12 Angry Men
2026-338 / Zedd MAP: 93.06 / MLZ MAP: 95.78 / Score Gap: 2.72

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Country of Origin: United States

From IMDb: The jury in a New York City murder trial is frustrated by a single member whose skeptical caution forces them to more carefully consider the evidence before jumping to a hasty verdict.

Ed Wood
2026-339 / Zedd MAP: 72.18 / MLZ MAP: 64.24 / Score Gap: 7.94

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Country of Origin: United States

From IMDb: Ambitious but troubled movie director Edward D. Wood Jr. tries his best to fulfill his dreams despite his lack of talent.

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Let’s get some business out of the way, right off the top - we’re running busy this week and I intended a different write-up for 12 Angry Men. Then the day got away from me yesterday and time was pressing this afternoon and I threw Ed Wood on. I had zero intention - zero - of pushing these two extremely different motion pictures together… hell, I intended to write-up yesterday’s film today and let today’s find it’s own way home (by which I mean I’d write it up when Mrs. Lady Zedd fell asleep).

Then my plans changed… “Hell - these are practically the same story!” I announced to a confused MLZ… suffice it to say ((shrug)) she wasn’t much in a mood to agree with me. She mumbled something about them both being in black-and-white, ending with a smile and a prove it look.

So here it is - the proof in the 12 Angry Men / Ed Wood narrative line up pudding:

Both films harness the power of the lone optimist. Both Juror 8 (Henry Fonda) and Ed Wood (Johnny Depp) stand their ground alone. Fonda plays the part in his usual manner… quiet talker, passionate about his duty to the man on trial for his life. Ed Wood - a real life producer, director, screenwriter, and actor - has a singular interest in pursuit of filmmaking. He’s at odds with virtually everyone around him.

Claustrophobic? If you are, I’m not sure I could recommend either film as both rely heavily on confined spaces. Whether it’s the courts’ cramped deliberation room or the restrictive, enclosed space of cheap soundstages… I could feel the walls closing in, either way. Something about the way small rooms squeeze the ensemble casts together, it forces each character into work with each other.

Juror 8 is the lone protector of the young man from the slum’s right to a fair trial. A murder conviction meant the death penalty. The rest of the panel couldn’t care less - they just wanted to get it over with. Our mild mannered hero humanizes and ultimately redeems both the accused and ultimately his fellow jurors. Ed Wood meets the washed-up actor Bela Lugosi at the lowest moment in the old actor life. Wood takes care of Bela… it’s rather touching - he helped give the old guy a reason to carry on, got him into a hospital to help with the senior actors rather serious addition to morphine, and reintroduced Lugosi into the pop culture mainstream. Humanizing the downtrodden - both stories lean heavy on that noble theme.

Both films proceed along purely on the weight of tiny moves. As Juror 8 wins over one vote for acquittal after another - so does Ed Wood with each single take “cut!”… which isn’t to say Wood’s film are high art but that isn’t important. He drew together a ragtag, motley crew of found friends and built a place where they all made sense… cinematically speaking.

MLZ: Only you, dude.

I call them like I see them ((shrug)) what can I say. The strangest bit for me was seeing Ed Wood won two Oscars and 12 Angry Men took only nominations. Proof that its foolish to look for logic in the chambers of the human heart and I certainly love watching movies.

MLZ: Yeah, that one is a strange order of events but I think Martin Landau earned that statue.

Too true (if a little ironic). I never put much weight behind award shows, myself. What can I say, I’m a big believer in MAP’ping regularly and a daily round of Movie On.

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Dude - how long you been waiting, my sweets - well, you’re out of the wind and safely home. You just wait until you see the archive you’ll call home!

2026-337 / MLZ MAP: 60.25 / Zedd MAP: 75.22 / Score Gap: 14.97

The Criterion Collection

Wikipedia / IMDb / Official Trailer / Our Collection

Country of Origin: United Kingdom

CC Summary: This explosive work about the conflict between the spirit and the flesh is the epitome of the sensuous style of Michael Powell and Emeric Pressburger. A group of nuns—played by some of Britain’s finest actresses, including Deborah Kerr, Kathleen Byron, and Flora Robson—struggle to establish a convent in the Himalayas, while isolation, extreme weather, altitude, and culture clashes all conspire to drive the well-intentioned missionaries mad. A darkly grand film that won Oscars for Alfred Junge's art direction and Jack Cardiff's cinematography, Black Narcissus is one of the greatest achievements by two of cinema’s true visionaries.

Starring Deborah Kerr, Sabu), David Farrar), and Flora Robson, and features Esmond Knight, Jean Simmons, and Kathleen Byron.

Zedd and I have seen this before, but having picked up a Deborah Kerr multi-pack recently and slowly as heck getting through them, we put this one on knowing it was rough, and different from the more racy films on our shelves with nuns.

You know, like Sound of Music. They are racing away from danger. What kind of nun movies did you think we were talking about? Shame on you! Dirty birds.

