In Memoriam: Chuck Norris (1940-2026) By Jesse Striewski

The terms “legend” and “icon” often get thrown around loosely these days, but if there’s one man deserving of such recognition, it’s the one and only Chuck Norris. It’s nearly impossible to describe the entire impact he’s had on the entertainment and martial arts worlds (among many other things) in simply one article, but I’ll do the best I can to lend at least one perspective here.

If you grew up in the ’80s/90s like myself, then surely you remember the days when weekends were filled with macho films in the likes of Missing in Action and The Delta Force overtaking cable networks like TBS. As with Schwarzenegger or Stallone, these movies felt like a rite of passage at the time.

Norris began life as Carlos Ray Norris in Ryan, Oklahoma on March 10, 1940. The oldest of three brothers (his youngest brother, Weiland, was later killed in action in Vietnam), he joined the United States Air Force in 1958, where he was an Air Policeman and first began learning martial arts in the form of Tang Soo Do. After his time in the military, Norris settled in California, where he began competing in martial arts competitions and even started his own karate school.

A brief appearance in the 1968 film The Wrecking Crew lead to his on-screen battle with the legendary Bruce Lee in 1972’s The Way of the Dragon, a breakout moment for him no doubt. The sky seemed to be the limit from then on, with starring roles in the likes of 1977’s Breaker! Breaker! and 1978’s Good Guys Wear Black paving the way to superstardom.

By the 1980’s, Norris was hitting his stride, with Lone Wolf McQuade (1983), Code of Silence (1985), Invasion U.S.A. (1985), Firewalker (1986), and the previously-mentioned Missing in Action and Delta Force films – which each spawned a franchise of their own – solidifying his tough guy reign at the box office. By the early ’90s, Norris was in homes across the nation on the small screen via Walker, Texas Ranger, which ran for eight seasons from 1993-01. (I can remember watching I believe the premiere episode the night it came on at my grandmother’s house when I was still a kid.)

Invasion U.S.A. postcard from the author’s personal collection featuring Chuck Norris and a quote from the 1985 film.

There’s a memory that sticks with me to this day that I always think of whenever discussing Norris. I was maybe twelve years old and in the hospital, having a (very painful) central IV line installed in my arm that was proving easier said than done. In the background on the TV set in my room, Missing In Action 2: The Beginning was playing. Life imitated art at that exact moment, as I watched Norris’ character being tortured on the screen while it felt like I was enduring a type of torture of my very own. Yet I tried to put on my best “tough guy” face, which I like to think was due in part of the bravado that was on my television screen at the time. (Although I’m fairly certain the procedure had me in tears.)

These days there’s so few newer Hollywood action stars that are as noteworthy or comparable as Norris (most of them are unable to capture my attention to begin with, let alone standout in any noticeable way). Chuck Norris was the embodiment of the prototypical American family man and patriot that loved his family, God, and country in a way that we should each strive to (I’m ashamed to admit I did not fully see the merit in such traditional values until far later in life than I wish I had, but am still learning everyday.) The world may have lost an overall great human being by his loss yesterday, but what’s been gained by his presence these past eighty-six years will no doubt prove immeasurable. Rest in peace Mr. Norris, you earned it.

Quiet Riot and Vixen at the Hard Rock Live in Orlando, FL on 3/6/26 By Jesse Striewski/Photos By Brooke Striewski

Back in late 2006, I had been a new father for just over half a year when I ventured out to Ormond Beach, FL for Biketoberfest to catch Quiet Riot and Skid Row – two bands I loved while growing up that many of my middle/high school peers would surely give me flack for still rocking out to at the height of grunge and nu metal (Though I never cared much what anyone else thought). It ended up being one of the funniest shows I had ever been to up to that point, and I’ll forever be grateful to have seen the late legends Kevin DuBrow and Frankie Banali on stage together prior to their unfortunate, respective passings since.

