~~~

Wilhelm Van Benkerstein

E7 25

While this film is something of a summation of all previous entries, I did enjoy the self reflection, and in some sense the closing of the cycle. I was hoping for the Saint to show up, but I suppose that time has passed…or has it? Guess we’ll have to wait til next year to find out!

Going Up!

Having starred in this picture I can only say so much. I will admit this entry may have affected me more than any other – by the time we were finished filming, I too, was terrified of elevators. The form was top notch, and the exacerbation on my face didn’t require much pretending. I believe this to be an excellent example of horror art, and a true reflection of the nightmares we all encounter from time to time. I especially liked the spiral staircase, which offered just the slightest relief.

The Vegetable

A formidable addition to Frank’s oeuvre. Often his films end with the true wretchedness, or a gotcha type moment. However, in The Vegetable, it’s ending wasn’t overshadowed by the grotesque passion atop the hospitalized man. The affair wasn’t the horror (though filming it sure felt like it,) and by making it only a symptom of the real problem, it illustrated Frank’s development as a filmmaker. My only real issue? Not enough Frank. While his narration was hilarious, and horrifying, I wanted more Frank! What’s the circus without it’s Ringleader? 

NeuroReGenesys

Emperor Palantine? Let’s just say that Augustus has raised the bar of quality in the festival. His eye for technical coherence, whether it’s by camera movement, coloring of the image, or providing real audio recording, has effectively blown all other entries away. My only issue was Mary Widow’s short screentime. Otherwise, another fantastic submission from Augustus.

Doppelgangers’ Shadows

What can I say other than we now know Feldgeist’s protagonist is named Stewart. I’m not sure how many sequels I’ve seen on Extensions Saturday, so I’m glad I was able to add one to the mix. And I can assure you this won’t be the last. Have we ever seen a trilogy on Extensions Saturday?

L’Autre Homme

Another excellent entry from Other Derek. What I appreciate most about his works are their comprehensiveness in the telling of them. He weaves together tropes and locations and characters for a tale that spans ages. I would have liked more of France and ZRay, but the story was told in a way that was both gripping and fun and justified the run time. Even the special effects provided the right kind of gore to go with the picture. Great work!

Treat Monster Final

Though this was only a brief work utilizing AI, it was just what the night needed for a palate cleanser. There’s nothing more joyful than a snoring dog getting some well deserved treats. Bravo to the pup!

Vlindinhauer Haverhast Discovering Stand Up Tragedy

I found the thought of Vlindinhauer stuck in traffic trying to come up with some additional material to be both the most terrible and hilarious of the night. Having been in the tourism business for a spell, I know how that goes, but those circumstances sound trying. And trying is the goal, which is what this film represented. I applaud the new concept, and honestly was surprised it wasn’t more tragic! I hope this new concept is explored further.

Cheers for another year of good times and creative works!

Wilhelm

~~~~~~~

Herr O

The meat of this film- and where Wilhelm is most successful- is in the dreamlike exchange between Stewart & the Bullheaded effigy. I was absolutely captivated by this exchange, even if it was a little unclear to me upon first viewing. Upon rewatches, I am struck by the gravity and importance of the task bestowed unto Stewart, and shocked by something that I had seemed to miss until third watch… every year a theme seems to emerge. Spontaneously. Without planning. As if there were some sort of subtle thread that all Extensions filmmakers seem to be in touch with. One theme this year that emerged rather obviously was that of the doppleganger, or double– NeuroReGenesYs’s dopple-daga, the blatant dopplegangers’ shadows of this film, and the ‘other man’ in L’Autre Homme. But I was almost floored when I recognized the subtle theme of a Power totem and its effects upon its wielder was present here. Wilhelm, sensitive as always, was able to grasp that theme better than most others. A reference to the Lord of the Rings (Stewart as Isildur) makes it clear that Stewart is as corruptible as any man, just as Young Derek was in EVII- manipulating his friends to get Andy’s birthday gifts. I have to wonder what’s next for Stewart, now that he has this flute of power. For all of its commendable craft work, but mostly for its thematic resonance, this film is the obvious and only choice for this year’s Saint’s Choice.

E7 “The Film” 2025 Edit

A Film by Vlindinhauer Haverhast

Only the second time seeing this film, I am appreciative of DJM cutting the film to just under 30 minutes , down from 75. It represents the end of a certain era and it captures a brief moment in time – the Med Woods, the characters lost to time and playing the very difficult Baoling Balls catch. 

Going Up!

A Film by Vlindinhauer Haverhast

We should recognize the clues immediately, as VH shows his hand with Lovecraft’s line – “I shall never sleep calmly again when I think of the horrors that lurk ceaselessly behind life in time and in space” This isn’t just a quote,  it’s a warning that something very wrong is about to unfold.

Using an elevator as the primary setting for a slow descent into madness is a brilliant choice. The confined space amplifies the collision between Coop Dickson’s increasing madness and the unsettling persistence of the attendant, Azneovlantusis – whose eerie calm suggests he’s totally unaware that anything is amiss. But is he? Who is this guy? A zombie? A devil? A malfunctioning cyborg? An analog for The Grim Reaper ? And how long has this strange purgatorial loop been going on?

The film keeps teasing us. Why is the elevator always going up? And equally disturbing – what would happen if it finally went down?

As we shall see – some buttons are better left unpressed.

Original score by The Professor is a true achievement in horror sound design. 

 

The Vegetable

A Film by Frank Mulone

Haverhast Award Winner Frank Mulone returns to the fold as director of another stunning achievement in horror art. It’s all there again – long periods of discomfort with a heaping helping of human excrement served in a bed pan. Poor Billip Dungar – he was just a regular guy minding his own business in a loving relationship with his ….wife … when tragedy struck.  The most disturbing part of this film was that it seemed impossible to offer any sympathy for Billip Dungar in his zombie vegetable state, played with quiet dignity by Augustus Palantine. As an audience, we are both repulsed and fascinated by the moral collapse of Dr. Pollansky, Sandy Dungar, and the inevitable failure of the health care system, nurtured in demise by the greed of Cassondra Bronson and Curt Wells. The Life Support 2000 is a perfect metaphor for the continuing collapse of humanity in the age of the for-profit systems – these are all terrible people and we are all fucked. Billip Dungar was doomed from the get-go. 

