PMPF Review: ‘Dead, White & Blue’

Director Mike Davis knows there’s a treasure trove of public domain footage just waiting to be recycled.

“I wanted to make a film, but I didn’t have any money,” the director told the audience at this year’s Pittsburgh Moving Picture Festival in Sewickley, Pa.

So he tapped that supply of forgotten video for the cultural satire “Dead, White & Blue.” The comedy offers a steady stream of big, unexpected laughs along with plenty of social commentary, nearly all from the Left side of the political aisle.

Funny is funny, and you don’t need to share Davis’ worldview to laugh, and laugh a lot, at this thoroughly original film.

The story, although using that term defies the project’s stream-of-consciousness spirit, follows an Atlanta mayor’s abduction. Meanwhile, a black man has been shot by a racist white cop, and both the U.S. Military and the KKK are trying to retrieve the bullet that took him down for disparate reasons.

How? It involves a bizarre shrinking experiment that’s so patently silly it fits with the film’s absurdist tone.

From there, Davis concocts a comedy with nearly as many jokes as “Airplane!” Most land as intended, from sly innuendos to running gags that never wear out their welcome.

The stock and public domain footage in play likely hail from the 1950s through the early 1990s. It’s been stitched together by Davis and his creative team, at times creating a surprisingly smooth sequence of events.

The footage alone is sometimes howl-worthy. What were they thinking?

The film’s dubbed dialogue, often with flat line readings that make the punch lines funnier, sells the material. Even when the narrative appears to fly in a dozen new directions.

The KKK plays a sizable role in the story, leading to endless puns and some sly sight gags.

The film’s retro look matches its societal X-ray. It’s 2025 and race relations aren’t like the societal landmines depicted here. Not even close.

That takes the sting from some of the gags, particularly jokes tied to police brutality. The film’s wry dialogue and pop culture awareness mean all audiences can appreciate the humor, if not the cultural perspective.

A few jokes are still groaners, like a quip about Israeli forces bombing hospitals and a quick banned books aside.

“Dead, White & Blue” is pure gimmick, but the script makes sure it can sustain its feature-length running time. It’s easy to imagine this approach being replicated for a limited-run series on any number of choice topics.

The sky’s the limit when an indie filmmaker sets his or her mind to it. That’s precisely why Davis’ “Dead, White & Blue” feels like a minor revelation. And a hilarious one at that.

“Dead, White & Blue” screened at the Pittsburgh Moving Picture Festival on Oct. 4.

HiT or Miss: “Dead, White & Blue” is a fiercely original comedy culled from forgotten videos that is sure to make audiences howl.

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PMPF Review: ‘Queens of the Dead’ Retains Romero’s Progressive Worldview

One of George A. Romero’s signature statements saw zombies stumbling through a mall in “Dawn of the Dead.”

That 1978 classic let him satirize consumerism without saying a word. Those brainless ghouls were just like us, mindlessly going through the motions to keep our capitalistic system afloat.

Agree? Disagree? Romero let viewers decide.

Daughter Tina Romero, all grow up and a filmmaker in her own right, offers more on-the-nose commentary with “Queens of the Dead.”

Much more.

The horror-comedy pays homage to Daddy’s zombie films as well as his penchant for social commentary.

The shocks can’t match what her father assembled over his iconic career, but she’s made the funniest undead romp since 2009’s “Zombieland.” And, yes, she’s as progressive as Pappy. Even more so, judging by “Queens.”

The raggedy story follows Dre (Katy O’Brian, “Love Lies Bleeding“), a drag queen club owner trying to assemble a show for the evening. There’s plenty of drama behind the scenes, and she’s juggling fragile egos, hurt feelings and even stage fright.

Among the colorful characters in play? A male nurse named Sam (Jaquel Spivey, 2024’s “Mean Girls”), who once performed at Dre’s club but retired his character for complicated reasons.

Dre’s brother-in-law Barry (Quincy Dunn-Baker) represents old-school masculinity, but the film is surprisingly gracious toward him.

The show must go on, but what happens when a zombie outbreak gets in the way?

The film opens in, of all places, a church, where a drag queen drops by in a respectful fashion. It doesn’t end well, alas, and the zombie march begins.