Twenty years later, and a lot has certainly changed. But I knew when I saw Quiet Riot were coming to the Hard Rock Live in Orlando with Vixen in tow on Friday, March 6 (coincidentally one year to the day since I was also discharged from the hospital), it was time to finally catch the band live again, this time with my wife and Photographer Brooke beside me for the ride, too, who was ready to once again break out her SLR camera again for the occasion. (As crazy as the first week of March might have started out for us, too.) And after putting in a last-minute request, we got the “okay” from none other than Quiet Riot guitarist Alex Grossi himself (the only remaining member of the band left from said time I caught them back in ’06 who I also interviewed for Rewind It Magazine back in 2021), we were all set to go. (Thank you again, Alex.)

Almost immediately after entering the building it was clear that we had made the right decision to go. While preparing to start photographing the show from the side of the stage, Brooke ran into longtime (and legendary) Quiet Riot bassist Rudy Sarzo, whose initial time in the band stretches all the way back to the late ’70s, and recently returned to the lineup in 2021. Sarzo – who also served some time in both Ozzy Osbourne’s band and Whitesnake in the ’80s, and has also had stints with the likes of Dio and Blue Oyster Cult, among so many others – was no doubt one of the major selling points for us to go that night in the first place (Especially yours truly, having come from the school of bass players myself.)

Another group that we’ve caught live before who have also experienced some significant lineup changes since the last time we saw them back in 2019 (opening for Sebastian Bach, ironically at the very same venue), the always-lovely Vixen, who now featured new lead singer Rosa Laricchiuta, and temporary bassist Jennifer Jo Oberle filling in for Julia Lage. (Who is currently on tour oversees with Smith/Kotzen, and admittedly I was a bit disappointed to find out was not there, though Oberle no doubt did an admirable job in her place).

Vixen on stage at the Hard Rock Live in Orlando, FL on Friday, March 6. (Photo by Brooke Striewski.)

The gals kicked off the night with plenty of energy though, opening with “Rev It Up” before launching into “Charmed Life,” “How Much Love,” “Crusin’,” “Hard 16,” and “Cryin’.” A medley featuring parts of “Runnin’ with the Devil,” “I Want You to Rock Me,’ “Perfect Strangers,” “What You’re Doing,” “War Pigs,” and “Still of the Night” kept the momentum going before a drum solo from Roxy Petrucci lead them back to “I Want You to Rock Me.”

Yet the girls were still far from finished, with “Streets in Paradise, “Love is a Killer,” “Not a Minute Too Soon,” “You Ought to Know By Now,” “Love Made Me,” and of course, “Edge of a Broken Heart” all finally wrapping up their whopping seventy-five minute long set.

By the time Quiet Riot hit the stage the excitement was undeniable. The previously mentioned Sarzo and Grossi were now joined by another former Rewind It interveiwee, Jizzy Pearl of Love/Hate (another band whose show we covered some years back in 2018), and drummer Johnny Kelly of Type O Negative and Danzig fame. (Who I was also lucky enough to catch on stage with both acts in the past in the ’90s and ’00s.)

Bass icon Rudy Sarzo commanded the stage with Quiet Riot at the Hard Rock Live this past Friday, March 6 (Photo by Brooke Striewski).

In an instant the entire audience was transported back in time with the likes of “Run For Cover,” “Slick Black Cadillac,” “Mama Weer All Crazee Now,” and “Love’s a Bitch,” all paving the way for what was still to come. The tender “Thunderbird” was then introduced and then dedicated not only to late guitarist Randy Rhodes (who the song was originally penned for after his tragic death in the early ’80s), but also DuBrow, Banali, and another former Sarzo bandmate, Mr. Ozzy Osbourne himself.

“Party All Night,” “Blackout in the Red Room,” and “The Wild and the Young” all kept the party going before the guys unleashed a medley of their own that featured “Let’s Get Crazy,” “Crazy Train,” a guitar solo from Grossi that segued into Van Halen’s “Eruption,” and a touch of Type O Negative’s “Black No. 1 (Little Miss Scare-All)” before coming full circle back into “Let’s Get Crazy” again.

