expands her victims list to anyone who annoys her for not rewinding videotapes, or not recycling. Turner and Waters are on top of their games here, and it’s a great movie, but if it was made as an answer to Falling Down then it might be the greatest movie.

Good Hair Scotty is Andy from Child’s Play 3:

Mom gets arrested at an L7 show:

Indie drama wih peppy editing, handheld segments, swish pans. Pica is too iconoclastic to succeed in her photography class, meets April, who dresses like a boy to avoid harassment and joins P at her night job pasting up photos after P finds her friend Malik murdered by a serial killer. It’s all cute, creative and contrived in equal measure, and gives no indication of the far-out places Smith would end up in her latest shorts.

“a tribute to the richness of what can be made with little and shared without limit” – Yasmina Price’s Criterion essay is good.

There’s a serial killer murdering the blondes of London, but the movie is more concerned with showing us all the media technologies of the time (telegraph, newspaper, radio, electric billboards). Meanwhile after a performance of “Golden Curls,” the few performers who weren’t wearing wigs are worried about their walk home. Good music by Neil Brand, and I love the construction paper graphics on the intertitles.

Ivor Novello arrives, pale and scarved, at a boarding house, acting like a dramatic ghost while renting a room, and is assumed to be the killer so everything he picks up is implied to be a possible murder weapon. He likes local girl Daisy, which annoys her hanger-on Joe. First the landlady then the cops go snooping through Ivor’s stuff, then the real killer is caught off-camera but not before jealous Joe gets an angry mob to beat Ivor half to death.

Killer calling card:

British people must spend 15% of their day standing in shocked silence after something mildly disagreeable happened. Novello’s legacy: he would be portrayed ninety-some years later by the guy who also played young Pierce Brosnan in Mamma Mia 2.

POV: Ivor Novello wants to kiss you

Agent Lee Harker (a Draculized Harper Lee, played by The Girl Whom It Follows) has a hunch that gets her partner killed, and instead of getting mad at her the FBI declares her to be psychic and puts her on the decades-long case of a phantom serial killer who convinces dads to murder-suicide their families. She eventually discovers tall pale T. Rex-fan Nicolas Cage, who smashes his own face while revealing that his accomplice was Agent Harker’s mom (Alicia Witt, Crispin Glover’s Hotel Room partner). Mainly I want to know why the agency’s forensics dept. confidently says that the killer (Cage) never entered the homes, when the long late explanation of mom’s participation shows the killer (Witt) entering all the homes. Directed by the grandson of Scarface’s boss, whose next movie might be an adaptation of the cover story of King’s Skeleton Crew and whose previous movies I can’t decide whether to watch or to 1/10th-watch.

This just in: Robert Rubsam in Mubi.

Coolly obsessive Kelly-Anne camps outside the courthouse every night to attend a serial killer’s trial, along with very-uncoolly obsessive Clementine, who’s crushing on the killer. K-A bonds somewhat with Clem, as much as she can bond with anyone, since she’s a probable psychopath and we’re given little clue about her motivation. Her modeling job and her online gambling are all put at risk by the case, as she becomes a newsworthy attendee then a secret participant. She maybe has a change of heart at the end or maybe had a master plan all along, hard to tell. I thought of Serpent’s Path, with its torture/murder video producers destroying each other while manipulated by an outsider.