RELATED: 7 BEST ZOMBIE FILMS (POST ’28 DAYS LATER’)

Romero, who co-wrote the screenplay with Erin Judge, packs as much LGBTQ+ representation in as humanly possible. The dialogue echoes that sentiment, with short lectures on pronouns along the way.

It should feel exhausting, but Romero’s breezy style helps. So does the film’s humor. It’s frequently laugh-out-loud funny and rarely feels angry or resentful. 

Too bad Romero lacks her father’s knack for signature kills. That may not be the point, though, since this “Dead” feature cares far more about building a dysfunctional but loving family vibe than scaring us silly.

She mostly succeeds, even if a mid-film appearance by Margaret Cho spoils some of the fun. Her surly character feels like a walking, talking tonal change, as Cho’s activist persona bleeds into the performance.

Official poster for Tina Romero’s QUEENS OF THE DEAD, which claws into theaters October 24.

“A zombie apocalypse breaks out in Brooklyn on the night of a giant warehouse party, where an eclectic group of drag queens, club kids, and frenemies must fight to survive.” pic.twitter.com/CohcqfHuWg

— Bloody Disgusting (@BDisgusting) September 3, 2025

George A. Romero proved masterful at horrifying audiences. He also flexed his hippie bona fides with a certain, dare we say, elegance. Consider the black hero’s fate in 1968’s “Night of the Living Dead,” for example, a sly commentary on the era’s race relations.

Tina Romero has no such appetite for subtlety. She’s more interested in celebrating alteranate lifestyles while honoring her father’s legacy. She does it more than once in the film, including Pittsburgh makeup legend Tom Savini getting a goofy cameo.

“Queens” could shed a good 10 minutes to boost the story’s brisk nature. Some of the emotional beats land not with a thud but still feel perfunctory, even by horror movie standards. She does shrewdly find imaginative ways to fuse drag visuals with the undead.

Her Daddy would be proud of how she uses smart phones to make a larger, cultural point. These zombies might not be shuffling through a crowded mall, but some strut down the street staring absently at their phones.

It’s doomscrolling on steroids.

“Queens” isn’t perfect, but this moment is a flawless tribute to her father and his pioneering work in horror.

The Pittsburgh Moving PIcture Festival screening came before the film’s Oct. 24 release date.

HiT or Miss: “Queens of the Dead” finds Tina Romero walking in Daddy’s horror footsteps, with an extra dose of progressive commentary. 

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‘The Friend’ Perfectly Captures Our Bond with Dogs

Scott McGehee and David Siegel’s “The Friend” begins with Bill Murray playing Walter, a celebrated author, on a jog one morning in New York City.

With the cityscape behind him, Walter makes an unexpected turn and sees a magnificent Great Dane sitting by himself and without a collar.

Walter adopts the dog and names him Apollo, much to the amusement of his old friends, Iris (Naomi Watts), among them. When Walter dies (this isn’t a spoiler- it happens immediately and Murray’s character and wonderful performance are presented in flashbacks), Iris is asked by his widow to adopt Apollo, who is clearly mourning Walter’s death as much as everyone else.

httpv://http://www.youtube.com/watch?v=PpgLdI–F9M

“The Friend” is funny without ever becoming broad or slapstick, melancholy but never depressing, thoughtful and observant without becoming pretentious, soulful when it could have been forced. Because Iris and Apollo are treated like real characters and not inevitable plot devices, the film has a freshness when it could have settled for being a cutesy dog movie.

Every potentially silly, slapstick possibility with the story is avoided, as Apollo is presented as a deeply felt character and not a gimmick. It’s a bold, smart choice, among the many here. Among other accomplishments, this is one of the best films I’ve ever seen about our relationships with dogs.

The dog emerges as a complex character and not fodder for reaction shots. I love Benji and Beethoven as much as any filmgoer, but the choices made here sidestep all temptation to go for easy laughs and corny reaction shots.

“The Friend” is an elegant, gentle drama that benefits as much from the soulful performances from Watts and Murray as much as the lack of cutesy mawkishness.