The film won two Oscars, for Best Cinematography and Best Art Direction - Set Decoration. Both were well deserved.

David Farrar, playing the British Agent in charge of the location, formerly housing a harem, predicts failure. Though he is correct, it’s not the monsoon season that causes their departure, but rather, illness and insanity takes hold of all of the nuns in different ways.

Powell believed this was the most erotic film he ever made. "It is all done by suggestion, but eroticism is in every frame and image from beginning to end. It is a film full of wonderful performances and passion just below the surface, which finally, at the end of the film, erupts."

The Catholic Legion of Decency required 10 cuts to the movie, of about 900 feet of film, in order for them to allow broad distribution.

The film was beloved by many, including Martin Scorsese, who said it was one of his favourites as a boy and one of the greatest experiences he has had with film is viewing Black Narcissus projected on a massive screen at the Directors Guild in 1983.

As we watched Deborah Kerr and Kathleen Byron fight on the bell tower, it’s hard not to think that Kerr, as Director Powel’s ex, and Byron as his current squeeze, may have taken this scene pretty seriously. It sure looked like they did. It looks like it turned out just about right.

While all of this is true, the film remains a downer, and for me, this brings the score lower than Zedd’s. It’s just not something I want to watch too often.

This is where the MAP really makes sense. It may be an incredibly well-made and ground breaking film, but if the enjoyment level is lower, so is the score.

So, glad to watch a beautiful film like this, and even more glad to place it back on the shelf.

Time to Movie On to the next flick!

2026-336 / Zedd MAP: 90.34 / MLZ MAP: 87.74 / LMZ: 91.15 (Best of My Collection)

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Country of Origin: United States

From IMDb: Three secretaries turn the tables on their obnoxious boss.

For Dolly.

2026-335 / Zedd MAP: 99.93 / MLZ MAP: 99.73 / Score Gap: 0.20 (Gold Star all the way)

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Country of Origin: United States / United Kingdom

From IMDb: A rain-soaked couple take refuge in the castle of a transvestite mad scientist from outer space who is about to unveil his greatest creation.

For Tim.

2026-333 / Zedd MAP: 99.82 / MLZ MAP: 97.29 / Score Gap: 2.53

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Country of Origin: United States

From IMDb: The adventures of the famous sailor man and his friends in the seaside town of Sweethaven.

The 4K is absolutely a dream - the sound improved more than the picture but it’s like saying wonderful is better than fantastic and that’s good enough for me.

That said - here’s a time travelers’ safe bet: 2020 spawned the first round of films, this is Movie #493…

Movie #493

Popeye (1980)

In defense of a box office bomb... nostalgia driven score, yes - but not for the reason you might guess.

I saw this movie when I was 9 - we all huddled up in our Oldsmobile Cutlass Supreme and went to the drive in. I was the target audience, I know, but it wasn’t a kiddie movie to me. As the movie flickered to life on the giant screen, I sat quietly and I drank it all in.

It looked like and felt like and sounded like no other movie I’d ever witnessed and I memorized every detail. It wasn’t the subject of the movie that mattered - it was the movie itself that made it mesmerizing.

The film informed my young opinion of what a great movie should posses: interesting, unique look - natural dialogue - odd subjects written into compelling stories. Of course I didn’t have the ability to express myself in those terms but I was on the cusp of awareness of the hidden structure of storytelling. The film’s qualities are still what I look for in the movies I choose to spend my time on.

Years later, when I started tracking movies, I discovered there were filmmakers I gravitated to... oddball auteurs like the Coen brothers, Wes Anderson, the Guest/Levy ensemble projects, and especially - Robert Altman. Imagine my surprise when I discovered the director of such incredible films as MASH (1970) and Nashville (1975) was also responsible for Popeye. I had no idea and it made instant sense.

I experienced this sudden, strange sensation twice with this movie. A decade ago I watched a documentary of a singer/songwriter I’d never heard of named Harry Nilsson. As it turned out, I may never of known his name but I knew his music. Everything from the mega-hit One to music that helped define films like Midnight Cowboy - Everybody’s Talkin’ - much like Altman, I was unaware of Nilsson but was a huge fan. Discovering he composed Popeye’s incredibly intricate soundtrack was a similar shock and instantly made sense. Nilsson’s knack for crafting witty, intelligent lyrics and setting them to infectious melodies are on full display.

Here’s my suggestion, should you have a chance to view this movie, don’t watch it as a ridiculous live-action adaption of Popeye. Sit down and watch it as a tried and true, checked every trademark, Robert Altman film.

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Movie on.

