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[REVIEW] Chattanooga Film Fest 2024: ‘The UFO’s of Soesterberg’ (2023) Is Out Of This World

The UFO’s of Soesterberg is a documentary that follows many people in the town of Soesterberg in the Netherlands. Director Bram Roza chronicles the sightings of UFOs throughout the town in 1979 while putting the majority of the focus on the soldiers of the Soesterberg Air Base who witnessed a large black triangular UFO in the sky. Told through talking heads, UAP site visits, and gorgeous hand-drawn animations, this documentary tells the truths of the residents of Soesterberg in a way that feels fresh and unique.

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The idea of Ufology, and aliens/intelligent life from beyond our galaxy, has long intrigued me. I have always humored the idea, but it wasn’t until a recent UAP sighting that the tiny bit of skepticism I had flew out the window. Recently, I interviewed United States Air Force veteran Jeremy McGowan, who had a life-changing UAP encounter in the Jordanian desert in the 90s while on assignment. One thing we discussed, which is also the idea surrounding a documentary McGowan was in called Alien Endgame, was the possibility that there are more UAP encounters around areas storing nuclear items. The UFO’s of Soesterberg contributes even more to that truth.

The UFO’s of Soesterberg is a documentary that follows many people in the town of Soesterberg in the Netherlands. Director Bram Roza chronicles the sightings of UFOs throughout the town in 1979 while putting the majority of the focus on the soldiers of the Soesterberg Air Base who witnessed a large black triangular UFO in the sky. Told through talking heads, UAP site visits, and gorgeous hand-drawn animations, this documentary tells the truths of the residents of Soesterberg in a way that feels fresh and unique.

Let’s get my singular issue with this documentary out of the way. This is in no way a character assassination of one of the interviewees who says he remembered his encounter after undergoing regression therapy. However, the idea of regression therapy is quite dubious. The definition of it, which was reviewed by Dr. Michael MacIntyre, even says the purpose of it is to “guide[s] people to remember past events.” Regression therapy is taking small bits of information and forming an idea for the patient to make them think it was their own. I think Bram Roza could have picked a different person to be a part of this story.

The UFO’s of Soesterberg (2023)

It’s easy to understand why people had previously been afraid to come forward with their truths. Being labeled a cook or a whackjob when revealing an encounter was par for the course. But in 2024, that is far from the case. The search for the truth, and the endless hope for disclosure that will never come from our government, is one of the few things that can bring political parties together. When will you see AOC and Matt Gaetz on the same side of something? The only time I’ve seen them communicate peacefully was when United States Air Force veteran David Grusch (UAPTF, AARO), United States Navy veteran Ryan Graves (ASA), and United States Navy veteran Commander David Fravor sat before the United States House Committee on Oversight and Accountability and blew the whistle with salacious claims of non-human biologics being covered up by the government.

Roza’s inclination to tell these stories of Netherland Air Force veterans works twofold. If there were ever a group of people to believe on the topics of UAPs, it’s people in the military and the police. These groups of people must be as objective as possible to do their jobs properly, so when someone like Ryan Graves, Jeremy McGowan, or the veterans of Soesterberg, tell their stories, it adds a whole new level of credence. The UFO’s of Soesterberg doesn’t just tell the story of Dutch military members, it also tells the story of some townsfolk who also had experiences around the same time. If anything, Roza uses the story of military members to make the townspeople’s stories hold more water. I can already see the reviews, “Where are the scientists refuting this information?” We don’t need it! I don’t care what Sean Kirkpatrick said in his AARO report, it’s clear there is something far beyond the reach of our technology.

The use of animation, too, adds a level of beauty and class. UAP and alien encounter documentaries have been brainwormed by The History Channel, A&E, The Travel Channel, and Animal Planet. They overlay these talking heads with garish dramatic recreations with porn-level acting and first-time filmmaker-level vignettes. Roza’s addition of hand-drawn retellings of these stories brings a finesse that most documentaries about UAPs wish they could capture.

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If you’re looking for a fun and engaging documentary about alien encounters, then The UFO’s of Soesterberg will be right up your alley. If you are a skeptic who nitpicks every single aspect of experiences you should also check it out. If you don’t want to believe, then you won’t. It’s as simple as that. But if you believe in something bigger than yourself, bigger than us, then this documentary is the right pick for you.

