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BLIND BARGAIN (2025) took me by surprise, in the best possible way. The story blends genuinely interesting characters and off-beat situations with touches of fantasy in exactly the right doses. It concerns a mysterious physician's unconventional attempts at reversing the aging process, and how an unassuming young man gets his mother get caught up in the experiment. As with other films from director Paul Bunnell, you can never predict where the next scene will take you. It is by turns weird when weird is called for, and unsettling when necessary, but always intriguing - a morality fable wrapped in a waking dream. Not only does BLIND BARGAIN hold the viewer's attention, it benefits from repeat screenings, even after you know where things are headed, because these wonderfully realized characters are more important than the secrets they keep.

The cast is ideally suited for this story and the strange world in which it takes place. Crispin Glover as Dr. Gruder is letter perfect in a role that is serious and sometimes menacing, but never played for laughs. Lucy Loken walks a fine line as Ellie Bannister, the doctor's beguiling assistant, not immediately identifiable as one of the good guys or one of the bad. The positively charming Amy Wright is warm and relatable as the long-suffering mother, Joy Fontaine, while Jake Horowitz is her son Dominic, who is suffering from post-war drug addiction. Horowitz's performance is convincing and grounded in reality, making Dom deeply flawed yet sympathetic. You can't help but root for him, even as you wince at some of the choices he makes. Annalisa Cochrane appears later in the movie, playing a pivotal role with grace and an almost otherworldly presence. All of the leads portray their characters seriously without any winks to the camera, lending gravity to the events unfolding. Other actors, including Rob Mayes, Jed Rowen and Sean Whalen, get to add a lighter touch for occasional moments of humor, which helps balance things out.

Set in 1970, BLIND BARGAIN is a stylized time capsule, from the locations to the vehicles, the set dressing, and - of course - the wardrobe. Top marks to everyone in charge of props and set dressing, for their nostalgia inducing contributions! Visually, the movie succeeds in looking exactly like something released in that era, infused with a pleasing grain that lends depth to the image, but doesn't overwhelm. Director of photography Francisco Bulgarelli incorporates some old school techniques, including rear screen projection work, scene swipes and cutaways, and even a split screen at one point. It's all sparingly employed, though, so as not to become gimmicky. There are also a couple of trippy, colorful sequences depicting the mind state of characters under the influence of hallucinogens. Once again, these side trips illustrate a point and are pleasing breaks from the norm, but they are never over indulged.

Like the photography, I cannot say enough good things about the score. The original underscore and main theme are by Ego Plum, who really fired up the creativity engine to produce evocative, memorable music appropriate to the proceedings. I was hooked instantly, thanks to a suspenseful, driving piece that plays throughout the opening scene and continues right into the main titles. It established the mood very nicely. Backward tracks are incorporated here and there, which subtly mirror the concept of turning back time. Even more satisfying is a sweet, melancholy ballad (!), sung during a party sequence. This song sneaks up on you out of nowhere and then stays with you, part of a haunting, surreal scene that is over all too quickly. I was utterly mesmerized watching this the first time, caught up in the dreamlike performance as if I were right there experiencing it in person. And on a second watch, I realized the same melody had been briefly, quietly introduced much earlier (but I won't spoil where!). Music by other artists is used in a few spots very effectively, but Bunnell resisted any urge to pepper this project with well-known pop tunes from start to finish, which probably would have been the obvious move for a lot of directors.

I mentioned the dreamlike qualities of the movie, and that really does describe BLIND BARGAIN overall, to its credit. It's sometimes sad, sometimes wistful, other times nightmarish, but always plays out like the fantasy you experience deep in slumber, which you cannot resist. From the very first scene, I wanted to know what was going to happen next. When the movie ended, I couldn't wait to watch it again! Now that I had a handle on the relationships of the characters, their predicaments became more - not less - interesting to me. At one point, we are introduced to The Scrivner, someone with a hinted at supernatural presence. On my first watch I assumed this was an interesting but not entirely necessary diversion. But on my second viewing, I understood that what transpires during that scene - an exchange of artifacts - wasn't what was important. The Scrivner takes that opportunity to gently impart words of wisdom about aging and living that speak to the heart of the story, and which I have a profound appreciation for. I was not expecting to be philosophically challenged at any point during the movie, yet I now think about his simple, direct monologue often.

A lot of talent has come together on and off screen to bring BLIND BARGAIN to life. Paul Bunnell has a knack for selecting exactly the right people in the right capacity, and here he has assembled a brilliant combination for a most unusual and entertaining piece of storytelling. This love letter to the filmmaking of yesteryear also acts as a respectful nod to classic mystery/fantasy anthologies such as THE TWILIGHT ZONE and especially THE NIGHT GALLERY. You'll know what I mean when you see it. BLIND BARGAIN is not a cookie-cutter, by-the-numbers studio feature, but it IS a fine contribution to the world of cinema, and it actually has something to say. "Go on living."

