Made-for-TV March

Wicked Wednesday: No Place to Hide (1981)

I’m thinking it’s maybe time to hang up Made-for-TV March.

Obviously I’m not serious, but when I read the synopsis for No Place to Hide, I had major déjà vu. A young artist is stalked and hardly believed? That’s the plot to Are You in the House Alone? I was even more perplexed when I realised this also starred Kathleen Beller!

Alas, despite the surface similarities, the two films are hardly alike at all. Where Are You in the House Alone is quite a serious look at assault and the suffering of victims, No Place to Hide is campier with more of the hallmarks of light-hearted TV thrillers. The villains are more cartoonish and the story is sillier.

And I liked it.

Art student Amy has been dealing with a stalker for a while. She keeps seeing a man following her, but the police don’t believe her. In the opening scene, she sees a man in the back of her car. The man tells her, “Soon, Amy. Soon.” But when someone checks the car for her, it’s empty. The police chalk it up to her imagination again.

To help with Amy’s credibility, her stepmother Adele suggests Amy see a psychiatrist to get the all-clear. Amy reluctantly agrees and meets with the young Dr Letterman. Shortly after their first meeting, Amy receives a funeral wreath with a note that says, “Soon, Amy. Soon.”

When Amy and Adele go to the florist to question him, he insists that it was Amy who ordered the wreath. Amy becomes perplexed and uncertain of her own sanity, but she still feels convinced something else is going on. She’s right, though, and that night at school, she’s pursued by the shadowing man again.

Following a discussion with Dr Letterman, Amy decides to go to the cabin where her father died the year before. Though initially planning to go on her own, Adele joins. They have a nice time until Adele is called away. Lo and behold: while Amy is away, strange things begin to happen again.

Amy is eventually attacked and left to die on the river. But is she dead? Will her attackers ever be found guilty for their crimes?

That’s what the last thirty minutes or so of this film make you wonder. And this is when the momentum comes to a screeching halt. Without Amy, the story kind of meander. It really slows the pace and kills any sort of suspense. It definitely feels like they padded the wrong parts out. Let our villains get their comeuppance in 15 minutes or less, please.

However, I really did like this one. Beller is so magnetic on screen. While her character wasn’t as fleshed out as hers in Are You in the House Alone?, you still want to root for her. Some of the early gags (the car, the wreath, the chase sequence) are really good. Shame there wasn’t a bit more of that. You could question Amy’s sanity, but it’s almost too clear that it isn’t her minus the one incident with the wreath.

Kathleen Beller is a hero. Everyone else is just a bully.

Wicked Wednesday: The Initiation of Sarah (1978)

What makes a bond between sisters? Is it blood? Family? A sense of belonging? Horror movies love to explore the bond of sisterhood in sorority-set stories. Well… in only a way a TV movie directed by a man and mostly written by men can do. (Shout out to soap writer Carol Saraceno who gets her name in the credits here!)

Sisters Sarah and Patty are off to college together for their freshman year. Patty is the social type, determined to join their mother’s former sorority (or is it the “once your sorority, always your sorority” sort of deal?). Sarah is adopted and lacks her sister’s charms – a much more unlikely fit got Alpha Nu Sigma. But the two are determined to stick together in their new world.

When they head to Alpha Nu Sigma’s rush week party, Patty is immediately taken under the wings of Jennifer, one of the sorority’s sisters. Sarah is left to her own devices, watching from the sidelines. As a cruel joke, the sorority sisters recommend that Sarah rush for Phi Epsilon Delta (which they lovingly refer to as Pigs, Elephants and Dogs).

When Sarah and Patty arrive at Phi Epsilon Delta, they quickly realise that the place is much less popular. The girls are bored and disinterested in new members. But after rush week, Patty gets her dream of making Alpha Nu Sigma while Sarah gets into Phi Epsilon Delta.

The sisters are separated. Though they try to console themselves, evil queen Jennifer forces them apart. If Sarah wants to join her new sisterhood, she must leave her real sister behind.

But no one knows that Sarah has a secret: she has telekinetic powers. She can cause things to happen with her mind. Angry with Patty, she causes a piano to fall, but she decides to save her sister in time. They try their best to make amends, but the relationship remains strained.

At Phi Epsilon Delta, Sarah meets her new sorority sisters and her house mother, Mrs Hunter (played by the DELIGHTFUL Shelley Winters). The house mother quickly lets on that she knows Sarah’s powers, as she seemingly knows who Sarah’s birth mother is.