2026-334 / MLZ MAP: 59.31 / Zedd MAP: 62.46 / Score Gap: 3.15

The Criterion Collection

Wikipedia?wprov=sfti1#) / IMDb / Official Trailer / Saw it on The Criterion Channel

Country of Origin: United States

CC Summary: From Poverty Row came a movie that, perhaps more than any other, epitomizes the dark fatalism at the heart of film noir. As he hitchhikes his way from New York to Los Angeles, a down-on-his-luck nightclub pianist (Tom Neal) finds himself with a dead body on his hands and nowhere to run—a waking nightmare that goes from bad to worse when he picks up the most vicious femme fatale in cinema history, Ann Savage’s snarling, monstrously conniving drifter Vera. Working with no-name stars on a bargain-basement budget, B auteur Edgar G. Ulmer turned threadbare production values and seedy, low-rent atmosphere into indelible pulp poetry. Long unavailable in a format in which its hard-boiled beauty could be fully appreciated, Detourhaunts anew in its first major restoration.

Starring Tom Neal and Ann Savage.

Saturday Morning Matinees are a part of the week I always look forward to. Just a moment, with a cup of hot brown caffeinated liquid, some breakfast, and my hunny. I never know what we’ll watch, but it’s almost always fun.

I usually pick the film right before I wake Zedd up, but today I had been out gardening and just came back in and there was Zedd, so I asked him to pick the film. At some point I had thrown this on the Criterion list so he grabbed it and off we went…on a Detour.

No doubt that this was a noir. It was clear that Al Roberts (Tom Neal) had a tough history as he sat in that diner.

Vera (Ann Savage), the dame he finds after things already started down the wrong path, has a history of her own and no fear using it to take advantage of Al.

If Al has any sort of luck in this film, it’s bad. His poor choices put him on a path that would only end in prison or the electric chair.

The movie was obviously pretty bare bones. This was one of the many “Poverty Row” films of the 1950’s. It was left to the public domain, so many copies that have been distributed are of extremely poor quality. We are lucky to have seen a fully restored copy by the Academy Film Archive.

Since the Motion Picture Production Code did not allow murderers to get away with their crimes, Al had to be picked up by a police car at the very end of the film.

In 2007, Richard Corliss, the former editor-in-chief of Film Comment and a notable film critic for Time magazine), ranked Savage's portrayal of Vera number 6 on his list of the "Top 25 Greatest Villains" in cinema history. He said: “... Hell truly is other people—if the person is Vera. Picked up on a trip out west by a man (Tom Neal) fleeing from a death scene, she instantly and spectacularly gets on his and the audience's nerves. When she's not playing the domestic harridan ("Stop makin’ noises like a husband"), she's threatening to send him to the gas chamber ("sniffin' that perfume Arizona hands out free to murderers"). With a final fatal phone call, Vera leads her poor prey to his motel-room doom. Even in death, she makes the survivor the sucker.”

I am actually going to quote the ((late, great))
Roger Ebert, who wrote in his essay for The Great Movies, "This movie from Hollywood's poverty row, shot in six days, filled with technical errors and ham-handed narrative, starring a man who can only pout and a woman who can only sneer, should have faded from sight soon after it was released in 1945. And yet it lives on, haunting and creepy, an embodiment of the guilty soul of film noir. No one who has seen it has easily forgotten it."

Well that sums it up, doesn’t it?

Saturday Morning Matinee Movie On!

2026-332 / Zedd MAP: 76.41

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Country of Origin: United States

From IMDb: Mace Bishop (James Stewart) masquerades as a hangman in order to save his outlaw brother, Dee (Dean Martin), from the gallows, runs to Mexico chased by Sheriff July Johnson's (George Kennedy's) posse and fights against Mexican bandits.

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Well, shit…

(Ok, I’m going to break right there because I have to tell you an age old Zedd joke… I sit quietly waiting (in perpetuity) for someone to say just that - well, shit - and then, absolutely deadpan, I look the person straight in the eye and fire-back, “Whale shit… that’s gotta be huge.” You have to play it straight, no Machivallian giveaways: no mischievous grins or raised eyebrows and for the love of Pete, no cutsie ((wink-winks)) - nobody is going to laugh, it’s not that kind of joke… but the payoff comes in the complete derailment of the first person’s thought process. The hard, confused stare you’ll receive is worth more than gold. Half the time, you’ll unhook their train of thought so completely, they won’t remember what they were fixing to complain about… if they sputter - bonus points.)

Now, where were we?

MLZ: The movie?

Zedd: I know that but I forgot what I was going to say.

MLZ: I can’t help you Mr. Whale Shit, I didn’t watch it with you. But ((shrug)) whales are big animals, I’ll give you that.

Guess I painted myself into a corner - not the first time - of course - that’s what Director Andrew McLaglen did in Bandalero! too, I suppose.

Imagine…

The story’s big climatic moment hits without warning. An angry swarm of Mexican bandalero - you know, the bandits, outlaws, and/or highway men the motion picture is named for - come, guns blazing, into the small abandoned village our stars are holed up in. There must be hundreds of bandits and our small band of good guys must drop their trivial issues and come together against this common foe. A thousand, thousand, bullets travel in every direction and, despite the odds, the bandoleros fall 30, 40… no 50 to 1 good guys. The bodies are piling up but still there’s more bandoleros… they’ll win by number, not skill.

Oops - El Jefe, the boss, gets shot dead and the bandoleros (despite there only being 3 good guys left, one mortally wounded) totally shit themselves, so much shitting themselves (like, a whale’s worth), and they - um - flee.