 

NeuroReGenesYs

A Film by Augustus Palantine

Again, another disturbing dystopian theme for Extensions Saturday that does not disappoint. NeuroReGenesYs has an impressively professional sheen – slick cinematography, striking lighting, great locations, number of shots, tight editing, and immersive sound design. The retro-synth graphic interlude is a standout: saturated neon imagery of guns, watches, pills, and other visual symbols rooted in the acts of doom ahead committed by our protagonist- something of an homage into the Willard character in the hotel room scene in apocalypse now. Watching again with captions turned on revealed layers I missed the first time. The story becomes clearer: the opening overhead shot of the list of symptoms befallen the “my poor wife” character –  a spreading interstellar decay of the human mind, with “Abscesses,” forming in the brains of the innocent. Our protagonist – equal parts hero and anti-hero – in the role of a euthanasia contractor, tasked with mercifully ending the lives of the infected, must consume massive doses of the drug NRGY which acts as a temporary buffer, numbing the contractor’s trauma and emotional recoil so he can continue doing the unthinkable. But NRGY comes with a terrifying catch: a 1-in-260,000 chance of triggering rampancy, a condition that no one wants to experience – or survive. Stylistically, this was my favourite film of the night – bravo to Augustus Palantine for this achievement.

 

Feldgeist II – Doppelgänger’s Shadow

A Film by

Wilhelm Van Benkerstein

“Those who cannot remember the past are condemned to repeat it.”

George Santayana, The Life of Reason (1905)

 

Wilhelm Van Benkerstein gifts us yet another visually stunning, hand-crafted film for this year’s event, in the same spirit of Spectaculum. Stuart has returned and he is damaged, to the extent that he needs to rehearse his own attempts at pleasantries “Hey guys – how’s it going?” “Hey guys – how’s it going?” “Hey guys – how’s it going?” We are introduced to Stuart’s cruel friends who give him an old-fashioned ass whooping – but why? Perhaps his friends know something about him that we don’t –  that he is unable – or unwilling to cast the object of his obsession away. He is warned again and again to free himself by the mythical creature of the woods, but he is unable. What gives Stuart? Tell us what is wrong!  The decision feels fateful, almost mythic – as if he’s just doomed himself to the same madness that claimed the villager that he was warned about. Pro tip – next time take those alleged friends of yours into the woods and unleash the power. I enjoy these films for Wilhelm Van Benkerstein’s attention to detail, low light cinematography and storytelling. Their autumnal sparseness and the inherent woo associated with Samhain, Michaelmas, All Saints Day and the Harvest are a perfect fit for the time of year. 

 

 

L’Autre Homme (The Other Man)

A film by Other Derek

An ambitious, international spectacle that sweeps from a medieval castle in Carcassonne 240 years ago all the way to the present day, L’Autre Homme is the newest film by Other Derek. On a second viewing, the opening monologue hit differently: “I must extend.” From the French étendre, it can mean to extend, expand, unfold, spread, stretch, roll out – or, most fittingly, evolve.

Whatever began centuries ago is still happening now, carried forward through some dark form of horror-driven natural selection. How else do we explain a swaddled newborn emerging with the face of a monster? And his parents didn’t even flinch – impressive composure.

Thirty-nine years later, we’re reunited with our hero, Bryan Alba, who may have shed the pig-face but is clearly losing both his health and his sanity. (Side note: imagine those baby pictures. A little monster in a onesie? No wonder the young couple who first found him couldn’t cope.)

It’s revealed that Bryan was adopted, and as the story unravels, he literally begins to see himself as “other.” He’s powerless to stop his own evolution – or devolution – and it’s made worse by the indifference of friends and family who seem oblivious to his unraveling. In a sly nod to Frank’s filmmaking style – including scenes of smelling his roommate’s shit and burning himself – Bryan becomes unable to sense anything at all, as his transformation into L’Autre Homme accelerates.

When Bryan’s counterpart appears in the mirror and casually ingests an eyeball, it’s clear things have gone way off the rails. A tender moment with his mother and sister confirms again that Bryan was adopted, cementing the cycle he can’t escape.

After a brutal encounter with himself in the final showdown, Bryan tumbles from a balcony to his death – thus birthing The Other Man, who returns to Carcassonne maintenant aujourd’hui (Now, Today!) to continue this maladaptive yet strangely effective evolutionary loop. Are we not men? We are de-volution.

Shout out to Holly Mulone as Dr. Minda Mallart, appearing in the night’s second film as a despotic and soul-less health care worker, to wit: “You might not be able to handle the repercussions psychologically. The findings could very well be life altering. Or…it could be nothing at all” and   “This is a $23,000 bet” . Brava ! 

 

 

Treat Monster

A Film by C A

 A delightful little film about a little dog and his very attentive parents. There’s some excellent videography of the little dog and his excitement – a very cute little short film that breaks up the heaviness of the set.

 

Vlindinhauer Haverhast Discovering Stand Up Tragedy

A Film by Vlindinhauer Haverhast

 

One of DJM’s bravest films yet – the Ganas it takes to perform stand-up is both admirable and courageous – not just once – but 4 sets. Having the experience of knowing Ali, Skender, The Gibber and the rest of the gang provided me with some real gut-wrenching laughs. Bravo! 

 

Recap 2025

A Film by Vlindinhauer Haverhast

 

So many touching moments, with tears and deep laughter packed into 1 year. Seeing some great concert footage was a real delight along with the musical selections to accompany the footage. May the giving hand never falter!  

 

The Haverhast Award:

The Vegetable

A Film by Frank Mulone

 

The Saint’s Choice:

Vlindinhauer Haverhast Discovering Stand Up Tragedy

A Film by Vlindinhauer Haverhast

Honorable Mention: Best Actress in a supporting Role – Holly Mulone as Dr.Minda Mallart – L’Autre Homme (The Other Man)

~~~~~~~~~~~~~~~~~~~~~~~~

Visitor Blim

 

The Haverhast: The Vegetable

The Saint’s Choice: NeuroReGenesYs

Honourable Mention: Acting performance: Other Derek’s Mom
Original Score: Bob aka “The Professor” (Going Up)

~~~~~~~~~~~~~~~

Augustus Palantine

E7 25
Another engrossing look back at a different time. The background soundtrack and pretentious discussions on film could be heard today in my living room, a college dorm room, or a brew hall. So in that way, the piece is timeless. The fashion is also making a comeback! I think Vlindinhauer should end each Haverhast by telling us how tired he is.
Fripp!

Going Up!
Great use of locations. Real guerrilla, furtive filmmaking that would make Werner Herzog proud (perhaps he can be next year’s Fripp?)! No bolt cutters required for this trespassing; a sly cunning and geographical knowledge of DTX and the interiors of the buildings abutting Washington Street was all that was needed. Solid performances from the three gentlemen, though having spent so much time with Other Derek as a woman, it is hard for me to accept him as anything but. Shoutout to the Beantown Pub sequence. I could smell the stale beer permeating the air and taste the pub grub through the screen; a testament to the photography. The asynchronous dubbed dialogue added a comical note and bolstered the dreamlike quality. We are all trapped within machinery we have no control over. Sometimes we end up where we planned, sometimes fate takes us to unexpected or unwanted places. A+ score from the Professor.

