Wednesday, June 17, 2026

NOW SHOWING: THE QUIET BETWEEN US

 

The Quiet Between Us
Genre: Drama
Director: Derek Cianfrance
Writer: Dawson Edwards
Cast: Denzel Washington, Angela Bassett, Tessa Thompson

Plot: Isaiah Williams (Denzel Washington) sits on the edge of his bed, his broad shoulders hunched, his fingers tracing the edge of his wedding ring. The room is quiet except for the faint hum of a refrigerator down the hall and the soft rustle of a breeze through the cracked window. His eyes are fixed on a pair of white sneakers near the door—worn, fraying at the seams. They are hers. Everything in this room is hers.

His wife, Ruth (Angela Bassett), is sleeping in the adjoining room. The kind of sleep that is too deep, too still. He listens to the sound of her breathing, steady but labored, and looks at the clock. 5:17 AM.

For a moment, Isaiah presses his fingers to his temples, trying to slow his thoughts. He glances at the packed suitcase sitting by the door, the one he’s been ignoring for two days. His sister has been calling, urging him to leave, but he can’t. Not yet.

The day begins with the usual routine: Isaiah shuffles to the kitchen, pours two cups of coffee—one black, one with cream and sugar. He sets hers on the bedside table, even though she hasn’t touched it in weeks. Ruth stirs slightly but doesn’t wake.

Her illness has stolen so much of her already. She was once fierce and vibrant, a teacher who commanded every classroom she entered with warmth and intelligence. Now, her frame is frail, her voice barely above a whisper.

Isaiah sits by her side, the coffee cooling between them. “I was thinking of the day we met,” he says, his voice soft, more to himself than to her. “You told me I had the worst pickup line you’d ever heard.”

Ruth’s lips twitch, a shadow of the smile that used to light up entire rooms. “You did,” she murmurs, her voice hoarse.

Isaiah chuckles. “But it worked, didn’t it?”

She doesn’t reply, her head tilting slightly toward him before her eyes drift shut again.

The narrative unfolds slowly, capturing the suffocating weight of their present while threading it with flashes of their life together—small, poignant moments that feel almost too painful to recall.

Isaiah visits the grocery store, wandering aimlessly through the aisles. He reaches for the peanut butter Ruth loves, then stops. His hand hovers over the jar for a moment before he pulls it back, letting his arm fall limply to his side.

At the checkout, the cashier, a young woman with a kind face, offers him a smile. “How’s your wife, Mr. Williams?”

Isaiah forces a polite nod. “She’s... holding on.”

The words feel heavier than usual today.


---

Back at home, Ruth is awake, propped up on pillows, her eyes following him as he moves around the room. “You’re hovering,” she says, her tone dry but affectionate.

“Someone has to,” Isaiah replies, folding laundry with meticulous care.

“I don’t need you treating me like I’m already gone,” she says.

Isaiah freezes, the fabric clenched tightly in his hands. “I’m not,” he says, though the words come out more defensive than he intends.

Ruth sighs, closing her eyes again.


---

As the days pass, the cracks in Isaiah’s resolve begin to show. He spends hours sitting in his truck, the engine running but going nowhere. He drives to the lake where they used to picnic, staring out at the water until the sun dips below the horizon.

One evening, after Ruth has fallen asleep, Isaiah pulls out an old cassette player. The tape inside is labeled Ruth’s Favorites. He presses play, and the room fills with soft, scratchy jazz. It’s her voice, younger and full of life, humming along in the background.

He closes his eyes, letting the sound wash over him.


The turning point comes during a visit from their daughter, Mia (Tessa Thompson). She arrives with a bag of groceries and the kind of forced cheerfulness that doesn’t fool anyone.

Isaiah looks at Mia, then the kitchen sink and remembers last week: 

Isaiah is standing by the kitchen sink, his broad back turned to Mia, who is pacing the room, her arms crossed tightly across her chest. The tension is palpable, like a storm ready to break. The faint sound of Ruth coughing in the next room only amplifies the weight in the air.

Mia stops pacing and turns toward her father, her voice sharp. “You can’t keep doing this, Dad. You’re killing yourself in there.”

Isaiah doesn’t move. He grips the edge of the sink, his knuckles whitening. “I don’t need a lecture, Mia.”

“It’s not a lecture, it’s the truth!” Her voice cracks with frustration. “You’re acting like you’re the only one who loves her. Like you’re the only one hurting.”