Sarah is encouraged to use her powers, and she does. The powers begin to make her new sorority a better place. The girls are friendlier not only to each other but to themselves. She finds new confidence in her new role as a leader, being (mostly) unphased by Jennifer’s bullying antics.

It isn’t until initiation night that Sarah realises her powers won’t always be used for good. She must make a decision: reach full success or save her loved ones.

The Initiation of Sarah is one of the best TV movies I’ve seen. It has the classic tropes (sororities, telekinetic powers, crappy moms), but it still makes for an enjoyable watch. The cast is very good. Morgan Fairchild as Jennifer is the queen bitch! She’s a delight to watch. Though I do think it’s hilarious that for the first half of the movie, we’re meant to agree that Kay Lenz is an ugly duckling.

It does veer a little too much into Carrie territory and could do with being a touch more original, but I think it’s easily glossed over if you’re looking for something cheesy and fun. The ending is thoroughly worth it. One of the better TV movie one-two punches!

There is a 2006 remake with Fairchild in it as well as Jennifer Tilly. You absolutely know that’s going to be next week’s pick.

Wicked Wednesday: All the Kind Strangers (1974)

Stranger danger. Apparently not a big deal in the 70s.

You hear lots of stories of hitchhikers and latchkey kids back in the “good ol’ days”. Seemingly a world where we could all just trust each other more. But if All the Kind Strangers (or any story featured on Unsolved Mysteries) is anything to go by, you should probably not trust anyone ever. ESPECIALLY children.

Jimmy Wheeler is a photojournalist on his way to a job when he spots a lone child in the road. Young Gilbert is in the middle of nowhere, struggling with a bag of groceries. Feeling for the young kiddo, who has many miles to walk, Jimmy offers the kid a ride down the road.

Gilbert gives Jimmy directions. Down the road for a few miles. This lone dirt path? Just down a few more miles. Just keep going even when you run out of road and need to drive through a wide stream.

Despite his increasing unease, Jimmy keeps driving the child. Personally, I’d never help a child, let alone drive my new luxury convertible through a gross brook, but this is why I’m not the main character in a horror TV movie. Eventually, however, the car arrives at an old farmhouse.

Jimmy goes inside and meets Gilber’s siblings – all six of them. They’re clearly a rough bunch without a smile to spare for anyone. Jimmy’s bad feelings grow and are completely justified. Things are not well in the household.

When he asks to meet the children’s mother, he is introduced to the young English woman Carol Ann. She’s quite clearly not the children’s mother (well, Jimmy knows this right away. Coulda fooled me.). He sees the locks are on the outside of the kitchen she’s working in, not the inside. There are boards over the doors as well.

As the two adults speak, Carol Ann writes “HELP ME” in the flour. Before Jimmy can ask any questions, they are pulled into dinner with the children.

At dinner, Jimmy learns that the children’s mother died in childbirth years earlier. Their bootlegging father died falling from a roof or something. They’ve been auditioning people to be their replacement parents so they can all stay together.

Carol Ann and Jimmy know they have to escape. The fate of the other potential parents is not clear, but it’s obviously not a happy ending for anyone. Jimmy finds a bunch of initialled belongings in his room. He sees a bunch of sunken cars in the stream, including his own. But with doors locked and hungry dogs waiting in the yard… escape isn’t as easy as just walking out the door.

Eventually, though, All the Kind Strangers takes the easy way out. The kids learn their lesson and the adults get their freedom. If it weren’t for pesky cable television restrictions getting in the way, this could have taken a darker turn. So the movie has some pretty good moments, but it ultimately falls a bit flat.

But there was a good atmosphere, lightening and thunder. Really all I want out of a quick 70-minute TV movie.

It’s difficult not to compare this story to Children of the Corn, but this TV movie actually predates King’s by three years. I think all these creepy kid stories are onto something, though. Why trust any of these little ones? Jimmy would have been happy and free if he would have just let Gilbert walk! The kid said he was fine, leave him!

You really never know what you’re going to pick up when you open your (car) doors to strangers.

Wicked Wednesday: Death at Love House (1976)

I’m a little bit late out the gate, but here we are! Made-for-TV March is back, baby!

And what better way to begin the month than with the star-studded soapy drama: Death at Love House.

