Psycho II Guest Podcast

 

I am so excited to visit with Phil of the Making Tarantino Podcast again! True to our previous horror shenanigans, this episode we chatted about the underrated sequel Psycho II!

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Thank you for listening! For 2026 audio/visual guest inquiries, direct messages are open on Blue Sky. Sometimes it's difficult to find an extra one or two days a month to record something but it's also so wonderful to be appreciated in the film critic and podcasting communities! You can find all my past guest appearances via the Podcast tag including:

Making Tarantino House of Dark Shadows

1999 The Podcast The End of the Affair

After Hours L.A. Confidential

The Female Gaze Hateship Loveship

More Jonathan Rhys Meyers Horror

 

More Jonathan Rhys Meyers Horror

by Kristin Battestella

Let's have a birthday supper with two more genre bending pictures featuring Jonathan Rhys Meyers! Unfortunately, the horrors here do a disservice to the stars – to say the least.

A Mixed Bag

6 Souls – This international production originally titled Shelter starring doctor Julianne Moore (The End of the Affair) and patient Jonathan Rhys Meyers (The Tudors) was originally released in 2010 before this 2013 US re-branding, which already doesn't bode well. After a tense hearing explaining multiple personality disorder as a fake fad defense, our psychologist Cara is on a new case at the behest of her colleague father. The wheelchair bound Johnny with a southern accent answers her questions before scratching, growling, color blind changes, and no wheelchair required inexplicable. Tearful recountings, creepy sores, and vomitings increase, but the x-rays look like two different people and the high school history doesn't gel. Occult symbols, ritual murder, Appalachia magic, and religious undercurrents are apparent early, yet Cara continues to pursue the psychological. Spooky flashes and dream scares break her point of view, and backstory of her husband's murder on Christmas feels forced amid the cool babysitter uncle banter. All the family elements seem unnecessary; doctor dad keeps pushing Cara to prove her motivation and it would be better if she was alone. The psychology interrogations are a tense who is who with angry alters and who's going to blink first chilling. Unfortunately, the medical treatment is fast and loose, and local superstitions, iron nails to ward off evil, and who does or doesn't wear a cross don't get enough attention. JRM's personality changes are well done amid gory discoveries and satanic possibilities, and thankfully we mostly hear rather than see the bone cracking transformations. The one on one scenes are best, yet they don't get us any closer to the root source and Doctor Cara actually doesn't seem very good at her job? Her daughter is a plot device to advance the science versus god when our supposedly religious doctor spends too much time on a medical solution when it's clear to the frustrated audience she is totally missing the demonic at work. We wonder why the authorities weren't involved sooner because she continually oversteps her medical bounds and makes the situation worse. Religious mothers and granny witches take too long to get to the backwoods backstory, with intercut rituals and over the phone info dumps making Cara look stupid alongside one step behind detectives and repeated road trips. The freaky is good when it happens, but so much time is wasted on cryptic ominous that it makes viewers question if there is another version of this left on the cutting room floor. Sepia toned back and forth faith versus faithless cures or curses are confusing with technological audio and visual ease advancing revelations when the characters should be experiencing the consequences directly. It's foolish that critical horror action happens while our doctor merely listens on the phone, muddling point of view and familial motivation and doing a disservice to the emotional, chilling leads. Hospital versus witch doctor choices wait while phone contrivances allow for more driving with in-world hop, skip, jump convenience on top of too many characters and plot detours when we should have focused on the psychosis versus religion twofer. The sacrificial action, influenza timeline, and twists upon twists unravel, descending into wooded chases instead of any scientific or spiritual resolution.