Isaiah spins around suddenly, his face hardened with anger, his voice rising like thunder. “Don’t you dare say that to me! You think you understand what this is? You think because you come in here once a week with groceries and sit with her for an hour, you know what this feels like?”

Mia’s eyes flare, her jaw tightening. “At least I’m here! At least I’m trying! What are you doing, Dad? Wasting away in this house, refusing to let anyone help you. You think that makes you a martyr? No, it just makes you stubborn.”

Isaiah takes a step toward her, his finger pointed, his voice a dangerous growl. “You don’t know the first thing about sacrifice. About staying when things get hard. You and that uppity husband of yours, living your comfortable little lives, showing up when it’s convenient. You’ve got no idea—”

“Don’t you bring James into this!” Mia snaps, cutting him off, her voice trembling with anger. “He’s done nothing but support me through all of this. Through you! And at least he’s not bitter and cruel like you’ve become.”

Isaiah’s face darkens, his voice booming now, shaking the walls. “Cruel? You’re calling me cruel? I’ve been sitting here, day in and day out, watching the woman I love slip away piece by piece, while you’re out there playing house with that—” He stops himself, but it’s too late. The venom in his tone lingers.

Mia stares at him, her expression a mix of shock and pain. “Say it. Go ahead. Call him what you want.”

Isaiah’s voice drops, low and cutting. “That man of yours doesn’t know the first thing about this family. About what it means to stand in the fire and take the heat. He’s soft, Mia. Just like you.”

Mia’s breath catches, her face crumpling as tears spring to her eyes. “You have no right,” she whispers. “No right to judge him. Or me.”

Isaiah’s voice wavers for the first time, but he doesn’t back down. “I’m not judging. I’m telling you the truth. You think showing up every now and then makes you strong? Strength is watching her cry at night because she can’t remember what day it is. Strength is holding her when she says she’s ready to go, and you’re not. That’s strength, Mia. Not running off to your safe little world every time it gets too heavy.”

Mia shakes her head, the tears spilling freely now. “You’re so caught up in your own grief, you don’t even see us. You don’t see me. And I’m done trying to make you.”

The silence that follows is deafening. Ruth’s coughing echoes faintly from the other room, breaking the stillness. Isaiah turns back to the sink, gripping the edge again as if it’s the only thing holding him upright. His shoulders slump, the fight draining out of him.

Mia wipes her eyes and grabs her coat. Her voice is quiet but firm as she heads for the door. “I’ll be back next week. Whether you like it or not.”

Isaiah doesn’t turn around. He just nods, his voice barely audible. “Take care of yourself.”

The door closes with a hollow thud, and Isaiah is left alone, the weight of the argument settling over him like lead. He looks down at the sink, his reflection warped in the stainless steel, and for a brief moment, his hands tremble.

From the other room, Ruth calls out weakly. “Isaiah?”

He straightens, composing himself, and moves toward her voice. But his footsteps are slower now, his body heavier with regret.



“Mom looks good,” Mia says, her tone carefully neutral as she sets the groceries on the counter, snapping him out of his memory.

Isaiah doesn’t respond.

Later, as Mia sits by Ruth’s side, reading aloud from an old poetry book, Isaiah watches from the doorway. The sight of them together, the way Ruth’s hand trembles as she reaches for her daughter’s, breaks something in him.

When Mia leaves, she hugs Isaiah tightly. “You need to let me help more,” she says. “You can’t do this alone.”

Isaiah doesn’t answer.



The television flickered in the dimly lit living room, the vivid colors of a superhero movie painting soft reflections across the walls. Ruth sat curled in her favorite armchair, wrapped in an old, faded quilt. Her eyes weren’t entirely on the screen; they drifted between the faces of the heroes and the faint glint of the moonlight on the glass of water resting on the side table.

A hero took flight on screen, cape billowing in the wind. The sound was muted to a whisper, letting the scene’s grandeur feel distant and far removed from Ruth’s quiet reality. She tilted her head against the chair, a faint smile playing on her lips, but her eyes betrayed the depth of her exhaustion. Her breath was shallow and deliberate, the slight rise and fall of her chest almost imperceptible. The faint hum of the TV mingled with the gentle rustle of leaves brushing against the windowpane.