In the starring roles are TV icons Robert Wagner and Kate Jackson. They play young couple Joel and Donna Gregory, visiting Hollywood to write a book on an actress who had a love affair with Joel’s father. The actress, Lorna Love (played by Marianna Hill of Messiah of Evil), supposedly died young. Her body is preserved in a tomb/shrine in her backyard.

When the couple arrives, they meet agent Oscar and housekeeper Clara. They’re shown around Lorna’s house when they see a portrait of her. They both are pulled to it, but Joel much more so.

Their first day, Donna sees a woman in 1930s clothing in the garden. When she tries to find the woman, no one is to be found.

The couple meets with several people: a director who worked with Lorna, a former rival of hers, and the leader of her fan club. Joel and Donna begin to unpick the mysteries of Lorna’s life, soon discovering she was into the occult with hopes of staying young forever.

In the home is a hooded figure. The figure targets the director, killing him. The figure also tries to kill Donna by carbon monoxide poisoning.

While Donna becomes increasingly upset with living in the home, Joel becomes more and more obsessed. When things come to a head and she realises the truth of Lorna Love’s fate, Donna must race to save her husband or lose him to the house and Lorna forever.

This is a pretty weird one. On one hand, it’s got everything I love in a TV movie: a big beautiful home that’s a bit haunted, an unseen figure messing with people, a Sunset Boulevard rip-off plot. The calibre of the supporting cast here is just incredible (Sylvia Sidney is here along with a slew of old Hollywood icons). They easily outshine the two leads.

And yet…it’s pretty forgettable as far as TV movies go. It plots along most of the time. Loads of dialogue about Lorna Love that isn’t terribly interesting.

That being said… I LOVE the twist ending. It’s so soap opera-y. So dramatic and, technically, a bit stupid. This is what I demand of my TV movies. Give me all of the drama!

Wicked Wednesday: Are You in the House Alone? (1978)

I love TV movies for many reasons: the dramatic music, the dramatic thunder and lightning, the weirdly PG violence. But often what they are most known for is their content on “lessons” and handling of controversial or taboo topics like sexual assault, eating disorders and runaways.

Many of these more controversial movies were often the most popular. Born Innocent starring Linda Blair was the highest-rated television movie of that year. I still hear women in my life reference For the Love of Nancy (for better or for worse).

One of these tough-topic films is Are You in the House Alone?, a film about a girl who is stalked before being assaulted in her own home.

Gail is a young and talented student. She’s at the cusp of womanhood and is curious about love and desire. Having moved from her home in San Francisco to a new town, Gail has adjusted well. She’s dating boys and making friends.

But after she begins to start dating Steve, she begins to find threatening letters in her locker (with some not-so-great grammar should I add – “I’m watching, you —“). No one seems to take these threats very seriously. This makes it a pretty tough film to watch. She keeps reaching out for help, but there seemingly isn’t any available. Not from family, friends or people in power like her teachers.

She also gets phone calls from a rather creepy voice. Her stalker is clearly a man. It’s her principal who suggests that Gail is looking for someone she knows.

Eventually, the inevitable assault occurs. Despite the synopsis I read, promising a movie about a girl seeking revenge, most of the story is the lead up to the assault. You learn from the opening scene what will happen to Gail. It is an issue that we know what is going to happen so early, but the event doesn’t come until the third act. There isn’t much suspense in that regard.

That being said, I’m not entirely sure if this movie wanted to be a thriller. It feels very much like an after school special in that respect. The last act of the film follows Gail and Steve as they work together to catch the person responsible for her assault. It’s not entirely a happy ending, but it is realistic. Not all victims will see justice in the ways they hope.

You can absolutely tell that this was written by a woman (Judith Parker is credited with the teleplay). It’s handled fairly well for a movie that came out in the late 70s. There’s plenty of misogyny that I personally didn’t like, but I think by the end of the film it’s addressed well.

But Gail’s character is very fleshed out and complex. She has hobbies, friends, flaws, everything that makes her an endearing main character. She’s so easy to root for, that it makes every threat, harm and success have all that much more weight to it. Kathleen Beller is truly great in this.

Some of this might seem heavy-handed. Even Gail’s photography teacher is a creep. And yet, all of this is very relatable on so many levels. Forty years on, and we’re still tackling things like predatory behaviour and white male privilege. As far as TV movies go, Are You in the House Alone? remains one that has aged the best.

***Major spoilers for Scream (2022)***

I can completely see why Jack Quaid was cast as Ghostface. He’s so evil. His dad is equally horrible in this! An uncanny family resemblance!