It's Bad

Operation Blood Hunt – Louis Mandylor (My Big Fat Greek Wedding) directs and stars in this 2024 action horror lark featuring Jonathan Rhys Meyers amid vampires, werewolves, and World War II South Pacific incomprehensible. The brief 1928 opening has a unique black and white scheme with stylish hints of color and yellow glows, but the subsequent modern de-saturated drone photography does not set the period mood– and it only gets worse from there. The initial werewolf shock is actually well done, however it's premature to reveal the wolf in the first five minutes. Location changes and onscreen notations telling us it's 1945 London jar with hamfisted contemporary dialogue. Fedora wearing, Bogarting it up JRM is hammy yet suave amid wooden deliveries, Kung Fu strobe, and confusing direction that make the cast seem like they are in different scenes. There are pieces of everything here from Dracula to Kong: Skull Island, and with the modern metal music and cool silver crossbows, they could have tossed in time travel and it wouldn't be out of place. Overlong, obnoxious banter introduces try hard people a half hour in with freeze frame titles while they jump out of a plane: casanova, tracker, assassin, spy, sharpshooter, veteran, supernatural specialist, gambler. None of this preposterous can be taken seriously largely thanks to the World War II trappings – visualized only by the period helmets that are too big and fall down over the actors' eyes. The perplexing Wikipedia summary reads like a novel, and JRM's vampire bar with the cool black and white flashbacks look like they're from another movie. Why is all this jammed into one ninety-four minutes when it could have been contemporary set? Werewolf slices and slashes are too few and far between, and it all should have been from the village's perspective where shaman rituals and animal curses give the asshole intruders what they deserve. The bad vampire wants to get to the North Pole, and I can't imagine how anyone in this movie kept a straight face. Attempted dramatic moments, deaths, and dire radio calls are inadvertently bemusing thanks to a contemporary edgy ballad. Ironically, a woman's arms being ripped off by the werewolf is another good effect, but we don't get to the hairy action, silver bullets, and curse mythology explanations until the final twenty minutes. Blaming the native village history feels racist, and intercutting the mercenary island action with London explanations that it's all about hidden gold and not the monsters adds more messy. But hey, maybe every film needs a naked woman who is clearly wearing a flesh tone tank top yet is still treated as if she is naked. JRM is a vampire who's been listening to everything the entire time, and a racist coda inviting them to Egypt to battle mummies leaves it open for a sequel, lololol. I can't believe I watched this whole thing!

Priscilla & More Pride Picks Jay Days Video Review! 🌈

 

Despite these increasingly turbulent times - or just to spite them! - I sat down again with Jaylan Salah to have a charming chat about The Adventures of Priscilla Queen of the Desert, The Vampire Lovers, and more of our favorite Pride picks on The Jay Days Review YouTube Channel! I'm grateful to be an ally and discuss what our favorites get wrong as well as what rainbow they get right. 

Follow our Video tag for more virtual appearance or revisit previous episodes of The Jay Days including: 

Bound

Desert Hearts and When We Rise

Jack Irish

Disappointing 19th Century Gothic Dramas

 

Disappointing 19th Century Gothic Dramas

by Kristin Battestella

These two throwback productions have a lot to offer in period piece morose. Unfortunately, the crowded storytelling makes for disappointing, mixed bag viewing that deserved more.