Her gaze shifted to the remote on the armrest. Slowly, her hand reached out, the effort visible in the slight tremble of her fingers. She clicked the television off mid-scene, the room plunging into silence. The absence of sound felt heavier than the movie’s muffled grandeur, as though the house itself was holding its breath.

Ruth sat still for a long moment, staring at the blank screen, her reflection faint and fragile in the glossy surface. Her fingers curled around the edge of the armrest, steadying herself. She inhaled deeply, her breath rattling faintly, before pushing herself to her feet.

The camera lingers on her legs as they shake slightly under her weight, her bare feet pressing into the carpet with a subtle indent. She swayed for a moment, then steadied herself, her hand gripping the edge of the chair. Her movements were slow and deliberate, like someone wading through water, every step carrying the weight of a lifetime.

She began her quiet journey back to the bedroom. The floor creaked under her careful footsteps, each sound soft but resonant in the stillness of the house. The faint amber light from the kitchen spilled onto the floor, guiding her path down the narrow hallway.

The camera moves with her, staying close as her hand reached out to graze the wall for support. Her fingers trailed along the faded paint, brushing over old nail holes and chipped corners, small imperfections she had never cared to fix. The house had always been enough as it was.

She paused halfway, glancing toward the family photos hanging on the wall. Her eyes fell on one in particular—her and Isaiah on their wedding day, their faces bright with hope and love. Ruth’s lips parted slightly, her expression softening. Her hand reached up, touching the frame lightly, her fingertips pressing into the glass as if trying to feel the moment.

Her breath caught, a faint wheeze breaking the silence. She pulled her hand back, resting it against her chest. For a brief moment, her eyes closed, her head leaning against the wall. The faint glow of the bedroom door down the hall seemed miles away, but she opened her eyes and resumed her quiet trek.

When she finally reached the doorway, the camera framed her in silhouette, her figure outlined by the soft light of the bedside lamp still glowing near Isaiah. He was turned away from her, his breathing steady, his body rising and falling with the rhythm of deep sleep.

Ruth lingered in the doorway, watching him. A smile ghosted across her lips—grateful, bittersweet, and knowing. She took one step into the room, then another, the quilt slipping slightly from her shoulders. Her fingers caught it and pulled it closer as she made her way to the bed.

The camera lingered on her face as she lowered herself slowly, her body bending with the deliberate care of someone well aware of her fragility. Once she was settled, she exhaled softly, her head sinking into the pillow. She turned her gaze toward Isaiah the faintest trace of longing in her expression.

The screen faded to black as her breathing slowed, the house enveloped once more in quiet.

That night, Ruth wakes in a fit of coughing, her body wracked with pain. Isaiah rushes to her side, his hands trembling as he holds her upright. For the first time in weeks, she cries, her tears soaking into his shirt as she gasps for breath.

“I can’t do this anymore,” she whispers, her voice raw.

Isaiah holds her closer, his own tears finally spilling over. “I know,” he says, his voice breaking. “I know.”


---

The final act of the film is devastating in its simplicity. Isaiah, unable to ignore Ruth’s wishes any longer, begins making the necessary arrangements. He calls the hospice nurse, speaks to their pastor, and finally unpacks the suitcase he’s been avoiding.

On Ruth’s last day at home, the house is filled with the scent of lilies and the sound of soft laughter as Mia reads aloud again. Isaiah sits by Ruth’s side, holding her hand as she drifts in and out of sleep.

As the sun sets, he leans down, pressing his forehead against hers. “Call out my name,” he whispers, his voice trembling.

Ruth’s lips curve into the faintest smile. “I always do,” she murmurs, her voice barely audible.

When she passes, it is quiet and peaceful.


Isaiah sits alone on their porch, the cassette player resting on the table beside him. He presses play, and Ruth’s voice fills the silence once more, humming along to a song he can’t bring himself to finish.

We stay on his face as he closes his eyes, the weight of her absence settling over him like a second skin.


Tuesday, June 16, 2026

TOP 10 SUKI WATERHOUSE FILM

 

Sherman J. Pearson here for another Top 10. Suki Waterhouse just lit up the big screen with her role in the controversial Gray, which made for her 10th LRF appearance. Time for a Top 10 list!