Brendan is an award-winning author and screenwriter rotting away in New Jersey. His hobbies include rain, slugs, and the endless search for The Mothman.

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[REVIEW] ‘The Dead Thing’ Takes Ghosting To A Whole New Level

The Dead Thing follows Alex (Blu Hunt), a young woman who works late hours, lives by the rays of a sunlamp, and is looking for the one connection that will make life seem less cyclical. When Alex meets Kyle (Ben Smith-Peterson), it seems like things will finally be going in her favor. But all that glitters is not gold. As quickly as he came, he vanished. Hurt, confused, and pissed, Alex tries to get to the bottom of why Kyle disappeared from her life. Some stones are meant to be left unturned.

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Elric Kane has been a prominent voice in the film and horror space for a long time. One of my fondest memories of Kane is his longtime hosting gig on the Shock Waves Podcast. The amount of film knowledge and obscure films I learned about from him and Dr. Rebekah McKendry singlehandedly fueled my interest in collecting physical media. Hearing how passionate and intense they were with their love of the genre is also what started me down the path of writing. While Dr. McKendry has previously dipped her toes in the feature filmmaking game, it’s now time for Elric Kane to do so.

Cut to: The Dead Thing.

The Dead Thing follows Alex (Blu Hunt), a young woman who works late hours, lives by the rays of a sunlamp, and is looking for the one connection that will make life seem less cyclical. When Alex meets Kyle (Ben Smith-Peterson), it seems like things will finally be going in her favor. But all that glitters is not gold. As quickly as he came, he vanished. Hurt, confused, and pissed, Alex tries to get to the bottom of why Kyle disappeared from her life. Some stones are meant to be left unturned.

Writer/director Elric Kane’s (and co-writer Webb Wilcoxen) singular debut feature film is a superbly crafted supernatural spectacle. The Dead Thing starts slow and deliberate; rather than rushing into an overwritten plot with underwritten characters, Kane and Wilcoxen allow the audience to sit with Alex in her neverending love life. One aspect of Alex that I, and hopefully many will, appreciate is how Alex is written. Rarely does Alex feel written from the perspective of the male gaze. Her life may not be going in the exact direction she wants, but the film never makes it out to be a her problem. At no point do they try and make Alex out to be a floozy or condemn her for the life she’s living, instead they make those who live the same kind of lifestyle feel seen. The film asks the audience if they ever feel like there’s no escape; too many of us can relate to that.

It doesn’t matter how a character is written if the acting doesn’t deliver, and Blu Hunt delivers. Set aside the fact that she has one of the most badass names I’ve ever heard, Hunt provides an astounding lead performance. Whether she’s walking alone down a Los Angeles street, or playing off of her longtime friend Cara (Katherine Hughes), coworker Chris (John Karna), or the mysterious[ly handsome] Kyle, Hunt gives it her all. It helps that Ben Smith-Peterson and the supporting cast all give overwhelmingly brilliant performances.

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Supernatural stories aren’t usually my go-to. They can be too overwritten, too style over substance, too “elevated”, or just plain boring. The Dead Thing quickly finds its footing and lets the audience accept it or not. Kane and cinematographer Ioana Vasile (who was a still photographer for Pontypool!!!) wonderfully capture the sometimes-solitary, sometimes-overstimulating beautiful hellscape that is Los Angeles. It should also be noted that one of my favorite actors in the world, Matt Mercer is a producer on this film.

The Dead Thing hits the perfect blend of claustrophobic loneliness and endless yearning. Just like Dr. Rebekah McKendry, it’s clear that Elric Kane doesn’t just talk the talk, he walks the walk. For his debut feature film, The Dead Thing doesn’t need resuscitation. I’d say run, don’t walk, to check this one out, but if you do…look left and right before crossing the street.

The Dead Thing hits Shudder on Friday, February 14! Watch it with your partner if you can, or watch it alone with a tub of ice cream and an overflowing glass of wine. I won’t judge.

