take2docs Reviews

Karmageddon (2011)

A newbie filmmaker's masterful critique of a carnal mystic

[9/10 · 24 May 2024]

Do even a little bit of studious digging into the matter and it quickly becomes apparent that the mass acceptance of Eastern spirituality in the United States, beginning in about the 1960s, was by no means accidental. That the '60s counter-culture was not simply a social phenomenon that sprang into being organically, isn't a conspiracy theory but is historical fact.

Various alt-media and credible researchers have produced some excellent work with regard to this period, most notably Jan Irvin, who has helped to expose various '60s' icons, such as Alan Ginsberg, Timothy Leary, and Alan Watts, for who they really were.

So it was that I couldn't help but cringe upon hearing the names of these three intelligence assets mentioned in passing here, and in a favorable light, no less.

Elsewhere, in one or two of my past reviews, it's been commented on the notable influence that eastern gurus Bhagwan Shree Rajneesh and Maharishi Mahesh also had on mid-to-late 20th-century Western culture -- whether directly or, in the case of Ganesh, er, Mahesh, indirectly, via musical superstars, like the (not so) Fab Four, for example (themselves, doubtless tools of the social engineers at the time).

In KARMAGEDDON, one learns of yet another Indian mystic, who made such a lasting impression on one young American man that the impressionable fellow chose to abandon a secure career in order to follow in the (rather unimpressive) footsteps of his spiritual father-figure.

You may have heard of Kermit Michael Riggs. If not, then maybe you're at least familiar with what was Mr. Riggs' stage name, so to speak: Bhagavan Das.

Name still don't ring an alarm bell? Perhaps it should, or might to anyone who has ever crossed paths with said tall, staff-toting beardie.

Das also played a huge role in the life of author/filmmaker, Jeff Brown, who in this, his directorial debut, tells of his experience in meeting the cultural icon in Toronto and the subsequent (and eventually rocky) friendship that ensued following this initial encounter. (Brown would also go onto write about this impactful chapter in his life, in the introduction to his book, "Grounded Spirituality.")

Indeed, it seems all that it takes for a man to acquire a New Age following -- as also evidenced in the excellent 2011 documentary film, "Kumare" -- is an overgrown beard, a name change, and either the spouting of pretentious vapidities or vacuous, meaningless vocalizations. Certainly, it's enough to attract mesmerized female groupies to your side; women who are somehow able to see past unsightly, hirsute appearances, if not also the guru's oftentimes paternalistic age.

Listen closely to Bhagavan Das as we hear this supposedly evolved human soul speak of women in explicitly smutty terms. Jeff Brown, while filming a man whom he thought was an embodiment of higher consciousness, an uplifting role model, is taken aback upon witnessing this other side of his friend and mentor. (Lo and behold if the crotches of trees were not the only crotches Das liked to wax lyrical over.)

It was this shocking glimpse into a side of someone the filmmaker had considered decent and respectable that would largely serve as a catalyst of sorts, an epiphanic actuator, toward Brown's eyes being opened, up to the extremely flawed man behind the pompous hierophant persona, enough for Brown to want to sever ties with the guru and to strike out on another spiritual path in the world -- one less flaky; more substantial...and one that, incidentally, I am more or less on the same page with, and having been so since my own intense study of Alexander Lowen's canon myself and being instantly drawn to it, some twenty years ago. (Whereas, I have only recently discovered Jeff Brown's work, after hearing him discuss the late Al Lowen on a podcast not too long ago.)

Spiritual guru. The image most of us have of these so-called wise, old souls and 'enlightened' mystics is one of an almost saintly mortifier who has managed to overcome the desires of the flesh. Whether you consider this to be spirituality in its highest form (I don't) or rather a perverted Pauline rejection of our divine nature is beside the point here, for if one publicly professes to be enlightened and of advanced spirit and has acquired the status of a guru, then it seems to me it is almost expected of such a person to live up to the holier-than-thou character that is portrayed to the world, lest they lose all credibility in revealing themselves to be a hypocrite or, worse, an outright charlatan.

Personally, I don't understand what Jeff Brown ever saw in Bhagavan Das in the first place, nor can I very well sympathize with those so pathetically needy and vulnerable as to succumb to guru worship. Surely, the deifying of any human being is not even remotely spiritual...unless, of course, they happen to be a goddess incarnate, which may be the only exception to this principle, eh Bhaggy?

I suppose some people have to learn the folly of guru worship the hard way, for themselves. For guys like Jeff Brown, this can involve a baseball bat and a 'Bioenergetic cube.' (Who knew the portraits of other people could serve such a therapeutic purpose?)

Biography: Mary Kay Letourneau: Out of Bounds (2001) Season Unknown, Episode Unknown

A+

[10/10 · 17 May 2024]

It was during the mid-to-late '90s when a sensational story involving adorable schoolmarm Mary Kay Letourneau (Mrs. L) made national media coverage across North America. I was twentyish at the time and practically glued to the TV set myself, as I followed the tabloidesque narrative play out on the nightly news.

Almost a quarter century later, and the mediagenic scandal that was continues to remain fresh in my mind, with this engrossing bio of the infamous affair making both a fine companion to Gregg Olsen's equally excellent book and, to anyone who may have forgotten about the lurid case, the equivalent of a handy refresher course.

Narrated by Harry Smith, MARY KAY LETOURNEAU: OUT OF BOUNDS recounts the scandalous story of Mrs. L, beginning with the California-born woman's childhood, with a special look at her right-wing politician daddy who, incidentally, would end up embroiled in a sex scandal of his own. From there, the video proceeds to Mary's marriage to Steve Letourneau in 1983, her becoming a teacher soon afterwards, and of course, most memorably, the 34-year-old's extra-curricular activities with a 13-year-old Samoan student.

Understandably, MARY KAY LETOURNEAU: OUT OF BOUNDS, as viewed in 2024, plays a bit dated, considering Mrs. L has since passed away since this brief bio first aired on television back in 2001, and obviously is no longer serving a sentence in a correctional center as according to the program's host. Still, aside from any no longer relevant bits of info, the video remains thoroughly watchable to anyone interested in true crime stories or who, like me, has long been fascinated with this case, if only due to finding Mary Kay so very dreamy.

Needless to say, Steve Letourneau was one lucky man to have had such a nubile blonde for a wife...or at least up until his experiencing publicized cuckoldry.

As to how to explain Mrs. L's overly affectionate behavior towards the uncool Samoan is something that to onlookers remains a mystery, and after watching this the judicious viewer is certainly made to wonder whether the overpraised juvenile impregnator really was just a taken-in passive victim, or rather a slick-haired, shades-donning, coy little dude, who boasted to his peers of his sexual conquest?

Whatever the case, Mrs. L's foolhardy infatuation would end up not only costing her her family but, not surprisingly, her reputation as well. The toots would eventually be sentenced to 7-and-a-half years in prison for bedding a minor and as it stands today is doubtless lovesick for her soulmate on the other side, privately unapologetic she was of the crime to her dying day.

Notably, OUT OF BOUNDS includes audio clips of its human subject taken from a recorded interview with Mary the inmate, as well as some insightful commentary from former colleagues of hers, thus adding to the viewing experience.

The Dutch Masters: Bosch (2000 Video)

And God said, 'Let there be Satan, darkness, and eternal torment'

[8/10 · 12 May 2024]

Despite not being very skillfully artistic, I nevertheless consider myself a bit of an aesthete, in the (non-pretentious) meaning that I am drawn to visual art; specifically, that which uplifts the spirit and enriches the soul...or to those paintings at least pleasant enough to behold (i.e., still lifes).

So how to explain my curious fascination with the oeuvre of medieval Netherlands painter, Hieronymus Bosch (c. 1450-1516)?

Call me staid or conservative, since I normally tend to avoid the works of abstract and surrealist painters, much preferring visual compositions representative of consensus reality, instead.

When it comes to Bosch, however, therein lies the sole exception.

From the moment I first discovered the artist's work, way back when, I must admit I was thoroughly captivated -- or rather, to put it more accurately, I was immediately interested more in the painter than in his paintings.

What kind of diseased, disturbed mind was this?, I thought. What sick person would choose to create such downright downbeat panels and triptychs? Why was this artist so obviously obsessed with devils and damnation?

Much to my disappointment, I was soon to learn that little is known about the man, himself. Take this video presentation, for example. Right from the outset we're informed as to the scant info that exists on the man behind the brushstrokes. That being so, THE DUTCH MASTERS: BOSCH contains very little biographical content (darn it), which I suppose is to be expected. So much for trying to get inside the painter's psyche.

Man is only about 500 years or so removed from the time period in which Bosch lived, which in the grand scheme of things is but a drop in the cosmic bucket. I note this as a means of putting our hi-tech and generally non-religious age in perspective.

It wasn't all too long ago that people lived with an entirely different mindset than us moderns. As one interviewee in the video reminds viewers, people who lived during the (late) Middle Ages often died prematurely and quite young, whether due to disease or starvation, and as such had a constant fear of both death as well as the afterlife they believed followed their short human lifespans.

Bosch, like several other moralist painters who proceeded him, was a didactic artist, in that he attempted to instruct his (generally illiterate) contemporaries, through his art, of the immortal consequences of leading an immoral, godless life. Hence, the various 'hellscapes' he produced -- horrific, deranged imagery, as if straight out of the nightmarish Book of Revelation.

Interestingly, some art historians are of the opinion that Bosch must've been on something for him to have created such grotesque and demented depictions; either knowingly influenced by an hallucinogen, or perhaps unwittingly affected by a mind-altering substance, like, say, ergot. Still others wonder whether Bosch might have possibly traveled out-of-body to the Underworld in order to be able to compose such detailed paintings of mankind's probable destiny. Then again, Bosch might've just had a wild and wicked imagination.