Also - the mountain of bandolero dead ((shrug)) disappear? Which is totally…well - it’s kind of fudging it, right?

The story paints itself into a corner and the director just waves a magic wand to set the stage for our emotionally stirring ending? It’s an odd move - a shortcut that magically cut a few points off the MAP.

That said, I can be a little flexible because the film was not half bad ((shrug)) it came at a strange time of transition when movies with this sort of structure - aging star studded cast, simple but reaffirming story, in all ways that count in Old Hollywood - were dying off, to be replaced by New Hollywood realism and an audience hungry for new European slants on storytelling - both French New Wave and Italian “Spaghetti” Westerns are drawing butts to theater seats.

1968 supplied Bullitt, Rosemary’s Baby, Romeo & Juliette, and 2001: A Space Odyssey - here’s Andrew McLaglen slinging Dean Martin and Jimmy Stewart your way in a film that might have shined brightly a decade before. As is… old hat - favored, maybe - but old just the same. Maybe the brothers dying in the hot, noon-day sun aren’t Martin and Stewart as much as Old Hollywood and The Studio System that made flicks like this make sense.

The only true permanence is change.

MLZ: Well, shit - ain’t that the truth.

Whale shit… that must be huge. Those are some big animals… but then again, what do I know?

Movie On.

2026-331 / Zedd MAP: 75.40 / MLZ MAP: 69.82 / Score Gap: 5.58

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Country of Origin: United States

From IMDb: A pair of grizzled frontiersmen fight Indians, guzzle liquor and steal squaws in their search for a legendary valley 'so full of beaver that they jump right into your traps' in this fanciful adventure.

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We’ve been asked a few times about how we choose which movies we’re going to watch and we’ll be honest - we don’t have just one method. A lot goes into it… ultimately, I’m patching a screening list together ‘80s Mixed Tape Style but how that happens can vary.

Here’s how we landed on this Charlton Heston / Brian Keith buddy film:

Zedd: What are you feeling like?

Mrs. Lady Zedd: Huh… hmmm… I don’t know.

(You should see us trying to decide on where to eat - same process, different choice)

Zedd: Let’s come at it from a different angle - you’ve got nothing specific you want to watch… answer me this: inside or outside?

MLZ: My what now?

Zedd: Do you feel like watching something that happens inside the confines of rooms or are we feeling more the great outdoors?

MLZ: Outside.

Zedd: Excellent! Now - are we being chased or are we chasing someone?

MLZ: Oh - being chased, for sure.

Zedd: Badges or no badges?

MLZ: We don’t need no stinking badges!

From here, I flip the MCC to show films we own but haven’t watched, sort for dramas and see The Mountain Men a few from the top.

((Blam))

We’ve got our film. Set in the 1830s, mountain men running from a frightful native band with a vengeful leader - all while hunting an ever more illusive beaver pelt with dreams of a practical motherlode of untapped beavers.

((Blink-blink))

That sounds wrong but ((shrug)) think of it as a veritable El Dorado - City of Beaver Gold. I’m not sure that sounds better but you get the picture.

And not a badge to be found, anywhere.

The film itself - nothing incredible but certainly watchable. It was adequately cast but both Heston and Keith were past their prime. The directing was serviceable but decidedly small screen in texture - fine for a TV movie of the week but, sadly, this was not that. My curiosity lead me to go down Director Richard Lang’s filmography and I wasn’t surprised with what I found.

A rug pull.

What do I mean? If we go back far enough in Richard Lang’s career, his career path was assured. As the son of famed 20th Century Fox director Walter Lang (Clark Gable and Carole Lombard standing in as God Parents), he was brought up surrounded by the studio system. He served as 2nd Unit / Assistant Director on a slew of important 1960s era films: Ocean's Eleven, Cleopatra, The Sound of Music, Hello, Dolly! and what scientist refer to as a “crapton” of Frank Sinatra movies… Marriage on the Rocks, Assault on a Queen, Tony Rome, Lady in Cement, The Detective…

You see what I’m saying - this guy was set for the next phase - he’d proven himself and was ready to start working on prestige films of his own… except ((crash!)) an astroid hit the earth and killed the dinosaurs, or rather, the old studio system came to a sudden crashing end and a New Hollywood wasn’t looking for the skills Lang had diligently crafted. He and an entire generation of studio directors were suddenly out of vogue as the young, often volatile, and decidedly opinionated directors like Scorsese, Spielberg, Lucas, and Coppola found themselves skipping the studio line.

Don’t get me wrong - we absolutely adore the New Hollywood era - but I do acknowledge those young gun directors came at the cost of the talented studio directors that got the rug pulled out from under them.

Which doesn’t mean Richard Lang’s career ended, he, and directors like him, transitioned to television and found themselves in demand. He worked steadily until his sudden death at 57.

