Author name: Roger Hyttinen

Hey friends!

This post is part of my movie-a-day challenge in which I will watch a film every day for 365 days. Today is Day 300! You can see all the posts for this challenge HERE. To see the original Movie-a-Day Challenge post, click HERE.

So, I finally got around to watching The Long Goodbye, that 1973 Robert Altman film based on a Raymond Chandler novel, which has been on my list for ages. This wasn’t my first rodeo with Philip Marlowe, but this take on the iconic detective was something else entirely. Seriously, this might be one of the most out-there takes on a Marlowe story you could ever imagine. I mean, forget Humphrey Bogart’s Marlowe—the one who could out-stare a brick wall—‘cause Elliott Gould’s Marlowe feels more like the guy who’d challenge that brick wall to a friendly poker game and expect it not to cheat.

First off, let me tell you, we’re not in the gritty 1940s anymore, Toto. This is a hard-boiled detective story that somehow got drenched in all that 70s LA sunshine, then wrapped itself up in one of those ultra-chill, laid-back attitudes. And did I say ultra-chill? Our boy Marlowe, played by Gould, seems permanently encased in this cloud of unapologetic “whatever, man” energy. Seriously, I half-expected him to start wearing tie-dye or throw up a peace sign between lines.

The plot itself is a winding labyrinth of double-crosses and hidden motives. So, plot-wise: Marlowe’s just trying to buy some cat food at 3 AM—classic detective move, am I right?—when his buddy Terry Lennox (played by Jim Bouton, who was an actual baseball pitcher—yeah, a random fact for you, because sports and film crossover is a thing, apparently) drops by needing a fast exit to Mexico. Marlowe helps him out, of course, ‘cause bro-code and all. But wouldn’t you know it, Lennox gets pegged for his wife’s murder soon after, and things start to get delightfully messy. Marlowe finds himself caught in a web of intrigue that stretches from the sun-drenched beaches of Malibu to the shadowy underworld of Los Angeles.

Now, if you’ve read the Chandler novel, you’ll know Marlowe as that hard-nosed guy who plays by his own rulebook in a world that’s just plain dirty. But here, in Altman’s universe, Gould’s Marlowe doesn’t feel like he’s playing by anyone’s rules—or, honestly, like he’s playing at all! He just sort of drifts through the movie in that crumpled suit, mumbling to himself and chain-smoking like cigarettes are his life source. It’s almost like he’s monk-level committed to chaos while being, bizarrely, the most level-headed guy in the room. Logic? Not here. Vibes? Plenty of those.

And the cast? Oh boy, let’s talk about Sterling Hayden, who plays Roger Wade, the raging Hemingway-ish writer character. Hayden’s gruff, boozy energy is like this wild bear—you never know if he’s going to tell you a life-changing secret or just tear the place apart. And then there’s Nina Van Pallandt as Eileen Wade, the femme fatale dripping with mystery and making you think, “Oh, she definitely knows more than she’s saying.” But, like, in that soft-spoken, “please ignore the iceberg below the waterline” style.

And shoutout to Henry Gibson as Dr. Verringer—this short, little dude with a disarmingly calm and creepy air that just sidles right up to you, gripping onto the tension while everyone else is trying to keep their grip on the reality that, I’m 95% sure, unraveled before this movie even started. That’s another thing, the whole film feels like you wandered into a party already in full swing. You’re not quite sure what everyone’s vibe is, but ya stick around, grab a drink, and soon realize you’re in deeper than you bargained for.

Altman’s direction is masterful, creating a hazy, dreamlike atmosphere that perfectly complements the film’s noir sensibilities. The cinematography is stunning, with long, lingering shots that capture the beauty and the grime of 1970s Los Angeles.

What struck me most about “The Long Goodbye” was its unconventional approach to the mystery genre. It’s less about solving a puzzle and more about navigating a morally ambiguous world where everyone seems to be hiding something. The film’s pacing is deliberately slow, allowing us to soak in the atmosphere and get to know the quirky characters who populate Marlowe’s world.

By the time you get to the end, you’ll be soaked, confused, and just a little in awe of how much this movie, miraculously, doesn’t care if you understood it or not. It’s a detective flick that swindles you with its oddball humor, then slaps you in the face with its unexpected darkness, almost as if it was daring you to take the genre seriously in the first place.