The Vegetable
The first act of The Vegetable was comedic divinity. Vlindinhauer’s drunk “acting” had me rolling, and when he mounted up behind the wheel of a vehicle, he showcased a particular bout of histrionic genius that went unmatched during the evening. The rest was well shot and competently edited, though could never quite reach the heights of the first chapter. We did land at a genuinely satisfying conclusion, however, having been propelled there by vehicular collision and shunted unsteadily along by Wilhelm’s… thrustings. Holly’s performance was a standout. Best song of the night?? Totally. Also loved the title cards; they were unsurprisingly rendered in a visually satisfying design by Beachmont Frank!

NeuroReWhatchaMaCallit
As is my wont, I shaped a SciFi narrative around images that kept playing in my head, bubbling up from my subconscious and demanding to be committed to 1s and 0s. Perhaps in the future I will have the balls to commit to going fully abstract.

Feldgeist II – Doppelgänger’s Shadow
Stewart rehearsing in the car before the party followed by his worst assumptions being realized once inside was one of the funnier moments of the evening. Also, some incredible low-light cinematography during the sequences with the bull mask. His resurrection from the fall leaves was another moment that Wilhelm expertly captured and edited. Stewart’s quotidian day job shot in a Kafka-esque (apologies) empty office floor does tickle something deep in my belly and brain that says “this is hell,” but I also can’t help but have a sort of affinity for that particular brand of modern drab sterility.

L’Autre Homme
Having been behind the camera for about 1/3 of this one, I was unenvious of the editing job Other Derek had in front of him and a wee bit nervous for how the final product would come to form. I’m sure it was indeed an arduous edit, but it was well worth his effort as it played rather smooth and… effortlessly. I was surprised by how coherent both the story and visuals were. The man has a vision and saw it realized; iMovie, time restraints, and airdroppings be damned! I was happy to be his temporary lens to aid that vision when his glasses were lost.

Treat Monster
I honestly could have taken 7-13 more minutes of loud snoring puppy.

Vlindinhauer Haverhast Discovering Stand Up Tragedy
These bits would fit well in a movie where our main character encounters a barfly who feels the need to share unheralded anecdotes. Perhaps for my next feature I will pressgang Vlindinhauer to do just that. His Stand Up Tragedy deserves more airtime! The Ali anecdote in particular was evocative and left the audience thinking, pondering. We all assign someone else as the village idiot; unfortunately too often that someone else is just a reflection in the mirror who may or may not have an eyeball in their mouth.

Haverhast: L’Autre Homme
Saint’s Choice: Going Up!
Honorable mentions:
Vlindinhauer in The Vegetable
Hoffman in L’Autre Homme
The song in The Vegetable

~~~~~~~~~~~~

Smart

E7:

I finally understand film!

Guest appearance by the Super Phaser

Going Up!:

A doomed button pusher struggles to ascend

The Vegetable:

Classic locked-in cuckold tale with, somehow, a happy ending

NeuroReGenesYs:

Nice one. I’ve stopped eating and tripping and will soon begin dosing NRGY

Doppelgänger Shadows:

I was reminded of Alistair Cooke introducing Masterpiece Theater…

Favorite line delivery: what’s up, stoo-pid?

L’Autre Homme:

I think the moral of the story was don’t be adopted?

Favorite horror moment has to be throwing used tissues on the kitchen floor. So funny

Treat Monster:

A good girl discovers her true nature

Stand Up Tragedy:

The witch hunt. I could watch these on a loop. Where’s the subscribe button?

The Haverhast: NeuroReGenesYs

The Saint’s Choice: Doppelgänger Shadows

Honourable Mention: Stand Up Tragedy

~~~~~~~~~~~~

Rob

 

First off – I applaud all the film makers and their efforts

*E7 – Not my favorite Extensions but heartwarming in a way to remind us of simpler times – I seem to remember much more adventure during filming – unlike a traditional E movie there wasn’t any murder or mayhem or even a musical diversion – I guess the opening scene with the Prince confused me.

*Going Up! – points for being succinct and tight

*The Vegetable – best quote of the night “I’ll have another Scorpion Bowl!” – Probably the best film of the evening with high production quality and OD in a dress….

*Neuro…. – a bit incomprehensible to me which is not necessarily a disqualification but to me lacked the charm needed

*Dopple – I appreciate the work but this genre doesn’t quite click with me

*L’autre Hommes – more in line with a traditional Extensions night movie with it’s tongue in cheek approach with included horror.

*Treat Monster – light and airy but I don’t like dogs

*Standup Tragedy – This was particularly enjoyable for me since some of the tragic material hearkened back to the Whipple Street days of youth – I can’t believe you blamed poor Jennifer Stelfox – I am sure your mom knew better

Recap – Fun way to end the evening

Haverhast: The Vegetable

Saint’s Choice: L’autre Homme

Honorable: We got to see Michael Schenker

~~~~~~

 Persephone Haverhast

 

Haverhast: L’Autre Homme

The Saint’s Choice: The Vegetable

Honourable Mention: Elle Pacino

~~~~~~~~~~~~~~~~~~~~~

Vlindinhauer Haverhast

 

 For the first time, I am not the first to get the reviews up. Therefore, I am altering my usual format. This year we may see the introduction of a “best review” write up award.

 

Extensions 7: The Film (2025 Director’s Cut)

Initially filmed on Extensions Friday 1991, this film had several bits added to it over the winter into 1992 leaving us with a 75 minute quagmire. An over-stretch or “art” that had little entertainment value. This new edit finds the diamond in the rough. Powerful performances by all involved, including new footage featuring Robert Fripp. Here we see many of the Extensions characters acting as if it were themselves in real life and with it all the anxiety and pressures that come with stumbling into adulthood. Also included, for the first time, was the once lost “danse scene” which serves as the meat, as it were, of “The Film”. A crowning achievement: young men at a party on a Friday night dansing.

Even though this is a debut of sorts, it is from another time. Moreover, the soundtrack – which psychically directs many of the actors performances – is the excellent music by major acts being played in the background. Of course it’s gonna sound good and influence the viewer as well.

Going Up!