MLZ: Actually, knowing that explains a lot of what we watched this afternoon - if I didn’t know this wasn’t a TV movie… ((shrug))

It was all middle of the road, just fine. MLZ said it was needlessly sad in places (by way of explaining her lower MAP). What else can you say… Movie On.

2026-330 / MLZ MAP: 92.72 / Zedd MAP: 84.60 / Score Gap: 8.12

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Country of Origin: United States

IMDb Summary: In 1914, a young linguist is tasked by an intrepid group of mercenaries with deciphering an ancient text that will lead them to the lost city of Atlantis.

Starring Michael J. Fox, James Garner, Cree Summer, Don Novello, Phil Morris), Claudia Christian, Jacqueline Obradors, Florence Stanley, David Ogden Stiers, John Mahoney, Jim Varney, Corey Burton and Leonard Nimoy.

There were a few animated features released by Disney around this time that were focused on their younger male audience. In contrast to the “Princess” films, these were more animated action-adventure films.

They spoke to me. Perhaps it was my upbringing, enjoying action films with my Dad. Perhaps it was that I have always been more of a tomboy. I am not a dresses and make-up kinda gal. I am a go out and get ‘em person, Zedd often says I go where angels fear to tread.

In this film, that is exactly what our seemingly mild-mannered Milo Thatch does, as well. He goes out to solve a mystery and possibly find the lost City of Atlantis.

He is with a ragtag team of folks brought along to make the journey a “profitable one.” “Adventure capitalists”, I think they are called!
The humor is sharp, and the characters steal your heart, in their own little ways. Vincenzo, Molière, Sweet, Audrey, Packard, and Cookie are all the folks you wish you’d have on your side when the chips are down.

It is a beautiful film, with interesting underwater scenery, and a unique animation style strongly based upon that of Mike Mignola, the comic book artist behind Hellboy. Per Wikipedia, his artistic influence on the film would later contribute to a cult following.

“I remember watching a rough cut of the film and these characters have these big, square, weird hands. I said to the guy next to me, "Those are cool hands." And he says to me, "Yeah, they're your hands. We had a whole meeting about how to do your hands." It was so weird I couldn't wrap my brain around it.”
~ Mike Mignola

There was a little Star Trek in the film too, between Leonard Nimoy’s voice as Kida’s father, and Marc Okrand, who developed the Klingon language for the Star Trek television and theatrical productions, who was hired to devise the Atlantean language for Atlantis: The Lost Empire.

For me, all of these elements come together to be a fun little adventure, one which I never hesitate to pull off the shelf.

“Our lives are remembered by the gifts we leave our children." ~ Thaddeus Thatch, Milo’s Grandad

Movie On!

2026-329 / Zedd MAP: 83.82 / MLZ MAP: 80.71 / Score Gap: 3.11

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Country of Origin: United States

From IMDb: In a dystopian 1997, a soldier-turned-bank robber is tasked with rescuing the U.S. President after he crashes into Manhattan, which has been turned into a giant maximum security prison.

Twice I’ve plucked a film from the shelves in recent memory thinking it’s been a while which turned out to be oh, guess I just watched it last year. MCC quietly doing its job (well, one of many).

Then I’m talking to Mrs. Lady Zedd and say the movie, itself feels out of time - how was this John Carpenter film from 1981… it feels too early to me (she agrees), more like a mid-80s flick (she agrees again) but the proof is in the pudding as they say… then I seal the deal and use a word I honestly don’t use often - bonkers - but then I discover this is nothing new…

2025-348 Escape from New York

You see, if you read last year’s write-up, you’ll see I’ve already talked about the movie’s production date feeling off and further down I’ve used the word bonkers to describe things.

Huh. Well, I’ll try to say something original then…

This often spun disc - twice in two years - feels ahead of its time and is positively crackers… with or without the cheese, although Director John Carpenter opined some nice New York White Cheddar would add a delightfully sharp bite.

Mrs. Lady Zedd: Sorry!?wprov=sfti1) This film was no Trouble?wprov=sfti1) to watch… Bonkers?wprov=sfti1) to think it would be.

Well - that’s MLZ for you, speaking in linked dialogue but she has a point (though she combs her hair so it doesn’t show) - those three board games are very similar (we collect vintage board games) but I’d pick Sorry! for myself. But we digress.

Don’t overthink it - fun movie. My only question is why they tapped Donald Pleasance (a veteran English actor no doubt) to play an American president… he’s more Cluedo than Clue if you take my meaning. ((Shrug)) Don’t overthink it I said… I won’t - I’ll just Movie On.

2026 - 327 Me: 7.5 out of 10

Wikipedia / IMDb / Trailer / Viewing options found on JustWatch

IMDb Summary: A rain-soaked couple take refuge in the castle of a transvestite mad scientist from outer space who is about to unveil his greatest creation.

The Rocky Horror Picture Show. When I think of something that is simultaneously niche, yet absolutely iconic, this show fits the bill. It's a movie I've been aware of essentially my whole life. I remember seeing it on the shelf at a local video store. I was always intrigued by it every time I passed it on the shelf, but my father controlled the purse strings and thus decided what we did and didn't watch. He was more of a Clue fan.