Wicked Wednesday: Fantasies (1982)

“Like sands through the hourglass, so are the days of our lives.”

The voice inside my head

As long as I can remember, my mom has watched Days of Our Lives. And for just as long, my mom has complained about it. My grandmother watched Touched By an Angel. My childhood friend All My Children. Though I never watched soaps myself, their power and influence still reached me through many women in my life. (The number of tragic car crashes and affairs my poor Barbies suffered!)

I’m endlessly fascinated by soap operas. When I learned that Fantasies was a TV movie slasher set around a soup, I knew this was for me.

Middleton, USA is a popular soap opera, created by Carla Webber (Suzanne Pleshette). Carla is smart and successful – and witty to boot. It’s all going her way until she receives news that the main baddy on her show has been murdered.

The owner of the network puts Carla and her writers under pressure to rewrite the show and rework the show without their villain. They do, but he’s soon killed off, too.

To get away from the drama and get thinking about the show’s new direction, Carla takes her daughter, Sandy, to their beach house. There Carla bumps into her ex-husband at a party. He’s there with his new, younger beau. Seemingly unbothered, Carla turns her attention to the detective on the case of the murders, Flynn.

Things get plenty soapy as Carla battles her two men. And sure, more actors get killed. But life carries on, right?

Until one night, Carla herself is attacked while in bed. She makes a narrow escape when a delivery man scares away the masked man.

With Carla the next target, she and Flynn are forced to figure out who the killer is – fast. There’s a whole slew of fun and campy suspects: a former star, a crazed fan, maybe even the husband! The movie gives you plenty of red herrings along the way, but this is a soap opera: clues hardly matter!

Fantasies has all the makings of being an awesome movie. However, I think its TV restrictions hinder it from being truly excellent. Any violence is toned down and the focus is mostly on relationships and romance. The soap opera aspects win out over any mystery or horror. It could be truly lush and bloody if remade for the cinema or streaming. However, any remake wouldn’t have Pleschette, which would be a shame. She’s wonderful and charismatic in this. She carries the entire movie on her back!

I also enjoyed a main character who was a bit older. TV movies are usually good at this, as they often focus on motherhood as one of the central themes. Carla was successful and strong and had plenty of her own agency. She might have admitted to writing pious female characters, but she was a little more complex than that.

This might not have been everything I wanted it to be, but I think it’s well worth the watch even if just to see Pleshette look utterly glamorous on screen.

Wicked Wednesday: Fall into Darkness (1996)

The 90s were so good at teen drama. From 90210 to Clueless – there was some really iconic stuff in the decade.

But drama that leads to death, fake deaths and plots to frame your friend for murder? Truly iconic, and that’s what you get in this made-for-TV adaption of Christopher Pike’s novel Fall into Darkness.

Sharon is a rising star in the piano world, and a Julliard hopeful. Her playing catches the eye of the wealthy Jerry Price, who invites her to a party at his house one night.

At the party, Sharon learns that Jerry and his sister, Ann, are incredibly wealthy orphans. She meets Ann, a haughty and rude girl. Despite being absolutely catty towards Sharon, the girls become friends.

As Ann and Sharon grow closer, Jerry’s affections for Sharon grow. When he tries to come on to her, though, she rejects him.

Burnt by the interaction, Jerry goes to his friend Chad’s place and gets drunk. It’s that night that the girls learn that Jerry has supposedly taken his own life by jumping in front of an oncoming train.

Ann is distraught. Even more so when Chad tells her why – that Jerry couldn’t take the rejection from Sharon, mixed with his depression. Ann becomes angry and begins plotting Sharon’s demise with the help of her boyfriend, Paul.

For the first part of their plan, Ann invites the gaggle of friends to go camping. During the bonfire, Ann makes Sharon angry by belittling her playing. Sharon storms off and Ann later follows – claiming to want to apologise.

When the girls are in the woods, Ann begins screaming Sharon’s name, setting it up to look like she’s being attacked by her friend. Ann throws herself from a cliff, seemingly to her own death.

From there the boys all tell the police that they believe Sharon has killed Ann. But no one can find the body.

Sharon must prove her own innocence and uncover the truth before the real killer comes for her next. It’s a pretty fun maze of twists and turns. Though eventually (and probably a little too soon) the truth becomes obvious. The story still manages to keep the pace up, though, even when its audience knows where things are going next. I think that’s partly due to how compelling both Tatyana M. Ali and Jonathan Brandis’s work.