Watts never pushes to convey her emotions, as Iris is a quirky character, but seems this way because of life and not a Hollywood contrivance. I’ve been a fan of Watts since “Mulholland Dr.” (2001) and this is another major highlight.

Likewise, Murray, who is once again extraordinary in a character role he captures effortlessly.

We understand why everyone is clearly in awe of Walter but his relationship with Iris obviously runs very deep. There’s an honesty to the screenplay that is reflected in the strength of the performances.

Despite the presence of Bill Murray and Naomi Watts #TIFF24 International Premiere THE FRIEND is really about Bing, the Great Dane. Today we salute all the canine co-stars who really, probably deserved top billing. pic.twitter.com/piJHzFDAUF

— TIFF (@TIFF_NET) September 6, 2024

For the record, Apollo is played by a Great Dane named Bing, who emerges as one of the year’s most endearing characters (and no, you don’t have to be a dog person to love this movie). “The Friend” made me think of recent losses in my life and how much meaning and friendship my dog has brought me.

Specifically, a great mentor in my life died not long ago, and his absence has taken a big bite out of me. I thought I had a lot more time with him, and now I find myself asking so many questions that I’ll never get answers to.

He was, like Murray’s character, imposing, funny, beloved by most who knew him and a celebrated author and scholar. Being unable to carry on conversations with him has been difficult, as I often wonder what he’d feel about, well, anything.

Murray’s Walter is somehow both a true friend to Iris and a real enigma, which is exactly how I feel about a similar friend whose absence has been so difficult.

Like Watt’s character, I have found such meaning and joy in bringing a dog into my life. In my case, it’s my Charlotte, a tiny white Maltese whose tiny stature but enormous presence and attitude brings so much to me every day. Charlotte has this tendency to sleep next to me and, when she sees I’ve woken from a jarring nightmare, she draws herself even closer.

She’s been doing this for years now. “The Friend” is about this kind of bond, the odd but undeniable connection between human and canine,

Some of this may play as maudlin at times and I was uncertain by the middle if the whole thing would pull together, but it absolutely does. Having seen it twice, I’m amazed not only how well the filmmakers and cast have pulled it off but how natural and unforced the story plays.

I’ve read the 2018 novel of the same name by Sigrid Nunez but I enjoyed the film much more.

The sequence where Watts goes to a psychiatrist to best understand how she and Apollo have helped each other showcases some of her best work. The final scene may have more than one interpretation – likewise, a sequence where writing allows for the protagonist to visit her best friend one last time.

“The Friend” is out of step with most 2025 films, in the sense that it is patient, observant, wise and deeply moving in ways that come from difficult character decisions and not paint-by-numbers screenwriting.

This is a special film, the best film about writers since “Wonder Boys” (2000) and one of the finest of 2025.

Four Stars

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‘The Road Between Us’ Shows Chasm Between Israel, Hamas

The Oct. 7 survivors interviewed for “The Road Between Us: The Ultimate Rescue” don’t rage against the Hamas terrorists who killed 1,200 innocents and captured hundreds more.

At least not on camera.

The same applies to Canadian filmmaker Barry Avrich.

His documentary, which caused a stir at the Toronto International Film Festival for simply existing, doesn’t litigate the Israeli/Palestinian crisis. It’s a factual account of the harrowing hours as Hamas fiends slaughtered innocents, raped women and shattered families.

The unspoken focus? What separates Israel from those eager to wipe it off the face of the earth.

The documentary lets retired Israeli general Noam Tibon share how he risked it all to save his family on Oct. 7. Their kibbutz was one of many under attack, and his clan hid in a safe room, unsure when to leave or if help would ever arrive.

Tibon painstakingly recalls his 10-hour mission to reach them, a journey marked by detours, attacks and pleas for help from those he met along the way.

In the process, we get to know the ex-warrior, his extended family and some of the people who survived the worst terror attack in decades.

The visuals include standard documentary fare, video of the attack’s aftermath and bucolic shots of the land in more peaceful days. For some viewers, those images of Israel may come as a surprise. The kibbutz culture also gets a short but sweet closeup.

We also see footage of Hamas soldiers firing indiscriminately into cars, homes and anywhere Jewish citizens might be.