The Black Velvet Gown – Janet McTeer (Albert Nobbs) leads this 1991 award winning ITV adaption of the Catherine Cookson novel complete with 1830s impoverished patchwork and dirty coal downtrodden mood. The dated, flat print actually helps the humble, hardworking candles and quills as our widow Mariah and her children come to work at a dilapidated manor for four shillings plus room and board. Bitter spinster sisters give the disapproving once over and gossip about what trouble she is because Mariah can read and write, but chores and montages with upbeat music and ye olde town square bustle imply circumstances are otherwise happy. The master sets up a school in his library for the children and offers our housekeeper his mother's titular gown. However, suggested love triangles with the woodsman move quickly, nobody seems to brood or like each other that much yet there's talk of marriage and Mariah disrobes to wait for the master – who says she doesn't look that much older than her little daughter. Though struggling financially, he promises the children puppies and ponies, crossing fatherly boundaries and creepily manhandling them before the enraged twelve year old boy slices up the master with a sickle. The master admits he had to give up teaching because of his “weakness” but his threat to have the boy jailed for attacking him carries more weight then his implied abuse? The family is blackmailed into staying, forcing Mariah to rip up that gorgeous dress before the time jumps to eight years later. Our daughter is now quite the scholar, feeling sorry for the deathbed master that taught her and screwed over her family. This moves fast, almost too fast – as if the important elements have been glossed over and we're supposed to sympathize with the master for making the daughter his heiress. The male lawyers think Mariah should be grateful for inheriting this strapped property, speculating that she slept with her master to get it. Unfortunately, any potential behind closed doors meaty is at best tame and largely absent. A letter seemingly confirming the master abused the son is ignored by the daughter he educated, and her being smart is made the worse crime. Servants must know their place and never talk back as we move from mother to daughter in the second half. Young Biddy remains determined at the new downstairs, defiant despite being whipped while her brother is said to be smart enough to keep quite. The abusive undercurrent is confusing, for sex was seemingly traded to the previous master yet it's this tough laundress work that must be endured and overcome. What filth she's spreading by quoting poetry in public and learning letters in the servant quarters! Although the nothing new statements are weak, the high up idiots not wanting anyone else to gain knowledge reeks of today. Once elevated to chambermaid, our daughter learns how to behave and marries up before using her inheritance to open an equal opportunity school. The morose atmosphere, dramatic performances, and attention to class detail are here, however the last half hour rushes with no focus on how our smart girls cause trouble and all the men want them nonetheless. The twofold storytelling feels pointless with no time to tell either properly – leaving viewers to read the book to get the whole tale. I mean, the dress never even had to do with anything? Great frock, though. Would wear!

The Doctor and the Devils – The Burke and Hare names are changed for this long gestating 1985 Freddie Francis (Dracula Has Risen from the Grave) directed and Mel Brooks (Dracula: Dead and Loving It) produced horror yarn with a surprisingly elite cast. Well dressed doctor Timothy Dalton's (Penny Dreadful) sophisticated justification of what must be done in the name of anatomy and male only lecture hall contrast the gory body on the exam table – the grim product of grave diggers Stephen Rea (The End of the Affair) and Jonathan Pryce (Tomorrow Never Dies) who circumvent medical law for three guineas a body to impress working girl Twiggy (Brand New World). Dirty streets, ruined clothes, and congested pubs don't mix with the top hats and brightly lit upscale, reiterating the classism between working girls and well to do praying doctor's sister Sian Phillips (I, Claudius). The dialogue is intriguing and the performances well done. However this is slow to start with to and from coming and going carriages and romps in the back alleys. Drawn out scenes and idle busy moments delay the graveside thefts, creepy cadaver cuttings, bleeding arteries, and blood splatter marring the fine shirts and ties. At only ninety-two minutes, this should know whether it's focus is the murderous men or the medial horror. Pretty medical assistant Julian Sands (Gothic) gets his hands dirty in buying the bodies, but seeing his girl in the shady brothel, well that's too much! Humor and hooker jokes are apparently meant to have us laugh at the downtrodden who have resorted to killing, but the realistic gore and muffled smotherings in the dark are a better warped. After all, our desperate snatchers are putting bedridden victims out of their misery. The dirty pain, black teeth, and pox sallow waste of the living is made new, fresh, and useful as a dead body. New messy science has no time for red tape impeding a surgeon who makes scary sense when he objects to his talents being shackled by outdated ideology. Rival professor Patrick Stewart (Star Trek) is suspicious of our flippant doctor at the medical inquest. Yes that is his kidney in the jar but it's not his kidney! Healing a grateful cripple offering a meager payment conflicts with the necessary dehumanizing of the cadaver. Our doctor can't worry that they used to be people when it's his duty to do what needs to be done in the name of science. The provocative ideas are crowded with the body snatching comic relief, unnecessary scenes, back alley cockfights, and long gaps with seemingly important characters absent onscreen. The last half hour rushes with dinner parties shocked to hear of homelessness, doomed women, and the city squalor beneath the high society galleries. More victims and moralistic questions split hairs on if paying for bodies is murder for hire. Poor lodgers who suspect foul play and a tough old lady that just won't die are oddly played for laughs amid fiery dreams, butchers, and bodies in the sewer. Recognizing a victim is inconsequential when our doctor demands that he is right and the medical establishment is wrong. The Hammer throwback vibes and gothic atmosphere are welcome with working girls in peril, betrayals, and fingers left in the fireplace. However the period drama and humorous attempts don't quite come together with the best horror moments. This wraps up quickly with who's arrested or gets away unbothered becoming lost – probably thanks to the decades of delay and too many hands on the script.