I’ll admit that the ending is a real head-scratcher, leaving you with more questions than answers. But that’s part of the film’s charm. It doesn’t tie everything up in a neat little bow, instead inviting you to ponder the complexities of the characters and their motivations long after the credits roll.

“The Long Goodbye” might not be everyone’s cup of tea. It’s slow-paced, unconventional, and leaves a lot open to interpretation. But if you’re in the mood for a thought-provoking mystery that challenges the genre’s conventions, this film is definitely worth checking out. It’s sure to leave a lasting impression.

Would I recommend it? Oh, absolutely. It’s a cinematic trip where the destination may not matter as much as the weird, twisty road. Come for the existential dread, stay for the half-naked yoga instructors that live in the apartment next to Marlowe. Trust me, this one’s worth the watch, if only to say you’ve seen Gould’s effortless cool in action. And if Altman teaches us anything with this, it’s maybe that “goodbye” doesn’t always mean the end—it’s just the start of something much weirder.

Cheers!
Roger

Did you know that you can receive a short story in your inbox every Monday if you subscribe to my newsletter? Subscribe today to begin receiving site and book news as well as your weekly story. You can do so HERE.

This post is part of my movie-a-day challenge in which I will watch a film every day for 365 days. Today is Day 299! You can see all the posts for this challenge HERE. To see the original Movie-a-Day Challenge post, click HERE.

Hey friends!

So, last night I caught The Animal Kingdom (2023) directed by Thomas Cailley, and… whew, I gotta say, this one was an unexpected treat! My mind is still reeling! You know how sometimes you watch a film and it just sticks with you? Yeah, this is totally one of those. So let me spill all the details about this wild French flick that had me glued to my seat and that manages to be both intriguing and unsettling in the most unique way.

So, here’s the thing: the film is set in a world where this massive evolutionary shift is happening, and some people start mutating into animal-human hybrids. Yep, you read that right. I know what you’re thinking—mildly trippy, slightly dystopian, maybe even a little bizarre, right? Well, bingo! But it’s so much more than that. Oh, and let’s just give a shoutout to the creature design department because those transformations are mind-boggling. We’re talking fur, feathers, scales—it’s like a zoological buffet! I almost wanted to start a drinking game where you take a sip every time a character sprouts a tail or an ear twitches. (Okay, don’t actually do that; your liver would hate you by the halfway mark.)

But let’s talk about the heart of this film: the father-son relationship between Francois, played by Romain Duris, and his son Emile (played by Paul Kircher). You can feel the weight of their relationship immediately. Like, from the start, Francois is this cool, somewhat stoic dad, but you sense he’s grappling with something deep. Turns out, navigating a world where people might just sprout wings or claws overnight is kind of a heavy burden. And Emile? Poor kid is struggling just like any teenager—with identity, acceptance, and trying to be normal in a world where normalcy is a moving target.

By the way, I loved Emile’s character arc. Watching him evolve (pun, very much intended) throughout the movie was so organic. You can almost feel the emotional tug-of-war he’s experiencing inside, torn between wanting to fit in and accepting the changes happening not only in his surroundings but within himself. The film really hit that whole “who am I?” vibe on the nose—and let’s be real, haven’t we all had those weird, existential moments where we look in the mirror and think, “Wait, who’s this weirdo staring back at me?” Maybe without the fur and claws, but still.

What I found particularly heartwarming—and at the same time heartbreaking—is how these monstrously surreal situations are treated with such tender normalcy by the characters. When Francois and Emile encounter others who are mid-transformation (think more werewolf and less Teen Wolf), there’s no horror. Instead, they greet these changes with a mix of curiosity and empathy that’s refreshingly humane. Seriously, I half-expected someone to whip out a manual titled “So You Grew a Tail—Now What?” but alas, no such thing existed.

The performances, though. Ah, the performances were just so… pure. Romain Duris absolutely nails the whole “I’m a dad and I’m tough, but I’m also terrified” persona, and honestly? I felt for the guy. You could practically taste his anxiety as he tried to navigate this treacherous new world and protect his son. And Paul Kircher, oh man—he’s got this gentle vulnerability that just pulls you right in. You could almost see the gears in Emile’s head turning, trying to piece together this oddly shattered world with what it’s supposed to be… whatever that may even be now.