Even if you're not the least bit artsy, THE DUTCH MASTERS: BOSCH is still important enough to be seen, if only viewed as a significant retrospective, highlighting a 'superstitious' zeitgeist gone by.

Additionally, we get some expert analysis of the artist's more well-known masterpieces, but even these pundits are occasionally at a loss to explain some of the weird little details included in Bosch's fantastical creations. Cue narrator Mike Leighton, who in one scene asks: "Why is a human posterior excreting coins into the hole?"

It Was a Wonderful Life (1992)

Humanizing the homeless via film

[8/10 · 11 May 2024]

If you think the homeless have it made because they don't pay taxes or have to work for a living, think again. Truth is, many a derelict -- as with the few subjects featured in the film -- yearns to re-join the workaday and the very system that has, if only indirectly, seen to each their downfall.

Suffice it to say, this is not your typical documentary about homeless people. Whereas the downtown-set "Streetwise" and the subterranean "Dark Days" (to name but two examples) both take an unflinching look at this particular social issue (and make for rather depressing viewing experiences), IT WAS A WONDERFUL LIFE, on the other hand, presents a lighter side of homelessness, one far less gritty and disturbing, and as such is what makes it rise above the others.

Personally, what I found most fascinating to learn with regard to the heroines profiled in the film is how many, if not all, of them were once part of the cushy (and out-of-touch with the commoner) bourgeoisie. Just when you thought only those of low-income are at risk of eating out of garbage cans, along comes a former businesswoman, or law student, or schoolteacher, or pharmacist, or real estate agent to tell otherwise.

Watching this, I couldn't help wonder what causes factored in that led to these middle-classists falling so hard. One hears stories about women foolishly squandering their life savings, as victims of scams or slot machines, and who as a result end up as bag ladies. IT WAS A WONDERFUL LIFE shows that simply being laid off from a job, or being divorced, can be all that it takes for a woman to find herself living out of her jalopy.

Another false notion many people no doubt have of the homeless -- and shown in this to be a stereotype -- has it that such ones are unclean and have low self-esteem. For lovely, upbeat spirits like the presentably dressed Josephine, nothing could be farther from the truth. Here are women who, true, may not go so far as to say poverty is a virtue, but who continue to take pride in themselves and in their appearance, and whose dignity and self-respect remains intact. It could be said that what they lack in 'net worth' is made up for in priceless soulfulness/human character. Contrary to what the Beatitudes would have us believe, sure, they may not feel blessed, but neither are they nihilistic, nor do they appear all that embarrassed or ashamed of their circumstances.

Sad that there are actually people in society who regard the indigent as subhuman and who idiotically label as slothful those who whether by foot, clunker, or cardboard box struggle on a strictly survivalist level. Such skewed notions find no place in this affecting and indelible gem of a film.

Incidentally, worth mentioning in closing is that I'm presently reading Marjorie Bard's classic study, "Shadow Women." 'Tis a book, no, not about 'bums' and unhygienic boozers in rags, but about the self-dependent woman who, often through no fault of her own, has hit rock bottom, yet who through admirable inner resources manages to keep going; she who does not beg or seek handouts -- who goes about her day inconspicuously, blending in with those of us caught up in the rat race/hamster wheel. Ms. Bard makes a brief appearance in this and her book a fine companion to the documentary.

World Beyond Death (1976)

When the teaching of a future resurrection offers little solace

[7/10 · 30 March 2024]

I would say the near-death experience (NDE) comes closest to proving that human consciousness continues posthumously but even so one might wonder how this is reassuring to necrophobes. Consider that despite there being many people who fear death on account of a secular/materialist worldview, what is seldom considered are those who know in their gut that death is not the end and fear what may follow; say, in the form of a punitive and/or horrific hereafter. Even so, personal testimonies of, and supposed scientific evidence for, the NDE remain as popular as ever, as is recently shown by the number of ratings and reviews on this site of the documentary film, "After Death" (2023).

Released in 1976 (about the time of Raymond Moody's pioneering publication), WORLD BEYOND DEATH also seeks to prove that death is not to be feared in the sense of it being thought of as the final nail in one's coffin, but the evidence it offers for this isn't near as convincing as a good NDE story.

The late Swiss psychiatrist and thanatologist, Dr. Elisabeth Kubler-Ross is briefly featured in this and she's about the only interviewee worth seriously listening to, who has something relatively substantial to say on the subject. As far as I could tell, there was no ectoplasm emanating from her nostrils, which is more than can be said for a few b&w snapshots shown in the video of what clearly appears to be the work of apparent charlatans. (Facial tissue, anyone?)

One of my favorite researchers and authors of all things unexplained was the late Brad Steiger, of which the end credits inform helped in the writing of the video, and although much of the content contained in WORLD BEYOND DEATH is fascinating from a paranormal perspective, suffice it to say none of it comes close to 'proving' the existence of an afterlife...but if anything, the possibility that talents and even what so-called experiencers believe to be their own out-of-body memories may be nothing other than the transferred/instilled skills and thoughts of nonhuman intelligences.

So we listen to a doctor tell of a diving experience in which while underwater and injured he says he left his physical body and traveled through the cosmos. Okay, and...? Unless you're an astronaut or a sci-fi buff, how is this in any way of comfort in knowing? Elsewhere in the video we meet an untrained pianist who claims to be a conduit for several a long-deceased Classical composer, who allegedly use her hands to play through her. Just when you thought the phenomenon of automatic writing 'proved' that life continues after death, along comes automatic piano-playing to convince only the gullible of this. Naturally, no video on the survival of human consciousness would be complete without the inclusion of a self-professed spirit medium and so, voila, there she appears in front of a gathering of woefully credulous and teary eyed believers, conducting what skeptics would describe as a 'cold reading.' As for the scene of a man who under hypnosis is treated to a past-life regression, the word hooey comes to mind. With perhaps the most interesting of all those featured in this being a man by the name of William Welch, of whom it is said managed to capture over 20,000 discarnate voices on audiotape in his lifetime.

As someone who would not find postmortem nothingness the least bit disagreeable but who nevertheless intuits that the human spirit/soul lives on in some form or another, needless to say I did not go into this viewing hoping to be converted to its message. More than anything, I found WORLD BEYOND DEATH to pure, enjoyably corny entertainment, unintentionally amusing in parts, and for that I give it a generous rating.

In an opening scene we listen in as a minister (curiously) teaches evolutionary theory from the pulpit, if only to illustrate that death is akin to a lifeform that inevitably transforms from its original condition into a full-grown butterfly. Doubtless such a warm-and-fuzzy concept is for many people enough to make them look at a corpse in an entirely different light.

Decoding Christianity (2008– )

A fine audio-visual aid to understanding the history, beliefs, and culture of a (hopelessly) divided religion

[7/10 · 2 March 2024]

With Easter season upon us, how fitting to review this docuseries at a time when, for hundreds of millions of people worldwide, thoughts now turn to Christ, unleavened bread and chocolate bunnies.

Admittedly, I put off watching this rather lengthy series for quite a while, on account of its title. I thought maybe this was going to be one of those sophomoric, occult-based presentations, having to do with holy scripture supposedly containing cryptic knowledge just waiting to be deciphered by penetrating, if not outright delusional, minds. Much to my pleasant surprise, DECODING CHRISTIANITY is nothing of the sort. Don't let the word 'decoding' mislead you into thinking this is arcane content. Far from it; 'decoding,' as I read it, is simply used as a synonym for 'understanding' and, quite frankly, this is basically just a casual overview, at that; albeit a relatively comprehensive one.

The docuseries is hosted by a likable Roman Catholic Irishman by the name of Christy Kenneally, who serves both as commentator and as tour guide of sorts, and whose presence makes this even more of a delight to watch. With an adventurous, intellectual curiosity and, as host, natural charm of a Richard Dawkins (absent the cynical atheism), Kenneally travels the world to visit such places as cathedrals and the catacombs, and to chat with clergymen, theologians, and art historians, in search of 'decoding' his beloved faith. Among the various lands Kenneally visits are the Philippines, Wales, Rome, Turkey, France, Russia, and the USA.

Refreshingly, DECODING CHRISTIANITY is fairly neutral in its presentation. Despite the host being a religionist, it is neither out to debunk nor to convert.

Interestingly, Kenneally is not afraid to question certain practices and teachings pertaining to his religion, shown as he is at times examining various aspects of Roman Catholicism, seemingly from a semi-skeptical and detached perspective. More to the point, DECODING CHRISTIANITY is in large part a look at how institutionalized/cultural Christianity has shaped the lives of countless believers over the centuries, despite these two major influencing forces sometimes shown to be in conflict with the Bible.

As but two examples of this, considered are the Roman Catholic teachings of limbo and purgatory, theorized afterlife scenarios which are no where mentioned or alluded to in either the Old or New Testament scriptures. And what of Christian iconography -- specifically, the Roman Catholic use of images and idols? Kenneally recognizes that within Protestantism such forms of worship are strictly forbidden and are considered idolatrous, and yet notes that for many illiterate Catholics down through the ages, the use of images -- of which Christian paintings are among -- have helped in instructing the laity and in strengthening their faith. Cue scenes of Kenneally shown inside of gaudy cathedrals, gazing up at the ceiling, in awe of domed frescoes, such as the enormous Tadeo de Bartolo rendering of "The Last Judgment" (c. 1391), and the equally morbid artistic depiction of God's wrath, the Vascari/Zuccari masterpiece (c. 1572-1579). These images, straight out of the Book of Revelation, or largely inspired by the work of one Dante Alighieri?