2 Too Obvious Horrors

 

Two Too Obvious Horrors

by Kristin Battestella

These recent women in horror films make for an unfortunately obvious duo playing into cliches and doing much too much. Pity.

Hold Your Breath – Sarah Paulson (American Horror Story) anchors this 2024 Hulu original set in 1930s Oklahoma during the Dust Bowl. Coughing and gasping dreams, our mother's prayers to not be evil, and already deceased children giveaway everything upfront along with flashbacks of dad leaving to work on the railroad and daughters locking their door. Dust lingers in streams of light shining between wood planks; the women wipe, sweep, and beat the sheets but dust is everywhere. On edge neighbors trying to escape monstrous storm clouds lead to wagon accidents and burying dead animals. Families must cling to the safety lines or be swept away in the howling winds. Bedtime stories of the previously tall, golden wheat fields don't alleviate the rattling house, creaking wood, and dirt dunes billowing against the door. Promises to join their father when he sends money become notches on the wall counting his absence while the cows quit and a self-proclaimed healing hands minister hides in the barn. Unfortunately, ridiculously loud modern crescendos interfere with the suspense – deflating the innate breathing, nosebleeds, and dirt in their mouths. There should be no music save for the banging shutters, and although they serve the plot, one wonders if all the other townsfolk are truly necessary. Even our deaf daughter is a contrivance rather than a fully developed character serving the masks, sleeping pills, unknown man, women alone, and mailbag warnings. Entertaining angels unaware Lot scripture reiterates the feminine dangers while the superfluous town gossips whisper about what violence goes on behind closed doors. Friendly knocks on the door from those colloquial ninnies are rebuffed as mom practices putting on her smile in the mirror amid congested interior barricades, fires, and sleepwalking. Pretty white dresses are ruined with blood and no one believes there was a man terrorizing them once you say he's a speck of dust that came in under the door. Viewers understand our unfit mother's selfish descent as the family cycle perpetuates with sewing needle mishaps, shooting at voices in the dust, and children in peril. However grieving visions playing at the mental versus horror metaphors become an overlong, predictable excuse when the crazed, everything's fine pretending was enough for a straight isolation thriller. Despite a fine setting, atmosphere, and performances; this is laid on thick and obvious from the opening scene. 