This is a near perfect depiction of a nightmare. Exquisitely filmed and brilliantly acted with a terror-fying score there is little doubt as this being, by far, the film of the night. Wilhelm Van Benkerstein shines as Coop Dickson – the overwrought finance bro who “is going through something”. Perhaps his wheeling and dealing has brought him to the brink of doom when he is first met by Azneovlantusis (stoically portrayed by BMF)- the chap in the elevator who announces “Going Up!” over and over again. Coop manages at first, but as rides continue we see him wearing thin. We are given a a reprieve from the elevator as Coop seeks comfort from fellow finance bro, the douchy twat Zane Washington. Perhaps one of greatest achievements of the night unfolds here – the creepily filmed conversation with the other-worldly voice overdub visibly unnerved the audience. Unlike the other films of the evening (all of which are excellent) this was the only film devoid of any humour whatsoever. A concise nightmare. That’s what I call horror-art.

The Vegetable by BMF

“The creative mind of Frank Mulone” has delivered his most coherent horror to date. Great concept and brilliant narration by BMF.  Other Derek expresses great vulnerability as Sandy Dungar. Holly as Cassondra Bronson was evil, driven and brilliant. Wilhelm was excellent as the doctor with a poor moral code. Augustus as poor Billip was a real trooper. Of course, VH as Curt Wells (not to be confused with Kurt Wells) was the highlight of the picture.

I found it to be a very cruel film, and the title itself adds to the said cruelty. Uneven sound and mixed pacing distracted from the unfolding horror. 

NeuroReGenesYs by Augustus Palantine

This was the first film of the evening that presented the theme of duality. Here, like the following three films, we see a “protagonist“ wrestling with some demon heard from within or without. Palantine’s film begins with great cinematography, sound mood, ambience and suspense. This film was the most suspenseful of the evening. The entire time we’re all wondering. “what the hell is happening?”

Naturally it invites a welcome rewatch.

This film also featured, perhaps the best throat cutting sequence to date in this festival. Also, any film that features Mary Widow will have a clear advantage as far as I’m concerned. Moreover, this being the second film of the night to feature the “ smoking is back” phenomenon that the wild young people are going on about on the TikTok’s

All the characters seem to possess life and a world unto themselves. If only they had names. The idea of euthanizing mercenaries is rather brilliant. The pain that these folks must endure and the need for the drug wasn’t clear but makes total sense. 

——-

Doppelgänger’s shadow by Wilhelm Van Benkerstein

As ever, Wilhelm is the master of atmosphere and maybe even time travel. The masterpiece theater opening was one of the highlights of the night (so great to see the same sweater from E7) and it got one to connect with his previous film, the Haverhast winning Feldgeist. Great depiction of a man “going through something“.

We now know the protagonist’s name, Stuart. Stuart, always at war with himself: both within and without. He wages war with his inner demon as he struggles to join the party. As he tries to be social, rehearsing his lines before entering a party, here we see Wilhelm’s acting brilliance.

Mysterious and creepy, Stuart goes against the advice of the Black Philip sounding entity and reclaims something that should remain lost and buried – 

Reversing any gains that may have taken place in the first film.

I’m eager to see what becomes of Stuart next. Yes, bring on the first trilogy of the festival!

——

L’Autre Homme by Other Derek

Fantastic opening, visuals, narration and sound relative to the extensions theme.

Another film involving dualities within.

Hoffman is brilliant in this.

Overly ambitious? I suppose that’s the hallmark of an OD film. 

The goofy blood in the haircut scene is probably unnecessary

Nice sequence at DTX culminating in that circular shot – approaching harrowing.

Holly as the disinterested doctor is spot on. Perhaps this was Cassondra from “The Vegetable” before joining the private sector?

Like the prior three films we see another chap “going through something” – confronting some inner demon or real demon within.

Elle Pacino & Tina Mapina (brilliant names, the end credits are a hoot) are absolutely fantastic in their scene with “Bryan” – revealing his adoption. 

In the finalé we see a really good mirror scene. OD has a way of contorting his face ever so slightly to look ever so different and … evil. 

Maybe it was the eyeball in the mouth …

Nice evil face work when the two Derek’s -oh I mean Bryan‘s – finally clash. The fight scene is particularly good and the fall quite realistic. Heck, even strangers took note!

—-

Treat Monster by C an A

This was quite a bit of fun. Wish we could see more of what happens to those characters and of the hound, Sage. A welcome commercial of sorts.