Fall into Darkness takes a lot from its predecessors in many ways: a bad boy with Jason Dean vibes, a lack of humour and camp to show that it’s taking itself seriously. It’s not really breaking any new ground. That being said, it’s still a good time, and it’s pretty nice to return to basics here. I have read that this is a not-so-great adaption of Pike’s work, so maybe this is even due a reboot?

Pike is one of the pillars of YA and children’s horror fiction in the 80s and 90s. But somehow, there aren’t very many adaptions of his work. At the time of writing, Fall into Darkness remains the only one. An adaption of superb Midnight Club for Netflix, created by the always-dependable Mike Flanagan, finished production in 2021. If there’s a success there, hopefully more adaptions will follow. I personally am ready to find more of his books and give them a read!

Also, can we get a boutique label to start releasing nice blu-ray editions of these made-for-TV movies. Honestly, the quality of some of these films is so bad! I’d kill to watch these and be able to see what the actors’ faces look like.

Wicked Wednesday: Night Terror (1977)

I love made-for-TV movies. I love Made-for-TV March. A whole four weeks of dramatic pauses for commercials, effective uses of lightning and familiar faces from shows your ma watches. Truly, a most wonderful time of the year.

This week, I treated myself to Night Terror, a suspenseful chase film starring the TV movie legend Valerie Harper.

Harper plays Carol Turner, a frazzled and forgetful housewife. Her family is preparing to move across the country to Colorado for her husband’s job. Now just saying this upfront: Carol’s husband, Walter, is a loser and does not deserve her!

Anyway, the kids go ahead with their aunt and father while Carol follows behind with the station wagon. She intends to meet up with Walter for their second honeymoon before going to Colorado. Only Walter needs to cancel their plans because of work-something-or-another.

Carol’s night only gets worse when she discovers that her son has been sent to the hospital and needs surgery. Panic-stricken, she gets into her car in the middle of the night and heads off to Colorado on her own.

Along the way, Carol realises her car’s gas tank is nearly empty. She sees a cop on the side of the road with another car pulled over, she stops to ask for help. Only when she does, the man in the pulled-over car shoots and kills the police officer.

Panicked, Carol drives off into the night, but her pursuer is not going to let her go. What follows is a pretty lengthy, but intense chase scene.

Carol has to use her wits to get help and avoid the killer. She commits a few faux pas along the way, but she’s ultimately responsible for all her successes. But the killer is pretty relentless and clever, there are a number of times I shouted, “NO CAROL!!!!” at my TV screen, which is surely a sign of good pace!

When Carol is finally victorious and at her child’s bedside, her husband arrives. When he tells her, “You poor baby. You of all people.” without knowing what she’s been through… well, it’s enough to make your blood boil! Please tell me there’s a part two where she kills him and lives her best Thelma and Louise life.

Night Terror is a gem. It’s got a great pace, which I think is greatly benefited by its 70-minute run time. Not only does it clip along nicely, but it looks great too. The rainy night and dry, desert day look fabulous on screen. The killer (played by the super hot Richard Romanus) is excellent. You don’t know much about him at all. He’s really just there to be menacing – and he is!

There are several things that date this one in a not-so-fun way, but if you want a fun thriller version of The Hitcher or Duel. But this one has Valerie Harper, so it has to have an edge in that respect! Harper manages to seem both frantic and compelling while not overdoing it completely. This is why she will always be an icon.

Wicked Wednesday: The Demon Murder Case (1983)

Talk about going out with a fart. After a month of (relatively) fun TV movies, we reach the finish line at a crawl with The Demon Murder Case.

On the surface. This movie has all the right ingredients: true crime, supposed demon possessions, and Kevin Bacon. But what’s delivered in a confused and poorly-paced film that I wish I would have napped through.

Slight based on a true story, the movie opens with a young man, Kenny (Bacon), in a courtroom. What has he done? Well, whatever it is the Devil made him do it.

We then jump back to the time before Kenny’s crime. Young Brian is a nice kid, but has become possessed by a demon. His family try to help him by asking btoh the curch and a couple of demonologists (a fictionalised version of the Warrens) to intervene.

Though neither helps. Brian stays possessed. His family become increasingly frustrated, especially Kenny, who can’t seem to hold his temper. Kenny threatens the demon possessing Brian, ignoring the fact that the experts’ explicitly said not to do so.