Here we are treated to a brief lesson in angelology as well, as in our learning of the presumed hierarchical realm of these divine beings -- a concept having originated with an ancient Greek philosopher (the pretentiously named 'Pseudo-Dionysius the Areopagite'). Also examined, and most notably so, is the early Church controversy surrounding the substance of Christ.

Imagine, for a moment, if, at the Council of Nicea, Arianism had been accepted as gospel, as opposed to being declared a heresy. So it goes that the few nontrinitarian denominations in existence today are labeled apostates according to mainline Christian doctrine. Incidentally, the final verdict as expressed in the Nicene Creed brings to mind a passage in James Frazer's classic tome, "The Golden Bough," in which is recounted the story of a 2nd-century megalomaniac who, far from believing himself to be the incarnation of Christ alone, had gone about proclaiming himself the very embodiment of the Trinity.

Re: the cross. I recall from my comparative religions studies learning of this symbol having been positively regarded during pre-Christian times; literally viewed as a 'plus sign,' representing the intersecting of spirit and matter. I had this in mind as I watched Kenneally travel to the Philippines, to observe a 'Crucifixee,' a Filipino tied to a cross, arms outstretched, with his palms nailed to the horizontal beam, as part of an annual impaling ritual. As I sat watching this, I wondered if this man knew of the death-burial-resurrection story being common to several pagan pre-Christian societies, with the literalized Bible version possibly being adopted from these so-named 'mystery cults,' as if echoing the fertility-themed resurrection tales of Adonis, Dionysus, Osiris, Persephone, and others of the great old mythological past.

As for the early 1st- and 2nd-century Christian martyrs, also discussed at some length -- those alleged loyal devotees whose steadfast belief in the historicity of Christ caused them to be willing to die for their faith -- it is interesting to note that some historians have put forth the claim that these men and women were not so much martyrs as pseudo-spiritual rabble-rousers and insurrectionists -- diehard enemies of the state.

Might the character of Satan be based, in part, on the pagan nature god, Pan? The question is raised by Kenneally. Are depictions of angels with wings based on the variously portrayed winged gods of ancient Greco-Roman culture, a la Eros/Cupid? What did the early Christian symbol of the fish signify to 1st- and 2nd-century believers? Yet more musings, among several others, that are considered with an open and inquisitive mind in DECODING CHRISTIANITY.

Best Man: 'Best Boy' and All of Us Twenty Years Later (1997)

Philip Wohl at 70

[10/10 · 16 February 2024]

A few notable changes have occurred in the life of Philip Wohl since the last time we saw him on film. For starters, Mr, Wohl has supposedly only aged a mere two years in the span of a couple decades. If you recall, he once tried to convince us of his being 16, and now here he says he's 18, or so according to our beloved and nominal mathematician. In reality, Philip has aged about twenty years and as he appears in this, is now into his seventies.

In his seventies, and still a childless bachelor. Granted, I'm not sure whether Philly would even know how to go about procreating, but it would've been nice to see him by now settled down with a wife and family of his own.

BEST MAN is the follow-up to filmmaker Ira Wohl's phenomenal 1979 documentary film, "Best Boy," which first introduced us to his infantile cousin, the lovable 'Philly' Wohl.

Sadly, since we last saw Mr. Wohl, both his mommy and daddy have passed away. Nonetheless, the film's hero has managed to make it in the world to the best of his ability, and whereas others in his situation might have found themselves in an orphanage, Philly, we now find living, and quite contentedly so, in a group home, alongside like-minded individuals. No doubt mama would be proud.

Philly's sister, Frances, is featured more predominately in this film than in the last one, in effect taking over the parental role and her next of kin under her wing, and a memorable and heartbreaking moment has brother and sister visiting the gravesite of their late parents.

Philly still doesn't have to work in order to survive, although he doesn't necessarily like to remain idle, either. In fact, when he's not out discoing, or at the synagogue, or aboard an airplane, traveling to the west coast to visit Ira, he can be found back at the group home, washing dishes. It is something he very much enjoys doing.

As seen together, "Best Boy" and BEST MAN make for a fascinating viewing experience, on par, in my opinion, with director Michael Apted's longitudinal and existentially profound "Up" series. (R. I. P., Mr. Apted.)

That human life is short and so very precious is something which these one-of-a-kind documentary films help to impress upon the minds of their viewers. I wonder whether Philly ever stops to reflect upon his past, the loss of his parents, and does he even possess the mental capacity to conceive of a future beyond tomorrow?

Here's a man, no, make that a super-man, quite at peace with himself, who seems happy just being alive and living in the moment. If we are to be like children, I think the late Philip Wohl, mental deficiency aside, was a near perfect example of what that means.

That Philly has something to teach the rest of us grown-ups is what makes him so special and such a delight to watch.

Best Boy (1979)

Philip Wohl at 52

[10/10 · 16 February 2024]

The world would be a far better place were there more adults like Philip Wohl in it. The fact that Mr. Wohl happens to be an imbecile is beside the point. I refer to the human subject's childlike manner and admirable innocence, more than anything else. Philip's mental incompetence notwithstanding, here's a model of a gentleman if ever there was one. Mild-mannered and mannerly, the poor fellow wouldn't even know how to spell ego, let alone be able to define the word. Which is to say, Wohl is about as humble as they get.

BEST BOY was directed by a little known documentarian named Ira Wohl, whose feeble-minded cousin, the adorable 'Philly,' is the focus of the film.

Philip Wohl certainly makes for a compelling case study in what it is like to live as someone with special needs. Here's a 52-year-old of whom it is said has the mental capacity of a 5-year-old. (Philly says he's 16 but he's fooling no one but himself.) It comes as no surprise to find Mr. Wohl still living at home, with his aged parents -- mother Pearl (75) and father Max (78).

No doubt there are some people who would think that to be born an imbecile would be absolutely awful, but as we learn from watching BEST BOY, imbecility can have its advantages. Consider that Philly doesn't have to work for a living, getting to spend every day lounging about the house. He is doted upon by a supportive if not overprotective mother. He knows nothing of the cold adult world beyond his windows and appears blissfully ignorant as to his own mortality. For Philly, every day is like a holiday. As Mr. Wohl's daddy tells it: "He's a boss. He eats eight times a day. He does what he pleases." (And here we thought only kings and commoners among the leisure class get to live the good life.)

Mama, meanwhile, sees things a little differently. Although Pearl loves her baby boy immensely, she confesses that caring for a dependent of this nature and for as long as she has can at times be mentally draining and a burden. At one point in the film we hear Pearl express her displeasure with God, feeling not so much blessed as punished in having been given a mental incompetent for a son. Saddened is she, however, when the day comes to send Philly off to a training center for those with learning disabilities, leaving her feeling like an empty nester.

Some of the best moments in the film are when director Ira takes his cousin out and about on day trips. We watch Philly visit the local zoo, take a ride in a cable car, try his hand at shooting hoops, and perform the box step with his lady friend. Surprisingly, Philly is not the least bit uncomfortable when away from home and out in the world -- rather sociable and quite independent-at-heart as he is. And, as an aside, the guy can sing the words to that golden oldie, "Anniversary Song" probably just as coherently as anyone one of us could.

As for Philly being able to tell time simply by holding a watch up to his ear, well, that's a whole other matter.

The History of Talk Radio (1996 Video)

A glimpse of what it was like before the days of podcasting

[7/10 · 3 February 2024]

There once was a time when all people had in the form of media entertainment was a box, usually kept in the living-room, called a radio. Families would gather around it after supper to listen to radio plays, mostly.

THE HISTORY OF TALK RADIO doesn't concern itself, however, with nostalgic grandparents recalling what they used to do for fun when they were young, nor with the history of radio's beginnings either (Marconi, who?), but with the many radio talk show hosts over the recent decades who have attained cult followings -- thanks in large part to (indiscriminate) listeners, quite unlike myself, who tune in more out of love for the host than out of interest in the show's content (a la Barry Champlain's ever loyal fanbase, in reference to the 1988 movie, "Talk Radio" -- incidentally, one of my favorite cinematic films).

Several culturally influential on-air personalities briefly profiled in the video, from the 1950s and '60s, were before my time -- Long John Nebel, Allan Burke, Bill Ballance, et al -- as THE HISTORY OF TALK RADIO takes a chronological look at about a dozen radio show hosts who preceded well-known industry names of the '90s and aughties, such as Rush Limbaugh, Dr. Laura Schlessinger and, yes, the lowbrow and obnoxious Howard Stern.

One question that naturally arises as one goes about watching this fairly informative production is: How the heck did some of these names manage to make it on the airwaves? Luck and contacts (not to mention possibly supernatural string-pulling) appears to be the foremost answer to this mystery, although it certainly helps if you are articulate, charismatic, and think you have something worthwhile to say.

From the 'seven-second delay,' to the differences between AM and FM broadcasting, to Freedom of Speech awards handed out to radio talk show hosts (do they still do that in today's largely censorious age?), we learn some interesting things along the way, if only in passing.

The only thing missing from this is a nod to the late overnight program host, Art Bell, whose listenership was as large as anyone else included here. Other than said glaring omission, THE HISTORY OF TALK RADIO makes for a more than satisfactory overview of its subject.

Lights Out! (II) (2012)

Semi-illuminating

[6/10 · 3 February 2024]

Prior to the Industrial Age, humans probably slept a lot better and a lot longer per night than they do today and yet, interestingly, did not live as long. Quite so; it's said the average lifespan of humans who lived before the invention of electric lighting was approximately 35-40 years. Which only goes to show that, although people spend roughly a third of their lives in bed, getting the recommended eight hours of sleep per night is no guarantee of a long life.