But honestly, what I think set this movie apart for me was how much it balanced those layers of the human condition with this wild premise. It could have easily devolved (okay, enough with the puns, I swear) into just another sci-fi flick with mutated creatures running amok. But in Cailley’s hands, it became something more contemplative and grounded. Like, yes, people are turning into part-animal hybrids, but there’s this delicate focus on identity, emotion, and the bonds that tie us together, no matter how much fur or feathers might get in the way.

So, yeah, if you’re in the mood for a movie that’s gonna make you think, feel, and maybe look at your pet cat a little differently, “The Animal Kingdom” is where it’s at. If you like films that toe the line between reality and the utterly fantastical, while still carrying that emotional weight, then this one might be your jam.

Peace Out!
Roger

Did you know that you can receive a short story in your inbox every Monday if you subscribe to my newsletter? Subscribe today to begin receiving site and book news as well as your weekly story. You can do so HERE.

This post is part of my movie-a-day challenge in which I will watch a film every day for 365 days. Today is Day 298! You can see all the posts for this challenge HERE. To see the original Movie-a-Day Challenge post, click HERE.

Hey Friends!

Alright, so I sat down and watched “The Faculty” last night, and wow, what a blast from the late 90s, right? I mean, this is like one of those perfect snapshots of that era – complete with suspicious baggy sweaters, floppy hair, and a soundtrack that aggressively tells you “it’s the 90s, and we’re cool.” But despite the whole aesthetic time-warp, this movie was not at all what I expected. Or maybe it was exactly what I expected, and that’s why I low-key loved it.

So picture this: you’re in high school in a small Ohio town, and your teachers suddenly start acting very Stepford Wives-ish, but, like, more sinister. Turns out, they’re being taken over by a parasitic alien species. Classic, right? But what makes this film so FUN is how it takes all the high school movie tropes we know and love – the jock, the nerd, the goth, the good girl, you get the idea – and literally puts their lives on the line. It’s sort of like The Breakfast Club, but with more blood and a lot of CGI worms.

Speaking of the cast, let’s just take a moment to appreciate the wealth of 90s talent. I mean, Josh Hartnett is in his prime here, playing Zeke – that cool, too-old-to-be-in-high-school guy who sells, well, basically speed to his classmates out of his muscle car. Sure, that might not make him the most morally upright character ever, but tell me you didn’t want to be his friend when you were sixteen. He had charisma oozing out of every weirdly floppy haircut he sported.

And then there’s Elijah Wood as Casey, the perpetually terrified nerd who, let’s be real, sort of just stumbles around in horror Watch-Cute-Elijah-Gape-At-Things fashion until he saves the day. Because of course he does; he’s practically destined to save things (see: The Lord of the Rings… which, btw, would come out just three years after The Faculty).

Other notable faces include a young Jordana Brewster, playing Delilah, the queen bee cheerleader with attitude, and Clea DuVall as Stokely, the resident goth who’s actually into sci-fi, because, duh, foreshadowing. And let’s not forget the absolute icon, Salma Hayek, as Nurse Rosa Harper. Sadly, she’s only in a handful of scenes, but those few moments are enough to bring a little something extra to the movie – plus, watching her do anything feels like a small gift from the film gods.

But here’s something else I couldn’t stop thinking about: a true fun fact that ties back to the film’s alien invasion plot. Did you know that the concept of alien fungi that could mind-control humans isn’t entirely a fantasy? There’s actually a fungus called Ophiocordyceps that infects ants and then takes control of their bodies, making them climb up tall plants before killing them and popping out spores to infect others. How freaky is that? It’s like The Faculty but with more exoskeletons. (Here’s the source if you want more nightmare fuel: https://www.britannica.com/science/zombie-ant-fungus)

The special effects deserve their own moment of reflection. Sure, it’s been over two decades since the movie came out, so some of the CGI looks a bit… how do I put this… dated. But honestly, that adds to that nostalgic charm, at least for me. Those wormy things crawling under people’s skin still managed to make me squirm a few times, even with that, “hey, this was probably cutting-edge in ’98,” mentality. Plus, they totally committed to the body horror, a must for sci-fi horror flicks. Thank you, Robert Rodriguez, for the consistent gross-outs.

Lastly, I can’t skip over the film’s final, somewhat cheeseball showdown. It’s what every B-movie should shoot for – dramatic glares, seemingly impossible saves, a bit of a twist, and explosion sound effects that oddly, you can almost feel through your TV speakers. It’s predictable in some ways, but in others, it’s that exciting, satisfying ending you didn’t realize you needed – like a perfectly timed slider from your favorite fast-food joint.