Those visuals come courtesy of the terrorists, who filmed their atrocities as if gleeful of their handiwork. Avrich’s team proved judicious in its use. It’s neither exploitative nor cruel, hiding the worst images from us while showcasing their ultimate intentions:

Death on a massive scale.

If “Road” has an agenda or angle beyond the obvious, it’s rage against the Israeli government for leaving them so woefully unprepared for the attack. Not only were officials caught flat-footed by the terrorists’ plot, but the IDF didn’t come to the rescue for hours after the assault began, according to the film and its interview subjects.

What emerges from “The Road Between Us” is as powerful as any documentary could offer. It’s the gap between ordinary Israelis like Tibon and their attackers. One side holds life precious but is willing to risk anything to protect family and strangers alike. 

Tibon could have gone straight to his family’s kibbutz to save them. He was in near-constant contact with his son, texting updates and waiting anxiously to see if they were still protected.

Instead, he had to consider helping others along the way, fellow Israelis who also could have been killed without a former soldier’s help.

The other side? Kill without mercy, and keep those cameras rolling. 

HiT or Miss: “The Road Between Us: The Ultimate Rescue” is a bracing testament to courage and humanity in the very worst of times.

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‘Vampire in Brooklyn’ Remains a Tantalizing Misfire

Wes Craven’s “Vampire in Brooklyn” (1995) is among the strangest curiosity items for cinephiles, a misfire upon release that has gained a genuine and affectionate cult following.

In pairing Craven, the undisputed master of horror, with Eddie Murphy, one of the biggest and best comic actors of his generation, Paramount Pictures gave genre fans one of the all-time strangest Halloween offerings.

There’s no resisting the curiosity of when a comedic actor collaborates with a serious director. Unlikely but potent, essential team-ups like Robin Williams and Peter Weir, Adam Sandler and Paul Thomas Anderson, Jim Carrey and Milos Forman, and Steve Martin and David Mamet come to mind.

The potentially tasty combo of Murphy and horror maverick Craven nearly undid the stature and reputation of both their careers, though the film itself is still an illogical, uneven but very entertaining curiosity item.

Murphy followed the disappointment of “Beverly Hills Cop III” (1994) and a number of movies that were watchable but not as strong as his ’80s vehicles, where he reigned as one of the biggest movie stars in the world.

Murphy can act, something that even casual viewers of his work would notice. His desire to stretch outside of his comfort zone, truly challenge himself and his fans (and, as he later admitted, get him out of his Paramount Pictures contract with one more movie) motivated him to try his hand at the horror genre.

Craven, meanwhile, was a movie away from his giant comeback as the director of “Scream” (1996) and, as his brilliant “Wes Craven’s New Nightmare” (1994) indicated, he was also disinterested in repeating himself.

Reports from the set and accounts by Craven and Murphy paint their collaboration as an enjoyable one, even as Murphy pushed for the horror angle and Craven wanted to make it more of a comedy.

The Franken-movie that resulted always seems like it could almost work as a hybrid, but never does.
Murphy plays Maximillian, an ancient vampire who arrives in New York by boat, searching for his bride. He turns Julius, a local hoodlum (Kadeem Hardison), into his “ghoul” servant, kills some local mobsters and stalks Rita, a detective (Angela Bassett), whom he chooses to be his bride.

Take away the police procedural and the set-up resembles a little of “Dracula” and a lot of Murphy’s “Coming to America,” with even his character’s accent suggesting that movie’s Akeem crossed with a Jamaican. Yet, while the one-liners come frequently, the look of the film is perfectly sinister.

The Murphy/Craven collaboration proves ambitious but should have settled on being a horror movie with light comedy, not a light comedy with obtrusive (though occasionally startling) touches of horror. There are one-liners that crackle and jolts of horror that work, undermined by ill-timed scares and some groan-worthy scenes.

The film wants to be “Blacula” (1972), “Candyman” (1992), “Michael Jackson’s Thriller” (1983) and “An American Werewolf in London” (1981), all in one. The problem is, Craven can’t balance shock and humor the way John Landis can.