Recap

Always cathartic to relive a few moments of the year: good, bad and poignant.

~~~~~~~~~~~~

The Professor

 

E7 25 (2025 Edit)

 

A Film by Vlindinhauer Haverhast

 

“Brevity is the soul of wit” —William Shakespeare

 

Cutting a 75-minute film down to under 30 minutes was editing room genius. Nothing is belabored and I understood what was transpiring in this, the seventh installment of the OG Extensions series. Our intrepid gang wrangles with the meaning of Film, Life, and Everything. It was a bit like watching The Beatles’ “Let It Be” sessions (pre-Peter Jackson). It shows a band splintering over Creative Differences. And last but not least, FRIPP!

Going Up!

 

A Film by Vlindinhauer Haverhast

 

How this film was shot without the actors and camera crew being arrested for trespassing and causing a disturbance is a miracle to me. You don’t mess around with folks in the Diamond District! Kudos to Wilhelm Van Benkerstein for his portrayal of a man slowly losing his sanity in one of the most mundane yet problematic of urban settings; the office elevator. Elevators are well known for triggering everything from claustrophobia—when they stop mid-ride, to rage—when they take an eternity to arrive or travel in the wrong direction. This elevator only goes up, until it doesn’t.  A bit of hell on earth if you ask me. The cinematography, editing, and score really make this film work.

 

NOTE: Creating the soundtrack was great fun. Armed with only a few descriptive words, I set to work in my home studio recording ambient soundscapes of creeping dread and ominous portent. 

The Vegetable

A Film by Frank Mulone

 

The premise of this film is one of my worst nightmares; being conscious but unable to communicate with anyone. Billip was doomed from the moment he was hooked up to that Cort drum machine; um I mean cutting edge ‘life support system’. If this script was played straight, it would have been in contention for the Haverhast. I don’t mind a bit of humor in an Extensions film, but the romcom B-plot was too silly for me to take “The Vegetable” seriously as Horror-Art. 

NeuroReGenesYs

A Film by Augustus Palantine

“Have you taken your NRGY? Ask your doctor if NRGY is right for you.” No! Don’t do it! It’s not right for anyone! 

While I’m not certain what NRGY’s real purpose is, watching this film does tell me that it will #$%^ you up. This film is a wild ride. The basement slasher scene would have made John Carpenter proud. Another clever scene was the airstream trailer covering the secret underground bunker. What remains unclear to me is if people are taking NRGY©  to improve brain function (with only a 1 in 260,000 chance that they will go off the rails) then why are the euthanizers-for-hire also taking it? They know the dangers. So, while stylish and full of thrilling set pieces, this entry just didn’t stick the landing for me. 

Feldgeist II: Doppelgänger’s Shadows

A Film by Wilhelm Van Benkerstein

Haverhast-winning “Feldgeist” was top-notch filmmaking, a heady blend of Modernism and Folklore. I wanted more from this sequel because the bar had been set so high by its predecessor. Alas, we will have to wait for the third (and final?) installment to see how the story plays out. That said, there were outstanding moments throughout. The exhuming of the Kornstier, the introduction of the magickal pan flute, and Stuart’s change in demeanor from doormat to aggressor. Hopefully, all will be revealed with the conclusion of the first Extensions Trilogy. The painterly use of light and shade made this film a masterclass in low light cinematography. 

L’Autre Homme

A Film by Other Derek

This film is bracketed by stunning footage shot in the Carcassonne in France. An alchemist has conjured a homunculus and time travels to 20th Century America to release his creation into the wild. It lives a seemingly ordinary life for almost 40 years as one Bryan Alba and then rapidly begins to deteriorate. Bryan’s mettle is put to the test as his senses start to become increasingly compromised and he tailspins out of control. Desperate to find the root of his troubles, he seeks medical and psychiatric help to no avail. Finally, he reaches out to his mother only to discover that he was adopted shortly after being flung 240 years into the future by his maker. No one knows where he came from. Despondent, he goes home and sees what looks to be his double, “L’Autre Homme” or The Other Man of the film’s title. There is a violent confrontation between the two Bryans that almost rivals the work of Michael B. Jordan in Ryan Cooglers’ “Sinners”. A stronger, more malevolent version of Bryan takes the place of the weakened, imperfect Bryan. The Epilogue returns to Carcassonne where the sorcerer declares his first creature a failure and has replaced him with “L’Autre Homme” FIN.

Treat Monster

A Film by C A

A light-hearted palette cleanser that pokes fun at the Pet Wellness industry. Cute little doggo Sage is seen napping (and snoring) constantly. Their pet parents decide a change in diet may be in order. Cue the all too accurate Monster Treats advert on the TV. A bag is retrieved from the local pet store and Sage morphs into Stephen King’s “Cujo”! Kind of make you wonder what’s in that ‘Farmers Dog’ stuff that’s also being advertised on the telly…  

Vlindinhauer Haverhast Discovering Stand Up Tragedy

A Film by Vlindinhauer Haverhast

Hoo boy, getting up in front of a group of strangers and doing a standup set takescajones!  But Derek has had a lot of experience improvising for the Boston Ghosts and Gravestones Trolley Tour and it shows. Spinning yarns while stuck in city traffic is not for the timid. Our man takes the Stage at The Pit in NYC not once, but four times! A Brave soul, he is, And the bits he chooses to present are funny, bittersweet, and thought provoking. Filmed in Cinéma vérité in front of a live audience, it may not be Horror-Art per se, but the thought of getting up onstage with nothing but a microphone sure gives me the willies. 

NOTE: My second film score of the night. Nephew ‘Nashville Rob’ recorded a jazzy drumbeat for me, and I laid down some walking bass lines and bass riffs on top of it.

Recap 2024-2025

What a year it was. Full of laughs, tears, music, birthdays, and remembrances of dear ones passed. The only thing missing was Fripp telling us all to “Go #$%@ yourselves!” 

Haverhast: L’Autre Homme

The Saint’s Choice: Going Up!

Honourable Mention: Feldgeist II: Doppelgänger’s Shadows (best cinematography)

~~~~~~~~~~~~~~~~~

 Kathy & Brian

 
The Haverhast: Going Up!

The Saint: Doppelgangers’ Shadow

Honorable Mention: Treat Monster

——

NeuroReGenesys- Upsetting premise-awesome job

Vlindinhauer Haverhast Discovering Stand Up Tragedy-Enjoyed each bit

E7 The Film-Nostalgia

L’Autre Homme-Great use of setting

Doppelgangers’ Shadow-Scary in all the right ways

The Vegetable-Entertaining with foreshadowing

Going Up!-Had just enough suspense

Treat Monster-Reminded us of our beloved Snuggles (1995-2006)

ReCap-The King!

~~~~~~~~~~~~~~~

Mr Y

 

 

 

Extensions 7: The Film

An extraordinary editing achievement. Some have called E7 one of the more challenging works in the Extensions series, but the 2025 Director’s Cut slays those unwarranted beliefs and transforms the film into a highly watchable cohesive narrative. The new master edit of the danse sequence was enough to put the film in high regard, but the bookending of Fripp cameos was just a mindblowing addition. Awaiting Fripp’s own thoughts on the work. Great stuff all around.

Going Up!

Vlindinhauer Haverhast once again brings to film an actual nightmare and this is one of Kafka-esque proportions as the main character finds himself in an horrific never ending loop. Some Kubrickian cinematography, quality acting, and an hypnotic denouement all contributed to an inescapable sense of dread in the modern world.

The Vegetable

A fantastic entry by Beachmont Frank, who really honed his always impressive skills this time around into creating a highly entertaining film. The script was well thought out and all of the performances were excellent, particularly Derek Curley in his turn as Sandy Dungar. My choice for The Haverhast.

NeuroReGeneYsis

Great work from Augustus Palantine, which at times, with its scientific approach and body horror elements, recalled some of the early work by David Cronenberg. Really enjoyed the crafty editing and f/x.

Feldgeist II: Doppelgängers Shadows

Another fine entry from Wilhelm Van Benkerstein, I appreciated The Host’s introduction featuring the very same sweater from E7. Great cinematography and sound editing, all in all a fine Autumnal folk horror tale.

L’Autre Homme

Spanning the globe and the decades, Derek Curley creates a sci-fi horror nightmare that calls to mind some of the classic horrors of the 80s. Loved the downtown shots and the cast was great, particularly Elle Pacino’s role as Mommy Alba. A highly entertaining entry from “Other Derek”.

Treat Monster

A much-needed comic respite from all the horrors of the evening. The lead turned out what may have been the finest performance of the Event.

Vlindinhauer Haverhast Discovering Stand-up Tragedy

A fascinating look at the challenges of breaking into Stand Up (Tragi)Comedy. Shades of Lenny (1974) and perhaps a bit of Magic (1978) as well. Looking forward to seeing more of Vlindinhauer’s “routines” in this new career path.

RECAP 2024-2025

Always nice to see people enjoying their lives, looks like you all had a fine time.

~~~~~~~~~

Other Derek

 

 

E7 25

Oh Look! It’s Robert Fripp! Hey, very exciting!

