Author Archives: Felix Vasquez

Every Bugs Bunny Ever: Which is Witch (1949)

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Which Is Witch (1949)
Directed by Friz Freleng
Written by Tedd Pierce
Animation by Arthur Davis
Music by Carl Stalling

Like “All This and Rabbit Stew” and “Nips the Nips,” this one is strictly for hardcore Bugs Bunny completists. It’s not that “Which is Witch” is so unabashedly racist and filled with racial stereotypes. It’s that it’s so painfully unfunny. Even at his worst director Friz Freleng can pull out a few chuckles here and there, but “Which is Witch” trades good solid laughs and prime comedy in order to once again punch down and turn a gross racist caricature in for Bugs Bunny to use as a source of utter humiliation. When Cartoon Network was a big name in the animation medium, the network would hold annual weekend long marathons of Bugs Bunny shorts titled “June Bugs.”

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Interview with “Gunfighter Paradise” Filmmaker Jethro Waters

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For our readers, please introduce yourself.
Hello readers, my name is Jethro Waters and I’m the writer and director of the feature film Gunfighter Paradise.  I was born in Austin, Texas, moved to North Carolina at the age of 11, and I now live and work in Manhattan.  I know where to find the best grits & Red-eye gravy in The South, and I also know where to find the best bagels in NYC.  There is a chameleon named Elvis who lives among the plants in my apartment window (seriously) and he’s probably got the best view of any chameleon living in the city.

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Bedroom People (2022) [Film Maudit 2.0]

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The new standard for horror entertainment has become the lo-fi, filmed on VCR fodder that had lent something of a realism to even the more outlandish premises. The aesthetic has been used in a lot of facets of horror in the last eight years, including horror movies. The classic ARG aesthetic just works and it works well for the short from skilled animator and concept artist Vivien Forsans entitled “Bedroom People.”

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Welcome Back, Kotter: The Complete Series (DVD)

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Now Available from Warner Home Entertainment.

“Welcome Back Kotter” is mainly known as the launch pad for John Travolta’s huge career beginnings, but on its own it’s a solid sitcom. “Welcome Back Kotter” garners a fun premise teeming with so much comedic cache, and it’s remained immortal thanks to John Sebastian’s theme “Welcome Back.” Sebastian who spent most of his career in the band Loving Spoonful delivers on a theme that sets the stage for the series quite well and is definitely catchy enough to where you’ll hum along to it on occasion. Comedian Gabriel Kaplan is a teacher who returns to New York to teach in an inner city school.

He’s an idealist tasked with teaching the special ed class which is taken up by local gang “The Sweathogs.” Kotter, being an ex-“Sweathog,” takes an interest in getting his students in the right track amounting to some hilarity.

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no more room in hell (2023) [Film Maudit 2.0]

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“no more room in hell” is a masterclass in how to make a horror documentary without skimming copyright and licensing fees. Rebecca Shapass directs a de-construction of the Romero movie series by taking a deeper more abstract look at how environmental and ecological elements contributes to the rush of the dead, and the downfall of society. Shapass includes snippets of dialogue from the various scripts and spends a lot of the documentary’s time peeking in to various industries including excavation, as well as the rule of capitalism.

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Nu (2022) [Film Maudit 2.0]

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I imagine Olivier Labonté Lemoyne’s is going to lend itself to all kinds of interpretations. Maybe it’s just abstract for the sake of being abstract? Who knows? In either case, “Nu” succeeds in being as oddly creepy as it does in being kind of silly, exploring the idea of fear vulnerability. The whole concept of beings that look like nudists plays on the whole nature of voyeurism and the reluctance by many to engage in it.

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ClearMind (2024)

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Now Streaming on Amazon Prime Video and Tubi TV.

Aw hell, I’m always complaining about wanting to see something new and Rebecca Eskreis’ “ClearMind” is something new. It’s such a mixing of genres that it eventually comes out of the other end as this unusual amalgam that’s hard to peg down. I dare you to peg this in one hole. It’s a dramatic science fiction situation comedy about grief that follows a woman who uses virtual reality to become a slasher. There are shades of horror, and satire about new age medicine and the quackery of nonsense like Goop et al. It’s so far and away amorphous that it’s tough to hate it.

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