Top 10 Suki Waterhouse Films
10. Zombieworld
9. AGOS: A Game of Survial
8. Home Before Dark
7. Kazaria
6. Kazaria: Burns of the Lavita
5. Princess Natalie
4. Golden Girl
3. Teen Titans
2. Femme Fatale
1. Gray

RELEASE: GRAY

 

Gray
Genre: Horror/Erotic
Director: Luca Guadagnino
Writer: Roy Horne
Based on the novel The Picture of Dorian Gray by Oscar Wilde
Cast: Timothee Chalamet, Jared Leto, Suki Waterhouse, Douglas Booth, Uma Thurman, Bella Heathcote

Budget: $45,000,000
Domestic Box Office: $23,013,661
Foreign Box Office: $39,427,557
Total Profit: -$19,000,400

Reaction: Even with critical acclaim and a star-studded cast, Gray always had the cards stacked against it with an NC-17 rating.




"Gray is a hypnotic, disturbing descent into beauty, decay, and moral emptiness, with Luca Guadagnino crafting something as seductive as it is repulsive. Timothée Chalamet is mesmerizing, capturing Dorian’s shift from curiosity to complete emotional vacancy with chilling precision. The film’s blend of eroticism and horror feels deliberate rather than exploitative, with each act of excess pushing the story further into psychological ruin. It’s not an easy watch, but it’s undeniably compelling." - Elena Sorrento, Velvet Frame


"While Gray is visually striking and anchored by a committed lead performance, it occasionally mistakes provocation for depth. Guadagnino leans heavily into erotic excess and shock value, sometimes at the expense of narrative cohesion and character development. The supporting cast, particularly Jared Leto and Suki Waterhouse, offer strong moments but feel underutilized in a story increasingly consumed by Dorian’s spiral. The result is a film that is fascinating in bursts, but uneven in its execution." - Charles Triano, Los Angeles Times


"Luca Guadagnino's Gray is the director's most confrontational work yet, a film that seems almost engineered to test where contemporary prestige cinema draws its moral and aesthetic lines. Rather than soften Wilde’s ideas for modern palatability, Guadagnino drags them into the harsh light of influencer culture, art-world fetishism, and wealth without accountability. The film’s excess is not decorative but diagnostic: its relentless sex, cruelty, and bodily horror become the point, forcing the viewer to sit with the ugliness that emerges when beauty is severed from consequence. Timothée Chalamet’s Dorian is chilling precisely because he never postures as a rebel or antihero - he simply stops caring. It’s a punishing, mesmerizing experience that feels designed to leave bruises." - Dave Manning, Ridgefield Press






Rated NC-17 for graphic sexual content, extreme violence, and thematic material.







Monday, June 15, 2026

LAST RESORT FILMS JUKEBOX: GRAY

 


NOW SHOWING: GRAY

 

Gray
Genre: Horror/Erotic
Director: Luca Guadagnino
Writer: Roy Horne
Based on the novel The Picture of Dorian Gray by Oscar Wilde
Cast: Timothee Chalamet, Jared Leto, Suki Waterhouse, Douglas Booth, Uma Thurman, Bella Heathcote

Plot: A luxury gallery in Tribeca hums. The crowd is hyper-curated - influencers, art world parasites, and finance men in black turtlenecks. At the center of the space, projected on vast silk screens, are the latest works from Basil Wotton (Jared Leto): digitally warped portraits with augmented overlays. Faces shift slightly when observed, their expressions flickering — too perfect to be human. A critic murmurs to a friend that Basil’s art makes them feel like God built an Instagram filter. Basil moves through the crowd like a conductor - all smiles, brief touches, few words. The he notices Dorian Gray (Timothee Chalamet), standing beneath one of the portraits. Basil stops mid-sentence, forgetting who he was speaking to. Basil crosses the gallery, introducing himself to Dorian. They make small talk about the exhibit, and Basil introduces Dorian to his wife Victoria (Bella Heathcote). Basil invites him for a private tour of his studio. 

Later that night, Dorian follows Basil to his loft.  Dorian removes his jacket without being asked. Basil sets up the camera quickly, professionally. The first flash fires, and then another. Dorian barely blinks. Basil adjusts his angle, occasionally giving soft instruction: a shift of posture, a glance just off-lens. When he reaches out to reposition Dorian’s chin, his fingers linger a second too long. After a few dozen shots, Basil lowers the camera and invites Dorian to see the images. On the monitor, the portraits appear one by one. Basil describes how the symmetry of a face begins to slip with age, how beauty never stays. Basil proposes creating something more lasting - not just a photo - something definitive.