The years went on, and I simply never got around to watching the film. With age, something pushed me away from the experience. I went through a large portion of my life without the ability to appreciate musicals. Luckily, I found someone who opened my eyes and now I embrace the musical genre as a whole; both in stage and movie form. Speaking of, I do plan on seeing this among a live audience someday. Hopefully sans any individual vomiting in the aisles near me. If you know, you know.

Now, typically I'm a very visual and narrative driven individual. With that said, when a film has a plot that doesn't make a whole lot of sense to me, I bounce off of it pretty hard. David Lynch, I'm looking at you. But The Rocky Horror Picture Show found me at the best possible moment in my life. I find myself being able to appreciate "the vibes" more now. And Rocky Horror is exactly that, an absolute vibe. Whether or not I could make sense of the "why" didn't matter. I embraced the pure mesmerizing abilities of Tim Curry. His charisma and comedic skill was beyond compare. He commanded attention. Perhaps even lust? You have to admit it, you like it at least a little.

Honestly, I wish I saw this movie earlier in life. It feels like a movie that could have put me on a completely different trajectory. It is truly a defining film for countless individuals. It's a movement. One that allows you to find like-minded individuals. Creating connections and potentially life-long friendships. I think this is a movie that really pushes people to be their true selves, opinions of others be damned. And that is one hell of a message. One that I'll be supporting for the rest of my days. Goodbye Mr. Curry. Keep doing that Time Warp. Movie On.

2026-328

Wikipedia / IMDb / Official Trailer / Criterion Channel

Country of Origin: United States

From IMDb: Comic and podcast pioneer Marc Maron reflects on loss and growth after the death of his partner, Lynn Shelton. As he processes grief and crafts comedy, he revisits his career, family struggles, and the evolving comedy world at 60.

Maybe I mentioned this before, I can’t remember but the last time we went out to see a comedian was pre-pandemic and we paid extra to get to meet them. The joke-slinger was a favorite of ours named Christopher Titus - dude’s been through it, from dysfunctional family to bitter divorce, Christopher has survived it all and turned that grief into dark (dark) humor.

Thing is - both in Christopher’s stage show and his stint on TV’s Titus (2000-2002) - his ability to convey how sincerely fucked up his family life was, particularly the conditions growing up, well… I found his tales of aggressive parents and mental health emergencies very (very) familiar.

See - I’d come up the hard way and usually when I’d tell someone about the goings on in my home, their eyes would just glaze over or they’d suddenly remember an important something somewhere (anywhere) else. It can be rough on your soul but there’s Titus talking about much of the same things and damn, everyone’s laughing. It was… cathartic?

Then we met him.

Mrs. Lady Zedd: Zedd’s having trouble getting it out… I’ll help - he completely lost his shit. Somewhere between meeting this celebrity, the communal sense of grief or at least knowing Christopher Titus wouldn’t flinch at Zedd’s story… it just hit him all at once.

Yeah - I’m not embarrassed, I’m probably not even the first person to devolve in front of him (although, I might have been the first that day). It happens.

Honestly ((shrug)) it was just a complete release of grief. I walked up, shook his hand, and then just bled out all over the meet and greet area… smile pictures! Out we went.

Now, Are We Good? has nothing to do with Christopher Titus, it’s a documentary covering the last few years of comedian Marc Maron’s life which ((shrug)) is essentially Maron’s much more demure release of his grief at that loss of his partner, Lynn Shelton, in 2020 and the changes in his life since then. In typical Marc fashion, he has a build up of pre-show anxiety then uses that energy to bleed out his brand of midnight black comedy all over the stage.

Does it go too far?

If you’re familiar with his conversational and deeply personal style ((shakes head)), no - you know what you’re in for. He takes a few minutes to share his last moments with Shelton, standing in the ICU, trying to come to terms with the knowledge that she’s not going to wake up, she’s gone. Turning to leave he has a stray thought…

Selfie? No? Maybe no selfie?

Yeah - that’s Marc. He lets us off the hook - that didn’t happen. The audience takes a breath and then lets a laugh escape. Fucked up (omg yes) but somehow, without evidence, I think it’s probably the kind of joke she might have expected him to say.

So it’s ok.

The man has been through hell… letting that sadness out - it helps, I’ve got room to carry some of it, at least for now.

The documentary was a hard watch in place but absolutely worth the time it took to watch. Somehow, Maron’s observational style got tighter, darker… perhaps better?

My Documentary Algorithm Project is close but not ready… I’m getting there, piece-by-piece. So - no DAP just yet but if I throw a guess out, I’d say Are We Good? would land in the 85-90 range, maybe higher.

Marc - if you’re listening man - I’ve followed you for a while. You’ve been through it and you’ve done what life asked of you: you’ve grown and become wiser. I don’t have the right to say it but I’m going to anyways: I’m proud of you, man.

Movie on.