With that said, we humans have been designed to live in sync with the natural cycles of our earthly environment -- ideally, to rise with the daylight star and to fall asleep with the appearance of the moon -- to live in harmony with our internal clock or circadian rhythm. What happens, however, when artificial light exposure, as experienced by many of us who work or play into the late hours of the evening or wee morning, enters the picture?

LIGHTS OUT, hosted by Canadian scientist David Suzuki, examines that very question...as if we need a lab-coat to explain what should be obvious to each and every one of us. (Artificial light exposure can negatively affect a person's sleep pattern and, by extension, mental and physical wellbeing. The doc proceeds from this self-evident starting point.)

As I watched this, I was reminded of a book I read several years ago: Martin Moore-Ede's "The Twenty-Four Hour Society" (1993). LIGHTS OUT is basically on the same page, critical as it is -- and rightly so -- of our around-the-clock culture, with its night owls, graveyard shifts, and those who succumb to 'night eating,' a nocturnal habit which no doubt has played a contributing factor in the rise of obesity. Indeed, is it any wonder that many people resort to taking melatonin supplements, surrounded as they are when the sun goes down by ubiquitous artificial lighting?

Imagine a world where everyone went to bed as soon as it was fully dark out and got up in the morning, not in accord with an alarm clock, but in harmony with the rise of the sun. Sounds utterly unrealistic and yet for thousands of years, human beings lived in such a way, thus proving that it can be done. Be that as it may, with modern man having crossed the technological Rubicon, there is simply no going back to such a truly environmentally conscious period, and so we must learn to live with artificial lighting as best and as responsibly as we can. LIGHTS OUT offers a few tips and suggestions on how to go about doing this; one being with regard to the blue light emitted from our computer screens and PDAs, noting how unnatural it is for biological systems to be exposed to this light during nighttime.

What with humans being photobiotic creatures, the quality of light that we are exposed to on a daily basis should be of utmost importance to us. The ancients knew of this, with their solariums and worship of the sun. I know myself that moderate and responsible exposure to vitamin D enriching sunlight does wonders for me, in making me feel ever alive and on a natural high. Conversely, there are those who get emotionally down during winter months, due to lack of sunlight, as with people who suffer from SAD (seasonal affective disorder).

If there is a quibble to be had with LIGHTS OUT, it's in its failure to highlight the obvious and oddly omitted; namely, the healthful effects that *natural* light can have and does have on living organisms; a point which you think would be at least mentioned, considering the bugaboo here being unnatural, artificial lighting (as opposed to and certainly not on par with its opposite -- its natural counterpart).

Endnote: The sub-topic of lightbulbs is given a mere brief mention in the film and yet anyone who has researched the history of the lightbulb, from its origins down to the present day, understands incandescents to be far superior to both CFLs and LEDs as far as human health is concerned. So why, then, the phasing out of incandescent bulbs in many (western) countries, when for over a century no one had a problem with them and, in fact, during their early days were sometimes used for therapeutic purposes and for the treatment of various disorders? As to why LIGHTS OUT only examines a certain aspect of its subject, it is quite possible the filmmakers were unaware at the time as to the agenda-driven, government policies that have in recent years worked to steer the technology towards a (deliberate/unwitting) deleterious path, all in the name of 'energy efficiency.' As such, LIGHTS OUT barely scratches the surface of its subject and that it has David Suzuki in it, may be a telling sign as to why this is. For a much deeper and controversial dive into this oft-overlooked and important topic, I recommend checking out NWCZradio's "Down The Rabbit Hole" podcast; episode titled, 'The Phoebus Cartel: Conspiracy of Light.' To say that it picks up where this documentary leaves off is perhaps an understatement.

Fart: A Documentary (2016)

Now for something light and fluffy

[7/10 · 26 January 2024]

After "How did life originate?" and "Is there a Creator?" perhaps the next Big Question commonly posed the theologian and scientific philosopher is a ponderous biggie that probably all of us have contemplated at some point in our lives. That being: 'Why do humans pass gas, and why is audible farts funny to so many people?' Granted, you can try looking for an answer to this two-part inquiry in some so-called holy book but chances are you will come up empty, or you can simply watch FART: A DOCUMENTARY, in which, if you're like me, you may intuitively discover a light-hearted universe, one where, say, angelic pranksters stealthily slip a fart-mimicking cushion atop God's non-porcelain throne at the moment He's about to pronounce judgement. (Nothing like a little levity to help lighten the mood.) Okay, so the film is a bit juvenile and a tad lowbrow, but if it has anything to teach us it's that, as with the act of defecation, the expelling of flatulence is another great equalizer. Whether pauper or prince, layman or lord, we all do it -- (fart, that is).

As a kid, I never understood it when mom and dad would reprimand me for farting at the dinner table. Here we are reminded that the breaking of wind is "a natural process" and a normal "bodily function," arguments I myself would use when as a child I was told it was not polite to do, not proper etiquette, especially during mealtime. Still, we can't all be Emily Post, now, can we "Mr. Methane"?

Meet Paul Oldfield, also known by his stage name, "Mr. Methane." Clad in a superhero costume, the guy tours this great big stinkin' world of ours as a showman quite unlike any other. (Hey, some are called to be preachers, others fartistes.) Suffice it to say, the gifted "Mr. Methane" makes a believer out of many, echoing that divine mouthpiece of yore, Le Petomane (aka, Joseph Pujol), the 19th-century Frenchman whose unique bilingual talent astounded many an audience member back in the day, an entertainer who's also (however briefly) featured here. (So son, what do you want to be when you grow up?)

The books of Jim Dawson are given some attention in this, as well. Mind you, these page-turners may not be quite up there with Plato and Lao Tzu...or then again, maybe they are on some level, if you catch my malodorous drift.

In FART, we hear not only from one or two fartologists and professional farters but also from a few ordinary men and women, who tell of their own experiences with flatulence, and commendably without any sense of shame or embarrassment, whatsoever. Whether tooter or crop-duster, ripper or silent assassin, we learn that farters come in all shapes and sizes, regardless of one's gender.

Yes, you read that correctly: 'Regardless of one's gender.' Fantastically, as a kid, I also used to think farting was something that only boys and men not of the cloth did -- certainly not pretty girls and attractive women! FART lays that myth to rest once and for all, as we hear from various females confess to doing what in my childhood I thought was for gals and ladies an impossibility. Moreover, some women express to wanting equal rights with men with regard to farting, believing they should be allowed to fart freely just as men do, and say that for men to call the act "unladylike" is a patriarchal description/gross misconception. (As a man whose illusions have long since been shattered, all I can say is: You go, girl!)

Not surprisingly, so it is that not everyone will appreciate this evidently underrated film. I, for one, rather enjoyed it, and for me it was a refreshing change from the often far more serious if not disturbing subject matter I am accustomed to watching as a documentary film viewer. And there I think I've hit on a point. For I think one of the main problems with the human race, is so many adults take themselves far too seriously, as with those who view the passing of wind to be "undignified." Yet until we start seeing the farting human for who he and she truly is, my feeling is humanity as a whole will never truly grow up. After all, were we not given the fart to keep us as innocent as babes and as grounded as the family dog?

Frontline: The Suicide Plan (2012) Season 30, Episode 24

The late doctor Kevorkian would have appreciated this film

[9/10 · 13 January 2024]

Assuming there's a heavenly realm beyond the earthplane, no doubt the late, great Dr. Jack Kevorkian is there and doubly ecstatic, in his observing the (needlessly) controversial debate of physician-assisted suicide becoming more mainstream a discussion in certain parts of the generally secularistic West. Granted, a benighted camp of detractors opposed to doctor-assisted suicide make up the greater majority even to this day -- incidentally, many of them monotheistic, who in keeping with their dogmatic stance on this issue furthermore have no problem accepting the extremely heinous doctrine of an extended life of eternal pain and suffering for nonbelievers -- even so, safe to say a still extant JK would be proud as he watches the movement he in large part pioneered gain momentum with each passing year, however gradually and sometimes with to-be-expected setbacks.

Rather curiously, however, Kevorkian's work is given nary a mention in THE SUICIDE PLAN, a nevertheless riveting film which takes an unflinching look at those who, stricken with an incurable, debilitating and often painful disease, understandably wish to opt out of their intolerable misery, via what is termed 'assisted dying.' Even more strange to quite a number of 21st century, sympathetic souls is why such a compassionate and merciful thing as this would be illegal, especially in societies professing to be progressive and enlightened -- and yet, lo and behold, such is disturbingly the case in most parts of said world.

So it is that you have men and women who, finding themselves terminally ill and seeking assisted dying, resort to what they consider to be the only sensible option available to them, and thus take to requesting the informational services of either pro-euthanasia groups or right-to-die organizations. With regards to this, there are proponents who reason that, in a perfect world, such a personal decision would not only be legal but would fall under the domain of medical doctors entirely (as opposed to amateurs toting helium tanks), or at least those among the medical profession possessing a humane heart and a spiritually evolved conscience. Sadly, as one learns from watching THE SUICIDE PLAN, humanity isn't 'there' quite yet, in its still having a way to go as far as changing laws to legalize assisted dying is concerned. Cue horrific images of homicide detectives only doing their job, and 'exit guides' being arrested and charged with second-degree manslaughter, as the film goes 'underground' in its showing of scenes that must be truly repugnant to any genuine ethicist watching.