A week later, Dorian stands near the back of a small Brooklyn nightclub. Sybil Vane (Suki Waterhouse) takes the stage wearing an oversized suit jacket and nothing underneath. She begins to sing. Dorian doesn’t move. His eyes stay locked on her. She doesn’t sing to the crowd - she sings to herself. She dances slowly in place, the rhythm pulsing just behind her like a second heartbeat. People cheer at the end, but Dorian doesn’t clap. He watches as she steps offstage and disappears behind a curtain. Dorian slips past the edge of the crowd and into the green room hallway. He finds her sitting on an amp, sipping from a flask, eyeliner smudged. Dorian immediately begins talking to her. Their chemistry is instant - light, flirtatious. Before they can exchange any more, Sybil's twin brother James (Douglas Booth) appears. He stands between them, not aggressive, but firm. Sybil waves it off, tells Dorian to come see her next set. James watches him go like someone clocking a problem before it starts.

Basil invites Dorian back to his loft under the pretense of reviewing the final render. Basil gestures toward the main display. On it: the finished portrait. It’s Dorian - but not quite. The face doesn’t move, but the eyes seem to breathe. The skin is flawless. A tiny light in the pupil catches Dorian’s attention and won’t let go. He stares at it longer than he means to. Dorian makes a joke about the portrait aging for him. Basil doesn't laugh, instead he suggests that wouldn't be the worst trade. Dorian walks toward the screen, standing so close that his real reflection merges with the portrait. Basil asks Dorian if he wants a copy. Dorian declines. 

Another night - well past midnight - Basil brings Dorian to a party in a converted penthouse above Chinatown. Bodies are everywhere — lounging, dancing, watching. A man offers Dorian a line of cocaine off a mirrored coaster. Basil waits. Dorian accepts. Later, Dorian reclines on a divan in a side room where two women slow-dance in nothing but heels and necklaces. He sips champagne from a glass shaped like a jawbone. From across the room, Basil watches him. Someone snaps a photo of Dorian without asking. He doesn’t even blink.

Dorian and Sybil lie naked and tangled in the sheets of her tiny apartment. She hums along to a demo of a new song as she straddles him, her bare thighs against his hips. Dorian watches her face, not her body. Her movements are fluid, her back arching as she grinds into him. He runs his hands up the sides of her torso, resting his thumbs just beneath her breasts. When she leans down to kiss his neck, he closes his eyes briefly, exhaling softly. She moans into his ear, pressing her chest to his, and he flips her onto her back. Their bodies slide together easily, skin damp, legs tangling. He pins her wrists above her head. She gasps and smiles. He doesn’t. Afterward, Dorian tells her to play her song again. She does.

A party takes place in an Upper West Side townhouse. Guests wear masks - not for mystery, but for status. Dorian arrives and is quickly met by the host, Lady Monmouth (Uma Thurman). She tells him she's late, even though they've never met. She leads him through the room without waiting for agreement, winding up in a side room.  A pair of masked figures make out against the wall. Lady Monmouth reaches for a drink and offers it to Dorian. He sips it. Her lips move near his ear, saying things he doesn’t fully hear over the music. He sets down the glass. She turns, walks away, looks back once. He follows. A photographer snaps a picture through the doorway - Lady Monmouth smiling, Dorian behind her.

Dorian flips through a fashion zine in a SoHo cafe when Victoria Wotton, Basil's wife, appears. She asks Dorian how long he plans to be part of Basil's life and whether he understands what happens to people Basil becomes interested in. Victoria insists that Basil doesn't photograph strangers - he embalms people in affection.. Dorian tries to steer the conversation elsewhere, but she cuts him off - telling him that Basil doesn't know how to let go of beautiful things. As she stands to leave, Victoria warns Dorian to be careful or he'll end up in a frame.

Dorian arrives late for a show. Sybil is already on stage with her band. Her eyes track Dorian the moment he walks in. He doesn’t approach. Instead, he sits at a corner booth with Lady Monmouth. Sybil begins singing the next song, staring at Dorian the entire time without blinking. After the set, Sybil storms to Dorian’s booth, angry that he'd be sitting with another woman. Dorian comments that the song was the best Sybil's sounded in weeks. 