Kenny is then possessed by the demon himself. While possessed, he becomes jealous of his girlfriend’s new boss – a man who needs help…grooming his dogs? During a party, the boss becomes drunk and harrassess Kenny’s girlfriend. Then “the demon” takes control and stabs the drunk man.

The police later arrest Kenny. The last act of the movie is Kenny’s trial. Honestly, it’s very boring.

The biggest issue I had with this movie was the pacing. For the first half of the film, we’re watching an Exorcist rip-off. Brian’s demon speaks through him using a gravely voice. He injures himself. He said TV-appropriately unappropriate things to his family.

We’re 30 minutes in when Brian’s exorcism begins. The build up is pretty quick. Then we have to forget about Brian (who, by the way, we have no idea if he’s still possessed) and begin focusing on this Kenny character. Kenny, bless Kevin Bacon, is an incredibly boring and unlikable character. The fact that he’s just suddenly possessed is weird.

The trial of Arne Cheyenne Johnson (the real murderer) is the subject of the third Conjuring film, which is (hopefully) being released this summer. It will be interesting to see how the story is tackled. Hopefully there is more focus. The issue with the story in The Demon Murder Case is that it is essentially two in one: Brian’s possession and Kenny’s trial (David Glatzel and Arne Cheyenne Johnson in the true tale). By including both, the typical climax, the exorcism, is too near the beginning. All the suspense is spent before the movie is even halfway over.

That being said, the first half of this movie can be visually interesting. At times it’s almost more ambitious than the usual TV move fare at the time. For some reason, these directoral decisions are discarded once Kenny becomes the main focus.

And I do think a story just about Kenny/Arne could be interesting. This is the first case in the US where demonic possession was part of the defence. As I mentioned before, I’m interested to see what happens with the story when it’s in more modern hands.

Wicked Wednesday: Satan’s School for Girls (2000)

When I first started Made-for-TV March, I was surprised at how many TV movies had modern remakes. They don’t exactly seem like the type of thing to be ripe for that. After watching 1973’s Satan’s School for Girls back in 2017, I spotted the 2000 remake and immediately blew it off. At that point, I didn’t want to touch anything made after 1990.

But after a few years of running this, I slowly began to get over my fear of more modern films. Though I vowed that wouldn’t watch the remake until I had forgotten most of the original.

Only… I maybe forgot a little too much. For one, I thought I had really liked the original. Though glancing through my original write up, I was apparently less-than-enthusiastic. And the plot? I had to reread the entire thing to jog any memories at all.

So watching 2000’s Satan’s School for Girls felt like being introduced to an entirely new story. And in many ways, I was.

In 2000’s remake, Beth goes to Fallbridge College for Girls when her sister’s death is deemed a suicide. Her one piece of evidence is a sympathy card from a group simply called “The Five”. She begins to look into the lives of the girls around her, suspicious particularly of the goths.

She soon learns that The Five were a group of women who all went on to become wildly successful. Senators, bankers and the like.

But Beth’s detective work is not as subtle as she thinks. All eyes at the school seem to be on her. And it’s not too long before she’s forced to call upon her own psychic powers to battle the witches at her school.

There’s a lot more emphasis on this story on the girls’ magic. It’s both a strength and weakness of the film. It’s fun watching some witchy fun, and the women here seem to have much more agency than in the 1973 version. But the special effects in the 2000 movie have dated terribly. Considering The Craft was made nearly four years earlier, there’s not really an excuse. That is unless they spent literally all their budget getting Shannon Doherty.

The remake does switch things up enough that it doesn’t always feel like you’re watching the same movie twice. The second half certainly veers away from the original source material more than the first. Much of the climax is longer and more dragged out than the original – which has an ending like a punch to the gut. The ending was easily the most memorable part of the original.

Breaking one of my rules, I took the time to read an original review in Variety after watching the film. What was interesting to me, is that the writer argued that there wasn’t a need for groups like The Five anymore. Women are plenty powerful without having to make a deal with Satan.

Honestly, I’d have to disagree with that point a lot. We see women still getting attacked and murdered just walking home. I would do anything to have more power in life just to protect myself and other women. And what about our trans sisters? When their existence is challenged every day, can we really say women are fine enough in the workplace?

If The Five weren’t so hellbent on killing other people off, I’d say that every woman should consider making a pact with the Devil.