By that point, there was not much more left to do other than the one-two punch of “Cum On Feel the Noize” and “Metal Health (Bang Your Head).” No doubt it was a night full of fun and classic anthems, but there’s more to it than just that; each time bands like Quiet Riot and Vixen hit the stage, they’re keeping not only the music itself alive, but also the memories of all those those who had a hand it helping to create it.

Film Review: Scream 7 (Spyglass Media Group/Project X Entertainment/Paramount Pictures)

By: Jesse Striewski

I’ve been a fairly loyal fan of the Scream films over the years, having gone to see each and every one of them on the big screen since the release of the original way back in 1996. But if you recall my scathing review of the last (and arguably worst) entry, Scream VI a few years back in 2023, I was convinced that the series had run its course indeed.

But there’s always a chance for redemption, and for the most part, Scream 7 hits the mark that’s been largely missed with the majority of the sequels that have come since. Writer/Director Kevin Williamson, whose imprint on the series has been there going all the way back since the original (this marks his first time directing, and first time returning as a screenwriter to the series since Scream 4 in 2011), invokes the same sort of atmosphere and “whodunit” type quality that Wes Craven gave us way back when that’s been largely missing since 1997’s Scream 2.

It’s no secret that this time around Neve Campbell returns as Sidney Prescott (now Prescott-Evans) after missing in action for that last horrid entry. This time around, she’s in the role of wife and mother as her husband Mark (Joel McHale) and teenaged daughter Tatum (Isabel May) are terrorized by another Ghostface killer (or killers). And for the first time in far too long, we’re actually given some characters whose well-being the audience truly cares about again, too.

There’s plenty of nods to the earlier films, with Courtney Cox once again returning as Gale Weathers, and – without giving away too much here – other franchise alumni, including Matthew Lillard, David Arquette Laurie Metcalf, Scott Foley, and of course the all-too familiar voice of Ghostface himself, Roger L. Jackson, each show up one way or another, yet it never comes off as too overly nostalgic. Even Mason Gooding and Jasmin Savoy Brown as twin brother and sister Chad and Mindy from the past two films return for the proceedings here as well.

Sure there’s some cliche or predictable elements that still work their way in, and the big reveal ending is definitely one of the weaker points (though still nowhere near as as bad as that over-the-top car crash of an ending we got in part six). But I heard someone else describe Scream 7 as a “reset” for the series, and after the direction it was heading with the “whiny sisters” (whose sudden absence is honestly not felt one bit here) plotline the past two films were following it is indeed a welcomed return to form. Far from perfect, but a much-needed step above its predecessor.

Rating: 3.5/5 Stars

Interview with Fatal Opera Bassist Travis Karcher/Tribute to Former Bandmate/Late Megadeth Drummer Gar Samuelson (R.I.P.) By Jesse Striewski

I’ve made no secret over the years how I was the stereotypical, Beavis and Butt-Head watching metal head type growing up in the ’90s. Yet by the time the late ’90s had arrived and I had relocated to Volusia County, FL, I had no idea at the time that I was neighboring at that point with legendary metal drummer Gar Samuelson of Megadeth, who was now residing right next door to me in nearby Orange City.

After performing on the first two, now-classic Megadeth albums – 1985’s Killing Is My Business…and Business Is Good! and 1986’s Peace Sells…but Who’s Buying?, Samuelson was abruptly dismissed from the group along with guitarist Chris Poland for substance abuse issues in 1987. Yet his playing on each of these records was enough to earn him a rightful spot alongside the the greats within the thrash metal world.