After a mysterious and well made introduction featuring Prince Rytalion bestowing the small ball of power to Young Derek, we’re treated to another perfect exemplar of an Extensions film – metafictional musings on the nature of film and art; self-aware shots, settings, and transitions that make use of and poke fun at the cinematic tropes with which we’re most familiar (character introductions via speaker phone, for instance); tongue in cheek performances by well defined characters; a madcap energy that only the youth seem to possess. There are a lot of little sequences here that fill in the story in interesting ways – the ball passing scene between Mark & Derek being a favorite of mine, as it is fun to watch the imperfect dexterity of these two young men, hilarious in its placement amongst the other scenes, and somehow reveals something possibly a little bit more esoteric happening between these two characters. As the characters arrive, and tensions rise, the Extensions energy stacks on top of itself, making this another great installment in this ongoing saga. 

I thought that the ‘mystery’ of Andy’s absence was well crafted– Derek’s “I’d appreciate it if it was for me” followed by an unceremonious dropping of the gift on his own bed made it clear– Andy was never coming; this is all a ruse to get free shit from his friends. I’m very curious to see the original 75 minute long cut of this. Perhaps there’s more David Y in the kitchen (the only piece that I wish this returned to– just so we can see what DY is up to in there [a clever way to get him out of the way so that he could handle the camera, I might add]). Perhaps there are more threats of violence from Dave (a new favorite character). Perhaps Paul’s sweatshirt will get re-gifted at another party. Perhaps Andy will show up. Perhaps Andy never existed at all.

The musings on film with Philip Glass in the background was a touch of genius. “Film is a medium that has a strength when it uses violence, and a weakness when it uses anything but violence.” I’m not sure I think it would be a better world if it were exclusively violence, but it’s an interesting thought.

In my own meta-analysis of the Extensions oeuvre over the years, and how Extensions Saturday seems to come together, it’s beginning to become clear to me that the Extensions film of the night ends up being on another level entirely– that they were made some 35 years ago is one thing, but there is a forward thinking energy therein. In years past, themes naturally emerge in the new films of the evening, and they all seem to tie in to what was touched upon in the original Extensions film, as if it were the canvas upon which the new filmmakers are painting over, or the tonic note in a chord progression that other filmmakers are riffing on. This year’s themes seemed, at first glance, to be kind of unrelated to Extensions VII– the doppleganger theme that arises in three of this year’s films are of their own kind. But, after careful reflection and some time in between viewings, Extensions VII DOES inform many of the newer films, albeit in a less obvious way than the doppleganger theme. That of an object of power, and its effects on its wielder. We will be on the lookout for new visions of Prince Rytalion’s Ball of Power and its manifestations in the newer films.

Despite Fripp’s take that this was dreadful, this was my favorite film of the night, but since it was a older film, unfortunately ineligible for this year’s Haverhast.

“Hey you know, now that I think of it, Andy was probably the best friend I ever had.”

Going Up!

Of all the new films featured this evening, “Going Up!” was the most direct, simple (in a good way) foray into Horror Art. A nightmare brought forth with some integrity– stolen interior shots notwithstanding. Just the right amount of going ups, and just the right amount of going down.

Willhelm’s turn as the harried businessman felt real– this guy has been stuck in a situation like this before. Beachmont Frank maintained serious gravitas throughout. The editing successfully ratcheted up the tension– I don’t know how many sequences were left on the cutting room floor, or if what we saw on screen was how it was filmed in sequence, but the performances really evolve throughout, and most of the filmmaker’s choices were with purpose. The only scene that I thought was slightly weaker than it should have been was where Willhelm meets OD at Beantown pub. It’s a necessary scene – the audience needs to know a little bit more of what’s going on- and it’s fairly well crafted (the overdubbed audio lends a further nightmarish aspect to the goings on here), but it runs on a bit too long, and it’s unfortunate that the reflection of the script in Willhelm’s glasses pulled the rug out from the verisimilitude a little bit. 

In a year of excellent material brought forth by all filmmakers, this is a top runner for my choice for this year’s Haverhast award. Willhelm I think ought to also be considered for the Honourable Mention for acting prowess.

“You haven’t been yourself lately.”

The Vegetable

The first five-and-a-half minutes of this film may be Frank’s best work yet– utterly hilarious, with top notch performances both by VH & Holly (both of whom are also in the running for Honourable Mention for Acting Prowess here); clever editing choices to get us the whole story in a matter of minutes; and perhaps the best drinking and driving sequence that’s ever been committed to film (my 2009 chevy malibu’s best on screen use to date, to boot). 

Where this film loses its traction is when Reek Crudely is introduced as the pained wife. I know the cast and crew were intent on playing this as serious and straight (pun intended) as possible, but the decision to cast RC in this role was well intentioned but ultimately misguided. I was distracted watching this, and the live audience was as well. Whatever pathos was to be felt for Billip Dungar was completely undermined by the farce happening with just the costume and character design. If I were able to look past the ridiculousness of the cast, this might have worked better for me. If a woman were in this role, or if it were a gay couple without any costume frills, this might have also worked better. If the relationship between Sandy and Dr Patthew were more carefully and slowly crafted, this film might have worked better. I think there is a bold film in here, and I commend Frank for giving it a go. I just think that it could have been more carefully produced. If we were left with Billip’s perspective of the fan, his intelligent and despairing voice over carrying the majority of the film, for instance, with only glimpses of the nearby characters and the sound of their audio, this would have been a real challenger. As it is now, it feels like a ‘what could’ve been.” 

“Well I guess I gotta go to that thing.”

NeuroReGenesYs

Augustus Palantine (aka Nick Daga) brought what was clearly the most professionally crafted film of the night. I was intrigued from the getgo– from the really creative and cool title cards, the cinematic overlays of people thrashing in bed, the strange phone call giving us just enough of a clue to what’s going on, and the Korine-esque neon painted tableau of weapons, gas masks, and pills– AP’s film was able to really snatch my attention and served to immediately inspire me to make cool stuff. A hallmark of Daga’s filmmaking is his ever interesting character choices, and here we get bored telehealth professionals, mind-melted individuals accepting their psychedelic deaths, strange alien-like white coat clad killers, and two men who each deal with the pain of working as ‘euthanizers’ in different ways. Daga’s casting of Ant was a stroke of genius, as he pulled off anger, melancholy, and resignation deftly in his two short scenes. 