Dorian stands in front of a massive window overlooking Midtown. Lady Monmouth calls him over to bed. He crosses the room and climbs onto the bed. They kiss slowly at first. Monmouth straddles Dorian. As she rides him, her nails drag down his back. She claws him, hard. Blood rises from the slashes. She gasps, realizing she drew blood. But before she can say anything, the scratches begin to close — faintly pulsing, then fading, vanishing entirely as though the skin was never touched. Dorian doesn’t react. He just keeps looking over her shoulder, at his own reflection in the ceiling mirror. Afterward, Monmouth lies on the bed, champagne bottle resting against her thigh. Dorian is already up, buttoning his shirt slowly in front of the mirror. 

Late at night, Dorian breaks into Basil's studio. He pours himself a drink without turning the lights on. He sees his portrait on a large video screen - but it looks slightly off. The face is still his, but the jawline is sharper and more angular. The eyes are dark around the edges, and the corners of the mouth tug upward in a crooked smirk. As he stares, the screen flickers once. The pupils seem to dilate. Dorian unplugs the screen to get rid of his distorted image. 

Dorian enters Sybil's apartment without knocking. She stands in the center of the room, barefoot, wearing his old shirt. She demands to know where he’s been, why he’s parading around with that woman, why he left her on stage. Her voice trembles with rage. Dorian doesn’t answer. She presses harder - her voice rising, calling him empty, cruel, a liar. She slaps him. He laughs. That’s what finally breaks her. She grabs a heavy ceramic ashtray from the nightstand and hurls it at him. It hits his cheek with a sickening crack. He staggers back, blood pouring from the wound. His face is split - flesh torn open, bone exposed. She gasps, stepping toward him, horrified - but then stops. The wound begins to seal. The skin knits itself together. The bone reshapes. Within seconds, Dorian’s face is flawless again, not even a bruise. She calls him a monster and backs away. Dorian moves toward Sybil, grabbing her by the neck. He slowly squeezes the life out of her. He lowers her gently onto the bed. For a long moment, Dorian stares at Sybil's body. He then leaves silently.

James knocks on Sybil's door, but there's no answer. He then tries the knob - it's unlocked. He steps inside, calling her name. A foul stench hits him and he covers his nose. On the bed, he finds Sybil - or at least what's left of her. Her skin has gone grey-green. James stands frozen. He walks backward out of the room, hand over his mouth, until he stumbles into the wall. He then sees the broken ashtray, dried blood still clinging to its shards.

Basil sits at his workstation, barely looking up when Dorian storms in. He marches directly to the mounted screen and stares at the portrait. His expression twists in shock: the image’s left jaw is torn wide open, the skin torn open, blood dripping from a gash that exposes teeth. The wound mirrors the one Sybil left when she struck him with the ashtray - the one that vanished from his own face in mere seconds. Dorian turns on Basil, demanding to know when the image was altered. Basil, surprised, says he hasn't touched it. Dorian doesn’t buy it — how could the wound from his face now appear here, on an image taken weeks earlier? Basil frowns and tells him the strangest part: the portrait has always looked like this — but just yesterday, he printed a full-scale version from the raw file to confirm it. Dorian, now visibly disturbed, demands to see it. Basil unrolls the large-format print onto the table. Dorian leans in. The bruise on the jaw is even more visible, but so are other things — faint discolorations, micro-wounds, signs of abuse and rot. The eyes seem darker. The skin’s tone is just slightly… off. Basil says he doesn’t know how or why, only that it’s all there, even though it shouldn't be. Dorian  accuses Basil of messing with forces he doesn’t understand. Basil, shaken and angry, shoves the reprint into Dorian’s arms and tells him to take it — he doesn’t want it in his studio anymore. Dorian backs out, the rolled portrait clutched to his chest, face pale. The door slams behind him.

In his small apartment, Dorian stands in front of the portrait - now on his wall. He drags a blade across his forearm — then his chest. Each time, the skin knits shut. In the mirror, he slashes his wrist deep enough to bleed out. Within seconds: healed. On the portrait: carnage.