As many of us know, the fight to legalize assisted dying/euthanasia began in the 1990s and as with any other civil rights cause that has existed in support of our God-given personal autonomy, the path to freedom can be and often is a long and arduous one. On a positive note, THE SUICIDE PLAN, although neutral in the coverage of its content, leaves those viewers on the side of pro-choice & fans of Derek Humphry's bestseller "Final Exit" with the comforting thought that a brighter tomorrow looms on the horizon. Indeed, from what I've been reading in the news of late, it certainly appears so; as in countries such as Canada, in which legislation allowing for Medical Assistance in Dying (MAiD) is increasingly being passed and expanded.

Now, whether Hippocrates is turning in his grave over this is another matter, but it wouldn't surprise me if good ol' Jack Kevorkian was up there, as inspirational guide, helping to lead the way.

Alex's War (2022)

Constitutionalist versus globalists

[10/10 · 18 November 2023]

It wasn't long after the events of September 11, 2001 that conspiracy researcher and shortwave broadcaster Milton William Cooper was shot and killed in what was believed by some of his followers to have been an alleged government-orchestrated assassination, on account of Cooper's speaking out against the corrupt system of which he felt was intent on destroying constitutional freedoms from within.

It was around this time that another alt-media figure began to emerge onto the scene, as if to take over the reins from William Cooper (whose own story is wonderfully captured in the excellent documentary film, "The Hour Of Our Time"). His name was Alex Jones, a rising upstart out of Austin, Texas, whose media image and fanbase would eventually grow to dwarf that of his arguable mentor and predecessor, Bill -- patriot and New World Order opposer -- Cooper.

Like MWC, AJ (as Alex Jones is affectionately called by his admirers), as is shown in this, had the uncanny ability to intuit months before 9/11 that something terrible and momentous was about to happen on American soil, an attack of some sort, involving the name of Osama bin Laden and the World Trade Center, in what in hindsight appears to be a startling example of predictive programming.

Fittingly, the film includes a quote from a book by Gary Allen that to paraphrase says that when it comes to high-profile politics and major world events, that pretty much nothing happens that isn't planned by those at the top -- the system controllers pulling the strings. Alex understands this basic conspiracy theory '101' concept, as do most who have traveled down the proverbial rabbit hole, and because of it a person can at least respect Alex Jones for what he does and stands for even if one doesn't particularly care for his occasional in-your-face style and bullhorn approach that he's so famous for.

In the case of Jones, within the United States the political (far) left and national news media derive endless pleasure in poking fun at him, in trying to make him out to be a loud-mouthed and obnoxious clown. I think some of the blame for this can be placed on Jones himself, who seems to relish playing the part of a charismatic personality. That is to say, I think Jones's public image is in large part put-on, a shtick meant to be in part entertaining, which sadly makes him into an easy target of ridicule and derision by those unable to see past the theatrical messenger, in which behind the often over-the-top self-caricature lies a man of genuine, soft-spoken substance with an important message to convey -- one that's pro-American, anti-globalist, and non-partisan, if you haven't figured that out already.

Frankly, why anyone not a fan of Alex Jones would want to watch this film is beyond me, but alas there will be the highly critical reviewers who see in AJ not a courageous David fighting against an informational Goliath but rather a perceived political threat and enemy deserving of crucifixion, so to speak.

Hence, the title of this powerful documentary: ALEX'S WAR, a seeming reference to the personal battle scars that have been inflicted on Jones, by those who seek to maliciously destroy him, whether via character assassination or by means of other mentally stressful and truly psychologically painful, devilish tactics.

Suffice to say, the film will not be to everyone's liking and opens with a disclaimer, as if to pacify any snowflakes who may be peeking in on it from beneath their bedcovers. As for those of us who side with AJ, the film is an absolute delight and which is why I'd be remiss if I did not give it a full-star rating.

Although I'm not a follower of "Infowars" myself, I nevertheless wish Alex all the best in his ongoing trials and tribulations, and as he resiliently carries on in his exposing the dangerous New World Order. Yes, the system is rigged and sometimes battles are lost but in the end with pride and with dignity can thorny crowns be worn when placed atop the ultimate spiritual victor.

Fierce Light: When Spirit Meets Action (2008)

Spirituality and activism: incompatible or interconnected?

[6/10 · 20 October 2023]

'Soul force' is a term used throughout the film to describe that which motivates a spiritual conscience toward temporal action, in an effort to make the world a better place to live in. Such action may take the form of participating in marches with the aim of seeing to unjust laws changed for the good, or rallying to the defense of the oppressed. 'Soul force' is therefore to be differentiated from 'spirituality,' even though, ideally, it shouldn't have to be. Whereas the latter is commonly known for its detachment from the affairs of the world, often as a pseudo-noble attempt to transcend (that is, escape) it and its many problems, those with 'soul' regard their physical selves and their wanting to improve the world in some (even small) way as a natural extension of what it means to be human.

Indeed, I would think that the greater conscience a person has would only want to impel a spiritual mindset toward positive action and a direct engagement with the world, and that anything less would be remiss of one and amount to a warped, schizoid view of spirit's relationship to matter.

Which brings to mind something I once read on an online forum; this from a site, of all places, claiming to be totally spiritually oriented and devoted to discussing all things spiritual-related...so as far as discussion does not involve any talk of politics or social causes whatsoever, something which the site administrator/moderators restrict forum members from entering into, considering it as they do out of place and taboo, and using the distorted justification for such a restriction that it's not our responsibility to be concerned with changing the world, since spirit, we are told, is all about living separate from it, on a detached level, or something to that effect. This is a specious argument and nothing more than a cop-out; a shameful excuse to live as do-nothing navel-gazers; a frame of mind that makes a mockery of what it means to be spiritual, in its promoting of an actual anti-spiritual attitude, one that ultimately plays right into the hands of the powers-that-be.

Commendably, none of the spirit-driven activists featured in FIERCE LIGHT can be accused of living with their heads buried in the sand, as if indifferent to oppression and injustice in the world. Several of the men and women whom we hear from in the film speak of their ardent compulsion, an indwelling need to act as ones guided by 'soul force,' whether in the form of community service, performing charitable deeds, participating in peaceful protests, standing up for civil rights, etc. These are people who walk the talk, perhaps no better exemplified than as was demonstrated in the historic Selma march, here highlighted.

The only two-part quibble I have with FIERCE LIGHT is its apparent lack of focus and unexpressed intent, as it meanders somewhat incoherently in its documenting one activist cause after another, at times crossing continents in doing so, without clearly explaining or defining what this 'growing movement' is exactly, which it says is sweeping the world; whether it is organic in nature and motivated by true individual 'soul force' alone or whether this movement is gaining momentum via (worrisome) mass indoctrination, equivalent to a worldwide cult, which to me would be of great concern. There *are* some strictly and entirely partisan-based (read: occasionally misguided) causes, after all, fueled more so by seeing to the implementation of an extremist or globalist agenda than by a genuine regard for either the environment or the welfare of humanity, and that tend to have as spokespersons influential celebrities and other mediagenic figures, employed as they are with the intent of manipulating the masses, as mouthpieces beholden to their socially-engineering handlers.

In the end, I simply do not know what to make of FIERCE LIGHT. That spirituality and activism go hand-in-hand is a given (a principle akin to the Christian teaching of how 'faith without works' is a spirituality rendered useless/meaningless) and so I like the fact that this isn't a film applauding the lives of, say, monks or yogis. And yet, as admirable as 'soul force' is, for me it is only so when clearly differentiated from an ideological-collectivist imposter.

Islam: What the West Needs to Know (2006)

A highly important voice in the wilderness

[10/10 · 14 October 2023]

Anyone who has studied and seriously reflected upon the works of modern-day intellectual greats like Ayaan Hirsi Ali ("Heretic," 2015), Joel Richardson ("The Islamic Antichrist," 2009), Bruce Bawer ("While Europe Slept," 2006), and Leo Hohmann ("Stealth Invasion," 2017) will understand exactly where it is this equally estimable and essential documentary is coming from.

Suffice it to say, that not every non-Islamist living in the West is oblivious as to what has been going on, and yet the sad and troubling fact remains that the majority of Westerners are or seem to be completely unaware, on account of their being uninformed and therefore misled, with this excellent and educational film hopefully acting as a wake-up call for such ones.

With that being said, any Muslim moderate in their faith may quite possibly appreciate this film as well, since it concerns and considers their own religious history and literature, and in quite some depth, such as some of the more unpleasant truths regarding the founder and the highlighting of some disturbing texts as contained in the Hadith.

Take for instance a passage here referred to that tells of a certain 6-year-old named Aisha and her relationship to the founder, as well as direct quotes taken from original source material that depict the founder in a most unfavorable light: as a warlord, first and foremost, who took no pity on captives and who was far from being a peaceful and tolerant person.

As the demographics of the world continue to dramatically shift -- as if by globalist design -- with Western democratic nations ever welcoming of immigrants from all walks of life into their borders, the question remains as to whether all who enter and settle in these idealistic melting pots are truly for multiculturalism themselves or rather for a totalitarian ideology, which they either seek or wish to impose on the host country, in accord with their theocratic faith and supremacist belief system.

We do well to listen to former PLO member and ex-Muslim Walid Shoebat as he defines jihad in both its literal and symbolic interpretations; a term meaning 'my struggle' and, as he points out, coincidentally the very title of Hitler's own book ("Mein Kampf"). Shoebat also explains how it is that lying or presenting a false image to Westerners is not only acceptable but often encouraged of a Muslim to do, as he admits to having done himself. There's an affecting scene that occurs just a few minutes after the half-hour mark that has Shoebat speaking for about five minutes, reflecting back upon his time spent as a would-be martyr and recalling the precise moment when it suddenly clicked for him as to the inhumane nature of his mission; this, a defining moment which helped to serve as a positive turning point in his life.