The story is complex and not made explicitly clear- another hallmark of Daga’s filmography- but that does not mean it is impenetrable. This film invites you to rewatch, asks you to do some thinking, and does provide enough clues to answer the question: what the fuck was going on? I think some more work could be done in the script and the edit to make it clear what was really happening – Daga’s character, a euthanizer himself for people who’ve gone off the rails thanks to NRGY, has himself gone off the rails because of NRGY… but we dont ever see him taking the drug, even though we get a glimpse of an adverse effect of the drug, in what I thought was the coolest sequence of a dopple-Daga running up to meet regular Daga at the car. The sequence with Mary Widow working with Daga to euthanize her husband, played by Frank, drops us in halfway thru the conversation, and the euthanization of Frank is unclear – why the box cutter to the face first, and then the glowing material shot into him after? Was the box cutter the ‘dream’ death that the NRGY addict experiences, when in reality the glowing shot is the real euthanization process? That’s what it seemed like to me, but a little bit more clarity could’ve been helpful to most. 

I think this is an excellent work, rife with interesting choices, deep world building, very well crafted lighting and special effects, and just enough heart to make it feel human (mostly carried by Ant and Mary Widow). The NRGY poem at the end was interesting, and haunting, and for these reasons, this film is also a top runner for my choice for this year’s Haverhast.

“Start every day like it’s your last, because it probably is.”

Feldgeist II: Dopplengangers’ Shadows

It was autumn, when leaves retreat…

Replete with a Turner Classic Movies-esque introduction, Feldgeist II Dopplengangers’ Shadows is an entertaining return to the world Wilhelm crafted only a few short years ago. I think what’s most interesting about this film is that it seems that Wilhelm made it all by himself, with not even an extra hand to help hold the camera. That is an incredibly difficult feat, and I have to acknowledge that Wilhelm successfully put together a succinct and interesting piece with little to no help from outside forces (more on this in a paragraph or two). It’s clear his editing has improved by leaps and bounds as well, as the different parts of Stew’s tale all came together well (even with the continuity error of the right hand picking up the leaf in one shot, and the left hand holds it in the next :p). 

“I was torn apart by Titans and sacrificed to Dionysus.. I serve as clerk to all initiates. But it is of no matter, for far more ecstatic force draws near, and you must prepare to conquer it or fall to its messy spell.”

(Also, this film is the first of two to have the “Nice glasses, four eyes” line. Bravo).

L’Autre Homme

Toward the end of my travels thru France this summer, I ended up on the island of Mallorca, to celebrate the 30th birthday of a friend whom I had met while in France. There, I came to a shocking realization that I am, frankly, falling apart. I’ll be 39 soon, and while that’s not ‘old’, I am beginning to feel and sense how years of abusing my own body thru sports and good living has left me a bit injured. My eyesight is blurry, my ears ring, my joints ache, and I’m just not always in touch with what is always available to me– taste, smells, sensations. In reviewing my footage from my travels, I also noticed that my camera lens on my phone is damaged, and these dots and spots appear in half of my shots. Thus the genesYs of L’Autre Homme– musings on the deprecation of my own sense of self.

I had originally thought I’d write a poem and overlay it with footage of my travels, but my footage proved too much to go through, so a linear (in ways) story emerged. I also recognize that we are all the product of our influences, and in the week(s) leading up to ESaturday, I had watched a few films that informed my story: “The Boys From Brazil” (clones), “All That Jazz” (dying man and the wish to continue), the X-Files (just strange shit). Loaded up with these influences, I wrote a story in a few hours, then set about using friends, family, and available locations to put this together. I am indebted to Daga & Dori, Jon Z-Ray, Frank & Holly, DJM and CA, and my mom and sister (Elle Pacino and Tina Mapina, respectively) for providing their filmmaking expertise & acting prowess. That scene in the hotel with my mom and sister was at times hilarious, fun, stressful, and downright weepy- a testament to the heart in the film.

There are a few things that, if I had given myself more time, I would have done differently. But all in all I accept what this film is. Of a lot of cool things that I was most proud of, the beginning and ending sequences were my favorite to look at. I made a ‘Pepper’s Ghost” to get the Rancor baby & New Derek Homunculus effect to appear transparent and moving in the glass ball. I used my cellphone as the ‘projector’ underneath the ball with a piece of transparent plastic to act as the screen within, and shot it alone with another old canon camera that I have. I thought the effect came out really cool, and I hope to be able to continue using in-camera effects like this in the future. 

I usually do end up making these films with a specific audience in mind– that of Extensions Saturday. But upon rewatching this film a few times, I think I am my own audience with this one. I made this from a pretty subconscious place, and am only now– again with time and space to reflect– coming to terms with some of what I think Other Derek is trying to say to OD. I think I’m a deeply unserious person much of the time, and yet, there are moments of gravity and seriousness. There’s a wish for me to have a lightness, a silliness, an unnecessary goofiness, and there’s a wish to grow the eff up, look myself in the mirror soberly, and evolve. I see how there’s weakness of spirit and of senses (my hearing damaged, my body, weak). I’m simultaneously extremely embarrassed, impressed, proud, sick of how stupid I am, and inspired by my own work to continue to grow. This film in itself is an object of power, the eyeball Lautre Derek eats at the end a symbol thereof. Now is a time of digestion. It’s up to me to see what the next homunculus can be.

“Oh man you might want to give it a few minutes. It’s brutal in there.”

Treat Monster

Thank goodness for a proper Palette Cleanser after all that we just went through. CA brought us some quality footage of a quality friend, Sage, and I hope this little treat monster is able to come back for more. In speaking with the filmmakers, there were some unfortunate technical editing issues which caused headaches in its creation, but technical problems notwithstanding, the feeling that I received from this short piece calmed me down after the prior three films. What an amazing sequence getting the WoofMeow Petcenter staff to act too! Now that’s smart directing & smart producing. I would have liked to see more, honestly. 

“Side effects may include dramatic sighing.”

Vlindinhauer Haverhast Discovering Stand Up Tragedy

What a film! Evocative of the standup specials one would encounter on HBO at 2am, this film had it all– the wonderful expository shots of NYC, the snappy jazzy music, and the new form of standup. I think there’s really something here. Honestly, I wish to learn from the master. The great masks of Comedy and Tragedy exist together, like the yin and yang, the yes and no, and it’s for us to be able to accept both as conditions of life. VH expertly and bravely brings it, not only in film form for us, esteemed members of the Now Today Society, but also live, to a crowd of strangers, and does so with aplomb, honesty, and whatever the opposite is of cowardice (dare I say actual love?). I look forward to seeing one of these performances in the flesh.

“Thank you and goodnight.”