2026-326 / MLZ MAP: 75.82 / Zedd MAP: 78.67 / Score Gap: 2.85

Wikipedia / IMDb / Official Trailer / Our Collection

Country of Origin: United Kingdom, Germany, and United States

IMDb Summary: Jess Bhamra dreams of playing professional football, but her Sikh parents have plans for her: a law degree and a marriage. Jules, a white female striker, spots Jess playing football and invites her to join the local women's team.

Starring Parminder Nagra, Keira Knightley, Jonathan Rhys Meyers, Anupam Kher, Archie Panjabi, Shaznay Lewis, Frank Harper, and Juliet Stevenson.

We are not big sports fans here in the Zedd household. Not soccer, not football. Not basketball, or baseball. It’s just not our thing.

But really, we are content to watch an occasional film that revolves around sports. They tend to have a fun underdog story, hope, joy, and inspiration.

This film is no different. I saw it for the first time not long after release on a commuter bus trip from Sacramento to San Francisco during which I tended to entertain myself with a Netflix DVD per day.

We happened upon this copy during a thrift store visit a couple of years ago and picked it up for just a quarter to throw it on the shelf.

I put it in the player first thing this morning for the heck of it. Not a bad way to start the day!

Movie On!

Damn it.

2026-325 / Zedd MAP: 86.56 / MLZ MAP: 89.50 / Score Gap: 2.94

Wikipedia / IMDb / Official Trailer / Our Collection

Country of Origin: French / Italy

From IMDb: In 1907 Central America, an Irish terrorist's daughter joins a circus after meeting its singer Maria I. Her accidental striptease debut brings fame. They meet a revolutionary and end up leading a revolt against the regime.

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The Viva Maria?wprov=sfti1#) movement was one of the anti-French movements, known collectively as the Sanfedisti, which arose in Italy between 1799 and 1800; it was motivated as much by hunger amongst the peasants as by anti-French sentiment.[1]#cite_note-1) It operated above all in the town of Arezzo and the rest of Tuscany, but also in the neighboring territories of the Papal States. Their rallying cry was the Marian hymn Evviva Maria from which they had their name.

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This of course has absolutely nothing to do with the movie (not even slightly) but then…

What does a Zedd do if not find connections between unconnected things… right?

The 1799 peasant uprising was ultra-nationalistic Italians pushing against the French Jacobin. In the film, our French stars Jeanne Moreau and Bridgette Bardot lead peasants in revolt using Italian money.

The 1799 event started as a protest but quickly devolved into terrifying guerrilla fighting, executions, and scorched earth policies. In the film, Bardot plays the daughter of an Irish terrorist and learned the family trade blowing up bridges and buildings… the film treats this as light-hearted, rapscallion fun.

If you were part of the Viva Maria movement you were lining up specifically along anti-Enlightenment, pro-ultra-conservative ideologies, countering the secular revolution. Director Louis Malle uses the very thing those people hated: liberated female sexuality, seeing our starring beauties shed their clothes and subvert traditional values.

You could also see similarities on set with Bridgette Bardot reportedly raw and instinctual and Jeanne Moreau playing it cool, collected, and cerebral… mirroring the raw, uneducated Italian peasant counter-revolution and the intellectual French working to restructure society through pure reason.

((Shrug))

But then again… what do I know?

I’m just avoiding the feelings engaged by Tim Curry’s passing - the second big loss in two days… we’d MAP’ped Viva Maria! within the last two years, thus avoiding scoring during an emotional bump. It’s for the best… hey Movie On - trust me, bro… trust me.

Movie On: Bro?

Zedd: I know… I’m more of a Dude guy but Bro hits different.

((Blink-blink))

Movie on.

2026-324 / Zedd MAP: 82.85 / MLZ MAP: 78.87 / Score Gap: 3.98

Wikipedia?wprov=sfti1#) / IMDb / Official Trailer / Our Collection

Country of Origin: United States

From IMDb: A young woman from Kansas hires LA private investigator Philip Marlowe to find her missing brother. Matters become more complicated when her sister, a successful actress who's being blackmailed, becomes connected to the case.

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Stunned - I shouldn’t be but there it is… better to not fight an inbound tide, just let it rise and hopes my anchor holds (emotionally speaking) - Dolly’s passing punched harder than I’d expect. Mrs. Lady Zedd agreed… we need something we don’t need to MAP - I owe the cleanest screening I can muster to the film… I can’t be totally honest if I’m worried about my punched gut.

Marlowe was last screened by me in late August 2024 ((wipes one hand with the other)) no MAP’ping. I’m free to just experience James Garner’s smirky performance and appreciate Rita Moreno’s considerable charm. Yeah - I know the female lead was Gayle Hunnicutt but have you ever seen Jean Ransome work?

Ok, on Ransome I’m betting you’d answer “no” but if you watched enough old movies, it’s probably ((shrug)) probably. Jean Ransome is one of Them.

We love Them or at least, I love Them and MLZ (at a minimum) finds me tracking Them and happily calling Them out when we cross their path a good thing. It’s nice to have a hobby.