Aside from Shoebat, three other interviewees are featured rather predominately in the film: namely, Robert Spencer, Bat Ye'or, and Serge Trifkovic. The latter speaks of how Western political leaders, universities and the media, despite their good intentions, have shown themselves to be woefully ignorant as to the potential Trojan Horse operating in their midst, and how political correctness and PR tactics are being used much to the advantage of certain lobby groups and others either openly or covertly sharia-compliant in their thinking.

In the end, is it so far-fetched to imagine a time, perhaps a few decades from now, when a jizya tax is imposed upon a European or North American dhimmi class? With what is called 'civilization jihad' fully entrenched into the Western system, there are a number of alert social commentators -- cultural sentries, if you will -- who feel this is not so ridiculous a scenario as it sounds.

All this and more is examined in ISLAM: WHAT THE WEST NEEDS TO KNOW, with Serge Trifkovic getting in the final word and whose closing remarks as expressed in the final scene -- what amounts to a prediction of sorts -- appears to be coming to fulfillment even as I write this review...or then again, maybe not.

The UFO Conspiracy (2004 Video)

Deception is out there, and it's not from outer space

[9/10 · 13 October 2023]

Although I was already familiar with a lot of the info contained in this classic video (I did learn, however, of there being two more officially termed types of 'close encounters' in addition to the common four), if I had to pick just one documentary on UFOs to show to someone just getting interested in this subject, this elementary lesson on video would be it. It is one of the better ones, among a slew of UFO docs in existence -- with this one being well-presented and convincing...however culturally yet courageously unpopular in its argument.

Unfortunately, the truth of the matter is, there is much deception out there surrounding this topic, both informationally and on a spiritual level, which is why readers, listeners, and viewers can't go too wrong when reading, listening to, or viewing content presented by those who adhere to a biblical perspective, as with this video, considering the reputation of Christians for being veracious (in spite of being innocently misled in some of their other beliefs).

Still, one doesn't have to be a Bible-believer to come to the same conclusions that many who are do with regard to the UFO. Consider that non-Christian ufologist Jacques Vallee (author of "Messengers of Deception") and the agnostic paranormal investigator John Keel have both candidly expressed very similar findings; the latter, famously comparing ufology to demonology.

Clearly, based on all the evidence, what we are dealing with are not interplanetary/interstellar 'space visitors' (such talk but an extension of Big Bangster bunk) but something more resembling an occult manifestation -- with its modern origins said to be the result of a rending of a dimensional curtain, brought on by a mid 20th-century invocation, conducted by men fond of Aleister Crowley and associated with a certain well-known and propagandistic space agency.

If one can overlook the video's mythological view of the universe, with its erroneous asides as to the vastness of space and man having landed on the Moon, THE UFO CONSPIRACY is well worth watching -- with thought-provoking references to UFO sighting reports dating back to ancient history, to the time of Alexander the Great and later Christopher Columbus, and at least one by a fairly recent US president. We also get to hear from the late and highly knowledgeable researcher Dave Hunt, who warns of the dangers of hypnosis and meditation as they relate to UFOs and so-called 'alien' abductions; specifically, how these practices are often used for the purposes of indoctrination and ultimately mind-control (by those within the intelligence community and/or otherworldly entities).

Considering how in recent years various national governments throughout the world are finally -- and, some would say, coincidentally -- admitting to the reality of the UFO/UAP phenomenon, THE UFO CONSPIRACY certainly makes for a timely and most illuminating viewing.

The Kinsey Syndrome (2008 Video)

'Viewer discretion is advised' and yet highly viewable!

[10/10 · 8 October 2023]

Here I am back to reviewing another Chris Pinto production and although I've been rightly generous in my evaluations of some of his other films, I consider this entry to be the documentarian's best -- his most important and most viewer-friendly work to date -- and yet, however highly recommended a film, *it must be noted,* one presumably intended for mature audiences only, as quite a bit of the information contained in it is unavoidably (aurally) explicit in nature.

Consider, for example, one of the claims made by the here highlighted "Kinsey Report," which concluded that children are sexual from birth; data allegedly obtained by way of 'scientific' experiments in which infants and babies less than 1 year of age were reported as having multiple orgasms when stimulated. One of Kinsey's research assistants, whose job it was to time these supposed orgasms, we are told was a practicing pedophile who, quoting the film's voiceover narrator, "kept written diaries in which he claimed to have molested more than 800 children."

Needless to say, this is deeply sobering material, with THE KINSEY SYNDROME an extremely unflattering look at a cultural icon, in Alfred Kinsey; a man who was hailed as an intellectual heavyweight and 'scientific' pioneer in his day, and whose mid-20th-century published findings are said to remain highly influential within academia and pop culture even down to our present time, despite this fact undoubtedly being little known to the general population at large.

Still, the question needs to be asked: Can one man really be responsible for weakening/destroying an entire society's moral compass? Whether it be adultery or pre-marital sex, homosexuality or good old-fashioned masturbation, the film seems to be of the view that all these practices and Christian-considered vices common to post-WW2 American/Western society can be traced to one man and ultimately one man only: the bow-tied 'Prok,' aka, Alfred Kinsey.

Interestingly, we learn that Kinsey was at one time (and maybe still is) the poster child of NAMBLA, that notorious boy-lovers association, and that his research into the sexual attitudes and practices of 'everyday Americans' (or was it for the most part of convicts?) was government-sponsored and initially funded by the Rockefeller Foundation.

THE KINSEY SYNDROME is a must-see film, jam-packed as it is with riveting content, if not culturally forbidden knowledge.

Contained within the doc is a brief mentioning of "Paidika" (1987-1995); clips from Tim Tate's 1998 British tv documentary "Secret History: Kinsey's Paedophiles"; as well as a few taken from an underground film titled "ChickenHawk: Men Who Love Boys," in which a camera crew follows a presumably non-offending pedophile -- a man quite open as to his sexual preference -- as he prowls neighborhoods observing and even approaching young boys, all the while appearing clearly aroused by and waxing lyrical over these minor objects of his voyeuristic interest. Clips from a Nickelodeon video are also included, scenes of which show a classroom-set circle of small children learning about the facts of life, as they sit and watch a teacher explain to them the proper way of putting on a condom. (Education or conditioning?) The well-known and outspoken anti-porn critic and author Dr. Judith Reisman is featured quite prominently in THE KINSEY SYNDROME as well and is, admittedly, a pleasure to listen to.

Personally, after now having sat through this rather lengthy, comprehensive, and well-researched Chris Pinto film, I think I shall have to go back and watch Hollywood's arguably distorted and sanitized 2004 "Kinsey" movie again, starring Liam Neeson and Laura Linney, to see if there's anything I might have missed learning from it the first time around.

Elisabeth Kübler-Ross: Facing Death (2003)

No doubt one of the Grim Reaper's favorite films

[7/10 · 6 October 2023]

What with thanatology being an interest of mine, it was only natural that I would want to see a documentary film about a woman who devoted practically her entire adult life to near-death studies and who was most known for authoring the culturally influential work, "On Death and Dying," published in 1969.

ELISABETH KUBLER-ROSS: FACING DEATH. The title says it all. That's her name and in this film we find her as an aged lady, on her deathbed, patiently awaiting the appearance of the Scythe-Toter. Remarkably, with about one foot and four toes in the grave, she is still remarkably lucid and verbally coherent enough to reflect back upon a life well-lived, a feature of the film which nicely aids in our understanding of her, as do the much-appreciated English subtitles.

Who cannot help but like Ms. Kubler-Ross? For starters, she helped many a Western necrophobe re-imagine death as something not to be feared at all but instead as something to be welcomed with open arms when Father Time comes a-calling. As with the admirable Jack Kevorkian, she also believed in the human right to die with one's dignity in tact (although, incidentally and curiously, unlike JK, she was not a proponent of euthanasia). Ms. Kubler-Ross was an academic, yes (a university graduate who worked for a time in the field of psychiatry) but was most notably known for her inspiring humanitarian heart and genuine altruistic concern for other people, especially towards outcasts and the terminally ill. What a lovely and compassionate soul this humanist was, a role model for every socially inactive religionist who may piously think themselves endowed with the operative divine spirit.

Born in Zurich, Switzerland, the film's subject would eventually make her way to America, where there she started a family yet more importantly became internationally recognized for writing the aforementioned best-seller, a book in which she espoused her now famous 'five stages of grief' theory, dubbed the 'Kubler-Ross model.'

As someone who was known for being both strong-willed and a globetrotter, it must have been extremely difficult for Ms. Kubler-Ross in her dying days, confined to a bed as she was and forced to live in a vegetative state. But prepared she was to go, and hopeful that she would one day get to meet some of her intellectual heroes on the other side, like Carl Gustav Jung. As someone who was also a researcher of near-death experiences, she would have known that such a wish was certainly not out of the realm of possibility.

Supernatural Powers: The Battle Between Good and Evil (2003 Video)

Good enough

[7/10 · 24 September 2023]

It is said of the Inner Circle of the ruling elite of their not only believing in supernatural forces but of their being in league with the more darker powers of the invisible realms, if not in cahoots with the very Fallen Ones themselves. This would explain how it is these power-driven terrestrial pawns get to where they are in life, although, as is learned from watching this cautionary film, one needn't enter into an irrevocable pact with otherworldly entities for one to be made aware of their presence or to be made known of their existence.

The late Caryl Matrisciana both wrote and directed this fairly good film, whose name I was already familiar with, having once read and enjoyed one of her books ("Gods of the New Age"). In this, she also serves as hostess, who in one scene lists many ways that ordinary people can be led astray and down paths which, according to her Christian worldview, are ultimately under the control of demonic beings; things ranging from "gambling, alcohol, drugs, pornography, video games of violence, occult fantasy, dark fiction, horror movies" as she says, although special attention is given to alternative spirituality; specifically, Wicca.