Immaculate – The similarities to The First Omen are indeed apparent, and the obvious title is obvious to everyone but novice Sydney Sweeney (Madame Web) in this 2024 seen it all before nunsploitation yarn. Although questions at customs and searching the suitcase establish the Italian dictionary, Bible, and stuffed animal nervousness about taking the forthcoming vows; the opening runaway nun caught for buried alive screams is unnecessary. I wish the lovely on location filming and scenery were bright enough to actually see and I'm not sure when this is supposed to take place? However the American accent is jarring – an out of place modernity amid the rapid intermixed Italian exposition, diegetic choir chants, and eerie courtyard processions. Suggestive bridal vows, handsome priests, kneeling before the men, and kissing the ring innuendo are laid on thick but the spooky atmosphere and rituals beneath the inner sanctum aren't scary because the audience knows more than our vomiting novitiate. Brief visual distortions and nightmares give way to a happy daylight montage with chores and kitchen quaint even as chickens are killed and old convent patients die. Giggling bathing gossip and questions about if she has been chaste lead to humorous crescendos as they whip the cover off the ultrasound machine. Apparently, she's so faithful the miraculous mom never questions why a convent for dying nuns needs an obstetrician on call. It's tough to support a protagonist that has wine, faints, and wakes up pregnant but isn't suspicious despite Madonna ceremonies, teeth falling out, and jealous drowning attempts. Askew funerary angles, hidden scripture, hair effigies, cross brandings, and a tortured nun getting her tongue cut out attempt medieval touches while mom-to-be in white roams the halls at night with a candle. Chicken ruses, bleeding emergencies, and prayers over said bloody sheets lead to chases and a rough shower scrubbing. The priest puts on black gloves and apologizes if she feels unsafe after being subjected to a rusty nail with 2,000 year old sinews yet it's all so on the nose thanks to egotistical experiments, fetus failures in jars, misused scripture, and secret lab equipment. Questions debating why God hasn't stopped them and Ave Maria choirs feel religion-lite as our woman in labor runs, fights, and climbs the cool catacombs. She damns her water for breaking after bludgeoning the mother superior with hefty a crucifix while Carol of the Bells plays. She strangles the eminence with a rosary when he's smoking and sets the genetics priest on fire, too, as you do. Despite being eighty-odd minutes with lengthy credits eating into the actual runtime, this feels both overlong yet lacking in resolution or consequences. Fortunately our wild, covered in blood mother bites off her umbilical cord and smashes her unseen demon baby with a rock – actions accented by nails on chalkboard screaming and humorous “thump” and “sloshing” closed captions. This is a comedy and I laughed out loud.

1982 Co-Ed Horror!

1982 Co-Eds in Horror

by Kristin Battestella

This oddly specific trio of 1982 films ups the fatal scares for the feather haired and short shorts wearing co-eds of the day. Familiar faces confront chainsaw killers and morgue mishaps in these diverting vintage horror escapades.

Mortuary –Friend-zoned geek Bill Paxton (Aliens) and more familiar faces battle embalming mishaps and a hooded killer in this cheeky 1982 fright opening with a sunny villa pool and heavy breathing point of view kills on the lanai. This early eighties is still breezy seventies in style with roller rink action, hot pants, and feathered hair, and our cool dudes with a far out van intend to loot the titular warehouse. Spare tires, gurneys, antiques, caskets, and candelabras make for a neat mix of spooky and industrial style culminating in cauldrons, robes, chanting, rituals, and limbs dangling out the coffin lid. Stabbings and splatter provide peril but mom Lynda Day George (Mission: Impossible) has moved on since the opening death while daughter Mary Beth McDonough (The Waltons) remains suspicious despite the disbelieving police. An ominous Hearst stalks a sweet vintage Mazda as more friends disappear amid cemeteries, psychiatry, suicide history, and denied marriage proposals. Wispy nightgowns and sleepwalking begat midnight swim attacks, and our mortician once locked his young son in the morgue so he wouldn't be afraid of the dead bodies. He expects him to follow in the family footsteps embalming nude dead babes, and there's a routine to the aspiration and chemicals – almost a ritual in itself. Dead landlines, flickering lights, on and off music, and power outages scare our ingenue in a well edited frenzy before thunderstorms and séance revelations. The culprit watches the sex by the fireplace, leading to raspy pleas to open the window so he can touch her. This feels more like a television movie of the week, so the horror and gore are tame for today. However shattered glass, chases, synth score pulses, and shadows in the bedroom lead to screams, penetrating knives, and symbolic sexual violence with death throes and panting. The maniacal smiles mount thanks to the titillating body on the table, and anyone against the killer will be punished with impalement, abduction, or axes as the dangers abound at the funeral parlor. Ironic classical cues and contemporary camp winks combine for a surprisingly impressive gothic atmosphere with a fun story and scene-chewing performances.