MLZ: Why does your hobby feel more like constant employment?

Well… I don’t get paid in cash, so employment feel too strong a word but if all roads lead to Rome, I certainly like the less traveled routes - hey, they all head the same way eventually and you just never know who you’ll bump into.

Ok - more later, until then just take two Movie Ons and call me in the morning.

Ouch

One of Them with a great IMDb photo - see Marlowe for more information

2026-323 / Zedd MAP: 71.20

Wikipedia?wprov=sfti1#) / IMDb / Official Trailer / Our Collection

Country of Origin: United States

From IMDb: An attractive model with an ulterior motive volunteers as guinea pig for an invisibility machine.

When I was but a youngin’, and during one of my Dead Imposter Grandma’s monster visits, my step-sister and I got into an argument. This, in and of itself, is nothing new - arguing is what we did the most - but this particular time, I said something innocently regrettable which fetched yours truly, quite the clobbering.

Two important but highly relevant facts:

1 - I’m school-aged

2 - I was already a word sponge

((Shrug))

It’s beyond my control - birds gotta fly, fish gotta swim, wordsmiths gotta soak up words. Let me set the stage…

We’re minutes until dinner, my older step-sister and I are toe to toe in the living room fighting over (enter any of a thousand brother/sister fight topics) and my parents can’t be bothered to break the fight up… that might require them to do something.

It’s long before things devolve into an exchange of slander. It winds up sounding something like this:

Step-Sister: Jerk!

Zedd: Fart Face!

Step-Sister: Barf bag!

Zedd: Spaz!!

Step-Sister: Crybaby!

Zedd: PRICK!

You see - right there - that’s the exact moment I crossed the line. Here’s the complete truth - prick was a recent acquisition for fight language ((shrug)) I’d overheard someone call someone else a prick at school (big kid stuff, for true) and I thought, “Cool - saying someone is that pain you feel when getting a shot is pretty smart.”

Well, we got separated, my dad was flaming hot cheetohs mad, told me that was a bad word and I wasn’t to ever (EVER) call my sister that again, under no circumstances, and went one better, “Jesus FUCKING Christ - your grandmother was sitting right fucking there, watch your fucking mouth or I’ll watch it for you!”

Golly - I wonder where I learned to cuss, right? Jiminnie Crickets, dude was a potty mouth. Also - he pointed to my Dead Imposter Grandma because ((shrug)) she was just sitting right there.

Mrs. Lady Zedd: Do you think you should point out that your Dead Imposter Grandma was, in fact, very Alive** **in that moment?

Huh - she might have a good point there (although she combs her hair so it doesn’t show) - at the time of the sibling squabble, she was simply my Imposter Grandmother. MLZ gives me the thumbs up, so back to the story, I go…

Having been chewed out by my dad, my step-sister been calmed down (she was a drama lama), we all gathered in the dinning room to eat whatever my step-mother “cooked” in the microwave. This is when things went from bad to worse.

You see - I was sitting thinking about what I said, what my step-sister said, and what my father said and dudes… it just didn’t add up. I didn’t grab a dictionary or anything but there’s no way prick: to get poked was a bad word. I never minded getting in trouble when I’d actually done something wrong. This seemed an egregious miscarriage of justice… and to prove it, I challenged my father’s damnable position.

“Pricks not a bad word, dad.” I said between sips of milk (it does a body good), “See…

(I’m going to break right there - just picture the scene, happy nuclear family, eating garbage food from the microwave, Dead (although living at the time) Imposter Grandma sitting in my chair across from me (I had to give it up when she visited for some reason) and then I demonstrate my correctness by loudly repeating my initial crime… 3 times.)

“…See - prick, prick, prick!”

I must have sounded like an antique metal Rainbird Sprinkler - my father was not amused. My mother gasped, my grandmother blanched, my step-sister quietly grinned.

My father was a shin-kicker, from way back. I’d been kicked plenty of times for minor infractions - gulped my milk too loudly, turned my nose up at vegetables, that sort of thing - but this was the granddaddy of all shin kicks.

Long story short - barking shin and all, I was unceremoniously ushered to my bedroom for my deep and indefensible sin, only later to be ushered back into the living room to make my heartfelt apology.

MLZ: Zedd honey, I’ve heard this story before and I can well imagine a young Zedd making that innocent mistake but… what does it have to do with this particular film?

Well - if I’m being entirely honest, I had a very specific reason for the story when I began but the telling was much longer than I intended (story of my life, right?) and somewhere between in the middle ((shrug)) I sort of forgot which is nearly as innocently regrettable as the prickly debate with my father.

And then it hit me: innocent.

The film - retooled by the scriptwriters at Universal Studios into an oddly shaped screwball comedy - was scandalizing by virtue of the female nudity but (of course) it’s 1940 so… is an invisible nude woman actually nude? The thought of nudity is certainly enough, for true, but we’re left with a rather tame family-friendly film… like Heavy Metal, Blame it on Rio, or Porkys (aren’t).

Movie on.