As just one example given of how a person may be involved in a potentially spiritually dangerous activity without their even realizing it, Matrisciana cites Aleister Crowley and one of his more well-known quotes, of how "Magick. . . .is the art of causing change to occur in conformity with will." This brought to mind how in recent decades the practice of New Thought and the 'law of attraction' has been all the rage for a lot of folks who may be unaware of this being (quite possibly) satanic in origin.

Admittedly, the few people who are heard from in this as living examples of the danger in becoming involved -- whether consciously or unwittingly -- in the occult are not the greatest of spokespersons, as we listen to them tell of their experiences with night terrors or encounters with Shadow People. There ought to have been more voices along the caliber of William Schnoebelen, but sadly the testimonial clips of most of the others featured in this film are lacking in the level of intelligence and articulateness as that of this ex-sorcerer.

I can hear it now, the pooh-poohing of ignorant disbelievers or the minifying of the dangers from various practitioners. On this note, Matrisciana also quotes from C. S. Lewis's "The Screwtape Letters," a passage that nicely encapsulates the to-be-expected and foolish criticism on the part of such idiots.

As an aside, I personally know of a man who came to know the reality of the spirit realm rather intimately, upon his dabbling in what has been dubbed 'Electronic Voice Phenomena,' during a period in this man's life marked by intense metaphysical curiosity and an unfortunate disbelief in the power of hindsight. Almost twenty years removed from said experience and he continues to remain an unwilling spiritual sensitive and clairaudient as a result of this past and regrettable involvement of his.

SUPERNATURAL POWERS: THE BATTLE BETWEEN GOOD AND EVIL is, not surprisingly, a Christian-made production, what with faithful churchgoers seeming to be the only ones in tune to this 'hidden knowledge' apart from the actual practitioners, and as such the film does get a little religious in tone in places, although this film is far from being a preachy sermon and therefore should also be capable of appealing to many non-Christians as well, be they open-minded gamblers, alcoholics, drug-users, porn-addicts, gamers, etc -- namely, anyone willing to seriously consider this information.

I Am Evel Knievel (2014)

A real-life rags-to-riches-to-rags story

[5/10 · 22 September 2023]

If you're like me and could care less about motorcycles and are not even the least bit fascinated watching some grandstander perform risky (however impressive) stunts, then you might as well know at the outset that this here film is about a man who was known in his lifetime for being the greatest motorbike stuntman the world has ever seen. You may have heard of him. Robert Craig Knievel was his name; also and more commonly referred to by the moniker, 'Evel,' no doubt intentionally misspelled if only to keep 21st-century documentary reviewers on their digital toes.

Aside hearing from Mr. Knievel's two middle-aged sons, Kelly and Rob, we also get to hear from a few interviewees speak of their experiences working for the world-famous showman as part of the Knievel crew. I found Gene 'Sully' Sullivan to be the most interesting of these -- a commenter, commendably frank and objective -- a friend of the superstar, yes, but no worshipful brownnoser, unlike the celebrity fans who are heard from in this, whose screen presence and casual chatter do nothing to enhance our understanding of the film's subject. Still, I got a joy out of being able to mute Kid Rock and Matthew Mahogany or whatever the heck his name is.

Listen to Sullivan tell it like it is and about the only one who does, in refusing to defend Knievel's infamous act of violence, an incident which had the American icon beating up a PR person with a baseball bat; a crime that turned out to be the eventual undoing in Knievel's career, costing him much-deserved bad press and his reputation as a man of inner strength and character, who as tough-skinned as he presented himself to be could not even take simple and honest criticism from an author (Shelly Saltman), who published neither stick nor stone but merely an innocuous textual mirror.

One contemporary buddy of Evel's speaks of Knievel's fondness for "women, bars" and "booze." Another tells of Knievel's younger days, prior to his becoming a media sensation, of his having been a shoplifter and a reckless motorist. It is no surprise, then, why many a 'cool dude' looks up to this guy in complete adulation and as a hero. Evel Knievel, after all, lived large and in the fast lane, loved fame and dabbling in derring-do, and for this was a chick-magnet.

Is it any wonder, then, that the venturesome Robert Craig Knievel would turn to Christ in the latter years of his life, or at least to watching the unctuous entertainer Robert Schuller on television? Really, now, if ever there was a daredevil made for heaven it was Evil, er, Evel.

One mustn't overlook Mr. Knievel's remarkable humility, either, such as the dream he had to jump the Grand Canyon. Suffice it to say, had it not been for an ejection seat and a parachute, he would have never lived to tell of the attempt. God must have been watching out for him, was the opinion of at least one spectator who witnessed the blooper.

Despite I AM EVEL KNIEVEL being for the most part draggy and perhaps for diehard fans only, dare I say it has its moments and is kinda watchable, as in the several scenes of footage showing the skilled stuntman flying through the air on his trusty motorcycle only to wipe out and be tossed about like some crash-test dummy. (Methinks guardian angels are not always on duty.)

Frontline: Facing Death (2010) Season 28, Episode 15

To pull or not to pull the plug

[7/10 · 9 September 2023]

There once was a time when most people died at home in what was then called the 'death room,' but ever since it has been in hospitals where the majority of deaths occur, with the 'death room' later to be re-named the far more homey 'living room' in the early part of the 20th century. Still, even to this day, despite all the technology of medical science that exists to help sustain life, there are those who choose to fill out a DNH (do not hospitalize) order, preferring to die a natural death at home instead.

FACING DEATH is but another fairly interesting, however informationally microscopic, Frontline documentary, yet perhaps not suitable viewing if you happen to be a necrophobe. Which is to say, if you're one of those who try and avoid hospitals as much as possible and who become squeamish at the sight of severely ill patients/decrepit invalids hooked up to medical machinery, then you might want to face the other way.

Personally, I view the Great Beyond to be the most natural thing in existence, with our brief time here on this plane being the more 'unreal' of the two states, and so I had no problem watching this. The way I look at it, sooner or later each one of us will have to confront the inevitable, the biologically mortal beings that we are. And yet, how many of us are prepared to meet the Grim Reaper?

One of the more significant gleanings to be taken from FACING DEATH is the importance that one have what is termed an 'advance care plan' and a pre-appointed healthcare power of attorney, should the situation ever arise where you are no longer able to communicate and thus unable to express to medical staff your wishes regarding the use of invasive treatments and life-support measures. Also known as a Living Will or Advance Directive, such planning ahead should an unexpected debilitating illness or critical injury occur is, we are told, the prudent thing to do, in that it helps take the burden off doctors and loved ones (including your appointed proxy) from making those very tough decisions themselves.

FACING DEATH was mostly filmed inside the intensive care unit of Mount Sinai Hospital, in New York City. Americans, we are informed, spend billions of dollars each year on end-of-life healthcare, but the question remains as to whether such a tremendous financial cost is ultimately worth it if it only prolongs incurable suffering and upsets the natural process of dying. Whereas one patient in this doc believes strongly in quality trumping quantity when all is said and done, another opts to hang on for dear life, despite his being an artificially sustained goner with no hope of recovery. C'est la vie.

Ricky Gervais: Out of England - The Stand-Up Special (2008 TV Special)

Meh

[5/10 · 12 August 2023]

Ricky Gervais made an instant fan of many as host of the 2020 Golden Globes, in his holding a mirror up to Hollywood and the celebrities in attendance, thanks to his refreshingly candid monologue that had him putting these unjustifiably idolized celebs and insular, narcissistic glitterati in their proper place -- pilloried as opposed to pedestaled.

So it was that it made me want to check out some of Ricky's previous stand-up material but, alas, and much to my disappointment, so far I find it not as edgy and as hard-hitting as his awards show speeches.

Granted, this is only my first viewing of Gervais' several concerts and despite my being not all that impressed by it I plan on giving his other recorded appearances a look, hoping they will be better than this one.

Although I enjoyed watching this also actor in two cinematic roles -- in the movies "Ghost Town" (2008) and "The Invention of Lying" (2009) -- as far as RICKY GERVAIS: OUT OF ENGLAND is concerned, I found it rather unexceptional. Somehow I expected more from the comedian but his performance in this is lacking both in wit and Carlin-esque, seriocomic social commentary that makes certain comedians stand apart from their peers.

The problem I find with Gervais' performance in this is the amount of time he spends on autobiographical as opposed to observational comedy. Yes, he takes potshots at certain groups in society, in admirable politically incorrect fashion, but in comparison to simply strolling about the stage shooting the breeze and relating largely unfunny anecdotes, such appreciated bits are few and far between. In passing, Ricky informs the audience that he's not a political comedian. Here's one person wishing he was, what with high-profile politicians generally being the laughing-stocks they are.

There's numerous penis jokes in this, as well as potty humor...just when you thought lowbrow content would be beneath a comedian of Gervais' intellect. And what is so amusing in prosaically analyzing children's stories and nursery rhymes? Gervais seems to be in his own little world here, in somehow thinking this to be interesting and comical. There's also a fairly long and insipid segment (approximately 7 minutes) that has the stand-up comedian reading from a leaflet, one that he thinks is funny, but to me seemed mentally lazy and unoriginal on the performer's part.

Throughout it all, Ricky is shown continually fiddling with his hair, as if it were some lucky charm or a loose toupee or simply a nervous mannerism. Whatever the case, one cannot help but find it distracting if not a strong, unspoken argument for baldheadedness.