It has been many years since I've seen a movie as intriguing, bizarre, and fun as THE GHASTLY LOVE OF JOHNNY X, and that is the truth. This big screen spectacular is a crazy concoction, consisting of juvenile delinquents from outer space, assorted low-budget B-movie plot devices, and a cast of characters prone to bursting into song at a moment's notice. Yes, this is a comedy. In fact, it is actually a sci-fi/musical comedy with film noir thrown in for good measure, a genre (or sub-genre) with very few examples to speak of. The whole thing is beautifully photographed in black and white, and it all comes together thanks to the vision of director Paul Bunnell, who assembled a dedicated team both on and off-screen. The result is a movie overflowing with energy and good old-fashioned showmanship.

The plot revolves around Johnny X, just your average leather jacket wearing bad boy from another planet, exiled to Earth with his devoted gang, known as The Ghastly Ones. Bliss is a former girlfriend trying to escape Johnny, and Chip is the naive soda-jerk who gets involved in her plight. These roles are well played by a trio of talented and attractive young actors. De Anna Joy Brooks as Bliss delivers cutting remarks and sultry solos with equal aplomb, while Les Williams is sincere, likable and properly earnest as Chip. Will Keenan as the title character is the glue that holds the plot together, dark and brooding, with tongue firmly in cheek.

Other stars include Paul Williams as talk show host Cousin Quilty, and Reggie Bannister, as hapless concert promoter King Clayton. Creed Bratton is very effective as the outrageous and twisted Mickey O'Flynn, The Man with the Grin. Film buffs take note: This movie also includes veteran actor Kevin McCarthy's final on screen performance!

A tremendous asset to the movie is the music, an infectious blend of surf-guitar rock and Broadway show tunes. All of the songs are excellent, with my personal favorite being the sizzling "These Lips That Never Lie", performed at an old Drive-In theater. Another number - "Big Green Bug-Eyed Monster" - is exciting as well as dramatic. The musical arrangements are stylized and pleasingly retro, and I hope a soundtrack cd is forthcoming (the music is that good!).

No major flaws come to mind, although in my opinion the time period is not immediately evident. It seems to be set in the past, due to certain props, the use of vintage automobiles, and the fact that the Ghastly Ones are clearly fans of 1950s-era clothing. However, other visuals and references place the story in contemporary times. Best to assume the movie takes place in the present, just in its own special universe, and not worry too much about it!

Ultimately, the movie works thanks to the efforts of the extremely talented cast and crew, and their obvious love of the various film genres being parodied. They took a truly wacky concept and hammered out their own little cinematic masterpiece. It certainly deserves a healthy theatrical run, and I can easily see it continuing beyond that on the midnight movie circuit. THE GHASTLY LOVE OF JOHNNY X is tuneful, suspenseful, and full of genuinely funny dialogue. Above all, it is entertaining, and that is exactly what a good movie should be.

HOUSE OF DARK SHADOWS is my favorite vampire movie of all time. Better than the old black and whites from the early days of the movies, better than the genuinely frightening Hammer movies of the 1960s, and much better than the more recent contemporary takes aimed at the high school set.

As a child, and a fan of the DARK SHADOWS daytime drama, one of my happier family memories is one night the whole family packed up the car and went to the drive-in for a crazy quadruple feature. HOUSE OF DARK SHADOWS was the main attraction, and therefore the last to play, following a GODZILLA movie and THE GREEN SLIME (plus one more I can't recall). All these years later, I still watch it (on laser disc, as there is not yet a DVD), and I'm happy to say that, for me, it is a movie that remains enjoyable, rather than being better relegated to my childhood memories.

Jonathan Frid plays Barnabas Collins with great class, creating a sympathetic vampire eons before such a characterization would become commonplace. Granted, the TV incarnation was portrayed as more guilt-ridden, whereas the film version was, due to the tightened focus of the storyline, more single-minded about his pursuits. Some fans do not care for the graphic blood-letting and viciousness present in the movie, though that pretty much has to be expected. In any case, it is nothing like the gore that is popular with audiences today. It IS more violent, though, and Barnabas' most brutal attack in the movie actually doesn't even involve fangs! The other cast members have honed their characters to perfection after years of playing on the TV soap. You could say they all had the longest rehearsal period in movie history, in a way! Some perform better than others, but seeing so many favorites on the big screen is definitely a treat. The sets are sumptuous, a huge step up from the stage bound look of the TV show, and liberal use of music from the soap works beautifully. There are plenty of exciting and genuinely suspenseful scenes, with many of the best moments contributed by Grayson Hall as the doctor who is certain she can help Barnabas through modern science.

The movie may not be perfect, but only in minor ways. It could be argued that there are way too many characters, for example, or that too many bodies start piling up after a certain point in the plot, but I still give the film 10 out of 10 due to the overall brilliance of the acting, atmosphere, and success in bringing Barnabas to the big screen. Furthermore, I'm thrilled that the treatment was not deliberately campy.

All in all, we are lucky the movie was not only made, but was successful. It introduces the cult favorite vampire and his brooding family to new generations regularly, by existing outside the original daytime drama. At the same time, it keeps the memory of the 1960s soap opera alive, renewing fervor in the fans who were there at the beginning. I'm not looking forward to the announced DARK SHADOWS movie from Tim Burton, but even that will boost interest in the original series and movie, so let it happen. Long live Barnabas Collins!