The crowd at a private after-hours club is beautiful, high, and writhing. Dorian dances with two strangers - a woman grinding against his thigh, a man whispering into his ear. When the song ends, Dorian takes them both by the wrist, leading them toward a curtain without asking names. Behind the velvet drape, they begin kissing Dorian. He whispers about wanting to feel everything, even agony. The man agrees too quickly. Dorian bites his lip until it bleeds. He tightens a belt around the man’s neck, strangling him mid-act, watching the color rise in his cheeks. The man doesn’t resist — not at first — but when Dorian doesn’t let go, panic sets in. The woman tries to stop him, but Dorian turns on her too. He slaps her — not playfully — then kisses her hard enough to split her lip.  Blood on the belt. Teeth marks on his collarbone. One of them vomits when it’s over. The three later emerge from the lounge.  The man leans against a column, coughing into his fist. The woman wipes blood from her mouth and starts to cry. Dorian is unscathed. He lights a cigarette and leaves the club. 

Dawn bleeds over Washington Square Park. Morning joggers pass by, earbuds in, unbothered. A yoga group stretches on the grass nearby. Dorian sits alone on the fountain's edge. A cigarette burns from his lips. James approaches him, clutching a pistol. Dorian greets him with quiet amusement. James demands to know if Dorian killed Sybil. Dorian nods, admitting to murdering her. James lifts the gun. Dorian opens his arms and dares James to kill him. James' arm drops - he can't bring himself to pull the trigger. Dorian sighs, almost disappointed. Dorian takes the gun from James' hand, raises the barrel to his own temple and pulls the trigger. The sound explodes through the square. Blood and bone spray across the stone. People run away. Blood mixes with the water of the fountain. Dorian then gasps. The bullet hole in his temple pulling itself closed, skin threading together like watching a wound heal in reverse. Bone cracks softly as it re-forms. Hair clings to the blood and then dries. His eye - shattered moments ago - blinks open, crystal clear. Dorian stands, face spotless. The crowd backs away in silence. James falls to his knees in shock. Dorian slips the gun into his coat, lights another cigarette, and walks calmly toward the sunrise.

In a cavernous warehouse soaked in neon, Dorian lies sprawled on a slab like a pagan sacrifice. The crowd surrounding him pulses - high on a cocktail of cock, ketamine, and MDMA. A woman straddles his chest, dragging her nails down his ribs hard enough to leave trails of blood. Dorian cuts his own palm open and presses it to another guest's lips like communion. The room turns rabid. Dorian welcomes every touch, every wound - inviting bites, scratches, knife play. Someone burns him with a lit cigarette. A guest overdoses and collapses. A man begs Dorian to cut him. A woman moans as Dorian smears blood across her breasts and licks it clean. This continues all night long until everyone is passed out, wasted, exhausted - except for Dorian. He steps over bodies, leaving the club alone.

Victoria sets her phone down. The screen is playing cellphone footage of Dorian shooting himself in the head in Washington Square Park. She’s watching it for the third time. Basil stands silently nearby. Victoria asks how this is possible. Basil doesn’t answer - just disappears into the study and returns with a folder of Dorian’s early images. He shows her the portrait again: the once-beautiful photograph now monstrous. She asks him if it is some kind of trick or stunt. Basil quietly tells her it’s real. That whatever he captured in that image isn’t just Dorian’s likeness - it's seemingly the real Dorian Gray. Basil tells her he has to confront Dorian - he’s the only one who can reach him now. 

Dorian arrives to Lady Monmouth's penthouse in the early hours with leftover adrenaline from his night of carnage. She welcomes him in wearing a silk robe that barely clings to her frame. They don’t say much. They don’t need to. She pulls him into the bedroom, and they fall onto her bed. Monmouth scratches deep into Dorian’s back once again. As she begins to whisper about owning him, about not wanting to share him anymore, Dorian grows still. She trails a finger along his cheek, tells him she could take care of him, keep him safe, worship him if he’d only stay. He kisses her. Then, without a word, he rises, walks calmly across the room, and lifts a small bronze sculpture from a display shelf. When she asks where he’s going, he turns and swings. The blow crushes her skull, blood spattering the sheets. She spasms, tries to crawl, but Dorian watches without emotion. One final strike silences her. He exhales slowly and wipes the blood from his hand with her robe before slipping out.

Dorian returns to his apartment. He sits in front of his portrait, which has become more grotesque. Basil enters the apartment. Dorian offers him a drink. Basil refuses, instead looking up at the portrait in silent horror. Basil asks if he feels shame. Dorian shrugs, saying guilt is beneath him now. He calls it liberation. The portrait is proof that he’s transcended. Basil begs Dorian to stop and destroy the portrait before he becomes something unrecognizable. Dorian laughs, telling Basil that he likes what he's become. Basil tries to reach for the portrait, to pull it from the wall. That’s when Dorian plunges a long knife into his chest. Basil stumbles back. With the last of his strength, Basil staggers toward the image, tearing it in half. Dorian drops to his knees, blood pouring from his mouth. Every wound he's ever healed rips open at once. Skin splits, bones twist, his perfect face collapses into meat and ruin. 