Yet, this entertaining mess is much better and more consistently interesting than Murphy and Craven’s worst movies (Murphy’s 2007 “Norbit” and Craven’s 2010 “My Soul to Take”).

“Vampire in Brooklyn.” which was co-authored by Charlie Murphy, is full of little moments that work, which give the false promise that the film will get better, and the wobbly tone will stabilize. Instead, the fluctuation of genres frustrates.

The story is interesting, though Murphy’s narration oversells it. The powers Maximillian possesses are all over the map: suspension of disbelief is one thing, but consistency is another. Plus, composer J. Peter Robinson’s heavy-handed score lays it on too thick.

Everything is a mixed bag, including the performances. Murphy’s long-haired, wide-eyed, sharp-fanged monster is the real deal. He’s scary, charming and committed to this odd change of image.

Eddie Murphy in Vampire In Brooklyn(1995)
Directed by Wes Craven pic.twitter.com/dWfU7hx76H

— None Of Them Knew (@KnewNone) January 2, 2022

 

Unfortunately, rather than allowing his performance to carry the movie, we get two additional characters. Since this worked in “Coming to America,” it doesn’t initially seem like an iffy choice. There are two scenes, back-to-back, with Murphy playing two characters who the vampire possesses: Maximillian/Murphy plays an Al Sharpton-like street preacher and a real goon of a mobster.

These scenes demonstrate Murphy’s skill at embodying a variety of roles and but also how he flails when the material is weak. “Preacher Paulie” and “Milo the Mobster” are not intolerable comic figures (though they’re arguably the most stereotypical here), but they distract from the intriguing, straight-faced leading turn Murphy is offering.

Bassett is so good and so beautiful; she’s a great match for Murphy, who has never had a truly strong actress to work with, ever, before or since. Even as the role gets outlandish in the third act, Bassett displays charisma, talent and presence to match Murphy’s.

She’s better than the material, of course, but their scenes together offer a glimpse of what the former Axel Foley could have had with a female co-star who could hold her own.

Hardison (who starred in the similar, better and nastier “Def by Temptation” in 1990) and professional scene stealer John Witherspoon play it very broad, courting outright stereotypical turns, but they’re constantly funny in a movie that doesn’t know what it wants to be.

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Why ‘The Shining’ Never Loses Its Shock Value

The horror of a broken mind is the central concept of Stanley Kubrick’s “The Shining,” his 1980 horror masterpiece adapted from Stephen King’s novel.

Jack Nicholson stars as Jack Torrance, a recovering alcoholic and struggling writer who is hired to be the caretaker of Colorado’s Overlook Hotel. Accompanied by his wife, Wendy (Shelly Duvall) and son, Danny (Danny Lloyd), Jack immediately appears to be under a spell.

Danny’s only friend, a cook named Halloran (Scatman Crothers), shares Danny’s gift of telepathy, an ability to “shine.” Halloran senses immediately that something about Jack is off.

The setting offers an otherworldly beauty, as the art direction and cinematography are so masterful, The Overlook has an attractive sheen but also the feel of an empty prison. Kubrick’s film never explicitly tells us if the events we’re witnessing are supernatural occurrences or psychological hallucinations.

Having seen the film multiple times, I’m still not sure.

There is a great deal of mystery to many scenes, but the film offers riches of subtext and interpretations to ponder. More importantly, it’s hugely entertaining, hypnotic and an intensely terrifying work of art. Kubrick’s film holds its secrets close to the vest, but few films this influential are still so potent.

There’s a noteworthy sequence at the midpoint, where Wendy hears Jack murmuring loudly from a nightmare. She runs to him down vast hallways and the camera tracks with her; as she sprints down a seemingly endless series of turns and corners, the viewer feels trapped.

Like a mouse in a maze or Wendy and her son in the hotel’s maze, the audience begins to share their sense of isolation. The Overlook Hotel is grand and spacious, but Kubrick strangely gives us the feel of claustrophobia.

Once Wendy reaches Jack, he awakens from a horrible dream, which is described in a tortured, regretful manner. This scene may be key to Nicholson’s brilliantly stylized performance. From the first moment we meet Jack, he seems meek, holding back the figurative demons that have plagued him from alcoholism and physically harming his son.