Samuelson briefly played in an act called Metalist prior to relocating to central, FL and forming Fatal Opera in 1990, alongside his brother Stew Samuelson on guitar, Dave Inman on vocals (and later Andy Freeman), Travis Karcher on bass, and guitarist Jeff Bloom (and later, Billy Brehme). The band released two albums throughout the ’90s – 1995’s Self-Titled effort, and 1997’s The Eleventh Hour, before Samuelson’s untimely passing from liver failure in 1999 at the age of just 41. (Former Megadeth bandmate Dave Mustaine would later announce Gar’s death at the Woodstock festival that same year, and the reissue of the first album in 2002 would ultimately be dedicated to him). A belated third effort titled Fatal Opera 3 was also released years later in 2022.

Needless to say when I first heard about all of this sometime later in the 2000’s, I was intrigued, and eventually started slowly but surely checking out his work with Fatal Opera, which was all fairly solid enough in its own right. Fast forward to 2020, I started retracing of sorts some of Gar’s steps, visiting the area (as best as I could anyway – see photo below) where Gar turned a former barn in Orange City into a recording studio, and opening communication with bassist and former Fatal Opera bandmate Travis Karcher.

For whatever reason, life got in the way though, and the project more or less just fizzled out. But alas, I’m not one to let things go by the wayside no matter how much time might’ve passed, and it was finally time to pay tribute to Samuelson the only way I knew how (and in time for what would’ve been his 68th birthday on February 18th no less, too), and began talking to Karcher once more about resurrecting the project.

When I initially spoke with him nearly six years ago now, we of course discussed that previously-mentioned recording studio, to which Karcher said; “I think the band would be flattered to hear it called it a studio, since we built it out of an old tractor barn/metal shed. (Laughs) Gar called it Headstone Heavy Recorders, and most of the experience was self-taught. I’d be surprised if the building is still there, although it may be, but I doubt it’d still be in the condition it was when we used it.”

Location of the former Headstone Heavy Recorders in Orange City, FL, built and utilized by the metal band Fatal Opera in the 1990’s. (Photo by Jesse Striewski, October 2020)

Once I started talking with Travis again recently in late 2025, I wanted to go back even further, and hear how he and Gar had originally met. He informed me; “I met both Gar and Stew through a friend of mine, John, who was a rock memorabilia collector, specifically guitar pics. He was thumbing through the Volusia County phone book one day and found Gar and called him, and was surprised when he actually answered. Gar said he didn’t have anything for him, but that he was looking for a bass player for a band he was starting with his brother. I went and auditioned on a Tuesday, and came back again two days later for another rehearsal. After that, my equipment didn’t leave Gar’s house for ten years. I was nineteen at the time and fresh out of high school, and Gar and Stew were in their 30’s.”

He continued; “In that time there were a lot of lineup changes, but the core of Gar, Stew, and myself always stayed the same. We also had a record contract with the German label Massacre Records (which also had King Diamond on it), and put out two albums on their label.” He continued further; “I still talk to (guitarist) Bill Brehme, and actually asked him to play leads on some of the current material I’m working on. Bill and I were involved in a minimal role in Fatal Opera 3, but it was mostly Andy’s show. I really haven’t spoken to Andy in a few years. Most of us are not too thrilled with the way that project came out.”

Still unsure if I had ever caught the band live during their ’90s run, I was also wondering what venues the band had played “back in the day.” Karcher stated; “We played a lot of shows around Florida. We started at a small bar near the Naval training center in Orlando called the Sunburst Pub. We also played at the Fairbanks Inn, The Beacham Theater, The Fern Park Station, and probably a few more I’m forgetting about. And we also played a lot of Daytona gigs, a few shows in Tampa and Jacksonville, and some road trips down south to Melbourne, Fort Lauderdale, and Fort Myers.”

Fatal Opera flyer from the personal collection of bassist Travis Karcher.

A few more things I was definitely curious about was whether or not Fatal Opera ever played any Megadeth covers in their set lists or not, as well as what Gar’s thoughts were on the band’s material released after his tenure with them. Karcher explained; “We never played any of the Megadeth stuff, nor was it ever talked or thought about. I think we all understood that Fatal Opera was its own project.”