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[REVIEW] ‘Bride of Chucky’ Takes The Franchise In A New Direction

Bride of Chucky follows two groups of people who inevitably meet up for a final climactic finale. Tiffany Valentine (Jennifer Tilly) procures Chucky’s (Brad Dourif) body following the events of Child’s Play 3. Her goal is to perform a voodoo ritual to put his soul back into a human’s body. Through a questionable series of events, Chucky kills Tiffany and puts her soul into the body of a doll. The side story follows Jade Kincaid (Katherine Heigl) and Jesse Miller (Nick Stabile) who elope, with a thousand dollars, from Jade’s overbearing police chief uncle Warren (John Ritter). After Chucky kills Warren, Jade and Jesse are fingered for the murder. That’s when hijinks ensue.

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The Child’s Play franchise is all over the place. What started as a [fairly] serious slasher series surrounding a killer doll would morph into a Nightmare on Elm Street-like horror comedy before self-correcting to find a solid middle ground. I’ll be the first to admit that I have never really cared much for this franchise. Child’s Play frightened me when I was a kid, and it wouldn’t be until my college years that I decided to watch Bride and Seed–this altered my overall opinion of what the franchise stood for. Watching Child’s Play 2 and 3 back in college left me wondering how a franchise as culturally impactful as this one fluctuated in style and substance.

Bride of Chucky follows two groups of people who inevitably meet up for a final climactic finale. Tiffany Valentine (Jennifer Tilly) procures Chucky’s (Brad Dourif) body following the events of Child’s Play 3. Her goal is to perform a voodoo ritual to put his soul back into a human’s body. Through a questionable series of events, Chucky kills Tiffany and puts her soul into the body of a doll. The side story follows Jade Kincaid (Katherine Heigl) and Jesse Miller (Nick Stabile) who elope, with a thousand dollars, from Jade’s overbearing police chief uncle Warren (John Ritter). After Chucky kills Warren, Jade and Jesse are fingered for the murder. That’s when hijinks ensue.

Before the comments start, let’s return to the opening comment regarding Child’s Play turning into a horror comedy. Chucky was always one for quips. Like Freddy Krueger, Chucky would hit a one-liner shortly before or after his kill. These jokes worked to help cut through Chucky’s horror. It gave some momentary relief from the kills. Bride of Chucky is just one long gag, and for me, it’s frustrating. Like Nightmare, Bride of Chucky has lost the plot. Every scene seems to exist to facilitate a setup for the next bit or one-liner, rather than having moments of comedy flow naturally. The doll sex scene and swinger couple bits are just poorly thought-out filler.

I know this is going to anger some of you, but Bride of Chucky is a seriously awful movie.

There are a few moments that I do truly enjoy and work well in the overall Child’s Play universe. Tiffany kills the officer she buys Chucky’s body from with a nail file and then uses it to file her nails. The moment Tiffany stabs Chucky in the back at the cemetery is a great character moment, but it makes everything that led up to it pointless. With the exception of a few moments here and there, Bride of Chucky ends up being a chore to watch rather than entertainment. For a genre that has always been political, gay representation has been lacking for quite some time. The character of David Collins (Gordon Michael Woolvett) is a welcome addition to the story, but he feels underutilized in the grand scheme of it all.

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While I may not care for the franchise much, I’ve done some research on it over the years. Bride of Chucky features many recycled bits from other Child’s Play scripts and you can really feel it. The kills are few and far between and feel overly forced. Child’s Play 4 was initially put on hold after the abysmal box office of Child’s Play 3 and maybe writer/director Don Mancini should have taken another year or so to really flesh out the canon of Chucky. Now, don’t get me wrong, I like the idea of Tiffany becoming a doll and becoming pregnant with Chucky’s baby. But I don’t think the ends justify the means.

Cult and Curse of Chucky, thankfully, take the series back to a more grounded and to-the-roots nature of what Child’s Play was, and I’m glad it took nearly a decade after Seed for it to come to fruition. Mancini is an excellent voice in horror, but time and constraints are necessary for his vision to be fully realized. Those who are Child’s Play die-hards will probably disagree with everything I’ve said, and that’s okay. As a casual Chucky fan, Bride of Chucky feels nothing more than a nu-metal, Hot Topic, try-hard entry into the franchise. The kills look solid, and Dourif gives an incredible vocal performance (as always) but there’s little to no substance to Bride of Chucky.

No wonder half of all marriages end in divorce.

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