RECAP 2024-2025

What else can I say here that I haven’t said in a RECAP review before. I’m grateful to have been a part of this. I’m grateful to be able to call all of these people my friends– even if I havent met them yet. I’m grateful that this was all documented. My Birthday Ablution. A Birthday Pool Party. Frank 2’s Halfmile hilarity. VH reminds us of The Cautionary Tale. Brother Jerome offers a new Tragic comedy tale of knocking things over in the bathroom. Andrew regretting his choices, and seeing what happens. Touching tributes to the King. Amongst other great moments. 

“Glory, Glory, Hallelujah. His Truth is marching on.”

Haverhast: “NeuroReGenesYs”

Saint’s Choice: “Feldgeist II: Dopplengangers’ Shadows”

Honourable Mention: VH as Curt Wells in “The Vegetable”

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C & A

E7 25

Directors cut in all the right places.. and the material in this film. What is a film? Brilliant. With this as the fuel of tradition, there’s a chance that Extensions will be perpetuated in perpetuity. So intriguing to see all the characters, the then, the now, the future… oh and Robert Fripp. 29:50 went by all too fast on this one. 

Going Up!

I will never hear “Going Up” or “Going Down” the same again after watching this film. The opening scene with the HP Lovecraft quote – as chilling as one’s imagination can go. Wilhelm’s acting (and frustration) was worthy of award.

The Vegetable

A star-studded cast in this one. The chips were stacked for the win. The scorpion bowl and car scenes were both believable and hilarious. Frank is a well known artist in the horror art genre, and he doesn’t disappoint in this one, kinda genius how he manages to weave together so many nightmares into a single film (like a subtle mind-virus the horrors ferment and compound). Bravo!… And who was that blonde!? 

NeuroReGenesYs

This one was pretty wild to watch on the “new big screen”. The quality of the cinematography was very impressive alongside some cool special effects – bringing the ART aspect for sure. Love that airstream basement set-up, perfect for a serial killer’s hide-out. NRGY – gotta get me some of that. So many good aspects to this film. 

Doppelgangers’ Shadows

Wilhelm once again with some top tier acting in this one. “Hi Guys, Thanks for Having Me!” “A crutch that turned the spirit (slightly) mad” (I’m sure we all have a few of those in various forms). The juxtaposition of the empty office with a man sitting at a desk to the flashing horrors that run through a tainted mind. Well done. 

L’Autre Homme

Boy this one really covered some ground. Some funny moments, some horror and all kinds of art. The 18 min passes quickly as we follow a story of a man trying to find meaning in the life he has been gifted. Our origins are something of a mystery to us all. Powerful mirror scene. 

Treat Monster Final

This one proves that even The Haverhast is not impervious to commercials. Yes, this one uncovered the fact that horrors can be found in all of the nooks and crannies of everyday life. 

Vlindinhauer Haverhast Discovering Stand Up Tragedy

This was a good addition to the night. The “new art-form of Stand-Up Tragedy”. We would love to see this act live in Boston. 

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BMF

E7 “The Film”
One of the first films I’ve ever watched of the original extensions films, the recut was a wonderful concise way of telling the story. The story of what is film is a wonderful and important question, that being said maybe Andy’s party wasn’t the right setting, or dare I say maybe the wrong the patrons were invited. I’m happy Paul got his sweater back even after gifting it!

Going Up!
The essence of what we’ve come to expect on extensions Saturday. A concise film and easy to follow, I still find the opening scene one of my favorites of the night, great use of downtown Boston. Benkers acting in turmoil in dtx was believable and I could relate to the frustrations. Agree with others I wish we didn’t see Wilhelms phone during the conversation. My ring was a very nice touch. Is going down going to hell? Or is it worse!?

The vegetable:
This was a new challenge for me, I’ve incorporated love stories in the past in my films but never try to really convey the true confusions of the heart. I can see how some people could interpret the dr as cruel, and selfish, but sometimes the heart wants it wants. My other goal was to try and illustrate the horrors of just lack of control; to have others at the helm, whether it be for better or worse. As editing the film I began to lose the characters and see them as I truly intended, maybe that was some of issues of the film, knowing people wouldn’t be able to see Other Derek as Sandy may have been too much a leap for the crowd and I can see why after rewatching. VH and Hollys interactions was quite the stunning performance and feel the sandwiched the film nicely.

NeuroReGenesys: when first viewing this I was left asking a lot of questions, but knew it deserved a rewatch . It’s beautifully shot and very pleasing in its atmosphere (even with euthanasia). After having a second watch, and hearing some of the audio I missed (due to the rightfully uproarious audience) I was able to piece together the story better and some of my confusion was answered. Also Being privy to acting in this film I knew some of the backstory and explanations, that helped me understand some of the more complex scenes, my horrifying hallucinations for example. visually one of my favorites for the evening special effects will always catch my eye and nicks eye for practical effects is amazing. Probably one of the goriest scenes to date in an extensions film, also love the costume choices. Great flute sound track and great acting. one of my favorites for the nights for sure!

Doppelgangers’ Shadows:
A great revisit to a past film! As always beautifully filmed, and edited. The use of benign office seasons to the constant rehearsing of your first impressions I feel we know this horror . The turn to a bizarre story being told by this creature. The use of lighting, and the costumes were truly engaging.

L’Autre Homme:
Other Derek comes in with a strong contender, as always well done and extremely entertaining. Also we finally understand why he is the way he is, he is adopted!! Jon’s acting was stupendous, and seems to be a great roommate. I’m sorry I cut Dereks neck while cleaning him up. As we watch I enjoy the pacing of what’s unfolding right before our eyes, if I can see with them that is. The tale of age and the lack of control, that we start to see as we get older really hits home and after rewatch felt far more familiar for me. As we see him decent into madness the fight seen is astounding, maybe we should have more altercations in future films! Also more bloopers! The salon background music sounded unhinged and maniacal!!

Treat Monster Final:
Cute dogs always hit home, as well as most pet vids. Just a wonderful break in the chaos of the night.

Vlindinhauer Haverhast Discovering Stand Up Tragedy:
A true challenge to get in front of a crowd and pioneer such a new extreme form of story telling, stand up tragedy!!! I think there needs to be more of this and hopefully will continue as a new tradition. Also as people noted bobs music in going up. I can’t help but think his music in this film needs far more accolades, truly made me feel like I was in the big apple!

Recap 2025:
So many good times, happy to see only a few extremely intoxicated moments for me. Always wonderful to see footage of the king and the adventures he’s influencing today!Even as we progress into the new frontiers we can progress in camaraderie and good times. “May our fellowship remain a state of transcendence in perpetuity.”

Haverhast: L’Autre Homme
Saints choice: NeuroReGenesys
Honorable mention: Jon Hoffman! And Vlindinhauer behind the wheel!