He continued; “Of course Gar thought So Far, So Good…So What! would’ve been better with him playing on it, but I think he liked Rust in Peace since we heard it before it came out via a demo and listened to it around the studio. I also remember him saying Countdown to Extinction was a little too commercial, though I know Gar really liked and respected Nick Menza.” And as far as what Gar might’ve (hypothetically) thought on Megadeth’s latest, final studio album if he were still here with us today? Karcher stated; “I think he would’ve thought that it was more or less Dave solo with hired guns?”

And last but not least, regarding what Travis has been up to himself these days musically that we touched upon earlier? He informed me; “I’ve been working with an electronic music producer friend of mine who comes from the EDM world. We are working on some crossover style music in the same vein as Nine Inch Nails or Stabbing Westward. I don’t really know what to call it at the moment, but it’s loud and aggressive, just the way I like it!”

We’ll definitely keep an eye out for any and all upcoming music from Travis (and be sure to do the same!), and happy heavenly birthday, Gar!

Series Review: Shifting Gears Season 2 (ABC/Shaky Gun Productions/Lost Marbles/20th Television)

By: Jesse Striewski

For as long as I can remember, Tim Allen has been an American institution. First introduced on the small screen to most of us in the early ’90s via Home Improvement, then cementing his status as a comedy legend with such classics as The Santa Clause and Toy Story. And Kat Dennings, blessed with both beauty and wit, has earned her own place inside many households since 2 Broke Girls in the 2010’s. Put the two of them together, and you’ve got a (mostly) winning combination.

The first season of Shifting Gears was enjoyable enough from what I remember – though I actually spent much of it watching from a hospital bed at the time, so my memories are not as clear for obvious reasons. But season two seems to have really hit its stride, focusing on everything from young love, to deeper issues centered around post-loss relationships (Newcomer to the series Jenna Elfman is undeniably likeable here as Allen’s character Matt’s new love interest).

Highlights that stick out from this latest season include a brief Home Improvement reunion of Patricia Richardson, Richard Karn, and Debbe Dunning on the season premiere, and some fairly fun seasonal episodes centering around both Halloween and Christmas. There’s even a humorous episode (simply titled “Danger”) that revolves around a nuisance raccoon that allows the young Maxwell Simkins of the recent Mighty Ducks: Game Changers to shine again as well.

Sure, some laughs may fall flat, while a few others might even feel a bit forced at times. But overall, there’s way more cringe-worthy things to behold on prime time TV these days other than Shifting Gears.

Rating: 3/5 Stars

Book Review: Future Boy: Back to the Future and My Journey Through the Space-Time Continuum By Michael J. Fox and Nelle Fortenberry (Flatiron Books)

By: Jesse Striewski

As an avid fan, I’ve read several of Michael J. Fox’s previous books over the years, in addition to of course growing up watching his films and shows. But I had a feeling that Future Boy – which fully chronicles landing the role of Marty McFly in Back to the Future whilst juggling his already-established role of Alex P. Keaton on the hit sitcom Family Ties in the mid-’80s, would be one hell of a ride. (To this day the original remains one of my personal favorite films of all time)

From initial doubts and hesitations, to almost covertly becoming McFly while Actor Eric Stoltz was still more or less in the position of said lead role, to the ultimate aftermath/snowball effect the eventual decision to just go for it would ultimately have, there’s not a single moment of boredom to be found in between the front and back covers here.

The pace of that time frame in his life, zipping from a full day’s work at one set to another with little to no reprieve in between, is both commendable, and at times in many ways even relatable (my long lost days as a single father kept popping in my head while relieving some of Fox’s own struggles here).