'Meh.' I've been waiting for an apt moment to use this word in a review heading and I think my one and only use of it best applies in describing this lackluster, medial performance of Ricky's. Still, I'd rather take a mediocre Gervais than a robo-comic, any day, no matter how 'funny' it might be said to be. As we enter the automated age, word is human comedians will become more and more obsolete, as increasingly censorious states look to technology to amuse the masses, via pre-approved and programmed one-liners and punch lines. One can only hope it never comes to that.

They Sold Their Souls for Rock N Roll (2004 Video)

A docuseries highlighting notable sell-outs who may one day have to face the music

[7/10 · 5 August 2023]

Preferring dulcet, upbeat and largely solo instrumental music myself, it goes without saying that the recording genres dubbed Rock and Heavy Metal are not and have never been my cup of tea. Call it an ear for music or aesthetic sensitivity but I'm one of those oddballs who enjoys sweet-sounding tunes that either soothe or uplift the spirit. I read somewhere that prior to the 20th century, most if not all music was of this nature. So it is that it has only been in the last five decades or so that humanity has witnessed a dramatic decline in the quality of its 'universal language,' a patently discernible subversion and perversion perceptible to anyone with even an inkling of the divine spirit within him. Not surprisingly, some commentators within the 'conspiracy subculture' have pointed to the hidden hand of social engineers as the primary culprits largely responsible for this druggy degradation and vast cultural decline, and although there is some truth to this, overall I'm with filmmaker Joe Schimmel on this one, that what is ultimately behind it all is a force far darker and more sinister than any manipulative temporal agency.

This 10-hour epic production is a one-of-a-kind, behind-the-scenes and in-depth look at contemporary popular 'music,' beginning with 'the King' of 1950's/'60s' fame and onward into the aughties; along the way profiling numerous other major cultural influencers, such as 'the Fab Four' (alleged to have been a Tavistock Institute creation), also known as 'the invaders from Britain' -- whose dorky mop-top haircuts and frivolous ditties nevertheless somehow managed to drive many a young woman wild...but I digress.

Seriously, if I were to name every last performer and band who's mentioned and/or highlighted in this comprehensive docuseries, the list would read as if some extended or endless roll call. Suffice it to say that 'family-friendly' and generally tame names like Elvis and The Beatles are only the tip of the iceberg, with host Joe Schimmel often turning his attention to much heavier and darker stage performers, bands who needn't employ the use of 'backward masking' in order to convey to listeners their allegiance, what with their devilish sympathies worn on their (record) sleeves.

In short, it would be difficult for anyone to come away from this viewing believing the satanic contract to be nothing but a myth. Perhaps the '27 Club' is only just a legend, but observe the many clips shown in this that have various cultural idols within the music industry explicitly admitting to this very thing, of their pacts with demonic powers, of spiritual contracts frequently responsible for meteoric rises to fame. 'Bah,' say many of their fans, it's only harmless stage acts designed to shock the superstitious and nothing more. Listen, however, as, straight from the horse's mouth, we hear many a Rocker and Heavy Metalist tell of their being under the control of otherworldly/demonic entities, either much to their delight or to their chagrin. Heck, one of these popular lowlifes is known for tearing pages out of the Bible during his concert performances. Indeed, worth noting is how so many of these Rockers/Heavy Metalists are adamantly opposed, not to Judaism or Buddhism or Islam but only to Christianity. Very telling, this. (Never-mind the fact how it is that so many of these unsightly greaseballs manage to attract gorgeous groupies; a glaring curiosity which can't possibly be explained by natural laws!)

THEY SOLD THEIR SOULS FOR ROCK N ROLL does not make for easy, comfortable viewing (hence, my rating of 7 as opposed to 10). Despite it being on one level a highly important docuseries, one that pulls back the curtain if you will, it also makes for one helluva disturbing and depressing viewing experience, what with so much time spent watching footage of benighted riffraff and pitiable downbeats doing their thing; namely, wallowing in negativity to the nth degree and worshipping the forces of evil.

Yes, we get a bit of sermonizing on the part of the host, which is only to be expected considering what type of filmmaker Joe Schimmel is -- incidentally, a man whose opinion of 'evangelical Rock' ('headbangers for Christ') I would love to hear.

Interestingly, at one point in the film, Schimmel pauses to relate his own experience of having at one time been involved in the occult, only to eventually find Christ; in effect, demonstrating that sometimes spiritual darkness can indirectly lead a person to the light. Funny how that works.

Unacceptable Views (2022)

A must-see film of historical importance

[10/10 · 14 July 2023]

February, 2022 is a month which no freedom-loving Canadian shall ever forget. We remember this time in Canadian history when an estimated hundreds of thousands of Charter-conscious flag-wavers from across the country rallied together in support of the series of trucker convoys which converged upon Parliament Hill in Ottawa, comprised of long-haul truckers who descended on the capital in protest of the Liberal Party's unCanadian vaccine mandates, which required of these solitary workers in cabs to be jabbed with an experimental 'vaccine' lest they lose their jobs.

Contrary to how these truckers and demonstrators were portrayed in the propagandistic mainstream media, UNACCEPTABLE VIEWS is a highly important film, in that it documents the actual goings-on and spirit of these protests, as a peaceable and multicultural assembly, united in its defense of the individual's right to bodily autonomy.

Cue the clip of Canada's contemptible prime minister denouncing this democratic stance as being 'unacceptable,' views as if on par with some Thought Crime, despite it being in full accord with the Canadian Charter of Rights and Freedoms.

It's worth pointing out that among the supporters of the convoy were many who were fully vaccinated yet who understood the issue to be one both non-partisan and pro-choice.

We hear from one trucker who likened what he saw happening in Canada amid the lockdowns to his time spent in East Germany. We hear from a woman who was fired from her nursing home position simply for speaking out on behalf of the welfare of its senior residents. We also see from this that not every professing Christian minister was willing to cower in the face of government overreach, with the film highlighting the exemplary case of Pastor Henry Hildebrandt of Aylmer, Ontario, who due to his Christian conscience refused to close his church, choosing instead to pay heed to God than to anti-Christian mandates and Orwellian thugs.

Enter the nightmarish, surreal footnote to all this, in that it was not long afterwards, following the truckers arrival in Ottawa, that after repeatedly demonizing these respectable, law-abiding men and women, in depicting them as "racists" and "misogynists," that the Trudeau government took to economic persecuting some of the participants (including mere donors who helped fund the convoy), via the freezing of bank accounts, much to the horror and disgust of the freedom-loving world looking in on this sad state of affairs.

Touched (III) (2003)

Good touch, bad touch, or entirely contact-less?

[8/10 · 9 July 2023]

Although there's no shortage of videos and films on UFOs in general, I don't know of too many that examine the so-called alien abduction phenomenon, a topic ordinarily associated with the former. Which is what makes TOUCHED one of those rare finds within the documentary genre, with its subject of focus being two people who claim to have been abducted by otherworldly beings.

The deceased Pulitzer Prize-winning psychiatrist slash abduction researcher, John Mack, is featured in this as well, what with his collaborative efforts in having worked with both of these alleged abductees in an attempt to make some sense of their experiences.

Interestingly, and what this film neglects in mentioning, is that Mack had his own 'contacts' -- entirely human ones, yes, but mysterious if not suspicious in nature, nonetheless. That he had close encounters with financier Laurance Rockefeller, for example, ought to strike one as very strange, indeed, for what interest would a member of the ruling elite have with reports of little gray aliens? Not unless the whole thing was simply part of an intelligence-driven psy-op, with Mack either having been a shill or a stooge. Whatever the case, Mack appears in this rather prominently, as someone who found himself entangled in what may very well have been nothing more than a socially engineered publicity stunt -- namely, a mini scandal surrounding this credentialed academic, concerning his study of a subject uncharacteristic of a Harvard professor.

As to what to make of the alleged 'close encounter' experiences claimed by the two human subjects of this documentary, your guess is as good as mine. Karin tells the story of waking up to bug-eyed beings in her room one night while in bed and of being introduced to alien-human hybrids aboard a spacecraft, tiny creatures whom she suspected were partly hers. She is either a brilliant actress or those teary-eyed emotions of hers are genuine. Peter relates the story of his sperm being taken during one of his own incredible adventures. Whether this was accomplished mechanically or by means of carnal relations with a sexy Space Sister, isn't made entirely clear, but was enough to arouse in his wife, Jamy, feelings of jealousy and betrayal, to the point that their marriage was a little rocky for a period.

We get scenes in which audio recordings of Peter's regression sessions with Mack are played, which leads one to ask just how reliable hypnotically retrieved memories are and if they can be trusted (think, leading questions, confabulation, etc). Worth noting, is that within the 'CEIV' literature it isn't uncommon to hear of reports in which potential eyewitnesses to these events are rendered temporarily unconscious, with their minds conveniently 'switched off,' and yet isn't it curious that for the actual 'experiencers' of these supposed encounters that they often claim to consciously remember at least some details of their abductions.

My own feeling is that both Karin and Peter are sincere in their sharing of their testimonies and are neither psychotic nor mendacious publicity-seekers. This does not mean to suggest, however, that what they think happened to them is necessarily the case. For all we know, there is a more earthly explanation to account for these traumatizing experiences of theirs, one possibly involving highly advanced mind-control technologies/covert military operations (read: 'MILABS') -- this, certainly a more plausible scenario than one based in questionable cosmic pluralism.

TOUCHED makes for an intriguing viewing whatever your religious or scientific views. With brief appearances by Alan Dershowitz, the late Vatican demonologist Monsignor Balducci, and the metaphysician Patrick Harpur, one of my favorite non-fiction writers and for me the highlight of the film.