One Dark Night – Unlike today's perfect gradients, the grainy blue night adds eerie atmosphere to this 1982 Meg Tilly (Psycho II) and Adam West (Batman) hazing horror romp with psychic undead, coffins, and creepy crypts. Despite thunder, gothic gates, funerals, and tombstones; this is very slow in getting to the actual mean girls spending the night in the mausoleum initiation thanks to bizarre opening murders, coroner vans, and crime scene carnage largely told rather than seen. Police radio chatter, onlooking crowds, and news reports waste time repeating the electromagnetic phenomenon. Back and forth cutting to the teen babes in matching bad girl jackets and photo booth fun at the arcade are also unnecessary. All of the estranged family occult, life force photographs, energy vampires, and telekinesis theories should have been shown in the beginning, and we shouldn't meet the teenagers until the drive to the cemetery. Their frienemy peer pressure doesn't need jealousy over the jock – even if that meant losing the vintage mustang and sweaty basketball scenes with short shorts and tiny towels. Dares at the door, berating threats, and Demerol ruses provide cruelty amid classism toward the poor wannabes and racism toward the stereotypical scaredy cat, toothbrush chewing Black girl who's told she's a “real” sister. Crypt plaques, flowers, sympathy cards, pews, and candles set the morose scene for the fake frights as the cracked vaults and dark windows invoke the overnight spooky. The psychic evil feeds off the delirium, vicious tricks, and growing fears inside the mausoleum maze, and it's unfortunate that the trapped suspense is continually broken by unnecessary outside scenes – delaying most of the scares until the final twenty minutes. However, the levitating caskets, reanimated rotting, and gooey bodies are superb when they do happen. Chapel prayers and individual frights escalate with crumbling crypts, rattling objects, and metaphysical winds as the mean girls get what they deserve. It's bemusing that the biggest names here have the least to do, and behind the scenes problems resulted in different video versions. Fortunately, the fun house horror finale does a lot without much gore thanks to skeletons, zombies, worms, and purple glows making for some entertaining late night ooze.

Pieces – Christopher and Lynda Day George strike again in this Boston set, Spanish produced 1982 campus slasher. The 1942 quaint quickly turns to saucy violence, rage, and surprising splatter as our ten year old boy is not going to take it anymore. Forty years later, the creative power tools and collecting body parts resume thanks to bloody mementos of his mother and a fondness for nudie jigsaw puzzles. The murderous psychosis and disturbing social commentary beget groovy skateboarding and perky retro sweaters but the giggling, skinny-dipping babes don't last long thanks to chainsaws, creepy gardeners, and dripping bags in the freezer. This video nasty isn't shy in showing the head chopping gore, and we move from one crime to the next with swanky saxophone music, raunchy couples, and scene-chewing police trying to keep the killer publicity quiet. Deaths mount in the titular assembly of the perfect woman while Fame-esque dance classes, techno music, and leg warmers add nostalgia. Undercover tennis coach Lynda is on the case – contending with pesky newspaper reporters and “Bastards!” before more dancing leads to layered maze-like chases and thunder heralds the fatal anticipation. Despite nighttime lighting and dark killer silhouettes, we can see the equal opportunity nudity and everything in the limb losing elevator. Ironic marching band music, locker room showers, knives, and waterbeds make varied use of every campus opportunity. That curious lady reporter shouldn't sneak around alone, and cops vomit at the consequences. Sure, some of the acting is over the top. However girls are being sawed in half and the authorities are one step behind what the audience knows. The self-aware slasher pastiche does what it says on the tin and comes together for a bemusing finish.

Jay Days Video Reviews Rundown!

 

In 2024 I made several appearances on The Jay Days Reviews YouTubeChannel with Jaylan Salah, one of my fellow female film critics from the Women InSession Podcast at InSessionFilm.com! In these video spots, we tend to cover more juicy topics than the podcast and get a little more zany going into television deep dives and combination conversations.

It's a privilege to have another medium to express fun and insightful analysis, and here's a rundown of the videos that can also be found in my Kbatz Reviews at The Jay Days Channel YouTubePlaylist:

Bound

The Convert

When We Rise and Desert Hearts

Jack Irish

Halloween TV – Dark Shadows and more

Thanksgiving Pumpkins – Don't Say a Word and Awards Season

A Christmas Carol

If you're interested in an audio/visual collaboration, messaging is open now on Blue Sky or still Twitter if need be. For more appearances, follow our Podcast and Video tags or peep some behind the scenes photos on Instagram!