Fox even narrows down several interesting thoughts about BTTF itself I had never considered before. For example – the ending of the original film, where Marty returns to his own time frame and finds his lackluster family now suddenly successful; is it truly a “happy ending,” knowing he now was not a part of any of the shared memories they all have together? (Deep stuff indeed)

To be given the type of insight on a specific moment of time that has had as huge of a cultural influence as Back to the Future has, truly feels like a gift here, and the tenacity that Fox has displayed – both then and now – deserves much respect. Thank you for sharing, Michael.

Rating: 5/5 Stars

Album Review: Rave In Fire – Square One (High Roller Records)

By: Jesse Striewski

Truth be told, I’m always on the lookout for more talented, up-and-coming metal bands that check all the right boxes. Madrid’s Rave In Fire certainly get the job done (despite the fairly cheesy cover of their second full-length effort here), delivering solid tracks often in the same vein as Dio, Scorpions, or early Iron Maiden.

The instrumental “Prologue of a Delirium” sets things up nicely before “Dark Poison” and “Crown of Stars” each take respective command of their listeners. Other highlights such as “Untiring Eagles” and “Knightwalker” set a perfect tone in their own right as well.

In a genre with such a vast, already-established history such as heavy metals,’ it’s not always easy to stick out from the rest of the crowd. But when you’re authentic and paying tribute to what’s come before without completely ripping it off or becoming just another cliche/parody (plus when each of your two female members have the ability to turn a head or two – sorry, but ultimately I’m still just a guy!), it’s hard not to take some notice. Looking forward to seeing what else is in store in the near future for this act indeed.

Rating: 3/5 Stars

Album Review: Megadeth – Self Titled (BLKIIBLK/Frontiers Music s.r.l.)

By: Jesse Striewski

To be perfectly honest, several recent personal factors have made the writing process just a tad on the difficult side for me as of late, to say the least (call it what the old-timers used to if you like – writer’s block). But I had hoped that a showing of the limited-release film Megadeth: Behind The Mask, in which the band’s history is chronicled in full and their seventeenth and final studio album, simply titled Megadeth, is revealed, would be enough to snap me out of it, if only for a short time. Thankfully I was right.

I had been following the singles leading up to the release of their historic last magnus opus as best as I could. “Tipping Point” and “Let There Be Shred” were likable enough, while “I Don’t Care” felt a little too juvenile and forced (though the video is on the fun side).

But once you dive in, there’s way more to discover and like, albeit still the occasional filler track or two. Highlights include “Obey The Call,” the extremely relatable “Another Bad Day,”and possibly my favorite of the bunch, “I Am War,” which reaches anthem-like epic proportions. “The Last Note” makes for a fitting grand finale, while a bonus track cover of Metallica’s “Ride The Lightning” is frontman Dave Mustaine’s ode to his own past.

I could feel a wave of sadness coming over me as I knew the end was approaching though; not only at the thought of saying goodbye to a band that has been there throughout so many fond memories during my lifetime, but at the thought of an old friend and fellow fan of mine, whose recent passing not even two weeks ago hit me like a ton of bricks (remember those “personal factors” I had alluded to earlier?) Still, I’ll forever be grateful for the time I’ve had with both. Thanks for everything Dave, and see you on the other side, Daniel.

Rating: 3.5/5 Stars

Series Review: Stranger Things Season 5 (Netflix)

By: Jesse Striewski

Few shows in recent memory have come along and reached the pop culture phenomenon status the way Stranger Things has (The Walking Dead comes to mind in comparison, although that turned out to be a case of not knowing when to quit while you’re still ahead for sure).

When Stranger Things first dropped on Netflix in 2016, it felt like this nostalgic little secret that the wife and I (and eventually our son) stumbled upon that was of course a fun ride, though none of us could’ve possibly ever predicated then just how huge this show created by The Duffer Brothers would become.

Fast foreword to season five, where audiences have by now seen the beloved group of friends enter the upside down and fight evil in more ways than one by now. I honestly had some doubts at the onset of the season, where many of our heroes are now looking far too old to pass as believable high school students still getting bullied the way Dustin (Gaten Matarazzo) is in the first episode.