Sunday, June 14, 2026

SOCIAL SPOTLIGHT

 

Actors don’t just light up the screen — they light up the feed. Social Spotlight takes a look at how today’s stars promote their movies through the platforms that matter.

This round we have an Instragram post from singer/actress Suki Waterhouse....



COMIC BOOK GUY (SEASON 11)

 

Welcome to Comic Book Guy, where my opinions are stronger than Thor's hammer and sharper than Wolverine's claws! This season’s lineup delivers everything from cosmic Martian drama to the campy resurrection of a football hero turned intergalactic savior. We’ve got a gritty animal spirit revenge tale, a superhero suffering through Martian therapy, and a Bone adaptation that proves even beloved comics can stumble on the big screen. Buckle up, true believers—this batch of films will take you from the depths of Zambesi to the moons of Mongo, and maybe even make you question the viability of animated quiche-based humor. Let the reviewing begin!



MARTIAN MANHUNTER
It’s rare for a superhero film to feel like a therapy session, but Martian Manhunter manages to deliver emotional introspection alongside Martian fireballs. Mahershala Ali embodies J’onn J’onzz with the gravitas of a Shakespearean actor tackling a space soap opera, but the existential angst gets a little heavy-handed. When our stoic hero can't turn into his Martian form anymore, he spends half the movie moping around like a college freshman who just discovered Nietzsche. Then there’s Firefly, played by Karl Glusman, whose villainous monologues are so fiery they might qualify for a barbecue competition. The moon showdown with Malefic has the makings of cosmic melodrama, but when Malefic calls himself the "Serpent King," I half expected J’onn to roll his eyes. It’s deep, it’s weird, and it’s oddly touching, but maybe next time they can sprinkle in a little more action and a little less brooding.




VIXEN: THE TOTEMS OF ZAMBESI
Vixen is what happens when you throw a superhero, a revenge tale, and an Animal Planet documentary into a blender. Gugu Mbatha-Raw absolutely owns the role of Mari Jiwe, but the script gives her whiplash from switching between spiritual awakening and "Liam Neeson in Taken mode." Jefferson Pierce (Trevante Rhodes) steals the show as Black Lightning, delivering zingers while also working through his existential crisis. Meanwhile, Kevin Bacon as Eobard Thawne seems like he wandered in from a completely different movie, chewing scenery like a mad scientist on speed. The story is a rollercoaster of emotions, explosions, and enough totems to fill an Indiana Jones museum, but at least it keeps you entertained even when it’s utterly ridiculous.




FLASH GORDON
James Gunn’s Flash Gordon is exactly what you’d expect if Guardians of the Galaxy had a baby with a 1980s fever dream. Channing Tatum’s Flash is an endearingly clueless himbo who somehow stumbles his way into saving the galaxy while rocking a football jersey. Jeremy Irons’ Emperor Ming delivers villainy so hammy it should come with a side of eggs, and Emily Ratajkowski’s Princess Aura seems to have missed the memo that this isn’t a soap opera. The film’s campiness hits the sweet spot, with scenes like Flash fighting a swamp monster with a football playbook or Dave Bautista’s Prince Vultan screaming, “Dive!” with the gusto of a man auditioning for Game of Thrones. It’s ridiculous, over-the-top, and pure fun—just don’t ask it to make sense.



BONE
Bone is what happens when you try to cram Jeff Smith’s whimsical comic series into a movie and forget the whimsy. The animation is beautiful, and the voice cast (Elijah Wood, Paul Giamatti, and Bill Hader) brings their A-game, but the film feels like it’s trying to be Lord of the Rings with slapstick jokes. The Rat Creatures are supposed to be menacing, but their obsession with quiche turns every scene with them into an unintentional farce. The Great Red Dragon (Patrick Stewart) is underused, and Phony Bone’s endless scheming feels like padding for a runtime that already overstays its welcome. By the time the convoluted story reaches its anticlimactic conclusion, you’re left wondering if the studio even knew who the audience for this film was supposed to be. It’s a flop, but hey, at least it looked pretty.