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2024 Guest Podcasts!

 

After real life took over in 2023, it was extremely rewarding to have a prosperous 2024 in the podcasting and film criticism arena! In addition to my regular, wonderfully fruitful appearances with the Women InSession Podcast at InSessionFilm.com, it was a privilege to collaborate on numerous other podcasts throughout the year. Thank you so much to the websites and podcasters who were interested in hearing my voice. As a woman in a world where refined conversation and free speech are in direct jeopardy, it means everything to have a chance at the podium.

Although my long form writing output has unfortunately stalled, the first half of 2025 is already pretty full with opportunities! Sometimes it's easier said than done to fit in a few extra recording sessions a month, and like anything sometimes events fall through, but I am available for further audio/visual adventures generally now on BlueSky or still Twitter if need be. I hope to stick to the two posts a week here schedule with lists, videos, or updates on where to find my work. I've already recorded more!

Here's a rundown of my guest podcast appearances and where you can listen:

Greatest Movies of All Time: Ben-Hur

Revisionist Almanac's Let's Get Spooky

Making Tarantino: Frankenstein Must Be Destroyed

Making Tarantino: House of Dark Shadows

Lone Screenplay Nominee: Stand by Me

Bubba Wheat's Time to Rewind: Bedtime Stories

Neverending Watchlist's Who Should Be the Next James Bond?

For more appearances, follow our podcast and video tags or peep some behind the scenes photos on Instagram!

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The Guy Pearce Re-Watch So Far!

 

I initially started working on the Great Guy Pearce Career Re-Watch in 2023 before real life interference pushed my reviews into 2024. However it was meant to be since Guy Pearce is having a banner year thanks to The Brutalist!  

If you've missed any of our Re-Watch countdowns, reviews, videos, or podcasts, here's an update so far (yes there's more to come!) with this handy end of the year guide!

Podcast and Video Appearances:

Women InSession: Guy Pearce Spectacular

Women InSession: The Adventures of Priscilla Queen of the Desert

Women InSession: Memento

Women InSession: Underrated Guy Pearce Picks

Women InSession: Prometheus and Alien: Covenant

Bedtime Stories Bubba Wheat Podcast

Jack Irish Jay Days Video Review

When We Rise Jay Day Video Review

The Convert Jay Days Video Review

A Christmas Carol Jay Days Video Review

Memory Therefore Review Video Review

Guy Pearce Horror Movies Therefore Review Video

Guy Pearce Villains! Therefore Review Video

Television Coverage at Keith Loves Movies:

Jack Irish – Bad Debts, Black Tide, Dead Point, Season 1, Season 2, Season 3

Mare of Easttown

Written Reviews at I Think, Therefore I Review and InSession Film:

Hunting

Heaven Tonight

Flynn

Snowy River: The McGregor Saga

Dating the Enemy

L.A. Confidential

Brand New World

Ravenous

Rules of Engagement

Memento

The Count of Monte Cristo

The Time Machine

Til Human Voices Wake Us

The Hard Word

Two Brothers

The Proposition

Factory Girl

First Snow

Traitor

Death Defying Acts

In Her Skin

Seeking Justice

Winged Creatures

Bedtime Stories

33 Postcards

The Hurt Locker

Animal Kingdom

Don't Be Afraid of the Dark

The King's Speech

Prometheus

Iron Man 3

Lockout

Lawless

Hateship Loveship

Breathe In

The Rover

Equals

Genius

Results

Lorne

Brimstone

Alien: Covenant

Spinning Man

Swinging Safari

The Catcher was a Spy

The Innocents

A Christmas Carol

Bloodshot

Disturbing the Peace

The Seventh Day

The Last Vermeer

Domino

Without Remorse

Zone 414

The Infernal Machine

Sunrise

and of course

We Been Knew Guy Pearce Should Have Won

10 Times Guy Pearce Already Deserved Acclaim

Guy Pearce Movies to Stream on Tubi

Join in The Great Guy Pearce Career Re-Watch with us on Blue Sky!