It appears The Overlook is possessing Jack since he first walked through the front door. Jack’s recollection of his nightmare to Wendy is a moment of clarity and empathy breaking through. Soon thereafter, his possession grows, and he again seems to be wearing a mask of sanity.

Nicholson’s work ranges from understated and darkly comic to theatrically broad. It always works.

I spent my honeymoon at The Stanley Hotel in Estes Park, Colorado, the very hotel where King was inspired to write “The Shining.” Today, the hotel hosts an annual Mile High Horror Festival, but when I was a guest in 2003, the place already began milking its genre lineage.

They had a channel that showed both Kubrick’s 1980 movie and the 1997 TV mini-series of “The Shining” around the clock. They also had a “ghost tour,” and guests could stay in the infamous room 217 (which is room #237 in Kubrick’s film).

RELATED: KUBRICK’S ‘EYES WIDE SHUT’ LIVES UP TO AUTEUR’S LEGACY 

My wife likes to remind me of the time I went to get some ice in the hallway one afternoon, and I saw two twin girls passing me by. They didn’t look like the Grady twins in Kubrick’s film, but they had red hair, wore matching bathing suits with towels draped from their shoulders and held hands.

I saw them and froze.

Seeing “The Shining” on the big screen is like seeing it again for the first time. There is so much detail in every moment and such a thrilling rush to witness the gliding Steadicam cinematography and the force of its most legendary scenes.

It demands a vast screen to experience the depth of its power.

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‘Good Boy’ Wilts Under Its Remarkable Gimmick

Indy, the dog “actor” in “Good Boy,” might be the most photogenic star of 2025.

The horror film offers a scary story from a canine’s perspective, and Indy hits his marks like a pro. It’s fresh. It’s bold. It … doesn’t work despite bravura cinematography and a lead “actor” who is more sympathetic than the feistiest Final Girl.

Indy, who goes by his real name in the film, is the loyal pet of a seemingly frail man named Todd (Shane Jensen). The duo leaves their home at the start of the film for his grandfather’s old, isolated cabin.

Todd’s sister Vera (Arielle Friedman) is understandably worried about her brother’s health status, but he just wants some time by himself. Besides, he’s never quite alone as long as Indy is by his side.

The pair may have unexpected company.

Creepy flashbacks suggest grandpa (genre favorite Larry Fessenden) wasn’t the avuncular figure we assume. Plus, flickering images come in and out of focus in the remote home. Are they figments of the dog’s imagination? A manifestation of Todd’s diminished mental state?

A full-on, “Conjuring”-worthy ghostly infestation? If you’re looking for specific details … dream on. 

Writer/director Ben Leonberg, who cast his own Nova Scotia Duck Tolling Retriever in the lead (Nepo Dog?) keeps just about everything a mystery. We’re already working at a narrative disadvantage given the curious perspective in play.

That means this fiercely original story refuses to play by the genre rules. What sounds refreshing on paper is exasperating on screen. We’re handed snippets of information, and even when the film finds a chilly moment there’s little clarity or momentum.

Don’t blame Indy.

Leonberg uses the dog’s adorable face for maximum emotional impact. Yeah, it’s just a dog, but Indy’s expressions and occasional whimpering are powerful and effective.

Never mind AI diva Tilly Norwood. Get Indy an agent, stat!

That man-dog bond matters, too, and dog lovers will bring something extra to the story. “Good Boy” offers plenty to chew on for everyone else, like a pet’s fear of losing his owner and how animals perceive real-world threats.

Add some of the most arresting visuals in any film this year, and “Good Boy” feels like a must-see shocker. Yet it’s more of a robust screen exercise than a satisfying shocker.

The film wraps in a welcome 73 minutes, a nod to the gimmick in play. There’s a reason we love watching dogs on screen and why they can’t traditionally carry a film like those two-legged types.

Indy deserves better, but he gives everything he has in the frustrating but wildly original “Good Boy.”

HiT or Miss: “Good Boy” is a bold new way to approach the horror genre. Too bad “bold” isn’t the same as captivating or exciting.

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