All in all, watching The Faculty for the first time was like unearthing an odd, forgotten gem (or really, more of a guilty pleasure keepsake). It’s campy, clever in its moments, and doesn’t take itself too seriously, which is exactly the kind of 90s horror-thriller I wasn’t aware I was craving. If you haven’t seen it – or if it’s been gathering dust on your “I’ll watch it eventually” list – I say grab some popcorn, sit back, and embrace all the bonkers sci-fi goodness it offers. You won’t be disappointed… or maybe you’ll just be confused, but hey, that’s part of the fun, isn’t it?

Catch you tomorrow!
Roger

Did you know that you can receive a short story in your inbox every Monday if you subscribe to my newsletter? Subscribe today to begin receiving site and book news as well as your weekly story. You can do so HERE.

This post is part of my movie-a-day challenge in which I will watch a film every day for 365 days. Today is Day 297! You can see all the posts for this challenge HERE. To see the original Movie-a-Day Challenge post, click HERE.

Hey friends!

So, I finally decided to dive into this little slice of zombie mayhem called “World War Z”, and honestly, WOW—where has this movie been all my life? Or maybe the better question is: where have I been? Because let me just say, this flick is perfect for when you want some blood-pumping, anxiety-inducing chaos with a side of Brad Pitt hair envy.

Confession time: I’ve always had a soft spot for zombie movies. There’s something about the combination of gore, survival instinct, and the sheer unlikely possibility of an epidemic that just hooks me. But let’s be real; World War Z isn’t your typical “let’s hide in a cabin and hope they don’t find us” type of movie. Nope, it cranks the stakes up several notches, tosses you into a globe-trotting quest, and somehow—against all odds—makes the apocalypse look incredibly, well, high-budget.

Brad Pitt, rocking that whole rugged family man thing, plays Gerry Lane, who’s this ex-UN investigator (or something equally cool) caught in the middle of a sudden zombie outbreak. And I do mean sudden. One minute you’re driving your kids to school; the next, zombies are basically playing a live-action version of Frogger in downtown Philly. I mean, talk about a rough morning.

The thing that really gnaws at you (okay, bad pun) is how fast these zombies are. Unlike the classic, shuffling undead we all know and love, these bad boys SPRINT. Like, full-on Usain Bolt mode, which honestly threw me off so much that I nearly dropped my popcorn. They swarm like ants—if ants also happened to be undead ripper machines—and can apparently put on some crazy gymnastics shows when they start piling up on each other. If I had to rate these zombies on a scale from 1 to 10, I’d give them a solid 28 Days Later-level rating: i.e., thank God this isn’t real.

Side note: There’s this legit moment of pure panic when Gerry’s in Jerusalem (casual, right?), and the zombies start scaling this wall like they’re auditioning for American Ninja Warrior. I might’ve literally muttered, “Yo, WHAT?” to no one in particular, which, now that I think about it, happens far too often when I’m deep in a movie.

Now, Brad Pitt’s Gerry is like a Swiss Army knife of survival skills—seriously, this guy can MacGyver his way out of just about anything. I’m pretty sure I’d just crawl into a ball and cry, but not Gerry. He’s hopping onto planes, making housecalls in South Korea, and just casually visiting a flaming Wales research facility. It’s like a global scavenger hunt but with the added pressure of avoiding getting bit. No biggie.

Alright, time for a little emotional honesty here: the quieter moments when Gerry’s trying to protect his family really got to me. Imagine, you’re trying to save humanity on one hand, but you’re also worried about getting your family to a safe spot. The writing makes you feel every bit of that pull between duty and love, which was maybe a little too real for my liking. And hey, who knew that a bottle of Mountain Dew would play such a pivotal role in the climax?

So yeah, “World War Z” was everything I didn’t know I needed. It’s got Brad Pitt doing his “dangerous-yet-tender” thing, zombies that redefine speed, and enough high-stakes drama to keep you on edge for the thrill ride of a movie.

Catch you later, and don’t let the zombies bite!
Roger

Did you know that you can receive a short story in your inbox every Monday if you subscribe to my newsletter? Subscribe today to begin receiving site and book news as well as your weekly story. You can do so HERE.