But as things progress, the season gets steadily better. This time around, the entire town of Hawkins is under military control after the events of the fourth season, with the entire gang keeping a steady eye on both them, and the upside down while Hopper (David Harbour) prepares Eleven (Millie Bobby Brown) for her ensuing final battle. Meanwhile, there’s another “bad guy” in the form of Dr. Kay (played by an over-the-top Linda Hamilton) trying to to catch El in the middle of it all.

There’s one subplot after another, as the evil Vecna (Jamie Campbell Bower), disguising himself now as “Mr. Whatsit” to a select few of the town’s children, imprisons a group of kids lead by Holly Wheeler (Nell Fisher) – Mike (Finn Wolfhard) and Nancy’s (Natalia Dyer) younger sister – who at one point finds herself in the same world as the still-comatose Max (Sadie Sink), who shows her the way to navigate through this new world.

This all leads to one final, huge confrontation with Vecna (who we also learn some more backstory on along the way), which I’ll stop at here before giving away any potential spoilers. (Though be advised, there are certainly a few tearjerker moments.)

Aside from all those previously mentioned, many other familiar faces return here, including (among others) Lucas (Caleb McLaughlin), Steve (Joe Keery), Jonathan (Charlie Heaton), Robin (Maya Hawke), and of course Winona Ryder returns as Joyce once again, though her character feels a bit pushed to the wayside here. And of course the “coming out” of Will (Noah Schnapp) has been much-talked about, which is fine and all because it feels like a natural progression for the character, but the moment itself just feels a bit forced and awkwardly placed. Newcomer Jake Connelly also adds some much-needed comic relief as Derek.

It’s bittersweet to watch the series come to its inevitable end after all that it’s meant to so many over the years (my aforementioned kid once went as Dustin for Halloween one year at the top of its hype, and I cannot count the number of collectible items that have since been accumulated in our household). Watching the finale on the big screen with the family among a packed theater felt like the only way to say goodbye to this show that has meant so much to so many, truly felt like the only way to do so.

The show that once filled countless minds with so much wonder and had us all united in longing for a bygone era known as the 1980’s, is now a part of the history books itself. And what a ride it has been.

Rating: 4.5/5 Stars

Film Review: Silent Night, Deadly Night (Wonderwheel Entertainment/New Dimension/Rebel 6 Films/White Bear Films/StudioCanal)

By: Jesse Striewski

I was really hoping for yet another diamond in the rough horror film in the same vain of this year’s Black Phone 2. Unfortunately with this latest update to 1984’s Silent Night, Deadly Night, there’s more “rough” than anything else here.

First the pros; the visuals and atmosphere are fairly spot on, and even some of the eerie music from the original film (see, “Santa’s Watching”) is used, which brings a nice touch to the proceedings. And Rohan Campbell is actually pretty convincing as the disturbed drifter Billy, as is Ruby Modine as his love interest, Pam (for the most part, anyway).

Now the cons; it’s an-over-the top gorefest where any chance at actual art is pushed aside to make way for another stab at shock value. We’re expected to accept an unrealistic and exaggerated reality where anyone religious/bearing a cross is seemingly inherently evil in a fairly insulting manner. Even the gimmick of Billy hearing and responding to an inner voice named Charlie (voiced by Mark Acheson) quickly becomes fairly tiresome here.

Sure, the original film was far from perfect (I won’t even get into the various levels of its sequels right now, either) and you won’t ever hear me claim otherwise. But where part of Billy’s traumas were the result from the abuse he encountered from the head nun at the orphanage he was raised in, there was also the contrast from the younger, decent nun who wanted to actually help Billy and see him thrive in life. Here there’s nothing like that, just another dumbed-down excuse for excess violence.

What starts with a decent concept, quickly gets muddled by excess violence and a predictable ending. The potential was there, but the execution is simply not as clever as the filmmakers had hoped it would be here.

Rating: 2/5 Stars